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Artist's Reception: The Chicago Project at Catherine Edelman Gallery

Posted By Administration, Friday, July 5, 2013
Updated: Thursday, October 31, 2013

EXHIBITION DATES: July 12 - August 31, 2013


Friday, July 12

5:00 - 8:00 p.m.


Catherine Edelman Gallery's Chicago Project is a running online gallery that features underrepresented artists living and working in the Chicagoland area. The project celebrates its 10th year with this exhibition, and has in the time since its inception shown the work of over 80 photographers. This summer's show includes the work of nine artists: Clarissa Bonet, Eddee Daniel, Juan Fernandez, Peter Hoffman, Justin Chase Lane, Paul Marquardt, Jessica Tampas, Anthony Vizzari and Jacob Watts.

The selected artists and their works represent a true cross-section from the participants. Themes of place real or imagined hold the works of Bonet, Daniel, Fernandez, Hoffmen, and Lane together. Though a loose unifier, place gives a starting point for further investigation of each artist's work. Beyond place for Bonet's work are narratives that emerge from direction and balance formed in two images that feature pedestrians in the public way. There is a strangeness, an otherworldliness even to Paths where one woman stands alone at an intersection, her shadow pushing into our space, and Street Dance again is an odd revelation of the rhythm to a daily march. Daniel's works are structured formality and though we are offered two broad views the frames are tight and hold us. Fernandez too engages a strong sense of structure; his architectural images are ever so clean and rhythmically balanced.

Hoffman and Lane's works hold to place, but form bridges into other areas. For Hoffman materials reinforce meaning and for Lane imagined place opens our curiosity. Hoffman engages place, the Fox River, and pushes onto question our relationship with the natural world and our resources through his choice of materials, water and fossil fules. The works are recognizable yet otherworldly; they seem to tear, dissolve, and become stained. They are affected altered spaces. Visually they ally with the work of Vizzari, an artist who combines imagery to reveal or suggest inner stories. These works are charged with memory that we long for and grasp for. Lane's world is invented. It in no way tries to trick us; these are miniature sets that have been photographed. The works are odd enough to carry themselves, and while we know they can't be real we do care about the story around them. We wonder about the star-gazer in Lookout or the crazed person who marks time in 1044. These works are a nice juxtaposition with Watts, who's images are fantastic, but soft and almost dream-like; they are composed from photographs old and new. Like Hoffman, Watts cares about our relationship with the natural world, but Watts is most interested in our history; his works trace our timeline.

The remaining two artists, Marquardt and Tampas engage figures. For Marquardt it is a formal standing figure the identity of which is lost to gleaming light that erases the form's head. With Tampas this is all we are given- the face, but the depicted is the visage of a doll. We may pause between their works to think about identities real and projected.

For more information on the exhibition, please visit Catherine Edelman Gallery

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New Yorker Review: Perchance to Dream at Andrea Meislin Gallery

Posted By Administration, Thursday, June 27, 2013
Updated: Thursday, October 31, 2013

Through August 9, 2013

In a group show of 25 works by 25 respective artists this exhibition explores themes of sleep and intimacy. Though primarily photographic, the exhibition does include one etching and one video piece. Exhibiting artists include Lili Almog, Daniel Bauer, Mike Brodie, Elinor Carucci, Ofri Cnaani, Charlotte Dumas, Barry Frydlender, Hadassa Goldvicht and Anat Vovnoboy, Martine Fougeron, Tim Hetherington, Pieter Hugo, Gillian Laub, Naomi Leshem, Sally Mann, Duane Michals, Adi Nes, Matthew Pillsbury, Jana Romanova, Anna Shteynshleyger, Louis Stettner, Angela Strassheim, Bertien van Manen, Pavel Wolberg, and Sharon Ya'ari.

The title of the work is drawn from Shakespeare's Hamlet, a referent that should remind us that sleep itself is a poetic even layered theme. Seemingly simple the citing title taks us to a moment in the play when the lead considers what dreams come after death. Subjects included dream peacefully with space, as in Leshem's Pauline and in tight corners two to a twin bed as in Romanova's Untitled, Moscow. We learn too that sleep is something that can happen anywhere, and we find slumberers on benches, busses, train cars, and in waiting Rooms. There is a clean simplicity to the show as there is a quiet politic. Works become weighted through disparities that we discover.

For more information please visit Andrea Meislin Gallery

New Yorker Review

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Artist's Reception: Vid Ingelevics at Stephen Bulger Gallery

Posted By Administration, Tuesday, June 18, 2013
Updated: Thursday, October 31, 2013
Between art & Art

Exhibition Dates: June 22 - July 20, 2013

Artist's Reception:
Thursday, June 27
5:00 - 9:00 pm
Vid Ingelevics's career as an artist and curator have been focused on, as he puts it, "two ultimately related pathways - photography's mediating role in our postmodern understanding of the past and in the nature of our urban space." Between art & Art was inspired while working on the Camera Obscured exhibition which addressed the use of photography in public museums. Ingelevics found some of the images were without obvious purpose. Today images come engrained with meta-data- time stamps at least, but it is easy to forget that many of the ways we save, view, and categorize images come with prompts for additional information. Professional, personal, and even casual social media visual databanks calls for comments on date, place, time, tags, captions. This was not always true.

The source images Ingelevics started with for Between art & Art carried little to no information on the reason for the image. At one point it was probably believed that the image's visual note was so obvious that it indeed needed no recording. With time and staff changes, however, the purpose and even subject of many images faded and eventually dissipated completely. Discerning has become impossible, but Ingelevic's fascination with these visual dead-ends continued and led to Between art & Art. Ingelevics, as if on the trail of the lost end of a thread, returned to many of the depicted institutions and recaptured the frames with a large format camera. Images of grand foyiers, outdoor passageways, storage spaces, and galleries seem so highly intentioned and purposeful, but still lack that connecting thread. They are as ambiguous now as we imagine their referents to be. They are clean and grand views, so they do have import; it is this tension between seeing and not knowing that keeps us locked with curiosity.

The images are as much meditations on the history of visual record-keeping as they are about memory and process. They relate to the whole, but also are as specific as rousing wonder at those early record-keepers- the anonymous museum staff photographers. The work is situated somewhere between the technical practice of photography, "art" and the "Art" that was often their subject.

For more information on this exhibition, please visit Stephen Bulger Gallery

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Review: Elizabeth Sunday at Throckmorton Fine Art

Posted By Administration, Sunday, June 16, 2013
Updated: Thursday, October 31, 2013


Through July 8, 2013

"Mirror photography is much more than photographing a reflection, it produces a visual alchemy that combines the physical world with that of the great mystery….and captures some element that remains hidden in straight photography." - Elizabeth Sunday


For over 25 years Elizabeth Sunday has found inspiration in Africa. This primal place and its people have been Sunday's subjects, and she has traveled and lived among original peoples from the hunter-gatherers of the Congo Basin to the nomadic tribes of the Sahara Desert. The elemental and the sublime meet in her work. Sunday is known to use mirrors to see and capture her subjects. This approach does more than beautify and mystify her subjects; it borrows on both western and indigenous traditions of elongation, a practice which for both is a known archetype for the unconscious. Subjects indeed seem elegant, graceful, and statuesque. These beautiful frames are enchanting apparitions- there is something tangible, and yet something remains out of our reach. There is heroism and intrigue, drama and stability to works where figures float and rise in idyllic plains.

For more information on the exhibition, please visit Throckmorton Fine Art

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Wall Street Journal Review: Pavel Wolberg at Andrea Meislin Gallery

Posted By Administration, Saturday, June 15, 2013
Updated: Thursday, October 31, 2013

Through June 15, 2013


The work of the Russian-born Israeli photographer Pavel Wolberg walks the line of tangibility. Wolberg's images hold the instant still and are charged with energy that extends beyond the frame. These works, sometimes seemingly impossible, feel like aparitions. There are moments of internal clarity in the midst of chaos, as in Kiriyat -Shmona, 2006 where a man, his fingers plugging his ears to block out the sound of a firing tank behind him, kneels to prey, or Gaza Border, 2008 where two soldiers lay hidden in a grain field, waiting in anticipation. There are moments of surprise where tradition seems to break, as in Hebron (Purim), 2010 that features a portrait of a bearded man concealed by a peacock mask and wrapped in a green feather boa or Jerusalem (Mea Shearim), 2010 of a youth in a dress and a beard running down the street. These last two images are from the Jewish holiday Purim, a festival where dressing in costume and drinking are not only allowable but encouraged. Then there are others- images that mark tradition, rites of passage, protests, 

points of conflict, and instances of social contradiction, but whatever Wolberg captures is eloquent. 

There is a straight-forwardness to the works that are in-line with a career which began in photojournalism. We can now be sure this 

Wall Street Journal Reviewearly work was practice for both an awareness of the moment and study for the means to maintain 

a respect for his subjects. 

Though Wolberg often takes the intimacies of 

communities, their rights and rituals as subjects, the work is more infused with poetics than politics. 


For more information on the exhibiiton, please visit Andrea Meislin Gallery

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