Threewalls founder Shannon Stratton/Photo: Clare Britt
In a heartfelt letter addressed to friends and supporters of Threewalls on March 26, founder and executive director Shannon Stratton announced that she has been appointed the William and Mildred Lasdon chief curator at the Museum of Arts and Design (MAD) in New York City. Stratton will be leaving after twelve years as executive director at Threewalls and will begin her position at MAD on June 15, 2015.
In an email exchange, Stratton nostalgically reminisces on some of her most prized moments at Threewalls. “It’s hard to really choose just one thing I’m proud of. I am mostly just incredibly happy that the organization will outlive its founder(s)—that is, stand on its own three feet with a staff and board that isn’t drawn from the organization’s original team. My most beloved success is curating Faith Wilding’s retrospective.” At MAD, Stratton will be a senior management team member, responsible for leading museum strategy for collections and exhibitions as well as for setting the artistic vision for the museum in collaboration with MAD director Glenn Adamson, explains Stratton. “There is plenty to look forward to with this move, but very personally, I am excited to be working full time as a curator, join a team I respect and get to refocus on the intersections between contemporary art, craft and design.” Read the rest of this entry »
Julia Klein, “Stand/Statuette.” Mock-up of the planned editions. Edition of 25 + 6 artist proofs. All thirty-one are unique in terms of exact measurements and color. Cast bronze, steel and paint.
Threewalls, one of Chicago’s non-profit art leaders in pro-artist programming, is launching the 2015 edition of its Community Supported Art Chicago (CSA) series: “The Tabletop Collection.” Using the theme of a sculpture garden reimagined for a tabletop, the collection will be available as a set with works by five Chicago-based artists: Laura Davis, Assaf Evron, Julia Klein, Sabina Ott and Stephen Reber. Read the rest of this entry »
Jaime Davidovich. “The Live! Show,” 1980
Argentinian artist Jaime Davidovich moved to a New York teeming with ideas, conversations and possibilities during the 1960s and seventies, when it was gritty, dangerous and artists could afford a building in SoHo. Whereas Gordon Matta-Clark, Donald Judd and the Judson Dance Theater give the period its experimental flavor, Davidovich’s pioneering efforts in artist-run public television never received recognition like abstract video artists Stan Brackhage or Paul Sharits. Read the rest of this entry »
Nate Young. Installation view of “Untitled (Pulpit No. 1),” 2014, and “Untitled (Altar No. 1),” 2015
By Matt Morris
Is art that appears to be “about art” ever only limited to that scope of investigation? I’d say it’s doubtful, mostly because mechanisms of power reproduce themselves throughout social institutions, so to reflect upon the constitutive components of an artistic medium (as well as its historical and contemporary contexts) possesses at least the potential of a transferrable method by which one might fashion new freedoms—not through a rebellion from upheld traditional forms but through critical relationships to them. The monochrome continues to do this. Distilled to an uninterrupted plane, color, texture, scale and the tools for applying material (all usually in some way present in most artworks) are amplified, inviting investigation into the parts that comprise the art. In the best of cases, consideration of the conditions of display is inspired as well. The monochrome as a form also holds up under projections: historically used for such diverse conceptual conceits as Suprematism, color field painting, the “radical painting group,” and most recently one of several working modes bizarrely attributed by Ken Johnson to “soccer mom” aesthetics. A century after Kazimir Malevich painted his canvas “Black Square” in 1915, artists continue figuring out how to take apart the language of art-making so that the parsed vocabulary can speak to the power of the entire system. Read the rest of this entry »
By Matt Morris
“They hop between revolving scenes, juggle various professional identities, seek out and improvise ever-new situations and contexts for staging what can be recognized and evaluated by their peers as art, all squeezed into schedules already bloated with myriad non-art activity.” This is how art critic and Northwestern professor Lane Relyea depicts the contemporary art laborer in his 2014 essay “Afterthoughts on D.I.Y. Abstraction,” a digestible think piece that shares the concerns he investigated at length in his 2013 book “Your Everyday Art World.”
His take is poignantly accurate. Our town (and increasingly more of the art world) runs on multi-hyphenate cultural producers who not only make art but also curate, write, teach and run alternative galleries. We’re embedded in a pervasive labor economy that has mutated into part-time work status, short-term contracts (or no contracts) and a demand for flexibility, availability and diversified skill sets. I’ve been writing this text along with two other articles and a grossly overdue catalogue essay this week, while teaching two courses at SAIC, troubleshooting shipping and consignments for an exhibition I’m curating, and stubbornly insisting on the better part of two days in my studio because I’m falling behind in my production schedule for an exhibition next year. My workload isn’t extraordinary or even varied beyond the status quo. It’s not exceptional that I slip between myriad roles; in fact it’s all day, everyday for most of us.
While Relyea’s analysis is useful in symptomatizing our labor and, indeed, we may all be acting out tacit directives that guarantee even more insidious modes of capitalism and lifetimes of instability for a burgeoning “precaritariat,” I’ve wanted to better understand artists’ presumed motives for working across disciplines in personally attuned panoplies of creative output. I wrote to a number of other folks in Chicago to hopefully compare notes and maybe commiserate. Everyone who replied was frankly honest about diversification as a means to make a living while also holding to the possibilities that these hybrids allow (or at least once allowed) for nimble forms of criticality and subversion. Read the rest of this entry »
Ai Weiwei. “Circle of Animals/Zodiac Heads” installed at the Adler Planetarium. Photo Credit: Natalia Salazar / Chicago Park District
The third year of The International Exposition of Contemporary and Modern Art (EXPO) is upon us. There is much to be seen this weekend both on and off the Pier, but no one can do it all. (I had a hard time even getting through the encyclopedic press materials in a timely manner.) So strap on your sensible shoes, paint your face like Ziggy Stardust, and keep your eyes peeled for Shaq; here are my recommendations, must-sees and predictions for what’s most likely to elicit schadenfreude.
Tickets are $20 for a one-day pass or $30 for the weekend. The fair is open 11am-7pm Friday and Saturday and 11am-6pm Sunday. Unless otherwise noted, all events are taking place at Navy Pier’s Festival Hall (600 East Grand). Read the rest of this entry »
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
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 »
Shaquille O’Neal standing in “SIZE DOES MATTER,” an exhibition he curated for the FLAG Art Foundation in 2010
Yesterday EXPO Chicago announced that Shaquille O’Neal will be curating a booth for the FLAG Art Foundation in this fall’s iteration of the art fair. Entitled “SHAQ LOVES PEOPLE,” the project will consist of portraits produced by emerging and established artists of people across various races, cultures and ethnic backgrounds. This is the second curatorial project at FLAG by the fifteen-time NBA all-star turned entrepreneur whose other cultural work includes rap albums, reality television shows and film acting. In 2010 he curated “SIZE DOES MATTER” at FLAG’s gallery in Chelsea, which included artists such as Fred Wilson, Cathy de Monchaux, Kehinde Wiley, Lisa Yuskavage and Jeff Koons. 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 »
The Franklin, an alternative gallery space in East Garfield Park, was a 2012 Propeller Fund recipient
Now in its fifth year, the Propeller Fund is offering two info sessions in advance of the August 1 deadline for 2014 applications. The first one is June 18 at the Hyde Park Art Center at 6 pm (5020 South Cornell). Grant administrator Abigail Satinsky will give a presentation that provides a basic overview of the application, offer discussion about eligibility for the award, and stick around for a Q&A.
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