ArtSlant - Current exhibits en-us 40 You Ni Chae - 65GRAND - March 1st, 2013 - March 30th, 2013 <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 12:10:13 +0000 Neil Frederick Vandenbergh, Marcel Alcala, Lauren Anderson, Luis Miguel Bendaña, Andrew Mausert-Mooney - ADDS DONNA - February 10th, 2013 - March 17th, 2013 <p style="text-align: justify;"><span style="font-size: small;">ADDS DONNA presents Surfin’, a group exhibition </span><br /><span style="font-size: small;"> featuring the work of Marcel Alcala, Lauren Anderson, </span><br /><span style="font-size: small;"> Luis Miguel Bendaña, Andrew Mausert-Mooney and Neal Frederick Vandenbergh.</span><br /> <br /><span style="font-size: small;"> Surfin’</span><br /><span style="font-size: small;"> Feb. 10, 2013 thru March 17, 2013 </span><br /><span style="font-size: small;"> Opening reception Feb. 10, 2013, from 1 - 5pm. </span><br /> <br /><span style="font-size: small;"> Surfin’ strives to conjure a dialogue between surface making and surface reading. By regarding surface not as a thing but as an action, and playing into the artworks’ laid-back character, surfin’ becomes a language – a slang spoken through the work of these five artists. Their mutual fluency provides a codex for the viewer to interpret their otherwise hypnotic vernacular. </span><br /> <br /><span style="font-size: small;"> Subject matter is skimmed from the world (IRL) for these makers and approached casually (NBD). Yet their nonchalant attitude is not without thought. These quick gestural acts proceed from contemplation, however abbreviated. All raise a question of the representation and disfiguration of language. </span><br /> <br /><span style="font-size: small;"> Is this the pulse of a generation – one bred on voyeuristic participation and instant gratification? In any case it seems for these artists that viewership and authorship are no longer at odds. “Artist as-observer” and “observer-as-artist” blend beautifully in this world of mixed sincerity. </span><br /> <br /> <br /><span style="font-size: small;"> Marcel Alcala’s collaged paintings incorporate snapshots of vague social intercourse. His off-hand pairings and cheeky gestures declare the viewer as voyeur, exacerbating the allure of the images’ decontextualized frivolity. </span><br /> <br /><span style="font-size: small;"> Lauren Anderson explores the possibilities of freedom and constraint within abstraction. Her monoprints adhere to a set of formal rules loosely based on the principles of Yin and Yang. </span><br /> <br /><span style="font-size: small;"> Luis Miguel Bendaña abstracts words that carry sensual connotation. His gestural respellings of words like gorgeous and meow add a cool literalness to reading the work. </span><br /> <br /><span style="font-size: small;"> Andrew Mausert-Mooney and Neal Vandenbergh share a collaborative practice that investigates embodied intersubjectivity and discourse in public space. The video presented for Surfin’ awakens an uncomfortable consciousness as viewers witness the awkward deliberations of its interviewees.</span><br /> <br /> <br /><span style="font-size: small;"> ADDS DONNA</span><br /><span style="font-size: small;"> 4223 W Lake </span><br /><span style="font-size: small;"> Chicago IL 60624</span><br /><span style="font-size: small;"> Open Sundays from 1 – 4pm and by appointment. </span><br /><span style="font-size: small;"> <a href="" rel="nofollow" target="_blank"></a></span><br /><span style="font-size: small;"></span></p> Sun, 17 Feb 2013 06:16:52 +0000 Jeremy Bolen - Andrew Rafacz Gallery - February 9th, 2013 - March 30th, 2013 <p style="text-align: justify;">ANDREW RAFACZ begins 2013 with Cern, new works by Jeremy Bolen. This is the artist’s first solo exhibition with the gallery. It continues through Saturday, March 30, 2013.<br /> <br /> In an effort to rethink documentary tendencies, Jeremy Bolen employs a series of site-specific, experimental photographic techniques to explore the tensions between traditional representation and invisible phenomena. Bolen uses bodies of water, soil, unexposed film, and self-designed multi-lens cameras as recording devices, rethinking the apparatus for each site to capture events beyond human perception. He collaborates closely with scientists, piggybacking on their experiments to record evidence of unknown and unresolved energy, from forgotten natural disasters and particle acceleration, to the surface of the film. The film becomes a responsive membrane leaving a documentary trace, an ambient map, a literal, empirical index that makes the unknown less abstract. The final images are re-immersed in the site material where they were conceived, causing a tension between the real and the representational. <br /> <br /> To create the work included in this exhibition, Bolen traveled to CERN in Geneva, Switzerland to interact with the Large Hadron Collider, which produces 600 million particle collisions per second in an effort to recreate the conditions present just after the Big Bang. These “field recordings” ultimately investigate the complications that arise from these collisions and their relationship to naturally occurring forces. New spaces evolve in each document as climate and human interaction shift and blur the system of materials. As Karin Knorr Cetina wrote in Epistemic Cultures, “in these experiments the universe of signs and traces is overlaid by a universe of simulations and distortions of signs and traces.” For Bolen, this is the way the practice of the photographer and the scientist are fundamentally connected. In the same way that things are disturbed when measured through scientific processes, the very act of photography itself, whether traditional or experimental, adulterates its final results. It is this tension between the accuracy or inaccuracy of capturing ephemeral phenomena and its potential representation as a visual artifact that drives Bolen’s documents.<br /> <br /> JEREMY BOLEN (American, b. 1977) lives and works in Chicago. He received his MFA from UIC in 2012. He was included in GROUND FLOOR at the Hyde Park Art Center, Chicago, in 2012 and exhibited at the UNITLED art fair in Miami, December 2012, with the gallery. He is included in numerous private collections as well as the Progressive collection. A catalog with images and an essay by Monica Westin accompanies the exhibition.</p> Sat, 02 Mar 2013 01:56:34 +0000 Robert Burnier - Andrew Rafacz Gallery - February 9th, 2013 - March 30th, 2013 <p style="text-align: justify;">ANDREW RAFACZ begins 2013 with The Horseless Carriage, new works by Robert Burnier. This is the artist’s first solo exhibition with the gallery. It continues through Saturday, March 30, 2013.<br /> <br /> When Robert Burnier was a child, he was immediately hooked on his Commodore 64 computer and the binary world that it opened up to him. It led him to study computer science and become a software engineer. But ultimately, he was just as fascinated by how the systems he created, acting as their own micro-cultures, inherently had their own dilemmas. Today, his work is driven by the possibilities of how a system or structure can be pushed to the point of contradiction or collapse. He still uses existing software as a source, taking what he refers to as a ‘stressed virtual configuration’ and manifesting it as a physical object. He uses technology as a medium with its own idiosyncrasies and malfunctions. The material choices he makes for a work are informed by the terrain of shapes and data from the broken source system. <br /> <br /> The title of Burnier’s exhibition references the notion that interesting things exist in transitional states and we as human beings are prone to define them in terms of that limbo, looking forwards and backwards simultaneously. The horseless carriage, used to describe the first automobiles, is a great example of this. For the exhibition, Burnier presents several three-dimensional works and one framed work. The two smaller three-dimensional works attach to the wall as if they are drawings or paintings. Some sections and edges are angular while others have the fluidity of a sheet of folded or twisted paper. They are, in fact, made of aluminum and coated in muted colors of primer. A third three-dimensional work, created in a similar manner, is larger and floats off the wall, allowing the viewer to experience it from every angle. Burnier’s single framed work, Buren via Tuttle, is comprised of two inkjet prints stacked on top of each other. Visually related to the three-dimensional works, it also presents the artist’s inspirations directly. These works each have moments of precision as well as disruption to the possibilities of that precision. They hang there, in a space that is both static and dynamic, in the middle of a narrative that has not been completely played out. At times, they feel as if they might implode. Other times, they seem to have been left in the middle of some transformation. They have elements of high design yet are made to manifest their oddities and quirks, reminding the viewer that someone created them, coming to grips with his own personal narrative and existence. <br /> <br /> ROBERT BURNIER (American, b. 1969) lives and works in Chicago. He will receive his Post-Baccalaureate in Painting and Drawing from SAIC in 2014. He holds a B.S. in Computer Science from Shippensburg University of Pennsylvania (1991). He was included in the Evanston and Vicinity Biennial 2012, curated by Shannon Stratton, and Some Dialogue, curated by Sarah Krepp and Doug Stapleton, at the Illinois State Museum, Chicago, 2012. His work is included in a number of private collections as well as United Airlines’ corporate collection. This is his first exhibition with the gallery.</p> Mon, 04 Feb 2013 00:41:30 +0000 Guy Ben-Ner - Aspect Ratio - March 15th, 2013 - April 26th, 2013 <p>Guy Ben-Ner was born in Ramat Gan, Israel. He studied at Hamidrasha School of Art at Beit Berl College before going on to receive an MFA at New York’s Columbia University. The 2006 recipient of a DAAD Grant, Ben-Ner has exhibited at the Venice Biennial, Cincinnati’s Contemporary Art Center, P.S. 1 Contemporary Art Center, and the Center for Contemporary Art in Tel Aviv.</p> <p>Ben-Ner’s work explores the relationship between the artist and his family.  <em>Stealing Beauty</em> (2007), completed with a DAAD Grant, starring Guy Ben-Ner’s wife and children, was shot inside IKEA model rooms.  Comedy unfolds as IKEA customers encounter the family lounging in pajamas, preparing meals and bathing.  Inspired by cinematic icons (Buster Keaton) and political thinkers (Frederic Engels and Edward Said), the video transgresses real and imaginary borders.</p> <blockquote> <p><em>“The only proper way to pay [my children] back for their labor was to allow them to enjoy the end product.  So I try to make movies that both you and my children could understand, even if on different levels.  In any case I felt there is no reason not to extend that approach further – I would like to communicate with people, in general, and not only with the closed cycle of art people.”  – Guy Ben-Ner on collaborating with his children  (excerpt from, Flash Art, “Feeling Lured,” Maurizio Cattelan interviews Guy Ben-Ner, n.266 – 2009)</em></p> <p><em>“Yes, [Stealing Beauty] is an example of a movie that costs nothing.  And I stole the music too.  It’s from commercials running on screens at IKEA Berlin.  I recorded it straight to the camera.  The idea for the movie came because the showrooms looked more like family-sitcom sets than houses people actually live in.  So I lifted the veil.  But if in the classical family sitcom the economy is separated from the show, here the price tags, in view everywhere, make the two spheres collapse into a single one.”  - Guy Ben-Ner on creating Stealing Beauty  (excerpt from, Flash Art, “Feeling Lured,” Maurizio Cattelan interviews Guy Ben-Ner, n.266 – 2009)</em></p> </blockquote> <p>In 2009, Ben-Ner screened <em>Drop the Monkey</em> at Performa.  In <em>The New York Times</em>, Karen Rosenberg writes,  “Ben-Ner acts alone. Actually, he has a conversation with himself, via cellphone, as the film moves between Berlin and Tel Aviv. The conceit is simple yet effective: the action takes place in real time, and the film never leaves the camera, so Mr. Ben-Ner has to travel back and forth between cities.”</p> Mon, 29 Apr 2013 14:37:29 +0000 Craig Norton - Carl Hammer Gallery - February 15th, 2013 - March 30th, 2013 <p style="text-align: justify;">Carl Hammer Gallery proudly introduces <a href="" target="_blank" shape="rect">Craig Norton </a> to Chicago in his first solo exhibition here.  Hailing from St. Louis, the self-taught Norton uses his art as a call for social activism using three-dimensional depictions of the realities of war, prejudice, aging, street conflict, physical and verbal abuse, family discord, etc.  Uniquely, his socially minded constructions are a combination of drawings and collages layered on top of wood cut-outs, built into complex, panoramic wall sculptures.  The human figure(s) serves as the focal point of each large installation.  Hands and faces, images of which are taken from newspaper stories, history books and from Norton's own picture-taking, are drawn with expressive, almost photographic realism, and the figures themselves are clothed, paper-doll like, in garments fashioned from collaged wallpaper.</p> <p style="text-align: justify;">Norton sees himself and his art akin to being on a mission pointing out the failings of society and the people who are victimized within it.  From actual interviews of the victimized to television news reports to film documentaries, his investigation leads to poignant portrayals which, in turn, become his art.  Ultimately, from the process, the success of Norton's missionary-like zeal emerges from the expressive body language of his figures, creating for the viewer both a sense of awareness and empathy with them and their emotions.  In her review of Norton's 2012 New York exhibition, <span style="text-decoration: underline;">NYTimes</span> critic Roberta Smith wrote: <i>But the tension, between the reportorial and the subjective, between the ordinary and the loopishly cartoonish, and above all between watching events unfold and being there, feeling them in all the madness and motion of life, is extraordinary.  </i></p> <p style="text-align: justify;">In <i>Dropping Mom Off At The Old Folks Home</i>, Norton aptly portrays our human terror of getting old, and he touches us by identifying that, with getting old, there comes a resulting, growing loneliness and sense of worthlessness.  While the artist poses no concrete solution to these or other social dilemmas, his art, by its frankness and compassion, allows us to honestly confront and respond to them.</p> Sun, 17 Feb 2013 01:06:21 +0000 Judith Geichman - Carrie Secrist Gallery - February 9th, 2013 - March 30th, 2013 <p style="text-align: justify;">Carrie Secrist Gallery is pleased to present a solo exhibition of paintings and works on paper by <em><b>Judith Geichman</b></em>, opening Saturday, February 9, 2013 from 5 - 8 PM. This new series of black and white abstract work was created through a process of adding and editing, a gestural layering that experiments with a new language of abstraction.</p> <p style="text-align: justify;">Within each of Geichman's paintings, marks, stains, pours and drawings conjure unexpected relationships to landscape and to the figure. Each square-format painting is composed of acrylic and enamel on canvas. Typically restrictive, this Modernist structure liberates Geichman's use of arrangement, movement, and rhythm. Positioning the paintings like a theater in the round, the square establishes multiple approaches to make and to view each piece.</p> <p style="text-align: justify;">Geichman's paintings are rich with art history, and include influences from both Western and Eastern canons. From Imagist Ray Yoshida she incorporates graphic mark making as a vehicle to build each painting, while New York School artists such as Morris Louis and Helen Frankenthaler inspire Geichman's stained canvases. Her study of Chinese scholar's rocks provides an interest in atmospheric spaces whereas she derives the use of pattern and curvature from Arabesque sources.</p> <p style="text-align: justify;">On view in gallery two, Geichman's new works on paper are immediate and economical. The artist's exploration of the Chicago cityscape, as well as recent travels to Iceland and Ireland, inspired her to experiment with new tools and techniques in her studio. Before translating her latest ideas to canvas, she drafted a body of paper pieces. Formal contrasts between light and dark, figure and ground, and flat and volumetric spaces allow Geichman to imagine a world, a space, and a place in each piece.</p> <p style="text-align: justify;"><strong><i>Judith Geichman </i></strong>is on view through March 30, 2013. The gallery will host an artist talk and closing reception on Saturday, March 30 from 1 to 5 PM.</p> <p style="text-align: justify;">Judith Geichman is an Adjunct Professor of Painting and Drawing at the School of the Art Institute of Chicago, where she received her MFA in 1978. She is the recipient of two National Endowment for the Arts Visual Arts Fellowships,The Margaret Klimek Phillips Fellowship and participated at The Gil Society Residency in Akureyri, Iceland, as well as the Visiting Artist Residency at the American Academy in Rome. Past solo exhibitions include Julius Caesar, Chicago Cultural Center, Spertus Museum, and Evanston Art Center. Her work was the subject of a two-person show (alongside Phyllis Bramson) at Carrie Secrist Gallery in 2010.</p> <p style="text-align: justify;"></p> Sun, 10 Feb 2013 14:10:47 +0000 Frieke Janssens - Catherine Edelman Gallery - March 8th, 2013 - May 4th, 2013 <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 Stephen Beal, Richard Nickel, Barbara Crane, Bob Thall - Chicago Cultural Center - March 12th, 1994 - December 31st, 2020 <p><em>Presented by the Commission on Chicago Landmarks, this exhibition of 72 black and white photographs from 1956 to 1987 offers a detailed view of 24 designated Chicago Landmarks.  The exhibit features the work of renowned architectural photographers Richard Nickel, Barbara Crane, Bob Thall and Stephen Beal.</em></p> <p> </p> Sat, 04 Feb 2012 02:51:44 +0000 Claire Ashley - Chicago Cultural Center - January 12th, 2013 - March 31st, 2013 <p style="text-align: justify;">The Michigan Avenue Galleries, located on the first floor of the Chicago Cultural Center will feature the work of <b>Claire Ashley</b> when the playfully titled, <i>"frizzflopsqueezepop"</i> opens for exhibit from January 12 through March 31. The exhibition features vibrantly colored works painted on tarpaulin: some hang on the wall, others occupy space on the floor, while still more can be inhabited by humans who will place the objects in motion in two scheduled performances.</p> Sat, 02 Mar 2013 01:56:53 +0000 Shawn Decker - Chicago Cultural Center - February 8th, 2013 - May 5th, 2013 <p style="text-align: justify;">Shawn Decker is a composer, artist, and teacher who creates sound and electronic media installations and writes music for live performance, film, and video.  <em>Prairie</em> references the dynamic rhythms of grasslands and the rich soundscape and eco-systems found within, evokes insect sounds, as well as rain, wind, and other rhythms of life within the prairie, enacted within a architectonic minimalism. <strong></strong></p> <p><strong> </strong></p> Sun, 31 Mar 2013 04:53:29 +0000 Diane Simpson - Corbett vs. Dempsey - February 8th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">Corbett vs. Dempsey is very pleased to present its first solo exhibition of new sculpture and drawings by Diane Simpson. Since her earliest shows at Artemisia and the Phyllis Kind Gallery in the late 1970s, Simpson has been a major force in Chicago sculpture. Indeed, Simpson straddles several generations in Chicago art; she attended the School of the Art Institute in the mid 1950s, received her MFA there in 1971, where she was friends with Imagist artists including Christina Ramberg and Ray Yoshida, and she has maintained deep connections with the abstract conceptual artists of the 1980s, including Richard Rezac and Julia Fish.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Exploring a liminal zone between abstraction and figuration, her sculpture starts with intensive studies in fashion, extracting the human (left as an insinuation) and focusing on the architecture of the attire, its inherent tensions and relaxations, out of which Simpson extrapolates entirely original forms. A collar, a cuff, a hem - each part of a piece of clothing is fodder for formal play, deconstruction and reconstruction. An intense and detail-fixated craftswoman, firmly in the same Windy City tradition as H.C. Westermann, she has worked in diverse materials, including cardboard, MDF, wood, fabric, paper, aluminum, and vintage linoleum, all with a meticulous finish and an aggressive sense of design.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Early in her career, Simpson introduced a way of making 3-D work that translated from drawings, concentrating on the 45-degree angles that helped define a certain kind of perspective. She continues this investigation with an important new piece, based on the same set of calculations, as well as unveiling new freestanding, wall hanging, and shelf-based works. Along with these new sculptures, Corbett vs. Dempsey presents several new drawings, executed on graph paper, which stand both as studies for the sculptures and fully-realized, independent works on paper.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Simpson was the subject of a retrospective, <em>Sculpture + Drawings, 1978-2009</em>, at the Chicago Cultural Center (2010).</span></p> <p style="text-align: justify;"><span style="font-size: small;">A full-color, 48-page catalog, with essays by John Corbett and Jason Foumberg, accompanies the exhibition.</span></p> Mon, 11 Feb 2013 18:45:15 +0000 Rodney Quiriconi - Corbett vs. Dempsey - February 8th, 2013 - March 23rd, 2013 <p style="text-align: justify;"><span style="font-size: small;">In the West Wing, Corbett vs. Dempsey presents Rodney Quiriconi: <em>Constructions: 1960 -1970</em>. Quiriconi (b. Chicago, 1933) was well known in Chicago in the 1960s and '70s. One of the only artists of the era to have drawn extensively on Minimalism, Quiriconi was neighbors with H.C. Westermann, whose use of rare woods directly influenced him. At the outset of the 1960s, he was working as a painter, but gradually moved into making intricate, exquisitely crafted box constructions, using metal, glass, wood, and mirror. The earliest boxes were relatives of Joseph Cornell's, with similar roots in a Surrealist collage sensibility, but deeper into the 1960s they became more stripped down and experimental.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Over the years, Quiriconi was associated with several legendary Chicago galleries, including Dell and Phyllis Kind, and he participated in numerous exhibitions at the Hyde Park Art Center. This is the first solo presentation of a group of his vintage works in over thirty years.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A full-color, 16-page catalog, with an essay by John Corbett, accompanies the exhibition.</span></p> Sun, 10 Feb 2013 14:33:20 +0000 Group Show - DePaul Art Museum - January 10th, 2013 - March 24th, 2013 <p style="text-align: justify;">Climate of Uncertainty features 12 artists engaged in long-term projects that address the human role in environmental degradation. Photographers document issues ranging from the destructive effects of extractive industry to the effect of careless waste disposal on animal populations; installation artists provide a participatory and immersive experience around deforestation and the enormous consequences of large-scale damming. Works included in the exhibition reveal ways that individuals, industries and governments have exploited, abused or are depleting natural resources, but artists also explore alternative approaches to environmental issues by challenging the viewer to imagine a more hopeful future.</p> <p style="text-align: justify;">Featured artists include: Marissa Benedict, Edward Burtynsky, Terry Evans, Sonja Hinrichsen, Allison Grant, Chris Jordan, Maskull Lasserre, Marilyn Propp, Sabrina Raaf, Christina Seely, Daniel Shea, and Toshio Shibata.</p> Mon, 11 Feb 2013 18:45:20 +0000 Bruce Davidson - DePaul Art Museum - January 10th, 2013 - March 24th, 2013 <p style="text-align: justify;">In 1965, on the heels of an assignment to photograph castles in the bucolic Welsh countryside, Bruce Davidson spent ten days in the mining communities of the Ebbw Valley in South Wales. He came away with a sequence of photographs that depicts the region in steep industrial decline. Though the scarred landscape, broken by mine shafts and smoke stacks, provided an important setting for the photographs, Davidson’s primary concern was mining’s human toll. He often focused on the miners’ weathered faces, caked in soot, and bearing the signs of arduous labor. Yet Davidson’s portrayal of the miners is not dispassionate. He sought to capture what he called the “lyrical beauty” of a community that was materially austere but socially rich and proud of its work.</p> <p style="text-align: justify;">The series marked a significant development in Davidson’s approach: it was the first time he intervened to pose his subjects. His experience in Wales revealed that by collaborating with those on the other side of his camera, rather than simply observing, he could engage a deeper sense of the poetic truths of their lives. Working in this way, Davidson recounted not only the Welsh miners’ daily routine, but also their escape from its drudgery, showing moments tinged with promise (a wedding ceremony), mystery (a girl singing in a graveyard), and fantasy (a seemingly mythical horse).</p> Sat, 01 Dec 2012 10:37:06 +0000 Patrick Killoran - Hyde Park Art Center - October 29th, 2010 - January 1st, 2014 <div id="stcpDiv" style="position: absolute; top: -1999px; left: -1988px;">On extended loan from the artist.</div> <p style="text-align: justify;"><span style="font-size: small;">On extended loan from the artist.</span></p> <p style="text-align: justify;"><span style="font-size: small;">A vending machine mysteriously conceals the main entrance to the Hyde Park Art Center&rsquo;s School and Studio. The repurposed vending machine will be fitted into an existing doorway. Inquisitive visitors to the School and Studios will be surprised when they pass through an innocuous utility door only to emerge from inside the non-functional vending machine.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Central to Killoran&rsquo;s strategy is the artwork that pretends to be something it is not, often times transitioning the viewer from unwitting observer to analyst. The title of the work, <em>Immergence</em> or &ldquo;to disappear into&rdquo; points to how vending machines have been assimilated into our everyday reality. Located at the physical threshold between art gallery and artists&rsquo; studios, interacting with <em>Immergence</em> becomes a non-negotiable experience for visitors wanting to travel from one space to the other. The position of the machine satirizes the supposed freedom to disregard corporate imagery, and underscores our constant bombardment with opportunities for consumption. <em>Immergence</em> provides the participant with another such opportunity.</span></p> <p style="text-align: justify;"><span style="font-size: small;">Patrick Killoran&rsquo;s work focuses on turning objects of public consumption into objects of public speculation. From modified taxi cabs, to t-shirts, to outhouses, Killoran&rsquo;s work disturbs the normal functioning of each item, integrating art into everyday life. He has produced artworks for international shows including, the 1998 Biennale of Sydney in Australia, Wan&aring;s 2000 in Sweden, and ev+a (2005) in Limerick, Ireland. His most recent projects have been presented at the Center for Contemporary Art in Prague, IKON in Birmingham, SculptureCenter in New York City and the Mori Museum in Tokyo. Killoran was the Pick Laudati Fund for Arts Computing Artist in Residence in the Department of Art Theory and Practice at Northwestern University during the spring of 2010. He currently spends his time working between New York and Los Angeles.</span></p> Mon, 11 Nov 2013 19:12:13 +0000