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 Neil Frederick Vandenbergh, Marcel Alcala, Lauren Anderson, Luis Miguel Bendaña, Andrew Mausert-Mooney - ADDS DONNA - February 10th, 2013 - March 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">ADDS DONNA presents Surfin’, a group exhibition </span><br /><span style="font-size: small;"> featuring the work of Marcel Alcala, Lauren Anderson, </span><br /><span style="font-size: small;"> Luis Miguel Bendaña, Andrew Mausert-Mooney and Neal Frederick Vandenbergh.</span><br /> <br /><span style="font-size: small;"> Surfin’</span><br /><span style="font-size: small;"> Feb. 10, 2013 thru March 17, 2013 </span><br /><span style="font-size: small;"> Opening reception Feb. 10, 2013, from 1 - 5pm. </span><br /> <br /><span style="font-size: small;"> Surfin’ strives to conjure a dialogue between surface making and surface reading. By regarding surface not as a thing but as an action, and playing into the artworks’ laid-back character, surfin’ becomes a language – a slang spoken through the work of these five artists. Their mutual fluency provides a codex for the viewer to interpret their otherwise hypnotic vernacular. </span><br /> <br /><span style="font-size: small;"> Subject matter is skimmed from the world (IRL) for these makers and approached casually (NBD). Yet their nonchalant attitude is not without thought. These quick gestural acts proceed from contemplation, however abbreviated. All raise a question of the representation and disfiguration of language. </span><br /> <br /><span style="font-size: small;"> Is this the pulse of a generation – one bred on voyeuristic participation and instant gratification? In any case it seems for these artists that viewership and authorship are no longer at odds. “Artist as-observer” and “observer-as-artist” blend beautifully in this world of mixed sincerity. </span><br /> <br /> <br /><span style="font-size: small;"> Marcel Alcala’s collaged paintings incorporate snapshots of vague social intercourse. His off-hand pairings and cheeky gestures declare the viewer as voyeur, exacerbating the allure of the images’ decontextualized frivolity. </span><br /> <br /><span style="font-size: small;"> Lauren Anderson explores the possibilities of freedom and constraint within abstraction. Her monoprints adhere to a set of formal rules loosely based on the principles of Yin and Yang. </span><br /> <br /><span style="font-size: small;"> Luis Miguel Bendaña abstracts words that carry sensual connotation. His gestural respellings of words like gorgeous and meow add a cool literalness to reading the work. </span><br /> <br /><span style="font-size: small;"> Andrew Mausert-Mooney and Neal Vandenbergh share a collaborative practice that investigates embodied intersubjectivity and discourse in public space. The video presented for Surfin’ awakens an uncomfortable consciousness as viewers witness the awkward deliberations of its interviewees.</span><br /> <br /> <br /><span style="font-size: small;"> ADDS DONNA</span><br /><span style="font-size: small;"> 4223 W Lake </span><br /><span style="font-size: small;"> Chicago IL 60624</span><br /><span style="font-size: small;"> Open Sundays from 1 – 4pm and by appointment. </span><br /><span style="font-size: small;"> <a href="" rel="nofollow" target="_blank"></a></span><br /><span style="font-size: small;"></span></p> Sun, 17 Feb 2013 06:16:52 +0000 Jeremy Bolen - Andrew Rafacz Gallery - February 9th, 2013 - March 30th, 2013 <p style="text-align: justify;">ANDREW RAFACZ begins 2013 with Cern, new works by Jeremy Bolen. This is the artist’s first solo exhibition with the gallery. It continues through Saturday, March 30, 2013.<br /> <br /> In an effort to rethink documentary tendencies, Jeremy Bolen employs a series of site-specific, experimental photographic techniques to explore the tensions between traditional representation and invisible phenomena. Bolen uses bodies of water, soil, unexposed film, and self-designed multi-lens cameras as recording devices, rethinking the apparatus for each site to capture events beyond human perception. He collaborates closely with scientists, piggybacking on their experiments to record evidence of unknown and unresolved energy, from forgotten natural disasters and particle acceleration, to the surface of the film. The film becomes a responsive membrane leaving a documentary trace, an ambient map, a literal, empirical index that makes the unknown less abstract. The final images are re-immersed in the site material where they were conceived, causing a tension between the real and the representational. <br /> <br /> To create the work included in this exhibition, Bolen traveled to CERN in Geneva, Switzerland to interact with the Large Hadron Collider, which produces 600 million particle collisions per second in an effort to recreate the conditions present just after the Big Bang. These “field recordings” ultimately investigate the complications that arise from these collisions and their relationship to naturally occurring forces. New spaces evolve in each document as climate and human interaction shift and blur the system of materials. As Karin Knorr Cetina wrote in Epistemic Cultures, “in these experiments the universe of signs and traces is overlaid by a universe of simulations and distortions of signs and traces.” For Bolen, this is the way the practice of the photographer and the scientist are fundamentally connected. In the same way that things are disturbed when measured through scientific processes, the very act of photography itself, whether traditional or experimental, adulterates its final results. It is this tension between the accuracy or inaccuracy of capturing ephemeral phenomena and its potential representation as a visual artifact that drives Bolen’s documents.<br /> <br /> JEREMY BOLEN (American, b. 1977) lives and works in Chicago. He received his MFA from UIC in 2012. He was included in GROUND FLOOR at the Hyde Park Art Center, Chicago, in 2012 and exhibited at the UNITLED art fair in Miami, December 2012, with the gallery. He is included in numerous private collections as well as the Progressive collection. A catalog with images and an essay by Monica Westin accompanies the exhibition.</p> Sat, 02 Mar 2013 01:56:34 +0000 Robert Burnier - Andrew Rafacz Gallery - February 9th, 2013 - March 30th, 2013 <p style="text-align: justify;">ANDREW RAFACZ begins 2013 with The Horseless Carriage, new works by Robert Burnier. This is the artist’s first solo exhibition with the gallery. It continues through Saturday, March 30, 2013.<br /> <br /> When Robert Burnier was a child, he was immediately hooked on his Commodore 64 computer and the binary world that it opened up to him. It led him to study computer science and become a software engineer. But ultimately, he was just as fascinated by how the systems he created, acting as their own micro-cultures, inherently had their own dilemmas. Today, his work is driven by the possibilities of how a system or structure can be pushed to the point of contradiction or collapse. He still uses existing software as a source, taking what he refers to as a ‘stressed virtual configuration’ and manifesting it as a physical object. He uses technology as a medium with its own idiosyncrasies and malfunctions. The material choices he makes for a work are informed by the terrain of shapes and data from the broken source system. <br /> <br /> The title of Burnier’s exhibition references the notion that interesting things exist in transitional states and we as human beings are prone to define them in terms of that limbo, looking forwards and backwards simultaneously. The horseless carriage, used to describe the first automobiles, is a great example of this. For the exhibition, Burnier presents several three-dimensional works and one framed work. The two smaller three-dimensional works attach to the wall as if they are drawings or paintings. Some sections and edges are angular while others have the fluidity of a sheet of folded or twisted paper. They are, in fact, made of aluminum and coated in muted colors of primer. A third three-dimensional work, created in a similar manner, is larger and floats off the wall, allowing the viewer to experience it from every angle. Burnier’s single framed work, Buren via Tuttle, is comprised of two inkjet prints stacked on top of each other. Visually related to the three-dimensional works, it also presents the artist’s inspirations directly. These works each have moments of precision as well as disruption to the possibilities of that precision. They hang there, in a space that is both static and dynamic, in the middle of a narrative that has not been completely played out. At times, they feel as if they might implode. Other times, they seem to have been left in the middle of some transformation. They have elements of high design yet are made to manifest their oddities and quirks, reminding the viewer that someone created them, coming to grips with his own personal narrative and existence. <br /> <br /> ROBERT BURNIER (American, b. 1969) lives and works in Chicago. He will receive his Post-Baccalaureate in Painting and Drawing from SAIC in 2014. He holds a B.S. in Computer Science from Shippensburg University of Pennsylvania (1991). He was included in the Evanston and Vicinity Biennial 2012, curated by Shannon Stratton, and Some Dialogue, curated by Sarah Krepp and Doug Stapleton, at the Illinois State Museum, Chicago, 2012. His work is included in a number of private collections as well as United Airlines’ corporate collection. This is his first exhibition with the gallery.</p> Mon, 04 Feb 2013 00:41:30 +0000 Judith Geichman - Carrie Secrist Gallery - February 9th, 2013 - March 30th, 2013 <p style="text-align: justify;">Carrie Secrist Gallery is pleased to present a solo exhibition of paintings and works on paper by <em><b>Judith Geichman</b></em>, opening Saturday, February 9, 2013 from 5 - 8 PM. This new series of black and white abstract work was created through a process of adding and editing, a gestural layering that experiments with a new language of abstraction.</p> <p style="text-align: justify;">Within each of Geichman's paintings, marks, stains, pours and drawings conjure unexpected relationships to landscape and to the figure. Each square-format painting is composed of acrylic and enamel on canvas. Typically restrictive, this Modernist structure liberates Geichman's use of arrangement, movement, and rhythm. Positioning the paintings like a theater in the round, the square establishes multiple approaches to make and to view each piece.</p> <p style="text-align: justify;">Geichman's paintings are rich with art history, and include influences from both Western and Eastern canons. From Imagist Ray Yoshida she incorporates graphic mark making as a vehicle to build each painting, while New York School artists such as Morris Louis and Helen Frankenthaler inspire Geichman's stained canvases. Her study of Chinese scholar's rocks provides an interest in atmospheric spaces whereas she derives the use of pattern and curvature from Arabesque sources.</p> <p style="text-align: justify;">On view in gallery two, Geichman's new works on paper are immediate and economical. The artist's exploration of the Chicago cityscape, as well as recent travels to Iceland and Ireland, inspired her to experiment with new tools and techniques in her studio. Before translating her latest ideas to canvas, she drafted a body of paper pieces. Formal contrasts between light and dark, figure and ground, and flat and volumetric spaces allow Geichman to imagine a world, a space, and a place in each piece.</p> <p style="text-align: justify;"><strong><i>Judith Geichman </i></strong>is on view through March 30, 2013. The gallery will host an artist talk and closing reception on Saturday, March 30 from 1 to 5 PM.</p> <p style="text-align: justify;">Judith Geichman is an Adjunct Professor of Painting and Drawing at the School of the Art Institute of Chicago, where she received her MFA in 1978. She is the recipient of two National Endowment for the Arts Visual Arts Fellowships,The Margaret Klimek Phillips Fellowship and participated at The Gil Society Residency in Akureyri, Iceland, as well as the Visiting Artist Residency at the American Academy in Rome. Past solo exhibitions include Julius Caesar, Chicago Cultural Center, Spertus Museum, and Evanston Art Center. Her work was the subject of a two-person show (alongside Phyllis Bramson) at Carrie Secrist Gallery in 2010.</p> <p style="text-align: justify;"></p> Sun, 10 Feb 2013 14:10:47 +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 Shawn Decker - Chicago Cultural Center - February 8th, 2013 - May 5th, 2013 <p style="text-align: justify;">Shawn Decker is a composer, artist, and teacher who creates sound and electronic media installations and writes music for live performance, film, and video.  <em>Prairie</em> references the dynamic rhythms of grasslands and the rich soundscape and eco-systems found within, evokes insect sounds, as well as rain, wind, and other rhythms of life within the prairie, enacted within a architectonic minimalism. <strong></strong></p> <p><strong> </strong></p> Sun, 31 Mar 2013 04:53:29 +0000 Diane Simpson - Corbett vs. Dempsey - February 8th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Corbett vs. Dempsey is very pleased to present its first solo exhibition of new sculpture and drawings by Diane Simpson. Since her earliest shows at Artemisia and the Phyllis Kind Gallery in the late 1970s, Simpson has been a major force in Chicago sculpture. Indeed, Simpson straddles several generations in Chicago art; she attended the School of the Art Institute in the mid 1950s, received her MFA there in 1971, where she was friends with Imagist artists including Christina Ramberg and Ray Yoshida, and she has maintained deep connections with the abstract conceptual artists of the 1980s, including Richard Rezac and Julia Fish.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exploring a liminal zone between abstraction and figuration, her sculpture starts with intensive studies in fashion, extracting the human (left as an insinuation) and focusing on the architecture of the attire, its inherent tensions and relaxations, out of which Simpson extrapolates entirely original forms. A collar, a cuff, a hem - each part of a piece of clothing is fodder for formal play, deconstruction and reconstruction. An intense and detail-fixated craftswoman, firmly in the same Windy City tradition as H.C. Westermann, she has worked in diverse materials, including cardboard, MDF, wood, fabric, paper, aluminum, and vintage linoleum, all with a meticulous finish and an aggressive sense of design.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Early in her career, Simpson introduced a way of making 3-D work that translated from drawings, concentrating on the 45-degree angles that helped define a certain kind of perspective. She continues this investigation with an important new piece, based on the same set of calculations, as well as unveiling new freestanding, wall hanging, and shelf-based works. Along with these new sculptures, Corbett vs. Dempsey presents several new drawings, executed on graph paper, which stand both as studies for the sculptures and fully-realized, independent works on paper.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Simpson was the subject of a retrospective, <em>Sculpture + Drawings, 1978-2009</em>, at the Chicago Cultural Center (2010).</span></p> <p style="text-align: justify;"><span style="font-size: small;">A full-color, 48-page catalog, with essays by John Corbett and Jason Foumberg, accompanies the exhibition.</span></p> Mon, 11 Feb 2013 18:45:15 +0000 Rodney Quiriconi - Corbett vs. Dempsey - February 8th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">In the West Wing, Corbett vs. Dempsey presents Rodney Quiriconi: <em>Constructions: 1960 -1970</em>. Quiriconi (b. Chicago, 1933) was well known in Chicago in the 1960s and '70s. One of the only artists of the era to have drawn extensively on Minimalism, Quiriconi was neighbors with H.C. Westermann, whose use of rare woods directly influenced him. At the outset of the 1960s, he was working as a painter, but gradually moved into making intricate, exquisitely crafted box constructions, using metal, glass, wood, and mirror. The earliest boxes were relatives of Joseph Cornell's, with similar roots in a Surrealist collage sensibility, but deeper into the 1960s they became more stripped down and experimental.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the years, Quiriconi was associated with several legendary Chicago galleries, including Dell and Phyllis Kind, and he participated in numerous exhibitions at the Hyde Park Art Center. This is the first solo presentation of a group of his vintage works in over thirty years.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A full-color, 16-page catalog, with an essay by John Corbett, accompanies the exhibition.</span></p> Sun, 10 Feb 2013 14:33:20 +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