Art Letter

May 2009 Archives


I've just seen two wonderful exhibits.

The opening of the
Modern wing at the Art Institute is significant cause for joyous celebration.  The building is beautiful, the space dramatic and the installation sensitive and informative.  Not forced or artificial like I've seen too often, here are pairings and groupings where important pieces inform one another and rooms are dedicated to a single artist.  Enlightening. I felt like a tourist dropped in an unknown, thoughtful, considered (see footnotes) glorious, confident, consummate museum.  And then I looked out the window. I was at home.

Corbett vs. Dempsey is a very special show by perhaps the best painter alive today; Albert Oehlen. There are numerous intricate and delicate, formal yet playful, confident yet reflective, subtle yet bold collages that flat out sing. The installation, as guided by Oehlen, presents a more spacious gallery in new light. Most impressive. (Pictures from the show follow those from the Art Institute.)


Here are some images from the must see exhibition of Albert Oehlen at
Corbett vs Dempsey.

This is a fabulous moment for art in Chicago.  For the openings, the world came to celebrate great art in a joyous setting. And we looked very good.

Thank you all,
Paul Klein


Douglas Druick and Ruth Lopez explained to me how the Brancusi sculptures were placed in the vicinity of the 3rd floor windows. Life size maquettes of the sculptures were made from styrofoam and placed on an adjustable plinth.  With Architect Renzo Piano present, a temporary wall behind the "Brancusi's" was moved back and forth to get the proportions precisely how they wanted.  Then the real wall was built and ultimately the real sculptures placed the way we see them now. That kind of detail exists throughout the building.

2. There are plenty of Chicagoans on view including
Kerry James Marshall, Jim Nutt, Martin Puryear, Ed Paschke, Jeanne Dunning and certainly others.




The ArtChicago and NEXT fairs revealed some changing trends in the art world. Yes, there were fewer high caliber galleries and correspondingly less high-priced, less high quality, less kickass art on view, but that makes sense.

There is presently less risk-taking seen across the board and as fragile as the art scene tends to be many dealers are smart enough to figure out how to stay in the game.

Though Franklin Parrasch elegantly stated that "Okay is the new awesome," there were many dealers who were giddy with their positive results.  One, whose probably been at ArtChicago for over a dozen years said this was her best art fair ever - that people weren't even asking for discounts.

And of course there were others who were crying in their soup.

Though I'm trying to figure out and reconcile the divergent information I received and observations I made here's what I think.  People like art.  People have been scrimping and have pent up desire. The art speculators who bought because of the upside potential and funny money games are bruised and gone.  The genuine art lovers who were pushed from the scene a decade ago are either back or out of lurking mode.  They care about quality, content and a personal relationship to the art.  They bought.

Those who did well brought art that was popular with a broad spectrum - mostly easier art to comprehend, art that felt familiar, or art that felt special - I know of a major collector and a major art consultant who were in town for personal reasons who didn't deign to attend. They demonstrated their "superiority" by making the appropriate supercilious comments.

This art fair wasn't for them. It was for the lookers, and the collectors, from the expanded midwest, from Minneapolis to Houston and Kansas City to Pittsburgh. There was plenty of money to go around, but it didn't go everywhere. Foreign galleries' booths looked under-visited.  Many of the newer (lesser?) galleries to the fair, those who don't have long term relationships with their expanded art fair audience, were challenged. Those who present what some call 'dorm art' didn't sell much, if at all, though many liked their energy' for whatever that's worth.

For those of us who care about substance and quality over hyperbole and b.s. this was a rather satisfying presentation. This is not to say the Mart did a particularly good job. Some galleries did and a sufficient portion of the audience responded.  The Mart had the foresight to add respected curators to well conceived panels. But in the bigger picture the Mart continued to consciously opt for monetizing mediocrity and marginalizing creativity. The Mart could have done something major for artists and Chicago. Instead they kissed the butts of the dealers who have now deserted them and what remains is a senate prospect who climbed the Tower of Babel to announce his candidacy

It is easy and satisfying to be unequivocal in my respect and admiration for the
Hyde Park Art Center. That's because we share an agenda; showcasing what is good about art in Chicago and trying to get more artists more attention right here at home. 

I travel a lot and I'm always looking at and for art wherever I go.  I believe there is a unique phenomenon that occurs in Chicago - the preponderance and proliferation of apartment galleries and artist run spaces.  This happens for a few reason,  More artists graduate from the several art schools here than can be absorbed by the system. Chicago galleries are doing an insufficient job of responding to the needs of the community.  The artworld is evolving, becoming broader, more democratic, more internet savvy and the existing and arcane support structure remains old school.

Given the existing deficiencies here, it is important that alternative galleries have risen fill the void. Often barely legal, they don't focus on sales, or bigger-is-better or even on perpetuating themselves. They focus on the quality of their relationships with artists and on presenting art that fits their vision. They are performing a wonderful, invariably fun, service to a too small audience.

To honor their existence, to inform us, and to acknowledge the growth of Chicago's art community the Hyde Park Art Center opens
Artists Run Chicago this Sunday.  This is a fabulous, original, well-conceived presentation that shines a light on a significant sampling of artist run spaces that have come and gone over the years.  I can remember many that are not included, but there are a lot of inclusions that I wasn't familiar with during the time they were here. This is a show jam-packed with content where those who ran the spaces were invited to present a sampling of the art they showed. It's a satisfying trip down memory lane as well as an eye-opener. Wonderful.

I want to see artists take responsibility for their careers and not just the next work of art they're about to create. Too many artists resemble lap dogs thinking that once they have a gallery relationship their travails will be over. Hell, it is imperative that once in a relationship with a gallery the artist persists in taking responsibility for how they are treated by the gallery and what the gallery does for them.  An artist would be very foolish to assume that a gallery's interest equals their own.

I'm particularly impressed when I see a young artist completely blow off the gallery system. Such is the case with
Jason Brammer who, as far as I can tell, has never had a gallery experience, yet makes solid art, sells most of it and has an opening at the Star Lounge Coffee Bar this Saturday evening. Galleries certainly aren't the only way to go, especially in a compromised economy when so many other opportunities exist. It's always good to see an artist succeeding on his or her own terms.

Almost exclusively these ArtLetters are previews, but there's such a fine exhibition at the
Smart Museum that I've got to include it. Titled Your Pal, Cliff: Selections from the H.C. Westermann Study Collection, the show includes a lot of material that Westermann was reluctant to reveal during his lifetime, feeling that it compromised the integrity of his art.  But for many his art was enigmatic and the threads that tied it together were often quite difficult to see. When his wife died (years after him) she left his artifacts to the Smart Museum and enabled it to be seen realizing that it more fully revealed the genius that Westermann was.  There are many preparatory drawings and lots of fascinating letters full of sketches that make this is a glorious, slow exhibition that warrants a lot of reading and contemplation. This show is a unique joy!

That's it for now. I'm out of opinions.
Paul Klein