Takeover The Hyde Park Art Center April 24 – June 11, 2006 Curated by Allison Peters Lead Sponsor: 5020 SOUTH CORNELL, CHICAGO, IL 60615 TEL. 773.324.5520 WWW.HYDEPARKART.ORG COVER: Random Sky, Iñigo Manglano-Ovalle, Mark Hereld, and Rick Gribenas 2 » 3 Floor 1 S. Short S. Short S. Short S. Short M.W. Burns A. Wilson/ M.W. Burns M.W. Burns D. Bishop S. Keeler Goat Island S. Decker J. Fish J. DeGolier J. Roberts J. Roberts D. Wang D. Wang C. Jones B. Foch A. Kunz P. McGee C. Alvarez J. Livingstone K.J. Marshall A. Nereim N. Levy J. Reeder D. Akpem A. Mers B. Foch J. Dunning J.A. Chávez N. Levy A. Demers J. Ledgerwood B. Nicholson M.R. Schwartz J.A. Chávez J. Fish J. Fish K. Rosen J. Hashimato Industry of D. Frid the Ordinary M. Gallay D. Wang A. Ruttan P. Helguera L. Davis I. Manglano-Ovalle/ S. Wolniak K. Reimer M. Hereld/ R. Gribenos N 4833rph (Art Resource Center) 4 » 5 Allison Peters Director of Exhibitions “Art is a state of encounter.” — Nicolas Bourriaud, Relational Aesthetics Exploration teaches us to learn ums, university galleries and cultural show large-scale digital artworks, to asked to assume control of the build- the world at large. tive thoughts on the building being through traversing boundaries and institutions that successfully com- be viewed from the street as well as ing as a medium for an artwork or For 68 years, the mission of the Art completed on time. The cohesive going where we haven’t gone before. plete their respective missions to col- the gallery floor. series of artworks. Artists were invit- Center has been to stimulate and teamwork of the Hyde Park Art With the earth as populated as it is lect and preserve culture and do not Increasing in size from a 7,000 ed to correspond, utilize or decon- sustain the visual arts in Chicago. By Center staff made the exhibition run today, territorial exploration isn’t need duplication. This new facility square foot space to a 32,000 square struct the Art Center both by physi- strengthening networks between as smoothly as possible under the what it used to be. Instead, we look had to provide the art community foot space, the Art Center is now a cally employing the materials of the artists and the community in addition leadership of Chuck Thurow. to our immediate surroundings to with something fresh. Local architect, museum-sized institution that incor- building or conceptually by address- to artists from Chicago and around Additionally, Christopher Hammes encounter new ways of understand- Doug Garofalo was selected to porates a studio art school and a ing the mission behind the institu- the world, the Art Center continues and Philip Nadasdy made art installa- ing the world around us. Since mod- design a building that would high- kunsthalle personality with decidedly tion. In actuality, the artists were only to provide the necessary local, tion look easy, while the Garofalo ernism, art has emphasized the need light accessibility between artists and no art collection to maintain or given the floor plans and a prelimi- national and international platform to Architects, Doug Garofalo and for us to temporarily exit the com- the public, transparency of the exhibit. Most importantly, the Art nary walk-thru of the building while help artists develop their practice in Andrew Schachman kindly fielded forts of what we think we know and process of art making and exhibiting, Center contradicts the notion of a under construction. Due to construc- Chicago with a state-of-the-art venue countless questions for installation sets up an experience—mental, emo- and encourage experimentation with museum as a mausoleum that safely tion delays, artists were unable to like no other. without complaint. I am grateful to tional, and/or physical—that directly technology and concepts. preserves accepted constructs of art see the building completed until after Jason Pickleman, Dan Marsden and effect, and simultaneously isolate, Incorporating the original brick struc- and culture and instead is an institu- the exhibition had opened. For many Acknowledgements: photographer Joeff Davis for pulling the individual. Adversely, art also has ture of the former army warehouse tion as a conduit for expression, reac- of the artists, this situation tested together the postcards and (finally) the ability to connect people and building owned by the University of tion and creation of the here and their strengths and forced them to In the spirit of transparency, an exhi- the catalogue for such a momentous grow creative communities. The state Chicago, Garofalo inserted large now via the visual arts. This ideologi- approach their work in a different bition like Takeover does not happen occasion. A special thank you goes of encounter that Bourriaud writes glass windows both inside and out- cal structure aims to question how manner causing an unbelievable and without the hard work and valuable to the students at the School of the about is dependent upon an element side of the building to provide vistas art is exhibited and experiments with gratifying learning experience once support of many groups and individ- Art Institute for producing the educa- of surprise, participation and human that facilitate an encounter between alternative definitions of what art is all was said and done. The state- uals. To begin, it would have been tional brochure: Jennifer Dominiak, interaction. The Hyde Park Art Center all kinds of Art Center users, from and how it reflects the culture in ments describing the artworks in this impossible to produce this exhibition Lisa Junkin, Carol Ng, Junko Sano. has been a space for all of the above students, artists, teachers, parents, progress, and at times, in decline. catalogue have been provided by the without the support of the Sara Lee And last but certainly not least, to all since its inception in 1939, however, it staff and visitors. There are several The Art Center creates a social space artists in effort to preserve their indi- Foundation, The Andy Warhol of the artists—you persevered and never had the architecture to support other features of the building, like 5 where systems of exchange are inter- vidual voice in such a full exhibition Foundation for the Visual Arts, ploughed through the restraints and its sensibility until now. metal garage-style doors that open personal and not economic – the Artists were selected based on two Robert Wislow and U.S. Equities, Inc. hazards of construction to make your In 2000, the Hyde Park Art up to the main gallery from the side- profit comes in the form of building qualities: a proven ability to success- and the hundreds of Art Center contribution to the exhibition the Center’s Board of Directors and the walk, and a circulating hallway sys- interpersonal relationships – which fully produce interesting projects donors and friends. Additionally, best possible. It was a true pleasure Executive Director, Chuck Thurow, set tem that aids discovery. The signa- proposes a unique and challenging responding to a location or an attrac- under the council of a first-rate to work with you and I look forward out to find a building that would ture feature is a 10 x 80 foot glass position in a commercially dominated tion toward the challenge of making Exhibition Committee led by to working with you more in the embody a new type of contemporary façade that functions as an exhibition art world. architecture a relevant part of their Chairwoman, Pat Swanson, the list of years to come. art institution – one that serves as an space named The Jackman In the long tradition of the non-tra- practice. From emerging to estab- invited artists excelled in ability, tal- incubator for collaboration between Goldwasser Catwalk Gallery. This ditional role of the Art Center, the lished careers, Takeover showcased ent and patience. The Hyde Park Art the public, students, artists, the gallery is outfitted with a system of inaugural exhibition of the building, the widespread talent in Chicago and Center Board, especially the Board architecture and the administration. high range projectors, computers, titled Takeover, presented thirty-nine the endowment of Chicago-rooted Chair, Deone Jackman and Honorary Chicago has many high quality muse- scrims and screens used primarily to new artworks by forty-six artists artists that now inhabit and influence Chair, Ruth Horwich, always had posi- 6 » 7 Pat Swanson Judy E. Schaefer Chair, Exhibitions Committee Director, Sara Lee Foundation THE HYDE PARK ART Art Center—it could be inside, out- The Sara Lee Foundation is pleased CENTER’S Exhibitions Committee side, upstairs, downstairs, on the to partner with the Hyde Park Art floor, on the ceilings, in the rafters. Center (HPAC) as the Lead Sponsor is structured to provide honest feed- These intrepid artists agreed to cre- of Takeover, which featured new back on proposals as well as ideas ate work in this environment. Against work by emerging and established and suggestions. This committee enormous uncertainties, including artists as the inaugural exhibit in searches, debates, agrees, disagrees, making decisions about space while HPAC's new facility. and advises. We include Art Center the space was under construction The much needed move to a new board members and community and facing shifting time lines, these building with modern amenities, larg- members. All of us have opinions artists have created works that are er spaces and additional community about contemporary art and each of varied, unexpected, and simply resources is important, but it is the us is an artist, educator, curator, or remarkable. This exhibition is a real reaffirmation of HPAC's continual administrator.