OVERRIDE | A Billboard Project is a cutting edge citywide public art initiative, presented by EXPO CHICAGO and the City of Chicago’s Department of Cultural Affairs and Special Events (DCASE). Displayed throughout Chicago’s City Digital Network (CDN), the citywide exhibition will run from August 28–September 17, 2017 to align with the sixth annual exposition. Selected from EXPO CHICAGO 2017 Exhibitors, the artists included in the program each engage with the medium in a dynamic way, from existing projects that seamlessly extend toward a conceptual continuation of their current practice, to new commissions created specifically for this expansive context.
Barbara Bloom | David Lewis, New York
Matthew Brandt | Praz-Delavallade, Paris, Los Angeles
Luis Camnitzer | Alexander Gray Associates, New York
Genevieve Gaignard | Shulamit Nazarian, Los Angeles
Jim Hodges | Chicago Park District
Ragnar Kjartansson | Luhring Augustine, New York
Deana Lawson | Rhona Hoffman Gallery, Chicago
Paola Pivi | Perrotin, New York, Hong Kong, Seoul, Tokyo
David Shrigley | Anton Kern Gallery, New York
Cauleen Smith | Corbett vs. Dempsey, Chicago
Claire Tabouret | Night Gallery, Los Angeles
Mungo Thomson | galerie frank elbaz, Paris, Dallas
Located at various Sites
Songs of the Waves (2008)
Courtesy of David Lewis, New York
Barbara Bloom’s Song of the Waves (2008) is part of a series called “Songs” (included in her last retrospective and reproduced in her catalog “The Collections of Barbara Bloom”), which juxtaposes appropriated thematic selection of images alongside sheet music.
LCD 31.6 (2015)
Courtesy of Praz-Delavallade, Paris, Los Angeles
LCDs is a project that employs the liquid crystal display (LCD) screen technology of light and polarizing lenses. Imagery is created with plastic resin on plastic sheets and is the lens in which light travels through to reveal varying color possibilities.
This is a Mirror, You Are a Written Sentence (1966–1968)
Courtesy of Alexander Gray Associates, New York
This Is a Mirror, You Are a Written Sentence engages with a number of concepts that Luis Camnitzer has examined throughout his five-decade career, namely perception, pedagogy, and language as a primary medium, challenging the viewer to question how they respond and exist in relation to the work. Based on his first conceptual work, it has become one of Camnitzer’s best-known pieces for its influence on his later text-based works.
Courtesy of Shulamit Nazarian, Los Angeles
Soaking in the sultry dusk of Venice Beach, Selfie is a self-portrait of a self-portrait. In this contemporary arrangement of looking, viewers see Gaignard, the artist and the subject, reflected back at herself. In doing so, the audience’s reads become complicit in her own, eliciting agency in Gaignard’s construction of self and selfie.
With Liberty And Justice For All (2014-2017)
Courtesy of Chicago Park District
Jim Hodges’ monumental text based sculpture With Liberty And Justice For All (2014–2016) is characteristic of the artist’s use of succinct but powerful gestures as well as his interest in language to convey open-ended concepts. The phrase proclaims the fraught but aspirational tenet of this country’s Pledge of Allegiance, one that has complicated roots in religion and patriotism and that has so often been misused and denied, yet embodies an eternal and ongoing ideal (a “work in progress”). As Hodges has said, “When engagement with art is happening, there’s an opportunity for change.”
Scenes from Western Culture, Burning House (2015)
Courtesy of Luhring Augustine, New York
Scenes from Western Culture, Burning House depicts a house burning down from start to finish: from first catching fire, being overwhelmed by flames, to the ashes that remain. The artist says it reminds him of something Edvard Munch had written in his diary: “I saw our love become a pile of ashes.”
Courtesy of Rhona Hoffman Gallery, Chicago
Taken worlds apart, this work belongs to Deana Lawson’s series that shows couples embracing in various stages of dress and life. Their skin-to-skin contact communicates that familiarity, sameness, and intimacy exist across all black cultures, no matter where the photographs are taken.
Yee-haw (Paris) (2015)
Courtesy of Perrotin, New York, Hong Kong, Seoul, Tokyo
Paola Pivi’s Yee-Haw continues her work with animals, specifically their juxtaposition against strange and surreal surrounding landscapes, Pivi brings four horses to the Eiffel Tower. their instinctive actions within the urban context present a sharp contrast to the real world, despite the actuality of the situation.
The Way Out is the Way Two: Fourteen Short Films About Chicago and Sun Ra (video still) (2010-12)
Courtesy of Corbett vs. Dempsey, Chicago
This series of short films comprise a suite that ruminates on Sun Ra's time in Chicago, from 1945-1961 and the various creative practices that he developed during that time. Rather than didactic documents which directly refer to Sun Ra, these videos conflate what can be known about the mythic being, Sun Ra with what can be understood about the present-tense Chicago. In this channel you will find the films stung together as crafted for a single channel screening under the title THE WAY OUT IS THE WAY TWO. But you can also peruse the shorts individually, as they are all designed to function as free standing components of a greater whole - a constellation, if you will.
Courtesy of Night Gallery, Los Angeles
Claire Tabouret’s Sitting, 2016, is a group portrait characteristic of her figurative painting practice. Seated together, their gazes face forward confrontationally, the dynamic between group and individual further emphasized by the billboard scale. Tabouret’s paintings address societal and psychological constraints in a loosely gestural hand and a muted palette over neon undertones.
Negative Space (2006–2017)
Courtesy of galerie frank elbaz, Paris, Dallas
Mungo Thomson’s Negative Space is a series of photographic murals of inverted astronomical imagery sourced from the Hubble Space Telescope photo archive. Thomson works with the Hubble archive in an ongoing way, generating a negative image every time the Hubble generates a positive one. He downloads the Hubble image (online, high-resolution and copyright-free) and inverts it: black becomes white, white becomes black, and all other colors are transformed into their complement. The images that result retain a sense of the cosmic, but they also resemble dust, smoke, veined marble, the interior of the body, and the oceanic. These images are then made into site-specific, wall-sized photographic murals for empty walls. Installed as a kind of institutional wallpaper, they embody the tension between background and foreground, visibility and invisibility that runs through all the artist’s work, while remaining strongly retinal and implicating their context.
Since 2006 Thomson has made Negative Space murals in private and public, temporary and permanent, at the Hammer Museum, Los Angeles, the Walker Art Center, Minneapolis, LAXART, Los Angeles, Contemporary Art Gallery, Vancouver, Metro Pictures, New York, Art Basel, and many other galleries and museums, as well as for private collections, and as permanent public commissions for UC Berkeley and UC San Francisco. Thomson is currently producing a permanent Negative Space installation for a new Metro station in downtown Los Angeles that is being built between the Broad Art Museum and the Walt Disney Concert Hall.
Located at 515 W. Congress Pkwy
NEWS Series (2017)
Courtesy of Anton Kern Gallery, New York
Based off of the ubiquitous newsstand headline sandwich boards found around the United Kingdom, David Shrigley’s NEWS series boldly declares headlines of either absurd fake news or mundane everyday occurrences. While many of these headlines often draw inspiration from current political and social events, they are reduced down and distilled to the point where any semblance of the original event is completely anonymized and blends seamlessly in with the erroneous statements or declaration of routine life that others in the series proclaim. This never-before seen series was created by Shrigley was created specifically for the OVERRIDE program, and will be running continuously on the billboard located at 515 W. Congress Pkwy.