FEATURE image:Ewerdt Hilgemann, Habakuk (Homage to Max Ernst), 2014, stainless steel, Borzo Gallery and The Mayor Gallery. In/Situ Outside 2015.
EXPO CHICAGO 2015 is the 4th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall on September 17 – 20, 2015. This year’s exhibition featured 140 art galleries representing 16 countries and nearly 50 major international cities including New York City, Shanghai, Tokyo, Beijing, Rome, Berlin, London, Paris, Amsterdam, San Francisco, Los Angeles and Chicago.
In/Situ, Sung Jang, Mobi, 2015, injection molded plastic, Volume Gallery, Chicago.In/Situ, Daniel Buren, From three windows, 5 colours for 252 places, 2006. Lisson Gallery, London. The artist creates a template for a sequence of 18 rectangular panels with each one suspemded from the ceiling. Each panel is subdivided into 12 transparent Perspex squares, both clear and in color. Carlos Rolón/Dzine. MCA Chicago. Hung Liu (Chinese-born American, b. 1948), Untitled (Dandelion), 2015, mixed media, 60 x 60 in., Nancy Hoffman Gallery, New York. Hung Liu’s paintings are steeped in Chinese culture.Expo Chicago 2015. A. George Miller (American, 1905-1984), Untitled (City Nocturne), ca. 1950s, 16 x 24 in. Richard Norton Gallery, Chicago. A. George Miller attended The School of the Art Institute of Chicago starting in 1923. and was one of three official photographers for the 1933-34 Century of Progress Exhibition in Chicago.Sergio Carmargo (Brazil, 1930-1990), Untitled #504, 1970 and Anish Kapoor (India, b. 1954), Untitled, 2014, Fiberglass and paint (“Yellow Void”), 160 x 160 x 56 cm. Lisson Gallery London Milan New York.Hunter Reynolds, Survival AIDS-ACT UP Chicago – A Revolution, 2015. Photo weaving, 8′ x 30′ Courtesy of artist & P.P.O.W. NY and Iceberg Projects Chicago.Hunter Reynolds in collaboration with Elijah Burgher and Steve Reinke in Survival AIDS Mummification Performance presented in partnership with PPOW and ICEBERG Projects for Survival AIDS Chicago Act Up a Revolution.Expo Chicago/2015.Gregor Hildebrandt.Kate Werble Gallery, NY.Chantal Joffe (UK, b. 1969), Green Strapless Dress, 2013, oil on board, 72.5 x 48.5 in., Galerie Forsblom, Finland. In a 2009 interview, Joffe said, “I really love painting women. Their bodies, their clothes – it all interests me.”Expo Chicago 2015. Expo Chicago 2015. Vik Muniz (Brazil, b. 1961), Album: Over There, 2014. digital c-print, edition of 6, 71 x 105 in., Rena Bransten Projects, San Francisco.David Allan Peters, Untitled #24, 2015, acrylic on wood panel, Ameringer McEnery Yohe, New York.Roberto Fabelo, Sueño de navegante, bronze, 2015. Cernuda Arte, Coral Gables, Florida.Suzanne Martyl (American, 1917-2013), Asclepias, oil on masonite, 14 x 11 in., Richard Norton Gallery, Chicago. Suzanne Martyl or Martyl Langsdorf – or Martyl. The artist said that she “always found it fascinating to look and look and look, and spend all kinds of time until something would just ring a bell, and I would know how to rearrange nature to make a good composition.”Books include British photographer Darren Almond; Chicago Social Practice installation artist Theaster Gates; English artist Damien Hirst; and German photographer Andreas Gursky.VMU Gallery 101 / Art Fund curated by Rimas Čiurlionis, and coordinated by photographer Alex Zakletsky, presents a video installation of artists from the conflict zone in Ukraine including the work of Bella Logachova, Andriy Yermolenko and Ivan Semesyuk.Rimas Čiurlionis, special exhibitions.Victoria Gitman (b. 1972, Buenos Aires; lives in Hallandale, FL), Untitled, 2015. Garth Greenan Gallery, New York. Sensuous and conceptually sophisticated oil paintings that are look natural.Paul Wackers, Look At What I Did Now, 2015, acrylic and spray paint on canvas, 48 x 40 in., Morgan Lehman Gallery, New York. Expo Chicago 2015.Andy Warhol, Love in the Spring, c.1955, watercolor and pencil on paper, 18×23 inches, McCormick Gallery, Chicago and Vincent Vallarino Fine Art, New York.Central Academy of Fine Arts School of Design, Beijing, China. Author at right. CENTRAL ACADEMY OF FINE ARTS SCHOOL OF DESIGN BEIJINGMarc Sijan ( American, b. 1946), Kneeling, resin and oil paint, Gerald Peters Gallery, Santa Fe, New Mexico (detail).Marc Sijan ( American, b. 1946), Kneeling, resin and oil paint, Gerald Peters Gallery, Santa Fe, New Mexico. Sijan’s super-realistic sculptures are, by the artist’s own words, “homages to humanity’s fascination with its own forms — a fascination which has compelled artists throughout the millennia to mirror life in virtually every medium.”Elizabeth Catlett (American, 1915-2012), Reclining Woman, bronze, 37 x 19 x 9inches, 1959. Behind, left to right: Charles Howard (American, 1899–1978), Friedel Dzubas (German-born American, 1915-1944) and Michael Goldberg (American, 1907-2007). McCormick Gallery, Chicago & Vincent Vallarino Fine Art, New York City. Black and white ensemble of abstract and figurative Modernist painting and sculpture.Chilean artist Carlos Costa with one of his “Wind Studies,” 2015, a conceptual project based on structuring basic natural elements. Local Arte Contempoeáneo, Santiago.FORUM GALLERY ADAA Gaston Lachaise Woman walkAt Forum Gallery New York: Gaston Lachaise, Woman Walking, 1919, cast in 1968, polished bronze, 19 1/2 x 10 x 7 1/2 inches, Edition 6/6.ing 1919 (cast 1968) polished bronze 19 x 107.5 in.Teresita Fernandez, Ghost Vines (Yellow Gold), 2015, brass. Anthony Meier Fine Arts, San Francisco, (above and below) Josh Garber, Ourselves, 2015, welded bronze, 30 x 15 x 14 in., Zolla/Lieberman Gallery, Chicago.Josh Garber, Ourselves, 2015, welded bronze, detail, complete artwork: 30 x 15 x 14 in., Zolla/Lieberman Gallery, Chicago.Luis de Jesus, Los Angeles, California. Expo Chicago 2015.Dealers, Expo Chicago/2015.Galerie Ernst Hilger, Vienna. Pace Prints, New York City. Cernuda Arte, Coral Gables, Florida. Hollis Taggart Galleries, New York.Expo Chicago 2015. (Above and below) In/Situ Antony Gormley, Freefall, 2007, 2mm square section stainless steel bar, 290 x 185 x 180 cm. White Cube, London. Freefall reveals the space where the body was rather than represent the body itself. They are intended to be “drawings in space.”Marc Chagall (1887-1985), Self Portrait, 1947, oil on canvas, 35 3/4 x 28 1/2 in.. Richard Gray Gallery, Chicago. Gregory Scott, Van Gogh’s Bedroom, 2015, pigment print, oil on panel, pigment print, oil on panel, HD video, ed. of 8. Catherine Edelman Gallery, Chicago.Augustus John, Portrait of a Young Woman, 1923, charcoal on paper, 14×10 inches, Browse & Darby, London.Browse & Darby London.Lucian Freud (German-born British painter, 1922-2011), Head & Shoulders of a Girl, 1990 etching, edition of 50, Browse & Darby, London.Berthe Morisot (detail), Femme et enfant au bois, pencil on paper laid on card stamped ‘B.M’ and numbered, 21 x 15 15/16 inches. Browse & Darby London.In/Situ. jessica Stockholder, Celestial Season, 2015. Plastic baskets, wire tires, chain, lights, driveway mirrors and paint. 96x70x70 inches. Kavi Gupta, Chicago. a luminous “cloud,” the piece floats just above the boundaries, bouyant and playful at once warm and cool akin to a breeze on a summer’s day. Michiko Itatani (b. 1948), Untitled, from Virtual Pair #2, 2007, oil on canvas. Camilo Restrepo (1975, Medellín, Colombia). Bowling for Medillin I, 2014, ink water soluble wax pastel, tape, newspaper clippings, glue, stickers, saliva on paper, 72×240 inches. Morgan Lehman Gallery, New York. Since 1999 the artist lives and works in Paris, France.Fiona Rae, The Very Once-In-A-Lifetime Moment, 2010, oil and acrylic on canvas, Buchmann Galerie, Berlin and Lugano. Jan Matulka (American, 1890-1972), Seated Nude with Eyes Closed, oil on canvas, c. 1922, 48 x 34 1/2 in., Richard Norton Gallery, Chicago.Dayron Gonzalez, Momento de Gloria (Moment of Glory), 2015, oil on canvas, 80×60 inches, Cernuda Arte, Coral Gables, Florida.Susanne Vielmetter Los Angeles Projects, a contemporary art gallery in Culver City, California.Forum Gallery, New York City. Isaac Lazarus Israëls (1865-1934), Young Woman on per at Scheveningen Holland c. 1920. The Conservation Center, Chicago. Human Rights Watch. Iván Navarro (b. 1972), Come to Daddy (Black and White), 2015, neon, drum, one-way mirror, mirror and el-energy, Galerie Daniel Templon, Paris and Brussels. Eight feet high, Dan Flavin’s Untitled (Fondly, to “Phip”), 1976, is red, green, and pink fluoresent light. David Zwirner, New York. Foreground: Matthias Bitzer, Revolving Future, 2014, Metal. Background: Pier Paolo Catzolari, Untitles (Elevation Myself), 1982. Marianne Boesky Gallery, New York.Expo Chicago 2015.Expo Chicago 2015. Susan Hefuna, Afaz, 2014, palm wood, Rhona Hoffman Gallery, Chicago. With a sense of monumentality of a fragile object, the crates are based on those made by craftspeople near Cairo in Egypt. Hollis Taggart Galleries, New York.Chicago skyline from Navy Pier after attending Expo Chicago 2015. (25% of original image).
In/Situ Outside 2015.
Part of the Expo Chicago/2015 experience is temporary public art installations on the Chicago lakefront and throughout the city. Starting with Expo Chicago/2014, “In/Situ” works showcase large-scale installation art and site-specific works. Giuseppe Penone’s Idee di Pietra-Olmo (“Idea of Stone-Elm), 2008, Marian Goodman Gallery is a 30-foot tall bronze tree incorporating a boulder conveying the effects of human interaction in the natural world.In/Situ Outside. Ewerdt Hilgemann’s “Habakuk (Homage to Max Ernst), 2014, stainless steel, Borzo Gallery and The Mayor Gallery.
FEATURE Image: Glenn Kaino, Bridge, 2013. A section of a 100-foot long construction that features 200 gold casts of Tommie Smith’s arm in a raised fist salute that occured in the 1968 Summer Olympics on the medal podium during the national anthem after Smith broke a sprinting record to take gold.
EXPO CHICAGO 2013 is the 2rd annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall on September 19-22, 2013.
Tommie Smith at Expo Chicago 2013.
Tommie Smith is an American former track and field athlete and American Football League wide receiver. On October 16, 1968, the 24-year-old Smith won the 200-meter sprint finals and gold medal in 19.83 seconds at the 1968 Summer Olympics in Mexico City.
It was the first time the 20-second barrier was officially broken in competitive sports history. Atop the medal podium and with heads bowed, Smith’s Black Power salute with silver-medal-winner John Carlos protested racism and injustice against African-Americans in the United States.
Smith’s raised fist as the national anthem played is seen as one of the most overtly political statements in the history of the modern Olympics and caused memorable admiration and criticism.
In Silent Gesture: The Autobiography of Tommie Smith (Temple University Press, 2008), Smith maintained that the gesture was not solely a “Black Power” salute but a “Human Rights” salute.
In any event, Smith’s raised fist salute in 1968 became one of the most iconic moments in the Olympic games and the history of the Black Power movement.
“1968 Black Power Salute” by urcameras is marked with Public Domain Mark 1.0.Robert Natkin (American, 1930-2010), Untitled, 1957, McCormick Gallery Chicago & Vallarino Fine Art New York.Hung Liu (American, Chinese, 1948-2021), Da Fa Che II, 2013, mixed media, 82 x 82 in., Nancy Hoffman Gallery, NY.Jack Roth (1927-2004), Metafour II, acrylic on canvas, 57 x 54 inches, 1980, McCormick Gallery, Chicago and Vallarino Fine Art, New York.Bruce Dorow (b. 1959), Black Shape Space, oil on canvas, 38 x 65 inches, 2012-2013. R.S. Johnson Fine Art, Chicago.Patrick Strzelec, American sculptor. Garth Greenan Gallery, Chicago.William T. Kennedy, Warhol Holding Marilyn Acetate 1, executed 1964, 2010. The photograph was made when Warhol wasn’t yet famous but at the center in a shift in the culture of the art world.Aimé Mpane (Congo, born 1968), IC Cont Series, 2011-2013, acrylic and mixed media on wood panel, 12.5 x 12 x 2 in., Haines Gallery, San Francisco.Larry Rivers (American, 1923-2002), Small Drugstore, 13.5.x.15.25 inches, oil on canvas mounted on board, 1959. Techniques of color-field painting, gestural abstraction, and calligraphy come together in a picture that is objective and abstract.Jonathan Boos, LLC, New York.Fernand Léger (1881-1955) – Mother and Child, c. 1949, gouache, signed with initials. R.S. Johnson Fine Art Chicago R.S. Johnson Fine Art, Chicago. Top left: Fernand Léger (1881-1955), Mère et Enfant, 1949, gouache; right: André Lhote (1885-1962), Les Acacias, 1959, oil on canvas. Michele Pred, Targeted, 2012, Vintage hat bag, birth control pills, 24x1x6 inches. Nancy Hoffman Gallery, New York. Michele Pred incorporates aspects of contemporary culture and politics in her art. The Berkeley, California, artist uses unconventional materials that serve as cultural artifacts for her conceptual approach.Romare Bearden (American, 1911-1988), Manhattan Suite, 1975, collage and mixed media on board, 24 x 18 inches, Jonathan Boos, LLC.50%. Elizabeth Catlett (American, 1915-2012), Star Gazer, 1997, black marble, 14.5 x 32 x 11 in., signed. Jonathan Boos LLC. Catlett is known for depictions of African-American and Latin American working-class women using simple, solid shapes in wood, stone, bronze or clay.Haines Gallery, San Francisco.Siebren Versteeg (American, b. 1971), Good Times_1081_2003_05_09, 2012, Algorithmically generated archive inkjet output to paper, tape. 92 x 56 inches, Rhona Hoffman Gallery, Chicago. The New York-based artist was educated at the SAIC and UIC. Mined digital content is presented as painterly abstractions or monitor displays.Die Galerie, Frankfurt am Main.Long–Bin Chen (Taiwan, born 1964), Edvard Grieg, 28x29x15 inches. New York-based Long-Bin Chen transforms paper products into sculpture. Books are constructed so that relevant subject parts and often titles fit together seamlessly.Mary Ellen Mark, John Belushi “Blues Brothers” Chicago IL, 1979 Gelatin silver print, 16 x 20 in. each, signed dated numbered (verso).Pierre Alechinsky, Le Point du Jour, 1966, oil on canvas, 130×81 cm, signed lower right and signed dated entitled (verso). David Park (1911-1960), Head of Lydia, 25×24 in., oil on canvas. 1953. In the late summer of 1949 David Park rejected abstraction and started the pusruit of objective subjet matter, including the mother of Helen Park Bigelow.
