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 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 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 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 Group Show - Museum of Contemporary Art (MCA) - November 10th, 2012 - April 28th, 2013 <p style="text-align: justify;" class="first_child">Producing artworks using a single color has been a major strategy for artists throughout the twentieth and twenty-first centuries, from Kazimir Malevich’s early suprematism to Anish Kapoor’s contemporary forms that attempt to imagine infinitude. <em class="first_child last_child">Color Bind: The MCA Collection in Black and White</em> investigates the museum’s rich permanent collection through one of art history’s basic formal lenses: the use of the colors black and white.</p> <p style="text-align: justify;"><em class="first_child last_child">Color Bind</em> looks broadly at the MCA Collection to survey how color can be used literally, formally, and metaphorically in art and to reveal how apparently formal considerations are often rooted in social issues. Many artists represented in the exhibition, such as Robert Ryman and Ad Reinhardt, significantly limit their palette or produce works of one color in order to explore and emphasize the most basic formal aspects of art making, such as line, color, and technique. Moving beyond such formalist meditations, artists such as Richard Serra and Félix Gonzáles-Torres employ minimal color tones as a critical take on art’s representational role. Other artists intentionally use specific techniques combined with a black-and-white palette as a method of introducing social and ethical dimensions into art practice. For instance, Raymond Pettibon, Marlene Dumas, and Howardena Pindell appropriate the inky form of newspapers and comic books as a way to comment on conflict and violence. Kara Walker adopts nineteenth-century silhouette forms to present racially exaggerated bodies, and Glenn Ligon, who does the same in his print series, also uses the monochrome canvas in his paintings as both a metaphor and a foil for depictions of race. Artists such as Richard Artschwager and Adam Brooks use text to demonstrate how basic language can be co-opted into polemics, or “black-and-white” forms of discourse.</p> <p style="text-align: justify;">With dozens of works in all media, <em class="first_child last_child">Color Bind</em> muses on the ways the English words “black” and “white” evoke both simple formal notions and metaphors for race, politics, and historical movements. Set to coincide with the upcoming US presidential election, this exhibition calls attention to the ways seemingly neutral formal terms assume moral dimensions that, in turn, complicate and politicize the very works assumed to be neutral.</p> <p style="text-align: justify;">This exhibition is organized by Naomi Beckwith, Curator at the Museum of Contemporary Art Chicago.</p> Sat, 16 Mar 2013 13:14:26 +0000 Troy Briggs, Brendan Fowler - Shane Campbell Gallery (Oak Park) - April 7th, 2013 - April 28th, 2013 Fri, 29 Mar 2013 10:34:24 +0000 - Smart Museum of Art, University of Chicago - December 18th, 2012 - April 28th, 2013 <p style="text-align: justify;">Traditional art from the Indian sub-continent reveals the region’s layers of history and unique racial, linguistic, and cultural diversity.</p> <p style="text-align: justify;">This exhibition presents a small yet incredibly diverse selection of Indian art from the Smart’s collection. Spanning the ages—from the third to the twentieth centuries—the dozen works bring to light classic historic styles, regional variations, and the importance of secular and sacred literature. <em>Divine and Princely Realms</em> also explores how India’s distinct art was molded over time by the region’s major religions—Buddhist, Hindu, Islamic, and Jain faiths among others—and influenced by the patronage of its Mughal kings and Hindu princes.</p> Sat, 01 Dec 2012 12:47:10 +0000 - The Art Institute of Chicago - December 13th, 2012 - April 28th, 2013 <p style="text-align: justify;">Celebrating the acquisition of about 550 marvelous objects by the Department of Textiles over the last seven years, this exhibition continues a tradition established in the department some 40 years ago to periodically display works recently acquired, whether by donation or purchase. In this case, some 41 works have been selected to highlight the many diverse textile types associated particularly with Western and Asian cultures. <br /><br />Three wonderful examples offer a taste of the broad range and superb quality of the works on display. The first is a printed cotton, or chintz, from England depicting the bombardment of Algiers by British naval forces in 1816. Commemorative portrayals of British military victories, particularly during the Napoleonic Wars, were popular subjects for prints, textiles, and many other media. This textile was a product of the Industrial Revolution, when new forms of mechanization, including the use of waterpower for spinning and weaving and engraved rollers for printing, made high-quality mass production of household furnishings possible. <br /><br />A second example, another printed cotton (produced with blocks, not engraved rollers) was made in another part of the world at a much earlier date. It is a fragment of a ceremonial hanging made in Gujarat, India, for the Indonesian market in the late 14th or 15th century. Indian textiles were exchanged for Southeast Asian spices at this time by Arab and Gujarati traders and later by various European trade companies. Such textiles were held sacred in Indonesia, preserved and handed down within societies to be displayed as banners during thanksgiving ceremonies. <br /><br />The third example and one of the most colorful textiles in the exhibition is a woman’s robe made in Bukhara, Uzbekistan, in the middle of the 19th century. It is boldly patterned in vertical stripes containing various harp-like and horned floral motifs. The dyeing technique is called <em>ikat</em>, which refers to the binding and dyeing of, in this case, the warp threads before they are arranged on the loom to create the desired effect. A characteristic of <em>ikat</em> is the appearance of feathered or serrated edges where one color zone meets another. Robes of this type, traditionally part of a woman’s dowry, were worn at weddings and special occasions. The <em>ikat</em> garments and panels of Central Asia are magnificent examples of the dyers’, rather than the weavers’, art, and remind us how numerous and varied are the creative expressions found in the textile arts.</p> Sat, 01 Dec 2012 10:17:44 +0000 Irving Penn - The Art Institute of Chicago - January 17th, 2013 - April 28th, 2013 <p style="text-align: justify;">The path that led Irving Penn to the seemingly galactic abstractions of his late series <em>Underfoot</em> lay just outside his studio door. Walking the streets of Manhattan with a portable stool and a camera fitted with several extension tubes, Penn lowered his eye and his equipment nearly to the pavement. There he found a universe of abject form: pebbled concrete, cheap discarded matches and cigarette butts, and above all a wealth of masticated gum. Capturing patches of this blobby urban landscape at close range, Penn transformed it with characteristic precision into a world of odd beauty, complete unto itself and unplaceably remote. Former Art Institute Director James Wood, with whom Penn had worked closely to establish the vast archive of his photographs and papers held at the museum, visited the studio and later marveled to Penn at how these photographs showed “the cosmos underfoot.” The Irving Penn Foundation has generously offered all 36 photographs from <em>Underfoot</em> as a gift to the Art Institute in Wood’s memory.</p> Sun, 17 Feb 2013 03:08:46 +0000 - The Art Institute of Chicago - November 17th, 2012 - April 28th, 2013 <p style="text-align: justify;">Project Projects, a New York–based graphic design firm led by Prem Krishnamurthy, Adam Michaels, and Rob Giampietro, has become known for developing publications, exhibitions, and identities for a range of cultural institutions and educational organizations, as well as for creating self-initiated curatorial and research projects. Project Projects has won numerous awards for how it addresses intellectual, cultural, and social questions related to daily life, and how it probes the discourse of graphic design. Commissioned as part of a series in which architects and designers are invited to explore their own interests as a way to instigate new thinking and practices within and beyond their professional disciplines, this exhibition provided Project Projects the opportunity to use the permanent collection of the Art Institute as a means of investigating the curatorial process and issues related to exhibition design.</p> <p style="text-align: justify;">The studio was initially inspired by the mock-ups that curators often produce when preparing the layout of an exhibition. Driven also by the unusual characteristics of the Kurokawa Gallery, which is a well-trafficked, transitional space between the Modern Wing and other parts of the museum, Project Projects decided to develop a model of an exhibition that could serve as a framework for addressing issues of representation and reproductions in a playful, yet critical way.</p> <p style="text-align: justify;">The studio’s selection of works is based on the personal concerns of its partners, as expressed in the accompanying texts they have written. Although they began with an interest in European modernism, as imported to Chicago in the mid-twentieth century by such practitioners as László Moholy-Nagy and Ludwig Mies van der Rohe, the present collection of works speaks more broadly to Project Projects’ own interest in the history of design practice. Using a consistent format of printed facsimiles at a one-to-one scale, the studio encourages viewers to consider this exhibition as a mode of creative and cultural expression in and of itself.</p> Sat, 02 Mar 2013 10:48:44 +0000 Gaylen Gerber - Museum of Contemporary Art (MCA) - May 1st, 2013 - May 1st, 2013 <p><b>MCA Exhibitions: Gaylen Gerber</b></p> <p>May 25 - September 8, 2013</p> <p> </p> <p><b><i>Gaylen Gerber</i></b> marks the artist’s first exhibition at the Museum of Contemporary Art Chicago, which is comprised of two parts: a new commission in the lobby inspired by the late artist Michael Asher, and a color-saturated gallery installation of Gerber’s <i>Supports </i>combined with works from the MCA's collection. Internationally recognized for his series of gray monochrome paintings, Chicago-based artist Gaylen Gerber is more of an interventionist than a painter. Over an almost 40-year career, Gerber’s conceptually-based practice has largely been a support or backdrop for the work of other artists, who he invites to participate or intervene on surfaces he creates, at times layering their work over his own.  This exhibition is organized by Kristin Korolowicz, MCA Marjorie Susman Curatorial Fellow.</p> <p> </p> <p><b>Museum of Contemporary Art</b></p> <p>220 E. Chicago</p> <p>Chicago, IL 60611</p> <p>312.280.2660</p> <p><a href="" title="blocked:: blocked:: blocked::" rel="nofollow"></a></p> <p><b> </b></p> <p><b>MCA Box Office:</b></p> <p>312.397.4010</p> <p><a href="" title="blocked:: blocked:: blocked::" rel="nofollow"></a></p> <p><b> </b></p> <p><b>Hours:</b></p> <p>Tuesday, 10 am - 8 pm (FREE for Illinois residents)</p> <p>Wednesday - Sunday, 10 am - 5 pm</p> <p><b> </b></p> <p><b>Admission:</b></p> <p>$12 general admission, $7 students and seniors, free for MCA members, children under 12, and members of the military; Tuesdays free.</p> <p><b> </b></p> <p><b>Media Contacts:</b></p> <p>Erin Bird, 312.397.3828, <a href="" rel="nofollow"></a></p> <p>Karla Loring, 312.397.3834, <a href="" title=" blocked:: blocked::mailto:ebaldwin@mcachic" rel="nofollow"></a></p> <p> </p> <p><b>INTERNAL For emails: </b></p> <p>To include images, please visit the media webpage at <a href="" title="blocked:: blocked:: blocked:: blocked:: blocked:: blocked::http://www.mcachica" rel="nofollow"></a></p> <p>------</p> Sun, 14 Jul 2013 17:01:47 +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 Meredyth Sparks - The Arts Club of Chicago - January 23rd, 2013 - May 4th, 2013 <p style="text-align: justify;">The Arts Club of Chicago is pleased to announce Meredyth Sparks’ first solo exhibition in Chicago. Sparks (b. 1972) is best known for layering materials like glitter, vinyl, and aluminum foil over images drawn from pop culture and the historical avant-garde. At The Arts Club, she will exhibit new and defining works from an ongoing series of photo-based collages entitled <i>Extraction</i>. They combine decorative or outmoded textiles with found photographs of mundane domestic objects like window frames and lattice screens. The exhibition will be on view from <b>23 January through 4 May 2013</b>. An <b>open house</b> and <b>catalogue signing</b> will take place on <b>Saturday 23 March 2013</b>from 11:00 am – 3:00 pm; the artist will give a gallery talk at 1:00 pm. </p> <p style="text-align: justify;" align="left">Since 2010, Sparks has been engaged in a project of simplification and distillation. Having come into her own with a body of work that pitted diverse characters of 1970s pop and political culture like David Bowie or the Baader-Meinhof activist Gudrun Ensslin against icons of art history like Kazimir Malevich, Sparks began to excise forms from what had become a cacophonous field. She has explained that the idea of “extraction” begins “by taking away from an image or object, while also in its very realization, intimating what remains.” Cut-and-paste had always been central to her collage-based practice, but the acts of separation and reconstitution now became essential. At the same time, Sparks’ imagery shifted from things known through celebrity and fandom to things known through familiarity and use. The resulting works stitch together enlarged found photographs of household objects, which are digitally printed on canvas and then carefully cut away from their settings, with expanses of decorative fabric and small patches of illusionistic painting. The patterns of the fabric then act as predetermined surfaces that fill the dimensions of the missing room, while the painted areas assert the artist’s presence.</p> <div style="text-align: justify;" align="left"></div> <p style="text-align: justify;" align="left">Sparks is deeply indebted both to the historical avant-garde and to feminist practice. Her labor-intensive acts of cutting and sewing, choice of ornate fabrics like toile, and uncanny ability to make something almost beautiful, but not quite, tie her to a tradition of women’s work that was defined in the 1970s. She thinks deeply about how to renew that feminist impulse by engaging the radical interventions of the early 20<sup>th</sup> century. The radiator motif that helped launch the <i>Extraction</i> series harkens back to the generating love machine of Marcel Duchamp’s <i>Large Glass</i>, as it converts liquid water into steam heat. Sparks further nods to Duchamp’s glass construction through the motif of the window—which in this case, comes with tacky blinds or encasements fitted for a basement. The transparency here occurs not in the glass, but in literal gaps between the fabric where Sparks has allowed a view through to the stretcher bars and supporting wall. In this way, she opens a space of meaning behind the picture plane, while mimicking the revelation of interiority suggested by the structure of household things.</p> <div style="text-align: justify;" align="left">Sparks lives and works in Brooklyn, NY. She has a B.F.A. from the University of Tennessee, Knoxville, and an M.F.A. from Hunter College, New York. She has had solo exhibitions at Galerie Frank Elbaz, Paris (2013 <i>forthcoming,</i> 2009, 2006), Locust Projects, Miami (2012), Elizabeth Dee Gallery, New York (2011, 2010, 2008), Veneklasen/Werner, Berlin (2011), Galerie Catherine Bastide, Brussels (2009), and Projects in Art &amp; Theory, Cologne (2009). Her work has also been included in group exhibitions at such institutions as Saatchi Gallery, London (2012), Henry Art Gallery, Seattle (2012), ICA, Boston (2011), Nasher Museum of Art at Duke University, Durham (2010), CAPC musée d’art contemporain, Bordeaux, France (2010), Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain (2010), Turner Contemporary Project Space, Kent, UK (2009), Shane Campbell Gallery, Chicago (2008), PS 1 Contemporary Art Center, New York (2006), and The Kitchen, New York (2006).</div> Mon, 04 Mar 2013 06:48:32 +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 - Museum of Contemporary Art (MCA) - May 7th, 2013 - May 7th, 2013 <p><b>MCA: Gallery Talk: Painting and Deconstruction</b></p> <p>Tuesday, May 7, 2013, 6 pm</p> <p>Free for Illinois residents or with museum admission</p> <p> </p> <p>Chicago-based artists <b>Judy Ledgerwood</b>, <b>Michelle Grabner</b>, and <b>Molly Zuckerman-Hartung</b> provide contemporary perspectives on destruction as a mode of creation and discuss their abstract painting practices in relation to the artists and artwork on view in the <b><i>Destroy the Picture: Painting the Void, 1949-1962 </i> </b>exhibition.</p> Sun, 14 Jul 2013 17:01:47 +0000