1. Unfortunately, It Was Paradise at City Gallery in the Historic Water Tower
Work by Regina Mamou.
City Gallery in the Historic Water Tower is located at 806 N. Michigan Ave. Reception Friday, 5:30-7:30pm.
2. Your Everyday Art World Book Release Party at threewalls
Conversation with author Lane Relyea, moderated by Duncan MacKenzie with Shannon Stratton and Abigail Satinsky.
threewalls is located at 119 N. Peoria Ave. Reception Friday, 6:30-8:30pm.
3. Symbiosis at Century Guild
Work by Rory Coyne and Lauren Levato Coyne.
Century Guild is located at 2136 W. North Ave. Reception Saturday, 7-10pm.
4. Little Man Pee Pool Party: The Whiz Paddler’s Lament at Antena
Work by Meg Duguid, Bruce Conkle, Micki Tschur, Paul Mack, Mariano Chavez, Sarah Beth Woods, Marie Walz, Scott Wolniak, Sabina Ott & Michelle Wasson, Catie Olson, Andy Pizz, Eyeball Mansion, Nick Drnaso, Sarah Leitten, Andy Gabrysiak, Scott Anderson, Taylor Hokanson, Paul Somers, Edra Soto, Ryan Standfest, Bert Stabler, Matthew Novak, Kevin Budnik, Jeffrey Boguslawski, Ryan Travis, Christian Lars, Bra Jim Zimpel, Tom Torluemke, Tim Ripley, Eric Lebofsky, Andy Burkholder, Erik Lundquist, Krystal Difronzo, Marieke McClendon, Lyra Hill, Alyssa Herlocher, Joe Tallarico, Chris Cilla, Andy Gabrysiak, Chris Kerr, Keith Herzik, Kevin Budnik, Jason Robert Bell, Abe Lampert, Ryan Travis Christian, Jo Dery, David Alvarado, Ryan Standfest, EC Brown, Grant Reynolds, Max Morris, Otto Splotch and Anonymous.
Antena is located at 1755 S. Laflin St. Reception Friday, 6-9pm.
5. Alive! Commodity, Zombie, Avatar, Fetish at Sullivan Galleries
Curated by Ginger Krebs.
Sullivan Galleries is located at 33 S. State St. Reception Friday, 5-7pm.
Two years after the first iteration of his epic USSA 2012 project opened at threewalls in 2011 in the form of the hyper-conceptual “orphanage project” (after a controversial Bad at Sports podcast about an orphanage the artist had allegedly proposed on the South SideÂ drew confused ire), Zachary Cahill brings the third and final installment of his world to the Smart Museum. USSA has grown up and outward over the years, its hallmark institutions morphing from orphanage to gift shop (the People’s Palace Gift Shop at the Cultural Center last summer) and now a riff on a mountain sanatorium. Each iteration has also gotten even more ephemeral, diffuse, and challenging: the Smart Museum show, entitledÂ USSA 2012: Wellness Center: Idyllicâ€”affair of the heart, consists of a banner declaring “A Sea of Wellness,” a number of watercolor paintings scattered in offices around the museum, and both analog and digitalÂ postcards from the Wellness Center. (There’s also some heart-wrenching confessional poetry and estranging emoji, among other digital objects, on the show’s website.) For Smart Curator Sarah Mendelsohn, the challenging evasiveness of the show, and Cahill’s world, is part of the pleasure: “The difficulty of locating the USSA is part of what makes the conversation around this work so enjoyable,” she reasons.
This kind of logic is certainly in line with Cahill’s larger themes. USSA 2012 has taken on vast aesthetic, political, and increasingly personal topics for the artist over the years, and this latest iteration is no exception, with references to different kinds of modernisms within the history of painting, Thomas Mann, and the relationship between wellness and art, within his ever-present wide-ranging institutional and cultural critiques. I spoke with Cahill over email after the show’s soft opening last week. (nb all strikethrough text is intentional)
Idyllicâ€”affair of the heart banner
MW: Can you write an introduction to an imaginary travel guide for USSA? The culture, the people, the flags,Â the scenery depicted in the postcards, the social institutions, the art, the vibe… Is it an Olympic village? Cosmopolitan (as I imagine sanatoriums to be, as the art world is?)
ZC: ok here goes:
Sochi 2014 Cultural Olympiad
2013 – The Year of the Museum
USSA 2012:Wellness Center
The fourth year of the
Sochi 2014 Cultural Olympiad USSA 2012:Wellness Center is devoted to museums. As always, the organizers of the first Winter Games in the history of Russia USSA will present the public with hundreds of the best cultural events. They include dozens of exhibitions, shows, competitions, festivals, and special exhibitions, as well as forums, workshops and educational programs that will be held throughout the country.
Sochi 2014 Cultural Olympiad Wellness Center is a unique project by the organizers of the USSA 2012, offering theÂ best cultural events in the country. In 2014, visitors to the Olympic host city will not only be able to evaluate the sporting competitions, but also Russia’s the USSAâ€™s cultural diversity at dozens of performance venues located in Sochi and Krasnaya Polyana. Therefore, since 2010, the Sochi 2014 Organizing Committee, along with dozens of regions throughout the country, has been carefully selecting the best of Russian USSA culture. Between 2010 and 2014, thousands of diverse cultural events have and will be taking place throughout the entire country. Each year, the Cultural Olympiad is dedicated to a different art form: 2010 was the Year of the Cinema, 2011 the Year of the Theater The Orphanage Project, 2012 the Year of Music The Peopleâ€™s Palaceâ€™s Gift Shop, and 2013 is the Year of the Museum/WellnessÂ Center 2014.
The national scale of the project will make it possible to involveÂ every resident of the country in this grand celebration of musicÂ wellness, maintaining and increasing the cultural riches ofÂ our country. All of the events of the Cultural Olympiad can beÂ followed on
Thatâ€™s kind of what I imagine it would sound like, but maybe written in the style of Thomas Mann (who is something ofÂ a spiritual grandfather to the wellness center-his book The Magic Mountain is especially important)…The artist Susan Hiller I think once said about her projectÂ From the Freud Museum…something like, â€œI think we all live inside the Freud Museum, metaphorically.â€..not meaning (obviously) that we live inside her installation but i think something along the lines that today we all are are living in and through the influence of Sigmund Freud and the life of the unconscious…possibly the Wellness Center is a bit like that…itâ€™s not something I made exactly…itâ€™s just something we all are living in…wellness as a perfume-y like presence that canâ€™t be nailed down to any one specific location…
Wellness Center watercolor 13
MW: What do you think of USSA as a kind of “worlding”? What is its ontological status?
ZC: I am sure that is probably right but I feel like maybe theÂ USSA isnâ€™t so much a form of â€œworldingâ€ but rather marks the condition of being world-ed…moving in and by forces that areÂ in many respects beyond our control…maybe the difference is negligible … I guess Iâ€™d say for me that the project…the totality of the USSA 2012 is really ontologically unstable and thatâ€™s kind of the point…itâ€™s not that I am looking to create fiction….or create an alternate universe or what have you… it flickers…my understanding is that these alternate universes are what we all create and inhabit everyday…we canâ€™t stop doing it…even theÂ most so-called unimaginative person is a hardcore world-builder and imagineer…they maybe even the best at it… seeing as itâ€™s their boring hum-drum world that we (for lack of a more credible option) seem to buy into and slog through most often….I guess everyone is worlding…so many worlds colliding…
MW: The project has reached the end of its lifespan–Â the orphanage story, childhood to adulthood, and now (after) the end. It’s also getting arguably more conceptually challenging as well as seemingly more personal. Is it getting more permeable with the real world for you? Where do you leave the world?
ZC: I always hoped that the USSA 2012 project would have something like a life span that could be mapped onto the different iterations…youth (the orphanage project)…middle age (the gift shop) and old age (wellness center)…and maybe..who knows …an afterlife?
Yes, it is getting more overtly personal in a sense… and these different life phases are meant to reflect a kind of growth through time…
MW: Re: getting personal: is the painting genre as personal a genre for you here as the confessional poetry? What kinds of approaches do you take to both?
ZC: I think so…in each instance [painting and writing] forÂ the Wellness Center Project I try to be as honest and forthcoming as I can…Still, the confessional poetry piece is difficult for me to talk about…I wrote it…Itâ€™s out in the world and thatâ€™s about all I can manage to comment on at this times….
Some of the paintings work this way too…but I suppose different modes of working are put to use for different parts of the project…so for example, with some paintings I try to imagine what the wellness center patients would make…what kind of paintings they would do as guests at an early 20th century European sanatorium…Of course, the imaginary is pretty close to the real in these efforts…I think the choice
of color gets at the personal for me…especially the use of fluorescent…I think if Munch were alive today…heâ€™d probably use a lot of fluorescent paint…is that a way of answering the question?
MW: You have talked about the difference between internal and external experience, which also comes up in the curatorial writing for the show. Those experiences seem to map onto the painterly influences here: the small human figure in an overpowering landscape (Friedrich), the hugeness of subjectivity and interiority in expressionism. I guess this isn’t really a question. Here’s my question: is this hunch right? How is it more complicated than I suggested?
ZC: The blurring of the internal mind scape and the outside world is definitely an interest…In fact, I am teaching a class on the subject next year [Cahill is aÂ Lecturer & Open Practice Committee CoordinatorÂ in the Department of Visual Arts at the University of Chicago]. I have been pretty influenced of late by a book a friend of mine recommended, Modern Painting and the Northern Romantic Tradition, by the art historian Robert Rosenblum, where he describes the psychic economy of painters like Van Gogh, Munch, and many others while tracing a Romantic lineage back to Caspar David Friedrich…It is a fantastic book of art history!…Illuminating sections abound. For instance,I had always wondered what is the opposite of the notorious commonplace â€œart for art sakeâ€…Rosenblum points out that Van Gogh was interested in art for lifeâ€™s sake…I never heard it formulated so simply and that is something that interests me…
For the banner at the Smart Museum I was thinking about CDF…it is â€œafter himâ€ as they say, or some sort of perversion of his Monk by the Sea painting… which has always held a special place in my artistic heart because it so vividly merges an inscape with the landscape…I am sure youâ€™ve experienced that feeling when…itâ€™s raining and somehow it just suits your mood perfectly and some kind of equilibrium is reached between your mood and your surroundings…that was what one of things I was going for in that painting…and how the psychic landscape might attach itself to the â€œreal worldâ€ of human activity too.
MW: Past iterations of the USSA seemed more explicitly political than this one. How cynical or sincere are you politically in this show? Aesthetically?
ZC: Well I am sincere but I am not sure that matters much…my sense it is of little consequence to viewers whether I am sincere or not…they donâ€™t need me to be…that said the politics are there… in other projects of mine the political element has been pretty foregrounded and some might say strident…like nails on a chalk board (or so I hoped)… but this project for me has to do with psychology… a turning inward and trying to a concoct propaganda of the self…like what if your unconscious started to make banners and agitate… a revolution of the psyche…could that be political?
MW: What’s with the flowers you’ve been posting on Facebook?
ZC: Slow to the party…I recently began to grasp the significance of flowers after talking about them with a couple of friends…and I started taking photos and looking closelyÂ at them over the summer around my neighborhood andÂ discovered…shocker…flowers are amazing…they do all sorts of crazy things to light to get the colors they do…natural fluorescence…
I started thinking about bees and pollination…and how people use flowers in front of their homes, at weddings, funerals, …rituals…and I concluded that flowers must perform some apotropaic function….like a teddy bear or church gargoyle… they are meant to keep the bad vibes away…
and then I starting thinking of flowers in relation to propagation and propaganda..etymologically tied…and realized flowers are supremely political…so with all the NSA data collection going on I thought…well, if they want to know something about me…let them know that I love flowers..so the flowers on Facebook were a kind of protest but also a kind of advent calendar before the project at the Smart Museum opened.
Flowers for Bad at Sports
MW: Art and mourning: these are the two huge driving themes for the show. What is art mourning? You’ve talked regarding previous USSA projects about economic depression, the way we’reÂ all “waiting for recovery,” and healing from the trauma of the Bush era. Can art help us mourn? What is mourning?
ZC: I suppose I can only answer for myself here…But speaking in generalities (knowing I am going to say this all wrong and embarrass myself) …I think art is a very fundamental human thing… By that I mean art is a lot like one of the  senses…itâ€™s a way of apprehending the world around us…now Art clearly gets caught up in all other types of associations like the art market and folks tend to get hung up on that stuff but I think art is just something we do asÂ people…market or not…
Therefore, I guess Iâ€™d say art can be an outlet forÂ mourning …or that grief can pour out into your art …just
like it can pour out into any other aspect of your life…art might be a healthy outlet and also a way of sharing the experience…commiserating…when you suffer a major loss in your life you look for ways to cope …perhaps if you’reÂ an athlete your pour that energy into competition, or ifÂ you’re a writer you write, but sometimes the grief can beÂ so overwhelming that none of the things that once made you strong and â€œtogetherâ€ can fend off the sorrow…so ifÂ art fails itâ€™s a bit like having another part of your body cave in…but hopefully you find the resources to just hang in there…friends and family are important here and…well… so is therapy.
In terms of a larger geo-political situation that you mention…I do think art can have a similar function, it can help society recover, but it can no more make the worldÂ a better place than breathing…or sleeping… basic things humans do…true, when put to good practice things like breathing and sleeping and even art can make an enormous impact on the state of the body politic…thatâ€™s encouraging and why I am big fan of political art and art that may or may not realize its political efficacy.
MW: People are going to be really confused about this show. At least I still find it ineffable and often difficult to parse symbolically, like a warren of rabbit holes. At lunch the other day you talked about an artist (I forget his name) who loved Apollinaire because his criticism was always wrong. You’re interested in misinterpretation. Are you interested in critics getting this show wrong? Is this why so much of thisÂ project is oblique: to allow room for misinterpretation? What do you think about calling this show anÂ inhibition instead of an exhibition?
ZC: The quote, if i remember right, was from Georges Braque, whose work I adore…and itâ€™s not so much that I am interested in people getting my work wrong or baffling the critics…itâ€™s just in some sense people will always get it right …even if I have no idea what they get out of it … my take on the project is simply one view among others…which is to say I am a tad mistrustful of artistâ€™s intentions (not that i unreservedly accept other interpretations)…Itâ€™s just I think we often tell ourselves what the work is about for a whole host of reasons but there is (I think) always this weird secret cause behind the work…maybe itâ€™s not always secret exactly, but maybe some artists (myself included) have to look past that secret thing in order to create the work…itâ€™s a blind-spot that helps animate the work…this is a good thing…do people instinctually connect with that blind- spot…my guess is that they do…they donâ€™t know how or why they feel that blind-spot but when it gets to them if stuff is working right…maybeÂ the rabbit hole analogy is a good one…I guess my work is made for the diggers…people who like to get down into things….and I hope that I create enough spaces for them to tunnel into….because I have that interest….I like being onto something too…
I mean I very much like the direct experience of being in front of an art work, but I enjoy being haunted by art works too…a visceral quality that occurs with the work of some of my favorite artists…they infect me and I canâ€™t stop thinking about it…Ideally, Iâ€™d like my work to do both: give off an affecting sensation for the viewer and to haunt them afterÂ they walk away from it… my work wants to have its cake and eat to….
To your last question…I am very much interested in what I think of as in-hibition, as a kind of balance to the idea of exhibition…perhaps stemming from a sense that we share a fatigue of living in public constantly…and wanting to create work for specific people that might not get seen by the â€œviewerâ€…this is why I made works to be displayed in the offices at the Smart…they are on view but just for the people that work there, not the generally audience…itâ€™s for the people that live and work at that institution everyday…or: the material posted to the Smart Museumâ€™s website, the post cards in the gift shop, the Smart phone performances… in each case I am looking for another type of connection to the viewer that play off one another….
So while i do think the traditional the exhibition setting of the gallery is great and the most efficient format for artâ€” having potential to form something like a commons…which is how IÂ hope the banner functions….I am interested in other ways people might encounter the wellness center too …live with it and in some sense make it their own…Â in-hibition and exhibition…perhaps itâ€™s a type of swinging door
Various exhibition and performance elements of the “USSA 2012: Wellness Center: Idyllicâ€”affair of the heart” Â show will take place between now and August of 2014 at the Smart Museum of Art. More information is available on the museum’s website.Â
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
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: Scott Speh of Western Exhibitions.
Above: Ed Panar & Melissa Catanese of Spaces Corners.
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 â€” 8:00 PM
August 11, 2013
1314 W. Randolph St.
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 â€“ July 21, 2013
1542 N. Milwaukee Ave, 3rd Floor
Chicago, Illinois 60622
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 â€“ 24, 2013
1431 W. Chicago Avenue
Chicago, IL 60642
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 â€“ August 10, 2013
Linda Warren Projects
327 N. Aberdeen (151)
Chicago, IL 60607
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 Artistsâ€™ 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 â€“ August 29, 2013
Chicago Artistsâ€™ Coalition
217 N. Carpenter St.
Chicago, IL 60607
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 â€“ 6:00 PM
July 14, 2013
3605 N. Damen Ave., Rear
Chicago, IL 60618
Columbia College Chicago: Portfolio Center – Industry Events
Above: Nick Albertson
Above: Ryan Bringas
Above: Meg Noe
Above: Tim M. Johnson
Above: Rikki Levine
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 â€“ December 13, 2009
The Renaissance Society
5811 S. Ellis Avenue
Bergman Gallery, Cobb Hall 418
Chicago, Illinois 60637
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 Chicagoâ€™s Photography Department
July 12 – 14, 2013
Chicago Art Department
1932 South Halsted #100
Chicago, IL 60608
The timing of this exhibition is either fortuitous or tragic depending upon one’s knowledge of the not dissimilar installation on Michigan Avenue, and sense of humor.
“THE CHARACTER AND SHAPE OF ILLUMINATED THINGS”
Organized by MCA Curator Julie Rodrigues Widholm.
July â€“ November, 2013
MCA Chicago Plaza Project
The Museum of Contemporary Art of Chicago
220 E. Chicago Ave. (MVDR Drive)
Chicago IL 60611
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
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 â€“ August 1, 2013
Chicago Artists Coalition
217 N. Carpenter St.
Chicago, IL 60607
Above: MSHR a/k/a Brenna Murphy & Birch Cooper performing an electronic audio work in their installation.
Hear it on Vine: vine.co/v/hamYhHDJJ0d
Above, left-to-right: Abigail Satinsky, Lauren Basing, and Shannon Stratton, a/k/a threewalls, on the occasion of their last opening at 119 N. Peoria Street, Chicago.
Above: Edie Fake’s installation, with spectators.
Above: Joe Jeffers, left, and Jeremy Tinder, right, attending the opening.
Thanks to Abigail, Lauren, and Shannon for playing along. I’m sorry that I didn’t get a better shot of you three together. Good luck and best wishes…
Edie Fake and MSHR a/k/a Brenna Murphy & Birch Cooper
June 28, 2013
119 N. Peoria, #2C
Chicago, IL 60607
“In Between Drinks”
June 28, 2013
2124 N. Damen Ave.
Chicago, IL 60647
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 Chicagoansâ€™ Access to Culture” at Newcity.
Sponsored by BMO Harris Bank
January 19 â€“ December 8, 2013
The David and Alfred Smart Museum of Art
5550 S. Greenwood Ave.
Chicago, IL 60637
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
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
Fred Sandback: Sculptures
April 26 – June 1, 2013
Rhona Hoffman Gallery
118 N. Peoria St.
Chicago, IL 60607
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 â€“ 31, 2013
1016 N. Western Ave.
Chicago, IL 60622