According to the artist, “It Is What It Isn’t” is an attempt to “systematize and compartmentalize a huge concept: the void.” Freiburg breaks the void down into three categories: absence, loss, and the unknown, which respectively correspond with the numbers seven, five, and three.
by Harunobu Coryne •
“Police and Thieves,” an exhibit currently on display at the Hyde Park Art Center (HPAC) that investigates American precepts of criminal justice. Like the exhibit, the film attempts to overturn the taken-for-granted division between right and wrong.
by Annie Pei •
Through the use of paint, food, and sound, Lathisophon’s work challenges viewers to re-examine the relationship of self and place in their own lives. A graduate of the Art Institute of Chicago, Lapthisophon says that “Construction of a National Identity” is part of a long line of exhibitions inspired by people and their interactions with one another and their surroundings.
by Bonnie Fan •
Pillow talk. Skeletons in the closet. Cash under the mattress. No matter how you spin it, the bedroom is a deeply private place.
by Todd Cooke •
Evan Bancroft stood at the entrance of a 65-foot-long, balloon-like tunnel, wearing black-framed glasses with their lenses popped out, and clenching a fat unlit cigar between his teeth. Across from him, his partner in crime Mike Plummer stood dressed for…
by Julien Hawthorne •
Pablo Picasso once said, “It took me four years to paint like Raphael, but a lifetime to paint like a child.” The real challenge for an artist, he seemed to say, is not necessarily painting like a master, but finding a truly expressive and honest style in one’s medium. Picasso ended up finding his place far away from his Renaissance-level technique in a different realm of abstraction. “Pushing Boundaries” and “Ground Floor,” the two student art exhibitions currently running at the Hyde Park Arts Center (HPAC), are living examples of Picasso’s problem.
by Sophia Anastazievsky •
The text on a sign posted outside of the Hyde Park Art Center was the only advertisement for the exhibit “Signs and wonders shall appear” by New Zealand artist Maddie Leach. The work consisted of several milk crates full of apples sitting on a dock at Jackson Harbor, almost two miles away from the sign. Viewers had to make the trek. To demand this kind of persistence from one’s viewership seems to confront the usual one-way relationship between art and its audience, but visitors were rewarded; everyone could take home up to two pounds of ripe, delicious art objects. Leach humbly described her ideal viewers as “people who want to make pie.”
by Kelsey Gee •
Alone on the second floor of the Hyde Park Art Center, I push aside thin felt curtains to enter a gallery featuring “The City,” the first of four video installation programs in “Spatial City: An Architecture of Idealism.” There are…