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 »
Erin Jane Nelson. “Monk Behind Bars,” 2015
Inkjet on cotton, cotton, embroidered patches, wool batting, silk ribbon, garden lining fabric, grommets
By Matt Morris
I’ve really only been making photographs for the past couple of years, and thinking seriously about their medium for an even briefer span. What began as a lighthearted impulse to get men to undress for me was challenged into a more cogent form through recognizing the violence of the cropping frame on eroticized bodies (see Kobena Mercer), the draining echo chamber of the photograph’s reproduction (see Sherrie Levine), and the image and its circulation’s complicity in capital (see Hito Steyerl). Last month, when I tried to get a roll of film developed at this or that drugstore, none still had that equipment (“We just took our developing machine out yesterday,” one clerk told me); this older accessibility to the medium of photography is nearly extinct, succeeded by even more broadly used means of iPhone cameras, selfies, dick pics, Instagram and Google image search. We find ourselves in a torrent (all meanings of the word) of image production, and yet their reliability to represent has been utterly compromised (see David Joselit in the February Artforum linking the Staten Island grand jury’s failure to indict the policeman who murdered Eric Garner to the visual evidence—video footage of a brutal cop pile-on—failing to be allowed to represent these bodies and their violences). Read the rest of this entry »
Dutes Miller. “Untitled,” 2014
woven paper, glue, artist tape, 8″ x 8″
Dedicated to dreams and ghosts, the various media of “The world is mystical, dangerous and delicious,” including sculptures, illustrations and collage, speak to their twin subjects with an admirable—and requisite—range; it does not require a particularly broad or tortured interpretation to understand ghosts and dreams as the driving factors behind not only art, but the whole panoply of human expression and existence. As desires become goals become actions, memories become comfort or tumult, all trail a phantom weight in fearful pursuit of their next, and it is these ghosts which one sees with most clarity here. Read the rest of this entry »
Installation view of Stan Shellabarger at Western Exhibitions
Stan Shellabarger’s most recent solo show at Western Exhibitions exhibits his durational work through which he contemplates the residue of time and the physical impressions left behind on materials such as paper, wood and steel. Throughout the galleries, he fully embraces each passing moment while creating a collective imagery that is focused, somber and quiet.
At the center of the show, there is the artist’s homage to Carl Andre’s “Plain” called “Untitled (Drypoint).” This work investigates pacing and time as the artist walked on steel plates he arranged to resemble Andre’s work while wearing heavy-grit sandpaper on his shoes. The work hovers on a plinth just above the gallery floor and is marked with a red snaking shape that sets the stage for the remaining pieces in the galleries. This work is the heart of the show, guiding visitors to also pace themselves with his command of minimalist formal strategies. Read the rest of this entry »
Lilli Carré. “Solution Drawing (no. 2),” 2014,
maze: pencil on paper,
solution: colored pencil on paper
Humans make mazes for themselves so they can solve them. Crosswords, sudoku, Rubik’s Cubes: we’re frustrated with the concept of being lost, but we’re also fascinated with the process of unlocking, the discernment involved and the discovery that happens along the way.
Lilli Carré’s “The Pleasure of Getting Lost” explores this mentality through drawings, animations and a book. Carré’s multidisciplinary practice successfully makes visual the array of sensations associated with the concept of being lost. She invites viewers to lose themselves with her, to follow her process and even step into her roles as creator, explorer and solver of the puzzles. 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 »
Installation view of “Helsingistä” at Western Exhibitions
Though they appear vigorous, the bold gestures and painterly strokes that evoke the heady days of 1950s expressionism in Ari Pelkonen’s paintings, currently on view in Western Exhibitions’ “Helsingistä,” are actually the result of woodblock printing: a slow and methodical technique antithetical to the heroic gestures it emulates. Evoking pop-artist Roy Lichtenstein—who pilloried the dramatic look of the “tenth street touch” in overblown satires such as “Big Painting No. 6”—Pelkonen’s take is refreshingly free of cynicism. Works such as the wine-stained “Hold” offer instead earnest explorations of surface and touch coupled with an interest in figuration versus abstraction and interpretation versus recognition.
Read the rest of this entry »
Ten books in the conXion box set, offset printed books, 2014
Now in its second year, Chicago’s young art book fair has expanded for its latest iteration this weekend, spread across two days, at two sites, with two different focuses. Founded by designer Ria Roberts, Medium Cool is one of the most recent additions to Chicago’s literati culture of fairs, independent presses and book-minded artist projects. Read the rest of this entry »
Miller & Shellabarger. “Again Gone,” installation view
“Western Exhibitions shows all three of us,” say Dutes Miller and Stan Shellabarger, meaning the Chicago gallery separately represents Dutes, Stan and S&M, their collaborative practice as Miller & Shellabarger. The two met as undergraduates studying ceramics and organically began to work together on artistic projects. Twenty-one years later, the couple shares an Irving Park home and studio where individual art practices continue to grow alongside joint projects. Teaming up as Miller & Shellabarger periodically dominates their individual practices, while at other times independent work demands a hiatus from the collaborative. They have found an effortless ebb-and-flow, and three is not a crowd in this household.
Read the rest of this entry »
Nicholas Frank. “Nicholas Frank Biography, page 302 (First Edition),” printed book page, 6 ¼ x 4 ½ inches, custom-milled walnut frame, 10 x 8 inches, 2014
This rambling celebration on the occasion of the gallery’s ten-year anniversary as a bricks-and-mortar space is cheekily titled after the eponymous Andrew W.K. anthem, “Party Hard.” The moniker adds both an air of revelry and defiance to the works exhibited, implying that director Scott Speh and the artists on his roster are fueled by passion and vision rather than a pursuit of conventional success.
The show is an exercise in polarity, oscillating between extremes in scale and tone. Upon entering the gallery, the viewer is confronted by the first of two sigil paintings by Elijah Burgher. Fresh from the Whitney Biennial, these painted drop cloths are installed back to back, dominating the initial visual field. Situated in the corner of the same room are two bongs, “Uncle Sam/Old Yeller” by Ben Stone. They seem slightly out of place in an area otherwise devoted to minimalist and conceptual works but add levity while reiterating the rebellious tone set by the title. Read the rest of this entry »