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65GRAND is pleased to present BRUTE FORCe\, Steven Husby's first solo exhibition with t he gallery.

At first a ppearing impersonal and cold\, the paintings of Steven Husby display a high ly individual approach. They are the product of an artist concerned with pr ecision and permutation. Like many abstractionists working today\, Husby ta kes painting as his subject. But that is just the starting point. The artis t is concerned not with the meaning or purpose of painting but rather the c onstruction of image. How are visual representations structured? What is th e underlying mathematical logic?

Husby's paintings look not only to the rich past of working meth ods along the lines of Agnes Martin and Ad Reinhardt with their monastic ri gor and exhaustive variations\, but also contemporary image culture. A prec ise geometric pattern of gradation relates as much to Albers and color theo ry as it does to algorithms used to compress information into 1's and 0's. Indeed the exhibition's title is derived from a style of problem solving in computer science called the brute-force search. This simple but exhaustive algorithm systematically specifies every possible solution to a problem an d checks whether or not each possibility meets the necessary criteria.

With a raw\, brutish logic \, the brute-force method plunges into a query much the way Husby exhaustiv ely works through his explorations of painting. He explains\, "I was thinki ng about the procedures I've been employing in the studio recently\, as wel l as more obliquely to the sensibility I think informs my aesthetic choices \, which bleeds a bit towards a kind of pop formalism...so not only brute f orce the method\, but brute force as the force of 'brutes\,' among whom I c ount myself."

Steven H usby lives and works in Chicago. Solo exhibitions include RUBICON at Julius Caesar\, 2011\; we speak the way we breathe\, Peregrine Program\, 2010\; t he Museum of Contemporary Art\, Chicago\, 2007\; and the Art Center College of Art and Design\, Pasadena\, California\, 2005. Group exhibitions includ e Afterimage at the DePaul University Museum of Art\, 2012\; Bad Moon at An drew Rafacz Gallery\, 2008\; and at The Suburban\, 2004. His work has been written about on Artforum.com\, ArtSlant.com\, Art:21 Blog\, in the Chicago Tribune\, Newcity\, and in the catalogs Afterimage and Can I Come Over to Your House? The First 10 Years of the Suburban.

DTEND:20130511 DTSTAMP:20140416T215736 DTSTART:20130412 GEO:41.890738;-87.661593 LOCATION:65GRAND\,1369 W Grand Ave. \nChicago\, IL 60642 SEQUENCE:0 SUMMARY:BRUTE FORCe\, Steven Husby UID:268530 END:VEVENT BEGIN:VEVENT DTEND:20130412T210000 DTSTAMP:20140416T215736 DTSTART:20130412T180000 GEO:41.890738;-87.661593 LOCATION:65GRAND\,1369 W Grand Ave. \nChicago\, IL 60642 SEQUENCE:0 SUMMARY:BRUTE FORCe\, Steven Husby UID:270001 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Missouri artist Ronald Clayton has a long history of exhibiting in Chicago\, but strikes out in new\, mor e abstracted territory with his body of geometrically grounded oil painting s.t

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About the artist:

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Ronald Clayton's work has been a s trong pillar of the gallery since the mid 90s\, and with this new body of w ork\, the artist pushes his unmistakable and unique style into exciting new territory.

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Clayton's new paintings a lmost burst off the wall with an unbridled new energy\, and yet this energy finds it's counterpoint in a contemplative\, formal restraint. This restra int is based both on the underlying geometry in the work\, and the artist's empathic concern for the landscape that lies\, at risk\, just beyond the d oorways and windows of his invented constructions.

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Discussing this most recent body of paintings\, Clayton says:

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I have recently been acting out c ertain illogical impulses\, retaliating against the logic of previous work. Sometimes it takes the form of reaction against the logical (mathematical) systems I've based my composition on. (linear perspective\, the golden mea n\, etc). Pushing against\, wrestling with\, I often find myself thrown out side the "ring\, the "ring" being my conventional rectangular format. The m anifestation being new constructed paintings in which the subject defines t he format rather than the customary visa-versa.

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Even when I choose to adhere to the discipline of the c onventional rectangle\, which I just as often do\, there are other logical inferences about my chosen subjects - colors\, textures and forms associate d with industrial architecture for instance. I've recently found these asso ciations just too restrictive and so there are\, in these paintings\, wild improvisations and displacements of color and texture. Well\, wild for me a nyway.

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Things have also chan ged in my views of the landscape. While previously I was concerned about do cumenting real locations objectively and then painting them back to nature\ , these new views are extrapolations\, hybrids\, and constructs. I am allow ing myself to blatantly reinvent a nature that may be "super"\, or at least "extra-natural." There is one painting in the show in which the vistas see n through doors and windows are recycled and reconstructed out of glimpses and fragments found around downtown Chicago. - Ronald Clayton

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The personal fictions present in the works of Ronald Clayton are both inspiring and challenging. Dualities are at play th roughout the work: depth of space and articulated surface\, the geometric a nd the organic\, culture and nature\, the familiar and the new. Clayton's t wo lynchpins are the biographical narrative of our experience with particul ar landscapes\, and the imagined architectural ruins he places within them. In turn\, we the viewers are placed in these ruins. We find ourselves admi ring the work of the hands that created these mysterious structures\, all t he while longing to experience the untouched vision of nature just beyond o ur grasp. What a powerful metaphoric image of our ongoing search for a plac e in this world.

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DTEND:20130601 DTSTAMP:20140416T215736 DTSTART:20130419 GEO:41.895038;-87.634537 LOCATION:Addington Gallery\,704 N. Wells St. \nChicago\, IL 60610 SEQUENCE:0 SUMMARY:Tightrope\, Ronald Clayton UID:271240 END:VEVENT BEGIN:VEVENT DTEND:20130419T200000 DTSTAMP:20140416T215736 DTSTART:20130419T170000 GEO:41.895038;-87.634537 LOCATION:Addington Gallery\,704 N. Wells St. \nChicago\, IL 60610 SEQUENCE:0 SUMMARY:Tightrope\, Ronald Clayton UID:271241 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Linstrum\, an Atlanta Artist\, offers romantic yet disconcerting images of nature in his visceral\, mixed media paintings.

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DTEND:20130601 DTSTAMP:20140416T215736 DTSTART:20130419 GEO:41.895038;-87.634537 LOCATION:Addington Gallery\,704 N. Wells St. \nChicago\, IL 60610 SEQUENCE:0 SUMMARY:(un)natural Habitats\, Carl Linstrum UID:271242 END:VEVENT BEGIN:VEVENT DTEND:20130419T200000 DTSTAMP:20140416T215736 DTSTART:20130419T170000 GEO:41.895038;-87.634537 LOCATION:Addington Gallery\,704 N. Wells St. \nChicago\, IL 60610 SEQUENCE:0 SUMMARY:(un)natural Habitats\, Carl Linstrum UID:271243 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Alex Jovanovich:

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Some Poor Girls

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April 7 - May 12\, 2013 Opening reception: April 7\, 1:00 - 5:00 p.m.

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Let's begin in black and white: opposites whose severe contrast ma kes legible our most basic differences. What is and what isn't. What can be seen and what refuses sight. Some might push toward ethics: right and wron g\, good and evil. Some might return to the poetic: the nothing that isn't and the nothing that is. Alex Jovanovich's art does its work in such opposi tion\, not to lend credence to the ease of judgment\, but to show the ways in which our deepest ambiguities exist within the space of contradiction it self. Between black and white—be it by image or be it by word—this art show s us a realm of thought and feeling that exists where we did not think it c ould: that once airless\, once unthinkable space\, that one can breathe in\ , one can think in\, only after the line has been drawn that ciphers blankn ess away from blackness. Jovanovich is a genius of such contradiction. Ambi guity is his accuracy\, plethora his muse. Here flowers are light-full\, an d so seem eyes\; and eyes are dark centers\, and so seem orifices\; and ori fices lead within the body\, and so introduce us to all within us we could not otherwise see: garters and ribbons\, beauty and bondage\, vein's vanity and vanity's nerve. What surprises most is not that intimacy and violence occur simultaneously\, but that they do so with such fierce tenderness\, th ey do so with such patient longing. Perhaps this is Jovanovich's gift to us \, an old gift\, the artist's ancient inheritance: he shows us how patience is erotic\, how calm is filled with longing. And should we become patient\ , should we find ourselves wanting\, then we hear inside what can be said e verything that felt unspeakable—just as we find the seed of whiteness in th e night's purest dark—we hear the unspeakable speak.

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— Dan Beachy-Q uick

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ADDS DONNA\, 4223 West Lake Street\, Chicago \, IL 60624 / www.addsdonna.com

DTEND:20130512 DTSTAMP:20140416T215736 DTSTART:20130407 GEO:41.88546;-87.7320699 LOCATION:ADDS DONNA\,4223 W. Lake St #422 \nChicago\, IL 60624 SEQUENCE:0 SUMMARY:Some Poor Girls\, Alex Jovanovich UID:268444 END:VEVENT BEGIN:VEVENT DTEND:20130407T170000 DTSTAMP:20140416T215736 DTSTART:20130407T130000 GEO:41.88546;-87.7320699 LOCATION:ADDS DONNA\,4223 W. Lake St #422 \nChicago\, IL 60624 SEQUENCE:0 SUMMARY:Some Poor Girls\, Alex Jovanovich UID:268445 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Daniel Bauer’s work from Israel exposes fis sures and rifts in the multiple strains of modernism that have been importe d\, developed\, or mutated in the contemporary Levant. Often focusing on ar chitectural additions and subtractions\, Bauer seeks out the spatial\, temp oral\, and conceptual topos between the personal and the collective\, each a reflection of the other seen askew. Photographs from the ongoing series\, Domestica Dentata depict houses with bifurcated trajectories\, th eir dormant histories emerging slowly from the built and rebuilt surfaces—l atent images that document a decisive absence. 

Daniel B auer received his BFA from The Photography Department at the Bezal el Academy of Art and Design\, Jerusalem and his MFA from Columbia Universi ty\, New York. This will be his first solo show in Chicago. He has had two solo shows at the Andrea Meislin gallery in New York\, has worked with arch itects and historians on exhibitions and projects in Kunst Werke\, Berlin a nd the The Israeli Pavilion at the Venice Biennale of Architecture\, his wo rk is in the collection of The Israel Museum\, Jerusalem.

DTEND:20130720 DTSTAMP:20140416T215736 DTSTART:20130427 GEO:41.8843563;-87.6559536 LOCATION:Alderman Exhibitions\,1138 W Randolph Street \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Domestica Dentata\, Daniel Bauer UID:273966 END:VEVENT BEGIN:VEVENT DTEND:20130427T170000 DTSTAMP:20140416T215736 DTSTART:20130427T110000 GEO:41.8843563;-87.6559536 LOCATION:Alderman Exhibitions\,1138 W Randolph Street \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Domestica Dentata\, Daniel Bauer UID:273967 END:VEVENT BEGIN:VEVENT DESCRIPTION:

ANDREW RAFACZ is pleased to announce Psychosexual\, curated by Scott J. Hunter\, in Gallery One and Gallery Two.

Chicago\, IL\, April 6\, 2013– ANDREW RAFACZ continues the spring 2013 season with Psychosexual\, curated by Scott J. Hunter. The exhibition includes work by Lutz Bacher\, Tom Burr\, Edmund Chia\, Matthias Dornfeld\, Jayson Keeling\, Jutta Koether\, Nazafarin Lotfi\, Jeffry Mitch ell\, John Neff\, Rachel Niffenegger\, Peter Otto\, Kirsten Stoltmann\, and Brenna Youngblood. It continues through Saturday\, May 25\, 2013.
Psychosexual explores the cons tructed\, yet unconscious meaning of the physical gesture in contemporary a rt making\, and its intimacy and eroticism. The gesture\, across mediums\, is first and foremost taken as a representation of the artist’s underlying self\, as it is envisioned\, fabricated\, and then executed. As such\, it h olds in its execution a projection of the artist’s desires and assertions. Its consequent evocation\, in the mind of the viewer of the work\, is a rep resentation of the artist’s self\; a projective identification by the viewe r that is considered\, taken in and incubated as memory\, and which is then explored\, challenged\, or discharged. It is the intersubjectivity between artist and viewer that becomes a principal interest in this exhibition\; t o assess and frame how the artist's and viewer's unconscious eroticism beco mes both psychologically and aesthetically tangible.

A catalog\, with essays by Jason Foumberg\, Elijah Burgher\, and Scott J. Hunter\, is forthcoming during the run of th e exhibition.

LUTZ BAC HER (American) lives and works in Berkeley\, CA and New York. She has had s olo exhibitions at Ratio 3\, San Francisco\; Alex Zachary Peter Currie\, Ne w York\; and Taxter &\; Spengemenn\, New York\; and is currently exhibit ing at Portikus in Frankfurt. Forthcoming exhibitions include the Institute of Contemporary Art\, London and Kunsthalle Zürich\, Switzerland. She had a retrospective at P.S. 1\, New York in 2009 and was included in the 2012 W hitney Biennial.

TOM B URR (American\, b. 1963) lives and works in Norfolk\, CT and New York. He s tudied at the School of the Visual Arts\, 1982-1986. He has had numerous so lo exhibitions\, including at Galerie Neu\, Berlin\; Stuart Shave/Modern Ar t\, London\; Almine Reich\, Paris\; and Bortolami\, New York. He was includ ed in the recent exhibition\, The Black Mirror\, curated by James Welling a t Diane Rosenstein Fine Arts\, Los Angeles.

EDMUND CHIA (Singapore\, b. 1977) lives and works in Chicago. He received an MFA from SAIC in Painting and Drawing in 2009 and i s currently on the painting faculty. He has been included in multiple group shows in Chicago\, including The Mind’s I at Julius Caesar and had a solo exhibition in 2011 with ADDS DONNA.

MATTHIAS DORNFELD (German\, b. 1960) lives and works in Berli n. He studied at the Art Academy in Munich\, Germany. He has had numerous s olo and group exhibitions\, including the former Galerie Ben Kaufmann\, Ber lin/Munich and Rowley Kennerk Gallery\, Chicago\; Blanket Contemporary\, Va ncouver\, BC\; Harris Lieberman\, New York\; Ancient &\; Modern\, London \; and Soy Capitan\, Berlin.

JAYSON KEELING (American\, b. 1966) lives and works in Long Island C ity\, Queens. He attended the Fashion Institute of Technology\, New York. H is work has been featured in group and solo exhibitions at the Studio Museu m in Harlem\; Abrons Art Center\, Henry Street Settlement\, New York\; the Queens Museum of Art\, Queens\, NY\; El Museo del Barrio\, New York\; and R hona Hoffman Gallery\, Chicago.

JUTTA KOETHER (German\, b. 1958) is an artist\, musician\, and c ritic living and working in New York\, NY. She has collaborated in her exhi bitions with Tom Verlaine and Kim Gordon. Solo exhibitions have been held a t Bortolami\, New York\; Susanne Vielmetter Los Angeles Projects\; Galerie Daniel Buchholz\, Koln/Berlin\; and Reena Spaulings Fine Art\, New York. Sh e was featured in the 2012 Whitney Biennial and the 2012 San Paulo Biennial in Brazil.

NAZAFARIN LOTFI (Iranian\, b. 1984) lives and works in Chicago. She received her MFA from the SAIC in 2011. She has had solo exhibitions at Brand New Gallery\, Milan\; Tony Wight Gallery\, Chicago\; and Autumn Space\, Chicago\; and wi ll be included in an upcoming group exhibition at Ana Cristea Gallery in Ne w York this year.

JEFF RY MITCHELL (American\, b. 1956) lives and works in Seattle\, WA. He recent ly had a midcareer retrospective at the Henry Art Gallery at the University of Washington in 2012. He has been featured in both solo and group exhibit ions at Ambach &\; Rice\, Los Angeles\; Rena Bransten Gallery\, San Fran cisco\; White Columns\, New York\; the New Museum of Contemporary Art\, New York\; and the Seattle Art Museum.

JOHN NEFF (American\, b. 1975) lives and works in Chicago. H e received his MFA from UIC in 2001 and he continues to teach in their Depa rtment of Art and Architecture. He currently is having his first solo insti tutional exhibition at the Renaissance Society at the University of Chicago . He has been featured in solo and group exhibitions at GOLDEN\, Chicago/Ne w York\; the Museum of Contemporary Art\, Chicago\; the Hyde Park Art Cente r\, Chicago\; and Western Exhibitions\, Chicago.

RACHEL NIFFENEGGER (American\, b. 1985) lives an d works in Chicago and Amsterdam. She received her MFA from Northwestern Un iversity in 2012\, following completing her BFA at SAIC. She has had solo e xhibitions at Western Exhibitions\, Chicago and Club Midnight\, Berlin. She has been featured in numerous group exhibitions including Western Exhibiti ons\, Chicago\; Tracey Williams Gallery\, New York\; the Block Museum of No rthwestern University\, Evanston\, IL\; Museum voor Moderne Kunst\, Arnhem\ , NL\; and Green Gallery\, Milwaukee.

PETER OTTO (Dutch\, b. 1955) lives and works in Arnhem\, NL . A sculptor and painter\, he has had solo and group exhibitions across Eur ope and in the US\, including Devening Projects + Editions\, Chicago\; Muse um Beelden aan Zee\, Scheveningen\; Boÿmans van Beuningen in Rotterdam\; Ga lerie Swart\, Amsterdam\; and the Pushkin Museum\, Moscow.

KIRSTEN STOLTMANN (American\, b. 1968) lives and works in Ojai\, CA. She received her MFA from UIC in 2002. She h as had numerous solo and group exhibitions at Western Exhibitions\, Chicago \; Brennan &\; Griffin\, New York\; Sister\, Los Angeles\; Guild and Gre yshkul\, New York\; Saatchi Gallery\, London\; Honor Fraser Gallery\, Los A ngeles\; and Wallspace\, New York.

BRENNA YOUNGBLOOD (American\, b. 1979) lives and works in Los Angeles\, CA. She received her MFA from UCLA. She has been included in sev eral group exhibitions\, including the most recent surveys\, FORE\, at the Studio Museum of Harlem\, New York and Made in L.A. 2012\, at the UCLA Hamm er Museum\, Los Angeles. She has had solo exhibitions at Honor Fraser Galle ry\, Los Angeles\; Susanne Vielmetter\, Los Angeles\; Margo Leavin Gallery\ , Los Angeles\; and Wallspace\, New York.

DTEND:20130525 DTSTAMP:20140416T215736 DTSTART:20130406 GEO:41.8830194;-87.648947 LOCATION:Andrew Rafacz Gallery\,835 W. Washington \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Psychosexual\, Lutz Bacher\, Tom Burr\, Edmund Chia\, Matthias Dorn feld\, Jayson Keeling\, Jutta Koether\, Nazafarin Lotfi\, Jeffry Mitchell\, John Neff\, Rachel Niffenegger\, Peter Otto\, Kirsten Stoltmann\, Brenna Y oungblood UID:268534 END:VEVENT BEGIN:VEVENT DTEND:20130406T190000 DTSTAMP:20140416T215736 DTSTART:20130406T160000 GEO:41.8830194;-87.648947 LOCATION:Andrew Rafacz Gallery\,835 W. Washington \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Psychosexual\, Lutz Bacher\, Tom Burr\, Edmund Chia\, Matthias Dorn feld\, Jayson Keeling\, Jutta Koether\, Nazafarin Lotfi\, Jeffry Mitchell\, John Neff\, Rachel Niffenegger\, Peter Otto\, Kirsten Stoltmann\, Brenna Y oungblood UID:269070 END:VEVENT BEGIN:VEVENT DESCRIPTION:

"Design" is simply choice.  Ae sthetic choice.   The elements of design can be seen in architectural\, gra phic or industrial drawings and the products they describe can be buildings \, bridges or appliances.  

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Nowhere a re those designs more plentiful than in an advanced consumer society like o urs. And ArchiTech Gallery is the one place where those earliest designs ca n be acquired as works of art.

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Often\ , design drawings are the first draft of the creative process.  But that pr ocess is hidden from the view of everyone else but the artist.  

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ArchiTech Gallery exhibits these design and arc hitecture works in a special show and sale of original material opening Jan uary 11th and continuing through April 27th\, 2013.

DTEND:20130824 DTSTAMP:20140416T215736 DTSTART:20130111 GEO:41.8957646;-87.6357559 LOCATION:ArchiTech Gallery\,730 North Franklin St. Suite 200\nChicago\, IL 60654 SEQUENCE:0 SUMMARY:Design 1810 - 1995\, Al Eckel\, George Fred Keck\, Frank Lloyd Wrig ht UID:252956 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Bert Green Fine Art is pleased to present our first solo show by Chicago-based artist Rafael E. Vera.

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Rafael E. Vera has spent years slowly re novating his own home. The sculptures and works on paper in this show share a focus on the underlying reality of domestic building structural elements . The hidden forms which provide support and make possible the domicile are exposed and depicted as mundane and anonymous\, yet ripe with abstract qua lities. Concrete foundations and wood framing\, unremarkable and utilitaria n\, freed from their role as building materials transform their quotidian e xistence and are newly interpreted.

DTEND:20130503 DTSTAMP:20140416T215736 DTSTART:20130309 GEO:41.8818399;-87.624895 LOCATION:Bert Green Fine Art\,8 S. Michigan Ave. Suite 1220\nChicago\, IL 6 0603 SEQUENCE:0 SUMMARY:Nothing Concrete\, Rafael E. Vera UID:260030 END:VEVENT BEGIN:VEVENT DTEND:20130309T200000 DTSTAMP:20140416T215736 DTSTART:20130309T170000 GEO:41.8818399;-87.624895 LOCATION:Bert Green Fine Art\,8 S. Michigan Ave. Suite 1220\nChicago\, IL 6 0603 SEQUENCE:0 SUMMARY:Nothing Concrete\, Rafael E. Vera UID:260031 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In this his first solo exhibition at Carl Hammer Gallery\, Aristotle Georgiades’ new bo dy of work uses primarily repurposed materials to touch on themes of altere d ambition and obsolescence. Most of the new pieces have an intention or am bition that has been re-directed for one reason or another\, making the emo tional content of this change in direction the subject of this new work. Th e wood trim\, banisters and railings\, salvaged by the artist for this body of work\, all come from a historical period when the “constructed environm ent” was not as efficiently mass-produced as it is today\, and workmanship was important. The vintage in the materials used most definitely conveys a nostalgic quality\, triggering something in us to reference the past. Yet\, the forms and installations go beyond a sentimental moment about handwork and a “simpler time”. They are formally composed and employ a sculptural vo cabulary which causes us to re-consider our relationship to the material wo rld of today\, and how the things that we have constructed reflect our valu es and concerns.

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 Many of Georgiades’ source objects and materials are no longer usef ul in the way they were intended\, and through sculptural manipulation\, he finds a way to give them a new purpose\, often that of expressing the cond ition that many humans find themselves in as well.  If work is what makes p eople feel useful\, what happens when the rapidly changing world about us r enders people obsolete or worn out?  How does one find meaning when one’s s trengths are no longer needed?  Through the application of formal and desig n language to the materials chosen by the artist\, we are offered a sculptu ral point of view on this human condition

DTEND:20130511 DTSTAMP:20140416T215736 DTSTART:20130412 GEO:41.8959959;-87.6345599 LOCATION:Carl Hammer Gallery\,740 N. Wells St. \nChicago\, IL 60654 SEQUENCE:0 SUMMARY: Some Time\, ARISTOTLE GEORGIADES UID:267291 END:VEVENT BEGIN:VEVENT DTEND:20130419T200000 DTSTAMP:20140416T215736 DTSTART:20130419T173000 GEO:41.8959959;-87.6345599 LOCATION:Carl Hammer Gallery\,740 N. Wells St. \nChicago\, IL 60654 SEQUENCE:0 SUMMARY: Some Time\, ARISTOTLE GEORGIADES UID:267292 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Carrie Secrist Gallery is plea sed to announce Michael Robinson: Circle Spectre Paper Flame\ , opening Saturday\, April 6 from 5-8 PM.

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In his first solo exhibition with the gallery\, Michael Robinson prese nts a new body of photo and collage work together with the film Circle i n the Sand (2012). Layering and reassembling leftovers of culture\, the artist creates contemporary venues for spiritual exchange and transformati on. The resulting pictures hum subtly\, revealing new meanings.

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In the main space\, Robinson exhibits new photog raphs offering a magical interpretation of landscape. Using basic light man ipulation\, Robinson captures subjects such as forest mushrooms and moonlig ht cast on a book page. Communicating an oblique narrative\, his eerily ple asing images capture the potential for transcendence in the mundane.

\n< p style="text-align: justify\;">Alongside the photographs\, Robinson shows new collage work. In each mixed media piece\, central halo forms franticall y explode across found photographic backgrounds. The backgrounds act as pho tographic representations or readymade additions to the disseminated montag e of deities in each foreground. Robinson mines sources as varied as fruit tree diseases and 1980s computer graphics to generate his otherworldly scen es.

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In the second gallery\, Robinson screens Circle in the Sand (2012). Set in a post-apocalyptic near fu ture\, the 45-minute film follows a band of listless vagabonds ambling acro ss a war-torn coastal territory. Rummaging\, stuttering\, and smashing thro ugh the scraps of Western culture\, this group of ragged souls conjures an unstable magic fueled by their own apathy and the poisonous histories imbed ded in their unearthed junk.

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Circl e in the Sand screened previously at the New York Film Festival (2012) and the International Film Festival Rotterdam (2013)\; the film will projec t hourly at the Carrie Secrist Gallery during its Chicago debut.

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Past exhibitions and screenings for Michael Rob inson (American\, b. 1981) include the 2012 Whitney Biennial\, Walker Art C enter\, MoMA P.S.1\, London Film Festival\, REDCAT Los Angeles\, Sundance F ilm Festival\, Tate Modern\, San Francisco International Film Festival\, an d Hong Kong International Film Festival. Honors include a Kazuko Trust Awar d (2012)\, a Creative Capital Grant (2012)\, and a 2011-2012 Film/Video Res idency Award from the Wexner Center for the Arts.

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Michael Robinson: Circle Spectre Paper Flame wil l be on view through May 11\, 2013. The gallery is open Tuesday through Fri day 10:30 to 6 and Saturday 11 to 5 or by appointment.

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DTEND:20130518 DTSTAMP:20140416T215736 DTSTART:20130406 GEO:41.8830194;-87.648947 LOCATION:Carrie Secrist Gallery\,835 W. Washington Blvd. \nChicago\, IL 606 07 SEQUENCE:0 SUMMARY:Circle Spectre Paper Flame\, Michael Robinson UID:265948 END:VEVENT BEGIN:VEVENT DTEND:20130406T200000 DTSTAMP:20140416T215736 DTSTART:20130406T170000 GEO:41.8830194;-87.648947 LOCATION:Carrie Secrist Gallery\,835 W. Washington Blvd. \nChicago\, IL 606 07 SEQUENCE:0 SUMMARY:Circle Spectre Paper Flame\, Michael Robinson UID:265949 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:20140416T215736 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:20140416T215736 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:

For some\, it’s a city of tran sition\, a literal settlement: the place where we land\, finally\, after tr ying on a few others—Detroit or Cleveland\; Greenville\, North Carolina. It ’s close enough to home\, but far enough away. It’s the fresh start where w e can become anonymous\, start anew with a blank canvas. For others\, it’s in our blood. We’ve always been here\; we’ll never leave. It’s where we wer e born and it’s where we’ll die. It’s where we’ve been\, where we are and w here we’re going. It’s our ancestry\, it’s our legacy. It’s Chicago.

\n< p style="text-align: justify\;">For the “Chicago Six\,” the city is all of these things and then some. But most of all\, it’s a common geography for c reativity. It inspires\; it defies. It rewards\; it challenges. It’s a city that’s at once brutally unforgiving and selflessly humble.

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Sometimes\, Chicago is quite literal. For metal arti st Mark Phillips\, it’s the gritty El station whose scuffed up\, graffiti-c lad walls resonate with the ear-piercing squeal of train breaks one minute\ , and the gentle\, echoing harmonies of a street-musician’s a cappella grou p the next. For photographer Eric Holubow\, it’s the abandoned church on an overgrown lot whose ornate\, byzantine structure has been deteriorating fo r eons until all that’s left are crumbling frescoes\, water-stained plaster and a pile of dilapidated furniture\, yet its stained-glass windows shine as bright and clean and true as the day they were finished.

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For sculptor Sheila Ganch\, Chicago resonates in its people\, a pair of them bent over a table in thought\, sorting through the ir relationship with one another: their synergy\, their diversity\, their g eography\, their city.

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Sometimes\, Ch icago is abstract. For painter Lynn Basa\, it’s the city whose unexpected o utburst of color becomes evident only when its yellows and oranges begin to melt and morph into its blues\, leaving traces of gray areas that we can’t quite explain. For mixed-media artist Kristin Komar\, it’s a field of char treuse and aqua dripping in acrylic and gouache\, turned sideways as if to defy gravity\, then overlaid with sinister basic black and stark white—two hues that refuse to exist in the natural landscape. And for painter Michell e Gordon\, it’s more diverse still: smears and smudges of blood and steel a nd mustard and flesh somehow coexisting\, at once separated and connected b y drawn-in lines of gray\, emphasizing how different every color looks upon separation from its neighbors.

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This Chicago\, the one that belongs in the imaginations of the artists who make up the “Chicago Six\,” is varied in every possible way\, from materials to execution and finished aesthetic. And yet this is the truest cross-section of the city\, one that’s made up of natives and long-term visitors\, here f or a day or a decade or a lifetime.

DTEND:20130622 DTSTAMP:20140416T215736 DTSTART:20130405 GEO:41.9152629;-87.6551279 LOCATION:Chicago Art Source Gallery\,1871 N. Clybourn Ave. 2nd floor\nChica go\, IL 60614 SEQUENCE:0 SUMMARY:Chicago Six\, michelle gordon\, Kristin Komar\, Lynn Basa\, Sheila Ganch\, Eric Holubow\, Mark Phillips UID:267293 END:VEVENT BEGIN:VEVENT DTEND:20130404T200000 DTSTAMP:20140416T215736 DTSTART:20130404T170000 GEO:41.9152629;-87.6551279 LOCATION:Chicago Art Source Gallery\,1871 N. Clybourn Ave. 2nd floor\nChica go\, IL 60614 SEQUENCE:0 SUMMARY:Chicago Six\, Lynn Basa\, Sheila Ganch\, michelle gordon\, Eric Hol ubow\, Kristin Komar\, Mark Phillips UID:267294 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Presented by the Commission on Chicago Landmarks\, this exhibition of 72 black and white photographs from 1956 to 1987 offers a det ailed view of 24 designated Chicago Landmarks.  The exhibit features the wo rk of renowned architectural photographers Richard Nickel\, Barbara Crane\, Bob Thall and Stephen Beal.

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DTEND:20201231 DTSTAMP:20140416T215736 DTSTART:19940312 GEO:41.8836686;-87.6250434 LOCATION:Chicago Cultural Center\,78 E. Washington St. \nChicago\, IL 60602 SEQUENCE:0 SUMMARY:Chicago Landmarks Before the Lens\, Stephen Beal\, Richard Nickel\, Barbara Crane\, Bob Thall UID:181033 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:20140416T215736 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:

Opening March 23 at the Chicag o Cultural Center and running through June 16\, "Rising Up: Hale Woodruff's Murals at Talladega College" features six monumentally-scaled murals paint ed in 1939-42 by African American artist Hale Woodruff. Never before seen o utside of Alabama's Talladega College\, the murals depict the 1839 mutiny b y slaves on the Spanish ship La Amistad and its aftermath. Newly restored t o their original\, vibrant colors\, the murals are accompanied by 30 painti ngs and prints that document Woodruff's work from the 1920s to the 1940s\, making this exhibition a rare opportunity to see this important Harlem Rena issance artist's work in depth. "Rising Up" is organized by the High Mus eum of Art\, Atlanta\, in collaboration with Talladega College\, Talladega\ , Alabama. This exhibition is made possible through support from the Terra Foundation for American Art.

DTEND:20130616 DTSTAMP:20140416T215736 DTSTART:20130323 GEO:41.8836686;-87.6250434 LOCATION:Chicago Cultural Center\,78 E. Washington St. \nChicago\, IL 60602 SEQUENCE:0 SUMMARY:Rising Up: Hale Woodruff's Murals at Talladega College\, Hale Woodr uff UID:264021 END:VEVENT BEGIN:VEVENT DTEND:20130323T180000 DTSTAMP:20140416T215736 DTSTART:20130323T090000 GEO:41.8836686;-87.6250434 LOCATION:Chicago Cultural Center\,78 E. Washington St. \nChicago\, IL 60602 SEQUENCE:0 SUMMARY:Rising Up: Hale Woodruff's Murals at Talladega College\, Hale Woodr uff UID:264022 END:VEVENT BEGIN:VEVENT DESCRIPTION:

See Chicago through the eyes o f Vivian Maier and witness the life work of a photographer who wowed the wo rld with breathtaking images of everyday life in urban America. Maier&rsquo \;s Chicago collection will be presented at larger than life scale vividly documenting Chicago neighborhoods and faces of the 1960s and 70s.

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Vivian Maier was born in New York City in 1926 \, but spent much of her life travelling to places like Egypt\, Bangkok\, I taly\, and the American Southwest with camera in tow. In 1956 she settled i n Chicago\, where she remained until her death in 2009. She spent her adult life as a nanny to a series of North Shore families\, and devoted her free time and money to her passion\, photography.

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Images for Vivian Maier&rsquo\;s Chicago come from the Je ffrey Goldstein collection (Vivian Maier Prints Inc.) Acquired in 2010\, th e Goldstein collection includes over 15\,000 negatives\, 1\,000 prints\, 30 homemade movies\, and numerous slides. They document Vivian&rsquo\;s Europ ean years prior to her early 1950s stay in New York continuing through her Chicago years from 1955 into the early 1970s.

DTEND:20140607 DTSTAMP:20140416T215736 DTSTART:20121001 GEO:41.9119544;-87.6317704 LOCATION:Chicago History Museum\,1601 N. Clark Street \nChicago\, IL 60614 SEQUENCE:0 SUMMARY:Vivian Maier's Chicago \, Vivian Maier UID:239778 END:VEVENT END:VCALENDAR