For nearly three decades, Alan Koppel Gallery has played a leading role in introducing contemporary international artists to American audiences. In addition to organizing extensive solo and group exhibitions of new work by gallery artists, the gallery maintains an inventory of select primary and secondary works by leading artists from the major movements in 20th Century American and European Art. Artists to first exhibit with us in Chicago include renown artists such as Robert Moskowitz, Bruce Conner and Jacques Villeglé, mid-career artists like Edward Lipski, and the estate of Eugéne Leroy.
In the mid-1990s, Alan Koppel’s successful private gallery turned public with the opening of his first space in Chicago’s John Hancock Center where the first solo exhibition was new work by Peter Halley. In 2001, the gallery moved and expanded its presence to a 4,000 square foot gallery in Chicago’s River North gallery district. The inaugural blockbuster exhibition paired new work by Jacques Villeglé with furniture by Jean Prouve. Past exhibitions include new work by artists Halley, Leroy, Villeglé, Lipski and Bosse, as well as shows by Hiroshi Sugimoto, Vik Muniz, Philip Guston, Diane Arbus, Mark Tansey, Louise Bourgeois, Marcel Duchamp, Hans Bellmer, Robert Frank, Walker Evans, Andy Warhol and Ed Ruscha.
In 2012 the gallery moved to its current Dearborn Street location, transforming a turn-of-the-century greystone into an intimate gallery space dedicated to showcasing significant artworks from the 20th and 21st century.
Image: Dianna Frid, More Time Than Life, exhibition 2019
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Beowulf Sheehan is considered to be his generation’s foremost literary portrait photographer, having made portraits of the literary luminaries of our time across the globe, from Roxane Gay to Masha Gessen, Patti Smith to Zadie Smith, Karl Ove Knausgaard to J.K. Rowling, and Jonathan Franzen to Toni Morrison.
In AUTHOR Sheehan presents the most insightful, intimate, and revealing portraits of these artists made in his studio, in their homes, in shopping malls and concert halls, on rooftops and in parking lots, on the beach and among trees, surrounded by flowers and in clock towers. Following an enlightening foreword by Salman Rushdie, Beowulf Sheehan shares an essay offering insights in the poignant and memorable moments he experienced while making these portraits.
A treasure gift for readers and lovers of portrait photography, AUTHOR is the only book of its kind to appear in more than a decade.
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Opening Reception: September 13, 2019 6:00 - 9:00 pm
September 13 - November 15, 2019
Gallery hours: M-F 10:00 am - 5:30 pm
Public Artist talk in the gallery: October 24, 6:00-8:00 pm
Alan Koppel Gallery is pleased to present More Time than Life, an exhibition of new and selected works by Dianna Frid. Situated at the intersection of text and textiles, Frid’s work embraces non-hierarchical relationships between art and craft, and between concept and form. Either explicitly or in nuance, Frid engages themes of time, process, death, and the mutability of matter.
For her current show, Frid presents work from three interrelated series: “Words from Obituaries,” “Text Textiles,” and “Evidence of the Material World.”
In her series “Words from Obituaries,” Frid uses short fragments she finds in selected obituaries from the New York Times. While the fragments resonate with the original source, they also stand alone as brief poems that materialize as words embroidered with vivid hues of thread on top of graphite. These poems sometimes admonish and sometimes make observations and declarations. For example, in the work titled NYT, AUG. 22, 2015, JACOB BEKENSTEIN we read “THERE IS NO RETURN.” In selecting the colors for a given piece, the artist devised an idiosyncratic color code system to loosely classify the deceased on the basis of what they are most remembered to have done in life.
Process is paramount in Dianna Frid’s artwork. Her embroidery embodies traces of time and work. For Frid, slowness is a vehicle to carve out space, to think and to figure: to figure out as well as to compose and uncover. The “Text Textiles” series is informed by a variety of source texts on craft, poetry, and cosmic time. The series is a means to explore, reflect on, and reveal modes in which astronomers, poets and weavers palpably experience time and rhythm. Rhythm is a non-linguistic aspect of poetry, attuned to iteration and breath. This breathing and marking of time also occur in embroidery. For this series, Frid embroiders transcribed texts next to bold graphite configurations. Thread and pencil form geometric patterns that heighten language while simultaneously slowing down its immediate semantic apprehension.
An on-site installation entitled “Evidence of the Material World # 9” operates in a less verbal realm. It provokes an encounter with space at the scale of the body. The installation is made with myriad manually made graphite tissues. The accumulation of these tissue drawings generates a temporary graphite field that adheres to the wall and becomes part of the interior architecture. Graphite shares the same molecules as diamonds, but in a different order, lending the substance a distinctive sensuous appearance. The “Evidence of the Material World” series is inspired by “De Rerum Natura,” written about 2000 years ago by the Roman poet Lucretius. In his poem, Lucretius talks about how death does not destroy the elements of matter, only changes their combination. Both Lucretius’ poem and Frid’s artwork make brilliant comparisons to these ‘molecular’ changes in poetry: by changing the combination, the context and the appearance of words, you change the poem and its matter.
Dianna Frid was born in Mexico, and immigrated to Vancouver, Canada with her family when she was a teenager. She lives and works in Chicago and is Associate Professor in Studio Arts at the University of Illinois at Chicago. Frid is a recipient of a 2018 3Arts Award and a 2019 Fellowship at the Ragdale Foundation. She acknowledges both organizations for their support.
Image: Dianna Frid, More Time Than Life, 2019
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This artist talk is free and open to the public.
Join us at Alan Koppel Gallery for a free public event October 24 at 6pm for a conversation with featured artist Dianna Frid and artist and translator Alta Price.
As \"text\" and \"textile\" share common etymological origins, Frid's embroidered art presents a myriad of translations. We invite you to visit Frid's exhibition \"More Time Than Life\" and hear the artist discuss her inspiration and goals of this new body of work with Chicago-based translator and artist Alta Price.
Dianna Frid's work includes drawing, sculpture, installation, and artist’s books. Her works are both corporeal and philosophical reflections on the ways in which materials—physical and lexical—produce aesthetic and contemplative experiences and, by doing so, shape our sense of reality. Frid has received major awards from the Canada Council of the Arts, 3Arts, and the Artadia Foundation. She has exhibited her work nationally and internationally at institutions such as PS1-MOMA, in New York, the Drawing Center in New York City, The Museum of Contemporary Art, Chicago, and the Neues Kunstforum in Cologne. Her work has been recently exhibited at Bravin Lee Programs in New York, and is housed in public collections such as the Art Institute of Chicago and the Cleveland Clinic.
Dianna Frid was born in Mexico City and migrated to Canada with her family when she was a teenager. She currently lives in Chicago where she teaches in the School of Art and Art History at the University of Illinois at Chicago. In addition to her studio work, Frid started to make artist’s books in 1993 in Vancouver, and has used “The Artery Archives” as her imprint.
Alta Price runs an editorial and translation consultancy specialized in art, design, and literary texts. She holds a BFA in printmaking and art history from RISD and an MFA in combined media from Hunter College/CUNY. In addition to her studio practice—collage, relief and intaglio prints, watermarked paper—she also provides logistical coordination for print- and book-related research in Europe, including the biennial Legacy of Letters tour.
Our gallery has one set of stairs and is unfortunately not wheelchair accessible
Image: Exhibition View Courtesy of Alan Koppel Gallery
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November 4, 2022 - January 13, 2023
Opening Reception: Friday, Nov 4: 6:00-9:00 pm
Artist conversation with Dianna Frid and John Neff: Friday, Dec 2: 6:00-8:00 pm
Time is Textile is a solo exhibition of new works by artist Dianna Frid. The exhibition opens Friday, November 4 and continues through January 13, 2023 at our Chicago location at 806 North Dearborn Street.
The works in Time is Textile—seven books and three wall pieces—grapple with themes of mortality, surrender, disaster, awe, and singing. Sewn text is prevalent in these mixed-media artworks. And yet, as much as Frid’s work intersects with and borrows from written language, it also wrestles with language and its limits.
I began to make artist’s books in Vancouver in the early 1990s. My first books included photographic sequences of performances that I co-created with friends in Oaxaca. I used thread to bind those books, and eventually the thread moved into the field-space of the page. This is when I started to see sewing as a form of drawing and to understand drawing as a form of writing. Typically, I transcribe and riff on the words of others. These are words I want to spend time with, words I choose for their resonances and rhythms. –Dianna Frid, October 2022
In addition to the opening reception on November 4 6:00-9:00 pm, Dianna Frid will discuss her artwork with artist John Neff on Friday, December 2 at 6:00 pm. These events are free and open to the public.
Dianna Frid was born in Mexico City, where she was first exposed to textiles as complex codes of material writing. At the age of fifteen she immigrated, with her family, to Vancouver, Canada. These and other points of reference help her situate her work alongside lineages that embrace art and needlework without framing them in hierarchical opposition. Time, Rhythm, Process, and Matter are never in opposition.
Frid is Professor in the Art Department at the University of Illinois at Chicago. Her work has been exhibited nationally and internationally, and she has received numerous grants including a 3Arts Award, as well as support from the Canada Council for the Arts, the Illinois Arts Council and the Chicago Department of Cultural Affairs and Special Events. She recently completed a residency at the Josef and Anni Albers Foundation.
Alan Koppel Gallery in Chicago has regular public hours Monday - Friday 10:00 am - 5:30 pm, and Saturdays by appointment. Please contact the gallery for closures during the holidays.
This project is partially supported by an Individual Artist Program Grant from the City of Chicago Department of Cultural Affairs & Special Events, as well as a grant from the Illinois Arts Council Agency, a state agency through federal funds provided by the National Endowment for the Arts.
Image: Dianna Frid, SEEDS OF FIRE / LEAP YEAR, 2020, Canvas, paper, paint, aluminum, embroidery floss
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Artist conversation with Dianna Frid and John Neff: Friday, Dec 2: 6:00-8:00 pm
November 4, 2022 - January 13, 2023
Opening Reception: Friday, Nov 4: 6:00-9:00 pm
Time is Textile is a solo exhibition of new works by artist Dianna Frid. The exhibition opens Friday, November 4 and continues through January 13, 2023 at our Chicago location at 806 North Dearborn Street.
The works in Time is Textile—seven books and three wall pieces—grapple with themes of mortality, surrender, disaster, awe, and singing. Sewn text is prevalent in these mixed-media artworks. And yet, as much as Frid’s work intersects with and borrows from written language, it also wrestles with language and its limits.
I began to make artist’s books in Vancouver in the early 1990s. My first books included photographic sequences of performances that I co-created with friends in Oaxaca. I used thread to bind those books, and eventually the thread moved into the field-space of the page. This is when I started to see sewing as a form of drawing and to understand drawing as a form of writing. Typically, I transcribe and riff on the words of others. These are words I want to spend time with, words I choose for their resonances and rhythms. –Dianna Frid, October 2022
In addition to the opening reception on November 4 6:00-9:00 pm, Dianna Frid will discuss her artwork with artist John Neff on Friday, December 2 at 6:00 pm. These events are free and open to the public.
Dianna Frid was born in Mexico City, where she was first exposed to textiles as complex codes of material writing. At the age of fifteen she immigrated, with her family, to Vancouver, Canada. These and other points of reference help her situate her work alongside lineages that embrace art and needlework without framing them in hierarchical opposition. Time, Rhythm, Process, and Matter are never in opposition.
Frid is Professor in the Art Department at the University of Illinois at Chicago. Her work has been exhibited nationally and internationally, and she has received numerous grants including a 3Arts Award, as well as support from the Canada Council for the Arts, the Illinois Arts Council and the Chicago Department of Cultural Affairs and Special Events. She recently completed a residency at the Josef and Anni Albers Foundation.
Alan Koppel Gallery in Chicago has regular public hours Monday - Friday 10:00 am - 5:30 pm, and Saturdays by appointment. Please contact the gallery for closures during the holidays.
This project is partially supported by an Individual Artist Program Grant from the City of Chicago Department of Cultural Affairs & Special Events, as well as a grant from the Illinois Arts Council Agency, a state agency through federal funds provided by the National Endowment for the Arts.
Image: Dianna Frid, SEEDS OF FIRE / LEAP YEAR, 2020, Canvas, paper, paint, aluminum, embroidery floss
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Alan Koppel Gallery is thrilled to present EVENINGSIDE: New Photographs by Gregory Crewdson. The exhibition will be on view from April 7 through August 11, 2023.
Gregory Crewdson is widely considered one of the most important contemporary photographers working today, In EVENINGSIDE, the artist’s recent series of photographs, Crewdson explores moments of contemplation within the confines of quotidien life: in places of employment, and in moments just outside of those work structures. The figures populating the pictures are sparse, and are often seen through storefront windows, in mirror reflections, or positioned underneath the mundane proscenium found in the midst of their everyday routines: railroad bridges, doorways, porches, the overhanging roofline of a bank teller drive-thru, a dairy bar, a corner market, or a hardware store. Crewdson’s work has been compared to that of Edward Hopper and David Lynch, and his ability to capture the atmosphere and emotion of a moment is truly unparalleled.
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