Reviews, profiles and news about art in Chicago

Review: Daniel Giles and Eliza Myrie/Roots & Culture

Ceramics, Drawings, Installation, Performance, Video, Wicker Park/Bucktown No Comments »
Eliza Myrie. "diamond, diamond, graphite," graphite and paper, dimensions variable

Eliza Myrie. “diamond, diamond, graphite,” graphite and paper, dimensions variable

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In “go/figure,” Eliza Myrie and Daniel Giles converse over problems with abstraction, distortion and obfuscation of black bodies’ representations. Their respective historical research and process-based practices make manifest obscured features in histories of African mining and the craft objects of black slaves in the American South. Read the rest of this entry »

Expo Dispatches: Sarah Charlesworth and Conceptual Photography Discussed at Art Institute

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Sarah Charlesworth. "Unidentified Man, Ontani Hotel," Los Angeles, 1980, printed 2012, No. 14 of 14 from the series Stills.

Sarah Charlesworth. “Unidentified Man, Ontani Hotel,” Los Angeles, 1980, printed 2012, No. 14 of 14 from the series Stills.

Programming across the city set to coincide with Expo Chicago began on Wednesday with rooftop parties, previews and lectures. Speaking to a near-capacity crowd at the Art Institute of Chicago’s stately Fullerton Hall, artists Liz Deschenes, Laurie Simmons and Sara VanDerBeek were joined by activist Kate Linker Wednesday evening for a wide-ranging discussion of the life and work of the late photographer Sarah Charlesworth in conjunction with the opening of “Stills,” the artist’s first solo museum show in fifteen years. Read the rest of this entry »

Eye Exam: What’s the Future of Museums?

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billboards in the Art Everywhere campaign

Billboards in the Art Everywhere campaign

By Abraham Ritchie

Art museums need people to visit them, but people don’t necessarily need to visit art museums. Museums don’t sell groceries or gas, and they don’t offer all-day childcare, so one really needs never to set foot in a museum. Indeed, many people don’t. When public funding for culture is dwindling from the little there was, the future of art museums is increasingly dependent on an argument that museums need to make: why people should visit them. I have a personal and professional stake in this question since I work in the communications department at the Museum of Contemporary Art.

Having famous paintings in your collection helps, but even that may not be enough anymore. You can remind yourself of this fact if you drive north on Interstate 94. At some point during the trip the stream of billboards passing you on the right will be punctuated with one bearing a large image of the lonely diners in Edward Hopper’s painting “Nighthawks.” Next to the famous scene is “#ArtEverywhereUS,” marking it as part of the multi-museum effort to ostensibly bring works of art into public spaces (through billboards and the like), while less altruistically serving as a massive awareness campaign for museums in general. Though Art Everywhere uses both well-known images like Hopper’s and lesser-known works, by displacing the rarified into the common the campaign also executes exact the inverse of its message: art may be everywhere, but as you pass by at sixty miles per hour you’re acutely aware that it’s not really what you’re looking at on a billboard—you’d have to travel to a museum for that. Read the rest of this entry »

News: Art Institute Begins Publishing Online Digital Catalogues

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views of hidden labels, reverse sides and photomicrograph cross sections are included in the Monet and Renoir catalogues

Views of hidden labels, reverse sides and photomicrograph cross sections are included in the Monet and Renoir catalogues

Last week, the Art Institute of Chicago published the first two of their online scholarly catalogues. Monet: Paintings and Drawings at the Art Institute of Chicago and Renoir: Paintings and Drawings at the Art Institute of Chicago are densely informative, interactive, close studies of the works of the two Impressionists held in the Institute’s permanent collection. Over the past couple of days, I’ve explored the catalogues; certainly the powerfully detailed zoom options allow viewers to observe details at a closeness that would not be available standing before the paintings in the museum, as well as details of how canvases are stretched, views of their reverse sides and photomicrographs that cross section the paintings’ grounds to see exactly how gesso and paint sit on the surface of the weave of the canvas. Entries on each of the two painters’ work in the collection are accompanied by in-depth curatorial essays, as well as technical reports (very compelling stuff not only for conservationists but artists and others interested in exacting accounts of how an artwork was made) as well as exhaustive accounts of provenance and exhibition history. That such detailed information about even one work is now freely available to the public is astonishing, but collected in the two books are forty-seven works by Monet and twenty-five by Renoir—a massive amount of information about some of the most precious holdings in the Institute’s collection.

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News: Major Arts Supporter Ruth Horwich Has Passed Away

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ruth horwich

Ruth Horwich died on Monday, July 21, at ninety-four years old. She and her late husband Leonard were renowned art collectors and supporters of numerous Chicago art institutions. Since the 1950s, they collected work by Chicago Imagists, European Surrealists, and the works of many unknown, young, self-taught and folk artists. Their collection also includes many notable examples of work by the artists Alexander Calder, Roberto Matta and Jean Dubuffet. In fact, Dubuffet’s “Monument with the Standing Beast,” a large public sculpture that stands outside the Thompson Center was a partial gift of their Leonard J. Horwich Foundation. Ruth Horwich was one of the Museum of Contemporary Art’s founders in 1967, and has been a trustee of the museum since 1984. Their collection of Calder mobiles and stabiles are part of the Leonard and Ruth Horwich Family Loan to the MCA, and happen to be on view currently in “MCA DNA: Alexander Calder” through May 2015. MCA curator Lynne Warren wrote to Newcity with a thoughtful tribute, saying, “She was so generous to MCA; she donated pieces by Roger Brown, Barbara Rossi, Kerig Pope, Frank Piatek, Konstantin Milonadis, Anne Wilson, H.C. Westermann and others, and would be the first to step up to match grants (back in the days when governmental agencies gave purchase grants!) to acquire Chicago-based artists that she didn’t necessarily collect, including Jim Lutes, Frances Whitehead and Laurie Palmer.” (Read Warren’s full tribute below.) In total, the Horwich’s have added twenty-nine pieces to the MCA’s collection, among them Calder’s 1949 “Four Boomerangs,” Marisol’s 1962 “Jazz Wall” and the 1963 H.C. Westermann “Rosebud.” Read the rest of this entry »

Review: Ethel Stein/Art Institute of Chicago

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Ethel Stein. "No to Indian Point," 1997

Ethel Stein. “No to Indian Point,” 1997

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With her mastery of craftsmanship and design, Ethel Stein, born 1917, might now be the master weaver at the Bauhaus had it endured as long she has. This retrospective, spanning 1982 through 2008, suggests that her primary concern in those years was the pictorial potential of work produced on an old-fashioned drawloom, photographs of which are prominently displayed beside her work. Responding to personal, community and art world concerns, she did things with a loom that have more often been done with brush, paint and canvas. Read the rest of this entry »

Review: René Magritte/Art Institute of Chicago

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René Magritte. "Clairvoyance (La Clairvoyance)," oil on canvas, 1936

René Magritte. “Clairvoyance (La Clairvoyance),” oil on canvas, 1936

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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.

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News: Key Early Imagist Painting by Gladys Nilsson Enters Art Institute of Chicago Collection

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Gladys Nilsson. "The Trogens," acrylic on Plexiglas, 1967

Gladys Nilsson. “The Trogens,” acrylic on Plexiglas, 1967

The Art Institute of Chicago’s recently acquired painting “The Trogens” by Imagist Gladys Nilsson has been put on view in the museum’s Modern Wing. While Nilsson has been previously represented in the Institute’s permanent collection with thirteen prints and six other works on paper, this 1967 acrylic painting on Plexiglas is a key addition not only for its use of painting on the reverse side of the acrylic sheet—an oft-employed painting method among the Imagists—but also for its inclusion in one of the founding “Hairy Who?” exhibitions at the Hyde Park Art Center, where Nilsson and her husband Jim Nutt had been teaching art classes. The work was a gift to the museum last year from the artist herself in memory of Whitney Halstead, an art historian who helped promote the Hairy Who artists.

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News: Art Historians Get Hands-on Art Experience with Mellon Foundation Grant

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Art history graduate students from the University of Chicago and Northwestern University watch closely as the Art Institute’s Assistant Paintings Conservator Kelly Keegan (second from right) and Andrew W. Mellon Senior Conservation Scientist Francesca Casadio (far right) reveal fascinating details from Francescuccio Ghissi’s “The Crucifixion” (c. 1370) tempera on panel. Photo courtesy of Art Institute of Chicago.

Art history graduate students from the University of Chicago and Northwestern University watch closely as the Art Institute’s assistant paintings conservator Kelly Keegan (second from right) and Andrew W. Mellon Senior Conservation Scientist Francesca Casadio (far right) reveal fascinating details from Francescuccio Ghissi’s “The Crucifixion” (c. 1370) tempera on panel./Photo courtesy of Art Institute of Chicago.

The Art Institute of Chicago, Northwestern University and the University of Chicago are the joint recipients of three grants awarded by the Andrew W. Mellon Foundation to launch a four-year, inter-institutional pilot effort called the Andrew W. Mellon Foundation Chicago Objects Study Initiative (COSI). The awards totaling $1,299,404 will fund developments of new training for art history graduate candidates, biannual conferences and an annual colloquium, three Mellon Research Fellows and a curatorial intern at the Art Institute, as well as the creation of a new museum position, the Mellon Academic Curator. A search for the curatorial appointment is beginning, with hopes of having it filled by August 1.

All of these efforts represent a shift to broaden the discipline of art history to include hands-on research of art objects, as well as training in curatorial practices and approaches to conservation. Read the rest of this entry »

Eye Exam: Chicago Art News

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Tony Lewis, "Ron," graphite on paper, 2012

Tony Lewis, “Ron,” graphite on paper, 2012

By Jason Foumberg

Art market blow-up

Chicago-based emerging artist Tony Lewis had his work debut in a Sotheby’s New York auction on May 15, and sold a large-scale drawing for seven times the pre-sale estimate. “Ron,” from 2012, was listed at $8,000-$12,000, but nine bidders fought until the artwork sold for $93,750. Unfortunately, neither the artist nor his local gallerist, Shane Campbell, will profit directly from this sale because “Ron” was sold on the secondary market by its previous owner, private collector Adam Sender.

How did such a young artist make such a big mark in a playing field that is usually reserved for dead painters and Jeff Koons? Sotheby’s Midwest senior vice president Gary Metzner said that Lewis’ “stars aligned,” as he was in the 2014 Whitney Biennial, shows at a popular gallery and was in a well-known art collection—even if its owner flipped the work potentially too fast. “We put the work at a conservative level because we were testing the market,” Metzner says of Lewis’ auction debut. “A lot of people are looking for the next hot artist,” he said. “Hopefully Tony is inspired by the interest in his work.” Metzner could not say who purchased Lewis’ artwork from the auction. “Ron” is titled after artist Ron Ewert. Read the rest of this entry »