Gallery Talks with Daniel Schulman DCASE Director of Visual Arts

Wednesday, December 15, 12:15 – 1 pm

Chicago Cultural Center

Art and Race Matters: The Career of Robert Colescott is the first comprehensive retrospective of one of America’s most compelling and controversial artists, Robert Colescott (1925-2009). In his large-scale paintings, Colescott confronted deeply embedded cultural hierarchies involving race, gender, and social inequality in America with fearless wit and irony.

Discussion with Christopher Schneberger

Thursday, December 16, 7 – 8 pm

Perspective Photo Gallery

Perspective Gallery presents “The Wanderers” by Christopher Schneberger. This new series of semi-narrative tableaus imagines a band of young explorers traversing the land. The young women in the series portray both the fantasy of imagined childhood expeditions and illustrate the idea of getting lost and finding one’s way

Mirrors and Misconceptions: Gallery Talk + Collage Activity

Saturday, December 18, 2 – 4 pm

Stony Island Arts Bank

Participants will view the Toward Common Cause exhibition, in collaboration with Smart Museum, at Stony Island Arts Bank. The exhibition includes several works focusing on Black identity as well as Wilson’s sculpture, Act V. Scene II Exeunt Omnes. A gallery talk will follow to identify themes witnessed in The Tragedy of Othello that resonate with this work. Following this conversation, guests of all ages will participate in a collage activity to make their own art in creative response. 

Hilma’s Ghost: Solstice Rituals

Tuesday, December 21, 2 – 3 pm

Carrie Secrist Gallery

Founded by Dannielle Tegeder and Sharmistha Ray, Hilma’s Ghost is a feminist artist collective that seeks to address existing art historical gaps in abstraction through sustained methods of praxis, research, and pedagogy. Hilma af Klint’s exhibition at the Solomon R. Guggenheim Museum, New York (October 12, 2018 – April 23, 2019) served as a reckoning for abstraction by women, trans, and non-binary peoples, whose narratives have been subsumed by dominant modes of western art history.