Exhibits springing back into top form
Transcription
Exhibits springing back into top form
Product: CTBroadsheet PubDate: 03-12-2010 Zone: C Edition: FRI Page: OTTADVP10-18 User: cci 18 CHICAGO TRIBUNE | ON THE TOWN | SECTION 5 | FRIDAY, MARCH 12, 2010 Time: 03-10-2010 19:03 Color: C K Y M C GALLERIES Exhibits springing back into top form By Lauren Viera TRIBUNE REPORTER Spring is nearly here, and with slightly warmer temperatures and the chirping of birds, we’re happy to welcome the return to regularly scheduled gallery exhibitions and lots of art, both old and new, well worth seeing. Can you feel it? The intimate West Loop space shared by EC Gallery and Kasia Kay Art Projects (215 N. Aberdeen St., 312-944-0408; kasiakay gallery.com) is quickly winning a place in my heart as a go-to space for interesting, well-curated exhibitions of up-and-coming artists. Following EC’s lovely introductory show for Polish painter Justyna Adamczyk, her first in the U.S., Kasia Kay is showing new work by one of its resident artists, Tennessee-by-way-of-Chicago artist Duncan R. Anderson. To call Anderson a sculptor would be a bit misleading, so let’s call him a miniaturist. His media is mixed: figurines, plastic animals, pin-size beads, tiny toy daggers, log cabins and campfires painstakingly constructed from twigs and shellac. Walking into the exhibit is like walking into a quixotic little world of models and curios where fantastical creatures crawl up the walls and knights in shining armor meet their ends at the edge of imaginary forests. Anderson creates three-dimensional work fabricated mostly by other hands: he repurposes everything from princess dolls to toy shotguns, sometimes in the same piece, to achieve his desired effect. They’re successful because of the one immaterial object that brings them to life: narrative. That knight in shining armor, for example, is leaning a bit too heavily, almost painfully, over the limbs of a crippled fir tree dusted with snow, positioned neatly on the edge of the platform that supports them both. This piece’s title: “ ‘It’s not supposed to end like this. It doesn’t end like this.’ (blacking out at edge of Winter Teutonic forest.)” Pretentious? Perhaps. But it works: These words so poignantly describe what Anderson’s characters are going through, what we all go through. Through March 20 Nnenna Okore On the other end of the sculpture spectrum is Nigerian-born Chicago artist Nnenna Okore, whose weaves and patterns of recycled and reused materials are on display at Northeastern Illinois University’s Fine Arts Center Gallery (5500 N. St. Louis Ave., 773-442-4944; neiu.edu /̃gallery) in an exhibit dubbed “Absurd Beauty.” In one corner, tied neatly into a series of knots forming a star are yellow and black plastic bags (Camouflage); down the wall is an impressive network of faded yellow newsprint — all ripped from phonebooks — arranged in a sculpture called Fiber. Elsewhere are sculptures that incorporate paper made by her hand, stained a gorgeous eggplant color, floating in circular orbs. The largest of these works is Mbembe, a vast network of plastic shopping bags woven into what could be an enormous fishing net. Poking through the mix are visible red circles advertising Target; leftover shopping bags from Bed Bath & Beyond; a discarded grocery sack from Dominick’s. Imagine the possibilities, were all of us as talented as Okore in turning trash into treasure. Through March 19 Laura Letinsky If you haven’t yet visited resident contemporary art gallerist Monique Meloche’s new space on the Division Strip (2154 W. Division St., 773-252-0299; moni quemeloche.com), currently exhibiting “The Dog and the Wolf,” a handful of recent prints by local photographer Laura Letinsky, you might want to wait for a cloudy day. The afternoon I stopped by, that glorious earlyspring sunshine venting through this greenhouse of a venue left particularly unsightly glares all over Letinsky’s delicate compositions. Especially because Letinsky is an aesthetic minimalist of sorts (her interior photographs are almost exclusively still lifes arranged on tabletops), they beg for unobtrusive lighting that refuses to steal from the subtle nuances she introduces via her lens. This latest collection is especially severe: dead animals are worked into the mix of Letinsky’s usual vocabulary of morning-after table scenes: wine-stained tablecloths, dead flowers muddying their vases, etc. Unfortunately, our stark Midwestern sunlight is unforgiv- Duncan R. Anderson’s “Cornered Tribulation Plague Abomination with broken wing” at Kasia Kay Art Projects. ing, managing to sneak around Meloche’s movable gallery walls. Through March 13 Laura Letinsky’s “Untitled #24” at Monique Meloche’s new space. American prints Out with the new, in with the old: Russell Bowman Art Advisory (311 W. Superior St., Suite 115, 312 751-9500; bowmanart.com) continues to exhibit museumquality collectors’ pieces with its newest show, “American Prints.” We’re immediately struck with a lovely drypoint-style nude by Milton Avery, so free in its lines it almost looks like charcoal. Next to it is a 25-year-old Richard Diebenkorn etching and a gorgeous Robert Motherwell screenprint (marked 86 in a series of 150). Elsewhere: a colorful Alex Katz self-portrait, a perfectly penciled “Lipstick“ lithograph by Claes Oldenburg, a startlingly dark prints this diverse would mean an $18, several-hour trip to the Art Institute, as opposed to a springy breeze through Bowman, for free. Through March 20 lithograph by Kerry James Marshall, a half-dozen silkscreens by Roger Brown. All hung at eye level, all incredibly inviting, all for sale. 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