Tuesday, January 26, 2010

Four Faces - Review by Michael Weinstein in NewCity

Write up by Michael Weinstein on the "Four Faces" exhibit at Barbara & Barbara Gallery.

"Drawn to the recesses of densely wooded public parks, Jennifer Ray seeks out evidence of male sexual encounters—a spent condom, a pair of briefs, a Styrofoam cup—and shoots the tell-tale details in color, so that they are small, yet obtrusive elements of the larger verdant scene. Eric Bessel takes color portraits of women posed in gestures and sporting expressions that betray distress, bitterness or hostility. Helen Maurene Cooper dolls women up in kitschy costumes, places them against decorative mannerist backgrounds, and snaps them in color as they vogue like fashion models, sometimes tough, sometimes dreamy. Grant Ray puts ordinary objects into compositions suggesting “pseudo-scientific experiments,” as when he goes into the wooded glen, plants an electrical gizmo there, and shoots the scene in color, proving that you can do other things in the park than have sex. You can read the artists’ statements if you want an overdose of cultural theory, but their work boils down to crossing the boundary from the illusory world of normal certitude to the wilderness of the seamy psycho-dramas that surround the islands of sanity that we so painfully attempt to construct. (Michael Weinstein)"

Through February 18 at Barbara & Barbara Gallery, 1021 N. Western

Tuesday, January 19, 2010

Four Faces exhibition


I am pleased to announce the inclusion of my work for the exhibition “Four Names” at the Barbara and Barbara Gallery. The opening reception is being held on Saturday, January 23rd from 7-11pm.

Four Names
Grant W. Ray
Helene Maurene Cooper
Jennifer Ray
Eric Bessel

Opening Reception
Saturday, January 23, 7-11pm

Barbara & Barbara Gallery
1021 North Western Ave.
Chicago, Illinois

Monday, November 2, 2009

Critical Encounters: Fact & Faith Photography Exhibition

Photograph on post card front by Krista Wortendyke

I am pleased to announce the inclusion of one of the photographs from the Uncanny Imagination series in Critical Encounters Fact and Faith Photography Exhibition at Columbia College Chicago Library. (Sadly due to a typo my name was printed as Grant Wray instead of Grant W. Ray.) The opening reception will be in the Weisman Reading Room, 2nd floor library, 624 S. Michigan Ave.

"Sponsored by Critical Encounters, Center for Teaching Excellence and Alumni Relations. Students, Staff and Alumni were asked to respond to this year's focus, Fact & Faith, and submit images that explore the tension between the need to know and the need to believe. Join us at the reception and see how the artists personally interpreted this theme.
Critical Encounters is a college-wide initiative intended to synchronize conversations between the school and the community, in an ongoing dialogue, around a central, socially and culturally relevant issue each academic year."


Jurors:
Jodi Adams, Photography Alumna and Staff
Stephen DeSantis, Interdisciplinary Arts/Book and
Paper Alumnus, Columbia College Chicago

Show Hours:
Mon-Thurs 8:00am-10:00pm
Friday 8:00am-6:00pm
Saturday 9:00am-5:00pm
Sunday 12:00-5:00pm

Tuesday, October 13, 2009

Harold Arts The Yield: 2009 Resident Exhibition

I am pleased to announce my participation in the Harold Arts The Yield: 2009 Resident Exhibition. The exhibition will include two new photo works from the ongoing “If I Could Speak to Trees and If Trees Could Speak to Me” project that humorously and metaphorically addresses the complicated and nuanced roles humans play in the environment. The opening reception is being held at Heaven Gallery and Johalla Projects on Friday, October 23rd from 7-11pm.

Friday, October 23, 7-11pm
Opening Reception
Heaven Gallery - 1550 N. Milwaukee
Johalla Projects - 1561 N. Milwaukee

Saturday, October 24
Gallery open from 1-5pm

"Athens, Ohio: Shadow of its Former Self. Electric Ouija Board for Trees"

"Athens, Ohio: Manufactured Wind, Manufactured Communication"

Thursday, August 13, 2009

Artist: Jason Dodge

The long pause. Some time has passed since my last update and for good reason. A few weeks back I returned from artist residency at the Harold Arts Residency where a new project was being conceived and born. Just as soon as I was back in Chicago it was off to Tampa Florida for some quality time with the parents, sand and surf, and what turned out to be a sad night at Tropicana Fields. But, here I am back again with no vacation or travels in the near future.

It is great to see a fellow artist using text in a similar manner to my own work. Dodge's use of text for these small sculptural works provides the catalyst for interaction and theatricality.

Artist: Jason Dodge
Title: "AMETHIST, GARNETS, SAPHIRES, AQUAMARINE, QUARTZ, TOPAZ, RUBIES
AND TURMALINE INSIDE OF AN OWL, 2007"

Monday, July 13, 2009

"Telephones...a new art show in the theme of...Telephone."

I am pleased to announce that two photographs from the "uncanny imagination" series will be included in the Telephones group exhibition with thirteen other talented artist at the Barbara and Barbara gallery. Stop by and check it out.

Barbara and Barbara Gallery
July 25th
6:00pm - 10:00pm
barbara&barbara@ the retro wash
1021 N. Western ave.
Chicago, IL

Tuesday, June 30, 2009

Hin Chua "After the Fall" (review)

Hin Chua's photographic project “After the Fall” successfully navigates the often complex conversation surrounding the spaces where human made and the natural intersect. In most cases contemporary landscape photography has an axe to grind, playing heavily to one political side or the other reducing the complexity of environmental issues into a dialectic between utopia/dystopia. Granted Chua's photographs rely on certain visual tropes normally associated within the visual rhetoric of utopic/dystopic, but it is his perfect balancing of the two, manufactured being dystopic, and nature being utopic, that provides for an engagement with the subject matter rather than a statement or matter of fact lecture.
Chua's compositions create a visual rhetoric and sophistication presenting a standard of viewing similar to the early works of dadaist photographers and the new phenomenology whom worked to push for a unique photographic language to encompass the dynamic and oft complex relationships in their time period. Chua deftly finds spaces where nature and the manufactured meet not in contrast but in perverse blends of the utopic/dystopic. In the images below a band of brown and dried weeds resemble/mimic the structure of high gain power lines set against a clear blue sky.

In another photograph power lines cut across and grid the sky into square sections above nature and organic shapes and colours.

In other photographs Chua folds his trope and sticks it on its head. An other wise barren landscape of grassy hills and plains are transformed into the surreal nightmare of multi colour plastic bags presenting a hellish uncanny version of flowers in a meadow.


Chua ask his viewers to contemplate the idea and definition of nature and human made. For one side of the environmental political equation this people are boating in a toxic mess masked by the oft invisible poison of toxic waste. The other side, the PR blitz of clean green industry existing side by side with green spaces across the globe.