Afterimage receives Artforum Critic’s Pick

October 15, 2012

Afterimage opened on September 14th to record crowds and has since garnered great praise, most notably, a Critic’s Pick from ArtForum, which can be read here and found online as well. Additional press links are below.

Rebecca Shore, 09, 2010, oil on canvas, 30 x 45”.

It is a testament to the generative richness of the Chicago Imagists, who coalesced around the Art Institute of Chicago and the Hyde Park Art Center in the 1960s, that a show about their influence on artists working today is so void of anxiety and full of exuberance. In a small separate gallery at the museum’s entrance, a concise sample of fourteen Imagist prints, drawings, and paintings by James Nutt,Christina Ramberg, and Ed Paschke, among others from the 1960s and ’70s, reminds viewers of the original movement’s loosely associated idiosyncrasies: figural forms, often with a combination of hieratic graphic precision and grotesque distortion, comic juxtaposition and cryptic text, recurrence of motifs and the suggestion of hidden or symbolic meaning, and strong colors not of the Pop art Day-Glo variety but out of comic books, Surrealist painting, and homespun craft.

The title “Afterimage” refers to the persistence of an image on the retina after an initial exposure, and it’s true that some specific Imagist precedents crack across the mind’s eye when one moves through the twenty-five recent works on display. For instance, David Leggett’s squirming black ink lines, which trace incongruities such as a chain of daisies and a floating brain in Summer of Dreams and Magic, 2010, recall James Falconer’s squirrely ink drawings (see Slep Portrait, 1966, on view in the entrance gallery). For others, the persistence of Imagism is not so retinal. In Rebecca Shore’s oil painting 09, 2010, it’s found in the potential of some connective symbolic logic behind the farrago of neat silhouettes that she lays across a teal ground—a wig, a pot, a leg, a lock. One paired relation promises to unlock a story or game, but the whole remains an insoluble spread of surface variation. Because Imagism is both underrecognized outside of Chicago and inherently difficult to define in its recourse to personal meaning and individual style, “Afterimage”’s influence shoots in both directions as a later generation of artists reads and rearticulates Imagism’s import. – Julia Langbein

Artslant Review, by Alicia Chester

Best Bet for Fall, from the Chicago Reader

Fall Preview, from the Chicago Tribune

 

 

 

 

 

 

 

 

Upcoming Events

Taking Turns: Stories from HIV/AIDS Unit 371 with author MK Czerwiec

3/30/2017

MARCH 30 | 6:30 PM AT DEPAUL ART MUSEUM 

 

Comics have a long history in the arenas of public health messaging, political activism, and memoir. Comics can bear witness to stigmatized realities, create a new medium for representation, and inspire community engagement and empowerment. This lecture will contextualize the new graphic memoir Taking Turns: Stories from HIV/AIDS Care Unit 371 within the history of comics about HIV and AIDS. 

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One day this kid will get larger Panel: Kenyon Farrow & Jennifer Brier

4/1/2017

APRIL 1 | 1:00 PM AT DEPAUL ART MUSEUM

Working at the intersections of HIV/AIDS activism and the movement for Black Lives, the scholar, writer and activist Kenyon Farrow will offer a presentation on the correlation between AIDS activism and prison activism – highlighting the many ways in which HIV+ individuals, particularly low-income and black or brown individuals, are criminalized and incarcerated for their health status. Q&A with Farrow will be moderated by historian Jennifer Brier (Director of Gender and Women’s Studies, University of Illinois at Chicago).

Free and open to everyone, but space is limited. Please register in advance. 

 

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The Dead Taste Sweeter Than the Living (After Felix Gonzalez-Torres) by Emilio Rojas in collaboration with Paul Escriva

4/2/2017

APRIL 2 | 2:30 PM AT DEPAUL ART MUSEUM 

 

A multimedia performance inspired by the Art AIDS America exhibition at Alphawood Gallery and the companion exhibition One day this kid will get larger at DePaul Art Museum (DPAM), The Dead Taste Sweeter Than the Living is a mobile, interactive event that takes place at both art spaces with a procession in between. The project began and continues with the daily collection of pieces of candy from Felix Gonzalez-Torres’ Untitled (Portrait of Ross in LA), 1991, at the Art Institute of Chicago. Rojas then uses these elements in public performances to initiate a dialogue around mourning, grief, celebration and the impact of loss in queer communities through the AIDS crisis.

2:30 to 4pm at DePaul Art Museum

4:15 to 5:30pm at Alphawood Gallery

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