Abstraction & Social Critique: Kavi Gupta | 835 W. Washington Blvd. Floor 1, Chicago, IL, 60607
Featuring works by Miya Ando, Abigail DeVille, Modou Dieng, Richard Hunt, James Little, Al Loving, Angel Otero, Jamaal Peterman, Rewind Collective, Clare Rojas, Raymond Saunders, Brooklin Soumahoro, Cameron Welch, and Jack Whitten.
Kavi Gupta proudly presents Abstraction and Social Critique, an intergenerational group show of artists whose aesthetic positions declare the continued relevance and influence of abstraction.
The artist James Little, whose masterful geometric paintings are included in the exhibition, offers this personal elucidation of why he chose to pursue abstraction in his work: “Abstraction frees me to do whatever I want.”
Artist Clare Rojas echoes that sentiment when asked what she is talking about when she talks about abstract art. “My main concern is creating my own sacred construct, one I have freedom to alter,” she says. “It’s about feeling that freedom and empowerment.”
Mimesis oppresses the artist by relegating where to begin or where to end, while abstraction serves the changing and unpredictable needs of the individual creative being.
It could be argued that abstract art is thus inherently political, because it is an expression of personal freedom. It could also be said that abstraction is inherently anarchic, because it invites every point of view. Yet, every point of view has not always been welcomed into the conversation about what abstraction is, and what it means to contemporary culture.
Voices of BIPOC artists and artists identifying as women or LGBTQ+ have been systematically quieted through their exclusion from nearly every level of the contemporary art field, particularly in the United States. Many academies and institutions have long served and upheld cultural canons that lean heavily cisgendered, straight, and white, marginalizing all other artists. Relegated to the sidelines, showing their work in galleries that are mostly ignored by the art press, these artists have largely been left out of mainstream critical conversations, rendering their efforts and achievements all but invisible to those who write, edit, and study the art historical record.
Kavi Gupta’s mission is to amplify the voices of diverse and underrepresented artists to expand the canon of art history. Though their approaches are varied and idiosyncratic, the artists spotlighted in Abstraction and Social Critique are connected in the sense that their practices allow for a fully actualized conception of abstraction.
Some works, like those of Angel Otero, Abigail DeVille, and Richard Hunt, convey social critique through their methods and materials. Others, like those of Raymond Saunders, Cameron Welch, Miya Ando, Modou Dieng, Jamaal Peterman, and Rewind Collective, introduce personal and social narratives, though in abstracted terms. Paintings by Jack Whitten, James Little, Al Loving, Brooklin Soumahoro, and Clare Rojas can be read in purely formal terms—the combination of the artist’s lived experience and their intentions infuses the works with political relevance.
Within the exhibition, we see artists engaged in an effort to subvert systems of aesthetic oppression and control that attempt to define and thus limit what abstract art is and can be. Their presence here testifies to the changing needs of the contemporary art field, and broadens participation in the ongoing debate about the scope and influence of abstract art.
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James LittleRecognizable Difference, 2016Raw pigment on canvas33 1/4 x 41 1/2 x 1 1/2 in
84.5 x 105.4 x 3.8 cm -
James LittleCheckered Past, 2017Raw pigment on canvas33 1/4 x 41 1/2 x 1 1/2 in
84.5 x 105.4 x 3.8 cm -
Clare RojasBackground in Foreground 2, 2013Oil on canvas75 1/2 x 81 1/2 x 1 1/2 in
191.8 x 207 x 3.8 cm -
Angel OteroUntitled , 2012Iron, porcelain, and paint40 x 24 x 13 in
101.6 x 61 x 33 cm -
Miya AndoUnkai (Sea of Clouds) New York City May 1 2021 5:51 AM, 3 Minutes Until Sunrise, 2021Ink on aluminum composite50 x 98 x 2 1/4
127 x 248.9 x 5.7 -
Richard Hunt, Tubing Form, 1966
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Richard HuntHybrid Form, 1964Welded steel, reclaimed 50s chrome car bumpers, and found steel20 1/2 x 12 1/2 x 9 1/2 in
52.1 x 31.8 x 24.1 cm -
Angel OteroUntitled (SP-HN), 2012Iron, porcelain, and paint61 x 48 x 23 in
154.9 x 121.9 x 58.4 cm -
James LittleGorilla, 2019Oil and wax on linen72 x 72 x 1 1/2 in
182.9 x 182.9 x 3.8 cm -
Modou DiengEsprit Noir, 2021acrylic paint, ink, oilstick, collage on archival print, mounted on dibond.43 x 68 in
109.2 x 172.7 cm -
Al LovingMemories of Midtown #14, 1991Acrylic on rag paper mounted on plastic36 1/2 x 32 1/2 x 3 in
92.7 x 82.5 x 7.6 cm -
Jamaal PetermanParallel Parking , 2021Oil, sand, vinyl glitter on canvas38 x 48 x 2 in
96.5 x 121.9 x 5.1 cm -
Brooklin SoumahoroUntitled (Energy Field Painting), 2021Oil on linen
68 x 56 x 2 in
172.7 x 142.2 x 5.1 cm -
Cameron WelchUntitled, 2021Marble Rain, Marble, glass, ceramic, quartz, stones, spray enamel, oil, and acrylic on panel in walnut frame60 x 48 in
152.4 x 121.9 cm -
Raymond SaundersUntitledMixed media on board48 1/8 x 38 5/8 in
122.2 x 98.1 cm -
Jack WhittenSoulspace X (Black Jasmine), 1984Oil and acrylic on canvas
Note: Piece was hand selected by four, MoMa, NY curators to be a focus point of the artist’s first career retrospective in 202520 x 20 in
50.8 x 50.8 cm -
Miya AndoAlchemy Shou Sugi Ban 4.4.1, 2018Silver nitrate, reclaimed charred redwood48 x 48 x 2
121.9 x 121.9 x 5.1 -
Miya AndoJanuary 12, 2021 Matsu Pine Shou Sugi Ban Silver, 2021Reclaimed charred pine, silver nitrate11 x 11 x 11 in
27.9 x 27.9 x 27.9 cm -
Clare RojasUntitled, 2021Oil on linen30 x 24 x 2 in
76.2 x 61 x 5.1 cm -
Miya AndoJanuary 15, 2021 Matsu Pine Shou Sugi Ban Silver, 2021Reclaimed charred pine, silver nitrate11 x 11 x 11 in
27.9 x 27.9 x 27.9 cm -
Miya AndoJanuary 23, 2021 Matsu Pine Silver, 2021silver nitrate, reclaimed pine11 x 11 x 11 in
27.9 x 27.9 x 27.9 cm -
Rewind CollectiveHarriet Tubman #1, 2021Giclée print on Hahnemühle photo rag metallic paper11 3/4 x 8 1/4 in
30 x 21 cm
(Unframed, please inquire for frame and framed dimensions)Edition of 15 plus 5 artist's proofs -
Abigail DevilleArchive Wakes (Number Tree), 2021Television, acrylic on stove, axe, mannequins, iron Christmas tree, gold wire, lotto tickets, chains, bungee cords with hooks, plant roots, water cooler, chains, panty hose, window fragments, broken bottles, chair, pool cue, walking canes, shoe sole, clay wheel, chandelier crystal prisms114 x 45 x 33 inches
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James LittleUntitled, 2014Ink on paper22 x 30 in
55.9 x 76.2 cm -
Clare RojasBlacky, 2013Ink on paper20 1/2 x 16 1/2 x 1 1/2 in
52.1 x 41.9 x 3.8 cm -
Clare RojasNew Silhouette 1, 2013Oil on canvas51 x 40 1/2 x 2 in
129.5 x 102.9 x 5.1 cm