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 - 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 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 - 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 - Museum of Contemporary Art (MCA) - March 6th, 2013 6:00 PM - 8:00 PM <p><b>MCA: First Fridays: ROYGBIV</b></p> <p>April 5, 2013, 6-10pm</p> <p>Tickets $14 in advance, $18 at the door</p> <p> </p> <p>At <b>First Fridays</b>, visitors can unwind after work and enjoy an intriguing mix of culture, ranging from live music and performance art to experimental films and hands-on art stations. The theme for <b>First Fridays</b> in April is <b>ROYGBIV</b> ROYGBIV (the colors of the rainbow-red, orange, yellow, green, blue, indigo, violet).  Music includes spins by <b>DJ Shade and DJ Mass Transit </b>throughout the evening.  Visitors can enjoy complimentary massages from <a href="" rel="nofollow">Massage Envy</a> in the Room and Board Members Lounge, participate in a scavenger hunt, and take pictures in the <a href="" rel="nofollow">GlitterGuts</a> Photo Booth. There will be a creation station and a performance by <a href="" rel="nofollow">Mothergirl</a>  . <b>First Fridays </b>tickets, which include museum admission, live entertainment, and complimentary <b>Wolfgang Puck</b> hors d’oeurves, are $18 ($13 in advance). Guests must be 21 or older.</p> Wed, 06 Mar 2013 21:27:30 +0000 - Smart Museum of Art, University of Chicago - March 6th, 2013 1:00 PM - 2:30 PM <p style="text-align: justify;">Please join the Smart Museum of Art for an interdisciplinary object-based workshop on illusion, including a demonstration of "magic" objects disappearing in liquids.<br /><br />With presentations by Cecile Fromont (Assistant Professor of Art History), David Schutter (Assistant Professor of Visual Arts), and Sidney Nagel (Stein-Freiler Distinguished Service Professor in Physics).</p> Sun, 03 Mar 2013 08:32:19 +0000 - Smart Museum of Art, University of Chicago - March 7th, 2013 5:00 PM - 7:30 PM <p style="text-align: justify;">Join Hornswaggler Arts for drinks and conversation at the Smart Museum of Art. <br /><br />Fueled by a small menu of handcrafted Hornswaggler concoctions, creative interventions, and music from special guest DJs, this social hour provides common ground for lively conversation surrounding art, culture, and ideas.</p> Sun, 03 Mar 2013 08:35:17 +0000 Frieke Janssens - Catherine Edelman Gallery - March 8th, 2013 5:00 PM - 7:00 PM <p style="text-align: justify;">For decades society was accustomed to seeing people smoke cigarettes in advertising campaigns, television sitcoms, and mainstream Hollywood movies. The sight of a cigarette was as common as the family dinner. Many mothers of baby boomers smoked during pregnancy, well before the surgeon general declared it harmful. Virginia Slims sponsored women’s tennis, and the Marlboro man and Camel Joe became American icons. Today, cigarettes are banned on airplanes, and in restaurants and bars in cities throughout the world. At the same time, there has been a resurgence of allure associated with smoking, as can be seen in one of the most beloved shows on television, Mad Men, which celebrates the era of cigarettes and martini lunches.<br /> <br /> Frieke Janssens embarked on <em>Smoking Kids</em> in response to seeing a video of a chain-smoking toddler in Indonesia who became a tourist attraction. Alarmed by this reality, she decided to show people what the act of smoking looks like through the posturing of four to nine year old children. Working with modeling agencies, volunteers and family friends, Janssens tackled the issue of glamour often associated with smoking. Both irreverent and stunning, Janssens' photographs challenge our perceptions of smoking and the attitudes often defined by it. As the artist states:<br /> <br />             “A YouTube video of a chain-smoking Indonesian toddler inspired me to create this series. The video highlighted the cultural differences between the east and west, and questioned the notion of smoking as an adult activity. Since adult smokers are the societal norm, I wanted to isolate the viewer's focus on the issue of smoking itself. I felt that children smoking would have a surreal impact upon the viewer and compel them to truly see the act of smoking rather than making assumptions about the person doing the act. Coincidentally, around the time I was making <em>Smoking Kids,</em> a law passed that banned smoking in Belgian bars. There was an outcry from the public about government intervention, freedom being oppressed, and adults being treated like children. With health reasons driving many cities to ban smoking, the culture around smoking has a retro feel, like the time period of Mad Men, when smoking on a plane or in a restaurant was not unusual. The aesthetics of smoke and the particular way smokers gesticulate with their hands and posture cannot be denied, and at the same time, there is a nod to the less attractive aspects, examining the beauty and ugliness of smoking.“</p> <p style="text-align: justify;">It is important to note that chalk and sticks of cheese were used as props for the cigarettes, and candles and incense provided the wisps of smoke. The final photographic results were done in computer, combining the photograph of the child with a photograph of an adult hand smoking a cigarette. Janssens invites the public to wrestle with these hauntingly beautiful images, which both seduce and shock.</p> Sun, 24 Feb 2013 12:46:27 +0000 Christopher Churchill, Barbara Crane, John Gossage, David Hanson, Kenneth Josephson, Eugene Richards, Alec Soth, Dennis Witmer - Stephen Daiter Gallery - March 8th, 2013 5:00 PM - 8:00 PM <p><b><i>Beyond Here Lies Nothin’…</i></b><i> </i>examines our uniquely American landscape – the clash between the claims we make on the land, our varied stewardship of it and the resulting aesthetics of the wood, steel, glass and concrete with which we continually reshape our horizons.<i></i></p> <p>Taken over the last half century, the photographs in this exhibition depict the visual side-effects of our activities and behavior: economic transformations; technological revolutions; political fluctuations; environmental alterations; social evolutions.  All of this leaves us sometimes grappling to maintain a sense of ourselves visually.  How we see ourselves – what do we <i>see</i> when we look out the window? (We love the idea of Eden but we can’t resist dotting its hillsides with signboards). The physical appearances of our land (and city) scapes are mutable, fleeting. It falls to the artist to locate, identify and report on those appearances that possess intrinsic value, things worth considering remembering.  Things that tell <i>us</i> something about <i>us</i>.</p> <p><b>Eugene Richards</b> ruminates on forlorn, Midwest homesteads – abandoned to the elements and littered with traces of family lives now lived elsewhere.  <b>Dennis Witmer</b> traces the literal edge of the American landscape with a stark portrait of a street in a small Alaskan town that disappears at the edge of the Bering Strait.  <b>Alec Soth</b> explores the country along our greatest river- the Mighty Mississippi, while <b>David T. Hanson</b> examines the scars, carved indelibly into the Montana wilderness, by the coal companies.  <b>Christopher Churchill</b> embraces “God’s Country” in a coast-to-coast survey.  <b>Barbara Crane</b> records the geometrics of the literally imposing and overlapping edifices that define the modern city.  <b>Kenneth Josephson</b> finds mirth in the repetitive tract homes cascading up the hillsides in Pittsburgh. <b>John Gossage</b> offers a series of exquisite and sometimes unsettling details of the unattended wooded areas half-forgotten between towns and suburbs. And <b>Art Sinsabaugh</b> confirms our national identity in a single frame with his photograph of a highway interchange – the flowing labyrinth that symbolizes the American lust for movement and “freedom”. </p> <p>The artists of <i>Beyond Here Lies Nothin</i>’ have all captured something worth considering, something worth remembering – photographs of the American land – unpeopled places filled with reflections of the human emotions that continue to shape the horizon.</p> <p><b><i>Please join us for the opening reception, with some of the artists in attendance.</i></b></p> <p align="center"><b>Stephen Daiter Gallery</b></p> <p align="center"><b>Friday March 8<sup>th</sup></b></p> <p align="center"><b>5-8 pm</b></p> Mon, 04 Mar 2013 13:59:51 +0000 Rodney Graham - The Art Institute of Chicago - March 8th, 2013 10:30 AM - 5:00 PM <div class="field field-name-body field-type-text-with-summary field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Vancouver-based artist Rodney Graham is known for many roles—musician, performer, philosopher, scientist, and writer—but he is perhaps most recognized for his cerebral and captivating moving-image installations.</p> <p style="text-align: justify;"><em>Torqued Chandelier Release</em> (2005) is the third in a trio of films that the artist describes as “illustrated ‘thought experiments’ documenting transitory lighting events within the context of a single roll of film.” Inspired by Sir Isaac Newton’s famous water-bucket experiment exploring rotational motion, <em>Torqued Chandelier Release</em> vividly demonstrates Newton’s investigations as the chandelier, wound-up off-camera and then released, spins in one direction then reverses course until it finally comes to rest. The dizzying image of the spinning fixture takes on a sculptural, three-dimensional appearance, echoing Newton’s original experiment and illuminating the values of the Enlightenment itself.</p> </div> </div> </div> Sat, 02 Mar 2013 10:43:56 +0000 Adam Gondek, Juneer Kibria - THE MISSION - March 8th, 2013 6:00 PM - 9:00 PM <p>THE MISSION is pleased to present What You Get and What You See, an exhibition of recent works by Adam Gondek. In his first solo exhibition at THE MISSION, Gondek presents a new series that through his use of materials, invoke both 21st century painterly abstraction and print pornography. By applying layers of varied materials like acrylic, enamel, lacquer, and combinations of these elements, onto images of pin-ups from old-time girlie magazines, Gondek creates powerfully discrete pictures that teeter on the edge of the wrong-headed and the obsolete.<br /> <br /> Titled simply after their predominant color combinations - Mustard Green Nude or Silver Pink Nude, for example - Gondek's diaphanous dames adopt the artist's own apparent nonchalance towards his putative subject matter. Despite their presence as color fields, these are also reproductions of the sexualized female body, a fact that doesn't seem to exercise their creator much. "I'm interested in what is not there as much as what is there," the unseen and the seen," Gondek has said by way of making explicit his purposefully ambiguous approach. Meditations on the dissonance involved in taking loaded subject matter and making it nearly disappear in a field of steamy color, Gondek's ladies appear less like enticing sexpots engineered for the male gaze than ghostly, teasing but ultimately shapeless apparitions intended to subvert objectification itself.<br /> <br /> <br /> The exhibition will be accompanied by a fully illustrated brochure, featuring an essay by journalist Christian Viveros-Faun&eacute;.<br /> <br /> <br /> THE SUB-MISSION is pleased to announce the second exhibition of 2013, Hidden Noise, a site-specific installation by Juneer Kibria. Hidden Noise will reveal the textures or 'noises' that are often overlooked and are unique to THE SUB-MISSION. It is an installation that works with the unique aspects of the space- a low ceiling, exposed piping, brick wall, support beams, and an unfinished floor, to name a few. Hidden Noise responds to the specific identity of THE SUB-MISSION to form a narrative within the construct of the space.<br /> <br /> Working with powdered pigment, Hidden Noise begins by highlighting the natural textures of the space to create the foundation of the composition. The highlighted textures begin to reveal an underlying history of the space, suggesting past damage and general wear and tear on the different elements. Paired with objects and sculptures that also place an emphasis on the importance of color and raw materials, Hidden Noise utilizes the noise of the space to create a visceral experience.<br /> <br /> <br /> <br /> Juneer Kibria received a BFA in Printmaking from Wittenberg University in 2003, and received his MFA in Painting, Drawing and Sculpture from The School of the Art Institute of Chicago in 2012. He currently lives in Chicago and is the Co-Director of LAWN Gallery*<br /> <br /> <br /> What You Get and What You See // Hidden Noise will open on Friday, March 8, 2013 and run through Saturday, April 20, 2013.</p> Tue, 25 Feb 2014 21:04:34 +0000