The Society for Photographic Education (SPE) opens a new series of exhibitions with “Your White Light” by photographer Sonja Thomsen. The exhibition opens Saturday, December 12 from 6:00 to 8:00 pm, and runs through March 28, 2016. This exhibition features photographs, sculpture and a site-specific installation. Thomsen will present an artist talk preceding the reception December 12 from 5:00 to 6:00 pm.
"Sonja Thomsen's perceptual holiday at the DePaul Museum of Art, where pure optical phenomena made magic just for the wonder of it..." - Lori Waxman
The SFist To-Do List: 12 Cool Things To Check Out This Week... photography opening Sonja Thomsen at Rayko Photo Center
"...And last but not least in this group of fearless women is Sonja Thomsen, a Milwaukee-based artist whose multifaceted practice combines photography, sculpture, interactive installation and site-specific public art to create spaces reflective of our own perceptions and potential. Since earning an MFA in photography from the San Francisco Art Institute (2004), her work has evolved in myriad ways. In her practice, she has become more and more concerned with space and our perceptions of one’s own scale in a space. An attempt to make “the space between” perceptible. Thomsen has been working with the specifics of materiality in her practice and continues to be fascinated with the dichotomy of the emulsion and paper, one holding the illusion of depth in its glossy shadows and the other the matte fibers of form. The Effaced Polaroid series is one of many projects that Thomsen is currently developing. These pieces are made in the “in between” moments of her larger studio practice. A quick peel that feels gestural and unpredictable. The defacing of the Polaroid, a one-of-a-kind photograph feels right- one-offs – Serendipity is at play. Thomsen is also interested in how the peeled figure disrupts the scene – a push/pull happens as the underlayer of the photograph is revealed on the surface. The origin of the Polaroids is from her archive – snapshots of friends and family- used as raw material for experimentation..."
THE ANNUAL: An Exhibition of New Chicago Art
September 18-20, 2015
Taking place during EXPO ART WEEK, The Annual is a yearly sales exhibition celebrating cutting-edge Chicago-based artists. Arranged by two guest curators, The Annual creates an accessible forum for emerging collectors to discover affordable new work and engage directly with its creators. Claudine Isé and Alexandria Eregbu are the curators for the inaugural presentation of The Annual.
2015 Exhibiting Artists: Alfredo Salazar-Caro, Kiam Marcelo Junio, Macon Reed, Michelle Anne Harris,
Noël Morical, Susy Bielak, Alejandro Figueredo Diaz-Perera, Chelsea Culp, Danielle Dobies, Jean Alexander Frater, Jeroen Nelemans, Neha Vedpathak, Phaedra Call, Sherwin Ovid, Bryan Volta, Anna Martine Whitehead, David Alekhuogie, Danny Giles, Krista Franklin, Esau McGhee, Johana Moscoso, Sonja Thomsen, Meg Leary and Sarah Beth Woods.
Mana Satellite / ADDS DONNA presents...
Moonlight Sleeping on a Midnight Lake
Molly Brandt, Karolina Gnatowski, Jacob Goudreault, Matt Morris, Soo Shin, Sonja Thomsen, and Erin Washington.
September 11 - November 8, 2015
Opening reception Friday, September 11 from 6 - 9 pm, MANA Comtemporary Chicago, 2233 S. Throop Suite 6116
So often as artists we’re asked to explain our work in such unequivocal terms as to eliminate any chance for interpretation. Opportunities in all shapes and sizes, from grants to exhibitions seem to be doled out based on how neatly we pack ourselves into the appropriate boxes. Moonlight Sleeping on a Midnight Lake is a collection of works by artists whose abstruse tendencies push against such constrictions. Though varying widely in media and content, each use obscurity or even modesty as a strategy of resistance to the usual demands for our attention. They do not offer a standardized black and white answer to their work, but instead are comfortable with elements of ambiguity, uncertainty and doubt - challenging not only the marketable individualism of the commercial art world, but also the benevolent didacticism of the institution.
Open by appointment and for the following public events;
Saturday & Sunday, October 3 & 4, 12 - 4 pm Mana Open house public reception, in partnership with the Chicago Architecture Biennial
Saturday, October 17, 11 am - 4 pm Open House Chicago
Sunday, November 8, 11:30 - 4:30 pm Chicago Humanities Festival
Collector Daily Reviews exhibition at Higher Pictures
The portraits and human forms on view are varyingly obscured. Ellen Carey multiplies her own face into a kaleidoscope of fractured fragments. Jackie Furtado and Eileen Mueller block their subjects’ faces with shadows and hands, while Whitney Hubbs’ self-portrait falls below the surface of the water. Sonja Thomsen peels away the bodies in her image, literally lifting the emulsion off and leaving behind white ghosts, while Ann Hamilton goes outside in, making her mouth a pinhole camera and using the closing of her lips as the shutter.
Photography Sees the Surface, July 1 - August 7, 2015, Opening Wednesday, July 1, 2015
Higher Pictures presents Photography Sees the Surface, a group exhibition organized by the artist Aspen Mays.
Artists: Ben Alper, Molly Brandt, Ellen Carey, Lynne Cohen, Linda Connor, AnnieLaurie Erickson, Ben Fain, Jackie Furtado, Nick George, Ann Hamilton, Peter Happel Christian, Whitney Hubbs, Lowey & Puiseux, Jessica Mallios, Man Ray, Casey McGonagle, Eileen Mueller, John Opera, Gina Osterloh, Justin James Reed, Meghann Riepenhoff, Melanie Schiff, Adam Schreiber, Frederick Sommer, Sonja Thomsen, Minor White, Jeff Whetstone, and Anonymous.
Wednesday June 24, 2015
A thoughtful response to the show by Jordan Sarti, an excerpt:
"The show fills DPAM’s sunny second floor. The staircase’s walls are covered in a silvery geometric pattern designed by Thomsen, reminiscent of Bauhaus principles of integrated design.
Photographs of light effects and pages of books collaged with holographic panels line the walls. Bits of text are legible despite the paneling; the words often reference scientific phenomena.
One photo, “Demarcate (2013),” depicts a plane of light on a child’s hand. A geometric mobile of glittering metallic shapes hang in the CTA-facing window. These pieces often reference the same themes from different angles; they work best in conjunction with one another, intricately linked.
Notably, the exhibition space lacks extensive captioning. Instead, viewers are given a small booklet containing information about Thomsen’s inspiration and a short interview. This allows viewers to have a more spontaneous and unmediated relationship to the pieces, led through the space by light refractions.
Her training as a dancer is evident, as she appears interested in a sort of bodily knowledge. In this sense, Thomsen draws on the modernist tradition by using discreet art objects to create a heightened awareness of the gallery space..."