Still from Orr Menirom’s “Limited Speech Holds Endless Misunderstandings” 2013 single channel HD video 9 min 55 sec TRT
Orr Menirom’s first American solo show presents a rigorous and challenging work of video collage that begins with excerpts from a 2010 interview between Noam Chomsky and Dana Weiss, a television journalist for the Israeli Channel 2 media network. Having attempted to enter the Occupied Palestinian Territories to give a lecture at Birzeit University near Ramallah, Chomsky was turned away by Israeli border control officials and put on a plane to Amman, Jordan, where he sat for the interview with Weiss that is the material of Menirom’s digital manipulations. Read the rest of this entry »
Hyounsang Yoo. “The Celebration,” 2013
The Museum of Contemporary Photography (MoCP) has begun accepting submissions for the third iteration of the Snider Prize. Sponsored by MoCP patrons Lawrence K. and Maxine Snider, the Snider Prize is a purchase award given to emerging artists who are on the cusp of leaving graduate school and is open to MFA students who are currently in their final year of study at an accredited program in the US. One artist is awarded a sum of $2,000, the funds of which will be used toward purchasing pieces of work that will be supplemented to MoCP’s permanent collection. Additionally, two honorable mentions will receive $500 each. Submissions for the 2015 Snider Prize will be accepted from January 15 through April 1, 2015. Read the rest of this entry »
Alex Bradley Cohen and Marissa Neuman. “Living to Work Together,” installation view at Roman Susan
“Please take off your shoes” welcomes viewers as they enter Roman Susan to seek refuge from the barren cold. Playfully enhanced with black painted bubble letters and animated stick-like legs, the five words sprawl across the front wall of the gallery. Their placement is not only a polite request for compliance, but also an invitation to actively participate. Take off your shoes, as to not ruin the floor. Take off your shoes, so your feet may stand where ours have.
In Alex Bradley Cohen and Marissa Neurman’s collaborative room-sized installation piece, “Living to Work Together,” a mixture of primary colors and bold shapes have been stitched, painted, stapled and strung across all facades of the space, beginning with the floor. The carpeting has been transformed into a type of jigsaw puzzle composed of large triangular pieces of felt that have been first fitted and then visibly sewn together. The sharp shapes further reinforce the abnormal, angular floor plan of the gallery, as do a series of patterned ceramic pieces that politely form a line on a shelf that stretches diagonally in front of the gallery’s storefront window. In the window hang three large-scale felt tapestries that lack the calculated, flat appearance of the floor; instead their odd shapes and snippets of varying colors layer atop each other like unmixed paint on a canvas. Read the rest of this entry »
Installation view of Heather Green’s upcoming exhibition in Kruger Gallery Chicago’s new location
This Friday, January 16, Kruger Gallery Chicago (KGC) reopens in its new 1,300-square-foot space in Lakeview at 3709 North Southport with a solo exhibition of new work by Chicago-based artist Heather Green. Kruger was previously located in River North where, owner and director Mikelle Kruger explains, it has been dedicated to an avant-garde model that art can be a mediator for political and social change and showcasing emerging artists working with an array of design and media. After an initial six-month run in 2011 as a sort of pop-up gallery in the River North arts district, Kruger took three years off to focus on siting a more permanent home. Read the rest of this entry »
Nancy Klehm and Emmanuel Pratt. “For the Common Good: Meet the Remediators”
Social-practice photographer and activist Emmanuel Pratt fills the gallery’s north walls with splashes of vivid and exuberant color images, done in the humanist magazine and brochure style, depicting the efforts of the Mycellia Project to reclaim the urban wastelands of Chicago and transform them into gardens through the ministrations of the local community. The site for the research-activist group’s major project embraces the South Side’s Englewood, Washington Park, and Woodlawn neighborhoods, where some of the residents have turned contaminated and blasted ground into bounteous little farms. Read the rest of this entry »
Rendering of the Summer Pavilion at the new public space, courtesy of MAS Studio
The University of Chicago’s Arts + Public Life (APL) initiative’s call for proposals regarding the design and production of an assemblage of outdoor furniture for their new public space will soon be coming to a close on January 18, 2015. Particular that this will be not so much a park as a more open ended, multi-use site for the neighborhood, the new public space will be in the Washington Park neighborhood located at 265 East Garfield Boulevard. The structure, previously known as the Summer Pavilion located in Millennium Park, was secured by the University of Chicago’s (U of C) Office of Civic Engagement in 2014 by donation and according to the press release, is said to be a main feature of the new public space that is to make its debut in May 2015. The pavilion created by MAS Studio was initially envisioned to be used for installation work and was an outpost for the exhibition “Spontaneous Interventions: Design Actions for the Common Good.” Read the rest of this entry »
Mathias Poldena. “Substance,” 2014, 33mm color film with optical sound, 6:40 minutes
From a single pew, viewers absorb Mathias Poledna’s new, luscious projected 35mm film “Substance,” 6:40 minutes looped: abstract washes of gold, close-up shots of three rotating hands, a shiny, beveled dial, and the signature crown revealing the identity of a Rolex Oyster Perpetual. Finally shown in full, the desired timepiece floats away into a black void, with no semblance of place to distract from adoration. An enveloping percussive soundtrack heightens the film’s seduction. The familiar yet hard-to-place music recalls an intense action movie sequence or urban nightclub, its heavy beat lending a dogmatic tempo.
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Shio Kusaka. Installation of ceramic pots currently on view at Shane Campbell Gallery.
Japanese-born, American-trained ceramicist Shio Kusaka appears to be standing in both worlds. Formally, she’s one-hundred percent Japanese, making the cups and bowls of conventional Japanese pottery with a simple, gentle, flowing, balanced, slightly off-kilter, understated sense of design and craftsmanship. Every detail is rewarding—from the firm footing, through the delicate thin walls, up to the inviting, sharply drawn orifice. But conceptually, she’s a contemporary American artist, hunting for that mysterious, ever-alluring boundary between tiresome banality and unique revelation. Read the rest of this entry »
Hamza Walker at the Renaissance Society’s benefit gala in October 2014, courtesy of Fadeout Foto.
In December, the Hammer Museum in Los Angeles, California announced that the associate curator for The Renaissance Society, Hamza Walker, will co-curate the third iteration of Los Angeles’ biennial Made in L.A. (MILA) 2016 alongside Hammer curator Aram Moshayedi. Walker will be taking a leave of absence from The Ren starting February 1, for the two year focus he will be putting into MILA.
Walker was chosen to co-curate the next iteration of the Hammer’s ongoing exhibition series featuring artwork created in the Los Angeles area when the museum’s director Annie Philbin requested that Moshayedi make a wish list of potential curatorial partners. “The minute we saw [Walker’s] name,” says Philbin, “We knew he was the one. Hamza is a widely respected curator and we wanted someone from outside of L.A. this time—someone with a global view but also with a knowledge and understanding of what is going on in L.A. Hamza fit the bill and it seemed like a good moment for him to pursue something like this. Aram and Hamza will balance each other beautifully I think.” Read the rest of this entry »
Ryan M Pfeiffer and Rebecca Walz
Artists Ryan M Pfeiffer and Rebecca Walz’s focus falls emphatically on collaborative action. The duo draws simultaneously, sitting across from each other and working over the same sheet of paper, arranging a mélange of seductive archetypes from the visual history of the West. Their collaborative drawings register caprices and negotiations; marks intermingle and become impossible to assign to any single collaborator. Various mystical, religious and cultural icons coalesce in busy, textured cadres—woodcuts from volumes of Sade, archaeological records, Pietas and Venus idols, or Hans Bellmer’s fetishistic photographs. Their repurposed, blended imagery has all the tellings of an expert bibliography. The compositions are stages on which the duo’s investigations into alchemy, ancient art and eroticism are performed as drawing.
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