Paul Mpagi Sepuya figures a beguiling intimacy among the technologies that produce photographic meaning. Meticulously shot in mirror reflections, Sepuya’s images manifest a gravid tension between the artist himself and his nude male subjects, the trappings of his studio, and the material stuff of photography itself. Works on view from four ongoing series—“Mirror Studies,” “Darkroom” (both 2016–), “Figures,” and “Exposures” (both 2017–)—attest to the structured and collaborative studio experimentation that characterizes his practice. The great pleasure and challenge of this work is in trying to
Equal parts spare and sumptuous, Jennie C. Jones’s exhibition is a celebration of return, in more ways than one. It’s the artist’s first solo exhibition in this city, where she lived while attending the School of the Art Institute of Chicago in the early 1990s. Moreover, the works on view show Jones returning to earlier experiments with the materiality of sound, embracing modes that predate the more formally resolved works, commonly called her “acoustic paintings,” for which she is best known.
Referencing the practice of takes—the studio recordings occasionally released as alternate tracks—the
As powerful men set the world around us on fire, philosophical challenges to anthropocentrism can seem futile. From object-oriented ontology to theories of the posthuman, however, much recent effort has been spent complicating the Enlightenment ideal of man as distinct from nature and thus able to master it through knowledge or industry. In this group show, organized by Matt Morris, artistic practice and exhibition-making prove fertile grounds to explore de-hierarchized ways of negotiating the material world.
Taking its title from Clarice Lispector, the show offers sculptures and images (moving