Photograph © Anthony Iacuzzi

Wesley Willis (1963-2003) was a self-trained artist and native Chicagoan, growing up on Chicago’s Southside. Willis honed his technical abilities in the Chicago Public Schools, where he took drafting class and aspired to become an architect. 

Willis could often be found sharing his drawings on the streets of Chicago and engaging those passing by, his personality and sensitive heart earning him a dedicated following. Willis’s graphic vision captures the urban life spirit of the late 20th century. As an intuitive artist he has made a bold, genuine, and unique contribution to the visual arts. His work is represented in significant museum collections both in Europe and America. His work was seen most recently in the show “Just Connect” at the Museum of Contemporary Art Chicago.

In addition to his art career, Willis was a part of the outsider music scene. He performed with The Wesley Willis Fiasco, Monster Voodoo Machine, and solo. A character named Milan in the ongoing Wonder Woman comic is based on him.

Willis’ interest in architecture and drafting training is seen in his work: exact, intentional lines, images of skyscrapers and trucks. He utilizes traditional drawing techniques with a heavy emphasis on perspective and vanishing points. He employs drafting methods to create surprising representations and intentional observations. There is a sort of meditative quality to his work: skylines comprised of hundreds of carefully drawn lines in ink, quiet studies of trucks. He brings a softness to the hard landscapes of the skyline with his handcrafted works.

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Happy New Year from Matthew Rachman Gallery!

This year we continued to bring in newly restored modern furniture and breathtaking works by our artists. Although we were unable to present any curated shows, we are grateful to continue to bring forward new and exciting work. In the early few months of the year, we featured work that had not been seen before, such as Ted Stanuga’s “Humbold” which drew sidewalk onlookers with its grand scale, or a triptych of Slater Sousley’s quietly vibrating plein air paintings.

This year we have also begun creating our own bespoke furniture. Our first piece is the MR Sofa, featuring bold, curving lines and beautiful blue mohair.

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We continue to be available via appointment to anyone interested in seeing work in person and look forward to all the great work that will come in 2021. Thank you to all for your continued to support.

This month, we have an exciting collection of contemporary art and mid century modern furniture to feature. The gallery is open by appointment only— if there are any pieces available you would like to see in person, please contact info@matthewrachman.com or call 773.245.3182 and we would be happy to set up a time.

This month we would also like to feature the work of Dan Fink Studio, a New York based interior design firm. Fink’s designs are warm and eclectic, incorporating elements of traditional, contemporary, and mid century design. His pallets are muted to elevate the beautiful textures: mohair, wood, marble, lacquer, mirror. His space planning is inventive, putting furniture in unexpected but beautiful and functional places.

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LES ARCS BEDROOM SCONCE PROTOTYPE BY CHARLOTTE PERRIAND

Charlotte Perriand designed the Les Arcs ski resort in Savoie, France in the 1960s. Employing her signature modern style, Perriand designed every piece of the buildings to be built quickly and efficiently given the resorts location and limited seasonal building time. This sconce is a prototype for the metal wall sconces created for the bedrooms. Sleek and simple, Perriand creates a visually interesting and functional wall fixture with simple materials. The bulb sits directly behind the metal sheet, providing a defused wash of light on the walls.

This set of chairs was designed by Frank Gehry, an American architect born in Canada who has designed some of the world’s most famous buildings. These chairs are made of long strips of maple, bent and formed into tall, sleek chairs. The design is unique by bending a strong sturdy material, using wood to form a basket weave on the seat of the chair.

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FRANK GEHRY HIGH STICKING CHAIRS

"THE WOODS BECKON"

Slater Sousley’s plein air paintings capture the serenity of nature. In “The Woods Beckon” we see his expert shine through— painterly strokes that blur lines, soften contours, and emphasize the subtle movement of the woods. He works quickly to capture the exact light, seen in his deft use of highlight.

Gustav Axel Berg was a Swedish furniture designer working in the middle of the 20th century. He operates in standard mid-century materials: simple, textural upholstery and bent light woods. Berg’s furniture is especially curved, utilizing exact contours and innovative silhouettes. These chairs, made of patent leather and birch, are the epitome of Berg’s work. The woven patent leather is unexpected but beautiful, and the detailed curves add interest to these simple chairs.

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GUSTAV AXEL BERG ARMCHAIRS

ISAMU NOGUCHI IN-50 COFFEE TABLE

"In art, one does not aim for simplicity. One achieves it unintentionally as one gets closer to the real meaning of things." -Constantin Brancusi

Isamu Noguchi’s iconic coffee table is comprised of two pieces of solid wood, interlocking into each other to form a tripod base for the glass above. Constantin Brancusi’s influence is apparent in this work, through Noguchi’s time as Brancusi’s apprentice, with the use of organic shapes and assemblage. This sculptural design has proven the test of time through its unity of harmony, balance, and durability.

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EDWARD WORMLEY PYRAMID FLOATING BOOKCASE

Edward Wormley was a longtime director of the Dunbar furniture company, and brought modern design into midcentury residential homes. He had a deep appreciation for traditional design and impeccable craftsmanship. The Pyramid Floating Bookcase can be utilized against a wall or floating in a room to add more dimensionality to put your collection of books and objects on display.

UNTITLED BY SHINNOSUKE MIYAKE

Untitled beautifully captures an instantaneous moment and invites the viewer to be immersed in Miyake’s brushstrokes. The artist’s trust in his impulsive decisions is definite, bringing concrete yet fluid motions to the surface. Read Japanese artist Shinnosuke Miyake’s bio and view his other works here.

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The Windy City's Matthew Rachman Gallery takes a deep dive into the designer's practice.

by Thomas Connors | April 28, 2019

1stdibs: Introspective Magazine

Less is more,” that inescapable quote attributed to Mies van der Rohe, has long been modernism’s tagline. But when it comes to this year’s observances of the 100th anniversary of the Bauhaus, where Mies was the final director, more is more. Two new museums are opening in Germany dedicated to the history and legacy of the forward-looking art and design institution. And special exhibitions are popping up from São Paolo to Tel Aviv that shine a spotlight on its faculty and students, who broke the barriers between artist and artisan, articulated a new partnership of form and function and reshaped the built environment. Of particular note is “Mies van der Rohe: Chicago Blues and Beyond,” running through July 21 at the Matthew Rachman Gallery in Chicago, where the designer settled after leaving Germany.

The Nazis closed the Bauhaus in 1933, but Mies soldiered on in Berlin for another five years before emigrating to the U.S., where, in 1938, he became director of the school of architecture at Chicago’s Armour Institute, now the Illinois Institute of Technology, or IIT. From this academic perch, he profoundly influenced the course of architectural practice internationally. And from his own drafting table, he changed the look of his adopted city, completing such now-iconic projects as the 860-880 Lake Shore Drive apartment towers, the Chicago Federal Center and One IBM Plaza, as well as the IIT campus.

The show includes a Barcelona chair with a prototype cushion that Mies designed for his towers at 860–880 Lake Shore Drive. The chair, as well as never-before-seen ephemera, is on loan from T. Paul Young, an architect who worked in Mies’s studio.

Rachman — who last year mounted a show of works by Charlotte Perriand focused on Les Arcs, the ski resort she designed in the French Alps — has previously hosted two benefits in support of Mies’s Farnsworth House. (The “Chicago Blues and Beyond” opening, with architect Dirk Lohan, Mies’s grandson, on hand, was also a fundraiser for the Farnsworth House, which has been a house museum owned and operated by the National Trust for Historic Preservation since 2003.) With the Bauhaus anniversary approaching, he decided to build an exhibition around a cache of the designer’s blueprints he acquired several years ago. Now for sale, the blueprints are actual working documents used by junior and senior architects in Mies’s office. Some have never before been seen publicly.

A dozen clipboards hold working documents and correspondence related to the studio’s projects.

Among the plans, examples of which measure as large as 48 by 32 inches, is one for the Barcelona chair, done for the Wells Furniture Company, which manufactured the piece in the 1930s before Knoll began production. There are also drawings for architectural projects, including One Charles Center and the Highfield House condominium, both in Baltimore; 111 E. Wacker Drive, in Chicago, now home to the Chicago Architecture Center; and IIT’s Crown Hall, whose massive, column-free span epitomizes Mies’s embrace of utterly adaptable, universal space. It was built to house the Department of Architecture and Institute of Design.

These projects represented a leap forward in the architect’s career, an opportunity to build at a scale he had only imagined before the war. Advances in technology, access to materials and the willingness of American developers and corporations to get on board with modern design propelled him to a period of great creativity and success.

Rachman has taken a contextual approach to his installation of the blueprints on offer, interspersing the display with furniture and ephemera, much of it on loan from architect T. Paul Young, who at 17 became an office boy in Mies’s firm. “I’d pick up his cigars at Dunhill, organize files, things like that,” recalls Young, who advanced through the ranks to work on structures like the unrealized Mansion House Square, in London (his last project at the firm). “The office had a studio atmosphere, and there were long racks of blueprints of all of Mies’s projects. All the architects in the office would use those as reference. If they were designing louvers or a curtain-wall detail, they would be able to look at other buildings to see what was done and make it even better.”

Mies used these textile samples when designing the interiors of the Arts Club of Chicago in the early 1950s.

Among the materials from Young’s archive in the show are fabric swatches from the Farnsworth House and Mies’s sole interior-only project, the Arts Club of Chicago (razed in 1995); a rare bronze-frame version of the Brno chair manufactured by Brueton; a sales brochure for the 860-880 residences (“Mutual Ownership Offering Stability at the Lowest Possible Cost”); construction documents; and images produced by Hedrich-Blessing Photographers, the renowned architectural photography firm founded in Chicago in 1929. In addition, Rachman has on display and for sale two key pieces of furniture: an MR chaise longue, circa 1970, reupholstered in Brazilian cowhide but retaining the original strapping; and a Barcelona couch.  “We want people to see the different materials Mies used and to better understand these pieces — which they have seen many times in various settings — within the bigger picture of Mies’s work,” says Rachman.

Although later, less artful interpretations of the architect’s aesthetic contributed to the perception of modernism as manipulative and soulless (a critique initially applied to the master’s own work), he remains a giant in the history of the built environment, a man whose philosophy is, perhaps, as significant as the structures he designed. “In 1939, Mies gave a lecture to students in which he discussed designing a house,” notes Young, who serves as executive director of the Bauhaus Chicago Foundation. “He said that coming to the house, the front door, was the most important thing to consider. And as he concluded, he said, ‘The house is really the shell, and the life lived therein, is the bloom.’ And that was true whether he was designing a home or an office building or Crown Hall. He was setting a stage for living.”

Read the full article here.

Connors, Thomas. “How Chicago, Mies Van Der Rohe's Adopted Home, Remembers the Architect.” 1stdibs Introspective, 28 Apr. 2019, www.1stdibs.com/introspective-magazine/ludwig-mies-van-der-rohe/.