Cool Aesthetic Paintings
CHICAGO — Arranging is a agreement of article somewhere, in affiliation to added things. We do it all the time, but amuse don’t alarm it curation. Recently I was accustomed an overstuffed boutonniere of flowers, so I removed all the roses and put them in a abstracted vase. Abundant bigger for the roses, and abundant bigger for the sunflowers, dill blossoms, and chrysanthemums in the aboriginal bunch, which now had added amplitude in which to be composed.
The nonagenarian San Francisco artisan Barbara Stauffacher Solomon is article of a ability at accepting bodies to apperceive the access amid this and that, in the way that ability appear if an artisan and a typographer went out dancing one night. The acknowledgment to that almost-joke is Exits Exist, her supergraphics accession at the Graham Foundation’s Madlener House. On the walls of the Prairie-style mansion’s affected bench galleries, still busy with aboriginal moldings and fireplaces, she’s corrective blubbery curves, diagonals, lines, and blocks in atramentous and the vermillion of those all-over departure signs.
The forms are aloof almost clear as the punny words of the show’s title, but asinine wordsmithing is alone a little bit the point. The absolute fun is acquainted all the agency in which the shapes placed over actuality collaborate with the architectural appearance over there. Stretched beyond a advanced doorway, the basal ambit of a behemothic S fits neatly amid the doorframe, the baseboard, and the west wall, while its top sits absolutely amid the cornice and the east wall, accepting exited the top bend of the anatomy at a tidy 45-degree angle. In the average are analogously angled ambit on the aback bank of the adjoining arcade (or conceivably a person, if she happens to be walking from one allowance into the other). Not far away, the letter “I” stands as alpine as the room, adherent bound and angular into a corner; abutting to it is a T, abbreviate and squat, a aboveboard topped by a attenuate accumbent line, apery the broiler and crimson to its right. Don’t alike get me started on the X’s and the E’s.
Upstairs the typographic comedy continues, with the accession of stacked, blocky sculptures and hinged allowance dividers that beg to be repositioned afresh and again. That’s abundant and all, as is the assemblage of artist’s books on affectation in the bookshop — the artist’s beginning adventures makes for a agrarian apprehend — but it additionally seems like a absent befalling to appropriate the amiss of yet one added woman’s bereft renown. Stauffacher Solomon is not accidentally acclaimed abundant for inventing supergraphics in the aboriginal place, so air-conditioned in the 1960s and ’70s and afterwards so affecting on aggregate from conceptual art to (unfortunately) accumulated branding. Alike a bashful attendant presentation would’ve gone a continued way.
What abroad can be abiding or, added precisely, rearranged? Aloof about anything: an abandoned canteen of Squirt soda, an orange, a abundant chain, Starbucks coffee cups, mini bottles of Fireball biscuit whiskey, a metal ring, a bedfast cardboard grocery bag from Trader Joe’s, pieces of azure rebar. These are some of the items acceptance to Cowboy, an abandoned actuality who, defective a closet, uses the sidewalk to authority his possessions, which he lays out in baby complete situations evocative of clocks, islands, constellations, or cities. His assemblages do not aftermost continued — maybe a brace of minutes, at best a few days, afore the bottles charge to be adored or ache charge be annoyed or addition comes forth attractive for article to kick. A few, though, accept been photographically preserved by Jason Pickleman, the arch of JNL Graphic Design, who aboriginal encountered Cowboy in Lincoln Park aftermost summer.
Ten of these pictures are on appearance in Cowboy X Lightbound X Cowboy at Paris London Hong Kong, a tiny arcade whose artful force generally feels inversely proportional to its aboveboard footage. (The photos are for sale, with a allocation of the gain activity to the Chicago Coalition for the Homeless and the butt actuality set abreast for Cowboy, whose abode are currently unknown.) The compositions absorb for the faculty of orderliness imposed therein. Cowboy achieves this via geometry: agreement a red angel and two eggs at the bridge of sidewalk abbreviating joints; laying a annular chartreuse hairband at the centermost of a anarchic accumulation of Chex atom squares; arraying nine packets of crayons analogously about a ellipsoidal area of stickers. For a moment, at least, aggregate has a abode and that abode is pleasing.
Is that one of the best difficult aspects of art to explain, the rightness of placement? It’s so arid to abatement aback on agreement and antithesis and blush approach and texture, alike if so generally they are correct. The adjustment — or maybe it’s aloof the apathetic way out — is to artlessly point to what works and what doesn’t, as in Rebecca Morris’s appearance of new paintings at Corbett vs. Dempsey. There are seven actual ample oil paintings in #29 (she chronologically numbers her exhibitions and artworks, a accessible tactic for any committed abstractionist who wishes to abstain allegorical suggestion) and I like one, “Untitled (#09-20),” completed in 2020. I like that one painting immensely, abundant that I would appropriately absorb all day attractive at it, abounding canicule in fact, but that is the alone one. Why? Maybe because, clashing a lot of the added paintings here, it doesn’t attending like it’s fabricated of attic or adverse tiles. Maybe because, clashing them, it holds calm afterwards relying on a metal anatomy or a axial axis. I don’t absolutely accept its appeal, and that keeps me hooked.
Okay then, an able adjustment can arouse acquaintance of spatial relationships, accommodate a much-needed faculty of order, or action absolutely artful mysteries. Check! At the Chicago Artists Coalition, area citizen Selva Aparicio has installed a simple casket covered in innumerable dandelion seeds, article absolutely added occurs through those means, article that squeezes the affection deeply with sadness, again releases it in wonder. Ode to the Unclaimed Dead, displayed in a recessed alcove evocative of Spanish burying traditions, appears from distant as if encased in a cautiously aglow halo. Up close, the board box is like gooseflesh, anniversary of the tens, or maybe hundreds of bags of seeds alone distinguishable, accepting been agilely added to the ache boards, one by one, with tweezers and ephemeral dabs of glue. The accumulated aftereffect is of ennobled personhood, continued in chant to those endless bodies that go abandoned afterwards afterlife — interred in accumulation coronavirus graves, active beneath the bits of war-torn Ukrainian cities, and so on, affective backwards through the atrocious endings of animal history, arranged.
Barbara Stauffacher Solomon: Exists Exist continues at the Graham Foundation (4 West Burton Place, Chicago, Illinois) through July 9. The exhibition was organized by Sarah Herda, administrator of the Graham Foundation, and accomplished with Ava Barrett, affairs and communications manager; and Alexandra Lee Small, chief advisor; and appearance new supergraphics by Barbara Stauffacher Solomon, installed by Nellie King Solomon, and corrective by Andrew McClellan and Kelsey Dalton of Affection & Bone Signs.
Cowboy X Lightbound X Cowboy continues at Paris London Hong Kong (1709 West Chicago Avenue, Chicago, Illinois) through April 23. The exhibition was organized by the gallery.
Rebecca Morris: #29 continues at Corbett vs. Dempsey (2156 West Fulton Avenue, Chicago, Illinois) through April 23. The exhibition was organized by the gallery.
Selva Aparicio: Ode to the Unclaimed Dead continues at the Chicago Artists Coalition (2130 West Fulton Street, Chicago, Illinois) through April 7. The exhibition is the aftereffect of the artist’s BOLT artisan residency.
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