The Cleve Carney Art Gallery begins its 2017-18 season with an exhibition of paintings and works on paper by the artist Leslie Baum.
Known for her painting-based installations Baum's work covers a diverse range of surfaces and media. The different materials, scale and installations of her work mix with a sampling and remixing of iconic modern painting imagery. Her attention to, and referencing of, the rich history of painting is a devoted celebration of its history. At the same time her agility and willingness to move throughout that history is a joyful casting-off of its limitations.
For Here Comes The Rainbow Baum will be debuting two new bodies of work that use the seven hues of the rainbow as a launching point. Central to the installation will be seven monumental paintings on un-stretched canvas that will be mounted directly on a 45 foot long section of wall in the gallery.
For more of Leslie Baum's work visit: http://lesliebaum.net/
check out the artist book/catalogue made in conjunction with my solo exhibition excuse me if i get too deep at geary contemporary!
|LESLIE BAUM: EXCUSE ME IF I GET TOO DEEP
OPENING RECEPTION: THURSDAY NOVEMBER 17, 6-8PM
|Geary Contemporary is pleased to open this November with Excuse Me if I Get Too Deep, a solo exhibition of recent work by Chicago-based artist Leslie Baum. Geary Contemporary will be hosting an opening reception for the artist on Thursday, November 17th from 6-8 pm. This will be Baum's first solo exhibition with the gallery.
Baum’s exhibition invites the viewer to a visual and tactile experience. Works on the floor, constructed for seating, offer an experiential invitation for contemplation, rest and reflection. Baum's works act as windows, doors, portals; in her words, “a universe within a universe, within a universe” where a shape becomes a form, becomes a sculpture, becomes a painting, becomes architecture.
The fragment is essential to Baum’s approach, with parts that function as building blocks for painting-based installations and also stand alone as wholly realized objects. She samples the modern painting canon across diverse media, scale, and approach, as filtered through the lens of her memory and the vagaries of digital representation. References to iconic paintings appear in varying degrees of legibility, where distortions and misquotations yield unexpected associations and meanings.
Baum’s work is not defined by art historical citation, but in what might lie beyond the threshold. What can be taken/borrowed and transferred to another material? Fragments occupy wall, floor, and shelf to “make visible what otherwise can’t be seen”, an ode to painting’s history and a celebration of its pluralistic present.
Leslie Baum lives and works in Chicago. She has shown her work nationally and internationally, with recent exhibitions including 65Grand, Chicago; Cleve Carney Art gallery, Glen Ellyn; 4th Ward Project Space, Chicago; Hap Gallery, Chicago; Carrie Secrist Gallery, Chicago; Geary Contemporary, New York. Her animation short, the Megillat Breakdown, made in collaboration with Frederick Wells, was included in the Wisconsin Union Film Committee at the University of Wisconsin 2015 experimental film series and in the 2014 Eyeworks Festival. Review and features in Artforum, Art in America, Hyperallergic, the Chicago Tribune, New American Paintings vol. 119, and 100 Painters of Tomorrow. Baum has received residencies at Yaddo and Vermont Studio Center.
For additional information please contact Sasha Cohen @ firstname.lastname@example.org
185 Varick Street, New York, NY 10014
It’s time to call off the search for “new areas of possibility within the known confines of painting.” Congruent with the mission of marketing consumer goods (including art), that is the stated goal of this exhibition, but all that it has found are the usual collection of techniques and strategies found in contemporary academic art. The strongest claim for novelty might be Anna Kunz’s installation of paint on porous fabric, but the banal results clutter the corner of an already aesthetically challenged institutional space. Some of the other art would look better in other contexts. Sherwin Ovid’s paint-skin-over-canvas “ceramics” would benefit from being hung at eye level instead of above the door, while Steven Husby’s calligraphic geoform and Craig Yu’s nocturnal landscape would greatly benefit from proximity to the rest of their work.
On the other hand, the contrasting work of three remarkable women complement each other quite nicely. Rebecca Shore has chosen to follow the Chicago Imagists. Her work has the fragmentary precision of Ray Yoshida and the repressed sexuality of Christina Ramberg. Both pieces suggest a female torso whimsically transposed into a mechanical drawing. She has co-opted the tireless energy of industrial production for a feminine presence, with just a hint of self-deprecating humor.
In contrast to both of the above, Leslie Baum ignores herself in pursuit of mystic beauty. Equilateral triangles, inherently mysterious, are enhanced with the kind of lush, decorative designs for which Scandinavian fabrics are justly celebrated, exemplifying the happiness of a well-ordered and sensual life. She has created a kind of meditation center by leaning one of her ornate triangles against the wall in front of an ornate cushion on which viewers may sit.
These women offer three successful strategies for living, as well as making art. (Chris Miller)
Through July 29 at Cleve Carney Art Gallery, 425 Fawell Boulevard, Glen Ellyn
June 2 - July 29, 2016
Opening Reception: Saturday June 4, 1-3pm
Closing Reception: Friday July 29, 6-7:30pm
Artists Include: Leslie Baum, Magalie Guérin, Anna Kunz, Steven Husby, Sherwin Ovid, Autumn Ramsey, Rebecca Shore and Craig Yu.
For Information regarding this exhibition please contact: Justin Witte / email@example.com / 630-942-3206
May 20–July 24, 2016
Opening Reception: Friday, May 20th, 7–10pm
Legends for Loose Grids is a relaxed triangulation of artists and ideas, bringing together the work of David Bartley, Leslie Baum, and Alexander Herzog. Together, their studio practices are networked by a shared interest in painting as a process, and format, as well as a concision device for personal vocabularies, grid systems, and modernist art histories.
The grid has long been a logical way to discuss the materiality of painting. Roselind Krauss describes the grid as, “a structure emblematic of the modernist ambition…” she says, “Indeed, if it maps anything, it maps the surface of the painting itself.” Within the exhibition, the artists approach the grid directly, as a framework to operate in and a structure to unbind; as Cartesian space in which to situate relationships; and implicitly, in the methodical labor of production - the repetitive, accumulative, patterned action of the artists hand - or in the cotton weave of the canvas substrates.
In the work, we see warps and wefts of art history; each artist offers a series of chess moves through a chronology of painters, nodding to Caravaggio, cropping Guston, grafting Martin, an offering for Frankenthaler, an ode to Cezanne, an accidental Twombly. Here grids are elastic, and can stretch over space and time, like 3-D checkers. These grids are non-silent, serving as an efficient container for artistic labor and personal and art-historical narratives.
Leslie Baum shares a sampling of new work from her alphabet-like clusters of paintings-cum-installations. Her paintings parade out into exhibition space like scenic design, occupying a bivalence of foreground/background and in-frame/beyond-frame.
David Bartley shares large-scale patterned works evidencing the labor of obsessive patterning, and residual build up, of personal and art-historical histories.
Alexander Herzog’s surfaces are worked with gesso, leaving the corporal traces of the artists hand. The artist likens the methodical practice of building and leveling the surface of his work to the mundane or repetitive activities of the hospitality industry, like washing and cooking.
September 16 - 29 , 2016
The ANNUAL is a yearly sales exhibition celebrating cutting-edge Chicago-based artists. Arranged by a guest curator, The ANNUAL creates an accessible forum for emerging collectors to discover affordable new work and engage directly with its creators. This year The ANNUALwill run for two weeks on either end of EXPO Chicago, opening Friday, September 16 and closing on Thursday, September 29.
2016 Exhibition: SHOWROOM
The Chicago Artists Coalition is delighted to announce the second edition of The ANNUAL with the exhibition, SHOWROOM curated by Edra Soto and featuring Chicago artists and makers.
SHOWROOM, is an installation unto itself, bringing together work influenced by fundamental aspects of interior architecture and design objects, and placing them on custom made furniture by Dock 6 Collective. SHOWROOM aims to draw new connections between our understanding of the relationship between art and design, and to make us question our assumptions. SHOWROOM exists within that delicate balance of the expressive world and the pragmatically crafted architecture that holds it.
2016 Curator: EDRA SOTO
Edra Soto is a Chicago-based artist, educator, curator, and gallery director. Along with her husband, Dan Sullivan, Soto co-founded and runs THE FRANKLIN, an outdoor project space supported by the 3Arts Foundation, Northeastern Illinois University and the Propeller Fund. Some of her latest projects include: The Elmhurst Art Museum Biennial, The 4th Poly/Graphic Triennial of San Juan and the Caribbean, and the Cuchifritos Gallery + Project Space in New York. Soto co-curated Present Standard, a group exhibition at the Chicago Cultural Center that was on view January-April, 2016. Currently, Soto and Sullivan are working on a commission from the Chicago Transit Authority. Their project, Graft, will be featured at the Western Avenue stop on the train line to O’Hare Airport.
Soto received her MFA from the The School of the Art Institute of Chicago in 2000. She also attended Skowhegan School of Painting and Sculpture, and the Beta-Local in Puerto Rico. Recently, Soto completed the Robert Rauschenberg Residency Program in Captiva, Florida through a 3Arts Fellowship.
MOUNTAIN and sea
February 28– April 2, 2016
Opening: Sunday, February 28, 4:00 – 7:00pm
4th Ward Project Space
5338 S. Kimbark Ave
1-5 Saturdays and by appointmentThe second installation, MOUNTAIN and sea, at 4th Ward Project Space is primarily engaged with the gallery wall. Continuing to plumb the arboreal landscapes of 20th century painters such as John Marin, Ernst Ludwig Kirshner, and Piet Mondrian, Baum offers the installation as a meditation space. An equilateral triangle serves as a visual mantra, and the triangle appears in a variety of scales and media, most notably as a large, un-stretched painting that reaches from floor to ceiling of this intimate gallery space. The installation at 4th Ward Project Space is the MOUNTAIN to Saint Xavier University's SEA.
February 17 - March 4 and March 14- 22, 2016
Opening: Wednesday, February 17, 5:30 - 7:30pm
3700 W. 103rd Street
Chicago, IL 60655
M 11-5, T 12-5, W 11-5
TH 12-5, F 11-5, S 11-2
The exhibition at Saint Xavier University, mountain and SEA, features an immense painting that covers the entire gallery floor. Baum’s application of acrylic paint appears as watercolor, and the work is liquid and luminous. Composed of 12 separate, but conjoined canvas drop cloths, the painting references tree imagery of Ernst Ludwig Kirshner, Paul Klee, Paul Cezanne and Georgia O'Keefe. In mountain and Sea, Baum creates a space with multiple perspectives, ultimately upending our sense of orientation, location and comfort. Gallery visitors are invited to walk on the drop cloths, to stroll on a painting that, during the darkest days of Chicago, conjures a vibrant landscape.
Co-conspirators and the possibilities of painting in a parallel universe
September 3-October 1, 2015
916 NW Flanders Street
Portland, Oregon 97209
September 12—October 31, 2015
Carrie Secrist Gallery is pleased to announce the group exhibition:
September 12 – October 31, 2015.
Opening Reception: Saturday, September 12, 5 – 8 PM
Artists included in APPROPINQUATION are Leslie Baum, Shannon Finley, Jamisen Ogg, Min Song and Dannielle Tegeder.
For as long as there has been iconography or idols, monuments to ideas, time, and space have been placed in areas of engagement. With sculpture, the floor is burdened with supporting these objects – creating zones of inferred meaning within the viewer’s personal space. Simultaneously, the wall offers a ready template for parallel experiences: tempting, embracing and occasionally expelling. Sometimes this can be subtle, verging on the subliminal, and other times sensational – implying forces that resonant in one’s core.
For the artists in APPROPINQUATION (n. A drawing nigh; approach / the act of coming into near relation or proximity / The act of bringing remote things near), participation is implied and relationships are encouraged within the act of seeing. From the austere to the sybaritic, the way we move around, up to and beside works of art can be a tangential experience. The viewer is invited to consider their personal space as it relates to each object. Approaching this art is encouraged from every angle.
Leslie Baum’s (Chicago) “moon”, along with her standing paintings, creates an enlarged dioramic experience that both collapses and expands space with the aid of art historical references. Taken in concert with each other, each element of these works create a readymade dialogue as the viewer may see these as symbols or harbingers of what is to come, or what was already there.
Shannon Finley’s (Berlin) work straddles mark making by hand with digital processes to create strangely familiar, yet abstract, visions. The sculptures presented here are a new mode of creating that alludes to maquettes for monuments; built or un-built, that resonates with the context of his hometown of Berlin.
Jamisen Ogg (New York) presents a site-specific oversized mobile constructed from two architectural trusses. Strong yet delicate, this sculpture invites an approach that is cautionary and demarcates, formally and informally, a charged area within the context of the gallery space.
Min Song (Chicago) creates works that traverse multiple mediums from photography to sculpture. Using accessible materials – from found and personal photography to basic building materials – these works create scenarios that utilize mnemonic devices to trigger something that verges on sentimentality, but not quite.
Dannielle Tegeder (New York) With an overt inquisitiveness, Tegeder presents a wall-based installation that incorporates a variety of media (house paint, vellum, wood, frames) into one plane while expanding the meaning of what a composition can be within a specific space. Responding directly to the architecture of the gallery, the networks and systems alluded to are complicated, while meant to encourage contemplation.
APPROPINQUATION is organized by Carrie Secrist and Britton Bertran.
Please contact Britton Bertran for further information at 312.491.0917 or firstname.lastname@example.org
Editors Note: Steven Zevitas | Spotlight: Josh Reames, Michael Wilson speaks on his aesthetic characterization | Jurors Comments: Kelly Shindler, Associate Curator, Contemporary Art Museum St. Louis, St. Louis, MO | Winners: Juror and Editor Selections
The Eyeworks Festival of Experimental Animation is an invitational festival focusing on abstract animation and unconventional character animation. Festival programs showcase outstanding experimental animation of all sorts, and include classic films and new works. The Eyeworks festival was founded in 2010 by Alexander Stewart and Lilli Carré, and is held annually in Chicago, with additional curated programs presented in Chicago and other cities throughout the year.
The Eyeworks programs showcase a range of animation techniques, including paper cutouts, stop-motion, 3D computer animation, and a wide variety of hand-drawn methods. The content of the films is equally varied, and includes cosmic abstraction, psychedelic characters, geometric patterning, and surrealistic narratives.
one art space
23 warren street
new york new york
november 6 2014
Rocket Run: Abstractions From Chicago
october 17 2014
organized by alexander herzog
Elder Gallery, Vance D. Rogers Center for Fine Art, Nebraska Wesleyan University. Lincoln, NE
New catalog for souvenirs from wonderland exhibition available. Designed by Sonnenzimmer, with an essay by Philip Martin and poem by Maureen N. McLane
Thursday, October 16, 2014
Reception for the Artist: 4:30–5:30 p.m., Lecture: 6:00 p.m., ART 100
Baum's habit of foraging through art history for mysterious image fragments is at the root of her upcoming exhibition, Souvenirs From Wonderland.Her paintings, intimate Sintra panels and large-scale un-stretched canvas "rabbit holes," originate with this search and recovery effort. Through her various studio processes, the images evolve and transform, like word play in the children's game of telephone. Her paintings are object and metaphor and act as a threshold between the known and what lies beyond.
Painting is enjoying a remarkable creative renaissance in the 21st century. Many of the world’s leading artists now work in this most enduring and seductive of media. 100 Painters of Tomorrow is the result of a major new project to find the 100 most exciting, up-and-coming painters at work today.
Their work spans an extraordinary range of styles and techniques, from abstraction to figuration, minimalism to magical realism, and straight oil-on-canvas to mixed-media and installation-based painting. The 100 chosen artists, selected from more than 4,300 entrants, come from over 37 countries.Entries were judged by an international panel featuring some of the most prominent names in contemporary art, including the painter Cecily Brown, curators Tony Godfrey, Yuko Hasegawa and Gregor Muir, and writer-critics Suzanne Hudson, Barry Schwabsky and Philip Tinari.
My Crippled Friend investigates the recent history of the intersection of painterly abstraction and the object. While “painting as object” has often been a formalist issue, the works in this exhibition gather their identity through the subversion of formalism—scrambling and reassembling themselves in an aesthetic shell game where the act of painting is always an investigation of a painting’s ability to push into objecthood.
The result is a collection of works that are each alive in a way that only a painting can be, as well as present in a way that seems more like an object. Impossible to label as one specific medium (“a painting” or “a sculpture”), they are, rather, an often-lumpy but always compelling combination of the two.Participating artists will include Richard Aldrich, Claire Ashley, Leslie Baum, Anna Betbeze, Sarah Braman, Tom Burr, Tom Burckhardt, Kathy Butterly, Sarah Cain, N. Dash, Cheryl Donegan, Michel François, Joe Fyfe, Katharina Grosse, Mary Heilmann, Chris Johanson, Ross Knight, Jim Lambie, Jim Lee, Chris Martin, Sam Martineau, Matt Rich, Cordy Ryman, Nancy Shaver, Daniel Turner, Amy Yoes, and Tamara Zahaykevi