<?xml version="1.0" encoding="UTF-8"?><rss version="2.0" xmlns:content="http://purl.org/rss/1.0/modules/content/" xmlns:wfw="http://wellformedweb.org/CommentAPI/" xmlns:dc="http://purl.org/dc/elements/1.1/" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:sy="http://purl.org/rss/1.0/modules/syndication/" xmlns:slash="http://purl.org/rss/1.0/modules/slash/" xmlns:georss="http://www.georss.org/georss" xmlns:geo="http://www.w3.org/2003/01/geo/wgs84_pos#" > <channel> <title>Nina Rizzo - The Visualist</title> <atom:link href="https://thevisualist.org/tag/nina-rizzo/feed/" rel="self" type="application/rss+xml" /> <link>https://thevisualist.org</link> <description>Chicago Visual Arts Calendar</description> <lastBuildDate>Sun, 19 Jan 2025 16:56:20 +0000</lastBuildDate> <language>en-US</language> <sy:updatePeriod> hourly </sy:updatePeriod> <sy:updateFrequency> 1 </sy:updateFrequency> <generator>https://wordpress.org/?v=6.7.1</generator> <image> <url>https://thevisualist.org/wp-content/uploads/2023/11/13715238_1656465681341114_192907186_a1-200x200.jpg</url> <title>Nina Rizzo - The Visualist</title> <link>https://thevisualist.org</link> <width>32</width> <height>32</height> </image> <site xmlns="com-wordpress:feed-additions:1">232801582</site> <item> <title>Nina Rizzo: Around (Some Of) the World in Ten Years</title> <link>https://thevisualist.org/2025/01/nina-rizzo-around-some-of-the-world-in-ten-years/</link> <comments>https://thevisualist.org/2025/01/nina-rizzo-around-some-of-the-world-in-ten-years/#respond</comments> <dc:creator><![CDATA[flor123]]></dc:creator> <pubDate>Sat, 25 Jan 2025 00:00:00 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Performance]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Release Party]]></category> <category><![CDATA[Screening]]></category> <category><![CDATA[Around (Some Of) the World in Ten Years]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Cleaner Gallery + Projects]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[West Town]]></category> <guid isPermaLink="false">https://thevisualist.org/?p=170695</guid> <description><![CDATA[<p>Around (Some Of) the World in Ten Years, new work by Nina Rizzo Gallery B 24 Jan – 28 Feb 2025 Opening reception Friday January 24, 6-9pm</p> <p>The post <a href="https://thevisualist.org/2025/01/nina-rizzo-around-some-of-the-world-in-ten-years/">Nina Rizzo: Around (Some Of) the World in Ten Years</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Around (Some Of) the World in Ten Years, new work by Nina Rizzo</p> <p>Gallery B<br /> 24 Jan – 28 Feb 2025</p> <p>Opening reception Friday January 24, 6-9pm</p><p>The post <a href="https://thevisualist.org/2025/01/nina-rizzo-around-some-of-the-world-in-ten-years/">Nina Rizzo: Around (Some Of) the World in Ten Years</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2025/01/nina-rizzo-around-some-of-the-world-in-ten-years/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">170695</post-id> </item> <item> <title>College of Visual and Performing Arts Faculty Biennial</title> <link>https://thevisualist.org/2024/11/college-of-visual-and-performing-arts-faculty-biennial/</link> <comments>https://thevisualist.org/2024/11/college-of-visual-and-performing-arts-faculty-biennial/#respond</comments> <dc:creator><![CDATA[flor123]]></dc:creator> <pubDate>Thu, 21 Nov 2024 23:00:00 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Aleksandra Giza]]></category> <category><![CDATA[Amanda VanValkenburg]]></category> <category><![CDATA[Amy Fleming]]></category> <category><![CDATA[Ari Norris]]></category> <category><![CDATA[Ben Stone]]></category> <category><![CDATA[Billie Giese]]></category> <category><![CDATA[College of Visual and Performing Arts Faculty Biennial]]></category> <category><![CDATA[Cynthia Hellyer-Heinz]]></category> <category><![CDATA[DeKalb]]></category> <category><![CDATA[Frank Trankina]]></category> <category><![CDATA[Geoffrey Todd Smith]]></category> <category><![CDATA[Gibson Cima]]></category> <category><![CDATA[Janelle Rae]]></category> <category><![CDATA[Jeremy W. Floyd]]></category> <category><![CDATA[Jessica Labatte]]></category> <category><![CDATA[Jim Kearns]]></category> <category><![CDATA[John Siblik]]></category> <category><![CDATA[Jullian Young]]></category> <category><![CDATA[Kimberly Martens]]></category> <category><![CDATA[Kryssi Staikidis]]></category> <category><![CDATA[Lucia Matos]]></category> <category><![CDATA[Maria Grillo]]></category> <category><![CDATA[Marisol Cervantes]]></category> <category><![CDATA[Michael Barnes]]></category> <category><![CDATA[millicent kennedy]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Northern Illinois University (NIU) Art Museum]]></category> <category><![CDATA[Perrin Stamatis]]></category> <category><![CDATA[Rebecca Houze]]></category> <category><![CDATA[Rich Grund]]></category> <category><![CDATA[Riley Brown]]></category> <category><![CDATA[Sarah Evans]]></category> <category><![CDATA[Shei-Chau Wang]]></category> <category><![CDATA[Veronica Storc]]></category> <guid isPermaLink="false">http://thevisualist.org/?p=169018</guid> <description><![CDATA[<p>College of Visual and Performing Arts Faculty Biennial Rotunda and South Galleries Shown every two years, this invitational exhibition will not only feature artwork and scholarship of current full-time and part-time faculty and teaching staff from the School of Art and Design, but work from the School of Music and School of Theatre and Dance<a href="https://thevisualist.org/2024/11/college-of-visual-and-performing-arts-faculty-biennial/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2024/11/college-of-visual-and-performing-arts-faculty-biennial/">College of Visual and Performing Arts Faculty Biennial</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>College of Visual and Performing Arts Faculty Biennial</p> <p>Rotunda and South Galleries</p> <p>Shown every two years, this invitational exhibition will not only feature artwork and scholarship of current full-time and part-time faculty and teaching staff from the School of Art and Design, but work from the School of Music and School of Theatre and Dance as well. The work on display represents the activity and interests of individual members in the College of Visual and Performing Arts.</p> <p>Featuring work and scholarship from:</p> <p>School of Art and Design:<br /> Art and design education: Kryssi Staikidis and Shei-Chau Wang<br /> Art foundations: John Siblik and Ben Stone<br /> Art history: Sarah Evans and Rebecca Houze<br /> Design and media art: Riley Brown, Amy Fleming, Aleksandra Giza, Maria Grillo, Jessica Labatte, Perrin Stamatis, Amanda VanValkenburg and Jullian Young<br /> Studio art: Michael Barnes, Marisol Cervantes, Billie Giese, Cynthia Hellyer-Heinz, Jim Kearns, Millicent Kennedy, Kimberly Martens, Ari Norris, Nina Rizzo, Geoffrey Todd Smith and Frank Trankina<br /> Teaching staff: Janelle Rae and Veronica Storc<br /> School of Music: Lucia Matos<br /> School of Theatre and Dance:<br /> Dance: Rich Grund<br /> Design and technology: Jeremy W. Floyd<br /> History, literature and criticism: Gibson Cima</p><p>The post <a href="https://thevisualist.org/2024/11/college-of-visual-and-performing-arts-faculty-biennial/">College of Visual and Performing Arts Faculty Biennial</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2024/11/college-of-visual-and-performing-arts-faculty-biennial/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">169018</post-id> </item> <item> <title>Sense and Sensibility: Poetry in Painting</title> <link>https://thevisualist.org/2023/01/sense-and-sensibility-poetry-in-painting/</link> <comments>https://thevisualist.org/2023/01/sense-and-sensibility-poetry-in-painting/#respond</comments> <dc:creator><![CDATA[Hannah McHugh]]></dc:creator> <pubDate>Thu, 26 Jan 2023 00:00:01 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Ann Toebbe]]></category> <category><![CDATA[Bradley Biancardi]]></category> <category><![CDATA[Dorman + Torluemke]]></category> <category><![CDATA[Ellen Greene]]></category> <category><![CDATA[Gabriel Villa]]></category> <category><![CDATA[In]]></category> <category><![CDATA[Linda Dorman]]></category> <category><![CDATA[Munster]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Pedro Vélez]]></category> <category><![CDATA[Sense and Sensibility: Poetry in Painting]]></category> <category><![CDATA[South Shore Arts]]></category> <category><![CDATA[Tom Torluemke]]></category> <category><![CDATA[Tyrue "Slang" Jones]]></category> <category><![CDATA[William Staples]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=139595</guid> <description><![CDATA[<p>South Shore Arts, 1040 Ridge Road, Munster, is pleased to present Sense and Sensibility: poetry in painting. Curated by Dorman + Torluemke, the exhibit will run from January 20 through March 24, 2023, with an opening reception on Thursday, January 26, from 5:00 – 8:00 p.m. Sense and Sensibility: poetry in painting is a group<a href="https://thevisualist.org/2023/01/sense-and-sensibility-poetry-in-painting/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2023/01/sense-and-sensibility-poetry-in-painting/">Sense and Sensibility: Poetry in Painting</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>South Shore Arts, 1040 Ridge Road, Munster, is pleased to present Sense and Sensibility: poetry in painting. Curated by Dorman + Torluemke, the exhibit will run from January 20 through March 24, 2023, with an opening reception on Thursday, January 26, from 5:00 – 8:00 p.m.</p> <p>Sense and Sensibility: poetry in painting is a group exhibition featuring artists Bradley Biancardi, Ellen Greene, Tyrue “Slang” Jones, Nina Rizzo, William Staples, Ann Toebbe, Pedro Veléz, and Gabriel Villa, eight artists whose work expresses the notion that painting is simply drawing, color, and design that enlivens the mind, spirit, and soul and illuminates life’s majestic and mournful beauty. The exhibition encourages more thought and consideration of painting as a unique visual language to touch on life’s unexplainable and layered meanings.</p> <p>Exhibit curator Tom Torluemke explains further, “The one-of-a-kind personality of an artist paints the feelings of a life lived and living. It’s as though the artist’s eyeballs are orbital mirrors reflecting what is outside and inside simultaneously. It is there, so those feelings don’t disappear but survive as proof, a painting filled with haunting power and unexplainably magnetic.”</p> <p>Additional Public Programming: An artist panel discussion will be held on Saturday, January 28, at 2:00 p.m., and a community Poetry and Painting night will be held on Thursday, February 23, at 7:00 p.m. All these events are free and open to the public. The exhibit curators will lead a gallery walk/talk for Art in Focus art appreciation group on Monday, January 23, at 10:00 a.m.</p><p>The post <a href="https://thevisualist.org/2023/01/sense-and-sensibility-poetry-in-painting/">Sense and Sensibility: Poetry in Painting</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2023/01/sense-and-sensibility-poetry-in-painting/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">139595</post-id> </item> <item> <title>Melissa Brown: Thrift Store Find</title> <link>https://thevisualist.org/2022/06/melissa-brown-thrift-store-find/</link> <comments>https://thevisualist.org/2022/06/melissa-brown-thrift-store-find/#respond</comments> <dc:creator><![CDATA[Meg Duguid]]></dc:creator> <pubDate>Sat, 04 Jun 2022 21:34:13 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Adrian Wong]]></category> <category><![CDATA[Alberto Ortega Trejo]]></category> <category><![CDATA[Andrew Rafacz Gallery]]></category> <category><![CDATA[Ann Toebbe]]></category> <category><![CDATA[anna Kunz]]></category> <category><![CDATA[Barbarita Polster]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Edra Soto]]></category> <category><![CDATA[Griffin Goodman]]></category> <category><![CDATA[Jaime DeGroot]]></category> <category><![CDATA[James Benjamin Franklin]]></category> <category><![CDATA[Jeffrey Tranchell]]></category> <category><![CDATA[Jenal Dolson]]></category> <category><![CDATA[John Henley]]></category> <category><![CDATA[Jordan Martins]]></category> <category><![CDATA[Josh Dihle]]></category> <category><![CDATA[KATE SIERZPUTOWSKI]]></category> <category><![CDATA[Kenneth Heyne]]></category> <category><![CDATA[Lan Tuazon]]></category> <category><![CDATA[Liz McCarthy]]></category> <category><![CDATA[Maggie Crowley]]></category> <category><![CDATA[Max Guy]]></category> <category><![CDATA[Melissa Brown]]></category> <category><![CDATA[Melissa Leandro]]></category> <category><![CDATA[Mindy Rose Schwartz]]></category> <category><![CDATA[near west side]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Soumya Netrabile]]></category> <category><![CDATA[Steve Reber]]></category> <category><![CDATA[Thrift Store Find]]></category> <category><![CDATA[Tyson Reeder]]></category> <category><![CDATA[Zack Wirsum]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=133328</guid> <description><![CDATA[<p>ANDREW RAFACZ is pleased to present Thrift Store Find, an exhibition of paintings, objects and a poker tournament by Melissa Brown in Gallery One. The exhibition opens Saturday, June 4th and continues through Saturday, July 16, 2022. This is the artist’s first exhibition with the gallery. With Thrift Store Find, Brown presents a series of<a href="https://thevisualist.org/2022/06/melissa-brown-thrift-store-find/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2022/06/melissa-brown-thrift-store-find/">Melissa Brown: Thrift Store Find</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<div class="twoaftergal"> <p><strong>ANDREW RAFACZ</strong> is pleased to present <em>Thrift Store Find</em>, an exhibition of paintings, objects and a poker tournament by Melissa Brown in Gallery One. The exhibition opens Saturday, June 4th and continues through Saturday, July 16, 2022. This is the artist’s first exhibition with the gallery.</p> <p>With <em>Thrift Store Find</em>, Brown presents a series of new paintings that explore her interests in the symbolic still life, the vernacular of Americana, and the never-ending quest for the to-die-for thrift store find. Brown’s paintings are a hypnotic combination of different techniques — screen-printed digital photography, airbrush, stencil, and impasto oil paint — brought together to create symbol-laden, surreal tableaus. The use of contrasting painting strategies directly connects the objects in the still lives to their narrative implications and the tension between illusionistic and ‘real’ space. Form and content are merged as Brown’s fascination with the juxtaposition of the digital and analog is directly connected to how these objects are happened upon and rendered. The objects become artistic talismans and the still life acts as a context for the gathered metaphysical moments of daily life.</p> <p>American painter and Chicago Imagist Roger Brown, the artist’s self-described artistic forefather (no familial relation), has been an important influence on her practice, through his analysis of American pop culture and through his interest in collecting as a form of gambling. Taking cues from his own late career ‘Virtual Still Lifes’, Melissa Brown’s objects and narratives are stand-ins for human desires.</p> <p>Opposite the artist’s paintings will be an exhibition-within-the-exhibition. Brown has invited a cohort of artists living and working in and around Chicago to participate in a poker game that will be held in the gallery prior to the opening of the exhibition. Each invited artist will buy into the game with a cherished thrifted or found object, and this pot — ultimately won by one of the participating artists — will be displayed on shelves installed into floor-to-ceiling pegboard walls, a direct visual nod to the quintessential thrift store experience. The installation is an acknowledgement of the long tradition of Chicago artists who privilege the vernacular as a key or guiding influence.</p> <p>Participating Artists:<br /> Maggie Crowley / Jaime DeGroot / Josh Dihle / Jenal Dolson / James Benjamin Franklin / Griffin Goodman / Max Guy / John Henley / Kenneth Heyne / Anna Kunz / Melissa Leandro / Jordan Martins / Liz McCarthy / Soumya Netrabile / Barbarita Polster / Steve Reber / Tyson Reeder / Nina Rizzo / Mindy Rose Schwartz / Kate Sierzputowski / Edra Soto / Ann Toebbe / Jeffrey Tranchell / Alberto Ortega Trejo / Lan Tuazon / Zack Wirsum / Adrian Wong</p> <p><strong>MELISSA BROWN</strong> (American, b. 1974) lives and works in Brooklyn, NY. She received her MFA in Painting from Yale University and a BFA in Printmaking from Rhode Island School of Design. Recent solo and two person exhibitions include Derek Eller Gallery (New York, NY), Anat Ebgi (Los Angeles, CA), Dodd Gallery, University of Georgia (Athens, GA), Biggins Gallery, Auburn University (Auburn, AL), Tennis Elbow at The Journal Gallery (Brooklyn, NY), Magenta Planes (New York, NY), CANADA (New York, NY) and Roberto Paradise (San Juan, PR). She has participated in group exhibitions at Mass MOCA, Gavin Brown’s Enterprise, Klaus Von Nichtssagend, Musée International Des Arts Modestes, and Jeffery Deitch (Los Angeles, CA). In 2000 she completed the Skowhegan School of Painting program. In 2012 she was awarded the Joan Mitchell Painter’s Grant and completed a residency at the Joan Mitchell Center, 2019. Her work is in the permanent collections at the Whitney Museum of Art and the New York City Department of Education. She is an associate professor in art at Lehman College, City University of New York.</p> </div> <p> </p><p>The post <a href="https://thevisualist.org/2022/06/melissa-brown-thrift-store-find/">Melissa Brown: Thrift Store Find</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2022/06/melissa-brown-thrift-store-find/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">133328</post-id> </item> <item> <title>Lay Of The Land</title> <link>https://thevisualist.org/2021/11/__trashed-97/</link> <comments>https://thevisualist.org/2021/11/__trashed-97/#respond</comments> <dc:creator><![CDATA[Hannah McHugh]]></dc:creator> <pubDate>Wed, 03 Nov 2021 00:00:01 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Alexander Richard Wilson]]></category> <category><![CDATA[Dominican University]]></category> <category><![CDATA[Jaclyn Mednicov]]></category> <category><![CDATA[Jon Seals]]></category> <category><![CDATA[Judith Mullen]]></category> <category><![CDATA[Lay Of The Land]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[O'Connor Art Gallery]]></category> <category><![CDATA[River Forest]]></category> <category><![CDATA[River Forrest]]></category> <category><![CDATA[Soumya Netrabile]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=127922</guid> <description><![CDATA[<p>LAY OF THE LAND November 3 – December 8, 2021 Reception: Wednesday, November 3, 4 – 7pm Gallery talk at 4:30pm Participating Artists: Jaclyn Mednicov Judith Mullen Soumya Netrabile Nina Rizzo Jon Seals Alexander Richard Wilson Curated by Karen Azarnia, Director, O’Connor Art Gallery Location: Dominican University Fourth Floor, Lewis Hall 7900 Division St. River<a href="https://thevisualist.org/2021/11/__trashed-97/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2021/11/__trashed-97/">Lay Of The Land</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>LAY OF THE LAND<br /> November 3 – December 8, 2021<br /> Reception: Wednesday, November 3, 4 – 7pm<br /> Gallery talk at 4:30pm</p> <p>Participating Artists:<br /> Jaclyn Mednicov<br /> Judith Mullen<br /> Soumya Netrabile<br /> Nina Rizzo<br /> Jon Seals<br /> Alexander Richard Wilson</p> <p>Curated by Karen Azarnia, Director, O’Connor Art Gallery</p> <p>Location:<br /> Dominican University<br /> Fourth Floor, Lewis Hall<br /> 7900 Division St. River Forest, IL 60305</p> <p>The natural world has long held our fascination. From the earliest cave paintings, to Caspar David Friedrich’s iconic Wanderer Above the Sea of Fog, art history holds a long tradition of artists responding to the landscape.</p> <p>Nature as subject maintains its relevance in contemporary culture. With the current climate crisis, and as society continues to navigate complex socio-political issues, our relationship to the land we inhabit has become increasingly called into question. In Lay of the Land, each artist locates their relationship to nature through varying degrees of nuanced inquiry, inquisitive looking, and emotive expression.</p> <p>Artists Judith Mullen and Jaclyn Mednicov source materials inspired by nature in the production of their work. Sculptural works by Mullen incorporate yarn and plaster to mimic objects she finds on walks through the woods – such as tree bark – combined with other man-made materials including wire armature and glass beads. Her work speaks to ideas of the woods as a place of shelter, healing, and psychic and spiritual renewal.</p> <p>Mednicov’s practice encompasses drawing, painting, ceramics, collage, sculpture and combinations thereof. Her recent skin paintings record fragments of natural objects from the environment, such as flowers and weeds, as a metaphor for freezing time. They also confront notions of loss, suggested through the process of their making.</p> <p>In a similar vein, artist Jon Seal creates mixed media works and photography based on soil, water, and plant life. Specimens are sourced directly from bodies of water and land undergoing drastic environmental changes. Recently, he has collaborated with other artists and scientists to understand the alarming environmental shifts that are affecting the Kankakee River in Illinois.</p> <p>Soumya Netrabile, Nina Rizzo, and Alexander Richard Wilson expand on the art historical genre of landscape painting, albeit their work speaks clearly to our present moment. Netrabile’s sumptuous paintings document her deep relationship with nature. Based on personal experience and memory, they exude vibrance and energy through rich hues and layered surfaces. Through her eyes we are but a small part of the natural world, her paintings serving as a vehicle for discovery.</p> <p>Nina Rizzo’s intimate plein air watercolor sketches, rendered from direct observation, inform her larger oil compositions. Her paintings, with intense and exaggerated hues, explore the gap between perception and invention. Hovering between fact and fiction, it is worldmaking harnessed to evoke wonder and question our notion of reality.</p> <p>Having recently moved to Denver, Colorado, Alexander Richard Wilson’s acrylic paintings on Yupo suggest lushness and fertility. As a queer African American artist, he finds kinship with the western landscape “both as a person of color, and also as an artifact of racial and social inequity.” With fluid, sensuous marks, tension is rendered between the beauty of the paintings and the social unrest in this country at the time of their making, rendering the creation of the works a radical act.</p> <p>Image: Nina Rizzo, Sunset Drive, 2021, Oil on Canvas, 35” x 30” Photo credit: Tom Van Eynde</p> <p>ABOUT<br /> The mission of the O’Connor Art Gallery is to present the Dominican University academic community with timely, relevant and focused contemporary art exhibitions that foster critical and thoughtful dialogue across disciplines. Located in Lewis Hall, steps from many of the art department’s studios and classrooms, the gallery is particularly accessible to art students as a space for intimate engagement and reflection.</p> <p>Gallery Hours: Monday – Friday, 10 – 6, Saturday, 11 – 4<br /> Free and open to all. Masks Required for all visitors on the DU campus and in the gallery.</p><p>The post <a href="https://thevisualist.org/2021/11/__trashed-97/">Lay Of The Land</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2021/11/__trashed-97/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">127922</post-id> </item> <item> <title>As Clean As We’ve Been</title> <link>https://thevisualist.org/2021/03/as-clean-as-weve-been/</link> <comments>https://thevisualist.org/2021/03/as-clean-as-weve-been/#respond</comments> <dc:creator><![CDATA[Hannah McHugh]]></dc:creator> <pubDate>Fri, 19 Mar 2021 00:00:01 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[As Clean As We've Been]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Chris Cosnowski]]></category> <category><![CDATA[Cleaner Gallery + Projects]]></category> <category><![CDATA[Logan Square]]></category> <category><![CDATA[Michelle Wasson]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Sabina Ott]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=121743</guid> <description><![CDATA[<p>“As Clean As We’ve Been” Reflections on the past year, purges in painting, and polish. Works by Sabina Ott, Michelle Wasson, and Chris Cosnowski. Curated by Nina Rizzo 19 March – 1 May Reception is 19 March 6:30 – 9 Cleaning out to begin anew. One year since shelter in place, we have now washed<a href="https://thevisualist.org/2021/03/as-clean-as-weve-been/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2021/03/as-clean-as-weve-been/">As Clean As We’ve Been</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>“As Clean As We’ve Been”<br /> Reflections on the past year, purges in painting, and polish.</p> <p>Works by Sabina Ott, Michelle Wasson, and Chris Cosnowski. Curated by Nina Rizzo</p> <p>19 March – 1 May<br /> Reception is 19 March 6:30 – 9</p> <p>Cleaning out to begin anew. One year since shelter in place, we have now washed our hands and sanitized more than ever. Artists often purge work before beginning a new period. Cleaning and cleaning out cycle like seasons, filling up and emptying. Working beyond the scrub down, things sometimes begin to gleam. They may stay that way for a time, shifting and growing until the next wash is needed.</p><p>The post <a href="https://thevisualist.org/2021/03/as-clean-as-weve-been/">As Clean As We’ve Been</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2021/03/as-clean-as-weve-been/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">121743</post-id> </item> <item> <title>Film Screening and Discussion with Nina Rizzo</title> <link>https://thevisualist.org/2020/01/film-screening-and-discussion-with-nina-rizzo/</link> <comments>https://thevisualist.org/2020/01/film-screening-and-discussion-with-nina-rizzo/#respond</comments> <dc:creator><![CDATA[Hannah McHugh]]></dc:creator> <pubDate>Tue, 28 Jan 2020 00:00:01 +0000</pubDate> <category><![CDATA[Screening]]></category> <category><![CDATA[DeKalb]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[NIU Art Museum]]></category> <category><![CDATA[Northern Illinois University]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=111105</guid> <description><![CDATA[<p>Join Associate Professor of Studio Art – Painting Nina Rizzo as she screens and discusses interesting films related to her work. 5 p.m., Jack Arends Hall 110  </p> <p>The post <a href="https://thevisualist.org/2020/01/film-screening-and-discussion-with-nina-rizzo/">Film Screening and Discussion with Nina Rizzo</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Join Associate Professor of Studio Art – Painting Nina Rizzo as she screens and discusses interesting films related to her work.<br /> 5 p.m., Jack Arends Hall 110</p> <p> </p><p>The post <a href="https://thevisualist.org/2020/01/film-screening-and-discussion-with-nina-rizzo/">Film Screening and Discussion with Nina Rizzo</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2020/01/film-screening-and-discussion-with-nina-rizzo/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">111105</post-id> </item> <item> <title>Nina Rizzo: Nuit Exquise</title> <link>https://thevisualist.org/2019/12/nina-rizzo-nuit-exquise/</link> <comments>https://thevisualist.org/2019/12/nina-rizzo-nuit-exquise/#respond</comments> <dc:creator><![CDATA[Hannah McHugh]]></dc:creator> <pubDate>Fri, 20 Dec 2019 00:00:01 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Logan Square]]></category> <category><![CDATA[Night Light Gallery and Studios]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Nuit Exquise]]></category> <guid isPermaLink="false">https://www.thevisualist.org/?p=109419</guid> <description><![CDATA[<p>Nina Rizzo “Nuit Exquise” 15 December – 15 February Reception Friday 20 December 7-9pm Solstice bonfire in the back! “City Moon”, oil on canvas, 23 x 21″, 2019</p> <p>The post <a href="https://thevisualist.org/2019/12/nina-rizzo-nuit-exquise/">Nina Rizzo: Nuit Exquise</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Nina Rizzo<br /> “Nuit Exquise”<br /> 15 December – 15 February</p> <p>Reception<br /> Friday 20 December 7-9pm<br /> Solstice bonfire in the back!</p> <p>“City Moon”, oil on canvas, 23 x 21″, 2019</p><p>The post <a href="https://thevisualist.org/2019/12/nina-rizzo-nuit-exquise/">Nina Rizzo: Nuit Exquise</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2019/12/nina-rizzo-nuit-exquise/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">109419</post-id> </item> <item> <title>Collage Office Grand Closing!</title> <link>https://thevisualist.org/2019/05/collage-office-grand-closing/</link> <comments>https://thevisualist.org/2019/05/collage-office-grand-closing/#respond</comments> <dc:creator><![CDATA[Hannah McHugh]]></dc:creator> <pubDate>Sat, 11 May 2019 00:00:01 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Alice J Lee]]></category> <category><![CDATA[Ann Toebbe]]></category> <category><![CDATA[Brian Kapernekas]]></category> <category><![CDATA[Chad Kouri]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Collage Office]]></category> <category><![CDATA[Collage Office Grand Closing!]]></category> <category><![CDATA[Dan Sullivan]]></category> <category><![CDATA[Diana Gabriel]]></category> <category><![CDATA[East Garfield Park]]></category> <category><![CDATA[Edra Soto]]></category> <category><![CDATA[Erik Peterson]]></category> <category><![CDATA[Erin Washington]]></category> <category><![CDATA[Gina Hunt]]></category> <category><![CDATA[jack schneider]]></category> <category><![CDATA[Jaclyn Jacunski]]></category> <category><![CDATA[Leslie Baum]]></category> <category><![CDATA[Melissa Oresky]]></category> <category><![CDATA[Monica Rezman]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Paula Henderson]]></category> <category><![CDATA[Rhonda Wheatley]]></category> <category><![CDATA[Selina Trepp]]></category> <category><![CDATA[The Franklin]]></category> <category><![CDATA[Tim Nickodemus]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=97972</guid> <description><![CDATA[<p>Collage Office Grand Closing! Saturday, May 11 from 1-4PM Artists Conversation starting at 4PM Over the past seven weeks, Melissa Oresky, Alice J. Lee, and a program of rotating artist “associates”, have turned THE FRANKLIN into Collage Office, a collaborative platform where artists create work for clients during set hours. Collage Office have been open<a href="https://thevisualist.org/2019/05/collage-office-grand-closing/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2019/05/collage-office-grand-closing/">Collage Office Grand Closing!</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Collage Office Grand Closing!<br /> Saturday, May 11 from 1-4PM<br /> Artists Conversation starting at 4PM</p> <p>Over the past seven weeks, Melissa Oresky, Alice J. Lee, and a program of rotating artist “associates”, have turned THE FRANKLIN into Collage Office, a collaborative platform where artists create work for clients during set hours. Collage Office have been open each weekend through rain, snow, and shine, with twenty-three artists providing work by appointment for over one hundred and twenty participants.</p> <p>Please join Collage Office Grand Closing event on Saturday, May 11 with Rhonda Wheatley and Brian Kapernekas at work in the office from 1-4 pm. At 4 PM, we will present an artists’ conversation moderated by Philip Von Zweck with Collage Office artists Leslie Baum, Diana Gabriel, Paula Henderson, Gina Hunt, Jaclyn Jacunski, Brian Kapernekas, Chad Kouri, Tim Nickodemus, Erik Peterson, Monica Rezman, Nina Rizzo, Jack Schneider , Ann Toebbe, Selina Trepp, Erin Washington, Rhonda Wheatley, THE FRANKLIN directors Edra Soto and Dan Sullivan and Collage Office organizer Melissa Oresky.</p> <p>Collage Office poses questions about how artistic labor is experienced and valued. How is it like or not like other professions such as therapist, lawyer, craftsperson, or repair person? Can a gift economy be cultivated within a culture that values art as a commodity? The artist and visitor participate together in a transaction that is both personal and professional, addressing the exchange values surrounding artistic production.</p> <p>Donations made in exchange for artwork are directed to causes chosen by the participating artists: A Long Walk Home, a Chicago-based national non-profit that uses art to educate, inspire, and mobilize young people to end violence against girls and women and THE FRANKLIN, Collage Office generous and enthusiastic hosts.</p> <p>THE FRANKLIN’s and Collage Office Instagram accounts are also replete with images of the office in action. They are @collageoffice and @thefranklinoutdoor. To view the works made so far in the office go to collageoffice.com</p> <p>THE FRANKLIN<br /> 3522 W. Franklin Blvd, Chicago IL 60624<br /> (312)823-3632<br /> http://thefranklinoutdoor.tumblr.com/<br /> Instagram @thefranklinoutdoor</p><p>The post <a href="https://thevisualist.org/2019/05/collage-office-grand-closing/">Collage Office Grand Closing!</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2019/05/collage-office-grand-closing/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">97972</post-id> </item> <item> <title>Collage Office</title> <link>https://thevisualist.org/2019/03/collage-office/</link> <comments>https://thevisualist.org/2019/03/collage-office/#respond</comments> <dc:creator><![CDATA[Hannah McHugh]]></dc:creator> <pubDate>Sat, 23 Mar 2019 00:00:01 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Alice J Lee]]></category> <category><![CDATA[Allison Lacher and Jeff Robinson]]></category> <category><![CDATA[Amber Ginsburg and Sara Black]]></category> <category><![CDATA[Ann Toebbe]]></category> <category><![CDATA[Ayanah Moor]]></category> <category><![CDATA[Brian Kapernakas]]></category> <category><![CDATA[Chad Kouri]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Collage Office]]></category> <category><![CDATA[Diana Gabriel]]></category> <category><![CDATA[East Garfield Park]]></category> <category><![CDATA[Erik Peterson]]></category> <category><![CDATA[Erin Hayden]]></category> <category><![CDATA[Erin Washington]]></category> <category><![CDATA[Gina Hunt]]></category> <category><![CDATA[jack schneider]]></category> <category><![CDATA[Jaclyn Jacunski]]></category> <category><![CDATA[Jessica Harvey]]></category> <category><![CDATA[Leslie Baum]]></category> <category><![CDATA[Melissa Oresky]]></category> <category><![CDATA[Monica Rezman]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Paula Henderson]]></category> <category><![CDATA[Pooja Pittie]]></category> <category><![CDATA[Rhonda Wheatley]]></category> <category><![CDATA[Selina Trepp]]></category> <category><![CDATA[The Franklin]]></category> <category><![CDATA[Tim Nickodemus]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=94688</guid> <description><![CDATA[<p>COLLAGE OFFICE Organized by Melissa Oresky and Alice J. Lee Grand Opening: Saturday, March 23 from 1 – 4 PM From March 23 to May 12, 2019 Collage Office is a participatory project where gallery visitors engage with artists as they work, receiving an artwork in exchange for a pay as you wish donation. It<a href="https://thevisualist.org/2019/03/collage-office/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2019/03/collage-office/">Collage Office</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>COLLAGE OFFICE<br /> Organized by Melissa Oresky and Alice J. Lee<br /> Grand Opening:<br /> Saturday, March 23 from 1 – 4 PM</p> <p>From March 23 to May 12, 2019</p> <p>Collage Office is a participatory project where gallery visitors engage with artists as they work, receiving an artwork in exchange for a pay as you wish donation. It will be the third and most elaborate iteration of “Collage on Demand” a project done twice before by Melissa Oresky, in which she moved a portion of her studio into a gallery space and made collages for participants who sat and talked with her as she worked. The collages were then given to the participants, who could choose to make a charitable donation in exchange.</p> <p>In partnership with designer Alice J. Lee, Oresky and a program of rotating “associates,” will turn the Franklin into a studio/office and a collaborative platform where artists create work for clients during set hours. Each artist will engage the client through their own making process, creating unique interactions and experiences, altering the space and adding to the archive of the project in real time. Collage Office will gleefully co-opt the conventions of office decor and entrepreneurship, implementing design and marketing strategies to frame the project. Donations made in exchange for artwork will be directed to a charitable cause or causes chosen as a group by the artists.</p> <p>Collage Office poses questions about how artistic labor is experienced and valued. How is it like or not like other professions such as therapist, lawyer, craftsperson, or repair person? Can a gift economy be cultivated within a culture that values art as a commodity? The artist and visitor participate together in a transaction that is both personal and professional, addressing the exchange values surrounding artistic production.</p> <p>Artists:</p> <p>Leslie Baum<br /> Diana Gabriel<br /> Amber Ginsburg and Sara Black<br /> Jessica Harvey<br /> Erin Hayden<br /> Paula Henderson<br /> Gina Hunt<br /> Jaclyn Jacunski<br /> Brian Kapernakas<br /> Chad Kouri<br /> Allison Lacher and Jeff Robinson<br /> Alice J Lee<br /> Ayanah Moor<br /> Tim Nickodemus<br /> Melissa Oresky<br /> Erik Peterson<br /> Pooja Pittie<br /> Monica Rezman<br /> Nina Rizzo<br /> Jack Schneider<br /> Ann Toebbe<br /> Selina Trepp<br /> Erin Washington<br /> Rhonda Wheatley</p><p>The post <a href="https://thevisualist.org/2019/03/collage-office/">Collage Office</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2019/03/collage-office/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">94688</post-id> </item> <item> <title>Small Gestures: Artist Walkthrough</title> <link>https://thevisualist.org/2019/02/small-gestures-2/</link> <comments>https://thevisualist.org/2019/02/small-gestures-2/#respond</comments> <dc:creator><![CDATA[Meg Duguid]]></dc:creator> <pubDate>Sat, 02 Feb 2019 15:14:57 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Gianna Commito]]></category> <category><![CDATA[Heaven Gallery]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Stephanie McMahon]]></category> <category><![CDATA[West Town]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=92559</guid> <description><![CDATA[<p>Join us for a walk through with Gianna Commito, Nina Rizzo, and Stephanie McMahon as they talk about their practice and their work featured in our current exhibition Small Gestures. Coffee by La Colombe and pastries by Artemios Bakery Gestures, or actions of the body (most notably the hands and arms), that are used to<a href="https://thevisualist.org/2019/02/small-gestures-2/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2019/02/small-gestures-2/">Small Gestures: Artist Walkthrough</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Join us for a walk through with Gianna Commito, Nina Rizzo, and Stephanie McMahon as they talk about their practice and their work featured in our current exhibition Small Gestures.</p> <p>Coffee by La Colombe and pastries by Artemios Bakery</p> <p>Gestures, or actions of the body (most notably the hands and arms), that are used to communicate ideas and intentions have their source in the physical presence and movement of the communicator. They can be slow or quick, and necessarily have a relationship with time as part of the perceived meaning. A gestural mark can be a very immediate way to respond to a source or a surface. A gesture can also be extensive, and even repeated to determine an entire composition. An accumulation of different gestures, too, can bring ideas into physical presence. Often, in painting, the word “gesture” conjures up thoughts of the grand or heroic. It is associated with action painting, done on a large scale. Small gestures, too, have an important role to play in painting. Alone, small gestures can sneak in, surprise, jump quickly, organize and punctuate. In numbers, they prove mighty as they slow down transitions, become forms and atmosphere, establish pattern and rhythm, and create a language of movements from which one can glean the intention and physical record of the artist. The artists in this exhibition challenge our conceptual, material and bodily relationship to gesture. In some paintings, small, quick gestures feel monumental, concise and still when scale and physicality are reexamined. In others, the gesture is set within or pushed up against geometric structures that appear to abruptly halt a movement or create friction to slow it down. Large gestures are condensed and small gestures are expanded or depicted larger as these artists question how the gesture is perceived in painting.</p> <p>Gianna Commito (b. 1976, Sea Level, NC) earned a BFA from The New York State College of Ceramics at Alfred University, Alfred, NY and an MFA from the University of Iowa, Iowa City, IA. Commito’s gestures are small favors, winks and nods toward her process and the history of abstraction. Her paintings, at first glance, work hard to deny any evidence that the artist’s hand was ever in play. Striped planes are delineated by taped edges, cutting off and covering up the information underneath and around unyielding geometric forms. A closer look reveals quite a different process, one in which many small gestures, both real and suggested, add up to create these fractured surfaces. Often starting with drips, pours, or spills, the first layer of information in Commito’s work is closely aligned with action painting or the chance-derived techniques of the Surrealists. From this quiet chaos she wrestles the suggestion of order. Gestural marks reappear at later stages in the process in more codified practices: discreet shapes and forms that suggest a controlled flick of the wrist. These present as polite splatters, tiny feathered swoops, or the excavation of layers from tape being gently pulled away. The scale of Commito’s work ensures that no gesture swells beyond a subtle signal or shrug. Once noticed, though, they provide a counterpoint to the work’s louder and more obvious formal tendencies.</p> <p>Nina Rizzo (b. 1974 Chicago, IL) received her MFA in Painting at The University of Texas at Austin in 2004 and her BFA from The University of Illinois at Urbana-Champaign in 1997. Rizzo began painting on miniature canvases years ago. Would they read as large paintings scaled down or would they contain marks that remained the size appropriate for larger paintings? Working on these canvases has allowed for play and discovery regarding the perception of size. The gestures present in these very small paintings, if reproduced without contextual information, have the capability to read as monumental. When their size is understood by a viewer, the gestures read as small, but strong and very physically present. She began using these miniatures as the basis of larger paintings in 2016. Each painting seemed to require a different strategy to increase the scale. The physical presence of the paint became the means for developing the character of each painting. Paint, in these relatively larger gestures, cuts, turns, sits, stirs, and glides to locate the main activity of these paintings on the surface of the canvas. Along with maintaining much of the simplicity of the compositions of the mini works, the resulting paintings keep the action in the marks and paint application. It is through very small gestures that these paintings are born and then carry that characteristic onward through the physical presence and expression within material and movement.</p> <p>Stephanie McMahon (b. 1976, Rochester, NY) earned a BFA from The New York State College of Ceramics at Alfred University, Alfred, NY and MFA from The University of Texas at Austin. McMahon’s paintings explore and evoke new discoveries informed by her observations and experiences within a particular environment or place. Weaving in and out of referential forms and colors, she allows for intuitive and contradictory responses, by creating an image that fluctuates between deliberate and incidental. Gestural brushstrokes impart physicality yet glide weightlessly over smooth surfaces as figure ground relationships oscillate and conflate. Fluid marks are often contained within a shape or stopped by a sharp edge in contrast to the gesture, revealing both transitory and measured time. The gesture in McMahon’s paintings is used to refer to the present moment and reconstruct a past experience. It is both calculated and open, creating an active space for visual exploration.</p><p>The post <a href="https://thevisualist.org/2019/02/small-gestures-2/">Small Gestures: Artist Walkthrough</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2019/02/small-gestures-2/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">92559</post-id> </item> <item> <title>Small Gestures</title> <link>https://thevisualist.org/2019/02/small-gestures/</link> <comments>https://thevisualist.org/2019/02/small-gestures/#respond</comments> <dc:creator><![CDATA[Hannah McHugh]]></dc:creator> <pubDate>Fri, 01 Feb 2019 00:00:01 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Gianna Commito]]></category> <category><![CDATA[Heaven Gallery]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Stephanie McMahon]]></category> <category><![CDATA[West Town]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=91226</guid> <description><![CDATA[<p>Gestures, or actions of the body (most notably the hands and arms), that are used to communicate ideas and intentions have their source in the physical presence and movement of the communicator. They can be slow or quick, and necessarily have a relationship with time as part of the perceived meaning. A gestural mark can<a href="https://thevisualist.org/2019/02/small-gestures/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2019/02/small-gestures/">Small Gestures</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Gestures, or actions of the body (most notably the hands and arms), that are used to communicate ideas and intentions have their source in the physical presence and movement of the communicator. They can be slow or quick, and necessarily have a relationship with time as part of the perceived meaning. A gestural mark can be a very immediate way to respond to a source or a surface. A gesture can also be extensive, and even repeated to determine an entire composition. An accumulation of different gestures, too, can bring ideas into physical presence.</p> <p>Often, in painting, the word gesture conjures up thoughts of the grand or heroic. It is associated with action painting, done on a large scale. Small gestures, too, have an important role to play in painting. Alone, small gestures can sneak in, surprise, jump quickly, organize and punctuate. In numbers, they prove mighty as they slow down transitions, become forms and atmosphere, establish pattern and rhythm, and create a language of movements from which one can glean the intention and physical record of the artist.</p> <p>The artists in this exhibition challenge our conceptual, material and bodily relationship to gesture. In some paintings, small, quick gestures feel monumental, concise and still when scale and physicality are reexamined. In others, the gesture is set within or pushed up against geometric structures that appear to abruptly halt a movement or create friction to slow it down. Large gestures are condensed and small gestures are expanded or depicted larger as these artists question how the gesture is perceived in painting.</p> <p>Gianna Commito’s gestures are small favors, winks and nods toward her process and the history of abstraction. Her paintings, at first glance, work hard to deny any evidence that the artist’s hand was ever in play. Striped planes are delineated by taped edges, cutting off and covering up the information underneath and around unyielding geometric forms. A closer look reveals quite a different process, one in which many small gestures, both real and suggested, add up to create these fractured surfaces. Often starting with drips, pours, or spills, the first layer of information in Commito’s work is closely aligned with action painting or the chance-derived techniques of the Surrealists. From this quiet chaos she wrestles the suggestion of order. Gestural marks reappear at later stages in the process in more codified practices: discreet shapes and forms that suggest a controlled flick of the wrist. These present as polite splatters, tiny feathered swoops, or the excavation of layers from tape being gently pulled away. The scale of Commito’s work ensures that no gesture swells beyond a subtle signal or shrug. Once noticed, though, they provide a counterpoint to the work’s louder and more obvious formal tendencies.</p> <p>Gianna Commito (b. 1976, Sea Level, NC) earned a BFA from The New York State College of Ceramics at Alfred University, Alfred, NY and an MFA from the University of Iowa, Iowa City, IA. The artist has been included in exhibitions at Fleisher/Ollman Gallery, Philadelphia, PA; The Akron Art Museum, Akron, OH; Lehman College Art Department, New York, NY; Webster State University, Ogden, UT; MOCA Cleveland, Cleveland, OH; National Academy, New York, NY; and the Drawing Center, New York, NY; among others. Commito is the recipient of numerous awards and fellowships, including the Ohio Arts Council Award; the Cleveland Art Prize; Artist in Residence at Yaddo, the MacDowell Colony, and the Bemis Center for Contemporary Art; and the Pollock-Krasner Foundation Grant. In 2018, her work was featured in the inaugural edition of the FRONT International: Cleveland Triennial for Contemporary Art in Cleveland, OH. Commito lives and works in Kent, OH and is represented by Rachel Uffner Gallery in New York City.<br /> https://www.racheluffnergallery.com/artists/gianna-commito/bio</p> <p>Nina Rizzo began painting on miniature canvases years ago and only recently found their role in her overall studio practice. Would they read as large paintings scaled down or would they contain marks that remained the size appropriate for larger paintings? Working on these canvases has allowed for play and discovery regarding the perception of size. The gestures present in these very small paintings, if reproduced without contextual information, have the capability to read as monumental. When their size is understood by a viewer, the gestures read as small, but strong and very physically present.</p> <p>Rizzo began using these miniatures as the basis of larger (but still relatively small!) paintings in 2016. Each painting seemed to require a different strategy to increase the scale. The physical presence of the paint became the means for developing the character of each painting. Paint, in these relatively larger gestures, cuts, turns, sits, stirs, and glides to locate the main activity of these paintings on the surface of the canvas. Along with maintaining much of the simplicity of the compositions of the mini works, the resulting paintings keep the action in the marks and paint application. It is through very small gestures that these paintings are born and then carry that characteristic onward through the physical presence and expression within material and movement.</p> <p>Nina Rizzo (b. 1974 Chicago, IL) is a Chicago based artist and Associate Professor of Painting at Northern Illinois University. She received her MFA in Painting at The University of Texas at Austin in 2004 and her BFA from The University of Illinois at Urbana-Champaign in 1997. She has shown extensively throughout the US, in Mexico, Japan, Korea, Canada, Rome, Iceland and France. Nina has completed artist residencies in many varied locations including Reykjavik, Iceland. Rome, Italy, Berlin, Germany, Banff, Canada and Marnay-Sur-Seine, France where the varied sights and surroundings have always had a great impact on her work. When she is not in the studio she spends time walking her dog. Nina is represented by Linda Warren Projects, Chicago.</p> <p>Stephanie McMahon’s paintings explore and evoke new discoveries informed by her observations and experiences within a particular environment or place. Weaving in and out of referential forms and colors, she allows for intuitive and contradictory responses, by creating an image that fluctuates between deliberate and incidental. Gestural brushstrokes impart physicality yet glide weightlessly over smooth surfaces as figure ground relationships oscillate and conflate. Fluid marks are often contained within a shape or stopped by a sharp edge in contrast to the gesture, revealing both transitory and measured time. The gesture in McMahon’s paintings is used to refer to the present moment and reconstruct a past experience. It is both calculated and open, creating an active space for visual exploration.</p> <p>Stephanie McMahon (b. 1976, Rochester, NY) earned a BFA from The New York State College of Ceramics at Alfred University, Alfred, NY and MFA from The University of Texas at Austin. She has exhibited at Northern Illinois University Art Museum, Tang Contemporary (Beijing), T + H Gallery (Boston), and SCOPE New York among others. McMahon is recipient of the Memorial Art Gallery Award of Excellence, an SOS grant from the New York Foundation for the Arts and a Constance Saltonstall Foundation for the Arts Individual Artist Grant. She was an artist in residence at Cité Internationale des Arts, Paris. Her work has been reviewed and published in the Boston Globe, Hyperallergic, and New American Paintings Blog and Magazine. McMahon has lectured and exhibited at numerous universities including Kent State University, Hobart and William Smith Colleges, Northern Illinois University, The Central Academy of Fine Arts Beijing, and Lu Xun Academy of Fine Arts in Shenyang, China. McMahon lives and works in Alfred, New York where she is Professor of Painting and Drawing at Alfred University.</p><p>The post <a href="https://thevisualist.org/2019/02/small-gestures/">Small Gestures</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2019/02/small-gestures/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">91226</post-id> </item> <item> <title>Flat File One</title> <link>https://thevisualist.org/2018/06/flat-file-one/</link> <comments>https://thevisualist.org/2018/06/flat-file-one/#respond</comments> <dc:creator><![CDATA[Meg Duguid]]></dc:creator> <pubDate>Sun, 24 Jun 2018 00:00:01 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Alberto Aguilar]]></category> <category><![CDATA[Allison Reimus]]></category> <category><![CDATA[Brian Kapernekas]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Daniel Hojnacki]]></category> <category><![CDATA[David X Levine]]></category> <category><![CDATA[Flat File One]]></category> <category><![CDATA[Garry Noland]]></category> <category><![CDATA[Illinois]]></category> <category><![CDATA[Jessie Mott]]></category> <category><![CDATA[Jonathan Miller]]></category> <category><![CDATA[Kayla Risko]]></category> <category><![CDATA[Meg Duguid]]></category> <category><![CDATA[near west side]]></category> <category><![CDATA[Nicholas Steindorf]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Peter Skvara]]></category> <category><![CDATA[Rosalyn Schwartz]]></category> <category><![CDATA[Selina Trepp]]></category> <category><![CDATA[Stano Grezdo]]></category> <category><![CDATA[The Chicago Print Crawl]]></category> <category><![CDATA[Tiger Strikes Asteroid Chicago]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=83097</guid> <description><![CDATA[<p>Tiger Strikes Asteroid Chicago is pleased to present Flat File One opening in conjunction with The Chicago Print Crawl on Sunday, June 24 from 12-6pm at 319 North Albany for an exhibition celebrating this year’s Flat File program. Flat File One is an exhibition marking the end of the year of TSA Chicago’s first flat<a href="https://thevisualist.org/2018/06/flat-file-one/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2018/06/flat-file-one/">Flat File One</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Tiger Strikes Asteroid Chicago is pleased to present Flat File One opening in conjunction with The Chicago Print Crawl on Sunday, June 24 from 12-6pm at 319 North Albany for an exhibition celebrating this year’s Flat File program. Flat File One is an exhibition marking the end of the year of TSA Chicago’s first flat file cohort. The 17 selected artists represent an array of approaches towards flat media– including drawing, collage, printmaking, and photography, among others. In many cases the selected works are emblematic of an artist’s core practice, while for some this work represents a thought process beyond their larger body of work.</p> <p>During this exhibition and throughout the year, visitors are welcome to browse and acquire artworks from the flat file. Additionally all works can be viewed on our website (http://www.tigerstrikesasteroid.com/flatfile-chi). A catalog highlighting all Flat File One artists will be available for purchase. Flat File One was organized by our TSA interns: Kate Anderson, Laura Guadagnino, and Erol Scott Harris II.</p> <p>TSA Chicago has been honored to work with these Flat File One artists over the last year: Alberto Aguilar, Mark Brosseau, Meg Duguid, Stano Grezdo, Daniel Hojnacki, Brian Kapernekas, David X Levine, Jessie Mott, Garry Noland, Allison Reimus, Kayla Risko, Nina Rizzo, Rosalyn Schwartz, Peter Skvara, Nicholas Steindorf, Selina Trepp, and Jonathan Miller.</p> <p>Stay tuned for an announcement and call for Flat File Two.<br /> Our reception hours will be extended for Flat File One until 6:00 p.m. to coincide with the Chicago Print Crawl, which is a free event open to the public. The Chicago Print Crawl is an annual, self-guided tour of printmaking production, publishing, exhibition and sales venues throughout the City of Chicago, organized by Spudnik Press Cooperative.</p> <p>Above Image: Daniel Hojnacki, Settling in Shadow, silver gelatin print, 2017</p><p>The post <a href="https://thevisualist.org/2018/06/flat-file-one/">Flat File One</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2018/06/flat-file-one/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">83097</post-id> </item> <item> <title>Latinx Nation</title> <link>https://thevisualist.org/2018/05/latinx-nation/</link> <comments>https://thevisualist.org/2018/05/latinx-nation/#respond</comments> <dc:creator><![CDATA[Meg Duguid]]></dc:creator> <pubDate>Sat, 05 May 2018 00:00:01 +0000</pubDate> <category><![CDATA[Uncategorized]]></category> <category><![CDATA[Alejandro Jimenez Flores]]></category> <category><![CDATA[Alex Bradley Cohen]]></category> <category><![CDATA[Andreas Fischer]]></category> <category><![CDATA[Anna Showers-Cruser]]></category> <category><![CDATA[Annie Kielman]]></category> <category><![CDATA[Aron Gent]]></category> <category><![CDATA[Azadeh Gholizadeh]]></category> <category><![CDATA[Brandon Alvendia]]></category> <category><![CDATA[Brendan Luchik]]></category> <category><![CDATA[Caleb Beck]]></category> <category><![CDATA[Caroline Liu]]></category> <category><![CDATA[Cathy Hsiao]]></category> <category><![CDATA[Celeste Rapone]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Chris Zain]]></category> <category><![CDATA[Claire Ashley]]></category> <category><![CDATA[Daniel Hojnacki]]></category> <category><![CDATA[Danny FLOYD]]></category> <category><![CDATA[Edra Soto]]></category> <category><![CDATA[Fanita Banana]]></category> <category><![CDATA[Frances Lightbound]]></category> <category><![CDATA[Future Rootz]]></category> <category><![CDATA[Gwendolyn Zabicki]]></category> <category><![CDATA[Heaven Gallery]]></category> <category><![CDATA[HURAKAN]]></category> <category><![CDATA[Hyegyeong Choi]]></category> <category><![CDATA[Iris Bernblum]]></category> <category><![CDATA[Ivan Lozano]]></category> <category><![CDATA[Jeffrey Grauel]]></category> <category><![CDATA[Jeffrey Michael Austin]]></category> <category><![CDATA[Josue Pellot]]></category> <category><![CDATA[Kailyn Perry]]></category> <category><![CDATA[Kate Hampel]]></category> <category><![CDATA[Latinx Nation]]></category> <category><![CDATA[Leo Kaplan]]></category> <category><![CDATA[Liz McCarthy]]></category> <category><![CDATA[Matthew Hilshorst]]></category> <category><![CDATA[Mel Cook]]></category> <category><![CDATA[Melissa Leandro]]></category> <category><![CDATA[NAHUI OLLIN HUEHUECOYOTL]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Noël Morical]]></category> <category><![CDATA[Olivia Valentine]]></category> <category><![CDATA[robert burnier]]></category> <category><![CDATA[Robin Dluzen]]></category> <category><![CDATA[Ryan Pfeiffer & Rebecca Walz]]></category> <category><![CDATA[Santina Amato]]></category> <category><![CDATA[Sarah & Joseph Belknap]]></category> <category><![CDATA[SARAH MOSK]]></category> <category><![CDATA[Scott Mossman]]></category> <category><![CDATA[Selina Trepp]]></category> <category><![CDATA[Sherwin Ovid]]></category> <category><![CDATA[SloMo]]></category> <category><![CDATA[Soo Shin]]></category> <category><![CDATA[Tanner Bowman]]></category> <category><![CDATA[Victoria Martinez]]></category> <category><![CDATA[West Town]]></category> <category><![CDATA[Yvette Mayorga]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=80808</guid> <description><![CDATA[<p>On Cinco de Mayo, Heaven Gallery commemorates Chicago’s Latin heritage and celebrates the victories of all native people against displacement. On an old Native American trail known as Milwaukee Ave., is where for the past 18 years, Heaven has supported the arts and cultivated community. As developers invade our city and seek to erase us<a href="https://thevisualist.org/2018/05/latinx-nation/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2018/05/latinx-nation/">Latinx Nation</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>On Cinco de Mayo, Heaven Gallery commemorates Chicago’s Latin heritage and celebrates the victories of all native people against displacement. On an old Native American trail known as Milwaukee Ave., is where for the past 18 years, Heaven has supported the arts and cultivated community. As developers invade our city and seek to erase us we will unite to create a community land trust to protect our cultural equity. On this day we identify with the miraculous victory of indigenous Mexicans Benito Juárez and General Zaragoza over Napoleon III who attempted to carve his empire out of Mexican territory. On this historical evening we call on the spirit of our ancestors to help us win our fight.</p> <p>Latinx Nation combines the celebration of non-binary, gender fluid people from all Latin cultures. Join us in moving towards inclusion in language as our generation creates a cohesive postcolonial identity for the descendants of the Americas.</p> <p>Our community recognizes the contributions that Latinx has made to this Nation and we honor them and give thanks.</p> <p>Music by Future Rootz featuring Fanita Banana, SloMo,<br /> and Sound Culture.<br /> Ceremony with native ambient sounds by HURAKAN & Aztec dance by NAHUI OLLIN HUEHUECOYOTL<br /> Decorations by Victoria Martinez<br /> Mural by Josue Pellot</p> <p>Silent auction featuring works by: Scott Mossman/ Kailyn Perry/ Robert Burnier /Celeste Rapone/ Chris Zain/ Jeffrey Grauel/ Alejandro Jimenez-Flores/ Santina Amato/ Olivia Valentine/ Alex Bradley Cohen/ Cathy Hsiao/ Melissa Leandro/ Noel Morical/ Ryan Pfeiffer & Rebecca Walz/ Azadeh Gholizadeh/ Anna Showers-Cruser/ Sarah Mosk/ Brandon Alvendia/ Danny Floyd/ Liz McCarthy/ Sherwin Ovid/ Iris Bernblum/ Gwendolyn Zabicki/ Andreas Fischer/ Caroline Liu/ Daniel Hojnacki/ Claire Ashley/ Frances Lightbound/ Soo Shin/ Mel Cook/ Kate Hampel/ Annie Kielman/ Jeffrey Michael Austin/ Yvette Mayorga/ Nina Rizzo/ Matthew Hilshorst/ Aron Gent/ Sarah & Joseph Belknap/ Hyegyeong Choi/ Caleb Beck/ Edra Soto/ Robin Dluzen/ Leo Kaplan/ Ivan Lozano/ Brendan Luchik/ Tanner Bowman/ Selina Trepp</p> <p>Sponsors include Revolution Brewing, Lagunitas Brewing, Marz Brewing, Land & Sea Dept., 5 Rabbit Brewing, CH Distillery, and a grant by Wicker Park Bucktown Chamber<br /> Additional food from Flash Taco, Artemio’s Bakery, and The Tamale Guy</p> <p>$20 Door</p><p>The post <a href="https://thevisualist.org/2018/05/latinx-nation/">Latinx Nation</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2018/05/latinx-nation/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">80808</post-id> </item> <item> <title>Artist Talk: Kim Piotrowski / Heather Marshall / Nina Rizzo</title> <link>https://thevisualist.org/2018/03/artist-talk-kim-piotrowski-heather-marshall-nina-rizzo/</link> <comments>https://thevisualist.org/2018/03/artist-talk-kim-piotrowski-heather-marshall-nina-rizzo/#respond</comments> <dc:creator><![CDATA[Meg Duguid]]></dc:creator> <pubDate>Wed, 21 Mar 2018 00:00:01 +0000</pubDate> <category><![CDATA[Talk]]></category> <category><![CDATA[Artist Talk: Kim Piotrowski / Heather Marshall / Nina Rizzo]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Heather Marshall]]></category> <category><![CDATA[Illinois]]></category> <category><![CDATA[Kim Piotrowski]]></category> <category><![CDATA[Le Lavage]]></category> <category><![CDATA[Linda Warren Projects]]></category> <category><![CDATA[Memories That Are Not Mine]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Now That the Sky Has Fallen]]></category> <category><![CDATA[West Town]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=79624</guid> <description><![CDATA[<p>Join us on Saturday, March 24th from 2-5pm CST for Artist Talks with Kim Piotrowski, the poet Rose McClarney, and Nina Rizzo. LWP Director, Natalia Ferreyra, will also discuss works by Heather Marshall. Light snacks and refreshments will be served. Linda Warren Projects is proud to announce three powerful exhibitions by artists: Kim Piotrowski, “Now<a href="https://thevisualist.org/2018/03/artist-talk-kim-piotrowski-heather-marshall-nina-rizzo/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2018/03/artist-talk-kim-piotrowski-heather-marshall-nina-rizzo/">Artist Talk: Kim Piotrowski / Heather Marshall / Nina Rizzo</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Join us on Saturday, March 24th from 2-5pm CST for Artist Talks with Kim Piotrowski, the poet Rose McClarney, and Nina Rizzo. LWP Director, Natalia Ferreyra, will also discuss works by Heather Marshall.</p> <p>Light snacks and refreshments will be served.</p> <p>Linda Warren Projects is proud to announce three powerful exhibitions by artists: Kim Piotrowski, “Now That the Sky Has Fallen” (Gallery Y), Heather Marshall, “Memories That Are Not Mine” (Gallery X), and Nina Rizzo, “Le Lavage” (Gallery O).</p> <p>A compelling painting has no gender, but for these mighty artists their femininity is no docility. Whether it be Piotrowski’s lyrical abstractions, Marshall’s small intimate figure paintings, or Rizzo’s textural abstractions, each of them imbed salient, and at times poignant narratives that are universally human yet deeply personal. Unapologetically creating artwork that reexamines their own fears, histories, and longings, each artist captures vulnerability and masterfully reengineers it into their own source of power and inspiration. The exhibition, as a whole, threads a beautiful ribbon that ties together the aesthetic mastery of each painter and embodies the poetic sentiments that every human relates to no matter which body you live in</p><p>The post <a href="https://thevisualist.org/2018/03/artist-talk-kim-piotrowski-heather-marshall-nina-rizzo/">Artist Talk: Kim Piotrowski / Heather Marshall / Nina Rizzo</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2018/03/artist-talk-kim-piotrowski-heather-marshall-nina-rizzo/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">79624</post-id> </item> <item> <title>Kim Piotrowski: Now That the Sky Has Fallen, Heather Marshall: Memories That Are Not Mine and Nina Rizzo: Le Lavage</title> <link>https://thevisualist.org/2018/03/kim-piotrowski-heather-marshall-nina-rizzo/</link> <comments>https://thevisualist.org/2018/03/kim-piotrowski-heather-marshall-nina-rizzo/#respond</comments> <dc:creator><![CDATA[Meg Duguid]]></dc:creator> <pubDate>Sat, 10 Mar 2018 00:00:01 +0000</pubDate> <category><![CDATA[Exhibition]]></category> <category><![CDATA[Reception]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Heather Marshall]]></category> <category><![CDATA[Illinois]]></category> <category><![CDATA[Kim Piotrowski]]></category> <category><![CDATA[Le Lavage]]></category> <category><![CDATA[Linda Warren Projects]]></category> <category><![CDATA[Memories That Are Not Mine]]></category> <category><![CDATA[near west side]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[Now That the Sky Has Fallen]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=79103</guid> <description><![CDATA[<p>Linda Warren Projects is proud to announce three powerful exhibitions by artists: Kim Piotrowski, Now That the Sky Has Fallen (Gallery Y), Heather Marshall, Memories That Are Not Mine (Gallery X), and Nina Rizzo, Le Lavage (Gallery O). Join us for the Opening Reception on Saturday, March 10th from 5-8pm. Light refreshments will be served.<a href="https://thevisualist.org/2018/03/kim-piotrowski-heather-marshall-nina-rizzo/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2018/03/kim-piotrowski-heather-marshall-nina-rizzo/">Kim Piotrowski: Now That the Sky Has Fallen, Heather Marshall: Memories That Are Not Mine and Nina Rizzo: Le Lavage</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Linda Warren Projects is proud to announce three powerful exhibitions by artists: Kim Piotrowski, Now That the Sky Has Fallen (Gallery Y), Heather Marshall, Memories That Are Not Mine (Gallery X), and Nina Rizzo, Le Lavage (Gallery O).</p> <p>Join us for the Opening Reception on Saturday, March 10th from 5-8pm. Light refreshments will be served.</p> <p>A compelling painting has no gender, but for these mighty artists their femininity is no docility. Whether it be Piotrowski’s lyrical abstractions, Marshall’s small intimate figure paintings, or Rizzo’s textural abstractions each of them imbed salient, and at times poignant narratives that are universally human yet deeply personal. Unapologetically creating artwork that reexamines their own fears, histories, and longings, each artist captures vulnerability and masterfully reengineers it into their own source of power and inspiration. The exhibition, as a whole, threads a beautiful ribbon that ties together the aesthetic mastery of each painter and embodies the poetic sentiments that every human relates to no matter which body you live in.</p> <p>Gallery Y – Kim Piotrowski, Now That the Sky Has Fallen</p> <p>Piotrowski’s paintings have always danced between abstraction and reference. It is perhaps why the artist, for the first time, has decided to collaborate with literary poet Rose McLarney. Their chance meeting at Hambidge, a creative residency in Georgia where both artists participated, lent itself the opportunity for a unique creative exchange. In an installation titled “A Door Open,” Piotrowski’s paintings on paper will spar and harmonize willingly with McLarney’s poems. Each poem is a direct response to each painting. The artist’s signature style of controlled chaos is a constant. Piotrowski’s multilayer veils of surface exude an inner energy that is both contemplative and lyrical in nature. The artist seamlessly interchanges and integrates the assertiveness of mark making while considering each line and object that could possibly reference the natural world. Phantomlike landscapes and figures appear and disappear within the paintings. Enigmatic lines and colors push and pull for attention, so much that they wrap around the corners of the paintings, demanding that we consider the mark and allocate recognition. Piotrowski’s process is methodical and as unconfined as the paintings themselves – “layers of thin ink washes, scrubbed, and manipulated by time and touch, these passages push against the opacity of forms and gestural lines that create a new dynamic within the picture plane.” The stage is set where even the smallest marks have a role. An orchestrated, abstracted symphony of colors and lines that pursue freedom and the flexibility to exist.</p> <p>Kim Piotrowski, a Chicago based artist, received her BFA from the School of the Art Institute of Chicago and has continued showing in both group and solo exhibitions since 1991. Most recently her work has been featured at Forum Gallery, NYC, Marcia Wood Gallery in Atlanta, GA, and Grolle:Pass:Projects in Wuppertal, Germany. Piotrowski has been the recipient of numerous awards and recognition including the Illinois Arts Council Visual Artist Grant, Artadia Grant and most recently the Sustainable Arts Foundation amongst many others. She has also been artist in residence at Hambidge, Yaddo, Ragdale and Oxbow. This is Piotrowski’s third solo exhibition with the gallery.</p> <p>Gallery X – Heather Marshall, Memories That Are Not Mine</p> <p>Marshall’s new series of small, figurative, monochromatic paintings emanate the artist’s introspective spirit and exceptional attention to details. Inspired by the intersection of the ordinary and the extraordinary, Marshall looks to familiar sights, and in this case it is her family. Women taken from her family album are reexamined and decontextualized. The protagonists within minimal backgrounds tug at different emotions that range from fiercely confident to naively optimistic. Regardless of age each woman asserts her power and lives comfortably within her skin. Although visually from another era, Marshall assigns contemporary pop songs for titles of each painting, alluding to the ceremonial coming of age experience we all traverse through life. The distinct color pallet, with its soft patina like tones, emphasize time not only for the characters but for the artist herself. Each small painting takes lengthy periods of time to percolate and to finally produce. The artist’s impeccable hand and thoughtfulness generate poetic paintings that transcend time. Her ode is not necessarily to the specific woman, but to time herself…always moving but never changing.</p> <p>Heather Marshall is a Virginia-based artist and educator, and her work has been exhibited in such venues as Hanover College Art Gallery in Indiana, The Snite Museum of Art at University of Notre Dame and Zolla/Lieberman Gallery, Chicago. Marshall received her BFA from the School of the Art Institute of Chicago and her MFA from University of Notre Dame. This is Marshall’s fourth solo exhibition with the gallery.</p> <p>Gallery O – Nina Rizzo, Le Lavage</p> <p>Rizzo’s global travels have informed her practice and cemented a process that is both reactive and imaginative. Drawing from visits to museums and international residencies, the artist pulls from historical cannons that vary from Flemish paintings to Icelandic textiles. While visiting France, Rizzo identified a potential subject matter that felt both mundane yet resembled a sensibility to the non-objective and non illusionistic practices of the geometric abstractionists. Rizzo’s new series of paintings draws from the simple shapes of laundry. Clothes that tumble in a centripetal direction with a set of perimeters based on color and non-objective compositions. Socks, panties, and bras…private items that inhabit her physical proximity deliver a contradictory dialogue. Paintings with gestural expression and thick textural strokes that over time fade into abstraction. Rizzo’s pictorial transitions explore aesthetic possibilities and give us a glimpse into her private voyeuristic world, one that is genuinely and profoundly personal and records the passage of time and locations. Lavage – cleansing by irrigation or the like – purging.</p> <p>Chicago-based artist Nina Rizzo has exhibited widely across the globe including such venues as the Association for Icelandic Visual Artists in Reykjavik, Iceland; Megumi Ogita Gallery in Tokyo, Japan; Tinlark Gallery in Los Angeles; E & W Gallery in Santa Fe; Art Palace in Houston; Louisiana State University in Baton Rouge; and Bad Dog Gallery in DeKalb, IL. Rizzo has been the recipient of a number of prestigious artist residencies including one at Chateau de La Napoule, France in 2005 and another in Marnay-Sur-Seine, France called CAMAC in 2014. Others include Ragdale Foundation in Lake Forest, IL; Vermont Studio Center; and Northern Illinois University Summer Research and Artistry Grants in Japan and Iceland and she has also exhibited and had a residency at CRETA in Rome, Italy. The artist received her MFA from The University of Texas at Austin, and her BFA from The University of Illinois at Urbana-Champaign. Rizzo is currently Associate Professor in Painting at Northern Illinois University in DeKalb, IL. This is the artist’s fifth exhibition at Linda Warren Projects.</p><p>The post <a href="https://thevisualist.org/2018/03/kim-piotrowski-heather-marshall-nina-rizzo/">Kim Piotrowski: Now That the Sky Has Fallen, Heather Marshall: Memories That Are Not Mine and Nina Rizzo: Le Lavage</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2018/03/kim-piotrowski-heather-marshall-nina-rizzo/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">79103</post-id> </item> <item> <title>Nina Rizzo: You Are Here & Doug Fogelson: Broken Cabinet</title> <link>https://thevisualist.org/2015/09/nina-rizzo-you-are-here-doug-fogelson-broken-cabinet/</link> <comments>https://thevisualist.org/2015/09/nina-rizzo-you-are-here-doug-fogelson-broken-cabinet/#respond</comments> <dc:creator><![CDATA[Meg Duguid]]></dc:creator> <pubDate>Fri, 11 Sep 2015 00:00:01 +0000</pubDate> <category><![CDATA[Uncategorized]]></category> <category><![CDATA[Art]]></category> <category><![CDATA[Chicago]]></category> <category><![CDATA[Doug Fogelson]]></category> <category><![CDATA[Fulton Market]]></category> <category><![CDATA[Linda Warren Projects]]></category> <category><![CDATA[Nina Rizzo]]></category> <category><![CDATA[painting]]></category> <category><![CDATA[photography]]></category> <guid isPermaLink="false">http://www.thevisualist.org/?p=54849</guid> <description><![CDATA[<p>Join us for cocktails, conversation, and celebration! Linda Warren Projects is pleased to usher in the fall gallery season with two solo exhibitions by gallery artists Nina Rizzo and Doug Fogelson. For Rizzo, the notion of “environment” is at the crux of her exhibition, “You Are Here” (Gallery Y), with a new body of paintings<a href="https://thevisualist.org/2015/09/nina-rizzo-you-are-here-doug-fogelson-broken-cabinet/" class="read-more">Continue Reading</a></p> <p>The post <a href="https://thevisualist.org/2015/09/nina-rizzo-you-are-here-doug-fogelson-broken-cabinet/">Nina Rizzo: You Are Here & Doug Fogelson: Broken Cabinet</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></description> <content:encoded><![CDATA[<p>Join us for cocktails, conversation, and celebration! Linda Warren Projects is pleased to usher in the fall gallery season with two solo exhibitions by gallery artists Nina Rizzo and Doug Fogelson. For Rizzo, the notion of “environment” is at the crux of her exhibition, “You Are Here” (Gallery Y), with a new body of paintings exploring various sites, as far reaching as Iceland and as close to home as her very own studio. In “Broken Cabinet” (Gallery X), Fogelson too looks to environment, though for him, soon to be extinct flora and fauna are the subjects of his camera-less photograms.</p> <p>Throughout her global travels, Chicago-based artist Nina Rizzo sees paintings in her surroundings. While many painters identify potential subject matter from the world around them, Rizzo recognizes compositions that resemble the hallmarks of the art historical canon: a monochromatic beach recalling de Kooning’s white on black pieces, or the Albers-esque medieval French gameboard of Jeu de Marelle. This “naturally occurring” formalism appears not only in the landscapes of far-flung locales, but also within the context of the everyday.</p> <p>Prominently featured in “You Are Here” are compositions drawn from her paintings’ physical proximity to the walls and floors of the environments in which they are created and exhibited. Over the course of Rizzo’s career, “a frame within a frame” has been a recurring means of pictorial investigation. In works like You Are Here, the minimal subject matter is derived from observing a piece of blue canvas tarp that has been cut, exposing the white wall behind it. Here, the ephemera from the artist’s painting process becomes her content, additionally calling attention to the most basic identifier of an artwork’s location: the gallery or studio wall. And just as the “canvas void” paintings reference the vertical proximate space, Rizzo’s “studio floor” works invoke the immediate horizontal space of each painting’s existence and the ones that came before it.</p> <p>In “Broken Cabinet,” Chicago artist Doug Fogelson highlights a disconnect between humans and the natural world. In his photograms, the artist places organic items like coral, coyote claws, moths and fox skulls upon photosensitive materials to create candy-colored shadows of these artifacts. Bringing the natural world into the manmade, Fogelson calls attention to the impact that mankind has on the environment; exhibiting the photograms beneath partially shattered glass, the artist emphasizes the fact that it’s most often at the hand of humans that various organisms are undergoing extinction.</p> <p>Fogelson’s installation of this series of photograms is of particular importance. In an effort to reflect the vastness of the natural world, the works are displayed in a grid upon a single wall of the gallery. Here, mushrooms, horseshoe crabs, shark teeth and horsehair are presented democratically, reinforcing the artist’s message that each organism is of equal importance on earth.</p><p>The post <a href="https://thevisualist.org/2015/09/nina-rizzo-you-are-here-doug-fogelson-broken-cabinet/">Nina Rizzo: You Are Here & Doug Fogelson: Broken Cabinet</a> first appeared on <a href="https://thevisualist.org">The Visualist</a>.</p>]]></content:encoded> <wfw:commentRss>https://thevisualist.org/2015/09/nina-rizzo-you-are-here-doug-fogelson-broken-cabinet/feed/</wfw:commentRss> <slash:comments>0</slash:comments> <post-id xmlns="com-wordpress:feed-additions:1">54849</post-id> </item> </channel> </rss>