As she models the form in her drawings, she uses the simplest of colors and materials to suggest the most complex of feelings.
Levy’s sculptures prick the parameters of modernist aesthetics in which material constraints and utilitarian desires breed measured elegance.
It is no coincidence that Buddy is located in the People’s Palace. Buddy embodies the ethos of our city and a hub for making connections between friends.
It’s important to have this kind of non-commercial show because so much local art does not have a local gallery that can sell it.
Ruschwoman as laboratory, site of free exchange, sewing circle, playground, honky-tonk and witches’ salon brings a desired breath of levity, critical engagement and radical vision to Chicago’s artist-run spaces.
We should all be grateful to artists who are willing to impact our public landscape and transform our engagement in these spaces, while never really knowing if they and their work will be protected.
The work on display here successfully exhibits artists that use visual tropes in a way that decenters the western canon to instead showcase voices and perspectives that have historically been left out.
Newcity spoke with Olivia Junell, development and outreach director of ESS, about accessibility of sound art, plans for future iterations of the festival and how the main mission of ESS has shifted to accommodate the needs of artists today.
But if “Surface is Only a Material Vehicle for Spirit,” then why are so many surfaces in this exhibition also vehicles for text or representations?
It is very important to me to use the knowledge that I gained from doing the gallery, and the resources that I gained to do something to give back.