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A new show at the Art Institute explores the work of a group of Chicago artists who made a strong impression on the art world in the s. Called the Hairy Who, they were an early wave of what later became known as the Chicago Imagists. The Hairy Who were skillful technicians who used popular imagery with a playful approach.

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We use our own and third party cookies to enable you to navigate around our site, use its features, engage on social media, allow us to perform analytics and remember your preferences. By continuing to use our site, you consent to our use of cookies and to the practices described in our updated Privacy Policy. Half a century on, we are having a Hairy Who moment.

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Sign up for our newsletters Subscribe. Here are three things to know about Hairy Who, the subject of a major exhibition opening this week at the Art Institute of Chicago:. It catapulted the half-dozen young Chicago artists who created it in the late s to national and international art world attention.

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Ruth Lopez. They created colourful, graphic work dominated by distorted, often ribald figures. Although they were active as a loose collective for only three years, they had a significant influence on younger artists in the city and the development of the Chicago Imagists. For more information, contact info theartnewspaper.

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The group was first formed for strategic purposes. The pieces are organized not by artist, nor by medium, nor subject. Rather than have a joint collection of individual works, they combined forces to create a complete publicity scheme for each of their exhibits.

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Since Baum began managing exhibitions at the center inhe had developed a reputation for showcasing emerging artists in group exhibitions and creating a nurturing scene around the center. These young White artists, all in their 20s, were inventing a new flavor of pop art that came to be known as Chicago Imagism. But the primary difference between what Andy Warhol and Roy Lichtenstein and other New Yorkers made and what these Chicago artists were producing was that the New Yorkers pretty closely copied their pop sources, while the Chicagoans digested comics and neon signs to invent their own pop language.

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Smoke Hairy Who This artist comic book was distributed at two Hairy Who shows in Chicago and San Francisco that were held the same year. Hairy Who!!?

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Neither a movement nor a style, Hairy Who was simply the name six Chicago artists chose when they decided to join forces and exhibit together in the mids. Like all Americans of their generation, the young Chicagoans of the Hairy Who came of age during a period of national upheaval that witnessed the escalation of the war in Vietnam, assassinations of political figures, student protests, a rising counterculture, tumultuous racial and gender relations, and the expansion of a capitalist consumer economy. Their work—vividly unbridled yet also formally refined—embodied irreverence and youthful fearlessness. Between andthey staged six uninhibited and informal exhibitions—three in Chicago and one each in San Francisco, New York, and Washington, DC.

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Inspired by comic-book art, sign-painting techniques and vernacular culture, each artist embraced their distinctive talents and made personal works that impart a sense of humor, usually rendered with bright hues and bizarre detail. Photograph: Courtesy the Art Institute of Chicago. Sign up here to stay in the know.

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Their work was known for grotesquerie, surrealism and complete uninvolvement with New York art world trends. Critic Ken Johnson referred to Chicago Imagism as "the postwar tradition of fantasy-based art making. They were given their name in by critic and Monster Roster member, Franz Schulze [3].

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