December 21, 2010 · Print This Article
I like the concept of this exhibition so much I had to blog it here – the more submissions the organizers receive, the better this show will be, don’t you think? Karly Wildenhaus, who runs the invaluable online Chicago visual arts calendar On the Make, is currently working with Golden Age on an exhibition of individual pieces of “take-away” art. The show is called Twice Removed. Right now, Karly is seeking submissions of take-away art from personal collections. All submissions (if accepted) must be mailed or dropped off at Golden Age by January 18th. Full details below. If you’ve got one of Félix González-Torres’ pieces of candy lying around – now’s the time to share! (Funny – I never thought of saving mine. I just thoughtlessly ate it. What is wrong with me??).
Encountering the “take away” artwork, consisting of unlimited or large-run editions whose individual pieces are free for the taking, has become a common occurrence in contemporary art exhibitions. A strategy notably employed in Félix González-Torres’ “stack” works, the take away has been used by many other artists with a variety of intents and forms. The spirit of generosity, an exploration of dispersion and the attempt to circumvent the art market are just a few of the potential motivations cited for generating take away works. Twice Removed aims to provide a venue where the multiplicity of meanings and post-exhibition life implied by the take away model can be considered by exhibiting single units of these works together.
Golden Age is soliciting individual pieces of take away artworks from personal collections for temporary loan during the length of the exhibition. To contribute, please send a brief description of your items for further submission and loan information. Items must be received by mail or dropped off at Golden Age’s location in Chicago by January 18, 2011. Any further questions? Contact email@example.com.
Work by Mark Porter
Fill in the Blank Gallery is located at 5038 N. Lincoln Ave. Reception is Friday (tonight) from 7-11pm.
Blood paintings. Also featuring the work of Dylan Vitone
David Weinberg Gallery – 300 W. Superior St., #203. Reception is Friday (tonight) from 5-8pm.
Work by Liu Bolin, Victor Vasquez, Magdalena Campos-Pons, and Ian van Coller.
Schneider Gallery is located at 230 W. Superior St. Reception is Friday (tonight) from 5-7:30pm.
New works by Chicago’s master of bad-ass wooden thingies!
ebersmoore is located at 213 N Morgan St, 3C. Reception is Friday (tonight) from 6-9pm.
The title says it all. Couldn’t find their website, so thanks to On The Make for the listing!
New Capital is located at 3114 W Carroll Ave. Reception is Saturday from 7-10pm.
October 26, 2010 · Print This Article
I know it was a long time ago. We’re nearing the end of October, already, and for my tardiness I apologize. It’s just that this show has stuck with me for a couple months now, I’ve been doing some writing about it here and there, on scraps of paper or loose napkins–sites for thinking that get lost, wilt, tear or bleed. I wanted to take this opportunity to compile what I remember of those thoughts. I hope you’ll bear with me. I’ve always been the sort of person to write at a distance. It takes me a while to process things and put them in perspective. Perhaps for that reason, I have been unable to let On The Make go.
Studio as Portal: Musing Carrie Gundersdorf
a summer 12×12 at the MCA
by Caroline Picard
We have not only traversed the region of pure understanding and carefully surveyed every part of it, but we have also measured it, and assigned to everything therein its proper place. But this land is an island, and enclosed by nature herself within unchangeable limits. It is the land of truth (an attractive word), surrounded by a wide and stormy ocean, the region of illusion, where many a fog-bank, many an iceberg, seems to the mariner, on his voyage of discovery, a new country, and, while constantly deluding him with vain hopes, engages him in dangerous adventures, from which he never can desist, and which yet he never can bring to termination. – Kant, Critique of Pure Reason
Gundersdorf’s show at the MCA this last summer included abstract drawings of planetary bodies. These works simultaneously point to the limits of human perception while embracing the uncertainty those limits provide. Such a philosophical position is difficult to occupy, for it confounds one’s preferred sense of security. Likely for that reason I was totally smitten with the show. While investigating a conceptual perception, Gundersdorf aligns herself with the history of painting, stepping off from Modernism’s abstract platform while incorporating contemporary tools for research and celebrating the very literal limitations of human understanding.
Months ago I heard a program on the radio about stars and galaxies. In that program a woman called up in order to ask if the images she’d seen of planets and stars were accurate. She wanted to know in order to anticipate what her world would look like when she died (and went to heaven). The ensuing conversation was remarkable as the host tried to answer her question. “Will it look like those pictures when I die, that’s what I want to know,” she said. “What will I see?” Although unruffled, he nevertheless paused. “It could look that way?” he said. “At the same time all of the images you see in books have been manipulated to highlight different data. It wouldn’t be as colorful, although I really don’t know what your eyes would be like and how you would see, so you might actually see a whole host of other colors. Or perhaps you wouldn’t see anything. It might be completely dark. You might only feel the universe.” I believe the caller hung up unsatisfied.
The Cosmic Microwave Background is another illustration of the literal bounds of human knowledge. With a radio-wave telescope, scientists measure the microwave region of that wavelength. In doing so, it is possible to measure the Big Bang’s residual radiation. Because no one can explain this radiation without using the Big Bang as a model, it has become the preferred explanation of where “we” come from. Even with that theory, however, there is a ‘beyond’ to that microwave background. It is a conceptual beyond, however; we cannot “see/feel/measure” it. We only posit its existence because the alternative would suggest a kind of Shel Silverstein drop off, where the universe ends as his infamous sidewalk. Just as Kant described the limits of understanding so the human being is incapable of going beyond certain perceptual bounds. Nevertheless there is a deep-seated impulse is to press past and conquer.
Not so with Gundersdorf.
She celebrates those boundaries in her work, using a combination of abstraction and lo-fi production (paper, color pencil) that seem so far removed from traditional celestial explications as to be unrelated. Her images, while based on scientific astral data, deconstruct that high-resolution imagery, breaking it down and simplifying it’s celestial character into blocks of color and thick radiating, parallel lines. Via that transcription, Gundersdorf destabilizes the assumptions of knowledge, pointing to an obvious post-modern subjectivity and pairing it with a limited ability. It is not simply that each individual is the center of his or her own universe (and thus create discrepancies in experience because of perception). It is also that our eyes are not astute enough to see unequivocally. The customary images of outer space suggest an apprehension of that space, a mapping that conveys an impossible physical/visual experience. Consequently Gundersdorf’s work offers a more accurate depiction of my understanding of the environment outside the earth.
While referencing the language of modernism, she also undermines its self-assurance. As I see it, Modernism was an attempt to simultaneously dispute the previously accepted coherent universe (wherein the creator is a watchmaker and the world a watch, for instance) while celebrating the ability of a single individual to create monuments within an otherwise chaotic world. While Gundersdorf embraces and incorporates the impulse of abstraction, just as she is fully aware of the cannon she participates in, she nevertheless undermines the idea of a apprehension. While she interprets light, that light is artificial or illustrative. Even through the process of a single painting, during which time she no doubt studies a single image, she comes no closer to an objective “truth” of that image. Instead she develops a subjective relationship to her already interpretive source material. The light she works from is conceptual, intended to highlight certain scientific truths. The resulting work has a personal touch, creating a signifier of a faraway place.
In each piece her hand is ever present—this is not a slick photorealist surface, rather it is a surface that questions itself, borrowing naive materials to illustrate the naivete of our assumptions. It admits some deep insecurity, one perhaps endemic to present times, where the footing of an individual and his or her beliefs is unstable, shifting, subjective and flat. Nevertheless the character of her line, the painstaking way in which she colors the entire surface, is endearing to the subject and evidence of care. While it may examine unapprehendable distances and imperceivable phenomena, this work is not about alienation; perhaps it’s most important feature. It demonstrates, by of example, a way to deal with subjectivity, a way to deal with historical precedents and dialogues, without feeling overwhelmed. Because this work is unapologetic–large scale drawings, with large, unaffected blocks of color– Gundersdorf shows a way to embrace the unknowing, to celebrate forays into intuitive and immeasurable spaces—to consider the space beyond one’s ken as a place for inspiration rather than fear.
Astral systems have always been fascinating places—almost inconceivable landscapes through which the earth sails. Rife with different phsyical properties and laws, outer space is bold and full of myth. It is a place we go to examine philosophical questions: Who am I? Where did I come from? It is also a space of hypothesis and conjecture, for outer space does not speak our language directly. It does not afford concrete answers. That’s why On The Make was so compelling to me, even relieving–because it began to talk about translating that space and gently soothing the out-of-focus-ness of existential answers. The answer, after all, is in divining those answers and putting them to paper. Perhaps those modernists were right about monuments after all?
OK, so here’s the deal for right now. Every week (well almost every week) I do a pick of shows that I think are most likely worth seeing (I am often wrong). The problem is that I sometimes don’t get to go to all the shows on my list (I generally see art on the weekend and usually just go to openings, I don’t have the “it’s so crowded in here, I can’t see the art” issue, I just shove my way through and look, but I digress). So this week I am giving ya’ll a list of where exactly I am going. I chose this route because I noticed something odd this weekend, there are seven apartment gallery show openings and closings in the next three days. I figured, what the hell, I’m going to be out, some of these places I like, some of them I don’t really like, some of them I’ve never visited, why not make a circuit of them all, a selection of this Chicago art institution known as the “Apartment Gallery” and see the “State of the Apartment” so to speak. And (this was added after the list was mostly done), I like openings that go till 10 or 11 at night, you can cram a lot more in that way.
APARTMENT GALLERY OPENINGS (AND CLOSINGS) THIS WEEKEND:
1. Australia at Concertina Gallery
And I quote, “Acting as a springboard for works by both Anthea Behm and Aron Gent, Baz Luhrmann’s 2008 movie Australia provides loaded content for each artist to pick apart and reconstruct. Though the artists work off the same source material, they diverge in form and intention. Triggering questions of cultural ownership and responsibility, Behm and Gent address the cultural transmission between those represented and those representing.” This is how the gallery describes the show. I’m most interested in going to see Anthea’s work, she’s a friend of mine and I’m curious to see what she’s been doing.
Concertina Gallery is located at 2351 N. Milwaukee Avenue, 2nd Floor. Opening Reception: Friday 7-10pm
2. Double Fantasy at Noble & Superior Projects
So this place is brand-spankin’-new. I don’t even know if it is actually an apartment gallery, though all indicators point to that (especially the directions that once you get to the address, “Rear House, Through The Gate!!!”). As you can see by the ever-so-informative card-announcement-thingie, the show features the work of Ivan Lozano and Kate Brock. I can’t find a website for Kate Brock, guess you’ll just have to go to the show.
Noble & Superior Projects is located at 1418 W. Superior St. #2R. Opening Reception: Friday 6-10pm
A two for one in Bridgeport. For those of you who haven’t been there, these two “galleries” are both part of the same apartment, secondBEDROOM located in, you guessed it…and Medicine Cabinet is the name for the installation space/bathroom.
In the secondBEDROOM: “Thad Kellstadt’s After Effects attempts to explore the possible afterlife of objects, once dependent on human touch, now neglected but possessing a new presence. Some believe that the breaking of a mirror brings a lengthy stint of bad luck due to the soul confiscating power of the mirrors reflective surface.” Yep.
and in the Medicine Cabinet: “Pharmaceutical marketing strategies and scenic nature photography combine to serve up a warning: Don’t get too comfortable on that plateau. While the view is spectacular there are other forces at work, just out of earshot and bubbling their way toward the placid peaks.” Uh huh.
secondBEDROOM and Medicine Cabinet are located at 3216 S. Morgan Street Apt. 4R. Opening Reception: Saturday 7-11pm.
4. The Trunk Show at Barbara and Barbara
Barbara and Barbara do love you, as their web address so astutely says. For this round the Barbara-ganza is putting on a show dealing with the idea of travel.The show includes the work of a crap-load of people, incuding: Sierra Berquist, Ben Bontempo, Peter McLean-Browne, Evan Burrows, Pete Cuba, Fred Frederick, Julia V. Hendrickson, Landon Manucci, Colin Nusbaum, Emma Powell, Scott Reinhard, David Schalliol, Elizabeth Stoutamire, Christopher Sykora, Sean Sykora, Jessie Vogel, Kelly Wallis, Rustél Weiss, Hannah Zurko
Barbara and Barbara is located at 1021 N. Western Ave. Opening Reception: Saturday 7-10pm.
Ok, so I’m a bit confused as to who exactly MVSEVM are and whether or not there are two of them. So, instead of linking to the blog that seems like it might be theirs but says they are on vacation, I’m linking ya’ll to the On The Make (another wonderful site) page about the show and gallery. And I quote, “For its second exhibition MVSEVM invites eight diverse artists to contribute site specific works and installations that address the ambiguity of the space as both domestic and professional, private and public, as well as external concerns. In Exhibition 2.10242009 these inquiries manifest in an interrogation of social paradigms, raising questions pertaining to human relationships filtered through biological and technological themes.” Artists in the show: David Brooks, Joe Cruz, Chris Cuellar, Szu-Han Ho, Jesse Vogler, Gabriel Martinez, T UM’, Andrew Yang and Harley Young.
MVSEVM is located at 1626 N California Ave. #2. Opening Reception: Saturday 6-10pm.
6. Deedee Davis and Casey Roberts at Home Gallery
Less of an apartment gallery and more of, well, a home (go figure), Home Gallery is located down in Hyde Park and run by Laura Shaeffer. For this round of exhibitions, Home will be featuring the work of Deedee Davis and Casey Roberts.
Home Gallery is located at 1407 E. 54th Pl. Opening Reception: Saturday 6-9pm.
7. Marginal Waters at Golden Gallery
So, this isn’t and opening, it’s a closing. Golden is also, like Home, on the edge of the “apartment gallery” definition, but what the hell. For this round of Golden-tastic-atude, they are closing out Marginal Waters, work from the 80s by Doug Ischar. And I quote, yet again, “Ischar will exhibit a body of photographs from 1985, never before seen in its entirety, taken on the now defunct Belmont Rocks in the city of Chicago, and a new single-channel video work.” The closing is also rolled together with the catalog release, and there’ll be an interview with John Neff.
Home Gallery is located at 816 W. Newport. Reception/Catalog Release: Sunday 3-6pm.