ArtSlant - Recommended en-us 40 Kay Rosen - Hyde Park Art Center - April 15th, 2011 - April 15th, 2014 <p style="text-align: justify;">A site-specific wall painting that rewards those who explore the Art Center&rsquo;s architecture.</p> <p style="text-align: justify;">Mythology buffs, lovers, and all casual explorers of the art center will enjoy this site-specific, temporary&nbsp;wall painting by Kay Rosen. Rosen is well-known for her conceptually-charged text work that most often deals with the mechanics of language. Located along the building&rsquo;s clandestine south stairwell,<strong style="font-style: italic; font-weight: normal;">Don&rsquo;t Look Back</strong> is one of her more playful works and activates the complex transitional space by recalling a tragic&nbsp;love story from greek myth.</p> <p style="text-align: justify;"><strong><a title="" href="" target="_blank">Kay Rosen</a> </strong>is celebrated for her large-scale text works, which manipulate words both formally and in their connotation. Born in Corpus Christi, Texas, she lives between Gary, Indiana, New York, and Chicago where she taught at the School of the Art Institute of Chicago for nearly a decade. Rosen&rsquo;s work is featured in the collections of the Art Institute of Chicago; Museum of Modern Art and Whitney Museum of Art, NY among others.&nbsp;Her work has been show in many institutions, including the&nbsp;Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Chicago; Aspen Art Museum; The New Museum of Contemporary Art, NY; MIT List Visual Arts Center, Cambridge, MA; Witte de With Centre for Contemporary Art, Rotterdam, Holland; Museum of Contemporary Art, Sydney; Whitney Museum of American Art, NY; and Hirshorn Museum, Washington, D.C.</p> Mon, 11 Nov 2013 19:13:20 +0000 Shimon Attie - Mary and Leigh Block Museum of Art - September 21st, 2012 - March 24th, 2013 <p style="text-align: justify;">During the 1990s American artist Shimon Attie presented a series of temporary installations in European cities that dealt with absence and legacies of the Holocaust.</p> <p style="text-align: justify;">For <em>The Neighbor Next Door</em> (1995), Attie projected archival film footage from World War II onto Amsterdam sidewalks. The films, which had been taken by people driven into hiding by the Nazis, suggested what life on the street might have looked like to someone living clandestinely.</p> <p style="text-align: justify;">In 1995 the artist Shimon Attie projected films taken during the Nazi occupation of Amsterdam onto the streets of the city. Two decades later you will encounter these archival images, shot secretly by people who had been driven into hiding, in an installation evoking the experience of watching from a confined space.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">*The exhibition will not be on view from December 10 through January 10.</p> Sat, 01 Dec 2012 06:16:20 +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 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 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