ArtSlant - Closing soon en-us 40 Minouk Lim - Hyde Park Art Center - January 12th, 2013 - February 12th, 2013 <p><b>Hyde Park Art Center resident artist Minouk Lim creates new performance for IN&gt;TIME ’13</b></p> <p><b>Chicago (January 2013)</b> – This winter, Hyde Park Art Center welcomes Korean artist <b>Minouk Lim</b> to The Residency. The Art Center’s unique model invites artists from across the country and around the world to live and work side by side in the Art Center’s studios, engaging in an immersive experience that encourages culture and idea exchange, and showcases Chicago as a city at the forefront of artistic innovation and cultural leadership.</p> <p>Lim, who works with performance, video, and installation, will be the second artist in The Residency at Hyde Park Art Center’s inaugural Jackman Class, and will be in Chicago from January 12 until February 12 to create a new performance that will be presented as part of city-wide festival <i>IN&gt;TIME ’13</i> —the artist’s first in the U.S. since her 2012 solo show at the Walker Art Center.</p> <p>Gaining international recognition for an oeuvre consisting primarily of video works based on performative events, Lim has emerged as one of the keenest observers of the often turbulent social, economic, and political dynamics of the contemporary Korean experience. Born in Daejeon, South Korea, Lim lives and works in Seoul. The city provides both backdrop and context for public events the artist stages, which she documents in her signature video-based work.</p> <p>“We’re thrilled to welcome Minouk Lim to Chicago and support the creation of a new work as well as IN&gt;TIME, a wonderful city-wide initiative centered around performance and time-based art. Minouk has a distinctive voice and approach to her practice that we are very excited to present to Chicago audiences,” says Kate Lorenz, Executive Director at Hyde Park Art Center.</p> <p>One of the most exciting artists working in Asia today, Lim was shortlisted for the <i>2012 Korea Artist Prize</i> presented by National Museum of Contemporary Art, Korea. Her work was recently the subject of a solo exhibition at the Walker Art Center, <i>Minouk Lim: Heat of Shadows, </i>and she has participated in solo and group exhibitions internationally, including at the Los Angeles County Museum of Art; the Museum of Fine Arts, Houston; Witte de With, Rotterdam; and ArtSonje Center, Seoul. Her work has also been included in several international biennials, including the 2010 Liverpool Biennial; the 7<sup>th</sup> Gwangju Biennale curated by Okwui Enwezor; and the 10<sup>th</sup> International Istanbul Biennale curated by Hou Hanru.</p> Mon, 14 Jan 2013 18:06:14 +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 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 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 Robert Chase Heishman, Jessica Labatte, Alistair Matthews, Liz Nielsen - Roots & Culture - January 18th, 2013 - February 16th, 2013 <p dir="ltr" style="text-align: justify;">In this moment of early 21st century American conceptual photography, illusionistic space is being redefined. By employing sculptural and optical illusionary techniques, a two-dimensional plane is achieved from the arrangement of three-dimensional objects. This contemporary photographic trend is explored through the reformulation of tropes and regressive framing devices oft times discussed through the vocabulary of painting. Returning to formal means to combat the figure-ground such as pattern, color fields, and frames within a frame, these photographers ruminate on the still-life tradition.  </p> <p style="text-align: justify;">By abstracting the image and eschewing depth of field, the compositions deny a feeling of three-dimensionality. This fractal, surrealist and syntactical combination of images within images is representative of past motifs, yet abstract and contemporary. The effect, a mise-en-abime, as if one was peering into an infinite hall of mirrors.</p> Sun, 06 Jan 2013 13:52:45 +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 R. H. Quaytman - Renaissance Society - January 6th, 2013 - February 17th, 2013 <p style="text-align: justify;">Quaytman’s practice is to create installations of painted panels termed ‘chapters.’ The ongoing chapters, begun in 2001, explore formalist and conceptual variations of ideas about painting, as well as the poetic and grammatical possibilities of photography-based imagery. The installations combine abstraction, often with optical effects, and images related to the sites in which the paintings are first exhibited. For her Renaissance Society exhibition, the artist has been researching the history of the museum from the 1970s and 80s, a time when the museum’s director, Susanne Ghez, was presenting important early exhibitions of conceptual art, at the beginning of what would come to be her internationally influential career. Ghez is celebrating her 40th anniversary as Director of The Renaissance Society this year. <br /><br />Quaytman is interested in the friendship between Ghez and Anne Rorimer, one of Conceptual Art’s first historians and curators. Many of the artists shown by Ghez and Rorimer, including Buren, Graham, Toroni, Asher, and Coleman, influenced Quaytman’s approach to painting. Chicago architect John Vinci, another long-time collaborator with Ghez and Rorimer, has allowed Quaytman to use several of his teaching slides depicting Mies Van Der Rohe's Chapel of Saint Savior on the campus of Illinois Institute of Technology.</p> Wed, 05 Dec 2012 21:19:52 +0000 Giacomo Puccini - Reva and David Logan Center for the Arts - University of Chicago - January 15th, 2013 - February 17th, 2013 <p style="text-align: justify;">The University of Chicago will host an exhibit and symposium exploring the life work of Giacomo Puccini, acclaimed opera composer of La bohème, Tosca, and Madama Butterfly, and many others.<br /><br />The exhibit, Puccini e Lucca a Chicago (Jan 15—Feb 17, 2013), tells the little-known story of Puccini’s strong attachment to his hometown of Lucca, located in Tuscany, Central Italy. Presented in printed panels and rotating digital slides, the exhibit presents never-before-seen photographs of Puccini and the places where he grew up and was formed into one of the best-loved names in opera. The narrative, presented in both English and Italian, deepens the opera-going public's understanding of what motivated one of the world’s most celebrated opera composers. The exhibit was first presented as part of the 2008 celebrations of Puccini's 150th birthday. It then traveled to several cities in China and South America. In the last year and a half, it has been exhibited in Boston, San Francisco, Atlanta, and Pittsburgh. <br /><br />A celebratory symposium and reception are planned for Saturday, January 19, 2013, at 2-5 pm at the Logan Center. Following welcoming remarks by the mayor of Lucca, Professor Gabriella Biagi Ravenni of the University of Pisa and Director of the Fondazione Giacomo Puccini in Lucca will present an unknown film of Puccini at home. Two opera scholars will then discuss Puccini and La bohème: UChicago’s Professor Philip Gossett, one of the world's foremost experts on 19th century Italian opera, and Puccini scholar Suzanne Scherr. Scherr’s presentation on tempo will include Puccini selections performed by professional singers (in anticipation of the opening of La bohème at Lyric Opera of Chicago). The symposium will be followed by a reception.<br /><br />Puccini e Lucca a Chicago is co-sponsored by the Logan Center for the Arts, the Department of Music at UChicago, Fondazione Giacomo Puccini Lucca and the Lucchesi Nel Mondo Association: Chicago.</p> Sat, 02 Feb 2013 02:59:51 +0000 - The Art Institute of Chicago - August 13th, 2012 - February 17th, 2013 <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">During the 15th century, quickly painted woodcuts were the favorite art form of the masses. The woodblock’s hardy constitution allowed thousands of impressions to be printed so that they were much more affordable than paintings or manuscript illuminations. Yet despite their initial numbers and popularity, very few sheets have survived—in some cases, only a single one.</p> <p style="text-align: justify;">This exhibition brings together a small group of brilliantly colored European woodcuts that show exactly how a largely illiterate public liked their devotional imagery: raw, emotional, and very bloody. Indeed, Christ’s blood flows freely throughout the works gathered in this intimate exhibition—thickly painted onto his tortured body and symbolically transmuting from wine into blood at the Last Supper and later, miraculously, during the Eucharist. <em>The Scourging of Christ</em> woodcut particularly demonstrates a fascination with violence. While the print originally included no indication of blood, it was supplied in abundance in the hand-colored impression. As this print has never before been exhibited—and exposed to the harmful effects of light—its garish tones look the way they did when the color was first applied.</p> <p style="text-align: justify;">In fact, many of these rare early German woodcuts were vibrantly decorated with stencils and less stable media such as hand-coloring or gold-leaf illumination, which is why they have been infrequently displayed at the Art Institute of Chicago. To limit fading, hand-colored prints can be exposed to light for a maximum of three months every five years. Thus, four of the woodcuts in this exhibition will be exchanged halfway through the six-month installation, offering an unusual opportunity to see a total of eight of the museum’s early hand-colored prints.</p> <p style="text-align: justify;">For even more early German woodcuts, leaf through the pages of our Devotional Scrapbook online, one selection from the Department of Prints and Drawings and the Ryerson and Burham Libraries Special Collections that has been digitized as part of Turning the Pages.</p> </div> </div> </div> Sat, 03 Nov 2012 04:34:13 +0000 Dave Richards, Carron Little - slow - February 2nd, 2013 - February 23rd, 2013 <p>Otherwise minded. Standing alone. We each have political leanings, but there is a different sort of problem when our politics lean on us so much they tell us what we have to say. We stand for causes at the expense of another part of ourselves, and it is difficult beyond language to get to that thing the standing stands for.</p> <p>Carron Little and <a href=";id=0d368c4630&amp;e=766610da6e" rel="nofollow" target="_blank">Dave Richards</a> stand apart. From each other, from status quo. Their respective stances sometimes poke at sore spots, but the art is not overtly political. Perhaps there is respect for the posture, but make no mistake—these are not like-minded artists working toward a common good. This is not feel-good collaboration despite the fact they are showing work they worked out together. Neither is it a game of besting nor any sort of war. It is profoundly different for each Dave and Carron.</p> <p>Both Dave and Carron work with modular forms, layering, and compositions that meander. There is tension near the boundaries, in the overlaps. And that is why they are together, or the art is together. The tension tells itself. By leaning into that tense dance, we may get closest to the stand, to the <i>apart</i>. Close to anger, close to rebellion, close to fights worth fighting and the values they are fought for. Not causes, not morals. But for the only way each sees what is known.</p> <p>Dave is an artist working in collage and relief sculpture. He’s shown in Chicago venues ranging from Phyllis Kind gallery, the MCA, the Chicago Cultural Center, N.A.M.E., The Evanston Art Center and many others, and internationally in Milan and Tel Aviv. He taught at SAIC for much of his career. Dave has been moving away from rectangles as the grounding structure. He’s been known to lift colors schemes from tools used to produce the work. His work is built on a foundation of precision, but never at the expense of his own hand.</p> <p>Carron is a board member on the Wicker Park and Bucktown Arts Committee where she tirelessly works to direct public funding directly to artists for their good work. She writes, she teaches, and she directs a gallery, <i>Eyeporium</i>. She is perhaps best known for her performance work embodying characters like the <i>Queen of Luxuria.</i> She has shown at 6018 North, and performed at the MCA, Hyde Park Arts Center and with Food and Performance. She is the founder of <i>Out of Sit</i>e, a series of unexpected public encounters with performance. One direction in her painting and drawing practice began with shapes left over after cutting fabric for costumes.</p> <p>Who says negative thinking is all cynical and dark?</p> Mon, 14 Jan 2013 16:17:47 +0000 Joseph Jachna - Stephen Daiter Gallery - December 7th, 2012 - February 23rd, 2013 <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Stephen Daiter Gallery is pleased to present<b> <i>Joseph D. Jachna: Surface Contradictions 1958-1970</i></b>, the artist’s second solo exhibition at the gallery. Initially intended to be a career retrospective, the exhibition narrowed in focus upon our discovery of several storage boxes that held a wealth of previously unseen photographs dating from the artist’s graduate school days at the Institute of Design.  We were stunned by both the breadth and the quality of this early work. </p> <p style="text-align: justify;"><i>Surface Contradictions</i> is comprised of over sixty previously unknown vintage photographs from the artist’s 1961 thesis project on the subject of water, along with images made several years later in Door County, Wisconsin.  These photographs represent an overarching theme Jachna returned to time and again, all ideas of self - exploration, reflection, and expression.  Incorporating opposing surfaces found in the outdoors – Rough/Smooth; Wet/Dry; Matte/Lustre; Luminous/Dark; Teeming/Empty; Opaque/Transparent – Jachna enhances natural contrasts, and from his simplified compositions, complex revelatory images arise. </p> <p style="text-align: justify;">For Joseph D. Jachna, photography has always been a spiritual practice. His photographs are quiet meditations—offerings from a lifelong naturalist. Jachna considers himself a poet with a camera, creating the visual equivalent of a Haiku. As with Haiku, the highest form of Japanese poetry, his ideas flow with an intensity created by combining a few carefully chosen elements in a spare and elegant framework.</p> <p style="text-align: justify;">Our French colleague and essayist, Agathe Cancellieri, for this exhibition’s accompanying catalog writes:</p> <p style="text-align: justify;">I am reminded of a quote by Charles Baudelaire published in <i>Petits Poèmes en Prose</i> in 1869:</p> <p style="text-align: justify;"><i>”Parce que la forme est contraignante l’id</i><i>é</i><i>e jaillit plus intense!”</i></p> <p style="text-align: justify;">- “The more restrained and concentrated the form, the more explosively the idea comes forth!”</p> <p></p> <p></p> <p></p> Sun, 02 Dec 2012 19:50:57 +0000 Mary Patten - Threewalls - January 11th, 2013 - February 23rd, 2013 <p style="text-align: justify;"><strong>Mary Patten</strong> is a visual artist, video-maker, writer, educator, occasional curator, and political activist. For over 25 years, she has exhibited installations, videos, drawings, prints, and public collaborative projects locally, nationally, and internationally at venues ranging from the Chicago Cultural Center, Gallery 400, Northern Illinois University Art Museum, the Hyde Park Art Center, DOVA Temporary, Randolph St. Gallery, Creative Time (with Feel Tank Chicago), Art in General, The Cooper Union, the New Museum in NYC, Shedhalle/Zürich, the Rotterdam International Film Festival, London Lesbian and Gay Film Festival and the Hong Kong Lesbian and Gay Film Festival. Her book <em>Revolution as an eternal dream: the Exemplary Failure of the Madame Binh Graphics Collective</em> was published by Half Letter Press in 2011. She has also published in Radical Teacher, AREA Chicago, Prompt, The Passionate Camera (ed. Deborah Bright) and WhiteWalls. Online artist’s projects include “TERROR-ist?” and “Experiments in Living.”</p> <p style="text-align: justify;">Patten has directed and participated in many large-scale collaborative art projects for over thirty years, including the Chicago Torture Justice Memorials project , Pathogeographies , Project Enduring Look, billboards with ACT UP/Chicago, Artists’ Call against Intervention in Central America, Action against Racism in the Arts, and Cityarts Workshop. Some of her videos are distributed by the Video Data Bank. She has won fellowships from Artadia, the Illinois Arts Council, the NEA, and many others. She teaches in the Film/Video/New Media/Animation Department at the School of the Art Institute of Chicago.</p> <p style="text-align: justify;">In all her work, she seeks to address collisions as well as alignments between the worlds of “politics” and art-making. The frailties of memory, speculative fiction, and the archive of the everyday are all evident in her “singular” work – where she claims authorship, fully aware that there are no wholly original ideas. She continues to be drawn to collective and collaborative forms of art and cultural production in which to re-claim language, feeling, and political passions from fundamentalist thinking, and to reclaim a utopia of the everyday, a way of being together in the world that allows for anger, joy, and reparative visions.</p> Sat, 08 Dec 2012 00:22:33 +0000 Matthew Paul Jinks - Threewalls - January 11th, 2013 - February 23rd, 2013 <p style="text-align: justify;"><strong>Mathew Paul Jinks </strong>is an English Immigrant, living teaching 
and working in Chicago Illinois. He completed his undergraduate 
degree at the Glasgow School of Art, Scotland in 2005, studying 
Fine Art Photography, then emigrating to the U.S and completing
 his MFA at the University of Illinois at Chicago in Studio Arts, as a University Fellow, 2008.  Whilst currently living and working in Chicago Mathew teaches at The School of The Art institute and De Paul University. Mathew is currently working on a body of work entitled Trauma Narratives; Relocated, that 
incorporates performance and sculptural works adapted from 
collected narratives of the histories of pre-diasporic 
immigrants in Illinois. In July 2012 Mathew plans to travel to India to explore the Brass workers of Moradabad through moving image and sound. 
Recent screenings and exhibitions include, 'Violence' 
in St Louis and Chicago, 'The Gene Siskel Theater', Chicago,
'On Sundrun' at Gallery 400, Chicago, 'Art Chicago,
Next Art Fair' Chicago, and "Instruments of Resurrection" 
at Roots and Culture Gallery, Chicago, 
curated by Elizabeth Chodos.</p> <p style="text-align: justify;"><strong>The Unreliable Narrator:</strong> A new moving image work by Mathew Paul Jinks. Shot in India and Chicago in 2012 and including elements of performative auto ethnography, speculative documentary, Chiromancy, Metallurgy and travelogue. From the transubstantiated history and elementals emerges an episodic study of a cross cultural inheritance of migratory politics. Hands punctuate and rhythmically embed the work, whilst the passage of time is kept pace by the witnessed labor. The medium of video becomes the material of response and in turn reflects and reveals the complex relationships it witnesses therein. Jinks and his Producer move from one location to another, transferring the experiential from moment to moment and as we follow we too become embedded, ourselves implicated by the passage of time.</p> Sat, 08 Dec 2012 00:25:46 +0000 Molly Briggs - Zg Gallery - January 11th, 2013 - February 23rd, 2013 Sat, 05 Jan 2013 00:27:35 +0000 William Conger - Zolla/Lieberman Gallery - January 11th, 2013 - February 23rd, 2013 <p style="text-align: justify;">Zolla/Lieberman Gallery is proud to present two concurrent solo exhibitions by noteworthy  Chicago-based artists, Vera Klement and William Conger, the newest addition to our roster.</p> <p style="text-align: justify;">“New Paintings,” William Conger’s inaugural exhibition at Zolla/Lieberman, features oil paintings on canvas or wood, all created within the past year. Conger continues his lifelong investigation of formal non-representational abstraction nuanced by the suggestion of illusionism to evoke an ambiguous welter of private and cultural memories, allusions, feelings, places and events. <br /> <br /> “I want viewers to confront my paintings as visual metaphors of their own experiences and imaginative creativity, just as I do.  Further, we can also pretend that painting, as an art, has its own experiences, feelings, and history.  With that in mind, I would like viewers to imagine their own sensibilities being merged with art.  We can pretend that shapes and colors have their art-historical biographies which we can adopt as our own surrogates, too.” – William Conger</p> <p style="text-align: justify;"><b>William Conger</b> (b. 1937, Dixon, IL) work has been displayed widely in significant venues including recent solo exhibitions at the Cedarhurst Center for the Arts, Mt. Vernon, IL, the Union League of Chicago, Chicago, IL, and the Chicago Cultural Center, Chicago, IL. His work is in numerous permanent collections such as the Art Institute of Chicago, Chicago, IL; Museum of Contemporary Art, Chicago, IL; Illinois State Museum, Springfield, IL; the Rockford Art Museum, Rockford, IL; the Madison Museum of Contemporary Art, Madison, WI; and is included in the archives of the Smithsonian Institution, Archives of American Art, Washington, DC; and Northwestern University Library Archives, Evanston, IL.</p> Mon, 31 Dec 2012 00:29:16 +0000