ArtSlant - Current exhibits en-us 40 John Lyon - 65GRAND - January 18th, 2013 - February 16th, 2013 <p style="text-align: justify;">65GRAND is pleased to present Imitate Fiction, an exhibition by John Lyon, the artist's first with the gallery.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">The paintings that make up Imitate Fiction are composed of motifs pulled from the artist's earlier work. These "mash-ups" are derived from various periods and stylistic approaches in Lyon's painting history. Evident also are the influences he's worked through, such as Gerhard Richter and Gary Hume; as well as his fascination with patterned fabrics that hold significant connotations such as Scottish tartans. Unifying the disparate painterly techniques is an achromatic gray scale palette. Just as foreground and background are confused, compressed, and flattened, so is the timeline the fragments are culled from. Rather than a systematic index of the artist's history, these paintings are a new whole constructed from parts that have been chopped, screwed, and reused.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">John Lyon lives and works in Indiana. Solo exhibitions include The End, Contemporary Arts Workshop, Chicago in 2008 and John Lyon at McClane Gallery, Houston, TX in 2005. Recent group exhibitions include Salon Show, South Shore Arts Center, Munster, IN in 2011; Project 1, Alexys Schwartz Projects, Culver City, CA in 2010; and This is Not a Test, Mark Moore Gallery, Santa Monica, CA in 2006. Lyon's work has been written about in the Chicago Tribune, the L.A. Weekly, and the Los Angeles Times. He received his MFA from Claremont Graduate University and his BFA from The School of the Art Institute of Chicago.</p> Mon, 14 Jan 2013 12:17:17 +0000 Group Show - Carl Hammer Gallery - January 11th, 2013 - February 9th, 2013 <p style="text-align: justify;"><span style="font-family: Times New Roman; font-size: small;" size="4" face="Times New Roman">In <b><i>Portfolio 2013</i></b> Carl Hammer Gallery presents a group show of gallery/non gallery artists examining the gallery’s evolution over 34 years in both a looking back and looking forward process.  This exercise is calculated also to celebrate the collective artistic expression earmarking the aesthetic profile of the gallery here in Chicago since when, in 1979, our doors first opened at the 620 N. Michigan Avenue location. Back then, the gallery pretty much took on a pioneering role by discovering and presenting select 19<sup>th</sup> and 20<sup>th</sup> century American folk and outsider art to a largely contemporary art-buying public.  A half-dozen years later, the gallery perspective morphed into a broader, fuller integration with contemporary art, while enjoying the success of the integration of our outsider beginnings within the art collecting community at large.  Our intent then, as it remains today, is to present art expression, whether outsider or “mainstream”, in which its creation advances a vision of spirit and life evolving from ideas and common life experiences, forged into a unique and emotive vocabulary.</span></p> <p style="text-align: justify;"><span style="font-family: Times New Roman; font-size: small;" size="4" face="Times New Roman"><b><i>Portfolio 2013</i></b> includes many familiar faces and some not so familiar to our long-standing following of collectors and friends.  The challenge facing the curation process re each artist chosen to participate in this exhibit, was that their work would showcase where they find themselves currently, both in their craft and in their thinking.  In doing so, we hope to better understand who we are by the example of both past and current history, as well as better understanding where we are headed in addressing the issues of the next thirty-four years..</span></p> Sun, 06 Jan 2013 13:35:41 +0000 Holly Roberts - Catherine Edelman Gallery - January 11th, 2013 - March 2nd, 2013 <p style="text-align: justify;">Since the late 1800s, artists have used paint to embellish photographs, adding rosy cheeks to a formal portrait or painting the sky of a majestic landscape. Throughout the years, photographers have treaded the line between painting and photography, at times blending the two mediums to create a new dialogue. One of the most revered artists to paint on photographs is Holly Roberts, whose images force us to examine our relationship to the land, each other and ourselves.</p> <p style="text-align: justify;">Roberts uses paint to define the photographic image, allowing the brush to guide her through a piece. In <em>Praying for Rain</em>, a coyote performs a ritual dance seeking relief from the New Mexican drought. In <em>Coyote with Thistles,</em> a coyote runs through a burning desert, a dead crow hanging from its mouth. In <em>Man with Holes in the Sky</em>, a male figure gazes up as birds fly overhead, darting in and out of stormy clouds punctuated by blue sky. Are the clouds clearing or is the fractured sky the result of global warming? Why is the desert burning? Questions are at the core of Roberts work. Through her steady and unflinching gaze, Roberts addresses real issues about the land and our effect on it.</p> Sun, 23 Dec 2012 13:39:23 +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 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 Claire Ashley - Chicago Cultural Center - January 12th, 2013 - March 31st, 2013 <p style="text-align: justify;">The Michigan Avenue Galleries, located on the first floor of the Chicago Cultural Center will feature the work of <b>Claire Ashley</b> when the playfully titled, <i>"frizzflopsqueezepop"</i> opens for exhibit from January 12 through March 31. The exhibition features vibrantly colored works painted on tarpaulin: some hang on the wall, others occupy space on the floor, while still more can be inhabited by humans who will place the objects in motion in two scheduled performances.</p> Sat, 02 Mar 2013 01:56:53 +0000 Group Show - DePaul Art Museum - January 10th, 2013 - March 24th, 2013 <p style="text-align: justify;">Climate of Uncertainty features 12 artists engaged in long-term projects that address the human role in environmental degradation. Photographers document issues ranging from the destructive effects of extractive industry to the effect of careless waste disposal on animal populations; installation artists provide a participatory and immersive experience around deforestation and the enormous consequences of large-scale damming. Works included in the exhibition reveal ways that individuals, industries and governments have exploited, abused or are depleting natural resources, but artists also explore alternative approaches to environmental issues by challenging the viewer to imagine a more hopeful future.</p> <p style="text-align: justify;">Featured artists include: Marissa Benedict, Edward Burtynsky, Terry Evans, Sonja Hinrichsen, Allison Grant, Chris Jordan, Maskull Lasserre, Marilyn Propp, Sabrina Raaf, Christina Seely, Daniel Shea, and Toshio Shibata.</p> Mon, 11 Feb 2013 18:45:20 +0000 Bruce Davidson - DePaul Art Museum - January 10th, 2013 - March 24th, 2013 <p style="text-align: justify;">In 1965, on the heels of an assignment to photograph castles in the bucolic Welsh countryside, Bruce Davidson spent ten days in the mining communities of the Ebbw Valley in South Wales. He came away with a sequence of photographs that depicts the region in steep industrial decline. Though the scarred landscape, broken by mine shafts and smoke stacks, provided an important setting for the photographs, Davidson’s primary concern was mining’s human toll. He often focused on the miners’ weathered faces, caked in soot, and bearing the signs of arduous labor. Yet Davidson’s portrayal of the miners is not dispassionate. He sought to capture what he called the “lyrical beauty” of a community that was materially austere but socially rich and proud of its work.</p> <p style="text-align: justify;">The series marked a significant development in Davidson’s approach: it was the first time he intervened to pose his subjects. His experience in Wales revealed that by collaborating with those on the other side of his camera, rather than simply observing, he could engage a deeper sense of the poetic truths of their lives. Working in this way, Davidson recounted not only the Welsh miners’ daily routine, but also their escape from its drudgery, showing moments tinged with promise (a wedding ceremony), mystery (a girl singing in a graveyard), and fantasy (a seemingly mythical horse).</p> Sat, 01 Dec 2012 10:37:06 +0000 Rainer Spangl - Devening Projects + Editions - February 3rd, 2013 - March 9th, 2013 <p style="text-align: justify;"><b>devening projects + editions</b> is pleased to announce the upcoming opening of <b>UUUUU</b>, the second solo exhibition from Vienna-based artist <a href=""><b>Rainer Spangl</b>.</a> The exhibition opens on February 3rd with a reception for the artists from 4 – 7.<br /> <br /> Rainer Spangl has been developing a rich and inspired relationship with history which he constructs most often through observational studies done in museum collections. In UUUUU, he synthesizes more than one conceptual position determined from this historical context. One aspect of the project presents work depicting a specific location in a room; the paintings are installed at a height suggesting a frieze-like ornamental architectural feature. Alongside the group are five other works related by contextual reference. As with all of Spangl’s work, observational studies and drawings act as the basis for this project. Working in the galleries and directly from the collection of the Kunsthistorisches Museum in Vienna, Rainer finds important conceptual triggers from the objects and the spaces that frame them. In one set of works, Spangl renders a vitrine featuring pre-currency objects used in barter and trade transactions. Depicting the images smaller than actual size, Spangl re-stages the economic means of exchange as a constructed double entendre. Being inspired by and simultaneously participating in an arcane and existing market, Spangl brings to bear the rudimentary tools of a financial system. In other works taken from spaces in the museum, there are views of windows and architectural details from the interior. Spangl’s system of pictorial depiction has within its production, a way of solidifying the painting with its meaning. Using light to dark, shifting monochromatic grounds as well as recurring color fields, Spangl’s brush marks begin with slight gestures that are gradually built up to a fully realized image.</p> <p style="text-align: justify;">Spangl’s system of pictorial depiction has within its production, a way of solidifying the painting with its meaning. Using light to dark, shifting monochromatic grounds as well as recurring color fields, Spangl’s brush marks begin with slight gestures that are gradually built up to a fully realized image.<br /> <br /> Rainer Spangl studied at University College of Leeds, Bretton Hall, UK and completed his studies in painting at the University of Applied Arts Vienna in 2005. Recent solo exhibitions include Song Song, Vienna (2012, 2010) and devening projects + editions, Chicago (2008). His works have been presented in group exhibitions at Pigna Project Space, Rome; ADDS DONNA, devening projects + editions, Julius Caesar and Fifty-50 Gallery in Chicago; Trottoir, Hamburg; Kunstraum Innsbruck; and at Swingr in Vienna. Since 2010 he’s co-curated the “Artist Lecture Series Vienna.” He lives and works in Vienna</p> Mon, 04 Feb 2013 00:27:21 +0000 Aron Gent, Carrie Gundersdorf, Cody Hudson, Sofia Leiby, Josh Reames, Cody Tumblin - Devening Projects + Editions - February 3rd, 2013 - March 9th, 2013 <p>In the <b>off space</b>, <b>devening projects + editions</b> is excited to present the publication of six new editions by Chicago artists <a href=""><b>Aron Gent</b></a>, <a href=""><b>Carrie Gundersdorf</b></a>,<b> <a href="">Cody Hudson</a></b>, <a href=""><b>Sofia Leiby</b></a>, <a href=""><b>Josh Reames</b></a> and <a href=""><b>Cody Tumblin</b></a>. The exhibition opens on February 3rd with a reception for the artists from 4 – 7.</p> <p style="text-align: justify;"><b><a href="">Shit is Real</a></b> celebrates the gallery’s commitment to the publication of cutting edge editions and mulitples by artists working in all facets of every medium. Focusing on new multiples made specifically for the exhibition by Chicago artists Aron Gent, Carrie Gundersdorf, Cody Hudson, Sofia Leiby, Josh Reames and Cody Tumblin, Shit is Real suggests that editioned work has a rich and varied position in contemporary art. For the show, Aron Gent constructs lyrical wall pieces from strips cut from discarded photographic proofs produced at document, his digital press. Carrie Gundersdorf chose to edition two pieces from her immense collection of source images used in her paintings and drawings. Cody Hudson shows a set of six letterpress prints produced at the Colby Poster Prints in Los Angeles. Sofia Leiby offers a group of silk-screened monoprints riffing off a painting from her studio. Josh Reames once again shows his interest in exotic tourist culture by producing a beach towel printed with the phrase “Eternal Vacation.” Finally, emerging artist and SAIC student Cody Tumblin shows a beautiful hand-dyed and hand-cut suite of fabric pieces reminiscent of Mattise’s late cut paper works. Each edition in the group is numbered at 10 with 7 artist proofs; each artist received a full set from the series.</p> <p></p> Mon, 11 Feb 2013 18:45:32 +0000 John O'Connor, Jessica Hyatt, Steve Roden, Steffani Jemison, Jochen Lempert, Jorinde Voigt - Gallery 400 - January 18th, 2013 - March 9th, 2013 <p style="text-align: justify;">Featuring artists <strong>Jessica Hyatt</strong>, <strong>Steffani Jemison</strong>,<strong> Jochen Lempert</strong>, <strong>John O’Connor</strong>, <strong>Steve Roden</strong>, and <strong>Jorinde Voigt</strong>,<em><b> Observer Effect</b></em><strong> </strong>examines how artworks incorporate processes akin to the scientific method as a means to examine and understand specific phenomena that exist in the world. Each artist’s idiosyncratic approach of observing and understanding his/her distinct subject matter reveals the artist's own subjectivity through this process, and discloses how each artist, the observer, is part of what is being observed.<br />  <br /> Phenomenon is defined as that which is observable: things, events, or experiences, including that which is observed through technology. Today, in an information age, our conceptions of phenomena are greatly expanded. Beyond the natural world, history, discourse, images, texts, interactions, and so much more become phenomena ripe for examination. Information as object and landscape creates new observable experiences and sets of phenomena.<br /> <br /> Rather than a rigid scientific approach, <strong>John O’Connor</strong>’s methodology involves invented systems that produce drawings that are more reactive to data than they are to concrete representations. His process is haphazard but not aimless—relying on chance and reassessment. With a highly interdisciplinary approach to art-making, <strong>Steve Roden</strong> investigates source material through self-invented restrictions, though always leaving room to make intuitive and reactionary decisions. The series <em>Stone’s Throw </em>began when Roden found several half-carved stones that his grandmother had left in her sculpture studio after she had passed away. He investigated the stones through a new mode of observation that challenged his previous artistic processes, culminating in activities that he claims seem to reference a history of ritual as opposed to contemporary art. Through these investigations, the stones were used as visual references for his decision-making while he created work that materialized into a series of paintings, drawings, a video, and a sound work. <strong>Steffani Jemison</strong> investigates the identity of 16-year-old Derrion Albert, who was tragically murdered in 2009 in Chicago. Jemison uses excerpts from the inspirational poem "If I Could," a copy of which was found by Albert's bedside. The artist manipulates the text, creates an inkjet print, scans it, and re-prints it on acetate. The new acetate print is layered with pieces of brown paper that function as contrivance and intervention, creating an image that is never entirely stable or complete. <strong>Jochen Lempert</strong>’s photography is a combination of scientific research, documentation, and conceptualism. Lempert studied biology before he began exploring photography in the 1990s. Since then, his work has captured occurrences in the natural world that are rarely noticed by the average person. The photographs transcend mere documentation through recontextualizing the subject or occurrence into near abstraction. <strong>Jessica Hyatt </strong>explores the lives of other unrelated Jessica Hyatts, and in doing so, she creates a dialogue between the individual Jessica Hyatt and the singular Jessica Hyatt name. Through this investigation, the artist repeatedly produces forms that are distinct to each Jessica Hyatt that she investigates. Who is Jessica Hyatt? Jessica Hyatt is a dessert chef at a restaurant called Farm 255 in Athens, Georgia. Jessica Hyatt owns a horse named Conquer the Magic in upstate New York. Jessica Hyatt is everyone whose picture profile comes up on a search on Facebook. The large-scale drawings of <strong>Jorinde Voigt</strong> exhibit a particularly human perception of the natural world through subjective algorithms and diagrams that create a visualization of data that suggests temporality through spiraling and crossing lines—more reminiscent of documenting esoteric experience than rigid schematics. To this end, Voigt’s visual dialogue transcends the source; whether it is electrical currents, wind patterns, kisses, or the flight of eagles.<br /> <br /> As we encounter these proliferating phenomena and relationships among them, how we understand them becomes ever more important. A step further is the reconsideration of how knowledge is built. The basics of the scientific method—asking a question, conducting background research, offering a hypothesis, testing the hypothesis in an experiment, analyzing the data, and drawing a conclusion—offer a pathway both to understand our changing world and to reflect on the new forms of thought necessitated by it.<br />  <br /> In <em>Observer Effect</em>, curators <strong>Carrie Gundersdorf</strong> and <strong>Lorelei Stewart</strong> reveal how keen observation and investigation are parts of artistic practice and how that practice is often imbued with the subjective. That subjective element is an effective artistic tool. <em>Observer Effect</em> proposes to reveal just how useful that tool is, and the dynamic relationship between artist, process, and artwork.</p> <p></p> Mon, 04 Feb 2013 00:30:05 +0000 Richard Pare - Graham Foundation - October 11th, 2012 - February 16th, 2013 <div class="ap-whitebox-body description"> <p style="text-align: justify;"><span style="font-size: small;">The Graham Foundation is pleased to present&nbsp;<em>The Lost Vanguard: Soviet Modernist Architecture, 1922-32</em>, an exhibition documenting the work of modernist architects in the Soviet Union in the years following the 1917 revolution and the period of instability during the subsequent civil war. In little more than a decade, some of the most radical buildings of the twentieth century were completed by a small group of architects who developed a new architectural language in support of new social goals of communal life. Rarely published and virtually inaccessible until the collapse of the former Soviet Union, these important buildings have remained unknown and unappreciated. The buildings featured in the exhibition are located in a wide territory spanning the former Soviet Union that includes Azerbaijan, Ukraine, Georgia, and Russia, and are drawn from an archive of approximately 15,000 photographs taken by British photographer Richard Pare during extensive visits that began in 1992. Pare&rsquo;s photographs offer the first contemporary documentation of these buildings, some still in use, others abandoned and decayed, and many under the threat of demolition.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Pare received two grants from the Graham Foundation in support of&nbsp;<em>The Lost Vanguard: Soviet Modernist Architecture, 1922-32.</em></span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>Richard Pare</strong>&nbsp;was born in England in 1948 and studied photography and graphic design in Winchester and at Ravensbourne College of Art before moving to the United States in 1971. Pare graduated from the School of the Art Institute of Chicago in 1973. He was curator of the Seagram photography collection from 1974 until 1985 and was the founding curator for the photography collection of the Canadian Centre for Architecture from its inception in 1974 until he became a consultant to the collection in 1989&mdash;a role he continues to fulfill. His works have been exhibited widely and he is represented in many of the major public collections of photography. His numerous seminal exhibitions and publications include&nbsp;<em>Court House: A Photographic Document</em>&nbsp;(1978),&nbsp;<em>Photography and Architecture: 1839-1939</em>&nbsp;(1982), and&nbsp;<em>Tadao Ando: The Colors of Light&nbsp;</em>(1996), which received the AIA monograph award. Recent books include&nbsp;<em>The Lost Vanguard: Architecture of the Russian Avant-garde, 1922-1932</em>, published in 2007, and&nbsp;<em>Building the Revolution</em>, published in 2011. Pare is presently completing a new series of images on the works of Le Corbusier for the Pushkin Museum, Moscow, the first exhibition on the architect in Russia.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>The Lost Vanguard&nbsp;</em>exhibition originated at the Museum of Modern Art, New York, organized by Barry Bergdoll, with guest curator Jean-Louis Cohen. Selections from this body of work were first exhibited at the Ruina, an annex of the Shchusev State Museum of Architecture (MUAR) in Moscow. At the State Museum of Contemporary Art (SMCA) in Thessaloniki, Greece the photographs were presented with works from the George Costakis collection and were later included in another series of exhibitions,&nbsp;<em>Building the Revolution: Soviet Art and Architecture, 1915-1935</em>, organized by MaryAnne Stevens at the Royal Academy of Arts in London.&nbsp;<em>Building the Revolution</em>&nbsp;traveled to La Caixa Forum in Madrid and Barcelona, the Royal Academy, and most recently to the Martin-Gropius-Bau in Berlin. The exhibition in Chicago will be the first presentation of the work in the United States outside of New York.</span><br /><br /></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>RELATED PUBLICATION</strong></span><br /><span style="font-size: small;"><em><strong>The Lost Vanguard: Russian Modernist Architecture, 1922-1932</strong></em></span><br /><br /><span style="font-size: small;">A fully illustrated book published by The Monacelli Press includes contributions by Phyllis Lambert, Jean-Louis Cohen, and Richard Pare. The publication will be available for purchase in the Graham Foundation bookshop throughout the course of the exhibition.</span></p> </div> Sun, 11 May 2014 17:59:09 +0000 Patrick Killoran - Hyde Park Art Center - October 29th, 2010 - January 1st, 2014 <div id="stcpDiv" style="position: absolute; top: -1999px; left: -1988px;">On extended loan from the artist.</div> <p style="text-align: justify;"><span style="font-size: small;">On extended loan from the artist.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A vending machine mysteriously conceals the main entrance to the Hyde Park Art Center&rsquo;s School and Studio. The repurposed vending machine will be fitted into an existing doorway. Inquisitive visitors to the School and Studios will be surprised when they pass through an innocuous utility door only to emerge from inside the non-functional vending machine.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Central to Killoran&rsquo;s strategy is the artwork that pretends to be something it is not, often times transitioning the viewer from unwitting observer to analyst. The title of the work, <em>Immergence</em> or &ldquo;to disappear into&rdquo; points to how vending machines have been assimilated into our everyday reality. Located at the physical threshold between art gallery and artists&rsquo; studios, interacting with <em>Immergence</em> becomes a non-negotiable experience for visitors wanting to travel from one space to the other. The position of the machine satirizes the supposed freedom to disregard corporate imagery, and underscores our constant bombardment with opportunities for consumption. <em>Immergence</em> provides the participant with another such opportunity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Patrick Killoran&rsquo;s work focuses on turning objects of public consumption into objects of public speculation. From modified taxi cabs, to t-shirts, to outhouses, Killoran&rsquo;s work disturbs the normal functioning of each item, integrating art into everyday life. He has produced artworks for international shows including, the 1998 Biennale of Sydney in Australia, Wan&aring;s 2000 in Sweden, and ev+a (2005) in Limerick, Ireland. His most recent projects have been presented at the Center for Contemporary Art in Prague, IKON in Birmingham, SculptureCenter in New York City and the Mori Museum in Tokyo. Killoran was the Pick Laudati Fund for Arts Computing Artist in Residence in the Department of Art Theory and Practice at Northwestern University during the spring of 2010. He currently spends his time working between New York and Los Angeles.</span></p> Mon, 11 Nov 2013 19:12:13 +0000 Kay Rosen - Hyde Park Art Center - April 15th, 2011 - April 15th, 2014 <p style="text-align: justify;">A site-specific wall painting that rewards those who explore the Art Center&rsquo;s architecture.</p> <p style="text-align: justify;">Mythology buffs, lovers, and all casual explorers of the art center will enjoy this site-specific, temporary&nbsp;wall painting by Kay Rosen. Rosen is well-known for her conceptually-charged text work that most often deals with the mechanics of language. Located along the building&rsquo;s clandestine south stairwell,<strong style="font-style: italic; font-weight: normal;">Don&rsquo;t Look Back</strong> is one of her more playful works and activates the complex transitional space by recalling a tragic&nbsp;love story from greek myth.</p> <p style="text-align: justify;"><strong><a title="" href="" target="_blank">Kay Rosen</a> </strong>is celebrated for her large-scale text works, which manipulate words both formally and in their connotation. Born in Corpus Christi, Texas, she lives between Gary, Indiana, New York, and Chicago where she taught at the School of the Art Institute of Chicago for nearly a decade. Rosen&rsquo;s work is featured in the collections of the Art Institute of Chicago; Museum of Modern Art and Whitney Museum of Art, NY among others.&nbsp;Her work has been show in many institutions, including the&nbsp;Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Aspen Art Museum; The New Museum of Contemporary Art, NY; MIT List Visual Arts Center, Cambridge, MA; Witte de With Centre for Contemporary Art, Rotterdam, Holland; Museum of Contemporary Art, Sydney; Whitney Museum of American Art, NY; and Hirshorn Museum, Washington, D.C.</p> Mon, 11 Nov 2013 19:13:20 +0000 Bette Cerf Hill - Hyde Park Art Center - November 11th, 2012 - February 13th, 2013 <p>The exhibition <i>string theory</i>, on view at the Hyde Park Art Center from November 28, 2012 until February 13, 2013, presents artist <b>Bette Cerf Hill</b>’s abstract paintings representing concepts of energy and entropy. Also included in the exhibition will be a site-specific installation by the long-time Art Center community member, featuring the use of physical string—in the form of drawings made with thread and cotton cord—to represent the invisible “strings” of the scientific theory of the same name. Originally inspired by the notion of super string theory—or “the theory of everything,” as it has been called—Hill operates from a position based on the scientific notion that all particles are connected over space and time, and creates a multi-dimensional artwork addressing the interconnectivity of all life.</p> <p><b>Bette Cerf Hill</b> is a Chicago-based artist mostly known for making figurative work in acrylic on canvas and charcoal on paper. Her past projects include a series of paintings and drawings about subjects ranging from what she calls “Renaissance faces” to making portraits of stones. Her paintings have been exhibited locally at the Chicago Cultural Center, The Three Arts Club of Chicago, and Archeworks, as well as in galleries in New York and Massachusetts. Hill attended the School of the Art Institute of Chicago, where she studied both ceramics and painting, and The Grande Chaumier, Paris, France, to focus on painting.</p> <p><i>Bette Cerf Hill: string theory </i>will be on view from November 18, 2012 to February 13, 2013 at the Hyde Park Art Center, 5020 South Cornell Avenue, Chicago, IL, 60615; 773.324.5520 and Exhibitions are always free and open to the public.</p> <p>The Hyde Park Art Center is at once a contemporary art exhibition space, learning annex, community resource, and social hub for the art curious and professional artists alike — carrying out its mission to stimulate and sustain the visual arts in Chicago. The Art Center is funded in part by the: Alphawood Foundation; Andy Warhol Foundation for Visual Arts; Chicago Community Trust; a City Arts III grant from the City of Chicago’s Department of Cultural Affairs and Special Events; David C. and Sarajean Ruttenberg Arts Foundation; Field Foundation of Illinois; Harper Court Arts Council; Illinois Arts Council, a state agency; The Irving Harris Foundation; Joyce Foundation; Leo S. Guthman Fund; Lloyd A. Fry Foundation; MacArthur Fund for Arts and Culture at Prince; National Endowment for the Arts; Polk Bros. Foundation; Searle Funds at The Chicago Community Trust; and the generosity of its members and people like you. The Hyde Park Art Center does not discriminate against any person for reason of race, gender, age, place of national origin, handicap, religious conviction, marital status, veteran status or sexual preference.</p> Wed, 05 Sep 2012 20:45:57 +0000