ArtSlant - Current exhibits en-us 40 Steven Husby - 65GRAND - April 12th, 2013 - May 11th, 2013 <p style="text-align: justify;"><span style="font-size: small;"><strong>65GRAND</strong> is pleased to present <strong><em>BRUTE FORCe</em></strong>,<strong> Steven Husby</strong>'s first solo exhibition with the gallery.</span><br /> <br /><span style="font-size: small;"> At first appearing impersonal and cold, the paintings of Steven Husby display a highly individual approach. They are the product of an artist concerned with precision and permutation. Like many abstractionists working today, Husby takes painting as his subject. But that is just the starting point. The artist is concerned not with the meaning or purpose of painting but rather the construction of image. How are visual representations structured? What is the underlying mathematical logic?</span><br /> <br /><span style="font-size: small;"> Husby's paintings look not only to the rich past of working methods along the lines of Agnes Martin and Ad Reinhardt with their monastic rigor and exhaustive variations, but also contemporary image culture. A precise geometric pattern of gradation relates as much to Albers and color theory as it does to algorithms used to compress information into 1's and 0's. Indeed the exhibition's title is derived from a style of problem solving in computer science called the brute-force search. This simple but exhaustive algorithm systematically specifies every possible solution to a problem and checks whether or not each possibility meets the necessary criteria.</span><br /> <br /><span style="font-size: small;"> With a raw, brutish logic, the brute-force method plunges into a query much the way Husby exhaustively works through his explorations of painting. He explains, "I was thinking about the procedures I've been employing in the studio recently, as well as more obliquely to the sensibility I think informs my aesthetic choices, which bleeds a bit towards a kind of pop not only brute force the method, but brute force as the force of 'brutes,' among whom I count myself."</span><br /> <br /><span style="font-size: small;"> Steven Husby lives and works in Chicago. Solo exhibitions include RUBICON at Julius Caesar, 2011; we speak the way we breathe, Peregrine Program, 2010; the Museum of Contemporary Art, Chicago, 2007; and the Art Center College of Art and Design, Pasadena, California, 2005. Group exhibitions include Afterimage at the DePaul University Museum of Art, 2012; Bad Moon at Andrew Rafacz Gallery, 2008; and at The Suburban, 2004. His work has been written about on,, Art:21 Blog, in the Chicago Tribune, Newcity, and in the catalogs Afterimage and Can I Come Over to Your House? The First 10 Years of the Suburban.</span></p> Sat, 06 Apr 2013 09:07:33 +0000 Ronald Clayton - Addington Gallery - April 19th, 2013 - June 1st, 2013 <p style="text-align: justify;">Missouri artist Ronald Clayton has a long history of exhibiting in Chicago, but strikes out in new, more abstracted territory with his body of geometrically grounded oil paintings.t </p> <p style="text-align: justify;"><strong>About the artist:</strong></p> <p style="text-align: justify;">Ronald Clayton's work has been a strong pillar of the gallery since the mid 90s, and with this new body of work, the artist pushes his unmistakable and unique style into exciting new territory.</p> <p style="text-align: justify;">Clayton's new paintings almost burst off the wall with an unbridled new energy, and yet this energy finds it's counterpoint in a contemplative, formal restraint. This restraint is based both on the underlying geometry in the work, and the artist's empathic concern for the landscape that lies, at risk, just beyond the doorways and windows of his invented constructions.</p> <p style="text-align: justify;">Discussing this most recent body of paintings, Clayton says:</p> <p style="text-align: justify;"><i>I have recently been acting out certain illogical impulses, retaliating against the logic of previous work. Sometimes it takes the form of reaction against the logical (mathematical) systems I've based my composition on. (linear perspective, the golden mean, etc). Pushing against, wrestling with, I often find myself thrown outside the "ring, the "ring" being my conventional rectangular format. The manifestation being new constructed paintings in which the subject defines the format rather than the customary visa-versa. </i></p> <p style="text-align: justify;"><i> Even when I choose to adhere to the discipline of the conventional rectangle, which I just as often do, there are other logical inferences about my chosen subjects - colors, textures and forms associated with industrial architecture for instance. I've recently found these associations just too restrictive and so there are, in these paintings, wild improvisations and displacements of color and texture. Well, wild for me anyway. </i></p> <p style="text-align: justify;"><i> Things have also changed in my views of the landscape. While previously I was concerned about documenting real locations objectively and then painting them back to nature, these new views are extrapolations, hybrids, and constructs. I am allowing myself to blatantly reinvent a nature that may be "super", or at least "extra-natural." There is one painting in the show in which the vistas seen through doors and windows are recycled and reconstructed out of glimpses and fragments found around downtown Chicago. - Ronald Clayton</i></p> <p style="text-align: justify;">The personal fictions present in the works of Ronald Clayton are both inspiring and challenging. Dualities are at play throughout the work: depth of space and articulated surface, the geometric and the organic, culture and nature, the familiar and the new. Clayton's two lynchpins are the biographical narrative of our experience with particular landscapes, and the imagined architectural ruins he places within them. In turn, we the viewers are placed in these ruins. We find ourselves admiring the work of the hands that created these mysterious structures, all the while longing to experience the untouched vision of nature just beyond our grasp. What a powerful metaphoric image of our ongoing search for a place in this world.</p> <p style="text-align: justify;"><span color="336666"><span style="font-family: Arial,Helvetica,Geneva,Swiss,SunSans-Regular; font-size: small;" face="Arial,Helvetica,Geneva,Swiss,SunSans-Regular" size="2"></span></span></p> <p></p> <p></p> Mon, 20 May 2013 04:51:40 +0000 Carl Linstrum - Addington Gallery - April 19th, 2013 - June 1st, 2013 <p style="text-align: justify;">Linstrum, an Atlanta Artist, offers romantic yet disconcerting images of nature in his visceral, mixed media paintings.</p> <p></p> <p><span color="336666"><span style="font-size: small;" size="2"></span></span></p> Mon, 20 May 2013 03:25:07 +0000 Alex Jovanovich - ADDS DONNA - April 7th, 2013 - May 12th, 2013 <p>Alex Jovanovich:</p> <p><strong>Some Poor Girls</strong></p> <p>April 7 - May 12, 2013 Opening reception: April 7, 1:00 - 5:00 p.m.</p> <p>Let's begin in black and white: opposites whose severe contrast makes legible our most basic differences. What is and what isn't. What can be seen and what refuses sight. Some might push toward ethics: right and wrong, good and evil. Some might return to the poetic: the nothing that isn't and the nothing that is. Alex Jovanovich's art does its work in such opposition, not to lend credence to the ease of judgment, but to show the ways in which our deepest ambiguities exist within the space of contradiction itself. Between black and white—be it by image or be it by word—this art shows us a realm of thought and feeling that exists where we did not think it could: that once airless, once unthinkable space, that one can breathe in, one can think in, only after the line has been drawn that ciphers blankness away from blackness. Jovanovich is a genius of such contradiction. Ambiguity is his accuracy, plethora his muse. Here flowers are light-full, and so seem eyes; and eyes are dark centers, and so seem orifices; and orifices lead within the body, and so introduce us to all within us we could not otherwise see: garters and ribbons, beauty and bondage, vein's vanity and vanity's nerve. What surprises most is not that intimacy and violence occur simultaneously, but that they do so with such fierce tenderness, they do so with such patient longing. Perhaps this is Jovanovich's gift to us, an old gift, the artist's ancient inheritance: he shows us how patience is erotic, how calm is filled with longing. And should we become patient, should we find ourselves wanting, then we hear inside what can be said everything that felt unspeakable—just as we find the seed of whiteness in the night's purest dark—we hear the unspeakable speak.</p> <p>— Dan Beachy-Quick</p> <p></p> <p></p> <p>ADDS DONNA, 4223 West Lake Street, Chicago, IL 60624 /</p> Sat, 30 Mar 2013 17:53:17 +0000 Daniel Bauer - Alderman Exhibitions - April 27th, 2013 - July 20th, 2013 <p><strong>Daniel Bauer’s</strong> work from Israel exposes fissures and rifts in the multiple strains of modernism that have been imported, developed, or mutated in the contemporary Levant. Often focusing on architectural additions and subtractions, Bauer seeks out the spatial, temporal, and conceptual topos between the personal and the collective, each a reflection of the other seen askew. Photographs from the ongoing series, <em>Domestica Dentata</em> depict houses with bifurcated trajectories, their dormant histories emerging slowly from the built and rebuilt surfaces—latent images that document a decisive absence. <br /><br /><strong>Daniel Bauer</strong> received his BFA from The Photography Department at the Bezalel Academy of Art and Design, Jerusalem and his MFA from Columbia University, New York. This will be his first solo show in Chicago. He has had two solo shows at the Andrea Meislin gallery in New York, has worked with architects and historians on exhibitions and projects in Kunst Werke, Berlin and the The Israeli Pavilion at the Venice Biennale of Architecture, his work is in the collection of The Israel Museum, Jerusalem.</p> Sat, 27 Apr 2013 21:30:06 +0000 Group Show - Andrew Rafacz Gallery - April 6th, 2013 - May 25th, 2013 <p style="text-align: justify;"><span style="font-size: small;">ANDREW RAFACZ is pleased to announce Psychosexual, curated by Scott J. Hunter, in Gallery One and Gallery Two. </span><br /> <br /><span style="font-size: small;"> Chicago, IL, April 6, 2013– ANDREW RAFACZ continues the spring 2013 season with Psychosexual, curated by Scott J. Hunter. The exhibition includes work by Lutz Bacher, Tom Burr, Edmund Chia, Matthias Dornfeld, Jayson Keeling, Jutta Koether, Nazafarin Lotfi, Jeffry Mitchell, John Neff, Rachel Niffenegger, Peter Otto, Kirsten Stoltmann, and Brenna Youngblood. It continues through Saturday, May 25, 2013.</span><br /> <br /><span style="font-size: small;"> Psychosexual explores the constructed, yet unconscious meaning of the physical gesture in contemporary art making, and its intimacy and eroticism. The gesture, across mediums, is first and foremost taken as a representation of the artist’s underlying self, as it is envisioned, fabricated, and then executed. As such, it holds in its execution a projection of the artist’s desires and assertions. Its consequent evocation, in the mind of the viewer of the work, is a representation of the artist’s self; a projective identification by the viewer that is considered, taken in and incubated as memory, and which is then explored, challenged, or discharged. It is the intersubjectivity between artist and viewer that becomes a principal interest in this exhibition; to assess and frame how the artist's and viewer's unconscious eroticism becomes both psychologically and aesthetically tangible. </span><br /> <br /><span style="font-size: small;"> A catalog, with essays by Jason Foumberg, Elijah Burgher, and Scott J. Hunter, is forthcoming during the run of the exhibition.</span><br /> <br /><span style="font-size: small;"> LUTZ BACHER (American) lives and works in Berkeley, CA and New York. She has had solo exhibitions at Ratio 3, San Francisco; Alex Zachary Peter Currie, New York; and Taxter &amp; Spengemenn, New York; and is currently exhibiting at Portikus in Frankfurt. Forthcoming exhibitions include the Institute of Contemporary Art, London and Kunsthalle Zürich, Switzerland. She had a retrospective at P.S. 1, New York in 2009 and was included in the 2012 Whitney Biennial.</span><br /> <br /><span style="font-size: small;"> TOM BURR (American, b. 1963) lives and works in Norfolk, CT and New York. He studied at the School of the Visual Arts, 1982-1986. He has had numerous solo exhibitions, including at Galerie Neu, Berlin; Stuart Shave/Modern Art, London; Almine Reich, Paris; and Bortolami, New York. He was included in the recent exhibition, The Black Mirror, curated by James Welling at Diane Rosenstein Fine Arts, Los Angeles.</span><br /> <br /><span style="font-size: small;"> EDMUND CHIA (Singapore, b. 1977) lives and works in Chicago. He received an MFA from SAIC in Painting and Drawing in 2009 and is currently on the painting faculty. He has been included in multiple group shows in Chicago, including The Mind’s I at Julius Caesar and had a solo exhibition in 2011 with ADDS DONNA.</span><br /> <br /><span style="font-size: small;"> MATTHIAS DORNFELD (German, b. 1960) lives and works in Berlin. He studied at the Art Academy in Munich, Germany. He has had numerous solo and group exhibitions, including the former Galerie Ben Kaufmann, Berlin/Munich and Rowley Kennerk Gallery, Chicago; Blanket Contemporary, Vancouver, BC; Harris Lieberman, New York; Ancient &amp; Modern, London; and Soy Capitan, Berlin.</span><br /> <br /><span style="font-size: small;"> JAYSON KEELING (American, b. 1966) lives and works in Long Island City, Queens. He attended the Fashion Institute of Technology, New York. His work has been featured in group and solo exhibitions at the Studio Museum in Harlem; Abrons Art Center, Henry Street Settlement, New York; the Queens Museum of Art, Queens, NY; El Museo del Barrio, New York; and Rhona Hoffman Gallery, Chicago. </span><br /> <br /><span style="font-size: small;"> JUTTA KOETHER (German, b. 1958) is an artist, musician, and critic living and working in New York, NY. She has collaborated in her exhibitions with Tom Verlaine and Kim Gordon. Solo exhibitions have been held at Bortolami, New York; Susanne Vielmetter Los Angeles Projects; Galerie Daniel Buchholz, Koln/Berlin; and Reena Spaulings Fine Art, New York. She was featured in the 2012 Whitney Biennial and the 2012 San Paulo Biennial in Brazil. </span><br /> <br /><span style="font-size: small;"> NAZAFARIN LOTFI (Iranian, b. 1984) lives and works in Chicago. She received her MFA from the SAIC in 2011. She has had solo exhibitions at Brand New Gallery, Milan; Tony Wight Gallery, Chicago; and Autumn Space, Chicago; and will be included in an upcoming group exhibition at Ana Cristea Gallery in New York this year.</span><br /> <br /><span style="font-size: small;"> JEFFRY MITCHELL (American, b. 1956) lives and works in Seattle, WA. He recently had a midcareer retrospective at the Henry Art Gallery at the University of Washington in 2012. He has been featured in both solo and group exhibitions at Ambach &amp; Rice, Los Angeles; Rena Bransten Gallery, San Francisco; White Columns, New York; the New Museum of Contemporary Art, New York; and the Seattle Art Museum. </span><br /> <br /><span style="font-size: small;"> JOHN NEFF (American, b. 1975) lives and works in Chicago. He received his MFA from UIC in 2001 and he continues to teach in their Department of Art and Architecture. He currently is having his first solo institutional exhibition at the Renaissance Society at the University of Chicago. He has been featured in solo and group exhibitions at GOLDEN, Chicago/New York; the Museum of Contemporary Art, Chicago; the Hyde Park Art Center, Chicago; and Western Exhibitions, Chicago.</span><br /> <br /><span style="font-size: small;"> RACHEL NIFFENEGGER (American, b. 1985) lives and works in Chicago and Amsterdam. She received her MFA from Northwestern University in 2012, following completing her BFA at SAIC. She has had solo exhibitions at Western Exhibitions, Chicago and Club Midnight, Berlin. She has been featured in numerous group exhibitions including Western Exhibitions, Chicago; Tracey Williams Gallery, New York; the Block Museum of Northwestern University, Evanston, IL; Museum voor Moderne Kunst, Arnhem, NL; and Green Gallery, Milwaukee.</span><br /> <br /><span style="font-size: small;"> PETER OTTO (Dutch, b. 1955) lives and works in Arnhem, NL. A sculptor and painter, he has had solo and group exhibitions across Europe and in the US, including Devening Projects + Editions, Chicago; Museum Beelden aan Zee, Scheveningen; Boÿmans van Beuningen in Rotterdam; Galerie Swart, Amsterdam; and the Pushkin Museum, Moscow.</span><br /> <br /><span style="font-size: small;"> KIRSTEN STOLTMANN (American, b. 1968) lives and works in Ojai, CA. She received her MFA from UIC in 2002. She has had numerous solo and group exhibitions at Western Exhibitions, Chicago; Brennan &amp; Griffin, New York; Sister, Los Angeles; Guild and Greyshkul, New York; Saatchi Gallery, London; Honor Fraser Gallery, Los Angeles; and Wallspace, New York. </span><br /> <br /><span style="font-size: small;"> BRENNA YOUNGBLOOD (American, b. 1979) lives and works in Los Angeles, CA. She received her MFA from UCLA. She has been included in several group exhibitions, including the most recent surveys, FORE, at the Studio Museum of Harlem, New York and Made in L.A. 2012, at the UCLA Hammer Museum, Los Angeles. She has had solo exhibitions at Honor Fraser Gallery, Los Angeles; Susanne Vielmetter, Los Angeles; Margo Leavin Gallery, Los Angeles; and Wallspace, New York.</span></p> Sat, 06 Apr 2013 09:31:03 +0000 Al Eckel, George Fred Keck, Frank Lloyd Wright - ArchiTech Gallery - January 11th, 2013 - August 24th, 2013 <p style="text-align: justify;">"Design" is simply choice.  Aesthetic choice.   The elements of design can be seen in architectural, graphic or industrial drawings and the products they describe can be buildings, bridges or appliances.  </p> <p style="text-align: justify;">Nowhere are those designs more plentiful than in an advanced consumer society like ours. And ArchiTech Gallery is the one place where those earliest designs can be acquired as works of art.</p> <p style="text-align: justify;">Often, design drawings are the first draft of the creative process.  But that process is hidden from the view of everyone else but the artist.  </p> <p style="text-align: justify;">ArchiTech Gallery exhibits these design and architecture works in a special show and sale of original material opening January 11th and continuing through April 27th, 2013.</p> Mon, 15 Apr 2013 13:24:07 +0000 Rafael E. Vera - Bert Green Fine Art - March 9th, 2013 - May 3rd, 2013 <p style="text-align: justify;">Bert Green Fine Art is pleased to present our first solo show by Chicago-based artist Rafael E. Vera.</p> <p style="text-align: justify;">Rafael E. Vera has spent years slowly renovating his own home. The sculptures and works on paper in this show share a focus on the underlying reality of domestic building structural elements. The hidden forms which provide support and make possible the domicile are exposed and depicted as mundane and anonymous, yet ripe with abstract qualities. Concrete foundations and wood framing, unremarkable and utilitarian, freed from their role as building materials transform their quotidian existence and are newly interpreted.</p> Sun, 21 Apr 2013 23:00:46 +0000 ARISTOTLE GEORGIADES - Carl Hammer Gallery - April 12th, 2013 - May 11th, 2013 <p><span style="font-size: small;">I<span size="4">n this his first solo exhibition at Carl Hammer Gallery, Aristotle Georgiades’ new body of work uses primarily repurposed materials to touch on themes of altered ambition and obsolescence. Most of the new pieces have an intention or ambition that has been re-directed for one reason or another, making the emotional content of this change in direction the subject of this new work. The wood trim, banisters and railings, salvaged by the artist for this body of work, all come from a historical period when the “constructed environment” was not as efficiently mass-produced as it is today, and workmanship was important. The vintage in the materials used most definitely conveys a nostalgic quality, triggering something in us to reference the past. Yet, the forms and installations go beyond a sentimental moment about handwork and a “simpler time”. They are formally composed and employ a sculptural vocabulary which causes us to re-consider our relationship to the material world of today, and how the things that we have constructed reflect our values and concerns. </span></span></p> <p><span style="font-size: small;" size="4"> Many of Georgiades’ source objects and materials are no longer useful in the way they were intended, and through sculptural manipulation, he finds a way to give them a new purpose, often that of expressing the condition that many humans find themselves in as well.  If work is what makes people feel useful, what happens when the rapidly changing world about us renders people obsolete or worn out?  How does one find meaning when one’s strengths are no longer needed?  Through the application of formal and design language to the materials chosen by the artist, we are offered a sculptural point of view on this human condition</span></p> Thu, 21 Mar 2013 23:14:42 +0000 Michael Robinson - Carrie Secrist Gallery - April 6th, 2013 - May 18th, 2013 <p style="text-align: justify;">Carrie Secrist Gallery is pleased to announce <b>Michael Robinson: <i>Circle Spectre Paper Flame</i></b>, opening Saturday, April 6 from 5-8 PM.</p> <p style="text-align: justify;">In his first solo exhibition with the gallery, Michael Robinson presents a new body of photo and collage work together with the film <i>Circle in the Sand </i>(2012). Layering and reassembling leftovers of culture, the artist creates contemporary venues for spiritual exchange and transformation. The resulting pictures hum subtly, revealing new meanings.</p> <p style="text-align: justify;">In the main space, Robinson exhibits new photographs offering a magical interpretation of landscape. Using basic light manipulation, Robinson captures subjects such as forest mushrooms and moonlight cast on a book page. Communicating an oblique narrative, his eerily pleasing images capture the potential for transcendence in the mundane.</p> <p style="text-align: justify;">Alongside the photographs, Robinson shows new collage work. In each mixed media piece, central halo forms frantically explode across found photographic backgrounds. The backgrounds act as photographic representations or readymade additions to the disseminated montage of deities in each foreground. Robinson mines sources as varied as fruit tree diseases and 1980s computer graphics to generate his otherworldly scenes.</p> <p style="text-align: justify;">In the second gallery, Robinson screens <i>Circle in the Sand</i> (2012). Set in a post-apocalyptic near future, the 45-minute film follows a band of listless vagabonds ambling across a war-torn coastal territory. Rummaging, stuttering, and smashing through the scraps of Western culture, this group of ragged souls conjures an unstable magic fueled by their own apathy and the poisonous histories imbedded in their unearthed junk.</p> <p style="text-align: justify;"><i>Circle in the Sand</i> screened previously at the New York Film Festival (2012) and the International Film Festival Rotterdam (2013); the film will project hourly at the Carrie Secrist Gallery during its Chicago debut.</p> <p style="text-align: justify;">Past exhibitions and screenings for Michael Robinson (American, b. 1981) include the 2012 Whitney Biennial, Walker Art Center, MoMA P.S.1, London Film Festival, REDCAT Los Angeles, Sundance Film Festival, Tate Modern, San Francisco International Film Festival, and Hong Kong International Film Festival. Honors include a Kazuko Trust Award (2012), a Creative Capital Grant (2012), and a 2011-2012 Film/Video Residency Award from the Wexner Center for the Arts.</p> <p style="text-align: justify;"><b>Michael Robinson: <i>Circle Spectre Paper Flame</i></b> will be on view through May 11, 2013. The gallery is open Tuesday through Friday 10:30 to 6 and Saturday 11 to 5 or by appointment.</p> <p style="text-align: justify;"></p> Sun, 12 May 2013 08:45:35 +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 michelle gordon, Kristin Komar, Lynn Basa, Sheila Ganch, Eric Holubow, Mark Phillips - Chicago Art Source Gallery - April 5th, 2013 - June 22nd, 2013 <p style="text-align: justify;">For some, it’s a city of transition, a literal settlement: the place where we land, finally, after trying on a few others—Detroit or Cleveland; Greenville, North Carolina. It’s close enough to home, but far enough away. It’s the fresh start where we can become anonymous, start anew with a blank canvas. For others, it’s in our blood. We’ve always been here; we’ll never leave. It’s where we were born and it’s where we’ll die. It’s where we’ve been, where we are and where we’re going. It’s our ancestry, it’s our legacy. It’s Chicago.</p> <p style="text-align: justify;">For the “Chicago Six,” the city is all of these things and then some. But most of all, it’s a common geography for creativity. It inspires; it defies. It rewards; it challenges. It’s a city that’s at once brutally unforgiving and selflessly humble.</p> <p style="text-align: justify;">Sometimes, Chicago is quite literal. For metal artist Mark Phillips, it’s the gritty El station whose scuffed up, graffiti-clad walls resonate with the ear-piercing squeal of train breaks one minute, and the gentle, echoing harmonies of a street-musician’s a cappella group the next. For photographer Eric Holubow, it’s the abandoned church on an overgrown lot whose ornate, byzantine structure has been deteriorating for eons until all that’s left are crumbling frescoes, water-stained plaster and a pile of dilapidated furniture, yet its stained-glass windows shine as bright and clean and true as the day they were finished.</p> <p style="text-align: justify;">For sculptor Sheila Ganch, Chicago resonates in its people, a pair of them bent over a table in thought, sorting through their relationship with one another: their synergy, their diversity, their geography, their city.</p> <p style="text-align: justify;">Sometimes, Chicago is abstract. For painter Lynn Basa, it’s the city whose unexpected outburst of color becomes evident only when its yellows and oranges begin to melt and morph into its blues, leaving traces of gray areas that we can’t quite explain. For mixed-media artist Kristin Komar, it’s a field of chartreuse and aqua dripping in acrylic and gouache, turned sideways as if to defy gravity, then overlaid with sinister basic black and stark white—two hues that refuse to exist in the natural landscape. And for painter Michelle Gordon, it’s more diverse still: smears and smudges of blood and steel and mustard and flesh somehow coexisting, at once separated and connected by drawn-in lines of gray, emphasizing how different every color looks upon separation from its neighbors.</p> <p style="text-align: justify;">This Chicago, the one that belongs in the imaginations of the artists who make up the “Chicago Six,” is varied in every possible way, from materials to execution and finished aesthetic. And yet this is the truest cross-section of the city, one that’s made up of natives and long-term visitors, here for a day or a decade or a lifetime.</p> Sun, 24 Mar 2013 06:34:41 +0000 Stephen Beal, Richard Nickel, Barbara Crane, Bob Thall - Chicago Cultural Center - March 12th, 1994 - December 31st, 2020 <p><em>Presented by the Commission on Chicago Landmarks, this exhibition of 72 black and white photographs from 1956 to 1987 offers a detailed view of 24 designated Chicago Landmarks.  The exhibit features the work of renowned architectural photographers Richard Nickel, Barbara Crane, Bob Thall and Stephen Beal.</em></p> <p> </p> Sat, 04 Feb 2012 02:51:44 +0000 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 Hale Woodruff - Chicago Cultural Center - March 23rd, 2013 - June 16th, 2013 <p style="text-align: justify;">Opening March 23 at the Chicago Cultural Center and running through June 16, "Rising Up: Hale Woodruff's Murals at Talladega College" features six monumentally-scaled murals painted in 1939-42 by African American artist Hale Woodruff. Never before seen outside of Alabama's Talladega College, the murals depict the 1839 mutiny by slaves on the Spanish ship La Amistad and its aftermath. Newly restored to their original, vibrant colors, the murals are accompanied by 30 paintings and prints that document Woodruff's work from the 1920s to the 1940s, making this exhibition a rare opportunity to see this important Harlem Renaissance artist's work in depth. <i>"Rising Up" is organized by the High Museum of Art, Atlanta, in collaboration with Talladega College, Talladega, Alabama. This exhibition is made possible through support from the Terra Foundation for American Art. </i></p> Mon, 04 Mar 2013 13:43:07 +0000 Vivian Maier - Chicago History Museum - October 1st, 2012 - June 7th <p style="text-align: justify;">See Chicago through the eyes of Vivian Maier and witness the life work of a photographer who wowed the world with breathtaking images of everyday life in urban America. Maier&rsquo;s Chicago collection will be presented at larger than life scale vividly documenting Chicago neighborhoods and faces of the 1960s and 70s.</p> <p style="text-align: justify;">Vivian Maier was born in New York City in 1926, but spent much of her life travelling to places like Egypt, Bangkok, Italy, and the American Southwest with camera in tow. In 1956 she settled in Chicago, where she remained until her death in 2009. She spent her adult life as a nanny to a series of North Shore families, and devoted her free time and money to her passion, photography.</p> <p style="text-align: justify;">Images for <em>Vivian Maier&rsquo;s Chicago</em> come from the Jeffrey Goldstein collection (Vivian Maier Prints Inc.) Acquired in 2010, the Goldstein collection includes over 15,000 negatives, 1,000 prints, 30 homemade movies, and numerous slides. They document Vivian&rsquo;s European years prior to her early 1950s stay in New York continuing through her Chicago years from 1955 into the early 1970s.</p> Mon, 03 Mar 2014 03:49:26 +0000