I went to Charles A. Gick’s show(http://jongunchoi.tistory.com/37)  at the Schoenherr Gallery, Naperville, IL. Charles is going to be my adviser when the new semester starts. He showed me some of the works which would be on display for the show at the studio at Purdue, and I was very glad that I could see his work before the show. I really wanted to go to his show in person after seeing his work.

 I had a great time getting to the gallery although I spent four hours on the road in heavy traffic. I followed along the Michigan lakeshore and really enjoyed seeing the surroundings in colors of mainly clear blue, which made me very happy.

The artificial structure is oddly matched with the nature things, the sky, water, sands.

FINALLY, we got there but we were late over one hour because of traffic jam. We were going to look around the campus, North Central College, but we didn't have enough time. Yes, we should have arrived earlier to see the campus. 

Schoenherr Gallery building

Entrance of the gallery. Charles' works are there!

I walked into the gallery and saw a lot of images of the sky.

 When I entered the gallery, I saw another sky which was different from the sky I had seen along the lakeshore. Along the wall, the two dimensional sky was composed of lights, but the sky did not appear directly because there was a translucent blue curtain to make the sky look blurry. Once I stepped back from the curtain, I could see the different images of the sky come alive. I did not ask Charles what he had worked with, but as far as I can tell, he had used paraffin wax, string, and masking tape on canvas, besides basic painting materials. I thought that the accumulated process with these materials on canvas might have resulted in the uneven surface.

 

 As I had seen the very beginning process of the dome, the overturned dome was more meaningful to me. Charles motionlessly fixed the dome, which was left as it was in the middle of the room. The sky seemed to be cut along with the dome and it looked like it was moving. There was a ceiling light coming from two different directions. Since the light was shining, I felt that the dome seemed as though it could float at any moment. The shape of the dome also gave the feeling of a natural atmosphere even though the semblance of the dome was stiff because the white fleecy clouds calmed me.

 

 Through Charles’ show, I could feel the warm atmosphere from the sky he had made. I could see a variety of features in the sky which we can see whenever we are outside, but his sky had a personality of its own as though it were alive. There seemed to be a blowing wind between the falling sky and the hanging sky. It was great when I met Charles there and we talked about his work as well as my work. When I go to shows by other artists, I always get energy from the inspiration of their work. This show was one of the shows that definitely gave me inspiration.

Charles and Jong-un

Charles A. Gick

On Display at Schoenherr Gallery   
(171 E. Chicago Ave., Naperville, IL) 

May 28-June 18, 2010

Opening Reception May 28, 6-8 p.m.

Painting is nearly an element of nature itself; its origins are ancient and its history is filled with questioning, confrontation, meditation, intellect, intuition, politics, and spirituality. My current work focuses on humankind's use of the poetics of art to confront, examine, and repair our often tenuous, physical, intellectual, and emotional relationships with nature. This work is affected by my interdisciplinary history as a painter and installation artist and by the landscape of which we are all occupants. The phenomenological and ephemeral qualities found in the environment such as a gust of wind, a violent storm, the simple passing of a cloud, all provide a familiar background for my observations.

Combining traditional and non-traditional painting techniques my newest body of work is a series of cloud paintings presented in installation form. Informed by the human desire to mend, heal, or fix what is damaged, this work is inspired by visual and physical phenomena such as: the re-plastering of a water-damaged wall, a gauze bandage placed over a cracking 16th century Renaissance painting, centuries old plaster walls protected by thin veils of fabric, moldy and flaking frescoes, stained fabric set out to dry after a flood, a damaged roof repaired with rusty tin metal, objects repaired with what is at hand, and remnants clamped and bound together.

 The exhibit in Schoenherr Gallery is open to the public. Schoenherr Gallery is located at the Fine Art Center, 171 E Chicago Ave., and is open 10 a.m. to 9 p.m. Tuesday through Friday, 10a.m. to 6 p.m. Mondays and Saturdays, noon to 5 p.m. on Sundays, and will be open one hour before most performances in the Fine Arts Center.

FYI
Contact: Box Office in North Central College
Phone: (630) 637-SHOW
E-mail: boxoffice@noctrl.edu

refer to : http://finearts.northcentralcollege.edu/x48818.xml
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Charles is going to be my adviser at Purdue when the new semester starts. He has quite sensitive ideas and sharp perspectives. As a professor, he always encourages his students to get a great result and gives useful useful advice. I'm very lucky that I'm going to learn either much information or many skills in painting from Charles next semester!   

I'm definitely going to the place and really looking forward to seeing his work in person.

Picasso in The Metropolitan Museum of Art
April 27, 2010–August 1, 2010
Special Exhibition Galleries, 2nd floor

	See the Collection Database for a complete list of works by Picasso.
	See the Heilbrunn Timeline of Art History to learn more about Picasso.
	Visit the online Met Store to purchase the exhibition catalogue.
	Learn about a special three-part lecture series presented by Curator Gary Tinterow.
	Learn about a special lecture program scheduled for June 27.

This landmark exhibition is the first to focus exclusively on works by Pablo Picasso (Spanish, 1881–1973) in the Museum's collection. It features three hundred works, including the Museum's complete holdings of paintings, drawings, sculptures, and ceramics by Picasso—never before seen in their entirety—as well as a selection of the artist's prints. The Museum's collection reflects the full breadth of the artist's multi–sided genius as it asserted itself over the course of his long and influential career.

Artist Pablo Picasso, Self-Portrait "Yo," 1900, Ink and essence on paper, 3 3/4 x 3 3/8 in. (9.5 x 8.6 cm)

Notable for its remarkable constellation of early figure paintings, which include the commanding At the Lapin Agile (1905) and the iconic portrait of Gertrude Stein (1906), the Museum's collection also stands apart for its exceptional cache of drawings, which remain relatively little known, despite their importance and number. The key subjects that variously sustained Picasso's interest—the pensive harlequins of his Blue and Rose periods, the faceted figures and tabletop still lifes of his cubist years, the monumental heads and classicizing bathers of the 1920s, the raging bulls and dreaming nudes of the 1930s, and the rakish cavaliers and musketeers of his final years—are amply represented by works ranging in date from a dashing self-portrait of 1900 (Self–Portrait "Yo") to the fanciful Standing Nude and Seated Musketeer painted nearly seventy years later.

refer to : http://www.metmuseum.org/special/

Indianapolis Museum of Art, Indianapolis,IN
April 4-August 1, 2010



overview

Tara Donovan: Untitled will highlight MacArthur Genius Award-winner Tara Donovan's layered landscape-like installations made from common everyday materials, such as plastic cups, tar paper, cut electrical cable, pencils and Elmer's glue. The exhibition will include a number of existing works along with new sculptures commissioned by the IMA.




Member Preview Day for Tara Donovan
Saturday, April 3 » 12-5 pm
Members and their families are invited to preview Tara Donovan: Untitled before it opens to the public. Enjoy free art activities, double discounts on exhibition merchandise, tours and more. Reservations not required; just show your membership card for admission.

refer to : http://www.imamuseum.org/

San Francisco Modern Museum of Modern Art, San Francisco
February 06 - May 02, 2010

overview

Influenced by the Northern European painting tradition as well as by photography, television, and cinema, Luc Tuymans blends filmic techniques with a mastery of painting to explore issues of history, memory, and the mass media. The artist has addressed the lingering effects of World War II, the postcolonial situation in the Democratic Republic of the Congo, and the dramatic turn of world events after 9/11, topics that have led him to a sustained investigation of the pathological and the conspiratorial. Making ingenious use of cropping, close-ups, framing, and sequencing, Tuymans's paintings initially suggest relatively innocuous depictions of everyday life — but other meanings almost always lurk beneath their surfaces. This is the first U.S. retrospective for the Belgian artist and the most comprehensive presentation of his work to date, with approximately 75 key paintings from 1985 to the present.

MoMa
September 13, 2009–April 12, 2010
Second floor

overview

For the first time in the Museum's new building, MoMA presents an installation featuring the full group of Claude Monet's late paintings in the collection. These include a mural-sized triptych (Water Lilies, 1914–26) and a single-panel painting of the water lilies in the Japanese-style pond that Monet cultivated on his property in Giverny, France (Water Lilies, 1914–26), as well as The Japanese Footbridge (c. 1920–22) and Agapanthus (1914–26), depicting the majestic plants in the pond's vicinity. These paintings have long held a special status with the Museum's audiences and, much like MoMA's Abby Aldrich Rockefeller Sculpture Garden, they provide a modern oasis in the center of midtown Manhattan. These works will be complemented by two loans of closely related paintings.




refer to http://www.moma.org/

MoMA, NYC

April 8, 2009–February 22, 2010
Architecture and Design Galleries, third floor

overview

In recent decades "landscape" has taken on an expanded definition in architecture. In the first half of the twentieth century, the architectural avant-garde celebrated autonomy from nature, and architects devised utopian schemes for creating urban realms ex novo, with little consideration for their surroundings. More recently, however, the challenges of a threatened environment and rapidly expanding cities have fostered a revised understanding of landscape. Harmony between the spatial, social, and environmental aspects of human life has become a priority in political thought, and this has had profound reverberations in both architecture and landscape design. "Landscape"—no longer understood merely as nature untouched—now encompasses complex interventions by architects and landscape architects in urban and rural surroundings. In Situ: Architecture and Landscape draws from the rich collection of The Museum of Modern Art to examine the diverse attitudes toward landscape over the last hundred years.

refer to http://www.moma.org/

The Art Institute of Chicago
January 30–April 4, 2010
Galleries 124–127

Overview:

To celebrate the long-awaited release of American Modernism at the Art Institute of Chicago: From World War I to 1955, a scholarly catalogue showcasing the Art Institute’s expansive permanent collection of American art, the Department of Prints and Drawings has organized this companion exhibition. Approximately 140 prints, drawings, collages, and watercolors from the permanent collection offer the opportunity to ruminate on what constituted “modern” at various moments during the first half of the 20th century.

Ranging from Edward Hopper’s watercolors of streetwalkers, painted in 1906, to Willem de Kooning’s black enamel drip drawing of 1950, Modern in America showcases the wide variety of media and subject matter explored by American artists as they sought to respond to the compelling issues of their generations. Iconic images such as George Wesley Bellows’s lithograph A Stag at Sharkey’s and Georgia O’Keeffe’s rich pastel White Shell with Red—true touchstones of American art—stand in contrast to 30 rarely seen working drawings by Peter Blume for his famous painting The Rock, also in the Art Institute’s collection.

Working on paper often provided artists with an affordable and direct way of responding to and mirroring their experiences. Starkly powerful lithographs of the 1930s, together with Jacob Lawrence’s dynamic gouache paintings, demonstrate how works on paper could be both topical and intensely personal. Images of the modern city by Stuart Davis, Reginald Marsh, and Charles Sheeler offer public and private perspectives on the urban experience, while landscapes of rural America by Grant Wood and Walter Ellison suggest the tension between modern stylistic concerns and traditional subject matter.

Prints and drawings also reveal how American artists responded to their encounters with European Modernism. The wave of interest in formal abstraction in the wake of the Armory Show of 1913 was followed by the distillation of natural forms by artists such as Rockwell Kent, Arthur Dove, O’Keeffe, and Marsden Hartley. Modern in America also considers the influential contributions of European-born American artists such as Arshile Gorky, Yves Tanguy, and László Moholy-Nagy and of Mexican artists who worked extensively in the United States, including Diego Rivera and David Alfaro Siqueiros.

refer to http://www.artic.edu/aic/