... takes up the Viennese tradition of applied arts and develops it further in accordance with the present day. Since this is neither handicraft nor design, the artwork remains its own consistent independent work. The project has set itself the task of demonstrating the impossibility of assigning the work of young artists to a genre and also the fact that the claim of an artistic work cannot be confined to the narrow frame of a picture on the wall.
 
Participating Artists:
Cornelis van Almsick, Puneh Ansari, Ovidiu Anton, Thomas Ballhausen, Tizia Barci, Anna Barfuss, Johanna Braun, Emma Maud Corrall, Marco Dessi, Driendl*Architects, Anna Egarmina, David Eisl, Lionel Favre, Karin Ferrari, Paul Philipp Heinze, Denise Herz, Kathi Hofer, Milli Kaufmann, Elke Silvia Krystufek, Mahony, Sands Murray-Wassink, Michael Niemetz, Micha Payer + Martin Gabriel, Stefan Reiterer, David Roth, Fiona Rukschcio, Elisabeth von Samsonow, Michael Strasser, Annette Tesarek, Jenni Tischer, Magda Tothova, Christian Weissenberger, Niki Weitzer, Julia Zastava, Magdalena Zeller
 
ADDS DONNA
4223 West Lake Street, Chicago, IL
Gallery Hours: Sundays 1 to 4 pm
and by appointment (Tel: 312.912.9601)
Directions: Green Line, Pulaski Stop
www.addsdonna.com
 
Preview: 26th of May: 1 to 5pm
Opening: 2nd of June: 1 to 5pm
 
The exhibition concept “Die Chic Boutique” was developed in 2012 and has already been successfully executed twice in Vienna. Now it has become a traveling concept. Johanna Braun and Michael Niemetz, the two creators of “The Chic Boutique”, have selected unique Viennese artists for this presentation in Chicago.
www.DieChicBoutique.com

The Arts Club’s collection, acquired from its exhibitions or donated by members and artists, includes works by modern masters: Georges Braque, Alexander Calder, Natalia Goncharova, Paul Klee, Henri Matisse, Joan Miró, Henry Moore, Isamu Noguchi, Francis Picabia, and Pablo Picasso, among others. Recent contemporary acquisitions include Stephan Balkenhol, Malcolm Morley, Paul Thek, Alex Katz, Richard Artschwager, Yayoi Kusama, Peter Doig, and Sigmar Polke. The Arts Club’s second floor and private rooms, in which the majority of the permanent collection is on display, are accessible to the public by appointment only. Private tours of the collection—ideal for for school groups and tour groups—can be made through The Arts Club office at information@artsclubchicago.org or 312.787.3997. Private gallery talks on The Arts Club’s current exhibition are also available by appointment.

Conceived out of an extended game of telephone between Bailey and Cooper, Thirteen Ways is composed of large-scale photographic cylinders that explore the impermanence of the image through a collection of fractured narratives. With architectural insistence, their works invoke astrology and light, the found and the fabricated. Poetically flawed and playful, the installation highlights slippage within a dyadic relationship.
There will be an opening reception on Friday, June 7, 2013, and the exhibition will run through June 26, 2013.

In the exhibition Live/Work HATCH Projects artists Jessica Bardsley, Victoria Bradford, and Rebecca Hamlin Green consider the fluid ways that one makes a home. For artists, the home is often a place where domestic tasks intersect with intense creative production. With no definitive barrier between home and studio (whether by choice or not), artists mine their environs or those of others to source ideas or to enact works — a process which cultivates a nuanced intellectual and creative engagement to concepts of home in relation to states of being. With references ranging from Emily Dickinson, to personal heirlooms and to domestic rituals, the artists assert and deconstruct the gallery space as a place for living and working.
 
This exhibition is organized by HATCH Projects curator-in-residence, Jessica Cochran.
 
There will be an opening reception on Friday, June, 7, 2013, and the exhibition will run through June 26, 2013.

Kasia Kay Art Projects is pleased to present “The Dramatics of Living”, Mike Wong’s first solo exhibition with the Gallery. The show, curated by Stefania Carrozzini, is composed of 15 paintings and one video installation entitled “Unburden”.
“The Dramatics of Living“ is an original approach of how Mike views life in recursive forms, paradoxical codes within the complex structures. The audience walks through the journey of living and finally come to the video installation to unburden themselves so that they can be free - to unlearn and learn again.
 
With or without painting on the canvas, the process to cover and uncover part of the painting, bear witness to a fragmented reality, a precarious existence that is strengthened through a more extensive and complex vision of life, where all aspects from pain to joy are part of the same reality, the faces of the same coin.
 
This energy is made of a combination of spontaneity and strategy, that will flow to the “Unburden”, a wormhole (box) where the audience is free to release their “burdens” with words, drawings on note pads into the box. Embracing the dramatics of life is possible when the real communication with our inner being take place through the creative journey. At some point of living we need to reflect, unlearn what we have learned so that we can be ready for the next frontier of living with fresh insights to life.
 
Mike’s painting is best known for his innovative and inventive used of everyday used materials. He likened the canvas to time and space and he explored what it means to paint without the canvas. In the process of art making, everyday objects becomes a medium. A cloth hanger, masking tape, electrical cable ties became part of the installation. The works often has a 3 dimensional quality registering the flow and energy.
 
With his video installation works, the same theme of space and time are often explored. Some of the works also taps on audience participation. The audience then becomes part of the installation and only through that process, is the work complete.
 
The paradoxical concept of Mike Wong’s work is to exercise spontaneously within the complex of strategy.
 
Mike Wong was born in Singapore in 1967. Mike Wong is a multi-media artist who works across platforms of painting, video, theater and installations.
Training in western and Chinese art, as well as in engineering, has given Mike Wong a unique perspective and approach towards his art making. He lives and works in Singapore.
Selected exhibition: Group show in UOB painting of the year (2000); Group show in Jantique Gallery Singapore (2001); Group show in UOB painting of the year (2004); Solo show “Glimpses” in Nanyang Academy of Fine Arts, Singapore (2008); Group show, Affordable Art Fair, Singapore (2010); Video Installation “Projected” in Woods in the Books, Singapore (2010); Video installation, “The final hours”, Covenant EFC, Singapore (2011); Group show, Substation gallery, Singapore (2011) Dreamscapes, Group show, Onishi Gallery, New York (2011).

FOR IMMEDIATE RELEASE
 
Contact: John Park or Dan Schreck
 
Phone: 773-309-1747
 
Email: info@parkschreckgallery.com
 
PARK SCHRECK GALLERY: When You Stand in Front of Me
Ray Becoskie
5/11/2013 - 7/15/2013
Opening Reception: Friday 5/10/2013 7-9pm
 
WHEN YOU STAND IN FRONT OF ME—an upcoming art exhibition with opening reception on Friday May 10th, from 7-9pm.
 
We are excited to present another solo show for Ray Becoskie. Fans of Becoskie will be able to preview artwork that has never been shown before. Opening receptions are always a great opportunity to meet the artist in person.
 
Ray Becoskie is a modern abstract painter from St. Paul, Minnesota. His work has a simple, sophisticated edge.
 
Park Schreck Gallery finds talented artists and connects them with buyers who are looking for original artwork. Amazing art, great value.
 
# # #
 
For more information, or to schedule an interview with John Park and Dan Schreck,
please call us at 773-309-1747
 
Additional images available by request
 
Park Schreck Gallery
1747 W. North Ave.
Chicago, IL 60622
 
parkschreckgallery.com - PSG URL BUILDER
facebook.com/parkschreckgallery
twitter.com/parkschreck
yelp.com/biz/park-schreck-gallery-chicago

“Peregrine was great...”
 
So he would hear. In his kitchen in Milwaukee, the artist Nicholas Frank had repeated to himself, sometimes loudly, other times quietly, even
just the word “Peregrine.” He had wondered first of all, about the abridgement of the name of that artist-run space in Chicago, and what was it
really, for he had never been, Peregrine Program, or Projects, or something like that. Over drinks with his friends, he would also often hear the
name Edmund, Edmund the guy who ran the gallery, and almost believe this person existed. Once, the morning after beers at the Polish Falcon
bar, he woke to the thought that he might have met the Peregrine Edmund. That they had talked about painting, paintings, language,
substance, skeletons, flesh, fiber, memory, beings; that the night before they had shaken hands; and they had agreed they were not able to tell
the other artist apart from their project. Nicholas Hermetic Gallery Frank was convinced that this was the Peregrine Program Edmund he had bought a pint for.
 
In the subsequent months – still unsure when they had exactly first met – Frank would conceive a staging of “ghosts” to this new relationship for he believed that was how some artists existed. First he ghosted drawings by Peregrine Edmund; drawings made with cast-offs, including an old discarded library book, overstock fabric, and mirrors from a thrift-store. And then he imaged images of Edmund’s sculpture; images of a blue object made with seashells and starfish, photographed against fur. And further, he witnessed the pedestal to that sculpture, a Greek column-inspired construction of wood and paint, in white, blue and gold. The artist Nicholas Frank borrowed, sat on (in broad daylight), played with (in the dark), and captured something of some things by the Edmund that ran the Peregrine Program, and presently, he would set down his coffee, grab his bags, lock the door, and he would drive, Milwaukee to Chicago, to Peregrine Program, to say…

Amanda Ross-Ho
 
May 4 – June 22, 2013
Opening, Saturday, May 4th, 6-8 pm
 
Shane Campbell Gallery is pleased to announce CRADLE OF FILTH, Amanda Ross-Ho’s debut solo exhibition with the gallery in Chicago. Ross-Ho will present a group of new paintings on dyed canvas, together with a large-scale, wall-bound soft sculpture.
 
Known for her diverse material dialectic, Ross-Ho uses interdisciplinary procedures to manifest complex networks of thought. CRADLE OF FILTH examines the formal and emotional properties of scale and unrestrained gesture, negotiating between expressive impulse and forensic sobriety.
 
The centerpiece and namesake for CRADLE OF FILTH is a hyper-articulated, 400 percent scale recreation of a teenaged girl’s backpack, which was found by the artist several years ago hanging from the side of a Chicago dumpster. Covered in densely scrawled palimpsests of band names, cultural affiliations, and youthful exclamations, the bag serves as a record and emblem of early developing self-expression.
 
Ross-Ho’s oversized reconstruction of this ephemeral document elevates it to monumental scale, training a photographic gaze on its impulsive markings. Through Ross-Ho’s reimagining, the massive backpack becomes a kind of ur vessel of identity formation, at once a reliquary and a fertility icon.
 
Inversely, Ross-Ho’s paintings function as analogous sites of theatrically brash expression. Drawing inspiration from the expulsive energy of the bag’s hieroglyphics, Ross-Ho uses the parallel space of the canvas as a stage for the unencumbered performance of abstract mark making. The paintings—at once confident, excessive, vulnerable, and tentative—emulate the capriciousness of the anonymous bag owner’s nonetheless urgent assertions of defiance and belonging.
 
Amanda Ross-Ho was born in Chicago and lives and works in Los Angeles. She has a concurrent solo show with Mitchell-Innes and Nash in New York and will present a large-scale public project at The Museum of Contemporary Art, Chicago, in July. Her recent solo exhibition at the Los Angeles Museum of Contemporary Art was accompanied by a comprehensive catalogue and her work has been included in exhibitions at the Museum of Modern Art, New York; Orange County Museum of Art, Newport Beach; Pomona College Museum of Art; Henry Art Gallery, Seattle; and in the 2008 Whitney Biennial.
 
To obtain additional information please call Eric Ruschman at the gallery at 312.226.2223, or email eric@shanecampbellgallery.com.

Amy Casey continues to draw inspiration from her fascination with the idiosyncrasies of the urban landscape and her preoccupation with the specter of an impending doom. Amy states, “I've been mixing observations (and actual structures) from my hometown with a general persistent anxiety about life and finding peace in my own meticulous mark making. Brick after painted brick builds an alternate world, in which I actually have some say in how things shape up.” The new paintings are highly detailed renderings of her perhaps overworked imagination. She revels in the minute details of quirky city structures, houses, pubs, lofts and warehouses — commercial and residential space alike, all under unnamed threat.

Zolla/Lieberman Gallery is pleased to present New Sculptures & Prints, an exhibition by John Buck, and Petrographic-Prints & Drawings, featuring recent work by Hunter Buck. The exhibition opens on June 7 and runs through August 17; an opening reception will be held on Friday, June 7 from 5:00
to 8:00 p.m. This will be John Buck’s seventh solo exhibition at the gallery and Hunter Buck’s first.
 
Inspired by contemporary social issues, folk art, and modernist painting and sculpture, John Buck playfully combines abstraction with the human form to delve into the creation of meaning and narrative. By integrating symbols and stylistic elements taken from sources as diverse as religious iconography and pop culture, Buck’s woodblock panels, crayon rubbings, and sculptures reflect back on the colorful, tangled state of affairs between ourselves and our universe.
 
Buck’s jelutong wood and bronze figures, part of an on-going series, are composed of balanced and graceful systems of abstractions stemming from single, headless, human bodies. His newest series of panels are based on woodblocks that he began creating in 1980. They are included though a technique that is a recent addition to his printmaking process, in which the original is reproduced with a laser cutter, duplicating the image that was first drawn onto a woodblock with ballpoint pen. This process creates background information which is then painted onto. The intricate panels and rubbings vibrate with activity. Every detail is in flux in Buck’s depiction of the theater of humanity: kissing angles and a ghost rallying at a press conference, cog-filled machines spinning and chugging away with no discernible function, molecules hurtling through space, bodies in peril and bones floating down the river. A video of a recent exhibition of kinetic sculptures at Paul and Lulu Hilliard University Art Museum in Lafayette, LA, will also be on view.
 
John Buck (born 1946) lives and works in Bozeman, MT, and Hawaiʻi. His most recent solo exhibition C’est Magnifique was shown at the Paul and Lulu Hillard University Art Museum in Lafayette, LA. A traveling exhibition of his work, John Buck: Iconography, has been featured at the Crocker Museum of Art in Sacramento, CA; Yellowstone Art Museum, Billings, MT; Bellevue Arts Museum, Bellevue, WA; Cedar Rapids Museum of Art, Cedar Rapids, IA, Fort Wayne Museum of Art, Fort Wayne, IN; and the Northwest Museum of Arts & Culture, Spokane, WA. Buck's work is held in the permanent collections of the Art Institute of Chicago, Chicago, IL; Museum of Modern Art, New York, NY; Smithsonian American Art Museum, Washington, DC; and the Whitney Museum of American Art, New York, NY, among many others.
 
Petrographic-Prints & Drawings includes relief engravings, stone lithographs, and mototypes that Hunter Buck has drawn, painted, and marked on with found objects, all of them inspired by a recent stay in Iceland during the summer of 2012. The title of the exhibition refers to the artist’s multi-layered process and is a compound of the Latin words “petro” meaning stone and “graph” to scratch. Isolating individual earthy masses from their environment, Hunter Buck’s floating landscapes draw on his impressions of the area as “profound, vast and empty of comforts.” The buildup of layers creates an image that is craggy and multifaceted, reflecting the artist’s fascination with complex color and texture patterns witnessed in Iceland.
 
Hunter Buck (born 1987) currently resides in Oakland, CA. In 2012 he received his BFA from the California College of the Arts with an emphasis in painting and printmaking.
For further information, please call 312-944-1990 or email zollalieberman@sbcglobal.net.

Zolla/Lieberman Gallery is pleased to present New Sculptures & Prints, an exhibition by John Buck, and Petrographic-Prints & Drawings, featuring recent work by Hunter Buck. The exhibition opens on June 7 and runs through August 17; an opening reception will be held on Friday, June 7 from 5:00 to 8:00 p.m. This will be John Buck’s seventh solo exhibition at the gallery and Hunter Buck’s first.
 
Inspired by contemporary social issues, folk art, and modernist painting and sculpture, John Buck playfully combines abstraction with the human form to delve into the creation of meaning and narrative. By integrating symbols and stylistic elements taken from sources as diverse as religious iconography and pop culture, Buck’s woodblock panels, crayon rubbings, and sculptures reflect back on the colorful, tangled state of affairs between ourselves and our universe.
 
Buck’s jelutong wood and bronze figures, part of an on-going series, are composed of balanced and graceful systems of abstractions stemming from single, headless, human bodies. His newest series of panels are based on woodblocks that he began creating in 1980. They are included though a technique that is a recent addition to his printmaking process, in which the original is reproduced with a laser cutter, duplicating the image that was first drawn onto a woodblock with ballpoint pen. This process creates background information which is then painted onto. The intricate panels and rubbings vibrate with activity. Every detail is in flux in Buck’s depiction of the theater of humanity: kissing angles and a ghost rallying at a press conference, cog-filled machines spinning and chugging away with no discernible function, molecules hurtling through space, bodies in peril and bones floating down the river. A video of a recent exhibition of kinetic sculptures at Paul and Lulu Hilliard University Art Museum in Lafayette, LA, will also be on view.
 
John Buck (born 1946) lives and works in Bozeman, MT, and Hawaiʻi. His most recent solo exhibition C’est Magnifique was shown at the Paul and Lulu Hillard University Art Museum in Lafayette, LA. A traveling exhibition of his work, John Buck: Iconography, has been featured at the Crocker Museum of Art in Sacramento, CA; Yellowstone Art Museum, Billings, MT; Bellevue Arts Museum, Bellevue, WA; Cedar Rapids Museum of Art, Cedar Rapids, IA, Fort Wayne Museum of Art, Fort Wayne, IN; and the Northwest Museum of Arts & Culture, Spokane, WA. Buck's work is held in the permanent collections of the Art Institute of Chicago, Chicago, IL; Museum of Modern Art, New York, NY; Smithsonian American Art Museum, Washington, DC; and the Whitney Museum of American Art, New York, NY, among many others.
 
Petrographic-Prints & Drawings includes relief engravings, stone lithographs, and mototypes that Hunter Buck has drawn, painted, and marked on with found objects, all of them inspired by a recent stay in Iceland during the summer of 2012. The title of the exhibition refers to the artist’s multi-layered process and is a compound of the Latin words “petro” meaning stone and “graph” to scratch. Isolating individual earthy masses from their environment, Hunter Buck’s floating landscapes draw on his impressions of the area as “profound, vast and empty of comforts.” The buildup of layers creates an image that is craggy and multifaceted, reflecting the artist’s fascination with complex color and texture patterns witnessed in Iceland.
 
Hunter Buck (born 1987) currently resides in Oakland, CA. In 2012 he received his BFA from the California College of the Arts with an emphasis in painting and printmaking.
For further information, please call 312-944-1990 or email zollalieberman@sbcglobal.net.

Cauleen Smith explores the south side’s occult history in exhibition featuring new screenprinted work at Hyde Park Art Center
 
Chicago (February 2013) — Most known for her film, video, and performance work, award-winning artist and Art Center student Cauleen Smith introduces printmaking into her repertoire with the site-specific installation at Hyde Park Art Center. The show, titled 17, will feature approximately 260 feet of hand screen-printed wallpaper. The exhibition title references many facets of arts and culture traditions from ancient history to the modern day, arising out of Smith’s meditations on the number’s spiritual significance as a marker of immortality, as well a number of noteworthy cultural and historical facts and figures featuring the number itself. The exhibition will be on view from March 10 until July 7, 2013 in Gallery 2 at the Hyde Park Art Center.
 
The work debuting in 17 is especially engaged with Smith’s printmaking process, with the exhibition’s title riffing on the number of patterns that intersect to make wallpaper print a consistent image. The work also arises out of Smith’s research into the legacy of Sun Ra, who was himself a student of numerology and achieved a kind of cultural immortality the number 17 might be said to refer to. Smith produced this new series of screen prints with techniques she acquired from participating in a printmaking class at the Hyde Park Art Center under the instruction of printmaker Elke Claus.
 
Cauleen Smith received a BA from San Francisco State University and a MFA from UCLA’s School of Theater-Television-Film. Smith was a resident artist at ThreeWalls, the Black Metropolis Research Consortium, and the Experimental Sound Studio. A prominent voice in Chicago’s artist landscape, Smith had simultaneous shows at the Museum of Contemporary Art Chicago and ThreeWalls in 2012. Smith has received grants from the Film Arts Foundation, Rockefeller Foundation, and Creative Capital. Recent awards include “Outstanding Artists” by the National Alliance for Media Arts and Culture and “Someone to Watch Award” from the Independent Spirit Awards. Her art works have been exhibited at The Kitchen, Yerba Buena Center for the Arts, LA County Museum of Art, Museum of Contemporary Art Los Angeles, Nelson Atkins Museum of Art, as well as international and domestic festivals. Smith was a faculty at the Skowhegan School of Painting and Sculpture and currently is a visiting artist at the School of the Art Institute of Chicago and an Arts + Public Life/Center for the Study of Race Politics and Culture Artist-in-Residence at the University of Chicago.
 
Cauleen Smith: 17 will be on view from March 10 until July 7, 2013 at the Hyde Park Art Center, 5020 South Cornell Avenue, Chicago, IL, 60615; 773.324.5520 and www.hydeparkart.org. Exhibitions are always free and open to the public.
 
The Hyde Park Art Center is at once an exhibition space for contemporary art, learning annex, community resource, and social hub for the art curious and professional artists alike—carrying out its mission to stimulate and sustain the visual arts in Chicago. The Art Center is funded in part by: the Alphawood Foundation; Andy Warhol Foundation for Visual Arts; a City Arts III grant from the City of Chicago’s Department of Cultural Affairs and Special Events; Field Foundation of Illinois; Harper Court Arts Council; Harpo Foundation; Illinois Arts Council, a state agency; The Irving Harris Foundation; Joyce Foundation; Lloyd A. Fry Foundation; MacArthur Fund for Arts and Culture at Prince; National Endowment for the Arts; Polk Bros. Foundation; Searle Funds at The Chicago Community Trust; and the generosity of its members and people like you. The Hyde Park Art Center does not discriminate against any person for reason of race, gender, age, place of national origin, handicap, religious conviction, marital status, veteran status or sexual preference.