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.