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DePaul University Via Sapientiae DePaul Art Museum Publications Academic Affairs 2012 Afterimage Thea Liberty Nichols Dahlia Tulett-Gross Louise Lincoln Jason Foumberg Lucas Bucholtz See next page for additional authors Follow this and additional works at: https://via.library.depaul.edu/museum-publications Part of the Art and Design Commons Recommended Citation Liberty Nichols, Thea; Tulett-Gross, Dahlia; Lincoln, Louise; Foumberg, Jason; Bucholtz, Lucas; DMeo, Mia; Nixon, Erin; Lund, Karsten; Bertrand, Britton; Westin, Monica; Gheith, Jenny; Cochran, Jessica; Ritchie, Abraham; Johnston, Paige K.; Stepter, Anthony; Chodos, Elizabeth; Dwyer, Bryce; Cahill, Zachary; Picard, Caroline; Dluzen, Robin; Kouri, Chad; Isé, Claudine; Satinsky, Abigail; and Farrell, Robyn, "Afterimage" (2012). DePaul Art Museum Publications. 8. https://via.library.depaul.edu/museum-publications/8 This Book is brought to you for free and open access by the Academic Affairs at Via Sapientiae. It has been accepted for inclusion in DePaul Art Museum Publications by an authorized administrator of Via Sapientiae. For more information, please contact [email protected]. Authors Thea Liberty Nichols, Dahlia Tulett-Gross, Louise Lincoln, Jason Foumberg, Lucas Bucholtz, Mia DMeo, Erin Nixon, Karsten Lund, Britton Bertrand, Monica Westin, Jenny Gheith, Jessica Cochran, Abraham Ritchie, Paige K. Johnston, Anthony Stepter, Elizabeth Chodos, Bryce Dwyer, Zachary Cahill, Caroline Picard, Robin Dluzen, Chad Kouri, Claudine Isé, Abigail Satinsky, and Robyn Farrell This book is available at Via Sapientiae: https://via.library.depaul.edu/museum-publications/8 Afterimage 9.14 / 11.18 2012 DePaul Art Museum Carl Baratta / Jason Foumberg David Ingenthron / Jenny Gheith Carmen Price / Caroline Picard Marc Bell / Lucas Bucholtz Eric Lebofsky / Jessica Cochran Ben Seamons / Joel Kuennen Eric Cain / Mia DiMeo David Leggett / Abraham Ritchie Rebecca Shore / Thea Liberty Nichols Lilli Carré / Erin Nixon Amy Lockhart / Paige K. Johnston Geoffrey Todd Smith / Robin Dluzen Justin Cooper / Karsten Lund Eric May / Anthony Stepter Joe Tallarico / Chad Kouri Rob Doran / Britton Bertran Ellen Nielsen / Elizabeth Chodos Selina Trepp / Claudine Isé Richard Hull / Thea Liberty Nichols Anders Oinonen / Bryce Dwyer Trubble Club / Abigail Satinsky Steven Husby / Monica Westin John Parot / Zachary Cahill Zach Wirsum / Robyn Farrell Curated by Thea Liberty Nichols & Dahlia Tulett-Gross Contents foreword 06 acknowledgments 07 Afterimage: Thea Liberty Nichols the exhibition & Dahlia Tulett-Gross 08 12 contributors 35 artists 36 Afterimage September 14- November 18, 2012 Copyright © 2012 DePaul University DePaul Art Museum events DePaul University 935 West Fullerton Avenue Chicago Illinois 60614 40 Foreword Acknowledgments Artists do not work in a vacuum; images. Because their work was by Chicago artists, our autumn We were lucky enough to have Gallery, as well as Dan Nadel of like all of us they partake of and so distinctive and so localized, exhibitions regularly address our own small but dedicated Picturebox Inc., graciously shared are shaped by their own circum- they have come to define in part Chicago themes, and like DePaul clutch of advisors and mentors, their arsenal of tactical advice stances, by the Zeitgeist, and how “Chicago art” is understood, University itself, the museum is all of whom kindly offered their and practical wisdom. And our by the work and ideas of their and subsequent artists, including deeply rooted in the history and insight, expertise, and encourage- colleagues Jessica Cochran and teachers, mentors, and friends. those in Afterimage, inevitably culture of the city. The broad ment at every level of this project. Paige K. Johnston’s enthusiasm But sorting through strands of respond to that legacy. disciplinary reach of the subject is It reminded us of a remark that and flexibility helped expand the influence on an individual or for another point of correspondence: James Yood made early on in the reach of the exhibition to other that matter a group of artists is The Afterimage project has been this is not simply an exhibition planning stages of this exhibition institutions, enriching its depth not a simple process, because conceived and organized by of works on a gallery wall, but about the charms and risks of through the exploration of its there are so many points of Thea Liberty Nichols and Dahlia it incorporates as well musical this city: “It used to be that if related facets. We thank Susannah 6 leverage. Influence frequently Tulett-Gross, independent cura- performance, a comics installation you wanted to learn more about Ribstein and James Connolly for 7 manifests itself through visual tors whose research interests in and reading room, and even an Ed Paschke, you could just look their tremendous assistance quotation, selective appropria- Chicago Imagism have provided inventive Chicago-themed culi- him up in the phonebook and with our research. The staff of tion, or shared attitude, but there a grounding for their exploration nary program. give him a ring”—or something DPAM, including Louise Lincoln, can be smaller resonances in of Imagism’s more contemporary to that effect. Laura Fatemi, Greg Harris, Drea the titling of works, for example, approaches and iterations. Nichols We are immensely grateful to Jones, and Alison Kleiman, facili- or palette, or scale. Even those and Tulett-Gross have astutely the artists and critics who have Art Green deserves special tated many of the thorny logistics, who stake out a radically opposi- recognized that comparison of participated in the project, listed recognition for his thoughtful playing host to an ambitious and tional style or approach may be the two not only deepens our on page 35. We also thank our correspondence and indespens- organically expanding set of work understood to do so in reaction understanding of the “Afterimage” sister institutions which have able recommendations, which and programming with grace and to art of the past. And the ways cohort, but also illuminates the hosted related simultaneous satel- introduced us to the work of many good humor. We are certain they subsequent artists diverge from work of the Imagists themselves. lite exhibitions: the Roger Brown outstanding artists. Both Mark would echo our sentiments in their sources is similarly important Through the contemporary Study Collection and the Joan Pascale and Lisa Stone were tire- saving the biggest thanks of all for to examine for evidence of fresh perspective Nichols and Tulett- Flasch Artists’ Book Collection, less cheerleaders who reminded the artists and writers involved eyes, fresh concerns. Gross and the younger artists both at the School of the Art us to trust our eyes and our gut in these shows, to whom we owe provide, the inventive subject Institute of Chicago; and Columbia instincts. John Corbett and Jim a debt of gratitude. This exhibition is about sources matter, humor, and pedagogical College Chicago’s Center for Book Dempsey of Corbett vs. Dempsey and influences, and also about and social models of the 1960s and Paper Arts. The publica- Thea Liberty Nichols generation— both in the sense and ‘70s come into focus more tion has been edited by Susan Dahlia Tulett-Gross of bringing into being and that strongly. Their careful dissection Weidemeyer and Betsy Stepina Guest Curators of age, cohorts, and lifespans. of the subtle and nuanced quali- Zinn, and designed by Dominic Most of the contemporary artists ties of “influence,” particularly in Fortunato. Finally, we salute our whose work forms the core of the the complex and rapidly evolving curators Thea Liberty Nichols show are around the age of thirty, world of art in Chicago, has and Dahlia Tulett-Gross, who and their work manifests a fitting guided not only the content of have articulated and sustained sense of exuberance and experi- the exhibition project, but also an innovative approach to mentation. All of them have some shaped its structure, drawing contemporary art of the region connection to Chicago either by in both emerging artists and and, on a broader level, contrib- residence or correspondence, and emerging critics, creating partner- uted new ways of understanding they share a number of interests ships with other academic art the workings of artistic and subjects, in part a result of venues, and developing programs influence in general. It is a plea- having studied under or been that echo the generosity and sure to see their hard work take otherwise influenced by an earlier enthusiasms of both Imagists and concrete form. generation of Chicago artists, the their followers. so-called Imagists, who defied Louise Lincoln the canons of 1970s abstraction The DePaul Art Museum is, we Director and Pop with their figural distor- hope, a natural home for a project DePaul Art Museum tions and hot palettes derived like this one. Its permanent collec- from comics and other vernacular tion has strong holdings of work expression such as a cheeky sense by David Leggett, who came to change in particle B across any of humor, whether we are in on Chicago specifically “with hopes given distance; in similar ways the joke or the joke is on us. The of meeting the Hairy Who group.” artists distant in age and physical complexity of these works rests The move paid off: “They were location from Chicago Imagism in their inventive narrative and so helpful in my practice . I have recognized its influence personalized symbolism, as in still think about them whenever on their work. This includes
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