Reviews, profiles and news about art in Chicago

Review: Matthew Bender and Justin Nolan/Schneider Gallery

Galleries & Museums, Photography, River North No Comments »
Matthew Bender, "Piano, Penn Hills Resort," Archival Pigment Print, 24 x 30"

Matthew Bender. “Piano, Penn Hills Resort,” 2014
Archival Pigment Print, 24″ x 30″


In a self-conscious pairing of aesthetically similar bodies of photographic work with seemingly radically different sensibilities, this exhibit brings together Justin Nolan, who takes pictures of simulated faux nostalgic glamour (think of the interiors of Las Vegas commercial palaces—the very inspiration for postmodernism), and Matthew Bender, who shoots the insides of derelict buildings. The first impression upon entering the gallery space is that one is looking at a solo show. The images are all in color, limpid, clear and luscious, with elegant plays of light and shadow.  Read the rest of this entry »

Review: Showcase/Schneider Gallery

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Rebecca Memoli. “The Mess We've Made,”  inkjet and acrylic on canvas, 15” x 10"

Rebecca Memoli. “The Mess We’ve Made,”
inkjet and acrylic on canvas, 15” x 10″


Among the nine photographers and photo-artists on display in Schneider Gallery’s clean new space, two newcomers, Rebecca Memoli and Doug McGoldrick, offer the most magnetic and arresting images by taking the timeworn move of painting or drawing on photos in new and provocative directions. Memoli, who does constructed tabletop still lifes, paints so finely and precisely on her base photographic image, which she has printed on canvas, that she succeeds in taking revenge on photo-realist painting, to the point of leaving indiscernible traces of the bare base image to show through the facade. The photo-realists simulated photography, whereas Memoli simulates painting. She also composes beguiling arrangements of objects, such as in “The Mess We’ve Made,” where we see a kitchen counter filled with dishes and utensils, some unwashed, lying on their sides in an elegant jumble, presided over by a poster of the bygone crooner, Mario Lanza. This is a scenario at which to stare in order to experience its humor. Read the rest of this entry »

Review: 25th Anniversary/Schneider Gallery

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Cornelia Hediger. "05.29.10," C-Print, 30x30"

Cornelia Hediger. “05.29.10,”
C-Print, 30″ x 30″


A look at the fifteen photo-artists whom gallerist Martha Schneider has included in her twenty-fifth anniversary show, which ends her run at Franklin Street before she moves to 770 North Lasalle in 2015, reveals how her space has provided Chicagoans with the singular opportunity to see consistently the most advanced photography from throughout the world. The works here are representative of those of the hundreds of artists whom Schneider has shown: edgy, masterful in technique, and often shot through with existential emotions or depth-psychological import. Schneider has presented the existentialist side over the years particularly through Argentine photographers, whose country’s elite culture was smitten by that movement, which matched the native temperament. Read the rest of this entry »

Review: Luis Gonzalez Palma/Schneider Gallery

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Luis Gonzalez Palma. "Mesa Rio," 2009  digital print on transparency, gold leaf on board, red paper

Luis Gonzalez Palma. “Mesa Rio,” 2009
digital print on transparency, gold leaf on board, red paper


As the veteran globalized A-list Guatemalan photographer Luis Gonzalez Palma enters his late fifties, he persists in his lifelong struggle to overcome the sadness in his heart through enduring a long series of unsuccessful attempts to affirm life fully by expressing his agonies and contradictions in his photo-art. His latest body of work, “Mobius,” leaves him where he started, only, as always through each iteration, more intense and more accomplished. Still posing native Guatemalan models for deep gold-toned portraits on which he sometimes strategically and elegantly paints, and setting up telling magical-realist scenarios, Gonzalez Palma has simplified his representations of his subjects by taking head shots of them that accentuate the moods and expressive emotions with which he endows them. 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


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)


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 »

Review: Summer Home/Schneider Gallery

Photography, River North No Comments »
Jon Horvath. "Portrait of My Mother, " inkjet print, 2013

Jon Horvath. “Portrait of My Mother, ” inkjet print, 2013


We stare at the image of a perfectly flat tile wall—an obdurate barrier—with red, yellow, brown and mainly blue and blue-gray components. Some of the tiles are chipped, and the upper-center of the mosaic is smeared and discolored. That is one of Jon Horvath’s renditions of home—distressed and implacable, yet attracting. Then we turn to the opposite gallery wall and see a portrait of an older woman standing on snow-covered ground, with a distant line of denuded trees behind her. She is wrapped from head to toe in a white winter coat and she glares at the camera with tight, downturned lips; this “Portrait of My Mother” is another view of home for Horvath. The power of those two images, facing each other in the gallery, creates a force field that threatens to crush the images of the five other gifted artists in this group show reflecting on domesticity. Read the rest of this entry »

Review: Sherry Karver/Schneider Gallery

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"Fond Memories," photographic images, oil, narrative text, and resin on wood panel

“Fond Memories,” photographic images, oil, narrative text, and resin on wood panel


In “A Likely Story,” an ingenious visual commentary on the continuities and ruptures of past and present, Sherry Karver has produced composite photographs of crowds of people in public places divided into color depictions of mostly young contemporary people and black-and-white appropriated takes of individuals from decades ago shot in the same spaces. Through the offices of the computer, Karver’s scenes are constructed digitally and seamlessly with the figures from the past, usually in the background, serving as a ghostly chorus appearing to comment on today’s on-the-go cell-phoned streets whose urbanites pursue business and leisure activities just as we are used to seeing them do and even do ourselves. Read the rest of this entry »

Review: Lynn Saville and Reuben Wu/Schneider Gallery

Photography, River North No Comments »
Lynn Saville, "West 125th St, NYC"

Lynn Saville, “West 125th St, NYC”


The accent is on the aesthetic surface rather than the depiction of the subject in the contrasting approaches of architectural photographers Lynn Saville and Reuben Wu, both of whom shoot structures at middle distance and in color, and each investing their subjects with a distinct sensibility.

A visual commentator on the great recession and its ravages, Saville goes out at night to capture eviscerated stores through their plate-glass fronts, bathed in glowing electric light verging on garish neon; her subjects are not yet ruins, but they could become so if economic recovery does not reach them. The play between the dazzling come-on of the light show and the abandoned commercial spaces creates a pure seductive effect; there is nothing behind the gleaming visual wrapping, no baubles to buy.

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Review: Nancy Newberry/Schneider Gallery

Photography, River North No Comments »
"09 11 19, 2010," from the series "Mum"

“09 11 19, 2010,” from the series “Mum”


Straight out of the Lone Star State, hyper-postmodern Texas photographer Nancy Newberry turns her sophistication back on its kitschy roots, offering staged color scenario portraits of subjects enacting the ritual of wearing American-pop-baroque ornamented garb or crowded-collaged corsages dominated by mums for events like homecoming day. The enactment of Newberry’s concept could take myriad forms: a dignifying humanist treatment (impossible for her), the former with tongue in cheek, a sarcastic stereotyped put down, and so on. Newberry’s particular sensibility is centered in a gentle sense of the ridiculous that allows her to save her postmodern conscience and creds, and to stay on the nice side of the line between irony and mockery. A good example of Newberry’s brand of visual wit is her scenario of a young adolescent girl standing erect on a sloping shingled roof, barefooted and draped in her flowing, consuming corsage with its copious ribbons covering her; the expression on her face betrays some apprehension that has not yet become panic, a sense of unsteadiness that is quite understandable given her situation. With that image, Newberry alerts us that she has placed herself at the antipodes of the cultural documentary and the humanist portrait, opting for postmodern play with the cultural practice, emptied of reverence and nostalgia. Read the rest of this entry »

Review: Jennifer Greenburg/Schneider Gallery

Photography, River North No Comments »
"My dreams came true the day I did hair for a fashion show," 2013

“My dreams came true the day I did hair for a fashion show,” 2013


Jennifer Greenburg is the Cindy Sherman of our post-feminist times. A consummate performance photographer, Greenburg has all of Sherman’s wit and irony, put to the purpose of a girl just trying to have fun. Of course, post-feminism was around way before that term came into fashion; think Cyndi Lauper. Greenburg has a different and decidedly visually delectable way of parading her seemingly inexhaustible personae. Make no mistake, the black-and-white images in her project of “revising history” put her as the star in her scenarios, with the other members of the cast playing supporting roles, though they never would have known that they would be drafted for that duty. What Greenburg has done is Read the rest of this entry »