Work by Adam Ekberg. In the project space: I Believe in Harvey Dent or Three Months in Valparaiso, work by Jason Robert Bell
Thomas Robertello Gallery is located at 27 N. Morgan St. Reception Friday, 6-8pm
Work by by Judy Natal.
Co-Prosperity Sphere is located at 3219 S Morgan St. Reception Friday, 6-9pm.
New photographs, sculptures, and paintings.
Donald Young Gallery 224 S. Michigan Ave. #266. Reception Friday, 5-7pm.
Release Party for PHONEBOOK 3
Threewalls is located at 119 N. Peoria. Party Saturday, 8-11pm.
Work by Ryan Travis Christian, with collaborative work in Gallery 2.
Western Exhibitions is located at 119 N Peoria St, 2A. Reception Friday, 5-8pm.
Participating curatorial groups and galleries: 2612 Space, 65GRAND, ACRE, Alderman Exhibitions, antenna, ANTIDOTE, Bad at Sports, Chicago Artists, Coalition, BOLT Residency, Chicago Urban Arts, DEFIBRILLATOR, Devening Projects + Editions, Document, Drawn Lots, Green Gallery, Happy Collaborationists, Harold Arts, High Concept Lab, The Hills, Hinge Gallery, Hungryman, Iceberg Projects, Itsa_pony, LVL3, Trevor Martin, Abr Gallery, North Branch Projects, Nudashank, Old Seoul, Packer Schopf Gallery, Peanut Gallery, Pentagon, portage ARTspace, Reference, Reuben Kincaid, Roots & Culture, Sixty Inches From Center, Small Space, Spudnik Press, threewalls, Uncle Freddyâ€šÃ„Ã´s Treats, Linda Warren, Western Exhibitions, What It Is, and Propeller Fund grantees 2010.
GeoLofts is located at 3636 S. Iron At. The MDW Fair will continue through Saturday and Sunday, noon to 6pm.
Work by Jason Lazarus and Cody Hudson, respectivily.
Andrew Rafacz Gallery is located at 835 W. Washington Blvd. Reception is from 4-7pm.
Work by Rob Carter.
EBERSMOORE is located at 213 North Morgan, #3C. Reception is from 6-9pm.
Work by the collaborative Public School.
The Family Room is located at 1821 W. Hubbard St. Suite, 202. Reception is from 6-10pm.
Curated by Jefferson Godard, with work by Candice Breitz, Manon de Boer, EJ Hill, Diego Leclery, and Casilda Sanchez.
The Mission is located at 1431 W. Chicago Ave. Reception is from 6-9pm.
Work by Ed Valentine. Tom Van Eynde in the project space.
Linda Warren is located at 1052 W. Fulton Market. Reception is from 6-9pm.
Work by Lorraine Peltz, Doug Smithenry, and Bill Harrison, respectively.
Packer Schopf is located at 942 W. Lake St. Reception is from 6-9pm.
Work by Nathan Vernau.
Robert Bills Contemporary is located at 222 N. Desplaines St. Reception is from 6-9pm.
Work by Jason Robert Bell and Bret Slater, respectively.
Thomas Robertello Gallery is located at 27 N. Morgan St. Reception is from 6-8pm.
Work by Barbara Kasten.
Tony Wight Gallery is located at 845 W. Washington Blvd. Reception is from 6-8pm.
Western Exhibitions is located at 119 N Peoria St. Reception is from 5-8pm.
Hello again my friends. Sorry for the lateness. First off, one more round of shameless self promotion, and I promise this will be the last one for a while. This Saturday night, for one night only, Flesh and Bone, a exhibition curated by myself, Jeriah Hildwine, and Annie Heckman, will be up at Co-Prosperity Sphere and HPAC. We’ve brought together 24 amazing artists, and are presenting their macabre works for this exhibition. If you’re anywhere on the south side, or can get there, please stop by, you won’t beÂ disappointed. You can hit HPAC any time between 1pm and 10pm. Co-Prosperity’s reception is from 7pm-9pm, after 9pm there is a cover, and bands will be playing. Ok, enough about that, on to the Top 5!
Work by Zach Taylor and Aaron Williams.
Linda Warren Gallery is located at 1052 W. Fulton Mkt. Reception is Friday from 6-9pm.
Text based work at one of Chi-town’s blue chippers.
Rhona Hoffman Gallery is located at 118 N. Peoria St. Reception is Friday from 5:30-7pm.
Halloween horror art from the place that brought you The Unicorn Show.
Tattoo Factory Gallery is located at 4443 N. Broadway. Reception is Friday from 6-11pm.
No show image available, so I justÂ pickedÂ somethingÂ appropriate. And I quote, “Reuben Kincaid andÂ The Hills Esthetic Center present an exhibition from the French Print HouseÂ Le Dernier Cri.”
The Hills Esthetic Center is located at 128 N. Campbell Ave., Unit G. Reception is Friday from 8-11pm.
Work by David Harper.
Swimming Pool Project Space is located at 2858 W. Montrose Ave. Reception is Saturday from 5-9pm.
Hey ya’ll. I’m back from my Kentucky adventures, and I’m going back out this weekend. I did manage to make it to Packer Schopf for 39 Verbs on Sunday, and glad I made it (even though I was still a bit muddy and got a touch of the culture shock). I’d never heard of Industry of the Ordinary (the organizers of 39 Verbs) but I’ll be keeping my eye on them in the future. This week I’ve got three relatively traditional (relatively being the operative word) venues, a 2-for-1, and a closing reception (get them while supplies last!). Without further ado, my 5 picks, in chronological/alphabetical order:
Truthfully, I like this work because it reminds me of the work of a friend of mine, Justin Storms. Now, I know, no one ever wants to be compared to anyone else, because we’re all unique and individual snowflakes, but WTF? I like the work ‘cus I like Storm’s work. Being somewhat obsessed with The Unicorn Tapestries as a kid probably didn’t hurt. Paintings by Gina Litherland, the show opens Friday from 5-9pm.
I guess this is also a bit of a 2-for-1, though not the one I was referring to in the introduction. I’m generally a fan of Linda’s gallery, and this round is not exception. Cline Ave, a series of paintings by Emmett Kerrigan, may appear benign, but the industrial/living-space rendered a bit cartoonishly is strange, if not instantaneously depressing (in the best possible way). Wow, I’m good at run on sentences. In the back room, AKA the Project Room, Front Porch Disasters and Other Open Secrets, work by Lora Fosberg adorns the walls. The two shows are in one of the best dialogs I’ve seen in a while at Linda’s place, I look forward to seeing it all in person. Reception is Friday, from 6-9pm.
Linda Warren Gallery is located at 1052 W. Fulton Market St.
Stephen Daiter is a bit of a hidden gallery. Unlike Edelman, the other major photo gallery in River North, Daiter is hidden upstairs, past an elevator that is incredibly slow and smells a bit of burnt plastic. Dont’ let this deter you, however, because Dater is a place, especially if you’re into photography, that you need to get to. For this round at Datier, Private Views – Public Spaces, work by Barbara Crane is on display. Awkward Polaroids of 70s people? Why not? Crane does a variety of work, so this isn’t the most contemporary, but good none the less. Reception is Friday, from 5-8pm.
Stephen Daiter is located at 311 W. Superior St. #408
Both these venues are having entertaining events on Friday, and since they are literally down the hall from each other, I figure, go to one, go to both. I’d start at Western Exhibitions, which is showing Superfreaks, work by Eric Lebofsky & A Wildness of Edges, work by Melissa Oresky. When you’re done gawking at that, head for ThreeWalls for New Knowledge, a trivia night that is going on as part of In Search of the Mundane, a collaboration with Randall Szott and InCUBATE. Weird-ass paintings and drunken trivia? How could such a thing ever be wrong?
ThreeWalls and Western Exhibitions are both located on the 2nd Floor of 119 N. Peoria St.
NO PICTURE AVAILABLE! DON’T BLAME ME!
This is the closing reception I was talking about. Co-sponsored/co-produced by Heaven and Spudnik Press, the show features a bunch of work by Jeremy Lundquist, along side a group exhibition, A Unique Marquee, that was co-curated by Lundquist and Angee Lennard, the Director of Spudnik Press. Again with the run on sentences. A good nightcap if you ask me.Reception is Saturday from 6-9pm.
Heaven Gallery is located at 1550 N. Milwaukee Ave, 2nd Fl.
Carrie Schneider @ Monique Meloche; Lora Fosberg @ Linda Warren; Amy Mayfield @ threewalls
Artwork copyright the original artists; text and documentation copyright Paul Germanos.
Friday, October 17, 2008, Chicago:
Carrie Schneider @ Monique Meloche
“ognuno vede” — Niccolo Machiavelli:
As I ride east, the sky fades to red behind me.
And according to no particular rhythm, drops of rain infrequently appear on the visor of my helmet.
Bike parked, block walked, I cross the threshold of Monique Meloche Gallery and find the photography of Carrie Schneider.
Schneider’s prints are large — an easy meter on any given side — and in full color.
The subjects are human figures, and products of human artifice, as found in landscapes of great natural beauty.
Meloche’s exhibition program has seemed at once gutsy and cerebral, demonstrating a sustained interest not only in the sensual human experience of the world, but also favoring a cool, museum-like intellectual framing of contemporary issues.
And so I suppose there’s something here in addition to pretty scenery and clever portraits.
Clue: the consistently idiosyncratic aspect of Schneider’s photography is the focus upon some type of covering.
The human figure in the piece entitled We, and the canoe in Dazzle Camouflage, are draped with a Riley-like, black-and-white canvas.
But “dazzle” is a reference not to Op Art, rather a battlefield technique that disrupts an opponent’s perception through the use of striking, high-contrast patterns wholly unrelated to the object so treated.
Certain of that, conscious of the fact that Carrie Schneider’s work has, for several years, evidenced an artistic strategy concerned with ambiguity,
it seems likely that her first solo show is in large part an exploration of the tactics of camouflage.
Continuing to view the work, continuing to think about camouflage, the self-portrait beneath a mask of juniper boughs in Queen of This Island seems not unlike a ghillie suit:
that covering of organic materials drawn from the environment into which one desires to blend,
most familiar in the form of a rude crown of grass and twigs ringing the helmet of military snipers.
The application of such substances to the human figure is a familiar process in Chicago:
A photograph of one of Nick Cave’s “suits” hung on the same gallery wall a few short months ago;
and while not “wearable,” and more distant (ten to twenty years prior) historically, there is also the example of Tom Czarnopys’ cast figures encased in bark.
Maybe most notable in their exploitation of camouflage have been local artists Tom Burtonwood & Holly Holmes.
In their piece Price War!, as see at the Consuming War exhibition, B & H applied a non-threatening commercial pattern to threatening, military shapes.
Later reversing that figure/ground relationship at artXposium 2.0, B & H applied a threatening military pattern to a non-threatening commercial shape in their piece Urban Camo Santa.
That Burtonwood and Holmes examine the relationship between commerce and war is writ large for all to read.
Coyly, Schneider looks out from her work: young, beautiful and self-satisfied.
She’s not really hiding.
What is Schneider’s interest in camouflage?
In both her projected and also in her printed films, the message, the revelation, is delivered by means of the obscurement.
What is she attempting to communicate?
Lora Fosberg @ Linda Warren
There are times when the clarity and simplicity of an artist’s message, amplified by the means of delivery,
overwhelm and even stupify the viewer.
In the past, Barbara Kruger’s bold font has seemed to shout at me;
Jenny Holzer’s animation and projections have quite literally circled menacingly, and towered ominously above me.
I’ve been told that this confrontational mode of delivery was carefully chosen for the purpose of forcing certain issues into the public consciousness.
But, fighting — and the work of Kruger and Holzer alluded to above is combative — with the weapons and armor
of the enemy, they, at times, appear to belong to his camp…to be propagandists.
Exposed to loud noise, I cover my ears; in the presence of a bright light, I shield my eyes.
But when someone whispers, I draw near and listen.
And seeing something delicate and small, I’m inclined to study it with care.
And so it is at 1052 W. Fulton Market: I find myself drawn into Lora Fosberg‘s text-ladden pieces at Linda Warren Gallery.
And I attribute my reaction to her subtle treatment of the material.
Admittedly, I’ve tended to recoil when confronted by large amounts of text in what is nominally visual art.
But Fosberg’s words and phrases are well-integrated with the purely aesthetic elements of her design.
Fosberg shows a deft hand when practicing the craft of draftsmanship.
Clean, sure strokes of brush and pen define figures with what appears to be little effort.
I’m caught unaware by the content, having been more-or-less lulled into a receptive state by the combined effect of the subtle tones of her palette, the easy grace of her execution, and the modest scale of the pieces on display.
Fosberg’s made visible dialogues, dialogues that, in her own words,
“suggest the familiar while maintaining ambiguity.”
As in Schneider’s show, here there are figures active in a landscape.
But Fosberg’s models aren’t literal representations of herself;
and they aren’t looking out of the frame at me — seeking my attention and approval.
No, the subjects of Fosberg’s ink and gouache caricatures are busily about their given work.
Amy Mayfield @ threewalls
Up the stairs, down the hall, to threewalls I go.
It’s the crazy aunt’s attic in which I’ve found voodoo dolls, horror films, and even whole trees.
Tonight a heavily embroidered curtain hangs between the body of Amy Mayfield‘s installation and the external world of the gallery’s front room.
Passing through that membrane I entered a hot vermillion space.
fornus, fornax, fornix
Mayfield has wholly invested herself in the process of transforming the back room of the gallery:
choosing to place some found objects, fabricate other pieces, and treat the environment as well.
The surfaces — from the tiles beneath my feet to the walls on which framed items are hung —
are well-painted, sometimes thickly, sometimes possessing a glossy sheen.
Rising up from the floor are foam concretions that resemble stalagmites,
the floor having been re-tiled with brightly colored geometric units of her own creation.
It’s the contrast between the line quality of those two things that really strikes me.
There’s a wild, almost schizophrenic, swing from style-to-style, piece-to-piece;
the unifying compositional element being the vivid color that she favors.
Mayfield, like Schneider and Fosberg, I think, is involved in a process that is somewhat autobiographical.
Schneider, as a model, quite literally appears in her own work.
Fosberg presents artifacts of thought processes.
Mayfield manifests externally some internal space, viscerally fusing the physical and psychological.
+ + +
It says something good about the scene in Chicago that it’s now possible
to experience, back-to-back, strong shows by three women at different
points in their lives and careers. Go and compare:
Amy Mayfield @ threewalls through Nov 15, 2008
Lora Fosberg @ Linda Warren through Nov 29, 2008
Carrie Schneider @ Monique Meloche through Dec 6, 2008
 See: The “dazzle” cars of Patricia van Lubeck, circa the early 90’s.
 See: Comments on Schneider’s Derelict Self series, 2006-2007, made by
Aura Seikkula, curator of the Finnish Museum of Photography.
 See: False Colors: Art, Design and Modern Camouflage by
Roy R. Behrens,
Professor, Art and Design, University of Northern Iowa (noting especially the text’s cover art) for more on the relationship between art and camouflage.
 See: Camouflage at London Imperial War Museum, 2007;
“The first major exhibition to explore the impact of camouflage on modern warfare and its adoption into popular culture.”
 See: Jenny Holzer: Protect Protect @ MCA through February 1, 2009.
Written by Paul Germanos