ArtSlant - Openings & events en-us 40 eighth blackbird - Museum of Contemporary Art (MCA) - April 30th, 2013 7:30 PM - 9:00 PM <p><b>MCA Stage: eighth blackbird with Nico Muhly and Bryce Dessner</b></p> <p>April 30 - May 1, 2013, 7:30pm</p> <p>Tickets $ 28, MCA members $22, Students  $10</p> <p><b> </b></p> <p>As part of the composer series at the <b>Museum of Contemporary Art Chicago</b>, the celebrated Chicago-based chamber music ensemble,<b> eighth blackbird</b>,  returns to the <b>MCA Stage.</b> The concerts will feature new works by two young, New York-based, composer/performers who bridge the worlds of classical music and rock:<b> Nico Muhly and Bryce Dessner</b>. Muhly who worked extensively with Philip Glass early in his career has also composed full-length albums, film scores, symphony and theater commissions, and collaborated with many notable musicians such as: Björk, Grizzly Bear, and Sufjan Stevens. Dessner is the guitarist of the indie rock band The National, co-founder of the contemporary classical ensemble Clogs, and curates the MusicNOW Festival in Cincinnati. Muhly and Dessner perform with eighth blackbird and play their own music as well as music by composers who have inspired them. MCA Stage co-commissioned Dessner’s new work for eighth blackbird.</p> Sun, 14 Jul 2013 17:01:47 +0000 Amanda Elise Bowles, Daniel Giles, Esau McGhee, Matt Morris- Chicago - Mary and Leigh Block Museum of Art - May 2nd, 2013 5:00 PM - 7:00 PM <p>This exhibition represents points of culmination and crisis that overlap within the art-making practices of Amanda Elise Bowles, Daniel Giles, Esau McGhee, and Matt Morris. The intensive research with which they have been engaged during their tenure in the Department of Art Theory and Practice situates the resulting artworks in a climate of rigorous critical thinking and a negotiation of today&rsquo;s art worlds. Variously reflexive, incisive and contemplative, this exhibition poses fresh lines of inquiry into material conditions that give shape to our present and future.</p> <p><strong>Amanda Elise Bowles</strong>&nbsp;is a project-based artist who works in performance, installation and video. Her practice demarcates the studio as site for transmission and transformation; this is foremost engaged materially whereby substance and action allow for the emergence of performative gesturing and language play. In her current project,<em>&nbsp;My_Space</em>, Bowles explores digital platforms as an amateur ethnographer, using the constraints of the website Chat Roulette as the space for chance encounters.</p> <p><strong>Daniel Giles</strong>&nbsp;is an artist whose practice negotiates the spaces, tropes and artifacts of black cultural production and addresses the mediation and consumption of cultural fantasies. Employing a range of practices, Giles addresses sites of consumer display, public spectacle and the aesthetics of protest. He received a BFA from the School of the Art Institute of Chicago in 2011.<br /><br /><strong>Esau McGhee</strong>&nbsp;aka Blackdynamite considers himself a conceptual formalist. His transition from the conventions of urban documentary photography have lead him to produce large scale works that frame collage as a panoramic landscape. For McGhee the collision of imagery within severe grids results in a cinematic assault of both material as imagery and the image as material. He received his BFA from the School of the Art Institute of Chicago in 2005.</p> <p><strong>Matt Morris</strong>&nbsp;is an artist and writer who uses photography, installation and other interventions into space to articulate the cultural positionality of the queer political subject within imbricated systems of control. Through tropes of both subtlety and excess, Morris renders visible the complex erotics that underlie social landscapes. He has presented work in Chicago, IL; Reims, France; Cincinnati, OH; San Antonio, TX; and Baton Rouge, LA. His writing has appeared in regional and international publications, including<em>Art Papers</em>,&nbsp;<em>Sculpture</em>,&nbsp;<em>City Beat (Cincinnati, OH)</em>,&nbsp;<em>Alice Blue Review</em>, and&nbsp;<em>Aeqai</em>, as well as numerous exhibition catalogues and artist monographs. He is a transplant from southern Louisiana and holds a BFA from the Art Academy of Cincinnati.</p> Tue, 17 Sep 2013 13:23:33 +0000 Leslie Baum, Diana Guerrero-Maciá, Jessica Labatte, Adam Scott - Elmhurst Art Museum - May 3rd, 2013 6:30 PM - 8:30 PM <p style="text-align: justify;">Similar to the contemporary musician’s process of making new material from samples of familiar music, the artists mine and digest bits and pieces of visual culture from sources such as printed advertisements, urban debris, common pictorial symbols and the history of art. These visual samples, manipulated and placed into large-scale paintings, appliquéd textiles, paper collages, and photographs, are treated with the bold and colorful visual language reminiscent of early 20th century modernist abstraction. </p> <p style="text-align: justify;">With knowing reference to artistic precedents, the artists construct their own hybridized formats around these fragments of contemporary culture. The resulting work pays homage to their forerunners and contributes to new conversations about the relevance of abstraction, the meanings behind materials and signs, and, above all, compels viewers to keep looking. </p> Sat, 20 Apr 2013 06:03:55 +0000 Cody Hudson - Elmhurst Art Museum - May 3rd, 2013 6:30 PM - 8:30 PM <p style="text-align: justify;">Artist and graphic designer <a href=""><strong><span style="color: #000000;" color="#000000">Cody Hudson</span></strong></a> will present an exhibition of new and recent sculpture in EAM’s Hostetler Gallery. Built from scrap wood and altered with printed material and house paint, Hudson’s totemic structures suggest their modest origins and modernist leanings. Influenced by pop culture, the urban environment and abstract art, Hudson combines bold color schemes and roughly hewn shapes with found objects and poetic titles to produce works that allude to the world today and our struggle to make sense of it all.</p> Sat, 15 Jun 2013 16:26:26 +0000 Group Show - Gallery 400 - May 3rd, 2013 5:00 PM - 8:00 PM <p style="text-align: justify;">Covering more than two decades of work, <em>I THINK WE’RE READY TO GO TO THE NEXT SEQUENCE</em> moves beyond the retrospective format to re-examine, interpret, and pay homage to the extensive body of performative video work that the HALFLIFERS (the collaborative team of Torsten Zenas Burns and Anthony Discenza) have produced since the early 1990s. Employing a lo-fi aesthetic that amplifies the qualities of videotape and forms of its playback, Burns and Discenza perform as characters inspired by genres of speculative fiction, producing a sincere absurdity that reflects on the issues of anxiety and identity in our rapidly changing technological age. Included in the exhibition are the HALFLIFERS’ re-edit of the collaborative’s entire video history into a new one-hour loop and an alternative self-portrait that catalogs key materials, sources, influences, and other touchstones in a new book entitled <em>THE LAST KNOWN PHOTOGRAPH OF THE HALFLIFERS</em>.</p> <p style="text-align: justify;">Accompanying the HALFLIFERS’ works are sculptures, videos, drawings, installations, photographs, and paintings by a number of artists who have affinities with the collaborative and who produced new works inspired by the HALFLIFERS’ oeuvre. By subjecting themselves to the reinterpretations and responses of others, HALFLIFERS question their present relevancy while, at the same time, continue to be relevant through their very willingness to adapt.</p> Wed, 12 Jun 2013 15:47:36 +0000 Jennet Thomas - Gallery 400 - May 3rd, 2013 7:00 PM - 8:00 PM <p>In conjunction with the opening reception of I THINK WE’RE READY TO GO TO THE NEXT SEQUENCE: THE LEGACYOF HALFLIFERS, Jennet Thomas performs her newly created, HALFLIFERS inspired, <i>I AM YOUR ERROR MESSAGE</i>. </p> <p> Something is terribly wrong.  That message has been received and you know that some sort of action is required for salvation but you have questions, and fears.  Receive answers to your inquiries and learn how to save yourself at Gallery 400 on May 3 at 7pm.</p> <p>Jennet Thomas (born 1963) is an artist who makes films, performances and installations. Her work began as spoken word and projections for a live audience, it now combines a variety of filmic languages, ranging from soap opera to experimental and underground filmmaking, from sci-fi to musicals. Her work tackles very human content and is often bleakly comic. Thomas' work emerged from the anarchistic, experimental culture of London's underground film and live art club scene in the 1990's, where she was a co-founder of the Exploding Cinema Collective. Her numerous film works have screened extensively in the international Film Festival arena (Rotterdam, Oberhausen, New York Underground Film Festival) with retrospectives at The Pleasure Dome, Toronto, Anthology Film Archives, New York and Rencontres Video Art Plastique in France. She is a Senior Lecturer on BA Fine Art: Print and Time Based Media at the University of the Arts London, Wimbledon College.</p> Tue, 23 Apr 2013 21:15:47 +0000 Terri Zupanc - Jean Albano Gallery - May 3rd, 2013 5:30 PM - 7:30 PM <p align="center">Terri Zupanc's new body of work is an intimate portrait of the land and water surrounding her cabin on Paint Lake in the Upper Peninsula of Michigan.<em> </em></p> Mon, 15 Apr 2013 13:31:27 +0000 - Museum of Contemporary Art (MCA) - May 3rd, 2013 6:00 PM - 10:00 PM <p><b>MCA: First Fridays: Fiesta</b></p> <p>May 3, 2013, 6-10pm</p> <p>Tickets $14 in advance, $18 at the door</p> <p> </p> <p style="text-align: justify;">At First Fridays, visitors can unwind after work and enjoy an intriguing mix of culture, ranging from live music and performance art to experimental films and hands-on art stations. May’s fiesta themed event includes spins by <b>DJ Alvin Black</b>, a <b>GlitterGuts</b> photo booth, an on-site give-away by<b> WXRT </b>radio station, and a creation station with Chicago artist <b>Gabriel Garcia</b>.  Visitors can enjoy a <b>Loteria </b>game and participate in a <b>scavenger hunt</b> with a chance to win prizes. First Fridays<b> </b>tickets, which include museum admission, live entertainment, and complimentary <b>Wolfgang Puck</b> hors d’oeurves, are $18 ($14 in advance). Guests must be 21 or older.</p> <p></p> <p><b> </b></p> <p></p> <p><b> </b></p> <p></p> <p><b> </b></p> <p></p> Sun, 21 Apr 2013 23:41:25 +0000 Pablo Soria - Schneider Gallery - May 3rd, 2013 5:00 PM - 7:30 PM <p style="text-align: justify;"><i>Schneider Gallery is pleased to present Pablo Soria: Nocturnal. The long exposure, an extended period in which photographic film or sensor is exposed to light, produces a flattened space where time collapses within a singular image. It is within this space that Pablo Soria makes varied attempts to negotiate his relationship to his homeland, San Miguel de Tucumán in Argentina. Using the darkened night sky as a means to “draw out” his compositions, Soria strategically moves about the frame, his apparition appearing in some images while others only depicting the residual products of his actions. Through the manipulation of light, he renders the familiar unfamiliar and presents the viewer with images referencing his memory of place. Memory’s haze provides the screen that Soria utilizes to explore what it means to return home.</i></p> Sat, 20 Apr 2013 06:19:19 +0000 Caleb Charland - Schneider Gallery - May 3rd, 2013 5:00 PM - 7:30 PM <p style="text-align: justify;"><i>Caleb Charland’s recent work looks to expand and exploit the “glitches” in traditional photographic processes to capture experiences that normally remain unseen. His work is both a playful looking at how photography functions, but also a reflection of how we engage with the world around us. With multiple and long exposures, Charland duplicates actions, renders the microscopic visible, and performs what appear to be magical feats, only possible thanks to photography. The images call to the viewer for further investigation. By combining science and art into his practice; Charland’s photographs provide a site for considering the latent aspects of our surrounding environment.</i></p> Sat, 20 Apr 2013 06:22:38 +0000 Aay Preston-Myint - threewalls - May 3rd, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;">In (At Night, I Think Of You), Aay Preston-Myint presents a series of artworks that live double lives and investigate the place of yearning in between. The show contains objects existing both as themselves but also as parodies or replicas of those things a gay pride flag that is also a sculpture of a gay pride flag (which is also a statement of utopian desire), sculpture of a cake that is also a cake sculpture (which is also a meditation on companionship), wallpaper that is also a drawing of wallpaper (which is also a drawing of a mirror that, of course, fails to reflect, but suggests a space for self reflection). This back and forth between representation and embodiment suggests Preston-Myint's desire for these works to stake a claim in the middle ground between “identity art” and formal abstraction; that is, the artist is aware of what they are, but he is also open to the investigation of their basic materials and essences. They are uncanny and familiar entries in the documentation of a personal/political moment, or collection of moments, in (a) queer life.</p> <p style="text-align: justify;">+ + +</p> <p style="text-align: justify;">Aay PrestonMyint is an artist, printmaker, and educator based in Chicago, IL, and has exhibited nationally in San Francisco, Minneapolis, Cincinnati, Memphis, and New York. He loves pie, but is less partial to cake, and similarly enjoys the beach, but not the ocean. He spends most of the day thinking about things like Futurity, Slime, Pageantry, Exploring the Possibility of Radicalizing Contemporary Queer Night Life, Body Hair, Doubt, the Problematics of Aestheticizing Community, Labor vs. Value vs. Reward, and "Projects" vs. "Objects". In addition to his own work in interdisciplinary media, he does collaborative programming with No Coast and Chances Dances, and edits an online and print journal called Monsters and Dust. He might send you a mixtape sometime if you ask nice.</p> Sat, 13 Apr 2013 11:15:37 +0000 Marissa Lee Benedict - threewalls - May 3rd, 2013 6:00 PM - 9:00 PM <p style="text-align: justify;">MULTIPLEX</p> <p style="text-align: justify;"></p> <p style="text-align: justify;">adj. <br /> 1. consisting of many elements in a complex relationship<br /> 2. manifold; multiple.<br /> 3. of, pertaining to, or using equipment permitting the simultaneous transmission of two or more trains of signals or messages over a single channel.</p> <p style="text-align: justify;">n.  <br /> 1. a system or signal involving simultaneous transmission of several messages along a single channel of communication.<br /> 2. (in map making) a stereoscopic device that makes it possible to view pairs of aerial photographs in three dimensions.<br /> 3. a building containing a number of motion-picture theaters or, sometimes, a cluster of adjoining theaters on the same site.<br /> v.i.<br /> 1. to send several messages or signals simultaneously, as by multiplex telegraphy.</p> <p style="text-align: justify;">[from Latin: having many folds, from MULTI- + plicāre to fold]<br /> pl.  multiplices</p> <p style="text-align: justify;">________________________________________________________________________</p> <p style="text-align: justify;">“How much of philosophical, scientific, and political thought is caught up with the idea of continuity? What if it were otherwise? … [if there was] a way of thinking with and through dis/continuity - a dis/orienting experience of the dis/jointedness of time and space, entanglements of here and there, now and then, that is, a ghostly sense of dis/continuity, a quantum dis/continuity... differentiations that cut together/apart - not separate consecutive activities, but a single event that is not one.”</p> <p style="text-align: justify;">“Quantum Entanglements and Hauntological Realtions of Inheritance: Dis/continuities, SpaceTime Enfoldings, and Justice-to-Come”, Karen Barad (Derrida Today 3.2 (2010):240-268 Edinburgh University Press):</p> <p style="text-align: justify;">________________________________________________________________________</p> <p style="text-align: justify;"><br /> As someone deeply curious about the way our world works – from the simple clarity of infinitesimally small micro reactions to the infinite complexity of macro interactions – Marissa Lee Benedict’s practice is deeply rooted in research and experimentation. Growing out of a four year investigation into algae - and its potential to transform our food, pharmaceutical, science, and fuel industries - MULTIPLICES is an exploration by Benedict into processes of thinking, making, researching, assembling, transforming: processes of making dis/connections.</p> <p style="text-align: justify;">For MULTIPLICES, Benedict has collected algal samples from 5 sets of sites in the Chicago metropolitan area, taking these sites as a series of coordinates from which to draw spiraling connections between personal, social, material and theoretical histories. Installed in threewalls’ main space, MULTIPLICES pairs written text with sculptural objects; assemblages which put forward the experience of the exhibition as a multiplex, as a way in which messages and transmissions can be packaged together and sent simultaneously along a single telephone line. Building upon Deleuze and Guattari’s proposition of the book as a space where “...there are lines of articulation or segmentarity, strata and territories; but also lines of flight, movements of deterritorialization and destratification”, Benedict encircles the gallery space with a single shelf – a ledge prepared to hold a multitude of “textbooks” which serve as a road maps for the sculptural assemblages occupying the gallery walls and floors.</p> <p style="text-align: justify;"><br /> Traveling to Wolf Lake, Belmont Harbor, the offices of SAIC/SAIC (the Art Institute and the sience/technology company), Jean Baptiste Point Du Sable Homesite/Dusable Park and threewalls itself, Benedict dis/connects these 5 sets of coordinates through a process similar to that of felting – of generating a nonwoven fabric through the multiple, random interlocking of spiral strands (fibers) under heat, friction and pressure. Utilizing this process of “felting” as a metaphor for describing the synthesis of a four year body of research, Benedict takes up the exhibition as a moment to embarks on a discussion of MULTIPLICES: of simultaneities and separations; iteration and reiteration; sampling and searching and researching; cutting apart and together; certainty and curiosity and uncertainty; chance and intention and proposition; moments of hope and failure; loss and transformation; everything and nothing.</p> <p style="text-align: justify;">________________________________________________________________________</p> <p style="text-align: justify;"><br /> A native of Southern California, <strong>Marissa Lee Benedict </strong>is a sculptor, researcher, writer, explorer, teacher, student and avid amateur of many fields and disciplines (coming from the French “lover of”). Motivated by a sense of critical wonder, Benedict’s practice is an ongoing investigation the complex – and ever evolving – relationship between humans and the material world. Whether communicating via sculpture, installation, performance, video or the written word – or a hybridization thereof – she seek to articulate Jane Bennett’s philosophy of “vibrant matter”, fore-fronting the “force of materiality” to create both a physical and intellectual understanding of networked interconnectivity. Benedict is interested in participating in processes which reinvest material with agency; processes which allow equal space for planned human action and uncontrollable biological, chemical and physical reaction.</p> <p style="text-align: justify;">Currently based in Chicago, IL, Marissa Lee Benedict received a BFA from the Rhode Island School of Design (RISD) in 2007 and an MFA in Sculpture from the School of the Art Institute of Chicago (SAIC), where she teaches part-time in the Sculpture Department.</p> Sat, 13 Apr 2013 11:19:53 +0000 Pamela Hobbs - ARC Gallery and Educational Foundation - May 4th, 2013 4:00 PM - 7:00 PM <p><b>Artist’s Statement</b></p> <p></p> <p><b> </b>I am a fine arts photographer.  My work explores feminine identity and the passage of time.  My style is characterized by photographing miniature scenes composed of dolls, plaster figures and sculpted forms in large format.  The black and white photographs are tone and sometimes painted.  The affect is surreal and mysterious.</p> <p></p> <p>“Time and Remembering” is a series of sepia-toned and hand-colored images housed in rustic, pine enclosures. Patterned papers, lacy textures and children’s playing cards quilt the shadowbox interiors.  These trunk-like boxes suggest memory, loss and time slipping away.</p> Sun, 19 May 2013 02:47:23 +0000 Amanda Ross-Ho - Shane Campbell Gallery - May 4th, 2013 6:00 PM - 8:00 PM <p style="text-align: justify;">Shane Campbell Gallery is pleased to announce CRADLE OF FILTH, Amanda Ross-Ho’s debut solo exhibition with the gallery in Chicago.  Ross-Ho will present a group of new paintings on dyed canvas, together with a large-scale, wall-bound soft sculpture. <br /><br />Known for her diverse material dialectic, Ross-Ho uses interdisciplinary procedures to manifest complex networks of thought. CRADLE OF FILTH examines the formal and emotional properties of scale and unrestrained gesture, negotiating between expressive impulse and forensic sobriety. <br /><br />The centerpiece and namesake for CRADLE OF FILTH is a hyper-articulated, 400 percent scale recreation of a teenaged girl’s backpack, which was found by the artist several years ago hanging from the side of a Chicago dumpster. Covered in densely scrawled palimpsests of band names, cultural affiliations, and youthful exclamations, the bag serves as a record and emblem of early developing self-expression. <br /><br />Ross-Ho’s oversized reconstruction of this ephemeral document elevates it to monumental scale, training a photographic gaze on its impulsive markings. Through Ross-Ho’s reimagining, the massive backpack becomes a kind of ur vessel of identity formation, at once a reliquary and a fertility icon. <br /><br />Inversely, Ross-Ho’s paintings function as analogous sites of theatrically brash expression. Drawing inspiration from the expulsive energy of the bag’s hieroglyphics, Ross-Ho uses the parallel space of the canvas as a stage for the unencumbered performance of abstract mark making. The paintings—at once confident, excessive, vulnerable, and tentative—emulate the capriciousness of the anonymous bag owner’s nonetheless urgent assertions of defiance and belonging.<br /><br />Amanda Ross-Ho was born in Chicago and lives and works in Los Angeles. She has a concurrent solo show with Mitchell-Innes and Nash in New York and will present a large-scale public project at The Museum of Contemporary Art, Chicago, in July. Her recent solo exhibition at the Los Angeles Museum of Contemporary Art was accompanied by a comprehensive catalogue and her work has been included in exhibitions at the Museum of Modern Art, New York; Orange County Museum of Art, Newport Beach; Pomona College Museum of Art; Henry Art Gallery, Seattle; and in the 2008 Whitney Biennial.</p> Sun, 28 Apr 2013 08:51:48 +0000 Carol Jackson and Julie Potratz - slow - May 4th, 2013 6:00 PM - 9:00 PM <div> <p>A certain flair. Drama queens.</p> <p><a href=";id=23bac4b923&amp;e=766610da6e" rel="nofollow" target="_blank">Carol Jackson</a> and <a href=";id=b0e41f6d7a&amp;e=766610da6e" rel="nofollow" target="_blank">Julie Potratz</a> share a focus on theatricality and power. In political ways, in history, in the trappings of language.</p> <p>Carol has been making fragments of stage architecture. Parts of a stage that frame the scene. Proscenium, if you want to get technical. Carol is playing with the early root of the word when the action happened in front of the front—the frontispiece arch became the background. Everything is doubles. Her stage pieces frame and edit in the traditional ways that a stage frames and edits, but her objects also focus or describe gaze in a second manner too. They use illusionistic rendering rules of perspective. The lines converge. But they do it wrong. The perspective is skewed no matter which direction you are coming from.</p> Carol directs with an iron fist. Feeds you line delivery, makes sure that you get to the correct emotional response. Language that forms responses in your mouth—we understand the moment through these strange words, but they are not language--only sounds. And these sounds that are not words but mean things like words move. Sounds hang in the air for a fleeting moment and then vaporize and are only left as memory. Then cycle ‘round to do it all over again. Emotions on conveyor belts, ready at the check out counter.<br /><br />Julie’s world’s also a stage. World stage. World power. Power suits and painting. Clothes make the man, but in this case she is tough as nails. Whether I say it out loud or not those nails make me think of iron. The tough doubles. <p>Julie paints a scene. Uses her illusion 2. Her body is her canvas, and it works in that art way and in that theater way. Though Julie’s gaze falls on the most powerful women in the world, she empties the drama of overt politics. Sure, we recognize her characters, but we focus on their vulnerable fashion choices and not the most recent policy decision. Doubling, and double D’s. Decisions of war can be eclipsed by plunging necklines and a rack. When the power suit is exchanged for a flouncy floral and florid formal, that dress becomes as important as a war. At least if we count the headlines.</p> <p>Carol is a stalwart of Chicago’s art scene. She is known for her conceptually rigorous leather work and sheet music drawings. She has a substantial international resume including shows at the Smart Museum, Gallery 400, Three Walls, Roots and Culture, the Hyde Park Art Center, the Cultural Center, the Chicago Project Room all in Chicago, 10 in One both in Chicago and New York, Van Harrison in New York, L.A.C.E. in Los Angeles, Kunsthaus Speckstrasse in Hamburg, More Over Gallery in Naples, the Van Abbe Museum in the Netherlands and many others.</p> </div> <p>Julie Potratz’s work spans across the disciplines of costume design, performance art, photography, and acting. After receiving her BFA in 2008 from the Kansas City Art Institute she went on to be a member of Whoop Dee Doo, a kid-friendly faux public access television show featuring live performances by various local groups and individuals in the community. It is an art extravaganza encouraging audience participation and showcasing the talents of everyone from marching bands to tap dancing grandmas.

She has also starred in two feature length independent films written and directed by Laurel Nakadate. "Stay the Same Never Change", a movie shot on location in Kansas City, MO premiered at the 2008 Sundance Film Festival. And "The Wolf Knife" starring Christina Kolozsvary and Julie Potratz premiered at the 2010 LA Film Festival. She has exhibited at Roots and Culture and Cabin Exhibitions in Chicago.</p> Tue, 23 Apr 2013 19:04:12 +0000 Nicholas Frank - PEREGRINEPROGRAM - May 5th, 2013 1:00 PM - 4:00 PM <p><strong><em>"Peregrine was great..."</em></strong></p> <p>So he would hear. In his kitchen in Milwaukee, the artist Nicholas Frank had repeated to himself, sometimes loudly, other times quietly, even just the word “Peregrine.” He had wondered first of all, about the abridgement of the name of that artist-run space in Chicago, and what was it really, for he had never been, Peregrine Program, or Projects, or something like that. Over drinks with his friends, he would also often hear the name Edmund, Edmund the guy who ran the gallery, and almost believe this person existed. Once, the morning after beers at the Polish Falcon bar, he woke to the thought that he might have met the Peregrine Edmund. That they had talked about painting, paintings, language, substance, skeletons, flesh, fiber, memory, beings; that the night before they had shaken hands; and they had agreed they were not able to tell the other artist apart from their project. Nicholas Hermetic Gallery Frank was convinced that this <em>was</em> the Peregrine Program Edmund he had �bought a pint for.</p> <p>In the subsequent months – still unsure when they had exactly first met – Frank would conceive a staging of “ghosts” to this new relationship �for he believed that was how some artists existed. First he ghosted drawings by Peregrine Edmund; drawings made with cast-offs, including an �old discarded library book, overstock fabric, and mirrors from a thrift-store. And then he imaged images of Edmund’s sculpture; images of a �blue object made with seashells and starfish, photographed against fur. And further, he witnessed the pedestal to that sculpture, a Greek �column-inspired construction of wood and paint, in white, blue and gold. The artist Nicholas Frank borrowed, sat on (in broad daylight), played �with (in the dark), and captured something of some things by the Edmund that ran the Peregrine Program, and presently, he would set down �his coffee, grab his bags, lock the door, and he would drive, Milwaukee to Chicago, to Peregrine Program, to say…</p> Tue, 30 Apr 2013 02:37:29 +0000