As host of Bingo/Tango night at Museum of Contemporary Art Chicago, Jason Pickleman didn’t call out numbers—instead, he used shapes drawn from artworks in the museum’s collection. Between rounds, guests vacated their seats to learn the tango from professional instructors. Unusual, exhilarating, smart on multiple levels, and a bit zany—the beloved event speaks volumes about Pickleman, a creative force of nature whose impact on his chosen city is hard to overstate.
Recently described as a “dancefloor mainstay of Chicago,” Pickleman’s hats have been many: artist, designer, collector, gallerist. Amassing art since he was a teenager, Pickleman studied English literature at Boston University; there he met Leslie Bodenstein, who would become his partner in life and at JNL Graphic Design, the studio the pair founded in 1992. Working from a decommissioned post office in Chicago's River North area, Pickleman and Bodenstein merged their art and design sensibilities with tremendous success. “To live in Chicago is to encounter Jason Pickleman’s work,” according to the Chicago Tribune, and local clients have included Millennium Park, Avec, Blackbird, Time Out Chicago, Chicago Transit Authority, Poetry Foundation, the Museum of Contemporary Photography, EXPO Chicago, and the Field Museum. Beyond the Windy City limits, JNL has worked with clients including the Prada Foundation and Skinny Pop Popcorn, for whom they designed Warhol-inspired packaging.
The space between commercial and contemporary art has been of the utmost importance to Pickleman, who has defined himself by his ability to move effortlessly through these worlds as both an artist and collector. As an artist, Pickleman’s works reflect his passions for text and graphic design, frequently invoking the history of these disciplines while managing to evade dryness or didacticism—in other words, giving them life. As Michelle Grabner, professor at School of the Art Institute of Chicago, has put it, “Jason thinks about everything from the formal qualities and what the formal qualities of a painting can convey, from color to design to composition—but then [gets] to kind of the deep, full heart behind it.”
“I started making art with serious intent in the mid-80s,” Pickleman reflects on his own practice. “By 1987 I was well into making text-based paintings, collages, and Polaroid photographs. Chicago at the time was a hot-bed of contemporary art. Galleries like Feature that showed early support to artists such as Charles Ray, and Jeff Koons [were] also exhibiting a strong cadre of Chicago-based conceptual artists like Tony Tasset and Jeanne Dunning. My early art making inspiration was influenced by their example.” Pickleman was among the creators featured in the 2007 exhibition Young Chicago at the Art Institute of Chicago, where his art now resides in the institution's permanent collection, and his works have been shown at the Chicago Cultural Center, the Chicago Design Museum, Ken Saunders Gallery, and the Neon and Light Museum, among others.
In 2015, Pickleman opened his collection gallery Lawrence & Clark, a living testament to his unorthodox and open-hearted ethos, named for the Chicago intersection where it stood. Here, Pickleman curated and installed works from his own collection, throwing open the doors to the public to be seen again (and again) by anybody who wanted to drop in. “I know collectors whose answer to an over-growing collection is to buy another property to display their art, or to put things in storage,” says Pickleman. “My response has always been to hang everything salon-style. I’d rather see things jammed together than to see nothing at all.” As an ardent supporter of rising local talent, Pickleman tirelessly made his own circuit between galleries, thesis exhibitions, and less formalized art spaces. “I’m most interested in ambiguity and pieces that seem strange or awkward,” Pickleman says, “living with them fuels my creativity.”
“Much of the work in EVERY DAY IS DIFFERENT would have been on exhibit at Lawrence & Clark,” Pickleman says. From early works by rising Chicago artists to icons of design to unexpected oddities, each component of this auction represents Pickleman’s boundless curiosity and his passion not only for art and design, but for the communities, writ large, that gravitate in their orbit. Indeed, Pickleman has come to exude a gravitational pull of his own, as a force of creativity, generosity, and connection for which so many in Chicago and far beyond are truly grateful.
Jenny Holzer b. 1950
Jenny Holzer is a celebrated neo-conceptual artist whose masterful use of language has made her one of the most influential artists of her generation. Born in 1950 in Gallipolis, Ohio, Holzer studied painting and printmaking at Ohio University before receiving her MFA in painting at the Rhode Island School of Design in 1977. That same year, she moved to New York City to begin in the Independent Study Program at the Whitney Museum of American Art. Though still continuing with painting, it was here that she began to explore the power of text.
For Holzer, this shift from an image-based focus to one that relied heavily on concept echoed a prevailing feeling in the art world and opened her up to novel ways of connecting with her audience. Within a year, she had begun her Truisms series, a collection of popular and sometimes provocative printed maxims, and concurrently, her Inflammatory Essays, based on the writings of incendiary figures such as Adolf Hilter, Mao Zedong, Vladimir Lenin, Leon Trotsky and Emma Goldman, both of which would continue into the 1980's.
Holzer’s language ranges from the aggressive and antagonistic to the intimate and introspective, sometimes representing her political views on issues such as feminism, poverty, nuclear technology or toxic culture and sometimes, not at all. Her works, which began as handbills posted illegally throughout Manhattan, have always been part of the public domain, demanding personal reflection from her viewers without the influence of artist or institution. As she explained in an interview with Arts Magazine in 1985, “From the beginning, my work has been designed to be stumbled across in the course of a person’s daily life. I think it has the most impact when someone is just walking along, not thinking about anything in particular, and then finds these unusual statements either on a poster or in a sign.”
Over time, her texts evolved from printings on posted bills, to shirts, baseball hats and condom wrappers, to scrolling LED displays, billboards and video with other media finding its way into projects, such as her granite benches that occur repeatedly throughout the years. Her light projections have appeared on public spaces such as a ski jump in Lillehammer, the Pyramide du Louvre in Paris and the sides of buildings throughout New York City.
In 1990, Holzer became the first woman to represent the United States at the Venice Biennale and her installation of scrolling LED messages was awarded the Leone d’Oro for best pavilion. Recently, Holzer has returned to painting and printmaking in a continuation of her confluence of art and politics. Through her innovative and resonant works, remains a highly regarded contemporary artist.
Auction Results Jenny Holzer
