Opening Reception: Friday, October 7, 6-9pm

October 7 – December 4, 2016

“Axiom” presents three artists rooted in craftsmanship who conceptually challenge the expectations of their discipline. “Axiom” addresses the commonalities that link their work, either through shared propositions as well as assumptions around the nature of craft. Frank Connet, Lialia Kuchma and Anne McGinn hold skill and materials in high regard and they acknowledge the historic narrative that has defined their discipline. Nevertheless, their thinking about their work pushes across the border of the imagined, across materials, into refined and distinctive artistic voices.

Frank Connet is well known for his textile work: shibori-based geometric compositions, primarily in indigo and over-dyed walnut, that have a bold, graphic presence. Connet’s complex, organic patterns have an overarching geologic and meteorologic reference. His work also suggests processes of accumulation and mutation, as well as the tension between matrix and void—where latent energy continually agitates against restraint.

Lialia Kuchma’s tapestries and prints are inspired by a host of ideas, primarily folded paper studies that model for the figure in her work. The three tapestries in this exhibition appear as elegant apparitions floating in a void, or perhaps a structured garment that has been cast off and left where it landed. Kuchma is also a trained calligrapher; mark marking is a potent, expressive force for her. Here, she remarkably translates that immediacy of line and gesture into a structured, binary weaving process.

Anne McGinn, most known for large-scale tapestries, is represented in this exhibition by a group of ceramic sculptures, along with a new body of unique woodblock prints. When McGinn’s health compromised her ability to continuing weaving, the artist took up ceramics as a way to continue a studio practice. In clay, McGinn has fashioned often large-scale forms, which like a tablet are written upon with complex surfaces of glaze and incised line. Many of her pieces allude to figures, while others are built more like monuments, stoic and stolid as sentinels.

“Axiom” curator Doug Stapleton is an Associate Curator of Art with the Illinois State Museum Chicago Gallery. He is also a visual artist and educator.

Save the date November 17 at 6:30pm for GALLERY TALK with curator Doug Stapleton and artists Frank Connet, Anne McGinn and Lialia Kuchma for Q&A.

Preview exhibit – HERE

Order catalog- HERE

Photos from the opening reception – HERE


Reality Check: Directions in Contemporary Art since Ukrainian Independence

August 26 - November 27, 2016

The Ukrainian Institute of Modern Art is pleased to celebrate the 25th Anniversary of Ukraine’s Independence with the exhibition, “Reality Check,” curated by Adrienne Kochman, one of North America’s foremost scholars of contemporary art of Ukraine and the Ukrainian diaspora.

For Ukrainian professional artists, the collapse of the Soviet Union created an opportunity to learn and engage with current artistic developments occurring in the west, as well as delve into those of the past from which they had been excluded. “Reality Check” explores the work of eight contemporary artists affected by Ukraine’s 1991 independence: Lydia Bodnar-Balahutrak, Anna Bogatin, Yhelena & Michael Hall, Roman Hrab, Natalka Husar, Yulia Pinkusevich, and Valya.

In 1991, Cleveland-born, Ukrainian-American artist Lydia Bodnar-Balahutrak visited Ukraine for the first time; the trip, and subsequent visits following, reignited the artist’s concern for the human condition, resulting in works that liken Ukraine’s ravagement by the Soviet Union with the ravagement of nature by the Chornobyl disaster. Anna Bogatin, too, finds inspiration in nature; the artist, born in Ukraine, draws from the forms and colors of nature, using new technologies to create compositions that suggest the quest for peace and harmony.

Roman Hrab’s works deal with the way that images documenting a given place, like Ukraine’s Carpathian Mountains or the Green Zone in Baghdad, inevitably become more unrecognizable the more one attempts to digitally enhance them; finding this an apt metaphor for experiencing a landscape, he translates these images into multimedia installations. Conflict zones also feature in the work of Yulia Pinkusevich, who was born in the USSR with both Ukrainian and Russian heritage; her installation, Silencing the Cacophony, references the Euromaiden resistance in Kyiv as well as protests that occur globally.

Born in New Jersey to Ukrainian Displaced Persons, Natalka Husar examines issues of persona in her works, Why They Behave Like Russians; here, the figurative artist captures the trend amongst men in post-Soviet Ukraine to dress like Russian mobsters, reflecting a need to intimidate to survive. Valya, too, addresses notions of identity in her figurative works, but to a much different end; with repeated images in her textile pieces of an aged ‘Mother Eve,” the artist reinforces the commonality that all humans share in their biological ancestry.

Ukrainian-born, Chicago-based artist, Yhelena Hall and her collaborator, Michael Hall create works that look to the past, but reinvigorate the outdated with the contemporary. In Bullafolis Cylinder, the artists appropriate the outmoded function of a bellow, reimagining it as a large scale, interactive bubble blower.

Preview the exhibit – HERE

Order catalog- HERE

Photos from the opening reception – HERE

Article in Chas i Podii – HERE