DOCSLIB.ORG

Dan Nadel, Hairy Who? 1966-1969, Artforum, February 2019, P. 164-167 REVIEWS

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dan Nadel, Hairy Who? 1966-1969, Artforum, February 2019, P. 164-167 REVIEWS ARTFORUM H A L E s GLADYS NILSSON Dan Nadel, Hairy Who? 1966-1969, Artforum, February 2019, p. 164-167 REVIEWS FOCUS 166 Dan Nadel OIi "Hall)' Who? 1966-1969 " 11:18 Barry SChwabskyon Raout de Keyser 169 Dvdu l<ekeon the 12th Shangh ai Blennale NEW YORK PARIS zoe Lescaze on Liu vu,kav11ge 186 UllianOevieson Lucla L.a&una Ania Szremski on Amar Kanwar Mart1 Hoberman on Alaln Bublex Jeff Gibson on Paulina OloW5ka BERLIN 172 Colby Chamberialn on Lorraine O'Grady 187 MartinHerberton SteveBlshop OavtdFrankelon lyleAshtonHarrl5 Jurriaan Benschopon Louise Bonnet 173 MlchaelWilsonon HelenMlrra Chloe Wyma on Leonor Finl HAMBURG R11chelChumeron HeddaS1erne JensAsthoffon UllaYonBrandenburg Mira DayalonM11rcelStorr ZURICH 176 Donald Kuspit on ltya Bolotowsky Adam Jasper on Raphaela Vogel Barry Schwabsky on Gregor Hildebrandt 2ackHatfieldon"AnnaAtklns ROME Refracted: Contemporary Works " Francesca Pola on Elger Esser Sasha Frere-Jones on Aur.i Satz TURIN.ITALY Matthew Weinstein on Allen Frame Giorglo\lerzottlon F,ancescoVeuoll WASHINGTON, DC VIENNA 179 TinaR1versRyan011 TrevorPaglen Yuki Higashinoon CHICAGO Wende1ienvanO1denborgh C.C. McKee on Ebony G. Patterson PRAGUE BrienT. Leahy on Robertlostull er 192 Noemi Smolik on Jakub Jansa LISBON 181 Kaira M. cabanas on AlexandreMeloon JuanArauJo ·co ntesting Modernity : ATHENS lnlormallsm In Venezuela, 1955-1975" 193 Cathr)TI Drakeontlle 6thAthensB lennele EL PASO,TEXAS BEIJING 1s2 Che!seaweatherson 194 F!OrlB He on Zhan, Pelll "AfterPosada : Revolutlon · YuanFucaon ZhaoYao LOS ANGELES TOKYO 183 SuzanneHudsonon Sert1Gernsbecher 195 Paige K. Bradley on Lee Kil Aney Campbell on Mary Reid KalleyandP!ltflCkKelley OUBAI GollcanDamifkaz1k on Ana Mazzei TORONTO Dan Adler on Shannon Boo! ABIOJAN, IVORY COAST 196 Mars Haberman on Ouatlera Watts LONDON Sherman Sam on Lucy Dodd SAO PAULO EJisaSchaarot1Flom1Tan Camila Belchior on Clarissa Tossln CHRISTCHURCH. NEW ZEALANO Anthony Bynon Marie Shannon London, 7 Bethnal Green Road, El 6LA. + 44 (0)20 7033 1938 New York, 547 West 20th Street, NY 10011. + 1 646 590 0776 www.halesgallery.com f '# l!!I @halesgallery H A L E S farleft:GfadysNllsson, Bi,tandLJlll•™n�,111, 1967,acryliconPle,.,ilas. 24x18",Lell:Karl WlrSum,BaH/JtHG/rl, 196-4,acryl.k:oneanvas 39>:31".Rigr,t: SvellenROCC3,Foo! Smitl/$,ca.1966,oHon canwa,aJtist'sframe, 19%>:15½". was now an exhibiting entity called "Hairy Who": in by Pop and Minimalism and offering permission to invent Chicago (1967 and 1968), San Francisco (1968), New imagery and ro mine the psychological and vernacular. scale, festooned with glyphs of dancing couples, palm Chicago and Washington, DC, exhibitions were known undoing. A more successful approach would have been TO trees, hats, and other objects of midcentury desire. Thanks York (1969), and Washingron,DC (1969), each including The comic-book catalogues found their way into the for their arrisr-determined hang_� and immersive environ­ save the forensics for the catalogue and make the best "Hairy Who? 10 his preoccupation with soft-serve cones, urban spaces, ments: linoleum-covered walls, furniture,cases filledwith new and previously exhibited artworks, and accompanied hands of young people from Dallas to Ann Arbor to Nova possible installation of the works from all six shows. This artifacts, and or her odds and ends. Bur the 2018-19 by its own self-published "comic book" containing images Scotia, birthing oddball zincs and underground comics and scaffolding, Art Green emerges as the metaphysical would have privileged the artwork over a series of long­ 1966-1969" reconstructions fell flat-neither faithful to the feel of the ART INSTITUTE OF CHICAGO made specially for publication. along the way. architect of the group,and the one with the deepest roots ago exhibitions and resulted in a stronger case for the In the ensuing years, much of this history got muddied. Little seen since these exhibitions and even more in hisrorical Surrealism and contemporary Pop--from original nor a logical extrapolation-especially when individual artists. Dan Nadel Giorgio de Chirico's buildings toJames llosenquist's ice compared to the photographs in the catalogue. You can't The drawing-and-print section suffered from a differ­ The exhibiting group was often called a collective (it was rarely examined in any depth,the artwork itself retains cream. Nilsson's lilting fantasias on l'lexi and paper, go home again, t·specially when home was a series of ent kind confusion. Falconer, Green, and Rocca are rep­ not) or thought to be made up of psychedelic kooks its raw power in part because of an equal concern for always on the verge of collapse, arc self-contained narra­ funky spaces customized by the artists a half century {emphatically nor), and Hairy Who itself was sometimes resented solely with Hairy Who-eraworks, while a wider surface, material,and image. The renewed interest in it tive worlds, while Falconer's rubber-hose figurepaintings, ago. To attempt half measures is pointless. referred to as a 1novement (no again). The group was array of objects and ephemera from the '60s TO roday by drawings, and collages evince the most direct connection This is nor a prohlem unique to "Hairy Who?" It is Nilsson, Nutt, and Wirsum was exhibited without any often lumped in with the 1967 -Funk"' exhibition at the to both Saul and whrn was then known as tribal art. inherem ro rhe recent focus on the exhibition as a medium explicit nttion.ile.And while the exhibition stretched TO University Art Museum at the University of California, The Hairy Who exhibitions were Though there were impresarios and a couple of critics in unro itself and the urge to show muscumgoers how art­ the present, it did not expand in any other way. One would Berkeley, and was later brought under the unfortunate influential less for their form as Chicago at the time (including the lare Whitney Halstead, works were firstor most crucially exhibited. This is an hardly have known that the very same museum that con­ "Chicago lmagist" umbrella,an interpretation-limiting THE STORY GOES LIKE THIS: In 1966, friends and recent who reviewed some of the exhibitions for rhis magazine, essentially generous gesture, offering as much context as tained this retrospective also incubated the contributing (but marketing-efficient) term rhar persists today despite exhibitions than for the artworks and the late Dennis Adrian, whose essays offer the most possible in order to best demonstrate the artist's intentions School of the Arr Institute of Chicago graduates Jim artists. All of them attended the School of the Art Institute having been lefr mostly unexplored, exclusions and all, compelling commentary on the city's art in rhe '60s and and/or how something might have been experienced in its Falconer andJim Nutt approached Don Baum, director of they put on display. and walked through the museum to attend classes, and all since its coinage in 1972. '70s), there was not a thoroughgoing exchange of ideas, first presentation. But this approach is better in book or film the Hyde Park Art Center, abour mounting a series of small of rhem credit that a.s a formative experience. The AIC's Essentially, the Hairy Who was relegated to a sidebar, and the artists themselves tended to speak obliquely, form, where a nert;:Ssarily verbal Story can be told in full. As collection of global art lives in the DNA of the Hairy Who. group exhibitions featuring young artists. The first of never quite existing on its own terms. The Art lnstitutc's today is arguably related to both the surge in emotive refusing TO offer either theory or explanation for the Claire Bishop noted in the ,\farch 2014 issue of Art/orum, But rather than recognize and explore this relationshi these, "Hairy Who," comprising works by Falconer,Nutt, p-­ recent project, organized by Thea Liberty Nichols,Mark graphic and figuralpainting by young(ish) artists and the work. Toss that in with the general historical confusion, "A dynamic exhibition history needs to present the show rather than offer layers of meaning using rhe museum's Art Green, Gladys Nilsson, Suellen Rocca, and, at Ba urn's Pascale,and Ann Goldstein,was a much-needed "just the critical equivalent of "vourhing" for the work by older and the task for any ambitious curator or historian is under discussion as a complex node of competing and own collection-the curators sealed the Hairy Who's work suggestion, Karl Wirsum, opened later 1hat year. Swiftly facts M examination of the exhibitions, its aim to provide established painters, including Amy Sillman and Kerry pretty clear. And it's here rhar rhe Arr Institute stumbled. contradictory forces while a/so paying close arrenrion to off in the very museum that played a decisive role in its embraced by local and national critics, the exhibition a baseline data set, a springboard for further scholarship. James Marshall. Wirsum emerges as the most complex the exhibition as a medium.� Importantly, the Hairy Who creation. The catalogue partly remedies these omissions announced an open, nondogmatic mode of artmaking, The original shows were summarized in three galleries, and inscrutable of the group. In 1966, his advanced THE PRIMARY PROBLEM was the installation strategy, exhibitions were inAuential less for their form as exhibitions with a strong essay by Richard Hull exploring the Hairy materially polymorphous and engaged with,but not lim­ with a fourth room functioning as a catchall for additional sensibility clearly influenced those of his more inchoate specifically the effort to summarize each of the original than for the artworks they put on display. The same can \X/l1o'sconnections to sixteenth- and seventeenth-century ited to, bodily distortions, wordplay, all-out fantasy, paintings and a sculpture. The drawing and print galleries peers. Wirsum's ecstatic faces and figuresare seamlessly exhibitions. From the start, these synopses were hobbled: be said for numerous venerated shows.
Load more

Recommended publications
  • Monster Roster: Existentialist Art in Postwar Chicago Receives First Major Exhibition, at University of Chicago’S Smart Museum of Art, February 11 – June 12, 2016
    Contact C.J. Lind | 773.702.0176 | [email protected] For Immediate Release “One of the most important Midwestern contributions to the development of American art” MONSTER ROSTER: EXISTENTIALIST ART IN POSTWAR CHICAGO RECEIVES FIRST MAJOR EXHIBITION, AT UNIVERSITY OF CHICAGO’S SMART MUSEUM OF ART, FEBRUARY 11 – JUNE 12, 2016 Related programming highlights include film screenings, monthly Family Day activities, and a Monster Mash Up expert panel discussion (January 11, 2016) The Smart Museum of Art at the University of Chicago, 5550 S. Greenwood Avenue, will mount Monster Roster: Existentialist Art in Postwar Chicago, the first-ever major exhibition to examine the history and impact of the Monster Roster, a group of postwar artists that established the first unique Chicago style, February 11–June 12, 2016. The exhibition is curated by John Corbett and Jim Dempsey, independent curators and gallery owners; Jessica Moss, Smart Museum Curator of Contemporary Art; and Richard A. Born, Smart Museum Senior Curator. Monster Roster officially opens with a free public reception, Wednesday, February 10, 7–9pm featuring an in-gallery performance by the Josh Berman Trio. The Monster Roster was a fiercely independent group of mid-century artists, spearheaded by Leon Golub (1922–2004), which created deeply psychological works drawing on classical mythology, ancient art, and a shared persistence in depicting the figure during a period in which abstraction held sway in international art circles. “The Monster Roster represents the first group of artists in Chicago to assert its own style and approach—one not derived from anywhwere else—and is one of the most important Midwestern contributions to the development of American art,” said co-curator John Corbett.
    [Show full text]
  • Gladys Nilsson MATTHEW MARKS GALLERY | 523 WEST 24TH STREET
    MATTHEW MARKS GALLERY 523 West 24th Street, New York,New York 10011 Tel: 212-243-0200 Fax: 212-243-0047 Gladys Nilsson MATTHEW MARKS GALLERY | 523 WEST 24TH STREET GARTH GREENAN GALLERY “Honk! Fifty Years of Painting,” an energizing, deeply satisfying pair of shows devoted to the work of Gladys Nilsson that occupied both Matthew Marks’s Twenty-Fourth Street space, where it remains on view through April 18, and Garth Greenan Gallery, took its title from one of the earliest works on display: Honk, 1964, a tiny, Technicolor street scene in acrylic that focuses on a pair of elderly couples, which the Imagist made two years out of art school. The men, bearded and stooped, lean on canes, while the women sport dark sunglasses beneath their blue-and-chartreuse beehives. They are boxed in by four more figures: Some blank-eyed and grimacing, others skulking under fedoras pulled low. The scene might suggest a vague Kastner, Jeffrey. “Gladys Nilsson.” 58, no. 8, April 2020. Artforum kind of menace were it not for the little green noisemakers dangling from the bright-red lips of the central quartet, marking them as sly revelers rather than potential victims of some unspecified mayhem. The painting’s acid palette and thickly stylized figures obviously owe a debt to Expressionism, whose lessons Nilsson thoroughly absorbed during regular museum visits in her youth, but its sensibility is more Yellow Submarine than Blaue Reiter, its grotesquerie leavened with genial good humor. The Marks portion of the show focuses primarily on the first decade of Nilsson’s career, while Greenan’s featured works made in the past few years, the two constituent parts together neatly bookending the artist’s richly varied and lamentably underappreciated oeuvre.
    [Show full text]
  • Gladys Nilsson Featured in the New York Times
    http://nyti.ms/1n3sZC4 ART & DESIGN | ART REVIEW Recognizing a Vibrant Underground ‘What Nerve!’ at the Rhode Island School of Design Museum By KEN JOHNSON SEPT. 25, 2014 In 1962 the film critic Manny Farber published the provocative essay “White Elephant Art and Termite Art,” in which he distinguished two types of artists: the White Elephant artist, who tries to create masterpieces equal to the greatest artworks of the past, and the Termite, who engages in “a kind of squandering- beaverish endeavor” that “goes always forward, eating its own boundaries and, likely as not, leaves nothing in its path other than signs of eager, industrious, unkempt activity.” While White Elephant artists like Richard Serra, Brice Marden, Jeff Koons and a few other usually male contemporary masters still are most highly valued by the establishment, the art world’s Termite infestation has grown exponentially. They’re everywhere, male and female, busily burrowing in a zillion directions. They’re painting, drawing, doodling, whittling, tinkering and making comic books, zines, animated videos and Internet whatsits — all, it seems, with no objective other than to just keep doing whatever they’re doing. Where did they come from? How did this happen? The history of White Elephant art is well known, that of Termite art much less so, which isn’t surprising given its furtive, centerless nature. So it’s gratifying to see a rousing exhibition at the Rhode Island School of Design Museum that blocks out a significant part of what such a history would entail. “What Nerve! Alternative Figures in American Art, 1960 to the Present” presents more than 180 paintings, sculptures, drawings, prints, photographs and videos by 29 artists whom Mr.
    [Show full text]
  • A Finding Aid to the Ellen Lanyon Papers, Circa 1880-2014, Bulk 1926-2013, in the Archives of American Art
    A Finding Aid to the Ellen Lanyon Papers, circa 1880-2014, bulk 1926-2013, in the Archives of American Art Hilary Price 2016 September 19 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 4 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 6 Series 1: Biographical Material, circa 1880-2015 (bulk 1926-2015)......................... 6 Series 2: Correspondence, 1936-2015.................................................................. 10 Series 3: Interviews, circa 1975-2012.................................................................... 24 Series 4: Writings, Lectures, and Notebooks, circa
    [Show full text]
  • Karl Wirsum B
    Karl Wirsum b. 1939 Lives and works in Chicago, IL Education 1961 BFA, The School of the Art Institute of Chicago, Chicago, IL Solo Exhibitions 2019 Unmixedly at Ease: 50 Years of Drawing, Derek Eller Gallery, NY Karl Wirsum, Corbett vs Dempsey, Chicago, IL 2018 Drawing It On, 1965 to the Present, organized by Dan Nadel and Andreas Melas, Martinos, Athens, Greece 2017 Mr. Whatzit: Selections from the 1980's, Derek Eller Gallery, New York, NY No Dogs Aloud, Corbett vs. Dempsey, Chicago, IL 2015 Karl Wirsum, The Hard Way: Selections from the 1970s, Organized with Dan Nadel, Derek Eller Gallery, New York, NY 2013 Derek Eller Gallery, New York, NY 2010 Drawings: 1967-70, co-curated by Dan Nadel, Derek Eller Gallery, New York, NY Jean Albano Gallery, Chicago, IL 2008 Karl Wirsum: Paintings & Prints, Contemporary Art Center of Peoria, Peoria, IL Winsome Works(some), Chicago Cultural Center, Chicago, IL; traveled to Madison Museum of Contemporary Art, WI; Herron Galleries, Indiana University- Perdue University, Indianapolis, IN 2007 Karl Wirsum: Plays Missed It For You, Jean Albano Gallery, Chicago, IL 2006 The Wirsum-Gunn Family Show, Jean Albano Gallery, Chicago, IL 2005 Union Art Gallery, University of Wisconsin Milwaukee, Milwaukee, WI 2004 Hello Again Boom A Rang: Ten Years of Wirsum Art, Jean Albano Gallery, Chicago, IL 2002 Paintings and Cutouts, Quincy Art Center, Quincy, IL Jean Albano Gallery, Chicago, IL 2001 Rockford College Gallery, Rockford, IL 2000 Jean Albano Gallery, Chicago, IL 1998 Jean Albano Gallery, Chicago, IL University Club of Chicago, Chicago, IL 1997 The University of Iowa Museum of Art, Sculpture Court, Iowa City, IA 1994 Phyllis Kind Gallery, Chicago, IL J.
    [Show full text]
  • Roger Brown (1941 – 1997)
    Roger Brown (1941 – 1997) Born, Hamilton, AL Died, Atlanta, GA Education 1970, MFA School of the Art Institute of Chicago 1968, BFA School of the Art Institute of Chicago 1962-1964 attended the American Academy of Art Solo Exhibitions 2015 Roger Brown: Political Paintings, DC Moore Gallery, New York, NY, June 18 – July 31, 2015 Roger Brown: Virtual Still Life, Maccarone Gallery, New York, NY, June 25 – August 7, 2015 2014 Roger Brown: Virtual Still Life, Russell Bowman Art Advisory, September 5 – November 1, 2014 Roger Brown: His American Icons, The Hughes Gallery, Sydney, Australia, March 22 - April 14, 2014 2013 Roger Brown, DC Moore Gallery, New York, NY, January 10 - February 9, 2013 2012 Roger Brown: This Boy’s Own Story, Sullivan Galleries, School of the Art Institute of Chicago, IL, August 24 – November 10, 2012 Dual exhibition, Roger Brown: Major Paintings, Russell Bowman Art Advisory, Chicago, IL and Zolla Lieberman Gallery, Chicago, IL, September 7 - October 27, 2012 Roger Brown: Urban Traumas and Natural Disasters, Springfield Art Museum, Springfield, MO, September 17 – November 13, 2012 2011 Roger Brown: Calif. U.S.A., Hyde Park Art Center, Chicago, IL, June 20 – October 3 roger brown: urban traumas and natural disasters, Springfield Art Museum, Springfield, MO, September 17 - November 13 1 2010 Roger Brown: Calif. U.S.A., curated by Nicholas Lowe, Hyde Park Art Center, Chicago, IL, June 20 – October 3, 2010 2009 Roger Brown: Early Work, Major Paintings and Constructions, 1968-1980, Russell Bowman Art Advisory, Chicago, IL, March 27 – May 16 Roger Brown, Art Works: Chicago A Progressive Corporate Exhibition of Chicago Artists, Metropolitan Capital Bank, Chicago, IL 2008 Roger Brown: The American Landscape, DC Moore Gallery, New York, NY, May 1 – June 13 2007-2009 Roger Brown: Southern Exposure, curated by Sidney Lawrence, The Jule Collins Smith Museum of Fine Art at Auburn University, AL, October 6, 2007 – January 5, 2008.
    [Show full text]
  • One Hundred Drawings One Hundred Drawings
    One hundred drawings One hundred drawings This publication accompanies an exhibition at the Matthew Marks Gallery, 523 West 24th Street, New York, Matthew Marks Gallery from November 8, 2019, to January 18, 2020. 1 Edgar Degas (1834 –1917) Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”), c. 1859–60 Graphite on laid paper 1 1 14 ∕8 x 9 ∕8 inches; 36 x 23 cm Stamped (lower right recto): Nepveu Degas (Lugt 4349) Provenance: Atelier Degas René de Gas (the artist’s brother), Paris Odette de Gas (his daughter), Paris Arlette Nepveu-Degas (her daughter), Paris Private collection, by descent Edgar Degas studied the paintings of the Renaissance masters during his stay in Italy from 1856 to 1859. Returning to Paris in late 1859, he began conceiving the painting Alexandre et Bucéphale (Alexander and Bucephalus) (1861–62), which depicts an episode from Plutarch’s Lives. Étude pour “Alexandre et Bucéphale” (Study for “Alexander and Bucephalus”) consists of three separate studies for the central figure of Alexandre. It was the artist’s practice to assemble a composition piece by piece, often appearing to put greater effort into the details of a single figure than he did composing the work as a whole. Edgar Degas, Alexandre et Bucéphale (Alexander and Bucephalus), 1861–62. Oil on canvas. National Gallery of Art, Washington, DC, bequest of Lore Heinemann in memory of her husband, Dr. Rudolf J. Heinemann 2 Odilon Redon (1840 –1916) A Man Standing on Rocks Beside the Sea, c. 1868 Graphite on paper 3 3 10 ∕4 x 8 ∕4 inches; 28 x 22 cm Signed in graphite (lower right recto): ODILON REDON Provenance: Alexander M.
    [Show full text]
  • JIM NUTT by David St.-Lascaux
    JULY / AUGUST 2010 JIM NUTT by David St.-Lascaux Jim Nutt is back in New York, sans straightjacket. Once a wildman, he was part of Chicago’s Imagist/Hairy Who movement, back in ’66 when Hairy meant huge, when Ed “Big Daddy” Roth was customizing petroleum-powered hot rods with giant ratfinks, chrome pipes, metalflake paint jobs and two-tone flames, shortly after which S. Clay Wilson introduced the maniacal Checkered Demon and the ravishing Star-Eyed Stella. Meanwhile, in New York, the influential, serious works created by Lichtenstein, Oldenburg, Rosenquist, and Warhol—also influenced by commercial imagery—were being digested. And what a contrast, using the same cultural raw materials: the Midwest output infantile, maybe; the East Coast oeuvre just possibly uptight. The Hairy Who included graduates of the School of the Art Institute of Chicago: James Falconer; Art Green; Gladys Nilsson, now Nutt’s wife; Suellen Rocca and Karl Wirsum, an Adolf Wölfli doppelgänger. Members of the Imagist movement included Roger Brown, Leon Golub, Ed Paschke (Jeff Koons, then a student, his assistant), Nancy Spero, and H.C. Westermann. The movement’s work was of its time: cartoon garish, rude, clever, heavy on wordplay and sexual innuendo. Hell, it was entirely explicit, and, as demonstrated in Nutt’s “There are Reasons” (1974), in which a Sadie Hawkins Day predacious Jane chases a ragged Dick across a stage, equal opportunity misandristic and misogynistic—although the snood in “Hold Still!! (Please)” (1980-1) is just a wee bit much. The work was also “representational” in the sense that Picasso’s Les Demoiselles d’Avignon is representational: you can decipher it.
    [Show full text]
  • Uncommon Accumulation Bednar Press Release
    For Immediate Release: Thursday, December 12, 2019 Contact: Charlotte Easterling 608.257.0158 x 240 [email protected] MMoCA CELEBRATES MAJOR GIFT OF NEARLY 100 WORKS OF CHICAGO IMAGIST ART UNCOMMON ACCUMULATION: THE MARK AND JUDY BEDNAR COLLECTION OF CHICAGO IMAGISM March 14–July 19, 2020 MADISON, WI— To celebrate Mark and Judy Bednar’s transformative gift of Chicago Imagist art from their collection to the Madison Museum of Contemporary Art, MMoCA will bring together the works in the museum’s main galleries with the exhibition Uncommon Accumulation: The Mark and Judy Bednar Collection of Chicago Imagism. From March 14 through July 19, 2020, Uncommon Accumulation will showcase the works that have already been gifted to the museum alongside the promised gifts that have been collected by the Bednars over the past 45 years. The gift from the Bednars complements the museum’s existing collection of Chicago Imagism through its inclusion of artworks produced very early in the careers of several of the artists. Formative works by Roger Brown, Robert Lostutter, Gladys Nilsson, Jim Nutt, Ed Paschke, Christina Ramberg, Barbara Rossi, Karl Wirsum, and Ray Yoshida from the 1960s and 70s—a period when some of the Imagists were still in graduate school at the School of the Art Institute of Chicago (SAIC)—are part of this extraordinary gift. These new additions uphold MMoCA as having one of the largest, and now one of the most comprehensive, collections of Chicago Imagism. The Chicago Imagists were a group of figurative artists who emerged in Chicago in the mid-1960s. Using vibrant color and bold lines, they depicted the human body as grossly distorted and highly stylized.
    [Show full text]
  • The South Side & Beyond
    THE INDEPENDENT VOICE OF THE VISUAL ARTS Chicago, Detroit, Los Angeles, New York Volume 32 No. 6 July/August 2018 Established 1973 The South Side & Beyond: A Chicago Art Legacy INSIDE Patric McCoy, Pioneering South Side Art Collector Seven Reviews Cover Shows of African-American Artists Cleveland Prepares to Host International Art Triennial $8 U.S. Bulletin of the Atomic Scientists-Sponsored Show Features Martyl and (art)n SUBSCRIPTIONS NEW ART EXAMINER IS AVAILABLE FROM THE FOLLOWING CHICAGO OUTLETS: The New Art Examiner has a long history of pro- ducing quality and independent art criticism. 57th Street Books Subscription rates include six issues, print and digi- 1301 E 57th St, Chicago, IL 60637 tal version sent by email. (773) 684-1300 USA/Canada $55 postage incl. ARC Gallery Rest of World $80 postage incl. 2156 N Damen Ave, Chicago, IL 60647 (773) 252-2232 Please send checks, along with your name and Corbett vs Dempsey Gallery address, made payable to: 1120 N Ashland Ave, Chicago, IL 60622 New Art Examiner (773) 278-1664 5542 N. Paulina St. Chicago, IL 60640. USA. Fahlstrtom’s Fresh Fish Market 1258 W Belmont Ave, Chicago, IL 60657 (773) 281-6000 ADVERTISING RATES 2018 Firecat Projects 2124 N Damen Ave, Chicago, IL 60647 FULL PAGE Inside front cover $500 (773) 342-5381 Inside back cover $400 Hilton | Asmus Contemporary FULL PAGE $300 716 N Wells St, Chicago, IL 60654 HALF PAGE – portrait/landscape $200 (312) 475-1788 QUARTER PAGE – (editorial page) $125 Jackson and Junge Gallery (add $25 for inclusion on web site) 1339 N.
    [Show full text]
  • Gladys Nilsson and Jim Nutt
    GLADYS NILSSON WORKS ON PAPER JIM NUTT March 9 - April 13, 1996 University Art GaJJery StaJJer Center for the Arts State University of New York at Stony Brook ACKNOWLEDGEMENTS I would like to express my gratitude to Professor Me.I Pekarslcy, Oepanrnent of Art. for bis assiSlaoCe with this exhibitioo, and to Lynda Hartigan, Curator of Painting and Sculpcurc at the National Museum of American An in Washington, D.C., for contributing her insigbtful catalogue essay. I also want to thank the Phyllis Kind Gallery in Chicago, Ulinois and Vaugbn Kurtz, for their coopera­ tion and assistance in getting the exhibition from Chicago to Stony Brook. Special thanks are also extended to members of the Staller Center for the Arts staff: Ming Chen, Albert Fong, Vera Phillip-Evans, Lisa Kozlowski, and Alexander Trillo, Gallery Assistants; Erica Fredriben, Aleksandra llcanowicz, Viktoria Paranyuk, Jennifer Rea, and Michelle Wacker, Gallery Interns; Patrick Kelly, Production Manager, Liz Silver, Technical Dmctor, and the Technical Crew, Staller Center, for exhibition lighting; and Mary Balduf, Gallery Secretary. Most of all, I wish to thank Gladys Nilsson and Jim Nutt for sharing their work with the Stony Brook com­ munity. Rhonda Cooper Director Photo credits: 0 William H. Bengtson, cover pbocos and ~es 3 (top), S, 6, and 7 0 Jonas Dovydenas page 3 (bottom) Cover: (top) GLADYS NILSSON Me - Myself & I. 1995 Mixed media and watercolor on paper, 12 x 18" (bottom) JIM NUTT I RememhttWbep, 1986 Colored pencil on brown paper, 12~ x 14" © 1996 University An Gallery, Staller Center for the Ans, State University of New York at Stony Brook GLADYS NILSSON AND JIM NUTT: WORKS ON PAPER In 1961 Gladys Nilsson and Jim on paper primarily wi1h dmwing.
    [Show full text]
  • Roger Brown November 12, 2019 – January 11, 2020 Opening: Tuesday, November 12Th, 6:00 - 8:00 Pm
    Roger Brown November 12, 2019 – January 11, 2020 Opening: Tuesday, November 12th, 6:00 - 8:00 pm Venus Over Manhattan 980 Madison Avenue New York, NY 10075 FOR IMMEDIATE RELEASE: (New York, NY) – Venus Over Manhattan is pleased to present an exhibition of work by Roger Brown, organized in collaboration with the Roger Brown Study Collection at the School of the Art Institute of Chicago, and Kavi Gupta. Comprising a large group of paintings that spans the breadth of his career, the presentation surveys the development of Brown’s production. In conjunction with the exhibition, the gallery will publish a catalogue featuring two new texts on the artist by Lisa Stone, Curator of the Roger Brown Study Collection, and Dan Nadel, Curator at Large, Jan Shrem and Maria Manetti Shrem Museum of Art, UC Davis, as well as pages from Brown’s sketchbooks that relate to the works on view. The exhibition will be on view from November 12th, 2019 through January 11th, 2020. Roger Brown began exhibiting his work in the late 1960s, alongside a group of artists often referred to as the Chicago Imagists. Celebrated for their use of imagery, figuration, narrative, and patterning, these artists pulled from idiosyncratic sources to produce deeply personal and visually diverse work, shirking the cool, stylistic orthodoxies that dominated on the coasts. Brown moved in circles around the School of the Art Institute of Chicago, which nurtured the unconventional interests of Brown and his peers. Brown was deeply associated with Chicago during his lifetime: he graduated from the School of the Art Institute of Chicago in 1970; he kept a series of studios, filled with carefully selected art and objects, from both the vernacular and mainstream realms, that culminated in his building in the Lincoln Park neighborhood; and his instantly legible paintings and objects, replete with silhouetted figures, patterned landscapes, and scalloped skies, rendered in dizzying isometric perspective, helped foster a community of artists that announced Chicago as a viable site of artistic production.
    [Show full text]