ArtSlant - Openings & events en-us 40 Henri de Toulouse-Lautrec - Mary and Leigh Block Museum of Art - January 13th, 2015 10:00 AM - 5:00 PM <p style="text-align: justify;">In the final decades of the 19th century large brightly colored posters that advertised commercial entertainments began appearing on Paris city streets. Their startling appearance and escalating ubiquity highlighted the growing circulation of graphic works in the French capital at the fin de si&egrave;cle. Prints became inescapable as more artists turned to lithography, which also attracted growing numbers of art collectors.</p> <p style="text-align: justify;">This moment of affichomanie, or postermania, transformed the urban environment, adding advertising and intense color to a world whose visual culture had long been dominated by monochromatic public notices and conventional forms of art. Both large-scale original posters and smaller reproductions appealed to art buyers, alongside the parallel vogue for smaller prints in various media in portfolios.</p> <p style="text-align: justify;"><strong>Postermania set the stage for the celebrity of a singular French artist, Henri de Toulouse-Lautrec (1864&ndash;1901)</strong>. Henri de Toulouse-Lautrec was a quirky and artistically talented aristocrat who prospered in the city&rsquo;s entertainment cultures situated at the edges of respectable society. Already emerging as a specialist in the representation of the marginal pleasures of Paris starting in 1886 in his paintings and drawings, he struck gold in 1891 with his first lithographic poster. It was a five foot high multi-color advertisement for Le Moulin Rouge, a nightclub in the city&rsquo;s brash entertainment district of Montmartre. Le Moulin Rouge was the first Parisian club built to explicitly feature tawdry performances with a bourgeois audience in mind. By 1891, the culture of celebrity was a well-established phenomenon embracing many of the entertainers portrayed by Lautrec.</p> <p style="text-align: justify;"><strong><em>Toulouse-Lautrec Prints: Art at the Edges of Modernity</em></strong><strong> is a focused exhibition exploring the scope of Lautrec&rsquo;s work in print media in the final decade of his life. From public works such as posters, illustrated books, and theater programs, to privately circulated portfolios, this selection of works reveals a wide range of lithographs by one of the best known artists of the modern era.</strong></p> <p style="text-align: justify;">This exhibition has been curated by students in Professor S. Hollis Clayson&rsquo;s undergraduate art history course Museums: <em>The Fin de Si&eacute;cle Poster</em>.</p> <p style="text-align: justify;"><em>The Block Museum thanks Andra and Irwin Press for graciously agreeing to lend works from their collection bequeathed to the Block.</em></p> Sat, 06 Dec 2014 17:04:56 +0000 Trevor Paglen, Harun Farocki - Gallery 400 - January 16th, 2015 5:00 PM - 8:00 PM <p><em>Visibility Machines: Harun Farocki and Trevor Paglen</em>, curated by Niels Van Tomme, explores the unique roles artists Harun Farocki and Trevor Paglen play as meticulous observers of the global military industrial complex. Investigating forms of military surveillance, espionage, war-making, and weaponry, Farocki and Paglen each examine the deceptive and clandestine ways in which military projects have deeply transformed, and politicized, our relationship to images and the realities they appear to represent. The exhibition initiates critical questions about the role of images in revealing essential but largely concealed information. <em>Visibility Machines</em> places the oeuvres of Harun Farocki and Trevor Paglen within the broader cultural and historical developments of the media with which they creatively work, namely photography, film, and new media.</p> Wed, 17 Dec 2014 17:43:31 +0000 - The Art Institute of Chicago - January 20th, 2015 10:30 AM - 5:00 PM <p style="text-align: justify;">Mary Louise Reynolds (1891&ndash;1950) was one of the central figures of the Surrealist movement. As a young American war widow, Reynolds moved to Paris in 1919, where she lived for the rest of her life, except during 1943&ndash;44, the last two years of the Nazi occupation. In Paris she met the circle of artists and writers who formed the Surrealist movement, becoming a lifelong friend and benefactor to many of them. Reynolds met Marcel Duchamp (1887&ndash;1968) in July 1923 and began what he called &ldquo;a true liaison, over many, many years, and very agreeable.&rdquo;</p> <p style="text-align: justify;">In the 1920s, Reynolds studied in the atelier of Parisian master bookbinder Pierre Legrain (1888&ndash;1929). She applied her skills to the books given to her by such friends as Man Ray, Paul &Eacute;luard, Max Ernst, Andr&eacute; Breton, Jean Cocteau, and Salvador Dal&iacute;. She chose materials that were visually and intellectually surprising: corset stays, broken teacup handles, thermometers, sponge rubber, reptile skins, and kid gloves. Duchamp described her bindings as being &ldquo;marked by a decidedly surrealist approach and an unpredictable fantasy.&rdquo;</p> <p style="text-align: justify;">After Reynolds&rsquo;s death, her brother Frank B. Hubachek, a trustee of the Art Institute of Chicago, decided to keep her collection of nearly 300 books, exhibition catalogues, periodicals, pamphlets, and other ephemera together as a memorial and donated it to the museum in 1954. At the heart of the Mary Reynolds Collection, housed within the Ryerson and Burnham Libraries, are 74 volumes bound by Reynolds. This exhibition showcases a selection of these visionary and uniquely surreal artworks.</p> <p style="text-align: justify;">Ryerson and Burnham LIbraries (weekdays only)</p> Sat, 06 Dec 2014 16:46:04 +0000 John Gossage - The Art Institute of Chicago - January 22nd, 2015 10:30 AM - 8:00 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">The first museum survey of American photographer John Gossage&rsquo;s career ever mounted, this &ldquo;retrospective in a room&rdquo; brings together several decades&rsquo; worth of work to show three distinct ways, or routines, in which the artist has approached photography.</p> <p style="text-align: justify;">One routine concentrates on his intensely productive time in Berlin in the 1980s; on display are two dozen images from the nearly 600 that make up his Berlin series, which the Art Institute is fortunate to own in its entirety. The second routine comes from Gossage&rsquo;s recent year spent traveling the United States on a prestigious Guggenheim Foundation Fellowship, making portraits of art students and capturing views in smaller towns and cities, from Albuquerque, New Mexico, to Rochester, Minnesota. The third offers a &ldquo;medley&rdquo; of images from across his career, which he began in his teenage years as a student of Lisette Model, Alexey Brodovich, and Bruce Davidson. In addition to highlighting the various photographic methods Gossage has used throughout his career, the exhibition includes a reading table with a selection of the artist&rsquo;s publications, showcasing his talents as a consummate printer and an ingenious book artist.</p> <p style="text-align: justify;"><strong>Sponsors</strong><br />Major funding has been provided by the Trellis Fund. Additional support has been generously contributed by Stephen G. Stein and Edward Lenkin.</p> <p style="text-align: justify;">Galleries 188&ndash;189</p> </div> </div> </div> Sat, 06 Dec 2014 16:48:27 +0000 Ben Barretto, Clare Grill, Spencer Stucky - LVL3 Gallery - January 24th, 2015 6:00 PM - 10:00 PM <p style="text-align: justify;">LVL3 is proud to present <em>Transforming Accessory</em>, a group exhibition featuring Ben Barretto, Clare Grill, and Spencer Stucky. Barretto&rsquo;s work plays with transforming kitsch accessories and aesthetics in order to recontextualize their material meaning. Delving into women&rsquo;s tradition and history, Grill is influenced by family relics and photographs, and uses these objects to inform her paintings. Stucky&rsquo;s interests stem from media and the translation of language and imagery within the presented context. These three artists deal with the limitations of media representation and how symbols and traditions are communicated and altered over time.</p> Tue, 09 Dec 2014 07:38:59 +0000 Jane Fulton Alt, Jenny Kendler, Jae Rhim Lee, Linda Swanson - DePaul Art Museum - January 29th, 2015 11:00 AM - 5:00 PM <p style="text-align: justify;">Soil is omnipresent: a life-sustaining but overlooked medium whose cycle of decomposition and regeneration forms the very basis of&nbsp; life itself. Yet human activities such as large-scale farming and deforestation are compromising the health of soil on a global scale.&nbsp; This exhibition will bring together works by contemporary artists that explore multiple aspects of soil, documenting natural processes and human interventions, and&nbsp; proposing radically innovative solutions that combine leading-edge scientific approaches and fresh artistic and philosophical perspectives.</p> Sat, 06 Dec 2014 17:01:55 +0000 Barbara Diener, Pao Houa Her, Jon Rafman, Lieko Shiga - Museum of Contemporary Photography - January 29th, 2015 5:00 PM - 7:00 PM <p style="text-align: justify;"><em>What Remains&nbsp;</em>registers the profound connection between human identity and place through artworks made by artists who are physically dislocated from their home or community. In the exhibition, artists suture together environments that exist across expanses of space or time as they navigate the psychological impact of loss, nostalgia, or longing for a native place. Interlacing novelistic and autobiographical modes of storytelling, each artist expresses the feeling of being distant from some known source of comfort, which persistently exists in one&rsquo;s consciousness, but cannot be fully reached, only recollected or imagined. Set against volatile political, economic, and natural forces of the late 20<sup>th</sup>&nbsp;and early 21<sup>st</sup>&nbsp;century, the exhibition&nbsp;explores feelings of displacement and loss that resonate with circumstances that have been found in contemporary life. At the same time, the exhibition asks questions pondered by individuals throughout human history: Who am I? What has shaped my life? Where do I belong?&nbsp;<em>What Remains</em> is curated by MoCP&rsquo;s Assistant Curator Allison Grant.</p> <p style="text-align: justify;">The 2014-2015 season is sponsored by BMO Harris Bank and the Illinois Arts Council Agency. It is also partially supported by a CityArts Grant from the City of Chicago Department of Cultural Affairs and Special Events.</p> <p><img style="float: left;" src="" alt="BMO" width="242" height="71" /><img src="" alt="IAC" width="100" height="89" /></p> <p>&nbsp;</p> Sat, 06 Dec 2014 17:26:29 +0000 - Museum of Contemporary Art (MCA) - February 10th, 2015 12:00 PM - 1:00 PM <p style="text-align: justify;">Marilyn and Larry Fields Curator Naomi Beckwith&nbsp;discusses the sculptures and drawings of renowned, Chicago-based artist Richard Hunt in this installment of the MCA DNA exhibition series</p> Sat, 06 Dec 2014 17:08:20 +0000 - Smart Museum of Art, University of Chicago - February 12th, 2015 10:00 AM - 8:00 PM <p style="text-align: justify;">Why do objects matter? What kind of stories do they help tell? Through a series of micro-exhibitions&nbsp;curated by twenty guest collaborators, <em>Objects and Voices</em> reveals the multiple ways&nbsp;we work with, learn from, and enjoy objects of art.</p> <p style="text-align: justify;">This collection-based exhibition is divided into a series of small thematic presentations organized by distinguished professors, artists, museum professionals, UChicago students, and notable Smart alumni. These vignettes reveal the diverse perspectives, passions, and expertise of their curators while raising bigger questions about the interpretation of creative and cultural objects, the role of audiences, and the transmission of knowledge through art.</p> <p style="text-align: justify;">As with <a href="" target="_blank"><em>Carved, Cast, Crumpled</em></a> before it, this special 40th anniversary exhibition takes over the entirety of the Smart Museum&mdash;permanent collection and special exhibition galleries alike&mdash;and mixes traditional and non-traditional presentations of the Smart&rsquo;s collection of Modern, Asian, European, and Contemporary art. Together with <a href="" target="_blank">GalleryX</a>, these projects illustrate how objects and stories are intertwined, preserved, re-interpreted, discovered, and re-invented at a university art museum like the Smart&mdash;indeed, how we all can connect with and be inspired by our experiences with art.</p> <h3 style="text-align: justify;">Micro-exhibitions and collaborators</h3> <p style="text-align: justify;"><em>Objects and Voices</em> micro-exhibitions are coordinated by Anne Leonard, Smart Museum Curator and Associate Director of Academic Initatives</p> <p style="text-align: justify;"><strong>Interaction: British and American Modernist Design</strong><br /> Alice Kain<br /> <em>Campus Art Coordinator, University of Chicago</em></p> <p style="text-align: justify;"><strong>Individual Stories and Collective Narratives: Forming the Modern British Art Collection</strong><br /> Keith Hartley<br /> <em>Deputy Director and Chief Curator, Scottish National Gallery of Modern Art</em><br /> <br /> Richard A. Born<br /> <em>Senior Curator, Smart Museum of Art</em></p> <p style="text-align: justify;"><strong>Mark Rothko: From Nature to Abstraction</strong><br /> Russell Bowman<br /> <em>Former Director, Milwaukee Art Museum</em></p> <p style="text-align: justify;"><strong>Between Two Worlds: Asian/American Modern Art</strong><br /> Kris Ercums<br /> <em>Curator of Asian Art and Global Contemporary Art, Spencer Museum of Art at the University of Kansas</em></p> <p style="text-align: justify;"><strong>Signed and Sealed: Connoisseurship of Chinese, Japanese, and Korean Paintings</strong><br /> Jie Shi <br /> <em>PhD candidate in Art History, University of Chicago</em><br /> <br /> Catherine Stuer<br /> <em>PhD candidate in Art History, University of Chicago</em></p> <p style="text-align: justify;"><strong>World Fairs and Cultural Identity: Japanese Artists and Artisans on the International Stage (1876&ndash;1939)</strong><br /> Chelsea Foxwell<br /> <em>Assistant Professor of Art History, University of Chicago</em></p> <p style="text-align: justify;"><strong>Literary Narratives in Painting</strong><br /> Frederick de Armas<br /> <em>Andrew W. Mellon Distinguished Service Professor in the Humanities, Spanish Literature, and Comparative Literature, University of Chicago</em></p> <p style="text-align: justify;"><strong>German Romanticism</strong><br /> David Wellbery<br /> <em>LeRoy T. and Margaret Deffenbaugh Carlson University Professor in the Department of Germanic Studies, Comparative Literature, Committee on Social Thought, University of Chicago </em><br /> <br /> Berthold Hoekner<br /> <em>Associate Professor of Music, University of Chicago</em></p> <p style="text-align: justify;"><strong>Medieval Architectural Fragments</strong><br /> Aden Kumler<br /> <em>Associate Professor of Art History, University of Chicago</em></p> <p style="text-align: justify;"><strong>Beijing&rsquo;s East Village</strong><br /> Wu Hung<br /> <em>Smart Museum Consulting Curator, Harrie A. Vanderstappen Distinguished Service Professor of Art History, and Director of the Center for the Art of East Asia at the University of Chicago</em></p> <p style="text-align: justify;"><strong>Times and Places that Become Us</strong><br /> Kenneth Warren<br /> <em>Fairfax M. Cone Distinguished Service Professor in the Department of English and the Center for the Study of Race, Politics, and Culture, University of Chicago</em></p> <p style="text-align: justify;"><strong>The Naked and the Dead</strong><br /> Kerry James Marshall<br /> <em>Artist</em></p> <p style="text-align: justify;"><strong>Marcel Duchamp: Bo&icirc;te-en-valise</strong><br /> Angela Steinmetz<br /> <em>Former Head Registrar, Smart Museum of Art</em></p> <p style="text-align: justify;"><strong>War Portfolios in Teaching</strong><br /> Martha Ward<br /> <em>Associate Professor of Art History and Visual Arts, University of Chicago</em></p> <p style="text-align: justify;"><strong>Visual Elements of Narrative</strong><br /> Shannon Foster and 5th grade students<br /> <em>Beasley Academic Center, Chicago Public Schools</em></p> <p style="text-align: justify;"><strong>Paintings and Evidence</strong><br /> Hannah Klemm<br /> <em>Smart Museum Mellon Foundation Curatorial Intern (2013&ndash;14) and PhD candidate in Art History, University of Chicago </em><br /> <br /> Iva Olah<br /> <em>Smart Museum Mellon Foundation Curatorial Intern (2012&ndash;13) and PhD 2013, University of Chicago </em></p> <p style="text-align: justify;"><strong>The Gift of Art</strong><br /> Curatorial staff<br /> <em>Smart Museum of Art</em></p> <h3 style="text-align: justify;">Support</h3> <p style="text-align: justify;">This exhibition and its related programming have been made possible by the Smart Museum&rsquo;s Pamela and R. Christopher Hoehn-Saric Exhibition Fund; Janis Kanter and Thomas McCormick and the Kanter Family Foundation; the University of Chicago Women&rsquo;s Board; the David C. and Sarajean Ruttenberg Arts Foundation; Lorna Ferguson and Terry Clark; and the International Fine Print Dealers Association.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Presented in the&nbsp;Elisabeth and William M. Landes Gallery, Janis Kanter and Thomas McCormick Gallery, Edward A. and Inge Maser Gallery, Robert and Joan Feitler Gallery,&nbsp;Joel and Carole Bernstein Gallery, and Richard and Mary L. Gray Gallery.</em></p> Sat, 06 Dec 2014 17:39:06 +0000 Robert Delaunay, Gino Severini, Kurt Schwitters, George Grosz, Hans Bellmer, Salvador Dalí, Stanisław Witkiewicz - The Art Institute of Chicago - February 15th, 2015 10:30 AM - 5:00 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">&ldquo;Everything had broken down in any case, and new things had to be made out of the fragments.&rdquo;<br />&mdash;Kurt Schwitters, 1930</p> <p style="text-align: justify;">A century ago, society and life were changing as rapidly and radically as they are in today&rsquo;s digital age. Quicker communication, faster production, and wider circulation of people, goods, and ideas&mdash;in addition to the outbreak of World War I&mdash;produced a profoundly new understanding of the world, and artists in the early years of the 20th century responded to these issues with both exhilaration and anxiety. Freeing themselves from the restraints of tradition, modern artists developed groundbreaking pictorial strategies that reflect this new shift in perception.</p> <p style="text-align: justify;"><em> Shatter Rupture Break</em>, the first exhibition in the Modern Series, explores the manifold ways that ideas of fragmentation and rupture, which permeated both the United States and Europe, became central conceptual and visual themes in art of the modern age. Responding to the new forms and pace of the metropolis, artists such as Robert Delaunay and Gino Severini disrupted traditional conventions of depth and illusionism, presenting vision as something fractured. Kurt Schwitters and George Grosz explored collage, using trash and bits and pieces of printed material in compositions to reflect social and political upheaval and produce something whole out of fragments. In the wake of new theories of the mind as well as the literal tearing apart of bodies in war, artists such as Hans Bellmer, Salvador Dal&iacute;, and Stanisław Witkiewicz produced photographs and objects revealing the fractured self or erotic dismemberment. The theme of fragmentation was ubiquitous as inspiration for both the formal and conceptual revolutions in art making in the modern age.</p> <p style="text-align: justify;"><em>Shatter Rupture Break</em> unites diverse objects from across the entire holdings of the Art Institute&mdash;paintings, sculpture, works on paper, photographs, decorative arts and designed objects, textiles, books, and films&mdash;to present a rich cacophony that exemplifies the radical and generative ruptures of modern art.</p> <p style="text-align: justify;"><strong>The Modern Series</strong><br />A quintessentially modern city, Chicago has been known as a place for modern art for over a century, and the Art Institute of Chicago has been central to this history. The Modern Series exhibitions are designed to bring together the museum&rsquo;s acclaimed holdings of modern art across all media, display them in fresh and innovative ways within new intellectual contexts, and demonstrate the continued vitality and relevance of modern art for today.</p> <p style="text-align: justify;">Galleries 182&ndash;184</p> </div> </div> </div> Sat, 06 Dec 2014 16:50:48 +0000 Doris Salcedo - Museum of Contemporary Art (MCA) - February 21st, 2015 10:00 AM - 5:00 PM <p style="text-align: justify;">The Museum of Contemporary Art Chicago presents the first retrospective of the work of renowned sculptor Doris Salcedo (Colombian, b. 1958). Salcedo&mdash;who lives and works in Bogot&aacute;&mdash;gained prominence in the 1990s for her fusion of postminimalist forms with sociopolitical concerns. The exhibition features all major bodies of work from the artist&rsquo;s thirty-year career&mdash;most of which have never been shown together before&mdash;as well as the US debut of her recent major work <em>Plegaria Muda</em> (2008&ndash;10).</p> <p style="text-align: justify;">Salcedo&rsquo;s work is deeply rooted in her country&rsquo;s social and political landscape, including its long history of civil conflicts, yet her sculptures and installations subtly address these fraught circumstances with elegance and a poetic sensibility that balances the gravitas of her subjects. Salcedo grounds her art in rigorous fieldwork, which involves extensive interviews with people who have experienced loss and trauma in their everyday lives due to political violence. In more recent years, Salcedo has created large-scale, site-specific installations around the world, including Turkey, Italy, Great Britain, and her native Colombia. Rather than making literal representations of violence or trauma, however, Salcedo&rsquo;s artworks convey a sense of an absent, missing body and evoke a collective sense of loss. The resulting pieces engage with multiple dualities at once&mdash;strength and fragility, the ephemeral and the enduring&mdash;and bear elements of healing and reparation in the careful, laborious process of their making.</p> <p style="text-align: justify;">The exhibition begins with a selection of her earliest works made of hospital furniture and stacks of white shirts impaled by iron rebar. Salcedo re-creates the original installation of these works as they were first shown in Bogot&aacute; in 1990. A large group of pieces from her longest, ongoing body of work are exhibited together en masse for the first time since 1998: sculptures made with concrete-filled doors, tables, armoires, chairs, and other pieces of furniture&mdash;objects symbolic of the disrupted domestic sphere and its sustaining social bonds. Other major installations include <em>La Casa Viuda</em> (1993&ndash;95), a group of sculptures made primarily from found doors and other pieces of furniture rendered dysfunctional; <em>Unland</em> (1995&ndash;98), a group of three works that individually combine dissimilar tables, seemingly sewn together with human hair and raw silk; <em>Atrabiliarios</em> (1992&ndash;2004), which encases abandoned shoes within the gallery walls, behind a translucent surface; the aforementioned <em>Plegaria Muda</em>, an expansive installation of tables, inverted one atop another, with individual blades of grass growing through holes in their surfaces; and <em>A Flor de Piel</em> (2014), an enormous shroud-like sculpture made entirely of treated rose petals sutured together by hand, which drapes across the floor of the gallery. The exhibition also debuts the artist&rsquo;s newest body of work, <em>Disremembered</em> (2014)&mdash;tunic-like sculptures sewn entirely out of raw silk, the threads connected through the use of nearly 12,000 needles.</p> <p style="text-align: justify;">In conjunction with the exhibition, the MCA is producing a short film documenting Salcedo&rsquo;s site-specific and ephemeral installations&mdash;works that either no longer exist or are otherwise impossible to display in the galleries of the museum&mdash;as well as a 250-page publication featuring full-color illustrations and an overview of the artist&rsquo;s career by leading scholars and curators. The catalogue is edited by Madeleine Grynsztejn and Julie Rodrigues Widholm, with an introduction by Madeleine Grynsztejn and contributions by Elizabeth Adan, Katherine Brinson, Helen Molesworth, and Doris Salcedo.</p> <p style="text-align: justify;"><em>Doris Salcedo</em> is cocurated by Pritzker Director Madeleine Grynsztejn and Curator Julie Rodrigues Widholm, and will be on view at the MCA from February 21&ndash;May 24, 2015. The exhibition travels to the Solomon R. Guggenheim Museum, New York, June 26&ndash;October 14, 2015.</p> <h3 style="text-align: justify;">Funding</h3> <p style="text-align: justify;">Lead support for&nbsp;<em>Doris Salcedo</em>&nbsp;is provided by the Harris Family Foundation in memory of Bette and Neison Harris: Caryn and King Harris, Katherine Harris, Toni and Ron Paul, Pam and Joe Szokol, Linda and Bill Friend, and Stephanie and John Harris. Additional lead support is provided by Stefan Edlis and Gael Neeson, the Bluhm Family Foundation, Anne Kaplan, Howard and Donna Stone, the Andy Warhol Foundation for the Visual Arts, and Helen and Sam Zell.</p> <p style="text-align: justify;">Major support is provided by the Chicago Community Trust; Ministry of Foreign Affairs of Colombia, Ministry of Culture of Colombia, and Embassy of Colombia in Washington DC; Barbara Bluhm-Kaul and Don Kaul; Paula and Jim Crown; Nancy and Steve Crown; Walter and Karla Goldschmidt Foundation;&nbsp;Liz and Eric Lefkofsky; Susana and Ricardo Steinbruch; and Kristin and Stanley Stevens.</p> <p><img class="alignnone size-full wp-image-16999" src="" alt="CCT-Full_Logo_Pantone_C" /></p> <p>&nbsp;</p> Sat, 06 Dec 2014 17:12:19 +0000 Clemens von Wedemeyer - Museum of Contemporary Art (MCA) - February 21st, 2015 10:00 AM - 5:00 PM <div class="thecontent"> <div class="columns"> <div class="column firstcolumn"> <p style="text-align: justify;">The moving-image installations of Clemens von Wedemeyer (German, b. 1974) blur the line between film and fine art to produce rigorously analytical works. &ldquo;Art and cinema are different languages, but they are&nbsp;related,&rdquo; he has said. By carefully structuring the viewer&rsquo;s experience of his multimedia creations, Von Wedemeyer challenges audiences to contemplate difficult and often uncomfortable underlying truths, realities, and histories.</p> <p style="text-align: justify;">The exhibition features <em>Muster (Rushes) </em>(2012), an HD video simultaneously projected on three screens, which probes the merits and limits of historical reconstruction. Each roughly half-hour narrative takes place at a former Benedictine monastery outside of Kassel, Germany, that functioned as a concentration camp during the Nazi era, a reformatory for girls in the 1970s, and later a psychiatric clinic. Inherently political, the three films that constitute <em>Muster (Rushes)</em> visually link to each other. Taken together, they offer complex, misleading, and violent incarnations of German history and culture. Von Wedemeyer often uses unique installation settings with specified conditions that allow him to manipulate the unknowing viewer&rsquo;s physical reaction to his films; here, the screens are arranged so that one of the three narratives is always hidden or inaccessible. The actors recur in each of the different scenes as well, playing different roles each time, and further contributing to the eerie sense of history unwittingly repeating itself. The work was hailed as one of the most affecting and memorable within Documenta 13, the Kassel, Germany, exhibition for which it was commissioned and at which it was first shown in 2012. Acquired jointly by the MCA and the Dallas Museum of Art later that year, it is currently on view for the first time at the MCA. The MCA is proud to add it to the collection, where it joins a growing holding of media-based artworks.</p> <p style="text-align: justify;">This exhibition is organized by Michael Darling, James W. Alsdorf Chief Curator at the Museum of Contemporary Art Chicago.</p> </div> </div> </div> Sat, 06 Dec 2014 17:14:47 +0000 - The Art Institute of Chicago - February 21st, 2015 10:30 AM - 5:00 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Excelling in eerie effects and seductive textures, the late 17th-century medium of mezzotint blossomed from an amateur fascination and hobby of members of the nobility to the 18th century&rsquo;s most popular reproductive printmaking method. Mezzotint engraving allowed artists to burnish soft highlights and volume into a textured copper plate that would otherwise print in a solid tone. This shading method contrasted dramatically with the standard intaglio medium, which involved either painstakingly incising engraved lines with a burin (a metal-cutting tool) or etching looser lines into a plate with acid. Ideal for nocturnal scenes, portraits, reproductions of paintings, lush landscapes, and garish anatomical and botanical studies, the versatile medium later lent itself to color printing and remains in use today.</p> <p style="text-align: justify;"><em>Burnishing the Night</em> brings together mezzotint prints, books with mezzotint illustrations, and other works on paper from the permanent collection that span the medium&rsquo;s predominantly Northern European origins through its worldwide use in the 20th century. Several works in the show are by Irish mezzotint engravers, especially Thomas Frye, whose imaginative head studies will also be featured in this spring&rsquo;s highly anticipated exhibition <em>Ireland: Crossroads of Art and Design, 1690&ndash;1840</em>. Frye&rsquo;s evocative <em>Young Man with a Candle</em> from 1760 demonstrates the liquid effects made possible by the mezzotint medium, from the bulging, startled eyes to the dancing candlelit shadows and dripping wax. The viewer waits with bated breath along with this startled youth, enjoying the theatrical uncertainty of a ghost story, printed in velvet tones.</p> <p style="text-align: justify;">A complementary and concurrent installation in Gallery 208A, <em>Printing Darkness and Light in the Dutch Republic</em>, details how Rembrandt and other artists created their own dramatic &ldquo;Dark Manner&rdquo; or &ldquo;Night Pieces&rdquo; without the use of mezzotint.</p> <p style="text-align: justify;">Galleries 125&ndash;127</p> </div> </div> </div> Sat, 06 Dec 2014 16:51:57 +0000 Eldzier Cortor - The Art Institute of Chicago - February 21st, 2015 10:30 AM - 5:00 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">In 2012, the celebrated artist Eldzier Cortor made an extraordinary gift to the Art Institute: a painting, 30 prints, and several printing matrices. Presenting selected works from the gift&mdash;many on display for the first time&mdash;this exhibition celebrates this outstanding addition to the collection.</p> <p style="text-align: justify;">A Chicago native, Eldzier Cortor entered the School of the Art Institute of Chicago in 1936 and came under the influence of instructor Kathleen Blackshear, who led students to explore the regional arts of Africa and other non-Western cultures at the Field Museum and Oriental Institute in Chicago. At the same time, Cortor, like his peers in the Harlem Renaissance, was inspired by philosopher Alain Locke&rsquo;s call for African American artists to reclaim their ancestral heritage as a means of strengthening and enriching their expression.</p> <p style="text-align: justify;">These two influences can be seen at play throughout his career, even from its earliest moments. Working with the Federal Arts Program from 1938 to 1943, Cortor focused on African American social life on Chicago&rsquo;s South Side. Later, living and painting among the Gullah people (formerly enslaved Africans) on the Sea Islands off South Carolina, he became fascinated by their deep cultural connection to their African roots. His experiences with the Gullah fostered his decision to depict Woman as the archetypal image of all people. Eventually, this focus evolved to combine Woman and Dance, as shown in so many of the prints in this exhibition.</p> <p style="text-align: justify;">Although Cortor primarily worked with intaglio printmaking processes, he produced several woodblock prints in the mid-1950s with Japanese printmaker Jun&rsquo;ichiro Sekino, a leading member of the Sosaku Hanga, or Creative Prints, movement. Five works from this period are on display, demonstrating the highly original hybrid of Western and Japanese techniques that resulted from Cortor and Sekino&rsquo;s close collaboration.</p> <p style="text-align: justify;">Also on view are some of Cortor&rsquo;s experimental prints made in Manhattan at Robert Blackburn&rsquo;s Printmaking Workshop, where he worked between 1955 and 1998. Some of these bear the title <em>Abattoir</em>, literally &ldquo;slaughterhouse.&rdquo; Although the artist was familiar with Chicago&rsquo;s notorious meatpacking industry, his works allude to the harsh environment he found in Haiti after several friends were killed by Fran&ccedil;ois &ldquo;Papa Doc&rdquo; Duvalier&rsquo;s dictatorial regime.</p> <p style="text-align: justify;">Bringing together examples of Cortor&rsquo;s work throughout his remarkable career, this focused exhibition celebrates not only the artist&rsquo;s tireless innovation but also his tremendous generosity in sharing his work with the museum and our visitors. Thus the Art Institute is pleased to announce that Cortor, who turns 99 this January, will be this year&rsquo;s recipient of the Leadership Advisory Committee&rsquo;s Legends and Legacy Award, an honor recognizing African American artists who have achieved national acclaim with careers spanning over 50 years.</p> <p style="text-align: justify;">Gallery 124</p> </div> </div> </div> Sat, 06 Dec 2014 16:54:12 +0000 Varda Caivano - Renaissance Society - February 22nd, 2015 12:00 PM - 5:00 PM <p style="text-align: justify;">London-based artist Varda Caivano&rsquo;s work can be summarized in Cezanne&rsquo;s words, &ldquo;Painting is organizing one&rsquo;s sensations.&rdquo; Her canvases allude to inner spaces and depend on the presence of a viewer to activate them. Like poems they resonate in the reader, presenting themselves as vulnerable, unfolding, failing, becoming, and disappearing.</p> <p style="text-align: justify;">For the Renaissance Society, the artist presents a new body of work, which includes mixed-media painting as well as small-scale works on paper, collage, and a new piece of writing.</p> Sat, 06 Dec 2014 17:32:10 +0000 - Museum of Contemporary Art (MCA) - March 3rd, 2015 12:00 PM - 1:00 PM <p>Curator Julie Rodrigues Widholm leads a tour of <a href="" target="_blank"><em class="first_child last_child">Doris Salcedo</em></a>.</p> Sat, 06 Dec 2014 17:16:58 +0000