And now, the harder discussion unfolds, what I most appreciated and was engaged by this past year, in the galleries and non-profit art spaces that form the nexus of the Chicago arts community.
As always, there was much I took in this past year that engaged me deeply. There were also those shows that left me feeling cold, surprisingly unmoved, and even rather disappointed, with their missed opportunities and down right failures. While I'll elect not to share those, suffice to say, this is to be expected when such diversity of talent and exploration is taking place. And yet the experiment stays riveting as a result. Chicago remains for me a true hothouse of artistic opportunity; to see it emerge, play out, and engage or fail keeps me both on my toes, and truly excited about what is still to take place.
What follows is a list, again in no specific order of preference, of the shows I saw this past year, at galleries and non-profit spaces in Chicago, that most captivated me, and left me thinking (and sometimes even breathing) hard:
Molly Zuckerman-Hartung, Negative Joy, and Vivian Maier, Vintage Prints, at Corbett vs. Dempsey
Nazafarin Lotfi, Circles, at Tony Wight Gallery
The charm of quasi-parallel lines, a group show, and Mickalene Thomas' group show, tete a tete, at Rhona Hoffman Gallery
Elijah Burgher, Geoffrey Todd Smith, Looker, and Richard Hull at Western Exhibitions
Antonia Gurkovska, Index, at Kavi Gupta Gallery
Christy Matson, The sun doesn't show through the mist until noon, at Alderman Exhibitions
John Opera, People places and things, and the group show, Sea Change, at Andrew Rafacz Gallery
I Surrender, an anniversary retrospective, at Devening Projects and Editions
Karen Reimer's amazing retrospective, Endless Set #1399, and the group exhibition curated by John Neff and Pamela Fraser, Spectral Landscape, at Gallery 400.
There were many honorable mentions as well; shows that I still appreciate greatly. These include the fantastic Chicago biennial curated by Dawoud Bey at Hyde Park Art Center; the wonderful group exhibition curated by Edmund Chia, Did you see heaven: Spectra at Peregrine Program; Jerome Acks' smooth square, soft circle, and Shane Huffman's Sense and Sensibility, both at 65Grand; Aspect Ratio's introduction to Chicago, which included both Gilad Ratman's and Brian Zanisnik's wonderful exhibitions; Kirsten Stoltmann's solo exhibition at New Capital; Karolina Gnatowski's fantastic piece, sounding off against all that testosterone, at Monique Meloche Gallery; Noelle Allen's first solo show in quite some time, at Carrie Secrist Gallery; Zachary Buchner's and Pete Skvara's solo exhibitions at Andrew Rafacz Gallery; Dutes Miller's quite lovely solo show at Western Exhibitions; and just for plain fun, Show Room/Odie Off, at threewalls.
And as always, some need to bid farewell to the passing of important spaces. A very sad goodbye to Golden, which after a series of really wonderful exhibitions, closed down its Chicago space, to focus solely on its Manhattan space. A true loss.
Nevertheless, it was a truly fine year indeed.
Friday, December 28, 2012
2012: The Chicago Museum Exhibitions I Most Enjoyed
As 2012 quickly comes to an end, I again find myself thinking back on the exhibitions I saw this year that stayed with me, particularly the ones that led me to think deeply about their featured works and what they were saying. The following list of shows, in no real order of preference, truly caught my interest and reminded me why I am a collector and true fan of contemporary practice:
Together, the Art Institute of Chicago and the Renaissance Society featured two quite wonderful exhibition pairings, that offered scope of history and representation to these artists' work: Dawoud Bey's tandem shows provided a perspective on his practice that read openly and just beautifully. I continue to be in awe of his eye and his conceptual voice. And Dahn Vo's "We the People" surprised me with its elegance. The presentation of the component pieces in the Pritzker Garden was just sublime. And the use of the Oriental Institute at the University of Chicago was genius - it's component pieces were incredibly well situated. The work opened up in a fascinating dialog with the spaces, and left me very pleased.
The Lichtenstein retrospective at the Art Institute of Chicago was truly one of this year's highlights. James Rondeau's love letter to this artist's vast practice and its strong linearity further reminded me why I was captivated by the work back when I was much younger, and remain so today.
Afterimage at the DePaul Art Museum was a truly exciting exhibition. To see the works of many artists, across time, who I have come to both appreciate deeply and respect immensely, was an opportunity of pleasure. From the beautiful selections of work by the Imagists, to their legacies who are engaging us now with their emotion and vision - this show just got it right.
Industry of the Ordinary's mid career retrospective, Sic transit gloria mundi, at the Chicago Cultural Center, proved again how clearly tied to the present a team of curators can be at this Chicago gem. A really captivating presentation of this collective's creative conscience.
Two exhibitions at the Museum of Contemporary Art proved to be strong favorites, as well. The introduction to Jimmy Robert's practice really caught me by surprise, with its lyricism and simple beauty. His videos, photographs, and constructions together provided a glimpse at a deeply considered exploration of self within the world, that seared with its sensuality and intelligence. And Helen Molesworth's "This Will Have Been: Art, Love, and Politics in the 1980s" took me back home, to the years that formed my activism and engagement with art. I was often left reexperiencing the raw emotions I first felt on seeing many of these artists for the first time, and was reminded again and again how clearly new and real the love and anger were when these pieces were created and exhibited. It was an truly apt time to bring this work forward.
Finally, I will add that the AIC ended the year quite well with the Steve McQueen retrospective and the first museum exhibition for Hito Steyerl. Both of these artists specialize in video, from quite divergent perspectives. However, each has taken this medium forward in quite daunting ways, and the two shows dance nicely together. Bravo.
Together, the Art Institute of Chicago and the Renaissance Society featured two quite wonderful exhibition pairings, that offered scope of history and representation to these artists' work: Dawoud Bey's tandem shows provided a perspective on his practice that read openly and just beautifully. I continue to be in awe of his eye and his conceptual voice. And Dahn Vo's "We the People" surprised me with its elegance. The presentation of the component pieces in the Pritzker Garden was just sublime. And the use of the Oriental Institute at the University of Chicago was genius - it's component pieces were incredibly well situated. The work opened up in a fascinating dialog with the spaces, and left me very pleased.
The Lichtenstein retrospective at the Art Institute of Chicago was truly one of this year's highlights. James Rondeau's love letter to this artist's vast practice and its strong linearity further reminded me why I was captivated by the work back when I was much younger, and remain so today.
Afterimage at the DePaul Art Museum was a truly exciting exhibition. To see the works of many artists, across time, who I have come to both appreciate deeply and respect immensely, was an opportunity of pleasure. From the beautiful selections of work by the Imagists, to their legacies who are engaging us now with their emotion and vision - this show just got it right.
Industry of the Ordinary's mid career retrospective, Sic transit gloria mundi, at the Chicago Cultural Center, proved again how clearly tied to the present a team of curators can be at this Chicago gem. A really captivating presentation of this collective's creative conscience.
Two exhibitions at the Museum of Contemporary Art proved to be strong favorites, as well. The introduction to Jimmy Robert's practice really caught me by surprise, with its lyricism and simple beauty. His videos, photographs, and constructions together provided a glimpse at a deeply considered exploration of self within the world, that seared with its sensuality and intelligence. And Helen Molesworth's "This Will Have Been: Art, Love, and Politics in the 1980s" took me back home, to the years that formed my activism and engagement with art. I was often left reexperiencing the raw emotions I first felt on seeing many of these artists for the first time, and was reminded again and again how clearly new and real the love and anger were when these pieces were created and exhibited. It was an truly apt time to bring this work forward.
Finally, I will add that the AIC ended the year quite well with the Steve McQueen retrospective and the first museum exhibition for Hito Steyerl. Both of these artists specialize in video, from quite divergent perspectives. However, each has taken this medium forward in quite daunting ways, and the two shows dance nicely together. Bravo.
Sunday, September 16, 2012
Why I Am Not Board Certified
I am not, nor likely to become, a board certified clinical neuropsychologist. I have toyed with the idea, going as far as to apply and get accepted for taking the written examination. I have all the appropriate training and background. And I strongly recommend that my trainees consider pursuing the ABPP/ABCN (cf., American Board of Professional Psychology/American Board of Clinical Neuropsychology) option. To support that, I have even become an affiliate of the American Academy of Clinical Neuropsychology (AACN), the home of board certified neuropsychologists with ABPP credentials. But when it comes to actually completing the process, I continue to balk and hold back. And despite dabbling with the idea of pursuing ABPP status in Child and Adolescent Psychology (which I still may do), I remain ambivalent at best about board certification in clinical neuropsychology. Perhaps it is time to share why ...
First, and perhaps most important to my ambivalence, is the fact that at this time, there are three (yes, three) boards jockeying for some kind of position and status in the area of clinical neuropsychology. Two of these boards are now affiliated: ABN (the American Board of Professional Neuropsychology) and ABPdN (the American Board of Pediatric Neuropsychology), although each has in the past been a separate entity, competing for attention. Now, I am a pediatric neuropsychologist, so it might be wondered, why not go for that board as certification of my skills? Perhaps the easiest way to answer is to say that ABPdN appears to be a board without much of a mandate, or even any consistent constituency, making the option for membership unpalatable at best and still perhaps even suspect at worse. None of the key researchers, teachers, or mentors in the area of pediatric neuropsychology, with whom I have any relationship, have any connection with this board, and as such, the leaders of the organization appear to have little to no organizational support for their efforts or actions. In contrast, ABCN is a component of the ABPP, which holds strong support within organized clinical psychology. It however does not truly sit as a welcome home for me, as someone who first and foremost identifies as a clinical psychologist, who then specializes in neuropsychology. I find that it often emphasizes the small constituent parts of practice, as opposed to the broader gestalt of working with individuals, particularly children and adolescents, from a holistic perspective. I remind myself that this may be an error of perception; but it is a worry that sits heavily with me. And keeps me a bit skeptical in turn.
Second, I recognize that I represent an aspect of the profession that remains somewhat suspect, to my peers outside of the academy. I identify strongly as an academic, who integrates research with practice. I work within a University setting where I undergo repeated reviews of my effort and progress - my scholarship and the success of my practice are simultaneously reconsidered, as part of my reappointment process, every five years. By both a group of my professional peers and by my colleagues more broadly across the medical disciplines. This leaves me feeling that the imprimatur of board certification is really a bit superfluous. I have to go through a review of my work and my identity as an expert more often than I would ever do so within the framework of board certification. And in a manner that ultimately feels more rigorous, given the breadth of the review. It again may be a matter of perception, but it also weighs heavily when I think about the process of taking a written test, mostly about adult functioning and its assessment, and then submitting for review my work as an evaluator, and then undergoing a three hour interview. I find that it leaves me sitting in a place of tension, that I am not quite willing to expand.
Lastly, I really wonder what it all will do for me in the end. I have jumped hard and high through numerous hoops to date. I agree that licensure is only one step of the process, but as a published, funded, and well sought out expert -- I believe that I have already shown that I am a worthy representative of my disciplines. I have the credentials that I need already well in place, it seems. Is having one more -- the sign that my colleagues have allowed me into their club -- really going to change anything? I believe that I have already been accepted into the club. Having some additional letters after my name, and another professional society bill to pay each year, isn't really going to do much more.
I remain open to reconsideration of this belief. But for now, I admit that I am really much too busy to worry about it, when push comes to shove.
Second, I recognize that I represent an aspect of the profession that remains somewhat suspect, to my peers outside of the academy. I identify strongly as an academic, who integrates research with practice. I work within a University setting where I undergo repeated reviews of my effort and progress - my scholarship and the success of my practice are simultaneously reconsidered, as part of my reappointment process, every five years. By both a group of my professional peers and by my colleagues more broadly across the medical disciplines. This leaves me feeling that the imprimatur of board certification is really a bit superfluous. I have to go through a review of my work and my identity as an expert more often than I would ever do so within the framework of board certification. And in a manner that ultimately feels more rigorous, given the breadth of the review. It again may be a matter of perception, but it also weighs heavily when I think about the process of taking a written test, mostly about adult functioning and its assessment, and then submitting for review my work as an evaluator, and then undergoing a three hour interview. I find that it leaves me sitting in a place of tension, that I am not quite willing to expand.
Lastly, I really wonder what it all will do for me in the end. I have jumped hard and high through numerous hoops to date. I agree that licensure is only one step of the process, but as a published, funded, and well sought out expert -- I believe that I have already shown that I am a worthy representative of my disciplines. I have the credentials that I need already well in place, it seems. Is having one more -- the sign that my colleagues have allowed me into their club -- really going to change anything? I believe that I have already been accepted into the club. Having some additional letters after my name, and another professional society bill to pay each year, isn't really going to do much more.
I remain open to reconsideration of this belief. But for now, I admit that I am really much too busy to worry about it, when push comes to shove.
A week full of art to come
The upcoming week is one of much activity on the art front, with the premier of EXPO Chicago on Wednesday, coupled with multiple events and openings tied to this year's iteration of Gallery Weekend Chicago. As I prepare for the onslaught of viewing and socializing that will unfold, I am taking a bit of a step backward, and perusing through the offerings that will most likely occupy my energy and time; a process of taking in the big picture and deciding how the internal details will potentially come together. That this set of events coincides with the Days of Awe (Rosh Hashana and Yom Kippur) is an interesting coincidence; for it ensures that much of what I will be contemplating and focusing on will be how the spirit and will are manifest in multiple forms of creativity. Repentance and redemption will be strongly considered through a very different lens than in years past.
Tonight is comprised of both thoughts of the year I am leaving behind and a thankfulness about what is coming forward in the months that will unfold. That this has been a year full of both academic and artistic endeavors, as well as challenges and new opportunities leaves me feeling welcome and a bit humble. Both luck and skill seem to have fostered some interesting successes, as well as some not so welcome losses. I am curious about what will transpire now in turn, both in the immediate days ahead, as well as in the months that will follow. Much is on my plate. Much needs to be reconsidered. And with all of that, opportunity for new ways of seeing both myself and my talents.
I offer some thoughts about where others should also focus, as EXPO and GWC come up:
Don't miss the opportunity, if you can take it in, to hear Todd Levin in discussion with Sterling Ruby, as part of EXPO Dialogues. This coming Friday, 9/21. It should be engaging and enlightening, about practice and opportunity in a global art market.
See the work that Jason Lazarus and Wendy White have produced for Andrew Rafacz's booth at EXPO Exposure. It is truly beautiful and quite provocative. And definitely go to Andrew's opening this coming Friday evening -- John Opera premiers his most recent works, cyanotypes on canvas. They are a daring step forward and catch you off guard.
Hit the west side galleries -- see the current shows that Western Exhibitions, Rhona Hoffman Gallery, Document, Alderman Exhibitions, Volume, Kavi Gupta, Thomas McCormick, and Aspect Ratio are presenting. There is really fine work at each, crossing the borders of historical (McCormick) to truly performative and conceptual (Alderman). What I have been able to take in already has me doing a lot of hard thinking about process and execution.
I am looking forward to seeing how the Mission has handled Marcelo Grosman's work, in their show "Guilty!" It is big work and quite provocative in its presentation.
Dahn Vo is opening his exhibition at the Renaissance Society and the Art Institute of Chicago by showing pieces of "We the People," his to-scale reproduction of the Statue of Liberty. He is also presenting "Uterus," a survey of new work. This is an opportunity to truly take in how Vo reconceptualizes identity and history, to bridge present with past. His lens is strikingly clear, while the story is multi-layered. I am very curious. I think others should be too.
There will be much to consider about EXPO, both as it is unfolding, and then after it has departed. I am excited by what Tony Karman and his team are attempting to create. I have been lucky to have been included in some of the preparatory events and to share my own vision. I look forward to seeing his come to fruition. And to see the response of collectors to a fall weekend in Chicago. As to what the work will be, at the fair ... from what I have been allowed to see coming from several galleries, including Honor Fraser in LA and Rhona Hoffman here in Chicago, it will be a series of quite well considered offerings.
There are some truly exceptional exhibitions at the museums here in town, to be taken in and considered: Karen Reimer's survey show at Gallery 400 is just simply a shining representation of her practice. I grow increasingly taken with each viewing of her work. And I remain excited by both Industry of the Ordinary's exhibition at the Chicago Cultural Center and the Jimmy Robert survey at the MCA. Both included work that left me rather off-guard.
Lastly, I anticipate a great experience next Saturday listening to John Yau interview Gary Stephan at Dan Devening Projects. Gary's work is terribly addictive -- the gestures simple, yet visually dynamic. His practice has evolved, I have learned, into something quite well considered. I look forward to learning how and why.
I anticipate a very interesting post-mortem. But for now, l'shana tova. And may you be well inscribed in the book of life.https://www.facebook.com/Chgohunt
Tonight is comprised of both thoughts of the year I am leaving behind and a thankfulness about what is coming forward in the months that will unfold. That this has been a year full of both academic and artistic endeavors, as well as challenges and new opportunities leaves me feeling welcome and a bit humble. Both luck and skill seem to have fostered some interesting successes, as well as some not so welcome losses. I am curious about what will transpire now in turn, both in the immediate days ahead, as well as in the months that will follow. Much is on my plate. Much needs to be reconsidered. And with all of that, opportunity for new ways of seeing both myself and my talents.
I offer some thoughts about where others should also focus, as EXPO and GWC come up:
Don't miss the opportunity, if you can take it in, to hear Todd Levin in discussion with Sterling Ruby, as part of EXPO Dialogues. This coming Friday, 9/21. It should be engaging and enlightening, about practice and opportunity in a global art market.
See the work that Jason Lazarus and Wendy White have produced for Andrew Rafacz's booth at EXPO Exposure. It is truly beautiful and quite provocative. And definitely go to Andrew's opening this coming Friday evening -- John Opera premiers his most recent works, cyanotypes on canvas. They are a daring step forward and catch you off guard.
Hit the west side galleries -- see the current shows that Western Exhibitions, Rhona Hoffman Gallery, Document, Alderman Exhibitions, Volume, Kavi Gupta, Thomas McCormick, and Aspect Ratio are presenting. There is really fine work at each, crossing the borders of historical (McCormick) to truly performative and conceptual (Alderman). What I have been able to take in already has me doing a lot of hard thinking about process and execution.
I am looking forward to seeing how the Mission has handled Marcelo Grosman's work, in their show "Guilty!" It is big work and quite provocative in its presentation.
Dahn Vo is opening his exhibition at the Renaissance Society and the Art Institute of Chicago by showing pieces of "We the People," his to-scale reproduction of the Statue of Liberty. He is also presenting "Uterus," a survey of new work. This is an opportunity to truly take in how Vo reconceptualizes identity and history, to bridge present with past. His lens is strikingly clear, while the story is multi-layered. I am very curious. I think others should be too.
There will be much to consider about EXPO, both as it is unfolding, and then after it has departed. I am excited by what Tony Karman and his team are attempting to create. I have been lucky to have been included in some of the preparatory events and to share my own vision. I look forward to seeing his come to fruition. And to see the response of collectors to a fall weekend in Chicago. As to what the work will be, at the fair ... from what I have been allowed to see coming from several galleries, including Honor Fraser in LA and Rhona Hoffman here in Chicago, it will be a series of quite well considered offerings.
There are some truly exceptional exhibitions at the museums here in town, to be taken in and considered: Karen Reimer's survey show at Gallery 400 is just simply a shining representation of her practice. I grow increasingly taken with each viewing of her work. And I remain excited by both Industry of the Ordinary's exhibition at the Chicago Cultural Center and the Jimmy Robert survey at the MCA. Both included work that left me rather off-guard.
Lastly, I anticipate a great experience next Saturday listening to John Yau interview Gary Stephan at Dan Devening Projects. Gary's work is terribly addictive -- the gestures simple, yet visually dynamic. His practice has evolved, I have learned, into something quite well considered. I look forward to learning how and why.
I anticipate a very interesting post-mortem. But for now, l'shana tova. And may you be well inscribed in the book of life.https://www.facebook.com/Chgohunt
Sunday, January 2, 2011
My "best of" list ... Chicago art 2010
I have heard tell that "best of lists" can be trying and tedious. I personally find them intriguing, if only because they provide, to me, a sense of what captures the list making critic's interest or even more often, lack of interest. I also like to grouse a bit when I read a list that fails to actually show an engagement with what has been introduced over the year; I'm known for being free with my own criticism towards many a local art or music critic, for their solipsism and consequent narrow range of interest.
So, turnabout is fair play. I present my own lists of what I thought most important and engaging among the gallery, non-profit, and museum shows in Chicago during 2010. Grouse away in turn ... but don't ever accuse me of not paying attention!
Among the best shows I saw in Chicago this year, in no specific order of importance (i.e., all are equally respected by me as among the finest)
Shows in Chicago Galleries:
Christopher Wool, Corbett vs. Dempsey
Ali Bailey, Andrew Rafacz Gallery
Deb Sokolow, Western Exhibitions
Zachary Buchner, Andrew Rafacz Gallery
We thought maybe you were in the plot, Rowley Kennerk Gallery
Joseph Grigely, The Gregory Battcock Archive, Rowley Kennerk Gallery
Alex Hubbard & Jon Pestoni, Shane Campbell Gallery
On Painting, curated by Michelle Grabner, Western Exhibitions
Arturo Herrera & David Schutter, Tony Wight Gallery
Tony Tassett, Kavi Gupta Gallery
Jason Middlebrook, Monique Meloche Gallery
Wendy White, Andrew Rafacz Gallery
So, turnabout is fair play. I present my own lists of what I thought most important and engaging among the gallery, non-profit, and museum shows in Chicago during 2010. Grouse away in turn ... but don't ever accuse me of not paying attention!
Among the best shows I saw in Chicago this year, in no specific order of importance (i.e., all are equally respected by me as among the finest)
Shows in Chicago Galleries:
Christopher Wool, Corbett vs. Dempsey
Ali Bailey, Andrew Rafacz Gallery
Deb Sokolow, Western Exhibitions
Zachary Buchner, Andrew Rafacz Gallery
We thought maybe you were in the plot, Rowley Kennerk Gallery
Joseph Grigely, The Gregory Battcock Archive, Rowley Kennerk Gallery
Alex Hubbard & Jon Pestoni, Shane Campbell Gallery
On Painting, curated by Michelle Grabner, Western Exhibitions
Arturo Herrera & David Schutter, Tony Wight Gallery
Tony Tassett, Kavi Gupta Gallery
Jason Middlebrook, Monique Meloche Gallery
Wendy White, Andrew Rafacz Gallery
Museum exhibitions and non-profit gallery shows that stood out in 2010:
Jessica Labatte, 12 X 12, Museum of Contemporary Art
La Frontera, Museum of Contemporary Photography
Alexander Calder and Contemporary Art: Form, Balance, Joy, Museum of Contemporary Art
Henri Cartier-Bresson, The Modern Century, Art Institute of Chicago
focus: Richard Hawkins – Third Mind, Art Institute of Chicago
Rebecca Warren, The Renaissance Society, University of Chicago
Matt Saunders, The Renaissance Society, University of Chicago
New Icon, Loyola University Museum of Art
Kelly Kaczynski, The Stagehand’s Unseen, ThreeWalls
I should probably now note, I don't really consider this a “best of list.” It is instead a list of what most captured my interest and engagement across the year, and what I felt captured the excitement and, dare I say, importance of current contemporary work on view in Chicago. Yet, what I believe is even more important is that I saw a fine selection of shows here this past year that just missed making my list, including such shows as the Dan Gunn exhibition at Lloyd Dobler, which has been well spoken of by a number of critics already; Carrie Gundersdorf, Dana DeGiulio, and Molly Zuckerman-Hartung's respective shows at Julius Caesar; Rachel Niffenegger and Richard Hull at Western Exhibitions; or the Curtis Mann and James Krone shows at Kavi Gupta that closed the year. These were wonderful examples of work that both captured my eye and left me curious for more by the artist. And taking into account the summer group shows that Tony Wight and Monique Meloche held, with sublime pieces by Barbara Kasten included in each; the ON PTG show during the CAA conference held at Julius Caesar; the consecutive Kabinetts being presented at Devening Projects; and the survey shows Rhona Hoffman and Donald Young each presented, it is terribly hard to argue that art that is immediate and also historically relevant is not being shown in Chicago, as some local critics have suggested. Instead, 2010 showed strongly that the galleries in Chicago are stepping up their game quite readily, challenging us to think broadly and well about what contemporary art is and where it is going.
Beyond the galleries, Chicago’s museums held several rather interesting and even thought-provoking shows in 2010. There appears to be an immense changing of the contemporary guard at present in Chicago; the opening of the Modern Wing at the AIC has truly advanced the opportunities for viewing important work, including historically significant pieces by lesser known artists to Chicago like Roger Hiorns and Isa Genzken (whose work was shown as part of the SCA acquisition process this past spring; in fact, it is my strong opinion that Genzken is in need of an important retrospective here in Chicago), as well as highly respected artists having their first museum exhibition (such as Richard Hawkins, in an amazing retrospective curated by Lisa Dorin). With Madeleine Grzynsteyn’s second full year as chief curator at the MCA coming to a close, and the recent hiring of Michael Darling as an important addition to her curatorial staff, there are likely to be some important opportunities unfolding at this institution. The Luc Tuyman’s retrospective seems a fine harbinger of the continued relevance of the MCA; here’s hoping it gets actively challenged to take on riskier opportunities in the coming year.
In line with above, this past year in Chicago art has been one of increasing excitement and strong movement forward, particularly in regard to revealing some very fine work by a combination of both emerging and mid-career artists. This past year’s Fall Season in particular has been a game changer, with the West Loop galleries joining the city’s main museums and non-profits in exhibiting a series of provocative, stimulating exhibitions. There is much to worry about always in terms of Chicago's role in the arts; a lack of exciting work is just not one of those worries.
Jessica Labatte, 12 X 12, Museum of Contemporary Art
La Frontera, Museum of Contemporary Photography
Alexander Calder and Contemporary Art: Form, Balance, Joy, Museum of Contemporary Art
Henri Cartier-Bresson, The Modern Century, Art Institute of Chicago
focus: Richard Hawkins – Third Mind, Art Institute of Chicago
Rebecca Warren, The Renaissance Society, University of Chicago
Matt Saunders, The Renaissance Society, University of Chicago
New Icon, Loyola University Museum of Art
Kelly Kaczynski, The Stagehand’s Unseen, ThreeWalls
I should probably now note, I don't really consider this a “best of list.” It is instead a list of what most captured my interest and engagement across the year, and what I felt captured the excitement and, dare I say, importance of current contemporary work on view in Chicago. Yet, what I believe is even more important is that I saw a fine selection of shows here this past year that just missed making my list, including such shows as the Dan Gunn exhibition at Lloyd Dobler, which has been well spoken of by a number of critics already; Carrie Gundersdorf, Dana DeGiulio, and Molly Zuckerman-Hartung's respective shows at Julius Caesar; Rachel Niffenegger and Richard Hull at Western Exhibitions; or the Curtis Mann and James Krone shows at Kavi Gupta that closed the year. These were wonderful examples of work that both captured my eye and left me curious for more by the artist. And taking into account the summer group shows that Tony Wight and Monique Meloche held, with sublime pieces by Barbara Kasten included in each; the ON PTG show during the CAA conference held at Julius Caesar; the consecutive Kabinetts being presented at Devening Projects; and the survey shows Rhona Hoffman and Donald Young each presented, it is terribly hard to argue that art that is immediate and also historically relevant is not being shown in Chicago, as some local critics have suggested. Instead, 2010 showed strongly that the galleries in Chicago are stepping up their game quite readily, challenging us to think broadly and well about what contemporary art is and where it is going.
Beyond the galleries, Chicago’s museums held several rather interesting and even thought-provoking shows in 2010. There appears to be an immense changing of the contemporary guard at present in Chicago; the opening of the Modern Wing at the AIC has truly advanced the opportunities for viewing important work, including historically significant pieces by lesser known artists to Chicago like Roger Hiorns and Isa Genzken (whose work was shown as part of the SCA acquisition process this past spring; in fact, it is my strong opinion that Genzken is in need of an important retrospective here in Chicago), as well as highly respected artists having their first museum exhibition (such as Richard Hawkins, in an amazing retrospective curated by Lisa Dorin). With Madeleine Grzynsteyn’s second full year as chief curator at the MCA coming to a close, and the recent hiring of Michael Darling as an important addition to her curatorial staff, there are likely to be some important opportunities unfolding at this institution. The Luc Tuyman’s retrospective seems a fine harbinger of the continued relevance of the MCA; here’s hoping it gets actively challenged to take on riskier opportunities in the coming year.
In line with above, this past year in Chicago art has been one of increasing excitement and strong movement forward, particularly in regard to revealing some very fine work by a combination of both emerging and mid-career artists. This past year’s Fall Season in particular has been a game changer, with the West Loop galleries joining the city’s main museums and non-profits in exhibiting a series of provocative, stimulating exhibitions. There is much to worry about always in terms of Chicago's role in the arts; a lack of exciting work is just not one of those worries.
Sunday, October 24, 2010
Musings following last night's opening
I spent several hours last evening at Kavi Gupta Gallery, attending his shared openings of new work by Curtis Mann, a Chicago based conceptual photographer who most recently was included in the 2010 Whitney Biennial, and James Krone, a (perhaps conceptual) painter and sculptor who is previously from Chicago (when he attended the SAIC) but who now resides in Berlin. Each artist showed a set of recently completed works; pieces that both encompass multiple aspects of their practice, and that hold a direct line to ongoing projects shown elsewhere. As such, there was a palpable excitement accompanying each artist's presentation of his work and a quite fine pleasure experienced as a result. What was at first quite diverse as well about the two exhibitions ultimately proved to be in turn evidence of a shared set of ideas and approaches to their respective practices. This emerged over time spent talking to each of the artists and with the opportunity to engage in repeat visits across the evening, walking among the growing opening crowd, to spend time with the works across the gallery's spaces. Surprisingly, I came to realize that what I took from each was a shared effort at containing and contextualizing memory.
Mann has captured my interest on several occasions this past year -- first, when I viewed his work included in the Whitney Biennial and then again, when I had the chance to spend time with his piece at Kavi's booth during this year's Art Chicago. While there was considerable buzz about other artist's efforts in both of these exhibits, Mann's work nonetheless proved quite engaging, and opened an interesting dialog for me. I kept it on low boil and asked, on occasion, about what was coming together for him for this current show. But despite my interest, I remained uncertain. That changed quite quickly for me on walking into the gallery and seeing (thanks to gallery director, Julia Fischbach's kind direction) two specific smaller pieces, Injured and Interior, that serve as game changers, harbingers of where Mann is going from his larger scale works previously on display. While the large scale pieces in the current show shine (particularly Pillar and Removal,Two Sides), with clear efforts at exploring and then redetermining Mann's experiences with the conflict playing out in the Middle East, they do not grab me as readily as each of these smaller works proved to -- given their subtle play on the personal within the conflict, as well as how the true horrors of war play out at an individual level. Interior in particular captivated me, with its small bore release of fire and gas. In contrast, Injured suggested an almost in the moment experience of the conflagration that likely contributed to the injury. The efforts made by Mann to manipulate and recontextualize the photographs only serve to bring their content to the foreground directly and aggressively. The beauty of each piece is its ability to direct the viewer's gaze, to the exact elements that reveal its underlying content. On discussion with Julia, I recognized that my interest in Mann was now clearly and effectively defined; I chose to add these works to my collection.
Krone's work continues to sit with me today, particularly the black paintings (Ceremonial Paintings I-III), but even moreso, the perfume painting (Sigil-Nightflight I). I spent time talking with Kavi's Berlin director, Marc Leblanc, about Krone's practice (James himself was busy greeting the many visitors coming to catch up with him and congratulate him on the show), as well as some of the background for the pieces. Both Marc and Julia shared enough information to provide a broader context for the pieces, as well as to guide me in seeing that Krone is in many ways giving representation to his experiences of loss and self-revitalization. The almost monastic process behind the black paintings served to convince me of a definite engagement by Krone with both the historical (reinterpreting in his own language a lineage with such artists as Johns, Reinhardt, or Rothko) as well as the strongly personal. I was surprisingly moved by Krone's perfume painting in particular -- its beauty further enhanced by the use of a perfume from his childhood home, gathered after his father's death. Coupled with the bright, yet quite calm and serene paintings of the fabric print on chairs left by a former partner (Chair Painting I-IV), the varied works, including the sculptures (Ashtray I-IV), all spoke quietly of making sense of one's self and experience. I left after having a brief conversation with Krone, telling him I looked forward to discussing his practice in greater length.
It was a quite engaging evening, one I am pleased to have had. I appreciate the pleasure it left me with, including the chance to say hello to several very well regarded artists of whom I continue to be excited to know.
Mann has captured my interest on several occasions this past year -- first, when I viewed his work included in the Whitney Biennial and then again, when I had the chance to spend time with his piece at Kavi's booth during this year's Art Chicago. While there was considerable buzz about other artist's efforts in both of these exhibits, Mann's work nonetheless proved quite engaging, and opened an interesting dialog for me. I kept it on low boil and asked, on occasion, about what was coming together for him for this current show. But despite my interest, I remained uncertain. That changed quite quickly for me on walking into the gallery and seeing (thanks to gallery director, Julia Fischbach's kind direction) two specific smaller pieces, Injured and Interior, that serve as game changers, harbingers of where Mann is going from his larger scale works previously on display. While the large scale pieces in the current show shine (particularly Pillar and Removal,Two Sides), with clear efforts at exploring and then redetermining Mann's experiences with the conflict playing out in the Middle East, they do not grab me as readily as each of these smaller works proved to -- given their subtle play on the personal within the conflict, as well as how the true horrors of war play out at an individual level. Interior in particular captivated me, with its small bore release of fire and gas. In contrast, Injured suggested an almost in the moment experience of the conflagration that likely contributed to the injury. The efforts made by Mann to manipulate and recontextualize the photographs only serve to bring their content to the foreground directly and aggressively. The beauty of each piece is its ability to direct the viewer's gaze, to the exact elements that reveal its underlying content. On discussion with Julia, I recognized that my interest in Mann was now clearly and effectively defined; I chose to add these works to my collection.
Krone's work continues to sit with me today, particularly the black paintings (Ceremonial Paintings I-III), but even moreso, the perfume painting (Sigil-Nightflight I). I spent time talking with Kavi's Berlin director, Marc Leblanc, about Krone's practice (James himself was busy greeting the many visitors coming to catch up with him and congratulate him on the show), as well as some of the background for the pieces. Both Marc and Julia shared enough information to provide a broader context for the pieces, as well as to guide me in seeing that Krone is in many ways giving representation to his experiences of loss and self-revitalization. The almost monastic process behind the black paintings served to convince me of a definite engagement by Krone with both the historical (reinterpreting in his own language a lineage with such artists as Johns, Reinhardt, or Rothko) as well as the strongly personal. I was surprisingly moved by Krone's perfume painting in particular -- its beauty further enhanced by the use of a perfume from his childhood home, gathered after his father's death. Coupled with the bright, yet quite calm and serene paintings of the fabric print on chairs left by a former partner (Chair Painting I-IV), the varied works, including the sculptures (Ashtray I-IV), all spoke quietly of making sense of one's self and experience. I left after having a brief conversation with Krone, telling him I looked forward to discussing his practice in greater length.
It was a quite engaging evening, one I am pleased to have had. I appreciate the pleasure it left me with, including the chance to say hello to several very well regarded artists of whom I continue to be excited to know.
My thoughts on Richard Hawkins: Third Mind at the AIC
With a practice encompassing multiple, diverse approaches, including painting, sculpture, correspondence, collage and cultural appropriation, Richard Hawkins has created a body of work that represents active voyeurism in juxtaposition with the inherent ambiguities that underlie highly literate gay male desire. Since the late 1980s, when he first began to actively present his work in shows in Los Angeles and San Francisco, Hawkins has challenged the viewer’s notions of context and experience. Through engagement with the ephemera of queer culture, Thai sex tourism, ancient Greek and Roman sculpture, 19th century French Decadent painting and literature, and pop cultural references, Hawkins has pushed us to reconsider our ideas of sensuality and desire, and to embrace what is frequently left under wraps, both physically and psychologically.
Hawkins’ first American museum survey, curated by Lisa Dorin, proves a wonderful introduction to the broad spectrum of his practice. Across multiple rooms in the Art Institute of Chicago’s Modern Wing, and Ryerson and Burnham Libraries, viewers are treated to a range of seductions that ultimately serve to “shake up” both the personal experience of viewing and the relative quiet of the museum setting. This is quite liberating. Hawkins’ varied works engage psychologically and physically at multiple levels, challenging both the intellect and the libido, often simultaneously. As well, the initial discomfort and even embarrassment one first encounters with his work subsides with time spent taking it in, with a mostly tender experience of relief. Ultimately, as Hawkins himself strives to reconstruct ideas about art practice and its references, so to does the viewer, by joining him in first confronting and then ultimately entering the unfolding enjoyment and subtle satisfaction that is inherent in the creation of each piece. Leaving the exhibit is as if leaving a deeply satisfying conversation; you feel both challenged and surprisingly open to a broader set of concerns.
Hawkins’ first American museum survey, curated by Lisa Dorin, proves a wonderful introduction to the broad spectrum of his practice. Across multiple rooms in the Art Institute of Chicago’s Modern Wing, and Ryerson and Burnham Libraries, viewers are treated to a range of seductions that ultimately serve to “shake up” both the personal experience of viewing and the relative quiet of the museum setting. This is quite liberating. Hawkins’ varied works engage psychologically and physically at multiple levels, challenging both the intellect and the libido, often simultaneously. As well, the initial discomfort and even embarrassment one first encounters with his work subsides with time spent taking it in, with a mostly tender experience of relief. Ultimately, as Hawkins himself strives to reconstruct ideas about art practice and its references, so to does the viewer, by joining him in first confronting and then ultimately entering the unfolding enjoyment and subtle satisfaction that is inherent in the creation of each piece. Leaving the exhibit is as if leaving a deeply satisfying conversation; you feel both challenged and surprisingly open to a broader set of concerns.
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