Expo Chicago

 September 22 - 25, 2016
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Alexander Gray Associates
Expo Chicago 2016
Installation view
Melvin Edwards
Dan Okay, 2007
Welded steel, 11.5h x 10w x 6.5d in (29.21h x 25.4w x 16.51d cm)
Melvin Edwards
Dan Okay, 2007
Welded steel, 11.5h x 10w x 6.5d in (29.21h x 25.4w x 16.51d cm)
Melvin Edwards
Addis A., 2007
Welded steel, 13h x 10.3w x 7.5d in (33.02h x 26.16w x 19.05d cm)
Melvin Edwards
Addis A., 2007
Welded steel, 13h x 10.3w x 7.5d in (33.02h x 26.16w x 19.05d cm)
Melvin Edwards
Off and gone, 1992
Welded steel, 14 x 7.25 x 6.88 in (35.56h x 18.42w x 17.48d cm)
Melvin Edwards
Off and gone, 1992
Welded steel, 14 x 7.25 x 6.88 in (35.56h x 18.42w x 17.48d cm)
Hassan Sharif
Counting Cars in Al Dhiyafah Road- Dubai, 1982
Photographs mounted on cardboard, 38.58h x 28.94w in (97.99h x 73.51w cm)
Hassan Sharif
Counting Cars in Al Dhiyafah Road- Dubai, 1982
Photographs mounted on cardboard, 38.58h x 28.94w in (97.99h x 73.51w cm)
Hassan Sharif
Rug, Cotton Rope and Glue, 2013
Mixed Media, 59.8h x 27.6w x 2.4d in (151.89h x 70.1w x 6.1d cm)
Hassan Sharif
Rug, Cotton Rope and Glue, 2013
Mixed Media, 59.8h x 27.6w x 2.4d in (151.89h x 70.1w x 6.1d cm)
Melvin Edwards
Rhythm and Blues, c. 1975
Watercolor and ink on paper, 24.06h x 18.13w in (61.11h x 46.05w cm)
Melvin Edwards
Rhythm and Blues, c. 1975
Watercolor and ink on paper, 24.06h x 18.13w in (61.11h x 46.05w cm)
Melvin Edwards
Good Friends in Chicago, 1972
Welded steel, 43h x 77.3w x 64.5d in (109.22h x 196.34w x 163.83d cm)
Melvin Edwards
Good Friends in Chicago, 1972
Welded steel, 43h x 77.3w x 64.5d in (109.22h x 196.34w x 163.83d cm)
Jack Tworkov
SS-68 #2, 1968
Oil on linen, 40h x 35w in (101.6h x 88.9w cm)
Jack Tworkov
SS-68 #2, 1968
Oil on linen, 40h x 35w in (101.6h x 88.9w cm)
Harmony Hammond
White Rims #1, 2015
Monotype on Twinrocker paper with metal grommets, 47h x 33.5w in (119.4h x 85w cm)
Harmony Hammond
White Rims #1, 2015
Monotype on Twinrocker paper with metal grommets, 47h x 33.5w in (119.4h x 85w cm)
Harmony Hammond
White Rims #2, 2015
Monotype on Twinrocker paper with metal grommets, 47h x 33.5w in (119.4h x 85w cm)
Harmony Hammond
White Rims #2, 2015
Monotype on Twinrocker paper with metal grommets, 47h x 33.5w in (119.4h x 85w cm)
Jack Tworkov
DWG #5-70 (CH #5), 1970
Charcoal on paper, 25.5h x 19.75w in (64.77h x 50.17w cm)
Jack Tworkov
DWG #5-70 (CH #5), 1970
Charcoal on paper, 25.5h x 19.75w in (64.77h x 50.17w cm)
Lorraine O'Grady
Miscegenated Family Album (Cross Generational), L: Nefertiti, the last image; R: Devonia's youngest daughter, Kimberley, 1980/1994
Cibachrome prints, 26h x 37w in (66.04h x 93.98w cm)
Edition of 8 with 1 AP (Ed. 1/8)
Lorraine O'Grady
Miscegenated Family Album (Cross Generational), L: Nefertiti, the last image; R: Devonia's youngest daughter, Kimberley, 1980/1994
Cibachrome prints, 26h x 37w in (66.04h x 93.98w cm)
Edition of 8 with 1 AP (Ed. 1/8)
Lorraine O'Grady
Miscegenated Family Album (A Mother's Kiss), T: Candace and Devonia; B: Nefertiti and daughter , 1980/1994
Cibachrome prints, 37h x 26w in (93.98h x 66.04w cm)
Edition of 8 with 1 AP (Ed. 2/8)
Lorraine O'Grady
Miscegenated Family Album (A Mother's Kiss), T: Candace and Devonia; B: Nefertiti and daughter , 1980/1994
Cibachrome prints, 37h x 26w in (93.98h x 66.04w cm)
Edition of 8 with 1 AP (Ed. 2/8)
Luis Camnitzer
Untitled, 1968
Etching on paper, 26h x 25w in (66.04h x 63.5w cm)
Edition of 3 with 1 AP (Ed. 3/3)
Luis Camnitzer
Untitled, 1968
Etching on paper, 26h x 25w in (66.04h x 63.5w cm)
Edition of 3 with 1 AP (Ed. 3/3)
Luis Camnitzer
Simbolo de un procer; silueta de un procer; sombra de un procer; contraluz de un procer; procer negro., 1973-1974
Engraved brass plaque, laminated photograph, glass, and wood
13.5h x 9.81w x 2d in (34.29h x 24.92w x 5.08d cm)
Luis Camnitzer
Simbolo de un procer; silueta de un procer; sombra de un procer; contraluz de un procer; procer negro., 1973-1974
Engraved brass plaque, laminated photograph, glass, and wood
13.5h x 9.81w x 2d in (34.29h x 24.92w x 5.08d cm)
Lorraine O'Grady
Untitled (Mlle Bourgeoise Noire Leaves the Safety of Home), 1980-83/2009
Silver gelatin fiber print in 14 parts, each part50h x 40w in (127h x 101.6w cm)
Edition of 20 with 2 AP (Ed. 6/20)
Lorraine O'Grady
Untitled (Mlle Bourgeoise Noire Leaves the Safety of Home), 1980-83/2009
Silver gelatin fiber print in 14 parts, each part50h x 40w in (127h x 101.6w cm)
Edition of 20 with 2 AP (Ed. 6/20)

About the Presentation

Press Release PDF 89 K

September 22 - 25, 2016

Expo Chicago | Booth 327

For its inaugural presentation at Expo Chicago, Alexander Gray Associates presented an exhibition of the conceptually paralleled artistic processes of Gallery artists from diverse geographical and cultural contexts, featuring recent and historical works by Luis Camnitzer, Melvin Edwards, Harmony Hammond, Lorraine O’Grady, Hassan Sharif and Jack Tworkov. The works on view spanned across a variety of media, including painting, photography, sculpture, and drawings.

Central to the presentation was Melvin EdwardsGood Friends in Chicago (1972), a double tiered steel sculpture, consisting of a mobile rocker atop a stabilized rocker form. Expo Chicago served as a homecoming for the sculpture, which will be exhibited for the first time in Chicago since 1972, when Edwards made the sculpture in the studio of Richard Hunt for an exhibition of his work along with William T. Williams and Sam Gilliam at the Wabash Transit Gallery, an extension of the Art Institute of Chicago.

Also included in the presentation were diptychs from Lorraine O’Grady’s series, Miscegenated Family Album (1980/1994), as well as photographs of the artist’s first public performance Mlle Bourgeoise Noire (1980–83). Throughout her career, O’Grady has blended ideas of personal and political identity, and combines strategies related to humanist studies on gender, the politics of diaspora and feminism, and reflections on aesthetics by using a variety of mediums that include performance, photo installation, moving media, and photomontage.

German-born Uruguyan artist Luis Camnitzer employs language as a medium to comment on art making processes, form, and context. Early etchings and object boxes from the 1960s and 1970s, including Garden Wall Door Table (1968), examine the conceptual meaning behind printmaking and the connection between language, image and perception.

American artist Harmony Hammond was a leading figure in the development of the feminist art movement in New York in the early 1970s. Combining gender politics with post-minimal concerns of materials and process, her work frequently occupies a space between painting and sculpture, body and object. In her recent monotypes on view, gridded fields of grommeted holes physically open the paper surface alluding to layers, spaces and histories buried below, as well as body orifices.

Emirati artist Hassan Sharif, a seminal figure in conceptual art and experimental practice in the Middle East, explores craftsmanship and cultural context through his “Objects” series (1982–present), in which he assembles inexpensive and mass-produced goods from local markets. In Rug, Cotton Rope and Glue (2013), Sharif cuts rugs and rope, weaving them together in a rhythmically repetitive act that echoes the involuntary functions of the human body, such as swallowing, breathing, and blinking.

A pivotal figure in the development of Abstract Expressionism, Jack Tworkov radically shifted his painting style in the late 1960s, as he moved away from overtly gestural brushstrokes to controlled diagrammatic abstraction, as seen on SS-68 #2 (1968). Taking an interest in elementary geometry, he turned to the rectangle and its potential measurements as the basis of pictorial composition. Drawings from this period convey spatial play of interlocking, folding, overlapping, or intersecting planes, with individual marks built up into slightly uneven densities to create a unified, field-like surface.

Expo Chicago
Expo Chicago, the International Exposition of Contemporary & Modern Art, opens the fall art season each September at historic Navy Pier. Entering its fifth edition in 2016, Expo Chicago presents artwork from 140 leading galleries from around the world, and includes Exposure—a section that affords younger galleries the opportunity to participate in a major international art fair. Exposure provides critical opportunities for curators, collectors, and art patrons to survey the best in innovative and emerging programs.

Artist Info