ArtSlant - Recently added http://www.artslant.com/chi/Events/show en-us 40 Bob Thompson - Corbett vs. Dempsey - June 13th - July 11th Mon, 25 May 2015 15:35:48 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Albert Oehlen - Corbett vs. Dempsey - June 13th - July 11th Mon, 25 May 2015 15:35:18 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Benjamin Zellmer Bellas - slow - May 23rd - June 13th <p><a href="http://paul-is-slow.us2.list-manage.com/track/click?u=e341e313cf3e876de381d9d41&amp;id=1792b1bc14&amp;e=766610da6e" target="_blank" rel="nofollow">Benjamin Zellmer Bellas</a>&nbsp;has unexpectedly turned to art processes. He cast bronze and silver. Hammered gold; put a patina on cast iron. He refers to craft history through ceramics, hand dyed fabrics, and glass. Still in a Benjamin kind of way. Art and not art at the same time. Domestic object and esoteric museum artifact.&nbsp;<br /><br />Started with a christening cup, a family heirloom, melted it down and cast the source of a spring. The casting becomes an idiosyncratic gesture developed from what the cup is designed to do: include a newborn child in a legacy that looks to history and lineage and looks forward to the child&rsquo;s place in familial progression. Benjamin shifts christening away from church community in favor those who embrace science, art, technology and humanist connection. Lets us encounter a spring's source transmogrified into an object whether the child or her birth means anything to us. Lets us boggle at birth, at the beginning, at the source. Makes really good use of a Courbet reference to the origins of life (how do you keep that subtle, and yet it is). The resultant objects can live comfortably back in the same quaint living room that formerly displayed the cup before the meltdown. He&rsquo;s transgressed the religious implication of naming but respected every nuance. He&rsquo;s secularized in a manner that keeps mysterious wonder, and he&rsquo;s updated in a mode that invites and invokes the old and traditional ways.<br /><br />Each piece has its own complex journey of transformation. The sense of thingness is fragile. Can&nbsp;break&nbsp;for a host of reasons. The paradoxical opposite is that after every component of a thing has lost its challenge, has changed, there it is. The remnant is still itself. &nbsp;Benjamin uses keepsakes and otherwise significant objects as his art materials. He does things to transform--re-cast, ferment, translate, move, consume. The thing is surely touched by its journey, the phase change. Good in the way a perfect Armagnac is good,&nbsp;aged&nbsp;to the very best stage of development. The strong stuff. A huge bump of heat, but nuanced with fruity sweetness and bitter spice. Not for everyone because it demands focus and more than a bit of experience, but for the connoisseur it hits the depth and complexity that nothing else can satisfy.</p> Wed, 20 May 2015 17:48:56 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Jovencio de la Paz - Threewalls - June 12th - August 1st <div class="col col-3 block main-content"> <p style="text-align: justify;">Using the specific history and process of Batik, a wax-resist dye process indigenous to many cultures of Southeast Asia, Jovencio de la Paz presents recent work dealing with the narrative possibilities of cloth for his Threewalls exhibition <em>Endless Flight</em>.</p> <p style="text-align: justify;">Integral to de la Paz&rsquo;s process is the social and cultural history of Indigo dye, which both in its natural and synthetic forms, is ostensibly the most utilized dye-stuff on the planet. With a rich and contentious history of trade, including the colonization of Southeast Asia and catalyzing the displacement of innumerable individuals for slave-labor in the American South, Indigo can be considered a material of migration, labor, and transition. In this way, the formal concerns of color in de la Paz&rsquo;s work are inexorably linked to politics of globalization, connecting both ancient and contemporary narratives of forced relocation, migrancy, and wandering.</p> <p style="text-align: justify;">As Rebecca Solnit has written in her essay &ldquo;The Blue of Distance,&rdquo; Indigo and bluish fields represent atmospheres of passage, the sea and the sky, and the impossible place of the horizon, all of which reference the fugitive nature of bodies that meander over the globe.</p> <p style="text-align: justify;">Over-encumbered by symbols, de la Paz is developing a hybrid visual language, drawing imagery from such sources as traditional Indonesian and ethnographic textiles, comics, graffiti, quilting, and personal symbology, all of which relates to his own experience as an immigrant growing up in the United States. In the two largest bodies of two-dimensional work presented at Threewalls, &ldquo;Pentagonia&rdquo; (2015) and &ldquo;Endless Flight&rdquo; (2015), figures are presented as overwhelmed by their environments, succumbing to or moving away from powers beyond their control. &ldquo;Pentagonia,&rdquo; which borrows its title from the epic cycle of five novels written by late Cuban writer Reinaldo Arenas, is a meditation on the space between personal and group trauma.</p> <p style="text-align: justify;">In the main gallery, de la Paz will also present &ldquo;Under the Sign of Light&rdquo; (2015), a table-scape that utilizes the horizontal nature of cloth to position the audience between the utilitarian, or lived, experience of material and its varied functions as symbol or metaphor for gathering.</p> <p style="text-align: justify;">Jovencio de la Paz was born in Singapore, and became a citizen of the Unites States in 1994. He received a BFA from the School of the Art Institute of Chicago in 2008, and an MFA from the Cranbrook Academy of Art, Department of Fiber, in 2012. He has exhibited work at The Museum of Contemporary Craft, Portland, OR; The Sculpture Center, Cleveland, OH; Roots &amp; Culture Contemporary Art Center, Chicago; The Hyde Park Art Center, Chicago; MessHall, Chicago; Uri Gallery, Seoul, South Korea. among others. Currently, he is a Lecturer at the School of the Art Institute of Chicago in the Department of Fiber and Material Studies. He is also a co-founder of the collaborative group Craft Mystery Cult, established in 2010.</p> </div> Wed, 20 May 2015 16:32:05 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Anthony Baab - Threewalls - June 12th - August 1st <div class="col col-3 block main-content"> <p style="text-align: justify;">Within his current body of work, <em>Cover the Earth</em>, Anthony Baab experiments with objects and materials associated with consumerism &ndash; packaging, advertisements, and logos. Baab views an explicit sense of command and function conveyed through these containers, perhaps more so than the commodities they hold or represent. Attempting to regenerate these objects into something otherwise and redirect their pre-fixed purposes towards aesthetic ends, Baab confronts the challenge of making these objects his own. The work is compelled by a sense of misbehavior, evoking the spirit and ethos of adolescence, inspired by doodling on a shoe, covering a room with posters, and building a fort.</p> <p style="text-align: justify;">As an itinerant, traveling project, <em>Cover the Earth</em> is an ever expanding and mutating form that undergoes a complete transformation from one location to the next. Between each location, the sculptures are broken down, repaired and re-purposed, much like a collage. Adding as many brands and objects as possible, the meaning and function of these products dissolve over and over again, allowing for new meanings and associations to form.</p> <p style="text-align: justify;">Anthony Baab was born in Dallas, Texas and is currently based in Kansas City, MO. He studied Painting and Printmaking at the Kansas City Art Institute before obtaining an MFA in Interdisciplinary Art from Cornell University. He is a Charlotte Street Award Recipient (2006), Fine Arts Work Center Provincetown Fellow (2014-2015), and Skowhegan resident (2015) that has exhibited at: The Nerman Museum of Contemporary Art (KS), Nelson Atkins Museum of Art (KC), Tompkins Projects (NY), Haw Contemporary (KC) and Grand Arts (KC). Collections include: Nelson Atkins Museum of Art, Nerman Museum of Contemporary Art, The Marianna Kistler Beach Museum of Art, and the Microsoft Corporate Art Collection.</p> </div> Wed, 20 May 2015 16:30:59 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Jessica Campbell, Etta Sandry - Roots & Culture - May 30th - July 4th Wed, 20 May 2015 16:28:40 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Rashayla Marie Brown, Hassan Hajjaj, Rashid Johnson, Ebony G. Patterson, Amy Sherald, William Villalongo, Nina Chanel Abney - moniquemeloche gallery - June 13th - August 23rd <p style="text-align: justify;">Monique Meloche Gallery is pleased to present, <em>Look At Me Now!</em>, a group exhibition of artists working internationally, who are presenting various perspectives on the history of portraiture through the construction of a new gaze. Throughout the exhibition, subtle hints of allegory give way to overt pop-culture references. &nbsp;It is through this lens that Rashayla Marie Brown, Hassan Hajjaj, Rashid Johnson, Ebony G. Patterson, Amy Sherald, William Villalongo, and Nina Chanel Abney produce, creating imagery that references, disarms, and reframes the canon of portraiture.</p> <p style="text-align: justify;">Rashid Johnson&rsquo;s <em>Self-Portrait as the black Jimmy Connors in the finals of the New Negro Escapist Social and Athletic Club Summer Tennis Tournament </em>was created for the artist&rsquo;s 2008 solo exhibition at moniquemeloche. <em>The New Negro Escapist Social and Athletic Club </em>is a fictional African American secret society, a parallel universe which embodies Johnson&rsquo;s desire to upend the conventions of history and the idea of a legacy. Inspired by the construction and performance of identity, Amy Sherald paints portraits of strangers whose characteristics immediately resonate with her. Similarly influenced by the performance of identity, Rashayla Marie Brown works to reveal the projection of cultural myths and desires on the collective consciousness, often using her body as a source and subject. Hassan Hajjaj&rsquo;s lively and optically stimulating portraits of young women that represent Marrakesh&rsquo;s biker culture borrows from the rich history of studio photographers, such as Malick Sidib&eacute;, while challenging prevailing ideas of female subjectivity. Sourcing her subjects from social media websites, Ebony G. Patterson uses the portrait to create an awareness of violence and loss. Seductive embellishments on the surface of her works on paper belie the depth of Patterson&rsquo;s plight: to make visible that which is invisible. Formally referencing the sometimes loaded and fetishizing figurative works of Gauguin, William Villalongo creates bucolic imaginary landscapes that wrestle with the often fraught history of painting; complicating the narrative of modernism through the insertion of alternative art histories. Aggregating language and symbols sourced from the internet, popular music, and everywhere in between, Nina Chanel Abney&rsquo;s paintings capture the tension of the digital age. For her <strong>on the wall</strong> installation at moniquemeloche, Abney will work in situ, accumulating imagery that is Chicago-centric to create a 25 foot mural that is inspired by a site specific collage she created for the <em>Made By Brazilians</em> exhibition in Sao Paolo in 2014.</p> <p style="text-align: justify;"><strong>Nina Chanel Abney (American b. 1982, Chicago, lives New Jersey) </strong>received her MFA from Parsons School of Design (2007) and her BFA from Augustana College (2004). Recent exhibitions include <em>AfterModernism, </em>Nassau County Museum, New York (2013); <em>The Bearden Project</em>, Studio Museum in Harlem, NY (2012); <em>Extended Family: Contemporary Connections, </em>Brooklyn Museum (2009); <em>30 Americans</em>, Rubell Family Collection, Miami (2008), which traveled to the Corcoran Gallery of Art, Washington D.C (2011), Milwaukee Art Museum (2012), Contemporary Art Center, New Orleans (2014), amongst other places, that is currently on view at the Arkansas Art Center, Little Rock (through June 21), and will complete at the Detroit Institute of Arts (2015-2016). <em>The Huffington Post</em> named Abney one of the &ldquo;30 Contemporary Art Makers Under 40 You Should Know&rdquo; in 2013, and her work has been published in <em>The New York Times, Artforum, Studio: The Studio Museum in Harlem Magazine, The Miami Herald, ELLE Magazine, Paper Magazine, </em>amongst others. Her paintings are in the prestigious collections of the Brooklyn Museum, Bronx Museum of the Arts, Corcoran Gallery of Art, and The Rubell Family Collection.</p> <p style="text-align: justify;"><strong>Rashayla Marie Brown (American b. 1982 Toledo, lives Chicago) </strong>is a current MA Candidate in Modern and Contemporary Art History at the School of the Art Institute of Chicago, where she also serves as the Director of Student Affairs for Diversity and Inclusion, fostering queer Afrofeminist narratives across institutions. Brown holds a BA in Sociology and African-American Studies from Yale University (2004), where she was advised by Paul Gilroy, and a BFA from the School of the Art Institute of Chicago (2013), where she was advised by Barbara DeGenevieve.&nbsp; Recent group and solo exhibitions include <em>Vagabunda</em>, Chicago Artist Coalition (2014); <em>META_MORPH_ISIS, </em>Black Paper, Los Angeles, CA (2014);<em> FreeMason: Pick Up the Pieces</em>, Gallery X, School of the Art Institute of Chicago (2013); <em>Politics of Seeing</em>, Sullivan Galleries, Chicago (2013). Her writing and artwork has been published and discussed in <em>Nka: Journal of Contemporary African Art, </em>the <em>Radical Presence </em>exhibition catalog, <em>ARC Magazine, Black European Studies Archive, Sixty Inches From Center, NewCity</em>, <em>FNewsmagazine, </em>and<em> Bad at Sports</em>, amongst others. Her work is in notable public collections, including Nippon Steel, Yale University, and the African American Chamber of Commerce. Awards include the Anna Louise Raymond Fellowship (2013), Excellence in Leadership Award, School of the Art Institute of Chicago (2012), the Propeller Fund (2013), and the Yale Mellon Research Grant (2003).</p> <p style="text-align: justify;"><strong>Hassan Hajjaj (Moroccan b. 1961, Larache, Morocco, lives London and Morocco</strong>) has established an international following for his photography. Awards include the Sovereign Art Foundation Middle East and African Art Prize (2011) and the shortlist for the Jameel Prize, Victoria &amp; Albert Museum (2009), which toured to Riyadh, Damascus, Beirut, Casablanca, Istanbul and Tehran. Recent solo and group exhibitions include <em>My Rock Stars,</em> Newark Museum (2015); <em>My Rock Stars Experimental, Volume 1</em>, Wexner Center for the Arts, Ohio State University (2015) and Los Angeles County Museum of Art, (2013-2014); <em>Islamic Art Now: Contemporary Art of the Middle East</em>, Los Angeles County Museum of Art (2015); <em>Making Africa</em>, Guggenheim Bilbao, Spain (2015); <em>Light from the Middle East</em>, Victoria &amp; Albert Museum, London (2012). Hajjaj&rsquo;s work has been published in numerous publications, including <em>The New York Times, National Geographic, The Guardian, The Wall Street Journal, Modern Painters, The Huffington Post, W Magazine, Harper&rsquo;s Bazaar Art, Vogue, </em>and <em>Nafas Art Magazine. </em>His work is featured in several prestigious public and private collections worldwide, including the Brooklyn Museum, the British Museum, Nasher Museum of Art, Newark Museum, Los Angeles Museum of Contemporary Art, the Victoria &amp; Albert Museum, Farjam Collection, Institut des Cultures d&rsquo;Islam, Kamel Lazaar Foundation, and the Virginia Museum of Fine Art..</p> <p style="text-align: justify;"><strong>Rashid Johnson</strong>&nbsp;<strong>(American b. 1977 Chicago, lives New York)</strong>&nbsp;first came to prominence in 2001 when Thelma Golden included him as the youngest artist in the seminal <em>Freestyle</em> exhibition at the Studio Museum in Harlem. His work was included in the 54th Venice Biennale in 2011 and the Shanghai Biennial in 2012. Johnson is the 2012 Driskell Prize Winner and one of the six Hugo Boss Prize Finalists from the same year. &nbsp;&nbsp;Johnson&rsquo;s High Line Commission, <em>Blocks, </em>will open in May 2015, alongside his inclusion in <em>America is Hard to See, </em>the inaugural exhibition at the Whitney Museum&rsquo;s new location. Recent solo exhibitions include The George Economou Collection, Athens, Greece (2014); Ballroom Marfa, TX (2013); High Museum Atlanta (2013), Miami Art Museum (2012); MCA Chicago (2012); South London Gallery (2012); Sculpture Center, NY (2009); Kunstmuseum Magdeburg, Germany (2008); Indianapolis Museum of Contemporary Art (2005).&nbsp; Recent group exhibitions include <em>Forever Now</em>, MoMA (2014-15), and <em>Variations: Conversations In and Around Abstract Painting, </em>LACMA (2014). His performance work &ldquo;The Dutchman&rdquo; was showcased at Performa 13, and was presented again during EXPO Chicago 2014. He received his BA from Columbia College in Chicago (2000) and attended the School of the Art Institute of Chicago (2003-04).</p> <p style="text-align: justify;"><strong>Ebony G. Patterson (Jamaican, b. 1981 Kingston, lives Kingston and Lexington, KY)</strong>&nbsp;is the recipient of many prestigious fellowships, awards and grants, including the Aaron Matalon Award from the Jamaica Biennial (2014), William H. Johnson Prize finalist (2013), a Musgrave Medal from the Institute of Jamaica (2012), Small Axe Magazine and Andy Warhol Commissioned Grant (2012), and Rex Nettleford Fellowship in Cultural Studies (2011). Her work was recently featured at <em>Prospect.3: Notes for Now</em>, curated by Franklin Sirmans, New Orleans, LA and the <em>Jamaica Biennial 2014, </em>National Gallery of Jamaica, Kingston.&nbsp; Current solo shows include <em>Dead Treez</em> at the Kohler Arts Center, Sheboygan, WI (through Sept 2015) and&nbsp; LUX Art Institute, Encinitas, CA (April-May 2015), and a solo show at moniquemeloche, Chicago (Sept 2015).&nbsp; Current and upcoming group exhibitions include <em>En Mas&rsquo;: Carnival 21st Century Style, The Caribbean as Site Specific Performance</em>, Contemporary Arts Center, New Orleans, LA (2015); 12<sup>th</sup> Havana Biennial, Cuba (May-June 2015); <em>Disguise: Masks and Global African Art,</em> Seattle Art Museum, Seattle, WA (June-Sept 2015). Her work has been published in <em>The New York Times</em>,<em> The Financial Times</em>,<em> Forbes Magazine, Frieze Magazine, Vogue Italia, The Huffington Post</em>,<em> Artnet, Blouin Artinfo, ARC Magazine, Chicago Magazine, The Jamaica Observer, The Miami Herald, </em>and <em>Art Voices Magazine, </em>amongst others. Patterson is Associate Professor in Painting and Mixed Media at the University of Kentucky in Lexington and is currently on sabbatical and was awarded a faculty research grant for 2015.</p> <p style="text-align: justify;"><strong>Amy Sherald (American b. Columbus, GA 1973, lives Baltimore) </strong>received her MFA in Painting from the Maryland Institute College of Art (2004), BA in Painting from Clark-Atlanta University (1997), and was a Spelman College International Artist-in-Residence in Portobelo, Panama (1997). Sherald is a recipient of the Joan Mitchell Foundation Painting and Sculpture Grant (2014), a Pollock-Krasner Foundation Grant (2013), and was the Juror&rsquo;s Pick for <em>New American Paintings</em> Issue 88 (2010). Recent solo exhibitions include the Reginald F. Lewis Museum, Baltimore, MD (2013), Richard Demato Fine Arts, Sag Harbor, NY (2011), and the University of North Carolina, Sonja Haynes Stone Center, Chapel Hill, NC (2011). Her work has been published in <em>Transitions: International Review, The International Review of African American Art, New American Paintings, Hycide Magazine, Studio: Studio Museum in Harlem Magazine, </em>and the <em>New York Times. </em>Residencies include Tong Xion Art Center, Beijing, China (2008) and Odd Nerdrum Private Study, Larvik, Norway (2005). Her work is in notable public collections, including the National Museum of Women in the Arts, the Smithsonian Museum of African American Art and Culture, and the United States Embassy, Dakar, Senegal.<strong>&nbsp;</strong></p> <p style="text-align: justify;"><strong>William Villalongo (American b. 1975, Hollywood, FL, lives Brooklyn) </strong>received an MFA from Tyler School of Art at Temple University (2001) and BFA from Cooper Union (1999). Villalongo is the recipient of the NYFA Artist&rsquo;s Fellowship (2012), the Joan Mitchell Foundation Painters &amp; Sculptor&rsquo;s Grant (2006), and the prestigious Louis Comfort Tiffany Award (2005). Upcoming group exhibitions include <em>Disguise: Masks and Global African Art</em>, Seattle Art Museum (2015), and <em>The Image of the Artists in their Absence: The Self Portrait</em>, National Academy Museum &amp; School, New York (2015). Recent solo and group exhibitions include <em>New Mythologies</em>, The Harvey B. Gantt Center for African-American Arts and Culture, Charlotte, NC (2013); <em>Fierce</em> at Real Art Ways, Hartford, CT (2013); <em>The Shadows Took Shape</em>, Studio Museum in Harlem (2013); <em>Inside Out and from the Ground Up</em>, Museum of Contemporary Art, Cleveland (2012), <em>The Bearden Project</em>, Studio Museum in Harlem (2011). His work is included in several notable collections including the Studio Museum in Harlem, The Whitney Museum of American Art, and Princeton University Art Museum. His work has been published in <em>Artforum, Art in America</em>, <em>The New Yorker, The</em> <em>New York Times, Huffington Post, The Village Voice</em> and <em>The Brooklyn Rail.</em></p> <p style="text-align: justify;"><strong>Grace Deveney</strong> is the Marjorie Susman Fellow at the Museum of Contemporary Art Chicago. While at the MCA she curated <em>Out of Office </em>(2015) and <em>Chicago Works: Ania Jaworska </em>(2015). Previously, she served as a curatorial researcher for the Milwaukee Art Museum, and the Art Institute of Chicago. She was a contributing author to <em>Color Rush: American Color Photography from Stieglitz to Sherman </em>(Aperture, 2013) and a contributing researcher for <em>Kandinsky: A Retrospective</em> (Yale University Press, 2014). She holds a B.A. in Art History from Amherst College, and is currently completing her Ph.D. in Art History at Northwestern University.</p> <p style="text-align: justify;"><strong>Reception: Saturday, June 13, 4-7pm</strong><br /> <strong>Artist talk: 4-5pm </strong> Moderated by Grace Deveney, MCA Chicago Susman Curatorial Fellow</p> Wed, 20 May 2015 16:26:48 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Karen Reimer - moniquemeloche gallery - May 27th 6:00 PM - 7:00 PM <p style="text-align: justify;">Monique Meloche Gallery is pleased to announce Karen Reimer&rsquo;s third solo exhibition with the gallery &mdash; <em>Geometry in Outer Space or Heaven</em>. For this exhibition, Reimer will debut a new series of collaged drawings and sculpture that on the surface seem to diverge from her familiar sewn textile work yet reveal a close continuation of her rigorous conceptual practice.</p> <p style="text-align: justify;">As with all her work, Reimer begins with a strict set of rules. Here she pairs swatches of fabric with drawings of three-dimensional geometric solids. Shapes and patterns in the fabric dictate where it meets the geometric form. The excess fabric left floating outside the lines is covered in gold leaf. This &ldquo;golden repair&rdquo; is a reference to the Japanese tradition of Kintsukuroi: a tradition of repairing ceramics with a compound made from lacquer dusted with powdered gold, in order to highlight the damage rather than obscure it. This gesture harkens back to Reimer&rsquo;s coveted <em>Contingent Solutions</em> series (1996-1999) of broken and mended dishware.</p> <p style="text-align: justify;">The overall effect of Reimer&rsquo;s conceptual technique creates an optical dissonance, where our mind oscillates between the fullness of the object and the flatness of the fabric. Ultimately, her work inhabits the gap between experience and representation, the slippage between the knowledge we gain through our bodies and codification of this knowledge in our languages of visual representation.</p> <p style="text-align: justify;">Copies of <em>Endless, </em>which is Reimer&rsquo;s first monograph, are available for purchase at the gallery. They are also available at <a href="http://gallery400.uic.edu/">Gallery 400</a> and the <a href="http://www.grahamfoundation.org/">Graham Foundation for Advanced Studies in the Fine Arts</a>.</p> <p style="text-align: justify;"><strong>Karen Reimer (American, b. 1958 Kansas, lives Chicago)</strong> reconsiders modernist ideals and minimalist embodiment through the quirks and heterogeneity of the handmade and every day. <em>Endless,</em> the first major publication on Reimer&rsquo;s pioneer craft aesthetic, was published by Gallery 400 and WhiteWalls in 2015. Her prime number embroidered series, <em>Endless Set (2,3,5,7,11,13,17,19,23,29,31),</em> was recently acquired by the Museum of Contemporary Art, Chicago. She is a recipient of the Artadia Individual Artist Grant, the Richard A. Driehaus Individual Artist Award, and the Women&rsquo;s Caucus for the Arts President&rsquo;s Award. A major exhibition of Reimer&rsquo;s work will open in May of 2016 at the Hyde Park Art Center. Recent solo and group exhibitions include <em>Material Gestures: Cut, Weave, Sew, Knot</em>, Rhona Hoffman Gallery (2014); <em>A Study in Midwest Appropriation</em>, curated by Michelle Grabner, Hyde Park Art Center (2013); <em>Wall Text</em>, curated by Zachary Cahill, Logan Center Exhibitions, University of Chicago (2012); <em>Endless Set,</em> Gallery 400 (2012). Additionally, her work has been included in group shows at the Museum of Contemporary Art, Chicago; Contemporary Craft Museum, Portland, Oregon; and Wallspace Gallery, New York, among others. Reimer&rsquo;s works have been featured in the edited volumes <em>Contemporary Textiles: The Fabric of Fine</em> Art (Black Dog Publishing, 2008); <em>The Object of Labor: Art, Cloth, and Cultural Production </em>(SAIC Press and MIT Press, 2007); <em>By Hand: The Use of Craft in Contemporary Art</em> (Princeton Architectural Press, 2010); and <em>Limited Language-Rewriting Design: Responding to a Feedback Culture</em> (Birkhauser Architecture, 2009). She is an adjunct instructor at the School of the Art Institute of Chicago.</p> <p>Download PDF of <a href="http://moniquemeloche.com/wp-content/uploads/2015/02/Karen-Reimer-Geometry-in-Outer-Space-or-Heaven_.pdf" target="_blank">Karen Reimer &lsquo;Geometry in Outer Space or Heaven&rsquo;</a>&nbsp;publication here.</p> Wed, 20 May 2015 16:21:15 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Karen Reimer - moniquemeloche gallery - April 11th - May 30th <p style="text-align: justify;">Monique Meloche Gallery is pleased to announce Karen Reimer&rsquo;s third solo exhibition with the gallery &mdash; <em>Geometry in Outer Space or Heaven</em>. For this exhibition, Reimer will debut a new series of collaged drawings and sculpture that on the surface seem to diverge from her familiar sewn textile work yet reveal a close continuation of her rigorous conceptual practice.</p> <p style="text-align: justify;">As with all her work, Reimer begins with a strict set of rules. Here she pairs swatches of fabric with drawings of three-dimensional geometric solids. Shapes and patterns in the fabric dictate where it meets the geometric form. The excess fabric left floating outside the lines is covered in gold leaf. This &ldquo;golden repair&rdquo; is a reference to the Japanese tradition of Kintsukuroi: a tradition of repairing ceramics with a compound made from lacquer dusted with powdered gold, in order to highlight the damage rather than obscure it. This gesture harkens back to Reimer&rsquo;s coveted <em>Contingent Solutions</em> series (1996-1999) of broken and mended dishware.</p> <p style="text-align: justify;">The overall effect of Reimer&rsquo;s conceptual technique creates an optical dissonance, where our mind oscillates between the fullness of the object and the flatness of the fabric. Ultimately, her work inhabits the gap between experience and representation, the slippage between the knowledge we gain through our bodies and codification of this knowledge in our languages of visual representation.</p> <p style="text-align: justify;">Copies of <em>Endless, </em>which is Reimer&rsquo;s first monograph, are available for purchase at the gallery. They are also available at <a href="http://gallery400.uic.edu/">Gallery 400</a> and the <a href="http://www.grahamfoundation.org/">Graham Foundation for Advanced Studies in the Fine Arts</a>.</p> <p style="text-align: justify;"><strong>Karen Reimer (American, b. 1958 Kansas, lives Chicago)</strong> reconsiders modernist ideals and minimalist embodiment through the quirks and heterogeneity of the handmade and every day. <em>Endless,</em> the first major publication on Reimer&rsquo;s pioneer craft aesthetic, was published by Gallery 400 and WhiteWalls in 2015. Her prime number embroidered series, <em>Endless Set (2,3,5,7,11,13,17,19,23,29,31),</em> was recently acquired by the Museum of Contemporary Art, Chicago. She is a recipient of the Artadia Individual Artist Grant, the Richard A. Driehaus Individual Artist Award, and the Women&rsquo;s Caucus for the Arts President&rsquo;s Award. A major exhibition of Reimer&rsquo;s work will open in May of 2016 at the Hyde Park Art Center. Recent solo and group exhibitions include <em>Material Gestures: Cut, Weave, Sew, Knot</em>, Rhona Hoffman Gallery (2014); <em>A Study in Midwest Appropriation</em>, curated by Michelle Grabner, Hyde Park Art Center (2013); <em>Wall Text</em>, curated by Zachary Cahill, Logan Center Exhibitions, University of Chicago (2012); <em>Endless Set,</em> Gallery 400 (2012). Additionally, her work has been included in group shows at the Museum of Contemporary Art, Chicago; Contemporary Craft Museum, Portland, Oregon; and Wallspace Gallery, New York, among others. Reimer&rsquo;s works have been featured in the edited volumes <em>Contemporary Textiles: The Fabric of Fine</em> Art (Black Dog Publishing, 2008); <em>The Object of Labor: Art, Cloth, and Cultural Production </em>(SAIC Press and MIT Press, 2007); <em>By Hand: The Use of Craft in Contemporary Art</em> (Princeton Architectural Press, 2010); and <em>Limited Language-Rewriting Design: Responding to a Feedback Culture</em> (Birkhauser Architecture, 2009). She is an adjunct instructor at the School of the Art Institute of Chicago.</p> <p>Download PDF of <a href="http://moniquemeloche.com/wp-content/uploads/2015/02/Karen-Reimer-Geometry-in-Outer-Space-or-Heaven_.pdf" target="_blank">Karen Reimer &lsquo;Geometry in Outer Space or Heaven&rsquo;</a>&nbsp;publication here.</p> Wed, 20 May 2015 16:20:08 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Alex Bradley Cohen, Kelly Lloyd - Carrie Secrist Gallery - June 5th - July 25th Wed, 20 May 2015 16:17:45 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Erik Wenzel - 65GRAND - June 5th - July 11th Wed, 20 May 2015 16:14:22 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list Betty Seid, shaurya kumar - Kavi Gupta Chicago - Elizabeth Street - June 11th 5:30 PM - 8:00 PM <p>The Eye on India Festival and Kavi Gupta present "Space and Place: Beyond the Local in<br />Contemporary Art from India." The talk will explore the complexities in Indian Contemporary Art of simultaneously living in a local and global space. The speakers include Betty Seid, an independent curator and specialist in South Asian art, and Shaurya Kumar, an artist and teacher at the School of the Art Institute of Chicago.</p> Wed, 20 May 2015 03:31:19 +0000 http://www.artslant.com/chi/Events/list http://www.artslant.com/chi/Events/list