ArtSlant - Recently added en-us 40 Andrew Holmquist - Carrie Secrist Gallery - July 30th 6:00 PM - 8:00 PM <p style="text-align: justify;"><span style="font-size: small;">Carrie Secrist Gallery is pleased to present a summer project by gallery artist <strong>Andrew Holmquist</strong> on view from July 12 &ndash; August 2, 2014. A recent graduate of the MFA program at the School of the Art Institute of Chicago, Holmquist is known for his investigations in abstract painting. For this project, the artist exhibits video and print work as an exercise in unifying his ideas and research across form and media. </span><br /> <br /><span style="text-decoration: underline; font-size: small;"> Please join us for a talk with the artist on Wednesday, July 30 at 6 PM.</span><br /> <br /><span style="font-size: small;"> In our second gallery, <strong>Andrew Holmquist</strong> screens three new videos, shown on a loop in the order in which they were created: </span><br /> <br /><span style="font-size: small;"> Set against a pocked partition, <em>Former Glory</em> (May 2013) venerates 1970s gay iconography. In its abstract use of screens and holes, the work recalls the glory hole as a venue for sexual anonymity and objectification. His face masked, Holmquist appears in the piece as performer, dressed in confusing costume that mixes construction worker, geisha, and abstract painting. </span><br /> <br /><span style="font-size: small;"> In <em>Shining Shimmering Splendid</em> (December 2013), Holmquist composes objects to create gestures similar to those found in his paintings. As before, the artist performs, but here he is semi-nude, and the references are more subjective. The film&rsquo;s soundtrack, &ldquo;A Whole New World&rdquo; from <em>Aladdin</em> (1992), not only dictates length; it also provides a slick contrast to the clumsiness of the props. </span><br /> <br /><span style="font-size: small;"> Shot in one continuous take, <em>Painting Time and Space</em> (May 2014) mimics the process of constructing a painting. The rhythmic handclap of the children&rsquo;s song &ldquo;Miss Susie&rdquo; regulates duration, while its singsong lyrics add sexual tension through gay signifiers. In this newest work, the objects and gestures act as characters, and the artist is visible only through the choreography of his choices.</span><br /> <br /><span style="font-size: small;"> In the gallery&rsquo;s main space, Holmquist devises a reading room where a set of ten editioned artist&rsquo;s books will be available for perusal. Created in offset print, the books utilize many of the themes, forms, and colors found in his painting, but address the content with a more direct narrative and representational style. Holmquist presents traditionally bound forms as well as accordion books and puzzle boxes. The ten books will be available in a box set as well. Finally, a new wall treatment echoes the narrative of Holmquist&rsquo;s newest text <em>Connection</em> (2014) and ties together the moving and still images on view. </span><br /> <br /><span style="font-size: small;"> <strong>Andrew Holmquist</strong> (American, b. 1985) lives and works in Chicago, IL. His exhibition history includes two solo exhibitions with Carrie Secrist Gallery, as well as Slow and LVL3, Chicago; GOLDEN Gallery, New York; Jolie Laide, Philadelphia; and Cumberland Gallery, Nashville. He received the 2014 Carrie Ellen Tuttle Fellowship for exceptional merit in painting from the School of the Art Institute of Chicago.</span></p> Mon, 28 Jul 2014 14:07:17 +0000 Jon Geiger - threewalls - September 5th - October 11th <p style="text-align: justify;">Threewalls &nbsp;is pleased to present an exhibition of new work by Jon Geiger, titled&nbsp;<em>Nothing That Gleams</em>.</p> <p style="text-align: justify;">Geiger&nbsp;mines American folk history, cowboy films, and European Classicism for the symbols and objects&ndash;from boots to bowling balls&ndash;that are continually curated into American history, muddying and fictionalizing its narrative. His sculptural installations rearrange displaced fragments into tableaux that have a familiarity but no clear story. Resembling props for a spaghetti Western or the miscellany of a roadside museum, Geiger uses these objects as a language or syntax, challenging their origins and place in the imagination while examining their relationship to narratives of achievement, masculine archetypes, and the western spirit. As ambiguous arrangements, they are intentionally open for interpretation, with the premise in place that meaning is never fixed and there is always another side, another reading available.</p> <p style="text-align: justify;">For Nothing That Gleams, Geiger sets up a new tableau in the project room, as well as furnishing Jackson&rsquo;s exhibition with point-of-interest seating, so the gallery visitor can enjoy the view of the wreckage.</p> <p style="text-align: justify;">Jon P. Geiger (b. 1987) received his MFA in ceramics from Cranbrook Academy of Art in 2014. Upon exiting graduate school, Geiger&rsquo;s work was inducted into the permanent collections of the Cranbrook Art Museum. His work has been exhibited nationally and internationally, most recently with his solo show A Durable Canon at Good Weather Gallery in North Little Rock, AR. Jon currently lives and works in Detroit, Michigan.</p> Sun, 27 Jul 2014 14:58:50 +0000 Carol Jackson - threewalls - September 5th - October 11th <p style="text-align: justify;">What is fated and what is free-will? In a country that depends almost equally on a narrative of the self-made, pragmatism and the maverick alongside the relatively dominant influence of Christianity and the concept of serving God, the chronicles that make-up American identity are an amalgamation of symbols cut-up and repurposed into a collaged taxonomy. Heroism is deeply entwined with a belief in manifest destiny, frequently giving way to a kind of hubris that perpetually imagines mankind, not so much as benevolent stewards, but masters. Supervisors and CEOS, pioneers and overseers, cutting one&rsquo;s path, being a leader not a follower: these directives dog the American in their pursuit of happiness, forever running up against the problems inherent to making and living in a community, caring for your fellow-man, and being custodians of the earth.</p> <p style="text-align: justify;">Carol Jackson&rsquo;s work has long addressed the concept of American hubris and manifest destiny, borrowing from narratives of the American West, real estate speculation, epic poems, jingoism and expansionism through material choices like tooled leather and references like turn-of-the-century sheet music and trophies. For&nbsp;<em>High Plains Drifter</em>, she looks to Milton&rsquo;s epic poem, Paradise Lost, and America&rsquo;s fascination, romance and dependence on the automobile. In a twisted assemblage of papier-mache, Jackson builds a car wreck emerging from the wall. Part crash-site and part marquee, the disaster houses embedded, hieroglyphic messages that only Satan can read.</p> <p style="text-align: justify;">In her own words, Jackson cites Derrida&rsquo;s concept of hauntology, an idea that suggests that the present exists only with respect to the past and as time passes, society will come more and more to orient itself towards the rustic or &ldquo;old-timey.&rdquo; This old-timey state exists as a specter, a suspended, unresolved state that is neither being or non-being, but rather, a haunting that contaminates the present.</p> <p style="text-align: justify;">Carol Jackson received her MFA in 1992 from the School of the Art Institute of Chicago, where she now teaches. Her recent exhibitions include the 2014 Whitney Biennial, curated by Anthony Elms (New York); Monique Meloche Gallery (Chicago); Kunsthaus Speckstrasse (Hamburg, Germany); the Chicago Cultural Center; Van Abbe Museum (Eindhoven, Netherlands); and The Smart Museum of Art (Chicago). She has been featured in the New York Times, Interview Magazine, Frieze Magazine, and Newcity. Jackson&rsquo;s work is included in the collections of The Smart Museum of Art, (Chicago) and the Werner Hirsch Drawing Collection, (Los Angeles), among others.</p> Sun, 27 Jul 2014 14:56:01 +0000 David Rappeneau - Queer Thoughts - August 10th - September 7th Wed, 23 Jul 2014 10:22:12 +0000 Pilvi Takala, Lori Felker, LaToya Ruby Frazier, Juliana Paciulli, Dana DeGiulio, Cauleen Smith - Iceberg Projects - July 23rd 7:30 PM - 9:30 PM <p id="u170-2">NONCOMPLIANCE</p> <p id="u170-3">&nbsp;</p> <p id="u170-5">featuring videos by the following artists:</p> <p id="u170-6">&nbsp;</p> <p id="u170-8">Pilvi Takala</p> <p id="u170-10">Lori Felker</p> <p id="u170-12">LaToya Ruby Frazier</p> <p id="u170-14">Juliana Paciulli</p> <p id="u170-16">Dana DeGiulio</p> <p id="u170-18">Cauleen Smith</p> <p id="u170-19">&nbsp;</p> <p id="u170-21">curated by: Carrie Schneider</p> <p id="u170-22">&nbsp;</p> <p id="u170-24">Saturday, July 26, 2014 - 7:30pm</p> <p id="u170-26">screening is 90 minutes, with a brief intermission</p> Wed, 23 Jul 2014 10:17:17 +0000 Anders Ruhwald - threewalls - June 15th - July 26th <p style="text-align: justify;">Threewalls presents solo work in two conjoined shows by Chicago based artist Stephen Reber and Ander Ruhwald, ceramics Artist-in-Residence at The Cranbrook Academy of Art in Bloomfield Hills, Michigan.</p> <p style="text-align: justify;">Reber and Ruhwald are sculptors, whose seemingly formal work, locates and amplifies the subtle and elegant materiality, geometry and detail of the built environment. Where Reber&rsquo;s work draws on the exterior, Ruhwald&rsquo;s turns to interior architectures, with both artists highlighting and extracting the poetics of design through the minimal quotations they extract and reinterpret. Together their objects shift from outside to inside and back, constructing minimal sets that retrain our attentions on those oft-muted details that surround us in our everyday.</p> <p style="text-align: justify;">Anders Ruhwald ceramic sculpture toys with the common association of the material and its field with function. Making playful, somewhat mischievous objects, Ruhwald&rsquo;s pieces interact with site and bodies as amusing actors put into motion to question assumptions about objecthood. To wit, these objects take on a character that vacillates between personified things and thingified bodies, inflecting ceramics with an affect that goes beyond the way humans &ldquo;use&rdquo; them, suggesting perhaps that these things have a life beyond human projections.</p> <p style="text-align: justify;"><strong>Anders Ruhwald</strong>&nbsp;lives and works at Cranbrook Academy of Art outside of Detroit, USA.&nbsp;He graduated from the Royal College of Art in London in 2005. Ruhwald has had more than 20 solo exhibitions for the last 10 years in museums and galleries around the world including Middlesbrough Institute of Modern Art (UK), The Museum of Art and Design (Denmark) and the Cranbrook Art Museum (USA). During the same time his work has been shown in more that 80 group shows at venues like Yerba Buena Center for the Arts (San Francisco), Fondation d&rsquo;entreprise Richard (Paris), Pinakotek der Moderne (Munich), Taipei Yingge Museum (Taiwan) and Kunsthal Charlottenborg (Copenhagen)</p> <p style="text-align: justify;">In 2011 he was awarded the Gold Prize at the Icheon International Ceramics Biennial in South Korea. He also received a Danish Art Foundation three-year work-stipend in 2010 and the Sotheby&rsquo;s Prize (UK) in 2007. Reviews include major publications the Guardian (UK), Wallpaper (UK), (US), Financial Times and Avenuel (Rep. of S. Korea).</p> <p style="text-align: justify;">Anders Ruhwald was curated by Shannon Stratton, Executive &amp; Creative Director of Threewalls.</p> Wed, 23 Jul 2014 09:57:59 +0000