- 2 weeks ago
- May 6, 2017
- Mar 8, 2017
- Aug 10, 2016
Link to Gallery Guide and Checklist
October 19 - November 22
Loyola University, Ralph Arnold Gallery
Curated by Jessica Cochran
Danielle E. Campbell, Jeff Carter, Helen Maurene Cooper, Barbara Koenen, Kathryn O'Halloran, Kirsten Leenaars, Ernesto Pujol, Protest Banner Lending Library, Mary Simpson, Pedro Velez, Rhonda Wheatley, Scott Wolniak
Ideas about the role of the artist in society have been percolating broadly in discourse on art and politics. In the summer issue of Artforum Simon Critchley addressed this wave within the context of the politics of everyday life. "In the situation we find ourselves in, there are two powerful, but opposed, temptations: to participate, and to withdraw.” In this year’s Venice Biennale, curator Christeine Macel asserts that the "artistic act” itself "is an act of resistance, of liberation, and of generosity.”
Against the backdrop of a discordant presidency, Human Human considers the array of ways that recent artworks register as political, and responsive. The impetus for the exhibition grew out of months of conversations with artists about urgency and agency, particularly in relation one's work in the studio and one's life as a citizen.
We all have a different relationship to art and politics. Some works were created as a means of retreat, regeneration, or peace. Restorative for the artist, as well for the viewer, these works mobilize a new imaginary, or simply find a space apart. Using formal strategies, some works obliquely visualize ethics of critique and models of resistance; and others directly engage an aesthetics of activism.
By bringing together works across a spectrum of making, Human Human creates a space to consider art and affect in relation to the twin impulses of escapism and action. What is the role of art in relation to world-making, from the studio to the street?
What is the dimensionality of citizenship within chaos?
Works in this exhibition all produce meaning that begins with, but transcends the logic of the studio. This means that they are artful in their politics — these are art-political objects. But what is most enduring about this work what we might call successive composition. Each one takes from the world of things and from the realms of ideas, and builds another layer, makes another move. These artworks are our polyphony, our many contours, they are our emergent present.
"To make a revolution, people must not only struggle against existing institutions. They must make a philosophical / spiritual leap and become more human human beings. In order to change/transform the world, they must change/transform themselves.”
RHONDA WHEATLEY (Chicago, IL) Selected Power Objects, 2017 - Mixed media
ERNESTO PUJOL (New York, NY) One Hundred Days, A Performative Litany, 2017
MARY SIMPSON (New York, NY) Guide to Europe, 2016 Ardor, 2016 Oil on maple panel with frame
SCOTT WOLNIAK (Chicago, IL) All graphite on paper, Winter 2016 - 2017 Oscar Swinging in a Hammock in Western Michigan Exit Weeds and Grass Cancun Moon Eckhart Park Pool
DANIELLE E CAMPBELL (Chicago, IL) from the series Chicago, January 21, 2017 Archival print KIRSTEN LEENAARS (Chicago, IL) Typographies of Hope Work in progress (January 20, 2017 –January 19, 2018) Inkjet print on newsprint paper
KIRSTEN LEENAARS (Chicago, IL) Typographies of Hope Work in progress (January 20, 2017 –January 19, 2018) Inkjet print on newsprint paper
Installation view with works (from left) by Jeff Carter, Pedro Velez, Helen Maurene Cooper, Rhonda Wheatley and the Protest Banner Lending Library
PEDRO VELEZ (San Juan, Puerto Rico) Surrender Flag with Broken Wing, 2015 (in collaboration with L.M Rodríguez) Acrylic on raw canvas and painted push pins on a 20 year old cut piece of Capa Blanco wood HELEN MAURENE COOPER (Chicago, IL) Fish, 2016 Archival pigment print
(front) KATHRYN O’HALLORAN (Los Angeles, CA) Kneeling Mat (for connection and collection), 2017 Rope, glue, aluminium, balloon, helium, string DANIELLE E CAMPBELL (Chicago, IL) from the series Chicago, January 21, 2017 Archival print
JEFF CARTER (Chicago, IL) Occupier_1, 2016 Modified IKEA products (wood, umbrellas, LEDs, glassware, electric drill)
Pedro Velez, 2015 (San Juan, Puerto Rico) Surrender Flag with Broken Wing (in collaboration with L.M Rodríguez) Acrylic on raw canvas and painted push pins on a 20 year old cut piece of Capa Blanco wood
Mary Simpson (New York, NY) South of No, 2017 Oil on maple panel with frame