Under what circumstances is it appropriate for SAIC to ask a student to change work exhibited on campus?
In her introduction for Catherine Opie, SAIC Dean Lisa Wainwright referred to the artist as “a documentarian and a romantic.” Wainwright’s comments – directed to the near-capacity crowd of students, scholars and admirers gathered at Rubloff Auditorium on September 10 – referred to Opie’s ability to capture and emphasize the beautiful in the commonplace, a quality that characterizes much of the photographer’s work from her nearly 25 year career.
Gil Riley is an MFA painting candidate at The School of the Art Institute of Chicago. In the Fall of 2011 she was featured in a group show, “My Ghost at Home,” which was titled after one of her paintings at SAIC’s Parallax Gallery. The show featured work by Riley and two of her MFA candidate peers, Josh Dihle and Brian Rush. Riley’s figures have an intense pathos. Her paintings begin as paint drips or pours that she then organizes into lyrically emotive characters, combining elements of chance and deliberate mark making. During a studio visit Riley discusses painting, boobs and the artistic drive.
Graduation is quickly approaching and the only thing on graduating students’ minds, besides completing their thesis or studio work, is what’s next?
In February, the U.S. Labor Department issued an encouraging jobs report. It highlighted that 236,000 new jobs had been created in the U.S., far more than many economists’ predictions. Also, the unemployment rate fell from January’s 7.9 percent to 7.7 percent, the lowest level since December 2008.
SAIC’s Student Financial Services (SFS) has made significant changes to cost of attendance for the 2012-2013 academic year, which will lead to lower refunds for many students.
“How can an artwork claim to represent a queer aesthetic if it does not overtly represent gender or sexuality?” “What are the domains of queerness and how can they expand?” Some of the most interesting strains of queer thought and art practices are developing these themes. The first work inside of the expansive exhibition “The Great Refusal: Taking on New Queer Aesthetics,” featured in Sullivan Galleries, was a photograph depicting a grid of overlapping red laser beams emerging from a black background. The image, “Untitled (Laser on White Paper), 2011” by recent SAIC alum Assaf Evron, could be a study of light, space, and perception. Its queer investment is not overtly apparent, which is what makes it an interesting and important inclusion in the show.
“Technology is changing our embodiment in really interesting ways,” Emmy Award-winning filmmaker and groundbreaking academic Dr. Susan Stryker explained at the end of her packed lecture at the Sullivan Galleries on October 3. She went on to describe the growing interest transgender studies has in the ways that technology complicates the division between the human and nonhuman.
Composed mostly of large post-prehistoric sculptures “Super Moment,” on display in the Student Union Galleries’ new LeRoy Neiman Center Gallery, features organic seeming icons of an imaginary civilization — odd and crude. The exhibition, a solo show by SAIC recent BFA graduate Max Garett, suits the new location well with its unique public viewing possible through the glass walls located on Monroe between Wabash and Michigan Ave. None of the pieces would be imposing alone but together they characterize a future forgotten generation.
The artist as “anti-hero” is a modern concept. Think Jackson Pollock in his bookless studio, chain-smoking, and degrading a sacred canvas with plasters of paint and shoe prints — an encounter that is the direct inversion of Michelangelo’s “Creation of Adam.” According to an interview with curator Josh Dihle on the Student Union Gallery’s website, “Anti-Heroic” was the working title of the group show at Parallax Gallery in September. The name ultimately chosen for the exhibition was “My Ghost at Home,” but the aesthetic hedonism remains.
“The old left had been betrayed by Stalinism; the new left had a new hero(ine): a peasant woman, balancing a baby on one arm, a rifle on the other.” * In “Revolution as an Eternal Dream: The Exemplary Failure of the Madame Binh Graphics Collective” SAIC professor Mary Patten chronicles the ideological shift after the Vietnam War, concentrating on one group’s fervent laboring toward proper revolutionary representation.