View of “Tony Lewis,” 2015.

View of “Tony Lewis,” 2015.

Tony Lewis

Shane Campbell Gallery | South Loop

View of “Tony Lewis,” 2015.

In The “Calvin and Hobbes” Tenth Anniversary Book, Bill Watterson explains his decision not to commercially license his comic strips as an attempt to preserve the imaginative place generated by the characters: “Calvin and Hobbes was designed to be a comic strip and that’s all I want it to be.” “Pall,” Tony Lewis’s assured, sharply intelligent exhibition imbued with a nuanced political charge, placed Watterson’s strict medium specificity in dialogue with that of text-based Conceptual artists. Lewis presented works from three untitled ongoing series in graphite on paper: nine collages of altered cels from Calvin and Hobbes comics mounted on transparencies, a large drawing depicting the word PALL rendered in Gregg shorthand (a stenographic script similar to abbreviated cursive), and two site-specific large-scale drawings repurposed as sculptures, resting upon a third drawing that

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