ArtSlant - Recently added en-us 40 Diaz Lewis - THE MISSION - May 8th - June 27th <p>THE SUB-MISSION is pleased to present <em>Cul-De-Sac</em>, a site-specific installation by D&iacute;az Lewis Collaborative. Alejandro Figueredo D&iacute;az-Perera&rsquo;s and Cara Megan Lewis&rsquo; collaborative practice investigates how political relationships and cultural distinctions between their two countries &ndash; Cuba and the United States &ndash; manifest on a micro- or personal level. Informed by political rhetoric, immigration and property rights, D&iacute;az Lewis dissects relevant themes from two very distinct and often opposing angles. An opening reception will be held on Friday, May 8 from 6 to 8pm. The show continues through Saturday, June 27, 2015.</p> <p>&nbsp;</p> <p><em>Cul-De-Sac </em>consists of a rotating video projection of panoramic footage filmed at a subdivision consisting of more than 100 houses in the same state of construction. Because of special permits and legal property issues, The Links at Pebble Creek in Le Claire, Iowa was required to be constructed all at once with a single developer obligated to build and sell all homes on speculation. The network of uninhabited, cookie cutter cul-de-sacs appear in an ambiguous state of either construction or destruction, resembling a ghost town or a Hollywood stage more than a master planned community.</p> <p>&nbsp;</p> <p>Accompanying the video projection is a timeless music box melody from Czech composer Bedrich Smetana&rsquo;s set of symphonic poems <em>M&aacute; Vlast (My Fatherland)</em>. The audio implies a rich and varied history and offers a counterpoint to the cultural void depicted in the video footage. The combination of the Old World melody with the New World construction evokes a choreography in which the houses themselves are seeking an authentic history and sense of place. The video exposes the skeleton of a yet-to-be populated, already-scripted homogenous society that prizes superficial appearance over true quality.</p> <p>&nbsp;</p> <p><strong>Alejandro Figueredo D&iacute;az-Perera</strong> (Cuba) received an MFA in the Department of Visual Arts from Instituto Superior de Arte (ISA) in 2014 and <strong>Cara Megan Lewis</strong> (Chicago) received an MA in Curatorial Practice from California College of the Arts in 2007. Together they have performed private art actions from Varadero, Cuba to Hong Kong. Their participation in Rapid Pulse International Performance Festival 2014 marked their first public performance together. Also in 2014, D&iacute;az Lewis realized performances through Defibrillator Gallery, Antena Space and Aspect/Ratio Gallery (Chicago).</p> Fri, 24 Apr 2015 18:44:48 +0000 Susan Giles - THE MISSION - May 8th - June 27th <p>THE MISSION is pleased to present <em>Points in Space</em>, an exhibition of recent sculptures by Susan Giles. Giles&rsquo; process explores representations of lived experiences in relation to the built environment. She reflects on the symbolic power of verticality and aerial perspective in contrast to the vernacular aesthetic of phone cameras, Google Street View and social media. Giles selects and isolates fragments of iconic architecture in the same way that tourists&rsquo; photographs privilege the most distinctive and recognizable elements of a place. An opening reception will be held on Friday, May 8 from 6 to 8pm. The show continues through Saturday, June 27, 2015.</p> <p>&nbsp;</p> <p><em>Points in Space </em>features small-scale sculptures that combine intricate paper models of iconic architecture &ndash; assembled from found and original patterns &ndash; with raw concrete bases resembling everyday infrastructure such as viaducts, columns and bridge supports. The exhibition also showcases a larger scale sculpture of two towers in Prague: the Zizkov Television Tower and the steeple from the Church of Saint Procopius, formerly the tallest tower in Prague. Constructed of concrete, paper and a wooden scaffold-like support, the two structures are presented at equal heights. Giles&rsquo; formal comparison of the two structures conversely suggests opposing perspectives; the church continues to point toward the heavens, while the television tower returns our gaze to Earth.</p> <p>&nbsp;</p> <p class="normal"><em>This desire to capture, manipulate, and own architecture is the driving force behind the scale of Susan Giles&rsquo;s intricate sculptures. Her miniature buildings mimic the form of a souvenir, allowing a perceived ownership of the architectural forms tourists collect as objects of their travels. Giles gives a tangibility to these buildings formed out of drawing paper, allowing one to imagine they have been manipulated by their own hand, designed for their own home. The sculptures lay perched upon or skewed atop concrete &ndash; the materials a balance of potential ideas against the realities of a bleak quotidian material. The concrete reflects the grounding features of a city perpetually passed over by tourists, the viaducts and columns that lay far below the commonly photographed spires, minarets, and antennae that yearn to poke through the sky above.</em></p> <p style="text-align: right;">&nbsp;- Kate Sierzputowski</p> <p align="right">&nbsp;<span style="text-align: left;">An exhibition brochure featuring an essay by Chicago-based writer and art journalist Kate Sierzputowski will accompany the show.</span></p> <p>&nbsp;</p> <p>&nbsp; Large-scale wooden sculptures by Susan Giles can be seen in a concurrent exhibition, <em>Scenic Overlook</em>, at Hyde Park Art Center through July 26, 2015.</p> Fri, 24 Apr 2015 18:38:01 +0000 Marianne Fairbanks, Fultonia, 96 Acres, Jason Lazarus, Cauleen Smith, Jan Tichy, Amanda Williams - Gallery 400 - May 8th - August 8th <p><em>After Today</em>&nbsp;includes seven artists&rsquo; projects that respond to the city of Chicago's social, political, and economic conditions. At this moment of rapid change and political debate&mdash;with increasing income inequality, in the long wake of the 2008 recession, as neighborhoods across the city continue to transform, with the rise of labor movements, as the tech sector expands in Chicago, with the transformations of Chicago&rsquo;s public sector, as wider attention is paid to police violence, and given the long story of race in the city&mdash;the artist&rsquo;s address the city's changes and its possible future. The seven artists, all Chicago-based, use a variety of organization and material strategies and focus on topics that range across economic effects, collective action, and how the past and present condition desires for the future&mdash;with a number of projects highlighting aspects of the city&rsquo;s criminal justice system.</p> <p>From sculptures incorporating fabrics dyed with the plants surrounding foreclosed homes to audio stories of families affected by the Cook County Jail to a sculpture and photographic portraiture project that is designed as a tool to achieve collective goals, the artists&rsquo; works mark a specific moment in the city&mdash;the time we live in&mdash;but also address a time that is informed by both the past and future. From where we are now standing (and looking) these seem to be the fateful, decisive, significant moments defining Chicago and how we can live together here.</p> <p><em>After Today</em>&nbsp;is part of an ongoing series of exhibitions and events,&nbsp;<em>Standard of Living</em>, that explore shifts in economies and in work. Topics covered in the series include how and where economic exchange takes place, new models for sustainable economies, employment-driven migration, and relationships between place, work, and economic viability, among others. A key component of this series is community involvement. Partnerships, relationships, and dialogues with community organizations, labor unions, and artists help guide the development of exhibitions and events.</p> Wed, 22 Apr 2015 21:03:06 +0000 Dean Zeus Colman - Vertical Gallery - May 2nd - May 30th <p>Vertical Gallery is proud to present the debut US solo show of London artist Dean Zeus Colman. Zeus draws inspiration from urban culture to create dynamic, experimental compositions that have re-defined graffiti art. <br /> <br /> Captivated by the hip-hop scene of the 80s, he began expressing his creative talents on the street using walls, trains, and open spaces as his galleries. His latest work represents an innovative fusion of graffiti techniques and typography, fine art and sculpture, and reflect both his background on the streets and his formal training at Chelsea College of Art.<br /> <br /> The exhibition is May 2 - 30, 2015, with an opening reception with the artist on Saturday, May 2, 6-10pm.</p> Wed, 22 Apr 2015 00:22:15 +0000 Tony Lewis - Shane Campbell Gallery - June 27th - August 29th Tue, 21 Apr 2015 07:34:39 +0000 Huma Bhabha, Pier Paolo Calzolari, Luis Gispert, Robert Heinecken, Patricia Rieger, David Schutter, Pascale Marthine Tayou, Xavier Toubes, Anne Wilson - Rhona Hoffman Gallery - April 24th - May 30th <p style="text-align: justify;">In conjunction with "<em><a href="" target="_blank">keeping secrets: fetish in african art</a></em>", Rhona Hoffman Gallery is pleased to present <em>evoking spirit</em>. Contemporary artists in this group exhibition have been selected for the ways in which they investigate the practice of placing spiritual significance on objects or the act of translating an imbued essence from a material. Moving beyond the physical reality of the works, this exhibition resurrects the esoteric power that shapes our connection to artwork.&nbsp;<br /><br /><em>Evoking Spirit</em> unpacks the human tendency to be drawn by the power of an object. This magnetic pull is challenged in the selected artworks through the deconstruction, celebration, or reversal of the composition of an object&rsquo;s essence.<br /><br />Artists Pascale Marthine Tayou, Huma Bhabha, and Pier Paolo Calzolari utilize mixed media, natural elements, and discarded commercial materials in their work to awaken a deeper spirit and perceived power in a displaced setting.<br /><br />Conversely, sculptures by Xavier Toubes and Patricia Rieger exist in poetic spaces and attempt to capture intangible elements such as beauty, imagination, and self- perception. Meanwhile, David Schutter renders his physical encounter with canonical paintings through re-performing their surface from memory, an act of phenomenological study of the art object&rsquo;s power.<br /><br />Artists Robert Heinecken and Luis Gispert have taken a more critical approach, questioning the thrust of desire and power embodied by commercial objects. Anne Wilson unravels issues of history, domesticity, and social ritual in her fiber-based conceptual art practice. By awakening the specters in each artist's practice, this exhibition brings to light their explorations in issues of authenticity, desire, and memory.</p> Tue, 21 Apr 2015 07:32:16 +0000 - Rhona Hoffman Gallery - April 24th - May 30th <p style="text-align: justify;">The collaborative exhibition between Douglas Dawson Gallery and Rhona Hoffman Gallery explores the complex role of fetish in traditional African culture. While often misunderstood in the West, fetish in the context of African art is used to define the objects used by traditional animistic African cultures to control and disseminate the powerful secret knowledge that kept society in balance with the dangerous spirit world.<br /><br />Until recently many African cultures maintained secret societies into which young males were initiated, usually upon reaching puberty, and instructed in the secret knowledge and rituals necessary for maintaining social cohesion. Associated with the societies were objects imbued with particular powers that functioned as tools for the perilous negotiations between worlds. Early Europeans viewed such objects with great derision on both religious and aesthetic grounds. Only with the evolution of the vocabulary of 20th century modern art has the fetish object been seen in a new perspective.&nbsp;<br /><br />Many fetish objects' conceptual foundations are understood, if ever in totality, by a select few mature members of a given cult and meaning is gradually dispensed often in metaphoric or symbolic narrative. They are a physical manifestation of abstract knowledge and in that sense have a certain affinity with 20th century Western sculpture and modern art.&nbsp;<br /><br />Fetish objects were also created on a more personal level apart from the secret societies. Individual supplicants commissioned specific, and often very personal, fetish objects in collaboration with the shaman to address a particular objective; health, defense from spells, pregnancy, or divination. The object would be taken to the altar of the supplicant where sacrifices would be made and acts of veneration performed; rich, crusty, layered surfaces are physical traces of their personal history.&nbsp;<br /><br />The majority of the approximately fifty objects and textiles in this exhibition are from West and Central Africa. They include both figurative and abstract sculpture, masks, ceramics, textiles and iron and copper alloy pieces used in divination.<br /><br />Rhona Hoffman Gallery is an ideal context to present this enigmatic art form; African fetish, to a new and receptive audience. While we cannot know the exact meaning of most of these objects they nonetheless project a profound sense of power, mystery, and art that is very accessible to the 21st century eye.<br /><br />The exhibition of fetish objects takes place at Rhona Hoffman Gallery, Chicago.<br />Fetish-related textiles will be on display at Douglas Dawson Gallery.</p> Tue, 21 Apr 2015 07:29:49 +0000