The failure of the modernist enterprise brought about an injunction to rethink the shape of time. Time was once linear, logical and homogenous. Now it’s gloopy, viscous and prone to pooling in weird ways. Read the rest of this entry »
By Luke A. Fidler, Ph.D. candidate, Art History
In 1967, a group of students from Hyde Park High School performed a musical piece called “Opportunity Please Knock” together with members of the Blackstone Rangers gang. Read the rest of this entry »
Long heralded as a mecca for alternative practices, collectivity and socially engaged art, Chicago increasingly finds itself among the most visible international art destinations precisely because of its distinct character and openness to change and growth. What makes this city fertile ground for launching new talent and sustaining confirmed genius? A complex and ever-changing network of curators, collectors, administrators, critics, dealers, educators and other enthusiasts cultivate Chicago’s artistic vitality and diversity. The Art 50 is Newcity’s annual snapshot of Chicago’s art ecosystem. This year, we track the power players who shape the terrain in which we thrive.
The Art 50 was written by Elliot J. Reichert, Maria Girgenti, Abraham Ritchie, Kate Sierzputowski and B. David Zarley.
Cover and interior photos by Joe Mazza/Brave Lux on location at the Museum of Contemporary Art Chicago Read the rest of this entry »
The Center Program at the Hyde Park Art Center is an opportunity for artists to receive feedback, formulate new work and have a final exhibition in the main gallery over six months. The facilities and staff at HPAC offer a supportive atmosphere for artists to engage in conversation and further their studio practice. The twenty-four artists in the 2015 Center Program span various disciplines and media. The culminating group exhibition is playful and vibrant, as well as informative and candid. Read the rest of this entry »
The works presented in “Cosmosis” celebrate outer space’s contemporary moment while exploring the increasing overlap between popular culture, scientific inquiry and artistic production. The dense but balanced group show features muted 2D works which offset the scale and ambition of sculpture and media counterparts; great emphasis is placed in the ability of these images and objects to act as agents of communication and interpretation. Read the rest of this entry »
After welcoming me into her spacious Rogers Park apartment with a warm handshake and shot of espresso, Nancy Lu Rosenheim guides me through a long hallway into her sunny front room studio and toward two stools at a high-topped table. A tall and fully stocked shelving unit rises behind us, brimming with well-worn brushes, tools and paint jars of all sizes. In the corner of the room, a large sculpture sways gently from a hook in the ceiling—made from Polystyrene and splattered boldly with vivid colors, it’s obvious the piece was created in conjunction with “Swallow City,” Rosenheim’s current exhibition at Hyde Park Art Center. Read the rest of this entry »
“My collage work is about this collective experience that we all share with public spaces,” explains Esau McGhee. “It doesn’t matter, you could be a fifty-year-old white Jewish chick or a young Latino male. It’s not my space, it’s not your space, it’s really ours, and it’s going through an evolution as dictated by us and our shared experience with it.”
As an African-American man who grew up as a self-proclaimed “ghetto kid” and ended up a professional artist by way of high-end, private fine art programs at SAIC and Northwestern, McGhee thinks a lot about how people from different races and economic classes relate to one another. He believes that people from different backgrounds can connect with one another through their shared visual experiences. With a studio based in the quintessentially urban East Garfield Park, McGhee’s practice intuitively incorporates the patterns of city landscapes, evoking a mood that city dwellers from all backgrounds could relate to—and with his most recent exhibitions being in the very different Elastic Arts, Union League Club and the Hyde Park Art Center, people from all different backgrounds have had a chance to.
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Breakout Artists is our annual showcase of Chicago artists we think you should know. This is our twelfth edition.
Lists like these always risk reduction, betray biases and can say more about the limits of their host publication’s scope than about the worthiness of artists—those mentioned or not. They persist as conversation starters: their value isn’t solely in what is printed here, but in the excited discussions and debates that proceed from them. Our circulation spikes around these featured lists, and so does the mail we receive. Understanding those contexts is an important part of appreciating what a list like our annual Breakout Artists can and can’t do.
But while many lists of this sort are ranked or correspond to particular forms of prestige, our Breakout Artists have always been determined by a more mysterious (and certainly subjective) calculus. I had to begin by wondering out of what these artists were meant to be breaking. This year, we are celebrating and advocating for ten artists’ practices who have seen breakthroughs in their work and are breaking out into higher stakes, wider visibility, a broader range of media, or expansions of what art can accomplish. Their practices subvert racial and gender stereotypes, crisscross into adjacent fields like illustration and design, enmesh studio work with curating and other socially engaged creative moves, run amuck in traditional mediums like painting and sculpture, while also finding ways to work in new places outside galleries or on the web.
The artists we’ve selected are at different stages of their careers; this is not an emerging artist list, although a couple have recently completed BFAs. If there is a common feature, it is one that shows the continued gravitational pull of the School of the Art Institute of Chicago on the arts cultivated in this town. Despite being one of the most expensive college educations in the country (for art or anything else) and in the face of perpetual wondering about the relevance of higher education, each of this year’s Breakout Artists have brushed through SAIC—whether studying there or, like me, teaching there. These artists’ work happens not only in sanctioned art world temples, but in apartment spaces far out on the Green Line, in the neighborhoods surrounding Cook County Jail, from Rogers Park to Washington Park, and sometimes in Canada. Whether in major arts institutions or in the dispersed expanded field of where creative exploration can happen, these are artists worth knowing about and watching out for the great things they are doing. (Matt Morris)
The new Guida Family Creative Wing at the Hyde Park Art Center (HPAC) will open in fall 2015, thanks to a successful 75th Anniversary Campaign in 2014 and $750,000 gift from John, Julie and Angelina Guida. On Sunday, April 19, celebration of their groundbreaking will coincide with a reception with multiple exhibitions on view, including resident artist Susan Giles’ exhibition, “Scenic Overlook” and Nancy Lu Rosenheim’s “Swallow City.” Read the rest of this entry »
Alexander Calder, Andy Warhol and John Chamberlain are a few names from Ruth Horwich’s collection featured in the upcoming First Open sale of Post-War and Contemporary Art at Christie’s in New York on March 6, 2015.
Influential leaders and one of Chicago’s resident power couples, Ruth and her late husband Leonard impacted our region’s art scene not only with loaned and gifted artworks to many of our prominent local institutions—including the Museum of Contemporary Art (MCA) and the Smart Museum of Art—but also as two of MCA’s founders and champions for major public artworks such as Jean Dubuffet’s “Monument with Standing Beast” outside the Thompson Center. Leonard died in 1983, and given Ruth’s death in July 2014, twenty-four pieces from their collection will be offered for sale. An exhibition will precede the auction at Christie’s Rockefeller Center Galleries, from February 28 to March 3, 2015. Read the rest of this entry »