Hello again everyone. Sorry for the silence last week, I was on an adventure to California. It was great, except for the fact that someone out there got me sick, and now that I’m back with my nose to the grinding stone and a shoot to go to this weekend (both kinds), and I’ve got a wicked cold. Art’s been slimming down in preparation for the big Sept. 10th blowout, but there’s still a lot of great work up. Here’s my weekend picks…
Work by Chicago artists Jeremiah Ketner, Myong Kurily, Jim Pavelec, David Rettker, Shawn Roberts, and Chema Skandal.
Rotofugi Gallery is located at 1955 W. Chicago Ave. Reception is Friday, from 7-10pm.
Paintings and prints by Justin Santora.
Fill in the Blank Gallery is located at 5038 N. Lincoln Ave. Reception is Friday, from 7-11pm.
Work by Elijah Burgher, Sara Fagala, Terence Hannum, Chad Harrison, Ivan Lozano, Adam Ludwig, and Rebecca Walz.
Johalla Projects is located at 1561 N. Milwaukee Ave. Reception is Friday, from 7-11pm.
Work by Kim Curtis and S.J. Hart made at Tryon Farm in Michigan City.
Kasia Kay Art Projects Gallery is located at 215 N. Aberdeen St. Reception is Saturday, from 4-6pm.
Work by Liz Nielsen, Kate Ruggeri, and Brendan Sullivan.
LVL3 is located at 1452 N Milwaukee Ave, #3. Reception Saturday, from 6-10pm.
CROSS-FADE, a group show of Chicago-based artists who are romantically involved, gives new meaning to the term relational aesthetics. The chosen lovebirds here are Julia Fish and Richard Rezak, Michelle Bolinger and Todd Simeone, and Kevin Kaempf and Michael Thomas of People Powered and Lucky Pierre, respectivelyâ€”couples who don’t normally collaborate but, as organizer Stacie Johnson points out on the Swimming Pool Project Space website, “their independent practices have been in dialogue for some time.”
I like how this show explicitly acknowledges the influence of a domestic partnership on artistic practice, viaÂ (one imagines) the kinds of conversations that occur not only in the studio but over coffee at the kitchen table or in bed watching t.v. It’s a small show, with a piece from each artist (Kaempf and Thomas contribute a single collaborative video) and a sculpture of a potted plant credited to Bolinger and Simeone. Johnson treads lightly over her theme, as if she’s afraid that by making too much of the romantic ties that bind she’ll warp our view of what each artist is doing on his/her own.Â The works aren’t installed in a manner that encourages side-by-side comparisons, and there’s no accompanying text to provide insight into precisely how these artists’ practices are in dialogue. We’re left to figure that out for ourselves, but I think Johnson’s curatorial premise is good enough to warrant a much larger and more in-depth exploration of the idea.Â Maybe she could include some examples of what happens to work when lovers break up. Now that’d make for some juicy encounters at the opening reception.
I think we’ve all had this experience:Â you see a show that’s mostly forgettable save for one work so good it makes you re-think everything else in the room. This happened to me while viewing Alison Katzâ€™s exhibition at Kasia Kay Art Projects Gallery, which on the whole struck me as a pretty good example of not-so-interesting painting, the show’s provocative title (â€œYou Talk Greasilyâ€) not withstanding.Â I’ll admit it: I went to this show under the vague impression that this was an artist who painted with fat, and I was kind of turned on by that idea, but instead I found paintings in oils and acrylics whose execution was of the fashionably loose and sloppy sort; Katz’s garish palette and flattened perspectives also left me cold.
To use a (now-unfashionable) term from Roland Barthes in an admittedly off-kilter context, there’s no punctum in Katz’s paintings, nothing to latch on to, emotionally or intellectually. Is that what they mean by “greasy”? Katz makes paintings for a post-photography era; she also seems to want to deflate traditional notions of authorship.
As Patrice Connelly points out in her New City review of the show, Katz employs so many varying stylistic devices it’s hard to tell that the work was made by a single artist. Perhaps that’s why the one image that repeatedly drew me back was also the most mundane: a still life of a flower bouquet soaking in a clear glass jelly jar, the cellophane still wrapped around the red and yellow buds.
I still can’t quite put my finger on why I liked this particular painting so much. Maybe it’s in its seamless melding of the recognizably “real” with the patently artifical, the way Katz’s rough brushstrokes capture the hurriedness with which the flowers have been plunked into the jar and how the painted materiality of the glass and the cellulose behind it extends the parameters of the still life into something more like a frozen landscape. It was the only painting in the show that worked for me, and I caught myself wishing I could tuck it under my arm and take it home, like a real bouquet of flowers.
Whatâ€™s that oft-cited quote? “Writing about music is like dancing about architecture.” Variously attributed to Elvis Costello, Miles Davis, Lauri Anderson and a bunch of others, whoever said it, I just lived it a little during a visit to Sebastian Craigâ€™s new installation at Old Gold. With its 70â€™s era rec room feel, Old Gold looks and feels like a party space; no doubt a few prior generations of kids have gotten stoned down there while their parents drank martinis and watched TV upstairs. Sebastian Craig plays off the grungy conviviality of this basement gallery’s past and present incarnations with a party-themed architectural installation that invites (nay, requires) participation and gives you permission to dance like a dork (yay me!). Craig has taken a lengthy pink cord and angled it across two walls so that it looks like the laser beam security device from spy films like Entrapment.
As you pick your way through it to cross the room,Â you’re forced to lift up your limbs in a wonky kind of dance. No doubt the piece reached a certain apotheosis during the opening, when the room was filled with people weaving in and out of the cords in order to view the video on the other side of the room, or more importantly, grab a beer.Â But I was there alone, when the room was empty (save for co-director Caleb Lyons and his cutie-pie pug), and I’m glad I was, as I don’t think the work’s remarkably strong architectural elements would have asserted themselves so clearly had I seen it only during the opening festivities.
… Anyone go to Paul Chan’s opening at The Ren yesterday? If you did, what’d ya think?