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Benjamin Zellmer Bellas \;has unexpectedly t urned to art processes. He cast bronze and silver. Hammered gold\; put a pa tina on cast iron. He refers to craft history through ceramics\, hand dyed fabrics\, and glass. Still in a Benjamin kind of way. Art and not art at th e same time. Domestic object and esoteric museum artifact. \;

Started with a christening cup\, a family heirloom\, melted it down and c ast the source of a spring. The casting becomes an idiosyncratic gesture de veloped from what the cup is designed to do: include a newborn child in a l egacy that looks to history and lineage and looks forward to the child&rsqu o\;s place in familial progression. Benjamin shifts christening away from c hurch community in favor those who embrace science\, art\, technology and h umanist connection. Lets us encounter a spring's source transmogrified into an object whether the child or her birth means anything to us. Lets us bog gle at birth\, at the beginning\, at the source. Makes really good use of a Courbet reference to the origins of life (how do you keep that subtle\, an d yet it is). The resultant objects can live comfortably back in the same q uaint living room that formerly displayed the cup before the meltdown. He&r squo\;s transgressed the religious implication of naming but respected ever y nuance. He&rsquo\;s secularized in a manner that keeps mysterious wonder\ , and he&rsquo\;s updated in a mode that invites and invokes the old and tr aditional ways.

Each piece has its own complex journey of transf ormation. The sense of thingness is fragile. Can \;break \;for a ho st of reasons. The paradoxical opposite is that after every component of a thing has lost its challenge\, has changed\, there it is. The remnant is st ill itself.  \;Benjamin uses keepsakes and otherwise significant object s as his art materials. He does things to transform--re-cast\, ferment\, tr anslate\, move\, consume. The thing is surely touched by its journey\, the phase change. Good in the way a perfect Armagnac is good\, \;aged \ ;to the very best stage of development. The strong stuff. A huge bump of he at\, but nuanced with fruity sweetness and bitter spice. Not for everyone b ecause it demands focus and more than a bit of experience\, but for the con noisseur it hits the depth and complexity that nothing else can satisfy.

DTEND:20150613 DTSTAMP:20150523T163850 DTSTART:20150523 GEO:41.85369;-87.680444 LOCATION:slow\,2153 W 21st Street \nChicago\, IL 60608 SEQUENCE:0 SUMMARY:The Break Age: Three and a half solo exhibitions of artwork by Benj amin Zellmer Bellas\, Benjamin Zellmer Bellas UID:384367 END:VEVENT BEGIN:VEVENT DTEND:20150523T210000 DTSTAMP:20150523T163850 DTSTART:20150523T180000 GEO:41.85369;-87.680444 LOCATION:slow\,2153 W 21st Street \nChicago\, IL 60608 SEQUENCE:0 SUMMARY:The Break Age: Three and a half solo exhibitions of artwork by Benj amin Zellmer Bellas\, Benjamin Zellmer Bellas UID:384368 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Using the specific history and process of Batik\, a wax-resis t dye process indigenous to many cultures of Southeast Asia\, Jovencio de l a Paz presents recent work dealing with the narrative possibilities of clot h for his Threewalls exhibition Endless Flight.

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Integral to de la Paz&rsquo\;s process is the social an d cultural history of Indigo dye\, which both in its natural and synthetic forms\, is ostensibly the most utilized dye-stuff on the planet. With a ric h and contentious history of trade\, including the colonization of Southeas t Asia and catalyzing the displacement of innumerable individuals for slave -labor in the American South\, Indigo can be considered a material of migra tion\, labor\, and transition. In this way\, the formal concerns of color i n de la Paz&rsquo\;s work are inexorably linked to politics of globalizatio n\, connecting both ancient and contemporary narratives of forced relocatio n\, migrancy\, and wandering.

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As Rebe cca Solnit has written in her essay &ldquo\;The Blue of Distance\,&rdquo\; Indigo and bluish fields represent atmospheres of passage\, the sea and the sky\, and the impossible place of the horizon\, all of which reference the fugitive nature of bodies that meander over the globe.

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Over-encumbered by symbols\, de la Paz is developing a h ybrid visual language\, drawing imagery from such sources as traditional In donesian and ethnographic textiles\, comics\, graffiti\, quilting\, and per sonal symbology\, all of which relates to his own experience as an immigran t growing up in the United States. In the two largest bodies of two-dimensi onal work presented at Threewalls\, &ldquo\;Pentagonia&rdquo\; (2015) and & ldquo\;Endless Flight&rdquo\; (2015)\, figures are presented as overwhelmed by their environments\, succumbing to or moving away from powers beyond th eir control. &ldquo\;Pentagonia\,&rdquo\; which borrows its title from the epic cycle of five novels written by late Cuban writer Reinaldo Arenas\, is a meditation on the space between personal and group trauma.

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In the main gallery\, de la Paz will also present &ldquo\;Under the Sign of Light&rdquo\; (2015)\, a table-scape that utilize s the horizontal nature of cloth to position the audience between the utili tarian\, or lived\, experience of material and its varied functions as symb ol or metaphor for gathering.

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Jovenci o de la Paz was born in Singapore\, and became a citizen of the Unites Stat es in 1994. He received a BFA from the School of the Art Institute of Chica go in 2008\, and an MFA from the Cranbrook Academy of Art\, Department of F iber\, in 2012. He has exhibited work at The Museum of Contemporary Craft\, Portland\, OR\; The Sculpture Center\, Cleveland\, OH\; Roots &\; Cultu re Contemporary Art Center\, Chicago\; The Hyde Park Art Center\, Chicago\; MessHall\, Chicago\; Uri Gallery\, Seoul\, South Korea. among others. Curr ently\, he is a Lecturer at the School of the Art Institute of Chicago in t he Department of Fiber and Material Studies. He is also a co-founder of the collaborative group Craft Mystery Cult\, established in 2010.

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DTEND:20150801 DTSTAMP:20150523T163850 DTSTART:20150612 GEO:41.883645;-87.64943 LOCATION:Threewalls\,119 N. Peoria #2C \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Endless Flight\, Jovencio de la Paz UID:384333 END:VEVENT BEGIN:VEVENT DTEND:20150612T210000 DTSTAMP:20150523T163850 DTSTART:20150612T180000 GEO:41.883645;-87.64943 LOCATION:Threewalls\,119 N. Peoria #2C \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Endless Flight\, Jovencio de la Paz UID:384334 END:VEVENT BEGIN:VEVENT DESCRIPTION:
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Within his current body of work\, Cover the Earth\, Anthony Baab experiments with objects and materials associated with consume rism &ndash\; packaging\, advertisements\, and logos. Baab views an explici t sense of command and function conveyed through these containers\, perhaps more so than the commodities they hold or represent. Attempting to regener ate these objects into something otherwise and redirect their pre-fixed pur poses towards aesthetic ends\, Baab confronts the challenge of making these objects his own. The work is compelled by a sense of misbehavior\, evoking the spirit and ethos of adolescence\, inspired by doodling on a shoe\, cov ering a room with posters\, and building a fort.

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As an itinerant\, traveling project\, Cover the Earth is an ever expanding and mutating form that undergoes a complete transforma tion from one location to the next. Between each location\, the sculptures are broken down\, repaired and re-purposed\, much like a collage. Adding as many brands and objects as possible\, the meaning and function of these pr oducts dissolve over and over again\, allowing for new meanings and associa tions to form.

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Anthony Baab was born in Dallas\, Texas and is currently based in Kansas City\, MO. He studied Pa inting and Printmaking at the Kansas City Art Institute before obtaining an MFA in Interdisciplinary Art from Cornell University. He is a Charlotte St reet Award Recipient (2006)\, Fine Arts Work Center Provincetown Fellow (20 14-2015)\, and Skowhegan resident (2015) that has exhibited at: The Nerman Museum of Contemporary Art (KS)\, Nelson Atkins Museum of Art (KC)\, Tompki ns Projects (NY)\, Haw Contemporary (KC) and Grand Arts (KC). Collections i nclude: Nelson Atkins Museum of Art\, Nerman Museum of Contemporary Art\, T he Marianna Kistler Beach Museum of Art\, and the Microsoft Corporate Art C ollection.

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DTEND:20150801 DTSTAMP:20150523T163850 DTSTART:20150612 GEO:41.883645;-87.64943 LOCATION:Threewalls\,119 N. Peoria #2C \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Cover the Earth\, Anthony Baab UID:384331 END:VEVENT BEGIN:VEVENT DTEND:20150612T210000 DTSTAMP:20150523T163850 DTSTART:20150612T180000 GEO:41.883645;-87.64943 LOCATION:Threewalls\,119 N. Peoria #2C \nChicago\, IL 60607 SEQUENCE:0 SUMMARY:Cover the Earth\, Anthony Baab UID:384332 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150704 DTSTAMP:20150523T163850 DTSTART:20150530 GEO:41.9006857;-87.6623192 LOCATION:Roots & Culture\,1034 N. Milwaukee \nChicago\, IL 60622 SEQUENCE:0 SUMMARY:Joint Exhibition\, Jessica Campbell\, Etta Sandry UID:384330 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Monique Meloche Gallery is ple ased to present\, Look At Me Now!\, a group exhibition of artists working internationally\, who are presenting various perspectives on the hi story of portraiture through the construction of a new gaze. Throughout the exhibition\, subtle hints of allegory give way to overt pop-culture refere nces.  \;It is through this lens that Rashayla Marie Brown\, Hassan Haj jaj\, Rashid Johnson\, Ebony G. Patterson\, Amy Sherald\, William Villalong o\, and Nina Chanel Abney produce\, creating imagery that references\, disa rms\, and reframes the canon of portraiture.

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Rashid Johnson&rsquo\;s Self-Portrait as the black Jimmy Connor s in the finals of the New Negro Escapist Social and Athletic Club Summer T ennis Tournament was created for the artist&rsquo\;s 2008 solo exhibit ion at moniquemeloche. The New Negro Escapist Social and Athletic Club is a fictional African American secret society\, a parallel universe w hich embodies Johnson&rsquo\;s desire to upend the conventions of history a nd the idea of a legacy. Inspired by the construction and performance of id entity\, Amy Sherald paints portraits of strangers whose characteristics im mediately resonate with her. Similarly influenced by the performance of ide ntity\, Rashayla Marie Brown works to reveal the projection of cultural myt hs and desires on the collective consciousness\, often using her body as a source and subject. Hassan Hajjaj&rsquo\;s lively and optically stimulating portraits of young women that represent Marrakesh&rsquo\;s biker culture b orrows from the rich history of studio photographers\, such as Malick Sidib é\;\, while challenging prevailing ideas of female subjectivity. Sour cing her subjects from social media websites\, Ebony G. Patterson uses the portrait to create an awareness of violence and loss. Seductive embellishme nts on the surface of her works on paper belie the depth of Patterson&rsquo \;s plight: to make visible that which is invisible. Formally referencing t he sometimes loaded and fetishizing figurative works of Gauguin\, William V illalongo creates bucolic imaginary landscapes that wrestle with the often fraught history of painting\; complicating the narrative of modernism throu gh the insertion of alternative art histories. Aggregating language and sym bols sourced from the internet\, popular music\, and everywhere in between\ , Nina Chanel Abney&rsquo\;s paintings capture the tension of the digital a ge. For her on the wall installation at moniquemeloche\, A bney will work in situ\, accumulating imagery that is Chicago-centric to cr eate a 25 foot mural that is inspired by a site specific collage she create d for the Made By Brazilians exhibition in Sao Paolo in 2014.

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Nina Chanel Abney (American b. 19 82\, Chicago\, lives New Jersey) received her MFA from Parsons Sch ool of Design (2007) and her BFA from Augustana College (2004). Recent exhi bitions include AfterModernism\, Nassau County Museum\, New York ( 2013)\; The Bearden Project\, Studio Museum in Harlem\, NY (2012)\ ; Extended Family: Contemporary Connections\, Brooklyn Museum (200 9)\; 30 Americans\, Rubell Family Collection\, Miami (2008)\, whic h traveled to the Corcoran Gallery of Art\, Washington D.C (2011)\, Milwauk ee Art Museum (2012)\, Contemporary Art Center\, New Orleans (2014)\, among st other places\, that is currently on view at the Arkansas Art Center\, Li ttle Rock (through June 21)\, and will complete at the Detroit Institute of Arts (2015-2016). The Huffington Post named Abney one of the &ldq uo\;30 Contemporary Art Makers Under 40 You Should Know&rdquo\; in 2013\, a nd her work has been published in The New York Times\, Artforum\, Studi o: The Studio Museum in Harlem Magazine\, The Miami Herald\, ELLE Magazine\ , Paper Magazine\, amongst others. Her paintings are in the prestigiou s collections of the Brooklyn Museum\, Bronx Museum of the Arts\, Corcoran Gallery of Art\, and The Rubell Family Collection.

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Rashayla Marie Brown (American b. 1982 Toledo\, lives Chicago) is a current MA Candidate in Modern and Contemporary Art History at the School of the Art Institute of Chicago\, where she also ser ves as the Director of Student Affairs for Diversity and Inclusion\, foster ing queer Afrofeminist narratives across institutions. Brown holds a BA in Sociology and African-American Studies from Yale University (2004)\, where she was advised by Paul Gilroy\, and a BFA from the School of the Art Insti tute of Chicago (2013)\, where she was advised by Barbara DeGenevieve.  \; Recent group and solo exhibitions include Vagabunda\, Chicago A rtist Coalition (2014)\; META_MORPH_ISIS\, Black Paper\, Los Angel es\, CA (2014)\; FreeMason: Pick Up the Pieces\, Gallery X\, Schoo l of the Art Institute of Chicago (2013)\; Politics of Seeing\, Su llivan Galleries\, Chicago (2013). Her writing and artwork has been publish ed and discussed in Nka: Journal of Contemporary African Art\, the Radical Presence exhibition catalog\, ARC Magazine\, Black Eu ropean Studies Archive\, Sixty Inches From Center\, NewCity\, FNew smagazine\, and Bad at Sports\, amongst others. Her work is i n notable public collections\, including Nippon Steel\, Yale University\, a nd the African American Chamber of Commerce. Awards include the Anna Louise Raymond Fellowship (2013)\, Excellence in Leadership Award\, School of the Art Institute of Chicago (2012)\, the Propeller Fund (2013)\, and the Yale Mellon Research Grant (2003).

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Hassan Hajjaj (Moroccan b. 1961\, Larache\, Morocco\, lives London and Mo rocco) has established an international following for his photogra phy. Awards include the Sovereign Art Foundation Middle East and African Ar t Prize (2011) and the shortlist for the Jameel Prize\, Victoria &\; Alb ert Museum (2009)\, which toured to Riyadh\, Damascus\, Beirut\, Casablanca \, Istanbul and Tehran. Recent solo and group exhibitions include My Ro ck Stars\, Newark Museum (2015)\; My Rock Stars Experimental\, Vol ume 1\, Wexner Center for the Arts\, Ohio State University (2015) and Los Angeles County Museum of Art\, (2013-2014)\; Islamic Art Now: Conte mporary Art of the Middle East\, Los Angeles County Museum of Art (201 5)\; Making Africa\, Guggenheim Bilbao\, Spain (2015)\; Light from the Middle East\, Victoria &\; Albert Museum\, London (2012). Hajjaj&rsquo\;s work has been published in numerous publications\, includin g The New York Times\, National Geographic\, The Guardian\, The Wall St reet Journal\, Modern Painters\, The Huffington Post\, W Magazine\, Harper& rsquo\;s Bazaar Art\, Vogue\, and Nafas Art Magazine. His wor k is featured in several prestigious public and private collections worldwi de\, including the Brooklyn Museum\, the British Museum\, Nasher Museum of Art\, Newark Museum\, Los Angeles Museum of Contemporary Art\, the Victoria &\; Albert Museum\, Farjam Collection\, Institut des Cultures d&rsquo\; Islam\, Kamel Lazaar Foundation\, and the Virginia Museum of Fine Art..

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Rashid Johnson \;(American b. 1977 Chicago\, lives New York) \;first came to prominence in 2001 when Thelma Golden included him as the youngest arti st in the seminal Freestyle exhibition at the Studio Museum in Har lem. His work was included in the 54th Venice Biennale in 2011 and the Shan ghai Biennial in 2012. Johnson is the 2012 Driskell Prize Winner and one of the six Hugo Boss Prize Finalists from the same year.  \; \;Johnso n&rsquo\;s High Line Commission\, Blocks\, will open in May 2015\, alongside his inclusion in America is Hard to See\, the inaugural exhibition at the Whitney Museum&rsquo\;s new location. Recent solo exhibi tions include The George Economou Collection\, Athens\, Greece (2014)\; Bal lroom Marfa\, TX (2013)\; High Museum Atlanta (2013)\, Miami Art Museum (20 12)\; MCA Chicago (2012)\; South London Gallery (2012)\; Sculpture Center\, NY (2009)\; Kunstmuseum Magdeburg\, Germany (2008)\; Indianapolis Museum o f Contemporary Art (2005). \; Recent group exhibitions include Fore ver Now\, MoMA (2014-15)\, and Variations: Conversations In and Ar ound Abstract Painting\, LACMA (2014). His performance work &ldquo\;Th e Dutchman&rdquo\; was showcased at Performa 13\, and was presented again d uring EXPO Chicago 2014. He received his BA from Columbia College in Chicag o (2000) and attended the School of the Art Institute of Chicago (2003-04).

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Ebony G. Patterson (Jamaican \, b. 1981 Kingston\, lives Kingston and Lexington\, KY) \;is the recipient of many prestigious fellowships\, awards and grants\, includi ng the Aaron Matalon Award from the Jamaica Biennial (2014)\, William H. Jo hnson Prize finalist (2013)\, a Musgrave Medal from the Institute of Jamaic a (2012)\, Small Axe Magazine and Andy Warhol Commissioned Grant (2012)\, a nd Rex Nettleford Fellowship in Cultural Studies (2011). Her work was recen tly featured at Prospect.3: Notes for Now\, curated by Franklin Si rmans\, New Orleans\, LA and the Jamaica Biennial 2014\, National Gallery of Jamaica\, Kingston. \; Current solo shows include Dead T reez at the Kohler Arts Center\, Sheboygan\, WI (through Sept 2015) an d \; LUX Art Institute\, Encinitas\, CA (April-May 2015)\, and a solo s how at moniquemeloche\, Chicago (Sept 2015). \; Current and upcoming gr oup exhibitions include En Mas&rsquo\;: Carnival 21st Century Style\, T he Caribbean as Site Specific Performance\, Contemporary Arts Center\, New Orleans\, LA (2015)\; 12th Havana Biennial\, Cuba (May-June 2015)\; Disguise: Masks and Global African Art\, Seattle Art Muse um\, Seattle\, WA (June-Sept 2015). Her work has been published in The New York Times\, The Financial Times\, Forbes Magazine\, Frieze Magazine\, Vogue Italia\, The Huffington Post\, Artnet\, Bl ouin Artinfo\, ARC Magazine\, Chicago Magazine\, The Jamaica Observer\, The Miami Herald\, and Art Voices Magazine\, amongst others. Pat terson is Associate Professor in Painting and Mixed Media at the University of Kentucky in Lexington and is currently on sabbatical and was awarded a faculty research grant for 2015.

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Amy Sherald (American b. Columbus\, GA 1973\, lives Baltimore) received her MFA in Painting from the Maryland Institute College of Art (2 004)\, BA in Painting from Clark-Atlanta University (1997)\, and was a Spel man College International Artist-in-Residence in Portobelo\, Panama (1997). Sherald is a recipient of the Joan Mitchell Foundation Painting and Sculpt ure Grant (2014)\, a Pollock-Krasner Foundation Grant (2013)\, and was the Juror&rsquo\;s Pick for New American Paintings Issue 88 (2010). Re cent solo exhibitions include the Reginald F. Lewis Museum\, Baltimore\, MD (2013)\, Richard Demato Fine Arts\, Sag Harbor\, NY (2011)\, and the Unive rsity of North Carolina\, Sonja Haynes Stone Center\, Chapel Hill\, NC (201 1). Her work has been published in Transitions: International Review\, The International Review of African American Art\, New American Paintings\, Hycide Magazine\, Studio: Studio Museum in Harlem Magazine\, and the New York Times. Residencies include Tong Xion Art Center\, Beijing \, China (2008) and Odd Nerdrum Private Study\, Larvik\, Norway (2005). Her work is in notable public collections\, including the National Museum of W omen in the Arts\, the Smithsonian Museum of African American Art and Cultu re\, and the United States Embassy\, Dakar\, Senegal. \;

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William Villalongo (Americ an b. 1975\, Hollywood\, FL\, lives Brooklyn) received an MFA from Tyler School of Art at Temple University (2001) and BFA from Cooper Union (1999). Villalongo is the recipient of the NYFA Artist&rsquo\;s Fellowship (2012)\, the Joan Mitchell Foundation Painters &\; Sculptor&rsquo\;s Gra nt (2006)\, and the prestigious Louis Comfort Tiffany Award (2005). Upcomin g group exhibitions include Disguise: Masks and Global African Art \, Seattle Art Museum (2015)\, and The Image of the Artists in their Ab sence: The Self Portrait\, National Academy Museum &\; School\, New York (2015). Recent solo and group exhibitions include New Mythologies \, The Harvey B. Gantt Center for African-American Arts and Culture\, Charlotte\, NC (2013)\; Fierce at Real Art Ways\, Hartford\, CT (2 013)\; The Shadows Took Shape\, Studio Museum in Harlem (2013)\; < em>Inside Out and from the Ground Up\, Museum of Contemporary Art\, Cl eveland (2012)\, The Bearden Project\, Studio Museum in Harlem (20 11). His work is included in several notable collections including the Stud io Museum in Harlem\, The Whitney Museum of American Art\, and Princeton Un iversity Art Museum. His work has been published in Artforum\, Art in A merica\, The New Yorker\, The New York Times\, Huffington Post\, The Village Voice and The Brooklyn Rail.

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Grace Deveney is the Marjorie Su sman Fellow at the Museum of Contemporary Art Chicago. While at the MCA she curated Out of Office (2015) and Chicago Works: Ania Jaworska (2015). Previously\, she served as a curatorial researcher for the Mi lwaukee Art Museum\, and the Art Institute of Chicago. She was a contributi ng author to Color Rush: American Color Photography from Stieglitz to S herman (Aperture\, 2013) and a contributing researcher for Kandins ky: A Retrospective (Yale University Press\, 2014). She holds a B.A. i n Art History from Amherst College\, and is currently completing her Ph.D. in Art History at Northwestern University.

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Reception: Saturday\, June 13\, 4-7pm
Artist talk: 4-5pm Moderated by Grace Deveney\, MCA Chicago Susma n Curatorial Fellow

DTEND:20150823 DTSTAMP:20150523T163850 DTSTART:20150613 GEO:41.9032996;-87.6820876 LOCATION:moniquemeloche gallery\,2154 W. Division \nChicago\, IL 60622 SEQUENCE:0 SUMMARY:Look At Me Now!\, Rashayla Marie Brown\, Hassan Hajjaj\, Rashid Joh nson\, Ebony G. Patterson\, Amy Sherald\, William Villalongo\, Nina Chanel Abney UID:384328 END:VEVENT BEGIN:VEVENT DTEND:20150613T190000 DTSTAMP:20150523T163850 DTSTART:20150613T160000 GEO:41.9032996;-87.6820876 LOCATION:moniquemeloche gallery\,2154 W. Division \nChicago\, IL 60622 SEQUENCE:0 SUMMARY:Look At Me Now!\, Nina Chanel Abney\, Rashayla Marie Brown\, Hassan Hajjaj\, Rashid Johnson\, Ebony G. Patterson\, Amy Sherald\, William Villa longo UID:384329 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150527T190000 DTSTAMP:20150523T163850 DTSTART:20150527T180000 GEO:41.9032996;-87.6820876 LOCATION:moniquemeloche gallery\,2154 W. Division \nChicago\, IL 60622 SEQUENCE:0 SUMMARY:In conversation with Solveig Øvstebø\, Executive Director\, Renaiss ance Society\, Karen Reimer UID:384327 END:VEVENT BEGIN:VEVENT DESCRIPTION:

Monique Meloche Gallery is ple ased to announce Karen Reimer&rsquo\;s third solo exhibition with the galle ry &mdash\; Geometry in Outer Space or Heaven. For this exhibition \, Reimer will debut a new series of collaged drawings and sculpture that o n the surface seem to diverge from her familiar sewn textile work yet revea l a close continuation of her rigorous conceptual practice.

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As with all her work\, Reimer begins with a strict s et of rules. Here she pairs swatches of fabric with drawings of three-dimen sional geometric solids. Shapes and patterns in the fabric dictate where it meets the geometric form. The excess fabric left floating outside the line s is covered in gold leaf. This &ldquo\;golden repair&rdquo\; is a referenc e to the Japanese tradition of Kintsukuroi: a tradition of repairing cerami cs with a compound made from lacquer dusted with powdered gold\, in order t o highlight the damage rather than obscure it. This gesture harkens back to Reimer&rsquo\;s coveted Contingent Solutions series (1996-1999) o f broken and mended dishware.

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The ove rall effect of Reimer&rsquo\;s conceptual technique creates an optical diss onance\, where our mind oscillates between the fullness of the object and t he flatness of the fabric. Ultimately\, her work inhabits the gap between e xperience and representation\, the slippage between the knowledge we gain t hrough our bodies and codification of this knowledge in our languages of vi sual representation.

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Copies of En dless\, which is Reimer&rsquo\;s first monograph\, are available for p urchase at the gallery. They are also available at Gallery 400 and the Graham Foundation for Advanced Studies in the Fine Arts.

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Karen Reimer (American\, b. 1958 Kansa s\, lives Chicago) reconsiders modernist ideals and minimalist emb odiment through the quirks and heterogeneity of the handmade and every day. Endless\, the first major publication on Reimer&rsquo\;s pioneer craft aesthetic\, was published by Gallery 400 and WhiteWalls in 2015. Her prime number embroidered series\, Endless Set (2\,3\,5\,7\,11\,13\,17\, 19\,23\,29\,31)\, was recently acquired by the Museum of Contemporary Art\, Chicago. She is a recipient of the Artadia Individual Artist Grant\, the Richard A. Driehaus Individual Artist Award\, and the Women&rsquo\;s Ca ucus for the Arts President&rsquo\;s Award. A major exhibition of Reimer&rs quo\;s work will open in May of 2016 at the Hyde Park Art Center. Recent so lo and group exhibitions include Material Gestures: Cut\, Weave\, Sew\, Knot\, Rhona Hoffman Gallery (2014)\; A Study in Midwest Appropri ation\, curated by Michelle Grabner\, Hyde Park Art Center (2013)\; Wall Text\, curated by Zachary Cahill\, Logan Center Exhibitions\, U niversity of Chicago (2012)\; Endless Set\, Gallery 400 (2012). Ad ditionally\, her work has been included in group shows at the Museum of Con temporary Art\, Chicago\; Contemporary Craft Museum\, Portland\, Oregon\; a nd Wallspace Gallery\, New York\, among others. Reimer&rsquo\;s works have been featured in the edited volumes Contemporary Textiles: The Fabric o f Fine Art (Black Dog Publishing\, 2008)\; The Object of Labor: Ar t\, Cloth\, and Cultural Production (SAIC Press and MIT Press\, 2007)\ ; By Hand: The Use of Craft in Contemporary Art (Princeton Archite ctural Press\, 2010)\; and Limited Language-Rewriting Design: Respondin g to a Feedback Culture (Birkhauser Architecture\, 2009). She is an ad junct instructor at the School of the Art Institute of Chicago.

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Dow nload PDF of Karen Reimer &lsquo\;Geometry in Outer Space or Heaven&rsquo\; \;publicat ion here.

DTEND:20150530 DTSTAMP:20150523T163850 DTSTART:20150411 GEO:41.9032996;-87.6820876 LOCATION:moniquemeloche gallery\,2154 W. Division \nChicago\, IL 60622 SEQUENCE:0 SUMMARY:Geometry in Outer Space or Heaven\, Karen Reimer UID:384326 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150725 DTSTAMP:20150523T163850 DTSTART:20150605 GEO:41.8830194;-87.648947 LOCATION:Carrie Secrist Gallery\,835 W. Washington Blvd. \nChicago\, IL 606 07 SEQUENCE:0 SUMMARY:Joint Exhibition\, Alex Bradley Cohen\, Kelly Lloyd UID:384324 END:VEVENT BEGIN:VEVENT DTEND:20150605T200000 DTSTAMP:20150523T163850 DTSTART:20150605T180000 GEO:41.8830194;-87.648947 LOCATION:Carrie Secrist Gallery\,835 W. Washington Blvd. \nChicago\, IL 606 07 SEQUENCE:0 SUMMARY:Joint Exhibition\, Alex Bradley Cohen\, Kelly Lloyd UID:384325 END:VEVENT BEGIN:VEVENT DESCRIPTION: DTEND:20150711 DTSTAMP:20150523T163850 DTSTART:20150605 GEO:41.890738;-87.661593 LOCATION:65GRAND\,1369 W Grand Ave. \nChicago\, IL 60642 SEQUENCE:0 SUMMARY:There's No Such Thing as Absolutes\, Erik Wenzel UID:384322 END:VEVENT BEGIN:VEVENT DTEND:20150605T200000 DTSTAMP:20150523T163850 DTSTART:20150605T180000 GEO:41.890738;-87.661593 LOCATION:65GRAND\,1369 W Grand Ave. \nChicago\, IL 60642 SEQUENCE:0 SUMMARY:There's No Such Thing as Absolutes\, Erik Wenzel UID:384323 END:VEVENT BEGIN:VEVENT DESCRIPTION:

The Eye on India Festival and Kavi Gupta present "Space and Place: Beyond the Local in
Contemporary Art from India." The talk will explore the complexities in Indian Contemporary Art of simultaneously livi ng in a local and global space. The speakers include Betty Seid\, an indepe ndent curator and specialist in South Asian art\, and Shaurya Kumar\, an ar tist and teacher at the School of the Art Institute of Chicago.

DTEND:20150611T200000 DTSTAMP:20150523T163850 DTSTART:20150611T173000 GEO:41.886144;-87.658572 LOCATION:Kavi Gupta Chicago - Elizabeth Street\,219 N. Elizabeth Street \nC hicago\, Illinois 60607 SEQUENCE:0 SUMMARY:Space and Place: Beyond the Local in Contemporary Art from India\, Betty Seid\, shaurya kumar UID:384195 END:VEVENT END:VCALENDAR