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AIC: Contemporary Art (Bot)

@aiccontemporary.bsky.social

Sharing artworks from the Art Institute of Chicago's Contemporary Art department. Automated thanks to @andreitr.bsky.social and @botfrens.bsky.social

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AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 10h ago

We Knew So Little Then/ I Know Even Less Now... https://www.artic.edu/artworks/250924/

Promised gift of the Joyner/Giuffrida Collection

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 14h ago

Untitled (Pro) https://www.artic.edu/artworks/186718/

Promised gift of Donna and Howard Stone

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 16h ago

Untitled https://www.artic.edu/artworks/184107/

Ellen Gallagher’s large-scale works utilize repetitive forms and an aggregation of both common and unorthodox materials to create subtly layered surfaces. Upon close inspection, her early paintings on canvas and paper reveal uncomfortable racial signifiers. The artist’s elaborate and labor-intensive method of building figures and forms always presents loaded imagery in ways that disrupt predictable interpretation. In Untitled Gallagher established controlled patterns melded out of rubber—a material that she uses for all of her black paintings—to articulate what she refers to as a “fantasy” rendering of an African, delineated by a system of signs indicating hair, skin, tattoos, and jewelry.

Major Acquisitions Fund

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 18h ago

Welcome to the Wadsworth: A Museum Tour https://www.artic.edu/artworks/193358/

$Andrea Fraser is a performance and video artist who has been regarded primarily as a pioneer of "institutional critique," since she structures her work around existing museum practices and protocols such as gallery talks and welcome speeches. Although they often begin rationally, her performances progressively unravel, frequently devolving into discussion of eccentric topics or performances of taboo behaviors. Spanning more than a decade, the five works in the Art Institute's collection are among Fraser's earliest and most influential creations.Welcome to the Wadsworth, which was commissioned by the Wadsworth Atheneum, documents a tour Fraser led there in April 1991. Rather than conducting visitors through the galleries, the artist takes them outside as she circles the perimeter of the museum campus, discussing the history of Hartford, Connecticut, as well as its fractured social and economic circumstances.— Entry, Film, Video, New Media, Art Institute of Chicago Museum Studies 35 (1), pp. 98–99. Contemporary Art Discretionary Fund; restricted gift of James Cahn and Jeremiah Collatz$

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 22h ago

Runway, from the series House Beautiful: Bringing the War Home https://www.artic.edu/artworks/195601/

Through prior gift of Adeline Yates

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · yesterday

Bather/Night https://www.artic.edu/artworks/202218/

Carroll Dunham creates prints, drawings, and paintings featuring boldly graphic, often erotic cartoon-inspired imagery. His work appears at once sophisticated and childlike, refined and obscene. Bather/Night is part of a recent series that explores the somewhat well-worn art-historical theme of a woman in nature—a new subject for the artist. Specifically, this piece depicts a woman bathing, a theme that recalls classic depictions by Paul Cézanne, Edgar Degas, and Pierre Bonnard. Shown in severe foreshortening, a female nude bends forward under a night sky inspired by the painter Vincent van Gogh, splashing herself with water as her geisha-style hair blends into the background. As Dunham explained, "It’s almost similar to the way you might simultaneously be having the most intimate look at someone’s body parts and out the other side of your eye you see a tree way off in the distance—that collision of subjects and that collision of space."

Ada S. Garrett Prize Fund

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 2d ago

Tikpo https://www.artic.edu/artworks/237892/

Anonymous gift

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 2d ago

Water Painting IX https://www.artic.edu/artworks/47139/

Gift of Society for Contemporary American Art

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 2d ago

from the series I Strongly Believe in Our Right to Be Frivolous https://www.artic.edu/artworks/243594/

Claire and Gordon Prussian Fund for Contemporary Art

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 2d ago

September 12 https://www.artic.edu/artworks/199552/

Gift of the artist

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 2d ago

A Movie https://www.artic.edu/artworks/184164/

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 3d ago

from the series I Strongly Believe in Our Right to Be Frivolous https://www.artic.edu/artworks/243606/

Claire and Gordon Prussian Fund for Contemporary Art

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 3d ago

Untitled (candles) https://www.artic.edu/artworks/251573/

Gift of Joel Wachs

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 3d ago

Moeder https://www.artic.edu/artworks/189208/

Gift of Nancy Lauter McDougal and Alfred L. McDougal

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 3d ago

Urns (Set of 8) https://www.artic.edu/artworks/182728/

Avoiding any signature style, Thomas Schütte has produced an oeuvre of perplexing diversity, including architectural models, photographs, sculpture, and watercolor drawings. His decidedly unimposing, antiheroic works explore the cultural, economic, historical, and social conditions of his native Germany with a detached, often humorous, sensibility. Much of Schütte’s work addresses the almost existential difficulty postwar German artists encounter in attempting to create monuments and memorials. As such, it evidences an ongoing preoccupation with themes of death, mourning, and collective memory. This is true of Urns, an installation comprising eight ceramic vessels glazed in a palette of solid colors marked by streaks, drips, and other surface effects. Ranging from three to five feet in height, these fragile containers at once imply living bodies and oversize repositories for their ashes. The vessels are intended to be grouped together, like a family. Displayed closed, these mysterious containers prompt speculation about what might be contained inside. One of the urns, however, lacks a top and bottom; viewing the installation from above reveals that it is empty.

Gift of Michael N. Alper in memory of Pamela J. Alper

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 3d ago

Artist's Studio "Foot Medication" https://www.artic.edu/artworks/229363/

Gift of Edlis Neeson Collection

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 4d ago

Davos https://www.artic.edu/artworks/229367/

Gift of Edlis Neeson Collection

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 4d ago

Untitled Relief (170 squares) https://www.artic.edu/artworks/221179/

Restricted and promised gift of the Anstiss and Ronald Krueck Collection

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 4d ago

demonstration https://www.artic.edu/artworks/181114/

Gift of Society for Contemporary Art

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 4d ago

Walnut https://www.artic.edu/artworks/14299/

Gift of Society for Contemporary Art

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 4d ago

Mortar and Pestle https://www.artic.edu/artworks/153261/

Gift of Donna and Howard Stone

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 5d ago

May I Help You? (in cooperation with Allan McCollum) https://www.artic.edu/artworks/193357/

Andrea Fraser is a performance and video artist who has been regarded primarily as a pioneer of "institutional critique," since she structures her work around existing museum practices and protocols such as gallery talks and welcome speeches. Although they often begin rationally, her performances progressively unravel, frequently devolving into discussion of eccentric topics or performances of taboo behaviors. Spanning more than a decade, the five works in the Art Institute's collection are among Fraser's earliest and most influential creations.
May I Help You?, the only piece among the five Art Institute works not performed by Fraser, features a monologue delivered by a commercial gallery director to visitors at an exhibition of the artist Allan McCollum's Plaster Surrogates (1982/90). In attempting to describe the display, the speaker projects a range of class fantasies and anxieties onto these essentially blank works, her speech eventually slipping into a self-revealing, contradictory message.

Contemporary Art Discretionary Fund; restricted gift of James Cahn and Jeremiah Collatz

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 5d ago

Cape Cod, Winter https://www.artic.edu/artworks/236741/

Nancy Lauter McDougal and Alfred L. McDougal Fund

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 5d ago

Punta Hicacos, Varadero, Cuba, November 14, 2000 https://www.artic.edu/artworks/195902/

Gift of Nancy Lauter McDougal and Alfred L. McDougal

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 5d ago

from the series I Strongly Believe in Our Right to Be Frivolous https://www.artic.edu/artworks/243604/

Claire and Gordon Prussian Fund for Contemporary Art

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 5d ago

Close Pin Prop https://www.artic.edu/artworks/111638/

In the late 1960s, Richard Serra pioneered “antiform,” an approach to sculpture that challenged the reductive formalism of Minimalism by focusing on the process or act of creation. Capturing the raw, muscular energy of working with lead and steel, the artist utilized these materials to explore fundamental properties of sculptural tension. In 1968 Serra created his first “props,” consisting of plates and tubes in precarious configurations. Although these works are entirely stable, as all are carefully balanced, they employ gravity as their fundamental support and thus have an unnerving quality. The result is an aggressive sculptural experience evoking potential danger. The title refers to the artist Chuck Close, who visited Serra’s studio when this prop was being made.

Through prior gift of Mary and Leigh Block

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 6d ago

5811 South Ellis https://www.artic.edu/artworks/202491/

Gift of Donna and Howard Stone

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 6d ago

Cube and Vent https://www.artic.edu/artworks/50317/

Mary and Leigh Block Fund for Acquisitions

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 6d ago

John D. Rockefeller https://www.artic.edu/artworks/18826/

Gift of Mrs. Frederic C. Bartlett

AIC: Contemporary Art (Bot)@aiccontemporary.bsky.social · 6d ago

Untitled https://www.artic.edu/artworks/146895/

Kiki Smith has been instrumental in shifting the abstract rhetoric of the human form in art into a grounded conversation about the body, particularly as it is defined in social and political terms. Her figurative sculpture examines the physical and spiritual nature of the body by presenting it in an abject, fragmented, and damaged state. Untitled, which is one of only a few sculptures by Smith that investigates the male form, is executed in tissue-thin gampi paper—a fragile and ephemeral material—to convey the porous and permeable quality of skin. Here, as in much of Smith’s work, the artist engaged viewers in issues of individual and collective health and disease, heroization and victimization, and life and death.

Gift of Lannan Foundation