ArtSlant - Openings & events en-us 40 Juan Muñoz - The Art Institute of Chicago - April 28th 10:30 AM - 8:00 PM <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">This spring the Art Institute of Chicago welcomes to the Bluhm Family Terrace a theatrical installation by Spanish sculptor Juan Mu&ntilde;oz (1953&ndash;2001) that flips the experience of viewer and viewed. Many of Mu&ntilde;oz&rsquo;s works unfold like stories in which the spectator is written into the drama. In the case of <em>Thirteen Laughing at Each Other</em> (2001), the viewer is thrust right into the center of the scene. By entering the installation space, one is surrounded by laughing figures seated on bleacher-like structures. From this vantage point, it quickly becomes clear that Mu&ntilde;oz is not merely granting the viewer unusual access to the artwork but also shifting the role of the observer to that of an unwitting subject, and potentially even an object of ridicule as the sculptural figures laugh hysterically&mdash;some toppling from their seats&mdash;at the spectacle in their midst. The work creates a tension and psychological depth that is at once unsettling and captivating. &ldquo;I try to make the work engaging for the spectator,&rdquo; said Mu&ntilde;oz. &ldquo;And then unconsciously, but more interestingly, I try to make you aware that something is really wrong.&rdquo;</p> <p style="text-align: justify;">Mu&ntilde;oz is regarded as a leading sculptor of his generation and among the most significant artists to have achieved maturity in post-Franco Spain. His focus on the human form set him apart from many of his contemporaries who saw figuration as outmoded. Known for emphasizing the relationship of sculpture to architecture and the viewer, Mu&ntilde;oz&rsquo;s work is replete with references to the history of Western culture. His artistic activity includes drawings, radio plays, writings, and essays in addition to sculpture and installations.</p> <p style="text-align: justify;">Set on the museum&rsquo;s third-floor terrace during the city&rsquo;s warm summer months, <em>Thirteen Laughing at Each Other</em> offers visitors the chance to experience the last work created by this important artist, who referred to himself simply as a &ldquo;storyteller.&rdquo;</p> <p style="text-align: justify;"><strong>Sponsors<br /></strong>This exhibition is organized by the Art Institute of Chicago with major funding from the Bluhm Family Endowment Fund, which supports exhibitions of modern and contemporary sculpture.</p> <p style="text-align: justify;">Special thanks are due to the City of Chicago Department of Cultural Affairs and Special Events.</p> </div> </div> Sun, 17 Apr 2016 14:34:42 +0000 Marshall Brown - The Arts Club of Chicago - April 28th 6:30 PM - 8:30 PM <blockquote> <p style="text-align: justify;">The Arts Club of Chicago is pleased to announce <em>ZIGGURAT, an architectural chimera,</em> a garden installation by Chicago architect Marshall Brown, which will run from Thursday 28 April through Saturday 23 July 2016.</p> </blockquote> <p style="text-align: justify;">Architect Marshall Brown, recently named a participant in the 2016 Venice Architecture Biennale, creates a garden folly for The Arts Club of Chicago. Traditionally, follies are small pleasure pavilions that trace back to great eighteenth-century French and English gardens. <em>ZIGGURAT</em> draws upon Brown&rsquo;s recent photomontage series, <em>Chimera</em>, which incorporates found fragments of architectural photography. Inspired by the lion-headed goat/dragon from classical mythology, Brown&rsquo;s folly for The Arts Club embraces our world of relentless hybridity, where anything and everything is a potential readymade, subject to endless sampling and remixing. Using a technique he calls &ldquo;stealth collage,&rdquo; Brown samples masterworks by the architects Frank Gehry, Peter Eisenman, and Zaha Hadid to design the three-dimensional construction of a graphic inspiration. This is Brown&rsquo;s first building realized in Chicago. This project is funded in part by the generous support of the Chauncey and Marion Deering McCormick Family Foundation.</p> <p style="text-align: justify;">Marshall Brown is a licensed architect and urban designer. His practice has worked on several projects in Chicago, including the Navy Pier redevelopment and a master plan for the neighborhood of Washington Park. He also founded the urbanism, art and culture think tank NEW PROJECTS in collaboration with curator Stephanie Smith. He is a founder of the&nbsp;<em>Yards Development WorkShop</em>, designers of the UNITY Plan for the Atlantic Yards in Brooklyn, New York. Marshall Brown&rsquo;s work has been exhibited at the Museum of Contemporary Art Detroit and Western Exhibitions in Chicago.</p> <p style="text-align: justify;">Brown was a 2010 MacDowell Fellow, and also the first Saarinen Architecture Fellow at the Cranbrook Academy of Art. He received his Masters degrees in Architecture and Urban Design from Harvard University where he won the Druker Fellowship for urban design.&nbsp;Marshall Brown is also an associate professor at the Illinois Institute of Technology College of Architecture. His projects and essays have appeared in several books and journals, including<em>Metropolis</em>,&nbsp;<em>The Architect&rsquo;s Newspaper</em>,&nbsp;<em>Architectural Record</em>,&nbsp;<em>Crain&rsquo;s</em>,&nbsp;<em>The New York Daily News</em>,<em>Art Papers</em>,&nbsp;<em>The Believer</em>, and&nbsp;<em>New Directions in Sustainable Design</em>.</p> Fri, 08 Apr 2016 18:34:11 +0000 Robert Lostutter, Amy Feldman - Corbett vs. Dempsey - April 29th 6:00 PM - 8:00 PM <table border="0"> <tbody> <tr> <td colspan="2" valign="top"> <div id="divText10"><strong>Robert Lostutter,&nbsp;</strong><em>Garden</em><br />April 29, 2016 - May 28, 2016<br />Main Gallery<br /><br />Opening: Friday, April 29, 6:00-8:00pm<br /><br />As spring is finally sprung, Corbett vs. Dempsey is very pleased to present Garden, an exhibition of new drawings by Robert Lostutter. This is Lostutter&rsquo;s third show with the gallery.<br /><br />With his latest body of work, Lostutter forges deeper still into a indelible series of figurative images that he&rsquo;s been conjuring for several decades. The suite of male portraits &ndash; six large format drawings and five smaller ones &ndash; feature mutant figures, grafts of human and vegetable or avian elements. Leaves sprout in the place of hair and merge with the features of the face; feathers flank the eyes like a subdermal masquerade ball mask. As always, Lostutter&rsquo;s technique is astonishing, imbuing the nearly monochromatic backdrops with a light, airy presence, against which the strange fellowship strikes ecstatic poses. As indicated by its title, Garden is an outgrowth and extension of Lostutter&rsquo;s last body of work, Garden of Opiates, a series of watercolor portraits of a related tribe of hybrid men. Here the artist offers a single watercolor, &ldquo;Masdevallia,&rdquo; five views of a budding orchid introducing a quick, bright burst of color into the subtle black and white colony of figures. The exhibition is accompanied by a 28-page catalog with a short essay by John Corbett and a poem by Lostutter. Among numerous exhibitions, The Singing Bird Room of Robert Lostutter presented a 30-year survey of his work at the Madison Museum of Contemporary Art (2012).<br /><br /><strong>Amy Feldman,</strong>&nbsp;<em>Good Gloom</em><br />April 29, 2016 - May 28, 2016<br />East Wing<br /><br />Opening: Friday, April 29, 6:00-8:00pm<br /><br />In the East Wing, CvsD eagerly unveils Good Gloom, the first Chicago exhibition of paintings by Amy Feldman. A major presence in New York&rsquo;s vibrant new painting scene, Feldman works large scale and with a reduced palette, mostly in black, white, and grey, and she derives complexity out of modest means &ndash; singular or composite forms ring the canvases, creating tension by suggesting multiple figure/ground relationships, testing the capacity of the frame&rsquo;s edge, with incidental drips creating extra action like static electricity on a rubbed balloon. Among numerous solo gallery exhibitions, Feldman chosen for New York Painting, with ten other artists, at the Kunstmuseum, Bonn (2015), with her work appearing on the cover of the catalog, and she will be part of Riot Grrrls, an upcoming show at the MCA, Chicago.</div> <br /><br /></td> </tr> <tr> <td colspan="2"> <table width="100%"> <tbody> <tr> <td valign="top"><a href="" target="new" rel="nofollow"></a></td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Fri, 22 Apr 2016 19:40:33 +0000 - The Oriental Institute at University of Chicago - May 1st 12:00 PM - 6:00 PM <p style="text-align: justify;">When an archaeological site has been damaged, a page from the storybook about mankind (aka &ldquo;history&rdquo;) has been ripped out before it could ever be written. Today, heritage is under threat as never before. K-12 students and adults respond to the memory of the history that has been lost through looting and destruction and hope for the history yet to be discovered by archaeologists through 2-dimensional art. Presented in collaboration with&nbsp;<a href="">The Dream Rocket Project</a>.</p> <p style="text-align: justify;">----------</p> <p style="text-align: justify;">Students Respond to the Destruction of Archaeological Sites</p> <p style="text-align: justify;">By Moriah Grooms-Garc&iacute;a</p> <p style="text-align: justify;">Today, heritage is under threat as never before. Political instability, conflict, as well as the lesser-known cause of urban growth have made the destruction and looting of archaeological sites widespread around the world. While the American contribution to the problem is not limited to its role as a significant consumer of the looted artifacts that make their way to the marketplace, it is a contribution that can be fought through public education.</p> <p style="text-align: justify;">With this goal in mind, the Oriental Institute Department of Public Education and Outreach is teaming up with the International Fiber Collaborative (IFC) to raise awareness about the effects that the looting and destruction of cultural heritage has on what an archaeologist can learn about ancient people &mdash; we are using primarily the voices of K&ndash;12 students to do so.</p> <p style="text-align: justify;">The special exhibit&nbsp;<em>Don&rsquo;t Take My Stuff. Tell My Story,</em>&nbsp;on display from May 1 to November 1, 2016, will be made up of 48 artwork submissions created primarily by Chicago-area students. Teachers are working with their students on 2-dimensional art created in memory of the history that has been lost due to the destruction of archaeological sites and hope for the history yet to be discovered by archaeologists. Participation is not limited to Illinois, as national interest has led us to open 10 of the 48 slots to students and adults beyond the Windy City.</p> <p style="text-align: justify;">Here is an excerpt from the prompt given to students for their artistic inspiration: &ldquo;Even when an artifact that has been looted from an archaeological site is recovered by proper parties, the most important piece of information about that artifact has been lost: its context. An artifact that loses its context loses its story &mdash; we no longer know where it was last laid down thousands of years ago or what other artifacts it sat next to for centuries. When an archaeological site has been damaged, a page from the storybook about mankind (aka &ldquo;history&rdquo;) has been ripped out before it could ever be written.&rdquo;</p> <p style="text-align: justify;">What is more, teachers are excited about the cross-curricular opportunity this exhibit presents. A teacher from Hayt Elementary in Chicago sent an excited note to the IFC coordinator for this project, Jennifer Marsh: "This will give us an opportunity to ingrate our school&rsquo;s fine arts and social studies curriculum in a way that we have never explored!"</p> <p style="text-align: justify;">The&nbsp;<em>Don&rsquo;t Take My Stuff. Tell My Story.&nbsp;</em>exhibit is part of the IFC&rsquo;s&nbsp;<em>Dream Rocket Project (DRP),&nbsp;</em>an endeavor that boasts a sky-high proposal: the submissions for this and other participating exhibits will be part of a 2,000 square foot wrap that will adorn the surface of NASA&rsquo;s newest Space Launch System &mdash; the mission to Mars. To date, DRP has collected 3,609 artworks with another 665 pieces currently being created for upcoming exhibits.</p> <p style="text-align: justify;">The deadline for artwork submissions for the&nbsp;<em>Don&rsquo;t Take My Stuff. Tell My Story.&nbsp;</em>exhibit is April 1st. If you are interested in learning more about how you or your students can participate in submitting artwork, contact Jennifer Marsh, the director of DRP and founder of the International Fiber Collaborative, at (614) 561-9057 or&nbsp;<a href=""></a>. More information about the Dream Rocket Project is available online at&nbsp;<a href="" target="_blank"></a>.</p> <p style="text-align: justify;">Teachers and the public interested in bringing their classes or groups to the Oriental Institute can do so by visiting the Oriental Institute&rsquo;s website at The&nbsp;<em>Don&rsquo;t Take My Stuff. Tell My Story.&nbsp;</em>Student Opening and Teacher Appreciation Night will be held at the Oriental Institute on May 18th, 2016, with further details to be announced at a later date.</p> Sat, 19 Dec 2015 17:21:08 +0000 - The Art Institute of Chicago - May 4th 10:30 AM - 5:00 PM <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Renaissance fashion was killer. This new corridor installation examines the life, death, and sartorial swagger of the&nbsp;famously dissolute and fabulously attired Landsknechte of Renaissance Europe. These German mercenary foot soldiers behaved badly and wore whatever they wanted because their life expectancy was brief at best.</p> <p style="text-align: justify;">Indeed, when Holy Roman Emperor Maximilian I formed the first Landsknecht company in 1487, he intentionally exempted them from the harsh sumptuary laws of the time. Rather, because their lives tended to be "brutish and short," Maximilian urged them to wear distinctively outlandish garb. Not only did slashed sleeves and bold colors unify the troops, Landsknecht attire also created an ostentatious and recognizable force fighting in the Emperor's name. Members of lower nobility with minimal prospects and even curious artists like the Swiss Urs Graf joined up, forming a powerful and agile army. But not everyone was impressed with their bravado and posturing. As one writer remarked about Landsknechte in 1536, &ldquo;Blaspheming, whoring, gambling, murdering, burning, robbing, [and] widow-making . . . is their common handiwork and greatest amusement.&rdquo;</p> <p style="text-align: justify;">While much of the arms and armor collection is off view in preparation for the opening of expanded galleries of medieval and Renaissance art (opening March 17, 2017), this installation offers a taste, rather a brazen one, of the beloved collection. Featuring over 50 objects, this collaborative presentation with the Department of Prints and Drawings combines armors, breastplates, daggers, halberds, and even a newly acquired Katzbalger (Landsknecht sword), with works on paper depicting mercenaries in action. Bursting with attitude, humor, and innuendo, these artworks thrive on knowing looks, firmly grasped sword hilts, and prominent codpieces.</p> </div> </div> Sun, 17 Apr 2016 14:43:14 +0000 Lilli Carré, Max Guy, Erin Hayden, Dan Miller, David Sprecher - Mary and Leigh Block Museum of Art - May 5th 6:00 PM - 9:00 PM <p style="text-align: justify;">Culminating their Master of Fine Arts (MFA) studies in the Department of Art Theory &amp; Practice at Northwestern University.</p> <p style="text-align: justify;">Co-organized by the Department of Art Theory &amp; Practice and the Block Museum, Northwestern University. Support provided by the Norton S. Walbridge Fund; The Cary Lane Art Supply Fund Cary courtesy of Dr. Madeleine Wing Adler; Myers Foundations; the Mary and Leigh Block Endowment Fund; and the Alsdorf Endowment.</p> Sun, 17 Apr 2016 15:14:52 +0000 Austen Brown - THE MISSION - May 6th 6:00 PM - 8:00 PM <p>THE SUB-MISSION is pleased to announce Mudroom, an installation by Austen Brown that examines cycles of migrancy and depleted sites of industry in the oil-producing Bakken region of North Dakota. An interview with the artist will accompany the exhibition. An opening reception will be held on Friday, May 6, 2016 from 6pm to 8pm. The exhibition continues through Saturday, June 25, 2016.&nbsp;<br /><br />Mudroom is a three channel video installation supplemented by audio recordings and found objects. In a contemporary interpretation of a still life, three wall-mounted monitors display videos that present static images of the infrastructure of coal mining, such as a disemboweled shell of a mobile home, oil-extracting equipment, and concrete barricades. Containers of oil-rich shale samples and data sheets produced by Haliburton, a geological survey company, occupy the floor.&nbsp;&nbsp;<br /><br />At the height of the most recent oil boom, thousands of itinerant workers streamed into the Bakken region of North Dakota to capitalize on the abundance of jobs in coal mining and oil refining. The influx of people flooding into the area created a sudden shortage of crucial amenities but the most pronounced of these was housing. Myriad temporary housing structures were created in response to this crisis. When the global oil economy plummeted, the need for a correspondingly large workplace also dissipated, causing the wave of workers to reverse. Brown&rsquo;s research-based practice, motivated by his long-standing interest in urban planning and informal economies, led him to visit the site twice, once at the apogee of the boom and then again shortly after the bust. His ethnographic research methods of audio and video recordings capture these two distinct moments of the apex and subsequent fall. Emphasizing the element of &ldquo;place&rdquo; in a site suddenly turned into a vacuum, the exhibition moves through spaces of extraction, production, and waste. Geography influences Brown&rsquo;s interest in exploring how power is constructed spatially and how relationships are formed between sites.&nbsp;<br /><br />There&rsquo;s a term that I like; &ldquo;buildings as evidence&rdquo;, meaning that ideas of power, global economies, the price of oil, exist in very tangible, physical ways. To me, the question of &lsquo;where&rsquo; is the question of &lsquo;how&rsquo;.&nbsp;<br />-- Austen Brown<br /><br />AUSTEN BROWN is an artist living in Chicago, IL holding his Master of Fine Arts from the School at the Art Institute of Chicago. Using geography and a site-based practice, he works with sound, video, and installation to draw conceptual lines between sites, exploring the relationships of people to place. His work has been shown internationally at Super-Sensor, Madrid, Spain; EXPO Chicago, IL; ACRE, Chicago, IL; Switched-On Garden with funding from the Pew Charitable Trust, Philadelphia, PA; Flat Gallery, Chicago, IL; LODGE, Chicago, IL; Delaware Center for the Contemporary Arts, Wilmington, DE; Rebekah Templeton Contemporary Art, Philadelphia, PA. In 2014 he was an artist in residence at ACRE, and has received awards including the Municipal Arts League Fellowship, Siragusa Foundation Fellowship, New Artist Society Scholarship (SAIC), and the Sonic Arts Fellowship (SAIC).</p> Thu, 21 Apr 2016 20:22:53 +0000 Edward Krasinski, John Baldessari, Alexander Calder, Alfredo Jaar, John McCracken, Bruce Nauman, Lorna Simpson, Takis - Museum of Contemporary Art (MCA) - May 7th 10:00 AM - 5:00 PM <div class="body"> <div class="bg_white"> <p style="text-align: justify;">The artists featured in <em>Above, Before &amp; After</em> manipulate form and space to explore the relationship between art and the viewer. Selected from the MCA&rsquo;s collection, the works&mdash;rarely exhibited together&mdash;were created over the span of more than 60 years in response to diverse historical and social contexts. Collectively, however, these pieces prompt a larger conversation that asks viewers to consider that art objects often achieve their fullest value when viewers approach them from multiple angles.</p> <p style="text-align: justify;">The exhibition&rsquo;s mix of two- and three-dimensional works include the MCA&rsquo;s newly acquired Edward Krasinski&rsquo;s <em>Interwencja (Intervention)</em> (1983), as well as collection highlights by artists John Baldessari, Alexander Calder, Alfredo Jaar, John McCracken, Bruce Nauman, Lorna Simpson, and Takis. Whether explicitly political, as in Jaar&rsquo;s sculpture, which draws upon histories of undocumented workers in the United States, or subtly expressed in Calder&rsquo;s mobiles that activate color and line through their kinetic qualities, these works occupy spaces&mdash;imagined and real. When artists repurpose the doorframes, ceilings, and corners of the art museum, viewers are encouraged to question what they see&mdash;the artwork, the white walls, and the very ground they encounter.</p> <p style="text-align: justify;">This exhibition is organized by Michael Darling, James W. Alsdorf Chief Curator, and Faye Gleisser, Marjorie Susman Curatorial Fellow.</p> <p style="text-align: justify;">The exhibition is presented in the McCormick Tribune Orientation Gallery on the museum's fourth floor.</p> </div> </div> Sun, 17 Apr 2016 15:28:42 +0000 Collin van der Sluijs - Vertical Gallery - May 7th 6:00 PM - 10:00 PM <p>Vertical Gallery is very proud to present Collin van der Sluijs&rsquo; debut USA solo show, <em>Luctor Et Emergo</em>, May 7&ndash;28, 2016. Collin is a renowned painter and illustrator from Maastricht, The Netherlands, where he lives and works. He started writing graffiti at the age of eleven, and when he was twelve he began his studies at the professional painting college in Goes. He spent the next eight years studying various art disciplines in different schools across the Netherlands and graduated from the Academy of Art and Design St. Joost in Breda with a bachelor title in 2004.</p> <p>He is widely recognized for his extraordinary dream-like depictions of everyday stories that question our personal pleasures and struggles, as well as society at large. Collin van der Sluijs&rsquo; exceptional work has been published in magazines and books, and shown in galleries across the world&mdash;in The Netherlands, Germany, France, England, Belgium, Italy, United Kingdom, Spain, and USA.</p> <p>The show title <em>&lsquo;Luctor et Emergo&rsquo;</em> translates to <em>&lsquo;I struggle and emerge&rsquo;</em>.&nbsp; These are the Latin words that Dutch pupils learn at an early age. Students are taught that they should expect to suffer misfortunes, and they should put up a fight to overcome these challenges instead of accepting defeat.</p> <p>Collin van der Sluijs '<em>Luctor Et Emergo'</em><em><br /></em>May 7&ndash;28, 2016<br />Opening reception with the artist, Saturday, May 7, 6-10pm<br />Vertical Gallery, 1016 N Western Ave., Chicago</p> Sun, 24 Apr 2016 21:08:08 +0000 Tony Fitzpatrick - DePaul Art Museum - May 12th 11:00 AM - 7:00 PM <p style="text-align: justify;">In his ongoing series &ldquo;The Secret Birds&rdquo;, Tony Fitzpatrick intricately draws and layers images, poetry and found materials onto the page. He combines inspiration from his working class roots in Chicago, and influences from folk art, comic book characters, and tattoo imagery in his trademark style on view. Each drawn collage depicts a specific species, ranging from the Peregrine Falcon, to the common &ldquo;immigrant&rdquo; Starling.&nbsp; Tony Fitzpatrick&rsquo;s earliest drawings as a child were of birds.&nbsp; He credits his Grandmother for instilling in him a sense of wonder and reverence for a creature she believed inspired hope, telling him, &ldquo;for the price of a crust of bread you can hear God sing&rdquo;. &ldquo;Each bird becomes a &ldquo;visitation to her&rdquo;, says Fitzpatrick.</p> <p style="text-align: justify;">Fitzpatrick&rsquo;s is a narrative journey and the birds become a catalyst for self examination.&nbsp; They&nbsp; play symbolic roles some delivering&nbsp; otherworldly messages and cautionary tales, while others serve to commemorate and eulogize late writers like Gabriel Garc&iacute;a M&aacute;rquez and he gives a soulful tribute to the&nbsp; Chicago songwriter and rhythm and blues legendary musician Otis Clay. His interests are numerous, and his narratives are reflections on his travels,&nbsp; social and political concerns or they become commentaries on the inequities and injustices found in Chicago and beyond.</p> <p style="text-align: justify;">The exhibition also features prints, drawings and collages from the museum&rsquo;s permanent collection, they encompass a range of&nbsp; ideas and showcase a sampling of the&nbsp; visual trajectory of the artist Tony Fitzpatrick&rsquo;s work from over the past two decades.</p> Sun, 17 Apr 2016 15:07:20 +0000 Barbara Rossi - DePaul Art Museum - May 12th 11:00 AM - 7:00 PM <p style="text-align: justify;">&ldquo;Barbara Rossi: Poor Traits&rdquo; presents a selection of Barbara Rossi&rsquo;s enigmatic graphite and colored pencil drawings from the late 1960s and her meticulously rendered reverse paintings on Plexiglas from the early 1970s. Rossi, who spent several years as a Catholic nun before becoming an artist, was a member of the Chicago Imagists, an influential group defined by their common interest in non-Western and popular imagery, a dedicated pursuit of vivid and distorted figurative work, and a fondness for pop imagery and wordplay. Unique among this eclectic troupe, Rossi&rsquo;s disorienting compositions distinguish themselves by their precision and subtlety.</p> <p style="text-align: justify;">With the drawings presented in this exhibition, Rossi began to articulate an independent visual language. She started each work without any compositional plan and adopted an open and introspective process that allowed the drawing to emerge one form at a time. In these works, sporadic figurative suggestions countered Rossi&rsquo;s drifting vocabulary and eventually transformed her wandering lines into mischievous, psychedelic portraits.</p> <p style="text-align: justify;">The baroque characters that populate Rossi&rsquo;s reverse Plexiglas paintings appear as bodies depicted from the inside out, churning with knobs and bulges that suggest folds of skin or mounds of flesh. In these paintings, Rossi applied precise lines and uniform fields of color to the back of the panel in a technique that does not allow for revision or overpainting, but enhances their luminous kaleidoscopic textures.</p> <p style="text-align: justify;">&ldquo;Barbara Rossi: Poor Traits&rdquo; is the first solo exhibition in Chicago by this pioneering artist in twenty-five years. The exhibition was organized by the New Museum and curated by Natalie Bell.</p> <p style="text-align: justify;"><a href="" target="_blank">Learn more about Barbara Rossi!&nbsp;</a></p> Sun, 17 Apr 2016 15:08:34 +0000 Sharon Lockhart - The Arts Club of Chicago - May 12th 6:00 PM - 8:00 PM <blockquote> <p style="text-align: justify;">The Arts Club of Chicago is pleased to announce <em>Sharon Lockhart Rudzienko,</em> an exhibition of photography and film, which will run from Thursday 12 May through Saturday 13 August 2016.</p> </blockquote> <p style="text-align: justify;">Adolescence is a recurring theme in Sharon Lockhart&rsquo;s quarter century of filmmaking and photography. Lockhart has captured girls and boys at the edge of maturity, self-absorbed in isolated moments of daily life. With an incredible display of stillness and an attention to the awkwardness of adolescence, Lockhart has created images that oppose the stereotypical melodrama used to describe this phase of life. Drawn to the vulnerability and openness of children coming into their own, Lockhart has shown a unique ability to enter others&rsquo; lives, gain their trust and affection, and produce images free of judgment or preconception.</p> <p style="text-align: justify;">Lockhart will premiere her latest film, <em>Rudzienko</em>, at The Arts Club of Chicago. The film, along with related still photographs entitled <em>When You&rsquo;re Free You Run in the Dark</em>, derives from her long-standing relationship with Milena, a girl she met during the making of another film, <em>Podw&oacute;rka</em>, in Ł&oacute;dź in 2009. During the past two years, Lockhart organized summer retreats for a group of teenagers who lived with Milena in a girls&rsquo; home near Warsaw in the town of Rudzienko. Through exercises in movement, reenactment, dance, yoga, craft, cooking, writing, and performance, Lockhart encouraged the girls to bring forth their personal narratives.</p> <p style="text-align: justify;">Encouraged to respect her individuality, each girl in Lockhart&rsquo;s film articulates desire in moving and original ways. Whether speaking about their fears, philosophies, or future prospects, reading a poem or enacting an imagined scenario, the girls consistently evidence a lack of self-consciousness that speaks to their deep bond with Lockhart. In turn, Lockhart caringly places the girls in situations that will instigate thoughtful reflection, bursts of energy, or quiet meditation, which Lockhart captures as crafted image&ndash;either still or moving.</p> <p style="text-align: justify;">Sharon Lockhart is an American artist who lives and works in Los Angeles, California. She received her BFA from&nbsp;the San Francisco Art Institute&nbsp;in 1991 and her MFA from the&nbsp;Art Center College of Design&nbsp;in 1993. She has been a&nbsp;Radcliffe Fellow, a&nbsp;Guggenheim Fellow, and a&nbsp;Rockefeller&nbsp;Fellow. Her films and photographic work have been widely exhibited at international film festivals and in museums, cultural institutions, and galleries in New York, San Francisco, Berlin, Paris, Brussels, Turin, Rio de Janeiro, and many more around the world.</p> Fri, 08 Apr 2016 18:37:47 +0000 Carlos Rolon/ Dzine - Chicago Cultural Center - May 14th 3:30 PM - 5:00 PM <p style="text-align: justify;">Internationally recognized for his elaborately crafted paintings, ornate sculptures and site-specific installations that incorporate social practice, Carlos Rol&oacute;n/Dzine returns home for his first Chicago solo exhibition in 12 years. In some of his most personal work to date, several installations compose immersive environments that reflect the artist&rsquo;s memories and distinctive biography while incorporating carefully crafted objects, paintings and sculptures &ndash; still playing with notions of conspicuous consumption and urban artifact.</p> <p style="text-align: justify;">Among the works debuting in Chicago is a large-scale installation dedicated to the tactility and performative qualities of boxing sport and culture. In a recreated blue collar trophy den, complete with wood paneling and vintage memorabilia, visitors can watch the historic <em>NO MAS</em> fight between Roberto Duran and Sugar Ray Leonard among trophy-inspired paintings and fabric works influenced by grandiose boxing apparel.</p> <p style="text-align: justify;"><em>Bochinche</em> creates a reimagined Caribbean courtyard and the beauty of social space before smartphones and social media. Guests are invited to gossip amongst themselves while sitting on marble benches surrounded by wrought iron sculptural work, handmade shell macram&eacute;, as well as never-before-seen floral oil paintings and shattered tempered glass works evoking the night sky.</p> <p style="text-align: justify;">In the newest body of work on view, Rol&oacute;n references <em>The Young Lords</em> Puerto Rican activist movement of the 1960s through a super 8mm video installation, neon sculpture and an 8ft hot pink afro comb.</p> <p style="text-align: justify;">One of the highlights of the exhibition will be the return of the <em>Nomadic Habitat (Hustleman) Cart</em>, a collaboration with Chicago street vendor Garland Gantt. Originally created for the Chicago Architecture Biennial in connection with the Arts Incubator / Arts + Public Life program at the University of Chicago, the work brings the urban street into the white cube of the gallery with a readymade commercial cart enterprise.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Panel Discussion + Artist Reception</strong></p> <p style="text-align: justify;">Saturday, May 14, 3:30-5pm</p> <p style="text-align: justify;">As part of the Lake FX Summit + Expo, Carlos Rol&oacute;n joins a conversation about the role of Latino artists in the contemporary art market with Chicago artist and gallerist Edra Soto, painter Enoc Perez and curator of the P&eacute;rez Art Museum Miami, Mar&iacute;a Elena Ortiz; moderated by president of Expo Chicago Tony Karman. Artist reception to follow.</p> <p style="text-align: justify;">Claudia Cassidy Theater, 2nd&nbsp;Floor North</p> Sun, 17 Apr 2016 14:58:00 +0000 - The Art Institute of Chicago - May 19th 6:00 PM - 7:00 PM <p>Curator Karen Machester explores the special exhibition<a href="" target="_blank"><em> A Portrait of Antinous, in Two Parts</em></a>.</p> Sun, 17 Apr 2016 14:19:15 +0000 - Reva and David Logan Center for the Arts - University of Chicago - May 23rd 6:00 PM - 8:00 PM <p dir="ltr">&nbsp;</p> <p dir="ltr">As Curator at the Reva and David Logan Center for the Arts, Yesomi Umolu oversees exhibitions in the Logan Center Gallery. Specializing in global contemporary art, Umolu has presented exhibitions and public programs with Ibrahim Mahama, Otobong Nkanga, John Akomfrah, Ursula Biemann and Paulo Tavares, Mithu Sen, Karen Mirza and Brad Butler, and Minouk Lim, among others. Her writing has appeared in numerous catalogues and journals, including Art in America and Afterimage: The Journal of Media Arts and Cultural Criticism.</p> <p>FREE</p> <p>Logan Center, Room 901</p> <p dir="ltr">Presented by Open Practice Committee, DoVA.</p> Tue, 26 Apr 2016 17:30:22 +0000