Summer 2011 Classes June 13 – August 21
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Thomas Newbolt: Drama Painting – a Modern Baroque
NAE MAGAZINE i NAE MAGAZINE ii CONTENTS CONTENTS 3 EDITORIAL Off Grid - Daniel Nanavati talks about artists who are working outside the established art market and doing well. 6 DEREK GUTHRIE'S FACEBOOK DISCUSSIONS A selection of the challenging discussions on www.facebook.com/derekguthrie 7 THE WIDENING CHASM BETWEEN ARTISTS AND CONTEMPORARY ART David Houston, curator and academic, looks at why so may contemporary artists dislike contemporary art. 9 THE OSCARS MFA John Steppling, who wrote the script for 52nd Highway and worked in Hollywood for eight years, takes a look at the manipulation of the moving image makers. 16 PARTNERSHIP AGREEMENT WITH PLYMOUTH COLLEGE OF ART Our special announcement this month is a partnering agreement between the NAE and Plymouth College of Art 18 SPEAKEASY Tricia Van Eck tells us that artists participating with audiences is what makes her gallery in Chicago important. 19 INTERNET CAFÉ Tom Nakashima, artist and writer, talks about how unlike café society, Internet cafés have become. Quote: Jane Addams Allen writing on the show: British Treasures, From the Manors Born 1984 One might almost say that this show is the apotheosis of the British country house " filtered through a prism of French rationality." 1 CONTENTS CONTENTS 21 MONSTER ROSTER INTERVIEW Tom Mullaney talks to Jessica Moss and John Corbett about the Monster Roster. 25 THOUGHTS ON 'CAST' GRANT OF £500,000 Two Associates talk about one of the largest grants given to a Cornwall based arts charity. 26 MILWAUKEE MUSEUM'S NEW DESIGN With the new refurbishment completed Tom Mullaney, the US Editor, wanders around the inaugural exhibition. -
Corey Postiglione, Ukrainian Museum of Modern Art, Chicago, Dates TBD
C O R E Y P O S T I G L I O N E E-mail: [email protected] Website: www.coreypostiglione.com Born Chicago, IL Education MA The School of the Art Institute of Chicago 20th Century Art History, Theory, and Criticism Studied with Judith Kirshner, Craig Owens, and Richard Shiff BA University of Illinois Chicago Painting/Sculpture/Printmaking Teaching Experience 2013 - 14 Coordinator, Art History, Columbia College Chicago 1999 - 03 Coordinator, 2-D Design, Columbia College Chicago 1990 - 99 Coordinator, Art History, Columbia College Chicago Professor Art History, Critical Theory, and Studio Arts 1975-90 Adjunct Assistant Professor, Department of Architecture, Illinois Institute of Technology, Chicago 1979-89 Instructor, Contemporary Art History, Drawing, Painting, 2-D design, Columbia College Chicago 1983-84, 86 Adjunct Assistant Professor, Drawing (Summer Session), University of Illinois Chicago 1981-83 Visiting Artist, Drawing and Composition, School of the Art Institute of Chicago 1971-79 Instructor, Contemporary Art History, Painting and Drawing, Evanston Art Center, Evanston, IL Selected One-Person and Upcoming Exhibitions 2021 (Two-Person) “Kindred Spirits: Recent Work by Kathie Shaw and Corey Postiglione, Ukrainian Museum of Modern Art, Chicago, dates TBD 2020 Two Person Exhibition, “Corey Postiglione and Kathie Shaw, Innovation and Collaboration,” Metropolitan Capital Bank, April-Sept. Chicago iL 2020 (Two-Person) “Kindred Spirits: Recent Work by Kathie Shaw and Corey Postiglione, St. Francis University, Joliet, IL, exact fall dates TBD 2018 (Two-Person) “Kindred Spirits: Recent Work by Kathie Shaw and Corey Postiglione, Koehnline Museum of Art, Des Plaines, IL, May 10 – June 24 2017 Featuring Corey Postiglione, Westbrook Modern Gallery, Carmel, CA (ongoing) 2016 “Population #5,” Experimental Sound Studio Gallery, Installation & Wall Painting, Chicago (Nov 5 - Dec 18) 1 2016 “Fusion: Tango Abstraction,” new work by Corey Postiglione, Gallery 116, St. -
Artforum — April 1St, 2020 Gladys Nilsson At
Gladys Nilsson Matthew Marks Gallery | 523 WEST 24TH ST & 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 Mat- thew Marks’s Twenty-Fourth Street space, where it remains on view through April 18, and Garth Gre- enan Gallery, took its title from one of the earliest Gladys Nilsson, Plain Air, 2018, acrylic and paper on canvas, 40 × 60”. 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 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 Expres- sionism, whose lessons Nilsson thoroughly absorbed during regular museum visits in her youth, but its sen- sibility 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 art- ist’s richly varied and lamentably underappreciated oeuvre. -
Kathie Shaw CV
K A T H I E V S H A W EDUCATION Master of Architecture, University of Illinois at Chicago Master of Fine Arts, Painting and Drawing, The School of the Art Institute of Chicago Bachelor of Fine Arts, Photography, Pennsylvania State University, University Park, PA ACADEMIC AWARDS AND DISTINCTIONS American Institute of Architects § Chicago Chapter Award for Interior Architecture (Student Award for Excellence in Architecture) Faculty Assistantship, University of Illinois Chicago Women’s Architectural League of Chicago Scholarship, University of Illinois Chicago American Institute of Architects Scholarship, University of Illinois Chicago Carol Phelan Fellowship, University of Illinois Chicago National Science Foundation, Summer Institute in Japan § Two-month research fellowship to study seismic technologies and architecture in Tokyo, Osaka, Kyoto, and Nara § Intensive Japanese language study ROME+basel, Semester Study Abroad, University of Illinois Chicago § Design studio workshops in both Rome and Basel, Switzerland § History of Architecture, Rome § Intensive Italian language study EXHIBITIONS 2021 Abstraction / Metaphor: Corey Postiglione and Kathie Shaw, Ukrainian Institute of Modern Art, Chicago, April 24 – June 20, 2021 Kathie Shaw: Eccentric Abstraction, Governors State University, University Park, IL, March 2021 2020 Corey Postiglione and Kathie Shaw: Innovation + Collaboration, Metropolitan Capital Bank (Landmark Tree Studios Building), Chicago, IL, curated by Jen Lavender Thompson and Christina Keefer, March 2020 – February 2021 Kindred -
To Download Resume in Pdf Format
G L A D Y S N I L S S O N BORN 1940 Chicago, IL EDUCATION 1962 The School of the Art Institute of Chicago FELLOWSHIPS & AWARDS 2004 William A. Patton Prize for Watercolor, The 179th Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum, New York, NY 1974 & 89 NEA Fellowship SELECTED SOLO EXHIBITIONS 2017 Gladys Nilsson: The 1980s, Garth Greenan Gallery, New York, NY 2014 Solo Show at Garth Greenan Gallery, New York NY 2013 Hidden Treasures Unveiled: Watercolors Pennsylvania Academy of The Fine Arts, Philadelphia, PA 2012 Jean Albano Gallery, Chicago, IL 2011 Hanes Art Gallery, Wake Forest University, Winston-Salem, NC 2010 Gladys Nilsson: Works from 1966-2010, Ukrainian Institute of Modern Art, Chicago, IL 2009 Jean Albano Gallery, Chicago, IL 2008 Luise Ross Gallery, New York, NY The Baseball Show, Jean Albano Gallery, Chicago, IL 2007 25 Years of Watercolors, Jean Albano Gallery, Chicago, IL 2006 Rockford College Art Museum, Rockford, IL Tarble Art Center, Eastern Illinois University, Charleston, IL 2005 Jean Albano Gallery, Chicago, IL University Art Gallery, Saginaw Valley State University, University Center, MI 2004 Tory Folliard Gallery, Milwaukee, WI 2003 Jean Albano Gallery, Chicago, IL Adrian College, Adrian, MI (with catalogue) 2002 Watercolors, Quincy Art Center, Quincy, IL Fleisher/Ollman Gallery, Philadelphia, PA 2001 Jean Albano Gallery, Chicago, IL Tacoma Art Museum, Tacoma, WA 2000 Rosemont College, Rosemont, PA Jean Albano Gallery, Chicago, IL 1998 Jean Albano Gallery, Chicago, IL A -
Fall 2012 Classes
Evanston Art Center Fall 2012 Classes 2603 Sheridan Road Evanston, IL 60201 September 10 – December 9, 2012 847.475.5300 www.evanstonartcenter.org EAC MAIN FACILITY 2603 Sheridan Road The only constant is change. Perhaps no Evanston, IL 60201 other endeavor illustrates this point better Tel 847-475-5300 Fax 847-475-5330 www.evanstonartcenter.org than contemporary art. By synthesizing the past with the present and looking EAC AUXILIARY CAMPUS ahead, artists are uniquely able to help us Noyes Cultural Arts Center better visualize and understand the rapidly 927 Noyes Street, Evanston, IL 60201 changing world we live in. Lower Level PARKING The organizations that represent There is a public parking lot adjacent to the building at 2603 contemporary art must also evolve in Sheridan Road. There is also street parking on Central Street order to remain relevant. The Evanston and Lincoln Street. At Noyes Cultural Arts Center there is a public lot adjacent to the building and metered street parking on Art Center is currently in the midst of an Noyes Street. artistic evolution. What does it mean to be a 21st century community arts center? EAC GALLERY & CLASS REGISTRATION HOURS Monday thru Thursday: 9 am - 10 pm How can we best connect with our Friday: 9 am - 5 pm diverse audiences? Can we play a role in Saturday: 9 am - 4 pm. arts education that extends beyond our Sunday: 1 - 4 pm classrooms? What type of facility should we Galleries are free and open to the public. 1st fl oor galleries are handicapped accessible. operate out of and where should it be? This exercise of self-refl ection will ultimately lead NOYES GALLERY HOURS to a more accessible and connected Art Monday - Saturday: 10 am - 7 pm, Sunday: 10 am - 6 pm Center in the near future. -
Art Green Biography
Art Green Biography 1941 1978 Born: Frankfort, Indiana Art Green, Phyllis Kind Gallery, Chicago, February 4– Lives and works in Stratford, Ontario March Art Green, Arts Center Gallery, University of Waterloo, Ontario, February 8–March 4 EDUCATION 1961–1965 1979 School of the Art Institute of Chicago Art Green, Gallery Stratford, Ontario, March 16–April 8 Art Green, Bau-Xi Gallery, Toronto, April 28–May 17 Art Green, Phyllis Kind Gallery, New York, May–June TEACHING 1968–1969 1980 Kendall College, Evanston, Illinois Art Green, Phyllis Kind Gallery, Chicago, March 1969–1971 1981–1982 Nova Scotia College of Art and Design, Halifax Art Green, Phyllis Kind Gallery, Chicago, December 1981–January 1982 1975–1976 University of British Columbia, Vancouver 1983 Art Green, Phyllis Kind Gallery, Chicago, September– 1977–2006 October University of Waterloo, Ontario Art Green, Bau-Xi Gallery, Toronto, April 21–May 10 1986 SELECTED SOLO EXHIBITIONS Art Green, Phyllis Kind Gallery, Chicago, January– 1968 February Art Green, Art Gallery, Kendall College, Evanston, Illinois, October 1991 Doors of Perception, Cambridge Public Library and 1973 Gallery, Cambridge, Ontario, October 10–November Art Green, Owens Art Gallery, Mt. Alison University, 10 Sackville, New Brunswick, March 31–April 21 Art Green, Burnaby Art Gallery, Burnaby, British 1992 Columbia, October 3–28 Art Green: Conflicts and Resolutions, Gallery Stratford, Ontario, September 11–October 25; McLaren Art 1974 Gallery, Barrie, Ontario, September 17–October 31 Art Green, Phyllis Kind Gallery, Chicago, -
Gladys Nilsson Reviewed on Artnet News
Painter Gladys Nilsson Got Her Start as a Member of Chicago’s Hairy Who. Now, at 79, She’s Ready to Shine on Her Own Dual New York shows at Matthew Marks and Garth Greenan explore five decades of her wild, ecstatic paintings. BY CAROLINE GOLDSTEIN FEBRUARY 21, 2020 Plain Air, 2018, acrylic and paper collage on canvas, 40 x 60 inches Gladys Nilsson was beaming. On a recent afternoon the artist—a member of the Chicago group the Hairy Who, a once-fringe movement that’s increasingly beloved—was strolling through the galleries at Matthew Marks and Garth Greenan, admiring the precise curatorial choices in a much-anticipated fifty-year survey of her work. “It’s kind of thrilling really, to see them all in the same place” she told Artnet News, strolling through the dual exhibition, which also includes lesser-known aspects of her practice, like collages and early watercolors. Nilsson herself hasn’t seen many of the works in years, since they’ve been sold off to collectors or, in some cases, been languishing in storage. The Hairy Who collective formed after its members graduated from the Art Institute of Chicago—where Nilsson is now a professor—and included Jim Nutt (Nilsson’s husband), Jim Falconer, Art Green, Suellen Rocca, and Karl Wirsum. It formed out of necessity, when the artists realized there were few places to show their raucous work. With the help of Don Baum, the exhibitions director at the Hyde Park Art Center, the six recent graduates mounted just a handful of shows over a period of four years, but their success was immediate and has proven lasting. -
Upcoming Events Inside the Outside: All Events Are Free and Open to the Public
Upcoming Events Inside the Outside: All events are free and open to the public. Paintings by Richard Loving and Eleanor Spiess-Ferris Related events: 90th Birthday Party & Artist - Story Foraging: Looking at Exhibition Reception and Gallery 4 on-Artist Talk: Frank Piatek the works of Eleanor Spiess- Publication Release Party January 26 – May 4, 2014 and Richard Loving Ferris Sunday, January 26, 3-5 pm Sunday, March 2, 3-5 pm Sunday, April 13, 3-5 pm Longtime colleague of Loving Gavin Van Horn, Director of Copies of the Inside the Out - and Professor of Painting and Cultures of Conservation at side publication will be avail - Drawing at the School of the the Center for Humans & Na - able. Art Institute Frank Piatek will ture, leads a discussion with lead a public conversation curator of the exhibition Aaron with Loving and offer insights Ott and artist Eleanor Spiess- into his long and distinguished Ferris illuminating the multi- Cover: Left: Richard Loving, Fire and career. The event will also cel - faceted narrative imbedded in Smoke , 2008, oil on canvas, 62 x 50 inches; Right: Eleanor Spiess-Ferris, The ebrate Loving’s 90th birthday. the artist’s work. By embracing Chair, 2011, gouache, 22 x 22 inches the three divergent viewpoints of the panelists—philosopher, contemporary art curator, artists—this discussion will show how individual viewers activate and complete the work of Spiess-Ferris by telling our own stories. Each year, the Art Center unveils nearly twenty exhibitions, dedicating at least one show to working with an emerging Chicago curator whose work transgresses or questions traditional curatorial conventions. -
Philip Hanson Gridded Ether
Philip Hanson Gridded Ether November 9 - December 15, 2019 François Ghebaly is proud to announce Gridded Ether, Chicago-based painter Philip Hanson’s first solo exhibition in Los Angeles. Across fifteen shaped canvases, the exhibition delves into Hanson’s unique combination of poetry and painting. Each canvas contains the entirety of a poem, committed in luminous, layered verses across the surface and structured to incite a particular way of both reading and seeing the text. Poems by Emily Dickinson, William Blake, Walt Whitman and William Shakespeare make appearances. Hanson transforms the poems by visualizing their lines in startling and idiosyncratic arrangements that guide the reading eye in curlicue paths up, down, and across the surface of the painting. At times, letterforms gather their own weight and objecthood. Elsewhere, they adorn flowing banners, Grecian columns, and grand marquees. The pictorial space occupied by the poems’ texts equally recalls opera proscenia, store window displays, circus posters, and Piranesi etchings. Lodged across vibratory layers, the words achieve a nearly sonic visuality, whispered or howled as determined by their relative size and compositional placement. As the poet John Yau has noted, it is when Hanson “absorbs the poem’s diagrammatic possibilities into a pictorial possibility that he attains another level, and becomes in effect a visionary painter.”1 These works are the newest in a body of powerful text-based paintings that originated in the mid 1990s. Earlier in his career, Hanson was closely associated with the Chicago Imagists, exhibiting in groundbreaking exhibitions like The False Image at the Hyde Park Art Center in 1968 together with Christina Ramberg, Roger Brown, and Eleanor Dube. -
Industry of the Ordinary
Industry of the Ordinary Adam Brooks, born 1959, New York, New York Mathew Wilson, born 1967, Reading, England Live and work in Chicago, USA and Somerset, England Selected Exhibitions and Performances: Ongoing http://www.industryoftheordinary.com 2019 Ordinary Relic, site specific permanent installation, Chicago Transit Authority, Chicago, Illinois (MW solo) If you've got a blacklist, I want to be on it, Arts Club of Chicago, Chicago, Illinois (solo public performance) 2018 Industry of the Ordinary–Demo(cra)tic, Cuesta College, San Luis Obispo, California (solo show, public art installation and performance) Tourist/Refugee & Genuflect, DePaul Art Museum, Chicago, Illinois (solo installation and performance) Lachrymose, Daley Plaza, Chicago, Illinois (solo public performance) Future History, WERK, Birmingham, England Work in Progress, Chicago Artist’s Coalition, Chicago, Illinois Demo: demolition, Demo projects, Springfield, Illinois 2017 There is Always an Alternative, Platform 102, Moonens Foundation, Brussels, Belgium Inverse Performance Festival, San Luis Obispo, California The Subject Is Chicago, Chicago Cultural Center, Chicago, Illinois History and Forgetting, Silent/Funny, Chicago, Illinois (solo performance sculpture and permanent installation for the City of Chicago Year of Public Art) Body Work, Loyola University Gallery, Chicago, Illinois Rapid Pulse: 5 Years, Defibrillator, Chicago, Illinois 2016 Whiskey and Kisses, Denver Art Museum, Denver, Colorado (solo performance) The Greenlands Project, Birmingham, England (solo residency -
HOW CHICAGO! IMAGISTS 1960S & 70S 15 Mar–27 May 2019 Artists
11 Apr, 6:30–9pm LISTENING SESSION: BODY OF HOW CHICAGO! IMAGISTS 1960s & 70s SOUND 15 Mar–27 May 2019 In this collective listening session, experience an anecdotal retelling of How Chicago! through sound and Artists: Roger Brown, Sarah Canright, Jim Falconer, the affinities between a group of divergent artists who storytelling, shaped by the musical choices of Rose Ed Flood, Art Green, Philip Hanson, Gladys Nilsson, had a lasting impact on 20th century art. Dagul, Haseeb Iqbal and Ifeoma Orjiekwe. Each has Jim Nutt, Ed Paschke, Christina Ramberg, compiled a set of tracks, presented as an ‘audio tour’. Suellen Rocca, Barbara Rossi, Karl Wirsum and Curated by Sarah McCrory (Director, Goldsmiths CCA) Together these form personal responses to the artworks Ray Yoshida. and Rosie Cooper (Head of Exhibitions, De La Warr on show in the exhibition, used to explore thematics of Pavilion). humour, vernacular culture, friendship and collaboration Goldsmiths CCA presents the first significant exhibition that run throughout the Imagists’ oeuvre.* in the UK in almost 40 years of work by the Chicago How Chicago! is organised by Hayward Gallery Imagists. Igniting the Chicago art scene in the 1960s, Touring in collaboration with Goldsmiths Centre for Wednesday’s 2pm & Saturday’s 4pm EXHIBITION the artists associated with ‘Chicago Imagism’ worked Contemporary Art and De La Warr Pavilion. It is TOURS across painting, sculpture, drawing, and printmaking, supported by the Terra Foundation for American Art Join members of CCA’s curatorial team for a 45 min creating distinctive works that were irreverent and often as part of Art Design Chicago, an initiative exploring guided tour of our current exhibitions, including a brief visceral.