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 Anne Lindberg - Carrie Secrist Gallery - September 7th, 2012 - October 20th, 2012 <p style="text-align: justify;">Carrie Secrist Gallery is pleased to open its 20th anniversary season with Anne Lindberg: sustaining pedal. The newest addition to our roster, Lindberg will conceive an ambitious museum-scale installation in the gallery, alongside a selection of two-dimensional drawings. sustaining pedal is Lindberg’s first solo exhibition at the Carrie Secrist Gallery. <br /> <br /> In the main gallery, Anne Lindberg will construct a site-specific floating drawing composed of fine parallel threads and staples. Stretching individual strands of cotton thread taut from opposing walls, Lindberg creates a translucent volume of color with varying hues. Individual lines vibrate and pulsate with slightly different tonalities, playing tricks on viewers’ optical nerves. These changes in tone and density elicit the concept of sustaining pedal. As a musical note becomes airborne, a piano’s sustain pedal dampers the instrument’s strings, extending and elongating the life of the note into space, bringing out its full character. The resulting sound, resonant and complex, acts as an acoustic metaphor for Lindberg’s work. This notion of a singular element stretching into the orchestral whole reiterates Lindberg’s examination of the rise and fall of the parallel line.</p> <p style="text-align: justify;">Likewise, Lindberg’s two-dimensional pieces (graphite and colored pencil on cotton mat board) hold the same aesthetic impulse. Drafted with an architect’s parallel bar, the imagery comprises tightly spaced lines that vary in density and darkness. In the artist’s indexical translation of the three-dimensional into the two-dimensional, the pencil drawings are subject to the uncontrolled internal movements of her body. The exactitude of this mark making ultimately betrays the organic, human aspect of Lindberg’s linear images.<br /> <br /> A 2011 Joan Mitchell Foundation Painters and Sculptors grantee, Anne Lindberg recently presented solo installations at the Nevada Museum of Art, Reno, NV and the Bemis Center for Contemporary Arts, Omaha, NE. Past exhibitions in the US include the Nerman Museum of Contemporary Art, Overland Park, KS; the Kemper Museum of Contemporary Art, Kansas City, MO; and the Drawing Center, New York, NY. International exhibits include Bom Retiro Cultural Center, Sao Paulo, Brazil and Tegnerforbundet, Oslo, Norway. Lindberg’s accolades include a Charlotte Street Foundation Fellowship, two ArtsKC Fund Inspiration grants, a Lighton International Artists Exchange Grant, an American Institute of Architects Allied Arts and Crafts award, and a Mid-American National Endowment for the Arts fellowship. Lindberg lives and works in Kansas City, MO and New York, NY.</p> <p></p> Mon, 08 Oct 2012 13:15:16 +0000 Robert Lostutter - Corbett vs. Dempsey - September 7th, 2012 - October 20th, 2012 <p style="text-align: justify;">It is with great pleasure that Corbett vs. Dempsey presents Robert Lostutter, Garden of Opiates.</p> <p style="text-align: justify;">In his second exhibition at Corbett vs. Dempsey, Lostutter will unveil a suite of luscious new watercolors, as strange and particular as anything he's accomplished to date.  These bright, jewel-like works are all portraits of men, each one sporting some feature—a bald head woven in strips; a lower lip morphing into an orchid; face tinted blue; green hair tied up in a special braid—like an unknown, fantastic tribe of indigenous Central Americans.  Some of them have slightly crossed eyes, recalling John Graham's ladies, and these fellows are just as beguiling, a potent mix of psychedelia and Northern Renaissance.  The watercolors are complemented by diabolically sensitive graphite drawings, featuring the same figures.  Lostutter has been one of the most visible artists in Chicago since emerging on the scene the late 1960s. The Madison Museum of Contemporary Art opens a major survey of his work, <i>The Singing Bird Room of Robert Lostutter</i>, on October 5th.  A 36-page full-color catalog accompanies Corbett vs. Dempsey's exhibition. </p> <p> </p> Tue, 04 Sep 2012 22:20:19 +0000 Walter Hamady - Corbett vs. Dempsey - September 7th, 2012 - October 20th, 2012 <p style="text-align: justify;">In the West Wing, Corbett vs. Dempsey presents a small selection of new assemblages by Walter Hamady. A legendary book designer and publisher, Hamady has run his own Perishable Press since 1964. As a collage and assemblage artist, he's been showing since even earlier, and his new box-works extend the mode he's been exploring for the last 25 years, utilizing wooden containers retrofitted with impeccable ephemera into uncanny, surrealistinformed confabulations.</p> Sat, 01 Sep 2012 07:41:47 +0000 Karen Reimer - Gallery 400 - August 31st, 2012 - October 20th, 2012 <p style="text-align: justify;"><strong>Karen Reimer</strong>’s solo exhibition at <strong>Gallery 400</strong> comprises a new entry in her on-going project <em>Endless Set</em>, accompanied by a selection of past artworks that illuminate the role spatial concerns have played in work that has often been read primarily through the lens of craft. Curated by Gallery 400 Director <strong>Lorelei Stewart</strong>, <em><b>Endless Set #1399</b></em> is presented in conjunction with an architecture-based exhibition at the Gahlberg Gallery, College of DuPage, and runs from <strong>August 31 to October 20, 2012</strong>.<br /> <br /> Steeped in craft traditions, yet working across disciplines, Karen Reimer produces work that expansively addresses the larger relationship of craft to modernist and postmodernist cultural aims. For more than fifteen years she has created architecture-related installations that reconsider modernist ideals and minimalist embodiment through the quirks and heterogeneity of the handmade and everyday. The two exhibitions extend those interests by making markedly material two explicitly abstract, mathematical concepts of space.<br /> <br /> Gallery 400's new work is a single iteration from Reimer's series <em>Endless Set</em> (begun 2007), in which appliquéd pillowcases marry hand-sewn fabric's domesticity to the infiniteness of the prime number sequence. Each pillowcase is made from a number of fabric scraps equal to a prime number. Appliquéd on top of this patchwork are the corresponding white fabric numerals. The depicted numeral measures as many inches tall as the number itself. Thus, the white fabric number 7 is seven inches high, and sewn onto a backing made of seven pieces of fabric. As the dimensions of the numbers exceed the dimensions of the pillowcase Reimer folds and layers the number form back and forth across the surface, gradually obscuring the patchwork. The larger the prime number, the more minimal in color and yet more sculptural the works become. For Gallery 400’s installation, Reimer is crafting a pillowcase of the prime number, 1399, closest to the linear perimeter of Gallery 400's largest gallery, 1400 inches (116 2/3 feet). Four white, fabric numerals (scaled to 1,399 inches) are folded and sewn down to the 26 by 20 inch linear dimensions of a standard pillowcase to become a stunning sculptural form compressing the dimensions of the exhibition space into a thick, dense fabric object—a physical doppelganger of the space. Reimer is currently devising a way to secondarily represent on the gallery’s floors, walls, and ceilings, the full-scale (116 2/3 foot high) numerals of the number that is condensed into the sculptural object.<br /> <br /> The site-specific installation will be accompanied by a selection of historical works that consider domestic, discursive, and spatial relations.<br /> <br /> Karen Reimer (born 1958) has had solo exhibitions at moniquemeloche gallery, Chicago; the Rochester Art Center, MN; the Riverside Arts Center, IL; Schopf Gallery, Chicago; and the Hyde Park Art Center, Chicago. Her work has been included in group shows at the Museum of Contemporary Art, Chicago; the Contemporary Craft Museum, Portland, Oregon; and Wallspace Gallery, New York, among others. Reimer is the recipient of an Artadia Individual Artist grant and a Richard A. Driehaus Individual Artist award. Her work has been included in the publications <em>By Hand: The Use of Craft in Contemporary Art </em>(Princeton Architectural Press, 2010), <em>The Object of Labor: Art, Cloth, and Cultural Production</em> (MIT Press, 2007), and <em>Contemporary Textiles</em> (Black Dog Press). She is currently an instructor in Fiber and Material Studies at the School of the Art Institute of Chicago. Reimer completed a BA at Bethel College, North Newton, KS, and an MFA at the University of Chicago.</p> Mon, 08 Oct 2012 13:17:19 +0000 Zoe Nelson - Lloyd Dobler Gallery - September 8th, 2012 - October 20th, 2012 <p style="text-align: justify;">Lloyd Dobler Gallery is pleased to present the opening of their fall season with new work by Chicago-based painter, Zoe Nelson. An opening reception will be held on Saturday, September 8th from 6-10pm. Additionally, the gallery will hold open public hours every Saturday from noon-5pm with a special reception on Saturday, September 22nd for the EXPO CHICAGO/2012 gallery tour from 4-9pm, organized by ACRE Residency. <em>Deep Cuts</em> continues through October 20th</p> <p style="text-align: justify;">Nelson’s exhibition accurately entitled, <em>Deep Cuts</em>, will highlight her site specific ‘walk-through’ painting at the gallery’s entrance and showcase her continued work made by literally cutting into the canvas. Nelson’s Cut-Outs are abstract process paintings that engage with formal concerns and exuberant colors to create tension between painted surfaces and loaded negative spaces. The players are the razor, the frame, gesture, and paint. The razor slices and obliterates, creating holes and negative spaces, leaving the canvas and painted surfaces fragmented and disjointed. Pieces of canvas push outside the frame, surrender to the frame, decorate the frame, wrap the frame, hang off the frame, and work to collapse the frame. In a tense dialogue with the constructed surfaces of gesture and paint, the framed negative spaces become loaded voids. The juxtaposition of these voids with the painted surfaces challenges conceptions of painting-as-verb and painting-as-noun, opening the site of painting beyond the frame.</p> <p style="text-align: justify;">Zoe Nelson was born in Rhinebeck, New York in 1983 and currently lives and works in Chicago, IL. She received an MFA from Columbia University in May 2009. Zoe has exhibited work at galleries in Chicago and New York including Roots &amp; Culture Contemporary Art Center (Chicago), Robert Bills Contemporary (Chicago), Columbia College Center for Book and Paper Arts (Chicago), the Fisher Landau Center For Art (Long Island City), and NURTUREart (Brooklyn). Zoe’s work is included in the Jimenez-Colon collection and was selected for the 2011 Midwest edition of <em>New American Paintings</em>. This year Zoe is a recipient of a 2012 Chicago Arts Assistance Program (CAAP) grant.</p> <p style="text-align: justify;" class="caption">This project is partially supported by a Community Arts Assistance Program Grant from the City of Chicago Department of Cultural Affairs and Special Events, and the Illinois Arts Council, a state agency.</p> Tue, 11 Sep 2012 23:16:20 +0000 Jacob Hashimoto - Rhona Hoffman Gallery - September 14th, 2012 - October 20th, 2012 <p style="text-align: justify;">Rhona Hoffman Gallery is pleased to present "super-elastic collisions (origins, and distant derivations)", our third solo exhibition by artist Jacob Hashimoto.<br /> <br /> Hashimoto has consistently created massive, space-altering installations throughout his career. Often employing colorful paper structures, he plays with alterations of space and our surrounding environment in his multi-layered and geometrically complex works, evoking the phenomenological effect of nature through elements of artifice. This exhibition includes two monumental installations that mark the beginning of a new body of work in Hashimoto’s career and are considered by the artist to be his most ambitious installations to date.<br /> <br /> "super-elastic collisions and distant derivations,“ is an abstraction of interwoven trees which emerge from the room center and envelop the viewer under arcs of maple cubes.  Simultaneously portraying a weightlessness cloud and arching tree limbs the installation explores the idea of viewing nature as a digital and analogue landscape, further emphasizing the artists’ fascination with our environment and the various portrayals and simplifications of the elements that define it. Hashimoto creates artworks that consumes us, yet expose<br /> the process of their creation and essential origin-complex masses comprised of fundamental objects.</p> <p style="text-align: justify;"><br /> "Gas Giant" is the latest chapter of Hashimoto’s recent large-scale kite installations, and is composed of cube-shaped kites in colorful groupings that hang from the ceiling of the large gallery space. Nature is alluded to in this work as well as a drifting, gravity-less cloud of land mixes with imagery of sky. Simultaneously controlled yet loose, violent yet stayed, the installation conveys the powerful and overwhelming sensation of watching a natural phenomenon while simultaneously illustrating the subjective nature of memory and the elements which conjure it.<br /> <br /> Exhibited in the middle gallery space are drawings of sculptural works which reflect Hashimoto’s detailed planning process.  Delicate lines and colorful gestures provide insight into the construction of his elaborate and multi-layered kite works.<br /> <br /> Hashimoto was born in 1973 in Greeley, Colorado. In 1996 he received his BFA from the School of the Art Institute of Chicago. His work has been exhibited in numerous solo and group exhibitions in the United States and in Europe.</p> Sat, 08 Sep 2012 07:18:58 +0000 John McAllister - Shane Campbell Gallery - September 15th, 2012 - October 20th, 2012 <p style="text-align: justify;">Shane Campbell Gallery is pleased to announce John McAllister’s first solo exhibition with the gallery in Chicago.<br /><br />McAllister will present a suite of new paintings that continues his interest in paintings as pictures and objects. All of the paintings function on a meta level as they consistently represent paintings within domestic interior spaces consequently drawing attention to an awareness of painting as an act of representation.  Idealized landscapes and still lifes are situated within patterned grounds that reinforce the entire painting as a cultural construction.  Patterning contains and frames the interior elements which removes them from the world much like the interiors of Edouard Vuillard and the Nabis who aestheticized social relations within comfortable Parisian domestic spaces in the late 19th century.<br /><br />McAllister lives and works in New York. He received his MFA from Art Center College of Design in 2007.  He has exhibited his work both nationally and internationally with recent solo exhibitions at Carl Freedman Gallery, London and with Richard Telles Fine Art, Los Angeles. He has participated in group exhibitions at the Rubell Family Collection, Miami and at David Kordansky Gallery, Los Angeles, amongst others.</p> Tue, 04 Sep 2012 13:19:38 +0000 Cauleen Smith - Threewalls - September 7th, 2012 - October 20th, 2012 <p><strong>Performative Slide Lecture: Saturday, September 22nd,  3pm<br /> With an accompanying bi-fold and essay by Terri Kapsalis.</strong></p> <p style="text-align: justify;">Filmmaker Cauleen Smith wraps up her 2-year Chicago residency and research on Sun Ra with her exhibition The Journeyman - an installation, recording studio, and library about artistic process, research and the relationship between an artist and the subjects they revere. The exhibition will be accompanied by the release of a limited edition vinyl record mixed by Smith that includes recordings she made over the course of her project in Chicago and materials found in the Sun Ra archive at Experimental Sound Studio.</p> <p style="text-align: justify;">Experimental filmmaker Smith has been a “long-term” resident of threewalls’, first joining us in 2010 as part of the Studio Chicago program in conjunction with the Sullivan Galleries at The School of the Art Institute of Chicago. Initially Smith intended to extend her on-going film work on jazz, radical black creativity, and the American urban matrix to a work on Chicago and the legend and impact of phenom Sun Ra. Her research led her down a winding path to residencies at the University of Chicago, Center for Race and Culture, and Experimental Sound Studio’s Sun Ra archives.</p> Tue, 04 Sep 2012 22:19:17 +0000 Geoffrey Todd Smith - Western Exhibitions - September 7th, 2012 - October 20th, 2012 <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;" size="-1" face="Georgia, Times New Roman, Times, serif">In his third solo show with Western Exhibitions,<strong> GEOFFREY TODD SMITH</strong> returns with a group of vivid, intensely patterned abstract paintings in a show titled “Looker,” which references both the viewer's participation and the attractiveness of each painting. The show opens on Friday, September 7 with a free public reception from 5 to 8pm. </span></p> <p><span style="font-family: Georgia,Times New Roman,Times,serif;" size="-1" face="Georgia, Times New Roman, Times, serif"></span></p> <hr /> <p><span style="font-family: Georgia,Times New Roman,Times,serif;" size="-1" face="Georgia, Times New Roman, Times, serif"></span></p> <p style="text-align: justify;"><span style="font-family: Georgia,Times New Roman,Times,serif;" size="-1" face="Georgia, Times New Roman, Times, serif">Smith employs seemingly simple structures in his work. Common geometric elements – circles, ellipses, ovals and dots – inhabit a tight grid in visually confounding and colorfully explosive compositions. In addition to his signature intricate and intimate gel pen patterns atop gouache-painted shapes, Smith has begun to experiment with a variety of surfaces and paints – adding texture, dimensionality and glossy enamel – in a new series of paintings on panel.<br /> <br /> Within Smith’s colorful, fetishistic surfaces lurks a devotion to the challenges of abstract beauty and its ability to confound expectation and provoke desire. Smith searches, meanders and daydreams to find vibrant and colorful discoveries to entice the audience, of which he is also a member. Each composition is treated like a game with self-imposed rules and limitations regarding color and form. Though there is a grid present, its rigid structure and predictability operates as a foe to Smith’s often erratic and unplanned compositions. The hard fought arrangements of directions, distractions, material integrations and interferences result in a record of the struggle. <br /> <br /> Two paintings in this show provide clues to Smith’s thought and working process. <em>A Wester Easter </em>(enamel, acrylic and gouache on panel, 20 x 16 inches) consists of four segments rotating around a central black form. Within this center shape, matte black voids contrast with glossy black dots that appear to rise above the surface. The surrounding sections string ellipses together to form stuttering stripes that alternate browns and grays with cool mint, cream and fleshy pinks. Zig-zagging strands of bright glossy blue glide lightly above the softer tones, acting as symbolic energy emanating from the dark mysterious center.<br /> <br /> <em>Sneak Charmer,</em> an all-gouache painting divided into thirds, references the horizon with its alternating bands of cold blues and earthy browns. The middle segment, like a storm system cutting through a calm sky, provides interference with harsh bands of interspersing blues and grays. Each third of the painting has additional layers of vibrating strands that both direct and distract. Wavy repetitive bands stream across the top, signaling a loss of horizontal hold. Colorful strands that end in arrow points punctuate the other two sections of the painting. This complex composition strives for a disjointed, hypnotic experience.<br /> <br /> <strong>Geoffrey Todd Smith</strong>'s intensely patterned and intricate painting/drawing hybrids have recently been included in solo shows at Luis de Jesus Los Angeles and Nudashank in Baltimore and in group shows at The Green Gallery in Milwaukee, the Hyde Park Art Center in Chicago, Geoffrey Young Gallery in Massachusetts and Baer Ridgway in San Francisco. He will have work up concurrently with this show in “Afterimage” at the DePaul Art Museum, running through November 18. His work is in the collections of Hallmark Inc. in Kansas City, the Jager Collection in Amsterdam, the South Bend Art Museum in Indiana and Harper College in Illinois and has been written about in art ltd, the Chicago Tribune, and Chicago Magazine, who called him one of the "rising stars we should be collecting now". Smith lives and works in Chicago.</span></p> <p><span style="font-family: Georgia,Times New Roman,Times,serif;" size="-1" face="Georgia, Times New Roman, Times, serif"> </span></p> Mon, 17 Sep 2012 15:21:14 +0000 Josh Mannis - Western Exhibitions - September 7th, 2012 - October 20th, 2012 <p style="text-align: justify;" class="man">Western Exhibitions is thrilled to present a new video by <strong>Josh Mannis</strong> in Gallery 2 in a solo show that will run from September 7 to October 20, 2012, with an opening reception September 7th from 5-8 pm.  Gallery hours are Wednesday through Saturday, 11am to 6pm and by appointment.</p> <p style="text-align: justify;" class="man">In<em> Fashion</em>, Mannis performs a repetitive dance to a house music soundtrack wearing a black short sleeve shirt, a pair of Dockers, a windbreaker and a mask. The homemade costume is used as a prop with which, and a space within which choreography are improvised, refined and re-presented. The image of the performance is copied and layered several times over so that several dancers populate the screen in staggered succession; altogether creating varied graphic effects on an all-black background.</p> <p style="text-align: justify;" class="man">In a review of his recent show at Anthony Greaney Gallery in <span style="text-decoration: underline;">Artforum</span>, Nuit Banai writes:</p> <p style="text-align: justify;" class="man"><em>… Mannis is most impressive in his video work, through which he embraces the simulacral as the very condition of the creative act. . Mannis uses irreverent pastiche to reprocess the ciphers of contemporary experience and carve out an original image zone where new rules might yet be formulated. Yet he is also acutely aware that in an era when "acting out" is a democratic prerogative facilitated by such distribution platforms as You Tube and Tumblr, the gallery still functions as "the law" by sanctioning the name of art.</em></p> <p style="text-align: justify;" class="man">Josh Mannis’ solo show at Anthony Greaney Gallery, Boston, MA, in spring 2012 was reviewed in <span style="text-decoration: underline;">Artforum</span>, <span style="text-decoration: underline;">Art Papers</span> and <span style="text-decoration: underline;">The Boston Globe</span>. Solo exhibitions include <em>Variations</em>, Thomas Solomon Gallery, Los Angeles (2010); <em>Dawn of Man,</em> 40000, Chicago (2006) and <em>Iron Eagle,</em> Small A Projects, Portland, OR (2006). Mannis was included in No Soul for Sale, with the Suburban (Oak Park, IL) and Milwaukee International (Milwaukee, WI) at the Tate Modern, London (2010); <em>Sympathy for the Devil: Art and Rock &amp; Roll Since 1967, </em>Museum of Contemporary Art, Chicago, (traveling 2007-09) and <em>For Those About to Rock,</em> the Mattress Factory, Pittsburgh (2005). He received his MFA from the School of the Art Institute of Chicago in 2005. Mannis lives and works in Los Angeles, California.</p> Sat, 11 Aug 2012 03:34:05 +0000