Bag of raw almonds for energy boost, false lashes stowed in my handbag for evening-wear eye-drama boost, press badge and a prayer for stamina: Expo Chicago’s press preview yesterday rolled directly into the Vernissage party that dispersed across town to a boat party, a disco dance and dishes of art world gossip: which gallery’s staff is jumping ship? who’s leaving their long-term gallery representation? who’s been exploring her ‘lesbian side’? who’s pregnant? and so on. Thursday’s kickoff to the fair was over-stimulating and today’s shaping up the same. I stopped for lunch and worked out some thoughts about patterns in the artworks exhibited, highlights and rare occasions for profundity for Expo visitors who are art lovers if not big-time collectors. Read the rest of this entry »
Marisol’s place in the public consciousness of fine art—if such a thing can be said to exist, somewhere between the Old Masters and Basquiat-obsessed rappers—seems mostly to be as a personification of good friend Andy Warhol’s hoary prophecy in regards to the approaching ubiquity, and short duration, of fame; the minuscule collecting of the two artist’s works at the MCA—just three apiece—instead seeks to explore the more reciprocal aspects of their relationship, even leaning a bit toward the sculptor’s side.
The fledgling influences of Pop art manifest themselves in Marisol’s sculptures in ways both esoteric—the use of primary colors; prolificness of found objects, although she avails herself to these for the context they can add to her works, oftentimes being private possessions of the subjects, rather than the abstraction driven by their presentation removed from their frames of reference—and blatantly, intimately obvious, most notably her portrait of Warhol himself, in the shape of a throne. Read the rest of this entry »
More often than not, public performance art is a confusion. The term itself is a necessary muddle, a combination of “public art,” which seems to imply an art for the uninitiated, in contrast to that “private art” that gets displayed at galleries and museums, and “performance art,” that vague category of art that could be reasonably stretched to include everything from Andy Warhol’s “Exploding Plastic Inevitable” to the street performance of a man painted silver and disguised as a statue—at which point the better label might be “outsider public performance art” or, alternatively, “busking.” Read the rest of this entry »
Painting still has the power to quicken my pulse—Sigmar Polke’s huge “Ashes to Ashes,” 1992, hanging at the entrance to an exhibition of contemporary painting from the MCA’s own and private collections is a good example. Curator Michael Darling organizes this small show of large paintings with the conceit of a phantom limb. Contemporary painting discourse swings back and forth, from distrusting the gestures, skill and quality of the painter’s hand to privileging readymade, often industrial images or marks. This exhibition conflates the two tendencies, summoning the “phantom limb” of the technologically extended artist who both paints and uses non-painting processes. Polke, for example, created his work out of polka-dotted and screen-printed consumer materials without any gestures whatsoever. In the same gallery space but on a completely different scale hangs one of the museum’s Warhols, the long narrow “Jackie Frieze,” set off to good advantage in this exhibition where we can admire how Warhol’s subject emerges from the mixture of screened images and paint. Jack Kennedy peers up and out of the layered mix of cultural information in the Rauschenberg beside it. Read the rest of this entry »
The polymath of Pop Art, Andy Warhol was big time into photography, along with everything else, pursuing it with his inveterate indefatigability through the late 1960s and early 1970s. Deploying a selection from a cache of images given to the DePaul Art Museum by the Warhol Foundation, curator Greg Harris shows us the artist-impresario’s studies of objects that he planned to paint, a sampling of thousands of snapshots intended to document his everyday life, and color Polaroid portraits. Unlike Malick Sidibe, across the seas in Mali, who turned his ordinary subjects into “stars,” Warhol was a celebrity shooting the social lions and lionesses who flocked to sit for him with a bit less of a glamorous sheen. Read the rest of this entry »
By Jason Foumberg
A pilgrimage to view all the Andy Warhol exhibitions around Chicago this summer will take you from tourist-laden Streeterville to tree-lined Hyde Park to the suburban flatlands of Glen Ellyn. There was no citywide master plan to the coordinated showing of Warhol’s works (unlike the recent thematic, “The Soviet Experience”), but the concurrence evidences the artist’s durable popularity. Warhol is a go-to name brand that bodes well for museums and sits well with the public. The three exhibitions, though, focus on his later work, from the mid-1970s through the 1980s, well after the Marilyns and soup cans. Unlike last year’s “Andy Warhol: The Last Decade,” presented by the Milwaukee Art Museum, which surveyed the artist’s uneven career in the 1980s, the current exhibitions do well to hone in on smaller bodies of specific work, such as his documentary street photography and the shadow paintings series. These boutique exhibitions refine Warhol’s over-prolific output to pointed theses, revealing that, although everything and anything could be the subject of a Warhol artwork, he is enjoyably digested in small doses rather than a glut of a retrospective. Read the rest of this entry »
By Jason Foumberg
The lecture, “What not to paint and how not to paint it,” was cancelled. Art critic Barry Schwabsky was there, present behind the microphone, but he wasn’t going to deliver this lecture, not tonight. Schwabsky, who writes from London for Artforum and The Nation, baited me into the audience with the frisky lecture title and then switched it at the last moment for something about painting and Plato’s cave, a philosophy that’s been tossed around since Greek antiquity and which lives happily, if safely, in today’s grad-school seminars. Schwabsky left his courage in London, and I left the lecture shortly thereafter.
I wasn’t planning to revisit Schwabsky’s non-lecture but his misfire stirred in my memory while I watched a crash landing into the rules of painting, this time on a primetime televised art critique, on “Work of Art”—just another failed attempt to marry the art world and television. On episode eight, guest judge Ryan McGinness and artist contestant Abdi went head to head. Abdi defended his painting by deferring to that old story about Plato’s cave, although he misattributed it to Socrates. A forgivable accident, to be sure. Not buying it, McGinness got his blazer in a bunch. Abdi was getting a pretty negative review from the judges, and then this happened:
“What things would you like to see in the work,” Abdi asked of his painting, fishing for positive feedback. Read the rest of this entry »
“Parallel Plot,” Matt Saunders’ solo show at the Renaissance Society, features photographic prints and rotoscoped animations by the Berlin-based American artist. Saunders’ process, making use of photography, collage and painting, starts with film stills, Mylar, ink and oil to create prepared negatives for the darkroom. These negatives are in turn used to produce original prints ranging from the very small to the very large. Trained as a painter at Yale, it is not surprising to see that Saunders’ work runs the gamut of painting’s genres: landscape, interiors and portraits are the focus of this artist’s portfolio, though pure abstraction is equally at home in the work presented here. Of particular interest are large-format contact prints made by taking original paintings, taping them down to large sheets of photographic paper, and exposing them to light in the darkroom, resulting in x-ray-like images that compress the painted image and its support into a single layer. Many of the works presented here are altered portraits of actors and actresses who have departed popular memory, appropriate for Saunders’ ghostly images. The subjects refer to the traditions of representational painting and cinema, like Warhol before him. However, Saunders is working toward the opposite end of the Warholian conceptual spectrum: away from endless reproducibility and toward uniqueness; away from the glamour of film and toward the obscurity of history. Beautifully installed and conceptually rich, this show surely warrants a visit. (David Emanuel)
Through April 11 at The Renaissance Society, University of Chicago, 5811 South Ellis, (773)702-8670
Luke Dowd’s show “Happy Happy Sad Sad” is almost as simple as its title, comprised of a number of screen prints that depict close-ups of cut diamonds, mostly patterned but sometimes randomly placed in the composition. Perhaps the most impressive quality of these prints is the way they appear to reflect light, in a trompe l’oeil that draws attention to the artificial nature of a mechanically enhanced diamond (or at least its market value). Most of the prints appropriate a single color or two along with the black-and-white figures, but the most interesting ones make use of several bright hues in both foreground and background, where their placement can be additionally evocative—for example, one print includes the magenta, yellow, and teal of newsprint’s colored ink, evoking mass reproduction. Reproduction and the construction of uniformity in natural and man-made objects is of course the major trope of the show, so that the iteration and repetition marking the compositions is clever. Read the rest of this entry »
A Chicago original, the self-described “French Impressionist” Lee Godie brought a breadth of personality to her work, subverting the art establishment with a passion and a lack of formal training. Since being discovered in front of the Art Institute in 1968, Godie, a vagrant, drew crowds with her innate ability to accentuate natural and fleeting beauty in an urban landscape. Crimson, maroon and azure birds accompany paintings of spiraling leaves on a wall at Intuit. A row of daisies repeats in the style of Andy Warhol against an alternating blue and red backdrop. Perfume vases fall on each other rather than stand in a row. A double self-portrait with wide eyes includes Chicago’s glowing street lights. Godie’s writings emphasize her unique personifications of nature: “Neath the tall spreading tree birds and squirrels drink there [sic] tea. Each one takes a dainty sup from a tiny a corn-cup [sic].” Photo-booth photography shows her wit, as Godie adds color to her lips and shows a range of accoutrements from frayed hair and paintbrushes to berets and scarves. The flare in her eyes and amused smirk is contagious, bringing viewers into Godie’s intriguing world whether she’s in her outdoor “studio” or fanning herself with five and twenty-dollar bills. (Ben Broeren)
Through January 3, 2009 at Intuit, 756 N. Milwaukee.