ArtSlant - Openings & events en-us 40 Jane Fulton Alt, Jenny Kendler, Jae Rhim Lee, Linda Swanson - DePaul Art Museum - January 29th 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 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 style="text-align: justify;">&nbsp;Gallery Talk and Opening Reception: <em>What Remains</em> and <a href="" target="_blank"><em>You and Me</em></a>: January 29</p> <p style="text-align: justify;">Join us for a gallery talk and opening reception in honor of the &nbsp;<em>What Remains &nbsp;</em>and <em>You and Me&nbsp;</em>exhibitions. Exhibiting artists Barbara&nbsp;Diener, &nbsp;Pao Houa Her, and Katja Stuke &amp; Oliver Sieber will be in attendance.</p> <p style="text-align: justify;">Gallery Talk: 4pm<br /> Reception: 5pm</p> Sat, 06 Dec 2014 17:26:29 +0000 Oliver Sieber, Katja Stuke - Museum of Contemporary Photography - January 29th 5:00 PM - 7:00 PM <p style="text-align: justify;">The MoCP, in partnership with the Goethe Institutes of Chicago and Sarajevo, has commissioned German artist team Oliver Sieber and Katja Stuke to produce a new body of work titled <em>You and Me</em>.&nbsp;When the artists first visited Chicago in 2013 to work on a different project, Sieber and Stuke found that the city called forward memories of the Sieber family&rsquo;s former housekeeper, Indira, a Bosnian-born immigrant who lived in D&uuml;sseldorf&nbsp;from 1992 to 1999 before moving to Chicago and subsequently falling out of touch. Sieber and Stuke left Chicago with a new interest in investigating Indira&rsquo;s background and story.&nbsp;She immigrated to Germany from Bosnia during the Bosnian War and was unable to return to her homeland. Indira eventually moved to Chicago because she was facing deportation and began a new life in the United States.&nbsp;Sieber and Stuke were able to locate Indira on Facebook and they are now tracing her history as it intersects with issues of diaspora, home, social status, and the formation of identity,&nbsp;political protest,&nbsp;and family. Photographs taken in Germany, Bosnia and the United States will comprise the final project, along with family photographs and ephemera from Sieber&rsquo;s and Stuke's personal archive.<em>You and Me</em> is organized by MoCP&rsquo;s Assistant Curator Allison Grant.&nbsp;</p> <p style="text-align: justify;">&nbsp;Gallery Talk and Opening Reception: <a href="" target="_blank"><em>What Remains</em></a> and <em>You and Me</em>: January 29</p> <p style="text-align: justify;">Join us for a gallery talk and opening reception in honor of the &nbsp;<em>What Remains &nbsp;</em>and <em>You and Me&nbsp;</em>exhibitions. Exhibiting artists Barbara&nbsp;Diener, &nbsp;Pao Houa Her, and Katja Stuke &amp; Oliver Sieber will be in attendance.</p> <p style="text-align: justify;">Gallery Talk: 4pm<br /> Reception: 5pm</p> <p style="text-align: justify;">Generous support for <em>You and Me</em> is provided by the Goethe-Institut Chicago.</p> <p style="text-align: justify;"><img src="" alt="goethe" width="320" height="120" /><br /><br /><br />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> Sat, 10 Jan 2015 10:05:10 +0000 Rebecca Shore - Corbett vs. Dempsey - January 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">It is with pleasure that Corbett vs. Dempsey announces Rebecca Shore,&nbsp;<em>Barely Committed to Three Dimensions</em>. This is the gallery&rsquo;s third solo show by the artist.</p> <p style="text-align: justify;">In three distinct new bodies of work, Shore pushes her abstract paintings into new terrain, introducing a shallow sense of depth in many of them via a drop shadow.&nbsp; One of the most vibrant and original post-Imagist artists to emerge in Chicago, she has been known over the last 25 years for her highly patterned, intensely refined paintings, sometimes with a rococo flourish, sometimes more hard-edged and rectilinear, always deploying a brilliant coloristic sensibility and tremendous formal invention.&nbsp; The newest paintings, executed on linen, panel, and paper, feature complex forms constructed of nesting lines that vibrate emphatically and tease the boundaries of the frame, conjuring some previously unheard of combination of Op and Funk.&nbsp; A related series consists of maze-like objects, delineated with a drop shadow, hovering in space or anchored together like a giant disintegrating alphabet or a psychedelic game of Tetris.&nbsp; The final set of works has a figurative aspect, with faces or torsos made of interlinked jewelry, rings and strands of pearls conjoined in intricate compositions, the human element a haunting inference.</p> Mon, 12 Jan 2015 17:07:52 +0000 Eleanor Coen - Corbett vs. Dempsey - January 30th 6:00 PM - 8:00 PM <p style="text-align: justify;">In the West Wing, CvsD presents a selection of historical works by Eleanor Coen.&nbsp; By the early 1940s, Coen had established herself as one of the most important printmakers in Chicago, and the year 1945 found her at peak powers, conjuring an unflinching series of expressionistic lithographs, often portraits, that display a deep sense of power and an aggressive edge, perhaps inspired by the end of WWII.&nbsp; These rarely seen prints show a very different side of Coen from the more delicate and atmospheric one found in much of the rest of her oeuvre.</p> Mon, 12 Jan 2015 17:07:55 +0000 Margaret Welsh, Marcus Geiger - Document - January 30th 5:00 PM - 8:00 PM <p style="text-align: justify;">Document is pleased to present Geiger/Welsh a selection of works by Marcus Geiger (Vienna) and Margaret Welsh (Chicago). The exhibition is the first in a planned series of exhibitions (organized by Michael Hall and Aron Gent) inviting both local and international artists to work on an exhibition and collaborate with the production side and services that Document offers.</p> <p style="text-align: justify;">The main Geiger work on view is a sculpture that functions somewhere between a model and physical architecture. Six identical 4&rsquo; x 8&rsquo; panels that can be assembled and re-assembled into various objects or buildings, originally the object was designed in the 90&rsquo;s to present smaller works, something between a shelf and a wall.</p> <p style="text-align: justify;">Geiger&rsquo;s approach to the gallery space is more understandable when you learn that he studied stage design (1978-82) at the Academy of Fine Arts in Vienna where his classmates were Peter Kogler and Heimo Zobernig and he has often collaborated with Kogler and Franz West. What all these artists have in common is a particular &lsquo;Viennese&rsquo; approach to art and design, seeing all things as equal and making no particular valuations between a painting and a chair, a carpet or a sculpture. The room itself should be used and activated, not just peered into like a canvas. Known as an &ldquo;artist&rsquo;s artist,&rdquo; especially in today&rsquo;s hyper art market, Geiger&rsquo;s approach appears aloof and he is known to rarely accept general invitations to present his works at galleries or museums, questioning the value of his own artistic production and its reception.</p> <p style="text-align: justify;">Margaret Welsh was considered an up-and-coming Chicago artist in the late 90s receiving press for her installations and photo/video work in Artforum, Flash Art, The New York Times, New Art Examiner and many others, until she suddenly stopped producing and exhibiting. More than a decade later Welsh has started on a new series of works connecting back to the work she made before her Pop Art influenced installations. The Welsh works on view explore the physical unfolding and refolding of paper shopping bags, creating readymade forms that often repeat or are variations of one another. Once settling on a pair of shapes she applies layers of house paint picked up at her local home improvement center. Welsh uses Mistints and rejects from the discount paint bin, painting her found shapes with found colors to create unique object/images out of everyday discarded materials.</p> <p style="text-align: justify;">Welsh&rsquo;s works ultimately bounce between the dualities of painting and sculpture, the expressive and the formal, the symbolic and the literal, and nonsense and meaning. The works deconstruct a structure used to safely transport our belongings (paper bags) and Welsh physically manipulates the bags to create geometric compositions out of these discarded readymades. The works offer up humility by using what the artist refers to as &ldquo;oops&rdquo; colors that lay unclaimed at the reject colors shelf in the paint department. However, Welsh chooses to cover the entire surface of the bags without the hint of gesture, and in doing so they retain a certain boldness as the works float on the gallery walls.</p> <p style="text-align: justify;">Marcus Geiger (b. 1957, Switzerland), lives and works in Vienna.</p> <p style="text-align: justify;">Selected Exhibitions: 2014 &ldquo;Soliel Politque&rdquo; Museion, Bolzano, Italy (curated by Pierre Bal-Blanc); 2013 (Solo) Wiener Art Foundation, Vienna; 2010 6th Berlin Biennale, Berlin; 2005 &ldquo;Occupying Space&rdquo; Haus der Kunst, Munich; 2007, Galerie Engholm (with Axel Huber), Vienna; 2003 Bawag Foundation (with Peter Kogler) Vienna; 2000 Kunstmuseum St. Gallen, CH; 2001 (Solo) Secession, Vienna; (Solo) &Ouml;sterreichische Galerie im Belvedere, Vienna; 2000 Manifesta 3 Biennale, Ljubljana, SL; 1998 &ldquo;100 JAHRE SECESSION&rdquo;, Secession; 1997 &ldquo;postproduction&rdquo; Generali Foundation, Vienna: (solo) Kunsthalle Bern, CH</p> <p style="text-align: justify;">Margaret Welsh (b. 1965 USA), lives and works in Chicago.</p> <p style="text-align: justify;">Selected Exhibitions: (1994-2000) LISTE 99, Basel; (Solo) 1998 Chicago Project Room; (Solo) 1998 PPOW, (Solo) New York; 1997 Chicago Project Room; Ten-in-One Gallery, Chicago; Gallery 400, Chicago; N.A.M.E. Gallery, Chicago.</p> Wed, 28 Jan 2015 10:57:34 +0000 Wyatt Grant - Paris London Hong Kong - January 30th 5:00 PM - 8:00 PM <p style="text-align: justify;">Paris London Hong Kong&nbsp;is pleased to present&nbsp;<em>Dreamer Gets Another Dream</em>, an exhibition of recent works on paper and sculpture by Wyatt Grant. The show opens on January 30<sup>th</sup>&nbsp;and continues until March 7<sup>th</sup>.</p> <p style="text-align: justify;">In&nbsp;<em>Dreamer Gets Another Dream</em>, Wyatt Grant assembles a collection of recent work revealing influences from stories, cultural relics and everyday experiences. In a project that includes complex paper works and sculpture, he creates an assorted cast of characters &mdash; both figurative and other &mdash; that form the basis for intricate vignettes. The terms are written here in several ways. Using dioramas, pictorial narratives and abstraction, the project establishes an unlikely and mysterious mythology. Engaging in themes of displacement, humor, frustration and the supernatural, Grant exposes an interior state for each element of the installation.</p> <p style="text-align: justify;">The material nature of the work in this show expresses Wyatt Grant&rsquo;s active studio practice. Roughly assembled geometric compositions, stacks of collages, an inventory of preliminary studies and experimental objects are linked together thematically. There is an amorphous relationship between the parts and the whole; bonds are formed through visual and structural links. Those isolated figures that remain act as monoliths to create a divide between what populates a dream and how we ascribe its meaning.</p> <p style="text-align: justify;"><em>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Dreamer Gets Another Dream&nbsp;</em>works feels like a theater set populated by a peculiar group of actors. The compelling narrative that unfolds comes to us through inference and allusion.</p> <p style="text-align: justify;">Wyatt Grant received his BFA from The School of the Art Institute of Chicago in 2011 with an emphasis in fiber and material studies. Based in Chicago, he has exhibited with LVL3, Autumn Space, HungryMan Gallery and the West Pilsen Sculpture Garden, among others. He is the founder of the Chicago band Pool Holograph and frequently produces posters, album covers, and murals for a variety of clients.<em>Dreamer Gets Another Dream</em>&nbsp;is his first solo gallery exhibition.</p> Wed, 28 Jan 2015 11:02:00 +0000 Elijah Burgher, Dana Carter, Pamela Fraser, Leah Mackin, Dutes Miller, Rachel Niffenegger, Corkey Sinks, Deb Sokolow - Western Exhibitions - January 30th 5:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;">This show is about ghosts. And dreams. </span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;">Organized by gallery staff and presenting work in a variety of media, including printmaking, drawing, artist books, collage and sculpture, <em>The world is mystical, dangerous and delicious</em> opens with a free public reception on <span style="text-decoration: underline;">Friday, January 30</span> and runs through March 7, 2015. Gallery hours are Tuesday through Saturday, 11am to 6pm.</span></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><strong>Elijah Burgher's</strong> (b. 1978, Kingston, NY) drawings, paintings and prints utilize ideas from magick and the occult to address sexuality, sub-cultural formation and the history of abstraction. Citing early 20th century occultist Austin Osman Spare&rsquo;s system, Elijah Burgher makes sigils&mdash;emblems to which magical power is imputed. By recombining the letters that spell out a wish into a new symbol, Burgher&rsquo;s pictures of sigils literally encode desire while embodying it abstractly through shape, color and composition. For this show, Burgher will be presenting new abstract pressure prints made at Chicago&rsquo;s Spudnik Press. <br /> <br /> Burgher's work has been included in the 2014 <em>Whitney Biennia</em>l; the 2014 <em>Gwangju Biennial</em> as part of AA Bronson&rsquo;s &ldquo;House of Shame&rdquo; installation; and in group shows at Witte de With Center for Contemporary Art in Rotterdam, The Netherlands; Hales Gallery in London; Cabinet in London; Exile in Berlin; Rhodes College in Memphis, TN; and the Sullivan Galleries at the School of the Art Institute of Chicago. His work has been written about in <span style="text-decoration: underline;">New York Times</span>, <span style="text-decoration: underline;">Art in America</span>, <span style="text-decoration: underline;">ArtReview</span>, <span style="text-decoration: underline;"></span>, <span style="text-decoration: underline;">New City</span> and <span style="text-decoration: underline;">Daily Serving</span> and was been included in Phaidon&rsquo;s <span style="text-decoration: underline;">VITAMIN D2</span> hardcover survey of contemporary drawing practices. He lives and works in Chicago.</span></span></span></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><strong>Dana Carter</strong> works across media often using ephemeral materials that convey the passage of time. In <em>The world is mystical, dangerous and delicious</em>, Carter will present works made by evaporating saltwater on fabric. Carter&rsquo;s visceral hybrid objects look like images from satellites or gleaming mountains at night. The fabric is used as a physical representation of darkness and the crystalline forms give the viewer a sense of being disoriented in the landscape. </span></span></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;">Carter&rsquo;s light, fabric and video installations have been exhibited at the Elmhurst Art Museum, Il; MassArt, Boston; American Institute of Architecture, New Orleans; Iceberg Projects, Chicago; Devening Projects, Chicago; Center for Print Studies, Columbia University, NY; Vox Populi, Philadelphia; Locust Projects, Miami; Gallery 400, Chicago; Glass Curtain Gallery, Chicago; Cleve Carney Art Center, IL; Hyde Park Art Center, Chicago; The Bioscope, Johannesburg, South Africa; and Centro de Desarrollo de las Artes Visuales, Havana, Cuba. Her work has been written about in the <span style="text-decoration: underline;">Chicago Tribune</span>; <span style="text-decoration: underline;">Chicago Reader</span>; <span style="text-decoration: underline;">Architect's Newspaper</span>; <span style="text-decoration: underline;">New City</span>; and <span style="text-decoration: underline;">New Orleans Times-Picayune</span>. Carter lives and works in Chicago.<br /> </span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><strong>Pamela Fraser's</strong> (b. 1965) loosely graphic paintings are subtly detailed, simple compositions. Her abstracted forms appear like an innocuous symbolic language that infuses flat colored shapes with a playful, sometimes humorous sensibility. She recently expanded her painting practice to include sculptural forms, both wall-based and in site-specific installations. In <em>The world is mystical, dangerous and delicious</em>, Fraser will be presenting one of her first forays into ceramics, an interlocking irregularly-shaped diptych of black and white panels perforated with triangular patterns.</span></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"> Solo exhibitions include Galerie Schmidt Maczolleck, Cologne; Galleria Il Capricorno, Venice; The Blaffer Museum of the University of Houston; Casey Kaplan Gallery, NY; and Golden Gallery, Chicago. Fraser is a recipient of the Louis Comfort Tiffany Foundation Award and continues to be featured in national and international publications. Fraser&rsquo;s work is represented by Galerie Anke Schmidt in Cologne, Germany. She lives and works in Barnard, Vermont.</span><span style="font-family: Georgia,Times New Roman,Times,serif;"><br /></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><strong>Leah Mackin</strong> (b. 1985, Philadelphia, PA) work investigates the ephemeral nature and malleability of photocopied paper. In the book objects, paper is photocopied onto itself to create abstracted, bound compositions. In a new construction for <em>The world is mystical, dangerous and delicious</em>, folded and conformed paper is presented in a table vitrine. For <em>Untitled (Swipe)</em> toner is unfixed and removed by the touch of a finger. </span></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;">Her work has been presented in group shows at the Slusser Gallery at University of Michigan, the Printer&rsquo;s Ball event in Chicago, Cranbrook Academy of Art, Quarter Gallery at University of Minnesota, and &amp; Pens in Los Angeles. In 2012, Mackin presented a solo exhibition, <em>Frequency Illusion</em>s at Western Exhibitions. Mackin lives and works in Chicago.</span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><strong>Dutes Miller's</strong> (b. 1965, Pennsylvania) work critically engages with the mythologies surrounding human sexuality, especially an exploration of the male body as it manifests itself in gay desire, in its evident state of arousal, its protuberances, its emissions. His new woven collages in this show obscure bodies in a tangle of patterned elements. </span></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;">Dutes Miller's work has been reviewed in <span style="text-decoration: underline;"></span>, the <span style="text-decoration: underline;">Chicago Tribune</span>, <span style="text-decoration: underline;">New City</span> and the <span style="text-decoration: underline;">Chicago Reader</span>. Groups shows include White Flag Projects in St. Louis, the Ukranian Museum of Art and 40ooo in Chicago. His collaborative work within Miller &amp; Shellabarger won awards from Artadia and the Luois Comfort Tiffany Foundation and has been shown in galleries and museums across the country. Miller lives and works in Chicago.<br /> </span><span style="font-family: Georgia,Times New Roman,Times,serif;"><br /></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><strong>Rachel Niffenegger's</strong> (b. 1985, Evanston, IL) work focuses on the ephemeral state of the feminine figure in contemporary society, addressing notions of the body, sculpture, clothing and painting; alluding to both physical and psychological violence. Niffenegger will be showing a steel and epoxy clay sculpture from a new series of intimately scaled, open-form busts. This achromatic portrait suspends a mesh synthetic wig and idiosyncratic features from a bone-like hook.</span></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"> Recent solo shows include Western Exhibitions in Chicago and Club Midnight in Berlin and her work has been included in group shows at Museum of Contemporary Art in Chicago; Museum for Modern Art in Arnhem; Bourouina Gallery in Berlin; Tracy Williams Ltd in NYC; Ceri Hand Gallery in Liverpool; and in Chicago at Corbett vs. Dempsey, Andrew Rafacz Gallery, and the Hyde Park Art Center. Niffenegger lives and works in Chicago.</span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><strong>Corkey Sinks</strong> (b. 1983, Dallas, TX) works in a variety of media including sculpture, textiles, and printed matter. Through constellations of escapist fantasies, self-help culture, and geometric pattern-making, Sinks seeks practical and psycho-spiritual alternatives to the mainstream. Sinks is showing large hand-cut, heat-fused plastic piece besotted with black and clear triangles, a uncanny object that resembles both a quilt and tarp. </span></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;">Recent exhibitions iin Chicago nclude <em>BLACK CAULIFLOWER</em>, with Jamie Steele at Roots and Culture; <em>Events, Coincidences, and Repercussions</em>, a solo exhibition at Elastic Arts Foundation; <em>New Collaborative works by Corkey Sinks and Jesse Butcher</em> at Adult Contemporary; and RANCH, curated by<em> GURL DONT BE DUMB</em> at Iceberg Projects, Chicago IL. Sinks is co-founder of Walls Divide Press and lives and works in Chicago.</span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><span style="font-family: Georgia,Times New Roman,Times,serif;"><strong>Deb Sokolow&rsquo;s</strong> (b. 1974, Davis, CA) text-driven drawings combine research, fiction and humor to speculate on topics relating to politics, conspiracy theory and human nature. The drawings in <em>The world is mystical, dangerous and delicious</em> ruminate on recent interactions with ghosts. </span></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;">Recent group exhibitions include the 4th Athens Biennale in Greece, The Drawing Center in New York City, Museum f&uuml;r Gegenwartskunst Siegen in Germany, The Institute of Contemporary Art, Philadelphia and Western Exhibitions in Chicago. Sokolow&rsquo;s 2013 solo exhibition at the Wadsworth Atheneum Museum of Art, <em>Some Concerns About the Candidate</em>, was reviewed in <span style="text-decoration: underline;">The New York Times</span>, and her work has been reproduced for Creative Time&rsquo;s Comics project, for Swedish art magazine,<span style="text-decoration: underline;"> Paletten</span>, and in <span style="text-decoration: underline;">Vitamin D2</span>, a survey on contemporary drawing. Sokolow lives and works in Chicago.</span></p> Mon, 12 Jan 2015 17:18:41 +0000 Samantha Bittman, Drew Broderick, Liz Ensz, Kiam Marcelo Junio, Tim McMullen, Laura Hart Newlon - Roots & Culture - February 6th 6:00 PM - 8:00 PM <p style="text-align: justify;">Camouflage is a tool. It hijacks ingrained ways of perception to operate within, under and through them. Mossy Cloak, curated by Third Object, is a group exhibition of work in photography, painting, sound and sculpture from six artists. It examines the layered vocabularies of camouflage, exploring its role as a visual surface patterning and as metaphor for social and historical concealment. <br /> <br /> Samantha Bittman<br /> Drew Broderick<br /> Liz Ensz<br /> Kiam Marcelo Junio <br /> Tim McMullen <br /> Laura Hart Newlon<br /> <br /> Third object is a Chicago-based curatorial collective. <br /></p> Tue, 30 Dec 2014 16:53:01 +0000 Abigail DeVille - moniquemeloche gallery - February 7th 4:00 PM - 7:00 PM <p style="text-align: justify;"><strong>Artist talk:</strong> Saturday, February 7, 4-5pm<br /> <strong>Reception:</strong> Saturday, February 7, 5-7pm</p> <p style="text-align: justify;">For her <strong>on the wall</strong> project at moniquemeloche, Abigail DeVille will produce a new installation in situ, continuing her investigation into the 18th-century idea of dark stars and the rejection of black holes. &nbsp;DeVille creates lush, textured environments that occupy a space between the claustrophobia of the urban environment and the expansiveness of the universe. Utilizing a site-responsive technique, DeVille cultivates an awareness of material culture through the collection of its discarded remnants. The artist states:</p> <p style="text-align: justify;"><em>Through the poetry of everyday experience and American history I create black hole room-sized sculptures that speak to different strands in American society&rsquo;s material culture. Black holes are containers that are laden with forgotten information, the absence of light, power, knowledge and the harbinger of historical inaccuracies. I use celestial forms to think about our place in history, that links us to the beginning of time. &nbsp;Garbage contains the material history of the present and links to the past.</em></p> <p style="text-align: justify;"><strong>Abigail DeVille (American, b. 1981, New York, NY, lives New York)</strong> received her MFA from Yale University in 2011 and her BFA from the Fashion Institute of Technology in 2007. DeVille has exhibited a growing constellation of site-specific installations in the United States and Europe. Her most recent exhibitions include <em>Material Histories</em> at the Studio Museum in Harlem (2014); <em>Outside the Lines</em> at the Contemporary Art Museum Houston (2014); <em>Gastown Follies</em>, Artspeak, Vancouver, BC, (2013); <em>Bronx Calling</em>, The Bronx Museum of the Arts (2013); <em>Future Generation Art Prize at Venice</em>, The 55th Venice Biennale (2013); <em>XXXXXXX</em>, at Iceberg Projects, Chicago (2013); <em>Fore</em>, The Studio Museum in Harlem, New York (2012); <em>Future Generation Art Prize Exhibition</em> at the Pinchuk Art Centre, Kiev, Ukraine (2012);<em> If I don&rsquo;t think I&rsquo;m sinking, look what a hole I&rsquo;m in</em>, Night Gallery, Los Angeles, CA (2012); <em>First Among Equals</em>, ICA, Philadelphia, PA (2012); <em>The Ungovernables</em>, New Museum, NY (2012); <em>Bosch Young Talent Show</em>, Stedelijk Museum, s-Hertogenbosch, Netherlands (2011). Her work has been written about in <em>New York Magazine</em>, <em>The</em> <em>New York Times, Artforum</em>, <em>Time Out New York, CAPITAL, Philadelphia Weekly</em>, <em>Interview</em>, <em>Black Book</em>, <em>Nylon</em>, <em>Art News</em> and <em>Paper Magazine</em>. DeVille is a 2012 Joan Mitchell Foundation grant recipient, a 2013/14 Artist-in-Residence at the Studio Museum in Harlem, a 2014/15 recipient of The Radcliffe Institute for Advanced Study Fellowship at Harvard, and a 2015 Creative Capital Visual Artist Award.</p> <p style="text-align: justify;"><strong>on the wall</strong> is generously supported by a grant from the Wicker Park Bucktown SSA #33.</p> Sun, 25 Jan 2015 17:37:58 +0000 Nate Young - moniquemeloche gallery - February 7th 4:00 PM - 7:00 PM <p><strong>Artist talk:</strong> Saturday, February 7, 4-5pm<br /> <strong>Reception:</strong> Saturday, February 7, 5-7pm</p> <p style="text-align: justify;">Monique Meloche Gallery is pleased to announce the gallery&rsquo;s first solo exhibition with Minneapolis-based artist Nate Young. Young&rsquo;s conceptual practice allows him to move fluidly between different mediums, often conflating multiple subjects and material. In this body of work, the artist combines language and signifiers with graphite and paper to create deliberately worked diagrammatic drawings that are austere and poetic. Young derives his inspiration from the Swiss linguist and semiotician Ferdinand de Saussure, and his father&rsquo;s theological background. This combination of lucid materials and esoteric concepts identifies the space between language and cognition, the signifier and the signified; articulating the connection between. This moment of cognition is further amplified by the inclusion of a distinct, codified language that is an extension of post-structuralism, informed by religious doctrine.</p> <p style="text-align: justify;">In semiotic theory, the sign has a meaning other than itself, which communicates information once decoded. For Young, this symbol is an opportunity to challenge our understanding of form and meaning. The series <em>Diagrams with my Father</em> is created through the appropriation of theological diagrams from the elder Young&rsquo;s teachings, combined with symbols that carry a particular weight in the artist&rsquo;s visual lexicon. <em>God, dog</em>, a diptych, provides a further glimpse into the binary system Young complicates. Consistent shifts occur as the eye scans the surface of the drawings, traversing the distance between truth, religion, language, and mark-making. Slowly, the words <em>form</em>, <em>void</em>, <em>dog</em>, <em>god</em>, <em>WORD</em>, and <em>word</em>, begin to assemble on the paper, slightly obfuscated by a coat of loose graphite that has been rubbed into the grain. The combination of authoritative marks of the scholar and artist conflates the absoluteness of religious word and language itself, resulting in a system of floating signifiers that weaves a thread through Young&rsquo;s broader practice. The resultant body of work suggests a conversation between the two, and the opportunity for new forms to emerge.</p> <p style="text-align: justify;"><strong>Nate Young (American b. 1981, Minneapolis, MN, lives Minneapolis)</strong> received his MFA from the California Institute of the Arts in 2009, BA from Northwestern College in Minnesota in 2004, and attended the Skowhegan School of Painting and Sculpture in 2009. Recent solo and group exhibitions include <em>Retreat</em>, curated by Theaster Gates, Richard Gray Gallery, Chicago (2014); <em>Tony Lewis, Nate Young</em>, at Room East, New York (2014); <em>Joy</em> at the Suburban, Chicago (2013); the Soap Factory&rsquo;s Minnesota Biennial (2013); <em>Fore</em>, at The Studio Museum in Harlem, New York (2012); <em>Go Tell It on the Mountain</em>, at the California African American Museum, Los Angeles (2012). Nate is the recipient of the Knight Arts Challenge Fellowship from the Knight Foundation (2014), the Bush Fellowship for Visual Artists (2010) and the Jerome Fellowship for Emerging Artists (2014). His work is in notable public collections, including the Walker Art Center. Young is co-founder and director of the artist run exhibition space, The Bindery Projects, in Minneapolis.</p> Mon, 05 Jan 2015 17:49:47 +0000 - Museum of Contemporary Art (MCA) - February 10th 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 11th 7:30 PM - 9:00 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, 10 Jan 2015 10:16:44 +0000 Ryan Fenchel - Carrie Secrist Gallery - February 13th 5:00 PM - 8:00 PM <p style="text-align: justify;">Carrie Secrist Gallery proudly presents our debut exhibition with Los Angeles-based artist <strong>Ryan Fenchel, <em>Fases and Vaces I&rsquo;ve Been</em>,</strong> on view from February 13 &ndash; March 28, 2015.<br /> <br /> <span style="text-decoration: underline;">Please join us for a reception for the artist on Friday the 13th of February from 5-8 PM.</span><br /> <br /> <strong>Ryan Fenchel: <em>Fases and Vaces I&rsquo;ve Been</em></strong> comprises a new body of drawings depicting shapes that resemble vessels &ndash; jars, flasks, vases and pitchers. Executed in chalk pastel and oil pastel, the cryptological images yield a purposefully awkward sense of space and balance. Driven by a confluence of tropes, including alchemy, secret societies, Cubism and Surrealism, and natural science, Fenchel connects and combines known forms and meanings in order to generate unfamiliar values and interpretations. <br /> <br /> Ryan Fenchel (b. 1981, United States) lives and works in Los Angeles, CA. He completed an MFA in Art Theory and Practice from Northwestern University in 2007. Past exhibitions include Dan Devening Projects, LVL3, and Roots &amp; Culture in Chicago, IL as well as Bodega, Philadelphia, PA; Control Room, Los Angeles, CA; and Gallery Yasashii Yokan, Tokyo, Japan. <em>Fases and Vaces I&rsquo;ve Been</em> is the artist&rsquo;s first solo exhibition with Carrie Secrist Gallery.</p> Mon, 19 Jan 2015 16:42:29 +0000 Robert Delaunay, Gino Severini, Kurt Schwitters, George Grosz, Hans Bellmer, Salvador Dalí, Stanisław Witkiewicz - The Art Institute of Chicago - February 15th 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 - The Oriental Institute at University of Chicago - February 17th 10:00 AM - 6:00 PM <p style="text-align: justify;">How did modern Cairo come to be?&nbsp; Unlike many cities in Egypt which originated during ancient Pharaonic or Greco-Roman times, Cairo is a relatively young city.&nbsp; The first permanent urban settlement began only in AD 641 but it grew quickly into a sprawling capital city. &nbsp;This exhibit highlights the diversity of people who were the first to make Old Cairo their home.&nbsp;</p> <p style="text-align: justify;">In the exhibit, visitors will explore how Old Cairo&rsquo;s communities lived together and melded their traditions to create an ever-growing, multi-cultural society during the 7th&nbsp;to 12th&nbsp;centuries AD. &nbsp;Although the city was governed by Muslim Arabs, its neighborhoods were populated by people from a patchwork of religious and ethnic communities, including native Egyptians and many immigrants.&nbsp; The exhibit puts a special focus on the three main religious communities - Muslims, Christians, and Jews &ndash; whose members helped shape Old Cairo&rsquo;s neighborhoods, markets, and public places.</p> <p style="text-align: justify;">Each of Old Cairo&rsquo;s communities will be brought to life through documents that highlight the words and thoughts of individuals, including letters from the Genizah (a deposit of Jewish manuscripts preserved for centuries in a synagogue), early Islamic administrative records, and illuminated manuscripts.&nbsp; The exhibit will also use audio recordings to highlight the human voices that created these written words.</p> <p style="text-align: justify;">Another theme within the exhibit is the exploration of how Old Cairo&rsquo;s communities interacted while living in close urban quarters.&nbsp; Archaeological artifacts such as textiles, pottery, games, and toys show how the boundaries between communities could be blurred.&nbsp; Old Cairo&rsquo;s residents often lived similarly across the city and shared many daily activities, traditions, and aspirations.&nbsp; The archaeological artifacts in the exhibit commemorate 50 years since rescue excavations were conducted at Old Cairo by George Scanlon in collaboration with the American Research Center in Egypt in 1964.&nbsp; This is the first time that many of these objects have been be displayed.</p> Sat, 10 Jan 2015 10:15:06 +0000