Performances by Restroy from 6:15 – 7:45
Assembling works from materials sourced in both Chicago and Michoacán, his ancestral home in the West of Mexico, artist Abraham Cruzvillegas meditates on the nature of rootedness and drift in The Ballad of Etc. Fabricated on site, the constructions draw upon traditional Mexican lacquer technique known as “maque” to produce new imagery that is juxtaposed with found materials and products made by Chicago’s skilled workers. Chicago experimental jazz ensemble Restroy joins Cruzvillegas performing interpretations of the artist’s texts throughout the public reception.
For her Garden Project “garden/ruinate”, artist Eliza Myrie will open a gate to The Arts Club, hosting monthly gatherings within the transformed garden space. This series of programs, under the heading “Tie Up”, will explore the nature of extended invitations, caring, community, and existence mediated by both built and imagined structures. Programming will include conversation, sound, and poetry, among other things, so feel free to drop by and hang out. If you’re late to your plans later on, you can just let your friends know you got “tied up” hanging out in the garden.
“Tie Up” will be kicked off by a conversation between Eliza Myrie and artist Yasmin Spiro on August 1st. Free and Open to All.
Eliza Myrie, b. 1981, New York. Myrie is a sculptor working in Chicago, IL. She received her MFA from Northwestern University and BA from Williams College and was a participant at The Skowhegan School. Myrie has been in residence at Yaddo, Bemis Center for Contemporary Art, The MacDowell Colony, and Arts + Public Life at The University of Chicago. Myrie is a lecturer at the School of the Art Institute of Chicago and is a co-founder of The Black Artists Retreat [B.A.R.]. She has received grants from The Propeller Fund and 3Arts. Exhibitions include Gallery 400, Chicago; Vox Populi, Philadelphia; Shane Campbell, Chicago; Roots and Culture, Chicago; Museum of Contemporary Art Chicago, Chicago; New Museum of Contemporary Art, New York; Hyde Park Arts Center, Chicago; Davidson Contemporary, New York.
Born in Kingston, Jamaica, and living and working in Chicago, Spiro’s interdisciplinary work explores issues of cultural identity and socio-economic issues within the framework of urban development and social politics, often through the lens of Caribbean culture. The work is multi-disciplinary, primarily based in sculpture and immersive installations, with video, drawing and performance. According to the late art historian Petrine Archer Shaw her work uses, “performative body parts and delicate drawings, tethered with umbilical-cord-like ropes as a way of charting personal journeys between different geographies and urban locations.” Recent work considers the city as organism and – integrating personal and collective issues of safety and cultural identity. Spiro’s work has been shown at galleries in the US and Jamaica and she is a founding member of the tART women’s collective in NY (F2004). Her work has been covered in Art News, Washington Times, Miami Herald, New City and others. She attended Pratt Institute. Spiro has been awarded residencies at the Vermont Studio Center, Chicago Artists Coalition and an upcoming residency at the the John Michael Kohler Arts Center.
At 6 pm on July 17th, join Executive Director and Chief Curator Janine Mileaf in our galleries for an exhibition walk-through of Amy Sillman: The Nervous System. The exhibition, which runs through August 3rd, presents new paintings and works on paper by the New York-based artist.
This landmark of modernism in Chicago [The Arts Club of Chicago] is now filled with so many precisely rendered fantastic landscapes; claustrophobic, psychologically coded interiors; a mise en abyme of pictures within pictures; and a menagerie of symbolically resonant household pets. Mileaf underscores the intentionality of this juxtaposition by unfolding the exhibition around a turned wood mantle evoking the vernacular interior decor of nineteenth-century Chicago, which any native Chicagoan will recognize as an “original detail” still common in local dwellings. Camouflaged in a monochrome coat of paint making it continuous with the wall, the mantle functions as an apparition of homely domesticity beneath a hovering group of the exhibition’s smaller paintings hung salon-style. Situated in view of a significant artifact of architectural modernism in Chicago—the elegant steel staircase with a travertine marble surround designed by Mies van der Rohe in 1951 and salvaged as the central feature of the building when the Club moved to its present location in 1997— the anachronism of the display crystallizes what is most striking about Mileaf ’s curatorial strategy.1 The juxtaposition of these interior features—each representing divergent genres of interior space at midcentury—appears to propose an alternative timeline of the exhibition history of the Arts Club of Chicago. In assembling an underappreciated cross section of artists, a loose grouping united by overlapping social circles and shared exhibitions or formation, as if it were a contemporary group show, she essentially recasts the Arts Club’s defining role in the history of the reception of Surrealism in Chicago as it might have been.
Please click here to read the exhibition review of A Home for Surrealism: Fantastic Painting in Midcentury Chicago, by art historian Jennifer R. Cohen in the Journal of Surrealism and the Americas. The exhibition ran at The Arts Club from June 7–August 15, 2018.
About the Journal of Surrealism and the Americas:
The Journal of Surrealism and the Americas focuses on the subject of modern European and American intellectuals’ obsession with the “New World.” This obsession—the very heart of Surrealism—extended not only to North American sites, but also to Latin America, the Caribbean, and to the numerous indigenous cultures located there. The journal invites essays that examine aspects of the actual and fantasized travel of these European and American intellectuals throughout the Americas, and their creative response to indigenous art and culture, including their anthropological and collecting activities, and their interpretations of the various geographic, political, and cultural landscapes of the Americas. We furthermore intend to investigate the interventions / negotiations / repudiations of European/American or other Surrealisms, by indigenous as well as other artists, writers and filmmakers.
On view in our galleries through August 3rd.