ArtSlant - Current exhibits en-us 40 Christy Matson - Alderman Exhibitions - April 28th, 2012 - June 10th, 2012 <p>Alderman Exhibitions is pleased to present <i>The Sun Doesn’t Show through the Mist until Noon</i>, an exhibition of weavings by Christy Matson. This will be the artist’s first exhibition with the gallery.</p> <p>In this new body of work, Christy Matson activates rhythmic sequences that simultaneously reference an early modernist aesthetic and the preceding ethnographic patterns by which many twentieth-century painters and sculptors were influenced.</p> <p>The culmination of a process of translation from sketches in marker to full-scale weavings in cotton, linen, cashmere, and tencel, the fields of color within the woven patterns retain the marks of the artist’s hand as it telegraphs through the work of the shuttle. The reinsertion of the casualness of the sketches into the weavings highlights the importance of the idiosyncrasies in Matson’s process and use of color. The breaks or glitches in the self-inscribed systems destabilize the grid and underscore the tension between necessity and monotony in the structure of a plan.</p> <p><i>The Sun Doesn’t Show through the Mist until Noon</i> is organized around an intimately scaled series of framed weavings, four larger works on a black, and a collaborative video project produced with Ken Fandell. Regulated, yet lively, the areas of pattern in the series float within a white, woven ground. Faint feathering around the edges suggests a continuation of the pattern below the picture plane, an effect that serves as a reminder of depth and invites interpretation through each work’s concurrent existence as both surface and object. Although they are constructed using a similar process, the larger works are stitched onto a Belgian linen ground on stretched canvas, a method of presentation that stresses the physicality of the works while initiating a conversation about materiality that trespasses over a more painterly history of abstraction. The video, a psychedelic collage of brightly colored segments from the drawings that inspired the weavings interspersed with footage of turtles filmed in El Salvador, speaks to faith in the relationship between persistence and intuition, exemplified by the work of the hand as it is bound up in the work of the loom.</p> <p> <b></b></p> <p><b>Christy Matson</b> (b. 1979, Seattle, WA), a Left-Coast transplant to the Midwest, is an artist and educator at the School of the Art Institute of Chicago, where she is currently an assistant professor in the Department of Fiber and Material Studies. She received her BFA in studio art from the University of Washington in 2001, and her MFA in textiles from California College of the Arts in 2005. Recent exhibitions include the Museum of Contemporary Arts, Houston; the Milwaukee Art Museum; the Knoxville Museum of Art; the Museum of Contemporary Craft, Portland, OR; and the San Francisco Museum of Craft + Design. In 2011, Matson was an artist-in-residence at the Museum of Contemporary Craft in Portland, and in 2006, she was an artist-in-residence at the Experimental Sound Studio in Chicago and Harvestworks Digital Media Arts in New York.. Her work is held in the collections of the Smithsonian Museum of American Art’s Renwick Gallery and Portland's Museum of Contemporary Craft.</p> <div><strong>Ken Fandell</strong> is a Chicago-based artist. Hsi work is in the permanent collections of the Museum of Modern Art, the Brooklyn Art Museum, The Museum of Contemporary Art Chicago and The US Embassy in Bulgaria.</div> <div>He shows with Tony Wight Gallery.</div> Sat, 14 Apr 2012 20:03:53 +0000 Greg Stimac - Andrew Rafacz Gallery - May 12th, 2012 - June 23rd, 2012 <p style="text-align: justify;">ANDREW RAFACZ is pleased to announce a solo exhibition of a new video and photograms by Greg Stimac.</p> <p style="text-align: justify;">Andrew Rafacz continues the 2012 season with The Long Stare, a new projected video work and photograms by Greg Stimac in Gallery One. This is the artist’s fourth exhibition with the gallery and continues through Saturday, July 23, 2012.<br /> <br /> Since the beginning of his practice, Greg Stimac has been interested in American history and specifically, historical and cultural moments, whether past or present, that wholly and exclusively represent America. He is interested in what defines us as a country and a people. His work is that of a keen observer and documentarian. <br /> <br /> For his new body of work, Stimac was granted access to the Golden Spike (or ‘Last Spike’), the ceremonial spike driven by Leland Stanford to connect the Central Pacific and Union Pacific railroads on May 10, 1869 at Promontory Summit, Utah Territory. This act connected the East and the West and created the First Transcontinental Railroad. The Golden Spike was made of 17.6-karat (73%) copper-alloyed gold, and weighed 14.03 troy ounces (436 g). As the locomotives of the two railroads were drawn face-to-face, the spike was dropped into a pre-drilled hole in the laurel ceremonial last tie, and gently tapped into place with a silver ceremonial spike maul. It was engraved on all four sides with dates and the names of those railroad officers involved in the momentous occasion. <br /> <br /> Currently housed in the Cantor Arts Center at Stanford University, Stimac gained unprecedented access to the spike and under careful supervision of the museum’s officials, created a series of gold-toned silver gelatin photograms of the famous historical icon. The spike was placed onto silver gelatin paper, exposed to light and gold toned after development, producing a variety of silver hues, warm to cool. Traditional photograms usually function as a representation of the object. In a way, this is still the case here, but the absence of the object is also highlighted, spurring a notion of undoing and a feeling of incompleteness. The positive image that is left is a white spike, the negative of the real object, with an orbital gradation of light emanating away from it. The reflected light creates a burn along the left side of the image that makes portions of the original’s inscription visible.<br /> <br /> Stimac also presents a new video work, which shares its title with that of the exhibition. The Long Stare, simultaneously referencing our country’s historical preoccupation with the West and our general and ongoing preoccupation for nostalgia and looking back, Stimac has collected a found image of the head of George Washington (sourced from the Lansdowne portrait of George Washington, 1796, by Gilbert Stuart). He has subsequently flipped the image and layered a clean file with a poorly compressed one, carefully manipulating the results in order to animate Washington’s gaze. At times the first president appears to blink, squint, and even tear up. The final experience is simultaneously unsettling and humanizing. The viewer is aware that the image is taken from an historical portrait, but Stimac’s technological application gives the stagnant but stately scene an undercurrent of uncertainty, reflection, and emotion. <br /> <br /> GREG STIMAC (American, b. 1976) lives and works in San Francisco’s Bay Area. He received his B.F.A. from Columbia College, Chicago in 2005 and is currently pursuing his M.F.A. at Stanford. Past exhibitions include Worlds Away: New Suburban Landscapes, which began at The Walker Museum of Art, Minneapolis and traveled to the Carnegie Museum of Art, Pittsburgh and USA Today, at the Museum of Contemporary Art, Chicago, an exhibition of works from their permanent collection. He was included in Faraway Nearby at the Nerman Museum and FAMILIAR: Portraits of Proximity at the Kansas City Jewish Museum of Contemporary Art, both in Overland Park, Kansas. Most recent group exhibitions include Is This Thing On? / Screen Test at the Contemporary Arts Center, Cincinnati and Self Help Book Club, Thomas Welton Stanford Art Gallery, Stanford, CA, both 2012. He had a solo exhibition at White Flag Projects in St. Louis, Missouri, 2010. He is in the permanent collections of the Museum of Contemporary Art, Chicago, Museum of Contemporary Photography, Chicago, UBS, the Wieland Collection, Atlanta, GA and the Ruttenberg Collection, Chicago, IL, among others.</p> Mon, 14 May 2012 15:15:35 +0000 Jonah Freeman, Justin Lowe - Andrew Rafacz Gallery - May 12th, 2012 - June 23rd, 2012 <p style="text-align: justify;">Andrew Rafacz continues its ongoing collaboration with Los Angeles-based Country Club with The Octopus, new works by Freeman and Lowe in Gallery Two. This is the artists’ first exhibition in Chicago. It continues through Saturday, June 23, 2012.<br /> <br /> Jonah Freeman and Justin Lowe present new work from their evolving constellation of narratives surrounding The San San Metroplex and its hypertrophic urban conditions. Cactus/crystal assemblages, mirror paintings of smashed sheetrock walls, custom wallpaper designs and collages from the counter culture periodical Artichoke Underground illustrate a fragmented view of 20th century technocratic civilization. The Octopus and the accompanying exhibition Pale Hotel will focus on three specific and tangentially connected historical events: <br /> <br /> 1966: Neuroscientist Louisa Cohen and biochemist Herbert Boyer successfully create the first Plant/Mineral hybrid. In a southern California laboratory, sodium chloride from a halite crystal and the genome of a night-blooming cereus cactus are spliced together to create a new species known as the Arthrocereus-Halide or Athuride. This now legendary event yields literally thousands of genetically engineered biological and non-biological hybrids that are used in everything from lithium batteries and microchips to breakfast cereals and organic wine. Although heralded as one of the major achievements of modern science, this now widespread practice is not without its detractors. In the late twentieth century, criticisms of genetically modified organisms (GMO) and their potential adverse effects on the naturally occurring ecosystem lead to intense regulation of the production of plant/mineral hybrids. As a result, an independent black market of genetically engineered hybrids begins to emerge as a veritable shadow economy.<br /> <br /> 2004: The Pale Hotel takes formation in a warren of derelict Victorian highrises. It is to be another fashionable renovation of urban decay aiming to attract the youth migrating to urban centers in hopes of joining the burgeoning creative class. The development was to be on the forefront of technology with doors that talk, lights that adjust brightness in relation to noise levels and an omnipresent concierge service comprised partly of artificial intelligence. In the summer of 2008, as the project is still under construction, the subprime mortgage crisis hits North America, completely stalling the real estate development market. The Pale Hotel halts construction and sits empty waiting for an injection of capital to continue. Within six months, squatters and transients reclaim the building. The would-be luxury dwellings are carved up and reconfigured into mazes of interconnected cells and corridors. The computer system that was to power the “smart structure” is hacked and reworked into an open source network that connects to other abandoned smart structures. Over the next three years, the real estate market remains dormant and the smart structures of the San San become home to a black market economy dealing in everything from pirated software and designer drugs, to genetically modified pets and organic foods.<br /> <br /> 1923: The Artichoke Underground forms as a nonsensical periodical aimed at, in the words of co-founders Raoul Arcade and Amanda Winter, “Destroying the techno-structure.” The first issues of the magazine are literally a random selection of images that have no discernible connection. This is said to be an articulation of the collapse of the narrative universe into an endless, monotonous media stream. Despite a general sense of rebellion, it is unclear as to whether Artichoke Underground is actually being critical, or just simply representing the stated condition. The organization continues for seven years with sporadic publications, events and media pranks. The onset of World War Two dissipates the group and all activities are suspended. AU resurfaces in the mid-1950s presumably with the same members but with a different purpose. This time around the group advocates an odd mix of technologically augmented mind exploration that involves a drug-computer synthesis known as “The Octopus”. This is mostly theoretical, but its pages contain premonitions of the forthcoming computer dominated consciousness. In the 1960s, AU becomes the center of the counter cultural rebellion on college campuses and urban centers. It hosts a series of now famous media pranks during the 1968 democratic convention that are considered the birth of modern political theater. The Artichoke Underground fades into obscurity in late 1970’s. <br /> <br /> JONAH FREEMAN (American, b. 1975) and JUSTIN LOWE (American, b. 1976) live and work in Los Angeles. They are known for their large-scale environmental installations in which a wide variety of social spaces are rendered in intense sculptural detail. They create labyrinthine sequences of rooms that draw sharp contrasts between style and use. In these works, it would not be uncommon to move from the parlor of an Upper East Side apartment into the pantry of a Hippie commune or Chinese pharmacy. A wide range of works exists within these sprawling installations ranging from sculpture, photography, collage, painting, sound, film, and performance. The Octopus takes an archaeological-like approach, extracting objects from the site and presenting them as artifacts from these explorations. Their first collaborative installation Hello Meth Lab In The Sun (with Alexandre Singh) was commissioned by Ballroom Marfa in 2008. A variation entitled Hello Meth Lab With A View then traveled to The Station in Miami, FL, curated by Shamim Momin and Nate Lowman. Their most expansive installation Black Acid Co-op was installed in 2009 at Deitch Projects, NYC and consisted of a twenty-three room, three story architectural intervention. The most recent project, Bright White Underground, was commissioned by Country Club and installed in R.M. Schindler's Buck House in Hollywood. It involved the reimagining of the history of this famous example of California modernism as the controversial site of psychedelic research.</p> Sun, 13 May 2012 05:28:23 +0000 Marc Dennis - Carl Hammer Gallery - April 13th, 2012 - June 2nd, 2012 <p style="text-align: justify;"><span style="font-size: small;" size="4">Carl Hammer Gallery is very pleased to present the paintings of Marc Dennis in his third solo exhibition in the gallery. Dennis makes hyper-realistic and highly detailed paintings that address the subversive potential of desire, pleasure and beauty. </span></p> <p style="text-align: justify;"><span style="font-size: small;"><span size="4">Destabilizing the familiar, dissatisfied with the limits of nature, Dennis leads us into the spectacle of subtly altered worlds, into the spellbound, enigmatic and wondrous terrains of invention and artifice.</span><span size="4"> Marc takes pleasure in painting images that best embody our curiosities and passions, each lovingly, obsessively delineated. </span></span></p> <p style="text-align: justify;"><span style="font-size: small;"><span size="4">“To an artist, a picture is both a sum of ideas and a blurry memory of “pushing paint,” breathing fumes, dripping oils and wiping brushes, smearing and diluting and mixing,” art historian James Elkins noted in his book, <i>What Painting Is</i>.  Marc Dennis’ entire body of work is characterized by this kind of immersion in the physicality of painting. </span><span size="4"> </span><span size="4">A gifted draftsman with a seemingly boundless, even alarming curiosity for the infinite things of this world, Marc Dennis incessantly draws everything he sees as a record of his encounters, merging art with science, and perhaps more importantly, as a way of embracing and possessing the world spread out before him. </span></span></p> <p style="text-align: justify;"><span style="font-size: small;"><span size="4">Restlessly imaginative, Dennis is a formalist as well as a fantasist with scientific leanings, as concerned about composition and execution—the relationship of subject and ground, positive and negative space, the interaction of colors, the rendering of textures, light and shadow—as he is about narrative. </span> </span></p> <p style="text-align: justify;"><span style="font-size: large;" size="4"><span style="font-size: small;">Interested in the transformative possibilities of cultural icons, Dennis explores the charged subjects of death, decadence, power and sexuality in his work and the struggle inherent in all relationships, including the duality within our own human nature.  Dennis’ carefully arranged and succulently painted images reference the traditional genre of the still life while placing upon his subjects a faintly macabre character.</span> </span></p> Mon, 14 May 2012 15:12:55 +0000 Liliana Porter - Carrie Secrist Gallery - April 28th, 2012 - June 9th, 2012 <p style="text-align: justify;">Carrie Secrist Gallery is pleased to announce Liliana Porter: The Task, opening Saturday, April 28, 2012 from 5-8 PM. The Task is Porter’s fourth solo exhibition at Carrie Secrist Gallery.</p> <p style="text-align: justify;">Liliana Porter’s expansive body of work includes prints, drawings, collages, works on canvas, photography, installations, film, and video. With enchanting incongruity, Porter’s work playfully subverts convention, disrupts time, and challenges reality. Mixing the absurd with the philosophical, Porter creates extraordinary situations luring us into the realm of her idiosyncratic cast of characters.<br /> <br /> In the main gallery, Porter casts a performance of eclectic figurines, knickknacks, toys, and souvenirs acting in unexpected combinations and circumstances. Porter’s ensemble of inanimate figurines performs mundane tasks, such as weaving, sweeping, and chopping wood. The peculiar situations she invents, where disparate events occur simultaneously, or dissimilar characters interact, wittily invite political, philosophical and existential interpretation.<br /> <br /> In the second gallery, other members of this cast of souvenirs engage in quiet contemplation or confront one another in staged interactions. By creating dialogues between dissimilar characters that come together from different times and places, Porter demonstrates the non-linear nature of time. Porter’s space of representation fashions a new reality where everything can come together. The enigmatic figurines, then, act as objects of reflection – mirrors the viewer employs to discern or even produce meaning. <br /> <br /> Liliana Porter (Argentine, b. 1941) lives and works in New York and exhibits extensively nationally and abroad. Recent exhibitions include a two-person exhibition with Marcel Broodthaers at The New Museum, New York, a web project with Dia Art Foundation, and solo exhibitions at the Museo Tamayo, Mexico City; Centro Cultural Recoleta, Buenos Aires; Palacio Aguirre de Cartagena, Spain; and the Phoenix Art Museum, Arizona. Her work is in numerous public and private collections in Latin America, Europe and the United States, including The Museum of Modern Art, New York; The Metropolitan Museum, New York; Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; Museo de Arte Moderno, Buenos Aires; Philadelphia Museum of Art; Smithsonian Museum of American Art; and Tate Modern, London.</p> Sun, 29 Apr 2012 06:29:33 +0000 Shelby Lee Adams - Catherine Edelman Gallery - May 4th, 2012 - June 30th, 2012 <p style="text-align: justify;">Shelby Lee Adams was born in 1950 in Hazard, a small town in eastern Kentucky. Although he grew up in the back seat of his father's car, moving from place to place, he settled near Hot Spot, living with his grandparents while he attended high school. It was there, trapped between the worlds of country and town kids, that Adams found solace in art and photography books.</p> <p style="text-align: justify;">Then, in the mid 1960s, the Peace Corps and other government agencies descended on Appalachia to document the poverty sweeping the area. When a film crew visited his hometown, Adams took them to his meet his grandparents and his uncle, a country doctor. When the media described them as malnourished and poor, his friends and family felt betrayed. This devastated Adams, who felt he had misled the people he so dearly loved -- an experience that profoundly impacted his life and launched a career in photography dedicated to the region.</p> <p style="text-align: justify;">For more than thirty years, Shelby Lee Adams has been photographing in Appalachia, visiting families within the mountain hollers. <em>Salt &amp; Truth</em> is his fourth book dedicated to the people of this region, and is a testament to his commitment to present his friends and family with dignity and truth. Although he now lives in Massachusetts, Shelby Lee Adams' heart is forever in Appalachia.</p> Sun, 15 Apr 2012 14:06:04 +0000 Stephen Beal, Richard Nickel, Barbara Crane, Bob Thall - Chicago Cultural Center - March 12th, 1994 - December 31st, 2020 <p><em>Presented by the Commission on Chicago Landmarks, this exhibition of 72 black and white photographs from 1956 to 1987 offers a detailed view of 24 designated Chicago Landmarks.  The exhibit features the work of renowned architectural photographers Richard Nickel, Barbara Crane, Bob Thall and Stephen Beal.</em></p> <p> </p> Sat, 04 Feb 2012 02:51:44 +0000 Group Show - Chicago Cultural Center - January 28th, 2012 - July 8th, 2012 <p><strong><em>Morbid Curiosity</em> </strong>showcases collector<strong> Richard Harris’ </strong>nearly 1,000 works, including creations by many of the greatest artists of our time, which explore the iconography of death across a variety of artistic, cultural and spiritual practices from 2000 B.C.E. to the present day.<br /> <br /> The two major components of this exhibition are the “<strong>War Room</strong>,” highlighting the atrocities of war in notable works from the 17th century to present day in the 4th floor Exhibit Hall; and the “<strong>Kunstkammer of Death</strong>,” a modern-day “cabinet of curiosities” housed in the Sidney R. Yates Gallery, featuring a wide-ranging survey of mortality across cultures and spiritual traditions.<br /> <br /> The centerpiece of the “War Room” is Mr. Harris’ collection of five great war series featuring prints by Jacques Callot, Francisco Goya, Otto Dix, the Chapman Brothers and Sandow Birk, which he has acquired over the past 30 years. This exhibition marks the first time that all five series will be exhibited together in their entirety.<strong><br /> </strong><br /> Additional highlights of <em>Morbid Curiosity: The Richard Harris Collection</em> include:</p> <ul> <li>Works by notable artists including Rembrandt, Albrecht Durer, Hans Bellmar, Odilon Redon, Pavel Tchelitchew, James Ensor, Jasper Johns and Robert Mapplethorpe.</li> <li></li> <li>Breathtaking 13 ft. high chandelier made entirely of 3,000 handcrafted plaster bones by contemporary British artist Jodie Carey. The piece directly engages the viewer with the irony or contradictions implicit in the decay/beauty aesthetic.</li> <li></li> <li>Visually stunning large-scale installation, “Tribute,” from Guerra de la Paz entirely built from colorful used clothing that commemorates the Holocaust.</li> <li></li> <li>Specimens, medical charts and ephemera.</li> <li></li> <li>Work by contemporary artists such as Andres Serrano, Vik Muniz and Hugo Crosthwaite, including his commissioned 10 x 25 ft. site-specific mural, “Death March,” among others.</li> <li></li> <li>Ethnographic artifacts and art from other cultures, particularly Tibet, Mexico, Africa and New Guinea.</li> </ul> <p> </p> Mon, 23 Jan 2012 11:54:02 +0000 David Holt - Chicago Cultural Center - March 23rd, 2012 - May 30th, 2012 <p style="text-align: justify;">In observance of Autism Awareness Month, Project Onward presents an exhibition of paintings and drawings by autistic artists whose work addresses the complexities of interpersonal relationships. While Autism Spectrum Disorder can cause social anxiety and isolation, even from family members, visual art provides a unique platform for artists with autism to openly explore issues of the heart.<br /> <br /> Project Onward artists Stephon Doby and Louis DeMarco both use the creative process to invent alternate versions of themselves and the world around them. With his series of "Peaches" drawings, David Holt employs the lyrics of sentimental pop songs to express his romantic longings. Adam Hines remembers everyone he’s ever met and considers each of them a friend, as evidenced by drawings crowded with people he has encountered. Circle of Friends captures the anxiety, disappointment, and hopefulness that the social life represents, not only for those on the autism spectrum, but for everyone longing to connect.</p> <p> </p> Wed, 16 May 2012 00:07:59 +0000 Eric Holubow - Chicago Cultural Center - March 31st, 2012 - July 8th, 2012 <p align="center"><span style="font-size: small;"><b>Chicago Cultural Center Exhibition Opening</b></span></p> <p align="center"><span style="font-size: x-large; color: #00008b;"><b>“In Decay – Stitching America’s Ruins”</b></span></p> <p align="center"><span style="font-size: medium;"><b>Artist's Reception Friday, April 13, 2012</b></span></p> <p style="text-align: justify;">The Chicago Cultural Center proudly presents the large-scale photographs of <strong>Eric Holubow</strong>.  His subjects are architectural interiors of places man has forgotten, but time has not.  His work tells stories of times past that play out in the viewer's mind.  Whether in the engine room at the former industrial behemoth Bethlehem Steel or the impressive view from the stage of the Uptown Theater, all of these cultural cornerstones now stand silent.  Whether grand or commonplace, Holubow's images share an inherent beauty that few recognize in a building's final days. Holubow has chosen to capture these fleeting moments and reveal them to us, perhaps to act as a reminder of our own mortality.  His highly detailed, ultra-wide angle photographs are startling in their magnitude and explicitness<b>.</b>  This show is set in the Michigan Avenue Gallery’s intimate south salon – a choice that serves to further draw the viewer in. </p> <p><b><span style="text-decoration: underline;">WHEN:</span> </b></p> <p><b>Reception (public invited)</b> - <b>Friday, April 13, 2012</b> from 5:30pm to 7:30pm</p> <p><b>Exhibition -</b> Saturday, March 31 though Wednesday, June 20, 2012.</p> <p><b><span style="text-decoration: underline;">WHERE:</span> </b></p> <p><b>Chicago Cultural Center, South Salon of the Michigan Ave Gallery</b></p> <p>78 E Washington St, Chicago, IL 60602</p> <p>Phone 312-744-6630 (main number)</p> <p>One block east of the “Randolph” El stop of the Orange, Pink, Green, Purple and Brown lines.</p> <p><b>ABOUT THE ARTIST:  </b></p> <p>Chicago artist, <a href="" rel="nofollow">Eric Holubow</a> offers a maturity in his photographs that belie his young age.  With a Masters in Design from IIT’s Institute of Design, it is no surprise that Holubow is fascinated with buildings.  He joined the program in 2002, the same year the former New Bauhaus also discontinued offering a masters degree in photography.  Now Holubow continues what remains of the photography curriculum by teaching its graduate level photography course.  Link to CBS Evening News clip <a href="" rel="nofollow">here</a>.</p> <p><b>ABOUT CHICAGO CULTURAL CENTER:</b></p> <p class="ecxmsobodytext" style="text-align: justify;">Originally built in 1897 as Chicago’s first central public library, the Chicago Cultural Center was established in 1991 as the nation’s first and most comprehensive free municipal cultural venue. Drawn by its beauty and abundant free public events, hundreds of thousands of visitors come to the Chicago Cultural Center every year, making it one of the most visited attractions in Chicago. This stunning landmark building is home to two magnificent stained glass domes, as well as free music, dance and theater events, films, lectures, art exhibitions and family events.</p> Wed, 16 May 2012 00:09:52 +0000 Matthew Woodward - Chicago Cultural Center - April 7th, 2012 - July 15th, 2012 <p style="text-align: justify;">Matthew Woodward’s new body of work is a reaction to the Chicago Cultural Center’s 2010 exhibition <em>Louis Sullivan’s Idea</em>, inspired by the mass-production of Sullivan-esque designs that followed the Chicago architect’s successful innovations, and by the larger industry of pre-fabricated architectural adornment that surrounds them.</p> <p style="text-align: justify;">Using repurposed construction and industrial materials to render drawings of architectural embellishments, Matthew Woodward demonstrates how the architecture of that era has been re-appropriated and re-contextualized in the ever-changing landscapes of the American city and identity.</p> Sun, 29 Apr 2012 14:39:50 +0000 Shawne Major - Chicago Cultural Center - April 7th, 2012 - July 15th, 2012 <p style="text-align: justify;">Shawne Major’s mixed-media works expose how our perception of reality is colored by dreams, memory, superstition, religion, bias, prejudice and fear. They refer to the overlay of belief systems created by the individual to piece together their own personal paradigm. Through a combination of kitsch, ersatz and craft materials, junk and personal objects, he creates accumulated forms that serve as metaphors for the build-up, organization and assimilation of information. The personal objects are evidences of pain, happiness, loss, guilt, shame—all the material detritus of the everyday human experience.</p> Sun, 29 Apr 2012 15:00:56 +0000 Sandra Holubow - Chicago Cultural Center - April 13th, 2012 - May 27th, 2012 <p style="text-align: justify;" align="center">The Chicago Cultural Center proudly presents the work <b>Sandra Holubow</b>.  Her paintings and collages remind us to treasure what we have now, because our cities seem <i>disposable</i> in our cultural pursuit of <i>the New</i>. The 28 works on exhibit are dynamic images of urban density and energy. Her ordinary landmarks become iconic: Trains and tracks are reminders of a journey we all must take, dark nights with bright lights become beacons of hope, and telephone poles connect us through communication. Holubow infuses these subjects with strength, rendered caringly and compassionately. In cherishing the present - the here and now - we are re-assured of the continuum and continuity of life. By idealizing city life and the <i>ties that bind</i>, Holubow reveals the courage and adaptability of the human spirit. In the wisdom of her observations we cannot help but ask, “What will we as individuals and as a people leave behind?”  This show is exquisitely set in the Renaissance Court Gallery, which is reserved for masters and doyennes age 55 and older.  Enjoy! </p> <p></p> <p><b>ABOUT THE ARTIST:  </b></p> <p style="text-align: justify;">A life-long Chicagoan, <a href="" rel="nofollow">Sandra Holubow</a> holds a BFA Degree from the University of Wisconsin, Madison, and studied printmaking while in the University of Chicago’s MFA program. An award winning artist, she received two Chicago Artists Assistance Program Grants from the City of Chicago and State of Illinois, She also curates and organizes exhibits (Caffeine IV,V &amp; up-coming VI) and is on the Board of the Chicago Society of Artists. Her work is held by many private collections nationally. </p> <p></p> Sun, 29 Apr 2012 15:03:04 +0000 Arturo Herrera (Venezuelan, 1959) - Corbett vs. Dempsey - May 10th, 2012 - June 23rd, 2012 <p>It is with great pleasure that Corbett vs. Dempsey presents Series, an exhibition of new work by Arturo Herrera.</p> <p>One of the masters of contemporary collage, Herrera has a long history in Chicago, where he lived, studied (MFA, U.I.C.), and worked early in his prodigious career. Born in Venezuela, now residing in Berlin, over the last two decades Herrera has developed a highly personal, extremely flexible approach to paper collage. In this, his first solo show in Chicago since 1998, when he mounted a now-legendary exhibition at the Renaissance Society, Herrera explores the notion of the series. Featuring groups of related collages ranging from diptychs to 10-piece series, each cluster of collages provides a different vantage on the nature of the series – some featuring a shared substrate, some sharing imagery, some sharing a palette or mood. With Herrera's classic material, highly compressed and abstracted fragments from a wide variety of sources, the work in Series is a never ending gobstopper of visual stimuli, a bolus of pulverized paperwork, reconfigured into something provocative, sensual, and always intriguing. Series is presented simultaneously in three different galleries – CvsD, Thomas Dane Gallery (London), and Sikkema-Jenkins (New York) – and the full set of series is reproduced in a full-color catalog, published by Holzwarth Publications, which will be available for sale at the opening.<br /><br /></p> Tue, 01 May 2012 13:55:15 +0000 Malick Sidibe - DePaul Art Museum - March 29th, 2012 - June 3rd, 2012 <p style="text-align: justify;">Malick Sidibe’s exuberant photographs offer a unique look at a time of political transition and cultural liberation. As Mali gained independence from France in 1960, the youth culture of music, dancing and fashion exploded in this once-conservative West African nation and Sidibe’s ubiquitous lens chronicled it all. Through th euse of props, posing, and a deft attention to personality, he developed a distinct style, fulfilling his clients’ aspirational self-presentation and achieving international recognition for these beautiful and nuanced studies of human character.</p> <p style="text-align: justify;">The DePaul Art Museum will feature portraits by the internationally celebrated photographer Malick Sidibé, who has documented life in Bamako, Mali, for half a century, as part of “Studio Malick,” an exhibition that opens March 29. Free and open to the public, the exhibition runs through June 3.</p> <p style="text-align: justify;">Studio Malick features lively black-and-white photographs by Sidibé, a Malian photographer noted for his carefully posed portraits and images of the exuberant nightlife in Bamako in the 1960s. Sidibé’s photos capture a unique moment in a time of political transition and cultural liberation as a youth culture of music, dancing and fashion exploded in the once-conservative West African nation of Mali as it gained independence from France.</p> <p style="text-align: justify;">“Sidibé’s photos are simultaneously intimate and evocative of an extraordinary time and place,” said Louise Lincoln, director of the DePaul Art Museum. “His use of props and the way he posed his subjects present them as they wished to be seen, and at the same time his perception of character makes each image distinctive.”</p> <p style="text-align: justify;">In recent years, Sidibé has been celebrated internationally for the strength and insight of his photographs, and his work has moved from being family keepsakes in middle-class Bamako homes to adorning the walls of museums throughout the world.</p> <p style="text-align: justify;">With a diversity of photographic objects—original proofs and recent enlargements of studio portraits, along with the vintage prints displayed in hand-painted frames—this exhibition explores both the art and commerce of Studio Malick.</p> <p style="text-align: justify;">The Studio Malick and Andy Warhol exhibits are the second offerings at the DePaul Art Museum’s new $7.8 million home, which opened in September 2011.</p> Mon, 30 Apr 2012 19:11:45 +0000 - DePaul Art Museum - March 29th, 2012 - May 29th, 2012 <p style="text-align: justify;">In the classical arts of west and Central Africa, sculptural representations of the human body are widely produced and remarkably varied. Many traditional types are attentive to gesture, or impart meaning to bodily proportions and details of coiffure or ornament; some use the body as metaphor for containers or musical instruments. This exhibition, drawn from the museum’s permanent collection, reflects a broad spectrum of the social and cultural meanings associated with the human form.</p> Sun, 29 Apr 2012 15:10:53 +0000