Ian Pedigo, “Lights Have Gone Out,” 2015
bone, plastic, metal, wood, paint, carpet, 60″ x 65″ x 30″
Using found quotidian materials, Ian Pedigo assembles sculptural installations that lyricize banal details of our domestic and built environments. In his exhibition at 65Grand, “The Arrows Like Soft Moon Beams,” the New York-based artist reveals three larger-than-human-size totems which nod to Surrealism and resonate particularly well in Chicago, with its rich culture of spaces (6018North) and makers (Alberto Aguilar, Edra Soto) who turn the domestic into the poetic. In “From the Crown to the Earth” a six-foot-tall panel of black stone grounds the playful figural arrangement of a green plastic bowl lampshade with dangling disco ball earrings. Another grouping converts disembodied chair legs into a wing-like form, hung from a floorboard suspended upside down with a backdrop of blinds. “Lights Have Gone Out” features a candelabra painted matte-black which is simultaneously real, faux, classic and kitsch. Pedigo combines elements from different time periods and vacillates between natural and artificial materials, resulting in both visual stimulation and a sense of suspended timelessness.
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Installation view of Aimeé Beaubien’s “Twist-flip-tremble-trace” at Johalla Projects
There is a video-game term that applies to art making, called “leveling up.” It’s when you make it to the next round, when you discover something game-changing, when you go out on a limb and make such a big step in the right direction that you are suddenly on a higher plane. You leveled up.
Local photographer Aimée Beaubien leveled up with her new body of work, “Twist-flip-tremble-trace.” She took her collages off the wall, weaving strips of photographs together to create the effect of psychedelic cobwebs, held together with dowels and clothespins so that they stand up and command space in the room. These Wonderlandian creatures are precariously perched on cartoonish furniture—an orange painted ironing board, a mirrored pedestal, a low, hot pink table, often incorporating ceramic jugs and glass bottles. Smaller works sit on shelves and hang on the walls, including some new, two-dimensional works, acting as satellites to their larger counterparts. The result is a dizzying installation of optically wiggling, animal-like forms. Read the rest of this entry »
Assaf Evron. “Untitled (Athens and Oraibi)”
In this compact exhibition curated by Allison Glenn, landscape serves as a metaphorical ground for four artists’ expansive manipulations of imaginary sites. Each of the works evince traces of fragmentation, collapse and compression, processes that appear here as gestures enacted on sites that are more the spaces of memory and history than they are physical terrains. Read the rest of this entry »
“Mr. Imagination’s Horse,” by Dimitre Photography Inc. Bethlehem, PA, July 2006
Mr. Imagination is a Chicago treasure—in the same rank as Chicago outsider artists Henry Darger and Vivian Maier—and this is his first Chicago retrospective. Raised in Maywood, Gregory Warmack (1948-2012) was shot in the stomach during a mugging and had art-inspiring visions while in a coma. Art dealer Carl Hammer began representing him in 1983 and throughout the 1990s and 2000s, Mr. I achieved national renown, winning major commissions. After a move to Bethlehem, Pennsylvania, a 2008 fire destroyed his studio (some fire-enhanced pieces are included here). North Siders may remember Mr. I’s studio on Clark with its sign: “Welcome to the World of Mr. Imagination,” the title of the present show. It’s a world of stern playfulness and a street spirituality. Read the rest of this entry »
Installation view of Sabina Ott’s “here and there pink melon joy” at the Chicago Cultural Center
The John Simon Guggenheim Memorial Foundation (GMF) announced earlier this month that they have awarded 173 fellowships (two of which are joint fellowships) to diverse artists, scholars and scientists. In the foundation’s ninety-first competition for the United States and Canada, this year’s recipients were chosen from a pool of over 3,100 applicants. Among that talented group spanning over fifty-one disciplines with recipients ranging in age from twenty-nine to eighty-three is Sabina Ott, a Chicago-based painter and sculptor who is a professor of art at Columbia College Chicago. With the Guggenheim award, Ott intends to expound the scope upon her most recent work “here and there pink melon joy,” a site-oriented installation of paintings and sculptures completed in August of 2014 that was on display at the Chicago Cultural Center until January 2015. Read the rest of this entry »
Dan Rizzo-orr’s “Horse Statuette North” and “Horse Statuette Northeast,”
with Mika Horibuchi’s “Screen/Screen,” installation view
Mika Horibuchi and Dan Rizzo-Orr worked closely to present “View with a Room” as a project specific to the gallery space. The mostly painted work of the two artists interlocks with ease across two rooms despite wildly various subject matter and technical methods. Visual approaches reflect neatly onto three-dimensional objects, the sculptures orienting the space in turn. Read the rest of this entry »
Luis Sahagun. “Imprints of a Broken Lover” 2015
chain and fabric on concrete
Appropriately titled “Escombros” or “rubble,” what Luis Sahagun’s new show at Kruger Gallery lacks in formal elegance, it effectively delivers in expressive force. Born in Guadalajara, Mexico, this Chicago-based artist conjures a remarkable variety of sculptural form from the damaged and discarded. Wood, metal, plaster, concrete and copious amounts of cardboard are fused into ungainly objects that suggest their origin as urban detritus while obliquely pointing to Sahagun’s experiences as an undocumented immigrant. Read the rest of this entry »
Noelle Allen. “Henry’s Rainbow”, 2014
resin, 23″ x 32″ x 2″
This May, the Evanston Art Center will end its forty-eight year residence at the former Harley Clarke mansion and move into a newly renovated space one mile away. For the final exhibition within its historic location that blossoms with organic design and motifs, the center has selected three artists whose practices are deeply rooted in the natural world: Noelle Allen, Jennifer Yorke and Robert Porazinski. Read the rest of this entry »
A Pine “Infirmary Cupboard, ca. 1840″ from New Lebanon, New York.
Actually three separate exhibitions, this is altogether the most thorough presentation of Shaker culture ever seen in Chicago. More formally the “United Society of Believers in Christ’s Second Appearing,” the Shakers are the longest continually operating religious utopian community in America. At their height they numbered five thousand across twenty-two communities.
Nearly all the objects seen here were first collected in the 1920s and thirties by a passionate young American couple. But modernism itself owes a huge debt to the ornament-less functionality of Shaker design. “Beauty rests on utility,” is their maxim. Most people think furniture when they think Shaker, and visitors will certainly drool over the many fine pieces on display. Their famous ladder-back chairs—highly functional and quickly made—were the Ikea of their day. A cobbler’s bench has an ergonomic seat along with the patina of abundant use. Particularly charming are the dolls, the child’s rocker (originally priced at $3.25), and all the costume and textiles. But there are strange items here, too, such as an oddly humane adult cradle and an early electrostatic medical device (use unknown). Shaker road signs topped with scriptural warnings addressed trespassers, and fascinating “Gift Drawings” were the calligraphic version of speaking in tongues. Read the rest of this entry »
Erin Jane Nelson. “Monk Behind Bars,” 2015
Inkjet on cotton, cotton, embroidered patches, wool batting, silk ribbon, garden lining fabric, grommets
By Matt Morris
I’ve really only been making photographs for the past couple of years, and thinking seriously about their medium for an even briefer span. What began as a lighthearted impulse to get men to undress for me was challenged into a more cogent form through recognizing the violence of the cropping frame on eroticized bodies (see Kobena Mercer), the draining echo chamber of the photograph’s reproduction (see Sherrie Levine), and the image and its circulation’s complicity in capital (see Hito Steyerl). Last month, when I tried to get a roll of film developed at this or that drugstore, none still had that equipment (“We just took our developing machine out yesterday,” one clerk told me); this older accessibility to the medium of photography is nearly extinct, succeeded by even more broadly used means of iPhone cameras, selfies, dick pics, Instagram and Google image search. We find ourselves in a torrent (all meanings of the word) of image production, and yet their reliability to represent has been utterly compromised (see David Joselit in the February Artforum linking the Staten Island grand jury’s failure to indict the policeman who murdered Eric Garner to the visual evidence—video footage of a brutal cop pile-on—failing to be allowed to represent these bodies and their violences). Read the rest of this entry »