Golden Age (2007–2011) is CLOSED FOREVER. This site now functions as an archive. Thank you for your patronage.

exhibition poster
exhibition poster
Installation view
Lauren Anderson, Untitled, 2011, Collage and sandblasted glass in artist’s frame, 14.75 x 11.75 inches
Robin Cameron, Self-Portrait Abstraction, oil on mirror, 21 x 17 inches
Paul Stoelting, Full Save, 2011, Wood and photographs, 46 x 28 x 6 inches
Lauren Anderson, Untitled, 2011, Collage and sandblasted glass in artist’s frame, 21 x 19 inches
Robin Cameron, Golden Section, Soldered steel, 9.75 x 6.75 inches
Robin Cameron, For Jan, Digital inkjet print, 17.25 x 26.25 inches
Lauren Anderson, Untitled, 2011, Collage and sandblasted glass in artist’s frame, 17 x 13.25 inches
Lauren Anderson, Untitled, 2011, Collage and sandblasted glass in artist’s frame, 15 x 12 inches
Lauren Anderson, Untitled (Clown Tears), 2011, Collage and sandblasted glass in artist’s frame, 18.5 x 23.75 inches

Lauren Anderson, Robin Cameron and Paul Stoelting

Paul Theobald and Company

October 28, 2011 - November 30, 2011

Opening October 28, 2011 6-9pm

Golden Age is pleased to announce our final exhibition, Paul Theobald and Company, featuring painting, photography and sculpture from Lauren Anderson, Robin Cameron and Paul Stoelting—three young artists hinged together by an interest in anachronism. 

The exhibition takes its name from the forgotten art bookshop cum gallery cum publisher located in downtown Chicago from 1936 to 1988. Paul Theobald and Company Publishers began during World War II when the supply of European art books was severed due to the ongoing international conflict. In response, Paul Theobald and Lolita Cruz Theobald began to publish works from the now-legendary artists, architects and thinkers that frequented their shop. 

We invoke the legacy of Paul and Lolita Theobald, the New Bauhaus émigrés they championed–Moholy-Nagy, Kepes, Hilberseimer, Gropius, and Malevich–and the distinctly American modernism they celebrated. While Chicago can claim this history, most of the creative community would prefer that it die. Golden Age proudly adopts this legacy because death—in the way that painting is “dead” or books are “dying”—is decidedly more interesting than novelty. 

With tradition, datelessness and the “anti-novel” in mind, the artists in Paul Theobald and Company use dead forms stripped of time, technique and function to communicate the experience of living in the present moment. Cameron considers the truth of presentation with palpably modern marks that conjure a sense of beauty similar to Alma Thomas, Hans Hoffman and Stuart Davis. Anderson presents a series of sandblasted glass drawings that recall the paintings of Ray Eames while resisting any easy classification. Finally, Stoelting directly links 1945 to 2011 by introducing one open, angular, three foot sculpture that contains a digitally created AbEx painting. 

For us, modernism means having the authority to pick and choose from all of history, regardless of convention, and using what is most appropriate for each new project. When history is so readily available and flattened by the immediate forms of reception, anachronism characterizes our current day. We enjoy the “misplacing” of customs, people, and objects. Instead of fantasizing about traveling to 1750 with a computer, we disrupt the contemporary with books. As Golden Age comes to a close, we invite you to look to the future, by acknowledging the past.