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THE SEEN | Chicago's International Online
Journal of Contemporary & Modern Art
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Issue 18: March 


BARBARA KASTEN: STAGES // ICA PHILADELPHIA
by Joshua Michael Demaree
 

Photographer Barbara Kasten’s work is like a jolt of electricity to the eye. Her signature pieces that feature the fragmentation of form coupled with a studied use of color is instantly striking, capturing the eye’s attention even thirty years after their creation. But it is her craftsmanship, her powerful control of the work’s materiality, that truly holds the viewer’s attention—revealing the sagacity of Kasten’s on-going exploration of the interplay between mediums, specifically sculpture, installation, painting, and photography.

> Read full article
 

DRUNKEN GEOMETRY // DEVENING PROJECTS + EDITIONS
by Ruslana Lichtzier


Language is itself a corrupted medium—to think with, and to write about art. While art can reach singularity, in that it can stand by itself, denoting nothing other than itself, language is unbearably caught in the referential; it is a net of the world as it is (which also hints upon why some modalities of art are so frequently analyzed, while others remain coated with silence).


VIRGINIA OVERTON // WHITE CUBE, MASON’S YARD
by Kostas Prapoglou


Following her show at the Museum of Contemporary Art North Miami (MOCA) in 2014, American artist Virginia Overton arrives in London with a solo exhibition at the branch of White Cube gallery in Mason’s Yard. Spanning the gallery’s ground and lower ground floor areas Overton has populated the entire space with three new works.

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THE FUTURE OF MEMORY // KUNSTHALLE WIEN
by Anna Szöke

The Future of Memory – An Exhibition on the Infinity of the Present time—what a promising and philosophical title for a group show. On my way to the exhibition, hosted at the Kunsthalle Wien, I passed two of Vienna’s plethora of monumental buildings—the Museum of Fine Arts and the Natural History Museum. Facing each other, their shadows adumbrate the golden days of the Habsburg Empire. 

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ERNIE GEHR // FILM STUDIES CENTER
by S. Nicole Lane


“This is a tough program,” quipped Ernie Gehr at the Film Studies Center before screening his latest digital works in HD at the University of Chicago. Gehr, a Structuralist filmmaker who challenges traditional cinema, presented five films: Photographic Phantoms (2013), Picture Taking (2010), Winter Morning (2013), Auto Collider XVIII (2011), and A Commuter’s Life (What a Life!) (2014). I knew what I was in for—I had just prepped myself two days before by re-watching Serene Velocity (1970), but nevertheless, the accordance from Gehr was appreciated.

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PROFILE OF THE CURATOR // LORETA LAMARGESE
In Conversation with Catherine Lamoureux


THE SEEN sits down with Loreta Lamargese, a contemporary curator based in Montréal on her exhibition You Won’t Believe (…) which just recently closed at Division Gallery in Montreal.

Read Part I and Part II
 
 

COLLECTOR'S CORNER:
POWER OBJECTS // UICA

by Alexandra Kadlec


The Chicago-based couple, Josh Rogers and Lesley Weisenbacher, is continually in search of exalted forms, powered by a kind of beauty that overwhelms and mystifies. Their shared passion has resulted in a collection of over 150 works of art that inspire contemplation. 

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Image up top: (Detail) Barbara Kasten, Construct 32, 1986, Cibachrome, 40 x 30 in. Courtesy of the artist.
 
               
 For more information about EXPO CHICAGO/2015
   www.expochicago.com