EXPO CHICAGO Chicago's International Exposition of Contemporary & Modern Art https://www.expochicago.com/news EXPO CHICAGO Appoints Jacob Fabricius as Curator of 2019 IN/SITU Program <div class="block block-rich margin-some arrangement-full text-left"> <p><a href="http://www.artnews.com/2019/01/24/expo-chicago-appoints-jacob-fabricius-curator-2019-situ-program/" target="_blank">ARTnews<br /> By Claire Selvin</a></p> <p>The EXPO CHICAGO&nbsp;fair has named Jacob Fabricius, who serves as the artistic director of the Kunsthal Aarhus in Denmark, as the curator of its 2019 IN/SITU&nbsp;section, which showcases large-scale sculpture, video, film, and site-specific works at Navy Pier&rsquo;s Festival Hall. This year&rsquo;s fair is slated to take place from September 19 to 22.</p> <p>Before joining&nbsp;the Kunsthal Aarhus, Fabricius was associate curator at&nbsp;Cneai&mdash;a contemporary art center outside of Paris. He has also previously worked as director and curator at the Kunsthal Charlottenborg in Copenhagen and director of the Malmö Konsthal in Sweden. He is the founder of the publishing company Pork Salad Press and a newspaper project called Old News, and he is a board member of the Danish Arts Foundation.</p> <p>Fabricius recently organized an ongoing exhibition titled &ldquo;SUPERFLEX, WE ARE ALL IN THE SAME BOAT&rdquo; at the Museum of Art and Design at Miami Dade College in Florida. He also curated &ldquo;Water from the Ganges River in the Cup Made with Newspaper from Congo,&rdquo; an upcoming show of work by Kim Beom at the&nbsp;Kunsthal Aarhus, as well as &ldquo;iwillmedievalfutureyou1,&rdquo; which opens at Art Sonje Center in Seoul in September.</p> <p>He said in a statement, &ldquo;I have been visiting and collaborating with Chicago&rsquo;s incredible art institutions since the late 1990s, drawing from the diversity, architecture and history of the city.&nbsp;Chicago has inspired my work a great deal, and Expo Chicago&rsquo;s immersive &lsquo;In/Situ&rsquo; program provides the perfect framework for my exploration into pressing issues of sustainability and political systems.&rdquo;</p> <p>Stephanie Cristello, artistic director of Expo Chicago, added, &ldquo;Having followed the work that Jacob has done at Kunsthal Aarhus, one of the strongest interdisciplinary exhibition programs in northern Europe, and abroad, we look forward to furthering the exposition&rsquo;s commitment to presenting a program whose foundations are built upon contemporary global perspectives. His deep involvement with major Scandinavian institutions and the Chicago art scene will undoubtedly manifest an engaged program for our exhibitors and audience at the eighth edition this September.&rdquo;</p> </div> Thu, 24 Jan 2019 08:00:00 -0600 /news/2019/1/expo-chicago-appoints-jacob-fabricius-as-curator-of-2019-in-situ-program /news/2019/1/expo-chicago-appoints-jacob-fabricius-as-curator-of-2019-in-situ-program Winter Waves: International Pop-Up Sensation 'The Beach' Makes A Splash In Chicago <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="https://www.forbes.com/sites/juliabrenner/2019/01/22/international-pop-up-installation-the-beach-lands-in-chicago/#40b9e1fe1a02" target="_blank">Forbes<br /> By Julia Brenner</a></h3> <p>This winter, visitors to Chicago&#39;s Navy Pier are invited to experience&nbsp;The Beach, a traveling interactive art installation created by New York-based design practice,&nbsp;Snarkitecture, in partnership with EXPO CHICAGO. Led by Snarkitecture partners Alex Mustonen, Daniel Arsham and Ben Porto, the installation&nbsp;transforms Navy Pier&rsquo;s historic 18,000-square-foot Aon Grand Ballroom into an ocean of over one million recyclable, antimicrobial plastic spheres.</p> <p>According to Snarkitecture partner Alex Mustonen, the installation centers around an infill of one million antimicrobial balls &quot;like you would see at a children&#39;s play space&quot; that have been stripped away of color to create an &quot;immersive and playful experience rooted in the feelings of a day at the beach.&quot; The installation is housed in a controlled 72-degree environment, and the day-at-the-beach vibe is rounded out with a deck chair seating area and an array of beach toys. Mustonen notes that the team even employed visual cues and signage adapted from local Chicago beaches as an insider nod to the Chicago beach scene.&nbsp;The Beach&nbsp;was first installed in 2015 at The National Building Museum in Washington D.C., and has since traveled to such locales as Sydney, Paris and Bangkok, with each iteration offering slight variations in size and theme.&nbsp;</p> <p>A million white balls aside, a unique aspect of the Chicago iteration of&nbsp;The Beach&nbsp;is the installation of a modern pop-up experience in the historical context of Navy Pier&#39;s Aon Ballroom. This was an intentional decision, according to Michelle T. Boone, Navy Pier&#39;s Chief Program and Civic Engagement Officer. Boone notes that, while the 34-acre Navy Pier complex contains a multitude of large event spaces, both the EXPO and Snarkitecture teams &quot;liked the contrast between the contemporary look of the installation and the historical background of the space,&quot; which was originally designed by architect Charles Sumner Frost and constructed in 1916 as part of Navy Pier&rsquo;s original structure. The teams also liked the ballroom&#39;s setting, which offers 360-degree views of Lake Michigan and surrounding beaches as &quot;sort of a beach within a beach&quot; according to&nbsp;Mustonen.&nbsp;&nbsp;</p> <p>The Beach&nbsp;is free to the public, and while Boone did not cite specific costs of this installation, she states that this type of programming is made possible through the&nbsp;support of The Chicago Free For All Fund at The Chicago Community Trust, the Navy Pier Associate Board and Hilton Worldwide.&nbsp;Whether visitors go for an experience, for the Instagram pictures or simply wander in out of curiosity, Mustonen hopes the installation sparks an opportunity to &quot;leave behind the everyday, relax and engage with this space in a new way.&quot;</p> </div> Tue, 22 Jan 2019 15:00:00 -0600 /news/2019/1/winter-waves-international-pop-up-sensation-the-beach-makes-a-splash-in-chicago /news/2019/1/winter-waves-international-pop-up-sensation-the-beach-makes-a-splash-in-chicago How to Have a Beach Day This Winter: Snarkitecture’s The Beach Chicago Opens in Navy Pier <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="https://design.newcity.com/2019/01/17/how-to-have-a-beach-day-this-winter-snarkitectures-the-beach-chicago-opens-in-navy-pier/" target="_blank">Newcity&nbsp;<br /> By: Vasia Rigou</a></h3> <p>One vast open space. One million translucent balls. &ldquo;As far as inspiration, we look to the actual beach experience,&rdquo; says Benjamin Porto of New York-based collaborative design practice,&nbsp;Snarkitecture, who along with partners, Alex Mustonen and Daniel Arsham, brings the quintessential summer experience to a city known for harsh winters.Transforming&nbsp;Navy Pier&rsquo;s Aon Grand Ballroom into a massive beach-themed ball pit for two weeks this winter, The Beach Chicago is a fully interactive and definitely Instagram-worthy experience: Imagine more than a million antimicrobial and recyclable plastic balls creating a perfect version of the sea, complete with a shoreline of sunbeds, umbrellas, lifeguard chairs and a snack bar for all your beach-day needs.</p> <p>Bringing the outside in, the installation effectively reimagines the sensation of a day at the beach while providing a very different version&mdash;partly because of Snarkitecture&rsquo;s clean, bright white aesthetic. &ldquo;Everything is monochromatic, and while there&rsquo;s no water or sand, there are visual cues that recall specific elements of the beach, from the lifeguard uniforms, to visitor rules or the furniture,&rdquo; says Porto. &ldquo;I was born and raised in Chicago, so bringing The Beach to this city is already pretty exciting. However, having the opportunity to stage the project inside Navy Pier is especially great&mdash;it is such an iconic site in Chicago, and the unique interior architecture definitely contributes to the overall aesthetic of the project,&rdquo; he adds: &ldquo;A trip to the beach is a pretty universal experience and I&rsquo;ve found &nbsp;that guests at each location of The Beach relate their experience to an actual beach that is familiar to them. With that in mind, it will be interesting to see how this plays out in the Midwest, specifically Chicago, where the connection to lake culture is so strong.&rdquo;</p> <p>Navy Pier chief program and civic engagement officer, Michelle T. Boone, agrees: &ldquo;We think Chicago&mdash;and specifically Navy Pier&mdash;is a great fit for this installation, given that the city is known for its many beaches and iconic lakefront. And what better setting for The Beach Chicago than on the water, surrounded by 360-degree views of Lake Michigan from the Pier&rsquo;s historic Aon Grand Ballroom?&rdquo; she says. &ldquo;We felt that the contrast between the contemporary look of the installation and the historical background of the space is especially interesting as the Aon Grand Ballroom is an accredited landmark, originally designed by architect Charles Sumner Frost and constructed in 1916 as part of Navy Pier&rsquo;s original structure. We look forward to bringing modern-day elements into this century-old venue!&rdquo;</p> <p>But bringing The Beach to life didn&rsquo;t come without its set of challenges: one was the one-million recyclable plastic spheres: &ldquo;Boxes and boxes were loaded onto shipping containers and have traveled across oceans&mdash;all the way from Sydney!&mdash;to get here, and it will require lots of time and hands to empty them all in time for the opening,&rdquo; Boone says. &ldquo;But it will also be a fun and exciting process that will ultimately result in a truly unique experience for Chicago in the wintertime&mdash;we hope our guests are able to feel a sense of escape from the winter weather and a creative outlet through this installation.&rdquo; After making its debut in Washington D.C. in 2015, as well as various national and international stops&mdash;Tampa, Sydney, Paris and Bangkok&mdash;the installation comes to Navy Pier in alignment with&nbsp;EXPO Chicago, which provided a sneak-peek and endless selfie opportunities when they invited last year&rsquo;s art fair visitors to jump into a ball-filled bathtub. But this is the first time it will be taking place in the middle of the winter. Porto is intrigued: &ldquo;As far as Midwest winters, we&rsquo;ve never staged The Beach when it was cold outdoors&mdash;I think the installation will definitely offer an escape for those wanting to avoid the frigid temperatures outside.&rdquo;</p> <p>Besides its playful approach to public art and design that provides a fun-time activity for people of all ages&mdash;whether they choose to pretend-swim in an ocean of plastic balls, pretend-sunbathe on a lounge chair, pretend-play in the sand or simply enjoy a cold beverage while people-watching&mdash;The Beach works on multiple levels. As the experience has emerged as among the defining fads of our generation&mdash;from immersive exhibitions, to Instagram-friendly museums&mdash;aiming to offer, more than just photo ops, high-quality, thought-provoking, somehow transformative art environments, the highly interactive architectural playground can certainly give visitors more than an opportunity to experience the Navy Pier space like never before: It could inspire contemplation about architecture at-large. So it&rsquo;s only natural that Snarkitecture hopes that visitors will feel compelled to interact with the work in exciting creative ways, beyond curating their outfits to seamlessly become a part of the experience and directing the perfect social media photo. &ldquo;For us, it&rsquo;s about designing environments or experiences that are most rewarding for visitors who take the time to engage in a very tactile and direct way,&rdquo; Porto says.</p> <p>Snarkitecture takes its name from Lewis Carroll&rsquo;s &ldquo;The Hunting of The Snark,&rdquo; a poem that describes the &ldquo;impossible voyage of an improbable crew to find an inconceivable creature.&rdquo; Similarly, in its search for their own version of the unknown, as they put it, the studio&rsquo;s interdisciplinary practice spans large-scale projects, installations and objects with a conceptual approach that&rsquo;s centered on the importance of experience: Creating unexpected and memorable moments that invite people to explore and engage with their surroundings. &ldquo;Sure, people will document their experience inside the installation&mdash;this is especially true with a project like The Beach,&rdquo; Porto says, &ldquo;but we want them to have a meaningful physical experience while they&rsquo;re there&hellip; Be present!&rdquo;</p> </div> Thu, 17 Jan 2019 12:00:00 -0600 /news/2019/1/how-to-have-a-beach-day-this-winter-snarkitecture-s-the-beach-chicago-opens-in-navy-pier /news/2019/1/how-to-have-a-beach-day-this-winter-snarkitecture-s-the-beach-chicago-opens-in-navy-pier Massive beach-themed ball pit heads to Navy Pier in January <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="https://chicago.curbed.com/2019/1/7/18172650/navy-pier-the-beach-ball-pit-snarkitecture" target="_blank">Curbed<br /> By Jay Koziaraz</a></h3> <p>Later this month, a giant art installation hopes to put the &ldquo;ball&rdquo; back in Navy Pier&rsquo;s Grand Ballroom&mdash;or more than one million to be more precise. Dubbed the&nbsp;The Beach, the audacious attraction will transform the 18,000-square-foot venue into an indoor ocean of antimicrobial, translucent white plastic spheres.</p> <p>The Instagram-ready exhibition&mdash;which completes the waterfront themed aesthetic with all-white lounging chairs, lifeguard stands, and umbrellas&mdash;comes from designers at Snarkitecture. The New York-based group&nbsp;debuted the million-ball installation&nbsp;in 2015 in the Great Hall of the National Building Museum in Washington D.C. before making subsequent stops in Tampa, Sydney, Paris, and Bangkok.</p> <p>The Chicago stint will run from Saturday, January 19 through Sunday, February 3 and is free to guests of all ages.&nbsp;The Beach Chicago&nbsp;is an EXPO CHICAGO 2019 program, presented by Navy Pier. Visit the pier&rsquo;s official&nbsp;website&nbsp;for more information including hours of operation.</p> <p>Surf&rsquo;s up!</p> </div> Mon, 07 Jan 2019 12:00:00 -0600 /news/2019/1/massive-beach-themed-ball-pit-heads-to-navy-pier-in-january /news/2019/1/massive-beach-themed-ball-pit-heads-to-navy-pier-in-january Naima J. Keith Named Curator of EXPO CHICAGO's Exposure Section <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="http://www.artnews.com/2018/11/28/naima-j-keith-named-curator-expo-chicagos-exposure-section/">ARTnews<br /> By Annie Armstrong</a></h3> <p>The EXPO CHICAGO art fair has tapped Naima J. Keith as curator of its &ldquo;Exposure&rdquo; section, which features one- or two-artist presentations from galleries eight years old or younger.&nbsp;The next edition of the fair&nbsp;will take place from September 19 to 22.</p> <p>Keith is currently the deputy director and chief curator of the California African American Museum in Los Angeles, and is&nbsp;co-organizing the Prospect.5 triennial&nbsp;in New Orleans, which is slated to open in 2020.</p> <p>Expo Chicago&rsquo;s artistic director, Stephanie Cristello, said in a statement to press, &ldquo;The appointment of an institutionally-affiliated curator to our exposure section, which provides an international commercial platform for emerging galleries, has been integral to supporting our participating exhibitors.&rdquo;</p> <p>Keith said, &ldquo;My experience working in art institutions in New York and Los Angeles, and familiarity with New Orleans and other cities throughout the southern United States, has acquainted me with a wide range of emerging galleries, all worthy of spotlight at an international art fair like Expo Chicago.&rdquo;</p> </div> Wed, 28 Nov 2018 09:41:50 -0600 /news/2018/11/naima-j-keith-named-curator-of-expo-chicago-s-exposure-section /news/2018/11/naima-j-keith-named-curator-of-expo-chicago-s-exposure-section Expo Chicago Names Stephanie Cristello as Artistic Director <div class="block block-rich margin-some arrangement-full text-left"> <h3>ARTnews<br /> By Claire Selvin</h3> <p>Expo Chicago has announced that Stephanie Cristello, founding editor-in-chief of&nbsp;The Seen&nbsp;and the fair&rsquo;s former director of programming, is its new artistic director. Kathleen Rapp, who has worked with Expo Chicago since its inception in 2010, has been appointed managing director of VIP relations. And Jeff Rhodes, a specialist in art fair logistics and operations, will be managing director of operations and exhibitor relations.</p> <p>As artistic director, Cristello will oversee the exposition&rsquo;s panel-discussion program, site-specific installations, off-site exhibitions, and national and international collaborations and curatorial programs.</p> <p>She has previously worked as senior editor for&nbsp;ArtSlant, and she has contributed to&nbsp;ArtReview,&nbsp;Elephant Magazine,&nbsp;Frieze Magazine, and&nbsp;Bomb Magazine, among other publications. She also serves as director and curator at Chicago Manual Style, a project space dedicated to thematic exhibitions and publishing. Recently, she facilitated a partnership between the Palais de Tokyo and the Institut Fran&ccedil;ais wherein the two organizations presented an exhibition at the DuSable Museum of African American History in Chicago.</p> <p>Cristello said in a statement, &ldquo;After six years with the organization, and the launch of numerous core programs, I look forward to being at the helm of expanding the legacy of an exposition whose mission reflects the strength of Chicago&rsquo;s unique cultural and artistic context&mdash;as a site for leading challenging and rigorous discourse, presenting innovative platforms and initiating institutional collaborations within the global contemporary art field.&rdquo;</p> <p>Rapp has played an important role in Expo Chicago&rsquo;s strategic growth, VIP program, and audience development. With more than 10 years of experience working in galleries and nonprofit organizations, she has spearheaded professional initiatives including the Curatorial Forum&mdash;produced in partnership with Independent Curators International&mdash;and the Northern Trust Collectors Experience. In her role as managing director of VIP relations, Rapp will continue working to create and develop partnerships with museums and art institutions.</p> <p>Rhodes has held leadership positions with international art fairs in Miami and Chicago, and he has over 20 years of experience in arts programming and art fair management. As managing director of operations and exhibitor relations, Rhodes will continue to focus on exhibitor and visitor experience.</p> <p>Tony Karman, Expo Chicago&rsquo;s president and director, said in a release, &ldquo;The exposition prides itself on presenting critically acclaimed international programming and service in support of our exhibitors and visiting patrons, and I am extremely proud to be working with, and learning from, this extraordinary team.&rdquo;</p> <p>Expo Chicago&rsquo;s 2019 edition will take place from September 19 to 22 at the Windy City&rsquo;s Navy Pier.</p> </div> Tue, 13 Nov 2018 12:00:00 -0600 /news/2018/11/expo-chicago-names-stephanie-cristello-as-artistic-director /news/2018/11/expo-chicago-names-stephanie-cristello-as-artistic-director What Sold at EXPO CHICAGO <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="https://www.artsy.net/article/artsy-editorial-sold-expo-chicago-10-01-18">Artsy<br /> By&nbsp;Anna Louie Sussman</a></h3> <p>On most occasions, art fairs feel like their own little worlds&mdash;festive bubbles cocooned in the thick walls of climate-controlled convention centers, humming on coffee and champagne, impervious to natural light and whatever is happening in the real world.</p> <p>On Thursday, much of the country was gripped by the testimony of Dr. Christine Blasey Ford, who alleged that Supreme Court nominee Judge Brett Kavanaugh sexually assaulted her when she was a teenager, and by his subsequent response. The intensity was such that not even the remote location of&nbsp;Expo Chicago&mdash;at the tip of a long pier, surrounded on three sides by Lake Michigan&mdash;could shelter art lovers from the political storm. A simple &ldquo;How are you?&rdquo; at the opening night of Expo&rsquo;s seventh edition often launched a conversation about the hearings. Women, in particular, walked the fair looking slightly stricken (hardly surprising, given that&nbsp;one out of sixwomen in the U.S. has been the victim of an assault or attempted assault, according to the Rape, Abuse &amp; Incest National Network). Many attendees said they&rsquo;d been streaming the hearings all the way through the cab ride to the fair, and dealers admitted following along on their phones during the day.</p> <p>&ldquo;People were pretty distracted,&rdquo; said Martin Aguilera, sales director at&nbsp;Mendes Wood DM, a Brazilian gallery. &ldquo;I saw people actually streaming [the hearings] while looking at art.&rdquo;</p> <p>&ldquo;People could not focus,&rdquo; said Wendi Norris, a San Francisco&ndash;based dealer whose booth by the entrance showed three large-scale works by&nbsp;Dorothea Tanning,&nbsp; Mar&iacute;a Magdalena Campos-Pons, and&nbsp;Ana Teresa Fern&aacute;ndez. &ldquo;I definitely think politics can have an effect on fairs in general,&rdquo; she added, noting other dealers had compared the mood to the 2016 edition of Art Basel in Miami Beach, which came just weeks after Donald Trump had been elected president.</p> <p>Chicago-based dealer Monique Meloche said several of her artists had arrived to the Thursday night vernissage late because they needed time to &ldquo;pull themselves together.&rdquo;</p> <p>As unfestive as Thursday&rsquo;s political events were, the economic backdrop to the fair was conducive to buying, said several bankers in attendance. Evan Beard, national art services executive at U.S. Trust, Bank of America Private Wealth Management (and an&nbsp;Artsy&nbsp;contributor) said the bank was holding an event with&nbsp;Richard Gray Gallery&nbsp;for 50 collectors later that weekend, and he&rsquo;d seen important &ldquo;up-and-comers&rdquo; from New York, Minneapolis, and Chicago at the opening night.</p> <p>&ldquo;We&rsquo;re in a strong economy; I think the macro story is overwhelming any micro story on tariffs right now for wealthy people,&rdquo; Beard said. &ldquo;Chicago&rsquo;s been a good market for us this year,&rdquo; both for the art lending division and for engaging with collectors more broadly, &ldquo;and this fair is an important pillar.&rdquo;</p> <p>The region itself is on an upswing, said Mac MacLellan, executive vice president of wealth management at Northern Trust, the presenting sponsor of the fair, with technology companies and seed capital pouring into Chicago, thanks to its concentration of universities. He noted many of the manufacturing-heavy Midwestern states&mdash;Wisconsin, Indiana, Iowa&mdash;had unemployment&nbsp;rates below&nbsp;the already-low national average of 3.9 percent. He said it was too early to feel the effects of tariffs recently announced by the Trump administration; regardless, the benefits of the large corporate tax cut enacted in 2017 will balance out the impact of tariffs for most companies, he said.</p> <p>&ldquo;Net-net, they&rsquo;re probably going get a bigger boost from the tax cuts than they are going to get hurt by the tariffs, at least that&rsquo;s what we&rsquo;ve seen so far,&rdquo; MacLellan said. &ldquo;Art is considered a luxury asset, and luxury assets tend to do well in a bull market.&rdquo;</p> <p>There were some questions as to whether Chicago&rsquo;s smaller local galleries did not participate in the fair due to costs, as was suggested by&nbsp;a story&nbsp;in&nbsp;The Art Newspaper&nbsp;published Wednesday. But Meloche pointed out how the story failed to note that several of the Chicago galleries that weren&rsquo;t doing the fair had recently moved to new locations&mdash;with all of the energy and expense that entails&mdash;and the owners of those galleries could be seen at the vernissage, shepherding their collectors around and showing their own support for the fair. The fair had 135 galleries this year, the same number as&nbsp;last year.</p> <p>Tony Karman, the president and director of the fair, pointed out that Chicago heavyweights such as Meloche, Rhona Hoffman, Richard Gray, and Kavi Gupta were all present (and have been since the beginning of the fair), and that support for the fair was widespread throughout the city. He acknowledged that fairs are expensive for smaller galleries, though at an average of $50 to $55 per square foot, Expo Chicago is cheaper than many other fairs (booths in the Exposure section, for younger galleries, are around $8,000). He also said his fair has long offered a tiered pricing system with lower per-square-foot costs for smaller booths, which has been recently adopted by larger fairs such as Art Basel and Frieze. And the fair has only had a price increase once in its seven years.</p> <p>&ldquo;It&rsquo;s our job to adjust and be nimble and be respectful, and I&rsquo;m more than open&mdash;and always have been&mdash;to make sure that we&rsquo;re providing the value that they deserve,&rdquo; Karman said.</p> <p>If politics had seeped into the fair, not all of it was coming in via C-SPAN. The fair&rsquo;s IN/SITU section of large-scale and site-specific artworks, curated by Pablo Le&oacute;n de la Barra, featured pieces such as&nbsp;[THE RED INSIDE](2018) by Afro-Brazilian artist&nbsp;</p> <p>Paulo Nazareth</p> <p>&nbsp;and the presciently titled&nbsp;Speak the Truth Even if Your Voice Shakes&nbsp;(2015) by&nbsp;</p> <p>Sam Durant</p> <p>.</p> <p>The commercial offerings at the fair were also noticeably diverse, with works from artists hailing from a range of ages and backgrounds. Meloche, the Chicago&ndash;based dealer who has long represented artists of color (including, until March of this year,&nbsp;Michelle Obama&rsquo;s portraitist&nbsp;</p> <p>Amy Sherald</p> <p>, who&nbsp;then joined&nbsp;Hauser &amp; Wirth), said after she and her staff had finished hanging the booth, they realized they had only one work that was not by a woman or an artist of color.</p> <p>Three early sales from Meloche&rsquo;s booth included an untitled 2018&nbsp;Sanford Biggers&nbsp;birch-plywood sculpture covered in antique quilt and finished with gold leaf, which went for $60,000 to a private collection, and two unusual&nbsp;Cheryl Pope&nbsp;works, described as &ldquo;needle-punched wool roving on cashmere,&rdquo; which depicted a reclining nude woman and man using broad loops and stitches.&nbsp;Woman and Man Reclining on Striped Mat&nbsp;(2018) and&nbsp;Woman and Man Reclining with Plants&nbsp;(2018) each sold for $8,500 to private collections.</p> <p>&ldquo;I&rsquo;m personally walking around and seeing a lot more work that I respond to,&rdquo; Meloche said. &ldquo;I am experiencing a lot more diversity in the artists people are bringing here, and I don&rsquo;t think they&rsquo;re just doing it for Chicago,&rdquo; but rather that the representation of artists from different backgrounds is finally reaching &ldquo;a level where it should be.&rdquo;</p> <p>She also wasn&rsquo;t fazed by the recent market talk around the value of &ldquo;investing&rdquo; in art by formerly marginalized artists.</p> <p>&ldquo;It&rsquo;s not a surprise that people talk about it,&rdquo; she said. &ldquo;And great, more people should be supporting women artists and artists of color, so if this is just another maybe more crass way to motivate some people, I&rsquo;m like, &lsquo;Jump on board.&rsquo;&rdquo;</p> <p>San Francisco&rsquo;s&nbsp;Jessica Silverman Gallery&nbsp;had a strong weekend, selling nine works by five artists, including feminist icon and hometown favorite&nbsp;Judy Chicago, whose&nbsp;Study for Pasadena Lifesavers Yellow series&nbsp;(1968) sold at the fair. Two&nbsp;Matthew Angelo Harrison sculptures&mdash;the resin sculpture&nbsp;Synthetic Lipiko no. 3&nbsp;(2018), as well as&nbsp;Dark Silhouettes: Adaptation Between Fixed Points&nbsp;(2018)&mdash;sold, as did a handwoven polymer piece by&nbsp;Margo Wolowiec Futurecast&nbsp;(2018). Harrison&rsquo;s sculptures at Expo were&nbsp;priced between&nbsp;$15,000 to $18,000.&ldquo;We&rsquo;re particularly pleased by the attention museum professionals paid to the feminist minimalist work of Judy Chicago,&rdquo; said Silverman, who is also on Expo&rsquo;s 11-person selection committee. &ldquo;Post-war art history is being re-written!&rdquo;</p> <p>Brazilian gallery Mendes Wood DM, which also has outposts in Brussels and New York, presented a solo both of politically charged work by Paulo Nazareth. For the series on view, Nazareth retraced the route of the underground railroad that ferried escaped slaves to freedom, beginning in New Orleans and culminating in Toronto. In the center of the booth was a large red 1989 Ford pickup truck filled with both real and concrete watermelons called&nbsp;[THE RED INSIDE]; sales director Aguilera said that he is in continued discussions with two institutions about a possible acquisition. (Nazareth requires the truck to remain above the Mason-Dixon line; a sister work is south of the Mason-Dixon line.)</p> <p>It was the gallery&rsquo;s first time at Expo Chicago, which Aguilera said he wanted to do because of the city&rsquo;s influential institutions, which he thought would be interested in Nazareth&rsquo;s work.</p> <p>&ldquo;We thought Chicago would be very receptive to a very political Afro-Brazilian artist like Paulo Nazareth,&rdquo; he said, possibly a reference to its history as the home of many prominent African-American artists and collectors, and movements such as AfriCOBRA. He had sold several editions of the photographs that Nazareth made in the course of his journey before the fair; several more sold on opening day, with individual photos priced at $10,000, and a set of 23 photographs at $38,000.</p> <p>Aguilera characterized Expo Chicago as &ldquo;a slow burn.&rdquo; But he said that the slower pace of sales meant he was able to have lengthier conversations with collectors in a new market for the gallery. &ldquo;It&rsquo;s important to make these genuine connections as opposed to just selling something and never hearing from that person again,&rdquo; he said.</p> <p>Expo Chicago has, in part, built its reputation on being a key hub for institutional curators. Its curatorial exchange program, launched in 2013, now brings over 30 curators from museums around the U.S. and more recently overseas, through partnerships with the embassies of China, Denmark, France, Italy, and the Netherlands.</p> <p>&ldquo;I would definitely say it&rsquo;s one of the best aspects of the fair&mdash;the intensity and rigor of the curatorial program,&rdquo; said Stefano Di Paola of Los Angeles&rsquo;s&nbsp;Anat Ebgi&nbsp;gallery. &ldquo;They&rsquo;re not just bringing them to the fair to see things, but really encouraging this dialogue between different institutions around the work that&rsquo;s happening here.&rdquo;</p> <p>Di Paola selected works by&nbsp;Jason Bailer Losh and&nbsp;Jibade-Khalil Huffman&rsquo;s for the gallery&rsquo;s booth. But he said Anat Ebgi&rsquo;s key sale from the fair was of a work currently installed at Huffman&rsquo;s museum show at KMAC in Louisville&mdash;Untitled (Dancecard 3)&nbsp;(2017), an inkjet work on transparency and canvas currently&mdash;which sold to a private Chicago collection.</p> <p>At Paul Kasmin&rsquo;s booth, just in front of the entrance, a&nbsp;Robert Indiana &ldquo;LOVE&rdquo; sculpture sold the first day for an undisclosed price, followed by&nbsp;Walton Ford&rsquo;s watercolor, gouache, and ink on paper&nbsp;The Invalid - Cheyne Walk 1869&nbsp;(2017); an untitled 2018 gesso, kaolin, and ink on board by&nbsp;Elliott Puckette for an asking price of $65,000; and&nbsp;Naama Tsabar&rsquo;s playful, pluckable&nbsp;Work On Felt (Variation 17) Burgundy&nbsp;(2017), with its piano string attached to a wine-colored split panel of felt, for an asking price of $18,000.</p> <p>&ldquo;We think of Expo as the unofficial kick-off of the art fair season, and it set a great tone yet again this year,&rdquo; said director Eric Gleason, who cited the strong presence of Chicago institutions and their young collector groups at the fair. &ldquo;The reach of the institutions here&mdash;the&nbsp;Art Institute of Chicago, the&nbsp;Museum of Contemporary Art, the Arts Club, they&rsquo;re just so prominent&hellip;and there&rsquo;s no better way to connect with them than to come to their turf.&rdquo;</p> <p>Karman said getting curators to travel to Expo is an integral part of the fair, and funding for that travel is built into the fair&rsquo;s budget.</p> <p>&ldquo;We said, &lsquo;Let&rsquo;s guarantee at least 30 curators,&rsquo;&rdquo; he said. Karman said that group has grown to attract more than 80 curators in all, who come to talk shop with their peers &ldquo;about what they&rsquo;re going to do together, outside of what they&rsquo;re doing at the fair,&rdquo; find new artists, and work on potential collaborations with Chicago institutions or Expo Chicago itself. &ldquo;That&rsquo;s a pretty rich stew,&rdquo; he said.</p> <p>They also come with wealthy patrons in tow, ready to buy. For example, New York gallery&nbsp;L&eacute;vy Gorvy&nbsp;sold&nbsp;Terry Adkins&rsquo;s sculpture&nbsp;Untitled&nbsp;(2002) as a promised gift to a major Chicago institution. Now in its second year participating in Expo Chicago, the gallery also sold Adkins&rsquo;s sculpture&nbsp;Untitled (Bessie Smith Head, Red)&nbsp;(2007) for $90,000,&nbsp;Pat Steir&rsquo;s painting&nbsp;Ancient Waterfall&nbsp;(1989) with an asking price of $715,000, and&nbsp;Karin Schneider&rsquo;s canvas&nbsp;H(AR/BP + C) (Marsupial)&nbsp;(2018) for $12,000. Los Angeles gallery&nbsp;Shulamit Nazarian, which last year nearly sold out its booth of works by&nbsp;Genevieve Gaignard, had another triumphant weekend in Chicago, thanks in large part to institutions and their boards. L.A. artist&nbsp;Amir H. Fallah&nbsp;received the Northern Trust Purchase Prize, and his painting,&nbsp;Calling On The Past&nbsp;(2018), priced at $12,500, was acquired by the permanent collection of the Smart Museum of Art at the University of Chicago. Shortly thereafter, two supporters of the museum acquired three other works by Fallah, two of which were promised gifts to the Smart Museum.&nbsp;</p> <p>Naudline Pierre&rsquo;s oil on canvas&nbsp;Deal Kindly and Gently With Me(2018) also sold for $9,000 to a private collection.</p> <p>The gallery&rsquo;s senior director, Seth Curcio, reported that every work in the booth by Fallah and Pierre had sold before the end of the first day and cited additional &ldquo;wonderful conversations&rdquo; with curators at other Chicago and Midwest institutions such as the Art Institute of Chicago, MCA Chicago, MOCA Cleveland, and the Allen Memorial Art Museum at Oberlin College. Noting this continued strong performance, he said, &ldquo;We&rsquo;ll certainly return next year!&rdquo;</p> </div> Sat, 06 Oct 2018 19:40:00 -0500 /news/2018/10/what-sold-at-expo-chicago-cbcf98ea-6854-441a-a6d6-f483420ae73a /news/2018/10/what-sold-at-expo-chicago-cbcf98ea-6854-441a-a6d6-f483420ae73a Taller, Brighter, Bolder at Expo Chicago <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="https://elephant.art/taller-bright-bolder-expo-chicago/" target="_blank">Elephant<br /> By&nbsp;Sarah Belmont</a></h3> <p>Fall has breathed its first gentle sigh upon the Windy City, and yet there is something exotic about Expo Chicago. The Midwestern art fair has opted for a vibrant display of bright, flashy colour. The tone is set (quite literally) by&nbsp;Derrick Adams with Rhona Hoffman Gallery&mdash;his Floater 76 features a black woman lying on a California-eqsue pink flamingo buoy&mdash;and&nbsp;Tony Tasset at&nbsp;Kavi Gupta Gallery&mdash;his&nbsp;rainbow-tainted Mood Sculpture reminds me of&nbsp;Ugo Rondinone&rsquo;s Miami Mountain&nbsp;which currently sits in front of the&nbsp;Bass Museum, but with smileys instead of rocks. Summer lingers on at Navy Pier, where Expo successfully returned in 2016 under the aegis of&nbsp;Tony Karman.</p> <p>Speaking of whom&hellip; No sooner had the galleries opened than the president of the fair was announcing a partnership with&nbsp;Snarkitecture, which will result in the presentation of an immersive installation called The Beach at next year&rsquo;s fair.&nbsp;Iv&aacute;n Navarro&rsquo;s in-situ work at the entrance seems to echo this announcement, although what looked like a glowing pool chair at first, turns out to be a piece of the artist&rsquo;s Metallic Arm Chairs series.</p> <p>Adjacent to this deceptive design is Muro, a brick wall which leads the way for the wide range of sculptures which are spread throughout the exhibition hall. This massive block was made by&nbsp;Bosco Sodi, who describes his creative process as &ldquo;controlled chaos&rdquo;, often utilizing raw materials and vivid pigments. His name emerges again a little further into the fair at&nbsp;Kasmin Gallery&rsquo;s booth, which includes one of his famous tower-like pieces made of clay cubes.</p> <p>The New-York-based gallery is also showing fabric-made compositions, including one variation of&nbsp;Naama Tsabar&rsquo;s Work on Felt, which fits with the irrefutable materiality of Expo&rsquo;s display as a whole, although this particular ongoing series actually has more to do with hearing&mdash;the gazer is invited to pluck the strings on it to create sound&mdash;than touch.</p> <p>This leads us to the&nbsp;Praz Delavallade&nbsp;booth, which features a giant black glove sprinkled with various hues of paint. There are numerous other textiles which are presented simply, as they are. Take Big Mr. Elephant by&nbsp;Margaret Honda at Grice Bench. This installation consists of a tall white board covered with two checked cotton and silk sheets, which looks as though&nbsp;it could have landed quite naturally from a fed-up spring cleaner wrapping up their chores.</p> <p>Fabric keeps threading its way through Expo. Turiya Magadlela, whose works can be seen at Jenkins Johnson Gallery&rsquo;s booth, is famous for pinning nylon pantyhose onto blank canvases&mdash;stockings represent all the unheard women who have been subject to abuse, a subject which is highly present in the US right now for obvious reasons.&nbsp;Hank Willis Thomas&rsquo;s&nbsp;compositions look&nbsp;far more comfortable&mdash;his duvet-based patchwork with a reproduction of Matisse&rsquo;s Icarus on it is shown with&nbsp;Maruani Mercier Gallery.</p> <p>Other tributes are worth mentioning in passing. Given my French roots, I could not help but notice&nbsp;Liu Bolin&rsquo;s Hiding in the City at Edwynn Houk Gallery. This print was inspired by Eugene Delacroix&rsquo;s Liberty Leading the People. Similarly, Vik Muniz&rsquo;s Apples, Peaches, Pears and Grapes was made explicitly made &ldquo;After Cezanne&rdquo;. As for The Practice, Take One by Dutch artist Folkert de Jong with Marc Straus, it resembles Degas&rsquo;s Little Dancer of Fourteen Years Old, except that the former sculpture is made of wood and wears a skirt in pigmented polyurethane.</p> <p>There are also numerous garment-oriented pieces. Esmaa Mohamoud&rsquo;s One of the Boys, showing with Georgia Sherman Projets, could be the work of a fashion designer. Who would not want to try on this Chicago Bulls jersey extended by a scarlet pannier? Although I am more of a tennis and baseball fan myself. In Faltenwurf (Oliv), a photograph by Wolfgang Tillmans which is showing with David Zwirner Gallery, a pair of pants are seen drying off on a heater. While some artists include clothes in their works, others try to convey the impression of fabric through their technique. For Aesyle, Dan Colen had a page from a clothing catalogue enlarged just to be able to paint over it. The picture shows a pile of folded sweaters, which symbolizes the transition of this usually non-materialist artist into adulthood. James Cohan Antonio Sant&iacute;n&rsquo;s oil on canvas Coral Greed, shown with Marc Straus, looks like a creased Proven&ccedil;al tablecloth.</p> <p>More than textile, Expo is about texture. Some paintings show rare density. Known for slow-paced, body-focused performances, Donna Huanca places the body at the centre of her work. And it&rsquo;s true there is something organic about her Yveando, one of Peres Projects&rsquo; picks. This oil on canvas really seems to have a body, a skin, a life of its own. Darrell Roberts&rsquo;s Open Window at McCormick Gallery is marked by even broader brushstrokes, the palpable flow of which conjure the image of a tumultuous flamboyant sea.</p> <p>Abstract geometry thrives in a great deal of&nbsp;the works, whether they are two- or three-dimensional. Ben Tinsley&rsquo;s Pipe Dream at McCormick Gallery, Federico Herrero&rsquo;s Parlante at James Cohan and Franz Ackerman&rsquo;s Going Nowhere at Templon, for instance, are powerful graphic compositions which do not fail to catch the eye. Though somehow symmetrical, Katsumi Nakai&rsquo;s series of acrylics on plywood at Ronchini Gallery defies description. Holton Rower&rsquo;s psychedelic paintings at The Hole are shaped like oysters, whereas Miguel Florida has lent the mollusk&rsquo;s colour to a diamond-cut monochrome called Our Bond.</p> <p>And materiality is matched by verticality. We are in the United States, the county of skyscrapers, after all. While a majority of sculptures stretch up to the sky, numerous paintings appear on long, rather than large, canvases. Brian Wills&rsquo;s Tomato Red, Blue, Turquoise, Lime Green and Yellow and Helen Frankenthaler&rsquo;s Mirror are cases in point. A relatively small version of Laura Asia in White by Jaume Plensa almost meets the ceiling. John Storr&rsquo;s Study in Form No. 1 from Richard Gray Gallery could pass for a sacred totem. Stuart Shave/ Modern Art is home to a stick-like sculpture by Ricky Swallow.</p> <p>Expo Chicago, which takes place in the impressive-looking city partly designed by Frank Lloyd Wright, certainly makes a strong statement.</p> </div> Sat, 06 Oct 2018 12:00:00 -0500 /news/2018/10/taller-brighter-bolder-at-expo-chicago /news/2018/10/taller-brighter-bolder-at-expo-chicago EXPO CHICAGO's opening night benefits MCA programs <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="http://www.chicagotribune.com/lifestyles/ct-life-candid-candace-1007-story.html">Chicago Tribune<br /> By Candance Jordan</a></h3> <p>The Women&#39;s Board of the&nbsp;Museum of Contemporary Art Chicago&nbsp;hosted the seventh annual Vernissage, the opening night preview party of&nbsp;Expo Chicago&nbsp;(International Exposition of Contemporary and Modern Art), on Sept. 27 at Navy Pier&rsquo;s Festival Hall. More than 8,000 art lovers, collectors and enthusiasts received a first look at artwork from 135 of the world&#39;s leading galleries. On display were 5,000 works of art from 27 countries and 63 cities.</p> <p>The evening began with a patron&#39;s reception in the VIP Collector&#39;s Lounge, where guests enjoyed sweeping views of Festival Hall&rsquo;s colorful exhibits on the floor below, as well as food stations from some of the city&#39;s top restaurants.</p> <p>Tony Karman, Expo Chicago president and director, welcomed guests and presented a celebratory Ruinart Champagne toast along with his wife, Sondra, Michelle Boone (Navy Pier chief program and civic engagement officer),&nbsp;Madeleine Grynsztejn(MCA Chicago&rsquo;s Pritzker director), Mike O&#39;Grady (Northern Trust CEO and MCA Chicago Board of Trustees chair) and Mac MacLellan (Northern Trust wealth management executive vice president).</p> <p>Karman spoke about the exciting four-day festival &mdash; a collaboration of more than 70 cultural institutions around the city that featured exhibits, gallery openings, artist talks, public art projects, open studios and outdoor installations.</p> <p>MacLellan described Vernissage as &quot;the social scene of the year&quot; and lauded the partnerships between Northern Trust, the presenting sponsor, the MCA and Navy Pier.</p> <p>Boone said, &quot;This fair has cemented Navy Pier, not only as an historic attraction for Chicago, but as a new cultural destination.&quot; She enthusiastically described plans for next year that will include an interactive public art installation titled &quot;The Beach Chicago,&quot; which will be created by New York-based firm Snarkitecture and display 1.1 million translucent balls in the Aon Ballroom.</p> <p>Following the reception, guests headed to the exhibits, which featured artwork from galleries around the world as well as large-scale sculptures, interactive installations and site-specific works curated by Pablo Leon de la Barra from the Solomon R. Guggenheim Museum.</p> <p>There was something for every taste in Festival Hall. At the CASE Art Fund booth, guests slipped inside a tent to view paintings related to humanitarian issues. Artist Oscar Murillo&#39;s exhibit featured a semicircle of human effigies in wheelchairs that represented the decaying of the global capitalist system. Prints from Dylan Miner and Oscar Tuazon addressed the Flint water crisis. Even Bertram the Pomeranian, an Instagram canine star with over 250,000 followers, was on hand to attract attention to the Hole Gallery booth.</p> <p>Co-chaired by MCA Women&#39;s Board members Marcia Fraerman and Cathy Ross with support from Ellen Wallace, MCA Women&#39;s Board president, the evening raised over $300,000 to support the museum&#39;s educational programs.</p> <p>&quot;It&#39;s the collaborative nature of this city that we celebrate tonight. There&#39;s no place like it, and I&#39;m Chicago proud,&quot; Karman said.</p> </div> Fri, 05 Oct 2018 12:00:00 -0500 /news/2018/10/expo-chicago-s-opening-night-benefits-mca-programs /news/2018/10/expo-chicago-s-opening-night-benefits-mca-programs EXPO 2018: “Dimensions of Citizenship” and the U.S. Pavilion at the 2018 Venice Architecture Biennale <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="https://art.newcity.com/2018/10/01/expo-2018-dimensions-of-citizenship-and-the-u-s-pavilion-at-the-2018-venice-architecture-biennale/" target="_blank">Newcity Art<br /> By Lee Ann Norman</a></h3> <p>Chicago&rsquo;s annual EXPO stands out among art fairs for its comprehensive slate of supplemental programs, including artist talks, book signings, panel and roundtable discussions, all designed to contextualize the contemporary art landscape as well as Chicago&rsquo;s role in it. In a timely discussion on citizenship and the role of art, architecture and design, artists and curators participating in the SAIC-University of Chicago curated and organized United States pavilion at the Venice Architecture Biennale discussed the background and rationale for the 2018 edition, titled &ldquo;Dimensions of Citizenship,&rdquo; in which architects and designers were invited to respond to the paradoxes and contradictions around the notion of citizenship. Mimi Zeiger, one of the four pavilion curators, serving as moderator for the discussion, explained that the current political environment ushered in after the 2016 presidential elections along with state and federal funding for the U.S. exhibition made answering questions about what it means to be a citizen of not only the U.S. but also the world, a fraught and charged topic to address visually. The curatorial team and artists created&nbsp;a surprisingly eloquent and concise installation by addressing the question through the lens of the seven scales, a perspective that allowed visitors to look at relationships from the local and regional to the national and global.</p> <p>After providing a quick walkthrough of the pavilion, describing the featured artists and installations, Zeiger turned it over to the artists for more in-depth descriptions from Keller Easterling, who worked to create a platform called MANY, designed to assist migrants through an exchange of need. Keller noted that adjusting to displacement is eased by the existence of infrastructure&mdash;a major reason why migrants go to urban centers to resettle&mdash;but barriers often make readjustment a perilous task when most of the infrastructure&rsquo;s resources are limited to the nation&rsquo;s definition of &ldquo;citizen.&rdquo;&nbsp;The MANY app, according to Easterling, &ldquo;proposes to diffuse or outwit this opposition by more robustly networking short-term visas and exchanges that may not involve travel. Deliberately positioned at a distance from the sharp end of migration emergencies, the platform serves those who want to resettle as well as those who want to keep traveling&mdash;those who never wanted the citizenship or asylum that the nation withholds or reluctantly bestows.&rdquo;&nbsp; The project addresses the essential question of agency and choice, Keller noted. Too often, we assume that migrant&rsquo;s loyalty, affection, and fondness for &ldquo;home&rdquo; disappears the minute they flee the chaos at hand.</p> <p>With &ldquo;In Plain Sight,&rdquo; Laura Kurgan and Robert Gerard Pietrusko revisited a prior commission they created in collaboration with Diller Scofidio &amp; Renfro about ten years ago, this time mapping access to natural resources through data visualization. Examining places around the world where there is an abundance of people and little connectivity to the electrical grid in contrast to much connectivity and few people, the artists were able to show the political and social reality of being invisible while simultaneously being visible. For the EXPO discussion, Kurgan and Pietrusko highlighted connectivity rates in Houston pre-and post-Hurricane Harvey, and in Puerto Rico pre-and post-Hurricane Maria, never once in the exhibition or this discussion naming the current U.S. president, the administration&rsquo;s policies or its disaster response.</p> <p>Only after these more thorough forays into the artworks did the panel begin to get to the &ldquo;meat&rdquo; of the discussion, and to my chagrin, it was much too late. The conversation portion of the panel began with the notion that artists, particularly architects and designers, do a great job of &ldquo;show and tell&rdquo; or visualizing problems and issues, but little else to assist people with creating solutions and addressing the challenges. The artists and curator agreed that this is certainly an issue, but this gesture is necessary, providing people with tools to come to their conclusions, make their own decisions and solutions. While I can appreciate that sentiment, after the panel, I was left wanting and wondering: how might art and architecture be used to facilitate notions of democracy instead?</p> </div> Mon, 01 Oct 2018 17:39:00 -0500 /news/2018/10/expo-2018-dimensions-of-citizenship-and-the-u-s-pavilion-at-the-2018-venice-architecture-biennale /news/2018/10/expo-2018-dimensions-of-citizenship-and-the-u-s-pavilion-at-the-2018-venice-architecture-biennale Chicago's Talkiest Season Begins with a Long, Long Chat at Art Expo <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="http://www.chicagotribune.com/entertainment/ct-ent-chi-art-expo-marathon-1002-story.html" target="_blank">Chicago Tribune<br /> By Christopher Borrelli</a></h3> <p>On Saturday afternoon, at the far end of Navy Pier, in a ballroom overlooking Lake Michigan, Hans Ulrich Obrist talked, and listened, then talked, and listened some more. He talked to 20 Chicago artists, poets, architects, essayists, MacArthur geniuses, sociologists. He did this for more than five hours, one person after another, sometimes pairing up artists and talking to two at once. He did not faint or take a bathroom break or sneak a granola bar as they spoke. He grew tired, his voice sounded hoarse, but the man never cracked.</p> <p>Obrist is artistic director of the Serpentine Galleries in London; he was in town for the annual&nbsp;Expo Chicago&nbsp;art exhibition. Crowds gathered in the ballroom to listen to his conversations, only to drift away, then return again, then drift away, over and over, like the waves against the pier.</p> <p>Artist Amanda Williams, best known for her brightly colored abandoned homes in Englewood, and a practice that innovatively pairs issues of social justice and class with architecture, told him: &ldquo;What Chicago needs is for each of us to operate outside of our own best self-interests.&rdquo;</p> <p>Photographer Dawoud Bey told him that he wanted to question our assumptions about community.</p> <p>Louise Bernard, museum director of the Obama Presidential Center, told him that &ldquo;we tend to think of presidential museums being of a particular time in history,&rdquo; but the vision for the Obama Center is to inspire new generations of leaders, &ldquo;in a broadest possible sense.&rdquo;</p> <p>Many others said much more.</p> <p>It was part performance art, part seemingly never-ending talk show, part stunt and part sincere inquiry: Can you locate the soul of a place though a long day of conversation?</p> <p>It also served, unofficially, as the opening of talk season.</p> <p>We don&rsquo;t have a good name for this yet &mdash; the Jabber Weeks? the Chatter Time? &mdash; but it exists. Every fall throughout Chicago, important figures sit on large stages and just, you know,&nbsp;talk&nbsp;to us. They do this from now until we feed our faces at Thanksgiving and stop talking. The Chicago Humanities Festival, which locally owns the format, begins its Fall Yappening at the end of October, offering Tom Hanks, Alice Walker and plenty of others. Chicago Ideas Week, starting Oct. 15, offers Ellie Kemper, Michael Eric Dyson and more. And of course there are Chicago&rsquo;s bookstores, which, nightly through October and November, offer conversations with authors, for free.</p> <p>It&rsquo;s a lot to look forward to.</p> <p>Or you could have knocked out the season in an afternoon with Swiss-born Obrist, who named his event &ldquo;Creative Chicago: An Interview Marathon,&rdquo; and &mdash; with help from the Humanities Festival&rsquo;s booking department &mdash; assembled a who&rsquo;s who of Chicago cultural life. Indeed, they even tried to book Rahm Emanuel to do his podcast during the event.</p> <p>Didn&rsquo;t work out.</p> <p>Perhaps the mayor didn&rsquo;t know what he was missing?</p> <p>Obrist, whom The New Yorker named &ldquo;the curator who never sleeps,&rdquo; is celebrated in London for his marathons &mdash; or rather, &ldquo;durational art.&rdquo; He began in 2006 with a series of interviews that lasted 24 hours (he checked himself into a hospital immediately after). Ever since, the Serpentine has had marathon events lasting three to 24 hours, often based around a theme, such as memory or extinction. At one marathon, filmmaker Agnes Varda dressed as a potato. At another, artist Damien Hirst lectured at 4 a.m.</p> <p>The night before the Navy Pier event &mdash; Obrist&rsquo;s first marathon in the United States &mdash; he told me that he was &ldquo;curating the city.&rdquo; He called it &ldquo;a way of bringing together disciplines to construct an image of a place (this is) really far too complex to construct in any synthetic way.&rdquo; He said that he chose Chicago for the event because a large archive of his interviews is held at the School of the Art Institute of Chicago, but also because a major influence on his chat-a-thons is Studs Terkel, Chicago&rsquo;s late king of conversation.</p> <p>Obrist wanted to pay homage.</p> <p>Long, slim, with heavy black eyeglass frames, he positioned himself more as a cultural tourist, one who had corralled a dream team of local guides for snippets of advice and character:</p> <p>Tim Samuelson, official city historian, waving a pair of Eliot Ness&rsquo; handcuffs, said he is organizing his decades of artifacts but fears he will be hit by a bus and no one will understand why he owned a pair of handcuffs. Eve Ewing, Chicago poet and sociologist, said, &ldquo;No matter how many degrees you have, everyone is an expert on their own life.&rdquo;</p> <p>Architect&nbsp;Stanley Tigerman, in a wheelchair at 88, said, &ldquo;Architecture is the sport of Chicago. It&rsquo;s not the Cubs, Bulls, Bears or whatever animal has their name on a team.&rdquo;</p> <p>Obrist sat all day before a backdrop designed by Chicago artist Barbara Kasten, a sculpture of colored plexiglass slats that suggested the rumpus room of the Fortress of Solitude. And as the day wore on, the shimmer from the lake faded and Kasten&rsquo;s colors glowed and became the focus. Indeed, compared with the hit-and-miss nature of many staged conversations in Chicago, this was an organic, living work of art, with its share of surprising refrains and flourishes.</p> <p>Obrist asked nearly every artist to name an unrealized project, either &ldquo;censored or self-censored dreams.&rdquo; Both Brandon Breaux, a painter known for his Chance the Rapper album covers, and Fatimah Asghar, poet and co-creator of the web series &ldquo;Brown Girls,&rdquo; in separate interviews, spoke of creating museums dedicated to their families; Amanda Williams and artist Cauleen Smith both spoke of deciding at some point in their careers that they would not ask permission to act boldly anymore.</p> <p>Orbist also asked what Chicago needs.</p> <p>Architect&nbsp;Jeanne Gang&nbsp;(and others, in various ways) said it needed &ldquo;glue&rdquo; to connect its disparate, increasingly unequal parts &mdash; perhaps even &ldquo;something shocking to bring us back together in a common cause.&rdquo; Artist Theaster Gates answered differently from most: Chicago needs friendships.</p> <p>None of this is surprising.</p> <p>And yet, with Obrist as the frame, it felt like art.</p> <p>I&rsquo;m a junkie for staged talks.</p> <p>I have attended every New Yorker Festival &mdash; which is its own, overpriced Fall Yappening &mdash; since it began in 1999, more than my share of Humanities Festival events and countless bookstore chats. But none feel like art. Obrist &mdash; allowing roughly 15 minutes for each subject &mdash; crafted a new albeit cumbersome medium for painting a portrait of community.</p> <p>He guided the ear the way others guide the eye.</p> <p>Late in the afternoon, as he came to the most obvious of conclusions, that each of these artists is presenting his or her reality, and yet with Chicago as a collective canvas, the point became touching. Gates, for instance, called our thrift stores &ldquo;the archives of America,&rdquo; a tool he used to sharpen his eye, evolving for him from a place where he desired hip clothes to a place where he understood, by simply shopping for old clothes, that he was continuing a cultural legacy.</p> <p>At times, Obrist, with a curator&rsquo;s heart, paired artists who didn&rsquo;t know each other, asking them to pose questions to each other. Kasten asked Gang why she stayed in Chicago; Suellen Rocca, of the white &rsquo;60s Chicago art collective the Hairy Who, asked Gerald Williams, of the black &rsquo;60s Chicago art collective AfriCOBRA, about his early days as a teacher &mdash; like many of the artists brought together by Obrist, they share Chicago but had never met before.</p> <p>You suspected Obrist hoped to create connections that lead to collaborations and more art. If there was suspense, it was contained in the question of whether Obrist could keep the project within five allotted hours. Mostly, he could. But he would not interrupt, not even the worst of the droners. Early on he played a clip of himself interviewing Terkel. He asked for advice, and Studs told him sharply: &ldquo;Listen.&rdquo;</p> </div> Mon, 01 Oct 2018 13:00:00 -0500 /news/2018/10/chicago-s-talkiest-season-begins-with-a-long-long-chat-at-art-expo /news/2018/10/chicago-s-talkiest-season-begins-with-a-long-long-chat-at-art-expo See Highlights of Expo Chicago 2018 <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="http://www.galeriemagazine.com/highlights-expo-chicago-2018/" target="_blank">Galerie Magazine<br /> By Paul Laster</a></h3> <p>An international art fair serving America&rsquo;s Midwest, the seventh edition of Expo Chicago, which opened to the public on Friday, September 28, and ran through September 30, returned to the city&rsquo;s famed Navy Pier with 135 galleries representing 27 countries and 63 cultural capitals from around the world.</p> <p>&ldquo;Meaningful projects need time for maturation&mdash;it takes time for traditions to kindle and become visible,&rdquo; Expo Chicago president and director Tony Karman told&nbsp;Galerie&nbsp;during the VIP preview. &ldquo;Going into year seven we have the consistency of great exhibitors and strong programming, along with an ongoing commitment to collaboration with local institutions. It&rsquo;s essential to remind people that Chicago is an extraordinary city with great institutions, galleries, and artists, but equally important to let our exhibitors know that they are in a city that truly values their participation and supports them in their sales.&rdquo;</p> <p>Sales were underway within hours of collectors hitting the aisles of the main Galleries section of the fair, with New York&rsquo;s L&eacute;vy Gorvy selling Pat Steir&rsquo;s large-scale 1989 painting&nbsp;Ancient Waterfall&nbsp;for $750,000 and Half Gallery, also from New York, nearly selling out its booth of colorful figurative and abstract canvases, priced between $7,500 and $16,000, by 2018 Yale MFA grad Vaughn Spann. Galerie Templon, from Paris and Brussels, also scored quickly with the sale of Iv&aacute;n Navarro&rsquo;s 2017 sculpture&nbsp;Revolution V&mdash;consisting of five stacked drums displaying the words&nbsp;demand, clamor, strike, blast,&nbsp;and&nbsp;rise&nbsp;in neon with mirrors that repeat the chant while creating the illusion of depth in each of the variously sized instruments&mdash;for $185,000.</p> <p>Navarro&rsquo;s light works were highly visible throughout the fair: Kasmin (the artist&rsquo;s New York gallery) presented his word-repeating, concrete poetry piece&nbsp;Back to Square One&nbsp;(2017) on the outer wall of its booth, and&nbsp;Metal Electric Chair&nbsp;(2017), a riff of Gerrit Rietveld&rsquo;s celebrated&nbsp;Red Blue Chair,&nbsp;and his series of neon and mirrored water towers, &ldquo;This Land Is Your Land&rdquo; (2014), were on view in the fair&rsquo;s In Situ section for public sculptures, located both inside and outside of the exhibition hall.</p> <p>Several exhibitors in the Galleries section paid homage to Chicago, with New York&rsquo;s P.P.O.W offering Ann Agee&rsquo;s magnificent&nbsp;Lake Michigan Bathroom, a blue-and-white ceramic installation about bodily functions and the economy of water that the artist crafted at Kohler&rsquo;s artist residency and famously exhibited in the New Museum&rsquo;s &ldquo;Bad Girl&rdquo; show in 1996. Salon 94, also from New York, presented local artist Carlos Rol&oacute;n&rsquo;s new &ldquo;Gild the Lily&rdquo; garden paintings, which mix floral patterning with gold-leaf grandeur. A child of Puerto Rican parents, Rol&oacute;n had a turbulent installation of art and debris commemorating Hurricane Maria in a booth shared by Salon 94 and the Joyce Foundation and a more exotic, site-specific installation in the Flag Art Foundation&rsquo;s fun-filled satellite show, &ldquo;But I&rsquo;m on the Guest List!&rdquo; at the Peninsula Chicago.</p> <p>As expected, Chicago&rsquo;s venerable galleries were well-represented, with Richard Gray, Kavi Gupta, and Rhona Hoffman exhibiting a potent mix of artists from their stables. Monique Meloche Gallery, however, separated itself from the pack with a powerful presentation of up-and-coming artists&mdash;including Sanford Biggers, Ebony G. Patterson, and Brendan Fernandes, who has a solo exhibition at the DePaul Art Museum, and showed a series of figurative prints in its booth at the fair. Corbett vs. Dempsey distinguished its group presentation with a selection of paintings from 1968 that were made in protest after the Democratic National Convention by Chicago artists Seymour Rosofsky, Ed Flood, Art Green, William Weege, and Robert Donley, alongside contemporary works that similarly reflected a spirit of defiance.</p> <p>Solo shows are also a standout at any art fair, and Expo Chicago featured a number of compelling ones this year. The late works of Dutch conceptual artist Ger van Elk filled the shared booth of the Amsterdam-based dealers Grimm and Borzo Gallery, which mounted his final solo exhibitions from 2012, &ldquo;As Is, as Was&rdquo; and &ldquo;As Was, as Is.&rdquo; The hanging here featured the artist&rsquo;s hybrid series of &ldquo;Conclusion&rdquo; paintings, consisting of photographs of Spanish village scenes printed on canvas and primarily painted out to show imagery only at the edge, and a striking series of portraits of female friends printed on clear acetate sandwiched between layers of Plexiglas and smartly displayed.</p> <p>Notable one-person exhibitions in the Profile section of the fair included Sara Rahbar&rsquo;s poetic assemblages mixing tools of workers&rsquo; trades with flags and cast body parts, priced between $38,000 and $62,000, at Dubai&rsquo;s Carbon 12; Fu Xiaotong&rsquo;s sublime installation of pinpricked, handmade paper that ebbs and flows like waves through her multipaneled piece, priced at $33,000 per panel, at Chambers Fine Art, from New York and Beijing; and New York&rsquo;s Derek Eller Gallery&rsquo;s showing of whimsical works on paper, priced from $10,000 to $65,000, by Chicago Imagist artist Karl Wirsum, who is featured in the Art Institute of Chicago&rsquo;s newly opened exhibition &ldquo;Harry Who? 1966&ndash;1969.&rdquo;</p> <p>The Exposure section, which highlighted younger galleries selected by Creative Time Director Justine Ludwig, had its fair share of salient solo shows, too. &ldquo;The desire was to create a diversity of creative visions within the context of the fair,&rdquo; Ludwig told&nbsp;Galerie. &ldquo;I wanted to show artists that you might not be accustomed to seeing in this context, while making sure there was a wide-ranging vision of what contemporary artistic practice is today.&rdquo;</p> <p>Catching our eye were three shows of emerging African artists. Awol Erizku offered new color photographs of seductive still lifes combining the tools of photography with African artifacts and nude models at Los Angeles&rsquo;s Night Gallery. New York&rsquo;s Sapar Contemporary displayed 34 drawings by Phoebe Boswell of a surreal army of women with eyes for heads hung on charcoal-smudged walls with scattered rocks to create a landscape environment for her rambling figures. And Clotilde Jimenez presented large-scale collages of referential motifs from such modernist artists as Manet and Matisse, along with a pair of big sculptural heads of black children, expressively created in clay and cast in bronze, at Seattle&rsquo;s Mariane Ibrahim.</p> <p>&ldquo;An art fair is an important and unique experience,&rdquo; Karman summarized for us. &ldquo;It&rsquo;s a convening moment for all of us that care&mdash;the artists, gallerists, curators, advisors, and collectors. A convening moment&mdash;done right&mdash;is a powerful thing, and I hope that we are able to create the right mix to continue to make Expo Chicago viable for many years to come.&rdquo;</p> </div> Mon, 01 Oct 2018 12:00:00 -0500 /news/2018/10/see-highlights-of-expo-chicago-2018 /news/2018/10/see-highlights-of-expo-chicago-2018 “For the many, not for the few”, Market Reflections on EXPO 2018’s Commercial Offerings <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="https://art.newcity.com/2018/10/01/for-the-many-not-for-the-few-market-reflections-on-expo-2018s-commercial-offerings/" target="_blank">Newcity Art<br /> By Stephen F. Eisenman</a></h3> <p>Art expositions are to art what butterflies are to insects: small but showy subsets of the larger class.&nbsp;There are a million species of insects, of which just 20,000, or two percent, are butterflies. There are lots of kinds of art, of which just a fraction is shown at art expos. There is amateur art, folk art, ethnic art, tourist art, graffiti art, children&rsquo;s art and commercial art&mdash;for example, the kind sold wholesale and online to decorate hotel rooms or fit over sofas. There is also the ingratiating art sold at urban and suburban art fairs, made by semi-professionals and purchased by the middle-classes for home decoration. And then there is the more or less demanding, MFA-type, semi-professional art that doesn&rsquo;t make it into expos because it can&rsquo;t easily be packaged and sold. This includes installation art, earth art, social practice art, performance art, video art and political art, such as posters, broadsides, flyers, buttons, stencils and artistic demonstrations.</p> <p>Art expos, like the one just ended in Chicago, cater mostly to the luxury trade. I had a hard time finding anything there under about $2,500, with the following exceptions: posters sold by the Renaissance Society&mdash;at fifteen bucks each, the cheapest things on view; silkscreens printed on-site by students from Michigan State University&mdash;earnest, wordy things having to do with the vexed politics of water in Michigan; and various souvenirs and artifacts&mdash;buttons, patches, tee-shirts, pamphlets, etc.&mdash;sold out of an installation called&nbsp;Sanctuary, part of the Justice Hotel project by Amanda Williams, supported by the Joyce Foundation. Volunteers on site provided &ldquo;healing services, justice consultation&hellip;and above all, sanctuary,&rdquo; though in truth, the fuss and noise of EXPO made that nearly impossible.</p> <p>The majority of low-end stuff ($2,000 &ndash; $5,000) consisted of photographs and prints by young artists without a strong market presence, such as the photos of South African youth culture by Soweto-based Musa Nxumalo, represented by the non-profit Aperture Foundation, or else works by established artists used as fundraisers, for example William Kentridge&rsquo;s&nbsp;Blue Rubrics, Who Needs Words, for the Royal Academy of Arts. Aperture also sold a sweet little picture by William Christenberry titled&nbsp;House and Car near Akron, Alabama. The title speaks for itself, and the price was $5,000.</p> <p>At the other end of the market were a pair of paintings by Morris Louis,&nbsp;Alpha Kappa, 1961, offered by Kasmin for $2.4 million, and just a few feet away,&nbsp;Green Shades&nbsp;(1958) on sale for $3.6 million by Yares Art. They were good but not great works by the Washington-based &ldquo;Color Field&rdquo; artist. The first was a somewhat unstructured version of the &ldquo;Unfurled&rdquo; works, and the latter a slightly muddy version of the &ldquo;Veil&rdquo; series. Many other works were in the $300,000 &ndash; $500,000 range, including a terrific, tilted black square made with oil stick by Richard Serra, titled&nbsp;Bilbao Jungle&nbsp;(1983), offered for $500,000 by Carreras Mugica. Alan Koppel from Chicago had a unique, Surrealist contraption called&nbsp;The 40 and 1 nights, or Didactic Nickelodeon by Jess. It&rsquo;s a two-foot-high, book/briefcase containing a sequence of rare, color photo-based paste-ups made in about 1955 by the San Francisco based artist. It was later the basis of an experimental animation by Lawrence Jordan. Koppel was asking $385,000. It should be in a museum. Levy Gorvy had a big, starfish-like assemblage by Terry Adkins, made from discarded trouser-forms and recalling Man Ray&rsquo;s Dada painting,&nbsp;Promenade&nbsp;(1916). It cost $250,000.</p> <p>Based upon two days of shopping (but not buying), I calculated that the average price of a middle-sized painting, say, 3 x 5 feet, by an art-school trained artist represented by a mid-level or better gallery is $55,000. That&rsquo;s also the price of an entry-level, BMW 5 series sedan. In 2017, BMW sold 4,743 of these cars. The total, mid-level luxury market is about ten times that, or 50,000 units per year. Since far more people want BMWs than good paintings, it is fair to say the U.S. market for the latter is small. What that also means is that a very few, very rich people are driving the art market, and that they are spending a lot more per year than the price of a middle-sized painting offered by a mid-level or better gallery.</p> <p>Let&rsquo;s look at this another way. The median household income in the U.S. is a bit more than $55,000. To afford a painting of that price, one would need a yearly income of $300,000 or more. That level is achieved by just 1% of people in the U.S., the proverbial &ldquo;one percenters&rdquo;. They collectively possess more wealth than the bottom ninety percent combined; they are the obvious target audience of EXPO Chicago. The forty percent of U.S. households with the lowest income have an average wealth of -$8,900: They are not likely to buy much art at EXPO or even be afford to pay the twenty bucks to get in the door.</p> <p>And yet poor people, as much as rich people, love art&mdash;maybe more since they have to work harder to get it or make it. They spray paint it on walls, tack it on refrigerators, and buy it at the Salvation Army. They take art classes in neighborhood studios and practice drawing and painting on Sundays or after retirement. They cut art out of magazines, draw it in the margins of magazines or on match covers, and construct it in their backyards or living rooms with whatever materials may be at hand. They make it in prisons. We are a country of artists and art lovers who are, however, seriously deprived of art exposure, art information and art education. The mass of the population is copiously supplied with guns and cell phones but generally denied the opportunity or means to make, trade and purchase art, except at considerable effort and sacrifice. However challenging and engaging some of the works on exhibit at EXPO Chicago, the annual event is valuable most of all for reminding us, to paraphrase William Morris, that we should not want art for a few, any more than we want education for a few or freedom for a few; it should be for all.</p> </div> Mon, 01 Oct 2018 10:00:00 -0500 /news/2018/10/for-the-many-not-for-the-few-market-reflections-on-expo-2018-s-commercial-offerings /news/2018/10/for-the-many-not-for-the-few-market-reflections-on-expo-2018-s-commercial-offerings Expo Chicago 2018: See it Now <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="https://www.chicagoreader.com/Bleader/archives/2018/09/29/expo-chicago-2018-see-it-now" target="_blank">Chicago Reader<br /> By Deanna Isaacs</a></h3> <p>One thing about Expo Chicago, it&rsquo;s ephemeral: see the 2018 edition this weekend or not at all.&nbsp;&nbsp;</p> <p>If you do trek out to the far end of the newly upscale and jarringly sanitized Navy Pier, you&#39;ll be rewarded with a chance to walk, walk, and walk some more while perusing the offerings of 135 mostly high-end international art galleries. They include some eye-grabbing installations, like this visually bouncy basketball court by William LaChance, a Saint Louis artist here under the auspices of a London gallery, Beers.&nbsp;&nbsp;</p> <p>You&#39;re also not likely to miss Ann Agee&#39;s elaborate, blue-and-white-tiled&nbsp;&nbsp;Lake Michigan Bathroom&nbsp;(at the booth of New York&#39;s P.P.O.W. gallery).&nbsp; Described as &quot;an ornate monument to bodily function, public health, factory production, and the economy of water,&quot; it&#39;s complete with toilet, urinal, and sink. The Brooklyn-based artist created it during a two-year residency at the Kohler Arts Center in Sheboygan.&nbsp;&nbsp;</p> <p>It&#39;s no coincidence that work by members of the&nbsp;Hairy Who&mdash;the subject of&nbsp;a big, happy, historical exhibit that opened this week at the Art Institute of Chicago&mdash;crops up at multiple booths. Corbett vs. Dempsey, for one, is showing a handsome example of Art Green&#39;s color-drenched surrealism&mdash;a 1971 painting titled&nbsp;Authoritative Source.&nbsp;And ProjectArt, which brings art classes for kids to public libraries, has a novel curatorial concept: an exhibit of childhood work by artists who are now well-known; it includes Gladys Nilsson&#39;s self-portrait at the age of 14, and an unbelievably mature piece by six-year-old Karl Wirsum.&nbsp; &nbsp;</p> <p>Worth the trek all by itself:&nbsp; amazing quilts by Bisa Butler, on display at the booth of New York&#39;s Clair Oliver Gallery. Butler&#39;s a Harlem-based artist so adept I wondered if her work was computer assisted. It&#39;s not.&nbsp; She told me that she creates patterns from photographs, and a single quilt takes hundreds of hours&#39; of work.&nbsp; The result is like painting with fabric.&nbsp;</p> <p>The selfie opportunities are irresistible, even for those&mdash;like Chicago artist Abraxas Karriema Thomas&mdash;who don&#39;t usually indulge. I spotted her&nbsp; joining the family in Deana Lawson&#39;s photograph&nbsp;Barbara and Mother&nbsp;at Rhona Hoffman&#39;s booth.&nbsp;&nbsp;</p> <p>It&#39;ll all vanish after Sunday&mdash;till next year. In an announcement of partnerships on Thursday, Expo director Tony Karman said the fair will return to Navy Pier on September 19-22, 2019, when it&#39;ll coincide with the opening of the Chicago Architecture Biennial.&nbsp;&nbsp;</p> </div> Sat, 29 Sep 2018 09:56:00 -0500 /news/2018/9/expo-chicago-2018-see-it-now /news/2018/9/expo-chicago-2018-see-it-now At Expo Chicago, a ‘slow burn’ of interest from collectors <div class="block block-rich margin-some arrangement-full text-left"> <h3><a href="https://www.theartnewspaper.com/news/at-expo-chicago-a-slow-burn-of-interest-from-collectors" target="_blank">The Art Newspaper<br /> By Margaret Carrigan</a></h3> <p>Expo Chicago lacks the frenzy of pre-vernissage VIP activity that many major fairs have&mdash;and that may not necessarily be a bad thing. As the preview for its seventh edition got underway on Thursday (27 September), many dealers noted the quietness of Navy Pier&rsquo;s festival hall but few were alarmed by it. Though the foot traffic was slow, well-known local collectors such as Bob and Nancy Moller and Larry and Marilyn Fields were strolling the aisles early on. The subdued start isn&rsquo;t unusual for this fair, and its veteran exhibitors say sales tend to be a &ldquo;slow burn&rdquo; throughout the weekend.</p> <p>Expo capitalises on the rich history of the former Art Chicago fair at Navy Pier but has attracted a significant amount of international attention itself in the past five years or so despite the fact that its participant list shifts significantly from edition to edition. This variance may be due in part to the leisurely pace of sales, which may well be misunderstood in the bullish primary art market as less than favourable, prompting some to forego a repeat appearance. Many dealers, however, hope that Expo proves a wise long-game investment for their bottom line.</p> <p>The Chicago-based dealer Monique Meloche has participated in the fair annually since 2013 and shows a smattering of work from eight of her artists this year, including Brendan Fernandes, Cheryl Pope and Sanford Biggers, with works ranging in price from $8,500 to $45,000. She says the regional collector base for which the city is famed is &ldquo;knowledgeable and considered&rdquo; about purchases. Unlike Miami and New York, where a revolving door of new clients look to cut their collecting teeth, &ldquo;it takes a lot more time to make good sales here&ndash; you really have to cultivate relationships with your clients,&rdquo; she says. This has the added benefit of lessening the pressure on collectors and advisers to cherry-pick works before the fair even opens. &ldquo;There&rsquo;s actually time for people to browse,&rdquo; Meloche says.</p> <p>The New York-based art adviser Erica Barrish agrees, saying that while the fair is valuable for dealers who want to reach a wide swath of Midwestern collectors&mdash;this year, she had clients from Louisville, Minneapolis and Milwaukee come in for Expo&rsquo;s opening&mdash;a long-lead strategy is crucial. She says that, unlike other fairs, Expo isn&rsquo;t &ldquo;a game of discovery&rdquo; but instead provides a pivotal point in important private and institutional sales. &ldquo;We start our placement process several months before the fair opens,&rdquo; she says. She also notes that the curatorial heft of Chicago&rsquo;s major institutions shapes the region&rsquo;s market. &ldquo;Dealers and collectors around the world are watching what the museums here do, so we&rsquo;re constantly looking three years ahead based on their exhibition schedules to make client connections.&rdquo;</p> <p>Perhaps more than its commercial art scene, Chicago has long been better known for its institutional prowess, the contemporary side of which is only getting stronger, especially since the Museum of Contemporary Art (MCA) Chicago&rsquo;s acclaimed Kerry James Marshall retrospective, Mastry. Indeed, Meloche says that Expo is exceptional for the museum curators and institutional representatives it attracts, in addition to regional private collectors, which is another reason why sales move slowly. &ldquo;Institutional decisions take time. They have to be decided on by committees and boards, so you can&rsquo;t expect them to happen on the spot,&rdquo; she says.</p> <p>The first-time Expo exhibitor Martin Aguilera of the S&atilde;o Paulo- and New York-based gallery Mendes Wood DM says it is the city&rsquo;s museums that provoked him to show Paulo Nazareth&rsquo;s socially motivated performance and installation work. &ldquo;We&rsquo;ve seen an explosion of interest in our artists from collectors and curators in the Midwest ever since we opened our New York space two years ago,&rdquo; Aguilera says. This may be due to the rising profile of social practice and performance in the region thanks to artists like Theaster Gates and Michael Rakowitz, though the market for the genre has been historically difficult to establish. &ldquo;I think people here, especially those involved with the museums and institutions, really get what our program is about.&rdquo;</p> <p>Aguilera says the latest group of works by Nazareth, an Afro-Brazilian artist, is the result of a cross-country drive he took from New Orleans to Toronto along a former Underground Railroad route on which he stopped at key sites to perform memorial dances and rituals with watermelons. Two different series of black-and-white documentary photographs from the journey on view at the gallery&rsquo;s booth sold within hours of Expo&rsquo;s opening to private collectors for $10,000 and $38,000, respectively. The red 1989 Ford F-150 truck filled with a bed full of cement watermelons has an asking price of $150,000 and immediately attracted the attention of two major institutions.</p> <p>&ldquo;There&rsquo;s no lack of serious collectors for work like this,&rdquo; Aguilera says, but it often takes education and outreach to get to them. &ldquo;It&rsquo;s not always about making the sale right away&mdash;maybe we lose some money in the short term. It&rsquo;s more about getting the work out there.&rdquo;</p> <p>Victoria Burns, an adviser who was based in Chicago for nearly 30 years before moving to Los Angeles in 2010, says that the educational value of a fair like Expo &ldquo;can&rsquo;t be compared&rdquo;. The institutional interest and dedication of the region&rsquo;s collector base make ideal conditions for dealers who have what she calls a long-term view. &ldquo;The quality of the fair is high and the experience in Chicago is great,&rdquo; she says, adding that she often brings new collectors through.</p> <p>Yet she notes that Expo&rsquo;s effect is more cumulative than other fairs: &ldquo;I make a lot of good sales six months or a year down the line based on the work I do Expo,&rdquo; she says. But she acknowledges that such a timeline isn&rsquo;t feasible for a lot of dealers in the increasingly stratified market. &ldquo;It&rsquo;s expensive. Galleries are paying upwards of $50,000 to be here. Sometimes they need sales sooner just to keep going.&rdquo;</p> </div> Fri, 28 Sep 2018 19:20:00 -0500 /news/2018/9/at-expo-chicago-a-slow-burn-of-interest-from-collectors /news/2018/9/at-expo-chicago-a-slow-burn-of-interest-from-collectors All the Art You Need to See at This Year’s Massive EXPO CHICAGO <div class="block block-rich margin-some arrangement-full text-left"> <h3>Observer<br /> Devon Van Houten Maldonado</h3> <p>EXPO CHICAGO returns to the Windy City this weekend, offering its biggest, most eclectic selection of work to date. Representing more than 135 galleries from 27 countries, the massive, three-day event will also include special exhibits with nonprofit organizations like Downtown for Democracy and Human Rights Watch as well as a &ldquo;/Dialogues&rdquo; series featuring discussions centered around issues currently facing the art world, such as &ldquo;AfriCOBRA: Chicago in the Age of Black Power.&rdquo;&nbsp;Whether you&rsquo;re looking to splurge on a new piece or just shift your perspectives, the globe-spanning fair is the perfect opportunity to reacquaint yourself with the standard-bearers and discover some fresh voices.</p> <p>For this year&rsquo;s EXPO, curator Pablo Le&oacute;n de la Barra pulled together a group of artists whose pieces are installed alongside gallery booths for an exhibition within the art fair. At first, the effort seems forced, but it actually reveals plenty of twists and turns. Le&oacute;n de la Barra, who is also the Solomon R. Guggenheim Museum&rsquo;s curator at large, has managed to deliver some salient commentary on migration, activism and otherness through work from artists like Judy Chicago, Sam Durant, Carmen Argote and Oscar Murillo.</p> <p>Entering the fair space, guests are greeted with a piece by Mexican artist Bosco Sodi that creates the image of a barrier&mdash;the artist assembled it himself as part of a performative action for his piece&nbsp;muro&nbsp;(2018). The humble brick wall immediately calls to mind border politics as well as the division between what could be perceived as an elitist art fair and the outside world.&nbsp;Several light boxes by Durant, accompanied by phrases like &ldquo;Am I Next?&rdquo; and &ldquo;Speak the Truth Even if Your Voice Shakes,&rdquo; also politicize the space. Ever the provocateur, Murillo likes to challenge established systems, and this time he&rsquo;s created a new work especially for EXPO.&nbsp;Collective Conscious&nbsp;(2018) alludes to the proletariat worker as a mechanical being, both consuming and being consumed by capitalism. His intervention is at the heart of EXPO this year, on display in the very middle of the space.</p> <p>Justine Ludwig curated EXPO&rsquo;s &ldquo;exposure&rdquo; section, which is made up of galleries that have been around for eight years or less&mdash;an impressive accomplishment considering most galleries don&rsquo;t make it past five years. The participating spaces have put together solo or two-person shows spotlighting exciting newcomers. This section of the fair is where collectors can find good deals, and maybe take a gamble on some artists still making a name for themselves.</p> <p>The Luis De Jesus Los Angeles gallery has a particularly strong booth with work by painter Peter Williams, and Derek Eller Gallery boasts wonderful drawings by Chicago legend Karl Wirsum. But our favorite comes from the young Detroit gallery Library Street Collective. Its booth is whimsical and weird, but it also represents the clear and steady vision of the collective&rsquo;s exhibition program; even in an EXPO packed full of superstar artists, it feels ahead of the curve. A new painting by Thrush Holmes,&nbsp;Suck It&nbsp;(2018), embodies the contradictory nature of the gallery&rsquo;s artists&mdash;their output is punk but also pristine, political but also populist. Of course, Library Street Collective can afford to be playful with money-making anchor artists like Adam Parker Smith and Mark Flood on its roster.</p> <p>Prints and editions also make a strong appearance at this year&rsquo;s EXPO. An extraordinary suite from Henri Matisse&rsquo;s cut-out series at the Sims Reed Gallery booth is enough to take your breath away. The London outfit is also showing rare editions by Man Ray and David Hockney. Elsewhere, look for work by Derrick Adams, Rub&eacute;n Ortiz Torres, Morgan Blair, Hank Willis Thomas, Maja Djordjevic and Esmaa Mohamoud. It&rsquo;s impossible to name everything worth checking out&mdash;all the more reason to go see it for yourself before the fair ends September 30.</p> </div> Fri, 28 Sep 2018 16:34:00 -0500 /news/2018/9/all-the-art-you-need-to-see-at-this-year-s-massive-expo-chicago /news/2018/9/all-the-art-you-need-to-see-at-this-year-s-massive-expo-chicago 10 must-see galleries at EXPO CHICAGO <div class="block block-rich margin-some arrangement-full text-left"> <h3>Chicago Tribune<br /> By KT Hawbaker</h3> <p>This weekend, Chicago will get a dose of international love as EXPO descends upon Navy Pier. Now in its seventh year, the international art fair invites galleries and collectors from around the world, creating a snow globe of contemporary media, heady aspirations and really good looks. Last year marked the first EXPO of the Trump era &mdash; and, boy, did it show in the reactive artwork both conceptual and figurative, including a guillotine at the center of the show. What&rsquo;s in store this year? If these galleries are any indication, this year&rsquo;s category is bold color and pattern &mdash; elements that stand out in vast darkness and evoke a survivor&rsquo;s cautious, enduring optimism.</p> <p>1. Library Street Collective, Detroit We might have almost lost Detroit, but LSC is leading the way in preserving the city&rsquo;s radical heritage while hoisting up emerging artists directly engaged with the city&rsquo;s &ldquo;reimagined&rdquo; contemporary art scene. Be on the lookout for work from Willie Wayne Smith, whose work channels coloring book pages as a way of seeking catharsis.</p> <p>2. Beers London, London Focused on the work of William LaChance, the gallery features a scene merging basketball with ecstatic modernism and wobbly geometry.</p> <p>3. Fridman Gallery, New York City Nathaniel Lewis&rsquo; paper sculptures are ethereal depictions of a black masculine body, resulting in an anatomical figure made of whimsical, contradictory patterns.</p> <p>4. The Hole, New York City Run by Kathy Grayson, the Bowery gallery presents monthly solo and group exhibitions featuring emerging art and thematic group exhibitions. On its roster is Vanessa Prager, whose weighty, sculptural paintings make for high-femme hallucinations loaded with pink.</p> <p>5. Catherine Edelman Gallery, Chicago Hometown hero Catherine Edelman brings her enormous roster of multimedia artists to the show, doing the city proud.</p> <p>6. De Buck Gallery, New York With palettes straight out of a new wave video, Devan Shimoyana&rsquo;s multimedia &mdash; and oh so glittery &mdash; canvases tell stories of beauty rituals that transcend gendered norms.</p> <p>7. Rena Bransten Gallery, San Fransisco What began as a ceramics hub in 1974 has weathered the San Francisco art market and become a multimedia fixture, with gallery patrons and community organizations flocking to Bransten&rsquo;s space. One big standout: Dawoud Bey&rsquo;s often haunting yet tender photography is repped by Bransten.</p> <p>8. Ronchini, London Katsumi Nakai&rsquo;s playful acrylic on plywood works are brazenly colored puzzles that have no intention of being solved, and their loose precision and round corners speak to a chipper, quick sensibility.</p> <p>9. Peres Projects, Berlin Ajarb Bernard Ategwa&rsquo;s boisterous work is crowded, with zany lanes strewn about the canvas as Keith Haring-esque figures gather in community.</p> <p>10. Tandem Press, Madison, Wis. MASER&rsquo;s lithographs resemble a retro quilt on acid; their effervescence and chaos is contagious &mdash; and well worth getting cozy.</p> </div> Fri, 28 Sep 2018 14:30:00 -0500 /news/2018/9/10-must-see-galleries-at-expo-chicago /news/2018/9/10-must-see-galleries-at-expo-chicago The Best of EXPO CHICAGO 2018 <div class="block block-rich margin-some arrangement-full text-left"> <h3>SURFACE<br /> By The Staff</h3> <p>The seventh edition of Expo Chicago opens today with 135 galleries from 27 countries. Highlights from the contemporary and modern art show, which is housed in the city&rsquo;s famed Navy Pier, span well-known galleries, single artist shows from young exhibitors, and IN/SITU, an on-site selection of sculptures curated by Pablo Le&oacute;n de la Barra. Here are a few of our favorite pieces from the fair, which runs through September 30.</p> <p>&ldquo;Back to Square One&rdquo; (2017) by Iv&aacute;n Navarro<br /> Paul Kasmin Gallery</p> <p>&ldquo;Untitled&rdquo; (2003) by John M. Armleder<br /> Galeria Javier Lopez &amp; Fer Frances</p> <p>&ldquo;Bahia de Todos Os Orixas&rdquo; (2018) by Alexis Peskine<br /> October Gallery</p> <p>&ldquo;Memorabilia&rdquo; (2018) by Liliana Porter<br /> Carrie Secrist Gallery</p> <p>&ldquo;Basketball Court Installation&rdquo; (2018) by William Lachance<br /> Beers London</p> <p>&ldquo;You Would Have Been a Castle for a Moment&rdquo; (2018) by Chloe Wise<br /> Galerie Division</p> <p>&ldquo;Flag Wave&rdquo; (2016) by Philippe Decrauzat<br /> Praz Delavallade</p> <p>&ldquo;Gild the Lily (Caribbean Hyrbid I)&rdquo; (2018) by Carlos Rol&oacute;n<br /> Salon 94</p> <p>&ldquo;After Seurat: 1-6&rdquo; (2017) by Sherrie Levine<br /> David Zwirner</p> <p>&ldquo;[The Red Inside]&rdquo; (2018) by Paulo Nazareth<br /> Mendes Wood DM</p> <p>&ldquo;Speak the Truth Even if Your Voice Shakes&rdquo; (2015) by Sam Durant<br /> Part of IN/SITU, Curated by Pablo Le&oacute;n de la Barra</p> <p>&ldquo;Take It&rdquo; by Gerald Williams (1971)<br /> Kavi Gupta Gallery</p> <p>&ldquo;Ashtray&rdquo; (2010) by David Hockney<br /> Richard Gray Gallery</p> <p>&ldquo;Untitled&rdquo; (1967), &ldquo;Lower Left&rdquo; (1967), and &ldquo;Mark Twain&rdquo; (1968) by Alan Cote<br /> Fort Gansevoort</p> <p>Awol Erizku<br /> Night Gallery</p> <p>&ldquo;Laura Asia in White&rdquo; (2017) by Jaume Plensa<br /> Richard Gray Gallery</p> <p>&ldquo;Greedy Nero&rdquo; (2018) by Adam Parker Smith<br /> Library Street Collective</p> </div> Thu, 27 Sep 2018 12:00:00 -0500 /news/2018/9/the-best-of-expo-chicago-2018 /news/2018/9/the-best-of-expo-chicago-2018 Expo Chicago Makes the Windy City the Place to Be for Art <div class="block block-rich margin-some arrangement-full text-left"> <h3>Robb Report<br /> By Angela M.H. Schuster</h3> <p>Ajarb Bernard Ategwa&rsquo;s brightly hued acrylic on canvas,&nbsp;Sweet Dreams #2&nbsp;(2018) is one of the standout works being offered at&nbsp;Expo Chicago, the seventh edition of which runs September 27 through 30 in&nbsp;the Windy City. This year&rsquo;s event will welcome 135 galleries from 27 countries, among them&nbsp;Berlin-based gallerist Javier Peres, who says of Ategwa, &ldquo;The artist&rsquo;s distinct style of modified figurative painting, based on Cameroonian pop culture, is focused on the day-to-day realities of a bustling African metropolis. By using imagery lifted directly from present-day Cameroon, Ategwa&rsquo;s work counters preconceptions and stereotypes many in the West hold about the African experience with a nuanced perspective.&rdquo;</p> <p>Fair veterans&nbsp;David Zwirner, Kavi Gupta, Jessica Silverman, and Luhring Augustine will be joined this year by Gavin Brown&rsquo;s Enterprise, Gallery Hyundai, and Mendes Wood DM. &ldquo;This is lucky number seven for us, and there is significant momentum for&nbsp;Expo Chicago&nbsp;as we have a strong list of leading international galleries in place along with critically acclaimed programming, strategic exhibition alignments, numerous global partnerships, and curatorial forums designed to welcome the international art world,&rdquo; says fair director and president Tony Karman.</p> <p>Among the highlights is&nbsp;Medicine Ball&nbsp;(2018), a work by conceptual artist Sherrie Levine, which is being presented by David Zwirner, who has galleries in New York, London, and Hong Kong, and Matthew Ritchie&rsquo;s mixed-media work&nbsp;The Black Arrow&nbsp;(2014-2017), which is available from New York gallerist James Cohan. Also of note is David Wojnarowicz&rsquo;s gelatin silver print,&nbsp;Arthur Rimbaud in New York (Palm Reading)&nbsp;(1978-79). Executed in an edition of three, it is being offered by New York-based P.P.O.W. gallery.</p> <p>&ldquo;Chicago, says Karman, &ldquo;is fully engaged, and very few&nbsp;art fairs&nbsp;in the world produce the amount of on and off-site programming that we do.&nbsp; Put simply, if you are a collector, curator, art advisor, or art enthusiast, Chicago is definitely the place to be this September.&rdquo;</p> </div> Wed, 26 Sep 2018 12:00:00 -0500 /news/2018/9/expo-chicago-makes-the-windy-city-the-place-to-be-for-art /news/2018/9/expo-chicago-makes-the-windy-city-the-place-to-be-for-art Justin Brice Guariglia hopes his Expo Chicago installation We Are the Asteroid II will raise eco-awareness <div class="block block-rich margin-some arrangement-full text-left"> <h3>Chicago Reader<br /> By Marissa De La Cerda</h3> <p>Inevitable signs of climate change have appeared at Navy Pier. Literally.</p> <p>Justin Brice Guariglia&#39;s art installation&nbsp;We Are the Asteroid II, a collaboration with Expo Chicago and the Union of Concerned Scientists, uses a sandblasted solar-powered LED traffic message board to communicate the urgency of the climate crisis. Instead of traffic or construction warnings, the signs display aphorisms such as &quot;WE ARE THE ASTEROID&quot; and &quot;GLOBAL WARMING AT WORK.&quot;</p> <p>The idea to put these messages on a highway message board came to the artist when he saw a highway sign flashing warnings to drivers. He asked the author and philosopher Timothy Morton to write a series of aphorisms about the planet&#39;s ecological crisis. Just as those signs remind motorists to slow down and take caution, the aphorisms in&nbsp;We Are the Asteroid II&nbsp;are intended to make people think about climate change and what steps they can take to better the environment.</p> <p>&quot;All my work is about bridging the ontological gap between what we think is happening and what is actually happening,&quot; Guariglia says. &quot;If you&#39;re not an ecologist or scientist, you&#39;re not going to understand what&#39;s really going on with the planet because we&#39;re so disconnected from it.&quot;</p> <p>Five of the six messages serve as a way to connect people to the problems climate change has created without boring them with data. Using simple phrases, the installation communicates the facts, specifically what changes have occurred in the environment, such as higher carbon dioxide levels, the melting of the Arctic ice, and the drastic rise in temperature that mimics the dangerously hot and dry weather of the Triassic period, which ended with the mass extinction of half the species on Earth.</p> <p>Guariglia hopes to generate discussion between different generations. He also hopes the public art piece will encourage more people to work toward a more sustainable environment. That&#39;s why the final aphorism to flash is &quot;DON&#39;T ECO-SHOP, ECO-VOTE.&quot; &quot;We&#39;re recycling and buying more organic items, but we haven&#39;t accepted that we&#39;re in an ecological crisis,&quot; he says. &quot;So my work is to get people to think more ecologically and, hopefully, get them to take action.&quot;</p> <p>With elections coming up, Guariglia wants the public to be more conscious of voting people into power who are thinking ecologically. When politicians deny the reality of climate change, he says, they set up bigger problems for the future of the&nbsp;planet.But&nbsp;the focus of the piece isn&#39;t on the politicians, it&#39;s on the public.</p> <p>&quot;The whole point of&nbsp;We Are the Asteroid II&nbsp;is that we are in the midst of a great mass extinction and we don&#39;t realize that,&quot; he says. &quot;We&#39;re going down a highway with all these warnings, heading into a tunnel and there is a light at the end for us, but big changes have to take place.&quot;&nbsp;</p> </div><div class="block block-rich margin-some arrangement-full text-left"> </div> Tue, 25 Sep 2018 12:00:00 -0500 /news/2018/9/justin-brice-guariglia-hopes-his-expo-chicago-installation-we-are-the-asteroid-ii-will-raise-eco-awareness /news/2018/9/justin-brice-guariglia-hopes-his-expo-chicago-installation-we-are-the-asteroid-ii-will-raise-eco-awareness Why Art Fairs Shouldn’t Shy Away from Politics <div class="block block-rich margin-some arrangement-full text-left"> <h3>Elephant<br /> By the Staff</h3> <p>As the invigorating (and apparently rather windy) American city prepares for Expo Chicago this week,&nbsp;Sara Dolfi Agostini&nbsp;explores its history of political engagement and innovation to delve into the fair&rsquo;s programme, which brings together local and international powerhouses including Judy Chicago,&nbsp;AfriCOBRA&nbsp;and Barbara Kasten.</p> <p>However, despite the effort of major art institutions from coast to coast to tackle the problem from the vantage point of culture, few cities in the US can top&nbsp;Chicago&nbsp;as a platform for social and political engagement (fun fact, its oft-used nickname the &ldquo;Windy City&rdquo; is often attributed not to the weather, but to all the hot air coming from its politicians at the time the phrase first took off). Here, an art fair like&nbsp;Expo Chicago&nbsp;is much more than a commercial event for local and international art. &ldquo;The intellectual capacity here is very high, thanks to the amount of energies that can be spent on criticism and scholarship,&rdquo; explains&nbsp;Stephanie Cristello, director of programming for the fair, editor in chief of the critical magazine&nbsp;The Seen&nbsp;and one of many alumni of the&nbsp;School of the Art Institute of Chicago (SAIC) who decided to get involved in the local scene after graduation.</p> <p>The seventh edition of&nbsp;Expo Chicago&nbsp;opens to the public on Thursday at the historic Navy Pier and features some 135 international galleries&mdash;including major players from the New York City area like&nbsp;Luhring Augustine,&nbsp;David Zwirner&nbsp;and&nbsp;Bortolami. Many of the galleries engage with political matters, which translates into an unusually broad space in which to consider diversity, artistic activism, climate change and the globalized economy. The fair also engages with the local scene, which bustles with galleries and museums, including the Art Institute of Chicago, the&nbsp;Museum of Contemporary Art Chicago,&nbsp;the Renaissance Society&nbsp;and&nbsp;the Graham Foundation. Looking into the curatorial programme of Expo Chicago, one finds&nbsp;In/Situ, a selection of large scale artworks presented by the galleries inside and outside of the fair, for which Cristello has worked closely with&nbsp;Pablo Le&oacute;n de la Barra, curator at large for Latin America at the Solomon R. Guggenheim Museum in New York.</p> <p>&ldquo;The focus is on migration, otherness, feminism and gender, but the scope is not limited to the US and acknowledges the connections across the Americas,&rdquo; Cristello says. Visitors will find one of the twenty-six floating balloons that formed&nbsp;Repellent Fence&nbsp;(2015), a two-mile-long land art piece from the artist collective&nbsp;Postcommodity, originally installed on the US-Mexico border. Also on view is&nbsp;Cartoon for the Fall from the Holocaust Project&nbsp;(1987), a drawing of a pioneering work by&nbsp;Judy Chicago&nbsp;that resonates today, as America sees continued episodes of anti-Semitism and violence against women. Finally,&nbsp;My Father&rsquo;s Side of Home&nbsp;(2014) by&nbsp;Carmen Argote, an immersive series of wall drawings exploring notions of home and belonging in relation to architecture, marks the first presentation by a Colombian gallery,&nbsp;Instituto de Visi&oacute;n.</p> <p>The&nbsp;Dialogues&nbsp;programme, a primary research tool for art students launched in partnership with SAIC, offers a chance to delve into the work of Chicago-based photographer&nbsp;Dawoud Bey. The focus will be on&nbsp;Night Coming Tenderly, Black, his new commission on the Underground Railroad for Front International, the Cleveland Triennial for Contemporary Art, which will be on view in its entirety at the booth of&nbsp;Rena Bransten Gallery. From the scars of slavery to the ramifications of the Aids crisis, the artist Lola Flesh will be speaking with art collector and HIV physician Dr Daniel Berger and the artist John Neff of Iceberg Projects, who also happen to be co-editors of the exhibition and publication&nbsp;Militant Eroticism: The Art+Positive Archives. Another moment not to miss comes courtesy of&nbsp;AfriCOBRA(African Commune of Bad Relevant Artists), whose work is currently exhibited at the Smart Museum of Art, at the&nbsp;DuSable Museum of African American History&nbsp;and at&nbsp;Kavi Gupta Gallery&nbsp;in Chicago&mdash;not to mention the main feature in the touring exhibition&nbsp;Soul of a Nation: Art in the Age of Black Power,&nbsp;which recently opened at the Brooklyn Museum in New York.</p> <p>AfriCOBRA&rsquo;s momentum in its fiftieth anniversary year comes at a time when the Art Institute of Chicago is celebrating the legacy of&nbsp;Hairy Who,&nbsp;another counter culture collective that formed a subsection of the broader Chicago Imagists group. &ldquo;Coalitions such as AfriCOBRA and Hairy Who are an important component of the Chicago scene and American art in general, and it&rsquo;s time to correct history in order to look forward,&rdquo; Cristello tells me. A conversation with leaders of the two art collectives will be held at Hans Ulrich Obrist&rsquo;s&nbsp;Creative Chicago: An Interview Marathon,&nbsp;on 29 September at the Aon Grand Ballroom of the Navy Pier. The stage for the marathon has been designed by Barbara Kasten, whose photographs and videos investigate space in modernist architecture. &ldquo;Chicago has a vibrant scene. Artists like Kasten,&nbsp;Kerry James Marshall,&nbsp;Theaster Gates&nbsp;and Amanda Williams are references and mentors to new generations of artists,&rdquo; continues Cristello.</p> <p>Since the last presidential elections, the responsibility on American arts spaces to provide a stage for rigorous debate has undoubtedly increased. However, despite the effort of major art institutions from coast to coast to tackle the problem from the vantage point of culture, few cities in the US can top&nbsp;Chicago&nbsp;as a platform for social and political engagement (fun fact, its oft-used nickname the &ldquo;Windy City&rdquo; is often attributed not to the weather, but to all the hot air coming from its politicians at the time the phrase first took off). Here, an art fair like&nbsp;Expo Chicago&nbsp;is much more than a commercial event for local and international art. &ldquo;The intellectual capacity here is very high, thanks to the amount of energies that can be spent on criticism and scholarship,&rdquo; explains&nbsp;Stephanie Cristello, director of programming for the fair, editor in chief of the critical magazine&nbsp;The Seen&nbsp;and one of many alumni of the&nbsp;School of the Art Institute of Chicago(SAIC) who decided to get involved in the local scene after graduation.</p> <p>The seventh edition of&nbsp;Expo Chicago&nbsp;opens to the public on Thursday at the historic Navy Pier and features some 135 international galleries&mdash;including major players from the New York City area like&nbsp;Luhring Augustine,&nbsp;David Zwirner&nbsp;and&nbsp;Bortolami. Many of the galleries engage with political matters, which translates into an unusually broad space in which to consider diversity, artistic activism, climate change and the globalized economy. The fair also engages with the local scene, which bustles with galleries and museums, including the Art Institute of Chicago, the&nbsp;Museum of Contemporary Art Chicago,&nbsp;the Renaissance Society&nbsp;and&nbsp;the Graham Foundation. Looking into the curatorial programme of Expo Chicago, one finds&nbsp;In/Situ, a selection of large scale artworks presented by the galleries inside and outside of the fair, for which Cristello has worked closely with&nbsp;Pablo Le&oacute;n de la Barra, curator at large for Latin America at the Solomon R. Guggenheim Museum in New York.</p> <p>&ldquo;The focus is on migration, otherness, feminism and gender, but the scope is not limited to the US and acknowledges the connections across the Americas,&rdquo; Cristello says. Visitors will find one of the twenty-six floating balloons that formed&nbsp;Repellent Fence&nbsp;(2015), a two-mile-long land art piece from the artist collective&nbsp;Postcommodity, originally installed on the US-Mexico border. Also on view is&nbsp;Cartoon for the Fall from the Holocaust Project&nbsp;(1987), a drawing of a pioneering work by&nbsp;Judy Chicago&nbsp;that resonates today, as America sees continued episodes of anti-Semitism and violence against women. Finally,&nbsp;My Father&rsquo;s Side of Home&nbsp;(2014) by&nbsp;Carmen Argote, an immersive series of wall drawings exploring notions of home and belonging in relation to architecture, marks the first presentation by a Colombian gallery,&nbsp;Instituto de Visi&oacute;n.</p> <p>The&nbsp;Dialogues&nbsp;programme, a primary research tool for art students launched in partnership with SAIC, offers a chance to delve into the work of Chicago-based photographer&nbsp;Dawoud Bey. The focus will be on&nbsp;Night Coming Tenderly, Black, his new commission on the Underground Railroad for Front International, the Cleveland Triennial for Contemporary Art, which will be on view in its entirety at the booth of&nbsp;Rena Bransten Gallery. From the scars of slavery to the ramifications of the Aids crisis, the artist Lola Flesh will be speaking with art collector and HIV physician Dr Daniel Berger and the artist John Neff of Iceberg Projects, who also happen to be co-editors of the exhibition and publication&nbsp;Militant Eroticism: The Art+Positive Archives. Another moment not to miss comes courtesy of&nbsp;AfriCOBRA(African Commune of Bad Relevant Artists), whose work is currently exhibited at the Smart Museum of Art, at the&nbsp;DuSable Museum of African American History&nbsp;and at&nbsp;Kavi Gupta Gallery&nbsp;in Chicago&mdash;not to mention the main feature in the touring exhibition&nbsp;Soul of a Nation: Art in the Age of Black Power,&nbsp;which recently opened at the Brooklyn Museum in New York.</p> <p>AfriCOBRA&rsquo;s momentum in its fiftieth anniversary year comes at a time when the Art Institute of Chicago is celebrating the legacy of&nbsp;Hairy Who,&nbsp;another counter culture collective that formed a subsection of the broader Chicago Imagists group. &ldquo;Coalitions such as AfriCOBRA and Hairy Who are an important component of the Chicago scene and American art in general, and it&rsquo;s time to correct history in order to look forward,&rdquo; Cristello tells me. A conversation with leaders of the two art collectives will be held at Hans Ulrich Obrist&rsquo;s&nbsp;Creative Chicago: An Interview Marathon,&nbsp;on 29 September at the Aon Grand Ballroom of the Navy Pier. The stage for the marathon has been designed by Barbara Kasten, whose photographs and videos investigate space in modernist architecture. &ldquo;Chicago has a vibrant scene. Artists like Kasten,&nbsp;Kerry James Marshall,&nbsp;Theaster Gates&nbsp;and Amanda Williams are references and mentors to new generations of artists,&rdquo; continues Cristello.</p> <p>While over the past few years the gallery scene has clustered in West Town (&ldquo;the gallery district&rdquo;) with names such as Rhona Hoffmann, Richard Gray Warehouse and Monique Meloche paving the way, gallery apartments continue to pop up across the city. &ldquo;The outbreak of alternative spaces at the end of the 1960s runs parallel with feminist history,&rdquo; explains Cristello. &ldquo;Left out by institutions, women decided to organize their own exhibition spaces such as ARC.&rdquo; Today, these art spaces are experimental yet transient, most of them hardly last more than two years&mdash;with the exception of&nbsp;Julius Caesar, which is celebrating its tenth anniversary. Cristello herself owns an &ldquo;art garage&rdquo; called Chicago Manual, and she has prepared a collective show with Iv&aacute;n Navarro, Robert Chase Heishman, Ansi and Kay Rosen for which she literally had to &ldquo;drill a hole in her kitchen&rdquo;.</p> </div> Tue, 25 Sep 2018 12:00:00 -0500 /news/2018/9/why-art-fairs-shouldn-t-shy-away-from-politics /news/2018/9/why-art-fairs-shouldn-t-shy-away-from-politics It’s Expo Chicago Week. Here Are Three Must-See Attractions <div class="block block-rich margin-some arrangement-full text-left"> <h3>Chicago Magazine<br /> By Jason Foumberg</h3> <p>With 135 exhibits to hit, you&rsquo;ll never fully explore Expo Chicago, the city&rsquo;s signature art fair, which runs September 27 to 30 at Navy Pier. But here are three don&rsquo;t-miss attractions:</p> <p><strong>Infinity chamber</strong></p> <p>Chilean Iv&aacute;n Navarro&rsquo;s water-tower-shaped sculptures are eight feet tall but appear to extend forever, thanks to a crafty system of mirrors and neon lights. They&rsquo;ll be easy to find&thinsp;&mdash;&thinsp;they&rsquo;re right at Navy Pier&rsquo;s entrance.</p> <p><strong>Dawoud Bey photos</strong></p> <p>The renowned local shutterbug debuts&nbsp;Night Coming Tenderly, Black, dusky images of purported stops on the Underground Railroad.</p> <p><strong>Artist interview marathon</strong></p> <p>On Saturday, grab an espresso and gear up for a full day of local creative giants&thinsp;&mdash;&thinsp;including Jeanne Gang, Theaster Gates, and Cauleen Smith&thinsp;&mdash;&thinsp;chatting in an intimate setting.</p> </div> Mon, 24 Sep 2018 12:00:00 -0500 /news/2018/9/it-s-expo-chicago-week-here-are-three-must-see-attractions /news/2018/9/it-s-expo-chicago-week-here-are-three-must-see-attractions What Else to See During Expo Chicago: Sanford Biggers’ New Work, Hockney Tackles Time and Space <div class="block block-rich margin-some arrangement-full text-left"> <h3>Observer&nbsp;<br /> By&nbsp;Devon Van Houten Maldonado</h3> <p>Expo Chicago has quickly become one of the leading contemporary art fairs in the U.S., attracting top-notch galleries that would easily be at home at Frieze or the Armory. But for your visit to the windy city, don&rsquo;t confine your cultural plans to within the Navy Pier. There may be thousands of artworks to see there from September 27 through 30, but the fair&rsquo;s complex is only the beginning of what Chicago has to offer during its most art-filled few days of the year. To take full advantage, dive into the city itself, where you will discover a wealth of satellite and side programing, involving locals and international stars alike. Here&rsquo;s what we&rsquo;re looking forward to leading up to the weekend.&nbsp;</p> <p><strong>Hans Ulrich Obrist&rsquo;s&nbsp;Interview Marathon</strong></p> <p>Expo Chicago has joined the ranks of major art fairs offering extensive collateral programming like lectures, round table discussions and screenings, ensuring that you absolutely can&rsquo;t see everything on view. But Chicago&rsquo;s is so good we&rsquo;ll forgive them for inflicting inevitable FOMO. This year, the fair will welcome international curator and our favorite art provocateur, Hans Ulrich Obrist, to undertake a marathon of interviews on Saturday, September 29.</p> <p>For the first U.S. version of Obrist&rsquo;s interview project, he will speak on stage with some of Chicago&rsquo;s most influential creatives, like Theaster Gates, who has been an instrumental&nbsp;artist and activist&nbsp;in a city marred by social divides and gun violence. But Obrist will also interview architects, writers, poets and directors, such as Louise Bernard, who will helm the forthcoming&nbsp;museum at the Obama Presidential Center, which is slated to be opened in 2020 on Chicago&rsquo;s south side.</p> <p><strong>Vivian Suter at&nbsp;The Art Institute of Chicago</strong></p> <p>Vivian Suter, who was born in Argentina in 1949, has only recently been discovered by the international art market but has since enjoyed a nearly mystical aura. For 30 years she painted undisturbed at her home in the Guatemalan rainforest, over 100 miles from Guatemala city, where her unstretched abstract canvases were inspired by the solitude of the surrounding thicket. She was one of&nbsp;Documenta 14&rsquo;s breakout stars, which gained her a lot of international attention&mdash;as much for her incredible history as for her sculptural play with layered paintings. An immersive suite of Suter&rsquo;s work is on view at the Art Institute of Chicago through January 2019, offering a rare opportunity to step out of the busy city and imagine oneself in Suter&rsquo;s shoes.</p> <p><strong>Sanford Biggers at&nbsp;Monique Meloche Gallery</strong></p> <p>Though he will likely have a work or two on display in the Expo Chicago pavilion, it&rsquo;s worth making your way to Monique Meloche to see Sanford Biggers&rsquo; solo show at the gallery&rsquo;s newly expanded location. The name might ring a bell&mdash;a work by Biggers&nbsp;at the 2015 Art Basel Miami Beach spawned a flurry of articles for its (possibly) inadvertent reference to the killing of black men by police officers. The work,&nbsp;Laoco&ouml;n, which depicted a gigantic, 30-foot long sculpture of Fat Albert lying face down and breathing laboriously, was said to evoke the image of Eric Garner, who died after being tackled and put into a choke hold by a group of police officers in Staten Island. Was Biggers trying to be funny or deadly serious? Some activists saw the work as an apt poetic protest within the mega fair in Miami, but others thought the reference was inappropriate or out of context. The play between humor and poignant political commentary is the fine line that this artist walks, and what makes his work always worth the trip.</p> <p><strong>David Hockney, &ldquo;Time and More, Space and More&hellip;&rdquo; at&nbsp;Richard Gray Gallery</strong></p> <p>The famous modernist painter of L.A. swimming pool scenes has not slowed down, despite being in his 80s. His&nbsp;newest solo show&nbsp;at Chicago&rsquo;s Richard Gray Gallery is surprising in how far removed it seems from the Hockney that we know so well from late 20th century art history books. So what does he have to say now? Like his famous pool paintings, Hockney isn&rsquo;t about making big conceptual statements, but rather focusing on what is perhaps overlooked in the every day. Hockney&rsquo;s new works, which include four enormous video installations, call to mind the familiar atmosphere of melancholy that accompanies the first cool breezes of fall, signaling the gradual decline in temperatures. Something all too relatable to Chicago audiences as they enjoy the last hot days of September.</p> </div> Sun, 23 Sep 2018 12:00:00 -0500 /news/2018/9/what-else-to-see-during-expo-chicago-sanford-biggers-new-work-hockney-tackles-time-and-space /news/2018/9/what-else-to-see-during-expo-chicago-sanford-biggers-new-work-hockney-tackles-time-and-space Trading Fours on Chicago's Creative Capital: Hans Ulrich Obrist Stages a Mini-Interview Marathon <div class="block block-rich margin-some arrangement-full text-left"> <h3>Newcity Art<br /> By Lee Ann Norman</h3> <p>Conversation among artists, curators or writers is much more than a linguistic exercise or tit-for-tat. Dialogues are exchanges, a &ldquo;trading of fours&rdquo; that can be likened to a rap battle. As the battle progresses and one MC presents an idea to the other, the verses grow bolder and more extravagant with each response. Although verbal sparring partners focus intently on the content of their verses&mdash;syntax, pacing, the cleverness of the rhyme&mdash;they always give attention to presentation and delivery. The battle&mdash;a dramatized conversation&mdash;is after all, essentially a performance.</p> <p>Since the early 2000s, Hans Ulrich Obrist has been interviewing artists and organizing &ldquo;Interview Marathons,&rdquo; in which artists, curators, collectors, historians, writers, designers and other interested parties hold a series of conversations for an extended period, much like a durational performance. Presented by the Chicago Humanities Festival as part of Art Design Chicago and in collaboration with EXPO Chicago 2018, Obrist&rsquo;s first U.S. iteration of the event, dubbed &ldquo;Creative Chicago,&rdquo; seeks to reveal the sparks and synergies that make Chicago a center for a broad range of creative activity.</p> <p>Shortly after becoming co-director of the Serpentine Galleries in 2006, Obrist hosted his first Interview Marathon, resulting in a twenty-four-hour exploration of art through conversation. While &ldquo;Creative Chicago&rdquo; will not mirror the twenty-four-hour marathons Obrist hosted in the past, the four-hour block will surely reveal surprising insight and candor for participants and audience members alike.</p> <p>Stories are intimately tied to the people we encounter and the relationships we have to them, and as a young curator Obrist intuited this, using artist visits as a way to generate and explore exhibition ideas. When meeting with an artist at the studio wasn&rsquo;t possible, Obrist embraced a flexibility that allowed him to expand the possibilities for where conversations on art-making could occur. He discovered that he liked the informality that meeting outside of the studio&mdash;at a caf&eacute;, on a neighborhood walk, in line at the airport, riding in a taxi&mdash;often provided. For his first recorded interviews, Obrist used audio recorders, then switched to digital as technology improved in the mid-1990s. His &ldquo;Interviews Volume 1,&rdquo; published in 2003, is a 500-page tome that only begins to scratch the surface of the scope and ambition of the interview project; as conversations have become central to his curatorial research and methodology, Obrist has amassed more than 1,600 recorded and transcribed interviews over the years.</p> <p>Obrist curates his Interview Marathons and conversations through choice of artistic collaborators such as Rem Koolhaas and Olafur Eliasson, as well as artists, which have included Yoko Ono, Jonas Mekas, Zaha Hadid. The Chicago edition will include the international fashion designer (and Rockford, Illinois native) Virgil Abloh. But the experience is equally shaped by the space where the conversations are held and the community that engages the event. During a 2013 visit to MoMA PS1 for an event related to his recently published compendium &ldquo;Do It,&rdquo; a belligerent Clifford Owens entered PS1&rsquo;s giant performance dome, interrupting Obrist&rsquo;s chat in an effort to get a rise out of Lawrence Weiner until a group of fellow artists and collectors in attendance&mdash;including Agnes Gund&mdash;carried Owens outside to the bar across the street. A slightly unnerved Obrist quickly moved past the disruption, shifting gears to carry on a conversation with Lawrence Weiner.</p> <p>In her 1993 volume &ldquo;Unmarked: The Politics of Performance,&rdquo; scholar Peggy Phelan suggests that performance is a reflection of lived experience, with the audience that witnesses the event looking into &ldquo;life&rsquo;s mirror&rdquo; and inevitably seeing their own reflection. Through conversation, we witness a kind of reflection, too, one that reveals an unfiltered view of experience. Obrist&rsquo;s Interview Marathons allow those who converge within the multiple intersections of creativity to offer a first-person account of what motivates and inspires their work and process, demystifying an often hazy and mushy notion. A spirited t&ecirc;te-&agrave;-t&ecirc;te seems to be a good place to start.</p> <p><em>Hans Ulrich Obrist, co-director of London&rsquo;s Serpentine Galleries, will host &ldquo;Creative Chicago: An Interview Marathon&rdquo; at EXPO Chicago on Navy Pier on September 29. The many interviewees will include architect Jeanne Gang, artist Cauleen Smith, photographer Dawoud Bey and scholar Joseph Grigley.</em></p> </div> Tue, 18 Sep 2018 12:00:00 -0500 /news/2018/9/trading-fours-on-chicago-s-creative-capital-hans-ulrich-obrist-stages-a-mini-interview-marathon /news/2018/9/trading-fours-on-chicago-s-creative-capital-hans-ulrich-obrist-stages-a-mini-interview-marathon Chicago's Billboards Get Gallery-Worthy Artworks for EXPO CHICAGO <div class="block block-rich margin-some arrangement-full text-left"> <h3>Galerie Magazine<br /> By Brian Calvin</h3> <p>Visitors to the Windy City for the seventh annual Expo Chicago will have the opportunity to see gallery-worthy works beyond Navy Pier when&nbsp;&ldquo;Override | A Billboard Project&rdquo;&nbsp;takes over the screens traditionally reserved for advertising.<br /> <br /> The exhibition, titled &ldquo;Interlude at Hand,&rdquo; runs on more than 50 billboards,&nbsp;September 17 through October 7, and will include works by John Bankston, Olaf Breuning, Brian Calvin, Judy Chicago, Douglas Coupland, Sam Durant, Paul Heyer, Glenn Ligon, Portia Munson, Anahita Razmi, and Lee Wan as well as Amanda Williams and Andres L. Hernandez.<br /> <br /> &ldquo;The list of artists was curated through a blend of solicited submissions, as well as working closely with a few artists on new commissions,&rdquo; says Stephanie Cristello, director of programming at Expo Chicago, the International Exposition of Contemporary &amp; Modern Art. Cristello curated &ldquo;Override&rdquo; with exhibitor relations and programming coordinator Alexis Brocchi and Daniel Schulman, Chicago&rsquo;s Department of Cultural Affairs and Special Events program director. &ldquo;Overall, the vision of the project was to select a series of works that relate to the context of billboard advertising in order to adopt, but also intercept, the context of how these works are displayed.&rdquo;<br /> <br /> A site-specific installation from Chicago artist Theaster Gates,&nbsp;Black Madonna&nbsp;(2018), will be displayed exclusively on a billboard at 515 West Ida B. Wells Drive (the recently renamed Congress Parkway). &ldquo;This was a series proposed specifically for this exhibition,&rdquo; says Cristello. &ldquo;I had just returned from Switzerland, where I had seen Gates&rsquo;s &lsquo;Black Madonna&rsquo; exhibition at the Kunstmuseum Basel, and was particularly struck by the central installation, which featured a massive collection of the black-and-white photographs from the Johnson Publishing Company archive. Hundreds of the framed photographs were configured within a wooden structure within the center of the galleries, as if they were books, and so what you could see by facing the work was just the edges of the black frames. On top of the structure, there was a type of shelf, where the museum guards&mdash;who were wearing white gloves&mdash;would pull out photographs and place them on the top for viewers to see, as if on permanent rotation.<br /> <br /> &ldquo;This rotational aspect was one that I was thinking about when we proposed the project for the dedicated billboard at 515 West Ida B. Wells Drive,&rdquo; Cristello continues. &ldquo;The significance of this project, in Chicago specifically, is wide reaching. In addition to being the home of the Johnson Publishing archives, permanently housed at&nbsp;Gates&rsquo;s Rebuild Foundation&nbsp;at the Stony Island Arts Bank, the work&nbsp;pays homage to one of the most significant imprints of American black culture.&rdquo;<br /> <br /> Each of the 50 screens, displayed at 28 sites around Chicago, will cycle through a series of works; a viewer would see the whole program over approximately the course of one hour. And while Expo is celebrating its seventh year, &ldquo;Override&rdquo; is just in its third iteration.<br /> <br /> Tony Karman, president and director of Expo Chicago, was part of the Municipal Marketing Committee developing the City Digital Network, and as such was intimately familiar with the capabilities and mission that the city had for the initiative,&rdquo; says Cristello. &ldquo;Three years later, in 2016, Expo Chicago was able to collaborate on the first exhibition with the full support of the city, and has committed to continuing the partnership. While the program has not grown in terms of its number of artists, it has grown in its reputation and stature as an opportunity in the city to feature artists from our international galleries. As we travel to fairs around the world, &lsquo;Override&rsquo; is constantly a really exciting prospect for artists, and many of them have made new work specifically for Chicago. And it is so easy! No shipping required, just a JPEG.&rdquo;</p> </div> Wed, 12 Sep 2018 12:00:00 -0500 /news/2018/9/chicago-s-billboards-get-gallery-worthy-artworks-for-expo-chicago /news/2018/9/chicago-s-billboards-get-gallery-worthy-artworks-for-expo-chicago