Luke Dowd: Happy Happy Sad Sad
April 17 – May 30, 2009
Tony Wight Gallery
119 North Peoria Street, #2C
Chicago, IL 60607
Tuesday – Saturday, 11 – 5 pm
from the press release:
“London-based artist Luke Dowd’s patterned depictions of diamonds engage the volatility embedded within notions of value. Using screen-printing as gesture, Dowd creates subtle gradients which imbue his images with a faux luster mimicking the qualities of actual gemstones. These painted diamonds appear to reflect and refract light, just like the real thing, pointing towards the sheen of high culture and status, both implicit and inseparable from the value system to which we collectively subscribe. However, these images are also able to extend beyond the role of pure representation, as they address the fictional nature inherent to our conceptions of value.”
Also opening at Tony Wight: Olio
April 17 – May 30, 2009
From the press release:
“The title of the exhibition makes reference not only to the heterogeneity inherent to the medium of collage, but also the heterogeneous nature of group exhibitions. Included in the show are works by Tamar Halpern, Pablo Helguera, Arturo Herrera, Shinique Smith, John Sparagana and Dannielle Tegeder.
Since its appearance in the Synthetic Cubism of Picasso and Braque, through the Neo-Dadaist assemblages of the late Robert Rauschenberg, the collage impulse has provided both an immediacy and malleability which has been frequently engaged and reinterpreted in subsequent generations. While the works in Olio are not necessarily pointed homages to earlier collage, they are each forthcoming in their indebtedness to the medium. By feeding common or popular imagery through various procedures—cutting, pasting, scanning, layering—these artists complicate the immediacy of their original materials. The resulting artworks skew our normative reception of otherwise familiar images.”
Version Fest Fundraiser at Country Club Chicago
April 17th, 2009
7:00 PM – 11:59 PM
1110 N Damen
Chicago, IL 60622
A raffle/auction party to raise funds for the 8th annual Version Fest.
Buckminster Fuller: Starting with the Universe
March 14 – June 21, 2009
220 East Chicago Avenue
From the website:
“A man of remarkable prescience, Fuller’s credo was “more for less,” and by the late 1920s he recognized the need for environmentally sound design that would benefit the largest segment of society while using the fewest resources — a decidedly contemporary concern. Believing in the interconnectedness of all things, Fuller’s ambition in life was to close the gap between the sciences and humanities for the genuine good of humankind. His work has extensively influenced the artists, designers, architects, engineers, environmentalists, and mathematicians of today.”
Opening night film: Salt of this Sea (Milh Hadha Al-Bahr)
Gene Siskel Film Center
164 North State Street
Chicago, Illinois 60601
Part of the Chicago Palestine Film Festival, which starts on Saturday and runs through April 30th, director Annemarie Jacir will be at this screening to engage in a discussion after the film.
From the website:
“In part a road movie, the story follows American-born Soraya (Hammad) from her contentious entry into Israel to reclaim her grandfather’s bank account, through stolen days of freedom on a trip to Ramallah, where the reality of her family’s missing legacy sets in. Soraya’s determination to assume a Palestinian identity and history finds an ironic counterpoint in the resolve of her Palestinian-born new lover Emad (Bakri of THE BAND’S VISIT), to leave it all behind.”
Bad at Sports has realized that society is doomed and is now accepting applications for it’s Ayn Randian compound in the mountains where we will build a new society cleansed of the truly icky.
This week, the Art-School Grad Student who’s sleeping around: 26, female, Upper East Side, straight, single.
1:50 a.m.: Making out with Tattoo Guy. Have bad spins. Tell him I need water and to sober up before hooking up again. He gives me a line of his own stuff.
10 a.m.: Know this is going to be one hell of week as feeling in love with Tattoo Guy, and now super-depressed. Make appointment with school shrink.
11:30 p.m.: In bathroom, I notice prescription bottle. Shouldn’t look, but who wouldn’t? Suddenly sick-feeling. Valtrex. Shit. Could I have contracted from five-minute intercourse with condom?
The kind folks across the pond at The Wizard’s Hat sent me two copies of Issue 03 (The Magic Number) of their illustration zine to give away. “The Wizard’s Hat is an illustration house & zine created by Jeffrey Bowman and Andy.J Miller as the platform for producing collaborative projects under one name. The house focuses itself on self initiated projects involving many of today’s most established illustrators as well as producing its own body of projects based on their love of illustration.”
Jim Stoten, Olimpia Zagnoli, Gemma Correll, Will Bryant, Nick Deakin, Nousvous, Robert Loeber, MrGauky, James Gulliver Hancock, C86, HeyHeyHey, Zeptonn vs. Welmoet, Kipi Ka Popo, Edward McGowan, Ashkahn Shahparnia, John Ringhofer, Andy J.Miller, Jeffrey Bowman
John Ringhofer, Half Handed Cloud, Jim Stoten, Jimtheillustrator, Andy J.Miller, ‘Ponstinople Clones’ feat Nick Philpin
Hit me up if you want a copy. First two people will get one.
Something tells me that when Jerry Saltz said, “It’s a cool school, admired by jargon-wielding academics who write barely readable rhetoric explaining why looking at next to nothing is good for you.” He meant something like this:
From the Press Release for Transfers:
Untitled, a 16-millimeter film first screened as part of an exhibition at the Friedrich Petzel Gallery in 2006, emerged from Price‘s observation that abstraction was rarely seen in film or video presented in art-world settings, despite a strong tradition in experimental film in general. Price purchased a 6-second video loop from a company that makes “empty” background images for corporate use, then added color effects, looped it, and transferred it to film, yielding a hypnotic, emptied-out work that looks back to structuralist and early film experiments even as it presents an image of degraded and détourned digital junk, threatening at each instant to collapse into compression artifacts.
Perhaps out of stubbornness, I still plan to attend. Although it’s an intriguing proposition that we’ll see less of this type of work rather than more.
Brooklyn, New York
Is it sacrilegious to open a show titled “Younger Then Jesus” the week of Easter? Presumably that was the provocation, along with the very idea of a generational show for artists under 33 at the New Museum. After seeing the show, I can’t say there’s a strong argument for a generation of like-minded artists, but I believe we’ve come to expect pluralism. For that very reason, most still shoot arrows in the dark towards some answer about what artists of the present moment are doing. Everyone hits a different target.
My projection about our generation — I myself am younger than Jesus — was not even to be found in the New Museum exhibition. The only thing that the New Museum seems to deserve some credit for is posing a question about the present moment at an opportune time. Coupled with the collapse of the art market, it is not inappropriate to be thinking, “What now?” And that can very easily translate into “What IS now?” The New Museum, however, did not seem to have the answer. (Which is actually just fine).
Here’s how others summed up Generation OMG as represented by the New Museum show:
- “It is antiseptic, safe, death to hierarchies of taste and distinctions of talent, and yet determined to neutralize our eyes with an overload of useless information.”
- “These young artists show us that the sublime has moved into us, that we are the sublime;”
- “The show is low-budget bubbly fun, for the most part—and noisy, what with all the videos and sound pieces.”
- “A brief glance at the show makes one thing clear: most of its participants are committed multitaskers.”