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

Open Lens XV A Juried Fine Art Photography Exhibit Reception on June 22, 1–3pm

Open Lens XV

Anne Smith Stephan, Fire and Ice

Evanston Made Group Show

Italian Artist, Arvedo Arvedi

﻿Project Onward Exhibition of the works by Chicago artists from Project Onward that supports artists with developmental and mental disabilities. These sensational works are in a wide variety of media.

Project Onward Exhibition

Slemmons Gallery

Laurie LeBreton: Insisting and Maintaining

Guild Room

Margot McMahon: The Ring of Fire: Friends, Reefs, and Bouncing Back

Sacristy Gallery

Laurie Buman: Santos y Milagros (Saints & Miracles) | The Light Within the Darkness Series

Krannert Art Museum‘s major reinstallation of its pre-Hispanic Andean arts collection will center past Andean communities as active agents in the creation of their own art histories. Comprising over 700 objects, the KAM collection includes exquisite textiles, ceramics, and objects fashioned in gold, silver, wood, and shell from cultures that flourished throughout the coastal and highland regions of Peru from 1500 BCE to the Spanish colonial period.Image: Model Depicting the Manufacture of Chicha, Lambayeque or Chimu, North Coast, Peru, 1100-1470 CE. Silver-copper alloy. The Fred Olsen Collection. 1967-29-304

Andean Gallery Reinstallation

The University of Iowa Stanley Museum of Art’s permanent collection encompasses over sixteen thousand artworks. Our inaugural exhibition, <a href="https://stanleymuseum.uiowa.edu/art/exhibitions/current/homecoming">Homecoming</a>, reintroduces our extraordinary collection to the public.Homecoming comprises a series of related installations.&nbsp;“Generations," curated by Diana Tuite, Visiting Senior Curator of Modern and Contemporary Art, foregrounds the University of Iowa’s history of innovative arts education and scholarship.&nbsp; "Fragments of the Canon:&nbsp;African Art from the Saunders and Stanley Collections," curated by Cory Gundlach, Curator of African Art, features African art collected by a Black Iowan, Meredith Saunders. “History Is Always Now,” also curated by Gundlach, displays the Stanley’s celebrated collection of African art in a way that emphasizes movement and cultural exchange through time and across space. Smaller, more focused installations, curated by Gundlach, include "Centering on Cloth: The Art of African Textiles," which highlights the global scope of interactions that surround the creation, use, and circulation of cloth in Africa, and "About Face: African Masks in Iowa,"&nbsp;which emphasizes the historical and artistic relationships between West and Central African masks from the world-renowned Stanley Collection of African Art.&nbsp;Developed collaboratively by curators, educators, and faculty under the museum director’s guidance, Homecoming&nbsp;illustrates the importance of our world-class collection and allows us to envision new futures in art.In order to protect sensitive works of art from extended exposure to light, many of the works on display in Homecoming will rotate every six months--meaning that there will always be something new to see during the inaugural exhibition's&nbsp;three-year run.

Homecoming

Renowned multimedia artist Dieter Roth’s preferred form, and the one he spent his lifetime pursuing, was the&nbsp;Gesamtkunstwerk, a German term for “total work of art.” Working across a diverse range of media, disciplines, and creative activities, Roth developed an artistic practice that dissolved the boundaries between art and life, upending traditional categories, hierarchies, and even timeworn notions of singular authorship. Often collaborating with other artists, including his son Björn, Roth produced an ever-expanding body of work that gestured toward the cumulative effects of a life spent making and remaking.&nbsp;The sculpture&nbsp;Balabild 5&nbsp;(c. 1975–2005), made in collaboration with Björn Roth, is a complex portrait of their shared creative life, expressed through an array of artifacts that passed through their family art studio in Iceland. Made of materials including wooden flooring from the original studio, canvas, paint and paint tubes, brushes, lightbulbs, photographs, and other found items,&nbsp;Balabild 5&nbsp;was developed over decades and is intended to look forever unfinished, as if the artists have frozen the energy of their studio and could step in at any moment to keep working. Björn Roth has called their studio “a laboratory, to search for beauty in nothing.”&nbsp;Dieter Roth and Björn Roth: Balabild 5&nbsp;is curated by Jason Foumberg, Daskalopoulos Collection Manager.

Dieter Roth and Björn Roth: Balabild 5

Alan Emerson Hicks

For the <a href=https://smartmuseum.uchicago.edu/exhibitions/the-50th-an-anniversary-exhibition/>Smart’s 50th anniversary</a>, South Side artist Robert Earl Paige creates a multi-part pattern-based installation and sprawling public art project that invites communities into a collective experience of space.Give the Drummer Some! is rooted in Paige’s decades-long practice as an interdisciplinary artist, designer, and educator who bridges cultural boundaries. A lifelong resident of the Woodlawn neighborhood just south of the University of Chicago campus, he merges African aesthetics, modernist painting, and Bauhaus architecture in creations that blur the line between fine art and craft. Paige’s infectious rhythm of repeating motifs originates as a complete environment in the Smart’s lobby, where the artist layers gold-trimmed fabrics and Chicago-inspired designs over the building’s walls, floors, and furniture. The project then extends outward, wrapping around the exterior of the Museum and ultimately out across the UChicago’s historic Hyde Park campus and beyond.Through Paige’s iconic and wildly patterned designs, Give the Drummer Some! makes the Smart’s building more porous and inviting, and fosters a shared sense of belonging between campus, neighborhood, and global communities.THRESHOLDRobert Earl Paige: Give the Drummer Some! is commissioned as part of the Smart’s ongoing Threshold series. Launched in 2010, the initiative brings large-scale installations of contemporary art to the Smart’s lobby and courtyard on a regular basis. The prominent placement of these commissions ensures that all visitors—whether they have come to the building for a class, an exhibition, or a program—will be welcomed with thought-provoking new art.ON CAMPUSThroughout the Smart’s 50th anniversary season, Give the Drummer Some! will extend to additional UChicago locations, responding to new sites and collaborations in unique ways.Image: Robert Earl&nbsp;Paige

Robert Earl Paige: Give the Drummer Some!

People throughout the Arabian Peninsula are taught to live in relationship with spirits that live beneath the earth called&nbsp;“ahl al ‘arth,”&nbsp;(people of the earth). Kuwaiti-Iraqi artist and art therapist&nbsp;<a style="color: rgb(17, 85, 204); background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://www.farahsalem.com/" target="_blank">Farah Salem</a>&nbsp;grew up aware of regular interactions with these spirits. The knowledge that we don’t “exist alone, but rather in relationship with plants, rocks, animals, and unseen forces” drives her artistic practice. This exhibition presents new and existing sculpture, photography and installation work that continue the artist’s study and reinterpretation of healing and ceremonial migratory practices of people of the Arabian Peninsula that seek to repair one’s relationship with oneself, the earth, and other beings. Salem created the concept for this exhibition during her Radicle Residency at Hyde Park Art Center (2021) and the exhibition is curated by Mariela Acuña.

Farah Salem: Uninhibited People of the Earth

This winter, The Block will celebrate the region’s Indigenous creativity with a major exhibition,&nbsp;<a rel="noopener noreferrer" href="https://northwestern.us9.list-manage.com/track/click?u=904f932038284b4d9eea69636&amp;id=c2e23bace0&amp;e=64540e863b" target="_blank">Woven Being: Art for Zhegagoynak/Chicagoland</a> Through the collaboration of four artists with connections to Zhegagoynak—Andrea Carlson&nbsp;(Grand Portage Ojibwe/European descent),&nbsp;Kelly Church(Match-E-Be-Nash-She-Wish Tribe of Pottawatomi/Ottawa),&nbsp;Nora Moore Lloyd&nbsp;(Lac Courte Oreilles Band of Lake Superior Ojibwe), and&nbsp;Jason Wesaw&nbsp;(Pokagon Band of Potawatomi) —Woven Being&nbsp;explores confluences that continue to shape Indigenous creative practices in the region and beyond. Chicagoland is the traditional homeland of the people of the Council of Three Fires— the Ojibwe, Potawatomi, and Odawa—as well as the Menominee, Miami, Ho-Chunk, Sac, Fox, Kickapoo, and Illinois nations. It has been a longstanding cultural and economic hub for Indigenous peoples and continues to be today. People from many Indigenous nations call the region home, and the city of Chicago has the third-largest urban Indigenous population in the United States.&nbsp;The richness of Indigenous experiences and contributions are often excluded from Chicago’s art histories.&nbsp;Woven Being&nbsp;counters this by centering the ideas, choices, and voices of Indigenous artists.&nbsp; "How does our understanding of Chicago change when seen through Indigenous perspectives? This exhibition helps shift views about the place Chicagoans call home by revealing Indigenous stories that have been erased or omitted from mainstream narratives." – Jordan Poorman Cocker (Kiowa, Terra Foundation Guest Co-Curator The exhibition presents more than&nbsp;80 artworks by 33 artists&nbsp;active from the mid-20th century to today and includes multiple newly commissioned works. “Just as a black ash basket is given form through the interweaving of many splints,&nbsp;Woven Being&nbsp;was developed through an in-depth collaboration with and between these artists and The Block’s project team,” says Poorman Cocker. This artist-centered approach has resulted in a distinctive exhibition where the artists have shaped a context for their work amid works by other artists of their choosing.&nbsp;Together, the artworks highlight the shared aesthetics, materials, values, communities, and relations of the interconnected artists.&nbsp;The themes of land and waterways, kinship with plants and animals, and Indigenous concepts of time likewise connect the exhibition’s artworks and stories. “These perspectives are central to understanding Chicago’s specific cultural landscape. While our focus is on Indigenous artists of this place, we are also recognizing how they are interconnected with art and artists across the entirety of North America.&nbsp;Woven Being&nbsp;is just one of many stories that could be told about Indigenous art in the Chicagoland region. We want people to walk away recognizing that there’s a lot more to experience and many ways to do that,” added Kathleen Bickford Berzock, exhibition co-curator and Block Associate Director of Curatorial Affairs. "The assignment for us, the organizing artists, was to choose art and artists who've inspired our own works. The resulting exhibition locates our chosen artists and artworks as a network of influence that happens to culminate in and around Chicago. Woven Being has tangents, unexpected artists who aren't even Native, and diverse materiality and forms because artists cast a wide net when it comes to where we draw inspiration." – Andrea Carlson, collaborating artist&nbsp;

Woven Being: Art for Zhegagoynak/Chicagoland

Barcelona Gallery

Melissa Weber: Ode to Common Things

Catacombs Gallery

Marianne Lovink: Counterweight 

Chase Gallery

School of the Art Institute Group Exhibit: Drown-Proofing

June 7 – July 18 CSI Project Space: Chimeras - Curator, Victoria Fuller

CSI Project Space: Chimeras - Curator, Victoria Fuller

Sky Arts Faculty & Student Exhibition

<a href=https://4ltow9bab.cc.rs6.net/tn.jsp?f=001sI1hs0mBFP1tRvHggTVYJb1S00q4x7rcAG-tvRNtR7P-JI4a1PbJpzq2O1GgfbJBxtfrCmh3LujvbL36QVFthNmhK6nJhHuAIC0c13e8eWQeYLtQxl6fl53xl1mk8CIv3QU_hUEt6tgCCEIQ2LndqYuDxly4_FHou0yrwRNqKSmqkEn0ggSylsCDp99khqjL&amp;c=pjFXsgYG1ZLc-Ee94CGUz02xlgGZETUsNFh1P07cQDT4qauXRDhODQ==&amp;ch=76Zoq1xTlvnbWa68UGsqjdx3865_CIKstNuxswiAUantj6UvCsw87A==>Low: René Amado</a>—opening at RAM on Friday, August 2—explores the creativity and community of lowrider culture through the photography and video of Racine-based <a href=https://4ltow9bab.cc.rs6.net/tn.jsp?f=001sI1hs0mBFP1tRvHggTVYJb1S00q4x7rcAG-tvRNtR7P-JI4a1PbJp6UYmQmI-wo-7hFNb2dqOxEvR3GmMPbh_08cUtFUJPKeLFvpnM_LiRMW8AbHTU0ewbcupbzG5IaFBbZcFERmvHpwbskC_6Kz6g==&amp;c=pjFXsgYG1ZLc-Ee94CGUz02xlgGZETUsNFh1P07cQDT4qauXRDhODQ==&amp;ch=76Zoq1xTlvnbWa68UGsqjdx3865_CIKstNuxswiAUantj6UvCsw87A==>René Amado</a>, alongside custom bicycles and small vehicles by various builders.On display in RAM's Windows on Fifth Gallery, this installation will be available to the public 24 hours a day, seven days a week—a point underscoring both the value of the ideas and the desire to make the work accessible to anyone on the street, not just those who go into the museum building.

Low: René Amado

<a rel="noopener noreferrer" href="https://www.jmkac.org/exhibition/sam-barsky-its-not-the-same-without-you/?utm_medium=email&amp;_hsenc=p2ANqtz--2eRtzZ4fxqVYfxThdS7P7ijOSB6jCTJ-G1ZJpJa5dTARVzQPkenI2ExLWno3o1eEsTUL0hAsvQJBz0koFrnQ0VWZBT394GhA1j1uot1yjgjMmiqQ&amp;_hsmi=343424237&amp;utm_content=343424237&amp;utm_source=hs_email" target="_blank">Sam Barsky: It’s Not the Same Without&nbsp;You</a> represents the artist’s first museum show, featuring over twenty of his signature sweaters. Barsky has been knitting since 1999 and has received acclaim for his wearable art, which features various landmarks and monuments. He has become “internet famous” for the photographs he posts of himself wearing these sweaters at the various locations depicted. Barsky doesn’t sell his sweaters and has rarely shown them outside of his photographs and at the workshops he hosts around the country. The sweaters are both aspirational and nostalgic. Like postcards, they are a way for Barsky to connect with places he enjoys, or those he wants to visit. Once worn, they hold memories of his time there. They also act as a point of connection–a way for Barsky to build a community, to share his experiences of travel and invite others to share theirs. In this vein, Barsky will knit a sweater featuring the Arts Center for the exhibition. Visitors will be able to borrow this sweater and photograph themselves wearing it, a la Barsky’s internet practice. See JMKAC <a rel="noopener noreferrer" href="https://www.jmkac.org/exhibition/sam-barsky-its-not-the-same-without-you/?utm_medium=email&amp;_hsenc=p2ANqtz--2eRtzZ4fxqVYfxThdS7P7ijOSB6jCTJ-G1ZJpJa5dTARVzQPkenI2ExLWno3o1eEsTUL0hAsvQJBz0koFrnQ0VWZBT394GhA1j1uot1yjgjMmiqQ&amp;_hsmi=343424237&amp;utm_content=343424237&amp;utm_source=hs_email" target="_blank">website</a> for upcoming dates.

Sam Barsky: It’s Not the Same Without You

Mark Markewicz

<a rel="noopener noreferrer" href="https://www.jmkac.org/exhibition/recent-acquisition-donald-pfister/?utm_medium=email&amp;_hsenc=p2ANqtz-_Eo4SFHtrBKWEnkXwmalJ2hU97MCHRo3n1daFBiRWsoER6RUUjGVt73TbBrc_pXK-fF6X9VMfrgl7VlwtTqbOqmbpF-4fcmHRs_IxF_7ZypkKSBAc&amp;_hsmi=343424237&amp;utm_content=343424237&amp;utm_source=hs_email" target="_blank">Details</a> Donald Pfister (1930–2024) was a self-taught artist who grew up on a dairy farm in rural Lafayette County, Wisconsin. His parents were first-generation Americans, descended from Swiss and Norwegian immigrants. In 2006, at age 76, he constructed a wooden model of the East Wiota Lutheran Church—the church he attended as a child. He then completed ten more Wisconsin church models, in addition to a model of the farmhouse he grew up in and the parsonage of the East Wiota church. Each was made to-scale, done through a process of “foot-pacing” (measuring the building’s size with his feet). The models are constructed of repurposed and found materials, including wood, gift wrapping paper, photographs, and paint.Now in the collection of the Arts Center, this exhibition represents the first public showing of these works. ImageL Donald Pfister, Gospel Hall; Brodhead, Wisconsin, 1872 (detail), 2006–24; wood, paint, paper, and plastic; 9 3/4 x 9 x 11 1/2 in. John Michael Kohler Arts Center Collection, gift of the artist's children.

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