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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:20141023T031027 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:20141023T031027 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:

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:20141023T031027 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:20141023T031027 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:20141023T031027 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:20141023T031027 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:20141023T031027 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:20141023T031027 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:

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:20141023T031027 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:20141023T031027 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:20141023T031027 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:20141023T031027 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:20141023T031027 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:20141023T031027 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:

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:20141023T031027 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:20141023T031027 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:20141023T031027 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:20141023T031027 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:

Corbett vs. Dempsey is pleased to present for everyone a garden\, an exhibition of new work by David Hart t. In his first show at Corbett vs. Dempsey\, Hartt commandeers the gallery space\, introducing three large glass sculptures\, a diptych based on two of his drawings\, and a single photograph. The impetus behind for everyone a garden is Hartt’s research into utopian architecture\, in particular the work of Moshe Safdie\, the architect whose 1974 book lends its title to the show and whose work includes Habitat 67\, located in Hartt’s city of origi n\, Montréal. A recurrent off-oval form drawn from the “juxtaposable cellul es” of architect Jean-Louis Chanéac is referenced in the stacked\, hand-blo wn glass modules of Hartt’s sculptures\, the structures referenced in Hartt ’s drawings\, and the various supplementary images in the extensive exhibit ion catalog—designed by James Goggin\, and with an essay by John Corbett—it self an intrinsic part of the installation. This ambitious\, subtle\, and d efiant installation builds on Hartt’s ongoing line of inquiry into the shap e and nature of ideology.

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Although he is known as a photographer\, Hartt’s work extends conceptually and materia lly beyond the medium. His investigation of the political and social ramifi cations of design and architecture\, which is an emphatic component of his photography\, has led him to consider installation\, video and sculpture. I n Stray Light\, Hartt’s 2012 show at the Museum of Contemporary Art\, Chica go\, he explored a vision of the Johnson Publishing building\, using large scale color photographs\, an elegant video with soundtrack by jazz flutist and composer Nicole Mitchell\, and a carefully plotted installation with a sculptural object\, custom made carpet and a détourned high-design couch.\n

David Hartt (b. 1967\, Montréal) curre ntly lives and works in Chicago. He graduated with an MFA from the School o f the Art Institute of Chicago in 1994. His exhibition Stray Light opens at the Studio Museum in Harlem in March 2013 and will travel in the fall to t he Henry Art Gallery\, Seattle and in 2014 to the Carnegie Museum of Art\, Pittsburgh. He has had solo exhibitions at the Museum of Contemporary Art\, Chicago (2012)\, Golden Age\, Chicago (2011)\; Howard House\, Seattle (200 9)\; Deven Golden Fine Art (1998\, 1997)\; Andrew Kreps\, New York (1996)\; L’Observatoire-Galerie\, Brussels (1995)\; and Ten in One\, Chicago (1995) . In 2012 he was named a United States Artists Cruz Fellow. He is a 2012 re cipient of a Louis Comfort Tiffany Foundation Award.

DTEND:20130511 DTSTAMP:20141023T031027 DTSTART:20130405 GEO:41.9013087;-87.6827676 LOCATION:Corbett vs. Dempsey\,1120 N. Ashland Ave. 3rd Fl. (above Dusty Gro ove)\nChicago\, IL 60622 SEQUENCE:0 SUMMARY:for everyone a garden\, David Hartt UID:265312 END:VEVENT BEGIN:VEVENT DTEND:20130405T200000 DTSTAMP:20141023T031027 DTSTART:20130405T170000 GEO:41.9013087;-87.6827676 LOCATION:Corbett vs. Dempsey\,1120 N. Ashland Ave. 3rd Fl. (above Dusty Gro ove)\nChicago\, IL 60622 SEQUENCE:0 SUMMARY:for everyone a garden\, David Hartt UID:266574 END:VEVENT BEGIN:VEVENT DESCRIPTION:

This exhibition reunites some of the prints\, drawings\, and paintings from the notorious Armory Show of 1913\, which introduced a stunned America to avant-garde European art. Post -Impressionism\, Cubism\, and abstraction seem unremarkable now\, but the i ntensity—and polarity—of the critical reception had ramifications in the Ch icago art world for decades.

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This exh ibition is made possible in part by generous funding from the Terra Foundat ion for American Art.

DTEND:20130616 DTSTAMP:20141023T031027 DTSTART:20130404 GEO:41.9253642;-87.6529457 LOCATION:DePaul Art Museum\,935 W. Fullerton \nChicago\, IL 60614 SEQUENCE:0 SUMMARY:For and Against Modern Art: The Armory Show + 100 UID:268886 END:VEVENT BEGIN:VEVENT DTEND:20130404T170000 DTSTAMP:20141023T031027 DTSTART:20130404T110000 GEO:41.9253642;-87.6529457 LOCATION:DePaul Art Museum\,935 W. Fullerton \nChicago\, IL 60614 SEQUENCE:0 SUMMARY:For and Against Modern Art: The Armory Show + 100 UID:268887 END:VEVENT BEGIN:VEVENT DESCRIPTION:

As an increasingly ethnically ambiguous Asian American generation is coming of age\, War Baby/Love Child: Mixed Race Asian American Art looks at the construction of mixed-heritage Asian American identity in the United States. Working in traditional media as well as video\, installation\, and other approaches\, artists explore a range of topics\, including US wars in Asia\, multiculturalism and identity politics\, racialization\, gender and sexual identity\, citizenship and na tionality\, and trans-racial adoption.

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The exhibition features works across diverse mediums by emerging\, mid-ca reer and established artists who reflect a breadth of mixed heritage ethno- racial and geographic diversity: Mequitta Ahuja\, Albert Chong\, Serene For d\, Kip Fulbeck\, Stuart Gaffney\, Louie Gong\, Jane Jin Kaisen\, Lori Kay\ , Li-lan\, Richard Lou\, Samia Mirza\, Chris Naka\, Laurel Nakadate\, Gina Osterloh\, Adrienne Pao\, Cristina Lei Rodriguez\, Amanda Ross-Ho\, Jenifer Wofford\, and Debra Yepa-Pappan.

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War Baby / Love Child was curated by Laura Kina\, Vincent DePaul Professor of Art\, Media and Design\, and Wei Ming Dariotis\, associate professor of Asi an American studies at San Francisco State University.

A 304-p age companion book has been published by the University of Washington Press and is available at the museum or from the publisher.

DTEND:20130630 DTSTAMP:20141023T031027 DTSTART:20130425 GEO:41.9253642;-87.6529457 LOCATION:DePaul Art Museum\,935 W. Fullerton \nChicago\, IL 60614 SEQUENCE:0 SUMMARY:War Baby/Love Child: Mixed Race Asian American Art\, Mequitta Ahuja \, Albert Chong\, Serene Ford\, Kip Fulbeck\, Stuart Gaffney\, Louie Gong\, Jane Jin Kaisen\, Lori Kay\, Li-lan\, Richard Lou\, Samia Mirza\, Chris Na ka\, Laurel Nakadate\, Gina Osterloh\, Adrienne Pao\, Cristina Lei Rodrigue z\, Amanda Ross-Ho\, Jenifer Wofford\, Debra Yepa-Pappan UID:268890 END:VEVENT BEGIN:VEVENT DTEND:20130425T200000 DTSTAMP:20141023T031027 DTSTART:20130425T180000 GEO:41.9253642;-87.6529457 LOCATION:DePaul Art Museum\,935 W. Fullerton \nChicago\, IL 60614 SEQUENCE:0 SUMMARY:War Baby/Love Child: Mixed Race Asian American Art\, Mequitta Ahuja \, Albert Chong\, Serene Ford\, Kip Fulbeck\, Stuart Gaffney\, Louie Gong\, Jane Jin Kaisen\, Lori Kay\, Li-lan\, Richard Lou\, Samia Mirza\, Chris Na ka\, Laurel Nakadate\, Gina Osterloh\, Adrienne Pao\, Cristina Lei Rodrigue z\, Amanda Ross-Ho\, Jenifer Wofford\, Debra Yepa-Pappan UID:268891 END:VEVENT BEGIN:VEVENT DESCRIPTION:

devening projects + ed itions is very pleased to invite you to Razors &\; V apors\, Matt Rich's second solo exhibition wi th the gallery. In the off space\, Pages\, Pages features new works on paper from Alain Biltereyst\, Britta Bogers\, Gerd Borkelmann\, Andreas Fischer\, Matt Rich\, Cary Smit h\, Jered Sprecher and Alice Tippit. Both exhibitions open on Sunday\, April 28th\, from 4-7pm.

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As Matt Rich de scribes his paintings\, " ... they aren't quite many things: flat\, dimensi onal\, representational or perfectly singular. In being not quite many thin gs\, they commit to a formal and experiential dissonance." The dissonance s eems to come out of his joy in making work that wobbles through different n eighborhoods. Painting\, sculpture\, emblematic signage\, performative acti on - Matt Rich finds possibilities in each of these. To keep things in flux in the studio\, he maneuvers among these territories and enlivens the work through improvisation and modification. Hanging directly on the wall\, the work emphatically holds space\, acting at times like heraldic insignia and at others\, like portals into some visually skewed netherworld. Each work is assembled from cut paper activated with acrylic pigments applied in a va riety of gestures-evenly sprayed\, messily smeared\, scraped\, brushed and rolled. The process of composing is "pre-indeterminate\;" it starts somepla ce-almost any place-and evolves through a liberated sense of composition an d construction toward tenuous stability. The final shape may feel familiar - usually the title leads someplace - but the work quickly slips and become s something entirely other. That the paintings frequently hover almost ther e or not-quite-there is a testament to Rich's awareness of how things conge al\, how the paintings form and become whole-or potentially dissolve into s ome unexpected result. They may feel provisional\, but it's the declarative nature of what we ultimately experience that intimates a work as an essent ial being: something flawed but resolute. The work's heartfelt exuberance i s expressed through shape\, color and construction\, but we feel its willin gness to be imperfect as absolutely human.

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Matt Rich has had solo exhib itions at Project Row Houses in Houston\, devening projects + editions in C hicago\, the Suburban in Oak Park\, Illinois\, Samsøn Projects in Boston\, VOLTA NY art fair and Halsey McKay in East Hampton\, New York. In the past three years\, Rich has had group shows at the Institute of Contemporary Art in Boston\, Cottage Home and LACE in Los Angeles\, Baer Ridgway Exhibition s in San Francisco\, Galerie oqbo in Berlin\, and DODGEgallery and BravinLe e Programs in New York. Rich's works are held in the collections of the Lis t Visual Arts Center at MIT and The Kemper Museum of Contemporary Art in Ka nsas City. He has received fellowships from the Massachusetts Cultural Coun cil\, the Terra Foundation for the Arts and the Andrew W. Mellon Foundation . His work has been reviewed by Modern Painters\, Artforum\, Art Papers and The Boston Globe

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Ghost Muscle\, a 32-page catalog published on the occasion of Matt Rich's recent exhibition at Samsøn in Boston\, will accompany the exhibition and is available at the gallery.  

DTEND:20130608 DTSTAMP:20141023T031027 DTSTART:20130428 GEO:41.887538;-87.7028738 LOCATION:Devening Projects + Editions\,3039 West Carroll \nChicago\, IL 606 12 SEQUENCE:0 SUMMARY:Razors & Vapors\, Matt Rich UID:271244 END:VEVENT BEGIN:VEVENT DESCRIPTION:

In the off space\, Pages\, Pages features new works on paper from Alain Biltereyst\, Britta Bogers\, Gerd Borkelmann\, Andreas Fischer\, Matt Rich \, Cary Smith\, Jered Sprecher a nd Alice Tippit.

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This most recent installation of exciting new drawings and prnts\, echoes t he gallery's ongoing interest in well-conceived\, thoughtfully developed an d thoroughly arresting works on paper from artists connected to the gallery and those whose projects add a new dimension to the program.   

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DTEND:20130608 DTSTAMP:20141023T031027 DTSTART:20130428 GEO:41.887538;-87.7028738 LOCATION:Devening Projects + Editions\,3039 West Carroll \nChicago\, IL 606 12 SEQUENCE:0 SUMMARY:Pages\, Pages\, Alain Biltereyst\, Britta Bogers\, Gerd Borkelmann\ , Andreas Fischer\, Matt Rich\, Cary Smith\, Jered Sprecher\, Alice Tippit UID:274309 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Model Studies is the third installment of the cycle of exhib itions curated by and featuring a new body of work by artist Thomas Demand\ , and selected works by Fernand Léger\, Francis Bruguière\, Thomas Scheibit z and pictures made by students of the Vkhutemas school of architecture in Moscow (1920-27). Together\, the work in the exhibition circles around a ri gid formal view of the world and questions how to find a position towards t he world other than realism. Seeking new ways to look at and construct mean ing\, figuration is replaced with new modes of representation\, new dimensi ons of making\, seeing and understanding the world. Central to this idea is that of the model\, from its most literal to its most abstract manifestati on.

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RELATED EVENTS
Opening reception with T homas Demand
Thursday\, March 21\, 6-8PM
5:30PM Talk by Thomas De mand
6-8PM Opening Reception

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DTEND:20130601 DTSTAMP:20141023T031027 DTSTART:20130321 GEO:41.9096318;-87.6292442 LOCATION:Graham Foundation\,4 West Burton Place \nChicago\, IL 60610 SEQUENCE:0 SUMMARY:Model Studies: Thomas Demand with Fernand Léger\, Francis Bruguière \, Thomas Scheibitz\, and the Vkhutemas School UID:264515 END:VEVENT BEGIN:VEVENT DTEND:20130321T200000 DTSTAMP:20141023T031027 DTSTART:20130321T180000 GEO:41.9096318;-87.6292442 LOCATION:Graham Foundation\,4 West Burton Place \nChicago\, IL 60610 SEQUENCE:0 SUMMARY:Model Studies: Thomas Demand with Fernand Léger\, Francis Bruguière \, Thomas Scheibitz\, and the Vkhutemas School UID:264516 END:VEVENT END:VCALENDAR