ArtSlant - Openings & events en-us 40 Carla Kihlstedt, Phyllis Chen - Museum of Contemporary Art (MCA) - February 16th, 2013 7:30 PM - 9:00 PM <p><b>MCA Stage: ICElab: Carla Kihlstedt and Phyllis Chen</b></p> <p style="text-align: justify;">The <b>MCA Stage</b> continues the third season of its three-year <b>ensemble-in-residence</b> with <b>ICE (International Contemporary Ensemble)</b>. The second concert of the season features two American female composers/musicians who create uniquely accessible and intriguing soundscapes: <b>Phyllis Chen</b>’s chamber cycle <i>Chimers </i>is an atmospheric work scored for toy piano, electronics, wind instruments, and video. <b>Carla Kihlstedt</b>’s <i>At Night We Walk in Circles and Are Consumed by Fire</i> is based on dreams and their mirror to one’s waking life. Both pieces were commissioned through the ICElab new works program and developed in collaboration with the ensemble. The composers join ICE on stage as featured performers. The concert is part of the MCA Stage’s ongoing new music celebration, called <b>The Composers Stage</b>.</p> <p style="text-align: justify;">Tickets $28, members $22, students $10</p> <p> </p> <p> </p> Sat, 02 Feb 2013 01:37:53 +0000 Group Show - Museum of Contemporary Art (MCA) - February 16th, 2013 10:00 AM - 6:00 PM <p style="text-align: justify;"></p> <p style="text-align: justify;" class="first_child"><em class="first_child">Destroy the Picture: Painting the Void, 1949–1962</em> focuses on one of the most significant developments in contemporary abstract painting: the artist’s literal assault on the picture plane. Responding to the physical and psychological destruction wrought by World War II—especially the existential crisis resulting from the atomic bomb—artists ripped, cut, burned, and affixed objects to the canvas in lieu of paint. <em></em><em class="last_child">Destroy the Picture</em> emphasizes this internationally shared artistic sensibility in the context of devastating global change and dynamic artistic dialogues, offering an innovative and expansive view of art making in the postwar period.</p> <p style="text-align: justify;">As artists from war-torn countries like Italy and Japan—including Lucio Fontana, Alberto Burri, Kazuo Shiraga, and Shozo Shimamoto—channeled their ruined surroundings into artistic form, artists throughout the world—such as Yves Klein and Niki de Saint Phalle in France, John Latham in the United Kingdom, Robert Rauschenberg and Lee Bontecou in the United States, Otto Müehl in Austria, and Manolo Millares in Spain, among others—pursued similar approaches and strategies. <em class="first_child last_child"><em class="first_child last_child">Destroy the Picture</em></em> presents an opportunity to reconsider the profound repercussions of this remarkably coherent approach in painting, from artists’ early experiments with translating gestures into materials to their emphasis on a rupture between two and three dimensions, as well as the expansion of the painting medium to incorporate performance, assemblage, and time-based strategies. In many cases, the exhibition places the work of now-established artists back into the radical context in which it originally emerged.</p> <p style="text-align: justify;"><em class="first_child last_child"><em class="first_child last_child">Destroy the Picture</em></em> features approximately 100 works created between 1949 and 1962 by artists from eight countries, including Lee Bontecou, Alberto Burri, Lucio Fontana, Salvatore Scarpitta, and Kazuo Shiraga, in addition to Gérard Deschamps, François Dufrêne, Jean Fautrier, Adolf Frohner, Raymond Hains, Yves Klein, John Latham, Gustav Metzger, Otto Müehl, Manolo Millares, Saburo Murakami, Robert Rauschenberg, Niki de Saint Phalle, Shozo Shimamoto, Antoni Tàpies, Chiyu Uemae, Jacques Villeglé, Wolf Vostell, and Michio Yoshihara.</p> <p style="text-align: justify;">This exhibition is organized for the Museum of Contemporary Art Los Angeles by former Chief Curator Paul Schimmel and is overseen at MCA Chicago by James W. Alsdorf Chief Curator Michael Darling.</p> <p></p> Mon, 25 Feb 2013 22:14:26 +0000 Tom McCormick - Museum of Contemporary Art (MCA) - February 19th, 2013 6:30 PM - 8:00 PM <p><b>MCA: Internet Superheroes Art and Technology</b></p> <p><b>Tom McCormick: Compilation Nation, The Rise of the Supercut</b></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;"></p> <p style="text-align: justify;">Every third Tuesday of the month at the Museum of Contemporary Art explore the intersection between art, technology and the internet as we meet the brilliant minds who make the virtual world more interesting. This February <b>Tom McCormick</b> traces the history and pre-history of “supercuts,” online videos that compile patterns or tropes from popular culture. Supercuts recall some of the 20th century’s most notable avant-garde film and video art and have become one of the 21st’s most important popular genres.</p> <p></p> <p>FREE for Illinois residents</p> Sat, 02 Feb 2013 01:34:25 +0000 Fritz Haeg - Graham Foundation - February 20th, 2013 6:00 PM - 8:00 PM <p>Establishing a plant-animal-people trilogy with the <em>Edible Estates</em> (est. 2005) series of front yard food gardens and the <em>Animal Estates</em> (est. 2008) initiatives for urban wildlife architecture, <em>Domestic Integrities</em> (est. 2012) turns its attention inward to local patterns and rituals of interior domestic landscapes and the way we use what we resourcefully find around us to artfully make ourselves at home. “Domestic Integrity Fields” are charged sites—on crocheted rugs of discarded textiles—to  test, perform, and present how we want to live. One rug in each continent gradually expands as it travels from city to city. In the United States, the series began during fall 2012 at the Museum of Modern Art and the new Broad Museum of Art at Michigan State University, followed by The Hammer Museum of Art in spring 2013, the deCordova Museum in the summer, and at the Walker Art Center in the fall. In Europe the project is taking place at Pollinaria in Abruzzo, Italy in 2012-2013.</p> <p>In 2012, Haeg received a Graham Foundation grant for Edible Estate #12: Budapest, Hungary, produced with Blood Mountain Foundation. More about the project <strong><em><a href="" rel="nofollow">here</a></em></strong>.</p> <p>On February 19, Haeg will speak at <em>Architecture is Activism…FOOD!</em>, a panel discussion hosted by the Chicago Architecture Foundation and supported by a grant from the Graham Foundation. More about the project <strong><em><a href="" rel="nofollow">here</a></em></strong>.</p> <p><strong>Fritz Haeg</strong>'s work has included edible gardens, public dances, educational environments, animal architecture, domestic gatherings, urban parades, temporary encampments, documentary videos, publications, exhibitions, websites, and occasionally buildings for people. Recent projects include <em>Sundown Schoolhouse</em>,  an itinerant educational program; <em>Edible Estates</em>, an international series of domestic edible landscapes; and <em>Animal Estates</em>, a housing initiative for native animals in cities around the world which debuted at the 2008 Whitney Biennial. Haeg is a 2010-2011 Rome Prize Fellow and has taught in architecture, design, and fine art programs at Princeton University, Cal Arts, Art Center College of Design, Parsons School of Design, and the University of Southern California. Haeg has produced projects and exhibited work at MoMA; Tate Modern; the Hayward Gallery; the Liverpool Biennial; the Whitney Museum of American Art; SFMoMA; SALT Beyoglu, Istanbul; Casco, Utrecht; Stroom, Den Haag; Arup Phase 2, London; Blood Mountain Foundation, Budapest; The Indianapolis Museum of Art; Mass MoCA; The Institute of Contemporary Art, Philadelphia; among others. Recent books include <em>The Sundown Salon Unfolding Archive</em> (Evil Twin Publications, 2009), <em>Edible Estates: Attack on the Front Lawn</em> (Metropolis Books, 2nd ed., 2010), and <em>Roma Mangia Roma</em> (Nero, expected Spring 2013).</p> Mon, 04 Feb 2013 16:14:20 +0000 Martin Kastner - Museum of Contemporary Art (MCA) - February 20th, 2013 6:00 PM - 8:00 PM <p><b>MCA: Culture Catalyst:  </b><em><b>Martin Kastner of Alinea</b></em></p> <p>Tuesday, March 12, 2013 6 pm</p> <p>Free for Illinois residents</p> <p> </p> <p><b>Culture Catalysts</b> at the <b>Museum of Contemporary Art </b>is a monthly series that provides a platform for Chicago-based influencers involved with  art, cuisine, music, fashion, literature, and to share about their work. The March event features<em><b> </b></em><em><b>Martin Kastner</b></em> was born in the Czech Republic, trained as a blacksmith and spent some time restoring historical metalworks at a castle in Western Bohemia before moving onto natural materials design and sculpture. His serviceware concepts helped put Alinea and Chef Grant Achatz at the pinnacle of contemporary cuisine.<strong> He</strong> is also the founder and principal of Crucial Detail.</p> Wed, 20 Feb 2013 20:00:23 +0000 Lou Mallozzi - Museum of Contemporary Art (MCA) - February 20th, 2013 1:00 PM - 3:00 PM <p><b>MCA: In-gallery Lou Mallozzi’s Didact Performance</b></p> <p>Sunday, March 10, 2013, 1 pm</p> <p>Free with museum admission</p> <p><i> </i></p> <p><em>Didact</em> is a simultaneous reading by four people of all the interpretive labels for all the artworks in <a href="" rel="nofollow"><em>Destroy the Picture: Painting the Void, 1949–1962</em></a>. For each reading, artist Lou Mallozzi is accompanied by an art historian and several MCA docents. For the March performance, David Getsy will accompany Mallozzi through the galleries. Spoken quietly but insistently, the verbalized version of these labels transforms information into an undulating auditory atmosphere for the artworks and the viewers in each gallery, calling attention to the institutional, educational, contemplative, social, historical, and architectural contexts of the museum experience.</p> <p> </p> <p><strong>David Getsy</strong> is the Goldabelle McComb Finn Distinguished Professor of Art History at the School of the Art Institute of Chicago. His research focuses on modern and contemporary art in Europe and America, with an emphasis on histories of sculpture and performance.</p> Wed, 20 Feb 2013 20:02:27 +0000 Pablo Picasso - The Art Institute of Chicago - February 20th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">A century ago, in 1913, the Art Institute of Chicago became the first art museum in the country to present the work of a young Spaniard who would become the preeminent artist of the 20th century, Pablo Picasso. This February the museum celebrates the special 100-year relationship between Picasso and Chicago by bringing together over 250 of the finest examples of the artist's paintings, sculpture, prints, drawings, and ceramics from private collections in the city, as well as from the museum's collection, for the first large-scale Picasso exhibition organized by the museum in almost 30 years.</p> <p style="text-align: justify;">After first showing artworks by Picasso in the 1913 Armory Show, the museum began collecting his works in the early 1920s with two figural drawings, <em>Study of a Seated Man </em>(1905) and <em>Sketches of a Young Woman and a Man</em> (1904/05); in 1926 the museum welcomed <em>The Old Guitarist</em> (late 1903–early 1904) as a generous gift of Frederic Clay and Helen Birch Bartlett. Over time, the collection has expanded to include paintings such as the classically inspired <em>Mother and Child</em> (1921) and the surrealist <em>Red Armchair</em> (1931); landmark sculptures including the <em>Cubist Head of a Woman (Fernande)</em> (1909) and a maquette for Picasso's largest three-dimensional work, <em>Monument for Richard J. Daley Plaza</em> (1965); and works on paper such as <em>Woman Washing Her Feet</em> (1944) and impressions of <em>The Frugal Meal </em>(1904), one of only three examples in the world of the famous Blue Period etching actually printed in blue ink.</p> <p style="text-align: justify;">Featuring such diverse and significant works from the museum's own exceptional holdings and from collections throughout the city, <em>Picasso and Chicago</em> not only charts the full gamut of Picasso's artistic career but also chronicles the growth of Chicago as a place for modern art and the storied moments of overlap that have contributed to the vibrant interest in Picasso from 1913 to today. Adding to the celebration of this eminent artist and his connection to our city are special installations throughout the galleries as well as a host of exceptional programming.</p> Sun, 17 Feb 2013 00:54:46 +0000 Edie Fake, Erin Leland, Aay Preston- Myint, Michael Sirianni, Latham Zearfoss - Roots & Culture - February 22nd, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><i>How Do I Look?</i> is a group exhibition of drawing, photography, video, and three-dimensional works engaged in the strategic deployment of fantasy, confession, and voyeurism. The five artists in this show are together concerned with the physical construction of interiority, the confinement to oneself that nevertheless has a public appearance, and among other things, the richness of erotic encounters and their spatial dynamics. Employing sidelong glances, coded gestures and secret language, both in tactics of display and in attitude, the artworks of <i>How Do I Look?</i> continue both the feminist project of de-neutralizing domestic space and the queer project of de-pathologizing promiscuity.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">As a collection of encounters, <i>How Do I Look?</i> elicits desire from fluid erotics enacted relative to public disclosure, through the evocative interplay formed in moving from the openness of light to the cloaking of darkness. </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><i>How Do I Look?</i> is at once a self-obsessed trifle and an ever-prescient interrogation: "How do you see me? How do I see everything else?"</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Aay Preston-Myint was born in New York in 1981. An artist and community organizer working across different media and platforms, he currently teaches in the Fiber and Materials Studies Department at the School of the Art Institute of Chicago and also works with enthusiasm and pride as a baker and bartender. He holds an MFA in Studio Art from The University of Illinois at Chicago (2011) and a BFA from SAIC (2006).</p> <p style="text-align: justify;">Latham Zearfoss is an artist, educator, service industry mainstay, and facilitator of queer nightlife and culture in Chicago. His creative production centers on the various interpenetrations - both historical and mythological - of personal narrative and political discourse.</p> <p style="text-align: justify;">Erin Leland is a photographer and writer living and working in Brooklyn, New<b> </b>York. She has most recently been included in the group exhibition <i>White Petals Surround Your Yellow Heart </i>at the Institute of Contemporary Art in Philadelphia<b> </b>and has completed residence during the fall of 2010 at the Watermill Center, ending in an<b> </b>autobiographical re-hanging of Robert Wilson’s private art collection<b>.</b> Her recent writings are published through Mercer Union<b> </b>and WhiteWalls in<i> Blast Counterblast</i>, a 2012 compendium of artists’ writings. </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Edie Fake's drawings use ecstatic architecture to manifest the love and fury of queer history. He holds a BFA from the Rhode Island School of Design and lives in Chicago.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Michael Sirianni received his MFA from the University of Illinois, Chicago in 2010. Working in video, photography and sculpture, Sirianni explores queerness and internet social space. Recent exhibitions include solo shows at New Capital Projects and Johalla Projects in Chicago. A 2010 recipient of a Joan Mitchell Foundation MFA Grant, Sirianni lives and works in Brooklyn, New York. </p> <p style="text-align: justify;"> </p> Mon, 11 Feb 2013 09:14:12 +0000 Michael Hunter, Paul Kenneth, Kate Steciw, Easton Miller, Liz Nielsen - LVL3 Gallery - February 23rd, 2013 6:00 PM - 10:00 PM <p>LVL3 celebrates its three year anniversary highlighting artists shown during its first year of operation. Wingding looks back on the gallery’s achievements as it continues to grow and expand its programming. Featuring artists from coast to coast, each with their own unique relation to Chicago, Wingding consists of work by <strong>Michael Hunter</strong>, <strong>Paul Kenneth</strong>, <strong>Easton Miller</strong>, <strong>Liz Nielsen</strong>, and <strong>Kate Steciw</strong>, highlighting the ways in which their work has progressed in the past three years.</p> <p></p> Tue, 05 Feb 2013 01:16:27 +0000 Lucky Dragons - Museum of Contemporary Art (MCA) - February 26th, 2013 6:00 PM - 8:00 PM <p></p> <p>Free for Illinois residents</p> <p>Every fourth Tuesday of the month, the Museum of Contemporary Art hosts musicians that perform one-hour sets of new, experimental, rock, and electronic music. This month Lucky Dragons, an experimental music group, takes the spotlight in Puck's Café. Active since 2000 and based primarily in Los Angeles, "lucky dragons" means any recorded or performed or installed or packaged or shared or suggested or imagined pieces made by Luke Fischbeck, Sarah Rara, and/or any sometimes collaborators who claim the name. This event is programmed in collaboration with Matthew Hale Clark and Jeremy Lemos of the band White/light.</p> Sat, 02 Feb 2013 01:25:17 +0000 Julia Fish, Jessica Hyatt, Steffani Jemison, Steven Roden - Gallery 400 - February 27th, 2013 6:00 PM - 7:30 PM <p style="text-align: justify;">Featured artists share their experiences and methodologies of how observation and investigation are part of contemporary artistic practice. <strong>Steve Roden</strong>, a California-based sound and visual artist, uses a highly interdisciplinary approach to art making, examining source material under self-imposed restrictions. <strong>Steffani Jemison</strong> creates work concerned with black history and vernacular culture that is steeped in methodological responses to found, partial narrative texts. Chicago-based artist<strong> Jessica Hyatt</strong> explores the lives of other Jessica Hyatts, and in doing so, creates a dialogue between the individual(s), Jessica Hyatt, and the singular Jessica Hyatt name. UIC faculty member in the School of Art and Design and longtime Chicago resident <strong>Julia Fish</strong> intensely examines the physical spaces located within her home, repeatedly and systematically capturing and recreating these elements to the point of abstraction. 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 ultimately part of what is being observed.</p> Sat, 19 Jan 2013 01:52:41 +0000 - Gallery 400 - February 28th, 2013 6:00 PM - 7:00 PM <p style="text-align: justify;">How might an art historical education prepare students for a global future? How is the introductory survey to be taught, if at all? How cosmopolitan are the current text-books? Is it possible to circumnavigate the globe in one course or to put the world in a book, and why would that be necessarily global? Can art history’s segregated sub-fields speak to the planet’s intertwined histories? Given that one of the unresolved questions often raised about possible forms of global art history is how it should be taught, Mark Jarzombek, Victor Margolin, and Terry Smith will discuss these and other issues in a conversation loosely structured around the theme of pedagogy. "Conversation: On Pedagogy" brings together three established scholars of architecture, art, and design who have authored books in the name of a more inclusive discipline, in order to share their thoughts on "the global" in art history and education.</p> <p style="text-align: justify;"><strong>Mark Jarzombek</strong> is Professor of the History and Theory of Architecture at MIT. He has worked on a range of historical topics from the Renaissance to the modern, as well as nineteenth and twentieth century aesthetics. His books include <em>On Leon Battista Alberti: His Literary and Aesthetic Theories</em> (1989), <em>The Psychologizing of Modernity: Art, Architecture and History</em> (2000). He is the co-author of the textbook <em>A Global History of Architecture</em> (with Vikram Prakash, and illustrator Francis D.K. Ching, 2006).</p> <p style="text-align: justify;"><strong>Victor Margolin</strong> is Professor Emeritus of Design History at the University of Illinois at Chicago, as well as a founding editor and now co-editor of <em>Design Issues</em>. His research has been fundamental to the development of the discipline of design history and explores design within larger social, political, and economic frameworks. His books include <em>Design Discourse: History Theory Criticism</em> (ed., 1989), <em>The Struggle for Utopia: Rodchenko, Lissitzky, Moholy-Nagy, 1917-1946</em> (1997), and <em>The Politics of the Artificial: Essays on Design and Design Studies</em> (2002). He is currently writing a world history of design.</p> <p style="text-align: justify;"><strong>Terry Smith</strong> is Andrew W. Mellon Professor of Contemporary Art History and Theory at the University of Pittsburgh. He has worked on international contemporary art, the histories of multiple modernities, the historiography of art history and art criticism, and Australian art since settlement, including Aboriginal art. His books include <em>Transformations in Australian Art, vol. 1, The Nineteenth Century – Landscape, Colony and Nation, vol. 2, The Twentieth Century – Modernism and Aboriginality</em> (2002), <em>Contemporary Art: World Currents</em> (2011), and <em>Thinking Contemporary Curating</em> (2012).</p> <h6 style="text-align: justify;">This lecture is the second in the <em>Perspectives on Global Art History</em> Spring 2013 series organized by the Lectures and Events Committee of the Art History Department, University of Illinois at Chicago; further generous support is provided by Gallery 400 and the Director of the School of Art and Art History (College of Architecture and the Arts) at UIC.</h6> Sun, 24 Feb 2013 12:22:53 +0000 You Ni Chae - 65GRAND - March 1st, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;">65GRAND is pleased to present You-Ni Chae: Motif Painting, the artist's second exhibition with the gallery.<br /> <br /> In her earlier work, You-Ni Chae eagerly adopted Western ideas about painting, shying away from her identity as an Asian female. But after confronting a breadth of Western Modernist painting, Chae's interests have become more focused. Having painted her way through the dilemma of Late Modernism, Chae has arrived at her own cultural heritage. The artist is equally uncomfortable with the way traditional Eastern approaches to painting in China and Korea are used to celebrate identity. For Chae the idea of finding an Eastern aesthetic and identity is unfixed and undefined. It is not an ambitious program for social change, "but practicing a small truth for myself," she explains. <br /> <br /> Chae maintains that, "painting is a highly Westernized language," so what better way to assert her identity as well as freedom from rigid tradition (both Eastern and Western) than through painting? The artist has found conceptual and formal inspiration for this in Korean Buncheong ceramics. In the 15th and 16th centuries this type of stoneware was used by the aristocracy and the commoners alike. Not forced to adhere to a specific ideology or serve a certain social class with their wares, the makers of Buncheong had the freedom to explore. Chae is drawn to their subtle wit and humor. Like the paintings on view in the exhibition, Buncheong ceramics display a careful hand, at once controlled and open to impulse and improvisation. It is in the recurring motif of nature found in the ceramics that Chae has established not only a connection to her cultural identity, but a relationship to Western Modernist ideals.<br /> <br /> You-Ni Chae was born in Daegu, South Korea. She lives and works in Queens, New York. She earned her MFA from The School of the Art Institute of Chicago in 2008. In addition to her exhibition The Midnight Conundrum at 65GRAND in 2011, Chae has also had solo exhibitions at Julius Caesar Gallery and the Contemporary Art Workshop, both in Chicago.</p> Sun, 24 Feb 2013 12:10:14 +0000 - Museum of Contemporary Art (MCA) - March 1st, 2013 6:00 PM - 10:00 PM <p style="text-align: justify;">We’re ushering in spring at this month’s event. Explore a variety of mixed-media techniques with artist Debra Kayes at our colorful creation station. Get ready for singing, sunshine, and happiness with Spontaneous Art’s presentation of “Social Flowers.” Complete the scavenger hunt through the recently opened exhibition <a class="first_child last_child" href=""><em class="first_child last_child">Destroy the Picture: Painting the Void, 1949–1962</em></a> for a chance to win prizes. Snap a photo at the GlitterGuts photo booth, and dance to beats by DJ Sadie Woods.</p> Sun, 24 Feb 2013 12:32:07 +0000 David Schutter - Reva and David Logan Center for the Arts - University of Chicago - March 1st, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Logan Center Exhibitions presents <em>Rendition</em>, an exhibition by the Chicago-based artist David Schutter exploring the contemporary life of historical painting.</p> Mon, 11 Feb 2013 07:17:25 +0000 George Blaha, Susan Kimball - slow - March 2nd, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;">George and Susan are object makers. They focus on material choices contextualized in architecture and they have learned to really edit, flirting with words like minimal. But their simple shapes and direct processes have stories to tell. George moves through historical references and metaphysical implications fluidly and fluently. Susan evokes emotional connection—housing us in familiar moments so we are left to navigate whether her work is her story or our own.</p> <p style="text-align: justify;">George sculpts in the digital realm and shows us immaculate prints. It would be simpler for George to make some of his objects in the physical world rather than render convincing surfaces. He has a tendency to ”use” materials that are widely available and inexpensive. His construction is sometimes the antithesis of precise craft. He wryly elevates humble objects by contextualizing them in the vocabulary of oh-so-blue-chip galleries complete with perfect light, perfectly polished concrete floors, and white cube assumptions. Gallery-ness asserts itself with the subtlety that generated its faux neutrality in the first place. George transforms the appearance of his starting point so completely that sometimes it is difficult to recognize his sources. His advanced decorative basket weaving started out patterning Leonardo da Vinci’s signature. Is George claiming to be the better Renaissance man? Evoking a challenge to dilettante aspirations?</p> <p style="text-align: justify;">Susan grows her work out of a space. Her object pretends it has always lived where it is. But each tells a moment of transitions. Susan’s superpower is her conviction that transitions are mostly awkward. A spandex curtain trapped in concrete teases out a painful first time locker room shower notorious in middle school Phys Ed classes. Why do schools demand that we share our bodies publicly at the height of transitional gawkiness and self-conscious desperation? Susie decorates fat. She taunts boys and conjures Medusa all with frozen vegetables. Well, unfrozen. Unfreezing.</p> <p style="text-align: justify;">George and Susan are paired together because they tell good stories—which we’re not supposed to do these days. When we push deeper than a cliff note understanding of a story, of a principle, we often scuff the surface and remove a sheen of respectability that comes with unchallenged aphorisms. Susan and George scuff and scuffle with ideas. Not because either sets out to confront, but because they follow their impulses to delve deeper into ideas, follow them through wherever through ends up. Take us all places that otherwise we tend to gloss over.</p> Tue, 19 Feb 2013 16:32:13 +0000