April 8, 2014
March 28, 2014
Opening Celebration of Michael Sailstorfer: Every Piece is a New Problem and Shall I Tell You the Secret of the Whole World? curated by Michael Stillion and featuring Samuel T. Adams, Sarah Blyth-Stephens, Mark Fox, Zachary Herrmann, Kim Krause, Chris Land, Mollie Oblinger, Todd Pavlisko, Tony Tasset and Rondle West.
Cocktail Reception: 6 pm
Artist Talk with Michael Sailstorfer: 7 pm
CAC Members Only
Opening Party: 8-11pm
Cash bar and performance by Mandy Schmitzel and the Dancin' Mandies.
CAC Members- Free, Non-Members $10.*
*Receive and redeem CAC Currency at the event for free admission!
March 29th, 2014 6:00 PM through 11:00 PM
44 E. 6th Street
March 25, 2014
Stockholder’s arrangements defy categorization and are underpinned by a logic that probes its viewers to consider the very ‘sculptural-ness’ and ‘visual-ness’ of the encounter. As a highly acclaimed thinker, her formal decisions balance attention to the nature of perception and our experiences of chaos and control, inspiring questions in relation to our frames of understanding. Through probing the very tangibility of what’s conceived and experienced, Stockholder’s work deals with our fundamental interaction with art, form, space and location.
Stockholder is currently the The Raymond W. & Martha Hilpert Gruner Distinguished Service Professor and Chair of the Department of Visual Arts at The University of Chicago. This position was assumed in 2011, after 12 years as Director of the Sculpture Department at the Yale School of Art. Stockholder was at the forefront of the Yale MFA which nurtured some of the most progressive US-based artists of the last decade.
Recent works include Cross Hatch - a visual reconfiguration of Fourth and State Streets in San Francisco for SFMOMA’s Project Los Altos. Stockholder blanketed the street and road markers with painted geometric patterns, which fracture and split the landscape.
Jessica Stockholder lives and works in Chicago, IL. She has exhibited widely in North America and Europe, at such venues as the Dia Center for the Arts, the Centre Pompidou in Paris, the Open Air Museum in Belgium, the Power Plant in Toronto, Canada, the Whitney Museum of American Art; P.S. 1, New York; SITE Santa Fe; the Venice Biennale; Kunstmuseum St. Gallen; 1301PE Gallery in Los Angeles and Mitchell-Innes & Nash Gallery in New York. Her work is represented in various collections including the Art Institute of Chicago, the Albright-Knox Art Gallery, the Corcoran Gallery of Art, the Whitney Museum of American Art, LACMA, the Vancouver Art Gallery, and the Stedelijk Museum in Amsterdam. She has received numerous grants including the Lucelia Artist Award from the Smithsonian American Art Museum, a Guggenheim Fellowship, and Anonymous Was A Woman in 2012. She received her B.F.A. from the University of Victoria in Canada in 1982, her M.F.A. from Yale University in 1985, an honorary Doctor of Fine Arts degree from the Emily Carr College of Art in 2010, and an honorary Doctor of Fine Arts degree from Columbia College in 2013.
Jessica Stockholder's first exhibition with the gallery is forthcoming.
For further information on Jessica Stockholder please contact the gallery.
March 19, 2014
Kavi Gupta CHICAGO | BERLIN is proud to announce its representation of New York based artist Mickalene Thomas (b. 1971). Drawing from a long study of art history and the classical genres of portraiture, landscape and still life, Thomas' political and pop-culturally infused imagery explores constructed notions of identity and the self. Her multi-referential work presents a complex viewpoint on what it means to be a contemporary woman. Best known for her elaborate rhinestone-encrusted paintings, Thomas’s works explore space, pattern and identity through representations of figures and décor and question popular notions of beauty and embodiment from a fragmented perspective.
In Mickalene Thomas: Origin of the Universe at the Brooklyn Museum of Art in 2012-13, the film Happy Birthday to a Beautiful Woman, premiered. This short documentary, a poignant portrait of Sandra Bush, Thomas's mother, has since been screened internationally and aired on HBO in 2013. Bush was both mother and artistic muse to Thomas, modeling for and appearing in some of her most well known paintings. This sophisticated film continues her thoughtful investigations into the transience of female representation. These explorations are echoed in Thomas’s recent collaged compositions of evocative interiors aimed at challenging conventional notions of domesticity and personal space.
Mickalene Thomas (b. 1971) lives and works in Brooklyn, NY. Thomas has exhibited extensively both nationally and internationally including her upcoming exhibitions Face à Face, 2014, George Eastman House, Rochester, NY and Femme au divan II, 2014, l'Ecole des Beaux Art, Monaco. Recent select solo exhibitions include faux real, 2013, Norton Museum of Art, West Palm Beach, FL; Origin of the Universe, 2012 - 13, Santa Monica Museum of Art, Santa Monica, CA and Brooklyn Museum of Art, Brooklyn, NY; Mickalene Thomas, 2012, Fontene Demoulas Gallery, Institute of Contemporary Art, Boston, MA; How to Organize a Room Around a Striking Piece of Art, 2013, Lehmann Maupin, New York, NY; Mickalene Thomas: Mama- Bush: One of a Kind Two, 2011, Hara Museum of Contemporary Art, Tokyo, Japan; Put a Little Sugar in my Bowl, 2011, Susanne Vielmetter, Los Angeles, CA. Thomas earned her MFA from Yale University in 2002, and a BFA from Pratt Institute in 2000. In 2002-03 she participated in the Artist-in-Residence program at the Studio Museum in Harlem, and in 2011 she was a resident at the Versailles Foundation Munn Artists Program in Giverny, France.
Mickalene Thomas' first exhibition with the gallery is forthcoming.
For further information on Mickalene Thomas please contact the gallery.
March 25, 2014
March 20, 2014
November 15, 2013
March 12, 2014
February 15, 2014
February 26, 2014
February 14, 2014
In this lecture, titled ‘An Analog but Very Important Conversation’, Theaster Gates discusses recent work, historical moments and invented strategies related to several of his upcoming projects. The aim of the talk is to begin a public dialogue that addresses material culture, social issues and histories of spaces.
The lecture is presented as part of the 2014 deFINE ART program, 18-21 February
‘Theaster Gates: An Analog but Very Important Conversation’
SCAD Museum of Art
601 Turner Blvd
February 1, 2014
January 23, 2014
January 14, 2014
January 14, 2014
January 28, 2014
January 28, 2014
December 20, 2013
Six blocks from where I grew up, on Chicago’s South Side, the artist Theaster Gates showed me a neo-Classical ruin, a Prohibition-era bank shuttered for 33 years that I only ever registered vaguely as a part of the area’s enduring blight. “That’s my bank,” he announced with a flourish, pointing proudly to its glazed terra cotta and its ornamental eaves. Maybe it requires an artist to picture the possibilities in such a wreck, or a real estate developer to envision its promise. Gates, 40, is both at the same time, an enormous dreamer canny enough to make his outlandish ideas for the neighborhood a reality. When the bank was days from demolition, Gates spoke with Mayor Rahm Emanuel, whose brother, Ari, owns several Gates pieces; the city agreed to sell the abandoned building to Gates for $1, with the stipulation that he come up with the $3.7 million necessary for its renovation. A portion of that money, Gates devised, would be made from the bank’s original marble, which he cut into individual “bond certificates” engraved with an image of the building, his signature and the words “In ART We Trust.” He created 100 tablet-size bonds, selling them for $5,000 apiece; larger slabs, as weighty as tombstones, went for $50,000. Because they’re works of art, Gates told me, the marble will actually increase in value, functioning like real bonds. “So, yeah, it’s a bank! The bank should continue to make currency. I want it to have a banking function.”
Read more at nytimes.com
December 12, 2013
With the breathtaking Control Room(all works 2013), what will come to mind first - at least for a science fiction nerd- is the bridge from Battlestar Gallactica’s eponymous spaceship. Enclosed behind a window of glass, the installation is composed of hundreds of wooden pieces, painted in mute tones of taupe and grey and resembling gas gauges, television screens, levers, telephones, switches. Behind every system that we have come to rely on (a steady water supply, waste management, the servers that store our email), along with those that we passsively accept because we think they keep us safe (drone technology, NSA spying programmes) stands such an anonyous space- an apparatus appears as inoperable as the merely symbolic shells Paine reproduces.
The fastfood counter of Carcass consists of wood so carefully carved that, for example, eveb the straw dispensers look like precious objects. The systems ebodied are dufferent than the ones in Control Rooom. Here we confront the subsided farmers and coporations that engineer our food, and who are connected to the advertising firms that rely on poverty and poor education to sell their products, and to the healthcare system that makes money off the damage done to our bodies. In essence, it’s a system that fucks us. But fast food easily stands in as well for fast fashion, ever-upgraded smartphones, McMansions- all ultimately intended-to-be-obsolete products that embody America’s voracious appetite for instsant gratification.
There’s a brilliance to how much can be addressed by two wooden dioramas. But there’s also something missing. What Paine fails to address is the system that the artworks enter by their very presence in an art gallery. The monied one that drives the top of the food chain, and which benefits the most from a smoothly running and little-questioned apparatus. Brienne Walsh
December 14, 2013
In the past, Mr. Reeder has favored clunky, seemingly naïve figurative images that veer between cartooning and Picasso. Lately however, he seems to have moved into a late modernist-Conceptual phase, using pasta to make big, allover (Pollock-like) abstractions and smaller (Ruscha-like) word paintings.
The abstractions are achieved by scattering uncooked (and in one case cooked) spaghetti over a canvas and adding a thin layer of yellow-green, light blue, turquoise blue, charcoal or black spray paint. Usually he rescatters the pasta and sprays again, for a blurred effect that adds more depth and a weird sense of movement (call it performative or Futurist, as you will).
In the word paintings the palette brightens to include pinks and oranges. Here uncooked spaghetti of different widths spells odd phrases of two four-letter words: “Post-Good,” “Idea Jail” and “Word Jazz.” The letters change in font, dimensionality and perspective from painting to painting. Shadows are occasionally evoked and, in “Dark Math,” Old German script is even broached. Which is to say that these works become more complicated as you think through each one. A series of sculptures are a little too jokey, but two paintings mimicking blackboards show off Mr. Reeder’s satirical gifts. This show is surreptitiously very good.