Small works at booth 211

This year at Art Miami, CEG is featuring several artists exhibiting work smaller in scale. We hope you’ll stop by the both and experience these intimate pieces in person.

Marina Black

While you held me
While you held me, 2015 © Marina Black

Marina Black’s photography is about experimentation and the physical process of reworking the surface. She works in analogue, digital and camera-less technologies and likes the tactile qualities of prints, and dealing with fragments, that often take her to a new place. She states: “Inspired by Goya’s Disasters of War, the imagery from the series Hasard Anticipé may be associated with manifold of inward and outward conflicts. I would like to comment on moral questions that emerge from the knowledge that harm and malevolence occur in both worlds: outside, and, to an extent, inside our minds.

“Portraying children rather than adults feels like magnifying fears and scars of childhood. I like the confrontation they create, that is simultaneously suggestive of tenderness and cruelty. I am interested in investigating the complexities of the childhood world, and how susceptible children could be to mental and physical injuries. While there might be joy in childhood, there are also bullies, strangers, loneliness and conflicts to be negotiated.

“All combined, I like to subvert the sanitized notion of children as innocent beings, removed from and unaware of ambition for power and control. The images, populated mainly by the youth, represent dark forces akin to spirits or villains from childhood dreams or worse – the incarnations, that exist inside our minds and might never entirely mature.”

Marina Black originally studied History and Painting, then art has become her primary preoccupation. Black received W. Lawrence Heisey Graduate Award in Fine Arts for outstanding achievement in creative & scholarly work, as well as a number of Ontario Arts Council grants. She was a featured exhibitor of the CONTACT International Photography Festival. Her work has been published in Eyemazing Susan Vol.II, curated by Susan Zadeh; FOSSILS OF LIGHT + TIME, curated by Elizabeth Avedon, an editor of L’Oeil de la Photographie; Mercy project, curated by a photographer James Withlow Delano; and BURN, 1st edition, curated by a Magnum photographer David Alan Harvey. Black’s work has been shown in solo & group exhibitions worldwide and reviewed in numerous fine art publications. She maintains an active art practice both independently and collaboratively working with artists from different mediums. Her photographs are included in the public collection of Heritage Municipal Museum of Malaga, Spain; in Alliance Francaise in Canada; in IZOLYATSIA non-governmental arts foundation, Ukraine.

Clarissa Bonet

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SL.2018.0222 Chicago, 2018 © Clarissa Bonet

 

Building facades melt into darkness, their architectural details vanish, leaving only glowing windows in a sea of pitch black, like stars in the night sky.

Stray Light is an ongoing photographic project aimed at imaging the nocturnal urban landscape. We have all but lost the night for our progress. In its place we have formed a new cosmos, one of vanished surfaces and flecks of light. Carefully constructing each image from multiple photographs, I reform the urban landscape in my own vision – one that seeks to reconstruct the heavens in its absence above the cityscape. Light emanating from each window references a world unknown, evoking a sense of mystery and awe. We no longer look up to the night’s sky with awe. Instead, that is how we look out at the city.

Clarissa Bonet lives and works in Chicago.  Her work explores aspects of the urban space in both a physical and psychological context.  She received her M.F.A. in photography from Columbia College Chicago in 2012, and her B.S. in Photography from the University of Central Florida. Interested in the physical space of the city and its emotional and psychological impact on the body, she uses the camera to transform the physical space into a psychological one, providing a personal interpretation of the urban landscape. Her work has been exhibited nationally, internationally, and resides in the collections of The Museum of Contemporary Photography’s MPP collection, The South East Museum of Photography, and The Haggerty Museum. Most recently she received the Chicago Individual Artist Grant and was curated into a group show at Aperture Foundation Gallery.

Pete Jacobs
Four Cuban Men
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.

Laurent Millet

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 #211 here.
For more information on the fair, visit www.artmiami.com.

Catherine Edelman Gallery at Art Miami 2018

Booth #211

The Art Miami Pavilion
One Miami Herald Plaza @ NE 14th Street
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways

Show Hours:

Friday, December 7 11am – 8pm
Saturday, December 8 11am – 8pm
Sunday, December 9 11am – 6pm

@edelmangallery @artmiamifairs #artmiami2018 #miamiartweek

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Portraiture on view in Miami

 

Alanna Airitam
When Alanna Airitam (b. 1971, Queens, NY) was studying the history of art, she noticed the absence of black people in the history of Western art. This exclusion is familiar to many dark-skinned people who are used to seeing themselves represented in paintings and films as domestic workers, slaves or barbarians. By inviting African Americans to pose in the style of classic Dutch portraiture, Airitam reclaims art history, shining a light on the racial disparity in her series, The Golden Age. Titling her images after places in Harlem — Saint Sugar Hill, Saint Minton and Saint Lenox — the artist pays homage to the Harlem Renaissance, which opened doors for many young African Americans working today. It is a powerful series that celebrates black identity while highlighting the racial divide that exists throughout art history.

Endia Beal
Endia Beal (b. 1985, Winston-Salem, NC) focuses her camera on how African American women are perceived in the corporate world based on their physical appearance. As a young black woman in a mostly white dominated corporate job, Beal knew people talked behind her back about her hair, which did not conform to their definition of beauty. Now, as a professor at Winston Salem State University, Beal tackles the stereotypes that her students and other black women face when they do not fit the corporate mold. Am I What You’re Looking For? poses black women in front of a photographic backdrop of a typical office setting, wearing an outfit they find suitable for work. Through this work, Beal challenges the viewer to look at their own biases or stereotypes as they view the photographs.

Medina Dugger
Medina Dugger (b. 1983, Corpus Christi, TX) pays homage to Nigerian photographer J.D. ‘Okhai Ojeikere, whose 40 year black and white photographic study of African women’s hairstyles set the standard for the celebration of black hair culture. African hair braiding methods date back thousands of years and Nigerian hair culture is a rich and often extensive process, which begins in childhood. The methods and variations have been influenced by social/cultural patterns, historical events and globalization. Hairdos range from being purely decorative to conveying deeper, more symbolic understandings, revealing social status, age and tribal/family traditions. In her Lagos studio, Dugger pays homage to historical and imagined hairstyles, honoring Ojeikere’s work through a contemporary lens in her series Chroma: An Ode to J.D. ‘Okhai Ojeikere.

 

You can see work from all the artists featured at booth #211 here.
For more information on the fair, visit www.artmiami.com.

Catherine Edelman Gallery at Art Miami 2018

Booth #211

The Art Miami Pavilion
One Miami Herald Plaza @ NE 14th Street
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways

Show Hours:

VIP Preview
Tuesday, December 4
5:30pm – 10pm

Thursday, December 6 11am – 8pm
Friday, December 7 11am – 8pm
Saturday, December 8 11am – 8pm
Sunday, December 9 11am – 6pm

Debuting new work at Art Miami

We would like to extend a big thank-you to everyone who joined us yesterday for the VIP Preview of Art Miami! Opening night is always a great time spent talking about our featured artists. The first day of public hours begins today at 11:00 am. You will discover new work by three of our featured artists, as well as new bodies of work by our represented artists. Read on to learn more about Michael Koerner, Robert and Shana ParkeHarrison, and Gregory Scott!

Michael Koerner

DNA-7797L-7801R,-2018
DNA #7797L – #7801R, 2018 © Michael Koerner

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.

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.

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.

Robert and Shana ParkeHarrison

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Chasing Birds, 2018 © Robert and Shana ParkeHarrison

Act Without Words

We have focused on a key inspirational source of our work over many years: Performance Stills and Stills from Cinema.

Our work has always relied heavily on research. Key within that research has been perusing film and performance stills of works ranging from Brecht, Beckett, Cunningham, Rauschenberg, Postmodern Dance, Experimental theater and Cinema. We find viewing stills to be central to igniting our creative engines. These images allow us to Ponder the totality of the past performance, without knowing the fullness of the event. It is like a spark of magic. This incompleteness allows us to begin the dreaming process. Within this dreaming we find our own story, our own meaning. And from that point new images form.

These images are constructed with that in mind. Rather than creating a complete narrative, we created these images attempting to embody that electric charge we respond to in performance stills. Our intent is for the viewer to experience these images as awakenings to ponder the scenes much like we imagine while viewing performance stills.

Each image in the series is one-of-kind.

Gregory Scott

Basqiuat Dreams, 2018
Basquiat Dreams, 2018 © Gregory Scott

This year at Art Miami we are debuting a new piece from Gregory Scott titled, Basquiat Dreams. Gregory tackles Jean-Michel Basquiat, who first gained recognition as part of a duo graffiti team named SAMO, popular from 1977-1980. He went from being homeless at the age of 17 to major success within a few years. His fame is often credited to his blending of text and image, which tackled racism, classism, colonialism and celebrity, while staying true to his street art roots. The result was more than 600 paintings and 1500 drawings, all done before his untimely death at the age of 27.

Many references to Basquiat’s life and works can be seen in Basquiat Dreams. The video starts with numbers, which reference the date of his birth and death, and the highest price paid for one of his paintings. From there, Scott eludes to SAMO, skulls, figures and markings, among other known Basquiat symbols. The result is a poetic and spirited homage to an artist whose genius was cut short, but lives on as an inspiration.

Basquiat Dreams, 2018 is a framed 30½” x 40″ pigment print, oil on panel, and 4k UHD video (7 min 45 sec), made in an Ed. of 10.

You can see work from all the artists featured at booth #211 here.
For more information on the fair, visit www.artmiami.com.

Catherine Edelman Gallery at Art Miami 2018

Booth #211

The Art Miami Pavilion
One Miami Herald Plaza @ NE 14th Street
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways

Show Hours:

Wednesday, December 5 11am – 8pm
Thursday, December 6 11am – 8pm
Friday, December 7 11am – 8pm
Saturday, December 8 11am – 8pm
Sunday, December 9 11am – 6pm

CEG at Art Miami

In its 29th edition, Art Miami maintains a preeminent position in America’s modern and contemporary art fair market and is globally recognized as a primary destination for the acquisition of the most important works from the 20th and 21st centuries. The VIP Preview, sponsored by Christie’s International Real Estate and benefiting the Perez Art Museum Miami, takes place tonight from 5:30 – 10:00 pm. We are pleased to showcase the work of Alanna Airitam, Endia Beal, Marina Black, Clarissa Bonet, Medina Dugger, Pete Jacobs, Michael Koerner, Laurent Millet, Robert & Shana ParkeHarrison and Gregory Scott.

You can see work from all the artists featured at booth #211 here.
For more information on the fair, visit www.artmiami.com.

Catherine Edelman Gallery at Art Miami 2018

Booth #211

The Art Miami Pavilion
One Miami Herald Plaza @ NE 14th Street
Downtown Miami
On Biscayne Bay between the Venetian & Macarthur Causeways

Show Hours:

VIP Preview
Tuesday, December 4
5:30pm – 10pm

Wednesday, December 5 11am – 8pm
Thursday, December 6 11am – 8pm
Friday, December 7 11am – 8pm
Saturday, December 8 11am – 8pm
Sunday, December 9 11am – 6pm

Emphasis the on Midwest–final day of Expo Chicago

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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.

Elizabeth Ernst

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

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

Screen Shot 2018-03-27 at 4.26.06 PMFrancesco 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

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.

Catherine Edelman Gallery at EXPO CHICAGO 2018

Booth #167

Navy Pier
600 E Grand Ave
Chicago, IL 60611

Show Hours:

Sunday, September 30 11:00 am – 6:00 pm

@edelmangallery @expochicago #expoartweek #expochicago2018

New work debuting at Expo Chicago

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!

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Jess T. Dugan
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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.

Gloria-70-Chicago-IL-2016
Gloria, 70, Chicago, IL, 2016 © Jess T. Dugan

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
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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).

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Fent Prairie, near Salina, Kansas, Late May, 2018 © Terry Evans

“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 O. Hansen
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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.

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Loss (framed), 2016 © Garrett O. Hansen

“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 [12] 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.[2] 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.”

[2] http://reportingonsuicide.org/recommendations/#important

Michael Koerner
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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.

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Waterfalls #6222, 2018 © Michael Koerner

“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.”

Laurent Millet
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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 at EXPO CHICAGO 2018

Booth #167

Navy Pier
600 E Grand Ave
Chicago, IL 60611

Show Hours:

Friday, September 28 11:00 am – 7:00 pm
Saturday, September 29 11:00 am – 7:00 pm
Sunday, September 30 11:00 am – 6:00 pm

@edelmangallery @expochicago #expoartweek #expochicago2018

EXPO CHICAGO opens tonight!

Screen Shot 2018-09-27 at 9.40.13 AMCatherine 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.

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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:

Jess T. Dugan
Elizabeth Ernst
Terry Evans
Garrett O. Hansen
Pete Jacobs
Michael Koerner
Laurent Millet
Lori Nix / Kathleen Gerber
Francesco Pergolesi
Gregory Scott

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 at EXPO CHICAGO 2018

Booth #167

Navy Pier
600 E Grand Ave
Chicago, IL 60611

Show Hours:

Vernissage
Thursday, September 27
6:00 pm – 9:00 pm
Friday, September 28 11:00 am – 7:00 pm
Saturday, September 29 11:00 am – 7:00 pm
Sunday, September 30 11:00 am – 6:00 pm

@edelmangallery @expochicago #expoartweek #expochicago2018