This show just opened at the Ren today, and was complimented by a QA/Panel with four of the artists and curator Hamza Walker. When asked about the title, Walker mentioned the connection to this genre of teen fiction… I just googled it http://www.barnesandnoble.com/u/paranormal-teen-romance-dark-romance/379002329/. The panel of artists offered diverse, even if connected, points of departure as they spoke about their practices and their selected works within the show. Pictured here is a shot looking into Kathryn Andrew’s remake of her 2010 Friends and Lovers, originally created for a group exhibition titled Support Group at Thomas Soloman Gallery in LA.
C. Wool at AIC. This work on paper is my favorite.
The two woman show Drip Music at SAIC’s Gallery X, right near the AIC/Columbus Drive borderline, features Jihae Park (MFA 2015) and Gulsah Mursaloglu (MFA 2015). These are images of one of Mursaloglu’s sculptures titled Ministry of Afternoon Coffee and Other Delights.
Mirrors still trending, An offshoot of the main gallery space, housing large mirror paintings, Jose teases with an installation built for performance, which was pre-recorded and is on view outside of this room on a wall monitor.
Schult’z installation at the Renaissance Society was a refreshing use of the exhibition space’s ascendant architecture and intense natural light. Most of the gestures, text, and placement of works pointed upward, and prior to the performance already seemed to speak about temporality, structures, and the artist’s need to develop her own systems via process and transformation of materials. The performance heightened attention on the more banal aspects of the materials and mark making within the installation, but it felt harder to connect with what was going on while these bodies were working in the space as opposed to my prior experience of getting to move freely through the exhibition. For a while I was able to connect as more of a voyeur, wondering if the moves were planned, and how the actors/participants were communicating. Eventually I felt idle in comparison, and wanted to be jumping off of the lift and pressing girders to make prints. Like a lot of things in life, I was also wondering just how long it was going to go on for…and whether all of the work they completed was going to stay in the space afterwards.
It turns out it was the last day of the show, but I was told that Schultz typically completes her performances at the beginning of her exhibitions’ runs. http://www.renaissancesociety.org/site/Exhibitions/Intro.Nora-Schultz-parrottree-building-for-bigger-than-real.643.html
My first visit to the Christopher Williamson show at the Art Institute, The Production Line of Happiness. I really enjoyed the space that frames the photographic piece within this work — beautiful. Always fun to listen to other people talking about art in museums. The security guard was chatting with a couple about this piece, and the neighboring video in the adjacent black box viewing space by another artist. They agreed that this was art…and that there was NO way the video could compare. I listened a bit more, and then went to confront the annoying, garish yellow wall text outside the space, which I not too shortly after gave up on myself, only making it through the Barbara Kruger piece about framing, which seemed appropriate, and then headed to check out the Dreams & Echoes show in prints and drawing.
Real estate news via Facebook — Walter De Maria’s live work space set to go on the market!