In the Shadow of the Feminine: Opening Reception Fri. May 22, 6-9pm
The depth of the shadow is equivalent to the strength of the light. They are relative and dependent on each other without hierarchy Shadows are often subtle, unseen yet necessary for sight. They play with our imaginations, our fears and dreams. The idea of a shadow has many implications; from the interference of light, the mysterious unknown, the Jungian idea of repressed aspects of the psyche, even the beginnings of painting have been associated with the tracing of a shadow. Throughout history, religion, and culture the feminine is often condemned to darkness, kept in the shadows, divided into categories such as virgin and whore.
The show attempts to shine a light on the feminine shadow.
Power Trip: Opening Reception Fri. May 22, 6-9pm Bryana Bibbs is a textile artist and painter. She graduated from the School of the Art Institute of Chicago (BFA 2014, Fiber and Material Studies) and is currently a teaching artist at the Art Institute of Chicago and the Evanston Art Center.
Power Trip is a body of work about exploitation, relationships, and self-validation. The exhibition features six new textile pieces and paintings.
Juried by David Reif: Opening Reception Fri. Mar 6, 6-9pm
The terms “Abstraction” or “Abstract Art” are perhaps among the most common references describing particular way(s) of understanding and perceiving the cosmic and daily realities in which we find ourselves. (We might note, too, that the terms are often mis-applied as though they are necessarily in opposition to “Realism” or “Realistic Art”.) The truth is, however, that the abstract art “movements” of late 19th and early 20th century (Impression, Cubism, Expressionism, Surrealism, etc.) were driven by a passion to get closer to the complex realities of nature and human condition, not depart from them. Later, Minimalism, Neo-Dada, Geometric Abstraction, Conceptualism, Art Povera and other developments continue this “Big Bang” inquiry. Put simply, “Realism in Art” could no longer be described as an explicit fidelity to direct, observed, experience. This basic axiom remains, arguably, just as valid today: Reality is often far beyond simple, static appearance and can be highly counter-intuitive. Over the decades, the concepts of Relativity, Quantum Theory and the advent of photography – among many other ideas – have helped clarify, how and why this is so.
Abstraction, of course can be many different things, driven by many different principles and suppositions: some conscious, some intuitive. This exhibition invited artists to submit, through the qualities and implications of their work, some conscious exploration of this question.
EXHIBITING ARTISTS: Martin Altman, Kayla Bailey, Zoe Beaudry, Gretchen Beck, Curtis Anthony Bozif, Nancy Charak, Shuwan Chen, Miles Chumley, Chris Cinque, Lexi Coffee, Simone Collins, Barb Cone, Sally Duback, Gary Duehr, Ashley Edgerton, Jack Flynn, Judith Roston Freiilch, Alice George, Zack G Goulet, Mille Guldbeck, Carol Hamilton, David Hauptschein, Paula Henderson, Kate Hendrickson, Susan Hensel, Megan Hinds, Nancy Hlavacek, Kate Pollard Hoffman, Neil Kalmanson, Jamie Kost, Sarah Kreuter, lialia Kuchma, Carrie L. Larson, Chris Law, Denton-Peter McCabe, Jon Merritt, Nabil Mousa, Socorro Mucino, Jen Pagnini, Denise Presnell, Gina Lee Robbins, Sabrina Sabella, Fran Sampson, Judith Shepelak, Eunhye Shin, Casey Sills, Pamela Simard, Marion Sirefman, Jim Sloman, Jeff Stevenson, Sharon Swidler, Nils Timm
JUROR: David Reif, Distinguished Professor Emeritus, Univ. Wyoming. BFA, Painting, Drawing, Printmaking, The Art Institute of Chicago; MFA, Sculpture, Yale Univ.; Assoc. Professor, Univ. of Michigan, Ann Arbor, MI.; Chair and Board, Wyoming Council for the Arts; Visiting Artist: Univ. of Northern Arizona, Univ. of Wisconsin, Madison, Univ. of Michigan, Colorado State Univ. Ft. Collins, Centenary College of Louisiana, Univ. of Houston, TX., Wayne State Univ. Detroit.
VIDEO LINK TO VIEWING EXHIBITION: https://youtu.be/fTFgw3RG05A
Reality, Realism, Representation. Art is often about searching for and expressing reality, whether literally or conceptually. In our last juried show, “Consciousness of Abstraction”,
we were interested in the movement away from imagery. This exhibition is a continuation of the conversation— from the considering of abstraction to the considering of its sibling genre, realism, reality and representation— or Reality and Art.
We are seeking works that are representational in both the traditional sense of being compelled to express what you see and reality as a conceptual sense of using the contemporary current environment as a reference. This environment of shifting and contradicting truths, denial of science, proliferation of ‘alternative facts,’ and manipulations of imagery makes understanding reality and truth an illusive undertaking. The artist’s striving to express and understand reality becomes more complicated with this shifting appropriation of what is mere perception and what is reality.
We are looking for all media of painting, sculpture, fiber, performance, video, photography as well as the use of technology, found objects, social media, experiential, sound, collage and explorations of unexpected/non-traditional materials.
A Juried Exhibition at ARC Gallery, Chicago. Wed, June 24 to Sat, July 18, 2020
Danielle Andress is a Chicago based artist and curator. She produces primarily non-functional weavings that investigate our relationships with consumable images and objects and the irregularities of language in art in the digital age. She earned her BFA from the Rhode Island School of Design in textiles and an MFA from the California College of the Arts in studio practice. Danielle is a co-founding and active member of Borderline Art Collective (San Francisco, CA). Danielle Andress is an Assistant Professor at the School of the Art Institute of Chicago in the Fiber and Materials Studies Department.
FEES: $40 for one to three images. $10 for each additional image (lower charge for students–High school or college students can pay a reduced fee of $25 per 3 entries with $10 for each additional entry (Please include copy of Student ID))
If paying by check, it must be received prior to jurying.
New exhibit at ARC Gallery, March 2019, juried by artist Olive Stefanski. (NEW DEADLINE FOR APPLICATIONS! —Jan. 26th, 11:55 pm)
With this exhibition, we are calling for art that addresses structural sexism—in particular, women’s emotional realities, and how that emotional reality plays out in a national atmosphere of distrust about women’s stories, women’s rationality and women’s anger.
His-ter’-ee-uh: from the Greek word “hystera”, or womb—an organ that was thought to migrate erratically through a woman’s abdomen, searching for “fragrant smells”, much like “an animal within an animal”. (Aretaeus, Greek physician, 2nd century AD)
While the uterus has become more sedentary over the intervening years, it nevertheless continued to be blamed for women’s irrationality and emotional distress. In the 19th century, a time marked by both physical constraints (corsets) and psychological restrictions (confinement to womanly activities), widespread concerns about female hysteria resulted in numerous cures for misbehaving wombs. A popular treatment for hysteria at the time was clitoral stimulation administered by one’s physician.
Today, in the inevitable backlash to the “MeToo” moment, women once again are distrusted, disdained (and sometimes diagnosed) for an emotionality that threatens the status quo. Women’s bodies continue to be the ground around which much of the conflict revolves. Strangely enough (as we saw in recent Supreme Court hearings) some of the hysteria around these events now seems to also emanate from men, which suggests the need for a new metaphor to explain the cause of women’s rage.