ArtSlant - Current exhibits en-us 40 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 Allison Wade, Nick Ostoff, Jessica Labatte, Julia Fish, Michelle Grabner, Peter Fagundo, Alberto Aguilar - ADDS DONNA - September 16th, 2012 - October 28th, 2012 <p><i>duckrabbit</i></p> <p><i>A group exhibition curated by Michael Milano and Jeff M. Ward</i></p> <p><i>September 16 through October 28, 2012</i></p> <p><i>Opening reception September 16, 2012 from 4 to 7pm.</i></p> <p><i> </i></p> <p>ADDS DONNA</p> <p>4223 W. Lake</p> <p>Chicago, IL 60624</p> <p>Open Sundays from 1 – 4pm and by appointment.</p> <p><a href="" rel="nofollow" target="_blank"></a></p> <p><a href="" rel="nofollow" target="_blank"></a></p> <p></p> <p>ADDS DONNA announces a seven-person group show of abstract paintings, photographs and sculptures entitled <i>duckrabbit</i> in which the artworks use objects and references with a clear connection to our lived world. This terrestrial abstraction, the curators suggest, instructs us to truly look at the world around us. The artists included in the show are Alberto Aguilar, Peter Fagundo, Julia Fish, Michelle Grabner, Jessica Labatte, Nick Ostoff and Allison Wade; organized by Michael Milano and Jeff M. Ward.</p> <p>After over one hundred years of abstract art, the telltale signs of abstraction—non-objective emphasis on form, color, and line—are well known. Though abstract art generally purports to sit at a certain distance away from the world, the artists in <i>duckrabbit</i> leave clear references back to our day-to-day lives. These paintings, photographs and sculptures are made of and take inspiration from everyday things such as architectural elements, simple snapshots, textile patterns, and found detritus. In these artworks, abstraction's tendency towards contemplative remove is used as an opportunity to look back onto the world. These artworks, which emphasize imminence over transcendence, demonstrate how to look closely at and engage with our lived experience. The exhibition's title <i>duckrabbit</i> refers to the gestalt illusion in which a singular drawing can be perceived as more than one discrete image, mirroring the exhibition's suggestion that the alienating function of art can help us see our own world.</p> Mon, 17 Sep 2012 15:20:08 +0000 Joel Dean - Alderman Exhibitions - September 7th, 2012 - October 21st, 2012 <p style="text-align: justify;" class="paragraph_style">Alderman Exhibitions is pleased to present The Real Problem, an exhibition of paintings by Joel Dean. In this new body of work Dean uses the utilities of painting to explore the territory between the psychological space of a constructed image and the drama of the material used to build that narrative. Drawing on the mise-en-scène techniques of early 20th century German film and the writings of Jean Baudrillard, The Real Problem revolves around four large canvases depicting a pair of graphic cactuses isolated in front of a surreal and barren landscape stretching away to an empty horizon. These scoured scenes are joined by sculptural elements including an oasis in the form of a water pitcher with glasses and a tessellated installation of one hundred variously degraded paintings of Pokey, the shape shifting sidekick from Art Clokey's Gumby. A brooding rumination on flatness, Dean’s paintings use an emotive, yet removed quality that delineates their constituent parts while subversively volunteering the seduction of illusion as an essential but ruinous condition of the 21st century.</p> <p style="text-align: justify;" class="paragraph_style"></p> <p style="text-align: justify;">Joel Dean (b. 1986, Atlanta, GA) lives and works in Oakland, CA. He received his BFA from the School of the Art Institute of Chicago in 2009 and studied at the Yale University Summer School of Music and Art. He is a co-founder and director of the artist-run exhibition space Important Projects and is a co-manager of Real Time and Space, a residency program located in downtown Oakland. Past exhibitions include Alter Space in San Francisco, The Elipsis Space at Triple Base Gallery in San Francisco, Macarthur B Arthur in Oakland, Sight School in Oakland, Monument 2 Gallery in Chicago, Hungryman Gallery in San Francisco, Kruger Gallery in Chicago, Extra Extra in Philadelphia, Sutton Gallery in Melbourne, AU, Grand Rapids Art Museum in Michigan, Hyde Park Art Center in Chicago, and Corbett vs. Dempsey Gallery in Chicago.</p> Sun, 09 Sep 2012 23:58:20 +0000 John Opera - Andrew Rafacz Gallery - September 21st, 2012 - October 27th, 2012 <p style="text-align: justify;">ANDREW RAFACZ is pleased to announce People, Places, and Things, new works by John Opera in Gallery One.</p> <p style="text-align: justify;">ANDREW RAFACZ begins the fall 2012 season with People, Places, and Things, new works by John Opera. This is the artist’s fourth solo exhibition with the gallery. It continues through Saturday, October 27, 2012.<br /> <br /> John Opera has long been interested in the camera’s relationship to the empirical world, especially the natural world, in which it exists. For the artist, the act of experiencing and the act of observing are simultaneous and, in the process of recording them, they are also constantly acting upon each other. The act of being in the world with a tool or process for recording is a privileged ontological position, but it is also not without its own inherent dilemmas. With his new body of work, Opera continues to move from a reliance on the photograph as pure image to an examination of the threshold between image and surface and its metaphorical equivalence to the relationship between observation and imagining. <br /> <br /> The artist has also spent much of his career examining the history of photography, especially the earliest experiments that have led to the image making of today. Previously, he investigated the anthoype, an image made directly in sunlight, which is linked to the earliest experiments with the photographic process. Similar to the process of creating an anthotype, the cyanotype arrives at an image through liquid chemical processes that were discontinued early on in photography’s history, except to be repurposed in the 20th century for architectural blueprints and the language of schematics. The results, for Opera, are works that are certainly photographic, but possess an unusual visual quality that directly connects to their inherent chemical properties. The final images are all rendered in the deep blue that is immediately recognizable in blueprints. They are also produced on linen-stretched canvases, further separating them from the traditional experience of a photograph.<br /> <br /> Part photographic allegory and part autobiographical in its content, the subjects of the artist’s new works are both generic in their selection and targeted in their specificity. The references are broad and varied—ropes, chains, bottles, hands, fossils. In many ways the lack of strict categories within the collection of subjects reflects back onto the ontological state of the pieces themselves—they are not exactly photographs and not exactly paintings, although their appearance and presence owe much to both photographic space and the less stringent qualities of painting space. <br /> <br /> The images contain references to seeing, time, memory, and representation. The fossils reference the unfathomable registers of geologic time and death. The bottles and hands are direct references to observational drawing exercises usually given to students, the ropes and chains are just as much about connection and linkage as they are references to restraint and limitation—their forms seem impossible to untangle. The collection of subjects simultaneously feels like broad signifiers for the human experience, while remaining mysteriously personal and intimate to their author.<br /> <br /> JOHN OPERA (American, b. 1975) lives and works in Chicago. He received his M.F.A. from the Art Institute of Chicago in 2005. He had a two-person exhibition with Amir Zaki at Shane Campbell Gallery and a solo exhibition at Macalester College Art Gallery, St. Paul, Minnesota in 2007, and was part of the three-person exhibition MP3, at the MOCP, Chicago, in 2009. He had a solo exhibition (with Matthew Sheridan Smith) at CAM St. Louis, curated by Dominic Molon. Recent publications include Location Books Volume 6, Minneapolis, MN and issue 07 of Fantom Photographic Quarterly, Milan/New York. His work has been exhibited at art fairs in Los Angeles, Chicago, and Miami. This is his fourth solo exhibition with the gallery.</p> Mon, 08 Oct 2012 13:14:05 +0000 Group Show - Andrew Rafacz Gallery - September 21st, 2012 - October 27th, 2012 Thu, 18 Oct 2012 00:13:44 +0000 Chris Ware - Carl Hammer Gallery - September 7th, 2012 - October 27th, 2012 <p style="text-align: justify;">Carl Hammer Gallery (Chicago) and Adam Baumgold Gallery (New York City)* present an exhibition of drawings by Chris Ware to coincide with the release of his new book Building Stories (Pantheon).  Over ten years in the making, several of the drawings from this series were first published in the New York Times Sunday Magazine and The New Yorker.   Building Stories takes its final form as 14 discrete books and booklets collected in a printed box.  The result is something utterly unique-part graphic novel, part sculpture, and part mobius strip.</p> <p style="text-align: justify;">In these drawings, Chris Ware imagines the inhabitants of a three-story Chicago apartment building: a 30-something woman who has yet to find someone with whom to spend the rest of her life; a couple, possibly married, who wonder if they can bear each other's company another minute; and the building's landlady, an elderly woman who has lived alone for decades. Each drawing details the inner life of these neighbors; their thoughts, ambitions, daydreams, second guesses, and real life interactions are scrutinized and in some cases amplified into seemingly monumental events. In his drawings, Ware <em>speeds and slows time, stops it, and can even seem to run it backward, revisiting and revising recent events, or sideways, incorporating alternative accounts of what's happening.  All this is done with utmost precision</em>.** For the exhibition, Ware is also producing a special edition of prints that can be assembled to make a model of the building.</p> <p style="text-align: justify;">Chris Ware was born in Omaha, Nebraska in 1967.  He is a graduate of the University of Texas at Austin and also attended The School of the Art Institute of Chicago.  His Jimmy Corrigan: The Smartest Kid on Earth won the Guardian First Book Award and was listed as one of the 100 Best Books of the Decade by the London Times in 2009.  An irregular contributor to This American Life and The New Yorker, Ware has been the recipient of numerous Eisner and Harvey Comic book awards and was the recipient of a United States Artists "Hoi" Fellowship in 2007.  ChrisWare has had retrospective exhibitions at The Museum of Contemporary Art in Chicago in 2006, in 2007 at the Sheldon Memorial Gallery in Lincoln, Nebraska and at the Gävle Konstcentrum in Sweden in 2010. His original drawings have been exhibited in the Whitney Biennial, the Museum of Contemporary Art in Chicago and in piles behind his work table in Oak Park, Illinois. Chris Ware is widely acknowledged as the most gifted and beloved cartoonist of his generation by both his mother and seven-year-old daughter.</p> Sun, 19 Aug 2012 08:11:17 +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 Terry Evans - Catherine Edelman Gallery - September 7th, 2012 - October 27th, 2012 <p>For more than thirty years, Chicago based photographer Terry Evans has focused her lens on the Midwest prairie, photographing both the people and the landscape. <em>Overview</em> presents 22 photographs from numerous bodies of work, all of which has garnered her critical acclaim.</p> <p>Terry Evans was born in the heart of the American prairie, Kansas City, Missouri, spending most of her adult life in Salina before moving to Chicago. It is in Kansas, among the hay bales, grain silos and cultivated fields, that Evans’s passion for the great plains was born – a passion that has led her on a photographic journey spanning more than thirty years and countless hours 600 feet above the ground in a single-engine plane.</p> <p>Before the advent of agriculture and the invasion of the plow, the prairie was inundated by herds of buffalo, elk and prairie dogs, living harmoniously within the grassland. Decades later, the buffalo disappeared and the tallgrass has been replaced by crop circles and manicured paths. The foundation for Evans’s work started in 1978, as she focused her camera on the unplowed native prairie ecosystem. Years later, she started documenting the inhabited prairie, and the human marks left on the land. When speaking about her photographs, Evans says her images “show marks that contain contradictions and mysteries which raise questions about how we live on the prairie.”</p> <p><em>Overview </em>features aerial work from Chicago, Greenland, North Dakota and Kansas, plant specimens from The Smithsonian and Field Museum collections, slag processing at an Indiana steel plant, and mountaintop removal in eastern Kentucky. Taken together, these various series reveal an artist who has dedicated her career to showing human effects on the land and the ever-changing ecosystem.</p> <p>Terry Evans’s work is part of numerous private and public collections including The Art Institute of Chicago, The Whitney Museum of American Art [New York, NY], Los Angeles County Museum of Art and San Francisco Museum of Modern Art. We are proud to exhibit Evans’s work a few weeks before, <em>Heartland: The Photographs of Terry Evans,</em> a major retrospective opening at The Nelson-Atkins Museum of Art in Kansas City in mid-October. A retrospective book will accompany the exhibition</p> <p></p> Mon, 27 Aug 2012 15:59:52 +0000 Stephen Beal, Richard Nickel, Barbara Crane, Bob Thall - Chicago Cultural Center - March 12th, 1994 - December 31st, 2020 <p><em>Presented by the Commission on Chicago Landmarks, this exhibition of 72 black and white photographs from 1956 to 1987 offers a detailed view of 24 designated Chicago Landmarks.  The exhibit features the work of renowned architectural photographers Richard Nickel, Barbara Crane, Bob Thall and Stephen Beal.</em></p> <p> </p> Sat, 04 Feb 2012 02:51:44 +0000 Denise Milan - Chicago Cultural Center - June 8th, 2012 - January 6th, 2013 <p style="text-align: justify;">One of Brazil’s visionary artists, <strong>Denise Milan</strong> invites viewers on an exhilarating journey to her country through an exhibition of sculpture and photo-collage that celebrates the natural wonder of Brazil’s jungles, ocean and desert regions, and the vibrancy of its multifaceted culture. <br /> <br /> Working from a deeply humanistic tradition for more than 20 years—as an ecological and arts education activist, as well as an artist—Denise Milan has been making sculptures, photographic installations and performances that draw actively from her experiences living with and interviewing people in the Brazilian coastal villages of Paraty and the dry desolate lands of Bahia in Brazil’s northeast. <br /> <br /> <em><strong>Denise Milan: Mist of the Earth</strong></em> is the culmination of past experience and the embodiment of the artist’s ongoing concerns, as much a testament to a troubling legacy of colonization, the enslavement of African peoples, and the despoilment of whole regions, as to the more life-asserting side of Brazil, its breathless beauty, sensuous earthiness, and ravishing mysticism.</p> <p> </p> Tue, 19 Jun 2012 00:32:53 +0000 Adam Brooks, Mathew Wilson - Chicago Cultural Center - August 17th, 2012 - February 17th, 2013 <p style="text-align: justify;">The newest exhibit to open at the Chicago Cultural Center this month is <b><i>Industry of the Ordinary: Sic Transit Gloria Mundi</i></b>, but it will be anything but.</p> <p style="text-align: justify;">Opening on August 17, the exhibit will focus on the work of artists Adam Brooks and Mathew Wilson who celebrate the every day. This is a retrospective of 10 years by these two artists and throughout the installation, which runs February 17, the artists will engage and involve several local artists as well as the general public.</p> <p style="text-align: justify;">While their work takes many forms, it is largely performative and seeking to engage the viewer as an inclusive display. The show includes a sampling from over 80 of the Industry of the Ordinary (IOTO) projects displayed with objects, photos and video documentation that includes “Line in the Sand” which engaged the public directly as the artists drew a line on State Street with a flesh-colored crayon to encourage on-lookers response.<br /> <br /> Brooks and Wilson were raised in England but have been living and working in Chicago for many years and they will be sharing some of the exhibit with local artists including the platform stage which will change throughout the show.</p> <p style="text-align: justify;">Brooks and Wilson have solicited a number of Chicago-based artists to be part of <em>Industry of the Ordinary: Sic Transit Gloria Mundi</em> creating their portrait in a wide variety of media. IOTO will also produce <em>Everyone 2012</em>, an animated scroll listing of all of the artists in Chicago.</p> Sat, 29 Sep 2012 10:45:05 +0000 Industry of the Ordinary (Adam Brooks and Mathew Wilson), Alicia Chester - Chicago Cultural Center - August 17th, 2012 - February 17th, 2013 <table width="100%" border="0" cellspacing="0" cellpadding="0"> <tbody> <tr valign="top"> <td class="bodyFont"> <p class="bodyFont"><br class="Apple-interchange-newline" />As part of their mid-career survey&nbsp;<a class="rolloverNav" href="" rel="nofollow"><em>Sic Transit Gloria Mundi: Industry of the Ordinary 2003-2013</em></a>, at the Chicago Cultural Center, Industry of the Ordinary solicited a number of Chicago-based artists to make their portrait, in a wide variety of media. IOTO&rsquo;s interest was in creating a collective work that reveals the artists behind the portraits, reflects on the place of the portrait in contemporary art practice and considers the motivations behind the enduring urge to fashion a likeness.</p> </td> </tr> </tbody> </table> <p><a title="Portrait Project" href="" rel="nofollow" target="_blank"></a></p> Tue, 14 Jan 2014 18:51:08 +0000 Morehshin Allahyari - Chicago Cultural Center - September 26th, 2012 - October 31st, 2012 <p>A multi-media installation presenting Tehran through the eyes of the artist and her peers.</p> <p>Opening on September 26 – October 31 on the Center Platform is <i>Morehshin Allahyari: The Romantic Self-Exiles.</i></p> <p><i> </i></p> <p>In keeping with IOTO artists Mathew Wilson and Adam Brooks overall theme of finding power and beauty in the everyday, new media artist Morehshin Allahyari expresses what is now her ordinary life – that of someone raised in Tehran who left, coming to the U.S. to continue her studies; she now lives in diaspora.  Emotions are questioned as memories are often romanticized for many who leave a past behind.</p> <p> </p> <p>Allahyari is a new media artist and an art activist. She was born and raised in Iran and moved to the United States in 2007. Her creative and research interests encompass 3D animation, digital filmmaking, web-art / design, and performance plus her work involves extensive activity as a curator and producer.  Her practice includes the social, political and cultural issues of Iran, creative writing, art activism, media art, and collaborative art.</p> <p> </p> <p>The Cultural Center show at IOTO will have a 3D animation piece as well as a multi-media installation. The installation consists of urbanscape made of 20 transparent Plexiglas cubes and Milad tower (the tallest tower in Tehran and new symbol of the city).  Videos are projected on these cubes, pass through and reflect on the three-D model, creating a sense of dream and blurry memories.</p> <p> </p> <p>“With all the over layered videos, It’s hard to tell what is exactly going on, but one can see the buildings, trees, and lights of the city expanded to walls and ceiling; Like a city with citizens floating in between,” said the artist.  </p> Sat, 29 Sep 2012 12:17:25 +0000 Doug Stapleton - Chicago Cultural Center - September 29th, 2012 - December 30th, 2012 <p>This artist's meticulous collages are replete with art historical, religious, and symbolic content, combined in enigmatic, often surreal narratives</p> Sat, 29 Sep 2012 11:33:50 +0000 Gordon Powell - Chicago Cultural Center - October 6th, 2012 - December 26th, 2012 <p style="text-align: justify;"><b><i><a href="">About Place</a></i></b>, a unique collection of assemblages of unique materials from artist <b>Gordon Powell</b> will be on display beginning <b>October 6 - January 6, 2013</b>. Powell's work blends a strong feel for materials with minimalist abstractions.</p> <p>Powell’s assemblages blend a strong feel for of materials with minimalist abstraction.</p> Mon, 03 Dec 2012 00:37:48 +0000 Sarah Krepp - Chicago Cultural Center - October 6th, 2012 - December 26th, 2012 <p style="text-align: justify;">Krepp’s constructed paintings blur the boundaries between painting and sculpture, and this exhibition now adds installation elements.</p> Mon, 03 Dec 2012 00:35:33 +0000