Author Archives: nschutz

you need this




if you are a bibliophile like me then you need this.

click the image for a free 51 pg preview of the text and plates.

i just got it in the mail a few weeks ago. finally flipped my way through the whole thing.  the faux snake skin is so dope, it even has texture like scales…cray cray.  this exhibition is going to change shit.



3rd floor is back





thank you.

Emilie Charmy at The Arts Club Chicago

A few real gems in this exhibition by an under appreciated member of Frances early avante garde.

From the Arts Club site…

20 December 2013 — In the first US retrospective of the work of Émilie Charmy (1878-1974), organized by the Fralin Museum at the University of Virginia, visitors will have the opportunity to rediscover this distinctive and provocative artist, one of the most original female voices of modern art in Paris during the first half of the 20th century. Twenty-five paintings—the majority of which have never appeared in the US—will present Charmy, an exhibitor at the legendary 1913 Armory Show, in a new light. Her painting engaged with major artistic currents, from impressionism and post-impressionism to fauvism, before World War I, and she pursued an expressive, modernist naturalism thereafter. The exhibition will be on view from 27 February through 17 May 2014, with an open house and public gallery talk on 1 March 2014 at 1:00 p.m.
From the very beginning of her career, Charmy was defined according to the notion of the femme-peintre, a term whose currency in the early 20th century signaled a relative expansion in the visibility of female artists among dealers, collectors, and critics interested in modern French art. What made Charmy’s art distinctive and provocative in its own time was that it seemed to elude simple gendered expectations. The critics were unanimous in finding virile qualities in her expressive, physical, rough style, but surely they were also reacting to her handling of subject matter, particularly in the nudes, some of which developed a remarkably frank and complex presentation of sexuality. 

Charmy’s success continued through the 1930s, until World War II swept away most of her personal and professional networks. Though she continued to develop her work in new directions, notably with self-portraits that featured a curious and compelling fusion of introspection and masquerade, Charmy fell out of the public eye, and her work is only now beginning to resurface. 

Making Space curated by Susanne Doremus

Up now in river north, and worth seeing…

From the webs….

DeKooning once said “The subject matter in the abstract is space.” For the artist included in Making Space, the subjective exploration of spatial possibilities becomes a search for both idea and meaning.

featuring work by:

Candida Alvarez,
Susanne Coffey,
Cora Cohen,
Dana DeGiulio,
Katherine Desjardins,
Susanne Doremus,
Judith Geichman,
Michelle Grabner,
Magalie Guerin,
Anne Harris,
Jason Karolak,
Jim Lutes,
Deirdre O’Dwyer,
Nick Ostoff,
Sabina Ott,
Greg Smith,
Tyson Reeder,
Noah Rorem,
Erin Washington,
Mary Lou Zelazny,
Molly Zuckerman-Hartung


I wanna rock a dub wit you…



Just back in from LA, felt fortunate to see this show, heres the blurb from the Hammer website…. 

“Take It or Leave It: Institution, Image, Ideology is the first large-scale exhibition to focus on the intersection of two vitally important genres of contemporary art: appropriation (taking and recasting existing images, forms, and styles from mass-media and fine art sources) and institutional critique (scrutinizing and confronting the structures and practices of our social, cultural, and political institutions). The exhibition brings together works by thirty-six American artists who came to prominence between the late 1970s and the early 1990s. 

The majority of the works on view are from the 1980s and 1990s, a groundbreaking period that was shaped by the feminist and civil rights movements of the previous decades. Conscious of the profound impact on society of mass media such as television, newspapers, and film, artists examined critical questions of identity and representation via politically and socially engaged practices. This era witnessed a number of significant events that reverberated in the art world: the AIDS crisis; Ronald Reagan’s “trickle-down” economics and the subsequent recession; the fall of the Berlin Wall and the end of the Cold War; among others.

Expanding on the work of earlier conceptual artists, who were committed to exploring the very definition of art, the artists featured in Take It or Leave It believe that art cannot be fully understood or experienced without acknowledging the contexts in which it is produced, viewed, and distributed. They point to the links between art institutions and the other organizations that make up our society, asserting that to separate art from aspects of our daily experience—whether education or medicine, marriage or war, parenting or advertising—is to reinscribe arbitrary and false divisions between art and society, between our aesthetic lives and our everyday lives.

Although Take It or Leave It is a historical show focusing on a period in the recent past, it also includes recent work, arguing for the continued relevance of these artists’ practices and also revealing their sustained commitment to both historically recognizable and emerging strategies of appropriation and institutional critique. The exhibition highlights dynamic practices in notably diverse mediums, including painting, sculpture, installation, photography, video, text, and performance. The works are by turns subtle and aggressive, poetic and didactic, emotional and intellectual. They are as challenging as they are rewarding, as radical as they are rational. Take It or Leave It seeks to revive and participate in the meaningful debates that the artists have fostered over time and to instill a desire for critique, in its many forms, to remain a cornerstone of American art.”