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02/21/2014 - 7:00pm
02/21/2014 - 11:00pm
Heaven Gallery and DOCUMENT are pleased to present, Layered and Exposed, a group exhibition with artist’s Elizabeth Atterbury, Scott Cowan, Owen Kydd, Phillip Maisel and Erin Jane Nelson.
Layered and Exposed is a group exhibition exploring collage in contemporary video and photographic practices. The artists in the exhibition vary from studio-based constructions, digitally made collages and visual assemblages made using the camera.
How to Make a Collage
A collage is a work of art composed of numerous materials, such as paper, newsprint, photographs, ribbons or other objects attached to background support, such as plain paper. A collage can even be made with physical materials or electronic images, attaching them to a digital background. Originating from the French word "coller", meaning "to glue", the collage allows you to experiment with a wide range of materials to achieve amazing end results. This article provides a sample of the many possibilities limited only by your creativity and imagination.
1- Choose a style of collage. By definition, a collage should be made up of several different pieces. Those pieces can be made of all sorts of items, such as paper, yarn, fabric, stamps, magazine cut-outs, plastic, raffia, foil, labels, lids, matchsticks, corks, natural items (bark, leaves, seeds, eggshells, seashells, twigs, etc.), buttons, and so forth. You can either choose one medium such as paper or fabric, or you can make an eclectic mix, such as paper, buttons and foil
2- Choose a suitable backing. While a paper or cardboard backing is the usual choice, the backing can be anything you consider will work well. For example, a backing could be blotting paper, card stock, fabric such as a piece of hessian (burlap), newspaper, old book covers, wood, smooth bark, plastic, etc. If the surface is usable and items can be stuck to it, you can probably use it for making a collage.
3- Hoard the materials for future collages. As you become more proficient at and enthused about making collages, you'll probably start seeing opportunities in all sorts of materials. Be sure to keep a special collage materials box for collecting the pieces in.
Elizabeth Atterbury received her MFA from MassArt in 2011. She has shown her work recently at Bodega (Philadelphia), Tyler School of Art (Philadelphia), The Center for Maine Contemporary Art, and the Chelsea Art Museum (New York, in conjunction with The Collectors Guide, Vol. 2, Humble Arts Foundation). She lives and works in Portland, Maine and is currently a Visiting Lecturer in Art at Bowdoin College.
Scott Cowan lives in LA and is pursuing a masters degree in theology and philosophy. Scott was born in 1986 in Kansas City (he grew up on the Kansas side). His interests include political theology, cultural criticism, philosophy of mind, and investigating the social structures of language. Previously Cowan completed a BA in photography.
Owen Kydd lives and works in Los Angeles. He holds a Bachelor’s degree from Simon Fraser University in Vancouver and a Masters degree from UCLA. His works have been exhibited in soloexhibitions at the Vancouver Art Gallery and Nicelle Beauchene Galleryin New York, and in group exhibitions at the Contemporary Art Galleryin Vancouver, the Surrey Art Gallery, and the Daegu Biennial in SouthKorea.
Phillip Maisel was born and raised in Chicago. He graduated from McGill University in Montreal with a B.S. in Psychology and from California College of the Arts in San Francisco with an MFA in Visual Arts. He is the only two-time recipient of the Yefim Cherkis Scholarship for Photographic Excellence. His work has been shown in galleries both nationally and internationally and is included in multiple collections. Phillip resides in San Francisco, and he teaches photography at California College of the Arts and The Nueva School.
Erin Jane Nelson is an artist and writer based in Oakland, California. She studied at The Cooper Union School of Art, Malmö Art Academy (Sweden), and Oxbow School (Michigan). Recent Projects include Kantan An Libe Tavleau at Forever & Always (Chicago), Love's Labor's 1 at Important Projects (Oakland), Broon published by Gottlund Verlag (Los Angeles), and www.stilllifelive.com.
01/17/2014 - 7:00pm
01/17/2014 - 11:00pm
Center of the Circle: Sarah Belknap & Joseph Belknap +
An exhibition of work by Sarah Belknap and Joseph Belknap explores a shared experience with the cosmos, as described by the artists themselves:
“All of us grow up with the sense that there is some personal relationship between us, ourselves, and the universe.”
The first meteorite we physically encountered was at the Hayden Planetarium. It was the Willamette meteorite- steeped in history, controversy and legend. We hugged it and it felt like magic and our hearts were won over and we started making work that looked at the cosmos. In this new body of video, photography and sculpture we try to recreate that magic- we are looking at the moon, meteorites, comets, the myths and romance they produce, and our love of the wild
Everything You Need Is Already Here (2014) explores the spiritual predicament of desire, the presence of impermanence in everyday life and the possibility of responding to it with wonder and play, as opposed to anxiety. This solo exhibition brings together works from Specimens (2013), a series of pinned, shadowbox collages made of advertising images collected from glossy magazines, with an improvisational sculptural installation assembled on the floor of Heaven Gallery.
Stacia Yeapanis highlights the nature of impermanence in an installation that only lasts the length of the exhibition. One Day to Install (Heaven Gallery, Chicago) (2014) is inspired by the sites and relics of the human pursuit of a spiritual life—shrines and altars, mandalas, rock gardens and cairns, stupas, rosary beads, icons. The thousands of individual components, which will be reconfigured in future installations, are byproducts of the artist’s private meditation practice. The repeated gesture of coiling, winding, rolling easily-accessible materials, which results in an accumulation of empty centers, becomes an embodied metaphor for presence. Yeapanis selects both manufactured goods and collected detritus of her life as an artist, a consumer, a cultural participant and a waitress, because these materials represent an acceptance and engagement with what is, rather than a striving towards what should/could be.
12/07/2013 - 8:00pm
12/07/2013 - 9:00pm
Wild Dream: Re-imagining the Ballet Russes
"We are witnesses of the greatest moment of summing up in history, in the name of a new and unknown culture, which will be created by us, and which will also sweep us away"
The Ballet Russes was the impresario Serge Diaghilev's wildest dream. He created an art enterprise that manufactured excitement and celebrated modernism. His theatrical spectacles combined traditional narrative with emerging art, enabling him to promote his taste and making him reputable to his collaborators. He was neither a composer or artist, yet he managed to assert an unprecedented influence on art in the early 20th century.
Serge Diaghilev started his career as an art exhibitor, curating a show of 4000 works in St. Petersburg. He later was part of a collective that created the art journal Mir Iskusstva (World of Art) and held art lectures and discussions. Later he applied his curatorial eye to the ballet, in association with the migration of artists and nobility that fled Russia from the Bolshevik revolution, Diaghilev exported Russian culture and artists to Paris. In 1909 his Ballet Russes was a instant sensation, beginning his legendary collaborations with artists, composers, choreographers and fashion designers. Among his collaborators were Pablo Picasso, Georges Braque, Henri Matisse, Joan Miro, Leon Bakst, Sonia Delaunay, Jean Cocteau, Coco Chanel, Vaslav Nijinsky and Russian composer Igor Stravinsky. The Ballet Russes unification of all mediums made it much more than the ballet, with Picasso's cubism applied to set design and Chanel's simplicity to costume, it gained international fame. With glory also came controversy. Stravinsky's "The Rite of Spring", inspired by Pagan rituals to spring, met with outrage for it's primitive dance and jolting score that ignited the infamous riot in 1912.
Over a hundred years later the cultural phenomenon of the Ballet Russes continues to intrigue with exhibitions popping up all over the world. Recent exhibitions included, When Art danced with Music at the National Museum in Washington D.C 2013, Elegance in Exile:Between Fashion and Costume, the Diaghilev Era at the Palazzo Moceniza Museum in Venice 2011, Diaghilev and the Golden Age of the Ballet Russes 1909-1929 at the Victoria and Albert Museum in London 2010, and Ballet Russes Art of Costume at The National Gallery in Australia 2010, all showcasing the elaborate costumes and visuals from the rich history of The Ballet Russes.
Wild Dream, Renovar's Spring 2014 collection gives in to the daydream of becoming a modern ballerina, inspired by the explosive and kinetic costumes of The Ballet Russes. While maintaining a contemporary context, Renovar pairs sumptuous blasts of color with whimsical styles to recreate spectacle. The costumes are both thrilling and shocking with bold geometry and dripping pearl
$15 sugguested donation
10/18/2013 - 7:00pm
10/18/2013 - 11:00pm
Night Without Sleep
work by Jessica Bardsley, Gwynne Johnson, and Ashley Thomas
Oct 18th- 27th
“… a shadow is a simultaneous memory…”
“From the outset, perception belongs to recollection.”
Night Without Sleep presents a world drawn in shadows, revealing the contours of our guiding drives, passionate attachments, and forgotten remains. Gwynne Johnson’s photographs and objects reveal the unconscious of domestic life through the rhythms of celestial and corporal bodies. Ashley Thomas’s noir-palette drawings and collages depict the objects of her fixation larger than life or swimming in darkness, while Jessica Bardsley’s constellation of archival film and photographs activates historical residue to trace the ocean’s haunted past. The artists of Night Without Sleep remake common objects and archival materials according to their memories, perceptions, and desires, illuminating the periphery of the visible, or quietly revealing what goes unseen by day.
09/13/2013 - 7:00pm
09/13/2013 - 11:00pm
Heaven Presents "Being a Woman in an all Women Show"
I have been accused of secretly wanting to be a man. This comment was made recently during a studio visit with a fellow artist, who saw how uncomfortable and wary I became as she steered our discussion towards gender politics.
I do not harbor the desire to undergo a sex change, but I also do not want to be seen solely as a female artist. It is from this position of defensive resistance in which I find myself "being a woman in an all women show."
There are many ways to experience discrimination in the art world; gender inequality is just one of them. To be defined by one's gender as a female artist is to be limited. A colleague recently brought to my attention the fact that the most reputable galleries here in Chicago all represent far more male artists than female. This inequality is made even worse when one realizes that our city's art schools are enrolling more women than men. An admissions counselor at the School of the Art Institute of Chicago informed me that women compose roughly 70% of its student body. A woman can be trained (and pay for that training) as an artist, but it is not the same as her becoming one. "Being a woman in an all women show" is an effort to make up for this blatant discrepancy.
Not all artists consciously implicate their gender while making their work, and yet gender remains a determinant factor in how artworks are curated and disseminated. It seems unfortunate that an all-female exhibition is unusual enough to serve as a curatorial platform.
With this exhibition, Heaven gallery is pleased to exhibit the work of eighteen artists, who all happen to be women. These are good artists, not good-for-being-female artists. With this exhibition, let us hope that the exceptional work of each artist is seen as expected, and not a surprise.
07/12/2013 - 7:00pm
07/12/2013 - 11:00pm
Over the past 13 years Heaven's has had many incarnations. There was the prepubescent party years with Ed Mar's "Buddy," described by many as the best years of their lives. There was the video and film era with Doug Lussenhop and Eric Fensler's GI Joe video's that went viral before the age of youtube, there was the pre-fence years with movie screened on the back porch, the Pooper art years and the Harold Arts/Joe Jeffers years that helped to define the Heaven style.
Happy Birthday Heaven
Heaven Gallery's 13 year anniversary party will include a silent art auction and art raffle in the main gallery featuring work by over 30 artists.
Best of Heaven, an annual curated show will be in the front gallery.
Music by Soul DJ Ayana Contreras and Joe Jeffers
Best of Heaven show with work by:
Art donated by:
06/14/2013 - 7:00pm
06/14/2013 - 11:00pm
WEIRD DUDE ENERGY is a survey of artist dudes who cultivate the intersection of elegance and Dudeliness. Coursing between the tiles of the weight room’s floor and pulling the foam through a beer bong’s tube there is an energy. In WEIRD DUDE ENERGY an unease transmits through the works like the dissonant proportions cursing the limbs of pubescent boys. Stained with the trauma of puberty WEIRD DUDE ENERGY strikes a balance between restraint and total release. GDBD is drawn to the complicated and embarrassing gestures of Dudehood. Bask in the glory of this Dudery and join GDBD in inviting the WEIRD DUDE ENERGY to wash over us like an enveloping mist of AXE. Can you abide?
Alan and Michael Fleming
05/10/2013 - 7:00pm
05/10/2013 - 11:00pm
“No Stairway to Heaven”
The ubiquity of Led Zeppelin’s 1971 song “Stairway to Heaven” is both impressive and nauseating. Forty years after its release, it continues to receive near constant airplay on terrestrial radio, providing nostalgic affirmation for older generations and a virtuosic canonical reference point for newer audiences. Musically the song is structurally convincing enough to support whimsical and campy lyrics that fetishize a diluted and confused understanding of Anglo folklore, with a few self-referential lines about the genre of rock music and the gestalt of a rock band sprinkled in. A form of low-grade populist poetry, when combined with emotional crescendo, the song becomes legitimate. With the right mix of media saturation, consistency, and myth, the piece becomes legendary, clichéd and parodied. The title of this exhibition comes from a minor scene in “Wayne’s World” (1992), in which Wayne is prohibited from playing the classic rock anthem when purchasing a guitar. A sight gag; the printed sign on the wall that says “No Stairway to Heaven” indicates the scale and absurdity of the problem. The works address topicality and anachronism, in a dialectic between concrete reality and nostalgia. Platonic form, ascetic irony, and sublimated associations allow for this conversation to exist as conflated singular images and objects.
Josué Pellot received his MFA from Northwestern University, Evanston
Josh Reames received his MFA from the School of the Art Institute of Chicago. His work has recently been shown at Circuit 12 Contemporary (Dallas), Devening Projects (Chicago), Dittrich & Schlechtreim (Berlin), Monya Rowe Gallery (NYC), and Andrew Rafacz Gallery (Chicago).
Morgan Sims received his MFA from the University of Wisconsin-Madison in
Ron Ewert received his MFA from the School of the Art Institute of Chicago in 2012. Recent exhibitions include: The Green Gallery and American Fantasy Classics (Milwaukee), The Freies Museum (Berlin), Andrew Rafacz Gallery, Autumn Space and Peregrine Program (Chicago), as well as Monya Rowe Gallery and Launch F18 (NY). Ron Ewert is Co-Director of The Hills Esthetic Center, an exhibition space in Chicago dedicated to emerging local and international artists.
03/29/2013 - 7:00pm
03/29/2013 - 11:00pm
New work by Claire Valdez, Charles Fogarty, and Ilene Godofsky
A show about trust” or new work from Claire Valdez and Charles Fogarty, with work selected from Ilene Godofsky's Wish You Were Here and THIS LANDSCAPE
“A sleazy good time”
Featuring “suggestive photography” and “enthusiastic seating”
"Legions of Brando impersonators have turned his performance in this seminal 1954 motorcycle movie into self-parody, but it's still a sleazy good time."
Organized by Heaven Gallery and Charles Fogarty with thematic inspiration taken from Marlon Brando’s perfect characterization of “Johnny” in László Benedek’s 1953 classic The Wild One, and the paradox of an allegorically dynamic character.
02/15/2013 - 7:00pm
02/15/2013 - 11:00pm
It's not me, It's you> the couple show
Relationships are a natural element of life, and a romantic bond between two artists can lead to fulfilling and complex collaborations. Work, love and creativity are closely interwoven in these intense relationships. Communication and trust are necessary for both the creation of art and love. Art, like love, opens new and inspiring worlds. Ultimately, a couples’ alliance proves to be the ideal alchemy for love and creativity.
“It’s Not Me It’s You” explores romance in art, presenting collaborations by 11 pairs of talented art makers. By creating an amalgam of practice and approach, the archetype of the artist-couple is investigated. This show reveals the cross-fertilisation of concepts and techniques between separate art makers, to make a unified piece of art. Each piece demonstrates collaborative compatibility and addresses the role of compromise in the complex balance of partnership.
New work by:
Drinks by The Hornswagglers