We continue this week’s coverage with Benjamin Bellas’ review of the experimental projects at SEVEN.

William Lamson. Photo courtesy of the artist.

In the process of trekking from one designated fair to another during Art Basel Miami Beach weekend, one encounters a litany of individuals, vendors, and spaces trying to grab your attention from amongst the morass.  In the Wynwood District situated along the walking path, (for those who hadn’t the patience to wait for the shuttle from Scope to Pulse), was one such space that was the gem of all of Art Basel.

Since 2006, Pierogi Gallery, Hales Gallery and Ronald Feldman Fine Arts have presented a special exhibition during the art fair week in Miami.  This year BravinLee programs, Postmasters, P•P•O•W, and Winkleman galleries have joined the original three in a new 24,000-square-foot space in the Wynwood Art District. Entitled SEVEN, this expanded project looks beyond the art fair model to create an alternative platform for presenting and experiencing contemporary art.   Defined by large installations and collaborative curatorial projects, SEVEN has been conceived to provide an exhibition experience defined by the needs of each artist’s work.  The viewing experience is much more that of a biennial than the one we have grown accustomed to at the traditional art fair.

Amongst the numerous large scale video projections presented within the cavernous exhibition space was William Lamson’s A Line Describing the Sun. An exquisitely documented land art installation/performance whereby Lamson uses a mirror and Fresnel lens, mounted to a wheeled device, to harness the sun’s rays in order to melt the mud of a dry lake bed into glass-like arcing line.  The video, having recently been on exhibit at Pierogi’s Boiler space with a 23-foot scale model of the line created, lacks nothing without it’s sculptural counterpart.

David Herbert, Monarch, 2008. Chicken wire, spray foam, plaster bandages, chrome paint, plywood, hardware, colored paper, steel 8 x 8 x 12 feet. Photo courtesy of the artist.

On the other end of the spectrum, in terms of process and content, was David Herbert’s Monarch.  The work is doubly hilarious in it’s would be life size depiction of The Alien seemingly napping in an over-sized rocking chair while a monarch butterfly lands on its wrist, and in its impressive use of foundation level materials: chicken wire, spray foam, plaster bandages, chrome paint, plywood, hardware, colored paper, steel. Other standout works from a strong field of contenders included Kelly Heaton‘s The Fashionista, and Sam Van Aken‘s, Oh My God.

Asked why they were expanding the effort this year, Pierogi Gallery’s Joe Amrhein replied, “Why not? We are not challenging the ubiquitous tradition of the ‘Art Fair’ but think we can improve upon it, especially in Miami with its unique possibilities. If you feel that most people who visit the fairs really want something that allows for a different, more comprehensive interaction, it shouldn’t surprise you that artists and their dealers feel the same way.”  Now let’s just all hope that the fair organizers feel the same way.

We continue this week’s coverage with Benjamin Bellas’ review of some of the works on view in Aqua Art Miami.

Megan Whitmarsh. Photo courtesy of the artist.

Concurrent with Art Basel Miami Beach and located nearby the main fair was the Aqua Art Miami contemporary art fair. This year the fair returned to its original location at the Aqua Hotel where its first incarnation was presented in 2005.  Situated firmly in the realm of the “hotel room as gallery” model,  Aqua’s organizers have stated their mission is “to promote innovative programming from the west coast as well as the greater USA and abroad, with a particular interest in young dealers and galleries with strong emerging artist programs.”  This year’s rendition was no different with a heavy emphasis on west coast galleries with a sampling of east cost and Canadian spaces.  As with anything that embraces the terminology “innovative programming” the results of this conglomeration of galleries in this context were mostly uneven.

Among the more accomplished work on view was Megan Whitmarsh’s showing at the San Francisco gallery Michael Rosenthal’s space.  In this assortment of pieces, Whitmarsh is working primarily with embroidery thread and spraypaint on fabric.  In them, Whitmarsh co-mingles large abstractions with small figurative elements to create her colorful and textured canvases.  House plants, bipedal primates, robots, and various individuals dressed ready for the clubs find themselves dwarfed by the geometric abstractions that serve as their stage set.  Whitmarsh focuses her wide net of playful figuration and abstraction by stating:

Lauren DiCioccio, 17JAN10 (reggie bush), 2010. Photo courtesy of the artist.

“I am a child of the 70s whose sense of futurism is informed by Star Wars (fucked-up dusty robots) instead of Tomorrow Land. A future with entropy and drug use and weeds growing in the cracks between the scratched plexiglass windows of the geodesic domes. Bits of yarn and dusty houseplants. If this sounds bleak, I don’t mean for it to. Perhaps the healthiest kind of futurism is one that admits entropy and flux. Perfection is suspicious; worn and dusty can mean well-loved, too.”

Another bright spot happened to be the work by Lauren DiCioccio in the space occupied by Jack Fischer Gallery.  Here DiCioccio embroidered over various pages from the New York Times.  The various colors of threads are left loosely flowing from the imagery that has been stitched over, while showing through the vast empty space of the cotton is the rest of the newspaper page’s original elements.  DiCioccio’s interest in these works of the physical/tangible beauty of commonplace mass-produced media-objects is reinforced to good effect both through her methodology and subject.  Although DiCioccio’s use of  embroidery differs from Whitmarsh’s in approach and effect, the result is no less satisfying.

On view now at Kavi Gupta in Chicago is everything after, Curtis Mann’s first U.S. exhibition since his inclusion in the 2010 Whitney Biennial.  For this exhibition, Mann presents a selection of new works, including large chemically altered mural grids, panoramic landscapes and haunting distorted figures.

In Mann’s most recent works, found photographs of conflicted and historically complex places throughout the Middle East are subjected to a process of selection and erasure. By painting on portions of enlarged color photographs with a clear varnish and then bleaching away unprotected portions of the image, new and abstract meanings are sought from appropriated snapshots, travel photographs, and casual documentations. The photograph is physically and contextually altered; as a result, the work oscillates between image and object, photography and painting, real and imagined.

Exemplifying this approach best perhaps within this exhibition is the work new hole (sky).  Installed apart from the main gallery of works, it is  a modestly sized C-print by comparison to the included mural grids.  In it, a starfield above the illuminated horizon is interrupted by a fireball, or possibly wormhole, that has been introduced into the landscape via Mann’s painterly chemical alteration.

In a recent interview Mann states, “I am constantly trying to force these found images to function outside of their initial utility and use photography’s inherent, malleable nature as a way of coming to an ulterior understanding of the complex and the unfamiliar. Coming from a mechanical engineering background, I have always been curious about the paper, the chemicals and the inks used to produce photographic images. They are the birth of the image and their manipulation holds a lot of potential for disrupting the powers of the flat, conventional image.”

Curtis Mann was born in 1979 in Dayton, Ohio, he lives and works in Chicago, Illinois. Recent exhibitions include the Whitney Biennial 2010, curated by Francesco Bonami, something after, Galerie Almine Rech, Brussels, Altered Sates, Jewish Museum of Contemporary Art Kansas City, MO and New Artists/New Work, Museum of Contemporary Art, Chicago.

On view at the Art Institute of Chicago until May 23 is Iñigo Manglano-Ovalle‘s work Always After (The Glass House).  Ovalle has gained international recognition for a diverse, conceptually rigorous body of work-both activist-inspired public art and studio-based objects-that consist of formally arresting, often technically complex, poetic meditations on aesthetics, nature, and modernity.

His 2006 work Always After (The Glass House) is the fifth installment in a series of film-based works—created between 2000 and 2006—that directly engage the architecture of Mies van der Rohe. The architect serves as a stage from which Manglano-Ovalle conducts a self-reflexive critique of prevailing notions of “failed modernity.” Despite the many broken promises of modernity, the artist has said, “So much has actually come to fruition….We do live in glass houses.” Shot entirely on location at Crown Hall, van der Rohe’s 1950 school of architecture at the IIT campus in Chicago, the film documents the 2005 ceremonial dedication of the building’s renovation during which the architect’s own grandson broke the windows with a sledgehammer. Manglano-Ovalle captured the entirety of the action and its aftermath on high-speed film, which when played back at normal speed, appears protracted. This combined with the decision to edit all direct indications of the original event from the final display-and an atmospheric soundtrack strategically intercut with periods of silence, resulted in a pared down, nearly abstract image. Panning close-ups show the crystalline shards of broken glass being pushed with a wide broom alongside the feet of anonymous passers-by. Lacking the specificity of context, viewers are left to interpret the scene for themselves.

Manglano-Ovalle has exhibited his work at acclaimed institutions both nationally and internationally.  Currently Manglano-Ovalle is presenting a new work at Documenta 12, Kassel, Germany (2007).  He is represented by Max Protetch Gallery, New York.

In it’s last week on view at the Urban Institute of Contemporary Arts in Grand Rapids is a solo exhibition of work by Chad Curtis entitled: DIGITAL IN NATURE.  The work included in the exhibition investigates the relationship of organic, living beings to the complex, nuanced environment and digital landscape. Each piece utilizes, to some degree, a crude, home brewed fabrication-and-drawing machine that relies on digital design tools, and computer numeric control.

Curtis often deals with simulation and refinement, utilizing highly processed materials removed from the context of their origin, to create a synthetic experience.  While the sculpture aims to potentially simulate an environment, the drawings serve as illustrations, of a lost world that happens to look a lot like the world we live in.

In a broader context, the work explores the line between the biological and mechanical, using popular, iconographic references. The idea of a distinction between the biological and the industrial, or the human and the digital, and the blurring of that distinction, is explored both as subject matter in the work and also in the production.

Chad Curtis currently serves as an Assistant Professor at Temple University’s Tyler School of Art. Trained in Ceramics and Printmaking, Curtis earned his BFA from Minnesota State University and his MFA from New York State College of Ceramics at Alfred University.

Now at the Museum of Contemporary Art Chicago, Production Site reexamines the artist’s studio as subject, presenting work that documents, depicts, reconstructs, or otherwise invokes that space, revealing how the studio functions as a place where research, experimentation, production, and social activity intersect.

The exhibition reflects and addresses the pivotal role of the studio in artists’ practice while alluding to its enduring status in the popular imagination. The works that comprise Production Site include multi-channel video projections, photographic light-boxes and installations, and life-sized fabrications of artists’ studios — real and imagined — that either extol the virtues of the studio or problematize the preconceived and often highly romanticized notions associated with it. The exhibition provides the viewer with a look at how some of the most compelling artists of our time have demystified, remystified, and reconsidered this site within the physical and conjectured space of the work of art.

On Tuesday and Wednesday, February 9 and 10, Mumbai-based Nikhil Chopra performed Yog Raj Chitrakar: Memory Drawing XI in the MCA galleries. Chopra brought the artist’s studio into the gallery using a variety of costumes and props, and wall drawings that he created during the performance. These will remain in the gallery as an installation for the duration of the Production Site exhibition. During his performance, Chopra assumed the fictional persona of a Victorian-era figure named Yog Raj Chitrakar, who is based loosely on his grandfather. His last name, Chitrikar, literally translates into picture- or mask-maker in Sanskrit. Chopra inhabited this character for the two days, changing into masculine and feminine costumes that challenge assumptions about race and gender. While performing, Chopra made drawings that reflect on Production Site, blackening the walls with his obsessive charcoal drawings to emphasize the studio as a place where an artist’s internal anxieties and struggles are confronted and resolved.

The exhibition is organized by MCA Curator Dominic Molon, and features the work of Nikhil Chopra, Deb Sokolow, Justin Cooper, Tacita Dean, Amanda Ross-Ho, William Kentridge, Andrea Zittel, Kerry James Marshall, Rodney Graham, Ryan Gander, Bruce Nauman, and John Neff.  Production Site is presented as part of Studio Chicago, a year-long collaborative project that focuses on the artist’s studio through October 2010.

In it’s final week at  Thomas Robertello Gallery is an exhibition of new photographs and video by Chicago-based artist Adam Ekberg.  Continuing with the use of lens-based phenomena, humble celebratory gestures, and primitive constructs, Ekberg further develops two distinct bodies of work; images created in the woods or nature, and images using his apartment as stage set.

While similar to the performative aspects of Ekberg’s interiors, the outdoor imagery, boundless in many ways, allows the artist to abandon certain restrictive elements and celebrate a personal communion with nature. The positioning of a flashlight on the ground creating an illogically placed beacon of light on the horizon, a duet of balloons in Precise Equilibrium; one helium and one filed with the artist’s breath, and a thrown handful of glitter all point toward self-portraiture minus the actual subject. In his video of a fuse slowly burning on the pavement, the gnarled line gradually disintegrates staining the pavement with a residue of gunpowder, evoking a whole life with beginning, end, unexpected twists, a past, present, and future.

Adam Ekberg resides in Chicago and graduated the School of the Art Institute‘s MFA Photography program in 2006. Concurrently with this exhibition, he is participating in Elements of Photography at the Museum of Contemporary Art Chicago, organized by Michael Green and (Re)Collect at the Hyde Park Art Center, curated by Francesca Wilmott.

LIKENESS is the current group exhibition at the Mattress Factory Museum of Installation Art that examines human depiction during a post-Warholian era in which new technology has played an influential role. It includes the work of artists Jim Campbell, Paul DeMarinis, Jonn Herschend, Nikki Lee, Joseph Mannino, Greta Pratt and Tony Oursler. Elaine A. King, who is a freelance critic and curator as well as a professor at Carnegie Mellon University teaching Art History/Theory/Museum Studies, has guest-curated the exhibition.

Among the offerings is Paul DeMarinis’ new work, Dust.  With this work DeMarinis explores facial similarities, pairs of faces, and the abstraction of images into the dust. DeMarinis presents a fragment of this collection of likeness-pairs, scanned sequentially into the light-memory of phosphorescent powder. After a few minutes of exposure to the projected image, the powder retains a faint green image of the two faces on its surface, something akin to the ‘latent image’ of photographic film or the veil of memory. Unlike photographic film, though, the image starts to distort. Propelled by low frequency sound vibrations, the powder starts to flow and dance, first distorting the faces and erasing their likeness, then distorting them into patterns of abstract light in motion, with form and beauty all its own.

On the other end of the spectrum is Jonn Herschend’s many-sided conceptual, Self Portrait as a PowerPoint Proposal for an Amusement Park Ride.  The installation is characterized by a strong sense of narrative, not strictly limited to straightforward vignettes or mimetic representation. In his complex self-portrait one finds a narrative that resembles fantasy, role-playing, fiction and a touch of reality. Herschend’s choice of subjects and materials contribute to the kind of story he opts to tell and show his audience.

courtesy of the artist

Chicago artist Josue Pellot deploys several mediums and styles in order to examine his Puerto Rican roots as transplanted into the quintessential American experience – that is, as mediated by pop culture and consumerism in his current exhibition at the Chicago Cultural Center.  Thus, he displays a photomontage of the iconic fortress El Morro in Puerto Rico in which it is conflated with a supermercado/laundromat/liquor store.  In fact, many architectural structures in the United States do mimic this famous castle, and his neon sculpture of conquistadors and the native population’s revenge, 1493, was originally installed in the windows of La Municipal, a supermarket in Humboldt Park, during the last Puerto Rican Day Parade.

In Temporary Allegiance, the artist has placed in the gallery a flag that is an amalgam of U.S. and Puerto Rican flags, more specifically the remains of what was originally used by the artist in a installation/performance in Puerto Rico, after damage sustained by local police interference.  Sitting limply in the gallery as sculpture, one can only guess at the resonance and tensions encapsulated in its history.

courtesy of the artist

Josue Pellot received a BFA from the University of Illinois in Chicago in 2003 and an MA in Art Theory and Practice from Northwestern University in 2006.  His work has been presented in several exhibitions in the Chicago area and in San Juan, Puerto Rico including a performance at the Museo de Arte de San Juan.

On view until January 3, 2010 the Contemporary Art Museum St. Louis presents its most ambitious group show since its grand opening six years ago. Curated by Anthony Huberman, For the blind man in the dark room looking for the black cat that isn’t there starts with the premise that art is not a code that needs cracking. Celebrating the experience of not-knowing and unlearning, the artists in this exhibition understand the world in speculative terms, eager to keep art separate from explanation. Embracing a spirit of curiosity, this show is dedicated to the playfulness of being in the dark.

Among the works included are Sarah Crowner’s re-insertion into circulation of the two issues of the 1917 journal The Blind Man (edited by Marcel Duchamp, Henri-Pierre Roché, and Beatrice Wood), offering copies on sale at the museum’s front desk at the publication’s original cover price of 10 and 15 cents. Additionally, In search of an explanation of a painting, Marcel Broodthaers interviews his cat in a recording from 1970 in his Musée d’Art Moderne, Département des Aigles. Nashashibi/Skaer (Rosalind Nashashibi and Lucy Skaer) contribute their 16mm film Flash in the Metropolitan (2006),  whereby the artists wander through the Metropolitan Museum of Art with the lights off, using a strobe light to briefly illuminate portions of small sculptural statues and vessels, as if the long story of the Metropolitan was reduced to a series of short poetic haikus.

Scott Hocking

Throughout the vast interior of the United States, contemporary artists are responding to the world around them and reshaping it in unexpected ways. Organized by the Smart Museum of Art and the Van Abbemuseum, one of Europe’s premier contemporary art institutions, Heartland offers an idiosyncratic look at the innovative forms of artistic creation taking place in the American Heartland.

Heartland features site-specific installations and performances as well as drawing, photography, and video by artists and artist groups who are working in—and in response to—Detroit, Kansas City, and other cities and rural communities across the region. The exhibition premieres new commissions and presents recent works by Carnal Torpor, Compass Group, Cody Critcheloe, Jeremiah Day, Detroit Tree of Heaven Woodshop, Design 99, Scott Hocking, Kerry James Marshall, Greely Myatt, Marjetica Potrč, Julika Rudelius, Artur Silva, Deb Sokolow, and Whoop Dee Doo.

Deb Sokolow

In 2007 and 2008, the Heartland curators, eschewing traditional research methods, set out on a series of old-fashioned road trips through the vast center of the United States. These research trips informed two distinct exhibitions. The first presentation, which opened in October 2008 at the Van Abbemuseum in the Netherlands, sought to uncover new ways of thinking about the American interior during the U.S. presidential election and gave European audiences access to a broad survey of the Heartland’s culture, art, and music. The second, reconceived presentation at the Smart Museum, offers U.S. audiences a more focused look at the ideals of resourcefulness and invention that permeate the Heartland. Together, the two presentations offer a richly layered reading of a region that has too often been overlooked.

Jason Lazarus’s installation grew out of the artist’s fascination with the family snapshot and its durability in our digital era. After amassing a small archive of found photographs, Lazarus became especially compelled by the handwritten texts on the backs of the photos and began arranging the snapshots to create small conversations based on the text, tonality, and spacing of surrounding photos. Importantly, the dates of the photographs comprising the unique installation at the Art Institute range from 1899 to 1996, beginning roughly a decade into the personal snapshot craze initiated by Kodak and continuing up to the threshold of the digital era.

Inspired by another found collection of language, Wolfgang Ploger’s work Make No Mistake about This uses the text of death row inmates’ final statements. Wanting to incorporate these last words into his work without making them readily discernible simply through the act of reading, Ploger handwrote the statements on lengths of film celluloid and projected this flickering calligraphy onto the wall. Ploger also removed the projector’s take-up reels so that as the last statements race and loop throughout the gallery, their speed and scale necessitate that viewers strain to make sense of glimpses of language that might convey error, confession, or apology.

The third work in the exhibition, Zoe Strauss’s site-specific installation Week of the Perfect Game, suggests the idiosyncrasies, exchanges, and moments of one week in Chicago this past July. Traveling south from the Loop to Gary, Indiana, Strauss captured the Chicago atmosphere on a grand national scale, as Barack Obama’s hometown and a finalist city in the bid to host the 2016 Olympics, as well as on a more intimate scale, as the location of an ongoing hotel-workers’ strike and a commemoration of a teen gunned down on its streets. Together Strauss’s photographs provide an open-ended and all-encompassing narrative set against the backdrop of Lake Michigan. The work is one of the museum’s most recent acquisitions.

Jason Lazarus is represented by Andrew Rafacz Gallery. Wolfgang Ploger is represented by Konrad Fischer Galerie.

Now on view at the Chicago Cultural Center is Stateless, New Work by Nicole Gordon. The paintings by the Chicago-based Gordon employ a lush commingling of diverse stylistic references from Flemish artists to Persian miniature paintings to create her own whacky vision of the clash between urban civilization and the natural world. In her two major paintings on view here, onlooking monkeys gaze dreamily or stare directly at us, perhaps assessing our complicity in this. A centrally placed sculptural element completes this “unnatural” tableau.

Gordon’s work can be seen as a fusion of dialectical tensions, between disparate cultures, between three dimensional “real” space and the two dimensional picture plane, as well as between civilization itself and the natural world. Her painting clearly employs imagery from Pieter Bruegal as well as his dark allegorical sensibility and moral tone. But it also has specific references to the patterning of Persian miniatures and to be flattened, layered Asian perspective. Thus East, Mid-East and West are conjoined in these paintings. Ultimately the exhibition can be seen as commentary on our relationship to the natural world and on the representation of our place in it.

Nicole Gordon’s work has been presented in numerous exhibitions in the Chicago area including ones at Linda Warren Gallery, Peter Miller Gallery, Artemesia Gallery, and theContemporary Art Workshop. Her works have also been exhibited in the John Michael Kohler Art Center.

Closing this week at Chicago’s Museum of Contemporary Art is the first comprehensive survey in the United States of works by Olafur Eliasson entitled Take Your Time. Olafur Eliasson’s immersive environments, sculptures, and photographs elegantly recreate the extremes of landscape and atmosphere in his native Scandinavia.¬† Drawn from collections worldwide, the presentation spans over fifteen years of Eliasson’s career. His constructions, at once eccentric and highly geometric, use multicolored washes, focused projections of light, mirrors, and natural elements such as water, stone, and moss to shift the viewer’s perception of place and self, foregrounding the sensory experience of¬†each work. By transforming the gallery into a hybrid space of nature and culture, Eliasson prompts an intense engagement with the world and offers a fresh consideration of everyday life.

Olafur Eliasson’s creations evoke or incorporate atmospheric conditions and landscapes while foregrounding the viewer’s sensory experience of the works. Take your time: Olafur Eliasson was organized by the MCA’s Pritzker Director Madeleine Grynsztejn, when she was Senior Curator of Painting and Sculpture at the San Francisco Museum of Modern Art (SFMOMA) and is on view May 1 to September 13, 2009.

Take your time: Olafur Eliasson has been organized by the San Francisco Museum of Modern Art, and an expanded version of the exhibition was previously on view in New York at MoMa and P.S.1.