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.
December 8, 2010 · Print This Article
I’ve mentioned art:21′s current film William Kentridge: Anything Is Possible a few times already, but I wanted to bring art:21′s project to your attention once again in order to point out the website that accompanies the film, which offers a range of educational resources that help flesh out the film’s explorations. I’ve contributed an essay to the site, too – I tried my hand at writing about opera – Kentridge’s production of The Magic Flute, to be exact. It was really hard to write! But satisfying. There are a bunch of really fantastic pieces on the site that address Kentridge’s prints, his tapestry projections, his production of Shostakovich’s opera The Nose, and the proverbial much, much, more, including an essay providing background on the making of the film Anything Is Possible itself. You can also watch the full, feature-length film in its entirety on the website.
As always, don’t forget to check out Bad at Sports’ ongoing column Centerfield: Art in the Middle with Bad at Sports on art:21 blog. We post on the 2nd and 4th Tuesdays of each month.
Written and overseen by Meg Onli, our beloved BAS teammate, Black Visual Archive is a terrific new blog/website dedicated to contemporary black and post-black visual culture that launches this week. What’s more, the website is designed by another invaluable BAS colleague, Martine Syms, who as you all know also runs Golden Age. I love the crisp look of this site, and the range of subject matter, which promises to be pop-y, eclectic, smart yet fun, too. Right now, Black Visual Archive has a beautifully written review of Kerry James Marshall’s exhibition catalog Mementos from his 1998 exhibition at the Renaissance Society in Chicago, which looks at the thematic and conceptual implications of the book’s design and content. They’ve also posted on a performance of Nina Simone’s “Feelings” at the Montreau Jazz Festival and the Berry Brother’s Fascination’ Rythym. A brief excerpt from “Kerry James Marshall | Mementos” follows:
Historically, a souvenir painting is a literal interpretation of an event, however, instead of painting the march from Selma to Montgomery or a portrait of the Little Rock Nine, Marshall’s “Souvenir” paintings all depict the interior of a middle-class household. In Souvenir I, (1997) the home becomes sanctified with the souls of black folk who hover above a couch. Their visages, reproduced with screen-prints, which are a sharp contrast to Marshall’s hand, are of deceased men, women and children with angel wings. In gold glitter the phrase “in memory of” is scrawled just below them. Is this our souvenir? The ability to ascend to a higher social status? Are these men and women our post-Movement saints? Powell notes, “one gets the sense that the ‘Souvenir’ paintings have just as much to do with process of memorializing as they do with the ‘idea’ or ‘theme’ of the memorial: painting likeness and building effigies to the one-time mortals-but-now-gods; creating a functioning, commemorative alter in one’s home; and constructing a hierarchy of African-American sainthood.”
There’s much more to come, so check out the site on a regular basis, or subscribe to the RSS feed for more.