<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419126/gcnocuaglsbq9dygbv1v.jpg"></figure><a href="https://www.chicagogallerynews.com/events/touch-of-gold">Touch of Gold</a>Opening: Thursday, October 27, 4 – 7&nbsp;pmPistachios Contemporary Jewelry Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419127/ozz3cptplijob442fpoe.jpg"></figure><a href="https://www.chicagogallerynews.com/events/adriana-miranda-perspectives-figuration-abstraction-in-contemporary-black-art">Adriana Miranda: DOMESHTICK</a>Opening: Friday, October 28, 5 – 8&nbsp;pmARC Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419128/gllsrnqvuoeupow0cyts.png"></figure><a href="https://www.chicagogallerynews.com/events/jesus-monsivais">Jesus Monsivais</a>Opening: Friday, October 28, 7 – 10&nbsp;pmFirecat Projects&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419129/wyvkzkkyypwkfprqsspn.jpg"></figure><a href="https://www.chicagogallerynews.com/events/mary-lou-zelazny-whistling-in-the-dark-new-paintings">Mary Lou Zelazny: Whistling In The Dark, new paintings</a>Opening: Friday, October 28, 5:30 – 8&nbsp;pmCarl Hammer Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419130/hvsgigbfn10la1yv0yc5.jpg"></figure><a href="https://www.chicagogallerynews.com/events/edra-soto-la-distancia">Edra Soto: La Distancia</a>Opening: Saturday, October 29, 5:30 – 7:30&nbsp;pmENGAGE Projects&nbsp;&nbsp;</body></html>

New Exhibitions October 27 - 29

<figure class="image"><img src="https://3arts.org/site_media/news/headers/2022_Awardee_artwork_combo.jpg" alt="A grid of eight square images showing a combination of artwork and headshots representing the 2022 3Arts awardees"></figure>CHICAGO, IL (OCTOBER 24, 2022)–3Arts, the Chicago-based nonprofit grantmaking organization, honors the milestone 15th anniversary of the 3Arts Awards with nearly half a million dollars in unrestricted grants to Chicago artists. The <a href="https://3arts.org/event/">15th annual 3Arts Awards Celebration</a> takes place Monday, November 7 via livestream on YouTube where the organization will honor ten new 3Arts Awards recipients with $30,000 cash grants, announce $50,000 Next Level/Spare Room awardees, and award ten additional artists with $2,000 cash grants through Make a Wave. The online event is free to the public and features commissioned performances by 3Arts artists, including Aram Han Sifuentes, Bethany Thomas, Robby Lee Williams, and Santiago X. Registration is required at <a href="https://3arts.org/event/">https://3arts.org/event/</a>.&nbsp;In its 15-year history, 3Arts has supported more than 1,800 artists across all program areas, representing approximately 70% women artists, 70% artists of color, and 20% Deaf and disabled artists working in the six-county metropolitan area, and distributed $5.8 million in direct grants. Through cash awards, project funding, residency fellowships, professional development, and promotion, 3Arts cultivates and sustains the vibrancy of Chicago’s art community by allowing artists to take risks, experiment, and build momentum in their careers.&nbsp;Since its founding in 1912 as The Three Arts Club of Chicago by activist Jane Addams and other visionaries, women have been leading the 3Arts organization in its mission to support under-represented artists. In addition to marking the 110th&nbsp;anniversary of the founding of The Three Arts Club of Chicago, 2022 also marks 20&nbsp;years of women-led leadership under Executive Director&nbsp;Esther Grimm, currently at the helm of 3Arts. During her tenure, the awards have grown significantly to include artists of all performing arts disciplines and the largest grant program for teaching artists in the country. In addition, 3Arts has established and expanded programs that respond to specific moments and changing needs of Chicago artists, such as with the organization’s critical COVID-19 relief funding, the unique Make a Wave initiative, and the newest Next Level/Spare Room Awards in which past 3Arts artists receive second grants of $50,000 each."It has been an honor to be a part of the ever-expanding 3Arts community for the past 20 years," reflects 3Arts Executive Director Grimm, "3Arts is more than a granting organization: it is truly a community of artists supporting each other and coming together to enrich and empower our great city. During the 2022 awards ceremony, we invite the whole city to join in our community for an evening of sharing joy, hope, and love with our award recipients and all the artists who call Chicago home."&nbsp;The 2022 recipients of 3Arts Awards are:Dance artists Winifred Haun and Sarita Smith Childs; musicians Akenya and Nashon Holloway; teaching artists Peregrine Bermas and Simone Reynolds; theater artists Miranda Gonzalez and Omar Abbas Salem; and visual artists Rozalinda Borcilă and zakkiyyah najeebah dumas-o’neal.a Wave artists receive $2,000 per artist, thanks to the generous partnership of the Siragusa Family Foundation. The 2022 recipients of Make A Wave grants are Zahra Glenda Baker (vocalist, storyteller, and teaching artist); Maggie Brown (vocalist and teaching artist); Stephanie “Stef Skills” Garland (street art muralist and educator); Leah Ra’chel Gipson (interdisciplinary artist and scholar); Terry Guest (playwright, actor, and director); Malik Johnson aka 99TheProducer (cellist, composer, and producer); Ivan Lozano (visual artist and podcaster); Elisabeth YJ Seonwoo aka Kerberus (dancer); Andrea Yarbrough (maker, curator, and educator); and Wai Yim (actor, director, choreographer, and playwright).The celebratory evening is co-chaired by Candace Hunter (past 3Arts awardee), Lynn M. Lockwood (civic leader), and Mel Smith (3Arts Treasurer).In addition to supporting artists with cash grants, 3Arts will premiere new commissions by Chicago artists during the Awards celebration. This year’s event features: <a href="https://3arts.org/artist/aram-han-sifuentes/">Aram Han Sifuentes</a> (past 3Arts and Next Level awardee) in a new performance with the all-women percussion group Woori Sori (“Our Voice”); <a href="https://3arts.org/artist/bethany-thomas/">Bethany Thomas</a> (past 3Arts awardee) in a new music video for her original song “Walls + Ceilings” from her debut album BT/SHE/HER; <a href="https://3arts.org/artist/robby-williams/">Robby Lee Williams</a> (past 3Arts/Bodies of Work Fellow, and dancer and disability advocate) in a new dance film with fellow dancer Connor Cornelius and visual artist Genevieve Ramos; and <a href="https://3arts.org/artist/santiago-x/">Santiago X</a> (past 3Arts awardee) presenting a new video from his Land Acknowledgement series.&nbsp;

15th Annual 3Arts Awards grants nearly half a million dollars to Chicago’s artists

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419126/pllpc3uqxbssbg6gpe25.jpg"></figure><a href="https://www.chicagogallerynews.com/events/ukrainian-art-bridge-fellowship">John David Mooney Foundation Hosts Artists From Ukraine</a>Six artist-performers from Kharkiv are in residence in Chicago for the month of October as part of the John David Mooney Foundation's&nbsp; Ukrainian Art Bridge Fellowship. This program was developed to provide emergency support and housing for Ukrainian Artists impacted by Russia's aggression on the people and culture of Ukraine.&nbsp; The Foundation with the support of its generous benefactors is providing living accommodations and studio space for the artists and their families.The Kharkiv Slovo Theater is a group of artists, actors, performers and directors working to write, develop, workshop, and perform an original piece while in residence at the John David Mooney Foundation.&nbsp; The work is based on the writing of Mykola Khyvylovy and his 1924 novella "I am (a Romantic)," in which the head of the Cheka, a communist law enforcement agency, must decide whether or not to sentence his own mother to death following the ideals of the Commune.&nbsp;All are invited to attend the following events hosted by the <a href="https://www.chicagogallerynews.com/events/ukrainian-art-bridge-fellowship">John David Mooney Foundation, International Currents Gallery</a>&nbsp;CAC's Executive Director is LeavingChicago Artists Coalition (CAC) announced that Teresa Silva, CAC's executive and artistic director, will leave the organization on October 26, 2022. CAC board chair J. Gibran Villalobos will serve as interim executive director during the executive search period. Chicago Artists Coalition is a nonprofit organization that has provided artists and curators with the resources to live, work and thrive in the city since 1974.Silva was appointed executive and artistic director in July 2020 after serving as CAC’s director of exhibitions and residencies since 2014. She has been responsible for procuring financial support for CAC through grants and donations, leading programming, residencies and exhibitions, and overseeing the organization's day-to-day operations. She brought a vast network of artists, curators and arts patrons to the position."Working at CAC has been a joyful experience. I am thankful to the board of directors for the opportunity to steer CAC.&nbsp; It is with a heavy heart that I leave the organization," said Silva. "But the timing was right for me to explore new opportunities. My dedication to the artists of Chicago remains steadfast."&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419127/qvjj1hmfcjkhm638zeel.png"><figcaption>The Earl of Ashburham "Songs du Vergier", Art de Tremaugon, Songe due Vergier (Dream of the Orchard). In French, illuminated manuscript on parchment, France, Lyons, c. 1455-1460. 2 large miniatures by the Master of the Vienna Roman de la Rose (Jean Hortart?)</figcaption></figure>Les Enluminures has announced Timeless Treasures: 10 Manuscripts to Celebrate 10 Years in New York. &nbsp;In 2022, Les Enluminures celebrates its tenth year in New York with an exhibition of exceptional medieval illuminated manuscripts. The focus lies on ten manuscripts, each unique and world-class. Included are Books of Hours, romances, philosophical treatises, and fables. There are also a small number of outstanding related works from Private Collections that have passed though the New York gallery in the past ten years. Rings, miniatures, and historic jewelry complement the core exhibition.&nbsp;Stola Contemporary Announces Call for ArtThe gallery is seeking artwork of all mediums, including video, poetry and taped performances that address the theme of Visions of Hope. Show runs December 10th – January 22nd,2023 with and opening reception Saturday, December 10th, 5-8pm at Stola Contemporary Art. All accepted work will be posted on the gallery's website for sale as well as hung in the Gallery. Entry deadline is November 13th, and accepted artists will be notified by November 17th. There is a $35 entry fee.<a href="https://stolacontemporaryart.us20.list-manage.com/track/click?u=43e52f15a6f48a8b45b3c59ba&amp;id=72c6707780&amp;e=d1d8676651">Find Out More</a>&nbsp;</body></html>

CGN Art World Recap: 10/20/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419118/s59tvlsyrkl0kt8czncd.jpg"></figure><a href="https://www.chicagogallerynews.com/events/william-blake-distant-drum-reception-and-gallery-talk">William Blake: Distant Drum | Reception and Gallery Talk</a>Reception: Thursday, October 20, 7 – 9&nbsp;pmWadsworth Family Gallery at Lewis University&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419119/rohmpsjsmqujcyh4ekqu.jpg"></figure><a href="https://www.chicagogallerynews.com/events/parallels-and-symmetries-reception">Parallels and Symmetries: Reception</a>Opening: Friday, October 21, 7 – 10&nbsp;pmBridgeport Art Center&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419120/icl8yctzzrco09lggx1n.jpg"></figure><a href="https://www.chicagogallerynews.com/events/cornelia-arts-building-october-open-studios-event">Cornelia Arts Building October Open Studios Event</a>October 21 &amp; 22Cornelia Arts Building&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419121/c9nkw2maus8yrzjydcqr.png"></figure><a href="https://www.chicagogallerynews.com/events/liminal-space">Liminal Space</a>Opening: Friday, October 21, 5 – 9&nbsp;pmLily Pad | West&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419122/bb6grsh3fxrhpuv3upk3.png"></figure><a href="https://www.chicagogallerynews.com/events/mary-jones-whereabouts">Mary Jones: Whereabouts</a>Opening: Friday, October 21, 6 – 8&nbsp;pmEpiphany Center for the Arts&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419123/bnrlo5grt79pmyobg7dq.jpg"></figure><a href="https://www.chicagogallerynews.com/events/closing-reception-opulent-compositions">Closing Reception: Opulent Compositions</a>Opening: Saturday, October 22, 3 – 5&nbsp;pmPistachios Contemporary Jewelry Gallery&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419124/kg6ao26iuwyshqwg3ag6.jpg"></figure><a href="https://www.chicagogallerynews.com/events/in-the-house-part-2">In the House (Part 2)</a>Opening: Saturday, October 22, 5 – 8&nbsp;pmStola Contemporary Art&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419125/g37b0q4chmjbpe7vwtjw.png"></figure><a href="https://www.chicagogallerynews.com/events/sean-bishop-acrylic-ink-paintings">Sean Bishop: Acrylic &amp; Ink Paintings</a>Opening: Saturday, October 22, 6 – 9&nbsp;pmBlue Moon Gallery&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419125/avd001anah2z4ce1uc9l.jpg"></figure><a href="https://www.chicagogallerynews.com/events/brujas-brew">Brujas Brew</a>Opening: Friday, October 21, 3 – 10&nbsp;pmGrace Jane&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions October 20 - 22

Hyde Park Art Center expands its Publications Program with integration of Green Lantern Press&nbsp;CHICAGO (October 17, 2022) Hyde Park Art Center is thrilled to announce that Green Lantern Press (GLP)–an artist-run publishing house dedicated to the support, production, and dissemination of contemporary art, poetry, and philosophy–will become the Art Center’s in-house publisher. The merger integrates GLP into the Art Center’s existing Publications Program, which crystallizes the Art Center’s role as a critical presenting institution for emerging and mid-career artists in Chicago through exhibition catalogs and documentation, while building on GLP’S legacy of fostering dynamic dialogues between artists and writers.Moving forward, all of the Art Center’s exhibition catalogs and publications will be published by GLP and disseminated through GLP’s national distribution network. Additional projects supporting emerging art writers and experimental projects will be curated by the Art Center and produced by GLP for local and national distribution. Past GLP publications will continue to be circulated by Hyde Park Art Center. GLP’s and a selection of the Art Center’s publications will be available for browsing and purchase on <a href="http://www.hydeparkart.org/publications/">www.hydeparkart.org/publications</a>.&nbsp;Thumbnail: Photo credits: Green Lantern Press past publications. Photo by Tran Tran. The Mandorla Letters. Courtesy of Nicole Mitchell Gantt.&nbsp;One of a Kind Show Tickets On SaleNow in its 21st year in Chicago, the One of a Kind Holiday Show brings together 500 talented artists, makers and designers with thousands of happy shoppers who love art and original work. The show continues to be the best place in Chicago to find truly unique and meaningful gifts for the holidays.<a href="https://oneofakindshowchicago.com/holiday/attend/tickets">Tickets</a> available.&nbsp;<a href="https://www.chicagotribune.com/people/ct-amanda-williams-emerald-south-tulip-redlining-project-tt-1017-20221017-tl4zfzxvb5ctzj2papxf3hot7a-story.html">MacArthur grant recipient Amanda Williams’ latest public work looks at the history of redlining through 100,000 red tulips.</a>By spring, the intersection of 53rd Street and Prairie Avenue will be awash in a sea of red tulips — 6 acres of them to be exact, planted Oct. 15 by artist Amanda Williams, 2022 MacArthur grant recipient, South Side residents, and the<a href="https://emeraldsouth.org/"> </a>Emerald South Economic Development Collaborative.The neighborhood beautification is part of Williams “Redefining Redlining” project that calls attention to the effects of redlining, the practice of systematizing discrimination based on where someone lives.Via Chicago Tribune&nbsp;&nbsp;&nbsp;

CGN Art World Recap: 10/17/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419118/r6dhsixtehhsaci9jk3m.jpg"><figcaption>Prevent WWIII - Marcos Raya &nbsp;</figcaption></figure><a href="https://blockclubchicago.org/2022/10/12/chicago-public-art-group-celebrates-50th-anniversary-with-exhibition-documentary-screening/?fbclid=IwAR36wlSWLMr5C34x5MkJCrB5EiwZYySvyssLgJci917-zlPMZS1uIQWxo2Y">Chicago Public Art Group Celebrates 50th Anniversary With Exhibition, Documentary Screening</a>The Chicago Public Art Group is celebrating is 50th anniversary with an exhibition this month and other events.The group — which connects dozens of artists around Chicago so they can create public art such as murals — will have an exhibition titled “Our Passion’s Humanity” on display through Oct. 26. It will host a showing of the documentary “Pioneering Women Muralists of Hyde Park” 6 p.m. Wednesday at the Chicago Art Department, 1932 S. Halsted St., and a Bronzeville mural virtual tour starting 6 p.m. Thursday.Via Block ClubCGN note: <a href="https://chicagopublicartgroup.org">CPAG's 50th Anniversary Gala is Oct 22</a>&nbsp;<a href="https://www.nytimes.com/2022/10/13/arts/design/war-photography-addario-capa-icp-sva.html">Has War Changed, or Only War Photography?</a>Lynsey Addario began taking war pictures when the United States invaded Afghanistan in 2001. Only two-thirds of a century had elapsed since Robert Capa documented the Spanish Civil War. But to go from the exhibition of Capa’s Spain photos at the International Center of Photography to the Addario show at the SVA Chelsea Gallery is to traverse not just time and geography but a profound shift in sensibility. Capa’s pictures express his belief in war as a conflict between good and evil. In our time, which is to say in Addario’s, unwavering faith in the justice of one side has perished, a casualty of too many brutal, pointless, reciprocally corrupt wars.Via NYT&nbsp;<a href="https://news.artnet.com/art-world/the-public-can-now-access-the-statue-of-libertys-crown-after-two-and-a-half-years-and-14-flights-of-stairs-2189999?utm_content=from_auctions-registration&amp;utm_source=Sailthru&amp;utm_medium=email&amp;utm_campaign=US%204%3A30%20p.m.%20afternoon%20newsletter%20for%2010%2F12%2F22&amp;utm_term=US%20Daily%20Newsletter%20%5BAFTERNOON%5D">The Public Can Now Access the Statue of Liberty’s Crown, After Two and a Half Years (and 14 Flights of Stairs)</a>For the first time in more than two-and-a-half years, the <a href="https://www.nps.gov/stli/index.htm">Statue of Liberty</a> is opening its <a href="https://www.nps.gov/stli/planyourvisit/visit-the-crown.htm">crown</a> to visitors, offering a unique glimpse of the sculpture’s structural underpinnings, as well as a sweeping bird’s-eye view of New York Harbor.Via Artnet&nbsp;<a href="https://blockclubchicago.org/2022/10/13/chicago-based-artist-michiko-itatani-explores-efforts-to-understand-the-universe-in-new-wrightwood-659-exhibition/?fbclid=IwAR2DTAArSWUN2xJXUU5192g_J-GTbhV1Fq-obceEF4v5pEzo8l51ddTaOds">Artist Michiko Itatani Explores Efforts To Understand The Universe In New Wrightwood 659 Exhibition</a>More than 60 paintings and drawings showing local artist Michiko Itatani’s efforts to understand the universe are now on display at Wrightwood 659.The “Michiko Itatani: Celestial Stage” exhibition features dozens of Itatani’s signature oversized paintings juxtaposed with her drawings the size of typing paper. It’s on display through Dec. 17 at Wrightwood 659, 659 W. Wrightwood Ave.Via Block Club&nbsp;&nbsp;</body></html>

What We're Reading: 10/13/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419118/vpx2fipswww8k5gmrdhj.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/waterways-closing-reception">Waterways | Closing Reception</a>Reception: Friday, October 14, 4 – 9&nbsp;pmGrace Jane&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419119/dbx7tm519h9ykikzvenq.png"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/face-in-the-crowd">Face in the Crowd</a>Opening: Friday, October 14, 5 – 8&nbsp;pmCircle Contemporary (Arts of Life)&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419120/hia8qradyowyrauwsmin.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/mitch-clark-riff-driven">Mitch Clark: Riff Driven</a>Opening: Friday, October 14, 5 – 9&nbsp;pmOliva Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419121/webbj1vgdmd3togoh4rq.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/keelan-mcmorrow-endless-struggle">Keelan McMorrow: Endless Struggle</a>Opening: Friday, October 14, 6 – 9&nbsp;pmElephant Room Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419121/xl9kszd3e9tecu9uw5ok.png"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/can-you-see-me">Can you see me?</a>Opening: Friday, October 14, 5 – 7&nbsp;pmWeinberg/Newton Gallery&nbsp;&nbsp;Top image courtesy of Grace Jane Projects&nbsp;</body></html>

New Exhibitions October 14

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419118/oqqmpwhfp28knaospof7.jpg"><figcaption>Amanda Williams</figcaption></figure><a href="https://www.rhoffmangallery.com/news/amanda-williams38">Amanda Williams one of MacArthur Foundation's 25 New 'Genius' Grant Winners</a>The 25 winners of the fellowship, announced on Wednesday, study things as small as molecular materials and as vast as outer space. They are esteemed in their fields, if not yet all household names. And now, in addition to being publicly celebrated for their work, they will have more funding to keep it going.Known colloquially as the “genius” award — to the sometime annoyance of the John D. and Catherine T. MacArthur Foundation — the MacArthur Fellowship comes with a no-strings-attached grant of $800,000 to be awarded over five years.Via NYT and Rhona Hoffman Gallery&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419119/fowppq8ivzvtx8u8xn2i.jpg"></figure>Western Exhibitions to Open a Suburban SpaceScott Speh announced he is opening a second space In Skokie in November, with a show celebrating the gallery's long relationship with artist Geoffrey Todd Smith. Sweet 16: 16 years of Geoffrey Todd Smith at Western Exhibitions opens at (northern) Western Exhibitions on November 12.&nbsp;&nbsp;<figure class="image"><img><figcaption>The College of DuPage Warhol Public Pop Art Challenge Rendering, courtesy of the McAninch Arts Center &nbsp;</figcaption></figure>McAninch Arts Center Announces "The College of DuPage Warhol Public Pop Art Challenge: 15 Minutes of Fame"Following the success of the summer 2021 blockbuster exhibition, “Frida Kahlo: Timeless,” the Cleve Carney Museum of Art (CCMA) and the McAninch Arts Center (MAC) at the College of DuPage (COD) will present “Warhol: Featuring Andy Warhol Portfolios: A Life in Pop / Works from the Bank of America” June 3 - Sept. 10, 2023. In advance of the exhibition opening, CCMA and the MAC announced a new public art project, “The College of DuPage Warhol Public Pop Art Challenge: 15 Minutes of Fame,” before an enthusiastic room of more than 100 community leaders in a partnership breakfast held Oct. 2. Those in attendance as prospective partners ranged from village mangers, elected officials, libraries, park districts, business owners, and economic development professionals from across 18 communities, each seeking to explore opportunities for potential community collaboration with the exhibition. Organizations throughout DuPage County participating in the public art project will select four notable members of their community, whether it be a celebrity, a teacher, a local hero, or anyone making a positive impact on the community. Their headshots will then be transformed into a colorful Warhol-styled mural to be displayed in highly visible locations throughout the community, such as an exterior wall or window.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419120/phovrccy3pqtxnqukd0i.png"><figcaption>Sentrock</figcaption></figure>All Star Press Releases New Southside Print by Sentrock"Southside" Designed by SentrockFor sale for $200.0024" x 18". Edition of 40. 7 Color Screen Print 160 lb. Mohawk Superfine Bright White. Hand Deckled Edges. Signed and Numbered by ArtistEach print is a completely unique, one-of-kind color variant. Printed by Fugscreens StudiosCLICK HERE TO <a href="https://r20.rs6.net/tn.jsp?f=001IaIoEMoLgvU2A4l0ILzPGMfISA6cjRNxaTpgxs0RGiXOgVssvWi9A7CTDzHlqyrcKCraI6lHihP8tk7qrk4uHHRfrH2cQeu9Jtmpv0BRu84v4Fdfw8n08lPqPf6-o0u4yZqqKSwt1gXGfIAJDF0_pJgWspZ_40_AjTm4Sv77xBO0sdrbNhwoyn4sW4DhcAwE&amp;c=sS50ubAZB797z52mZJ4IhCbYs4fvu6eXImu7yzDBYe-0IGn9oLlT3w==&amp;ch=1alUjMvDpA95vZk4qliOXEXHeghJQohr-rOm56Ht-vI1jcWScvCbSg==">VIEW</a>&nbsp;Public art project under Fullerton ‘L’ stop honors DePaul University’s 125-year historyThe grand completion of a multi-year public art project will be celebrated Saturday, Oct. 15 in a dedication of 25 murals that wrap gray pillars supporting the Chicago Transit Authority's Fullerton 'L' station with colorful, 10-foot-tall paintings representing the history of DePaul University.The public ceremony for “The Story of ‘The Little School Under the ‘L’” — Under the ‘L’” will take place at 10:30 a.m. by the pillars located adjacent to DePaul's Cacciatore Stadium and Wish Field. Some of the ground-breaking people who appear in the murals will attend, including DePaul women’s basketball head coach Doug Bruno and Olympic track athlete Mabel “Dolly” Landry Staton. The dedication is open to the DePaul and Lincoln Park communities as part of the university's Alumni and Family Weekend.A vision of muralist Brother Mark Elder, C.M., a faculty member in DePaul’s Art School, the project began in 2016 and completed this summer. It features murals that memorialize key figures and moments in the university’s 125-year history, a beginning mural discussing the project, and an “End of Trail” mural that honors those who contributed to the project. Some of the prominent DePaul figures depicted in the murals include legendary DePaul basketball coaches Ray Meyer and Doug Bruno, basketball hall of famer George Mikan, and Chicago’s first archbishop Patrick A. Feehan. Its completion after more than seven years coincides with the university’s year-long celebration of its <a href="https://click.agilitypr.delivery/ls/click?upn=WnlxzGiPU4c-2FXFdSZh7-2Frc3qf6Bh3XtM8EyTPKkfUGo-3D5DYT_BYLPtpUivDHORxxkVXshLCRT3wjV7CgXbLJWP9J5MP9LJ6jv7-2Bb0c97UF1yE1Xei4UgZ2k898BXqHr17MShzwBfEg5-2B6o3bs9eq-2BNUwEpmjKOSEug2WocsguIUy3C7mToyMItYRGsCriobcmd6pkvXQ-2B-2FQ2ZLLOTameN9FgYBxJHT8mkm1-2Fe5ukHFl-2FLzf0z3D93COcMIaUJ83BwHgYr3sihWVhrt85fpTSVBFB6bDPenEKFUCjxb2Zu6tj8LzUMHSwkv-2B8Nyw8IyxJPZQ-2BFbC4Vky-2FaEdgWp-2FvvSVMbq3slHHlBB19nGj17ADY3yMYleDJxjM-2BLCOIFHuhpYlRuRCIfwtKfjlE66nJda1tNc98d-2FMo82bt6LyhV-2FLRd5elMVRtMnVOrV6YKzQN-2FbBfXRKxXRJhvpV845mv1-2BFyeVw83WdRQ7MFZsc72e8SLXXIJ6NRJl28iG1xcy4ghcr8ogw-3D-3D">125th anniversary</a>.&nbsp;</body></html>

CGN Art World Recap: 10/13/22

<html><head></head><body>By GINNY VAN ALYEAIn the 1980s when CGN was founded, throughout the decade not only did the number of galleries explode, but a groundbreaking, international art fair in Chicago was a game changer that would impact the city and region’s cultural life for years. Amidst all the energy and international attention, many of today’s art world leaders were just getting started.When I arrived at CGN in 2002, 20 years after the magazine was founded, there were still many references to ‘in the ‘80s,’ around the office and in galleries. Considering that much of what exists in Chicago and the Midwest’s art community today was built on what was happening four decades ago, for this anniversary issue I wanted to share some first–hand recollections of what life and art in Chicago was like when CGN began. Those I spoke to remember it as a critical time of art creation, experimentation, collecting, excess, and some fun. It’s a privilege to be able to record these memories now for the decades to come.&nbsp;&nbsp;*<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419118/u1m5y2roodsls72qqmeu.jpg"><figcaption>David Hockney and Richard Gray, 1984, at the opening of David Hockney: New Work, at Richard Gray Gallery, Chicago.</figcaption></figure>PAUL GRAY – GRAY“Chicago has been a fertile environment in which to grow a gallery. When my father Richard first opened the gallery in 1963, the community of serious, active collectors of Contemporary and Modern art already included such luminaries as Shapiro, Horwich, Bergman and Alsdorf who, together, only a few years later helped found the MCA. Among the already established contemporary galleries were Goldowsky, Frumkin, Feigen and Fairweather-Hardin. The Arts Club had, since early in the century, been presenting artists like Brancusi, Léger and Dubuffet to American audiences for the first time. By 1980, when Art Chicago was first held, the combination of artists, galleries, museums and collectors attracted nearly 100 exhibitors from around the world and quickly doubled in size along with the gallery scene.&nbsp;I joined [Richard Gray Gallery] in 1982 as a new generation of collectors including Manilow, Edlis and Elliot were building now-legendary collections. That decade saw the art world begin to globalize as events like Art Basel and Art Chicago inspired collectors and dealers to broaden their horizons. American and European collectors still dominated the market, but Japanese buying and several dozen new contemporary museums emerged around the world as powerful influences on the market. &nbsp;It matters where a gallery is located, but in truth, no ambitious gallery lives by the local market and this has been true forever. Look at the Art Institute’s world famous Impressionist collection–mostly acquired by Chicago collectors from European artists and dealers. Some of the greatest collectors make their homes and fortunes in places where there are few galleries and a compelling program draws its followers from wherever they are. I believe that we have never seen more than 1/3 of our annual business done with local collectors and in most years it is closer to 20%. This isn’t a criticism of Chicago. The same holds true for galleries in New York, London and elsewhere. Part of the excitement of collecting is discovery and learning, and this drives us out into the world in the search. &nbsp;The most profound changes I’ve experienced in Chicago and the art world at large during the past 40 years have come recently–primarily in the past decade. In 1980–in spite of a diverse population, the presence of one of the great art schools in the country and the many artists living and working here–you might have been able to name two Chicago artists of color, and possibly no women, who’d achieved something of a bold-face name reputation. Economic viability as an artist was totally out of reach for them. Our gallery was just one of the significant art world players whose overwhelmingly white male program had for decades helped make this true. Today almost every one of the many famous artists from Chicago is Black and most are financially thriving. The Board of the Art Institute is chaired by a Black woman, and the Guggenheim’s Deputy Director and Chief Curator Naomi Beckwith is another whose career was shaped, in large part, at Chicago’s MCA. The contributions being made by groundbreaking artists– such as Amanda Williams and Torkwase Dyson, Kerry James Marshall and Theaster Gates, among many, many others–will change forever how we understand art, ourselves and our world. This provides a sense of adventure second to none we’ve experienced, or perhaps even imagined.”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419119/f5dkez5kmrwv3kckrcgc.jpg"><figcaption>Rhona Hoffman in her gallery in 1986, located at the time in River North. Photo: Chicago Tribune.</figcaption></figure>RHONA HOFFMAN – RHONA HOFFMAN GALLERY&nbsp;“The Chicago art world in the 1980s reflected the era. It was exciting, optimistic, and also successful in terms of business.There were wonderfully intelligent collectors who thought about many things and who were particularly interested in the art of their time. They read about art, bought the art, talked about the art with each other. Furthermore they supported the Chicago galleries, and most of the museums in the city with their money and with their presence.”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419120/bgsanuvvnvxset6bftsu.jpg"><figcaption>Gallery partners Bob Zolla and Roberta Lieberman on the cover of the Chicago Tribune’s Style Section in 1988.</figcaption></figure>WILLIAM LIEBERMAN – ZOLLA/LIEBERMAN GALLERYIn the ‘80s I started working at the gallery part-time. Back then there were hundreds of people–collectors, artists, critics–who would show up on weekends. My mother, Roberta Lieberman, was doing these fabulous shows in that space with artists outside of Chicago. She would go to New York to get these major shows and fill the space with really interesting work. Nobody else in Chicago had this kind of space yet: 10,000 square feet, tall ceilings, and freight elevators. We could do anything. You didn’t have to go to New York, you could come to River North.There were a lot of interesting people around the neighborhood at that time, everyone from Bill van Straaten doing fabulous print shows, to critics like Dennis Adrian and Franz Schulze. My mother would send [her partner] Bob Zolla to sit in front of the MCA to wait and get curators to come over to the gallery. They would! Then my mother and Bob would make these elaborate lunches for them.Phyllis Kind’s gallery was really amazing. She had the vision with the Chicago Imagists. Man, people were buying so much work by Roger Brown, Jim Nutt and Ed Paschke.&nbsp;I learned a lot, from everyone from Donald Young to Mary Jane Jacobs. I was still making pottery then at Northeastern Illinois University and also teaching it at Loop College, which turned into Harold Washington. This is just what I can remember. There are so many bits and pieces. A lot was happening at a time when I was young and wanted to take it all in.&nbsp;&nbsp;CARL HAMMER – CARL HAMMER GALLERYChicago Gallery News and I share a similar history regarding the number of years we’ve both existed. My gallery opened in 1981 and was located in the 620 N. Michigan Ave. gallery building, which housed a lot of the big names in Chicago at the time (Richard Gray Gallery, H&amp;H Modern, Phyllis Kind &amp; others). Most of the building consisted of established galleries, so it was a great place for me to start out, despite my size and experience.The gallery’s name, when opened, was Hammer and Hammer/ American Folk Art. It was there that I bumped into the amazing Lee Godie, who saw the area as a prime place to sell her work. Though it was a small space, the location provided an exhilarating view of the Chicago fine arts scene, let alone being a short distance from the Michigan Ave. bridge over the Chicago River. I was still teaching high school, and each day I would beat it down to the 620 location from Evanston after I was finished teaching for the day. The activity of Michigan Ave. made the 620 building always buzz with traffic and interaction between the galleries. I was quite disappointed when (later) the bigger, better-known galleries at that time started relocating to a strange, out-of-the-way location called River North before I moved there myself. It was a very memorable beginning to my gallery’s history.&nbsp;FRANK PALUCH – PERIMETER GALLERYOur gallery opened around 1982. We were in the building that eventually burned in1989 [in the River North Fire.] It really had been a scene.&nbsp;I think now, the world is just different. People see art differently and they want everything to be like their Amazon experience. It’s got to be a question for galleries of how do they give some of that experience to clients? I guess some of the answer continues to be the dominance of the art fair.&nbsp;I remember when Mark Lyman worked with John Wilson at Art EXPO. Mark was a potter, and he knew he wanted to start an art fair that highlighted works that otherwise weren’t widely shown in that setting: fine contemporary craft. He called it New Art Forms, before it eventually became SOFA. There wasn’t anything else like it, and it just added to the strength of the Chicago art fair scene.We closed the gallery a few years ago, but at Perimeter I didn’t think of the work we showed as craft necessarily, it was all art to me. I can’t tell you how many calls I get now from people saying David Zwirner and Larry Gagosian are showing ceramics now. Even Theaster Gates, he’s conceptual but he’s a sculptor. All that art is getting the attention it deserves.”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419120/trdwqym2aaerfpxrao2a.jpg"><figcaption>Helen Dunbeck, Lynne Warren and Jason Pickleman attending the Randolph Street Gallery benefit in 1989</figcaption></figure>JASON PICKLEMAN &nbsp;– JNL DESIGNRandolph Street Gallery was the center of my ‘80s art life. I saw every exhibition, and was in the audience of many—often interminable—performances. Because there was no internet (and thankfully no email!) we relied on word of mouth, hand-posted flyers, and just showing up to find out what was going on. Not far away in River North, I didn’t realize that seeing Jeff Koons and Richard Prince at Feature, or Barbara Kruger at Rhona Hoffman Gallery was going to be a foundational art experience. But they were. And how I wish I could go back in time—and buy work from all of them!&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419121/jie1arnptxjtxef96ybr.jpg"><figcaption>Somewhere in the 80s... Sally Schwartz (far left) with two friends and Tony Karman (far right)</figcaption></figure>SALLY SCHWARTZ – FOUNDER, RANDOLPH STREET MARKET“What I probably remember most during the 80s in Chicago was having some seriously crazy times with friends who worked for John Wilson [founder of Art Expo], from Tom Blackman to Tom McCormick, Tony Karman, Terry Karpowicz, and the parties. There were great parties, and then after parties at blues clubs around Chicago. Jason Pickleman’s dance moves were center stage! It was a time of conspicuous consumption, lavish food, Cristal Champagne, and big shoulder pads. People were buying art like crazy. I spent most of my time at Smart Bar, Metro, Exit, Limelight, and seeing great live jazz on Lincoln Park West.When I think of what’s different now, the city art scene isn’t just in River North, it expanded to Pilsen, Bridgeport, Hyde Park, West Loop and throughout the suburbs. It seems like every town or neighborhood has an art center and art feels bigger than back then.”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419122/ustslyo6myghqjcytrws.jpg"><figcaption>The River North Fire, April 1989. Photo: Jim Skrabel</figcaption></figure>TONY KARMAN – FOUNDER, EXPO CHICAGOThe Chicago International Art Exposition launched in 1980 and brought the art world to Chicago at the pre-renovated Navy Pier. The Rotunda, now called the AON Ballroom, hosted the leading galleries with others stretching throughout the east end and into the two pier sections that were later removed. At the time, I was working with the Lakeside Group, the producers of the exposition. I have many memories of rushing to cover artwork with plastic when birds and storms passed through the many holes of the old sheds. Talk about old Navy Pier to a dealer that did those fairs, and they wax poetic about that time. Ask me, and I remember the hectic scrambling and frustration. &nbsp;The Museum of Contemporary Art was on Ontario, with the popular Inkwell bar nearby, the Arts Club of Chicago was further west across Michigan Ave., and Lew and Susan Manilow’s loft above the legendary Randolph Street Gallery was (for this not-well-travelled young man) my vision of what SoHo in New York must be. River North was the epicenter of the gallery district, and the streets were consistently packed with crowds during Friday night openings. Galleries were located throughout the neighborhood, with a concentration located in a one-square block historic Louis Sullivan designed warehouse that was across the street from the Green Door Tavern. Sadly, a fire broke out in April of 1989, destroying the building, the nine galleries that were located inside and irreplaceable artwork that was estimated at $50 million. That moment literally, and figuratively, gutted our “Chelsea” moment but sparked a new wave of galleries pioneering the West Loop.Upon reflection as a young 20-something living in a very small studio on Division and Astor, the city seemed much smaller and the nightclub circuit served as an important way to connect to friends. Clubs like Limelight and OutTakes flourished in River North; Shelter and China Club were located in the “outlying” working district called Fulton Market, and Northside clubs like Metro, Smart Bar, Neo’s were also always in the mix. Outside of the club circuit, I was always in River North and Lakeview, and I loved Pilsen and Hyde Park to get away.Now, I remember life as oddly wonderful pre-internet, social media and cellphones. You had to rely on serendipity, in-person meetings, your pocket calendar, phone calls and answering machine messages to connect. Handwriting was still important, and everyday computers were just starting to be used. Most important, we were simply out more exploring museums, galleries, restaurants, film and music throughout the city. It was not better or worse, just different. Despite all that has changed and shifted over the last 40 years, Chicago remains consistent, rich with diversity and creativity while offering much to those that want to explore. &nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419122/gqmn70jryj0bpoe5radb.jpg"><figcaption>Gary Metzner’s student ID from 1984&nbsp;</figcaption></figure> GARY F. METZNER – SOTHEBY'SSenior Vice President: Head of Office&nbsp;In 1986-88, “A lot was going on. I was staying busy getting my Masters in art history at the University of Chicago, while also working part time at Hokin Kaufman Gallery, which was where Rosenthal Fine Art is now on Superior street in River North.”&nbsp;TONY FITZPATRICK – ARTISTI started my career in the East Village in NYC. The 80’s were the decade that first afforded me a chance to make a living at what I did, but I don’t have a lot of nostalgia for it. The 80’s were cynical, avaricious and careerist to the point of being revolting. In New York I didn’t understand the “Order“ of things. Chicago was not much different, though not nearly as high-stakes.I was a rube in this setting–happy to be able to support myself, but I bristled at the gate-keepers, “critics”, taste-makers, and worst of all dealers; who expected us to come “hat-in hand”, demonstrating&nbsp; an obsequious brand of fealty. I wasn’t playing. I opened my own galleries and concentrated on artists whom I thought were undervalued.The 80’s did us no favors. Good riddance to the Limelight, Parachute pants, and MTV haircuts. That said, Chicago is the place I love the most in the world. It is the story that keeps beginning.&nbsp;</body></html>

Where Were You in the '80s? 

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419118/bhktxgqxt3eoingf7sxy.png"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/mikey-mosher-phantasmagoria">Mikey Mosher: Phantasmagoria</a>Opening: Friday, October 7, 6 – 8&nbsp;pmEpiphany Center for the Arts&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419119/xwhd2itwlkxatgtyi4k4.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/the-rockford-midwestern-biennial-ba5f49f9-08d1-4a0f-97b2-3007aa873c56">The Rockford Midwestern Biennial</a>Exhibition Begins October 7Rockford Art Museum&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419120/lwga8iivpyd5gt4cevor.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/passage-new-works-by-griffin-plumer">PASSAGE: New Works by Griffin Plumer</a>Opening: Friday, October 7, 5 – 9&nbsp;pmPovos Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419121/puo8geqs7eb6wy3h2noz.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/first-friday-artist-reception">First Friday&nbsp; - Artist Reception and Arturo Reyes October Exhibition</a>Opening: Friday, October 7, 6 – 8&nbsp;pmTriple R Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419121/hwkmhcq0huubkizq0wvl.png"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/dianne-l-kittle-the-marvelous-transformation-of-the-ordinary">Dianne L. Kittle | The Marvelous: Transformation of the Ordinary</a>Opening: Saturday, October 8, 4 – 6&nbsp;pmPerspective Photo Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419122/i9o1ldypa4zlzco13aah.jpg"></figure><a href="https://www.chicagogallerynews.com/events/owen-mchugh-and-abstraction-in-the-permanent-collection">Owen McHugh and Abstraction in the Permanent Collection</a>Opening: Saturday, October 8, noon – 4&nbsp;pmUkrainian Institute of Modern Art (UIMA)&nbsp;&nbsp;</body></html>

New Exhibitions October 7 & 8

Family Days start October 8. Visit the MCA on the second Saturday of each month for artist-led activities.Open to families of all kinds and configurations, Family Day features workshops, performances, and other activities designed and led by Chicago artists.<a href="https://visit.mcachicago.org/events/family-day-telling-our-stories/">Learn more</a>&nbsp;On October 8 the day's schedule includes:&nbsp;• Artist-Led Workshop11 am–3 pm Create mobiles that tell stories inspired by Alexander Calder’s exhibition <a href="https://visit.mcachicago.org/exhibitions/intricate-calder-and-the-poetry-of-science/">Intricate: Calder and the Poetry of Science</a> with Chicago artist <a href="https://www.miriambisby.com/about">Miriam Bahena-Cardona Bisby</a>.&nbsp;• Artist-Led PerformancesSoriBeatBetween 11 am and 1:30 pm – Edlis Neeson Theater (Please note masks are required in the theater.)Listen and watch <a href="http://soribeat.org/programs-soribeat/">SoriBeat</a> perform. SoriBeat is the youth Korean music ensemble presented by Korean Performing Arts Institute of Chicago (KPAC). KPAC is dedicated to helping SoriBeat youth members engage in traditional Korean cultural and performing arts, develop cross-cultural understanding, and ultimately nurture youth leadership.• 11–11:30 am: SoriBeat drumming and dance performances• 1–1:30 pm: SoriBeat instrumental music performances&nbsp;Drag Queen Story Hour1:45–2:45 pm Kovler AtriumJoin <a href="https://www.facebook.com/storytimewithdragqueens/">Drag Queen Story Hour</a> for story performances and dance breaks. This is an English and American Sign Language Interpreter performance.&nbsp;<a href="https://visit.mcachicago.org/events/family-day-express-yourself-through-movement/">Read about the November date here</a>&nbsp;

MCA Family Days to Return This Month

<a href="https://www.thedailybeast.com/inside-the-secret-very-expensive-world-of-hollywoods-star-art-collectors">Inside the Secret, Very Expensive World of Hollywood’s Star Art Collectors</a>In the 30-odd years Barbara Guggenheim has worked as Tom Cruise’s art adviser, a theme has been established: “He collects works that are very intense, that have a lot of movement and that are very positive, and I think that that’s who he is,” Guggenheim told The Daily Beast.No kidding—over a career spanning decades, Cruise has solidified his reputation as one of the hardest-working, hardest-driving actors in the blockbuster business; a relentless force of nature who propelled Top Gun: Maverick, the juggernaut sequel to the ’80s classic, to box office Valhalla this year and who also once jumped for joy on Oprah’s couch.Very little is known about Cruise’s art trove. Guggenheim, invoking her role as a fiduciary, declined to answer specific questions about the size and contents of the actor’s collection. Undeniably, though, for celebrities of Cruise’s caliber, even the reported existence of a robust yet mysterious art collection can communicate creative dexterity in a way few other material things can.Via The Daily Beast&nbsp;&nbsp;<a href="https://www.newyorker.com/magazine/2022/09/26/the-case-of-the-disputed-lucian-freud">The Case of the Disputed Lucian Freud</a>“After I bought the painting, I went home and put it in the rest of my collection and I forgot about it,” Omar told me in French when we met, earlier this year, at an expensive hotel on the lakefront in Geneva. He wore a Harrods baseball cap and was carrying a plastic bag. For years, Freud’s searching, candid portraits went against the overwhelming appetite of the contemporary art market, which was for abstraction. Although he was a famous painter in England, in part because of his surname (Sigmund, his grandfather, went to London as a refugee in 1938), Freud was a respected rather than a fashionable artist in Europe. In 2002, Omar watched a program about his career on Swiss television, which prompted him to learn more about the painting. So he put it on eBay.Via The New Yorker&nbsp;<a href="https://news.artnet.com/art-world/artist-derrick-adams-is-known-for-depicting-black-people-at-leisure-now-he-wants-to-create-a-residency-dedicated-solely-to-rest-2185467">Artist Derrick Adams Is Known for Depicting Black People at Leisure. Now, He Wants to Create a Residency Dedicated Solely to Rest</a>Art is transformative. Just ask the Baltimore-born, Brooklyn-based artist Derrick Adams. His work has the power to captivate us and shift our perspective, offering the opportunity to dream anew.A participant of the Robert Rauschenberg Foundation Residency in 2019 and the recipient of the prestigious Gordon Parks Foundation Fellowship in 2018, Adams is best known as a painter, printmaker, and multimedia artist. Perhaps less well documented is his robust community-based practice beyond the studio.&nbsp;Via ArtnetImage: Portrait of Derrick Adams by Christopher Garcia Valle.&nbsp;<a href="https://www.theartnewspaper.com/2022/10/03/biden-re-establishes-presidents-committee-arts-and-humanities-trump-resignations">Biden re-establishes presidential arts committee whose members resigned en masse over Trump’s response to Charlottesville riots</a>A presidential committee on culture that was disbanded five years ago after all its members <a href="https://www.theartnewspaper.com/2017/08/18/presidents-committee-on-the-arts-and-the-humanities-members-resign-en-masse-in-protest">resigned</a> in protest of then-President Donald Trump’s response to a deadly rally of far-right extremists in Charlottesville, Virginia, has been re-established by President Joseph Biden. In an <a href="https://www.whitehouse.gov/briefing-room/presidential-actions/2022/09/30/a-proclamation-on-national-arts-and-humanities-month-2022/">executive order</a> on 30 September that, among other things, proclaimed October to be National Arts and Humanities Month in the United States, Biden re-established the President’s Committee on the Arts and Humanities.Via The Art Newspaper&nbsp;

What We're Reading: 10/4/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/bkwg2d2m9wlhttq9cjoi.jpg"><figcaption>Pictured on the wall of the author’s apartment: found signs hung as a diptych.</figcaption></figure>&nbsp;By BIANCA BOVAThe art you love and the art you wish to live with—the art you are capable of living with—are not promised to be the same. I learned this working as a gallery officer at the Museum of Contemporary Art, Chicago about a decade ago. I was posted in Warhol and Marisol, an exhibition examining foundational works in the museum’s permanent collection by the two luminary artists. The small space was filled with sculptures and paintings that continually rewarded the sort of slow, deliberate looking that long days working on the museum floor allowed for, and I was genuinely happy with the assignment. One work by Marisol in particular, Andy, a portrait of Warhol that included a worn-out pair of his shoes, delighted me above all else. The bodily immediacy of the leather, retaining a broken-in contour of the artist’s feet lent, for me, a sense of sacredness to the space.&nbsp;One evening, working an overnight shift, I was surprised to find myself hesitating to enter the exhibition, suddenly overcome by uneasiness. Its locus was another Marisol sculpture, Self-Portrait. Self-Portrait features seven heads, some bearing partially-cast faces, and a disproportionate number of limbs and breasts distributed across a long, shared block of a body. It also contains an element that may be interpreted as a sort of profane counterpoint to the sanctity I saw in Andy’s shoes. The sculpture’s materials list has the startling inclusion of “human teeth,” which are indeed visible in at least one of the heads’ open mouths. A member of the preparatory staff had shared with me an (unconfirmed) piece of trivia, that Marisol had, unaided by a dental professional, extruded some of her own teeth for incorporation in the work. Alone in the dark with the sculpture, my only thought was: How could this have come from a private collection? Who has the equanimity to encounter pulled teeth in art on the way to the bathroom, in the middle of the night?&nbsp;Until that late night encounter with Self-Portrait, I had never given the motivations of art collecting any serious thought; but from then on, it has remained for me a point of obsession. When you look past mere personal taste, there is a spectrum of collecting practices, ranging from the rigid policy of “40 artists and 100 works” famously adhered to by mega-collectors Stefan Edlis and Gael Neeson, to the more freewheeling approach I got to know during my years in the orbit of Lawrence &amp; Clark, the beloved Chicago collection gallery. Add to these the oft-cited 30/30/30 rule: that when building a collection, one should hedge their bets and aim for 30% of the art to rise in value, 30% to retain a stable value, and accept that 30% may lose value. Regardless of the theories and formulas and forecasts collectors may rigidly adhere to, one prevailing principle seems universally true: you don’t choose the art, the art chooses you.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/ed85hcucoyygwoimpcgc.jpg"><figcaption>An editioned print by Jeremy Deller</figcaption></figure>&nbsp;Despite or in spite–I don’t know which–of my preoccupation with collecting, I decided from the start that I would not buy art myself. In what I’ve come to think of as a kind of payoff for not having any life outside of the art world, as well as a testament to the astonishing generosity of artists, I have somehow still managed to build a modest collection. Two paintings, by Sarah Leuchtner and Michelle Grabner, hang on the wall above my bed, mirroring the pillows below and their suggestions of bodies, while an early typographic work in stainless steel by Jacqueline Surdell occupies the floor between the windows and the radiator. In the dining room, which doubles as my home office, a large-scale photograph by Alan Cohen depicting the Illinois–Wisconsin border occupies the most prominent wall. Prophetically, the work was obtained on a long-term loan from a friend’s private collection shortly after I moved into my current apartment, and well before my curatorial practice came to include working remotely to produce several large exhibitions in Milwaukee. Also in the dining room hangs a collage by Jason Pickleman. Bestowed upon me as a gift on my 30th birthday, it is work that I had openly coveted for years, since my first visit to his studio, and which I can hardly believe I now have the privilege of living with. Flanking one side of the front door are two found lawn signs advertising bankruptcy liquidation services, hung as a diptych; visually compelling in their own right, they also serve as a daily tongue-in-cheek reminder of my own professional relationship to the affairs of auctions. On the other side hangs an anonymous black and white photograph of a woman bathing while her laundry dries above her, a era–less image that feels totemic of my twenties. On my bookcase among the exhibition catalogs is a small print by Matthias Neumann, an artist I have admired and worked with since I was a teenager, and a minimalist ceramic ghost by Polly Yates that was thoughtfully delivered to me in the thick of the pandemic, “for company,” under the pretense that you’re not alone if you have a ghost in your house.&nbsp;Notably, none of the above works were acquired from a gallery–most came straight from the artists’ studios. Many are from exhibitions jointly mounted, particularly memorable studio visits, or gifts on occasions of personal significance. And for a long time, I was certain that art collecting would remain for me an incidental practice.That changed on the last day of this year’s edition of EXPO CHICAGO. I was in an upstairs office chatting with an acquaintance about her and her wife’s art collection, when the conversation turned to a work on the show floor by an artist we both admired. I admitted that, uncharacteristically, I had been considering acquiring the work for several months, by which I meant I’d been torturing myself about spending a relatively modest sum of money on something that I wanted, but could not convince myself there was any reason I should own. At her urging–and with about 25 minutes left before the fair closed–I walked down to the booth to view it again. While I was deliberating its merits, another work in the booth caught my eye. It was a small Xerox copied monochrome on silver paper, an editioned print by the British artist Jeremy Deller.&nbsp;The print features an enlargement of an excerpt from the classified ad section published in The Guardian on Valentine’s Day 1996. Entitled 14/2/96, the ad itself was originally commissioned from the artist by curator Matthew Higgs, as part of Imprint 93, Higgs’ experimental mail art-focused publishing venture that was active in the mid-1990s. The print was produced under the auspices of Gavin Brown’s Enterprise, and released by Printed Matter on the occasion of an archival exhibition focused on Imprint 93, which Printed Matter produced in partnership with Whitechapel Gallery in 2018. At the time, I knew none of this. All I knew was that I vaguely recalled Jeremy Deller was a recipient of the Turner Prize at some point, that the print cost more than the work I had come downstairs to look at, and that I absolutely had to have it. It now hangs above my nightstand.&nbsp;“Once you start buying art, you’ll never be able to stop,” is something I have been told, verbatim, by every serious art collector I know. A member of the newly converted, I believe them. The exhilaration of acquisition unfolds across time from the heat of the moment when you recognize that a work belongs in your collection, through the anxiety of availability, the gravity of transaction, and finally the perpetual satisfaction of seeing the work on your wall day after day. The greatest collectors are those who allow themselves to be guided by these forces, and the greatest collections those which are allowed to flourish as a record of a life well-lived in the art world.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/amatyrbrrng4ttblo1pm.png"></figure>&nbsp;</body></html>

Notes on Collecting: A Young Collector Shares Her Serendipitous Acquisitions

&nbsp;<figure class="image"><img src="https://meltwater-apps-production.s3.eu-west-1.amazonaws.com/uploads/images/5e38472c6c3a3a00184b210f/image_34726430731664467397275_1664467397678.jpg" alt="Gertrude Abercrombie
Self-Imprisonment
"><figcaption>Gertrude Abercrombie, Self-Imprisonment, 1949, Price Realized: $281,250</figcaption></figure>&nbsp;Via PRCHICAGO – On September 28, Laura and Gary Maurer’s renowned collection of paintings by the late Chicago Surrealist artist Gertrude Abercrombie realized more than $2.8 million in total. With a captivated crowd packed into Hindman’s West Loop headquarters, bidders were ready to eagerly compete for the widest offering of Abercrombie paintings to ever come to market from the most distinguished collectors of her work. Remarkable prices were achieved for works that exemplified this hometown heroine’s wit and talent.“As I stepped onto the podium, the energy in the room was undeniable,” commented Hindman Vice President and Senior Specialist for Fine Art Joe Stanfield. “The opportunity to present a collection as significant as the Maurers’ was truly amazing, and the extraordinary response and results reflect how carefully it was curated.”Over the past decade, the genius of Abercrombie’s work has been discovered, and Chicago-based collectors Laura and Gary Maurer’s collection was the most impressive display of her talent. Emerging as the top lot of the sale was the supernatural self-portrait Self and Cat (Possims) (lot 14), which sold for $375,000. Celebrated for her self-portraits, this painting is exemplary of Abercrombie’s magical world, with her beloved cat Possim positioned as an important character.“It was pure magic to work with such a charmed collection and such charming collectors,” commented Zack Wirsum, Hindman Director and Senior Specialist for Post-War &amp; Contemporary Art. “Sharing Gertrude’s unique vision with so many new eyes is what auction dreams are made of.”&nbsp;<figure class="image"><img src="https://meltwater-apps-production.s3.eu-west-1.amazonaws.com/uploads/images/5e38472c6c3a3a00184b210f/image_8378573741664467397279_1664467397602.jpg" alt="Self and Cat (Possims)
Gertrude Abercrombie
"><figcaption>Gertrude Abercrombie, Self and Cat (Possims), 1953, Price Realized: $375,000</figcaption></figure>&nbsp;Emerging as the second top performer of the day was Abercrombie’s 1949 Self-Imprisonment (lot 10), which sold for an incredibly strong price of $281,250. This painting conveys the artist’s feelings of isolation and self-doubt that show up continuously throughout her body of work. Abercrombie scholar Susan Weininger notes that it is “a powerful statement about how one’s internal deficiencies can limit external actions.” Bidders were clearly struck by the work and drove the price up to far above its $60,000-80,000 estimate. Reflecting a similar theme of insecurity, Abercrombie’s witty Blue Screen from 1945 (lot 8) grabbed the attention of bidders, ultimately realizing $225,000 against a $50,000-70,000 estimate.&nbsp;<figure class="image"><img src="https://meltwater-apps-production.s3.eu-west-1.amazonaws.com/uploads/images/5e38472c6c3a3a00184b210f/image_19966083651664467397281_1664467397710.jpg" alt="Gertrude Abercrombie
Blue Screen
"><figcaption>Gertrude Abercrombie, Blue Screen, 1945, Price Realized: $225,000</figcaption></figure>&nbsp;Strong prices were also achieved for Abercrombie’s beloved cats, owls and winding paths. Owl and Tornado (lot 16) sold for $187,500, more than four times its presale estimate, and her Siamese Cat (lot 17) also sold for $187,500, well above its $15,000-25,000 estimate. Highlighting the offering of landscapes was Abercrombie’s somber Visit at Midnight (Road Leading Home) (lot 3), which sold for 162,500, more than double its presale estimate. Alone (The Stroll) (lot 6) was another highlight which far surpassed its $30,000-50,000 estimate to sell for $150,000.&nbsp;<figure class="image"><img src="https://meltwater-apps-production.s3.eu-west-1.amazonaws.com/uploads/images/5e38472c6c3a3a00184b210f/image_84551262761664467397282_1664467397723.jpg" alt="Gertrude Abercrombie
Owl and Tornado
"><figcaption>Gertrude Abercrombie, Owl and Tornado, 1956, Price Realized: $187,500</figcaption></figure>&nbsp;Bidding for the September 28th auction was available in-person at Hindman’s Chicago saleroom, via absentee bid, telephone and online via Hindman’s Digital Bid Room and additional online bidding platforms.&nbsp;Additional information about the collection and auction results can be found <a href="https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Flink.mediaoutreach.meltwater.com%2Fls%2Fclick%3Fupn%3DhnPLvXwoDtjwatEtUAiy3kbEarr97QLH7FctEJGC8n5QAvR4kWaRRet6UA3j0X3jfMHsN2tAuHkJw5y7NjJyqad2YEDehljOsptrjyuF3LZg-2FVb3dCd1uQScgDRO29VpdQVH05Jqrc-2BjJ3OpjfuFpMpSvyXpRKJ6jNiw8ExyU9E-3D77pW_hnd-2FXc6XhLHhXCXuLbhA-2Bc8r4ZIA1Iue9CCiG8pjbmv6STIj7kzOOAkY2KgCOqyTu7HfK6ULddaW-2BI-2BSJRKc60Zh50usCZZNGpwjcdof7dE6Cr8Kr3xL-2FxrmXe-2ByxImy7eO-2BnA-2FxitCGebHF6gK7cBK0ufnB-2BSlLfxt7YH4CnVjvXBrn-2Fd5L9lkFFTDHHEassyZ2ovQjP5fhYXNcT35CPzkFFd6-2Fz-2BXRtv5kT8f4yCXuKhpmS8wnkuBzKvOBBgFDw1gc7tszTV2tO5zFu8-2Bf3yL0lsB8yrlwqWkLEZvfVz9QZE4U-2F6jncqh3Bcm6geoFVd1O6JU4kdpTiNqsJHVTaZtzumwI94tpIv82DklPVhOtuF8uIsJomYlFLZyHbFJR6-2BQ8w-2FaN2jlySiCcki0KhUEZxoli-2BYGKNehZ39xoqUc-3D&amp;data=05%7C01%7Channacunningham%40hindmanauctions.com%7Ca03d504dd13a46b7b9a908daa2e4a301%7C5db5b6d911b04ad795dba54a1de3a9b8%7C0%7C0%7C638001400123502175%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&amp;sdata=C701c1axpay5fI%2BVkU%2Bz%2Fqd%2FgoX7alF5bb3jyJhdgS0%3D&amp;reserved=0">here</a>.Read CGN's feature on the Abercrombie sale and Hindman's 40th Anniversary <a href="https://www.chicagogallerynews.com/news/2022/8/hindman-celebrates-four-decades-in-chicago-beyond">here</a>&nbsp;&nbsp;

Hindman's Gertrude Abercrombie  Sale Realizes Close to $3 Million – Double the Estimate

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/w4rlltuwzp0zgvz0g8zz.jpg"><figcaption>Joan Blaeu, Pernambco North (Praefecturae Paranambucae pars Borealis, una cum Praefectura de Itamaraca), 1662 edition. Engraving with hand coloring on paper. Museum Purchase through the Robert and Sonia Carringer Art Acquisitions Fund, Art Acquisition Fund, and funds given by Maureen Warren and Allison Hansen. &nbsp;</figcaption></figure>&nbsp;By JACQUELINE LEWISPolitical cartoons and memes and misinformation are not modern inventions. Though fake news and political satire seems like a product of today’s fraught newscycle, this type of media is grounded in the 17th-century Dutch Republic, and you can witness the proof this fall, when Krannert Art Museum explores these themes through their collection of Dutch Political Prints in <a href="http://kam.illinois.edu">Fake News &amp; Lying Pictures: Political Prints in the Dutch Republic</a>, an exhibition highlighting the visual strategies that early modern printmakers used to record historical events as well as comment on political leaders and policies, artistically executing sometimes subversive strategies to form general consensus as well as action.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/en7bnewicxcugrdu3lrt.jpg"><figcaption>Jan Wierix, The Shield of Wisdom (Le Bouclier de la Sagesse), ca. 1577. Engraving on paper. Museum purchase through the Robert and Sonia Carringer Art Acquisition Fund.</figcaption></figure>&nbsp;The exhibition displays over 100 prints and illustrated books, each full of allegories, satires, cartoon strips, maps, portraits, and newsprints from Krannert’s collection as well as national and international loans. The prints in particular depict scenes of Dutch naval power, trade, crime, war, and even the relative independence of their women. Laid out in six distinct sections, the exhibition explores the continuity and development of tactics and themes used to picture political beliefs and events, including: Dutch Lions and Other Political Animals (animal satire); Founding Fathers/Fallen Fathers (murdered politicians); Spoils of the Seas (Dutch East and West India Companies, seafaring, naval warfare) and more.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/cs5dbai2n0z1doijm7ls.jpg"><figcaption>Theodor de Bry, Pride &amp; Folly, from Design for Richly Ornamented Dish with Medallion, 1577-1578. Engraving on paper. Museum purchase through the Robert and Sonia Carringer Art Acquisition Fund.</figcaption></figure>&nbsp;The Dutch Republic, with its increasingly diverse ideas stemming from the flow of refugees and global trade, cultivated the perfect climate for this rise in political imagery. The decentralization of the United Provinces led to an inability to censor media and chronic infighting amongst various groups. Differing opinions and unprecedented artistic freedom led to this new form of expression, and as a result printmakers subverted artistic conventions from the past to create imagery full of puns and visual humor that utilized satire and parody to inform their viewers and lead them to take action. This highly visual form of media meant that even those who were illiterate could remain informed about current events and criticisms through the prints.After recently acquiring over 100 new pieces, Krannert Art Museum holds one of the best collections of Dutch political prints outside Europe, works which are primarily held in private collections or libraries. Krannert’s public exhibition of a wealth of visual political commentary allows us to observe how the past may still influence how we see our present.#&nbsp;<a href="http://kam.illinois.edu">Krannert Art Museum, University of Illinois, Champaign, IL</a>Exhibition on view thru December 17, 2022&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419115/owdrf4gnxtdnvvobo1ex.jpg"><figcaption>Romeyn de Hooghe, Arlequin sur l’Hyppogryphe a la Croisade Lojoliste. Armée van de Heylige Ligue voor der Jesuiten Monarchy, 1689. Engraving and letterpress on paper. Museum purchase through the John N. Chester Fund. de Hooghe the Propaganda Master&nbsp; has been called arguably the most important political printmaker in seventeenth-century Europe). &nbsp;</figcaption></figure>&nbsp;</body></html>

Fake News & Lying Pictures: Krannert Art Museum's Extensive Collection of Dutch Prints Reveals  a History of Creative Liars

<a href="https://www.christies.com/about-us/press-archive/details?PressReleaseID=10647&amp;lid=1">Christie's Launches Entirely New Department Devoted to Streetwear</a>Via PR &nbsp;Christie’s is thrilled to announce Department X – Sneakers, Streetwear &amp; Collectibles, a new department focused on this emerging collecting space, led by a team dedicated to auctions and private sales. Department X offers rare collectibles across a number of genres - music, fashion, art, and sports history – bringing the best of this exciting category to a new generation of collectors.&nbsp;<a href="https://www.nytimes.com/2022/09/23/arts/design/documenta-15.html?action=click&amp;algo=identity&amp;block=editors_picks_recirc&amp;fellback=false&amp;imp_id=10496306&amp;impression_id=41afbdc0-3bb1-11ed-b4c1-c165bc0acf4b&amp;index=0&amp;pgtype=Article&amp;pool=editors-picks-ls&amp;region=ccolumn&amp;req_id=144678003&amp;surface=home-featured&amp;variant=0_identity&amp;action=click&amp;module=editorContent&amp;pgtype=Article&amp;region=CompanionColumn&amp;contentCollection=Trending">The World’s Most Prestigious Art Exhibition Is Over. Maybe Forever</a>It began with a calumny, it ends with a crack-up.Twice a decade, for exactly 100 days, the world of culture turns its eyes to this midsize German city for Documenta, a giant exhibition whose intellectual ambitions and hefty budgets have ensured its reputation as the world’s most prestigious show of contemporary art. This year’s edition got off to a dreadful start in June, when its most prominent artwork, an agitprop mural incorporating unmistakable antisemitic caricatures, <a href="https://www.nytimes.com/2022/06/21/arts/design/documenta-antisemitism.html">had to be withdrawn</a> amid national outcry. The 15th Documenta now comes to a close on Sunday — not before another controversy that has seen artists, scholars and politicians trade accusations of antisemitism and racism, harassment and incompetence.Via New York Times&nbsp;<a href="https://www.nytimes.com/2022/09/26/style/andres-valencia-art-paintings.html">Six-Figure Artworks, by a Fifth Grader</a>The contemporary art world has had more than its share of young talent, but it’s tough to recall an artist who has generated as much early-career recognition as Andres Valencia.In the last year, he has gone from a relative unknown to a bona fide art phenomenon. His surrealist-style paintings were acquired by deep-pocketed collectors like Tommy Mottola and Jessica Goldman Srebnick during Art Basel Miami Beach. In June, he had a solo exhibition at the Chase Contemporary gallery in SoHo, where all 35 works were sold, the gallery said, fetching $50,000 to $125,000.&nbsp;<a href="https://news.artnet.com/art-world/charities-act-museums-repatriate-2182298">A New U.K. Law Gives Museums Unprecedented Power to Deaccession Art and Repatriate Objects in Their Collections</a>A new law in England and Wales will give national museums significantly more power to deaccession works and make progress on restitution cases.The Charities Act 2022, which is expected to come into force this fall, allows charities—including national museums—to dispose of objects where there is a compelling moral obligation to do so. Museums had previously been limited by the National Heritage Act 1983.Via Artnet&nbsp;

What We're Reading 9/27/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/tcrq4qxife1ka6uesoxi.jpg"><figcaption>Keith Haring, Self Portrait. Photo: Jason Pickleman</figcaption></figure>&nbsp;By Jason PicklemanOn November 22, 2019, a flat-bed trailer delivered a 30-foot tall sculpture to Chicago’s lakefront. Keith Haring’s iconic work, titled Self-Portrait, would, in two short days, be assembled and installed and act as visual anchor to a new memorial public park: AIDS Garden Chicago. Just east of Lake Shore Drive, and just south of Belmont Harbor, the artwork’s arrival was nothing short of a miracle. For a city known for its public art, the stealth addition to our Picasso, our Calder, and our Miro (not to mention our Kelly, Kapoor, Oldenburg, Ono, Serra; our many Hunts, di Suvero, and over-looked LeWitt) was reason for celebration. Then, the pandemic arrived. The Park was closed. Fences went up. The Lake was off limits. Chicagoans were put on lockdown. And the just-installed Haring stood silent guard along an eerily quiet stretch of what had, until recently, been one of the busiest roadways in all the city.Self-Portrait’s torso, limbs and head measure 7¾-inches thick, and are finished in a glossy, grassy green with a linear aliphatic polyester urethane—an airplane-grade exterior paint. The sculpture is set back but visible from LSD. It is approached from the west by a series of winding concrete walkways, positioned 110-feet away from the concrete embankment that separates Lake Michigan from the Park. The sculpture can also be approached easily from the east via the lakefront. Black metal benches and an oval lawn surround the sculpture.&nbsp;Prior to 2003, and specifically in the ‘60s, ‘70s, ‘80s, and ‘90s of the previous century, the area was referred to as ‘the Belmont Rocks’ and was a popular public gathering place for Chicago’s gay communities. Haring, whose short creative life was filled with both political outcry and childish joy, died of AIDS-related complications in 1990 and is often set up as emblematic of his era. Thus the choice of a Haring sculpture to stand as the artistic face of AIDS Garden Chicago is on-point, if obvious.But obvious doesn’t come easily. The acquisition of Self-Portrait was fraught with logistical hurdles: from financing to construction, a multitude of conflicts could have, and almost did, derail the project. It is testament to 44th Ward Alderman Tom Tunney, art dealer Dennis Rosenthal, Chicago Parks Foundation Executive Director Willa Iglitzen Lang, and Manager of Art Initiatives at Chicago Park District Michael Dimitroff that the project was successfully realized.AIDS Garden Chicago is the brainchild of Alderman Tunney. Originally conceived in 2003 when the Army Corps of Engineers deemed the Lake Michigan shoreline that contained the Belmont Rocks to be in need of renovation to safeguard against further erosion, the razing of the Rocks sparked the idea for a permanent memorial to the AIDS epidemic. Taking nearly 20 years, the project had its stops and starts. The financial crash of 2008 nearly killed the project, as did COVID-19 in 2020. Tunney’s persistence is Chicago’s gain.&nbsp;The sculpture is commanding. Depending on one’s proclivities, the depicted faceless figure is either marching, stomping, playing, or protesting. People will see whatever they want within the reductive humanoid form. Haring, in his brief career, excelled at both direct messaging and vague graphic suggestion. To wit, someone suggested to me that the right out-stretched arm of the green figure, when seen in profile, resembles an erect penis. You see what you are ready, or want, to see.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/omk73tl2atadnyzy3xgw.jpg"><figcaption>The sculpture as seen in profile</figcaption></figure>&nbsp;Self-Portrait is dated 1989. According to Rosenthal, a small, cardboard maquette by Haring was used as the model for the sculpture, which was fabricated in Rhode Island by Amaral Custom Fabrication—a vendor recommended by the Keith Haring Foundation. ACF, as Amaral is often abbreviated, has produced more than 400 sculptural works assigned to Haring. Self-Portrait, itself, has been fabricated in multiple sizes. My research indicates a 2-foot tall version exists (in an edition of 10, with 2 APs), as does a 4-foot version (in an edition of 7, with 2 APs), an 8-foot version (in an edition of 5, with 1 AP), as does a 12-foot version (in an edition of 3, with 1 AP). And now a 30-foot version in, I’m told, an edition of 1 (without an AP). Along with Haring’s name, the date “1989”, and a cryptic circle within which is drawn “+” (a graphic symbol deployed by Haring on many of his signed works), ACF has placed its own lower-case initials on the circular base of the sculpture—a well deserved signature of communal authorship.According to my crack-pot analysis, the figure leans forward at a 75-degree angle from the ground, necessitating an incredibly complex internal engineering that is all but invisible in the finished work. The reductive and planar simplicity of Self-Portrait is one of the sculpture’s greatest accomplishments. The left leg, torso, downwardly curving left arm, neck, and oddly rounded head all reside on a single plane. The sculpture’s right arm, arching up most phallically, creates a modest seam to the vertical plane of the torso, the intersection of which is technically visible by two bolts in the underside of the arm. The figure’s raised right knee appears to be secured similarly, although I’m sure the architecture of the figure’s internal structure belies a deeply impressive, although unseen, set of joinery.&nbsp;ACF is known for their quality workmanship. The smoothness of their finished surfaces is often cited as the pinnacle of the craft. Roy Lichtenstein has been quoted as greatly admiring the spectacularly slick outer layers that ACF produced for many of his large-scale brush stroke sculptures. Claes Oldenburg is noted as being the first visual artist to commission ACF’s services. Lore has it that Oldenburg showed up with a small maquette for his (now) iconic Spoonbridge and Cherry (Minneapolis Sculpture Garden) and asked if Paul Amaral could produce it to a grand scale. At the time Amaral was only producing custom aluminum racing boats, not sculptural objects. In an oft quoted response with prophetic implications, and no hint of irony as to what the future was to bring, Amaral replied to Oldenburg, “What’s a maquette?” [ed note: A maquette is a sculptor’s small preliminary model or sketch]. Amaral, the master ship builder, knew nothing at the time of contemporary art. All of that changed with Oldenburg’s visit. Amaral caught the art bug and (mostly) ditched the boats. His Rhode Island-based shop now fabricates work for artists such as Jeff Koons, Richard Woods, and Hank Willis Thomas, among many others.&nbsp;----------------------------“It is hard to control the thing once it has come out and entered the world. But only I can bring it to the world. The world doesn’t want these things and doesn’t need these things, but when they are here, they are here. Their importance all comes from what other people do with them. If these things are put into a situation they add something to it.”—Keith Haring, 1982As quoted in Keith Haring Journals, Penguin Classics Deluxe Edition, ©1996, page 103.----------------------------&nbsp;Haring noted, before he died, that Self-Portrait was to be a steel sculpture. A 30-foot steel sculpture leaning at an odd angle presents an enormous engineering challenge, so much so that ACF recommended that the sculpture be made of polished and painted aluminum joined to an internal steel armature: aluminum AND steel—thus honoring Haring’s technical description. The engineering conversations around this issue nearly ended the project. Paul Amaral told me that the hidden engineering of Self-Portrait is one of his finest contributions to the sculpture’s realization.The logistics of transporting a sculpture so large and heavy were also significant. Examination of road load-limits and bridge heights (with the occasional police escort) were necessary to bring the work half-way across the U.S. Even the location of the work, just off the lakefront, proved an engineering challenge with issues of ground water and extreme wind projections off Lake Michigan influencing the final site. Lawyers, engineers, and politicians were all instrumental in realizing the sculpture. It is probably safe to say that Haring had little of this in mind when he created his small cardboard version.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419115/wgy70upefgiqgexexyuz.jpg"><figcaption>Clockwise from top left: Detail of installation hardware and construction (Nov 22, 2019); a detail of the figure’s extended right arm and up-lifted right leg creating the only visible seams, along with a detail two exposed bolts (lower left): lower right: haring signature, date, personal insignia and “ACF” fabricator’s initials</figcaption></figure>&nbsp;Questions of ownership inevitably come up when discussing public art. Who owns Self-Portrait? The City of Chicago? The Chicago Park District? The Chicago Parks Foundation? AIDS Garden Chicago? I’ve received conflicting answers, but my money rests on the Chicago Park District as the final custodian. That said, the Chicago Parks Foundation was instrumental in securing funding for the project and is in the process of securing ongoing operating funds, with a Board in development, to keep AIDS Garden Chicago tidy and Self-Portrait in perpetual good shape.&nbsp;Questions of cost float around as well. No one would give me a straight answer as to what Self-Portrait cost, or what it is worth. A 12-foot tall version sold at Christies in 2014 for $785,000.00. A person connected to the art trade suggested to me a number north of five million dollars, and maybe even closer to ten, as a realistic value for Chicago’s 30-foot version.Costs and headaches aside, it’s worth asking what does public art do? It can commemorate. Self-Portrait does that. It can demarcate or activate space. Self-Portrait does that as well. It can decorate or animate. Self-Portrait certainly does both. Some art world snobbery might suggest that displaying a Haring sculpture at AIDS Garden Chicago is an obvious choice, an easy choice, and one that leaves the potential of a more avant-garde, or more risky, artwork on the table. I say PHOOEY. As any designer knows: Sometimes you need to play to the crowd. The iconic quality of the marching green figure screams HARING to many, and joy to most.As of this writing, Self-Portrait does not have a conventional plaque noting its creator, materials, date or size. A testament to Haring’s genius is that one may not even be necessary.#&nbsp;For more information visit <a href="https://www.aidsgardenchicago.org/design">AIDSgardenchicago.org</a>&nbsp;</body></html>

Sculpture Report: Keith Haring’s Self-Portrait

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/plmoizzy0aaej99idfua.jpg"><figcaption>Sara Dulkin. Photo by Candice Cusic</figcaption></figure>&nbsp;By JACQUELINE LEWISThousands of people see Sara Dulkin in her gallery. Dulkin touts that she actively posts multiple times a day <a href="https://www.instagram.com/chicagotruborn/">@CHICAGOTRUBORN </a>as a way to promote artists as well as genuinely engage with her clients, fans and (more than 21K) followers. When she’s not posting Instagram reels, making clever time lapse videos, or cheekily rolling her eyes about how easy and affordable it is to buy art, she’s running an in-person space, an online storefront and a mural consultancy. Before social media consumed a large part of her day, Dulkin forged a relationship with Chicago as a city through its street art.When I asked Dulkin, who opened Chicago Truborn in West Town years years earlier than other galleries did, how she decided to start the gallery she said it was in order to create a space for art in which she personally felt comfortable and where the art was affordable, a mission she continues today.&nbsp;CGN: Tell us about how Chicago Truborn came to be?Sara Dulkin: When I was a 20-something Columbia College student graffiti and street art helped me to better understand and connect with the city. The gallery itself arose because, as I was learning about art and attending galleries for the first time, I felt extremely intimidated in that particular type of space. Also when social media was just beginning, I was paying close attention to the tags and wheatpastes going up in Chicago. I became more familiar with what the artists creating them were doing and I was able to connect in person. Suddenly I was watching artists paint and getting an inside look at the entire process and culture. It didn’t take long before I realized graffiti and street art really wasn’t being represented here and honored in a gallery setting. At the same time I wanted to create a space that made sense for people like me – those who want to collect art, within financial reason!&nbsp;In 2011 when I first started Chicago Truborn we were vending at street festivals and pop-up shows, utilizing other retail spaces. I used that time to meet artists and grow a collector base. In 2013 the gallery became an official brick-and-mortar storefront. The rest is history.&nbsp;&nbsp;CGN: Chicago Truborn has been considered a sort of “anti” gallery. Can you explain what that means?SD: The term “anti-gallery” was actually meant to encapsulate a feeling of community and inclusivity. In all of my previous experiences in galleries–whether it was self-inflicted or otherwise–I felt unwelcome (and often still do!). In most cases I barely even got a welcome nod, let alone any information on the exhibit. And I definitely couldn’t afford anything.&nbsp;“Anti-gallery” is representative of a space that’s inviting and accessible–one that goes against standard norms. It’s everything a “traditional” gallery isn’t. No white walls, no price sheets, no pretense. Just come on in, enjoy yourself and fall in love with some art. We offer prints from $25, smaller artisan collectibles, even pins and sticker packs starting at $10. On average pieces here are going to be in the $350–$1,500 range. I really stress affordibility, and it’s one of Chicago Truborn’s core values. We have a special section on our website dedicated to art under $150.No matter if you’re looking for a massive focal piece or just a small starter work, I want to help.&nbsp;CGN: You have coined the phrase, “Become a Collector.” Do you have stories about new collectors where that term really made an impact?SD: I have countless stories of first time customers who’ve evolved into die hard collectors. Over the last decade many, if not most, of my customers have similar stories to mine where they felt they could never afford art in galleries or, in some cases, had never visited one. It’s the most rewarding experience to be an integral part of someone’s journey as an art lover and a collector. It typically starts with something small, like a print. From there, via social media or frequent visits, our collectors are able to learn more about the artists they like while at the same time figuring out what they want their collection to look like. Price points become a bit less intimidating once a collector learns about the person and process behind the artwork. No matter what the entry point is, the result is they can’t wait to build their collection. &nbsp;One story is about a Chicago collector who was vacationing in Mexico and got talking with a woman about a shared love of art and a subject that coincided with a show we were having. Through this encounter, a piece was purchased and shipped to Calgary to a new friend and collector. Word of mouth is just as valuable as an actual sale. This story really resonated with me and I am so grateful for the loyalty of my collectors.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/ml7roaouesmvm1nvqj72.jpg"><figcaption>A work by JPO &nbsp;</figcaption></figure>&nbsp;CGN: Do you find that most of your sales are in person or virtual? How does Chicago Truborn handle both experiences for the collector?SD: Throughout the last decade, the majority of our sales were in-person at the gallery. Opening nights are historically the busiest time for us. Of course since the pandemic everyone had to a pivot a bit. I’ve always been dedicated to building an online presence via social media, while also providing a seamless, easily navigated, online storefront. If you’re not providing your collectors the ability to purchase work online that’s clearly a missed opportunity. Before COVID we were 70/30 in-person/online, and now I would say we’re 50/50. I love the surge in online business. It’s incredible that this small gallery ships pieces all over the world. Utilizing social media continues to be a large part of my success; I can’t emphasize enough the importance of speaking to and connecting with your client base directly in that way.&nbsp;CGN: How has your day to day business adapted since the onset of the pandemic?SD: One common denominator between any small business who is lucky enough to have survived the pandemic is that, yes, changes were made! I started producing virtual openings immediately upon news of the shut downs. Our first virtual show was April 2020. I had my exhibitions already scheduled for the year, and my artists had worked so diligently creating all the work. I was determined to find a way to show it. By utilizing Matterport technology we were able to do a 3D scan of the gallery and provide an online experience that opened our doors to collectors all over the world. Viewers can actively participate in an exhibit however and whenever they see fit, zooming in on specific pieces, “walking” around the installation spaces, and even purchasing art through the tour. After two years I still continue to produce a virtual tour for each show (in addition to in-person). I’ve even received feedback from out-of-town artists who become interested in working with me solely based upon discovery of our virtual shows.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/c0wbtfvyd40y5s7mozl2.gif"><figcaption>The exterior of Chicago Truborn, with the mural by Eelco Van Den Berg</figcaption></figure>&nbsp;CGN: Tell me about Chicago Truborn’s work with so many muralists and local public art projects.&nbsp;SD: Seeing as Chicago Truborn is dedicated to exclusively showing the work of street and graffiti artists, mural production has been a very natural progression. My artists love to paint big walls, and I love to make it happen. As a collector myself, I find it exciting to love a piece of public art and then be able to collect a piece or version of that artwork for my home. I’ve curated and produced dozens of murals over the last decade in Chicago. Our murals–some ephemeral, many permanent–can be found all over the city, from West Town and Lakeview to Evanston, Berwyn and beyond. One of my favorite murals can be seen on the facade of the gallery itself. In 2017 Eelco Van Den Berg painted a three-story piece on the building; it is still one of my favorite pieces in the city. I see people stopping to photograph it every single day.&nbsp;CGN: What are some of the differences between managing gallery exhibitions and murals?&nbsp;SD: Both are extremely hands-on, of course. The exhibitions in the gallery are always different, but the recipe is the same. I have a schedule and a groove that works for me. I know when I’ll be prepping the walls, when I’ll be hanging the work, when I’ll prepare the online catalogue. &nbsp;When I’m preparing for a mural, there is a recipe too, but there are different factors at play. We’re examining wall textures and looking out for safety hazards like traffic and electrical lines. I’m arranging lifts and large amounts of paint –we’re usually battling with some type of extreme weather, from rain and snow to brutal heat. We’ve done it all. I’ve learned that there is no forcing anything, and that flexibility is the key to success.At this point I have years of experience working with corporate entities as well as neighborhood groups and private commissions, and no wall is too big, or too small.&nbsp;&nbsp;CGN: What is next for Chicago Truborn?SD: I’m so pleased to share that Chicago Truborn’s 9 year anniversary show takes place this September. Although the gallery began in 2011, the actual storefront wasn’t opened until 2013. The anniversary show will feature nine artists near and dear to Chicago Truborn – artists who have played a significant role in our past, as well as a few who have debuts with the gallery in 2023. The opening spans two days, September 23 and 24, and coincides with the West Town Art Walk. Everyone can find details and a show lineup on our website and social media.&nbsp;Chicago Truborn • 1741 W. Chicago Ave. (60622)&nbsp;<a href="http://chicagotruborn.com">chicagotruborn.com</a><a href="https://www.instagram.com/chicagotruborn/">@chicagotruborn</a></body></html>

Chicago Truborn: Sara Dulkin is a Dealer on a Welcome Mission

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/cq5zbhxxoyo7w4mmwfdv.jpg"><figcaption>Barbara Kasten &nbsp;</figcaption></figure>By ALISON REILLYAs an accomplished artist with more than 50 years experience, Barbara Kasten is used to traveling back and forth to Europe for her work. But during these past two years, due to the pandemic she stayed close to home in Chicago. Fortunately, she had the space to create a home studio, and when it was safe, she started working again at her Mana Contemporary studio. This fall there are plenty of opportunities to see the fruits of her labor. She has two solo exhibitions opening: the first on September 15 at Sammlung Goetz in Munich and the second on November 4 at <a href="https://www.chicagogallerynews.com/events/barbara-kasten">DOCUMENT</a> in Chicago.&nbsp;CGN: Could you tell me about the show at DOCUMENT? I know you are still working on it.&nbsp;BK: I’m working with Aron [Gent] on a new body of work, and it has to go through a lot of experimental phases to be where I want it to be. I can’t tell you exactly what it’s going to be except there will be unique pieces printed on linen or canvas, I’m not sure which one at the moment. It’s something that I actually entered into photography to do, back in the ‘70s. I really was looking for photography to be a tool in my painting practice. At that time, people weren’t thinking that way, but I started working with photograms&nbsp;and cyanotypes, because it was still a painting process. Everything I’ve done since has been either a combination of painting, sculpture or some sort of interdisciplinary gesture, because I’m not trained as a photographer, and I don’t think of myself as a photographer. I use photography, but I use it like you’d use a brush or paint. I think that is evident when you look at the 50 years I’ve worked.&nbsp;&nbsp;CGN: Were you trained as a painter?&nbsp;BK: Yes, more as a painter. In my graduate days at California College of the Arts (at the time it was California College of Arts and Crafts), I was in textiles and fiber, but I used that as a material to make sculptures– again, not a traditional kind of fiber approach but one where I used the materials of a discipline in an entirely different way than was intended.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/yk1jtiibd8dbjm49d4hx.jpg"><figcaption>Barbara Kasten, PLAN 1-B, 2022. Archival pigment on raw linen, 56 1/8 x 42 1/8 in (142.6 x 107 cm). Courtesy of the artist and Bortolami, NY. &nbsp;</figcaption></figure>&nbsp;CGN: Right. I was looking at some of the photos of the sculptural chairs that you wove. Those are pretty incredible.BK: I did those when I was on a Fulbright scholarship. That’s an indicator of what I was thinking when I was doing textiles. But then I made some photographs–called diazotypes–they look like cyanotypes but are really a blueprint that architects used. In fact, I did a book on those, when I had my show at the Graham Foundation in 2015. They published all the images I created in a book. We just called it The Diazotypes. It was limited edition, which completely sold out and really surprised me, because now it’s going for like $500, who knew! But it was an important step along the way for me. I never really did anything with figures, this was an abstraction of a figure to go along with the abstract chair.&nbsp;&nbsp;CGN: With a few exceptions your work has been abstract through and through.&nbsp;BK: Right. We are creating a book with Skira, an Italian publisher. Stephanie Cristello is the producer/designer/editor of the book. It features only the sculptures and videos that I did from 2015 to 2020.&nbsp;And so that’s in conjunction with the upcoming exhibition at DOCUMENT.&nbsp;CGN:&nbsp;Some of your works are photographs of installations that you’ve done. When you approach an exhibition, is documentation important to you?BK: No, maybe that needs to be clarified. I don’t make installations to photograph per se. I work in a three-dimensional, sculptural manner and use that as the subject matter of the photographs. It’s not intended to be a documentation of an installation.&nbsp;They’re joined together by the interaction of my creating something in space and then stepping out of that role to go behind the camera and record that space on a flat plane. The word “documentation” is true, but it’s not true, which is kind of like my work. Is it real or not real, you know?&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/fi0vhvytsp7ofkbsjvd1.jpg"><figcaption>Barbara Kasten, SHIELD IV, 2022&nbsp; Cyanotype on raw linen, steel, 24 1/2 x 24 1/8 x 4 in (62.2 x 61.3 x 10.2 cm). Courtesy of the artist and Bortolami, NY.&nbsp;</figcaption></figure> &nbsp;CGN: Did you grow up wanting to be an artist? Was it something in your childhood that you thought about?BK: Yes, I’d say pretty early on. I grew up in Chicago. This is my home town. I went to a Catholic school, and there was a nun who was a painter and within the church she had a great reputation for painting. She wasn’t an art teacher, she just happened to be teaching second grade. She took notice of me, and I started taking art lessons through her tutelage. She instilled this concept in me of being an artist, because I came from a really normal, middle class family, and I didn’t have any dreams based on family history of being an artist.&nbsp;So she really instilled that. I’d say since second grade I thought of myself as an artist, because she told me I could be.&nbsp;&nbsp;CGN: You went to a Catholic school in Chicago—was that through elementary school and high school?&nbsp;BK: Yes, both. I went to a Catholic, at the time, girls school. My dad was a policeman, and he was shot on duty. He was injured, so he went on a medical leave, and then my parents decided to move to Arizona for his health. I was already out of high school, and I said you’re not moving without me, I’m coming!&nbsp;That was my move out of Chicago.&nbsp;In 1959 I finished at the University of Arizona, and then I went to California for grad school, with a lot of time in between. In 1998 I came back to Chicago at the invitation to teach at Columbia College. I had been in New York for almost 20 years, and I didn’t expect to leave, but the circumstances were that my elderly mother was by herself and my brother was here. Family circumstances and this job offer made it possible. In New York, I was living off the sales of my work.&nbsp;CGN: How long did you continue teaching?&nbsp;BK: I taught at Columbia from 1998 to 2010. I was mostly involved in the graduate program there. And of course, my work was different from that of most of the photography faculty and the direction of the program, but that’s what the chair wanted—somebody to work in a different way—so it was actually a very great experience. In fact, I’m still in touch with some students that I taught in my very first year. I just had my 86th birthday, and a couple of students from my first class celebrated with me. I made good friends, and I had a better time teaching than I thought I would.&nbsp;&nbsp;CGN: I’m interested in how you source the industrial material for your work. I’m also wondering how your access to those materials has changed over the years.BK: I like going to hardware stores (before they grew into big box stores like Home Depot.) When I was in LA I lived near Venice and&nbsp;the boat industry. I would go poking around in different places to look at the apparatus the [boaters and builders] used–there were pulleys and wires and things like that that they used for the sails and such. I would take those and make some sort of sculpture. Not to replicate anything like a sailboat, or any identifiable thing, but as a material.&nbsp;Different materials became really important to me. I did a lot of cyanotypes, and I found a fiberglass screen that was used to keep bugs out of windows, and I used that to create flat forms that then could be manipulated into three-dimensional forms. In using that I began to see all the possibilities when light is used with screen material. I could get different layers of moirés with different lights and shadows. Again, it’s a matter of being curious about materials and hanging out and looking in places where you might find something unique. It was also the time of the light and space movement. There was a lot of plastic around, and people working in resin. I never poured in any resin, but I did use plastic. Once I find the material that has possibilities I really push looking into all it can produce. It’s a curiosity with materials.&nbsp;Maybe that’s why I don’t do any digital work. I really have to have a hand on whatever it is that I’m creating. It’s not just a visual, it’s definitely my being in the set, my moving and touching and manipulating, it’s more of a sculptural energy than it is a visual one. You can do all these things on the digital screen but it’s a different experience.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419115/ayqe8oqwkygrfakpamld.jpg"><figcaption>Barbara Kasten, Figure/Chair: 12, 1973, Diazotype, 16 x 20 in &nbsp;</figcaption></figure>&nbsp;CGN: Yes, that’s interesting. I didn’t realize that, but it makes sense given your interests. Could you talk about your relationship with theater and performance? It seems like it’s been important to you to collaborate with performers or bring that aspect into your work.&nbsp;BK: It was really more inspired by the Bauhaus than it was by any real desire to work as a collaborative effort with performers. That came about because, in the Bauhaus, they accepted so many different disciplines and forms. [Oskar] Schlemmer made wonderful, very bizarre costumes—I love that kind of thing. I was moving in those three-dimensional environments, and it became a static image. I wanted to move away from that into something where motion was added. One step leads to another and so that’s how the video pieces came into play. Just like I used the sculpture in front of the view camera to make an image, I actually incorporate a kind of sculpture in the set of the video. The video is not just a projection on the wall, it actually is an extension of the image into the space. And I incorporate sculptural elements into it.&nbsp;&nbsp;CGN: At this stage in your career, what are your goals? What are hoping to achieve with your work?BK: I hope I live long enough to do some more work! I did have a modicum of acknowledgment and reputation back in the eighties in the photo world but it turns out that the ICA Philadelphia show (Barbara Kasten: Stages) and the examination that the curator Alex Klein gave to my work opened up the eyes of a lot of public and curators.&nbsp;That’s why the book–Barbara Kasten: Architecture &amp; Film (2015–2020)–is interesting to me because I’ve really developed a lot of ideas that I had when I was younger but I didn’t have the opportunity to show. Unless you can put the work out there—if it stays in your head or in your studio, it’s not the same growth. I’m fortunate to be recognized enough to have opportunities and to still be healthy enough to be making art.&nbsp; &nbsp;CGN: That’s great. And to have that recognition during your lifetime and be able to grow and learn from it.BK: For me it’s not the recognition as much as the ability to grow. I did a public mural in Toronto right before COVID. Those are things I always wanted to do but that’s an expensive project; you don’t get to do those things unless you can prove that you can or people will take a chance with you. That’s the best part about getting old and still working—lots of opportunities.&nbsp;#&nbsp;This interview appears in the Fall 2022 40th anniversary issue of CGN. To subscribe in print <a href="https://www.chicagogallerynews.com/print-subscriptions">click here</a>.&nbsp;</body></html>

After 50 Years Barbara  Kasten Still Finds a New Perspective  

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/nwuwvbcyjvplowmd5d2w.jpg"></figure>By GINNY VAN ALYEAI am a person who prefers objects with a past. I always have. So I have watched with delight, and a little panic, as droves have started to snap up furniture and things that were once deemed unstylish or witheringly described only as “brown.” Supply chain issues and staffing shortages have led to all sorts of maddening limits on sourcing furniture, but the renewed attraction of older furniture and objects is more than just what you can find right now: beneath their surface the appeal of antiques–as well as the best vintage furniture–is in the design and workmanship, borne from utility, resourcefulness, or simply pride of skill. Inherent character, combined with a story, can truly make a particular piece–whether table, chair, cabinet or light fixture– special, and therefore worthy of admiration and ultimately collecting.&nbsp;This October, <a href="https://www.chicagoantiquesartdesign.com">The Chicago Show: Antiques &amp; Art &amp; Modern</a>, renamed and reimagined and produced by Dolphin Promotions, is returning to a fall timeslot at theMart, just in time to meet the moment and making a splash in the process.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/ohsszv9minokfgs4cada.jpg"><figcaption>Furniture from Arica Hilton's FLOW collection debuting at The Chicago Show</figcaption></figure>&nbsp;At a time when prices for nearly everything second-hand (and instantly available) are soaring, The Chicago Show presents an opportunity for design fans old and new to participate in a gathering that is part trade show but also part treasure hunt. The show brings together over 60 premier national and international dealers of fine antique furniture, jewelry, silver and decorative and fine arts, from ancient to 20th century. Spread throughout theMart’s 7th floor, the event is the largest antiques and modernism fair in the Chicago area. This year there will be a concentration on 20th century design, focused on mid-century modern, with the return of Studio Sonja Milan (Chicago) and Glen Leroux Antiques (Connecticut), along with the addition of Modern State Atelier (Chicago) and The Art of Time (Versailles, France and Pembroke Pines, FL). There will also be pieces that are new. Debuting at the show is the Arica Hilton Collection® called FLOW, a line of limited edition bespoke furniture by Arica Hilton of Hilton-Asmus Contemporary (Chicago), which pays homage to the mid-century Modernist movement and was sparked by a painting series of Hilton’s.&nbsp;*<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/xqfvppohbvwuhympy5ib.jpg"><figcaption>Left: Alessandra Branca; right: Bronson van Wyck</figcaption></figure>&nbsp;Event Chairs Suzette Bulley, Beth Hughes, Keevie Silvay and Heather Webster are planning a not-to-be-missed benefit preview party with honorary chair and internationally recognized interior designer Alessandra Branca on the evening of October 6, 2022. Attendees will enjoy cocktails, hors d’oeuvres and an exclusive opportunity to be among the first to see and shop the world-class collections before the show opens to the general public. Branca is sure to make her mark on the fair, partnering on SHOP THE SHOW, where those who purchase a higher-level ticket can shop early with Branca herself, as well as splashy event planner Bronson van Wyck, Master of Celebrations and also a featured guest for Thursday evening’s opening night gala. Vogue called van Wyck “The Wizard of Oz of party planning.” His 2019 book is titled Born to Party, Forced to Work: 21st Century Hospitality. Proceeds from gala tickets benefit the programs and patient care initiatives supported by The Woman’s Board, such as the COVID-19 Relief Fund and the study of collaborative mental health care in Northwestern Medicine’s primary care clinics in Chicago.&nbsp;On Friday, the public opening day of the fair will feature a keynote luncheon and lecture with both Branca and van Wyck. Guests of the show will be able to learn about antiques and design in multiple ways, through expert-centered programming as well as in-person access–the first opportunity in quite some time–to many of the finest examples of period furniture, jewelry and objects available in the market today.Art fair exhibitors, and the pieces they bring, must be vetted, with prices set and usually only the very best examples making the trip from a dealer’s home base. An antiques fair like this one is a showcase compressed into little square footage over the course of a weekend. First impressions are critical, you never know what you will find, and a lot of it isn’t as Instragram-worthy when compared to more contemporary cousins, but it’s important to take your time and look closely at what each booth offers, particularly those that have small items on display. Don’t forget to try on the jewelry!&nbsp;*&nbsp;Though they may be old in years, antiques don’t stay the same. Pieces and periods that are considered popular are a moving target. Quality is always sought-after, but buyers now are open to mixing styles, textures and scale, while solid pieces meant for every day use can be updated with contemporary fabrics and finishes. From the ‘80s into the early 2000s you bought a ticket to an antiques fair to see the best of the 17th, 18th and 19th century. After the turn of the millennium more pieces from the middle of the 20th century, still classified as vintage and not actually antique, captured the tastes of a younger audience of buyers. In fact the popularity of vintage and modernism almost ran antiques out of mind for awhile. Ultimately while fair organizers and dealers continue to chase younger disposable income, there is thankfully still a balance of both antiques and modern as a new collecting base grows up and becomes educated about older furniture, art and design. It doesn’t hurt that antiques are also very sustainable, something scores of dealers have long known, but their message has only recently begun to sink in. Antiques are downright on-trend now in ‘grandmillennial’ circles.&nbsp;It can take awhile for people to get the message some times. Generations, in fact.&nbsp;#&nbsp;The Chicago Show: Antiques &amp; Art &amp; Modern runs October &nbsp;6–9, 2022 at theMart.&nbsp;&nbsp;• Opening Night Party – Thursday, October 6– VIP Shop the Show with Alessandra Branca: 4:30–6pm– Opening Night Party, Presented by HINDMAN: 6–9pm– Young Collectors After Party: 8:30–10pm&nbsp;• Keynote Design Lecture and Luncheon – Friday, October 7– With Alessandra Branch and Bronson van Wyck: 11am–1:30pm&nbsp;• Additional Design Events– Designer and Trade Breakfast: Friday, October 7, 8–10am– Lecture and Tea: Saturday, October 8, 2–3pm. CHRISTIE'S CONVERSATIONS: Celebrating the Legendary Ann and Gordon Getty Collection to be sold at CHRISTIE'S October 20–23&nbsp;Information and tickets at <a href="https://www.chicagoantiquesartdesign.com">chicagoantiquesartdesign.com</a>&nbsp;<h3>A Closer Look</h3>Of the 60 participating dealers in The Chicago Show: Antiques &amp; Art &amp; Modern, many are traveling to Chicago from around the world–from Florida and California to London. Below are a couple notable ones to watch.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419115/vpmuhvirj6qckaogv9c3.jpg"><figcaption>Left: Martha Walter, Tuck’s Point Massachusetts; Right: Kyu Hak Lee, Degas Dancer at the Barre, &nbsp;c. 2018. Courtesy Guarisco Gallery Washington DC</figcaption></figure>Guarisco Gallery – Washington, DCGuarisco Gallery’s collection includes Impressionist, Academic, Modern and Contemporary paintings and sculptures, with works by artists such as Renoir and Cassatt.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419116/ngtql7x2con7w0euojr7.jpg"><figcaption>Nally Jewels presenting Van Cleef &amp; Arpels earrings</figcaption></figure>Nally Jewels – New York CityNally Jewels is a 4th generation jeweler located in New York City, catering to a wide clientele with a focus on “one of a kind” estate and signed jewelry pieces.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419117/kf7mdswjuxol0jk727aj.jpg"><figcaption>Cizhou Vessel, Yuan Dynasty (271-1368 CE) &nbsp;</figcaption></figure>TK Asian Antiquities – VirginiaThis Williamsburg, Virginia–based gallery specializes in ceramics, jewelry, furniture, textiles, metal and more.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419117/qlebcdyprhxmrkvei04u.jpg"><figcaption>5 piece blue and white garniture set, Kangxi period, 1622-1722. Imperial Fine Books and Oriental Art</figcaption></figure>Imperial Fine Books and Imperial Oriental Art – New York CityWoman-owned and operated, Imperial is an established leader in the fields of collectable, rare and fine books as well as fine quality Chinese ceramics and works of art. Leather-bound sets and fine bindings span all fields. A vast selection of fine Chinese art covers a range of various dynasties, in particular Ming and Qing.&nbsp;&nbsp;</body></html>

A Chicago Fair's Fall Return: A New Generation Appreciates Antiques +  Modern Design

<a href="https://chicagoarchitecturebiennial.org/news/features/announcing_the_cab_5_artistic_team">Chicago Architecture Biennial Announces Floating Museum to Lead Artistic Team for CAB 5</a>The Chicago Architecture Biennial (CAB) is excited to announce&nbsp;that the Chicago-based collective Floating Museum will take the helm as the artistic team of CAB 5, the fifth edition of North America’s leading architecture and design exhibition, opening September of 2023. Co-directed by Jeremiah Hulsebos-Spofford, Faheem Majeed, Andrew Schachman, and avery r. young, Floating Museum is a collective of artists, designers, poets, and educators focused on building connections between art, community, architecture, and public institutions. Under Floating Museum’s artistic direction, the Biennial will continue to push its exhibition and program model to prioritize presenting innovative ideas that imagine and shape the future of architecture and design.Key image: Floating Museum on the Chicago Riverwalk&nbsp;<a href="https://www.chicagobusiness.com/politics/downtown-nascar-race-worries-chicago-museums?utm_source=breaking-news&amp;utm_medium=email&amp;utm_campaign=20220915&amp;utm_content=article1-image">Don't shake the art, please: NASCAR race worrying Chicago's museums</a>Concern is rising fast among Chicago’s big downtown museums about the impact of Mayor Lori Lightfoot’s planned NASCAR race next Fourth of July weekend&nbsp;on their operations and safety.The city’s Sports Commission says in a statement that any concerns will be resolved in upcoming meetings. But it’s been weeks since the cultural institutions first met with the city and Chicago Park District to air the issue, and they’re still awaiting promised details about which streets will be closed for how long and whether there will be any risk to priceless but fragile objects in the Art Institute from vibrations and loud noises from racing stock cars.Via Crain's Chicago&nbsp;<a href="https://onmilwaukee.com/articles/calatrava-returns?utm_source=OnMilwaukee.com+Newsletters&amp;utm_campaign=78c097bbbc-EMAIL_DAILY_DIGEST&amp;utm_medium=email&amp;utm_term=0_ecd5e3eef5-78c097bbbc-200932933">Calatrava returns to celebrate 20th birthday of his Milwaukee masterpiece</a>We call the Milwaukee Art Museum’s Quadracci Pavilion “The Calatrava” so much that it’s perhaps easy to forget that Santiago Calatrava is a living, breathing person.Twenty-one years after the opening the striking pavilion – the Spanish architect’s first building in the United States – Calatrava returned to Milwaukee on Wednesday for a 20th anniversary moment delayed by the pandemic.Via OnMilwaukee&nbsp;<a href="https://www.chicagobusiness.com/residential-real-estate/frank-lloyd-wright-house-near-racine-sale">Frank Lloyd Wright house near Racine for sale for first time ever - Owner was also owner of Perimeter Gallery</a>A house that Frank Lloyd Wright designed in 1954 for a member of the family that owned Johnson Wax is for sale for the first time since it was built.The low-slung six-bedroom house, part of which is cantilevered over a bluff beside the Root River in Mt. Pleasant, Wis., came on the market Saturday at $725,000. By Sept. 13, the listing agent, Anthony Veranth of Re/Max Newport Elite, already had about a dozen showings scheduled.Via Crain's Chicago&nbsp;&nbsp;&nbsp;

CGN Art World Recap: 9/20/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/cjlmn67f6fcmkbftoznz.jpg"></figure><a href="https://www.chicagogallerynews.com/events/mary-rousseaux">Connie Noyes &amp; Mary Rousseaux</a>Opening: Thursday, September 15, 5 – 7&nbsp;pmgallery 1871 (Chicago Art Source Gallery)&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/be91v59al0239gjmtmee.jpg"></figure><a href="https://www.chicagogallerynews.com/events/new-works-by-michael-hedges">New works by Michael Hedges</a>Opening: Thursday, September 15, 5 – 7&nbsp;pmMcCormick Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/jvaa1uxgl5lfwvqbs9ic.jpg"></figure><a href="https://www.chicagogallerynews.com/events/parallels-and-symmetries">Parallels and Symmetries</a>Opening: Friday, September 16, 7 – 10&nbsp;pmBridgeport Art Center&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419115/muoswhrvv9wwxvyvqpdz.jpg"></figure><a href="https://www.chicagogallerynews.com/events/the-magnetic-north-east-paintings-drew-harris-solo-exhibition">The Magnetic North Paintings. Drew Harris Solo Exhibition</a>Opening: Friday, September 16, 7 – 10&nbsp;pm33 Contemporary Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419116/sjwqdiiu65j02mteq1mp.jpg"></figure><a href="https://www.chicagogallerynews.com/events/sam-stewart">Sam Stewart, Daisy Chain</a>Opening: Friday, September 16, 5 – 8&nbsp;pmVolume Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419117/htipiddp9uyxjqcpuoc8.jpg"></figure><a href="https://www.chicagogallerynews.com/events/landscape-of-entanglement-azadeh-hussaini">Landscape of Entanglement: Azadeh Hussaini</a>Opening: Friday, September 16, 5 – 9&nbsp;pmOliva Gallery&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions September 15 - 18 (Part 1)

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419113/wmlyjwaji8w2vcizgxvq.jpg"></figure><a href="https://www.chicagogallerynews.com/events/jessica-labatte">Jessica Labatte: Knee-deep in the cosmic overwhelm</a>Opening: Friday, September 16, 5 – 8&nbsp;pmWestern Exhibitions&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/pibjmgspufo4wal9v8rd.png"></figure><a href="https://www.chicagogallerynews.com/events/zachary-a-design-end-of-summer-party-and-new-product-preview">Zachary A. Design end of summer party and new product preview</a>Opening: Friday, September 16, 6 – 9&nbsp;pmZachary A. Design&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419114/psyycxfvgs5dzuink1jn.jpg"></figure><a href="https://www.chicagogallerynews.com/events/boris-osterov">Boris Osterov: Welcome To the Party</a>Opening: Saturday, September 17, 5 – 7&nbsp;pmBert Green Fine Art&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419115/su4p1wlmxknwsrqhuacg.jpg"></figure><a href="https://www.chicagogallerynews.com/events/raeleen-kao-270cdfb7-31de-4774-a98d-4ab39621931e">Raeleen Kao: Vital Signs</a>Opening: Saturday, September 17, 5 – 7&nbsp;pmBert Green Fine Art&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419116/aoafjqpszdojmhwmnsvm.jpg"></figure><a href="https://www.chicagogallerynews.com/events/gordon-hall">Gordon Hall: Turn Back</a>Opening: Friday, Sep 16, 2022 5 – 8&nbsp;pmDOCUMENT&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419117/eklwa4hg4m5duu3xowca.jpg"></figure><a href="https://www.chicagogallerynews.com/events/peter-lenzo-sculptures">Peter Lenzo: Sculptures</a>Opening: Sunday, Sep 18, 2022 2 – 3&nbsp;pmTerra Incognito Studios&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions September 15 - 18 (Part 2)

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419107/jgmj7mo2hmiqxo9llzdn.jpg"><figcaption>Chris Levine,&nbsp;Lightness of Being (2004). Photo courtesy of Sotheby's London. &nbsp;</figcaption></figure><a href="https://news.artnet.com/art-world/three-things-about-chris-levines-famous-portrait-of-queen-elizabeth-ii-2119652?utm_content=from_artnetnewsbar&amp;utm_source=Sailthru&amp;utm_medium=email&amp;utm_campaign=Sunday%209%2F11%20AM&amp;utm_term=Daily%20Newsletter%20%5BALL%5D%20%5BMORNING%5D">Think You Know the Queen? These 3 Facts About Her Most Famous Portrait Will Make You Think Again</a>In terms of art history, Queen Elizabeth II is undoubtedly one of the most captured visages of our time. She has sat for more than 200 official portraits and been snapped in photographs by countless photographers. While images of the royal family are smattered across contemporary media, royal portraiture is, itself, an ancient art: Monarchs since the days of ancient Egypt have sent their likenesses to the farthest corners of their empires, and to foreign dignitaries as well, in highly choreographed propaganda campaigns. In England, courtiers often commissioned commemorative paintings to underscore their devotion to the ruler, particularly in the first Elizabethan era.&nbsp;Via Artnet, June 2022&nbsp;<a href="https://www.wsj.com/articles/queen-elizabeth-ii-paintings-photographs-portraits-11662760389">How Queen Elizabeth II Used Art to Shape Her Image</a>Queen Elizabeth II was one of the most visually scrutinized and recorded people in history, and she shrewdly used that to manage her image over her 70-year reign—even though a handful of artists sought to subvert it.&nbsp;When Britain’s longest-serving monarch died Thursday, she left behind a museum’s worth of photographs and painted portraits. London’s National Portrait Gallery catalogs at least 1,000 images of the queen in its collection, nearly all reflecting the way she wanted to be seen as a modern-day royal.Via Wall Street Journal&nbsp;<a href="https://hyperallergic.com/759540/bird-photographers-of-the-year-2022/">Bird Photographer of the Year Winners Capture Feathered Wonders</a>Despite much Internet speculation to the contrary, birds exist. If you can’t find proof of this by looking out your window, the results are in for the 2022 Bird Photographer of the Year awards, and these bird images should set the controversy to rest. From purple-crested Turacos that appear to be kissing or maybe fighting (or both?) to peacefully sleeping penguins and curious owlets, this year’s honorees have captured moments in avian life that also speak to us, their human admirers.Via Hyperallergic&nbsp;</body></html>