The Art of Human Rights - Save the Date

On February 25, 2011 the Junior Board of Heartland Alliance, will host "The Art of Human Rights" (formerly Art Against AIDS), at the Gruen Galleries, located in the heart of Chicago's River North gallery district at 226 West Superior. The event will feature live and silent fine art auctions. This after-work cocktail party boasts a variety of mediums by artists from all over the country. Above is the piece I donated this year. It is a mixed media piece titled "Monument 2" from 1992. It measures 5.5 inches square and is framed roughly 16 x 22.

Proceeds from the event will help Heartland Alliance provide housing, healthcare, economic security, and legal protections services to more than 200,000 people whose lives are threatened by poverty and danger, including those living with HIV/AIDS.

You can find more information on the event at: heartlandalliance.org
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Josh Moulton at ZIA Gallery

Tomorrow night, ZIA Gallery will be hosting an opening reception for Chicago artist, Josh Moulton. Moulton's paintings capture various facets of city life... street corners and building facades. The reception is from 5-7:30pm and the exhibition will continue through January 29, 2011. Moulton's work is well collected and can be found in numerous corporate collections including Deloitte & Touche, The NMH Prentice Women’s Hospital, and Oncor International, in addition to numerous private collections.

ZIA Gallery is located at 548 Chestnut Street in Winnetka, Illinois. Additional information can be found at ziagallery.net

Hope to see you there!

Roland Kulla - ZIA Gallery

I became aware of ZIA Gallery a few of months ago. Located in the village of Winnetka—17 miles north of Chicago—The gallery specializes in contemporary American photography, painting and works on paper. It represents established and emerging artists in a range of styles and media.

A day late... the Roland Kulla exhibition closed—yesterday—at the ZIA Gallery. Pieces, may sill be available... Contact Zia Gallery at ZIAgallery.net for additional information.

The Kulla exhibition—which opened at the end of October with a wonderful reception—presented a series of large scale paintings, pencil drawings, and prints which define the complex beauty of steel bridge structures. Following Kulla's career for a number of years—and seeing the work's evolution—I've come to my own conclusions about the metaphorical content of the imagery. The bridge symbolism seems obvious... the element needed to move from one point to another. But there is something more. I see the screen-like, steel-woven structures as symbolic of the barriers we need to navigate to acquire our "clear blue sky" goals. The works seem to be symbolic of achievement on so many levels. From Kulla's artist statement:

I am fascinated by the built environment. I reflect on what the structures tell about their builders as well as their interaction with nature and the results of time. Since 1998 I've focused on the engineering ingenuity that created Chicago's many bridges. Structural elements are abstracted from their context and painted with a hard-edged realism on a scale that highlights the monumentality of the forms and the creativity necessary for their existence.

Although people are not the direct subjects of my work, they are integral to it. The structures stand as proxy for human experience. I create places and moods that invite the viewer to enter into the work and form their own relationship to it.

Zia Gallery is located at 548 Chestnut, Winnetka, IL 60093. The gallery is open Monday through Saturday 10-5. Call for additional information: 847.446.3970.

Learn more about ZIA Gallery through this link.

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The Rebecca Moy Reception at Gallery 180

The Rebecca Moy Exhibition opened this past Friday, at Gallery 180, with a wonderful reception catered by the Culinary school of The Illinois Institute of Art-Chicago. The Moy exhibition consists of eight large-scale canvases, elegantly manipulating the spacial relationships of line, form and color. If you're in Chicago's Loop, this is a "must see" exhibition. The show continues through January 17th.

Gallery 180 is free and open to the public. All works will be available for purchase. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery is open Monday through Thursday from 8am-8pm; Friday, 8am-5:30pm and Saturday 9am-5pm. Additional information can be found at gallery180.com.

Nancy Rosen ~ More is More

I received a call from Artist, Nancy Rosen last week. We haven't talked in awhile and she wanted to get together. She told me that she had an exhibition up and that she wanted me to see it. And so I did.

The show—of more then 100 paintings—was hung in an unconventional space on West Hubbard. Hung salon style—in a number of rooms—the variety of paintings offers the viewer some insight of Rosen's figurative journey. Covered with patterns and textures, the nontraditional renditions of women—primarily of their relationships with other women—cover almost every wall of the industrial loft space. A well-attended reception was held last month but their is still time to experience the work by appointment. If interested, contact Nancy Rosen through her web site nrosen.com

Rebecca Moy: Visceral Reaction

"Against The Grain", Acrylic on Canvas, 44" x 60"

Gallery 180 of The Illinois Institute of Art-Chicago will be presenting the paintings of Rebecca Moy from November 15 through January 17th with an opening reception on Friday, November 19th from 5:30-7:30... so save the date!

Manipulating the spatial relationship of shape and color, Moy creates an intriguing world with hard-edged abstraction. The works explore the reactions that she—and the viewer—has to variations of color and form relationships. Moy explains:

“I’ve always been fascinated with the reaction of the body and mind to the visceral relationship between color and shapes. …This series of paintings becomes the physical embodiment of this investigation, as it takes place within me. I’m intrigued by the thoughts and feelings evoked by precise orchestrations of color and shape. Layer by layer, these forms create a place to remember, or perhaps a place to forget… to wonder and wander through the times and places we’ve all journeyed; perhaps these are the moments and memories which define us.”

Moy works in an abundant sanctuary—her studio—were massive canvases surround a central workspace. Here, she obsessively applies layer after layer of acrylic, inventing—and reinventing—new meditative imagery, which addresses psychological reaction to line, shape and color. Some of the compositions are presented in quiet color palettes while others seem charged with electric vibrancy... each conveying an individual mood or personality. The paintings seem to explore the color theories of Stanton MacDonald-Wright [1890-1973], which defined specific psychological interpretations of color. Moy takes these color theories a step further by incorporating shape and line into her imagery. These images provide an intriguing sensory experience.

The work of Rebecca Moy will be presented at Gallery 180 of The Illinois Institute of Art-Chicago through January 17. An Opening Reception will take place on Friday, November 19, 5:30-7:30 pm. Gallery 180 is free and open to the public. All works will be available for purchase. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery is open Monday through Thursday from 8am-8pm; Friday, 8am-5:30pm and Saturday 9am-5pm. Additional information can be found at gallery180.com.

Also, take a moment to drop by Gallery 180 to visit the amazing paintings of Frances Cox through November 11th.

Filter Photo Festival

What a wonderful idea...

With a mission to bring fine art, commercial and documentary photographers together with some of the Midwest's top gallerists, photo editors, educators, and curators, Chicago's Filter Photo Festival will take place this October 6-10th at the Chicago Photography Center. Included in this year's event are workshops, exhibitions and lectures with world-renowned photographers. Also included is a portfolio review segment where photographers have an opportunity to meet face-to-face with educators, photo editors and curators, for feedback. The reviews are scheduled to be held on Saturday, October 9th and Sunday, October 10th from 9 am – 5 pm. Participants can sign up for either 4 or 8, twenty minute reviews to receive candid advice about their work, as well as tips for getting photographs published and exhibited.

On Sunday, October 10th, I will be participating as a reviewer.

The Filter Photo Festival will be held at The Chicago Photography Center, located at 3301 North Lincoln Avenue. Find more information on this event at chicagophoto.org
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Call for Work: photo'11

Following is a link to the prospectus for the upcoming photo‘11 Exhibition. If you are not working with photography, or using photographic content within your work, please pass this information on to someone who may be interested.

photo‘11 is a National Juried Exhibition of work using photography or photographic content for its creation. The exhibition will run from January 17 through March 3 with an opening reception on Friday, January 17th.

This call for work can include everything from traditional to experimental imagery but all must be original. Each artist may submit up to 3 images for consideration. A $30 entry fee is required. The Illinois Institute of Art-Chicago will present at least one Purchase Award, with the acquired piece being added to the school’s fine art collection. All imagery selected for the exhibition will be included in a printed exhibition catalog.

Submissions must be received by the end of day November 5, 2010.

The Important Part:
Gallery 180 of The Illinois Institute of Art-Chicago is supportive of working artists as well as the community at large. With the intent of promoting individual artists and supporting charitable organizations, Gallery 180 will be donating their portion of the commission split to Heartland Alliance for their Human Rights effort. The exhibition will be highly publicized and multiple sales will be encouraged.

You can download the prospectus from the gallery 180 home page at: gallery180.com

Image, from the Fine Art Collection of The Illinois Institute of Art-Chicago:
Sarah Hadley, "Loss" photograph, 13" x 19"

Frances A. Cox: The Human Side of Botanics

Gallery 180 of The Illinois Institute of Art-Chicago will present the work of Frances A. Cox from September 14 - November 11 with a reception scheduled for Friday, September 17th from 5:30-7:30.

I spent some time with Cox in her studio a few weeks ago—selecting the pieces to be exhibited for this show. The pieces are a collection of oil paintings which introduce the viewer to an abstract-surreal reality where inconspicuous portraiture is composed of plant and still life forms. Cox utilizes these forms to create her own secretly significant visual language. This personal language—comprised of a variety of recognizable components and a vivid color palette—becomes the focus of each canvas as the subtle reference to the human form recedes.

Cox explains, “When I look at plant forms, I view them as botanical singularities having the characteristics of other living things. I transfer to plants, metaphors for human feelings and appearances.”

The work of Frances A. Cox will be presented at Gallery 180 of The Illinois Institute of Art-Chicago through November 11th. An Opening Reception will take place on Friday, September 17, 5:30-7:30 pm. This exhibition is free and open to the public. All works are available for purchase. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop.

The gallery is open Monday through Thursday from 8am-8pm; Friday, 8am-5:30pm and Saturday 9am-5pm.

Rebecca Moy: Coming this Fall

I believe that I became acquainted with the work of Rebecca Moy during the preparation of the 2009 Art Against AIDS event. Intrigued by the work during the jury process, I selected Moy’s painting to be included in the Preview Exhibition, which was presented at Gallery 180 of The Illinois Institute of Art-Chicago. While the show was installed, I explored the piece and considered it for my personal collection. Like many collectors, I knew I wanted the piece but I was trying to decide where to place the work within our home. I put off the purchase.

The piece didn’t sell during the Preview Exhibition and it was scheduled to be on live auction at the main event. Both my partner and I decided that the Moy painting would be a refreshing addition to our growing collection. We agreed on the price we would pay and continued on with the evening. Friends and collogues filled the room. Distractions were everywhere and before we realized, the auction of the Moy painting had concluded. We had missed our opportunity.

After the auction, I approached the impeccably dressed Artist to express my interest in her work. I wanted to see more. I did. The work was consistent, intriguing and professional. I scheduled a solo exhibition for the 2010 exhibition season and asked that she stay in contact with me as the show began to solidify.

Well... I met with Rebecca—this past week—in her studio. I was invited into the abundant sanctuary were massive canvases surround a central workspace. Here was where—I imagine—the painter would obsessively apply layer after layer of acrylic, inventing—and reinventing—new meditative imagery. Some of the compositions were presented in quiet palettes while others seem charged with electric vibrancy... each conveying an individual mood or personality. They're amazing.

Above is a detail of one of the paintings in progress. The Rebecca Moy exhibition will be presented at Gallery 180 of The Illinois Institute of Art-Chicago in November. It’s a show that shouldn’t be missed. I’ll keep you posted.

Suzanne Stryk at Gallery 180

Tomorrow night's catered reception will celebrate the opening of "Flyway: Birds in the Art of Suzanne Stryk" at Gallery 180 of The Illinois Institute of Art-Chicago. The exhibition highlights the past decade of Stryk’s conceptually driven nature paintings. Her work merges scientific observation with expressive replication resulting in beautiful imagery that emphasizes the intricate details of birds and insects—bringing awareness to nature’s design. Many of the works are available for purchase. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery is open Monday through Thursday from 8am-8pm; Friday, 8am-5:30pm and Saturday 9am-5pm.



Catalog available.

Cheryl Jefferson, Author of "Death of a Raks Star"

This evening at Gallery 180 of The Illinois Institute of Art-Chicago, Cheryl Jefferson read from her soon-to-be released book, "Death of a Raks Star", The lecture began with some painful statistics and ended with an interesting discussion about this human rights issue.

"Six thousand Middle Eastern women a year are reported honor killed by their families. Annually, twenty-thousand more female deaths go unreported. What did these women do to "deserve" it? Some learned to read without their father's permission. Others used the Internet or burned their husband's dinner. Many were raped by a male relative or friend, then held responsible because they "made" the rapist do it. A defiant few publicly performed raks sharqi - belly dance - a sacred rite of female strength and power for two thousand years, now the dance of death..."

Bringing attention to this human rights issue seems to be Jefferson's passion. Utilizing Gallery 180 as the venue for a literary event seemed obvious due to the content of the current exhibition. "Visual Narrative" is a national juried exhibition which presents fine art that tells a story. Initiating change is the purpose for the creation of fine art. Visual artists—as well as writers—want to communicate and connect with people. Their work becomes the voice by which they can question, document, inform, or proclaim a perspective. Artists ask questions and attempt to explore ideas …ideas which may remove the audience from their comfort zone. “Visual Narrative” seems to ask who we are as a society and how we relate to one another. Jefferson's lecture is an attempt to begin a dialogue for individual and social change.

The "Visual Narrative" exhibition will conclude on July 22nd. Additional information about the show can be found at gallery180.com. The gallery is open Monday-Thursday 8am-8pm; Friday, 8am-5:30pm; Saturday, 9am-5pm; closed Sunday.

Jan Baiden was unable to present tonight, due to illness.

"Ripple..." comes to a close

A few weeks back, I was contacted by Philip Hartigan, artist and faculty member at Columbia College in Chicago. Hartigan—born in the UK and now living in Chicago—asked me if I would consider meeting to conduct an interview related to my work and the three-person exhibition currently on view at The Art Center in Highland Park. Well... the interview was posted this morning on Hartigan's blog and it's worth a read.

As a reminder, "Ripple ~ Cause and Effect" at The Art Center in Highland Park will close on July 22nd. The exhibition—and the exhibition space— is wonderful. The three-person show includes sculpture by Paula Kloczkowski Luberda, and paintings by Yelena Klairmont and myself. The work flows together seamlessly. If you're in the area, take a quick trip to the Center... it will be worth the visit.

Birds in the Art of Suzanne Stryk

The work of Suzanne Stryk will be opening at Gallery 180 of The Illinois Institute of Art-Chicago on July 26th. The exhibition is titled Flyway: Birds in the Art of Suzanne Stryk and highlights the past decade of Stryk’s conceptually driven nature paintings. Her work merges scientific observation with expressive replication resulting in beautiful imagery that emphasizes the intricate details of birds and insects—bringing awareness to nature’s design.

The studies of art and science have obvious similarities within the creative process. Stryk explains,

“… both often beginning with the question: What if? What if I put these two chemicals together? What if I search a new habitat for a rare orchid? What if I combine two disparate images? What if I create an imaginary ladder made of feathers?”

“…people see the world of art and science as much too separate… Jacques Cousteau was once asked what he thought would make people more environmentally aware. I was surprised when he replied “the study of the humanities.” … Of course, what his comment implies is not that the study of science should be neglected, but rather should be coupled with the study of the arts. I agree—the arts and sciences should be partners in making people sensitive, imaginative and knowledgeable about the living world…”

Within imagery that—at times—includes secondary elements of chromosomes and the double helix, Stryk unites her passion for zoology and entomology [insects] with a contemporary awareness of genetics. These subdued secondary marks take the imagery from beautifully decorative to work of substance. Stryk forces us to focus on the beauty of the common creature and matches the seductive form with scientific reality implying that we should take an even closer look. She writes…

“My hope is that the work suggests questions, such as: How has our knowledge of genetics altered the perception of the natural world?; How do we reconcile personal reverence for life with scientific information?; and Does the mapping of the genome unravel mysteries or actually create more?”

The work of Suzanne Stryk will be presented at Gallery 180 of The Illinois Institute of Art-Chicago through September 9th. An Opening Reception will take place on Friday, July 30, 5:30-7:30 pm. This exhibition is free and open to the public. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery is open Monday through Thursday from 8am-8pm; Friday, 8am-5:30pm and Saturday 9am-5pm.

Image: Suzanne Stryk, Green Evolution, 2007, Mixed Media on Wood Panel, 40x60"

"Creating Change" at "Visual Narrative" ...The Author's Perspective

The Visual Narrative exhibition—currently on display at Gallery 180 of The Illinois Institute of Art-Chicago—will conclude in just two weeks. Prior to the close of the exhibition, there will be another event which ties into the idea of the "Narrative". I've invited two Chicago area authors to present their most recent projects. In an attempt to begin a dialogue for personal and social change, Jan Baiden and Cheryl Jefferson will discuss the ideas contained within their recent books. The lecture and discussion will be held at Gallery 180 of The Illinois Institute of Art-Chicago, which—not so ironically—happens to be the venue for the national juried exhibition titled, “Visual Narrative”. The event will take place on Wednesday, July 21, at 6-8pm.

Utilizing Gallery 180 as the venue for a literary event seems obvious due to the content of the current show. Evoking emotion and initiating change is the purpose for the creation of fine art. Visual artists—as well as writers—want to communicate and connect with people. Their work becomes the voice by which they can question, document, inform, or proclaim a personal perspective. Artists ask questions and attempt to explore ideas …ideas which may remove the audience from their comfort zone. The exhibition, “Visual Narrative” seems to ask who we are as a society and how we relate to one another. The authors do the same but also consider the personal perspective. Baiden suggests that we seize the day and Jefferson discloses current-day criminal traditions. Inspirational, educational or provocative… an observation of the human condition will be evident in the narratives presented by our guest authors as they attempt to begin a dialogue for personal and social change.

Jan Baiden’s book, Snapshots, contains the author’s memoirs in a series of inspirational stories defining an amazingly adventurous life. The book is filled with numerous passages exploring life lessons, while containing an underlying prompt to consider opportunities as they arise. The stories seem to highlight the idea that when one door closes another opens… and what appears on the other side is always another adventure.

Choice and the potential for change is what brought author Cheryl Jefferson to write Death of a Raks Star, Book One of her Breaking Criminal Traditions Series (Copyright 2010 Cheryl Jefferson), due out in 2011.

"Worldwide, millions of women live too close to their bones and too far from their dreams because they were born into cultures of criminal tradition. Criminal traditions are real-life rituals that result in the death or maiming of thousands of women each year. These practices have been in place for centuries and the dark legacy of using them to protect male power by controlling females continues today. The mission of my novels is to expose this cycle, the passion of my life is to break criminal tradition. The initial step," Jefferson explains, "is using fiction to raise reader consciousness because consciousness is the first step toward change."

Both authors paint powerful stories of humanity. Like the visual artists, the writers look at who we've become and how we relate. The question remains—Can we create change through the power of narrative? I believe social and self awareness may be the answer.

The book lecture and discussion, “Creating Change” will be presented at Gallery 180 of The Illinois Institute of Art-Chicago on Wednesday, July 21 beginning at 6pm. This event is free and open to the public. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop.

The current exhibition “Visual Narrative” a national juried exhibition of fine art that tells a story—will conclude on July 22nd. Additional information about the show can be found at gallery180.com. The gallery is open Monday-Thursday 8am-8pm; Friday, 8am-5:30pm; Saturday, 9am-5pm; closed Sunday.

Above left: Jan Baiden, Right: Cheryl Jefferson

Opening Reception: Friday, July 2nd ...6:30-9pm

I spent most of the day—yesterday—transporting my pieces and installing the "Ripple~cause and effect" exhibition, which opens this Friday evening at The Art Center in Highland Park. The exhibition combines the work of Paula Kloczkowski Luberda, Yelena Klairmont and myself, to present a seamless presentation of the calm and chaos of nature. The work ranges from abstract to literal with both painting and sculpture. The Art Center is an amazing venue for this beautiful and thought provoking exhibition.

The Art Center in Highland Park is located at 1957 Sheridan Road. For additional information, contact The Art Center at 847.432.1888. I hope that you have an opportunity to experience this amazing collection of work.

Visual Narrative ~ Nicole McCormick Santiago

On display through July 22nd at Gallery 180 of The Illinois Institute of Art-Chicago are two pieces by Nicole McCormick Santiago, an amazing figurative artist who currently lives and works in Williamsburg Virginia. The intimate pieces, measuring roughly 30 x 24 inches, present human situations with implied narratives. The artist's intention is to "...capture the subject’s internal and layered narrative where residues of the past and suggestions of the future swirl around the present, creating a kind of “thick time.” McCorrmick Santiago goes on... "To accomplish this, I use the scattered signs of daily existence to communicate accidental yet honest storylines that provide indirect insight into the cadence of a daily life."

After the Visual Narrative exhibition was selected, I contacted each of the artist for a short statement about the selected works. Following is the statement defining "Birthday Scene" and "Ghost" by Nicole McCormick Santiago.

The artwork titled Birthday Scene is a perfect example of this sort of layered narrative and “thick time.” Situated amid a birthday celebration, the protagonist wears a juvenile pink dress symbolizing the naivety of youth. She is positioned between a birthday cake and a doll that she inattentively places or removes into or out of a gift bag. Her apprehensive expression as she gazes at the cake, is the apprehension of marriage. Indeed it is no accident this cake mimics the shape of a wedding cake. The ambiguity surrounding her actions with the doll alludes to contradicting emotions surrounding motherhood. The confusion as to whose birthday we are to celebrate reiterates the confusing rites of passage (i.e. motherhood & marriage) that the young woman faces.


When compared to Birthday Scene, Ghost, which portrays a child in a makeshift ghost costume, is a more direct narrative and contains less allegory to sift through. In order to gain a fuller narrative, this image requires one to look beyond the moment shown, to consider the time before and the moment after. Is the child just beginning her Halloween adventure or is she arriving home to rummage trough her spoils? Using the scattered signs of domestic life, one can infer the household space this child inhabits and therefore gain a better understanding of the figures depicted. The mother, although large and dominant, does not maintain a dominating role in the painting. This role is given to the child’s possessions, hence shifting the painting’s focus to align with the child’s focus. The mother is an ever-present supporting column that quietly stabilizes the moment, while the child freely explores her brightly colored world.

With twenty-one narrative works of art by thirteen artists, this exhibition is filled with thought-provoking pieces which address the human condition. The show continues through July 22nd. All works are available for purchase. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash—in Chicago's Loop. Additional work by McCormick Santiago can be found at: nmsantiago.com

Images: Nicole McCormick Santiago, "Birthday Scene", 2009, oil on linen, 30 x 23 3/4" $2,000
Nicole McCormick Santiago, "Ghost", 2010, oil on linen, 30 x 23 3/4" $2,000

Visual Narrative ~ Paula Kloczkowski Luberda

Visual Narrative is currently on display at Gallery 180 of The Illinois Institute of Art-Chicago. The show includes a wonderful cement figurative sculpture by—one of my favorite artists—Paula Kloczkowski Luberda. The work—personally inspirational—depicts an interaction of a man and woman interpreted with pure body language. Kloczkowski Luberda's statement from the exhibition catalog reads:"

Connected, united, joined, or linked. As an Artist, I seek to create work with concepts strongly rooted in my exploration and observation of humanity. I manipulate the colors, textures and patterns of the materials used to convey my intentions. I strive to create a bond between the viewer and the work... to approach the viewer with a dialogue addressing society or humanity as a whole. It is important for us to understand what we have in common and how we connect..."

She goes on to explain the included piece...

"He/She presents a physical, psychological, and philosophical interaction between two figures. This reflection of humanity induces the observer to explore their personal relationships, moments of interaction and how both are perceived."

The Visual Narrative exhibition at Gallery 180 of The Illinois Institute of Art-Chicago continues through July 22nd and it is worth seeing. Gallery 180 is located at 180 N. Wabash in Chicago's Loop. If you are unable to make it to Chicago, you can review the exhibition online at gallery180.com

As a side note, I will be exhibiting with Paula Kloczkowski Luberda and Yelena Klairmont at The Art Center in Highland Park. That show—titled "Ripple ~ cause and effect", opening July 2nd—will include some of Kloczkowski Luberda's rock formation work.

Image: Paula Kloczkowski Luberda, He/She, 2001, cement, 31 x 9 x 3" and 30.5 x 8 x 3"

Ripple – Cause and Effect ...opening July 2nd

The Art Center—located in downtown Highland Park— is the venue for a three-person exhibition titled "Ripple~cause and effect" which will be opening on July 2nd. The exhibition is a powerfully inspirational collection of painting and sculpture, which presents imagery focused on the meditative surface patterns found within nature. The works of Yelena Klairmont, Paula Kloczkowski Luberda, and myself have been compiled to create this peacefully compelling exhibition.


The oil paintings of Yelena Klairmont are the most literal of the group. Klairmont captures the result of a compromised pool of water—portraying the ripple effect as a beautiful thought-provoking moment in time.


Paula Kloczkowski Luberda creates powerful stoneware rock forms with intriguing surface features. The wonderfully glaze-washed forms are manipulated and organized to create intriguing compositions in space.


Influenced—for almost two decades—by the hundreds of the pre-historic stone circles throughout Great Britain, I use the surface patterns of the Megaliths to create meditative imagery...

Britain is littered with more then four hundred and thirty of these prehistoric sites—most people are familiar with Stonehenge— yet there are areas concentrated with megalithic structures as far to the north as the Scottish Islands, and as far to the south and west as Cornwall. The largest complex of circles is just to the north of Stonehenge, at Avebury. My work is influenced by the meditative qualities of the fluid surface patterns found at some of these monuments. I have taken some artistic liberties, in the replication, manipulation and abstraction of the surface patterns found on these massive stone slabs, yet the work continues to convey the serene qualities regularly associated with nature and inner peace. The pieces included in this exhibition are representative of some of the fluid markings found within the rock surfaces. The process of creating each piece is as centering as the imagery itself.

“Ripple – Cause and Effect” will be presented at The Art Center of Highland Park from July 2 through the 22th. An Opening Reception will be held on July 2 beginning at 6:30pm. The Art Center in Highland Park is located at 1957 Sheridan Road. For additional information, contact The Art Center at 847.432.1888. I hope that you have an opportunity to experience this amazing collection of work.

Images, top to bottom:
Yelena Klairmont, "Ripple #7" oil on canvas, 40 x 30"
Paula Kloczkowski Luberda, "Three Goddesses" ceramic, 40 x 36 x 12”
Charles Gniech, "Meditation II" acrylic on canvas, 48 x 36"

Visual Narrative ~ Opening Reception

Friday, June 11 from 5:30-7:30
Gallery 180 of The Illinois Institute of Art-Chicago
180 N. Wabash, Chicago, IL 60601

The Opening Reception for the National Juried Exhibition, titled "Visual Narrative", will be held at Gallery 180 of The Illinois Institute of Art-Chicago this Friday from 5:30-7:30. The reception—catered by the Institute's Culinary School—will celebrate the work of the thirteen artists exhibiting from around the country. The artists are: Deborah Bryan of Johnson City, TN; Jenny Chi of Charlestown, IL; Tim Clorius of Portland, ME; Sheila Ganch of Chicago; David Hannon of Muncie, IN; Andrea Harris of Mundelein, IL; Paula Kloczkowski Luberda of Naperville, IL; Nichole McCorrmick Santiago of Williamsburg, VA; Joseph Moniz of Acushnet, MA; Barbara Simcoe of Omaha, NE; Marrydorsey Wanless of Topeka, KS; Joan Wynn of Los Angeles, CA, and Naijun Zhang of Morgantown, WV.

“Visual Narrative” will be presented at Gallery 180 of The Illinois Institute of Art-Chicago through July 22nd. This exhibition is free and open to the public. Works are available for purchase. An exhibition catalog for Visual Narrative is available. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery is open Monday-Thursday 8am-8pm; Friday, 8am-5:30pm; Saturday, 9am-5pm; closed Sunday.


Image: Joseph Moniz, "We Build" Oil on Board, 48 x 44”, 2008, $3,000

Andrea Harris ~ Visual Narrative

Andrea Harris is one of four local [to Chicago] artists included in the Visual Narrative exhibition at Gallery 180 of The Illinois Institute of Art-Chicago, which opens this Friday. With two canvases in the show—“Amina Lawal and her daughter” and “Women of Pakistan” [both: oil and wax on canvas, 24” square]— Harris focuses on portraiture to tell her story. The imagery is bold and inspirational. Harris explains:

“My paintings are observations of humanity, representing the journey of curiosity and the soul of discovery. Each of us is unique in the universe yet shape, form and color remind us that we are elements in nature. Very often my art is the result of an exploration of culture and current events, urging me to question and allowing me the passage that reveals we are all connected.”

“The painting of Amina Lawal and her daughter is my direct response to the poignant story that was highlighted in the media several years ago. Ms. Lawal had been sentenced to stoning to death in the Kataina State of northern Nigeria. Amnesty International embraced her story and a global effort was initiated in a petition to save her life. This process became the focal point of human rights groups around the world, and ultimately Ms. Lawal was set free. She lives with her daughter, Wasila, and campaigns on behalf of others who have been victims of human rights violations.”

Join us for the Opening Reception of "Visual Narrative", Friday, June 11th from 5:30-7:30pm. As always, the reception is free to the public.

“Visual Narrative” will be presented at Gallery 180 of The Illinois Institute of Art-Chicago through July 22nd. This exhibition is free and open to the public. Works are available for purchase. An exhibition catalog for Visual Narrative is available. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery is open Monday-Thursday 8am-8pm; Friday, 8am-5:30pm; Saturday, 9am-5pm; closed Sunday.

Image: Andrea Harris, “Amina Lawal and Daughter”, Oil and Cold Wax on Canvas, 24 x 24”, 2007, $2,400

Visual Narrative

The National Juried Exhibition titled "Visual Narrative" opens this Friday at Gallery 180 of The Illinois Institute of Art-Chicago. The focus of the exhibition is fine art that tells a story. The works—varied, as in any group exhibition—have a common thread. All of the pieces seem to focus on the human condition—the experiences of being human in a social, cultural and personal context. The work addresses: who we’ve become, what we’ve created, and how we relate to one another. Some of the pieces are quiet, subtle and introspective while others emerge confrontational. Yet, each piece invites the viewer into a unique world in which the artist shares an observation of the human experience.

One of the artists presented in the exhibition is David Hannon. Hannon—an Assistant Professor of Painting at Ball State University—uses his abilities to bring attention to current global issues. "Summer Drought" [48x70" oil on canvas, shown above] presents the image of a single figure sitting by a fire in a dried out lakebed. The image clearly addresses the global warming crisis. In defining his painting, Hannon explains:

“In the early stages, I became interested in the exposed surface of a lakebed as a setting; an area that would normally be under water and not typically thought of as beautiful. This exposed landscape metaphor became important to the development of the overall significance of this painting. The main narrative is centered on the idea of being exposed to natural forces such as drought and how people deal with environmental change through the spaces they inhabit. The main character has been stripped of every modern convince left only with the ability to create fire, but he is enjoying nature. The unseen people, in the cliff house above, are locked away in the safety of a completely artificial world probably annoyed at the lack of water in the lake. The steep banks of the lake allow the modern cliff house—with metal poles to contrast the exposed wooden dock—to hint at the theme of old versus new. In these times of economic downturn, I wonder if we as a society can once again experience the world in a purely natural way without the use of high definition television.”

The show includes a variety of painting, drawing, sculpture, printmaking, and photography. The Artists included in the show are: Deborah Bryan, Jenny Chi, Tim Clorius, Sheila Ganch, David Hannon, Andrea Harris, Paula Kloczkowski Luberda, Nichole McCormick Santiago, Joseph Moniz, Barbara Simcoe, Marydorsey Wanless, Joan Wynn, and Naijun Zhang, I'll be writing about each of these artists over the course of the exhibition.

“Visual Narrative” will be presented at Gallery 180 of The Illinois Institute of Art-Chicago through July 22nd. This exhibition is free and open to the public. Works are available for purchase. An exhibition catalog for Visual Narrative is available. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery is open Monday-Thursday 8am-8pm; Friday, 8am-5:30pm; Saturday, 9am-5pm; closed Sunday.

Image: David Hannon, "Summer Drought", Oil on Canvas, 48 x 70”, 2009, $4,000

Deanna Krueger ~ Another Review

There were two reviews of the Deanna Krueger "Fields" Exhibition, which were published today... One in the Chicago Tribune and the other in Chicago Art Magazine. I wanted to share the latter, which was written by Caitlin Schriner. It reads as follows:

Gallery 180 is situated street view on the corner of Lake and Wabash. Next to the windowed Culinary Arts department of the Illinois Art Institute, the gallery draws crowds of viewers who wander past the whippings and mixings next door.

From outside Deanna Krueger’s collection Fields appear to be large-scale color-scapes on unscratched canvases. The colors are fluid and the spectrum well-covered over the seven piece exhibit. If you can find your way into the gallery (the entrance is located two window fronts down and through the admissions department) you’ll find that Krueger’s pieces are not paintings, but are rather mosaics created from reconstructed diagnostic film monotypes.

Held together with staples, the pieces lift from the wall and bring dimensionality back to the 2-D world of painting. The staples look like rudimentary stitches mending torn landscapes, recreating, as the title suggests, a collection of fields. With titles like Sencha and Elysium Krueger hints toward her inspirations. While the titles and their accompanying stories are interesting, with most of the traffic outside of the windows, they are only fruitful for those who manage to find their way into the gallery, and not fully necessary in order to enjoy the patchwork of color Kruger has filled the corner gallery with.

Overall the pieces are best suited to their location. While the materials are interesting, the true beauty in Kruger’s work is Monet-like, and found in distance. A treat for the Wabash foot-traffic, Fields will be on display at Gallery 180 at 180 N. Wabash through June 3, 2010.

"Lunar", Acrylic monotypes on medical diagnostic film, staples 54x63", 2010
$4,500

Detail at top of post

Robert Lostutter ~ Dutchman #3

During one of my seminar courses in grad school, I was given an assignment to create a lecture on any topic within contemporary art. The professor thought it was important that we were able to present a lecture at a moments notice. Looking back, I realize that it was a way to get the grad students familiar with what was happening in the Chicago art market. I remember making my way downtown to the River North gallery district in Chicago, where I became acquainted—and latter obsessed—with the work of an artist named Robert Lostutter.

It was the late eighties and more than a decade had passed since Lostutter had completed the Dutchman series… a body of work presenting entangled, masculine bound and hooded acrobatic figures. He had moved on to a more subtle presentation of hidden-passion resulting from societal prejudice. The work of the late eighties presented brightly colored images of men with bird-like features. Even with this new visual language, it was obvious to me that the elaborately detailed feathered faces were symbolic of the masks we use as a means of survival… a persona, which veils reality.

Lostutter’s work inspired me. I used his observations as a jumping off point to create a series of pieces, which I titled “Uniforms”. That series was the basis of my graduate school experience. Briefly, the Uniform series was a symbolic presentation of abstract portraiture. It explored the idea that we are constantly trying to evoke the illusion that our insecurities are non-existent. We create protective barriers—or uniforms—to deflect society from the space within.

Roughly twenty years have passed since grade school. My work has changed dramatically, yet I continue to follow Lostutter’s career. His work still inspires me.

Well, last week, I received a phone call from a friend informing me that one of Robert Lostutter’s Paintings—from the Dutchman series—was going up for auction. It was “Dutchman 3” from 1974. I was intrigued. I have a Lostutter lithograph in my collection but here was an opportunity to actually own one of his larger canvases. Why was it at auction? …And why was the posted value so low? …Did they not know what they had? I took the evening to establish how much I could afford. The next morning, I made a call and placed my blind bid. I hoped that this masterpiece would go unnoticed by the affluent. It didn’t. On Sunday afternoon, I was informed that the painting was sold for more than three times my bid. The piece is worth much, much more.

Image:
Robert Lostutter, Dutchman #3, 1974, oil on canvas, 50.5 x 47.8"

Frances Cox - A Studio Visit

I receive dozens of packets containing exhibition proposals each year. They sit in a box next to my desk, waiting for a day that I find some time to explore their contents. I've begun opening only a few in a sitting, which allows me to fully focus on the work and to consider the appropriateness of the content for the upcoming exhibition season at Gallery 180.

Well, Frances Cox sent me a proposal—back in March—which highlighted some of her new work. Being familiar with her imagery—I have a piece in my personal collection and have acquired another for the school's collection—I was intrigued to review the current paintings. After a review of the enclosed CD, I sent off an email expressing my interest and scheduled a future studio visit.

Well that meeting happened this morning... and it was refreshing. As I entered Cox’s new studio at the Greenleaf Art Center, I looked around the room and saw that there were some new things happening. Cox seems to be exploring some new color palettes as well as variations on her two-dimensional compositional format. She has begun creating some flat color areas, which offer the viewer a place to rest before moving on to explore the next area of pattern. And on some of her larger canvases, she seems to be playing with space to produce a three-dimensional, environmental quality. The work is evolving and it’s wonderful. Keep an eye out for an upcoming solo exhibition at Gallery 180 in 2011 or 2012.

A Review of the Krueger Exhibition at Gallery 180

There was a wonderful review of the Deanna Krueger Exhibition, currently on display at Gallery 180 of The Illinois Institute of Art-Chicago. The review was printed in the May 6th edition of NewCity and was written by Critic, Michael Weinstein. From the website:

"In a tour de force of extreme transformation, Deanna Krueger appropriates diagnostic MRI films, rips them into shards, staples them together, and overlays them with monotypes to produce glistening abstractions in red, ice blue, gold, gray, brown and tea green. From a distance, Krueger’s photo-works are assertively attractive by virtue of their jagged textures and glass-like surfaces, but on closer inspection they reveal worlds teeming with detail that never betray any pattern or overall meaning, but involve the eye in the plays of line and form in each sector of the surface. Krueger drapes her works unprepossessingly on the gallery’s walls without frames—anything more would detract from their self-standing integrity. She titles them with references to astral bodies, flora and precious stones, but viewers are better off ignoring that new-age flourish and looking instead for the way that they open the doors of perception to exquisite psychedelic experience."

Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago's Loop. The Krueger exhibition runs through June 3rd.

Deanna Krueger ~ Fields

"Fields", the Deanna Krueger exhibition at Gallery 180 of The Illinois Institute of Art-Chicago will be installed tomorrow. The exhibition presents powerful mixed media forms created from recycled medical diagnostic film layered with monotypes. The film is torn, repositioned, and then stapled together to create various multi-faceted surfaces. The semi-reflective surfaces create a mesmerizing, gem-like quality. Krueger's given titles hint at the conceptual nuances, which imply humanity's collective search for meaning.

Drop by Gallery 180 to experience this exhibition Monday through Friday from 9am to 6pm and Saturday 9am to 5pm. A catered reception will be held on Friday, April 23rd from 5:30-7:30. The reception is open to the general public and all works are available for purchase. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago's Loop. The Krueger exhibition runs through June 3rd.

Additional work by Deanna Krueger may be seen at: deannakrueger.com

Poroshina Closes April 15th

On April 15 the Alina Poroshina exhibition at Gallery 180 of the Illinois Institute of Art-Chicago will conclude. This series of oil paintings symbolically explores the passions, desires, insecurities, aspirations and inspirations of woman. Typically inspired by historic and mythic events, poetic and often painful, the paintings examine the impact and reactions to sudden change, loss or separation. Born in Moscow and currently painting in New York City—Poroshina was a refugee who moved to Lancing Michigan when she was ten years old. She currently lives in Brooklyn where she is working on a new series of paintings motivated by historic and contemporary incidents of genocide.

If you're in Chicago and have the opportunity to visit the exhibition, it will be worth your while. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago's Loop. The gallery is opened Monday-Friday, 9am-6pm and Saturday, 9am-5pm. All works are available for purchase. The exhibition is on view until April 15, 2010.

Glistening "Fields" ~ New work by Deanna Krueger

Save the date... Friday, April 23rd, 5:30-7:30pm

In just a few weeks, "Fields" by Deanna Krueger will open at Gallery 180 of The Illinois Institute of Art-Chicago. Krueger produces powerful mixed media forms created from recycled medical diagnostic film layered with monotypes. The film is torn, repositioned, and then stapled together to create multi-faceted surfaces. These semi-reflective surfaces create a mesmerizing, gem-like appearance.

A loose and contemporary interpretation of the Color Field Paintings of the fifties and sixties, appropriately, Krueger draws upon the word “Fields” as a jumping off point for this particular body of work. The various meanings of the word can evoke actual, theoretical and—of course—technological implications. The latter reference speaks to the collection of data, which reflects back to Krueger’s intriguing choice of discarded medical film as creative material. Krueger offers insight of her creations with each given title—many referring to elements within science and technology with secondary implications to humanity’s search for understanding and purpose. Krueger explains:

"I am interested in humanity's collective search for meaning in the absurdity that is this life.” “…Serving as a marker of this time of transition, the materials speak to the recent evolution of information storage. When virtual documents replace paper, the lowly staple will become an artifact of an earlier information age. Modes of diagnostic imagery are shifting as well: X-Rays and MRI scans are increasingly being recorded solely in the digital realm."

Mocking obsolescence and questioning the purpose of life and death, the glistening imagery offers memorizing surfaces on which to focus, meditate and contemplate. The work of Deanna Krueger will be presented at Gallery 180 of The Illinois Institute of Art-Chicago through June 3rd. This exhibition is free and open to the public. Works are available for purchase. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery is open Monday through Friday 9-6 and Saturday 9-5.

Image: Deanna Krueger, "Sencha" - Detail, mixed media, 63"x 63", 2010

Matisse: Radical Invention

The Matisse Exhibition, at The Art Institute of Chicago, will open to the public this Saturday. The exhibition previewed today for members. To be clear, it’s a wonderful exhibition.

The show titled “Matisse: Radical Invention”, covers the work he created during the five years between 1913 and 1917. From the Institute’s web site, the exhibition “…examines what is without question the most innovative, momentous, and yet little-studied time in the artist’s long career. Nearly 120 of his most ambitious and experimental paintings, sculptures, drawings, and prints from the period are on view.”

It continues…

“Rigorously purged of descriptive detail and sharply composed, the works Matisse produced between late 1913 and 1917 are among his most demanding, experimental, and enigmatic. While these works have typically been seen as unrelated responses to the influences of Cubism and World War I, this exhibition illustrates the deep connections between them and their critical role in an ambitious, cohesive project of developing what Matisse called “the methods of modern construction”—a process in which the act of creation itself was the main focus.

Unlike his earlier art, which was characterized by rich color and arabesque line, these new paintings, sculptures, prints, and drawings are often rigorously abstracted, heavily reworked, and dominated by black and gray. Canvases typically show a multitude of paint layers and a nearly sculptural approach to scraping and incising; sculptures display a remarkable emphasis on geometry and structure; prints reflect and reinform the incising and scraping that the artist devised for his paintings; and drawings are frequently composed of a network of erasures and stumping, and elegant, spare line.”

Truly a beautiful exhibition, the work is presented in a series of open and very manageable rooms. Stephanie D’Alessandro, Gary C. and Frances Comer, Curator of Modern Art at the Art Institute of Chicago, and John Elderfield, Chief Curator Emeritus of Painting and Sculpture at the Museum of Modern Art, New York, curated the show.

Take the time to see this exhibition. It’s quite amazing. The show continues through June 20th.

Roland Kulla ~ "Urban Patterns" acrylic on canvas

This past weekend, I went to New York to attend the opening reception of a painting exhibition by Chicago Artist, Roland Kulla. A long time friend, I've watched Kulla’s imagery evolve from simple graphic elements to obsessively complex patterned structures. For more then a decade, his passion has been the steel structure of bridges. He has found inspiration in the bridges of Boston, Pittsburgh, Chicago, and New York—creating bodies of work on each subject. This current body of work, titled “Urban Patterns,” is Kulla’s continued exploration of the built environment. The works idealize and celebrate society’s structural accomplishments. Kulla is obsessively passionate of “the monumentality of the forms and the creativity necessary for their existence”.

Roland Kulla’s exhibition will run through April 17th and may be seen at the George Billis Gallery, 555 West 25th Street, New York. If you are unable to see the exhibition in person, you can review the work at: georgebillis.com. Older works can be seen at: rolandkulla.com… Enjoy!


Above: Kulla discusses his work with a patron.

Jon W. Balke... In the Absence of Color

I work downtown in Chicago’s Loop, just steps away from Millennium Park, The Art Institute of Chicago, and The Chicago Cultural Center. Occasionally before classes—or when I just want to clear my head—I’ll walk over the Cultural Center and explore the latest exhibit. Today was one of those days.

The Cultural Center usually presents a number of wonderful exhibitions. One of the exhibitions—currently on exhibit—is a show of brilliantly rich black & white photographs which can be found in the Renaissance Court Gallery. The show titled “In the Absence of Color”, is the work of the self-taught photographer, Jon W. Balke. Balke creates environmental images with a large format camera and develops the prints in his darkroom using the traditional silver gelatin process. Balke’s black & white prints capture the natural world with amazing lighting and force the viewer to explore the elements of texture, line, surface, and pattern. The above image, "Peeling Paint" is one of the more abstract images in the exhibition. Many of the pieces are direct nature studies.


From the materials that I read while in the gallery, Balke studied darkroom techniques with Ansel Adams & John Sexton, and photographic composition with Willard Clay. If you have an opportunity to visit this show, you will not be disappointed. The imagery is really quite wonderful. The show continues through March 21st. The Chicago Cultural Center is located at 78 E. Washington Street in Chicago. You can also review Balke’s work on line at: balkephotography.com

...Enjoy.

The Poroshina Reception

Tonight's Alina Poroshina reception at Gallery 180 of The Illinois Institute of Art-Chicago was well attended. Poroshina [not pictured] flew in from New York to attend the event.

Born in Moscow, Poroshina moved—with her family—to Lansing, Michigan as a refugee at the age of ten. As her life continued, she earned BFA in Painting, with a minor in Illustration, from Kendall College of Art and Design of Ferris State University. She continued her education and in 2007 earned an MFA in Studio Art, attending Kendall's graduate program on a merit scholarship.

In describing her paintings, Poroshina explains:

“The hidden symbolism—found in my paintings—creates a multi-lingual narrative that is interpreted in accordance with the unique cultures of the viewers. Seemingly different, all my paintings reflect my internal struggle, my passions, and the painful analysis of the fears and hopes of my generation.”

The Alina Poroshina exhibition continues through April 15th at Gallery 180 of The Illinois Institute of Art-Chicago. The exhibited works are available for purchase. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago's Loop.

Alina Poroshina ...Reception Friday, February 19th

It’s been an amazing weekend. As you may know, the College Art Association Annual Conference was taking place here in Chicago. It began on Wednesday evening and continued through Saturday afternoon. The sessions were amazing …and between sessions on Saturday, I took a few hours to hang the Alina Poroshina exhibition in Gallery 180 of The Illinois Institute of Art-Chicago.


The Poroshina show is wonderful and the canvases are substantial—both in size and content. Poroshina has created a body of symbolic imagery, which deals with issues confronting women—and in my opinion—society in general. The beautifully painted surfaces are rich with confident strokes of color, which demand the viewer’s full attention. Benches have been included in the exhibition space to allow onlookers a place to stop to contemplate the imagery. A catered reception for the exhibition will be held this Friday, February 19th from 5:30-7:30. Gallery 180 is located at 180 N. Wabash in Chicago. The reception is free and all but one of the pieces are available for purchase.

A second show will also be taking place Friday evening… The Art of Human Rights to benefit Heartland Alliance will take place at the River East Art Center from 6:30-9. Check out the Heartland Alliance web site for additional information.

Image: Alina Poroshina, "Abduction of New Orleans", Oil on Canvas, 60 x 96, $8,400 - and detail

Ken Konchel... Graphically Beautiful

When selling art, if the patron is “on the fence” about the purchase, I’ll suggest that they go home. I tell them that if they’re still thinking about the piece the next day—or a week later—then they probably need to make the purchase. I’m one of those people who purchase work because it moves me… not really knowing where it will eventually live.

A few years back, I produced an exhibition for photographer, Ken Konchel at Gallery 350 of The Illinois Institute of Art-Chicago. Konchel’s work was—and continues to be—a beautiful presentation of graphic black and white photographic abstraction created from architecture. From Konchel’s web site:

"My aim is to photograph buildings in arresting ways, creating compositions that do not immediately reveal themselves as architecture. Buildings present rich opportunities for me to imaginatively explore the angle, the cube, the curve, the triangle, and the rectangle. By examining these forms individually or by grouping them into unconventional configurations, I aspire to challenge and captivate people by introducing them to architecture’s intriguing visual possibilities. I strive to take photographs that disclose their content in layers of meaning that more richly reward with repeated viewings."

Well the reason I bring this up is that I purchased one of the pieces from that exhibition… The piece, titled “Beam”, is dated 2003. The image is of the ceiling of Windhover Hall, a ninety-foot high glass-walled reception area at the Milwaukee Art Museum’s Quadracci Pavillion. The photograph has been leaning against the wall on my living room for the past few years. It’s a relatively large piece—framed to 30 x 36”— so I’ve been looking for the perfect placement… I found it. Today, I hung the work in our freshly painted office. The contrast of the steel blue walls and the forms created by the flanking window blinds—which obviously mimic the image—create the perfect environment for Konchel's tranquil composition.

You can find other work by Ken Konchel at: kenkonchelphoto.com. Check it out… his work is quite amazing.

Alina Poroshina - February 19th – Save the Date

Gallery 180 of The Illinois Institute of Art-Chicago will present a series of oil paintings by Alina Poroshina from February 15 through April 15. These works are just a segment of the artist’s “Fire and Water” series from which she uses symbolic imagery of strong women, who choose to conquer and prevail despite existing adversity.

A resistance to victimization is symbolically communicated to the viewer in the cleverly titled “Coy”. This piece presents a provocatively dressed woman floating in a pond with by a number of large Japanese carp. Based on Japanese symbolism, the carp—or koi—represent perseverance in adversity and strength of purpose. The large golden fish circle the woman as though attempting to keep her afloat. The beautifully painted canvas—54 inches high by 36 inches wide—is but one of the artist’s anthems of feminine perseverance.

Please join us for the Alina Poroshina Exhibition, which will open at Gallery 180 with a reception on February 19th. Gallery 180 is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The exhibition is free to the general public and all works are available for purchase.

Image: "Coy", oil on canvas, 54 x 36", 2008
$4,500.