Work by Hope Esser and Daviel Shy.
The Hills Esthetic Center is located at 128 N. Campbell Ave. Reception Friday, 7pm-midnight.
Curated by Molar Productions, with by work by Benjamin Bellas, Judith Brotman, CC Ann Chen, Meg Duguid, Andreas Fischer, Jeffrey Grauel, John Henley, Andrew Holmquist, Greyson Hong, Theodore Horner, International Chefs of Mystery!, Carol Jackson, Carron Little, Nicholas Lowe, Ryan Noble, Susannah Papish, Steve Reber, Oli Rodriguez, Joshua Slater, Rafael E. Vera, Rebecca Walz and Ryan Michael Pfeiffer.
slow is located at 2153 W. 21st St. Reception Friday, 6-9pm.
Work by Kendall Babl, Sarah Berkeley, Buki Bodunrin, Meg Dugid, Julia Klein, Nicole Marroquin, Mothergirl, Sabina Ott, and Erik L. Peterson.
DfbrL8r is located at 1136 N Milwaukee Ave. Reception Friday, 6-9pm.
Work by Erik R. Peterson.
Peanut Gallery is located at 1000 N. California Ave. Reception Sunday, 5-9pm.
Work by Anastasia Samoylova and Julie Weber.
3433 is located at 3433 Kedvale Ave. Reception Saturday, 6-9pm.
October 3, 2013 · Print This Article
This summer I visited slow gallerys’ group show, Rehearsal Attire. It was an exhibit about painting and something about what slow’s Director Paul Hopkin said has stuck to my ribs. Hopkin talked about how many Chicago painters created flat canvases, with a picture plane that stands parallel to the viewer, suggesting this predisposition might have something to do with our immediate landscape — the way we live in a flatland, on urban streets crowded with buildings. By comparison Southwestern painters are prone to pictures with expansive skies and topographical landscapes stretching indefinitely out. Hopkin admitted that conversations like that — about horizon lines and abstraction — led Fischer and Hopkin to organize Rehearsal Attire together. In this case, however, landscapes were not expressly present, nor limitless topographies. Rather, Fisher’s abstract paintings hung alongside Meg Duguid, Mindy Rose Schwartz and Charles Fogarty. Duguid disassembled a wall in the gallery and packed it in a suitcase. Fogarty removed a wall from his studio, on which he had painted a gingham cloth and re-situated it inside slow, beside a pile of campaign-like baseball hats that read “LUNCH”. Mindy Rose Schwartz sculpted a figure out of plaster cast with an unprimed, and partially stitched canvas face; in another work a delicate series of hoops reach off the wall at variant angles. Between the hoops’ bounds, flowers and thread weave in abstract, figurative compositions. I was drawn into these works with many questions — questions about limits, deconstruction, assembly and abstraction, questions that brought me to Andreas Fischer’s studio, where we discussed his approach to painting, and how Rehearsal Attire came about.
Caroline Picard: How do you think about horizon lines in paintings? Can you have multiple limits operating at once in the same piece?
Andreas Fischer: Things like horizon lines and spatial boundaries come from conventions embedded in the images I have been using. The starting points for all of my recent work are what I would call conventional everyday image types -the kinds of images that are so present that they often get taken for granted or ignored. At the same time, though, they have a problematic status because they are completely contested territory even though they might look stable.
On one hand I am using various aspects of the conventional states of these images, which are socially determined. On the other hand I am materializing a reaction by trying to reconstruct these images, which I see as an example of how any individual might react. So, yes there are definitely multiple limits and they are directed by moving changing negotiations that I see as a kind of intersection of one idea of what is social and another idea of what is individual. Painting in this sense is a kind of materialization of reception or reaction — action painting in a sense, but not as a statement — maybe more like the way an electronic instrument might monitor a changing environment.
CP: Wait — that’s exciting. How is a painting like an electronic instrument? Is it responding to you or the viewer?
AF: Well, I think of painting as decidedly not static and that is a big reason I am interested in it. I do think that so called fixed images are different from what we more clearly accept to be in motion. Paintings are moving perhaps more slowly and can be understood as attempts to visualize actions in a heightened way. Literally and chemically paint is moving and changing over time from the moment pigment is ground, through the gesture of applying paint, to the drying; shrinking; aging and cracking that paint undergoes over time.
More importantly, though, a painting is an action or gesture that begins to happen under certain circumstances and changes as the context around it changes. Our perceptions and interpretations of paintings change as the changing chemical compounds intersect with worlds that are always trying to figure themselves out. In this sense painting is like an electronic instrument in that it is a kind of sensor and feedback system that outputs interpretable data as the world moves — the meaning of the painting (or its output) changes as the stuff around it changes.
I am interested in the act of painting as a way of thinking, sorting or diagnosing. Both painting and electronic instruments come into being in a sense because of what they need to be able to do with their environments. Electronic instruments are programmed to track, calculate, and relay data based on socially developed criteria or perceived need. Maybe we do a version of this too as individuals and if so I think painting is likely a materialization of this kind of reflection of a larger social environment.
CP: How do you think about the logic of a single composition?
AF: The operating functions for composition and formal relationships for me are negotiation and process. In a sense each work is compositionally and formally its own activity. The kinds of reactions and procedures that an image seems to provoke on a given day especially as these bounce off of different patterns of thought and expectation floating around in the world vary quite a bit. This part of the operation is not a logical progression — it is more preformative, maybe a bit like the way a player responds to the action in many kinds of sports.
CP: But in that case are you playing against yourself? Like a soccer player bouncing a ball against a concrete wall with static, physical and predictable qualities? Or do you feel like the canvas/paint/medium brush are less predictable and somehow capable of responding to you, like — say — another player on the field?
AF: I definitely experience it as the latter. What I was thinking about was the way a body navigates and responds to various barriers and desired outcomes in real time — the spontaneous interaction of it all is so much like the act of painting for me. Maybe the ingredients of painting are not quite like another player, but more like the entire context of the game. So yes, the medium is not predictable for me. If I could control it I wouldn’t paint. Furthermore, I suspect that I am deciding or acting and reacting coextensively with social interactions I have had or might anticipate having in the future. I think this is where the distinction between what is social and what is individual falls apart in an interesting way because each of these determine the other and maybe there is not really even a distinction in the end. Maybe we are really post-individual.
CP: How did your recent show “Rehearsal Attire” come together?
AF: Paul Hopkin and I have been talking about doing something for a while and when we started to think seriously about what a project might look like we started trying think of way to acknowledge conversation as a generative tool. I was making work that was in many was the product of specific conversations I was having with a few people and was very interested in a group show as a way to extend that dialogue. I think Paul had been on that page for a while before we started working on the project.
Much of art history is really the act of watching very particular materialized conversations between a surprisingly small group of people. One could argue that the real content of much art is the function of conversation or relatively intimate social interaction. I wanted to start acknowledging my work as a set of indexes of lines of conversation. I wanted to take that system into a gallery and mix it with a different group of people having different conversations so that one conversational context would bounce off of a few others to see how they would co-mingle and resisted each other. There are so many amazing ways that groups or specific conversations out in the world intersect with other groups. There is something fundamentally fascinating about a semi closed circle bumping into another semi closed circle. That vibration, that negotiation is incredibly exciting to me and has been a huge motivator for my work over the last several years.
CP: How do you see that fitting into the more general dialogue of painting at the moment?
AF: I see a great deal of coolness of one kind or another in painting right now. I might be interacting with that characterization in the sense that, even though I kind of love much of the work I would characterize this way, I am much more interested in a state of being thoroughly tangled in the messiness of thought, struggle, material, and process. I am probably not anything like cool in my interaction with painting. I think I embrace a kind of sloppy affirmational complexity that has more of a diving-into-the-muck quality to it.
CP: How do you think about deconstructing frames? Is that something of interest to you in painting?
AF: I love deconstruction and the expectation that it will yield different layers of meaning. But I don’t think of my work in those terms right now. I think the negotiations that I see the work enacting are more like a struggle to bring things together. There is the familiar idea about early modernism that at a certain point painting became more opaque, more interested in its own materialism as a way of enacting skepticism toward unified illusion and its ability to function as a vehicle for certain idealisms, perhaps dangerously so. This is a way of seeing materially oriented painting as engaged in negation, criticism or the act of taking apart to an extent. Now that the idea of a unified illusionistic painting is historical and the more usual way for painting to function is through assertions of materialism over illusion, I think materially active painting has executed one critical task that maybe does not need to be rehearsed as insistently anymore meaning that materialism is a kind of free floating signifier that can attach itself to a much wider range of potential functions. The range of possibilities for material activity has opened up.
One of the possibilities can be a link between opacity and the act or struggle to form an image or to produce rather than take apart. Painting can be expected to create a narrative construction relative to images we know to exist or not. For me the act that is most important is the act of framing in a sense, or getting an image to grow and take shape inside a frame, on a surface, or within a field. In that case when we watch a painting we are watching something grow.
CP: One of the things I often struggle with in abstract painting is how to understand the meaning, or what is at stake in a given work. Taking what you said into account, I wonder if this idea of emergent order (is that an accurate paraphrase for “getting an image to grow and take shape inside a frame”) is at the heart of the matter. Namely, whether or not a painting succeeds and/or fails at that — whether it makes the pursuit of that order interesting, and — if you’ll allow a sentimental tone — heartbreaking (again, because it succeeds, or almost succeeds)?
AF: I totally agree with what you are suggesting at least in terms of how I would like my work to live or die. Heartbreak could very well be a part of it all.
I like that you use the term emergent order as well. I understand that to be a bottom up kind of growth based on a kind of exchange and growth where no one entity is in charge, is designing or directing the process or even knows what is going on, but great innovation or development takes place anyway. I think social interaction that flows beyond individual intent or understanding (or maybe just determines it in the end), but operates none the less is totally fascinating and it might be that many kinds of paintings are symptomatic of this kind of function somehow because they happen through a group of impulses, gestures, thoughts, urges, curiosities that just move around an individual kind of unknowingly. There is an argument about Cezanne, for example that his supposedly individualistic innovations in paint handling are really just marks that anyone could make, which means that Cezanne is not an old fashioned modernist genius, but a kind of repository of commonality and his brilliance is really in his assertion of a shared, common, everyday kind of simple mark that anyone could make.
In the end if all of these interactions somehow reflect something valuable then they work. And as you suggest, maybe if this kind of thing is true then it establishes a different way for painting to function than relying on what we might have called meaning in the past. Maybe it is not really about the question of where or even if it ends up, but a kind of empathetic struggle to move toward something.
Our latest “Centerfield” column is now up on Art21 blog. This week, I talked to Chicago artist/educator/gallerist Dan Devening of devening projects + editions. In particular, I wanted to learn more about the editions side of Dan’s project, because I often feel that artists’ multiples gets short shrift when it comes to contemporary art discourse. Devening Projects will be opening a new exhibition of artist’s multiples on January 30th alongside a new “Kabinett” exhibition featuring works by Andreas Fischer and Melissa Pokorny. An excerpt from the Art:21 interview is below; please click on over to Art:21 to read the full piece! Also, the Art:21 interview is excerpted from a much lengthier transcript. We’ll be posting the full exchange with Dan Devening here on the blog tomorrow.
Claudine Ise: Can you take us through the process – both the creative and production sides—of creating an edition/multiple?
Dan Devening: In most cases, when I propose the publication of an edition with an artist, I’ll show them a bunch of examples of recent work and use those examples to open a door to what’s possible within the project. Mostly, I’m hoping that they’ll take up the challenge and approach the process as an experience that can expose their practice to something new. Because there is the necessity that the work be an edition, the requirement that there be multiple copies of the work sets up a nice set of parameters. The artist may have some ideas about how they might proceed and if that’s the case, we’ll start talking about production methods or options. The great thing about doing editions with artists is that they’re artists; they’re trained to be creative problem solvers, so I’ve never been disappointed with the editions that have come out of these conversations. For example, a recent piece from Nathaniel Robinson called Dreg is a resin-cast styrofoam cup. It’s a one-to-one replica of the real thing—including teeth marks near the rim—that also includes a set of greasy fingerprints on the inside of the cup. I don’t know how Nathaniel made this edition of three and I don’t think I ever want to know. The mystery of this modest little object is its beauty. My only fear with Dreg is that someone will mistakenly throw it in the trash. (Read more).
This week: Philip von Zweck talks to Andreas Fischer!
Andreas Fischer is a Chicago-based painter and Assistant Professor of Painting and Drawing at Illinois State University (Normal,IL). Over the past ten years, his work has been exhibited in solo and group exhibitions in New York and Chicago, including a 12 × 12 solo exhibition at the Museum of Contemporary Art, Chicago. He received a BFA from the School of the Art Institute of Chicago, an MFA and MA in Art History from the University of Illinois at Chicago, and studied at the Universität der Künste Berlin. He was awarded an Artadia artist grant in 2004 and his most recent exhibition were held at Hudson Franklin Gallery (New York), Gahlberg Gallery (Glen Ellyn) and the Hyde Park Art Center.
February 19, 2010 · Print This Article
Andreas Fischer, who is Associate Professor at Illinois State University’s College of Fine Arts, has concurrent shows of his latest paintings up right now at the Gahlberg Gallery at the College of DuPage and the Hyde Park Art Center. The Gahlberg Gallery show closes in two weeks (February 27th) so even though it may be a bit of a haul for those of us who live near Chicago, make a plan to get out there before it’s too late! Luckily, Fischer’s show at HPAC is up a little longer, through April 18th. These two exhibitions are comprised of related bodies of work, both of which I wrote about in the catalogue essay that accompanies them. Below is an excerpt from that text; I’m in the midst of a brain-squeezing allergy attack and can’t produce much in the way of original thought this morning, so this’ll have to do.
“In many ways, Andreas Fischer’s recent paintings can be understood as ghost stories told with paint. Each of his works attempts to represent imaginative experiences that cannot be conveyed linguistically, often by taking the form of something they are not, be it a faded archival photograph or a snapshot of a picturesque Montana landscape. Using paint to weave together the factual and the ineffable, Fischer provides us with information that cannot be confirmed by a source outside of the painting: meaning must be intuited via the paint itself. Fischer’s concurrent exhibitions at the Hyde Park Art Center and the Gahlberg Gallery at the College of Du Page consist of two separate but conceptually related groups of paintings: the first, titled Original Location, is a series of landscapes depicting various Montana settings, the second, titled Sunday Best, consists of portraits based on found tintype (also known as ferrotype) images of anonymous individuals dressed in 19thcentury-style attire.
Fischer draws on metaphors of historiography and the archive to explain how these two bodies of work relate to one another:
‘History often gets represented through a collection of fragments or an archive and it has been argued that what is important in archives is what is left out – what can’t be represented factually, actual experience in other words. Both parts of Ghost Town attempt to use painting to address this absence. Through material facts of paint these bodies of images attempt to extend beyond basic linguistic representation into broader experience. Both bodies of work are meant to mimic kinds of historical fragments. They pretend to document. More importantly, though,they attempt to use paint activity to tap into imaginative characteristics that make up subjective experience.’ “
I also highly recommend that you attend Andreas’ talk at the Hyde Park Art Center on Sunday, April 3rd at 3:00pm. He is so much fun to talk to: so curious, generous, and thoughtful — I enjoyed our studio visits tremendously and I can pretty much guarantee that this talk will not be a one-way lecture type thing. HPAC has billed it as “not your grandmother’s artist’s talk. Please come with plenty of questions and be ready to discuss painting techniques, research tips, points of interest and other spontaneous topics with Andreas.” Although when they were alive my own grandmothers wouldn’t have known what the heck an ‘artist’s talk’ was, much less given one, I do know they would have felt comfortable at Andreas’ because he is is so kind, generous and open with his own and other people’s musings on the subject of painting. Be there people!