Winter can be a dreary month, with all its slushy snow, bitter cold, and flamboyantly merry couples. So if the skating rink in Millennium Park is causing your seasonal affective disorder to spike you and the various coffee shops around the city are filled to capacity, why not warm those frozen paws by taking advantage of the free admission days at our splendid museums? Here is a compilation of free museum days at twenty-one art, cultural and history museums to keep your brain active, eyes mesmerized, and your seasonal affective disorder at bay. (Mahjabeen Syed) Read the rest of this entry »
James Ensor’s six-foot-tall drawing “The Temptation of Saint Anthony,” 1887, is the exhibition’s thematic and physical centerpiece, set like an altarpiece at the end of a dark, chapel-like corridor. It’s a dense tangle of scary figures and texts, and a teeming universe of references to the artist’s life. The Art Institute wisely bought it in 2006; it hasn’t been shown in sixty years. Composed of fifty-one separate sheets mounted on canvas, it’s a conservation triumph. Stylistically, it’s a cross between Northern Renaissance art and the cramped doodles of underground comics. Indeed, Ensor’s drawing-based art was expressed in almost every two-dimensional media, including the then-new manufactured color pencils. Read the rest of this entry »
On December 12, the Art Institute of Chicago (AIC) announced the seventeen schools that will be participating in TEAM: Thinking Experiences in the Art Museum, an educational collaboration between the museum and Chicago Public Schools (CPS) that will run from 2014 through 2016. The program is designed to empower CPS fourth and fifth grade teachers and their students to not only use critical and creative thinking skills but also to further develop them with the observation of artwork in both the classroom and the museum.
During this two-year program, a group of twenty-five teachers from the selected seventeen schools will participate in a total of ninety hours of professional development at AIC. The first year is primarily dedicated to educating the teachers about thinking skills and how to use them as well as how to transfer that knowledge onto their students when returning to the classroom. During this time, museum educators visit the TEAM classrooms numerous times, working directly with the fourth and fifth graders after which the teachers receive follow-up emails with tips and thoughts on how they can translate the approaches used when studying the artwork to core subjects like language arts, math, science and social studies. Each class will also visit the museum twice per school year for TEAM tours led by specially trained Art Institute docents who use genuine pieces of art to reinforce the thinking skills previously used in the classrooms. Read the rest of this entry »
Lucy McKenzie’s largest American exhibition to date unravels like a postmodern mystery novel. The show begins outside of the gallery, where the artist has taken advantage of the floor-to-ceiling glass walls facing the Griffin Courtyard of the Modern Wing to construct a window display befitting State Street’s finest stores. A female mannequin in a gymnast suit sits on a glass-topped steel table as mechanized signs whir whimsically beneath a hand-painted title bearing the artist’s signature as if it were a venerable house of fashion. Once inside, the focus becomes painting, though one recalls that Warhol and Rauschenberg dressed department-store windows too. Four floor-to-ceiling panels display massive Tiffany-esque motifs of glowing skies and turbulent clouds drifting behind screens of leafy branches. The pictures within each are oddly cropped to describe the contours of the walls and ceiling of a fictional bar in an imaginary film in which these panels would hang as trompe l’oeil scenery. Indeed, McKenzie has trained in antiquated techniques of decorative painting, which include hyper-realistic depictions of landscape and still life meant to fool the eye in to perceiving representation as reality.
The dynamic urban landscapes of America’s three largest cities constitute the focus of “The City Lost and Found: Capturing New York, Chicago, and Los Angeles, 1960-1980,” a joint venture of the Art Institute of Chicago’s Architecture and Design and Photography departments and the Princeton University Art Museum. The exhibition examines two decades of significant political, social and economic upheaval during which each of these cities emerged as barometers of major shifts in public consciousness subsequent to the suburban flight of the 1950s and before the economic boom of the 1980s. History and its discontents dominate the exhibition, but the show gives voice to a broad range of actors through an electric and all-inclusive range of makers and visual materials. Read the rest of this entry »
The Art Institute of Chicago has embarked on a nine-month celebration titled “Photography Is_________,” commemorating the department of photography’s establishment in 1974. Sarah Charlesworth, who figured among the Pictures Generation of artists, appropriated photos from newspapers that documented people falling from tall buildings. The resulting images meld photojournalistic and fine art photography techniques, creating conceptual documentations of a moment laced with kinetic energy. Measuring over six feet tall, these compositions show mortality tinged with an intense sense of freedom. These are people jumping or falling to their deaths, some showing momentum and violence, while others look serene as these active moments transform into portraits. Read the rest of this entry »
The story of Renaissance painting begins with innovations in naturalism that were a welcome liberation from the schematic strictures of the Byzantine style. Or at least, that’s how the leading art historians of the last century, like Ernst Gombrich, told it. Perhaps that’s why this is the first special exhibition devoted exclusively to Byzantine art at the Art Institute of Chicago in 124 years. But as this exhibition proves, the best Byzantine figurative art in painting, sculpture and mosaic was no less fresh, expressive and exciting than subsequent art periods are known to be. Read the rest of this entry »
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 »
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 »
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 »