Lori Waxman is the Chicago Tribune’s art critic and a senior lecturer at the School of the Art Institute of Chicago. Her most recent book is “Keep Walking Intently: the ambulatory art of the Surrealists, the Situationist International, and Fluxus” (Sternberg Press, 2017).
Rarely has an exhibition left me feeling equal parts incredulous, awestruck, anxious, melancholic, nauseated, and peaceful. Perhaps never, actually, until this past December, when I saw 60 of Gaylen Gerber’s “Supports” at the Arts Club of Chicago.
The Living Mask, the title of Brendan Fernandes’s solo exhibition at the DePaul Art Museum (DPAM) in Chicago, prompts the question: What is a dead mask? The answer can be found amid the vast hoards of African art and artifacts owned by museums and private individuals throughout Europe and North America—collections with origins in the conquest and colonization of the African continent.