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Guy Ben-Ner was born in Ramat Gan\, Israel. He studied at Ha midrasha School of Art at Beit Berl College before going on to receive an M FA at New York’s Columbia University. The 2006 recipient of a DAAD Grant\, Ben-Ner has exhibited at the Venice Biennial\, Cincinnati’s Contemporary Ar t Center\, P.S. 1 Contemporary Art Center\, and the Center for Contemporary Art in Tel Aviv.

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Ben-Ner’s work explores the relationship between the artist and his family.  Stealing Beauty (2007)\, completed wit h 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 l ounging in pajamas\, preparing meals and bathing.  Inspired by cinematic ic ons (Buster Keaton) and political thinkers (Frederic Engels and Edward Said )\, the video transgresses real and imaginary borders.

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\n< p>“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 yo u and my children could understand\, even if on different levels.  In any c ase 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 close d 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)

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“Yes\, [Stealing Beauty] is an example of a movie that costs nothing.  And I stole the music too.  It’s f rom commercials running on screens at IKEA Berlin.  I recorded it straight to the camera.  The idea for the movie came because the showrooms looked mo re like family-sitcom sets than houses people actually live in.  So I lifte d 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 sp heres collapse into a single one.”  - Guy Ben-Ner on creating Stealing Beau ty  (excerpt from\, Flash Art\, “Feeling Lured\,” Maurizio Cattelan intervi ews Guy Ben-Ner\, n.266 – 2009)

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In 2009\, Ben-N er screened Drop the Monkey at Performa.  In The New York Time s\, Karen Rosenberg writes\,  “Ben-Ner acts alone. Actually\, he has a conversation with himself\, via cellphone\, as the film moves between Berl in and Tel Aviv. The conceit is simple yet effective: the action takes plac e in real time\, and the film never leaves the camera\, so Mr. Ben-Ner has to travel back and forth between cities.”

DTEND:20130426 DTSTAMP:20140821T180846 DTSTART:20130315 GEO:41.883645;-87.64943 LOCATION:Aspect Ratio\,119 N Peoria Unit 3D\nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Guy Ben-Ner\, Guy Ben-Ner UID:274315 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Forward by John Riepenhoff\n



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. Wh at are we thinking? This new body of work is a unique convergence of two in dependent voices. Both treat painting like a ceramicist treats clay\, man h andling 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 thou ght. These things assert what these dudes do.

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Questions for Alexander and Jacob

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Why do you make these things?
Alexander:
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 pain ting. I try to find ways of making a painting that yield outcomes I have ne ver seen before and also poetically engage with painting's history\, conven tions\, and language.

I get really fed up with a lot of paint ing being made these days\; limp\, full of rhetoric\, messy\, casual\, an i nside joke. With my painting practice\, I try to put my best foot forward\, I believe in painting.

Making these paintings fulfill many p ersonal needs of mine\; order\, discipline\, discovery\, chance\, repetitio n\, tremendous highs\, and routine. These things keep me together day in an d day out. I really don't know what I would do if I did not have a very lab or-intensive painting practice.

Jacob:
First off\, I th ink 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 m aking objects for some time now. I have simplified my materials from the pa st to being at this point pretty much wood\, fabric\, paint and fastening d evices\, 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 r eally 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.

When do you know something worked?
Alexander:
About a quarter of the way through the building of the paintings. I usually begin by closi ng my eyes and visualize my hands moving through space or moving over a pla ne. After doing this for many days or weeks\, I find one movement that seem s engaging and theatrical.

I then move to the studio and begi n 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 t hen 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 the n oppressive: the gesture and grid wrestle with one another. Most of the ti me 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.

All my paintings are made on panel with about ten layers of gesso to rea lly 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 o f 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 .

After days of drying the painting is ready to sand down. Th en\, with the addition of a couple other materials\, the gesture appears an d I sit with it and just look at it. I really concentrate on how the gestur e sits within the frame. Does the gesture have a personality\, is there con sequence\, how does the gesture sit with the grid? These are some of the qu estions I ask myself.

Recently\, I have added color and overl aid pattern. I still deal only with black and white in some paintings\, but color has really opened up many more doors to this series.

J acob:
I just try to take risks when I'm painting\, notice things I ca n do and try to do them. I also look at my own work conceptually. If you wa nt something to have attitude and be about the studio and materials\, you r eally 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 foll ow along my conceptual lines for me to show it. Sometimes I don't like that .


What's your relationship with the painting as you're making them?
Alexander:
It is a love/hate rela tionship. 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 wor k wet-into-wet with my hands\, to get the initial gesture\, it like no othe r high\, fast and unknown. The exposing of the gesture is like getting nake d with someone. After that the honeymoon is over and it’s all work\, very t edious 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.

Jaco b:
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 hav e the wood and paint all ready and mixed up but I can't find the right fabr ic. I always have a few things going. I try not to worry about it. I try no t 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.

How does that change after?
Alexander:
They become objects\; I have never sold anything so the y usually get turned around in my studio\, stacked like books that have bee n read. I then begin to make another one\, hopefully with a lot of differen ce.

Jacob:
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 t he composition and colors. Some paintings I do in the first try\, and other s have a few more layers on them\, but that's all part of it.

Is there anything you'd like to say?
Alexander:
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 enga ge 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 amp ed up.

As for my paintings\, I don't have very fashionable id eas\, theories\, or words to build up my painting practice or these paintin gs. Hopefully the paintings say enough.

Jacob:
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 pr ojects there. He is part of a handful of people that know what I'm working on in the studio. Thanks.

DTEND:20130427 DTSTAMP:20140821T180846 DTSTART:20130329 GEO:41.9032323;-87.6669359 LOCATION:Lloyd Dobler Gallery\,1545 W. Division \nChicago\, IL 60642 SEQUENCE:0 SUMMARY:HERZOGOUDREAULT\, alexander herzog\, Jacob Goudreault UID:268551 END:VEVENT BEGIN:VEVENT DTEND:20130329T220000 DTSTAMP:20140821T180846 DTSTART:20130329T170000 GEO:41.9032323;-87.6669359 LOCATION:Lloyd Dobler Gallery\,1545 W. Division \nChicago\, IL 60642 SEQUENCE:0 SUMMARY:HERZOGOUDREAULT\, Jacob Goudreault\, alexander herzog UID:268552 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Under the cover of darkness or masquerading as architectural conservators\, artists Daniel G. Baird and H aseeb Ahmed collect fragments of architectural\, ornamental and natural for mations 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 b ecome ‘reverse site-specific’.

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.

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DANIEL G. BAIRD  (b. 1984) received his BFA f rom the School of the Art Institute of Chicago in 2007 and MFA from the Uni versity of Illinois\, Chicago in 2011. Recent Solo exhibitions include 'Mer idian' at Robert Bills Contemporary\, Chicago\, IL and 'This New Ocean\,' a t Appendix Project Space\, Portland OR. Recent Group exhibitions include Bo wling 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.

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HASEEB AHMED(b. 1985) is a Brussels based artist. He holds a BFA in sculpture and architecture and a BA in Visual and Critic al 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 Master s 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 Am sterdam\, and Manifesta in Genk Belgium. 

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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 P ainting and Sculpture\, and Sitterwerk in St. Gallen\, Switzerland. He is w orking on the Fish Bone Chapel to be exhibited in September at Naturalis Na tural History Museum in Leiden\, the Netherlands for the Artists and Design ers for Genomics Award.

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DTEND:20130427 DTSTAMP:20140821T180846 DTSTART:20130406 GEO:41.9006857;-87.6623192 LOCATION:Roots & Culture\,1034 N. Milwaukee \nChicago\, IL 60622 SEQUENCE:0 SUMMARY:"Has the World Already Been Made" X4\, Haseeb Ahmed\, Daniel Baird UID:266307 END:VEVENT BEGIN:VEVENT DTEND:20130406T210000 DTSTAMP:20140821T180846 DTSTART:20130406T180000 GEO:41.9006857;-87.6623192 LOCATION:Roots & Culture\,1034 N. Milwaukee \nChicago\, IL 60622 SEQUENCE:0 SUMMARY:"Has the World Already Been Made" X4\, Haseeb Ahmed\, Daniel Baird UID:267656 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Valerie Carberry Gallery is pl eased to announce an exhibition of five sculptures and three paintings by t he Abstract Expressionist artist Herbert Ferber.  An artist that came of ag e in New York in the 1950s\, Ferber made his greatest contribution in his c ontinued and consistent investigation of art-as-environment - a project he pursued for the next three decades.

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T he 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 sweepi ng arcs envelop\, define\, and move in relationship to our own scale\, maki ng the viewer profoundly aware of interior and exterior space.

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Viewed together\, this group of works celebrates the innovation of Herbert Ferber- an artist who understood the importance o f sculpture and the space it inhabited- and the groundwork he laid for arti sts of generations to come.

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A full color catalogue of the exhibitio n with an essay by Joan Pachner is available from the gallery. 

DTEND:20130427 DTSTAMP:20140821T180846 DTSTART:20130301 GEO:41.8987587;-87.6229162 LOCATION:Valerie Carberry Gallery\,875 N. Michigan Ave. John Hancock Center \, Suite #3860 \nChicago\, IL 60611 SEQUENCE:0 SUMMARY:Painting and Sculpture of the 1960s and 70s\, Herbert Ferber UID:258034 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Hyde Park Art Center’s winter exhibition l ets you reconfigure the past to reimagine the future

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Chicago (January 2013)Fearsome Fable – Tolerable Truth< /i>\, a new work by Tom Torluemke\, surrounds the viewer in either a grim o r an uplifting landscape of the future in this unsettling exhibition on vie w from January 20 until April 28\, 2013 in Gallery 4 at the Hyde Park Art C enter. Through this man-made\, apocalyptic installation\, the artist propos es what life would look like following the current trajectory of destructiv e environmental\, political\, and social policies and behaviors. On an upli fting note\, the artist also includes a utopian alternative installation to be revealed at certain times\, allowing the public to reverse what has bee n done and envision a more responsible path for the future.

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The site-specific immersive installation features a 170 foot mural and s everal abstract wooden sculptures intended to raise questions about the cur rent 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 galle ry will be transformed from a wasteland (on one side) to a utopia (on the o ther)\, depending on the collective action of the public. While seeming to offer solutions\, Torluemke presents the ideal society in a suspiciously ar tificial way\, cautioning that paradise is never what it seems to be.

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Born and raised in Chicago’s inner city\, Tom Torluemke has ex hibited his paintings\, sculptures\, murals\, and drawings extensively acro ss the Midwest since 1980. His artwork has been shown in solo exhibitions a t venues including the Chicago Cultural Center\, South Bend Museum of Art\, the Indianapolis Museum of Art\, and in group exhibitions across the natio n. 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 C ampus\, to name a few locations. He currently lives and works in Dyer\, Ind iana\, where he and partner Linda Dorman ran the (now-defunct) respected co ntemporary art space\, Uncle Freddy’s Gallery. Torluemke received a BFA fro m the American Academy of Art (Chicago) and is represented by Linda Warren Projects.

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Fearsome Fable - Tolerable Truth will be on view from January 20 until April 28\, 2012 at the Hyde Park Ar t Center\, 5020 South Cornell Avenue\, Chicago\, IL\, 60615\; 773.324.5520 and www.hydeparkart.org. Exhibitions are always free and open to the public .

DTEND:20130428 DTSTAMP:20140821T180846 DTSTART:20130120 GEO:41.8037432;-87.5866275 LOCATION:Hyde Park Art Center\,5020 S. Cornell Avenue \nChicago\, IL 60615 SEQUENCE:0 SUMMARY:Tom Torluemke: Fearsome Fable - Tolerable Truth\, Tom Torluemke UID:255245 END:VEVENT BEGIN:VEVENT DTEND:20130120T170000 DTSTAMP:20140821T180846 DTSTART:20130120T150000 GEO:41.8037432;-87.5866275 LOCATION:Hyde Park Art Center\,5020 S. Cornell Avenue \nChicago\, IL 60615 SEQUENCE:0 SUMMARY:Tom Torluemke: Fearsome Fable - Tolerable Truth\, Tom Torluemke UID:255246 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Producing artworks using a single color has been a major strategy for artists through out the twentieth and twenty-first centuries\, from Kazimir Malevich’s earl y suprematism to Anish Kapoor’s contemporary forms that attempt to imagine infinitude. Color Bind: The MCA Collecti on in Black and White investigates the museum’s rich permanent collect ion through one of art history’s basic formal lenses: the use of the colors black and white.

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Color Bind looks broadly at the MCA Collection to surv ey how color can be used literally\, formally\, and metaphorically in art a nd to reveal how apparently formal considerations are often rooted in socia l issues. Many artists represented in the exhibition\, such as Robert Ryman and Ad Reinhardt\, significantly limit their palette or produce works of o ne color in order to explore and emphasize the most basic formal aspects of art making\, such as line\, color\, and technique. Moving beyond such form alist meditations\, artists such as Richard Serra and Félix Gonzáles-Torres employ minimal color tones as a critical take on art’s representational ro le. Other artists intentionally use specific techniques combined with a bla ck-and-white palette as a method of introducing social and ethical dimensio ns 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 Glen n 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 rac e. Artists such as Richard Artschwager and Adam Brooks use text to demonstr ate how basic language can be co-opted into polemics\, or “black-and-white” forms of discourse.

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With dozens of w orks in all media\, Color Bind muse s on the ways the English words “black” and “white” evoke both simple forma l notions and metaphors for race\, politics\, and historical movements. Set to coincide with the upcoming US presidential election\, this exhibition c alls attention to the ways seemingly neutral formal terms assume moral dime nsions that\, in turn\, complicate and politicize the very works assumed to be neutral.

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This exhibition is organ ized by Naomi Beckwith\, Curator at the Museum of Contemporary Art Chicago.

DTEND:20130428 DTSTAMP:20140821T180846 DTSTART:20121110 GEO:41.897166;-87.621288 LOCATION:Museum of Contemporary Art (MCA)\,220 East Chicago Ave \nChicago\, IL 60611 SEQUENCE:0 SUMMARY:Color Bind: The MCA Collection in Black and White\, Kara Walker\, A d Reinhardt\, Louise Bourgeois\, Barbara Kruger\, Raymond Pettibon\, Marlen e Dumas\, Howardena Pindell\, Glen Ligon\, Richard Artschwager\, Adam Brook s\, Félix González-Torres UID:241346 END:VEVENT BEGIN:VEVENT DTEND:20121110T170000 DTSTAMP:20140821T180846 DTSTART:20121110T100000 GEO:41.897166;-87.621288 LOCATION:Museum of Contemporary Art (MCA)\,220 East Chicago Ave \nChicago\, IL 60611 SEQUENCE:0 SUMMARY:Color Bind: The MCA Collection in Black and White\, Richard Artschw ager\, Louise Bourgeois\, Adam Brooks\, Marlene Dumas\, Félix González-Torr es\, Barbara Kruger\, Glen Ligon\, Raymond Pettibon\, Howardena Pindell\, A d Reinhardt\, Kara Walker UID:245504 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20130428 DTSTAMP:20140821T180846 DTSTART:20130407 GEO:41.888411;-87.781771 LOCATION:Shane Campbell Gallery (Oak Park)\,125 N. Harvey Ave. \nOak Park\, IL 60632 SEQUENCE:0 SUMMARY:Joint Exhibition\, Troy Briggs\, Brendan Fowler UID:268554 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Traditional art from the India n sub-continent reveals the region’s layers of history and unique racial\, linguistic\, and cultural diversity.

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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 t wentieth centuries—the dozen works bring to light classic historic styles\, regional variations\, and the importance of secular and sacred literature. Divine and Princely Realms also explores how India’s distinct art was molded over time by the region’s major religions—Buddhist\, Hindu\, Is lamic\, and Jain faiths among others—and influenced by the patronage of its Mughal kings and Hindu princes.

DTEND:20130428 DTSTAMP:20140821T180846 DTSTART:20121218 GEO:41.793736;-87.599959 LOCATION:Smart Museum of Art\, University of Chicago\,5550 S. Greenwood Ave nue \nChicago\, IL 60637 SEQUENCE:0 SUMMARY:Divine and Princely Realms: Indian Art from the Permanent Collectio n UID:249549 END:VEVENT BEGIN:VEVENT DTEND:20121218T170000 DTSTAMP:20140821T180846 DTSTART:20121218T100000 GEO:41.793736;-87.599959 LOCATION:Smart Museum of Art\, University of Chicago\,5550 S. Greenwood Ave nue \nChicago\, IL 60637 SEQUENCE:0 SUMMARY:Divine and Princely Realms: Indian Art from the Permanent Collectio n UID:249550 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Celebrating the acquisition of about 550 marvelous objects by the Department of Textiles over the last se ven years\, this exhibition continues a tradition established in the depart ment some 40 years ago to periodically display works recently acquired\, wh ether by donation or purchase. In this case\, some 41 works have been selec ted to highlight the many diverse textile types associated particularly wit h Western and Asian cultures.

Three wonderful examples offer a taste of the broad range and superb quality of the works on display. The fi rst is a printed cotton\, or chintz\, from England depicting the bombardmen t of Algiers by British naval forces in 1816. Commemorative portrayals of B ritish 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 mechanizati on\, including the use of waterpower for spinning and weaving and engraved rollers for printing\, made high-quality mass production of household furni shings possible.

A second example\, another printed cotton (pro duced with blocks\, not engraved rollers) was made in another part of the w orld 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 cen tury. Indian textiles were exchanged for Southeast Asian spices at this tim e by Arab and Gujarati traders and later by various European trade companie s. Such textiles were held sacred in Indonesia\, preserved and handed down within societies to be displayed as banners during thanksgiving ceremonies.

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 ikat\, 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 ikat is the appearance of feathered o r serrated edges where one color zone meets another. Robes of this type\, t raditionally part of a woman’s dowry\, were worn at weddings and special oc casions. The ikat garments and panels of Central Asia are magnific ent 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.

DTEND:20130428 DTSTAMP:20140821T180846 DTSTART:20121213 GEO:41.8806822;-87.6242154 LOCATION:The Art Institute of Chicago\,111 South Michigan Avenue \nChicago\ , IL 60603 SEQUENCE:0 SUMMARY:Recent Acquisitions of Textiles\, 2004–2011 UID:249533 END:VEVENT BEGIN:VEVENT DTEND:20121213T200000 DTSTAMP:20140821T180846 DTSTART:20121213T103000 GEO:41.8806822;-87.6242154 LOCATION:The Art Institute of Chicago\,111 South Michigan Avenue \nChicago\ , IL 60603 SEQUENCE:0 SUMMARY:Recent Acquisitions of Textiles\, 2004–2011 UID:249534 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The path that led Irving Penn to the seemingly galactic abstractions of his late series Underfoot lay just outside his studio door. Walking the streets of Manhattan with a portable stool and a camera fitted with several extension tubes\, Penn low ered his eye and his equipment nearly to the pavement. There he found a uni verse of abject form: pebbled concrete\, cheap discarded matches and cigare tte butts\, and above all a wealth of masticated gum. Capturing patches of this blobby urban landscape at close range\, Penn transformed it with chara cteristic precision into a world of odd beauty\, complete unto itself and u nplaceably remote. Former Art Institute Director James Wood\, with whom Pen n had worked closely to establish the vast archive of his photographs and p apers held at the museum\, visited the studio and later marveled to Penn at how these photographs showed “the cosmos underfoot.” The Irving Penn Found ation has generously offered all 36 photographs from Underfoot as a gift to the Art Institute in Wood’s memory.

DTEND:20130428 DTSTAMP:20140821T180846 DTSTART:20130117 GEO:41.8806822;-87.6242154 LOCATION:The Art Institute of Chicago\,111 South Michigan Avenue \nChicago\ , IL 60603 SEQUENCE:0 SUMMARY:Underfoot\, Irving Penn UID:252860 END:VEVENT BEGIN:VEVENT DTEND:20130117T200000 DTSTAMP:20140821T180846 DTSTART:20130117T103000 GEO:41.8806822;-87.6242154 LOCATION:The Art Institute of Chicago\,111 South Michigan Avenue \nChicago\ , IL 60603 SEQUENCE:0 SUMMARY:Underfoot\, Irving Penn UID:252861 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Project Projects\, a New York– based graphic design firm led by Prem Krishnamurthy\, Adam Michaels\, and R ob Giampietro\, has become known for developing publications\, exhibitions\ , and identities for a range of cultural institutions and educational organ izations\, as well as for creating self-initiated curatorial and research p rojects. Project Projects has won numerous awards for how it addresses inte llectual\, 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 interes ts as a way to instigate new thinking and practices within and beyond their professional disciplines\, this exhibition provided Project Projects the o pportunity to use the permanent collection of the Art Institute as a means of investigating the curatorial process and issues related to exhibition de sign.

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The studio was initially inspir ed 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 Moder n 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 iss ues of representation and reproductions in a playful\, yet critical way.

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The studio’s selection of works is base d on the personal concerns of its partners\, as expressed in the accompanyi ng texts they have written. Although they began with an interest in Europea n modernism\, as imported to Chicago in the mid-twentieth century by such p ractitioners as László Moholy-Nagy and Ludwig Mies van der Rohe\, the prese nt collection of works speaks more broadly to Project Projects’ own interes t in the history of design practice. Using a consistent format of printed f acsimiles 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 it self.

DTEND:20130428 DTSTAMP:20140821T180846 DTSTART:20121117 GEO:41.8806822;-87.6242154 LOCATION:The Art Institute of Chicago\,111 South Michigan Avenue \nChicago\ , IL 60603 SEQUENCE:0 SUMMARY:Project Projects: Test Fit UID:263612 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MCA Exhibitions: Gaylen Gerber

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May 25 - Septe mber 8\, 2013

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Gaylen Gerber marks the artis t’s first exhibition at the Museum of Contemporary Art Chicago\, which is c omprised of two parts: a new commission in the lobby inspired by the late a rtist Michael Asher\, and a color-saturated gallery installation of Gerber’ s Supports combined with works from the MCA's collection. Internatio nally recognized for his series of gray monochrome paintings\, Chicago-base d artist Gaylen Gerber is more of an interventionist than a painter. Over a n 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 t o participate or intervene on surfaces he creates\, at times layering their work over his own.  This exhibition is organized by Kristin Korolowicz\, M CA Marjorie Susman Curatorial Fellow.

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Museum of Contem porary Art

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220 E. Chicago

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Chicago\, IL 60611

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31 2.280.2660

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www.mcachicago.org

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MCA Box Office:

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312.397.4010

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www.mcachicago.org

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Hours:

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Tuesday\, 10 am - 8 pm (FREE for Illinois residents)< /p>\n

Wednesday - Sunday\, 10 am - 5 pm

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Admis sion:

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$12 general admission\, $7 students and seniors\, free fo r MCA members\, children under 12\, and members of the military\; Tuesdays free.

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Media Contacts:

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Erin Bird\, 3 12.397.3828\, ebird@mc achicago.org

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Karla Loring\, 312.397.3834\, kloring@mcachicago.org

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INTERNAL For emails: < /b>

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To include images\, please visit the media webpage at www.mcachicago.org/media

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DTEND:20130501 DTSTAMP:20140821T180846 DTSTART:20130501 GEO:41.897166;-87.621288 LOCATION:Museum of Contemporary Art (MCA)\,220 East Chicago Ave \nChicago\, IL 60611 SEQUENCE:0 SUMMARY:MCA Exhibitions: Gaylen Gerber: May 25\, Gaylen Gerber UID:274749 END:VEVENT BEGIN:VEVENT DESCRIPTION:

For decades society was accust omed to seeing people smoke cigarettes in advertising campaigns\, televisio n sitcoms\, and mainstream Hollywood movies. The sight of a cigarette was a s common as the family dinner. Many mothers of baby boomers smoked during p regnancy\, well before the surgeon general declared it harmful. Virginia Sl ims sponsored women’s tennis\, and the Marlboro man and Camel Joe became Am erican icons. Today\, cigarettes are banned on airplanes\, and in restauran ts and bars in cities throughout the world. At the same time\, there has be en a resurgence of allure associated with smoking\, as can be seen in one o f the most beloved shows on television\, Mad Men\, which celebrates the era of cigarettes and martini lunches.

Frieke Janssens embarked o n Smoking Kids in response to seeing a video of a chain-smoking to ddler in Indonesia who became a tourist attraction. Alarmed by this reality \, she decided to show people what the act of smoking looks like through th e posturing of four to nine year old children. Working with modeling agenci es\, volunteers and family friends\, Janssens tackled the issue of glamour often associated with smoking. Both irreverent and stunning\, Janssens' pho tographs challenge our perceptions of smoking and the attitudes often defin ed by it. As the artist states:

            “A YouTube video o f 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 issu e of smoking itself. I felt that children smoking would have a surreal impa ct upon the viewer and compel them to truly see the act of smoking rather t han making assumptions about the person doing the act. Coincidentally\, aro und the time I was making Smoking Kids\, a law passed that banned smoking in Belgian bars. There was an outcry from the public about governme nt intervention\, freedom being oppressed\, and adults being treated like c hildren. With health reasons driving many cities to ban smoking\, the cultu re 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 s moke and the particular way smokers gesticulate with their hands and postur e cannot be denied\, and at the same time\, there is a nod to the less attr active aspects\, examining the beauty and ugliness of smoking.“

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It is important to note that chalk and sticks of cheese were used as props for the cigarettes\, and candles and incense pro vided the wisps of smoke. The final photographic results were done in compu ter\, combining the photograph of the child with a photograph of an adult h and smoking a cigarette. Janssens invites the public to wrestle with these hauntingly beautiful images\, which both seduce and shock.

DTEND:20130504 DTSTAMP:20140821T180846 DTSTART:20130308 GEO:41.89586;-87.6360119 LOCATION:Catherine Edelman Gallery\,300 W. Superior St. \nChicago\, IL 6061 0 SEQUENCE:0 SUMMARY:Smoking Kids\, Frieke Janssens UID:261879 END:VEVENT BEGIN:VEVENT DTEND:20130308T190000 DTSTAMP:20140821T180846 DTSTART:20130308T170000 GEO:41.89586;-87.6360119 LOCATION:Catherine Edelman Gallery\,300 W. Superior St. \nChicago\, IL 6061 0 SEQUENCE:0 SUMMARY:Smoking Kids\, Frieke Janssens UID:262406 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Arts Club of Chicago is pl eased 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-g arde. At The Arts Club\, she will exhibit new and defining works from an on going series of photo-based collages entitled Extraction. They combi ne decorative or outmoded textiles with found photographs of mundane domest ic objects like window frames and lattice screens. The exhibition will be o n view from 23 January through 4 May 2013. An open house and catalogue signing will take place on Saturday 23 March 2013fr om 11:00 am – 3:00 pm\; the artist will give a gallery talk at 1:00 pm. 

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Since 2010\, Sparks has be en engaged in a project of simplification and distillation. Having come int o her own with a body of work that pitted diverse characters of 1970s pop a nd 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 obje ct\, 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 t hings known through familiarity and use. The resulting works stitch togethe r enlarged found photographs of household objects\, which are digitally pri nted on canvas and then carefully cut away from their settings\, with expan ses of decorative fabric and small patches of illusionistic painting. The p atterns of the fabric then act as predetermined surfaces that fill the dime nsions of the missing room\, while the painted areas assert the artist’s pr esence.

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Sparks is deeply indebted both to t he historical avant-garde and to feminist practice. Her labor-intensive act s 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 interventi ons of the early 20th century. The radiator motif that helped la unch the Extraction series harkens back to the generating love machi ne of Marcel Duchamp’s Large Glass\, as it converts liquid water int o steam heat. Sparks further nods to Duchamp’s glass construction through t he motif of the window—which in this case\, comes with tacky blinds or enca sements fitted for a basement. The transparency here occurs not in the glas s\, 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 revelatio n of interiority suggested by the structure of household things.

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Sparks lives and works in Brookl yn\, NY. She has a B.F.A. from the University of Tennessee\, Knoxville\, an d an M.F.A. from Hunter College\, New York. She has had solo exhibitions at Galerie Frank Elbaz\, Paris (2013 forthcoming\, 2009\, 2006)\, Locu st Projects\, Miami (2012)\, Elizabeth Dee Gallery\, New York (2011\, 2010\ , 2008)\, Veneklasen/Werner\, Berlin (2011)\, Galerie Catherine Bastide\, B russels (2009)\, and Projects in Art &\; Theory\, Cologne (2009). Her wo rk has also been included in group exhibitions at such institutions as Saat chi Gallery\, London (2012)\, Henry Art Gallery\, Seattle (2012)\, ICA\, Bo ston (2011)\, Nasher Museum of Art at Duke University\, Durham (2010)\, CAP C musée d’art contemporain\, Bordeaux\, France (2010)\, Centro Galego de Ar te Contemporánea\, Santiago de Compostela\, Spain (2010)\, Turner Contempor ary Project Space\, Kent\, UK (2009)\, Shane Campbell Gallery\, Chicago (20 08)\, PS 1 Contemporary Art Center\, New York (2006)\, and The Kitchen\, Ne w York (2006).
DTEND:20130504 DTSTAMP:20140821T180846 DTSTART:20130123 GEO:41.893137;-87.622414 LOCATION:The Arts Club of Chicago\,201 E. Ontario St. \nChicago\, IL 60611 SEQUENCE:0 SUMMARY:Windows and Screens: Meredyth Sparks\, Meredyth Sparks UID:251130 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Shawn Decker is a composer\, a rtist\, and teacher who creates sound and electronic media installations an d writes music for live performance\, film\, and video.  Prairie r eferences 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.

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DTEND:20130505 DTSTAMP:20140821T180846 DTSTART:20130208 GEO:41.8836686;-87.6250434 LOCATION:Chicago Cultural Center\,78 E. Washington St. \nChicago\, IL 60602 SEQUENCE:0 SUMMARY:Prairie\, Shawn Decker UID:268881 END:VEVENT BEGIN:VEVENT DESCRIPTION:

MCA: Gallery Talk: Painting and Deconstruction

\n< p>Tuesday\, May 7\, 2013\, 6 pm

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Free for Illinois residents or with museum admission

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Chicago-based artists Judy Ledgerwoo d\, Michelle Grabner\, and Molly Zuckerman-Hartung provid e contemporary perspectives on destruction as a mode of creation and discus s their abstract painting practices in relation to the artists and artwork on view in the Destroy the Picture: Painting the Void\, 1949-1962  exhibition.

DTEND:20130507 DTSTAMP:20140821T180846 DTSTART:20130507 GEO:41.897166;-87.621288 LOCATION:Museum of Contemporary Art (MCA)\,220 East Chicago Ave \nChicago\, IL 60611 SEQUENCE:0 SUMMARY:MCA: Gallery Talk: Painting and Deconstruction: May 7 UID:270707 END:VEVENT END:VCALENDAR