Skip to main content

Text and Image at the Chicago Cultural Center

At the Chicago Cultural Center, the show “Write Now: Artistsand Letterforms” (through April 2012) collects together work that deals with the printed word, in prints, type, signage, photography, collage, video, altered objects.  

The curators chose work that played both with and against the narrative implications of word-based work. Michael Dinges “Captain’s Chair” is a plain white plastic chair, engraved with thin-lined black drawings so that it looks like a piece of scrimshank carved by a nineteenth century sailor. Drawings give way to obscure phrases like “Proximity is no longer destiny” and “Made in France, Found in USA”, which don’t really make it any clearer who the Captain is, or what story, if any, his chair is telling us. 


That seems to be the artistic maneuver of many of the pieces in the show: including a word that leads you to want to “read” the piece, then taking you into a path where meaning breaks down and you’re left with a series of allusive fragments embedded in a visually arresting thing or image.  “Tableaux #4” by Mike Genovese, for example, is a ragged edge sheet of milled, plated, mirror-polished aluminum, covered with minute script that suggest the Rosetta Stone. 


When you peer up close, you see that the ‘writing’ is in fact tiny, meaningless marks (or a language that I don’t recognize). You come up close, but you end up seeing only your only reflection mirrored back at you. Elsewhere, there are Twombly-esque scribbles on canvas, gnomic Jenny Holzer-like neon messages, collage galore. 

The piece that worked best, to my mind, was Aron Gent’s “Interstate”, which consisted of a wall covered from floor to ceiling by hundreds of receipts from the Illinois tollway. 


With its witty combination of the classic Modernist grid and Warhol’s deadpan reinvestment of meaning in the banal through total repetition, Gent makes the dead language of the toll receipts speak in a mordant way about how words surround us to the point where we can become suffocated by them.


 Subscribe to Praeterita in a reader

Comments

Popular posts from this blog

Brancusi in Plastic

Artist Mary Ellen Croteau is showing these columns made from recycled plastic cartons and lids in the window of the Columbia College bookstore on Michigan Avenue. They are a playful homage to Brancusi's "Endless Columns", with a serious environmental message for our times:

Mary Ellen also runs a wonderful experimental art gallery in a window space in west Chicago, called Art on Armitage. I will be exhibiting a mixed media piece there during August 2012.

How to etch a linoleum block

Linoleum as a material for printmaking has been used for nearly a hundred years now. Normally, you cut an image out using special gouges similar to woodcut tools, cutting away the lino around the image you want to print. This is called relief printmaking, because if you look at the block from the side, the material that remains stands up in relief from the backing material. You then roll ink with a brayer over the surface of the block, place paper over it, and either print by hand or run it through a press. You can do complex things this way (for example, reduction linocuts), but the beauty of the process is that it is quick, simple, and direct.


A few years ago, I saw some prints that were classified as coming from etched linoleum blocks, and I loved the textures I saw in them. In the last few months, I've been trying to use this technique in my own studio, learning about it as one does these days from websites and YouTube videos. I've also had email exchanges with several pr…

On looking through old sketchbooks: 18

"Drawing is like making an expressive gesture with the advantage of permanence." -- Henri Matisse.

Subscribe to Praeterita in a reader