5:30-7:00 Exhibition preview in Gallery 138 5:30?7:00 Cocktail reception in the Millennium Park Room 6:30 Presentation of works in Gallery 138 7:00 Dinner, annual meeting, bylaw amendment and acquisition vote in Millennium Park Room 8:00 Tabulation and announcement of results The Acquisition Committee of the Society for Contemporary Art at the Art Institute of Chicago is pleased to announce the acquisition candidates for 2007. This year?s offering includes a suspended textile sculpture by Charles LeDray (American, born 1960); a large-scale ceramic wall hanging by Rosemarie Trockel (German, born 1952); a black-and-white photographic installation by Helena Almeida (Portuguese, born 1934); and a mixed-media sculpture by Franz West (Austrian, born 1947). The works will be on view in the contemporary art galleries (138) in early May. On May 17th, James Rondeau and Lisa Dorin will provide a presentation of the proposed works prior to voting. We hope you will be able to attend this exciting event?your vote counts! Please be aware that you must be a member in good standing and present to vote. Couples may share a single membership vote. Event: $60.00 per person Please call Jenny Gheith at 312.443.3630 to make a reservation. All reservations must be made by Friday 11 May 2007. 2007 Acquisition Candidates Charles LeDray?s miniaturized sculptures of stuffed animals, toys, and articles of clothing create a world in which dramatic effects unfold through careful observation. Imbuing his often tiny creations with a personal intimacy, LeDray meticulously sews every seam, sculpts every button, and fashions every belt loop. Mirroring the effects of memory, the concentrated presence of his sculptures disorients our sense of scale and disrupts our normal physical and mental associations with the objects. At times an underlying loneliness and even violence permeates these small objects, suggesting both childhood innocence and pain. Clothesline is composed of 26 painstakingly crafted garments stitched together to create a 16-foot ropelike structure. Hanging vertically on the wall, a green and white sundress begins the descent that ends in a small puddle of clothing on the floor. LeDray?s signature, hidden from view, is sewn in black thread on the inside label of a red and white gingham dress. Rosemarie Trockel has challenged established cultural theories about sexuality, artistic production, and social identity. Trockel has employed knitting, sculpture, drawing, painting, installation, and video to heighten an awareness of difference, especially in relation to the representation, or lack thereof, of women. She frequently borrows from the domestic realm, referencing everyday objects traditionally associated with women?s work in her sculptures?stove burners, irons, brooms, soup ladles, and scrub brushes, for example. Displaced and reformulated as products of her artistic labor, Trockel uses these elements of the domestic world to illustrate an open and ambiguous space with undercurrents of aggression. In Grater 2 Trockel ironically reconfigures a machine-made utensil as a commanding, handcrafted sculpture. The wood grain texture visible beneath the glossy platinum finish of the grater and the two axes attached to its sides suggest that these tools could be used for woodworking?a form of labor usually reserved for men. Countering this intimation of masculine physical labor are the gouges and scratches made by Trockel as she molded the tool?s surface. For over three decades,Helena Almeida has placed herself at the center of her work?using her body as both subject and object. Almost exclusively studio based, her practice is not a form of self-portraiture, but rather a staging of the artist as a fictional character dressed in black, performing sequential pictorial scenarios. Her carefully choreographed images?often taking the form of unique photographs?are elusively contradictory and at times sensuous in the physical placement of her body. Dentro de mim, a series of 18 large-format black-and-white photographs, is sequenced so that the images approximate filmic fragments that narrate subtle transitions of Almeida?s body in relation to the floor. Stripped of any element or action outside of itself, her figure is rhythmically and formally molded by the surrounding external space. Dentro de mim, ?within myself,? conveys an existential meditation on the self-reflective nature of Almeida?s weighty project, in which the artist?s faceless body is seemingly destined to inhabit the same space forever. Franz West?s visceral, sexual, and corporeal sculptures deal with ?in-between? forms?inexact, unfinished geometric shapes that nonetheless often relate to recognizable objects. Though he employs classical techniques of clay and gesso modeling, his materials refuse traditional aesthetic conventions. The highly charged psychological and physiological undercurrents of West?s works draw on a range of subjects?from prosthesis construction and furniture making, to psychoanalysis, Gestalt theory, and Wittgensteinian philosophy. Krach exemplifies the social and physical character of West?s work. Created in collaboration with the Austrian painter Herbert Brandl, its amorphous, three-dimensional form combines gestural brushwork with an intensely tactile, uneven, and seemingly incomplete surface. Indeed, Krach is only ?completed? with the shifting perceptions and bodily behavior patterns of those who experience it. **For a list of bibliographic sources on the artists, please contact the administrator.
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