![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419555/uu84jsitevgwmesyyzjd.png\")
Since opening in 2004, Corbett vs. Dempsey has presented a range of international artists as well as artists connected with the historical and contemporary legacy of Chicago. The gallery’s mission has included extensive exploration of widely known artists, including Ellen Berkenblit, Brian Calvin, Arturo Herrera, Charline von Heyl, Dick Higgins, Rebecca Morris, Albert Oehlen, Joyce Pensato, Arlene Shechet, and Christopher Wool, supporting emerging and mid-career figures including Christina Forrer, Gabrielle Garland, Magalie Guérin, David Hartt, Celeste Rapone, Rebecca Shore, Lui Shtini, Cauleen Smith, John Sparagana, Omar Velázquez, and Molly Zuckerman-Hartung, and championing artists of critical significance to post-war Chicago including Margot Bergman, Dominick Di Meo, Edward Flood, Philip Hanson, Thomas H. Kapsalis, Robert Lostutter, Christina Ramberg, Diane Simpson, Karl Wirsum, and Jimmy Wright.
Creative music has always been a feature of the gallery’s activities; in addition to having its own record label, CvsD is proud to represent Peter Brötzmann and the estate of Sun Ra.
Member Art Dealers Association of America (ADAA).
Image: Installation view of Christopher Wool, February 8–March 30, 2019. Photo: Robert Chase Heishman.
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Corbett vs. Dempsey is honored to present No Thing Skin Sets, an exhibition of recent works by the artist Pope.L. This is the gallery’s first exhibition with Pope.L and the first major gallery show of his work in Chicago.
One of the key figures in contemporary conceptual art, Pope.L was based in Chicago from 2010, when he started teaching at the University of Chicago, until his death in December of 2023, at the age of 68. Pope.L first came to international attention with a number of performance- and endurance-based pieces in the early 1990s, though he’d already been working for more than a decade by then. His graduate studies at Rutgers University included a performance art class with Fluxus artist Geoffrey Hendricks, whose influence was profound and lifelong. Reflecting that lineage, right out of the gate, in performances such as Tompkins Square Crawl and later The Great White Way and Eating the Wall Street Journal, Pope.L established himself as an artist unbounded by the usual artistic silos, freely mixing performance with sculpture, painting, drawing, installation, and video. And he was unafraid to present work that challenged assumptions about race and class, pressing buttons with satire, sarcasm, irony, absurdity, and a healthy dose of countervailing earnestness. Among the indelible, confounding works Pope.L presented in Chicago were the 2013 Renaissance Society exhibition Forlesen and the 2018 Art Institute of Chicago performance The Escape. Subtly, but through sheer force of intellectual rigor and nonconformist experimentation, Pope.L infused the city with his unorthodox way of thinking. It’s possible to consider the environment we now live in as post-Pope.L Chicago.
Conversations around a potential show at CvsD with Pope.L evolved organically after the gallery’s move to its present location in 2019. We were able to continue discussions about the exhibition after his death, courtesy of the Pope.L estate and the artist’s longtime assistant Dave Lloyd, whose guidance in choosing and installing No Thing Skin Sets has been invaluable. The exhibition covers several areas of Pope.L’s recent work and includes one older work titled Trap (1992). The North Gallery is consumed by a major installation piece, I Machine (2014–2022), which integrates multiple overhead projectors, tubing, water, a painted canvas onto which constantly shifting images of plastic letters and degrading coins are projected through the water, and many, many Post-It notes, some featuring little drawings. I Machine has only been exhibited once. Prior to completion it was featured in a 2020 profile in The New York Times titled “A Work In Progress that Explores Our Collective Ignorance.” In the South Gallery, CvsD presents a number of distinct groups of Skin Set works that belong together. These include a group of four “sluice” paintings made of birchwood and filled with acidic green acrylic paint, and a group of four “window” pieces, which involve rectangular holes cut out of the top of the gallery’s west wall, recalling the out-of-reach apertures in a prison cell. Well (Redistribution Version) (2019), is a floor-piece consisting of nine decorative drinking glasses filled past the brim with water each morning, a futile directive recalling Fluxus artist George Brecht’s Drip Music (1959–1962). A small painting made with a light absorbing black material features in King Actar’s Wife (2018), but it is lit unusually by a penlight mounted on a bulky stand positioned directly in front of it. These mysterious, provocative works, as well as others, give the exhibition a multi-ring quality, with Pope.L as its inscrutable ringmaster.
Pope.L’s works on paper, of which the gallery also presents two earlier Skin Set examples, are currently the subject of Certainly an Act, a 50-year retrospective, at New York’s Drawing Center.
Image: Pope.L, Well (Redistribution Version), 2019, 9 drinking glasses, water, dimensions variable, installation
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Video","starts_at":"2026-09-15 00:00:00","ends_at":"2026-10-31 00:00:00","body":"In the Vault, CvsD presents The Lawnmower Video, starring Pope.L and the band Jon Waine.
This short film features the only known footage of Jon Waine, recorded live in concert circa 1981. Jon Waine started in 1975 as a duo of Brian McCormack and Bill Pope (Pope.L), when they were students at Montclair State University in New Jersey, and expanded to a quartet and eventually quintet, featuring Franc Palaia on drums, Ellen La Forge on bass, and Steve Davison on rhythm guitar. In the video, Pope.L's bigger-than-life stage persona is clearly visible, offset by the everydayness of a segment dedicated to Pope.L mowing the lawn of the house he shared with McCormack in East Orange, New Jersey.
Gina Litherland's event is scheduled from November 12, 2026, to January 9, 2027.
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Opening Reception Friday, April 5, 6 to 8 PM
Image: Karl Wirsum, Geezer Gazing Geyser, 2018, acrylic on cut panel, 40 x 18 inches (Geyser); 41 x 32 3/4 inches (Geezer)
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As part of the Quarantine Concerts, a herculean live-stream series hosted by Experimental Sound Studio, Corbett vs. Dempsey is pleased to present the first incarnation of Sequesterfest, an evening of creative music. This event features an all-star lineup of improvisers, composers, and contemporary music performers, a virtual marquee assembled in unity of spirit during a time of unparalleled global weirdness and alienation. In its maiden voyage, Sequesterfest will feature six sets, each half-hour long, viewable by means of Twitch or on the ESS website. Donations are requested on a sliding scale – as much as you can afford, as little as you are able – and all proceeds go 100% to the musicians or to their designated redirect. CvsD has been deeply inspired by the optimism represented by the Quarantine Concerts, and we are proud to be associated with the ESS team in this joint endeavor. There’s been heightened recognition recently of the perils of the gig economy and the challenges facing those whose income is dependent on it. Musicians invented the gig economy. They play gigs. We took the word from them. And live music is not only their livelihood, it’s their whole lives. Sequesterfest is an opportunity to hear these brilliant musicians, a round-up that would have seemed nearly impossible – or would have required a trip to a remote festival village somewhere in Austria – until now. And to support these intrepid gigging artists. Hey now, captive audience, reduce the social distance – join us, tell your friends to join us, tell them to tell their friends, and don’t forget to donate!
Check out the Quarantine Concerts here.
Stay tuned for specifics on Sequesterfest (Vol. 2), which will take place in the afternoon on Saturday, April 18th.
As part of the Quarantine Concerts, a herculean live-stream series hosted by Experimental Sound Studio, Corbett vs. Dempsey is pleased to present the second incarnation of Sequesterfest, an evening of creative music. This event features an all-star lineup of improvisers, composers, and contemporary music performers, a virtual marquee assembled in unity of spirit during a time of unparalleled global weirdness and alienation. In its maiden voyage, Sequesterfest will feature six sets, each half-hour long, viewable by means of Twitch or on the ESS website. Donations are requested on a sliding scale – as much as you can afford, as little as you are able – and all proceeds go 100% to the musicians or to their designated redirect. CvsD has been deeply inspired by the optimism represented by the Quarantine Concerts, and we are proud to be associated with the ESS team in this joint endeavor. There’s been heightened recognition recently of the perils of the gig economy and the challenges facing those whose income is dependent on it. Musicians invented the gig economy. They play gigs. We took the word from them. And live music is not only their livelihood, it’s their whole lives. Sequesterfest is an opportunity to hear these brilliant musicians, a round-up that would have seemed nearly impossible – or would have required a trip to a remote festival village somewhere in Austria – until now. And to support these intrepid gigging artists. Hey now, captive audience, reduce the social distance – join us, tell your friends to join us, tell them to tell their friends, and don’t forget to donate!
Check out the Quarantine Concerts here.
In Communicate, How?, CvsD has assembled a selection of Moki Cherry’s most significant works, all of them drawn from the schoolhouse in Sweden where the family archives still reside. These include major tapestries that were used in performance and several that functioned as announcements for Organic Music Society events or other performances. Among these is a banner from the first gig for which Moki made a tapestry, as well as a marvelous silken marquee for a weekend festival at Ornette Coleman’s loft.
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Rachel Harrison, Legendary Red, 2021. Wood, steel, polystyrene, cement, cardboard, chicken wire, wool blanket, acrylic, and Rice Chex cereal box. Part 1: 96 x 44 x 36 inches Part 2: 2 1/2 x 48 x 51 inches. Courtesy of the artist, Greene Naftali, New York, and Corbett vs. Dempsey, Chicago. Photo: Tim Nighswander / IMAGING4ART.
Corbett vs. Dempsey is pleased to present Assorted Varieties, an exhibition of new work by Rachel Harrison. This is the gallery's first solo show with Harrison and the artist's first gallery presentation in Chicago.
In Assorted Varieties, Harrison unveils four major sculptures and three wall works. Of these large-scale pieces, three are in theory monochromatic – red, blue, and yellow – however their variegated hues almost chide the idea of the monochrome, revealing a subtle pandemonium of hues and temperatures residing in craggy surfaces, torqued volumes, and inset objects. The wall works roughly map onto the color scheme of the sculptures, recast in three different media – a set of post-it notes, an enigmatic abstract photograph (titled \"Photograph\"), and a blown-up screen grab of a frozen cherry pie with associated Tweet. Everything in Harrison's artistic ecosystem is buzzing with latent meaning – nothing is arbitrary, but nothing is obvious.
Since emerging on the international art scene in the early 1990s, New York-based artist Rachel Harrison has built a critically incisive oeuvre consisting of work in a variety of media. As art historian David Joselit has succinctly written, she \"makes sculptures that defy description.\" Harrison, who was the subject of an acclaimed survey at the Whitney Museum of American Art in 2019, is most widely known for her sculptural work, which is both masterful and irreverent and which incorporates an ingenious formal sense within an apparent (but illusory) defiance of formalism. The work is sensuous and strategic, serious and uproarious, self-referential and wildly omnivorous, ranging across historical points of reference, both those of an art-specific nature and those drawn from popular and mass culture.
Corbett vs. Dempsey is open Tuesday - Saturday, 10am - 5pm. Appointments via Tock are encouraged but walk-ins are welcome. Face coverings are required for all guests.
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In its north gallery, Corbett vs. Dempsey is delighted to unveil Dick Higgins, 7.7.73, an exhibition of unique printworks made in the early 1970s. The gallery has represented the Higgins estate since 2014. This is the first presentation of his work at CvsD.
In 1973, Higgins began a monumental series of works, the majority of which were executed as unique prints on paper. Using chance procedures – a technique championed by his friends John Cage and Jackson Mac Low – Higgins placed images on pages of Arches paper. Vibrant silkscreened photographs of friends and foliage, all shot au naturel in verdant Vermont, they were part of a larger post-hippie moment in which he sought to explore a nature-bound version of Pop Art, what he called Arcadian Pop. The resulting printworks – more than 400 of them in total – range drastically in density and impact, from a few that, via chance, sported no images at all, to others in which frolicking bodies jostle for space in a bushy woodland. Taken as the massive project that it was, 7.7.73 is a beautiful representation of the potential to combine a systematic procedure for production and a rich emotional resonance, a refutation of the idea that these concepts are at odds. By turns funny, playful, sexy, joyous, reflective, arch, and subversive, the prints are very much rooted in their time. These aggregate images feel once again relevant, embracing a bucolic, fresh-air sociality, at the same time, through the use of repetitions of the same image, suggesting something deeply insightful about the representation of nature, the unnaturalness of mechanical reproduction, a sort of qualified utopian response to Rauschenberg’s cooler urban-oriented silkscreened works. This rare exhibition of these works includes more than 25 of the original prints, as well as a set of bedsheets onto which Higgins cheekily printed images.
A composer, writer, poet, publisher, and artist, Dick Higgins (1938-1998) was a major figure in the Fluxus movement, which he helped establish in the early 1960s. Perhaps best known for his work with Something Else Press, the publishing house he founded in 1963, Higgins edited and produced landmark books by figures including Cage, Merce Cunningham, Ray Johnson, and Gertrude Stein, as well as fellow-Fluxus participants Emmett Williams, Daniel Spoerri, Ben Patterson, Wolf Vostell, and George Brecht. Higgins famously coined the term “intermedia.” He wrote extensively as a theorist of experimental art, including important investigations of aleatory processes, and was a pioneering proponent of the use of computers in art making. Like many works by Fluxus artists, Higgins’ oeuvre included significant works that were only marginally documented or completely ephemeral. As a group of works, 7.7.73 was his most substantial output of art objects, and it remains one of his most ambitious undertakings, a herculean effort after which Higgins suffered a debilitating nervous breakdown.
In celebration of the exhibition, CvsD is publishing a 7.7.73 ‘zine featuring images of many of the works in the show and an essay by art historian and Fluxus scholar Hannah B Higgins, daughter of Dick Higgins and artist Alison Knowles. In the gallery’s Vault, as a metropolitan counterpoint to the pastoral prints, we are screening The Flaming City, a rarely seen 1963 film by Higgins shot on the streets of the Lower East Side.
At David Salkin Creative, a concurrent exhibition titled Some Intermedia presents publications and ephemera related to Higgins’ work with Something Else Press. It runs from January 8 to February 26, 2022.
Image: Dick Higgins, 7-7-73 (#623), 1973, screenprint on Arches paper, 22 1/4 x 30 inches. Courtesy of the Estate of Dick Higgins and Corbett vs Dempsey, Chicago. Photo: Tom Van Eyde.
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Cruz was previously featured in CvsD’s Big Dig digital presentations and a 2021 ADAA Art Show booth. This is the first exhibition of his work at the gallery.
Taking its title from a 1969 essay by Cruz, Inter-Planetary Slavery focuses on works made in Chicago during the 1970s, a decade-long period during which he was teaching at the School of the Art Institute of Chicago. The exhibition presents a series of three-dimensional pieces made using fiberglass shaped over wooden infrastructures. These sculptures, roughly human size, were known as the sarcophagi, and they assumed their final form over a lengthy period of development and intermediary stages. In the end, the carefully crafted sarcophagi were covered with acrylic paint into which Cruz spontaneously etched fantastic hieroglyphs and pictograms, mostly demons and monstrous animals. The sculptures contrast – and in one case merge – with a contemporaneous series of flat paintings depicting raptors, executed on shaped wooden substrates, realistic renderings of hawks and eagles. In addition to eight sarcophagi and shaped wood birds, the show includes a canvas from the same period, with etched hieroglyphs of its own overlaid on top of a group of vividly painted totemic figures, showing the connection between the sarcophagi and Cruz’s more conventionally formatted paintings.
Born in the Bronx, Emilio Cruz (1937-2004) was a central figure, alongside Bob Thompson, Lester Johnson, Red Grooms, Mimi Gross, Jan Müller, and others, in the emergence of figurative expressionism at the dawn of the 1960s in New York City. In that period, he showed at Martha Jackson Gallery and Zabriskie Gallery, as well as the cooperatively run Delancey Street Museum. In 1969, musician Julius Hemphill invited Cruz to direct the visual art program at the Black Artists Group (BAG), in St. Louis, and 18 months later he landed in Chicago, where his work transformed dramatically, retaining a lifelong investment in figuration but expanding in both imagery and media. Cruz wrote and performed in a series of plays, some of which incorporated members of BAG and the Association for the Advancement of Creative Music (AACM); in the early 1980s he toured with his piece “Homeostasis,” the music for which was composed by Henry Threadgill. Cruz returned to New York at that time, where he lived and worked until his death in 2004.
As a complement to the exhibition, CvsD is publishing a catalog featuring the essay that gives the show its title – originally published in 1970 in the journal Confrontation, edited by Quincy Troupe – as well as many vintage images of Cruz's works, facsimile reproductions of his poetry, a short homage by Cruz to his friend and colleague Bob Thompson, Amiri Baraka's eulogy for Cruz, a testimonial from Henry Threadgill, images of some of the record covers that featured Cruz works (especially Art Ensemble of Chicago LPs), a contextual essay by John Corbett, and an in-depth conversation between Corbett and Pat Cruz, Emilio’s wife and frequent co-conspirator.
Image: Emilio Cruz, Mutation, 1970-1979, acrylic and fiberglass over wood armature; oil on wood. Courtesy of the Emilio Cruz Estate and Corbett vs Dempsey, Chicago. Photo: Nathan Keay.
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Corbett vs. Dempsey is pleased to present #29, an exhibition of new paintings by Rebecca Morris. This is Morris's third solo show with the gallery. Additionally, she has been the subject of a 2020 Big Dig online exhibition, and a 2018 CvsD Condo presentation hosted by Bortolami in New York City.
Rebecca Morris is fiercely committed to abstract painting. For the past 21 years her paintings have borne numerical titles to avoid adding extraneous verbal imagery or associations to the paintings themselves. The work is what it is, which is radiant, challenging, and satisfying. Keeping in this vein, #29 is Morris's twenty-ninth solo exhibition, continuing her investment in the possibilities for metallic delineated grids, angular geometric shapes, vibrant washes of color, checkerboard fields, and textured surfaces that jostle for space.
The devil is in the details in Morris works, which always richly repay attentive viewing. The eight large-scale paintings and one smaller canvas included in #29 move into new terrain from past series of paintings in the myriad ways they grapple with transitions. Harder borders now contain ambiguities they might previously have abjured, while in other places the transitional features are bold but grapple with increasingly complex implications of space. Passage from one area into another is a magical formulation in these paintings – for instance the way the irregular bright silver edge on Untitled (#08-21) sits atop another darker interior silver border, creating a mysterious two-step transition into the thinly-brushed black matrix at the composition’s center, within which vivid fragmentary parts float like a conglomerate puddingstone. In places that one might anticipate a sharp transition, like between the puzzled-together parts of Untitled (#02-21), Morris thwarts the obvious by using a soft edge, generating lots of lustrous painterly energy where the tectonic plates meet.
Morris is acutely aware of how expectation functions in the experience of viewing a painting, the subtle ways that pattern and repetition, rupture and interruption, the general play of continuity and discontinuity, and even literal framing devices conspire to instigate formal drama. Seven of these paintings feature beautiful low-relief impasto metallic lines that grid diaphanous space, articulate a border—or both. Untitled (#01-21) and Untitled (#11-21)interrogates a checkerboard pattern, introducing complicated brushwork into its seemingly negative spaces.
This is the largest group of Morris paintings that CvsD has yet shown, among them the largest paintings as well, facilitated by the ceiling height in the ground-floor space that the gallery has inhabited since 2019. Size is essential to certain canvases, as Morris explained in her Big Dig interview, where she laid out core concerns specific to the oil paintings: “extreme scale, detailed compositional strategies, and very determined color relationships.” The largeness of some of these works – the tallest is nearly ten-feet in height – permits the intense particularity of the colors and the complexity of the compositions to phase-shift from being a discrete object of observation into a phenomenon of vibratory immersion. These are somatic paintings. Within the expanse of a large canvas, minute incident and casual gesture gain significance, drawing the eye and mind deep into their domain of fascination.
Rebecca Morris: #29, is on view through April 23, 2022. Corbett vs. Dempsey is open Tuesday - Saturday, 10am - 5pm.
Appointments via Tock are encouraged but walk-ins are welcome. Face coverings are required for all guests.
Image: Rebecca Morris, Untitled (#09-20), 2020, oil and spray paint on canvas, 95 x 103 inches. Photo: Lee Thomas/Flying Studio.
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In the closing hour of Rebecca Morris's exhibition #29, Corbett vs. Dempsey presents a special musical performance by Emilie Lesbros, Macie Stewart and Tim Daisy. Brought together by the \"transatlantic network for creative music\" known as The Bridge, with whom CvsD has frequently collaborated, these three improvisers will assemble for solos and duets. Lesbros, who sometimes appears under the pseudonym Miss Elie, is a French-born singer who works in many genres including freely improvised music; Stewart, who plays violin and keyboards in Ohmme and Marker, is one of Chicago's brightest new creative music stars; Daisy is a veteran improvised music drummer based in Chicago whose work in numerous ensembles and as a leader and soloist have been sparklingly documented on his own ambitious label, Relay Records. This concert marks the first meeting of these three players, another spark ignited by The Bridge. Join us in person at the gallery for a round robin afternoon session.
Images: Emilie Lesbros. Courtesy of France Rocks. Still from official music video for Macie Stewart's single, Mouthful of Glass. Filmed by Sima Cunningham. Courtesy of Audiotree Music.
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Gina Litherland has been exploring a personal approach to image-making for over four decades, interweaving strands drawn from mythology, literature, film, folklore, and natural history, in a visual style that connects her with Northern Renaissance portraiture and Magic Realists such as Remedios Varo and Leonora Carrington. However Litherland describes this most recent body of paintings as “the most personal work I’ve ever done, drawing on experience and inner wanderings, exploring a visual language more than literal language.” Some of the scenes in her narrative or allegorical paintings are drawn from a library of ideas and images she absorbed “by osmosis” while working at the Occult Bookstore in Chicago, before she settled outside Milwaukee, where she has lived and worked for the last thirty years. For instance, the painting “Pistis Sophia” takes its title from an obscure Gnostic text, the title meaning something like “faith and wisdom.” In Litherland’s case the allusion is to a kind of female emanation of wisdom, the picture’s story drawing on the artist’s remembrance of releasing pet tadpoles in a swamp when she was a little girl. All the works are executed in oil on panel, some adding India ink, and each one is meticulously painted, resplendent in its extraordinary attention to detail and representation of texture, intensities of radiance, chromaticism, shadow, and reflectivity. One of the works in the show that relates directly to an artistic precedent is “The Gods,” a vivid opera house interior image of a crowd as seen from just behind a stage full of actors, which refers to the WWII-era film Children of Paradise by Marcel Carné. “In the film, the Gods are the people in the cheap seats, the true audience, as well as the actors themselves,” says Litherland. “The film bounces back and forth, revealing the deep hidden relationship between the artist and the audience.” In the painting, just who are the Gods, the players or the viewers, remains ambiguous but brilliantly illuminated. Most of the paintings mix fragments of the animal and human worlds, often in harmony (“Tigers and Wolves are Kind,” “Full Moon on Dog Island”), sometimes, as in an image of a self-admiring mermaid (“The Siren”) and the self-described “Beautiful Wolf Woman,” in a state of full-blown hybridity. All the characters in Litherland’s luminous paintings inhabit liminal spaces, whether they’re lodged inside a tree trunk, on a penumbral coastline, or mysteriously hovering a few feet above the ground. Hers are ecologically-minded images, but they’re rooted in a unique vision of our shared planetary and symbolic atmospheres.
Born in Gary, Indiana in 1955, Litherland lives and works in Wisconsin. Litherland has been active in the visual arts since the mid 1970s, exploring photography, performance, and painting. From 1979 to 1982 she participated in weekly experimental multimedia performances at the Emergency Theatre in Chicago. Long a resident of Chicago, she studied painting at the School of the Art Institute, and her paintings, drawings, and articles have been published worldwide in journals and periodicals associated with the international surrealist movement. Litherland’s works have been in many group and solo exhibitions, including the Wisconsin Triennial (2010, 2013, 2019), Madison Museum of Contemporary Art; the Museum of Modern Art in Warsaw, Poland; solo exhibitions at the James Watrous Gallery (Madison) and at the Haggerty Museum of Art, (Milwaukee).
Image Credit: Gina Litherland, My Braids of the Past (for Marosa di Giorgio), 2016, oil on panel, 14 x 12 inches (unframed). Photo: Robert Chase Heishman.
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In the north gallery, Corbett vs. Dempsey is pleased to present Drawings of the 1930s and 1940s, featuring eight works by John Edward Heliker (1909-2000). This rare exhibition of the artist's work is drawn from a small collection of works on paper from a prime period early in his career, when he was drawing and sketching actively alongside Social Realist contemporaries including William Gropper and Ben Shahn. Like those artists, Heliker was politically active on the left, and starting in the late 1930s he made drawings published in New Masses, the Marxist magazine, and joined the WPA Federal Art Project as an easel painter. His pen and ink drawings from this period are exacting and elegant, with nib tests evident in the margins of the paper and an incredibly assured hand, whether sketching a portrait from life, describing a cityscape, or inventing a satirical caricature, the lurking vitriol of which which might evoke something drawn by George Grosz or Otto Dix.
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Solos and duets, live at CvsD
No Wave pioneer and Brazilian songsmith Arto Lindsay meets Chicago saxophonist and clarinetist in no-holds-barred duets and selected solos. A release event for the Black Cross Solo Sessions CDs.
FREE, walk-ins are welcome.
","type":"Event","state":"published","slug":"arto-lindsay-ken-vandermark","created_at":"2022-05-16 17:17:00.927941","updated_at":"2024-06-06 19:43:49.184308","excerpt":"","is_timeless":false,"organization_id":57,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'arto':1A,17B 'bar':28B 'black':38B 'brazilian':15B 'cds':42B 'chicago':20B 'clarinetist':23B 'cross':39B 'cvsd':10B 'duet':7B,29B 'event':35B 'free':43B 'hold':27B 'in':46B 'ken':3A 'lindsay':2A,18B 'live':8B 'meet':19B 'no-holds-bar':25B 'pioneer':13B 'releas':34B 'saxophonist':21B 'select':31B 'session':41B 'solo':5B,32B,40B 'songsmith':16B 'vandermark':4A 'walk':45B 'walk-in':44B 'wave':12B 'welcom':48B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668558/fcjfqsh78jqy4d0cdm7q.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669619/event_ics_1721669618597.ics","carousel":null,"category_name":"Performance"},{"id":9175,"title":"Magalie Guérin: hard green","starts_at":"2022-06-10 12:00:00","ends_at":"2022-08-06 12:00:00","body":"
Corbett vs. Dempsey is delighted to present hard green, an exhibition of new paintings by Magalie Guérin. This is the artist's third solo show at the gallery; Guérin was also the subject of a Big Dig online presentation in 2020 titled The Lekeitio Drawings.
Born in Montréal, Canada, now based in Marfa, Texas, Guérin has continued to prod and push her highly personal approach to abstract painting. The latest body of work offers a remarkable new vision of the torqued forms and multiplicitous surfaces of her recent paintings, executed at a larger scale ranging up to 3 x 4 feet. At this size, additional area functions as a vehicle for opening up and exploring space, for spatial play – her adventures in foreground/background relationships, figure-ground issues, and closed/open composition are as ever daring, but here are even more so, complexity and stillness vs. implied motion being consistent features. Guérin is a master of recurrent shapes, rotating or flipping forms to render them afresh and unrecognizable, the same way a serial composer might use retrograde inversion to revitalize a tone row. She repeats and deconstructs with glee, turning self-restriction into a cornucopia of new discoveries. The most obvious development in hard green has to do with Guérin's paint application, which is looser and more painterly than in the past. This gives the canvases a different resolution in terms specifically of their overall vibration. Their architecture jostles up against the manner of their execution, creating a halo of static electricity. \"It feels like a structure that just got shaken up,\" says Guérin. Indeed, this group of new paintings, as well as a small selection of related drawings in the front office, has a palpable frisson, a restless inventiveness that seems to undo its laces even as it ties them up.
Magalie Guérin has had recent solo exhibitions at Galerie Nicolas Robert, Montreal (2020), Amanda Wilkinson Gallery, London (2020), Chapter NY, New York (2019), James Harris Gallery, Seattle (2018), Schwartz Contemporary, Berlin (2018), Anat Egbi, Los Angeles (2017), and Lyles & King, New York (2015). She teaches at the School of the Art Institute of Chicago and College of DuPage, Glen Ellyn, Illinois. She is the author of NOTES ON, published by Green Lantern Press in 2016.
Magalie Guérin, Untitled, 2022, oil on canvas, 45 x 36 inches. Photo: Nathan Keay
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Margot Bergman has long held her work to the utmost level of frankness. Her paintings have eschewed allusion or euphemism in favor of the forthright, the penetrating, the uncomfortable, and the illuminating. But what does unflinching honesty look like in an era of widespread uncertainty? Taking its title from the setting of Thornton Wilder's 1938 play Our Town, the exhibition Grover's Corners unveils a seven-foot tall fiberglass figure. Entitled \"Warrior,\" this imposing work absorbs, reflects, refracts and projects myriad contradictions of our contemporary landscape. The sculpture's form originated in a series of small-scale porcelain ceramics that Bergman created in 2010, a group of animal and human-animal hybrids with bright red glazes that she collectively called the Red Hots. Although rigorously faithful to its precursor, this Red Hot has been transmogrified into a new and much more formidable creature, not only in stature but also in range of associations, with a sensuous, creamy patina more like a classical Greco-Roman bust than a spicy candy. In the sculpture's complex surface topography Bergman offers an equally rich, multivalent image, a cipher more than an avatar, the embodiment of a range of dichotomous or contradictory realities – human face with animal features, uffish but vulnerable, a square-jawed mesomorph with arms reaching out but no hands to grasp, powerful and also somehow urgently poignant. It conjures something at once frightening and vulnerable – a kind of brokenness, a beautiful ambiguity that invites empathy but also pushes the viewer away. Like the dialectical relationship between quotidian daily routine and the profound finitude of death in Wilder's play, Bergman's sculpture offers a forceful meditation on what it means to live within that set of contradictions. A perfect representative of Our Town, circa 2022.
Margot Bergman is based in Chicago, where she has been making art since the 1950s. In recent years, her work has been the subject of three solo shows at Anton Kern Gallery in New York (2016, 2019, 2022) and two at Susanne Vielmetter in Los Angeles (2017, 2019), as well as a shared solo booth hosted by Kern and CvsD at Independent, NY, 2020. Bergman’s exhibition at the Museum Langmatt in Baden, Switzerland, opened in 2019, traveled to the Museum Folkwang in Essen, Germany, and was accompanied by a catalog with essays by John Yau and Markus Stegmann, and Britta Peters.
Image: Margot Bergman, Warrior, 2021, fiberglass and steel, 85 x 61 x 28 inches.
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FREE, walk-ins are welcome.
Corbett vs. Dempsey is pleased to present WiHuBa, a trio comprised of Edward Wilkerson, Jr., Jim Baker, and Steve Hunt, in a special late-afternoon trio concert.
WiHuBa brings together three venerable figures in Chicago's experimental music scene. An important leader in the Association for the Advancement of Creative Musicians and a member of the Ethnic Heritage Ensemble from its inception in 1976, saxophonist and clarinetist Edward Wilkerson, Jr., led two of the great bands of the 1980s and '90s, 8 Bold Souls and Shadow Vignettes. Pianist and synthesizer player Jim Baker is utterly integral to Chicago free music, having participated in every imaginable kind of musical setting, from the trio Caffeine and the Birdhouse quartet with Fred Anderson – Baker was house pianist for jam sessions at Anderson's Velvet Lounge – to bands like Mars Williams' Witches and Devils and the quartet Extraordinary Popular Delusions. Two of those bands, Caffeine and Extraordinary Popular Delusions, feature the drummer Steve Hunt, known to many improvised music followers as the kitman in Hal Russell's NRG Ensemble, with whom he toured the world in the 1990s, recording ECM classics The Finnish/Swiss Tour and The Hal Russell Story. WiHuBa's first CD, Live at the Owl, was released in 2020, and it showed how together these three storied musicians invent something fresh but steeped in decades of experience.
Magalie Guérin: hard green and Margot Bergman: Grover's Corners will be on view through August 6, 2022. Corbett vs. Dempsey is open Tuesday - Saturday, 10am - 5pm. Appointments via Tock are encouraged but walk-ins are welcome. Face coverings are required for all gallery guests.
(left to right) Edward Wilkerson, Jr., Jim Baker, and Steve Hunt.
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Corbett vs. Dempsey is elated to present Ellen Berkenblit, Umberville. This is the artist’s debut exhibition with the gallery and her first solo show in Chicago.
In the preface to his book Difference and Repetition, philosopher Gilles Deleuze wrote: “I make, remake and unmake my concepts along a moving horizon, from an always decentered center, from an always displaced periphery which repeats and differentiates them.” In her latest body of work, a baker’s dozen of which constitute Umberville, Ellen Berkenblit (b. 1958) makes, remakes, and unmakes a series of images upon just such a moving horizon. Her paintings take as their armature a relatively narrow set of images – in this case, a young woman’s face in profile (common to many of her works over the last three decades), cherubic angel-boys, a leopard or tiger, a bottle dispensing liquid, a gramophone’s horn or the tubing of a French horn, radioactive flowers. These images are repeated and are also never repeated; they are always unique but strictly remade, unmade, reinvented. Most of all, Berkenblit’s paintings present an occasion – an occasion for the application of paint and play with brushy forms, for the unbridled joy of a line or a passage or a daub, a scumble or the introduction of a new pigment. Indeed, in these works a whole new hue has entered the pictures, a group of burnt umbers that have deepened and enriched her palette. The classic flashes of thermonuclear brightness appear, the pinks, purples, reds, greens, blues, but there’s an earth-tone baseline that is fresh and exciting. And the paintings are expansive, including the extraordinary “Lumivores” at 76 x 114 inches, allowing Berkenblit ample space for virtuosic brushwork and devilish image-making, a huge expanse for the articulation of her decentered centers, the plotting of her displaced peripheries, and continued extension of her constantly moving horizon.
A longstanding and beloved figure in the New York art scene, Berkenblit’s exhibitions over the last five years include a two-person show with Somaya Critchlow at Grice Bench, Los Angeles (2021); Susanne Vielmetter, Los Angeles/Culver City (2019, 2022); Anton Kern, New York (2017, 2018, 2020); a project at MCA Chicago (2019); “Lines Roar” at the Drawing Center, New York (2018); One Night Only, Dallas (2019), Rodolphe Janssen, Brussels (2018).
The exhibition Umberville is accompanied by a 44-page fully-illustrated catalog with an essay by Miciah Hussey.
Image: Ellen Berkenblit, Tincture of a Bouquet, 2022, oil on linen, 89 x 76 inches. Photo: Object Studies
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Ray Johnson (1927-1995) is one of the great underground figures of American art. A key player behind the scenes as Pop and Conceptual Art were emerging, Johnson was both a precursor and fly-in-the-ointment as those two categories of activity developed, and he went on in the 1960s to establish and continually interrogate playful, at times devious methods for assembling and reworking his art, and eventually for its dissemination. Fundamentally a collage artist, channeling influences from Dada and Surrealism, Johnson pieced together a singular universe built of tactile fragments, often culled from earlier work, sometimes only culminating after decades in process. The other fundamental contribution Johnson made was the use of the postal service as a means of artistic invention. He founded the New York Correspondence School and the monumental body of mail-art that he made was the central organizing principle of the recent exhibition Ray Johnson c/o at the Art Institute of Chicago (2021-22).
Ray Johnson, Gypsy Rose Lee 1914 - 1970, 1971, mixed media collage on cardboard panel, 34 1/4 x 24 1/4 inches
Photo: Robert Chase Heishman
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In The Vault, CvsD is pleased to debut \"Stone Fruit\" by Lilli Carré. The artist writes: \"'Stone Fruit' is a hand-drawn animation created with the straight ahead technique, where animation frames are not planned but each drawing builds intuitively upon the last, at twelve drawings per second. It’s a process that invites id and improvisation, allowing the unconscious mind into the piece as it grows. 'Stone Fruit' was drawn while ruminating on personal and societal concerns around body and germination in this particular moment.\" Carré currently teaches in the Experimental Animation department at CalArts. She is represented by Western Exhibitions, courtesy of whom \"Stone Fruit\" appears.
Film still from Lilli Carré, Stone Fruit, 2022, 2min loop, 1920 x 1080px
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Working with the Johnson Estate, in Silent Dog Whistle Enclosed for the Invisible Man, CvsD presents a selection of important collage and assemblage works by Johnson spanning the years 1958-1994, with special attention to a repeated image found in several of them using a profile extracted directly from a Hairy Who poster drawn by Karl Wirsum (1939-2021). Starting in the 1960s, Johnson and Wirsum maintained an active correspondence between New York and Chicago, sending letters packed with juicy collage tidbits and other suggestive ephemera, two like-minded artists gleefully tossing ideas to one another in the form of beautiful little care-packages. A drawing of singer Carmen Miranda by Wirsum made its way into Johnson’s mail-art publication A Book About Death (self-published, 1963-65). (Both sides of the Johnson-Wirsum exchange have been assembled and are now part of the collection of the Art Institute of Chicago.) In works like “Gypsy Rose Lee 1914-1970” (1971), “Untitled (Janis Joplin ‘She Clutched $4.50 in Her Hand’)” (c. 1971), and “Untitled (Wirsum Torso with Yin Yangs)” (1971), Johnson repurposed Wirsum’s image of a torso seen from behind, replete with dimply love-handles and a tuft of underarm hair, as a complex form around which to construct a collage. In Correctly Misunderstood in Johnson City, CvsD presents a group of previously unseen Wirsum drawings from a period of extensive correspondence with Johnson, 1963-64, including the aforementioned Carmen Miranda image. Wirsum, who would go on a few years later to be a member of the initial Imagist exhibition group, The Hairy Who, was an influential and beloved member of the Chicago art community until his death in 2021. This exhibition demonstrates the early and ongoing influence Wirsum had outside of his hometown, helping erode the idea that the Imagist insurgency was entirely insular or without consequence outside the Midwest in its time. In addition to the works by Johnson and Wirsum, an ancillary presentation linking the two exhibitions consists of selected examples of the artists’ original correspondences. A new ‘zine produced for the show, featuring artwork and correspondence ephemera, will be exclusively available at the gallery.
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Performing Kurt Schwitters and Ben Patterson
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Everyone who's heard a concert of improvised bagpipe music raise your hand. Not seeing many hands. Aside from the novelty, a chance to hear a Breton piper with deep creative musicality outside traditional music is a rarity indeed. French bagpipe player Erwan Keravec brings a combination of virtuosity and experimentation to his work, which ranges from the performance of contemporary classical music to free improvisation. Working at the highest caliber of contemporary music, Keravec has recorded duets with drummer Hamid Drake, singer Beñat Achiary, and saxophonist Mats Gustafsson; he's waxed compositions by Elaine Radigue and Phillip Glass; he's played extensively as a soloist. This is Keravec's first solo concert in Chicago.
This event is part of The Bridge, a transatlantic network for jazz and creative music happening in venues all over Chicago (and elsewhere), edition #2.3, which is subtitled Temple of Enthusiasm. CvsD is enthusiastically honored to have partnered with The Bridge for many of their outstanding editions since 2013.
Photo: Atelier Chevara
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Book Launch: Staged Reading and Music
Please join Every house has a door at Corbett vs. Dempsey for a staged reading of the first ten pages of the play Passage from Selected Plays of Jay Wright Volume I: The Dramatic Radiance of Number, directed by Lin Hixson, featuring performers Sebastián Calderón Bentin, Kenya Fulton, Matthew Goulish, and Jenny Polus. A live musical set for solo saxophone by Nick Mazzarella will follow the reading.
This two-volume set, the first such collection of this esteemed poet’s writing for the theater, offers an expansive look into an under-explored area of his body of work, spanning over four decades, from the early 1970s to 2015. Those who know Wright’s poetry will find familiar rhythms and figures. New to the scene, however, is the mobilization of polysemy, quantum entanglement, and global-American identities within theatrical form. Arriving amid a pandemic, however, when the face of theatre has been forced to change in order to comport itself to new restrictions on liveness, these texts seem to challenge us to find other ways to perform, to tell stories, to grow together. Moving between Vermont, the Sandia Mountains, unnamed rivers, San Pedro, an urban square, Boca Negra, Mesa City, and numerous liminal spaces of ritual and incantation, these plays, selected by Jay and Lois Wright, showcase quotidian terrestrial affairs spliced with spiritual ascendency.
Selected Plays of Jay Wright was made possible in part by subscribers and supporters of Kenning Editions. Every house has a door gratefully acknowledges support for this publication and this event by The MacArthur Funds for Art and Culture at the Richard H. Driehaus Foundation, and the generosity of individual donors.
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For the final show of 2022, Corbett vs. Dempsey is delighted to present Brian Calvin, Something or Other, an exhibition of new paintings and drawings. This is Calvin’s fourth solo exhibition with CvsD.
Brian Calvin’s assiduous relationship to the figure borders on the obsessive—since the 1990s, he has explored approaches to faciality from every angle, asking for a full list of the face’s constituent parts, investigating how they may be combined and situated, what happens when there are too many or too few, what productive confusion occurs when faces are combined or seem to be combined. In a group of new canvases and works on paper, Calvin has allowed the images to move in unexpected directions, accessing Cubism through the back door of Surrealism, expressing the otherworldly by way of the everyday, the multiple point perspective by means of a singular point of view. Along the way, the California painter has invented several signal icons—spectral irises, red-hot lips, and hyper-stylized, ventilated noses, for instance—which function both as features on special people and as rationales for extraordinary painting. His command of bright color is an important factor in this body of work, as is the play of flatness and implied deep space—giant Moai-like heads that fill the whole frame and small heads that peer from a distance. Something or Other introduces eight large canvases, four small canvases, and a selection of drawings in graphite or pastel. All sumptuously executed, all deliciously weird.
Image: Brian Calvin, Blue Sky, 2022, acrylic on canvas, 70 x 56 inches. Photo: Robert Chase Heishman
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Corbett vs. Dempsey is pleased to present Roscoe Mitchell, Keeper of the Code: Paintings 1963-2022. This is Mitchell’s first exhibition with CvsD.
Roscoe Mitchell (b. 1940) has been a leading figure in the performing arts for over 50 years. Keeper of the Code is the first solo exhibition to spotlight his work in the visual arts. Born and raised in Chicago, Mitchell formed the Roscoe Mitchell Art Ensemble in 1966, featuring Lester Bowie and Malachi Favors. Three years later, adding Joseph Jarman, upon their departure to Paris for a two-year sojourn the group transformed into the collective interdisciplinary troup called the Art Ensemble of Chicago. By that time Mitchell had already recorded the first LP of music affiliated with the Association for the Advancement of Creative Musicians (AACM), Sound (Delmark, 1966), and he’d joined forces with St. Louis trumpeter Bowie for Numbers 1 & 2 (Nessa, 1967), which featured a painting by Mitchell on its cover. Indeed, Mitchell had been painting since 1963, and he continued on and off into the heyday of the Art Ensemble and through a hyperproductive sequence of decades of solo music, improvised encounters, and music for Mitchell-led ensembles. The pandemic afforded Mitchell time off-road in which he began painting very avidly again. This exhibition surveys his work from the most recent canvases—including a series of compositionally complex four-by-four foot works—all the way back to the beginning, when Mitchell was a promising young saxophonist and ambitious autodidact painter. A large selection of recent works, executed since 2018, includes the painting “The Code 3,” its diamond-mosaic pattern surrounded by hip glyphic figures including the titular keeper. These delightfully playful, jubilantly colorful canvases sport various repeated motifs and themes—custodians of codes and keys, time keepers and ticket takers, figures known as “floaters” and “wavers,” and another persona called “the watcher.” Alongside these imagistic works, interpenetrating them as well, are all sorts of approaches to abstraction, from organic masses of circles that might recall Aboriginal art and warped checkerboards to more rigidly structured geometry and color sequences. In the gallery’s north space, CvsD has gathered Mitchell’s historical works dating back to 1963, including the cover painting from Numbers 1 & 2, and the riveting piece that graced the Art Ensemble’s 1985 LP The Third Decade. In addition to the paintings, Mitchell is installing a new incarnation of his legendary percussion set-up known as “The Cage,” which directly bridges the musical and visual in his capacious artistic imagination.
Concurrent with the exhibition, in the Vault, CvsD presents Wendy Nelson, The Roscoe Videos, a selection of five films of Roscoe Mitchell in varied performance contexts, including international concerts and intimate home footage. Amongst the latter are duets between Mitchell and his dog Shuggie and sequences shot in Mitchell and Nelson’s basement studio featuring a highly refined version of Mitchell’s percussion set-up. Wendy Nelson is a multimedia artist based outside Madison, Wisconsin.
Keeper of the Code is accompanied by an in-depth 140-page full-color catalog reproducing over 100 of Mitchell’s paintings, with an interview by John Corbett. A book-launch event will also take place on the day after the exhibition’s opening reception, at 2pm, Saturday, January 21, at Seminary Coop Bookstore in Hyde Park, with a conversation between Corbett and Mitchell.
The opening reception for Keeper of the Code runs from 5-7pm at CvsD on January 20, 2023.
At 7pm on the same evening, Roscoe Mitchell will present a special concert in the gallery with his SPACE trio, featuring Mitchell, Scott Robinson (reeds), Tom Buckner (baritone voice), and special guest Robert Dick (flutes). The concert will be 45 minutes in length, there will be no seating, and space is quite limited, so please plan accordingly.
Image: Roscoe Mitchell, The Code 3, 2021, acrylic on canvas, 20 x 16 inches. Photo: Robert Chase Heishman
Join artist, composer and multi-instrumentalist Roscoe Mitchell via Instagram Live for a virtual stroll through his current exhibition, Keeper of the Code: Paintings 1963–2022. Mitchell will discuss contemporary and historical works as well as his percussion set-up \"The Cage\" with John Corbett. This is a rare opportunity to hear one of the great figures of contemporary music, a key player in Chicago's Association for the Advancement of Creative Musicians (AACM), and a marvelous visual artist speaking in detail about six decades of work.
The Instagram Live broadcast will begin at 2:00 pm (Central Time). Tap or click CvsD's profile picture to tune-in tomorrow. You can access the broadcast on the Instagram app or on Instagram.com.
Image: Photo by Russell Lee Fine
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Sunday, February 26, 2 PM | FREE
Co-presented with Frequency Festival, Chicago's Contemporary & Experimental Music Festival: A special Sunday afternoon performance by Italian violinist Silvia Tarozzi and the Berlin-based Australian cellist Judith Hamann, both of whom will play the music of Pascale Criton on the previous evening at Constellation.
Silvia Tarozzi will perform an improvisation based on a graphic score created by her, looking for a connection with the artwork and music of Roscoe Mitchell.
Judith Hamann will perform studies drawing on their work for cello and humming, and shaking. Here, Judith challenges the boundaries of their instruments, cello and voice, considering how bodily and sonic thresholds offer generative sites of instability and movement, vulnerability and intimacy.
As a closing-day celebration for the Roscoe Mitchell exhibition Keeper of the Code: Paintings 1963-2022, CvsD is very pleased to present a special program of Mitchell's compositions transcribed, arranged, and performed by Jason Adasiewicz. One of the contemporary giants of Chicago's improvised music scene, Adasiewicz had been in discussion with CvsD about a Roscoe Mitchell project for years, inspired in part by the presence of tuned keys and other metallic percussion in Mitchell's oeuvre. The exhibition gave renewed impetus to its realization, with a secret commission: for the afterparty following Mitchell's opening in January, as a surprise, Adasiewicz performed four of Mitchell's historical compositions—\"Toro,\" \"Jo Jar,\" \"The Waltz,\" and \"Walking in the Moonlight\"—to the master composer, who responded enthusiastically with multiple standing ovations. Since that time, Adasiewicz has worked nonstop on the development of a full program of Mitchell works, drawing from the songbooks of his classic pieces, including those composed for the Art Ensemble of Chicago and pieces with prior lives as vehicles for Mitchell's Sound and Space Ensembles and other groups. Arranging these works for solo vibraphone, Adasiewicz has boldly reworked them but remained unshakably true to the original compositions, exploring different ways to account for multiple voicings on his four-malleted instrument and submerging himself in Mitchell's resounding melodic imagination. What Adasiewicz presents in this concert will be the working blueprint of a future CvsD release tentatively titled Roscoe Village. Homage to one of the great visionaries of creative music, re-envisioned with love and affection by a true detective of Mitchell's muse.
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In celebration of the artist's 90th birthday, Corbett vs. Dempsey excitedly presents a bewildering suite of new works by moving image pioneer Ken Jacobs. A native New Yorker, Jacobs began his artistic career as a painting student of Hans Hofmann in the 1950s, however he quickly concentrated on a more flexible canvas – cinema. A foremost figure in the underground film movement of the 1960s, Jacobs’ decades of restless output include more than forty motion pictures and dozens of expanded cinema performances made with both his self-invented double 16mm “Nervous System” projection apparatus and his nearly indescribable, almost intergalactic “Nervous Magic Lantern.” Since embracing video in 1999, Jacobs has produced well over 150 space-, time-, and perception-bending pieces that transpose his formal and 3D explorations into the digital dimension.
The six-part Book of Eternalisms series from 2022 is composed of the GIF-like digital works that Jacobs has been producing in recent years. Hovering somewhere between street photography and abstract expressionism, these strobing images present once static shots of a Manhattan in perpetual 3D motion. Jacobs writes that: “The word eternalism is meant to suggest a movement in time and deep space -seen without special screens or glasses- that stays, doesn't repeat, but keeps happening and can be seen in illusionary depth by both eyes or a single eye. Decades ago my wife Flo and I got into live projection, which is when we first found the eternalism. There was and is no way to seek it out, or even to imagine it. The eternalism befell us while we were performing with two side by side stop-motion 16 mm projectors. We were investigating close frames on two simultaneously projected prints of the same film, using a spinning shutter upfront to alternate and visually meld the images. The resulting illusion of 3D depth could be recorded and played back, but only after switching to video and digital did the precise construction of eternalisms become possible. The momentary blackness created by the spinning shutter in our film performances is now replaced by an interval of opposite colors on the color wheel. Instead of projecting adjacent film-frames, my videos are based on the left and right frames of a twin-lens stereo still-camera. I hire young people, Antoine Catala and Viktor Timofeev, artists in their own right, to actually create eternalisms on the computer as I look on and make requests. They do the formerly impossible! combining perspectives. Moments! that do not repeat as much as prolong, eternalisms, a name to trip over.\"
March 17 – April 29, 2023
In the late 1980s, working at the Lower East Side Print Shop near his home in Manhattan, Jimmy Wright created a series of monotypes based on tintypes and other early photographs of his family and their rural Kentucky environs. Wright settled in New York in the early 1970s and spent that decade drawing from scenes he witnessed in the city's underground gay clubs and bathhouses. The buttoned-up scenes of his ‘80s prints were the exact converse of those explicit drawings, exchanging an everything-bared sexuality for the deeply repressed carnal energies of a strictly religious upbringing. But this converseness turns out to be a kind of complementarity, the overt and the covert as two sides of the same Kentucky coin. Evoking and interrogating the nostalgic quality of family pictures, Wright made use of theme and variation, putting the haunting portraits through a series of modulations—shifting colors, always pale and washy, almost disappearing in front of our eyes, like the Wright family's version of the agrarian south. Some of the works utilize inset cameos, compiling different portraits and scenes into composite images, like family albums, while others gently retouch the delicate, cloudy, layered inks with more saturated pastels, refocusing and inflecting them. Wright assembled two vivid sets of smaller pages into artist books, with accordion constructions, one of which is included in and lends its name to the exhibition. Down Home is accompanied by a special 'zine featuring images of the monotypes and some of the source materials that inspired them.
Image: Jimmy Wright, Estelle's Valise: Family Album, 1991/1996, monotype with pastel, 22 x 29 3/4 inches. Photo by Robert Chase Heishman
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March 17 – April 29, 2023
Opening Reception 6–8 PM
Starting in 1972, at the Jones Road Print Shop and Stable, located in a dairy barn in the area of southwest Wisconsin known as the Driftless, renowned painter Sam Gilliam began what would be a career-spanning relationship with master printer and printmaker Bill Weege. Driftless presents the fruits of their partnership, which made use of all manner of print techniques—known and unknown, sometimes involving papers that were handmade in the studio or parts that were hand-sewn together, a specialty of Weege's—and many unusual and innovative painting methods. Working at Jones Road, Tandem Press, and later at Weege's home studio, Gilliam made brilliant, vividly colored, exploratory abstractions. Gilliam and Weege were relentless experimenters from the very first print they made together, which was made by Gilliam painting directly onto the bed of an offset proofing press. Gilliam would often propose a possible way to make an artwork or an intended result and Weege would figure out a way to do it. This included such unorthodox ideas as leaching paint onto substrates that had been buried in the earth or using a tractor to drag loose canvas across fields strewn with paint and ink, both possible in Weege's rural printmaking compound. The two artists collaborated every summer for 45 years, with Gilliam traveling to Wisconsin and setting up shop, sometimes with his family. One of their final collaborations in the Driftless resulted in the sweeping draped work Yves Klein Bluethat Gilliam hung above the entrance to the Central Pavillion in the Giardini at the Venice Biennale in 2017. Gilliam had been the first Black U.S. representative in Venice in 1972 (two years earlier, Weege had exhibited at the Biennale and created a scandal by handing out freshly made \"Impeach Nixon\" prints). Known especially as a pioneer of unstretched canvas, Gilliam worked for seven decades in a staggering variety of media. Based throughout his career in Washington, D.C., he was immensely influential on a national and international level from the time of his important 1969 solo exhibition at the Corcoran until his passing in 2022, at the age of 88. Over the years, Gilliam acknowledged the central significance of his working partnership with Weege, with whom he traveled the world, mounting presentations supported by the U.S. State Department. Speaking of their exploratory working methods, Weege once said: \"The great thing about Sam Gilliam is that a lot of the stuff that we produced, or I helped produce, I’d go: 'This is not gonna make it.' And he would always have a way of staging it that became beautiful. It was just such a treat to have that happen with things that you thought you were never going to be able to save. And it always turned out well.\" In Driftless, CvsD presents a selection of editioned printworks by Gilliam as well as unique monoprints and paintings using print techniques, dating back to his very first collaboration with Weege, with special attention to the early years of their work together in the 1970s. In addition to the prints, the exhibition includes a large diptych from the late 1970s that hung with pride of place in Weege's studio.
Image: Sam Gilliam, Pass, 1997, handmade paper with embossing and collage elements, 41 x 43 inches.
Corbett vs. Dempsey is pleased to present Ben LaMar Gay and Pascal Niggenkemper as part of The Bridge, a Transatlantic Network for Jazz and Creative Music.
Cornetist and composer Ben LaMar Gay is one of the best-known performers on the Chicago scene. Involved in wildly diverse projects including his marvelous 2021 International Anthem/Nonesuch LP Open Arms to Us, which featured a staggering array of collaborators, LaMar Gay has firmly established himself as an experimentally-minded musical figure and open-eared improvisor. Franco-German bassist Pascal Niggenkemper is similarly esteemed in improvised music circles, for good reason. A nimble player whose approach is also exploratory and interactively-minded, Niggenkemper is, together with LaMar Gay, Sam Pluta (electronics) and Sophie Agnel (piano), a member of the collective quartet PANG!, which has just released its debut record. Please join us in welcoming LaMar Gay and Niggenkemper for an intimate afternoon of duets.
This event is free and open to the public.
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New York artist Dara Birnbaum's Technology/Transformation: Wonder Woman is a video art classic, featuring appropriated footage from the titular TV show hilariously edited into a visual mantra, repeating the explosive moment of WW's metamorphosis from secretary into superhero until it becomes a sort of miraculous new force of energy.
Image: Still from Dara Birnbaum, Technology/Transformation: Wonder Woman, 1978 | 00:05:45 | United States | English | Color | 4:3 | Video
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b. 1939. Lives and works in Chicago, Illinois.
Corbett vs. Dempsey is pleased to present Songs of War, an exhibition of new watercolors and graphite drawings by Robert Lostutter. This is the artist’s fifth solo show at CvsD.
Channeling the extreme angst of today’s global political and social environment, Robert Lostutter (b. 1939) presents a terrifying vision of contemporary humanity in a shocking new body of work. Wielding the same incredible craftsmanship and care that have been trademarks of his hand since the 1960s, when he first emerged on the Chicago art scene, Lostutter introduces an element of grotesquerie into his latest delicate watercolors and drawings, taking a brutal, quite breathtaking leap into abjection barely presaged by his earlier works. These figurative portraits—situated in sumptuously rich monochrome or blacker-than-black backgrounds—depict humanoid creatures with protruding jaws, wayward teeth, lolling tongues, exposed brains, and lappets of extra skin. While Lostutter’s earlier figuration featured hybrids of humans and birds or flowers, or tightly bound torsos intimating BDSM, the present disfigured subjects are less hybrid than they are inbred; the intimated is made explicit with the latent utopianism of his work suddenly turned in on itself—a clear indication of the artist’s disgust at our current social atavism. With a title evocative of Winslow Homer’s work picturing scenes from the American Civil War, Lostutter’s series dares to caricature bloated and malevolent legionnaires in an unblinking manner. Like a speculative fiction of New Objectivity—Otto Dix on steroids—these men populate a bleak contemporaneity, staring blankly into the social abyss through eyes as elegantly composed as a pencil or paintbrush can manage.
Image: Robert Lostutter, The Songs of War 3, 2022, watercolor on paper, 14 x 14 inches.
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Expanding upon the charged, text-centric corpus he explored for the last two decades, Jeff Perrone (1953-2023) recently scaled up his work and introduced imagery into the newest group of canvases. Onto each substrate, the New York-based artist laid down strips of mud cloth, a traditional Malian textile. Some of the cloth remains in its original state, dyed with mud and plant parts; in other cases, Perrone re-dyed the fabric in new colors such as hot pink, jet black, or denim blue. Columns or rows of lettering, articulated in a brilliant array of vintage and cheap contemporary buttons sewn onto the mud cloth, spell out text—the words sometimes running together without spaces or forged from negative space, challenging immediate interpretation. In most works, buttons are also arranged into images consisting exclusively of weapons: arrows, a tomahawk, bombs, a guillotine, and a machine gun. Drawing phrases from a variety of different sources, including Chairman Mao (\"a revolution is not a dinner party\"), Mahatma Gandhi (\"poverty is violence\"), Gustave Flaubert (\"hatred of the bourgeois is the beginning of wisdom\"), Franz Fanon (\"we revolt because we cannot breathe\"), and James Baldwin (\"innocence is the crime\"), Perrone manages a blunt face-off between image and text, juxtaposing adages with simplified icons of weaponry. These images are ambivalent in their invocation of power, suggesting either revolutionary radicality, a literal \"seizing of the means of production,\" as one text—augmented by an image of a Kalashnikov rifle—declaims, or a savage defense of the status quo, as in the case of the guillotine pitted against Gandhi's quote. Traces of Perrone's early association with Pattern & Decoration—a movement he helped define and theorize in articles and reviews he published as a regular contributor to Artforum in the 1970s and '80s—linger here in the presence of ornament and craft. His visual interventions, including the ingenious layout of the letterforms, the appearance of representational motifs, and the bruising power of the words, could be understood as subverting some principles of P&D, but Perrone was never satisfied with simple dichotomies. His work long sought to confront assumptions, rooting them out playfully and ruthlessly. Perrone rendered polarities moot in the profound resonances of his canvases: the glint of the buttons and the matte of the mud cloth, the humming energy emerging between the elegance of their construction and the tough truths of their texts.
Image: Jeff Perrone, A Revolution Is Not A Dinner Party, 2021, buttons, thread and mud cloth on canvas, 60 x 48 inches. Jamie Stukenberg Photography.
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Saturday, May 20, 2:00 pm
Corbett vs. Dempsey is pleased to present multi-instrumentalist Geof Bradfield in a rare solo set on tenor saxophone, bass clarinet and mbira dzavadzimu, interweaving themes by Bela Bartok and Thelonious Monk with traditional Shona music. Based in Chicago, Geof Bradfield’s work as a composer and performer on saxophones and clarinets embraces intersections of modern jazz and other streams of diasporic African music, drawing inspiration from Charlie Parker, Melba Liston, Lead Belly, Shona mbira music, and Gullah spirituals. Born in Houston, TX, Bradfield has played around the globe, sharing the stage with artists such as Randy Weston, Dana Hall, Clark Sommers, Brian Blade, Anna Webber, Orrin Evans, Jeff Parker, Matt Ulery, and Ryan Cohan. His work is featured on 50+ CDs including eight albums as a leader that have garnered critical accolades from the New York Times, Los Angeles Times, Chicago Tribune and NPR. Nate Chinen describes his Yes, and…Music for Nine Improvisers (Delmark Records) as “an album of chamber-esque color and oft-surprising texture, because Bradfield is the sort of composer who creates room for departure.” He has received grants and awards from Chamber Music America, Doris Duke Charitable Foundation, DCASE, Illinois Arts Council, and the Mellon Foundation. The Downbeat Critics Poll named Bradfield a Rising Star Tenor Saxophonist and Arranger multiple years. He is a Professor of Jazz Studies at Northern Illinois University. Come hear the great composer and multi-reed specialist stretch out by himself in the ultimate challenge of unaccompanied improvisations.
This event is free and open to the public.
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Book Launch and Conversation with Henry Threadgill and Brent Hayes Edwards
Saturday, June 10, 2023
2:00–4:00 pm
Corbett vs. Dempsey
2156 West Fulton St.
Chicago, IL 60612
In celebration of the launch of Henry Threadgill's newly published autobiography Easily Slip into Another World: A Life in Music (Knopf), co-written with Brent Hayes Edwards, the authors will be joined in conversation by the longtime Chicago-based jazz critic and scholar Howard Reich.
![\"\"](\"https://storage.mlcdn.com/account_image/100697/n1l4p4bAGZkXehA0vZ4RdZ17yGCs26Qp8gmZNaOF.png\")
A Chicago native and a longtime member of the AACM, the composer, saxophonist and flutist Henry Threadgill has performed on more than thirty albums, including acclaimed releases from his bands Air, X-75, the Henry Threadgill Sextett, Very Very Circus, Make a Move, Zooid, and Ensemble Double Up. In 2016 he won the Pulitzer Prize for his four-movement work, In for a Penny, In for a Pound, and in 2021 he was awarded an Instant Award in Improvised Music and was named a Jazz Master by the National Endowment for the Arts. Threadgill's most recent album is The Other One (Pi Recordings, 2023).
Brent Hayes Edwards is the Peng Family Professor of English and Comparative Literature at Columbia University, where he is affiliated with the Center for Jazz Studies. His award-winning books include Epistrophies: Jazz and the Literary Imagination (2017) and The Practice of Diaspora: Literature, Translation, and the Rise of Black Internationalism (2003). In 2022-23 he is a Ford Foundation Scholar-in-Residence at The Museum of Modern Art in New York.
Howard Reich covered jazz, blues, gospel and classical music for the Chicago Tribune from 1978 to 2021. He has published six books including Let Freedom Swing: Collected Writings on Jazz, Blues, and Gospel (2010) and Portraits in Jazz (2014) and produced/written three documentary films.
This event is free and open to the public. Space is limited and first come, first serve.
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The vivid paintings of Puerto Rican artist Omar Velázquez (b. 1984) inhabit an intense, psychological space. A panoply of loaded images—mixing environmental, political, spiritual, and historical dimensions—bristle with information yet retain a latent aura of mystery. As with past work, in which objects and animals have figured prominently, Velázquez’s new body of larger-scale canvases expands the range of birds and reptiles to include a veritable herd of horses. These are not heroic stallions or idealized equestrian icons; they are weary, malnourished, and overburdened, showing the stress of life in a supposedly idyllic land. Underneath sumptuous paint application and brilliant use of color, Velázquez submerges a vast network of allusions. Faces appear on the surface of stones like codes or secrets—runes or mere graffiti. Stacks of wildlife, rocks, and various articles resemble talismanic sculptures or cairns: one canvas features a white horse saddled by a live alligator and portable speakers. The biblical idea of the flood is at the core of Velázquez’s supercharged scenes in which calm messengers portend ominous signs; flooding is also a real fear for contemporary society, particularly for an island like Puerto Rico. Water is present in every painting, akin to a constant mental state for the artist: “Being an islander, there is always water,” he says. “Our borders are made of water. But it’s not the same water in every case.” From ocean blue to mud brown, these diluvial images hearken to recent environmental catastrophes on the island, such as Hurricanes Maria and Fiona, as well as a sequence of recent earthquakes. Velázquez presents a deluge of contradictions: fire blazes on an island paradise; ubiquitous water is nowhere to be found; and a fossilized turtle balances a stone and vulture on its carapace like a totem of eternity. Things, ever-changing, remain stubbornly the same.
Omar Velázquez received his MFA from the School of the Art Institute of Chicago. He was the subject of a solo exhibition at the Museum of Contemporary Art, Chicago (2020-21), and has had one-person shows at the Museo de Arte de Puerto Rico (2015), and the National Museum of Puerto Rican Arts & Culture, Chicago (2013).
Image: Omar Velázquez, vocetero, 2023, oil and acrylic on canvas, 90 x 62 inches. Photo by Robert Chase Heishman
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Corbett vs. Dempsey is proud to present Nine Decades, a memorial survey of painting and sculpture by Thomas H. Kapsalis.
A graduate of the School of the Art Institute of Chicago (SAIC), where he went on to teach for more than 50 years, Thomas H. Kapsalis (1925-2022) was one of the most beloved figures in the history of Chicago art. The combined Kapsalis class rosters are a panorama of Chicago artists, including a who’s who of the Hairy Who. In his work, Kapsalis remained committed to a modernist concept, albeit one inflected by his unique combination of formalism and humor. A decorated WWII veteran and prisoner of war from the Battle of the Bulge, Kapsalis responded to the U.S. involvement in Vietnam by removing color from his work. Nine Decades presents a survey of the artist’s career encapsulated in nine works, each drawn from a different decade of his painting and sculpting, starting with a small, black-and-white totemic abstraction from 1949, and ranging through brilliant, biomorphic canvases of the ‘50s and ‘60s, including “Danger Ahead” (1959), an abstract work with a face in it (hence, danger, a head). His 1971 painting “Three Cubes” comes from the black, white, and gray Vietnam period; the works on view from the 1980s, ‘90s, ‘00s, and ‘10s, demonstrate the artist’s persistent engagement with geometric abstraction and periodic revisitation of organic, sinuous forms. A work from the present decade demonstrates Kapsalis’ steadfastness in his studio practice, even as he headed into his late nineties. Few artists have the longevity and tenacity to allow such a sampling. Kapsalis was rare in many ways, as an artist, and as an uncommonly inspiring teacher. Parallel to this exhibition, David Salkin Creative will show some of the delightful handmade teaching materials that Kapsalis crafted for his courses at SAIC, including color chart paintings that were also his sly way of reintroducing color into his work as the U.S. began to pull out of Vietnam.
Image: Detail, Thomas H. Kapsalis, Cafe America, 2005, oil and sand on canvas, 32 x 36 inches. On view in Thomas H. Kapsalis: Nine Decades, Corbett vs. Dempsey, June 23–August 18, 2023.
Photo by Robert Chase Heishman.
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\"...and in this world, all things touch, all cats are black, all mirrors are broken.\"
Artists John Muse and Brendamaris Rodríguez's collaborative short film giroscopio, made during the pandemic lockdown, with Muse in Pennsylvania and Rodriguez in Puerto Rico, portrays a dizzying sonic and visual psychological space unable to comprehend its current reality. Bodily movement, both comic and tragic, is framed in a state of constant, unbalanced flux. Using the rhythmic motion of a gyroscope, the film reveals a world in tumult, always moving but going nowhere fast.
Image: Still from John Muse and Brendamaris Rodríguez, giroscopio, 2021
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This event is free and open to the public.
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Corbett vs. Dempsey is honored to present Gregg Bordowitz, Tetragrammaton, featuring a selection of recent monotypes. This is CvsD’s first exhibition with Bordowitz and is the artist’s debut in a commercial gallery.
“The tetragrammaton is an ineffable, unpronounceable four-letter Hebrew word, the name of G-d in Judaism that spells creation into existence daily,” says Bordowitz. “It is never uttered and appears only in written form.” In these monotypes, Bordowitz concentrates on the letters of the tetragrammaton: yodh, he, vav, and he. Writing them over and over, every line drawn from a shape in one of the letters – an action determined by a numerological system – he arrived at a series of abstractions, dense, energetic and evocative, each one unique. He describes the prints as concrete poems. “They come out of an abiding interest in contemporary visual poetry and also a centuries-old meditational practice of rearranging the letters in one’s mind.” Bordowitz cites key affinities with concrete poets Gerhard Rühm, Mary Ellen Solt, and b.p. nicol, as well as a deep influence from the calligraphic work of Ben Shahn.
Renowned as an activist artist, writer, and teacher, best known for his video and performance works, Bordowitz began his artistic life four decades ago as a painter. The Tetragrammaton prints are a return to working in 2-D visual media, evolving organically out of an active drawing practice that he formalized in this extensive body of printworks. In preparation for an exhibition at the University of Buffalo Art Galleries in 2021, Bordowitz began working with master printmaker Marina Ancona at 10 Grand Press in Brooklyn. He initially experimented with images in gray scale, then purple, eventually other colors, and, expressing a desire to work with a “rainbow roll” in honor of Pride Day, he instigated a subseries using the color spectrum of the non-binary flag. “In Jewish mystical traditions, G-d has both masculine and feminine sides and is not anthropomorphized, in fact not depicted at all, so is all genders and no gender,” the artist explains.
Ever respectful, Bordowitz emphasizes that he undertook this new body of work with the utmost sincerity, care, and respect for the Jewish traditions around the tetragrammaton. With a religious childhood and educated orthodox, Bordowitz’s work has been permeated with Judaism, Jewish culture and Jewish humor. “There has always been Jewish content in my work, in every area, including the videos, as well as the recent performances and book titled Some Styles of Masculinity. In that work, I conjugated Jewish identity with other aspects of myself – queer, pinky-left.” In Tetragrammaton, Bordowitz extends his personal journey as an artist, writer and poet, combining these activities using a method that is both systematic and expressive, private almost to the point of hermeticism and publicly vibrant with a joyful, subversive twist.
Image: Gregg Bordowitz, Tetragrammaton (Non-Binary Sefirot), 2021, monotype, 30 x 22 inches (unique). Printed and published by 10 Grand Press, New York.
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Some forms we can only know by their shadow.
In homage to the spirits of space test dogs, or any being we use in the name of progress.
This video was made by invitation of composer Olivia Block.
–Deborah Stratman
Image: Stills from Deborah Stratman, Laika, 2021, 4:33 min, B&W and Color | Stereo | HD video. Images copyright of the artist, courtesy of Video Data Bank, School of the Art Institute of Chicago. This music video was made by invitation of composer Olivia Block for the release of her album Innocent Passage in the Territorial Sea (Room40, 2021).
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Corbett vs. Dempsey is delighted to present From Red Black to Black, from Blue Black to Black, a suite of new works including a sculpture, an installation, and four paintings by Josiah McElheny. This is the artist’s third solo exhibition with the gallery.
Three questions:
What happens when one form of energy is changed into another?
What shifts when you expand the limits of the color spectrum?
What activates when a spectator is able to hear a color or see a sound?
The answers all have to do with the interrelated triad of transduction, spectra, and synesthesia. These are basic science concepts, but they are also metaphors for the act of transformation. A way of representing fundamental change, of imagining the mutable nature of objective reality, and how that might represent our optimal collective futurity.
In From Red Black to Black, from Blue Black to Black, McElheny offers six extraordinary meditations on these questions. Four wall-hanging works incorporate embedded hand-blown vibrating glass discs that transduce and resonate sound signals. These “singing paintings” amplify musical works by David Grubbs that were especially commissioned for these pieces, as were all the sounds in the show. A combination floor-and wall-based sculptural installation stretches a red-sheathed cable around the interior of the space, transporting a heartbeat-like, non-repeating, non-metronomic signal from a Serge synthesizer (the “People’s Synthesizer,” designed in 1972) to a drum-like cylindrical shell embedded with colored glass discs – vintage optical filters in a dazzling array of hues – the top of which transduces the sound by way of a white glass “drum head.” A major floor sculpture at the center of the exhibition is based on the Leslie speaker system best known from soul jazz organ groups; across intervals of silence the melody from a Baroque chorale alternates with the musical trainwrecks of progressively slowed-down harmony parts. Along with the sculpture’s spinning, doppler-effect inducing horn element, like the paintings its surface is marked with painted color spectra.
The sequence and proportion of these colors reflect McElheny’s profound engagement with nineteenth century explorations of chromatic spectra, in particular the work of French chemist Michel Eugène Chevreul. The title of the show refers to McElheny’s radical idea that the color black exists as an expanded infinite place at the beginning and end of the color spectrum. Unlike Sir Isaac Newton, who insisted that black does not exist as a part of light or color, or Johann Wolfgang von Goethe, who theorized that color only comes out of shadow – or blackness – as the opposite of light, and that black is not a color in itself, McElheny’s vision puts black at the core of real color, as a full-fledged component of the visible electromagnetic spectrum.
In From Red Black to Black, from Blue Black to Black, McElheny effectively decouples the spectral from the prismatic, so the selection, order, and proportionality of its elements is not predetermined. Spectrum as domain of conceptual invention and intervention, upending its rootedness in physics or optics. An aprismatic artifact of rigorous imagination.
McElheny was inspired and challenged by the alternative methods – freedoms – investigated by Milford Graves and Joe McPhee. These musicians have taken as building blocks mutable rhythms and microtonality rather than regular time and the diatonic scale. Grubbs’s sound source for the four paintings is a slide guitar, with which he patiently explores the timbral effects of microtonal variation. McElheny approaches the notion of color spectrum similarly, as a flexible system with constituent elements to be stretched or compressed, perhaps to a point of infinite possibility: a far more expansive notion than gradation guided by an axiomatic set of rules. Seeking a connection between the musical and visual expression of this alterity, the exhibition gradually metamorphosed from the narrower concept of transduction into something more inclusive, a capacious sense of chromesthesia in which sound evokes color and thereby stimulates new vibratory realms.
Image: A catalog with a CD featuring a new sound piece by David Grubbs based on the works in the show is forthcoming.
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Each musician plays a double-neck pedal steel guitar with no effects or signal processing, showcasing the unique sound and expressive possibilities of the steel guitar. The group creates layered immersive patterns, orchestral textures, hazy vistas, and musical paradoxes. Hot on the heels of Jordan Martins' new LP Fogery Nagles (Astral Spirits, 2023), this concert takes place in the string-centric environment of Josiah McElheny's exhibition/installation From Red Black to Black, from Blue Black to Black, which features sounds composed by David Grubbs and played on lap steel guitar, first cousin of the pedal steel.
This event is free and open to the public.
Characters with Long Ears is a project embedded within the larger series The Carnival of the Animals. The structure of this multi-year collaboration follows the 14-movement structure of Camille Saint-Saëns’s 1886 musical suite for children. The Every house Carnival considers endangered and extinct species, with an original performance devised in response to each of Saint-Saëns’s titles, following those imaginative classifications. In January 2021, during the Covid-19 pandemic, we used a converted garage to make the short film Characters with Long Ears. Attuned to sounds outside of the human range of audible frequencies and those characters who hear them, the film features performances by Alex Bradley Cohen, Elise Cowin, Isaac Cresswell, Sky Cubacub, and Bryan Saner, with narration written by Matthew Goulish.
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In her latest body of work, Diane Simpson has further expanded the range of worldly references informing her sculptures. Where her practice had, for decades, revolved around ingenious extrapolations on the shapes, surfaces, and volumes of various articles of clothing, she has in recent times turned attention to certain architectural forms: windows, bannisters, transoms, and chimneys. Over the last two years, Simpson has narrowed her scope to focus on an aspect of interior design in the form of seating furniture – chairs, sofas, lounges, and other species of objects built for sitting. These are the fount of the current show. Deploying similar materials to the ones she’s used for the last four decades, namely metal and wood, often assembled from commonly available, industrially produced, hand-adjusted parts, Simpson has once again spun gold from straw, handling all aspects of the design (via beautiful preliminary schematic drawings) and construction of the works herself, without assistants or fabricators.
The work’s magic occurs in precisely aligned angles and calculated moments of disorientation, transforming quotidian forms, like that of an Adirondack chair – a common sight on lawns in the northern Chicago suburbs, near where Simpson lives – or embracing the odd, floating quality of a sled-like palanquin, which you’d never find in those environs. Like many of her Chicago compatriots, Simpson is an intrepid image-hound. Source material for this work comes from a vast repository of photographs taken by the artist as well as images she’s foraged from elsewhere, some of which she's held in her mind’s eye for many decades. All of the work is, in a sense, derived from her interest in architecture and human bodies – the architecture of clothing on the body, the architecture of bodies in spaces, and now the architecture of objects of repose. “It seemed natural to move from clothing to architecture to chairs,” she says. “I work from an image and develop the form from there.”
Simpson and her friend Christina Ramberg drew on similar, sometimes identical, source materials without knowing it; years after Ramberg’s death, Simpson recognized some of her own treasured research images also identified as important reference materials in a catalogue on Ramberg’s work. “We were on the same wavelength but never talked about it,” says Simpson. The intensely personal way that Simpson explores and transforms a visual and spatial idea relates to a particular approach that Chicago artists have taken to viewing the world. The systematic investigation of a specific form and all its potentialities is evident in the typological works of Ramberg, Ray Yoshida, Barbara Rossi, Suellen Rocca, Rebecca Shore, and many other of Simpson’s painter colleagues. With her fetishistic attention to surface and her astute understanding of the poetic resonance of geometry, Simpson has rethought the surfaces where hindquarters reside, the shared communal spaces on which we all take a seat, itself a kaleidoscopic array of formal and sculptural possibilities.
Born in Joliet, Illinois, in 1935 and a graduate of the Art Institute of Chicago (BFA, 1971; MFA, 1978), Simpson has been an integral part of the Chicago art scene since her first shows in the late 1970s. In 2020 Simpson’s first institutional solo exhibition in Europe featuring four decades of work was mounted by the Nottingham Contemporary, and the same year her early cardboard works were exhibited at the Ezra and Cecile Zilkha Gallery, Wesleyan University. Simpson was given her own room on the ground floor of the 2019 Whitney Biennial. In 2015 the ICA Boston presented a survey of work from the 1980s to the present. She is a 2019 Anonymous Was a Woman grantee and in 2018 she received a research grant from the Graham Foundation to support her project Architecture in Motion commissioned by FD13 Residency for the Arts in Minneapolis-Saint Paul, Minnesota. Her first survey took place at the Chicago Cultural Center in 2010. Simpson will be the subject of a major traveling retrospective starting in 2025.
Image: Diane Simpson, Skewed Love, 2022, fiberboard, steel sheet metal, screws, washers, oil stain, acrylic, linen canvas, crayon, colored pencil, 42 x 72 x 20 inches
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The project set out to follow the 14-movement structure of Camille Saint-Saëns’s 1886 musical suite for children, devising a corresponding original performance work in response to each of the titles, following those imaginative classifications while focusing on endangered species and the concept of extinction. In January 2021 during the COVID-19 pandemic, the company converted a residential garage into a DIY film studio to make a series of short Carnival performance films, featuring local Chicago performers and original costumes and textiles designed and constructed by Essi in Finland and shipped to Chicago.
Aquarium surveys an impossible ecosystem of three endangered sea entities: Lesser Electric Ray (Bryan Saner), Eyelash Seaweed (Elise Cowin), and Limestone (Alex Bradley Cohen). Madeleine Aguilar wrote and performed the original Aquarium Song, with lyrics adapted from a poem by Ed Roberson (the poet and one-time diver/tankman at the Pittsburgh Aquazoo).
Please join us January 20 for a personal visit with Diane Simpson in her current exhibition at Corbett vs. Dempsey. Diane will discuss the individual sculptures in the show, placing them in a broader context of her five decades of work. The event will be open to the public and also broadcast as an Instagram Live event on CvsD's IG account.
Image: Installation view of Diane Simpson, Corbett vs. Dempsey, November 17, 2023 – January 20, 2024. Photo by Robert Chase Heishman.
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Opening Reception: Friday, January 26, 6-8 PM
Corbett vs. Dempsey is pleased to present Reviver, an exhibition of new works by John Sparagana. This is the artist’s fifth solo show with CvsD.
John Sparagana is always looking forward and back, toward a future for his work by way of its past. His methodology is constructive ourobouros: the eternal image of a snake eating its tail. A revolution of destructive and creative energy, the kind of recycling that really works – taking what one has made, breaking it down systematically, constructing anew from its shards. In the case of Reviver, the work hearkens back to a series from two exhibitions ago, his genealogical excavation and constructive reinvention focused not simply on the work from that 2016 Themesong Variations show, but on its catalog. Using the same complex, labor-intensive collaging process he deployed in the construction of the ”Themesong Variation” works, Sparagana chose pages of the catalog to cut and remix, taking images that had themselves been cut and mixed from pages of Dick Tracy comics and subjecting them to a kind of further processing by means of surgery. One publication (the comics) into artworks (Themesong Variations) into another publication (the catalog) into artworks (Reviver).
The results of this recursive action find these images completely transformed, assuming a new identity as even more deeply abstracted fields of color, sometimes exploding into angularity that defies an originary grid, shimmering darks against light, flashes of heat and pools of cool, references to the starting images of figures in spaces now but a distant echo. Even the cover of the catalog and one of the pages of text are treated to the cut and the remix, producing yet another energy. These works are insistently material. Paper. Pigment. Tonality. Shape. Vector. They are fragments of a deconstruction of a representation of a cultural milieu, so granular, so aerated, so corpuscular, and their motion so Brownian, that they become atmospheric, nebular, like heavy weather. In the end the works call us to see them for what they are – not to read into them, but to meditate on them.
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William Wegman (b. 1943) played a formative role in the evolution of Conceptual Art. At the outset of the ‘70s, Wegman was based in Southern California, and from his studio in Santa Monica he began an incredibly productive few years on photographs, drawings, writings, and videos, many of which dealt in clever, humorous ways with the status of language in relationship to images. Staged scenarios in the studio featuring one or two figures, sometimes in dialogue with a prop or a costume, or just objects in conversation with each other, explored a myriad of ideas – issues of scale in representation, for instance, or different ways of reading the same seemingly self-evident narrative situation. To complicate these black and white photographic inquiries, Wegman began to introduce typewritten text below the images. These words could have a variety of functions – explanatory, contradictory, mysterious. “I became interested in how the sentence could affect the image,” Wegman says, and indeed the dominance of language in the hermeneutic puzzle is often clear, but sometimes the images affect the captions, too, so what emerges in these often-hilarious works is the full dynamic relationship of text and image, their interdependency and their potential for mutual mischief.
In these early conceptual works, Wegman investigated what Roland Barthes identified as two functions for the caption – as anchor (pinning down what an image means) and relay (linking it to other images around it). However, Wegman’s anchors might be purposefully misleading or ambiguous. Take the image that lends its long title to this show, in which a man and a woman are seen holding onto racks of electronics. Are they actually dancing or were they doing something else? Is that a post-facto interpretation of their actions? In a way, you can’t “unsee” what the text tells you is there. In relay texts, like a series featuring Wegman’s first Weimaraner, Man Ray, that situates the dog against white, gray, and black backgrounds, the words not only anchor the image but suggests a definitive relationship between the three images.
When Wegman moved east to New York at the end of 1973, he left most of these works, many of them unfinished, behind. Luckily, John Baldessari, who inherited his studio, held onto the prints and negatives, and nearly two decades later he returned them to the artist. Wegman continued to make photographs, drawings, videos and writings in New York. Three pieces in the show – “Art & Science,” “Adjustable Pillow” and “Learn to Dance with Modern Electronic Equipment” – were shot in East Hampton, in an empty factory that he was using as a studio. Most of the works in the exhibition were recently reconstructed, piecing together frames of image and frames of text from the old negatives, making prints of works that had not been completed in the ‘70s. Learn to Dance with Modern Electronic Equipment presents a rarely seen selection of Wegman’s early photographs, all of them incorporating text, from a time when his work was being included in the seminal exhibitions of Conceptual Art. Among Wegman’s (many) recent exhibitions are A Number of Problems at Magenta Plains, New York (2023), Writing by Artist at Sperone Westwater, New York (2022, catalog edited by Andrew Lampert and published by Primary Information), and Before/On/After: William Wegman and California Conceptualism, at the Metropolitan Museum of Art (2018).
Image: William Wegman, Learn to Dance with Modern Electronic Equipment, 1973, silver gelatin print , 14 x 11 inches.
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Long before he gained fame for his crushed metal and compressed foam sculptures, John Chamberlain (1926-2011) resided at Black Mountain College, in Ashville, North Carolina, composing poetry alongside future literary luminaries Robert Creeley, Robert Duncan, and Charles Olsen. At the time, he was only making a few sculptures, all under the spell of David Smith. To Olsen, the dominant voice in Black Mountain’s hotbed poetry scene, Chamberlain wrote the short poem “for C.O.”:
the afternoon had sun you
felt on the back of yr head leaning
forward, between halves, no
band, silent; save
the look across the green to
me. i say nerves
nervey
of me but from you i
see a kindness
that becomes you.
These little-known works have a striking formal quality, with text organized into blocks, sometimes columns, occasionally sporting alternations of lower- and upper-case letters, the typewritten manuscripts dotted with crossed out lines or hand-annotated marginalia. Collecting words, sometimes without worrying about their meaning, Chamberlain used them as a material arsenal, combining them in unexpected ways. “The greatest influence on my work and on my thinking actually came from the poets at Black Mountain College,” he once said. “I’m still making sculptures in the way that I made the poems. It’s all in the fit.”
Image: John Chamberlain, Untitled poem, 1955, typewritten manuscript page on onionskin paper, approx. 8 1/2 x 7 inches.
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With great excitement, Corbett vs. Dempsey introduces Richard Wetzel, Some Must Watch: Paintings 1983-85. This is the artist’s third solo presentation with the gallery.
Richard Wetzel made the transition from collage and printmaking to painting over a period in the late 1970s. Working from painstakingly organized schematic color charts, with associated works on paper executed in Prismacolor pencil, he gradually moved up in scale and shifted away from the specificity of images found in his collages toward invented imagery, eventually landing on a series of incredibly original biomorphic creations – monstrous forms in eerie, opalescent hues with gradated backgrounds. An intrepid craftsman in any medium, from the early works back-printed on plexiglass to his current sculptural works mixing wood, bone, antler, and other materials, Wetzel’s paintings are marvels of fetishistic surface and luminous gleam. The subject matter of these canvases has a phantasmagoric orientation – mutant hybrids of insect and vegetable are shown in close-up detail, depicting creatures that are beautiful, gruesome, and often ominously sexual. Not seen since they were made, the nine thermonuclear works in Some Must Watch constitute a sort of post-apocalyptic suite, perhaps more relevant today than when they were first executed.
Since emerging in the late 1960s as a member of the Nonplussed Some, one of the original Imagist exhibition groups, Wetzel has been living and working in Chicago. He has shown with Zaks Gallery, where these paintings debuted four decades ago, and OK Harris Gallery in New York. Wetzel's own Sedgwick Street Gallery, opened in 1962 when he was nineteen years old, gave Ed Paschke and Karl Wirsum their first solo exhibitions.
Image: Richard Wetzel, Keeper of the Children, 1985, oil on linen, 44 x 60.
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Image: Stills from Noon Moons, 2012, HD Video, 17:30 min
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","type":"Event","state":"published","slug":"jason-roebke-in-concert","created_at":"2024-03-25 16:37:51.765914","updated_at":"2024-03-25 16:37:51.790515","excerpt":"","is_timeless":false,"organization_id":57,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1960s':176B 'ad':126B 'ampl':51B 'anim':167B 'assur':88B 'bass':114B 'bassist':12B 'bishop':133B 'bristl':36B 'cassett':100B 'cd':38B 'cessat':72B 'charact':65B 'chicago':168B,203B 'circl':146B 'clarinetist':21B 'collect':143B 'come':205B 'composit':43B 'concert':4A 'contemporari':202B 'corbett':5B 'cvsd':37B 'dempsey':7B 'dijkstra':140B 'drummer':29B 'dynam':191B 'edward':22B 'ensembl':122B,192B 'establish':195B 'evan':31B,83B 'exploratori':163B 'express':107B 'falzon':136B 'featur':42B 'fi':99B 'flatland':142B 'flow':70B 'fluiditi':105B 'four':39B,157B 'glow':149B 'graphic':46B 'great':87B,182B,199B 'group':200B 'hallmark':119B 'halt':80B 'hear':180B,206B 'hoc':127B 'imbu':58B 'improvis':54B 'includ':128B 'infus':160B 'interplay':56B 'interrelationship':68B 'interrupt':91B 'investig':66B 'jame':135B 'jason':1A,13B,129B 'jazzword':152B 'jeb':132B 'jorrit':139B 'jr':24B 'ken':153B 'klang':138B 'kwan':27B 'least':172B 'leav':50B 'lo':98B 'lo-fi':97B 'mabel':26B 'marcus':30B 'metronom':93B 'mid':175B 'mid-1960s':174B 'music':204B 'notat':49B 'numer':121B 'occasion':90B 'one':196B 'opportun':178B 'organ':78B 'particular':64B 'pianist':25B 'piec':60B 'pillow':145B 'play':84B,115B 'pleas':9B 'present':11B 'princip':164B 'push':102B 'quartet':17B,74B 'record':101B 'revelatori':109B 'review':150B 'roebk':2A,14B,41B,81B,95B,111B,193B 'room':52B 'saxophonist':19B 'sinc':170B 'sound':169B 'sphere':40B,158B 'stein':130B 'support':33B 'taken':186B 'togeth':85B,188B 'tradit':48B 'trio':131B,134B 'util':44B 'vs':6B 'waxman':154B 'way':110B 'wilkerson':23B,183B 'work':124B 'wrote':155B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668765/ljreo2ds49tcrrb3yppw.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669756/event_ics_1721669755825.ics","carousel":null,"category_name":"Exhibitions"},{"id":12610,"title":"Art After Hours 2024","starts_at":"2024-04-12 17:00:00","ends_at":"2024-04-12 20:00:00","body":"DURING EXPO CHICAGO, PLEASE JOIN US FOR ART AFTER HOURS
FRIDAY, APRIL 12TH
FROM 5-8 PM
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SOUTH GALLERY
What is a torsoscape?
The torsoscape is an invention of Dominick Di Meo, one of the original artists associated with Chicago’s postwar figurative expressionists, a group often referred to as the Monster Roster. In the 1950s, Di Meo was making complex landscape works in which the ground is composed of an aggregation of images, low reliefs, and sometimes actual objects. Atop the horizon in these paintings and drawings, Di Meo would set a head. In a flash, the landscape is transformed into a torso, the combination constituting a torsoscape. Seen as part of this machinic assembly, with the head locking the landscape in as a body, the multiplicities of the torso are reconfigured as a system, suggesting an organic relationship between their bits and pieces and an interdependent relationship between the head and its body. This relates back to the artist’s interest in disembodied limbs, a fixation born in part out of his childhood experience of polio and his period spent in a polio ward, as well as a novel extrapolation on certain works by Jean Dubuffet, who was an important influence. Di Meo would continue using the torsoscape as a compositional structure in his work for half a century, bringing the idea with him from Chicago to New York, where he settled in 1969, and utilizing it as a means for many iterations and variations.
Torsoscape is the first exhibition dedicated to this facet of Di Meo’s oeuvre. Featuring over a dozen works from 1960 to 1974, the show explores several different ways that the artist utilized the structure, from an early work executed with papier-mâché and animal bones on a wooden door to later paintings in which the head is made of a disc or ball of acrylic polymer. The torsos in two large canvases from the mid 1960s consist of a tangle of spray-stenciled objects – scissors, spoons, and forks, which are always stand-ins for arms and hands in Di Meo’s visual vocabulary – as well as doilies, twisted strands of wire, letterforms, and butterflies. Eclipse (1964) depicts the head as a line drawing in profile, gazing at a drawn crescent moon with a slight corona, its non-eclipsed double slipping off-screen to the right, a narrow band of stenciled torsoscape propping up the head’s chin.
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Dominick Di Meo (b. 1925) was the subject of a recent two-person show (with Ella Rose Flood) at Simone Subal Gallery, New York. His work was included in several recent museum exhibitions, including Private Eye: The Imagist Impulse in Chicago Art, Newfields, Indianapolis, Indiana, 2021; 3-D Doings: The Imagist Object in Chicago Art, 1964-1980, Tang Teaching Museum, Saratoga Springs, New York, 2019; and Monster Roster: Existentialist Art in Postwar Chicago, Smart Museum of Art, Chicago, 2016. This is Di Meo’s sixth solo exhibition with Corbett vs. Dempsey, including a collaborative show with Thomas Dane Gallery, London, in 2013, and a solo booth presentation at Art Basel, Switzerland, in 2019.
Image: Dominick Di Meo, Untitled, 1964, oil and synthetic on canvas, 72 x 50 inches.
Radiant Exposures - Facts Run on Light Beams These Days
In the Vault, CvsD is thrilled to present Radiant Exposures—Facts Run on Light Beams These Days, which returns to Italian-born, Berlin-based artist Rosa Barba's longstanding motifs of the desert and exploration of modern archives as manifestation of human desire for progress. The central image of the film is the human-made landscape with large expanses of rectangular panels reflecting the sunlight. These reflective panels concentrate sunlight, creating and collecting energy; the presence of the sun is made palpable by the shimmering light and the blurring of the imagery. Taking as its subtitle a quote from Donna Haraway, the film appears to represent a place outside of time and space – ethereal, timeless, unearthly. A threshold between creation and destruction where everything exists. The film's text combines fragments from a poem by Robert Creeley (1926-2005) and lyrics by the musician and poet Sun Ra (1914-1993).
Image: Rosa Barba, Radiant Exposures - Facts Run on Light Beams These Days, 2022, 16mm film, 6 mins, Film still© Rosa Barba.
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On two occasions Miyoko Ito took a hiatus from painting. The first came when she was pregnant in the late 1940s. Printmaker Max Kahn suggested to Ito, who was in residence at Ox-Bow summer school in Saugatuck, Michigan, that she spend some time in the printmaking studios, where she made a series of lithographs. The style of these figurative and landscape works foreshadowed her turn to a more abstract compositional modality. Ito resumed painting soon thereafter, and continued until the late 1970s, when she was recovering from chemotherapy and a double mastectomy for breast cancer. Hospitalized for what she referred to as a nervous breakdown, Ito turned to ceramics, a medium she greatly enjoyed, making a small opus of delicately glazed pieces before returning to paint her final few years worth of canvases.
In Needle, Stone, and Mud, CvsD presents three less-well-known facets of Ito's output – her early figurative painting, her lithographs, and her ceramics. The exhibition includes two examples of her black and white lithographs from 1949-50, one of which is titled \"Mistress of the Sewing Machine.\" This print work is the source of a major early painting of the same name, which is also presented in the show; featuring the same techniques as her later abstractions, with high-key colors peeking out from the edges of shapes that appear in various shades of green, it depicts a female figure in ponytails and bangs framed behind a black sewing machine. The forms are more abstracted here than they are in the print, rendered as flat geometric areas, outlined in white lines that reveal the substrate. In her ceramic works, Ito carries forward some of the motifs of her paintings – abstractions of architecture and bodily inferences (vaults, hearths, and vessels), as well as a concern for surfaces, the promise of a colorful, shiny interior hidden within a matte, earthen exterior.
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Miyoko Ito (1918-1983) is one of the most important abstract painters to emerge from Chicago. Long also understood as one of the city's best-kept secrets, Ito's star has finally risen internationally, especially with recent exhibitions at Matthew Marks Gallery, New York, and Veneklasen Werner, Berlin, and a museum retrospective that traveled from the Berkeley Art Museum, Berkeley, California, 2017, to Artist Space, New York, 2018. The latter produced a comprehensive catalog, Miyoko Ito: Heart of Hearts (Pre-Echo Press, 2023), edited by Jordan Stein, who curated the exhibitions.
Image: Miyoko Ito, Untitled, c. 1979, ceramic, 3 3/4 x 2 3/4 x 2 inches.
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In her latest body of work, Rebecca Shore meditates on a shifting set of spaces – interiors and exteriors, mostly domestic sites including bedrooms, porches, gardens, verandas, mezzanines, dining rooms, courtyards, doorways, and windows. Indeed, the status of the portal in these paintings, executed in acrylic on linen or in gouache on paper, is a central point. The viewer is consistently invited to view something through something else, their vision moving between different atmospheres, varieties of light, qualities of enclosure or landscape. Building on her relatively recent pivot from abstraction to representation, Shore has retained her immaculate technical approach, a feature of her work across her oeuvre, back to the paintings she was making in the early 1980s and the quilts she made alongside her friend Christina Ramberg later in the decade. There are no figures in these new works, only spaces. Often containing sly visual games or lurking spatial paradoxes, Shore's paintings create an imagined territory into which the viewer can project themself, a stage set carefully prepared for cognitive immersion. Two beds with paintings hung above them, one a daytime scene, one a night sky, the pairing creating a subtle tension in the room. Layers of oblique intertexts hovering in the paintings – Giovanni di Paolo's window-glimpsed landscapes and stylized rock formations, the vibrating curved lines of Karl Wirsum \"awning\" canvases. There are multiple patterns associated with different elements of these scenarios – a wall, a floor, stairs, a woven curtain, an iron gate, a hanging mobile – each combination culminating in a complex rhythmic assemblage, an extraordinary visual polyrhythm.
Image: Rebecca Shore, Untitled (24-09), 2024, acrylic on linen, 26 x 28 inches.
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In the North Gallery, CvsD is pleased to present a newly uncovered group of paintings and sculptures by Ted Halkin. The gallery has shown Halkin's work in two previous solo exhibitions.
Ted Halkin (1924-2020) was a central figure in Chicago's art scene for more than half a century. Emerging in the postwar period as one of the original members of the so-called Monster Roster, alongside Leon Golub, Dominick Di Meo, George Cohen, and Evelyn Statsinger, Halkin exhibited with Alan Frumkin Gallery in New York and Phyllis Kind Gallery in Chicago. He made paintings with low-relief elements and whimsical figures in earthen tones as well as biomorphic papier-mâché sculptures with orifices and knotted forms, sometimes featuring found furniture parts. In the mid-1960s, Halkin's work took a rather abrupt turn. The forms continued to be complex, biomorphic, and highly abstract, but the colors and overall composition shifted dramatically, moving into a bright, saturated palette and an open-ended, spatially labyrinthine compositional concept quite different from the earlier scenarios. Halkin's initial advances in this direction came in the form of the sculptures and their associated drawings, followed by a series of incredible canvases and works on paper made between 1967 and 1970, which have certain features in common with well-known Chicago Imagist artists – one might find similarities with Jim Nutt and Karl Wirsum works from the same period – but always much more abstractly composed. Some of these works were exhibited at the time, but a large group of them remained unshown by the time Halkin moved to a new house in Evanston in 1970. There the paintings were rolled and safely stored in the basement, where they stayed until 2023, when, in preparation for the exhibition Four Chicago Artists: Ted Halkin, Evelyn Statsinger, Barbara Rossi, and Christina Ramberg (which opened at the Art Institute of Chicago on May 11), they were rediscovered. Brilliant and as immaculate as the day they were painted, these paintings parallel the drawings in the AIC show, their formal puzzles, glancing allusions to representation, and shivering color vibrations demonstrating how Halkin's creativity was in overdrive at the time. This exhibition presents a selection of these newly uncovered paintings and several important precursor sculptures, also unearthed in the artist's studio dwelling.
Image: Ted Halkin, Untitled, c. 1967, oil on canvas, 51 1/2 x 38 inches.
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– Jem Cohen
Image: Boy With Sticks, Working, High Up, still from Aerie by Jem Cohen, 2024. Music by Jim White and Marisa Anderson from the album Swallowtail, ThrillJockey Records.
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September 14-September 21
A four-person exhibition featuring Peter Brötzmann, Fred Lonberg-Holm, Roscoe Mitchell, and Sun Ra. The grouping demonstrates the gallery's commitment to improvised music and hearkens back to the gallery's third show, Eye & Ear: Artist-Musician, a massive round-up of people working across the musical and visual arts, mounted in 2004. Peter Brötzmann, who died in 2023, gave a solo saxophone concert during the exhibition and his work was part of the show. Over the years, CvsD worked extensively with Brötzmann, both in Chicago and elsewhere, also releasing several CDs of his music. Here the titanic improvisor is represented by two small sculptures and an early wall-hanging metal landscape. Fred Lonberg-Holm is an internationally acclaimed cellist, as well as a visual artist; five of his radiant stained glass works, all of which refer to the iconic image of an LP, are on display. CvsD was honored to present the first gallery exhibition of legendary musician and composer Roscoe Mitchell in 2023. In this context CvsD presents six vivid new paintings of Mitchell's, previously unseen. And the intergalactic trickster Sun Ra is represented by a vitrine of subtly decorated tape reels and boxes dating back to the 1950s, when Ra was living and working in Chicago.
This presentation is the first of seven week-long, rotating exhibitions on view in the North Gallery during the twentieth anniversary exhibition, Hubcap Diamond Star Halo: Corbett Vs. Dempsey at Twenty.
Image: Fred Lonberg-Holm, Glass Record #5, 2017, stained glass, 13 x 12 1/2 inches.
Hubcap Diamond Star Halo: Corbett vs. Dempsey at Twenty
In September, 2004, Corbett vs. Dempsey launched its first exhibition.
Two hundred and thirty-eight gallery shows later, with 300+ performances, 100+ book and catalog publications, 120+ CDs, LPs and singles on the associated label, and a labyrinthine trail of international art fair booths, collaborative presentations, museum curations, and screenings in the Vault, CvsD is delighted to be celebrating its first twenty years or its entrance into what the Art Ensemble of Chicago once labeled The Third Decade.
This rite-of-passage will be marked by means of a kaleidoscopic exhibition featuring many artists exhibited at or affiliated with the gallery. In the South Gallery, a group show will include, among many others, Charline von Heyl, Celeste Rapone, Karl Wirsum, Christopher Wool, Rebecca Morris, Albert Oehlen, Brian Calvin, and Magalie Guérin, with a tantalizing salon-style wall bustling with past and present CvsD allstars.
In the North Gallery, CvsD will present an unconventional series of focused exhibitions, seven in total, one new show per week for the duration of Hubcap Diamond Star Halo. These will represent a full range of the gallery's activities, from deep dives into Chicago art history to the association between improvised music and visual art, as well as a few select solos, duets and trios featuring artists central to the CvsD's unfolding enterprise.
The North Gallery rotating shows will consist of: Musician-Artist (featuring Peter Brötzmann, Roscoe Mitchell, Sun Ra, and Fred Lonberg-Holm); Robert Donley & Seymour Rosofsky; Weird Old Chicago; Morris Barazani, 1966 Paintings; Brian Calvin & Vivian Maier; Ed Flood, Art Green, & Jordan Davies; Diane Simpson.
Featured Artists:
Richard Artschwager, Robert Barnes, Margot Bergman, Ellen Berkenblit, Gregg Bordowitz, Brian Calvin, Sarah Canright, Emilio Cruz, Dominick Di Meo, Christina Forrer, Gabrielle Garland, Sam Gilliam, Joseph Goto , Magalie Guérin, Phil Hanson, Rachel Harrison, David Hartt, Harold Hayden, Arturo Herrera, Charline von Heyl, Dick Higgins, Ray Johnson, Josiah McElheny, Thomas H. Kapsalis, Richard Koppe, Gina Litherland, Robert Lostutter, Rebecca Morris, Kenneth Nack, Albert Oehlen, Joyce Pensato, Jeff Perrone, Celeste Rapone, Christina Ramberg, Alan Shields, Rebecca Shore, Lui Shtini, Diane Simpson, John Sparagana, Keichi Tanaami, Caragh Thuring, Omar Velazquez, William Weege, Richard Wetzel, Christopher Williams, Terry Winters, Karl Wirsum, Christopher Wool, Jimmy Wright, Molly Zuckerman-Hartung
In the second installation of North Gallery rotating exhibitions, Corbett vs. Dempsey is pleased to present historical works by Robert Donley and Seymour Rosofsky.
Seymour Rosofsky (1924-1981) was an original member of the Monster Roster, Chicago's postwar artistic enclave dedicated to brutal figurative expressionism. A fierce and fearless painter whose work was widely exhibited and collected in the 1950s and '60s, Rosofsky was also highly political, sometimes directly so, and he was sympathetic to a vehement anti-war sentiment in the late '60s that included various other Chicagoans, like Robert Donley (b. 1934). Donley was personally involved in a variety of anti-war actions including the artist march on the bloody 1968 Democratic National Convention; he was a director of the Artists Collaborative, which created the Protest Papers, a bound book of anti-Vietnam prints in which he also had a work.
In this exhibition, CvsD presents an important canvas by Rosofksy, Vietnam, Chicago, Czechoslovakia. Painted in 1968, it features a sinister figure smiling and crushing tiny people in its fists, flanked by mushroom clouds and looming over maps of the three titular sites, each one the scene of violent anti-democratic events. Each of the geographical locations is marked as a grave with a cross. This powerful piece will be haunted by a group of Donley's sculptural works. Although he's best known as a painter, Donley has amassed a small oeuvre of 3-D works dating back to his stint in Southern California in the early 1960s. By turns grotesque and elegant, they incorporate found doll parts, wood, string, metal or fabric mesh, and other evocative flotsam into fascinating fetishes, overpainted with muscular gobs or a fine finish. These works, mostly executed in the 1970s, sublimate political energy into an abstract form, energizing the objects most powerfully, situating them somewhere between stillness and rage.
Image: Robert Donley, Cobra, 1976-1977, wood, oil, and doll head, 37 1/2 x 5 x 4 1/2 inches (left);
Seymour Rosofsky, Vietnam, Chicago, Czechoslovakia, 1968, oil on canvas, 60 x 46 inches (right).
Free
This event is part of our programming for the exhibition Hubcap Diamond Star Halo: Corbett vs. Dempsey at Twenty. There will be a panel discussion moderated by John Corbett with Williams and John Lombardo from Smashed Plastic.
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A word that often crops up in discussions of Chicago art is eccentric. In this broad-strokes survey, CvsD excavates more than a dozen works from the 1940s and '50s that perfectly exemplify this trait – a positive attribute, as we see it – of not-being-central, that is, eccentricity as a mark of uniqueness, personal quality, outside the mainstream. With an undeveloped commercial infrastructure relative to its hypertrophied artistic community, Chicago's mid-century artists were at liberty to take chances, make images, and do things that they might hesitate to do if they'd been under the guiding influence of the dictates of capital or the prevailing winds of fashion. Paintings like Harold Hayden's Wig Department – 1909 (1945) and Walter Hahn's Winged Serpents (c. 1958) have a magnetic mysteriousness that transcends genre, where Robert Amft's tiny tiered landscape reads like a text stating tree person building tree tree tree [carriage return] tree tree person dog star star star star. Kenneth Nack's two mural studies from 1945 feature cubist musicians surrounded by images of sonic vibration; Julio De Diego's The Opera Singer (1942) depicts his fellow painter William S. Schwartz engaged in his favorite extracurricular activity, as if performing an aria on a Giorgio de Chirico stage set. Drawn from two decades of research into the wilderness of Chicago's artistic history, these and more wonderful strangenesses await in a show suggesting that, at least in Chicago, exceptions rule.
Image: Julio de Diego, The Opera Singer, 1942, oil on panel, 22 x 15 3/4 inches.
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At 6pm, CvsD co-founders John Corbett and Jim Dempsey will walk the wall, providing a guided tour of the 34 works on the salon style wall in the main show, from a 1940 Richard Koppe watercolor to a brand new Molly Zuckerman-Hartung canvas. This walk-through, laced with anecdotes and historical tidbits, will provide an overarching view of the gallery's activities over the last two decades. Corbett and Dempsey will also discuss the North Gallery show, Weird Old Chicago, which presents a selection of wonderfully eccentric works from the 1940s and '50s, a period dear to the gallery and still less well understood than it should be.
In the fourth iteration of North Gallery 20th anniversary shows, CvsD presents Morris Barazani, 1966.
Morris Barazani (1924-2015) was a painter and collage maker dedicated to the different methods of abstraction. Based for most of his life in Chicago, Barazani was an important teacher (University of Illinois at Chicago; DePaul University) whose steadfast interest in the implications of Abstract Expressionism as well as other modes of painting along what he called the formal/informal divide gave him grist for a brilliant body of work that spanned six decades. Barazani's work was arguably at its peak in the middle of the 1960s, the same period that saw the rise of the Imagists in Chicago, from whose work his could not have been more dissimilar. In this focused exhibition, Barazani's paintings from 1966 take center stage – seven luscious medium-size canvases with complex palettes and soft, cloud-like forms, composed to suggest an image as subtle as a thought. A single black-and-white painting is comprised of whipping lines and an implied figure, somewhere between de Kooning and Kline, while Winter's City succeeds in evoking the icy blue-whiteness of Chicago mid-blizzard.
Barazani was an important figure for CvsD at a formative stage of the gallery. He introduced us to many artists, helped guide us in various ways, and gave us a richer understanding of the real politics underlying Chicago's art scene. Barazani's own work, which we were lucky to see in the home in which he and his wife Gail lived in the Lakewood/Balmoral neighborhood, was a constant source of conversation and revelation. This presentation is in honor of Morris and Gail Barazani, dear friends and allies.
Please join us at Corbett vs. Dempsey for an intimate conversation with artist Charline von Heyl. In the environs of the current exhibition, Hubcap Diamond Star Halo, which includes a stunning new painting of hers, von Heyl and gallerist John Corbett plan to have an open-ended discussion starting with the concept of the center and the periphery in the realm of creative production.
Von Heyl (b. 1960, Mainz, Germany) is simply one of the most adventurous and extraordinary contemporary painters. Widely admired for her formal experimentation and willingness to put an image through its paces, she was the subject of a major survey, Snake Eyes, in 2018 at the Diechtorhallen Hamburg and the Hirshhorn Museum, Washington, DC. Corbett vs. Dempsey has mounted three solo exhibitions with von Heyl, most recently in 2021. Von Heyl lives and works in New York City and Marfa, Texas.
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In the category of firsts, CvsD is proud to present Brian Calvin & Vivian Maier, the fifth of its week-long exhibitions in the North Gallery.
Paired for an affinity and shared sensibility more than anything concrete, painter Brian Calvin (b. 1969) and photographer Vivian Maier (1926-2009) have Chicago in common – Maier lived and worked as a nanny in the city and Calvin attended the School of the Art Institute of Chicago for his MFA, executing his initial burst of activity as a breakout artist there. In this exhibition, a group of Calvin's exquisite pencil drawings faces off with Maier's little black-and-white photos, all of which are original prints made by the artist. In both cases, a certain quizzical or uncanny quality infuses the image, whether it's a woman reclining on grass in front of a stone wall, a parade balloon reaching for the sky, or an adult and two kids reflected in a puddle (Maier) or a female portrait in which the features either multiply or migrate across the face (Calvin). In both cases, grace and oddness are reconciled in the work.
Brian Calvin is based outside Los Angeles, where he maintains an active studio life. Vivian Maier lived and worked in Chicago, where her work was discovered and celebrated posthumously.
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8:00 PM Ken Vandermark, solo saxophone and clarinet
Corbett vs. Dempsey is proud to host a launch for the new Joe McPhee memoir Straight Up, Without Wings: The Musical Flight of Joe McPhee, published by CvsD. The book, written together with Mike Faloon, will be available for the first time at the event, as will the equally new CD Nineteen Sixty-Six by the Jazzmen, featuring a young McPhee in a band led by bassist Tyrone Crabb. This is the earliest McPhee recording yet heard, from a period when he played trumpet exclusively.
In this special convening, McPhee and Faloon will be in dialogue with gallerist John Corbett, who has worked with McPhee for nearly 40 years, discussing the genesis of the book and touching on McPhee's brilliant legacy and his seasoned approach to improvisation. After the conversation, saxophonist and clarinetist Ken Vandermark will perform a set of solo works dedicated to and inspired by McPhee.
Books will be on hand, as will the new CD.
In Straight Up, Without Wings, Joe McPhee surveys sixty years in creative music. Starting with his trumpeter-father's influence and formative years in the U.S. Army, McPhee recounts experiences as a Black-hippy-cum-budding-musician based in upstate New York, perched at an ideal distance from Manhattan’s free jazz demimonde of the 1960s and its loft scene of the 1970s. A natural storyteller, revealing never-told tales and reveling in the joys of noise, McPhee puts the influence of – and encounters with – Ornette Coleman, John Coltrane and Albert Ayler into the context of an independently-minded young player, ravenous for experience, dealing with the crucible of racism, seeking to break out beyond the bounds of a regional Hudson Valley scene that he knows like the back of his hand. The memoir draws forward through thrilling passages in Europe and across the United States, as McPhee gains momentum, as his music becomes the impetus for multiple record labels, as he collaborates with figures from Peter Brötzmann to Pauline Oliveros, and as he eventually goes on to inspire musicians far and wide. Written as an oral history, deftly conducted by Mike Faloon to preserve McPhee’s unique narrative voice, Straight Up, Without Wings includes “reflections” by eight musicians from across the protagonist’s rich history.
Until now, the earliest recordings anyone has heard by Joe McPhee come from the period around his 1968 debut album, Underground Railroad. McPhee had just started playing tenor saxophone at that point. A couple of years earlier, the bassist featured on all of McPhee's early recordings, Tyrone Crabb, led a band of his own, the Jazzmen, in which McPhee was featured on his first instrument: trumpet. Indeed, McPhee was a trumpet legacy – his father was a trumpeter. In the mid-'60s, Joe was a serious young player with deep knowledge and an expansive ear. Performing around Poughkeepsie and across the Hudson Valley, the Jazzmen were one of the very first ensembles recorded by Craig Johnson, who would go on to form the CjR label expressly to release McPhee's music. The fledgling audio engineer was clearly learning the ropes when he documented this incredible 1966 performance, but despite a few excusable acoustic blemishes, it's a beautiful window into McPhee's trumpet playing, suggesting that, had he stuck to that instrument alone, he might well have been considered a major figure on the horn (of course, he is such a figure on the pocket trumpet); the opening track, a version of One Mint Julep as arranged by Freddie Hubbard (on his Blue Note record Open Sesame) shows McPhee's lithe stylings to good effect. McPhee's musical cosmology was much bigger than a single axe, however, as is evident on the sprawling second track, which, over the course of half-an-hour proceeds from an excoriating yowl to a version of Miles Davis's Milestones taken at a sweltering tempo. A portent of the free jazz to follow and a marker of McPhee's foundations in hard bop and soul jazz, Nineteen Sixty-Six features the entire reel-to-reel tape long thought lost, simply labeled: Joe McPhee, 1966, trumpet.
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In the penultimate North Gallery rotating exhibition, Corbett vs. Dempsey presents Ed Flood/Art Green/Jordan Davies.
While the prevailing wisdom has long been that Chicago is a city of figuration, it has also been a laboratory for many varieties of abstraction, even those associated with the Imagist tradition. Early in its existence, in 2006, CvsD assembled the show Abstract Imagist, surveying a previously unnamed strain of artworks with stylistic or personal affiliations to Imagism but otherwise connected to abstraction. In this concise historical North Gallery presentation, a single monumental Jordan Davies painting encapsulates the concept – bolts of ribbony strata cross a pink field, all painted with the kind of fetish finish one associates with Christina Ramberg or Jim Nutt, but without the specific bodily point of reference. Around the same time as Davies' painting, in the early 1970s, Ed Flood, who showed with the Imagist group the Nonplussed Some, began making works that engaged with their space in extraordinary ways, including a series of glass works with painted amoeba-esque shapes that cast shadows onto the wall. Art Green's paintings, while always involving images, use a kind of hypercomplex ilusionism, the recognizable representations fractured, fragmented, and reconstituted into a new, highly abstracted whole.
Image: Jordan Davies, Untitled, 1972-73, acrylic on canvas, 72 x 144 inches.
North Gallery
In the concluding episode of the rotating North Gallery 20th anniversary exhibitions, Corbett vs. Dempsey presents Diane Simpson.
The installation consists of a single work by sculptor Diane Simpson that was commissioned by the group Every House Has a Door for their recent performance Crystal Pantomime. An illuminated sculpture that was the central set piece for the performance, which was inspired by the artist and writer Mina Loy, in this gallery context it takes on a different set of connotations, its beautiful modern design and subtle glow perhaps a hopeful beacon or meditative offering, a light at the end of the proverbial tunnel.
Image: Diane Simpson, Lamp for Mina Loy, 2024, corrugated plastic, steel, paint, screws, 42 x 40 x 19 inches.
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Publisher's Synopsis:
The first full-career survey of the idiosyncratic life and work of Ray Johnson, a collagist, performance artist, and pioneer of mail art.
Ray Johnson (1927-1995), a.k.a. “New York's most famous unknown artist,” was notorious for the elaborate games he played with the institutions of the art world, soliciting their attention even as he rejected their invitations. In A Book about Ray, Ellen Levy offers a comprehensive study of the artist who turned the business of career-making into a tongue-in-cheek performance, tracing his artistic development from his arrival at Black Mountain College in 1945 to his death in 1995. Levy describes Johnson's practice as one that was constantly shifting—whether in tone, in its address to potential audiences, or among three primary artistic modes: collage, performance, and correspondence art.
A Book about Ray takes an elliptical path, circling around rather than trying to arrest in flight the elusive artist and his purposefully ephemeral art. By crafting the book in this way, Levy evokes Ray Johnson's art in the moment of its making and draws readers into the artist's world, while making them feel, from the beginning, that they somehow already know their way around that world. In exploring Johnson's scene, readers will also encounter the artists who influenced him, like Joseph Cornell and Marcel Duchamp, and his friends and peers like Jasper Johns, Allan Kaprow, Robert Rauschenberg, and Andy Warhol. The work of such figures will look forever different in light of Johnson's subversive take on their shared aesthetic.
Suitable for readers both new to Ray Johnson and those already familiar with his work, A Book about Ray is a complete and vital portrait of an American original.
Image: Ray Johnson, Untitled (Leopardman), 1966, mixed media collage on cardboard panel, 15 x 19 3/4 inches
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William Parker (b. 1952) is one of the masters of creative music. A pivotal figure in the New York improvised music scene since he emerged as one of its most active double bassists in the 1970s, Parker came to prominence in various ensembles led by pianist Cecil Taylor; in the last five decades, he has worked with virtually every player in improvised music and he has led his own bands, including Little Huey Creative Music Orchestra and In Order to Survive. A powerful and original bass player, Parker has also dedicated himself to an assortment of other instruments, including various flutes and plucked instruments, such as the West African kora and doussn'gouni. Parker is a hugely generous figure who works tirelessly as a mentor and spark plug for innovative music. He will be in Chicago to perform at the yearly Winter Solstice Evening Concerts with percussionists Michael Zerang and Hamid Drake at Links Hall on December 21 and 22. At CvsD, he will play solo followed by a conversation with John Corbett.
William Parker. Photo by Peter Gannushkin.
North Gallery
In Nothing Is, organized by John Corbett and Albert Oehlen for the JUBG in Köln and Corbett vs. Dempsey in Chicago, a wide range of contemporary artists from varying locations and backgrounds is invited to make their own handmade record covers for specific Sun Ra LPs, whether actual or fictional. The show takes its title from a Ra poem (itself reprinted on the ESP LP called Nothing Is):
At first nothing is;
Then nothing transforms itself to be air
Sometimes the air transforms itself to be water;
And the water becomes rain and falls to earth;
Then again, the air through friction becomes fire.
So the nothing and the air and the water
And the fire are really the same---
Upon different degrees.
The artists in Nothing Is are invited to make nothing into something, to imagine a Ra cover that never existed, perhaps invent a whole record that was never produced. In other words, to participate in what Ra called Myth-Science. Ra insisted that Black Americans had special powers of self-invention. They were charged with making their newly crafted myths personal and current, while reaching back into the collective past. The creation of new truths and fresh explanations; the overthrow and subversion of the realm of myth-making; the narrative turn from his-story to history. This is in keeping with Ra’s hands-on methodology, which was self-generative, right down to his name, identity, life-story, music, poetry, stage concept, band-leadership style, lifestyle, philosophy of life, and plan for planet earth. Taking a simple unified starting point – a 12-inch square surface – the exhibition invites the artists to embrace the Nothing Is paradox, asserting that nothingness is itself a form of being and something that never happened might nevertheless exist.
Exhibiting Artists:
Rosa Barba, Ellen Berkenblit, Tim Berresheim, Jens-Uwe Beyer, Andreas Breunig, Mark Booth, André Butzer, Brian Calvin, Luke Calzonetti, Aaron Curry, Lutz Driessen, Hedwig Eberle, Michaela Eichwald, Peter Fengler, Christina Forrer and Caroline Thomas, Kim Gordon, Magalie Guérin, Trenton Doyle Hancock, Philip Hanson, Rachel Harrison, John Harten, Kim Hiorthøy, Andy Hope 1930, Richard Hull, Marcus Jahmal, Cameron Jamie, Sven-Ake Johansson, Jutta Koether, Felix Kubin, Cary Lauren, Jinn Bronwen Lee, Damon Locks, Lasse Marhaug, Chris Martin, Stefan Marx, Paul McCarthy, Josiah McElheny, Roscoe Mitchell, Jason Moran, Rebecca Morris, Stefan Müller, Albert Oehlen, Markus Oehlen, Adam Pendleton, Richard Prince, Cornelius Quabeck, Celeste Rapone, Daniel Richter, Allen Ruppersberg, Ed Ruscha, Matthias Schaufler, Emil Schult, Lui Shtini, Amy Sillman, Cauleen Smith, John Sparagana, Ricky Swallow, Günter Tuzina, Dennis Tyfus, Omar Velázquez, Wolfgang Voigt, Rebecca Warren / FUEL, Christopher Williams, Terry Winters, Toby Ziegler, Molly Zuckerman-Hartung.
Top, from left: André Butzer, Molly Zuckerman-Hartung, Paul McCarthy, Toby Ziegler; Middle, from left: Rosa Barba, Trenton Doyle Hancock, Ellen Berkenblit, Rachel Harrison; Bottom, from left: Ricky Swallow, Magalie Guérin, Emil Schult, Andy Hope 1930.
Starting in the 1960s, extraterrestrial-American musician, composer, and thinker Sun Ra and his band the Arkestra began decorating their own record covers. Partially as an economical way to make small batches of LPs for sale at their concerts, and partly as a continuation of their pioneering DIY activity with their artist-run record label Saturn Records, Ra and his cohorts would gather together, using colored pens, pencils, paints, and collage to design unique jackets for their albums, offering them to the audience from the edge of the stage at the set break or after the show. The rarest of these used fragments of shower curtains from the legendary Sun Ra house in Germantown, Pennsylvania, in their elaborate collaged designs. These covers are of course now prized fetish objects. Many of them were compiled in the book Sun Ra: Art on Saturn: The Album Cover Art of Sun Ra’s Saturn Label (Fantagraphics, 2022), which situated the handmade covers in context with their more commercially (however still small-batch) produced, offset-printed counterparts.
Created in 2000, A Little Thought is Canadian conceptual polymath Rodney Graham's atypical single-channel piece, a music video for a song written and performed by the artist, featuring bucolic scenes of cherry blossoms and paddling swans intercut with images of a guitar lovingly caressed by a pink fur puff.
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In this exhibition, German-born artist Albert Oehlen presents three monumental pieces on shaped aluminum. With enamel paint marks applied directly to the raw substates, which are cut into “omega” shapes similar to those of some newer Oehlen works, these 12-foot-tall, 15-foot-wide metal paintings come equipped with sonic transducers on each of their four adjacent panels. When amplified, the paintings act as de facto speakers and project sound vibrations into the room. Oehlen invited Kim Gordon to make soundtracks for the works. She developed these sound recordings in direct material relationship with the paintings, using the transduced metal plates as amplifiers for her electric guitar. Rather than simply making these sounds for the paintings, she made the sounds on them. Gordon’s bracing improvisations, lasting around 8-minutes each, explore a wide range of colors, from chords, drone, and feedback to electrical noises made with the unplugged guitar cord. The works play intermittently, erupting energetically, then relaxing into silence, their metal forms and the gestural lines inscribed on them supercharged by Gordon’s music. In addition to these three works made collaboratively by the two artists, the exhibition presents a new canvas by Oehlen and a group of small, vibrant paintings by Gordon.
Based between Switzerland, Berlin, Spain, and Los Angeles, Albert Oehlen (b. 1954) is one of the most widely-celebrated contemporary artists. His work has adopted and invented numerous approaches to painting and more recently sculpture. In the last few years, Oehlen has also been writing and directing full-length feature films, including Painter, Bad Painter (featuring Kim Gordon in an acting role), and Yellow. His work has been exhibited in institutions around the world, including recent solo shows at Kunsthalle Hamburg, Germany (2024), Espace Louis Vuitton Beijing, China (2024), Friedrichs Foundation, Weidingen, Germany (2023), and Serpentine Galleries, London, UK (2019).
Kim Gordon (b. 1953) is a musician and visual artist based in Los Angeles. Her latest record, The Collective (2024), was met with widespread critical acclaim and received two Grammy nominations. She has been the subject of a recent solo exhibition at 303 Gallery, New York, and is currently in shows at gnration, Braga, Portugal and Efraín López, New York. Gordon is half of Body/Head and was a founding member of the band Sonic Youth.
Image: Albert Oehlen and Kim Gordon, Omega #1, 2023, enamel on aluminum with sound equipment, 144 x 191 inches. Photo: Robert Chase Heishman.
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Free Music Production: FMP: The Living Music (Wolke, 2022).
Müller will focus on the specific FMP/Chicago relationship, exemplified by Peter Brötzmann’s commitment to the city and John Corbett’s numerous activities beginning in the 1990s. Furthermore he will contextualize the remarkable recent focus on the label and various musicians FMP worked with, including the appearance of books on Hans Reichel, Cecil Taylor, and Peter Brötzmann that were published in the last two years.
Müller inherited FMP from Jost Gebers in 2024 and will also sketch his future plans for the imminent reawakening of the label in the course of this year.
Image: Markus Müller at Café OTO. Photo by Cristina Marx (2024).
Corbett vs. Dempsey is pleased to present Arch Connelly: The Future Reflected, Wallworks 1981–1991.
This is the first solo exhibition of Connelly's work in Chicago and his first gallery show since his death.
Born in Chicago, Arch Connelly (1950-1993) attended graduate school at Southern Illinois University (SIU), in Carbondale, Illinois, where he majored in ceramics. In the mid 1970s, Connelly lived in San Francisco, where he was associated with the gay performance troupe Angels of Light, together with fellow artist Martin Wong, and designed sets for the Cockettes. Settling in New York in 1980, Connelly quickly became an important new figure on the East Village art scene, starting with a solo exhibition at Artists Space and continuing with four solo shows at the legendary Fun Gallery, among other venues including White Columns, Holly Solomon Gallery, and Castelli Graphics. Connelly charted a very personal terrain in his work, using faux pearls, silk, sequins, glitter, and shattered eggshells to create what Rene Ricard called \"space age surrealism,\" a sort of alchemical admixture of materials and images, embracing kitschy opulence by raising it to a new altitude and forcing it into a complex new identity. \"Connelly pushes this decadence just one step further,\" wrote artist Jeff Perrone. \"Where formal rigor turns dark, into an area where the bubbly takes an ominous tinge, into the arena of fin-du-siecle stage setting, blatantly theatrical, paintings like heavy velvet curtains ready to part, waiting for action to begin.\"
Decades ahead of his time, exploring an explicitly queer aesthetic in a manner that could easily be mistaken for something made today, Connelly made oval and circular smiley-face canvases as well as gay porn collages, all constructed out of fabulously shimmering and cheaply obtained materials. With a career on the rise, one of Connelly's porn collages graced the cover of the November 1991 issue of Artforum. Tragically, he died of AIDS less than two years later, at age 43. Although he has been seen in recent group exhibitions at the Whitney Museum of American Art and the Art Institute of Chicago, as well as being the subject of an in-depth survey at SIU last year, this is the first solo exhibition of Arch Connelly's work in the city of his birth and the first commercial gallery presentation to showcase his artwork since his untimely passing, spotlighting rare collages and major works on canvas, focused specifically on his wall-hanging compositions.
Image: Arch Connelly, The Future Reflected, 1984, acrylic, plastic jewels, pearls on silk moire, 40 x 40 inches. Photo by Travis Roozee.
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In the North Gallery, Corbett vs. Dempsey is delighted to present Circle Chat, an exhibition of new paintings by Mike Cloud. This is the gallery's first show with the artist.
Mike Cloud (b. 1974) is a Chicago-based artist whose complex and vibrant paintings often utilize conventional support materials organized in unconventional ways. Stretcher bars, normally brought together at perpendicular angles, are instead conjoined into star or diamond shapes, one sometimes crossing in front of another like a highway offramp; canvas may be affixed to the front of the bar, rather than stretched around it, and thin strips of canvas might cross the field like streamers or banners. Are Cloud's paintings abstract? This is a complicated question to address. Are they representational? Yes, they represent specific and concrete things in the world – people, places, objects. Do they represent these things through visual likeness? Not so much. Instead, Cloud invokes other forms of semiosis, producing meanings through a variety of means – written language, linguistic permutations, website urls, hieroglyphs, pictograms, and other symbolic imagery such as hand-birds. Again, are they abstract? Yes, Cloud's paintings are abstract in the sense that they condense vast amounts of information into a limited space. In the new works presented in Circle Chat, Cloud has included two canvases that utilize hinges to fold into floor sculptures, one hinged horizontally like a construction site sign (\"Oyster Oil\"), the other hinged vertically, sitting on the floor like a scrim (\"Kingdom of Luang Phrabang\"). Highly specific, yet mysterious and spring-loaded, these virtuosic, operatic works are ultimately meditations on the fundaments of painting – color, facture, form, speed – and the relationship between the act of interpretation and being in the world.
Mike Cloud's solo exhibitions include: Thomas Erben Gallery, NY (2014, 2019, 2024); The Reva and David Logan Center for the Arts, Chicago, IL (2017); Max Protetch Gallery, NY (2008); MoMA PS1, NY (2005). His work has been included in group exhibitions such as Good Weather, Chicago, IL; the American Academy of Arts in Letters, NYC, NY; the Studio Museum in Harlem, NY; Danubiana Meulensteen Art Museum, Slovak Republic; White Columns, NYC, NY; Honor Fraser Gallery, CA; Ceysson & Bénétière, NYC, NY; Green Gallery, Milwaukee, WI; Good Children Gallery, LA; Marianne Boesky Gallery, NY; White Columns, NY; Max Protetch, NY; Apexart, NYC.
Image: Mike Cloud, Shoemaker Levy, 2025, oil on canvas, 55 x 60 x 3 inches.
Dutch sound artist Jaap Blonk will celebrate the release of his new CD on CvsD with a special solo performance in Chicago. Corbett vs. Dempsey is delighted to present Jaap Blonk, Ursonate, featuring the complete text-sound work by artist Kurt Schwitters. Blonk first recorded the canonical Dada poetry piece in 1986, released as an LP on BVHAAST, Willem Breuker's label. He has returned to the work multiple times over the ensuing decades, and this incredible new recording shows his deepening understanding of the pioneering work.
Image: Jaap Blonk, photo by Etang Chen (2015)
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Corbett vs. Dempsey will have extended hours at their two solo exhibitions by Arch Connelly and Mike Cloud. The Future Reflected, Wallworks 1981–1991 is the first solo exhibition of Arch Connelly's (1950–1993) work in Chicago, the city of his birth, and the first commercial gallery presentation to showcase his artwork since his untimely passing. Circle Chat is an exhibition of new paintings by Mike Cloud. The Chicago-based artist's complex and vibrant paintings often utilize conventional support materials organized in unconventional ways.
","type":null,"state":"published","slug":"expo-art-after-hours-2025","created_at":"2025-04-22 18:29:47.996","updated_at":"2025-04-22 18:29:47.996","excerpt":"","is_timeless":true,"organization_id":57,"highlighted":false,"opening_starts_at":"2025-04-25 17:00:00","opening_ends_at":"2025-04-25 20:00:00","searchable":"'00':9B '00pm':11B '1950':45B '1981':34B '1991':35B '1993':46B '2025':5A '5':8B '8':10B 'arch':25B,42B 'art':2A 'artist':84B 'artwork':64B 'base':83B 'birth':54B 'chat':70B 'chicago':49B,82B 'chicago-bas':81B 'circl':69B 'citi':51B 'cloud':29B,79B 'commerci':58B 'complex':86B 'connelli':26B,43B 'convent':92B 'corbett':12B 'dempsey':14B 'exhibit':23B,40B,73B 'expo':1A 'extend':6B,17B 'first':38B,57B 'futur':31B 'galleri':59B 'hour':4A,7B,18B 'materi':94B 'mike':28B,78B 'new':75B 'often':90B 'organ':95B 'paint':76B,89B 'pass':68B 'present':60B 'reflect':32B 'showcas':62B 'sinc':65B 'solo':22B,39B 'support':93B 'two':21B 'unconvent':97B 'untim':67B 'util':91B 'vibrant':88B 'vs':13B 'wallwork':33B 'way':98B 'work':47B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1745346581/iqikol0gjyiwqgz8c1ak.jpg","calendar":null,"carousel":false,"category_name":"Special Event or Closing Reception"},{"id":20255,"title":"Tony Tasset: Blow, winds, and crack your cheeks!","starts_at":"2025-05-02 00:00:00","ends_at":"2025-06-07 00:00:00","body":"Corbett vs. Dempsey is pleased to present Blow, winds, and crack your cheeks!, an exhibition of new works by Tony Tasset. This is the artist's first show with CvsD. The centerpiece of the exhibition is \"Brick Barrow,\" a new sculpture in bronze patinated to an incredible lifelikeness, but just out of scale, magnified to a point of being eerily more than real, perhaps unreal. Another 3-D work, a cast aluminum eagle, finds the national bird taking on an expressionistic but slightly defeated mien. On the perimeter of the South Gallery hang Tasset's new paintings, a spectrum of monochromatic canvases distressed in spots, sometimes to the point of having ragged holes. Perched like a putty eagle somewhere between the elegant and the pathetic, these works are augmented by a new video work, \"My Lear,\" produced by and co-directed with Jennifer Reeder, enjoying its world debut in the North Gallery space, featuring the artist performing a Shakespeare monologue in his studio.
Tony Tasset (b. 1960, Cincinnati, OH) lives and works in Sawyer, Michigan. Major exhibitions of Tasset's work include Front International: Cleveland Triennial For Contemporary Art; 2014 Whitney Biennial, curated by Michelle Grabner; Tony Tasset: As It Is, Contemporary Arts Center, Cincinnati; MCA DNA: Chicago Conceptual Abstraction, 1986-1995, Museum of Contemporary Art, Chicago; This Will Have Been: Art, Love & Politics in the 1980’s, curated by Helen Molesworth, ICA, Boston; Life During Wartime, Walker Art Center; and Unnatural Rubber, Andy Warhol Museum. Tasset’s work is in the permanent collections of the Museum für Moderne Kunste, Frankfurt, Germany; Museum of Contemporary Art, Los Angeles, CA; San Francisco MOMA; Carnegie Museum of Art, Pittsburgh, PA; The Baltimore Museum of Art; Milwaukee Art Museum; Smart Museum of Art, University of Chicago; The Art Institute of Chicago; The Museum Of Contemporary Art Chicago.
Image: Tony Tasset, Brick Barrow, 2025, bronze with patina, 35 x 55 x 74 inches, edition 2/3 + 1 AP.
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May 2 - June 7, 2025
The Vault
Country Style U.S.A. is a 1950s-era Army recruitment ploy masquerading as a country music roundup. Between ads inviting young American men (and women) to enlist, the Nashville-originating TV show presented stars of the day in rare live performances. CvsD is pleased to present a deep dive into this peculiar corner of Americana.
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","type":null,"state":"published","slug":"richard-landry-one-two-three-four","created_at":"2025-07-01 17:22:03.916","updated_at":"2025-07-01 17:22:03.916","excerpt":"","is_timeless":true,"organization_id":57,"highlighted":true,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':7B 'begin':43B 'consid':36B 'coordin':23B 'drummer':44B 'ear':22B 'exercis':41B 'eye':21B 'eye-ear':20B 'film':14B 'four':6A 'game':18B 'hand':32B,40B 'imaginari':39B 'landri':2A,11B,35B 'light':34B 'movement':38B 'musician':9B 'one':3A 'play':15B,25B 'rhythm':30B 'richard':1A,10B 'short':13B 'sonic':29B 'three':5A 'two':4A 'use':31B 'visual':27B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1751390463/tt2bhssx41akqw6zdqrl.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":21267,"title":"Nuth'n to Hyde: Gertrude Abercrombie and the Hyde Park Ethos, 1935–1975","starts_at":"2025-06-20 10:50:00.436","ends_at":"2025-08-02 10:50:00.437","body":"Although its placement in the annals of art history has been linked to exhibitions there in the latter half of the 1960s, the Chicago neighborhood of Hyde Park had been an enclave for artistic activity starting decades earlier. This focused group show gently decenters the Hyde Park mythology, configuring the Imagist shows at the Hyde Park Art Center as a continuation of the neighborhood’s longstanding bohemianism and experimentation.
At the center of the exhibition sits painter Gertrude Abercrombie, whose recent “discovery” and meteoric ascent in the contemporary art world, fifty years after her death, has come as a surprise to her many admirers in Chicago. Spotlighting an important canvas first unveiled in 1945 at the Renaissance Society (also located in Hyde Park) and a tiny self-portrait in a thrift store frame, the show presents never-seen portraits of Abercrombie by Karl Priebe and Ceil Rosenberg.
The exhibition features work by Eleanor Coen and Max Kahn, whose printmaking activities were based in the south side neighborhood in the 1930s and ’40s, as well as fellow Hyde Parker Miyoko Ito, represented by an early canvas, and a “binocular” painting by Harold Haydon, an artist and critic closely associated with the University of Chicago. One of the most beloved and colorful artists of Hyde Park, Cosmo Campoli is present with his signal 1950s bronze “Birth of Death.” Don Baum, like Campoli, was associated early on with the Monster Roster; as director of the Hyde Park Art Center, Baum went on to help facilitate the Hairy Who, False Image, and Non-Plussed Some Imagist shows, and is included in “Nuth’n to Hyde” with two pieces from the 1960s, one of which is an assemblage portrait of collector and Hyde Park social maven Ruth Horwich. From the Imagist camp, the show presents works by Karl Wirsum (the elaborate flyer from which comes the show’s title, together with its original sketch), a piece by Jim Falconer shown in the third Hairy Who exhibition, replete with its original price tag, and a sensational Jim Nutt painting from the mid 1970s.
Image: Karl Wirsum, Untitled (We Got Nuth’n to Hyde), 1974, ballpoint pen, and colored pencil on notebook paper, 17 x 13 1/2 inches, signature in graphite on the bottom.
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If our present moment is, as Rosa Barba has postulated, held captive by a particular version of the cinematic, one that we deploy unquestioningly with screens and projections of every imaginable scale, how can an artist critique and interrogate those by now thoroughly internalized mechanisms of viewing? Over the course of two decades, Barba has sought to rewire the cinematic stranglehold on our collective phenomenological reality. Both in the content of her films and in her inventive deconstruction of the cinematic apparatus, the Italian-born, Berlin-based artist has created an extensive oeuvre of free-standing and wall-hanging works, as well as movies, music, writings, performances, and installations that deeply question cinema’s construction of time, space, and perspective and subvert the way it has been subtly substituted for the popular unconscious. Poised Compression is the first gallery exhibition to follow (with a short cross-fade) Barba’s highly lauded solo show at New York’s Museum of Modern Art, The Ocean of One’s Pause, which surveyed fifteen years of her work and included performances and screenings, as well as an installation of the work in MoMA’s permanent collection.
CvsD’s presentation includes one pivotal work that also appears in MoMA’s show, her 2009 sculpture “One Way Out,” which conceives of a film projector as a mysterious kind of feeder, spooling celluloid up into and back out from a swath of HVAC tubing, which amplifies the sound of the film as it bounces against the metal edges; over time, the film’s image, which is simultaneously being projected against a wall, acquires scratches made during the continuous action of its being sucked up into the pipe. The show includes two other kinetic sculptural works. “Color Clocks: Verticals Lean Occasionally Consistently Away from Viewpoints” (2012) consists of three towers with open housings each containing red, yellow, or blue 35mm film strips imprinted with letters spelling the colors they represent, which slide through a mechanical set of rollers in an infinite loop. The exhibition’s title work, “Poised Compression” (2023) is a wall-hanging, glazed metal box in which three spools rotate continuously, spinning strips of 35mm film in an ever-shifting pattern of lines, a kind of perpetual drawing machine. The exhibition also includes two still pieces, “Weavers” (2023), framed wall-works consisting of woven red and milky white 16mm film as an abstract painting, a ductile reclamation of cinema’s basic means of production.
Rosa Barba (b. 1972, Agrigente, Italy) lives and works in Berlin. She studied at the Academy of Media Arts Cologne, the Rijksakademie van Beeldende Kunsten, Amsterdam, and the Malmö Art Academy, Lund University, where she completed her PhD in 2018. Recent and upcoming solo institutional exhibitions include the Calouste Gulbenkian Museum, Lisbon (2026, upcoming); MAXXI, Rome (2025, upcoming); Museum of Modern Art, New York (2025); MALI, Lima (2024); Boijmans Museum, Rotterdam (2024); Centre Pompidou, Paris (2023); Tate Modern, London (2023); and Perth Institute of Contemporary Arts, Perth, Australia (2023). Her work is held in numerous collections internationally, such as the Museum of Modern Art, New York; Philadelphia Museum of Art; Walker Art Center, Minneapolis; Centre Pompidou, Paris; Staatliche Museen zu Berlin, Neue Nationalgalerie, Berlin; Tate Modern, London; Museo Nacional Centro de Arte Reina Sofía, Madrid; among many others.
Image: Rosa Barba, Poised Compression, 2023, steel, glass, motors, 35 mm film, aluminum, 51 1/8 x 43 1/4 x 4 3/4 inches (130 x 110 x 12 cm), edition #2/7 (unique in a series of 7 variations + 2 AP).
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Rempis and Daisy will perform a set of improvised duets.
Since his days as a member of the Vandermark 5, starting 25 years ago, Dave Rempis has been a continuous force on Chicago's improvised music scene. After decades of hard work and personal development, including an essential 20+ year term at the helm of Elastic Arts Foundation, his scope of influence is now international, with a vast network of collaborators and admirers. Rempis runs his own very focused label, Aerophonic Records, dedicated to thoughtful documentation of many of his efforts. These include several with drummer Tim Daisy, who is equally central to the Windy City free music ethos and who also operates a musician-run label, Relay Recordings. Daisy and Rempis worked together in the Vandermark 5, and in 2005 they issued their first duo CD, Back to the Circle (Okka Disk); since then they've released two more, Second Spring and Dodecahedron (2014 and 2018, respectively, both on Aerophonic). As stalwart members of their generation of Chicago musicians, they have nurtured a deep and playful musical relationship, which allows them to take greater risks and plumb the depths of their collective music. Come hear this installation of their ongoing dialogue for drums and horns.
Artist, curator, and impresario Don Baum (1922-2008) was a fixture in Chicago starting in the 1950s. Initially affiliated with the artists known as the Monster Roster – Leon Golub, Ted Halkin, Cosmo Campoli, Dominick Di Meo, Seymour Rosofsky – Baum assumed the role of Chairman of Exhibitions at the Hyde Park Art Center in the south side neighborhood in 1956, and he oversaw and helped curate HPAC's activities into the 1970s.
Founded in 1939, HPAC was one of several important art sites in Hyde Park, including the Renaissance Society and the 57th Street Art Colony. Painter Gertrude Abercrombie (1909-1977), who would become one of Baum's closest compatriots, lived in the 57th Street Art Colony early in her career, bumping elbows with other WPA-era artists like Emil Armin, Charles Biesel, and Frances Strain, all of whom, including Abercrombie, participated in the very first show at HPAC. At an early stage, Harold Haydon, an artist and critic who taught at the University of Chicago, was HPAC's exhibition director, but once Baum took the helm things began to shift from a more conventional regional art center to the explosive Imagist brooder that HPAC would become.
Working with artists Jim Nutt and Jim Falconer, Baum helped assemble small group shows, starting with the Hairy Who, with multiple exhibitions spotlighting their iconoclastic new work. In the exhibition Nuth'n to Hyde, CvsD has brought the two epochs of Hyde Park together again, featuring works by Abercrombie (including a wonderful canvas in her Countess Nerona series that was unveiled at the Renaissance Society in 1945), Haydon, and Campoli alongside artists who emerged in the '60s including Nutt, Falconer, and Karl Wirsum. In the middle, as a bridge, the man who facilitated the Imagists and was executor of the Gertrude Abercrombie estate, Don Baum occupies a position of great significance, the kind that he demanded when he curated the show Don Baum Sez: \"Chicago Needs Famous Artists\" at the Museum of Contemporary Art in 1969.
In this rare conversation, Don Baum's son Charlie Baum sits with John Corbett to discuss his father's legacy, revealing little known facts about Don's relationship with Gertrude Abercrombie, his work as a painter and sculptor, and his efforts to build and maintain HPAC.
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Based in Chicago, Nick Drnaso is best known as a graphic novelist. He has just finished work on his fourth book, which, like the other three, will be published on the illustrious Drawn and Quarterly press. Drnaso’s second book, Sabrina (2018), is the only graphic novel to have been nominated for a Man Booker Prize; his first offering was awarded the Los Angeles Times prize for Best Graphic Novel. Parallel to and intersecting with his graphic novel work, Drnaso maintains an active painting practice. Using back-painting on glass and plexiglass, a technique he has in common with several Chicago Imagist artists, Drnaso has created a series of portraits, highly graphic and also deeply enigmatic, often in a shadow-box format. His most recent series, which will be shown complete in this exhibition, features figureless environments, haunted suburban and urban landscapes with ghostly skies, sometimes surrounded by glyph-like borders. Like his novels, Drnaso’s paintings beg more questions than they answer, their characters and situations as mysterious as they are beautifully and meticulously rendered.
Corbett vs. Dempsey presents Aaron Curry, Raw Dog, an exhibition of new sculptures, paintings, and collages. This is the gallery's first exhibition with Curry, and the artist's first solo show in Chicago.
Aaron Curry (b. 1972) has charted a unique space for his work between the most sub-underground mania of the American pulp grotesque (think comix culture and the surreal side of sleazy commercialism) and the most refined formal elements of European high modernism (think Arp, Miro, Picasso). Based primarily in floor sculpture, his practice moves wildly between mediums, attaching to the walls (paintings, 3-D hanging boxes, collages), spreading into print (books, magazines, newsprint), as well as music and video.
An avid historian of offbeat cultural materials, he synthesizes these points of reference in works that are often awash in dizzyingly clashing colors, hyperactive Matta-esque motion, and an ingenuity of construction that is as beautiful as it can be baffling. In Raw Dog, Curry introduces a new component to his wood sculptures, which is to leave them largely unpainted, allowing the natural grain of the material, its whorls and knots and eyes, to carry that sense of flow. Occasional flashes of hot pink, turquoise, and grape purple complement the tanscapes on several boxes and flatworks, while two human-scale sculptures are resolutely wooden, with cut away holes and curvilinear forms dancing with the wood's own patterns, the whole work suggesting a figure, cock's comb perched atop. One large painting compresses all the color that might have been in the other works into a single, atomically-charged abstract canvas.
Although this is Curry's first show in Chicago, he is no stranger to the city. He received his BFA from the School of the Art Institute of Chicago before heading to the Art Center in Pasadena for grad school. The Chicago Imagists have remained an important touchstone for Curry in his work, in particular Karl Wirsum. Curry is exhibited widely internationally, with recent shows at Michael Werner Gallery (NYC), David Kordansky (Los Angeles), The Ranch (East Hampton, NY), McNay Art Museum (San Antonio, TX), STPI Creative Workshop and Gallery (Singapore), the Bass Museum of Art (Miami), and the deCordova Sculpture Park and Museum (Lincoln, MA).
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Collin Moody/vom Boden Wine Tasting
The afternoon's festivities will be underpinned by a selection of fine wines from importer vom Boden, presented by our intrepid oenophile guide, Collin Moody.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1758054910/yz6kgicrfibc6ztyev7z.jpg\")
2:00pm
John Irabagon Plays Braxton & Hemphill
Phenomenal creative music saxophonist Jon Irabagon, Chicago's prodigal son who made his name in New York in the 2000s and moved back to town recently, who has worked with everyone from Mary Halvorson and Dave Douglas to Herbie Hancock and Lou Reed, will perform a unique program on bass saxophone, featuring compositions by Anthony Braxton and Julius Hemphill.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1758054619/fhupgpz77zwhdimq4s6f.jpg\")
3:00pm
3-D Doings Book Launch Featuring Ian Berry, John Corbett, and Jim Dempsey
Six years and every bit worth the wait, the giant catalog for 3-D Doings: The Imagist Object in Chicago Art, a 2019 exhibition at the Tang Teaching Museum in Saratoga Springs, New York, curated by Tang director Ian Berry and CvsD's Corbett and Dempsey. The book, which is bursting with color, interviews with living Imagists, and a cover sporting actual tufts of hair (!), will be on hand as the curators discuss the concept of the show and the artists in the book. A wonderful synchronicity with the current CvsD exhibitions, Aaron Curry and Nick Drnaso, both of whom are presenting work in the 3-D Doings lineage.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1758054742/yf13gs8hm9nwizgnit8m.jpg\")
Marshall Allen, 99, Astronaut is centered around Marshall Allen, world renowned free and avant-garde jazz musician and current leader of the legendary Sun Ra Arkestra, of which he has been a continual member since 1958. Ari Benjamin Meyers composed two original scores for Allen to interpret, inviting him to engage, through music, in an intimate conversation about the spontaneity of music-making, the rigors of rehearsal, and the potentiality of collaboration. On the brink of his one hundredth birthday, he interprets Meyers’ composition on the alto saxophone, and turns the occasional memory lapse into prompts for improvisation, exposing both his frail age and his brilliant virtuosity.
Telling a musical and visual story of transformation from the earthly to the otherworldly, the work transcends temporality and place and pays homage both to Allen’s century-long life lived through music and to Sun Ra’s revolutionary musical vision and utopian politics, which saw in the unknown of sonic experimentation and the vastness of the universe the possibility of a transformed present and radically different future.
–Text courtesy Esther Schipper Berlin and Fondazione In Between Art Film
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In the domain of linguistics known as speech act theory, language is considered more than just a conveyor of information, it is an action. Speech not only says, it does. So, too, with the forms and textures and colors of Guérin's work. Known initially as a painter, the Marfa, Texas-based artist has been making 3-D work avidly since the start of the pandemic, and this fresh group of tabletop sculptures finds her pushing the limits on morphological invention, introducing new shapes into her vast vocabulary. These pieces are segmented, often with a totemic composition – juxtaposed parts are stacked together and resolve in impossible seeming ways, all within the space of a 12-inch tower. Varying textures are emphasized with different glazes, applied with a painter's hand and eye. Passing references to figures or vessels or creatures or landscapes may appear, but these are equally offset by an overall sense of abstract delight, the surfaces a joy and a mystery, the flashes of bright color intimating something possibly naughty, the crevices and buttes a juicy question mark. Guérin's formal ingenuity allows these talismans a kind of transformative mojo that might spur us to coin \"shape act theory\" as a new art historical domain. As a 2-D point of comparison with her ceramics, Guérin has chosen to show a suite of drawings made during a 2021 summer ceramic residency at the University of Arkansas.These drawings for Guérin were a playful daily practice done as a way to discover shapes without the pressure of gravity, resulting in vividly colored marker works, hovering like a paper flock of imagined kinfolk for the dimensional works.
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Benning presented Shared Eye at the Renaissance Society in 2016, and they lived in Chicago for an extensive period, during which their work as a video artist gained international recognition. This show introduces a new body of work in watercolor made daily during the pandemic, each painting based on Benning's preparatory collages. This routine image-making practice grew into a series of chronologically sequenced works, all of them modest in scale but packing an immense amount of emotion and visual complexity into its diminutive frame. The title work of the show consists of 31 of these miraculous Covid microcosms.
SADIE BENNING:
I started making watercolors during the Covid lockdown in July of 2020. What first began as experiments became Daily Forecasts. The idea was to make a portrait of the day—to take the temperature of that particular moment, and have a record. The process involved clearing my mind—trying to get a psychic read of the day I was inhabiting—and writing down words that came to me—words I wasn’t logically thinking—language that came from somewhere else. And then I would search online using those words—creating a database of found digital images, the source material being anything from a family snapshot to a news photograph to a press image.
I made mock ups—many trial collages from these photographic images before settling on one, then painting the image using watercolors on paper. All works are intimate, postcard or paperback book sized, appealing to analogue senses while being informed by technology and the internet.
I used my intuition to create these works—but I’m also invoking the intuition of the viewer—I’m inviting that. I think it’s political to have an intuition—to listen to yourself—and also to listen to others—what others are feeling or thinking—and what’s happening around you—and what might happen in the future if you don't pay attention, if you don't listen.
All images and all art contains a subconscious space—and you can alwaysinuit it and feel it and interpret it. But what I’m doing is bringing that concept to the surface—visually. The words which prompted each painting disappear into the work but they do also persist in some way—wordlessly, the ghost of them remains legible.
There’s honestly a little bit of irony in the idea of trying to capture a day. A day is porous, its liquid, it’s slipping away. And if you think about the whole planet—the “day” has multiple time zones and it’s inhabited by so many experiences. I can't capture that. And the day is based on a calendar which is centered around work and capitalism—and not about a subconscious time space. And so I’m not attempting to depict the day for the whole world, it's fragments within fragments—it's trippy and it's one read. It's a portion—even the scale of these paintings reflect that—they are small and cognitive and cropped. They suggest a piece of something much more vast.
Image: Sadie Benning, Daily Forecasts: July 19th - October 14th, 2020, 2020, watercolor on paper, 31 individual works, 6 3/4 x 4 1/4 inches each, signed and dated on verso.
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\\
In the domain of linguistics known as speech act theory, language is considered more than just a conveyor of information, it is an action. Speech not only says, it does. So, too, with the forms and textures and colors of Guérin's work. Known initially as a painter, the Marfa, Texas-based artist has been making 3-D work avidly since the start of the pandemic, and this fresh group of tabletop sculptures finds her pushing the limits on morphological invention, introducing new shapes into her vast vocabulary. These pieces are segmented, often with a totemic composition – juxtaposed parts are stacked together and resolve in impossible seeming ways, all within the space of a 12-inch tower. Varying textures are emphasized with different glazes, applied with a painter's hand and eye. Passing references to figures or vessels or creatures or landscapes may appear, but these are equally offset by an overall sense of abstract delight, the surfaces a joy and a mystery, the flashes of bright color intimating something possibly naughty, the crevices and buttes a juicy question mark. Guérin's formal ingenuity allows these talismans a kind of transformative mojo that might spur us to coin \"shape act theory\" as a new art historical domain. As a 2-D point of comparison with her ceramics, Guérin has chosen to show a suite of drawings made during a 2021 summer ceramic residency at the University of Arkansas.These drawings for Guérin were a playful daily practice done as a way to discover shapes without the pressure of gravity, resulting in vividly colored marker works, hovering like a paper flock of imagined kinfolk for the dimensional works.
Corbett vs. Dempsey is pleased to welcome Berlin-based artist Ari Benjamin Meyers for a public conversation with John Corbett. Meyers will discuss the film Marshall Allen, 99, Astronaut, currently on view in CvsD's screening room, The Vault, in the context of Meyers' broader practice, which includes installation, performance, and musical compsition, as well as moving image. The film features alto saxophonist Allen, who, two years later, is now 101 years old and who remains at the helm of the Sun Ra Arkestra. Meyers shot the charged 13-minute work in the Arkestra's longtime residence in Germantown, Pennsylvania, outside Philadelphia. As an added treat, a previously unheard rehearsal tape of Ra and Allen from the 1960s will be auditioned.
","type":null,"state":"published","slug":"ari-benjamin-myers-in-conversation","created_at":"2025-11-24 22:51:28.323","updated_at":"2025-11-24 22:51:28.323","excerpt":"","is_timeless":false,"organization_id":57,"highlighted":true,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'101':77B '13':95B '1960s':124B '99':34B 'ad':111B 'allen':33B,70B,121B 'alto':68B 'ari':1A,17B 'arkestra':90B,100B 'artist':16B 'astronaut':35B 'audit':127B 'base':15B 'benjamin':2A,18B 'berlin':14B 'berlin-bas':13B 'broader':51B 'charg':94B 'compsit':59B 'context':48B 'convers':5A,23B 'corbett':6B,26B 'current':36B 'cvsd':40B 'dempsey':8B 'discuss':29B 'featur':67B 'film':31B,66B 'germantown':105B 'helm':85B 'imag':64B 'includ':54B 'instal':55B 'john':25B 'later':74B 'longtim':102B 'marshal':32B 'meyer':19B,27B,50B,91B 'minut':96B 'move':63B 'music':58B 'myer':3A 'old':79B 'outsid':107B 'pennsylvania':106B 'perform':56B 'philadelphia':108B 'pleas':10B 'practic':52B 'previous':114B 'public':22B 'ra':89B,119B 'rehears':116B 'remain':82B 'resid':103B 'room':43B 'saxophonist':69B 'screen':42B 'shot':92B 'sun':88B 'tape':117B 'treat':112B 'two':72B 'unheard':115B 'vault':45B 'view':38B 'vs':7B 'welcom':12B 'well':61B 'work':97B 'year':73B,78B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1764024667/znxnhwurk1oyrmaxcrjd.jpg","calendar":null,"carousel":false,"category_name":"Talks"},{"id":26189,"title":"Ellen Berkenblit: Lines Roar","starts_at":"2026-01-16 00:00:00","ends_at":"2026-02-28 00:00:00","body":"Lines Roar (2018) was created by the artist Ellen Berkenblit in collaboration with directors Mónica Brand and Francisco Lopez of Mogollon (Brooklyn). Intermingling footage recorded by the artist in her studio and home, as well as photographs of her family and others taken by her father, the film gives a glimpse into the intersection of Berkenblit’s life and work, an intimate examination of what drives the artist’s practice. Original Score by Zeena Parkins; Zeena Parkins: Harps/Electronics/Tuning Forks; Ikue Mori: Electronics.
This film was commissioned by The Drawing Center and co-produced by Anton Kern Gallery.
","type":null,"state":"published","slug":"ellen-berkenblit-lines-roar","created_at":"2026-01-14 16:59:18.266","updated_at":"2026-01-14 16:59:18.266","excerpt":"","is_timeless":true,"organization_id":57,"highlighted":false,"opening_starts_at":"2026-01-16 18:00:00","opening_ends_at":"2026-01-16 22:00:00","searchable":"'2018':7B 'anton':100B 'artist':12B,32B,72B 'berkenblit':2A,14B,60B 'brand':20B 'brooklyn':26B 'center':94B 'co':97B 'co-produc':96B 'collabor':16B 'commiss':90B 'creat':9B 'director':18B 'draw':93B 'drive':70B 'electron':86B 'ellen':1A,13B 'examin':67B 'famili':44B 'father':50B 'film':52B,88B 'footag':28B 'fork':83B 'francisco':22B 'galleri':102B 'give':53B 'glimps':55B 'harps/electronics/tuning':82B 'home':37B 'iku':84B 'intermingl':27B 'intersect':58B 'intim':66B 'kern':101B 'life':62B 'line':3A,5B 'lopez':23B 'mogollon':25B 'mori':85B 'mónica':19B 'origin':75B 'other':46B 'parkin':79B,81B 'photograph':41B 'practic':74B 'produc':98B 'record':29B 'roar':4A,6B 'score':76B 'studio':35B 'taken':47B 'well':39B 'work':64B 'zeena':78B,80B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1768409939/tiiofb4qkdfcqeyc0ey2.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":26188,"title":"Lui Shtini: Capo Testa","starts_at":"2026-01-16 00:00:00","ends_at":"2026-02-28 00:00:00","body":"With delight, Corbett vs. Dempsey presents Capo Testa, an exhibition of new sculptures and paintings by Lui Shtini. This is the artist's fourth solo show at CvsD.
Inspired by a cape in Sardinia facing the Strait of Bonifacio, which Shtini has visited many times over the last ten years, Capo Testa is both a continuation and a point of departure. Shaped by sea and time, the cape's boulders have captivated Shtini for years, conjuring imaginary environments populated by their own personnages and producing unique narratives. These scenarios, imbued with a kind of beautiful desolation, have prompted a series of new large-scale paintings, two of which are featured here. These works, fastidiously executed on aluminum, continue Shtini's long-term interest in abstract landscape, but where earlier iterations often dealt with saturated color, here color has been evacuated, emphasizing instead line, volume, and composition, as the artist puts it, \"making the delivery of the whole as a visual expression more immediate.\"
These large, nearly monochromatic grey-and-white paintings compile and document the artist's observations and emotions, and even contemporary events, culling them into stark posthuman snapshots. Shtini explains: \"The compositions aren’t literal depictions of the above but are rather more abstract and open ended. As I am making them, they begin to crystallize as slowly revealed visions. A feeling of urgency pins down these visions in images. The images come together in a fluid and improvisational way, characteristic of my practice.\"As companions to the paintings, which operate in the space almost like stage sets, Shtini introduces a series of figurative, mask-like sculptures fitted to personally-designed metal mounts, either free-standing or wall-hanging. These sculptures, too, emerged from Shtini's engagement with Sardinian landscape and the country's cultural traditions. Composed of cork, a material abundant in Sardinia and central to the island's culture and economy, they start in a rough state and proceed through a lengthy process of observation, alteration, and refinement, during which the persona inherent in the original material reveals itself by means of cutting, carving, sanding, and layering.
Shtini draws on Sardinia's carnival tradition – a pagan celebration deeply rooted in the island's mythology and the interconnectedness of human, animal, and nature. It is important to Shtini, who has always seen cork as a magical material, that these sculptures were created in proximity to the region where the cork used to make them was collected. Working closely with local harvesters to source irregular pieces that match his vision, Shtini has extended the intimate connection between material and place.
Shtini's approach to sculpture mirrors his painting practice through improvisational methods and the use of traditional formats – portraiture, landscape, still life, and now the mask. In Capo Testa, for the first time these two worlds, which occupy different dimensions, collide in a haunting evocation where humanity is merely a trace, but the spaces of narrative persist.
Lui Shtini, #14, 2025, cork, juniper wood, steel, 19 x 13 x 8 1/2 inches.
Corbett vs. Dempsey is thrilled to present Brian Calvin, Maureen Gallace, Diane Simpson, featuring work by each of the three artists. Calvin and Simpson are CvsD artists and have exhibited extensively with the gallery; this is CvsD’s first exhibition with Gallace and her first commercial presentation in Chicago.
Quiet intensity. Methodical investigation. Attention to the meaning of materials, the signifying power of the slightest detail, and the rewards of deep observation and thoughtful consideration. Calvin, Gallace, and Simpson do not make work that looks like one another’s. Simpson is a sculptor; Gallace and Calvin are very distinct painters. But a core crossover connects them: the unwavering dedication to what their work might reveal. One might think of composer Morton Feldman or guitarist John Fahey or painter Giorgio Morandi, all of whom spent their artistic lives digging rather than ranging. Or composer Igor Stravinsky: “The more constraints one imposes, the more one frees oneself of the chains that shackle the spirit.”
The exhibition came together organically. CvsD invited Calvin, who in turn invited two of his favorite artists, one based in Chicago (Simpson), one in New York (Gallace). As the show came together, Calvin’s logic unfolded. Where on first blush his bold, graphically complex portraits might seem distant from Gallace’s sumptuous, softly palleted, gesturally rich landscapes and seascapes, in fact both artists are masters of facture, their sights trained on the riches revealed by a focused practice. Likewise, Simpson has spent five decades unpacking and retooling the way objects meet the eye, with her unique approach to visual perspective and her precise deployment and détournement of commonly available materials.
In Brian Calvin, Maureen Gallace, Diane Simpson, CvsD presents five works by Gallace, three of them immaculate beach scenes on paper and two paintings on board – a diaphanous house portrait in a spectrum of blue hues and a vivid image of flowers seen at close range. Calvin’s contributions include an imposing vanitas tondo in which the circle of the canvas is echoed by a bright pink hand-mirror, portraits with multiple figures sharing facial features, and several modestly scaled works painted on ceramic substrates. Simpson is represented by two classic, free-standing sculptures, both of which utilize fiberboard in the creation of wondrous works inspired by women’s clothing.
Brian Calvin, Another Happy Hour, 2025, acrylic on linen, 27 1/2 x 23 1/2 inches
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As the book jacket explains: \"In Drawing Sculpture, we see Carroll Dunham thinking about sculpture over the course of a year. Spurred by curiosity about the forms that he found himself doodling along the edges of a new group of paintings in 2023, Dunham began drawing fantasies of sculpture as a break from working on the paintings. The eighty drawings collected here offer intimate access to an artist's process, tracing the emergence of a sculptural vocabulary as they explore spatial relationships, materials, and presentation for sculptures that don't exist.\"
Carroll Dunham is an internationally renowned artist, acclaimed as a painter and drawer of exceptional imagination and power. At the end of January, his survey exhibition Carroll Dunham: Drawings 1974-2024 will open at the Art Institute of Chicago. Copies of Drawing Sculpture will be available at the event.
The event is scheduled for Saturday, January 24 at 3pm, and it is free and open to the public.
It will be held at 2156 West Fulton St., Chicago, IL 60622.
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Most widely known for his work in the engine room of the band Wilco, Kotche's excursions in experimental and improvised music have been chronicled on solo records including Introducing (Locust, 2002), Next (Quakebasket, 2002), Mobile (Nonesuch, 2006), and Adventureland (Cantaloupe Music, 2014), working with fellow drummers on So Percussion's Drumkit Quartets and in duets with Tim Barnes, playing composer John Luther Thomas' Illimaq, or collaborating with novelist Karl Ove Knausgård. On his Instagram account, Kotche has demonstrated more than 300 unique rhythmic inventions as part of his marvelous #DrumBeatProject, many of the beats nigh on impossible to play.
At CvsD, Kotche will perform a set of new music for solo percussion.
You say you have Saturday afternoon plans? Clearly time to cancel them.
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Image: Still from Keiichi Tanaami, Red Shade, 2012, digital video, 7 min.
Corbett vs. Dempsey is pleased to present a selection of historical collage works by Robert Nickle. This is the gallery's second exhibition of Nickle's work.
Widely exhibited in his lifetime, Robert Nickle (1919–1980) was one of Chicago's premier abstract artists, his approach remaining uncommonly consistent over the course of more than three decades. With a strong aesthetic connection to certain modernist precursors, especially Kurt Schwitters, and with direct ties to Chicago's New Bauhaus, Nickle constructed his collages painstakingly, over long periods of time, collecting flotsam and jetsam from the street – scraps of paper, discarded labels, weathered bits of carton or packing material – which he assembled into intimate patchworks. Working on a large table, on which dozens of collages were arranged prone, like dissection specimens, Nickle found the perfect pieces for each puzzle. Once finalized, these compact compositions were encased in a signature framing system, notoriously booby-trapped to make future reframing nearly impossible. Each work's verso features a special element – a small circular glazed portal beneath which sits a photograph of the artist on the day the work was consummated, with his signature and the year of completion. Since his death, Nickle's extraordinary contribution to the art of Chicago has rarely been the subject of monographic investigation. In this exhibition, CvsD presents collages from the 1960s and '70s, with two examples presented to display their highly unusual, charmingly personal reverse sides.
Image: Robert Nickle, Untitled, 1966, collage, 13 5/8 x 15 3/4 inches, 22 3/4 x 24 5/8 x 1 1/4 inches, framed, signed and dated verso.
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This is the artist's first exhibition at the gallery. The ground is constantly shifting. A term may stir, awaken, move into another term's nest. Photography dives into sculpture which morphs into assemblage and is then sublated into installation. Givens are unglued. And reglued. Beds are unmade. And tidied. In B. Ingrid Olson's work, which integrates a staggering variety of ideas and materials, a body – some body – is configured as a runway, a site of arrivals and departures. Working with cast, carved, sculpted, found, painted, screen-printed, and photographed materials, Olson addresses an intimate yet broadly relatable set of open secrets and secretive openings. As concrete as these pliable substances are, so is Olson’s use of ambiguity, which she deploys as another working material. What is that thing I see? Is it an appendage? A wrapper? An egg? A mold? A slipper? A mushroom? Something covertly erotic or explicitly abject? In her most recent work, she has constructed objects that imply possible violence – ranging from surgery to disinterment, or even evisceration – objects that also destabilize one’s sense of position in space. Like Charles Olson's projective verse, which the poet (no known relation) declared \"proprioceptive,\" B. Ingrid Olson describes her work as \"promoting a self-consciousness of body and mind, of subjectivity and of having a specific vantage point while ‘looking.’ The viewer then becomes a visitor: embodied looking, an aware encounter.
In All Lock No Key, Olson has constructed a large architectural installation based on The Vault, the gallery's video room, turning that usually secluded space inside-out. In the surrogate structure, Realia for punishment or distinction (is this a human problem? If so I'd like to keep it), 2026, the artist has everted the shelving and placed a sculptural composition into its illuminated interior. Lighting is critical to the exhibition, which subsumes the majority of the south gallery space, bathing it in a caramel glow. Only one corner of the room is brightly lit to present a dense cluster of wall-based works, as if they were creatures drawn to the bright light leak created by a slim vertical gap where the two walls might otherwise meet. Olson’s work has been the focus of solo exhibitions internationally, most recently at Midway Contemporary Art, Minneapolis; Kunstverein Braunschweig, Germany; Keijiban, Kanazawa, Japan; fluent, Santander, Spain; Carpenter Center for the Visual Arts, Cambridge, Massachusetts; and Secession, Vienna. She participated in the 2024 Whitney Biennial and New Photography 2018 at the Museum of Modern Art in New York.
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Long a Chicago stalwart and essential component of the city's creative music scene, clarinetist Falzone has been based in Seattle for many years, but he returns to town as part of a cross-country tour with his new project When Will Soon Be Then? Along the journey, the instrumental virtuoso will be joined by a variety of dancers – in particular Butoh-inspired ones – and in this concert he will feature Ginger Krebs for part of the performance. As Bill Meyer suggests in his Chicago Reader preview, \"...you can expect the space's lively acoustics to vivify his probing, lyrical voice on wind instruments.\"
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One of the original Imagist artists, Suellen Rocca (1943-2020) was among the great originals in Chicago's contemporary art history. A member of the Hairy Who, Rocca exhibited with the group at the Hyde Park Art Center in the second half of the 1960s, activities that were given a detailed revisiting in the Art Institute of Chicago's 2018 exhibition Hairy Who? 1966-1969. Rocca's approach to composition, which often revolved around typological grids or scatterings of disparate, icon-like images, was one of Imagist art's most radical contributions. Even on canvas, these images were linear, drawn, as it were, in paint. Rocca's parallel drawing activities were central to her practice, and her works on paper, often very elaborate, are among her most incisive achievements. Full of humor, sometimes with a baudy, maudlin, or grotesque overtone, her \"catalogue\" compositions did indeed draw on commercial gazettes like the Sears catalog, but also on the cellular structure of comic strips and the multiplicitous spatial inventions of Hieronymous Bosch. In this rare roundup of some of Rocca's most outstanding drawings, CvsD presents a selection of works on paper from 1965-1991. It is an honor to collaborate with the Rocca family and Matthew Marks Gallery in this exhibition, which is especially meaningful for us as it hearkens back to the two-person show CvsD mounted in 2007 with Suellen and Art Green, Imagist Hits, Vol. 1.
Suellen Rocca, Buy More Diamonds, c. 1968, ink on glossy paper, 25 x 18 inches, 33 1/2 x 26 1/4 x 1 1/2 inches, framed.
Corbett vs. Dempsey is delighted to present Nicola Florimbi, Rooms. This selection of new paintings is the gallery's first exhibition with the artist.
In Nicola Florimbi's paintings, domestic interiors are transformed into staged environments, solemn spaces of everyday intrigue, where exterior views appear sometimes vertiginously close, a mere step or two away from ritual interactions enacted by expressionless figures. These players and the curiously still moments in which they are suspended circumvent clear narrative, their distant gazes trapping tropes of family and school like bees in amber. Drawing on traditions of still life, genre painting, and psychological realism, Florimbi's canvases include references – both direct and oblique – to other artists, from Pieter de Hooch and Jean-August-Dominique Ingres to Balthus and Christina Ramberg. A kind of social geometry is plotted in these scenarios, relationships organized as positions in space, the incarnation of a system of power and knowledge, emotional inflection provided by means of a painterly hand.
Nicola Florimbi (b. 1994) received her MFA from the School of the Art Institute of Chicago and studied at Rhode Island School of Design and Otis College of Art and Design. She has participated in numerous group shows, most recently Master Class, Secrist/Beach, Chicago. Rooms is Florimbi's solo debut.
Nicola Florimbi, Room, 2026, acrylic on canvas, 54 x 67 inches.
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With his paintings, Rodney Graham reversed time’s arrow.
Convention, amongst conceptual artists, is for their painting practice to come first, to precede their transformation into full-fledged conceptualists. In Graham’s case, paintings came later, as part of his complex of different artistic activities, which included the photographic lightboxes for which he is best known, but also films, books, performances, songwriting, singing, bandleading, record making, sculpture, installation art, bakery ownership, and more. Among the personae the Vancouver-based artist created for his photographs were several art world archetypes – the collector, the dealer, and the artist. Graham inserted his own paintings into these works, in part as props, but also as the productions of an actual studio practice, which he reported finding “absorbing to a frightening degree.” The initial paintings, which incorporated many ideas from canonic modernist movements such as the School of Paris, CoBrA, and Abstract Expressionism, appeared in 2003 with a presentation of monochromatic works at the Venice Biennale, and continued in 2005 with his exhibition Picasso, My Master, at Johnen Galerie in Berlin, and in 2007 with Wet on Wet – My Late Early Styles at Lisson Gallery in London. All of these were small scale and most of them were painted directly by him. He went on to create a series of 84 huge, shaped panel paintings featuring permutations of two abstract designs from a satirical cartoon from an obscure 1950s pulp magazine; these were shown at Hauser & Wirth in Zurich and Donald Young Gallery in Chicago in 2009. In subsequent works, what we might call Graham’s “early late” paintings, developed during the 2010s and continuing until his death, Graham borrowed visual elements from these original paintings, cut and pasted them together using a digital program, blew them up to monumental scale, and had them executed by studio assistants in order to change their facture.
In Secondary Modern, CvsD presents seven of the “late early” canvases from 2004/5, small modernist paintings that are at once marvelous inventions of Rodney Graham and are at the same time, one step removed from that earnest endeavor, they are meditations on what it means to be a modern painting. Augmenting these rare examples of the first painterly output are two large-scale \"early late\" paintings from 2022, equally masterful, equally droll. In these incredible paintings, Graham seems to wonder how an object can be something and be a quotation of that thing at the same time.
Image: Rodney Graham, Untitled, 2022, oil and sand on linen, 72 x 60 inches, 77 5/8 x 65 5/8 x 2 5/8 inches, framed.
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Steven Urry’s sculpture reminds me of number nine pasta. – Joe Zucker
Steven Urry (1939–1993) was based in Chicago and New York. Fabricated, as was much of Urry’s work from the late 1960s into the '70s, out of aluminum that had been cast and welded in his studio above the Biograph Theater, the monumental sculpture in Splatscapecomes from a period in which Urry was closely associated with the Chicago Imagist artists. His work was curated into numerous group exhibitions with members of the Hairy Who, False Image, and Nonplussed Some, and he showed alongside them at Phyllis Kind Gallery, despite the fact that his oeuvre was virtually all abstract. Biomorphic in the extreme, with unpainted metallic finishes, Urry’s globular, spurting, gooey sculptures often seemed to defy gravity, creeping up walls, dangling from the ceiling, or arcing high into the air. The sculpture featured in Splatscape dates from circa 1969, when a similar work adorned the façade of Loyola University’s library in Rogers Park and the Museum of Contemporary Art, Chicago, mounted a solo exhibition of related works titled Dribblescape. Urry’s work has not been exhibited since his 2012 retrospective at Koehnline Museum of Art, Des Plaines, Illinois.
Image: Steven Urry in his Lincoln Avenue studio above Chicago's Biograph Theater, 1971. Photo: Mary Baber.
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As part of a yearlong exhibition at i8 Grandi in Reykjavik, Olson continuously reconfigured her artworks within the space in order to test the reciprocity between photography, sculpture and architecture. This became a guiding structure for the book, which models artistic practice as an evolving form. As Olson writes in her introduction: \"More closely related to a spiral than a line, the permutations of Cast of Mind do not reach a culmination and instead tangle into a networked maze, composing an abstraction of both exhibition-making and studio processes.
*
Olson will be joined in conversation with the book's designer, Chad Kloepfer as well as three of the publication's contributing writers, Mariana Fernández, Kate Nesin and Leslie Wilson.
MARIANA FERNÁNDEZ is a writer and independent curator who focuses on performance and visual art. Her writings have appeared in Artforum, ArtReview, BOMB, e-flux Criticism, frieze, Momus, and X-TRA Contemporary Art Quarterly, and in various exhibition catalogues. She is based in New York and Mexico City.
CHAD KLOEPFER is the art director of the Harvard University Graduate School of Design. From 2010 to 2014, he was the art director of Artforum Magazine. He has also worked as a senior designer for the Walker Art Center and Wired Magazine. In addition, he has worked with a wide range of clients including the Carpenter Center for the Visual Arts, MIT List Visual Arts Center, Guggenheim, MoMA, Whitney Museum of American Art, Schaulager, Kunsthaus Bregenz, Fundación Jumex Arte Contemporáneo, Canadian Center for Architecture, Carnegie Museum of Art, and many more. He currently lives in Oak Park, Illinois.
KATE NESIN is a curator-at-large at the Art Institute of Chicago, where she has organized exhibitions of the work of Helena Almeida, Lucy McKenzie, Frances Stark, and Kemang Wa Lehulere, among others. She often writes about sculpture, recently in essays on Lutz Bacher, Nairy Baghramian, and Eva Hesse.
B. INGRID OLSON is an artist based in Chicago. Solo exhibitions of her work have been held at venues including Midway Contemporary Art, Minneapolis, Minnesota; Kunstverein Braunschweig, Braunschweig, Germany; fluent, Santander, Spain; Carpenter Center for the Visual Arts, Cambridge, Massachusetts; Secession, Vienna, Austria; and Buffalo AKG Art Museum, Buffalo, New York.
LESLIE MEREDITH WILSON is a writer on photography and the academic curator and director of research programs at the Art Institute of Chicago, where she collaborated on David Goldblatt: No Ulterior Motive in 2023. For Aperture, she organized the exhibition The True America: Photographs by Ernest Cole, currently touring.
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As a special treat, original band members Franc Palaia (drums) and Ellen La Forge (bass) will perform selections from the Jon Waine repertoire.
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Here, Chase brings together more than a decade of Density with works by Marcos Balter, George Lewis, Annea Lockwood, Susie Ibarra, Liza Lim, and Terry Riley. The program spans the project’s first installment through Part XII and includes a newly updated version of Lewis’s Emergent for flute and interactive electronics. This is her first Chicago performance since 2018.
Claire Chase (b. 1978, Leucadia, Calif.) is a flutist, curator, and educator whose work focuses on new and experimental music. She has premiered hundreds of new works for the flute and performs as a soloist and collaborative artist internationally.
In 2001, Chase co-founded the International Contemporary Ensemble and served as its artistic director until 2017. In 2013, she launched Density 2036, an ongoing commissioning and performance project to create new repertory for the flute through 2036. Through Density and other projects, Chase has commissioned and collaborated with composers including Marcos Balter, George Lewis, Pauline Oliveros, Annea Lockwood, Terry Riley, Liza Lim, Tyshawn Sorey, Pamela Z, Matana Roberts, Wang Lu, Craig Taborn, Anna Thorvaldsdottir, and Du Yun.
Performances include Carnegie Hall, Lincoln Center, and The Kitchen, New York; Kennedy Center, Washington, D.C.; Walt Disney Concert Hall, Los Angeles; Ojai Music Festival, Ojai, Calif.; Herbst Theatre and Davies Symphony Hall, San Francisco; Concertgebouw, Amsterdam; Queen Elizabeth Hall, London; Tokyo Metropolitan Theatre, Tokyo; Musiikkitalo, Helsinki; Elbphilharmonie, Hamburg; Berliner Festspiele, Berlin; Melbourne Recital Centre, Melbourne; Turku Music Festival, Turku, Finland, and others.
Chase was named a MacArthur Fellow in 2012 and received the Avery Fisher Prize in 2017. She served as the Richard and Barbara Debs Creative Chair at Carnegie Hall for the 2022–23 season and was music director of the 2025 Ojai Music Festival. She has received honorary doctorates from the Curtis Institute of Music and Cleveland Institute of Music.
Chase is Professor of the Practice in the Department of Music at Harvard University, where she has taught since 2017. She studied at Oberlin Conservatory with Michel Debost and lives in Brooklyn.
Saturday, October 10 | 2pm
FREE, RSVP encouraged
Corbett vs. Dempsey
2156 W. Fulton St.
Chicago, IL 60612
Photo: Walter Wlodarczyk