For some art, a gallery acts less like a space that showcases living creativity and more like a funeral home where you go to stare at dead people. Just as that dead person you see laid-out before you was once bright and living in the world, the art so filled with promise and meaning in its proper context, now hangs lifeless, eviscerated by clean corridors, harsh lights and climate control. Like a lot of socially engaged art, sadly, this is the case with Nuria Montiel’s “Wxnder Wxrds” at the Hyde Park Art Center. Read the rest of this entry »
by Matt Morris
I had been trying to muster the holiday cheer to write a whimsical column about winter window displays when I read the news that the St. Louis County grand jury tasked with the decision to indict police officer Darren Wilson who shot eighteen-year-old Michael Brown to death in August chose not to pursue justice. Since the announcement, I’ve been in vocal and incredulous discussions over the sadistically intricate ways that political and social suppression, economic disadvantage, the bizarre militarization of police forces and even President Obama’s muted responses to this and other murders of unarmed black people have conspired in a construction of an impossibly powerful systemic racism. I’ve felt the deep urge to run. In my mind I see the text “RUN” Rashid Johnson spray-painted in white across a mirror that was included in “Message to Our Folks,” his survey at the MCA two years ago. This is a run from lynch mobs and paramilitary cops and deplorably violent histories that span centuries of America’s past.
Our society has been shaped without consideration to the personhood and value of nonwhite lives, therefore their sadness, outrage and even their deaths have not been permitted to have any impact. Confronted with this daunting problem built into the very structure of this country, my conviction that art has the potential to powerfully interject into the thick of restrictive, racist assumptions has been bolstered by several recent projects that investigate how visibility for people of color’s lives is situated into public and institutional spaces. Read the rest of this entry »
Bag of raw almonds for energy boost, false lashes stowed in my handbag for evening-wear eye-drama boost, press badge and a prayer for stamina: Expo Chicago’s press preview yesterday rolled directly into the Vernissage party that dispersed across town to a boat party, a disco dance and dishes of art world gossip: which gallery’s staff is jumping ship? who’s leaving their long-term gallery representation? who’s been exploring her ‘lesbian side’? who’s pregnant? and so on. Thursday’s kickoff to the fair was over-stimulating and today’s shaping up the same. I stopped for lunch and worked out some thoughts about patterns in the artworks exhibited, highlights and rare occasions for profundity for Expo visitors who are art lovers if not big-time collectors. Read the rest of this entry »
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 »
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 »
By Christopher K. Ho
Christopher K. Ho was recently curator in residence at the Hyde Park Art Center to co-organize “The Chicago Effect: Redefining the Middle,” an exhibition and events series that considers the role of the art center in its seventy-fifth anniversary year. Ho is also an artist, art educator and writer, and is based in New York.
Grunt work undergirds a lot of creative industries, including art making, even though its value and importance is often overlooked. The contemporary art world loves outliers and geniuses. But there is a broad swathe in the middle that has been going at it for many years, and it’s the characteristics of this group that I and my co-curators Allison Peters Quinn and Megha Ralapati wanted to highlight in “The Chicago Effect: Redefining the Middle.”
“The Chicago Effect” proposes civic engagement as an alternative to the ideologically pitched political and activist art that dominated our field after the late 1960s. When I was at Cornell and Columbia, that is what I was taught; “1968” had become institutionalized through participants who later became professors. Today, reexamining the middle is ever more pressing. The exhibition looks at compromise positively. It’s not about taking a politically extreme position, whether left or right, but trying to occupy both your own and your opposite’s viewpoints: a moderate position. Like that swathe of artists who fall between outliers and geniuses, the transformative potential of the socio-political middle ground is underestimated. Read the rest of this entry »
Yesterday EXPO Chicago announced that Shaquille O’Neal will be curating a booth for the FLAG Art Foundation in this fall’s iteration of the art fair. Entitled “SHAQ LOVES PEOPLE,” the project will consist of portraits produced by emerging and established artists of people across various races, cultures and ethnic backgrounds. This is the second curatorial project at FLAG by the fifteen-time NBA all-star turned entrepreneur whose other cultural work includes rap albums, reality television shows and film acting. In 2010 he curated “SIZE DOES MATTER” at FLAG’s gallery in Chelsea, which included artists such as Fred Wilson, Cathy de Monchaux, Kehinde Wiley, Lisa Yuskavage and Jeff Koons. Read the rest of this entry »
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 »
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.
Now in its fifth year, the Propeller Fund is offering two info sessions in advance of the August 1 deadline for 2014 applications. The first one is June 18 at the Hyde Park Art Center at 6 pm (5020 South Cornell). Grant administrator Abigail Satinsky will give a presentation that provides a basic overview of the application, offer discussion about eligibility for the award, and stick around for a Q&A.