Labor Day Weekend
Perimeter Gallery will be closed Saturday, September 3, 2011 for labor day weekend.
Next week we will kick off the new season with a David Shapiro exhibition opening, Friday, September 9th from 5 to 8.
Next week we will kick off the new season with a David Shapiro exhibition opening, Friday, September 9th from 5 to 8.
Greg Murr
Opening Friday, July 8, 2011 from 5 to 8 pm.
Greg Murr
Nature
Artist will be present.
Exhibition Dates: July 8 - September 2, 2011
Greg Murr
Nature
Artist will be present.
Exhibition Dates: July 8 - September 2, 2011
Opening Friday, April 29, 2011
5:00 to 8:00 pm
Erik Weisenburger
New Work
Paul Rinaldi
New Work
Both artists will be present.
Extended Gallery Hours
Friday, April 29 from 10:30am to 8:00pm
Saturday, April 30 from 10:30am to 9:00pm
Art Chicago Hours
Friday, April 29 from 11am to 7pm
Saturday, April 30 from 11am to 7pm
Sunday, May 1 from 11am to 6pm
Monday, May 2 from 11am to 4pm
Erik Weisenburger
New Work
Paul Rinaldi
New Work
Both artists will be present.
Extended Gallery Hours
Friday, April 29 from 10:30am to 8:00pm
Saturday, April 30 from 10:30am to 9:00pm
Art Chicago Hours
Friday, April 29 from 11am to 7pm
Saturday, April 30 from 11am to 7pm
Sunday, May 1 from 11am to 6pm
Monday, May 2 from 11am to 4pm
Toshiko Takaezu
It is with great sadness that we announce the passing of Toshiko Takaezu, 1922-2011. Ms. Takaezu was one of the great contemporary ceramicists of our time. In honor of her memory we are currently featuring an installation of closed forms in the lower gallery. Below please find the New York Times obituary for Ms. Takaezu.
Toshiko Takaezu, Ceramic Artist, Dies at 88
By WILLIAM GRIMES
New York Times, published: March 19, 2011
Toshiko Takaezu, a Japanese-American ceramist whose closed pots and torpedolike cylinders, derived from natural forms, helped to elevate ceramics from the production of functional vessels to a fine art, died on March 9 in Honolulu. She was 88.
Her death was confirmed by Scott Ashley, the associate director of the Perimeter Gallery in Chicago.
In her stoneware and porcelain works, some small enough to fit in the palm of one hand, others monoliths more than six feet tall, Ms. Takaezu blended the expressive bravura of painters like Jackson Pollock and Franz Kline with the calm, meditative quality of traditional Japanese pottery in forms suggestive of acorns, melons or tree trunks.
Her work is in the collections of the Smithsonian American Art Museum; the Museum of Fine Arts, Boston; and the Los Angeles County Museum of Art.
Early in her career she made traditional vessels but in the late 1950s, strongly influenced by the Finnish ceramist Maija Grotell, she embraced the notion of ceramic pieces as artworks meant to be seen rather than used. She closed off the top of her vessels, leaving a vestigial nipple-like opening and creating, in effect, a clay canvas for glazing of all kinds: brushing, dripping, pouring and dipping.
Toshiko Takaezu in 1990 with some of her “closed form” works outside her studio in Quakertown, N.J.
She became known for the squat balls she called moon pots; the vertical “closed forms,” which grew sharply in height in the 1990s; and thin ceramic trunks inspired by the scorched trees she had seen along the Devastation Trail in Hawaii’s Volcanoes National Park. At times Ms. Takaezu exhibited the moon pots in hammocks, an allusion to her method of drying the pots in nets. She also cast bronze bells and wove rugs.
Strongly influenced by her study of Zen Buddhism, she regarded her ceramic work as an outgrowth of nature and seamlessly interconnected with the rest of her life. “I see no difference between making pots, cooking and growing vegetables,” she was fond of saying. Indeed, she often used her kilns to bake chicken in clay, and dry mushrooms, apples and zucchinis.
Toshiko Takaezu (pronounced Toe-SHEE-ko Taka-YAY-zoo) was born on June 17, 1922, in Pepeekeo, Hawaii, the middle child of 11. Her parents were Japanese immigrants from Okinawa. She studied art at the University of Hawaii at Manoa but in 1951 enrolled in the Cranbrook Academy of Art in Bloomfield Hills, Mich., to study with Ms. Grotell, a strong believer in experimentation and in allowing students to find their own way.
During a visit to Japan with one of her sisters in 1955, Ms. Takaezu spent time in a Zen monastery and with some of Japan’s most eminent traditional potters.
“You are not an artist simply because you paint or sculpt or make pots that cannot be used,” she told Ceramics Monthly in 1975. “An artist is a poet in his or her own medium. And when an artist produces a good piece, that work has mystery, an unsaid quality; it is alive.”
Ms. Takaezu was an influential teacher, both in the classroom — where she insisted on the high calling of the ceramist by repeating the mantra “no ashtrays, no souvenirs” — and in the studio, where she took on apprentices throughout her career. She taught at the Cleveland Institute of Art for nearly a decade after returning from Japan and for 25 years at Princeton, where she helped to develop the visual art program. She retired from Princeton in 1992.
She is survived by two brothers and four sisters.
Her work was the subject of a traveling retrospective that originated at the National Museum of Modern Art in Kyoto in 1995 and the exhibition “The Poetry of Clay: The Art of Toshiko Takaezu” at the Philadelphia Museum of Art in 2004. “The Art of Toshiko Takaezu: In the Language of Silence,” edited by Peter Held, is scheduled to be published by the University of North Carolina Press in April.
An earlier version of this article misstated the year in which Toshiko Takaezu was born. It was 1922, not 1933.
A version of this article appeared in print on March 20, 2011, on page A26 of the National edition.
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Toshiko Takaezu, Ceramic Artist, Dies at 88
By WILLIAM GRIMES
New York Times, published: March 19, 2011
Toshiko Takaezu, a Japanese-American ceramist whose closed pots and torpedolike cylinders, derived from natural forms, helped to elevate ceramics from the production of functional vessels to a fine art, died on March 9 in Honolulu. She was 88.
Her death was confirmed by Scott Ashley, the associate director of the Perimeter Gallery in Chicago.
In her stoneware and porcelain works, some small enough to fit in the palm of one hand, others monoliths more than six feet tall, Ms. Takaezu blended the expressive bravura of painters like Jackson Pollock and Franz Kline with the calm, meditative quality of traditional Japanese pottery in forms suggestive of acorns, melons or tree trunks.
Her work is in the collections of the Smithsonian American Art Museum; the Museum of Fine Arts, Boston; and the Los Angeles County Museum of Art.
Early in her career she made traditional vessels but in the late 1950s, strongly influenced by the Finnish ceramist Maija Grotell, she embraced the notion of ceramic pieces as artworks meant to be seen rather than used. She closed off the top of her vessels, leaving a vestigial nipple-like opening and creating, in effect, a clay canvas for glazing of all kinds: brushing, dripping, pouring and dipping.
Toshiko Takaezu in 1990 with some of her “closed form” works outside her studio in Quakertown, N.J.
She became known for the squat balls she called moon pots; the vertical “closed forms,” which grew sharply in height in the 1990s; and thin ceramic trunks inspired by the scorched trees she had seen along the Devastation Trail in Hawaii’s Volcanoes National Park. At times Ms. Takaezu exhibited the moon pots in hammocks, an allusion to her method of drying the pots in nets. She also cast bronze bells and wove rugs.
Strongly influenced by her study of Zen Buddhism, she regarded her ceramic work as an outgrowth of nature and seamlessly interconnected with the rest of her life. “I see no difference between making pots, cooking and growing vegetables,” she was fond of saying. Indeed, she often used her kilns to bake chicken in clay, and dry mushrooms, apples and zucchinis.
Toshiko Takaezu (pronounced Toe-SHEE-ko Taka-YAY-zoo) was born on June 17, 1922, in Pepeekeo, Hawaii, the middle child of 11. Her parents were Japanese immigrants from Okinawa. She studied art at the University of Hawaii at Manoa but in 1951 enrolled in the Cranbrook Academy of Art in Bloomfield Hills, Mich., to study with Ms. Grotell, a strong believer in experimentation and in allowing students to find their own way.
During a visit to Japan with one of her sisters in 1955, Ms. Takaezu spent time in a Zen monastery and with some of Japan’s most eminent traditional potters.
“You are not an artist simply because you paint or sculpt or make pots that cannot be used,” she told Ceramics Monthly in 1975. “An artist is a poet in his or her own medium. And when an artist produces a good piece, that work has mystery, an unsaid quality; it is alive.”
Ms. Takaezu was an influential teacher, both in the classroom — where she insisted on the high calling of the ceramist by repeating the mantra “no ashtrays, no souvenirs” — and in the studio, where she took on apprentices throughout her career. She taught at the Cleveland Institute of Art for nearly a decade after returning from Japan and for 25 years at Princeton, where she helped to develop the visual art program. She retired from Princeton in 1992.
She is survived by two brothers and four sisters.
Her work was the subject of a traveling retrospective that originated at the National Museum of Modern Art in Kyoto in 1995 and the exhibition “The Poetry of Clay: The Art of Toshiko Takaezu” at the Philadelphia Museum of Art in 2004. “The Art of Toshiko Takaezu: In the Language of Silence,” edited by Peter Held, is scheduled to be published by the University of North Carolina Press in April.
An earlier version of this article misstated the year in which Toshiko Takaezu was born. It was 1922, not 1933.
A version of this article appeared in print on March 20, 2011, on page A26 of the National edition.
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Keiko Hara Opening
Join us Friday, March 18, 2011 from 5 to 8pm for the opening of new work by Keiko Hara. The artist will be present. This exhibition runs through April 16.
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Jay Strommen Exhibition
Opening Reception Friday, February 11, 2011
5:00 to 8:00 pm
Jay Strommen
Accolades to the East
Pages, Tablets, and Portals
Artist will be present.
Exhibition runs February 11 - March 12, 2011
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5:00 to 8:00 pm
Jay Strommen
Accolades to the East
Pages, Tablets, and Portals
Artist will be present.
Exhibition runs February 11 - March 12, 2011
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Panel Discussion: Nude in Chicago
Saturday, January 22, 2011 2:00pm
NUDE in Chicago
Artists Talk: Dana Major Kanovitz and Riva Lehrer Discuss the Nude in Art
Sat., Jan. 22 at 2 p.m., light refreshments served
Perimeter Gallery, 210 W. Superior St., Chicago, IL 60654
Plus EXHIBITION EXTENDED to January 29, 2011
FULL RELEASE:
CHICAGO – Perimeter Gallery is extending NUDE in Chicago to Feb. 5, and also adding programming to the already successful exhibition.
Chicago artists Dana Major Kanovitz, whose sculpture work is in the exhibition, will join SAIC professor and fellow artist Riva Lehrer to discuss the contemporary nude at Perimeter Gallery on Sat., Jan. 22, at 2 p.m.
The discussion is perfectly timed, given the increase of the figure in contemporary art, as evidenced by Art News’ December issue that was dedicated to the nude in art, and its still shocking place therein. NUDE in Chicago, curated by Leslie Ferrin and Frank Paluch, is a group exhibition of ceramic sculpture, photography, and drawing from 30 established and emerging artists who challenge the "canon".
By interpreting the historic use of nude figural imagery in sculptures and paintings, each contemporary artist demonstrates burgeoning mastery of their chosen medium, skillfully conveying 'art history reversals' and 're-contextualization' of stereotypical imagery. Resulting works explore contemporary perspectives on male and female gender roles, the role of the nude in beauty, seduction, apparition, aberration, perfection, amusement, entertainment, fantasy and commodity.
NUDE in Chicago
Artists Talk: Dana Major Kanovitz and Riva Lehrer Discuss the Nude in Art
Sat., Jan. 22 at 2 p.m., light refreshments served
Perimeter Gallery, 210 W. Superior St., Chicago, IL 60654
Plus EXHIBITION EXTENDED to January 29, 2011
FULL RELEASE:
CHICAGO – Perimeter Gallery is extending NUDE in Chicago to Feb. 5, and also adding programming to the already successful exhibition.
Chicago artists Dana Major Kanovitz, whose sculpture work is in the exhibition, will join SAIC professor and fellow artist Riva Lehrer to discuss the contemporary nude at Perimeter Gallery on Sat., Jan. 22, at 2 p.m.
The discussion is perfectly timed, given the increase of the figure in contemporary art, as evidenced by Art News’ December issue that was dedicated to the nude in art, and its still shocking place therein. NUDE in Chicago, curated by Leslie Ferrin and Frank Paluch, is a group exhibition of ceramic sculpture, photography, and drawing from 30 established and emerging artists who challenge the "canon".
By interpreting the historic use of nude figural imagery in sculptures and paintings, each contemporary artist demonstrates burgeoning mastery of their chosen medium, skillfully conveying 'art history reversals' and 're-contextualization' of stereotypical imagery. Resulting works explore contemporary perspectives on male and female gender roles, the role of the nude in beauty, seduction, apparition, aberration, perfection, amusement, entertainment, fantasy and commodity.
Holiday Hours
Perimeter Gallery will be closed Saturday, January 1, 2011. The gallery will reopen Tuesday, January 4, 2011.
Happy Holidays!
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Happy Holidays!
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SOFA Chicago
Perimeter Gallery will once again be participating in SOFA Chicago at Navy Pier.
The Show hours are:
Friday, November 5: 10 am - 8 pm
Saturday, November 6: 10 am - 8 pm
Sunday, November 7: Noon - 6 pm
Join us at the gallery for an opening reception Friday, November 5 from 5 to 8 pm. New exhibitions are opening for Joseph Shuldiner, Dona Look, and Nude in Chicago, an exhibition curated by Frank Paluch and Leslie Ferrin of Ferrin Gallery.
On Sunday, November 7th, join us for a complimentary brunch from 10 am to 1 pm.
Free shuttle service will be provide between SOFA Chicago, the Museum of Contemporary Art, and the River North Gallery District from noon to 8 pm on Friday, noon to 5 pm on Saturday, and 11 am to 2 pm on Sunday.
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The Show hours are:
Friday, November 5: 10 am - 8 pm
Saturday, November 6: 10 am - 8 pm
Sunday, November 7: Noon - 6 pm
Join us at the gallery for an opening reception Friday, November 5 from 5 to 8 pm. New exhibitions are opening for Joseph Shuldiner, Dona Look, and Nude in Chicago, an exhibition curated by Frank Paluch and Leslie Ferrin of Ferrin Gallery.
On Sunday, November 7th, join us for a complimentary brunch from 10 am to 1 pm.
Free shuttle service will be provide between SOFA Chicago, the Museum of Contemporary Art, and the River North Gallery District from noon to 8 pm on Friday, noon to 5 pm on Saturday, and 11 am to 2 pm on Sunday.
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Robert Hudson Exhibition and Ben Whitehouse Exhibition extended through October 23th.
Newcity
Sep 20, 2010
Review: Ben Whitehouse/Perimeter Gallery
RECOMMENDED
Despite radical changes of art in the twentieth-century, a significant market remains for landscape painting, with dozens of professional painters who show that genre in Chicago. One of the most successful has been British-born Ben Whitehouse, whose riparian views have always made me smell the water, hear the insects and feel the sun beating down on some gentle Midwestern stream. So I truly believe him when he says, “I have always thought that good art resulted not from a desire to ‘make art’ but from a genuine effort to solve some kind of problem… if you intend to make a painting to convey authentic landscape experience, the one thing you notice immediately is that everything is moving, evolving… so you want your paint to do that… every square millimeter of it has to be enlivened with light, gesture and mark.” This is fine talk, but what’s remarkable about Whitehouse is that he has the remarkable talent to make his big brush and little dabs of paint actually carry it off. Ever a restless intellect, he has now moved on to another problem: “One day I was observing waves and noticing just how dissimilar they were one from another—even though the underlying land form was fundamentally the same each time… I couldn’t find a way in painting to deal with that kind of moment-to-moment change. I had to find a different way of addressing that phenomenon.” And the tools he has used to address this new problem are video electronics instead of paints and brushes. One of the results is now being projected on a wall in the basement of the Perimeter Gallery. It’s a high-definition video shot on location at Stonehenge on the summer solstice. But is it as remarkable as his paintings used to be? Can’t any reasonably proficient technician set up a stationary video camera and let it run non-stop for twenty-four hours? I suppose it’s kind of fun to watch an errant druid or pigeon wander into the field of view as the shadows slowly change throughout the day, but even if the problem which he set himself has been solved, and the overall composition is often pleasant, the intense, vibrant visuality of his dabs of paint cannot be found in these millions of pixels, and since Whitehouse appears to be more of a theorist than an aesthete, that probably does not concern him. (Chris Miller)
Through October 23 at Perimeter Gallery, 210 West Superior
Sep 20, 2010
Review: Ben Whitehouse/Perimeter Gallery
RECOMMENDED
Despite radical changes of art in the twentieth-century, a significant market remains for landscape painting, with dozens of professional painters who show that genre in Chicago. One of the most successful has been British-born Ben Whitehouse, whose riparian views have always made me smell the water, hear the insects and feel the sun beating down on some gentle Midwestern stream. So I truly believe him when he says, “I have always thought that good art resulted not from a desire to ‘make art’ but from a genuine effort to solve some kind of problem… if you intend to make a painting to convey authentic landscape experience, the one thing you notice immediately is that everything is moving, evolving… so you want your paint to do that… every square millimeter of it has to be enlivened with light, gesture and mark.” This is fine talk, but what’s remarkable about Whitehouse is that he has the remarkable talent to make his big brush and little dabs of paint actually carry it off. Ever a restless intellect, he has now moved on to another problem: “One day I was observing waves and noticing just how dissimilar they were one from another—even though the underlying land form was fundamentally the same each time… I couldn’t find a way in painting to deal with that kind of moment-to-moment change. I had to find a different way of addressing that phenomenon.” And the tools he has used to address this new problem are video electronics instead of paints and brushes. One of the results is now being projected on a wall in the basement of the Perimeter Gallery. It’s a high-definition video shot on location at Stonehenge on the summer solstice. But is it as remarkable as his paintings used to be? Can’t any reasonably proficient technician set up a stationary video camera and let it run non-stop for twenty-four hours? I suppose it’s kind of fun to watch an errant druid or pigeon wander into the field of view as the shadows slowly change throughout the day, but even if the problem which he set himself has been solved, and the overall composition is often pleasant, the intense, vibrant visuality of his dabs of paint cannot be found in these millions of pixels, and since Whitehouse appears to be more of a theorist than an aesthete, that probably does not concern him. (Chris Miller)
Through October 23 at Perimeter Gallery, 210 West Superior
Opening September 10, 2010
5 to 8 pm
Both artists will be present.
Robert Hudson
Recent Work
San Francisco artist Robert Hudson combines found materials, steel, and rich colors to create whimsical and surreal sculptures. Hudson has been working with found materials since the 1960s and was part of the Funk movement, an artistic movement incorporating pop culture, humor, and multiple techniques of art making.
Ben Whitehouse
Revolution Stonehenge (Summer Solstice)
Chicago based British artist Ben Whitehouse recently completed Revolution: Stonehenge (Summer Solstice), the latest in a series of works capturing a continuous 24 hour period in high definition video.Unlike traditional time lapsed art, Revolutions offer the full narrative of a day capturing everything occurring within the composition from a fixed position. Viewed in real time as large scale projections, Revolutions are a seamless expression of the 68,400 interdependent and related moments that compose a day/night cycle.
Both artists will be present.
Robert Hudson
Recent Work
San Francisco artist Robert Hudson combines found materials, steel, and rich colors to create whimsical and surreal sculptures. Hudson has been working with found materials since the 1960s and was part of the Funk movement, an artistic movement incorporating pop culture, humor, and multiple techniques of art making.
Ben Whitehouse
Revolution Stonehenge (Summer Solstice)
Chicago based British artist Ben Whitehouse recently completed Revolution: Stonehenge (Summer Solstice), the latest in a series of works capturing a continuous 24 hour period in high definition video.Unlike traditional time lapsed art, Revolutions offer the full narrative of a day capturing everything occurring within the composition from a fixed position. Viewed in real time as large scale projections, Revolutions are a seamless expression of the 68,400 interdependent and related moments that compose a day/night cycle.
