Imagists - Chicago Artists That Put the City on the Art Map
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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. -
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. -
Pat Adams Selected Solo Exhibitions
PAT ADAMS Born: Stockton, California, July 8, 1928 Resides: Bennington, Vermont Education: 1949 University of California, Berkeley, BA, Painting, Phi Beta Kappa, Delta Epsilon 1945 California College of Arts and Crafts, summer session (Otis Oldfield and Lewis Miljarik) 1946 College of Pacific, summer session (Chiura Obata) 1948 Art Institute of Chicago, summer session (John Fabian and Elizabeth McKinnon) 1950 Brooklyn Museum Art School, summer session (Max Beckmann, Reuben Tam, John Ferren) SELECTED SOLO EXHIBITIONS 2017 Bennington Museum, Bennington, Vermont 2011 National Association of Women Artists, New York 2008 Zabriskie Gallery, New York 2005 Zabriskie Gallery, New York, 50th Anniversary Exhibition: 1954-2004 2004 Bennington Museum, Bennington, Vermont 2003 Zabriskie Gallery, New York, exhibited biennially since 1956 2001 Zabriskie Gallery, New York, Monotypes, exhibited in 1999, 1994, 1993 1999 Amy E. Tarrant Gallery, Flyn Performing Arts Center, Burlington, Vermont 1994 Jaffe/Friede/Strauss Gallery, Dartmouth College, Hanover, New Hampshire 1989 Anne Weber Gallery, Georgetown, Maine 1988 Berkshire Museum, Pittsfield, Massachusetts, Retrospective: 1968-1988 1988 Addison/Ripley Gallery, Washington, D.C. 1988 New York Academy of Sciences, New York 1988 American Association for the Advancement of Science, Washington, D.C. 1986 Haggin Museum, Stockton, California 1986 University of Virginia, Charlottesville, Virginia 1983 Image Gallery, Stockbridge, Massachusetts 1982 Columbia Museum of Art, University of South Carolina, Columbia, -
(Art)N VIRTUAL PHOTOGRAPHY PHSCOLOGRAMS
(art)n WWW.ARTN.COM VIRTUAL PHOTOGRAPHY PHSCOLOGRAMS Museum News: Catalogue Features Museum Masterworks Winter 2005 In celebration of recent acquisitions and a stunning new facility, the Fred Jones Jr. Museum of Art, in conjunction with the University of Oklahoma Press, is offering art lovers a catalogue featuring works from the museum’s rich and diverse permanent collection. Combining more than 270 full-color reproductions with explanatory text, the book highlights 101 of the museum’s most important holdings as well as related works by the artists and their peers. “This book celebrates one of the nation’s finest university art collections,” says Eric M. Lee, museum director and co- author with Rima Canaan, of Selected Works: The Fred Jones Jr. Museum of Art at the University of Oklahoma. “More than half of the featured works in the catalogue have been acquired by the museum in the past decade. With the new building opening in January, it is the perfect time to showcase our permanent collection. We are extremely grateful to the Jones family for making this publication possible.” The catalogue is dedicated to Mary Eddy and Fred Jones, who built the museum’s original facility in 1971 as a E L LE N S AN D O R D I RE C T O R (art)n WWW.ARTN.COM VIRTUAL PHOTOGRAPHY PHSCOLOGRAMS memorial to their son, Fred Jones Jr., who died in a plane crash during his senior year at OU. The family’s tradition of support continues through the Jones’ daughter, Marilyn Jones Upsher, and grandsons Fred Jones Hall, Brooks Hall and Kirkland Hall, who provided funding for the catalogue. -
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. -
Summer 2011 Classes June 13 – August 21
Evanston Art Center ADULT CLASSES Ceramics Digital Arts Drawing and Painting Express Figure Sculpture and Sculpture Immersion Week Jewelry and Metalsmithing Metal Sculpture Photography Printmaking Workshops YOUTH AND FAMILY Preschool Middle School High School Family Workshops Summer Camps June 13 – August 26 Summer 2011 Classes 2603 Sheridan Road Evanston, IL 60201 June 13 – August 21 847.475.5300 www.evanstonartcenter.org ear Friends, MISSION This is my last letter to you as EAC president, and, guessing The Evanston Art Center, founded in 1929, is that you might not remember all the things I have said and dedicated to fostering the appreciation and written over the past four years, please allow me a bit of expression of the visual arts among the diverse repetition and a bit of reminiscing. audiences of the North Shore and Greater D Chicago areas. The Evanston Art Center achieves its mission through studio art classes, When I retired from the world of symphonies and operas I breathed a sigh exhibitions, outreach activities, educational of gratitude for the wonderful world I had inhabited for forty-fi ve years programs, and publications, all of which are (can you imagine actually getting paid for conducting “La Boheme” ), and, designed to engage and enrich the individual I breathed another sigh of relief for fi nally being done with organizational and the community. fi nancial anxiety. Let someone else worry about the budget In carrying out this mission, the Evanston Art Center strives to encourage lifelong learning I innocently knocked on the doors of the in the arts and to make the art of our time an Evanston Art Center, and signed up for a accessible and integral part of people’s lives. -
Ed Paschke: Visionary from Chicago, 1968–2004 17 January–5 July 2015
Ashmolean Museum of Art and Archaeology University of Oxford press release Beaumont Street Oxford OX1 2PH www.ashmolean.org 21 January 2015, for immediate release: Ed Paschke: Visionary from Chicago, 1968–2004 17 January–5 July 2015 Ed Paschke: Visionary from Chicago, 1968–2004 is the third in the Ashmolean’s series of exhibitions of post- war and contemporary art presented in collaboration with the Hall Art Foundation (USA). The exhibition includes an important early work borrowed from the Ed Paschke Foundation, along with four paintings lent by the artist Jeff Koons. Koons, who studied with Paschke and was hired as Paschke’s studio assistant in 1974, has contributed an interview with exhibition curator, Sir Norman Rosenthal, to the exhibition catalogue. Part of a group of artists known as the Chicago Imagists who emerged in the 1960s, Paschke (1939–2004) was strongly influenced by media imagery and popular culture – newspapers, magazines, advertisements, film and television. In works like Hilda (1973) and Mannish Boy (1970), his brilliantly coloured, provocative and surreal paintings of circus freaks, tattooed ladies, transvestites, wrestlers and hairy wingtip shoes, explore the underbelly of urban life and a dark side of Pop Art. While Paschke’s later works such as Voulez-Vous Danser? (Would You Ed Paschke (1939–2004) Mannish Boy, 1970 Like to Dance?) (1989) depict cultural icons like the Mona Lisa, © Ed Paschke his layered, mask-like abstraction of the face, use of electronic colours and neon-bright static lines, differs drastically from the treatment of similar subjects by his New York contemporaries, Andy Warhol, James Rosenquist and Robert Rauschenberg. -
Art for People's Sake: Artists and Community in Black Chicago, 1965
Art/African American studies Art for People’s Sake for People’s Art REBECCA ZORACH In the 1960s and early 1970s, Chicago witnessed a remarkable flourishing Art for of visual arts associated with the Black Arts Movement. From the painting of murals as a way to reclaim public space and the establishment of inde- pendent community art centers to the work of the AFRICOBRA collective People’s Sake: and Black filmmakers, artists on Chicago’s South and West Sides built a vision of art as service to the people. In Art for People’s Sake Rebecca Zor- ach traces the little-told story of the visual arts of the Black Arts Movement Artists and in Chicago, showing how artistic innovations responded to decades of rac- ist urban planning that left Black neighborhoods sites of economic depres- sion, infrastructural decay, and violence. Working with community leaders, Community in children, activists, gang members, and everyday people, artists developed a way of using art to help empower and represent themselves. Showcas- REBECCA ZORACH Black Chicago, ing the depth and sophistication of the visual arts in Chicago at this time, Zorach demonstrates the crucial role of aesthetics and artistic practice in the mobilization of Black radical politics during the Black Power era. 1965–1975 “ Rebecca Zorach has written a breathtaking book. The confluence of the cultural and political production generated through the Black Arts Move- ment in Chicago is often overshadowed by the artistic largesse of the Amer- ican coasts. No longer. Zorach brings to life the gorgeous dialectic of the street and the artist forged in the crucible of Black Chicago. -
Art-Related Archival Materials in the Chicago Area
ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest -
Carving out a Place for Himself
Illinois Wesleyan University Magazine, 2002-2017 Volume 18 Issue 1 Spring 2009 Article 11 Spring 2009 Carving out a place for himself Amelia Benner Illinois Wesleyan University, [email protected] Follow this and additional works at: https://digitalcommons.iwu.edu/iwumag Recommended Citation Benner, Amelia (2009) "Carving out a place for himself," Illinois Wesleyan University Magazine, 2002-2017: Vol. 18 : Iss. 1 , Article 11. Available at: https://digitalcommons.iwu.edu/iwumag/vol18/iss1/11 This is a PDF version of an article that originally appeared in the printed Illinois Wesleyan University Magazine, a quarterly periodical published by Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the University and/or the author of this document. Carving out a place for himself Goldstein makes his mark in Chicago by fusing artistic vision and carpentry skill By Amelia Benner Although Jeffrey Goldstein ’80 is now proud to call himself both an artist and a craftsman, it’s a role he long resisted. A fourth-generation carpenter who majored in art at Illinois Wesleyan, he loaded up his 1967 Dodge Dart after graduation and moved to Chicago to launch his art career. “I swore up to that point that being a carpenter was something I would never do,” Jeffrey says. “I looked at swinging a hammer as a temporary setback based on a genetic family defect.” Realizing he couldn’t pay his bills on art alone, Jeffrey Jeffrey Goldstein (left) and friend Ed Paschke at launched Carpentry-Artworks in Chicago. He began with small the famed artist’s Chicago studio. -
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. -
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.