Includes 75+ exhibitors, publishers and performers.
Mana Contemporary Art Center is located at 2233 S. Throop. Reception Friday, 7pmâ€“12am.
Work by Jason Smith, Jeriah Hildwine, Jesse Avina, Annie Heckman, Jake Myers, Sam Sieger, Ben Dimock, Olivia Strautmanis, Aaron Straus, Laura Boban, Stephanie Burke and Jesse Loosebrock.
Co-Prosperity Sphere is located at 3219 S Morgan St. Reception Friday, 6pm-2am. (Please note: the author has a piece in this show)
Work by Sabelo Mlangeni.
Iceberg Projects is located at 7714 N Sheridan Rd. Reception Saturday, 6-9pm. Â
Work by Mike Nudelman.
Thomas Robertello Gallery is located at 27 N. Morgan St. Reception Friday, 6-8pm.
Work by Erika Harrsch.
Kasia Kay Gallery is located at 215 N. Aberdeen St. Reception Friday, 6-8pm.
Itâ€™s time once again for Fielding Practice with Bad at Sports, a special podcast produced for the Art21 blog. On this monthâ€™s episode, Duncan MacKenzie, Dan Gunn, and I are joined by Abraham Ritchie, Chicago editor of ArtSlant, to delve into the wild world of art in Chicago and beyond. April was art fair month in our fair city, with the Merchandise Martâ€™s Art Chicago and NEXT fairs taking place over the April 29-May 1 weekend and the upstart MDW Fair organized by threewalls, Roots & Culture, and Public Media Institute rolling out the weekend prior to that. We debate the pros and cons of both fairs, whichâ€“although polar opposites to one anotherâ€“seem somehow to embody the strengths and weaknesses of Chicagoâ€™s own art scene at this particular moment. Next, we move on to a more theoretical, and certainly more speculative, discussion of an early Modernist revival among some of the artists weâ€™ve been looking at recently: from Ruby Sky Stiler, Mark Grotjahn, and Ryan Fenchel (artists who are featured in exhibitions this month at The Suburban, Shane Campbell Gallery, and Dan Devening Projects + Editions, respectively), to L.A.-based artists Amy Bessone, Aaron Curry, Thomas Houseago, and others. Click here to be taken to Art21 blog, where you can listen to the podcast and check out examples of the artists we discuss during the episode. Thanks for listening!
The MDW Fair has come and gone, and unlike most art fairs I actually had a pretty good time at this one, despite the frakkin’ chilliness of Bad at Sports’ area (note to self: next time bring space heater) and the general lack of hot liquid nourishment available. Thank god for Eric May’s hot dog stand and that Tiki bar (which I think had drinks??) at The Hills Esthetic Center area downstairs – the hot dogs rocked, but regrettably I did not have time to partake in any drinks. We were on the 3rd floor, where the panel discussions were held, and which gave me great access to the public conversations but felt a little, I don’t know, cold? in comparison to what was happening on the 2nd floor, which in general felt livelier and brighter and — for God’s sakes!! — so much warmer!! — than upstairs. We got some really nice recordings during MDW’s run; as long as we didn’t eff up the sound, look out for excerpts on Episode 300 of the Podcast. Thank you to everyone who stopped by Bad at Sports’ booth to hang out and/or record an interview! You were all awesome.
My personal take on MDW was skewed by the fact that I was sitting at a booth and took only periodic spins around the other floors, often in search of food and/or coffee. For what it’s worth, Floor 2 seemed like the most convivial and fun place to be; Floor 1, which housed the indoor Sculpture Garden, was expansive and lofty and a tad empty-ish in feel but showcased a number of terrific sculptures and installations that really needed all that elbow room; and Floor 3 was a tad quiet, which was necessary given that the public talks were taking place there.Â Floor 3 did have Steve Ruiz’s Chicago Art Review booth showcasing a really nice project by Philip Von Zweck. Von Zweck asked a number of artists to produce drawings that could be photocopied on demand and distributed for free – the result was a lovely little exhibition of the original drawings, each of which could also be “taken away” gratis, albeit in editioned, xeroxed form. Reminiscent of Stephanie Syjuco’s Copy Stand: An Autonomous Manufacturing Zone at 2009’s Freize Art Fair, Von Zweck’s project reversed many of the terms laid out by Syjuco’s endeavor (appropriately so, as the fair contexts in which each project was shown are polar opposite in nature). The results of Von Zweck’s collaboration were more homespun and less cynical in feel than Syjuco’s (though I love her concept equally, for different reasons).Â I especially liked the anticipatory aspects of translating an original artwork to xerox multiple — the speculation of how well the drawing you chose would come out in pure black and white tones, seeing the results slide out of the machine….plus I am a sucker for this kind of freebie art giveaway. I like stuff, and since I could not afford a piece by Melissa Oresky otherwise, this’ll have to do me.
I only had time to attend the full duration of one panel discussion: the conversation on New Chicago Visual Arts Advocacy moderated by independent curator Britton Bertran. Panelists included Abraham Ritchie, Chicago editor of ArtSlant and Chicago Art Blog blogger; Elizabeth Chodos, Associate Director of Ox-Bow; Laura Fox, a marketing specialist and board member of Intuit; Steve Ruiz of the aforementioned Chicago Art Review; and Barbara Koenen, an artist and the Director of Chicago Artists Resource. The panel explored the types of visual arts advocacy that will be necessary — and feasible — under Rahm’s reign. Their discussion was certainly more raw than cooked, which is appropriate, given the advocacy group they are planning to build is still in its early stages. As all of the panelists stressed, any advocacy group’s ability to move forward depends upon obtaining a larger community consensus about the critical issues to push, and the panelists laid out a basic framework for a discussion of issues that would be ongoing. Some key issues on the table–but certainly not yet finalized– include advocating for more live/work and exhibition spaces in Chicago’s industrial areas through changes or adaptations to the city’s current zoning ordinances; the need to articulate the importance of street artists and street art to the creative revitalization of communities (and to distinguish their activities from those of taggers); and the overall need for visual artists to better articulate how their activities benefit the city/neighborhood communities as a whole–true dat on the last point, though shouldn’t it be obvious? The rest is still on the table and ripe for hashing-out; this is a group to watch, and to ally yourselves with now if you want to change the landscape of creative production in Chicago for the better.
Enough with the half-baked notes; the following are a few snapshots taken by a decidedly un-professional photographer over the course of the two-day event.
Update: This just in — excerpts from the recordings taken during the MDW Fair will be broadcast on Episode 300 of the podcast!
Bad at Sports is setting up camp at the MDW Fair (pronounced Midway, like the airport) – come check us out over the weekend of April 23 and 24th! Richard, Duncan et al. will set up a casual recording booth area in the style of Storycorp‘s DIY reportage. Bring someone you want to interview – or someone who wants to interview you – and take 7 to 10 minutes to discuss your project your own way, in your own voice. The MDW Fair promises to be the Chicago art event of the season — check out all the details below:
The MDW Fair is a gathering of independent art initiatives, spaces, galleries and artist groups from the Chicago metropolitan area. Held April 23-24, 2011 at The Geolofts, 3636 S. Iron Street, Chicago and organized by Version 11 Festival, Threewalls, Roots and Culture and the Public Media Institute, the MDW Fair aims to highlight the “diversity, strength and vision of the people/places making it happen in the art ecology of our region” and is “a manifestation of the collective spirit behind the regionâ€™s most innovative visual cultural organizers, focusing on the breadth of work done here by artists and arts-facilitators alike.” The fair features for-profit, 501(c)3, and commercial and unincorporated galleries, independent curatorial projects and publishers and media groups in over 25,000 square feet of exhibition space that includes a 8,000 square foot sculpture garden with work by local artists.