The start of the exhibition takes visitors back to 1967 when Picasso's monumental sculpture was unveilled in Daley Plaza. Recordings of Studs Terkel interviewing spectators offer candid insights.

For most Chicagoans, Picasso first "arrived" in Chicago in 1967 in a major, public way that still resonates with our city's citizens today. Now 46 years later, his influence may be seen as the beginning of this city's modern artistic identity. 

Picasso of course never actually set foot in Chicago, or in this country for that matter. He was very, very close - it is rumored that a plane ticket to Chicago for the sculpture's unveling had been purchased by Skidmore, Owings & Merrill, the firm that commissioned the sculpture that today is the star of Daley Plaza downtown. While Picasso is undoubtedly one of the most celebrated, admired and prolific artists in the history of art, Chicago has a few of its own personal ties to the artist and his work. The new exhibition at the Art Institute of Chicago, the first major Picasso exhibition organized by the museum in nearly three decades, makes the case that long before his famous sculpture mystified and delighted Chicagoans in 1967, Picasso's artistic style and influence was key to launching local enthusiasm for embracing modern art. 

A lot of Chicago/Picasso 'firsts' are covered in the show: in 1913 the Art Institute of Chicago became the first American museum to show Picasso's work, after being a part of the innaugural Armory Show in New York that same year. Inspired by the Armory Show, the Arts Club was founded in 1916. In 1923 it presented Picasso's first US solo showing outside of a commercial gallery. One of AIC's most well-known collection anchors is the Old Guitarist, which was purchased by Frederic Clay Bartlett in memory of his wife Helen Birch Bartlett and given to AIC in 1926. It was the first painting by Picasso acquired by a US museum. 

The exhibition is vast, including 250 works done in a range of mediums and time periods. The works come primarily from AIC's own collection, and mostly they are not blockbusters (3 major paintings on loan from other museums are separated from the main exhibition and are hanging in the Modern Wing - something I found logistically awkward) but the many pieces in the show add up to an illuminating picture of how Chicago came to see itself in an artistic light as well as be known in the world as a progressive city committed to the arts.  It is worth spending time with as many of the pieces as possible, while also seeking out new favorites. 

A highlight is the opening of the show, where a recording of Studs Terkel interiewing Chicagoans in the Federal plaza (now Daley Plaza) on the day the Picasso Woman was unveiled. It's delightful to hear the candid respones. One spectator was there for a baton contest.  Someone else thought a statue in honor of someone who'd 'done something for humanity' would have been more fitting.  One gentleman thought it resembled the 'pelvic structure of a prehistoric monster.' Others were worried it would rust and hoped it 'worked out.'  Most seemed to gaze in awe that their city had put this project together and made such a show of being progressive. After I saw the exhibition, I learned another secret from SAIC's former president, Tony Jones. He recalled recently leading Paloma Picasso on a tour of the show before it opened. While they were examining the Picasso Woman macquette, she leaned her head into the sculpture and pointed out that her father wrote inside many pieces. For the Woman he had apparently been concerned that the piece would hold up because of the weight of the steel and the strong welding that would be required. Just to make sure the piece would stand the test of time and that the heavy head would not tumble down on visitors, he wrote some simple instructions for the welders in Gary, IN - basically, he said, make sure it's on there tight! 

Picasso never accepted payment for the commission, instead giving it to the city as a gift. That generous spirit is certainly still present here today.

Picasso and Chicago

Febraury 20-May 12, 2013

A portrait of Marie-Therese. Pablo Picasso. Head of a Woman with Straw Hat on a Pink Background. Paris, January 23, 1938.  Oil on canvas. Private collection.

Pablo Picasso. Weeping Woman I, July 1, 1937. Drypoint, aquatint, and etching with scraping on paper.

Pablo Picasso, Nude under a Pine Tree. Cannes or Vauvenargues, January 20, 1959. Oil on canvas. The Art Institute of Chicago, bequest of Grant J. Pick, 1965.

Pablo Picasso, Portrait of Jacqueline. Mougins, December 28, 1962. Graphite with smudging and black ballpoint pen on paper. Richard and Mary L. Gray and the Gray Collection Trust.

Picasso's interest in the seated female figure show up again in his renderings for the sculpture for Daley Plaza.

Drawings for the Sculpture in Daley Plaza. 1963-1965.

There are so many ways to enjoy the holidays, when you're not rushing here and there, keeping track of to-do lists or trying to meet end-of-year deadlines. In case you have any free time, or out of town visitors, we've come up with a few highlights you should check out this season. 

• Chicago Urban Art Society is having its’ annual holiday art sale Windy City Artist Alley on Sunday, December 16 from 12-6pm. Artists, illustrators, printmakers, DIY artists, and vintage sellers will all be there to cover your last minute shopping needs. This year’s event will be located at 1664 S. Blue Island Ave. at the intersection of 18^th and Blue Island in Pilsen neighborhood. Interested vendors or artists should contact peterkepha@chicagourbanartsociety.com. Chicago Urban Art Society Chicago’s First Annual Holiday Benefit is on Wednesday, December 12, 6-11pm.  An evening of good company and good music, along with cocktails and hors d’oeuvres will be served. A fifty dollar donation is asked to attend. A special poetry reading by Kevin Coval is sure to make this a fun, holiday evening.

The Art Institute is always a festive place to visit this time of year - don't miss the chance to gaze at the impressive lion adorned with red wreaths for the season.  While the weather is still mild, wander the museum's sculpture garden, or spend some time in sunny Millennium Park.  Also, in honor of the season, the miniature Thorne Rooms have also been decorated for the season.  Details here.

• Come experience Greek traditions with the National Hellennic Museum’s one-day fun-filled event It’s A Greek Christmas! on Saturday, December 15, 11am-5pm. Festivities include crafts, caroling, dance lessons, christopsomo, storytime, and much more. Details here.

• Bring your kids along and get creative at Lillstreet's Holiday Family Party Saturday, December 8th from 12-3pm. Bring the whole family and decorate a lovely holiday ornament with Lillstreet's ceramics department and cookies with First Slice Pie Cafe. Stop by the gallery and take a peak at the Stacey Lee Webber jewelry trunk show reception. Free. Also this weekend, Let There Be Light: Lillstreet's 37th Annual Holiday Show and Sale. Details here.

• December 6-8 you can do some holiday shopping at the 4th annual ShopColumbia market at Columbia College.  Not only is this the perfect place for holiday shopping, but you'll also meet the artists behind the work! ShopColumbia will also host themed mini-boutiques within the shop for the environmentalist, art lover, fashionista, and more. Details here.

Visit Chicagogallerynews.com all season for art news, events and openings!  Happy holidays! 

Roy Lichtenstein, American (1923-1997). Whaam!, 1963. Magna and oil on canvas. 172.7 x 406.4 cm (68 x 160 in). © Estate of Roy Lichtenstein. Tate: Purchased 1966. Photo ©Tate, 2011.

The Art Institute of Chicago presents a colorful exhibition of old favorites and lesser-known works in Roy Lichtenstein: A Retrospective, opening to the public on Tuesday, May 22.  The retrospective samples five decades and over 160 works by Lichtenstein (1923-1997) grouping bodies of work into familiar categories of the artists’ oeuvre, i.e., cartoon and comic paintings that staked his place in the Pop scene of '60s, a series in black and white, a variety of enlarged brushstroke paintings. 

Roy Lichtenstein, American (1923-1997). Look Mickey, 1961. Oil on canvas. 121.9 x 175.3 cm (48 x 69 in). © National Gallery of Art. The National Gallery of Art. Dorothy and Roy Lichtenstein, Gift of the artist, in Honor of the 50th Anniversary of the National Gallery.

Many will recognize Lichtenstein’s more well-known works like Look Mickey (1961), Drowning Girl (1963), and others in his notable comic-like style of large halftone dots, but other bodies of work felt refreshing amidst the more familiar arenas – a grouping of bronze and brass Art Deco sculptures; a room filled with small drawings, sketches and studies for large paintings; a series of nudes and Chinese landscapes.  These more obscure groupings were the highlights of the exhibition for me, a Lichtenstein fan, because they provided a glimpse into his career that I had not seen before.  I’ve seen the large painting, Ohhh…Alright… (1964) several times, and while I still enjoy examining the canvas, I very much appreciated seeing the tiny study from which it stemmed. 

Roy Lichtenstein, American (1923-1997). Ohhh…Alright…, 1964. Oil and Magna on canvas. 91.4 x 96.5 cm (36 x 38 in). © Estate of Roy Lichtenstein. Private Collection.

Lichtenstein was born in New York City in 1923 and studied at New York’s Art Students League prior to attending Ohio State University where he earned both his BFA (1946) and MFA (1949).  Before completing his studies, Lichtenstein was drafted in 1943 to serve in the U.S. Army, where he was on active duty in Europe beginning in 1945.  When he returned from the Army, he attended and taught at Ohio State until 1951 when he married and moved to Cleveland.  After several successful shows and a gaining reputation in the artworld, Lichtenstein returned to New York and continued making work.

Like other Pop artists, Lichtenstein’s work blends characteristics from seemingly far different realms: fine art, mass media, advertising, comics.  Lichtenstein continued to combine these different characteristics throughout his career with the use of large Benday / halftone dots seen in work that was done early in his career through some of the last series the artist completed in the nineties.  The Brushstrokes series is a prime example of the pairing of mass media with fine art.  In his large canvases, Lichtenstein depicts expressionist brushstrokes, drips and splatters.  From a distance, those gestural marks are the first thing the viewer picks up on, but upon closer inspection, the halftone dots come into focus as does the juxtaposition of the almighty Abstract Expressionist marks against the dot pattern used in mass-produced print materials.  It is this kind of unconventional pairing in Lichtenstein’s work that appeals to me, while examining what is depicted and how it is depicted. 

Roy Lichtenstein, American (1923-1997). Brushstroke with Spatter, 1966. Oil and Magna on canvas. 121.9 x 152.4 cm (68 x 80 in). © Estate of Roy Lichtenstein. Art Institute of Chicago, Barbara Neff Smith and Solomon Byron Smith Purchase Fund.

James Rondeau, Dittmer Chair and Curator, Department of Contemporary Art at the Art Institute states “Lichtenstein is rightly recognized for being a foundational Pop artist who created some of the most iconic works of the 20^th century.  But these works – the comic strips, the war imagery – represent only part of Lichtenstein’s decades-long career.  Our aim with this exhibition is to explore the full range of absorbing contradictions at the heart of Lichtenstein’s work – starting with the paradox that Lichtenstein systematically dismantled the history of modern art while becoming a fixture in that canon.  Lichtenstein, we hope to show, was a profoundly radical artist with a lasting impact on the history of 20^th-century art.”

Roy Lichtenstein, American (1923-1997). Landscape in Fog, 1996. Oil and Magna on canvas. 180.3 x 207.6 cm (71 x 81.75 in). © Estate of Roy Lichtenstein. Private Collection.

Following its run at the Art Institute through September 3, the retrospective will travel to the National Gallery of Art, Washington, D.C., the Tate Modern, London, and the Centre Pompidou in Paris.

Art Institute member days for Roy Lichtenstein: A Retrospective have been extended through Friday, May 18.  The museum will be closed to the public during the NATO summit, from Saturday, May 19 through Monday, May 21, and the public opening date for the retrospective is Tuesday, May 22, 2012.

Roy Lichtenstein: A Retrospective
May 22 - September 3, 2012
The Art Institute of Chicago
111 S. Michigan Avenue, Chicago, IL 60603

Roy Lichtenstein, American (1923-1997). Untitled, 1959. Oil on canvas. 86.5 x 71.3 cm (34.0625 x 28.0625 in). © Estate of Roy Lichtenstein. Private Collection.

Back again to be exhibited for the first time in over 30 years, the Art Institute of Chicago presents Harlem, U.S.A., a full collection of 25 photographs captured by African American renowned photographer, Dawoud Bey. Harlem, U.S.A. originally premiered at the Studio Museum in Harlem, marking Bey’s very first solo exhibition in 1979. The images function as documentation of Bey’s experience in Harlem and its surrounding neighborhood during his residency at the museum. Now, decades later these photos reappear, fresh— strikingly different from his much later work. The show opens May 2 and lasts through September 9.

In addition to Harlem, U.S.A., one week later the Renaissance Society will be exhibiting Picturing People, an expansive career survey of Dawoud Bey’s work at the University of Chicago campus, Cobb Hall, in Hyde Park. Expanding from street photography to formal studio portraiture, Bey is recognized for his outstanding commitment to portraiture as a means for investigating community and contemporary society. The show will also include, Strangers/Community, a series which brings together a double portrait people from one community who were previously unknown to each other. He quotes, 

"My work as an artist has been about giving ordinary people an enhanced presence in the world through my photographs. I see my work as a way to bring the human community into a conversation with itself. Hopefully through my photographs viewers come to know not only something about the people that I photograph, but something about themselves as well. My career survey at the Renaissance Society is an opportunity to sum up what I have been doing and thinking about for the past 36 years. It is an opportunity to see all of these photographs and ideas in relation to each other,"

Dawoud Bey born 1953 and raised in Queens, NY is a Distinguished College Artist and professor at Columbia College Chicago since 1998. His work is included in the permanent collection of the Brooklyn Museum, the Detroit Institute of Arts, the Fogg Art Museum, and Chicago's very own, Art Institute.

Harlem, U.S.A.
The Art Institute of Chicago
May 2 - September 9, 2012
http://www.artic.edu

Picturing People
5811 S. Ellis Ave
May 13 - June 24, 2012
www.renaissancesociety.org