Reviews, profiles and news about art in Chicago

Review: Albert Oehlen/Corbett vs. Dempsey

Collage, Painting, Ukrainian Village/East Village No Comments »
Albert Oehlen. "Untitled (cow 4)," 2011 paper on canvas, 59" x 72 3/4"

Albert Oehlen. “Untitled (cow 4),” 2011
paper on canvas, 59″ x 72 3/4″


Cutting and collaging advertisements to fill the gallery with a herd of cattle—bright, cacophonous and just on the edge of perception—Oehlen’s new show at Corbett vs. Dempsey is called “Rawhide.” The cows-on-canvas (which seem intimidatingly large, though they’re almost all just shy of five feet by six) are rounded up for market, but Oehlen has confused the juxtaposed advertisements to the point of mere decoration, so they can’t sell us anything beyond themselves. True to “Rawhide,” the 1959-1966 TV series that saw cowboys lead a cattle drive to market, Oehlen is giving us cows neither here nor there: the bovines shimmer in and out of view, competing with the flashiness of billboards. The theme song incites us, like the collagist headed to market, to “Cut ’em out/ Ride ’em in.” Read the rest of this entry »

News: Final Days of Packer Schopf Gallery

Galleries & Museums, News etc., West Loop No Comments »
Brian Dettmer's current exhibition at a Packer Schopf Gallery, "Antisocial Media." Photo: Sean DiSantis

Brian Dettmer’s current exhibition at a Packer Schopf Gallery, “Antisocial Media.” Photo: Sean DiSantis

After almost nine years working together at Packer Schopf Gallery (PSG), Aron Packer and William Schopf will be dissolving their business partnership as of July 15. Their current exhibition featuring work by Brian Dettmer and Mary Porterfield will be their final project organized together as well as their last show in the West Loop gallery. Read the rest of this entry »

Review: David Hartt: Interval/Art Institute of Chicago

Installation, Loop, Michigan Avenue, Multimedia, Photography, Video No Comments »
David Hartt. "Interval V," 2014

David Hartt. “Interval V,” 2014


David Hartt’s “Interval” is a visually stunning multimedia installation of photography, video, sculpture and sound that approximates distances—physical, temporal, historical and sonic—to examine uneven development among geographic and economic peripheries and the global forces that centralize capital accumulation. Set to a haunting score and evocatively documented in high-definition video and large-format photographs, Hartt’s camera records everyday moments in Sakhalin Island—a historically contested territory between mainland Russia and Japan—and the city of Whitehorse, the frontier capital of the Yukon Territory in Canada. With an ambivalent stillness that is neither voyeuristic nor detached, the videos and photographs portray these places as simultaneously restless and static as they are caught between an unhappy present and an uncertain future. Read the rest of this entry »

Review: S, M, L, XL/Museum of Contemporary Art

Gold Coast/Old Town, Michigan Avenue No Comments »
Robert Morris. "Untitled (Passageway)," 1961 Photo Courtesy Castelli Gallery, New York

Robert Morris. “Untitled (Passageway),” 1961 Photo Courtesy Castelli Gallery, New York


Robert Morris’ sculpture “Untitled (Passageway),” of the MCA’s “S, M, L, XL,” is the epitome of what said exhibition explores: the corporeal relationship between observer and object. In its throttling of the viewer, its fearsome auguring in to compaction, “Passageway” puts the precedence not only on proximity to the audience, but their trepidation and/or courage. It is a self-contained hallway, a sculpture-cum-scorpion tail lit by the custard glow of naked bulbs; as one walks along the ecru curve, the walls quietly come together, their malevolence obfuscated by the gentle approach of the constriction, creeping forward, forcing an awkward step, a hesitation, a turning of the shoulder blades, a looming threat to the chest, until finally it becomes too much and one must turn around—fuck! too tight! slide back warily, as if an injured animal!—with the full intention of tearing through whatever callous museum goer may be blocking freedom as the drowning do the surface of the sea, fast and urgent with the dread animal exegesis to breathe … Read the rest of this entry »

Review: Charles Ray: Sculpture 1997-2014/Art Institute of Chicago

Loop, Michigan Avenue, Sculpture No Comments »
Charles Ray. "Huck and Jim," 2014.  Installation view at the Art Institute of Chicago.

Charles Ray. “Huck and Jim,” 2014.
Installation view at the Art Institute of Chicago.


Charles Ray’s figurative sculptures sparsely populate the second floor of the Modern Wing in this major midcareer retrospective. Walls were removed to give the nineteen works plenty of breathing room. The pieces, cast in white and silver materials, create a cool, calming effect. Combined with the hushed atmosphere, examining the work feels like sneaking up on someone, as in “Sleeping Woman,” where a stainless-steel rendering of a homeless woman naps on a public bench. Read the rest of this entry »

Eye Exam: Remembering Ruth and Her Revolutionary Art Worlds

Collage, Drawings, Loop, Painting, River North, Sculpture No Comments »
Don Baum. "Untitled Silhouette/Cut Out Portrait of Ruth Horwich," ca. 1980, paint by number painting and other mixed media, 18" x 14.5" x 11" On view at Carl Hammer Gallery

Don Baum. “Untitled Silhouette/Cut Out Portrait of Ruth Horwich,” ca. 1980,
paint by number painting and other mixed media,
18″ x 14.5″ x 11″
On view at Carl Hammer Gallery

By Michael Weinstein

There is a tinge and twinge of sadness attending the viewing of the three concurrent exhibits showcasing the fabled collection of artworks amassed by Ruth Horwich and her husband Leonard over the last half century.

One cannot escape the sense that an era has ended. The Horwich collection is being broken up and cast to the four winds in the aftermath of Ruth Horwich’s death in July, 2014 at the age of ninety-four, preceded by Leonard’s passing in 1983. Her estate seeks to monetize the art. The choice pieces, from the viewpoint of marketability, by Alexander Calder and Andy Warhol, for example, have already been handled by Christie’s. Now we have an opportunity to see the rest of the collection, the non-Western indigenous artifacts at Douglas Dawson Gallery, and the works of the Chicago artists from the second half of the twentieth century—the backbone of the collection—at Carl Hammer Gallery and Russell Bowman Art Advisory. Read the rest of this entry »

News: Visual Art Projects Now Open Along the 606

Humboldt Park, Logan Square, News etc., Performance, Public Art, Wicker Park/Bucktown No Comments »
A stampede of horses by Opera-Matic charge the 606 path on opening day

A stampede of horses by Opera-Matic charge the 606 path on opening day

“People were very curious, and they wanted to know what it meant…,” said Rob Lentz, executive director of Project Onward and liaison for artist Louis DeMarco, in an interview with Newcity about the public response to the temporary installation of “Cloud Chart” along the newly opened 606 trail, the 2.8-mile elevated parkway connecting four northwestern Chicago neighborhoods. DeMarco’s artworks are among the new installations that will be on view through June 2016. Read the rest of this entry »

Review: New American Paintings: Midwest Edition/Elmhurst Art Museum

Painting, Suburban No Comments »
Rachel Hellmann. "Window to Lean on," 2014 acrylic polymer on panel, 17" x 14" x 3"

Rachel Hellmann. “Window to Lean on,” 2014
acrylic polymer on panel, 17″ x 14″ x 3″


Like any number of shows that offer viewers a representative slice of trends in contemporary art, “New American Paintings: Midwest Edition” at the Elmhurst Art Museum strikes a conciliatory balance between abstraction, representation and their respective hybrids while including a few “genre challenging” works that are fun, but categorically not painting. The effect is a show that, while occasionally meandering for lack of focus, has a little something for everyone. Read the rest of this entry »

Review: Jillian Mayer/Aspect/Ratio

Digital Art, Multimedia, Photography, Video, West Loop No Comments »
Jillian mayer. Still from "Touchers," 2015  single channel video, 5:39 minutes, unique installation, dimensions variable

Jillian Mayer. Still from “Touchers,” 2015
single channel video, 5:39 minutes, unique installation, dimensions variable


“Touchers” at Aspect/Ratio and Jillian Mayer’s first solo exhibition in Chicago, highlights the loneliness of seeking affection through a cold screen, the impossibility of human touch across monitors. The artist herself is present in each piece, her hands seen within photosensitive prints on plexiglass and fabric in the front of the gallery, while her image and words exist within the central piece, a video installation in the darkened back room. Read the rest of this entry »

Portrait of the Artist: Nancy Lu Rosenheim

Hyde Park, Installation, Painting, Rogers Park, Sculpture No Comments »
Nancy Lu Rosenheim in her installation "Swallow City" at the Hyde Park Art Center. Photo by Paul R. Solomon

Nancy Lu Rosenheim in her installation “Swallow City” at the Hyde Park Art Center/Photo: Paul R. Solomon

After welcoming me into her spacious Rogers Park apartment with a warm handshake and shot of espresso, Nancy Lu Rosenheim guides me through a long hallway into her sunny front room studio and toward two stools at a high-topped table. A tall and fully stocked shelving unit rises behind us, brimming with well-worn brushes, tools and paint jars of all sizes. In the corner of the room, a large sculpture sways gently from a hook in the ceiling—made from Polystyrene and splattered boldly with vivid colors, it’s obvious the piece was created in conjunction with “Swallow City,” Rosenheim’s current exhibition at Hyde Park Art Center. Read the rest of this entry »