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

The 2024 Community ⇄ Members’ Show is KAC’s annual opportunity to exhibit local art, celebrate local talent, and meet local people. The exhibition shares the work of community members and KAC members side-by-side and offers a glimpse at what makes our area truly special.&nbsp;

Community Members’ Show

Join art historian Jennifer Field as she reveals the importance of place in David Smith’s nearly 40-year artistic career, beginning with New York City and ending in Bolton Landing in the Adirondack Mountains of New York State—the legendary home where a dialogue with nature became central to his practice. <a rel="noopener noreferrer" href="https://meijergardens.us9.list-manage.com/track/click?u=e46042e77948fd3277598c4f3&amp;id=075ead82cd&amp;e=ffe678eefb" target="_blank">Learn more about this exhibition in this video</a>&nbsp;featuring Suzanne Ramljak, Vice President of Collections &amp; Curatorial Affairs.&nbsp;

Complementary Exhibition Lecture | David Smith: Sculpture as Complex as Life

Fall Exhibitions Closing Reception&nbsp;January 24, 2025&nbsp;5–7pmJoin us for a closing reception to celebrate the fall exhibitions An Other World, Touch Me: A Flat File Exhibition, and Famous Black Americans: The Dolls of Ida Roberta Bell.&nbsp;This event will be free at the Tarble Arts Center in Charleston, Illinois with refreshments served. For more information, check out the Tarble's website at <a href=https://www.eiu.edu/tarble/closing-fallexhibitions24.php>https://www.eiu.edu/tarble/closing-fallexhibitions24.php</a>Image: Photo taken by Ellie Yates&nbsp;&nbsp;

Fall Exhibitions Closing Reception 

<a href=https://www.eiu.edu/tarble/famousblackamericans.php>Details</a>&nbsp;The Dolls of Ida Roberta BellOn view September 20–January 25, 2025&nbsp;&nbsp;&nbsp;<blockquote>Main Galleries</blockquote>Famous Black Americans: The Dolls of Ida Roberta Bell is a historical celebration that honors the remarkable work of Ida Roberta Bell, who made these dolls against the backdrop of the 1960s Civil Rights Movement. The dolls served not only as symbols of hope and resilience amid the struggle for equality and justice but also showcased the profound impact of human creativity in constructing a different, improved reality.&nbsp;&nbsp;

Famous Black Americans

A Flat File ExhibitionSeptember 20, 2024–January 25, 2025<blockquote>Main Galleries</blockquote>Typically, the last thing a museum wants you to do is touch the artwork. But for the Tarble's 2nd Biennial flat file exhibition, visitors will be allowed and even encouraged to page through portfolios installed in the galleries. Each flat file drawer will contain artworks made by members of the Tarble community and organized into a neat portfolio collection of up to ten works. This intimate and tactile viewing experience allows an unprecedented look at the variety of work being produced by artists working today while rewarding practices of slow looking and multiple visits to the exhibition space.&nbsp;RELATED PROGRAMMING<a href=https://www.eiu.edu/tarble/fall2024opening.php>Fall 2024 Opening Reception</a><a href=https://www.eiu.edu/tarble/artspeaks-schuetz.php>Art Speaks! w/ Mike Schuetz</a><a href=https://www.eiu.edu/tarble/memorycircle.php>Memory Circle: A Mending Workshop w/ Hadley Clark</a><a href=https://www.eiu.edu/tarble/screamprint.php>Scream Print!</a><a href=https://www.eiu.edu/tarble/closing-fallexhibitions24.php>Fall Exhibitions Closing Reception</a>

Touch Me

<a href=https://www.eiu.edu/tarble/anotherworld.php>Details</a> &nbsp;An Other World marks the Tarble’s first major reinstallation of artworks from the permanent collection in five years. Reintroducing patrons to the institution’s dynamic and growing collection, the exhibition includes both familiar masterpieces and significant recent acquisitions. As regional folk art selections commingle with works by acclaimed contemporary artists, shared images of absurdist realities and speculative worlds emerge to present a unique perspective on the human experience.&nbsp;&nbsp;Featuring: Lauren dela Roche, glyneisha, Ferd Metten, Ebony G. Patterson, Barbara Rossi, Federico Solmi, Kara Walker, and Carl WilenRELATED PROGRAMMING<a href=https://www.eiu.edu/tarble/fall2024opening.php>Fall 2024 Opening Reception</a><a href=https://www.eiu.edu/tarble/noontimetalks-fall24.php>Fall Noontime Talks</a><a href=https://www.eiu.edu/tarble/artspeaks-delaroche.php>Art Speaks! w/ Lauren dela Roche</a><a href=https://www.eiu.edu/tarble/untitledcut.php>Untitled (Cut)&nbsp;</a><a href=https://www.eiu.edu/tarble/camillecompo24.php>2024 Camille Compo Lecture: glyneisha</a><a href=https://www.eiu.edu/tarble/closing-fallexhibitions24.php>Fall Exhibitions Closing Reception</a>

An Other World 

Join us from 5 to 7 p.m. on Thursday, Nov. 21 for the opening reception of the College of Visual and Performing Arts' Faculty Biennial in the Art Museum Galleries. Shown every two years, this invitational exhibition will not only feature artwork and scholarship of current full-time and part-time faculty and teaching staff from the School of Art and Design, but work from the School of Music and School of Theatre and Dance as well.&nbsp;Refreshments will be provided.&nbsp;The exhibitions and programs of the NIU Art Museum are sponsored in part by the Friends of the NIU Art Museum; the NIU Art and Culture Fee and the College of Visual and Performing Arts Season Presenting Sponsor Shaw Media and WNIJ/WNIU.&nbsp;

Biennial Faculty Show of NIU School of Art and Design and NIU School of Theatre and Dance 

Main Gallery, The Center for Visual and Performing Arts Join us in this exploration of how contemporary painters, draftspersons, and sculptors have carried on, challenged, furthered, and broken the tradition that American painter John Singer Sargent (1856-1925) began with his approach to the human figure during the French Belle&nbsp;<a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://v8jzk4ebb.cc.rs6.net/tn.jsp?f=001MJb3AEmmmHi_i8nwfJBd4q8mmK3B1dazXvdUuPPRCvcBUGXo-2V0NnfSO5Yi5fBA7pFdo7C67RGz0rLJk5HqkCOJi6s48_LHDZL2zSySnYXidg09Uv6upF5J5Jl-0mQWHY3wh6eifhfp9Gfjw4E5fvLHMzOid8vMtJA-Pa0z9jdBhPE01xLCMnN-gIQ70EpZ&amp;c=rv2pCCwfPp5-ze3MsweMdK-NO81AczVNX6v_gU0-Ktgkd8Feyh1s0A==&amp;ch=ts7QJ5MBnXX3QedDPqEAPPlFdog6E8pwIgVOEGFaCxgxJOkeA5L-jQ==" target="_blank">Époque</a>&nbsp;(the Beautiful Era).Featuring the works of Alicia Dawn Criswell, Chelsea Lang, Clayton J. Beck III, Don Yang, Jessica Smit Mattingly, Mary Qian, Peter Lupkin, Tina Figarelli, and William Blake, this exhibit offers an opportunity to reflect on how Sargent's legacy carries on and changes.&nbsp;Peter Lupkin,&nbsp;Not Windmills but Giants, Oil on Canvas, 72" x 36", Courtesy of Gallery VICTOR&nbsp;&nbsp;

After Sargent

KAM is enthusiastic to organize the first retrospective exhibition and publication showcasing three decades of Millie Wilson’s work (United States, b. 1948). An influential, yet underrecognized, artist and pedagogue who taught generations of artists at the California Institute of the Arts (following a brief stint teaching at the University of Illinois School of Art &amp; Design), Wilson has deftly examined feminism, queerness, and the historical erasure of such positions from institutions of art.Major support for Millie Wilson: The Museum of Lesbian Dreams is provided by The Henry Luce Foundation, The Terra Foundation for American Art, and The Andy Warhol Foundation for the Visual Arts. Additional support comes from the Michael Asher Foundation, the Eileen Harris Norton Foundation, the Richard M. and Rosann Gelvin Noel Krannert Art Museum Fund, and the KAM Exhibition Fund. Supported by a grant from the Illinois Arts Council Agency.Image: Millie Wilson, Fauve Semblant: Peter (A Young English Girl), 1989. Installation at LACE (Los Angeles Contemporary Exhibitions). Mixed-media installation, dimensions variable. Courtesy of the artist.

Millie Wilson: The Museum of Lesbian Dreams

Frederik Meijer Gardens &amp; Sculpture Park is proud to announce the groundbreaking exhibition David Smith: The Nature of Sculpture, showcasing the prolific and inventive work of David Smith (1906–1965). This landmark exhibition, the first to explore Smith’s deep engagement with nature, will open on September 23, 2024, and will be on view through March 2, 2025.The art of David Smith is profuse and marvelously inventive. Working in multiple media, formats, and scales, he blurred boundaries between painting and sculpture and between traditional genres such as landscape and figuration. Smith’s bountiful oeuvre has secured him a firm place within art history and his adventurous approach to three-dimensional form has permanently expanded the vocabulary and range of sculptural practice.Smith is widely hailed as the first American artist to make welded metal sculpture and to absorb industrial methods and materials into his creative repertoire. His inventiveness and contributions to sculptural practice extend far beyond machine vernacular and technique, however. Indeed, many have traced the origins of modern sculpture parks to Smith’s unprecedented outdoor installations on his Bolton Landing property in upstate New York. For Smith, nature was not only a source of inspiration but also served as studio, accomplice and staging ground for his complex sculptural works.“While David Smith is recognized as the most important sculptor of the 20th century, there is still much to be learned about his expansive art, especially as it relates to the natural world,” says exhibition curator Suzanne Ramljak, Vice President of Collections &amp; Curatorial Affairs at Meijer Gardens. “We are excited to reveal this crucial and lesser-known aspect of Smith’s career at Meijer Gardens, where sculpture and nature are so intimately bound.”David Smith: The Nature of Sculpture will feature a selection of some 40 sculptures, alongside related paintings, reliefs, and works on paper, providing an in-depth exploration of Smith's sustaining connection with nature. Uniting key loans from major lenders—including The Whitney Museum of American Art, Hirshhorn Museum and Sculpture Garden, and Storm King Art Center—the exhibition will be arranged in loose chronological order, beginning with Smith’s earliest sculptures from 1932 to the year before his accidental death in 1965.&nbsp;Viewers will encounter nature-based work from every decade of Smith’s career, including:<ul><li>1930s constructions with stones, shells, coral, and wood, along with biomorphic cast metal sculptures.</li><li>1940s and 1950s pictorial sculpture landscapes, a genre of Smith’s own invention, which he enlisted to address an array of themes—from autobiography, House in a Landscape and his epic Hudson River Landscape; to color theory, Helmholtzian Landscape; to social norms, Cloistral Landscape.</li><li>Mid-1950s bronze reliefs depicting botanic motifs such as Rose Garden, Wild Plums, and Skull and Tree.</li><li>Late 1950s and early 1960s avian sculptures, including a series focused on ravens.</li><li>A selection of outdoor works that find their completion in the company of sky, wind and earth, as Smith intended.</li></ul>This exhibition will have a particularly strong resonance at Meijer Gardens, where Smith's work will be in direct dialogue with the natural environment, including larger pieces situated out of doors. Do not miss this eye-opening exhibition, exclusively in Grand Rapids, and come witness David Smith’s thrilling sculptural translations of the natural world he knew and loved.&nbsp;For more information, please visit: <a href="https://u7061146.ct.sendgrid.net/ls/click?upn=u001.b00YhNV2Nr0-2BaZn7eVNAdVjPiYUTUExM0dQ0x8YW3rNHQS03hRXKBhpGMIF4c0zPhocO_a1zzESVdmgLIQ4rlql6kbXT9QXaGGWYBxHAPtO1QqWO5GLp4idxebnEhHBD62Papsj-2FEMdnG4nN1Qo796g0RxGgCD6tZhe9AwtUHIFq1tAylqDj842HkNV4wYVNY4xw2D8N05ky8rKq81-2FXB1Ja6PkIwjhK0MA8tVNwIuaRjvEABapbJpHZxyIw9wT8ZYeMcYKUkVE2HX72XMNSW1i5mLZrPEuUDoBQR7-2Bf56BsxtafHMxl4IT15SIn321-2BawHLRhYsMSs9hYUv-2FAzkAYIKBgX14jSFwt1zMrD1DVyXOUZkxCXROzJulTGopVA6O0TGPQu2pwn8CmzvqansH0NurTyw7K6lqTMHbzQQbFEOOR-2Bs-3D">MeijerGardens.org/DavidSmith</a>Exhibition Catalogue:David Smith: The Nature of Sculpture will be accompanied by an exhibition catalogue co-published by Meijer Gardens and Hirmer/University of Chicago Press. The publication will feature contributions by the artist’s daughters, reflecting on Smith’s lived domestic experience of nature; an essay by curator Suzanne Ramljak, surveying Smith’s engagement with nature as material source, subject matter, and preferred site for his sculpture; appreciations by contemporary artists Beatriz Cortez and Mark di Suvero, addressing Smith’s contributions and connections to current art practice; and an illustrated artist’s chronology highlighting key nature-based events in David Smith’s life and art. Exhibition Programming:Unless otherwise noted, programs are included in the cost of admission and registration is not required.Moving Out: David Smith &amp; Outdoor SculptureWednesday, October 9, 2–3 pmJoin Suzanne Ramljak, exhibition curator and Vice President of Collections &amp; Curatorial Affairs, and Amber Oudsema, Curator of Arts Education, on a walk to explore the lasting legacy of famed Modernist master David Smith. Discover his influence on sculpture parks as we know them and the many successful artists who followed in Smith’s creative footsteps.A full list of exhibition-related activities can be found at: <a href="https://u7061146.ct.sendgrid.net/ls/click?upn=u001.b00YhNV2Nr0-2BaZn7eVNAdfn2WV37o70f1DNYWXHxF6nmJEXLFD-2BR-2FnCNnJuVU5PMWlPF_a1zzESVdmgLIQ4rlql6kbXT9QXaGGWYBxHAPtO1QqWO5GLp4idxebnEhHBD62Papsj-2FEMdnG4nN1Qo796g0RxGgCD6tZhe9AwtUHIFq1tAylqDj842HkNV4wYVNY4xw2D8N05ky8rKq81-2FXB1Ja6PkIwjhK0MA8tVNwIuaRjvEABapbJpHZxyIw9wT8ZYeMcYKUkVE2HX72XMNSW1i5mLfztKjVci3Q4PjMeeavZxHMjKNRPvDBxMCEmMXctjzZVZyJ2SEIVroNfoxOXYStvBJQ-2BZXylXyOubQ58DF-2Fj5v9X2nb4Fd8wjmtRS6XgLkT5n-2Bg4ShykVDI14lfoJD9B9XEkAgmgXRj8QMe39LUkS3s-3D">MeijerGardens.org/calendar</a>David Smith: The Nature of Sculpture is made possible by:Louis and Helen Padnos Foundation&nbsp; The Meijer Foundation Bill Padnos and Margy Kaye&nbsp; Frederik Meijer Gardens &amp; Sculpture Foundation Botanic and Sculpture Societies of Frederik Meijer Gardens &amp; Sculpture ParkAbout David SmithDavid Smith was born in 1906 in Decatur, Indiana. He worked briefly as a welder in an automobile factory before moving to New York City to become an artist in 1926. He studied painting at the Art Students league, where Cubism and Surrealism were foundational to his practice. He began welding sculpture around 1933 after seeing reproductions of constructed steel sculptures by Pablo Picasso and Julio González. He later became associated with the abstract expressionist movement and paved the way for minimalism with radically simplified, geometric works. Painting and drawing remained integral to what Smith called his ’work stream’. He embraced a holistic attitude toward artmaking and dismissed the idea of a separation between mediums. Acknowledging the tradition of painted sculpture throughout art history and drawing from the bold palettes of modernism and pop culture, Smith often painted his sculptures. In his later years, he installed his sculptures in the fields of his home in the Adirondack Mountains, where a dialogue between the art object and nature emerged as central to his practice. His sculpture-filled landscape inspired Storm King Art Center and other sculpture parks throughout the world, as well as anticipating the land and environmental art movements. David Smith died in 1965, leaving behind an expansive, complex, and powerful body of work that continues to exert influence upon subsequent generations of artists.Smith began exhibiting his work as early as 1930. His first survey was organized by the Museum of Modern Art, New York in 1957. His sculpture was represented by the United States at the São Paulo Biennale in 1951 and at the Venice Biennale in 1954 and 1958. Posthumous retrospectives have been held at the Solomon R. Guggenheim Museum (1979 and 2006, which traveled to Tate Modern, London and the Centre Pompidou, Paris) and at the Los Angeles County Museum of Art (2011, which traveled to the Whitney Museum of American Art, New York and the Wexner Center for the Arts, Columbus, Ohio). Other major surveys have been organized at the Museo Nacional Centro de Arte Reina Sofía, Madrid (1996), Storm King Art Center (1997–99), and Yorkshire Sculpture Park, Wakefield, UK. A biography by Michael Brenson, David Smith: The Art and Life of a Transformational Sculptor, was published by Farrar, Straus, and Giroux in 2022.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;(Biography source: Hauser &amp; Wirth Gallery)About Frederik Meijer Gardens &amp; Sculpture ParkFrederik Meijer Gardens &amp; Sculpture Park, one of the world’s most significant botanic and sculpture experiences, was recently named the Top Sculpture Park in the United States by USA Today’s “10Best Readers’ Choice” and listed as the 89th-most-visited museum in the world by The Art Newspaper, the leading global art news publication. The permanent collection highlights hundreds of sculptures from internationally acclaimed artists Magdalena Abakanowicz, El Anatsui, Louise Bourgeois, Alexander Calder, Mark di Suvero, Marshall Fredericks, Henry Moore, Beverly Pepper, Jaume Plensa, Auguste Rodin, Richard Serra, Yinka Shonibare CBE and Ai Weiwei, among others. Indoor galleries with changing sculpture exhibitions have presented shows by Jonathan Borofsky, Edgar Degas, Jim Dine, Richard Hunt, Cristina Iglesias, Michele Oka Donor, George Segal and others. The 158-acre main campus features Michigan’s largest tropical conservatory; one of the country’s largest interactive children’s gardens; arid and Victorian gardens with bronze sculptures by Edgar Degas and Auguste Rodin; a carnivorous plant house; outdoor gardens, including a replica 1930s-era farm garden; an 8-acre Japanese garden featuring contemporary sculpture; and a 1,900-seat outdoor amphitheater garden, showcasing an eclectic mix of world-renowned touring musicians each summer. Education programs welcome 80,000 students and guests each year. Culinary Arts &amp; Events offerings include weddings, corporate meetings and award-winning catering.Frederik Meijer Gardens &amp; Sculpture Park promotes the enjoyment, understanding, and appreciation of gardens, sculpture, the natural environment, and the arts.

David Smith: The Nature of Sculpture

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

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.

Calendar

Chicago Gallery News