Work by Meryl Bennett and Matt Taber, Britton Black, Anita Brathwaite, Guerrilla Smiles, Jane Georges, John Kurtz, Julia Haw, Marc Hauser, Deborah Lader, Jean Loup Sieff, Grace Molek, Harvey Moon, On The Real Film, Rabbits, Alfredo Salazar-Caro, Bill Sosin, and Xiao Tse.
HAUSER Gallery is located at 230 W. Superior St. Reception Friday, 6-9pm.
Curated by Zach Dodson, Dan Gleason, and Caroline Picard, with work Jesse Ball, Irina Botea, EC Brown, Lilli Carré, Ezra Claytan Daniels, Edie Fake, Heather Mekkelson, B. Ingrid Olson, Frank Pollard, Aay Preston-Myint, Deb Sokolow, Bill Talsma, and Viktor Van Bramer.
Hyde Park Art Center is located at 5020 S. Cornell Ave. Reception Sunday, 2-5pm.
Work by Justin Bendell, Terence Hannum, Thad Kellstadt, David More, and Bert Stabler.
The Franklin is located at 3522 W. Franklin Blvd. Reception Saturday, 6-9pm.
Work by Kiam Junio, Chelsey Sprengeler, Natalia Nicholson, Joshua Roginsky and Collin Pressler.
Anatomy/Gift/Association is located at 1619 W. 16th St. Reception Saturday, 7-9pm.
Work by Lilli Carre and Alexander Stewart.
Roots and Culture is located at 1034 N. Milwaukee Ave. Reception Friday, 6-9pm.
Work by Sarah and Joseph Belknap.
Chicago Artists’ Coalition is located at 217 N. Carpenter St. Reception Friday, 6-9pm.
Work by Ryan Chorbagian, Hao Ni, and Patrick McGuan.
Heaven Gallery is located at 1550 N. Milwaukee Ave. 2nd Fl. Reception Friday, 7-11pm.
Work by Andrew Holmquist, David Brandon Geeting, and Jade Walker.
LVL3 is located at 1542 N. Milwaukee Ave, 3rd Fl. Reception Saturday, 6-10pm.
Work by Claire Ashley
Terrain Exhibitions is located at 704 Highland Ave. Oak Park. Reception Sunday 12-4pm.
Curated by Dayton Castleman and Matthew Dupont, with work by John Airo, Kristen Althoff, Anna & Meredith, Nick Black, Lisa Brosig, Stephanie Burke and Jeriah Hildewine, Jessica Calek and Dan Streeting, Abby Christensen, Melissa Damasauskas, Kaleb Dean, Aaron Delehanty, Jim Duignan, Ben Fain, Karl Gesch, Aron Gent, Ricki Hill, Gabe Hoare, David Hooker, Hubbard Street Dance Chicago, Anais Maljan, John Medina, Thomas Moreno, Heather Mullins, Jake Myers, Catie Olson, Haynes Riley, Blake Russell, Chris Santiago, Rana Siegel, Charles Smith, Bert Stabler, Basia Toczydlowska, Emily Van Hoff, Johanna Wawro, and Jen Zito.
Co-Prosperity Sphere is located at 3219 S. Morgan St. Reception Saturday 6-11pm.
*The author has work in this exhibition
Edie Fake: I think a couple of things happen in a couple of different ways. First off, drawing a tattoo for someone is sort of like finding the perfect gift for someone you barely know. Part of a perfect gift is that it is entirely wanted and sort of surprising and I think it also has to have a little personal flair, some indication of who the giver is and why they would choose to give such a thing. So just the drawing/planning itself is already a lot more collaborative than just thinking about what you’d draw on your own. Then, you start tattooing someone and it’s a whole other thing. It’s a blood ritual and it’s craftsmanship and it’s fun and painful and casual too. I was only tattooing for a couple of years, but when I was working on someone there was this whole new process of understanding each line drawn, and also an understanding of why this tattoo was going to fit the person getting it. I think I was looking at the stuff I was tattooing like it was different sorts of heraldry. The person wearing the tattoo is a huge part of what the drawing becomes, both physically and energetically. That’s the biggest difference throughout the process. With drawings on paper I usually am pushing out a drawing with my own vision, and then it can have a really singular presentation. Tattoos temper your own version of how things should be with someone else’s ideas and I really love it because it can really push the way you draw into some strange places trying to figure out the common ground where “what someone wants” meets “what you want to give to them.” I’m not tattooing now, but I miss it a lot and I miss the way it pushed my drawings. I’m starting to casually put my feelers out for another apprenticeship here in Chicago.
EF: I’m not sure if my thoughts are organized enough to bring up anything worthy of being a philosophy! I do identify as a transsexual and I do think a lot about the expansiveness of language, the importance of self-definition and how that all relates to complicating gender and sexuality. Collapsing and expanding meaning of words and images can work towards a wild and playful vision of sex positivity as well; that’s what I strive for in drawings.
Multiple meanings are critical – I really think that’s what keeps visual, verbal and physical language alive, the way that new interpretations will always be added to the heap. I make a lot of work based on innuendo and word play. Coded meanings and visual decadence can provide a place where drawings can snap into something that complicates gender and implies new systems. For me, it’s impossible to articulate queerness in a direct and definitive way because it doesn’t exist like that – it’s much better pieced together through a drawing with many things happening, the interplay of different codes, sly language tricks, a collision of symbols, because all these things together gets more toward the idea of a border-less, boundless queer gestalt.
CP: Do you believe in a Utopia? (not necessarily something to implement, but something to work towards?)
EF: I don’t believe in some true, universal, obtainable utopia, or any kind of unified vision for a utopia, at all. However, I have experienced periods in my life I would definitely call “utopic” where I’ve felt amazing energetic kinship to those around me, or even just to myself… I should add, these were not periods that were free of problems or hardships, but they were times of feeling deeply connected to what I was doing and how I was living. Constantly scheming and trying to help others with their schemes.
I think the world is shitty and hard, really lovely things always fall apart, pain, violence, heartache and futility reign supreme. Flying in the face of that, a utopia notion in my head can push me forward, and encourage me to try to create good energy and critical work. Utopia as a constant push to conjure up how things could be better, and then the working your ideas into realities.
CP: In some way I was thinking about the utopia question because of the on-line project A Gay Utopia. I was wondering if you could talk a little about that–how did the project get started? What was it like developing work for an on-line and shared context?
EF: Before the Gay Utopia Online Symposium, I felt like the term was floating in the air a lot, especially the air over Chicago. In my experience, it was being used as sort of a rallying cry, to envision working for each other, creating networks, sharing resources, and helping each other build the things we wanted to see in the world. When I went on tour with Lee Relvas in 2006 she delivered this brilliant soapbox speech as part of our performance that culminated with asking the audience “Are you ready for a Gay Utopia?” Well, the answer to that was yes.
I’m unsure of how the Online Symposium started, but that project was the brainchild of Noah Berlatsky and Bert Stabler. It’s a wild grouping of folks that they brought together, and I’m really proud of the work I did for the project. There’s a wide range of how people approached the work there, and I think I approached it as someone who feels like “Gay Utopia” is a concept that nourishes me and is integral to how I see the cycles of my life tumble out. The Gay Utopia shares a lot with the Temporary Autonomous Zone and I am really invested in both of those, so I wanted to create a comic that reflected falling down that rabbit hole. When I settled on a long scroll down drawing, I also decided that the most important thing for me to show in the images was the close combination of destruction and ecstasy, love and fury going hand-in-hand, fueling each other. That’s a big part of my lived experience.
CP: I was thinking about tattooing again, and your description of its gift-quality. It made me think too about how you describe community and connectedness as being somehow central to those moments of utopic experience. In many cultures, it feels like tattoos have ritualistic significance–it’s a sign given at the coming of age, for instance, or after some epic experience. I was wondering if you feel like tattoos have a ritualistic resonance in your experience and what that might be?
CP: I was also reading that you do some performance work as well–can you talk a little bit about that? And maybe what it is like to physically embody something, (vs. describing it 2-dimensionally).
EF: I do occasionally do performance work. To me it seems much more like conducting a public experiment, whereas displaying a finished drawing is like showing off the answer to a long series of problems. Performances are so dependent on your openness and the openness of the audience and they hinge on both the clarity of your purpose and also your ability to convey that purpose in a non-didactic way. It’s usually a medium I use when I have a cluster of ideas floating around my head. To perform effectively – it is so hard! For me, performing is maybe the hardest, so I try to listen to my heart about it and know when I’ve got something cooking, and if I’m not really feeling it knowing to throw in the towel and forget it, I’ll just do some drawings, which I always have ideas and methods for.
Go here for more glimpses of Edie’s work.
Work by Jenny Kendler.
Johalla Projects is located at 1561 N Milwaukee Ave. Reception is Friday from 7-10pm.
Work by Bert Stabler, Nick Black, and Jasime Young.
DIG is located at 2003 N. Point #3. Reception is Friday from 6-9pm.
Work by Hans Peter Sundquist, Samantha Bittman, Michael Milano, Casey Droege, and Stephanie Brooks.
Threewalls is located at 119 N. Peoria St., #2C. Reception is Friday from 6-9pm.
Work by Adrian Moens.
Comfort Station is located at 2579 N. Milwaukee Ave. Reception is Saturday from 7-10pm.
Work by Jesus Gonzalez Flores.
Julius Caesar is locate at 3144 W Carroll Ave, 2G. Reception is Sunday from 4-7pm.
Hello again – I’m back with another quick plug for y’all. Tomorrow night, Chicago arts writer/administrator/curator Thea Liberty Nichols has organized a panel on the “form and content” of arts writing as part of Nomadic Studio, which is presented at DePaul University Museum and organized by the Stockyard Institute for the yearlong collaborative Studio Chicago project….jesus I can’t keep up with it all. Anyway…here is the pertinent who, what, whys and whens of this particular panel, which I think should be really interesting and if it isn’t I will be partly to blame because I will be on it, along with Patrice Connolly, Abraham Ritchie, Bert Stabler and the aforementioned Ms. Nichols, who IMHO has the one of the best names in the world.
Come see us discuss, and participate in the discussion! Also, please check out the whole slate of programs that are part of Nomadic Studio at the Stockyard Institute! And you can read more about the Nomadic Studio project on ArtSlant, right here.
6-8pm –Thursday, September 23rd
Form and Content of Writing w/ Thea Liberty Nichols, Patrice Connolly, Claudine Ise, Abraham Ritchie and Bert Stabler
Panelists will engage in a casual discussion that examines the form (newsprint, published monographs, online journals or blogs) and content (criticism, interviews, exhibition reviews, press releases or scholarly essays) of their writing. Their individual practices, including the texts that inform and inspire them, will be examined alongside the colleagues and organizations with which they collaborate. In conjunction with Studio Chicago, the ways in which their studio environment, and indeed the city itself, contextualizes their practice will also be explored.
Abraham Ritchie is a writer as well as the Editor for ArtSlant: Chicago, the creator and administrator of The Chicago Art Blog on the ChicagoNow network and WordPress, and also writes for NewCity. He has previously written about art for Madison Newspapers, Inc.
Thea Liberty Nichols is an arts administrator, independent curator, and writer who lives and works in Chicago. Along with managing Intuits Study Center, she also acts as Co-Director of 65GRAND
Patrice Connelly is the Curatorial Associate for BMO Financial Group’s Corporate Art Collection where she crafts catalog texts describing and contextualizing the art works in their holdings. She has been contributing freelance art exhibition reviews to Newcity since 2008.
Bert Stabler is a teacher, writer, curator, and artist living in Chicago. He feeds on the living.
Claudine Isé has worked in the field of contemporary art as a curator and writer. Isé was Associate Curator of Exhibitions at the Wexner Center for the Arts in Columbus, Ohio. Assistant Curator at the Hammer Museum in Los Angeles and an art critic for the Los Angeles Times. She currently writes for artforum.com, art:21 blog, ARTnews, New City, and badatsports.com.