Jacob Hashimoto. “The Scale of Worlds,” 2015. Wood, acrylic, bamboo, paper, and Dacron, 54 x 47 x 8 inches/Photo: RCH l EKH
“The Scale of Worlds” typifies Jacob Hashimoto’s “kite” works. Vertical layers of “kites”—multi-sized, circular-shaped pieces made of paper and bamboo—are threaded together and suspended between two rows of pegs, filling a square space on the wall. From afar, the “kites” resemble a patriotic-colored target. Nearing the piece reveals a contained, visual dance of individually painted and decorated circles. Read the rest of this entry »
Deana Lawson. “Mama Goma, Gemena, DR Congo,” 2014. Courtesy of Rhona Hoffman Gallery, Chicago.
Deana Lawson’s found and staged images embody photography’s contradictory nature. Her scenes are filled with black bodies in predominately black places around the world, from Africa and the Caribbean to U.S. locales including New Orleans, Detroit and the Flatbush, Brownsville and Canarsie neighborhoods in Brooklyn. For Lawson, her subjects are like extended family, though when she first encounters them, they are strangers. Read the rest of this entry »
Nathaniel Mary Quinn. “Class of 92,” 2015. Black charcoal, gouache, soft pastel, oil pastel, paint stick on Coventry Vellum paper, 34 x 38 inches, paper; 40.25 x 44 inches, framed. Photo: RCH | EKH
Collage is always born upon an undercurrent of violence; no matter the nature of the dismantling—be it surgical or savage—the end result is without fail an image sutured together from the destruction of others, a Frankenstein’s monster of thoughts, feelings, ideas and icons made melange, a mass grave of optics. 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 »
Linnea Gabriella Spransy. “Repeat, Like Nothing Ever Has Been,” 2015
acrylic on canvas, 78″ x 72″
Aside from the obvious aesthetic concerns of making objects of lasting beauty, the central problem of abstraction has always been one of style and technique. More specifically, it has been the search for a technique that yields and animates an autographic or signature style as unique as the painter’s vision. It’s a lot harder than it sounds: as evidence, witness the cliché-ridden failures of abstract painting’s supposed “comeback” visible at any given art fair.
All the more reason then to celebrate the seven artists whose works comprise the concentrated, diverse and yet seamlessly integrated “Abstraction: A Visual Language” at Rhona Hoffman Gallery. That these artists are also women is a fact worth highlighting in its own right, but let’s be clear: these are damn good painters first and foremost who make singular works that defy easy categorization. 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 »
New Catalogue. “Book (Brave New World by Aldous Huxley): Images for a New Golden Record,” 2014
ink jet print, 10″ x 10″, print; 12.75″ x 12.75″, framed.
In 1977, celebrity astronomer Carl Sagan realized his conceit of sending into outer space on NASA’s Voyager spacecraft, a “Golden Record” composed of aural snippets of human culture and slices of life, accompanied by greetings, to be received by any extraterrestrial beings that might come across it and make something of it. The conventional humanism of Sagan’s project got conceptual photographers Luke Batten and Jonathan Sadler, who collaborate under the name New Catalogue, thinking of how they would represent humanity today to other intelligent life forms in the great beyond, and came up with a grid of sixteen small black-and-white shots of hands holding up familiar objects like a pencil, a hammer and a banana, against white backgrounds. The artists recruited Judd Greenstein to compose generally placid contemporary classical viola music, which is piped into their exhibit, and put text on the walls of the gallery’s front room transcribing some of the tracks on the original Golden Record, including the cloying greetings. Read the rest of this entry »
Sheila Hicks. “Dervish,” 2011
steel, linen, wool
Rhona Hoffman brings together a group exhibition of works from the past thirty years that shows how fabric performs as a palimpsest of industrial and domestic worlds, transplanted from utilitarian to art contexts.
Karen Reimer’s “Endless Set #1399,” was originally developed as a site-specific installation for UIC’s Gallery 400. Digits cut from white cloth are sewn in 1399 patches, stacked in the shape of pillowcases on the corner of a wooden bed-shaped frame. The work privileges an unrelenting systematic approach over conceptual transparency. Beside this sparsely arranged numerical record is a more chaotic and carnal collage. Anne Wilson’s “Mourning Cloth” is a loosely hung shroud, matted with human hair and featuring a small hole lined like a made-up eye with tiny black stitches that diffuse outwards, suggesting a vacant cosmic gaze. Patches of stained and used tablecloth are sewn together to emphasize fissures. The dispersal and patchwork of materials permeated with an undisclosed domestic life suggests another kind of compulsive action, an attempt to mend, without eradicating the compound histories of the material. Read the rest of this entry »
Diane Simpson. “Window Dressing: Apron 1,” oil stain on MDF, polyester fabric; and “Window Dressing: Bib-doodle,” gatorfoam board, hardboard, wallpaper, enamel, ink
By Matt Morris
It’s often said around town that Chicago has two seasons: winter and construction. The architectural epicenter where we reside explodes into transformation in the warm months, as buildings, roads and public spaces undergo restructuring. A few exhibitions on view right now conspire to reflect this construction condition by taking built environments and our habitation of them as points of departure. The artworks’ proximity to source materials is a useful measurement in distinguishing where a quirky meta-criticality is achieved, and where sometimes the experience at hand is burdened by its references. Read the rest of this entry »
“AIC C 224 4,” oil on linen, 2014
In just over four-hundred words, the press release for David Schutter’s excellent new show, “What Is Not Clear is Not French,” covers a lot of ground. In it we learn about an obscure eighteenth-century French writer, investigate “teleologically bound systems” and consider how the show’s eight oil-on-linen works evolved from Schutter’s process of re-performing encounters with specific, though unnamed, French paintings. Strangely, the exhibition’s overriding condition is never mentioned: these paintings are entirely abstract and they are all gray.
Grayness has long been regarded as symptomatic of nihilism—an aspect of the reductive materialism that’s become endemic to our culture and our art. But in Schutter’s paintings grayness is a doorway. In these enigmatically coded works (references to precise gallery locations at the Art Institute of Chicago and the National Gallery of Art assume the role of titles), grayness is not only the union of opposites such as black and white, grayness also symbolizes the transitory state between sleep and wakefulness, remembering and forgetting. Read the rest of this entry »