Katie Pennachio and Matt Mancini. “Feel Flows,” installation view. Fernwey Gallery.
Consider two moments: the meme-deluged aftermath of Drake’s James Turrell inspired “Hotline Bling” video and the so-called “Renoir Sucks at Painting” movement, a facetious rally for collective action against the perceived aesthetic tyranny of the Impressionist painter. Read the rest of this entry »
Chris Bradley and Alex Chitty. Installation view at Shane Campbell Gallery-Lincoln Park, 2015. /Photo: Evan Jenkins
Alex Chitty once said in an interview that she arranges found objects in her work so “they seem to have always belonged together.” On display in Shane Campbell Gallery’s domestic project space, her sculptures look very much at home. Read the rest of this entry »
Cecilia Vicuña. “The Origin of Weaving,” 2015. Mixed Media. /Photo: Jason Branscum
Poetry demands to be read aloud, to be experienced as a multi-sensory form. Read the rest of this entry »
Václav Zykmund. “Untitled, Woman with dangling hair,” probably 1944. Gelatin silver print, vintage impression. Smart Museum of Art, The University of Chicago.
Over forty photographs from the Smart’s own collection prove that a small exhibition can be a unique and wide-ranging survey. This show, related to the larger exhibition of Expressionism on display in other galleries, represents what is increasingly becoming known as a golden age of modernist European photography. Read the rest of this entry »
John Knight, “Plate #28,” from “Museotypes” series, 1983.
To mark the Renaissance Society’s centennial, the Art Institute installed John Knight’s “Museotypes,” a series of sixty commemorative plates ostensibly honoring the museum. Hung in three stacked rows of twenty each, each gold-rimmed bone-china plate (the hue is just warmer than gallery white) sports the silhouetted footprint of a high-caliber museum in black glaze. Altogether, the abstract similarity shared by the graphics condenses art-housing architecture into minimalist logos that are less salable than museum facades, but no worse at making an icon of an institution. Read the rest of this entry »
Nadav Kander. “Fengine III (Monument to Progress and Prosperity), Chongqing Municipality,” 2007.
Frank Gehry said that “architecture should speak of its time and place, but yearn for timelessness.” Read the rest of this entry »
Craft Work, Design, Digital Art, Drawings, Galleries & Museums, Installation, Media & Genres, Multimedia, Painting, Sculpture, Streeterville
Kerstin Brätsch. “[PELE’S CURSE],” Installation view, Arts Club of Chicago/Photo: Michael Tropea
In order to understand what Kerstin Brätsch and her collaborators are up to it is useful to think about another group of Germans from a hundred years ago. The artists of the Blue Rider (Kandinsky, Münter and Marc) painted on glass, canvas and paper. They sought inspiration in naïve, folk and children’s art. Read the rest of this entry »
Yvette Weijergang. “Fish in a Pond.” Acrylic on canvas. 20 x 24 inches.
This exhibition of paintings spans the country and includes a variety of decorative application. As its title suggests, nature has been transformed rather than interrogated, mimicked or passionately expressed. Read the rest of this entry »
Gertrude Abercrombie (1909-1977). “Black Hat.” Oil on canvas, 20 x 24 inches.
The further we get from twentieth-century America, the more bizarre its normalized gender identities now appear to us. Read the rest of this entry »
Activist Art, Architecture, Design, Drawings, Galleries & Museums, Installation, Media & Genres, Multimedia, Performance, Photography, Public Art, Sculpture, South Loop, Video
Emmanuel Pratt in collaboration with Sweet Water Foundation. “Ecology of Absence?” Furniture, shelving and American flag made from reclaimed wooden pallets/Photo: Rob Karlic
The Glass Curtain Gallery is a fitting venue for an exhibition about vacancy and regeneration. Its South Loop neighborhood is on the verge of a residential boom, while the nearby West Loop has been transitioning from a meatpacking district to a trendy area to live and dine.
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