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?
“No Stairway to Heaven”
Josué Pellot, Josh Reames, Morgan Sims and Ron Ewert
May 10– June 9
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
Illinois (2006) and BFA from the University of Illinois, at Chicago, 2003.
He is a conceptual artist who engages social critique, politics and humor.
He works in various mediums such as painting, video and sculpture. In 2007
Pellot completed a residency with the Fundament Foundation in Tilburg, NL. His
work has been shown locally and abroad, including the Chicago Cultural
Center, the Contemporary Art Society (London, UK), and the Museo de Arte
Contemporaneo de Caguas, Puerto Rico. www.josuepellot.com
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). www.joshreames.com
Morgan Sims received his MFA from the University of Wisconsin-Madison in
2010 and his BFA from the University of Washington, Seattle in 2004. His
works in painting, print, and neon create contextual and formal
reinterpretations of visual culture. He lives in Chicago and teaches at
Harold Washington College. More of his work can be viewed at www.morgan-sims.com.
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. www.ronewert.com www.thehillseshteticcenter.com
New work by Claire Valdez, Charles Fogarty, and Ilene Godofsky
“A show about trust”
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."
-Dave Kehr (In reference to The Wild One, but regarding something else entirely)
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.
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:
Aron Gent and Betsy O'Brien
Emily Green and Michael Kloss
Ben Foch and Chelsea Culp
Lucas Blair and Montgomery Perry Smith
Sarah and Joseph Belknap
Alex Chitty and Daniel Baird
Scott and Katy Cowan
Chris Hammes and Michelle Harris
Sean Gallero and Petra Bachmaier
Katherine Porter and Eddie Peters
Kate Bowen and T.J. Proechel
Drinks by The Hornswagglers
Pastries donated by Red Hen
In collaboration with ACRE Residency, this proposed exhibition, to be mounted at Heaven Gallery, combines individual research-based practices that explore varying manifestations of what it means to dig, excavate, and uncover. This exhibition will include three divergent projects from artists Nina Barnett, Marissa Lee Benedict, and Allison Rowe that explore the regional-cultural presence of the subterranean, the socioeconomic infrastructure surrounding sites of excavation, and the performative act of the dig. The projects presented by Benedict, Rowe, and Barnett each explore and complicate dual conceptions of the dig as a performative act and its application to the production and accumulation of cognitive and tangible stock. The primary and most literal conception of what it means to dig investigates the labor of unearthing natural resources and material data and its relation to a global economy that valorizes service and information industries. Meanwhile, a concurrent, metaphorical understanding of the term attends to the unearthing of immaterial resources by addressing the field of research-based practice at large, its inherent interdisciplinarity and its impact on the circulation of information within a global marketplace.
"There is grandeur in this view of life, with its several powers, having been originally breathed into a few forms or into one; and that, whilst this planet has gone cycling on according to the fixed law of gravity, from so simple a beginning endless forms most beautiful and most wonderful have been, and are being, evolved.”
On the origin of species examines new ideas of god as creative power and art as evidence for creation, while seeking reconciliation between Darwinian evolution and human creation. The show examines the duality of a natural world and a human created world modeled after nature with altered concepts of evolution as creation over time and natural selection and heredity as a mechanism for creative power. The work explores transformations after billions of years, from cell to plant to animal, to conscious beings, claiming man as lineal descendants of creation and pure consciousness. It investigates principles of inheritance, created potential and the human imagination that lead to hereditary modifications engineering mankind to create art and construct meaning. The idea that art mimics creation is manifest in man’s fulfillment in the creative ritual and this act of creation as a sacred act of worship.
Based on the work of Naturalist Charles Darwin, who sought to uncover the mysteries of the earth with his theory of natural selection in which the environment acts as a sieve through which only certain variations can pass, he was left to wonder why natural selection’s unerring power should choose preservation of favorable variation and the question of heredity. He revolutionized biology proposing that all species have a common ancestor, disproving the biblical story of separate creation. Today Darwin is seen as a symbol for atheism however he was not a crusader against religion but rather a lover of science. In 1859 when Origin of species was published he was a theist, then later he became an agnostic but never an atheist.
This season life blossoms from a variety of pattern on pattern, with bold floral, 80's abstract and animal prints. The show highlights Darwin's five year voyage on the H.M.S. Beagle where he found luxurious vegetation and a wide variety of species. The Collection includes blouses with printed illustrations of species taken from from Darwin's books and reconstructed vintage silk clothing, where a 80's silk printed skirt evolves into a blouse and 90's silk dress into a skirt. Nature selects simplistic cuts in saturated color and rudimentary animal tails on beautiful woman.
This will be the fifth collection for Alma Wieser of Renovar, her other shows include, "Chanel Versus Schiaparelli", "Irregular" an homage to Japaneses designers and "Model Assemblage", based on artist Louise Nevelson.
She is the art director at heaven gallery where she she divides her time between Vintage Heaven, art exhibitions and her clothing line Renovar.
Doors open at 8pm
Show starts at 8:30pm
Soul music by DJ Ayana
Show music by Brent Gutzeit
$15 suggestion donation
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At That Very Moment
Works by Soo Shin, Jesse Butcher, Kristina Paabus
Soo Shin is interested in the relationship human beings have to faith. The work explores the desperation and difficulty of keeping faith in the pursuit of meaning, spotlighting the grey area where uncertainty and vulnerability exist.
Kristina Paabus’ work examines systems, which we as groups and individuals use to enforce perceptions of structure. Her hybrid spatial conversations elaborate on constructions that allow us to interact with, and gain control over, our surroundings. These specific systems, such as language, architecture, beliefs, maps, and so on, serve as guides to expose the anatomy of human comprehension, and an inevitable paradox.
Jesse Butcher’s works deal with an American “wanderlust” for meaning and understanding. He is interested in the complex issue of delineating identity and place, and the place between Black and White or Good and Bad.
Soo Shin was born in Korea. She received both her BFA and MFA in painting and printmaking from Ewha Womans University in Seoul and an MFA in Fiber and Material Studies from The School of the Art Institute of Chicago. She recently had a solo exhibition, Weave Between the Two, at the Korean Cultural Museum in Wheeling, IL. She lives and works in Chicago.
Kristina Paabus was born in Massachusetts. She studied Fine Arts and Religious Studies at the University of Massachusetts Amherst, Fine and Applied Arts at The Estonian Academy of Arts, and Fine Arts and Art History at Rhode Island School of Design. In 2009 she earned her MFA from the School of the Art Institute of Chicago and then moved to Estonia as a Fulbright Fellow and Visiting Artist at the EAA. Paabus has exhibited and participated in residencies both nationally and internationally. She currently lives and works in Chicago where she is a faculty member and Graduate Coordinator in SAIC’s Department of Printmedia.
Jesse Butcher was born in Germantown, TN and lives and works in Chicago. He received a BFA from Rhode Island School of Design in 2005 and an MFA from The School of the Art Institute of Chicago in 2011. He recently participated in Breaking Glass: Summer Residency at The Graham Foundation. He currently teaches at The School of the Art Institute of Chicago.
"If ever asked: What decade in art history inspires you most?
There would be no hesitation; the 1970’s."
The decade expressed a sense of vitality and possibility, shifts in critical thinking and diverse approaches altered our understanding of art.
Robert Smithson’s Spiral Jetty(1970) and Walter De Maria’s Lightning Field (1977) introduced 'earth art'.
Mediums like video and performance art gained recognition with Chris Burden’s Shoot,(1971) and Through the Night Softly(1974).
Lawrence Weiner’s wall instillations, Bruce Nauman’s neon, and Sol De Witt’s wall drawings all reflected the sensibilities of the time.
Visual art gravitated toward conceptual and post minimal aesthetic.
The seventies marked the end of modern art and the beginning of Post-modernism.
The exhibition Postmodernism - Style and Subversion 1970-1990 at the Victoria and Albert Museum (London, Sept. 2011-Jan. 2012) was billed as the first show ever to document postmodernism as a historical movement.
For Heaven's first curated group exhibition we ask artist to redefine 70's art.
Featuring a neon camp fire by Morgan Sims and optical illusion art by Jason Lazarus.
With Other People, With Other Sons is a group exhibition that approaches themes of American genesis, expansion and hybridization, and the inevitability of disintegration. Ryan Chorbagian, Hao Ni, and Patrick McGuan examine how hand making and nostalgia are synoptic approaches to creating personal and cultural memory.