A graphic, editorial overview of art, artists, and visual art events, found in and around Chicago over the course of the preceding month. All artwork copyright original artists; all photography copyright Paul Germanos.
Above: Theo Elliot at left; Morgan Herbert-King at right; opening night at ACRE Projects.
Thelonious Elliot and Wray Morgan Herbert-King
“Moving a Hole”
January 20 â€“ February 4
1913 W. 17th St.
Chicago, IL 60608
Above: “Algren” 2012
Above: “Morandi” 2011, top; “Entrapment” 2012, bottom.
January 11 – March 1, 2013
Harold Washington Library Center
400 S. State St.
Chicago, IL 60605
Above: Exhibition closing and curator talk (MCA curator Dieter Roelstraete, left, and Smart curator Stephanie Smith, right) January 13, 2013
“Of what is, that it is; of what is not, that it is not,” panel 2
(wool tapestry from photo collage, approx. 11 x 38 feet, half of diptych)
December 13, 2012 â€“ January 13, 2013
Smart Museum of Art (lobby)
5550 S. Greenwood Ave.
Chicago, IL 60637
Above: Robert Chase Heishman with artwork at Roots & Culture, opening night.
Robert Chase Heishman
January 18 – February 16, 2013
Roots & Culture
1034 N. Milwaukee Ave.
Curated by Eric May, Stephanie Cristello and Allison Glenn
Artwork by Robert Chase Heishman, Jessica Labatte, Alistair Matthews, and Liz Nielsen
Above: Peeking inside the piece “Public Space/Two Audiences”
R. H. Quaytman
“Passing Through The Opposite of What It Approaches, Chapter 25”
January 6 â€“ February 17, 2013
The Renaissance Society
5811 S. Ellis Avenue
Bergman Gallery, Cobb Hall 418
Chicago, Illinois 60637
Above: Cotton on linen, embroidery, under glass, framed.
January 11 – February 16
Packer Schopf Gallery
942 W. Lake St.
Chicago, IL 60607
Above: Sarah Mendelsohn with her artwork at The Plaines Project, opening night.
January 19 â€“ February 8, 2013
The Plaines Project
1822 S. Desplaines St.
Above: Tom Torluemke with his horrific vision of environmental degradation, shot at the opening reception.
“Fearsome Fable â€“ Tolerable Truth”
January 20, 2013 â€“ April 28, 2013
Hyde Park Art Center
5020 S. Cornell Ave.
Chicago, IL 60615
Above: Hummingbird in flight, floral origami aim, installation at Roxaboxen.
“Potentialities,” a two-person show with Milcah Bassel
January 20 – February 1, 2013
Roxaboxen Exhibitions / ACRE Projects
2130 W. 21st St.
Chicago, IL 60608
Above: Scott Hocking with artwork at opening reception for “EXCHANGE: Chicago-Detroit”
CHICAGO: Chicago Artistsâ€™ Coalition, Chicago IL
January 11 – 31, 2013
DETROIT: Cave Gallery and Public Pool, Detroit, MI
February 23 – March 16, 2013
Chicago Artistsâ€™ Coalition,
217 N. Carpenter Street,
Chicago IL 60607
Above: Edie Fake at opening reception; artwork in background.
January 4 – February 16, 2013
Thomas Robertello Gallery
27 N. Morgan St.
Chicago, IL 60607
Above: Lauren Payne and Erin Washington’s collaborative installation, opening night.
Above: Jenny Kendler (ACRE Board of Directors) left; Lauren Payne, right; opening night.
Lauren Payne and Erin Washington
“As Above So Below”
January 25 – 31, 2013
Johalla Projects / ACRE Projects
1821 W Hubbard, Suite 209
Above: Harvey Moon with “drawing machine” installed in gallery, opening night.
January 25 – March 22, 2013
230 W. Superior St.
Paul Germanos: Born November 30, 1967, Cook County, Illinois. Immigrant grandparents, NYC. High school cross country numerals and track letter. Certified by the State of Illinois as a peace officer. Licensed by the City of Chicago as a taxi driver. Attended the School of the Art Institute 1987-1989. Studied the history of political philosophy with the students of Leo Strauss from 2000-2005. Phi Theta Kappa and Phi Kappa Phi. Motorcyclist.
On view currently at Chicago’s Thomas Robertello Gallery are 15 pen, ink, and gouache drawings on paper by local artist, illustrator, and author of theÂ Gaylord Phoenix volume of comics, Edie Fake. Titled ‘Memory Palaces,’ the exhibition is a stunning showcase of Fake’s exceptional, and exceptionally idiosyncratic, formal skills in composition, pattern-design, and color, as well as a moving meditation on loss. Specifically, Fake pays tribute to the passing of five friends, colleagues, activists, and artists (Mark Aguhar, Nick Djandji, Dara Greenwald, Flo McGarrell, and Dylan Williams) in a series of drawings titled Gateway, and to ten real or imagined spaces of queer congregation no longer, or never, existent.
Put simply: depicted are places Fake, or the rest of us, may never go. They are hopeful spaces vividly imagined by those living in a contemporary urban environment largely ravaged and rid of countercultural nightlife by neoliberal vice and zoning laws, class-targeted antidrug policies, and corporate gentrification efforts throughout the late 20th century. As such, the collection of building facades Fake depicts – described as a neighborhood – can only be psychically located between utopian fantasy and interpretive research. Doing so foregrounds how the imagination and it’s shadow, desire, propels individual or collective searches for heritage, lineage, and belonging. What might be made possible for someone whose very personhood and politics teeters on the brink of unviability by the realization that, yes, La Mere Vipere (a burned down gay/punk venue in the now-gentrified Boystown), Killer Dyke (a radical lesbian periodical), and JANE (a clandestine feminist-led abortion service) did, indeed, exist here in the 1970s? Comprehension of these disappeared, criminalized spaces and services entails not simply an intellectual recognition, but something much more sensorial and perhaps even spiritual when translated through the prismatic hallucinations offered by Fake.
The flatness of the paper Fake has drawn upon is only a format, as his palette of offbeat hyper-colors and remarkable geometric drawing skills translates a deeper, pulsating dimensionality, like the embedded optic phenomena of a Magic Eye poster and a horror vacui painting. A handful of the places recreated here include dance venues, sex-clubs, and art spaces, all of which Fake has foregone a faithful architectural re-approximation of in favor of getting at something much more enigmatic – the mind-altering life practices they facilitated. Representing nightlife from psychedelia through disco and punk, up to rave, Fake renders his spaces with the fluorescent sensibilities and colors of escape developed via dance-floors and acid-trips. Neon hues that should clash, but somehow don’t, cohere in vibrant mosaic facades Fake has lent to 80s voguing-hub Club LaRay and former host of 70s gay anarchy nights The Snake Pit. Seeming inspired by the hypnotic, transportive potential of repetition and detail in geometric art, Fake’s designs are infused with a mystical content in the style of Islamic tile work or Huichol yarn and bead art.
The evocation of non-Western, nondenominational, and anti-representational spiritual aesthetics acquires political significance upon realization of for whom Fake has drawn a Gateway. Fake has imagined entryways into the hereafter markedly more colorful, robust, lavish, and peculiar than the pearly ivory luster of Judeo-Christian concepts of the afterlife. Those mourned are imagined as entering a kaleidoscopic, palatial elsewhere, rightly undoing inherited notions of heaven too tidy, too conservatively patriarchal, for housing the spirit of trans-queer-feminist artist of color Mark Aguhar, the anti-racist feminist dance parties of Dara Greenwald, or the critically outsider sensibilities of punk/metal-comic pioneer Dylan Williams.
It is here where Fake’s project best comes into full relief; it is only through the physical manifestation of improbable psychic longing that another world becomes possible, knowable, inhabitable. After hours, off the books, and after life; Fake honors such phenomena, and those residing there, with an informed, aspirational intensity apparent in the meticulous, strange, gorgeous labor of his drawing.
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 CarrÃ©, 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 Mark Aguhar, Claire Arctander, Nina Barnett, Jeremy Bolen, Elijah Burgher, Edie Fake, Pamela Fraser, Tiffany Funk, R. E. H. Gordon, Steve Hnilicka, Kasia Houlihan, Mark Kent, Young Joon Kwak, Andrew Mausert-Mooney, Marianna Milhorat, Tim Nickodemus, Aay Preston-Myint, Juana Peralta, Macon Reed, Colin Self, Michael Sirianni, Nathan Thomas, Neal Vandenbergh, Xina Xurner and Isaac Fosl-Van Wyke, Allison Yasukawa, Gwendolyn Zabicki, and Latham Zearfoss.
Gallery 400 is located at 400 S. Peoria St. Reception Friday, 5-8pm.
Curated by Shannon Stratton, with work by Laura Davis, Carson Fisk-Vittori and Julia Klein.
Threewalls is located at 119 N. Peoria St. #2C. Reception Friday, 6-9pm.
Work by Mike Kloss and Kirsten Stoltmann.
New Capital is located at 3114 W. Carroll St. Reception Saturday, 7-10pm.
Work by Juyeon Kim.
Prak Sis Gallery is located at 1917 W. Irving Park Rd. Reception Saturday, 5-8pm.
Work by Brandon Anschultz, Daniel Baird, Benjamin Funke, Sarah Mosk, Eileen Mueller, Aay Preston-Myint, and Min Song.
Andrew Rafacz Gallery is located at 835 W. Washington Blvd. Reception Saturday, 4-7pm.
Neil Brideau: I think over the past few generations comics have really come into their own. Â They’re being accepted more by the larger cultural world, and I think that helps cartoonists break out of their shells a little bit. Â Most ofÂ CAKE’s exhibitors are in their late twenties and early thirties, and I feel like this generation is a lot more social than their immediate predecessors. Â There’s this stereotype of the alternative comics artist toiling away in their studio not getting any financial or critical compensation for what they love, and feeling sorry for themselves. Â But I see our peers really celebrating their creative process and the creative process of others. Not that there aren’t a lot of nights spent alone in a room inking pages of comics very few people will read. Â I think Chicago too, in general is really welcoming of DIY and small-run creativity. Whether it’s the Night Market, or the CIMM Fest, or the Chicago Zine Fest, or Printers Ball, or house shows that DIYCHI is putting together, Chicago seems to be an incubator for lo-fi production and celebration of that production. Â I think cartoonists in Chicago react to that energy, and are more social and community-oriented animals.