1709 W Chicago Ave.
Chicago, IL 60622
noon to 6pm
9 to February 14, 2009
or relating to the sky or visible heavens"
Friday, January 9, 2009, Western Exhibition opens a new group show,
“of or relating to the sky or visible heavens”
with a public reception from 5 to 8pm. The show will run
from January 9 to February 14. “of or relating to the sky or
visible heavens”, the dictionary definition of the word celestial,
is curated by gallery director Scott Speh and will present work that
considers, be it literally, metaphorically or otherwise, objects in
Shane Huffman’s new large horizontal photograph
is of a picture taken by the Hubble Telescope, overlaid by washes
of semen and menstrual blood. His new photo series of images of the
Moon, titled “Drawing Down the Moon”, are made by “drawing”
with a camera lens on undeveloped photo paper outdoors in the dark
Michelle Grabner’s Rainbow Flocking installations
are unique site-specific works created by flocking and spray-painting
directly onto the gallery walls. Lane Relyea provides an apt analysis
in his essay, “Michelle Grabner’s Never Quite Happy Home”
– an excerpt: Each of Grabner’s rainbows feels nothing
short of a miracle. But her work also seems nagged by worries that
mere prettiness and unearned euphoria are precisely how the promise
and miracle of art are most often dismissed. It’s only by owning
up to such doubts, without being defeated by them, that the work can
take art’s promise of happiness seriously, and risk so much
on it. Grabner’s rainbows are miracles, but common and everyday
ones, appearing everywhere, in people’s gardens and on their
Carrie Gundersorf’s drawings and paintings
refer to astronomical images that are created by time-lapse photography,
spectroscopes, computer-enhanced photographs, images from books and
the Internet. She extracts shapes, lines, colors and patterns that
serve as a starting point for compositional strategies. Her three
new large drawings, color pencil and watercolor, introduce pictorial
elements like diffusion to her elegant vocabulary that draws on the
history and language of early modernist painting and found astronomical
images to create tensions of past and present, touch and image, and
science and craft.
Matthew Northridge’s “Who’s Watching
the Time and Who Will Know When to Quit?” consists of a lunar
globe whose surface has been altered by installing hundreds of rubber
grommets. Suspended from the ceiling and situated at a height above
that of the viewer, light registers through the porous sphere from
different angles, revealing the object’s hollow interior.
“Circulator” by Melissa Oresky is a simply
composed yet densely constructed painting of a sun or star-like sphere
of accumulated debris that is all roiling tension – it presses
itself insistently upon the viewer. Shards of yellows, grays and greens
and poured areas of paint compete with abstract elements and linear
nerve-like cells to present an orb in crisis.
This show will also feature a series of Stan Shellabarger’s
“Contrail Photos”, archival inkjet prints in
hand-made silver-leafed frames, of the trails made by jet planes.
These works extend Shellabarger’s ongoing interest in how humans
leave traces of themselves on the earth (by walking, scuffing, eroding,
writing, etc.) into the sky.