Earlier this month, Creative Capital (CC) announced the forty-six 2015 awardees in the categories of Moving Image and Visual Arts, two of which are Chicago-based artists: filmmaker Jennifer Reeder and visual artist Maria Gaspar. The selected artists were chosen out of a countrywide pool consisting of more than 3,700 proposals. Each funded project receives up to $50,000 in direct funding with the addition of CC’s career-development services that the artists receive at no cost to them, bringing their 2015 investment total to more than $4,370,000. Ruby Lerner, CC’s executive director, says about this year’s awardees, “This is one of our most diverse rosters ever—the range in form and subject matter is thrilling.” Read the rest of this entry »
By Matt Morris
Could you set up your take as the curator on what the Richard Hunt exhibition at the MCA is?
The show from the MCA starts from the premise of our collection. It’s part of what we call our MCA DNA series, and those are dossier shows—small jewel-box shows—that are about highlights from the MCA holdings that most people don’t even know that we have. So for instance we have another beautiful one up right now featuring Alexander Calder; there’s a huge collection of that in Chicago, many of them right here in this building. Another wonderful one that we put up recently was a collection of Dieter Roth art books that I hadn’t even known were in the collection. The DNA series is a chance for us as a museum to really highlight works of significance that most folks don’t know are here.
I found out that Richard Hunt was turning eighty this year. I realized the best way that we could honor him was to do an exhibition and—oh, my goodness—there are these works in the collection. I knew that the museum had a long history of helping organize the inclusion of a work of his at the White House. It’s a work called “Farmer’s Dream” that was exhibited in D.C. during the Clinton administration, and then when it came back from D.C. it went into Seneca Park, which is the park straight across west of the MCA. It was there for many years and then acquired by the MCA. These kinds of stories I knew, but I didn’t know that we had some of his early work from the sixties here, and we have some works on paper in the collection. The show is really compact, and is set to show the breadth of Richard’s work from his earliest days—the earliest work is from ’57 when he was finishing school—to a work made in, I believe, 2012.
Was the MCA show coordinated with the Cultural Center show?
Would you believe that it was a happy coincidence. Read the rest of this entry »
By Matt Morris
Two concurrent exhibitions at the Museum of Contemporary Art and the Chicago Cultural Center crown the sculptor Richard Hunt’s eightieth year. To date, Hunt has produced more public sculpture than any other artist in the United States, with 125 currently on view, thirty-five of which are in Chicago. Hunt completed his studies at the School of the Art Institute of Chicago in 1957 at a time when other black artists were scarce and the approach to welded metal sculpture Hunt had started to pursue wasn’t supported by the school’s studio facilities. Footage playing at the Cultural Center’s exhibition shows a dashingly handsome young Hunt setting up shop in his parents’ basement. By 1971 he had been honored with an exhibition at the Museum of Modern Art, and his diligent efforts have been continually rewarded throughout his career. Taken together, the exhibitions offer audiences examples of early investigations, to-scale maquettes for larger outdoor commissions, and a breadth of two- and three-dimensional works that ground flighty abstractions in a gravitas tempered by the struggles and victories of modern life. Read the rest of this entry »
The Museum of Contemporary Photography (MoCP) has begun accepting submissions for the third iteration of the Snider Prize. Sponsored by MoCP patrons Lawrence K. and Maxine Snider, the Snider Prize is a purchase award given to emerging artists who are on the cusp of leaving graduate school and is open to MFA students who are currently in their final year of study at an accredited program in the US. One artist is awarded a sum of $2,000, the funds of which will be used toward purchasing pieces of work that will be supplemented to MoCP’s permanent collection. Additionally, two honorable mentions will receive $500 each. Submissions for the 2015 Snider Prize will be accepted from January 15 through April 1, 2015. Read the rest of this entry »
By Matt Morris
This is not a roundup of fiber art exhibitions currently on view around town, though that temptation perpetually lingers because at any given moment in Chicago there are plenty of artists exhibiting smart hybrids of textile and painting, fiber art and installation. This is no doubt attributable in part to the Fiber and Material Studies department at SAIC—still a rarity with few comparable programs around the country—and more generally the deconstructive, interdisciplinary thrust of most of the fine arts programs to be found here. The aftereffects of Modernism in Chicago aren’t really the Greenbergian isolation and purification of a medium’s potential; instead, painting’s frequent conflation with sewing is a recurrent signal of a Modernist project to apply the arts broadly across other parts of life—keenly designed forms for living integrated with art-making as was seen in the De Stijl and Bauhaus (and its offspring, Chicago’s New Bauhaus begun in the late 1930s). Modest and succinct or madly layered, a few artists’ current projects carry us into this new year with propositions for art’s visual and material elements brought in various proximities of closeness to the lives being lived around its production. Read the rest of this entry »
At the start of December, Chicago Urban Art Society (CUAS) completed its move from its location in the East Pilsen neighborhood to 3636 South Iron in McKinley Park. The move is seen as a homecoming for the exhibition gallery and creative-use space: executive director Lauren M. Pacheco and gallery co-founder and director Peter Kepha are siblings who grew up in nearby Brighton Park. In addition to changing locations for the opportunity at working with a larger space, the new spot interconnects areas that have large Latino communities such as Back of the Yards, Bridgeport, Brighton Park and McKinley Park, allowing CUAS to work in accord with their fundamental commitment to serving Southwest Side Latino communities. “The Southwest Side of Chicago is an art desert,” says Pacheco. “We hope to provide a much needed resource and to continue our advocacy work for more arts and cultural spaces that push innovative practice and discourse in Latino communities and the South Side.” Kepha seconds that notion saying, “In 2015, I am extremely excited to present a curatorial practice that involves new visual voices who are able to think differently about space, community and production.” 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 »
Last week the Department of Cultural Affairs and Special Events (DCASE) and The Joyce Foundation announced the two curators and six artists who have been selected for the inaugural year of the DCASE Studio Artist and Curatorial Residency Awards at the Chicago Cultural Center (CCC). For the 2014-2015 year, Allison Glenn and Ross Jordan have been selected as curatorial fellows. The selected artists will be provided three-month residencies. The schedule of artist residencies is as follows: Alexandria Eregbu (October-December 2014); Adebukola Bodunrin, Mahwish Chishty and Faheem Majeed in collaboration with Jeremiah Hulsebos-Spofford (January-April 2015); Cecil McDonald and Cheryl Pope (May-August 2015).
Read the rest of this entry »
By Matt Morris
I’m the sort of queer person who hangs out in places where you hear the word “breeder” tossed around; this isn’t really a unifying trait of these places, actually, because I’m often the one saying it. I’m dubious about moves to increase visibility for the material conditions of parents and families. I usually remain unconvinced that these agendas to further elucidate the particulars of family life can resist being co-opted by a forceful patriarchy that rigidly orders gender roles to align with the reproductive determinations of our bodies. It’s a particularly fraught conversation within the art world at least in part because advancements to naturalize current norms threatens cultural producers who aim to innovate and imagine more possibilities for how to live than we’ve previously been offered.
Into the midst of these chilly philosophical divides, artist and writer Lise Haller Baggesen strikes with “Mothernism”—a project comprised of both her traveling multimedia tent installation and a new book released this fall from Green Lantern Press and Poor Farm Press. With the excesses (and excessive generosity) of Baggesen’s artwork and book, she loosens the divide that would place motherhood at odds with a pursuit of rebelling against status quo oppression. As she writes in the book’s chapter “Mother of Demolition”: “Beginning with the old feminist premise of the female as ‘the second sex,’ and lesbianism as a third, I suggest that motherhood is a fourth… and hell, who knows? Maybe menopause is a fifth and so on… Because if we can accept motherhood as one sex among many, we can perhaps relieve the inevitable burden of motherhood perceived as a stagnant destination.” Read the rest of this entry »
Tim Leeming paints to accommodate the world rather than escape or celebrate it. Though he shows with the Plein Air Painters of Chicago, his depictions of festering dumpsters beneath a gunmetal sky really don’t fit there. Rather than the qualities of sunlight and a nostalgic sense of place, he’s more about how life feels, and for the past five years he’s felt immersed in Chicago alleys, teeming with the energy of urban life, but not its bright and shiny side. As an attorney in the office of Cook County Public Defender, he’s more familiar with the world of drugs, murder, rape, robbery and mayhem.
While walking or driving through the city, Leeming hunts for views that satisfy his pursuit of compositional balance. When he can’t work on site, he snaps a photo, taking it back to the studio, a small corner in the basement of his family home, marked off by a strip of blue tape on the cement floor. He selects a limited, muted palette for each painting and then applies it in gutsy, calligraphic brush strokes to resolve whatever compositional elements are involved. Read the rest of this entry »