JULY 15 – AUGUST 28, 2016
OPENING RECEPTION: FRI. JULY 15, 6-8PM
The Evanston Art Center Biennial is one of the Midwest’s largest and most prestigious juried exhibitions, offering artists an opportunity to have their work viewed by three talented curators; Lela Hersh, President of Museum and Fine Arts Consulting and Lecturer in the Graduate Department of Arts Administration and Policy at School of the Art Institute of Chicago, Monique Meloche, Owner, Monique Meloche Gallery and Lorelei Stewart, Director, Gallery 400 at University of Illinois at Chicago. The Evanston Art Center Biennial will be promoted and viewed by hundreds of visitors, including gallerists, curators and collectors.
2016 BIENNIAL ARTISTS
Joanne Aono – Rocio Azarloza – Joshua Backus – Simon Belleau – Daniel Bruttig – Tom Burtonwood – Ian Carey – Patty Carroll – Sasha de Koninck – Robin Dluzen – Deirdre Fox – Charlotte Fox – Tamara Fraser – Rosalynn Gingerich – Heather Green – Matt Irie – Alejandro Jimenez – Gary Justis – Joshua Kent – Riva Lehrer – Mary Livoni – David Lozano – Jordan Martins – Timothy McMullen – Andie Meadows – Jaclyn Mednicov – Bobbi Meier – Gulsah Mursaloglu – Grant Newman – Josue Pellot – Lorraine Peltz – Rachel Sanfilippo – Matthew Schlagbaum – Jeff Stevenson – Ryan Thompson – Rafael E. Vera – Everett Williams – Jade Williams – Jennifer Yorke
84″ x 48″ x 4″
An aperture can be both an entrance or an exit, but it is more commonly thought of as an opening through which light passes to be burned onto film or encoded by a sensor. Aperture is a product of all these possibilities. It is at once a celebration of the new whilst paying homage to the past. It is informed by both photography and sculpture and sits somewhere between the two. Aperture is milled by a machine from data acquired from photographic images. The subject is a door transposed from the old Evanston Art Center to the new one. Its grey pink color evokes the idea of a shadow as if it is being projected from the past into the future. Aperture embodies the virtual making it permanent and tangible. It is to paraphrase Vilém Flusser a ‘technical object’ born from the product of photographs to form a three dimensional tessellated surface. The evidence of this topology is is inscribed in the form as an undulating interplay of faceted triangles. Leaning against the wall Aperture is painting and sculpture, to be read as both a physical and pictoral representations of the thing. Like a photograph it is inexact and yet precisely made.