In case you haven’t heard, there’s a sweet auction tonight at The Empty Bottle. If you’re looking for top shelf art on a dime, Gimme Baby Robots is your kind of event: auctions start at just a few bucks – and with works from over a hundred artists including Jason Dunmars and Mike Rea on the block, you’re sure to make those dollars stretch.
Gimme Baby Robots is tonight only, August 31st from 8:00 – 10:45 PM @ The Empty Bottle, 1035 N. Western Ave.
Filed under: Art Phone
Better late than never: Mary from Fill in the Blank Gallery called last Thursday to talk about the relatively new gallery’s definitely new show, Wildlife Features from artist and illustrator Kyle Harter. The show opened Friday, but it runs through to September 26th at 5038 N. Lincoln Avenue. Here’s the free sounds:
And as always, if you’ve got a show and want to leave voicemails for me about your show, you can do that!
Filed under: Chicago
Its an alt-space weekend!
Open House @ Evan Lennox’s Apartment
Its an SAIC party! Its a one night apartment gallery! Evan Lennox sent me an e-mail about this show he’ll be hosting with André Lenox and Lynnette Miranda, featuring work by a dozen Chicago artists including Brad Troemel, Eric Ashcraft, and Syniva Whitney. Check out more information at Curatorial Community, or view the full flyer here.
Opening reception this Friday, August 28th, from 5:30 – 9:00 PM @ 3106 W. Fullerton, Apartment #1.
Ephameron @ Believe Inn
From Antwerp and beyond and with prints and drawings and tape comes the very prodigious Eva Cardon, aka Ephameron. Her new show titled Letting Go will be showing this month at Believe Inn, but also keep an eye out for the Moneybags project (a shared pet of Stan Chrisholm, who was recently reviewed here for the Built show in St. Louis).
Opening reception this Saturday, August 29th from 6:00 – 10:00 PM @ Believe Inn, 2043 N Winchester.
No More Perfect Moments @ Scott Projects
Speaking of Brad Troemel, and speaking of apartment galleries too, two Maryland artists will be showing at Brad Troemel’s Scott Projects apartment gallery. With photos and video and paintings, No More Perfect Moments will see Andrew Laumann and Justin Kelly tackling cultural rot and personal banality and other Nathan Williams-y themes.
Opening reception this Saturday, August 29th from 6:00 – 10:00 PM @ Scott Projects,1542 N Milwaukee, Apartment #3.
Julia Hechtman @ Dan Devening Projects + Editions
Sunday brings cropped up nature photos from Julia Hechtman at Dan Devening’s space. The show is titled Irrationalism and will include some new photos which look to trade clever irony for compositional carpendry on an unplaced mystery safari.
Opening reception this Sunday, August 30th, from 4:00 – 7:00 PM @ Dan Devening Projects + Editions, 3039 W Carroll.
That’s all I know for now. If you’ve got the scoop on something worth seeing, let us know.
Filed under: Artists of the Week
Another set of artists to check out courtesy of Ryan Travis Christian. Delicious. As always, click images for more, and don’t forget to check the ebersb9 review I just put up and immediately bumped down with this.
Blackest part of night.
Despite what everything from the title to the content and presentation of the work might suggest, I’m pretty sure that Jason Ferguson isn’t really concerned with God, or finding God, as much as he is in searching for him. With only three pieces installed, two of which are photographic prints and the third a sculptural relic display, the latest show from the dynamic ebersb9 duo is much more of a thinker more than a looker – but that’s okay, there’s plenty to think about here.
If you’re into the classic omniscient Deity model, the idea of Google as God isn’t too far of a stretch. Even if you’re not ready to kneel on your keyboard, you could probably admit that there is something strange and magic and special about looking for something online. With the right eye, the search itself is fascinating.
Since we all add data to the searchable material (the internet) at a faster rate than any human can observe, the searchable material becomes (at least for the human user) functionally infinite. For every bean you count, two are being added to the pile. While less romantic than trying to count the stars (and filled with a lot more pornography), I’m sure everyone has at once time marveled at the kind of unknowable infinity of the internet. I’m sure Jason Ferguson has.
Ferguson’s sculptural piece (also named Google Searching for God) consists of a scroll on which has been inklessly typed the entire page source of Wikipedia’s God entry. Each instance of the word God has been lit from below, through cuts made on the wooden surface on which it rests. Like any good relic, it is both beautiful and appears supernatural, revealing a human craft and undertaking of monk-like dedication.
The important thing to remember is that like all religious material, the pieces in this show were artificial – not only physically but also in their content, determined by the crowd culturally or otherwise, generated through emergence and individually selected on by the artist for elevation and confirmation. While this piece references God, the piece itself first references the Wikipedia page, another man-made structure and one that in this context makes a convincing real-time candidate for enlightened text.
Ferguson’s two Google Maps images, while not really adding anything to the content that wouldn’t be brought up in the scroll and sculpture, are none the less satisfying visual accompaniments to this central piece. Blown up and saturated, the satellite imagery works very well as art object, with their pixelation encouraging viewers to approach and retreat to bring them to focus in that well-known op-art gallery dance. If you feel like seeing the original to compare, here’s God Sighting A in its original context. It looks better at the gallery.
When you put these three works together and wonder at the point, you might come to conclusion that the deity most separate from humanity is most often found buried in its crawling development, its web-weaving, and its organic self arrangement. Wikipedia is the ultimate emergent model for knowledge, with millions of users determining its form; Google’s search engine runs on PageRank, a system is entirely dependent on the entire internet ‘s intelligence to decide what is most relevant and important; and the satellite/God’s eye image is constantly used as a method of illustrating the odd algorithmic growth patterns of human construction.
Using such real inhuman and limitless ways to search for the cultural embodiment of inhuman and limitless is a clever mirrored elevator, and it doesn’t bother me that this sort of recursion can easily come off as absurdity or humor. Recursion is always absurd, as in when I ask a dog to pronounce “bark” or put a car in your car so you can drive while you drive, and there’s always a risk that it may distract those who haven’t played blow-minded awe-struck with Google Earth for weeks like I have from getting past the humor. As potentially absurd as its premises are, if take Google Searching for God seriously, it crafts a compelling conversation between concepts as apparently diverse as the divine and the online. Not bad for an end of summer show.
I give it a:
7.8
Google Searching for God runs August 21st, 2009 to September 19th, 2009 @ ebersb9, 1359 W. Chicago Ave, apartment B9.
The very busy culture masters at the The Co-Prosperity Sphere put together a new show for us this weekend which features nine artists’ contemporary takes on the tradition of portraiture. Specifically, it was about the overlap between self portrait and portrait, that grey ground that exists in the relationship between artist and subject, the choice of setting and treatment as a reflection of the artist. In short, its that added context that makes portraiture the fun it is.
While not strictly a “Portraiture in 2009” show, a challenge to any show like this is that it inevitably operates like a body of evidence: here are thirty pieces of art picked from nine artists, all of whom are young and human and generally doing the same thing which has been done for a long time. But while the show includes some very strong works, detectives beware: if you’re heading in expecting to gain by commonalities some insight about how emerging artists are viewing themselves and their peers at the end of this decade, you might not find much of an answer.
- Swoon
Speaking of really strong work, the fact that the two prints from Swoon came from Ed (Edmar) Marszewski’s personal storage makes me wonder what else he’s got up there. Back from “before Swoon was Swoon,” these two pieces which apparently never made it to the wheat paste were instead well framed and hung wonderfully against the east wall like sentries for the black lit hollow of fellow street artist Goons‘ installation. While the latter presented fun and illustrative and modestly fucked up paste ups, Swoon’s pieces had the hammer elegance and expansive community narrative that one expects to find in a Courbet rather than in an alley way.
- Goons
Then again, Goons is alive and well and in Chicago and had a display of random shit for free.
I probably got the full title wrong, but Nick Wylie’s Men I Would Marry (Drawn for as Long as They Lasted) is one of the most immediately visible and the more challenging works at the show. Sixteen crotches and cocks, hastily sketched in charcoal and gridded large on the wall present a visual document of friends or lovers or both and their stamina in one way or another. I liked the work’s dependence on experience to deliver its form and though its probably the most fitting example of the curator’s theme, I did have problems with the form itself.
While the work’s appearance and construction are intrinsic to the idea that generated them (provided the title can be believed), I found Wylie’s charcoal on rag paper distractingly plain despite, okay, its art school attachments to the nude and yeah, its utility as a fast medium. I’ve probably been spoiled by artists who can figure out how to fit strong and interesting craft into any concept that doesn’t specifically prohibit it.
To some degree, I felt the same about Matt Austin‘s photography and audio piece. This was probably the most conceptually gripping piece in the show, with a narrative that followed me out the door, into the car, and back home, but the presentation didn’t always strike well with the content. The work consisted of a tent, with an audio reading of an e-mail exchange surrounding his father’s eviction and a slideshow of photos detailing that eviction projected against one wall. I thought it all worked together well, establishing a sympathetic space for its narrative, but was a little put off by the delivery of the reading, which, while pretty hard to listen to after a few minutes, did render the eviction tale less dramatic, more common, and maybe scarier for all that.
While painting was surprisingly light (only one painter was included, Kristen Flemington, and her work was pretty straightforward portraiture and pattern), photography was well represented. Maureen Peabody‘s sparkling misty glamor portraits were easy on the eye and light on the head, and Anna Shteynshleyger‘s wigs were an interesting departure and, with their culture and fiber, a bit heavier on the head. Zach Abubeker‘s Sleep photos looked familiar, but still made for damn fine portraiture.
Adam Golfer‘s three photos from his German *kin travel series are the strongest of the bunch, especially the one featured above and titled in the show but nowhere else (someone find this out for me). The history and tradition of the traveling artist, while now mostly limited to photographers, still just might be the best overlap between self and sight and other. This picture isn’t really anything clever or tricky, only that somewhere in the excellent composition and movement and the mysterious model/travel-partner’s clenched fists the work excels. Such easy snapping of an apparently unposed shot suggests an experienced eye, which an online tour of Golfer’s work definitely confirms.
While there were one or two artists who didn’t do much for the concept of the show, I’d say that Aron and Caitlin did a good job putting it all together. While the strength of the work included in Transparent Reflect (especially the two Swoon pieces) would make the show worth a visit on its own, there is plenty of conceptual meat on the bone too. I give it a:
7.5
Transparent Reflect runs August 21st through September 24th (?) at The Co-Prosperity Sphere, 3219-21 South Morgan.
Filed under: Chicago
I only saw two shows this weekend but I just know there were more out there. What did you see? What did you like? Use the Comment feature below and tell me all about it.
Filed under: Chicago Art Preview
A weekend preview post!
Jason Ferguson @ ebersb9
Unlike chemtrail theories and fleshlight cleaning techniques, the Google search engine may not be the best place to find God. Or maybe it is! Ebersb9 will be hosting relics from Jason Ferguson‘s Google Searching for God, his infinity-long multi-media project detailing his search for the almighty on the Internet. Check out the opening on Friday, August 21st, 6-9 PM @ ebersb9, 1359 W. Chicago, apartment B9.
Transparent Reflect @ The Co-Prosperity Sphere
Also posted as The Portrait Show, this southmore group exhibition will feature artwork exploring portraits and self portraits as they fit with the contemporary moment. I haven’t been to the Sphere since I watched Lord of the Yum Yum blow out the eardrums of a ecstatic five year old. That’ll be hard to top. Transparent Reflect opens Friday, August 21st, at 6 PM @ The Co-Prosperity Sphere, 3219-21 South Morgan.
Joe Grimm and Ben Russell @ Vega Estates
Two one-night only installations go up in Pilsen’s Vega Estates this Saturday: Joe Grimm’s The World of Things in Themselves, a sensual projector show that appear to mesmerize with epileptic phasing and Ben Russel‘s An Incantation for Eternity, a five part projector and speaker and prism and feedback magic dust installation that will possibly create pentagrams in the air. Too much fun to miss. Both shows open Saturday, August 22nd, 6 – 10 PM @ Vega Estates, 723 W 16th Street.
Painting Competition @ Around the Coyote
There’s a 1st Annual for everything, including this competition from the freshly Splat Flat folks of Around the Coyote, curated by Sara Schnadt. Check it out this Saturday, August 22nd, 6 – 9 PM @ Around the Coyote, 1817 w division street.
Also be sure to go to the secret show. If you know what I’m talking about, I’ll see you there!
Filed under: Artists of the Week
Here’s something new I’m going to try: The following picks are from Ryan Travis Christian, who has been posting an artist of the day pretty much every day on Facebook, and who has given me the nod to combine them into weekly posts. Look back next Wednesday for the next set!
Click on images for links.
Filed under: Reviews
I was touring through St. Louis this weekend and stopped by Laumeier Sculpture Park to walk and sweat and see their collection, which includes a killer Tony Tasset and a friendly Vito Acconci and many others. I was also very happy to find their indoor space filled with a group exhibition from the Kranzberg Exhibition Series, a project which supports and exhibits local St. Louis area artists. Entitled Built, the show brought together six installation artists to run free in the space with sound and light and paint and sculpture and thousands of keyboard keys.
Sarah Frost’s two installations White Wall and QUERTY are very intense recycled or recollected constructions. QUERTY features untold numbers of keyboard keys from floor to ceiling on four walls of a small room. Like many resale/found object artists, Frost’s main focus seemed to be giving new and functionless purpose to objects whose have had a history of function (sort of like Walmart greeters), however there’s more life here than just that. Between the history present in the discoloration and wearing of the keys, their obsessive scope in display, and the tightness of the room in which they were installed, I could feel a more claustrophobic, overwhelming blankness.
That same disquiet was brought through with White Wall, another floor to ceiling self-supporting construction that seemed to have arranged itself by itself like a magnetic and sentient game of Tetris. I was creeped and glad for it.
In another room, street artist and SAIC graduate Stan Chisholm had installed a three dimensional mural called Mobile Homes made of mostly paint and painted polystyrene foam with clothed strawmen emerging from and interacting with the work. Displaying either a great floor or tornado or stony disaster, the mural had color and graphic thundering along together. I have a feeling Chrisholm is snappable, someone to watch for.
St. Louis outsider artist Chris Norton (who is white) installed in his room a Darfur horror tale through a series of Bic pen and wallpaper drawings. The disjointed portraits stood beside unsettling first person narratives of victims of the civil war, set against harsh red walls and what could either be an unlit pyre or a thin-legger equestrian constructed along one wall and across the floor.
Probably the most challenging installation in the group, Norton’s Genocide in Darfur came off as a very sincere and earnest and concerned work, but I found the narratives uncomfortably unconvincing. Something in the language seemed off. I couldn’t tell if they were translated directly from the individuals shown beside them, or whether they were invented or imagined to pair with the portraits’ source photographs. Though it presents a whole number of strange conflicts about purpose and invention, I would guess the latter.
The first room seen on entering the gallery features Michael Behle, with his large flower and speakers audio/visual installation titled Disintegration and a small painting (Your gentleness towards me) across from it.
I like Michael Behle. I think his paintings are great, and am glad we in Chicago are fortunate to have access to them at the Peter Miller Gallery. I thought his sculpture was awful. The construction and execution was just too weak to support an idea – the artist’s function of absorbing nonsense from his audience and vomiting beauty in response – that isn’t interesting or convincing. The painting Behle chose to hang was much more interesting, but it would have looked better alone.
And finally, the largest installation room was occupied by a very atmospheric collaboration between Cameron Fuller (work buried in Flash here) and Sarah Paulsen. The pairing was too fun, with Fuller’s sculptural stagecraft and Paulsen’s excellent video and animations fitting perfectly together. With colored light and the dancing lines of a Django Reinhardt tune, the installation felt like an arm in arm carnival at terror twilight o’clock. As fun as it was, I bet it was more fun to put together.
The whole show was a happy break from the traditional heat and humidity of a middle mid-west August sculpture romp, a well put together, cohesive group show that might not be worth the drive for the average Chicagoan, but which was a great exhibition none the less. If you’re in that corner of the states, you have every reason to stop by and make a day of it.
I give it a:
7.7
Built: Kranzberg Exhibition Series runs June 6th, 2009 to September 6th, 2009 @ The Laumeier Sculpture Park‘s Indoor Galleries, 12580 Rott Road, St. Louis.