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.
The latest episode of Fielding Practice, our monthly podcast for Art:21 blog, is now live! In this month’s leaner & meaner report from Chicago, Duncan MacKenzie, Dan Gunn and I talk copyright (inspired by Patrick Carious vs. Richard Prince and Gagosian Gallery, natch), discuss the impact of Chicago Imagists on younger generations of artists (re: the current Jim Nutt: Coming Into Character and Seeing Is A Kind of Thinking: a Jim Nutt Companion exhibitions at the Museum of Contemporary Art Chicago), and spend a few moments plugging that which we have seen (or plan to see) in the Windy City this month. So click on over to Art:21 to access the podcast, and thanks so much for listening!
I’m all about linking the interviews today, aren’t I? But I just came across another one that’s too good to pass on – three Chicago greats in conversation! Richard Hull interviews Gladys Nilsson and Jim Nutt for the Winter 2011 issue of BOMB, which hit the stands a few days ago on December 15th. The interview (or at least a healthy chunk of it) can also be found online – click here to read it; a small excerpt is below. There is also a 3 minute audio excerpt from the interview posted on BOMB’s website.
Richard Hull: As I was coming up here I was thinking about your collection of works by self-taught artists, contemporary art, and ethnographic objectsâ€”especially with the Ray Yoshida show coming up at SAIC. As a teacher at the school he had a lot of influence on people collecting things. When did you start collecting?
Gladys Nilsson: We bought a small painting by a Sunday painter who couldnâ€™t quite get it right at a junk shop in the early â€™60s because, I donâ€™t know, it seemed like the thing to do. We didnâ€™t start out acquiring things with the idea that we must form a collection.
Jim Nutt: The False Image people [Christina Ramberg, Phil Hanson, Eleanor Dube, Roger Brown] and other students became aware that Ray was going to flea markets, and they started going as a group. It became almost a weekend ritual, but it also had something to do with his idea of going out and collecting images that you see in your eye. It wasnâ€™t unlike his instructing students to cut out images from wherever and organize/paste them in sketchbooks, based on formal relationships. The idea was to recognize the potential of a form or shape beyond the literal reference.
GN: When all of this flea market and Maxwell Street shopping was going on, we were in California. Even earlier on, before the Hairy Who shows started up, people were ripping out ads from backs of magazines or odd photos from newspapers, or picking up junk found on the street, and surrounding themselves with this curious mix in their studios.
JN: People acquired things just because they liked to have them. Itâ€™s the kind of stuff that artists for years have had in their studios. They see something that interests them, quite often itâ€™s a postcard of a well-known painting, but itâ€™s also something from the vernacular or popular, easily acquired in the everyday world.
RH: Does what you collect influence you directly? Say, the African pieces or the works by self-trained artists in your home; do they have an effect on the way you use color or make shapes or images?
GN: Thatâ€™s been foisted on us and others of our ilk: that we were heavily influenced by our collections. I mean, I would be more prone to go to a museum, find an arm in a painting and use it as a source, than to say, â€œOh, my God! Look how Joseph Yoakum draws a tree in a work in our collection. I must use that.â€
February 15, 2010 · Print This Article
Roberta Smith of the New York Times is way too classy and refined to actually rant. Yet despite the even-handedness of her tone, her argument here is impassioned. It also happens to be one that I agree with. Note the part where she reports that the MCA has yet to find a New York venue for its in-the-works Jim Nutt retrospective. A brief excerpt below, then go read the full, lengthy piece from last Sunday’s paper here.
“To paraphrase Jerry Lee Lewis, there is a whole lot of art making going on right now. All different kinds. But you’d hardly know it from the contemporary art that New York’s major museums have been serving up lately, and particularly this season.
The current exhibition of Gabriel Orozco at the Museum of Modern Art along with the recent ones of Roni Horn at the Whitney Museum and of Urs Fischer at the New Museum have generated a lot of comment pro and con. So has the Tino Sehgal performance exhibition now on view in an otherwise emptied-out Guggenheim rotunda. But regardless of what you think about these artists individually, their shows share a visual austerity and coolness of temperature that are dispiritingly one-note. After encountering so many bare walls and open spaces, after examining so many amalgams of photography, altered objects, seductive materials and Conceptual puzzles awaiting deciphering, I started to feel as if it were all part of a big-box chain featuring only one brand.”
…To Start Off The New Year!
Hey everyone! Hope ya’ll had a good hooliday! And now we stride fourth, from the ‘Ots to the Onezies, with many a show to look forward too. This weekend (especially Friday) is particularly ripe for new year pickings, so in celebration of all that, I give you…
THE FIRST 10 OF THE NEW YEAR!
(In not much of a particular order)
Happy ‘Effen 2010!
1. In Stereo at Rotofugi
I feel like I should hate this work for being hip and trite, but it just makes me think of Rosler’s 60-era “Bringing the War Home” too much for me to hate it. Make your own decision.
Reception Friday from 7-10pm. Rotofugi is located at 1953 W. Chicago Ave.
2. 3-for-1: Queen of Heaven, R&R (…&R), and Up Is Down at the Chicago Cultural Center
I am generally in favor of 3-for-1 shows, especially when there are actually three big shows in one place, something few other places do as well as the Cultural Center. On top of that the work looks worth seeing, to boot. Sheesley presents nearly photo-real paintings of puddles, Faier forces confrontation with death (or our refusal to confront it) with his images of mausoleums and their waiting rooms, and Slavick explores carnage in Afghanistan, Iraq, and Lebanon through over painted photographs.
Reception Friday from 6-8pm. The Chicago Cultural Center is located at 78 E. Washington St.