Chicago Critical

Editorial: Todd Chilton vis-a-vis Scott Stack

2012-02-23T21:10:00.011-06:00

Chicago painters Todd Chilton and Scott Stack seem good to bring together in comparison. Independent of one another, both artists have recently produced abstract works in which successive, regular, linear elements dominate the canvas. Having written that, between Chilton and Stack there is too a telling difference in manipulation of line and color--a difference indicative of opposing strategies for pattern formation and the perception thereof. Coincidentally, in the not-too-distant past, both men opened shows only two weeks and three miles apart.

Above: Todd Chilton @ Rhona Hoffman, October 28 - December 3, 2011, edge detail

Above: Scott Stack @ Monique Meloche, October 15 – November 12, 2011, edge detail

In a previous article, on October 13, 2011, two days in advance of his exhibition at Monique Meloche Gallery, Scott Stack was recorded as follows: "'I'm not interested in pure green, or pure red, or anything straight out of the tube,' he said, 'That's not color.'"[1]

Whether his (Stack's) words were driven by prescience or exasperation, that formal antithesis which he conjured in speech was seen realized by Todd Chilton at Rhona Hoffman Gallery, on October 28, 2011.

Above: Todd Chilton @ Rhona Hoffman, October 28 - December 3, 2011, edge detail

In Chilton's presentation at Hoffman, more-or-less solid colors in alternation were used to build linear elements within paintings. Band-of-paint to band-of-paint, transitions were seen to be relatively abrupt and high in contrast; internal borders were well-defined, even if painterly. The periodic reversal of value and/or hue within said bands was, in aggregate, sometimes productive of a weak "gestalt effect," according to which geometric figures were able to be recognized.[2]

Above: Todd Chilton @ Rhona Hoffman, October 28 - December 3, 2011

In this regard, Chilton wholly depended upon his viewer's ability to psychologically complete his half-painted patterns: secondary shapes, however simple, e.g., diamond, needed to be known (knowable) in whole aforehand.

Conversely, in his most recent show at Meloche, Stack displayed a commitment to blending not only in his palette but also in the paint having been applied to the canvas. Movement from color-to-color and line-to-line within Stack's new paintings was usually characterized by a compact but gradual gradient progression; it was refined. Where Chilton's (impasto) surfaces were thick and tempestuous, Stack's surfaces were remarkably shallow and placid in spite of hours of brushwork.

It was in his composition that Stack roiled enigmatically, as the organization of his lines appeared stochastic, whether such activity was said to have some original correspondence to objective reality. Here, Stack was open as Rorschach to readings as yet unknown to himself or his audience.[3]

Above: Scott Stack, "Return of the Leopard Woman," 2009, oil on canvas, 89 x 74 inches, original image from Monique Meloche Gallery.

Stack is, roughly, twice Chilton's age; Stack must have held a brush for more than twice as many years as Chilton. And it's tempting to attribute at least some difference in their current work to said temporal disparity: What in youth seems clear, a matter of earnest to be vigorously pursued, frequently becomes a more complicated and ambiguous affair as the years pass. Why Chilton and Stack should have drawn relatively near one another, however briefly, now, is a yet more difficult thing to guess.

Historically, Scott Stack had seemed to be committed to the representation of abstractions--and not to representation or abstraction per se.[4] Painting the imagery reproduced by electronic devices, e.g., night vision equipment or television, Stack had spent years painting scenes already multiple generations distant from reality.[5][6] And it had been fairly easy to nestle him (Stack) in the near precedents set by Chicago Imagists: linking his apartment exteriors to Roger Brown, and his figure work to Ed Paschke.

Above: Scott Stack, "7:30pm Apartment," oil on canvas, 78 x 66 inches, original image from Monique Meloche Gallery.

Above: Scott Stack, "Queen," 2009, oil on canvas, 100 x 66 inches, original image from Monique Meloche Gallery.

Stack was a sort of surrealist with a conceptual bent, a foot in each local camp. But, Stack's more recent work recalls another continent almost one hundred years ago, in which time and place Cubism and Futurism were incubated. Maybe, Stack recalls Fernand Leger particularly.[7]

Above: Scott Stack, "Untitled," 2011, oil on canvas, 68 x 78 inches, original image from Monique Meloche Gallery.

Locally, Todd Chilton has been repeatedly associated with the purely formal issues of his craft.[8] And Chilton does indeed seem to be a painter of paintings: any reference external to the activity of himself, his viewer, and art history, appears limited if at all extant in his work. To the extent that Chilton is involved in a re-imagining of Op and Hard-Edge painting he too, like Stack, relies heavily upon abstractions which already exist somewhere in visual culture.

Above: Todd Chilton @ Rhona Hoffman, October 28 - December 3, 2011, installation view

Above: Todd Chilton @ Rhona Hoffman, October 28 - December 3, 2011, installation view

Not surprisingly, Chilton hails from one of the coastal states, and he's been picked-up and shown on the opposite coast. In spite of what happened in architecture and furniture design after pollination by the Bauhaus in the 1930s (and maybe in needful opposition to it) geometric abstraction in painting did not take root and flower in Chicago as it did in other places.[9] The easily imagined art historical precedents for Chilton and Stack's linear work, collected and exhibited in Chicago, tend to have been trucked-in from New York or some part of Western Europe. For example, Frank Stella and Barnett Newman hail from New York, Bridget Riley from England, and Sean Scully from Ireland.[10]

Maybe, playing upon the reference to the Weimar Republic in the preceding paragraph, Chilton and Stack are equally out of step with the "zeitgeist" in Chicago. Here and now, economic theory (Marx and Engels are only rarely named) underpins much contemporary education, production, and critique within the visual arts; and, not surprisingly, types of social art, poor art and street art constitute no small part of the local scene. Specialization in a particular craft, solitary studio work, and the production of real "commodities," such as the oil paintings on canvas made by Chilton and Stack, are things broadly considered to be passe.[11] For Scott Stack not to be connected to Todd Chilton's youthful cohort of SAIC and UIC graduates is a yet-more difficult thing. Whether Chilton will become more like Stack, or Stack more like Chilton, time will tell...

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Notes:

[1] http://paulgermanos.blogspot.com/2011/10/preview-scott-stack-monique-meloche.html

[2] http://en.wikipedia.org/wiki/Gestalt_psychology

[3] http://en.wikipedia.org/wiki/Hermann_Rorschach

[4] http://www.cod.edu/gallery/catalog/short_stack.pdf
Paragraph Two: "between representation and abstraction an approach to painting has developed that one might describe as 'situational,' a conceptually based attitude toward the application of paint,"

Above: Essay by Dominic Molon, past Pamela Alper Associate Curator, Museum of Contemporary Art, Chicago
"Situational Painting: Matthew Girson, Scott Short, Scott Stack"
May 19 - June 23, 2005
Gahlberg Gallery
College of DuPage
Glen Ellyn, Illinois

[5] Ibid.

Paragraph Six: "The skewed view of the world presented to us through electronic mediation is examined in the paintings of Scott Stack,"

Paragraph Six: "Stack’s depiction of scenes comprising shadowy forms often seen through some type of electronic distortion makes the more sinister implications of a life lived through televised, filmed or computer-based mediation (such as the use of media as a form of social control) visually manifest in his paintings,"

[6] http://articles.chicagotribune.com/2006-03-31/entertainment/0603310296_1_peter-miller-gallery-drawings-cover
"His first approach was to give contemporary scenes culled from newspaper photographs the look of having been viewed through night-vision goggles. So the images are horizontally striated..."

Above: Alan G. Artner, Chicago Tribune art critic, March 31, 2006, "Scott Stack at the Monique Meloche Gallery"

***Artner seems to suggest that Stack entered linear abstraction through the relatively straightforward representation of a technological distortion.***

[7] http://en.wikipedia.org/wiki/Fernand_Leger
Above: See "The Railway Crossing," 1919, noting stochastic arrangement of well-modeled diagonal lines.

See also: http://www.artic.edu/aic/collections/artwork/79600

[8] Todd Chilton appeared in both the 2006 and also 2010 iterations of the contemporary formal exhibition "Ps & Qs," as curated by Shannon Stratton and Jeff Ward.

2010: http://www.hydeparkart.org/exhibitions/ps-qs-1
Review: http://art.newcity.com/2010/03/22/review-ps-qshyde-park-art-center/

2006: http://microrevolt.org/reblog/archives/2006/09/ps-qs.html
Above: Todd Chilton, Nevin Tomlinson, Andrea Myers, Kirsten Flanigan, Mung Lar Lam, Paul Jackson, Carl Suddath, Katy Heinlein
September 8 - November 12, 2006
Glassell School of Art
Museum of Fine Arts, Houston

Todd Chilton appeared in both "Beautiful Form" and "New Formalisms 2" as curated by Abraham Ritchie, in 2009 and 2012 respectively.

2012: http://65grand.com/newformalisms2_release.php
Review: http://art.newcity.com/2012/01/31/review-new-formalisms-2-65grand/

2009: http://www.65grand.com/beautiful_form_release.php
Review: http://art.newcity.com/2009/01/19/review-beautiful-form65-grand/

[9] http://en.wikipedia.org/wiki/Ludwig_Mies_van_der_Rohe
Above: See Illinois Institute of Technology, Second Chicago School, International Modernism, and Walter Gropius

[10] http://www.artic.edu/aic/collections/artwork/72177
Above: Sean Scully, "Heart of Darkness," 1982, oil on canvas, 96 x 144 inches

Scully was shown (and, if memory serves, afforded a great deal of space) at The Art Institute of Chicago, December 15, 1987 – February 7, 1988

[11] A Feminist critique of Chilton and Stack might additionally emphasize the artists maintenance of an essentially patriarchal narrative; the commercial, as opposed to domestic, context of the artists exhibitions; the subordination and anonymity of familial support structures enabling each male artist; etc. Multiculturalists might find fault with Chilton and Stack when considering the narrow ethnic demographic which the two artists represent. Chicago Imagists, i.e., Surrealists, their collectors and chroniclers, not Marxists, Feminists, or multiculturalists, find little to love in any form of non-objective geometric abstraction. And, Neo-Conceptualists seem to occupy little intellectual ground apart from Marxism and Feminism.

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Exhibitions:

Todd Chilton
October 28 - December 3, 2011
Rhona Hoffman Gallery
118 North Peoria Street
Chicago, Illinois 60607
http://www.rhoffmangallery.com/

Scott Stack
October 15 – November 12, 2011
Monique Meloche Gallery
2154 W. Division
Chicago, Illinois 60622
http://moniquemeloche.com/

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Related Posts:

http://paulgermanos.blogspot.com/2011/07/editorial-after-minimalism-in-chicago.html
"Editorial: After Minimalism in Chicago the Summer of 2011," July 22, 2011

http://paulgermanos.blogspot.com/2010/09/review-todd-chilton-slow.html
"Review: Todd Chilton @ Slow," September 9, 2010

- Paul Germanos

Preview: Scott Stack @ Monique Meloche

2011-10-13T16:24:00.023-05:00

"I'm not interested in pure green, or pure red, or anything straight out of the tube," he said, "That's not color." All 'round us, punchy near-primary hues popped vividly into focus; Oak Park's autumnal display of foliage was especially glorious that sunny October afternoon. There, in the garden which girdled his home and studio, Scott Stack proceeded to search through the green leaves and red leaves till he found one which was in chromatic transition.

"Do you see?" Stack queried, then pronounced: "That's color." And I was reminded that two years ago, when first I met Stack in Monique Meloche's gallery, his painting seemed to be the thing in transition:

Above: Scott Stack @ Monique Meloche, March 20, 2009

In 2009, Scott Stack appeared to straddle the opposing islands of representation and geometric abstraction; and which would prove to be the more enduring ground was then wholly unknown. In 2011, moving from the garden exterior to the studio interior, I was shocked to learn that every (easily recognizable) trace of the figure, architecture and landscape had vanished from his paintings:

Above: Scott Stack outside his Oak Park studio, October 9, 2011

Above: Stack's studio doors swung open

Above: Scott Stack in studio, in 2011

Linear devices, which once were only ancillary, had grown in importance: becoming the building blocks of his compositions. In the new work, 10mm bands of oil-suspended pigment were arranged and blended on carefully-smoothed, well-gessoed cloth, so that "direction" and the illusion of three-dimensional space were indicated therein apart from any identifiable light source and corresponding shading.

Above: Edge detail of new (2010-2011) painting

Above: Scott Stack with painting in 2009

During the studio visit, Stack spoke in an animated manner about the deconstruction and reconstruction of real physical structures, surveillance technology, war and the popular media portrayal thereof. The subtext of violence which informed his Pop sensibility linked him yet more closely, in my mind, to Ed Paschke--whose (figure) work from the 1980s, e.g., "Tempext," "Torrita," "Coupe Faim," "George Mills," I remembered too as hinging formally upon elements of linear abstraction. Paschke was thirteen years senior to Stack.

Above: Stack explains process in studio, 2011

It's interesting to see things change--to see things become more sophisticated and refined--over time. Anne Wilson is now in her 60s; Barbara Kasten is in her 70s; they're both producing great work. As he leaves his 50s, Scott Stack has taken a massive leap forward with these new (2010-2011) paintings. It's worth stopping at the opening:

Saturday, October 15, 2011, from 4:00PM to 7:00PM
moniquemeloche gallery, 2154 W. Division Street
Chicago, IL 60622

Above: Stack's brushes

Scott Stack: "City of the Future," runs through November 12, 2011. A talk with his fellow "Oak Parker" Michelle Grabner is scheduled to take place in the gallery on Saturday, November 12, 2011, at 1:00PM.

http://moniquemeloche.com

- Paul Germanos

Opening: September 30 & October 2, 2011, Art in Chicago

2011-09-30T01:10:00.002-05:00

Friday, September 30, 2011
Fereshteh Toosi @ Polish Triangle
5:00-7:00PM
Starts at "Polish Triangle," i.e.,
Division, Ashland, Milwaukee
(1600 west and 1200 north)
Performance will move along Milwaukee: NW
Part of the "Out of Site" performance series
http://en.wikipedia.org/wiki/Polonia_Triangle
http://www.outofsitechicago.com
-
Friday, September 30, 2011
Write Now @ Chicago Cultural Center
5:30-7:30PM
78 E. Washington St.
(Michigan Ave. between Washington and Randolph)
Write Now: Artists and Letterforms includes: Stephanie Brooks, Tom Burtonwood, Derek Chan, Ken Fandell, Doug Fogelson, Jo Hormuth, Industry of the Ordinary, Matt Irie, Carol Jackson, Jason Lazarus, Harold Mendez, Adelheid Mers, Jason Pickleman, Jaume Plensa, Karen Reimer, Joel Ross, Nicholas Sistler, Buzz Spector, Christine Tarkowski, Michael Thompson, Ian Weaver, Bernard Williams
http://www.explorechicago.org/city/en/things_see_do/event_landing/events/dca_tourism/writenow.html
-
Friday, September 30, 2011
The Space of the Encounter @ DOVA Temporary
6:00-9:00PM
5228 S. Harper Ave.
(Harper Ave. is "1501 east," at the 53rd Street exit LSD)
The Space of the Encounter includes: Matthew Connors, Rachel Herman, Meredith Miller, Maria Perkovic, as curated by Cassandra Troyan and Zachary Cahill
http://lucian.uchicago.edu/blogs/dovatemp/

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Saturday, October 1, 2011
Open Studios @ Cornelia Arts Building
11:00AM-6:00PM
1800 W. Cornelia Ave.
See "Chicago Gallery News" blog for more:
http://www.chicagogallerynews.com/blog/post/2011/09/30/Chicago-Artists-Month-Overview-and-First-Week-Highlights.aspx

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Sunday, October 2, 2011
Environmental Factors @ Julius Caesar
4:00PM-7:00PM
3311 W. Carroll Ave.
(Carroll Ave. is "328 north," on the Chicago grid)
JC & Veronica Bruce
(and, rooftop)
Ceramics: the world’s most fascinating pastime
http://juliuscaesarchicago.com

Pictorial: Anne-Mie Van Kerckhoven @ The Renaissance Society

2011-09-29T00:23:00.003-05:00

"Anne-Mie Van Kerckhoven’s artistic output includes...painting, drawing, collage, computer animation, installation, and zines.[...]Her illustrational technique favors hard-edged flat planes in a neon RGB palette,[...]She appropriates text from a range of discourses, including philosophy, science, poetry, theology.[...]The Renaissance Society will present four new bodies of work, including numerous new works on paper;[...]an interactive computer animation; and a related series of computer generated prints.[...]The new work will be supplemented with selections of work from throughout her career."[1]

Anne-Mie Van Kerckhoven
In A Saturnian World
September 25 – December 18, 2011
The Renaissance Society
Bergman Gallery
Cobb Hall 418
5811 S. Ellis Avenue
Chicago, Illinois 60637

[1] http://www.renaissancesociety.org

See also Anne-Mie Van Kerckhoven interviewed by The Renaissance Society Associate Curator Hamza Walker:

http://vimeo.com/29728607

- Paul Germanos

Pictorial: El Stitch y Bitch @ antena

2011-09-27T01:27:00.004-05:00

"El Stitch y Bitch (SyB) was founded in 2008 as a space for knitters, crocheters and crafters in the Pilsen, Bridgeport and Little Village neighborhoods of Chicago. Currently the group is consists of over 20 members, ages 18 and up. Over the years, the group has evolved into a collaborative art group interested in addressing handmade and Do-It-Yourself (DIY) culture. As DIY culture moves into a contemporary state, many members of the group have found themselves astonished and curious by the inheritance of the handmade skill or the need to carry on the tradition in an adapted manner. Tejer y Joder is a compilation of individual SyB members and independent fiber artists, all interested in the themes of gender, identity, tradition and memory. "[1]

Above: antena proprietor Miguel Cortez and guests.

Above: Irasema Gonzalez

Above: Naomi Martinez

Above: Claudia Marchan

Above: Claudia Marchan

Above: Claudia Marchan

Above: Adriana Baltazar 18th Street Immigrants (Dandelion, Chicory, Thistle)

Above: Adriana Baltazar 18th Street Immigrants (Dandelion, Chicory, Thistle)

Above: Esmeraldo Garcia and Maria Rosa Garcia Sabana (Bedspread)

Above: antena after hours.

Above: Downtown as seen from 18th Street in Pilsen.

El Stitch y Bitch
September 23 - October 22, 2011
antena gallery
1765 S. Laflin St.
Chicago IL 60608

Featuring: Adriana Baltazar, Krissy Bodge, Julia Chau, Esmeraldo Garcia, Irasema Gonzalez, Erika Hernandez, Claudia Marchan, Naomi Martinez, Jackie Orozco, Jessica Phillips, Elvia Rodriguez-Ochoa, and Thelma Uranga

[1] http://www.antenapilsen.com

- Paul Germanos

Opening: September 23-25, 2011, Art in Chicago

2011-09-23T13:07:00.003-05:00

Friday, September 23, 2011
Industry of the Ordinary @ Polish Triangle
5:00-7:00PM
"Out of Site" performance series
Starts at "Polish Triangle," i.e.,
Division, Ashland, Milwaukee
(1600 west and 1200 north)
Performance moves.
Industry of the Ordinary is Adam Brooks and Mathew Wilson
http://en.wikipedia.org/wiki/Polonia_Triangle
http://www.outofsitechicago.com
-
Friday, September 23, 2011
El Stitch y Bitch @ antena
6:00-10:00PM
1765 S. Laflin St.
Chicago IL 60608
Adriana Baltazar, Krissy Bodge, Julia Chau, Esmeraldo Garcia, Irasema Gonzalez, Erika Hernandez, Claudia Marchan, Naomi Martinez, Jackie Orozco, Jessica Phillips, Elvia Rodriguez-Ochoa, Thelma Uranga
http://www.antenapilsen.com
-
Friday, September 23, 2011
Riley Henderson @ Chicago Art Department
5:30-10:30PM
"Uninhibited Parameters"
Suite #100
1932 S. Halsted
Chicago, IL 60608
http://www.chicagoartdepartment.org

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Saturday, September 24, 2011
Reduction or Something Less @ LVL3 Gallery
6:00-10:00PM
Third floor
1542 N. Milwaukee Ave.
Chicago, IL 60622
Conor Backman, Magalie Guérin, Matt Nichols
http://lvl3gallery.com
-
Saturday, September 24, 2011
Anthea Behm @ Golden Gallery
6:00-9:00PM
"Objective Confess"
3319 N. Broadway
Chicago, IL 60657
http://goldengallery.co
-
Saturday, September 24, 2011
Harvey Moon @ The Studio
6:00-10:00PM
"marriage of technology and art"
#2B
348 N. Ashland
Chicago, IL
http://www.thisisnotthestudio.com
http://unanything.com

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Sunday, September 25, 2011
No Place Like Home @ Hyde Park Art center
3:00-5:00PM
Gallery 4
5020 S. Cornell Avenue
Chicago, IL 60615
Lisa Lindvay, Jon Lowenstein, Jason Reblando, Jessica Rodrigue, David Schalliol and Leilani Wertens, curated by Dawoud Bey
http://www.hydeparkart.org
-
Sunday, September 25, 2011
Anne-Mie Van Kerckhoven @ The Renaissance Society
4:00-7:00PM
"In A Saturnian World"
Bergman Gallery
418 Cobb Hall
5811 S. Ellis Avenue
Chicago, Illinois 60637
http://www.renaissancesociety.org

Opening: September 16-18, 2011, Gallery Weekend Chicago

2011-09-15T14:17:00.015-05:00

All events listed are free and open to the public.

Friday, September 16
-
3:00PM–5:00PM
The School of the Art Institute of Chicago
Open Hours at SAIC Graduate Studios
McLean Center, 112 South Michigan Ave.
http://www.saic.edu
-
5:00PM-7:00PM
Donald Young Gallery
Opening reception for Bruce Nauman
224 S. Michigan Ave., Suite 266
http://www.donaldyoung.com
-
5:00PM-7:30PM
Rhona Hoffman Gallery
Opening reception for "bodybraingame"
118 N. Peoria St.
http://www.rhoffmangallery.com

Saturday, September 17
-
10:30AM
moniquemeloche gallery
Cheryl Pope / Dan Gunn artist talk
2154 W. Division St.
http://moniquemeloche.com
-
1:00PM
devening projects + editions
Molly Zuckerman-Hartung interviews Timothy Bergstrom
3039 W. Carroll St.
http://deveningprojects.com
-
2:00PM-5:00PM
DePaul University Art Museum Grand Opening
Re: Chicago examines Chicago artists over century
935 W. Fullerton Ave.
http://museums.depaul.edu/artwebsite
-
3:00PM
Museum of Contemporary Art Chicago
The Los Angeles Painting Scene
Terry Myers discusses Mark Bradford.
220 East Chicago Ave.
http://www.mcachicago.org
-
4:00PM
Western Exhibitions
Stan Shellabarger artist talk
119 N. Peoria St., 2A
http://www.westernexhibitions.com
-
5:00PM-8:00PM
Corbett vs. Dempsey
Opening reception for Joe Zucker
1120 N. Ashland Ave., 3rd Floor
http://www.corbettvsdempsey.com

Sunday, September 18
-
2:00PM–4:00PM
Shane Campbell Gallery (Oak Park)
a/k/a The Suburban
Opening reception for Zak Prekop
125 N. Harvey Avenue, Oak Park, IL
http://www.shanecampbellgallery.com

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Open Hours @ Participating Galleries
(Friday, September 16 and Saturday, September 17)
10:00AM–6:00PM
Andrew Rafacz Gallery
Corbett vs. Dempsey
Devening Projects + Editions
Donald Young Gallery
Kavi Gupta Gallery
moniquemeloche
Rhona Hoffman Gallery
Shane Campbell Gallery
Threewalls
Tony Wight Gallery
Western Exhibitions

Contact GWC for Private Events:
info@galleryweekendchicago.com

See Gallery Weekend site for map and additional details:
http://galleryweekendchicago.com

Pictorial: Nasty, Brutish, and Short @ PEREGRINEPROGRAM

2011-09-10T23:08:00.003-05:00

Above: Molly Zuckerman-Hartung foreground, center; Hans Peter Sundquist background, left; Dana Degiulio background, right.

Above: Molly Zuckerman-Hartung foreground; Dana Degiulio background.

Above: Dana Degiulio.

Above: Hans Peter Sundquist.

Above: Molly Zuckerman-Hartung foreground, center; Diego Leclery background, photo grid.

Above: Molly Zuckerman-Hartung foreground, center; Diego Leclery background, photo grid.

Above: Diego Leclery.

Above: Diego Leclery.

Nasty, Brutish, and Short
Featuring Julius Caesar Gallery partners:
Dana Degiulio, Diego Leclery, Hans Peter Sundquist, and Molly Zuckerman-Hartung
September 4 - October 2, 2011
PEREGRINEPROGRAM
3311 W. Carroll Ave. #119,
Chicago, IL 60624
http://www.peregrineprogram.com

See also: http://paulgermanos.blogspot.com/2010/12/review-molly-zuckerman-hartung-julius.html

Editorial: September 9, 2011 Art Lists

2011-09-09T00:55:00.023-05:00

Friday, September 9, marks the opening of the Fall 2011 visual art season in Chicago. Multiple on-line guides are available for the purpose of navigating the gala evening. In fact, the level of redundancy is so great that it seems good to consider the meaning thereof.

But, first, the links to said September 9 event listings and maps:

(1) Stephanie Burke, historically available as published and republished (in part or in whole) at (a) Art Talk Chicago, (b)The Gallery Crawl and So Much More, (c) Bad at Sports, and (d) Chicago Art Magazine:

http://www.chicagonow.com/art-talk-chicago/2011/09/september-9th-opening-of-the-gallery-season/

http://badatsports.com/2011/10-picks-for-the-gallery-season-opener/

(2) Abraham Ritchie, found editing (a) ArtSlant Chicago and (b) Chicago Art Blog, while simultaneously contributing to (c) Flavorpill Chicago, (d) Bad at Sports and (e) Art21 Blog, while advising (f) Sixty Inches From Center:

http://www.artslant.com/chi/events/list

http://flavorpill.com/chicago/events/genres/art

(3) Chicago Art Magazine, founded by Kathryn Born, formerly of Bad at Sports:

http://chicagoartmagazine.com/2011/09/chicago-art-map-season-opening-schedule/

(4) Newcity Art, edited by Jason Foumberg:

http://art.newcity.com/2011/09/06/comprehensive-listing-of-gallery-shows-for-the-fall-opener/

(5) Chicago Gallery News, edited by Virginia Berg:

http://www.chicagogallerynews.com/openings.asp

http://www.chicagogallerynews.com/listing.asp?g=7165

(6) The Visualist, (featuring, among others, ArtSlant Chicago's Steve Ruiz, himself a proprietor of another "listing" site: chicagoartreview.com) which seems to have risen from the ashes of former Chicagoan Karly Wildenhaus' onthemake.org:

http://thevisualist.org/

(7) Chicago Art Net, maintained by Jno Cook of Columbia College Chicago:

http://chicagoart.net/calendar.php

(8) Sixty Inches From Center, directed by Columbia College Chicago grads Nicolette Michelle Caldwell and Tempestt Hazel in company with Andrew Roddewig of Clarion New Media:

http://sixtyinchesfromcenter.org/archive/?p=9950

(9) Art Letter, written by Paul Klein, re-blogged on The Huffington Post:

http://www.artletter.com/2011/09/its-here-the-day-weve.html

http://www.huffingtonpost.com/paul-klein

(10) Gapers Block A/C, edited by Kelly Reaves:

http://gapersblock.com/ac/2011/09/09/art-around-town-20/

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Direct observation of the phenomena (on-line listing vis-a-vis in-person attendance) has proved that it is not unusual for more people to announce than arrive at an event, e.g., Tom Burtonwood's recent presentation at Hinge Gallery.

Vicarious "experience" of culture, reliant upon the computer screen, has been broadly criticized. The explosion of on-line listing seems to suggest that a yet-more-remote "textual acknowledgement" is now taken as sufficient (or necessary?) participation in the arts.

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Curiously, Lauren Viera's recent article in the Chicago Tribune did not clarify the relationship between the now defunct onthemake.org and Chicago's other (at least eleven other) visual art calendar, map, and event listing sites. Rather, the quotation by interviewee Jenny Kendler was left to suggest a vacuum (in art reportage) in the wake of onthemake.org's (Karly Wildenhaus') departure: "'Losing (On The Make) is like losing one of these beacons that shows how awesome that community is. (When I heard) I thought, What can Brian and I do to keep it going?'"[1]

Chicago Gallery News has been in existence for 28 years; Newcity's art coverage has run for 22 years; Chicago Art Net has been on-line for 10 years. Viera and Kendler are both competent professionals, and Chicago needs them. But, does Chicago need yet more "listing" sites? Is that really the best place to put time and energy? What are the long-term implications of such comprehensive but superficial engagements as are now regularly made by critics, reporters and the public at large?

Note:

[1] http://articles.chicagotribune.com/2011-08-31/entertainment/ct-ent-0825-art-opp-20110824_1_art-institute-website-support-artists/2

See also Time Out Chicago Arts + Culture, edited by Lauren Weinberg:

http://timeoutchicago.com/arts-culture

- Paul Germanos

Pictorial: Splay @ Roxaboxen

2011-09-07T01:58:00.008-05:00

"SPLAY: An International group exhibition that explores sexuality as a platform for self-reflexivity. Through painting sculpture, video, performance and site specific installation, each artist questioned her/his own subjectivity in the face of her/his desires."[1]

Photographs (below) taken on opening night, between 7:00PM & 10:00PM, August 26, 2011.

Featuring: Madeleine Baily, Steven Frost, Yasi Ghanbari, Elise Goldstein, Rachel Lowther, Ivan Lozano, Brian Maller, Alison Rhoades, Tessa Siddle, Fritz Welch, and Synvia Whitney, as curated by Marissa Perel

"Splay" runs till September 18, 2011
Roxaboxen
2130 W. 21st Street
Chicago, IL 60608
[1] http://www.roxaboxenminicastle.com

See also Bert Stabler's review in Newcity Art: http://art.newcity.com/2011/08/30/review-splayroxaboxen-exhibitions

- Paul Germanos

Opening: Sunday, September 4, 2011, Art in Chicago

2011-09-03T13:22:00.006-05:00

Dana Degiulio, Diego Leclery, Hans Peter Sundquist, and Molly Zuckerman-Hartung @ PEREGRINEPROGRAM
"Nasty, Brutish, and Short"
4:00PM-7:00PM
PEREGRINEPROGRAM
3311 W. Carroll Ave. #119,
(Homan Ave. is "3400 West" on the Chicago grid)
Chicago, IL 60624
September 4 - October 2, 2011
http://www.peregrineprogram.com

Above: Molly Zuckerman-Hartung
In: Scrying
November 7 - 28, 2010
Julius Caesar Gallery
3311 W. Carroll
Chicago, IL 60624

+ + +

Steven Husby @ Julius Caesar
"Rubicon"
4:00PM-7:00PM
Julius Caesar
3311 W. Carroll Ave.
(Carroll Ave. is "328 North" on the Chicago grid)
Chicago, IL 60624
http://stevenhusby.com
http://juliuscaesarchicago.com

Above: Steven Husby's "Untitled, 2009"
Acrylic on canvas, 52" x 50"
In: Pop Sizzle Hum: Pamela Fraser, Carrie Gundersdorf, Steven Husby, and Judy Ledgerwood
June 12 - July 31, 2009
Tony Wight Gallery
119 North Peoria Street
Chicago, IL 60607

- Paul Germanos

Review: Tom Burtonwood @ Hinge Gallery

2011-08-27T14:21:00.015-05:00

"Artist Talk with Tom Burtonwood," photographed between 4:00PM & 6:00PM, August 7, 2011, at Hinge Gallery, 1955 W. Chicago Ave., Chicago, IL 60622.

Above: Tom Burtonwood presents his text "Composition 2," which is available at his website

Assisted by perspective drawing, Tom Burtonwood practices a "sort of" tessellation: graphic modulation of a complex, interlocking, quadrilateral theme on paper, in serial form.

The illusion of three-dimensional space suggested by his linear work is made to vary according to the visual impact of the tints and shades which he applies to said shapes; subtle chromatic variation is his stock in trade.

Josef Albers' use of color within a relatively compact framework of handcrafted geometric abstraction seems good to remember.[1] Burtonwood is, like Albers was, a European.[2] Considering color, Pae White's use of a nearly identical palette within "Reckless Rainbow" seems good to acknowledge as well.[3] Burtonwood's show at Hinge Gallery, like White's installation atop the AIC's Bluhm Family Terrace, is available in Chicago, IL, in 2011.

With regard to White: Burtonwood's editions, choice of gouache and paper media, and inclusion of QR codes, in addition to his practice of color theory, link him yet more closely to Pop.

Above: Burtonwood's QR code incorporation

Known best in Chicago for his work (in partnership with Holly Holmes) at the nexus of economy and modern warfare, one is made to wonder where the pieces at Hinge "stand" in relation to Burtonwood's past explorations of, for example, camouflage: both its formal variations and also its psychological function.[4]

The artwork (at Hinge Gallery) is genuinely pleasant to behold; that's worth remark, given the local tide of Brut and Povera. But is Burtonwood seriously, or ironically, revisiting what are now pejoratively called "Modern" concerns?

Is it possible that Burtonwood hints not only at an exoteric formal relationship between QR codes and geometric abstraction--but also at an esoteric conceptual relationship between the production, marketing, and sales which are carried on within the seemingly disparate fields of politics and fine art?

Tom Burtonwood
"Permutations"
On display through September 4, 2011
Hinge Gallery
1955 W. Chicago Ave.
Chicago, IL 60622
http://hingegallery.com
http://tomburtonwood.com

Notes:

[1] http://en.wikipedia.org/wiki/Josef_Albers

[2] Tom Burtonwood was born in Manchester, England, in 1974.

[3] http://paulgermanos.blogspot.com/2011/07/editorial-after-minimalism-in-chicago.html

[4] "Urban Camo Santa" by Burtonwood and Holmes: http://www.flickr.com/photos/burtoholmes/2858132902/

- Paul Germanos

Opening: August 25-28, 2011, Art in Chicago

2011-08-24T23:41:00.004-05:00

Thursday, August 25, 2011:
Volker Saul @ Gahlberg Gallery
"K.O.F.G.A."
6:00-8:00PM
Gahlberg Gallery
McAninch Arts Center
College of DuPage
425 Fawell Blvd.
Glen Ellyn, IL 60137-6599
630.942.2321
http://www.cod.edu/gallery

+ + +

Friday, August 26, 2011
Joseph Ravens @ Polish Triangle
"Out of Site" performance series
5:00-7:00PM
Starts at "Polish Triangle," i.e.,
Division, Ashland, Milwaukee
(1600 west and 1200 north)
Moves: Division, Damen and Milwaukee
http://en.wikipedia.org/wiki/Polonia_Triangle
http://www.outofsitechicago.com
http://www.chicagoreader.com/chicago/this-guys-penis-is-a-work-of-art/Content?oid=1981925

+ + +

Friday, August 26, 2011
Splay @ Roxaboxen
Madeleine Baily, Steven Frost, Yasi Ghanbari, Elise Goldstein, Rachel Lowther, Ivan Lozano, Brian Maller, Alison Rhoades, Tessa Siddle, Fritz Welch, and Synvia Whitney, curated by Marissa Perel
7:00-10:00PM
Roxaboxen
2130 W. 21st Street
Chicago, IL 60608
http://www.roxaboxenminicastle.com

+ + +

Sunday, August 28, 2011
Volker Saul @ Devening Projects + Editions
"Rough Cuts"
4:00-7:00PM
Devening Projects + Editions
3039 West Carroll
Chicago, IL 60612
312.420.4720
http://deveningprojects.com

+ + +

Sunday, August 28, 2011
Sculpture Garden/Painting Show @ Iceberg Gallery
Ali Bailey, William J. O'Brien, Jamison Brousseau, Jorie Rabinovitz, McKeever Donovan, Matt Rich, Christopher Gatton, Daniel Sullivan, Michelle Grabner, Justin Swinburne, Nick Kramer, Kristen VanDeventer, Samuel Lipp, and Lisa Williamson, curated by Andrew J. Greene
6:00-8:00PM
Iceberg Gallery
7714 N Sheridan Road
Chicago, IL 60626
http://icebergchicago.com

- Paul Germanos

Review: Anne Elizabeth Moore @ MCA 12x12

2011-08-22T00:38:00.011-05:00

"For her UBS 12x12 presentation, Moore presents "Garment Work," a durational collective performance project in which the artist and visitors deconstruct a pair of jeans. Over the course of the month, in twice-weekly performance/workshop/discussions, Moore creates connections between Cambodia's garment manufacturing industry, where the jeans were made, and Michigan Avenue, where the jeans were purchased,"[1]

Above: Moore's Beautiful Clothing Company, Inc. labor roster, providing a visual record of audience participation in garment deconstruction

Across Chicago, fiber-based group works involving performance and installation have been organized by female leads on a regular if not frequent basis.

Above: Denim fabric subject to deconstruction

Within the not-too-distant past, the city's commercial, storefront, and not-for-profit spaces have hosted at least: Sheila Pepe at "he said she said" in April of 2011;[2] Anne Wilson at Rhona Hoffman Gallery in January of 2011 & 2008;[3] and Julia Sherman at Swimming Pool Project Space in January of 2010.[4]

Above: Individual fibers of cloth being separated

Similar to the temporary environments crafted by the aforementioned artists, Anne Elizabeth Moore's program at the Museum of Contemporary Art provides a hub of activity around which spatial and labor concerns are available for parallel consideration.

Above: Fibers sorted according to color/type

Here, as Pepe and Sherman before her, Moore relies heavily upon audience engagement: work, within the context of the piece, is available--in quantity, in skill, and in intent--as it's given at random by museum visitors.

Above: Moore in background; "Beautiful Clothing" workers in foreground

While Moore has carefully built a conceptual framework, and even an organizational structure: "Beautiful Clothing Company, Inc.," the output, or product, of the undertaking is not able to be entirely predetermined.

Above: Moore hanging documentation of the blue jeans' path of travel through the real world economy

Beautiful Clothing's "employees," in distinction to their factory-working counterparts in SE Asia, enjoy the ability to reflect upon the nature of their undertaking, collectively, in the relative comfort of the UBS 12x12 gallery space; the piece depends upon such awareness and exchange.

Above: The pants' price tag in foreground

"Garment Work," being truly social art, succeeds or fails on its own terms according to the changes in human thought and/or action which follow in the wake of its finite being.

Above: Center of gallery space; site of work activity

The larger (meta) questions raised by Moore's piece are found to spring from social art's relationship to the museum particularly and the "direction" of contemporary art generally.

Above: Waist of denim jeans, as seen in background of previous image

Moore's candor and good cause give little reason to be doubted, wherein lies the problem: Do we accept that value in art is synonymous with efficacy in the service of that which we presuppose to be just?

Above: Moore's labor roster for Beautiful Clothing Company, Inc.

Above: MCA "Garment Work" wall label

+ + +

Notes:

[1] http://www.mcachicago.org/exhibitions/exh_detail.php?id=283

[2] Sheila Pepe @ he said she said:

Above: "Common Sense" (Chicago)
April 9 - May 14, 2011
"he said she said"
831 South Grove Avenue
Oak Park, IL 60304
http://hesaid-shesaid.us

[3] Anne Wilson @ Rhona Hoffman:

Above: "Blonde"
January 14 — February 18, 2011
Rhona Hoffman Gallery
118 North Peoria Street
Chicago, Illinois 60607
http://www.rhoffmangallery.com

Anne Wilson @ Rhona Hoffman:

Above: "Wind-Up" after "Walking the Warp"
Rhona Hoffman Gallery
January 25 - March 1, 2008
118 North Peoria Street
Chicago, Illinois 60607
http://www.rhoffmangallery.com

[4] Julia Sherman @ Swimming Pool Project Space:

Above: "Room-A-Loom"
January 24 - February 21, 2010
Swimming Pool Project Space
2858 W. Montrose,
Chicago, IL 60618
http://www.swimmingpoolprojectspace.com

+ + +

Full "Garment Work" performance schedule:
- Friday, August 5, 2011:
"First Friday" opening
- Saturday, August 6, 2011:
11:00AM-12:30PM and 1:30PM-3:00PM
- Saturday, August 13,2011:
11:00AM-12:30PM and 1:30PM-3:00PM
- Tuesday, August 16, 2011:
5:30PM-7:30PM
- Saturday, August 20, 2011:
11:00AM-12:30PM and 1:30PM-3:00PM
- Tuesday, August 23, 2011:
5:30PM-7:30PM
- Saturday, August 27, 2011:
11:00AM-12:30PM and 1:30PM-3:00PM

Anne Elizabeth Moore @ MCA
"Garment Work"
Photographed 7:15PM-8:00PM
Tuesday, August 16, 2011
UBS 12 × 12: New Artists/New Work
Museum of Contemporary Art
220 East Chicago Avenue,
Chicago, IL 60611
*Free admission for IL residents on Tuesday*
Tuesday hours: 10:00AM–8:00PM
312.280.2660
http://www.mcachicago.org/exhibitions/exh_detail.php?id=283
http://anneelizabethmoore.com
http://twitter.com/mcachicago

See also Anne Elizabeth Moore interviewed by Amy Cavanaugh, August 8, 2011:
http://chicago.cbslocal.com/top-lists/anne-elizabeth-moore-garment-work/

- Paul Germanos

Pictorial: Luke Aleckson & Matt McAuliffe @ The Suburban

2011-08-15T22:43:00.001-05:00

Above: Luke Aleckson @ The Suburban

Above: Luke Aleckson @ The Suburban, exterior view

Above: Luke Aleckson @ The Suburban, passive solar toaster (a/k/a minimalist whirligig) functional off the grid

Above: Luke Aleckson @ The Suburban, "conventional" toaster dysfunctional off the grid

Above: Luke Aleckson & Matt McAuliffe @ The Suburban

Above: Matt McAuliffe @ The Suburban, pointing towards Garth Weiser's blue stains on The Suburban's dropcloth.

Above: Garth Weiser @ The Suburban, May 2, 2010, 15 months prior to McAuliffe's installation

Above: Matt McAuliffe @ The Suburban, inhabiting the space formerly occupied by Weiser

Above: Luke Aleckson @ The Suburban, interior view

Luke Aleckson and Matt McAuliffe
August 14, 2011
The Suburban
125 N. Harvey Avenue
Oak Park, Illinois 60302
708.305.2657
http://www.thesuburban.org
http://www.lukealeckson.com

- Paul Germanos

Pictorial: Dominion @ Eel Space

2011-08-14T23:54:00.001-05:00

Above: Patrick Holbrook of Eel Space
http://www.patrickholbrook.com

Above: Jessica Taylor Caponigro @ Eel Space
http://jtaylorcaponigro.com

Above: Eel Space

Above: Neal Vandenbergh @ Eel Space
http://nealvandenbergh.com

Above: Eel Space

Above: Amy Babinec @ Eel Space
http://amybabinec.com

Dominion @ Eel Space
Featuring: Amy Babinec, Jessica Taylor Caponigro, and Neal Vandenbergh
August 13, 2011
Eel Space
1906 S. Throop Street, 2F
Chicago, IL
eelspacechicago@gmail.com
312.550.6360
http://eelspace.wordpress.com

- Paul Germanos

Opening: August 12-16, 2011, Art in Chicago

2011-08-12T00:22:00.003-05:00

Friday, August 12, 2011:
Tom Burtonwood @ Columbia College Chicago
"Color Studies" Book Release Party
5:00-8:00PM
Columbia College Chicago
Center for Book & Paper Arts
1104 S. Wabash Avenue, Suite 200
Chicago, Illinois 60605
312.369.6684
http://www.colum.edu/academics/interarts/book-and-paper/index.php
http://tomburtonwood.com
http://twitter.com/tburtonwood

+ + +

Friday, August 12, 2011:
Tape: A Celebration @ Chicago Art Department
Chris Silva, Chuck Przybyl, Teppei Katori, Lisa Chiodini, Frederic Moffet, Todd Frugia, Clifford Novey, Jason Frohlichstein, Timothy Olson, Edyta Stepien, Agnieszka Kulon, Mark Salach, Dandee Petr, Benjamin Thorp, Martin Rille, Nat Soti
6:00-10:00PM
Chicago Art Department
1932 S. Halsted Street, Suite 100
Chicago, IL 60608
312.725.4223
http://www.chicagoartdepartment.org/2011/08/august-2nd-friday-812-tape-a-celebration/
http://twitter.com/chicagoartdept

+ + +

Saturday, August 13, 2011:
Dominion @ Eel Space
Amy Babinec, Jessica Taylor Caponigro, and Neal Vandenbergh
6:00-9:00PM
Eel Space
1906 S. Throop Street, 2F
Chicago, IL
eelspacechicago@gmail.com
312.550.6360
http://eelspace.wordpress.com

+ + +

Sunday, August 14, 2011:
Luke Aleckson and Matt McAuliffe @ The Suburban
Luke Aleckson and Matt McAuliffe
2:00-4:00PM
The Suburban
125 N. Harvey Avenue
Oak Park, Illinois 60302
708.305.2657
http://www.thesuburban.org

+ + +

Tuesday, August 16, 2011
Anne Elizabeth Moore @ MCA
"Garment Work"
5:30-7:30PM Performance
Museum of Contemporary Art
UBS 12 × 12: New Artists/New Work
220 East Chicago Avenue,
Chicago, IL 60611
Tuesday hours: 10:00AM–8:00PM
Free admission for IL residents on Tuesday
Anne Elizabeth Moore 12 × 12 runs till August 28, 2011
312.280.2660
http://www.mcachicago.org/exhibitions/exh_detail.php?id=283
http://anneelizabethmoore.com
http://twitter.com/mcachicago

- Paul Germanos

Pictorial: Renovation Creep @ antena

2011-08-08T21:14:00.001-05:00

"Three artists, Daniel Bruttig, Joe Cassan and Erin Thurlow [...] directly intervene in the space of antena gallery for their show 'Renovation Creep.' Simultaneously material and ephemeral, the work here resembles the haunted, transitory nature of urban apartment dwelling."

Joe Cassan, Dan Bruttig and Erin Thurlow in:
Renovation Creep
August 5 - September 3, 2011
antena
1765 S. Laflin, St.
Chicago, IL 60608
Regular Hours: by appointment
antenapilsen(at)gmail.com
773.340.3516
http://www.antenapilsen.com
http://antenapilsen.blogspot.com
http://twitter.com/lapsus5

- Paul Germanos

Pictorial: Julia Haw @ The First Ward Ball

2011-08-07T00:09:00.005-05:00

Above: Julia Haw

Above: "The Fall of John Lease," by Julia Haw

Above, at far left: Julia Haw

Above: Period costume at "The First Ward Ball"

Above, at center: Erin and Claire of "The Studio"

Above: "Blurred and Blurred," by Julia Haw

Above: Jeriah Hildwine in attendance

Above: "The Fear of Matt Wysocki," by Julia Haw

Above: Scott M. Priz as "Bathhouse John"

Above: Music by Tyler Beach and Larry Robertson

Julia Haw in:
Fear and Dark Currents of Memory
within
"On the Lam" installment 001:
The First Ward Ball
an interactive community performance,
scripted by Scott M. Priz,
curated by The Studio
July 31, 2011
3220 N. Lincoln Ave.
Chicago, IL
http://www.thisisnotthestudio.com
http://juliahaw.com

- Paul Germanos

Opening: Friday, August 5, 2011, Art in Chicago

2011-08-03T23:15:00.005-05:00

Joe Cassan, Dan Bruttig and Erin Thurlow @ antena
"Renovation Creep"
6:00PM-10:00PM
antena
1765 S. Laflin, St.
(NE of Ashland and 18th Street)
Chicago, IL 60608
August 5 - September 3, 2011
Regular Hours: by appointment
antenapilsen(at)gmail.com
773.340.3516
http://www.antenapilsen.com
http://antenapilsen.blogspot.com
http://twitter.com/lapsus5

+ + +

Matt Irie @ ebersmoore
"You Are the Vanishing Point"
6:00PM-9:00PM
ebersmoore
213 N. Morgan #3C
(N of 1000 W Lake Street)
Chicago, IL 60607
August 5 - September 3, 2011
Regular Hours: Wednesday-Saturday, 12:00PM-6:00PM
info(at)ebersmoore.com
312.772.3021
http://www.ebersmoore.com
http://twitter.com/ebersmoore

+ + +

David J. Getsy @ Smart Museum of Art
"The Straw Man of Figuration"
12:00PM (lecture)
Register in advance: http://bit.ly/kHugET
Smart Museum of Art
University of Chicago
5550 S. Greenwood Avenue
(S of 1100 E 55th Street)
Chicago, IL 60637
Regular Hours: Tuesday-Friday, 10:00AM–4:00PM
Regular Hours: Saturday-Sunday, 11:00AM–5:00PM
smart-museum(at)uchicago.edu
773.702.0200
"...how modern sculpture uniquely offers a new narrative about the historically tense relationship between human figures and abstraction in modern art."
http://smartmuseum.uchicago.edu
http://twitter.com/SmartMuseumUChi

- Paul Germanos

Editorial: After Minimalism in Chicago the Summer of 2011

2011-07-22T18:08:00.026-05:00

Early in the calendar year, on the ninth day of January, 2011, Gerard Byrne's "A thing is a hole in a thing it is not" opened to the public at The University of Chicago's Renaissance Society.[1]

Above: Gerard Byrne's "A thing is a hole in a thing it is not"

There, the art historical moment which seemed to be addressed by Byrne's exhibition was yet more clearly defined by the first words of Hamza Walker's companion essay: "In the decade spanning 1958 to 1968, developments in American visual art moved at a fast clip. In the wake of a triumphal Abstract Expressionism came Pop Art, Minimalism and Conceptual Art."[2]

Minimalism particularly was the explicit subject of "A thing is a hole in a thing it is not," whether one might argue that Byrne's carefully orchestrated reenactments of new-media history effectively wound together all three post-AbEx threads cited by Walker, above, in a Postmodern metanarrative.

Above: Gerard Byrne's "A thing is a hole in a thing it is not"

Most relevant to the present undertaking was that one reenactment (described by Walker as being a "vignette" in Byrne's "multi-channel video installation") of "...a 1964 interview with Frank Stella, Donald Judd, and Dan Flavin conducted by Bruce Glaser for WBAI radio, New York."[3]

Following the (1964) interview which interested Byrne and within the decade (1958 to 1968) numbered by Walker: Donald Judd introduced his "stacks" in 1965;[4] Frank Stella introduced his "Protractor" series in 1967.[5]

Outside of Byrne's installation, even here, in a city so strongly associated with provincial attachments to graphic, decorative, and surreal renditions of the human figure, the echoes of Stella and Judd continue to reverberate.[6]

Whether by coincidence or coordination, four months after the close of "A thing is a hole in a thing it is not" the Summer of 2011 has yielded up many works indebted to the Minimalist dialogue.

To her credit, Time Out Chicago's Lauren Weinberg appears to have been the first person, in print, to employ the Minimalist reference. In her review of Kendell Carter at moniquemeloche gallery, Weinberg wrote: "'DJ (2010),' a column of copper-plated Timberland boots anchored to a wall, refers to a Donald Judd sculpture."[7]

Above: Kendell Carter's "DJ"

The modular component of Judd's early "stack" works had been the galvanized, or plated, metallic box. Carter simply swapped the boot for the box: maintaining the unit in repetition along a vertical axis, fixed to the gallery wall. The Hirshhorn Museum and Sculpture Garden, at the Smithsonian, in Washington, DC, contains one of Judd's untitled "stacks," from 1969, which exhibits a cupric surface closely approximated by Carter in "DJ."[8]

Maybe like our national psyche, or a now middle-aged male born of the same generation, the hard-edged figure, as exercised by Judd and Stella in the '60s, has, for better and for worse, broken, and softened a bit. But the mode--the rhythm of the unit in repetition--is as strong as ever. Mark, mark, marky, mark: Carter works with a conceptual refrain.[9]

Atop the Art Institute of Chicago's Modern Wing, on the Bluhm Family Terrace, colorful concentric rings are the things repeated. Pae White's "Restless Rainbow,"[10] cut at regular intervals by the Terrace's white picket fence, hearkens back to the semi-circular motif of Frank Stella's "Protractor" series. Not at the Art Institute of Chicago but rather at the Solomon R. Guggenheim Museum in New York, New York, Stella's "Harran II," from 1967, seems good to compare.[11]

Above: Pae White's "Restless Rainbow"

Closer to home, the ninety-degree vertical-to-horizontal transition made by White's supple, polychromatic bands was foreshadowed by Andrea Myers' "Soft Concentrics" in the 2010 exhibition "Ps & Qs," curated by Jeff Ward and Shannon Stratton, at the Hyde Park Art Center.[12]

Above: Andrea Myers' "Soft Concentrics"

And White's curvilinear application of vinyl tape to a glass surface for the expressed purpose of creating a potentially immersive optical effect was prefigured by Carla Arocha and Stephane Schraenen's 2010 installation "As if," found, again, at moniquemeloche gallery.[13]

Above: Carla Arocha and Stephane Schraenen's "As if"

Contemporary with the aforementioned works of Donald Judd and Frank Stella, noteworthy for a high-contrast, curvilinear unit in repetition, and productive of an "op" effect, might be a piece such as the 1963 "Fall" by Bridget Riley, from the Tate Collection.[16]

But it isn't only Pae White's "Restless Rainbow" which in the Summer of 2011 recalls both Op Art and also "Ps & Qs" from 2010 at the HPAC. At threewalls gallery, in "Either/Or/Both," curated, again, by Shannon Stratton,[14] Samantha Bittman's painted textiles rely upon the same formal devices as Todd Chilton's thickly painted black and white canvas from the previous year's Hyde Park show.[15]

Above: One painting from Samantha Bittman's "Zebra" series, at threewalls

Above: Todd Chilton's "Buzzy Diamonds" from Hyde Park Art Center

Confounding the effort to tell a good story about the development of abstract art (painting) after the period described by Walker in the second paragraph, above, is the persistence of Expressionism.

The rhetoric of geometry, and all of the "Classical" devices of the Apollonian camp, just go to Hell when confronted with the aggressive, intuitive, asymmetrical brushwork of André Butzer at Rhona Hoffman.[17]

Above: André Butzer's "Nicht Furchten!" from Rhona Hoffman Gallery

It is abstract art. It is on display, over the Summer of 2011, in Chicago. And it is possible to describe the piece (above) as employing, in a painterly manner, a palette of vivid near-primary hues.

But Butzer gives little evidence of having any use for the "triumphal" post-war American stories of either Minimalism or AbEx. Rather, Butzer's oeuvre resembles the offspring of a union between what is cruel in George Grosz and what is dark in Paul Klee. The nightmarish "big black blob" at the center of ("Nicht Furchten!" above) the painting's action reminds one of Wesley Kimler's local position; there isn't much light between Butzer and Kimler. Nevertheless, as a painting, on its own terms, "Nicht Furchten!" works.

"Painterly" less well describes the more "lyrical" non-objective abstract work by Patrick Berran at Thomas Robertello,[18] and Jasmine Justice at 65GRAND.[19] Berran gives the impression of relying heavily (maybe like Helen Frankenthaler) on a stain painting technique: building successive layers of relatively muted color. Justice, in addition to her visible brushwork and washes, shows (occasional) evidence of masking--among other means, not being committed to any one technique.

Above: Patrick Berran from Thomas Robertello Gallery

Above: Jasmine Justice from 65GRAND

Where this leads is anyone's guess. But the formal re-engagement is difficult to miss--if only in contradistinction to the partisanship, social activism, and conceptual bent, which have for so many years impoverished our "visual" culture.

[1] http://www.renaissancesociety.org/site/Exhibitions/Intro.Gerard-Byrne-A-thing-is-a-hole-in-a-thing-it-is-not.618.html

[2] http://www.renaissancesociety.org/site/Exhibitions/Essay.Gerard-Byrne-A-thing-is-a-hole-in-a-thing-it-is-not.618.html

[3] Ibid.

[4] http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=7770&searchid=9690&roomid=false&tabview=text&texttype=8
Above: "With the exception of the first of these arrangements, a large galvanized iron ‘stack’ comprising seven five-sided boxes, completed in June 1965 (DSS 65), each ‘stack’ is composed of a minimum of ten units."

See also: http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5261476

[5] http://www.moma.org/collection/artist.php?artist_id=5640
Above: "The Protractor series (1967–9, with additional works until 1971) is characterized by monumental scale, potentially garish colour juxtapositions and, for the first time, curvilinear forms derived from the drawing tools referred to in the title."

Note: The text above is attributed to Constance W. Glenn, Grove Art Online, 2009, Oxford University Press, and employed on-line by The Museum of Modern Art, 11 West 53 Street, New York, NY, at URL listed.

[6] Chicago's connection to the Bauhaus school has been proven much stronger in architecture than in visual art.

See also: http://art.newcity.com/2011/07/25/review-go-figuresmart-museum-of-art/
Above: Jason Foumberg's July 25, 2011, review of "Go Figure" at the Smart Museum of Art.

[7] http://timeoutchicago.com/arts-culture/art-design/14805147/kendell-carter-weaves-references-to-hip-hop-into-abstract-works

[8] http://hirshhorn.si.edu/visit/collection_object.asp?key=32&subkey=8625

[9] http://moniquemeloche.com
Above: "Liberation Summer," featuring Kendell Carter, May 21–July 30, 2011, moniquemeloche gallery, 2154 W. Division, Chicago, IL

Mark, mark, marky, mark:

Compare, also, Carter's offset text ("mark mark," above) to Kay Rosen's "Go Do Good," below:
http://www.chicagogallerynews.com/blog/post/2011/05/24/Go-Do-Good-Chicago!-Kay-Rosene28099s-New-Installation-Unveiled.aspx

[10] http://www.artic.edu/aic/exhibitions/exhibition/paewhite
Above: Pae White, "Restless Rainbow," May 21–September 20, 2011, Bluhm Family Terrace, Art Institute of Chicago

See also, below, it is at best an exaggeration to claim that the city skyline has been wholly obscured by the installation:

[11] http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Frank%20Stella&page=1&f=People&cr=1

[12] http://www.hydeparkart.org/exhibitions/2010/02/ps_qs_1.php
Above: "Ps & Qs," featuring Todd Chilton, Pete Fagundo, Carrie Gundersdorf, Katy Heinlein, Jessica Labatte, Andrea Myers and Tessa Windt; curated by Jeff Ward and Shannon Stratton; February 28-June 6, 2010; Hyde Park Art Center, 5020 South Cornell Avenue, Chicago, Il

[13] http://paulgermanos.blogspot.com/2010/09/review-carla-arocha-stephane-schraenen.html
Above: "As if," featuring Carla Arocha & Stephane Schraenen; September 16–November 6, 2010; moniquemeloche gallery, 2154 W. Division, Chicago, IL

[14] http://www.three-walls.org
Above: "Either/Or/Both," featuring Samantha Bittman, Stephanie Brooks, Casey Droege, Michael Milano, Hans Peter Sundquist; curated by Shannon R. Stratton; July 1-30th, 2011, threewalls, 119 N Peoria St # 2D, Chicago, IL

[15] Todd Chilton, September 4-October 2, 2010, Slow Gallery, 2153 W. 21st St, Chicago, IL:

Samantha Bittman, July 1-30th, 2011, threewalls, 119 N Peoria St # 2D, Chicago, IL:

Note: Exhibited in 2011, the bulk of Bittman's work (at threewalls) is contemporary with Chilton's work, i.e., it dates from 2009-2010.

[16] http://www.tate.org.uk/servlet/ViewWork?cgroupid=999999961&workid=12600&searchid=9648
Above: "Fall," a painting from 1963, by Bridget Riley, in the Tate Collection

[17] http://www.rhoffmangallery.com
Above: "Never Let Me Go," featuring André Butzer, Folkert de Jong, Lari Pittman, Rona Pondick, Jeni Spota, Nicola Tyson, and John Wesley; curated by Terry R. Myers; May 20-July 29, 2011, Rhona Hoffman Gallery, 118 N Peoria St # 1A, Chicago, IL

[18] http://www.thomasrobertello.com
Above: "One Must Eat the Other," featuring Patrick Berran, May 27-August 14, 2011, Thomas Robertello Gallery, 27 N Morgan St, Chicago, IL

[19] http://www.65grand.com
Above: "You'll Love Them All for Giving You the Swellest Time You've Ever Had!" featuring Jasmine Justice, May 20-June 25, 2011, 65GRAND, 1369 W Grand Ave, Chicago, IL

- Paul Germanos

Pictorial: Kendell Carter @ Monique Meloche

2011-07-20T01:44:00.002-05:00

Kendell Carter in:
Liberation Summer
May 21 – July 30, 2011
moniquemeloche gallery
2154 W. Division
Chicago, IL 60622
http://moniquemeloche.com

- Paul Germanos

Unauthorized Use of Copyrighted Work: Hyde Park Art Center and/or F Newsmagazine?

2011-07-03T00:03:00.015-05:00

***Updated: Hyde Park Art Center was not involved***

School of the Art Institute "F Newsmagazine," dated June 27th, 2011, under the heading "F Art Reviews: We Don’t Like It So You Don’t Have To," subtitled "Conrad Frieburg’s 'It Is What It Isn’t' at the Hyde Park Art Center," author Stephanie Cristello employed three images with the attribution: "Image courtesy of the Hyde Park Art Center."

The third Frieburg image (as seen above) is not "courtesy of the Hyde Park Art Center," but rather it is copyright Paul E. Germanos.

- I, Paul, was not contacted in reference to the use of the image.

- My authorship is not indicated at F Newsmagazine; photo credit is given to Hyde Park Art Center.

- No copyright symbol is displayed at F Newsmagazine.

- The whole of the image is used at F Newsmagazine.

- F Newsmagazine sells ad space.

- The image is now being broadly and freely recirculated without credit, copyright notice, or permission, in .png form, large-sized, via the F Newsmagazine web host.

Who is responsible for the theft of my intellectual property: Hyde Park Art Center and/or F Newsmagazine?

See article, "F Art Reviews: We Don’t Like It So You Don’t Have To," with violation:
http://fnewsmagazine.com/wp/2011/06/game-show-for-one/

See also photo used here, three months earlier, in a (pictorial) review of Frieburg’s show:
http://paulgermanos.blogspot.com/2011/03/pictorial-conrad-freiburg-hyde-park-art.html

+ + +

Postscript, July 5, 2011:

Within 24 hours of the issue of a "cease and desist" letter, the image in question was removed from F Newsmagazine. Too, Paul Elitzik, Director of the Student Publications Department at the School of the Art Institute of Chicago, sent a follow-up e-mail.

But, I still don't know what happened:

(a) did someone connected to SAIC's F Newsmagazine steal the image from Flickr, upload it (image) to F Newsmagazine's host, and then publish the falsehood that the image had been received from HPAC; or,

(b) did someone connected to HPAC steal the image, claim the copyright, and begin to redistribute the work.

Bizarrely, there was no reason to steal; Flickr provides the appropriate code for all of the following images:

Conrad Freiburg @ Hyde Park Art Center
It Is What It Isn't
March 20 - June 26, 2011
Gallery 1
HPAC
5020 S. Cornell Avenue
Chicago, IL 60615
Phone: 773-324-5520

Conrad Freiburg & SCUE @ Hyde Park Art Center
Self Contained Unit of Entropy
May 13, 2011
Hyde Park Art Center
5020 S. Cornell Avenue
Chicago, IL 60615

As they appear here, in this blog, any other web-based publication might have legally used any of the dozen images (above) in a review.

Again, Flickr provides the necessary code for such display--by means of a familiar row of icons which are found atop each image, on each image's Flickr page, as follows:

* Share via email
* Share on Facebook
* Share on Twitter
v More ways to share-->Grab the HTML

It's needful to keep the artist's name, gallery name, exhibition dates, location/contact information, photographer's credit and copyright, together. Flickr's TOS demand that their code be used; no "hot-linking" is acceptable. A contract with a division of Getty Images, independent of Flickr and any "fine art" activity, prohibits me from "giving away" imagery. The photography should not be taken from Flickr; that's theft.

+ + +

Addendum, evening of July 5, 2011:

Though Hyde Park Art Center had been named by F Newsmagazine as the source of the imagery in question, HPAC was not the source of the imagery in question. HPAC was not contacted by F Newsmagazine; HPAC does not have said imagery in its possession.

Thank you Kate Lorenz, Executive Director Hyde Park Art Center, for your time and attention to this matter.

No person from SAIC's F Newsmagazine has yet explained how the imagery was obtained, or why HPAC was implicated.

Someone, or some group of people, made the decision to steal the imagery from (me) my Flickr account, convert said imagery to .png format, upload it (large-sized) to F Newsmagazine's host, and tell the lie that HPAC provided the material. Who? Why?

- Paul Germanos

Review: William J. O'Brien @ The Renaissance Society

2011-06-11T02:37:00.011-05:00

Seven months ago, Rebecca Warren was pilloried in the local press after her exhibition at the University of Chicago's Renaissance Society.[1] Foresight, at least, was lacking in that criticism.

Given the benefit of hindsight, it's now possible to argue that Warren's whole spatial exercise was evidence of her superiority to the clay sculptor, namely William J. O'Brien, who succeeded her in the aforementioned space. More ironically, given her personal investment in the primal modelling of a plastic material, Warren can now be seen as having psychologically prepared the Chicago audience for O'Brien.

Above: William J. O'Brien @ The Renaissance Society

And it's a great mystery why no one has thought to reappraise Warren, even as O'Brien is now praised.[2]

Warren, like a sculptor, concerned herself with the formal qualities of shape, line, scale, texture, and mass; her choice and handling of material varied from piece-to-piece. Notably, Warren's objects were not in any case so heavily pigmented that an essential substance was obscured; nor did she ever employ a vivid hue. Color, simply, was not a strong visual element in Warren's compositions; color was weak, though not conspicuous in its weakness.

Too, conceptually, it's good to remember that Rebecca Warren's action against historical sculptural modes and forms necessitated at least some understanding thereof.[3]

Above: William J. O'Brien @ The Renaissance Society

William J. O'Brien's work at the Renaissance Society is altogether different: color is often strong; gloss is often thick; and not much else is exciting--in a formal sense. Whatever the pieces might mean in relation to the history of painting or ceramics, when one considers O'Brien's production as "sculpture," it's difficult to be satisfied. What is it--other than surface treatment and firing--which accounts for the variance between the receptions of Warren and O'Brien? Is O'Brien's work (at the Renaissance Society) something other than statuary, i.e., free-standing, three-dimensional, art which a viewer encounters in the round?

Was Warren an "easy target" for local critics by virtue of her foreign residence? Had she attended SAIC rather than Goldsmiths would Warren have received the same treatment? It does seem good to acknowledge that while his (O'Brien's) work looks like Art Brut, in Chicago O'Brien is anything but an outsider.[4] In fact, that which the local "art community" is able to give--it has given to O'Brien very quickly.[5] One is made to wonder: Why?

Above: William J. O'Brien @ The Renaissance Society

It seems to be the case that (roughly) eighteen months ago, at Marianne Boesky Gallery in New York, William J. O'Brien presented modestly-scaled, polychromatic, ceramic pieces upon an elegant, rectangular tabletop.[6] And the current display at the Renaissance Society differs chiefly (only) in that it involves the gathering of an even larger number of clay lumps, all of which have been shifted to a custom-fabricated, heavy-plywood, T-form, multi-tiered plinth.[7]

Above: William J. O'Brien @ The Renaissance Society

A spectator in Chicago (or New York) might be hard-pressed to identify any one work sitting on that plywood as a "virtuoso piece." O'Brien's output is strikingly regular, and crude; it evidences no "higher" academic or technical training. Is it precisely that "democratic" manifestation, that "community of objects," which is found to be praiseworthy? Would a people hostile to the idea of distinction, even in appearance, want, or need, art like O'Brien's art?

Above: William J. O'Brien @ The Renaissance Society

There does seem at this moment to be a "rising tide" of young Chicago artists engaged in the business of cobbling found objects, and molding common materials, in a manner which belies the "advanced" degrees (usually) held by the makers. The phenomenon seems not disconnected from Arte Povera in form or (invoked) theory; Art Brut has already been mentioned. In the looming shadow of fine art PhD programs, one is made to wonder quite seriously about the content of existing MFA programs: how are they necessary, or even helpful, for this sort of movement?

Above: William J. O'Brien @ The Renaissance Society

Whether it's found within the artwork, or in some speech or text which exists apart from the artwork, ought not an expression *from the artist* to have the effect of suggesting a refinement, i.e., a subtlety and complexity of thought or insight, which has been cultivated within his or her person? When such evidence is thin, or lacking altogether, one is made to wonder not only about particular exhibitions, or personalities, but about the systems which produce and support them.

The Neo-Povera and Faux Brut get the laurels here and now; it's a time of New Brutes.

+ + +

William J. O'Brien
May 15 – June 26, 2011
Tuesday - Friday: 10:00 am - 5:00 pm
Saturday, Sunday: 12:00 am - 5:00 pm
Closed Mondays
The Renaissance Society
Bergman Gallery, Cobb Hall 418
5811 S. Ellis Avenue
Chicago, Illinois
Exhibitions at The Renaissance Society are free of charge.
http://www.renaissancesociety.org

+ + +

[1] http://art.newcity.com/2010/10/11/review-rebecca-warrenthe-renaissance-society/
Above: "Review: Rebecca Warren/The Renaissance Society," by Jason Foumberg, October 11, 2010

See also: http://blog.art21.org/2010/12/31/center-field-art-in-the-middle-with-bad-at-sports-top-10-chicago-art-events-in-2010/
Above: Claudine Ise and Meg Onli name Foumberg's review above as "Best of 2010" on Decmber 31, 2010:
"Best critical review of an internationally acclaimed artist: Jason Foumberg’s review of Rebecca Warren’s exhibition at The Renaissance Society..."

[2] http://art.newcity.com/2011/05/30/review-william-j-o%E2%80%99brienrenaissance-society/
Above: "Review: William J. O’Brien/Renaissance Society," by Jason Foumberg, May 30, 2011

[3] http://paulgermanos.blogspot.com/2010/11/review-rebecca-warren-renaissance.html

[4] O'Brien's position within Chicago's "art world," as defined by his on-line bio, is characterized by multiple, overlapping
points of contact with prominent figures and institutions.

For example:

O'brien's bio lists a solo exhibition in 2010 at Shane Campbell Gallery, Oak Park, IL.[a] Shane Campbell Gallery, Oak Park, IL, provides the same address (125 N. Harvey Avenue Oak Park, Illinois 60302) as Artforum critic Michelle Grabner's "domestic" gallery space (The Suburban) and home.[b] O'brien's bio lists a 2008 review written by Michelle Grabner.[c] O'brien and Michelle Grabner are two of the twenty artists currently listed on the Shane Campbell Gallery roster.[d] Both William J. O'Brien and Michelle Grabner are School of the Art Institute employees.[e]

Again:

O'brien's bio lists his participation in the group exhibition "New Icon," at Loyola University Museum of Art, Chicago, IL, in 2010.[f] The group show "New Icon," at Loyola University Museum of Art, was curated by Britton Bertran.[g] Britton Bertran served as Individual Artists Awards Coordinator for The Richard H. Driehaus Foundation.[h] The Richard H. Driehaus Foundation is a partner organization of Artadia.[i] O'brien's bio lists the 2007 receipt (Artadia lists 2006) of an Artadia grant.[j] The Richard H. Driehaus Foundation lists its 2008 funding of both Artadia and Britton Bertran.[k] Both William J. O'Brien and Britton Bertran are School of the Art Institute employees.[l]

[a] http://www.shanecampbellgallery.com/artists/obrien/bio/

[b] http://www.thesuburban.org/

[c] http://www.shanecampbellgallery.com/artists/obrien/bio/

[d] http://www.shanecampbellgallery.com/artists/

[e] http://www.saic.edu/people/O%27Brien_William_John.html?color=ORANGE

[e] http://www.saic.edu/people/Grabner_Michele.html?color=ORANGE?color=ORANGE

[f] http://www.shanecampbellgallery.com/artists/obrien/bio/

[g] http://www.luc.edu/luma/news/051710_new_icon.html

[h] http://www.linkedin.com/pub/britton-bertran/4/751/31

[i] http://www.artadia.org/newspages/newsletter/2007NLWinter.html

[i] http://www.artadia.org/newspages/newsletter/2010NLWinter.html

[j] http://artistregistry.artadia.org/registry/view_artist.php?aid=146

[k] http://www.driehausfoundation.org/node?page=3

[l] http://www.saic.edu/people/Bertran_Britton.html?color=ORANGE

[5] http://articles.chicagotribune.com/2010-08-01/entertainment/ct-ae-0801-mca-michael-darling-20100801_1_curator-museum-director-seattle-art-museum/3
Above: Chicago Tribune reporter Lauren Viera's interview of MCA Chief Curator Michael Darling, August 01, 2010:

Darling: "...maybe people are looking for a museum to give the stamp of approval on them before they're launched onto the next level. That kind of advocacy for artists is something that I'm really excited about."

Viera: "Do you have anyone in particular in mind?"

Darling: "William J. O'Brien, for instance, is an artist that's kind of come up through Chicago, came through the 12x12 program, is starting to really get some international attention."

[6] http://artnews.org/gallery.php?i=162&exi=17886&Marianne_Boesky&William_J_O_Brien
Above: Image of tabletop installation in New York.

[7] Per Hamza Walker: Walker himself sketched the T-type installation which was then elaborated upon and executed according to the vision of architect John Vinci. O'Brien did not design or build the pedestal.

- Paul Germanos

Pictorial: UIC MFA Thesis Exhibition 3 @ Gallery 400

2011-04-25T22:20:00.003-05:00

Featuring: Rebecca Beachy, Mike Gibisser, Chris Meerdo, and Joe Pankowski

April 19 - 23, 2011
Gallery 400
Art and Design Hall, First Floor
400 S. Peoria Street (at Van Buren Street)
Chicago IL, 60607
http://www.uic.edu/aa/college/gallery400

*Exhibition 4 opening April 29, 2011*

- Paul Germanos