ArtSlant - Recently added en-us 40 - Roots & Culture - September 12th 5:00 PM - 8:00 PM <p style="text-align: justify;">Beneath layers of both the urban truths of hip-hop and modernist painting ~slick languages~ Alex Bradley Cohen battles with his own identity. Through painted portraits of friends, "identity texts", ceramic sculpture, and drawing, Alex finds a balance of play, ritual, and addressing terms of community and his-self.<br /> <br /> In his landscape paintings, Steve Ruiz uses visual storytelling&ndash;<br /> conventions from graphic novels and comics, to explore the interaction between narrative, imagination, and a sense of place. He aims to convey the significance which attaches to environments, whether mundane or extreme, when backfilled with memory and animated by stories, seeming set apart, and set for action.<br /> <br /> Alex Bradley Cohen lives and works in Chicago, IL. Cohen is an alumnus of The School of the Art Institute of Chicago and Skowhegan School of Painting and Sculpture. He is recipient of the 2014 James Nelson Raymond Fellowship. Recent exhibitions include The Craft and Folk Art Museum, Los Angeles, CA and The Elmhurst Art Museum, Elmhurst, IL. His work was featured on the cover of New American Paintings (issue 113, 2014).<br /> <br /> <br /> Steve Ruiz is an artist and writer currently based in Cambridge, UK. He earned an MFA from the University of Chicago in 2013 and has recently exhibited work at Flat Space in Chicago and Bermuda Gallery, Milwaukee. In addition to his studio practice, Steve writes about contemporary art for Daily Serving and manages Chicago's visual art calendar, The Visualist.</p> <p style="text-align: justify;">Opening 9/5, 6-9 PM. + extended hours party 9/12, 5-8 PM</p> Wed, 26 Aug 2015 18:41:30 +0000 Jeremy Bolen - Andrew Rafacz Gallery - September 12th - October 31st <p style="text-align: justify;">ANDREW RAFACZ is pleased to announce <em>Sensors for the Unsound</em>, a solo exhibition of new work by Jeremy Bolen in Gallery One. <br /> <br /> Chicago, IL, September 12, 2015&ndash; ANDREW RAFACZ begins the fall season with <em>Sensors for the Unsound</em>, a solo exhibition of photographs, paintings and sculpture by Jeremy Bolen. The exhibition continues through Saturday, October 31, 2015.<br /> <br /> For Jeremy Bolen&rsquo;s third solo exhibition with the gallery, the artist presents new works that act as evolving records for unseen and unresolved energies still emanating from charged sites and objects impacting every aspect of our existence. Bolen&rsquo;s multi-disciplinary approach splits his time between the studio and the field. He travels widely, researching and using his field recordings to ignite a studio practice that incorporates his experimental site documentation with materials, residues and traces. With a strong belief in materials, Bolen envisions matter as having the ability to act as a sensor to the unsound. Natural materials can act as sensors that collectively ignite a visual language and create a presence that transcends linear language. <br /> <br /> Bolen&rsquo;s work illuminates the lasting results of our current Anthropocene Era. Humankind is now influencing every aspect of the Earth on a level similar to the large-scale forces of nature. Our collective actions as human beings have brought us into uncharted territory that we do not have the proper tools or knowledge to understand, leading scientific discourse towards the notion that we are in a new geological epoch. Using experimental documentary techniques, the artist collects information and material from a number of seemingly disparate sites, connected by the impact human intervention and manipulation has had on them. Over the last four years, the artist has engaged in field research in both Vieques, Puerto Rico, where significant military testing took place for over 60 years and Ottawa, Illinois, where young women painted clock dials with radium laced luminescent paint beginning in 1920. He has returned to these specific locations regularly, with the dedication of a scientific researcher, steadfastly collecting data and expanding his scientific and visual language.<br /> <br /> The artist uses a multi-media approach to present his research as hybrid art objects. The framed photographic works Undark/Ottawa #1 - #4 operate as studies of the still-present energies emanating from the clocks painted by female dial painters. In recent years, Bolen has collected many of these antique clocks whose glow has long ago faded, and discovered that through subjecting them to a high powered blast of light, he can reactivate the glow for a millisecond in an attempt to capture the momentary luminescence with a camera and photographic film. The film from these investigations is then left with the clocks for several weeks absorbing the radiating energy and scarring it with sublime, ghostly images and patterns. These filmic documents of latent radiation are then framed by neutral photographic paper painted with the wash from the original film&rsquo;s development in the dark room. <br /> <br /> Other works in the exhibition offer a disparate language of collected and considered materials including window screening, erosion pads, lawn seed blankets, industrial rubberizer and particles of negative photographic film. These too act as sensors helping us reconsider the dynamic tension present and the potential for extending our own sensory capabilities within the natural world. <br /> <br /> JEREMY BOLEN (American, b. 1977) lives and works in Chicago. He received his MFA from UIC in 2012. He is a recent recipient of the OxBow Faculty Artist Residency in Saugatuck, MI; Anthropocene Curriculum Campus Artist in Residence at Haus der Kulturen der Welt, Berlin, Germany; Center for Land Use Interpretation Residency in Wendover, Utah and Joshua Tree Highlands Residency in Joshua Tree, CA. His work has been widely exhibited in galleries and institutions, including Galerie Z&uuml;rcher, Paris; Salon Z&uuml;rcher, New York; The Drake, Toronto; Untitled Art Fair, Miami; Depaul University Art Museum, Chicago; Hyde Park Art Center, Chicago, and Roots and Culture, Chicago. His work was recently included in Ghost Nature at La Box, Bourges, France and Gallery 400, Chicago; Fragments of an Unknowable World, Ohio State University, Columbus, OH; Lateral, The Mission, Houston, TX; and Phantoms in the Dirt, the Museum of Contemporary Photography, Chicago, IL. He is included in numerous private and public collections.</p> Wed, 26 Aug 2015 12:00:09 +0000 Abdolreza Aminlari - Andrew Rafacz Gallery - September 12th - October 31st Wed, 26 Aug 2015 12:00:04 +0000 Group Show - Gallery 400 - September 11th - October 24th <p><em>Making Chances</em> is an exhibition of the identity, history, and community of Chances Dances, the radically inclusive queer dance party that builds safer spaces and supports local artists and activists. The exhibition is presented as part of the citywide program <em>Platforms: 10 Years of Chances Dances</em>, a multi-venue series of events and exhibitions featuring artwork, ephemera, herstory, performances, texts, and music by artists who have been supported by the Chances Dances granting program, past and present Chances organizers, and the greater Chances community. Gallery 400&rsquo;s <em>Making Chances</em>, the central exhibition of the <em>Platforms</em> program, illuminates how the multifaceted Chances Dances collective&mdash;with their radically inclusive ethos, non-hierarchical organizational structure, broadly welcoming and safe spaces at their parties, and yearly micro grants&mdash;functions as a community catalyst.</p> <p>Curated by artist/curator/educator John Neff and Gallery 400 director Lorelei Stewart, <em>Making Chances</em> meshes artworks, histories and exhibition design in a reflection of the intertwined activities and lived experiences in the Chances community. Contrary to conventional retrospectives, this exhibition is not about constructing a unified identity but rather an attempt to channel and present for exploration an ongoing process of creating/working through difference. Within the <em>Platforms </em>program various curators, galleries, and groups of artists represent distinctive facets of the work being generated by queer artists in Chicago today, while the <em>Making Chances</em> exhibition examines the visual/physical manifestations of collectivity, process, and ideology. Evoking the fluidity of Chances&rsquo; community, the blending of private and public in its work, and the nomadic nature of the parties, <em>Making Chances</em> at Gallery 400 combines grantees&rsquo; artworks, oral histories from Chances organizers and community members, historical objects, ephemera from the organization of Chances, and exhibition design elements commissioned from Chances community members.</p> <p><em>Making Chances</em> is organized in three parts: 1/ art objects, ephemera, documentary photography, audio and video histories, and textual accounts of events in the histories of Chances Dances, Chicago&rsquo;s LGBTIQ communities, and larger social change, all presented along a dynamic, non-linear timeline designed by artist Edie Fake, 2/ a video archive of work from Chances awardees and organizers accessible on multiple monitors along an upholstered banquette designed by artist Charlie Vinz, and 3/ a central performance platform designed by artists Elijah Burgher and Gordon Hall and planned to host a series of performances by Chances&not;awarded performers, as well as other public events including a fashion show, poetry readings, and more.&nbsp;</p> <p>In the way objects in the exhibition straddle positions as artworks and exhibition environments, and the multidimensional contexts for practice are presented alongside personal histories and created objects, the complexity that is Chances comes to life in <em>Making Chances</em>.</p> Tue, 25 Aug 2015 16:56:59 +0000