Art Letter


July 2011 Archives

Groups On Exhibit
Previously, I've mentioned my annoyance with curators who force their issues on the art - instead of going with what's there.  There was plenty of opportunity in 3 group shows I saw for curators to get heavy-handed.  And they didn't.  Instead, they allowed the art and artists' voices to come through.  As a result, I came away with greater insight and pleasantly didn't feel browbeaten by 3 group shows at 2 Chicago museums, that have already opened.

I was cautious encountering the Museum of Contemporary Art's Pandora's Box: Joesph Cornell Unlocks the MCA Collection.  I'd heard the MCA had borrowed none of the Art Institute's numerous, excellent and insufficiently lit Cornell boxes.  And entering the MCA's show I understood why.  They didn't need them. All they needed was a given Cornell illustrating a specifc facet of his oeuvre. 

L1040899.JPG

L1040903.JPG
The show is almost evidence of a game.  Think of the themes we all associated with Cornell.  Intermittent objects in rows and columns?  Okay let's look in the MCA collection and find a Warhol and  Gursky.  Birds and feathers?  Sure. What else?  How about Voyeurism? Okay.  Collage?  Yup. 

L1040904.JPG

L1040905.JPG
This is a delightful summer show; accessible, fun, just provocative enough, informative and playful.  In the week or so its been open I've been twice.  There's an endless array of discussions going on between the works of art on view.  New relationships appear.  It isn't to say that all the artists in the show were influenced by Cornell, but that their work resonates.  And that it does - to an extent that my appreciation of Cornell was elevated - he's more contemporary than I realized. Any my appreciation of others in the show did also, because I was obligated to consider their effort in a new light.

L1040906.JPG

L1040907.JPG
Also at the MCA, which is already using its space better, is a shown called Motor Cocktail, which presents motorized or non-static art.  This is a show of work that is history for some and a fond memory for others.  And seeing it in a contemporary environment augments the meaning and establishes new relationships. A nice, small, tasty exhibit. 

L1040920.JPG

L1040917.JPG
L1040921.JPG
At the University of Chicago's Smart Museum is hot little show called Go Figure, which augments work from the museum's collection.  Beyond the quality of the art are a superb array of video discussions with the artists - also available online. (Don't miss the awesome Claire Zeisler on view after exiting the Go Figure show!)

L1040914.JPG

L1040908.JPG

L1040912.JPG
L1040911.JPG
Also already opened, is Mush Room, a new effort by the Collaboracton theater company that asked Wesley Kimler and me to select work for them on an on-going basis.  We see the effort as an extension of our discussions about art; loose and not particularly linear.  We'll select art we like or artists we respect or just work we find interesting that might have a relationship with other art in the show. This exhibit is about women, by women and includes Virginia Broersma, Jennifer Lambert, Mary Lou Novak, René Romero Schuler and Victoria Szilagyi.

L1040926.JPG
L1040925.JPG
L1040924.JPG
L1040927.JPG
L1040928.JPG
Finally, an opening.  Tonight at Linda Warren, Conrad Freiburg and Jason Peot have shows opening.  Freiburg is a thinker who's good with his hands.  If it weren't for the wood in his art that keeps him anchored, Freiburg would be in the ether floating with Pascal and Hawking, pondering celestial theories and looking for quirks in the quarks. But instead he makes mindful and soulful art that applies human concepts to inter-spatial relationships - a physical poetry that considers math and stars in the same breath.  His isn't easy work, but it is special. 

L1040948.JPG
cf  opiopis.JPG
jp alkjh89.JPG
Thanks very much,
Paul Klein