Shane Campbell Gallery

April 21, 2018, 9:23am

Animal Hearts and Alprazolam Eyes: Nikki Maloof at Shane Campbell Gallery

They seem to be … scanning …  searching … through the white walls and white light, past Cermak … beyond Brooklyn … these massive, searching, scanning, yearning, alprazolam eyes, wide and wet with an anxious energy belayed by the piano-wire purse of their mouths, and it's a funny thing, seeing this menagerie—a stallion deep and dark and strong and arresting as the abyss; a wind blown canine the color of youth soccer and science fair trophies, its ears moving like a model's hair; cats with the casual repose of Instagram influences, languid echoes of Versailles; a bat neigh-indistinguishable from its night, wings face fur rendered in dried russet, a tropological coagulate crowned, like all its mates, up to and including the dead fucking fish, with those eyes—these eyes, with complete disregard for science and anatomical fidelity, tasked not with anything so brute and beautiful as physiology but instead being bent towards the philosophical, giving every animal here a look that's not of them, and not of us—the eyes aren't human; more super-human, really, uncanny, like anime eyes whose very size and depth seems capable of expressing exigency beyond anything but reality—but is of a universal human feeling, that painful, wistful vibe, hope tinged with fear as we scan the horizon, check the sidewalk, hold our breath for a text, the scars in our eyes reflected back at us—with vibrancy and humor and the alienation requisite for recognition—in Nikki Maloof's creatures, the Arecibo Observatories set within their skulls scanning, searching, complete heterochromia combing the distance, the Klonopin horizon, for an intelligence they don't fully understand, every pet part of SETI … – B. David Zarley , Chicago Contributor 


Nikki Maloof | Her Name Is Ut Pictura Poesis, 2018. Oil on canvas. 72 x 61 inches. Image courtesy of the artist and Shane Campbell Gallery, Chicago. Photo by Evan Jenkins.

Listed under: Review

November 18, 2017, 9:11am

John McAllister: Shimmering Surface, Phosphorescent Undertow

Beauty is a troublesome thing; but pleasure is even worse.  Beauty offers ecstasy in redemptive and occasionally bittersweet truths. Pleasure, on the other hand, is grounded in desire, and desire invites all manner of perilous things.  Like a riptide snaking its way towards shore, pleasure cloaks itself as beauty, luring the unsuspecting in and then drawing them out to sea. - Alan Pocaro, Chicago Contributor


John McAllister | botanic haunting soft-static, Installation View. Photo Courtesy of Shane Campbell Gallery

Listed under: Review

June 29, 2012, 8:15am

40 Galleries You Should Know if You Love Paint

It is a simple truth that in any given month, if you added up all of the available space in commercial galleries around the country, the amount dedicated to painting would dwarf that of all other media. The list that I have compiled consists of 40 United States’ based galleries that have a proclivity for painting. That is not to say that painting is the only medium that these galleries show; indeed, most represent artists producing work in a range of media. All of them, however, have shown a particular interest in the medium over an extended period of time, and all have stables of artists that are at least 50% painters.

Listed under: Art Market, Art World, Features
Tagged as: Aaron Parazette, ACME, Adam Sorensen, Ala Ebtekar, Alexis Stamatiou, Ali Smith, Allison Schulnik, American Contemporary, Andrew Guenther, Andrew Schoultz, Angela Dufresne, Angela Fraleigh, Angles Gallery, Anna Conway, Anthony Meier Fine Arts, Ben Snead, Ben Weiner, Benjamin Degen, Brett Reichman, Brian Zink, CANADA, Carlos Vega, Cary Smith, Catherine Kehoe, Corbett vs. Dempsey, CRG Gallery, Daniel Heidkamp, Daniel Weinberg Gallery, Daniela Rivera, Danielle Tegeder, David Kordansky Gallery, Devening Projects + Editions, Dimitri Kozyrev, Domingo Barreres, Don Voisine, Echo Eggebrecht, Elaine Spatz-Rabinowitz, Eleven Rivington, Emily Eveleth, Erik Den Breejen, Feature Inc., Feodor Voronov, Franklin Evans, Fredric Snitzer Gallery, Freight + Volume Gallery, Friedrich Petzel Gallery, Gregory Lind Gallery, Hannah Barrett, Harris Lieberman Gallery, Heyd Fontenot, Holly Coulis, Horton Gallery, Howard Yezerksi Gallery, Inman Gallery, International Art Objects Galleries, Jack Balas, Jake Longstreth, James Fuentes, James Gobel, James Harris Gallery, James Kelly Contemporary, James Siena, Jeff Bailey Gallery, Jered Sprecher, Jill Moser, Jim Gaylord, Joe Wardwell, John Sparagana, John Zurier, Jon Rappleye, Joshua Abelow, Jovi Schnell, Judie Bamber, Karla Wozniak, Kate Shepherd, Katherine Sherwood, Kelly McLane, Kent Dorn, Kiel Johnson, Kirk Hayes, Kristen Schiele, LaMontagne Gallery, Laurel Sparks, Leo Koenig Inc., Libby Black, Lisa Cooley, Lisa Sanditz, Liz Markus, Louise Belcourt, Mark Flood, Mark Moore Gallery, Marx & Zavattero, Matthew McClune, Melora Kuhn, Michael Scoggins, Mitchell-Innes & Nash, Molly Zuckerman-Hartung, Morgan Bulkeley, Nina Bovasso, Nuno de Campos, Paolo Arao, Patrick Wilson, Paul Shakespear, Paule Anglim, Pierogi, Robert Buck, Robert Kelly, Ryan Mrozowski, Sarah Awad, Sarah Cain, Sarah Walker, Shane Campbell Gallery, Shara Hughes, Shaun O’Dell, Sigrid Sandström, Sikkema Jenkins & Co, Siobhan Liddell, Steven Zevitas, Stuart Arends, Sue Scott Gallery, Susan Jane Belton, Susan Vielmetter Los Angeles Art Projects, Texas Gallery, Tim Bavington, Tommy Fitzpatrick, Wendy White, William Cordova, William Swanson, Xiaoze Xie, Yoon Lee, Zach Feuer, Zieher Smith

February 17, 2011, 12:27pm

On Chicago Abstraction: A Series


Jim Nutt, Miss T. Garmint (she pants a lot), 1967, Acrylic on Plexiglas; enamel on wood frame, 72 x 48 inches. Private Collection, Chicago. Photo: Nathan Keay, © MCA Chicago.

Listed under: Art World, Features

Recent posts

Friday, September 14, 2018 - 10:35
Wednesday, August 22, 2018 - 17:29
Saturday, August 18, 2018 - 14:54