Visual Art Culture of Chicago and Beyond
Unexpectedly experimenting with form, material, texture and emotion, the curator provides insight into R. Treshawn Williamson’s work—screenprints, concrete sculptures and photographs—the Japanese proverb that inspired the title and the exhibition’s magic as an essential element of the human experience.
The work is activated by the viewer stepping into the gallery, freezing each figure in place mid sentence and creating a quiet, buzzing tension, as if crashing a dinner party.
It’s time to head for the suburbs to see a big, big show or three.
Images as title offered plenty of clues as to what their show might be about—celebrity, social media, humor and play, reality (or its simulation), the body—were all issues at play.
An endless summer pulsating with the sun-soaked cadences of post-impressionism, Edelman’s seductive new show “Invitations” is resplendent with a frenzied joy that hints toward deeper desperation.
The ephemeral and intangible quality of cloud making is what binds together Bogdanova’s solo exhibition, “A Dream We Dream Together is Reality.” It’s a whimsical move, capturing, on a micro-level, the joy of seeing things in clouds, which is to say, the perceiving of meaning in the random.
Bernblum trusts the viewer to experience an overwhelm of vulnerability and defiance, walk the tightrope of intimacy and voyeurism, and peel back the opaque curtain on pleasure.
“Procession” necessitates a space that blurs the boundaries that mark the privacy of the artist’s studio with the public-facing windows of Roman Susan.
“Days Later, Down River” evokes feelings of fear, vulnerability, fragility, and respect for nature, which is perceived as vast, powerful and mysterious. It also sheds light into the past.
The exhibition at the Jewish Museum illuminates a dark period for artistic freedom, and underscores its tragic human cost.
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