ArtSlant - Openings & events en-us 40 Marianne Fairbanks, Fultonia, 96 Acres, Jason Lazarus, Cauleen Smith, Jan Tichy, Amanda Williams - Gallery 400 - May 8th 5:00 PM - 8:00 PM <p><em>After Today</em>&nbsp;includes seven artists&rsquo; projects that respond to the city of Chicago's social, political, and economic conditions. At this moment of rapid change and political debate&mdash;with increasing income inequality, in the long wake of the 2008 recession, as neighborhoods across the city continue to transform, with the rise of labor movements, as the tech sector expands in Chicago, with the transformations of Chicago&rsquo;s public sector, as wider attention is paid to police violence, and given the long story of race in the city&mdash;the artist&rsquo;s address the city's changes and its possible future. The seven artists, all Chicago-based, use a variety of organization and material strategies and focus on topics that range across economic effects, collective action, and how the past and present condition desires for the future&mdash;with a number of projects highlighting aspects of the city&rsquo;s criminal justice system.</p> <p>From sculptures incorporating fabrics dyed with the plants surrounding foreclosed homes to audio stories of families affected by the Cook County Jail to a sculpture and photographic portraiture project that is designed as a tool to achieve collective goals, the artists&rsquo; works mark a specific moment in the city&mdash;the time we live in&mdash;but also address a time that is informed by both the past and future. From where we are now standing (and looking) these seem to be the fateful, decisive, significant moments defining Chicago and how we can live together here.</p> <p><em>After Today</em>&nbsp;is part of an ongoing series of exhibitions and events,&nbsp;<em>Standard of Living</em>, that explore shifts in economies and in work. Topics covered in the series include how and where economic exchange takes place, new models for sustainable economies, employment-driven migration, and relationships between place, work, and economic viability, among others. A key component of this series is community involvement. Partnerships, relationships, and dialogues with community organizations, labor unions, and artists help guide the development of exhibitions and events.</p> Wed, 22 Apr 2015 21:03:07 +0000 Susan Giles - THE MISSION - May 8th 6:00 PM - 8:00 PM <p>THE MISSION is pleased to present <em>Points in Space</em>, an exhibition of recent sculptures by Susan Giles. Giles&rsquo; process explores representations of lived experiences in relation to the built environment. She reflects on the symbolic power of verticality and aerial perspective in contrast to the vernacular aesthetic of phone cameras, Google Street View and social media. Giles selects and isolates fragments of iconic architecture in the same way that tourists&rsquo; photographs privilege the most distinctive and recognizable elements of a place. An opening reception will be held on Friday, May 8 from 6 to 8pm. The show continues through Saturday, June 27, 2015.</p> <p>&nbsp;</p> <p><em>Points in Space </em>features small-scale sculptures that combine intricate paper models of iconic architecture &ndash; assembled from found and original patterns &ndash; with raw concrete bases resembling everyday infrastructure such as viaducts, columns and bridge supports. The exhibition also showcases a larger scale sculpture of two towers in Prague: the Zizkov Television Tower and the steeple from the Church of Saint Procopius, formerly the tallest tower in Prague. Constructed of concrete, paper and a wooden scaffold-like support, the two structures are presented at equal heights. Giles&rsquo; formal comparison of the two structures conversely suggests opposing perspectives; the church continues to point toward the heavens, while the television tower returns our gaze to Earth.</p> <p>&nbsp;</p> <p class="normal"><em>This desire to capture, manipulate, and own architecture is the driving force behind the scale of Susan Giles&rsquo;s intricate sculptures. Her miniature buildings mimic the form of a souvenir, allowing a perceived ownership of the architectural forms tourists collect as objects of their travels. Giles gives a tangibility to these buildings formed out of drawing paper, allowing one to imagine they have been manipulated by their own hand, designed for their own home. The sculptures lay perched upon or skewed atop concrete &ndash; the materials a balance of potential ideas against the realities of a bleak quotidian material. The concrete reflects the grounding features of a city perpetually passed over by tourists, the viaducts and columns that lay far below the commonly photographed spires, minarets, and antennae that yearn to poke through the sky above.</em></p> <p style="text-align: right;">&nbsp;- Kate Sierzputowski</p> <p align="right">&nbsp;<span style="text-align: left;">An exhibition brochure featuring an essay by Chicago-based writer and art journalist Kate Sierzputowski will accompany the show.</span></p> <p>&nbsp;</p> <p>&nbsp; Large-scale wooden sculptures by Susan Giles can be seen in a concurrent exhibition, <em>Scenic Overlook</em>, at Hyde Park Art Center through July 26, 2015.</p> Fri, 24 Apr 2015 18:38:01 +0000 Diaz Lewis - THE MISSION - May 8th 6:00 PM - 8:00 PM <p>THE SUB-MISSION is pleased to present <em>Cul-De-Sac</em>, a site-specific installation by D&iacute;az Lewis Collaborative. Alejandro Figueredo D&iacute;az-Perera&rsquo;s and Cara Megan Lewis&rsquo; collaborative practice investigates how political relationships and cultural distinctions between their two countries &ndash; Cuba and the United States &ndash; manifest on a micro- or personal level. Informed by political rhetoric, immigration and property rights, D&iacute;az Lewis dissects relevant themes from two very distinct and often opposing angles. An opening reception will be held on Friday, May 8 from 6 to 8pm. The show continues through Saturday, June 27, 2015.</p> <p>&nbsp;</p> <p><em>Cul-De-Sac </em>consists of a rotating video projection of panoramic footage filmed at a subdivision consisting of more than 100 houses in the same state of construction. Because of special permits and legal property issues, The Links at Pebble Creek in Le Claire, Iowa was required to be constructed all at once with a single developer obligated to build and sell all homes on speculation. The network of uninhabited, cookie cutter cul-de-sacs appear in an ambiguous state of either construction or destruction, resembling a ghost town or a Hollywood stage more than a master planned community.</p> <p>&nbsp;</p> <p>Accompanying the video projection is a timeless music box melody from Czech composer Bedrich Smetana&rsquo;s set of symphonic poems <em>M&aacute; Vlast (My Fatherland)</em>. The audio implies a rich and varied history and offers a counterpoint to the cultural void depicted in the video footage. The combination of the Old World melody with the New World construction evokes a choreography in which the houses themselves are seeking an authentic history and sense of place. The video exposes the skeleton of a yet-to-be populated, already-scripted homogenous society that prizes superficial appearance over true quality.</p> <p>&nbsp;</p> <p><strong>Alejandro Figueredo D&iacute;az-Perera</strong> (Cuba) received an MFA in the Department of Visual Arts from Instituto Superior de Arte (ISA) in 2014 and <strong>Cara Megan Lewis</strong> (Chicago) received an MA in Curatorial Practice from California College of the Arts in 2007. Together they have performed private art actions from Varadero, Cuba to Hong Kong. Their participation in Rapid Pulse International Performance Festival 2014 marked their first public performance together. Also in 2014, D&iacute;az Lewis realized performances through Defibrillator Gallery, Antena Space and Aspect/Ratio Gallery (Chicago).</p> Fri, 24 Apr 2015 18:44:54 +0000 Richard Hull - Western Exhibitions - May 8th 5:00 PM - 8:00 PM <p style="text-align: justify;">Western Exhibitions is thrilled to present our third solo show with <strong>RICHARD HULL.</strong> The Chicago-based artist will exhibit a series of crayon-on-paper abstract portraits in Gallery 1 and in Gallery 2, a new oil-on-wax-on-canvas painting, two never-seen-before paintings started over ten years ago, and a huge unframed drawing. The show opens with a free public reception on <span style="text-decoration: underline;">Friday, May 8 from 5 to 8pm</span> and will run through June 13. Gallery hours are Tuesday-Saturday, 11am to 6pm.<br /> <br /> Richard Hull joined the Phyllis Kind Gallery before his graduation from the School of the Art Institute Chicago, where many of Chicago&rsquo;s legendary Imagist painters showed in the late-1970&rsquo;s, including Roger Brown, Jim Nutt, Ed Paschke, Christina Ramberg and Karl Wirsum. He was known then for painting &ldquo;abstracted architectural interiors where towers, gabled roofs, and arched doorways combine with geometric solids and intersecting planes to form a framework in which various figurative elements are situated.&rdquo; (1). Hull calls his recent paintings and drawings (2011-2015) &ldquo;stolen portraits.&rdquo; His crayon drawings, in particular, are portraits in the form of hairdos, each one expressing a distinct visual personality rather than a representation of a particular individual. This quasi-figurative direction started with, of all things, drawing a horse&rsquo;s tail for an exquisite corpse in a performative collaboration with MacArthur award-winning saxophonist and composer Ken Vandermark and the illustrator and printmaker Dan Grzeca. Hull has also been influenced by the concept of a Klein bottle, a non-orientable surface with no identifiable "inner" and "outer" side. In subsequent works, he has doubled and mirrored the tail/kidney shape, while exploring spatial relationships, both metaphorically and formally, between the geometric dualities of full and empty spaces. In Hull&rsquo;s stolen portraits, horse tails now resemble looping flower petal forms - building blocks for portrait-like structures. The bulbous loops are accentuated by minute, repetitive, often concentric actions within the large masses.</p> <p style="text-align: justify;">The common crayons Hull uses for this body of work give each drawing a visceral, physical presence that is also transparent and ephemeral, and the heavy build up of wax allows for sgraffito, a scratch-like mark-making technique, to be applied to the various layers of color. Given that he thinks of the drawings as hairdos, it is not surprising to learn that he sometimes uses a comb to make the marks. The crayon drawings have been the primary focus of his studio work the past two years but they are not studies for paintings; Hull stated in a recent interview on Inside/Within: &ldquo;I did the paintings before I did the drawings. The paintings lead me to the drawings.&rdquo; The rigorous crayon drawings are distillations of the ideas achieved through Hull's investigation of the more fluid, sensual materials associated with oil painting.<br /> <br /> A new massive &ldquo;stolen portrait&rdquo; painting hanging in Gallery 2 shares space with two paintings that were each started around 10 years ago and have recently been reworked. These earthy works revisit and readdress the issue of landscape and the figure in it. They differ from his recent portrait paintings in that the delineation between the figure and ground becomes blurred; the image is overtaken by the paint. Joining these paintings is a large pencil drawing &ldquo;Passage&rdquo; that Hull started with the idea of making a million discreet marks, vaguely thinking of a body of water or an undulating terrain, while really describing nothing except perhaps the passage of time.<br /> <br /> <strong>Richard Hull</strong> (b. 1955 Oklahoma City, OK, lives and works in Chicago, IL)<br /> Paintings, drawings and prints are in the collections of several museums including the Art Institute of Chicago; Museum of Contemporary Art, Chicago; the Smithsonian Museum, Washington, D.C.; Nelson-Atkins Museum, Kansas City; Museum of Fine Arts, Houston and the Smart Museum, Chicago. He has exhibited his work at the Art Institute of Chicago; Museum of Contemporary Art, Chicago; Nelson-Atkins Museum, Kansas City; the Aldrich Contemporary Art Museum, Ridgefield, CT; Contemporary Art Center, Cincinnati, OH; Portland Art Museum, OR; the Cleveland Institute of Art, Cleveland, OH; Herron Gallery of Art, Indianapolis, IN; Cranbrook Academy of Art, Bloomfield Hills, MI; Mary and Leigh Block Museum of Art, Evanston IL; and the Painting Center, New York, NY.</p> <p style="text-align: justify;">(1) Courtenay E. Smith, from "Art in Chicago 1945 - 1995" Museum of Contemporary Art, Chicago</p> Tue, 21 Apr 2015 19:05:20 +0000 Julie Green - Mary and Leigh Block Museum of Art - May 9th 10:00 AM - 5:00 PM <p style="text-align: justify;"><strong><em>The Last Supper</em></strong><strong>, a solo exhibition by contemporary artist Julie Green, displays 600 plates depicting the last meal requests of US death row inmates.</strong></p> <p style="text-align: justify;">For nearly two decades,&nbsp;<a href="" target="_blank">Julie Green</a>&nbsp;has painted images of these last meal requests in cobalt blue mineral paint onto second-hand ceramic plates. She intends to continue making 50 plates per year until capital punishment is abolished. </p> <p style="text-align: justify;">Individually, each painted plate functions as both a portrait and a still life steeped in the traditions of painting and fine craft. The influences of Dutch Delftware and Spanish still life painting can be traced in Green&rsquo;s blue-tinted illustrations.</p> <p style="text-align: justify;">Collectively,&nbsp;<em>The Last Supper</em>&nbsp;is a conceptual piece, part ritual and part performance. To make each plate, the artist mines local news for notifications of executions and bases her compositions on these journalistic reports, which are often spare in detail. Through a singular gesture,&nbsp;<em>The Last Supper</em>&nbsp;underscores the practice of offering a last meal before execution, while exposing the uneven practices and policies of the state-administered capital punishment system.</p> <p style="text-align: justify;">As prisoners condemned to death, Green&rsquo;s subjects are deprived of the most basic right to life. In illustrating their final opportunities to exercise their free will, Green represents a glimmer of humanity in the midst of a seemingly austere criminal justice system.</p> <p style="text-align: justify;">The Block Museum presentation of&nbsp;<em>The Last Supper</em>&nbsp;is being overseen by Curator of Special Projects, Elliot Reichert.</p> <p style="text-align: justify;"><a href="" target="_blank">Read&nbsp;<em>The New York Times</em>&nbsp;review</a>&nbsp;of a 2013 showing of&nbsp;<em>The Last Supper</em>&nbsp;at the Arts Center in Corvallis, Oregon.</p> <p style="text-align: justify;">- See more at:</p> <p>&nbsp;</p> Sun, 15 Feb 2015 15:03:51 +0000 - Museum of Contemporary Art (MCA) - May 9th 3:00 PM - 4:00 PM <p style="text-align: justify;">Drea Howenstein, Associate Professor of Art Education and Sculpture at the School of the Art Institute, and Margarita Saona, Director of Graduate Studies, Hispanic and Italian Studies at the University of Illinois Chicago, discuss the use of objects, memory, and empathy in Salcedo&rsquo;s work</p> Sat, 06 Dec 2014 17:19:17 +0000 - Museum of Contemporary Art (MCA) - May 9th 10:00 AM - 5:00 PM <div class="thecontent"> <div class="columns"> <div class="column firstcolumn"> <p style="text-align: justify;">During the 1960s, many sculptors abandoned the use of the pedestal, placing their artworks in the same physical space as their viewers. This democratized approach to the role art plays within a museum, gallery, or home continues to the present day, with contemporary artists self-consciously creating works that interact with audiences. <em>S, M, L, XL</em> highlights four works that reflect this artistic attitude across five decades. Small, medium, large, extra-large&mdash;each work is increasingly ambitious in scale, and each offers visitors a slightly different experience of sculpture and space to, as it were, try on for size.</p> <p style="text-align: justify;">The exhibition&rsquo;s title alludes not only to a common system of labeling clothes, but also to a 1995 book by architect Rem Koolhaas that explores scale in a variety of guises, from the intimate to the public, the social to the environmental. The first sculpture is the unassuming <em>Portal </em>(1964), by Robert Morris, which presents one of the most basic architectural forms: a post-and-lintel doorway. Visitors can walk through its unusually narrow space, but only the most slender can fit through. A second Morris work, <em>Passageway</em> (1961), similarly invites visitors into a narrow, spiraling hallway that eventually becomes impassable. The third work, <em>Blue</em> by Franz West (2006), also utilizes a spiral form, but it rewards viewers entering its circular space with a seat. Completing the group is an enormous sculpture by Kris Martin that expands to fill whatever space in which it is placed. Made of a decommissioned hot air balloon and a powerful electric fan, <em>T.Y.F.F.S.H.</em> (2011) pushes its organic form against the rectilinear boundaries of the museum.</p> <p style="text-align: justify;">Taking sculpture off the pedestal, this exhibition offers four ways of relating to the size, scale, and scope of the world around us.</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> <h3 style="text-align: justify;">Funding</h3> <p style="text-align: justify;">Support for <em>S, M, L, XL</em> is generously provided by the Pritzker Traubert Collection Exhibition Fund.</p> </div> </div> </div> Sun, 15 Feb 2015 14:58:07 +0000 - Museum of Contemporary Art (MCA) - May 12th 12:00 PM - 1:00 PM <p>Naomi Beckwith, Marilyn and Larry Field Curator, leads a tour of <a href="" target="_blank"><em class="first_child last_child">Keren Cytter</em></a>.</p> Sat, 10 Jan 2015 09:32:48 +0000 Lauren Bon, Richard Nielsen, Tristan Duke - DePaul Art Museum - May 14th 11:00 AM - 5:00 PM <p style="text-align: justify;"><em>Liminal Infrastructure</em>&nbsp;will feature newly-commissioned photographs made in and around Chicago by Lauren Bon, Richard Nielsen, and Tristan Duke of the&nbsp;<a title="Optics Division" href="" target="_blank">Optics Division</a>&nbsp;of the<a title="Metabolic Studio" href="" target="_blank">&nbsp;Metabolic Studio</a>. Working with the Liminal Camera, a massive portable camera fashioned from a shipping container, the Optics Division utilizes experimental photographic technology in an ongoing project to map and depict the American landscape. The large-scale prints produced in Chicago not only engage with the evolving history of photographic imaging but also place the city within a complex global network of waterways, transportation, industry and commerce.</p> <p style="text-align: justify;">This exhibition is presented in partnership with the&nbsp;<a title="CHF" href="" target="_blank">Chicago Humanities Festival</a>.</p> <p style="text-align: justify;"><a href=";index=81&amp;list=PLA3mRLXMuZNWv_5JffcRPWaPm8TZrNh6i" target="_blank">Watch a full video conversation</a>&nbsp;between artists Lauren Bon, Richard Nielsen, and Tristan Duke, and CHF Emeritus Artistic Director Lawrence Weschler, which took place as part of the Chicago Humanities Festival in fall of 2014.</p> <p style="text-align: justify;">A companion exhibition,&nbsp;Liminal Portraits, will be on view from May 15 through 28 at the&nbsp;<a title="Co-Prosperity" href="" target="_blank">Co-Prosperity Sphere</a>,&nbsp;3219 S. Morgan Street,&nbsp;Chicago, IL 60608.</p> Fri, 10 Apr 2015 14:45:32 +0000 Sonja Thomsen - DePaul Art Museum - May 14th 11:00 AM - 5:00 PM <p style="text-align: justify;"><a title="Sonja Thomsen" href="" target="_blank">Sonja Thomsen&rsquo;s</a> photographs and installations create a tangible means to experience the ephemeral qualities of light. <em>Glowing Wavelengths In Between</em>, Thomsen&rsquo;s latest series,is, in the artist&rsquo;s words, &ldquo;a rumination on the very physicality of seeing.&rdquo; Trained as a biologist, Thomsen finds inspiration in the methods and language of science. Her work springs from extensive experimentation withoptical phenomena and research into philosophical debates regarding the mutability of scientific knowledge. Utilizing an array of materials that refract and reflect light, Thomsen&rsquo;s artistic practice embraces improvisation and iteration as means to creative discovery. The resulting pieces&mdash;vibrant color photographs, immersive photographic murals, faceted metallic sculptures&mdash;shift between direct documentation and destabilizing abstraction, and thereby recalibrate our perceptions of the visible world. Viewing Thomsen&rsquo;s work is far from a passive experience. Through undulations in scale and manipulations of light, her layered works provoke an acute awareness of light, space, and time.</p> Fri, 10 Apr 2015 14:46:00 +0000 Charles Ray - The Art Institute of Chicago - May 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;">Organized by the Art Institute of Chicago in partnership with Kunstmuseum Basel, with the full cooperation of the artist, <em>Charles Ray: Sculpture, 1997&ndash;2014</em> surveys work produced by this celebrated Chicago-born, Los Angeles-based sculptor over the past two decades. The first major exhibition since a mid-career retrospective in 1998, <em>Charles Ray</em> will pick up where the prior exhibition left off to include 19 works made by the artist between 1997 and 2014, presenting a full range of his most recent achievements with particular emphasis on figurative experiments. The Art Institute will be the sole United States venue, and three sculptures&mdash;<em>Horse and Rider</em> and <em>Huck and Jim</em>, both of 2014 and currently in production; the museum&rsquo;s <em>Hinoki</em> of 2007; and <em>Handheld Bird </em>of 2006&mdash;will be presented only in Chicago.</p> <p style="text-align: justify;">On technical and formal levels, Ray has been redefining the possibilities of contemporary sculptural practice since the early 1980s. Ray&rsquo;s recent, pioneering use of solid, machined aluminum and stainless steel is entirely new to the history of art. Solidity is very often a fundamental tenet. The exhibition will argue that, beginning with <em>Unpainted Sculpture</em> (1997), the artist has sought to embed his sculptures literally in space and time in order to make them more emphatically present, both physically and psychologically. Materially and conceptually dense, newer sculptures often emerge from a long process of study, experimentation, refinement, and meticulous execution. Ray himself has described his objects not as the product of an obsessive practice but rather as the manifestation of &ldquo;discipline and persistence.&rdquo; In fact, rather than <em>taking</em> time to sculpt, the artist <em>uses</em> time to sculpt. Perhaps the most relevant analogy for Ray&rsquo;s process is that of a river eroding or reshaping stones over time.</p> <p style="text-align: justify;">The temporal facets of his recent achievements include their glacial incubation, highly technical creation, and carefully controlled display. The works uncannily draw the artist&rsquo;s and the viewer&rsquo;s personal and collective pasts into a renewable present tense, fixing within a series of physical actions&mdash;including both this labor and subtle movements arrested by his forms&mdash;a matrix of migrating allusions and allegorical meaning.</p> <p style="text-align: justify;">A substantial catalogue accompanies the exhibition, with new critical texts by four authors who bring a diverse and multidisciplinary approach to the examination of the artist&rsquo;s work. Contributors include co-curator James Rondeau, the Dittmer Chair and Curator, Department of Contemporary Art at the Art Institute; Richard Neer, William B. Ogden Distinguished Service Professor of Art History and Cinema and Media Studies, University of Chicago; Anne Wagner, Class of 1936 Professor Emerita, University of California, Berkeley; and Michael Fried, Professor and J. R. Herbert Boone Chair in the Humanities, Johns Hopkins University.</p> <p style="text-align: justify;"><strong>Sponsors</strong><br />At the Art Institute of Chicago, lead funding for the exhibition is provided by Caryn and King Harris, The Harris Family Foundation.</p> <p style="text-align: justify;">The Lead Affiliate Sponsor is the Auxiliary Board of the Art Institute of Chicago.</p> <p style="text-align: justify;">The catalogue is made possible by Glenstone.<strong><br /></strong></p> </div> </div> </div> Sun, 15 Feb 2015 14:54:12 +0000 Danny Giles, Diana Harper, Brookhart Jonquil, Matt Mancini, Megan Stroech - LVL3 Gallery - May 16th 6:00 PM - 10:00 PM <p style="text-align: justify;">LVL3&rsquo;s continued partnership with the ACRE residency program is proud to present&nbsp;<em>I</em><em>deal Perfection</em>. This group exhibition features Danny Giles and Diana Harper, Brookhart Jonquil, Matt Mancini, and Megan Stroech&mdash;all artists from the 2014 summer residency. Dealing with light, reflection and space, these artists each transform physical matter through their own ideal process. <em>I</em><em>deal Perfection</em>&nbsp;is a culmination of these artists&rsquo; take on creating both 2D and 3D work for a universal utopia.</p> Wed, 18 Mar 2015 17:57:45 +0000 Frances Stark - The Art Institute of Chicago - May 21st 10:30 AM - 8:00 PM <p style="text-align: justify;">For more than two decades Frances Stark (American, born 1967) has made a variety of work&mdash;essays, poems, drawings, collages, hand-held videos, mural-sized decals, paintings, PowerPoint presentations, performances, an animated movie, single- and multichannel projections, and iPhone photographs&mdash;about the confluence of her art and her life. More specifically, Stark focuses on the working life of an artist as it converges with the non-working life of an artist, and vice versa; the contiguous spaces of productivity and procrastination; and the simultaneous sensations of pride and doubt. <br /><br />Stark&rsquo;s primary mode is appealingly, even alluringly, confessional, yet this does not mean that her work can be pegged as simply autobiographical. The distinction is key. She is blazingly honest&mdash;indeed, equal parts courageous and audacious&mdash;in her acts of self-assessment and self-exposure. She is likewise honest in her deployment of the confessional mode to assess and expose art-world pressures as well as the pressures and rhetorical devices of self-presentation more broadly. Further, while Stark calls herself &ldquo;pathologically open,&rdquo; her gift for sharing intimate content is part and parcel with her gifts for both formal refinement and manifest theatricality. <br /><br />The word <em>Intimism</em>&mdash;the title of Stark&rsquo;s exhibition&mdash;often refers to late 19th- and early 20th-century French paintings of small-scale, jewel-like domestic interiors, richly decorated and quietly inhabited. But the term can also be more broadly applied&mdash;and is in fact renewed by Stark&rsquo;s work, which invests questions of privacy, affinity, proximity, and communion with both affective and political urgency. <br /><br />This exhibition, part of the <em>focus</em> series, marks the first comprehensive survey of Stark&rsquo;s video and digital production, from her prescient, lo-fi <em>Cat Videos</em>, begun in 1999, through slideshows derived from her current Instagram feed, @therealstarkiller. Framed by early and new works on paper as well as a key selection from the museum&rsquo;s historical holdings, the presentation juxtaposes &ldquo;moving&rdquo; images with &ldquo;static&rdquo; ones. Stark has a gift for balancing intimate content with a sense of theatricality; here the natural allure of the artist&rsquo;s confessional mode is matched by her concerted desire to draw the viewer into varying states of arrest, passage, and attention.</p> Sat, 21 Mar 2015 12:52:58 +0000 Jean-Luc Mylayne - The Art Institute of Chicago - May 22nd 10:30 AM - 5:00 PM <p style="text-align: justify;">This spring the Art Institute of Chicago joins forces with The Arts Club of Chicago to host a pair of exhibitions featuring the work of Jean-Luc Mylayne (French, born 1946). The shows unite inside and outside, nature and culture, and bring together again two Chicago institutions that have deep historical ties. Further connecting the twin exhibitions is a third element, a public building in Millennium Park&rsquo;s Lurie Garden featuring a 30-foot-long photographic fresco covering its entire ceiling.</p> <p style="text-align: justify;">Mylayne has devoted four decades to working with common birds as &ldquo;actors&rdquo; in a profound investigation of aesthetics and community. The photographs, typically printed at grand dimensions, are each unique and can take months to prepare. Week after week, at a precise place, in a chosen season, Mylayne and his life partner, Myl&egrave;ne Mylayne, set up cumbersome camera equipment and wait until one or more of the individual birds he has previously identified&mdash;and who often seem to recognize him in turn&mdash;come to occupy the position he had imagined in his picture.&nbsp;</p> <p style="text-align: justify;">The Millennium Park building, designed by Chicago architects Dan Wheeler and Joy Meek, is free and open to the public daily 11:00&ndash;7:00 throughout the exhibition. Calm and hushed, it is a windowless chapel that offers the miraculous image of a solitary sparrow, apparently perched just above our heads, at the exact corner of a square roof under a brilliant, cloudless sky. The bird is doing something nearly inconceivable: allowing a potential predator to approach from underneath. And visitors have the chance to do something rare enough in our times: transcend our self-imposed barriers to join freely with an Other.</p> <p style="text-align: justify;"><strong>Sponsors</strong><br /><em>Jean-Luc Mylayne: Mutual Regard</em>&nbsp;is co-organized by the Art Institute of Chicago and The Arts Club of Chicago.</p> <p style="text-align: justify;">The exhibition is made possible by Lannan Foundation.</p> <p style="text-align: justify;"><em><em>C16 April 1987,&nbsp;</em>Small Chapel for One Person or at Most a Couple</em>&nbsp;(1987), a public project presented by the Art Institute of Chicago for the Millennium Park Lurie Garden in 2015, has been realized in collaboration with V-A-C Foundation and Lannan Foundation. Significant additional support has been provided by Constance R. Caplan and The Arts Club of Chicago. The assistance of Wheeler Kearns Architects, Bulley &amp; Andrews, and Lux Populi is gratefully acknowledged.&nbsp;</p> Fri, 10 Apr 2015 14:33:04 +0000 Jean-Luc Mylayne - The Arts Club of Chicago - May 22nd 6:00 PM - 7:00 PM <p style="text-align: justify;"><strong>The Arts Club of Chicago</strong>&nbsp;and the&nbsp;<strong>Art Institute of Chicago&nbsp;</strong>have invited Jean-Luc Mylayne (French, born 1946) to hold a pair of exhibitions from May until August 2015. These exhibitions, which feature Mylayne&rsquo;s captivating color photographs of birds, will (re)unite inside and outside, nature and culture, and two Chicago institutions with profound ties to each other in the past and in the present.<br />&nbsp;<br />At the same time, an original pavilion featuring Mylayne&rsquo;s photography will be erected in&nbsp;<strong>Millennium Park</strong>.&nbsp;Based on simple geometry and designed by Wheeler Kearns Architects, the &ldquo;chapel,&rdquo; as it has been named by the artist, produces the effect of a brilliant illuminated sky brought inside a contemplative space. It will be open to the public, free of charge, throughout the summer and fall. A variety of collateral events will be held on site&mdash;programs available in May.<br />&nbsp;<br />Mylayne has devoted four decades to working with common birds as actors in an extremely deliberate, philosophically motivated investigation on aesthetics and community. Each of his photographs, typically printed at grand dimensions, is unique, and can take months to prepare. Day after day, Mylayne sets up a view camera, lights, and other equipment in a chosen place, until one or more individual birds that he has previously identified&mdash;who recognize him as he recognizes them, each according to his natural abilities&mdash;come to occupy the position he had&nbsp;imagined in his picture. A mutual regard animates every composition; every work holds, however, an implicitly negative commentary on the dwindling measure of tolerance and sympathy for others that governs human activity on the planet.<br />&nbsp;<br />Mylayne and his constant companion and work partner, Myl&egrave;ne Mylayne, have conceived of the exhibition as a collaboration with the Art Institute of Chicago and The Arts Club of Chicago. Each institute will host an exhibition of photographs in a space that looks out onto a garden&mdash;the modern wing of the Art Institute and the main gallery at The Arts Club. The play of inside and outside is fundamental. In each of the spaces there will be one photograph showing a robin perched on a cubic stone; copies of the stone itself will be placed in the garden spaces that lie directly outside the exhibition halls. Each of the two exhibitions will be manifestly dependent on the other, although each can stand on its own. Just as is true for living creatures generally.<br />&nbsp;<br />The chapel building, calm and hushed, in which visitors sit and look up to see a suite of photographs showing humble sparrows, perched on the corner of a square roof under an azure sky. These photographs, attached to the chapel ceiling, show birds doing something nearly inconceivable: allowing a potential predator to approach from underneath. The trust implicit in these photographs, and their simple clarity, give much to ponder. Mylayne&rsquo;s idea and his form here&mdash;as always&mdash;possess a restrained yet magnificent aesthetic and intellectual impact.</p> Mon, 27 Apr 2015 17:42:24 +0000 - Museum of Contemporary Art (MCA) - May 23rd 10:00 AM - 5:00 PM <p style="text-align: justify;">Scanning, copying, scheduling, saving receipts&mdash;these simple organizational tasks become the focal point in&nbsp;<em>Out of Office</em>, a small exhibition that highlights five works from the MCA Collection. By transforming commonplace objects through shifts in scale and unexpected uses of materials, these artists raise questions about the increasingly prevalent role of economic transactions and technology in contemporary life.</p> <p style="text-align: justify;">Focusing on art made in the last five years, this exhibition closely considers recent approaches to the relationship between the artistic and the administrative. For example, Wade Guyton deliberately misuses an ink-jet printer, running large sheets of linen through the machine to create paintings that record the glitches that occur. Hugh Scott-Douglas and Gabriel Kuri investigate the circulation of currency in our everyday lives by using money and receipts as source material. Additionally, Jason Dodge and Eric Wesley draw attention to the logistics of daily life through the poetic presentation of humble objects.</p> <p style="text-align: justify;">Bringing the trappings of administration out of the office and into the museum reveals that, at times, the artistic process resembles more conventional forms of work, and also offers possibilities for playful transformations and subversions of practical-use items.</p> <p style="text-align: justify;">This exhibition is organized by Grace Deveney, Marjorie Susman Curatorial Fellow at the Museum of Contemporary Art Chicago.</p> Fri, 10 Apr 2015 14:49:57 +0000