Work by Polly Apfelbaum, Ali Bailey, John Baldessari, Madison Brookshire and Tashi Wada, Zachary Buchner, Tyree Callahan, Anne Collier, Jacob Dahlgren, Jose Dávila, Gaylen Gerber, Adam Grossi, Gary Hill, Rashid Johnson, Anna Kunz, Judy Ledgerwood, Iñigo Manglano-Ovalle, and Richard Mosse.
Gallery 400 is located at 400 S. Peoria St. Reception Friday from 5-8pm.
Work by Gustavo Diaz.
The Mission is located at 1431 W. Chicago Ave. Reception Friday from 6-9pm.
Work by Scott Horsley.
Bert Green Fine Art is located at 8 S. Michigan Ave. Suite 1220. Reception Saturday from 4-7pm.
Work by Liliana Porter.
Carrie Secrist Gallery is located at 835 W. Washington. Reception Saturday from 4-7pm.
Work by Barbara DeGenevieve, Brent Garbowski, and Joe Mault.
Slow is located at 2153 W 21st St. Reception Saturday from 6-9pm.
Work by Thomas Rowlandson.
Northwestern University Block Museum of Art is located at 40 Arts Circle Dr. Exhibition begins Friday.
Work by Nicholas Knight.
65Grand is located at 1369 W. Grand Ave. Reception is Friday from 7-10pm.
Work by Mike Andrews, Ali Bailey, Jason Robert Bell & Marni Kotak, Nick Black, Daniel Bruttig, Andrew Burkholder, Lilli Carré, Joseph Cassan, Mariano Chavez, Ryan Travis Christian, Vincent Como, Bruce Conkle, Jean-Louis Costes, Vincent Dermody, Mike Diana, Edie Fake, Scott Fife, R.E.H. Gordon, John Hankiewicz, Keith Herzik, Carol Jackson, Bob Jones, Chris Kerr, David Leggett, Mike Lopez, Teena McClelland, Dutes Miller, Miller & Shellabarger, Joe Miller, Andy Moore, Max Morris, Rachel Niffenegger, William J. O’Brien, Onsmith, David Paleo, John Parot, Michael Rea, Tyson Reeder, Dan Rhodehamel, Bruno Richard, John Riepenhoff, Kristen Romaniszak, Steve Ruiz, David Sandlin, Mike Schuh, Mindy Rose Schwartz, David Shrigley, Edith Sloat & Sophie Greenstalk, Edra Soto, Ryan Standfest, William Staples, Ben Stone, Bill Thelen, Jeremy Tinder, Sean Townley, Jim Trainor, Anne Van der Linden, Jason Villegas, Sarah Beth Woods, and Aaron Wrinkle.
Western Exhibitions is located at 119 N. Peoria St., suite 2A. Reception is Friday from 5-8pm.
Work by Jason Hanasik.
iceberg projects is located at 7714 N Sheridan Rd. Reception is Saturday from 6-9pm.
Work by Sean Fader.
Johalla Projects is located at 1561 N Milwaukee Ave. Reception is Sunday from 7-11pm.
I profiled Ali Bailey last year on the occasion of his solo debut in Chicago at Golden Gallery, an exhibition titled “You are Young” (the piece appeared in New City; you can read it here). Bailey is definitely what I’d consider to be ‘a comer.’ (Isn’t that a terrible word to apply to artists? It has such unfortunate equine associations). His works sold well at last year’s Next Fair at Art Chicago – no small feat in an extreme down market – and he’s already busted out with his second Chicago solo show, at Andrew Rafacz: a startling new body of work that he thinks is his most complicated to date. I agree. Bailey’s sculptures have changed a lot since his first exhibition, and I wanted to talk to him in greater depth about the progression from that last body of work to this one. Sadly for Chicago, Bailey’s next big move is a geographic one: he’ll be setting up digs in Los Angeles soon because his wife, artist and curator Kristen Van Deventer, will be attending graduate school there. I am very grateful to Ali for taking the time to provide such well-considered answers to my often clumsy and inordinately detailed questions. His show continues through May 8th at Andrew Rafacz Gallery.
CI: The most obvious shift or change that’s apparent in your new body of work at Andrew Rafacz is that it is much more abstract than the group of sculptures shown at the “You Are Young” show at Golden last year. That earlier work drew upon recognizable and sometimes even iconic imagery: a basketball and a baseball, an ice cream cone, a tree stump covered in gum and graffiti. Your latest work still gives me the feeling that there are exterior referents at play but now they seem more art historical and less pop-cultural. For example, I saw in your use of the grey felt material in the piece East Meets West / Worked Out a little Beuys joke, I loved how it’s slung over a sculpture that looks like a looming, abstracted version of a Stairmaster or some other type of exercise equipment that quickly becomes ‘useless’ and soon comes to function primarily as a clothes hanger. Can you tell me a little bit about this shift between the two bodies of work — what have you been thinking about lately that’s caused this move towards less immediately recognizable forms?
AB: You’re right about there being a distinct move toward a more abstract language, both in terms of subject and form and in a way, this shift is a direct result of problems that I’ve created for myself. For me, the last body of work operated in two different ways and that was very important. On one level it was about objecthood in a broad sense, making (and the presence of the hand), and a kind of tension resulting from a push-pull dynamic between inherent contradictions in the work and a kind of Gober-esque uncanny. The other prominent characteristic of the work was a pop-cultural critique and I suppose that this is where you could talk about the poetic content and the more accessible qualities the works had. In these ways I think the work was successful. The thing that really didn’t work and this is what I’ve been battling with recently, is being able to convey a distancing or a kind of knowing-naivety or to set up a dialogue that talks about authenticity. In my mind, it was clear that what I was presenting was not authentic in any sense nor was it really concerned with being ‘truthful’ – I was trying to examine certain narrative tropes but instead ended up giving people an easy out – they often never got further than the narrative or the overt poetic strand of the idea. Read more