Painter and School of the Art Institute of Chicago MFA candidate Lynn Basa has opened Corner, a new art gallery in the Avondale neighborhood located at 2912 North Milwaukee. Basa has owned the building at the corner of Drake and Milwaukee since 2008 where her studio also resides. Because she can only work on one painting at a time, Basa wanted to make use of the remaining 400-square-foot space by doing something she found meaningful. We met for an interview in which she says, “I just felt like I could bring more value to my life by creating a connection with the community. Studio work is notoriously isolating and so I wanted to not only start connecting with other artists, but also experiment because I feel like the whole language of gallery space is to keep people out and I started thinking about how this very building was designed to bring people in.” Read the rest of this entry »
Next time you’re on or near the UIC campus, stop into Gallery 400 and pick up a copy of ThingStead, PhD art history candidate Chris Reeves and MFA candidate Aaron Walker’s small-press print installation project in the lobby. The two took over the space, which is already bustling with daily foot traffic, and turned it into a checkout lane where patrons can peruse and “take-away” a copy of their latest publication. Each booklet is composed of “reimagined drafts and excerpts” from artists and writers on a specific topic, theme or work to create an amalgamation of ideas or “excursus,” as they like to call it.
“Legend and History,” by Columbus, Ohio-based artist, Ryland Wharton is released today, February 26. Reeves describes the book as “mystical concrete poetry,” as it is a reproduction of passages from M. Caron and S. Hutin’s “The Alchemists.”
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Alexander Calder, Andy Warhol and John Chamberlain are a few names from Ruth Horwich’s collection featured in the upcoming First Open sale of Post-War and Contemporary Art at Christie’s in New York on March 6, 2015.
Influential leaders and one of Chicago’s resident power couples, Ruth and her late husband Leonard impacted our region’s art scene not only with loaned and gifted artworks to many of our prominent local institutions—including the Museum of Contemporary Art (MCA) and the Smart Museum of Art—but also as two of MCA’s founders and champions for major public artworks such as Jean Dubuffet’s “Monument with Standing Beast” outside the Thompson Center. Leonard died in 1983, and given Ruth’s death in July 2014, twenty-four pieces from their collection will be offered for sale. An exhibition will precede the auction at Christie’s Rockefeller Center Galleries, from February 28 to March 3, 2015. Read the rest of this entry »
The Ed Paschke Art Center (EPAC), in collaboration with the Luminarts Cultural Foundation at the Union League Club of Chicago, recently announced the launch of an artist residency program, commencing with Erin M. Chlaghmo and John Metido, this year’s participants. Beginning in March and continuing through April 26, 2015, both artists will have access to studio space at the center, where they will produce and exhibit work in an open studio that invites visitors to observe their entire working processes, from conception to completion.
Community, a theme reflected in the residency program, is a critical attribute of both organizations. The Luminarts Cultural Foundation advocates art education and appreciation through competitions for young artists in the Chicago area; EPAC also emphasizes the community, reflecting Paschke’s legacy.
Ed Paschke (1939-2004), a Chicago born and educated artist, mentored artists throughout his lifetime. EPAC continues this tradition: it preserves and provides public access to Paschke’s work; functions as an educational source for people of all ages; and provides a means to exhibit art. Although EPAC aims to bring Paschke’s artwork to the public, the artist residency program underscores another aspect of EPAC: supporting local artists, like their first two residents.
Among the four wildly diverse approaches to representing the human body photographically on display here, Heather Dewey-Hagborg’s is the most inventive, although not the most meaningful. Dewey-Hagborg picks up cigarette butts and discarded chewing gum off the city sidewalks (depicted in her color shots), subjects the detritus to DNA analysis, runs the genetic profiles through a facial algorithm, and produces 3D resin portraits that presumably resemble the people who left the remains of their consumption for the scavenger-artist to appropriate (the droppings also grace her mini-installation). The three particular subjects whose faces look out at us from the gallery wall are all young, attractive and relentlessly clean, with an airbrushed appearance that belies the butts and gum from which they have been reconstructed. Read the rest of this entry »
Updating Barry Schwabsky’s 2012 label “retromodernism,” Colby Chamberlain coined the term “domestic modernism” to describe Margaret Lee’s recent installation of facsimiles depicting twentieth-century art and design icons. Noting that, “apparently Brancusi duplicates are trending,” Chamberlain compared Lee’s model of Brancusi’s “Endless Column” to another shown by Josephine Meckseper in 2013, highlighting their affinity in evoking department store displays. Now featured in the group show “MetaModern” at the Krannert Museum, William Cordova’s tribute to the Brancusi monument—a column of lampshades inverted in an alternating rhythm and lit from within—similarly evokes a retail aura. Iñigo Manglano-Ovalle also replicates a Brancusi phallus, but with a more aeronautical thrust; his nine-foot “Bird in Space” is fabricated from carbon fiber, Kevlar and steel, and seems ready to blow a Sputnik out of the sky. Read the rest of this entry »
Argentinian artist Jaime Davidovich moved to a New York teeming with ideas, conversations and possibilities during the 1960s and seventies, when it was gritty, dangerous and artists could afford a building in SoHo. Whereas Gordon Matta-Clark, Donald Judd and the Judson Dance Theater give the period its experimental flavor, Davidovich’s pioneering efforts in artist-run public television never received recognition like abstract video artists Stan Brackhage or Paul Sharits. Read the rest of this entry »
Between studio time, gallery shows and public projects, rising Chicago-based artist Hebru Brantley is quite the busy fellow. His latest project is in conjunction with the city’s brand new CTA Green Line Station at McCormick Place. Using transit investment funds and tax-increment-financing funds, the fifty-million-dollar new station will include the Motor Row entertainment district, a convention center and hotels, and showcases eight public art panels of Brantley’s work. Read the rest of this entry »
This joint exhibition of new works by recent SAIC graduates Alexandria Eregbu and Alfredo Salazar-Caro is a deft combination of divergent practices fused at a fertile point of departure. As the exhibition title implies, movement begot by conflict and political turmoil is the underlying theme of the work on hand and sets the stage for interpretation. Although each artist draws from their own backgrounds—Salazar-Caro addresses immigration and the United States-Mexico border while Eregbu seizes on a constellation of issues touching on the legacy of slavery, the rise of Boko Haram and stereotypes of African athleticism—the works appear contiguously in the gallery with a rhythmic harmony that unites the sculpture and video (and video game) therein. Visual continuities set side-by-side link Salazar-Caro’s “From Space There Are No Borders,” a vinyl printout of a satellite image of the United States-Mexico border hung from floor to ceiling, with Eregbu’s “Zion,” an oblong slab of drywall set upright against the street-facing window bank covered in a pattern of track shoe spikes. Together the formal beauty of the shiny, textured pattern of spikes and the colorful composition of digitally stitched satellite pictures belie the sinister implications of violence and exclusion folded carefully into these works. Read the rest of this entry »
By Matt Morris
Is art that appears to be “about art” ever only limited to that scope of investigation? I’d say it’s doubtful, mostly because mechanisms of power reproduce themselves throughout social institutions, so to reflect upon the constitutive components of an artistic medium (as well as its historical and contemporary contexts) possesses at least the potential of a transferrable method by which one might fashion new freedoms—not through a rebellion from upheld traditional forms but through critical relationships to them. The monochrome continues to do this. Distilled to an uninterrupted plane, color, texture, scale and the tools for applying material (all usually in some way present in most artworks) are amplified, inviting investigation into the parts that comprise the art. In the best of cases, consideration of the conditions of display is inspired as well. The monochrome as a form also holds up under projections: historically used for such diverse conceptual conceits as Suprematism, color field painting, the “radical painting group,” and most recently one of several working modes bizarrely attributed by Ken Johnson to “soccer mom” aesthetics. A century after Kazimir Malevich painted his canvas “Black Square” in 1915, artists continue figuring out how to take apart the language of art-making so that the parsed vocabulary can speak to the power of the entire system. Read the rest of this entry »