A devotee of road trips through the hinterlands, Michael Wayne shoots digital photos of the landscape—earth, trees and sky—as he speeds along; applies beeswax and acrylic varnishes to his straight prints with the aid of his collaborator Marco Logsdon; and produces an effect that freezes his subjects in dense entangled forms drenched in seductive colors that bleed into one another. Although he claims that he is documenting “passing,” Wayne has, instead, transmuted motion into integral and lively compositions with an impressionist surface that concentrates our gaze. It is the materials that Wayne has applied that do the trick by removing the sense of indefinition and forward thrust from his images while leaving a vibrant yet static blur. Wayne’s small cyano-toned set of five studies of strands of ink-blue trees takes us away from nature and delivers us to a distinctive, compelling and decidedly aesthetic sensibility—almost art for art’s sake. (Michael Weinstein)
Through September 5 at Logsdon 1909, 1909 S. Halsted
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.
Other Forces: A Review of Maw at Apparatus Projects Ailes and Lopez’s installations, images and sculptures function as a cosmos of life—worlds where the viewer is placed in a disordered exercise of cognitive sense-making between rather than sense-making of.
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