Work by Barron Storey, Elizabeth McGrath, Jeff Gillette, Carlee Fernandez, Laurie Hassold, Jen Heaslip, Shane Guffogg, Sandra Yagi, Clive Barker, Eduardo Villacis, Jessica Curtaz, John U. Abrahamson, and Gabor Ekecs.
Bert Green Fine Art is located at 8 S. Michigan Ave. Open house Saturday, 12-7pm.
Work by ACRE resident Rebecca Beachy.
Roxaboxen is located at 2130 W 21st St. Reception Sunday, 4-8pm.
Work by Nicole Gordon.
Linda Warren is located at 327 N. Aberdeen. Reception Friday, 6-9pm.
Work by Lauren Anderson, Vincent Como, Antonia Contro, Alex Gartelmann and Jonas Sebura, Angelo Musco, Jamisen Ogg, Javier Pinon, Liliana Porter, Joel Ross, Alette Simmons-Jimenez, Paul Anthony Smith, and Dietrich Wegner.
Carrie Secrist Gallery is located at 835 W. Washington Blvd. Reception Saturday, 5-8pm.
Work by Nicolas Africano, Norman Bluhm, Roy De Forest, Carroll Dunham, Philip Guston, Robert Hudson, Elizabeth Murray, Gladys Nilsson, Jim Nutt, Ed Paschke, Elizabeth Peyton, Joel Shapiro, David Smith, William T. Wiley, and Terry Winters.
Russell Bowman Art Advisory is located at 311 W. Superior St. #115. Reception Friday, 5:30-8pm.
Somehow I missed this series when it debuted at the end of November, but my trusty feedreader eventually makes sure the good stuff gets my attention. BOMB’s Jackie Saccoccio posed this question to twelve painters whom she admires: “What is the current state of abstraction?” The answers, provided by Dan Walsh and Amy Sillman, Jessica Dickinson and Philip Taafe, Steve DiBenedetto and Eric Wendel, Jason Fox and Eva Lundsager, and Carroll Dunham and Keltie Ferris, are as tonally varied, compelling, cheeky and angst-ridden as is, well, the state of abstraction today, I guess. (Amy Sillman uses the question as the opportunity to formally break up with Abstraction). Read all of the responses here. The last entry in the series, including responses from Marc Handelman and Cheryl Donegan, are coming up in a future installment.
This week: Guest interviewer Anna Kunz (accompanied by Pamela Fraser) talks to Carroll Dunham about his show at He Said/She Said and more!
American painter. He completed a BA at Trinity College, Hartford, CT, in 1971 and later settled in New York. Initially influenced by Post-Minimalism, process art and conceptual art, he was soon attracted to the tactility and allusions to the body in the work of Brice Marden, Robert Mangold and Robert Ryman. Spurred on by the revival of interest in Surrealism in the 1970s, Dunham began to make abstract, biomorphic paintings reminiscent of the work of Arshile Gorky and AndrÃ© Masson, executed with a comic twist enhanced by lurid colours and the suggestion of contemporary psychedelia.
In the 1980s he began to paint on wood veneer and rose to prominence in the context of a broader return to painting in the period. Age of Rectangles (1983â€“5; New York, MOMA) is a highly abstract composition of differing forms, symptomatic of his work at this time: geometric sketches co-exist with eroticized organic shapes while the forms of the wood veneer show through the surface of the paint to suggest surging forces.
Towards the end of the 1980s he began to move towards single, dominating motifs; wave-like forms were particularly common. In the Integrated Paintings series he applied paint-covered balls and chips to the surface of the canvas to further develop the sense of organic life. Mound A (1991; priv. col.) is typical of Dunhamâ€™s work of the early 1990s in which his forms began to resemble mounds of live matter, covered in orifices. Around 1993 his paintings began to feature schematic, cartoon figures which suggest the influence of Philip Guston. Read more
Times are tough, but there’s a lot to look forward to with the coming Fall art season in Chicago. Here’s what Meg and I are most looking forward to seeing over the next three months — and be sure to check out Stephanie’s guide to Friday and Saturday openings below!
9/11 Philip Von Zweck at ThreeWalls (M, C) The title of this show is “The Fortieth Anniversary of the First Anniversary of May â€™68 (in September).” Von Zweck is a significant and much-beloved figure in the Chicago art scene who ran a highly respected apartment gallery for a number of years. This exhibition marks his return to a more traditional solo artist exhibition framework.
9/11 Luis Gispert at Rhona Hoffman (C) New large-scale photographic portraits and videos by the Miami-born, Brooklyn-based Gispert that focus on immigrant sectors of the American workforce and the search for expressive outlets outside the realm of labor. A three-channel film focuses on Gispert’s friend Rene, a Cuban immigrant who works in a Miami restaurant supply store.
9/11 Jessica Labatte at Scott Projects (M). Labatte’s exhibition Bright Branches documents found objects collected from Chicago alleys and junk stores.
9/11 Craig Doty: Women at Roots and Culture (M,C). The women in Doty’s new photographic series have been described as appearing “physically exhausted as well as ethically or morally debased,” i.e. a wet and shivering woman looking out past viewers with few narrative clues as to why, etc. Given Choire Sicha’s description of Doty as “a sick little pervert” whose previous body of work was “very John Hughes meets John Waters meets John Lydon,” well, let’s just say we can’t wait to see his approach to the subject for ourselves.
9/12 Doug Ischar at Golden (M,C). A body of work from 1985, never before seen in its entirety, is the enticement here. Ischar’s show is titled Marginal Waters and features images taken in Chicago’s now-defunct Belmont Rocks.
9/19 Jonas Wood at Shane Campbell Gallery (C). He’s from L.A. and showed at Black Dragon Society, plus he’s collaborated with painter Mark Grotjahn…for now, that’s all I need to know to want to see Wood’s show.
9/19 Jason Lazarus, Wolfgang PlÃ¶ger, Zoe Strauss at The Art Institute (M). A show of recent photographic acquisitions of these artists’ works by the Art Institute.
9/20 Allen Sekula, Polonia and Other Fables at The Renaissance Society (C). New photographs by anti-globalization hero Sekula that focus on Chicago’s rich labor history, its Polish working-class population along with The University of Chicagoâ€™s famous lineage of economic theorists. Heady yet vital stuff from this woefully under-recognized L.A.-based artist.
9/25 – 9/27 Mikhail Baryshnikov at Harris Theater (M). It’s Baryshnikov dude. ‘Nuff said.
9/30 Heartland at the Smart Museum (C). Coorganized by the Smart Museum of Art and the Van Abbemuseum, a survey of artists from the Midwest aka the American Heartland. Hopefully it’ll subvert the syrupy connotations of it’s title, or at least be the kind of show that people argue, bitch and moan about rather than simply ignore.
10/2 – 10/4Â Western Exhibitions and Golden Age at the NY Art Book Fair (M). The only event to make it to our list that is not in Chicago. If your in New York at the beginning of October check out two Chicagoans holding it down at the Fair.
October, opening date TBA, Carroll Dunham at He Said/She Said (C). Carroll Dunham shows in a suburban apartment gallery: the Oak Park home of Pamela Fraser and Randall Szott. Can’t wait for this.
10/8-21 Chicago International Film Festival (M) In it’s 45th year the film festival the two week festival is the hub for all film fanatics.Â This festival might be the only time to catch certain films so be sure to check out their schedule in advance.
10/10 Jeremy Deller: It Is What It Is: Conversations About Iraq, at the MCA (M) Commissioned by The Three M Project Jeremy Deller will invite numerous participants to discuss their knowledge of the Iraq War. Some guest will include verterans, and scholars.
James Welling at Donald Young (C)
10/10 Playing with Pictures: The Art of Victorian Photocollage at The Art Institute (C). I’m a sucker for Victoriana, and this exhibition –the first “to comprehensively examine the little-known phenomenon of Victorian photocollage, presenting work that has rarelyâ€”and in many cases neverâ€”before been displayed or reproduced” — is probably the one show I’m most looking forward to seeing this fall. A medium mostly practiced by aristocratic women, Victorian photocollage combined human, animal, and botanical forms in all sorts of wacky and whimsical ways, and I’m looking forward to reading the accompanying full-color catalogue to learn more about the ways that female artists of this era approached the form some sixty odd years before Picasso and Braque started playing around with it.
10/13 Alex Halsted and David MorÃ© at Gallery 400 (C). Chicago-based MorÃ© “collaborates” with an elephant nose fish, who emits an electrical pulse as a navigation tool which the artist then amplifies. I love the gallery’s blurb on this show: “This performance duo mixes issues of displacement, communications, commercial sound and inter-species contact in a singularly engaging bio-tech format.” Yep, pretty much says it all.
10/16 In Search of the Mundane at ThreeWalls (M) Organized by Randall Szott and InCUBATEÂ According to ThreeWalls this series will , “include boozy brunches, a lecture on the art of storytelling, various leisure excursions, and a tour of personal collections.”
10/17Â Liam Gillick Curates the MCA Collection (M, C). We love the way that the MCA is experimenting with the curation of its permanent collection. The MCA has invited Liam Gillick to select works for its next hanging.
11/TBA James Welling at Donald Young (C).Â New work by L.A. photographer Welling, whose ongoing interest in the experimental and abstract possibilities of photography set his work apart from contemporaries like Sherrie Levine and Cindy Sherman as well as today’s younger generation focusing heavily on portraiture. Welling’s last show at Donald Young featured photograms of flowers and “torsos” (the latter actually made out of screens sculpted to resemble human curves) made without the use of a camera; the results were gorgeous, and I’m looking forward to seeing what he delves into next.
12/4 Carrie Schneider at MCA 12×12 (M, C)Â Often using herself as her main character, SchneiderÂ Â melds several genres of art-making including body art, performance, self-portraiture photography and film in images that are haunting, creepy, and hallucinatory in their resonance. If someone ever gave Schneider a huge project budget she could give Matthew Barney a run for his money, but for now we’ll look forward to seeing the new short film Schneider plans to premiere in her first solo museum outing at the MCA. According to the MCA’s website, the film, made in Helsinki, Finland while the artist was there on residency, continues the artists’ ongoing exploration of doubled selves and the uncanny.