2018 Spring in Review

Some highlights from Sector 2337’s spring public programs include readings, screenings, performances, book launches, and discussions.  All events are free to the public and produced by the Green Lantern Press, 501(c)(3). Thanks to everyone for your participation!

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Lou Mallozzi fingerprinting volunteers for his exhibition, 1:1, 2018.

 

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“Doors open and shut. / We’ve come to the place where nothing shines. / I hear eternity.” Lynn Xu reads with Jennifer Roche as part of the Six Points Reading Series, organized by the Poetry Center of Chicago, Sector 2337, 2018. (Quote from “Earth Light: I,” Poetry Foundation).

 

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Jennifer Roche reads with Lynn Xu as part of the Six Points Reading Series feat., coorganized by the Chicago Poetry Center, Sector 2337, 2018.

 

Dierdre Huckaby and Jenna Lyle

Dierdre Huckaby and Jenna Lyle perform Two Flutes and One Mic: A Duet in Response to Lou Mallozzi’s 1:1, Sector 2337, 2018.

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“There is an island in the ocean where in 1914 a few Englishmen, Frenchmen, and Germans lived. No cable reaches that island, and the British mail steamer comes but once in sixty days.” (On Civil Disobedience: Dallas, Detroit, Prague, Chicago— Notes on Denial, distance, defiance, and dogs by Stephen Laptisophon, Green Lantern Press, 2018).

 

“It is a record of an instant and if its receptions-” Shawn Michelle Smith, reading at the SHADOWED! book launch, Ace Hotel, Chicago.

 

Mitsu Salmon performs for the SHADOWED! book launch, Ace Hotel, 2018.

 

Joanna Hedva and TKTKT coorganized with the Goethe Institut, March 2018

Johanna Hedva reads from THIS EARTH OUR HOSPITAL in conversation with Sarah Cluggish,  coorganized with FD13 and the Goethe-Institut, Sector 2337, 2018. “…once you start to understand how oppression and domination work, you start to understand that the universal is a bankrupt subject position. Not only is it violent, and the instrument that is used by oppression and domination, but it is also a fantasy.” Hedva quote from Monstering Mag.

 

Muting as Manner feat. Izah Ransohoff+Tannaz Motevalli+Nabil Vega, curated by Samantha Yi Yao Chao, Sector 2337, 2018.

Muting as Manner feat. Izah Ransohoff+Tannaz Motevalli+Nabil Vega, curated by Samantha Yi Yao Chao, Sector 2337, 2018.

 

Bryan Saner and Matty Davis, March 2018

Bryan Saner and Matty Davis perform A Dance: A Duet in Response to Lou Mallozzi’s 1:1,  Sector 2337, 2018.

 

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Lou Mallozzi and Jim Yood discuss Mallozzi’s exhibition, 1:1, Sector 2337, 2018.

 

Guetat-Livani and Nathaneal, April 2018

Translations of poetry by Frédérique Guétat-Liviani and Nathanaël, Sector 2337, 2018.

 

Markul, May 2018

Angelika Markul, early hours of the opening for If the hours were already counted, Sector 2337, 2018.

 

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Summer sends a swoop over Liz McCarthy’s Handles Expenditure, Shoebox Gallery installation, 2018.

 

Lit Crawl

“My where begins with “no” and ends in ellipses.” Kenyatta Rogers pictured reading at An Exquisite Crawl: HOMEROOM and MAKE Literary Productions, Sector 2337, 2018  (quote from Bat City Review).

 

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MEGA LAVERNE & SHIRLEY perform at Exquisite Crawl: HOMEROOM & MAKE Literary Productions, “The ants are licking the peonies,” Sector 2337, 2018. (Quote from Ed Roberson’s poem, “Nine Chicago Poems” whose first line is the starting point of each affiliated exquisite corpse event).

 

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“My intention behind the journal was to bring together people who worked with language and typography, but I wanted them to reflect on each other’s profession. So the linguists would write about design and the typographers would write a piece of fiction; a somewhat contradictory situation,” Pouya Ahmadi in conversation with Pegha Ahmadi for the Amalgam book launch, Sector 2337, 2018. (Quote from It’s Nice That).

 

Goulish: sector2337“Query: How to contrive not to waste one’s time? Answer: By being fully aware of it all the while. This awareness arrests the ephemeral in an act of reversal, internal or external: the exercise of attention by turning it away. When the guardian turns away, the prisoner escapes. But is it an escape, or a radical recapture? The evil eye that protects against the evil eye? If theater is the house of time, one captures time’s force by refusing it at the door.” A little green on green from the newly released second edition of Matthew Goulish’s “The Brightest Thing in the World: 3 Lectures from The Institute of Failure,” Green Lantern Press, 2018.

 

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“How are we to describe the nature of that which functions through a performance of invisibility? How are we to ask questions of a system that, through its very purpose, oftentimes fools us into thinking that it is all but absent?” The VGA Reader presents Evan Meaney, Sector, 2018. (Quote from INCITE!)

 

Kayla Anderson

“The Ark has a ring to it like Heaven’s Gate, which is why before coming here I constantly told friends half-jokingly ‘hopefully its an art project and not a suicide cult.’ My solace was that typically, suicide cults always leave a messenger, and as the one allowed a laptop for writing, perhaps I could be such a scribe.” Kayla Anderson reads from Notes From No Place for the closing of If the hours were already counted, 2018.

 

Rebecca Nakaba

“Another misconception I run across is that the majority of B-movie creatures were created through nuclear waste.” Rebecca Nakaba reads for the closing of If the hours were already counted, 2018. (Quote from “Q&A with C.Relkbi, aka Rebecca Nakaba,” Meekling Press.)

 

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Liz McCarthy and Jory Drew perform Pulling Handles, for the closing of Handles Expenditure, Sector 2337, 2018.

 

 

Spring 2018 Publicity Highlights

We put together some of the GLP’s favorite highlights from this last spring!

Liz McCarthy, Handles Expenditure, 2018. Installation view, Shoebox Gallery, Sector 2337. Photo by Clare Britt.

Liz McCarthy, Handles Expenditure, 2018. Installation view, Shoebox Gallery, Sector 2337. Photo by Clare Britt.

“By using her body to shape the clay, there is a performative aspect to [Liz McCarthy’s] exhibition that further reflects how human intervention defines material and fully grips particular shapes, even when they are out of context.” — KT Hawbaker, Chicago Tribune on Liz McCarthy’s Shoebox Gallery exhibit, Handles Expenditure, curated by Sharmyn Cruz Rivera.
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Excerpted spread from SHADOWED! a book about the work of Ellen Rothenberg, Green Lantern Press, 2018. Book design by Sonia Yoon. Photo by August Evans.


“Lorca writes, “…at other times, when a poet or composer is no such thing, the performer’s duende, interestingly, creates a new wonder that has the appearance of, but is not, primitive form.” What a long, new, wonder SHADOWED! casts.” —August Evans, Fanzine on SHADOWED! a book about the work of Ellen Rothenberg.
Angelika Markul If the hours were already counted, 2016. Installation video with music by Simon Ripoll-Hurier. Film, black and white, sound, 11’47’’ loop. Naica crystal framed and a crystal-shaped installation.

Angelika Markul If the hours were already counted, 2016. Installation video with music by Simon Ripoll-Hurier. Film, black and white, sound, 11’47’’ loop. Naica crystal framed and a crystal-shaped installation.

“The Platonic irony of this journey is apparent in how it requires a return to the cave to seek knowledge, and upon the return to this Prehistoric Eden, the seekers encounter an environment that has evolved alongside themselves, out of the general human purview, and in conflict with anthropoid corporeal interests.” — Gareth Kaye, (Chicago Artist Writers) on our spring exhibition, If the hours were already counted, curated by Caroline Picard.

Noël Morical, untitled, 2018. Paracord wall hangings, dimensions vary. Photo by Claire Britt.

Noël Morical, untitled, 2018. Paracord wall hangings, dimensions vary. Photo by Claire Britt.

“Comprised of a utilitarian material, Morical’s weavings take the sturdy, military-grade fiber and turn it into joyful, manic artwork, which feels like a formalist queering of the medium. The self-serious, weaponized textile takes on an active, playful aesthetic, with a visual language dependent upon the rope’s ability to stay secure under pressure. It’s organized chaos at its best. Ultimately, the weavings are a fine balance of pragmatism and summer camp, like a friendship bracelet between the artist and the material.”— KT Hawbaker, (Chicago Tribune) on Noël Morical’s offsite GLP exhibition at the Ace Hotel, curated by Sharmyn Cruz Rivera.

Image is of Manal Kara’s exhibition “Immanentizing the Eschaton” in the Shoebox Gallery at Sector 2337. Photo by Claire Britt.

Image is of Manal Kara’s exhibition “Immanentizing the Eschaton” in the Shoebox Gallery at Sector 2337. Photo by Claire Britt.

“Kara’s installation is about time. That’s to state the obvious. The poisonous plants, the eggs, the bib open onto fantasies of coming, endings, and endtimes. The work’s materials mark this opening as well. Plastics, as we know—like the acrylic of which this installation is largely composed—entail a duration of decay beyond anything we can really reasonably comprehend…But interwoven with this far future is another timeline: the one that is already here, in which we can’t imagine an endtime because we’re already in it; in which the name Jupiter summons not the planet nor the Roman deity, but Sailor Jupiter of Sailor Moon with her rose earrings and flower hurricane attack; in which we’ve all got tattoos of barbed wire and stylized tribal flames like those cut out of acrylic that litter the floor of the installation.” — Willy Smart, (Sixty Inches from Center), on Manal Kara’s Shoebox Gallery exhibition, Immanentizing the Eschaton, curated by Sharmyn Cruz Rivera.

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Excerpted spread from SHADOWED! a book about the work of Ellen Rothenberg, Green Lantern Press, 2018. Photo and design by Sonia Yoon.

“In Shadowed! images of crowds gathered, dancing, defiant—and of trash heaps, too—segue into documentation of a recent Syrian protest filled with swathes of bright colors and movement, where the passage of the crowd is easier to discern than the outline of a single body. Here these messy moments unfold simultaneously, bleeding into one another across distance and time.” — Anne Yoder, (BOMB), on SHADOWED!, a book on the work of Ellen Rothenberg.
Stephen Lapthisophon, Styles of Radical Will, 2017. Installation view, Sector 2337. Photo by Clare Britt.

Stephen Lapthisophon, Styles of Radical Will (Italian Sculpture), 2017. Installation view, Sector 2337. Photo by Clare Britt.

“Because his marks and objects in the gallery have an aura of familiarity, one has a sense of reaching for an elusive—yes, fugitive—meaning, only to see instead how accessibility is mistakenly presupposed. How the architecture upon which we hang significance is typically so common as to be taken for granted—is that really a g? The rise and run of a staircase is so habitual as to disappear until the tread is not where one’s foot expects it. The stability of our worldview quakes a little: the cartoon coyote running off a cliff and blinking before it begins to fall.” —Caroline Picard, (The Chicago Review) on Stephen Lapthisophon’s exhibition, Styles of Radical Will (Italian Sculpture), curated by Devin King and Caroline Picard.

6 Titles for "If the hours were already counted"

Sector 2337 is pleased to present Angelika Markul’s If the hours were already counted, opening May 11th, 2018. Shot in 2016 in Naica, Mexico, the video depicts a crystal cave that was discovered in the Chihuahua desert. What began as an expedition for primitive life forms became the discovery of something seemingly unearthly, inaccessible, and dangerous to humans. The crystals thrived in conditions of high temperatures, 99% humidity, and relative isolation for 200,000 years. Projected as a single-channel, site-specific installation, Markul transposes the environment of this cave into Sector 2337’s gallery space.

We have curated a selection of titles available from the Green Lantern Press’s bookstore in tandem with the exhibition. These books explore unearthly environments, underground systems, the wonder of scientific excavation, and the creative and damaging potential of discovery. All books are available to purchase in-store or from our online bookstore

 

AstroecologyBSP

Purchase Astroecology here

fieldtheoriesBSP

Purchase Field Theories here

departmentBSP

Purchase The Department of Subterranea here

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Purchase Dark Ecology here

mwBSP

Purchase Making Worlds here

pintdBSP

Purchase Phantoms in the Dirt here

 

2017 Green Lantern Press + Sector 2337's Fall in Review

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Max Guy’s two-person adaptation of Werewere Liking’s “It Shall Be of Jaspar and Coral”, inspired by the formal techniques of Noh drama. How little can be done to embody a text? Max Guy, 2017, Third Annual Festival of Poets Theater. Photo by Caroline Picard.

 

"We define the genre of poets theater very broadly, and then rely on participants to broaden it. This year we wished to optimize the festival as a space for collaborative creation. Devin and I divided our curatorial efforts. Over the summer, we invited Chicago-based artists to a sort of study group focusing on the Ivorian writer, artist, dramaturge, and community organizer Werewere Liking’s “chant-roman” (song-novel) It Shall Be of Jasper and Coral. We studied its formal properties—the way it organizes itself based on “pages” rather than scenes or chapters; the way it includes dialogue, voice-over, philosophical interludes, and polemic; the way its politics are intensely “local,” regional, pan-African, and universal (feminist, post-colonial, anti-imperialist) all at once. The artists studied the text with us, and Devin and I then led a discussion of it. After further reflection on the paradigms of interest to the artists, they led another discussion of the text; the initiative gradually acceded to them. Meanwhile they would cast collaborators and generate pieces inspired by or responding to the text’s strategies. The festival becomes the site for a final, long form workshop, rehearsal, and performance of the piece. This method was meant to combine elements of a reading group, a poetry writing and playscript “workshop,” and the amateur-insurgent poets theater “jamboree” of San Francisco Poets Theatre." Patrick Durgin

“We define the genre of poets theater very broadly, and then rely on participants to broaden it…Over the summer, we invited Chicago-based artists to a sort of study group focusing on the Ivorian writer, artist, dramaturge, and community organizer Werewere Liking’s ‘chant-roman’ (song-novel) It Shall Be of Jasper and Coral. We studied its formal properties—the way it organizes itself based on ‘pages’ rather than scenes or chapters; the way it includes dialogue, voice-over, philosophical interludes, and polemic; the way its politics are intensely “local,” regional, pan-African, and universal (feminist, post-colonial, anti-imperialist) all at once… The festival becomes the site for a final, long form workshop, rehearsal, and performance of the piece. This method was meant to combine elements of a reading group, a poetry writing and playscript ‘workshop,’ and the amateur-insurgent poets theater ‘jamboree’ of San Francisco Poets Theatre,” Patrick Durgin, co-curator, Festival of Poets Theater, 2017.

 

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Dao Ngyen, “27 minutes. 9 overlapping horizontals,” (performance still), Third Annual Festival of Poets Theater, 2017.. Photo by Caroline Picard

 

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Josh Hoglund + Corina Copp present a past and present conversation about the future, which may or may not be interrupted by a chorus of unruly children. Third Annual Festival of Poets Theater, 2017. Photo by Caroline Picard.

 

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“His perfect past a glacier’s gray retreat / looped back out of phase with itself.” John Tipton reads with Mina Pam Dick within the August Robin/Bruce Nauman exhibition “The Hysterical Material” at the SMART Museum. Exhibition curated by Geof Oppenheimer; reading coorganized by The Green Lantern Press (Devin King), + Flood Editions (Michael O’Leary), 2017. Photo by Caroline Picard.

 

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“Sharing the weather is a supreme intimacy” Mina Pam Dick reads with John Tipton within the August Rodin/Bruce Nauman exhibit, “The Hysterical Material” at the SMART Museum. Exhibition curated by Geof Oppenheimer; reading coorganized by The Green Lantern Press (Devin King), + Flood Editions (Michael O’Leary), 2017. Photo by Caroline Picard.

 

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The Green Lantern Press launched its first-ever monthly pamphlet series, On Civil Disobedience. C0-edited by Fulla Abdul-Jabbar, Devin King, + Caroline Picard. Designed by J Dakota Brown and featuring the work of Stephen Lapthisophon, Nathaniel Mackey, Jeni(f)fer Tamayo, and others.

 

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The Performance of Wily Materials panel discussion with Giovanni Aloi, Rebecca Beachy, Caroline Picard, +Andrew Yang closes the Coming of Age exhibition as Beachy (exhibiting artist) seals her time capsule artwork “taxidermy bird with poem inherent, birds-nest, mud capsule” into the gallery wall of Sector 2337, Nov 2017. Photo by Caroline Picard.

 

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Sharmyn Cruz Rivera (GLP Assistant Curator) and Fulla Abdul-Jabbar (GLP Assistant Editor) sell Green Lantern Press publications at the Chicago Art Book Fair, 2017. Photo by Caroline Picard.

 

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Repost from @davistint instagram feed features Angela Fegan + Aay Preston-Myint at the Trunk Show + No Coast Editions event organized in tandem with the Chicago Art Book Fair, Nov 2017. #lavendermenace

 

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“There is forgetting a memory, not having a memory, withholding a memory and the amount that I hadn’t asked.” – Robin Deacon and Faith Wilding in Conversation. Photo by Samantha Yia Yao Chao.

 

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Repost from @uncivilizedcentaurddisharmony instagram feed features Jennifer Nelson after her reading with Alan Felsenthal + Geoffrey Hilsabeck, Nov 2017.

 

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“Nietzsche is never far when I am watching a film with Orson Welles.” Alain Jugnon in conversation with Patrick Durgin, Nathanaël, and Alison James; Broadcast by Brett Balogh. #ArtaudinAmerika. Photo by Caroline Picard.

 

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What possibilities emerge when the immediacy of the virtual verges on the historical?Documented Dialogues No. 7 is a conversation between curator Caroline Picard and artists Rhonda Holberton & Tsherin Sherpa. The conversation takes place within the exhibition Coming of Age at Sector 2337, and discusses the recontextualization of historical and formal heritages, the intersections of immaterial and material forms, and the capacity of attention to transport. Repost from @cacoalition instagram feed.

 

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“Smallness as the most radical space for velocity is where a lot of our ideas come from” Nadine Nakanishi + Nick Butcher of Sonnenzimmer. “Folding and Unfolding: Graphics, Human Nature and Surprise: A Conversation,” with Sonnenzimmer + Anders Nilsen, 2017. Photo by Caroline Picard.

 

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Anders Nilsen signs copies of his latest book, Tongues: Chapter One, 2017. Photo by Samantha Yi Yao Chao.

 

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Repost from @robindluzen instagram feed, features Samantha Yi Yao Chao performing Essi Kausalainen’s table top performance “Guardian” (2017) as part of the group exhibition, Coming of Age.

 

En Español: Poetry, Prose, and Polemics (Part of the Lit & Luz Festival): A reading and conversation featuring Cristina Rivera Garza with Carla Faesler, and guests

En Español: Poetry, Prose, and Polemics (Part of the Lit & Luz Festival): A reading and conversation featuring Cristina Rivera Garza with Carla Faesler, and guests. Photo by Samantha Yi Yao Chao.

 

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Matthew Reed Corey, Paula Cisewski, + Fred Schmalz after their Oct 2017 reading. Photo by Samantha Yi Yao Chao.

 

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Repost from @leonardzawadski instagram feed, features cameos of Dolly Lemki, Nathanael Jones, Jordan Scot, and (host) Devin King.

 

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“…by the shock of never knowing it so / when you were invested / Apostates” – Chris Glomski reads in our new bookstore with Mark Tardi + Emily Martin. Photo by Samantha Yi Yao Chao.

 

"Please send me your current dog walker recommendation." -Greg Ruffin + Brandon Alvendia in Public Access' publication launch, 2017.

“Please send me your current dog walker recommendation.” -Greg Ruffin + Brandon Alvendia in Public Access’ publication launch, organized by David Hall, with host Fulla Abdul-Jabbar, 2017. Photo by Samantha Yi Yao Chao.

 

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Ode to the National Parks Silent Auction

Featuring Alberto Aguilar, Andrew Bearnot, Manal Kara, Lou Mallozzi, Claire Sherman, Edra Soto, + Fereshteh Toosi.

Please note: Online bidding will pause on Thursday, Nov 30th @4pm and resume as a silent auction on Dec 1 at Sector 2337 until 10pm.

Follow links in image captions to bid on artworks.

Alberto Aguilar, "Drag feet through snow, define boundaries, work my way in. End at center." 2017. Inkjet print in hand painted frame. Image courtesy of artist.

Alberto Aguilar, “Drag feet through snow, define boundaries, work my way in. End at center.” 2017. Inkjet print in hand marked frame, 16 x 20″. Image courtesy of artist. Starting bid $125 / Estimated value $1,300. Bid on Aguilar’s work here.

 

Andrew Bearnot, Atmospheric Study (Acadia), 2017 7" x 20" x 3" Hand blown glass in carved wood mount starting bid $250 estimated value $140. Follow this link to bid on Bearnot's work.

Andrew Bearnot, Atmospheric Study (Acadia), 2017. 7″ x 20″ x 3″Hand blown glass in carved wood mount, 7 x 20 x 3″. Starting bid $250 / Estimated value $140.  Bid on Bearnot’s work here.

 

Manal Kara, with embedded whistles by Liz McCarthy, "The salience of prosody in first birdsong acquisition," 2017. Glazed ceramic, 15 x 11 x 6".

Manal Kara, with embedded whistles by Liz McCarthy, “The salience of prosody in first birdsong acquisition,” 2017. Glazed ceramic, 15 x 11 x 6″. Starting bid $150 / Estimated value $800. Bid on Kara’s work here.

 

Plank no. x, (2018, edition of 11), clear acrylic, loudspeaker, copper wire, sound. The object replicates one of Sector 2337’s floorboards, and includes a loudspeaker and mp3 player that produce the sound of torn paper. The object on display is a prototype of one of eleven pieces that collectively form the installation Planks. The buyer can select any one of the eleven from the exhibition, which will be available at its conclusion in April 2018. Starting bid: $300 Estimated value: $1,500 Bid on Mallozzi’s work here.

 

Claire Sherman, Cave, 2017. Image inset on 9x12" paper, Mixed media on paper. Image courtesy of the artist.

Claire Sherman, Cave, 2017. Image inset on 9×12″ paper, Mixed media on paper. Image courtesy of the artist. Starting bid $750 / Estimated value $1,500. Bid on Sherman’s work here.

 

Shelled Hennessy bottle, found bottle, air dry clay, hot glue, 7" x 7" x 4", 2017 courtesy of the artist.

Edra Soto, Shelled Hennessy bottle, 2017. Found bottle, air dry clay, hot glue, 7″ x 7″ x 4″. Image courtesy of the artist. Starting bid: $350 / Estimated Value: $650. Bid on Soto’s work here.

 

Fereshteh Toosi, "Phragmites australis 2," 2016. Van Dyke Brown photogram, 8.5 x 11, (unframed). Image courtesy of the artist.

Fereshteh Toosi, “Phragmites australis 2,” 2016. Van Dyke Brown photogram, 8.5 x 11″, (unframed). Image courtesy of the artist. Starting bid $25 / Estimated value: $250. Bid on Toosi’s work here.

 

About the Artists:

I will write this biography using 133 words but I won’t discover this number until I’m finished writing it. From this point forward he will speak in third person. Alberto Aguilar is a Chicago-based ___ist that uses whatever material is at hand to commemorate his exchanges and interactions. Aguilar’s work has been exhibited at the National Museum of Mexican ___, Museum of Contemporary ___ Chicago, Crystal Bridges Museum of American ___, the Queens Museum, Nelson-Atkins Museum of ___, Minneapolis Institute of ___, and the ___ Institute of Chicago. He currently teaches studio ___ at Harold Washington College where he also coordinates Pedestrian Project, a program dedicated to making ___ more accessible and available. In order to create slight confusion, he omitted the word art wherever it appears in this bio with one exception.

Andrew Bearnot (MFA, University of Chicago) is a materialist: he thinks with and through the substance of things. Informed by a background in material science (BS, Brown University) and glass (BFA, Rhode Island School of Design), Bearnot explores moments of transcendence in the everyday. After completing his undergraduate degrees, Bearnot helped establish and coordinate the Brown/RISD Dual-Degree Program. He was awarded fellowships from Fulbright and the American-Scandinavian Foundation for research on glass-making traditions in Sweden and Denmark. While completing his MFA, Bearnot received a Graduate Collaboration Grant from the Arts, Science, & Culture Initiative for his ongoing project Molecular Movement. He is currently a Post-MFA teaching fellow at the University of Chicago and artist-in-residence at the Hyde Park Arts Center.

Manal Kara is a self-taught artist based in Chicago, IL and Gary, IN, working in various media including ceramics, video, installation, tattoo, drawing, and poetry.

Lou Mallozzi (b. 1957) is an interdisciplinary artist whose work often focuses on sound, language, and acousmatics. During his more than three decades of interdisciplinary arts practice, he has performed, exhibited, and broadcast in a number of venues in the US and Europe, including the Museum of Contemporary Art Chicago, The Arts Club Chicago, The Renaissance Society, Randolph Street Gallery Chicago, Podewil Berlin, TUBE Audio Art Series Munich, Bayersicher Rundfunk Munich, New American Radio, Experimental Intermedia New York, Ausland Berlin, Radiorevolten Festival Halle, Constellation Chicago, and many others.

Claire Sherman (b. 1981 Oberlin, OH) received her B.A. from The University of Pennsylvania and her M.F.A. from the School of the Art Institute of Chicago. She has completed residencies at the Terra Foundation for American Art, the MacDowell Colony, the Marie Walsh Sharpe Art Foundation, Yaddo, The Albers Foundation, and the Lower Manhattan Cultural Council’s Workspace program. Recent exhibitions include solo shows at DC Moore Gallery, NY; Kavi Gupta Gallery, Chicago; KMAC Museum, Louisville; Houldsworth Gallery, London; DCKT, New York; Aurobora, San Francisco; and Hof and Huyser Gallery, Amsterdam. Recent group exhibitions include the Institute of Contemporary Art at Maine College of Art, Portland; Contemporary Jewish Museum, San Francisco; Suburban Riverwest, Milwaukee; Gallery Seomi, Seoul; The New Gallery, Austria; and the Neuberger Museum of Art, Purchase, NY. Sherman is an Associate Professor and Art Department chair at Drew University in New Jersey and is represented by DC Moore Gallery in New York and Kavi Gupta Gallery in Chicago.

Edra Soto (b. Puerto Rico) is a Chicago-based artist, educator, curator, and co-director of the artist-run outdoor project space THE FRANKLIN. She obtained her Master of Fine Arts degree at the School of the Art Institute of Chicago in 2000, as well as attending Skowhegan School of Painting and Sculpture, Beta-Local in Puerto Rico and the Robert Rauschenberg Residency Program in Captiva, Florida though a 3Arts Foundation Fellowship. Her work was featured at the 4th Poly/Graphic Triennial of San Juan and the Caribbean in Puerto Rico, Cuchifritos Gallery + Project Space and the Hunter East Harlem Gallery, in New York. She co-curated the exhibition Present Standard at the Chicago Cultural Center with overwhelmingly positive reviews from the Chicago Tribune, Newcity, PBS The Art Assignment and Artforum. She was recently featured in Newcity’s annual Art 50 issue Chicago’s Artists’ Artists and at VAM Studio 2017 Influencers. Soto was awarded the Efroymson Contemporary Arts Fel- lowship and the DCASE for Individual Artists from the City of Chicago. Recent venues presenting Soto’s work include: Sector 2337, The Arts Club of Chicago, the University Galleries at Illinois State University and Museo de la Universidad de Puerto Rico and the Pérez Art Museum Miami. Current and upcoming venues include: the DePaul Art Museum, Bemis Center for Contemporary Art, Omaha, (NE), Gallery 400 at UIC and the Museum of Contemporary Art of Chicago among others. Residencies attended by Soto this year include: Project Row Houses in Houston, (TX), the Kohler Art Center in Sheboygan, (WI), and the Headlands Center for the Arts in Sausalito, (CA). Her work has been exhibited both nationally and internationally.

Fereshteh Toosi designs experiences using hybrid approaches that combine images, sounds, movement, and found materials. Fereshteh’s participatory art work takes many forms, ranging from oyster mushroom sculptures, films processed in mint tea and yeasts, and guided walks about lithium. Fereshteh studied at Oberlin College and Carnegie Mellon University, where she earned an MFA in Interdisciplinary Art. She also holds a certificate in Environmental Urban Design from Archeworks in Chicago and is an active member of the Association of Nature and Forest Therapy Guides, the American Horticultural Therapy Association, and the National Association for Interpretation. Fereshteh is an Assistant Professor of Art at Florida International University in Miami, where she directs The Nature Connection Arts Lab, dedicated to exploring the connection between nonhuman and human health through contemplative art and creative research.