Design, Digital Art, Drawings, Galleries & Museums, Hyde Park, Installation, Multimedia, Painting, Photography, Prints, Sculpture
Antony Gormley, After an idea by Gabriel Mitchell, “Infinite Cube,” 2014.
Mirrored glass with internal copper wire matrix of 1,000 hand-soldered omnidirectional LED lights.
On the occasion of the University of Chicago’s 125th anniversary, the Smart Museum of Art has compiled an exhibition of objects from its collection spanning three millennia that explore the multifaceted nature of memory. Works such as Zdenek Tmej’s “Broken Glasses, Breslau” and Arthur Amiotte’s “Wounded Knee III” capture violent moments of the past—burdensome memories to carry that are nonetheless worthy of preservation. Read the rest of this entry »
Ania Jaworska. “Saint,” 2015.
Screen print on folio paper; 30 x 22 inches.
Chicago, priapic King-Hell capital of exceptionalist, heaven-penetrating architecture; birthplace of The Reach, there could be no better place—and no better museum—for Ania Jaworska’s exploration of how our monuments commune with ourselves. Read the rest of this entry »
Steve Ruiz. “Deep Street Breathing in New Orleans,” 2015.
Gouache, ink and enamel on paper, 11 x 7.5 in.
This two-person show is a perfect exhibition to check out as summer slowly comes to an end. Cohen and Ruiz are two rising, Chicago-bred artists who both use warm, vibrant colors and landscaped scenes to evoke memories of hot days spent outdoors. Read the rest of this entry »
Activist Art, Art Books, Ceramics, Collage, Craft Work, Design, Digital Art, Drawings, Galleries & Museums, Installation, Multimedia, Painting, Photography, Prints, Sculpture, Streeterville, Video
“LUMA At Ten: Greatest Hits,” Installation view, including “Silver Clouds” by Andy Warhol and “Paranirvana (Self Portrait)” by Lewis deSoto./Photo: Loyola University Chicago
Religion is often the apparent culprit in today’s war-torn world, so an exhibition with a spiritual undertone may seem unnerving. Read the rest of this entry »
“Front & Center,” Installation view/Photo: S. Nicole Lane
The Center Program at the Hyde Park Art Center is an opportunity for artists to receive feedback, formulate new work and have a final exhibition in the main gallery over six months. The facilities and staff at HPAC offer a supportive atmosphere for artists to engage in conversation and further their studio practice. The twenty-four artists in the 2015 Center Program span various disciplines and media. The culminating group exhibition is playful and vibrant, as well as informative and candid. Read the rest of this entry »
Marguerite Hohenberg. “Chronological #255,” ca. 1945.
Gouache on paper, 21 x 21 inches.
Social Realism wasn’t the only artistic practice pushed to the curb by the onslaught of Abstract Expressionism in postwar America. The earlier styles of non-objective painting also became less fashionable, focusing more on making a modern world rather than on how dismayed or thrilled they felt to live in it. Marguerite Hohenberg (1883-1972) and Medard Klein (1905-2002) were two Chicago abstract artists who enjoyed national recognition in their heydays but vanished from view soon thereafter. In this show of works on paper, it’s Hohenberg’s transcendent colorism that captures the attention. The wife of an aristocratic Austrian stock broker, she was a late bloomer in the arts. She became an interior designer at age fifty-one, first showed her paintings at age fifty-four, and opened her own art gallery on Oak Street at age sixty-seven. Her level of craftsmanship is high, and the intensity, buoyancy and variety of her work suggests that she was enthusiastically making up for lost time. She left Austria at age six, but recreated the elegant, sensual, dynamic world of the Viennese Secession fifty years later in Chicago. It’s as if she had discovered an exciting new world, and was sharing her sense of wonder.
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Activist Art, Architecture, Art Fairs, Art Schools, Collage, Comics, Design, Digital Art, Drawings, Evanston, Fall Preview, Galleries & Museums, Garfield Park, Gold Coast/Old Town, Humboldt Park, Hyde Park, Installation, Little Village, Logan Square, Loop, Michigan Avenue, Multimedia, Museum Campus, Outsider Art, Painting, Performance, Photography, Pilsen, Prints, Public Art, River North, River West, Rogers Park, Sculpture, South Loop, Street Art, Streeterville, Suburban, Ukrainian Village/East Village, Uptown, Video, West Loop, West Town, Wicker Park/Bucktown
The thing that was sent to me in its intended but unsettling orientation.
By Elliot J. Reichert
The above image was sent to me anonymously in the middle of the night. Shocking as it appears, I was relieved to receive it. You see, weeks ago I had contacted a few artist friends to ask them to reflect on the upcoming fall art season in Chicago and to ask one to “take over” the task of appraising it. To my surprise, they were reluctant to describe it, even those who had exhibitions of their work opening in the coming weeks. Later, I realized that their silence was my doing, having asked a question that could produce no coherent answer.
Much like the drawing game made famous by the Surrealists, Chicago’s 2015 fall art season is an exquisite corpse—a thing of grotesque beauty that is the dream of no one, but the creation of many. At first glance, it appears sinister, like the Block Museum’s solo show of newly commissioned works by Chicago artist Geof Oppenheimer. Rumor has it that the sculptor has filled the museum’s ample galleries with austere and foreboding installations resembling the cinderblock constructions of grim institutions, like prison, or perhaps your corporate office. Even more menacing, Irena Haiduk, also Chicago-based and also exhibiting new work, will haunt the eaves of the Renaissance Society’s transformed gallery with the Sirens of Greek mythology, luring visitors unexpectedly into a debate on the revolutionary possibilities of art and social change amidst current political upheaval worldwide. Read the rest of this entry »
Hugh Scott-Douglas. “Untitled,” 2014.
Collection Museum of Contemporary Art Chicago, gift of Marshall Field’s by exchange.
“Out of Office” culls five works from the MCA collection to inquire about labor and financial transactions. The show’s title cannily suggests that the office has expanded. We’re always at the office, even while on lunch break.
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Sun Ra. “Other Planes of There,” 1966.
Ink on metallic silver paper, 14 x 14 inches.
Loosely organized around formal parameters and an eponymous ink drawing by musician Sun Ra, this exhibition of paintings, prints and sculpture explores materials, space and the myriad permutations they assume in contemporary art. From digital printing to additive sculpture to oil on canvas, this stylistically wide-ranging show shifts direction and tone as boldly as Sun Ra changed directions in music.
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