Work by Kristen Romaniszak, Brandon Heuser, Catie Olson and EC Brown.
Floor Length and Tux is located at 2332 W Augusta Blvd, 3F. Reception Saturday from 7-10pm.
Work by Greg Stimac.
Andrew Rafacz Gallery is located at 835 W. Washington Blvd. Reception Saturday from 4-7pm.
Work by Thomson Dryjanski, , Brandy Fisher, , Emerson Granillo, David M. Hall, Misato Inaba, Absis Minas, Jen Smoose, Jaroslaw Studencki, Kristen Lee Stokes, Eileen Mueller, Casey McGonagle, and Hyounsang Yoo.
Johalla Projects is located at 1561 N. Milwaukee Ave. Reception Friday from 7-10pm.
Work by Mark Mulroney.
EBERSMOORE is located at 213 North Morgan, #3C. Reception Friday from 6-9pm.
Work by Gregg Bordowitz
iceberg projects is located at 7714 N. Sheridan Rd. Reception is Saturday from 6-9pm. Artist talk at 7pm.
Work by Learning.
Fill in the Blank Gallery is located at 5038 N. Lincoln Ave. Reception Friday, 7-11pm.
Work by Nancy Rosen.
The Family Room is located at 1821 W Hubbard St., # 202. Reception Friday, 6-11pm.
3. FLAT 7 at Floor Length and Tux
Work by Julie Rudder, Kendrick Shackleford, David MorÃ©, Catie Olson and EC Brown. This fish is not the work, it’s just FLAT’s awesome logo.
Floor Length and Tux is located at 2332 W Augusta Blvd, 3F. Reception Saturday 7-10pm.
Shameless self promotion, but it’s going to be an awesome show. Co-curated by Andrew Blackley, Stephanie Burke and Steve Ruiz. Featuring the work of Duncan Anderson, Susan Giles, Anna Kunz, Oliver Laric, and Nathaniel Robinson.
LVL3 is located at 1542 N Milwaukee Ave, 3. Reception Saturday, 6-10pm.
Bring a T-shirt to silkscreen. Work by Tony Tasset, Pamela Fraser, Rebecca Mir, Aay Preston-Miint and others.
He said, She said is located at 216 N Harvey Ave, Oak Park. Reception Sunday, 2-4pm.
The madness of Artopolis is over my friends, and I’m glad for it, it was a long weekend. But this by no means indicates a lack of awesome art. This weekend is surprisingly busy, and here’s what I think shouldn’t be missed:
1. Immersioni/Immersions at Johalla Projects
A primarily, though not exclusively,Â video based exhibition jointly curated by Anna Cerniglia and Susanna Horvatovicova, and featuring the work of Elise Blue, Ben Russell, Rakele Tombini, and Chiara Tommasi.
Johalla Projects is located at 1561 N. Milwaukee Ave., 2nd fl. Opening Reception Friday, from 7-11pm.
2. Alphabetization at Noble & Superior Projects
An exploration of language curated by Ania Szremski, and featuring the work of Brandon Alvendia, Scott Carter, Eric Fleischauer, Brookhart Jonquil and Daniel Lavitt.
Noble & Superior Projects is located at 1418 W. Superior St. Opening Reception Friday, from 6-10pm.
3. The Home Front: What You Can Do! at Pritzker Military Library
WWII motivational propaganda posters. Have you started your war garden?
Pritzker Military Library is located at 610 N. Fairbanks Ct., 2nd fl. Show begins May 7th.
4. Flat 6 at Floor Length and Tux
Experiments in spicy with Jon Bollo, Luca Scala, Jonathan Ozik, Matty Colston, Catie Olson, and EC Brown.
Floor Length and Tux is located at 2332 W. Augusta, #3. Reception Saturday, beginning at 7pm, DJ at 11pm.
5. As you pass by and cast an eye as you are now so once was I at Western Exhibitions
Creepy sculpture and flat work by Rachel Niffenegger. John Parot’s show Hobbies also opens at Western Ex.
Western Exhibitions is located at 119 N Peoria St. 2A. Reception Saturday, from 5-8pm.
Guest Post by Jennifer Breckner
Some Notes on Hosting
Brian O’Doherty, in his seminal 1976 book, Inside the White Cube: The Ideology of the Gallery Space, takes the traditional gallery space to task, critiquing the manner in which its white walls became the de facto authority that conferred the status of art upon any object that resided within its space. Serving as a template, the white cube format-white walls, rectangular or square shape, wooden floors, and lit from the ceiling-may be utilized anywhere and continues to be implemented widely, including in most of Chicago’s beloved apartment galleries. What are some tactics for moving beyond this model in these types of smaller domestic environments so that a more equitable space may be envisioned?
Presented as neutral but being far from it, the sanitized, white-walled space came into being during Modernism and quietly claimed more and more power over time so that eventually it became more important than the art that was displayed within. “We have now reached a point where we see not the art but the space first,” asserts O’Doherty.  The white-cube model continues to be the premier method for the display of art within institutions such as the formidable museum, blue chip commercial gallery, and even the not-for-profit “alternative” gallery. Its structure conveys knowledge and authority; it asks of the viewer a quiet, almost religious-like devotion. While it often is a useful background for artwork to be seen on, the white-walled gallery may also be a place of exclusion and judgment where privilege, breeding, economic status, educational background, and social cache allow various stages of access and exclusion. It is a space of contention, often leaving visitors in the precarious position of questioning their right to be there.
If this type of space is rife with anxiety and power, then shouldn’t the apartment gallery be an antidote to this situation since the power within these spaces resides with individuals who have broader latitude and more autonomy-because the stakes are not as high as the commercial gallery or museum-to experiment with setup? Yet most Chicago apartment gallerists seem interested in perpetuating the white cube and all its inherent structure and exclusions, even if the directors are not consciously aware that they are doing this. In large part, the use of this modernist template is due to the fact that most apartment gallery owners are renting the space that they live in and serious changes to the infrastructure of their domestic space could have a negative effect on their lease. Or perhaps they do not see the gallery space as elitist and find it useful to follow the professional set-up. More importantly, though, the institutionalization of exhibition methods has infiltrated even the tiniest self-produced endeavor and carries such weight that many individuals see their apartment gallery as a calling card to gain entrance to the realm of more professional institutions.
There are many of these self-initiated exhibition venues that do away with the materials of everyday life and gravitate towards the white cube blueprint. An article on Chicago’s apartment galleries mentions an owner who was pleased that the exhibition part of her living space resembled a commercial venue and that all of the evidence of people living there had been removed out of sight. This kind of approach is a mistake for how can one’s living space compete with the likes of a commercial gallery? Instead of the domestic space striving to be more commercial and always falling short of the pristine effect and voice of authority that the museum or formal gallery embodies, the focus should be on finding inventive and innovative strategies of display that mingle art with living materials. Read more
Guest Post by Caroline Picard
On the matter of public (1) space : or my apartment gallery is an arctic explorer
“‘Oh, you have a roommate?’
‘Yeah, she’s actually here right now, but she’s sick….Don’t do that-she’s trying to sleep.’
I heard them but pretended to remain asleep by keeping my eyes closed; [closing your eyes] is what passed for privacy then. My ‘room’ was in a corner of the kitchen on the other side of a folding screen. If you were tall enough, you could see me from either side at any time. The above exchange took place during the installation of a show when I happened to have a cold. I lived at the Green Lantern from 9/06 to 8/07. Recently out of college, I moved to Chicago to get my bearings. I had just spent two years living in the French countryside with no heat, no car, no Internet, no noise, no zines, no sushi, no shows, no jargon. When I moved in, I had never owned a computer. Suddenly I was in the middle of an art scene.” Read more