Tuesday, May 29, 2007
Thursday, May 24, 2007
This Weekend
Each copy of the show's catalog is uniquely hand-colored
Be sure to check out KlusterCRUSTS, the “final” exhibition at Butcher Shop Dogmatic. After that Michael Thomas, who's run Dogmatic in its various incarnations for about a decade, heads to New York. Artists Carrie Ruckel and Karen Patzke are planning on continuing the program. And ostensibly Thomas will be back in a couple years. At any rate, put together by Paul Nudd, this is an excellent show, and a fitting send off (through Saturday, June 9th). The show centers around the mad tinkering inventions of Nick Black. His kinetic art invokes nightmare visions of Paul McCarthy, Jean Tingley, Jason Rhodes and Jeff Koons, with a little real life Rube Goldberg thrown in too. Other artists include Mariano Chavez, Ryan Christian, Chris Kerr, Matthew Steinke & Joseph Cassan + Daniel Bruttig
1319 W Lake ST
Chicago, IL 60607
Regular hours are SAT 12NOON - 6P
> BSD WEBSITE
Also, swing by the MCA for the Rudolf Stingel show in its final weekend (through Sunday, the 27th). It is one of the best exhibitions I’ve seen there. It is sure to amaze and delight, or annoy and make you say “that’s not painting.”
Museum of Contemporary Art
220 E Chicago AVE
Chicago, IL 60611-2643
This FRI, SAT & SUN 10A - 5P
> STINGEL FLICKR PHOTOSET
> MCA SITE
Wednesday, May 23, 2007
New Art in Chicago
Last week The Society for Contemporary Art voted on the four pieces up for selection for their 2007 acquisition (number five, James Coleman, unfortunately didn't pan out). They went with Grater 2, by Rosemarie Trockel. Usually, all the pieces will be purchased, as is common in situations like this. One will be officially selected, the others with be purchased by various collectors in the SCA and they will gift them to The Art Institute.
Rosemarie Trockel • Grater 2 • 2006 • ceramics & platinum • 127 x 102 x 2 inches
(322.6 x 259.1 x 5.1 cm) • from the Gladstone gallery site
This is interesting piece from an artist that is always coming up with something new. From portraits of dogs, to knitted sky masks and socks as sculpture to knitted fabrics stretched on a frame as painting, Tockel seems all over the map. But the more work of hers you see, the videos, the architectural installations, works on paper and on, the more it some how all fits. This piece, seems very different for her, but is interesting nonetheless. I first really got into her work when I saw her marvelous installation at the Dia Center when it was still running in Chelsea. You can read the piece I did about, as a columnist for the School of the Art Institute’s award-winning, no really, Fnews Magazine HERE
On Monday, Modern Art Notes reported that a few blocks up Michigan Avenue the Museum of Contemporary Art just acquired Ball System by Liz Larner from her first gallery show in 1988. Larner is no stranger to the MCA, in 2002 her sculpture 2001 was displayed in front of the MCA along with some interactive magnetic sculptures in the Education Center Lobby. Recently Larner she sat on a panel in conjunction with the Lee Bontecou retrospective.
Liz Larner • installation View at Museum of Contemporary Art, Los Angeles • 2001 • 2001 • Edition of 3 (each unique to it's color) • 144 x 144 x 144 inches
Rosemarie Trockel • Grater 2 • 2006 • ceramics & platinum • 127 x 102 x 2 inches
(322.6 x 259.1 x 5.1 cm) • from the Gladstone gallery site
This is interesting piece from an artist that is always coming up with something new. From portraits of dogs, to knitted sky masks and socks as sculpture to knitted fabrics stretched on a frame as painting, Tockel seems all over the map. But the more work of hers you see, the videos, the architectural installations, works on paper and on, the more it some how all fits. This piece, seems very different for her, but is interesting nonetheless. I first really got into her work when I saw her marvelous installation at the Dia Center when it was still running in Chelsea. You can read the piece I did about, as a columnist for the School of the Art Institute’s award-winning, no really, Fnews Magazine HERE
On Monday, Modern Art Notes reported that a few blocks up Michigan Avenue the Museum of Contemporary Art just acquired Ball System by Liz Larner from her first gallery show in 1988. Larner is no stranger to the MCA, in 2002 her sculpture 2001 was displayed in front of the MCA along with some interactive magnetic sculptures in the Education Center Lobby. Recently Larner she sat on a panel in conjunction with the Lee Bontecou retrospective.
Liz Larner • installation View at Museum of Contemporary Art, Los Angeles • 2001 • 2001 • Edition of 3 (each unique to it's color) • 144 x 144 x 144 inches
Tuesday, May 22, 2007
60 Thousand Dollar Rembrandt Etching Stolen
The Chicago Sun-Times reported this morning, as only it can, with the lead off sentence, “One of the burglars looked like Mike Ditka, but shorter.” Way to bring it to the level of the common man.
“Adam and Eve” 1638 was stolen from Hilligoss Gallery on Sunday. The other crook was, “...a 5-foot-4 blonde in her 40s. She wore a tan trench coat straight out of film noir,” noted the Sun-Times. “The purloined 6- by 4- inch etching was in a 24- by 26- inch frame.”
The killers, I mean robbers, were very quick and were seen on security tapes casing the joint, I mean gallery. Hopefully the piece will be recovered.
Image from the Art Institute's collection
“Adam and Eve” 1638 was stolen from Hilligoss Gallery on Sunday. The other crook was, “...a 5-foot-4 blonde in her 40s. She wore a tan trench coat straight out of film noir,” noted the Sun-Times. “The purloined 6- by 4- inch etching was in a 24- by 26- inch frame.”
The killers, I mean robbers, were very quick and were seen on security tapes casing the joint, I mean gallery. Hopefully the piece will be recovered.
Image from the Art Institute's collection
Wednesday, May 16, 2007
Fair to Moderate
Here's a roundup and breakdown of Art Chicago and its surrounding fairs that took place the last weekend of April. I've been mulling it all over these past few weeks. I figured I may as well publish my thoughts.
The amount of events going on in the city that weekend is to be commended. From Version to Artropolis, to gallery openings, parties and symposiums, there were ten times more options than time to do them. That was a good vitality to have, but it also made me wish it was more spread out. It would be nice for there to be a variety of interesting events more than one weekend a year in Chicago.
WHAT'S IN A NAME?
Artropolis is a bad name. People mainly made fun of it and just called the whole thing Art Chicago anyway. As they should. That is the central fair, and it should remain about that. Next year side shows that proved what a total and complete job the Merchandise Mart can do should be jettisoned. For sure the antiques show and probably the outsider art show. Why not do those other weekends? Although it is extremely unlikely, the best move would be to try to keep all the interior design and luxury property tie-ins to a a minimum. To be fair, the home furnishings were pretty unobtrusive this year, but still.
CATALOG
That was probably the saddest part of Art Chicago. The images were washed out and way too many were pixelated. That’s one thing Blackman got right every time. The matte finish cover was much nicer than this years glossy, too.
The Mart should redesign the whole visual identity of the show. The stripes and word bubble worked to distance the fair from the old days, but they are already ugly and out of date. That word bubble totally clashes with the stripes, and it is one busy mess. I’m sure the Armory people will suggest this, but it would be interesting to do something like they do. Get a new look each year, working with a different artist each time around. Just so long as it isn’t Tony Fitzpatrick.
CITY OVERRUN BY HEARTS, ROBES
In addition to fair goers being terrorized by sloppy, gaudy Jim Dine prints, many were assaulted by high school art project style self portraits by none other than Chuck Close. It was really out of hand, and I can guess these were brought as sure fire sales to midwest buyers who wanted something expensive, but not too expensive, and something contemporary, but nothing weird. it was also an insult. Did these galleries think they’d unload this shit here? It was probably a safe bet.
SAFETY
There was a lot of decent art. This produced a feeling of uneasiness. I kept having the urge to exclaim what David Bowie as Andy Warhol said in Basquiat, “I can’t even see what’s good anymore!” This happens with all fairs. But what doesn’t happen with all fairs, at least the major front-runners, is a placid safety. Nothing in Artropolis shocked, stunned, took a risk, failed spectacularly or remotely dared.
A lot of stuff sucked, but as crammed fairs have the tendency to do, bad stuff was elevated to decent, and good stuff was lowered to decent. Part of what caused this were all the second market dealers. Galleries you’ve never heard of selling famous art that is old do not inspire notions of contemporanity in visitors. While Tom Wesselman is technically contemporary in that he’s from the 60’s, his work is in no way close to be current or new. To be vital, fairs have to have a lot of spaces showing current and new work. This isn’t a rule, it is just a condition and trend that has arisen. No one started sassing off that art fairs are the new biennials because of minor Lichtensteins changing hands.
There is of course value to having second market galleries at a show. How often do you see a random Cornell box for the brief period it leaves one collection and enters another?
Gertrude Abercrombie • (American 1909-1977) • untitled (Cat with Portrait of Abraham Lincoln)
1955 • oil on Masonite • 10 x 8 inches
This quirky painting at the Robert Henry Adams Fine Art booth really caught my eye. I’ve been thinking about it fondly since I saw it.
SCIENCE FAIR
The Artist Project needs to be dumped, or seriously overhauled for next year. There is nothing worse than charging an artist one grand to sit alone in a booth with their own work and try to sell it. It is humiliating and embarrassing for everyone involved. By all means, un or underrepresented artists should be given a chance to get some exposure and attention, but not like this. It was very uncomfortable. There was some good stuff, but a lot of it was ridiculous. I wonder who didn’t get in, if this is what made it. A better scenario would be to have a curated or juried show, and then have reps on hand to provide interested parties with info on the artists and work.
DIE BRÜCKE
The Bridge Art Fair, whether it is true or not, gave the distinct impression (one that was well circulated) that if you could pay up, you were in. To a degree, having an open admission policy is good for bringing in a wide range of art, but a line needs to be drawn somewhere.
On it’s spending spree acquiring Volta and Armory(sort of) fairs, The Mart offered to buy out Bridge. It’s owner, Michael Workman, declined, why wouldn’t he? The Mart allegedly informed Bridge they weren’t welcome next year. So hopefully this leads to an interesting scenario: Next year Bridge sets up camp in an alternate location, and The Mart invents their own young art fair. This would be a very good for emerging galleries and artists. You have competition and choice. The Mart could learn from its big mistake this year. Instead of cutting deals with choice young galleries showing work that would bring “street cred” some of that currency mentioned above, and wipe off some of the dust clinging to the many Dines, Closes and Duchamp editions, they shooed them off onto Bridge. Galleries like Gallery Paule Anglim, Rhona Hoffman, Kavi Gupta, Mixed Greens, Roebling Hall, Jack Shainman & Steven Wolf Fine Arts, were all good selections with strong presentations at Art Chicago. This should be built on.
Cornelius Völker • Trash • 2006 • oil on canvas
This painting by Cornelius Völker at the Galerie Martina Detterer booth caught my attention, and since seeing it, I haven’t been able to stop thinking about it. Except when I am thinking about the cat and Abe Lincoln painting.
All in all, Artropolis and everything else, the endless parade of events all of the city, was a good thing. I saw some interesting stuff and found some new artists and galleries to keep an eye on. If nothing else, that last weekend in April gave everyone something compelling to talk about.
The amount of events going on in the city that weekend is to be commended. From Version to Artropolis, to gallery openings, parties and symposiums, there were ten times more options than time to do them. That was a good vitality to have, but it also made me wish it was more spread out. It would be nice for there to be a variety of interesting events more than one weekend a year in Chicago.
WHAT'S IN A NAME?
Artropolis is a bad name. People mainly made fun of it and just called the whole thing Art Chicago anyway. As they should. That is the central fair, and it should remain about that. Next year side shows that proved what a total and complete job the Merchandise Mart can do should be jettisoned. For sure the antiques show and probably the outsider art show. Why not do those other weekends? Although it is extremely unlikely, the best move would be to try to keep all the interior design and luxury property tie-ins to a a minimum. To be fair, the home furnishings were pretty unobtrusive this year, but still.
CATALOG
That was probably the saddest part of Art Chicago. The images were washed out and way too many were pixelated. That’s one thing Blackman got right every time. The matte finish cover was much nicer than this years glossy, too.
The Mart should redesign the whole visual identity of the show. The stripes and word bubble worked to distance the fair from the old days, but they are already ugly and out of date. That word bubble totally clashes with the stripes, and it is one busy mess. I’m sure the Armory people will suggest this, but it would be interesting to do something like they do. Get a new look each year, working with a different artist each time around. Just so long as it isn’t Tony Fitzpatrick.
CITY OVERRUN BY HEARTS, ROBES
In addition to fair goers being terrorized by sloppy, gaudy Jim Dine prints, many were assaulted by high school art project style self portraits by none other than Chuck Close. It was really out of hand, and I can guess these were brought as sure fire sales to midwest buyers who wanted something expensive, but not too expensive, and something contemporary, but nothing weird. it was also an insult. Did these galleries think they’d unload this shit here? It was probably a safe bet.
SAFETY
There was a lot of decent art. This produced a feeling of uneasiness. I kept having the urge to exclaim what David Bowie as Andy Warhol said in Basquiat, “I can’t even see what’s good anymore!” This happens with all fairs. But what doesn’t happen with all fairs, at least the major front-runners, is a placid safety. Nothing in Artropolis shocked, stunned, took a risk, failed spectacularly or remotely dared.
A lot of stuff sucked, but as crammed fairs have the tendency to do, bad stuff was elevated to decent, and good stuff was lowered to decent. Part of what caused this were all the second market dealers. Galleries you’ve never heard of selling famous art that is old do not inspire notions of contemporanity in visitors. While Tom Wesselman is technically contemporary in that he’s from the 60’s, his work is in no way close to be current or new. To be vital, fairs have to have a lot of spaces showing current and new work. This isn’t a rule, it is just a condition and trend that has arisen. No one started sassing off that art fairs are the new biennials because of minor Lichtensteins changing hands.
There is of course value to having second market galleries at a show. How often do you see a random Cornell box for the brief period it leaves one collection and enters another?
Gertrude Abercrombie • (American 1909-1977) • untitled (Cat with Portrait of Abraham Lincoln)
1955 • oil on Masonite • 10 x 8 inches
This quirky painting at the Robert Henry Adams Fine Art booth really caught my eye. I’ve been thinking about it fondly since I saw it.
SCIENCE FAIR
The Artist Project needs to be dumped, or seriously overhauled for next year. There is nothing worse than charging an artist one grand to sit alone in a booth with their own work and try to sell it. It is humiliating and embarrassing for everyone involved. By all means, un or underrepresented artists should be given a chance to get some exposure and attention, but not like this. It was very uncomfortable. There was some good stuff, but a lot of it was ridiculous. I wonder who didn’t get in, if this is what made it. A better scenario would be to have a curated or juried show, and then have reps on hand to provide interested parties with info on the artists and work.
DIE BRÜCKE
The Bridge Art Fair, whether it is true or not, gave the distinct impression (one that was well circulated) that if you could pay up, you were in. To a degree, having an open admission policy is good for bringing in a wide range of art, but a line needs to be drawn somewhere.
On it’s spending spree acquiring Volta and Armory(sort of) fairs, The Mart offered to buy out Bridge. It’s owner, Michael Workman, declined, why wouldn’t he? The Mart allegedly informed Bridge they weren’t welcome next year. So hopefully this leads to an interesting scenario: Next year Bridge sets up camp in an alternate location, and The Mart invents their own young art fair. This would be a very good for emerging galleries and artists. You have competition and choice. The Mart could learn from its big mistake this year. Instead of cutting deals with choice young galleries showing work that would bring “street cred” some of that currency mentioned above, and wipe off some of the dust clinging to the many Dines, Closes and Duchamp editions, they shooed them off onto Bridge. Galleries like Gallery Paule Anglim, Rhona Hoffman, Kavi Gupta, Mixed Greens, Roebling Hall, Jack Shainman & Steven Wolf Fine Arts, were all good selections with strong presentations at Art Chicago. This should be built on.
Cornelius Völker • Trash • 2006 • oil on canvas
This painting by Cornelius Völker at the Galerie Martina Detterer booth caught my attention, and since seeing it, I haven’t been able to stop thinking about it. Except when I am thinking about the cat and Abe Lincoln painting.
All in all, Artropolis and everything else, the endless parade of events all of the city, was a good thing. I saw some interesting stuff and found some new artists and galleries to keep an eye on. If nothing else, that last weekend in April gave everyone something compelling to talk about.
Thursday, May 10, 2007
"Free" "Original" Art by Gilbert & George
Art as Authority alerted me to the unique "giveaway" of Gilbert & George's art on the internet. Until about 5:30P Central Time, you'll be able to download hi-res panels of a piece entitled Planed by the art team. Which you then print out and assemble. So it involves some work on your end. And some A4 sized paper. Does it still count if you resize it for US Letter? The implications of this project are astronomical! Although it is only available for a short time, it is an unlimited edition in a very unique way. And requires viewer participation to be realized. We can play the studio assistant, preparator, and maybe curator or dealer, if you decide to install and frame it.
There is always a constant interest hanging around the art world in ephemera, catalogs, invitations, hand-outs, buttons, stickers and so on. Artists like Felix Gonzalez-Torres get caught up in it by making work that is disbursed through out the public freely. Of course the piece is the stack of paper, or the pile of candy, but what does it mean to collect a sheet for yourself? What if you pocket some candy? Shows of historical ephemera are always being organized, particularly from movements like Dada, Fluxus, and so on. Ephemera also plays an important part in scholarly exhibitions, placed on view in vitrines alongside Picassos and Renoirs is massive blockbusters. So Gilbert & George’s Planed, is a new twist on this peripheral aspect of art.
You can get started on the crown jewel of your artist ephemera collection HERE
There is always a constant interest hanging around the art world in ephemera, catalogs, invitations, hand-outs, buttons, stickers and so on. Artists like Felix Gonzalez-Torres get caught up in it by making work that is disbursed through out the public freely. Of course the piece is the stack of paper, or the pile of candy, but what does it mean to collect a sheet for yourself? What if you pocket some candy? Shows of historical ephemera are always being organized, particularly from movements like Dada, Fluxus, and so on. Ephemera also plays an important part in scholarly exhibitions, placed on view in vitrines alongside Picassos and Renoirs is massive blockbusters. So Gilbert & George’s Planed, is a new twist on this peripheral aspect of art.
You can get started on the crown jewel of your artist ephemera collection HERE
Sunday, May 06, 2007
Spectra can tell astronomers what stars are made of and how hot they are
There's always more to do, than time to do it. Here's a little something to keep you busy. I have a review of Carrie Gundersdorf show at Shane Campbell Gallery, Any sufficiently advanced technology is
indistinguishable from magic in this week's TimeOut Chicago. So pick up a copy, or follow the link.
> REVIEW
> SHANE CAMPBELL
There's also some more info on the Driehaus Award below.
Friday, May 04, 2007
The Richard H. Driehaus Foundation 2007 Individual Artists Awards
The recipients of the 2007 Richard Dreihaus awards have just been announced. Congratulations to all the winners. The following text has been edited from the official announcement.
The three Chicago artists named winners of The Richard H. Driehaus Foundation’s Individual Artist Award are Judy Ledgerwood and Gaylen Gerber were honored for their career artistic achievements. Philip von Zweck won the Emerging Artist award. Each artist will receive $10,000 with no restrictions.
Twenty-two Chicago artists and arts professionals nominated and determined this year’s winners. The jury included James Rondeau, curator of Contemporary Art at The Art Institute of Chicago; Stephanie Smith, Director of Collections and Exhibitions and curator of Contemporary Art at the Smart Museum; Sarah Herda, Director of the Graham Foundation; photographer Terry Evans, and artist McArthur Binion.
The goal of the Driehaus Individual Artist Award is to support and encourage excellence, artistry, focus, direction, maturity, and originality in the visual arts. All artists nominated for the award must live in the Chicago area and be working in one or more of the following media: painting, drawing, printmaking, sculpture, photography, video/film, fiber, book arts, mixed media, installations, and conceptual art.
Past winners include: Brett Bloom, Nyame O. Brown, Paola Cabal (emerging category), Nick Cave, Juan Angel Chávez, Julia Fish, Vanalyne Green, Gisela Insuaste (emerging category), Laura Letinsky, Brennan McGaffey, Helen Mirra, Darrel Morris, Laurie Palmer, Dan Peterman, David Philpot, Karen Reimer and Richard Rezac, Sumakshi Singh (emerging category) and Christine Tarkowski.
Judy Ledgerwood • Green Goddess • 2004 • Tracy Williams, Ltd.
Judy Ledgerwood is painter who makes boldly patterned large-scale paintings that are both decorative and abstract. Her use of strong colors, geometric structures and scale, combine to make visually stunning paintings that mine historically modern precedents in a contemporary manner. Ledgerwood is an assistant professor at Northwestern University. Recent solo exhibitions include Tracy Williams, Ltd. in New York, Hausler Contemporary in Munich and Rhona Hoffman Gallery in Chicago. Her work is represented in the public collections of the Art Institute of Chicago, the Metropolitan Museum of Art, the Milwaukee Museum of Art and the Museum of Contemporary Art Chicago.
Gaylen Gerber installation view from exhibition at Donald Young Gallery
Gaylen Gerber is a "cooperator" who presents his work as installations in conjunction with other artists through his paintings and drawings. Known for his signature gray color, whether painted directly on a wall, canvas or through manufactured paper, Gerber creates socially and culturally dynamic situations by cooperating with other art works to create subtle yet powerful reminders about how to look at art. Gaylen Gerber is an assistant professor at The School of the Art Institute of Chicago. Recent exhibitions include Daniel Hug Gallery in Los Angeles, Galerie Susanna Kulli in Zurich, Donald Young Gallery in Chicago and Documenta IX.
View of Philip Von Zweck's Temporary Allegiance project at Gallery 400
Flags clockwise by: Hague Williams, Jason Dunda, Cleb Lyons & Daniel Anhorn
Philip von Zweck (emerging category) is an artist who defies the conventional tactics of traditional studio-base practice by incorporating the distribution of ideas in an artist-as-curator role that opens up limitless possibilities. von Zweck’s practice consists primarily of the organization of other artists work. Examples include a weekly radio show, monthly apartment exhibits of other well-known and undiscovered artists, developing guest lectures and performing weddings. Philip von Zweck graduated from the University of Illinois at Chicago in 2004 and currently teaches at The School of the Art Institute of Chicago. Recent exhibitions include I-cabin in London, Gallery 400 in Chicago, Suburban Space Gallery in Pittsburgh and ISCP in New York.
The three Chicago artists named winners of The Richard H. Driehaus Foundation’s Individual Artist Award are Judy Ledgerwood and Gaylen Gerber were honored for their career artistic achievements. Philip von Zweck won the Emerging Artist award. Each artist will receive $10,000 with no restrictions.
Twenty-two Chicago artists and arts professionals nominated and determined this year’s winners. The jury included James Rondeau, curator of Contemporary Art at The Art Institute of Chicago; Stephanie Smith, Director of Collections and Exhibitions and curator of Contemporary Art at the Smart Museum; Sarah Herda, Director of the Graham Foundation; photographer Terry Evans, and artist McArthur Binion.
The goal of the Driehaus Individual Artist Award is to support and encourage excellence, artistry, focus, direction, maturity, and originality in the visual arts. All artists nominated for the award must live in the Chicago area and be working in one or more of the following media: painting, drawing, printmaking, sculpture, photography, video/film, fiber, book arts, mixed media, installations, and conceptual art.
Past winners include: Brett Bloom, Nyame O. Brown, Paola Cabal (emerging category), Nick Cave, Juan Angel Chávez, Julia Fish, Vanalyne Green, Gisela Insuaste (emerging category), Laura Letinsky, Brennan McGaffey, Helen Mirra, Darrel Morris, Laurie Palmer, Dan Peterman, David Philpot, Karen Reimer and Richard Rezac, Sumakshi Singh (emerging category) and Christine Tarkowski.
Judy Ledgerwood • Green Goddess • 2004 • Tracy Williams, Ltd.
Judy Ledgerwood is painter who makes boldly patterned large-scale paintings that are both decorative and abstract. Her use of strong colors, geometric structures and scale, combine to make visually stunning paintings that mine historically modern precedents in a contemporary manner. Ledgerwood is an assistant professor at Northwestern University. Recent solo exhibitions include Tracy Williams, Ltd. in New York, Hausler Contemporary in Munich and Rhona Hoffman Gallery in Chicago. Her work is represented in the public collections of the Art Institute of Chicago, the Metropolitan Museum of Art, the Milwaukee Museum of Art and the Museum of Contemporary Art Chicago.
Gaylen Gerber installation view from exhibition at Donald Young Gallery
Gaylen Gerber is a "cooperator" who presents his work as installations in conjunction with other artists through his paintings and drawings. Known for his signature gray color, whether painted directly on a wall, canvas or through manufactured paper, Gerber creates socially and culturally dynamic situations by cooperating with other art works to create subtle yet powerful reminders about how to look at art. Gaylen Gerber is an assistant professor at The School of the Art Institute of Chicago. Recent exhibitions include Daniel Hug Gallery in Los Angeles, Galerie Susanna Kulli in Zurich, Donald Young Gallery in Chicago and Documenta IX.
View of Philip Von Zweck's Temporary Allegiance project at Gallery 400
Flags clockwise by: Hague Williams, Jason Dunda, Cleb Lyons & Daniel Anhorn
Philip von Zweck (emerging category) is an artist who defies the conventional tactics of traditional studio-base practice by incorporating the distribution of ideas in an artist-as-curator role that opens up limitless possibilities. von Zweck’s practice consists primarily of the organization of other artists work. Examples include a weekly radio show, monthly apartment exhibits of other well-known and undiscovered artists, developing guest lectures and performing weddings. Philip von Zweck graduated from the University of Illinois at Chicago in 2004 and currently teaches at The School of the Art Institute of Chicago. Recent exhibitions include I-cabin in London, Gallery 400 in Chicago, Suburban Space Gallery in Pittsburgh and ISCP in New York.
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