Art Mon Sep 30 2013
Gallery season is in full swing now, with October marking the beginning of Chicago Artists Month. This month's theme is "In the Neighborhoods." Honoring said theme is Wicker Park After Dark, the solo photography exhibition by David Szpunar, a West Side native who began capturing the lively and eccentric nightlife of Wicker Park."
Spzunar who is also a local musician attended the reception supported by his band mates from "Matthew Morgan and the Lost Brigade." Chemistry professor by day and photographer/musician by night, Szpunar began shooting the series after his Friday night band practices in the neighborhood, trading his instrument for a camera just after the sun went down.
Wicker Park after Dark was inspired by Brassaï's "Paris by Night," and captures the energy, drama, and mystery of the local weekend revelers. There is a voyeuristic feeling to the series, as if Szpunar has for but the briefest moment captured the visceral and magnetic draw of being a part of the Wicker Park late-night scene. Close and wide-angled shots pull the viewer into the intimate setting, creating a sense of inclusion and closeness to the subjects.
The exhibit opened on Sept. 20 at Jackson Junge Gallery, 1389 N. Milwaukee Ave., and will run until Oct. 27.
Photography courtesy of Catherine Charpentier.
— Lindsey Fleischer
Unity Temple, the Prairie-style concrete structure on Lake Street in Oak Park, is now open for tours, operated by the Frank Lloyd Wright Preservation Trust in partnership with the Unity Temple Restoration Foundation and the Unity Temple Unitarian-Universalist Congregation.
Photo courtesy Frank Lloyd Wright Preservation Trust.
The trust begins tours of the church Wednesday, October 2. The 45-minute tour can be combined with a tour of the Frank Lloyd Wright Home and Studio at 951 Chicago Avenue, about a half-mile from Unity Temple.
Unity Temple is a National Historic Landmark, completed in 1908. It's the only surviving public building from Wright's Prairie period. The construction is exposed, poured-in-place reinforced concrete. Wright designed the sanctuary and the social room as two separate spaces, lit by skylights and joined by a low, central entry foyer.
The original Oak Park Unitarian Church was destroyed by fire in 1905. Wright had to work with a limited budget and on a restricted site, so he made use of unusual materials--generally used only for factories and warehouses--to produce what is considered one of his most sophisticated accomplishments.
You can tour Unity Temple at 875 Lake Street, Oak Park, Monday, Wednesday, Thursday and Friday from 9am to 3pm and Saturday from 9am to noon. Tickets are $15 and can be purchased online or at entry or by calling 312-994-4000. Street parking is available or take the CTA Green Line to Harlem and walk three blocks east on Lake Street to Unity Temple. .
— Nancy Bishop
Event Sat Sep 28 2013
A second EXPO Chicago has now come and gone, passing through Navy Pier like an electrical storm, this time buzzing with a few new satellites -- countless gallery openings and open studios, but also medium-scale alternative fairs like the econo-centric EDITION at the Chicago Artists Coalition and the grassroots, street-oriented Fountain Art Fair at Mana Contemporary, all within five miles of Navy Pier. It's nice to see this happening... hopefully the city will be blowing up like Miami during Art Basel by next year. Or maybe we like to keep things a little more low-key in Chicago. In any case:
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— Kelly Reaves /
Column Fri Sep 27 2013
Rush
What separates Ron Howard's latest film Rush from so many other sports-related docudramas (whether they're based on a true story, as this one is, or not) is that you could remove all of the Formula 1 racing sequences and still have a really strong film, thanks in large part to a smart, interesting screenplay from Peter Morgan (Frost/Nixon, The Queen). Am I saying the races aren't wonderfully re-created and thrilling? Of course not. But the heart and soul of Rush isn't the racing; it's the contentious but respectful relationship between 1970s-era rivals James Hunt (Chris Hemsworth, at his most swaggerific) and the highly disciplined Austrian Niki Luada (Daniel Brühl of Inglourious Basterds).
The film makes the interesting point that these two men could not have lived their lives more differently, but their careers were locked together for many years as they often found themselves fighting for points on Grand Prix racetracks. As much as Howard is known for being a stylistic chameleon, able to adapt his style to fit whatever story he is telling, I tend to get a little giddy when he dips his toes in the R-rated pool. And with healthy doses of nudity (done in large part to illustrate Hunt's reputation as a ladies' man) and a certain amount of unflinching violence (Formula 1 races do have their accidents), Howard has made a solidly mature film that often feels not only like it was set in the 1970s, but shot then as well.
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— Steve Prokopy /
Theater Thu Sep 26 2013
Step Up Productions' new play The Benchmark tries hard and has many virtues, but ultimately fails to engage us. Richard A. Roberts has written what is essentially a one-man play with strong messages about how our society has failed to take care of its people, failed to overcome poverty, provide health care and good education, and stay out of international entanglements.
Photo by Liz Lauren.
Daniel Houle plays Mark, a homeless man, with an eloquent 85-minute Bartlett's Quotations-laden monologue about those failures. Director Tara Branham choreographs Mark's life, day and night, season by season, in a small but very atmospheric stage design in one of the Athenaeum Theatre's studio spaces.
Other people pass and occasionally engage with Mark. Amy Geist as a nearly mute Bag Lady hovers nearby, constantly rearranging her small trove of possessions and rooting through a trash bin for leftover edibles. (Next time you throw away a half-eaten sandwich, remember that it might be a homeless person's next meal.)
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— Nancy Bishop
Film Thu Sep 26 2013
For Chicago native Susan Strowhorn, the need to create a platform for positive on-screen images was the impetus for the Midwest Christian-Inspirational Indie Film Festival (MCIIFF), an annual showcase of films designed to inspire and uplift. Held this weekend at the Gene Siskel Film Center, MCIIFF, founded by Strowhorn, is now in its third year, and will include a mix of full length features, shorts, and documentaries by Midwestern-based filmmakers, including Chicago's Joi Noelle Worley and the screening of Strowhorn's The Heartbroken Rainbow. Here, Strowhorn discusses the festival, challenges in Chicago and the film industry in general, and what she hopes audiences will take away from the MCIIFF.
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— LaShawn Williams /
Art Mon Sep 23 2013
"Meet your Maker" is an opportunity for artists and arts administrators to interact and meet face-to-face bridging the divide between them. We invite any and all creative types to join us for an evening of exploration among arts-passionate people. Join your colleagues from the creative sector to make a dynamic difference in the community.
There's a suggested donation of $5 to cover food and refreshments. Open to the public. Register online here.
When: Thursday, October 10, 6-8pm
Where: Fulton Street Collective, 2000 W. Fulton St.
— MartinJon
News Fri Sep 20 2013
DJ Algoriddim is staring at a huge pile of furniture. He has his eyes on a set of bass scoops buried in a corner. By now, he knows the routine. Vince the store manager laid out the rules: You have to dig items out yourself and be able to carry them out the door without assistance -- if you want the 10 dollar deal. With a smile, DJ Algoriddim starts climbing the pile.
For the past six years Charles McGary has operated the only African-American owned auction house in Chicago. The building on the 8400 block of Cottage Grove is huge. Three floors packed with items bought at estate liquidations and storage auctions. A constant flow of merchandise. The first floor is an auction house and store. The second and third floors are used as warehouse and storage. Charles has decided it's time to close. He could auction everything off -- but he came up with a better idea. Ten dollar entry fee -- all you can carry -- free.
Charles explains.
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— Ron Slattery /
Column Fri Sep 20 2013
Prisoners
This tale of child kidnapping is a tricky little monster that wonderfully dodges being pigeonholed into a single genre, and instead claws and fights to be something much deeper as a statement about the terrible side of human nature. It's also a mystery, a thriller, drama in its highest form, a police procedural, and a character study about a handful of neighbors in a sleepy, dreary New England community that you may regret ever meeting.
I don't mean that as a criticism of the new film Prisoners; quite the opposite. I mean that we get to know so much about these desperate people — what makes them tick, what makes them fall to pieces — that you almost might feel you know too many intimate details, and that makes things eye-avertingly uncomfortable. And quite frankly, I can't remember the last time I saw a film with a high-profile cast such as this that made me feel like I was watching real human beings display so much raw, ugly emotion. It's a rare and welcome experience, but Prisoners goes into some truly dark corners before it comes out the other side (if it truly does).
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— Steve Prokopy
Theater Fri Sep 20 2013
Mark O'Rowe is one of the new generation of Irish playwrights whose work was first seen in the 1990s. In Terminus, being presented by Interrobang Theatre Project, he displays his fascination with language and his passion for words. Terminus isn't so much a play as a series of stories, intertwined in monologues by three characters, known only as A, B and C. Their stories, set in the streets of Dublin, begin separately and gradually become more connected, until they are finally merged in a glorious fantasy of blood, sweat, tears and sex.
Petro, Crowley and Hall. Photo by Claire Demos.
A (Christina Hall) is a telephone trauma counselor and former teacher, who recognized the voice of a former student who calls to talk about an abortion. "How pregnant are you?" she asks. "Nine months?" She chases the young woman all over Dublin to keep her from taking the life of the child. A also has a daughter with whom she tries to maintain a relationship.
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— Nancy Bishop
Art Thu Sep 19 2013
Whenever a fair or festival becomes successful, satellite events are soon to follow. And now that the much-hyped EXPO Chicago has gotten a little steam, that's exactly what's happening. This weekend the Chicago Artist Coalition (CAC) and local gallerist Andrew Rafacz have teamed up to create EDITION Chicago with the aim of exhibiting high quality, cutting-edge work that presents new ideas, while remaining financially attainable. Because let's face it, EXPO is bound to have a lot of exciting work on exhibit, but most of us won't be able to buy any of it.
"We are pleased to present such a diverse and respected list of galleries in our first year that proves great contemporary art can be found in all price ranges," said Executive Director of CAC Carolina O. Jayaram. "Not only is the new EDITION Chicago an incredible opportunity to start building an art collection or add to your existing collection, but the satellite fair builds on the exciting momentum surrounding art in Chicago right now that CAC is proud to be an integral part of."
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— Kelly Reaves
Art Mon Sep 16 2013
Well it has begun -- EXPO art week -- and although it culminates in EXPO CHGO beginning on Friday there are lots of things going on all over the city right now. One thing that I am particularly excited about is local artist Tony Orrico, who is adding to his Penwald drawing series with his eighth installment at the Chicago Cultural Center on Tuesday from 11am-3pm.
This series is made up of drawings in which Orrico uses his body to explore the geometry of his movement. With a background in dance he gestures according to mood and his sense of self both physical and mental, creating makes within the confines of his own reach. Orrico's repetition and spontaneity create large scale beautiful drawings that are astounding to watch come into existence.
This performance, which is being presented by both EXPO and Marso gallery in Mexico City where Orrico is represented, is sure to be an exhilarating stop to see the performance that will leave the creation of a drawing as a record.
— MartinJon
Theater Mon Sep 16 2013
In "mathspeak," f(x) + f(y) > f(x+y) or, the sum of the parts is greater than the whole. That's the business message behind the fun and doughnuts in Shattered Globe Theatre's new '80s comedy/drama, Other People's Money, a story that reminds us how corporate raiders worked: Buying what they saw as undervalued companies. Selling off the parts to generate more money than the whole company is worth, in the process, of course, laying off employees and sometimes doing permanent damage to the town where the company was located.
Photo by Emily Schwartz.
Other People's Money tells this story with wit and gusto. The subject is an old Rhode Island company, New England Wire & Cable, whose CEO, Andrew Jorgenson or "Jorgie" (Doug McDade), is getting close to retirement. Enter Lawrence Garfinkle, aka "Larry the Liquidator," (Ben Werling plays him with relish, charm, braggadocio and a huge appetite for doughnuts) who has been buying up shares of NEW&C with the goal of owning and "restructuring" the company [as in f(x) + f(y) > f(x+y)].
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— Nancy Bishop
Column Fri Sep 13 2013
Insidious: Chapter 2
It would be in your best interest, if you have an inkling to go and see Insidious: Chapter 2 anytime soon, to re-watch Insidious right before you hit the sequel. I'm a big proponent that every sequel — even a horror sequel — should stand on its own as a film and not wholly depend on what has come before, but clearly the makers of Insidious 2 don't agree. Insidious was a wonderful piece of scary, with a group of top-notch lead actors (Patrick Wilson and Rose Byrne as husband and wife Josh and Renai Lambert) and handful of great character actors (including one of the queens of character actors, Lin Shaye) being put through the paces by ghosts being drawn to the couple's oldest son Dalton (Ty Simpkins, most recently seen as the kid in Iron Man 3).
We learned in Insidious that Josh actually had similar issues when he was Dalton's age but that spiritual advisor Elise (Shaye) erased the terrible memories from the boy at the request of his mother Lorraine (Barbara Hershey). Normally when reviewing a sequel, I don't dig too deep into the storyline of the film before, but Insidious 2 actually retells portions of the first film in different ways. For example, the movie opens showing us exactly what I just described, with younger actors playing Josh, Lorraine and Elise (although I'm pretty sure Shaye's voice is still being dubbed in during those scenes) going through the motions of recognizing what is wrong with Josh (he had a ghost getting progressively closer to him every time a photo was taken) and then wiping the fear from him, as well as his ability to send an astral version of himself into "the Further," where ghosts chill out until someone decides where they should move on to.
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— Steve Prokopy
Culture Wed Sep 11 2013
Jim and Debbie Gallo own Shangri-La Vintage, 1952 W. Roscoe Ave. in Roscoe Village. Their store has a great selection of vintage clothes and lots of other fun items. But few people know that the Gallos are also the creators of the "Sloth Family Portrait," a photograph that has made the rounds on the web for years. Debbie Gallo explains how the viral photo came to be.
~*~
Let's see. I'll start with finding the sloth. Went to an estate sale probably early 1990s. It was the worst estate sale ever. They had no control, no numbers, no list, no honoring anything. By pure luck, Jim and I were still on the porch after everybody signed the list and took off to go to other sales. We just happened to be on the front porch when they all returned. The estate people said they were not honoring a list. It became a fistfight, a brawl of people throwing and hurtling themselves into the doorway. The company didn't let in just a few. There were 50 people trying to get through a small door at one time. A glass coffee table broke under the crush of people.
The sloth was there on the mantle. Jim goes, "Debbie, get that thing." I was leaning, trying to reach it and somebody else goes "yank" and they got it. I was like, "Ohhh so close." Afterward someone goes, "Oh Ed. Ed bought that. He's a nice guy, he'll sell it to you." So later I contacted Ed and he was like, "Sure I'll sell it to you." We met in a parking lot and money was exchanged. The sloth was handed over. So we brought it home and put it on our shelf.
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— Ron Slattery /
Theater Wed Sep 11 2013
Hank Williams: Lost Highway is a toe-tapping musical biography about the country blues singer-songwriter who performed in the 1940s and early 1950s, an important time in American musical history. In a way, it's a jukebox musical, with 28 Hank Williams songs played during the two-plus-hour, two-act play. But it has a strong underlying story, a tragic one about a boy growing up in a poor family in Alabama and learning to sing in church, as so many blues musicians did. Williams (Mathew Brumlow) learned to sing and play guitar as a teenager, which is also when he learned to love alcohol. The intertwined loves of music and booze are the heart of the Hank Williams story.
Hank and Tee-Tot. Photo by Johnny Knight.
Presented by American Blues Theater, written by Randall Myler and Mark Harelik and directed by Damon Kiely, Lost Highway is a drama with plenty of superbly played music. Kiely and music director Malcolm Ruhl do a terrific job of showing how Williams' band is built from the core of three teenaged friends to become a successful five-piece show band, the Drifting Cowboys. Williams starts out playing with Jimmy (Michael Mahler) on guitar and vocals and Hoss (Austin Cook) on upright bass and vocals. The band is soon expanded by Leon (Greg Hirte) a talented fiddler. Later John Foley, a veteran Chicago musician, completes the Drifting Cowboys as Shag, on console steel guitar, harmonica and spoons.
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— Nancy Bishop
Theater Tue Sep 10 2013
Last week, on the History in Pictures Twitter page, there was a link to a photo of a soldier in battle fatigues with a scared smile on his face--handwritten on the front of his helmet is "War is hell." This could have been a soldier from Iraq, Afghanistan, Kosovo, or any of the wars to which English-speaking troops have been sent. This image is titled "Soldier in Vietnam. 1965."
It could have been titled "Soldier in Iraq, 2012." The soldier could have been Private Daniel Reeves (Andrew Goetten), an unrepentant dead-end teenager who should never have gone to war and now stands accused of a horrific crime against Iraqi civilians.
The cast of 9 Circles; photo by Jonathan L. Green.
Sideshow Theatre Company's new production 9 Circles, written by Bill Cain, uses the mechanism of the nine circles of hell in Dante's Inferno to lead us through Reeves' short life from accusation to trial and execution. In each circle, Reeves and a surreal series of professionals explore his reasoning, his memories and his options. Through his meetings with his prosecutor and shrink (Amanda Powell), his army and civilian lawyers (Andy Luther), a lieutenant and a pastor (Jude Roche), we learn that Reeves was a poor Texas teenager with a drug and criminal record when an Army recruiter decided he was fit to wear the uniform.
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— Nancy Bishop
Theater Mon Sep 09 2013
For Chicagoans, the word "Pullman" brings to mind, the unique architecture of the neighborhood located in the far south side of the city; however, for African-Americans, it means much more: the legacy of the Pullman Porters.
In the late 1860s, engineer George Pullman, creator of the "Pullman sleeping car," employed large numbers of black men (former slaves) as Pullman Porters, who worked as "humble" servants to patrons who rode sleeper cars during America's thriving railroad industry. "Many Black Americans wanted to get this job," said Tony Award-winning actor Cleavant Derricks, who stars as Sylvester Sykes in Cheryl West's Pullman Porter Blues, opening this weekend at The Goodman Theatre. "It was dignified, you had to wear uniforms [and] you got to travel and see the country."
Pullman Porter Blues, directed by Chuck Smith, is the story of a family of men representing "three generations of African-American Pullman porters on the cusp of unionization in the 1930s." Here, Derricks talks about the cultural importance of the story and its place in American history, working with director Chuck Smith, and what he wants audiences to take away from the play.
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— LaShawn Williams
Blog Fri Sep 06 2013
Are you crazy about comedy? An admirer of art? Got a thing for theater?
Gapers Block is looking for writers to contribute at least two posts (interviews, previews, reviews, etc.) a week about Chicago's diverse and vibrant arts and culture scene. Including the aforementioned, topics could feature other arts-related subjects such as dance, photography, sculpture, fashion, spoken word and more.
NOTE: Gapers Block is a volunteer entity; while the position is unpaid, writers benefit from building clips, having press access to performances and events, and receiving comp tickets from time to time.
If you are interested, please send us a note telling us a little about yourself, along with 2-3 current writing samples to ldw@gapersblock.com.
— LaShawn Williams /
Column Fri Sep 06 2013
Riddick
For those of you expecting wall-to-wall action from Riddick, you might be mistaking this film for an entry in that other Vin Diesel franchise. If you want eye-popping science-fiction visuals, again, that not exactly what this third installment in the series that began with 2000's Pitch Black and trudged along in 2004's The Chronicles of Riddick. I think the elements of Richard Riddick (at least the first film — certainly the latest) that appealed so greatly to Diesel are the themes of isolation and of one skilled killer fighting against a small army of... something. In this first film, it was a scorched, seemingly lifeless planet by day and a lethal darkness at night. But this time around, Riddick is death in the dark, at least for a large part of this movie, and he seems to be enjoying the turnaround.
Kind of sort of picking up sometime after Chronicles (with an appearance by a familiar face from that film), this story eventually sees Riddick back on another sun-burnt, nameless planet, severely injured and fighting for his life against alien creatures that want nothing more than just to eat him up. The first 30 minutes or so of the film feature no dialogue (outside of a bit of narration and the flashback to how he got here in the first place); it's Riddick versus everything this planet has to throw at him. There's a race of alien dingos and a hideous set of creatures that look like a combination of lizard and scorpion. There aren't a ton of different unfamiliar wildlife featured in Riddick, but the creature design is pretty great in the way it blends the familiar with the grotesque.
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— Steve Prokopy
Theater Thu Sep 05 2013
Beginning tomorrow night, Public House Theatre takes on that familiar target, "big bad Corporate America," in its new play, How to Lose Jobs and Alienate Friends. Written by the theater's writers' room and directed by Byron Hatfield, the play mixes seminars for the audience with workplace romance, YouTube diversions and cat memes to explore today's often-frustrating business world.
The play is the story of Chris, who thinks he is being hired for an accounting job and finds he is the new head of social media for Organitek. He soon discovers that no one really knows what his job is and then he can't determine what his new company does or what products it makes. (Yes, it's a global conglomerate straight out of the 70s, when a big oil company bought a mass merchandiser and a box company and no one thought anything of it; in fact, that's a true Chicago story. Mobil bought MARCOR, a merger of Montgomery Ward and Container Corporation of America. It didn't end well.)
Cast of How to Lose Jobs and Alienate Friends; Photo by Patrick Lothian.
How to Lose Jobs is the first play produced by the theater's new internal system, which includes a producers' group, directors' table, writers' room and a core group of actors to generate and produce new material. The play combines long-form narrative with sketch-comedy style.
How to Lose Jobs and Alienate Friends runs September 6 through October 13 at Public House Theatre, 3914 N. Clark St. Performances are Fridays-Sundays; times vary. Tickets are $15 and may be bought online or by calling 800-650-6448.
— Nancy Bishop
Art Thu Sep 05 2013
The Chicago Loop Alliance has added new features to the recently created public plaza on the State Street median between Wacker Drive and Lake Street. Art and music now enhance the street plaza, which typically draws 40 to 50 people during any given afternoon.
Photo by James John Jetel.
Give, a new work by Dusty Folwarczny, was recently installed at the Lake Street end of the plaza. According to Folwarczny, the colorful loop-shaped sculpture is designed to be interactive. Visitors can walk through it or use it to frame photos of State Street--and when it's pushed, the steel loop can bounce back or rock in place. "The piece explores the art of giving--a transfer of energy from one person to another," she said.
In addition, the Chicago Street Musicians will perform popup concerts twice a week for about an hour during lunchtime; musicians scheduled to perform are guitarist-vocalist George Banks, saxophonist Beau Barry, keyboardist Eugene Rowland and violinist Hannah K. Watson.
The Gateway is supported through funding from the Chicago Loop Alliance, a nonprofit that promotes the use of art, design and technology to enhance public spaces in the Loop. The Chicago Department of Transportation's Make Way for People initiative also participated in this project.
— Nancy Bishop
Film Thu Sep 05 2013
In the new trailer for Gravity, starring Sandra Bullock and George Clooney, we learn a few things. We see that some sort of collision causes catastrophic damage to the Space Shuttle and International Space Station, stranding two astronauts in space. And we learn that Bullock's character, engineer Dr. Ryan Stone, is from the northwest suburb of Lake Zurich.
Gravity premieres Oct. 4.
— Andrew Huff
These days, by using a digital model, you can make a solid object. The implications are enormous and with genie out of the bottle, a new world awaits the possibilities that are bound to be wonderful or misused depending on the motivation of the creator. So when the Harold Washington Library announced the opening of a Maker Innovation Labs featuring 3D printers, my interest was piqued and I knew I had to go.
The interactive exhibit runs through the end of the year, with workshops being held to familiarize participants with the design software, allowing you to create and then print items such as key chains and desk organizers.
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— Alan Lake
Art Tue Sep 03 2013
Chicago is known as a city of neighborhoods, separated by ethnicities. Old Irving Park on Chicago's northwest side contradicts that description with residents from 70 countries. The community's new mural--Positive Babel: The World Lives, Works and Plays in Old Irving--was created to communicate that message.
Positive Babel mural, acrylic and spray paint on mason wall. Photos courtesy of Tony Sparrow.
The new work, created by lead artist Tony Sparrow and a team of eight other artists, was just completed in the viaduct under the Union Pacific/Metra tracks at Irving Park Road and Keeler Avenue. It will be dedicated at 11am Saturday with a program featuring representatives of the Old Irving Park Association, artists and public officials. (See Saturday Slowdown for more information.) Marlena Ascher, president of OIPA, will emcee the event.
Old Irving Park is a one-square mile neighborhood bounded by Addison and Montrose on the south and north and Pulaski and Cicero on the east and west. The neighborhood has many underpasses created by two Metra train lines, the CTA Blue Line and the Kennedy Expressway. All have heavy pedestrian and car traffic every day. The community organization has been "turning those eyesores into assets since 2003," according to Anna Sobor, incoming president of OIPA. The Positive Babel murals are the 10th and 11th.
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— Nancy Bishop
