Archive for March, 2010

Michiko Itatani

Michiko Itatani


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Links, 3.27.2010

Jonah Lehrer on creativity and the childlike mind.

A preview of Carla Knopp’s upcoming exhibit at the Harrison Center for the Arts.

Ben Katchor likes looking over your shoulder.  More Ben Katchor.

Good one, Art in America!  Using Flickr-style ‘notes’ on images of artworks, often tagged and explained by the artists themselves.  It’s a view inside the creative process that artists rarely feel the permission to express.  Here’s painter Brian Calvin on his 2009 painting Alta, California.

A short piece I wrote about Freedom to Expand at the Ulrich Museum.

LATE ADDITION: Roberta Smith on the annoying myth of painting’s death.  (via)

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Gianna Commito

Gianna Commito

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Matt Ballou has named 5 desert island essential works of art for a Friday edition feature in his hometown newspaper:

“What this saturation of the arts into all of human life and society tells me is that I would not have to take art with me onto that desert island. People – or at least I, myself, would be there – so culture of all sorts would begin to manifest itself. Out of that fountain, art would certainly begin to overflow. We know that many people in the most harrowing of situations were (and are) still makers of objects and images. Given some time, that desert island culture would stimulate some paintings – or other art forms – of its own.

But in the meantime I can think of five pieces of work that I would love to have with me should the need arise”

Read Matt’s picks here.


More from Matt Ballou, “Art and Submission”.

Also, Chicago artist Rachel Niffenegger at BEAUTIFUL/DECAY.

Nancy Weant on Larry Thomas’s mixed media paintings at Epsten Gallery in Johnson Co., KS.

Lisa Iglesias talks to gallery director Jeremy Mikolajczak about her new work, now on view in Warrensburg, MO.

ARTLIES looks rural.

A couple of weeks ago, Chicago critic Claudine Ise recommended MWC to readers of the Chicago Reader.  She specifically mentioned the great discussions that get going here.  I want to thank Ise for the links, but most of all, to say thank you to all the people who have jumped in on any of  those discussions.  You’re great!  Thanks!

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Cindy Tower:  Decadense at Bruno David Gallery, March 19-May 8, 2010.

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Ed Paschke at Gagosian, March 18-April 24, 2010. Personally I’m very-very happy to see Paschke in a place to get the attention, and any bump in status, that getting shown in this blue-chip brings..

It also puts me in mind of a question I ask myself occassionally (off on a tangent):  what happened to all the gnarly figure under-duress painting that used to happen in the Midwest?  Seems like you can trace back this great tradition of wild figurative/narrative painting in the Midwest—Mauricio Lasansky, Ivan Albright, some of the wackier Regionalists, Peter Saul, the Imagists, AfriCOBRA, Donald Roller Wilson, James McGarrell, and on and on.  Through most of the last hundred years, there’s almost nothing like this on the East Coast, where much cooler, more refined tendencies held sway through major and minor movements.  Richard Lindner being one of the few exceptions I can think of (someone I associate closely with Paschke in spirit, even if there isn’t any direct connect between the two).  There might have been some concurrent tendencies during Neo-Expressionism’s moment.  But even then, Paschke and Peter Saul really do make Basquiat and Carroll Dunham look artsy and ivory-tower.  At some point, the situtation reversed.   New York has plenty of unruly, blush-inducing figurative painting (think John Currin, Lisa Yuskavage, Jason Fox, Inka Essenhigh, Will Cotton, Steve DiBenedetto) while, as far as I can tell, dominant trends in the Midwest are Geometric Abstraction and painterly landscape.  Landscape especially makes sense, but I still wonder why the figurative oddballs have gotten fewer and further between.

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Kerry James Marshall’s “Untitled (Painter)” on exhibit alongside several fantastic preparatory drawings as part of the MCA-Chicago’s Production Site:  The Artist’s Studio Inside-Out.

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