RECOMMENDED Defiantly adhering to turn-of-the-twentieth-century pictorialist photography, which sought to achieve the same effects wrought by impressionist painters, Lynn Geesaman has spent twenty years producing softly focused images of gardens that evoke a sense of somber and meditative beauty. The twenty-six images here reprise Geesaman’s career, in which she moved from black-and-white to deploying color in order to achieve a genuinely painterly surface, which her predecessors a century ago had failed to do. Geesaman’s virtuosity reaches its peak in her study of a rose bush on Avery Island, Louisiana, whose sagging leaf-covered branches have dissolved into a light faded-green mist and whose flowers body forth in an engaging pattern of blood-red dots that is about to disappear as petals fall into a circle of splashes on the liquid-tan ground. (Michael Weinstein) Through November 24 at Catherine Edelman Gallery, 300 West Superior
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.
Complicating the Narrative: A Review of Them at Roots & Culture Featuring a cohesive body of works by Flor, Manal Kara and Caleb Yono, the exhibition is a stunning display of the magic that can happen when fixed ideas about artmaking and identity are thrown out the window.
