ArtSlant - Openings & events en-us 40 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 Jonathan Rajewski - G.R. N'Namdi Gallery: Chicago - March 1st, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;"><i>THERE IS NO HEAVEN FOR CONCEPTS</i>, the first solo exhibition for Detroit artist Jonathan Rajewski, is a special kind of pain for people like me, who can barely repress their desire to touch artwork. Materiality is the watchword of this entirely new body of work by Rajewski, created entirely within a 30-day timespan, and for a texturephile every wall is screaming to be touched.</p> <p style="text-align: justify;">Rajewski’s mediums include astroturf, a luchador mask, copper lithograph printing, and a body bag. While the palette is deceptively bright and inviting, a closer pass at the array of abused, stretched, burned, and torn canvases begins to reveal a dark undercurrent. There is an undertone of violence in the application of oil and acrylic paint in blotches and smears, a kind of apathy implied apathy in Rajewski’s continued use of ink and coffee spills to create background washes, and a sense of menace that goes beyond hinting in pieces like <i>PERSONA</i> or <i>BODYBAG</i>, and aggression that even spills outside the frame of <i>STUDY OF EFFACEMENT</i> to score one of the gallery walls with gouges.</p> <p style="text-align: justify;">There is a great deal to be said about Rajewski’s ability to work quickly; while a solo exhibition can sometimes show an career unfolding over time,  <i>THERE IS NO HEAVEN FOR CONCEPTS</i> gives a sense of capturing a snapshot of the artist’s interior monologue at a point in time. With images like these, it would seem to avail Rajewski to summon and discharge them quickly. Overall a deeply affecting and candid body of work and a breakout solo debut for Rajewski, who continues to draw attention with his keen instincts and willingness to utilize any means, medium, or material in his quest for self-expression.</p> Fri, 22 Feb 2013 00:42:54 +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 Carlos Estrada Vega - Roy Boyd Gallery - March 1st, 2013 5:00 PM - 8:00 PM <p><strong>CARLOS ESTRADA-VEGA </strong>creates work similar to a mantra in its reliance on discipline, intuition, and process. The evolution of the work is systematically determined by its physical execution and daily experience with life. Simplicity and repetition are the vehicles of form. The presence of the work is meant to open and reflect.</p> Mon, 08 Apr 2013 02:06:56 +0000 Mel Keiser - Schneider Gallery - March 1st, 2013 5:00 PM - 7:30 PM <p style="text-align: justify;">In our back gallery, Mel Keiser employs another form of photographic manipulation, a very physical one that references her background as a painter. In her new series, <em>The Écorchés</em>, Keiser aggressively removes ink from her photographs, defacing and obscuring the original image; a self-portrait. Keiser makes direct reference to the process of écorché, the act of flaying a body as a means of torture or scientific study. Her abraded images attempt to reveal what is underneath the surface. An investigation of self and identity, the final pieces are dipped in wax becoming “…embalmed moments of myself past; eroding, but atemporal.”</p> Thu, 21 Feb 2013 23:40:37 +0000 Martina Lopez - Schneider Gallery - March 1st, 2013 5:00 PM - 7:30 PM <p style="text-align: justify;">Schneider Gallery is pleased to present <em>Between Reason</em>, a photographic exhibition by Martina Lopez. This new work chronicles Lopez’s desire to construct a personal narrative from found 19th century portraits. Through digital manipulation and surface treatment, the resultant compositions do not reveal a linear story; in fact, they raise more questions than answers. The ethereal portraits contain image fragments of hair and facial features from Lopez’s family. When juxtaposed with the underlying found imagery, the collision of past and present produces a disconnect between history and memory.<br /> <br />Presented beneath a layer of wax, the photographs are transformed once again. They gain a translucency, an aura, and this process adds a very literal second layer to the viewing of the image. Now completely encased, the photograph-turned-object attempts to freeze the moment encapsulated inside. Each portrait, a blending of two histories, is merged into a new iteration that speaks to the passage of time and the artist’s need to halt it.</p> Thu, 21 Feb 2013 23:43:52 +0000 Jamie Steele - Schneider Gallery - March 1st, 2013 5:00 PM - 7:30 PM <p style="text-align: justify;">In our windows, Chicago artist Jamie Steele has installed pieces from her latest project, Gone to Seed. This work examines Steele’s conservative Southern upbringing, canonical depictions of women, and the eccentricities of femininity. The pieces take on both photographic and sculptural arrangements that reflect on and reject conventional feminine tropes. The exhibition title, Gone To Seed, is perhaps most clearly illustrated via the two landscape photographs depicting the once-stately-now-overrun Grey Gardens. The newly grown wilderness directly references the estate’s former residents, Big and Little Edie, an unconventional mother and daughter who lived on the fringes of society all the while attempting to maintain a lady-like presence within their poverty. However, that is just one piece of a much larger narrative; Steele’s work as a whole constructs a complex dialog around the forms (and extremes) that femininity can take.</p> <p style="text-align: justify;">Steele holds a BA in Studio Art from the University of the South (2007) and a MFA from the School of the Art Institute of Chicago (2012). She also is the co-founder of GURL DON’T BE DUMB, a Chicago based curatorial project. Recent exhibitions include: Archetype Drift, Johalla Projects, Chicago, IL (2013), MDW Fair, Chicago, IL (2012), RANCH, Iceberg Projects, Chicago, IL (2012), The Great Refusal: Taking On New Queer Aesthetics, Sullivan Galleries, Chicago, IL (2012), DESTINEEZ CHILD + GURL DON'T BE DUMB // SCREENING, Threewalls, Chicago, IL (2012), Twenty in Their Twenties, Woman Made Gallery, Chicago, IL (2012), and STICKLIP, Upstairs Gallery, Chicago, IL (2011).</p> Sun, 24 Feb 2013 12:59:31 +0000 - School of the Art Institute of Chicago (SAIC) - Sullivan Galleries - March 1st, 2013 7:00 PM - 9:00 PM <p style="text-align: justify;">More than 280 talented SAIC students completing undergraduate degrees this spring exhibit their innovative work. SAIC promotes crossing disciplines and challenging received assumptions, and the results of this approach are showcased in this exhibition.</p> Fri, 08 Feb 2013 00:28:24 +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 John Neff - Renaissance Society - March 3rd, 2013 12:00 PM - 5:00 PM <p style="text-align: justify;"><b>The Renaissance Society</b> presents a solo exhibition by Chicago-based artist <b>John Neff</b> from <span style="text-decoration: underline;">March 3-April 14, 2013</span>. The exhibition includes a new body of photographs made from digital cameras Neff built by outfitting desktop scanners with bellows and lenses taken from antique cameras. Made without shutters or viewfinders, the cameras capture images using a slow-moving linear scanning array, rather than a full-field sensor. Over the course of 18 months, Neff used the scanner cameras to photograph his immediate environment, his long-exposure photographic process resulting in intimate, tonally rich images that have the look and feel of earlier moments in the medium’s history.</p> <p style="text-align: justify;">The Renaissance Society show is Neff’s first solo museum exhibition. The artist's previous exhibitions featured multi-layered installations constructed from sculptural, photographic, mechanical and textual elements.</p> <p style="text-align: justify;">“I have been a fan of John's work for many years now. What drew me to this body of small scale black and white photographs in particular is its formal/technical innovation,” says Hamza Walker, associate curator and director of education at The Renaissance Society, and curator of Neff’s exhibition. “The process of using a hand-built camera which combines a traditional lens with a digital flatbed scanner erases any digital/analog divide. The shutter's click gives way to the scanner's drone, betraying a more protracted mediation of ‘the decisive moment.’ These photographs, with their fine tonal gradation and scan lines, come across as a delayed transmission—a remote past in which we just so happen to be living.”</p> <p></p> Sun, 24 Feb 2013 13:17:32 +0000 - Spertus Institute for Jewish Learning and Leadership - March 3rd, 2013 7:00 PM - 9:00 PM <p style="text-align: justify;">Directed by Frank Beyer, 1963<br />124 min, b/w, German with English subtitles</p> <p style="text-align: justify;">Set just prior to the liberation of the Buchenwald concentration camp, <em>Naked Among Wolves </em>is the true story of prisoners who risked their lives to hide a small Jewish boy from their captors. Based on Bruno Apitz's novel and featuring award-winning actor Armin Mueller-Stahl, Frank Beyer's film explores the antifascists' dilemma of balancing organizational discipline with human values.</p> <p style="text-align: justify;">This film is part of the <em>Shadows and Sojourners</em> series curated by the <a href="">DEFA Film Library</a> at <a href="">UMass Amherst</a>. This film series offers the first North American retrospective of East German films on the intertwined themes of German/Jewish relations, antifascism, and the Holocaust. These films are classics of the East German antifascist tradition that depict unique views of the Jewish experience and critiques of Nazi Germany seldom seen by U.S. audiences. Each screening will be followed by a brief discussion and Q &amp; A.</p> <p style="text-align: justify;">Each March 3 screening at Spertus will be followed by a discussion and Q&amp;A led by <strong>Dr.</strong> <strong>Anke Pinkert</strong>, associate professor of German and Media and Cinema Studies at University of Illinois at Urbana-Champaign, and author of <em>Film and Memory in East Germany</em>.</p> Sun, 03 Mar 2013 08:41:43 +0000 - The Art Institute of Chicago - March 3rd, 2013 10:30 AM - 5:00 PM <p style="text-align: justify;">During the first half of the 20th century, the city of Chicago was shaped and reshaped by waves of migration and immigration as African Americans poured in from the South and newcomers arrived from Europe and Mexico. <em>They Seek a City</em> is the first exhibition to focus on the art produced by the wonderfully diverse communities that made Chicago their home. Over 80 works primarily by southern- and foreign-born artists—many rarely seen by the museum’s audiences—come together for this look at the city’s rich art of migration, as Chicago became the polyglot, cosmopolitan place that it remains today.</p> <p style="text-align: justify;">Migration and immigration were typical American experiences during the early 20th century. Over 1.6 million African Americans moved from the rural South to more industrial areas of the North and Midwest in what has become known as the Great Migration. Likewise, hundreds of thousands of European immigrants crossed the ocean, often fleeing political or religious persecution in their homelands, and thousands of Mexicans journeyed north in search of better economic opportunity, a movement that coincided with a tremendous vogue for Mexican culture among U.S. residents.</p> <p style="text-align: justify;">Chicago was an extremely popular destination for these various populations, an unfamiliar setting that offered challenges and excitement. The artists among them responded by mining their personal and cultural contexts for inspiration. They frequently focused on the underlying social causes of migration or immigration, including violence and persecution, and addressed common themes of exile and assimilation. Significantly, many artists from different communities formed relationships, sharing educational, institutional, political, and aesthetic affiliations that crossed ethnic, racial, and social boundaries.</p> <p style="text-align: justify;">Highlighting this diverse yet interwoven artistic production, <em>They Seek a City</em> includes paintings, works on paper, photographs, sculpture, and decorative arts from local cultural institutions and private collectors as well as from the permanent collection of the Art Institute. By examining the art of the city through the lens of migration, the exhibition not only traces Chicago’s rich and dynamic cultural development but also explores some of the most important social and artistic questions of the early 20th century, including the intersecting issues of racial and cultural identity.</p> Sat, 02 Mar 2013 10:39:53 +0000 Scott Reeder - Museum of Contemporary Art (MCA) - March 5th, 2013 6:00 PM - 8:00 PM <p></p> <p style="text-align: justify;">Tuesday Evenings in the Cafe are artist-led events which directly engage visitors.  Artists from around the city are invited to lead the audience in whimsical, drawing related games that are appropriate for a range of ages and designed around familiar themes. <b>Doodleganza </b>takes place the first Tuesday of every month, with <b>Scott Reeder </b>leading the event in March. Reeder is is a past MCA <i>Chicago Works</i> artist and primarily works  with  painting and film. He instigated the Milwaukee-based art collective, Milhaus,</p> <p style="text-align: justify;">Beer, wine, other beverages, and light fare are available for purchase at Puck’s Café.</p> <p style="text-align: justify;">Free for Illinois residents, and for all others free with suggested museum admission.</p> <p><b> </b></p> Sat, 02 Feb 2013 01:19:57 +0000 - Museum of Contemporary Art (MCA) - March 6th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Steve James, Justine Naga, and Gordon Quinn of Kartemquin Films; and Allan Siegel of Third World Newsreel converse about the past, present, and future of socially conscious urban media and how the potential of documentary has shifted alongside changes to the contemporary media landscape. Organized by the Society for Cinema and Media Studies and presented in partnership with the MCA Chicago.</p> <p> </p> Sun, 03 Mar 2013 08:18:45 +0000 Jonah D. Ansell, Tavi Gevinson - Museum of Contemporary Art (MCA) - March 6th, 2013 6:00 PM - 8:00 PM <p><b>MCA: Screening and Talk: Cadaver, a Short Film by Tavi Gevinson and Jonah D. Ansell</b></p> <p>Tuesday, April 23, 6 pm</p> <p>$10, $8 MCA Member, $6 student</p> <p>Edlis Neeson Theater</p> <p> </p> <p>*The ticket cost may be credited toward the purchase of the <i>Cadaver</i> graphic novel sold by the MCA Store at the event. A book signing follows the screening and talk</p> <p><i> </i></p> <p><i>CADAVER </i>is an award-winning animated short film and graphic novel for adults. The bittersweet love story features <i>Back to the Future</i>’s Christopher Lloyd, <i>ROOKIE</i> <i>Magazine</i>’s Tavi Gevinson, and Academy Award winner Kathy Bates. It tells the tale of a cadaver who wakes up to say a last goodbye to his wife, but discovers a truth in death he didn’t know in life. The story is a cinematic poem, with rhyming dialogue inspired by the wit of Shel Silverstein and the wisdom of William Shakespeare. <i>CADAVER</i> is written and directed by Chicago native Jonah D. Ansell. The film runtime is 8 minutes.</p> <p> </p> <p>Tavi Gevinson is an Oak Park-based writer, editor, actress, and singer.  She is the founder and editor-in-chief of ROOKIE Magazine. She started her popular STYLE ROOKIE blog in 2008, when she was 11 years old. Fashion designers now fly her around the world to attend and write about fashion shows. She has been featured in many prestigious fashion magazines.</p> Wed, 06 Mar 2013 18:57:45 +0000