ArtSlant - Recently added en-us 40 - President's Gallery, Harold Washington College - November 18th - January 9th, 2015 Fri, 01 Aug 2014 02:22:22 +0000 - Glass Curtain Gallery, Columbia College Chicago - November 20th - November 20th Fri, 01 Aug 2014 02:19:33 +0000 - Graham Foundation - September 19th - December 13th <p>The Graham Foundation is pleased to present the exhibition, <em>Experiments in Environment: The Halprin Workshops, 1966-1971</em>, opening September 19, 2014. This exhibition highlights the experimental, cross-disciplinary workshops organized by modern landscape architect, Lawrence Halprin, and avant-garde dance pioneer, Anna Halprin.</p> <p>The exhibition is organized by the Graham Foundation and the Architectural Archives of the University of Pennsylvania.</p> Thu, 31 Jul 2014 17:47:44 +0000 Group Show - Hyde Park Art Center - September 14th - January 4th, 2015 <p style="text-align: justify;"><span style="font-size: small;">Hyde Park Art Center is proud to present the third annual exhibition of work from participants in our flagship artist professional development initiative, The Center Program.&nbsp;Curated by <strong>Tricia van Eck</strong>, the group exhibition<em> Front &amp; Center</em> unveils artwork by the 2014 class of artists in this program that is dedicated to building critical dialogue for professional artists seeking to advance their work. The exhibition features new artworks in various media by 25 artists from emerging to midcareer levels.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the course of six months, a supportive peer network, guest artists, gallerists, critics, and professionals push Center Program artists to answer tough questions, evolve their art, and ultimately produce strong, new work to show. The group exhibition <em>Front &amp; Center </em>unveils artwork in various media by the 2014 class of artists in this program that is dedicated to building critical dialogue for working artists seeking to advance their practice. The exhibition features new artworks in various media by twenty-six artists from emerging to midcareer levels.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><strong>About <a title="" href="" target="_blank">The Center Program</a> </strong></span></p> <p style="text-align: justify;"><span style="font-size: small;">A natural outgrowth of the Art Center&rsquo;s progressive and scaffolded arts education programs, The Center Program was first piloted in 2012. Conceived as a capstone program for artists who had grown beyond the Art Center&rsquo;s other offerings, and were ready to push their practice to the next level, The Center Program is the Art Center&rsquo;s answer to the existence of critical gaps in established professional development offerings for artists. Traditional MFA programs are frequently cost-prohibitive; artists of color are underrepresented; and, many artists who have obtained an MFA find that they simply want more: more time and space to deepen their practice, more critical feedback and guidance, and more exposure. In response to these issues, the Art Center developed The Center Program to offer working artists a unique combination of access to materials and space to develop a rigorous studio practice, inclusion in critical dialogue about their work, guidance from professionals in the field, and a platform to show that work to a broad and diverse audience.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The Center Program is an initiative that is deeply aligned with the spirit of the Art Center&rsquo;s mission: developing artists at all levels in support of Chicago&rsquo;s broader arts community. In that vein, the Art Center sought to forge distinctive partnerships with other Chicago institutions and leaders in the visual arts, like The Joyce Foundation, The University of Chicago Graham School of Continuing Liberal and Professional Studies, and the visiting professionals who provide guidance and feedback to artists in the program. Through these efforts, the Art Center strives to ensure access for artists of color and maintain a standard of excellence that will continue to serve artists beyond their matriculation through The Center Program.</span></p> <p style="text-align: justify;"><span style="font-size: small;">- See more at:</span></p> <p>&nbsp;</p> Wed, 30 Jul 2014 06:51:22 +0000 Andrew Holmquist - Carrie Secrist Gallery - July 30th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Carrie Secrist Gallery is pleased to present a summer project by gallery artist <strong>Andrew Holmquist</strong> on view from July 12 &ndash; August 2, 2014. A recent graduate of the MFA program at the School of the Art Institute of Chicago, Holmquist is known for his investigations in abstract painting. For this project, the artist exhibits video and print work as an exercise in unifying his ideas and research across form and media. </span><br /> <br /><span style="text-decoration: underline; font-size: small;"> Please join us for a talk with the artist on Wednesday, July 30 at 6 PM.</span><br /> <br /><span style="font-size: small;"> In our second gallery, <strong>Andrew Holmquist</strong> screens three new videos, shown on a loop in the order in which they were created: </span><br /> <br /><span style="font-size: small;"> Set against a pocked partition, <em>Former Glory</em> (May 2013) venerates 1970s gay iconography. In its abstract use of screens and holes, the work recalls the glory hole as a venue for sexual anonymity and objectification. His face masked, Holmquist appears in the piece as performer, dressed in confusing costume that mixes construction worker, geisha, and abstract painting. </span><br /> <br /><span style="font-size: small;"> In <em>Shining Shimmering Splendid</em> (December 2013), Holmquist composes objects to create gestures similar to those found in his paintings. As before, the artist performs, but here he is semi-nude, and the references are more subjective. The film&rsquo;s soundtrack, &ldquo;A Whole New World&rdquo; from <em>Aladdin</em> (1992), not only dictates length; it also provides a slick contrast to the clumsiness of the props. </span><br /> <br /><span style="font-size: small;"> Shot in one continuous take, <em>Painting Time and Space</em> (May 2014) mimics the process of constructing a painting. The rhythmic handclap of the children&rsquo;s song &ldquo;Miss Susie&rdquo; regulates duration, while its singsong lyrics add sexual tension through gay signifiers. In this newest work, the objects and gestures act as characters, and the artist is visible only through the choreography of his choices.</span><br /> <br /><span style="font-size: small;"> In the gallery&rsquo;s main space, Holmquist devises a reading room where a set of ten editioned artist&rsquo;s books will be available for perusal. Created in offset print, the books utilize many of the themes, forms, and colors found in his painting, but address the content with a more direct narrative and representational style. Holmquist presents traditionally bound forms as well as accordion books and puzzle boxes. The ten books will be available in a box set as well. Finally, a new wall treatment echoes the narrative of Holmquist&rsquo;s newest text <em>Connection</em> (2014) and ties together the moving and still images on view. </span><br /> <br /><span style="font-size: small;"> <strong>Andrew Holmquist</strong> (American, b. 1985) lives and works in Chicago, IL. His exhibition history includes two solo exhibitions with Carrie Secrist Gallery, as well as Slow and LVL3, Chicago; GOLDEN Gallery, New York; Jolie Laide, Philadelphia; and Cumberland Gallery, Nashville. He received the 2014 Carrie Ellen Tuttle Fellowship for exceptional merit in painting from the School of the Art Institute of Chicago.</span></p> Mon, 28 Jul 2014 14:07:17 +0000 Jon Geiger - threewalls - September 5th - October 11th <p style="text-align: justify;">Threewalls &nbsp;is pleased to present an exhibition of new work by Jon Geiger, titled&nbsp;<em>Nothing That Gleams</em>.</p> <p style="text-align: justify;">Geiger&nbsp;mines American folk history, cowboy films, and European Classicism for the symbols and objects&ndash;from boots to bowling balls&ndash;that are continually curated into American history, muddying and fictionalizing its narrative. His sculptural installations rearrange displaced fragments into tableaux that have a familiarity but no clear story. Resembling props for a spaghetti Western or the miscellany of a roadside museum, Geiger uses these objects as a language or syntax, challenging their origins and place in the imagination while examining their relationship to narratives of achievement, masculine archetypes, and the western spirit. As ambiguous arrangements, they are intentionally open for interpretation, with the premise in place that meaning is never fixed and there is always another side, another reading available.</p> <p style="text-align: justify;">For Nothing That Gleams, Geiger sets up a new tableau in the project room, as well as furnishing Jackson&rsquo;s exhibition with point-of-interest seating, so the gallery visitor can enjoy the view of the wreckage.</p> <p style="text-align: justify;">Jon P. Geiger (b. 1987) received his MFA in ceramics from Cranbrook Academy of Art in 2014. Upon exiting graduate school, Geiger&rsquo;s work was inducted into the permanent collections of the Cranbrook Art Museum. His work has been exhibited nationally and internationally, most recently with his solo show A Durable Canon at Good Weather Gallery in North Little Rock, AR. Jon currently lives and works in Detroit, Michigan.</p> Sun, 27 Jul 2014 14:58:50 +0000 Carol Jackson - threewalls - September 5th - October 11th <p style="text-align: justify;">What is fated and what is free-will? In a country that depends almost equally on a narrative of the self-made, pragmatism and the maverick alongside the relatively dominant influence of Christianity and the concept of serving God, the chronicles that make-up American identity are an amalgamation of symbols cut-up and repurposed into a collaged taxonomy. Heroism is deeply entwined with a belief in manifest destiny, frequently giving way to a kind of hubris that perpetually imagines mankind, not so much as benevolent stewards, but masters. Supervisors and CEOS, pioneers and overseers, cutting one&rsquo;s path, being a leader not a follower: these directives dog the American in their pursuit of happiness, forever running up against the problems inherent to making and living in a community, caring for your fellow-man, and being custodians of the earth.</p> <p style="text-align: justify;">Carol Jackson&rsquo;s work has long addressed the concept of American hubris and manifest destiny, borrowing from narratives of the American West, real estate speculation, epic poems, jingoism and expansionism through material choices like tooled leather and references like turn-of-the-century sheet music and trophies. For&nbsp;<em>High Plains Drifter</em>, she looks to Milton&rsquo;s epic poem, Paradise Lost, and America&rsquo;s fascination, romance and dependence on the automobile. In a twisted assemblage of papier-mache, Jackson builds a car wreck emerging from the wall. Part crash-site and part marquee, the disaster houses embedded, hieroglyphic messages that only Satan can read.</p> <p style="text-align: justify;">In her own words, Jackson cites Derrida&rsquo;s concept of hauntology, an idea that suggests that the present exists only with respect to the past and as time passes, society will come more and more to orient itself towards the rustic or &ldquo;old-timey.&rdquo; This old-timey state exists as a specter, a suspended, unresolved state that is neither being or non-being, but rather, a haunting that contaminates the present.</p> <p style="text-align: justify;">Carol Jackson received her MFA in 1992 from the School of the Art Institute of Chicago, where she now teaches. Her recent exhibitions include the 2014 Whitney Biennial, curated by Anthony Elms (New York); Monique Meloche Gallery (Chicago); Kunsthaus Speckstrasse (Hamburg, Germany); the Chicago Cultural Center; Van Abbe Museum (Eindhoven, Netherlands); and The Smart Museum of Art (Chicago). She has been featured in the New York Times, Interview Magazine, Frieze Magazine, and Newcity. Jackson&rsquo;s work is included in the collections of The Smart Museum of Art, (Chicago) and the Werner Hirsch Drawing Collection, (Los Angeles), among others.</p> Sun, 27 Jul 2014 14:56:01 +0000