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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:20140416T043035 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:
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See the woodcut prints of an inf luential group of Jewish artists active in Chicago between 1920 and 1945. P redominantly Eastern European Jewish immigrants\, Jewish Modernists identif ied with the poor and working class. Includes works by many of these artist s\, including Todros Geller\, A. Raymond Katz\, and Mitchell Siporin\, amon g others.

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Published by L.M. Stein
Chicago\, 1937 

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In 1934\, a Jewish autonomous region was established in Biro-Bidjan (sometimes spelled Birobidzhan)\, Siberia. This Jewish region emerged from a Soviet p olicy that encouraged each ethnic group to contribute to the building of so cialism by settling its own territory (or oblast) and developing i ts own language and culture. Yiddish was declared the official language of the Jewish Oblast and a proletariat secular culture was bolstered. From 193 4 to 1937\, the area boasted Yiddish newspapers\, schools\, a library\, and a theater.

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An American Biro-Bidjan C ommittee\, whose officers included Albert Einstein\, raised funds to reloca te families to the region\, particularly as a haven from Nazism. Julius Ros enwald\, the president of Sears and founder of the Museum of Science and In dustry\, contributed more than $2 million to the cause. Zionist leaders\, h owever\, opposed the plan\, claiming that it detracted from efforts to sett le Jews in Palestine. Rabbi Abba Hillel Silver argued that there can be no  ersatz (replacement) for Palestine because it is not “an emergency place or refuge…It is home!” 

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In 193 7\, a group of progressive Jewish artists from Chicago created a portfolio of prints in support of Biro-Bidjan. The 14 participating artists were also active in the Works Progress Administration (WPA)\, a New Deal government program that carried out public works projects during the Great Depression. In the introduction to the portfolio\, written in Yiddish and English\, th e artists expressed that their work emerged from a past rooted in age-old s uffering but is energized by a new cultural force that aspires for a better life and a more understanding world. As such\, some of the woodcuts convey hardship\, both in Depression-era America and in Europe\, while others exp ress optimism and hope for the future. 

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Despite initial promise\, the region proved inhospitable owing to its ha rsh\, cold climate and remote location in the Soviet Far East. Communist pu rges further disrupted settlement and caused many of the early settlers to depart. Today\, an estimated 4\,000 Jews live in Biro-Bidjan\, according to Rabbi Mordechai Scheiner of Chabad Lubavitch. Rabbi Scheiner serves as the area’s chief rabbi and is working to revive Jewish life in the region.

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DTEND:20130426 DTSTAMP:20140416T043035 DTSTART:20120711 GEO:41.874039;-87.624805 LOCATION:Spertus Institute for Jewish Learning and Leadership\,610 S. Michi gan Avenue \nChicago\, IL 60605 SEQUENCE:0 SUMMARY:A Gift to Biro-Bidjan\, Todros Geller\, A. Raymond Katz\, Mitchell Siporin UID:234563 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Uncovered &\; R ediscovered is an evolving eight-part exhibit that explores t he Chicago Jewish experience. The exhibit unfolds over time in a series of intimate chapters (each on display for 3-6 months in the ground floor vesti bule of the Spertus building).

Exhibit admission\, inclu ding a multi-media screening station on the second floor\, is free.
This chapter shares the work of an influential group of Jewish artists active in Chicago between 1920 and 1945. Predominately Eastern Eur opean immigrants or first generation Americans\, many began their careers d uring the Great Depression as painters for the Works Progress Administratio n (WPA). The Modernists\, as they were called\, painted from personal exper ience and were influenced by the energy of Chicago's growing metropolis. Se e works by Todros Geller\, A. Raymond Katz\, Mitchell Siporin\, Fritzi Brod \, and others\, and learn the stories of places they gathered including Hul l House\, the Jewish People's Institute\, and Around the Palette (the forer unner of the American Jewish Artists Club).

DTEND:20130426 DTSTAMP:20140416T043035 DTSTART:20121021 GEO:41.874039;-87.624805 LOCATION:Spertus Institute for Jewish Learning and Leadership\,610 S. Michi gan Avenue \nChicago\, IL 60605 SEQUENCE:0 SUMMARY:Uncovered & Rediscovered: Jewish Modernists in Chicago\, Todros Gel ler\, A. Raymond Katz\, Mitchell Siporin\, Fritzi Brod UID:239411 END:VEVENT BEGIN:VEVENT DTEND:20121021T200000 DTSTAMP:20140416T043035 DTSTART:20121021T180000 GEO:41.874039;-87.624805 LOCATION:Spertus Institute for Jewish Learning and Leadership\,610 S. Michi gan Avenue \nChicago\, IL 60605 SEQUENCE:0 SUMMARY:Uncovered & Rediscovered: Jewish Modernists in Chicago\, Fritzi Bro d\, Todros Geller\, A. Raymond Katz\, Mitchell Siporin UID:239412 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An exhibition of oil paintings and studies by Eric Bellis (a ka Rico Bell)
STATEMENT BY THE ARTIST
‘California is a Garden of Eden
A paradise to live in or see
But\, believe it or not
You won’t find it so hot
If you aint got the doh re me’
So sang Woody Guthrie in reference to the plight and subsequent migration to ‘ the promised land’ of California by the victims of the great dust storms th at swept through the Midwest and Southwest of North America in the 1930s. < br /> California is still ‘The Promised Land’ to many of the migrant farm w orkers arriving there today but as Woody’s lyric implies\, it is still an e mpty ‘promise’. Lack of employment protection rights or health care\, and e xposure to poisonous pesticides\, are just some of the occupational hazards that await the majority of men and women who come to work in the fields fo r meagre\, and often below subsistence level\, wages.
Despite my subs equent knowledge of the above\, when I first began this series of paintings I did not do so with the intention of making any overtly political stateme nts. Rather\, as with the paintings in my first solo show at this gallery\, ‘The Fruits of Labour’\, (so long ago now that I’m too embarrassed to reca ll) I was motivated by the visual juxtaposition of the human form at work w ithin the landscape that\, this time\, happened to be in the fields of the central coast area of California. The possibilities of creating a series of paintings using these observations as a starting point enabled me to find a connection to my previous work that I had been searching for since leavin g the UK some years before. As my observations progressed\, however\, I beg an to question the working conditions these people endure and why the worke rs\, in general\, wear certain types of clothing such as hooded sweaters an d scarves that leave very little of their skin exposed. The first and most obvious reason would be as protection from the hot sun\, but why tie a scar f around the face ‘bandit’ style\, I wondered. It took very little research to learn that they were attempting to protect themselves from contact with \, or inhalation of\, the poisonous pesticides and other chemicals that are sprayed on the crops. Proper protective wear is\, no doubt\, prohibitively expensive for one surviving on minimal wages and it would seem that no law s are enforced\, or even exist\, to require employers to provide such wear.
My awareness of the above has inevitably had a subconscious effect on the way these paintings have developed but I still maintain that I inten d no specific political message with them. I believe there is a visual beau ty and harmony to be found in all things and I hope that my representation of these hard working people captures that\, but also holds a viewer’s atte ntion long enough to allow further thought to consider these workers’ exist ence within the landscape of our world.
No doubt the way in which yo u\, the viewer\, interpret what you see in this body of work will be affect ed by your own beliefs\, preferences and knowledge. But\, rest assured\, I would never be happy with a painting or\, indeed\, deem it complete\, until there are ‘questions’ within it that have occurred without my conscious in tention and only as part of the process of creating the finished work. I do not have definitive answers to these questions so\, however you choose to view the work in this show I hope you’ll find it to be an enjoyable and wor thwhile experience.
Finally\, I would like to note that credit for th e title of this show must go to your host and gallery owner\, Thomas Master s\, whom I would like to thank for not forgetting about me during all the y ears since my last show here-- and for finally making this show happen.
Cheers
Eric Bellis
April 2013

DTEND:20130426 DTSTAMP:20140416T043035 DTSTART:20130405 GEO:41.9110069;-87.6365505 LOCATION:Thomas Masters Gallery\,245 W. North Ave \nChicago\, IL 60610 SEQUENCE:0 SUMMARY: "THE PROMISED LAND"\, Eric Bellis (aka Rico Bell) UID:267298 END:VEVENT BEGIN:VEVENT DTEND:20130405T210000 DTSTAMP:20140416T043035 DTSTART:20130405T180000 GEO:41.9110069;-87.6365505 LOCATION:Thomas Masters Gallery\,245 W. North Ave \nChicago\, IL 60610 SEQUENCE:0 SUMMARY: "THE PROMISED LAND"\, Eric Bellis (aka Rico Bell) UID:269067 END:VEVENT BEGIN:VEVENT DESCRIPTION:\n\n\n
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In celebration of the upcoming 40th anniversary of ARC Galleryand Education al Foundation\, this open-wall exhibit will feature over 100 artists presen ting entries with dimensions that add up to no greater than 40 inches.
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DTEND:20130427 DTSTAMP:20140416T043035 DTSTART:20130403 GEO:41.921219;-87.6778576 LOCATION:ARC Gallery and Educational Foundation\,2156 N Damen \nChicago\, I L 60647 SEQUENCE:0 SUMMARY:Approaching 40\, Group Show\, Dominique Vitali\, Amy J Jahnke UID:267836 END:VEVENT BEGIN:VEVENT DTEND:20130406T190000 DTSTAMP:20140416T043035 DTSTART:20130406T160000 GEO:41.921219;-87.6778576 LOCATION:ARC Gallery and Educational Foundation\,2156 N Damen \nChicago\, I L 60647 SEQUENCE:0 SUMMARY:Approaching 40\, Amy J Jahnke\, Group Show\, Dominique Vitali UID:267837 END:VEVENT BEGIN:VEVENT DESCRIPTION:

 In celebration of the upcoming 40th anniversary of ARC Gal lery and Educational Foundation\, this open-wall exhibit will feature over 100 artists presenting entries  with dimensions that add up to 40 inches. DTEND:20130427 DTSTAMP:20140416T043035 DTSTART:20130403 GEO:41.921219;-87.6778576 LOCATION:ARC Gallery and Educational Foundation\,2156 N Damen \nChicago\, I L 60647 SEQUENCE:0 SUMMARY:Approaching 40\, Granite Amit\, Sherry Antonini\, PATRICIA ARMATO\, Kina Bagovska\, Jennifer Barnett Hensel\, Hilary Barreto\, Buff Bethlen\, Carrie Betlyn-Eder\, Marjorie Blackwell\, Karen Bondarchuk\, Rine Boyer\, J ulie Bray\, Monica Brown\, Peter Bullock\, Wanrudee Buranakorn\, Sue Cahill \, Susan Case\, Esther Charbit\, Jeffrie Chirchirillo\, Roopa Choodamani\, Gayle Cole\, Marie France Cournoyer\, Stacy Elko\, June Finnegan\, Therese Flood\, Sara Frankel\, Charlotte Freed\, Nancy Fritz\, Anne Farley Gaines\, Shelley Gilchrist\, Iris Goldstein\, Elaine Angel Gomer\, Jessica Gondek\, Rudy Gonzalez\, Joni Gruber\, Qetesha Haynes\, Simone Hester\, Kerry Hirth \, Pamela Hobbs\, Terri Horning\, John Howard\, Amy Jahnke\, Lucy Jahns\, P atricia Kalidonis\, Charlotte Kaplan\, Joe Karlovec\, Jan Kelley\, Irmgard Kilb Koehler\, Carolyne King\, Kim Kissinger Marino\, Pauline Kochanski\, C aine Krieger\, Judy Langston\, Daniel Larson\, Debra Levie\, Maddie Madding \, Jeane McGrail\, Mimi McKay\, Angie McMonigal\, Jennifer McNulty\, Lisa M iranda\, Ruti Modlin\, Lucy Mueller\, SJ Navage\, Joanna Neff\, Ketch Neff\ , Geoffrey Novelli\, Ann O'Brien\, Jan Parker\, Josemiguel Perera\, Roxanne Phillips\, Jon Pickell\, Audrius Plioplys\, CHERI REIF NASELLI\, Alice Rev elski\, Gesualdo Romeo\, David Ruff\, William Saar\, Gerry Santora\, Mary S chiller\, Tamara Staser-Meltzer\, Jane Stevens\, Chentell Stiritz\, Michele Stutts\, Allison Syltie\, Jonathan Syltie\, Michele Thrane\, Karen Tichy\, April Van Dam\, Constance Vepstas\, Dominique Vitali\, Sonja Weber Gilkey\ , Christopher Weeks\, Jennifer Weigel\, Elizabeth Whiteley\, Terri Willits\ , Serene Wise\, Marj Woodruff\, Jungyul Yu\, Ming Zhou\, Amy Zucker UID:270135 END:VEVENT BEGIN:VEVENT DTEND:20130406T200000 DTSTAMP:20140416T043035 DTSTART:20130406T160000 GEO:41.921219;-87.6778576 LOCATION:ARC Gallery and Educational Foundation\,2156 N Damen \nChicago\, I L 60647 SEQUENCE:0 SUMMARY:Approaching 40\, Granite Amit\, Sherry Antonini\, PATRICIA ARMATO\, Kina Bagovska\, Hilary Barreto\, Buff Bethlen\, Carrie Betlyn-Eder\, Marjo rie Blackwell\, Karen Bondarchuk\, Rine Boyer\, Julie Bray\, Monica Brown\, Peter Bullock\, Wanrudee Buranakorn\, Sue Cahill\, Susan Case\, Esther Cha rbit\, Jeffrie Chirchirillo\, Roopa Choodamani\, Gayle Cole\, Marie France Cournoyer\, April Van Dam\, Stacy Elko\, June Finnegan\, Therese Flood\, Sa ra Frankel\, Charlotte Freed\, Nancy Fritz\, Anne Farley Gaines\, Shelley G ilchrist\, Iris Goldstein\, Elaine Angel Gomer\, Jessica Gondek\, Rudy Gonz alez\, Joni Gruber\, Qetesha Haynes\, Jennifer Barnett Hensel\, Simone Hest er\, Kerry Hirth\, Pamela Hobbs\, Terri Horning\, John Howard\, Amy Jahnke\ , Lucy Jahns\, Patricia Kalidonis\, Charlotte Kaplan\, Joe Karlovec\, Jan K elley\, Carolyne King\, Pauline Kochanski\, Irmgard Kilb Koehler\, Caine Kr ieger\, Judy Langston\, Daniel Larson\, Debra Levie\, Maddie Madding\, Kim Kissinger Marino\, Jeane McGrail\, Mimi McKay\, Angie McMonigal\, Jennifer McNulty\, Lisa Miranda\, Ruti Modlin\, Lucy Mueller\, CHERI REIF NASELLI\, SJ Navage\, Joanna Neff\, Ketch Neff\, Geoffrey Novelli\, Ann O'Brien\, Jan Parker\, Josemiguel Perera\, Roxanne Phillips\, Jon Pickell\, Audrius Plio plys\, Alice Revelski\, Gesualdo Romeo\, David Ruff\, William Saar\, Gerry Santora\, Mary Schiller\, Tamara Staser-Meltzer\, Jane Stevens\, Chentell S tiritz\, Michele Stutts\, Allison Syltie\, Jonathan Syltie\, Michele Thrane \, Karen Tichy\, Constance Vepstas\, Dominique Vitali\, Sonja Weber Gilkey\ , Christopher Weeks\, Jennifer Weigel\, Elizabeth Whiteley\, Terri Willits\ , Serene Wise\, Marj Woodruff\, Jungyul Yu\, Ming Zhou\, Amy Zucker UID:270136 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Directed and conceived by Laur a Chiaramonte\, CORPOREAL is an evening length performance installation fea turing new work by artists and collaborator\, Janet Chiaramonte. Laura is e xcited to be to be working with her mother for the first time. Janet’s uniq ue designed installation provides a beautiful landscape depicting the use o f Art and Chemistry\, resulting in varying monoprints using an oxidation pr ocess to create organic imagery.

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The performance aspect of the installation confronts the question of the bodily consciousness by capturing the audience and introducing them to the strugg les between communal and personal identity. Throughout the evening\, we wil l discover the constant motion of all things\, melting and forever changing into different forms\, living\, adapting and conforming to the space.

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The development of the movement vocabular y is in collaboration with and will be presented by Chicago dance artists\; Isabelle Collazo\, Jessica Cornish\, Momar Ndiaye\, Amanda Pesch\, Becky O ’Connell\, Amy Swanson\, Lesley Werle\, and Vienna Willems. The live sounds cape will be performed by composer Jason Araujo and Barmey Ung\, providing a layer of connectivity\, and creating a sense of holding space.

DTEND:20130427 DTSTAMP:20140416T043035 DTSTART:20130426 GEO:41.8557205;-87.6467077 LOCATION:Chicago Art Department\,suite #100\, 1932 South Halsted \nChicago\ , IL 60608 SEQUENCE:0 SUMMARY:CORPOREAL\, Janet Chiaramonte UID:271238 END:VEVENT BEGIN:VEVENT DESCRIPTION:

“A show about trust”
 (no t really)

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A show about trust” or new work from Claire Valdez and Charles Fogarty\, with work selected from Ilene Godofsky's Wish You Were Here and THIS LANDSCAPE

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“A sleazy good time”

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Fea turing “suggestive photography” and “enthusiastic seating”

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"Legions of Brando impersonators have turned his perf ormance in this seminal 1954 motorcycle movie into self-parody\, but it's s till a sleazy good time."
-Dave Kehr (In reference to The Wild One\, but regarding something else entirely)

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Organized by Heaven Gallery and Charles Fogarty with thematic inspiration taken from Marlon Brando’s perfect characterization of  “Johnny” in László Benedek’s 1953 classic The Wild One\, and the paradox of an allegorically dynamic character.

DTEND:20130427 DTSTAMP:20140416T043035 DTSTART:20130329 GEO:41.9095113;-87.6763814 LOCATION:Heaven Gallery\,1550 N. Milwaukee Ave. 2nd floor Chicago\nChicago\ , Illinois 60622 SEQUENCE:0 SUMMARY:JOHNNY\, ILENE GODOFSKY\, Claire Valdez\, Charles Fogarty UID:268549 END:VEVENT BEGIN:VEVENT DTEND:20130329T230000 DTSTAMP:20140416T043035 DTSTART:20130329T190000 GEO:41.9095113;-87.6763814 LOCATION:Heaven Gallery\,1550 N. Milwaukee Ave. 2nd floor Chicago\nChicago\ , Illinois 60622 SEQUENCE:0 SUMMARY:JOHNNY\, Charles Fogarty\, ILENE GODOFSKY\, Claire Valdez UID:268550 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:20140416T043035 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:20140416T043035 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: DTEND:20130427 DTSTAMP:20140416T043035 DTSTART:20130322 GEO:41.895339;-87.636284 LOCATION:Printworks Gallery\,311 W. Superior Street Suite 105\nChicago\, IL 60610 SEQUENCE:0 SUMMARY:Myth and Metaphor\, Arthur Lerner UID:267311 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:20140416T043035 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:20140416T043035 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:

In our back gallery\, Mel Keis er employs another form of photographic manipulation\, a very physical one that references her background as a painter. In her new series\, The Éc orchés\, Keiser aggressively removes ink from her photographs\, defaci ng and obscuring the original image\; a self-portrait. Keiser makes direct reference to the process of écorché\, the act of flaying a body as a means of torture or scientific study. Her abraded images attempt to reveal what i s underneath the surface. An investigation of self and identity\, the final pieces are dipped in wax becoming “…embalmed moments of myself past\; erod ing\, but atemporal.”

DTEND:20130427 DTSTAMP:20140416T043035 DTSTART:20130301 GEO:41.8956362;-87.6355388 LOCATION:Schneider Gallery\,230 West Superior St. \nChicago\, IL 60654 SEQUENCE:0 SUMMARY:The Écorchés\, Mel Keiser UID:262042 END:VEVENT BEGIN:VEVENT DTEND:20130301T193000 DTSTAMP:20140416T043035 DTSTART:20130301T170000 GEO:41.8956362;-87.6355388 LOCATION:Schneider Gallery\,230 West Superior St. \nChicago\, IL 60654 SEQUENCE:0 SUMMARY:The Écorchés\, Mel Keiser UID:262043 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Schneider Gallery is pleased t o present Between Reason\, a photographic exhibition by Martina Lo pez. This new work chronicles Lopez’s desire to construct a personal narrat ive from found 19th century portraits. Through digital manipulation and sur face treatment\, the resultant compositions do not reveal a linear story\; in fact\, they raise more questions than answers. The ethereal portraits co ntain image fragments of hair and facial features from Lopez’s family. When juxtaposed with the underlying found imagery\, the collision of past and p resent produces a disconnect between history and memory.

Presen ted beneath a layer of wax\, the photographs are transformed once again. Th ey gain a translucency\, an aura\, and this process adds a very literal sec ond layer to the viewing of the image. Now completely encased\, the photogr aph-turned-object attempts to freeze the moment encapsulated inside. Each p ortrait\, a blending of two histories\, is merged into a new iteration that speaks to the passage of time and the artist’s need to halt it.

DTEND:20130427 DTSTAMP:20140416T043035 DTSTART:20130301 GEO:41.8956362;-87.6355388 LOCATION:Schneider Gallery\,230 West Superior St. \nChicago\, IL 60654 SEQUENCE:0 SUMMARY:Between Reason\, Martina Lopez UID:262044 END:VEVENT BEGIN:VEVENT DTEND:20130301T193000 DTSTAMP:20140416T043035 DTSTART:20130301T170000 GEO:41.8956362;-87.6355388 LOCATION:Schneider Gallery\,230 West Superior St. \nChicago\, IL 60654 SEQUENCE:0 SUMMARY:Between Reason\, Martina Lopez UID:262045 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:20140416T043035 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:20140416T043035 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:20140416T043035 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:

This annual exhibition represe nts the culmination of intense artistic development for graduate students i n studio art and design. Marking a meaningful step further into the art wor ld\, the exhibition highlights and celebrates the artists' exceptional crea tivity\, curiosity\, and inventiveness.

DTEND:20130428 DTSTAMP:20140416T043035 DTSTART:20130411 GEO:40.101862;-88.2317371 LOCATION:Krannert Art Museum\, University of Illinois at Urbana-Champaign\, 500 East Peabody Drive \nChampaign\, Illinois 61820 SEQUENCE:0 SUMMARY:School of Art + Design Master of Fine Arts Exhibition UID:268896 END:VEVENT BEGIN:VEVENT DTEND:20130413T190000 DTSTAMP:20140416T043035 DTSTART:20130413T170000 GEO:40.101862;-88.2317371 LOCATION:Krannert Art Museum\, University of Illinois at Urbana-Champaign\, 500 East Peabody Drive \nChampaign\, Illinois 61820 SEQUENCE:0 SUMMARY:School of Art + Design Master of Fine Arts Exhibition UID:268897 END:VEVENT END:VCALENDAR