Work by Ivan Lozano.
Johalla Projects is located at 1821 W. Hubbard St. Reception Friday, 7-10pm.
Work by Andy Roche.
Roots and Culture is located at 1034 N. Milwaukee Ave. Reception Saturday, 6-9pm.
Work Sarah Belknap, Joseph Belknap, Christalena Hughmanick and Sarah Jones.
Western Exhibitions is located at 119 N. Peoria St. Reception Saturday 5-8pm.
Work by Stacey Rozich.
Chicago Urban Art Society is located at 600 W. Cermak Rd., Unit 1B. Reception Friday, 7pm-12am.
Work by Jon Langford.
Firecat Projects is located at 2124 N. Damen Ave. Reception Friday, 7-10pm.
Guest Post by Jeriah Hildwine
Stephanie and I took the Metra to Hammond, Indiana, where Linda Dorman and Tom Torluemke picked us up at the station, and brought us back to their place. We ate pizza around their dining room table and then drank beer around a campfire in their backyard. (Linda drank Coke, Tom O’Doul’s.) Tom had built a perfect teepee fire, abashedly using compressed firestarters (which he called “cheating”) to light the fire.
They took us to Sidecar Gallery to see “Water,” a show of work by Tom Burtonwood, Holly Holmes, and James Jankowiak. Tom Burtonwood created a wallpaper of a computer-generated alphabet consisting of isomorphic perspective renderings of three-dimensional blocks (like Tetris pieces), each rendered in a different, simple pattern of marks. It looked like a 1980s visualization of some kind of data set, but in fact represented an alphabet or code. Apparently it incorporated QR codes which stored a Uniform Resource Locator (URL) for a website that would decode the alphabet for you…but, lacking a smartphone, we didn’t try it. Burtonwood also created some small wooden sculptures that mimicked the form of the wallpaper.
James Jankowiak also created a wallpaper of sorts, covering several walls of the gallery with parallel strips of brightly colored plastic tape. But his major works are small, square, incredibly precise paintings of minutely varying shades of color. The works in this exhibition consisted of concentric circles. In one, each circle was a slightly different shade of blue. In another, a green torus vibrates electrically against a red field. In a third, blues, browns, and whites alternate on a beige field. One’s first thought is of course of sectioned Jawbreaker candies but a moment’s thought links them more closely with Josef Albers’ color studies.
Both Jankowiak’s and Burtonwood’s wallpapers served as backdrops for their own, and each other’s, small paintings and sculptures, turning the exhibition into more of a collaboration than a group show. In the front room was one of Holly Holmes’ recent wooden sculptures, in which thin strips of wooden lathe are bent into a complex, looping form, like a diagram of the flight of a bumblebee, or a crazy zero-gravity roller-coaster. I’ve seen a previous work of this type by Holmes, at Chicago Urban Arts Society, as part of Wood Worked, in which the material of the piece was left raw and unfinished. In Water, it was painted in blue and white. In each case the color and surface seemed an homage to the theme of the exhibition.
We had tickets for the 11:10pm South Shore Line Metra train home, but Sidecar was shutting down at 10pm, so instead of waiting around the train station in the cold for an hour after the show, Linda hooked us up with her friend Erik, who agreed to bring us back to Chicago. But, he said, we had to make what he assured us would be a brief stop at a friend’s birthday party. That’s how we ended up at Cisa Studio.
The birthday boy is this kid Flex, one of the guys who runs Cisa Studio in Hammond Indiana. I call him a kid because he’s full of youthful energy, but in fact this is the eve of his 40th Birthday. The vibe is like a house party or maybe like the office Christmas party for a tattoo parlor. Erik introduces us as we walk in the door, and everybody is so nice, welcoming us with warm handshakes and cold beer. The bathroom is immaculately clean, and the main space is stylishly decorated, with mood lighting and music befitting the occasion. We meet Flex, see some of his work (a portrait, in spraypaint on canvas, very realistically executed), and then he shows us the backyard.
This involves three layers: first, downstairs to an indoor, basement-like space where people gather to smoke around a big plywood table covered in drawings and graffiti writing. A massive digital printer sits against one wall. Signs advertise various services: fine art paintings, signs, and airbrushed images for your motorcycle helmet, gas tank, leather jackets, and cars. There’s a motorcycle helmet with an absolutely flawless airbrushed rendering of the comic book character Venom on it: more of Flex’s work.
From there we moved into the garage, where a classic car sat, grind marks showing bare metal through the primer: a work in progress, speaking of infinite potential. In the back corner, a motorcycle sported a Minigun-type cluster of barrels emerging from its exhaust pipes. I don’t know, but I imagine that they spin and belch fire when the motorcycle is running. I sat there, spinning the barrels by hand, entranced.
The backyard itself hosted a bench that had been airbrushed by some of Flex’s friends as part of a public art commission. I looked around, and admired the facilities: an absolutely gorgeous, spacious workspace. What’s more, Flex told me, their rent is less than what Steph and I pay for our bedroom-and-a-half apartment in Ravenswood! “This is why Indiana is the shit,” Flex explained. It’s hard to argue with that.
We smoked cigarettes, talked to the Cisa crew, and drank more beer. Then we were gathered, slowly and chaotically, into a rough herd, with the purpose of ambling down the alley to the studio’s exhibition space, a separate building a block down, to see Arte Muerte 2011, the 4th annual occurrence of this “Day Of The Dead” themed exhibition. On the way I met the crew’s photographer, the most heavily-tattooed guy there, long-haired, with a rock-and-roll aesthetic that goes some way towards explaining his nickname, “Tommy Lee.” To look at him you’d expect him to be biting the head off a bat or something, and turns out to be an incredibly sweet and super righteous dude.
Arte Muerte consisted of Day of the Dead altars and two-dimensional wall art, all encompassing themes of death, family, ancestry, tradition, ritual, and a Latino or Mexican cultural heritage. The aesthetic of the work ranged from psychedelic and graffiti to Aztec and Maya glyphic writing, Catholic saints, and plenty of skulls. What struck me most immediately about the show was that not a single thing in it felt ironic, exploitative, or appropriated: there weren’t sculptures of altars, they weren’t about altars, they were genuine and sincere embodiments of this tradition.
After checking out the exhibition we made our way back to the studios where some of the guys were breakdancing, and we all did tequila shots in celebration of Flex’s birthday. The Cisa studio crew talked to be about growing up together, and about how they hung out with Keith Haring when he was in Chicago. They showed me a picture of them all, years ago, hanging out with Haring. Erik mentioned working at Genesis Art Supply back in the day, and I asked him if he’d known Wesley Willis. They guys all started telling stories about hanging out with him back in the day, of setting him up in the store to sit there and draw. One of the guys proudly told me that Wesley had given him a drawing, which he still had. Another had Willis’ old Casio keyboard from when he was growing up.
Many hours, many stories, and many beers later, we were all feeling pretty ready to head out. Another couple was catching a ride with us as well. Erik DeBat, our ride, had made sure to moderate his consumption and was quite sober and fit to drive. The rest of us were all pretty sauced, but I was still pretty lucid, and due to my long-leggedness our fellow passengers had afforded me the front seat, so I had much opportunity for conversation with Erik. We talked about his work, and he gave me a copy of the catalog from a recent exhibition he’d had: Risk & Reward, at The Renaissance Blackstone Hotel, in August of 2011. I open it up, and I see this painting of The Hulk, and something looks familiar about it. The catalog essay is by Tony Fitzpatrick and it all falls into place: I’ve seen Erik’s work, and probably Erik himself, at Tony Fitzpatrick’s place. He gave me a card for an upcoming exhibition (Recursion, at 2612 Space) featuring Erik’s work as well as James Jankowiak, Mario Gonzalez Jr., Victor Lopez, and William Weyna. I wasn’t able to make it to that one, but he also told me that he’s got a show coming up at Firecat Projects, in May 2012. I generally make it to all of the openings at Firecat, but I’m looking forward to this one in particular.
Work by Anthea Behm
Golden Gallery is located at 3319 N. Broadway. Reception is Saturday from 6-9pm.
Work by Cristina Gonzalez, Juan Angel Chavez, Steve Reber, Sarah Belknap + Joseph Belknap, Micheal Rea, Mark Holmes, Josue Pellot, Montgomery Kim, Hao Ni, Kazuki Guzman, Matthew ‘Sighn’ Hoffman, Dylan Jones, and Holly Holmes
Chicago Urban Art Society is located at 2229 S. Halsted St. Reception is Friday from 6-11pm.
Work by Anne-Mie Van Kerckhoven
The Renaissance Society is located at 5811 S. Ellis Ave., Cobb Hall 418. Reception is Sunday from 4-7pm.
Work by Conor Backman, Magalie Guérin, and Matt Nichols
LVL3 is located at 1542 N. Milwaukee Ave, 3rd Fl. Reception is Saturday from 6-10pm.
Curated by Dawoud Bey
Hyde Park Art Center is located at 5020 S. Cornell Ave. Reception is Sunday from 3-5pm.
Chicago is one of the few major cities that use taxpayer dollars to destroy art, to the tune of $9 million in 2010. It’s this situation that makes a book like Chicago Street Art a valuable historical document as well as a rare survey of the street artists currently producing work. This artwork is literally here today and gone tomorrow.
The book also serves as an opportunity to discover who’s behind that mysterious piece of art that has suddenly appeared in your neighborhood. I learned that it was CYRO who has pasted up an odd creature made of mostly fingers on the back of a local clothes donation box. I found out that it was CRO who did the stencil of a cheerleader holding a cross in one hand—and a gun in the other. Importantly some artists and artwork remain unknown, even within the ultra-reclusive street art community, but they are still included. Like the artist who puts up positive phrases in block letters around town like, “TRUE LOVE” and “HOPE DIES LAST”.
Photos are usually the highlight of street art and graffiti books and Chicago Street Art has excellent ones from Oscar Arriola, Chris Diers, Patrick Hershberger and Thomas Fennell IV. Some of these photos were shown in the Chicago Urban Art Society’s exhibition “The Chicago Street Art Show.” Shot on professional cameras and clearly with time to spare, they are better than the photos in another recently published book about the same topic, The History of American Graffiti (HarperDesign, 2011), which had to rely on amateur snapshots. The photographers succeed at including the surrounding of the artwork, which is a significant challenge for picturing street art. You can tell that Grocer piece is on one of Chicago’s iconic drawbridges, and a Don’t Fret piece is on a pylon for the El tracks. The grit of the street comes through too; these walls are not decontextualized with the work pried from its environment. The abandoned buildings are seen, the weeds and tall grass of neglected lots are pictured, the dirty blank expanse of a brick wall is turned into an artist’s canvas. These photos and photographers do the art and, importantly for street art, its environment total justice. I’d imagine the artists are pleased.
And all the must-know Chicago street artists are included here: CLS, Don’t Fret, Goons, SWIV, Nice One, SOLVE, MENTAL 312 and many others. There’s only a single artist inclusion that I take issue with, the religious nut-ball that posts screeds all over town, listed in the book only as “Crazy Talk/Artist Unknown.” This is most certainly not art, even if it is on the street. In an especially unfortunate move a homophobic piece from this person is included, although it’s tempered by a note someone else has scrawled on it, “God also said love thy neighbor assholes.” This piece and the artist should never have been included. While it shows the democratic nature of the street, this is not art. There’s no indication that it was ever intended to be.
Goons. Photo by Oscar Arriola [not included in book]
The author, designer, editor, and publisher Joseph J. Depre makes a valiant and admirable effort at theorizing street art in his several essays but falls short. There are some significant errors (“Jackson Pollack”) along with spelling and grammar issues that diminish the effort, starting at the introduction. The design could also be more uniform, with fonts, font size and margins frequently changing from essay to essay. But nonetheless you have to give him props for being a one-man printing company.
Despite some flaws, Chicago Street Art is a must-have for anyone interested in street art, whether they are in Chicago or not. It also fills a gap in Chicago’s reception of the art form, while Los Angeles is having a landmark street art exhibition at their Museum of Contemporary Art, Chicago’s institutions have remained completely indifferent. And at $15, the price of two drinks at the bar, it’s quite affordable.
Chicago Street Art is available for purchase at the Chicago Urban Art Society Chicago Street Art is available for purchase at: www.chicagostreetartbook.com/)