As we wrap up the month of October, we want to reflect on the journey of our current exhibition, “The History of the Chess Queen – or the Advent of Feminine Power.” For us, the employees and interns at Hilton | Asmus Contemporary, it’s been a great experience being able to work closely with artists who create in many different kinds of mediums and come from countries all over the world such as Australia, England, Scotland, Turkey, Greece, Italy, France, Denmark, Germany, Canada, Cuba and the United States
The opening of the show was a great success. We had hundreds of people walking in and out of our doors to admire the work of many talented artists who came together to celebrate the importance of women throughout history. As we get closer to the end of the show (which will come down October 27th) we wanted to honor the author of the book who inspired our exhibition: Marilyn Yalom's Birth of the Chess Queen.
Marilyn Yalom, author and historian who serves as senior scholar at the Clayman Institute for Gender Research at Stanford University, came to Hilton | Asmus Contemporary on October 10th to give a talk about her book Birth of the Chess Queen and what inspired her to write it. Yalom also talked about her research which took her all over the world as she tried to trace the complicated history of chess in different countries and cultures. Books were signed, photos were taken, and it was a very inspiring evening with many of the artists who participated in the show coming to meet Yalom. We’re hoping to have Marilyn back at the gallery in January for the release of her newest book The Amorous Heart: An Unconventional History of Love!
While we have been busy at the gallery with the Chess Queen show, Arica Hilton, president and curator of Hilton | Asmus Contemporary, has had many exciting successes of her own. On October 5th she had a show at the Union League Club of Chicago where she displayed paintings from her series “I Flow Like Water.” Hundreds of people showed up to see the exhibition, which was hung in the presence of works by Monet and Cezanne among many other iconic artists in history. The event was incredible and Arica talked about artists who inspire her and what painting means to her. Congratulations, Arica!
As October is quickly coming to a close we are starting to prepare for another big upcoming event: David Yarrow. David Yarrow has spent his career capturing the beauty of our planet’s remote landscapes, cultures, and endangered animals. Born in Glasgow, Scotland in 1966, he is an internationally acclaimed fine art photographer and currently the world’s best-selling wildlife photographer. His exhibition “Wild Encounters” will be open to the public at Hilton | Asmus Contemporary on November 10th so stay tuned for more news and events regarding the show!
It has been an exciting couple of months at the gallery and we look forward for much more to come!
Ivana Gatica, Intern at Hilton | Asmus Contemporary
I learned how to play chess when I was 13 years old. My best friend's cousin from California came to visit for the summer and not having much to do in rural Michigan, spent his time trying to teach his cousin and her an awkward friend how to play the board game. Jonny was my first real crush. All of 14 years old, he was tall and handsome with piercing blue eyes. How I wanted to learn the game to have Jonny's attention. It was one of the happiest and most heartbreaking summers of my life, as I don't think he even noticed my existence. I think he was just trying to while away the time as there was nothing else to do. But by the end of the summer, I was able to play chess with Jonny and I may have actually beaten him once or twice.
Years later, I came across a book called Birth of the Chess Queen, by Marilyn Yalom, the author of History of the Wife. Once I picked up the book, I was hooked. A avid lover of history, I loved the stories of Eleanor of Aquitaine, Blanche of Castile, the Cult of the Virgin Mary and Queen Isabella of Spain.
Most historians agree that the game of Chess was invented in India around the 6th century as a war game, with a king, a vizier, elephants, chariots, horses and pawns, which were the foot soldiers. There was no queen on the board of what we know in modern times as "Queen's Chess." The vizier was the advisor to the king. And like the king, could only move one square and had very little power. As the board game developed, it traveled along the Silk Road through Persia, the Arab lands, North Africa and eventually, Spain. Around the 11th century, a female figure of a queen was discovered, yet she, too, had very little power and could only move one square. It's vast and sumptuous history reveals an incredible timeline of rules, restrictions and freedoms that revolved around the game.
Before there were cel phones, texting and all manner of technological devices to gain instant gratification, people played a board game that required skill, critical thinking, strategy and intuition to amuse themselves and each other. Chess was a game played at court and considered a "courting" game. It was the the only time a man and a woman could be alone – to flirt, to fall in love, to make love. Chess was integral to the idea of “winning” someone’s heart through competition and strategy. The 14th century poet, Geoffrey Chaucer, wrote in chess metaphors in THE BOOK OF THE DUCHESS, inspired by the death of Blanche, the Duchess of Lancaster and beloved wife of my favorite chivalrous character of the 14th century, John of Gaunt, Duke of Lancaster.
The history of the chess queen is fascinating in how she emerged at a time when women's status was rising. The chess game was a witness and participant in the lives of men and women trying to find love, fun and pass their time. So different from how we while away our time on Facebook or Instagram, numbing our minds and our hearts with the click of a button, while our ancestors were busy using their minds and hearts trying to connect and communicate through a series of moves on a board. Chess was sometimes an erotic game, a game of love or a game of power.
Marilyn Yalom explains In a New York Times article, "Also crucial was the example of medieval warrior queens, who made a chessboard without a queen seem as incomplete as a Ferrari without an engine."
Before Wonder Woman, there was Toda of Navarre, in the 10th century, who went to battle to install her grandson on the throne (and won); Urraca of Galicia, who divorced her husband, King Alfonso I of Aragón and Navarre, waged war on him, retook Portugal and then a lover. (Alfonso married into her family's crown. I think she didn't like him very much.) And when the Chess Queen became the dominant piece on the board, it was Queen Isabella of Castile, who united her country, financed Christopher Columbus' expeditions to found a new world, exiled Spain's Jews, expelled the Moors and in her spare time ran the Spanish Inquisition. She was quite the powerful one. There were other queens whom we would consider "badass" today. Adelaide of Burgundy (later a Holy Roman empress), Matilda of Tuscany (she led her troops into battle on horseback) and Catherine the Great. And one of my favorites was Eleanor of Aquitaine in France, whose court was the epitome of courtly love.
Over the years, I wanted to create an art exhibition in honor of the this magnificent powerhouse of a queen. And here we are, two days away from opening night, preparing my gallery for the first group show we have had in years. We have pulled together a collection of over thirty painters, sculptors and multi-media artists from around the world to present their interpretation of the History of the Chess Queen or the Advent of Feminine Power.
This story of the chess queen and the experience of preparing this exhibition made me think about how women's resilience to their environment, their cultures and their place in life have evolved over the centuries. Although women have had to fight for the right to stand alongside men as equals, the exhibition could easily be construed as a political commentary, especially with events happening today to women all over the world. However, this exhibition attempts to display the evolution of a simple board game that originated with an all male cast to how the most powerful character evolved to become the only female member of game.
I look forward to presenting the beauty and power of the messages these artists wish to share. We will be planning artist forums throughout September and October so you can meet the artists one on one. Oh, and Marilyn Yalom has kindly agreed to fly to Chicago to do a talk about her book, BIRTH OF THE CHESS QUEEN, and to visit our show! Stay tuned to the calendar of events.
I am very grateful for the efforts of my wonderful staff. My gallery assistant, Kate Maddox has graduated to Gallery Director! Congratulate her when you come by this Friday. My intern, Sid Sidani, has worked tirelessly in preparing the exhibition catalog. And my former intern, Ivana Gatica, came back to help with designing the posters and preparing the exhibition. And we could not do without my gallery assistant, Dan Corwith, who has been working tirelessly hanging the gallery, lifting heavy (seriously heavy) sculptures, moving walls and preparing the exhibition for all to see this Friday on the opening night of the River North Art District fall season. And much gratitude and love to my co-curator and fellow artist, Rashelle Roos, who has brought new vision and wonderful aesthetic to this show. And a big thank you to all of the participating artists:
SANTINA AMATO - HUGH ARNOLD - SUSAN AURINKO - SHARON BLADHOLM - PATTY CARROLL
RICK GARCIA - PETER GRAY - JULIE GARDNER - KOSTIS GEORGIOU - ROBERT FLEISCHMAN
ARICA HILTON - TAMMY KOHL - DOUGLAS KIRKLAND - SUZANNE COHAN-LANGE - JEFFREY LEVING
TERRY O'NEILL - EVE OZER - PAUL NELSON - MICHAEL PARKES - JACK PERNO - TERRY POULOS
CHRIS REEVES - RASHELLE ROOS - MARCO NEREO ROTELLI - LAUREN SUDBRINK
TAN TAŞPOLATOĞLU – SOREN THIELEMANN - JULIAN WASSER – DAVID YARROW
If you feel like stopping by to play a game of chess, my son gave me a replica of the 12th century Lewis Chess pieces, one of the few complete sets discovered in Scotland. It's been a long time since I played, so I need to brush up on my critical thinking and strategy skills! I have read that playing chess increases IQ, exercises both parts of the brain, increases concentration (for those of us who are ADD, maybe good to try) enhances memory and increases creativity. So let's play chess!
See you Friday, September 8th from 5:30 to 9 pm for the opening.
It's been a while since we had a rock n' roll celebrity in the gallery for an exhibition. As a matter of fact, although we have had shows for photographers/artists who have taken photos of rock stars, we have not actually featured the rock star as artist! As of August 2nd, that is about to change. And what better time to kick off one of the most important music festivals in the country than Lollapalooza!
We are excited to introduce the paintings and collages of a former member of one of my favorite rock groups of the 70's and 80's, JOURNEY. Robert Fleischman, lead singer and songwriter, penned the lyrics for some of the most recognizable songs of the 70's, "Wheel in the Sky" along with "Anytime" and "Winds of March" on the multi-platinum Infinity album.
The best part of showing Robert's work is that he was actually an artist before he became a rock star. We often find that artists are multi-dimensional in their talents to express, create and take our breath away in ways we don't expect. "World in My Eyes" is just that, a poetic vision of the world that takes a journey into a myriad of places, from sun, sky, stars and constellations to figures that are flying into space or falling out of space; to the symbolism of fruit, birds, dancers and whatnot all reaching for something. My favorite part is the reaching. What is there in life but to continue to stretch ourselves, to aspire to, to jump or fall into our lives. Robert's characters are all going or returning from somewhere. Past, present, future? Who is to tell?
With a gentle and introspective presence, his work shows a strength that makes me want to write odes to the oranges and apples in his artfully composed images created on his smartphone. Yes, I said SMARTPHONE! Many of the images were fashioned on that magical, mystical communication device that many of us have become addicted to. How? Don't ask me. You can ask Robert on Wednesday evening when he debuts his works at Hilton | Asmus Contemporary.
Until then, I will be listening to "Wheel in the Sky" and "Winds of March" looking forward to hearing more about his voyage from Chicago (yes, that is where they found him) to the world. And what a world he lays before us. It's all in the music of his eyes...
WORLD IN MY EYES
Opening Wednesday, August 2nd
David Yarrow's 'MANKIND' just sold at Sotheby's annual photographic auction for a record breaking $78,000.
READ HIS INTERVIEW WITH SOTHEBY'S MAGAZINE BELOW.
David Yarrow has a photographic career spanning more than thirty years. From his origins in sports photography, in recent years he has travelled the globe documenting the most remarkable aspects of human nature and the animal kingdom with his distinctive eye. Famous for his 'close-up' approach, Yarrow has explored some of the most dangerous environments on earth. One of his monumental landscape works, Mankind, is offered for sale in the upcoming Photographs sale at Sotheby's in London on 19 May. We sat down with him to discuss nature, pushing boundaries and North Korea.
MF: How did you first get into photography?
DY: I started when I was about 15 or 16, I started photographing one or two little small amateur horse events in Scotland, and what I'd do is I'd take pictures of all the competitors, get their addresses, and send out proofs of the prints to them all. Then I would develop them in my own dark room. I’d just be photographing any sport and trying to find ways of monetising it by selling it to the competitors. I then started doing a bit more professional sport, and in 1986 I got invited to photograph the World Cup Finals in Mexico. I ended up working for the Times there, which was a great thrill. I wasn't very good, but I managed to get a very big picture of Maradona in the final, which saved my bacon. Throughout this I was studying economics at university, where there was a bit of parental pressure, so I ended up getting a job in banking rather than going to work for Allsport, but I always kept it going, in a non-professional capacity. Landscapes, people, wildlife – anything I found to be of interest. It's been an integral part of my life for 35 years.
MF: You're very well-known for your images of animals in their natural habitat, and also your conservation and charity work. However, you've spoken about your frustration at being described as merely a wildlife photographer. Is that term is too limiting?
DY: It's a combination of several things: firstly, the picture going up for auction at Sotheby's is about humanity. That's what fascinates me. I'm about to head to North Korea to start a project there, again, photographing people. I remember once speaking to Dennis Stephenson when he was on the board of Tate, he said to me of all the forms of art in the world, the one that least engaged him was wildlife photography. When I asked him why, he said: "it can be a little bit too literal". But I think my approach to wildlife photography is to see it very much as art rather than recording a moment
MF: You have a very distinctive style that is reminiscent of classical modernist photography, with images ranging from the purest white to the deepest black – and a strong emphasis on composition. Are there particular photographers throughout history that have resonate with you?
DY: There are many photographers that have inspired me, and cinematographers as well. I've – always been a big fan of Ridley Scott, and Emmanuel 'Chivo' Lubezki who shot The Revenant recently. One reason I made a bit of a name for myself is getting very close to the animals and making sure I'm working with wide angle lenses rather than telephoto lenses. Robert Capa told us: "if your picture is not good enough, you're not close enough". That's obviously a line that resonates greatly with me. I think in terms of composition it's so important. I've just got back from Africa actually and I think it's now something that becomes reasonably naturally to me, but I try and get as close as possible.
MF: Why do you always work in black and white?
DY: There are three reasons: Firstly, it's timeless. Secondly, it's art rather than reality. We live our lives in colour and sometimes I think it clashes with the colours in real life. I just feel this is aesthetically stronger. Sometimes I find that working in Africa, the expanses of brown don’t come across as well in a colour photograph. The black and white is more arresting. Thirdly, a photograph's like a piano. You should be able to use all 88 keys on the piano and go from the rich blacks to the full whites.
MF: Let's talk a bit about your work Mankind — a highlight of the forthcoming Photographs sale. How did this image come about?
DY: I often say if I can take three or four big pictures a year, that's my goal. The big pictures are ones you can look at for a long time. Photography is not about the camera, it's about access, it's about being in the position to take the picture. I wanted somewhere biblical in scale. I do a lot of research before arriving somewhere, and in doing my homework I realised the topography of the cattle camp in South Sudan is very flat. Therefore, to get a sense of scale I had to have a point of raised elevation, which the landscape was not going to afford me. It's quite dangerous and complicated to get there anyway, but I knew I had to take a ladder with me. Wading it across the Nile in three feet of water was certainly an interesting experience! I was the first white photographer there for many years, and I was helped by a Norwegian aid organisation and the police to secure my safety. Once I'd gifted the locals with cow medicine for their cattle then I was greeted warmly. You can't just turn up – if you do you can find yourself in a lot of trouble. I knew I wanted to work on a large scale image, and lots of things changed for me after I made Mankind. There are a lot of cameo stories within it so you can look at it for hours and still see new narratives.
MF: You've seen some incredible scenes during the course of your career. Has there ever been anything you've found difficult to photograph, whether thematically or logistically?
DY: I don't photograph war. I don’t want to enter into that debate as to whether a photographer should put his camera down and help a wounded person, or whether he should continue to do his job. I work with animals that sometimes have been injured through poaching, and there have been experiences where I have seen rhinos hacked to within an inch of their lives. But I think it's really important to document that as well, to raise awareness. I have been to some tough places, but I get an additional thrill from going to a place I know no other photographer has been. We live in a time of content overload, but to be able to offer new perspectives on a place is exciting.
MF: What do you think about 'fast photography'? Everyone has a camera in their pocket these days on their smartphone. What has technology done to traditional photography?
DY: I wrote a paper on this a few years ago, because I could see that reportage, editorial photography was going to lose its value purely because there was so much content around. There will be more pictures taken this week than in the whole history of film photography. If you're an affiliated photographer for an agency, you're going to earn less and less money a year, unless you're taking exceptional content. The upside of the digital era is that you can do retrospective feedback immediately. It's a process which film couldn't do because you would be away for three weeks and wouldn't know what you'd taken. So there are clear advantages on digital. I think the debate on whether film is more purist than digital is a little bit handbags at dawn! A camera's a camera and it's about what you see and what your heart and soul feels, rather than worrying about the technical merits of film against digital.
MF: What is next for David Yarrow?
DY: I have numerous shows coming up this year; in Oslo, Amsterdam, Chicago and Toronto – but it's also very important for me to make time to actually take the pictures. I will be going to North Korea, and also travelling to arctic to work with polar bears again. North Korea interests me greatly because it’s so hard to get in to. I think they are very pleased that they can invite someone who is not going to do reportage, documentary photography – but art photography. I don’t have any preconceptions, but I won’t be trying to make a statement. I will be visiting factories and traditional places of work, all very much under the close supervision of the officials, and making images a little bit like LS Lowry's matchstick men; small people against the vast grandeur of the buildings. Ultimately, my work is about telling the human story.
MAIN IMAGE: DAVID YARROW, MANKIND, 2014. ESTIMATE: £15,000—20,000.
Two years ago a man walked into my gallery and told me that I had not seen photography until I saw the works of someone named David Yarrow. He pulled out his iPhone and said, "THIS IS REAL PHOTOGRAPHY." I have to say, it was one of the most moving images of human beings and animals I had ever seen. The image was called "MANKIND." It was a photograph taken in "the rawest place on earth" as David Yarrow puts it, South Sudan. Yarrow had written, "I had a preconception of the image that I wanted to return home with – something that conveyed the raw enormity of a Dinka cattle camp in an elemental and biblical setting. Something timeless and vast. Like a Rembrandt, I wanted people to be able to look at the picture for hours and find new stories each time. I was indeed the first photographer to visit this 25,000 strong cattle camp, which was close to the heart of the civil war last year, and I felt a responsibility to get it right."
It was not until I saw Yarrow's work on Instagram two years later, when I thought, what the heck, I am going to send him a note and tell him what a fan I am and would he consider showing his work in my gallery? Not ten minutes later, I received a call from my friend, James Ashcroft, in London (who introduced me to Terry O'Neill), asking if I had had heard of a wildlife photographer named David Yarrow. He told me he was on his way to David's studio to visit and wondered if I would be interested in his work! Seriously, I cannot make this up. I nearly dropped my phone and the rest is history.
Soon after, David sent me a note from Africa where he was shooting in a fishing village in Nigeria called Makoko, a slum neighborhood in the capital city of Lagos. It was called the Venice of Africa, except that it was one of the poorest and most dangerous slums in the world.
In his note, David shared his experiences in Makoko. "Last December, inspired by some aerial footage taken by the renowned Canadian photographer Ed Burtynsky, I first started exploring the ground level creative possibilities in Makoko, the largely inaccessible floating slum town aside Lagos. Ground level is actually an oxymoron as there is no ground to speak of in what Burtynsky himself called the “hyper-crucible of globalisation.” (note the spelling is the British, not American English)
"To enter Makoko is emphatically “the road less travelled ” and even the Nigerian Government doesn’t seemingly have the answer as to how many people live there - it could be 100,000 , but it could be 200,000. It maybe dubbed the “Venice of Africa” - but with huge irony - there is no wealth or sophistication here, ostensibly just poverty, crime, sewage and waste.
Makoko is not safe - it is effectively a no go zone for the “Yevo” or white man. On Saturday, I had my audience with Makoko’s Chief Aladaton and my team’s safety was personally guaranteed. It was one of most surreal and humbling hours of my life.
And late yesterday afternoon - we got what we came for. This is an image that can be looked at for a long time - like my Mankind shot from 2014 there is so much going on. Just with that Dinka community, smoke is integral to the way of life in Makoko, but for different reasons. In the slum, they cook on coal and my preconception was that the resultant smoke had to play an integral role in the image. The end result is better than I could conceivably have imagined when we embarked on the planning in December,
But then again what of the aforementioned relevance ? At a time when globalisation is being overun by nationalism and regional eliticism, I think this split second image showcases both the beauty and dignity of black Africa. Of course, I homed in on the 2 central characters in the lead boat - they may have 30 years between them, but both could walk into a Hollywood blockbuster tomorrow."
David further writes, "The world may see Makoko as marginalised and irrelevant, but the inhabitants do not appear to see it that way - I saw no sense of self pity - just pride. Globalisation has not helped the slum, so its faltering premise has no consequence. Of course, family life goes on for both the rich and the poor in Lagos irrespective of changible ideologies within G7 countries. There is an uncomfortably patronising undertone to much of today’s politics of nationalism and Makoko is a gentle reminder that human dignity is not exclusive to international communities of affluence."
I was chest deep in some of the dirtiest water in the world - with unimaginable things floating past my face. With no one of our skin colour ( other than my dry assistant) probably within a radius of 5 miles of our location (and this is the second biggest city in the world) it would be excusable to be tense. That never works. But throughout the day, we kept our dignity and manners and mostly just smiled. It was then that we probably earnt Makoko’s respect - after that, all was good. We were even clapped. I will leave others to decide whether this picture has that “Holy Trinity” but it’s the best I can do. My hunch is that it will stand the test of time."
A few weeks later, David made his way to Chicago with his lovely assistant, Milly, to meet me on a rainy day (I think they brought London weather with them!) He signed the first piece we sold in our gallery called, "THE CROSSING," an image of a magnificent elephant tribe walking through the dry lake of Amboseli in Kenya. He later told me this is his favorite place in Africa.
To say that I am over the moon about representing one of my favorite photographers, not only because he IS A GREAT ARTIST, but because he has compassion and empathy for both human beings and animals is an understatement. David is a conservationist, raising hundreds of thousands of dollars for THE TUSK TRUST. I don't know about you, but I am constantly signing petitions to stop the poaching and killing of elephants, rhinoceros and other animals for their tusks, their skins, their bones and whatever else desperate people will do to make money and survive. But petitions are not enough. Last week, two of his photographs sold for $50,000 each at auction, a record breaking price. In all, David donated $163,000 to the Tusk Trust last week alone. And for this act of generosity, I say BRAVO!
When it comes to his photography, David writes, "Great photographs should implicitly be rare - they tend to be moments in time that can never be repeated. I have said - on occasion - that an affirming year for me would be 3 or more cracking images, but I recognise that this is actually still a demanding target because for an image to transcend at every level requires a material amount of luck as well as creative courage and technical fluency. I cannot judge my own work, but equally I always know what is mundane and I will always remain my greatest critic. Many photographers find a reluctance to recognise how boring much of their work can be, but this is an area where I have learnt."
"In my mind, if a photograph is sufficiently powerful in content and evocative in light and line to be looked at for a long time. there is a chance that it has something which is art - not reportage. But there is a third variable that is often needed to elevate an image to a higher pantheon - the dynamic of relevance. This is the most elusive of this “Holy Trinity” of factors I strive to attain. Wildlife portraits for instance - no matter how threatened the animal in question is to extinction, often fall down on this criteria. Such images maybe immersive and visually compelling on the one hand - but lacking in a broader contemporary narrative on the other."
I know one thing. Anything is possible. As an artist, it is important that I work with other artists whose work is relevant, powerful, and rare. It is a selfish thing, actually. I want my life to be meaningful. I want to make the world a better place for having been here. And by surrounding myself with people who give meaning to their own lives and to the lives of others, people who live life to the fullest, how can I not be in awe? Maybe one day David Yarrow will invite me to join him on one of his adventures in Africa, Asia, the Arctic or the Gobi Desert. Who knows what's in store? In the meantime, I will passionately share with you some of the finest photographs of lions and tigers and bears and bison I have ever seen. And I will share images of indigenous peoples and their cultures, a way of life that is ticking away quickly, being swallowed up by technology and modernization. Soon, you will have the chance to meet David Yarrow in my gallery right here in Chicago. How fun will that be?
Some of my favorite books were written in 1920's:
I can imagine what Hemingway would think if he read today's fast-paced best selling novels with no character developement, no emotion, no plot, just the nonstop action of robotic characters unable to speak in full sentences uttering a plethora of expletives. The 1920's was a magical time after the First World War. A time called "The Roaring Twenties" and the "Jazz Age, it was a time of economic prosperity, of creativity and social and cultural dynamism. Coco Chanel introduced the "Little Black Dress" and women were at last granted the right to vote.
All of these thoughts come to mind when I look at the the old typewriters of the 1920's: the Corona 4, Underwood and Remington typewriters. Ernest Hemingway preferred to write standing up on his Royal Quiet de Luxe typewriter. I could go on and on about these machines which brings back the nostalgia of my great grandparents time. For me, I think of it as a time of innocence. Today, we know so much. We hear so much. Our brains are polluted by the technology of sounds, of nonstop information. There is no time to think. The news media thinks for us. We rarely have time to create a thought of our own. We don't exercise our brains the way our grandparents did. How many Millennials can do basic addition and subtraction, multiplication and division in their heads without the use of a calculator? To me, the typewriter is a like a peak into a time of simplicity. It reminds me of WIlliam Blake's Songs of Innocence and Experience, a time of childhood versus adulthood.
Yes, there are still those of us alive who learned how to type on these archaic keybords that did not need to be plugged into an electrical outlet. Sometimes the keys would stick and the ribbon would have to be changed (quite a nightmare) but the fun of inserting the paper into the roller (there was no paper tray to just lay the paper in - each page had to be inserted one by one), pushing the carriage handle from left to right to go to the next line (the carriage is what moves the roller across the page) gave one a deep connection to their words and their thoughts. After all, your words were not just on a glowing screen, they were stamped onto a live piece of paper. As the stack of typed paper became taller, one's sense of accomplishment grew.
A bell would ring at the end of each line at the place you set your margins to remind you to push the carriage handle to the right so that you could go to the next line. It was quite ingenius. The best part was the sound of the little keys hitting the paper. The keys were instrumental in causing that little stamp to strike the paper. And you had to hit the keys hard so that the letters could transfer onto the paper. And if you made a typo, there was no backspace or delete button. You had to roll the paper back in the exact same spot and use whiteout or sticky correction paper and then strike the key to make its fontmark on the page. Otherwise, if you are clumsy, like I was back in those days, you would have to start all over again! And I won't even go into how to change the ribbon. It was complicated. Once you got the hang of it, the sheer physicality of the act of typing gave one a sweet sense of pouring your thoughts into reality.
According to Tolstoy, art was to be judged by its level of contagion; essentially art is a virus. He said: “A real work of art destroys, in the consciousness of the receiver, the separation between himself and the artist.”  The distance between our worlds is erased because that story; the one that is silently being told, is ‘our’ story. This is the magic of art; when there is nothing between the heart of the viewer and the heart of the artist.
Tolstoy advocated that art was a human condition, a vehicle of empathy and communication, a “means of intercourse between man and man”.  He said that art was based upon the idea that the observer can experience the same emotions as the artist (or even other viewers).
He termed this “infectiousness”.
If the artist could infect the viewer with the same emotions then it was to be defined as art.
He saw it as “a means of union among men, joining them together in the same feelings, and indispensable for the life and progress toward well-being of individuals and of humanity.” Tolstoy argued that there were three conditions necessary; individuality, clearness and sincerity. While uniqueness and clarity are important, it is the sincerity of the artist’s emotion that carries the most weight.
We recognize truthfulness.
Art is, furthermore, timeless, eternal.
Art is immortal.
Bridging together people, eras, cultures and lifetimes. 
Infectiousness creates these connections, allowing us to fall in love with a work of art created hundreds of years ago because we recognize the expressed emotion as if it had been our own to begin with!
This level of contagion is what we, as artists, strive for.
Reaching for your hearts with ours.
As Blake often says about his Spirit collection: “The tangible human form slowly disappears, making room for the ephemeral, the spiritual, and if I have succeeded as a sculptor, I will disappear as well, because it’s not about me, it is about you, the observer.”
By Boky & Blake
PS - Hilton | Asmus Contemporary
John Perkins has done it again. After landing on the New York Times bestseller list for 73 weeks in 2004 with Confessions of an Economic Hit Man, Perkins brings us up to date with another tell-all book revealing new details about the ways he and others manipulated countries around the globe. In this expanded edition, The New Confessions of an Economic Hit Man, Perkins shares new revelations as a former economic hit man (EHM) along with insider advice on what we can do to take part in this global economic crisis.
Last week we welcomed John to Hilton | Asmus to speak on his new book. Why would a gallery spend time hosting a former front man, you ask? Simply put, we think knowledge is power. We believe that it is our responsibility as a nation, as people, and as a community to educate ourselves and one another on important and real issues happening in the world today. As an art gallery we promote and celebrate freedom of expression. We aim to inspire. John Perkins has us inspired.
In 2008, Arica Hilton, multi-media artist/poet and president of Hilton | Asmus Contemporary, met John Perkins during a program at the Chicago Council on Global Affairs. States Hilton, “John Perkins has a way of inspiring action that could lead to a far better, more just world than what we are seeing today. Many of us are sheltered and cannot comprehend the dangers and brutality that millions of people live through on a daily basis. If we can open our minds and think about the effect we have on others, on our environment and the generations to come, we might actually be able to heal so much of what is wrong in the world today. With the upcoming presidential elections, I think John’s most recent book is quite apropos.”
John Perkins wears many hats. Apart from his former life as an EHM he has worked at an international consulting firm as Chief Economist and was the CEO of a successful alternative energy company. John has written books on economics and politics, and shared his expertise on indigenous cultures. He is the founder and board member of two non-profit organizations, Dream Change and The Pachamama Alliance.
John Perkins has generated a call to action to create greater social, environmental, and economic security for all.
We will strive to do our part, too.
The art of carving is among the oldest mediums of visual creativity. The Ancient Greeks chiseled marble to sculpt human forms. Cave dwellers cut, shaped, and arranged stones to create figures. Indigenous people employed carving to form not only usable tools, but also artistic artifacts. Throughout the development of human life, carving has marked the arts of various places and cultures.
Chicago sculptor Jyl Bonaguro continues this historic art form with her current hand-carved works of marble and alabaster. Bonaguro draws inspiration from the intersection of industrialization, beauty, and immortality. Using the human figure as her main subject, Bonaguro’s sculptures examine humanity and its tendency to invoke beauty to deflect questions of immortality and the struggle for survival.
To continue the tradition of her medium, Bonaguro will travel to Carrara, Italy, a Tuscan city known for its supply of white and blue-grey marble. Since the times of Ancient Rome, Italian sculptors have used Carrara marble to carve masterpieces. In the Renaissance, Michelangelo used Carrara marble to sculpt his famous David.
Bonaguro's historic inspirations apply not only to her sculpted works, but also her works of the stage. In addition to her visual artistic practice, Bonaguro is a playwright. In July of 2014, Hilton | Asmus Contemporary became the stage for a production of Bonaguro's play entitled Urania, The Life of Emilie Du Chatelet.
The play tells of Chatelet's brilliance as a physicist and mathematician, subjects considered scandalous for female participation in 18th-century France. It also recounts her love affair with French writer, historian, and philosopher, Voltaire.
more to come....