The West Town gallery Johalla Projects returns to the Pitchfork Music Festival, held in Union Park, this weekend to present “Geometric Village,” an installation by Heather Gabel and Chad Kouri. Two A-frame architectural structures fifteen feet tall and nine feet wide are joined by an additional set of smaller chairs or stools scattered around these forms. The two triangular structures will house smaller works by the two artists that will be available for sale. Gabel will have packs of postcards available for $15 and Kouri will exhibit a set of prints he created with Tan & Loose Press which are available for $15 each. This installation will be accessible to festival attendees; tickets are currently $60 a day, or $110-$130 for a three-day pass. Read the rest of this entry »
By Matt Morris
It’s often said around town that Chicago has two seasons: winter and construction. The architectural epicenter where we reside explodes into transformation in the warm months, as buildings, roads and public spaces undergo restructuring. A few exhibitions on view right now conspire to reflect this construction condition by taking built environments and our habitation of them as points of departure. The artworks’ proximity to source materials is a useful measurement in distinguishing where a quirky meta-criticality is achieved, and where sometimes the experience at hand is burdened by its references. Read the rest of this entry »
A vexatious cloud hangs low over Matthew Girson’s new exhibition “The Painter’s Other Library.” Depicting endless shelves of meticulously placed books, the artist’s many compositions are executed in a brooding, almost impenetrable palette. At first blush, they read simply as black. As the eyes adjust to the paintings’ hushed tones, book after book, arranged to echo the precision and symmetry of modernist geometric abstraction, slowly emerge from the oleaginous mire. The beguiling tension within these works is heightened by the stark white walls and cathedral-like atmosphere of the Chicago Cultural Center. Read the rest of this entry »
Last month, writer and artist Stephanie Cristello was appointed as one of the senior editors for ArtSlant. In this new role, she will be overseeing coverage not only in Chicago, but also Toronto (Cristello’s hometown) and Santa Fe. This appointment follows her taking on the role of editor-in-chief for THE SEEN, the blog for EXPO Chicago, last October, where she will continue as well. Cristello graduated from the School of the Art Institute of Chicago with her BFA in 2013. Much of her art-making involves text and shares the lithe, curious approach in her writing.
Looking forward to her new position at ArtSlant, Cristello described by email the interesting ways that their art coverage encourages drawing connections between projects happening throughout the world. “ArtSlant has this way of inadvertently forcing coincidence; it is the perfect environment for happenstances to occur on a more international scale. I am definitely interested in this idea of expanded connectivity,” she writes. Read the rest of this entry »
The Centre Pompidou’s Kandinsky collection, currently in Milwaukee, offers a rare opportunity to see work that both precedes and follows the painter’s Blaue Reiter period (1911-1914) that is so well represented at the Art Institute of Chicago. But limited as it is to pieces that the Kandinsky family could not or would not sell, it’s not the kind of retrospective that assembles the best art.
Nevertheless, the quality of his early landscapes is surprising. Kandinsky was sensitive to the textures of paint and his colors were already well tuned. Even when painting a nearly monochrome stretch of sandy beach, his sharp drawing makes the scene snap with excitement.
His Blaue Reiter pieces in this collection, the “Improvisations” of 1909 and 1911, are overwhelmed by the raw excitement of Franz Marc’s “Large Blue Horses,” from 1911, hanging beside them. But if this show had drawn from other collections, Kandinsky’s four ecstatic Campbell panels from MOMA, for example, would have reversed the comparison. Read the rest of this entry »
Applications became available on July 11 for the Chicago Cultural Center’s Studio Artist and Curatorial Residency Program. It is the first program of its kind administered by the city. Six artists will be given a studio for the three-month residencies in the Cultural Center and a $2,000 per month, restriction-free stipend. Applications are due July 31. Emerging curators selected for the fellowship will work with DCASE staff to produce exhibitions in the Cultural Center. “It’s very much an experiment and a new program for us,” says Daniel Schulman, director of visual art, when reached for comment by phone. “There are a few goals with the program,” says Schulman. “It’s a way of bringing artists to us, it increases our interaction with artists, and it allows the Cultural Center to be more of an active hub.”
A girl devours a bird; feet morph into shoes; a nude female torso reads as a face. “René Magritte: The Mystery of the Ordinary, 1926-1938,” the Art Institute of Chicago’s summer blockbuster, showcases the most important period of the Surrealist who precisely painted a new and disturbing reality. The exhibition is a collaboration between Houston’s Menil Collection, MoMA and the AIC.
It has a narrow focus—just a dozen years—when Magritte painted his “breakthrough” images. (The floating bowler-hatted men with umbrellas were later.) But many of his most famous pictures are here: ones that defined Surrealism and modern art, such as “The Treachery of Images” (“Ceci n’est-pas une pipe”) and “The Lovers” (a kissing couple with shrouded heads). Even though Magritte’s paintings operate as illustrations—he was a professional illustrator, after all—this show restores their status as paintings rather than as posters or jpegs. The works’ scale may surprise, as will the immaculate strokes and the saturated colors.
“MIDDLE DOUBLE,” a site-specific exhibition by up-and-coming New York-based artist Gordon Hall, is on display at Night Club, a relatively new apartment gallery in Bucktown. Hall, whose work covers a lot of ground including sculpture, writing and performance, is deeply concerned with platforms and the range of corporeal possibilities that objects and spaces have to offer. Having spent two weeks working on the show in the “gallery space”—a small yet well-lit repurposed bedroom—they present a set of understated sculptures and architectural interventions that function to subtly change our perception of its interiors.
Joan of Arc. Who was Joan of Arc, the teenage Christian visionary who led armies against the English invaders of France in the fifteenth century, and was killed by them at the age of nineteen in 1431? There are no images of her from the time she lived, but there are statues and figurines representing her made over the succeeding centuries. In a photographic quest driven by a sense of connection to the remarkable heroine, Susan Aurinko has sought out those objects and shot them as portraits, each one expressing a different mood, but all of them unified by what Tammy Kohl, who has enriched the exhibit by her jewelry referencing Joan’s time, calls “strength.” Read the rest of this entry »
Luftwerk, the collaborative endeavor of Petra Bachmaier and Sean Gallero, typically uses sound, light and projection to trick the eye and imbue the senses with soft and welcomed confusion. For “Into and Out of,” their exhibition at The Franklin, the two artists installed work that retreated from their usual repertoire of projection-based trickery, instead augmenting the outdoor gallery’s architecture. Intended to complicate the perception of perspectival space, a dozen Mylar-coated panels are installed both inside and outside the Franklin’s lattice-like structure. Those inside are connected to the ceiling with the ability to subtly sway, while the companion works along the exterior are secured firmly to the ground, transfixed.