ArtSlant - Closing soon en-us 40 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 Todros Geller, A. Raymond Katz, Mitchell Siporin - Spertus Institute for Jewish Learning and Leadership - July 11th, 2012 - April 26th, 2013 <div class="field field-name-field-description field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">See the woodcut prints of an influential group of Jewish artists active in Chicago between 1920 and 1945. Predominantly Eastern European Jewish immigrants, Jewish Modernists identified with the poor and working class. Includes works by many of these artists, including Todros Geller, A. Raymond Katz, and Mitchell Siporin, among others.</p> <p style="text-align: justify;"><strong> </strong></p> <p style="text-align: justify;"><strong>Published by L.M. Stein</strong><br /><strong>Chicago, 1937 </strong></p> <p style="text-align: justify;">In 1934, a Jewish autonomous region was established in Biro-Bidjan (sometimes spelled Birobidzhan), Siberia. This Jewish region emerged from a Soviet policy that encouraged each ethnic group to contribute to the building of socialism by settling its own territory (or <em>oblast</em>) and developing its own language and culture. Yiddish was declared the official language of the Jewish Oblast and a proletariat secular culture was bolstered. From 1934 to 1937, the area boasted Yiddish newspapers, schools, a library, and a theater.</p> <p style="text-align: justify;">An American Biro-Bidjan Committee, whose officers included Albert Einstein, raised funds to relocate families to the region, particularly as a haven from Nazism. Julius Rosenwald, the president of Sears and founder of the Museum of Science and Industry, contributed more than $2 million to the cause. Zionist leaders, however, opposed the plan, claiming that it detracted from efforts to settle Jews in Palestine. Rabbi Abba Hillel Silver argued that there can be no <em>ersatz</em> (replacement) for Palestine because it is not “an emergency place or refuge…It is home!” </p> <p style="text-align: justify;">In 1937, a group of progressive Jewish artists from Chicago created a portfolio of prints in support of Biro-Bidjan. The 14 participating artists were also active in the Works Progress Administration (WPA), a New Deal government program that carried out public works projects during the Great Depression. In the introduction to the portfolio, written in Yiddish and English, the artists expressed that their work emerged from a past rooted in age-old suffering but is energized by a new cultural force that aspires for a better life and a more understanding world. As such, some of the woodcuts convey hardship, both in Depression-era America and in Europe, while others express optimism and hope for the future. </p> <p style="text-align: justify;">Despite initial promise, the region proved inhospitable owing to its harsh, cold climate and remote location in the Soviet Far East. Communist purges further disrupted settlement and caused many of the early settlers to depart. Today, an estimated 4,000 Jews live in Biro-Bidjan, according to Rabbi Mordechai Scheiner of Chabad Lubavitch. Rabbi Scheiner serves as the area’s chief rabbi and is working to revive Jewish life in the region.</p> </div> </div> </div> Fri, 21 Dec 2012 00:08:38 +0000 Todros Geller, A. Raymond Katz, Mitchell Siporin, Fritzi Brod - Spertus Institute for Jewish Learning and Leadership - October 21st, 2012 - April 26th, 2013 <p style="text-align: justify;"><strong><em>Uncovered &amp; Rediscovered</em></strong> is an evolving eight-part exhibit that explores the Chicago Jewish experience. The exhibit unfolds over time in a series of intimate chapters (each on display for 3-6 months in the ground floor vestibule of the Spertus building).<br /><br /><strong>Exhibit admission, including a multi-media screening station on the second floor, is free.<br /><br /></strong>This chapter shares the work of an influential group of Jewish artists active in Chicago between 1920 and 1945. Predominately Eastern European immigrants or first generation Americans, many began their careers during the Great Depression as painters for the Works Progress Administration (WPA). The Modernists, as they were called, painted from personal experience and were influenced by the energy of Chicago's growing metropolis. See works by Todros Geller, A. Raymond Katz, Mitchell Siporin, Fritzi Brod, and others, and learn the stories of places they gathered including Hull House, the Jewish People's Institute, and Around the Palette (the forerunner of the American Jewish Artists Club).</p> Sat, 29 Sep 2012 12:11:42 +0000 Eric Bellis (aka Rico Bell) - Thomas Masters Gallery - April 5th, 2013 - April 26th, 2013 <p>An exhibition of oil paintings and studies by Eric Bellis (aka Rico Bell) <br /> STATEMENT BY THE ARTIST<br /> ‘California is a Garden of Eden<br /> A paradise to live in or see<br /> But, believe it or not<br /> You won’t find it so hot<br /> If you aint got the doh re me’<br /> So sang Woody Guthrie in reference to the plight and subsequent migration to ‘the promised land’ of California by the victims of the great dust storms that swept through the Midwest and Southwest of North America in the 1930s. <br /> California is still ‘The Promised Land’ to many of the migrant farm workers arriving there today but as Woody’s lyric implies, it is still an empty ‘promise’. Lack of employment protection rights or health care, and exposure to poisonous pesticides, are just some of the occupational hazards that await the majority of men and women who come to work in the fields for meagre, and often below subsistence level, wages.<br /> Despite my subsequent knowledge of the above, when I first began this series of paintings I did not do so with the intention of making any overtly political statements. Rather, as with the paintings in my first solo show at this gallery, ‘The Fruits of Labour’, (so long ago now that I’m too embarrassed to recall) I was motivated by the visual juxtaposition of the human form at work within the landscape that, this time, happened to be in the fields of the central coast area of California. The possibilities of creating a series of paintings using these observations as a starting point enabled me to find a connection to my previous work that I had been searching for since leaving the UK some years before. As my observations progressed, however, I began to question the working conditions these people endure and why the workers, in general, wear certain types of clothing such as hooded sweaters and scarves that leave very little of their skin exposed. The first and most obvious reason would be as protection from the hot sun, but why tie a scarf around the face ‘bandit’ style, I wondered. It took very little research to learn that they were attempting to protect themselves from contact with, or inhalation of, the poisonous pesticides and other chemicals that are sprayed on the crops. Proper protective wear is, no doubt, prohibitively expensive for one surviving on minimal wages and it would seem that no laws are enforced, or even exist, to require employers to provide such wear. <br /> My awareness of the above has inevitably had a subconscious effect on the way these paintings have developed but I still maintain that I intend no specific political message with them. I believe there is a visual beauty and harmony to be found in all things and I hope that my representation of these hard working people captures that, but also holds a viewer’s attention long enough to allow further thought to consider these workers’ existence within the landscape of our world. <br /> No doubt the way in which you, the viewer, interpret what you see in this body of work will be affected by your own beliefs, preferences and knowledge. But, rest assured, I would never be happy with a painting or, indeed, deem it complete, until there are ‘questions’ within it that have occurred without my conscious intention and only as part of the process of creating the finished work. I do not have definitive answers to these questions so, however you choose to view the work in this show I hope you’ll find it to be an enjoyable and worthwhile experience.<br /> Finally, I would like to note that credit for the title of this show must go to your host and gallery owner, Thomas Masters, whom I would like to thank for not forgetting about me during all the years since my last show here-- and for finally making this show happen.<br /> Cheers<br /> Eric Bellis <br /> April 2013</p> Sat, 20 Apr 2013 05:25:45 +0000 Group Show, Dominique Vitali, Amy J Jahnke - ARC Gallery and Educational Foundation - April 3rd, 2013 - April 27th, 2013 <table bgcolor="#FFFFFF" border="0" cellpadding="0" cellspacing="0" width="100%"> <tbody> <tr> <td rowspan="1" colspan="1" align="center"> <table border="0" cellpadding="2" cellspacing="0" width="600"> <tbody> <tr> <td rowspan="1" colspan="1" bgcolor="#FFFFFF"> <table bgcolor="#FFFFFF" border="0" cellpadding="2" cellspacing="0" width="100%"> <tbody> <tr> <td rowspan="1" colspan="1" width="100%"> <table id="content_LETTER.BLOCK2" border="0" cellpadding="5" cellspacing="0" width="100%"> <tbody> <tr> <td rowspan="1" colspan="1" align="center"> <div align="left"> <div>In celebration of the upcoming 40th anniversary of ARC Galleryand Educational Foundation, this open-wall exhibit will feature over 100 artists presenting entries with dimensions that add up to no greater than 40 inches.</div> </div> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> </td> </tr> </tbody> </table> Wed, 27 Mar 2013 06:26:02 +0000 Group Show - ARC Gallery and Educational Foundation - April 3rd, 2013 - April 27th, 2013 <h4> In celebration of the upcoming 40th anniversary of ARC Gallery and Educational Foundation, this open-wall exhibit will feature over 100 artists presenting entries  with dimensions that add up to 40 inches.</h4> Sun, 07 Apr 2013 04:04:21 +0000 Janet Chiaramonte - Chicago Art Department - April 26th, 2013 - April 27th, 2013 <p style="text-align: justify;">Directed and conceived by Laura Chiaramonte, CORPOREAL is an evening length performance installation featuring new work by artists and collaborator, Janet Chiaramonte. Laura is excited to be to be working with her mother for the first time. Janet’s unique designed installation provides a beautiful landscape depicting the use of Art and Chemistry, resulting in varying monoprints using an oxidation process to create organic imagery.</p> <p style="text-align: justify;">The performance aspect of the installation confronts the question of the bodily consciousness by capturing the audience and introducing them to the struggles between communal and personal identity. Throughout the evening, we will discover the constant motion of all things, melting and forever changing into different forms, living, adapting and conforming to the space.</p> <p style="text-align: justify;">The development of the movement vocabulary is in collaboration with and will be presented by Chicago dance artists; Isabelle Collazo, Jessica Cornish, Momar Ndiaye, Amanda Pesch, Becky O’Connell, Amy Swanson, Lesley Werle, and Vienna Willems. The live soundscape will be performed by composer Jason Araujo and Barmey Ung, providing a layer of connectivity, and creating a sense of holding space.</p> Sat, 13 Apr 2013 09:59:52 +0000 ILENE GODOFSKY, Claire Valdez, Charles Fogarty - Heaven Gallery - March 29th, 2013 - April 27th, 2013 <p style="text-align: justify;">“A show about trust”<br /> (not really)</p> <p style="text-align: justify;">A show about trust” or new work from Claire Valdez and Charles Fogarty, with work selected from Ilene Godofsky's Wish You Were Here and THIS LANDSCAPE</p> <p style="text-align: justify;">“A sleazy good time”</p> <p style="text-align: justify;">Featuring “suggestive photography” and “enthusiastic seating”</p> <p style="text-align: justify;">"Legions of Brando impersonators have turned his performance in this seminal 1954 motorcycle movie into self-parody, but it's still a sleazy good time."<br /> -Dave Kehr (In reference to The Wild One, but regarding something else entirely)</p> <p style="text-align: justify;">Organized by Heaven Gallery and Charles Fogarty with thematic inspiration taken from Marlon Brando’s perfect characterization of  “Johnny” in László Benedek’s 1953 classic The Wild One, and the paradox of an allegorically dynamic character.</p> Tue, 18 Feb 2014 14:54:48 +0000 alexander herzog, JACOB GOUDREAULT - Lloyd Dobler Gallery - March 29th, 2013 - April 27th, 2013 <h3 style="text-align: justify;">Forward by John Riepenhoff</h3> <p style="text-align: justify;"><br /> <br /> Like many people, when I look at a painting I'm trying to figure out what the fuck the person who made it was thinking. I get the feeling that Jacob Goudreault and Alexander Herzog experience a similar thing when they are making their own stuff. What are we thinking? This new body of work is a unique convergence of two independent voices. Both treat painting like a ceramicist treats clay, man handling and finessing, until they discover some form, then they treat it like a paintin...g again. Drag paint across the surface. Drag a painting on the ground. Let the wrinkle be. Fuss on occasion. Their objects trace thought. These things assert what these dudes do.<br /> </p> <h3 style="text-align: justify;">Questions for Alexander and Jacob</h3> <p style="text-align: justify;"><br /> <br /> <strong>Why do you make these things?</strong><br /> Alexander: <br /> First and for most because they are challenging, exciting, and require a large amount of commitment to make. As a painter I have always been into the materiality of painting, the building of a painting. I try to find ways of making a painting that yield outcomes I have never seen before and also poetically engage with painting's history, conventions, and language. <br /> <br /> I get really fed up with a lot of painting being made these days; limp, full of rhetoric, messy, casual, an inside joke. With my painting practice, I try to put my best foot forward, I believe in painting. <br /> <br /> Making these paintings fulfill many personal needs of mine; order, discipline, discovery, chance, repetition, tremendous highs, and routine. These things keep me together day in and day out. I really don't know what I would do if I did not have a very labor-intensive painting practice. <br /> <br /> Jacob:<br /> First off, I think I am overtly more productive and happy when I have a studio practice or game. A studio practice is something that is not new to me; I have been making objects for some time now. I have simplified my materials from the past to being at this point pretty much wood, fabric, paint and fastening devices, such and staples and tape. These are all very versatile materials. My personal interests and approach to the world allow me to bring elements I see into objects. I start working with materials before the final object is made; sometimes I think I am making one thing then I make another. I really look at the studio from many different perspectives. I think a lot of the mark-making that I do is Influenced by other studio activities such as storing, wrapping for shipment, acquiring materials, palettes, studies, looking at old work, organizing, stacking, taking care of brushes (or lack of), and the support-building process.<br /> <br /> <strong>When do you know something worked? </strong><br /> Alexander:<br /> About a quarter of the way through the building of the paintings. I usually begin by closing my eyes and visualize my hands moving through space or moving over a plane. After doing this for many days or weeks, I find one movement that seems engaging and theatrical. <br /> <br /> I then move to the studio and begin making many small line drawings with markers that further flushes out and refines the hand movement. The line drawings are very playful, fast, and liberating. At times I lay the gesture down on top of a regular grid and then find ways of folding the grid back on top of the gesture. Or I lay the gesture down without a grid. I see the grid as at once being stable and then oppressive: the gesture and grid wrestle with one another. Most of the time there is no clear winner but there is tension and play. After compiling 20 to 40 drawings I choose one that I think is most successful. <br /> <br /> All my paintings are made on panel with about ten layers of gesso to really build up the surface. Most of the surfaces are square. When I begin to paint the image, I lay the panel down flat and put down a very thick layer of gesso. At this point I have about 10 minutes of working time. I rake my hands through the wet gesso. The gesso and ground are white so it is hard to see exactly what the marks, grid, and gesture look like. This is one of the most exciting parts of the entire painting process. At that point, I feel like I am painting a painting and not necessarily building a painting. <br /> <br /> After days of drying the painting is ready to sand down. Then, with the addition of a couple other materials, the gesture appears and I sit with it and just look at it. I really concentrate on how the gesture sits within the frame. Does the gesture have a personality, is there consequence, how does the gesture sit with the grid? These are some of the questions I ask myself. <br /> <br /> Recently, I have added color and overlaid pattern. I still deal only with black and white in some paintings, but color has really opened up many more doors to this series. <br /> <br /> Jacob:<br /> I just try to take risks when I'm painting, notice things I can do and try to do them. I also look at my own work conceptually. If you want something to have attitude and be about the studio and materials, you really have to dive in and absorb them, then look back at the work and ask if it is fulfilling what you want. For me it has to be interesting and follow along my conceptual lines for me to show it. Sometimes I don't like that.<br /> <br /> <br /> <strong>What's your relationship with the painting as you're making them?</strong><br /> Alexander:<br /> It is a love/hate relationship. I have a live/work space, so I am around the work all the time. My studio is like a living room, except without a TV and coach. When I work wet-into-wet with my hands, to get the initial gesture, it like no other high, fast and unknown. The exposing of the gesture is like getting naked with someone. After that the honeymoon is over and it’s all work, very tedious and repetitious. In the end, its like being on top of a mountain or looking out a the sea, it is just me and the painting. <br /> <br /> Jacob:<br /> Sometimes I work very fast and create a piece in a few hours. That's counting shopping time, cutting wood, support-building and final marks. Other times I have the fabric and it takes weeks to stretch it, or I have the wood and paint all ready and mixed up but I can't find the right fabric. I always have a few things going. I try not to worry about it. I try not to leave anything outside so it doesn't get wet or frozen. I don't put a hanger on a painting unless I think it's done. It's more of a surprise that way because it always looks different on a wall and always a lot brighter in a gallery.<br /> <br /> <strong>How does that change after?</strong><br /> Alexander:<br /> They become objects; I have never sold anything so they usually get turned around in my studio, stacked like books that have been read. I then begin to make another one, hopefully with a lot of difference. <br /> <br /> Jacob:<br /> Not much changes, I do my conceptual checks, make sure no paint needs a touch-up, maybe throw a few more staples on the back. A painting usually hangs until the next one is done. If it doesn't check out or doesn't work, it goes in a pile to be reworked; I usually keep the composition and change the colors. If that doesn't work I change the composition and colors. Some paintings I do in the first try, and others have a few more layers on them, but that's all part of it.<br /> <br /> <strong>Is there anything you'd like to say?</strong><br /> Alexander:<br /> I am excited to see Jacob's and my paintings together. I have known Jacob for about 3 years, from when we first met up at the Poor Farm, in Manawa WI. I feel that our painting practices are so very different, how we engage with material, how we build the painted object, how we talk about them and asses them. Yet surprisingly, the paintings speak in the same voice. They are both about the body, about a gesture that is either wilted or amped up. <br /> <br /> As for my paintings, I don't have very fashionable ideas, theories, or words to build up my painting practice or these paintings. Hopefully the paintings say enough. <br /> <br /> Jacob:<br /> Alex and I have been working on trying to get a show together for a couple of years and it finally is happening. We first met at the Poor Farm and both did projects there. He is part of a handful of people that know what I'm working on in the studio. Thanks.</p> Fri, 29 Mar 2013 10:23:09 +0000 Arthur Lerner - Printworks Gallery - March 22nd, 2013 - April 27th, 2013 Sun, 24 Mar 2013 12:11:55 +0000 Haseeb Ahmed, Daniel Baird - Roots & Culture - April 6th, 2013 - April 27th, 2013 <p style="text-align: justify;">Under the cover of darkness or masquerading as architectural conservators, artists Daniel G. Baird and Haseeb Ahmed collect fragments of architectural, ornamental and natural formations from around the world. They make molds on-site directly from their chosen objects. These disparate fragments are then reconciled to construct a single ‘universalized space’. For Baird and Ahmed, these installations become ‘reverse site-specific’.<br /> <br /> For their project at Roots and Culture, the artists take inspiration from the architectural interiors of Frank Lloyd-Wright and the archive of historical artifacts at the Oriental Institute at the University of Chicago to transform the gallery space into an immersive installation.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">DANIEL G. BAIRD  (b. 1984) received his BFA from the School of the Art Institute of Chicago in 2007 and MFA from the University of Illinois, Chicago in 2011. Recent Solo exhibitions include 'Meridian' at Robert Bills Contemporary, Chicago, IL and 'This New Ocean,' at Appendix Project Space, Portland OR. Recent Group exhibitions include Bowling Alone, Andrew Rafacz Gallery, Merge Visible, Prairie Productions, Chicago, IL. He will have a solo exhibition at the Institute of Jamais-Vu in London this April.</p> <p style="text-align: justify;"> </p> <p style="text-align: justify;">HASEEB AHMED(b. 1985) is a Brussels based artist. He holds a BFA in sculpture and architecture and a BA in Visual and Critical Studies from the School of the Art Institute of Chicago where he became a founding member of the group Platypus. In 2010 Haseeb received his Masters of Science from the Art, Culture, and Technology Program at MIT. He has exhibited his collaborative and solo work internationally, including the Museum of Contemporary Art Chicago, De Appel Contemporary Art Center in Amsterdam, and Manifesta in Genk Belgium. </p> <p style="text-align: justify;">Haseeb is currently a research fellow at the Zurich University of the Arts on the project Size Matters and has been an artist in resident at the Jan van Eyck Academie in Maastricht the Netherlands, Skowhegan School of Painting and Sculpture, and Sitterwerk in St. Gallen, Switzerland. He is working on the Fish Bone Chapel to be exhibited in September at Naturalis Natural History Museum in Leiden, the Netherlands for the Artists and Designers for Genomics Award.</p> <p style="text-align: justify;"> </p> Sat, 06 Apr 2013 09:04:38 +0000 Mel Keiser - Schneider Gallery - March 1st, 2013 - April 27th, 2013 <p style="text-align: justify;">In our back gallery, Mel Keiser employs another form of photographic manipulation, a very physical one that references her background as a painter. In her new series, <em>The Écorchés</em>, Keiser aggressively removes ink from her photographs, defacing and obscuring the original image; a self-portrait. Keiser makes direct reference to the process of écorché, the act of flaying a body as a means of torture or scientific study. Her abraded images attempt to reveal what is underneath the surface. An investigation of self and identity, the final pieces are dipped in wax becoming “…embalmed moments of myself past; eroding, but atemporal.”</p> Thu, 21 Feb 2013 23:40:36 +0000 Martina Lopez - Schneider Gallery - March 1st, 2013 - April 27th, 2013 <p style="text-align: justify;">Schneider Gallery is pleased to present <em>Between Reason</em>, a photographic exhibition by Martina Lopez. This new work chronicles Lopez’s desire to construct a personal narrative from found 19th century portraits. Through digital manipulation and surface treatment, the resultant compositions do not reveal a linear story; in fact, they raise more questions than answers. The ethereal portraits contain image fragments of hair and facial features from Lopez’s family. When juxtaposed with the underlying found imagery, the collision of past and present produces a disconnect between history and memory.<br /> <br />Presented beneath a layer of wax, the photographs are transformed once again. They gain a translucency, an aura, and this process adds a very literal second layer to the viewing of the image. Now completely encased, the photograph-turned-object attempts to freeze the moment encapsulated inside. Each portrait, a blending of two histories, is merged into a new iteration that speaks to the passage of time and the artist’s need to halt it.</p> Thu, 21 Feb 2013 23:43:52 +0000 Herbert Ferber - Valerie Carberry Gallery - March 1st, 2013 - April 27th, 2013 <p style="text-align: justify;">Valerie Carberry Gallery is pleased to announce an exhibition of five sculptures and three paintings by the Abstract Expressionist artist Herbert Ferber.  An artist that came of age in New York in the 1950s, Ferber made his greatest contribution in his continued and consistent investigation of art-as-environment - a project he pursued for the next three decades.</p> <p style="text-align: justify;">The works selected for this exhibition date from the 1960s and 70s, and are expressive of Ferber's most persistent formal concern as a mature artist: that of human scale.  Whether working in two- or three- dimensional media, Ferber relates gesture and movement to the body.  Angular planes or sweeping arcs envelop, define, and move in relationship to our own scale, making the viewer profoundly aware of interior and exterior space.</p> <p style="text-align: justify;">Viewed together, this group of works celebrates the innovation of Herbert Ferber- an artist who understood the importance of sculpture and the space it inhabited- and the groundwork he laid for artists of generations to come.</p> <p>A full color catalogue of the exhibition with an essay by Joan Pachner is available from the gallery. </p> Mon, 04 Mar 2013 14:05:45 +0000 Tom Torluemke - Hyde Park Art Center - January 20th, 2013 - April 28th, 2013 <p align="center"><b>Hyde Park Art Center’s winter exhibition lets you reconfigure the past to reimagine the future</b></p> <p><b> </b></p> <p><b>Chicago (January 2013)</b> — <i>Fearsome Fable – Tolerable Truth</i>, a new work by Tom Torluemke, surrounds the viewer in either a grim or an uplifting landscape of the future in this unsettling exhibition on view from January 20 until April 28, 2013 in Gallery 4 at the Hyde Park Art Center. Through this man-made, apocalyptic installation, the artist proposes what life would look like following the current trajectory of destructive environmental, political, and social policies and behaviors. On an uplifting note, the artist also includes a utopian alternative installation to be revealed at certain times, allowing the public to reverse what has been done and envision a more responsible path for the future.</p> <p> </p> <p>The site-specific immersive installation features a 170 foot mural and several abstract wooden sculptures intended to raise questions about the current economic, ecological, and civic state of the nation, as well as the individual’s role in it. Rendered in an exaggerated and illustrative style, Torluemke’s approach parallels educational Depression-era WPA murals to emphasize an accessible call to action. The mural will be painted on double-sided boards, allowing viewers to physically turn it around at particular times throughout the exhibition. During these hands-on moments, the gallery will be transformed from a wasteland (on one side) to a utopia (on the other), depending on the collective action of the public. While seeming to offer solutions, Torluemke presents the ideal society in a suspiciously artificial way, cautioning that paradise is never what it seems to be.</p> <p> </p> <p>Born and raised in Chicago’s inner city, Tom Torluemke has exhibited his paintings, sculptures, murals, and drawings extensively across the Midwest since 1980. His artwork has been shown in solo exhibitions at venues including the Chicago Cultural Center, South Bend Museum of Art, the Indianapolis Museum of Art, and in group exhibitions across the nation. Permanent public art commissions by Torluemke in fiberglass, wood, and terrazzo tile can be seen in the Indianapolis/Marion County Public Library, the Indianapolis International Airport, and Purdue University-Calumet Campus, to name a few locations. He currently lives and works in Dyer, Indiana, where he and partner Linda Dorman ran the (now-defunct) respected contemporary art space, Uncle Freddy’s Gallery. Torluemke received a BFA from the American Academy of Art (Chicago) and is represented by Linda Warren Projects.</p> <p><em> </em></p> <p><i>Fearsome Fable - Tolerable Truth</i> will be on view from January 20 until April 28, 2012 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> Mon, 14 Jan 2013 18:02:59 +0000 Jacob Lawrence - Krannert Art Museum, University of Illinois at Urbana-Champaign - January 25th, 2013 - April 28th, 2013 <p style="text-align: justify;">Jacob Lawrence (1917–2000) was one of the most influential and compelling painters of the twentieth century whose work focused on the struggles of historical and contemporary black culture. When twenty years old, Lawrence began a series of 41 paintings on the life of Toussaint L'Ouverture, the revolutionary who led the founding in 1791 of Haiti as the first republic established by former slaves. The Haitian Revolution has been an important symbol of the fight against slavery and the struggle for emancipation and civil rights in the United States and around the world. The <em>Toussaint L'Ouverture</em> series (1937–38) is on loan from The Amistad Research Center, Tulane University and is an important focus for the University of Illinois' celebration of the Sesquicentennial Anniversary of the Emancipation Proclamation (1862).<br /> <br /> Lawrence also produced series on the lives of anti-slavery activists Frederick Douglass and Harriet Tubman. He is perhaps best known for the 60 paintings comprising<em> The Migration of the Negro</em> Series (1940–41), which tells the story of the migration of African Americans from the rural South to the industrialized urban North during the Great Depression.</p> Sun, 30 Dec 2012 05:27:28 +0000