West Town, Wicker Park, Ukrainian Village, Kinzie Corridor, Humboldt Park

West Town

Wisconsin

IL • MI • IN

West Loop, Fulton Market, East Garfield Park

West Loop and West Side

Evanston, The North Shore, Northern, Western and Southern Suburbs

Suburbs

Old Town, Lincoln Park, Lakeview, Roscoe Village, Bucktown, Wicker Park, Logan Square, Lincoln Square, Ravenswood, Uptown, Edgewater, Andersonville, Rogers Park

North Side

Michigan Avenue, Streeterville, The Gold Coast, The Loop, and South Loop

Michigan Avenue

Pilsen, Bridgeport, Chinatown, plus Hyde Park, Jackson Park/Dorchester, and Bronzeville

South Side

Superior and Franklin streets, West Chicago Ave, and down to Merchandise Mart and the River

River North

Image: Jonathan Worcester, Untitled,&nbsp;2024, acrylic on canvas wrapped panel 48 x 68.75 x 3.5 inches

Jonathan Worcester: Dead Reckoning

Epiphany Center for the Arts | Sanctuary Hall Gallery201 S. Ashland Avenue, Chicago&nbsp;60607Musical instruments can often be seen as objects of exquisite complexity and beauty. Aesthetically, they are beautiful objects in themselves, but it is when they are played that instruments become mesmerizing and transformative. Inspired by the vivid colors and playful motifs in Henri Matisse’s 1939 painting&nbsp;La Musique (The Music), Jonathan Franklin’s exhibition&nbsp;The Yellow Guitar&nbsp;pays homage to Matisse’s masterwork, while presenting a whimsical array of musical instruments and performers in perfect harmony with Epiphany Center for the Arts’ historic Sanctuary space and intimate music venue. For Franklin, the guitar has always represented something accessible and romantic. Unlike a piano, the guitar is portable, and its six strings open to a world of acoustic and vocal possibilities. He credits Elvis Presley and the Beatles for sparking his first inclination to play the guitar. As a teenager, Franklin belonged to a group called&nbsp;The&nbsp;Insex, which was the best (and only) American rock band between Calcutta and Bangkok. Since those halcyon days from decades ago, his love for music in all its shapes and forms has never ebbed. In this series of paintings, the characters showcase a variety of instruments, from guitars to drums, violins, and saxophones, among others. All that is left for the viewer is to imagine the music.For more information, go to: www.epiphanychi.comPhoto credit: Jonathan Franklin

Jonathan Franklin: The Yellow Guitar

Epiphany Center for the Arts | Chase Gallery201 S. Ashland Avenue, Chicago&nbsp;60607QUALIA&nbsp;is an invitation for an amplified embodied sensory experience -&nbsp;the way it feels to “feel.” Quale (s)/ qualia(pl), defined as instance(s) of subjective conscious experience, presents a paradox: debated as something that does not exist, or conversely, be something of great neuroscientific significance. Katrin Schnabl views&nbsp;QUALIA&nbsp;as a sensory phenomenon, an inter-firing that naturally occurs without thought, yet possesses a visceral impact all its own. Schnabl’s exhibit presents a series of sculptures and scrolls,&nbsp;SISTERS, along with several works from her&nbsp;PORTAL&nbsp;series, which resemble doorframes and scrolls swathed in a surface of sheer, colorful fabrics, curvilinearly stitched together, forming a dimensional unit. EWNS&nbsp;(an acronym for East West North South) is a large format hanging tapestry, structured as a triptych.&nbsp;EWNS&nbsp;forms a continuous circle, split open, and experienced in three, 30-foot sections. Conjuring maps and migratory patterns over a spherical form, it is a meditation on the complementing function of our bodies’ halves: a side for fielding circular inputs, and a side for cardinal directions. Participatorily, it offers an embodied deliberation on what is embedded into many languages as the&nbsp;right&nbsp;and the&nbsp;left, highlighting distinctions between what is considered proper and lawful versus what is deemed less important or significant. As a visual journey across a landscape, the structure’s borders become an activation of color fields, a continuous series of neighboring contact points with varying resonances, direction, and dimension via line, texture, form, light, and movement. Schnabl is interested in the experiential dimensions of her work. A commonality is its invitation for a somatic sensory reading; a sense-making through moving and exploring its dynamic and dimensional potential. Schnabl’s work invokes an impulse to&nbsp;“step inside,”&nbsp;as a way to process its information with the entire body, and she considers this as “yoU aRe A Work Of Art “– short&nbsp;URAWOA.&nbsp;Her offering leans into the trust the individual brings to their body as an extraordinary instrument, and Schnabl’s wish for that amplification.&nbsp;For more information, go to: www.epiphanychi.comPhoto credit: James Prinz

Katrin Schnabl: Qualia

Epiphany Center for the Arts | Barcelona Room201 S. Ashland Avenue, Chicago&nbsp;60607Guardian Threads&nbsp;brings together the evocative works of Helen Geglio and Anders Zanichkowsky, highlighting deep themes of comfort, protection, and peace woven into their textiles to mark the passage of time.&nbsp; A selection of work from Helen Geglio's various textile series delve into narratives of memory, motherhood, and resilience, using repurposed materials to craft intricate pieces that protect and honor life journeys and the stories of women. Her&nbsp;Amulet Bundles&nbsp;are meditations on motherhood. Worries and fears for our children are bundled up and tied, held tightly inside protective layers of cloth.&nbsp;Anxiety Shields&nbsp;ward off the circular thoughts of sleepless nights when the world seems on end. Geglio’s&nbsp;Wisdom Cloaks&nbsp;pay tribute to the accumulated knowledge, experience and maturity of women, while honoring the resilience and wisdom of women through the ages. Anders Zanichkowsky's burial blankets offer a distinctive sense of comfort and peace. Long before they’re used as a burial shroud, these&nbsp;memento mori&nbsp;are meant to serve as a blanket, bedspread, wall hanging, altar piece, or shawl that gathers the essence of personal memories over time. The handwoven shrouds, crafted from natural fibers, then provide a gentle, protective cocoon that honors the departed while supporting eco-friendly burial practices. As these blankets transition from everyday use to their final, sacred purpose, they embody a seamless journey from life to death, offering profound solace and tranquility to both the living and the departed.Together, within Epiphany Center for the Arts’ most intimate gallery, Geglio and Zanichkowsky’s works invite viewers to reflect on the comforting and protective qualities of textiles, the peace they bring both in life and death, and the enduring legacies woven into the fabric of our lives. For more information, go to: www.epiphanychi.comPhoto credit: Epiphany Center for the Arts

Helen Geglio & Anders Zanichkowsky: Guardian Threads

Epiphany Center for the Arts | Catacombs Gallery201 S. Ashland Avenue, Chicago&nbsp;60607After spending hours at the world’s largest wastewater treatment plant in Stickney, Illinois interviewing personnel, attending seminars and reading deeply, Lindsay Olson learned the science behind what engineers do to treat human wastewater. Returning to the studio, she used an assortment of elegant fibers, embroidery and stitching techniques to create richly colored textiles that help explain how water can be endlessly recycled if we care for it properly. Wastewater treatment has been the most successful public health initiative in the history of human beings and Olson’s&nbsp;Manufactured River&nbsp;brings awareness to its importance to the future of clean water. Located subgrade in the undercroft of the historic former Church of the Epiphany, the brick and timbered Catacombs Gallery alludes to spaces where wastewater flows and atmospherically lends as a backdrop for the exhibit. Experientially for visitors, the exhibit will additionally present a choreographed sound installation composed by music engineer and producer Jon Smith, recorded in part, on site at the Stickney Water Reclamation Plant. Olson extends her thanks project partner,&nbsp;Dick Lanyon,&nbsp;Retired Executive Director of the Metropolitan Water Reclamation District of Greater Chicago and to&nbsp;Tony Glymph,&nbsp;Consultant - Wastewater Microbiologist, retired Chief Microbiologist MWRD, plus a special thanks to the many professionals at the MWRD of Greater Chicago who spent time teaching her about the wastewater treatment process. And to Columbia College Chicago faculty development grant to support this project.For more information, go to: www.epiphanychi.comPhoto credit: Lindsay Olson

Lindsay Olson: Manufactured River

Two Opening ReceptionsFri., April 11, 5-8 pmWed., April 23, 6-10 pm&nbsp;SoNa Chicago Contemporary Art is proud to present the exhibition, Article 1: Human Dignity Shall Be Inviolable, featuring the artwork of Kermit Berg. The exhibit highlights both the beauty and the vulnerability of democracy.&nbsp;&nbsp;In 2015, the American artist Kermit Berg was invited by the German government to photograph the buildings of the German Parliament in Berlin, known as the Bundestag. The building design includes architectural elements that highlight attributes of democracy such as transparency in government and governance by the people. Berg's photographs of the building capture these elements in his signature style.&nbsp;&nbsp;The exhibition was to be shown in the newly constructed Library of Parliament building in Germany. The exhibition never happened due to lengthy construction delays, although the work was acquired by the Collection of the Federal Republic of Germany. Several years later, his body of work was slated for a show at the German Embassy in Moscow. However, criticism by the Russian government derailed these plans. An alternative location outside of Moscow was ultimately abandoned when Russia invaded Ukraine.&nbsp; Today, democracy is palpably under threat around the world. For Berg, this means introspection, revisiting, and literally ripping up some of his earlier works. The result is his photographic series: “Torn” where he destroys and reassembles his prints with their fragments to represent the fragile nature of democracy.&nbsp;&nbsp;Berg's “Bundestag” portfolio is not the first time he has examined democracy and political systems through his own very subtle lens. His 2013 series “Nuclear Family’’ documents the post-World War II relationship between a West Berlin family and an American family in rural Indiana. “Nuclear Family” led to a solo museum exhibition at Maerkisches Museum in Berlin, and has since been shown as part of the Kermit Berg retrospective at the Christel De Hahn Fine Arts Center in Indianapolis. Several of his works from the Nuclear Family portfolio are also in the exhibition at SoNa Chicago. As with “Article 1” his keen eye explores and reveals the heart of the theme, in this case, the nascent democracy in West Germany.&nbsp;&nbsp;Article 1 is the first of nineteen proclamations of basic human rights comprising the beginning of the newly developed constitution of the Federal Republic of West Germany. It was ratified in 1949 and later adopted upon the reunification of Germany in 1990. This conscious intention to spell out basic rights at the very beginning of Germany’s new constitution paved the binding path forward for the emerging democracy. The framers of the basic rights document went on to say that to respect and protect human dignity is so important that it shall be the duty of all government authority to protect it, and that Article I cannot be changed or removed. Yet this fundamental right is under strain in Germany, the U.S., and around the world.&nbsp;Kermit Berg has developed a refined language in photography. His attention to detail is exquisite, visually sharing powerful observations and messages on a broader scale. The exhibition at SoNa Chicago features never before shown selections from the Bundestag and Torn portfolios, as well as selections from Nuclear Family, and other works from his 25 years as a practicing artist. Berg creates photography-based archival prints where he lives and works in Palm Springs, California, after living in Chicago, Berlin, New York, San Francisco, and Shanghai. He is grateful to his longtime representative in Germany, Nicole von Vietinghof, for arranging the project with the German government at the Bundestag.&nbsp;SoNa Chicago Contemporary Art is located at 1527 N. Ashland Avenue, Chicago, Illinois. The gallery is open Fridays from 5–7 pm, Saturdays from 12-4 pm, and by appointment.&nbsp;

Kermit Berg | Article 1: Human Dignity Shall Be Inviolable

Chicago Cultural Center, Chicago Rooms, 2nd Floor NorthCurated by Elise Butterfieldtwo hundred and fifty-one days, a solo exhibition by Bryana Bibbs, is an artist's exploration of loss, ancestry, time, and memory. The show’s title references the span of time between the death of Bibbs' grandfather on December 18, 2023, and her grandmother on August 25, 2024, during which Bibbs, along with her mom, lived in her grandparents’ home and cared for her grandmother. In&nbsp;two hundred and fifty-one days, Bibbs incorporates the objects of her grandparents’ everyday lives into weaving and print series. Painstakingly and lovingly, she took apart hospital blankets and favorite shirts to weave them into new artifacts; she cataloged socks and adult bibs in black and white prints. Bibbs’ repetitive artistic practice and commitment to witnessing her own inner landscape lays bare the profoundly emotional and yet mundane experience of processing the death of a loved one. Each object in&nbsp;two hundred and fifty-one days&nbsp;is a testament to the transformative potential of grief.&nbsp;

Bryana Bibbs: two hundred and fifty-one days

Donna Tadelman

moniquemeloche proudly presents&nbsp;25!&nbsp;—a landmark exhibition celebrating the gallery’s 25th anniversary featuring&nbsp;Luke Agada, Candida Alvarez, Arocha-Schraenen, Sanford Biggers, Antonius-Tín Bui, Justin Cooper, David Antonio Cruz, Davis/Langlois, Brendan Fernandes, Dan Gunn, Chase Hall, Sheree Hovsepian, Rashid Johnson, Cindy Loehr, Jason Middlebrook, Lavar Munroe, Ben Murray, Maia Cruz Palileo, Ebony G. Patterson, Cheryl Pope, Karen Reimer, Carlos Rolón, Joel Ross, Carrie Schneider, David Shrobe, Arvie Smith, Shinique Smith, Jake Troyli,&nbsp;and&nbsp;Nate Young.&nbsp; Since its founding in 2000 by Monique Meloche, the gallery has been a driving force in Chicago’s contemporary art scene, championing diverse and politically engaged voices while serving as an early advocate for groundbreaking talent. Artists such as Rashid Johnson, Amy Sherald, Ebony G. Patterson, and Sanford Biggers launched pivotal moments of their careers at moniquemeloche, contributing to the gallery’s far-reaching influence—both within the city and across the international art world.&nbsp;Beyond the gallery walls, moniquemeloche has been deeply committed to curatorial and institutional outreach, ensuring its artists gain lasting recognition. Works by the gallery’s artists have entered the permanent collections of major institutions, including The Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Art Institute of Chicago, while their practices have been highlighted in significant museum solo exhibitions at El Museo del Barrio, The Pérez Art Museum Miami, and many others.&nbsp;Renowned for its conceptually rigorous programming and dynamic, cross-media installations, moniquemeloche continues to push boundaries and spark critical dialogue both in its Chicago gallery and at art fairs globally.&nbsp;25!&nbsp;honors the artists who have shaped its legacy, presenting a powerful mix of historic and new works that will span the entire gallery.

On View: March 3 - May 23, 2025 Artists’ Reception: Thursday March 27, 2025, 5:30-8:30 An exhibition exploring the combination and intersections of visual art and music. The act of creating is expansive and inclusive by nature.&nbsp;&nbsp; The word “artist” covers all forms of expression: painters, sculptors, actors, musicians, writers, dancers, comedians, and onwards.&nbsp; The individual artist rarely has one identity or skill set. This spring Madron explores the artistic combination of object maker and musician.&nbsp; Zach Balousek, Margie Criner, John T. Upchurch, and Lucie Van der Elst are four contemporary Chicago artists whose individual practices differ in material, technique, and methods of storytelling.

Synthesize

Luminarts Cultural Foundation 2025 Visual Arts Exhibition

Perspective Gallery is looking forward to receiving entries from students for the fourteenth annual juried exhibition of Chicago area high school photography. All subject matter and photographic processes are welcome.Juror: Matt Siber, Associate Professor, Adjunct in the Photography Department of The School of The Art Institute of ChicagoGabrielle Swidler: “Eye” (Juror’s Award Student Perspectives 2024)

Student Perspectives 2025: Juried Photography Exhibition

The Evanston Art Center (EAC) is excited to welcome the public to&nbsp;CAVA | 2025 Later Impressions. The Chicago Alliance of Visual Artists (CA V A) is a not-for-profit organization committed to addressing the needs of artists aged 50+. It is run by a volunteer board representing over 350 artists who are members of the organization. CA V A provides its members with educational programming, community outreach, opportunities to exhibit their work, and social networking events.&nbsp;2025&nbsp;Later Impressions&nbsp;is CA V A’s premiere juried exhibition displaying its members’ most recent work. Featured Artists:&nbsp;Jay Reed, Nancy Van Kanegan, Robert Anderson, J. Erlandson, Dorothy Graden, Jacqueline Ropski, Marco Bendin, and Emily Friel CAVA | 2025 Later Impressions&nbsp;will be exhibited in the First Floor Gallery of the Art Center. The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership. Evanston Art Center, a nonprofit 501 (c)(3) organization, is dedicated to fostering the appreciation and expression of the arts among diverse audiences. The Art Center offers extensive and innovative instruction in broad areas of artistic endeavor through classes, exhibitions, interactive arts activities, and community outreach initiatives. Evanston Art Center is located at 1717 Central St., Evanston, IL. Evanston Art Center Gallery Hours:Monday–Thursday, 9am–6pm; Friday, 9am–5pm; Saturday &amp; Sunday, 9am–4pm. First and second-floorgallery spaces are accessible. Limited free parking is available.

CAVA | 2025 Later Impressions

Petal, Leaf & Beauty

Larry Simon, people|places|things

This nature inspired exhibition highlights the impressive work by Liaung-Chung Yen, Judith Neugebauer and Huiyu Chiu. Each artist has unparalleled craftsmanship, utilizing traditional metalsmithing techniques to create sculptural statement jewelry with botanical motifs. Join us on April 26, 2025 to celebrate this exhibition! Enjoy a glass of wine and charcuterie as you mingle with fellow jewelry enthusiasts and admire the work.

Petals, Leaves, Roots & Seeds

The “Inside/Out” Exhibition at the Grove Gallery in Evanston, IL&nbsp;explores concepts of the window as metaphor. Windows, whether open or closed, represent dualities: freedom vs. constraint, order vs. chaos, and possibility vs. limitation. The window metaphor sets up narrative elements that address boundaries. In some cases, the viewer is outside, looking in. Conversely, the perspective may be from indoors, looking up and out into the horizon. Some paintings are rooted in fantasy, with colorful, surreal characters freely floating in space. Others are purely depictions of light-filled rooms, with curtains billowing in the breeze. The layered meanings within each picture plane keeps viewers guessing, projecting their own narratives onto each scene. A picture window creates the illusion of depth, whether with pure color or with linear perspective. Regardless of each artist’s technique and intention, the window metaphor is open to interpretation.&nbsp; Artists: Nicole Gordon, David Gista, Leslie Hirshfield, Fletcher Hays, Ellen Holtzblatt, Jennifer Presant, Sarah Kaiser-Amaral, Eleanor Speiss-Ferris, Ken Minami, and Caitlin Winner. The Grove Gallery&nbsp;619 Grove StreetEvanston, IL&nbsp;Hours: Friday, Saturday and Sunday, 2 to 7 PM&nbsp;Website: <a style="color: rgb(56, 101, 115);" rel="noopener noreferrer" href="http://www.grovegallery.shop" target="_blank">www.grovegallery.shop</a>

Inside/Out

Artist Talk: Sat 4/26, 10am "Concrete Gardens" translates Patrick Burns' deep love of the land into richly textured mixed-media monochrome paintings. Burns spent his youth on farms in rural West Virginia, an experience that imparted a love of nature. Prior to earning his MFA, Burns was quarterback of his Division 3 college football team. Today, he has perfected the art of urban gardening and channels this passion into unconventional materials. His art practice focuses on the peculiarities and contradictions of American life and the complex narratives within American history.

Patrick Burns: Concrete Gardens

Steve Seeley: Right Back At It Again

Interdisciplinary artist Cecilia Beaven creates mystical environments and narratives through her large graphic wall paintings. Her paintings and sculptures first appeared at the Art Center in&nbsp;Ground Floor&nbsp;(2020) and continued to develop on site during a Radicle Residency (2021). This exhibition will feature a new temporary mural, drawings, and small clay sculptures and tiles by Beaven featuring the women-centered worlds she has been illustrating over the past five years.Flickering Cocoon&nbsp;is the companion exhibition to<a href=https://oq8cplyab.cc.rs6.net/tn.jsp?f=001TBL0wigJGYcgrL3_2cl3AzDVOz2hkGlMHx_Vs8GHyKBmEfi2QV7a2q0mEcI0jNI7mSnelpwiYUfNjd4T-8zpDFnvkFsuspRfK108vqtZYkJmz4RdUIta6i5yfLW9X8YShuO5PEVMDsUJJDlX4ZblhpNs0_VkSBsgr_tCDPyOxEyRfQjfNPOlUjKo-WDvitzdKtfgp-q2MmJyklZyOWgevrQ-eXSoYgRRNIf4cN83QxQ=&amp;c=bAru49XNkKobVHqXchnjzrvx6q9wYUdrjIOA9jZCXGY_AXMq1QWCzA==&amp;ch=_1bN4_zu52St-L5tvuiVkpa--UuTHKpS9-gjoWpclqjCmnk4gMIXLg==>&nbsp;Semilla&nbsp;</a>concurrently on view in the Xicágo Gallery at the National Museum of Mexican Art from October 26, 2024 until March 30, 2025.<a href=https://oq8cplyab.cc.rs6.net/tn.jsp?f=001TBL0wigJGYcgrL3_2cl3AzDVOz2hkGlMHx_Vs8GHyKBmEfi2QV7a2q0mEcI0jNI7TBRL-55QGRV-aRdQaByc6amT7GXAAu8HSN95B6SkvQ-J3PC5uescm4Zhm0c1RtoLH3Yde9j3U5KybNyV5lcJHbGu8sX2XX1y8XKqY1nC9jh3_9UIGvfv3wWvptKi_7bqN7aUSIFLHjll-vI9wbd1fm5jtpDH0rtiPEr2hpEJrmY=&amp;c=bAru49XNkKobVHqXchnjzrvx6q9wYUdrjIOA9jZCXGY_AXMq1QWCzA==&amp;ch=_1bN4_zu52St-L5tvuiVkpa--UuTHKpS9-gjoWpclqjCmnk4gMIXLg==>Read More</a>&nbsp;Image:Installation view of the exhibition Cecilia Beaven:&nbsp;Flickering Cocoon

Cecilia Beaven: Flickering Cocoon

Admission to the Museum is free for all guests. For more information on hours of operation, exhibits and special events, visit&nbsp;<a style="color: rgb(26, 39, 65);" rel="noopener noreferrer" href="http://raclinmurphymuseum.nd.edu/" target="_blank">raclinmurphymuseum.nd.edu</a>. ﻿The Raclin Murphy Museum of Art is delighted to announce a solo exhibition with artist Clarissa Tossin, a native of Brazil living and working in Los Angeles.&nbsp;Clarissa Tossin: All That You Touch, You Change&nbsp;will feature moving-image, sculpture, drawing, weaving, and installation works. A highlight of the exhibition is the film installation&nbsp;Mojo'q che b'ixan ri ixkanulab / Antes de que los Volcanes Canten / Before the Volcanoes Sing, which marks the first collaboration between Tossin and guest curator Jared Katz,&nbsp;former associate curator of the Americas and Africa at the Museum. The installation was&nbsp;recently featured in the 2024 Whitney Biennial in New York.&nbsp;The title of the exhibition is drawn from Octavia Butler’s novel&nbsp;Parable of the Sower, which opens with the verses, “All that you touch / You change. / All that you Change / Changes you. / The only lasting truth / Is Change.” The verses encapsulate Tossin’s belief in our capacity to influence Earth’s ecological future. Within this exhibition, the artist explores how legacies of colonialism lead to harmful appropriative practices, rampant consumption, and destruction of Earth’s life-sustaining biodiversity, as well as the attempted privatization of, and extraction from, sovereign celestial bodies. Working in diverse mediums, she cautions<s>&nbsp;</s>that we are already experiencing climate crisis.&nbsp;Throughout Tossin’s work, she encourages people to join together to move away from our consumeristic behaviors in order to create lasting change. The exhibition brings together three bodies of Tossin’s work. The first comprises her reflections on Maya revival architecture, including two films—Mojo’q che b’ixan ri ixkanulab / Antes de que los Volcanes Canten / Before the Volcanoes Sing&nbsp;and&nbsp;Ch’u Mayaa—as well as a series of sculptures on loan from the Whitney Museum of American Art. She recontextualizes Maya revival buildings, an architectonic style realized primarily by United States-based architects who borrowed motifs from a variety of Mesoamerican cultures at the beginning of the twentieth century. Tossin’s work imbues these colonized spaces with performances inspired by ancient Maya musical instruments, depictions of dance, and contemporary Maya poetry to reclaim this contentious revivalist architecture for Maya-descendant communities.&nbsp;&nbsp;The next body of work explores the impact of extraction and consumerism on the environment in works such as&nbsp;Encontro das Águas&nbsp;and&nbsp;Rising Temperature Casualty. Tossin places traditional Amazonian weaving practices in conversation with digital technology and consumeristic waste, primarily that of corporate Amazon delivery boxes and envelopes; she&nbsp;emphasize how this global corporation is harming the very environment and peoples after which it is named<s>.</s>&nbsp;Finally, the artist considers the impact of expansionist and extractive colonial mentalities that are embedded in our approaches to the privatization of space exploration and mining. Works such as&nbsp;Maritime Arrivals,&nbsp;Future Geography, and new commissions by the Raclin Murphy Museum of Art address how celestial bodies are recognized as sovereign under international law and are sacred to many cultures worldwide. Tossin views current international space law insufficient to regulate private corporations, the very ones<s>&nbsp;</s>that are primary contributors to global climate change. Her exhibition reveals how legacies of colonialism continue to have a profound impact on people, the planet, and now, space.&nbsp;This exhibition is organized by Jared Katz, former Associate Curator of the Americas and Africa at the Raclin Murphy Museum of Art, and is made possible by the Duncan Family Endowment, with additional support from the Kathleen and Richard Champlin Endowment, and the Friends of the Raclin Murphy Museum of Art, Charter membership. Clarissa Tossin&nbsp;(b. 1973, Porto Alegre, Brazil; lives in Los Angeles) has been the subject of solo exhibitions at the Frye Art Museum, Seattle (2023), the Museum of Contemporary Art Denver (2022), and La Kunsthalle Mulhouse, France (2021), among others. Her work has been exhibited in numerous notable group exhibitions, including at the Whitney Biennial, New York (2024); Prospect 6 Triennial, New Orleans (2024);&nbsp;Shanghai Biennale (2023); Chicago Architecture Biennial (2023); Dhaka Art Summit, Bangladesh (2020); Gwangju Biennale, South Korea (2018); and the Hammer Museum’s&nbsp;Made in L.A., Los Angeles (2014). She is the recipient of numerous awards, grants, and fellowships, including those from the Smithsonian Institute (2023), Graham Foundation (2020), Foundation for Contemporary Arts (2019), Artadia (2018), and Harvard Radcliffe Institute (2017–18). Tossin’s work is included in permanent collections of major institutions throughout the United States and Brazil. Tossin holds an MFA from the California Institute of the Arts and a BFA from Fundação Armando Álvares Penteado, São Paulo, Brazil. Image: Clarissa Tossin&nbsp;(Brazilian,1973, lives and works in Los Angeles)Corso del fiume delle Amazzoni fino a Marte, 2023&nbsp;Archival ink on used&nbsp;<a rel="noopener noreferrer" href="http://amazon.com/" target="_blank">Amazon.com</a>&nbsp;envelopes23.5 x 20.5 in. (60 x 52 cm)Courtesy of the artist and Galeria Luisa Strina, São Paulo.&nbsp;Photo: Brica Wilcox&nbsp;

Clarissa Tossin: All That You Touch, You Change

Meet the artist at:Gallery Night Friday 4/11 5-9 pmGallery Day Saturday 4/12 11 am- 6 pm Impression &amp; Enchantment: The Artwork of Samir Sammoun and Yana Movchan is a dual exhibition featuring the extraordinary talents of Samir Sammoun and Yana Movchan. This collection explores the captivating interplay between memory, nature, and imagination. Samir Sammoun's vibrant oil paintings celebrate movement and warmth, capturing the beauty of nature through his unique impasto technique. His works, infused with nostalgia, invite viewers into shimmering landscapes shaped by his early experiences on an olive plantation in Lebanon. After immigrating to Canada and pursuing degrees in engineering, Samir fully embraced his artistic calling, debuting at ArtExpo in New York in 1996. In contrast, Yana Movchan transports us to a realm where hyperrealistic figures intertwine with nature, creating powerful symbolic narratives. Her meticulously crafted works combine classical techniques with surrealistic elements, inviting reflection on themes of innocence and transformation. A graduate of the Ukrainian Art Academy, Yana has exhibited her award-winning art across Europe and Canada, now residing in Halifax. Sammoun and Movchan present a striking mix of impressionism and magical realism. "Impression &amp; Enchantment: The Artwork of Samir Sammoun and Yana Movchan," showcases their unique artistic visions, offering an inspiring journey through nature and imagination. Don't miss the chance to explore their captivatingworlds! Both artists will be in the gallery for Gallery Night and Day. Top image: Yana Movchan, Rabbit and Poppies, 12 x 16"

Expression & Enchantment: The Artwork of Yana Movchan

Opening Reception: Friday, May 2, 2025 | 5:00 PM – 9:00 PM&nbsp;Exhibition Dates: May 2, 2025 – June 1, 2025&nbsp;&nbsp;Oliva Gallery is honored to present&nbsp;Osamenta, a powerful photographic exhibition by Herminio Rodríguez that explores the landscapes of decay and resilience across Puerto Rico. Rodríguez’s work captures a profound narrative of socioeconomic hardship, offering audiences a deep look into the often-overlooked aftermath of economic recession, governmental debt, and natural disasters on the island. In Osamenta, Rodríguez shares the results of a six-year journey through Puerto Rico’s seventy-eight municipalities and its islands, Vieques and Culebra. During this time, he documented abandoned industrial sites, deserted commercial properties, and once-thriving government buildings left to deteriorate. Each photograph is an intimate study of desolation, revealing the effects of Puerto Rico’s prolonged economic struggles under U.S. Tax Code 936, a series of hurricanes, and the ongoing debt crisis. Through his lens, Rodríguez examines the haunting beauty in these relics of economic ambition, now neglected and fading. Herminio Rodríguez: A Journey of Discovery and Reflection Rodríguez’s approach goes beyond mere documentation; it is a personal and introspective search to understand Puerto Rico’s landscape in the face of its current economic realities. From large industrial facilities once governed by the Puerto Rico Industrial Development Company (PRIDCO) to private commercial properties that fell victim to the island’s economic downturn, each structure he photographs stands as a silent witness to Puerto Rico’s complex history. His dedication to photographing interiors reveals a layered narrative of decline, abandonment, and an eerie beauty that resonates with similar histories in places like Detroit, where economic collapse has left entire districts forsaken. Rodríguez’s exhibition is further enriched by personal notes and reflections that accompany each image. These brief texts serve as a diary of his journey and experiences, capturing the social, physical, and technical challenges he faced. Each entry offers viewers a more personal insight into Rodríguez’s journey, inviting them to see through his eyes and feel the weight of the story behind each space.&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733774707/op2epbvw5zl4nmfe3eho.jpg">

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