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 »
“Dauji II Performing Arati on Sharada Purnima,” First quarter of the nineteenth century. Nathdwara, Rajasthan, India. Amit Ambalal Collection/Photo: Anuj Ambalal
Every encyclopedic collection of world art has at least one depiction of Krishna, the most lovable god of the Hindu pantheon. Read the rest of this entry »
Jessica Stockholder/Photo: Steven Rosofsky
Jessica Stockholder’s work greets me before she does. Colorful and vibrant, it illuminates the dark gray exterior of Kavi Gupta Gallery’s Elizabeth Street location. Read the rest of this entry »
Scott Reeder. “Landlord Painting,” 2015
I like a little humor with my art, and even a cursory look at the work of Scott Reeder will tell you that he agrees. Read the rest of this entry »
James Hyde. “Steps,” 2015.
Acrylic dispersion on stretched vinyl print, 110 x 86 inches.
The best modern design is circumspect if not chaste. Read the rest of this entry »
Irena Haiduk. Installation view, “Seductive Exacting Realism,” 2015/Photo: The Renaissance Society
For the first thirty-five minutes of each hour, the gallery is cacophonous. Haiduk consigns the other twenty-five minutes to silence. For just less than half the day, “Seductive Exacting Realism” is absent. In “Waiting Rules,” Ivo Andric tells us that “the surest way to rule is to infect others with waiting.” Arrive too late, and it becomes clear that patience is a prison that springs from the self. Read the rest of this entry »
Carole Feuerman. “Miniature Quan (Green Cap),” 2013.
Oil on resin, 11 x 11 x 7 inches.
Carole Feuerman’s hyperrealist sculpture is too elegant to feel like a joke, and no more critical of its subject matter than if it presented floral arrangements instead of attractive young women. 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 »