ArtSlant - Recently added en-us 40 James Hyde - Paris London Hong Kong - September 12th - October 17th <p style="text-align: justify;">Paris London Hong Kong and Volume Gallery are pleased to announce its first solo exhibition with James Hyde, <em>Varieties of Useful Experience</em>, opening September 12<sup>th</sup>from 5-7pm at 845 West Washington Blvd, Chicago.</p> <p style="text-align: justify;">&ldquo;Let us suppose that the idea of art can be expanded to embrace the whole range of man-made things, including all tools and writing in addition to the useless, beautiful and poetic things of the world&rdquo; &ndash; George Kubler, <em>The Shape of Things</em>, 1961</p> <p style="text-align: justify;"><em>Varieties of Useful Experience</em> sets out to address this concept of reconsidering the domestic scale and approach the whole domestic landscape or environment. In the context of this exhibition the paintings become &lsquo;wall decoration&rsquo; and have a function that is of the same importance as the chair or table.</p> <p style="text-align: justify;">As Hyde states with regards to where his interest lie &ldquo;the utopian experiments of in design from William Morris to Brasilia; this is all involved in sort of the type of adventure of the aesthetic into new territories, and this both internalization and externalization of ideas of looking and how that effects people personally and even morally.&rdquo;</p> <p style="text-align: justify;">This exhibition explores these themes with a variety of objects: chairs, paintings, tables, handles, frescos, sculptures, and lighting. Including materials like steel, linen, paint, enamel, vinyl, Styrofoam, hand blown glass, plexiglass, and photographs. Combining the typologies and materiality with as many applied techniques, <em>Varieties of Useful Experience</em> presents a wide range of pieces by Hyde that include works from 1996 to 2015.</p> <p style="text-align: justify;"><strong>James Hyde</strong> was born in Philadelphia, and moved to New York City in the late 70&rsquo;s to pursue a career as an artist. He currently lives and works in Brooklyn. His work ranges from paintings on photographic prints to large-scale installations, photography, and abstract furniture design. Mr. Hyde has lectured as a visiting professor at a number of institutions, including Yale University, the Art Institute of Chicago, the Skowhegan School of Painting and Sculpture, Bard College, and Cooper Union. &nbsp;He is represented by galleries in New York, Los Angeles, Paris, and Copenhagen.</p> <p style="text-align: justify;">Mr. Hyde&rsquo;s work has been exhibited at the Maison de la Culture de Bourges and the Centre d&rsquo;Art Contemporain d&rsquo;Ivry, Galerie Fernand Leger/Credeac in France, the San Diego Museum of Art, the Brent Sikkema Gallery and the Brooklyn Museum of Art in New York, and the Zwemmer Gallery in London. In 2014 and 2015 Mr. Hyde presented over 40 works as part 20-Year Survey as part of the C.Ar.D. festival in Northern Italy. He has been honored with a Joan Mitchell Foundation Fellowship, among others. &nbsp;Mr. Hyde&rsquo;s pieces are included in the collections of the Brooklyn Museum of Art and the Guggenheim Museum of Art in New York, the Corcoran Gallery in Washington, D.C., the Denver Art Museum, and the Museo Cantonale d&rsquo;Arte in Lugano, Switzerland. </p> Fri, 04 Sep 2015 10:58:44 +0000 Sean Snyder - Document - September 3rd - October 17th <p style="text-align: justify;"><em>Sometimes classified as secret, private or public, [&hellip;] draft or proof&rsquo;, Sean Snyder&rsquo;s exhibition originates from a fragment of the Wikipedia entry for the word &ldquo;document&rdquo;. Furthermore, it is defined as &lsquo;any concrete or symbolic indication, preserved or recorded, for reconstructing or for proving a phenomenon, whether physical or mental.&rsquo;</em></p> <p style="text-align: justify;">The exhibition addresses the status of a document and consists of a matrix of disparate elements registered in the artist&rsquo;s memory. It attempts to address the status of image production at present. DOCUMENT&rsquo;s circumstance as a gallery and a commercial digital service entity is inscribed in the mental conception and physical presentation of the exhibition, which generates an internal production &ndash; distribution loop. Simultaneously converting and re-converting a digital and a physical, a real and an ephemeral, a high art and a consumer product, the presentation questions the very stability of the lines of divisions, yet sketching the ground plans of something that can be reactivated and used as evidence. Through actively engaging with public institutions, the artist excavates historical data that would otherwise remain invisible.</p> <p style="text-align: justify;">Convergence, a Jackson Pollock painting from 1952, reproduced as a puzzle was purchased via ebay. The scattered pieces of the puzzle are displayed on a surface of horizontal structure (Horizontal Propagation, 33 cm height x 119 cm length x 99 cm width). The structure is scaled to 50 percent of the size of the original painting that hangs in the Albright Knox Art Gallery. The painting&rsquo;s political dimension and its being an element of Cold war propaganda as a representative of ideology of freedom and American exceptionalism with alleged CIA involvement in promotion of Abstract Expressionism is now more than a rumor of art history, but is not yet documented.In order to produce a (framed) document, Snyder contacted the CIA via email and asked a question regarding the utilization of art as a weapon during the Cold War. A print of the automated response confirming the reception of the question is dis-played in <em>Question To The CIA (Abstract Expressionism), black and white archival pigment print on Epson matte paper, 53 x 67 cm, 2015.</em></p> <p style="text-align: justify;">A vertical video projection traces the location of an intervention by Daniel Buren, Watch The Doors, Please!, commissioned by the Art Institute of Chicago. The intervention was active from October of 1980 and continued for nearly two years. The project is not only credited as in situ, but in motion. Snyder&rsquo;s projection <em>Vertical Traces, HD data file, 1 minute 20 seconds, 2015</em> documents the location of the intervention visible from the exhibition space juxtaposing the images accessible at present via the online remote viewing technologies. The Google Earth searches represent the location as a rigid topographic scheme while the Bing search playfully animates the route of the transportation network with the rail lines rendered in gray and white, ironically reminiscent of Buren&rsquo;s iconic stripes. Parallel to the projection, Snyder presents a transcript of a telephone conversation with METRA (Chicago&rsquo;s public transportation network), inquiring about records of the process involved in arranging of the intervention by Daniel Buren. A number of departments were contacted before an inquiry was made to customer service main number. <em>Transcript of Inquiry To METRA (Chicago Urban Transport), black and white archival pigment print on Epson matte paper, 42 x 29.7 cm, 2015.</em></p> <p style="text-align: justify;">An experiment in what might be speculatively referred to as institutional a(na)rcheology, a slide projection <em>Three Incidents of Syncopic Analysis, projected images, digital data transferred to 35mm slides, stereo of mp3 file, 2015</em> consists of the visual data (some images were loaned from the MCA-Chicago) of documentation of three selected iconic art installations and interventions that took place in Chicago in the 1960s and 1970s as well as present evidence of their locations juxtaposed with audio from an MRI scan, <em>Radiographic Search (MRI), 13 min 21 seconds, mp3 audio, 2015</em>. By intertwining external and internal angles Snyder references the binding of an image and sound in the work by James Coleman (<em>Slide Piece, 1972-1973</em>). Devoid of any linear structure, the narrative enfolds disparate components describing the same approximate location that are recounted from multiple perspectives. The installation attempts to construct the conditions similar to an ersatz time capsule that by scanning the brain functions, generates a sense of memory that one never had in the form of a false recollection. Despite that DOCUMENT is a commercial gallery, the process oriented experiment Three Incidents Of Syncopic Analysis is not intended to be commodified.</p> <p style="text-align: justify;">According to online data, the location of the former MCA and the AIC is 180 meters above sea level, while the location of DOCUMENT is 179 meters above sea level. A printed image of an iTunes offer to purchase John Cage&rsquo;s 4&rsquo;33&rdquo; for 99 cents. <em>$0.99, black and white archival pigment print on Epson matte paper, 53 x 67 cm, 2015</em> DOCUMENT&rsquo;s entrance space displays a monitor playing the video game Adventure which was released in 1979 <em>Adventure Fragment, Atari (Algorithm), 1 min 01 second, displayed on 16:9 format monitor, 2015</em> is integrated into the exhibition. It contains the first widely known video game&rsquo;s easter egg, a secret room with a text crediting the developer for the game&rsquo;s creation.</p> <p style="text-align: justify;">Another layer of displacement involves the data for the entire exhibition, which is digitally backed at an underground data center known as the Swiss Fort Knox. Embedded in the Swiss Alps, the hermetically sealed cache claims it&rsquo;s resistance to any existing threat and is lauded as one of the preeminent IT-infrastructure facilities on earth. According to the company&rsquo;s online profile it is known as Europe&rsquo;s most secure datacenter.</p> <p style="text-align: justify;">With Re-convergence (Algorithmic Archaeology) Snyder&rsquo;s constructed labyrinth of references, based on algorithmic structures may seem to follow an arbitrary logic, when it is a highly articulated orchestration of signs and interconnection of numbers. What might seemingly be floating on the surface, might turn out to be far more layered. In the book <em>Trout Fishing In America</em> a big sign said: USED TROUT STREAM FOR SALE. MUST BE SEEN TO BE APPRECIATED. What page it&rsquo;s on supposedly depends on which copy is available.</p> <p style="text-align: justify;">(<em>an abridged 140 character version of the above, and a more elaborated version of the text exist elsewhere</em>)</p> <p style="text-align: justify;">Three weeks into the exhibition a public screening of three 8mm and 16mm films transferred to DVD. Contact DOCUMENT for dates, time and credit information. The one hour collateral event is scheduled to include:</p> <p style="text-align: justify;"><em>Program Seven</em><br /> Conical Intersection (Silent) and Sous-Sols de Paris (Paris Underground), (French), Gordon Matta-Clark, 1975, 43 minutes.</p> <p style="text-align: justify;"><em>Digital Experiment at Bell Labs</em>, Nam June Paik, 1966, 4 minutes. (Silent)</p> <p style="text-align: justify;"><em>Watch The Doors, Please!, Works &amp; Process</em>, Daniel Buren, 1980, 13 minutes. (French)</p> <p style="text-align: justify;">Sean Snyder, b. 1972, Virginia, USA completed his studies at the Staatliche Hochschule f&uuml;r Bildende K&uuml;nste, Frankfurt a.M. and currently lives in Berlin.</p> <p style="text-align: justify;">He is represented by <a href="" target="_blank">Galerie NEU</a> (Berlin), <a href="" target="_blank">Galerie Chantal Crousel</a>, (Paris) and <a href="" target="_blank">Lisson Gallery</a> (London).</p> <p style="text-align: justify;">His current inquiries can be pursued at:<br /> <a href="" target="_blank"></a></p> <p style="text-align: justify;">Researching algorithms and unknowns, his practice dissects the aleatoric use of databanks and publicly attainable information, producing unexpectedly (and subjectively) interconnections between memory and materiality. Via a deconstruction and reconfiguration of components, he elucidates hypotheticals from incongruent perspectives.</p> <p style="text-align: justify;">Special thanks to Olga Bryukhovetska, Pit Schultz, Hyun Jeung Kim, Aron Gent, Michael Hall, Ruth Hogan, Steven Bridges, Bonnie Rosenberg, and Robyn Farrell.</p> Fri, 04 Sep 2015 10:55:56 +0000 Peter Skvara - THE MISSION - September 11th - October 24th <p>Our linear conceptions of time are a lie. Peter Skvara&rsquo;s site-specific installation,&nbsp;<em>The Path of Storm and Flood</em>, challenges the myth of an objective archaeological record, which is established by excavating layers of soil known as &ldquo;strata&rdquo; and carbon dating exhumed objects. It is by these methods that a historical record of material culture, and therefore of culture in general, is created. Skvara posits that soil stratigraphy is an unreliable narrator, unintentionally misleading its human audience as to the history of the Earth, as it is affected by climate, geology, and human intervention. These factors alter the global distribution of soil depth and disrupt the archaeologist&rsquo;s neutral measurement of passing time.&nbsp;<br /><br />Skvara&rsquo;s large-scale, multi-wall painting,&nbsp;<em>Timeline (Survey)</em>, is a passive map of the past we have constructed for ourselves, a guidebook of objects located arbitrarily in time and space, articulated with an abstracted composition of unfamiliar objects and familiar textures expressed in paint and collaged photographs.&nbsp;<em>Timeline (Survey)</em>&nbsp;initiates a dialogue with its companion piece,&nbsp;<em>Feature/Slope</em>, a sculpture that evokes an active archaeological site still in the process of being mined for information and objects. Presenting a subjective interpretation of history, Feature/Slope alludes to our active role as participants in Earth&rsquo;s history. The activity evoked by&nbsp;<em>Feature/Slope<em>&nbsp;</em></em>is in tension with the stasis of&nbsp;Timeline (Survey), establishing a relationship of giving and receiving analogous to soil life cycles. Ultimately, Skvara asserts the falsehood of a history constructed upon assumptions and educated guesses made out of an attempt to rationalize, define and measure reality.&nbsp;<em><em><br /><br /><br /><strong>PETER SKVARA</strong>&nbsp;(American, b. 1985) lives and works in Chicago, IL. He received a BA from Columbia College Chicago in 2009. Recent solo and group exhibitions include&nbsp;<em>Approaches</em>&nbsp;at ANDREW RAFACZ,<em>Regenerations</em>&nbsp;at Brushwood Center for the Arts,&nbsp;<em>RTC and Friends</em>&nbsp;at Western Exhibitions,&nbsp;<em>Resource</em>&nbsp;and&nbsp;<em>New Wave</em><em>Wow&shy;Haus</em>&nbsp;at Johalla Projects and&nbsp;<em>BUNK</em>&nbsp;at The Happy Collaborationists Exhibition Space. His work is represented in numerous public and private collections.</em></em></p> Wed, 02 Sep 2015 18:45:32 +0000 - Hyde Park Art Center - August 31st - December 6th <p>Graffiti from the streets of Chicago pours into <strong>Hyde Park Art Center</strong>&rsquo;s upcoming exhibit &ldquo;<strong>Creatures from the Concrete</strong>,&rdquo; a 90-foot assemblage of graffiti, stencil and wheat-paste collage, August 30 &ndash; December 6. A reception for &ldquo;Creatures from the Concrete&rdquo; and all concurrent exhibitions will be held Sunday, September 13, from 3-5 p.m.</p> <p>Seven women artists will work collaboratively and improvisationally to create a new site-specific mural at the Art Center. Led <strong>by Liz Lazdins </strong>(aka <strong>Beloved</strong>), contributors including photographer <strong>Eve Rivera</strong>, photographer and street artist <strong>Zorzorzor</strong>, illustrator and yarn bomber <strong>MonstroChicka</strong>, and artists/graffiti writers <strong>Stef Skills</strong>, <strong>Zena</strong>, <strong>Shan </strong>and <strong>Bel2</strong>.</p> Mon, 31 Aug 2015 19:47:54 +0000 - Hyde Park Art Center - August 16th - October 4th <p>Front &amp; Center is an annual exhibition of work from artists participanting in The Center Program, the Art Center&rsquo;s flagship artist professional development initiative that began in 2012. Guest Curated by Tricia Van Eck, Director of 6018North, this iteration of Front &amp; Center&nbsp;debuts artwork by 24 artists in a variety of media that was developed during the six-month program.</p> Mon, 31 Aug 2015 18:12:53 +0000