Cher Public

With one look

Lyric Opera of Chicago’s 2014-2015 season will consist of Tannhäuser, The Passenger, Tosca, Porgy and Bess, Il Trovatore, Anna Bolena, Capriccio and Don Giovanni. This is according to a leaked screenshot from a part of the company’s website that obviously was not supposed to go public until about early February. Thanks to the sharp eyes of @sasherka (not pictured) who spotted the glitch!

  • Quanto Painy Fakor

  • Flora del Rio Grande

    bachrock, your post is very interesting -- and I know
    Chicago too, but, darlin’ I don’t want reality i want Magic!
    And Chicago/LOC has always been a wee bit short on
    Magic! Dontcha think?

    • Rackon

      Flora, just blame those Nebraskans and Buckeyes.

    • bachrocksmysocks

      Yes Flora! Exactly my point. Chicago usually lacks magic. Not lacking in hot dogs, deep dish pizza, segregation, or police brutality against African Americans, however!

      • oedipe

        I can’t address the quality of the performing arts scene in Chicago, but I can say this: for over a decade, especially in the 1990’s, Chicago had a contemporary art scene that was arguably the richest and most exciting in America.

        At the time, the Chicago Contemporary Art Fair was the largest and had the biggest international gallery participation in the US. Almost all the big name galleries were represented and it was a destination for thousands of visitors from many parts of the world. It’s true that, for organizer related reasons, the fair didn’t last. It was revived later on, in the early 2000’s if my memory is correct, at the Navy Pier, and its first couple of seasons were a great success.

        There was also, in the 1990’s, a thriving local gallery scene in Chicago. Some of the best American galleries specializing in contemporary art were based in Chicago’s gallery district and helped launch the careers of outstanding artists such as Bill Viola and Peter Halley. There was, in the latter decades of the 20th century, a “Chicago School” of contemporary art -with names such as Ed Paschke, Jim Nutt, Roger Brown- which sought its inspiration more in European surrealism than in the New York styles that were fashionable at the time, minimalism and all forms of conceptual art.

        The Art Institute of Chicago made its own contribution to the “magic” of the art scene by amassing an impressive collection of contemporary art and by presenting some remarkable themed exhibitions during those years.

        But not much of all this has survived, I’m afraid…

        • Rackon

          Oedipe, the Chicago Contemporary Art Show had been going strong in various forms (and under various names) since 1981. It was quite successful at Navy Pier for a time, until the early 2000s. As major galleries fell away, the organizers moved the show to the Merchandise Mart, where it died an ignominious death last year (cancelled). It came back this year as Expo Chicago, again at Navy Pier, with great fanfare -- 120 galleries, 30 of them international, so not as large as their biggest shows in past but apparently good quality.

          When I was living in Chicago and studying at the School of the Art Institute (1970s) the Windy City gallery scene was small but lively and the Chicago School artists were going strong -iconoclastic and proud of it. Ed Paschke was the local star, with Jim Nutt a close second. Paschke was teaching at the Art Institute- his studio painting course was, needless to say, hugely popular. My class with him was on a Sunday!

          • oedipe

            Paschke was a charming man, I met him several times. His art, like Warhol’s, had lots of pop culture references at a time when this approach was quite new; but Paschke was mainly interested in the marginal aspects of pop culture (and of society), whereas Warhol focused on the mainstream fashionable aspects -which may explain, to some extent, the fact that Paschke has always been considered marginal by the American art establishment.
            BTW, there was a great Paschke retrospective at the Centre Pompidou in Paris in 1990, which subsequently traveled to the Art Institute; I suppose you’ve seen it.

            • Rackon

              Yes, I saw that show, and latterly one curated by painter David Rusick in 2006. Rusick was the assistant at the Phylis Kind Gallery (which represented Paschke) for several years and has been director at Herron Gallery of the Herron School of Art here in Indy for the past decade.

              As you so astutely point out, Paschke’s work has an edginess, an absorption in the darker aspects of American character -- sex, violence, fame, the usual suspects. Have you seen much of his later work? Alas, he left us much too soon.

              As a teacher Ed was supportive and generous. He was, indeed, a charmer. My other favorite teacher at the “Toot” was filmmaker Stan Brackhage, whose film history classes were absolutely riveting. Stan also was gone too soon.