Reviews, profiles and news about art in Chicago

Review: Josiah McElheny/Corbett vs. Dempsey

Sculpture, Ukrainian Village/East Village No Comments »
Josiah McElheny. "End of a Love Affair," 2014, handblown and polished glass, douglas fir, speakers, amplifier, industrial audio player, electric wiring, cut and polished blue sheet glass, brass control knobs, felt, hardware, 55 x 43 x 23 inches

Josiah McElheny. “End of a Love Affair,” 2014,
handblown and polished glass, douglas fir, speakers, amplifier, industrial audio player, electric wiring, cut and polished blue sheet glass, brass control knobs, felt, hardware,
55 x 43 x 23 inches

Aided by a fake ID, I was baptized into the church of hard-bop sometime in the mid-nineties in one of Cleveland’s many hidden jazz spots; a cramped subterranean chamber where sound and smoke, perfume and sweat mixed freely in the dimly lit haze. The music was immediate: thundering drums coupled with blowing horns that rang-out joyous one moment, mournful the next. Spiritual by way of the body—the experience possessed a physicality so intense it was transcendent.

In contrast to that overwhelming sensuality, MacArthur award winner Josiah McElheny’s “Dusty Groove,” a meticulously crafted four-piece sculptural ode to some of the twentieth century’s great musical minds (among them jazz legends Wes Montgomery and Sun Ra), comes off coolly intellectual, even a little remote. Imagine jazz goes to grad school featuring Donald Judd as your thesis advisor, and you’re part way there. These pieces stimulate the mind, but they don’t necessarily stir the soul. Read the rest of this entry »

Review: Magalie Guérin/Corbett vs. Dempsey

Painting, Wicker Park/Bucktown No Comments »
Magalie Guérin. "Untitled (hat-profile), 2013-14, oil on canvas

Magalie Guérin. “Untitled (hat-profile),” 2013-14, oil on canvas

RECOMMENDED

Modest in size but not shy at all, five colorful oil paintings by Magalie Guérin dance with each other across Corbett vs. Dempsey’s west wing. The dance is a type of choreographed freestyle—alive, morphing and flirtatious, the canvases beckon toward viewers to come closer. Through the physicality of the paintings’ surfaces, one can easily trace the artist’s mark and extensive process of rework. Colorful shapes float, overlap and morph together at the mercy of the artist and the observation of the audience. Read the rest of this entry »

News: Gene Siskel Film Center to Host Screening of Chicago Imagists Documentary

Loop, News etc. No Comments »
Karl Wirsum, Art Green, Gladys Nilsson, Suellen Rocca, Jim Nutt, 1967 (Photo by Charles Krejcsi)

Karl Wirsum, Art Green, Gladys Nilsson, Suellen Rocca, Jim Nutt, 1967/Photo: Charles Krejcsi

The Gene Siskel Film Center has announced that in the first week of October it will host a run of Leslie Buchbinder’s first feature-length film, “Hairy Who & the Chicago Imagists,” a documentary that introduces broader audiences to the lively Chicago-based art movement that contested the primacy of Pop Art in the 1960s with wacky and cleverly funny cartoon figurative painting. The documentary will screen daily from Friday, October 3 through Thursday October 9 (full schedule here). Friday’s screening on opening night will feature appearances from director Leslie Buchbinder, producer Brian Ashby and editor Ben Kolak. Then on Sunday, artists Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca and Karl Wirsum will be present at the 5:30pm screening. On the last evening of the run, Thursday, October 9, Ashby returns with screenwriter/music advisor John Corbett and sound designer/engineer Alex Inglizian. Read the rest of this entry »

Art World’s Big Weekend 2014: Comprehensive Listing of Gallery Openings for September 4–7 [updated]

Andersonville, Bronzeville, Collage, Drawings, Edgewater, Evanston, Fall Preview, Garfield Park, Installation, Lincoln Square, Logan Square, Multimedia, Painting, Photography, Prints, River North, Sculpture, Suburban, Ukrainian Village/East Village, Video, West Loop, Wicker Park/Bucktown 1 Comment »
Andrew Falkowski. "Pink Monochrome," 2014

Andrew Falkowski. “Pink Monochrome,” 2014

Thursday, September 4


LOOP

Dan Ramirez, painting
Union League Club of Chicago, 65 West Jackson
Opening reception: 5:30pm-7pm, through September 30
(Members only opening, viewing by appointment only)

SUBURBS

Anthony Iacuzzi and Christopher Schneberger, photography
Perspective Gallery, 1310-1/2B Chicago Avenue, Evanston
Opening reception: 5pm-8pm, through September 28

Amy Vogel, mixed-media survey exhibition
Cleve Carney Art Gallery at College of DuPage, Fawell and Park Boulevards, Glen Ellyn
Opening reception: 12pm-2pm, through October 25

Taehoon Kim and Barbara Diener, large scale sculpture and photographic installation
Moraine Valley Community College, 9000 West College, Palos Hills
Opening reception: 3pm–5pm, through September 18 and October 23 respectively Read the rest of this entry »

Portrait of the Artist: Margot Bergman

Artist Profiles, Painting No Comments »
"Bernice," acrylic on linen, 2014

“Bernice,” acrylic on linen, 2014

“Sometimes they are quite shocking to even me,” says artist Margot Bergman about her paintings as we walk from canvas to canvas at Corbett vs. Dempsey prior to her opening. Newly opened at the gallery, a solo show by the artist titled “Greetings” features brash and vigorously emotive neo-expressionist paintings. Large flat female faces with rough features and tense expressions stare directly at incoming viewers from some of the paintings while others exist as perverted, almost violent still-lifes of abstracted flowers and patterned wallpaper. Four-eyed “Marie Christine” and “Bernice,” who has no nose at all, manage to make me feel alien rather than the other way around. The bold directness and volatile energy of the paintings conjure the rough aesthetics of children’s drawings, while maintaining self-aware and complex psychological depth. Read the rest of this entry »

Review: Charline von Heyl/Corbett vs. Dempsey

Painting, Ukrainian Village/East Village No Comments »
"Green Duck," oil and charcoal on cardboard panel, 2013

“Green Duck,” oil and charcoal on cardboard panel, 2013

RECOMMENDED

Charline von Heyl’s first Chicago solo exhibition, “Interventionist Demonstration (Why-A-Duck?),” now on view at Corbett vs. Dempsey, is made up of paintings inspired by a 1934 comic strip, “Krazy Kat,” by George Herriman that is also on display. The characters, Krazy Kat, Ignatz Mouse and Offissa Pupp appear in these paintings, while the accompanying catalogue has text appropriated by von Heyl from the strip.

The comical melancholia in her paintings has a tone much like Herriman’s work: the use of dark humor and absurdity as a way to philosophize the complexities of emotion and the world of the artists’ respective centuries. There is a dialogue that feels light despite its hefty content. “Green Duck,” hanging off to the side on a wall by itself, appears quite sad, furthering the tragicomic mood simmering throughout the gallery. At the back of the gallery, there is a grid of thirty-nine paintings of abstract forms and dark representations of a duck, a tree, a frowning face. Some feel like image fragments speaking with Herriman’s and some feel exclusively von Heyl, but they all have an air that deeply ponders perception. Read the rest of this entry »

Review: Molly Zuckerman-Hartung/Corbett vs. Dempsey

Painting No Comments »
“oa,” oil, latex, enamel and spray paint on cut linen and folded muslin, 2013

“oa,” oil, latex, enamel and spray paint on cut linen and folded muslin, 2013

RECOMMENDED

Molly Zuckerman-Hartung’s paintings are baffling. They’re not simply pretty messes, as so many gestural abstract paintings are these days. In some ways they’re like spilt milk or grass stains. They whisper, stretch, slip and stumble. Elegant details such as sewn pleats are obscured by hastily drizzled paint and globs of wax. Delicate patterns are smeared and smudged. Wet paint is smooshed. Nothing is sacred.

“Violet Fogs Azure Snot” is Zuckerman-Hartung’s second solo exhibition at the gallery. Nine new large-scale paintings are on canvas, linen, dropcloth and found fabric—folded, creased, patched and sewn. Creamy raw canvas, muted pink and black color blocking has replaced the neon splatters of former paintings. Her work appears matured, but still experimental. There is more space but plenty of texture. For every bold move there are fifty tiny marks. A stain here, a slice there: a couple paintings feature repetitive notch marks made with bleach and enamel paint. These are constant reminders of the artist’s eccentric, unsteady hand. Read the rest of this entry »

Review: John Sparagana, Arturo Herrera and Jackie Saccoccio/Corbett vs. Dempsey

Collage, Painting No Comments »
Jackie Saccoccio, "Portrait: Circuit," oil and mica on linen, 2013

Jackie Saccoccio, “Portrait: Circuit,” oil and mica on linen, 2013

RECOMMENDED

These are three image-makers who glory in destruction.

New York-based Jackie Saccoccio’s first show in Chicago includes her large and beautiful “portraits.” They’re not the kind of portraits that offer recognizable human facial expressions—but contemporary people are so complex; do facial features really matter much anyway? She’s put something like a big, empty, faceless, voluminous head smack in the middle of the canvas, and then wrapped it into a fantastic swirl of colors and textures. Saccoccio loves the infinitely spacious, visual sensuality of sixteenth-century European portraiture, but those are the only qualities she’s taken from it. These are portraits of unidentifiable but happily blown minds. Read the rest of this entry »

Review: Peter Brotzmann and Hedwig Eberle/Corbett vs. Dempsey

Ukrainian Village/East Village No Comments »
Hedwig Eberle, Untitled (2013), oil on canvas, 16 x 12 inches

Hedwig Eberle, Untitled
(2013), oil on canvas, 16 x 12 inches

RECOMMENDED

Rosalind Krauss and Yve-Alain Bois’ eclectic collection of writings on twentieth-century art, “Formless: A User’s Guide,” separates the concept of the “formless” (Georges Bataille’s informe) from form and content, as traditionally understood.  The works now at Corbett vs. Dempsey seem to fit this mold. Artist and musician Peter Brotzmann’s box-based assemblages use odd metal items and wooden shapes, screen and wire, foam and paint, tape and string. They incompletely suggest miniature landscapes or faces, Cornell-ish curios or whimsical Calder contraptions. His washy sketches, some two-handed quasi-symmetrical drawings of plants, cups and hands, some semi-abstractions on found paper, seem more like mechanical exercises than compositions. Hedwig Eberle’s cryptic scribbles in smeary polychromatic oil-paint blobs could be compared to Jean Dubuffet portraits. But these engaging works by Brotzmann and Eberle are too simple and nonspecific to make comparisons stick; rather, they occupy a nebulous archaeological space, a paleo-post-industrial sublime… which perhaps, for some, makes them aesthetically suspicious.

Read the rest of this entry »

Review: Gina Litherland, Gertrude Abercrombie and Julia Thecla/Corbett vs. Dempsey

Painting No Comments »

 

Gina Litherland, “Wolf Alice (for Angela Carter),” 2011, oil on Masonite

Gina Litherland, “Wolf Alice (for Angela Carter),” 2011, oil on Masonite

RECOMMENDED

Historic Chicago surrealists Gertrude Abercrombie (1909–1977) and Julia Thecla (1896–1973) are tough acts to follow. They were not so much makers of weird paintings as tough, weird women who liked to paint. Only two small paintings by Abercrombie are included in this exhibition, but they’re enough to establish her as a master of economy, delivering a maximum of impact with an apparent minimum of effort—whereas the two small paintings by Thecla proclaim her a virtuoso of figurative design who seemed to have enjoyed complexity for its own sake. Contemporary surrealist Gina Litherland, who has been boldly paired with them in this exhibition, seems a bit tame by comparison. Read the rest of this entry »