It’s official, Chicago artists are back from their residencies and vision quests and it is time for the fall gallery season. Inaugurated this weekend with about a million openings from River North to the ‘burbs and back again, we’re still reeling. Here are some photos while we iron out our thoughts:
Oh, this brave new art world! We didn’t know QR codes could actually do something but this interactive curiosity greets you at the entrance to Technoromanticism, a strictly new media show curated by Alfredo Salazar-Caro at Jean Albano Gallery on Friday night.
Performance finally showed some skin at the second iteration of THIS IS NOW A MAGAZINE: Dwyer/Fraccaro/Wylie in Logan Square last week. Things were anything but comfortable at the Comfort Station during a performance using CAM4 and something having to do with Buffalo Bill that we wish we could erase.
This pink combo stole our heart at LVL’s opening for Quandry on Saturday night.
Volume Gallery debuted their completely amazing and beautiful renovated space on Friday night with a show by Jonathan Muecke. Despite all the new space (or maybe because of it) the gallery was totally packed. This photo is from SightUnseen
Tyson Reeder’s opening at Peregrine Program celebrated some of Club Nutz greatest hits, and reminded us that we need to hit the beach one last time before fall!
Sterling Lawrence was super conceptual and all, but we thought these Alain Biltereyst pieces at Devening Projects + Editions were cute in a good way and would fit way better in my studio apartment.
Cave of Lascaux blows everyones mind: Scenes from the Stone Age: The Cave Paintings of Lascaux at the Field Museum closed this weekend and if you didn’t make it we are truly sorry. This show had more new media than the SAIC BFA exhibition and we swear those cave paintings could be hanging in Shane Campbell and no one would bat an eye. We would go into greater detail, but fortunately for you, dear reader, Daniel Baird’s already wrote a piece on the exhibition and it is awesome. Who knew that ancient cave paintings were so totally superficial? Totes recommend you read it, we’ve been using Dan’s ideas to sound smart at openings all weekend.
Woman makes strong case for ladies:
In case you couldn’t tell, WTT? loves the ladies, and we couldn’t be more excited to see the rest of the art world catching on. One lady show opened up this weekend with two to follow next week at Heaven and at the Frogman Gallery. “Lady Painters” curator, Gwendolyn Zabicki, sent us a hot tip on some required reading by participating artist, Sarah Weber. “Had I written a critical essay for Lady Painters, I would have liked to have written the very excellent one by Sarah Weber for Being a Woman in an All Woman Show.” WTT? couldn’t agree more. You can prep for both of these openings next weekend by reading Weber’s statement now.
Art Newspaper on artists in newspapers:
Writer, Martin Bailey, covers the seriously late breaking news of Van Gogh’s ear incident after re-discovering an article from the Parisian paper Le Petite Journal published shortly after the incident on December 26, 1888. While doing research for his book on the artist, Bailey discovered the clipping, shedding new light on possibly the best artist gossip of all time. Making news in Paris all the way from Arles? Van Gogh is just lucky that the Impressionists didn’t have Facebook.
Stop by LVL3′s MRKT and pick up a FREE copy of San Fransisco Arts Quarterly featuring an interview with the gallery’s director, Vincent Uribe, and artist, Josh Reames.
Artists confused, think they are musicians
Visual artists do unthinkable and create sound
Last Thursday night WTT? made our first outing to Constellation. The venue’s unassuming brick facade under the overpass on Belmont and Western betrays the clean yet cozy interior of the bar. Intent on seeing live music on a Thursday night, Constellation was a great option. That is to say, the show was free. This art reporter was intrigued by the line-up: two reasonably well known visual artists (1/2 of Sonnenzimmer, Nick Bucher, and recent Hatch resident, Jordan Martins) performing with Constellation’s purveyor, Mike Reed, on drums.
Not to be mistaken for real musicians, the artists turnt virtuosos played an assortment of objects that would have made any dadaist proud.
Martins started the set playing guitar, but soon switched over to two broken guitar necks on a table which he “played” by jamming screwdrivers between the strings while strumming with chopsticks. Butcher wasn’t any more conventional “playing” a record player and what looked like a jumble of assorted cables that we’re not even sure were plugged in.
Even real musician, Mike Reed, got into the readymade spirit. It was weird enough that he played the drums with a tiny rake, but what was next to the drums was a regular Duchamp. Was it a rice cooker on a styrofoam cooler? Some instrument we’ve never seen before? We’re still not sure.
Despite using what appeared to be broken instrument pieces and household bric-a-brac, the trio was other wordly, playing a set that meandered through melodic ups and downs, punctuated by Butcher’s off beat electronics. Super chill for a Thursday night, I just wish they had better cocktails. (The Pimm’s cup was alright.)
Constellation is located at 3111 N Western Ave.
Header image is a photograph from inside Scenes from the Stone Age: The Cave Paintings of Lascaux at the Field Museum.
A graphic, editorial overview of art, artists, and visual art events, found in and around Chicago over the course of the preceding months. All artwork copyright original artists; all photography copyright Paul Germanos.
Above: CourtneyBlades’ partners, Mickey Pomfrey, left, and Blake Cameron Harris, right, in the gallery for the opening reception of “Definitely Living, Likely Cognitive,” on August 9, 2013.
Above: “Medium Cool” art book fair organizer Ria Roberts, right, with Matthew Richardson, left, in CourtneyBlades.
Mickey Pomfrey is one of a relatively small number of people I encounter on a regular basis at gallery openings in Chicago. In spite of that fact, I’d never before brought a camera to the space (CourtneyBlades) which he runs with Blake Cameron Harris. And it was only because I happened to take photographs there on August 9, 2013, that Ria Roberts noticed me, and reminded me to attend Medium Cool: a new art book fair with which she’s involved.
Bea Fremderman, Brian Khek, and Micah Schippa
“Definitely Living, Likely Cognitive”
August 9 – September 1, 2013
1324 W. Grand Ave.
Chicago, IL 60642 http://courtneyblades.com/
Above: Tom Burtonwood shares his 3-d printed book–which itself “prints” by means of being folded upon some plastic material.
Above: Yuri Stone for The Renaissance Society at the University of Chicago.
Above: Vincent Uribe feigns interest in my shenanigans while the ladies of LVL3 ignore me. In truth, everyone smiled for the first picture; this was the fifth picture.
(art book fair)
12:00 — 8:00 PM
August 11, 2013
1314 W. Randolph St.
Chicago, IL http://medium-cool.net/
Above: Chelsea Culp and Katy Cowan.
Above: Matt Nichols and Josue Pellot.
Whether called collaboration, the pairing of artists or galleries is now at least as common as food trucks outside, or bars within, our local venues.
“2 of a kind”
June 29 – July 21, 2013
1542 N. Milwaukee Ave, 3rd Floor
Chicago, Illinois 60622 http://lvl3gallery.com/
Above: Yhelena Hall’s upper-gallery installation joining a helium-supported wooden craft with wall-mounted video.
Above: Joshua Albers’ lower-gallery (Sub-Mission) projected video installation.
Yhelena Hall’s da Vinci-like creation is built from fabric stretched over a frame, which method of construction reminds a Chicago resident of Linda Warren’s artist Juan Angel Chavez. But, maybe, within Warren’s stable the better comparison is to Conrad Freiburg–for as helium escapes its imperfect balloon, Hall’s wooden machine has a self-destructive potential.
Joshua Albers and Yhelena Hall
PARALLELS / A Collaboration with ACRE Residency, Part 2
August 2 – 24, 2013
1431 W. Chicago Avenue
Chicago, IL 60642 http://themissionprojects.com/
Linda Warren Projects
Above: The framing device “Undecagon Tripod,” 2013, at the center of Freiburg’s kinetic, wood installation.
Like Yhelena Hall at The Mission, Conrad Freiburg chose to present freestanding, three-dimensional objects made largely of wood, in the company of smaller, wall-mounted graphic works, which in this case are still images rather than video. Unlike Hall, around the perimeter of gallery interior Freiburg set a race, which in turn carries bearings or marbles as such activity is initiated by visitors. Four years ago, in June of 2009, Monica Herrera arranged a similar work at 65GRAND, there observed with an additional audio component: falling marbles “played” upon successive wooden elements with each drop in elevation.
“Before the Grave and Constant”
June 7 – August 10, 2013
Linda Warren Projects
327 N. Aberdeen (151)
Chicago, IL 60607 http://lindawarrenprojects.com/
Above: A visitor interacts with Monica Herrera’s installation in 2009.
Eliza Fernand, Jodie Mack, Monica Herrera
Curated by Thea Liberty Nichols
June 19 – July 25, 2009
1378 W. Grand Ave. (old location)
Chicago IL 60622-6450
Chicago Artists’ Coalition
Above: Audience members interact with Jake Myers at his cardboard sports bar.
Above: Attendees model the available Mothergirl costumes.
Above, left-to-right: Jessica Harvey, Kera MacKenzie, and Jenny Buffington at the “pARTicipatory” opening on August 9, 2013.
When I hold a camera to my face and look through the viewfinder I’m blind to the room around me, so that it’s especially surprising to be struck at that moment. I write here with authority as I’ve suffered the aforementioned indignity on multiple occasions. On August 9, 2013, for the second time at one of Myers’ openings, someone threw something at me while I was taking a picture. If the games, and food, and liquor, all now frequently available at gallery openings, have served to draw in a certain sort of person then, maybe, they’ve done so only at the cost of another sort of person. After six years of work on this photographic project, my patience has been exhausted.
HATCH Projects Residents: Chaz Evans, Amber Ginsburg, Mothergirl, Jake Myers, Hoyun Son, and Latham Zearfoss
HATCH Curatorial Residents: Meredith Weber and Anna Trier, a/k/a the Happy Collaborationists
August 9 – August 29, 2013
Chicago Artists’ Coalition
217 N. Carpenter St.
Chicago, IL 60607 http://chicagoartistscoalition.org/
Above: Acclaimed coronet player Josh Berman, foreground, nagged by my mother, background. It’s better him than me.
Above: Nick Butcher, right, gave my mother, left, a Tecate, and she seemed concerned.
Sonnenzimmer print and design studio is Nadine Nakanishi and Nick Butcher. On July 14, 2013, Nick and Nadine held a sort-of art benefit / garage sale, during which Michael Bingaman (electronics), Josh Berman (cornet), Anton Hatwich (double bass), and Matt Schneider (guitar) played music. There, I bought a big Taschen contemporary art compendium for three dollars, and got a Design Bureau magazine for free. Everyone was cool! And John Corbett was there–because he’s really good about attending these things. Even my mother was happy.
“On the patio at Sonnenzimmer”
10:00 AM – 6:00 PM
July 14, 2013
3605 N. Damen Ave., Rear
Chicago, IL 60618 http://www.sonnenzimmer.com/
Columbia College Chicago: Portfolio Center – Industry Events
Above: Nick Albertson
The scale of the event was overwhelming. The quality of almost all of the work was very high. I spent most of my time with those presenters who seemed to have a fine arts orientation. Rikki Levine, above, was something of an exception as she seemed (?) most interested in travel and documentary work. But, her book (portfolio) looked too good to ignore. Whether they knew it, not a few graduates produced material recalling John Opera or Jessica Labatte. And I should have been yet more forceful in my exhortation to go out and look at what’s being made here and now.
Columbia College Chicago
Portfolio Center – Industry Events
May 16, 2013
1006 S. Michigan Ave.
Chicago, IL 60605
Above: A visitor at the entry to “Polonia and Other Fables” seen engaged with one of Sekula’s photographs during the opening reception in 2009.
Allan Sekula died on August 10, 2013 after a long struggle with cancer.
“Polonia and Other Fables”
September 20 – December 13, 2009
The Renaissance Society
5811 S. Ellis Avenue
Bergman Gallery, Cobb Hall 418
Chicago, Illinois 60637 http://renaissancesociety.org/site/
Chicago Art Department
Above: “Mr. Grief” by Meg Noe.
Jeffery Austin, Marne Provost, Kimberly Kim, Meg T. Noe, Jonathan Pivovar, John Brookes Turner
Curated by Jonathan Pivovar
Supported by Columbia College Chicago’s Photography Department
July 12 – 14, 2013
Chicago Art Department
1932 South Halsted #100
Chicago, IL 60608 http://www.chicagoartdepartment.org/
“THE CHARACTER AND SHAPE OF ILLUMINATED THINGS”
Organized by MCA Curator Julie Rodrigues Widholm.
July – November, 2013
MCA Chicago Plaza Project
The Museum of Contemporary Art of Chicago
220 E. Chicago Ave. (MVDR Drive)
Chicago IL 60611 http://www.mcachicago.org/
Frogman Gallery / Pop-Up Art Loop
Above: Dmitry Samarov (painting) at left, curator Gwendolyn Zabicki at center, and Noah Vaughn (photo print) at right, in “Never a lovely so real,” opening night.
The Chicago Loop Alliance deserves credit for the good work it’s done in offering such opportunities to people like Gwendolyn Zabicki.
“Never a lovely so real”
Clarissa Bonet, Dmitry Samarov and Noah Vaughn
Curated by Gwendolyn Zabicki
Pop-Up Art Loop from the Chicago Loop Alliance
Sponsored in part by Columbia College Chicago
July 11, 2013
108 N. State St. (Block Thirty Seven, First Floor)
Chicago, IL 60603 http://gwendolynzabicki.com/home.html
Chicago Artists Coalition
Above: Jordan Martins in his projection, opening night.
Above, left-to-right: Nick Butcher (half of Sonnenzimmer), Jennifer Salim, E. Aaron Ross, and Aaron Delehanty standing in a projection by Theodore Darst at the Chicago Artists Coalition’s “Natural Fallacy” opening.
Noelle Allen, Theodore Darst, Brent Fogt, Jordan Martins, Nicholas Sagan, and Matthew Schlagbaum
Curated by MK Meador
July 12 – August 1, 2013
Chicago Artists Coalition
217 N. Carpenter St.
Chicago, IL 60607 http://jordanmartins.com/
Above: MSHR a/k/a Brenna Murphy & Birch Cooper performing an electronic audio work in their installation.
It’s too bad that a piece which suggests many questions related to resource allocation within the context of non-European, urban poverty, here found available for view in the lobby of a free, teaching museum, was ignored in an article entitled “Marginalizing Chicagoans’ Access to Culture” at Newcity.
Sponsored by BMO Harris Bank
January 19 – December 8, 2013
The David and Alfred Smart Museum of Art
5550 S. Greenwood Ave.
Chicago, IL 60637 http://smartmuseum.uchicago.edu/
EXPO / Public Chicago
Above, left-to-right: Duncan Mackenzie, Caroline Picard, Richard Holland, a/k/a Bad at Sports.
May 14, 2013
1301 N. State
Chicago, IL 60610 http://expochicago.com/
Above: Jessica Taylor Caponigro’s “There in a Darkness,” 2013, coal in cast glycerine soap.
Above: Aimee Quinkert, curator, at left, and Jessica Taylor Caponigro, artist, at right, foreground; “What Was, Was I” and “II” on wall, background.
It’s the third of Jessica Taylor Caponigro’s installations which I’ve seen, each of the three having been abstracted from both architectural and also literary sources. The comparison between works made over time (a span of several years) is interesting, and maybe best reveals her intent.
Jessica Taylor Caponigro
Curated by Aimee Quinkert
May 11 – June 2, 2013
1821 W. Hubbard St., Suite 209
Chicago, IL http://www.johallaprojects.com/
Columbia College Industry Events BFA Open Studios
Above, left-to-right: Columbia College BFA Seniors Brianna Baurichter, Corinna Cowles, and Nicki Penz with artwork.
Above: Madeleine Lowery with artwork in studio.
Fine Arts Open Studios
5:00 – 8:00 PM
April 18, 2013
1006 S. Michigan Ave.
Above: An overhead view of Erik Wenzel’s Artforum installation “Fernweh,” as seen within Brandon Alvendia’s The Storefront gallery, on the show’s opening night.
Wenzel, like Fake, above, and Andre, in the previous article, has made use of the floor for the purpose of presenting modular units in a grid pattern. Here the invitation to the audience to walk upon the artwork is wanted to be especially cheeky: an institution (magazine) and a commercial appropriation of culture resources (gallery ad) are both trodden upon, which action symbolically mimics Wenzel’s own “progress” through the real and metaphysical worlds of art.
April 20 – May 12, 2013
2606 N. California Ave.
Chicago IL 60647
Above: Work by Dmitry Samarov, center; Steve Seeley, at right.
Above: Vertical Gallery, exterior.
“The Economics of Art 2013″
Dmitry Samarov, Ian Ferguson, Julie Murphy, Steve Seeley, and Jimmy Bunnyluv, along with Anthony Freda, Dave Pressler, David Cooper, El Gato Chimney, Hernan Paganini, Klub7, Raudiel Sanudo and Ruel Pascual.
August 3 – 31, 2013
1016 N. Western Ave.
Chicago, IL 60622 http://verticalgallery.com/
As if Logan Square wasn’t already the best neighborhood in Chicago (sorry haterz), this weekend’s Milwaukee Avenue Arts Festival was the perfect combination of art, craft and deliciousness. The festival had everything: boneless rib sandwiches, hot dogs, cheese burgers, italian sausages, cheese fries, funnel cakes, Wisconsin cheddar curds, corn dogs, chicken strips, cheese sticks, cheese curds, nachos and potato skins. Here are a few of the highlights:
All of the things!
Lisa Lindvay somehow managed to make Doritos gorgeous at one of the SLAC storefront exhibitions
We loved Natalie Krick’s clever use of the dressing rooms in the abandoned clothing store where one of the SLAC exhibitions took place.
WTT? is a longtime GDBD fan, so we were of course delighted to see member Jamie Steele’s work, Lady (2013) at MAAF.
The extremely lovely and extraordinarily talented Nadine Nakanishi at her booth for Sonnenzimmer.
Starving Artist. It’s a charged phrase that elicits reaction from our guts – whether artist, admin or educator – so it was no mistake Chicago Artists Coalition (CAC) chose it as the banner to hold over their annual artist+chef mash-up, raising funding and awareness for its mission to build a sustainable marketplace for artists and creative’s.
Photo courtesy of J. Herrington
Billed as “the experiential artist and culinary event of the year,” CAC pairs a handful of chefs from foodie institutions across the city with esteemed visual artists to inspire one another in creating edible “installations” to be enjoyed by the crowd and new works of art to be auctioned off the night of the event. 2013 saw collaborations between Jordan Martins and Abraham Conlon (Fat Rice), Sabina Ott and Bill Kim (bellyQ), Theaster Gates and Erick Williams (MK), Cody Hudson and Jared Wentworth (Longman & Eagle), and Marissa Lee Benedict with Benjamin Newby (Hennessy Black.) Additionally, Claire Ashley and Andrea Morris transformed CAC’s main gallery into an ethereal, celestial-like space, perfect for the obligatory after-hours dance party.
Photo courtesy of J. Herrington
Now in it’s third consecutive year, Starving Artist has proven to be a perfect concoction of collaboration. By partnering with taste makers (pun intended) throughout the food industry, which has its very own devout following for the artistry of the chefs they love, CAC has found a way to cross-pollinate audiences, capitalizing on shared aesthetics while aiming to develop new audiences for the arts. So far it’s a sweet – and savory – success.
Photo courtesy of J. Herrington
Header image features a detail of Matt Nichols’‘s Guardian (pine), 2013 (pine plywood and painter’s tape, 32 x 49 x 22 inches) on view at Courbett vs Dempsey through July 20th.
Work by Aesthetic Apparatus, Ashkahn, Scott, Barry, Deanne Cheuk, Josh Cochran, Michael Coleman, Jim Datz, DEMO, Rachel Domm, E. Rock, Anna Giertz, J. Namdev Hardisty, Steven Harrington, Maya Hayuk, Andrew Holder, Gluekit, Cody Hudson, Imeus Design, Jeremyville, Kaleidophant, Landland, Daniel Luedtke, David Maron, Marque & Anna Wolf, Blake E. Marquis, Scott Massey, Garrett Morin, Rinzen, Andy Mueller, Chris Silas Neal, Mike Perry, Pietari Posti, Luke Ramsey, Seripop, Chris Rubino, Nathaniel Russell, Joel Speasmaker, Marcroy Smith, Andy Smith, Sonnenzimmer, Jim Stoten, James Victore, and Hannah Waldron.
Public Works is located at 1539 N. Damen Ave. Reception Friday, 7-10pm.
With—Nadine Nakanishi & Nick Butcher of Sonnenzimmer
In—the Sonnenzimmer studio, 3605 N. Damen (rear)
Commenced—on Monday, February 14th, 2011, 6:30–7:30pm
“From the fine art world, we’re not fine art enough, and from the design world, we’re too fine art, so we’re always in this in-between of not being enough art, and not being enough design. The beauty of that is that we can say ‘graphic art’ because we like images, and graphic art you have to produce. You produce it in a way that has economic and functional [reasons] behind it, otherwise it wouldn’t be graphic art. Graphic art is creating images under an economic framework that has to do with the process, the tools, the money you have, and what it’s for. We wanted to describe that somehow.”
— Nadine Nakanishi
This past fall I ran into Nadine Nakanishi and Nick Butcher in the hallway outside of the Post Family headquarters on Hubbard Street. Peculiarly, they had with them a chair, an apple, a camera, and a long beam of wood. Mystified then, I was to realize months later that they had just finished the photo shoot for Field Integration, Nadine’s second artist book, which will be released this Friday, February 25th.
I met Nadine and Nick, also known collectively as Sonnenzimmer, a little over a year ago at my first Chicago Printers Guild meeting. From the outset I was struck by the power of Nadine’s passionate conviction, and by Nick’s welcoming, reasoned demeanor. Since then I have followed their tireless creative progress, and I have been astounded time and again by work that is always thoughtful and sincere.
Nadine and Nick are collaborators who exist wholly in a collaborative Chicago print community. The enthusiasm they have for art, typography, and design is contagious, and utilizing that enthusiasm they are able to connect with a wide range of creative talent in the city. Field Integration is a microcosm of such connections, with a preface by Fred Sasaki (associate editor of Poetry magazine) and editorial assistance from Jonathan Messinger (book editor for Time Out Chicago and publisher at Featherproof Books). Scott Thomas (of the Post Family and Designing Obama) hosted the photo shoot in his new office space, and the book itself was offset printed in Chicago at Mission Press, with a screen printed cover and inserts from Sonnenzimmer’s press on the North Side.
Field Integration (2010) is a companion book to Nakanishi’s first publication, Formal Additive Programs (2009). Both artist books were partially funded by the Community Arts Assistance Program (CAAP) grant from the Chicago Department of Cultural Affairs. After constant rejections from the grant community in her native Switzerland for “not being Swiss enough,” Nadine now has a lot of enthusiasm about the role of the CAAP grant in the city. Her advice when applying is to pay attention to deadlines far in advance (the deadline for 2011 grants was January 31st), and to take advantage of the public grant review sessions that happen in the spring. She also encourages artists to seriously think about the best finance possibilities for creating new work that will extend beyond the project and provide momentum for a career as an artist.
Formal Additive Programs certainly brought Sonnenzimmer’s momentum to the table. The book is a beautifully simple and concise collection of eighteen instructions, simple pieces of advice to follow step-by-step throughout the design process. Field Integration transforms the functional design advice into something more philosophical: a treatise on process and experiment in relation to images, design, and Ikebana, the Japanese art of flower arranging.
The book unfolds in more complexity upon every re-reading. Field Integration is very much an artist book, for the texts and the images could not communicate as powerfully alone. The main essay offers Sonnenzimmer’s thoughts on philosophy and history, exploring the tenets of Ikebana, and focusing on balance in nature as a new way to consider design. There is a beautiful, haunting undercurrent from Fred Sasaki’s appropriated lines on Ikebana and the WWII Heart Mountain Japanese internment camps. It is a part of American history that Nadine notes, “has not really been digested yet.”
Paired with the text are black and white photographic still life arrangements, playful interpretations of the fundamental forms of Ikebana: the point, the line, and the plane. An electrical wire in the background grounds the arrangements, and serves as the balancing horizon line. Informed by the photographs, judiciously restrained splashes of color appear in small painted sketches and in the screenprinted inserts.
I see Sonnenzimmer’s books as manifestos on their unique design and production process, and that alone presents an interesting archival project for the Chicago art community. With Field Integration, Nadine and Nick present a tactile, functional object that includes the how, the why, and the what of their business. It is a practical form of self-promotion, and a holistic way of communicating who they are as creative people. Would that we each could find such a voice.
Sonnenzimmer is holding a book release party for “Field Integration” on Friday, February 25th from 7:30-9:30pm at the Elastic Arts Foundation (2830 N. Milwaukee Ave., 2nd floor). The release includes readings from contributors Fred Sasaki and Jonathan Messinger; photographic interpretations by Martha Williams and Jeremy Bolen; and music by Geoff Farina. The event is free.
You can watch a short documentary on the making of Field Integration here:
Julia V. Hendrickson is a native of eastern Ohio who lives and works as a visual artist, writer, and curator in Chicago, Illinois. In 2008 she graduated with a B.A. in Studio Art and a minor in English from The College of Wooster (Wooster, Ohio). Julia is currently the gallery manager at Corbett vs. Dempsey, as well as the office manager and design assistant for Ork Posters. She is a teaching assistant at the Marwen Foundation, an active member of the Chicago Printers Guild, and has taught at Spudnik Press. A freelance art critic and writer for Newcity, Julia also keeps a blog called The Enthusiast, a documentation of the daily things that inspire, intrigue, and inform. She is currently exhibiting at Anchor Graphics (Columbia College Chicago) in a solo show titled FANTASTIC STANZAS, on view through March 26th.