Without You I am Nothing: Cultural Democracy from Providence and Chicago
03.27.09 – 04.25.09
1511 N. Milwaukee Avenue, Second Floor
â€œWithout You I am Nothing: Cultural Democracy from Providence and Chicago is an exhibition of works on paper that are not intended for public consumption but to create small venues for public participation.â€
Mar 27 â€“ May 9, 2009
835 W. Washington Blvd.
“Vaguely Paperly,” a group exhibition curated by Chris Johanson brings together a diverse group of artists who create works on paper utilizing varying mediums and techniques. The artists in this exhibition approach paper as a painting surface as well as a sculptural medium and address issues of re-use, repetition, memory, and personal politics.”
3/27/2009 – 5/2/2009
“photographic device composed of mirrors and duct vents that extends out through the gallery window and allows a view of the sky from indoors.”
Roots & Culture
1034 N MILWAUKEE
CHICAGO, IL 60622
March 27th- May 2nd: “I Don’t Believe You” new work by Jamisen Ogg and Oli Watt
with Lauren Anderson in the Noble St. Gallery
THE BOX GAME
1744 W 18th Street
Chicago, IL 60608
Saturday March 28, 7-10PM
â€œArtists Lukas Geronimas and David Horvitz have created a touring game-cum-performance entitled The Box Game, in which YOU decide â€˜What’s in the Box?”
New York City Gold Coast
55 W. Chestnut St. APT. 2205, Chicago, IL 60610
â€œNew York City Gold Coast presents a solo exhibition of new works from young artist Elizabeth Weiss. you canâ€™t just change your mind, a series of paintings, drawings, and sculptures hopes to explore questions of cognition and understanding with playful, casual, formal relationships. Opening reception March 28th 6pm-9pm. you can’t just change your mind, you can’t just change your mind, you can’t just change your mind.â€
*image: Angelina Gualdoni, Blush, at Kavi Gupta this Friday
About a month ago I was able to catch a showing of the Swedish vampire film Let the Right One In after much nagging from my film buff sister. Adapted from John Ajvide Lindqvistâ€™s 2004 best selling novel LÃ¥t den rÃ¤tte komma in, the film centers on the relationship that forms between Oskar (KÃ¥re Hedebrant) and the undead Eli(Lina Leandersson).
Oskar a 12-year old who spends his days being bullied at school and his nights imagining revenge. He meets Eli another outcast who has recently moved next door to Oskar. Set in the suburbs of Stockholm in the mid 80â€™s, the frozen landscape becomes the perfect setting for the sudden rash of murders. The film is remarkably beautiful but also is playful with its use of vampire folklore. Finally we see in a film what happens when a vampire enters a room uninvited. Hands down the best contemporary vampire film I have seen.
*Note: I rewatched the film this weekend after I picked up a copy at Target. I thought I had seen some subtle changes in the conversations but didnâ€™t think much of it. The consumerist yesterday posted an article about the dumbing down of the subtitles. Hopefully they will release a copy with the original subtitles soon.
If you listened to this weeks epically long show then you might know that the Southern Graphics Council:Global Implications Conference starts today. If your into printmaking and are in the Chicago area go check out the conference this week, and say “Hi” to Duncan.
Southern Graphics Council: Global Implications Conference
March 25 – 29, 2009 / Chicago
“Printmaking is the artmedium that is most responsive to changing technologies, while also retaining many otherwise obsolete techniques. As print artists, we find ourselves uniquely situated. We employ the latest digital imaging tools and centuries-old techniques for hand mark-making. We make exquisite, precious objects and democratic gestures. We are able to share our imagery and processes with anyone, anytime while also creating community, dialog and collaboration in our own shops.
As our world becomes increasingly interdependent, local practices are at once threatened, celebrated, worthy of preservation and dangerously divisive. As printmakers, our medium is likewise evolving, its borders increasingly permeable. Our traditions are a source of strength, but also a source of isolation. We now realize that our resources are limited, that what is done in one location will probably affect someone, somewhere else.
The 2009 Global Implications Conference features exhibitions, demonstrations, lectures, panel discussions, private collection viewings, and special events at over 40 locations around Chicago.
Keynote speakers include Kathan Brown, Enrique Chagoya, Anne Coffin, and Jane Hammond.”
For more information including the schedule go here.
You gotta love being friends with Jerry Saltz on Facebook.Â I’m not friends with Jerry Saltz IRL (In Real Life), but who isn’t friends with him on Facebook?Â And here’s why:Â 32 Comments in 53 minutes to a question that I myself am already exasperated withÂ (Bad at Sports Episode 85)!
Meanwhile, there are only 23 other Google Reader Feed Subscribers to Cory Arcangel’s Delicious posts.Â Here’s some of the gems that guy has drolled up from those internets:
Boston-based artist Matthew Richâ€™s large-scale paintings on paper at Devening Projects + Editions present a range of enticing contradictions. A few examples: Rich uses an X-acto type blade to cut lines that arenâ€™t always super-straight, he hangs his unframed paintings directly on the wall so that their interaction with light, air, and passer-by movement emphasizes their sculptural qualities, and he uses latex paint to create planes of color so flat and even that, when seen from a distance, you might initially assume he’s cutting and collaging pieces of colored paper rather than painting them himself. Richâ€™s works appear crisply delineated. They look like whirligig motion machines that tweak their hard-edged forbears with torqued forms that are almost but not quite rectilinear and sometimes downright curvaceous. Titles like Tilt, Double Arc, Turbine, Rocker and Zig-Zag only heighten their playfully carnivalesque attractions.
Up close, however, things get more complicated. A lot of Richâ€™s paintings look like theyâ€™ve been manhandled a bitâ€”theyâ€™re smudged and soiled and intentionally creased (the result of how they’re packed for shipment), and one even has a partial footprint on it. Sections of what appear from afar to be uniform color reveal inconsistencies in density and tone. Rich has also used iridescent paint in certain sections to activate additional layers of depth, movement and reflection.
The show is titled â€œBlind Spot,â€ a phrase that in this context is not purely metaphorical. As it turns out, there’s a flipside to these paintings that is, well, the flip side to these paintings. Rich has painted both sides of the paper using different colors. Working from preparatory drawings, he cuts from layered sheets of paper so that the pieces will lock back together again seamlessly, in this manner carefully assembling his paintings a section at a time. After he’s finished, Rich turns the whole thing over and exhibits the unseen, or â€œblindâ€ side; in other words, the section that remained invisible to him while working becomes the public side of the artwork. The side he created with such meticulous attention must now keep its face to the wall; the rhythm of chance wins out over what were once, presumably, carefully considered chromatic relationships.
Once Rich’s paintings are hung, however, hints of their hidden selves inevitably peek around. The ever-so-subtle curl of a paperâ€™s edge, or a slight pulling away from the wall here or there, casts almost imperceptible shadows of colored light against the white wall behind it.Â This exquisite little detail is all the more entrancing for how easy it is to miss. It’s yet another contradiction that these paintings pose, one that arises when bold, large-scale works such as these are apprehended with sweeping glances. I also think it’s a contradiction that’s nestled in the very different assumptions we sometimes bring to the act of looking at a painting vs. a drawing or a work on paper, especially when it comes to issues of scale. The cliche is that drawings require more intimate and “up close” scrutiny because they’re smaller and somehow more personal, while paintings of a larger scale ask you to stand back and take them all in. Rich’s paintings ask us to look both ways in order to maintain a wider field of view.