Each month the Union League Club exhibits the work of a contemporary artist on its third-floor landing. The shows are usually of paintings, as many or few as can fit on the two walls set aside to accommodate them. Works are for sale and hang there for a month, creating favorable conditions for a low-key aesthetic encounter. A month is a goodly amount of time to get to know a painting and let the impressions sink in.
This month, the featured artist has been Rebecca Moy. I must say I have really enjoyed her paintings. More
I was leaving the park the other day when I noticed this amazing sign, positioned atop the Art Nouveau-style entrance to the Metra train station at Van Buren. Has it been there forever? Perhaps my readers can say. . . .
The Octophant, proclaimed here as “real and alive,” was ostensibly an “exhibition of the impossible” at the Century of Progress, a World’s Fair held in Chicago in 1933.
The sad melange of the animal form, coupled with the 3-D exuberance of the sign, produced a powerful effect on me. I felt as though to descend into the Metra would be a venture into the surreal, a venture best undertaken by those far more stalwart and steady than I.
Click image to enlarge.
Click herefor links to info on the COP.
I’ve been seeing a lot more sculpture lately, thanks to several initiatives that have been bringing more contemporary art to the lakefront and parks. The Grandmother’s Garden in Lincoln Park alone has eight or ten new sculptures, including (above) ‘Narrow Horse,’ by Jozef Sumichrast, and Christine Rojek‘s ‘Cross-Pollination.’
What I like best about the new sculptures is their siting. Many can be seen really well from a car or bus, so that you can look them at them when you’re commuting. It’s great to be able to look out the window at some interesting art when sitting in traffic in your car. Other sculptures have been plunked right down on neighborhood sidewalks, obligating you to look at them as you go by.
‘Stone wobble’ by Derick Malkemus
These frank strategies, which take into account modern realities, result in fleeting encounters that deepen. From a distance, I appreciated the insect-like qualities of Derick Malkemus‘s ‘Stone Wobble,’ which looks like a giant beetle or a fantastical flying bug that’s happened to light. When I was finally lucky enough to get up close, I learned the name of the piece, and could appreciate its beautiful materials and the balancing act it pulls.
‘Fern Temple VI’ by Austin Collins and ‘Ruby Rollins Roving House’ by Verina Baxter.
Most of the small-scale works in the parks are only temporary. Installed in the fall of 2012 in connection with the 23rd International Sculpture Conference held in the city, they are likely to disappear next fall. In the meantime, it’s been a pleasure to enjoy these wonderful works for free. I hope the exposure brings the artists patronage as well as publicity.
Pretty much everything in Millennium Park is kitsch rather than art, in my opinion, excepting perhaps the Lurie Garden. The ickiest elements in the Park are the two “interactive” light pillars that are part of the Jaume Plensa-designed Crown Fountain.
The fountain is unquestionably a big crowd pleaser, with its no-holds-barred water attraction, but the pillars are grotesque and intrusive, and we residents are stuck with them 24/7. They could have been so much better! No one talks about how they have absolutely no aesthetic charm on three of their four sides.