Michael Workman

In the final days before the holiday break, most galleries have shuttered their doors against the frost, offering a perfect chance to spend time at gescheidle in the West Loop with "la frontera." As group shows go, this one, curated by Randall Garrett of Plush Gallery in Dallas, offers enough of a glittery conceptual range to please most visitors. Much of the work in this show has the feel of Texas-style gritty individualism and its title plays on the inexact meaning of the word, "border" or "frontier"-- either vast, open expanse or closed limitation. Taken as a general rule, it's not that challenging a concept for artists, who almost by definition cross boundaries, whether moral, cultural or otherwise. How then does the art fare? It's hard not to find something to like, especially with such a mishmash of materials, from paper assemblages to video. Some of my favorites in the show, Xena XIII's collage and enamel-board pieces that recall Dali's gouache painting, "Female Bodies as a Skull," later used in a portrait of the artist by the photographer Philippe Halsman, "Salvador Dali In Voluptate Mors" (and ripped off for that "Silence of the Lambs" movie poster as the death's head on the back of the moth over Jodie Foster's mouth). Rather than female nudes, however, this artist steals images from popular culture: magazine spreads of models' faces or, in the case of one of the series of three images, of hip-hop stars. Here portraits of Ice Cube, DMX and a parade of rap stars are used to flesh out the familiar, ominous form. But, given rap's long-standing vexations with street violence, as art it falls shy of fresh commentary.

Death's-heads are also popular motifs in Miami artist Pepe Mar's wall-hung paper bricolage pieces. Resembling children's pop-up books gone through a phantasmic shredder, these sculptures blossom naked skulls like spooky flowers on an apocalyptic prairie, outstretched skeletal hands groping after dislodged eyes, a parrot's head peeking out from a corner, a moth flittering overhead, all interlaced with candy-colored strips of paper in fluorescent pinks, blues and greens. It's Bosch meets Timothy Leary, and lots of Hadean fun. Across from Mars' pieces are a second series of wall-mounted works by Fort Worth-based artist Jesse Meraz, reportedly inspired by his fascination with nightlife. His glyphs, fashioned of wood and then furred with glitter, are dainty pronouncements on all meaningless flash and shine. Even so, we are drawn to them. Finally, make sure to check out "Art Destroys," the newest in Patrick Welch's miniature "hate" painting series. Welch has been on a ride into the infinite regress of his distaste for human existence for years now, and it's a testament to his obduration that he's managed to keep lively each self-reference as the fecal discharge of famous mainstream artists. Most successful, however, are the grid of even tinier acrylic panels, "Mini Insult Blocks" as he calls them, each emblazoned with an insulting word such as "plonker" or "bumbandit." Every time I encounter these paintings, it's never the frothy sense of loathing that wins me over, the undeniable, laugh-out-loud funny humor of them all, an aspect of the work that no doubt has the capacity to elevate them even further into that stratosphere of the imaginary world beyond.

Bloody Water

Those seeking a little reading material over the holiday break could do worse than to check out the new cultural criticism and commentary website launched in the last few weeks, and still in its "beta stages," but already posting writing by Chicago's own Wesley Kimler, Museum of Contemporary Art curator Lynne Warren and Newcity's film critic Ray Pride. Sharkforum.org promises the reader "opinion with teeth," and has so far delivered a buffet of only the guiltiest of pleasures (with gory, entrail-dripping results). Warren's essay on the narrowly leftist leanings of Chicago curators spills over into a personal reflection on the need for more Rush Limbaugh in our lives. James Beckman's diatribe against "the stigma of the young artist" slams the cult of youth with the claim that "the most talented are obligated to wade through the shallow infant pool until their number is called, and they can join the veterans on the big waterslides." Harsh treatment's clearly the rule. Does it offend? Let's hope.

"la frontera" and Patrick Welch show at gescheidle gallery, 118 North Peoria, (312)226-3500, through January 14.

(2005-12-20)

Also by Michael Workman

Eye Exam
Despite the nasty weather, a lot of people were out Friday night. Hunkered down in the offices behind Bucket Rider Gallery at about seven that evening, I was flanked on all sides by the Bad At Sports team of Duncan Macenzie, Richard Holland and Amanda Browder
(2005-12-13)

Eye Exam
Miami's market convergence comprises a center of the art world around Art Basel Miami, the main event, an export to the U.S. from Switzerland. It's impressive how much of Chicago ended up transplanted there for the weekend
(2005-12-06)

Eye Exam
Walking into Tropicalia, the Museum of Contemporary Art's showcase exhibit of the Brazilian art and cultural movement that ran from approximately 1967-1972, it's nice to see that the curators didn't stick everything into glass cases
(2005-11-15)

Eye Exam
If you've been involved with the art scene in the city for any length of time, you know that beyond the museums, galleries and art schools exists a healthy swath of the culture made up of little atelier spaces run out of people's apartments, garages and storefronts
(2005-11-08)

Eye Exam
(2005-11-01)

Chicago Artist
(2005-10-25)

Eye Exam
(2005-10-25)

The Collectors
(2005-10-18)

Eye Exam
(2005-10-18)

Chicago Artist
(2005-10-11)

Eye Exam
(2005-10-04)

Chicago Artist
(2005-10-04)

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