TakeoverThe Hyde Park Art Center

April 24 – June 11, 2006

Curated by Allison Peters

5020 SOUTH CORNELL, CHICAGO, IL 60615 TEL. 773 .324 .5520 WWW.HYDEPARKART.ORG

COVER: Random Sky, Iñigo Manglano-Ovalle, Mark Hereld, and Rick Gribenas

Lead Sponsor:

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Floor 1

S. Short S. Short S. Short S. Short

A. Wilson/S. Decker

A. KunzB. Foch

J. DunningN. Levy

M.R. Schwartz

J. Fish

J. Livingstone

K. Rosen

B. Nicholson

A. Mers B. Foch

J. Hashimato

I. Manglano-Ovalle/M. Hereld/ R. Gribenos

A. Ruttan

J. RobertsJ. DeGolier

D. WangC. Jones

A. Nereim

J. Reeder

J.A. Chávez

S. Wolniak

J. Fish

J. Roberts

GoatIsland

J. Fish

Industry ofthe Ordinary

P. Helguera

4833rph(Art Resource Center)

P. McGee

L. Davis

D. FridM. Gallay

K.J. Marshall

M.W. Burns D. BishopM.W. BurnsM.W. Burns

C. AlvarezN. Levy

D. Wang

S. Keeler

D. Akpem

K. Reimer

A. Demers

D. Wang

J. LedgerwoodJ.A. Chávez

N

Allison PetersDirector of Exhibitions

asked to assume control of the build-ing as a medium for an artwork orseries of artworks. Artists were invit-ed to correspond, utilize or decon-struct the Art Center both by physi-cally employing the materials of thebuilding or conceptually by address-ing the mission behind the institu-tion. In actuality, the artists were onlygiven the floor plans and a prelimi-nary walk-thru of the building whileunder construction. Due to construc-tion delays, artists were unable tosee the building completed until afterthe exhibition had opened. For manyof the artists, this situation testedtheir strengths and forced them toapproach their work in a differentmanner causing an unbelievable andgratifying learning experience onceall was said and done. The state-ments describing the artworks in thiscatalogue have been provided by theartists in effort to preserve their indi-vidual voice in such a full exhibition

Artists were selected based on twoqualities: a proven ability to success-fully produce interesting projectsresponding to a location or an attrac-tion toward the challenge of makingarchitecture a relevant part of theirpractice. From emerging to estab-lished careers, Takeover showcasedthe widespread talent in Chicago andthe endowment of Chicago-rootedartists that now inhabit and influence

the world at large. For 68 years, the mission of the Art

Center has been to stimulate andsustain the visual arts in Chicago. Bystrengthening networks betweenartists and the community in additionto artists from Chicago and aroundthe world, the Art Center continuesto provide the necessary local,national and international platform tohelp artists develop their practice inChicago with a state-of-the-art venuelike no other.

Acknowledgements:In the spirit of transparency, an exhi-bition like Takeover does not happenwithout the hard work and valuablesupport of many groups and individ-uals. To begin, it would have beenimpossible to produce this exhibitionwithout the support of the Sara LeeFoundation, The Andy WarholFoundation for the Visual Arts,Robert Wislow and U.S. Equities, Inc.and the hundreds of Art Centerdonors and friends. Additionally,under the council of a first-rateExhibition Committee led byChairwoman, Pat Swanson, the list ofinvited artists excelled in ability, tal-ent and patience. The Hyde Park ArtCenter Board, especially the BoardChair, Deone Jackman and HonoraryChair, Ruth Horwich, always had posi-

tive thoughts on the building beingcompleted on time. The cohesiveteamwork of the Hyde Park ArtCenter staff made the exhibition runas smoothly as possible under theleadership of Chuck Thurow.Additionally, Christopher Hammesand Philip Nadasdy made art installa-tion look easy, while the GarofaloArchitects, Doug Garofalo andAndrew Schachman kindly fieldedcountless questions for installationwithout complaint. I am grateful toJason Pickleman, Dan Marsden andphotographer Joeff Davis for pullingtogether the postcards and (finally)the catalogue for such a momentousoccasion. A special thank you goesto the students at the School of theArt Institute for producing the educa-tional brochure: Jennifer Dominiak,Lisa Junkin, Carol Ng, Junko Sano.And last but certainly not least, to allof the artists—you persevered andploughed through the restraints andhazards of construction to make yourcontribution to the exhibition thebest possible. It was a true pleasureto work with you and I look forwardto working with you more in theyears to come.

Exploration teaches us to learnthrough traversing boundaries andgoing where we haven’t gone before.With the earth as populated as it istoday, territorial exploration isn’twhat it used to be. Instead, we lookto our immediate surroundings toencounter new ways of understand-ing the world around us. Since mod-ernism, art has emphasized the needfor us to temporarily exit the com-forts of what we think we know andsets up an experience—mental, emo-tional, and/or physical—that directlyeffect, and simultaneously isolate,the individual. Adversely, art also hasthe ability to connect people andgrow creative communities. The stateof encounter that Bourriaud writesabout is dependent upon an elementof surprise, participation and humaninteraction. The Hyde Park Art Centerhas been a space for all of the abovesince its inception in 1939, however, itnever had the architecture to supportits sensibility until now.

In 2000, the Hyde Park ArtCenter’s Board of Directors and theExecutive Director, Chuck Thurow, setout to find a building that wouldembody a new type of contemporaryart institution – one that serves as anincubator for collaboration betweenthe public, students, artists, thearchitecture and the administration.Chicago has many high quality muse-

ums, university galleries and culturalinstitutions that successfully com-plete their respective missions to col-lect and preserve culture and do notneed duplication. This new facilityhad to provide the art communitywith something fresh. Local architect,Doug Garofalo was selected todesign a building that would high-light accessibility between artists andthe public, transparency of theprocess of art making and exhibiting,and encourage experimentation withtechnology and concepts.Incorporating the original brick struc-ture of the former army warehousebuilding owned by the University ofChicago, Garofalo inserted largeglass windows both inside and out-side of the building to provide vistasthat facilitate an encounter betweenall kinds of Art Center users, fromstudents, artists, teachers, parents,staff and visitors. There are severalother features of the building, like 5metal garage-style doors that openup to the main gallery from the side-walk, and a circulating hallway sys-tem that aids discovery. The signa-ture feature is a 10 x 80 foot glassfaçade that functions as an exhibitionspace named The JackmanGoldwasser Catwalk Gallery. Thisgallery is outfitted with a system ofhigh range projectors, computers,scrims and screens used primarily to

show large-scale digital artworks, tobe viewed from the street as well asthe gallery floor.

Increasing in size from a 7,000square foot space to a 32,000 squarefoot space, the Art Center is now amuseum-sized institution that incor-porates a studio art school and akunsthalle personality with decidedlyno art collection to maintain orexhibit. Most importantly, the ArtCenter contradicts the notion of amuseum as a mausoleum that safelypreserves accepted constructs of artand culture and instead is an institu-tion as a conduit for expression, reac-tion and creation of the here andnow via the visual arts. This ideologi-cal structure aims to question howart is exhibited and experiments withalternative definitions of what art isand how it reflects the culture inprogress, and at times, in decline.The Art Center creates a social spacewhere systems of exchange are inter-personal and not economic – theprofit comes in the form of buildinginterpersonal relationships – whichproposes a unique and challengingposition in a commercially dominatedart world.

In the long tradition of the non-tra-ditional role of the Art Center, theinaugural exhibition of the building,titled Takeover, presented thirty-ninenew artworks by forty-six artists

“Art is a state of encounter.”— Nicolas Bourriaud, Relational Aesthetics

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Judy E. SchaeferDirector, Sara Lee Foundation

The Sara Lee Foundation is pleasedto partner with the Hyde Park ArtCenter (HPAC) as the Lead Sponsorof Takeover, which featured newwork by emerging and establishedartists as the inaugural exhibit inHPAC's new facility.

The much needed move to a newbuilding with modern amenities, larg-er spaces and additional communityresources is important, but it is thereaffirmation of HPAC's continualfocus on diverse artists with Chicagoroots that clearly resonated with Sara Lee.

Sara Lee Corporation and the SaraLee Foundation support arts and cul-tural programs as investments inhelping make the communities inwhich our employees live and workdiverse, vibrant and livable. We con-gratulate HPAC on its successfulmove, providing additional culturalenrichment activities for this southside community, and we celebrateour lead sponsorship of Takeover.

THE HYDE PARK ARTCENTER’S Exhibitions Committeeis structured to provide honest feed-back on proposals as well as ideasand suggestions. This committeesearches, debates, agrees, disagrees,and advises. We include Art Centerboard members and communitymembers. All of us have opinionsabout contemporary art and each ofus is an artist, educator, curator, oradministrator. Several of us are all ofthose. Our meetings are always stim-ulating, but not always well organ-ized or characterized by linear delib-erations.

Takeover, therefore, seems like athrilling and logical outcome for thiscommittee and its approach. Wethink that art should be everywhere,not just on pristine white walls. Artcan be in the exotic and in the ordi-nary. Art can be any medium that anartist wants. We wanted some artthat people can’t miss and some thatis so subtle that one must lookrepeatedly to see it. We sent invita-tions to many artists to create workin this spirit for the new Hyde Park

Art Center—it could be inside, out-side, upstairs, downstairs, on thefloor, on the ceilings, in the rafters.These intrepid artists agreed to cre-ate work in this environment. Againstenormous uncertainties, includingmaking decisions about space whilethe space was under constructionand facing shifting time lines, theseartists have created works that arevaried, unexpected, and simplyremarkable. This exhibition is a realtestament to the creativity, verve,and nerve of Chicago artists.

Pat SwansonChair, Exhibitions Committee

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Keywords: P-Funk, Fela, The Jetsons, JohnWaters, Afro-Futurism, Curtis Mayfield, bellhooks, Isaac Asimov, Octavia Butler, RayBradbury, Lorraine Hansberry, Vogue Interiors(UK Version), 1,001 Home Decorating Ideas,lemon yellow, nawa-o...

In 1996, Dr. Mae Jemison became the firstBlack Astronaut (and of course the first BlackFemale Astronaut) in Space.1 Super Space Riff:An Ode to Mae Jemison in VIII Stanzas putAkpem's Hybrid Being face-to-face (mind-to-mind) with the real-deal Mae Jemison.

While some of us kids in the mid-80s were sit-ting around watching "Greatest AmericanHero", Mae was beginning her training withNASA...and the rest is history...

"Believe it or not, I'm walking on air/I neverthought I could feel so free-ee-eee/Flyin' away on a wing and a prayer/Who couldit be?/Believe it or not, it's just me." 2

Cue story: A Being of a distant galaxy hasfound a relic from 1992. Her thoughts aretransmitted as she moves about her other-worldly home...

1 Mae was born in Alabama but her family soonmoved to Chicago, settling in Woodlawn whereshe went to public school. She holds degreesfrom the top universities in the nation as wellas numerous honorary PhDs; is a medical doc-tor; and runs successful companies that applyher space knowledge to help developing coun-tries move ahead in sustainable and technolog-ically beneficial ways.

2 Sung in 1981 by Joey Scarbury as theme songfor "Greatest American Hero" T.V. show

I.Code: 229435000721Intergalactic Transmission Translation Date: 2006AD/50th year Mae JemisonFrom: Afri-Sci-Fi‰Anthromorph‰Planet Address: /||+)||\ |. (or, A3)

You Are Here:some components of a good home:raw earth rugchlorophyllpurple raincurtain of cloudscanopynakednessfigurinesthe color brownclean thingsdirty thingsgodlinesshairballspulsing heart breathgas

experience is a portalexperience trumps intellectstop.

homage to Endeavorthe ONE who appeared in the skyone day long ago long agogalaxy zone \\||00+ziltokes’’\ ,.stop.we saw....a resemblance. stop.ohgreat.black.female.

space.traveler.walking.flying.swimming.floating.sensing.go.something about her.“bea-u-ti-fu-l”“h-o-m-e”

she said, looking backward to "E-A-R-T-H"(we say "Laluna Orbital Attachment" or,LOA).stop.

II.we avoid that mysterious atmosphere--shecalls it “home”:surrounded by bits of floating metal andcloudsremnants of explorationmetal excrement.stop.(I collect the bits and find them useful.)

III.She gazed at EARTH...with lovewith love.stop.

we saw her from our perch(we have memories.stop.telepathy with machinesbrain waves send message-streams.stop.static image=relic)Her name transmitted in blips.stop.

IV.yes? hello?

V.(what is language?)the last telegram was sent yesterday.stop.sound seductionclay cuneiform tablets traveled bearing theimprint of a lover's finger.stop.this braille body will tell secrets--that means: my skin can only be read by yourhand.stop.

VI.(who holdspower?):to affect the future:to create in one's own image (ensure domi-nance). stop.knowledge?):of science:of math:of politics:of DNA

VII.(who controls the future? who will that futurereflect?)covert XXXXX-ism:ignorance?superiority? progressive? accountable?responsibility?

plantar warts

Chant by Choir, low, background:

flesh machine, sex power & immortalityconquer take possesswound humiliate discardbody flesh meat death

mind machineintelligence & memoryextension of consciousness

ancient codemorse-sssletters sent from afartap tap tappity tap tap code tele cable wireless

DNA of the Black:Ladies sing, repeat with increasing speed:"what is black, white, brown, yellow, red, olive,fair, dark, blue, pasty"

DNA of the Female:Others sing, repeat low & slow:"what is female, male, he-she, she-he, not one,not either but all...what is female, male, he-she,she-he, not one, not either but all of theabove...what is..."

DNA of the Mathematically-InclinedLadies sing, high tones, crisp:GEOMETRY SPACE FORM ACTUALIZATIONDNA of the scientifically-inclinedBIOLOGY HISTORY GENEALOGY

DNA of the Focused:of the likely to be okay with Solitude,Weightlessness,Sleeplessness,Endless Day,Night,Darkness,Distance,Isolation,Adventure,Discovery,Desire

DNA of a mover-and-shakerDNA of the gap-bridgerDNA of the saviorDNA of the teacherDNA of the one who will make a changeDNA of the caringDNA of the responsible

Eleggua, God of CrossroadsLIVE!!!XXXX-traterestrial !!!!!

987654321

NOW

(SILENCE.)

VIII.SOLO:(what's in a name?)a rose by any other...tzttzzz.stop.

M-A-E--J-E-M-I-S-O-N.gomaemae

Denenge Akpem

Denenge Akpem (b. 1972, Mkar, Nigeria)is a space sculptor and performanceartist whose works combine science fic-tion with religious and/or historicalarchetypes into hybrid creatures whosepresence and actions offer subversivecritiques of race stereotypes, genderconstructions, and "the norm." Themeticulously arranged environments

they inhabit contain a whiff—or more—ofdanger even as they seduce. Her workhas been exhibited at the Urban Institutefor Contemporary Arts, MI, and theMuseum of Contemporary Art, Chicago.Denenge holds an MFA from The Schoolof the Art Institute of Chicago (2004)and a BA from Smith College (1997).www.denenge.com

Super Space Riff: An Ode to MaeJemison and Octavia Butler in VIII Stanzas2006Installation and performanceDimension variable

Photograph courtesy of Brooke Hummer

Sci-fi backdrop forSuper Space Riff

Candida Alvarez (b. 1955, Puerto Rico)moved to Brooklyn, NY in the late1950s. Her art aims at inclusiveness; per-sonal and cultural symbols, narratives,everyday artifacts, abstraction and rep-resentation coexist in her multi-paneledcompositions. She studied at FordhamUniversity, earning a BA in 1977, andSkowhegan School of Painting andSculpture in 1981. Alvarez has had soloexhibitions at the TBA Exhibition Space,Chicago; New Britain Museum ofAmerican Art, New Britain, CT; KenyonCollege, Gambier, OH; The BronxMuseum of the Arts, Bronx, NY; TheQueens Museum, Flushing, NY; TheFirst World, New York, NY, and GalerieSchneiderei, Cologne, Germany. www.candidaalvarez.com

Sunbeam2006Wall painting75 1/2 x 76 inches

INITIALLY, THE SCENT of theclosed building that was to becomethe future home of the Hyde Park ArtCenter permeated around me when Ifirst visited the site in late August of2005. I felt like a blind person, tryingto touch or smell or sense somethingfamiliar and the nagging stillness thatpresented itself in that initial glancewould not leave me alone. The fol-lowing January, I returned looking fora wall that was painted with sicklyhospital green paint and coveredwith yellowing sheets of newspapersfrom the Chicago Tribune dating asfar back as Thursday, December 5,1950. A stairwell has now replaced it.

I did not miss that wall until it wasgone, because it displayed humanevidence of sorting and gathering. Itbecame a resting place, of sorts, andcould provide a hook from which tohang my creative hat. It reminded meof my studio walls, a few of which arecovered with clippings, photos andnotes of all sorts. I make paintingsthat borrow from the commotion ofthis display to become somethingunpredictable—in the process, I canlose myself.

In order to get detail, I scanned mysaved photo images of the wall andits clippings. I noticed a huge ad,which was promoting a subscriptionto the Chicago Tribune with a giftitem from the Sunbeam Company.Since it was the largest font, and hadthe most unusual typeface, it stoodout immediately. As I scrutinized theseries of events that lived throughme and the rawness of this building, Irealized that I also needed to holdonto the sense of smell, even if it wasmetaphorical.

Having recently returned from vis-iting the mountains of Puerto Rico, Icraved the smell of warm, moistearth. That juxtaposed itself with thesmell of the old building skin beingshed for the new skin. Instantly theimage of a landscape painting cameto mind. I would paint it a third time,rename it, and brand it with a wordthat I could lift from what is now amemory wall. So Buena Vista (a greatview) now becomes Sunbeam, and isprojected onto the shadow body ofthe fictitious plane that flies over thefantasy island.

It is curious and mysterious how

the creative process gets activated. Itcan go deep into our subconsciousas it strains to be present in themoment. I can now see myself at PS1in Long Island City during the years1978-79, trying to understand AlanSarat’s Brick Wall and Sun (1976). Iwas an artist in what was then calledthe International Artist Program.Sunbeam can be seen as a parody,but used painting in a conceptualway to cut through all the skins ofmemory. It is the light of day that isthe only constant.

Candida Alvarez

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Study for Sunbeam, 2006, colored pencil on tracing paper, 12 x 12 inches.

Damon Bishop (b. 1974, New Haven, CT)grew up in a small fishing village andspent a large portion of his childhoodwatching monster movies and playingwith his large group of imaginaryfriends. After studying sculpture at theMaryland Institute College of Art inBaltimore, Bishop settled in Chicago,Illinois. He has been making films forthe past ten years. They have shown theworld over- from Lausanne, Switzerlandto Bogotá, Columbia. In 2005, he wonthe Mom D’ Or award from the Hi Mom!Film Festival in Chapel Hill, N.C. www.hydeparkart.org/alist/profile/bish-op_damon

Bloody Night of Ghostly Terror2006Video projection5 x 9 feet

Damon Bishop

CHICAGO, IL (AP) — On October31st of 2005 an aspiring young film-maker and amateur paranormalresearcher disappeared from a SouthSide Chicago construction site. It islikely that Damon Bishop, 31, enteredthe site with the intention of docu-menting some strange occurrencesthat had been transpiring at the siteof the Hyde Park Art Center's newlocation. On the morning ofNovember 1st, Mr. Bishop wasnowhere to be found—a fact thatdoesn't seem to worry his friends."That guy disappears a lot," said oneassociate who has asked not to benamed. "One time he was gone forlike two weeks; turns out he was justlost in a mall. Not even a big mall. Itwas like a food court and a J.C.Penny."

Found at the construction sitewere a few of Mr. Bishop's personalitems including several cameras, aDolly Parton biography, and a Ouijaboard. As the months have passedthe hopes of finding Damon Bishopalive have begun to dwindle.

Anyone with any information isencouraged to call the authorities.

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M.W. Burns (1958, Stamford, CT) is aChicago-based audio artist who usessound to conceptually activate space.Many of his audio installations rely ontactics of public address, projecting thevoice into existing sites of human activi-ty, while other work uses the evocativepower of sound to resituate our sense ofplace. Burns has had solo exhibitions atthe TBA Exhibition Space, Chicago;Northern Illinois University Art Museum;Tough, Chicago and the Lab, SanFrancisco. His sound installations havebeen included in numerous group exhi-bitions, including the 2000 WhitneyBiennial, NY; Contextual: Art and Text inChicago, Chicago Cultural Center, IL;Time Arts, Museum of ContemporaryArt, Chicago, and The Body at theRenaissance Society at the University ofChicago, IL. Related projects alsoinclude Sound Canopy, a public soundsystem supporting audio work createdto participate in the urban environmentof downtown Chicago, a program pro-duced by the Hyde Park Art Center.

Audience2006Sound installation

MW Burns

RECENT AUDIO installations byMW Burns have integrated pre-recorded sounds into existing envi-ronments to alter the perception ofevents taking place. Audience occu-pied a space in a 2nd Fl. studio withthe sound of spectators. Shiftingfrom uncontrollable laughter, thenjeering and a variety of emotions inbetween, the several channel soundwork invited Art Center visitors tovisualize and imagine the mysteriousactivity occuring behind the studio’slocked doors. It was not a fieldrecording of an actual audience, butone built from individual recordingsof the artist playing each of the manycharacters heard.

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Juan Angel Chávez (b. 1971, Chihuahua,Mexico) immigrated with his family toChicago when he was thirteen and,while in high school, attended TheSchool of the Art Institute of Chicago'sEarly College Program. There he learnedthe fundamental theories and tech-niques of mural painting and sculpture. Chavez developed his professionalexperience by painting murals inChicago neighborhoods and schools asa member of the Chicago Public ArtGroup, where he is now a Senior Artist.His public and private commissions nowinclude works for the Toman BranchLibrary, Chicago; the Whipple Home,

Juan Angel Chávez

MY GENERAL INTERESTSlay in the visual effects of uncon-trolled circumstances, the growth ofnatural elements onto urban environ-ments and the ambiance that sur-rounds them.

I like mulberry stains on side-walks, accident marks, mossgrowing under bridges, streetmarking mishaps, normal wearand tear, oils stains, illegaldumping sites and the sounds ofpeople working and livingaround them.

The piece was conceived with thesame idea in mind but focusing onthe specificity of its location. It wasinspired by how efflorescence hap-pens: moisture travels through brick,stone and concrete pulling the water-soluble salt out onto the sur-face. I wanted to recreate the similarmovement of moisture but using the specific sounds produced by theephemera and permanence of the ArtCenter’s new building and its envi-ronment. Efflorescence consisted oftwo wall relief sculptures, situatedalong the same vertical axis of thebuilding—the stairwell—but on sepa-rate floors. Both sculptures containeda baby monitor inside it that chan-neled sound from a third monitorthat was temporarily installed on therooftop of the Art Center. The ambi-ent murmur of the street was fusedinto a serpentine motion that entersand pulls the sounds of wind, rain,cars and foot traffic with the soundsof function.

Efflorescence2006Baby monitors, light bulbs, pipes, andhome-made speakers3 floors; dimensions variable

Juan Angel Chávez (b. 1971, Chihuahua,Mexico) immigrated with his family toChicago when he was thirteen and, while inhigh school, attended The School of theArt Institute of Chicago's Early College

Program. There he learned the fundamentaltheories and techniques of mural paintingand sculpture. Chávez developed his pro-fessional experience by painting murals inChicago neighborhoods and schools as amember of the Chicago Public Art Group,where he is now a Senior Artist. His publicand private commissions include works forthe Toman Branch Library, Chicago; theWhipple Home, Lake Forest, IL; theChicago Park District; the Chicago TransitAuthority (CTA); the Chicago Sun-Times,and many others. He has exhibited work inChicago at the Museum of Contemporary

Art and The Mexican Fine Art CenterMuseum. Nationally and abroad, his workhas recently been exhibited at venues inPhiladelphia, Los Angeles, Burlington (VT)and Copenhagen, Denmark. In 2001 he wasrecognized with the prestigious Richard H.Driehaus Individual Artist Award.www.juanangelchavez.com

Detail of the sculpture on the secondfloor with baby monitor.

Laura Davis

Laura Davis (b. 1971, Holland, MI) is aChicago-based installation and sculpturalartist. Davis’ art stretches the idea of thefound object by recontextualizing materi-als such as vintage necklaces, fabrics andpillar candles and incorporating them intoher work. She received an MFA from theUniversity of Chicago in 2004 and a BFA

from the Cleveland Institute of Art in 1996.Her work has been exhibited extensivelyacross the United States including, DairyCenter for the Arts, Boulder, CO; Gallery312, Chicago, IL; the Smart Museum of Art,Chicago, IL; Urban Institute of ContemporaryArt, Grand Rapids, MI, and the College ArtGallery, SUNY, New Paltz, NY.

NATIVE MOSTLY to Argentinaand Brazil, the feral Monk (or Quaker)parakeets (Myiopsitta monachus)that reside in Chicago’s Hyde Parkneighborhood have long been acuriosity of the area. My firstencounter with these birds was alsomy first visit to the Hyde Park ArtCenter several years ago. A friendpointed them out to me flying highover their many nests in the adjacentWashington Park as we walkedthrough the park. The nests are hugecomplex structures made from twigswoven into the crux of tree branches.The birds were flashes of green highup in the trees. I remember theweather that day as being extremelygrey and blustery contrasting withthe tropical green of the parakeets.

A nest can contain from 1 to 6nesting pairs on average, each with aseparate compartment and entrancehole. According to research done atthe University of Chicago, parakeetswere first spotted in Hyde Park in1973. Records show that by 1979 theywere successfully nesting and breed-ing in the area.(http://www.monkparakeet.com/jmsouth/)

As homage to these birds and theirgenius for adapting to our harsh cli-mate (along Lakeshore Drive no less)I created a portrait of them using aratio of materials and simple organicstructural systems. The proportionalrelationship here figuratively refers tothe degrees of cultivation exempli-fied by comparing these soft sculp-ture parrots to the actual Hyde Parkparrots and pet parrots to the par-rots of the wild. The birds were madeby tying triangles of felt into twoknots and the nest by machine stitch-ing vinyl triangles onto organic geo-desic dome forms.

I felt a certainty in installing Ratio(Monks and Mica Caves) in the south-east corner of the new Hyde Park ArtCenter—leaving the old HPAC loca-tion, cutting through the park, andup the stairs to the new.

Ratio (Monks and Mica Caves) 2006Mixed media installationDimensions variable

Artist’s proposal sketch

Jeff DeGolier (b. 1974 Bellingham, WA)works in a variety of media, particularlyphotography and sculpture. Much of hiswork to date incorporates found mechani-cal parts and building materials to con-struct miniature gritty landscapes, whichhe manipulates for his photographs andsometimes shows as kinetic sculptures. Hereceived an MFA Degree from theUniversity of Illinois in Chicago. DeGolier’swork has been exhibited at Gallery 400,Chicago, IL; Howard House, LLC, Seattle,WA; New Museum of Contemporary Art,New York, NY; Soil Gallery, Seattle, WA;Great Space, and University of Illinois atChicago, Chicago, IL. He currently livesand works in Brooklyn, NY.www.jeffdegolier.com

Threescape with Luxury Background2005-200619 Digital c-prints on dibondDimensions variable

Jeff DeGolier

Regarding this sentiment (speakingspecifically of 13th century Tuscany)Lefebvre states: "Luxurious spendingon the construction of palaces andmonuments gave artists, and primari-ly painters, a chance to express, aftertheir own fashion, what was happen-ing, to display what they perceived.These artists 'discovered' perspectiveand developed the theory of it..."

Lefebvre’s analysis of the interplaybetween urban/rural developmentand artistic production results in arather idealistic view—that the artistwill find the sense in the planning,the cohesiveness of it, and reinvest inthe ideas of the planners via his orher own work. But what happenswhen much of what we see is a mess;when the social responsibility of ourplanners seems either anemic, oraltogether missing? Assuming (albeitrather naively) that all-out “pure”abstraction is not an option, thereneeds to be a way of interpreting ourworld in a way that is sincere, hope-ful, and even beautiful.

Much of our contemporary world isnonsensical and frustrating, lacking inbeauty and efficiency. It is a broadlyaccepted idea that the artist is a non-

complacent character in society, thathe or she is generally frustrated withthe state of the world. Therefore, it isno longer enough to point in thisvague direction for explanation ofour work, or to reference it generallyas a source. So what are we to do?Our generation is floundering in avague “blah” of desperation, help-lessness in the presence of the high-tech, removal from the tactile, andfrustration with the ugly, corporate-driven trajectory of the western land-scape. We cannot see the kind ofsense that Lefebvre’s Tuscan artistsof the 13th century did in our land-scape. Although many ponder ourWAL*MART littered landscape in awe,it is an awe full of dread, full of night-marish visions of “progress” that nolonger come equipped with utopianhopefulness. And what’s worse is thatwe appear to be stuck where we are.Money, as it has been doing for cen-turies, rules the world. What sets ourtime apart from others, however, isthat it seems to be doing so muchmore thoroughly, and with littleregard for “quality.” In spite of allthese frustrations, we must deal withwhat we are given, make the best of

it, and hold on tightly to any idealismthat mingles with the lint in our pock-ets.

So we, as artists, build our ownworlds (sometimes quite literally) sothat we may “discover” somethinglike the perspective of Lefebvre’sartists all over again—not to reinventit, but to make sense of our worldsvia the reconstruction of it. We are tobuild our environments—or rebuildthem—as the platonic ideal/idea ofthem exists in our heads: the idea ofa building, of an automobile, of pollu-tion, of a tree, or of the amalgama-tion of two or more of these thingstogether. Unlike the artists Lefebvrerefers to, we are not "to display what[we] perceive..." but to build what weperceive out of samples from theconcrete world, perceive what wehave built, and display what we per-ceive in it.

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“The spaces form the artists, who in turn form theirideas about art and their ways of making art.”

— Henri Lefebvre, The Production of Space

One of the photographs in the Threescape series containingdebris from the construction site of the Hyde Park Art Center.

DECONSTRUCTION / RECONSTRUCTION (Dissection / Resurrection)2006Chart tape, color coded labels,Letraset, contact paper, and markers on wall8 x 15 feet

Andrea DeMers (b. 1958, WashingtonD.C.) is a Chicago-based artist whoseintricate mixed media drawings borrowfragments from diagrammed systemsas varied as flow charts, mechanicalblueprints, aerial views of highwayclover-leafs, and amusement parkmaps. Accumulated graphic informa-tion is woven into convoluted networksthat reference urban sprawl, maze-liketechnology, and the overbooked itiner-aries inherent in contemporarylifestyles. DeMers studied at The Schoolof the Art Institute of Chicago (MFA,2000) and the University of Wisconsin,Madison (BFA, 1980). Her work hasbeen exhibited at Carl Hammer Gallery,Chicago, IL; Gallery 400, Chicago, IL,and the Museum of Modern Fine Art,Minsk, Belarus.

Andrea DeMers

THIS PIECE embodied concepts ofopenness, adaptability and change.My idea involved dissecting the floorplan and construction blueprints forthe new HPAC and reconfiguring thefragments into a wall drawing/col-lage in which the fixedness andimpenetrability of architecture gaveway to a winding, shifting, migratingweb of circuitous detail. Within it, lin-ear elements dissolved into patternor collapsed into floating fragments.Conversely, sections of interior spacesolidified into silhouettes of animat-ed characters and shapes. The ensu-ing fracas resembled a playful andconvoluted flow chart alluding to theinevitable glitches and complicationsinherent in the process of planningand building the Art Center. The dis-connect that occurs when plans,aspirations, and expectations collidedwith the unpredictability of real lifewas brought to the fore.I chose the location of the officereception area as a tribute to theHyde Park Art Center staff and toemphasize the necessity for viewingthe piece over time, as offered by a

waiting room. Improvising on site inthe unfinished building meant work-ing along side construction workersamidst dust, debris, and commotionin a constant state of flux. Removedfrom the solitude of my studio, it wasa very public situation where certaindays brought dozens of visitorsstreaming through the space. Thecombination of frustration and exhil-aration I experienced contributed tothe exuberant energy of the piece,and forged a direct connection to theunwieldy yet buoyant world that isthe focus of my work.

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Detail:DECONSTRUCTION / RECONSTRUCTION

Jeanne Dunning

THE PHOTOGRAPH was in effecta proposal for a monument, but it didnot specify to what. As a giant andgilded “thumbs up,” it might havebeen a monument to positivity forour times. As an abstracted but phal-lic body part, it might have been be agrandiose and very public obscenegesture.

At certain key moments in its earlyyears, the Hyde Park Art Center dis-tinguished itself by supporting workthat thumbed its nose at both goodtaste and good behavior. Making agesture alluding to the Center’s past,the monument was appropriate tothe celebration of its future.

Jeanne Dunning (b. 1960, Granby, CT)explores our relationship to our own physi-cality by looking at the strange and unfa-miliar in the body and in our notions ofgender and normality. Her photographic,sculptural and video work has been shownextensively throughout the United Statesand Europe since the mid-1980s. It hasbeen included in group exhibitions such asthe 1991 Whitney Biennial, the Sydney

Biennale in 1996, and the Venice Biennalein 1995. She has had solo shows at theHirshhorn Museum and Sculpture Garden,Washington D.C.; Museum of ContemporaryArt, Chicago, IL; Konstmuseet, Malmö,Sweden, and the Berkeley Art Museum, CA.Dunning lives and works in Chicago and isa professor in the Department of ArtTheory and Practice at NorthwesternUniversity.

Monument2006Archival inkjet print65 x 44 inches

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Julia Fish (b. 1950, Toledo, Oregon) haslived and worked in Chicago since 1985.She received a BFA degree from PacificNorthwest College of Art in 1976, and anMFA degree from the College of Art,Maryland Institute in 1982. Her paintingsand drawings have been included incurated exhibitions at the Museum ofContemporary Art, Chicago, IL; SanFrancisco Museum of Modern Art, CA;Terra Museum of American Art, Chicago,IL; Chicago Cultural Center, IL; MAKCenter for Art and Architecture /Schindler House, Los Angeles, CA, andthe Martin-Gropius Bau, BerlinischeGalerie, Berlin, Germany, among manyothers. Her work has been presented intwenty solo exhibitions since 1980, andwas the subject of a ten-year surveyexhibition at The Renaissance Society atthe University of Chicago, IL in 1996.Fish is a professor of Studio Arts in theSchool of Art and Design, College ofArchitecture and the Arts at theUniversity of Illinois at Chicago.www.hydeparkart.org/alist/profile/fish_julia

Trio in red yellow blue, with varia-tions for fifty-nine steps / sevenflights / three stairways at 5020South Cornell Avenue2006Oil enamel on aluminumDimensions variable

Julia Fish

INSPIRED BY the musical formitself, Trio in red yellow blue, withvariations for fifty-nine steps / sevenflights / three stairways at 5020South Cornell Avenue offered a set ofcolor notations as a score. Each stepstructured time, while the attachedlinear markings proposed directionalmovement within the three stairways.Two enclosed stairwells at the northand south of the building—organizedin two and three flights of twenty-two and seventeen steps, respective-ly—stand in contrast to an open stair-way arranged as two flights of twen-ty steps, positioned in the centralreception hall.

Trio in red yellow blue could beunderstood in either of two modes:(a) the viewer performed the score(deliberately, or inadvertently) inactive, physical terms when ascend-ing or descending the three sets ofstairs, guided by the changingsequence and frequency of red, yel-low and blue; (b) alternatively, Trioinvited a purely visual “sight reading”of each stairway from landings orother vantage points where the lines

were visible. To begin, the viewergenerated a multiple set of variationswithin any one of the three staircas-es, and then completed the Trio byfollowing the assigned color nota-tions in the other two stairways torealize an extended set of variations.

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Detail of south stairwellCourtesy of the artist

Detail of north stairwell

[score for] Trio in redyellow blue, with varia-

tions for fifty-ninesteps / seven flights /

three stairways at5020 South Cornell

Avenue2006

Colored pencil ongraph paper

23 3/4 x 18 inches

Ben Foch (b. 1977, Park Forest, IL) uti-lizes a formal approach rooted in paint-ing and sculpture to generate his con-ceptual based works. He often employsreadymade functional objects to explorethe nature of material, of representa-tion, and of the ideological underpin-nings these objects embody. Fochreceived a BFA from The School of theArt Institute of Chicago in 1999, andcontinues his studio practice in Chicago.His work has been exhibited in Chicagovenues including The Mansion,ArtLedge, The Butcher Shop, andVonzweck, in addition to the Art Spot inAtlanta, GA.

I - IV Sherman; Monroe; Panzer;Bardot, from the Roller Paintingseries 2006Acrylic on canvas; series of 42 x 12 feet

Remnant as Object/ History asFiction2006Lambda print; 1 of 3 20 x 30 inches

WHEN I WAS approached to makea site-responsive work for Takeoverand first encountered Hyde Park ArtCenter’s new home at 5020 S. Cornell,I knew immediately what had to bedone. What struck me was the shift inscope, both physically and internally.The “site” that presented itself to mewas not physical but rather historical.The contrast between Hyde Park ArtCenter’s prior and emerging identitypresented me with the content I want-ed to engage.

The Art Center’s exhibition space inthe old ballroom at 5307 S. Hyde ParkBlvd. has always been mutuallyimposing, both they upon the spaceand the space upon them. Over theyears a relationship developed toform one unifying experience that hasbecome a uniquely defining charac-teristic of the Hyde Park Art Center.Looming over the exhibition spacehung the remnant of a previous era: aBeaux Arts decorative relief, bothbeautiful and neglected. The disrepairof the space’s history was coveredwith the white cube aspirations of itscurrent employment and forgotten as

best it could be. However, its weightwas always present and came toembody the center as such.

With this most recent expansion,this aspect merely became furtherrepressed. To future generations itmay even appear to have vanished asif it had never been. History becomesaccessible only through the present.The sentiment of the ballroom willexist in documentation and the sub-jective memory of a lingering audi-ence. This was the site where my con-cerns as an artist presented them-selves.

The repression of the vaulted décorwas literally executed in paint beingcovered in white. I have alwaysthought of this as a monochromatic,site-specific installation without anauthor. My proposal for Takeover wasto first “restore” a section of the ceil-ing. As opposed to an actual restora-tion, I wanted to use paint and variousfaux and decorative techniques tostress the layers of artifice revealingthe fictive quality of history. I soughtto present an idealized memory of theold space in the new space, where thedocumentation will become perhaps

the only accuracy an art viewing pub-lic will have access to. To do this, Ihad the “restoration” professionallyphotographed and its printed repro-duction exhibited in the new space.My practice rests in the distance thismediation imposes and its operationwithin a construct of history.

Ben Foch

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Dianna Frid (b. Mexico City, Mexico) isboth a two-dimensional and three-dimensional artist who creates fabricmontages, artist books and drawings.Frid’s work focuses on aspects of placeas suggested by mapping, architectureand elements of geography. Shereceived a BFA from The School of theArt Institute of Chicago in 1991, and herBA from Hampshire College in 1988. Herwork has been exhibited internationallyat galleries including, Optica, Montreal,Quebec; G2, Chicago, IL; St. Mary’sCollege, Notre Dame, IN; Gallery 312,Chicago, IL; Pittsburgh Center for theArts, PA; Centro Nacional de las Artes,Mexico City, Mexico, and CROXHAPOX,Gent, Belgium. www.hydeparkart.org/alist/profile/frid_dianna

Mark Gallay (b. 1972, New York, NY)received a BA from Vassar College in1994 and an MFA from the School of theArt Institute of Chicago in May 2006.His work has recently been shown atSubCity Projects (w/ Dianna Frid), LisaBoyle Gallery (w/ Brian Getnick),Contemporary Arts Workshop (w/ NoeKidder), Chicago Filmmakers (w/ JimTrainor), Mess Hall, Heaven Gallery, andPAC/EDGE Festival.

That the stars and men return incycles2006Cloth, thread, laser heat transfers,ink, mylar, and soundDimensions variable

Dianna FridMark Gallay

OUR PROJECT consisted of twopairs of components that we called“iterations.” They are sculptural andthey have sound. We called our workiterations because each componenthad at least one earlier configuration,if not more, and thus originated froman earlier visual and/or aural experi-ence. We also named our collabora-tion “Call and Response”. One of usput out the call, either with a visualor a sound work, and the otherresponded.

We developed a working model forthe first call: the labyrinths. Thelabyrinths are composed of isolatedrooms taken from museum floorplans, and were transferred to clothand reconfigured in a labyrinthineiteration. Speakers were placed atthe nodal points. The labyrinths saton a camouflaged background. The wall work used architecturalfloor plans of specific sites to talkabout many themes including thegarden labyrinth.

Our approach to this particular col-laborative space was fluid and inter-pretive. We were like nomads: we

knew what our starting point was,and had a sense of direction. Wewere interested in playing in thespace with visual forms that evokedinter-subjective meaning through thecontemplation of things and thesound-works we made.

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Goat Island is a Chicago-based collabo-rative performance group. From 1987 to2006 Goat Island has produced collabo-rative performance works developed byits members for local, national, andinternational audiences. They perform apersonal vocabulary of movement, bothdance-like and pedestrian, that oftenmakes extreme physical demands on theperformers and attention demands onthe audience. They incorporate histori-cal and contemporary issues throughtext and movement. Core members areKaren Christopher, Matthew Goulish, LinHixson (Director), Mark Jeffery, BryanSaner, and Litó Walkey. Associate mem-bers are Cynthia Ashby, Lucy Cash (for-merly Lucy Baldwyn), CJ Mitchell, JuddMorrissey, Margaret Nelson and ChantalZakari. Characteristically Goat Islandattempts to establish a spatial relation-ship with audiences, other than theusual proscenium theater situation,which may suggest a concept such assporting arena or parade ground, ormay create a setting for which there isno everyday comparison. The companyhas toured the US, England, Scotland,Wales, Belgium, Switzerland, Croatia,Germany, and Canada. www.goatislandperformance.org

Daynightly They re-school you TheBears-Polka, 50th and CornellIntermix, a double film by Goat Island2006Video projection 10 minutesImage courtesy of the artist

Goat Island

IN 1853, Paul Cornell, New Yorklawyer, Chicago real estate developerand watch factory owner, purchased300 acres of property about 5 1/2miles south of the downtown core.He named the community Hyde Parkafter the one in London and thestreet Cornell after himself. A yearbefore Paul Cornell died, JosephCornell (no relation) was born in NewYork. He spent his artistic life assem-bling found images and ideas intosculptures and films around themesof travel and caged birds.

The Hyde Park Art Center wasestablished in 1939, and has respond-ed ever since to its surroundings. In1973, a pair of South American MonkParakeets, their monastic namederived from their hood of greenfeathers, nested in Hyde Park. Theyadapted to the neighborhood andhave grown into a vibrant communityof more than 200.

The collaborative performancegroup Goat Island was founded inChicago in 1987. In 2004, in London,we premiered our eighth perform-ance work, When will the Septemberroses bloom? Last night was only a

comedy. After a substantial2004/2005 tour, Lin Hixson (GoatIsland director) and Lucy Baldwyn(Goat Island associate member)worked to distill the performanceinto 9 minutes and 30 seconds, thesafe length within a roll of 16mm film,and to split that duration in two. Theidea was to construct two films thatscreened simultaneously on oppositegallery walls, to balance movementand stillness as a single interwovenexperience for a viewer positioned inthe space between the screens. Theresult, Daynightly They re-school youThe Bears-Polka, a double film byGoat Island, premiered at the BettyRymer Gallery at the School of theArt Institute of Chicago in November2005. Our contribution to the HydePark Art Center’s Takeover exhibitionresponds to the T intersection streetnames of the new location: 50th &Cornell. We have chosen to treat ourown film as found footage and inter-mix it with monk parakeet imagery tocreate something equal parts origi-nal, found, and “Cornellian” for theresonant crossroads of the new HydePark Art Center.

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Jacob Hashimoto (b. 1973, Greeley, CO)is a site-specific installation artist whocreates large sculptural forms out ofhandmade paper kites that convey asense of wonder and playfulness.Hashimoto received a BFA from TheSchool of the Art Institute of Chicagoand currently splits his time betweenliving and working in Brooklyn, NY andVerona, Italy. He has exhibited his workacross the US and abroad includingChicago Cultural Center, IL; Hyde ParkArt Center; Museum of ContemporaryArt, Chicago, IL; Rice University ArtGallery, Houston, TX; Los AngelesCounty Museum of Art, CA, and StudioLa Citta, Verona, Italy.

White Plumes – SuperabundantVariation2005-2006Wood, stainless steel, silk, nylon,and acrylicDimensions variable

Jacob Hashimoto

WHEN I FIRST graduated fromThe School of the Art Institute ofChicago, Ray Yoshida asked me toparticipate in a show that he wasorganizing for the Hyde Park ArtCenter. It was the first time I hadpublicly exhibited any of my workoutside of school and I took theopportunity to show a piece that Iworked on and worried over much ofmy senior year. The piece, comprisedof 365 little kites was entitledPerennial. I remember arriving nerv-ously from Ravenswood via the “L”and the Jeffery 6 bus with a card-board box stuffed with little 5 inchdiamond shaped kites, 3 rolls ofGrandma’s Best crochet thread, 100feet of galvanized steel wire, two eyehooks, and a turnbuckle. Two longdays and 365 knots later I finishedinstalling my sculpture, a 40 foot cur-tain of black crochet thread with lit-tle kites anchoring each strand to thefloor. It was and is one of my favoritepieces.

So, when I was approached aboutbuilding a sculpture for the newbuilding’s inaugural exhibition, I was

excited about the possibility ofbringing what I’m still calling “mykite work” back to the Hyde Park ArtCenter. White Plumes –Superabundant Variation was the lat-est of these. It was a series of sculp-tural columns that run from the ceil-ing to the floor of the Art Center’slargest new gallery space. The sculp-tural columns were comprised ofnumerous elliptical kite elements thathave been chained together usingblack nylon string. The chains ofwhite, silk and bamboo kites werestretched between floor and ceilingmounted hardware in an off-set gridpattern, creating visually solid, struc-turally porous columns. Thesecolumns were arranged in a grid,allowing visitors to walk into thepiece, thereby surrounding andimmersing themselves in a billowingsculptural environment.

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Pablo Helguera (b.1971, Mexico City) is amulti-disciplinary artist living and work-ing in New York. He studied at theNational School of Visual Arts in Mexico,University of Barcelona and at TheSchool of the Art Institute of Chicagowhere he obtained a BFA degree in1993. He has exhibited or performed atthe Brooklyn Museum, New York;Shedhalle, Zurich; P.S.1 ContemporaryArt Center, New York; Institute furAustellung, Bonn; Tokyo MetropolitanArt Museum, Tokyo; Museo del Barrio,New York; Bronx Museum; SmackMellon, Brooklyn; Hyde Park Art Center,Chicago; Karl Ernst Osthaus Museum,Hagen; Museum of Latin American Artof Buenos Aires, and Pittsburgh Centerfor the Arts, PA, amongst others.www.panamericanismo.org

We Are All Streeter2006Panel discussion and video45 minutesImage courtesy of the artist

Pablo Helguera

ON THE STORMY NIGHT ofJuly 10, 1886, in Chicago, a mannamed George Wellington “Cap”Streeter ran his 35-ton steamshipaground on a sandbar near MichiganAvenue. Unable to dislodge the ves-sel, he turned it into a home. Slowly,landfill connected the steamship tothe city and Streeter laid claim to the168 acres. Since the downtown clean-up after the Great Fire in 1871, LakeMichigan had been used as a dumpby building contractors. Streeterinvited such contractors to dumptheir waste on the sandbar where thevessel sat, and he and his wife com-menced housekeeping. The Streeterssaw themselves as homesteaders;Chicago city officials consideredthem squatters. Thus began fortyyears of legal battles. In 1889,Streeter and his common-law wife,Maria, moved into a larger ship whichhad run aground in the District andnamed it The Castle. After clasheswith the local police and battles incourt, he was finally evicted. But hecontinued to lay claim to the areaknown as Streeterville until his deathin 1921.

Streeter is seen historically as aChicago eccentric, but I rather seehim as an essential Chicagoan, andmoreover, as a metaphor of the spiritof the ultimate Chicago artist. We AllAre Streeter is a work in the form ofa panel discussion about Chicagoeccentrics, the way in which the cityof Chicago exerts a strange loveattraction, and the means by whichwe uneasily assert our own identityaccording to the place where we arelocated. Like Streeter, many of ushaphazardly landed in Chicago andthen developed our relationship withthe city—and to an extent, our identi-ty—on this chance encounter by fate.Are places only neutral sites to whichwe lay claim in a desperate attemptto get a sense of identity and mean-ing in our lives? Are we defined justas much as by where we are thanwhere we want or do not want to be?

The characters in the We Are AllStreeter performance on April 29,2006 included:

Pablo Helguera, a lecturerEncarnacion Teruel, the moderatorScott Vehill, art critic from PeoriaSharon Stein, a Peoria artist and artsadministrator

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Industry of the Ordinary was formed inJanuary 2003. The two artists whomake up this collaborative team, AdamBrooks and Mathew Wilson, have longhistories as visual and performativeartists. They bring complementary sen-sibilities to their activities. Their proj-ects exist in temporal terms but havealso been conceived to function on theweb site associated with the collabora-tion. Through sculpture, text, photogra-phy, video and performance, Industry ofthe Ordinary is dedicated to an explo-ration and celebration of the customary,the everyday, and the usual. Theiremphasis is on challenging pejorativenotions of the ordinary and, in doing so,moving beyond the quotidian.www.industryoftheordinary.com

Factory Floor2006Residency/performance installation

Industry of the Ordinary

INDUSTRY OF THEORDINARY occupied many spaceswithin the Hyde Park Art Center thatare not primarily dedicated to thepresentation of art objects. Throughthe creation of objects and gesturesof their own, and with the help ofvolunteer workers, Industry of theOrdinary held a residency throughoutthe weekends of May 2006. Forexample, on the gala opening night,Industry of the Ordinary performedEpilation, which included shearing afur coat worn by an elegant model asshe walked around the black tie ben-efit event. The residual material washanded to the crowd in glassineenvelopes. In Attaining the Summit,an expedition was organized to climbthe chimney that towers above thebuilding. Industry of the Ordinaryhad no mountaineering experienceand is terrified of heights. Theytherefore invited professionals withappropriate experience and courageto help coordinate their effort. Theartists also performed Batter II, serv-ing a pancake breakfast for anassembled crowd of hundreds and

branded each pancake with a mes-sage before it was served. The finalproject included walking the streetsof Hyde Park to ask members of thepublic “What makes a countrygreat?” All responses were recordedand a selection of answers can beheard on the artists’ website.

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Courtesy of the artists

Chuck Jones (b. 1970, Bethesda,Maryland) is a sculptor who now mostlymakes video, although he considers allmedia consumables up for grabs. He isinterested in how systems of publicaddress warp the dynamics of socialpower and respect. Jones received anMFA from the School of Art and Designat the University of Illinois, Chicago in1997. His work has been included in thefollowing group exhibitions: Coma #1,COMA, Chicago, 2006; Voiceovers, LosAngeles Contemporary Exhibitions, LosAngeles, CA, 2005; Dang It Feels Goodto Be a Gangster, Your Art Here,Indianapolis, IN, 2004; Fine Words,Butter, No Cabbage, Hyde Park ArtCenter, Chicago, IL, 2004; andApartment Series #3, Mattress Factory,Pittsburgh, PA, 2004. www.babygorilla.com

A video of dogs running, with thevideo being named after twoMotörhead songs: “The Chase isBetter than the Catch” and “YouBetter Run.”2006DVD3 minutesImage Courtesy of the artist

Chuck Jones

ONE TIME, I was down in HydePark at the old place and the personbehind the security desk wouldn't letme bring in my dog. Now, Frank (mydog) is a good guy and he had beenthere a number of times before andhe was on a leash, so I didn't seewhat the problem was. That personnot letting me bring my dog into theHyde Park Art Center was the oldChicago: The city that doesn't care what you say because “that dogisn't coming in here while I'm on duty.” I've been in Chicago longenough to know where I can bringmy dog. He walks into Paper Source, intoMenards, and into Facets Multimediawhere he knows exactly where to laydown while I pick thru the documen-taries. He can go into Quimby's and intoUncle Fun, although he blocks the aisles. Now in the new digs, the newHyde Park Art Center, part of thenew Chicago, Frank will have roomto move. I hope that everythingworks out well for everybody.

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Installation view

Stuart Keeler (b. 1968, Vancouver,Canada) is a Chicago-based independ-ent curator and artist. He works inter-disciplinary and collaboratively in thepublic realm with ephemeral studioworks and conceptual interventions.He finds humor in the everyday andloves the examination of paradigms as ahobby. He received an MFA from TheSchool of the Art Institute of Chicago inSculptural Practices and Critical andVisual Studies. Currently, he is anadjunct faculty in the interdisciplinaryarts department at Columbia College,Chicago and the self-appointed Artist-in-Residence of the 44th and 46thWard, Chicago. His accolades includebeing selected to curate theContemporary Art Council’s 2007 exhi-bition, a nomination for the RobertMotherwell Foundation Award, and anArtist-in-Residence at Pilchuck GlassSchool. He has shown his work in exhibi-tion spaces across Chicago and interna-tionally including Gallery 400, Chicago,IL and the International Media Biennale,Warsaw Poland. www.keeler-machnic.com

Bullseye2006-2007A green roof consists of soil and foliageon a human-made structure26 x 36 feetCollaboration with Weston Solutions,Inc., Greengrid Green Roof System andMidwest Groundcovers

Stuart Keeler

THE CITY is my studio space where ahybrid language of architecture andsculptural practices replaces the con-ventional static definition of “place”.Bullseye is a simultaneous paint-by-numbers, experienced from above andbelow; a bird’s-eye view of concentriccircles expands forward to camouflagea steadfast floor plan. It is a living workthat will continue to grow and redefinethe texture of the built world. Socialstructures in the creation of the worklinger forward through the active par-ticipation of production and caretakingof the piece. Architecture is not a unitof sole control; an amalgam of collabo-ration expands my vision for the per-sonal realization of a memorable builtworld. I am committed to continuallyexpanding my practice with a multi-dis-ciplined conversation with industry, sci-ence and the infinite varieties of archi-tecture. Co-existence redefines “sus-tainability” as our physical experiencesare redefined through multiple socialplatforms in the space of the city.

This work will be on extended loan tothe Art Center through autumn 2007.

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Artist’s proposal sketch

Arrangement for the Foyer 2006Wall painting, mixed media, paintingon panel10 x 15 x 3 feet (approx.)

Anna Kunz (b. 1972, Cleveland, OH) is aChicago-based painter and installationartist. Through the process of painting,Kunz examines relationships betweenthe object and the subject, the ambigu-ous with the metaphorical, and the“real” with illusion. Kunz received anMFA in 2000 from NorthwesternUniversity and a BFA from The Schoolof the Art Institute of Chicago. Currentlyshe is an instructor in the drawing andpainting departments at NorthwesternUniversity and the Art Institute ofChicago. Her work has been exhibitedlocally and nationally at spaces includ-ing I Space Gallery, Chicago, IL; TheContemporary Art Workshop, Chicago,IL; Evanston Art Center, Evanston, IL;Modern Art Gallery, Los Angeles, CA;and Finesilver Gallery, San Antonio, TX. www.hydeparkart.org/alist/profile/kunz_anna

MY SITE-SPECIFIC piece in thefoyer of the new Hyde Park ArtCenter related to my ongoing inter-ests in process, natural forms, andcolor. I thought about the meaningand function of a foyer, as it is a“decompression” space, the spot offirst and last impression, a meetingplace and a threshold.

I used one of my paintings as astarting point, and built the workwith a series of made and found ele-ments, coming off of the floor, andout from the wall.

I visualized my ideas for the piecethrough the use of a small model thatI built of the foyer, but the processlead to improvisation when I actuallygot into the space to make the piece.I ultimately worked with the light ofthe foyer, and any elements that Icouldn’t identify in the architecturaldrawings. The work was intended tobe welcoming and celebratory.

Anna Kunz

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Judy Ledgerwood (b. 1959, Brazil, IN)lives and works in Chicago. In herabstract paintings, Ledgerwood revealsa debt to modernist traditions, such asAbstract Expressionism, while jettison-ing the authoritarian rhetoric that sur-rounds it in favor of visual pleasure andawkward grace. She is a 1984 graduateof The School of the Art Institute.Ledgerwood has been the Chair of theDepartment of Art Theory and Practiceat Northwestern University since 2003.www.hydeparkart.org/alist/profile/ledgerwood_judy

Chromatic Patterns2006Wall painting9 x 19 feet

Judy Ledgerwood

MY PAINTINGS emerge squarelyfrom a tradition of Modernist, grid-based abstraction. In this tradition, agrid parallel to the picture plane isthe chief organizing principle. Thegrid is an ideal that represents order,regularity and predictability. Theartists who exemplify this traditionsuch as Barnet Newman, MarkRothko, and Ad Reinhardt elaborateon this spatial ideal, with a moralassurance made possible by twoworld wars and the whole of the his-tory of painting. For artists of mygeneration, a sense of the absolute isno longer possible. My work chal-lenges the authority of the grid bycreating paintings that provoke anoptical experience often character-ized by after-images, retinal fatigueand other fugitive, ephemeral andtransient experiences that cannot bepredicted, controlled or legislated.

The motifs in my paintings com-prise a language based on repetitivevernacular forms, which are intendedto recall the decorative arts, interiordesign, and fashion—domains inwhich women have historically beenthe voices of authority. This is a lan-guage that uses the decorative to

create form as opposed to the ideaof decoration operating merely assuperficial ornament as a furtherchallenge to Modernist conventions.

The organizational structure andmore precisely the color in my paint-ings, encourages visual experiencesthat question the ideal representedby the grid. Furthermore, the experi-ence of viewing my work is unique toeach individual, and varies with view-er position in relation to the paintingand ambient light. I intend for mypaintings to question the convention-al authority of the grid, to challengereason, order, and predictability bysubverting it visually throughemploying optically active, subjec-tive, first - person experience as anacknowledgement that lived experi-ence is not fixed but always in rela-tion to an ideal.

If beauty is an ideal of perfectionarrived at by consensus then mypaintings are ugly beauty. UglyBeauty is the term I use to describemy paintings when they are good.Ugly Beauty is a beauty thatembraces the flawed, imperfect, frag-ile, temporal and ephemeral. UglyBeauty is life. Perfection is death.

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Nina Levy (b. 1967, Los Angeles, CA)has lived and worked in Williamsburg,Brooklyn since 1996. Nina models hersculpture from observation and thenintroduces a distortion, alteration inscale, or fragmentation. The pieces aremodeled in clay, plaster, or hydrocal andpainted with oil. She received a BA fromYale in 1989, and an MFA from theUniversity of Chicago in 1993. Levy hasexhibited at the Brooklyn Art Museum,NY; Neuberger Museum of Art,Westminster, NY, and the DeCordovaMuseum, Lincoln, MA. Her site-specificoutdoor installations have been exhibit-ed at the Aldrich Museum, Ridgefield,CT, and the Museum of ContemporaryArt, San Diego, CA. Recent individualshows include a project for the reopen-ing of the National Portrait Gallery,Washington D.C., and at Real Art Ways,Hartford, CT. www.ninalevy.com

Drop2006Ultracal, steel, and oil paint36 x 18 x 21 inches (child);

6 x 30 x 26 inches (head)

Nina Levy

DROP CONSISTS OF two ele-ments. On the second floor, a smallchild leans over the railing lookingdown at the first floor. He stands pre-cariously on his tiptoes atop a whitestepstool. Directly underneath thechild’s outstretched arms on theground floor is a flattened woman’shead, spread out thinly, perhaps as aresult of impact. Although not strictlyportraits, the two elements are mod-eled on myself and my son.

I am interested in taking advantageof a space where one can see thefirst and second floors simultaneous-ly—where one might first see a pecu-liar piece on the floor and discoverits relationship to the others above.

For the sake of research, my hus-band, my then 2 year old son, and Islammed a good many little clayheads on the floor to see just whatsort of distortion resulted. Althoughsplotting heads on the floor is partic-ularly compelling for a toddler, we allenjoyed ourselves. Unfortunately, wewere not in a pristine and architec-turally compelling environment likethe Art Center at the time.

In the past, I have both used isolat-ed baby heads as a stand-in for auniversal id, and portrayed my ownbody tossing its head off a rooftop asan emblem of a disruptive plea forattention. In this case, the child isacting out an impulse, which is notunfamiliar to anyone who frequentsbuildings with balconies or atriums.An impulse that is also perhaps rec-ognizable to those who are evenslightly ambivalent about their par-ents. And speaking of impulses, partof what makes figurative sculpturecompelling for me is that viewersoften seem compelled to interactphysically with it, often with destruc-tive consequences.

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Study for Drop2005Charcoal on paper40 x 21 inches

Joan Livingstone (b. 1948, Portland,OR) references the human organismand bodily experience, questioningcontemporary issues of intimacy, sexu-ality, and desire in her abstract sculp-tures. She received an MFA in 1974from the Cranbook Academy of Art anda BA from the Portland State Universityin 1972. Her work has been presented innumerous solo and group exhibitionsboth nationally and internationallyincluding the Museum of ContemporaryArt, Chicago, IL; Metropolitan Museumof Art, New York City, NY; KanazawaMuseum of Art, Japan; Sonje Museumof Contemporary Art, Gyeung Ju,Korea; Bosie Art Museum, ID, and theContemporary Museum, Honolulu,Hawaii. She is currently professor andchair of the Fiber and Material StudiesDepartment at the Art Institute ofChicago. www.joanlivingstone.com

Re/Site2006Clothing, construction debris, digitalsnapshots, drawings, felt, insulation mate-rials, junk food wrappers, leather, nails,packaging, paint, paper, plastic,polyurethane, resin, rubber, stuffed toys,texts, thread, and vinyl dimension variable

Joan Livingstone

WE LIVE IN an historical momentof intense conflation of time andspace, continuously exposing us to,or confronting us with, multiple per-spectives of thought, values, lifestyles, desires, and ambitions. Payingattention to this notion of “multiplici-ty,” Re/Site “mapped” the urbanneighborhood of the old and newHyde Park Art Center. Found sur-faces, miscellaneous texts, snapshots,discarded remnants, and other detri-tus – both personal and industrial –were gathered from in and aroundthe Center’s environs. As this residuewas joined, stitched and cast togeth-er into a long, continuous skin, itrevealed the changing history andevolving memory of the neighbor-hood. Rich in physical materiality, theprocess of making the work embod-ied the intimacy of the observant,contemporary flâneur. Installedthrough the long entrance hallway,now Gallery 2 of the new Center, theviewer must walk the distance of thepiece, relying on memory and thecompilation of experience to engagethe work. As we are continuously dis-

mantled and reconfigured by externalevents, so this piece too deconstruct-ed the community’s “façade,” andproposed new relationships, path-ways, and re-imagined connections.

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Artist’s digital rendering of the proposed space during construction

Iñigo Manglano-Ovalle (b. 1961, Madrid,Spain) has exhibited his work at numer-ous nationally and internationallyacclaimed institutions, including theGuggenheim Museum, the Museum ofModern Art and the Whitney Museum inNew York City; the Sao Paulo Biennial;and the Ruffino Tamayo Museum,Mexico City. Other projects includeinstitutions in Barcelona, Venice,Frankfurt and Singapore, as well as herein Chicago at the Art Institute and theMuseum of Contemporary Art. He cur-rently lives and works in Chicago and isa professor at the University of Chicago.

Rick Gribenas (b. 1977, Pittsburgh, PA)is an intermedia artist working primarilywith the mediums of sound and light invarying forms. He has exhibited andperformed across the US and interna-tionally including New York City, LosAngeles, London, Vienna, and complet-ed a solo performance tour ofScandinavia in 2006. Gribenas receivedan MFA from the University of Illinois atChicago in December of 2006 as theNavona Fellow in the Arts, prior towhich he held a Visiting Faculty posi-tion in the Interdisciplinary Program atCarnegie Mellon University's College ofFine Art.www.gribenas.com

Mark Hereld (b. 1956, Ft. Benning, GA)is a scientist and engineer working inthe Futures Lab at Argonne NationalLaboratory. His research has rangedfrom physics, through astronomy andastrophysics, and into computer sciencewhere he now puts most of his energies.Early work in the area of experimentalgeneral relativity taught him how towork in a vacuum. Later, while devel-oping infrared cameras and telescopesfor experiments at the South Pole, hebecame comfortable with working inthe cold and being kept in the dark.He now spends his working hours simu-lating aspects of the real world anddeveloping technologies that enlivenvirtual worlds. When he is not in thelab, he is in studio on the North Sidemaking art.

Random Sky2006Digital installation and weather vane10 x 80 feet

INSPIRED BY Daniel Buren’sabstract minimalist in situ works fromthe late 1960’s, Random Sky is a digi-tal program that generates randomcalculations in real-time. Its perform-ances maintain a degree of unpre-dictability informed by external dataculled from the weather instrumentslocated on the exterior of the ArtCenter. Projected as oscillating verti-cal blue and white bands across theArt Center’s glass façade, RandomSky results in tendencies rather thanwholly predetermined narratives. Theproject is a installation on permanentloan, literally wired into the building’sphysical as well as digital infrastruc-ture. It is meant to reside within andwithout the architecture of the ArtCenter and to be called upon at anymoment.

“Weather writes, erases, and rewritesitself upon the sky with the fluidity oflanguage; it is with language that wehave sought throughout history toapprehend it.”

–Richard Hamblyn, The Invention ofClouds, New York: Farrar, Strausand Giroux, 2001

This project was supported by U.S. Equities, Inc.

Iñigo Manglano-OvalleMark Hereld

Rick Gribenas

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Interior view

Kerry James Marshall (b. 1955,Birmingham, AL) moved to Chicago in1987, where he currently lives andworks. The subject matter of his paint-ings, installations, and public projectsis often drawn from African-Americanpopular culture, and is rooted in thegeography of his upbringing. Hereceived a BFA from the Otis ArtInstitute in Los Angeles in 1969 wherehe also earned an honorary doctoratedegree in 1999. Marshall’s work hasbeen exhibited in group shows in theUnited States for over twenty yearsand in international exhibitions at TheArt Institute of Chicago, IL; Museum ofContemporary Art, Chicago, IL; StudioMuseum in Harlem, New York, NY;Whitney Museum, New York, NY;Ottawa Art Gallery, Ottawa, Canada;The Venice Biennale (2003), Italy; andthe Ludwig Museum of ContemporaryArt, Budapest, Hungary.

Black Metropolis2006Mixed media installation3 parts; dimensions variable

“YOU KNOW THAT 61 highway isthe longest road I know…”

—Mississippi Fred McDowell, Highway 61 Blues

Black Americans have been seeking aspiritual homeland in the United Statessince at least Reconstruction. Manycities have assumed the mythic status ofthis “Promised Land” where Black peo-ple were in control and prosperous. Fora long time it was Harlem, NY. It hasbeen Memphis, Detroit, Watts inSouthern California, and Atlanta,Georgia, to name a few more.The dream remains unfulfilled, in thetruest sense, so the longing has notdiminished.

In 1945, St. Clair Drake and Horace R.Cayton, published Black Metropolis: AStudy of Negro Life in a Northern City. Ihave appropriated their title for mywork. The Northern City they examine isChicago. The Harold Washington era isperfectly emblematic of the hope anddespair—the Blues condition—of BlackMetropolis.

“What happens to a dream deferred?”—Langston Hughes, A Dream Deferred

Kerry James Marshall

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Patrick McGee (b. Pocatello, ID) is avisual artist living and working inChicago. After graduating from theKansas City Art Institute in 1985, heworked as studio manager for renownedsculptor Dale Eldred, assisting withnational and international public artinstallations. McGee moved to Chicagoin 1987. He has exhibited installationsand sculptural work in the US and inEurope, and he is the recipient of grantsfrom the Illinois Arts Council, the City ofChicago (CAAP, CAIP) and others.Patrick served on the curatorial board ofGallery 312 until 2005, and in additionto his individual work has collaboratedwith his partner, Adelheid Mers, on pub-lic art commissions since 2003. www.adequatearts.com

Dodecadodecahedron2006Polyester string, plain white anddyed40 x 23 x 9 feet

Patrick McGee

THIS LARGE-SCALE string con-struction was based on a mathemati-cal polyhedron form that is called the“Dodecadodecahedron”. It was par-tially sunk into the wall, to create anopening in its surface at a doorway.Twelve pentagrams—stars formed byfive intersecting lines, the outline ofwhich is a five-pointed star as, forexample, used on the US flag—arespread out evenly around the surfaceof the Dodecadodecahedron. Madefrom white polyester string that isdyed where it is needed to indicateedges of planes, this construction is aminimal, yet complex spatial inter-vention.

The then unfinished computerclassroom with entrances at eitherend was an ideal setting for thisstring installation. In spite of itstransparency, it possessed an “inside”and an “outside.” Anchoring the forminto the wall made its interior acces-sible. Placing it to form a starryenclosure over one doorway alsomarried it to the existing architec-ture. Viewers were able to enter theinside of the polyhedron through the

north door, to inhabit the polygon’scenter.

Multiple perspectives could beperused from the exterior view byentering through the east door of theclassroom. The exterior view provid-ed access to the extensions of thepolyhedron. A pentagon was madeup of line segments, which in thestring installation were extendeduntil they met a point of the architec-ture.

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Maquette: Dodecadodecahedron

Adelheid Mers (b. 1960, Düsseldorf,Germany) moved to Chicago in 1988with a stipend from the GermanAcademic Exchange Service to attendthe University of Chicago. Her workexpands texts, places and ideas intoabstract diagrams that ultimately createa visual language to powerfully directhow we make sense of the world. Shehas exhibited and lectured widely, curat-ed and co-organized exhibitions, andreceived grants from the DAAD, theBritish Council, the NEA, the School ofthe Art Institute Chicago and the city ofChicago. She graduated from theKunstakademie, Düsseldorf, Germany.She has taught as a Visiting Lecturer atNorthwestern University and at theUniversity of Chicago, and currently isan Adjunct Associate Professor at TheSchool of the Art Institute where sheteaches in the Art History and Criticism,Visual and Critical Studies, ExhibitionStudies, and Sculpture Programs. Sheserves on the editorial/curatorial boardsof WhiteWalls and Gallery 312.www.adelheidmers.org

HPAC Organogram 2006Commercial ink-jet print on fabric 192 x 192 inches

Adelheid Mers

A LANDSCAPE DESIGN, a gar-den lay-out (with pool and spring-board), a map (with legend), an envi-ronment, an architecture for theimagination, and a place to stroll. Animage of relations, a blueprint for aprocess, and a house to inhabit.

Based on the information on theHyde Park Art Center’s website,www.hydeparkart.org, I set out tocreate an image that maps the multi-ple, ambitious approaches thisorganization has taken towards thearts. A diagram of an organization iscalled an organogram. In a nutshell:Chuck Thurow oversees the entireoperation. With the support of thesix members of the ExhibitionCommittee, Allison Peters takes careof exhibitions at the Hyde Park ArtCenter and at the downtown satellitespace. Blake Bradford develops theeducational activities, art classes,workshops and community outreach.Twenty-six artists teach at or throughthe Art Center, in community organi-zations and public schools. Ray Yangmanages 4833 (the ResourceCenter), Kate Lorenz is responsible

for a sizable funding community andis supported by Colleen Coyne. JenSchadler, Margarita Roman andMichelle Beckett keep the entireplace running. A twenty-three mem-ber Board of Directors helps todetermine the direction the organiza-tion pursues and assists with much ofthe work that is needed to imple-ment day-to-day activities and spe-cial events, along with internsJamillah James, Lisa Junkin, SarahKaiser, Philip Nadasdy and other vol-unteers. I took photographs of thoseabove who were available and willing(and most were), to insert them intothe image as color coded silhouettes.

In the end, each portrait was trans-formed into a celebratory flower aswell. I very much appreciate thosewho work towards big dreams, hopesand ambitions. At the opening of thenew facility, we were at a time andplace when a good measure of thesehopes and dreams actually material-ized.

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Courtesy of the artist

Anders Nereim (b. 1947, Chicago) hasdrawings, watercolors, and architecturalmodels in the permanent collections ofthe Deutsches Architekturmuseum inFrankfurt, Germany, Art Institute ofChicago, IL, and the Chicago HistoryMuseum. He has exhibited at the WalkerArt Center, Minneapolis, MN; Museum ofContemporary Art, Chicago, IL; YaleUniversity Art Gallery, New Haven, CT;Museo di Castelvecchio, Verona, Italy;Castel Dell'Ovo, Naples, Italy; BostonArchitectural Center, MA; ChicagoArchitecture Foundation, IL, and theArchitectural League of New York, NY.

Shadow Seeking Lights or a LittleLight Music2006Wood, aluminum, nickel silver, electronics18 x 24 x 96 inches

Anders Nereim

THE LIGHTING INSIDE a housecould organize itself. Lights with littlemotors and a tiny amount of embed-ded intelligence could migrate tonew locations, influenced by shadowpatterns from the changing sun, andthe movement of inhabitants. Theidea of a "smart house" with central-ized control could give way to anecological approach utilizing theautonomic behavior of decentralized"non-organic life" around us—a sortof “machinic” phylum.

Designed to run on a pair of tauttuned wires, like those that are usedin some low voltage lighting systems,the lights in the work had two eyes,and they compare the intensity ofambient light that each eye sees. Thelight did this with electronic circuitrythat was remarkably simple—similarto one bit of RAM—but destabilizedin this case to avoid either ones orzeros. The circuit produced anastable oscillation, or variable elec-tric waveform, in response to lightingconditions. The waveform allowedthe little motor to turn the lighttoward the shadow. The small

amount of electricity this requiredwas taken parasitically from the light-ing system, in return for the variabili-ty and responsiveness it gave back tothe system.

My research goal was to produceactive building components thatresponded to the ambient conditionsin and around a building, in the sameway that a creature responds as partof an ecosystem. Architecture is alarge, slow endeavor, ideally suited toa distributed method of gatheringand using energy and information.With the addition of simple nervoussystems, both sympathetic (for ener-gy grazing and expenditure) andparasympathetic (for cleaning andrepose), buildings could do a betterjob of caring for themselves.

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Ben Nicholson (b.1953, Newark,England) was educated at theArchitectural Association, Cooper Unionand Cranbrook Academy. After teachingarchitecture at IIT, Chicago where helived for fifteen years, he recentlymoved to New Harmony, IN. His currentprojects include: Horror Vacui: TheDesire to Fill Space, a book that musesover the nature of number, geometryand the structure of knowledge (2006);to be followed by a companion volumeThe Hidden Geometric Pavement inMichelangelo's Laurentian Library. Newstudies involve embodied geometry, toengage drawing constructions on thebeach, walking labyrinth designs bymemory, and using Truchet tiles forboth random and repetitive algorithms.

From A to B, the Long Way Around2006Reflective tape and a series drawings: graphite and colored pencil on graph paper16 x 16 feet

Ben Nicholson

A LABYRINTH is one of the mostendearing “first” architectural plans,for it organizes people into a tiny,compact space with remarkable effi-ciency. There is no need for messyfoundations, bulging walls or roofsthat might leak: all that is necessaryis a pair of naked feet that can treadout a plan-of-the-world in the morn-ing dew of a grassy field. Things getreally interesting when several peo-ple enter the place simultaneously,for the spatial compaction gives thatup close and personal feeling in apublic setting. Think of standing in asubway train at 7:45 am, but in astate of equipoise. Labyrinths are noguarantee of spiritualism, that’s onthe walker’s tab. The artificer is onlyresponsible for the choreography ofwinding, waltzing & walking the par-ticipants across the landscape,towards another realm, be that whatit is.

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Jennifer Reeder (b. 1971, Yellow Springs,OH) creates wordless, faintly drama-tized, direct videos of Midwestern livingthat are apolitical and passive. Shereceived a BFA from Ohio StateUniversity in 1994 and an MFA from TheSchool of the Art Institute of Chicago infilm/video in 1996. Her work has beenexhibited at the 5th Graz Biennial onMedia and Architecture, Austria; PalmBeach Institute of Contemporary Art,Palm Beach, FL; ArtToday Lab, Plovdiv,Bulgaria; Mix Festival, New York, NY;New York Video Festival, New York, NY;WWVF, Arti et Amicitiae, Amsterdam,Holland; Aeroplastics, Brussels, Belgium;Videoformes, France; ChicagoFilmmakers, Chicago, IL, and UniversityGallery, University of Indiana,Northwest, IN. Reeder is an AssistantProfessor at the University of Illinois atChicago in the Digital Cinemas/NewMedia Arts Department. www.jenniferreeder.com

CLAIM2006Digital video12 min.Cast: Stacey Minor, Michael Baldridgeand Meegan AhnImage courtesy of the artist

Jennifer Reeder

CLAIM IS A deadpan narrative setin the parking lot of the new HydePark Center. A married coupledecides to separate while their youngson attends a Hyde Park Art Centerart class. James and Patricia are anunremarkable couple. They fell inlove, got married, bought a houseand had a child. They sit silently intheir car keeping secrets as a meansto counter the burden of their mar-ried life. From a dull conversationemerges a hurtful argument and thetwo are at a loss to explain any rea-son to stay together. As the argu-ment peaks, their seven-year-old sonsuddenly appears with a curious setof drawings which make James andPatricia wonder why they would everwant to be apart. CLAIM is a storyabout waiting and waiting. It is astory about a relationship and a con-versation which could ruin every-thing. CLAIM is also a story about thepower of art and a child’s ability toillustrate his life purely and perfectlywhen given that opportunity.

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Karen J. Reimer (b. 1958, Newton, KS)examines the relationships betweenbeauty, value and meaning by exploitingthe tensions between copy and original,object and process and fine art anddomestic craft. She received an MFAfrom the University of Chicago in 1989and a BA from Bethel College in 1982.Karen Reimer is a longtime Chicagoartist whose work has been showcasedin numerous spaces including theChicago Cultural Center, BeretInternational Gallery, Gallery 312, andthe Hyde Park Art Center.

Lace Curtains2006Bricks, paint, and wire2 curtains, 67 x 67 inches each

Karen Reimer

I MADE lace curtains for the newHyde Park Art Center out of the bro-ken bricks that were knocked out ofthe walls to make room for the large,long, glass window walls in the gal-leries and offices that face the street.I saw this as a transference of theornate Beaux Arts style plaster relief-sculpture decorations on the ceilingand around the windows in the oldHyde Park Art Center space in theDel Prado Building—always one ofmy favorite things about it—into thenew space. Since the new space isclean, plain, uncluttered, and modern,assimilating the old ornate decora-tive relief into the logic of the newdecor called for a sort of mono-chrome version of relief sculpture.The broken bricks are recognizablyformerly serial objects, and so have asort of sameness, while at the sametime each piece is different. Theycreate a pattern that is not a pat-tern—both repetitious and irregular.In the context of Modernist architec-ture, that becomes ornate by virtueof being uncontrolled, fragmented,impure.

I like the connotations of upwardmobility that lace curtains carry inrelation to the Hyde Park Art Center'smove to its new bigger, better, andclassier digs.

Thank you to Amanda DePalma,Tamara Faulkner, Phil Hamstra, KevinHyde, Philip Nadasdy, Robert Peters,Joel Score, and Pat Swanson

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Selected text from Jenny Roberts’ Phono Graffio sound installation:

“ain't worth fighting for peace of mind”

“only comes through time”

“listen, you know those days”

“expectations lead to disappointment”

“Ellen and Macy were here”

“I used to be a pessimist now I have recovered”

“all you people never dieand I will find a way”

“I roll your letters in my mouth to taste your sound”

“life ain't nothing but bitches and money”

“you only think you're queen”

“this is not your wall”

“don't worry she won't be needing her lipstick in her dreams”

“bad is good”

“you'll be out of my mind”

“Jay and Ed where are you?”

“men suck”

“pardon me mister but I've got too much heart for this broken city”

“what would happen if all women decided to go on strike?”

“my best friend and I just got groped by werewolves”

“it's not easy being easy”

Jenny Roberts

“EVERYDAY LIFE invents itselfby poaching in countless ways on theproperty of others.”

–Michel de Certeau

Writing on the walls of public bath-rooms is both personal expression(though typically anonymous) andsocial act. At the same time it’s anantisocial act—a form of vandalism—an act of defacement, opposition andresistance. Graffiti is typically coy,witty, scatological, sexual, political(though as a political act it is com-plex because while inherently subver-sive it lacks ideology), sentimental,philosophical, illicit, suggestive,absurd, romantic, despairing, poeticand unconstrained. Graffiti is anexpression of liberty. It is also agroup creation. The presence of graf-fiti on the walls of a public bathroomencourages strangers to add to andparticipate in an informal, momen-tary, impromptu, utopian conversa-tion where anything can be said.

The piece Phono Graffio playedwith these convergences and trans-gressions of public and private, male

and female. It consisted of someslight displacements of found graffititaken from bars and restaurantsaround Chicago (from writing towhisper) and of gender (fromwomen’s to men’s rooms and viceversa). The piece occurred in the twobathrooms on the first floor, wherepeople usually are not prepared tohave an aesthetic experience. It hadno beginning or end but consisted ofa constant loop of ambient back-ground noise that viewers may ormay not notice.

Through small reversals, alterationsand transformations, the pieceattempts to trigger a different kindof attention — both to the graffitiitself and to the distracted, fragmen-tary, layered way we experience andrespond to what surrounds us.

Jenny Roberts (b. Detroit, MI) is a visualartist with roots in writing. Roberts is inter-ested in various forms of public interven-tion that reveal the convergence and con-tradictory nature of private acts in publicplaces and vice versa. She has an ongoing

studio practice and also regularly engagesin public performance and installation. Shereceived an MFA from the University ofChicago in 2003.www.hydeparkart.org/alist/profile/roberts_jenny

Phono Graffio2005-06Sound installation

Kay Rosen (b. Corpus Christi, TX) worksexclusively with dynamic juxtapositionsof text, ranging from small to enormous,that explore the literal and subjectiveperception of language. She attendedTulane University and NorthwesternUniversity. She has exhibited extensivelyin the United States, as well as inEngland, France, Switzerland, Germany,Italy, the Netherlands, Greece, NewZealand, and Australia. Her work wasthe subject of a 25-year survey exhibi-tion at the Museum of ContemporaryArt, Los Angeles, CA and Otis Collegeof Art and Design, Los Angeles, CA in1998-99. She has also had solo showsand executed commissions at theMuseum of Contemporary Art, Chicago,IL; MASS MoCA, North Adams, MA;Aspen Art Museum, CO, and the 2000Whitney Biennial, NY. She has receivedthree NEA Fellowships. Rosen teachesat The School of the Art Institute ofChicago and her studio is based in Gary,IN and New York, NY.www.kayrosen.com

Look Out (Up and To the Right) 2006Wall painting4 1/2 x 12 1/2 feet

Kay Rosen

THE WALL PAINTING Look Out(Up and To the Right) continued aninvestigation into the way in whichthe most basic structures of lan-guage, such as letters or singlewords, are capable of mirroring reallife, not only through their meaningand what they represent, but alsothrough their structure and form.Look Out responded physically to thesite and to the shape of the wall withits cut out doorway. At the same timeit hoped to describe, with its multi-level letters, a situation in which dan-ger hovers. The letter L threatened todescend and turn a site, a place, aLOCUS, into LOCUST, a plague, apest, in any case, a negative situa-tion.

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Alison Ruttan (b. 1954, Knoxville, TN) isa Chicago-based artist who works in avariety of media. Currently she is inter-ested in the way social interactionshapes biology. She received an MFAfrom The School of the Art Institute ofChicago. Exhibitions include a solo exhi-bition at Monique Meloche, Chicago, IL;San Francisco International Airport,Virgin Atlantic Terminal, San Francisco,CA; and the Chicago Cultural Center, IL.www.alisonruttan.com

Transmission2006Video projection2 channels: 8 x 16 feet

THIS PROJECT was an experi-ment that looked at the transmissionof effects in crowd behavior. I aminterested in looking at the waysocial interaction shapes biology.New research in psychology suggeststhat the behavior of individuals ingroups can be influenced by the hid-den effects of pheromones that inturn cause hormones to be secretedin the blood of another. In this wayour social actions can be understoodto change our biology. Other moreconscious behavioral effects can beseen in the way we respond to audi-tory and physical engagement, espe-cially in the form of rhythm which isknown to have regulating effects inthe way it enhances our sense of col-lective purpose and common under-standing. We feel this connectionwhen we dance or sing together inunison. In this way also, armies,dance clubs and religious orders pur-posely make use of this effect.

The project Transmission was anexperiment in looking at crowds andtheir behavior through facilitating asituation in which these effects

became visible. The exhibited workwas a document of the event thatwas presented as if it was happeningin real time. The purpose of the gath-ering was left unclear. I am interestedin thinking about this work in tandemto the changing way we perceive ourown safety in the world.

Alison Ruttan

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Detail: 4 stills, TransmissonCourtesy of the artist

Mindy Rose Schwartz is a sculptor living inChicago. She is interested in how elementsof nature are brought into the domestic liv-ing space and how those elements eventu-ally become part of our memories. Shereceived an MFA from the University ofIllinois at Chicago and a BFA from theUniversity of Illinois at Urbana. She hasshown her work in galleries across Chicagoincluding the Renaissance Society; Gallery400; Gallery 312; Northern IllinoisUniversity Gallery, and the UniversityGalleries, Normal, IL. She is currently aninstructor in the Sculpture Department atThe School of the Art Institute of Chicago.www.mindyroseschwartz.com

Pushing Up the Daisies2006Mixed media installation20 x 2 x 2 feet

Mindy Rose Schwartz

THE SCULPTURE I developedfor the opening of the new HydePark Art Center and the Takeovershow was a vertical landscape.When I was given the opportunity towork with a space that would spanbetween two floors, length andgravity became two primary formalsculptural properties that needed tobe addressed. I had been looking ata lot of Chinese art from around the1400’s, hand scrolls, scholar’s rockand vertical brush paintings. I wasvery interested in the expressivequalities, unusual abstractions, repe-tition of forms and the non-hierar-chical perspective in the landscape. Ialso very much related to how theart conventions of that time and cul-ture so highly mediated artists’ waysof representing nature.

The piece was called, Pushing Upthe Daisies, which is an expression Iwanted to evoke to represent theidea of something new bloomingfrom something gone. The sculpturedepicted a frozen landscape withstains of blood in the snow. I intend-ed this as a metaphor to investigate

the relationship between longingand memory. I questioned why weremember the things we do andwhat memory leaves out. The mem-ories that do stay with us and keepreturning have a tangible presenceand absence at the same time. Iwanted the piece to have severalemotional responses at once. I want-ed it to be scary and funny and cuteand sad and happy and tacky andelegant all at once.

I am interested in how peoplebring aspects or images of natureinto their interior surroundings. I findsome strategies to be more success-ful then others. I guess as a personwho has never been able to keep ahouseplant alive, this is not surpris-ing. Certain conventions ofAmerican home decorating and inte-rior design from the seventies andeighties, the style and objects of dif-ferent rooms, like the family room,den or bedroom, have influenced myaesthetic taste, artistic choices andsubconscious imagination. I imaginethat the mundane objects in adomestic space have absorbed theemotional life and personal history

of the people around them. The wallhanging, the house plant, the jewelrybox, the paneling, the color scheme,the make-up mirror all contain andare repositories for the drama, orlack of drama, in everyday life.

Issues of interior design and deco-ration came to the surface for mewhen I saw the gutted space of thesoon-to-be-totally-renovated HydePark Art Center. My future experi-ence of the space would be changedcompletely by an interiordesigner/architect. My sculpture wasintended as a finishing touch to theinterior design, an object of adorn-ment to give the place a homey feel.Pushing Up the Daisies was an allpurpose decoration, a chandelier, aplanter, an object of contemplation(like a Scholar’s Rock), a dollar storeobject de arte and a macramé hang-ing all in one.

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Scott Short (b. 1964, Marion, OH) is aChicago-based artist who works inpainting and drawing. His work dealswith his interest in the reproducibility ofimages, and developing a vocabularyrelated to the formal concerns for themultiples that he produces. Short usesphotocopy machines to create a dia-logue about the traditionally creativerole of the artist versus the machine. Hereceived both an MFA and BFA fromOhio State University in Columbus, OHin 1990 and 1988 respectively. He hasshown his work at numerous exhibitionspaces across Chicago includingGahlberg Gallery, College of DuPage;University of St. Francis; DePaulUniversity Museum; Chicago CulturalCenter; A.R.C Gallery; and the RandolphStreet Gallery.

Untitled2006Etched glass: 14 panes18 x 10 inches each

Scott Short

THE INDIVIDUAL PANES ofglass were recovered from the oldwindows that were to be discarded.The view through those windows wasdominated by the blue of the sky andthe green of the grass and trees(brown in winter) that line the tracksto the West. Taking these colors andtreating them in the same mannerthat I use for painting, the abstractedrenderings of the copy machine wereetched onto the surface of the panes,a black and white rendering of coloron glass. Each pane was a section ofan image dismembered as the panesthemselves were parts of a nowabsent whole.

The first and most obvious associa-tion is to compare these to stainedglass and their new locations reflectthat. By placing them in a new win-dow where the sun will continue toshine through them, casting shadowsfrom the markings on their surfaces,they reflected not only the interioremphasis of stained glass windows,but the projection elements of theirfabrication. Their location in the stu-dios/classrooms was also an

acknowledgement of the pedagogi-cal history of stained glass and otherforms of church ornamentation.William Durandus wrote in defense ofsuch images in the 13th century,“Pictures and ornaments in churchesare the lessons and scriptures of thelaity… For what writing supplieth tohim which can read, that doth a pic-ture supply to him which isunlearned, and can only look.”

William continues on at greatlength on the importance of not“adoring” the image, but the historyand truth that it marked. With this inmind, I was looking back at my ownphotos of the ornately carved graveslabs that lean against the walls inthe Hebridean church of St.Clement’s and the chapel of CilleBharra. What strikes me about thesestones is that despite their lack ofnames or words of any kind, they aremarkers intended for very specificplaces and people. Now displaced,the lives to which they refer and theirresting places are now forgotten(The Cille Bharra stones are said tohave been used as ships’ ballasts.)Their relocation from exterior to inte-

rior marks a change in our percep-tion of them, our acceptance of themas abstractions, contrary to William’sideas. We shifted from valuing themfor what they marked to valuing theirmarkings, and their current positionnow reflects that moment of change.

The glass that I used and thestones share the similarities of beinginscribed slabs, shorn of or uprootedfrom the places of their originallyintended purposes. So, in deferenceto these stones, the panes of glasssimply leaned against the new win-dows. Discarded because they wereno longer wanted for their originalfunction, my interest in them lied inwhat I inscribed on their surfaces andtheir displacement from their formerhomes, from the landscape, and fromthe colors that they represent. I don’tthink of a window as a place in itself,but a space between places, a transi-tion that is present and absent at thesame time. These panes of glassmarked such a transition, a place andtime where for better or worse,something was lost and will never beseen the same way again.

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Dan S. Wang (b. 1968, Midland, MI) is anartist, activist and writer based inChicago who works alone and withgroups. In the past year he has exhibit-ed and/or lectured in San Francisco,Nanjing, Chicago, Baltimore, andSalzburg, Austria. He is the author ofthe widely disseminated pamphletDowntime at the Experimental Station.Other writings have appeared in theJournal of Aesthetics & Protest, ArtJournal, Art AsiaPacific, and manyplaces on-line. He was educated atCarleton College and the University ofWisconsin-Milwaukee.

Untitled (suite of 16 works for and about Hyde Park and nearby places)2001-2006Works on paper Dimension variable

Dan S.Wang

FOR TAKEOVER I presented aseries of works on paper from thelast five years. None have beenexhibited previously. They were con-ceived as singular works and differ inappearance and complexity. Some ofthem function as meditations on spe-cific sociopolitical problems, whileothers address slightly more abstractconcerns. Some of them once func-tioned as event posters or otherapplied media. Because of their indi-vidual genesis and easily digestedinformation, I chose to place them,one at a time, next to doorwaysthroughout the Art Center, to givevisitors a reason to pause as theyentered and left different spaces.

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Truth Campaign, 2006, ink print on vinyl, 10 x 3 inches

Rollback2005Graphite and colored pencil on found poster11 x 17 inches

Mess2006Video and sound installation81 x 144 inches (projection size)

Animator: Cat SolenPost-production Animators andMastering: Mark Anderson and DanielTorrenteCopyright 2006 Anne WilsonCourtesy Rhona Hoffman Gallery,Chicago

Anne Wilson’s (b. Detroit, MI) recentexhibitions include Alternative Paradise,21st Century Museum of ContemporaryArt in Kanazawa, Japan; Perspectives140: Anne Wilson, Contemporary ArtsMuseum, Houston, TX; and 2002Whitney Biennial, NY. Her art is in thepermanent collections of theMetropolitan Museum of Art, New York;the Art Institute of Chicago, IL; Museumof Contemporary Art, Chicago, IL;Detroit Institute of Arts, MI; DeYoungMuseum, San Francisco, CA, and the 21stCentury Museum of Contemporary Artin Kanazawa, Japan, among others.Wilson is the recipient of grants fromArtadia, the Tiffany Foundation, theNational Endowment for the Arts, andthe Illinois Arts Council. Her work isrepresented by Rhona Hoffman Gallery,Chicago, and she is a professor at TheSchool of the Art Institute of Chicago.www.annewilsonartist.com

Shawn Decker (b. 1957, Jamestown, NY)is a composer and artist who createssound and electronic media installationsand writes music for live performance,film, and video. His work has been per-formed in the US and Europe at a widevariety of venues. He frequently collab-orates with other artists, including JanErik-Andersson and Anne Wilson.Recent exhibitions of both solo and col-laborative work have shown at venuessuch as the Experimental Sound Studio,Chicago, IL; Kiasma Museum, Helsinki,Finland; Klosterruine, Berlin, Germany;ISEA2002, Nagoya, Japan; 21st CenturyMuseum, Kanazawa, Japan; IndianapolisMuseum of Art, IN; CAM Houston; ISEA2000, Paris, France; Waino AaltoMuseum, Turku, Finland, and numerousothers. Decker is a Professor in the Artand Technology and Sound departmentsat The School of the Art Institute ofChicago. www.shawndecker.com

ANNE AND SHAWN answeredquestions about their collaborativeprocess and then poet Alice Georgecollaged their responses, addedsome words of her own, and createdthis text.

Now all the residue of life is beingpiled in one large heap, collecting topile way up, and then sucked into theheavens by some mysterious force,sucked up by a shop vacuum. Acycle. A shop vac. It's short, the dis-tance between our two houses, likewalking the dog except I keep going.If we start to sing we hear a powersaw, computers beeping. How can allthe dark thread dance? Incrediblyprecise, very delicate in an over-whelming fashion. A huge piano inhis front room, she has this tablefilled with work. Depth cleared awaylike thoughts in one's head to makeroom for new growth. Subsideaggressively. Who would arrangesounds like weather around the mak-ing? Splinters of wood. Instead ofturning, we are very green in warmmonths, slippery in winter. Then builda song about work and the unwant-

ed. We are singing an idea, mess inmess. Cycle vac, residue in the piano,mysterious studio brain. What isbeing built is neither known nordestroyed.

Anne WilsonShawn Decker

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Installation view of Mess in thewoodshop of the Art Center

Scott Wolniak

THIS SITE-SPECIFIC windowdrawing involved the construction ofan optical visual experience withambient light and directed views.Black paper was sized to fit the large,continuous window at the southeastcorner of the new Hyde Park ArtCenter. A composition was createdfrom photographs of the window’sview, transforming it into pixilatedclusters of dots and dashes. Thisfragmentary composition was usedas a template to perforate and cutinto the paper, removing pointillistzones and creating a loose negativeimage culled from the immediateenvironment. The piece created aspatial field of filtered light duringdaytime hours, while also functioningsimply as a large-scale abstract work-on-paper. By removing sections ofpaper and allowing one to viewmasked portions of the outsideworld, the piece transformed boththe interior and exterior spaces,acknowledging the relationshipbetween the art center and its envi-rons.

Due to building construction, thispiece was removed shortly afterTakeover opened. The concept waslater revisited in a solo exhibition of asimilar but expanded piece (10 pan-els of cut paper, each 8 x 10 feet) byWolniak that was on view from July15 – September 4, 2006 on theJackman Goldwasser Catwalk Gallery.

Scott Wolniak (b. 1971, Chicago, IL) worksin drawing, sculpture, video and installa-tion. His works deal with humor, contem-plation and reclamation in relation to theeveryday. He received an MFA fromUniversity of Illinois at Chicago in 2002

and a BFA from The School of the ArtInstitute of Chicago in 1995. Wolniakteaches video production at The School ofthe Art Institute and is currently a visitingprofessor at the University of Chicago.www.scottwolniak.net

Drawing with Outer Space2006Cut paper on window 10 panels, 8 x 10 feet each

Detail: Drawing with Outer Space

The Hyde Park Art Center is a not-for-profit

organization that presents innovative exhibitions,

primarily work by Chicago-area artists, and

educational programs in the visual arts for

children and adults of diverse backgrounds.

The Center is funded in part by the Alphawood

Foundation; The Chicago Community Trust; a

City Arts III grant from the City of Chicago’s

Department of Cultural Affairs and the Illinois

Arts Council; The Gaylord and Dorothy

Donnelley Foundation; The Field Foundation of

Illinois; Lloyd A. Fry Foundation; The Leo S.

Guthman Fund; The Illinois Arts Council, a

state agency; The Joyce Foundation; The

Mayer & Morris Kaplan Family Foundation; The

MacArthur Foundation; The MacArthur Fund

for Arts and Culture at Prince; The Orbit Fund;

The Playboy Foundation; Polk Bros.

Foundation; The Clinton Family Fund; The Sara

Lee Foundation; South East Chicago

Commission; The Wallace Foundation; and The

Andy Warhol Foundation for the Visual Arts;

and the generosity of its members and friends.

Chair

Deone Jackman

Vice Chair

Claudia Luebbers

Secretary

Patricia Swanson

Treasurer

Edward G. Lance IV

Honorary Chair

Ruth Horwich

Board of Directors

Dawoud Bey

Tim Brown

Martha Clinton

Louis D’Angelo

Lawrence Furnstahl

Brooke Hummer

Kineret Jaffe

Martha Jannotta

Janis Kanter

Sonya Malunda

Lauren Moltz

Susan Muller

Alex Pearsall

Robert Sullivan

Barbara Wagner

Melissa Weber

Karen G. Wilson

Executive Director

Chuck Thurow

Director of Education

Blake Bradford

Studio Manager

Michelle Beckett

Development Associate

Colleen Coyne

Director of Development

Kate Lorenz

Director of Exhibitions

Allison Peters

Director of Operations

Margarita Roman

Program Manager – 4833 rph

Ray Yang

Preparator / Media Technician

J. Christopher Hanmes

©2007 all rights reserved

This catalog was printed in an edition of

1000 copies on the occasion of the one year

anniversary of the opening of The Hyde Park

Art Center’s new home

ISBN: 0-9778084-1-6

Printing

Original Smith, Bloomington, IL

Layout+Typography

the JNL graphic design, Chicago

All photography is courtesy of Tom Van Eynde

unless noted otherwise.

5020 South Cornell

Chicago, Illinois 60615

www.hydeparkart.org

773.324.5520ARTCENTERHyde Park

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