ArtSlant - Closing soon en-us 40 Edie Fake, Erin Leland, Aay Preston- Myint, Michael Sirianni, Latham Zearfoss - Roots & Culture - February 22nd, 2013 - March 22nd, 2013 <p style="text-align: justify;"><i>How Do I Look?</i> is a group exhibition of drawing, photography, video, and three-dimensional works engaged in the strategic deployment of fantasy, confession, and voyeurism. The five artists in this show are together concerned with the physical construction of interiority, the confinement to oneself that nevertheless has a public appearance, and among other things, the richness of erotic encounters and their spatial dynamics. Employing sidelong glances, coded gestures and secret language, both in tactics of display and in attitude, the artworks of <i>How Do I Look?</i> continue both the feminist project of de-neutralizing domestic space and the queer project of de-pathologizing promiscuity.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">As a collection of encounters, <i>How Do I Look?</i> elicits desire from fluid erotics enacted relative to public disclosure, through the evocative interplay formed in moving from the openness of light to the cloaking of darkness. </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;"><i>How Do I Look?</i> is at once a self-obsessed trifle and an ever-prescient interrogation: "How do you see me? How do I see everything else?"</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Aay Preston-Myint was born in New York in 1981. An artist and community organizer working across different media and platforms, he currently teaches in the Fiber and Materials Studies Department at the School of the Art Institute of Chicago and also works with enthusiasm and pride as a baker and bartender. He holds an MFA in Studio Art from The University of Illinois at Chicago (2011) and a BFA from SAIC (2006).</p> <p style="text-align: justify;">Latham Zearfoss is an artist, educator, service industry mainstay, and facilitator of queer nightlife and culture in Chicago. His creative production centers on the various interpenetrations - both historical and mythological - of personal narrative and political discourse.</p> <p style="text-align: justify;">Erin Leland is a photographer and writer living and working in Brooklyn, New<b> </b>York. She has most recently been included in the group exhibition <i>White Petals Surround Your Yellow Heart </i>at the Institute of Contemporary Art in Philadelphia<b> </b>and has completed residence during the fall of 2010 at the Watermill Center, ending in an<b> </b>autobiographical re-hanging of Robert Wilson’s private art collection<b>.</b> Her recent writings are published through Mercer Union<b> </b>and WhiteWalls in<i> Blast Counterblast</i>, a 2012 compendium of artists’ writings. </p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Edie Fake's drawings use ecstatic architecture to manifest the love and fury of queer history. He holds a BFA from the Rhode Island School of Design and lives in Chicago.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">Michael Sirianni received his MFA from the University of Illinois, Chicago in 2010. Working in video, photography and sculpture, Sirianni explores queerness and internet social space. Recent exhibitions include solo shows at New Capital Projects and Johalla Projects in Chicago. A 2010 recipient of a Joan Mitchell Foundation MFA Grant, Sirianni lives and works in Brooklyn, New York. </p> <p style="text-align: justify;"> </p> Mon, 11 Feb 2013 09:14:11 +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 Joshua Albers, Daniel Bennett, Lauren Edwards, Kera MacKenzie - Gallery 400 - March 19th, 2013 - March 23rd, 2013 <p>The first in a series of four UIC MFA Thesis Exhibitions in Studio Arts, Photography, Moving Image, and New Media Arts.</p> <p><strong>Joshua Albers</strong> uses information technology to investigate the nature of constructed realities and rendered environments. His recent work explores the poetic potential of re-purposed consumer hardware, principally the Microsoft Kinect. He received a BFA from Missouri State University in 2004.</p> <p><strong>Daniel Bennett</strong> is a New Media artist working in performance, video, and installation. He seeks to highlight the invisible spaces between self and other through strategies of mirroring, repetition, and minor gesture. Using the body as a threshold, the structures of social interaction come to light. He received a BFA in sculpture from the University of Illinois at Urbana-Champaign.</p> <p>Through an expanded lens of photography, <strong>Lauren Edwards</strong> uses various strategies including installation, projection, and sculpture to create framing devices which question the relationships between experience, perception, and representation. She has exhibited in Chicago, Philadelphia, and New York, and is a recent recipient of the Provost Award for Graduate Research. Edwards will be attending the Institut für Alles Mögliche residency this summer in Berlin. She received a BS in psychology from Northeastern University in 2004.</p> <p><strong>Kera MacKenzie</strong> works at the intersection of set design, installation, video, photography, and script writing. Her work addresses issues of translation between mental and physical spaces, often employing a methodology inspired by metaphysical detective novels. Her videos have been shown at screenings and exhibitions in New York, Boston, and Berlin. MacKenzie has done artist residencies at Culturia in Berlin and Acre Projects in Wisconsin. She studied at Bennington College, the Art Institute of Boston, and Transart Institute.</p> Fri, 15 Feb 2013 18:59:07 +0000 Marie Chouinard - Museum of Contemporary Art (MCA) - March 21st, 2013 - March 23rd, 2013 <p style="text-align: justify;"><b>MCA Stage: Compagnie Marie Chouinard </b></p> <p style="text-align: justify;"><b><i>The Rite of Spring</i> and <i>Henri Michaux</i>: <i>Mouvements</i></b></p> <p style="text-align: justify;">MCA members $28, nonmembers $35, students $10</p> <p style="text-align: justify;"> <strong>The program by Montreal-based choreographer </strong><strong>Marie Chouinard</strong><strong> combines her newest work with her landmark interpretation of </strong><strong><i>The Rite of Spring</i></strong><strong><i>. </i></strong><strong>This dance is presented on the</strong><strong> MCA Stage</strong><strong> 100 years after the work was originally composed by</strong><strong> </strong>Igor<b> </b>Stravinsky and choreographed by Vaslav Nijinsky. The choreography features powerful staccato movements with the dancers’ feet turned inward, a dramatic departure from ballet technique of the time. <b><i>Henri Michaux: Mouvements</i></b> is a new work inspired by the French artist Michaux’s book of poetry and drawings, which Chouinard used as the basis for her choreography. Michaux's drawings are projected against the backdrop of the stage and the dancers recite excerpts of poetry.</p> <p style="text-align: justify;" class="last_child">“A staggering Rite of Spring. Vigorous, wild body movements, tinged with an exceptionally eloquent primitivism … shakes your very soul.”<br class="first_child last_child" />–Le Nouvel Observateur (Paris)</p> <p style="text-align: justify;">Québécois choreographer Marie Chouinard creates dance that seems culled from a primeval dream, earthy and strong yet shaped by irrepressible secrets and unseen dimensions in time. She returns to the MCA Stage with her landmark interpretation of <em class="first_child">The Rite of Spring</em> and her newest work, <em class="last_child">Mouvements</em>.</p> <p style="text-align: justify;">Chouinard’s interpretation of <strong class="first_child last_child"><em class="first_child last_child">The Rite of Spring</em></strong> is one of the resounding triumphs of contemporary dance, disarmingly unballetic and dauntingly new two decades after its world-acclaimed premiere. Performed on the 100th anniversary of the original work composed by Igor Stravinsky and choreographed by Vaslav Nijinsky, Diaghilev’s Ballet Russes production in 1913 Paris was a landmark of early modernism. The dance so outraged the audience, the shouting and booing of the crowd famously drowned out the orchestra and Nijinsky had to shout out the count to his dancers from backstage.</p> <p style="text-align: justify;">From Stravinsky’s original score, Chouinard finds the pulse that is essential to her movement. The cadence and force of the music inspire and energize her work, forming both the musical parallel and counterpoint of an organic and powerful choreography. This visceral <em class="first_child last_child">Rite</em> exults in the very moment after the very first instant life appeared. The performance is the force of creation unleashed. … an extraordinary burst of light, a flash of lightning. She constructs this piece around solos, seeking to awaken the intimate mystery within each dancer and of strong, clear movement through space of a vital energy.</p> <p style="text-align: justify;"><strong class="first_child last_child"><em class="first_child last_child">Mouvements</em></strong> is inspired by a book of poetry and drawings by the Belgian poet and artist Henri Michaux. Brilliantly imaginative, Michaux’s work often wrestles with the conflict between one’s inner and outer lives. The idiosyncratic book, published in Paris, 1951, is comprised of a 15-page poem and 64 pages of India-ink drawings depicting multiform figures that Marie Chouinard took delight in reading literally, from left to right and page to page, like a choreographic score. Inspired by Michaux’s “feast of bursting lines, spots and kaleidoscopic arms,” Chouinard originally conceived the work as a solo piece and choreographed only a few pages of drawings and poetry depicted by the artist.</p> <p style="text-align: justify;">In 2011, she decided to revive the work using the drawings and poetry of the entire book on her Compagnie. In the performance, Michaux’s black against white drawings are projected against the stage backdrop. The dancers, dressed in black and dancing on a white floor, become a three-dimensional visual echo the artist’s sketches. Whether reciting Michaux’s mystical poetry or moving in frenzied control, the dancers form a stunning silhouette to the projections, and exude a haunting sense that they, as Michaux, have connected to “the strangeness of natural things and the naturalness of strange things.”</p> <p>Running time: 1 hour and 45 minutes with intermission<br class="first_child" />Recommended for mature audiences: some nudity<br class="last_child" />No late seating</p> <p> </p> Sun, 03 Mar 2013 08:02:00 +0000 - Chicago Cultural Center - March 23rd, 2013 - March 24th, 2013 <p>The International Vintage Poster Fair, the world’s oldest and largest sale and exposition of original vintage posters, returns to Chicago the weekend of March 22nd at the Chicago Cultural Center.  Thousands of posters, dated from the 1890’s - 1980’s, will be on display and available for purchase throughout the weekend. World-class exhibitors from Belgium, France, Great Britain, Switzerland, and the United States will offer the finest of their collections at the annual Fair.  Original vintage posters of all genres, including food and liquor advertisements, film, travel and transportation and international expositions will be represented.  Styles include the popular Art Deco and Modernism posters as well classic Art Nouveau, Victorian images and more. All posters available at the Fair have been vetted for authenticity by the International Vintage Poster Dealers Association (IVPDA). </p> <p> </p> <p>This year’s Feature Exhibit, “Dressed to Sell” will highlight fashion in advertising.  A curated collection of posters will showcase fashion through the decades, demonstrating how one’s wardrobe mirrored its moment in time.  From the conservative clothing of 1890s to the glitz and glamour of the Roaring Twenties and the mod looks of the Mad Men era, these original vintage posters capture the cultural climate of the past century through fashion. </p> Fri, 08 Feb 2013 00:08:29 +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 Candida Alvarez - Hyde Park Art Center - December 2nd, 2012 - March 24th, 2013 <p style="text-align: justify;">The Art Center’s presentation of Candida Alvarez’s work will mark the artist’s first major solo exhibition in five years and will be on display at the Hyde Park Art Center from December 2, 2012 through March 24, 2013. Alvarez combines luscious and uncommon color schemes with organic abstract shapes, creating large-scale abstract paintings. Alvarez’s collage-like process begins with drawing and the world of pictures found primarily in newspapers and magazines. The painting process begins as she visually shreds, distorts, and otherwise mashes up her source material in a way that makes representational subjectivity recede while dense and evocative abstract compositions emerge. For example, collectable post-card reproduction images of a de Kooning painting gets paired with a front page designed photo image of Josephine Baker into canvases that average 7 x 6 feet.</p> <p style="text-align: justify;">Alvarez’s paintings actively distort the familiar. She explains, “Having run away from seemingly inadequate definitions for abstract painting, I find myself immersed in a relationship that tracks, exchanges, and shreds the world of news, front-page photography, design, and pictorial memory into a subject-less pictorial mash-up. In essence, there is no more picture; there is only painting.”</p> <p style="text-align: justify;"><b>Candida Alvarez</b> was born and raised in Brooklyn, New York. Alvarez received a BA from Fordham University and an MFA from the Yale School of Art in Painting and Printmaking. She is an alumnus of the Skowhegan School of Painting and Sculpture and was an artist in residence at PS 1 Long Island City, Queens. Her work has been shown in museums and galleries around the world and is represented in numerous public and private collections, including The Addison Gallery of American Art, The Whitney Museum of American Art, The Studio Museum in Harlem, and El Museo del Barrio. Reviews of her work have appeared in various publications, including <i>Art in America</i>, <i>Art News</i>, and <i>The New York Times</i>. Alvarez has taught at the School of the Art Institute since 1998, where she is a tenured Professor in the Painting and Drawing department.</p> <p style="text-align: justify;">Candida Alvarez’s work<i> </i>will be on view from December 2, 2012 to March 24, 2013 at the Hyde Park Art Center, 5020 South Cornell Avenue, Chicago, IL, 60615; 773.324.5520 and Exhibitions are always free and open to the public.</p> <p style="text-align: justify;">The Hyde Park Art Center is at once a contemporary art exhibition space, learning annex, community resource, and social hub for the art curious and professional artists alike — carrying out its mission to stimulate and sustain the visual arts in Chicago. The Art Center is funded in part by the: Alphawood Foundation; Andy Warhol Foundation for Visual Arts; Chicago Community Trust; a City Arts III grant from the City of Chicago’s Department of Cultural Affairs and Special Events; David C. and Sarajean Ruttenberg Arts Foundation; Field Foundation of Illinois; Harper Court Arts Council; Illinois Arts Council, a state agency; The Irving Harris Foundation; Joyce Foundation; Leo S. Guthman Fund; Lloyd A. Fry Foundation; MacArthur Fund for Arts and Culture at Prince; National Endowment for the Arts; Polk Bros. Foundation; Searle Funds at The Chicago Community Trust; and the generosity of its members and people like you. The Hyde Park Art Center does not discriminate against any person for reason of race, gender, age, place of national origin, handicap, religious conviction, marital status, veteran status or sexual preference.</p> Sat, 17 Nov 2012 17:34:55 +0000 Michael Hunter, Paul Kenneth, Kate Steciw, Easton Miller, Liz Nielsen - LVL3 Gallery - February 23rd, 2013 - March 24th, 2013 <p>LVL3 celebrates its three year anniversary highlighting artists shown during its first year of operation. Wingding looks back on the gallery’s achievements as it continues to grow and expand its programming. Featuring artists from coast to coast, each with their own unique relation to Chicago, Wingding consists of work by <strong>Michael Hunter</strong>, <strong>Paul Kenneth</strong>, <strong>Easton Miller</strong>, <strong>Liz Nielsen</strong>, and <strong>Kate Steciw</strong>, highlighting the ways in which their work has progressed in the past three years.</p> <p></p> Tue, 05 Feb 2013 01:16:25 +0000 Shimon Attie - Mary and Leigh Block Museum of Art - September 21st, 2012 - March 24th, 2013 <p style="text-align: justify;">During the 1990s American artist Shimon Attie presented a series of temporary installations in European cities that dealt with absence and legacies of the Holocaust.</p> <p style="text-align: justify;">For <em>The Neighbor Next Door</em> (1995), Attie projected archival film footage from World War II onto Amsterdam sidewalks. The films, which had been taken by people driven into hiding by the Nazis, suggested what life on the street might have looked like to someone living clandestinely.</p> <p style="text-align: justify;">In 1995 the artist Shimon Attie projected films taken during the Nazi occupation of Amsterdam onto the streets of the city. Two decades later you will encounter these archival images, shot secretly by people who had been driven into hiding, in an installation evoking the experience of watching from a confined space.</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">*The exhibition will not be on view from December 10 through January 10.</p> Sat, 01 Dec 2012 06:16:20 +0000 Terry Adkins - Mary and Leigh Block Museum of Art - January 11th, 2013 - March 24th, 2013 <p style="text-align: justify;" class="Pa1"><em>Recital</em> brings together a selection of work from the past 30 years by artist and musician Terry Adkins. Combining sculpture and live performance, Adkins has described his approach to art-making as being similar to that of a composer. His sculptures re-purpose and combine a range of materials, such as fiberglass propellers, wooden coat hangers, parachute fabric, and a variety of musical instruments in a process that the artist calls “potential disclosure,” which aims to reveal the dormant life in inanimate objects.</p> <p style="text-align: justify;" class="Pa1">During performances with members of his Lone Wolf Recital Corps, Adkins activates these objects through improvisational playing and singing, spoken word, costumes, and recorded sound. These events intend to uphold the legacies of immortal and enigmatic figures such as Bessie Smith, John Brown, Sam Lightnin’ Hopkins, Matthew Henson, and John Coltrane, among others. Adkins not only resuscitates individuals from historical erasure, but also sheds light on willfully neglected or ignored aspects in the lives of well-known figures, such as Ludwig van Beethoven’s possible Moorish ancestry or Jimi Hendrix’s military service as a paratrooper in the 101st Airborne.</p> <p style="text-align: justify;" class="Pa1"><em>Terry Adkins Recital</em> is curated by Ian Berry, Dayton of The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, in collaboration with the artist.</p> <p style="text-align: justify;" class="Pa1">Join us on Saturday, January 12 for an opening reception and artist conversation with curators Naomi Beckwith of the Museum of Contemporary Art Chicago and Hamza Walker of the Renaissance Society, artists Dawoud Bey and Theaster Gates, Tang Museum director Ian Berry, and Northwestern art history professor Huey Copeland. Reception at 2 pm; discussion at 3 pm. The program will be webcast live on the Block's website.</p> Mon, 17 Dec 2012 14:45:10 +0000 - Mary and Leigh Block Museum of Art - January 11th, 2013 - March 24th, 2013 <p style="text-align: justify;">Northwestern undergraduate Sophie Jenkins has curated this winter's exhibition in the Block's Ellen Philips Katz and Howard C. Katz Gallery.</p> <p style="text-align: justify;"><em><span style="text-decoration: underline;"><a href="" target="_blank">Eye Contact: Photographic Portraits from the Collection</a></span></em> explores the importance of the gaze between artist and subject, or viewer and subject, in conveying biographical or psychological information in portraiture.</p> <p style="text-align: justify;">A portrait has the capacity to communicate information about the identity, personality, and biography of its subject. If a subject seems unaware of or disinterested in his or her portrayal, does that limit our ability to identify or connect with a portrait?</p> <p style="text-align: justify;"><em>Eye Contact</em> poses questions about the importance of the gaze in portraiture and considers how eye contact between artist and subject, or viewer and subject, plays a crucial role in conveying biographical or psychological information about the individual.  This exhibition features photographs from collection of the Block Museum by Andy Warhol, photojournalist W. Eugene Smith, and Robert Mapplethorpe.</p> <p style="text-align: justify;">This exhibition is curated by Block Undergraduate Fellow Sophie Jenkins (WCAS '13).</p> <p style="text-align: justify;">Support is provided by Ellen Philips Katz and Howard C. Katz Endowment and Norton S. Walbridge Fund.</p> Sun, 06 Jan 2013 13:25:21 +0000 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 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