ArtSlant - Current exhibits en-us 40 Jerome Acks - 65GRAND - June 29th, 2012 - July 28th, 2012 <p style="text-align: justify;">65GRAND is pleased to present smooth square, soft circle, an exhibition by Jerome Acks, his second with the gallery. In this latest body of work Acks takes on music as his subject, but rather than draw inspiration from songs or cite the nostalgic memories associated with certain bands and albums, the artist engages the materiality of music. More specifically he explores the method of pressing records and presenting them through cover art.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Upwards of 80 records, housed in their square cardboard sleeves line the walls of the gallery on slender shelves. The artist has altered them through collage and painting, using them as the starting point for new compositions. Acks has selected the records not for the music, but for the cover art. This reflects not only his artistic process of responding to visual moments, but his relationship to music as a child:</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">"NPR and Christian stations were always on and I always had a tendency to tune them out. Unlike most of my friends who grew up with their parents listening to classic rock, I never really had that experience... Music always seemed like it was 'just around.' ... I would hear a song in a movie or in a TV show and from that moment the song on would always have that reference until something else filled those shoes."</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Rather than appropriating pop music and sampling it like a DJ, Acks is appropriating its visual and physical material. This is emphasized further in the ghostly white molds of records laid out on workbenches. The artist is conflating the physical labor of art making with the industrialized production of music distribution. Progress has pushed these practices together even further; in the 21st century both art making and LP pressing have become specialized enterprises.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Jerome Acks was born in Baltimore, Maryland and lives and works in Chicago. Recent exhibitions include the group exhibition Night Sky at the Evanston Art Center in 2012 and Big Sky, his first solo exhibition with 65GRAND in 2010. Additionally, he has exhibited at the Contemporary Art Workshop and Julius Caesar (in collaboration with Kaylee Rae Wyant), both in Chicago. Acks received his MFA in painting and drawing from The School of the Art Institute of Chicago, where he was a recipient of the Toby Devan Lewis Fellowship.</p> <p style="text-align: justify;"> </p> Mon, 25 Jun 2012 13:38:09 +0000 Michael A. Morris, Allison Trumbo, Adam Farcus - ADDS DONNA - May 27th, 2012 - July 8th, 2012 <p>Adam Farcus, Allison Trumbo, and Michael A. Morris <br /> May 27 2012 thru July 8 2012 <br /> Opening Reception April 27 from 4 to 7 pm <br /> <br /> </p> <p>ADDS DONNA in conjunction with ACRE is pleased to present Faith Made, an exhibition of new works by Adam Farcus, Allison Trumbo, and Michael A. Morris. Faith Made questions the surface manifestations of those things deep within us, how ritual, tradition, and objects endowed with magical properties have the power to console, motivate and mystify our lives. <br /> <br /> Faith Made examines the balancing act that takes place between the rational and emotive faculties, between the desire for the consolation that belief provides and the need to question accepted narratives. As William James observed in his lecture on “The Reality of the Unseen”, “our impulsive belief is here always what sets up the original body of truth, and our articulately verbalized philosophy is but its showy translation into formulas. The unreasoned and immediate assurance is the deep thing in us; the reasoned argument is but a surface exhibition. Instinct leads, intelligence does but follow." <br /> <br /> Though the three artists in Faith Made begin from a place of personal narrative, the resulting work is evidence of a variety of different approaches that attend to notions of family, faith, sentimentality, and the esoteric. The works presented here originate from a place of hope as much as from one of cynicism. <br /> <br /> Adam Farcus’ Penny Hex creates a spiritual seal on viewers which grants them the luck of hundreds of lucky pennies, while Entry challenges the mystical power that we give to such objects and rituals. It’s Just Meant To Be, a film installation by Michael Morris, presents an incantatory collection of platitudes that fail to provide solace at the loss of a loved one. In other works such as Blue Movie and Wheel and Axle Machine, Morris addresses the technologies that preserve some part of a person: their body, their voice, or their gaze. Allison Trumbo’s video installation, which includes both Visualization Exercises That Work Like Magic and Creating Abundance in 10 Minutes Flat, parallel personal and media induced visions of romance and spirituality with the crudeness of superficiality perpetuated by pop culture. <br /> <br /> <br /> <br /> <br /> <br /> Allison Trumbo is a violin teacher and co-director of a music school on the north side of Chicago. Her work is often prompted by her experience as a nurturing motivator accompanied by the childlike fantasies that are often required to inspire her classes. <br /> <br /> Michael A. Morris is an artist and educator based in Dallas, Texas. His works in film, video, installation, and performance draw on personal narratives and experience to explore the implications of recording technologies for belief, interpretation, and perception. <br /> <br /> Adam Farcus is a Chicago (soon to be Baltimore) based artist, writer, and teacher. Through subjects such as death, joy, poetry, identity, and belief, his work elevates the banal to unexpected heights while simultaneously placing the magical in an accessible, even common, realm. <br /> <br /> <br /> ADDS DONNA <br /> 4223 W. Lake <br /> Chicago, IL 60624 <br /> Open Sundays from 1 – 4 pm <br /> <a href="" rel="nofollow" target="_blank"></a> <br /></p> Mon, 04 Jun 2012 19:19:24 +0000 Andreas Fischer, Ariel Dill, Amanda Dalton Innis, Sofia Leiby, Trew Schriefer - Alderman Exhibitions - June 22nd, 2012 - August 5th, 2012 <p class="paragraph_style_3">Maybe it is ridiculous to worry that technology will take over. On the other hand, maybe it already has? Robots Will Keep Us as Pets aims to initiate a discussion about the manual, haptic aspects of painting and the complex personal exchanges that go along with it. The exhibition grew out of a series of meetings with Andreas Fischer that often centered on his process-based, dialectical practice, which involves working and reworking canvases, and at the same time maintaining multiple conversations with other makers. Combining a continuum of skilled manipulation to silent knowledge and an interest in the products of reciprocal relationships, the artists ofRobots Will Keep Us as Pets each assert their own particular version of human intimacy. These affinities for the personal, obsessive, and communal aspects of painting create openings for collective introspection that just might keep the robots from taking over.</p> <p class="paragraph_style_3"><strong>Andreas Fischer</strong> lives and works in Chicago. He Holds an MFA in studio art and an MA in art history from the University of Illinois at Chicago; he also attended the Universitat der Kunste, Berlin.  His projects include exhibitions at the Museum of Contemporary Art, Chicago; Mattress Factory Museum, Pittsburgh; Hyde Park Art Center, Chicago; Gahlberg Gallery at the College of Dupage, Glen Ellyn, Illinois; Devening Projects, Chciago; Hudson Franklin Gallery, New York; Kavi Gupta Gallery, Chicago; Andrew Rafacz Gallery, Chicago; Hungryman Gallery San Francisco; Important Projects, Oakland; and Regina Rex, Brooklyn, among others. He is currently visiting assistant professor in studio arts at the University of Illinois at Chicago.</p> <p class="paragraph_style_3"><strong>Ariel Dill</strong> was born in Los Angeles, CA, and lives and works in Queens, NY. She received an MFA from Hunter College in 2006 and a BA from Skidmore College, Saratoga Springs, NY, in 1998. Recent exhibitions includeOscillations at Southfirst, Brooklyn; Grasping for Relics at ZieherSmith, New York;Painting Club at Exit Art, NY; and Itinerant Ones (curated by Jules de Balincourt), Storefront, Brooklyn. Other exhibitions include projects with Neverwork, New York; Martos Gallery, New York (forthcoming); Nicole Klagsbrun, New York (forthcoming); Sara Meltzer Gallery/Projects, New York; Sophiajacob, Baltimore; Printed Matter, New York; and Lehmann Maupin Gallery, New York, among others. </p> <p class="paragraph_style_3"><strong>Amanda Dalton Innis</strong> lives and works in Princeton, New Jersey. She holds a BFA from the School of the Art Institute of Chicago. She has taught at Hyde Park Art Center and in the Chicago public schools. Innis was recently awarded a fellowship to Rutgers where she will start an MFA in painting this fall. </p> <p class="paragraph_style_3"><strong>Sofia Leiby</strong> is an artist and writer interested in the influences of media-dominated society on artistic production, and in contextualizing painting and printmaking within contemporary technological practices of representation. Her work has been exhibited both nationally and internationally, including Manifest Exhibitions and Hungryman Gallery in Chicago; Nudashank in Baltimore; and Beach in London. She recently curated an exhibition of animated GIFs at the Museum of Contemporary Art, Chicago. Additionally, she is a contributing editor for Pool, an online publication with internationally recognized contributors focusing on media theory and expanding the discourse between online and offline cultural realities. In 2011 she received her BFA in painting and printmaking from SAIC.</p> <p class="paragraph_style_3"><strong>Trew Schriefer</strong> received his BFA from Northern Illinois University in 2007 and his MFA in drawing and painting from Illinois State University in 2010. He has exhibited at Heavy Brow Gallery, Bloomington, IL; Ebersmoore, Chicago; Double Break Gallery, San Diego; 65 Grand Gallery, Chicago; and Hoffman LaChance Contemporary, St Louis. Schriefer lives and works in Moline, IL.</p> Mon, 16 Jul 2012 12:47:01 +0000 Brandon Anschultz, Daniel Baird, Benjamin Funke, Sarah Mosk, Eileen Mueller, Aay Preston-Myint, Min Song - Andrew Rafacz Gallery - June 30th, 2012 - August 11th, 2012 <p style="text-align: justify;">ANDREW RAFACZ is pleased to announce Bowling Alone, a group exhibition of new sculpture, painting, collage, photography, and video.</p> <p style="text-align: justify;">Andrew Rafacz continues the 2012 season with Bowling Alone, featuring the work of BRANDON ANSCHULTZ, DANIEL BAIRD, BENJAMIN FUNKE, SARAH MOSK, EILEEN MUELLER, AAY PRESTON-MYINT, and
MIN SONG in Gallery One. The exhibition continues through August 11, 2012.<br /> <br /> The exhibition unabashedly draws inspiration from Robert Putnam’s book Bowling Alone, in which the author, after twenty-five years of data and research, warns that our culture’s decline in social capital is negatively affecting nearly all aspects of our lives and communities. More Americans are bowling than ever before, but despite the obvious potential in this activity for social interaction, there has been a dramatic increase in it as a solitary activity. Americans are literally, more than ever, bowling alone.<br /> <br /> In a country and historical moment where individualism is an ideological constant, the artists in this exhibition, in their own ways, create work that either directly or indirectly addresses this decline in social capital. By refusing the notion of the singular creator obsessed with personal moments or idiosyncrasies, the works speak to actual physical space, cooperative practices, and take inspiration from a collective history.<br /> <br /> Working with the ideas and histories inherent in specific objects, Daniel Baird presents a sculpture that simultaneously engages and repels the viewer. Aay Preston-Myint, influenced by both personal identity and community, exhibits a participatory sculpture that addresses the ideal of utopia. Min Song rearranges easily-sourced, low-grade domestic building materials, synthesizing them in something unfamiliar. Engaging issues of culture and art history, Brandon Anschultz creates work that blurs the line between painting and sculpture, while Sarah Mosk creates collaged spaces, taken from a collected history of images, that are at once both familiar and completely unique. Eileen Mueller’s photographs speak to and poeticize the history of communal educational spaces and the mythology surrounding the artist. Benjamin Funke utilizes the music of the heavy metal band Metallica and the platform of YouTube to illustrate our desire to share individual experiences with an electronic community.<br /> <br /> <br /> BRANDON ANSCHULTZ (American, b. 1972) lives and works in St. Louis. He received is B.F.A. from Louisiana Tech University in 1997 and his M.F.A. from Washington University in St. Louis in 2002. Past solo exhibitions include Pacer at the Contemporary Art Museum St. Louis, curated by Dominic Molon; Stick Around for Joy at Laumeier Sculpture Park, St. Louis and Longue Vue House and Garden, New Orleans; and Round at White Flag Projects, St. Louis. Additional group exhibitions include Die Erklärte Ausstellung, Künstlerhaus Klagenfurt, Klagenfurt, Austria; Jasmine, Plus B, Front Desk Apparatus, New York City; Amass at Monte Vista Projects, Los Angeles and Boots Contemporary Art Space, St. Louis. He will be included in the upcoming exhibition All Good Things Become Wild and Free, curated by Daniel Orendorff at Carthage College.<br /> <br /> DANIEL G. BAIRD (American, b. 1984) lives and works in Chicago. He received his B.F.A. from the School of the Art Institute of Chicago in 2007 and his M.F.A. from U.I.C. in 2011. Recent exhibitions include Merge Visible at Prairie Productions, Chicago; Downcast Eyes at the Museum of Contemporary Art, Chicago; Speak Forward at Harold Washington College. In November of 2011 he collaborated on the exhibition Has the World already been made? with Haseeb Ahmed at the Jan van Eyck Academie in Maastricht, Netherlands. He will have a solo exhibition in September at Appendix Project Space in Portland. Newcity recently listed him as one of Chicago’s leading artists in the annual publication 'Breakout Artists: Chicago's next generation of image makers.'<br /> <br /> BENJAMIN FUNKE (British, b. 1980) is an image and audio producer living in Indiana. He received his B.F.A. from Columbia College, Chicago in 2005 and his M.F.A. from the University of Notre Dame in 2012. Past exhibitions include ISLANDS IN THE STREAM at Johalla Projects in Chicago; Transient at the Corcoran Gallery of Art, Washington D.C.; Ethnographic Terminalia at the Eastern Bloc for New Media, Montreal, Quebec; Imaginary at the Simutan Association, Timisoara, Romania; New Prints at the International Print Center, New York City, New York.<br /> <br /> SARAH MOSK (American, b. 1978) lives and works in Chicago. She received her B.F.A. from Northern Illinois University in 2000. Recent group exhibitions include The Power of Selection 3 at Western Exhibitions, Chicago; Rebus at Ben Russell Gallery, Chicago, Paper Chasers at Nuda Shank, Baltimore; Midway Art Fair at Iron St. Studios, Chicago. She will be included in forthcoming edition of IDN magazine (Hong Kong) as part of their DVD collage animation compilation. <br /> <br /> EILEEN MUELLER (American, b. 1985) lives and works in Chicago. She studied at the Maryland Institute College of Art and later received her B.F.A. from the School of the Art Institute of Chicago in 2011. Exhibitions include Soft Ground at Roots &amp; Culture, Chicago; Ceaseless Blooms in Jobless Colors at Johalla Projects, Chicago; and the upcoming Queering Spaces at Sullivan Galleries, Chicago. She is the recipient of the Fred Endsley Memorial Fellowship and the World Less Travelled Grant as well as a finalist for the Gelman Travel Fellowship.<br /> <br /> AAY PRESTON-MYINT (American, b. 1981) is an artist, educator, printmaker and DJ based in Chicago. He received a B.F.A. from the School of the Art Institute of Chicago in 2006 and an M.F.A. from U.I.C. in 2011, when he was also awarded the 2011 Joan Mitchell M.F.A. Grant. Solo exhibitions include I'm Here To Make Friends, Happy Collaborationists, Chicago. Recent group exhibitions include Group Hug at Co-Prosperity Sphere, Chicago; Suggestions of a Life Being Lived at SF Camerawork, San Francisco, CA; Lifestyle Plus Form Bundle at Madame, Minneapolis, MN; and Multiplemix at Devening Projects, Chicago. Upcoming group exhibitions include All Good Things Become Wild and Free at the HF Johnson Gallery at Carthage College and Epic Something at Hyde Park Art Center, Chicago. Aay also works with other artists as a collaborator under the names No Coast, Chances Dances, and Monsters and Dust. <br /> <br /> MIN SONG (American, b. 1982) lives and works in Chicago, Illinois. She received her M.F.A. from U.I.C. in 2011. Recent group and solo exhibitions include Chris Naka and Min Song at Julius Caesar, Chicago; Small Scale Lifestyles at Seerveld Gallery, Palos Heights; Small Scale Lifestyles II at Happy Collaborationist, Chicago; Min Song at Michael Jon, Miami.</p> Mon, 16 Jul 2012 12:47:21 +0000 Peter Skavra - Andrew Rafacz Gallery - June 30th, 2012 - August 11th, 2012 <p style="text-align: justify;">ANDREW RAFACZ is pleased to announce 100 Years of Adventure and Discovery, an exhibition of new painting, sculpture and a light box by Peter Skvara.</p> <p style="text-align: justify;">Andrew Rafacz continues the 2012 season with 100 Years of Adventure and Discovery, new work by Peter Skvara in Gallery Two. The exhibition continues through August 11, 2012.<br /> <br /> 100 years of Adventure and Discovery is titled and inspired by the National Geographic’s one hundred year anniversary volume, chronicling the first century of the National Geographic Society and it’s publication’s coverage of natural, scientific and cultural-historical events. Concurrently, the centennial collection of the publications achievements reads as an archive of human discovery and triumphs through out the last hundred years, from the surveys of global cultures in all parts of the globe to the beginnings of space exploration. <br /> <br /> Peter Skvara’s work surveys a relationship between art, science, and instinctive human curiosity. Drawing inspiration from the mission of National Geographic, to promote culture via adventure and thus discovery, Skvara approaches his practice by learning in the process of doing. In 100 Years…, Skvara presents a series of works that serve as both art objects and documentations of curiosity driven research. In his series of Camouflage Paintings, he creates compositions using found foliage, collected from his travels through out the northwest of the United States, as stencils with camouflage colors and techniques creating paintings that reference both hunting culture and botany classification. <br /> <br /> Using materials such as concrete and wire, Skvara presents Trap II (Hanging Snare), a sculpture and functioning snare trap that pays homage to the minimalist traditions of modernist sculpture as well as the ingenuity of basic human invention and construction. The bookend to Skvara’s exhibition is a striking sizeable light box entitled 100 Years. The work appears to depict an image of the moon’s cratered surface divided by a series of lines creating a grid, mimicking that of an archeological site. The title 100 years references the bookend chapter of the National Geographic’s centennial volume, the beginnings of space exploration. The work pays tribute to the pride of having reached the moon as a milestone in human discovery. It is upon realizing that the image in 100 years is a result of a clever series of experimentations using water and ink to create a convincing yet false representation of the moons surface, that reminds us of the inherent human nature to continue to explore and that there is plenty more to learn and discover.<br /> ----Emanuel Aguilar<br /> <br /> PETER SKVARA (American, b. 1985) lives and works in Chicago, IL. He received a BFA from Columbia College Chicago in 2009. Recent solo and group exhibitions include Resource at Jean Albano Gallery; Get It Together at the Chicago Cultural Center; Wow-Hause at Johalla Projects; BUNK at The Happy Collaborationists Exhibition Space; New Wave at Jean Albano Gallery. He will be part of the upcoming exhibition Sic Transit Gloria Mundi, at the Chicago Cultural Center, later this year.</p> <p></p> Thu, 02 Aug 2012 00:09:31 +0000 Group Show - Carl Hammer Gallery - June 1st, 2012 - August 25th, 2012 <p align="center"><span style="font-size: x-small;">Works by David Sharpe, Henry Darger, Karl Wirsum, Cameron Gray, CJ Pyle, Bill Traylor, Mary Lou Zelazny, Ed Paschke, Marc Dennis, Joseph Yoakum</span></p> <p align="center"><span style="font-size: x-small;">and</span></p> <p align="center"><span style="font-size: small;"><span style="font-size: x-small;">a tribute to the recently deceased Mr. Imagination </span><span style="color: #000000;" color="#000000" size="4"><span style="font-size: x-small;">all round out this summer season’s offerings.</span> <br /></span></span></p> <p align="center"></p> Wed, 15 Aug 2012 04:26:27 +0000 Noelle Allen - Carrie Secrist Gallery - June 16th, 2012 - July 28th, 2012 <p style="text-align: justify;">Curiously, the oldest building on the Dominican University campus is a modernist cube of an art department. The building used to house Dominican's Biology Program; since then, artist Noelle Allen (the Founding Head of the Sculpture Department) has converted the former specimen room into her studio. It seems an appropriate site to work, given her show at Carrie Secrist Gallery features a series of biologically inspired forms. Allen's abstract sculptures and drawings take after cells glommed together by mounds of interstitial tissue. "A lot of the circular repetitive forms allude to the body and organs and cell formation," Allen notes. This work recalls skin and organic structures; it is about the interplay between representation and abstraction and the mimicry of mediums, which congeal on the surface with intricate detail. Yet what is striking about the work is its interiority--something inaccessible that's pressing from the inside out.<br /> <br /> Despite the cellular quality of Allen's work, it nevertheless resists corresponding completely with a concrete world. Each piece flips back and forth between the micro and macro scale; through a tension between constituent materials the sculptures remain unsettled. One work of clay is comprised of tennis-ball joints that connect to one another by thin bridges, like covalent bonds. A flesh-colored strap of leather winds around the piece, interrupting an otherwise cohesive scale. In another instance, Allen created a waxy, ivory sculpture from clear clay and resin, a little larger than a fist. The un-fired surface of smooth folds hangs like drapery or transparent skin. From the forms seemingly cloaked within, the ghostly mass of "fabric" looks like it might hang over a female reproductive system, though one can't be sure.<br /> <br /> Using layers of plaster, clay, wax, and resin, Allen builds up the surface of each sculpture to create a congealed skein like leather, rubber, bone or even thin tissue-like membranes. "I wanted to play with the viewer's sense of material. That's why there are these multiple layers." Inside one long glass tube--a vintage fixture used in chemistry and biology classrooms--Allen inserted a single pipeline of kneaded, clear clay. It looks like a distended albino intestine with an infinite array of tiny, fissures and folds. It shines in the light, as though still wet. On closer inspection, small black thorns protrude from the white limb.ÊPassive unless handled, the work is built to defend itself. This occurs again and again in Allen's work: the juxtaposition between vulnerable tissueÊand harsh, hard points that keep the viewer at a distance. "I like this idea that the seedpod has protective thorns and a hard outer shell but contains an incredibly delicate, central form."<br /> <br /> In the past, Allen has primarily shown drawings--large graphite-on-Mylar abstractions of striking contrast. There is a definite correlation between the two-dimensional and three-dimensional vocabulary she employs. In her drawings, the Mylar reads like a slide-view on a microscope. The forms lack the body of their 3-D counterparts, but come from the same world as thin cross-sections of a shared organic material. "The three-dimensional work used a lot of the drawing in its conceptual underpinning," she says, of the sculptures. "It's like the drawings leapt into space, incorporating different materials."<br /> <br /> When observing Allen's sculpture, it is impossible to escape the sense that something underneath the opaque surface is growing--there is an emergent and unpredictable energy contained therein. What the viewer apprehends is simply a protective casing, a surface beneath which lies a greater, and unknown potential. "I like imagining what is pushing and pulling inside the work," Allen explains. "I want people to ask why these details would start to emerge from the form." There is something threatening about these formal bodies, looking as they do at once familiar and strange. "A lot of the work has a darker underpinning with the thorns and metal," Allen agrees. When so much of our cultural experience is about surface accessibility, the withholding nature of these forms, and their seeming self-reliance, articulates something potent and provocative, which eludes perception.</p> <p style="text-align: justify;">Caroline Picard</p> Wed, 30 May 2012 00:35:21 +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 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 Andrew Hall - Chicago Cultural Center - June 1st, 2012 - July 25th, 2012 <p style="text-align: justify;">Project Onward artist <strong>Andrew Hall</strong> creates tiny, intricate ink drawings of Chicago's architectural landmarks and diverse neighborhoods. For <em>Eternal Silence</em>, Hall took inspiration from a different kind of Chicago neighborhood: <strong>Graceland Cemetery</strong>. <br /> <br /> Within its walls, the monuments and mausoleums of Graceland form a miniature city, with many of its structures designed by world-renowned architects for the final resting places of Chicago's elite. Hall's drawings, reverently executed in ink on paper with washes of color, invite the same stillness and contemplation as the tombs they depict. In addition to his cemetery studies, Eternal Silence features ink drawings of other architectural subjects whose quietness and monumentality invite the viewer to consider if they, too, belong to a city of the departed.</p> Tue, 19 Jun 2012 00:39:36 +0000 Denise Milan - Chicago Cultural Center - June 8th, 2012 - January 6th, 2013 <p style="text-align: justify;">One of Brazil’s visionary artists, <strong>Denise Milan</strong> invites viewers on an exhilarating journey to her country through an exhibition of sculpture and photo-collage that celebrates the natural wonder of Brazil’s jungles, ocean and desert regions, and the vibrancy of its multifaceted culture. <br /> <br /> Working from a deeply humanistic tradition for more than 20 years—as an ecological and arts education activist, as well as an artist—Denise Milan has been making sculptures, photographic installations and performances that draw actively from her experiences living with and interviewing people in the Brazilian coastal villages of Paraty and the dry desolate lands of Bahia in Brazil’s northeast. <br /> <br /> <em><strong>Denise Milan: Mist of the Earth</strong></em> is the culmination of past experience and the embodiment of the artist’s ongoing concerns, as much a testament to a troubling legacy of colonization, the enslavement of African peoples, and the despoilment of whole regions, as to the more life-asserting side of Brazil, its breathless beauty, sensuous earthiness, and ravishing mysticism.</p> <p> </p> Tue, 19 Jun 2012 00:32:53 +0000 Zachary Cahill - Chicago Cultural Center - June 23rd, 2012 - September 9th, 2012 <p style="text-align: justify;">This Chicago artist has created a site-specific installation that combines actual tourist memorabilia with the artist’s simulated gift objects, all thematically related to the bear, as in Soviet symbols (Russian Prime Minister Dmitry Medvedev’s name, translating to “bear”); sports (Chicago Bears and other team mascots); and other iterations. This project conflates high and low culture and satirizes commodification of art objects, the culture of political spectacle and the excesses of political discourse. Sample ceramic objects include a small sculpture of Obama and Medvedev at Hell Burgers and a modified version of some Chicago Bears gift items.</p> Tue, 04 Sep 2012 22:15:41 +0000 Vivian Maier - Corbett vs. Dempsey - June 29th, 2012 - July 21st, 2012 <p style="text-align: justify;">It is with pleasure that Corbett vs. Dempsey presents its first exhibition of vintage prints by photographer Vivian Maier (1926-2009).</p> <p style="text-align: justify;">The extraordinary artistic accomplishments of Maier only came to light in 2007, when a gigantic trove of photographs, negatives and undeveloped film was discovered in Chicago. Though she had a professional life as a nanny on the north side of Chicago, Maier's secret life as a photographer is only now beginning to be understood. The originality of her vision, however, was immediately evident, and it has formed the basis for widespread acclaim. Working in the mode of street photography, with an outstanding eye for candid personality, a beautiful formal sensibility, and an uncanny ability to capture weird and wonderful moments in daily life, she seems to have worked exclusively for herself, never seeking out exhibitions or selling her work. Indeed, a great number of her rolls of film were never developed, suggesting that she shot them in a Zen-like manner, as potentialities rather than as manifestations. The selection of photographs in this show comes from a previously untapped cache of Maier's work, concentrating on a group of vintage working prints from the 1950s to the 1970s, made by her or by other people for her. Maier's work has been on a meteoric rise in the last few years, with exhibitions in Norway, Germany, England, Holland, and across the U.S. Vintage Prints is the third exhibition in her hometown of Chicago, and</p> Mon, 25 Jun 2012 05:12:18 +0000