Anne Rorimer in conversation with Jordan Carter at DIA, on Rorimers work with Kawara, Blinky Palermo, and Lawrence Wiener. #AnneRorimer #JordanCarter (@jordancartercarter ) #OnKawara #BlinkyPalermo #LawrenceWiener

Been trying to find the words or proper way to announce that Longino, lAH is now over. This hat by Flint Jamison seems the be the best way possible. While the Chicago presentations may be finished, there could be opportunity in the future to do more. This hat, by one of my favorite artists, sums up what I was trying to achieve: how artists and art historians maintain relationships outside the borders of exhibitions or galleries—becoming friends in the process. Last summer I told people there would be only three presentations, each a quarter long. A fourth one slipped in—focusing on Eddy Smith (thanks Peter)—but the response from people on each of the exhibitions was overwhelming and very appreciated. Each was an exhibition that I just had to do, particularly the shows with Kvetoslava Fulierova or Anne Rorimer, but it was always surprising seeing the stories and memories come to people who had worked with or enjoyed these peoples work from their own perspective. It just takes an exhibition to highlight those connections and memories sometimes. Thanks to everyone who stopped by and supported this first version of Longino, IAH.

Final Days of this exhibition on Anne Rorimer and On Kawara. Open today (Saturday) and Sunday 12-6 PM. Though there are times I may be out so please message me in advance. Doing this show--focusing on an Art Historian as the central focus of an exhibition--had been on my mind since at least 2016. I didn't really know how or where to point or present the work, but that it just needed to get placed together and then it would start to make sense. Visitors to the space have had much more complex ideas on the show than my own, so it's been the most enjoyable seeing how this has affected people. Thank you to everyone who has visited so far! #AnneRorimer #OnKawara

Come by today to check out "From The Desk of Anne Rorimer: On, Anne, On"! If you asked me this week if it'd be open this weekend, it is!! Sat & Sun 12-6 PM. Gates-Blake Rm 502 Enter thru Cobb Hall and elevator to 4th floor, like you would if going to the Ren (🎉👨🏼‍🚀WhEr3 otHer $uPriS€$ aWait YOU⛩️🎉!!). AND special weekend offer only today and tomorrow, stopping by == acknowledgements in my dissertation proposal**which you must add a paragraph to while visiting** #AnneRorimer #OnKawara Photographs by Shelim Alvarado (@anastasiakinsky_ )

Exhibition is open this weekend, Sat & Sun, 12-6. From The Desk of Anne Rorimer: On, Anne, On Pictured: A framed drawing by Kawara of two measuring sticks, photographed at studio by Rorimer. Supposedly had never left studio. #AnneRorimer #OnKawara

Posting this for posterity: An Informal Roundtable on Remembering Kawara. One of the reasons I wanted to do a show on art historians is to hopefully have others fill in with their own memories of the artist and time together. Christian Scheidemann (Conservator, reconstructed many of the newspapers and boxes for Kawara's date paintings). Me Gareth Kaye (Chicago Spleen) Thomas Huston (long time AIC technician / artist) Peter Anastos (Bodenrader) Christopher Williams (photographer, artist) Ann Goldstein (Curator, co-curator of "Reconsidering the Object of Art: 1965-75," which included Kawara's "One Thing" from 1965, the year before Kawara started his date paintings). Anne Rorimer (Curator & art historian, co-curator of "Reconsidering the Object of Art," focus of current exhibition). Photo by Haynes Riley #AnneRorimer #OnKawara

Opening Today! 3-6 PM From The Desk of Anne Rorimer: On, Anne, On An exhibition exploring the relationship between the art historian and curator Anne Rorimer (b. 1944) and the artist On Kawara (b. 1933 / d. 2014). This exhibition has been a long dream of mine— thinking on presenting the work and life of an art historian as an exhibition. There's lots to explore and geek out on. It's funny. Is it fetishistic of the historian? Maybe. Would the artist have wanted it? Unsure. Is it fun and entertaining in a minor scholarly way? Perhaps. Located in Gates-Blake Rm 502. Enter thru Cobb Hall to 4th floor and follow signage. Call +1 228 313 6272 if you have problems (or just ever want to talk). Come by! #AnneRorimer #OnKawara

Opening Saturday, "From the Desk of Anne Rorimer: On, Anne, On" an exhibition exploring the lives of an art historian and artist. This is the first exhibition in the IAH program, where the exhibition focuses on the life and relationships of an art historian and how the documents, writing, photographs and postcards shared between the art historian and artist build something new together. With writing by Calvin Lee on Kawara: "On Karawa is best lived with. I’m lucky to be able to search for and see a new On Karawa work each day online. Not hoping to imitate his practice or sanctify his life, I see images of On Karawa’s work and the situations in which they end up and I participate in his long game. And it is not difficult for me. I have fun. On was a person who had a good natured but challenging sense of humor. He was surprisingly flexible and open in a practice defined by actions. His work depicts and continues to live in reality. Why should he live differently? He respects the dignity of people (future and past) who have not yet seen his paintings or received his telegrams. They wait. The humble thrift of his colors or materials may come off grim or decidedly postmodern, especially when placed alongside the severe aesthetics of his artist friends. But when I see On Karawa’s work in the world and in my life, the solution to living is not in the voids of the rectangles but, without inhibitions, between On and me whenever, wherever." Opening: Saturday, April 20 3-6 PM April 21 - May 19, 2024 Located in Gates-Blake Rm 502 #AnneRorimer #OnKawara #CalvinLee (@5.sept.1994 )

Final Weekend of "Eddy Smith: Die Grundlagen des 20 Jahrhunderts (Zwei Seiten)" Thanks to everyone who has stopped by. It's been a huge honor to show and talk about Smith's work and who he was. Excerpt from review by Chicago Spleen (Gareth Kaye): "As for 'Der Exhibitionist', a gaunt figure who looks as if Priapus himself were in a Bauhaus tribute band, appears as if all legs, ribcage and phallus. With arms completely outstretched, the Exhibitionist spreads his coat wide like bat wings, he sautés for joy under the glow of a street lamp, shamelessly sharing himself with passersby. An innocent youth darts left to make her escape. Her mouth is agape with shrill scandalized shouts; braided pigtails flail behind her, almost failing to keep up with the rest of her scalp as she runs off. Meanwhile, a nearby woman of perhaps more decadent moral comportment opts to remain. She shields her eyes but seems disinterested in resisting an urge to hike a hand up her skirt. That this woman appears conspicuously well dressed, and the man from 'Buridan’s Esel' is garbed like a vicar, leads one to the assumption that Smith is not so judgemental of the new sexual politics as much as he is of the hypocritical bourgeois mores at the time." #EddySmith #EdmundRichardMaxSmith (@chicagospleen )

April Fool's "The Mysteries of Printing" - anonymous creator, c. Mid-17th century. The typesetter is an Ass, plodding along, the inkman a Hog. The presser a horse. The devil has an inky face, and the studio master is a two-faced Janus. The patron is a sheep, carelessly kicking over the labors of the craftsman. At the end of the day the Devil files the sheets of all the latest scandal papers.

Eddy Smith: Die Grundlagen des 20. Jahrhunderts (Zwei Seiten) opens tomorrow, 6-8 PM. Gates-Blake Rm 502, entrance thru Cobb Hall. Signs will be posted for directions. --- Born in 1895 in Hamburg, Edmund (Eddy) Richard Max Smith was a painter, printmaker, and illustrator associated most with the period movement known as Neue Sachlichkeit in 1920s Weimar Berlin. While paintings or off-practice prints of his have appeared at auction, he is mostly known for two bodies of work: Die schwarze Mappe [“The Black Folder”] (1924) and Die Grundlagen des 20. Jahrhunderts [“The Foundations of the 20th Century”] (1921). Though it befalls on only these two bodies to mostly judge his work, these two series present an artist who was not only deftly attuned to the hedonistic and violent natures of society following post-World War 1, but who displayed and imagined these tragedies with such precise and attentive technique that we find empathy and beauty in the most befallen of these dark metropolises. Many of his prints are no larger than a person’s fist, necessitating that the viewer peer down and arrive to an intimate moment with the work. At this level, the details and figurative nuances in the engravings begin to reveal themselves. As Roberta Smith related in a 2004 review on Weimar works at the Neue Galerie and Ubu Gallery in New York—where she highlighted the work of Eddy Smith: “small, meticulous drawings . . . show how the fastidious, fanatical study of nature can push on through to the grotesque.” -- Long version in email announcement -- #EddySmith #EdmundRichardMaxSmith

Opening Next Friday, "Eddy Smith: Die Grundlagen des 20. Jahrhunderts (Zwei Seiten)." Born 1895 in Hamburg, Edmund (Eddy) Richard Max Smith was a painter, printmaker, and illustrator associated with the movement known as "Neue Sachlichkeit„ in 1920s Weimar Berlin. Yet little more than that is known about Smith, perhaps being relegated to what Joan Ockman regards as being a life of a "minor modernist." However nothing is minor about the works he created. His prints, ranging from copper etchings to lithographs, are a visual assault on the memories of the viewer, including heavy suppings of hedonism and psychological tragedy that--while consistent with the violent imagery of the period--depict a world that is consumed with a gluttonous fantasy of sex, death, and a craze to let one's self be devoured by both. But which heightens the reality of these images is Smith's virtuosity of technique. Many of the prints are no larger than a person's fist, making sure then that the viewer peers into them at close distance. Taking in such detailed and complex scenes in the size of a palm help inform and construct in the viewer a sense that these images by Smith possess their own possibility of existence. Regardless of how catastrophic that existence may be, an excitement at the promise of its beauty arises. To say one is pleased or honored to show Smith's work does not quite do it justice. This is because every so often an artist or an artwork happens across your path in life and reminds you why you walk that path in the first place. The work of Eddy Smith is one of those. The presentation will only be on for three weekends, March 29 thru April 14. Located in Gates-Blake Rm 502 at the University of Chicago. #EddySmith #EdmundRichardMaxSmith (1) Eddy Smith "Buridan's Esel (from the portfolio 'Die Grundlagen des 20. Jahrhunderts [The Foundations of the 20th Century]," 1921 Etching (2) Eddy Smith "Der Exhibitionist (from the portfolio 'Die Grundlagen des 20. Jahrhunderts [The Foundations of the 20th Century]," 1921 Etching (3) & (4) Eddy Smith "The Twilight Letter (from Charles Baudelaire's 'Kleine Gedichte in Prosa' translated by Erik-Ernst Schwabach)" 1923