Steven Frost’s merit badges are modeled on the patches that Boy Scouts receive for community service and educational efforts—archery, first aid, insect study, and so on; but Frost’s badges are far from these traditional do-gooder achievements. Instead, he commemorates the trivial junk of daily life. There’s the “Looking for Yourself in Missed Connections Badge,” and the “Badge for Losing Your Phone on the Chinatown Bus.” There’s a badge to recognize sexual fantasies and some are constructed from designer knock-off materials such as the Louis Vuitton logo pattern. It seems all the badges are granted for un-fulfillments rather than exceptional efforts. For the slacker class (over-praised by mommy, can’t fill daddy’s shoes), where irony is currency, these patches will look perfect fixed on pre-faded jeans and thrift-shop cardigans. Frost is new to Chicago, having moved recently from D.C. to earn a master’s degree in fiber art, where he’ll be the easy descendant of Darrel Morris’ embroidered anti-heroic mementos of insecurity. [Read more…]
By Jason Foumberg
Artist Young Sun Han placed a Craigslist ad for a stranger to engage in a twenty-four-hour sustained hug. After receiving several responses, Young invited Gerald O. Heller to participate. Though not an artist himself, Gerald was comfortable with endurance practices, having run thirteen marathon races. The two men began their embrace on December 30 at midnight, and after moving through several emotional phases of excitement, physical fatigue and mental boredom (they agreed to remain silent), comfort, and finally, impatience, Young and Gerald released on December 31 as a crowd counted down the last seconds of 2008.
The world record for the longest embrace is twenty-four hours and one minute, a duration that could have easily been exceeded here, but that was not Young’s intention with his performance. Instead, he wished to heighten a hug’s normally fleeting physical sensation; even the most heartfelt hugs between mothers and sons last only a few seconds; even as we spoon with lovers, who we may have known for a lifetime or for one night, we must eventually push away. At which point does a hug or a handshake become uncomfortable or even taboo? Young wished to fight the internal stopwatch, commanded by cultural conventions, and invited the public to watch.
Since the performance, Young has returned to Auckland, New Zealand, where he is a permanent resident and has lived for the past two years. The Skokie-native runs an art gallery there, called City Art Rooms, a spacious white cube with large arching windows, with Kylie Sanderson, wherein they exhibit the work of emerging artists. While earning his art degree in Chicago, at the School of the Art Institute, Young worked on a project that also extended for twenty-four hours. He hit the streets of the city and engaged twenty-four strangers for one hour each, learning as much about them as a casual conversation would allow, and they about him. He then photographed them, and moved on. The idea of the stranger also figures in to his 2004–05 double-portrait series of couples that Young approached almost at random and photographed in their domestic settings.
Now, with the hugging performance, the complexities of intimacy are given full expression. At times Gerald, a tall 64-year-old Caucasian, felt like the contours of past lovers or even of the artist’s father, says Young, a twenty-something Korean-American. Also on view in the gallery space was a projection of a self-portrait. Here, Young has a red sheet over his head like a child’s ghost costume, with three holes ripped in it: two for eyes and one for his dick, protruding gloryhole-like. The photographic print could easily extend commentary on anonymous Internet sex sites, like Craigslist, where Young met Jerry, where identity is shrouded during a transaction of pleasure. The ghost looks strikingly like a Klan member, so that the gay ghost comes to represent the self-loathing and internalized shame inherent in some repressed homosexual desire. Too often, though, gay identity becomes over-sexualized, and is maintained as a simultaneous concealment and exposure; the public image of the sanitized and witty gay seems nothing like the haunting image of symbolic ancestors dead from disease.
In his artist statement, Young writes that art saved his life. In fact it gave him direction, and freedom. Perhaps to be sincere is uncool, said Young when I asked him about the sentimentality of his projects, which are refreshingly devoid of hip irony. Indeed, they are genuine endeavors. During the culmination of the hugging performance, onlookers engaged each other in a group hug.
Top 5 Exhibitions
Anne Wilson, Rhona Hoffman Gallery
Watercolors by Winslow Homer, Art Institute of Chicago
“Adaptation,” Smart Museum
Chuck Walker, Hyde Park Art Center
Mark Wagner, Western Exhibitions
Top 5 Art Shows
Jenny Holzer, “Protect, Protect,” Museum of Contemporary Art
Edra Soto, “The Soto-Chacon Show,” Rowland Contemporary Gallery
Alan Lerner, Art on Armitage
“Made in Chicago: Portraits form the Bank of America,” LaSalle Collection/Chicago Cultural Center
“Benin—Kings and Rituals: Court Arts from Nigeria,” Art Institute of Chicago
Top Five Photography Shows
Delilah Montoya, La Llorona Gallery
Jowhara Alsaud, Schneider Gallery
Frederic Chaubin, Chicago Architecture Foundation
Jill Frank, Golden Gallery
Carla Gannis, Kasia Kay Art Projects
Top 5 Museum Shows
“The Smart Home: Green + Wired,” Museum of Science and Industry
“Chic Chicago,” Chicago History Museum
“The Glass Experience,” Museum of Science and Industry
“Soul Soldiers: African Americans and the Vietnam War,” DuSable Museum
“Nature Unleashed: Inside Natural Disasters,” Field Museum
Top 5 Museum Shows
Edward Hopper, Art Institute
“Twisted Into Recognition: Clichés of Jews and Others,” Spertus Museum
“Watercolors by Winslow Homer: The Color of Light,” Art Institute
“Earth From Space,” Museum of Science and Industry
“Benin—Kings and Rituals: Court Arts from Nigeria,” Art Institute
Top 5 Freshest Art Spaces
Swimming Pool Project Space
Hyde Park Art Center
Top 5 Art Spaces We’ll Miss
Contemporary Art Workshop
32nd & Urban
Top 5 Contemporary Art Exhibitions about Nature
“Biological Agents” at Gallery 400
Lora Fosberg at Linda Warren Gallery
“The Leaf and the Page,” Illinois State Museum Chicago Gallery
“Future Farmers,” Peggy Notebaert Nature Museum
Claire Sherman, Kavi Gupta Gallery
Top 5 Art Exhibitions About Food
Maria Tomasula, Zolla/Lieberman Gallery
“Portraying Food in Contemporary Chinese Art,” Walsh Gallery
“Sugarcraft,” Kasia Kay Art Projects Gallery
Pamela Michelle Johnson, Urbanest
Isabelle du Toit, Byron Roche Gallery
Top 5 Feminist Art Exhibitions
“Ladylike,” Gosia Koscielak Gallery
“Henbane: Dialectics of the Feminine Sublime,” Medicine Park
“Are We There Yet? 40 Years of Feminism,” ARC Gallery
Amelia Falk, ARC Gallery
“A Minyan Without Men,” Woman Made Gallery
Top 5 Exhibitions/Events at Alt-Art Spaces
“Tomorrow,” Vega Estates
“The Baby,” Knock Knock Gallery
“Pere Portabella’s Masterpiece Vampir-Cuadecuc,” White Light Cinema
Sumi Ink Club and Lucky Dragons, Golden Age
“Zummer Tapez: Jim Trainor,” Roots and Culture
By Alicia Eler
Art Fairing in a new economy, Chicago blows through the 2008 Miami art fairs
Overall murmurs of low attendance aside, Art Basel Miami Beach reported more registered collectors and cultural institutions than any previous year. The Miami Herald said that almost half of the galleries at Art Basel saw drops in sales, however, and after just two days into the fair, only sixteen percent of galleries at Basel and the satellite fairs saw sales growth. There are fewer visitors roaming the fairs than in years past, but the art world won’t give up.
Of the three Chicago galleries at Art Basel Miami Beach—blue-chippers Richard Gray, Donald Young and Valerie Carberry—I noticed a sprinkling of red dots covering David Hockneys at Richard Gray. During an unstable time, art buyers will invest in artists whose names they already know and trust. Kavi Gupta Gallery led the way at the younger, more casual, Chicago gallery-populated NADA Art Fair, even positioning Tony Tassett’s “Snowman” (2008) by the coveted fair entrance. Within the first hour of the fair, that piece sold for $70,000, which “shocked” Gupta according to reports from Artinfo.com. Red dots covered works by Melanie Schiff—a 2008 Whitney Biennial participant—including her “Untitled” (2008), an exquisite play with light, shadow and circular lens-like mirrors and symbols that are curiously shaped like Schiff’s nipples, recognizable in her other works.
Imperfect Articles represented a more affordable slice of Chicago’s art world at NADA, selling t-shirts designed by Andrew Rafacz Gallery’s Cody Hudson, among others. Nearby, Bridgeport-based Proximity Magazine and Pilsen-based Golden Age showed off their print goods. The West Loop’s Western Exhibitions dedicated their entire space to the work of Chicago’s husband art team duo Stan Shellabarger and Dutes Miller, who are quickly becoming the gallery’s art-fair darlings, and included a live knitting performance of their pink umbilical cord-like tube, making early on a $5,000 sale of a book filled with self-portrait silhouettes. Chicago galleries Rowley Kennerk and Shane Campbell Gallery also showed at NADA.
The West Loop contingent was further seen down the street at PULSE, where Monique Meloche Gallery’s booth featuring L.A.-based emerging artist Kendell Carter sold a variety of his works ranging from $1,700–$12,000, including the space’s wainscot wall installation, something that’s certainly more difficult to sell than, say, one of the artist’s shoelace drip paintings. Lake Street’s Packer Schopf Gallery did Bridge for the past three years but switched to PULSE this year; owner Aron Packer says that Michael Dinges’ paintings on deceased Mac computers and Steve Seeley’s whimsical taxidermy drawings were “a hit.” Tony Wight of Tony Wight Gallery smiled from inside his crisp white-walled space, which included a strong selection of work including abstract, kaliediscope-esque photos from NY-based Tamar Halpern’s solo exhibition recently seen in Chicago.
Catherine Edelman Gallery, Douglas Dawson and McCormick Gallery brought work to Art Miami, another of the vast tent fairs. Chicago representation at the poppy young Aqua Wynwood Fair included Kasia Kay Art Projects and Thomas Robertello Gallery, who smartly curated works from Lily McElroy’s “I Throw Myself at Men.” In this series, the artist hand-selected men either from Craigslist or at dive bars in Chicago, and literally threw herself at them, toying with assumptions about male-female power dynamics.
The Chicago born-and-bred Bridge Art Fair led Chicago representation in Miami, bringing ALL RiSE GALLERY, Accomplice Projects, Antena, GARDENfresh, Swimming Pool Project Space to the Miami location, and Aldo Castillo Gallery and Ryan Schulz Projects (of the recently closed NavtaSchulz Gallery on Lake Street) to the new Bridge Wynwood. Emerging artist Mathew Paul Jinks says “I’m seeing a lot of interest—my Web site stats peaked this week, and GRACE, a Brooklyn gallery, asked me to do a performance next year.” Likewise, at Bridge Miami Beach, gallery co-owner Liz Nielsen, of the less-than-one-year-old Swimming Pool Project Space, saw two $500 video art sales of work by Latham Zearfoss and Aspen Mays.
Talk of sales was still on everyone’s lips until Art Basel Miami Beach closed their doors on Sunday, December 7, at 6pm sharp. As the power went out on Donald Young Gallery’s four-channel Gary Hill video piece, guests streamed out of the convention center. When the Art Basel Miami Beach closing party began at the newly renovated Fontainebleau Hotel at 41st and Collins, which was recently renovated in line with Morris Lapidus’s original design, the food and wine flowed as if someone had just won the lottery and was treating thousands of close friends. Guests ate little slices of decadence, like grilled jumbo shrimp, succulent beef polenta, fresh cherry tomatoes and finger-food desserts of soft sweet cakes, rich chocolate morsels and creamy puddings. Free champagne, wine and mixed drinks flowed endlessly at the bars, some of which were crafted entirely from ice. And as the party meandered into the hotel’s new LIV Lounge, where shiny stairs led the way into a lounge-like pit of sweaty bodies dancing against one another, Art Basel Miami Beach Co-Director Annette Schönholzer smiled, sliding alongside collectors and exhibitors. No one was thinking about unsold paintings needing to be shipped home.
If you haven’t been to Albany Park’s new art gallery, Swimming Pool, the current show, “Video as Video: Rewind to Form,” is the perfect excuse for a Saturday outing (Saturday being the only day this independent space is open to the public). The curators are intent on delivering video that has been distilled to the essential characteristics of its medium, or at least that’s one way to understand the invocation of form as a throwback, a place in the past we’ve been cast out of. Many of the videos make this connection to form with a separate, embedded object. Rochelle Feinstein alters vintage television sets, Rob Carter’s “Reseed” takes place in the Wimbledon tennis courts, Mioon’s contribution is a documentation of a fluttering, feathery sculptural video installation, Julie Lequin’s idiosyncratic work is based on her book “The Ice Skating Tree Opéra,” and Luana Perilli’s extremely affective footage of her Italian grandmother is projected into decorative ceramic frames. It is tempting to suggest that these examples mark an expansion rather than a contraction in contemporary video practice. Taras Polataiko’s “Kyiv Classical,” is, by itself, a reason to visit. Also focused on an object of cultural identity and memory, “Kyiv” explores the defaced site in Bad Ems, Germany where Czar Alexander II issued a secret edict forbidding the use of the Ukrainian language. The video features a relentless sincerity and the song of a mysterious, never-seen bird that has learned to warble a classical Ukrainian tune. The limits of this gallery’s space require innovation and curators Alicia Eler and Peregrine Honig have come upon a viewing strategy that fundamentally alters the traditional experience of video in a gallery. Instead of projection, each video is presented in its own, personal-sized DVD player equipped with a single headset. In place of a crowded, dark room with the many distractions of people entering and exiting, gossiping and critiquing, one is left quite alone with the work in a startling, but positive, intervention into reception. (Rachel Furnari)
Saturdays from noon-5pm, through October 18, at Swimming Pool Project Space, 2858 W. Montrose.
Many new and established art galleries function as gallery spaces and homes. Outside the clusters of galleries, these spaces, such as Pilsen’s Antena, Oak Park’s Suburban and Albany Park’s Swimming Pool Project Space make room for art beside the furniture. Profit is not the motive; rather, it’s all about exposure, for artists and viewers, and creative expression. “We have an art world that doesn’t value artists,” notes Michelle Grabner, co-owner of the nine-year-old Suburban gallery. “Dealers and curators are running the shots, artists really don’t have the kind of control and decision making they once had.”
Filling that void, art spaces such as Suburban and Antena allow artists free reign in terms of artistic and curatorial control. Antena, a new space that opened in March, is run out of founder Miguel Cortez’s apartment. “Artists are allowed to repaint the walls, transform the space for a show,” Cortez says, who shifted focus to his new space after running Pilsen’s Polvo gallery for years. Polvo continues to publish a quarterly magazine with artist profiles.
Art openings at both Suburban and Antena provide a gathering spot for the arts community. At Suburban, openings now take place on Sunday afternoons in the yard of Grabner’s house, with bratwurst and beer during the warm months, coffee and sweets during the winter. Antena’s openings, which take place in Cortez’s apartment, are equally informal. And through these events artists gain access to networks and visibility.
“We are neither a commercial nor a non-profit space,” notes Grabner. And the same goes for Antena, which aims to be a forum for artists in need of a middle ground alternative space.
Swimming Pool Project Space, opened July 2008, appearing as a commercial storefront, provides a springboard for emerging contemporary artists from Chicago and abroad. Pool parties—openings that take place around the glossy blue wooden floor that resembles a swimming pool—provide a place for artists and community members to interact. “This where people meet, artists or not, it’s public space where conversation occurs, not a bar but an art space,” says co-owner Liz Nielsen. The next exhibition, “Video as Video: Rewind to Form,” is curated by art critic Alicia Eler and artist Peregrine Honig, and opens September 20. (Marla Seidell)