Storefront City Chicago

Archive for the tag “photography”

Smoking Kids

WHAT: “Smoking Kids” (Photographic Exhibit)
WHEN: March 8 – May 4, 2013
WHERE: 300 W. Superior St.
HOST: Catherine Edelman Gallery

OUR RATING: Do It!

(edelmangallery.com)

(edelmangallery.com)

Last week, Storefront City stopped by the opening for Belgian photographer Frieke Janssens’s photographic exhibit “Smoking Kids” at the Catherine Edelman Gallery on the Near North Side. Founded in 1987, the gallery highlights a variety of contemporary photographic techniques and artists both new and old.

"The Chimney" by Frieke Janssens

“The Chimney”
(Frieke Janssens)

As the title suggests, this particular exhibition at the Catherine Edelman Gallery focuses on 15 photo-manipulated portrayals of children (ages four to nine) smoking, complete with advertisement-worthy period outfits and hairstyles from a variety of decades. Janssens was apparently inspired to create the photos after viewing a viral Youtube video of a chain-smoking Indonesian infant. Disturbing, and yet a fascinating cultural study.

"Pipe with Contempt" by Frieke Janssens

“Pipe with Contempt”
(Frieke Janssens)

Adam: I find Janssens’s manipulated images amazing, captivating and actually highly appealing (you’ve just got to love controversy). Allowing us to look at smoking in an entirely different manner and context, I couldn’t help but think of the way children were really miniaturized adults, making me question the social controls placed upon them, how they are beneficial, and how adults constantly undermine their own efforts of protection.

"To the End" by Frieke Janssens

“To the End”
(Frieke Janssens)

Beautifully executed photography that is composed digitally, no children were harmed in the making of these pictures. The pure lines and the blurring of adulthood and the innocence of the child surprisingly do not generate a repugnance, but a strange, literary aesthetic that captures the whole soul of a person.

Stunning and wonderful, Janssens’s work is to be highly recommended and, if you have $3000 to spare, you can pick up your very own Smoking Child portrait.

"Belga Girl" by Frieke Janssens

“Belga Girl”
(Frieke Janssens)

Alicia: Situated in the bottom level of 300 W. Superior St., the Catherine Edelman Gallery certainly packs a punch with multiple photographic exhibitions on display, and I am so thrilled to have been initiated through their doors by Janssens’s work.

I found my reactions to this exhibition somewhat surprising. In addition to being photographed beautifully, the smoking children are unsettlingly provocative and surreal, and really highlight the issue of the appeal of smoking both culturally and historically.

"Classic Red" by Frieke Janssens

“Classic Red”
(Frieke Janssens)

I absolutely love Janssens’s reference to the golden age of cigarette culture and its ever-present role in a variety of cultures, but I must be honest that my real interest in this exhibition lies more so in its period-ranging aesthetics and the techniques used in setting up the portraits. For example, it was riveting to discover that the cigarettes were made of cheese and that the ‘tobacco’ smoke was generated instead by burning candles and incense!

"Ringlings" by Frieke Janssens

“Ringlings”
(Frieke Janssens)

My favorite? Definitely “Ringlings.” But all the kids are superstars in these images.

Final Thoughts: This exhibit is definitely worth a trip to the CEG, and while you’re in the building we suggest you roam around and visit some of the other tenant galleries. A really fun space!

Silence Kills

WHAT: Silence Kills (Photographic Exhibit)
WHEN: February 1 – 25
WHERE: 1431 N. Milwaukee Ave. (inside EyeWant Eyewear)
HOST: Eyeporium Gallery

OUR RATING: Do It!

Credit: Brian Leli

Credit: Brian Leli

Last week, Storefront City dropped into the Eyeporium Gallery in Wicker Park for the opening reception of Brian Leli’s photography exhibition “Silence Kills,” which also provided the perfect opportunity to celebrate the release of his new photo and essay book, “London in a Year.”

Credit: Brian Leli (August 2011: A man rests in front of a wall painted with street art at the Notting Hill Carnival.)

Credit: Brian Leli

“Silence Kills”  tells the everyday story of a city (in this case London), which seems to prove the point that an ordinary day doesn’t exist for a huge metropolis. Documenting everything from protesters in the Occupy Movement outside St. Paul’s Cathedral, gay pride celebrants in Trafalgar Square, or a coffee shop owner in Camden, Leli’s work focuses on the people that make a city tick, and their place beside these well-known monuments of old. As such, this is a snapshot of Londoners, rather than the city, and what it means to be a member of (or outsider in) a modern cosmopolitan capital.

The exhibition is located within the Eyeporium Gallery, which is, in turn, inside an eye-wear store, EyeWant. But this isn’t your average Pearle Vision. Colorfully decorated with Oriental lamps topping display cases, luxuriant plush seats, a plethora of bespectacled  mannequin heads, and fantastical representations of the ocular variety (yes, even including a hoard of The Residents paraphernalia), EyeWant is the perfect space to host a gallery, and really peer into a different kind of retail experience.


Due to the eclectic nature of this salon-style gallery, the gallery can maintain an attractive fringe quality while not being subsumed by the faux vogue of similar galleries elsewhere. Owned by local philanthropist Annette Sollars, the gallery is directed by Carron Little, who we had the good fortune to speak with at the opening. Apparently, this little gem has represented some of Chicago’s more well known visual artists, including Tony Fitzpatrick and Marc Hauser, but we’re always excited to see galleries who nurture a variety of artists, both emerging and established.

Credit: Brian Leli (October 2011: Occupy London: a woman smokes a cigarette at the steps to St Paul’s Cathedral.)

Credit: Brian Leli

Photography often ranks lower on the scale of artistry for some people, probably because it is believed that anyone can snap a photo, while only a talented few can apply paint to canvas with even a modicum of success. However, Leli’s work seems to show us that a certain artistic endowment is absolutely necessary to capture that look of proud triumph while marching with Occupy London or a state of complete defiance whilst protesting against the bombing of Yemen. Then again, the choice to close the shutter on a mundane puff of a cigarette whilst outside St. Paul’s or the pain of illness in a London hospice, seems to immortalize moments otherwise lost, perhaps because we don’t want to remember these happenings in the grand scheme of history. By being forced to remember them through photography, artists like Leli do humanity a service that any other profession would be hard pressed to emulate.

Ravishing, didactic and insightful, Leli’s exhibit will let you explore London at your own pace, and see the city (and its people) behind the monuments.

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