<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417693/v1hixqsupdojatxjowfp.jpg"><figcaption>Photo © Field Museum, 2020, Michelle Kuo.</figcaption></figure>&nbsp;<a href="https://www.fieldmuseum.org">The Field Museum</a> is offering six Free Days during the month of October, and if you’re looking for a place with skeletons and strange creatures this Halloween, they say they've got you covered.&nbsp;On the following days, the Field is offering free general admission to all Illinois residents with proof of residency. Our Monday Free Days coincide with free days at the Shedd Aquarium next door, so visitors can make a day of it.&nbsp;As it gets chillier outside, the Field is the perfect place to get out of the house while staying safe—attendance is capped at 25% of the building’s normal capacity, masks and social distancing are mandatory, and it’s a big, airy, well-ventilated space. And they have SUE face masks available for sale at the front door, if you’re looking to step up your Halloween mask game.On view now: <a href="https://www.fieldmuseum.org/exhibitions/apsaalooke-women-and-warriors">Apsáalooke Women and Warriors</a>, a new exhibition about the history, values, and beliefs of the Apsáalooke people of the Northern Plains, also known as the Crow. Understand and honor the tradition of “counting coup”—performing acts of bravery. From 100-year-old war shields to contemporary beadwork and fashion, Apsáalooke community members tell their stories and share vibrant works of art.&nbsp;&nbsp;Monday, October 5Thursday, October 8Monday, October 19Thursday, October 22Monday, October 26Thursday, October 29&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

October Free Days at the Field Museum

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418812/ljk7pwxtxya5q6nhhte0.jpg"></figure>By GINNY VAN ALYEA<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418813/l6wfxip6vznniunrrh9g.png"><figcaption>Face mask: $15. 100% of profits will go to supporting Black artists in Chicago via Chicago Artists Relief Fund&nbsp;microgrants.</figcaption></figure>Living in the city and in an apartment, I don't notice political yard signs so much as I see window signs and hats. This time of year – hey this year – varying signs of support are plastered all around the country. If you're not a yard sign person (I'm not) this particular one that benefits arts groups may be for you.<a href="https://supportchicagoarts.com">Support Chicago Arts</a> is a fundraising initiative of Chicago Stands Together, a 501(c)3 organization formed by two Chicago-area marketing and communications agencies, Direction Tour Marketing and Acacia Consulting Group. The initiative aims to assist arts organizations in Chicago who are experiencing financial hardships due to the COVID-19 crisis, and there is no shortage of spaces and the creatives who depend on them.&nbsp;Theaters and venues were among the first to close amidst the COVID-19 pandemic as stay-at-home orders were implemented. They will likely be among the last to reopen, as social distancing best practices result in significantly reduced occupancy making it difficult for venues to operate at all.&nbsp;Support Chicago Arts was formed as a response to these challenges, which are unique to the arts community. By purchasing a lawn sign, medallion, or window sign, patrons announce their support for their favorite arts organizations, building community while providing much needed financial support. 100% of the profits from the sale of each item will be donated to the organization of their choosing.&nbsp;This is one cause you can show your support for from head (well, face) to toe.&nbsp;View a list of participants <a href="https://supportchicagoarts.com/pages/our-partners">here</a>&nbsp;&nbsp;</body></html>

A Yard Sign Everyone Can Get Behind? Support Chicago Arts

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418812/ophazslyzoeer5gkzl8t.jpg"><figcaption>Images (left to right, top to bottom): Laura Letinsky, Untitled #6 (from the series: Rome), 2009, Chromogenic print. Smart Museum of Art, The University of Chicago, Purchase, The Paul and Miriam Kirkley Fund for Acquisitions, 2012.27. © 2013 Laura Letinsky. Gladys Nilsson, Maximysing, 1993, Etching. Smart Museum of Art, The University of Chicago, Gift of the artist in memory of Whitney Halstead,&nbsp;1995.58d. © Gladys Nilsson.&nbsp; Claudia Wieser, Untitled, 2017, Acrylic, ink, and gold leaf on wood, four works. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Claudia Wieser. Claudia Wieser, Untitled (detail),&nbsp;2020, Wallpaper. Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Claudia Wieser.&nbsp;</figcaption></figure>By CGN StaffThe Smart Museum of Art is the latest local institution to re-open after closing its doors this spring due to the pandemic. Its doors open on October 1.&nbsp; The Museum re-opens with special public hours and two new exhibitions: a site-specific installation from Berlin-based artist <a href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=be8b8e6134&amp;e=a6ad3ea4a5">Claudia Wieser</a> will greet visitors with layered references to the Roman forum and Bauhaus design, while the spacious collection-based exhibition <a href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=12b7cb114b&amp;e=a6ad3ea4a5">Take Care</a> seeks to unpack matters of care from the personal to the collective. In addition, the Museum will be open to University of Chicago classes and individual or small group student research visits coordinated through the <a href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=8a704ec076&amp;e=a6ad3ea4a5">Feitler Center for Academic Inquiry</a>.&nbsp;<a href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=2bead44ca6&amp;e=a6ad3ea4a5">Reservations are now needed to visit</a><a href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=7529df0e35&amp;e=a6ad3ea4a5">Read our updated guidelines</a>&nbsp;<figure class="image image-style-side"><img src="https://mcusercontent.com/aba2086a45b4ee8391b89447b/images/b0b8c7ed-deb4-473e-929a-6230d21091d4.png" alt=""></figure>Smart from Home Offers Virtual programs and at-home experiencesIn conjunction with the in-person exhibitions, the Smart Museum is planning a comprehensive series of virtual programs and gatherings, such as a remote book club, livestream performances, at-home art-making activities for families, and object video chats featuring scholars and other partners.&nbsp; <a href="https://uchicago.us2.list-manage.com/track/click?u=aba2086a45b4ee8391b89447b&amp;id=98409865f1&amp;e=a6ad3ea4a5">Join in from home »</a>&nbsp;&nbsp;</body></html>

The Smart Museum Reopens Oct 1

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/p9lr7jp8fewwijcxhcu8.jpg"><figcaption>Geoff Bevington is painting a mural on the wall of Olive 'n Vinnie's in Glen Ellyn. The mural honors Mexican icon Frida Kahlo in anticipation of a major exhibition of her paintings coming to the College of DuPage. Joe Lewnard | Staff Photographer</figcaption></figure>&nbsp;Mural marks Glen Ellyn as the host of coming Frida Kahlo exhibitGeoff Bevington doesn't mind the interruptions. He's painted about 150 murals, but this one is special. It's his most personal. So when Metra commuters, Prairie Path users and students try to pull him aside from his unfolding work in downtown Glen Ellyn, Bevington is happy to talk about his inspiration and technique.By Katlyn Smith, Daily Herald<a href="https://www.dailyherald.com/news/20200929/mural-marks-glen-ellyn-as-the-host-of-coming-frida-kahlo-exhibit">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/qu1kosrpta8dqn0xyq5z.png"><figcaption>Dancers Daniel "Bravemonk" Haywood and Kelsa "K-Soul" Robinson perform Sept. 22, 2020, at the Dorchester Art + Housing Collaborative. (Brian Cassella / Chicago Tribune)</figcaption></figure>&nbsp;Equitable real estate development on Chicago’s South Side is possible. Artist Theaster Gates has shown the way.It’s no secret that some of Chicago’s 77 neighborhoods have suffered from a certain level of financial disinvestment, often systemic and spread out over decades.But one Chicagoan’s efforts to inject new enthusiasm and a sense of community, anchored by artistic and cultural endeavors, are attracting global attention — and similar efforts might be the key to stimulating more equitable real estate development on Chicago’s South Side, a new report suggests.By Darcel Rockett, Chicago Tribune<a href="https://www.chicagotribune.com/real-estate/ct-re-theaster-gates-creative-placemaking-uli-tt-0928-20200929-i7dn7qljmbduthqtxnrvtgi5jq-story.html">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/dmnhaou2sjgxx2b5zzsc.jpg"></figure>&nbsp;After Raising $20 Million, Artist Relief Fund Extended to End of 2020The Artist Relief fund announced today that it will continue to distribute unrestricted $5,000 grants to US artists in straitened financial situations through the end of 2020. The fund, which has raised $20 million since its inception in April, will accept applications through December 10, three months past its initial expected September deadline; it will also continue fundraising efforts during this time.Via Artforum<a href="https://www.artforum.com/news/artist-relief-fund-extended-to-end-of-2020-83977">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418805/iiavwcxxrqvohbnukono.jpg"><figcaption>Artemisia Gentileschi's Self Portrait as a Lute Player (around 1615-18) © Wadsworth Atheneum Museum of Art</figcaption></figure>&nbsp;National Gallery hopes Artemisia exhibition will inspire public to 'get through the Covid crisis'Postponed by the pandemic, the show will reveal Baroque artist's recently discovered intimate letters and "unflinching" paintings.By Joanna Moorhead, The Art Newspaper<a href="https://www.theartnewspaper.com/news/national-gallery-hopes-artemisia-exhibition-will-inspire-public-to-get-through-the-covid-crisis">Read More</a>&nbsp;&nbsp;&nbsp;</body></html>

News From Around the Art World: September 29, 2020

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/grf4y22mbjrc1aypu6sl.jpg"><figcaption>Patty Caroll, Cooking the Goose, Digital Photograph, 2020</figcaption></figure>&nbsp;By ANNA DOBROWOLSKIIf you’ve ever felt like you’ve walked in on a crime scene when looking at some of Patty Carroll’s photographs, you are not alone. Carroll, influenced by bright, vintage colors and British interiors, is guilty of one thing: framing it on the room. &nbsp;Before many of us were stuck at home, Carroll was already reflecting on what it means to be surrounded by so much stuff, whether it be items that act as an extension of our selves, or the media and the politics we consume on a daily basis. Her latest book Domestic Demise catalogs women being ‘done in’ by their physical environment, possessions, labels (or lack of thereof) and, unsurprisingly, their impeccable taste in drapery.These past few months have set the stage for her photographs. At the start of pandemic, Carroll had to put her art on hold for personal health reasons. Now fully recovered (and her sense of humor unscathed) she has since been conjuring images of women bombarded by reality and putting the pieces together.I visited Patty Carroll at her studio to talk about her women and how recent events have crept into the foreground of her photography.&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/vjt5sb9r5dydmihrwflw.jpg"><figcaption>Patty Carroll, the artist hiding in the drapes herself</figcaption></figure>&nbsp;CGN: What’s a typical day in the studio look like now? What are you working on?Patty Carroll: I had this idea about having patches or pieces together, so before we got to the studio, I had bought these carpet tiles and brought back these wallpaper books to start building the scene. Shopping and acquiring the right materials are a huge part of the process. Then, my assistant and I cut out pages from the wallpaper books that we thought would work together. At one point I decided that we need a lamp and a square chair, so I brought one back from Indiana and spent most of the day covering that and the lampshade. I also had to find a dress for her to wear….it takes a couple of days.&nbsp;CGN: How has your art practice changed over the past couple of months in light of the pandemic?&nbsp;PC: It didn’t change my practice as much as it changed my perspective on work. I’m still using my woman who is alone in her house, but now she is kind of a metaphor for all of us who are stuck in our houses. The woman is dragging herself around her house, depressed, or watching TV all the time; whereas people are obsessed with cooking, cleaning, and sort of confined doing. The fact that I was working [on these themes] before COVID-19 was kind of fortuitous.&nbsp;My work took on a different meaning when we all became confined. For example, I have a gallery in Houston, and because times were hard, we were offering things at a discount. We sold a couple, but my perspective was that it suddenly became too close to home. I mean, if you are already feeling claustrophobic the last thing you want is to look at is a picture about a woman being claustrophobic.&nbsp;CGN: Interior lives have been very prominent in your work. How did you get to this point?&nbsp;PC: First of all, I love color. The whole work I did for at least three quarters of my career was outside, in the world of tacky, wonderful places. I took many photographs of Fort Lauderdale, Miami and cheap little motels that reminded me of the places we stayed at when I was a kid.&nbsp; &nbsp;Then, it developed into this whole series of photographing&nbsp; hot dog stands, which started in Chicago. I had no studio experience and all of this work was outside, in the world, and seeing what the world had to offer – in as much color as possible.&nbsp;Once I got into studio work (Spirited Visions: Portraits of Chicago Artists. Photographs), I was more interested in who the artists were in their work, not who they were in reality. I was trying to photograph someone’s inner life.&nbsp;Like many photographers, I began photography to try to get away from home. Then, my husband and I came back from England. It was like literally coming home—physically, mentally, spiritually. I was trying to figure what is home and where is it and what does it mean—and how do we express that. It was a round circle. It is really hard to figure out when you are a photographer, because you are confined to reality.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418807/yfhhz5irg8nk82wwxdmi.jpg"><figcaption>Patty Carroll, Protected, digital photograph, 2020</figcaption></figure>&nbsp;CGN: How do your recent photographs, including those from your book Anonymous Women: Domestic Demise, evolve from your earlier series, Anonymous Women: Reconstructed, Anonymous Women: Draped?&nbsp;The Anonymous Women series started out with the idea that the home is an integral part of every woman’s identity. She was behind the drapes for the first part of the series.&nbsp; She was very alone, hidden, and so she was anonymously making this home. At the same time, she was getting entangled in the process.After that part of the series I wanted to introduce stuff, because all women have objects that are important to them—cooking utensils, art, red balls, you name it. People have all kinds of things that they need to surround themselves with as part of their identity.As I kept adding items (fabrics, furniture, appliances), I realized the figure was very stiff. I thought about how the combination of activities and obsessions in the home and decorations and stuff can overwhelm anyone. This last part of the series is all about that: taking an activity like reading or moving furniture that engulfs the woman and really ‘does her in.’CGN: Was that what sparked the decision to make short videos of the draped woman performing impossible tasks?&nbsp;It coincided with two things: the first was that Photoshop introduced video editing, and the other thing was that I was feeling that they were so stiff and the whole idea was just kind of heavy. There’s only so much you can do with a model. The second thing was the time my niece was in town and I told her to get behind the drape and turn the lamp on. She couldn’t find the knob to turn the lamp on because, obviously, she couldn’t see behind the drapes. I thought, “That’s the point!” It was hilarious to watch these women in whacko situations fail because they can’t see what they’re doing.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418808/hqpmpnumrnhrk57gdimh.jpg"><figcaption>Patty Carroll, Political Party, digital photograph, 2020</figcaption></figure>&nbsp;CGN: In what ways does your Woman, the faceless mannequin in the pictures, address current events? What is, to borrow your phrase, ‘doing her in’? &nbsp;I did a few photographs, such as Campaigning and Cocktail Party, for my Red, White, and Blue series that were about patriotism, and democracy—how the lack of democracy is doing us in. The obsession with all of the politics is just making us crazy. That’s one theme.&nbsp;I made a couple of Pride pictures in June. Then, in July—we were all wearing masks and cleaning everything all the time and I thought I should just do a picture about protecting ourselves: Protected. Plastic seems to be the material of choice these days. I still want to do one with bandages and stuff, but I haven’t gotten to that yet. It was too close to all my physical illnesses (laughs) and having skin glue and stuff on bits of me. And I thought, “I can’t quite do this yet.”&nbsp;*&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418809/tzrb9qcubfprxyvwlgge.jpg"><figcaption>Patty Carroll, Pieces, digital photograph, 2020</figcaption></figure>&nbsp;In Carroll’s latest picture, Pieces, the recurring lone woman is slouched in a chair, obscured by scraps of wallpaper samples and mismatched fabrics. In true Dr. Frankenstein-like spirit, Carroll explains, “I wanted to work on pieces to bring her to life.” She continues, “Every time we turn around there seems to be something new and awful happening.” In Pieces, Carroll’s departure from her usual highly saturated color scheme speaks to our political reality: “It feels like people are so upset with the way things are going that a neutral environment seems natural. With that, I’m piecing together life.”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418810/j7idtl28rbtftkpeepoo.jpg"><figcaption>Patty Carroll, News, digital photograph, 2020</figcaption></figure>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418810/juefqdcwpdxi9iuvbgtr.jpg"><figcaption>Patty Carroll, Planty, digital photograph, 2020</figcaption></figure><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418811/nhedexgbapmwt8o1cfcv.jpg"><figcaption>Patty Carroll, Toasty, digital photograph, 2020</figcaption></figure>&nbsp;&nbsp;</body></html>

Patty Carroll: Investigating Domesticity

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/nmsgtqwfh7wyfkw1nmwh.jpg"></figure>&nbsp;By CGN Staff via PRHot on the heels of EXPO CHICAGO's <a href="https://www.chicagogallerynews.com/news/2020/9/expo-chicago-announces-new-fall-2020-programming">EXHIBITION Weekend</a>, a virtual and in-person weekend devoted to spotlighting local spaces in a non-art fair fall, the New Art Dealers Alliance (NADA) will host another virtually-centered event, the Chicago Gallery Open, September 30 –&nbsp;October 4, 2020. NADA and participating area galleries are staging virtual conversations as well as walkthroughs of their current exhibitions.The beauty of not having competing art fairs taking place around the world and around the calendar this season is that newly imagined events are launching online, with innovative in-person programs and exhibitions following in their wake. And the list of participating spaces and artists seems more dynamic and varied than ever.&nbsp;The Chicago Gallery Open is slated to feature online presentations of available artworks from participating galleries; exhibition listings to promote in-person, by-appointment viewings; and a programming series organized in collaboration with participants to be hosted locally in Chicago and online. Designed by Artlogic and built on their Online Viewing Room (OVR) technology and e-commerce services, the Chicago Gallery Open will present artworks in a centralized dynamic online platform, creating an engaging and unique purchasing experience for collectors. Through the collaborative efforts of NADA and all of the participants, this new event will use this moment to focus on the vitality, importance, and eccentricity of the Chicago art community.Participating galleries – including a range of spaces, from the newly-opened Haynes, to veterans such as GRAY and Rhona Hoffman – are invited to present artworks from, or relating to, their concurrent exhibition to be included in the online platform for the five-day event. For instance, DOCUMENT is presenting rarely seen works by Laura Letinsky in their online viewing room as well as their physical space on Chicago Ave. in West Town.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/c1g0bvk26lkn6a2ib3vh.jpg"><figcaption>Laura Letinsky, Coming to the Commons (2), 2013, Archival pigment print, 48 h x 58 w in. (paper size) Edition of 7 + 2APs. On view at DOCUMENT.</figcaption></figure>&nbsp;The Chicago Gallery Open follows the success of NADA's New York version, also called the Gallery Open, which is an annual event taking place during Armory Week in lieu of a traditional art fair. The second edition of the New York event took place just before the world shut down due to COVID-19 and featured over 60 art galleries, non-profits, and alternative spaces across New York City, and included a programming series of guided tours, artist talks, performances, dinners, and special events. The Chicago Gallery Open builds upon the momentum of last year’s <a href="https://www.chicagogallerynews.com/news/2019/9/nada-s-first-chicago-fair-invites-viewers-to-engage-with-art">Chicago Invitational</a>, a contemporary art fair that took place throughout the iconic Chicago Athletic Association hotel in September 2019 and featured over 30 exhibitors from around the world.<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/bvyzblidovcbfzwg2p88.jpg"><figcaption>Dominique Knowles: The Solemn and Dignified Burial Befitting My Beloved for All Seasons on view at <a href="https://goldfinch-gallery.com/dominique-knowles-the-solemn-dignified-burial-befitting-my-beloved-for-all-seasons/">Goldfinch</a> thru Oct 17</figcaption></figure>Featured artists include: Jake Troyli, Danny Dunson, Liz McCarthy, Chris Reeves, Dominique Knowles, Mari Eastman, Edra Soto, Dan Sullivan, Alberto Aguilar, Marina and Cecilia Resende Santos, Olivia Jade Juarez, Remy Lucien Bordas, Faysal Altunbozar, Zakkiyyah Najeebah Dumas-O'Neal, James Kao, and Ann Toebbe.The full list of participating galleries includes: <a href="https://www.062official.com/">062</a> <a href="http://www.4wps.org/">4th Ward Project Space</a> <a href="http://www.65grand.com/">65GRAND</a> <a href="https://ackermanclarke.com/">Ackerman Clarke</a> <a href="http://addsdonna.com/">ADDS DONNA</a> <a href="https://www.apparatusprojects.com/">Apparatus Projects</a> <a href="http://www.aspectratioprojects.com/">Aspect/Ratio</a> <a href="https://www.babybluegallery.com/">Baby Blue</a> <a href="http://biancabovagallery.com/">Bianca Bova Gallery</a> <a href="https://www.chicagomanual.style/">Chicago Manual Style</a> <a href="https://artsoflife.org/galleries/circle-contemporary-chi/">Circle Contemporary (Arts of Life)</a> <a href="http://deveningprojects.com/">Devening Projects</a> <a href="https://documentspace.com/">Document</a> <a href="https://www.everybody.gallery/">Everybody</a> <a href="https://www.extasechicago.com/">Extase</a> <a href="https://thefranklinoutdoor.tumblr.com/">The Franklin</a> <a href="https://goldfinch-gallery.com/">Goldfinch</a> <a href="http://goodweathergallery.com/">Good Weather</a> <a href="https://www.richardgraygallery.com/">Gray</a> <a href="http://kavigupta.com/">Kavi Gupta</a> <a href="https://www.hans-gallery.com/">Hans Gallery</a> <a href="https://haynesartprojects.net/">Haynes</a> <a href="https://www.rhoffmangallery.com/">Rhona Hoffman Gallery</a> <a href="https://www.juliuscaesarchicago.net/">Julius Caesar</a> <a href="https://mleblancchicago.com/">M. Leblanc</a> <a href="http://lvl3official.com/">LVL3</a> <a href="http://moniquemeloche.com/">Monique Meloche</a> <a href="https://www.mickey.online/">MICKEY</a> <a href="http://www.mpstn.com/">MPSTN</a> <a href="https://newworksprojects.com/">New Works</a> <a href="https://patrongallery.com/">Patron</a> <a href="https://pickleman.art/">Pickleman</a> <a href="http://prairie.website/">Prairie</a> <a href="http://www.produce-model.com/">Produce Model</a> <a href="https://andrewrafacz.com/">Andrew Rafacz</a> <a href="http://regardsgallery.com/">Regards</a> <a href="https://www.rootsandculturecac.org/">Roots &amp; Culture</a> <a href="http://www.ruschman.blue/">RUSCHMAN</a> <a href="https://www.secristgallery.com/">Carrie Secrist Gallery</a> <a href="https://slungleg.com/">Slung Leg</a> <a href="http://soccerclubclub.com/">Soccer Club Club</a> <a href="http://wvvolumes.com/">Volume Gallery</a> <a href="https://westernexhibitions.com/">Western Exhibitions</a> <a href="http://jessemalmed.net/">Works Sited</a>The online presentation, featuring available artworks, exhibitions to visit in-person, by-appointment viewings, and collaborative programming, goes live Wednesday, September 30th, 10am CST / 11am EST.<a href="https://chicagogalleryopen.org">For further information visit chicagogalleryopen.org</a>&nbsp;The New Art Dealers Alliance (NADA) is the definitive non-profit arts organization dedicated to the cultivation, support, and advancement of new voices in contemporary art.&nbsp;&nbsp;</body></html>

NADA's Chicago Gallery Open Takes Place September 30 - October 4

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/aoz0pkghhk53lcsy3fy5.jpg"><figcaption>Bonnie Lautenberg,&nbsp;Lady Liberty: A Beacon of Hope and Freedom, 2020, Limited Edition Archival Pigment Print, 26 x 26 in. Jean Albano Gallery.</figcaption></figure>&nbsp;By GINNY VAN ALYEAEXPO Weekend is here. It's officially called EXHIBITION Weekend in 2020, and it's not taking place at Navy Pier with 40,000 fair visitors, but coordinated in-person and virtual programming and openings in area galleries is taking place in the coming days, along with special events and a curatorial forum, in the spirit of any other EXPO CHICAGO weekend.&nbsp;Early this summer <a href="https://www.expochicago.com">EXPO CHICAGO</a>, which typically dominates the region's cultural calendar each September and heralds the start of a major fall art season, made the decision to move to spring 2021 due to the global pandemic. The fair's first predominantly virtual initiative is not actually focused on the fair itself and its exhibitors, but in community galleries and arts groups in an effort to tangibly support that local community this season while also engaging with collectors, curators and artists around the world.“Given EXPO CHICAGO’s commitment to our community, there was no hesitation to make our first predominantly virtual initiative in support of Chicago—celebrating the breadth and scope of the city’s vibrant creative community while providing an access point for international audiences to connect with local artists, gallerists, and collectors. With support from Presenting Sponsor Northern Trust and others, we are proud to partner with Hook on the development of the online viewing room that will enable EXPO CHICAGO to continue to present the highest quality platform for contemporary art and culture,” said Tony Karman, President | Director of EXPO CHICAGO.Taking place during the days the fair was to happen on Navy Pier (September 25–27, 2020) EXHIBITION Weekend underscores EXPO's commitment to local galleries, artists, and institutions, showcasing Chicago-based exhibitions, curatorial projects, and artist programs through a series of virtual programs including studio visits, exhibition and gallery tours, and discussions accessible globally, as well as a custom online viewing and sales platform developed by Hook, an online venue for seasoned art collectors and leading galleries.&nbsp;“At a time when we are all craving more activity and interaction with one another, we are happy to be able to partner with EXPO CHICAGO to provide a way for people to experience EXHIBITION Weekend remotely,” said Hook Founder Jake Nyquist. “Hook will approximate the experience of an in-person art fair, allowing visitors to navigate the fair at their own pace and in whatever direction they choose.”The link to the fair will <a href="https://hookart.com/exhibition-weekend">go live</a> at 10 AM Friday, September 25&nbsp;Special Events&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/ucj3rqhcvqx7isrma6hy.jpg"><figcaption>Facility, Nick Cave and Bob Faust. 2019 Limited-Edition Print. Limited Edition of 200. 9 color lithograph. 30 in x 21 in, 76.2 x 53.3 cm. Signed by the artist.</figcaption></figure>Launching EXHIBITION Weekend on Thursday, September 24, EXPO CHICAGO will present a conversation with artists Nick Cave and Bob Faust, Quintin Williams of Heartland Alliance for Human Needs &amp; Human Rights, and Gabrielle Lyon of Illinois Humanities. With an introduction by philanthropist Agnes Gund, Founder of Art for Justice, this conversation will explore the concepts addressed in the limited-edition print designed by Nick Cave and Bob Faust, a Facility Art/Work collaboration printed by Landfall Press, in celebration of the 2019 edition of the exposition. The limited-edition print can be purchased at <a href="http://www.expochicago.com/">www.expochicago.com</a>, a custom viewing room in the EXHIBITION Weekend (September 25–27) platform, and via the Artsy MarketplaceEXPO is also known for its robust VIP programming each fall, offering exclusive access to spaces and events traditionally held in person. This fall the program, still available by invitation only, has been adapted to go online and include a range of programming, from highly-sought after collector home tours (one this fall features the home of Chicago collectors Jack and Sandy Guthman) to VIP Art Advisor-led tours of EXHIBITION Weekend. Area curators will also lead tours of exhibitions by Chicago’s foremost institutions, including a behind-the-scenes conversation with Museum of Contemporary Art Chicago Manilow Senior Curator,&nbsp;Naomi Beckwith, on the exhibition Duro Olowu: Seeing Chicago, co-curated with the Nigerian-born British fashion designer.&nbsp;&nbsp;Participating galleries in EXHIBITION Weekend include:&nbsp;Aaron Galleries, <a href="https://www.chicagogallerynews.com/organizations/jean-albano-gallery">Jean Albano Gallery</a>, Aspect/Ratio, Corbett vs. Dempsey, Stephen Daiter Gallery, Devening Projects, <a href="https://www.chicagogallerynews.com/organizations/document">DOCUMENT</a>, <a href="https://www.chicagogallerynews.com/organizations/catherine-edelman-gallery">Catherine Edelman Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/richard-gray-gallery-gray-warehouse">GRAY</a>, <a href="https://www.chicagogallerynews.com/organizations/kavi-gupta">Kavi Gupta</a>, <a href="https://www.chicagogallerynews.com/organizations/carl-hammer-gallery">Carl Hammer Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/rhona-hoffman-gallery--2">Rhona Hoffman Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/mariane-ibrahim-gallery">Mariane Ibrahim</a>, <a href="https://www.chicagogallerynews.com/organizations/alan-koppel-gallery">Alan Koppel Gallery</a>,&nbsp; M.Leblanc, <a href="https://www.chicagogallerynews.com/organizations/mccormick-gallery">McCormick Gallery</a>, MICKEY, <a href="https://www.chicagogallerynews.com/organizations/monique-meloche-gallery">Monique Meloche Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/richard-norton-gallery">Richard Norton Gallery</a>, PATRON, Jason Pickleman, ANDREW RAFACZ, David Salkin Creative, Ken Saunders Gallery, <a href="https://www.chicagogallerynews.com/organizations/carrie-secrist-gallery">Carrie Secrist Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/volume-gallery">Volume Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/western-exhibitions">Western Exhibitions</a>, and <a href="https://www.chicagogallerynews.com/organizations/zolla-lieberman-gallery">Zolla/Lieberman Gallery</a>, among others. Participating alternative and project spaces include Arts of Life, Chicago Manual Style, The Franklin, <a href="https://www.chicagogallerynews.com/organizations/goldfinch">Goldfinch</a>, Julius Caesar, RUSCHMAN, and <a href="https://www.chicagogallerynews.com/organizations/weinberg-newton-gallery">Weinberg/Newton Gallery</a>, among others.&nbsp;Local Participation and Opportunities for Engagement&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/pbu47jhh8sfxelb3etct.jpg"><figcaption>What is Home? Keliy Anderson-Staley, Omar Imam, Rubén Martín de Lucas</figcaption></figure>Many area galleries are participating and have arranged special programming to coincide with their ongoing fall exhibitions. A few highlights are listed below, and the <a href="https://www.chicagogallerynews.com/events?filter=upcoming">CGN calendar</a> features more programming from area spaces this weekend.Catherine Edelman Gallery will be presenting the works of Keliy Anderson-Staley,&nbsp;Rubén Martín de Lucas,&nbsp;Liat Elbling, Michael Koerner, Robert &amp; Shana ParkeHarrison, Francesco Pergolesi, and Gregory Scott in their online Viewing Room, and ﻿CEG will host a Zoom conversation with artists three artists featured in their ongoing exhibition What is Home?, on Friday, September 25 at 12pm. RSVP for the Zoom <a href="http://r20.rs6.net/tn.jsp?f=001tokNHpcU5CBaeuLREvduwn5sjNK7c1ZLh_IBxBCPJj0zOWCRAnliTNjap6Re86YU4c1I-bP9xAGqtwQhcfBTCju0BEbKzgdbG17c1JXDtrtoKyTwOx8sOFqTYieseZD-lZetf7SFFI4LdypWkMjCI2teQZ04yLkHjQK7qW-NLLUIdIWUunz516vgurbOCMTfjmDwHQPkNkH1F-t-IaVWucv1-2cSL0rRZUreo6gLNNkjyneUY6q4C24zVQUFuzxpTu7z082qyWU=&amp;c=F3nj-swJ4bFWNf8e8dCU_ykA-qVjsy3kLbO5gr_7dHUpGLpSZh8IDA==&amp;ch=NQuwa6GZBklbE3KM53-pu_MtcIq-gXXGS-hPZDY1rf67G5rCNk3QyA==">here</a>.&nbsp;Corbett vs Dempsey's presentation is focused on three artists: David Hartt, Margot Bergman, and Omar Velázquez. Hartt's The Histories (Old Black Joe) is on view by appointment at the gallery. They are also featuring two paintings by Bergman, and two new paintings by Velázquez, who will have a solo exhibition of new work at the MCA Chicago opening in late December.&nbsp; &nbsp;Monique Meloche is featuring Candida Alvarez, David Antonio Cruz, Brendan Fernandes, Kajahl, Ebony G. Patterson, Cheryl Pope, Jake Troyli, and Nate Young. Young is also part of an exhibition also opening this weekend at the Driehaus Museum, <a href="https://www.chicagogallerynews.com/news/2020/9/a-tale-of-today-connecting-past-present">A Tale of Today – Connecting Past &amp; Present</a>Jean Albano Gallery is featuring work by <a href="https://www.chicagogallerynews.com/organizations/jean-albano-gallery">gallery artists</a>, including Bonnie Lautenberg, Margaret Wharton, Zack Wirsum, Donna Rosenthal and others.Volume Gallery presents new works by <a href="https://www.chicagogallerynews.com/events/tanya-aguiniga-and-ross-hansen-for-exhibition-weekend">Tanya Aguiñiga and Ross Hansen</a>.Western Exhibitions presents <a href="https://www.chicagogallerynews.com/events/jessica-labatte-almanac-for-shade-gardeners-virtual">Jessica Labatte: Almanac for Shade Gardeners</a>. Also, as a companion to the EXHIBITION Weekend presentation, the gallery is offering an online exclusive "<a href="http://r20.rs6.net/tn.jsp?f=0010fR0rE6EULAGpYyE9OoGgwKx7trWU_NAQBGQSfmDwkZibSsanUbESfpfoMVAw0989ValCapj8np2i3xlw2GsTob8kwyPCZoQipWpNBlmcdaQsfnmfaJyCj2PYdEpnLI1Nrvlkg-sQBk17wfvScj1ZIiO0Kwt6Zom6q_4R91iPDLBq3i8xOjbGgrbsMrmYuOh&amp;c=N453vkvZt4GUUUCbWQsPl6A4lZLniwG9AOJN8L5gFv62gpRQUuRBRA==&amp;ch=X4gplHStHv4V3osDChasByRSGVVgnbvw57slJrZiFJ2JkuhiQDqrvw==">In Depth with...</a>" page online, alongside thoughts by the artist, essays by Elizabeth Chodos and Jeff M. Ward, a playlist from Eric May, a video interview from Silver Eye and more.Chicago audiences will have select opportunities to view exhibitions in-person (by appointment) aligning with EXHIBITION Weekend. Safety precautions will include limited capacities, social distancing, mask requirements, and non-invasive temperature checks.&nbsp;Many of the weekend's in-person exhibition highlights are detailed online. For a full list of additional EXHIBITION Weekend programming and events including dates, times and locations, visit <a href="http://www.expochicago.com/">www.expochicago.com</a>.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418805/qihndnver8nay2habvjk.png"><figcaption>A room at the newly re-opened 21c Museum Hotel on Ontario Street</figcaption></figure>Make a Weekend of ItDowntown Chicago has been much less crowded for awhile now, but in this delightful early fall weather, it's still a great time to have a mini break or "staycation" in the city, where you are close to this weekend's events and participating galleries. As a supplement to EXHIBITION Weekend, EXPO CHICAGO is working with<a href="https://www.expochicago.com/visit/travel-hotels/partner-hotels"> official partner hotels</a> The Peninsula Chicago and 21c Museum Hotel to offer 2-night stays for patrons wishing to visit Chicago during EXHIBITION Weekend. A tailored itinerary of select experiences, gallery exhibitions, and museum openings will be provided.&nbsp;&nbsp;&nbsp;</body></html>

EXHIBITION Weekend Brings Art Fair Weekend to Local Galleries

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/aft5phq8737s3h1dvflv.png"></figure>&nbsp;Chicago’s architectural biennial keeps the city at the forefront of design. But will it be held in 2021?Will there be a Chicago Architecture Biennial next year at this time? Even if you’ve never attended the biennial, which bills itself as North America’s largest survey of contemporary architecture, you have a stake in the answer.By showcasing rising stars in Chicago’s architecture firmament and introducing Chicagoans to global design talents like Mexican architect Tatiana.By Blair Kamin, Chicago Tribune<a href="https://www.chicagotribune.com/columns/blair-kamin/ct-biz-chicago-architecture-biennial-kamin-20200916-ixdxw3ahfrbnjesda5e3sk67pq-story.html">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/vqy5bzifb0y6fvlvfjps.png"></figure>&nbsp;Chicago Mexican art museum takes annual Day of the Dead exhibit onlineVirtual exhibit honors Latinx who died from COVID-19. The National Museum of Mexican Art has hosted a Day of the Dead exhibition for more than 30 years, and this year is no different. The exhibit has simply moved online.By ABC 7 Chicago Digital Team<a href="https://abc7chicago.com/community-events/chicago-mexican-art-museum-takes-day-of-the-dead-exhibit-online/6464936/">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/phuyztafvu7zgmouia6c.jpg"></figure>&nbsp;Editors’ Picks: 16 Events for Your Art Calendar This Week, From a Virtual EXPO Chicago to a Live Performance at the MetPlus, fall gallery shows you can see in person.Via Artnet News<a href="https://news.artnet.com/art-world/editors-picks-september-21-2020-1908172">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418805/ocpqta6wueqxt4flasbm.png"></figure>&nbsp;Chicago Architect Uses City as Backdrop for Virtual Drawing ClassAs he was taking videos while kayaking along the Chicago River, <a href="https://www.bermanarchitecture.com/">Chicago architect Joel Berman</a> got the idea to teach virtual drawing classes with the city’s architecture as the focal point.“The subject has to be compelling and interesting or it’s not worth drawing,” Berman said. “Somebody has to be excited about what it is they’re creating.”Angel Idowu, wttw<a href="https://news.wttw.com/2020/09/21/chicago-architect-uses-city-backdrop-virtual-drawing-class">Read More</a>&nbsp;&nbsp;&nbsp;</body></html>

News From Around the Art World: September 22, 2020

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/dflh9rxdog8an2ddhxkm.jpg"><figcaption>Bey’s Southern Exposure series begins with this image of Pride Cleaners, built in 1959 at 79th and St. Lawrence.&nbsp; &nbsp;</figcaption></figure>&nbsp;By JACQUELINE LEWISLee Bey is an author, lecturer, photographer, and writer. A South Side native his passion for Chicago stands out in every aspect of his career. Formerly an architecture critic for the Chicago Sun-Times, Bey’s knowledge of Chicago, its culture, and its buildings reveals a deeper understanding of the city for anyone who appreciates the vast array of the city’s experiences.&nbsp;Most recently, he published Southern Exposure: The Overlooked Architecture of Chicago’s South Side, which captures the South Side through a series of photographs and stories shining light on the beauty and relevance of the area’s architectural footprint and reminds everyone, including Mayor Lori Lightfoot, that Chicago is more than just the North Side and Downtown.&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/xhlehzfcnblurf1ierne.jpg"><figcaption>Photographer Lee Bey</figcaption></figure>CGN: Can you tell us about your new book Southern Exposure? What drew you to this specific subject matter?&nbsp;Lee Bey: Southern Exposure is kind of a hybrid. It begins as a memoir and family history of a South Side native and resident. Then it expands into a broader story about the history and architecture of the South Side. Stitching it all together are photographs of South Side architecture and public landscapes. Being a South Sider is what drew me to the subject matter, and my desire as a native son was to tell a different story about the South Side. Too often, the only story we hear is the narrative that the South Side is just a violent ghetto for the rest of the city to avoid. Especially at this moment we’re in now. I wanted my book to say, “Yes, there is that. But there is architectural beauty — some of the best buildings and spaces you’ll see anywhere in this city — that’s been overlooked.” I also wanted the book to make the reader confront the racist housing and lending policies that have robbed black folks on the South Side — and the West Side too — of its wealth and contributed to, if not created, problems we see there.CGN: What do you think are some of the factors that cause Chicago, and beyond, to overlook the South Side?LB: In the book, I say outright that it’s race. “Nothing to see here. Just Black people. And it’s unsafe. Besides, anything really important is on the mostly-white north side or downtown.“ That’s been the mindset for 70 years or more. And it’s widespread. I was at a speaking event in Indianapolis last year, and one of the sponsors, when he found out that I lived on the South Side, that I didn’t just write about it, asked me, “Are you afraid to live there?” I said no. But I thought, “Indianapolis is more dangerous per capita than Chicago—what are you talking about?”&nbsp;Those of us who live on the South Side, we’re not overlooking or not recognizing these well-known architecturally rich places and spaces. We appreciate what’s there. While doing the photography for the book, I’d be out early in the morning or before sunset, and folks would often come out and tell me a little something about the building I was photographing, its official history or even the off-the-books history that was made when the neighborhood became a Black neighborhood. So, we know. It’s others who don’t, especially those who have made architectural, urban planning and preservation policy over the last few generations in Chicago.<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418805/fohkt5idq55es0vtfpn1.jpg"><figcaption>Lavezzorio Community Center, 7600 S. Parnell, Studio Gang, 2008. © Lee Bey. &nbsp;</figcaption></figure>CGN: Do you believe that the architecture of an area reveals a deeper story regarding the community it inhabits?LB: It really does. And too often. That connection makes the story of architecture far more rich. The book talks about the historic architecture of Bronzeville, and they are fine buildings like the former Eighth Regiment Armory, for instance. But when you also understand these buildings marked Black people’s arrival in Chicago during The Great Migration—and these are places where we made history—it adds another dimension to the building’s story, other than cornices, arches, and window openings.CGN: What photograph from Southern Exposure has the most personal meaning?LB: That’s a tough one! I’ll have to go with Pride Cleaners at 79th and St. Lawrence. I put Pride in the book because it is a spectacular example of modernist architecture that I bet most people outside the South Side haven’t seen. I’ve loved the building since I was a kid. What makes this personal is while I was writing the book, my cousin McKinley — who was like a little brother to my late father because they were close in age — told me, in the 1960s he and my father would stand in the parking lot of that building and try to figure out how that tilted concrete roof was held up. It’s a story I never knew. The book covers how my father turned me onto architecture, but the fact that he and my cousin were both fascinated by the same zany dry cleaners made me love that building a little bit more.<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418805/fqgyzduv9ogig9r69ubz.jpg"><figcaption>Victoria Soto High School, 5025 S. St. Louis, Wight &amp; Co. 2013. © Lee Bey. &nbsp;</figcaption></figure>CGN: Where did you grow up, and how has it shaped your view of Chicago?LB: I was born on the west edge of South Shore, at 73rd and Kimbark, then we moved to the Avalon Park neighborhood a little further south. It shaped my view in that my introduction to architecture wasn’t the famous downtown buildings or the Gold Coast high rises, but the churches, school buildings, and housing across the South Side. Oak Woods Cemetery is in the book because I saw it as so beautiful and park-like as a kid. That was before they put that thick concrete fence around it that blocks views from the street. Chicago Vocational High School is [in the book] because it’s a magnificent Art Deco building, but it’s also my alma mater.<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418806/zgvuxjf41gqpak45l45h.jpg"><figcaption>St. Gabriel Catholic Church, 600 W. 45th, Burnham &amp; Root, 1888. © Lee Bey. &nbsp;</figcaption></figure>CGN: Most of your work is Chicago based. What about this city most specifically captures your creative energy?LB: It’s the contradictions about this city that energize me, frustrate me, and anger me. The city will give you the John Hancock Building, still one of the finest looking skyscrapers in the world, then in the same breath, give you the troubled public housing towers of the old Cabrini Green or Robert Taylor. The city historically holds out opportunities and then keeps them away from black people. Here Martin Luther King was hit in the head with a brick in 1966. And yet this is the same city that raised up Barack Obama, Quincy Jones, Curtis Mayfield, John H. Johnson, and sent Carol Mosley Braun to the U.S. Senate. It elected an openly gay married black woman, Lori Lightfoot, as mayor—judging her solely on the merits of her performance as mayor, not her sexuality. It’ll build a landmark quality building in one generation, then tear it down in the next. That roiling stew of conflict, contradictions, and inequalities is reflected in the city’s built environment. As a photographer and a writer who wants to use architecture as a medium to something about all that, it’s an endless well of inspiration.<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418807/eixxo8v9ijyubhu0t67n.jpg"><figcaption>Liberty Baptist Church, at 4849 S. King Dr. &nbsp;© Lee Bey.</figcaption></figure>&nbsp;CGN: How did you initially get into photography and journalism?LB: I didn’t develop an interest in photography – other than appreciating a fine photo now and again – until I was about 32 or 33, and I bought a used 35mm Argus C-3 for $25 because I liked its 1950s design. I wanted to take pictures of my young daughters, who were then about 3 and 5. And when my youngest daughter came a couple of years later, I photographed her too. But I was around buildings all day as Sun-Times architecture critic, so I’d shoot buildings, just because I was there. Then I started to like it. And something was born. I got interested in journalism when my high school English teacher, Mr. Doyle, told me I was a good writer. The story is in the book. When he said it, that was transformative. I thought “Yes, journalism. Hell yes.” And the march began.CGN: Are you currently working on any other projects?LB: I’m fascinated by the architecture of churches and houses of worship—that comes across a bit in Southern Exposure—so I’m beginning to document more of them. I’m also looking at buildings that didn’t make it into Southern Exposure simply because I ran out of time. In my perfect world, I’d like to do a significantly expanded second edition of the book, doubling the number of images and stories.<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418808/hozxgtvsrip8babne2h4.jpg"><figcaption>D’Angelo Law Library, University of Chicago, 1120 E. 60th St, Eero Saarinen, 1959. © Lee Bey. &nbsp;</figcaption></figure>CGN: Is there anything else you would like to tell me about yourself or your art?LB: In the moment we are in with the pandemic and the civil unrest, art and artists become even more important. Sometimes it’s art as a balm – the inclination of ‘Let me go to this museum or gallery or pick up this book because I need to see beauty now.’ Art can also be a way to make sense of our times. To give voice — or provide an alternate voice — to what we are feeling now. And art can also exhort. Mayor Lightfoot hadn’t even taken her oath of office yet when I turned in my last chapter of Southern Exposure to my publisher, but I tell the mayor directly in the book that now is the time for her administration to stand up for the South Side and the West Side. That Chicago can no longer call itself a world-class city if it continues to let these parts of the city just drift.&nbsp;The mayor and her wife Amy both have of the book. And the mayor also has about a dozen big framed images from Southern Exposure hanging in the reception lobby of her office. So anyone who comes there to meet with her has to face the architecture of South Side. I take all that as a good sign.&nbsp;You can purchase Southern Exposure: The Overlooked Architecture of Chicago’s South Side through the <a href="https://lee-bey.squarespace.com">Northwestern University Press</a>.&nbsp;</body></html>

Lee Bey: Illuminating The South Side's Overlooked Beauty

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/zfu2zjdxxqhjuqb0ypci.jpg"><figcaption>Nate Young installation. Photography by Michael Tropea, 2020</figcaption></figure>&nbsp;By JACQUELINE LEWISThe Driehaus Museum’s new exhibition, <a href="http://driehausmuseum.org/exhibition/youngandhoribuchi">A Tale of Today: Nate Young and Mika Horibuchi</a>, opens September 26, following a spring COVID-19 postponement.&nbsp;Featuring site-specific works by Chicago artists Nate Young and Mika Horibuchi, the exhibition is the second installation of the museum’s contemporary series, A Tale of Today: New Artists at the Driehaus Museum, which gives audiences a chance to view the Gilded Age’s legacy through new perspectives while connecting the abundant history of the Nickerson Mansion with our current reality.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/r1k69ujls4yprmiezxxm.jpg"><figcaption>Artists Mika Horibuchi, and Nate Young</figcaption></figure><figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/qphl484ulku1nzuz1uay.jpg"><figcaption>Nate Young installation. Photography by Michael Tropea, 2020</figcaption></figure>&nbsp;Richard H. Driehaus, the museum’s founder, not only hopes to reach new audiences but also, he says, “to demonstrate the importance of architecture and sense of place from the incomparable vantage point of the Nickerson Mansion, while also showcasing new artists in this historical setting.” Exhibiting artists were chosen based on their ability to complement and communicate with the museum’s preexisting architecture and decoration. The first part of the series, from 2019, featured <a href="https://www.chicagogallerynews.com/events/a-tale-of-today-yinka-shonibare-mbe">Yinka Shonibare</a>, a London-born and -based artist, raised in Nigeria, who draws on both his English and African history to create his art.&nbsp;In this second edition, artist Nate Young’s work draws on themes of history, semiotics, and spirituality to explore the connections between collective and familial history. Young’s pieces in the exhibition combine sculptural installation and woodworking skills to create doubles of existing cabinets and drawers, calling to mind the Gilded Age’s craftsmanship while blending his contemporary edge seamlessly with the lavish space. Young approached this project differently than previous exhibitions because the mansion is not a blank box, but a robust space. Pieces must coexist within the location’s atmosphere of excess and overt beauty. Young has hidden bone holograms in his pieces for visitors to notice upon closer examination, there to remind viewers of the invisibility of certain narratives throughout history.Mika Horibuchi’s artistic interest lies in tricks and slips of visual perception. Horibuchi’s installations utilize trompe l’oeil as a way to analyze representation, ownership, and authorship. With this technique, the artist reflects and responds to the mansion itself. For example, Horibuchi created paintings that simulate photographic documentation of Asian artifacts, but the accompanying descriptive text is blurred, allowing viewers to form their own narratives with pieces removed from their original context. Horibuchi has also recreated paintings from the museum but in cool shades of gray. The original paintings were created mimicking historical precedents, and now Horibuchi’s paintings continue the legacy of mimicry.<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418805/e4dpmwxbn0j4iri2bchu.jpg"><figcaption>Mika Horibuchi installation. Photography by Michael Tropea, 2020</figcaption></figure>Curator Kekeli Sumah believes both Young and Horibuchi’s installations “make conversations about the Gilded Age relevant in today’s society.” By giving these living, local artists a dynamic platform, the Driehaus Museum elevates the next generation of artists through a beautiful, melding dance of modernity and history at the Nickerson Mansion while highlighting the legacy and beauty of the Gilded Age.&nbsp;A Tale of Today: Nate Young and Mika HoribuchiOPENING SATURDAY, SEPTEMBER 26 Join the museum for an Opening Day Virtual Panel <a href="http://driehausmuseum.org/programs/detail/opening-day-panel-discussion-a-tale-of-today-nate-young-and-mika-horibuchi">DETAILS + REGISTRATION</a>For more information and tickets visit <a href="http://driehausmuseum.org/exhibition/youngandhoribuchi">Driehausmuseum.org</a>&nbsp;&nbsp;</body></html>

A Tale of Today – Connecting Past & Present

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/mj1qwrtzsprehj7yz1zt.png"><figcaption>Partners for life, Izzy and Darwin walked through the museum together with a sense of curiosity and&nbsp;wonder. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Photo credit: ©Shedd Aquarium/Brenna Hernandez</figcaption></figure>&nbsp;Via PRThe Museum of Contemporary Art hosted viral penguin duo Izzy and Darwin from the Shedd Aquarium earlier this month, providing variety and exercise for the penguins as they explored the museum’s community engagement space, the Commons, and Just Connect exhibition. A bonded pair of Magellanic penguins that are partners for life, Izzy and Darwin walked through the museum together with a sense of curiosity and&nbsp;wonder, making stops at their favorite MCA Collection artworks including dynamic works by Ellen Berkenblit, Andreas Gursky, Paul Heyer, Kerry James Marshall, and Hollis Sigler, among others. The field trip encourages Chicagoans to plan a visit to both cultural institutions, which are open to the public with new protocols in place to ensure the safety and health of visitors.The Just Connect exhibition - which is on view through November 8, 2020 and addresses how the current pandemic has made us more aware of how much we desire connection and depend on our communities, families, and social fabric for a sense of belonging - lured Izzy and Darwin’s attention with its colorful paintings, photographs, videos, and sculptures. MCA Chief Curator Michael Darling observed the penguins taking in works such as Gursky’s Avenue of the Americas, a dazzling, large-scale photograph of an illuminated urban landscape, and Marie Christine, a painting by Margot Bergman that features a portrait of a woman with four eyes. A vivid floor-to-ceiling mural by Ad Minoliti that recalls vintage logos and retro book covers from the 1970s enticed the penguins to explore the museum’s light-filled atrium.The penguins also spent time gazing at the colorful display of lanterns and plants hanging from the ceiling of the Commons, a space in the museum designed for visitors to rest, reflect, and connect with one another. The Commons offers a variety of programs and performances by local artists that are now available online as virtual events at <a href="http://r20.rs6.net/tn.jsp?f=0017FTb7zP9bHPSxnzwAL5i14p1jO1tQM-Wykkginbk3GtkJalgR1dJUChjJwWStxCUbmmXP2VHDJ95XGshEXmgRA-1v9i9Znm78V5P05WCjyk1WDGgPGW8IT0R_zsFoEXvuzaUU89Ns0eNLR0JTXL-JNoaJMPwoVyukfe7isJgQHo=&amp;c=XQvXADROwMpNRNYg0BPVx-27XZtlBOKzh8oUhMYJwcf9JEp5_eJhtg==&amp;ch=1qualpGwvEjoCviuH2LNDRifnI3Zc_nNi9kWzE360_1c6DnXxQz39A==">www.mcachicago.org/The-Commons-Online</a>.&nbsp;&nbsp;&nbsp;</body></html>

In Search of Some Lighter News? Two Shedd Aquarium Penguins Just Visited the MCA Chicago

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/sr8p7q0qltrpizuvaji1.jpg"><figcaption>C.J. Pyle, Corona Voyage #3, 2020, 9.5 x 16 inches, Pencil, ink and colored pencil on found paper. Featured in Carl Hammer Gallery’s spring 2020 exhibition titled, Crawling From the Wreckage &nbsp;</figcaption></figure>By GINNY VAN ALYEAFall is just beginning, but I’m sure no one can blame me for desperately looking forward to a new year. I won’t hold my breath that 2021 will be a totally fresh start, but I truly hope it will be healthier, safer, more tolerant and less violent than 2020 so far in Chicago and the world. I also wish for a more routine return to connecting in person, though it’s clear that virtual events and working from home are here to stay just as much as reservations and timed entries.&nbsp;Like many others, I see two main scenarios that could shape up in the year ahead: Life with a vaccine, and life without. While one occupies my thoughts more than the other, I wanted to find out what others in the art community are thinking right now as we balance multiple safety as well as business and civic&nbsp; needs. It’s impossible to ignore the current stunning state of the city, country and society compared to a few months ago.&nbsp;My questions seek everyone’s best guess. What harm is it to take a pretend gamble right now? Responses are grouped by topic. I am grateful to those who candidly shared their collective wisdom and hope for the future as we wade through an unpredictable time.&nbsp;&nbsp;ON A TIME WITHOUTCGN: Regarding art, what do you think most people took for granted before the pandemic?&nbsp;&nbsp;Jason Pickleman, designer, collector, dealer, oracle:&nbsp;I can’t speak for all, but I took for granted an artwork’s physicality—the life of its dimensionality—in my appreciation of art. Looking at the side of a stretched canvas, and walking around a sculpture is where the action is (was).&nbsp;John McKinnon, Director of Elmhurst Art Museum:&nbsp;It’s hard to identify just one thing because our lives have been affected in so many ways. What we previously counted on, from world financial systems to simple shared experiences, have turned upside down. It’s incredible to learn how fragile these systems truly are.After they come back, shared group experiences will be more treasured in the next few years. As a parent, I can’t help but think about how young children don’t know they can climb on a playground and play with other children. For those of us that know better, I think we’ll appreciate group events even more—especially joyous events like weddings or birthdays. I’m personally looking forward to attending live concerts again.Rebecca Woan, Chartwell Insurance:I thought pandemics were the content for Hollywood movies, and I thought that the sophisticated resources of the government and health systems would protect us as they had for Ebola, and to a certain degree Zika [virus].Bianca Bova, curator:&nbsp;Prior to the pandemic, I think the accessibility of art viewing was taken for granted. You could spend an entire day in any museum on a whim, or stop into a half dozen galleries in without giving it a second thought. No appointments, no limited time slots, no advanced planning required.&nbsp;Claudine Isé, owner, Goldfinch:&nbsp;Everyone’s situation is different. I know for myself this is a difficult question to answer.The phrase “taking for granted” seems to imply that there were some things that we didn’t quite deserve to have in the first place, and through our own hubris or neglect we lost them. In the United States this pandemic did not need to spread as quickly and as virulently as it has, and the fact that it did is due to the failures of our current government regime. Nobody deserves this. We do deserve to have everything we lost given back to us, ASAP.&nbsp;VIRTUAL UNREALITY?CGN: What do you envision as far as the virtual art world?&nbsp;&nbsp;Jason Pickleman:&nbsp;Digital spaces will continue to professionalize, both in terms of quality of display and in levels of monetization.&nbsp;John McKinnon:&nbsp;Whether offline or online, we are storytellers. Our profession has developed innovative ways to weave tales about collection materials, artists, exhibits, architecture, etc. We’ve seen a new wave of online materials and will see more. It is hard to predict how things will change beyond the last five months, but I believe we’ll see more materials like our Museum From Home initiative. Online components like these add to museum visits as educational resources and a preview for a physical exhibit.Rebecca Woan:I’m answering this looking forward over the next 12-24 months. The optimist in me would like to see virtual as a bridge between the in-person world with the ability to both live stream and conduct in-person events.&nbsp; My hope is that once it’s safe to emerge people will want to leave their screens and not permanently retreat to them.Bianca Bova:&nbsp;I think of the virtual art world as a tool and not a place. It’s a tool I’m grateful we’ve had at our disposal in the last six months, and I think as an industry we’ve made strides in how it’s effectively used. I hope some of that is here to stay.&nbsp;Claudine Isé:&nbsp;Goldfinch, like everyone else, is shifting exhibition content online in order to reach as many people as possible, and that has been a good thing for us. But I don’t like “virtual” spaces at all and have felt really disheartened at the quickness with which art fairs have moved to the virtual space. I was looking at a virtual art fair this last week and I thought the artwork looked terrible — the effect of these types of digitized spaces is that they make the artworks, including paintings, look purely digitized too. I guess my vision is more authentic online content (filmed interviews and live online panel discussions, along with crisp, high resolution artwork documentation, etc. and less (or even no) “virtual” spaces that feel like video games but don’t look half as good and are nowhere near as fun.&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/pxo98r8js9azrutposkk.jpg"><figcaption>Crowds?&nbsp; No masks or outside ventilation? That was so 2019. Pictured: a booth lecture at SOFA Chicago last year. &nbsp;</figcaption></figure>REMEMBER THE FAIRS?CGN: Do you think art fairs will continue to take place? What will be the biggest difference to how they operate in a COVID/post-COVID world?&nbsp;&nbsp;Jason Pickleman:&nbsp;Art fairs are conventions, no different than the Chicago Auto Show. Car manufacturers still produce cars; people still purchase them. Same with art. Artists will continue to produce art, and galleries will continue to be the primary outlet for acquisition. Art fairs will acknowledge that primary motive with more transparency and less ancillary event programming. Good bye to the bodily crush of Opening Night (or recently, Opening Afternoon if you were a VIP). After parties on boats? Well that was fun. Sort of.&nbsp;John McKinnon:&nbsp;It will take time, but I think art fairs will still take place. I believe people are craving group events, whether going to the movies, playing mini golf with other families, or seeing a show. I believe we will see more of this with time because staying indoors has affected many people’s mindsets and mental health.Rebecca Woan:&nbsp;Art fairs will undergo some evolution, which isn’t necessarily a bad thing.&nbsp; They may be able to reach more people than ever however it seems to me that for many collectors the art fair is as much about the experience as the purchase and that has been lost in the current time.&nbsp;Bianca Bova:&nbsp;Art fairs will continue to take place. Apart from the obvious additional protocols--hand sanitizer stations, masks, social distancing at cafes and lectures--I’m not sure there will be, or needs to be, significant operational differences. There will always be art, and there will always be people to buy art, and fairs are still an ideal place to do that.&nbsp;Claudine Isé:&nbsp;Yes they will continue to take place because most galleries haven’t figured out a way to survive without them. Hence the virtual art fairs that look like video games.&nbsp;LET’S GO CRAZYCGN: What’s your craziest prediction (or wish or fear) for the art community in the future?&nbsp;Jason Pickleman:&nbsp;In the 1970s, artists’ collectives came together and started their own peer-to-peer gallery spaces. N.A.M.E. Gallery, ARC, Artemisia, and Randolph Street Gallery (to name but four here in Chicago). These grungy spaces became vital outlets for artists (hello Jerry Saltz! You turned out OK!). Artist run spaces have continued to arise and proliferate on shoestring budgets: Heaven Gallery, Roots &amp; Culture, Roman Susan, for example. The art boom of the past four decades pushed the visibility of these venues into the shadows of the publishable (and commercially venerated) side of the art world. The upcoming Hyde Park Art Center’s exhibition Artists Run Chicago 2.0 is a rebuke (and testament) to the elevation of artists working for and with artists as the cornerstone of art’s journey. Imagine if any of these spaces could sell work at the price level of a Corbett vs. Dempsey or a Rhona Hoffman without the obligatory hand-wrangling and inebriation of their annual galas or benefits?John McKinnon:&nbsp;Our value system in art has and will continue to change, much like we’ve re-evaluated our own personal priorities during this horrible pandemic. I’d like to see less duct-taped banana stunts and more meaningful dialogue in the art world.Rebecca Woan:&nbsp;The art community is becoming more diverse, and more democratic, as there is an audience willing to hear about injustices, so I don’t think this is a prediction because it is happening. I hope the momentum continues. However, I have a fear, shared by many: the art world relies heavily on financial support and we need robust wealth creation to continue that support. We don’t know yet how recovery will look once the government stops pumping money into the economy, or whether we will see rampant inflation in the future as a result of the debt creation. How will those trickle-down effects manifest themselves? Time will tell.Bianca Bova:&nbsp;My wish for the art world is that it returns to being about the art – no agenda, no gatekeeping, no priorities beyond identifying great art and venerating it.&nbsp;Carl Hammer, owner, Carl Hammer Gallery:&nbsp;The art world is certainly part of the “cement” that seems to help hold the Earth and our lives together. 2020/2021 promises to be both challenging and eventful, testing all of our collective/creative willpower and efforts to keep things on track. Things will change for both good and bad in the art world. Yet, in my mind, we are privileged to be associated with an industry in which one’s imagination makes the impossible happen. To that end, the year(s) ahead will depend on those of us who best see “the light at the end of the tunnel.”&nbsp;Claudine Isé:&nbsp;I don’t usually think much about predictions. I guess that my wish is that the human vulnerability that the pandemic brings out in us all, and which is something that we can see, appreciate, witness in one another as a community and empathize with, can be carried through to larger structural conditions and systems once pandemic conditions have lessened. Is there a way we can come out the other end and find ourselves building an art world that its more equitable and just, more humane, less greedy and less racist? My wildest hope is that that could be the case.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418805/puykxvblm7hygh50foyu.jpg"><figcaption>Artists have long adapted their art to current social and political climates. Above: Roger Brown, Past and Future Art, 1989. Oil on canvas, 48 x 72 in. Courtesy Kavi Gupta Gallery and the Estate of Roger Brown. &nbsp;</figcaption></figure>WHAT ART MIGHT COME NEXT&nbsp;CGN: Do you see any artistic inclinations or trends ahead? In subject, medium, placement, or collaborations?&nbsp;&nbsp;John McKinnon:&nbsp;Many conversations are happening during this transformative time in America that will affect artistic output. Recent events remind us that for all the progress we have made, we still have more work to do against social and racial injustices. We are in the middle of a history-altering human rights movement reignited by tragic deaths of George Floyd, Breonna Taylor, and too many others. Because of the spread of the Black Lives Matter movement Confederate statues have toppled, sports players are kneeling, other voices are gaining strength, and we will continue to see messages in many art forms. More people than ever before – including artists and institutions – are committed to asking difficult questions, learning from each other, and shaping a more equitable future.&nbsp;Rebecca Woan:&nbsp;Artists during shelter in place have creatively adapted to the medium that video allows for visual arts.&nbsp; The alienation has been amplified by social unrest, which has engaged many more people. We will see this reflected in art for quite a while I’m sure.&nbsp;Bianca Bova:&nbsp;Being away from galleries, museums, and fairs has left me hungry for work that is especially nuanced. I see renewed interest especially in painting and in fiber art – work that requires close inspection, that reveals itself slowly and fully only when you’re in front of it.&nbsp;Claudine Isé:&nbsp;It’s too early to see artistic trends — artists are still struggling to maintain, not to mention access, studio spaces. Mental health issues related to the pandemic in some cases slow things down. I suspect most artists are still in the “How do I get through this?” stage. Perhaps, though, there could be slight shifts in medium to that which is closest at hand, like paper, collage materials, etc., and artists working on a more “domestic” scale, because so many artists have needed to move their studio home.Jason Pickleman:&nbsp;I wrote a poem during the financial crash of 2008, which I’ll let speak to the present moment:&nbsp; After money has run its course /&nbsp; and the empty spaces of its transactions are hollowed and barren /&nbsp; a vacuum of dreams processed and fulfilled /&nbsp; when display is displaced /&nbsp; after the last deduction and the final reduction /&nbsp; have left the shelves barren sans function /&nbsp; and emptiness reigns /&nbsp; so then, /&nbsp; the lofts of tomorrow are the strip malls of today.&nbsp;&nbsp;</body></html>

Mirror, Mirror on the Gallery Wall: After This Year, Who Can Predict 2021?

<html><head></head><body>By CGN StaffLast weekend marked the official, and this year unconventional, start to the fall arts season, when many of the area's galleries opened new exhibitions and held socially-distanced public receptions around the city. This week, more new exhibitions are beginning. We are highlighting several for you here, though at this time these spaces are not hosting opening receptions.&nbsp;Thank you for using CGN as a guide to art throughout the area. Please remember that we are adding new shows and events to our calendar daily and we have resumed our weekly highlights of area events. Note each space's public hours carefully and keep an eye on CGN's <a href="https://www.chicagogallerynews.com/events?district=&amp;filter=upcoming">calendar of events</a>, since events are subject to change. You can read past show <a href="https://www.chicagogallerynews.com/news/previews">previews here</a>.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/rwfilndhukx5y0haax5o.png"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/leasho-johnson-only-when-it-s-dark-enough-can-you-see-the-stars">Leasho Johnson: Only when it's dark enough can you see the stars</a>Begins September 19FLXST Contemporary – Near South Side&nbsp;Working in a multiplicity of mediums, Leasho immortalizes the dynamic energy of the Dancehall and engages with black stereotypes and spectrums as expressed in Jamaican/Caribbean cultural practice. His characters often merged specific materials with new narratives around gender and identity whilst utilizing both traditional and contemporary approaches around ancestral and personal stories. His interest sometimes comes from reinterpreting/interrupting the historical imagery of the British Empire with contemporary realities. His work centers the contestations and tensions in western culture around sexuality and seeks to explore contemporary meanings in context to historical truths.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418798/qn48kce6pepyrsyzg666.jpg"></figure><a href="https://www.chicagogallerynews.com/events/unexpected-lisa-goesling-deanna-krueger">Unexpected: Lisa goesling &amp; Deanna Krueger</a>Begins September 16Fermilab Art Gallery – Batavia, ILSpontaneous creations lead to unexpected results. While Lisa Goesling and Deanna Krueger use different materials, they both approach their art with a sense of wonder. What evolves is an energy that is not only seen but also felt.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418799/bzcdfw9olqpgewzolyeg.jpg"><figcaption>Out and Further Out&nbsp;(2018), among other works, in Hunt’s studio. Courtesy of the Joyner/Giuffrida Collection</figcaption></figure><a href="https://www.chicagogallerynews.com/events/richard-hunt-scholar-s-rock-or-stone-of-hope-or-love-of-bronze">Richard Hunt: Scholar’s Rock or Stone of Hope or Love of Bronze</a>Begins September 17Art Institute of Chicago – LoopThis exhibition draws its title, Scholar’s Rock or Stone of Hope or Love of Bronze, from a monumental bronze sculpture that exemplifies Hunt’s recent practice. Over the last six years, he has engaged in a durational approach of continually adding, removing, and reshaping the work, investigating the meaning of bronze both in relation to its mythological and material attributes, as well as its inherent transformative possibilities.&nbsp;This massive bronze is complemented by two other large-scale stainless steel sculptures, as well as a selection of smaller-scaled bronzes, all of which were completed in the last 20 years. Together, they represent the range of the artist’s engagement with metal, spatial occupation, and the notion of the base, as well as the ways in which objects are in dialogue with bodies and the built environment. In the installation on the museum’s Bluhm Family Terrace, the scale of the sculptures coalesces with the&nbsp;Chicago skyline.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418799/wudfdtnu50fhjfn7jijm.jpg"><figcaption>Claudia Wieser,&nbsp;Untitled, 2017, Acrylic, ink, and gold leaf on wood, three works.&nbsp;Courtesy of the artist and Marianne Boesky Gallery, New York and Aspen. © Claudia Wieser. Photo credit: Object Studies.</figcaption></figure><a href="https://www.chicagogallerynews.com/events/claudia-wieser-generations">Claudia Wieser: Generations</a>Begins September 19Smart Museum of Art – Hyde ParkGenerations is a seven-year survey of the distinctive, multi-faceted practice of Berlin-based artist Claudia Wieser. Drawing upon the history of art, design and architecture—from the democratic stage of ancient Roman forums to the esoteric principles of Bauhaus craftsmanship—Wieser’s practice carefully stitches together a constellation of elements. Influenced by the modernism of Hilma af Klint, Wassily Kandinsky and Paul Klee, who embraced spirituality as part of their aesthetic processes, Wieser broadens their ideals, using spatial installations to consider the coexistence of abstraction and physiological experience.&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions Starting September 16–19 

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418803/vosk8rhh52xt8lnvwq8y.jpg"><figcaption>Claude Monet. Apple Trees, Vétheuil, 1878. Private collection. Photo by Jamie Stukenberg, Professional Graphics Inc.</figcaption></figure>&nbsp;Monet Makes Impressions at Art Institute and Garfield Park ConservatoryChicago is home to more Claude Monet paintings than any city other than Paris. That’s because the works of the famous French impressionist made a strong impression on local collectors beginning in the 1880s.&nbsp;Paintings from the Art Institute collection and from private collections have come together in a show called “Monet and Chicago.”&nbsp;By Marc Vitali, wttw<a href="https://news.wttw.com/2020/09/09/monet-makes-impressions-art-institute-and-garfield-park-conservatory">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418804/ojzwt1waj2hkeaew1v2x.png"><figcaption>Artist and mental health advocate Brandon Breaux joins forces with MCA Chicago for an exclusive collaboration which explores the ideals of creating space for one another by encouraging more communication and advocacy, Tuesday, Sept. 8, 2020. (E. Jason Wambsgans / Chicago Tribune)</figcaption></figure>&nbsp;A conversation with Brandon Breaux about his MCA collection that looks at access, safe space, and representationChatham resident Brandon Breaux is known for his artistry, as evidenced in his artwork for Chance the Rapper. Now, Breaux’s artistic skills can be seen at the Museum of Contemporary Art in Chicago (MCA) store — collections that touch on themes like accessibility, safe spaces and representation.By Darcel Rockett, Chicago Tribune<a href="https://www.chicagotribune.com/entertainment/museums/ct-ent-brandon-breaux-mca-equity-exhibit-0911-20200914-fiawskkkifc7daufjl7pyja2gu-story.html">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418805/mqzqostd3mpeel5yemyu.jpg"><figcaption>Jeremey Bolen’s “Albedo” pays tribute to the 41 unclaimed bodies of the more than 700 people who died during the 1995 heatwave in Chicago. The sculptural memorial serves as a reminder of the dangers of global warming. K’Von Jackson</figcaption></figure>&nbsp;Chicago artists, scientists join forces to craft conversation on climate changeSeven artists and seven scientists walk into the Indiana Dunes National Park. But it is not a punchline; it is the basis of a new gallery at Columbia that visualizes the impacts of the climate crisis on Chicago.“Third Coast Disrupted: Artists + Scientists on Climate” opened Sept. 8 and runs through Oct. 30 at Columbia’s Glass Curtain Gallery, 1104 S. Wabash Ave. The gallery features new work from seven local artists in a variety of mediums.By Alexandra Yetter, The Colombia Chronicle&nbsp;<a href="https://columbiachronicle.com/chicago-artists-scientists-join-forces-to-craft-conversation-on-climate-change">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418805/yyc23bnw2cfabupqrnet.jpg"><figcaption>Photo: Hildegard Burri-Bayer</figcaption></figure>&nbsp;Is the Nebra Sky Disc a millennium younger than we thought?The Nebra Sky Disc, the world’s oldest known depiction of the cosmos, might not be as old as previously thought. The disc was discovered during an illegal excavation in 1999 and is regarded as one of Germany’s most significant archaeological finds. The looters said that they had unearthed the disc at a hill fort called the Mittelberg, near Nebra in Germany, along with various other artefacts, including swords, axes and bracelets. Experts dated these objects to around 1600BC— in the Early Bronze Age— and assigned the disc the same date because it was found alongside them.By Garry Shaw, The Art Newspaper<a href="https://www.theartnewspaper.com/news/is-the-nebra-sky-disc-a-millennium-younger-than-we-thought">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418806/p9dmzkbalil5jtyjycpz.jpg"><figcaption>The Vindolanda excavation site in Northern England. Courtesy of the Vindolanda Trust.</figcaption></figure>&nbsp;A Volunteer Archaeologist Just Discovered the Oldest Example of Religious Graffiti Ever Found in BritainResearchers in northern England have uncovered the shards of a 1,400-year-old chalice etched with angels, crosses, and other symbols of Christian iconography, making it the oldest example of religious graffiti found in the country, they say.By Taylor Dafoe, artnet news<a href="https://news.artnet.com/art-world/ancient-graffiti-1908400">Read More</a>&nbsp;&nbsp;</body></html>

News From Around the Art World: September 15, 2020

<html><head></head><body><figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/xq35z75kezskbn5x6wgs.jpg" alt="image002.jpg"><figcaption>OF WAR, 2017 Virtual reality appInstallation: SOFTER: Jenny Holzer at Blenheim Palace, Blenheim Palace, Woodstock, England, 2017© 2017 Jenny Holzer, member Artists Rights Society (ARS), NYPhoto: Tom Lindboe</figcaption></figure>&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/vbom2czpuosb5uo8dhau.jpg" alt="image003.jpg"><figcaption>VOTE YOUR FUTURE, 2018 © 2018 Jenny Holzer, member Artists Rights Society (ARS), NY. With March For Our Lives. Photo: Collin LaFleche</figcaption></figure>Via PRCHICAGO (Sept. 10, 2020)—The University of Chicago (UChicago) will debut a new public art commission by world-renowned artist and alumna Jenny Holzer (EX’74), YOU BE MY ALLY, premiering October 5 on the UChicago campus andworldwide through a web-based augmented reality app. The text-based artwork is Holzer’s first augmented reality (AR) project using virtual projections in the United States and her first work created in collaboration with a university’s students and faculty.Holzer received UChicago’s Rosenberger Medal in 2019 in recognition of her wide-reaching impact on public art.YOU BE MY ALLY features 29 excerpts from historically significant readings from UChicago’s Core curriculum, including works by distinguished writers W. E. B. Du Bois, Helen Keller, Audre Lorde, Toni Morrison, Friedrich Nietzsche, Plato, Mary Shelley, and Virginia Woolf. The title of the project itself is an excerpt from If Not, Winter: Fragments of Sappho, a translation by classicist Anne Carson that is among the Core readings. Starting October 5, viewers can access a free, web-based AR app to virtually project and animate these texts on the facades of architecturally significant UChicago buildings. &nbsp;In addition, app users will be able to project the title quote onto their surroundings anywhere in the world. On October 30, additional quotations will become available to project anywhere.Text selections from the Core curriculum will also be featured on LED trucks driving throughout the UChicago campus, South Side, and downtown communities October 5 and 6, bringing the experience to diverse audiences in an unexpected manner. Text excerpts for the project were selected in collaboration with UChicago students and faculty.&nbsp;Another component of Holzer’s work will incorporate original texts in support of nonpartisan get-out-the-vote efforts. These texts, selected by Holzer from various sources including submissions by UChicago students, will be displayed on LED trucks driven throughout the city on October 24 and 30.YOU BE MY ALLY operates at the edge of arts and technology, responding to the challenges of participation in the arts during a pandemic. It enables a broad audience to engage these historic texts, and to consider the impact of public speech in a democracy in the weeks and days leading up to the 2020 election.“Ever since her early—1995!—creation of an interactive internet artwork, I have admired Jenny Holzer’s resolute mobilization of viewer participation and unexpected media, now including AR app technology,” said Christine Mehring, the Mary L. Block Professor in the Department of Art History and an adjunct curator at the Smart Museum of Art. “Jenny is known for the fiercely critical interventions in public space that lead her to seize those media, but hers is a profoundly generous art all the same: inviting our students to submit content, welcoming the full campus community and general public to engage in the kind of close reading we teach at UChicago, opening the boundaries of academic discourse and a liberal arts education, providing a safe and meaningful experience of art amidst the converging contexts of the pandemic, calls for social justice, and the election season.”AR experiences for YOU BE MY ALLY will be hosted on the web platform 8th Wall and can be activated by users at specific points outside buildings on the UChicago campus: Cobb Lecture Hall (designed by Henry Ives Cobb), D’Angelo Law Library (Eero Saarinen), Reva and David Logan Center for the Arts (Tod Williams and Billie Tsien), Joe and Rika Mansueto Library (Helmut Jahn), School of Social Service Administration (Ludwig Mies van der Rohe), Cummings Life Science Center (I.&nbsp;W. Colburn), and Rockefeller Memorial Chapel (Bertram Grosvenor Goodhue). Off campus, viewers can experience the work by accessing the app on 8th Wall. Holzer’s projects have long been inextricably linked to the built environment of their settings. YOU BE MY ALLY will invite viewers to interact with their surroundings and forge new cultural and architectural meanings from the juxtapositions of historic texts and lived urban environments.&nbsp;Artist bio&nbsp;For more than 40 years, Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions, including the Venice Biennale, the Guggenheim Museums in New York and Bilbao, the Whitney Museum of American Art, and the Louvre Abu Dhabi. Her medium, whether formulated as a T-shirt, a plaque, or an LED sign, is writing, and the public dimension is integral to the delivery of her work. Starting in the 1970s with the New York City posters and continuing through her recent light projections on landscape and architecture, her practice has rivaled ignorance and violence with humor, kindness, and courage. Holzer received the Leone d’Oro at the Venice Biennale in 1990, the World Economic Forum’s Crystal Award in 1996, the U.S. State Department’s International Medal of Arts in 2017, and the University of Chicago’s Rosenberger Medal in 2019. She studied at the University of Chicago in 1970–71 and holds honorary degrees from Williams College, the Rhode Island School of Design, The New School, and Smith College. She lives and works in New York.&nbsp;About UChicago Arts and the University of ChicagoUChicago Arts is the University of Chicago’s robust cultural scene where scholars, students, artists, and audiences converge, explore, and create. UChicago Arts connects and amplifies the impact of the University’s nearly 100 arts organizations, initiatives, and academic programs, bringing together the efforts of students, faculty, artists, and community partners to infuse creativity throughout the intellectual life on campus while solidifying the University’s role as a cultural destination and resource on Chicago’s South Side. For more information about UChicago Arts, visit <a href="http://arts.uchicago.edu/">arts.uchicago.edu</a>.&nbsp;The University of Chicago is a leading academic and research institution that has driven new ways of thinking since its founding in 1890. As an intellectual destination, the University draws scholars and students from around the world to its campus in Hyde Park and to its centers around the globe. The University provides a distinctive educational experience and research environment, empowering individuals to challenge conventional thinking and pursue research that produces new understanding and breakthroughs with global impact. In 2017, the University launched an Urban Architecture and Design Initiative to highlight and grow curricular and research strengths in these fields.The Core curriculum: The cornerstone of the University of Chicago College’s transformative curriculum, the Core prepares undergraduates to explore and debate complex ideas with faculty and peers. Through sequences in the humanities, social sciences, physical sciences and biological sciences, as well as a sequence in the historical development of a civilization, students engage with the language, questions, and methods that characterize broad fields of inquiry. The goal is to engage students with the range of insights, habits of mind, and academic experiences that can enrich their own reflections and activities in the world—while at UChicago and after they graduate.&nbsp;&nbsp;</body></html>

U of C Commissions Jenny Holzer's AR Public Artwork During Pandemic

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/eytkqn9kjwugonrudfmc.jpg"><figcaption>Suzanne Lovell’s design for the St Regis Institution in Manhattan. Billy Cunningham photography. Pictured on left: artwork by Kara Walker &nbsp;</figcaption></figure>By ANNA DOBROWOLSKIContemporary design professionals usually waste no time deflating that old adage that your art should match your drapes. Chicago-based, internationally known designer Suzanne Lovell is no exception. In fact, she is uniquely capable of helping clients not only find the art for their homes but to advise them on contemporary artists and elements of the market. Her own firm, which she founded in 1985, now has a division devoted to fine art, run by colleague Kristin Murphy Romanski. Lovell wrote the book, literally, on living with art and design: Artistic Interiors: Designing with Fine Art Collections, was published almost a decade ago, in 2011. Its main theme is how central art is in her own design work as well as in life at home. In a time when all of us are spending a great deal of time at home, and nowhere else, this has never been more apparent. So, what is Lovell doing to continue to bring art to her clients as well as to stay abreast of the contemporary art world? We had the chance to ask her recently.&nbsp;CGN: What comes first, the design or the art?Suzanne Lovell: Architecture comes first. Then, the moments of pause are the moments for art to create magic.&nbsp;We start with a conversation about what the client owns or would like to acquire, and we create the architectural language and experience of space to best enhance their experience with their artwork. That’s why we merge in the collecting of art very early in the process, because we are either taking their art, and including it in their environment in appropriate ways, or helping them think about the art that’s going to be in the magic of their home. Once they realize that we are doing that expression of them, they want it echoed in another part of their home.&nbsp;Design and furniture support those spaces and their function. Sofas are an afterthought.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418798/hbhot8etalljgzscjqar.jpg"><figcaption>A North Shore residence designed by Lovell. Tony Soluri Photography</figcaption></figure>&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418799/wncs6a0dfx1vtgmkgm0b.jpg"><figcaption>Hanging in Lovell's studio: Marina Abramovic’s The Kitchen VII -Homage to St. Therese. Mark La Rosa Photography</figcaption></figure>CGN: Do you have an example where you designed a room that best showcases the art? What is the relationship between the art and the space?SL: There’s no question we adjust the architecture to accommodate the piece of art first. We always highlight the key opportunities for art as we start conversations about collecting with context and placement. In the case of the Manhattan installation in the St. Regis Institution, we preserved the Beaux-Arts architecture, because that was the right thing to do. We ended up expanding the width of the mill work panels of art to showcase a Kara Walker piece. As an architect/designer, you are referencing and respecting the history [of the building], but you are also putting into the history the contemporary story and message.&nbsp;CGN: What sets your art advisory business apart, especially up against the stereotype of decorating with art?SL: Definitely our approach toward research, our intellectual formation of why certain collections come together for certain clients, and our constant exploration/travel to view art all over the world. We feel responsible to the art community that supports our efforts to educate our clients as on every piece of art we suggest they might like to collect, and why. It is definitely NOT about decorating.Kristin’s helped us reach a certain level in the art world in terms of understanding art. That’s a very difficult world to be very welcomed into, particularly when you’re a decorator and architect. We strove really hard for that not to be the reference. While we feel responsible to our clients, the galleries realize we have placement and we have intelligence, and so they want to help us collect the pieces of the great artists that they represent.&nbsp;CGN: Can you share some tips for successfully mixing contemporary art in with a range of tastes and styles?SL: I’m absolutely a firm believer that you collect what you strongly believe in. I don’t like the statement “buy the art you love.” It is not like that. Rather, “What are the expressions of “you” in the artwork that you are collecting.” In other words, collect what you feel strongly about as it will always find a place in your definition of home.CGN: Globally, the concept of ‘home’ has drastically changed. How would you define the experience today?&nbsp;SL: We are very conscious of the fact that people all need and want a more relaxed, easy and happy environment, because they are there all the time. Space is important and each individual in the family needs to be considered as the function is now required to be for 24 hours a day. More natural materials that share the hand of craft is certainly coming into our work. We enjoy the maker and his or her story as it engages with the world of art in an honest extension of creativity.CGN: How does that translate into your work and the materials you use?&nbsp;SL: The home will always be for me, as Louis Kahn said, “The room is not only the beginning of architecture; it is an extension of self...a choosing conscious individual.”CGN: What art currently hangs in your studio?&nbsp;SL: We have art by Jimmy Robert and Greg Stone, and, from my personal collection there’s also Marina Abramovic’s The Kitchen VII -Homage to St. Therese.&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418799/yujbn57uwoddxrg0nxgp.jpg"><figcaption>An example of how Lovell integrates artwork into an important&nbsp;collection is a pair of early 20th C. dioramas with Jeff Koon’s ceramic Puppy (1998) resting upon one of a pair of sideboards designed by Suzanne Lovell Inc. and hand-built by Frank Pollaro.</figcaption></figure>CGN: How has your business changed since the pandemic? What are you working on now? &nbsp;SL: We have of course gone to a remote existence as a team. That has been quite an adjustment as we all know that creation is a physical endeavor. It is something that you just can’t get over the machine. Being in the office is super important, and yet we are staggering our returns to the office to inspire the wonderful work we are engaged in currently.&nbsp; At the same time, we’ve challenged ourselves to create a three-dimensional space to help clients visualize the space.We are busy in Naples, in New York, in Glencoe and in South Carolina with clients that we refer to as patrons as our engagement with them is often for multiple homes.&nbsp; Managing their art works and the moving and installation thereof, not to mention the cataloging, is very integral to the service we provide.CGN: Can you tell me about some of your most recent fine art acquisition/art restoration projects?SL: We installed a phenomenal Cecily Brown triptych for a client in one home and a wonderful Renoir in another of their residences. Another one of our most enthusiastic moments was a trip Kristin and I made with a client whom has become a strong collector of Joseph Walsh’s work. We went to Cork, Ireland to visit Walsh, who is bringing together makers in Ireland and raising them up. His furniture is known to be “beautiful enough for a blind man to see.”&nbsp;I also think the most exciting placement we have ever made, is certainly the large Kara Walker that we installed in Manhattan.CGN: How do you and your team approach a project? What do you look for/what kind of conversations do you have when visualizing a space?SL: We talk about how they wish to use this particular piece of property. We discuss imagery that connects to those definitions. We make an effort to understand what their dream is of this location. I like to say it is about them, and my responsibility is to create the most perfect version of that dream, professionally. As a team with the patron, we spend a lot of time at the beginning of every project selecting the architectural materials that are the backbone of the residence’s definition. Wood and stone, walls and floor, the surrounds are the core issue of any design. This is the palette to which one adds.&nbsp;</body></html>

Suzanne Lovell: Bringing Art History Home 

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/oydgj5qqusltfy9hexx8.jpg"><figcaption>EXPO CHICAGO 2019. Image courtesy of Justin Barbin.&nbsp;</figcaption></figure>&nbsp;By GINNY VAN ALYEA via PRThe international art fair, <a href="https://www.expochicago.com">EXPO CHICAGO</a>, which usually launches and dominates the region's cultural calendar each September, made the decision to move to spring 2021 <a href="https://www.chicagogallerynews.com/news/2020/5/expo-chicago-to-move-from-september-to-april-8-11-2021">earlier this summer</a> due to the global pandemic.&nbsp;Introducing its first predominantly virtual initiative and in an effort to still support the local art community this season while also engaging with collectors, curators and artists around the world, EXPO CHICAGO just announced that it is hosting new 2020 fall programs: EXHIBITION Weekend (September 25–27) and Alternate Assembly (October 15–18).&nbsp;“Given EXPO CHICAGO’s commitment to our community, there was no hesitation to make our first predominantly virtual initiative in support of Chicago—celebrating the breadth and scope of the city’s vibrant creative community while providing an access point for international audiences to connect with local artists, gallerists, and collectors. With support from Presenting Sponsor Northern Trust and others, we are proud to partner with Hook on the development of the online viewing room that will enable EXPO CHICAGO to continue to present the highest quality platform for contemporary art and culture,” said Tony Karman, President | Director of EXPO CHICAGO.EXHIBITION Weekend – taking place during the days the fair was to happen on Navy Pier (September 25–27, 2020) – underscores EXPO CHICAGO’s commitment to local galleries, artists, and institutions, showcasing Chicago-based exhibitions, curatorial projects, and artist programs through a series of virtual programs including studio visits, exhibition and gallery tours, and discussions accessible globally, as well as a custom online viewing and sales platform developed by Hook, an online venue for seasoned art collectors and leading galleries.&nbsp;“At a time when we are all craving more activity and interaction with one another, we are happy to be able to partner with EXPO CHICAGO to provide a way for people to experience EXHIBITION Weekend remotely,” said Hook Founder Jake Nyquist. “Hook will approximate the experience of an in-person art fair, allowing visitors to navigate the fair at their own pace and in whatever direction they choose.”Launching EXHIBITION Weekend on Thursday, September 24, EXPO CHICAGO will present a conversation with artists Nick Cave and Bob Faust, Quintin Williams of Heartland Alliance for Human Needs &amp; Human Rights, and Gabrielle Lyon of Illinois Humanities. With an introduction by philanthropist Agnes Gund, Founder of Art for Justice, this conversation will explore the concepts addressed in the limited-edition print designed by Nick Cave and Bob Faust, a Facility Art/Work collaboration printed by Landfall Press, in celebration of the 2019 edition of the exposition. The limited-edition print can be purchased at <a href="http://www.expochicago.com/">www.expochicago.com</a>, a custom viewing room in the EXHIBITION Weekend (September 25–27) platform, and via the Artsy Marketplace.<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418798/chaf0ai1iojvcdaqjdzx.jpg"><figcaption>Facility, Nick Cave and Bob Faust. 2019 Limited-Edition Print.Limited Edition of 200. 9 color lithograph. 30 in x 21 in, 76.2 x 53.3 cm. Signed by the artist.</figcaption></figure>Virtual program highlights of EXHIBITION Weekend include:·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Artist-led Tours offering intimate glimpses into the studios of Chicago’s leading artists, including Barbara Kasten;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The premiere performance of Angel Bat Dawid’s composition “Peace: A Suite for Skylanding, A Mended Petal Odyssey” commissioned by The Art Institute of Chicago in response to Yoko Ono’s first permanent public sculpture in the United States, located in Jackson Park on the south side of Chicago;·&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The opening reception for the Driehaus Museum's exhibition, A Tale of Today with Nate Young and Mika Horibuchi.&nbsp;EXPO is also known for its robust VIP programming each fall, offering exclusive access to spaces and events traditionally held in person. This fall the program, still available by invitation only, has been adapted to go online and include a range of programming, from highly-sought after collector home tours (one this fall features the home of Chicago collectors Jack and Sandy Guthman) to VIP Art Advisor-led tours of EXHIBITION Weekend. Area curators will also lead tours of exhibitions by Chicago’s foremost institutions, including a behind-the-scenes conversation with Museum of Contemporary Art Chicago Manilow Senior Curator,&nbsp;Naomi Beckwith, on the exhibition Duro Olowu: Seeing Chicago, co-curated with the Nigerian-born British fashion designer.&nbsp;&nbsp;Participating galleries in EXHIBITION Weekend include:&nbsp;Aaron Galleries, <a href="https://www.chicagogallerynews.com/organizations/jean-albano-gallery">Jean Albano Gallery</a>, Aspect/Ratio, Corbett vs. Dempsey, Stephen Daiter Gallery, Devening Projects, <a href="https://www.chicagogallerynews.com/organizations/document">DOCUMENT</a>, <a href="https://www.chicagogallerynews.com/organizations/catherine-edelman-gallery">Catherine Edelman Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/richard-gray-gallery-gray-warehouse">GRAY</a>, <a href="https://www.chicagogallerynews.com/organizations/kavi-gupta">Kavi Gupta</a>, <a href="https://www.chicagogallerynews.com/organizations/carl-hammer-gallery">Carl Hammer Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/rhona-hoffman-gallery--2">Rhona Hoffman Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/mariane-ibrahim-gallery">Mariane Ibrahim</a>, <a href="https://www.chicagogallerynews.com/organizations/alan-koppel-gallery">Alan Koppel Gallery</a>,&nbsp; M.Leblanc, <a href="https://www.chicagogallerynews.com/organizations/mccormick-gallery">McCormick Gallery</a>, MICKEY, <a href="https://www.chicagogallerynews.com/organizations/monique-meloche-gallery">Monique Meloche Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/richard-norton-gallery">Richard Norton Gallery</a>, PATRON, Jason Pickleman, ANDREW RAFACZ, David Salkin Creative, Ken Saunders Gallery, <a href="https://www.chicagogallerynews.com/organizations/carrie-secrist-gallery">Carrie Secrist Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/volume-gallery">Volume Gallery</a>, <a href="https://www.chicagogallerynews.com/organizations/western-exhibitions">Western Exhibitions</a>, and <a href="https://www.chicagogallerynews.com/organizations/zolla-lieberman-gallery">Zolla/Lieberman Gallery</a>, among others. Participating alternative and project spaces include Arts of Life, Chicago Manual Style, The Franklin, <a href="https://www.chicagogallerynews.com/organizations/goldfinch">Goldfinch</a>, Julius Caesar, RUSCHMAN, and <a href="https://www.chicagogallerynews.com/organizations/weinberg-newton-gallery">Weinberg/Newton Gallery</a>, among others.&nbsp;Chicago audiences will also have select opportunities to view exhibitions in-person (by appointment) aligning with EXHIBITION Weekend. Safety precautions will include limited capacities, social distancing, mask requirements, and non-invasive temperature checks. In-person exhibition highlights include:<ul><li>The Art Institute of Chicago | Richard Hunt: Scholar’s Rock or Stone of Hope or Love of Bronze; Malangatana: Mozambique Modern; El Greco: Ambition &amp; Defiance</li><li>Museum of Contemporary Art Chicago |&nbsp;Chicago Works: Deborah Stratman;&nbsp;Alien vs. Citizen; The Location of Lines; Just Connect</li><li>Driehaus Museum | A Tale of Today: Nate Young &amp; Mika Horibuchi&nbsp;</li><li>Wrightwood 659 |&nbsp;Balkrishna Doshi: Architecture for the People&nbsp;</li><li>Renaissance Society | Nine Lives: Raven Chacon, Bethany Collins, Tamar Guimarães, Kapwani Kiwanga, Hương Ngô, Aliza Nisenbaum, Alison O'Daniel, Toyin Ojih Odutola, Elle Pérez, and Charlotte Prodger</li><li>Neubauer Collegium for Culture and Society |&nbsp;Apsáalooke Women and Warriors</li><li>Hyde Park Art Center |&nbsp;Artists Run Chicago 2.0</li><li>DePaul Art Museum |&nbsp;Kathryn Andrews</li><li>Elmhurst Art Museum | A Space Program: Organized by David Salkin</li><li>GRAY | McArthur Binion / Jim Lutes</li><li>Mariane Ibrahim |&nbsp;Amaoko Boafo</li><li>Monique Meloche Gallery |&nbsp;Jake Troyli</li><li>Kavi Gupta |&nbsp;Deborah Kass, Orange Disaster (Linda Nochlin);&nbsp;WHEN FIRE IS APPLIED TO A STONE IT CRACKS;&nbsp;Better Nights</li><li>Rhona Hoffman Gallery | Spencer Finch</li><li>DOCUMENT | Erin Jane Nelson</li><li>Western Exhibitions | Elijah Burgher</li><li>Andrew Rafacz | Melissa Leandro</li><li>David Salkin Creative | Rami George: Untitled (the wars in Lebanon)</li><li>2020 West Town Art Walk</li></ul><figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418798/n8bzogzjp3jgyjrui9qg.png"><figcaption>Amoako Boafo, Green Beret, 2020. Courtesy of Mariane Ibrahim, a participating gallery in EXHIBITION Weekend</figcaption></figure>&nbsp;In case you have the travel bug, even if you're local, as a supplement to EXHIBITION Weekend, EXPO CHICAGO is working with official partner hotels The Peninsula Chicago and 21c Museum Hotel to offer 2-night stays for patrons wishing to visit or “staycation” in Chicago during EXHIBITION Weekend. A tailored itinerary of select experiences, gallery exhibitions, and museum openings will be provided.&nbsp;For a full list of additional EXHIBITION Weekend programming and events including dates, times and locations, visit <a href="http://www.expochicago.com/">www.expochicago.com</a>.&nbsp;In early 2021 will present Alternate Assembly 2020, a virtual symposium featuring live-streamed discussions between leading curators, artists, and scholars worldwide addressing environmental impact within the era of pandemic. (October Update: the original dates were posted as October 15–18, 2020)As a continuation of EXPO CHICAGO's year-round programming curated in response to contemporary issues, Alternate Assembly 2020 will engage the fair’s local and global audience through film screenings and live-streamed panel discussions featuring leading curators, artists, and scholars that will be open to the public. Building upon Chicago’s long legacy of supporting alternative models to exhibitions and engagement with contemporary art, the virtual symposium will address the ways in which contemporary art can contribute to rethinking our environment within the era of pandemic. Additional details to be announced at a later date.“Committed to providing a forum for critical dialogue within the contemporary art world, EXPO CHICAGO’s virtual symposium will unite creators, curators, and critics to examine some of the most vital issues of our time," states Stephanie Cristello, Artistic Director of EXPO CHICAGO. “Alternate Assembly invites artists whose works address issues such as environmental racism, colonial histories, and sustainability to engage in meaningful discourse with leaders of institutions and non-profits. Through film screenings and panel discussions, Alternate Assembly highlights the ways in which contemporary art engages and interrogates the physical and socioeconomic structures in which we as individuals co-exist—and in doing so, offers up pathways for meaningful change within the art world and beyond.”For the eighth consecutive year, Northern Trust returns as Presenting Sponsor of EXPO CHICAGO and related programs EXHIBITION Weekend and Alternate Assembly.&nbsp;</body></html>

EXPO CHICAGO Announces New Virtual and In-Person Fall 2020 Programming

We recently learned about an exhibition at Mies van der Rohe's Farnsworth through our friends at <a href="https://www.pagodared.com/blog/2020/08/12/refurnishing-revisiting-farnsworth-house/">PAGODA RED</a>, since they had recently placed furniture at the house and photographed the installations for the exhibition. They generously shared the story of the exhibit and the house's history with CGN.&nbsp;By PAGODA REDDesigned by Mies van der Rohe in the late 1940s, the <a href="https://farnsworthhouse.org/">Farnsworth House</a> in Plano, Illinois distills Mies’ modernist ideals into a clear expression of uncluttered structure. Over the years, it’s become shorthand for Miesian “less is more” design — so much so that the more nuanced story behind the home has been eclipsed by its iconic stature.“Too often, we gravitate towards the simple and familiar narrative when the&nbsp;real&nbsp;story is much richer and more challenging,” says Scott Mehaffey, Executive Director of the Farnsworth House.A new exhibition, Edith Farnsworth Reconsidered, centers the story not in the architect but in the homeowner — a remarkable kidney research physician, violinist, poet and translator who commissioned the house as a weekend retreat and lived in it for nearly 20 years. Despite having her name attached to the house, Farnsworth’s legacy was undercut by a legal battle over escalating fees (lost to Mies) and, in Mehaffey’s words, “the fact she was a brilliant, driven and successful professional woman during a very misogynistic era in history.” This exhibit seeks to recast Edith’s story and — by extension, the house itself — in a new light.&nbsp;<figure class="image"><img src="https://www.pagodared.com/blog/wp-content/uploads/2020/07/11_364A0935.Z_3.Final_-1024x683.jpg" alt="" srcset="https://www.pagodared.com/blog/wp-content/uploads/2020/07/11_364A0935.Z_3.Final_-1024x683.jpg 1024w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/11_364A0935.Z_3.Final_-300x200.jpg 300w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/11_364A0935.Z_3.Final_-768x512.jpg 768w" sizes="100vw" width="1024"><figcaption>Photo by William Zbaren</figcaption></figure>&nbsp;Normally furnished with Mies’ famous Barcelona Stools and Brno Chaises, the house has been redecorated to reflect the furniture that Farnsworth chose. Reticent to fill her home with pieces that Mies designed for offices and public spaces, Farnsworth wrested control of the interiors.“Edith made it clear from the start that she preferred to select her own furnishings,” explains Mehaffey, “but Mies wouldn’t listen, which put her in a delicate position.”<figure class="image"><img src="https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-001-web-1024x698.jpg" alt="" srcset="https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-001-web-1024x698.jpg 1024w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-001-web-300x205.jpg 300w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-001-web-768x524.jpg 768w" sizes="100vw" width="1024"><figcaption>Photo by PAGODA RED</figcaption></figure>&nbsp;When Mies’ office called to arrange delivery for a shipment of metal furniture, Farnsworth refused, explaining that she hadn’t ordered it. Instead, Farnsworth enlisted the help of her friend Kitty Baldwin-Weese to select Scandinavian and Italian Modern style pieces, many of which came from the Baldwin-Kingrey store.&nbsp;<figure class="image"><img src="https://www.pagodared.com/blog/wp-content/uploads/2020/07/7_364A0755.Z_6.Final_-1024x683.jpg" alt="" srcset="https://www.pagodared.com/blog/wp-content/uploads/2020/07/7_364A0755.Z_6.Final_-1024x683.jpg 1024w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/7_364A0755.Z_6.Final_-300x200.jpg 300w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/7_364A0755.Z_6.Final_-768x512.jpg 768w" sizes="100vw" width="1024"><figcaption>Photo by William Zbaren</figcaption></figure>&nbsp;Farnsworth also collected Chinese antiquities and installed a pair of Fu Dogs outside the house. To recreate the effect, Mehaffey chose a pair of intricately carved <a href="https://www.pagodared.com/ti/featured-collections-modernism/pair-of-courtyard-shizi">stone lions from PAGODA RED</a>. Once used to protect a 19th century Chinese courtyard, the pair now guards the terrace of the Farnsworth House. “We might conjecture that they reminded Edith of her beloved dogs, which always accompanied her on her trips out to Plano,” explains Mehaffey, “and they imbue a certain humor that makes the place less sterile and lonely.”&nbsp;<figure class="image"><img src="https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-0066-web-1024x707.jpg" alt="" srcset="https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-0066-web-1024x707.jpg 1024w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-0066-web-300x207.jpg 300w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-0066-web-768x530.jpg 768w" sizes="100vw" width="1024"><figcaption>Photo by PAGODA RED</figcaption></figure>&nbsp;It’s unknown where Farnsworth’s interest in Asian art stemmed from, but her collection survives at the Art Institute — which owns several of her Chinese bronze and stoneware vessels — and the University of Chicago, where her original Fu Dogs stand at the entrance to the&nbsp;Cochrane-Woods&nbsp;Art Center. She also collected contemporary photography and furnishings by Jens Risom, Florence Knoll, and Franco Albini among other designers.“The layering of antiquities and modern furnishings shows sophistication and is often missing in contemporary interiors,” says&nbsp;Mehaffey, “So through the lens (or perhaps guise) of interior decor, this project opens the door to a greater conversation and ongoing exploration of modernism at the Farnsworth House and helps us examine Mies in the broader context of his contemporaries.”Personal details bring Farnsworth’s story to life. An Olivetti typewriter sits atop a writing desk alluding to her work as a poet and translator, and a violin sits near the door, where she might have played it to catch summer breezes. In the bedroom, a plinth displays an <a href="https://www.pagodared.com/ti/featured-collections-modernism/buddhas-hand">architectural object from PAGODA RED</a> in a nod to Farnsworth’s collection of Chinese antiques.&nbsp;<figure class="image"><img src="https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-0025-web-1024x684.jpg" alt="" srcset="https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-0025-web-1024x684.jpg 1024w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-0025-web-300x201.jpg 300w, https://www.pagodared.com/blog/wp-content/uploads/2020/07/20200728_Farnsworth-0025-web-768x513.jpg 768w" sizes="100vw" width="1024"><figcaption>Photo by PAGODA RED</figcaption></figure>&nbsp;Surrounded by lawns with views to the treeline, the house invites the natural world inside, as both Mies and Farnsworth intended. In neutral colors and a range of textures, Farnsworth’s furnishings soften the austerity of the architecture without detracting from the views. It’s easy to imagine Farnsworth taking walks with her dogs and enjoying a nightcap on the terrace.“She purposely kept it a quiet place as her life in Chicago was so busy and demanding,” Mehaffey says. “I hope this exhibition brings renewed appreciation to the Farnsworth House and fosters greater awareness of Edith Farnsworth and her many accomplishments – but also reminds us that history is never fully written and that we can sometimes find ourselves in the lives and choices of people who came before us.”Making the exhibition accessible for those who can’t visit in person, the Farnsworth House has posted a <a href="https://my.matterport.com/show/?m=du6M6oLeeLe">virtual reality tour</a>&nbsp;as well as historic photos and online <a href="https://farnsworthhouse.org/exhibitionguides/">exhibition guides</a>. Still, seeing the site in person remains the best way to experience it, and the house is offering limited tours as well as “Grounds Only” tickets.&nbsp;<figure class="image"><img src="https://www.pagodared.com/blog/wp-content/uploads/2020/08/20200728_Farnsworth-0072-web-1024x885.jpg" alt="" srcset="https://www.pagodared.com/blog/wp-content/uploads/2020/08/20200728_Farnsworth-0072-web-1024x885.jpg 1024w, https://www.pagodared.com/blog/wp-content/uploads/2020/08/20200728_Farnsworth-0072-web-300x259.jpg 300w, https://www.pagodared.com/blog/wp-content/uploads/2020/08/20200728_Farnsworth-0072-web-768x664.jpg 768w" sizes="100vw" width="1024"><figcaption>Photo by PAGODA RED</figcaption></figure>&nbsp;The Farnsworth House is open Wednesday to Sunday from 9:30 to 3:30, offering limited guided tours of up to 12 people at 10:00am, 12:00pm and 2:00pm. Self-guided tours of the grounds are available for half the price, and picnicking and hiking are allowed throughout the site. As state regulations may change, it’s best to visit <a href="https://farnsworthhouse.org/">farnsworthhouse.org</a> for up-to-date information.Special thanks to Scott Mehaffey for generously sharing Edith Farnsworth’s story. To learn more, visit the <a href="https://farnsworthhouse.org/">online exhibition</a>.Read PAGODA RED's blog <a href="https://www.pagodared.com/blog/2020/08/12/refurnishing-revisiting-farnsworth-house/">here</a>.&nbsp;

Refurnishing & Revisiting the Farnsworth House

By CGN StaffAs the fall art season in Chicago, and the world, continues to shift and be reshaped in order to accommodate life during a pandemic, we are hearing about more art fair updates and evolving programming, virtual as well in person. The latest update comes to us from the Chicago-based fair formerly known as SOFA Chicago. This past April it was <a href="https://www.chicagogallerynews.com/news/2020/4/sofa-chicago-announces-new-fair-ownership-and-leadership">announced</a> that Intersect Art and Design acquired SOFA Chicago.&nbsp;The Chicago fair, planned originally to take place in early November on Navy Pier, will now take place in 2020 virtually from November 6–12, 2020 at&nbsp;<a href="https://www.sofaexpo.com/">www.sofaexpo.com</a> with a dedicated VIP Preview Day by invitation only on November 5.&nbsp;The fair is the evolution of SOFA – Sculpture Objects Functional Art. It is the intersection of art, design, objects, and lifestyle including daily highlights on Glass, Ceramic and Crafts, Design, Contemporary Art, Outsider Art, Fiber, and Public Art / Sculpture. Intersect Chicago will feature institutions from around the globe with dedicated programming and a selection of galleries showcasing work of these disciplines.Intersect Chicago&nbsp;will feature a special focus for each day of the fair:Friday, November 6: Glass Arts Saturday, November 7: Ceramic Arts and Crafts Sunday, November 8: Design Monday, November 9: Contemporary Art Tuesday, November 10: Outsider Art Wednesday, November 11: Fiber Arts Thursday, November 12: Public Art / Sculpture<figure class="image"><img src="https://images.squarespace-cdn.com/content/v1/5c75cd80aadd34632fd01def/1599239027941-7PZ2BMZ48RTFIWH6LFLZ/ke17ZwdGBToddI8pDm48kKRrHbCni22Q2C6ff7L0V41Zw-zPPgdn4jUwVcJE1ZvWQUxwkmyExglNqGp0IvTJZamWLI2zvYWH8K3-s_4yszcp2ryTI0HqTOaaUohrI8PI3z7txbPPArBBK0dtyy0zHVQ4QH1EpieTsoXKrli_GWQ/_PostcardstoChicago_DesignMuseumofChicago_CopyrightColor4.png?format=1000w" alt="Postcards to Chicago public art installation by Design Museum of Chicago at Navy Pier. Photo copyright Color 4."><figcaption>Postcards to Chicago public art installation by Design Museum of Chicago at Navy Pier. Photo copyright Color 4.</figcaption></figure>Intersect Art and Design’s CEO Tim von Gal explains, “Following on the success of our first virtual art fair in July, Intersect Aspen, we are looking forward to the launch of Intersect Chicago in November. This is a special occasion, as we are launching the future of SOFA. We’ll preserve the spirit and focus of SOFA, continuing to highlight glass, craft, and sculpture, but will expand to include a larger interdisciplinary program across the fields of art and design.”Becca Hoffman, Managing Director of Intersect Art and Design says, “With Intersect Chicago, we’re channeling the momentum and positivity of our inaugural July edition of Intersect Aspen into a new chapter of revamping and innovating theonline space, while encouraging connectivity and an out of the box approach. The November platform will be a form of engagement for the community, highlighting dynamic programs, partners, and activations focusing on SOFA’s original tenets but with an absolutely new vision and fresh approach.”Beginning in September, Intersect Chicago will present&nbsp;SOFA Salons, a series of themed conversations pertaining to art and design, presented online and free to the public. The first will be&nbsp;Art and Mindfulness / The Healing Power of Art and Art Spaces, on Wednesday, September 16, at 7pm Eastern / 6pm Central / 4pm Pacific. Panelists will include January Parkos Arnall, Interim Senior Curator at the MCA Chicago; Monica Garza, the Chartlotte Wagner Director of Education at the ICA Boston; Elizabeth Gerber, Museum Educator at LACMA; and Nora Lawrence, Senior Curator at Storm King Art Center.&nbsp; To register, visit&nbsp;<a href="https://www.sofaexpo.com/salons">www.sofaexpo.com/salons</a>. Additional SOFA Salons will be announced for October and will continue throughout the run of the fair in November.&nbsp;Cultural Partners of Intersect Chicago will be featured on different days of the fair. These include: Art Alliance for Contemporary Glass (AACG); Corning Museum of Glass; Design Museum of Chicago; The Fabric Workshop and Museum; Gee’s Bend Quiltmakers; GnarWare Workshop; The International Sculpture Center (ISC); Intuit: The Center for Intuitive and Outsider Art; John Michael Kohler Arts Center; The Mint Museum; Museum of Arts and Design, New York, NY; National Museum of Women in the Arts; Ox-Bow; Pilchuck Glass School; Pittsburgh Glass Center; The River North Design District; Roger Brown Study Collection; SAQA: Studio Art Quilt Associates; and Chicago Public Schools.&nbsp;Special Programming will include an exhibition organized by critic and curator Paul Laster (Time Out New York, Galerie, Art &amp; Object, Sculpture, Harper’s Bazaar Arabia, Cultured, and ArtAsiaPacific) and independent curator and art advisor&nbsp;Renée Riccardo (ARENA) presenting contemporary artists working with glass in innovative ways.&nbsp;Laura Steward, Curator of Public Art at the University of Chicago, will present a series of conversations on Thursday, November 12, between Chicago-based artists and curators who support them.&nbsp;&nbsp;

Intersect Chicago / SOFA, a Virtual Art Fair Coming November 6-12, 2020

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/dhn4hq4ab309v9icy2xh.jpg"><figcaption>Rashid Johnson in the studio 2020 © Rashid Johnson. Courtesy the artist and Hauser &amp; Wirth Photo: Axel Dupeux</figcaption></figure>&nbsp;A brush with... Rashid JohnsonAn in-depth podcast conversation on the artist's big influences, from Richard Tuttle to Sun Ra.Born in Illinois, Johnson makes paintings amid a much broader range of media, having studied photography at Columbia College in Chicago before later moving to the Art Institute of Chicago. Johnson first rose to prominence aged just 24 when he showed a series of photographs of African American homeless people using techniques that evoked the grandeur of 19th-century photographic portraiture.By Ben Luke, The Art Newspaper<a href="https://www.theartnewspaper.com/podcast/a-brush-with-rashid-johnson">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/dwci9i9hlvdowr7geczc.jpg"><figcaption>Portrait of Hairy Who by by Charles Krejcsi for the Chicago Daily News. Courtesy of Pentimenti Productions.</figcaption></figure>&nbsp;The 6 Artists of Chicago’s Electrifying ’60s Art Group the Hairy WhoIf New York Pop art was considered cool, Chicago’s was hot, embodied in the mid-1960s by six recent graduates from the School of the Art Institute of Chicago who exhibited together under the moniker “the Hairy Who.” While Andy Warhol and Roy Lichtenstein treated mass consumerism and popular culture with irony and distance, the Hairy Who were interested in the emotional charge of such imagery. One was personal, the other aloof.By Edmée Lepercq, Artsy Editorial<a href="https://www.artsy.net/article/artsy-editorial-6-artists-chicagos-electrifying-60s-art-group-hairy">Read More</a>&nbsp;&nbsp;&nbsp;Chicago officials install public art at 2 more train stopsChicago transportation officials have added public art pieces paying tribute to the city’s history at two Chicago Transit Authority train stops.Via Associated Press, Herald &amp; Review<a href="https://herald-review.com/news/state-and-regional/chicago-officials-install-public-art-at-2-more-train-stops/article_d5686b92-b8bf-5bc4-891e-7eb280508576.html">Read More</a>&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418799/l7iksbjzw8nmquxnucgj.png"><figcaption>The staircase at the Museum Contemporary Art in Chicago in 2011. For its stage series, the museum has announced two upcoming virtual works, both involving audiences being mailed materials in advance. (Nuccio DiNuzzo / Chicago Tribune)</figcaption></figure>&nbsp;MCA Chicago plans virtual performances, included a show with audiences taking part at homeThe stage program at the Museum of Contemporary Art has announced two virtual programs for the fall, one of which involves an audience doing their own at-home performance.By Chris Jones, Chicago Tribune<a href="https://www.chicagotribune.com/entertainment/theater/chris-jones/ct-ent-mca-stage-chicago-0903-20200902-2wo7ggn73zf7vpfjiw7t3lyyk4-story.html">Read More</a>&nbsp;&nbsp;&nbsp;</body></html>

News From Around the Art World: September 8, 2020

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/vik7nje5nwlzqdbx0t1b.jpg"><figcaption>Navy Pier, Chicago Photo Courtesy of Choose Chicago. &nbsp;</figcaption></figure>By GINNY VAN ALYEATony Karman has been the man of September since he went out on his own in 2012 to found the international art fair <a href="https://www.expochicago.com">EXPO CHICAGO</a> and moved the exposition it from its traditional place on the spring calendar to the start of the fall cultural season. His bold move aimed to take advantage of Chicago’s lakeside setting during one of its more temperate months and to align the fair with the major gallery and museum openings of the year, unifying the various events to usher in the beginning of the international fall art season and appeal to travelers seeking a global cultural hub.&nbsp;This past spring, six months away from opening the 9th edition of EXPO CHICAGO on Navy Pier, it became apparent to Karman that plans for this fall would not move forward. I spoke with Karman in August to find out what he and his fair team have been working on and observing in the art world during a time they otherwise would have been pulling all-nighters to prepare for tens of thousands of fair visitors.&nbsp;Update: EXPO CHICAGO announced <a href="https://www.chicagogallerynews.com/news/2020/9/expo-chicago-announces-new-fall-2020-programming">new virtual and in-person programming</a> for fall 2020 on September 9.&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418798/pfyxh7us4fswyvi7red5.jpg"><figcaption>Tony Karman</figcaption></figure>CGN: First, please share the latest updates on EXPO CHICAGO – the path to deciding to move this fall’s fair to spring 2021. &nbsp;Tony Karman: The path was abundantly clear back in April that we could not move forward for a fair this September, and we reviewed options with Navy Pier to choose the April 2021 dates. I am proud of our statement that we made in partnership with our exhibitors and that we were able to take the lead in announcing the date shift early on, as it was clear that moving ahead with our old dates was not possible. Making that decision was actually a very easy one, as it was most responsible thing to do for our exhibitors and for the safety of our patrons. We remain in constant contact with our Selection Committee, our dealers, our partners from around the world, and we are consistently monitoring global issues so we can adjust again if we have to. &nbsp;CGN: What has EXPO been focusing on recently?&nbsp;TK: Adjusting to, and preparing for, April 2021 has kept us very busy as we have shifted many procedures while consistently communicating with galleries and developing new initiatives for the local cultural community and our broader international partners.&nbsp; We developed our bi-weekly Online Dispatch, maintained THE SEEN online, created dine&amp;, a virtual culinary and talks program, and we are planning to launch a series of both virtual and in person events this September and October.&nbsp;CGN: What have you observed from other fairs around the world as they have had to pivot too?TK: There is no question that all fairs, like galleries, have moved quickly to supplement their online platforms with viewing rooms and digital initiatives. We were in discussions with a developer for an online viewing room and we stepped up our plans to launch an online initiative, as that is now a basic component for any fair to be able to offer.&nbsp; The challenges of this time provide a unique opportunity to rethink much of what we have developed in the past and has forced us to look to expanding the company outside of producing one art exposition a year. I would anticipate that many others are doing the same.&nbsp;CGN: How critical do you think the lurch to online marketplace and viewing rooms will be long term?&nbsp; &nbsp;TK: Extremely critical. Although, nothing can replace seeing and experiencing artwork in person along with the “magical” interaction and exploration that can only happen when people gather, there is no question that virtual experiences that are offered by fairs and galleries will only increase in importance. Online sales for galleries have continued to grow and I don’t see that trend slowing anytime soon. Our plan is to stay on top of the curve and continue to invest and innovate in this area for the future.&nbsp;CGN: What could the fall season in Chicago mean without an art fair – the negatives as well as the possibilities?&nbsp;TK: Sadly, we were poised to have even another breakout year in 2020 with several new galleries planning to participate and programming to be announced. However, we cannot dwell on what could have been but continue to move forward and focus our attention on servicing the local and global arts community whenever we can take place in 2021. ‘September in Chicago’ was our tagline, and I am grateful that over that last nine years, we contributed to the opening of the season. However, for decades the April/May calendar slot was Chicago’s, and if that is where we land, I think we will contribute as much or more to the spring openings. &nbsp; &nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418799/dhuutf41fjhnejwriszw.jpg"><figcaption>EXPO CHICAGO, Vernissage 2019</figcaption></figure>&nbsp;CGN: What are your expectations for the fair landscape in 2021, and for the art market post (or amidst) the pandemic? &nbsp;TK: My expectations for 2021 are a bit guarded as we have seen the constant uncertainty throw out all notions of a global art fair calendar out the window. Everyone is adjusting and resetting their priorities, and given that the playing field has leveled a bit, I feel strongly that we are in a great place to emerge even stronger than before. We are nimble as a company, we benefit greatly from the support of the local cultural and hospitality community, Chicago is home to world renowned institutions, artists and galleries, and our city’s geographic location is a distinct advantage for us to welcome the U.S. and the world when appropriate.&nbsp; &nbsp;&nbsp;CGN: What about more recent cultural and societal conversations as they relate to the art community? &nbsp;TK: Artists and the arts have always been at the forefront of driving societal change, provoking us to both “see” and to reflect on the numerous issues that we face. There is no question that we live in a most profound era, and I feel that the artwork of this time will continue to be driver of change, and that the cultural community will be even more critical to helping us as a city and nation to rebuild. &nbsp;CGN: I know you’re an optimist. How do you think Chicago can be even more relevant in the new commercial and cultural landscape we are all encountering and for art fairs of the future? &nbsp;TK: That I am. As I said earlier, challenges also offer great opportunities. For the exposition we must be resilient while staying active in our programming and be nimble to adjust to the shifting calendars. In regard to the broader city, we should be very proud that there remains an intense focus on Chicago’s artists, galleries and institutions. The collective of this attention should serve us all well as we work together to rebuild the ecosystem and once again welcome the world.&nbsp;&nbsp;&nbsp;</body></html>

EXPO CHICAGO’s Tony Karman on Fall Without a Fair

<html><head></head><body>By CGN StaffFall is upon us! It's a welcome season to embrace new art and fresh exhibitions. In many ways this season may instead feel more like spring, as shoots of green in area spaces big and small represent new life emerging after a long hibernation.&nbsp;Here for you is a list of fall exhibition highlights to plan for in the coming weeks and months. From showcases of Impressionism to an online photo festival, and a contemporary exploration of Pop and Modernism, the shows featured here are just a few of the many taking place in area museums and galleries. Several were due to open this past spring but were postponed. We are grateful they are happening now.&nbsp;As we head into the final months of 2020 (is it 2021 yet?) winter will likely feel uncharacteristic as well, since those of us who spent spring in hiding may not be eager to retreat indoors like we have in years past during the colder months. The upshot of embracing new routines as well as protocols could be that many of us who also find we are home-bound in the Midwest, and not traveling to art fairs and warmer climates around the country, may more deeply and fully visit the art spaces in our community. CGN is here to guide you!&nbsp;We are also resuming our weekly highlights of area openings this month, and we spotlight some of next week's public receptions <a href="https://www.chicagogallerynews.com/news/2020/9/september-11-12-openings">here</a>. Please keep an eye on CGN's <a href="https://www.chicagogallerynews.com/events?district=&amp;filter=upcoming">calendar of events</a>, since it is updated daily and events are subject to change.&nbsp;Want to see the print version of our fall issue? <a href="https://www.chicagogallerynews.com/print-subscriptions">Subscribe here</a>. Thank you!&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/pfihyqdmrcnrntpcoa9d.png"><figcaption>Courtesy ADDS DONNA, part of Artists Run Chicago 2.0.</figcaption></figure><a href="https://www.chicagogallerynews.com/events/artists-run-chicago-2-0">Artists Run Chicago 2.0</a>Sept 1–Nov 1Hyde Park Art CenterThe long awaited launch of the<a href="http://r20.rs6.net/tn.jsp?f=001BroNsFGDfc92V-ZghfosQX6BazfZV0coqV9yC4zHfbXl1N7HX4UbOQI8qkvoxifXQBVlK7qyaE_9d0zo-Pvi_28ONqDVXpvlP2uyklrW3Psez399jLlLSMKqWBEYfHWRvxF4LjvOY_NUqsmJENuDN0O7qHdAAC1hA4DW6bUaBXWUM6-_goges7vreGWFFZOiTPP1__1oNy4BLO1n92d_xg==&amp;c=M_ZNk0PBUIu-2efg4gebEymq0qVJwNNFo5YJBRZSjSxOrQ5RKi7AiA==&amp;ch=u8Dwl4ysyaMa4QNIeWoOXNMLJn_kWWmwfnkwka0ptPTNEUgQ9t8blw=="> Artists Run Chicago 2.0</a> exhibition celebrates the work of 50 artist-run spaces and organizations that fuel Chicago’s independent art scene.For the first time since 2006, all six galleries in the Art Center will be dedicated to one exhibition. To mark the ten-year anniversary of the original Art Center exhibition, Artists Run Chicago (2009), this exhibition examines the motivations, trajectories, and philosophies that have made the past decade generative for new models of artist-run initiatives to exist throughout the city and suburbs.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418798/fxjiuye7yosibcukjiej.jpg"></figure><a href="https://www.chicagogallerynews.com/events/monet-and-chicago">Monet and Chicago</a>Sep 5, 2020 – Jan 18, 2021Art Institute of ChicagoClaude Monet (1840–1926), often referred to as the “Father of Impressionism,” has long held a unique relationship with Chicago.During his lifetime, Chicago was the American city that most aggressively acquired his work, with enthusiastic collectors like Bertha Honoré Palmer and Martin A. Ryerson leading the way. In 1903 the Art Institute became the first American museum to purchase one of Monet’s paintings, and today the museum’s 33 paintings and 13 drawings by the artist constitute the largest collection of works by the artist outside of Paris.This exhibition is the first to explore Chicago’s pioneering connection to the great Impressionist artist.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418798/z2bklc3gmihdfacvrqkh.jpg"><figcaption>Image credit: Robert Vonnoh (American, 1858-1933), Moonlit Landscape, Oil on canvas, 30 x 36 inches, c. 1920</figcaption></figure><a href="https://www.chicagogallerynews.com/events/second-impressions-revisiting-the-paintings-of-robert-vonnoh">Second Impressions: Revisiting the Paintings of Robert Vonnoh</a>Sep 8 – Oct 30Madron GalleryOne of the earliest practitioners of Impressionism in America, Robert Vonnoh was a brilliant colorist, portraitist, and influential teacher; he is also an artist often overlooked. In 2010, Madron Gallery — in partnership with the Butler Institute of American Art, along with the assistance of multiple private collections — organized the retrospective Robert Vonnoh: American Impressionist. The exhibition highlighted Vonnoh’s dual modes of painting, landscape and portraiture, as well as his evolution as an Impressionist painter.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418799/tczmsxssd6k1roc74whp.png"></figure><a href="https://www.chicagogallerynews.com/events/balkrishna-doshi-architecture-for-the-people-a995f052-67d0-4855-9694-6f2fc66b0379">Balkrishna Doshi: Architecture for the People</a>Sept 9–Dec 12Wrightwood 659Balkrishna Doshi: Architecture for the People is the first international retrospective outside of Asia devoted to the work of Indian architect, urbanist, and 2018 Pritzker Prize laureate Balkrishna Doshi. Born in Pune, India, in 1927, Doshi—who was profoundly inspired by Le Corbusier and Louis Kahn—was a pioneer of modernist architecture in India. Advance tickets available online only.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418800/dukgld4y2jvhjoyannqp.jpg"></figure><a href="https://www.chicagogallerynews.com/events/12th-annual-filter-photo-festival">12th Annual Filter Photo Festival&nbsp;</a>Sept 9–13Filter PhotoFilter Photo's multi-day celebration of photography will take place primarily online this year—with a robust line-up of virtual programming, alongside hybrid physical and online exhibitions. Photography curators, collectors, and critics from across the country will conduct nearly 250 virtual portfolio reviews with aspiring artists and photographers. The Festival will also host a variety of virtual photography workshops and will feature a series of daily online artist talks. Supplemental virtual programming includes Roaming Reviews and the Festival Zoom Lounge, which will both serve as opportunities for Festival-goers to casually share work and connect with peers. Finally, there will be a special reception for two juried exhibitions featuring nearly 60 artists at Filter Space gallery.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418801/fyrdf3ufuzic7cjepwnl.jpg"><figcaption>Image: McArthur Binion, DNA:Work, 2020</figcaption></figure><a href="https://www.chicagogallerynews.com/events/mcarthur-binion-dna-work-and-the-under-conscious-drawings">McArthur Binion: DNA:Work and the Under:Conscious Drawings</a>Sep 10 – Oct 31Gray WarehouseThe gallery’s first exhibition with McArthur Binion. Debuting eight paintings and seven drawings from the artist’s DNA:Work and Under:Conscious series, the exhibition will be on view beginning Thursday, September 10, at Gray Warehouse in Chicago. &nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418802/gwr07oom6twn3wtxwjqq.jpg"></figure><a href="https://www.chicagogallerynews.com/events/deborah-kass-painting-and-sculpture">Deborah Kass: Painting and Sculpture</a>Sep 10 – Oct 31Kavi Gupta GalleryThe canonized giants of Pop Art and Minimalism defined themselves by their opposition to each other: Pop Art could be anything; Minimalism was everything Pop Art wasn’t. However, as a young artist, Deborah Kass saw things differently. Pop and Minimalism were both equally radical. Her dual admiration, along with her commitment to examining the political climate of today, expresses itself abundantly in this show.&nbsp;&nbsp;</body></html>

September 2020 Highlights From a Season of Art and Culture

<html><head></head><body>By CGN StaffWe can't quite believe that the first round of fall gallery openings are almost here. Since we are adding new shows and events to our calendar once again, we are also resuming our weekly highlights of area openings, spotlighting some public receptions taking place September 11 and 12. Note each space's public hours carefully. You can look at our earlier post on other September <a href="https://www.chicagogallerynews.com/news/2020/8/september-11-a-sneak-preview-of-upcoming-september-exhibitions">openings here</a> as well.Please keep an eye on CGN's <a href="https://www.chicagogallerynews.com/events?district=&amp;filter=upcoming">calendar of events</a>, since it is updated daily and events are subject to change.&nbsp;Want to see the print version of our fall issue? <a href="https://www.chicagogallerynews.com/print-subscriptions">Subscribe here</a>. Thank you!&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418797/abk0fs6vwhww65hebmws.jpg"></figure><a href="https://www.chicagogallerynews.com/events/johnson-westermann-sincerely">Johnson - Westermann: Sincerely.....</a>Opening: Saturday, Sep 12, 11&nbsp;am – 5&nbsp;pmSep 12 – Nov 28Carl Hammer GallerySincerely… combines the collages and mail art of both H.C. Westermann and Ray Johnson in order to understand how both artists found meaning, place, and connection in times of great change. As networking and communication were evolving in the second half of the 20th century, Westermann and Johnson used written correspondence around the same time in their careers to convey their artistry and ideas. Though mail is traditionally an intimate form of communication, the experiences of Westermann and Johnson were meant to be understood and consumed publicly. “Sincerely” ––a common sign-off at the end of a letter–– implies that the remarks of both artists have been written, read, and digested. This exhibition compiles their voices into a larger narrative of the past in one big, open letter addressed to us.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418798/ae6y8d2sf5erub5df9qo.png"><figcaption>Image: Jake Troyli, Ready When You Are (2020)</figcaption></figure><a href="https://www.chicagogallerynews.com/events/jake-troyli-don-t-forget-to-pack-a-lunch">Jake Troyli: Don't forget to pack a lunch!</a>Opening: Saturday, Sep 12, 11&nbsp;am – 6&nbsp;pmSep 12 – Oct 31Monique Meloche GalleryJake&nbsp;Troyli’s first solo show with the gallery since joining the roster, and his first in Chicago.&nbsp;Jake&nbsp;Troyli investigates the construction of otherness and the commodification of the black/brown body, confronting and exploring labor capitalism and sweat equity as a demonstration of value, challenging the erroneous notion that it is only through arduous performances of labor that value and importance are earned.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418799/r2vcj6xag4qvwybjid2b.jpg"></figure><a href="https://www.chicagogallerynews.com/events/new-work-by-anna-kunz">The Blue Magnitude: Works by Anna Kunz</a>Opening: Saturday, Sep 12, 11&nbsp;am – 2&nbsp;pmSep 12 – Oct 31McCormick GalleryArtist Anna Kunz creates art across a colorful, creative spectrum, seeking to immerse her viewers into her works on a sensory as well as intellectual level.&nbsp;Her art, from works on paper, paintings, sculptures, installations, and other projects, goes beyond&nbsp;physical limits and changes constantly, depending on existing light and other environmental factors.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418799/veusfcdyidj1pgmjler2.jpg"></figure><a href="https://www.chicagogallerynews.com/events/amy-perlmutter-wings-transformed">Amy Perlmutter: Wings Transformed</a>Opening: Friday, Sep 11, 3 – 7&nbsp;pmSep 11 – Oct 31Jean Albano GalleryLike many photographers before her, Amy Perlmutter enjoys viewing the world through her camera lens. She then presents what she sees and what it means to her through her photographic vision. &nbsp;Amy’s fascination with photography was inspired by her experience in classes at Highland Park High school in IL and it continues to this day.&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418800/kagrenkf6doh1jv31bom.jpg"></figure><a href="https://www.chicagogallerynews.com/events/erin-jane-nelson">Erin Jane Nelson: Resting Spore</a>Opening by appt only: Friday, Sep 11, 11 – 6&nbsp;pmSep 11 – Oct 31DOCUMENTMottled and sinister, the ceramics in Erin Jane Nelson’s Resting Spore summon memories of the puffballs mushrooms I encountered as a child in Appalachia, where they were best known as “devil’s snuffboxes.” To my young imagination, these fungi appeared as huddled bands of gnomes scurrying across my backyard, the opposite of the stately fairy ring mushrooms that also grew there. While other kids made wishes by blowing the seeds of dandelions, the queerer among us danced upon spore-filled trinkets left behind by the devil. —Logan Lockner&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418801/kczypdsycmncmp7pz529.gif"></figure><a href="https://www.chicagogallerynews.com/events/igor-marina">Igor &amp; Marina</a>Opening: Friday, Sep 11, 5 – 8 pmZolla/Lieberman GalleryIgor Kozlovsky and Marina Sharapova, the Russian-born duo, work as a husband-and-wife team to collaborate on each canvas.&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

September 11–12 Openings Preview

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418793/moszzxq9oxumtttjiqwl.jpg"><figcaption>Claude Monet, &nbsp;“On the Bank of the Seine, Bennecourt,”&nbsp;1868. The Art Institute of Chicago, Potter Palmer Collection.Courtesy The Art Institute of Chicago</figcaption></figure>&nbsp;Chicago collectors’ love affair with Monet showcased in new Art Institute exhibitOf the Art Institute’s 33 Monet paintings, just two were purchased by the museum. The rest were donated by local collectors starting in the 1920s.By Kyle MacMillan, Chicago Sun-Times<a href="https://chicago.suntimes.com/2020/9/1/21406130/monet-art-institute-new-exhibit-chicago-collectors-windy-city-impressionism">Read More</a>&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418794/jvyh56rixaobzysuxfpk.jpg"><figcaption>Katherine Nagasawa/WBEZ/Courtesy of the Chicago History Museum/Newberry Library</figcaption></figure>&nbsp;As Chicago Debates Columbus Statues, Here’s A Look At The One We Melted DownRecent protests led to a Columbus statue’s temporary removal. A hundred years ago, Chicagoans did the same thing — with some creative repurposing.By Katherine Nagasawa, Mary Hall, WBEZ Radio<a href="https://www.wbez.org/stories/as-chicago-debates-columbus-statues-heres-a-look-at-the-one-we-melted-down/ae2549bc-e449-497a-a91f-42f5361fa7f1">Read More</a>&nbsp; &nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418795/jnclhwmghlfk0nxwqslk.jpg"><figcaption>Head of a Bearded Man at Oxford’s Ashmolean Museum has undergone a scientific examination using infrared technologyCourtesy of the Ashmolean Museum, Oxford</figcaption></figure>&nbsp;A real Rembrandt? Study shows painting banished to storeroom is either by his studio or the master himselfA recent examination of the wood panel reveals that it is from the same Baltic oak tree as the panel of an authenticated work by the Dutch artistBy Martin Bailey, The Art Newspaper<a href="https://www.theartnewspaper.com/news/rembrandt-ashmolean">Read More</a>&nbsp;&nbsp;</body></html>

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