Skip to main content

9 Things About Expo Chicago 2016

1. This is the fifth year that the giant exhibition hall at the end of Chicago's Navy Pier has hosted the Expo Chicago art fair, and according to its organizers and PR people, it was the biggest and most successful of all, in terms of participating galleries, attendance, and sales.

2. I could not tell whether the impressive, shiny, well-produced art on display was any different from what I saw on the walls last year, or the year before that, or the year before that, or the year before that. But a couple of things with lots of texture and loose execution caught my eye, nevertheless:

mixed media painting and collage
Rose, Donald Baechler

heavily textured monochrome painting
Mica Painting (Sunflowers), Catherine Howe

3. The special projects, ranged around the sides of the hall, were dedicated to more experimental works created by exhibiting artists. I liked this piece by Cody Hudson:

lasercut wood and wall painting installation
Hold It Up to the Light, 2016
4. Why does anyone go to art fairs? It's about as much fun as going to Walmart. Yes, there is a lot of contemporary art in one place, but that's as much a minus as a plus. Even at the finest museums, aesthetic exhaustion sets in after an hour.

5. Not all of the special projects were well done. I admire the subject matter of these paintings based on the life of Harriet Tubman and the Underground Railroad, but not enough to avoid noticing that as oil paintings they were very poorly done:

oil painting with political themes
Harriet Tubman En Route to Canada, Kimathi Donkor
6. But then there might be a didactic piece that does have power, such as this series of prints by Samuel Levi Jones. He was inspired by reading about a Gerhard Richter installation from 1972, in which the German artist created a series of icons of Western culture, most of them conspicuously white and male. That was the year that the full set of the Encyclopedia Brittanica was published, with similar omissions. Jones took sheets of Britannica paper, and printed photos of iconic black figures on them, such as Gwendolyn Brooks and James Baldwin. The prints are so dark you have to strain hard to see the faces, which gradually emerge as shadow faces. Perhaps they make an obvious point about how many of us have to peer hard to see representations of black people, even culturally significant ones. But I thought the prints were physically beautiful, too, which leavened the political history lesson significantly:

underexposed prints of famous black personages
48 Portraits (underexposed) - detail, Samuel Levi Jones
7. I went to the Venice Bienniale in 2013., only saw a fraction of the art on display despite spending almost all day at the Arsenale (the main exhibition grounds), and was too tired and art-ed out to want to go back. And that was in one of the most beautiful cities in the world, too. Again, who apart from rich buyers voluntarily subjects themselves to this?

8. On the other hand: I love art fairs when they produce a genuine surprise by an artist who is completely new to you, like this painting by a painter from Senegal, made entirely from inexpensive materials like acrylic, gouache, and pencil on cardboard:

mixed media painting by senegalese artist
The Decision Maker, Omar BA
9. The best piece of all was this superb tunnel installation by Sabina Ott. There are video screens inside a labyrinth constructed from sculpted styrofoam, displaying quotations from the writings of Gertrude Stein. Ott's work is tactile and sensual, and literally immersive:

immersive sculpture by Sabina Ott
because the mountains were so high, Sabina Ott
It was placed right next to the entrance, too, so in theory I could have just seen the best work there, then turned around and left without even subjecting myself to this:


Popular posts from this blog

Two Chicago Exhibitions

In the last week, I saw two terrific exhibitions of work in and around Chicago.

The first was at a small but beautiful gallery space in Evanston. The work on display consisted of prints by Socorro Mucino and Janet Webber, who took one of my printmaking classes at the Lillstreet Art Center nearly two years ago. The title of the show, Paper Dolls, suggested a pun on the fact that these were works on paper depicting either a child's play-doll, or women as objects of desire (as in "hey, doll!").

Janet Webber's pieces were altered images of mannequins, ball gowns, and beauty queens, presented in rows or in combination with overprinted images and text. Very often the faces were obscured, and the image itself subjected to deterioration in the printmaking process, perhaps as a way of interfering with how these images of banal and old-fashioned female beauty would normally be seen by the male gaze.

Socorro Mucino's images of dolls struck me first as sweet and childlike, …

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…

A List of Every Drink in Hemingway's "The Sun Also Rises"

I first read Ernest Hemingway's 1926 novel "The Sun Also Rises" when I was a teenager, and immediately fell in love with it. For the last couple of years, I have had the incredible privilege of teaching a class based around Hemingway in Paris -- while living and teaching in Paris itself, close to the Boulevard du Montparnasse, where most of the action of the novel's first half takes place.

Of the many things that one notices about the book, the colossal amount of drinking is something that stands out. These people didn't just drink like fish: they drank like whales, as if the ocean they swam in was alcohol and they had set themselves the task of drinking the seas of the world dry of it. During my read-through of the book before class started last year, I tried to underline every mention of drink in the book. And now, purely in the interests of science, I am listing the entire menu of booze mentioned directly by name. Some preliminary observations:
Most of this is…