Installation view of Ji Soo Hong’s collages in “Thick slide, decadent ration,” at Slow
The current exhibition at Slow, “Thick slice, decadent ration,” features work by Ji Soo Hong and Matthew Kayhoe Brett. Their works carry a studied meditation on process and composition, as their solid use of texture and color lend vibrancy and subtlety to the banal.
Ji Soo Hong approaches each slab of encased meat in her illustrative collages with a careful curiosity. Hong’s hand is in each of her works as her layered illustrations create collages of a subject matter that beckons to Francis Bacon and a voluptuously meaty still life tradition. The large white sheets mimic the display cases of a butcher shop, framing each assortment as studies in color and detail. A mélange of conté crayon and ink, chopped up and collaged, are drawing techniques imitative of the additive recipes of the sausages and hard meats Hong illustrates in her enlivened still-life works. Read the rest of this entry »
Allison Smith. “Hand Dyed Wool, Colonial Williamsburg, Virginia,” 2014
Smith is known for lovingly handcrafting Americana—costumes, furniture and artifacts—with which to interrogate the spectacle of historical recreation. In this she is indeed like a theatrical “set dresser,” someone who designs and arranges props.
Many of these recent works are photographs of objects of material culture from American living-history sites. Printed on fabric, the pictures take on a rustic look, akin to the objects they depict. But they contain powerful autobiographical elements, too. The lovely rainbow-colored skeins of yarn seen hanging in “Hand Dyed Wool, Colonial Williamsburg,” 2014, is a trenchant feminist statement on several levels while recalling Morris Louis’ stain paintings. Within a large, oval, walnut frame handcrafted by a master Massachusetts artisan, “Mirror,” 2014, shows a field of nubby linen on which a photograph of a mirror’s reflection has been printed. It’s a visual riddle, a twenty-first century version of the modern artist’s abiding fascination with mirrors. Less puzzling perhaps, but no less elegant, two tilt-top tables are covered in silk printed with photos of quilt patterns. Read the rest of this entry »
Sarah and Joseph Belknap. “Planetoids,” installation view at The Franklin
Sarah and Joseph Belknap have been working together as a singular multimedia artist-entity since 2008, making objects and happenings that examine and mimic grand experiences—the rare, magical moments in which we are able to comprehend our utter insignificance. Celestial bodies and giant earth formations are often shrunk to a manageable size, bringing our attention to the contrast between our human bodies and the infinite universe we live within. Their use of hyper-synthetic materials like silicone, polystyrene and fiberglass again acknowledges this man/nature duality.
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Installation view of mixed media work in Motor Row Gallery’s inaugural group exhibition
The new Motor Row Gallery (MRG) has emerged on Chicago’s historic Near South Side in the heart of what is known as the Motor Row District. The fact that the gallery is sheltered in the unsuspecting venue of a U-Haul rental facility, well, that’s just the kind of inimitable type of beauty you’d expect to find in Chicago.
The gallery is cozily embedded inside of a Motor Row Lofts building owned by Suzanne Weaver, who has also been running a U-Haul business with her husband from there for the past two and a half years. Motor Row Gallery is an alternative gallery space curated by Weaver’s friend of thirteen years Pamela Staker with a special focus on pop-up art exhibitions and special events. For instance, Staker and Weaver have future plans to hold art expositions outdoors in the warmer months, making use of the extra U-Haul vans that aren’t rented out. Artists would rent a truck where they could display anything from paintings and sculptures to functional and installation work. Since the space would ultimately belong to the artists, they would have free reign on how they chose to present their work in their creative space.
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Wu Tsang. “Mishima in Mexico,” video still, 2012
high definition video projection (color, sound) and programmed LED light installation
Body double: an actor’s stand-in. Whether in a simulated car crash or simulated intercourse, the body double performs as a seamless break in the continuity of the lead—identity is momentarily transposed, often on a faceless agent. “Body Doubles” at the MCA, organized by curatorial fellow Michelle Puetz, opens up the logic of this cinematic trick. The same formal operation that multiplies the body is exhibited alongside embodied multiplicity. Read the rest of this entry »
Dan Gunn. “Grand Amusement,”
dye, UV absorbent lacquer on plywood with nylon cord and wire
In “Impromptu Airs,” Dan Gunn has crafted delights for the eye, deviating from his earlier projects that mirrored elements of recognizable architecture and design. A group of “Fans” assembled from laser-cut, wooden strips have been stained in a circus-tent palette of red and white. The standard motif in “Fan No. 9” of 2013 gets stretched into comically elongated and shrinking shapes in the works that flank it, fastidiously assembled trompe l’oeil constructions that imitate the ease of computer-manipulated imagery. “To Fan No. 2” winds a swerving pathway painted in lyrical, Paul Klee palettes. Its pensive, musical sensitivity evokes Sonia Delaunay and Blaise Cendrars’ collaborative artist book “Prose of the Trans-Siberian and of Little Jehanne of France.” Thicker wood planks drape from two illusory nails in “Grand Amusement,” dyed in hand-mixed yellow, green, blue and pinks that turn its hard structure into gooey taffy pulled in a shop window. Neither fan nor drapery, “Broadway” contains candy-colored dots dancing in between rich navy parquetry panels. The piece calls to mind Mondrian’s “Broadway Boogie-Woogie” as well as Michelle Grabner’s colored paper weavings, recently the center of inner art-world hullabaloo.
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Carson Fox. “Rose Crystal,” 2013, cast resin
There is something inherently playful, yet disconcerting, when one first approaches Carson Fox’s “Mimesis.” The resin sculptures seem, at first blush, almost coquettish, climbing the walls, sitting upon pedestals, protruding in amaranth and aqua and palatinate, their familiar organic forms exaggerated, coated and made fantastically approachable. They dominate Linda Warren Projects; on every surface sans the ceiling, Fox approaches the installation as an integral aspect of the art itself—see “Orange Coral,” shades of heat, from tangerine to rosso corsa, which spreads across the back wall like an anatomist’s plastinated arterial system, impossibly similar to the real thing (if viewed from no deeper than a few fathoms, of course) down to their dimpled surface. Read the rest of this entry »
Eric Fischl. “Tumbling Woman, Study,” 2012,
glass, 12 x 18 x 14 in.
A bronze sculpture of cavorting figures in the gallery’s front window (“Ten Breaths: Congress of Wits, Study”) belies the artist’s reputation for edginess. By now Fischl (b. 1948) is an old master of contemporary art, famous for sexually provocative paintings like “Bad Boy,” 1981—the title of his recent memoir, incidentally—and for the controversy over “Tumbling Woman,” 2002, a commissioned sculpture for 9/11. This show features a dozen of the artist’s works from the last ten years. Read the rest of this entry »
Josiah McElheny. “End of a Love Affair,” 2014,
handblown and polished glass, douglas fir, speakers, amplifier, industrial audio player, electric wiring, cut and polished blue sheet glass, brass control knobs, felt, hardware,
55 x 43 x 23 inches
Aided by a fake ID, I was baptized into the church of hard-bop sometime in the mid-nineties in one of Cleveland’s many hidden jazz spots; a cramped subterranean chamber where sound and smoke, perfume and sweat mixed freely in the dimly lit haze. The music was immediate: thundering drums coupled with blowing horns that rang-out joyous one moment, mournful the next. Spiritual by way of the body—the experience possessed a physicality so intense it was transcendent.
In contrast to that overwhelming sensuality, MacArthur award winner Josiah McElheny’s “Dusty Groove,” a meticulously crafted four-piece sculptural ode to some of the twentieth century’s great musical minds (among them jazz legends Wes Montgomery and Sun Ra), comes off coolly intellectual, even a little remote. Imagine jazz goes to grad school featuring Donald Judd as your thesis advisor, and you’re part way there. These pieces stimulate the mind, but they don’t necessarily stir the soul. Read the rest of this entry »
“Carved, Cast, Crumpled: Sculpture All Ways,” installation view, Smart Museum of Art
“Carved, Cast, Crumpled: Sculpture All Ways” plays to the museum’s strengths in depth and breadth of visual and cultural material, transforming the entire museum into an inquiry into “the essential qualities that define sculpture.” The show’s opening gambit errs heavily on the side of tradition, exhibiting mostly modern European figurative works in bronze, stone and clay. A cast concrete architectural fragment by Frank Lloyd Wright is the sole exception, though its pairing with an abstracted Lipchitz bronze figure seems to argue for the legitimacy of the former via the aura of sanctified modernism. The exhibition continues at this pace through several galleries, showing Picasso, Calder, Moore, Arp and a host of other twentieth-century Europeans and Americans. A single non-Western piece, a Guinean carved wood mask, questions the well-trodden claim linking African “primitivism” to Western developments in abstraction. Read the rest of this entry »