"History merges with the present through the quaotations of Leslie Baum's painting practice. Baum cites imagery from existing artwork as if arranging partners in a duo while simultaneously trying to learn the steps of their dance. Visitors are invited to move into a floor painting, mountainand SEA(partial) p.c. where a Cezanne-like landscape surrounds the body on all sides. In shape of the day:e.v.l.h, Baum references imagery from the plein air landscapes of Lawren Stewart Harris along with the abstraction of Esteban Vicente. Harris's Iceberg, Davis Strait, from which Baum quotes, was first painted during a ship voyage through the artic. The artist describes this series, shape of the day, which materialized in the wake of the 2016 election cycle as a way to meditate on natural forces greater than the politics of the day. It is hard not to ponder in this age of climate change that a view of the icebergs may not be visible much longer. In the work of Baum, we find another avenue to explore the world, what we inherit from artists, and the traditions of the part through her artistic agency."
Night brings day/day brings night is a selection of intimately scaled paintings from an ongoing project. This project came to fruition in the shadow of the 2016 presidential election. In that moment, the studio became a refuge and a place to contemplate forces greater in scale than the politics of the day. The paintings that emerged meditate on natural cycles and the passage of time: seasonal rotations, the turning of the calendar, and the rhythmic flow of night into day and day into night. Each work imagines a world within a world: a portal, an opening, into the unknowable, and each is tethered to the hope found in the long arc of time.
Participating artists include: Leslie Baum, Drexciya, Julie Marie Lemon, Iñigo Manglano-Ovalle, Mohau Modisakeng, David Nasca, and Allan Sekula.
Curated by Holly + Zachary Cahill
A new collaborative piece with Allison Wade is featured in Pushing Up Daisies, a group exhibition at Peana organized in collaboration with Triumph Chicago.
At the heart of the exhibition is a photograph of a concrete mural relief situated at the entrance to the Beit Yad Labanim memorial building (which from 1975 to 2000 also served as the Herzliya Museum's main entrance). In this relief - created by the local artist Shlomo Eliraz - we see a combination of a formal, geometrically abstract arrangement, biblical verses, and excerpts from Natan Alterman's poem, "The Silver Platter" - in keeping with conventional official and ceremonial protocol. Recently, the Mundi_Lab research group of the Technion's Faculty of Architecture in Haifa (headed by Dr. David Behar-Perahia) removed the partitions between the memorial building and the museum, as part of ongoing research that they presented at the museum. Evron has placed a photograph of that relief within the museum space, as an integral part of it, in a bid to tackle the charged historical, national, and local contexts that it embodies. In addition, Evron invited the American artist Leslie Baum - to respond to it in her own language, which engages with the modernist heritage. The juxtaposition between the photograph of the relief and these paintings offers a study of complementary contrasts, bringing together the universal and personal as well as an ideological call for the right to autonomy.
On Friday, September 8, from 6 to 8 p.m., the Cincinnati Arts Association’s Alice F. and Harris K. Weston Art Gallery in the Aronoff Center for the Arts will kick off its twenty-third exhibition season with the opening of UnFunction, a group exhibition curated by writer and independent curator Maria Seda-Reeder (Cincinnati, OH) that examines the intersection of functional objects and fine art.
The materials with which artists choose to engage have long reflected their particular understanding of the complex consequences of art as commodity. So what does it mean for artists to continue to create objects that will likely outlive their makers? Playing with signifiers of both craft and fine art, the dozen artists in UnFunction undermine and reinforce paradigms of purpose—transcribing meaning from the materials around them in ways that make us question our understanding of function. Interrogating the limits of formalism, applications of affordable and abundant materials, and subversions of the semiotics of design and notions of practical use are explored throughout the exhibition in myriad and unexpected ways.
Featuring artworks by Denise Burge, Terence Hammonds, Emily Hanako Momohara, Sean Mullaney (all Cincinnati, OH); Leslie Baum, Dan Devening, Emily Moorhead, Allison Wade (all Chicago, IL); Daniel Bare (Clemson, SC); Tracy Featherstone (Hamilton, OH); Elizabeth Runyon (Oxford, OH); and Chris Vorhees (Indianapolis, IN), UnFunction surveys a broad cross section of disciplines, techniques, concepts, and materials in an expansive installation utilizing both floors of the Weston Art Gallery.
The Cleve Carney Art Gallery begins its 2017-18 season with an exhibition of paintings and works on paper by the artist Leslie Baum.
Known for her painting-based installations Baum's work covers a diverse range of surfaces and media. The different materials, scale and installations of her work mix with a sampling and remixing of iconic modern painting imagery. Her attention to, and referencing of, the rich history of painting is a devoted celebration of its history. At the same time her agility and willingness to move throughout that history is a joyful casting-off of its limitations.
For Here Comes The Rainbow Baum will be debuting two new bodies of work that use the seven hues of the rainbow as a launching point. Central to the installation will be seven monumental paintings on un-stretched canvas that will be mounted directly on a 45 foot long section of wall in the gallery.
For more of Leslie Baum's work visit: http://lesliebaum.net/
check out the artist book/catalogue made in conjunction with my solo exhibition excuse me if i get too deep at geary contemporary!
|LESLIE BAUM: EXCUSE ME IF I GET TOO DEEP
OPENING RECEPTION: THURSDAY NOVEMBER 17, 6-8PM
|Geary Contemporary is pleased to open this November with Excuse Me if I Get Too Deep, a solo exhibition of recent work by Chicago-based artist Leslie Baum. Geary Contemporary will be hosting an opening reception for the artist on Thursday, November 17th from 6-8 pm. This will be Baum's first solo exhibition with the gallery.
Baum’s exhibition invites the viewer to a visual and tactile experience. Works on the floor, constructed for seating, offer an experiential invitation for contemplation, rest and reflection. Baum's works act as windows, doors, portals; in her words, “a universe within a universe, within a universe” where a shape becomes a form, becomes a sculpture, becomes a painting, becomes architecture.
The fragment is essential to Baum’s approach, with parts that function as building blocks for painting-based installations and also stand alone as wholly realized objects. She samples the modern painting canon across diverse media, scale, and approach, as filtered through the lens of her memory and the vagaries of digital representation. References to iconic paintings appear in varying degrees of legibility, where distortions and misquotations yield unexpected associations and meanings.
Baum’s work is not defined by art historical citation, but in what might lie beyond the threshold. What can be taken/borrowed and transferred to another material? Fragments occupy wall, floor, and shelf to “make visible what otherwise can’t be seen”, an ode to painting’s history and a celebration of its pluralistic present.
Leslie Baum lives and works in Chicago. She has shown her work nationally and internationally, with recent exhibitions including 65Grand, Chicago; Cleve Carney Art gallery, Glen Ellyn; 4th Ward Project Space, Chicago; Hap Gallery, Chicago; Carrie Secrist Gallery, Chicago; Geary Contemporary, New York. Her animation short, the Megillat Breakdown, made in collaboration with Frederick Wells, was included in the Wisconsin Union Film Committee at the University of Wisconsin 2015 experimental film series and in the 2014 Eyeworks Festival. Review and features in Artforum, Art in America, Hyperallergic, the Chicago Tribune, New American Paintings vol. 119, and 100 Painters of Tomorrow. Baum has received residencies at Yaddo and Vermont Studio Center.
For additional information please contact Sasha Cohen @ email@example.com
185 Varick Street, New York, NY 10014
It’s time to call off the search for “new areas of possibility within the known confines of painting.” Congruent with the mission of marketing consumer goods (including art), that is the stated goal of this exhibition, but all that it has found are the usual collection of techniques and strategies found in contemporary academic art. The strongest claim for novelty might be Anna Kunz’s installation of paint on porous fabric, but the banal results clutter the corner of an already aesthetically challenged institutional space. Some of the other art would look better in other contexts. Sherwin Ovid’s paint-skin-over-canvas “ceramics” would benefit from being hung at eye level instead of above the door, while Steven Husby’s calligraphic geoform and Craig Yu’s nocturnal landscape would greatly benefit from proximity to the rest of their work.
On the other hand, the contrasting work of three remarkable women complement each other quite nicely. Rebecca Shore has chosen to follow the Chicago Imagists. Her work has the fragmentary precision of Ray Yoshida and the repressed sexuality of Christina Ramberg. Both pieces suggest a female torso whimsically transposed into a mechanical drawing. She has co-opted the tireless energy of industrial production for a feminine presence, with just a hint of self-deprecating humor.
In contrast to both of the above, Leslie Baum ignores herself in pursuit of mystic beauty. Equilateral triangles, inherently mysterious, are enhanced with the kind of lush, decorative designs for which Scandinavian fabrics are justly celebrated, exemplifying the happiness of a well-ordered and sensual life. She has created a kind of meditation center by leaning one of her ornate triangles against the wall in front of an ornate cushion on which viewers may sit.
These women offer three successful strategies for living, as well as making art. (Chris Miller)
Through July 29 at Cleve Carney Art Gallery, 425 Fawell Boulevard, Glen Ellyn
June 2 - July 29, 2016
Opening Reception: Saturday June 4, 1-3pm
Closing Reception: Friday July 29, 6-7:30pm
Artists Include: Leslie Baum, Magalie Guérin, Anna Kunz, Steven Husby, Sherwin Ovid, Autumn Ramsey, Rebecca Shore and Craig Yu.
For Information regarding this exhibition please contact: Justin Witte / firstname.lastname@example.org / 630-942-3206
May 20–July 24, 2016
Opening Reception: Friday, May 20th, 7–10pm
Legends for Loose Grids is a relaxed triangulation of artists and ideas, bringing together the work of David Bartley, Leslie Baum, and Alexander Herzog. Together, their studio practices are networked by a shared interest in painting as a process, and format, as well as a concision device for personal vocabularies, grid systems, and modernist art histories.
The grid has long been a logical way to discuss the materiality of painting. Roselind Krauss describes the grid as, “a structure emblematic of the modernist ambition…” she says, “Indeed, if it maps anything, it maps the surface of the painting itself.” Within the exhibition, the artists approach the grid directly, as a framework to operate in and a structure to unbind; as Cartesian space in which to situate relationships; and implicitly, in the methodical labor of production - the repetitive, accumulative, patterned action of the artists hand - or in the cotton weave of the canvas substrates.
In the work, we see warps and wefts of art history; each artist offers a series of chess moves through a chronology of painters, nodding to Caravaggio, cropping Guston, grafting Martin, an offering for Frankenthaler, an ode to Cezanne, an accidental Twombly. Here grids are elastic, and can stretch over space and time, like 3-D checkers. These grids are non-silent, serving as an efficient container for artistic labor and personal and art-historical narratives.
Leslie Baum shares a sampling of new work from her alphabet-like clusters of paintings-cum-installations. Her paintings parade out into exhibition space like scenic design, occupying a bivalence of foreground/background and in-frame/beyond-frame.
David Bartley shares large-scale patterned works evidencing the labor of obsessive patterning, and residual build up, of personal and art-historical histories.
Alexander Herzog’s surfaces are worked with gesso, leaving the corporal traces of the artists hand. The artist likens the methodical practice of building and leveling the surface of his work to the mundane or repetitive activities of the hospitality industry, like washing and cooking.
September 16 - 29 , 2016
The ANNUAL is a yearly sales exhibition celebrating cutting-edge Chicago-based artists. Arranged by a guest curator, The ANNUAL creates an accessible forum for emerging collectors to discover affordable new work and engage directly with its creators. This year The ANNUALwill run for two weeks on either end of EXPO Chicago, opening Friday, September 16 and closing on Thursday, September 29.
2016 Exhibition: SHOWROOM
The Chicago Artists Coalition is delighted to announce the second edition of The ANNUAL with the exhibition, SHOWROOM curated by Edra Soto and featuring Chicago artists and makers.
SHOWROOM, is an installation unto itself, bringing together work influenced by fundamental aspects of interior architecture and design objects, and placing them on custom made furniture by Dock 6 Collective. SHOWROOM aims to draw new connections between our understanding of the relationship between art and design, and to make us question our assumptions. SHOWROOM exists within that delicate balance of the expressive world and the pragmatically crafted architecture that holds it.
2016 Curator: EDRA SOTO
Edra Soto is a Chicago-based artist, educator, curator, and gallery director. Along with her husband, Dan Sullivan, Soto co-founded and runs THE FRANKLIN, an outdoor project space supported by the 3Arts Foundation, Northeastern Illinois University and the Propeller Fund. Some of her latest projects include: The Elmhurst Art Museum Biennial, The 4th Poly/Graphic Triennial of San Juan and the Caribbean, and the Cuchifritos Gallery + Project Space in New York. Soto co-curated Present Standard, a group exhibition at the Chicago Cultural Center that was on view January-April, 2016. Currently, Soto and Sullivan are working on a commission from the Chicago Transit Authority. Their project, Graft, will be featured at the Western Avenue stop on the train line to O’Hare Airport.
Soto received her MFA from the The School of the Art Institute of Chicago in 2000. She also attended Skowhegan School of Painting and Sculpture, and the Beta-Local in Puerto Rico. Recently, Soto completed the Robert Rauschenberg Residency Program in Captiva, Florida through a 3Arts Fellowship.
The Eyeworks Festival of Experimental Animation is an invitational festival focusing on abstract animation and unconventional character animation. Festival programs showcase outstanding experimental animation of all sorts, and include classic films and new works. The Eyeworks festival was founded in 2010 by Alexander Stewart and Lilli Carré, and is held annually in Chicago, with additional curated programs presented in Chicago and other cities throughout the year.
The Eyeworks programs showcase a range of animation techniques, including paper cutouts, stop-motion, 3D computer animation, and a wide variety of hand-drawn methods. The content of the films is equally varied, and includes cosmic abstraction, psychedelic characters, geometric patterning, and surrealistic narratives.
one art space
23 warren street
new york new york
november 6 2014
Rocket Run: Abstractions From Chicago
october 17 2014
organized by alexander herzog
Elder Gallery, Vance D. Rogers Center for Fine Art, Nebraska Wesleyan University. Lincoln, NE
New catalog for souvenirs from wonderland exhibition available. Designed by Sonnenzimmer, with an essay by Philip Martin and poem by Maureen N. McLane
My Crippled Friend investigates the recent history of the intersection of painterly abstraction and the object. While “painting as object” has often been a formalist issue, the works in this exhibition gather their identity through the subversion of formalism—scrambling and reassembling themselves in an aesthetic shell game where the act of painting is always an investigation of a painting’s ability to push into objecthood.
The result is a collection of works that are each alive in a way that only a painting can be, as well as present in a way that seems more like an object. Impossible to label as one specific medium (“a painting” or “a sculpture”), they are, rather, an often-lumpy but always compelling combination of the two.Participating artists will include Richard Aldrich, Claire Ashley, Leslie Baum, Anna Betbeze, Sarah Braman, Tom Burr, Tom Burckhardt, Kathy Butterly, Sarah Cain, N. Dash, Cheryl Donegan, Michel François, Joe Fyfe, Katharina Grosse, Mary Heilmann, Chris Johanson, Ross Knight, Jim Lambie, Jim Lee, Chris Martin, Sam Martineau, Matt Rich, Cordy Ryman, Nancy Shaver, Daniel Turner, Amy Yoes, and Tamara Zahaykevi