Coming of Age

09/10/2017
Coming of Age
Takahiro Iwasaki, Phenotypic Remodeling (Chicago), 2017. Site-specific installation (newspaper inserts and packages), dimension variable. Installation view, Sector 2337, Chicago, 2017. Photo by Clare Britt.
Coming of Age
Takahiro Iwasaki, Out of Disorder (brush), 2017. Toothbrush, dimension variable. Photo by Clare Britt.
Coming of Age
Coming of Age, Installation view, Sector 2337, Chicago, 2017. Left: Takahiro Iwasaki, Architecture (roach motel), 2012. Cockroach trap and watch, dimension variable. Right: Takahiro Iwasaki, Out of Disorder (Navy Pier), 2017. Beach towel, dimension variable. Photo by Clare Britt.
Coming of Age
Takahiro Iwasaki, Tectonic Model, 2017. Books. Dimensions variable. Photo by Clare Britt.
Coming of Age
Coming of Age, Installation view, Sector 2337, Chicago, 2017. Photo by Clare Britt.
Coming of Age
Tsherin Sherpa, Untitled, 2017. Acrylic and ink on cotton, 44 x 45.5”. Photo by Clare Britt.
Coming of Age
Coming of Age, Installation view, Sector 2337, Chicago, 2017. Photo by Clare Britt.
Coming of Age
Aki Inomata, I Wear the Dog’s Hair and Dog Wears My Hair (detail), 2014. Cape made of dog’s hair; 11×27”. Photo by Clare Britt.
Coming of Age
Ebony G. Patterson, 10, 18, 47, 33, 28, from Invisible Presence: Bling Memories, 2014. Fabric, acrylic paint, adhesive, fabric flowers, pinus palustris, lace, rhinestones, ribbons, tassels, crochet doily, crochet tassels, fabric appliques, glitter, pearls, 119 x 24 x 12”. Photo by Clare Britt.
Coming of Age
Coming of Age, Installation view, Sector 2337, Chicago, 2017. Coming of Age, Installation view, Sector 2337, Chicago, 2017. Left (floor) Ebony G. Patterson, 10, 18, 47, 33, 28, from Invisible Presence: Bling Memories, 2014. Fabric, acrylic paint, adhesive, fabric flowers, pinus palustris, lace, rhinestones, ribbons, tassels, crochet doily, crochet tassels, fabric appliques, glitter, pearls, 119 x 24 x 12”; (middle wall): Rhonda Holberton, A FIXED RESISTANCE, 2016. Pigment Print on Wallcovering, 12.5 x 55’’; floor: A Fallen Pixel, 1 & III, 2016. Foam, Polyurea. 18 x 11 x 11.25″, 28.25 x 17 x 17.25″; Right: Essi Kausalainen, “Anette and Marin at the beach,” 2017. HD video, 7 min. Photo by Clare Britt.Photo by Clare Britt.
Coming of Age
Rhonda Holberton, A Fallen Pixel, 1 & III, 2016. Foam, Polyurea. 18 x 11 x 11.25″, 28.25 x 17 x 17.25″. Photo by Clare Britt.
Coming of Age
Coming of Age, Installation view, Sector 2337, Chicago, 2017. Left (wall): Rhonda Holberton, A FIXED RESISTANCE, 2016. Pigment Print on Wallcovering, 12.5 x 55’’; floor: A Fallen Pixel, 1 & III, 2016. Foam, Polyurea. 18 x 11 x 11.25″, 28.25 x 17 x 17.25″; Right: Essi Kausalainen, “Anette and Marin at the beach,” 2017. HD video, 7 min. Photo by Clare Britt.
Coming of Age
Essi Kausalainen, “Anette and Marin at the beach,” 2017. HD video, 7 min. Photo by Clare Britt.
Coming of Age
Aki Inomata, Why Not Hand Over a “Shelter” to hermit crabs? -Border, 2009-2016. Installation view, Sector 2337. Resin, dimensions variable. Photo by Clare Britt.
Coming of Age
Aki Inomata, Fugian from “Why Not Hand Over a “Shelter” to hermit crabs? -Border, 2016. Resin, 2.25×2.33×2.5”. Photo by Clare Britt.
Coming of Age
Rebecca Beachy, taxidermy bird w/poem inherent, 2017. Bird’s-nest mud capsule. Poem by Dan Beachy-Quick, 2014-2017. Photo by Clare Britt.
Coming of Age
Ebony G. Patterson, Excerpt from Invisible Presence: Bling Memories, 2014. In collaboration with Michelle Serioux HD Video, 9:40min. Photo by Clare Britt.
Coming of Age
Rebecca Beachy, gravel path, 2017. Amish horse cremains from Chesterhill, Ohio, dimensions variable. Installation view, Sector 2337, Chicago, 2017. Photo by Clare Britt.
Coming of Age
Sep 09-Nov 19, 2017 at Sector 2337 Featuring Rebecca Beachy, Rhonda Holberton, Essi Kausalainen, Takahiro Iwasaki, Aki Inomata, Ebony G. Patterson, and Tsherin Sherpa
The libidinal flux of the teenager has left a permanent mark on culture, normalizing radical consumption in service of an endless will to change. With the end of earth’s resources in sight, this paradigm needs revision. Presented by The Green Lantern Press, Coming of... +

The Shortest Distance Between Two Points: a group show

09/08/2017
The Shortest Distance Between Two Points: a group show
The Shortest Distance Between Two Points: a group show
Selina Trepp,
The Shortest Distance Between Two Points: a group show
Sep 08-28, 2017 / Chicago Artist Coalition Featuring Candida Alvarez, Jorge Méndez Blake, Robert Burnier, Julietta Cheung, Assaf Evron, Roberto Harrison, Dominika Jackuliakova, Betsy Odom, Stephen Lapthisophon, Nazafarin Lotfi, Heather Mekkelson, Matt Morris, Michael Milano, Bailey Romaine, Josh Rios + Anthony Romero, Ellen Rothenberg, Selina Trepp, Anne Wilson, and Fo Wilson. Euclidean Geometry is based on the... +

Bettina Pousttchi // The Shifting Politics Of Material Perception

05/28/2017
Bettina Pousttchi // The Shifting Politics Of Material Perception
Bettina Pousttchi, Echo, 2009–2010. 970 paper posters on the facade of Temporäre Kunsthalle Berlin. 11 x 20 57 m / 36 x 66 x 187 ft. Courtesy the artist and Buchmann Galerie.
The following interview was originally published by The Seen in May, 2017. Based in Berlin, German artist Bettina Pousttchi is known for her work in sculpture and photography, teasing out the politics of perception, particularly as it emerges through institutionalized structures—whether the exterior of a building, or the dial of a clock. Most recently,... +

Shadowed! + elsetime: Ellen Rothenberg

03/04/2017
Shadowed! + elsetime: Ellen Rothenberg
Ellen Rothenberg, elsetime, 2015. Installation view, Sector 2337. Photo by Clare Britt.
Shadowed! + elsetime: Ellen Rothenberg
Shadowed! spread from book. Design by Sonia Yoon. Green Lantern Press, 2016.
Shadowed! + elsetime: Ellen Rothenberg
Shadowed! spread from book. Design by Sonia Yoon. Green Lantern Press, 2016.
About the exhibition: May 9 – July 3, 2015 / Sector 2337: elsetime, a solo exhibition by Ellen Rothenberg features new work in a wide range of media from photography, performance, and installation, elsetime examines the difficulty of artistic lineage exploring history’s dislocated presence. Central to Rothenberg’s artistic retcon is the image of her walking in the study of Bertolt Brecht. Rothenberg expands from there, refracting through additionally (and personally)... +

Slipping through the net of a metaphor: SITE SANTA FE // MUCH WIDER THAN A LINE

10/03/2016
Slipping through the net of a metaphor: SITE SANTA FE // MUCH WIDER THAN A LINE
Paolo Soleri (b. 1919, Turin, Italy; died 2013, Paradise Valley, AZ). Amphitheater, c. 1975. Commissioned by the Lloyd Kiva New for Institute of American Indian Arts, 1964. Image courtesy of the IAIA Archives, Santa Fe
Originally published by The Seen, Sept 2016. SITE Santa Fe stands close to the downtown historic district of the city, beside train tracks and Warehouse 21, a haven for artistic youth. Contextualized by a landscape that originally belonged (and still partially belongs) to Native Americans, within the architectural residue of a complex colonial and missionary histories, the Southwest... +