We are thrilled to end the 2018-year with work by newly discovered artist Michael Koerner, whose tintypes have stunned the art world. My DNA opens November 2 and runs through December 22, 2018. This will be the final show in our River North location. After 31 years in the same building, we are moving to 1637 W. Chicago Avenue, to join fellow gallerists in West Town.
There will be an opening reception on Friday, November 2, from 5:00 to 8:00 p.m. The artist will be in attendance.
This Saturday, November 3 at noon, we will host a discussion in the gallery between the artist, Saira Chambers, Director of the Japanese Culture Center, and Professor Yuki Miyamoto, a nuclear ethicist at DePaul University. The discussion will explore how contemporary artists like Koerner tackle the concept of Gaman (我慢), creating a conflict between his cultural heritage and his need to examine the effects that the atomic bomb had on his family. This event is free and open to the public. More information and a link to RSVP here!
On August 9, 1945, the United States dropped an atomic bomb on the town of Nagasaki, a short distance from the home of Michael Koerner’s mother. The chemical fallout from the bomb instantly killed tens of thousands of people, and left many more reeling from its effects for the rest of their lives. Koerner’s family is just one example of the devastation that chemical warfare had during World War II.
Michael Koerner (b. Okinawa, Japan, 1963) is the oldest of five brothers. Due to genetic deformities resulting from cancer, he is the only remaining living sibling. His brothers’ fates (and potentially his own one day) can be linked to their mother, who was eleven years old on that ill-fated August day. She lived in Sasebo, Japan, 45 miles away from the blast. The long-term effects of gamma radiation led to his mother’s death at an early age, and all of his brothers. Koerner’s work explores his family history and genetics through small tintypes, using photographic chemistry to assimilate the bursts and biochemical fallout from the atom bomb. With a family history of various cancers, it is no wonder Koerner became an organic chemist, currently teaching at the University of Illinois at Urbana-Champaign.
Koerner’s 6 x 8” tintypes seduce the viewer with glistening deep blacks, metallic silvers, and odd green, yellow and blue hues, to talk about disease. By blowing through a straw, or dripping chemicals from an eyedropper onto tin plates, Koerner manipulates collodion to create sunbursts, explosions, amorphous shapes, and double helixes, all of which reference his family history. In Waterfalls we see vibrant blue chemical drippings, reminiscent of pieces by the 18th c. Japanese artist Katsushika Hokusai; in Phases, small balls float across the sky, resembling shooting stars; in Finger Prints, the repetitive imprint of the artists fingertips suggests a medical scan or disease. As he states:
“I am the oldest of five brothers. The next born son of my parents lived for only several days. The next son was stillborn and the next was miscarried late in the third trimester. The cause of each of these tragedies was traced to genetic abnormalities. My youngest brother, Richard, eventually succumbed to complications associated with two separate bouts of lymphatic cancer. He lived until he was 32 years of age. There is a tremendous amount of pain and guilt associated with these horrendous endings. It is almost impossible to eliminate or even subdue the feelings that something could have been done differently or avoided.
About half of the 80 thousand deaths from the attack on Nagasaki occurred in the first day, while the other half of the deaths occurred from radiation sickness and burns in the following few months. Realistically, the ultimate death toll is at least ten times higher when you approximate the long-term effect of severe, acute exposure to gamma radiation. My mother and each of her four siblings died of rare genetic disorders and/or cancer at ages much younger than the median life expectancy. I remain hyper-vigilant towards my own cancer diagnosis and exhibit my own feelings of survivor’s guilt. These feelings, and family history and experiences, drive my artistic practice.”
Michael Koerner started showing his tintypes less than two years ago, and is part of numerous collections including the Sir Elton John Collection (Atlanta, GA), Nelson-Atkins Museum of Art, (Kansas City, MO) and the Norton Museum of Art (West Palm Beach, FL). We are honored to present his first solo exhibition and believe it is a fitting way to close out our 31 years in River North. We opened the gallery with Nan Goldin’s Ballad of Sexual Dependency, a visual diary of the artist’s struggle with love, addiction, heartache and friendship. And we say thank you to River North with the work of a newly discovered photographer, Michael Koerner, who teaches us about our past and its ramifications, through visually stunning pieces of art. We look forward to welcoming the public to our new space at 1637 W. Chicago Ave., in March 2019.
Have you watched Inside the Actor’s Studio with James Lipton? In this popular TV show, James Lipton interviews legendary guests. The conversations always end with his famous list of ten questions. Over the years, CEG has asked our artists these same ten questions to gain insight into their personalities and their work. This week, Alanna Airitam answers James Lipton’s Top Ten!
1. What is your favorite word?
2. What is your least favorite word?
3. What turns you on creatively, spiritually or emotionally?
Knowing that I have a choice to create my own experience in this life. I’ve created a belief system for myself that allows me to dream as big as I want and believe it is all very possible. We only have this one life to live. What else is there to do except to burn as bright as possible and try to ignite a fire in others along the way? It’s my responsibility to see beyond my perceived limitations and continue to push myself to be the best version of me that I can be. It’s hard work and if theres any consistency to it at all, it’s that it is constantly scary as fuck. It’s humbling as fuck. I never know what I’m doing and only have a vague idea of where I’m going. But the alternative to give up is much, much scarier to me. And the reward is always bigger and brighter than I ever thought possible and gives me the capacity to love more deeply, see more clearly, and experience more fully. I will always be on this path. I will succeed sometimes and fail at others, but I’ll always get back up and do it again. Because that’s what life is about.
4. What turns you off creatively, spiritually or emotionally?
Blaming, complaining and dwelling on limitations. I meditate daily as a practice so I can be aware of my own limiting beliefs, pains, and fears. I try my best to bust through these things because they hold me back from being the person I want to be, or having the experience I want to have in this life. I figure I only get this one life, I don’t have the luxury to spend most of it blaming others for not being where I want to be, dwelling on that, and then complaining about it –not when I know I haven’t done everything within my power to create what I want. I can’t be lazy and then complain about not being successful. I can’t live in fear and then complain about not being seen or heard. I can’t point the blame outside of myself if I’m not doing what I’m supposed to be doing. Doing this kills everything in me. It makes me not be able to see possibility anymore. I can longer see the magic around me and my potential. I lose sight of who I am. And that leads to despair, depression, and death.
5. What sound or noise do you love?
Music. I love all kinds of music, but recently have been listening to music without lyrics or lyrics in other languages that I don’t understand so the words become a part of the music. Currently, I’ve been playing a lot of Ali Farka Touré and Toumani Diabaté. The right music is incredible powerful and transformative. I can indulge or shift my moods with music. Along with drawing on cave walls, it’s one of the earliest forms of expression we have. How can something so ancient not be healing and magical?
6. What sound or noise do you hate?
Leaf blowers. They are loud and obnoxious and pointless. And it seems like the people who use them need to use them first thing in the morning.
7. What is your favorite curse word?
Fuck. Is there a more perfect word? I believe it is the most intelligent word in the english language because it’s just so fucking versatile. It’s not inherently synonymous with any gender and so can be used fluidly without it being tied back to an underhanded insult to women (like so many curse words are). And I love how it can be added to other words for even greater effect such as, “I can’t believe that fuckweasel was voted into office.”
8. What profession other than your own would you like to attempt?
I can only choose one? There are so many things I want to experience though! I always thought it would be cool to be a sociologist or an anthropologist because I’ve always been interested in how people relate to each other. I’m extremely fascinated with humans as a species and why we do the things we do. I want to understand what conscious and unconscious parts of ourselves drive us forward or hold us back from reaching our full potential. I think I’d want to specifically focus on the study of fear and love as cultural and individual motivations.
9. What profession would you not like to do?
I would not want to be a leaf blower person, a politician, or anything where I have to sit at a computer in a cubical all day.
10. If Heaven exists, what would you like to hear God say when you arrive at the Pearly Gates?
God: “Welcome back! haha for a minute, I wasn’t sure you were going to make it. LOL. We took bets and I’m telling’ ya… it was close. Now I’ve gotta go collect from Tupac. Come on in! Prince is about to perform and we’ve all been waiting.”
Two years ago marked the American debut of work by photographer Francesco Pergolesi, who was raised in Spoleto, an Italian village filled with artisan shops and small businesses. His series, Heroes, features work inspired by the people and places from his childhood that are slowly disappearing: the watchmaker fixing old time pieces; the frame shop where hand-milled frames line the walls; and the local cobbler whose walls are covered with leather hides. Working in collaboration with the shopkeepers, Pergolesi presents narratives that honor the past, while preserving the present. Work from Heroes is not only printed and framed traditionally, but also presented as small boxes lit from within by a LED light.
The artist was born in Venice in 1975. He lives and works between Spoleto, Rome and Barcelona.After finishing his law degree, he dedicated himself entirely to photography. He is an artist-photographer whose work explores the territory of memory. Every single shot is a kind of a theater scene. His subjects are revealed in the lights and shadows reminiscent of Flemish paintings. As he states:
“When I was a child I used to walk free exploring my village streets. I remember I loved to spend time in the little cobbler or the grocery where my Grandmother sent me to shop. Time seemed to be extended and let me feel the sense of freedom. I grew up loving neighborhoods where human relationships were the center of life. I realized early on those places were disappearing as pushed by a mysterious force, a new era was coming.”
Francesco Pergolesi sees himself as a guardian of a vanishing world where people congregate to talk about families and daily activities. Every Hero unearths a person from his past…and every photograph becomes a new theater set, inspiring him every day, as he continues to wander the streets looking for a connection.
See more work by the artist, and interviews with Francesco on our website, here.
Catherine Edelman Gallery is excited to have added Lindsey Higgins and Shawn Rowe to our online gallery, The Chicago Project. Read more about these artists’ respective series and see a selection of images below.
Lindsey Higgins Lindsey Higgins (b. 1994) lives and works in Chicago, IL. She attended Columbia College Chicago and earned a BA with a discipline in fine art photography.
Lindsey is most influenced by the potential of memories, specifically, how such memories shape one’s experience with their own unique take on the world. Her most current project Empty Spaces speaks to the power of theses senses. Much like an individual’s sense of smell, her interest in color and the ways that it speaks differently to all has assisted her over the past three years to build her series Empty Spaces.
Empty Spaces is composed of a collection of images exploring how light directly relates to the way separate spaces are seen. Each space contains a unique color palette as well as interesting formal qualities, such as the misperception of space and depth. I have furthered this observation by pairing each empty space with an image that mimics the color palette already represented.
A hexadecimal number titles each piece. The hex values are six-digit combinations of letters and numbers that represent three separate values, the red, blue, and green components of each image. By describing the work using hex values, each set of images is precisely named. With this knowledge in mind, audiences are able to interact with the work to later find the specific color they enjoyed most through referencing the hex value.
I have presented Empty Spaces as a series of diptychs as it is relevant to view the work in two parts. Diptychs allow the audience to observe different perspectives on the same subject. In this case, each subject predominantly shares color values. My wish is to remind others of a specific moment or space in their life through viewing my work. By combining photographs from different environments, one that is heavily spatial and one that contains natural substances or traces thereof, I hope to take a closer look into the details of these spaces.
Shawn Rowe Shawn Rowe (b. 1985) is a Chicago based artist and curator exploring the complexities of gender and social constructs through portraiture. His long form approach allows him to embed with his subjects for months or years in order to understand them as complex beings. Shawn’s work has been exhibited and featured throughout the United States and internationally including the Photographic Center Northwest, Aint-Bad and Der Greif. Shawn is also the Assistant Editor of SKYLARK EDITIONS, a non-profit book publisher in Chicago, IL. Shawn received an MFA in Photography from Columbia College Chicago and holds a BA in Psychology from Southern New Hampshire University.
In my work a quiet repose emerges, where moments of introspection grow long while light and atmosphere become tactile. Landscape imagery punctuates this self-portrait, serving as metaphor to discuss the symbiosis between nature and the body. V characterizes this relationship as both internal and external, with each body leaving marks upon the other. The power structures that support this dialogue manifest as visual interruptions in the intervening space between reflection and perception. In this work I create space to discuss a range of definitions of masculinity, sexuality and gender in order to articulate acceptance and resolve.
The title V describes the ambiguity of the project itself. In ancient times, V was used interchangeably with the letter U. V is the Roman Numeral for five and embodies a downward pointing arrow. For this work, the two lines that create the letter V intersect where the body and the environment exchange forces. These images represent a visualization of this conversation. The installation is emblematic of the work in that the scale, distance and dimensions are variable. Like the letter V, I am asking my viewer to bring their own associations and meanings to the images and the body of work as a whole.
TheChicago Project is an online gallery initiative by Catherine Edelman Gallery, devoted to new and established photographers in the Chicago area, who we feel deserve recognition. It is our hope to expose local talent to a wider audience and we plan on adding photographers as we find them. If you are interested in learning more about the Chicago Project or would like information on how to submit, click HERE.
We’ve had a wonderful week at EXPO CHICAGO and we’re thrilled to welcome those of you who haven’t visited the fair yet! We are exhibiting ten amazing artists, seven of which live and work in the Midwest: Jess T. Dugan, Terry Evans, Michael Koerner, and Garrett O. Hansen to name a few. Today, we continuing to cover our featured artists, including midwest-based Elizabeth Ernst, Pete Jacobs, and Gregory Scott, as well as Brooklyn based duo Lori Nix / Kathleen Gerber and Italian photographer, Francesco Pergolesi.
For more than 12 years, Elizabeth Ernst has created art about the people and entertainers affiliated with the G.E. Circus, a small family owned circus of aging performers. Over the years we’ve seen them pose for the camera in their fanciful outfits, relax backstage playing cards, apply makeup in their dressing room mirrors, and perform for enthusiastic audiences. Through intimate detailed images, we’ve witnessed their joys and fears, as the glory days of the travelling circus began to fade.
Elizabeth Ernst is a professor emeritus at Columbia College Chicago, where she taught for 25 years. She is the recipient of numerous Illinois Arts Council Fellowships in Photography, and two Faculty Development Grants from Columbia College. Her work has been exhibited nationally and was recently featured at the Mimi and Ian Rolland Art Center, University of Saint Francis, Fort Wayne, IN. Elizabeth Ernst lives and works in Chicago.
Pete Jacobs lives and works in Chicago. Born and raised in New Haven, CT, he attended Wesleyan University, graduating with a B.A. in English Literature. A published poet, he has received, among other awards, a National Endowment for the Arts Fellowship. In recent years, his drive to experiment and innovate has steered his interests towards the visual arts.
As a photographic conceptual artist and a painter, he often portrays a vulnerable humanism. His multi-panel Tableaux series transforms the worldly—a tightrope walker, a laughing woman, a collection of prosthetic eyes, a text statement on unrequited love—into strange and illuminating melding of expressionistic color fields with ghostly underlying imagery.
In these visual narratives, the viewer experiences both a sense of fracturing into parts and a coming together as a whole. As with chapters in an unfolding story, the eye lingers on the contents of one panel and then is drawn on to the next in a progression of hue gradients and the linking up of the image. A tension hovers in this attempt at unity never fully realized due to the spatial separation of the individual panels.
Lori Nix / Kathleen Gerber
Lori Nix and Kathleen Gerber were both born in the Midwest, in areas known for tornados, snowstorms and droughts. As children, these natural disasters became their playground and influenced their first collaborative series, The City. Apocalyptic in nature, this series imagined an interior world without people, with Mother Nature reclaiming her land abused by mankind.
In their newest series, Empire,the duo (now working under the moniker Lori Nix / Kathleen Gerber) depict exterior spaces baring the scars of climate change and unexplained disasters. Working in their home/studio, Nix and Gerber transform cardboard, foam, glue and paint into small dioramas that are photographed with an 8 x 10 camera. Often taking up to several months to complete, these large scale models of everyday places – a highway overpass, newspaper boxes on a sidewalk, sink holes in an urban city – fall victim to decay, referencing the effects of pollution and challenging our perceptions of reality, and our responsibilities within it. As they explain:
“Because the work features a model and not a real place, it creates a safe space to think about larger ideas of disaster. Devoid of people, these spaces become meditative and full of possibilities. Landscapes are more than a visual record of an environment. They also capture the emotional, sometimes spiritual, essence of a place. Empirepresents a world transformed by climate uncertainty and a shifting social order as it stumbles towards a new kind of frontier. These places are eerily beautiful but also unsettling in their stillness and silence. Long ago, man entered the landscape and forced nature to his will. Once grand and emblematic of strength and prosperity, these landscapes now appear abused and in decay, and it is uncertain how they will continue to (d)evolve.”
Lori Nix and Kathleen Gerber have exhibited their works extensively in Europe and the United States and are in numerous public collections including the Museum of Fine Arts (Houston, TX), The International Museum of Photography at George Eastman Museum (Rochester, NY), The Smithsonian American Art Museum (Washington, DC), Spencer Museum of Art, University of Kansas (Lawrence, KA), Harvard Business School, Harvard University (Cambridge, MA), among others. Lori Nix is the recipient of many grants including a 2014 Guggenheim Fellow in photography.
Francesco Pergolesi was born in Venice in 1975. After finishing his law degree, dedicated himself entirely to photography. He is an artist-photographer whose work explores the territory of memory. Every single shot from his series Heroes is a kind of a theater scene. His subjects are revealed in the lights and shadows reminiscent of Flemish paintings. He lives and works between Spoleto, Rome and Barcelona.
“Tableaux is a project dedicated to the worktables of artists and artisans… Every table is a canvas generated unconsciously, thanks to the traces of daily work. The material is the tangible representation of memory… every detail becomes magnified, emphasizing the worth and uniqueness of the artisan’s work. The worktable is a reliable place, an esoteric shelter where day after day, year after year, generations repeat skillful gestures, generating ideas and solutions. It is a place where one puts together and transforms materials.”
Gregory Scott has always blurred the lines between painting and photography, incorporating paintings he did of himself, or his body, back into his photographs. The resulting images were both humorous and odd, challenging the viewer’s perception of photographic truth. Then, at the age of 49, Scott decided to go to graduate school to strengthen his knowledge of art history and video making. Having successfully merged his love of painting and photographs, his interest turned to video and its ability to move and manipulate still images.
Continuing to use himself as the model, Scott creates narrative pieces which use illusion and surprise to tackle issues ranging from identity and loneliness, to the way the art world has pigeonholed the various mediums in which he works. In his pieces, Scott challenges the definitions placed on photography, painting and video, expanding its discourse.
Gregory Scott’s newest piece, “Rothko Chapel, 2018,” is based on the space in which the painter’s 14 murals are installed in Houston, Texas. As many people know, photography is not permitted inside the chapel, but that did not stop Gregory. As a former model maker, he painstakingly built the chapel in his studio, creating his own access to its interior. The 6 minute video explores the experience of being inside the chapel, where meditation takes over, dreaming is encouraged, and the mind is free to imagine.
You can see work from all the artists featured at booth #167 here. For more information on the fair, visit expochicago.com.
Thanks to all who joined us for Vernissage! We had an excellent opening night catching up with friends old and new. If you have not yet made it to Navy Pier, be sure to visit Expo Chicago through Sunday and see us at booth 167.
We are debuting never-before-seen work by some of our featured artists, as well as new bodies of work by our represented artists. Read on to learn more about Jess T. Dugan, Terry Evans, Garrett O Hansen, Michael Koerner, and Laurent Millet!
Jess T. Dugan is an artist whose work explores issues of gender, sexuality, identity, and community. Jess earned an MFA in Photography from Columbia College Chicago (2014), a Master of Liberal Arts in Museum Studies from Harvard University (2010), and a BFA in Photography from the Massachusetts College of Art and Design (2007).
Dugan has exhibited at venues including the Smithsonian National Portrait Gallery, the Aperture Foundation, the Museum of Contemporary Photography, the San Diego Museum of Art, the Cornell Fine Arts Museum at Rollins College, the Transformer Station, the Griffin Museum of Photography, and at many colleges and universities throughout the United States.
Public collections include the Museum of Fine Arts, Boston, the Museum of Fine Arts, Houston, the Museum of Contemporary Photography, the Harvard Art Museums, the Birmingham Museum of Art, the Grand Rapids Art Museum, the Archive of Documentary Arts at Duke University, the Cornell Fine Arts Museum at Rollins College, Fidelity Investments, JP Morgan Chase, and the Kinsey Institute for Research in Sex, Gender, and Reproduction.
Representations of older transgender people are nearly absent from our culture and those that do exist are often one-dimensional. For over five years, photographer Jess T. Dugan and social worker Vanessa Fabbre traveled throughout the United States creating To Survive on This Shore: Photographs and Interviews with Transgender and Gender Nonconforming Older Adults. Seeking subjects whose lived experiences exist within the complex intersections of gender identity, age, race, ethnicity, sexuality, socioeconomic class, and geographic location, they traveled from coast to coast, to big cities and small towns, documenting the life stories of this important but largely underrepresented group of older adults. The featured individuals share a wide variety of life narratives spanning the last ninety years, offering an important historical record of transgender experience and activism in the United States. The resulting portraits and narratives offer a nuanced view into the struggles and joys of growing older as a transgender person and offer a poignant reflection on what it means to live authentically despite seemingly insurmountable odds.
Terry Evans was born in the heart of the American prairie, Kansas City, Missouri, spending most of her adult life in Salina before moving to Chicago. It is in Kansas, among the hay bales, grain silos and cultivated fields, that Terry’s passion for the great plains was born – a passion that has led her on a photographic journey spanning more than twenty years and countless hours 600 feet above the ground in a single-engine plane.
Terry Evans’ work is part of numerous private and public collections including The Art Institute of Chicago, The Whitney Museum of American Art (New York, NY), Los Angeles County Museum of Art and San Francisco Museum of Modern Art. She has three monographs produced on her work: Disarming The Prairie(Johns Hopkins Press, 1998), The Inhabited Prairie (University Press of Kansas, 1998), and Prairie: Images of Ground and Sky (University Press of Kansas, 1996).
“Since 1978, all of my work is connected by an abiding interest in and love for prairie. This interest began more than forty years ago when I photographed the Fent prairie, an 80 acre virgin prairie near Salina, Kansas, where I lived. I explored Fent and other prairies for the next eight years, which introduced me to the wondrous balance of an undisturbed ecosystem, and has informed all of my work to date. In Ancient Prairies, I’m visiting prairie remnants once again. In late May, I went back to the Fent prairie to photograph its intricate botanical complexity after having photographed the effects of fracking in North Dakota and petcoke pollution in Southeast Chicago, which both showed human disregard for land and its people. I’m deeply disturbed by our seeming inability to confront the current and impending disasters of our intensive fossil fuel overuse and the climate change our lives are provoking. This work is about remembering the wisdom and beauty of intact prairies. It is about SEEING them. These prairies would not exist without human care, and Ancient Prairies serves as a tribute to the kinship between humans and nature.”
Garrett graduated from Grinnell College, where he studied economics and political science. He completed his MFA in photography at Indiana University and has taught at several universities in the United States and in Asia; he is now an Assistant Professor of Photography at the University of Kentucky. Garrett has had numerous solo and group exhibitions in the United States, Europe, Indonesia, and Japan.
“Guns are one of the most lethal ways of attempting suicide, with roughly 90% of suicide attempts leading to death. They are also the most common method of suicide in America, with just over 50% of all suicides involving a gun. My newest body of work, entitled Loss, considers these statistics and addresses the fact that over 22,000 people a year are ending their lives with a gun.
Comprised of  2 x 4 foot panels, one for each month of the year, this large-scale piece acknowledges the devastating toll guns are taking on our communities. While high profile celebrity suicides garner significant media attention, very little media attention is given to average Americans who take their own lives. There are good arguments for this journalistic practice, in terms of the privacy for the friends and family of the deceased, as well as a desire to avoid “copycat” suicides. The drawback, however, is that thoughtful and informed conversations about suicide, and the strong correlation between gun ownership and suicide by gun, is not part of the national conversation. This series directly addresses this issue and asks viewers to acknowledge the magnitude of the problem.
The patterning on each panel is based on dove shot spray patterns fired from a 12-gauge shotgun. These patterns are then photographed and reproduced using a laser cutter. Each hole represents a single suicide in which a gun was used.”
Michael Koerner (Okinawa, Japan, 1963) is the oldest of five brothers. Due to genetic abnormalities and cancer, he is the only remaining living son. His brothers’ fates (and potentially his own one day) can be linked to their mother, who was eleven years old on August 9, 1945 when the atomic bomb was dropped on Nagasaki. She lived in Sasebo, Japan, 45 miles away from the blast. The long-term effects of severe, acute exposure to gamma radiation led to his mother’s death at an early age, and all of his brothers. Koerner’s work explores his family history and genetics through small tintypes, using photographic chemistry to assimilate the bursts and biochemical fallout from the atom bomb.
“I am the oldest of five brothers. The next born son of my parents lived for only several days. The next son was stillborn and the next was miscarried late in the third trimester. The cause of each of these tragedies was traced to genetic abnormalities. My youngest brother, Richard, eventually succumbed to complications associated with two separate bouts of lymphatic cancer. He lived until he was 32 years of age.
There is a tremendous amount of pain and guilt associated with these horrendous endings. It is almost impossible to eliminate or even subdue the feelings that something could have been done differently or avoided. Unfortunately, these feelings are amplified in my family. My mother, Kimiko Takaki, was eleven years old on August 9th, 1945 and living in Sasebo, Japan, which is about 45 miles away from the atomic bomb blast in Nagasaki that fateful day. About half of the 80 thousand deaths from the attack on Nagasaki occurred in the first day, while the other half of the deaths occurred from radiation sickness and burns in the following few months. Realistically, the ultimate death toll is at least ten times higher when you approximate the longterm effects of severe, acute exposure to gamma radiation. My mother and each of her four siblings died of rare genetic disorders and/or cancer at ages much younger than the median life expectancy.
I remain hyper-vigilant towards my own cancer diagnosis and exhibit my own feelings of survivor’s guilt. These feelings and family history and experiences drive my artistic hand.”
For more than twenty years, Laurent Millet has channeled his innate curiosity to create photographs that question the way objects appear within space and time. Citing R. Buckminster Fuller and Denis Diderot among his influences, Millet creates an artistic vocabulary through metal wire, vineyard posts and barrel hoops – objects prevalent in the coastal town of France in which he resides. There is a rich history of artists constructing environments simply to be photographed and then disassembled. These created realities were prevalent in the 1980s, as works by Sandy Skoglund, Bernard Faucon, Bruce Charlesworth, James Welling and other artists burst onto the scene. All of these artists worked with objects to create a narrative, captured by the camera. Laurent Millet (b. 1968 France) continues to work in this tradition, using various 19th c. printing techniques to magnify his vision.
As he stated in a 2014 interview in L’Oeil de la Photographie: “I felt like I had to take refuge in something that was comforting and reassuring… This idea brought me back to what I did as a child in the countryside when I would play with wood and stones. I rediscovered that pleasure as an adult… Starting with the first things I built, fishing machines, I felt like a world was opening up in which I could really exist. These objects are powered by my personal fictions, my dream of another life. The photograph is proof of that, a record of the moment, a reward.”
Laurent Millet’s work can be seen in numerous publications including his 2014 book, Les Enfantillages Pittoresques (Filigranes Editions) and in major museum collections, including The Art Institute of Chicago, Maison Européenne de la Photographie (Paris), San Francisco Museum of Modern Art, Los Angeles County Museum of Art, and Fonds National d’art Contemporain (Paris), among others.
You can see work from all the artists featured at booth #167 here. For more information on the fair, visit expochicago.com.
Catherine Edelman Gallery is exhibiting once again at EXPO CHICAGO, the International Exposition of Contemporary & Modern Art, which has established the city of Chicago as a preeminent art fair destination. Initiating the beginning of the international fall art season each September, EXPO CHICAGO takes place at historic Navy Pier, whose vast vaulted architecture hosts leading international exhibitors presented alongside one of the highest quality platforms for global contemporary art and culture. Dedicated to rigorous and challenging programming, EXPO CHICAGO initiates strategic international partnerships, built alongside strong institutional relationships with major local museums and organizations to open parallel exhibitions and events.
The fair opens with a VIP preview on Thursday, September 27, from 6:00 to 9:00 pm, to benefit the Museum of Contemporary Art Chicago, presented by the MCA Women’s Board.
The 2018 edition of EXPO CHICAGO will align with Art Design Chicago, an initiative of the Terra Foundation for American Art, to present various programs and events throughout EXPO ART WEEK (September 24–30, 2018) including panel discussions, performances, and activations across the city.
The EXPOSURE section, presented within the main exposition hall, is dedicated to emerging programs presenting solo and two-artist presentations represented by galleries 8 years and younger. An unrivaled talks program for both public and VIP audiences on two stages, /Dialogues and Exchange by Northern Trust continue to feature the most established and respected voices in contemporary art and culture. The on-site installations program IN/SITU, selected by a major international curator, and EXPO Projects organized by the fair Directors, feature large-scale suspended sculptures and site-specific works within the exhibition hall, alongside EXPO VIDEO, featuring a dynamic curated screening program for film, video, and new media works, and Special Exhibitions booths highlighting non-profit organizations. The off-site public program engages the city’s long legacy with public art, including IN/SITU Outside, siting works by major contemporary artists throughout Chicago Park District locations for up to one year, and OVERRIDE | A Billboard Project, presenting a curated selection of digital art on the citywide network. Committed to fostering contemporary art criticism and discourse, EXPO CHICAGO publishes THE SEEN, Chicago’s only international journal of contemporary and modern art, online and in print.
Expanding on its renowned VIP Program—an audience of top international collectors, gallerists, art advisors, artists, and academics—the annual EXPO CHICAGO Curatorial Forum provides a conference platform to leading institutional and independent exhibition organizers.
Catherine Edelman Gallery is proud to present the following artists at EXPO CHICAGO 2018: