James Yood

  • Jennifer Bartlett

    For most of this decade Jennifer Bartlett has been creating quasi environments, elaborate installations made of large landscape-oriented paintings and freestanding sculptures strategically strewn into the viewers’ space. The pictorial and physical components of her work echo rather than collide; elements depicted on canvas—boats, small houses, fences—are transubstantiated into sculpture, setting up spatial and compositional tensions that elude easy reconciliation. This interest in what constitutes a pictorial field, and how that field can be stretched to a point of crisis or resolution has long

  • Ed Paschke

    This exhibition represents something of a return for Ed Paschke—a return to subject matter steeped in an invigorating and urgent air. During the past decade, Paschke has been best known for his large and scrupulously rendered paintings of vacant and depersonalized Everymen. These oversized and looming heads were of such metaphysical emptiness that their very scale seemed an affront; they came across as knowing and tired paeans to the pictorial tradition of heroic monumentality. But this exhibition of 12 paintings showed a stirring of intensity and a quickening of thought that recalled the artist’s

  • Gary Justis

    Gary Justis’ most recent sculptures assert a continued inquiry into the possibilities of kinetics, but do so in a quieter manner than did his earlier work. Gone are the confrontational figures of his previous efforts, the complex and intrusive evocations of spasmodically gyrating characters drawn from mythology. Also gone is the staggered and overlapping programming of the lights, levers, lasers, and motors that, in unending combinations, made these figures play out their arcane and predictable programs. In their place is work with a pristine sense of restraint, a determined quality of stylish

  • Donald Lipski

    Donald Lipski’s sculptures are acts of reclamation, reprieves for objects contemporary culture usually overlooks or discards. His art makes use of the very things believed to be beyond redemption: the mass-produced, machine-tooled effluvia of rust-zone America, objects that, once divorced from their original functions, are empty and forgotten. Lipski collects, buys, and stores away this stuff—pitchforks, fire extinguisher foam nozzles, chunks of fiberglass, saw blades, chalkboards, mooring buoys, operating room lights, dice, pipettes, steel shot, and more. The objects are saved for that moment

  • “Chicago Architecture 1872–1922”

    The decision on the part of the Art Institute of Chicago to commission architect Stanley Tigerman—described in their own press releases as an “iconoclast”—to design the installation of this exhibit was a clear signal. This was to be no tepid run-of-the-mill show, no simple trotting out of the interminable ground plans and elevations, no staid recitation of art-historical dogma. Rather, there was to be a confrontation of context and content, a pointed and sentient inquiry into the tactics of display, all undertaken to enliven the assorted effluvia of Chicago’s golden age of architecture.

    Tigerman

  • Muneer Bahauddeen

    The sculpture of Muneer Bahauddeen is so palpably an art of accretion that its initial impact is one of surfeit; it seems to overwhelm by an outpouring of possibilities. Each of Bahauddeen’s sculptures is composed of a riotous blend of elements that never quite congeal. Bits of string, beads, small bottles, shards of metal, coins, shot glasses, feathers, postage stamps, pieces of cloth, and more are placed on and about a central figure and its ceramic or wood base. The figural assemblages that emerge reflect Bahauddeen’s deep interest in African art and culture. The plethora of stuff strewn at

  • Ken Warneke

    This show was dominated by the artist’s near floor-to-ceiling installation of 21 small, framed paintings on one wall, paintings which seemed to chronicle the rather aimless activities of modern life. In image after image, male figures, rendered in a lavender grisaille on a pristine white ground, are shown going about their business with a determined nonchalance that, in the unrelieved aggregate, becomes a kind of despair. Some perform daily chores—sweeping, carrying boxes, combing hair, mowing, carrying bags of garbage—while others sit on toilets, take showers, pray, commit suicide, sculpt,