Monica Westin

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Paul Cowan, whose work will be featured this fall in a solo Chicago Works show at the MCA, as well as numerous solo and group shows nationally and internationally, is an artist of frustration. His paintings create awkward moments that call attention to the act of judgment. They deflate our understanding of what art is supposed to be and do, often subverting the fetishizing mysticism with which we approach painting. And they often stall or short-circuit our understanding of painting itself. But... [more]
The Repercussions of the Digital Present   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Laura Mackin at Threewalls January 13th, 2012 - February 25th, 2012
Posted 1/23/12
Laura Mackin’s practice gently translates the amateur, everyday practices of archiving, and the professional acts of the artist who would frame and present these encounters through explicitly aesthetic approaches. Her “120 Years” exhibition at threewalls captures, frames, and critiques our current flood of armchair curating of found images (Tumblr is the obvious example par excellence) and the compulsive digital archiving of our private lives for public consumption. The work in Mackin’s show... [more]
Watershed Moments Revisited   Pick-button-f22fa879042524f5c7b8d2278b2983b8
IAIN BAXTER& at Museum of Contemporary Art (MCA) November 5th, 2011 - January 15th, 2012
Posted 12/12/11
Considerations about the Vancouver School and photoconceptualism have seemed ubiquitous in Chicago during these recent winter months, from the Rodney Graham show at Donald Young, to the ambitious “Light Years” show at the Art Institute and the Museum of Contemporary Art’s exhibition on Ron Terada shown across the hall from IAIN BAXTER&. BAXTER& remains an elusive, trickster figure, one with deep historical influence but whose position is sometimes easily lost from our current... [more]
Medium Specificity Revisited   Pick-button-f22fa879042524f5c7b8d2278b2983b8
Rodney Graham at Donald Young Gallery October 21st, 2011 - November 23rd, 2011
Posted 11/14/11
In 1940, Clement Greenberg declared that “the history of avant-garde painting is that of a progressive surrender to the resistance of its medium,” and the controversial concept of media specificity/purity was born. About thousand years earlier, the painted triptych emerged in early European Christian art decorating the first churches and early sites of worship, turning a form that had first been used in ancient Rome as mere hinged writing tablets into a genre creating replete narrative worlds... [more]
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