ArtSlant - Closing soon en-us 40 Gary Stephan - Devening Projects + Editions - August 26th, 2012 - October 6th, 2012 <div id="exhibition-description" class="description"><br href="" /> <div style="display: block;" id="image-thumbs"> <ul class="activeSlide"> <li></li> </ul> </div> </div> <p style="text-align: justify;"><strong>devening projects + edition</strong>s is very pleased to invite you to the opening of <em>The Story of What Happens</em>, an exhibition of new works on paper by NY artist <strong>Gary Stephan</strong>. In his second exhibition with the gallery, Gary Stephan presents—for the first time—over 100 works on paper produced over that last two years. Please join us for the opening reception on Sunday, August 26th from 4-7, meet Gary Stephan and celebrate the opening of our fall season.</p> <p style="text-align: justify;">For the past two years, Gary Stephan has buoyed his painting practice by producing medium-sized works on paper, usually in acrylic; the series now numbers over 150. Working daily to coax out some new way to distill form and perception through abstraction, Stephan uses the medium to charge his thinking and exercise his extensive practice. The results are surprisingly casual; the work is deft of touch and always evocative. Light is factor; temperatures shift and atmosphere comes into play. Rarely bright, these pieces reflect the dusky evenings of New York and the filtered light of his studio in upstate New York. That light is enhanced by some refreshingly new chromatic episodes, but almost always, the intensity of the color is tempered and reminiscent of his larger canvases. The visual elements in each composition never sit easily within an organic/geometric marker, but require the viewer to find some other reference for the events taking place in front of them. There are grids, rectangles and shapes that orient to the edge, but they seem important mostly to reference the plane. The real work comes from those parts that move in to destabilize those anchors. “Things” move in front of and behind these planes, and like every other work Stephan has made since the early 80s, the actual spatial position of those things is suspect. There are edges everywhere, but they’re slippery and rarely denote what’s expected. You trust these ends to be attached to something greater, something more, but often they linger in place, rarely drifting beyond the flag-point they hold to note a place. At other times, a thing may reveal itself as connected and you begin to realize the story is extended beyond what you thought initially. The phenomenology of these effects comes in part from how the parts of each work are simultaneously solid and porous; the physicality of form is fugitive, shifting opacities and densities. Stephan’s devices work to disarm our understanding of how a thing moves across and from front to back. Our eyes seek and track. Paint makes that happen; Stephan’s hand does that and it does it over and over again.</p> <p style="text-align: justify;">Gary Stephan’s mark is also worth discussion. As a painter deftly familiar with his medium and its properties, Stephan builds the work less as a sequence of gestures but more as series of resolute proclamations. The stated fact of each move declares not just the evidence of his hand, but a decisiveness that makes it real matter, even if that matter creates perceptual conundrums. There is an uncanny combination of certainty and elusiveness in this work making this a noteworthy project. The beauty of this series comes from its alive-ness; the actuality of material and perceptual fact brings it into the world and places it firmly among us.</p> <p style="text-align: justify;"><em><strong>Two people look into a field in which is a big green tree. One asks the other “what is that about?” The tree is not about something; it is something. All of the decisions in this show from the pencil lines, to the distances, the paper and the images are to be seen. It is the seeing and the seen that is something. The story of what happens.</strong></em><br /> <em><strong> Gary Stephan 2012</strong></em></p> <p style="text-align: justify;">Gary Stephan has been showing his painting and sculpture since the late sixties in the United States and Europe. He has had solo shows in New York at Bykert Gallery, Mary Boone Gallery, Hirschl and Adler and Marlborough Gallery; in Los Angeles at Margo Leavin Gallery and Daniel Weinberg Gallery; and in Berlin at Galerie Kienzle and Gmeiner among many others. His work can be found in the collections of The Guggenheim Museum of Art, The Metropolitan and the Museum of Modern Art, as well as museums nationwide. He is the recipient of awards from the National Endowment of the Arts, the Guggenheim Foundation and the American Academy of Arts and Letters. He teaches in the MFA program at School of Visual Arts in NYC and is currently represented by Kienzle Art Foundation in Berlin. Gary Stephan lives and works in New York City and Stone Ridge, NY.</p> Sun, 29 Jul 2012 04:04:06 +0000 Michael Pfisterer - Devening Projects + Editions - August 26th, 2012 - October 6th, 2012 <p style="text-align: justify;"><em><strong>devening projects + editions</strong></em> invites you to the opening of <em><strong>Beyond the Garden of Cyrus</strong></em>, an exhibition of new photographs by Hamburg-based artist <strong>Michael Pfisterer</strong>. In his second exhibition with the gallery, Michael Pfisterer presents recent work based on research into and documentation of a series early scientific instruction models. Please join us for the opening reception on <strong>Sunday, August 26th from 4-7</strong>, meet Michael Pfisterer and celebrate the opening of our fall season.</p> <p style="text-align: justify;">In his most recent project, Michael Pfisterer has been photographing early 19th and 20th century mathematical and biological models found in various university and library collections. Once photographed, the objects are carefully stripped of their context and left as empirical evidence of a once, very specific usage. The decontextualization of these mysterious objects divests them of their original meaning and loads them with new associations. In a text by Francis Bacon there is a tale of an emperor seeking wisdom. His counselor suggests four things: that he should establish a comprehensive library; create a botanical and a zoological garden; build a laboratory and a studio of considerable size in which there shall be assembled and classified whatever man´s hand has created, from rare and exquisite art to mechanics in matter; and to identify whatever nature has created that might live and be conserved. This essay can be seen today as not only an important document of modern sciences´ beginnings and comprehension of nature but also a very accurate and poetic introduction to how one explores, handles and organizes knowledge. The medium of photography does not only encompass creation and collection of images, their organization and sequence but also the possibility to show new orders of visibilities. Through photography Pfisterer presents images outside of their original, pragmatic, syntactic or semantic characteristics, in order to explore new multi-focal relationships between illustration, reference, exposition, display, assumption, analogy, concept, prototype, formula, theory, system, sign, fiction and vision.</p> <p style="text-align: justify;">Ideas about spatial order and various utopian theories developed over time have created a vast array of models of ambiguous origin and make. Pfisterer uses these models as vehicles to collect and compare conceptual commonalities. His choice of subject is chiefly guided by three aspects. Each model has its origin in a historical past and is therefore defined and framed in our perception by that lineage. He is also intensely attracted to a particular quality of ambivalence, of an openness in the interpretation of the function and intent of each object. The third quality is purely visual. The richness of the patinated surfaces and the many layers inherent in the structure of each form become important to the selection and editing process. The models are evocative; distilling the relationship between the physical aspect of each and its intended function, becomes a mechanism for the conversation between the audience and the work. Through his highly methodical process, Pfisterer adds new layers of reality to those concepts and enriches them through a complex recalibration of documentation and fiction.</p> <p style="text-align: justify;">Michael Pfisterer studied in Mainz and Hamburg, Germany; since 1998 he has shown his work in solo and group exhibitions in Chicago, Boston, Hamburg, Cologne, Leipzig, Paris, Vienna and many other cities. Michael Pfisterer is currently Professor of Visual Communication at the Akademie Mode and Design in Hamburg where he also lives and works. In preparation for this exhibition, Michael Pfisterer completed a month-long residency at Document in Chicago. This is his second solo exhibition with the gallery.</p> Tue, 04 Sep 2012 22:20:54 +0000 Heather Mekkelson, Bill Berger - Roots & Culture - September 7th, 2012 - October 6th, 2012 <p>The work of Bill Berger experiments with slow change and entropy.  He works mainly in video and non-traditional photography. His recent works involve the effects of decay brought on by long exposure to sunlight and shadows.  </p> <p style="text-align: justify;">On view will be new sculpture by Heather Mekkelson. Much like her previous work, Debris Field, Mekkelson's new works show a clear event-narrative—that something menacing, traumatic or apocalyptic has occurred. But a feeling of déjà-vu, an impression that something is “off”, or a realization of the impossible, leads to a second-look that reveals the fiction she has imposed on the sculpture. With this new body of work, the focus shifts to singular objects and discrete groupings that capture indescribable aspects of confronting the ruin of modern life.  </p> <p style="text-align: justify;">Berger received his BFA from the School of the Art institute of Chicago in 2006, and is currently a pursuing his MFA in photography at the University of Illinois at Urbana Champaign.  Bill lives and works in Chicago IL and Champaign IL.</p> <p style="text-align: justify;">Heather Mekkelson is a Chicago-based artist. She received an MFA from the University of Illinois at Chicago and a BFA from The School of The Art Institute of Chicago. Solo exhibitions include threewalls (Chicago), Old Gold (Chicago), and STANDARD (Chicago). Her work has also been included in group shows at The Museum of Contemporary Photography (Chicago), The Figge Art Museum (Davenport, IA), Dominican University (River Forest, IL), The Poor Farm (Manawa, WI), Raid Projects (Los Angeles, CA), and Vox Populi (Philadelphia, PA). She has had her work published in <i>Art Journal</i>,<i> Broadsheet (The Contemporary Art Center of South Australia), Time Out Chicago</i>, <i>Chicago Tribune</i>, and <i></i>.</p> Sat, 25 Aug 2012 12:10:47 +0000 Shane Huffman - 65GRAND - September 14th, 2012 - October 13th, 2012 <p style="text-align: justify;">65GRAND is pleased to present Sense and Sensibility, Shane Huffman's first solo exhibition with the gallery.<br /> <br /> Huffman's work is concerned with the areas where science and alchemy converge, where the measurable and quantifiable spills over into the emotional and mystical. Huffman primarily works in photography due to its literal connection to his subject matter. Photographs are created when light and chemicals react, making it the perfect medium to explore interests in the cosmic as well as functions of the body. Additionally the artist doesn't exclusively work with cameras and film, making his experiments with the materials and liquids of photography and fluids of the body exist somewhere between lab work and sorcery.<br /> <br /> For Sense and Sensibility, Huffman presents new work from the series "Our Experiences are the Accumulation of Exposure" begun in 2002. These abstract grayscales are created in the darkroom by incrementally exposing portions of silver gelatin photographic paper using only the light produced by the enlarger. This leads from light gray to total black. Huffman explains, "In this way of making, darkness is the excess of light, contrary to what we believe in our daily experience." Accompanying these is a constellation of works, an ensemble of images Huffman took himself, darkroom manipulations, found images and other mixed media components such as a mirror painted black save for a 1/8 sliver running around the border. and a balloon containing a single breath of air. The exhibition presents, "bipolar representations of the same lived experiences." Huffman compares it to the Jane Austin novel about two sisters, one who lives life guided by reason, the other experiencing life through her senses.<br /> <br /> Shane Huffman lives and works in Chicago. Recent solo exhibitions include Rowley Kennerk Gallery, Chicago in 2010 and Shane Campbell Gallery, Oak Park, IL in 2009. Group exhibitions include Re: Chicago, DePaul University Museum, Chicago in 2011; A Unicorn Basking in the Light of Three Glowing Suns, Devos Art Museum, Marquette, MI and Min., Regina Rex Gallery, Brooklyn, NY in 2010; The Great Poor Farm Experiment, The Poor Farm, Manawa, Wisconsin; and Mapping the Self, Museum of Contemporary Art, Chicago in 2008. Huffman is included in a group exhibition curated by photographer Dawoud Bey as part of EXPO CHICAGO, on view September 20 - 23.</p> Thu, 06 Sep 2012 12:56:35 +0000 Eric Fleischauer - Document - September 7th, 2012 - October 13th, 2012 <p style="text-align: justify;"><span style="font-size: small;"><strong>DOCUMENT</strong> is pleased to presen<strong><em>t In Circulation</em></strong> by<strong> Eric Fleischauer</strong>. The exhibition features a video installation, a series of animated gif’s, and custom screensavers. Together, the three works in the exhibition explore the malleability of the moving image, shifting modes of viewership, and the ways in which digitization has changed the dissemination, legibility, and reception of media.</span><br /> <br /><span style="font-size: small;"><em>In Circulation</em> is a dizzying portrait of Expanded Cinema by Gene Youngblood, a book widely acknowledged for its insights </span><span style="font-size: small;">into technology's impact on cinema, attempting to broaden and liberate the medium from tradition, conventions, and standardization. Currently the book is out of print. However, the text has been made available by its author for free online. Eschewing profit for proliferation of ideas, this emblematic gesture extends the author’s philosophy beyond cinema into other realms of digital media and distribution prevalent today. Inspired and informed by Youngblood’s concepts, this installation creates an environment that holds the video-mirror up to Expanded Cinema, allowing viewers to reflect on its ideas and witness its impact. In essence, the text becomes a living example both articulating and celebrating Youngblood’s vision of how “technology is reshaping the nature of human communication.” // Internet Nostalgia consists of twelve animated .gif’s that manipulate the semiotics of digital imagery. Disrupting our expectation with immediacy, playboy centerfolds perform stripteases that provoke tension around our experiences online. // Finally, installed on the computers in Document’s adjacent print space is Screensaver Library. This work uses the screensaver's utilitarian function to increase access to, and engagement with, video/art. By embracing this underutilized mode of dissemination and exhibition, the idle computer screen is transformed into a dynamic venue, where an unattended laptop creates an impromptu installation, or an office cubicle becomes a micro-cinema.</span></p> <div style="text-align: justify;" class="text_exposed_show"><br /><span style="font-size: small;"><strong> Eric Fleischauer</strong> is a Chicago-based artist, curator, and educator. Working in video, film, and digital mediums Fleischauer utilizes conceptually-driven production strategies in order to examine the ramifications of technology’s expansive influence on both the individual and cultural sphere. His work has been exhibited at venues including The Museum of Contemporary Art Chicago, threewalls, Interstate Projects, Rooftop Films, Microscope Gallery, Corcoran Gallery of Art, the Kunstmuseum Bonn, and is included in the Midwest Photographer's Project collection at the Museum of Contemporary Photography. Currently he teaches in the Department of Film, Video, New Media, and Animation at the School of the Art Institute of Chicago.</span></div> Sun, 09 Sep 2012 23:59:34 +0000