Young hands, old hands and imprints of hands; hands clasped in prayer, gesturing in conversation, festooned with outrageous nail extensions, groping at food, playing musical instruments, locked in fists with gauntlets on the wrists—all that and much more appear in Norman Sagansky’s series of color photographs celebrating the most expressive elements of our anatomy, save the face. For all the sensitivity of his static sculptural studies, Sagansky comes into his own with his action shots of the insane flurry of dancers’ hands as they strut their stuff in Daley Plaza, and especially his take of a café in Cologne, Germany at a photo fest where the patrons reveal their wildly diverse moods through their gestures of animation, boredom and ruthless determination, as a beauty in a large dominating photo on the wall presides over them with her fingers seductively stroking her lips. (Michael Weinstein)
Through June 28 at the Chicago Cultural Center, 77 E. Randolph
Home Is Where the Family Is: A Review of Chicago Chiquito at Bridgeport Art Center This small but significant exhibition shows the history of Chicago Chiquito, or little Chicago, the nickname given to La Hacienda, a small town in the state of Guanajuato, Mexico. Its families have migrated north to find work for over one hundred years.
Resisting Marginalization: Jeffrey Gibson Reconsiders the Cultural Representation of Indigenous People "Sweet Bitter Love" is effective at "opening up" the Burbank portraits, in the sense that juxtaposing these portraits to work by a contemporary artist who has Indigenous heritage, whose ancestors persisted through the violence of settler colonialism, pushes us to re/consider these portraits with fresh eyes.
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