<html><head></head><body>By GINNY VAN ALYEAJune brings a host of new exhibitions and openings in area galleries and museums, as well as – thankfully, following a mostly closed 2020 – art benefits and art fairs taking place both in person as well as virtually. There are many choices available for participation, engagement and support.&nbsp;Art benefit parties and art fairs have traditionally been the social nexus of the art world. Though Zoom carried us through much of the pandemic, art collectors, industry members and enthusiasts are all eager to reconnect in person through a shared love of art and a desire to support living artists and vital businesses and institutions. Following is a list of events coming up soon.&nbsp;See you at the party!&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418907/ercv2upi2xmxuahk7wc2.png"><figcaption><a href="https://one.bidpal.net/wip2021/browse/2(details:item/19)">Raul De Lara</a> Smile #3 is part of WIP's art auction. Starting bid: $2,400 &nbsp;</figcaption></figure><a href="https://chicagoartistscoalition.org/get-involved/annual-benefit">Chicago Artist Coalition's Work in Progress 2021</a>JUNE 9 @ 6pm (The auction preview and bidding is live now.)WIP 2021 will be Chicago Artists Coalition’s biggest night of the year, a virtual celebration of its 47 years as a non-profit organization dedicated to supporting contemporary Chicago artists. The event, taking place virtually on Wednesday, June 9, 2021, at 6:00 pm, highlights milestones of Chicago-based artists and curators and their influence both in and beyond the city. The event is free and open to the public and includes an art auction and recognition of the night’s honorees, artists Nick Cave and Bob Faust, and CAC supporter Jeff Shapack. CAC will also give grants to six artists.A ticketed Work In Progress 2021 VIP event will follow the free public portion of the evening and includes a private, virtual tour of Facility, Nick Cave and Bob Faust’s multi-disciplinary creative space in Northwest Chicago. A live conversation with the artists follows the tour. Tickets for both the free and ticketed VIP WIP 2021 events are available at <a href="https://www.eventbrite.com/e/work-in-progress-chicago-artists-coalitions-annual-benefit-tickets-85151282779">Eventbrite</a>.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418907/dnkg0lica7673hkccfx6.jpg"><figcaption>Part of MoCP's benefit auction: Seunggu Kim, Hanok Swimming Pool, August 2017.</figcaption></figure><a href="https://www.mocp.org/get-involved/annual-benefit.php">MoCP's DARKROOM Benefit Auction</a>JUNE 10 @ 5:45 pm (The benefit auction opens one week before the event on <a href="http://sothebys.com/">Sothebys.com</a>)DARKROOM is the Museum of Contemporary Photography at Columbia College Chicago's (MoCP) annual benefit auction and gala, which will be taking place entirely online. Photography enthusiasts will also have the chance to bid on celebrated contemporary and historical artists, including work by Dawoud Bey, Tabitha Soren, Alfred Stieglitz, Edward J. Steichen, Pete Souza, Victoria Sambunaris, Sandro Miller, Brian Ulrich, and more.&nbsp;The virtual event will kick off with a pre-show DJ set with the founder and owner of famed Metro Chicago, who will be spinning 45s—in honor of the museum’s 45th anniversary year—remotely from The GMan Tavern in Wrigleyville. Attendees will then enjoy a formal program and be able to engage virtually with MoCP staff, artists, fellow supporters, and surprise special guests during an interactive livestream. The evening will conclude with a virtual cocktail party hosted on <a href="http://wonder.me/">Wonder.me</a>General admission to DARKROOM is completely free. VIP tickets start at $250 and go up to $1000, with a range of exclusive benefits. Visit <a href="https://mocp.us5.list-manage.com/track/click?u=9e4250b7536dc23e9352b28ee&amp;id=23503a7f3b&amp;e=62775191de">mocp.org</a> for more information.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418908/knmxnqg1pd9mamtfvwua.jpg"></figure><a href="https://one.bidpal.net/intuit/welcome">Intuit's (Virtual) Visionary Ball&nbsp;</a>JUNE 10, 7–7:45pmJoin Intuit from home in celebrating 30 years of being Intuit! Special guest speakers, Intuit's famed silent auction, and profound art-driven stories that will uplift and inspire are all part of a reimagined Visionary Ball, Intuit's annual fundraiser, this year on ZoomRegistration has passed for the special $250 cocktail or wine Party-In-Place Package, but you can register for the free ticket until June 9 and you can browse the <a href="https://one.bidpal.net/intuit/browse/all">silent auction now</a>. Highlights include works by Lee Godie and Wesley Willis, as well as select thrift store finds by unknown artists.&nbsp;This year's Visionary Ball honors artist, art educator and researcher Lisa Stone.&nbsp;Learn more register at the <a href="http://r20.rs6.net/tn.jsp?f=001IUlykqRdjrN-R-Fx_zXRI8SRhhjuP22RCTYz_oCvyOGr3X8KdIaOwO8UrP_TPPFWrDSS1NQJivL6TnTIL92kCg2a-CwfTYeQ1M_kEAh1-VubIXlimT5VBOXrK5sAmyD4o0NKJZXnct4eyE_sAYF1vKBi83Cv4PYxZhQp1-GDFhc=&amp;c=VcDXc8hNCDGHRYfsF6v9k-E1VYTFZI3-3UpEp4uJ6Pubc_rZWATdwQ==&amp;ch=832EdJmwHUpFKTRAlxENRbveBhda20K9nKSiWemylClg1OZ3EUiksQ==">Visionary Ball website</a>.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418909/drkuki7hsj83e7elb6on.png"><figcaption>The Old Town Art Fair is also famous for its garden walk&nbsp;</figcaption></figure><a href="https://www.oldtownartfair.org">The Old Town Art Fair Returns</a>June 12 and 13After a cancellation in 2020 (the first in the 70-year history) the OTAF is returning to its traditional 2nd weekend in June dates this month (June 12 and 13). &nbsp;Art Fair Chair Anne Giffels announced that all artists from 2020 were invited back for 2021. “We are thrilled that more than 200, out of 250, artists are returning this year. It speaks to the appeal of the OTAF for artists as well as our guests,” Giffels said. “We are committed to holding a Fair that follows strict safety protocols and welcomes everyone back to Old Town.”Safety measures for the 2021 Art Fair include a larger footprint for adequate room to move around as well as to accommodate spaced artist booths, plus other measures that are standard practice by now. There will also be additional space for food vendors.<a href="https://www.oldtownartfair.org">New this year, pre-registration will be required for entry to the Fair and is live now.</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418910/ezwcnlii3odgqqmesgpm.jpg"><figcaption><a href="https://www.artfinder.com/artist/kwaboama/#/">Kwame Boama Mensa-Aborampa</a>, painting</figcaption></figure><a href="https://www.57thstreetartfair.org/virtual-fair">74th annual (Virtual) 57th Street Art Fair</a>Ongoing through May 2022The 57th Street Art Fair was very hopeful for an in-person fair this year but they were not approved in time to meet their planning needs. Instead, they have built a robust virtual fair that is <a href="https://www.57thstreetartfair.org/virtual-fair">live online</a> through May, 2022 and features more than 100 artists selling original works of art.&nbsp; You can learn more about different artists featured daily <a href="https://www.57thstreetartfair.org/facebook">here</a>.​The committee and the neighborhood is looking ahead to 2022, when they hope to see everyone in-person to celebrate the fair's 75th Anniversary.&nbsp;&nbsp;Top thumbnail: past Work in Progress party-goers&nbsp;&nbsp;</body></html>

June Preview: Art Auctions and a Return to Parties

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418906/asip7avtpozensflta2z.jpg"></figure><a href="https://www.chicagogallerynews.com/events/catharine-newell-immersed">Catharine Newell: Immersed</a>Begins June 5&nbsp;Ken Saunders Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418907/jrtug7kmjfsl07acmgnn.jpg"></figure><a href="https://www.chicagogallerynews.com/events/encaustic-in-america">Encaustic in America</a>Opening: Saturday, Jun 5, 2021 2 – 6&nbsp;pmAddington GalleryDuring the months of June and July, Addington Gallery hosts an exciting rotating exhibition of paintings made by some of the leading voices of encaustic painting in America.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418908/gmnfpihpf4deckouvmph.jpg"></figure><a href="https://www.chicagogallerynews.com/events/hyun-jung-jun">Hyun Jung Jun: By Flame By Fog</a>Begins June 5&nbsp;GoldfinchHyun Jung Jun’s work takes many forms, from temporary installations to candles to cakes, and the work often begins and ends as something changed or erased altogether. In the artist’s words, Jun’s creations “take up more time than they do space.” They are often made to disappear. Although Hun’s practice engages familiar, domestic processes (her kitchen serves as a studio space, where she dips candles and experiments with cooking materials) her work seems to exist in a fantastical space where what is absent, shrouded, or entirely imagined is as real as anything else.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418909/ozagkdfypqi1bs16eg7r.png"></figure><a href="https://www.chicagogallerynews.com/events/summer-show-frida-kahlo">Frida Kahlo: Timeless</a>Begins June 5&nbsp;The Cleve Carney Museum of ArtThe exhibition will be the largest Frida Kahlo exhibition in the Chicago area in more than 40 years, and is hosted by the Cleve Carney Museum of Art (CCMA) and the McAninch Arts Center (MAC) at the College of DuPage (COD). It will feature a 26-piece collection on loan from the Museo Dolores Olmedo as well as a multimedia timeline, 100+ photographic images from the artist’s life, a family-friendly children’s area and a Frida Kahlo inspired garden designed by Ball Horticultural Company, enabling museum-goers of all ages to grasp an understanding of Kahlo’s life and work through a variety of contexts.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418909/yz4d8ofuqf2s1trbbjzq.jpg"></figure><a href="https://www.chicagogallerynews.com/events/ania-jaworska-bricks">Ania Jaworska: BRICKS</a>Begins June 5&nbsp;Volume GalleryBRICKS engages this elemental unit of construction formally and conceptually to create a homage that is at once sincere, humorous, pragmatic, and seductive.Bricks are both resolutely material and culturally potent. Especially in Chicago, they aggregate to form a backdrop to urban life, and not always elegantly or intentionally. At the same time, bricks provoke an earnestness, even reverence, among architects (Louis Kahn most famously) and lay brick enthusiasts (there are many among us, analyzing the techniques and sources of the brickwork in our neighborhoods). As metaphors, bricks appear in diverse contexts, negative and positive: a basketball that clanks off the rim; a ton of something dropped on us; a mighty-mighty woman; the road we follow to Oz.&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions Start June 5 (Part II)

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418907/fultlgrl9lpfjfu2qdsb.jpg"><figcaption>A bright painting by the artist Federico Herrero has served as Gary’s Zoom background since last Spring. Displayed on the custom sideboard, from left: Lynda Box by Haas Brothers; Giolight lamp by Johanna Grawunder. On the right wall, clockwise from left: Jake Troyli, Beverly Fishman and Wendy White.</figcaption></figure>&nbsp;By GINNY VAN ALYEAVisiting the home of an art collector has, for me, always been a very personal as well as in-person endeavor. Requesting that someone let me invade their privacy and ask that they divulge what they buy, from where, and why, is an intimate thing – one I feel better about doing face-to-face, in order to find out what collecting art is like for Chicagoans, as well as to show how it is never the same thing for anyone.&nbsp;This past year has taught me to rethink how I do a lot of things, and collector interviews have not been spared the increased distance that so many of us have experienced. But clearing hurdles has meant meeting opportunities.Despite the apparent challenges, connecting with collectors Gary Metzner and Scott Johnson was a pandemic delight. Already Zoom experts, having attended dozens of art events virtually for a year, Gary and Scott and I met from our respective homes and offices, sharing screenshots and Instagram stories to keep the interview going in a way that would not have happened previously. It also allowed me to sit with and study Gary and Scott’s collection for a couple of weeks, enjoying it fully and for repeat visits. While this interview format may not be needed forever, I was surprisingly grateful for it this spring.&nbsp;*&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418907/lnspewzs9jwn3tmbrfyz.jpg"><figcaption>Gary Metzner and Scott Johnson at home. Pictured: a sculpture by Neil Goodman</figcaption></figure>&nbsp;Gary and Scott’s fondness for color is apparent in their home and their art collection. An abundance of saturated, modern hues – which touch most surfaces in their three bedroom River North condo they’ve inhabited for 15 years – dominates a variety of objects, from the orchids, to the linens, to the art. In particular they both love orange. Bold pigment serves as bait, luring the couple to the thing they first admire and then get hooked on, while unifying their taste and lending a vibrancy and sense of fun to the space.Amidst all the first-impression giving colors, I notice a range of artwork and mediums on display in each room, from mid-career contemporary artists who are Chicago-based, to those with international profiles: constructions by Theaster Gates and Nate Young, a text painting by Mel Bochner, an edition of America: A Hymnal by Bethany Collins, photographic portraits by Ayana Jackson, Ian Michael, Hellen van Meene, and Carrie Schneider, among others. Quite a bit of sculpture – pieces by Neil Goodman, Chris Garafalo and Kennedy Yanko – and ceramics, not to mention artist books, are also placed on nearly every available surface.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418908/xczvxzc0nn4mm8g6d2rz.gif"><figcaption>Photograph by Carrie Schneider; An American Hymnal by Bethany Collins; ceramics by Noah Singer and Jessie Mott. &nbsp;</figcaption></figure>&nbsp;Though the walls are not yet full, the art, particularly smaller works, has tripped onto tables and sideboards, floating shelves and nightstands. I can imagine reaching for a drink and picking up a four-inch wire sculpture instead, or looking into a corner to discover a glazed piece by Anders Herwald Ruhwald. If I need to iron a shirt, perhaps I can borrow (kidding) a Roger Brown painted 1930s iron, featuring ship passengers visible through yellow-lit portals. I realize a guest can’t see, or appreciate, all the art in a single visit.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418909/zxjvrbx395vq8hwszwwb.gif"><figcaption>Pictured: Robert Bernier, Ricardo Homen, Joel Ross, Norman Zammitt, Chris Cosnowski, Edie Fake, Jeroen Nelemans.&nbsp;</figcaption></figure>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418910/lx9wooluzhffcxf5rrrs.jpg"><figcaption>Photograph by Izima Koaru, and ceramics by Carolyn Ottmers. &nbsp;</figcaption></figure>&nbsp;I asked Gary to give me an idea of the scope and scale of the collection, as I was interested in just how many pieces they had acquired to date and if they considered a focus for their lively assemblage.&nbsp;“We should be a bit more organized,” Gary admits. “We have every invoice of every piece we ever purchased, but we just never made one of those lists for when people come over. It’s taken us a while to think of ourselves as collectors.”&nbsp;Gary and Scott’s reluctance to admit they are collectors sounds familiar. One by one works of art are purchased and then carefully installed. Invoices are filed, and eventually careers are followed, museum donations are made and gifts are promised. Yet many resist the designation of ‘collector.’ It sounds so obligatory. Gary estimates they now have about 80 works in their condominium – he suspects they may be out of room – with another 32 in his Gold Coast office, where he is the head of Sotheby’s Chicago location.&nbsp;Yes, they are definitely collectors.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418911/lq8ggsni1vs6huwixlsw.jpg"><figcaption>Works on display at the Sotheby's Chicago office, where Gary works</figcaption></figure>&nbsp;Gary explains that his very first personal purchase was when he was just ten years old. Having saved some money, he tagged along with his art loving parents at the Beth-El Synagogue Art Fair, found something priced under $500 and convinced his parents he would pay them back the difference. This piece, a 1920’s Belgian poster, was purchased from a dealer Gary would later do business with. &nbsp;Having more or less been a part of the professional art world since he was in graduate school, Gary remembers that on a trip to New York in 1986 – with Lori Kaufman, a great friend and mentor and part of Hokin Kaufman Gallery, where he had his first art world job – he went to visit Marlborough Gallery. It was there he pointedly asked what he could afford, and was told he could buy two Alex Katz prints for $300 each, unframed.&nbsp;He bought them on the spot and still has them on display today.&nbsp;&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418912/v3htbckiwaqdsshpp5ba.gif"><figcaption>Metzner's pair of prints by Alex Katz</figcaption></figure>*&nbsp;Scott and Gary began buying art together years ago. Though they got their starts in different ways and at separate times, they have jointly amassed a collection of artists with diverse backgrounds, and they enjoy keeping things varied. As a couple they have adhered to the sage advice to buy what they like, and they have come to enjoy the communal nature of collecting art, soliciting suggestions from colleagues, curators, and advisors. While Gary’s auction background means he is often giving advice to clients, he and Scott rely on shared insights and often check out galleries or auctions to see what might catch their eye next.&nbsp;Scott recalls he has always loved art and he has regularly visited museums around the country ever since he was young. When he began working at the University of Chicago hospital, following graduate school in Boston, and was commuting to Hyde Park from the North Side, he says he was living near art rather than with it. For awhile he was focused only on starting out in an intense career that left little time for anything else. It took meeting Gary to really introduce him to the art world in Chicago.&nbsp;While one was the first to bring the other along, today they both cite local museums as doing an incredible job helping them learn about art. The couple spent their 20’s regularly visiting the Smart Museum in Hyde Park, and today they are formally supportive of most of the museums in the city. They credit these museums, and other area spaces, with hosting high-quality, amazing programming even during the pandemic, something they appreciate as a great source of information as well as activity when they could not be together in person with other collectors and artists. &nbsp;In return for what they’ve learned from these institutions, they also actively give back. Gary is on the board of the Driehaus Museum and Depaul Museum of Art, and they are both a part of Emerge at the MCA, as well as the Society of Contemporary Art at the Art Institute of Chicago. This June they will co-chair the Chicago Artist Coalition’s virtual Work-in-Progress benefit.&nbsp;&nbsp;*Learning about and acquiring art takes a great deal of time, focus and resources. I wondered if they had sold any works in the collection either to adjust their focus or to make more space at home, and of course I was curious if Gary had sold personal pieces at auction.&nbsp;“We sell very little,” he says. “I know I sell people’s art for a living. I guess if we finally run out of space and there are artists that have a market to resell, we could, but not all do.”&nbsp;Charity auctions have been one outlet for deaccessioning while benefitting a good art cause. “We have donated quite a few works this way. It’s a great way to help museums and organizations.” Gary says they have also started to designate some pieces as promised gifts to area museums. He likes that the work will end up being shared with the public some day, but for now they can still enjoy them at home.&nbsp;For the most part, works stay in the collection. Gary credits his Sotheby’s colleague, Helyn Goldenberg, with encouraging him to make something new work. He shares, “She always says, ‘Don’t worry about space. You will find room if you really like it.’ I don’t know how, but it always seems to work.”Gary has held a prominent position with Sotheby’s since 1997 (his 25th anniversary at the auction house is this July). Locally he has a reputation for actively supporting galleries. I asked him what he thought about that old sticking point that auctions and galleries are in competition with each other, particularly now that there is more overlap between the two markets, due to the pandemic and the absence of in-person art fairs and large market events. &nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418913/rljg3jejojd1zw4mka2g.gif"><figcaption>A work by Ian Michael centers a wall in Gary and Scott's home, flanked by a piece by Lui Shtini hanging above a pair of small scale pieces by Elizabeth Wilde (left) as well as a painting by Alex Katz (above right) and Walter Spindler's 1894 drawing for the set of Izeyl, starring Sarah Bernhardt</figcaption></figure>&nbsp;He responds, “I think it’s so important to support the local art scene and galleries in general. They make a huge effort to put on exhibitions. Yes, they are for sale, but the effort going into these shows demands they be seen. Scott and I have spent much of the pandemic going to galleries on Saturdays. It’s been masked and safe, and with museums closed [this winter], it was a great activity to do together. I feel one of the things the pandemic has done was to bring galleries, museums and auction houses together to help each other and collaborate. With all the art fairs on hold, Sotheby’s started the Gallery Network last summer as a place for galleries to sell works online to the Sotheby’s audience. Again, it was a way to help each other.”When the fairs do come back, it can’t be soon enough. “We have traveled to Miami many times, and we have never missed an EXPO CHICAGO, ever,” says Gary. “Tony Karman is the king of hospitality. I think we have bought something each year. When we attend an art fair outside Chicago, we end up hanging out with our Chicago gallery friends there too, and we usually buy something as well. It sounds funny, but I think it’s because dealers often bring the best works to a fair, now even a virtual fair.”Clearly art is a social, as well as professional, focus for Scott and Gary, but for now the big art parties are still in the rearview mirror. Gary says it’s hard to recall the last in-person event they went to because they’ve been busy toasting and connecting online. They have also been meeting with co-chairs to plan Chicago Artist Coalition’s June benefit, as well as brainstorm with another area organization to host an event in the fall.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418914/my1c9lmlpuzmaykb33yo.gif"><figcaption>One of Gary and Scott’s newest acquisitions is Black Rice, by Ayana Jackson, purchased from Mariane Ibrahim Gallery. Shown at right: Leaf Face by Brian Bress. &nbsp;</figcaption></figure>&nbsp;While ready for a return to in-person, they’ve managed to engage well with virtual talks and events. Gary recalls a Zoom talk he and Scott attended where collector and MCA board member Helen Zell spoke with MCA Director Madeleine Grynsztejn last year. Zell said one of the most rewarding things she has enjoyed about collecting is the relationships with artists. For Gary, “We hadn’t really done that, or at least made a point of it. We love the dealers, but now [during COVID] we’ve had more time to directly connect with artists online, in galleries, or even just on social media. It’s sort of just been happening, and it’s great.”&nbsp;Devoid of an in person social calendar, Gary and Scott have made the effort to buy art throughout the pandemic. Says Gary, “It’s been great to support galleries at a difficult time.” In fact they began buying when the March 2020 lockdown went into effect, acquiring a work by Andrew Holmquist from Carrie Secrist Gallery. Next they selected a piece by Ian Michael, a new artist at Mariane Ibrahim Gallery. As we were on the phone coordinating the interview, they were arranging for delivery of a bright new Beverly Fishman sculpture from Kavi Gupta.There is still one piece, at least, on the way, which Gary confesses he snagged from the Sotheby’s Christo auction in Paris. He says he can’t say any more, or it will ruin the surprise: it’s for Scott’s Birthday this summer. He assured me, “Let’s just say we will have room for it.”&nbsp;Indeed, with a home and art collection that is certainly full, but not yet overflowing, Scott and Gary have focused their collecting enthusiasm on local artists and galleries, supporting so many while adding to the vibrancy of their day-to-day life in a challenging but also suprising year.&nbsp;#&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418915/bdopwlxfmacltk8aegk3.gif"><figcaption>Roger Brown</figcaption></figure>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418916/ccialkfvapg0ihadtfxw.gif"><figcaption>Andrew Holmquist, above a work by Liliana Porter</figcaption></figure>&nbsp;&nbsp;</body></html>

Vibrant Art Enlivens a Home: Collectors Gary Metzner and Scott Johnson

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418078/exjeqeash2xwp7ereuvr.jpg"></figure><a href="https://www.chicagogallerynews.com/events/tromarama-tromarama-2021">Tromarama: Tromarama 2021</a>Begins June 5&nbsp;DOCUMENTThe exhibition at the gallery will feature Beta, a site-specific installation that questions the standardized elementary education programs that have been implemented since Indonesia’s independence from Japanese occupation in 1945.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418079/urgm2cjo3mksulsujvpk.jpg"></figure><a href="https://www.chicagogallerynews.com/events/edie-fake-2c3f5155-12ae-40a6-8909-6f27acb41d72">Edie Fake</a>Begins June 5&nbsp;Western ExhibitionsEdie Fake’s paintings start as self-portraits, and from there, they make a break for it, referencing elements of the trans and non-binary body through pattern, color and architectural metaphor. His precise, intimately scaled, gouache-and-ink paintings on panel are structured around the physical aspects of transition and adaptation as well as mental and sexual health.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418080/ofmguwcslfonjy5wjesa.jpg"></figure><a href="https://www.chicagogallerynews.com/events/field-studies">Field Studies: Steven Carrelli &amp; Adam Fung</a>Opening: Saturday, June 5, 1 – 4&nbsp;pmHofheimer GalleryField Studies&nbsp;is a drawing collaboration that began in 2011, when both artists&nbsp;lived in the Rogers Park neighborhood of Chicago, Illinois.&nbsp;Field Studies&nbsp;continues presently as a long-distance collaborative art project with Steven&nbsp;Carrelli residing in Chicago, Illinois and Adam Fung living in Fort Worth, Texas.&nbsp;With few exceptions, the drawings are the size of a postcard and executed in&nbsp;pencil on paper.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418080/dgnqkeiprweid9gqygpi.png"></figure><a href="https://www.chicagogallerynews.com/events/gallery-reception-water-becomes-blood">Gallery Reception: Water Becomes Blood</a>Opening: Saturday, June 5, 3 – 7&nbsp;pmWoman Made Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418081/ealfdidggbgy67fuaaw9.jpg"></figure><a href="https://www.chicagogallerynews.com/events/dorothy-graden-liminal-spaces">Dorothy Graden: Liminal Spaces</a>Begins June 5&nbsp;Evanston Art CenterDorothy Graden&nbsp;is a contemporary artist whose art is inspired by Ancient Visions, prehistoric art of the Americas. Her mission is to bring awareness of these amazing places and to promote preservation and protection of ancestral sites on this continent, most of which are considered sacred to Native Americans. For over 30 years she has been traveling through the American west to photograph and draw prehistoric rock art.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418082/a0mfxh3sndjfpo1oheop.png"></figure><a href="https://www.chicagogallerynews.com/events/modernist-strategies-highlights-from-the-wpa">Modernist Strategies: Highlights from the WPA</a>Begins June 5Krannert Art Museum, University of IllinoisFrom 1935 to 1943, the Works Progress Administration (WPA) sponsored the Federal Art Project, which employed as many as 10,000 artists during the Great Depression. In exchange for a modest weekly wage, artists produced paintings, sculptures, prints, and other works to be distributed to federal buildings and other public institutions. The University of Illinois received an extensive cache of works, which were transferred to Krannert Art Museum upon its founding in 1961.&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions Start June 5 (Part I)

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418907/ihvbshybwbq9otz2y8qx.jpg"></figure><a href="https://www.chicagogallerynews.com/events/the-social-justice-sewing-academy-connecting-generations-through-cloth">The Social Justice Sewing Academy: Connecting Generations through Cloth</a>May 28 – August 22Intuit: The Center for Intuitive and Outsider ArtFrom quilts supporting abolition and temperance to signature quilts made to raise money for war efforts to the AIDS Memorial Quilt, quilts have long expressed political beliefs and supported social causes. As quilt scholar Marsha MacDowell said, “Many people think of quilts as a warm, fuzzy domestic art. Yet we see time and time again, artists have used this particular medium to make strong statements that address human rights issues.” Most often, quilts with a message are made by adults, but, today, the tradition of quilting for social justice is being introduced to young artivists—or artist-activists—who pick up a needle and thread for the first time and learn to see quilts in a new way.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418907/fzxuhv7bxvvhh2z96ns7.jpg"></figure><a href="https://www.chicagogallerynews.com/events/jeffrey-gibson-sweet-bitter-love">Jeffrey Gibson: Sweet Bitter Love</a>May 28 – September 18Newberry LibrarySweet Bitter Love presents Jeffrey Gibson’s <a href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=e2a2ea5b5b&amp;e=a6ad3ea4a5">reflections on representations of Indigenous people in cultural institutions</a>. Gibson, a member of the Mississippi Band of Choctaw Indians and of Cherokee descent, responds to nineteenth-century portraits of Indigenous people in the Newberry Library’s collection. His paintings and wallpaper refute ethnographic symbolism with vibrant, glittering layers.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418908/vefb3vrsasizvlefbwrp.jpg"></figure><a href="https://www.chicagogallerynews.com/events/theaster-gates-how-to-sell-hardware">Theaster Gates: How to Sell Hardware</a>May 28 – July 31Gray WarehouseHow to Sell Hardware tells the story of Theaster Gates’s ongoing engagement with a family-owned True Value hardware store formerly located on Chicago’s South Side. Once a lively central space for local commerce, the True Value store shared in the growth and prosperity of a thriving community during the 1970s and 80s, filling its practical and social needs. The hardware store similarly mirrored the neighborhood’s downturns as business slowed in the 1990s with the emergence of big-box stores which drastically changed the needs and habits of the once-prosperous Chicago neighborhood.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418909/vaoymxvwkpl26oymi6w7.jpg"></figure><a href="https://www.chicagogallerynews.com/events/susan-hall-and-allison-b-cooke-beneath-the-surface">Susan Hall and Allison B. Cooke: Beneath the Surface</a>Opening: Friday, May 28, 6 – 9&nbsp;pmLily Pad | WestMidwest artists Allison B. Cooke and Susan Hall explore the concept of transformation via the energetic addition and subtraction of materials. While Susan Hall peels away lace designs from hardened gesso to allow her phantasmic figures to take form, Allison B. Cooke combines years' worth of gathered parchments and pigments to build dreamlike renditions of remembered places and times.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418910/ojfk2zpbixfsy3ijekwo.jpg"></figure><a href="https://www.chicagogallerynews.com/events/plain-air">PLAIN AIR</a>May 29 – July 17Carrie Secrist GalleryCarrie Secrist Gallery is thrilled to announce our first in-person opening reception of 2021 for&nbsp;Plain Air, a group exhibition featuring nine artists exploring the traditional genre of landscape.&nbsp;Please join us this Saturday May 29th from 12 - 5 PM at our gallery space located at 900 W. Washington BLVD, Chicago, IL.*This exhibition will also be viewable in person by appointment through July 17, 2021. To make an appointment in person, please visit the&nbsp;<a href="http://artlocalapp.com/sendy/l/YHTwzCkUESTHoPlztt892uoQ/EVjsZkMQvqEjK9w7IE3izg/J7KS763vqeureaEnGUs06763aQ">Reservation</a>&nbsp;page on our website. Our online viewing room for&nbsp;Plain Air&nbsp;will go on view Saturday morning, May 29 at 10AM (CST).&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418910/dtjfc8steqbgmrdfsssv.jpg"></figure><a href="https://www.chicagogallerynews.com/events/virginia-carstarphen-wanderings-maps-and-memories">Virginia Carstarphen: Wanderings, Maps and Memories</a>Opening: Saturday, May 29, 4 – 5&nbsp;pmARC Gallery&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions Start May 28 - 29

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418907/tkxrbdug3y0ytisctscr.jpg"><figcaption>David Schalliol, "Stateway Gardens (Chicago, Illinois, USA)," 2007. Photo: David Schalliol From the 2021 individual grant to David Schalliol for "Social Landscapes"</figcaption></figure><a href="http://grahamfoundation.org">Graham Foundation Announces 71 New Grants to Individuals for Architecture Projects</a>The Graham Foundation announced the award of 71 new grants to individuals worldwide that support projects on architecture. Grantee projects represent diverse lines of inquiry engaging original ideas that advance our understanding of the designed environment. Selected from nearly 700 proposals, the funded projects include research, exhibitions, publications, films, digital initiatives, and other inventive formats that promote rigorous scholarship, stimulate experimentation, and foster critical discourse in architecture.“This year, as the pandemic forced communities, cities, and countries to close down, the inequities of design and the built environment only intensified,” said Graham Foundation director Sarah Herda. “Through this dynamic grantee cohort, the Graham continues its 65-year commitment to supporting individuals to realize ideas that have the power to change the field of architecture.”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418907/ocatsuelwmf9o5tym9gu.jpg"></figure><a href="https://www.filterphoto.org">Filter Festival to Take Place In-Person and Online September</a>Filter Photo announced the line-up of portfolio reviewers and workshops for the 2021 Filter Photo Festival!The 13th Annual Filter Photo Festival will take place September 22nd - 26th and will be a mix of in-person and online programming, with the majority of in-person programming happening at the <a href="https://www.facebook.com/21cChicago/?__cft__[0]=AZVGIoVs4fdYlAo19zjpY2eSDDP5IJIcRlTevIYB9hDtZM0XY735NYn99wRQ4K4A2ZDMDYs9H0ZHjyjUlD3sXaKGCpdBcS2LOcdPFVDoDMLeR83-aiC0SreJdPqoNPeoTqKmC83ZhhM1hKl3bvrm5FibuVU2BwEjvNiB5coCzGGntBVz_3UgwbRlv_mMiTBaNlg&amp;__tn__=kK-R">21c Museum Hotel Chicago</a>.Registration for the general public begins on June 14th. Filter Photo Members can access early registration on June 7th, as well as many other benefits.&nbsp;<a href="https://dailynorthwestern.com/2021/05/25/lateststories/evanston-made-to-showcase-local-artists-in-annual-art-exhibit/?fbclid=IwAR1Lq1VZf-kkNwOhvFlOXANfqWuNgJC4NVygxiSqMR-Vw6yrldtTiF7SoOw">Evanston Made to showcase local artists in annual art exhibit</a>Evanston Made’s Annual Members Group Show is returning in-person this year, featuring over 175 contemporary art pieces, according to the organization’s website.The in-person exhibit will take place from May 28 to June 30 at the Evanston Art Center. Visitors must wear masks, take their temperature and social distance throughout the exhibit, according to the Evanston Made website.Via The Daily Northwestern&nbsp;&nbsp;</body></html>

Art World Recap: May 27

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418222/m4jeqexesurqpnuscd07.jpg"></figure><a href="https://p2a.co/nYTksd6?utm_source=CNL+Art+Consulting&amp;utm_campaign=020ec952ec-EMAIL_CAMPAIGN_2019_03_01_05_43_COPY_01&amp;utm_medium=email&amp;utm_term=0_99ec04cd2a-020ec952ec-107428223">A Plea for Illinois's Creative Future Fund: Now is the time for $500M for Arts &amp; Culture</a>COVID has devastated our state’s creative sector, yet the arts remain an economic engine to power a resilient Illinois recovery. Our state must invest in arts and culture in order to come back stronger.Through the Illinois Creative Future Fund campaign, we are advocating for Illinois to invest $500 million from federal American Rescue Plan assistance over the next four years in the relief, recovery, and resilience of Illinois’ creative sector, prioritizing BIPOC, rural, and other communities disproportionately impacted by COVID.&nbsp;Read more and contact your representative <a href="https://p2a.co/nYTksd6?utm_source=CNL+Art+Consulting&amp;utm_campaign=020ec952ec-EMAIL_CAMPAIGN_2019_03_01_05_43_COPY_01&amp;utm_medium=email&amp;utm_term=0_99ec04cd2a-020ec952ec-107428223">here</a> by FRIDAY May 28&nbsp;<a href="https://rejournals.com/pullman-leaders-announce-completion-and-grand-opening-of-new-artspace-lofts/">Pullman leaders, developers announce completion and grand opening of Artspace Lofts</a>On Thursday, May 20, elected officials, local business and nonprofit leaders and Pullman-area community members convened to mark the official grand opening of the Pullman Artspace Lofts development at S. Langley Aveune and E. 112th Street. After nearly a decade of planning and construction, the development is notable for being the first multifamily development in Pullman in 60 years, stakeholders said.Via RE Journals&nbsp;<a href="https://lincolnparkconservancy.org/caldwell-a-brief-history/">Alfred Caldwell: A Brief History – The Man Who Designed Lincoln Park's Lily Pool</a>On May 26th of this year, Alfred Caldwell would have been 118 years old. In honor of his birthday and the 20th anniversary year of the Conservancy and Park District’s Lily Pool restoration, we’re highlighting some of the interesting stories about the man who designed the Lily Pool.Caldwell had a long and varied career primarily focused on landscape architecture, but which also included stints as a city planner, civil engineer, professor, and author.Caldwell’s love of nature was influenced by his experience with his Lakeview High School biology teacher, naturalist Dr. Hermann Silas Pepoon. He then worked under renowned landscape artchitect Jens Jensen, whose style had a lifelong impact on Caldwell’s designs. From Pepoon he learned the value and history of native plants. From Jensen, he learned the properties of Prairie Style landscaping, including playing with areas of light and shade, visual interest through the season, and emphasizing plants that attracted birds. Caldwell was also inspired by Frank Lloyd Wright, whose influence can clearly be seen in the design of the Pavilions by the shore of the Lily Pool.Via Lincoln Park Conservancy&nbsp;&nbsp;&nbsp;</body></html>

What We're Reading: 5/26

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417745/kv0ytzafq8uhowbxu5xa.jpg"><figcaption>1st Place winning project&nbsp;The Floating Village&nbsp;by ACE Chicago Team 5&nbsp;</figcaption></figure><a href="https://chicagoarchitecturebiennial.us8.list-manage.com/track/click?u=51d9a79e08fd7f7dbb49c27a6&amp;id=35b5c485c1&amp;e=3dc58ca038">Chicago Architecture Biennial Announces Spring 2021 Student Ideas Competition Winners</a>&nbsp;Over 170 7th-12th grade students, representing 46 schools and 35 zip codes across the Chicagoland area, participated in this year’s competition. Since 2015, CAB student competitions have encouraged middle and high school students to explore how design can play a role in creating shared spaces and improving communities. The Spring 2021 prompt—inspired by The Available City led by Artistic Director David Brown—asked young people: How can existing urban spaces be reimagined to better reflect the needs and interests of local residents?The winning projects were selected by a panel of distinguished jurors and present innovative ideas that creatively respond to local contexts: 1st Place: The Floating Village by ACE Chicago Team 5. A homeless shelter that addresses basic, psychological, and self-fulfillment needs. 2nd Place: Perspective Tower by Owen Somers. An elevated public space that helps residents visualize change in their communities. 3rd Place: Grocery Garden - A Bodega for North Lawndale by Rosina Iniguez, Ian Hudson, and Jason Hart A grocery store and garden that provides healthy food and adds beauty to the neighborhood.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417745/b4p5flfr3wg3llrs4wtv.jpg"></figure><a href="https://www.architecture.org">The Chicago Architecture Center Reopens its 10,000 SF Gallery Space And Kicks Off For Summer</a>With the Memorial Day Weekend summer kick-off just days away, the Chicago Architecture Center (CAC) has re-opened with all-new and updated exhibits in its 10,000 square feet of galleries, full of scale models of new building designs from Chicago and around the world. The Chicago Gallery, home to the Chicago City Model Experience, is completely overhauled and all-new exhibits on Current Chicago Projects, Chicago Chicago’s neighborhoods and the new home design exhibit, Housing for a Changing Nation.“All CAC exhibits have been updated with new scale models of exciting architectural designs and we’ve created an all-new exhibit on cutting-edge, affordable, flexible home designs,” said Lynn Osmond, President and CEO of the CAC. “The new exhibit in the Chicago Gallery, Housing for a Changing Nation, highlights innovative architects who are creating homes for a diverse range of needs from live/work spaces to multigenerational families to cohousing.”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417746/wvk6xsm8ssim2zifxw9t.jpg"><figcaption>James Mesple</figcaption></figure><a href="https://greektownchicago.org/">Hello Helios: The warming suns of Chicago’s Greektown opens June 5 along Halsted Street</a><a href="https://greektownchicago.org/">Greektown Chicago</a> presents its new outdoor art exhibit Hello Helios: The warming suns of Chicago’s Greektown, with 24 vibrant three-dimensional artworks lining Halsted Street from Monroe to Van Buren Streets, opening on Saturday, June 5, 2021 and running through spring 2022.Painted by a diverse group of Chicago artists and named for Helios, the god of the sun in Greek mythology, the 24 sun sculpture editions celebrate the sun and light up the start of summer in Chicago. Many works in the exhibit draw inspiration from related mythologies, including those in the Greek, Aztec, Yoruba, Japanese and Native American cultures.&nbsp;“Greece is a land of sun and water, with an average of 250 sunny days per year, and we are bringing some of that Mediterranean sunshine to Chicago,” says Greektown Arts Chair and SSA Commissioner Eve Moran. “After a difficult pandemic year that many of us spent primarily indoors, this exhibit encourages everyone to come out and enjoy the outdoor art in Greektown, grab an alfresco dinner or drinks on a patio in our neighborhood, and be newly energized. Here comes the sun!”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417747/cqc1xy9gb7vvycrdwit7.jpg"></figure><a href="https://onetwopru.com/gallery-guichard-exhibition/">Sterling Bay Partners With Gallery Guichard To Showcase Art Of The African Diaspora At One Two Pru</a>Sterling Bay, A Chicago real estate investment and development firm, announced that it is hosting a new art installation at the East Loop office complex, One Two Pru, in partnership with Bronzeville's Gallery Guichard. The installation, entitled <a href="http://email.prnewswire.com/ls/click?upn=OXp-2BEvHp8OzhyU1j9bSWuwMvMWelqIco5RbfBrouY-2BSGnW6MYUer-2Ba3gifAFbAzO-2BhrDE2HOAt9ttfjHnfTwQ3528Kru6M-2FvG0P0PK-2Fh6Q1A5d2wlfjlwxwgGW-2FuRewITS6ybcdv-2F0wvkqcyQpeFn-2BK8sPdhtGj8BqffF9toTypUeF9unFM6X-2B57rTqE4QH3Jwnk_BYLPtpUivDHORxxkVXshLCRT3wjV7CgXbLJWP9J5MP9LJ6jv7-2Bb0c97UF1yE1Xeip-2Bke9JLNrM9Cc0K-2F03pmtC4CAVvGA7MMDMsZZk8Fb6oFBrXTTKwHMuD-2BPkMLv34nVHbPsYnbhLWw10GO15QiffbQPulUrgYJELivigTQvrGsGZupOXF2vmE0AST4-2BlXHdpEw47BZqxQNzfy9mGjpDnbP7nAoZQ-2BQA22x1RVH7c6udPeztUsKVVQyyDo5Ktys2a1jP9GN-2BdicwWbadOBTGYiLJl1jXaLCbcI5x2HVMuihRqGRgP8wkcDSP09bFizouIU4mmwaGJdCuNoSq-2BYo6m7L6lC7pOSiqfpcwlEUXTmnOQHzov7oQGu6P9Lv861V">African Diaspora: Chicago</a>, showcases multicultural artists specializing in African Diaspora, or communities and cultures descended from native Africans, and debuts to the public in the lobby of One Two Pru on Friday, May 28, bringing the space to life as Chicagoans begin their return to the office."We are excited to partner with Gallery Guichard and to transform One Two Pru's lobby into an engaging cultural experience for tenants and visitors as we all begin to emerge from the pandemic," said Andy Gloor, CEO of Sterling Bay. "Sterling Bay is a proud supporter of the arts and incorporates works from local and global artists in a creative and meaningful manner across our commercial spaces. Through our collaboration with Gallery Guichard, we are hoping to expand representation and exposure for Black artists and celebrate the diverse, dynamic cultures that define our city."&nbsp;</body></html>

CGN Art World Recap: May 25

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417805/l6roddd2mido4bjxbnjd.gif"><figcaption>Frida Kahlo, The Bus, 1929, oil on canvas, Collection Museo Dolores Olmedo, Xochimilco, Mexico © 2020 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York &nbsp;</figcaption></figure>BY ALISON REILLYIn March of 2020, Justin Witte, curator of the Cleve Carney Museum of Art at the College of DuPage in Glen Ellyn, was working tirelessly with his staff to prepare for the opening of an expansive exhibition featuring the renowned artist, Frida Kahlo. In order to accommodate the 26 works of art that were scheduled to arrive, the college expanded the gallery from a 1,850 square foot exhibition space focused primarily on showing contemporary artists to a 2,500 square foot museum equipped with state of the art lighting, security, and climate control systems.&nbsp;“While the administration of the college was closely monitoring the coronavirus situation, in the museum, we were very focused on our exhibition. The week of March 10th, we were busy with installation plans, working out final aspects of delivery and really moving towards the exhibition,” Witte recalls. “Because we had come so far with the exhibition, our immediate thought was, ‘How do we operate with less access to campus for what we hoped would be a short period of time?’ We had the idea that we may have to pause some of our in-person preparations for a week or two. At worst, a month.”<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417806/uuivfxyhhn5cl169tr5v.gif"><figcaption>Frida Kahlo, The Broken Column, 1944, oil on masonite, Collection Museo Dolores Olmedo, Xochimilco, Mexico © 2020 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York &nbsp;</figcaption></figure>Witte had been working on preparations for the Kahlo exhibition with Diana Martinez, director of the McAninch Arts Center (where the museum is located) since 2017.&nbsp;Alan Peterson, a longtime supporter of the college and the art center, was a close friend of Carlos Phillips, the director of the Museo Dolores Olmedo in Mexico City and son of the collector Dolores Olmedo. “Alan always had the idea that he wanted to bring the collection to the College of DuPage to help bring awareness to all the amazing cultural things happening here,” Witte explained.&nbsp;While Peterson made the introduction, Witte and Martinez developed a proposal for the exhibition and outlined how it could deeply benefit the local community. “Frida was the people’s artist,” Martinez said, “To bring this to a community college with accessibility to students would have been something Frida loved, because she was a teacher herself.” Witte said that even later in her life, when Kahlo was no longer able to teach at school, her students visited her at her home, La Casa Azul, in Mexico City. “Her students were fiercely dedicated to her, and she offered them a lot.”&nbsp;Inspired by Kahlo’s own example, Witte and Martinez worked with faculty to integrate themes from the artist’s life into the college curriculum. Departments offered classes on Mexican art history, the impact of the Mexican Revolution, and the social and economic context of post-revolutionary Mexico. The fashion department organized projects related to Kahlo’s wardrobe that addressed ideas of self-identity and disability, while the culinary school delved deeply into Mexican gastronomy.&nbsp;“As a community college, we have an incredibly diverse population of students from young to old, from a variety of social and economic backgrounds,” Witte said. “DuPage County is an enormous area of land that covers a lot of different areas. The college serves a lot of communities. That idea of wanting to provide accessible education to such a wide range of people very much aligns with Frida’s beliefs.”&nbsp;Kahlo was developing as an artist at a time in Mexico City when the scene was dominated by “Los tres grandes”—the three big Mexican muralists (Diego Rivera, David Alfaro Siqueiros, and José Clemente Orozco)—whose goal was to make work for the people. “Not squirreled away for the elites but very much for a broad population,” Witte said. “Those are also strong ideals of a community college. I think that nothing would have made Frida happier than the idea that her work would be serving as such a pivotal point in the education of the students at this college.”&nbsp;When it became apparent to Witte and Martinez that the exhibition could not take place during the summer of 2020, they quickly responded by reaching out to their partners at the college and Museo Olmedo to see if it could be rescheduled for the following summer. “It was never on the table,” Witte said, “maybe in the back of our minds as fears, but it was never discussed by the college or the art center or museum that we would not be doing this exhibit—it was just the focus of when. The commitment of everyone involved never really allowed for the idea that it wouldn’t happen.”&nbsp;Fortunately, with the rollout of COVID-19 vaccines across the United States and the support of the College of DuPage and the Museo Olmedo, Witte and Martinez are confident that the exhibition will open this summer on June 5, 2021. Not only have the staff at the museum and the art center worked diligently to move the programming online, many museums in Chicago and throughout Illinois have been able to reopen safely using proper protocols and social distancing. Additionally, Cleve Carney Museum of Art has created a virtual tour so that those who are not able to visit the exhibition in person will still be able to participate.“It’s made us more creative and connected in new ways,” Martinez said. “We hosted a virtual gala where over 460 people tuned in. I think if it had been a regular gala, everyone would have been sitting at their tables, just eating. But we were able to really share information. We had the Consulate General of Mexico speak, and we gave a tour of Frida’s house in Mexico City.”&nbsp;While the museum and the art center at College of DuPage have demonstrated great skill and agility in adapting to the virtual environment, for Witte, who trained as an artist, there is still no substitute for being in a room with Kahlo’s paintings. “I understand how much time is put into each work and how the decisions of the artist are recorded on the surface of the painting in every brushstroke,” he explained. “When you go to see a painting, you’re really spending time in front of something that the artist themselves spent so much time in. The way the paint dries, it captures literally whatever happens to be in the air of the studio at the time—the dust, her cigarette smoke. The opportunity to stand in front of it is the closest we can get to spending time with the artist herself.”The expansion of the space at Cleve Carney Museum of Art will allow visitors to see 19 oil paintings and seven drawings by Kahlo, which is notably the largest exhibition of her work shown in the Chicago area in over 40 years. The paintings and drawings come from the collection of Dolores Olmedo, which was originally owned by one of Kahlo’s major patrons, Eduardo Safa. Visitors may recognize some of the works, iconic self-portraits such as Broken Column or Henry Ford Hospital, which have defined her career. But alongside these notable paintings are lesser known portraits from the late 1920s and early 1930s, which give incredible insight to Kahlo’s development as a painter.“We’re doing all these amazing things for this exhibit,” Witte said, “there’s so many great aspects to it, but in the end, in those galleries, we’re really just creating a platform for Frida to tell her own story.”&nbsp;In the context of the pandemic, Kahlo’s story has taken on even more relevance. As a woman who struggled with chronic pain and illness for most of her life, she confronted the fragility of health in a way that many have experienced this past year. “Even though our time shifted and so much of the world shifted,” Witte said, “we can still find something we can relate to in Frida’s life. Her strength serves as an inspiration for how to navigate this unprecedented time.”&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417807/hpehzxxkymlfivcyhbwt.gif"><figcaption>From left: Frida Kahlo, Portrait of Doña Rosita Morillo, 1944, oil on masonite, Collection Museo Dolores Olmedo, Xochimilco, Mexico © 2020 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York; Frida Kahlo, Portrait of Luther Burbank, 1931, oil on masonite, Collection Museo Dolores Olmedo, Xochimilco, Mexico © 2020 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York; Frida on White Bench, Photo by Nickolas Muray; © Nickolas Muray Photo Archives &nbsp;</figcaption></figure><h3>More to See</h3>&nbsp;Accompanying Frida Kahlo: Timeless this summer are several special features designed to enhance a visitor’s experience at the exhibition.&nbsp;&nbsp;Frida in PhotosFrida Kahlo: Timeless features paintings and drawings by the Mexican artist, Frida Kahlo, which will be installed in the Cleve Carney Museum of Art, but the exhibition will extend beyond the walls of the museum to the entire McAninch Art Center, located on the campus of the College of DuPage. In a space adjacent to the galleries, photographs from Frida Kahlo and Diego Rivera’s personal collection will be on display. While visitors may be familiar with the iconic Kodachrome color portraits of Kahlo taken by Nickolas Muray, this selection of photographs will offer a more candid view into the artist’s life with husband Rivera.&nbsp;&nbsp;The Artist’s GardenIn 1931 while in San Francisco, Frida Kahlo painted a portrait of Luther Burbank, a pioneering American botanist and horticulturist. Kahlo was impressed with Burbank’s research related to plant hybridization and memorialized him in the painting holding a philodendron. Inspired by Kahlo’s portrait and others in the Frida Kahlo: Timeless exhibition, local plant grower and distributor Ball Horticultural Company will create and install a garden located on the McAninch Art Center’s south patio near the amphitheater. The installation will showcase flowers and plants that were part of Kahlo’s own personal garden at her home, La Casa Azul, in Mexico City. Featured plants for the garden include: agave, alocasia dark star, bougainvillea, canna cannova bronze orange, old man cactus, oleander, prickly pear, pomegranate tree, and yucca.&nbsp;Kahlo's Corner – Frida &amp; Families“Many aspects of Frida’s work and her life deal with very complex, real issues,” Justin Witte, curator at the Cleve Carney Museum of Art said, “and we thought it was important to offer some contextualization for younger visitors to get a sense of who she was.” Diana Martinez, director of the McAninch Art Center, collaborated with several partners to make a compelling and safe area for families. She befriended local author and illustrator Mike Venezia who helped interpret Kahlo’s life through the lens of a child. Venezia – a graduate of the School of the Art Institute of Chicago – has written hundreds of children’s books about artists, as part of The World’s Greatest Artists series. Venezia has also collaborated with the CCMA and the MAC to create “The Frida Kahlo Coloring Book,” for sale at the exhibition’s gift shop. Martinez also partnered with the architectural firm, Wight &amp; Company, to design a full scale replica of La Casa Azul, Kahlo’s home in Mexico City, which visitors can explore. Martinez hopes that the model will allow visitors to understand the particular architecture of the house and the central role that the garden played in Kahlo’s life. Children’s area activities will include an animated video about Kahlo’s life and a mural activity designed by Venezia.Two free printmaking workshops are planned for July 6 and Aug. 21, 10 a.m. -2 p.m., led by printmaking collective Instituto Gráfico de Chicago. Activities are geared for pre-K through third grade.&nbsp;&nbsp;Frida Kahlo: Timeless is on view June 5 – September 6, 2021 from 10am-6pm Monday, Tuesday, Wednesday, Friday, Saturday and Sunday, and 10am-10pm Thursday. For more information and to purchase tickets, visit <a href="http://frida2021.org">Frida2021.org</a>Note: On July 5 a new piece, unveiled as part of Art on theMART, will feature several of Kahlo’s most recognizable works, animated by George Berlin and projected onto the Merchandise Mart, accompanied by an orchestral score from Mexican composer Arturo Márquez.&nbsp;</body></html>

Frida Kahlo: Timeless, at the Cleve Carney Museum of Art. A Transformative Exhibition for the Glen Ellyn Community

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417859/kurjngh4ecnndy4svafc.png"></figure>&nbsp;ADAA has announced the addition of 16 new members (including Chicago-based DOCUMENT and PATRON)The Art Dealers Association of America (ADAA) today announced the addition of 16 new members from across the country, one of the largest new member classes in the Association’s history: Andrea Crane Fine Art (New York), <a href="https://www.chicagogallerynews.com/organizations/document">DOCUMENT (Chicago)</a>, Andrew Edlin Gallery (New York), Jenkins Johnson Gallery (San Francisco, Brooklyn), Karma (New York), kurimanzutto (New York), Lisson Gallery (New York),Robert Mann Gallery (New York), Jonathan Novak Contemporary Art (Los Angeles), <a href="https://www.chicagogallerynews.com/organizations/patron">PATRON (Chicago)</a>, Nara Roesler (New York), Sprüth Magers (Los Angeles), Cristin Tierney Gallery (New York), TOTAH (New York), Various Small Fires (Los Angeles), and Shoshana Wayne Gallery (Los Angeles). They join over 170 members, from more than 30 cities across the U.S., in the nation’s leading nonprofit organization of fine art dealers, which is dedicated to supporting galleries’ cultural and economic contributions, and serves as a resource on the most important trends and issues in the field. Membership in the Association signifies an established standing within the gallery community and expresses a commitment to upholding the highest standards of connoisseurship and scholarship.&nbsp;Via PR, Resnicow &amp; Associates &nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417860/nqeu9xcqbnazxknagpf2.jpg"></figure><a href="https://mcachicago.org/Calendar/2021/06/Corporate-Vision-Art-Award">MCA’S Corporate Vision Art Award Honors EXPO CHICAGO and Tony Karman</a>On Monday, June 21, 2021, the Museum of Contemporary Art Chicago honors EXPO CHICAGO with the Corporate Vision Art Award for its longstanding support of arts education in Chicago. Tony Karman, President and Director of EXPO CHICAGO, will accept the award on behalf of the Exposition which draws a vibrant national and international audience to Chicago each year, while engaging the region’s contemporary art community and collector base.Via PR, MCA Chicago&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417860/dhbtb8nfsndhnx8jjfzj.jpg"></figure>&nbsp;<a href="https://www.steppenwolf.org/LTAP">Steppenwolf Theater Opens Dedicated education floor for 2021/22 Season, growing reach of programs from 20K to 30K students annually</a>Steppenwolf Theatre Company, the nation’s premier ensemble theater company, is excited to announce initial programming details for <a href="https://www.steppenwolf.org/loft">The Loft</a>, its first-ever dedicated education space that encompasses the entire fourth floor of Steppenwolf’s trailblazing new Arts and Education Center, designed by world-renowned architect Gordon Gill of Adrian Smith + Gordon Gill Architecture.Kicking off with a virtual Loft program series this summer and opening to students and educators in the fall, The Loft will inspire the next generation of theater learners and makers, growing the reach of Steppenwolf’s education programming from 20,000 to 30,000 students annually.The Loft includes three dedicated learning spaces for young adults and will feature an expanded range of in-person and digital programming for students and community, as well as showcasing artwork created by Chicagoland youth selected through the Loft Teen Arts Project—a visual art competition for young artists 14–22 years of age that commissions original works for the new education floor. The competition is juried by a panel of acclaimed artists including Nick Cave, Liz Flores, Silvia I. Gonzalez and Santiago X. Submissions are open now through July 1, 2021, with more information at <a href="http://www.steppenwolf.org/LTAP">www.steppenwolf.org/LTAP</a>.Via PR, Silverman Group&nbsp;&nbsp;</body></html>

CGN Art World Recap: May 21

<html><head></head><body><a href="https://www.chicagotribune.com/entertainment/theater/chris-jones/ct-ent-wrightwood-gallery-greek-art-tsarouchis-20210520-vje3rkffj5hlzexmkj4kzug6bm-story.html">At Wrightwood 659 in Lincoln Park, a fascinating study of Greek identity and naked men</a>Ever heard of the artist Yannis Tsarouchis? If the answer is yes, it’s a pretty good bet you have some connection to Greece. His work is well known there. But beyond? Crickets chirp at his name. Especially now.But a remarkably comprehensive new exhibition in Chicago’s Lincoln Park neighborhood, the first major U.S. retrospective of Tsarouchis’ work, makes the case that this artist was anything but parochial. Bluntly put, this is an experience brimming with arrestingly erotic images of beautiful, naked men, carefully observed in all the erotic complexity of that statement, and mostly bathed in the singular light of the lands that surround the Mediterranean Sea.Via Chicago Tribune&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417873/g2vkexloorsfgnghwnca.jpg"><figcaption>Production still from the Art21 "Extended Play" film, "Theaster Gates: Collecting." © Art21, Inc. 2017. &nbsp;</figcaption></figure><a href="https://news.artnet.com/art-world/theaster-gates-will-design-2022-serpentine-pavilion-first-non-architect-solely-receive-prestigious-commission-1970600?utm_content=from_&amp;utm_source=Sailthru&amp;utm_medium=email&amp;utm_campaign=US%204:30%20p.m.%20newsletter%20for%205/20/21&amp;utm_term=US%20Daily%20Newsletter%20%5BAFTERNOON%5D">Artist Theaster Gates Will Design the 2022 Serpentine Pavilion, Becoming the First Non-Architect Solely Awarded the Commission</a>Chicago artist Theaster Gates has been tapped to design the 2022 Serpentine Pavilion, making him the first non-architect solely commissioned for the prestigious project.&nbsp;A spokesperson for Serpentine Gallery confirmed Gate’s commission for the pavilion, which was first reported by<a href="https://www.architectsjournal.co.uk/news/us-urban-planner-turned-artist-lined-up-for-2022-serpentine-pavilion">The Architect’s Journal,</a>&nbsp;but said it was “too early” to discuss the artist’s plans.Gates’s commission will mark the 21st iteration of the pavilion, which has been awarded&nbsp;annually to an international—often up-and-coming—architect or firm since 2000. (The 2020 commission was delayed to this year due to the pandemic.) Those chosen are tasked with designing a temporary structure near Serpentine’s two galleries in London’s Kensington Gardens.Via Artnet&nbsp;<a href="https://www.theartnewspaper.com/news/a-year-after-george-floyd-s-death-art-memorials-are-at-a-crossroads?utm_source=The+Art+Newspaper+Newsletters&amp;utm_campaign=956eb0b672-EMAIL_CAMPAIGN_2021_05_20_02_12&amp;utm_medium=email&amp;utm_term=0_c459f924d0-956eb0b672-61117077">A year after George Floyd’s death, art memorials are at a crossroads</a>When George Floyd was killed one year ago, protests against police violence erupted on the streets, first in Minneapolis, and soon across the country. Murals <a href="https://www.theartnewspaper.com/gallery/art-for-a-good-cause-portraits-of-george-floyd-raise-funds-for-his-family-and-activist-groups">dedicated to Floyd</a> and other Black lives lost also started to appear on the streets, a spontaneous creative act to memorise victims, call for justice and celebrate the power of community. Today, <a href="https://www.theartnewspaper.com/news/in-minneapolis-plywood-boards-become-protest-art-worth-preserving">efforts to preserve</a>and document these urgent outpourings of street art are growing, including a crowdsourced online database run by the University of St Thomas in Saint Paul.The university’s <a href="https://georgefloydstreetart.omeka.net/">George Floyd and Anti-Racist Street Art</a> open access database now includes more than 2,000 images and descriptions of works, submitted by users from around the world.Via The Art Newspaper&nbsp;<a href="https://www.chicagobusiness.com/residential-real-estate/frank-lloyd-wright-house-glenview-be-auctioned">Frank Lloyd Wright house in Glenview to be auctioned</a>A Glenview house designed by Frank Lloyd Wright is going up for auction.&nbsp;The house, secluded on a wooded lane called Portage Run, <a href="https://www.chicagobusiness.com/residential-real-estate/secluded-house-frank-lloyd-wright-sale">came on the market in September,</a> priced at a little under $1.7 million. Built in 1950, the house is being sold by Brian Busche, whose now-deceased parents bought it from the first owners 56 years ago.&nbsp;Via Crain's&nbsp;</body></html>

What We're Reading: 5/21

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417692/gcqmlzfg0dnoq7zieljr.jpg"></figure>&nbsp;Via PRWe’re thrilled to announce the winners of the 2021 Joyce Awards! Four impactful collaborations between BIPOC artists and organizations spanning the visual, performing, and multidisciplinary arts that engage diverse communities in Chicago, Cleveland, and Milwaukee will receive this year's annual awards.&nbsp;The 2021 Joyce Award Winners are:<a href="https://www.joycefdn.org/joyce-awards/sydney-chatman">Sydney Chatman with Congo Square Theatre Company</a> (Chicago) will present a new community-based theatrical work exploring the journey of Black women and girls healing from intracommunal and state-sanctioned violence.<a href="https://www.joycefdn.org/joyce-awards/daniel-minter">Daniel Minter with Lynden Sculpture Garden</a> (Milwaukee) will bring together Milwaukee’s artists, refugee, and local Black communities to create a public outdoor sculpture from an ash borer-ravaged tree that explores nature, ecological threats, and the transformational power of art.<a href="https://www.joycefdn.org/joyce-awards/kameelah-janan-rasheed">Kameelah Janan Rasheed with FRONT International</a> (Cleveland) will collaborate with Cleveland’s teenagers and Cleveland Public Library to create an ambitious civic mural project designed to create space for diverse narratives about lived Black experiences.<a href="https://www.joycefdn.org/joyce-awards/santiago-x">SANTIAGO X with Chicago Public Art Group</a> (Chicago) will create an augmented reality Smartphone app that brings an interactive digital gallery of Native histories, cultures, and languages to Chicago’s 4000N outdoor trail.This year, the Joyce Awards—now in their 18th year—feature projects that take a creative and compelling look at the timely themes of loss and renewal, identity and cultural sustainability, and healing through nature, art, and community. Each partnership will receive $75,000 to produce and present a new commissioned work in collaboration with community members in their respective regions, with at least $25,000 dedicated for artist stipends. &nbsp;Joyce Awards PanelJoin us on Thursday, June 10, 2021 at 4 p.m. CST for a free, virtual panel that will convene all four artist awardees for the first time to discuss their projects. To register for the conversation and learn more, click <a href="https://www.eventbrite.com/e/2021-joyce-award-winners-panel-tickets-154312487805?aff=web">here</a>.2022 Joyce Awards ApplicationsApplications for the 2022 Joyce Awards will open on June 1, 2021, with letters of inquiry due September 13, 2021. There will be a Technical Assistance Information Session on Wednesday, August 4, 2021 at noon CST that will offer guidance on the application process. For more information, click <a href="https://www.joycefdn.org/apply">here</a> or contact: <a href="mailto:joyceawards@joycefdn.org">joyceawards@joycefdn.org</a>.&nbsp;About The Joyce AwardsThe Joyce Awards is the only regional program dedicated to supporting artists of color in major Great Lakes cities. Since its inception in 2003, the competition has awarded more than $3.7 million to commission 72 new works and collaborations between emerging and mid-career artists of color and arts and community organizations in six Great Lakes cities: Chicago, Cleveland, Detroit, Indianapolis, Milwaukee, and Minneapolis-St. Paul. Read more about the Joyce Awards <a href="https://www.joycefdn.org/joyce-awards">here</a>. &nbsp;About The Joyce FoundationJoyce is a nonpartisan, private foundation that invests in evidence-informed public policies and strategies to advance racial equity and economic mobility for the next generation in the Great Lakes region.&nbsp;&nbsp;</body></html>

Two Chicago Groups Named as Recipients of 2021 Joyce Awards

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418900/nulpvenipyl0xheutmri.jpg"></figure>&nbsp;&nbsp;<a href="https://www.editionschicago.com/about">UPDATE SUMMER 2021: EDITIONS WILL TAKE PLACE IN 2022</a>&nbsp;&nbsp;By CGN Staff via PRWhile EXPO CHICAGO is not taking place in person this coming September – fair organizers announced recently <a href="https://www.chicagogallerynews.com/news/2021/4/expo-chicago-announces-return-to-spring-time-slot-after-a-decade-as-a-fall-mainstay">a permanent move to April</a> – EXPO's parent company Art Expositions LLC, led by Tony Karman, announced the launch of a new art fair that will take place this fall in the city: EDITIONS Chicago – The Print, Photography &amp; Art Book Fair. The new fair is set for September 23 – 26 at Navy Pier.&nbsp;EDITIONS Chicago will host international print, photography, and art book dealers and publishers to present an exceptional range of artwork, multiples, and books, alongside an expansive four-day program. The fair has been created in affiliation with leading international arts associations – the International Fine Print Dealers Association (IFPDA) and the Association of International Photography Art Dealers (AIPAD) – and has been designed to engage a wide range of collectors and audiences.&nbsp;Having a fair in Chicago in the fall has become sort of a cultural and seasonal reference point, so while EXPO has moved to the spring, having a dynamic fair in town will be welcomed by many throughout the region and the print community.&nbsp;“With the increasing interest and scope of limited-edition prints, photographs, multiples, and art books, we felt that it was the right time to launch this fair to engage new audiences while developing an unprecedented collaboration between leading international associations," said Karman, President of Art Expositions LLC. “As we build EDITIONS Chicago, we look forward to working with the members of the IFPDA and AIPAD, broadening the scope of collaborations and exhibitors, and engaging our existing network of institutional partners and supporters in Chicago to add an exciting new event for established and emerging collectors in this region," he added.EDITIONS Chicago will collaborate with Chicago’s institutions, galleries, and artist-run spaces to herald Chicago on Friday, September 24th and Saturday, September 25th. Participating spaces will offer local and visiting patrons the chance to view a broad range of new exhibitions and participate in events taking place concurrently with the fair. Special Chicago events produced in partnership with Newcity are forthcoming."The tradition of printmaking has long been grounded in the Midwest with strong university-based programs, many community-based and collaborative workshops, and all the small press and independent publishers which make up the Chicago zine scene," said IFPDA Executive Director Jenny Gibbs. "The IFPDA is delighted to be a part of this inaugural celebration of prints and editions in the Midwest. After this most trying of years, we are especially happy to invite our members from across the United States to participate in this new venture and to provide collectors, curators, and friends new and old with an opportunity to experience the best of 500 years of printmaking in person!"“AIPAD is decidedly excited to emerge from this pandemic and long drought of art fairs to participate in EDITIONS Chicago," said AIPAD President Michael Lee. "The opportunity to show our pictures alongside so many other art professionals is a wonderfully unique opportunity. The inclusive and collaborative big tent EDITIONS is raising will provide a special platform for AIPAD galleries to bring the joys of photography to Chicago.”For more information on EDITIONS Chicago (September 23 – 26, 2021) visit <a href="http://editionschicago.com">editionschicago.com</a>&nbsp;Fair Schedule:Opening Night | Thursday, September 23: 4:00pm Opening Benefit • 6:00pm VIP Opening&nbsp;Friday, September 24: 11:00am – 7:00pm&nbsp;Saturday, September 25: 11:00am – 7:00pm&nbsp;Sunday, September 26: 11:00am – 5:00pm&nbsp;Ticket Prices: Single ticket $15 | Three Day $25 | Student &amp; Senior $10&nbsp;&nbsp;&nbsp;</body></html>

EDITIONS Chicago Launches at Navy Pier

Via PRChicago Artists Coalition (CAC) announces today&nbsp;a total of 30 SPARK Grant awardees&nbsp;who will&nbsp;each receive $2,000 in unrestricted funds during the 2021 grant cycle. In its third year, the SPARK Grant program continues to expand the number of awards, in the effort&nbsp;to support more Chicago artists.The SPARK Grant&nbsp;began in 2019 as an annual, unrestricted award opportunity for Chicago-based visual artists who identify as ALAANA (Asian, Latinx, Arab, African diaspora, Native), an artist with a demonstrated need, an artist with a disability, or as a self-taught or informally trained artist who is striving to make their art practice a primary vocation.In its first year, the SPARK Grant was awarded to&nbsp;15 artists and in the subsequent year&nbsp;to 25 artists.&nbsp;Each year there is a continuous increase of SPARK applications indicative of the need within the artists community.&nbsp;With the generous support of the Joyce Foundation and an anonymous donor, the SPARK&nbsp;Grant&nbsp;this year expanded to 30 unrestricted awards of $2,000 each.Celebrating its 47th&nbsp;anniversary this year, CAC has a strong recent&nbsp;history of supporting emerging Chicago-based visual artists through unrestricted grant funds, and has administered&nbsp;a total of $140,000 in unrestricted SPARK Grants to 70 artists in three years.Congratulations SPARK Grant Recipients!SPARK GRANTS&nbsp;2021&nbsp;- $2,000 per artistA.Martinez Ariella Granados Cherrie Yu Cristian Roldan darien R Wendell Deborah Awwad Elnaz Javani Hankyeol Song Jada-Amina Jade WongJanelle Miller Jennifer Villanueva Jiayi Chen Jon Veal Jory Drew Joshua Jackson Kris Casey Mercedes Cardenas Miao Wang Qais AssaliSasha Phyars-Burgess Shirien Damra Sky Cubacub SUNGJAE LEE Sydnie Jimenez Tariyawn Knighten Tattiana Howard Youree Kim Yuge Zhou zakkiyyah najeebah dumas-o'neal&nbsp;&nbsp;&nbsp;

Chicago Artists Coalition Announces Awardees for Spark Grant 2021

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417676/viuo9hlcukvlb17jp8ap.png"><figcaption>Chicago artist Nick Cave. A retrospective exhibition "Forothermore" is coming to the Museum of Contemporary Art Chicago in 2022. (James Prinz / provided by MCA)</figcaption></figure><a href="https://www.chicagotribune.com/entertainment/museums/ct-ent-nick-cave-retrospective-mca-chicago-20210518-tnxxhgtyuffmdkp7eiiayayeuu-story.html?fbclid=IwAR1sK0Qln60ZfWkFzTX_u-YqJcWV_kUHlMqOogwYhBAIgztHzSUmbZSa2-4">Big Nick Cave retrospective, a first for the Chicago artist, announced for MCA next year</a>To be fair to the Chicago art world, Nick Cave has never been the easiest artist to contain within a single show. He’s not quite fashion, or dance, or sculpture. He’s not quite an installation artist, though his work includes all of these mediums and more. His Old Irving Park studio is not really even a studio but a kind of next-generation Warhol-ish Factory. He’s never fit that idea of the artist toiling away inside a warehouse space. In fact, though he’s been a staple of contemporary art collections for decades, his last major solo show in Chicago was about 15 years ago, for the Chicago Cultural Center.Via Chicago Tribune&nbsp;<a href="https://www.wsj.com/articles/love-monet-as-much-as-the-yankees-this-cap-is-for-you-11620827279?mod=searchresults_pos16&amp;page=3">Why Limited-Edition Art Merch for Monet and Van Gogh Keeps Selling Out</a>Worshippers of Vincent Van Gogh can feast their eyes on the painter’s 1889 masterpiece, “The Starry Night,” at the Museum of Modern Art in New York, but they’ll have no luck trying to nab a hat memorializing the painting in MoMA’s gift shop. For that, they might want to journey some 50-plus blocks south to Tribeca gallery Broadway.Via the Wall Street Journal&nbsp;<a href="https://www.thisiscolossal.com/2021/05/ememem-street-mosaics/">Ceramic Mosaics Mend Cracked Sidewalks, Potholes, and Buildings in Vibrant Interventions by Ememem</a>Throughout his home city of Lyon, <a href="https://www.ememem-flacking.net/">Ememem</a> is known as “the pavement surgeon.” The artist repairs gouged sidewalks and splintered facades with colorful mosaics that he describes as “a poem that everybody can read.” Intricate geometric motifs laid with pristine tiles hug the cracks and create “a memory notebook of the city. It reveals what happened, the life in these public places,” he tells Colossal. “Here cobblestones have been picked up and thrown. There a truck from the vegetable market tore off a piece of asphalt…”Ememem’s first mosaic dates back 10 years when he found himself in a damaged alley in Lyon. At that time, he already was working in ceramic and translated that practice to revitalizing the outdoor area. Since 2016, he’s been consistently filling potholes and other divots throughout France.Via Colossal&nbsp;&nbsp;</body></html>

What We're Reading: 5/18

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418901/vj87qbviqhxqjaead753.png"></figure><a href="https://www.chicagogallerynews.com/events/wangari-mathenge-the-expats-studies-impression-on-paper">Wangari Mathenge | The Expats Studies: Impression on Paper</a>Opening: Friday, May 21, 6 – 9&nbsp;pmMay 21 – July 25Epiphany Center for the Arts&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418901/aknwq1eq8q5gszj8pzuc.png"></figure><a href="https://www.chicagogallerynews.com/events/9th-annual-art-competition">9th Annual Art Competition</a>Opening: Friday, May 21, 7 – 10&nbsp;pmMay 21 – July 2Bridgeport Art Center&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418902/vfnasbtkubdviv1nelgy.gif"></figure><a href="https://www.chicagogallerynews.com/events/dennis-lee-mitchell-recorded-traces">Dennis Lee Mitchell: Recorded Traces</a>Opening: Friday, May 21, 4 – 7&nbsp;pmMay 21 – July 17Zolla / Lieberman Gallery&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418903/lmqjyymmtozx8bvsklbt.jpg"></figure><a href="https://www.chicagogallerynews.com/events/josh-garber-amorous-terrain">Josh Garber: Amorous Terrain</a>Opening: Friday, May 21, 4 – 7&nbsp;pmMay 21 – July 17Zolla / Lieberman Gallery&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418904/sdj5b9zi9y13nih3816x.jpg"></figure><a href="https://www.chicagogallerynews.com/events/nature-nurture-nature-deana-bada-maloney-jill-sutton-donets-v-s">Nature Nurture Nature: Deana Bada Maloney, Jill Sutton, Donets V.S.</a>Opening: Saturday, May 22, 1 – 4&nbsp;pmMay 22 – June 18Gallery Studio Oh!&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418905/mx6knvloqahy8wdw54ac.png"></figure><a href="https://www.chicagogallerynews.com/events/toward-common-cause-ab4c11d6-2286-4a00-b5e6-4c23dfe2548a">Toward Common Cause</a>May 21 – September 25Smart Museum of Art&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418905/rkakmasslesbpyk49nzk.png"></figure><a href="https://www.chicagogallerynews.com/events/mary-sibande-unhand-me-demon">Mary Sibande, Unhand Me Demon!</a>May 22 – July 31Kavi Gupta Gallery&nbsp;&nbsp;</body></html>

New Exhibitions Start May 21 - 22 

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417661/htd50vdhqvxk7bstbrur.gif"><figcaption>Haig Aivazian: All of the Lights, installation view, February–March 2021, The Renaissance Society at the University of Chicago, Photo: Useful Art Services &nbsp;</figcaption></figure>By GINNY VAN ALYEALast fall we asked some local art world figures what their <a href="https://www.chicagogallerynews.com/news/2020/9/mirror-mirror-on-the-gallery-wall-after-this-year-who-can-predict-2021">2021 Art World Predictions</a> might be. At the time I saw two main scenarios that could shape this year: Life with a vaccine, and life without. Fortunately, we are now several months into a remarkable vaccine development effort and rollout, holding tight to all the cautious optimism we can summon. With this progress in mind, I wanted to check in again with the local art community to see how things are actually going.&nbsp;As in the fall my questions seek everyone’s candid response to how they have been faring and to get their best guess at what’s next. Responses are grouped by topic. I am grateful to those who candidly shared their collective wisdom and hopes for the future as we move through another year.&nbsp;On 2021 vs 2020How are things going for you so far this year?&nbsp;&nbsp;Catherine Edelman, Catherine Edelman Gallery: It’s been a very sobering year, as the pandemic forced me to rethink the gallery model.Tom McCormick, McCormick Gallery: This year so far is a continuation of last, which was outstanding. We finished the year on par with any normal, good year, even with the gallery essentially closed. Almost all sales were out of town and I became a one-man shipping juggernaut. The FedEx store reserved a private parking spot for me (kidding). Demand for certain work, especially from our estates and most especially by women, is through the roof and we cannot meet demand.&nbsp;Julia Nucci Kelly, Asst. Dir. for Marketing &amp; Communications Krannert Art Museum, University of Illinois: KAM has been open since February. Much of our staff is still working from home, but unlike last year, we’re able to have our major student art exhibitions (MFA and BFA) in person. That feels like progress. KAM is addressing multiple pandemics — not just COVID, but political division, racism and violence, and struggles for our environment — as much as we can through art, including exhibitions like Homemade, with Love: More Living Room that creates and holds space for Black girls, women, and femmes in the museum, providing space to gather and support one another with art space to create. In the community, we’re hosting Pandemics as a Portal to Change, a virtual community exhibition that gathers creative writing, visual art, music, and performance centered on hope, encouraging artists of all kinds to envision what we can make better beyond these struggles and pain.Kathleen Waterloo, artist: 2021 has been a whirling continuum of 2020, which proved to be one of my busiest years as an artist. I was very fortunate just prior to COVID-19 to open a solo exhibition in River North at Addington Gallery. The following week Mayor Lightfoot put the city in lockdown. My studio is isolated, so I was able to continue working almost daily on projects while maintaining social distancing. Currently I’m juggling works for a solo exhibition late 2021 at Circa Gallery in Minneapolis, in addition to a few commissions. As an artist during this bizarre time in our society, I am feeling very blessed.Karsten Lund, Curator: I don’t have a simple answer, but I’ve felt grounded by my work at the Renaissance Society throughout everything. I’m grateful to be at a nimble, resilient institution, and it has been energizing to be working very closely with a number of artists during the past year, even if most of our conversations have been over Zoom.At the Ren, we’ve been still able to do a lot, even against such headwinds. I keep returning to the fact that we have a strong close-knit team, and even before the pandemic our museum has been designed to really channel our resources towards our program and artist’s projects, which has made all the difference in a hard year like this.&nbsp;&nbsp;WORKING – OR NOT WORKING – WITH CLIENTSHave you been able to engage relatively well with current and new clients or patrons?&nbsp;&nbsp;Catherine Edelman: Many of our regular clients have stayed home, unwilling to venture to the gallery. But e-blasts, Zooms, etc. have helped us maintain a connection. Now that we are open by appointment only, new clients have emerged. I think the fact that they can have a private experience has been very powerful.Tom McCormick: Yes. One advantage to doing this for nearly 50 years is that you know a lot of people and they know you. A good reputation is the best thing one can develop, full stop, to weather any storm.Julia Nucci Kelly: Yes — our community has embraced the idea that the museum can be a safe in-person activity, and we know KAM plays a role in wellness both on campus and in Champaign-Urbana. Through our virtual programs, we’ve been able to engage a far broader geography vs. in person only. We know virtual programs are a different experience, but we are coming to understand that they supplement what we do in person and make arts programming more accessible.Kathleen Waterloo: Thanks to email, cell phones, the internet, and Zoom I’ve been able to engage with current and new clients in addition to gallerists quite well. Most are familiar with my work already, so communicating size, color preferences, budget, etc. are fairly easy to discuss. Digital images of a site, wall location, and surrounding space further helps a successful end result.&nbsp;Karsten Lund: Some projects, such as publications, can adapt relatively easily to working from home. We finished a 400-page book with LaToya Ruby Frazier this winter, which I still draw inspiration from. Now I’m working on a monograph with Kevin Beasley coming out later this year.&nbsp;It’s required accepting a lot of uncertainty and brought new challenges, for sure, but I’ve also opened three exhibitions this year, at least for more limited in-person audiences. That includes solo shows by Haig Aivazian and Jill Magid, and in ways that speaks volumes to their own resilience, both artists produced ambitious new works.&nbsp;We’ve taken this as a time to experiment too. As we’ve shifted to online talks and virtual exhibition tours, and also debuted a new digital platform, Renaissance TV, we’ve had viewers tuning in from many different countries, with great attendance. We will carry that forward and keep exploring these expanded possibilities for a global audience, or those who can’t visit us, even as we return to in-person programming.&nbsp;IT’S STILL HARD...What challenges remain for you and your business/space since the pandemic began last spring?&nbsp;&nbsp;Catherine Edelman: Creating engagement. Art fairs were a critical part of our business model. It’s been a challenge to introduce new work/artists without that network.&nbsp;Tom McCormick: Even though we are selling well I feel sorry for our contemporary artists (as opposed to the dead ones) as their exhibitions are not well attended. Even when attendance does not equate to sales it is still a great time for friends, family and interested collectors to see the stuff, and COVID has put a lid on a lot of that,Julia Nucci Kelly: I think holding our communities together and supporting one another are our biggest tasks ahead. We’re working hard to make every aspect of the museum’s work accessible to all, and our Curator of Academic Programs Liza Sylvestre is a leader for our staff in that area. We’re also looking forward to when we can do robust school and family programming again as well, so charting the path forward and doing it together in a way that is inclusive and just is an important challenge for us to meet head on.Kathleen Waterloo: Since many galleries temporarily went online and others, sadly, closed their doors due to COVID-19’s economic impact, a few galleries now show my work online only. My work is best viewed in person. If a potential client is only viewing my work digitally some things get lost in the translation – the translucency of the encaustic medium, intimate details that are lost due to the small scale of a cell phone or computer screen, and the experience of seeing the artwork itself which is an ‘object’ in its own right.&nbsp;Karsten Lund: Certain challenges have been unavoidable but we were able to work around them, such as the fact that artists mostly haven’t been able to come on site to install. But more importantly, I think we need to be responsive to the widely varied challenges and hardships different people are facing this year, whether artists, our audiences, or our collaborators. Care feels like an important word and a way of being, more than ever, now and into the future. I continue asking myself how as curators we can meet our moment and what are the best ways we can support artists’ work as our larger contexts shift and so many pressures continue.&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417662/qoaswcuammt86rewbt45.gif"><figcaption>Kathleen Waterloo, Texter Road Revisited, 2020, Encaustic on panel18” x 18”, courtesy Addington Gallery. Photo by Tom Van Eynde</figcaption></figure>WHAT ABOUT ARTISTS?How are your artists – or your contemporaries – doing?&nbsp;&nbsp;Catherine Edelman: I started a monthly Zoom meeting with my artists, in an effort to bring everyone together. It’s been an amazing experience for everyone, as we work together to advance the mission of CEG.Kathleen Waterloo: Ex-studiomates and artist friends stay in touch and we give each other critiques, opinions, moral support and pep talks. We like each other’s social media posts. It’s all been vital during the past year. Early during COVID–19 some artists were locked out of their studio buildings for months – a devastating blow. Those who had studio access and continued working did so diligently; it was the fuel needed to keep them going mentally. Most were prolific. Now many of us are also prepared to face the future with a toughened stamina, honed during this pandemic. I’ve seen a few artists, not previously working, who have emerged from isolation producing new and ridiculously stunning work that comes from being either on lockdown, in fear, actually sick, or recovering from 24/7 child care and home schooling – a situation which has affected many artists and non-artists alike. They are exploding with creativity and waiting impatiently to rock the town.&nbsp;Tom McCormick: The dead ones are still dead, but thriving in the market! My living artists, mostly from Chicago, seem to be getting on OK, at least they are not complaining to me. &nbsp;IF THE GLASS IS HALF FULL IS IT ONLY BECAUSE YOU’VE BEEN DRINKING?What are you optimistic about?&nbsp;&nbsp;Catherine Edelman: December in Miami. I believe collectors are hungry to see art in person, and the art fairs in Miami will be a barometer of the return to some semblance of normalcy.Amy L. Powell, Krannert: We are excited to reunite with objects and continue to build community in our spaces. In addition to A Question of Emphasis: Louise Fishman Drawing opening this fall with questions of queer feminist drawing and abstraction, we’re opening Crip*, a group exhibition and symposium curated by Liza Sylvestre that addresses disability and intersectional thinking. Things cannot “go back to normal,” and we are excited to center artists and our audiences to figure out ways of transformation, together. We’re optimistic about the lessons we learned for virtual content and programming, and hope to take those forward.Kathleen Waterloo: Galleries, museums and even art fairs will fully reopen their doors in the near future. Perhaps a few precautionary measures from COVID–19 will remain, but I’m eager to see public space become just that again, with people able to become the social animals they are. I’m still concerned about the galleries that cannot, or won’t, reopen and will only have an online presence. I recognize that for many that digital business model works, and it might be here to stay. The virtual world has been a lifeline for many attempting to keep the arts afloat. I’m hopeful that physical galleries are also here to stay. Fund the arts now – visual, dance, theater, music, film – let’s get them back on their feet.Karsten Lund: I draw so much optimism from artists, and this year is no exception. As much as ever, I’ve been reminded of how they help us see the world differently, almost in real time in some cases. LaToya Ruby Frazier, Haig Aivazian, and Jill Magid’s projects will all stay with me in that way.Maybe most of all though, this feels like a moment when so many things have the potential to be recalibrated, for museums and other institutions and in our individual lives. Change feels possible when it comes to systemic racism, inequality, accessibility, and our looming climate crisis, though that work will have to carry on long beyond this year.Tom McCormick: Oh, I’m very optimistic about everything. While many, many people were devastated economically by COVID, many collectors and others with financial means have been willing to spend more than ever. This will surely level out once things return to some sort of normal, but something good is always just around the corner.&nbsp;That from Mr. Rose Tinted Glasses!&nbsp;&nbsp;</body></html>

Taking the Temperature in 2021: How Is It Actually Going in Chicago's Art World?

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417623/xhzsnoykulx0gkc6r3qf.jpg"></figure><a href="https://hebrubrantleyxmcastore.org/a/pre-launch">The MCA Has an Exclusive Collection Drop from Hebru Brantley</a>Check out the dedicated site for Hebru Brantley × MCA Store and mark your calendars for May 27, when the MCA will open their digital store featuring products designed by Chicago artist Hebru Brantley.<a href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=b45269295f&amp;e=95b957c616">Shop</a>&nbsp;<a href="https://www.chicagotribune.com/entertainment/ct-ent-saic-cancel-culture-class-20210505-p5cttxjf4vcsbgla3stp5zkoxy-story.html">Love the art, hate the artist? How a popular Chicago college class is reexamining Kanye West, Michael Jackson, Picasso and others in the era of cancel culture</a>Eileen Favorite has heard the word “problematic” more than any person should have to hear any word repeated, again and again. She has heard it applied to the obvious and to the unexpected. She has heard people say “problematic” so often that when she says it herself, the word doesn’t come as casually as it does for her students. It’s become an event. It bold-faces. It goes ALL CAPS. Sometimes it sounds like a chuckle. Sometimes like a death sentence. Sometimes it has an eye-roll attached. Sometimes an indictment.The point being, when Eileen Favorite discusses the life and work of problematic artists with her students at the School of the Art Institute of Chicago, one size refuses to fit all.Via Chicago Tribune&nbsp;<a href="https://news.artnet.com/art-world/creative-time-project-rashid-johnson-will-give-local-artists-literal-stage-reemerge-1967832">Rashid Johnson Will Give Artists a Literal Stage to Reemerge From the Pandemic as Part of a New Project With Creative Time</a>One year ago, Rashid Johnson was holed up in a makeshift workspace in the basement of his Long Island home, churning out a series of apocalyptic oil stick drawings the color of a fire alarm. They belonged to his ongoing “Anxious Men” project,&nbsp;<a href="https://news.artnet.com/art-world/how-artists-are-addressing-pandemic-1842672">the artist told Artnet News at the time</a>. He&nbsp;sounded&nbsp;anxious—as we all did then, a month deep into the pandemic, uncertainty still the dominant mood.Now, as we prepare to return to a semblance of normalcy, Johnson has once again turned to that same anxious red color—but this time, he’s doing so to a more optimistic end.Via Artnet&nbsp;<a href="https://news.artnet.com/multimedia/shattering-the-glass-ceiling-mariane-ibrahim-1967027">Shattering the Glass Ceiling: Art Dealer Mariane Ibrahim on the Power of the Right Relationships</a>In the final installment of Artnet's mini-series Shattering the Glass Ceiling, Artnet News’s art and design editor Noor Brara spoke with pioneering gallerist Mariane Ibrahim, founder of her eponymous gallery. Ibrahim opened her first outpost in Seattle, later launching another outpost in Chicago’s West Town neighborhood.&nbsp;Now, as the last year’s turbulence begins to level off, Ibrahim is taking another giant leap—this time, overseas—to open a location in Paris.Via Artnet&nbsp;</body></html>

CGN Art World Recap: 5/12

<html><head></head><body><figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417655/opxqnu5ng5wjmr59qpde.gif"><figcaption>Balancing work and life with one of CGN’S top interns, pictured here on an official outing to the Art Institute with publisher Ginny B. Van Alyea, spring 2021 &nbsp;</figcaption></figure>By GINNY VAN ALYEARemember when many businesses and corporate leaders declared that women “lean in” to achieve professional progress as well as a work-life balance? I think at some point we started to lean so much we tipped over. I physically did this at the time Sheryl Sandberg’s book of the same name was published, and I was a few months pregnant with my daughter. I was leaning in to admire something at an art fair, and I didn’t yet understand how my own bodily center of balance had shifted. My mother had to help me stand back up and I had to brush off my embarassment.For me, eight years after that art fair and two children later, the center of many things has continued to shift. 2020 was basically one big lurch in another direction for all of us. Settling into 2021 I’m not sure I will ever go all the way back to the late night multi-tasker I was before the pandemic. I’m finding I’m a better mother, wife and publisher when I lean back – I get more sleep and I keep my to-do list short and my social calendar more limited. Leaning, for me, is balancing, not falling over or getting whiplash.&nbsp;*When the pandemic hit last spring, I fretted about what to do at work – how could CGN help galleries and artists? Should we organize a benefit auction? A crisis symposium? Would CGN even survive? Should we find a way to build e-commerce into our website? How could I fix everything?&nbsp;Ultimately, in the CGN office Emily and I decided to just keep doing what we always do: cheerlead the arts. Doing one thing for over 38 years has worked. We haven’t taken over the world, but it also hasn’t managed to take us over either. Leaning back this past year is what kept us on track and balanced as we navigated unpredictable, sometimes scary times. &nbsp;In this summer of 2021 issue we’ve tried to seek balance and perspective once again, grateful to be publishing according to our usual schedule, not under lockdown, and with a host of exhibitions and news to cover, all while keeping our eyes open for good news and green shoots.&nbsp;So far we have seen a <a href="https://www.chicagogallerynews.com/news/2021/5/expansions-plans-forward-momentum-after-a-hard-year">notable number of galleries</a> moving and smartly expanding this year, deepening roots in the creative economy long term. Mayor Lightfoot also announced “Arts 77” — a citywide arts <a href="https://www.chicagogallerynews.com/news/2021/4/we-built-this-city-on-the-arts-city-of-chicago-pledges-60-million-for-recovery-and-reopening">recovery and reopening plan</a> with an initial investment of over $60 million to ”place the arts at the center of our city’s recovery efforts.” We are back to posting new (and in–person) events and exhibitions on chicagogallerynews.com every day.&nbsp;If 2020’s flood almost wiped us out, 2021 is a year of replanting ahead of what we hope will be a cultural harvest in 2022 and beyond.&nbsp;For now openings still look different and are fewer in number, and the art fairs and large events haven’t officially returned yet, but we do see people seeking out art in person this summer, visiting galleries in small groups, buying timed tickets to museums, and hitting the road on weekend trips to Midwestern cities and towns that offer art and culture within a couple hours drive. A year of leaning back has helped artists and dealers reevaluate plans as well as resources, and it has helped me build up the resolve, not to mention appreciation, to wade back into the water and enjoy our city again. I see I don’t have to do it all, but I will strive to do it well.Grateful to be able to continue publishing CGN as we approach our 40th anniversary next year, we’ve recommitted to making sure this lovely magazine continues to exist and connect to many in our little part of the art world.&nbsp;As long as I can keep my balance, and my head, we can stay right where we are. That is good, and it’s enough.&nbsp;&nbsp;</body></html>

Summer 2021 Publisher's Letter: When Leaning Back Moves You Forward

<html><head></head><body>We’ve all heard of doubling down. It’s harder than it sounds to face adversity, take a big gamble and make it happen. Amidst a challenging pandemic fortunes have been varied in Chicago’s art spaces, but everyone has been adversely affected in one way or another. CGN has been seeking out the gallerists and others who decided to make some lemonade out of 2020. Each effort is a testament to the enduring power of art and the creative people behind it all. This summer visit these spaces and places to see what’s new and to wish those leading the charge well. – GV&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417619/s7j4ovqvfa46ahjob7yo.jpg"><figcaption>Patron's new home at 1612 W Chicago Ave</figcaption></figure>PATRON has been talking about a move from its original River West location for quite some time, but 2020 put plans on hold. As of April 2021 they have moved to a fabulous new space in a reclaimed theater in West Town.&nbsp; •&nbsp; <a href="https://patrongallery.com">patrongallery.com</a>&nbsp;The Golden Triangle held an epic sale to clear out its 18,000 sf. Clark Street space in River North to move to West Town. Co-founder Doug Van Tress says, “Our new space is a more industrial space, a combination of gallery and atelier-workshop where things are not just sold; they are made.&nbsp; •&nbsp; <a href="http://goldentriangle.biz">goldentriangle.biz</a> &nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417620/efghayafgyxxtsapcxrn.png"></figure>2020 dealt the vintage mainstay Randolph Street Market a near-fatal blow, with the cancellation of in-person events. With construction planned this summer for the market’s traditional Plumber’s Hall home, Schwartz moved the market to Three Oaks, MI for five weekends from Memorial Day to Labor Day.&nbsp; •&nbsp; <a href="http://randolphstreetmarket.com">randolphstreetmarket.com</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417621/jsugau4tohjuhhbxk5iq.jpg"></figure> Kavi Gupta Gallery has two expansions happening. They recently announced plans for a new, multi-functioning art space on the main strip of the lakeside town of New Buffalo, MI, a common spot for Chicagoans to vacation. Plans include an exhibition space, outdoor sculpture garden, as well as art storage facilities.&nbsp;The gallery also announced in April plans to expand their 2nd floor space at 835 W Washington down into the ground floor space where <a href="https://www.chicagogallerynews.com/organizations/carrie-secrist-gallery">Carrie Secrist Gallery</a> was prior to moving nearby to 900 W Washington. Gupta owns 835 W Washington. This expansion creates a new, multi-purpose, museum-quality exhibition space. In addition to our new rooftop sculpture garden, the space&nbsp;will allow us to host expanded programming and events, as well as a curated bookshop that extends our art publishing arm, Kavi Gupta | Editions."The inaugural exhibition in the new street-level space, opening May 22, 2021, is the gallery’s debut solo show with South African artist Mary Sibande. The gallery still has its nearby Elizabeth St. warehouse as well. •&nbsp; <a href="http://kavigupta.com">kavigupta.com</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417622/azrjtijfon8mmzkhgjla.jpg"></figure>ALAN KOPPEL GALLERY expanded beyond their downtown Dearborn Street space to open a satelite gallery in <a href="https://www.chicagogallerynews.com/organizations/alan-koppel-gallery-north">suburban Glencoe</a> April 1. Their first show featured photographs by Diane Arbus, along with works by artists she influenced.&nbsp;&nbsp;Art De Triumph &amp; Artful Framer Studios, based at 2938 N. Clark since 2000, announced it is expanding to a gallery / artist retreat / learning center in their historic home in Rockford, &nbsp;85 miles from downtown Chicago. They're inviting clients and fellow artists to come for the day, or come for a stay. • <a href="https://artdetriumph.com/pages/about-us">artdetriumph.com</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417622/nxxq6hrhkgawpozv844j.jpg"><figcaption>Ron Gard</figcaption></figure>Chicago Sculpture International (CSI) opened 3D4D by CSI on April 16 at 1912 N Damen Ave. The space's program focuses on sculpture, time-based and performance art and is an experimental art space run by artists with the mission of showcasing fresh perspectives through unique programming. 3D4D aims to engage young emerging artists and curators whose work drives attention to current issues affecting our society. Community philanthropy is embedded in all programming, and 3D4D by CSI is under the direction of Chicago based artists, composed of women, LGBTQ+ and people of color. &nbsp;• &nbsp;<a href="https://www.3d4dbycsi.org">3d4dbycsi.org</a> &nbsp;</body></html>

Expansions & Plans: Forward Momentum After a Hard Year

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418894/mouumso74b34bfbedlff.jpg"><figcaption>Architect Helmut Jahn, seen here in 2011, in his office in the Jewelers Building. (Nancy Stone/Chicago Tribune 2011)&nbsp;</figcaption></figure><a href="https://www.chicagotribune.com/entertainment/ct-ent-helmut-jahn-architect-dead-20210509-gijjprpk6jd4baxm4roohm2z3a-story.html">Helmut Jahn, Chicago’s ‘star-chitect’ to the world, was the visionary behind United’s O’Hare terminal and Thompson Center</a>Before the architect Helmut Jahn designed United Airlines Terminal 1 at Chicago’s O’Hare International Airport in the late 1980s, travelers coming or going from one of the world’s greatest architectural cities made a quotidian trudge through a boring portal. Jahn replaced that grim trajectory with a sensually thrilling explosion of light, sound and excitement, designing a rhapsodic experience that emulated the great railroad hubs that once defined Chicago. He put the romance back in travel, even for the humblest traveler, signaled Chicago’s cultural centrality toward of the dawn of the 21st century and created a much-copied model for new airports all over the world.Jahn, who was 81 and died Saturday from injuries suffered in a <a href="https://www.chicagotribune.com/news/breaking/ct-helmut-jahnfamed-architect-dies-20210509-t4co2a6zd5fxzfiyon2hvcud24-story.html">cycling accident</a> outside west suburban St. Charles, would become its preeminent designer of high-profile public spaces and a full-throttle Chicago celebrity replete with the Porsche Carreras, big yachts, bespoke tailoring and all the other accessories of youthful 20th century fame.Via Chicago Tribune&nbsp;<a href="https://chicago.suntimes.com/2021/5/8/22425352/karl-wirsum-obituary-artist-hairy-who-lori-gunn-art-institute-chicago-teacher">Karl Wirsum, visionary, ‘utterly original’ artist, dies at 81</a>Karl Wirsum first began drawing when he was 5 and stuck for weeks in a hospital room, recovering from a fractured skull.And he never stopped — not even after he’d had several strokes and could barely move his hand.“Even if it was just wiggly marks and circles and little angles on paper,” said his wife of 53 years, Lorri Gunn Wirsum. “He did it every day. He looked out our back window at an apple tree, and all through the winter with the tree skeletal, he just would draw the branches – his version of it.”Via Chicago Sun Times&nbsp;<a href="https://www.artforum.com/news/turner-prize-2021-shortlists-five-artist-collectives-85705">Turner Prize 2021 Shortlists Five Artist Collectives</a>For the first time since the award’s inception in 1984, the organizers of the Turner Prize have announced that the five finalists under consideration are all artist collectives, with no individual artist being nominated. The prize, considered one of the world’s most prestigious, is named for nineteenth-century painter British J. M. W. Turner and awarded annually to a UK visual artist. This year’s prize has been eagerly anticipated, as last year’s was canceled owing to the Covid-19 pandemic.Via Artforum&nbsp;<a href="https://rejournals.com/developer-thinks-outside-of-the-box-for-tricky-fulton-market-site-over-expressway/">Developer thinks outside the box for potential museum site on Fulton Market</a>Developer R2 Companies is marketing an opportunity to build a structure on a site that runs over the Kennedy Expressway near Fulton Market. Conceptual renderings in a marketing brochure depict a glass box surrounded by landscaped outdoor space at 708 W. Wayman Street.Currently, the site, which was one piece of a larger Fulton Market portfolio that R2 Companies purchased a few years ago, is being used as a parking lot. Because it’s a challenging and unique site, Zach Cupkovic of R2 Cos says that it’s an opportunity to think outside the box. He suggests that it could be a great fit for retail or maybe even a museum.Via RE Journals&nbsp;&nbsp;&nbsp;</body></html>

What We're Reading: 5/10

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417658/uatdzqaynkxt7w8p4ga2.png"><figcaption>via <a href="https://www.instagram.com/corbettvsdempsey/">Corbett vs Dempsey</a></figcaption></figure>&nbsp;By GINNY VAN ALYEACorbett vs Dempsey, the gallery that has represented Karl Wirsum, an internationally known artist and co-founder of the Hairy Who, announced Thursday via Instagram that the artist has died at age 81.&nbsp;They shared, "We are mourning the loss of one of Chicago's true originals. [We] celebrate Karl Wirsum's joyful life and work and his profound generosity as a teacher and colleague. We are so proud to have known him and to represent his rich legacy."&nbsp;Wirsum passed away early in the morning of May 6th after a long illness.*Edited from Artic.edu:Wirsum, raised on the South Side of Chicago, was a member of Chicago’s Hairy Who, a group magically organized by a handful of artists in the 1960s and borne of a shared vision and electrified, figurative artistic style that is still highly recognizable today and forever associated with Chicago itself.Even as a child Wirsum was drawn to rhythm and blues music and the Maxwell Street Market, an open-air flea market. Inspired by his visual and sonic experiences and memories, drawing poured out of Wirsum in much the same way as sound does from an improvising musician. And like improvised music, his direct drawings rarely show correction or revision. He often depicted musicians in his artwork and took inspiration from source material he scavenged at the flea market.Wirsum enrolled at the School of the Art Institute in 1957 and was the first of the Hairy Who artists to graduate. It was through Wirsum’s friendship with Don Baum, the exhibition chairman of the Hyde Park Art Center, that he became part of the Hairy Who. Baum recommended that Wirsum be included in the small group exhibition that Jim Falconer and Jim Nutt proposed to him, and it was Wirsum who unintentionally coined the name Hairy Who. Over a period of four years the six artists of the Hairy Who—<a href="https://www.artic.edu/artists/110896/james-falconer">Jim Falconer</a>,&nbsp;<a href="https://www.artic.edu/artists/34732">Art Green</a>,&nbsp;<a href="https://www.artic.edu/artists/36022">Gladys Nilsson</a>,&nbsp;<a href="https://www.artic.edu/artists/36059">Jim Nutt</a>,&nbsp;<a href="https://www.artic.edu/artists/36413/suellen-rocca">Suellen Rocca</a>, and&nbsp;Karl Wirsum—exhibited their work together, and as a group they began mounting unconventional displays of bright, bold graphic work in the mid-1960s, transforming the art landscape of Chicago, injecting&nbsp;their new and unique voices into the city’s rising national and international profile.<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417659/c3inr5ydncqhijmohj2t.jpg"><figcaption>Karl Wirsum, Courtesy of Madison Museum of Contemporary Art</figcaption></figure>*The Art Institute of Chicago mounted the exhibition, Hairy Who? 1966–1969, in 2018, the first-ever major survey dedicated solely to the Hairy Who.When interviewed in 2018 about AIC's exhibition, Wirsum's Hairy Who colleague Suellen Rocca said of her relationships with the group, "Don Baum...had a series of thematic shows called Animal, Vegetable and Mineral. Each show had a wide variety of work with only a single piece by each artist. Jim Nutt and Jim Falconer went to Don with a proposal to have a show composed of Falconer, Nutt, Art Green, Gladys Nilsson, and me. Don thought it would be good to add Karl Wirsum. We all were in school together but we didn’t know Karl. Our work was very compatible, and showing as a group gave us each the opportunity to show more work."Rocca credited the link with Wirsum and his work at the time as pivotal for her artistic future.&nbsp;"As a young artist getting to see my work alongside my peers’ work that I was excited and enthusiastic about was so important at that stage of my development. Then, of course, planning and installing the shows was a very creative experience. Together we made a comic book and poster for each of the shows."For decades after the friends remained in touch with each other, and, as Rocca who passed away in 2020 said, they continued to support one another by going to each other’s exhibitions, truly because of their shared interest in the work, not just out of good will. They were really interested in each other as artists.*&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417660/cbkfivta4qvylnc7bcxc.png"><figcaption>Karl Wirsum at the Art Institute of Chicago, via <a href="https://www.instagram.com/zackwirsum/">@zackwirsum</a></figcaption></figure>Wirsum <a href="https://www.chicagogallerynews.com/news/2011/1/artist-insights-karl-wirsum">shared with CGN in 2011</a> that it was a 1-month stay in the hospital, when he was a young boy, that first connected him to the wonder and escape drawing could offer. It was a love that would last his whole life. A few weeks ago I was scrolling through Instagram and came across some photos from <a href="https://www.instagram.com/p/CNGuIVYFEwd/">Zack Wirsum</a>, Karl's son, who is also an artist in Chicago. Zack and his dad had come back to visit the Art Institute of Chicago when it reopened and were able to get a tour of Bisa Butler: Portraits."Thank you James Rondeau and the entire @artinstitutechi extended family for arranging for Karl and the Wirsums to see the stunning Bisa Butler: Portraits exhibit today with ease and grace. We are all extremely grateful to have been given the opportunity to enjoy this extraordinarily meaningful family experience at our home away from home and collective happy place. Thank you @litemootz for astutely recognizing that Karl would connect with Bisa’s creations, the parallels in sensibilities and for being instrumental in getting him in front of the wonderful work. Thank you @connoisseurofcomfort for taking the time to walk us through the exhibit and for providing insightful context to the incredible visuals. Appropriately, given their shared interest in the figure, color, shape and pattern, one of Karl’s favorite works was the 2019 cotton, wool and chiffon, quilted and appliquéd assemblage, Kindred. The artist suggested accompanying track of Sly and the Family Stone’s Family Affair also seemed poetically fitting. Karl told me during his second intense exploration of the work that the striped background and palette reminded him of his printed fabric inspired mid 60s Awning series and mused that using the actual eye catching textiles to construct the composition could be “a better way to do it”.&nbsp;Today was truly the kind of magic that can only happen at a museum and I am so happy this magic happened at our home museum."Wirsum will be greatly missed but his legacy is sure to continue on.&nbsp;<a href="https://www.chicagogallerynews.com/news/2011/1/artist-insights-karl-wirsum">Read CGN's 2011 interview with Wirsum HERE</a>&nbsp;Top thumbnail via <a href="https://www.instagram.com/corbettvsdempsey/">Corbett vs Dempsey</a>&nbsp;&nbsp;</body></html>

Karl Wirsum Has Died at Age 81

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418894/m4hvbuup0lnxp9qikg98.gif"><figcaption>Anywhere But Nowhere, installed at the Arts Club of Chicago, April 2021. Photo Credit: Michael Tropea; Courtesy The Arts Club of Chicago &nbsp;</figcaption></figure>By JACQUELINE LEWISAs The Arts Club prepared this past March to open its third exhibition since the arrival of the pandemic, Anywhere But Nowhere, by 2017 Turner Award nominee Hurvin Anderson, I sat down with the club’s Executive Director and Chief Curator Janine Mileaf to discuss Anderson’s new works, the artist’s ongoing barbershop theme, as well as the challenges involved with successfully mounting an international exhibition during the time of COVID-19.&nbsp;I was also fortunate to connect with Mr. Anderson for this interview, and he graciously added deeper insight to this exhibition in regards to his identity as a British-born artist, one step removed from his familial homeland in Jamaica.&nbsp;CGN: How did the Arts Club begin collaborating with Hurvin Anderson?Janine Mileaf: This exhibition has been on the books for quite some time. It was supposed to take place about a year ago, but the pandemic postponed it. I had met the Hurvin Anderson and did a studio visit in London a couple years a year ago, after which I offered him a show here. He graciously accepted.&nbsp;CGN: Can you give us an overview of the exhibition?&nbsp;JM: The exhibition includes two series coming together: brand new paintings on the subject of Jamaica and its sites of tourism, as well as ongoing work regarding barbershops. Hurvin’s barbershop work is very well known – it’s been going on since 2005 – but he’s made brand new, significant work in that series.By bringing the Jamaica and barbershop series together, he’s considering both his ongoing, formal aesthetic approach, while also thematically linking the two.&nbsp;The barbershop series has to do with the Jamaican diaspora in Britain. Hurvin is a UK–born artist with Jamaican heritage. While growing up in Birmingham, he went to barbershops with his dad. They were a sort of cultural, makeshift space that became a Jamaican hub for him. So they are a closed, interior space of Jamaican gathering within the UK. In contrast the Jamaican spaces depicted in Hurvin’s new paintings are all exterior landscapes. He wanted to bring together these two worlds and explore how they mirror each other in this new exhibition.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418895/hoq5xz6hasglc37tyspg.gif"><figcaption>Hurvin Anderson, Jungle Garden, 2020, acrylic, oil on linen, 71-1⁄4 x 59-1⁄8 in. Courtesy de Ying Foundation Photo: Richard Ivey</figcaption></figure>&nbsp;CGN: How do the works depict the dualities of development and dereliction surrounding the Jamaican tourist sites? Can you explain how they happen simultaneously?JM: That was actually the impetus for this series of works.&nbsp;Hurvin took a bunch of photographs when he went to Jamaica in 2017. He was struck by the sites where he would see giant construction projects adjacent to places that were falling apart. There was this investment in the new without care for the existing. It struck him as problematic, so he focused on it visually.In the paintings, you don’t necessarily see the cranes and the active building, but you see a hotel site that’s built in limestone. He focuses on this perforated stone wall covered in foliage, and you cannot tell if it’s being built or torn down. There’s this constant need for redevelopment, growth and construction, but at the same time there’s neglect and decay.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418896/gfay0iidn9jqz2m4gj2w.gif"><figcaption>Chalet 1, 2019, ink and pencil on cartridge paper, 10-1⁄8 x 14-7⁄8 in (25.8 x 37.7 cm) Photo: Ben Westoby</figcaption></figure>&nbsp;CGN: What does the title “Anywhere but Nowhere” mean?JM: The title itself comes from a KC White reggae song of the same name. There are a lot of musical references in the titles of Hurvin’s works. But he’s also referencing the specificity of place – a kind of familiar view that is not specific in terms of its locale. A lot of Caribbean touristic sites are kind of treated in this same way.There’s a monumental landscape painting in this show titled No One Remembers, and for Hurvin, it’s extremely specific in terms of Jamaican context. It’s a combination of abstract planes and signage. To him it’s the visual imagery you see all over Jamaica. For someone familiar with that it would be very recognizable.Anywhere but Nowhere is also wrapped up in a concept of utopia Hurvin is playing with. There is this value placed on a homeland by those who are part of the diaspora, so he has a romanticized Jamaica that he’s never really lived in. He’s a foreigner there, yet he has this very close connection. There’s a paradise people get in their minds, including him, that doesn’t really exist.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418897/qcmm3ct8bv3yzifqtrhs.gif"><figcaption>No one remembers, 2021, acrylic on paper laid on Dibond, 59-1⁄8 x 354-3⁄8 in. (150 x 900 cm) Photo: Ben Westoby</figcaption></figure>&nbsp;CGN: How does Anderson’s British Nationality and experience intersect with his Jamaican roots in this exhibition?JM: I actually spoke with Hurvin today, and he said that a goal of his is to merge them. In this exhibition they are still two separate things, but both are equally part of him. He wanted to see them together for structural and thematic reasons, but I think they still do remain separate.There’s a utopian view of both places: this internal community in a broader place like the UK, and then this image of a paradise that’s externalized in the Jamaican scenes. He plays them off each other conceptually.&nbsp;*&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418898/xlal1xuxcxv0tsmumv64.gif"><figcaption>Hurvin Anderson, Photo Credit: Sebastian&nbsp; Nevols &nbsp;</figcaption></figure>CGN: Mr. Anderson, will you please share your experience as a British citizen visiting your familial country of Jamaica?Hurvin Anderson: In this body of work I’m offering a representation of Jamaica as told to me through two generations of the diaspora. Although based on photographs of a real location on Jamaica’s North Coast, these works are also creations of my imagination and born of a powerful oral history.&nbsp; As such, I am always one step removed, trying to understand the visceral pull of a homeland I’ve never known but that has been so richly described. The Jamaica of people’s memory dominated conversations in my childhood, so representing these conjured images on the canvas is, I suppose, a way of filling a loss or void. Life in Jamaica was not my experience, but in recreating a version in my own language I can, in part, relate or share in it.&nbsp;The retelling of stories from Jamaica mythologised the country of my parents and siblings’ birth. On a visit in 2017, my mind was full of descriptions of the charm of the place while physically confronted with the beauty yes, but also the reality of economic hardship.&nbsp; The abandoned hotels became a metaphor for me for these mixed feelings of grandeur and loss, of a garden of eden, a lost city and the pain of nostalgia.&nbsp;&nbsp;* &nbsp;CGN: Since the artist is based in the UK, and international travel is difficult during the pandemic, did the Arts Club have to employ new ways to collaborate on this exhibition?JM: Happily I had been to Hurvin’s studio long before the pandemic, and he had basically sketched out the entire exhibition. We were lucky in that way. He just had more time to work on it.This morning we were looking at floor plans to figure out exactly where things would go, and we have FaceTime check-ins scheduled over the next couple days. We’ll do a little with the exhibition, show him virtually, and then repeat the process.Normally he would be here at this point. We’re hoping that he may still come in person this summer for a closing event. That would be nice. We’re all working on getting vaccinated, and travel may be possible, so we haven’t written that off yet.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418899/lkkzxlhrxs5hkjqv0jjn.gif"><figcaption>Hurvin Anderson, Flat Top, 2008, oil on canvas, 98-3⁄8 x 81-7⁄8 in., Collection Thomas Dane, London Photo: Hugh Kelly &nbsp;</figcaption></figure>&nbsp;CGN: Do you think that technology like this could allow for even less separation and lead to a more interconnected, global art experience?JM: I mean, you can get things done, depending on the planning, but the richness of the artist’s presence is very much missed.&nbsp;CGN: How is The Arts Club approaching exhibiting art during an ongoing pandemic?JM: We were closed, then open, then closed, and then open by appointment. Now with Hurvin’s exhibition, I believe that we will be able to open at regular gallery hours. We are always watching and will respond based on the city’s guidelines.Unfortunately we cannot have a live opening, but we have been doing some public, mini tours instead of a big tour, as well as a public Zoom talk in April. In June we will have an open house with tours. Over the summer and depending on regulations, we may have another talk or event.&nbsp;CGN: What aspects of the exhibition are you most excited for people to experience?JM: I am excited for people to experience the tactile qualities of the art that you just cannot get on a screen. The scale and the embodied relationship between the viewer and the painting is also very important in these works, as well as those physical textures. There is also this structure under his paintings that reveals itself gradually, making time extremely important for his works.&nbsp;&nbsp;Hurvin Anderson: Anywhere But Nowhere, Thru August 7, 2021 at The Arts Club of Chicago • artsclub.org&nbsp;</body></html>

Hurvin Anderson's Artistic Translations at The Arts Club of Chicago

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418894/icidnpwsni8ianry0y4b.jpg"><figcaption>Frida Kahlo, Barack Obama, Michelle Obama</figcaption></figure>&nbsp;By CGN Staff via PRThe City of Chicago keeps rolling through its cultural to-do list this week. This latest update brings together Art on theMART, Cleve Carney Museum of Art, and the Art Institute of Chicago. Art on theMART announced in partnership with Chicago’s Department of Cultural Affairs and Special Events, two major new additions to its summer program: The Obama Portraits (debuting June 17) and Frida Kahlo (starting July 5). All projections will be shown nightly at 9:00 and 9:30 p.m. The Obama Portraits, (June 17 – September 16) You thought the former President and First Lady hailing from Chicago were already larger than life?&nbsp;In conjunction with the Art Institute of Chicago’s presentation of The Obama Portraits, Art on theMART will present a dynamically animated projection of the portraits of President Barack Obama and former First Lady Michelle Obama by Kehinde Wiley and Amy Sherald, respectively. Former Chicago residents, the Obamas have a unique connection to the city. Wiley painted President Obama against greenery, with chrysanthemums; the flowers have symbolic meaning as the official flower of Chicago. Amy Sherald captured the former first lady against light-blue ground, sitting and gazing directly at the viewer. Kehinde Wiley and Amy Sherald are the first African American artists commissioned to paint portraits for the Smithsonian’s National Portrait Gallery's collection of a former President and First Lady. &nbsp;A musical score will accompany the piece.&nbsp;The paintings can be viewed at the Art Institute of Chicago June 18-August 15. Frida Kahlo, (July 5 – September 16) Frida Kahlo: Timeless, was originally planned for summer 2020. A lot of things were. However, its now back on for this June, and the downtime allowed for some extra collaborative plans.&nbsp;On July 5, the eve of iconic Mexican artist Frida Kahlo’s birthday, a new piece celebrating her work will be unveiled. On the occasion of the Frida Kahlo: Timeless exhibition at the Cleve Carney Museum of Art and the McAninch Arts Center at the College of DuPage (June 5 – Sept. 6, 2021), the piece will feature several of Kahlo’s most recognizable works including Self Portrait with Small Monkey (1945) and Self Portrait in a Velvet Dress (1926). Accompanied by an orchestral score from Mexican composer Arturo Márquez, recorded by New Philharmonic, the projection commemorates Kahlo’s artistic legacy, which will be further explored in Frida Kahlo: Timeless, the most comprehensive presentation of Kahlo’s work displayed in the Chicago area in over 40 years. About Art on theMARTArt on theMART can best be experienced for free from the jetty section of the Chicago Riverwalk on Wacker Drive between Wells Street and Franklin Street, where accompanying audio is also available. Current social distancing practices, based on recommendations from the City of Chicago and the State of Illinois, must be observed by all Art on theMART visitors. For more information, visit <a href="http://artonthemart.com/">artonthemart.com</a>. Art on theMART is the largest permanent digital art projection in the world, projecting contemporary artwork across the 2.5-acre river-façade of theMART. This expansive permanent piece of public art continues Chicago’s legacy of providing both residents and visitors with exceptional art that is both free and accessible to all. Projections are visible to the public from Wacker Drive and along the Chicago Riverwalk. The program content rotates seasonally and is selected with the assistance and expertise of the Curatorial Advisory Board. The City of Chicago and theMART work in partnership to manage and curate the projected artwork over the course of a 30-year agreement. Privately funded by Vornado Realty Trust, owner of theMART, Art on theMART marks the first time a projection of its size and scope is completely dedicated to digital art with no branding, sponsorship credits or messaging. The permanent projection system illuminates theMART with 34 state-of-the-art projectors totaling almost one million lumens.&nbsp;For more information, visit <a href="http://www.artonthemart.com/">www.artonthemart.com</a>.&nbsp;Thumbnail, from spring 2021: The Adler Planetarium, Astrographics 04. Photography courtesy of Art on theMART&nbsp;&nbsp;</body></html>

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