Selected from more than 100 nominees, the Hyde Park Art Center has announced the artists to be exhibited in its third biennial exhibition Ground Floor: Evan Baden, Hannah Barco, Greg Browe, Houston Cofield, Maggie Crowley, Barbara Diener, Assaf Evron, Andrew Holmquist, Kelly Lloyd, Jesse Malmed, Esau McGee, Ben Murray, Celeste Rapone, Kyle Schlie, Tina Tahir, Keijaun Thomas, Daniel Tucker, Ramyar Vala, Julie Weber and Nicole Wilson. All of these artists have recently completed their Masters in Fine Arts at five of Chicago’s highly ranked MFA programs: Columbia College Chicago, Northwestern University, The School of the Art Institute of Chicago, The University of Chicago and the University of Illinois at Chicago. Read the rest of this entry »
“Cargo Space: Chicago/Milwaukee,” an exhibition running simultaneously at A + D Gallery in Chicago and INOVA in Milwaukee, is built around a mobile residency housed on a twenty-seven-foot diesel bus, a conceptual project formed by collaborators Christopher Sperandio and Simon Grennan, sponsored by Rice University in Houston, and propelled by a desire to physically connect artists and audiences that are geographically distant through a mobile platform. Among the included artists (a sprawling group of Chicago and Milwaukee based makers) is Erik L. Peterson who has staged the work “Stretch Limo (94),” 2014, a site-specific installation at INOVA, a building that originally housed an automobile factory. Read the rest of this entry »
Ivan Brunetti’s comic strip in the March 7 issue of The New Yorker illustrates the frustrations of an art teacher who, from the students’ perspective, teaches too much. It ends badly: a student asks if computers can be used on the homework assignment, and the teacher, exiting the class, mutters to himself, “I’m wasting my life.” It’s not a funny comic, exactly, but this is The New Yorker, and while Brunetti does admit to using computers in his own work, they only aid in the production stages, not the creative. With computers, “there is no discovery, only micro-managing,” writes Brunetti in his new book, “Cartooning: Philosophy and Practice.” The how-to cartoon manual, structured like his fifteen-week course of the same title at Columbia College, is full of Brunetti’s brand of self-effacing, wry perspectives on life and art, and it’s also a complete starter’s guide to creating comics—not just the slapstick and pulp fantasies of the Sunday funnies, but the diaristic, bittersweet realisms of contemporary life, a genre populated by Charles Schulz, Chris Ware, and Brunetti, of course.
Like David Hockney, who makes one drawing a day on his iPad—one of which is featured on that same The New Yorker’s cover (ah, irony)—Brunetti expounds the importance of keeping a daily drawing practice. There is no substitution, and no excuse, for not working daily on one’s craft. “Unfortunately, you will probably have to draw 100 bad pages before you draw a good one; there are no shortcuts,” he writes in “Cartooning.” Persistence will lead to consistency, which will lead to an individual style. Developing this craft is one of Brunetti’s main lessons in his cartooning manual. Read the rest of this entry »
“I am for an art that embroils itself with the everyday crap & still comes out on top,” wrote Claes Oldenburg, in 1961, in a non-traditional artist statement titled “I am for an art.” Brandon Alvendia would like to see more artists define their practices in light of Oldenberg’s spirited dictums. He reframes Oldenburg’s “everyday crap” into “everyday pragmatism.” It’s a phrase that guides his own work. “How do I make best use of this,” he continually asks himself.
Alvendia re-purposes things at every turn, from bargain-priced floppy discs (gutted, they make good CD cases) to out-of-print books that he photocopies and binds into paperback books for free distribution. Not everything that he re-purposes is an object, though. For example, exhibitions are readymade platforms for the creative presentation of other artists’ work. “Curating is my art practice,” says Alvendia. For the Miami art fairs in 2007, he exhibited the work of ten artists in his wallet, a fitting context for the moneyed affair but also an economic means of exposure for the ten artists.
Alvendia’s latest artistic-slash-curatorial mission is “Fair Use: Information Piracy and Creative Commons in Contemporary Art and Design,” which recently opened at Columbia College, where he teaches part-time. The exhibition features about a dozen artists who test the limits of copyright law. Image appropriation has been a hot topic since the 1980s, but the rules of the game keep changing. As the law adapts to deal with artistic interventions, artists keep pushing the envelope. Read the rest of this entry »
Art School Unconfidential: What the city’s burgeoning MFA programs mean for the future of artists in ChicagoArt Schools, Galleries & Museums, News etc., Student Shows No Comments »
By Rachel Furnari
“I’m a romantic about everything else in my life, but not about art school,” says Erin Chlaghmo, who begins her MFA program in Fiber and Material Studies at the School of the Art Institute of Chicago (SAIC) this fall. Romanticism, though, may be exactly what’s required to assume the burden of debt that comes with a degree that can cost upwards of $40,000 a year for a two- or three-year program. Chlaghmo is one of an increasing number of artists to pursue their graduate degrees in studio-arts without the guarantee of a lucrative career (or even a living wage) to pay off their student loans. Most students have a surprising and unmitigated enthusiasm for their graduate work despite being aware of the low odds for successfully working full-time as an artist—of being chosen out of the 300-plus yearly graduates for a show with one of a few commercial galleries in Chicago—and the attendant financial risks that have been exacerbated by the current economic environment.
In interviews with students from five local studio-art MFA programs—Columbia College, Northwestern, SAIC, the University of Chicago (U of C) and the University of Illinois-Chicago (UIC)—descriptions of access to faculty, visiting artists, financial aid, professional development programs and limited material resources reveal how these artists make use of their programs to create art; to think, to network, to teach and, most importantly, to have a stake in an ongoing, critical conversation about contemporary art—though the quality of this conversation was definitely up for debate. While these schools have their differences, their students and graduates make up an undeniable segment of the contemporary art scene in Chicago and in a real way represent its future. Their institutional alignments, then, are crucial in determining how and in what direction the Chicago scene develops. By identifying those alignments it may be possible to better understand how the energy and creativity of these students might be expended in order to transform contemporary art in Chicago. Can the arts community undo the institutional biases in order to acknowledge the means by which art schools shape the Chicago art environment for practitioners, curators, dealers, audiences and critics? Read the rest of this entry »
With only a week before graduation, the real world, and Sallie Mae loan officers descend, the seniors and graduate students of Columbia College will gather on Friday, May 15 for the seventh annual Manifest Urban Arts Festival. Though past festivals have boasted impressive musical headliners like OK Go and Lupe Fiasco, budget cutbacks have brought the focus of this year’s festival back to the students’ endeavors. Student artwork will be on sale throughout the festival, whose various hot spots in the South Loop Arts Corridor will be accessible via the free Chicago Trolley or by good, old-fashioned foot power. Read the rest of this entry »
By Steven Wirth
If you happen to be curious about the current state of affairs in the wide world of printmaking then look no further than the forthcoming Southern Graphics Council’s annual conference hosted by Columbia College and Anchor Graphics from March 25–29. Established in 1972, the Southern Graphics Council, or SGC as it is commonly called, is the largest print organization in North America, and each year its annual conference is the largest celebration of printmaking of its kind.
The conference itself means many different things to many different people: Read the rest of this entry »
“This exhibition is about sustainability,” a wall text declares at the beginning of “Criteria.” What the show is not about, curators Jimena Acosta and Emiliano Godoy stress, is “green design, ecology, environmentalism” and other hot-button issues. The effort to distinguish their goals from those other movements’ lies partly in the organizers’ overtly fatalistic outlook. None of that ‘we can do it if we try (and buy green)’ brand of consumer-oriented optimism; this show wants to drill us out of complacency by confronting the miserable human costs of unsustainable growth.
At this, it largely succeeds. “Criteria” is beautifully installed, providing an aesthetically compelling framework for its grim subject matter. The coupling of artists and up-and-coming designers heightens the sense that this is a laboratory for ideas. Most of the design is more conceptual than practical in nature. For example, a network of stoneware piggy banks with curlicue incandescent bulbs doubling as tails, and a wax pendent lamp that melts when illuminated question wasteful patterns of energy consumption without being useful themselves.
The show’s large-scale color photographs tend towards the “vast gorgeous wasteland” variety that’s become a photographic cliché, but at least in this context they retain their essential bleakness. As is common in thematic shows, the curators have selected works that further their own agenda but threaten to slide into “message art” territory. Good art is polysemic; good design, concise. The show’s most memorable projects fall into the latter category, but so provocative are its underlying principles that everyone’s work is shown to its best advantage. (Claudine Isé)
Through February 28 at A+D Gallery, 619 S. Wabash.
By Rachel Furnari and David Mark Wise
To mark this fifth edition of Breakout Artists, we decided to check up on the artists we’d featured in the past and see where their careers have taken them. Read the rest of this entry »
Dressed in a padded pink bunny suit studded with hearts and with little plastic hearts stuck to his cheeks, a young man wears a seductive smile and casts his bedroom eyes at us. He is right at home on Tokyo’s streets where—as photographers Moe Sekiya and Yuka Takeda abundantly make us aware in their color photos—kitsch is king. Western fashionistas take heed—insouciance is a bore, get with the program and be excruciatingly cute. Yet nobody does it better than Asian-American performance artist Susan Lee-Chun embodying warrior girl in her ruffly plaid tunic and helmet as she struts away with her nose in the air from her plaid-clad baby-doll victim whom she has just decked with her cheerleader’s baton. Postmodernists endlessly talk about play; the new Asian hipsters abandon themselves to it without a trace of shame. (Michael Weinstein)
Through April 25 at C33 Gallery of Columbia College, 33 E. Congress.