ArtSlant - Recently added en-us 40 Group Show - Roots & Culture - July 30th - August 27th <p>With documentation of performances by Yvonne Rainer and Steve Paxton/Stephen Petronio&nbsp;</p> <div style="text-align: center;">&nbsp;</div> <div style="text-align: justify;"><em>Care</em>,&nbsp;<em>rehearsal for a performance&nbsp;</em>suggests a choreography of disability as a remedy for maneuvering through institutions that are disabling. The exhibition was inspired by Yvonne Rainer's&nbsp;<em>Convalescent Dance</em>, a modification of&nbsp;<em>Trio A&nbsp;</em>performed in 1967 while Rainer was "convalescing" from surgery as a protest against the Vietnam War, and Steve Paxton's&nbsp;<em>Intravenous Lecture</em>, made in 1970 in response to being censored by NYU. In this performative lecture, Paxton (and in 2012, Stephen Petronio) walked around a courtyard in front of NYU attached to an IV line, speaking institutional censorship. These two moments in Judson Dance Theatre's history are relatively unconsidered and set the stage for a group of artists who are currently making work about mobility and institutional access.The exhibition expands definitions of mobility from physically navigating the world with a disability to include maneuvering through the bureaucracy of health care institutions and moving through social space.&nbsp;Curated by Risa Puleo, Roots &amp; Culture's first&nbsp;<em>CONNECT</em>&nbsp;curatorial resident, Puleo will live with the work over the course of its exhibition while she writes about an essay unpacking theses ideas.</div> Thu, 21 Jul 2016 18:23:46 +0000 James Collins, Rachel de Joode, Alwin Lay - Document - July 9th - August 27th <p style="text-align: justify;">DOCUMENT is pleased to present<em> What Birds Can See</em>, a group exhibition of works by James Collins, Rachel de Joode and Alwin Lay. The exhibition will open on July 9th with a reception from 5pm to 8pm, and will continue through August 27th.</p> <p style="text-align: justify;">In her 1956 essay &ldquo;What Birds Can See,&rdquo; French author Nathalie Sarraute defines the features of what would later be called the &ldquo;nouveau roman,&rdquo; a radically new approach to fiction writing. Sarraute&rsquo;s main concern is a search for &ldquo;the unknown, the invisible,&rdquo; which assumes that plots and characters are composed of microscopic and parceled truths. The three artists in this exhibition share a desire to confound the viewer while at the same time investigating processes and searching for what lies beneath surfaces&mdash;the beyond of what we can see. They do so by intertwining the roles of analog and digital media in a manner that Charlotte Cotton, in a recent essay, has called &ldquo;camouflage&rdquo;: &ldquo;Photographer, painter, sculptor, all three of these terms are highly abstracted and unfixed; they are forms of camouflage that provide artists with temporary positions and relationships within the history of art, but pointedly staged in the context of the present.&rdquo;</p> <p style="text-align: justify;">James Collins (born 1972, lives in Detroit, MI) uses acrylic and oil paint to produce simulacra of distorted photocopies, scanned images and other types of reproductions, creating an illusion of dimensionality in highly graphic paintings. When it first appeared, photography troubled painting&rsquo;s monopoly on the accurate transcription of reality. Collins reverses this achievement by copying the reproduced image, executing &ldquo;mechanical reproduction&rdquo; with a skilled hand and a precise chemistry of materials. On the surfaces of the canvases shown in this exhibition, the artist applied Tyvec, a house wrap material that is currently ubiquitous in his Detroit context.</p> <p style="text-align: justify;">Rachel de Joode (born 1979 in The Netherlands, lives in Berlin) works in rhizomatic flows between three-dimensional matter, its two-dimensional representation, and its ambiguous resemblance to human bodies. In this exhibition, de Joode presents an ensemble of digital photographs, abstract sculptures made of cut PVC board, and a ceramic sculpture that serves as a hook for another printed PVC sculpture. De Joode documents processes that may go into the finished object, experimenting fluidly across matter, media and their relationship to the artist&rsquo;s hand.</p> <p style="text-align: justify;">Alwin Lay (born 1984 in Romania, lives in Cologne) examines the life of objects seemingly free of human presence. His contribution for this show is a ten-minute video of an invisible cube, placed on a pedestal of identical scale, gradually filling with blue dish soap. A digital photograph, shown alongside the video, shows us a paint roll fixed with a push pin, its handle suspended in the air. These works&rsquo; obsessive rationality makes them all the more absurd, in keeping with the artist&rsquo;s characteristically dry humor, while touching on questions of perception and knowledge. It is ultimately autonomy itself&mdash;figured as images of illusory &ldquo;objecthood&rdquo;&mdash;that appears as a trompe l&rsquo;oeil in his work.</p> Thu, 21 Jul 2016 18:18:20 +0000 Marissa Lee Benedict, Rozalinda BorcilÓ‘, Terry Evans, Brian Holmes, Claire Pentecost, Steve Rowell, David Rueter, Victoria Sambunaris, Geissler and Sann - Museum of Contemporary Photography - September 16th 10:00 AM - 5:00 PM <p style="text-align: justify;">This full day event will feature exhibiting artists, activists and scholars who are engaged around the relationship between the expanding petcoke industry and its effect on climate change. The program will begin with a comprehensive overview of the crisis, followed by a session focused on storytelling about the deindustrialization of Southeast Chicago. The symposium will conclude with a discussion about Anthropocene and the future of landscape evolution.</p> Thu, 21 Jul 2016 18:14:37 +0000 Victoria Sambunaris, Steve Rowell, Claire Pentecost, Brian Holmes, Terry Evans, Rozalinda BorcilÓ‘, David Rueter, Marissa Lee Benedict, Geissler and Sann - Museum of Contemporary Photography - July 21st - October 9th <p style="text-align: justify;"><em>Petcoke:Tracing Dirty Energy&nbsp;</em>&nbsp;features MoCP commissioned works by artists in response to the environmental and public health impact of petcoke, a dust-like waste product containing carbon, toxic heavy metals, and other dangerous compounds resulting from oil refining processes in the Chicago region and beyond. In addition to&nbsp;photography, the exhibiting artists use multi-channel video installations, sculptural objects and interactive maps to document and inspire action around the often-overlooked relationship between the growing petcoke industry and climate change. The&nbsp;accompanying publication features essays by art critic and cultural theorist Brian Holmes, director of the NRDC&rsquo;s Midwest Program Henry L. Henderson, and community organizers and activists Olga Bautista&nbsp;and Alberto I. Rinc&oacute;n, both leaders in the Southeast Side Coalition to Ban Petcoke. This exhibition was created in&nbsp;partnership with the Natural Resources Defense Council (NRDC) and the Southeast Environmental Task Force (SETF) and is organized by Natasha Egan, MoCP Executive Director and Karen Irvine, MoCP Curator and Associate Director.&nbsp;</p> <p style="text-align: justify;">This exhibition was produced in partnership with the Natural Resources Defense Council and the Southeast Environmental Task Force and made possible by the Lannan Foundation with additional support by the Elizabeth F. Cheney Foundation and the Comer Family Foundation.</p> <p><img src="" alt="NRDC" width="78" height="104" />&nbsp; &nbsp;<img src="" alt="SETF" width="100" height="100" /></p> <p>&nbsp;</p> Thu, 21 Jul 2016 18:12:33 +0000 Carol Jackson - Corbett vs. Dempsey - July 22nd - August 20th <p style="text-align: justify;">Carol Jackson has been flummoxing and delighting viewers in Chicago for 25 years.&nbsp; Her work has often dealt with languages of ornament, borrowing from and perverting the marginal scallops, scrolls, and ribbons that are holdovers in contemporary culture from the Victorian era.&nbsp; A precise and disciplined craftsperson, she has chosen tooled leather as a frequent material, most recently in combination with degraded photographic imagery.&nbsp; Jackson&rsquo;s new work &ndash; some of it wall-hanging, some free standing sculpture &ndash; has left the more declamatory modality of earlier pieces for a productively ambiguous abstraction, in which a form is at once clearly a torso and at the same time an unnerving lump, while in another work titled &ldquo;Yes Master,&rdquo; an elaborate black frame is accompanied by a satellite object equipped with a whip-like fringe.&nbsp; Impossible to encapsulate, Jackson&rsquo;s uncanny work demands to be pondered in person.&nbsp; Among her recent accomplishments, she had an incendiary solo show at ThreeWalls, Chicago, and was chosen for the Whitney Biennial, both in 2014.&nbsp; This is her first exhibition at CvsD.</p> Thu, 21 Jul 2016 18:07:42 +0000 Cody Hudson - Andrew Rafacz Gallery - July 23rd - September 3rd <p style="text-align: justify;">ANDREW RAFACZ is pleased to announce <em>Dreams Burn Down</em>, a solo exhibition by Cody Hudson in Gallery One &amp; Gallery Two.<br /> <br /> Chicago, IL, July 23, 2016&ndash; ANDREW RAFACZ presents <em>Dreams Burn Down</em>, a solo exhibition of paintings, works on paper and sculpture by Cody Hudson. The exhibition continues through Saturday, September 3, 2016.<br /> <br /> For the past year, Cody Hudson has taken his elemental compositions, typically applied to birch panels, and translated them to stretched linen, augmenting their painterliness and deepening their relationship to a painting tradition. He has also redefined his large, colorful shapes to imply a more immediate relationship to the natural world. While remaining stylized and abstracted, his newest works are also indebted to portraiture and landscape painting, at times suggesting masks, sunrises, and still lifes. A new series of works on paper articulates a close up desert landscape of psychoactive cacti. The resultant imagery is bold and graphic, while retaining the artist&rsquo;s hand and brushwork.<br /> <br /> The artist also presents a series of freestanding, wall leaning, and tabletop sculptures in both steel and Baltic birch plywood. These works are largely figural, and their constructions line up directly with their companion shapes in Hudson&rsquo;s paintings. With holes punched out to intimate a figure&rsquo;s gaze, they are experienced anthropomorphically, giving the gallery space a living energy. Referencing the brutal figuration of Dubuffet and Picasso, they are also linked to the large-scale sculpture of Hudson&rsquo;s contemporaries such as Aaron Curry and Thomas Houseago.<br /> <br /> Hudson also presents a new edition exclusive to this exhibition. <em>Grave Rave</em> is a silkscreen on BFK Arches paper depicting a series of black, textured tombstone-like shapes. Darker in tone than the other works in the exhibition, it nevertheless connects to the artist&rsquo;s larger conceit through the use of similar forms, giving them another, more impending identity. <br /> <br /> CODY HUDSON (American, b. 1971) lives and works in Chicago. Notable solo exhibitions include <em>This Place Not for Me</em>, V1 Gallery, Copenhagen (2014); <em>This Ain&rsquo;t No Bottomless Pit Here</em> at the Museum of Contemporary Art, Chicago (2007); and <em>Flip Your Wig</em>, Elmhurst Art Museum, Elmhurst, IL (2013). Group exhibitions include <em>Cult of Color</em>, Circuit 12, Dallas, TX (2016); <em>That&rsquo;s My Trip</em>, Joshua Liner Gallery, New York, NY (2015); <em>Ducks</em>, curated by Ryan Travis Christian, Greenpoint Terminal, Brooklyn, NY (2014); <em>In the Good Name of the Company</em>, curated by Jan Tumlir, ForYourArt, Los Angeles (2013); <em>Album</em>, V1 Gallery, Copenhagen (2010), and <em>Throb Throb: Rock and Roll Currents in Chicago Today</em>, curated by Dominic Molon, Chicago (2007). His work has been exhibited at fairs in Chicago, New York, Los Angeles, Miami, and Basel. He is included in numerous private and public collections.</p> Thu, 21 Jul 2016 18:05:18 +0000 Greg Bray - Reva and David Logan Center for the Arts - University of Chicago - July 8th - August 28th <p>Working across painting and sculpture,&nbsp;Greg Bray&nbsp;blends collage and assemblage with an exploration of random structure. For Resonant Objects, Bray presents abstract sculptures informed by his research into the earthquake, tsunami and nuclear purge that occurred in Eastern Japan in 2011. Fashioned from discarded chairs, Bray&rsquo;s works are uncanny contortions of wood, plastic, metal &amp; electrical cords. At once acquiring anthropomorphic guises and suggesting new forms, Bray&rsquo;s sculptures speak to humanity&rsquo;s resilience and capacity to create anew following moments of rupture.&nbsp;</p> <p>&nbsp;</p> Wed, 20 Jul 2016 02:46:06 +0000