Heaven and Hell at LUMA and Intuit

Heaven and Hell; Intuit and LUMA, through June 30

With it’s emphasis on The Word, Protestant Christianity has not had much use for visual narrative art, and when it has been used in Sunday school texts and such, it has run between dry and anemic. But it’s emphasis on individual salvation is a good match for those obsessed with personal visions, i.e. outsider artists, and nothing seems to have inspired them more than the depiction of Heaven and Hell.

This exhibition, drawing from 40 private and museum collections around the country, began as LUMA’s initial venture into the wild and wooly world of outsider art, so they wisely brought in the expertise of the Intuit Center Two curators, one from each institution, collaborated on making all the selections, and then the display was split between both galleries, with, appropriately enough, the Jesuit university hosting heaven and the outsider art gallery raising Hell

And that Hell is really hellish, often envisioned by people who have had difficult lives, sometimes ending up in prison. The life story of each artist is told in some detail, making the bizarre visions more understandable, my favorite being Royal Robertson. After his wife ran off with another man, the artist collaged a few cartoon Godzillas attacking a picture-perfect beach and light house. But even better is the sculpture, which doesn’t rely on any explanatory text, but stands proudly, and freakishly, on its own, as each artist-prophet “sees more devils than vast Hell can hold”.

As one might expect, self-motivated artists can more easily identify with the willfulness of Satan rather than the obedience of angels, and while Hell is supposed to be ugly, Heaven really ought to be beautiful (not just pretty). So the depictions of Heaven are less compelling. But still, some of these untaught artists were quite talented in their chosen media. Clementine Hunter is one of the few painters in the show who seems to respond more to paint than to message, while William Edmondson was so good at carving strong, simple shapes, he was the first African American to have a one-person show at the Museum of Modern Art.

So there are lots of discoveries to be made in both shows. All three of the artists mentioned above were African-American, and a good show might be made including only that ethnic group. While a better show might have given less emphasis to Howard Finster, who has 19 pieces on display. His cheerful, benign images may serve well to introduce outsider art to newcomers, but just like television evangelists, he also seems to have crossed the line between prophet and entrepreneur. If an outsider artist is trying hard to please other people, is he still an outsider?

Jim Lutes at Valerie Carberry

In 1917, after two decades in the insane asylum, Ralph Albert Blakelock (1847-1919) was released to spend his final months painting more of the moody, moonlit landscapes that were then selling for record-breaking prices. Journalism had made the crazy artist a celebrity, but his kind of painting was also respected by critics, one of whom wrote: “He is practically alone in the nervous vibration of his touch, that snaps and sparkles like an electric current." Thirty years later, a critic connected him with the Abstract Expressionist pioneers who valued “experience over perfection, vitality over finish, the unknown over the known.” And 95 years later, in an art world where eccentric visions are the norm, SAIC professor Jim Lutes is once again painting moody landscapes which, as the press release notes, have his “signature calligraphic gestures.” Those who saw his 2009 retrospective at the Renaissance Society might well be surprised. Until now, his career has moved back and forth between abstract expression and spectral, sketchy, flabby figuration. But the four wall-size landscapes now showing in Valerie Carberry are far too picturesque to be considered contemporary, which is not to say he hasn’t tried to bring them up to date. His paintings are still recognizably twenty-first century, with space that feels flat, objects that are pixelated and little concern for Baroque luminosity or realistic textures. They are accompanied by a boulder sized, clear urethane bag stuffed with brightly colored trash, in a strategic nod to Pop and conceptual art. Unless marked “work of art”, the janitorial staff would probably carry it off to the dumpster.

But still, each huge image has given this viewer the overwhelming and uncomfortable feeling of standing smack in the middle of Kelly Creek, Idaho, confronted by impenetrable walls of boulders, encompassed by dark, dangling foliage, with no apparent pathway to escape this dark, remote valley in the Bitterroot Mountains. The Impressionists shared their pleasure with the great outdoors, Blakelock shared his wonder at its mystery, and Lutes shares his anxiety with what he calls the “Dumb Country”. His views are as dramatic, convincing and entertaining as scenes from Jon Boorman’s violent film Deliverance. But so are many of the professionally painted backdrops in the display cases at the Field Museum. What’s missing in all of them is the aesthetic rapture that Blakelock’s tradition of romantic landscape was able to deliver. Those paintings made you want to stare into them for as long as possible. Lutes’ paintings make you want to run back to the car before night falls.

Inscribing the Divine: The St. John's Bible

Inscribing the Divine: The Saint John's Bible, LUMA Museum, through Oct. 23

In 1998, master British calligrapher Donald Jackson (b. 1938) was commissioned to hand letter and illuminate the entire bible, from Genesis to Revelation. No longer proclaimed as the first such project in 500 years, it may well be the first ever that involves an English translation approved by the Catholic Church. The author of “The Calligraphers Art”, Jackson has been a major force in the revival of same, and his abilities have been complemented by up to 20 collaborators under his supervision.

The thirteen bifolia from the Pentateuch and Psalms included in this exhibit only hint at the scope of this project, which cost over 4 million dollars, and has lasted over 10 years. A Committee on Illumination and Text, comprised of Benedictine scholars, supervised theological content. Their approach has been ecumenical and text centered, offering a cogitation on ideas rather than picture windows onto the world.

Chris Tomlin’s meticulous, naturalistic illustrations of plants and insects appear occasionally in the margins and Aidan Hart’s Byzantine figuration appears in the later books. But mostly this project reflects the simple, clean, though sometimes enervated elegance of Donald Jackson’s calligraphy, complemented by the bright, loose splashes of color in his illuminations.

The narrative illustrations are few and far between, but when they occur they can be fascinating and innovative. For example, the dark, spotted, discontented faces of Adam and Eve are a far cry from the sweet, innocent bunglers of tradition. Nor are they full figure nudes. And God does not appear as that big old guy in the “Creation” that Wiligelmo and Michelangelo once imagined him. Indeed, the seven stages of creation, beginning with the “big bang” and culminating in abstract human images that resemble Paleolithic rock paintings, might just as well have been used in a grade school text book on natural history.

The institutional, ecumenical and decorative priorities of this project, and its supervision by a calligrapher, may preclude exciting, visionary imagery, But since the modern technology of reproduction and distribution allows this kind of labor intensive project to be profitable, hopefully, many other Christian institutions will be inspired to commission their own versions with a greater emphasis on story telling. Most of the bible illustration done today is at, or below, the aesthetic level of cereal boxes. From the fall of the Roman empire up to the 19th Century, biblical narration was the primary subject of Western art, and nothing that came after has sustained its focus on human dignity, destiny, and spirituality.

Tass War Posters

Windows on the War: Soviet TASS Posters at Home and Abroad, 1941–1945
Through October 23, 2011, Art Institute of Chicago.

(the text in red was edited out)



In 1939, Clement Greenberg famously distinguished avant garde art from kitsch, the “predigested art” manufactured for the “ignorant Russian peasant” who knows “no discontinuity between art and life”. That distinction has framed the discourse of American art ever since, but it was a matter of life and death for Soviet artists once social realism was officially established by Stalin, and even more so after June 22, 1941 with the beginning of a Nazi invasion that would take 23 million lives.

In 1997, 26 mysterious brown paper parcels were discovered deep in a storage room of the A.I.C. ‘s Department of Prints and Drawings. They turned out to be the legacy of a cultural exchange 50 years earlier that brought to Chicago a collection of war propaganda posters created by TASS, the Soviet News agency. Ranging in size from 5 to 10 feet tall, their irresistible visual impact is stunning, especially now, after they have been restored to their original condition, augmented with spectacular pieces from other museums (including M.O.M.A and the Hoover Institute) and displayed chronologically to tell the story of both the art studio that created them, and the nation that was fighting for its life.

Thanks to Greenberg’s theoretical distinction, American museums have only shown Russian art which is early 20th C. avant garde. . A single example of Russian realism, impressionism, or Orthodox icon painting will not be found in the encyclopedic collection at the Art Institute of Chicago. But now, perhaps, that will change with the impact of these dramatic posters, many of which are as graphically severe and strong as they are narrative. Possibly the art director of the TASS studio, Pavel Sokolov-Skalia (1899 – 1961), himself a very good designer, deserves much of the credit. As one might expect from a government run production studio that employed 300, at least half of the work does not rise above the illustrations one would expect to find in a grade school text book. But there are also many examples of the painterly approach and tendency toward abstraction that characterize the work of Sergei Kostin (1896-1968) even if he was criticized for preferencing aesthetics over message.

And most enjoyably, as the Nazi armies were driven back, there is that dark, cantankerous Russian sense of humor that the war propaganda of other nations just can’t match.

This is a fun show! Now, when do we get to see the great Russian realist painters of the last 200 years?

Go Figure - at the Smart Museum

Go Figure - through September 4, 2011
Smart Museum, University of Chicago


Representational art may have lost status in the postwar artworld, but it never disappeared, and now Smart Museum curator Jessica Moss has selected nine artists “to illustrate pivotal moments in figurative art of the last 60 years”.

Confining herself to pieces from the Smart and other Chicago collections, chronologically her story begins with Leon Golub (1922 – 2004) .



His “Colossal Heads” from 1958 look more like the rough, corrupted surfaces of two colossal Shigaraki clay pots, but there’s just enough facial detail to identify them as ugly monsters and thus express the moral despair of the ‘monster roster’ Chicago painters of the 1950’s.







A decade later, both the morality and the despair is gone, and we have the personalized , defiant fetishism of the Chicago Imagists, represented here by a dozen pieces by Christina Ramberg (1946-1995).






In New York, the figure re-emerged in Pop-Art, but recognizing that the artworld has become more global than ever, Ms. Moss brought in a giant folk-pop head by Ravinder Reddy (b. 1956) who is represented by Walsh Gallery here in Chicago, but works at Andhra University, Visakhapatnam. Though reflecting a tradition that is measured in centuries rather than decades, he still manages to convey the vapid banality of Jeff Koons.





Another world-wide phenomenon, especially important in the Midwest, has been the celebration of art brut. The outsider artist shown in this show is Martín Ramírez (1895–1963), whose obsessive drawings were first collected by doctors at the California mental facility where he was confined and posthumously validated and collected by Chicago artists, Jim Nutt and Gladys Nilsson.







For the figure in conceptual art, a wall-sized installation by S.A.I.C. M.F.A. Clare Rojas (b. 1976) was commissioned. To get the full effect, it needs to be accompanied by her performance as alter-ego “Peggy Honeywell” the folk singer. But even on its own, it would still make for a sharp, decorative mural in a corporate cafeteria.








The five above genres are rather obvious choices for a Chicago based exhibit of figurative art in the contemporary artworld. It’s the other four that are more remarkable, beginning with a few sound suits by S.A.I.C. professor, Nick Cave (b. 1959), who has created a genre all his own. The accompanying theory of concealing racial identity is a bit depressing, but the beautiful costumes are as wild and wacky as anything worn by the Sun Ra Arkestra.









Another local artist whose work echoes African American music is James Kerry Marshall (b.1955) whose narratives of ghetto life are as poignant, topical, structured, and rhythmic as a song by Muddy Waters. American scene painting was banished from high-art by 1950, but, happily, the Chicago artworld encourages it as long as that scene is African American. (another distinguished local practitioner is the sculptor, Preston Jackson)

Neither of the other two artists are from Chicago, but they do represent two of the greatest figurative traditions in the world, a world that now includes its largest civilization, China.

Most artists from the Middle Kingdom gain attention in the West by entering the discourses of contemporary art theory, which makes this show’s selection of a traditional brush painter like Yun-Fei Ji (b. 1963) so remarkable.











Yun-Fei made his Chicago debut at the Smart Museum’s 2008 exhibition of Chinese artists responding to the displacement caused by the Three Gorges Dam. His current scroll continues to work that theme, though he has added two of the most powerful members of every Chinese community, the uniformed officials and the ghosts.







More topical than classic, Yun-Fei may lack the gorgeous power of the great masters, but the gentle humor of his work is as timely as an editorial cartoon.

The other great figurative tradition is post-Renaissance European - in this case, that variety of post-Impressionism that keeps attention on observed detail, but abandons that careful sense of volume that was cultivated from Giotto to Picasso. In middle-brow art, this is the world of art fair photo-realism, in high-brow art it’s Lucien Freud or David Hockney, and it’s fellow Brit, Sylvia Sleigh (1926-2010) who was chosen for this exhibit.









Sleigh was a brave choice because there’s not an ounce of irony, angst, or social criticism in her work. Her “Turkish Bath” gets points for political correctness by replacing appetizing young babes with handsome young dudes. (I think the old dude in front is her husband). But no major museum has collected her painting, and her primary credential for the world of high-art remains her huband, the critic and Guggenheim curator, Lawrence Alloway. Also, her large paintings look quite amateurish as 10 inch reproductions. She has no sense of volume, and since she clearly is trying to make people look sweet, real, and beautiful instead of depressing, sick, or ugly, she appears to be a failure.







But in person, her life size paintings are delicious and far, far removed from amateur naivete. Most remarkable of all is her portrait of Leon Golub, his wife Nancy Spero, and their three sons, with paintings by Mom and Dad on the wall behind them. (including, happily enough, Golub’s “Colossal Heads” which is also in this exhibit) This is the depiction of a happy, healthy, successful middle-class family, so different from the world of monsters that haunt the parents’ imaginations.

Despite 60 years of disparagement, there’s still an enormous artworld out there that is devoted to depicting a happy, healthy life within a beautiful world. Even if some of it’s most prominent practitioners are notorious kitch-meisters, many of them are good artists, and it’s about time that major art institutions, like the Smart Museum, has taken notice of them.

What's still missing are examples of non-cartoonish figure sculpture and volume sensitive painting in the Baroque or Impressionist traditions.

And wouldn't it be shocking if the museum did a show called something like "Go Landscape", with the best contemporary landscapes from Chicago and elsewhere?

************

This turns out to have been one of the most reviewed exhibits of the year:

*Lori Waxman at Chicago Tribune

*Jason Foumberg at New City

*Paul Klein in his Art Letter

AIC : New Galleries of African and Indian Art of Americas

The most exciting features of the new galleries of African and American Indian art are the videos intermittently projected high up on the wall. Made by the filmmaker/anthropologist Susan Vogel (who also founded the Museum of African Art in NYC) they don’t tell a story so much as create an ambiance for distant peoples and places that’s ignored by the same generic system of display cases used in the new Japanese galleries. But still these displays of ethnic artifacts are far less ambient and educational than those recently created for the Field Museum of Natural History. And even though these new galleries are more than twice the size of the previous spaces, there isn’t that much more new material that really belongs in an art museum. Though, happily, there are a few exceptions, including some pieces that were first seen in the 2006 special exhibit of “ Casas Grandes & the Ceramic Art of the American Southwest”.












The bowl depicting a Mogollon hunter (950-1150 Ad) is one of the most exciting pieces in the entire museum.










While over on the African side, there’s a highly animated carved wooden headdress for the Yoruba Gelede ceremony in Nigeria. It’s a remarkable figure sculpture that came to the AIC in 2008. It’s also remarkable that this time the artist has actually been identified (as either Fagbite Asamu or his son, Falola Edun). So much of the African art that we see in museums was made within the last hundred years, but the artists are hardly ever identified, probably because once an artist establishes a name in our artworld, his work no longer qualifies as an authentic tribal artifact. Hopefully, this restriction is being lifted, and museum galleries of traditional Indian and African art will eventually accept the work of living masters of their traditions, even if that work was made for art collectors instead of native rituals. So, in some ways these new galleries represent an important step forward (especially for the African section which was recently just a short, narrow hallway) The AIC’s collections in these genres are still nowhere near as substantial as the Chinese and Japanese material. But they’re growing.

Rosofsky and Burge at the Elmhurst Art Museum

The Unsentimental Journey of Seymour Rosofsky,
Denise Burge: Original Dirt through September 4,
Elmhurst Art Museum
(pieces shown: Rosofsky “Lady of the House – Venus” (below,
Denise Burge “Machination” (above))






Though presented as separate exhibits, the oil paintings of Seymour Rosofsky (1924-1981) and the quilts of Denise Burge (MFA, 1991) both overpower their walls with dynamic, centrifugal energies, while offering a fascinating contrast across generation, ethnicity, locality, gender, and media.

A second generation, blue-collar Jewish kid from Chicago, Seymour’s talent was recognized early and he ended up studying oil painting with Boris Anisfeld at the Art Institute. He picked up that Russian’s dreamy, decorative, modern classical style, and also became an art museum junkie, both in Chicago and Paris, drawing from a variety of primitive, post-impressionist, surrealist, and expressionist art. But when he put it all together, it was all about him. There’s a musty, cluttered, claustrophobic feeling about his work, with the viewer often placed in the role of the therapist puzzled by the highly emotional, confused world of a patient who feels trapped in a female dominated, family centered life.

Roughly 40 years younger, Denise Burge comes from the hills of North Carolina. Quilting is a traditional medium and her crude, overstated imagery and improvisational use of materials resembles the outlandish art of Howard Finster. But it would be a mistake to call her a folk artist. For the past 20 years, she’s been an art academic, and folk-themed quilting on environmental themes was just the strategy she employed 10 years ago. (more recently, she’s moved on to installations and then video). Unlike Rosofsky’s work, hers is extroverted and the narrative, rather than being ambiguous, is spelled out in text across the surface. The bold patterns and strong, clear fragments of color in the fabric are much more attractive than the blurry fog of Seymour’s rather pasty oil paints, and mark her as a very sharp designer. If the quilts don’t disintegrate (and some areas do appear fragile) they may well be recognized as exemplary in that medium.

In the catalog to Rosofsky’s 1985 posthumous retrospective, his friend, Chicago artist//historian/critic Franz Schulze defended his “rich color, carefully interwoven tonalities and assured drawing” against the 1972 attack by New York critic, Robert Hughes, in Time Magazine who railed against “Rosofsky’s clumsy paintings” and “wretched thesaurus of clichés.” . But Seymour’s special strength is honesty. His paintings are stocked with clichés from Giacometti, Bacon, Chagall, etc because he loved art history, and they are no more clumsy, cluttered and confused than his own happy/sad domestic life. He exemplifies the passion, resilience, and time honored futility of his favorite team, the Chicago Cubs, while Denise Burge might be considered just one more smart and talented academic working the politically correct mindscape.