Edition #31

May 27, 2014 · Print This Article

Scraps by Emre Kocagil

Delicious Emre Kocagil Leftovers.

Local Boutique Sells Studio Floor Scraps; Calls it Art

WTT? is always on the lookout for a good bargain (aren’t we all?), and this fire sale is the cheapest/ best deal since Kate Ruggeri’s public drawing trade. After Scrap Heap’s drying rack debut was unfortunately dampened by rain last summer at Medium Cool, Sofia Leiby is back with an even bigger roster of artists willing to sell their tra$h for ca$h. Putting her scraps where her mouth is, Leiby will be hocking studio ephemera for $20 or less.

Delightfully affordable work by Leslie Baum for Scrap Heap II.

Flyer by Louis Doulas.

Featuring artists such as Ryan Travis Christian, Ron Ewert, Magalie Guerin, Ben Foch, Josh Ippel, Leslie Baum, Aron Gent, Emre Kocagil, Tyson Reeder and Aya Nakamura, the fragments and sketches will be available for a limited time only from 11-5PM, June 7th at TUSK.

Matisse much? Aya Nakamura’s painted scraps.

Already jealous of whoever picks up this glorious scrap by Edmund Chia.

More information and preview photos can be found on Leiby’s Facebook. All proceeds will go to participating artists. Tusk is located at 3205 W Armitage in Logan Square.

In Memorandum

Diane Arbus, Veteran with a flag, N.Y.C. (1971). © The Estate of Diane Arbus.

Who Wore it Better?

Shannon Straton dressed in Renovar for the Threewall’s Skywalker Benefit on June 7th VS Kimye’s post wedding gown.

The Weatherman Report

Alex Katz, Late Summer Flowers, 2013, 38 color silkscreen on 4-ply, 40 × 55 in, Edition of 50. Vertu Fine Art.

BREAKING: Fitzpatrick to Go Out with a Bang. And a Stage Show. And a Magazine Portfolio.

If you’ve been awe-struck and slack-jawed since Jason Foumberg broke the news of Tony Fitzpatrick’s departure in April, you may also be wondering where the artist will hold his final exhibition as a Chicago resident. Pick up your face, the wait is finally over: Fitzpatrick’s last show, The Secret Birds (knack for titles, huh?) will be held at the Poetry Foundation from July 1st – September 12th.

Fitzpatrick’s Ice Bird.

Formerly only a student of Studs Terkel and the streets, the 55 year old is leaving his lifelong home for the University of New Orleans. His interest in birds not confined to printmaking, Fitzpatrick will study ornithology and natural history in the fall. In addition to the exhibition in the Foundation’s gallery, Fitzpatrick will also produce a stage version of the show, drawn from his poetry and other writings, of the same name. The performance will feature Martha Lavey (Steppenwolf) and music by Frank Orrall (Poi-Dog Pondering). It will premiere on July 31.

Walk on the Wild Side (Drawing for Lou Reed)

In case you’re not totally Tony’d out, Poetry will also run a portfolio in the July/August dedicated to Lou Reed entitled “The Day Lou Reed Set Me Free.” After that it’s time for Fitzpatrick to update his bio before he spreads his wings and flies away.

Look out for info on the opening and performances related to The Secret Birds. Definitely serving high-quality snacks. The Poetry Foundation is located at 61 W Superior in River North.

T around Town

Artist, Matt Schlagbaum, convinces viewers to stare at “blank” wall at the opening for In the land of thieves and ghosts at Heaven Gallery in Wicker Park.

Eileen Mueller really collapsing the distinction between art and life at the Girl Don’t Be Dumb opening at Forever and Always in Pilsen on Friday, May 16th.

GDBD bathed their viewers in their signature pink in and outside of the F&A.

SPOTTED: Chris Hammes and Michelle Harris at In the land of thieves and ghosts.

More ethereal work by Matt Schlagbaum at Heaven Gallery.

Conceptual Artist Lecture Even More Perplexing Than His Work. Richard Tuttle speaks at The Logan Center on the evening of May 13th

A Tale of Two Anthony’s. Romero and Stepter outside the The Artists’ Congress held at Northwestern May 17th. If you missed your chance to discuss radical politics in the arts, you’ll have another chance June 22nd at the follow up picnic to be held at Mana Contemporary in Pilsen.

Good luck ever looking cool again if you missed the Chicago Looks Spring Swamp held at Elastic Arts Sunday May 18th. You already know we love a bargain! Featuring an unbelievable record swap, boozy punch and choice Buffalo Exchange worthy clothes all for free, the event also had local vendors like Leah Ball and Kokorokoko selling affordable duds and accessories. Shout out to the vivacious Isa Giallorenzo of Chicago Looks and the lovely Leah Ball for hooking it up!




Top 5 Weekend Picks! (3/28-3/30)

March 27, 2014 · Print This Article

1. Love to Love You at Roots and Culture

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Work by Sara Condo and Oli Rodriguez.

Roots and Culture is located at 1034 N. Milwaukee Ave. Reception Friday, 6-9pm.

2. Frozen Borderline at Ballroom Projects

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Work by Jeff Prokash, Kyle Nilan and Danny Floyd.

Ballroom Projects is located at 3012 S. Archer Ave. #3. Reception Saturday, 7-10pm.

3. Majesty of Flesh at Defibrillator

ROCIO-BOLIVER_balancing-edge_age

Work by Rocio Boliver.

Defibrillator is locate at 1136 N. Milwaukee Ave. Reception Saturday, 8-11pm.

4. HCL Spring Warming House Party at Mana Contemporary

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Work by Honeypot Performance, Amber Ginsburg & Aaron Hughes, Amir George, NNN Cook, Melinda Jean Myers, Walkabout Theater, CUBE Ensemble, HusARchitecture and Micah Salkind.

Mana Contemporary is located at 2233 S. Throop St. Event Saturday, 7-11pm.

5. Harts For Art: 5th Annual Silent Art Auction and Benefit Raffle at LVL3

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Work by Alex Chitty, Ben Medansky, Brian Kokoska, Brion Nuda Rosch, Calvin Ross Carl, Chelsea Culp, Clay Hickson, Cody Tumblin, Daniel Shea, Evan Robarts, Josh Reames, Lauren Clay, Leslie Baum, Liz Nielsen, Maria Walker, Paul Kenneth, Peter Shear, Rachel Niffenegger, Robert Costello, Ryan De La Hoz, Sabina Ott, Sofia Leiby, Steven Riddle and Zach Reini.

LVL3 is located at 1542 N. Milwaukee Ave. 3rd Fl. Event Saturday, 6-10pm.




Smart Painting: An Interview with Josh Reames

October 31, 2013 · Print This Article

By Kevin Blake

Josh Reames makes smart paintings. Whether he is deliberately utilizing painting tropes, such as the dripping brushstroke, or deploying obvious geometric abstraction, Reames’ work acknowledges his awareness of the painting vocabulary while creating his own grammar from canvas to canvas. Reames aligns his understanding of painterly tradition with his interpretation of contemporary experience that speaks directly to the viewer through text, emoji, palm trees, and anything that seems fitting in the moment of creation. As Reames carves out his own space in the painting world, he wittingly nods his head to a history he  knows well.

 

Josh Reames “commencement” 2013 Acrylic on Canvas 45″ x 55″

 

Kevin Blake: You have an interest in the escapist ideal, and while those ideals are more overtly addressed in your multimedia constructions, I think your paintings, at times, depart from those ideas and allow for a more eclectic read. Can you talk about your modes of production and how those different methodologies have different relationships to your conceptual framework?

Josh Reames: Sure, I think the paintings lend themselves to an eclectic read, but only as a group. I try to keep individual paintings focused on specific ideas. I think all of the work addresses escapism, just in varied ways. The tropical imagery and psychedelic drug references are just as involved with escapism as the act of painting is. The eclectic read is a product of my scattered focus, which is probably a product of internet culture. My conceptual framework is pretty broad; if I had to describe my intentions with painting it would be to use painting as some sort of filtration device for cultural bi-product. I mean, I’m super into the idea of relativity (cultural, moral, etc.), and painting has this ability to literally flatten images and references into a rectangle. By pushing images together and composing them into a painting, you can flatten the references and remove the hierarchy of importance. So Abstraction, palm trees, emoji, drippy brushstrokes, dollar signs, cigarettes, and the Sphinx can all be flattened to the same level – composition. Either nothing is really dumb anymore, or all of it is, it’s getting hard to tell.

KB: You make pictures that perpetuate your grasp of the canon of abstract painting, and I wonder if there is any escape from those parameters. When you are making paintings, how do you filter your knowledge of abstraction (historical and contemporary) to maintain something that is your own? Can artists escape the initiated forms they supersede? Can painting ever escape from itself?

 

Josh Reames “bomb jokes” 2013 Acrylic on Canvas 24″ x 28″

JR: Maybe I’m wrong, but it seems like the need for iconoclasm is outdated. I think the idea of superseding or escaping abstraction comes from some need for a linear narrative of “this became that, then that became something else” which I think has been a legit way of understanding a progression of artists, at least for the past few hundred years. But now I think it’s a little different; sampling, re-sampling, homage, and straight plagiarism are all viable forms of historical awareness in art. The drippy brushstroke has historically been an abstract tool, meant to express the presence of the artist – a remnant of the physical self. But over time, that becomes a trope, a symbol separated from it’s original context. I think this is liberating in a way. It’s sort of like Tarantino using the tropes of old kung-fu films like Zatoichi and Lady Snowblood; he takes an outdated thing and makes it fresh. In that sense, Robert Motherwell or Franz Kline didn’t have the internet, so I have a fresh set of tools to play with.

KB: Is sampling, re-sampling, homage, and straight plagiarism unavoidable at this point?

JR:  I mean, all the best artists have stolen, it’s just easier now. When you are completely inundated with images on a daily basis there becomes this subliminal pool of imagery and information that seeps into the studio. I don’t think it’s completely unavoidable, but if you are like most artists with access to the internet, it is pretty difficult to avoid. That being said, I don’t think there is anything wrong with it.

KB: Your paintings reference artists like Charline Von Heyl and Christopher Wool among others and I am curious as to how you think you arrived at those influences?  What I am trying to understand from your perspective, is how you feel about so many artists drawing from the same well. The internet provides an infinite range of source material, yet the pool of imagery that seeps into your studio, seems to be oozing into everyone else’s simultaneously. Fortunately, you are distilling it all in an interesting way. It is a pattern in art history for contemporary artists to be in dialogue with one another. How do you negotiate those terms and demands?

 

Charline Von Heyl “Bluntschli” 2005

JR: I love Wool and Von Heyl, I think they are some of the most important living painters. I relate to how Wool handles abstraction, especially with the screen prints, in an almost hands-off kind of way. He takes abstraction, historically an emotionally charged way of painting, and filters it through a Warhol-ian process that removes the hand. I think there is a lot of humor there, super dry though. So good! There are only so many ways to make paintings; different combinations of styles, tropes, paint handling, tools, etc. Eventually it’s not difficult to take a step back and see artists doing similar things. I’m not sure it matters though, as long as the thing being made is interesting and has some connection to the artist. After that it’s all personal taste.

KB:Shifting gears a bit, I was hoping to talk to you about text in your paintings. Often times, text is integrated into the image and sometimes the text appears to be squeezed out of the tube on top of an abstract composition–your paintings “YYY” and “Land Grab” come to mind. How does text operate for you in your paintings?

JR:Text is a way to guide the viewer, to give some sort of context to an otherwise abstract painting. I always integrate the text so that the letters or symbols double as marks, either sprayed or squeezed in the same way any other mark would be made on the canvas.

 

Josh Reames “YYY” 2013 Acrylic on Canvas 56″ x 66″

KB:I’m interested in your word choices and how, if at all, you see them as a personification of yourself. Or are the words derived from language you see fitting into your escapist trajectory?

JR:I keep a running list of text ideas in my sketchbook and on my iPhone. The word combinations that get used are usually really open ended, allowing for specific/individualized reads, but also have a specific connection to me. Sometimes it fits the escapist trajectory, but others will be references to books I’m reading or words that I came across that stuck with me.

 

Christopher Wool Untitled 1990 Enamel on Aluminum 106″ x 72″

KB: Can you talk about how the array of non-traditional painting materials have made their way into your painting practice? Spray paint, airbrush, and fluorescents, to name a few, seem to be the rage. Are these materials and/or high key palettes coincidence or do you think they reflect something more concrete?

JR:In a broad sense I think non-traditional painting materials, usually applied to abstraction, are a way to make abstraction relatable. Matias Cuevas’ poured paintings on carpet, or Andrew Greene’s glass abstractions are good examples; they bridge the gap between a messy abstraction which really just exists as a historical trope, and everyday materials, which pulls the trope into something new. I don’t think my work really fits in this category,  I think using airbrush and fluorescents aren’t that uncommon; I started using the airbrush because I have no patience with paintbrushes. I’m a pretty shitty painter if you put a brush in my hand, I can never make it do what I want it to do! The airbrush is different, it’s way more versatile, and quick. As far as the high-key color palette’s go, I’m sure there’s some coincidence there, maybe trends – personally I just like shiny things…

KB:I think you are right, these techniques are becoming more and more common in contemporary painting practices.  Maybe it relates to a culture of instant gratification, immediacy, and even escapism.  Does the pace of everyday life influence your material applications and the speed at which you make your work?

JR:I agree, I think people (artists included) generally have a short attention span and as a result, a lot of impatience. I know I do. I am always able to look at a painting that took months to complete and think “wow, that took a lot of time”. But I don’t think the amount of time something takes makes it any better than if it was quick. Again, my use of the airbrush is entirely about speed and impatience. I want the paintings to look meticulous, with slick surfaces and plenty of precision – but I want to make a lot of paintings, so speed is key! The pace of everyday life probably has an indirect influence on that.

 

Josh Reames “VALIS” 2012 Acrylic on Canvas 36″ x 40″

KB:Speaking of the pace of everyday life, how do things look in your studio right now as you prepare for your solo exhibition at Luis De Jesus in Los Angeles this January? What do you plan to show?

JR:It’s crazy in here, I just got back from an 11 day trip to NYC where I saw some pretty rad shows (Josh Smith, John McCracken, Joshua Abelow, etc.). It’s great to be back in the studio working on some new paintings. I think I’m going to make a handful of emoji paintings and text paintings with text-message shorthand. The working title is THE INTERNETS. Time is such a luxury though, I’ve been considering hiring a studio assistant so I don’t have deal with those pesky tasks like stretching and priming canvases… we’ll see!

 

Kevin Blake is an artist and writer working in Chicago.




EDITION #17

September 9, 2013 · Print This Article

Fall already freaking jam packed with openings

It’s official, Chicago artists are back from their residencies and vision quests and it is time for the fall gallery season. Inaugurated this weekend with about a million openings from River North to the ‘burbs and back again, we’re still reeling. Here are some photos while we iron out our thoughts:

Oh, this brave new art world! We didn’t know QR codes could actually do something but this interactive curiosity greets you at the entrance to Technoromanticism, a strictly new media show curated by Alfredo Salazar-Caro at Jean Albano Gallery on Friday night.

Performance finally showed some skin at the second iteration of THIS IS NOW A MAGAZINE: Dwyer/Fraccaro/Wylie in Logan Square last week. Things were anything but comfortable at the Comfort Station during a performance using CAM4 and something having to do with Buffalo Bill that we wish we could erase.

This pink combo stole our heart at LVL’s opening for Quandry on Saturday night.

Volume Gallery debuted their completely amazing and beautiful renovated space on Friday night with a show by Jonathan Muecke. Despite all the new space (or maybe because of it) the gallery was totally packed. This photo is from SightUnseen


Tyson Reeder’s opening at Peregrine Program celebrated some of Club Nutz greatest hits, and reminded us that we need to hit the beach one last time before fall!

Sterling Lawrence was super conceptual and all, but we thought these Alain Biltereyst pieces at Devening Projects + Editions were cute in a good way and would fit way better in my studio apartment.

Also, this?!

Reading is Fundamental

  • Cave of Lascaux blows everyones mind:
    Scenes from the Stone Age: The Cave Paintings of Lascaux at the Field Museum closed this weekend and if you didn’t make it we are truly sorry. This show had more new media than the SAIC BFA exhibition and we swear those cave paintings could be hanging in Shane Campbell and no one would bat an eye. We would go into greater detail, but fortunately for you, dear reader, Daniel Baird’s already wrote a piece on the exhibition and it is awesome. Who knew that ancient cave paintings were so totally superficial? Totes recommend you read it, we’ve been using Dan’s ideas to sound smart at openings all weekend.
  • Woman makes strong case for ladies:
    In case you couldn’t tell, WTT? loves the ladies, and we couldn’t be more excited to see the rest of the art world catching on. One lady show opened up this weekend with two to follow next week at Heaven and at the Frogman Gallery. “Lady Painters” curator, Gwendolyn Zabicki, sent us a hot tip on some required reading by participating artist, Sarah Weber. “Had I written a critical essay for Lady Painters, I would have liked to have written the very excellent one by Sarah Weber for Being a Woman in an All Woman Show.” WTT? couldn’t agree more. You can prep for both of these openings next weekend by reading Weber’s statement now.
  • Art Newspaper on artists in newspapers:
    Writer, Martin Bailey, covers the seriously late breaking news of Van Gogh’s ear incident after re-discovering an article from the Parisian paper Le Petite Journal published shortly after the incident on December 26, 1888. While doing research for his book on the artist, Bailey discovered the clipping, shedding new light on possibly the best artist gossip of all time. Making news in Paris all the way from Arles? Van Gogh is just lucky that the Impressionists didn’t have Facebook.
  • Extra, Extra: Art group travels to space, reports in NewCity?
    Speaking of newspapers, we almost forgot that people print those things anymore (oh wait, did we mention the newspaper we’re printing during EXPO?). Thankfully, we were reminded this week by the totally out of this world spread by Sarah Belknap, Marissa Lee Benedict and Joseph Belknap in NewCity. The photos are completely gorgeous and worth seeing in IRL.
  • Stop by LVL3’s MRKT and pick up a FREE copy of San Fransisco Arts Quarterly featuring an interview with the gallery’s director, Vincent Uribe, and artist, Josh Reames.

Reed’s drumkit.

Artists confused, think they are musicians

Last Thursday night WTT? made our first outing to Constellation. The venue’s unassuming brick facade under the overpass on Belmont and Western betrays the clean yet cozy interior of the bar. Intent on seeing live music on a Thursday night, Constellation was a great option. That is to say, the show was free. This art reporter was intrigued by the line-up: two reasonably well known visual artists (1/2 of Sonnenzimmer, Nick Bucher, and recent Hatch resident, Jordan Martins) performing with Constellation’s purveyor, Mike Reed, on drums.

Not to be mistaken for real musicians, the artists turnt virtuosos played an assortment of objects that would have made any dadaist proud.

Martins started the set playing guitar, but soon switched over to two broken guitar necks on a table which he “played” by jamming screwdrivers between the strings while strumming with chopsticks. Butcher wasn’t any more conventional “playing” a record player and what looked like a jumble of assorted cables that we’re not even sure were plugged in.

Even real musician, Mike Reed, got into the readymade spirit. It was weird enough that he played the drums with a tiny rake, but what was next to the drums was a regular Duchamp. Was it a rice cooker on a styrofoam cooler? Some instrument we’ve never seen before? We’re still not sure.

Despite using what appeared to be broken instrument pieces and household bric-a-brac, the trio was other wordly, playing a set that meandered through melodic ups and downs, punctuated by Butcher’s off beat electronics. Super chill for a Thursday night, I just wish they had better cocktails. (The Pimm’s cup was alright.)

Constellation is located at 3111 N Western Ave.

Header image is a photograph from inside Scenes from the Stone Age: The Cave Paintings of Lascaux at the Field Museum.

Got any T? email me!
(or get @ me on twitter)





EDITION #15

August 12, 2013 · Print This Article

Work by Jen Stark at the Chicago Fashion Outlet.

Art Exhibition Opens at Rosemont Outlet Mall

An opening like no other took place on the last day of July at the freshly minted $250 million dollar Fashion Outlets of Chicago in Rosemont. Featuring 11 artists curated by miami based Primary Projects, the Fashion Outlet and newly formed collective, The Arts Initiative, did it up luxury outlet mall style at the preview of the various murals and installations throughout the mall. With work by Jen Stark, Jim Drain, Cody Hudson, Daniel Arsham and Bhakti Baxter, the art contained within might make this the edgiest mall ever.

Sam Vinz, Claire Warner and Aron Gent under the Friend’s With You inflatables installation at the Chicago Fashion Outlet.

A collision of Chicago’s and Miami’s most noteworthy in the arts, attendees danced the night away under the deft entertainment of DJ Sinatra and many many top shelf bars.

Friend’s With You’s Sam Borkson and fellow artist, Jim Drain, lovingly embrace at the reception.

Curious what was in the gift bag? A hat from Roxy, an iPhone 5 case from Coach (too bad I’m still only on that 4), a “The Arts Initiative” water bottle, a leather cuff from Ports, a security neck pouch from Samsonite, a “Fashion Outlets” pen and even a scarf from The Limited. Totally killer.

Drain’s completed mural.

Definitely recommend (even sans the gift bag).

Reading is Fundamental

  • Wait, I thought it was 2013!? If you like your iPhone and the internet, you would probably enjoy this sweet little read from the Summer 2013 issues of Artforum, 2011: Michael Sanchez on Art and Transmission. This recommendation comes from a bar, but is better than that makes it seem.
  • Trends Totally Trending: Not often is a gossip column the subject of gossip, but What’s the T? was recently featured in Art Info’s “In the Air: Art News and Gossip” spot for EXPO CHICAGO’s partners and special exhibitions. That’s right! WTT? is going IRL. We hope you’re as excited for The Expo Register as we are. Stay tuned y’all.
  • Total badass gets her due: Who knew that Ileana Sonnabend was so completely rad? She asked for a Matisse instead of a wedding ring. I mean, really. Thankfully, this piece by Kelly Crow for the Wall Street Journal sheds light on the major gallerist and collectors fascinating past. Sonnabend fans will be pleased to know that the MoMA just released plans for “Ileana Sonnabend: Ambassador for the New,” an exhibition which will feature some of Sonnabend’s most noteable discoveries and longtime friends.

Time to Slip at Gallery 400

We heard a rumomr that the upcoming TIMESLIP film screening is not to be missed. Featuring 11 films by 10 makers, the screening is curated by Jesse Malmed and includes work by Jillian Mayer and Lucas Leyva, J.J. Murphy and Hollis Frampton.

From the horses mouth: This is going to be great. Time travel in the expanded field. Time-based media in the multiverse. Dream baby, trypp central, 2 Live Crew (seri), ducks, Adam and Eve, Judy Garland, hella headies, the first computer film, time tunnels, and on. And, like your mind, this is FREE. Surprises guaranteed.

Screening from 7:30-8:30, Thursday August 22nd at Gallery 400.

Who Wore it Better, Better?

Ron Ewert and Mike Kloss of the Hills at MCA First Friday last week VS Yuri Stone and Zachary Kaplan at Medium Cool on Sunday.

The Weatherman Report

John Marin, Movement, Sea, Sky, and Ledges, 1940, Watercolor on paper, 15 1/4 × 20 3/4 in

Demdike Stare

Empty Bottle, Full on Bass

A Miami Techno Transplant’s take on the Demdike Stare Concert last Saturday

I’m here reporting from the Empty Bottle, celebrating my Chicago life’s one week anniversary the way I prefer to spend all mildly festive occasions, by melting my brain with whiskey and dark techno. Tonight I’m all excited because I get to see one of my favorite bands live for the first time: DEMDIKE STARE. The duo is well known for merging occult, black magic vibes with droning electronics and sparse, off kilter beats. Demdike Stare have evolved their sound throughout the years from super dark horror movie vibes to dark worldly ragas and, finally, their latest releases reflect maturation of all these sounds with a bit of straight forward dark techno tastefully sprinkled in.

Needless to say, I’m fucking pumped.

I arrive at the venue “Miami time” which turns out to be just when shit starts everywhere. My circadian rhythm must be super on point today and I show up just as the first act, Stave, is going on. The set is some heavy industrial tech vibes. I am feeling it. A cigarette. Duane Pitre is up next delivering on some soothing melodious drone incorporating guitar loops and electronics. Lots of people are talking and not really listening but the vibe is right and everyone’s sonic palette is cleansed.

I’m in the ally evening out my buzz and the walls start to pulse. Demdike-fucking-Stare. I run inside. They spend the beginning of the set evolving drones, feeling out the crowd, reacting. What does the spirit of the crowd say? Probably something like, “TECHNO!” The bass kicks into 4/4 and as the crescendo of the track “Dysology” hits everyone knows its getting serious. The visuals that accompany their live set become more frantic. The main themes of the video include babes and esoteric rituals, everyone approves. Just as my mind is about to transform into pure jelly, the set ends abruptly, like all good things in life. And everyone goes home to dream about robots and witches. The End.

The view inside of Praire Production.

Medium Cool and Partly Cloudy.

Shame on you if you didn’t make it out to Sunday’s Medium Cool Art Book Fair, we know you heard about it. Rising like a pheonix, the fair was organized by Ria Roberts and brought out the most delicious coffee-table eye-candy ever seen in the West Loop.

These button’s were seriously trending.

Limited edition poster by Carson Fisk-Vittori

Fashionistas, Chelsea Clup and Ben Foch modeling the necklaces by Vincent Uribe and Noël Morical they picked up at LVL3’s booth.

Trendsetter, Hamza Walker, models sunglasses (obviously) by Josh Reames from the LVL3 booth.


Issue Press‘s booth featuring a “Book Box” vending machine, manned by George Wietor.

Sofia Leiby‘s SCRAP HEAP booth featured scraps and ephemera from Chicago artists’ studios.