The evocative works in Irena Knezevic’s exhibition “Night of the World” belie the horrifying narrative from which they unfold.
San Diego filmmaker Cauleen Smith began her artistic journey into the life and legacy of experimental jazz musician Sun Ra during a 2010 residency at Threewalls, and the odyssey recently culminated in two powerful exhibitions (all work 2012) that pay homage to both her subject and Chicago, where Sun Ra lived from 1945 to 1961.
As suggested by the exhibition’s title, Antonia Gurkovska (b. 1984, Bulgaria) presented a lexicon of painting in her first solo show, “Index.”
Dianna Frid constructs sculptures, artist’s books and wall-based assemblages that attempt to give new form to natural phenomena, whether earthly or celestial, concrete or ethereal, as suggested by the title of her recent solo exhibition “Evidence of the Material World.”
Dan Gunn’s hybrid constructions, whether freestanding or wall-mounted, retain their indebtedness to the history of abstract painting at the same time that they embrace other mediums and disciplines, including sculpture and design.
In her new series, “ . . . and to draw a bright white line with light” (2011), created specifically for her show at the Art Institute of Chicago, Uta Barth continues her exploration of the nature of seeing, offering atmospheric tableaux that challenge our perceptions of the physical world.
Pioneering public artist Mary Miss unveiled FLOW: Can You See the River? in Indianapolis, the first in the artist’s City as Living Laboratory (CaLL) series of projects that combine art and environmentalism to raise public awareness about issues of sustainability
Claes Oldenburg’s statement “I am for an art that imitates the human, that is comic . . . or violent, or whatever is necessary” can readily be applied to the art of Ben Stone, whose six recent works explore pathos in contemporary American life, particularly as manifested by tragi-comic characters in his native Chicago.
Public Notice 3, a text-based installation conceived for the Grand Staircase of the Art Institute of Chicago by Jitish Kallat, is truly monumental in aim. The site-specific work engages the historical and cultural conditions of its locale, connecting past and present in a powerful statement about religious tolerance and fanaticism.
Christine Tarkowski set out to construct her own system of belief in “Last Things Will Be First and First Things Will Be Last,” the 42-year-old’s largest, most ambitious exhibition to date.
Chicago-based Armita Raafat performs an archeology of memory in evocative mixed-medium installations that draw on architectural motifs from Iran, the country of her familial roots.
San Francisco-based artist, filmmaker and musician Clare E. Rojas spins allegorical tales in intimate paintings, large-scale murals and installations. Deriving motifs from quilts, Russian nesting dolls and Native American art, these works combine geometric patterns, personal iconography and folkloric tableaux.