RECOMMENDED Judith Geichman’s “Soak” exhibit utilizes her signature pours, stains, suede fibers, experiments and improvisations to visually evoke a sense of interpretation, personalization and a near-ethereal sense of chance, reminiscent of something part Rorschachian inquiry, part cloud- and sunset-watching. This spectrum is most obvious in contrast between “Untitled/Atmospheric and Morph or Scene with Pink and Grey.” The works read as both transfixing calm and intrepid invigoration, as perfect coexistence and tense conflict between the natural and the built. “Romance with Reference To Fragonard,” suggestive of Fragonard’s hinted eroticism and sexual freedom, wonderfully captures Geichman’s sense of intense stillness and swirling movement. Geichman, it seems, both aims for and beautifully executes these dualities again and again. (Amy Guth) Through November 10 at ALFEDENA GALLERY.
For Us: A Review of "Something from Something" at Engage Projects Kushala Vora and Adia Sykes’ collaboration "Something from Something" tells us as viewers that knowledge, art, creation, inspiration, love—really anything you can think of—has a place of origin.
Women Behind the Lens: A Review of "From Her to Eternity" Courtney Love curates on the street. Just west of Wabash on the corner of Eighth Street, there is a wall of stellar rock star images that includes a special collection made by women photographers over the years.
Looking Down: A Review of Bob Tanner at Perspective After the loss of his wife, Bob Tanner made two photography series, “At Ocean’s Edge” and “At Winter’s Edge,” that are shown in this meditative show filled with graceful visual poetry.
Microcosm: A Review of “Dialogues” at Patron Through each artist-relationship, "Dialogues" offers the viewer a rare opportunity to witness the direct connections that flow through the electric nervous system that both infiltrates and generates Chicago's art world.
Excavated Images: A Review of “Life Against Itself” at Patron For the better part of a decade, the L.A.-based artist has used a variety of bladed tools to make her signature alla prima monochromatic gestural abstractions. In the last year, however, the hand has cut off the knife.
