Newcity Chicago December 2018

NEWCITY December 2018

“truly, the stuff of magic” — Chicago Sun-TimesTHE “4 STARS!” —Chicago TribuneNUTCRACKER PURCHASE TODAY!DECEMBER 1–30 | JOFFREY.ORG | 312.386.8905THE NUTCRACKER PRODUCTION SPONSORS 2018–2019 SEASON SPONSORS PERFORMS AT: 50 East Congress Parkway,Special thanks to Live Music Sponsors Sandy and Roger Deromedi and The Marina and Arnold Tatar Fund for Live Music.The Joffrey Ballet. | Photo by Cheryl Mann. Chicago

DECEMBER 2018 CONTENTSDesigned Objects Arts & Culture Nine designers pick Art nine designers 3Arts inclusive mission you should know 33 8 Dance Gary Abbott’s deeper meanings DECEMBER 2018 Newcity for Deeply Rooted 39 Design Tadao Ando’s new hidden wonder 41 Dining & Drinking Where you want to eat at Christmastime 44 Film The Familial intimacy of Alfonso Cuarón’s “Roma” 46 Lit Ruben Quesada talks angels and beasts 51 Music Did Shemekia Copeland just put out the album of the year? 54 Stage Defending theatrical content warnings 56 Life is Beautiful Teen Dream, sushi nightmare 58 3

EDITOR’S LETTER This is an unusual edition of Newcity. basically turn over the entire feature, I will explain after a bit of backstory. from content to design to cover, to his team. This not only outsources the At this time of year American culture work to an entity of singular expertise, narrows into a singular focus on the but it shifts the entire POV in a novel holidays. ‘Tis the season when tradi- direction away from the “usual” New- tion becomes an obsession. When city approach. But Thirst took it anoth- maudlin becomes momentous. er step this year, by asking designers they’d featured over the last two years In the media business, where rote is to each choose a different designer to rued, this presents a problem. Most of feature and then conduct an interview. us cave into holiday-themed issues, full This bent the curatorial process even of gift guides and “fresh takes on classic further from the center. traditions!” all wrapped up in as cre- ative a package as possible. Newcity Though I wrote earlier about Christ- published such an issue for most of our mas presents, few of the objects on three-plus decades. Until we just could these pages fit the bill in a traditional not do it again. way. The best designers are artists, and the work they’re most interested in Whether toys or trinkets, Christmas sharing is sometimes that with the least presents are, in most cases, designed practical application. But visit their objects. And at their best, presents offer web sites. You might find something an opportunity to share design at its more practical. And remember that art, best, such as when we give a gift that in all its impracticality, is perhaps the delivers a welcome aesthetic improve- finest gift of all. ment to the world of the recipient. So we decided three years ago to devote our December issue to Designed Ob- jects. Now it’s a tradition.Newcity DECEMBER 2018 But that’s not even what makes this BRIAN HIEGGELKE edition unusual. What does is our col- laboration with Rick Valicenti and his team at Thirst Studio, wherein we4

18/19 Season “Soulful, imaginative, and rhythmically contagious...” — The New York TimesRagamala Dance CompanyWritten in WaterJanuary 11, 2019 / 7:30PMOriginal score performed by jazzand maqam artist Amir ElSaffar Photo by Bruce Palmer.312.334.7777 | harristheaterchicago.org | 205 East Randolph DriveChauncey and Marion D. McCormick Christine and Glenn Kelly Media SponsorFamily Foundation, Abby McCormick Engagement Sponsor O’Neil and D. Carroll Joynes Engagement Presenting Sponsor Elizabeth Yntema and Additional Support Mark Ferguson Engagement Lead Sponsor

CONTRIBUTORS RICK VALICENTI (“Designed Objects” guest editor) is a designer, artist, and a source of courage Designed Objects Cover and Feature pages and obsessiveness sitting on the Design by Anna Mort and Nick Adam shoulders of Anna and Nick at Thirst. Cover painting by Michael Jefferson NICK ADAM (“Designed Objects” MICHAEL JEFFERSON (“Designed Vol. 33, No. 1386 guest designer) is a graphic designer— Objects”) is an artist, collector and his work focuses on typographic internationally recognized specialist PUBLISHERS nuance and formal maneuvers to of twentieth-century decorative art Brian & Jan Hieggelke enhance the visual codes of artifacts based in Oak Park. Associate Publisher Mike Hartnett that have roles in shaping cultures. AMANDA FINN (“Triggered”) is an EDITORIAL ANNA MORT (“Designed Objects” “explorer, writer, actor, car karaoke Editor Brian Hieggelke guest designer) is a graphic designer buff, lover of the arts, philanthropist Managing Editor Jan Hieggelke and curator. She enjoys collaborating and connoisseur of quote tattoos.” Art Editor Elliot Reichert with those whose names end in -ick. She is also a freelance writer and Dance Editor Sharon Hoyer the Illinois editor and venue relations Design Editor Vasia Rigou coordinator for Footlights. Dining and Drinking Editor David HammondNewcity DECEMBER 2018 Did you miss Film Editor Ray Pride Newcity’s Lit Editor Toni Nealie annual Best Music Editor Robert Rodi of Chicago Theater Editor Kevin Greene issue? Contributing Writers Isa Giallorenzo, Aaron Hunt, Alex Huntsberger, Hugh Iglarsh, Since 1993, Newcity’s Chris Miller, Dennis Polkow, Loy Webb, Best of Chicago has been Michael Workman the publishing event of the year, with hundreds and hundreds ART & DESIGN of entries o ering our writers’ insight in a way that expands Senior Designers MJ Hieggelke, the imagination of what the city is and can be. Fletcher Martin, Dan Streeting Designers Jim Maciukenas, Get your copy of this, or other back issues of Newcity, at Stephanie Plenner, Billy Werch newcityshop.com MARKETING 6 Marketing Manager Todd Hieggelke OPERATIONS General Manager Jan Hieggelke Distribution Coordinator Matt Russell Distribution Nick Bachmann, Adam Desantis, Preston Klik, Quinn Nicholson One copy of current issue free at select locations. Additional copies, including back issues up to one year, may be ordered at Newcity.com/subscribe. Copyright 2018, New City Communications, Inc. All Rights Reserved. Newcity assumes no responsibility to return unsolicited editorial or graphic material. All rights in letters and unsolicited editorial or graphic material will be treated as unconditionally assigned for publication and copyright purposes and subject to comment editorially. Nothing may be reprinted in whole or in part without written permission from the publisher. Newcity is published by Newcity Communications, Inc. 47 West Polk, Suite 100-223, Chicago, IL 60605 Visit NewcityNetwork.com for advertising and editorial information.

HOMEGROWNCHICAGO BLUESTALENTThe Logan Center’s newest music series,Second Monday Blues features Chicago’sworld-class musicians and emergingblues stars. A live interview precedeseach concert, moderated by the series’three-time, Grammy-nominated curatorand host, Billy Branch. 2018–2019 PERFORMANCES CAFÉ LOGAN at the Logan Center for the Arts JIMMY JOHNSON JAMIAH ROGERS 915 E 60th St Mon, Nov 12, 2018 • 7pm Mon, Mar 11, 2019 • 7pm Chicago, IL 60637 logancenter.uchicago.eduPresented by the Logan Center and MARY LANE JIMMY BURNS 773.702.ARTSBilly Branch Music, with the support Mon, Jan 14, 2019 • 7pm Mon, April 8, 2019 • 7pmof The Reva & David Logan Foundation. LURRIE BELL FREE admission loganUChicago Mon, Feb 11, 2019 • 7pm Free parking is available at the Logan Center all weekend and Mon–Fri after 4pm.

PAINTING BY MICHAEL JEFFERSON

Walking Forward into the Past: A Quest for the Essential Michael Jefferson International Design SpecialistFrom where I standCivilization defines itself through the designedobject and experience.Designers are responsible for the objectswith which we exist and flourish.Designers and artists own an outsize role inshaping the experiential (environment).questions Notes to my hometown We are fortunate as we exist in the middle. We are safe from the rising tides and insulated from the winds of fashion. We are not static.What do we need in this era of uncertainty?Is design an expression of our time?What will this new thing express to future generations?Will design mirror and reflect our time?How will this object look like as decades and centuries pass?What do the earliest known artworks which date back 40,000 years tell us?How do we synthesize old bone flutes and charcoal and relate these artifacts to our day?Can design come to our rescue in this period of great need and unbelievable challenges?Can design tell us something about these seemingly disparate times?What objects designed now will endure?What will they tell us about those who made them and the people who used them?When everything is available everywhere all of the time…are the things we embrace complicit in our quest for the essential? 9

statementsThis is… what is dredged out of the future seaThis is… what is handed down from our eldersThis is… what you grab when you are running out of the house in a fireThis is… what floats when you are sinkingThis is… what shines in the darkThis is… what puts your kids to bedThis is… what makes you happyThis is… what makes your heart jump out of your chest when you see itThis is… what makes you look to take a longer look and a deep breathThis is… what opens your beerThis is… what gets friends to come to your houseThis is… what makes you healthyThis is… what is in the case at the anthropology museumThis is… what stops the waterThis is… what starts the waterThis is… what burns in the fire when you are coldThis is… what helps us take a step into the voidThis is… what is unlimited in its inspiration for another verse of poetryThis is… what is needed nowThis is… what is needed thenThis is… what is needed soonThis is… what was not known to be needed at all until it was indispensableThis is… what starts your dayThis is… what ends your dayThis is… what contributes to the greater good. a personal reminder to designers .It is a time for survival tools and as a result the value of an object or idea extends well beyond the monetary ,While the need for flotation devices has not confronted all of us yet here in the Midwest surviving in an era .of declared connectivity does paradoxically keep humankind separated from one another in many ways .Designed technology encourages greater distance between us and our spiritual nature ,As we approach this doomsday-liminal moment . . .designers everywhere will be enlisted as civilization takes action The traces of time are absorbed into the depth of the objects we enlist Our future is signaled by the designer’s prescient vision

what do we use toa stool or a table or a vessel or even transportation what do we use to a stick, a scoop, or a research tool for learning what do we use to art, music, spiritual pursuits, or memory what do we use to a torch, a lamp, or a shared idea 11

TJ O’KEEFEnewcity/ dec 2018

FURNITUREANDLIGHTINGDESIGNERINCONVERSATIONWITHSUNG JANGTJ With my new lighting pieces I was focusing on pure emotion;pure visceral effect. With no context or explanation, I wanted the viewerto just feel something standing in front of the compositions. Light hassuch an intrinsic value and pull on us. It’s the simplest means to a powerfuleffect that I’ve found, which is why I use it.These compositions – that mount to a wall – are frameworks for differentcolored light to interact with each other. I create moments of tensionbetween the distinct lights, while exploring the perception of depth andspace created by the relationship between the soft-edged light and precise,graphic frames which create reference points for the viewer.Exit is the only freestanding piece in the series. The name refers not onlyto the formal characteristics of a door frame, but an introspective escape.A subtle shift in depth creates stability while changing the scale of the lightmedium to achieve a broader stroke (the right vertical bar is approximately4 inches further from the wall than the left). This shift in scale makesfor a more interesting two-dimensional composition, but also allows theviewer to perceive depth, where the red light falls into the distance, beyondthe blue. Exit both creates and frames a three-dimensional world of light.I’m trying to figure out a way to make my work more relevant to popularculture. Art and design weren’t made to be relegated to cultural annexes likemuseums and galleries; they were — and still should be — contemporaryexpressions of the human experience. I hate how esoteric and exclusive theart and design world can be; at its worst, it’s a closed-loop culture. I’m guiltyof this exclusivity too: my own work is too expensive to be accessible to mostpeople (including myself!, which is a bizarre thing), because it’s expensiveto produce. Can artists and designers function at a high level and still reachthe general public? 13

NeilZuleta newcity/ dec 2018

Design Director, Gensler nominated by Holly Hunt in conversation with anna mort… one of the things that I like the most, or enjoy doing the most, I started creating some parameters that I used to inform is being able to create a design around a need, or a context. the shape of that table, and I felt that once we have that shape, It’s very hard for me to design something in a vacuum. I know everything that came after was following the same constant. the yacht was going to give us many opportunities to design Okay, how do we approach the table? And from where do we unique pieces to address how people live in a yacht, and when approach the table? And how can those angles we started looking at the dining table, the shape of the dining table, as in cars, in airplanes, you cannot have hard edges. inaudible 00:16:55 The geometry was fixated, or informed by the fact that it was a yacht. And at the sofa, and even the light fixture, there were a more comfortable experience once you get to your spot? many elements of the geometry that addressed how people were And what it’s doing, it’s actually similar as what the mobile table going to get inside, or into the dining chairs from the hallway, does, but the fact that it’s an asymmetrical space, or coming out of, or seated at the tables, how you would get up, where one side is against the window, and the other side and approach is against the circulation of the hallway, I felt that the shape needed to be asymmetrical. It’s not truly asymmetrical. inaudible 00:16:24 It’s mirrored, but they gave a dynamic shape that responded to how you approach the table before you take your chair for the hallway. to sit down… 15

ABIGAIL GLAUM – LATHBURY artist and designer in conversation with Martin Kastnernewcity/ dec 2018

....................................................................... .........especially heated discussion................ .............................................................................................................................................. on the notion of self-expression through... .............................................................................................................................................. ....................................................................... ................................................................................................. After ten minutes of m & a ....................................................................... ....................................................................... arguing about how to start a conversation .........clothing …............................................. .............................................................................................................................................. ....................................................................... .............................................................................................................................................. ....................................................................... .............................................................................................................................................. ....................................................................... .......................after thirty minutes of m & a....................................................................... ....................................................................... arguing about democratization of access to....................................................................... ....................................................................... production tools……............................................................................................................ ....................................................................... ........................................................................................…..............................a I recently... ....................................................................... .............................................................................................................................................. ....................................................................... .......................................................................................................................................read ....................................................................... ....................................................................... ....................................................................... ....................................................................... an amazing OpEd in the German fashion ....................................................................... ....................................................................... magazine o32c that was called “The Big ....................................................................... .......................................................................Flat Now” that has me thinking a lot about ....................................................................... ....................................................................... ....................................................................... ....................................................................... the effects of the internet on design. ....................................................................... ....................................................................... Their argument is that, as a result ....................................................................... ....................................................................... ....................................................................... ....................................................................... of communal and participatory Internet ....................................................................... ....................................................................... culture (in addition to the sheer volume ....................................................................... ......................................................a I think... of content available) that design is ever ....................................................................... .........…........................................................... ....................................................................... .........…........................................................... more slippery – no longer confined ....................................................................... .........…........................................................... to a specific discipline. This availability ...a I guess..................................................... ...................because I am not tied to making of content and the mutability of all things ....................................................................... a living through the production and selling ....................................................................... internet-related has provided a kind ....................................................................... of objects/garments that I am more of opening up of design that wouldn’t .................what I am really interested in is... inclined toward speculative projects...........be possible without the specific conditions ..................................................…..................of the internet as a platform. An important the didactic or teaching potential of .......................................…............................. component of my work has to do with algorithmic design, not in the commercial ............................…........................................ publishing the patterns and process for aspects like making a coat that has been .................…................................................... my garments as open source documents. ......….........................................................…. designed by a community (we see that ........................................................…........... The shift toward making the work already on kickstarter campaigns and ..............................................…..................... available for free to anyone who wishes the like with very mixed results) but in ....................................…............................... to make it for themselves has me now the way that creating something can reveal ..........................…......................................... thinking about ways to generate a kind embedded codes or hierarchies that are ................….................................................... inscribed in our clothing for example. .....….........................................................….. of internet clothes, or participatory ....................................................................... .......................................................….............design by algorithm...................................... ....................................................................... ............................................…............................................................................................... ....................................................................... .................................….......................................................................................................... .........For me...... it would be not about......... ......................…..................................................................................................................... aestheticizing something, but instead ...........…................................................................................................................................ .............................................................................................................................................. quantifying it as a way to draw out .............................................................................................................................................. new ways of making something or .....…..............................................….................................................................................... of underlining the not uncomplicated ........................................…................................................................................................... history of clothing..........…........................... .................................………after a 45 minute....................................................................... .............................................................................................................................................. ....................................................................... argument about the didactic potential....................................................................... ....................................................................... of participatory/algorithmic clothing................................................................................. ....................................................................... ....................…...................................................................................................................... ....................................................................... ….........................................................…..............................................after thirty minutes ....................................................................... .................................................…..................of m going on about an algorithmic design ....................................................................... ......................we finish our tacos, horchata,course he took............................................... ....................................................................... and head out...........................into the rain........................................................................ ...........................................................................................….......................................................................................................................... and then m & a arguing about the notionof a creator, ego, little victories, and an........ 17

Oyler Petenewcity/ dec 2018

PRODUCT AND FURNITURE DESIGNER in conversation with Steven Haulenbeek STEVEN What are you currently working on? PETE This October, I released Lap Chair 26 which is a new chair design currently on view at Plant Seven in North Carolina as part of the New York-based design firm Standard Issue’s “This is Not a Chair” exhibition. I am excited to expand this series which draws from craft-based approaches to modern furniture design — from Gerrit Rietveld’s Red and Blue Chair (1917) to Enzo Mari’s Autoprogettazione (1974)— and plan to release the full series, which will include a bench, table, and bookcase, this spring. Using minimal material and exposed lap joinery, the Lap Series high- lights forthright hand work which is something that I am really invested in. STEVEN Can you talk a little bit about why you are committed to hands-on making processes? PETE I always learn new things and expand my creative capacity through making things. Over the years, I’ve really expanded my material repertoire by learning new production processes. From sand casting pewter and aluminum to slip casting porcelain, the generative process of building technical hand skill is something that continues to enhance my sense of scale and proportion. I like having a connection to the materials I design with — it allows me to understand limits, parameters, and possibilities. We live in a world dominated by the aspirations of convenience, efficiency, and ease. Making things is a slow process that, at least in my experience, is rarely easy or effortless and I like that. 19

BENJAMIN EDGARDESIGNER ENTREPRENEUR in conversation with Norman KelleyN How do you define an “object”?B From my angle it was always about two things: First, and specificallyvague, a finished physical creation; as in something that was no longera work-in-progress. Second, and maybe more appropriate for me, a non-digital, tangible expression of an idea. My background was always in softwaredevelopment, the digital world, so the transition to creating things thatcan be experienced physically is still a “new” feeling to me in many ways.Making physical things feels more real in a lot of ways than any softwareI wrote.N What are the most identifying properties or qualities to your objects?B Conceptually — there is the idea of taking the mundane and con-trasting it with an “exceptional” material. I’ve always been attractedto that idea. I’ve also been playing a lot more lately with the idea ofexaggerated references to the original object; the ball-bearing pen beingthe clearest example. Physically — I enjoy dense materials and materialsthat are the same makeup all the way through as opposed to veneers. Metal,concrete, marble, ceramic, suede, etc. I suppose there is always a bit ofhumor snuck into each object as well.N Who is your object’s audience?B It wasn’t until my late 20s or early 30s that it really sunk in that trulygood design must solve a problem. When I look at my work objectively,I could argue it appears useless beyond its concept. In regard to the audience,it’s really just me.The problem my design solves — the Benjamin Edgar projectstu — is my own: my own desire to make things and see an idea fullyexpressed. Initially, I thought it was somewhat selfish, maybe it still is,but when it makes someone smile or inspires them to create somethingthat is avant-garde, I feel like I’m contributing and participating in a mean-ingful narrative.newcity/ dec 2018

21GOTT

CHRISTOPHER GENTNER How do you come up with your ideas? I am fascinated with odd dynamics in the tension between the visual function and the actual function of a piece. As you experience the piece the function is revealed through use. When you start is the completed piece in mind? Never. If I think I do, it ends up changing. It moves and changes as the piece develops. No matter how well I think I have a piece figured out in my head, there are so many things that have to get resolved in how the piece is engineered and how it looks as I’m working at it. I will often take a piece to a certain point once it’s just barely put together and I then go back and refine things structurally for the function and then that in turn affects the visual side of the piece. Ultimately, the visual presence of the piece is very important, so it’s this perpetual back-and-forth between where I thought it was going versus where I actually end up. What are the challenges you see in your work? To me it’s to have the time to realize the ideas I have. I always feel like I am playing catch-up because my time is so limited and that I am not able to make pieces about each of my ideas. Are materials the starting point in your pieces? Materiality is always a strong expression in my pieces but the pieces are not about the material. It’s more about the functions and pushing its limits in terms of finish and application to support that idea as an expression of dynamics through visual structure. The materials are the depiction of the ideas.newcity/ dec 2018

FOUNDEROFGENTNERDESIGNINCONVERSATIONWITHFELICIAFERRONE 23

MICHAEL SAVONA newcity/ dec 2018

designer in conversation with tim parsons and jessica charlesworthtp Full disclosure, we sit opposite each other in the studio that weshare on Carroll Avenue. Michael has been designing our artist’s book,Spectacular Vernacular, based on our recent exhibition.jc Michael — do you want to talk about the approach to the book?ms Though we’ve been working nearly two years on this, I think theapproach has always been the same — present your work in a new way,share the fullness of your practice, and cover the lifespan of the exhibit(and each project). The book was to be something of a mini-retrospectivewrapped in a catalogue that works as an exhibition guide. And of courseallow the title, Spectacular Vernacular, to be a guiding force…jc What graphical concepts, layouts or approaches did you wantto experiment with on this book as a result of this guiding force?ms Vernacular anchored the project as a book, Spectacular urged us toexperiment with its conventions. By walking through the exhibit you canread the book sequentially — from the door on the cover, through theopening review and each installation, to the panel discussion at the endof the show run. Or, from the center out, a nod to the natural way the bookopens, or to the two entrances at the Cultural Center exhibit. Page by page,we made space for as many types of images as possible — backyardexhibition mockups, Tim’s Brompton (a bicycle), speculative projects,process shots, casual photography, jigs, travel, and finished work.tp What’s the concept behind Frontieriors, your new imprint?ms Frontieriors began as an online collaboration with Thom Moran;we collected work that engaged the relationship between people,interiors, and objects. I’m repurposing the name now, or at leasttemporarily, to look more expansively at the smaller landscape of thebook. I’m curious and hopeful for next steps. 25

luke wong founder, hao wai ltd. in conversation with mark kinsley and tamera leigh statendescribe your aesthetic style and your approach what materials do you enjoy working withto design. hao wai ltd.’s collection of furnishings and why? definitely love the use of two differentis set apart from others in the industry by the materials. i like to combine the use of twostrong focus on attention to detail and quality materials into one piece. only two, because itwhile remaining visually unique and functional. starts to go overboard on the details and takesit is best described as elegantly minimal, hao wai away from the product. materials could beltd. beautifully unites different materials into walnut and bronze or marble and wood.each piece, with the end result speaking foritself. what project are you currently finishing? what are you excited to start? i’ve been workingwhat excites you about your work? what on a lot of pieces for clients around the world.motivates you? i love seeing a piece evolve from furniture gets shipped to london, korea, andan idea to final show piece. i like to be able to milan. i’m excited to start on new pieces to addcreate a mood/feeling from the designs that to my line. i have a lighting piece that i’ve beenare created. wanting to work out.newcity/ dec 2018

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Jennefer Hoffmann artist in conversationwithAnia Jaworska1 I recently saw your ceramics on display at Volume Gallery and to me the work seemed to be embedded with a sense of freedom and spontaneity of process. I read an intimacy in the work. I am wondering, what is informing your work? What is your process? My hope is that what I am feeling at the moment of making will resonate with an audience and not just for myself. Clay for me is a beautifully immediate way to build what I am feeling within a single object and explore the progression of feelings and ideas from one piece to another. It is often through my own personal feelings that I begin a dialogue using clay. It is always a goal to somehow also tap into the emotions and/or feelings of others, hoping it is not just me that feels something from the pieces I am making.newcity/ dec 2018

2 I am wondering how your previous experiences affect or influence your work? Also, how has your ceramic work evolved in the past few years – what were challenges and opportunities that you will carry into future works? Without a doubt my time in New York and Paris informed my work. I have had a varied career path, but have always worked with and collaborated with very creative people. Even when I was not making the work, I was watching and listening calmly, as a very good artist friend just reminded me recently. I started working in clay very simply, first trying the wheel and then quickly realizing hand building was what inspired me. I always have painted and hand building felt a bit like painting with clay. I guess one of my biggest challenges, but what also makes the work, are the constraints in the studio. Up until now I have been working at the Hyde Park Art Center and a bit in my home studio. I am limited to a degree as to how large I can make a piece because of kiln size and also what glazes I can use. But this constraint makes the work what it is. I believe when you only have certain materials to work with, you become more creative in your execution. So as much as I dream of a studio full of colors and big kilns I also feel the limitations challenge me in what results in successful pieces.3 The ceramic pieces seem to be simultaneously strong and delicate, dramatic and calm, awkward and graceful, rough and soft. Is there a specific way you approach the material and form? I think what you are sensing is the complexity of working as freely as I think I allow myself to. Within emotional or personal expression there exists a combination of what you are describing. So that is one aspect of what you are observing. But I also literally use the clay in this way. I often start with slabs which I cut quite loosely, I throw them in a somewhat dramatic way and then roughly and awkwardly, begin building a structure as it progresses. There is a sense of calm and a softness when I use my finger tips to rip clay and reattach it, this is where I connect the most. 29

Peacemeal Table by Raun Meynsustainable hardwood construction 27’’x72’’ $1850 32’’x96’’ $2450 New showroom at Gallery Rowinside the Bridgeport Arts Center 1200 W. 35thFeaturing work by Raun Meyn of FoundreMade.com4736-38 N LINCOLN 773.293.2665 BOOKCELLARINC.COM

Rockefeller Memorial Chapel celebrates December with \"Pipes for the Season.\"rts & CultureOnDecember16enjoyanhourofseasonalmusicinagorgeousandfestivesetting.Free. Photo: Cheryl Mann

From theater tovisual art: youwant to be here.Join us The Logan Center for the Arts at the Universityfor our of Chicago is a multidisciplinary home for artistic2018-2019 practice. Connect with the Logan Center forvisual, concerts, exhibitions, performances, familyperforming, programs, and more from world-class, emerging,and literary local, student, and international artists.arts season!Most eventsare FREE.logancenter.uchicago.edu Logan Center773.702.ARTS for the Arts 915 E 60th StloganUChicago Photo: Iphigenia. Photo: Matthew Gregory Hollis, courtesy of UChicago Theater and Performing Studies (TAPS)

Art2017 3Arts Awardee Will Liverman performs at the 2018 award ceromony The Heart Is Where The Art Is 3Arts Supports Diversity and Inclusion in Chicago's Art World By Vasia Rigou In ancient Egypt, mummification was six-county metropolitan area and working in the ships, cash awards and promotion, 3Arts has DECEMBER 2018 Newcity considered integral to the afterlife, a way to performing, teaching and visual arts.) After she worked to change the narrative in Chicago for ensure the soul’s postmortem journey. The talks about well-preserved bodies, dead for more than a decade. They have helped artists mummified body was thought to be the home thousands of years and the cornerstone beliefs sustain inspiration, take risks, experiment with of the soul, a safe haven for the spirit to return of Egyptian religion that deemed the heart as a creativity, expand horizons and have their work to after death, until the two finally unify for the source of human wisdom, Grisham Grimm asks, recognized as part of the city’s diverse cultural hereafter. Preserving the body for eternal life “What does all of that have to do with 3Arts and conversation. 3Arts believes in creativity, was an elaborate process that began with the the artists we support? This heart of ours is the diversity and community. Their commitment to evisceration of the body, followed by the place that, poetically speaking at least, holds our supporting local arts extends from recognition elimination of all moisture and wrapping with courage, conscience and care, our hopes, and validation, to professional development long strips of linen, during which all internal dreams and fire.” and promotion, to residency fellowships and organs were removed—except the heart. For project support. There are also wards and the ancient Egyptians, it was the heart, rather “George Sand wrote, ‘The artist vocation is to unrestricted cash grants, like Make a Wave, than the brain—which was tossed away after it send light into the human heart,’” Grimm says. “an unprecedented artist-to-artist giving was removed with a hooked instrument “When the path gets steep and unstable, art program in which the previous year’s 3Arts through the corpse’s nose—which was does carry a kind of light. Even at its most awardees select ten artists, who they know are regarded as the organ of reasoning—the rousing, confrontational and vexing—perhaps making compelling and beautiful work in center of emotion and intelligence. when it is all of that—art can level our road communities across our city, to receive and point us to the right direction. It has the surprise $1,000 awards,” Grisham Grimm says. After a firsthand look at two Egyptian mummies ability to revert us to ourself, to connect us “This is designed to help artists build momen- in San Francisco, Esther Grisham Grimm, with each other over great divides, and as is tum in their careers,”  prompting them to focus executive director of 3Arts, shares insights from true of all good heralds, provide a cautionary on their creative process. her experience during the organization's eleventh note about who we are now while offering the annual Awards. (3Arts is a nonprofit organization promise of what might be.\" Between compelling performances from 2015 that advocates for Chicago women artists, artists awardee Kris Lenzo, who made a transition to of color, and artists with disabilities living in the Providing project funding, residency fellow- dance after more than two decades as a 33

ART TOP 5 wheelchair athlete, and 2017 awardee baritone Temporary Detention Center. “Sometimes Will Liverman, who has debuted in opera there’s not a lot of hope when working with 1 Pope L.: The Escape. houses across the world, each one of this young people who are in conflict with the law, Art Institute of Chicago. In a year’s ten awardees, whether under-recog- because they spend all their time being series of performances, Pope.L nized, under-funded or undervalued, describe taught that they are criminals,” he says. “In reimagines the dramatic literary how 3Arts, and unrestricted $25,000 awards most class situations, the first thing all kids, work of the freed slave and make a big difference: one wave at a time. for the most part, are gonna do is say ‘I don’t abolitionist William Wells Brown. do that.’ But what they mean is ‘I don’t see “The work I create digs into the depth of who I people that look like me doing that,’ or ‘I’m 2 Jessica Campbell. am, how I see myself and other women, the not good enough to produce something that Museum of Contemporary stories that we share, the trauma that we go looks like that so thus I’m not gonna try.’ My Art. Campbell's drawings, through,” says drummer, dancer and teacher T. idea is to get them to try.” textiles and cartoons invoke irony Ayo Alston, who practices a signature and self-deprecation to highlight theatrical style of West African drum and Anna Martine Whitehead is an interdisciplin- women's experiences of sexism. dance culture reflecting the strength and ary movement artist and choreographer, but power of women within a community. didn’t grow up with dance training. “I grew up 3 Adam Milner and Erin dancing at parties!\" she says, explaining that Washington. LVL3. “I write because I want to connect people,\"- the movement work starts internally. “I teach Artistic process and its everyday says Sandra Delgado, the Colombian-Ameri- dance at Stateville Prison working with the revelations are the crux of this can playwright and actor behind \"La Havana Prison + Neighborhood Arts Project. We’re promising pairing. Madrid,\" a Teatro Vista production at both trying to figure out how being in our bodies the Goodman Theatre and Steppenwolf can help us get free of this place.” Whitehead 4 The Figure, Humor, Theatre Company that explores the different has learned a lot from her students, including and the Chicago shades of what Latinidad means. \"I started it survival, faith and hope: “It pulled me out of Imagists. Elmhurst Art Museum. as a way to uncover my own history, my something and pushed me toward something This full-day symposium family’s history and it snowballed into else that feels very important to who I am considers the body, humor and uncovering Chicago’s histories.” right now.\" how the Imagists deployedNewcity DECEMBER 2018 both in their art. “I found the most satisfaction working with high Whether an artist uses the award to pay off school-aged youth,” says Mexican-American debt, purchase equipment, hire collaborators, 5 Abigail Zoe Martin. street dance professional Leida “Lady Sol” produce work, or fix a car—as singer, Zhou B Art Center. Garcia. “I made a decision to stay at Little songwriter and 2016 awardee Jess Godwin British photographer Abigail Village High School for twelve years—that was of Shameless joked—planning for the future Zoe Martin exhibits three years the longest residency I’ve ever held.” Brittany is a draining task. (Shameless is a collabora- worth of portraits of Chicagoans “BrittanE” Edwards, a daughter of a minister, tive performance and  songwriting workshop created while making Chicago grew up seeing the influence music had on to help Chicago Public School students find her home. people. Now she seeks to change lives empowerment through their self-image.) But through rapping, singing and producing her 3Arts doesn’t stop there. They treat their 34 own. Visual artist Dianna Frid, makes drawings, artists as family for years to come, tending to sculptures and installations at the intersections diverse needs—advising, financial manage- of material text and textile. ment, crowdfunding or dreaming big about the future. Ben LaMar Gay, musician and storyteller, produces electro-acoustic collages to bring Grisham Grimm, whose work spans museum folktales and traditions forward. “There’s education, arts education and philanthropy, something about it,” he says of the diddley looks toward the long path to a bright future bow, a single-stringed American instrument of the arts, always providing a ray of hope. “I which influenced the development of the blues know I don’t have to tell anyone that this is a sound. “Most cultures have a one-string rickety, harrowing time we’re living in, when instrument. Having one string is just like having hate has come out of its hiding place with a one idea: You have all you need.” decibel [level] that is hard to tamp down,\" she says. \"And now too, despite the fact that our Interdisciplinary artist Huong Ngô says her sector hoists humanity on our shoulders, the work is meant “to make visible things that are arts are under fire again and face alarming rendered invisible.\" “I grew up with really, really funding cuts at both the local and national strong women,” she says. “That’s not the levels. Who knows if we will be able to propel typical way Asian women are represented— a turning of the tide in our lifetimes? I sure they’re usually represented as weak,” she says. don’t, but who knows? But that must not “I think of my work as a form of activism as it’s stop us from trying. If we are lucky and if we often coming out of my personal history activate our courage and use our heart, we growing up in a family of refugees.” might just be able to lob a very hopeful ball into the future for the next generation to hit Christine Pascual explains the inner workings home,” she says. “With all that is afoot, I and stories behind costume design as she cannot let go unspoken our organization’s advocates for a theater community that tells belief that there’s nothing more worth the stories of all Americans. Illustrator, upholding in this moment, or in any, than our graphic artist and educator Elgin Bokari T. creative center and our collective heart. The Smith has taught visual arts and creative alternative, as the ancient Egyptians knew, is writing at the Cook County Juvenile oblivion.”

serious Design in Midcentury America 09.28.18 – 01.06.19Presenting Sponsors: mam.org/play&SSoucriraelal DECEMBER 2018 Newcity MONGERSON GALLERY 2251 W. Grand Avenue | 312-943-2354 | mongersongallery.com M - F 10:00 - 5:00 and by appointment 35

EXHIBITIONSTHE ARTS CLUB OF CHICAGO ILLINOIS HOLOCAUST MUSEUM & EDUCATION CENTER201 East Ontario Street312 787 3997 9603 Woods Drive, Skokie, [email protected] / www.artsclubchicago.org 847 967 4800Tues–Fri 11-6, Sat 11-3 [email protected] / www.ilholocaustmuseum.orgThrough December 21 Gaylen Gerber Mon–Wed 10-5, Thurs 10-8, Fri–Sun 10-5Garden Project: Jenny Kendler and Brian Kirkbride – Through January 13, 2019 Stories of Survival: Object.Image.Memory The Playhead of Dawn Photos by Jim Lommasson Through January 31, 2019 The Last Goodbye – A VirtualTHE BLOCK MUSEUM OF ART Reality ExperienceAt Northwestern University Through October 27, 2019 Activists and Icons: The Photographs40 Arts Circle Drive, Evanston, IL847 491 4000 of Steve [email protected] / www.blockmuseum.northwestern.eduTues, Sat–Sun 10-5, Wed–Fri 10-8, Mon closed LOGAN CENTER EXHIBITIONSThrough December 9 Up is Down: Mid-Century Experiments At the Reva and David Logan Center for the Arts in Advertising and Film at the Goldsholl studio 915 E. 60th Street, Chicago, IL 60637Through December 9 Break A Rule: Ed Paschke’s Art and Teaching 773 702 2787Opening January 26 Caravans of Gold, Fragments in Time: Art, Culture, [email protected] / arts.uchicago.edu/logan-center Tues–Sat 9-9, Sun 11-9, Mon closed and Exchange across Medieval Saharan Africa Through January 13, 2019 Mariana Castillo Deball: PetlacoatlCARL HAMMER GALLERY MONIQUE MELOCHE GALLERY740 N. Wells Street 451 N. Paulina Street312 266 8512 312 243 [email protected] / www.carlhammergallery.com [email protected] / www.moniquemeloche.comTues–Fri 11-6, Sat 11-5 Tues–Sat 11-6November 2–December 29 Ka-Bam! Holy Moly! 70’s and 80’s Through December 22 Ebony G. Patterson: ...for those who Chicago Art From The Lonn Frye Collection bear/bare witness...DEPAUL ART MUSEUM MUSEUM OF CONTEMPORARY PHOTOGRAPHYAt DePaul University935 W. Fullerton Avenue At Columbia College Chicago773 325 7506 600 S. Michigan [email protected] / artmuseum.depaul.edu 312 663 5554 [email protected] / www.mocp.orgMon–Tues closed, Wed–Thurs 11-7, Fri–Sun 11-5 Mon–Wed 10-5, Thurs 10-8, Fri–Sat 10-5, Sun 12-5Through December 16 Brendan Fernandes: The Living MaskThrough December 16 Whitney Bradshaw: Outcry Through December 21 The Many Hats of Ralph Arnold:Through December 16 Yasuhiro Ishimoto: Someday, Chicago Art, Identity & PoliticsDecember 20–January 15, 2019 DPAM Platform Project: Industry Through December 21 Echoes: Reframing Collage of the Ordinary “Tourist/Refugee”

THE NEUBAUER COLLEGIUM RICHARD GRAY GALLERYFOR CULTURE AND SOCIETY Richard Gray Gallery, Hancock: 875 N. Michigan Avenue, 38th FloorAt the University of Chicago Mon–Fri 10-5:30, Sat by appointment5701 South Woodlawn Avenue Gray Warehouse: 2044 W. Carroll Avenue773 795 2329 By appointment only – contact gallery for [email protected] / www.neubauercollegium.uchicago.edu 312 642 8877Mon–Fri 10-5 [email protected] / www.richardgraygallery.comThrough December 21 Jason Dodge with Ishion Hutchinson: Please contact gallery for information The Broad Church of Night SCHINGOETHE CENTERPOETRY FOUNDATION of Aurora University 1315 Prairie Street, Aurora, IL61 W. Superior Street 630 844 7843312 787 7070 [email protected] / www.aurora.edu/[email protected] / www.poetryfoundation.org Mon, Wed–Fri 10-4, Tues 10-7Mon–Fri 11-4 Through December 14 Joel Sheesley: A Fox River TestimonyThrough January 24, 2019 Krista Franklin: “…to take root among Through December 14 Celebrating 125 Years: Aurora University January 31–April 26, 2019 BECOMING: Transformation in Native the stars.” American Art, The Schingoethe Contemporary CollectionTHE RENAISSANCE SOCIETY January 31–April 26, 2019 Stitches of the Soul/Las Puntadas delAt the University of Chicago Almas: Story quilts from the National Museum of Mexican Art5811 S. Ellis Ave., Cobb Hall, 4th Floor773 702 8670 SMART MUSEUM OF [email protected] / www.renaissancesociety.orgTues–Wed, Fri 10-5, Thurs 10-8, Sat–Sun 12-5 At the University of ChicagoSee website for holiday schedule 5550 S. Greenwood AvenueThrough January 27, 2019 Let me consider it from here 773 702 0200 [email protected] / www.smartmuseum.uchicago.eduRHONA HOFFMAN GALLERY Tues–Wed 10-5, Thurs 10-8, Fri–Sun 10-5 Through December 16 Expanding Narratives: The Figure1711 W. Chicago Avenue312 455 1990 and the [email protected] / www.rhoffmangallery.com Through December 30 The Time Is Now! Art WorldsTues–Fri 10-5:30, Sat 11-5:30Through December 21 Michael Rakowitz: The Invisible Enemy of Chicago’s South Side, 1960–1980 Should Not Exist (Room Z, Northwest Palace of Nimrud) ZHOU B ART CENTER 1029 W. 35th Street 773 523 0200 [email protected] / www.zhoubartcenter.com Mon–Sat 10-5 Through December 28 Chicago Lights: Abigail Zoe Martin Solo Exhibition

Michael Rakowitz THEThrough December 30, 2018 TIME The Invisible Enemy Should Not Exist (Room Z, Northwest Palace of Nimrud) ART WORLDS of THE TIME is NOW! CHICAGO’s SOUTH SIDE 1960-1980 ISBN 978-0-935573-58-9 September 13–December 30 ART WORLDS of THROUGH DECEMBER 21, 2018 smartmuseum.uchicago.edu CHICAGO’s SOUTH SIDE 9 780935 573589 1960-1980 1711 WEST CHICAGO AVENUE CHICAGO ILLINOIS 60622 W W W. R H O F F M A N G A L L E RY. C O MNewcity DECEMBER 2018 Mariana Castillo Deball November 16 — Logan Center Gallery • Reva and David Logan Center for the Arts • 915 E 60th St Chicago IL 60637 PETLACOATL arts.uchicago.edu/logan/gallery January 1338

Dance Are there any particular stories thatGary Abbott rehearsing Parallel Lives. Photo: Henry Trinh. inspired the piece? It’s such a broad amount of information from so many places. I’ve traveled a lot around the world and I’m fascinated by the plain, everyday people. I’ve always noticed how women have had different experiences and been able to help each other. For example, one of my best friend’s mother had cancer. She was trying to figure out how to deal with it with no money and no health insurance. What my friend’s friend did was take her into her home and cared for her until she died. She didn’t have to do that, but it was such a sisterhood and it was so important that she did this for her friend. And reading different articles about the women who supported the Civil Rights movement: these were mothers and grandmothers out to see humanity prevail. They were plain women who didn’t go to school for communication but they came out and spoke clearly and moved things forward. We don’t see the little women who are out feeding the people or cleaning things for those who get to step up to speak. These people have power.Ate9 Dance Company in “calling glenn”/Photo: Cheryl Mann How did you take this subject and begin translating it into music? Making Dance I teach at the University of Missouri-Kansas That Means More City. The composer works there with me and started talking to me around the same time I Gary Abbott discusses his new work for started working on the piece. The music Deeply Rooted Dance Theater began to coalesce the ideas. I saw a village of women who looked out for each other and By Sharon Hoyer were skeptical of strangers. I started feeling a protection, a focus on protecting each other. From that the movement appeared: the characters of the women—older, younger, very poor with a great deal of dignity and pride—I took those ideas and started focusing in on the type of movement and how they would move. For more than twenty years, Kevin Iega Tell me a little about the story behind I have a hard time talking about my process. I DECEMBER 2018 Newcity Jeff and Gary Abbott, co-founders of Deeply “Parallel Lives.” walk in the studio and think of things that I feel Rooted Dance Theater, have been making and I grew up the only male in the house with eight and I can start moving that way. Fortunately I presenting dances that celebrate community women. I’m pretty caught up with what’s going have some incredibly smart students and and nourish the soul through a blend of on with y’all. I find myself fascinated with how dancers who are willing to let me experiment. modern, contemporary and African dance strong women are. I grew up, not in poverty, but traditions. Deeply Rooted will perform early in a pretty poor family and noticed how women You said you know the composer from repertory pieces by Jeff and Abbott along with who were as poor as each other supported each the university. Have you collaborated one new work by Abbott in December at the other. In the highest of highs and the lowest of before? Logan Center for the Arts, in a program lows, they always were there for each other. No, this is actually our first collaboration. I entitled “An Inspired Past, A Jubilant Future.” Someone always had their backs, be it feeding know him because he accompanies ballet Abbott spoke with Newcity about his new their kids or taking care of each other when they classes. He plays with a huge dramatic flair. piece, entitled “Parallel Lives,” and his hunger were sick. I’ve been touched by so much His playing is so filled with passion and to continue pushing himself, now in his conversation with the MeToo movement and the emotion. We started talking about his sixties, as an artist. way women support one another. composing; he brought me his music and we started working it to fit the piece. 39

DANCE TOP 5 Deeply Rooted Dance Theater in rehearsal. Photo: Jeffrey Hitchens.Newcity DECEMBER 2018 1An Inspired Past. A How do you feel this new piece sits to improve the tools I have as a choreogra- Jubilant Future. Logan alongside the other work in the program pher, but I feel as though there’s information Center for the Arts. Deeply from twenty years ago? inside of me—my heart, soul, head—that Rooted Dance Theater I think what it does is it talks about where I needs to be stimulated and I think pursing celebrates their history and am personally as a choreographer right now. this MFA will help unlock some of it. And help future with revivals of early It’s interesting because I’ve been really me connect my interior dots and articulate it works by co-founders Kevin worried about staying curious about my better. I’m hoping it will do that. I don’t want Iega Jeff and Gary Abbott and creativity. That’s been on my mind lately: to do more choreography, I want to do a premiere by Abbott. making sure I keep working on the tools and choreography that means more to me. December 15-16 my voice as a choreographer. That was at front of mind as I was working on this, but I I think my skills are better and I’m hoping 2 The Nutcracker. also tried to let it go and create and not the choreography is better, but I don’t know Auditorium Theatre. worry if it was phrasing I’d done before. All that it means that much to me. What’s The Joffrey Ballet stages choreographers have a phrase or two that important is that I get the message out to for a third year Christopher they use again and again, so I let that go and people and I hope the choreography Wheeldon’s spectacular let the feeling of the piece come out. It’s sort touches people. reimagining of the holiday of where I am now. I don’t know if it portends staple, set in Chicago during the future more than my knowing that I want Anything else you’d like to mention? the 1893 World’s Fair. to keep creating and keep addressing issues I think Deeply Rooted is something… I wish December 1-30 that are important to me and to other people. I had a better word than special. I think it’s growing and evolving and finding its way 3 danc(e)volve: New Why do you suppose you have this into, I’m hoping, a space where more Works Festival. Harris concern for your process and sense of people can see us and experience what we Theater. Hubbard Street curiosity right now? have to offer. I’m so damn proud of dancers Alice Klock, Florian I’ve been doing this for forty-five years. I’m everything we do because I know why we Lochner and Rena Butler sixty-two years old. My body has changed. do it. And I’m not saying we’re better than exercise their choreographic The amount of physical work I can do has any other company because I’m not a part chops, creating new dances changed. I can still move pretty well for an of any other company. I can say that what for company members. old guy but my body doesn’t respond as well we’re doing is earnest and thoughtful. I December 6-9 as it used to. I want to explore ways to move hope we continue to inspire people. with more intelligence, and bring myself to 4 Co-MISSION Festival. task in creating and not fall back on what’s Logan Center for the Arts, 915 East 60th, Links Hall. Lizzie Leopold, worked in the past. I’m going back to school Saturday, December 15 at 7:30pm and Aaliyah Christina, Talia Koylass to get my MFA in choreography. Isn’t that Sunday, December 16 at 2pm. $35-$55. and Erin Kilmurray present crazy? I’ve always had a curiosity about how Tickets at www.eventbrite.com new works developed during a three-month residency, in a shared-bill format. December 6-9 5 Shift Your Paradigm. Links Hall. In an evening-length performance, Jasmin Williams and Dancers guide audience members on shifting their mindsets from staunch independence to collaborative interdependences. December 14-16 40

Design Hidden Wonder A Look Inside the Brand New Tadao Ando-Designed Exhibition Space By Philip BergerWrightwood 659, Location: Chicago, Illinois, Architect: Tadao Ando The Alphawood Foundation, like its credentials necessary to obtain a license to quintessential modern minimalist, Wrightwood DECEMBER 2018 Newcity benefactor Fred Eychaner, has assiduously practice. Still, his remarkable output of 659 also reflects his approach as architectural maintained a low, almost invisible profile. But consistently brilliant, minimal designs has preservationist, which comports with one of Wrightwood 659, with its dazzling new brought him acclaim, adulation, and the the Alphawood Foundation's primary stated exhibition venue, will threaten its near-anonymi- Pritzker Prize—the profession’s highest missions of supporting architectural preserva- ty. Flying under the radar is not, of course, an honor—in 2005. tion activities. (It was a major donor to the unusual strategy for a grant-making institution. recent restoration of Wright’s Unity Temple in But the building is such a remarkable In conjunction with the inaugural exhibits at Oak Park.) While he is most known for spare, architectural achievement that it, alone, should Wrightwood 659, Ando came to Chicago and imposing and often abstract concrete masses, assure an elevation of the organization’s place offered an overflow crowd at the Art Institute many of Ando's most interesting projects of in the arts community. And if its inaugural his musings on his work, insights into his recent vintage feature discrete, functioning exhibits are an example of offerings to come, personal life and an astonishingly upbeat structures dropped within existing, often its role as a leading light in the visual arts perspective on the world. It’s astonishing historic shells. environment should be locked in. because, as he revealed in his comments, he has survived bouts of cancer over the past Wrightwood 659 is a fine exemplar of this For the building’s designer, Tadao Ando, it’s decade-and-a-half, and lacks many of his building type. Like all of Ando’s work, there is another triumph in a distinguished (if limited) internal organs. He maintains a positive outlook nothing big and splashy here. It's quiet, still American portfolio. Ando, possibly Japan’s and radiates confidence in the possibility of and meditative. Instead of demolishing the most important living architect, has an living to be one hundred, encouraging existing building that was on the site—an important connection to the city of Chicago: His everyone in the audience to set that as a unremarkable four-story apartment building first U.S. project (in 1992) was his design for the goal. While Ando is clearly outgoing, gregarious built in the mid-1920s—he retained its exterior Art Institute of Chicago’s Asian art galleries. and funny, his talk was made by his translator, red-brick envelope and built his minimalist Eychaner, an AIC trustee, got to know Ando as a Canadian named Yuko Yasutake—an structure inside. It’s a singular construct placed a result of that job, and commissioned his first infectiously charming giggler—whose reactions cleverly and seamlessly inside a shell of another, freestanding building in the United States, a to Ando’s observations were as engaging as and thus emblematic of the Alphawood concrete, steel and glass house completed in the reflections, adding extra flavor to the Foundation’s stealthy impact on the cultural 1998 that resembles an impenetrable loading already-engaging commentary. scene. In his AIC talk, Ando explained that dock from the Wrightwood Avenue side, but upon viewing the existing building, he was from behind its blank facade hides a dynamic The secretive nature of Alphawood Founda- enormously impressed with the quality of the interior featuring walls of glass, wrapped tion—which according to information on its brickwork—acknowledging the skill of local around a central reflecting pool. website supports primarily progressive tradespeople during the boom era when it was causes—is an apt metaphor for its most recent built. If the original masonry was so impressive, Ando, who originally planned to become a accomplishment. The gallery is hidden away it’s unclear why (according to the press prizefighter, never attended architecture school. behind what amounts to a mere facade. materials) the interior brick walls were Some accounts describe him as self-taught, dismantled, the bricks reconditioned, and but it’s unclear how he ever obtained the Although Ando is, from most viewpoints, the reassembled. Whatever the reason for the 41

DESIGN TOP 5 process, their impact in the soaring three-sto- Mumford, who teaches at Washington ry space at the front of the building is University’s Sam Fox school of architecture, 1 Holiday Lights, City spectacularly raw and dramatic. Indeed, it’s offers a straightforward look at the enormity of Lights Tour. Chicago the materials in the project—the polished the Swiss-born architect’s spectacular Architecture Center, 111 East concrete walls so smooth they beg to be achievements, succinctly suggesting why we Wacker Drive. Experience the touched, a stone floor that sparkles in the consider Le Corbusier (born Charles-Édouard magic of a holiday lights tour light, the unembellished oak benches—that Jeanneret), along with his contemporaries like no other aboard the equal the space planning for astonishing Mies van der Rohe and Walter Gropius, more Chicago Architecture Center’s impact. They are rich, textured and powerful or less the inventors of what we consider double-decker bus. You’ll learn in their simplicity. modern architecture. all about the great architects,Newcity DECEMBER 2018 designers and leaders who To fully appreciate Wrightwood 659, you have The comprehensive nature and illuminating shaped the city and also get to consider its context, both conceptually and quality of the explanatory materials in the into the holiday spirit. locationally, which necessarily includes its show suggest that the accompanying catalog One-and-a-half hours, $35 next-door neighbor—the house Ando will make a major contribution to the body of designed for Eychaner twenty years ago. Le Corbusier scholarship. But the real reason 2 Ando and Le Corbusier: Long a curiosity in the neighborhood and to visit the show is the abundance of primary Masters of among architecture aficionados worldwide, it’s materials on loan from Le Fondation Corbusier. Architecture. Wrightwood unclear whether Eychaner did or does actually We expect great drawings and period 659. Wrightwood 659 will live there, but it has reportedly served as a photographs in a show of this kind. But here showcase more than a frequent venue for high-end political there are exciting surprises. First, a series of hundred drawings and fundraisers. Eychaner is among the most astonishing models created, essentially as photographs by Swiss-French prolific Democratic Party donors in the sales tools at the time the projects were pioneer of modern architecture country, and reportedly the top donor in designed—one of Le Corbusier’s masterpiec- and design, Le Corbusier. Illinois. One of the most significant aspects of es, the Notre Dame du Haut chapel at Through December 15 the Wrightwood 659 design is its western wall Ronchamp, and another of the government of glass on the top floor that permits a site at Chandigarh, India, carved out of a rich 3 Renegade Craft Fair. tantalizing glimpse into the remarkable house strain of mahogany-like wood. Another Bridgeport Art Center, next door and its serene, lush atmosphere wonderful item is a drawing on loan from the 1200 West 35th. Your annual that  the passerby would never envision Art Institute that Le Corbusier created meet-up with artists, designers, beyond its concrete bunker facade. spontaneously in 1935 on the occasion of a makers and entrepreneurs from visit to Chicago during an address he made around the country strikes It makes you understand how important it was on his idea of the Radiant City (Ville radieuse). twice before year-end. for the compulsively private Eychaner to And there’s a fascinating display of tiny, scale December 1-2, 11am-5pm control not simply physical access, but visual models of Le Corbusier’s oeuvre, created as access to the house. Some time after building class projects by Ando’s architecture students. 4 Keep Moving: it, Eychaner appears to have acquired the Designing Chicago’s buildings to the east and to the west. The The Ando exhibition, organized by Wright- Bicycle Culture. Design building to the east—a three-story apartment wood 659’s own staff, takes a markedly Museum of Chicago. An building, completely undistinguished in style— different approach—speaking to the visitor in exhibition that looks at bicycle has been repurposed as Wrightwood 659. almost purely visual terms, with little elabora- design and manufacturing in Eychaner even purchased the property on tive text. It features an installation representing Chicago and explores the city’s Deming Place that was across the alley, directly the monumental “art island” created for the contribution to the early to the south of 667, and razed the house there. Japanese media mogul Soichiro Fukutake, popularity of bicycles in The property remains undeveloped. including a site model and video loops. This America at-large. Through creates an enveloping, immersive experience, March 3 When you visit the Wrightwood 659 space for and there’s an exquisite model of his “Church the first time you should be warned that you of Light”—a design that is conceptually 5 Vends + Vibes. University may be so absorbed by the surroundings that nothing more than a concrete box pierced by of Chicago Arts + Public it will be hard to focus on the artwork.  I was a simple cross of light. The visuals are meant Life, 301 East Garfield. sufficiently distracted by the architecture that I to speak for themselves. The South Side lights up as had to go back a second time to look at the local artists, makers and exhibits, of which there are actually two: A Sketches drawn directly on the walls in blue creative entrepreneurs gather sprawling, expressionistic display of some of marker accompany some of the Ando items. for a weekend handmade Ando’s greatest hits, and a compact but rich They are unexplained, although if you examine marketplace event to jumpstart retrospective of the work of Le Corbusier, who them you realize they are meant to offer your holiday shopping. Ando has always acknowledged as one of his additional views of the buildings shown 42 December 8-9 heroes. It’s easy to understand why. primarily in scale models. I would have had little idea what they were if I hadn’t read Blair What’s great about the two inaugural exhibits Kamin’s story about the show and seen the in conjunction is how they suggest the wide photo he posted on Twitter. It doesn’t matter. range of approaches to exhibiting architecture. Although a little interpretation wouldn’t hurt, The Le Corbusier show is a splendid example the intensity of the images and the experienc- of “conventional” architecture exhibitions es—the sweeping models and the use of featuring outstanding scholarship, brilliantly video—are sufficient to convey the reflective, sourced pieces and informative didactic zen-like power of Ando’s aesthetic. materials. The Ando exhibit is looser, more freeform, visually explorational and innovative, Although there are rumblings that the shows with explanatory material as minimal as the will travel to other sites, it’s hard to imagine a architecture itself. better place than Wrightwood 659 to appreciate the work of these two master The Le Corbusier show, curated by Eric designers.



D&iDnirningkingWiener schnitzel and creamed spinach/Photo: David Hammond O Tannenbaum! family rituals that sustained it. Where You Want to Eat at Christmastime Joe Perry, in his 2010 “Christmas in Germany: A Cultural History,” says that “Writing about the By David Hammond ways Germans remade Christmas in the last 200 years is… an attempt to write about theNewcity DECEMBER 2018 My wienerschnitzel is everything I could made for Christmas, as we know it, being ways Germany continually rethought the invented in Germany. Kris Kringle (drawn from connections between themselves and their have hoped it would be, which is to say, it’s society. The history of the holiday itself, with its rich symbols and traditions, is central to this pretty much the same as I had when my the Christkindl), the Christmas feast, ginger- effort; Christmas was and is the western world’s foremost celebration, and the German friends and I would ditch a day at York High bread, all can be traced to German origins. version is quintessential.” School in Elmhurst to go to the Art Institute Some of us may remember singing “O Tannenbaum” during our school days, though and have lunch here, where you want to eat at “The Nutcracker,” the iconic Christmas family it’s unlikely that any of us referred to our Christmastime. theater event, is based on E.T.A. Hoffmann’s “The Nutcracker and the Mouse King”—later a The restaurant where you want to eat at Christ- ballet by Tchaikovsky—and is a portrait of a mas time is German, and there’s a case to be highly secularized German Christmas and the44

Christmas tree as a tannenbaum. Later this shoppers have come to fuel up with fortifyingsong became “Oh Christmas Tree,” and the German food. Cold weather is the right time DINING & DRINKING TOP 5holiday itself has integrated into the An- for German cuisine: big carnivore-pleasingglo-American system of marketing holidays as slabs of victuals and steaming heaps of potatoes fill the stomach and strengthen thesales opportunities. spirit before we trudge back to the windy,The appeal of Christmas stretches beyond the wintery streets of the Loop. 1 Petit Margeaux Christmas Market.western world, and has far exceeded the Christmastime is draped in tradition, and there Waldorf Astoria Courtyard. French foods like raclette,spiritual connotations of the day. In the mulled wine and spiced nuts,northern Thai province of Phrae, we visited a are few Chicago restaurants that feel more with live music. Decembergrammar school on Christmas day and were traditional than this place, where you want to 1-2 and each weekenddelighted to see dozens of young Thai children eat at Christmastime. until Christmasdressed as Santa Claus. Thais are largely 2 Lunch with Santa.Buddhist, and it’s unlikely any of the children at The murals on the walls of the dining room Lawry’s The Prime Rib.this Thai celebration were thinking of the birth depict the “White City” of the Columbian Special kid and adult dinners,of Christ as they danced and sang songs like Exposition, where the original owner began carolers and a chance to get a selling his beer, brewed in Indiana, a few years photo with the big guy himself.George Michael’s “Last Christmas.” Whatthese children, and their parents, enjoy about before opening the doors to his own Chicago 3 Hanukkah Dinner. bar in 1898. That’s right, this place is 120 Split-Rail. Menorah willChristmas is likely the fun of it. Aside from be lit and latkes will be served years old this year, and eating dinner out in a traditional, family-styledepression and the urban sentiment about dinner celebrating Hanukkah. during the Christmas season feels best at an December 4suicides rising at Yuletide, this is a happy older place. 4 Leading Ladies ofholiday: it’s about being with family, feeling the Kitchen. Travelle. Honey Butter Fried Chickengood, dressing up, getting gifts and eating well. There’s energy in the air, prompted by the chef Christine Cikowski and TriBecca’s Cubano chefDeck the Halls with Mounds of Meat season and enhanced by the rooms’ hard Becca Grothe work with Travelle chef Jeff Vucko toTraditionally, Christmas is celebrated with meat, surfaces that bounce sound, the hustle-bus- create a family-style dinneras are many festive days, including Michelmas, tle of a large space, and the efficiency of the for the elegant wine cellar. kitchen. December 6the medieval celebration of St. Michael that 5 All That Glitters. Z Bar.climaxed with a roast goose. England, which Z Bar at the Peninsuladid its part to amplify the Anglo-Saxon tradition “The prices have gone up,” an older woman at Chicago is themed “all goldof Christmas, is associated with a Christmas an adjoining table whispers to a friend as they everything,” and that includesgoose, but a traditional Christmas celebration review the menu, and they no doubt have. 24k gold ice cubes, goldin an English household is more likely to have Still, for downtown Chicago, the prices are dark-chocolate truffles andcentered around a turkey. It was not a goose, not high, and a family of five could eat here auric comestibles fit for Kingbut a turkey, that Ebenezer Scrooge beckoned for under $200. This is not fancy food, just Midas. December 31 substantial and largely Germanic chow, withan urchin to fetch for him in Dickens’ “A a few flashes of genuine deliciousness.Christmas Carol.” Though the Weinerschnitzel was standardA goose at the center of the Christmas table is and no standout, the creamed spinach was spectacular: hints of nutmeg, a good balancemore likely be found in Germany. of green leaf and cream, a side dish thatIn Italian-American households, the celebrated demands attention and inspires a return visit.protein is not meat but fish. The Feast of the Despite the changes, good and bad, thisSeven Fishes (or The Eve), which is the light place has remained remarkably consistentdinner before heavy Christmas fare. Somespeculate it was invented by Italian-American through the years: simple wooden tables and chairs, tall ceilings and the murals, the DECEMBER 2018 Newcityrestaurants to be a dinner that avoids theluxury of meat. Maybe. As an Italian-American stained-glass windows, all have been there for decades. You feel Chicago’s earlier days andwho is very of fish, I can say that at the the spirit of Christmas past. You feel theChristmas table, we’d rather eat meat, andthat’s what you’ll get at the restaurant where weight of tradition when you walk through the doors. Much of the power of Christmas comesyou want to eat at Christmastime. from tradition, and that’s why The Berghoff isGerman Food Feels Right for where you want to eat at Christmas time.Christmastime The Berghoff, 17 West Adams,Sitting in the wood-lined dining room atChristmastime, families and troops of (312) 427-3170, theberghoff.com 45

Film Photo: Carlos Somonte FILM TOP 5Newcity DECEMBER 2018 Family black-and-white movies of Federico Fellini 1 Detour. Siskel. Edgar G. Matters (who made a movie called “Fellini’s Roma”). Ulmer’s elegant, stripped-bare Other parallels: unflinching widescreen masterpiece about fate’s way with The Intimacy of Romanian movies like Cristi Puiu’s “The cinema’s truest loser, the bleakest Alfonso Cuarón’s “Roma” Death Of Mr. Lazarescu”; Edward Yang’s of noirs, circulated for decades in Olympian patience in capturing family life in subpar prints and video renditions. By Ray Pride “Yi Yi”; and the vital urban life of his own This 4K restoration from original prophetic masterpiece, “Children of Men.” elements is a thrilling punch from The more personal and specific Alfonso “Roma” also has a lightly surrealist pulse, the past, as startling a present- Cuarón’s “Roma” is about childhood providing a succession of small, desiccated tense artifact as Orson Welles’ memories, the more universal it becomes. raptures, with details and contrasts, latest picture, “The Other Side It is patient and magisterial and loving, gestures and bits of repeated behavior Of The Wind.” Essential viewing. wrapped around a fistful of figures living evoking constant surprise and delight. their lives while Mexico transforms around Opens December 7 them. History is in their hands, small and The production peopled the streets of his large. The children are sheltered: the childhood with teeming crowds, and found 2 Wings of Desire. Siskel. women are not, including chichi Sofia a building to turn into a set approximating Wenders saw angels. (Marina de Tavira), the mother, and Cleo his 1970-71 home. Outside, near and Essential viewing. Opens (Yalitza Aparicio), the family’s Mixtec-de- distant, the sound of Mexico City, of the December 28 scent domestic servant. greater world, rackets, muffled. (Some dog or other always has a complaint out there.) 3 Andrei Rublev. Siskel. Roma is the middle-class neighborhood Cuarón solicited furnishings and mementos When the boy, terrified of of Mexico City where Cuarón grew up from relatives, including his grandmother’s certain, sudden death, hears the around women, including his mother, favorite chair. Shooting for 108 days with first peal of the bell he has crafted: grandmother and a housemaid who tends a reported $15 million budget, Cuarón but one of dozens of shattering to four siblings. His influences are wide: employed a digital large format, and his instances in Andrei Tarkovsky’s notably, the masterful Mexican filmmaker camera is restless, its motions not always masterpiece. Essential viewing. has taken exemplary notice of the 1950s defined by what the “story” in front of us seems to demand. Jean-Luc Godard Opens December 28 declared in the 1950s that “le travelling est affaire de morale,” or “tracking shots are a 4 The Thirty-Fifty Annual question of morality,” and Cuarón, perform- Music Box Christmas Sing-A-Long With “White Christmas” and “It’s A Wonderful Life.” Just this once won’t hurt you. 5 The Mule. Impatient Mr. Eastwood completes another last-minute awards- contending drama: how many more times will the eighty-eight- year-old actor-director leap into the year-end fray? Opens December 1446

ing as his own cinematographer, flexes that and streets, remote villages and metropolitan Would that 70mm “Roma” be an experience DECEMBER 2018 Newcity definition with each movement. The camera movie palaces, faces and faces and faces. a step up from the one I’ve seen? Or is is an active, serial somnambulist, prowling, Dogs everywhere. Human cannonballs. Rude “Roma” a digital cinema package projected inscribing physical space for the viewer’s caskets by a flooded ditch. The occasional on several other smaller screens for a few, accruing experience. It’s a progressively earthquake. There is also blood and birth and limited seances? Is “Roma” what peoples your mesmeric effect, the motions like the eyes gunfire and the eternal pull of the ocean itself, flatscreen, your iPad, your telephone? Man, of a dreamer who must attend to every the great, sweeping, amniotic yet deadly sea. I want to see it once more, big and loud. Still, detail, hoping to hold fast the slippery, I hope in whatever format it passes before a slipping-away instant. Barry Diller says the “movie business is mesmerized viewers’ eyes, that “Roma” is just finished,” whatever evidence films like “Roma” “Roma”: a passionate, haunted, great movie.“Roma”’s power comes from more than a offer that filmmaking, decidedly, is not. Diller, generous canvas: I saw it at a screening who transformed the industry as a studio “Roma” is scheduled to open Friday, December room where the gorgeously measured sound executive for Paramount and Fox in the 7 before moving to Netflix on December 14. design played as densely and emphatically 1980s and 1990s, says that an attempt to as that of any movie in memory, all the way compete with Netflix is a “fool’s errand.” Reviews through the languorous final shot. One key passage of sound: there is a forest fire near “Roma,” with an artist at the height of his Burning an estate where a holiday party is being held, ambition and his talent, is bright anomaly, Shit’s on fire. Chang-dong Lee’s super-strange and it elegantly suggests the ending of Jean with Netflix, in essence, competing with itself. suspenser, “Burning” (Beoning), is wondrous Renoir’s “Rules of the Game,” its beauty Netflix wants this grand, possible masterpiece and narcotically singular, while reflective of coming as much from sound and on-screen to be seen by a handful of people around the strains of movies being made by his contem- music as it does from its elemental horror. world at the optimum presentation for which poraries among South Korean filmmakers, (Not to mention the depiction of the down- Cuarón designed his movie. The streaming including Hong Sang-soo and Bong Joon-ho. stairs life of servants versus the upstairs juggernaut purchased worldwide rights to the (In their films, class and society are described party only moments before.) Fire, fire— 135-minute, Spanish-language, black-and- through interactions that slowly reveal strata“Fuego, fuego, el bosque está en fuego!”— white widescreen family epic from producer after strata.) Tracing how an event affects three symbolic and literal, mindlessly incendiary. Participant Media, but also craves awards people, “Burning” layers mystery upon mystery, (Later: gunfire, gunfire.) recognition, not limited to Oscar. Cuarón Hitchcock by way of Haneke, conveying a was promised a theatrical run, with a few vivid yet always dreamlike perception of theThese lives are surrounded by otherworldly 70mm prints, before the film arrives in the limits of our capacity to know others, and calm as well as clamor. Serene yet fierce, 190 countries, territories and duchies where to understand the world around us. It also loving, forgiving, melancholy, “Roma” is rooms Netflix has planted its flag. 47

slow-motion duck flapping its wings as it descends through the frame, is an image as oneiric as they come. On the smaller screen, Tarkovsky’s adept geometry is more conspicuous in tableaux like this one. Tarkovsky hallucinates the apocryphal wanderings of an actual fourteenth-century visionary and painter of icons, as he composes his spiritual art against a backdrop of unremitting violence and conflict. (Tatar pillage has never been so ravishingly Burning imagined.) The penultimate sequence—the communal casting of an immense describes, but does not define, an unspeak- Silver continues his succession of subjective bell, directed by a teenager who claims who able malaise among young men in industrial- stories about the self-absorbed, their sallies ized nations worldwide. Lee’s film is true to and follies. Written by recurrent co-conspirator knows the rare secret, and who then confides the elusive character of his source material, Jack Dunphy and shot by low-budget luminary a 1992 short story by Haruki Murakami, Sean Price Williams, “The Great Pretender” in Andrei that he’s a sham to the accompani- based on a William Faulkner story, but all such is sweetly soft-focus even as his characters description of the movie fades in the face of remain unaware of the effects of their behavior. ment of the first peals of the bell—is among its generous welter of poetry, of onrushing light The lot of them work wily self-invention into and shadow and confusion and stark, staring every conversation: I’m a nice guy, an actually the most startling movie scenes of them, beauty. It’s one of the great movies of 2018: not-nice guy ventures. Silver cites the early “Burning” lingers. With Yoo Ah-in, Steven Yeun, work by Mike Leigh for the 1970s-1980s all a climax that is visual, emotional, and the Jeon Jong-seo. 148m. (Ray Pride) BBC “Play for Today” series as inspiration, but the offhanded, piercing quality of the patient result of depicting process—craft and “Burning” opens Friday, November 30 comedy within the viper’s nest of romantic at the Music Box. roundelays suggests a cruel Alan Rudolph, narrative alike—as tactile poetics of detail, and that’s more than enough for me. Formally, Detour Silver’s work is restlessly inventive, and but for gesture, mud, rain, fear and hope. 183m. No matter how many times you’ve seen his attraction to certain types and types of “Detour” (1945), this time will be your first, behavior, you wouldn’t guess they’re from the 2.35 widescreen. (Ray Pride) unless you saw it on its original release. Edgar same mind. Silver summed up his drive—thisNewcity DECEMBER 2018 G. Ulmer’s stripped-bare $100,000 master- is his eighth feature in the past ten years—to “Andrei Rublev” opens Friday, piece about fate’s way with cinema’s truest Mark Asch at the Village Voice: “There has to loser, a drifter who meets the fatale-est of be something that’s driving you crazy, that will December 28 at Siskel. femmes, is bleak beyond bleak beneath bleak, drive other people crazy. Who the fuck wants the most noir of films noir. “Detour,” beaten, to watch watered-down shit? This sense that Wings of Desire battered, fallen from Poverty Row to copyright you have to engage with a larger audience, Wim Wenders’ 1987 masterpiece of moment, limbo, circulated for decades in subpar public I understand that, but there are a lot of people the stupendously accomplished city symphony domain prints and video. This 4K restoration who have no faith in an audience’s threshold “Wings of Desire” (Der Himmel über Berlin), from original elements is a thrilling punch of for discomfort.” With Craig Grant, Esther rises to poetry, surveys a walled city, looks silken poetry from the past, a succession of Garrel, Keith Poulson, Linas Phillips, Maëlle upon its humans, within their dreams, stark settings and shadows upon shadows, Poesy-Guichard. 72m. (Ray Pride) descends to the circus and the barroom and the always-evident artistry of which is elevated the fleeting refractions of winding thought. to necrotic perfume. Boy meets girl: sadsack “The Great Pretender” opens Friday, Bruno Ganz, an angel, falls in love with a Al Roberts (Tom Neal) crisscrosses the path trapeze artist (Wenders then-inamorata Solveig of the rage-tense Vera (Ann Savage, who December 14 at Facets. Dommartin) and decides he would rather be later played the mother in Guy Maddin’s “My human, forsaking immortality for two beating Winnipeg”). Their match was made in hell, and Andrei Rublev hearts. Along the way, he meets Peter Falk that hell is Al Roberts’ life. Ann Savage was Dream is but a life: Andrei Tarkovsky’s movies (playing “Peter Falk,” and very well), a fallen born Bernice Maxine Lyon, but she was born suggest that the world is a mystic place, angel who offers sweetly odd advice. The to be “Ann Savage.” There are few female made stranger and more mysterious by the perspectives on then-divided Berlin, German performances of such feral allure, spleen, such capricious regime called memory. “Andrei history, the circus, romance, music, black-and- contempt, such vital vitriol in screen history. Rublev,” his 1966 portrait of the artist’s place, white versus color, all shimmer with love and Highest recommendation: What. A. Fucking. sufficiently complicated that it was banned for intelligence. Some of the finest of writer Peter Nightmare. 68m. (Ray Pride) its complexity (among other things), is an epic, Handke’s work, influenced by Rainer Maria widescreen masterpiece like no other. On the Rilke, is on generous offer. Henri Alekan’s “Detour” opens Friday, December 7 at Siskel. big screen, you’re awestruck; even on Blu-ray, camerawork, poetry upon poetry, is particularly its audacity remains nothing less than riveting. fine. Wenders, of course, supervised this 4K The Great Pretender Tarkovsky’s pageant is replete with all manner digital restoration, and word and image alike With a dreamy but dark micro-melodrama set of flora and fauna, and when projected, the sear the soul. (The original release prints of in the theater scene of New York City, Nathan shot from a hillside of a burning church in the “Wings of Desire” were struck on color stock; valley below, which is then visited by a the digital restoration allows the black-and- white passages to conform to Wenders’ original design.) “Dedicated to all the former angels, but especially to Yasujiro, Francois and Andrej” (Ozu, Truffaut and Tarkovsky). With Nick Cave, Otto Sander, Curt Bois, Kid Congo, Blixa Bargeld. 127m. (Ray Pride) “Wings of Desire” opens Friday, December 28 at Siskel.48



IN THE FORMER BOOKMAN’S ALLEY SPACE AT Live at The Book Cellar 1712 SHERMAN AVE, EVANSTON 224.999.7722 Erin Gibson Tallgrass Writer’s GuildHOLIDAY SHOPPING IS STILL FUN AT BOOKENDS & BEGINNINGS! “Feminasty” presents “Holiday Landscapes” December Events December 3, 7pm December 7, 7pm Wednesday, December 5, 7 - 9 pm Bryan Gruley Storytime! GirlForward Presents an evening with Wendy Pearlman, “Bleak Harbor” December 8, 10:30am author of We Crossed a Bridge and It Trembled in conversation with Jonathan Eig Photos with Santa! Thursday, December 6, 6 - 7:30 pm December 4, 7pm Rosellen Brown, author of The Lake on Fire, December 8, 11am in conversation with Sharon Solwitz, author of Once, In Lourdes Holiday Pick Rep Night Jonathan Eig Friday, December 7, 6 - 8 pm featuring picks from Annual Holiday Sip & Shop top publishers “Ali” in conversation with Enjoy festive beverages and a presentation December 5, 7pm on best gifts for everyone on your list! Josh Noel, “Barrel-Aged Ted Van Alst Tuesday, December 11, 6:30 - 8 pm Stout & Selling Out” Holiday Music Jam “Sacred Smokes” December 11, 7pm December 6, 7pm Evanston Authors Mark Miller, Melissa Ann Pinney, and friends Shop Late Lincoln Square make holiday music while you shop. Storytime! December 13 You can order online 24/7 from our holiday gift catalog at December 7, 11am www.bookendsandbeginnings.com or visit the store for our personalized suggestions and cheerful service. We giftwrap for free! Jorma Kaukonen of Jefferson Airplane WWW.BOOKENDSANDBEGINNINGS.COM “Been So Long” December 7, 7pm at Old Town School of Folk Music Go to our website for event details, book clubs and more! Your Independent Book Store in Lincoln Square! 4736-38 N. Lincoln Avenue, Chicago 773.293.2665 • bookcellarinc.com 164 North State Street • Between Lake & Randolph Tickets are on sale now! Wim Wenders' Call 773.871.3000 or visit EmeraldCityTheatre.com WINGS OF DEC28-JAN3 DESIRE New 4K Restoration!THE 20TH ANNUALANIMATION SHOWOF SHOWSDEC 14 - 27 CHICAGO PREMIERE of 15 international animated shorts BUY TICKETS NOW at www.siskelfilmcenter.org