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The thing that was sent to me in its intended but unsettling orientation.
By Elliot J. Reichert
The above image was sent to me anonymously in the middle of the night. Shocking as it appears, I was relieved to receive it. You see, weeks ago I had contacted a few artist friends to ask them to reflect on the upcoming fall art season in Chicago and to ask one to “take over” the task of appraising it. To my surprise, they were reluctant to describe it, even those who had exhibitions of their work opening in the coming weeks. Later, I realized that their silence was my doing, having asked a question that could produce no coherent answer.
Much like the drawing game made famous by the Surrealists, Chicago’s 2015 fall art season is an exquisite corpse—a thing of grotesque beauty that is the dream of no one, but the creation of many. At first glance, it appears sinister, like the Block Museum’s solo show of newly commissioned works by Chicago artist Geof Oppenheimer. Rumor has it that the sculptor has filled the museum’s ample galleries with austere and foreboding installations resembling the cinderblock constructions of grim institutions, like prison, or perhaps your corporate office. Even more menacing, Irena Haiduk, also Chicago-based and also exhibiting new work, will haunt the eaves of the Renaissance Society’s transformed gallery with the Sirens of Greek mythology, luring visitors unexpectedly into a debate on the revolutionary possibilities of art and social change amidst current political upheaval worldwide. Read the rest of this entry »
Hugh Scott-Douglas. “Untitled,” 2014.
Collection Museum of Contemporary Art Chicago, gift of Marshall Field’s by exchange.
“Out of Office” culls five works from the MCA collection to inquire about labor and financial transactions. The show’s title cannily suggests that the office has expanded. We’re always at the office, even while on lunch break.
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Robert Morris. “Untitled (Passageway),” 1961 Photo Courtesy Castelli Gallery, New York
Robert Morris’ sculpture “Untitled (Passageway),” of the MCA’s “S, M, L, XL,” is the epitome of what said exhibition explores: the corporeal relationship between observer and object. In its throttling of the viewer, its fearsome auguring in to compaction, “Passageway” puts the precedence not only on proximity to the audience, but their trepidation and/or courage. It is a self-contained hallway, a sculpture-cum-scorpion tail lit by the custard glow of naked bulbs; as one walks along the ecru curve, the walls quietly come together, their malevolence obfuscated by the gentle approach of the constriction, creeping forward, forcing an awkward step, a hesitation, a turning of the shoulder blades, a looming threat to the chest, until finally it becomes too much and one must turn around—fuck! too tight! slide back warily, as if an injured animal!—with the full intention of tearing through whatever callous museum goer may be blocking freedom as the drowning do the surface of the sea, fast and urgent with the dread animal exegesis to breathe … Read the rest of this entry »
Keren Cytter. “Video Art Manual,” 2011. Video still.
A disorienting yet familiar feeling hovers over Keren Cytter’s exhibition at the Museum of Contemporary Art. Cytter, born in 1977, creates films, though to call her a filmmaker seems inadequate. Nine of Cytter’s films on view at the MCA conjure conventional narratives telling short stories of the human condition—love, heartbreak, murder, revenge.
Often filmed in Cytter’s own small apartment, actors speak in fractured, emotionless yet frank dialogue and rapidly exchange roles, at times switching languages and directly addressing the camera. Scenes repeat and loop back on themselves, masterfully overlaid with kitschy low-budget editing effects which force the viewer’s focus equally on how narrative is assembled as on the plot itself. Read the rest of this entry »
Faheem Majeed/Photo: Devin Mays
At the Museum of Contemporary Art, we sit at the large table inside Faheem Majeed’s piece “Planting and Maintaining a Perennial Garden.” Two museum patrons crash my interview for the chance to speak with the artist. Piece by piece, they share a dialogue about Majeed’s ideas and their impressions of his work. We are, he tells us, in a re-creation of the South Side Community Art Center, a space he ran for seven years. “It oozed into my being. I know everything about that space.” Read the rest of this entry »
Gordon Matta-Clark. “Circus,” 1978
silver dye bleach print (Cibachrome), 29 1/4″ x 73 1/4″
In 1978, the Museum of Contemporary Art commissioned artist Gordon Matta-Clark to execute one of his trademark “building cut” projects in a recently acquired brownstone on Ontario Street. The result, “Circus or The Caribbean Orange,” a series of large-scale circular lacerations that radically altered the structure’s interior, would sadly be the artist’s last major statement before his untimely death at age thirty-five. What remains of the epic scale of this ephemeral project are a series of the artist’s captivating photocollages. Read the rest of this entry »
Doris Salcedo. “Untitled” works, 1989-2008,
wooden furniture, concrete, clothing, steel and glass
The very first retrospective of Colombian artist Doris Salcedo’s thirty-year career begins with her recent “Plegaria Muda,” a maze of more than one-hundred upended tables sandwiching a thick layer of dirt between their backs and appearing as coffins. Tiny blades of grass grow out from between the wood planks, a subtle indication of the time poured into the growing and crafting of each blade and table. “Plegaria Muda” is created from Salcedo’s research into gang violence in Los Angeles combined with viewing the mass graves of grieving mothers’ sons in Colombia. The piece is a meditative entrance into Salcedo’s content, an attempt to erase the anonymity of those disappeared in her home country and abroad. Read the rest of this entry »
This morning the list of 136 artists to be included in the upcoming fifty-sixth Venice Biennale was announced. Two Chicago-based artists are included in this impressive roster: Theaster Gates and Kerry James Marshall (#1 and #4 respectively on Newcity’s 2014 Art 50 list). The Bienniale opens on May 9, 2015 and runs through November 22, 2015. Read the rest of this entry »
Ruth Horwich’s collection of Alexander Calder jewelry to be offered at auction. Photo: Christie’s Images Ltd. 2015.
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 »
David Hartt, artist and new member to the Museum of Contemporary Art Chicago’s Board of Trustees/Photo: Braxton Black
In mid-December, chair of the Board of Trustees at the Museum of Contemporary Art Chicago (MCA) King Harris announced the addition of artist David Hartt to the MCA’s Board of Trustees. Hartt is the first artist on the MCA’s board since the new building at 220 East Chicago was constructed, which officially opened to the public in June 1996. Sculptor Richard Hunt, whom the MCA is honoring for his eightieth birthday with a special exhibition currently on view, was the first artist trustee in the 1970s. Joining Hartt as members of the board are current Norway-based telecommunications equipment company, Eltek, ASA board member Dia Weil, director of Graff Diamonds Eve Rogers and board member of the Whitney Museum of American Art and Colgate University in New York, Nancy Crown. Their appointment coincides with Teresa Samala de Guzman’s appointment as the MCA’s chief operating officer, a duty she assumed responsibility of on December 8, 2014.
In an email exchange, MCA director Madeleine Grynsztejn explains that the museum is very much artist-activated and audience-engaged, saying, “Artists are central to everything we do and the artist’s presence assures integrity at the governance level around our artist-activated commitment in particular.” When selecting board members, they take into account the expertise and wisdom each individual can bring to the MCA currently, as well as how their knowledge can work with the MCA’s future aspirations. Read the rest of this entry »