Featured Image: Ewerdt Hilgemann, Habakuk (Homage to Max Ernst), 2014, stainless steel, Borzo Gallery and The Mayor Gallery. In/Situ Outside 2015.
Photographs by John P. Walsh.
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.
This post’s 41 photographs are of that event.
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.
Lucian Freud (German-born British painter, 1922-2011), Head & Shoulders of a Girl (detail), 1990 etching, edition of 50, Browse & Darby, London.
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.
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.
Macon Reed, Incantation, 2015, Digital Photographic Print, 41 x 61 in.
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.”
Vik Muniz (Brazil, b. 1961), Album: Over There, 2014. digital c-print, edition of 6, 71 x 105 in., Rena Bransten Projects, San Francisco.
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.
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, 1955, watercolor and pencil on paper, McCormick Gallery, Chicago and Vincent Vallarino Fine Art, New York.
Central Academy of Fine Arts School of Design, Beijing, China.
Marc Sijan ( American, b. 1946), Kneeling, resin and oil paint, Gerald Peters Gallery, Santa Fe, New Mexico (detail).
Elizabeth Catlett (American, 1915-2012), Reclining Woman, bronze, 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.
Josh Garber, Ourselves, 2015, welded bronze, detail, complete artwork: 30 x 15 x 14 in., Zolla/Lieberman Gallery, Chicago.
Rimas Čiurlionis, special exhibitions.
Cernuda Arte, Coral Gables, Florida, specializes in Cuban art.
In/Situ Outside. Ewerdt Hilgemann’s “Habakuk (Homage to Max Ernst), 2014, stainless steel, Borzo Gallery and The Mayor Gallery.
Hollis Taggart Galleries, New York.
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.”
At 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.
Gregory Scott, Van Gogh’s Bedroom, 2015, pigment print, oil on panel, HD video, Catherine Edelman Gallery, Chicago.
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.
David Allan Peters, Untitled #24, 2015, acrylic on wood panel, Ameringer McEnery Yohe, New York.
Berthe Morisot (detail), femme et enfant au bois, pencil on paper laid on card stamped ‘B.M’ and numbered, Browse & Darby London.
Camilo Restrepo (1975, Medellín, Colombia). Bowling for Medillin I, 2014, Morgan Lehman Gallery, New York. Since 1999 the artist lives and works in Paris, France.
Dealers, Expo Chicago/2015.
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.
Augustus John, Portrait of a Young Woman, 1923, charcoal on paper, Browse & Darby, London.
Dayron Gonzalez, Momento de Gloria, 2015, oil on canvas, Cernuda Arte, Coral Gables, Florida.
Susanne Vielmetter Los Angeles Projects, a contemporary art gallery in Culver City, California.
Robert Natkin (American, 1930-2010), Untitled, 1957, McCormick Gallery Chicago & Vallarino Fine Art New York.
Hung Liu (American, Chinese b.1948), Da Fa Che II, 2013, mixed media, 82 x 82 in., Nancy Hoffman Gallery, NY.
Bruce Dorow (b. 1959), Black Shape Space, oil on canvas, 38 x 65 inches, 2012-2013. R.S. Johnson Fine Art, Chicago.
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.
Patrick Strzelec, American sculptor. Garth Greenan Gallery, Chicago.
Jack Roth (1927-2004), Metafour II, acrylic on canvas, 57 x 54 inches, 1980, McCormick Gallery, Chicago and Vallarino Fine Art, New York.
Jonathan Boos, LLC, New York.
Jacob Lawrence (American, 1917-2000), The Lovers, gouache on paper, 21.5 x 30 in., signed & dated lower right. Jonathan Boos, LLC, New York.
Charles White (American, 1918-1979), Oh, Mary, Don’t You Weep, 1956, Graphite, pen, ink, on paper, 39 1/4 x 41 1/2 inches, Jonathan Boos, LLC.
Romare Bearden (American, 1911-1988), Manhattan Suite, 1975, collage and mixed media on board, 24 x 18 inches, Jonathan Boos, LLC.
Haines Gallery, San Francisco.
William T. Kennedy, Warhol Holding Marilyn Acetate 1, executed 1964, 2010. This was made when Warhol wasn’t yet famous but at the center in a shift in the culture of the art world.
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.
Die Galerie, Frankfurt am Main.
Expo Chicago 2013.
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 parts (and often titles relevant to the subject) fit together seamlessly.
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.
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.
Expo Chicago 2013.
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.
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.
Tommie Smith at Expo Chicago 2013. Smith is an American former track and field athlete and American Football League wide receiver. On October 16, 1968, the 24-year-old Tommie 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 controversy. In Silent Gesture: The Autobiography of Tommie Smith (Temple University Press, 2008), Smith maintained that the gesture was not a “Black Power” salute solely 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.
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.