In an artworld where size is proportional to value, the gallery has dared to go small.
As the one hundredth anniversary of the 1919 Chicago Riots arrives, a cohort of organizers, archivists, sociologists, writers, artists and others work to ensure that its incidents are not forgotten.
The gallery space is filled with objects we see every day, objects we use every day. Donovan breathes new life into them.
The exhibition is an escape amidst the white walls of the Modern Wing—a fresh approach to landscape, that also happens to be about design.
“When Chicago gets going, she’ll make culture hum,” wrote Eugene Field.
These travel posters have a faith in our dynamic secular world that so much twentieth century art does not share (and not a single church is offered as a preferred destination!).
Aguilar presents perspective and proportion as “culturally shaped and unshaped possibilities” and fashions a profound alternative to the artistic tradition of the nude as fetishized object for the male gaze.
The show takes the almost impossibly broad theme of “red” and fashions it into a conversation on what shades our perception of the color, from passion and lust to violence and destruction.
The Obama series speaks to the core and foundational values of artwork, the preservation of history, the documentation of importance and the power of action.
The paintings are too naïve, too frivolously executed in style and subject matter to rise to the seriousness for which their creator claims on their behalf.