Work by Mark Aguhar, Claire Arctander, Nina Barnett, Jeremy Bolen, Elijah Burgher, Edie Fake, Pamela Fraser, Tiffany Funk, R. E. H. Gordon, Steve Hnilicka, Kasia Houlihan, Mark Kent, Young Joon Kwak, Andrew Mausert-Mooney, Marianna Milhorat, Tim Nickodemus, Aay Preston-Myint, Juana Peralta, Macon Reed, Colin Self, Michael Sirianni, Nathan Thomas, Neal Vandenbergh, Xina Xurner and Isaac Fosl-Van Wyke, Allison Yasukawa, Gwendolyn Zabicki, and Latham Zearfoss.
Gallery 400 is located at 400 S. Peoria St. Reception Friday, 5-8pm.
Curated by Shannon Stratton, with work by Laura Davis, Carson Fisk-Vittori and Julia Klein.
Threewalls is located at 119 N. Peoria St. #2C. Reception Friday, 6-9pm.
Work by Mike Kloss and Kirsten Stoltmann.
New Capital is located at 3114 W. Carroll St. Reception Saturday, 7-10pm.
Work by Juyeon Kim.
Prak Sis Gallery is located at 1917 W. Irving Park Rd. Reception Saturday, 5-8pm.
Work by Brandon Anschultz, Daniel Baird, Benjamin Funke, Sarah Mosk, Eileen Mueller, Aay Preston-Myint, and Min Song.
Andrew Rafacz Gallery is located at 835 W. Washington Blvd. Reception Saturday, 4-7pm.
Work by Adam Farcus, Adam Grossi, Alberto Aguilar, Alex Bradley Cohen, Angeline Evans, Brian Wadford, Caroline Carlsmith, Cory Glick, Edra Soto, EC Brown, Irene Perez, Jeriah Hildwine, Jim Papadopoulos, Kevin Jennings, Nicole Northway, Pamela Fraser, Philip von Zweck, Thad Kellstadt, and Vincent Dermody.
Antena is located at 1765 S. Laflin St. Reception Friday, 6-10pm.
Work by Aron Gent, Nick Ostoff, and Sophia Rauch.
The Hills Esthetic Center is located at 128 N. Campbell Ave. Unit G. Reception Friday, 7-10pm.
Work by Heidi Norton.
Johalla Projects is located at 1821 W Hubbard St, Suite 110. Reception Friday, 7-10pm.
Work by Fatima Haider and Lourdes Correa-Carlo.
Julius Caesar is located at 3311 W. Carroll Ave. Reception Sunday, 1-3pm.
Printworks is located at 311 W. Superior St., #105. Reception Friday, 5-7pm.
For this week’s look back into the Bad at Sports archives, we’ve pulled a 2008 interview with Meg Cranston, conducted by Duncan MacKenzie and painter Pamela Fraser on the occasion of Cranston’s exhibition at He Said/She Said, Fraser and partner Randall Szott’s now-closed exhibition space in Oak Park, Illinois.
“There’s a work in the show that’s an ass drawn to look like it’s encased in a block of ice. The title is I froze my ass and then I moved to California. It’s a true story – when I was a kid growing up in New York, I froze my ass everyday in the winter. My parents were very thrifty people and they just wouldn’t turn up the heat. My brother and I developed what I called heat lust. And I don’t think it’s hyperbolic to say that for me as a child heat was like love, and maybe better.” – Meg Cranston interviewed by Bad at Sports.
Guest Post by Pamela Fraser
Two shows up simultaneously this month in New York seemed ripe for comparison, both having text at the heart of theatrical approaches to exhibition making. Great titles to both exhibitions, Matthew Brannon’s Gentlemen’s Relish and Michael Krebber’s C-A-N-V-A-S, Uhutrust, Jerry Magoo and guardian.co.uk Painting.
Matthew Brannon, installation shots, Casey Kaplan Gallery, Gentlemen’s Relish, 2011
Brannon’s show is a gallery-as-stage. Unlike the work of Karen Kilimnik, whose period-sets buttress the paintings that are always clearly the main event, Brannon’s set doesn’t read as way to situate or enhance objects, but as the work itself. The paintings and sculptural objects are props and backdrops in a scenario, playing subordinate to a whole, with the text perhaps, playing the leading role. The paintings are not approached as individual arenas of activity, but are more akin to decorative screens. As paintings, the gray-scale floral print patterns seem intentionally mild, so it’s not painting as object that sparks excitement here, but the refusal to be paintings in the customary sense.
The text in Brannon’s letterpress prints, drawings, and sculptures place the viewer inside of a plot involving a sexual frustration and deviancy. Bits of text can make one gasp (made me gasp) with their raw vulnerability, which is heightened by being packaged-not just within the pretenses of the well-mannered Noir-ish and WASPy worlds conjured, but by popping out of constraints in unexpected ways, amidst self-conscious play with forms of signification. The third-person narrative allows a psychological and emotional content to co-mingle with the pleasure and wit of the high-style artifice.
Krebber’s show, a few blocks north, is comprised up of tight rows of many uniformly sized canvasses on which the artist sketchily copied art blog pages from specific sources. The press release informs that he sees this activity as the following: “By parasitizing the negative socio-pedagogical influence networked painting, Krebber agency to hasten collapse.” Hard to tell if this is an awkward translation, art-speak, or poetic form, but it does let us know that the paintings intend to be parasitic, dependent creatures related to Brannon’s parts-of-a-whole; a curious and provocative approach.
selections from Michael Krebber, C-A-N-V-A-S, Uhutrust, Jerry Magoo and guardian.co.uk Painting, Greene Naftali, 2011
While the particular art-blog source material is made quite clear, Krebber’s signature light touch in this case renders things vague. I’m a fan of his sleight-of-hand approach to painting, and his self-described ‘empty appropriation’ strategy, but I began to wish the artist had been as trenchant and trashy as some of what he reproduced here. The artist as neutral copyist worked to great power and effect in Richter’s 18th October 1977, but with the art-world content, things feel a bit parochial and insider-y. Even after institutional critique, the subject of art world machinations and dialogues may be ripe for scrutinizing, but viewing these paintings apes the passivity of trolling the internet.
Dead (Tote), 1988, oil on canvas, 62×73 cm
Perhaps this is the point. Viewers leave the exhibition with the same diffused series of under-developed thoughts that we usually get from these sorts of dialogues. Krebber’s show is alternatively as engaging, and un-engaging, as blog posts are (acknowledging that this is a blog post). Alternatively, Brannon’s show is an immersive set-up that places the viewer inside of the production. In it, aridity and restraint work toward the making of an elegant, gripping thriller where everything is over-stylized, where plaintive characters are completely over the top. Yet one leaves the show with a convincing and forceful sense of haunting peculiarity.
Casey Kaplan Gallery
525 W21 St
Thru December 17th
C-A-N-V-A-S, Uhutrust, Jerry Magoo and guardian.co.uk Painting
508 W26 St, 8 fl
Thru November 19
Pamela Fraser is an artist represented by Casey Kaplan in New York and Galerie Schmidt Maczollek in Cologne, Germany. She lives in Charlotte, Vermont.
Work by Learning.
Fill in the Blank Gallery is located at 5038 N. Lincoln Ave. Reception Friday, 7-11pm.
Work by Nancy Rosen.
The Family Room is located at 1821 W Hubbard St., # 202. Reception Friday, 6-11pm.
3. FLAT 7 at Floor Length and Tux
Work by Julie Rudder, Kendrick Shackleford, David Moré, Catie Olson and EC Brown. This fish is not the work, it’s just FLAT’s awesome logo.
Floor Length and Tux is located at 2332 W Augusta Blvd, 3F. Reception Saturday 7-10pm.
Shameless self promotion, but it’s going to be an awesome show. Co-curated by Andrew Blackley, Stephanie Burke and Steve Ruiz. Featuring the work of Duncan Anderson, Susan Giles, Anna Kunz, Oliver Laric, and Nathaniel Robinson.
LVL3 is located at 1542 N Milwaukee Ave, 3. Reception Saturday, 6-10pm.
Bring a T-shirt to silkscreen. Work by Tony Tasset, Pamela Fraser, Rebecca Mir, Aay Preston-Miint and others.
He said, She said is located at 216 N Harvey Ave, Oak Park. Reception Sunday, 2-4pm.