SEEING EACH OTHER: Portraits in Time and Place — NIU Art Museum

Danielle Piloto, New World King (detail), 2024, oil painting

Seeing Each Other: Portraits in Time and Place, opened last month at the Northern Illinois University Art Museum Galleries. The exhibition presents captivating portraiture offering personal insights that expose personality, emotion and even character. 

The twenty-three exhibiting artists were selected from submissions to a national call, and by invitation. The work ranges from conceptual to hyperrealism, producing an intriguing variety of thought-provoking imagery. 

Danielle Piloto’s image titled New World King created in 2024 is from an ongoing body of work titled “The Hats We Wear.” Piloto writes... “With each painting, the subject wears a hat tied to a narrative. For example, New World King is my personal perspective on leaders in the world. It addresses my growing inability to take them seriously. The “King” wears a crown made of paper (origami). He’s looking at the ball of tinfoil, which represents the world.” 

Danielle Piloto, New World King, 2024, oil painting (center image)

 

The hyperrealist painting technique utilized in New World King is visually arresting, capturing every minute detail with precision. Yet, it’s the incorporation of metaphorical elements that elevates the work, transforming it into a visual puzzle that invites deeper interpretation. This layered meaning challenges the viewer to look beyond the surface, inspiring intellectual engagement and offering a subtle commentary on power, society, and human nature.

 

Heather Green, CeCe McDonald, 2015, Oil on Panel

 

Heather Green’s CeCe McDonald created in 2015, depicts a mugshot of a transgendered woman who was arrested in 2011 for defending herself against a violent attacker. 

Green shares the story in the adjacent description card...  “Shortly after the confrontation, she was arrested and charged with second-degree murder, regardless of the serious injuries she sustained and her story outlining a lawful self-defense. With the possibility of a 20-year prison term looming, she felt compelled to accept a plea deal rather than gambling on the outcome of a jury trial.” The story continues... “Despite being targeted of a hate crime, Ms. McDonald accepted the plea for second-degree manslaughter and received a 41-month prison term. She served 19 months in two men’s prisons before her early release in 2014. Her case has received national attention, and she continues to work as an advocate for LGBTQ rights.”

With bold, expressive brushstrokes and an achromatic color palette, Green creates a striking image that exposes the deep emotions of sadness and anger. The artwork confronts the viewer with the raw, visceral response to a prejudicial social system rooted in bigotry and discrimination. The absence of color heightens the emotional intensity, allowing the viewer to focus on the depth of the subject’s pain and frustration. Green’s composition becomes a visual outcry, challenging societal norms and exposing the injustice that fuels these powerful emotions.

Trudy Borenstein-Sugiura, Asteria Hysteria, 2022, Collage (left) 

The Other/Brother, 2021 Collage (right) 

The portraits included in the exhibition go beyond capturing mere representation—portraying not only the subject’s outward appearance but also their personality, soul, and essence—sometimes incorporating metaphorical elements, symbols, or subtle visual cues that hint at a deeper narrative. These evoke a sense of intimacy, creating a connection between the viewer and the subject that surpasses the physical likeness.

Artists included in the exhibition are Trudy Borenstein-Sugiura, Maggie Cappetini, Alyssa Corrigan, Virginia Derryberry, Carly Ellis, Dan Farnum, Julia Fauci, Charles Gniech, Heather Green, Nicholas Gully, Dean Krueger, Isaiah Lee, Carol Luc, Kiara Aileen Machada, Dana Major, Dave Menard, Danielle Piloto, So Young Song, Veronica Storc, Ann Toebbe, Dillon Ward, Amy Taeger, Dan Zamudio. 

Exhibition Entry - (right) Charles Gniech, From Darkness, 2003 acrylic on canvas 

Seeing Each Other: Portraits in Time and Place, continues at The Northern Illinois University Art Museum Galleries through October 19, 2024. The Northern Illinois University Art Museum is located on the first floor of Altgeld Hall, 595 College Ave. DeKalb, IL 60115. Museum hours are Tuesday, Wednesday, Friday 10 a.m. - 5 p.m.; Thursday Noon - 7 p.m.; Sunday Noon - 4 p.m. Visit the website for related events during the run of the exhibition. https://calendar.niu.edu/art_museum

Seeing Each Other: Portraits in Time and Place, was curated by Peter Olsen, Assistant Director, Northern Illinois University Art Museum

 

 

JAMES DEEB – The Other Art Fair – Chicago

James Deeb, Wallflower, oil on board, 14 x 17"

In 2014, I wrote the introduction for a catalog of work by Chicago Artist, James Deeb. The catalog, Masks & Other Stories: small works by James Deeb, highlighted a sampling of the artist’s intimate paintings, each produced with a heavy application of glistening oil paint. Although Deeb’s technique remains consistent and his imagery continues to be inspired by the mysteriously macabre, the artist is exploring new subjects and an expanded color palette. James Deeb’s artist statement lends insight into this most recent modification.

“...I use my work as an attempt to find empathy and pathos... no matter how “dark.” Empathy and pathos, however, have been hard to come by these past few years. As a result, many pieces in my new body of work are visual reports on the pervasive climate of fear and anxiety that I sense around me...”

The work of James Deeb is on view in Booth 79 on the second floor of The Other art Fair, which opens tonight at Artifact Events. With a new twist of the art experience, The Other Art Fair combines affordable artworks by 110 artists, immersive installations, performances, musical entertainment, and a fully stocked bar.

Artifact Events is located at 4325 North Ravenswood Avenue, in Chicago. The Other Art Fair continues through the weekend... Tonight, Thursday the 11th, 6-10 pm; Friday the 12th, 5-10 pm; Saturday the 13th, 11-7 pm; Sunday the 14th, 11-6 pm. Tickets are available online at: theotherartfair.com/chicago

James Deeb, Earthbound, oil, 20 x 16"

James Deeb, Rag Doll, oil, 18 x 24" 

James Deeb was born behind the wall in West Berlin in 1964. He remembers drawing a lot as a child and making animated movies with lumpy clay dinosaurs. He graduated from Indiana University at South Bend in 1988 and received an MFA from Western Michigan University in 1994.  Deeb’s work is darkly humorous and melancholy in roughly equal measures. He refers to it as art in a minor key.

Learn more about James Deeb at jamesdeeb.com

EXPO CHICAGO - April 11-14

EXPO CHICAGO 2024, is returning to Navy Pier from April 11th to 14th for its eleventh iteration. Expo will Showcase 170 of the world's outstanding galleries from 75 cities and 29 nations. The International Exposition of Contemporary & Modern Art will showcase the work of more than 3,000 artists and—as aways—host a wide range of diverse programming.

This year's exposition will introduce specialized segments, including EXPOSURE—dedicated to solo and dual artist presentations from galleries in operation for less than a decade, PROFILE which highlights individual artist installations and thematic exhibitions presented by distinguished international galleries, Editions + Books which presents a curated selection of artist books, editions, and multiples, and—of course—Special Exhibitions offer meticulously curated displays by non-profit organizations. 

Kyle Flubacker, photo

Exhibitor information, scheduled programming, and ticket information can be found at expochicago.com
This is an annual event not to be missed!

Judging ...WHAT THE HECK??!!!

Bradford Purse, Detail, “Pop-Up Balloon Safari at Failing Wildlife Monument”, oil on canvas

Curating a group exhibition is always a challenge. Hours, days—even weeks—are spent viewing, re-viewing, and selecting work that tells an exceptional story with a visual throughline. Having curated more than a hundred exhibitions, I understand the process. Curators, Janice Meister, Claudia Craemer and Debbie Craemer embraced the challenge. Meister selected the wide range of art objects, and the Craemer sisters presented them exquisitely within the Tall Grass Gallery. 

The works in this show surprise, bewilder, and amuse the viewer with strange combinations of reality. I was able to preview the show and honored to select the award-winning work. The judging process is always completely subjective based on the judge’s life experience, knowledge, and personal bias. That said, here are my award selections. 

Award of Excellence

Bradford Purse, “Pop-Up Balloon Safari at Failing Wildlife Monument” oil on canvas.

Timely and beautifully painted, Purse takes an opportunity to make a powerful statement about the state of the world today. With a bit of dark humor and skillful brush, I found myself lost in the beautiful details of the composition. 

Award of Excellence

Jeanne Garrett, “Gold among the Ashes” archival pigment print on rice paper with gold leaking. 

Loosely reminiscent of the work of Jane Fulton Alt who photographed controlled prairie burns in the early 2000s, this intimate piece presents the silent elegance of the destruction and rebirth of the forest floor. Garrett explores various levels of depth within an abstract landscape. Perhaps a comment of the current climate crisis, the image offers many conceptual interpretations. 

Award of Excellence

Patricia Stewart, “Wear Pills Meet Fashion” mixed media assemblage: medicine bottles, wood hanger, IV hanger. 

Stewart’s “Wear Pills Meet Fashion” is a statement that highlights the need for some to medicate as a daily ritual—like getting dressed. But the piece also—perhaps unintentionally—comments on the marketing campaigns produced by the pharmaceutical industry, that encourage the masses to accessorize with pills. The number of empty prescription bottles seems to underscore the issue. This unique assemblage is a conceptual version of Munch’s “The Scream.”

Third Place:

Richard Burd, “Elgin Joliet and Eastern Railroad, Park Forest” black and white digital print.

Beautifully composed, this photograph offers a nostalgic moment with a twist of humor. The lavish abundance of textures found throughout the image offer a range of tactile secondary focal points to explore.

 

Second Place:

Randy Buvala, Detail, “Staying Home to Watch the Rain” charcoal on paper with found objects.

Drawn to the honesty of the materials, this culmination of elements results in a fascinating encounter. The rich application of charcoal creates a soft and enchanting experience, like that of a childhood fable.

First Place:

Bradford Purse, “Ebbing Tides of the Heart” oil on canvas.

Beginning a unique visual conversation dealing with universal subjects, Purse presents luxurious imagery to challenge the audience into considering the world in which we live. He dares the viewer to spend time within his compositions, offering up expertly executed details that invigorate the canvas and entice the viewer. I found it difficult to walk away, and when I did, I found myself being pulled back to explore further. Brad Purse is truly a master of both concept and technique. 

The artists included in the WHAT THE HECK??!!! exhibition are, Jay Anderson, Marcia Babler, Judi Boehner, Richard Burd, Randy Buvala, Rita Dianni-Kaleel, Carol Estes, Mary Flynn, Jeanne Garrett, Janet Glazar, Nickie Gunning, Luis Gutierrez, Judith Hanacek, David Jagodzinski, Marie Karambis, Amanda Lorance, Lucy Mueller, Bob Nardi, Diane O’Connor, Bradford Purse, Tali Rachelle, Mary Schiller, Doug Stein, Patricia Stewart, Tanya Wingo-Brown, and Kelly Witte.

WHAT THE HECK??!!! will continue through March 16, 2024, at the Tall Grass Art Gallery located at 367 Artists Walk in Park Forest, Gallery Hours are Tuesday through Saturday, 11am - 4pm. Learn more at www.tallgrassarts.org

MEMORY - Christopher Art Gallery of Prairie State College

Frances Cox, Memory of Watching Plants, 32x32 in, oil on canvas

A juried exhibition titled Memory, opened this week at the Christopher Art Gallery of Prairie State College. The exhibition, curated by Gallery Director Beth Shadur, includes a variety of work addressing the ideas of past experience and nostalgia. 

The school’s gallery guide points out, “Our ability as humans to make and remember memories is what makes experiences rich and defining in our lives. Actually, all living beings have memory, and this is evident by the mysterious ways in which birds migrate successfully, our pets learn our requests for obedience, and how activities for living beings become habitual. But for artists, the ability to process and then elicit memory is particularly profound.”

Frances Cox was raised in a Chicago neighborhood where her parents owned the local bakery. Some of her earliest memories were of drawings produced on an unlimited supply of brown wrapping paper acquired from the family business. She remembers family drives from the city, exploring the countryside and nature. As her work as an artist evolved, Cox redefined landscapes and nature-inspired still-lives.

The work of Frances Cox defines beautiful abundance. Cox orchestrates the repetition of form, pattern, and texture creating lavish compositions with her unique visual vocabulary and a seductive use of jeweled color tones. Each canvas persuades the viewer to renounce reality and immerse themselves into a new organic world. The distinctive contrasting color patterns create a lavishly orchestrated composition suggestive of an abstract cornucopia. 

Other artist included in the exhibition include Joan Ackerman-Zimny, Marcia Babler, Wayne Bertola, Pate Conaway, Helen Dannelly, Jeanne Garrett, Leslie Hirshfield, Pauline Kochanski, Alejandro Lugo, Mary Lynn Maloney, Janice Meister, Betty Ann Mocek, Karen Musgrave, Carol Neiger, Julie Rivera, Jihye Shin, Aaron Sims, and Colette Wright Adams.

The Memory exhibition continues through January 25 at the Christopher Art Gallery. A reception for the artists is scheduled for Wednesday, January 17, 11 am- 1:30 pm. The gallery is found on the main campus of Prairie State College, located at 202 South Halsted Street, Chicago Heights, Illinois 60411. Learn more at https://prairiestate.edu/christopher-art-gallery/

50 Paintings — Milwaukee Art Museum

Eddie Martinez, Untitled 2020 Detail, acrylic and oil on panel

Last month, an exhibition titled 50 Paintings opened at the Milwaukee Art Museum. Co-curators Margaret Andera and Michelle Grabner selected 50 paintings—each produced by one of 50 different international artists over the past five years. The objective was to compile a collection of work that would represent current trends in painting today.

As I explored the exhibition, I found myself searching for a common idea—a visual or conceptual throughline that defined this specific snapshot-in-time. With the understanding that no idea is entirely unique, I thought about the global collective conscious. I scanned the gallery walls knowing that the creation of fine art is typically the artist’s reaction to the world and world events. Although the exhibition contained a variety of captivating and approachable imagery, it seemed obvious to consider the global events of our recent past.

So, five years, 2018 to 2023... Humanitarian crises throughout the world, a global pandemic, an increase of authoritarian dictatorships, the Central American Migrant exodus, journalists silenced and murdered, climate science ignored, the murder of George Floyd, the rise of the MeToo Movement, Russa’s aggression toward Ukraine... Each of these events revealed an attempt to dominate, manipulate and control. The symbolism within this collection of paintings became more apparent—board games, and all things associated—strategy, determination, manipulation, and conquest at any cost.

Eddie Martinez, Untitled 2020, 30 x 40in., acrylic and oil on panel

The untitled piece by Eddie Martinez began to unravel some of the mystery within the exhibition’s content. Martinez is recognized for creating mixed media imagery that utilizes abstract figurative elements created with gesturally drawn strokes of translucent pigment. The untitled canvas, included in the exhibition, presents a quickly drawn face painted on a nebulous shape with an underlying checkerboard pattern. It suggests the imprint created by daily media games—perhaps implying the long-lasting psychological effects of the 24/7 news cycle. 

Rebecca Morris, Untitled (#04-22), 2022, 66 x 67in., oil and spray paint on canvas

The checkerboard is referenced again in Untitled (#04-22), a substantial canvas by Rebecca Morris. This image is an exaggerated segment of the standard checkerboard produced with cloud-like washes of oil pigment and enhanced with spray paint. The canvas is edged with a bold metallic border—curtailing the expected geometric 64 square format. The image seems to imply hope or perhaps suggesting that the viewer attempt to focus on the more encouraging segments of the game.

Pat Steir, Untitled XXII, 2019, 36 x 36in., oil on canvas

An abstract work by Pat Steir is another notably thought-provoking image included in 50 Paintings. Known for her Waterfall series of dripping pigment on canvas, Steir’s Untitled XXII of 2019, captivats the viewer to examine the details of gently trickling pigment frozen in time. The imagery invites the spectator to focus on a specific moment in time, perhaps referencing the intervals of the transition within society as a whole. 

Well worth exploring, the 50 Paintings exhibition continues at the Milwaukee Art Museum through June 23, 2024. The museum is located at 700 N. Art Museum Drive, Milwaukee, Wisconsin 53202. Learn more at: https://mam.org/exhibitions/50-paintings/

Pat Steir, Untitled XXII Detail, 2019, 36 x 36in., oil on canvas

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ABOUT:

EDDIE MARTINEZ was born in 1977 in Groton Naval Base, Groton, Connecticut and currently lives and works in Brooklyn, New York. Recent solo museum exhibitions include the Yuz Museum, Shanghai, (2019-2020); Museum of Contemporary Art Detroit, Michigan (2019); The Bronx Museum, New York (2018); The Drawing Center, New York (2017) and The Davis Museum at Wellesley College, MA (2017). He has also had solo exhibitions at Capitain Petzel, Berlin (2023); Blum & Poe, Los Angeles (2022); Loyal Gallery, Stockholm (2021); Perrotin, Hong Kong (2019); Sorry We’re Closed, Brussels (2016); Timothy Taylor Gallery, London (2014); Galerie Mikael Andersen, Copenhagen (2009); Galeria Commercial, San Juan (2007) and Bucket Rider, Chicago (2005). Additionally, Martinez’s work has been featured in Modern Painters, ARTINFO, The New York Times, ArtReview, The Brooklyn Rail, and Art in America.

REBECCA MORRIS (b.1969, Honolulu, HI) lives and works in Los Angeles. Her recent survey exhibition at the Institute of Contemporary Art, Los Angeles (ICA LA) will travel to the Museum of Contemporary Art, Chicago in September 2023. Other significant solo exhibitions have been held at the Blaffer Art Museum, Houston (2019) and Bonnefanten Museum, Maastricht, Holland (2014) as well as presentations at Made in L.A., Hammer Museum, Los Angeles (2016), the Whitney Biennial, Whitney Museum of American Art, New York (2014), The Wexner Center for the Arts (2018), and The Renaissance Society (2005). Other solo shows include those at 356 Mission Rd., Los Angeles, and LAXART, Los Angeles.

PAT STEIR Born in Newark, NJ, Steir went on to study at the Pratt Institute and the Boston University Colle of Fine Arts, graduating with her BFA from Pratt in 1962. She has been the subject of solo exhibitions in many prestigious museums and galleries, from the Corcoran Gallery of Art in Washington DC, the Tate Gallery in London, to Cheim & Read in New York, among many others. She is the recipient of numerous honors and awards, such as the Guggenheim Fellowship in 1983, National Endowment for the Arts grants in 1973 and 1976, and the Alumni Acheivement Award from the Pratt Institute in 2008. Steir’s work can be found in the collections of the Museum of Modern Art in New York, the Kunstmuseum Bern in Switzerland, the Hirshhorn Museum in Washington DC, the Metropolitain Museum of Art in New York, the Whitney Museum of American Art in New York, and many other institutions. She lives and works in New York.

MARGARET ANDERA, Senior Curator of Contemporary Art
Margaret Andera has a history of over twenty years with the Milwaukee Art Museum. She began her tenure in 1989 as a curatorial intern, assigned to work on the newly acquired Michael and Julie Hall Collection of American Folk Art. She joined the staff full-time in 1993 as a curatorial assistant and advanced her expertise in contemporary art and the art of untrained artists. • Andera since has facilitated several important acquisitions of contemporary and self-taught work for the Collection and has been instrumental in establishing the Milwaukee Art Museum as a leading American institution for modern self-taught material. • Among the exhibitions she has curated are On Site: Andrea Zittel and Uncommon Folk: Traditions in American Art, as well as Vito Acconci: Acts of Architecture, Magnetic North: The Landscapes of Tom Uttech, Accidental Genius: Art from the Anthony Petullo Collection, and Currents 36: Dirk Skreber, whose accompanying catalogues are but a few of Andera’s several publications.

MICHELLE GRABNER, Co-Curator
Michelle Grabner is known for her broad perspective developed as teacher, writer and critic over the past 30 years. The site where it all comes together is the studio. Her artmaking is driven by a distinctive value in the productivity of work and takes place outside of dominant systems. • Central to the work is process. Grabner references Penelope’s clever ploy of weaving by day and unweaving at night, which kept the suitors at bay in Homer’s Ithaca. Like Penelope, Grabner finds a generative space for mending, healing, and woolgathering within her unique system of de-weaving and filling in. Like Penelope, who used the coded language of shroud-making to bring about change, Grabner uncovers new dynamic relationships through her visionary practice of repetition. With a deep attention to abstract patterns and all the metaphors they conjure, Grabner pushes the limits of compositional structures to discover the tipping point between stability and precariousness, between continuance and wondrous difference.

“The Journey is what makes it truly exciting” BRUNO SURDO

Bruno Surdo, "A Selfie, A Pink Unicorn, Paparazzi! What does it take to get noticed?" oil on canvas, detail

When I first met Bruno Surdo, he was a professor of illustration and animation at The Illinois Institute of Art-Chicago. Back then, his reputation for flawlessly rendering the human form was common knowledge. Not until roughly 2014 did I have an opportunity to experience his massively complex figurative canvases which referenced his personal impressions of contemporary society. That exhibition was presented at the Ann Nathan gallery in Chicago. Since the closing of the iconic Ann Nathan Gallery in 2016, Bruno Surdo has been represented by Nathan’s colleague Victor Armendariz, owner of Gallery VICTOR.

Bruno Surdo, "A Selfie, A Pink Unicorn, Paparazzi! What does it take to get noticed?" oil on canvas 79 x 108"

This past Saturday afternoon, as part of the Chicago Exhibition Weekend 2023, Gallery VICTOR presented an artist talk with Bruno Surdo—highlighting the artist, his process, and marking the conclusion of Surdo’s current exhibition. The exhibition offered both the massive compositions of interacting figures—imagery that Surdo has become known for—as well as a few amazingly intimate portraits, seemingly sketches for inclusion into larger canvases. It’s these brilliant studies that I gravitate toward. 

Bruno Surdo, "Reflection" oil on canvas 30 x 24"

“Reflection” offers the viewer a quiet moment to get lost in beautifully painted patterns of texture and surface. This single-figured portrait captures the interest of the observer by repeatedly offering new and exciting details to explore. With the subtle highlights falling upon the subject’s sensual lips and eyelashes, to the detailed complexity of her hair, “Reflection” ensnares the viewer into a corner of the mind where time becomes irrelevant. Even the background creates brilliant secondary interest with a uniquely random pattern, which Surdo explained, was inspired by the observation of aluminum foil.

As Surdo discussed his inspirations and process, he shared that the preliminary drawings for each painting are key to the final work. He defined stacks of renderings for a single canvas—and that the drawings are resolved on the canvas before beginning to paint. He also pointed out that, if an area of a painting wasn’t working, he had no problem wiping it away and beginning again. As he put it... “The Journey is what makes it truly exciting.”

Although the exhibition has concluded, works by Bruno Surdo are still available through Gallery VICTOR located at 300 West Superior Street, Chicago IL 60654. Gallery VICTOR is open Tuesday through Saturday 11am to 5pm. Learn more at www.galleryvictor.com

BRUNO SURDO (b. 1963, Chicago)
Bruno A. Surdo is a true native of Chicago. He studied drawing and art history and pursues the mastery of the human form with inspiration from the Renaissance masters. His provocative works center around the human condition and are known for their allegorical imagery. Bruno has had numerous shows and commissions, and his work is held in many prestigious art collections around the world. He lectures often and is a teacher who believes in nurturing others. The artistic forms he has created are images that communicate a personal commentary on the issue or question in mind. These shapes are then arranged in a pictorial space using the human form. Surdo strives to communicate a message to the viewer - to engage the person in a conversation between what he puts forth and what he or she can then interpret. The interchange of response and curiosity are goals the artist set when composing his ideas. Surdo believes art is a continual form of expression and he feels committed to search for a language that brings his thoughts and feelings to the surface.