Karen Reimer

EDUCATION:

1989     MFA, University of Chicago

1982     BA, Bethel College, North Newton, KS,

 

SOLO EXHIBITIONS

2016     Shoretime Spaceline, Hyde Park Art Center, Chicago

2015     Geometry in Outer Space or Heaven, Monique Meloche Gallery, Chicago, IL

2012     Endless Set, Owens Art Gallery, Mount Allison College, Sackville, New Brunswick

         Endless Set #1399, Gallery 400, University of Illinois at Chicago

         Golden, Gahlberg Gallery, College of DuPage, Glen Elynn, IL

2011     The Domestic Partnership of Heaven and Hell, Monique Meloche Gallery, Chicago

2008     Endless Set, Monique Meloche Gallery, Chicago

2007     Embroideries 1999-2005, Rochester Art Center, Rochester, MN

         Endless Set, VONZWECK, Chicago

2005     Precursory Conditions and Operations, Riverside Art Center, Riverside, IL

2004     Boundary Troubles, Monique Meloche Gallery, Chicago

2003     Schopf Gallery on Lake, Chicago (with Scott Short)

2002     Goshen College Art Gallery, Goshen, IN                                       

2001   Cold Comfort, installation, collaboration with C. Bacon, Hyde Park Art Center,

              Chicago

1999     Forgeries, Beret International Gallery, Chicago

1998     Hesston College Art Gallery, Hesston, KS

1996     Postcard, Beret International Gallery, Chicago

Legendary, Lexical, Loquacious Love, artist book release, performance with Sally

       Alatalo, Printed Matter, New York

1995     Bethel College Art Gallery, Newton, KS

1994     Know Your Poodle, Beret International Gallery, Chicago (with Sonny Venice)

 

SELECTED GROUP EXHIBITIONS:

2016    Unravelled, Beirut Art Center, Lebanon.  Curated by Rachel Dedman and Marie Muracciole

         Dude...Heavy, South of the Tracks, Chicago, IL

2014     Material Gestures: Cut, Weave, Sew, Knot, Rhona Hoffman Gallery, Chicago, IL

         The Book Lovers Pop-Up Bookstore, De Appel, Amsterdam

         Why Marriage?, Darst Center, Chicago, IL, curated by Mia Ruyter and Chuck Thurow

2013     A Study in Midwestern Appropriation, Hyde Park Art Center, curated by

                      Michelle Grabner

2012     Wall Text, Logan Center for the Arts, University of Chicago, curated by Zachary  

              Cahill and Monica Szewczyk

2011     Write Now: Artists & Letterforms, Chicago Cultural Center, curated by Nathan Mason

2010    Let’s Talk About Love, Baby, a traveling library curated by Chido Johnson 

2009     New Wave: Artists’ Books in the 21st Century, School of Creative Arts, University of the

              West of England, Bristol

2008     The Matter at Hand, Memphis College of Art, Memphis, TN

         Curiouser and Curiouser, McLean County Art Center, Bloomington, IL, curated by

              Allison Hatcher

2007     Raised in Craftivity, Greenlease Gallery, Rockhurst University, Kansas City, MO, curated

              by Maria Elena Buszek

2006     New Embroidery: Not Your Grandma’s Doily, Museum of Contemporary Craft, Portland, OR,

              curated by Namita Wiggers

         Data Mining, Wallspace Gallery, New York, curated by Joe Scanlan

         Not I: A Samuel Beckett Centenary Celebration, Museum of Contemporary Art, Chicago

2005     Amorphous Solid, Durand Art Institute, Lake Forest College, Lake Forest, IL

         Catalog, SOIL Gallery, Seattle, WA

2004     Stalemate, Museum of Contemporary Art, Chicago, curated by Domonic Molon

Baltimore/Chicago, Decker Gallery, Maryland Institute of Art, Baltimore, curated by

      Kerry James Marshall

fitter, happier, DePaul University Art Museum, Chicago, curated by Matthew Girson

2003     Pins and Needles, Kohler Art Center, Sheboygan, WI

2002     The Devil is in the Details, Galberg Gallery, College of Dupage, IL, curated by

              Anthony Elms

2001     Con/textual, Chicago Cultural Center                                         

         Spelling, The Rye Art Center, Rye, NY

2000     Artist's We Like, Wall Street Project Room, New York

         Julie Laffin, Darrel Morris, Karen Reimer, Barat College Art Gallery, Lake Forest, IL

1999     Chicago, West Virginia State University Gallery, Morgantown, WV

The Other Book, Cleveland State University Art Gallery, OH

1997     N.E.W.S.: Jennifer Kraus, Karen Reimer, Levant Tuncer, Gallery A’pert, Amsterdam

1996     Vorfruhling, Galerie cb, Vienna

1993     Mixed Messages, Forum for Contemporary Art, St. Louis, MO

         A Sequence of Forms, Illinois State Gallery, Chicago

1992     Not Working in L.A., Nomadic Site, Pasadena, CA, curated by Pae White        

1991     Animal/Vegetable/Mineral, installation, N.A.M.E. Gallery, Chicago, curated by Gary

              Cannone

1990     Foxtrot, Randolph Street Gallery, Chicago

 

SELECTED BIBLIOGRAPHY:

2016     _______________, “Art 50 2016: Chicago’s Artists’ Artists,” NewCity, Sept. 15, 2016

         Elizabeth Lalley, “Nostalgia Over Chicago’s Manmade Shoreline,” NewCity, June 18, 2016,

         Jacob Wittich, “Hyde Park Art Center exhibition transforms building into beach,” Chicago

              Sun-Times, May 21, 2016, http://chicago.suntimes.com/entertainment/artist-travels-

              space-time-hyde-park-art-center-exhibition/

         Kate Pollasch, “Review: Winter Experiment: SAIC at MMG/Monique Meloche Gallery,”

              Newcity, Jan. 25, 2016, http://art.newcity.com/2016/01/25/review-winter-experiment-

              saic-at-mmgmonique-meloche-gallery/

2015    Lorelei Stewart, ed., Karen Reimer: Endless,, Gallery 400 UIC/Whitewalls, Chicago.

              Authors: Lauren Berlant, Penelope Dean, Judith Russi Kirshner.

2014    Annette Gilbert, ed., Reprint: Appropriation (&) Literature, Luxbooks Gmbh, Weisbaden

        Excerpt from Legendary, Lexical, Loquacious Love, in Carceral Notebooks, Vol. 10

        Nick Romeo, “Why Big Data Doesn’t Live Up to the Hype,” The Daily Beast, Jan. 1, 2014,

              http://www.thedailybeast.com/articles/2014/01/04/why-big-data-doesn-t-live-up-to-the-hype.html

2013     Claudine Ise, “Appropriating what, specifically?,” Chicago Tribune, Arts and

              Entertainment, Section 4, Nov.7, 2013, p 4

Alicia, Eiler, “Making Art in the Midwest,” Hyperallergenic, Dec. 20, 2013,

      http://hyperallergenic.com

2012     Jayne Wark, Karen Reimer: Endless Set, Mount Allison University, Sackville, New

              Brunswick, Canada.  Catalogue.

         Steve Ruiz, “Review: Karen Reimer/Gallery 400,” Newcity, Sept. 04,

              http://art.newcity.com/2012/09/04/karen-reimergallery-400/

         Maria Elena Buszek, “Labor is My Medium: Some Perspective(s) on Contemporary Craft,”

                      Archives of American Art Journal, Vol 50, numbers 3-4, Fall.

         Diane Williams, ed., NOON Annual 2012

  Christina Giorcelli and Paula Rabinowitz, eds., Exchanging Clothes: Habits of Being 2,

       University of Minnesota Press

2011     Michael Milano, “Sarcastic Flowers: Karen Reimer and Conceptual Craft,” Bad at Sports,

              Dec. 12. http://badatsports.com/2011/sarcastic-flowers-karen-reimer-conceptual-

              craft/

         Amy Braverman Puma, “Reclamation Project,” University of Chicago Magazine, Vol104, No2,

              Nov-Dec.

2010   Colin Davies and Monika Parrinder, Limited Language: Rewriting Design: Responding to a

              Feedback Culture, Birkhauser: Basel.

2008     Susan Snodgrass, Review of Endless Set at Monique Meloche Gallery, Art In America, Dec.

         Nadine Monem, Ed., Contemporary Textiles: The Fabric of Contemporary Art, Black Dog

                      Press: London.

         Judith Russi Kirschner, “Focus”, Frieze, November.

         Jeremy Biles, review of Endless Set at Monique Meloche Gallery, Chicago Artists’ News,

                      June.

         Alan Artner, review of Endless Set at Monique Meloche Gallery, Chicago Tribune, May 16,

                      2008, Section 7, pg. 20.

         Jessica Poser, “Contemporary Craft: The Look of Labor,” Art Education Journal, March

2007     Joan Livingstone and John Ploof, The Object of Labor: Critical Perspectives on Art,

              Cloth and Cultural Production, School of the Art Institute of Chicago and MIT

              Press

         Jake Malooley, Review of Endless Set at VONZWECK, Time Out Chicago, April 16-20

2006     Shu Hung and Joe Magliaro, eds., By Hand, Princeton Architectural Press

2005     Deb Wilk, “Six Artists to Watch,” Chicago Magazine, November

2004     Margaret Hawkins, “Knit wit and abstract fun”, Chicago Sun-Times, Nov. 24

2003     Interview with Julie Farstad, mouthtomouth, Winter

2001     Anthony Elms, “Borrowed Clothes Never Fit,” exhibition brochure essay, Cold Comfort,

                      Hyde Park Art Center, Chicago

D. Dominick Lombardi, "At the Gallery/with Randall Davis", The New York Times, Jan. 21

2000     Susan Snodgrass, "Review: Karen Reimer at Beret International", Art In America, Feb.

         Olga Zdanovics, “Reviews: Karen Reimer, Beret International", New Art Examiner,

       Dec/Jan.

         Catalogue: Out of Line: Drawings By Illinois Artists, Chicago Cultural Center

1999     Fred Camper, “Human Touches,” Chicago Reader, Sept.30-Oct.6

1998     Buzz Specter, “Studioview: Karen Reimer”, New Art Examiner, Nov.

1996     Legendary, Lexical, Loquacious Love, artist novel, Sara Ranchouse Publishing,

              Chicago

         Forgeries, postcard series, Sara Ranchouse Publishing, Chicago

         “Something is motivated when it is neither arbitrary or predictable.”, Whitewalls, #38,

              Chicago

 

GRANTS AND AWARDS:

2012     Publication grant, from Center for Craft, Creativity and Design, w/ Gallery 400

              University of Illinois at Chicago

         Exhibition grant from Graham Foundation, w/ Gallery 400, University of Illinois at

       Chicago, and Gahlberg Gallery, College of DuPage

2010     Women’s Caucus for Art President’s Award

2002     The Artadia Individual Artist Grant

         The Richard H. Driehaus Foundation Individual Artist Award