<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745939987/wmxykbovjcws6znepfqg.png"> By CGN Staff In one week Art Encounter will host <a style="color: rgb(13, 13, 13);" rel="noopener noreferrer" href="https://www.artencounter.org/kaleidoscope-2025" target="_blank">Kaleidoscope 2025</a>, its annual art auction and benefit to support its programming. Tickets sales close this Friday, May 2. On Tuesday, May 6 from 6–9pm visitors are invited to LeTour Brasserie (restaurateur Amy Morton with James Beard Chef Debbie Gold), in Downtown Evanston to enjoy specialty cocktails, a French-Moroccan buffet, a silent art auction, and a raffle celebrating three Evanston businesses–all while helping provide essential funding for Art Encounter's community programming. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745939989/tntyzipjvk43wbfhrypv.png">LeTour Brasserie in Downtown Evanston is the venue for Kaleidoscope 2025 This unforgettable evening of art, inspiration, and impact celebrates Art Encounter's mission to educate, inspire, and connect people of diverse ages and backgrounds through interactive encounters with visual art. Most importantly, Kaleidoscope raises critical funds to support our outreach programs that bring art education and engagement to under-resourced Chicagoland public schools, assisted living and senior centers, and social service agencies including those that serve individuals with disabilities. Kaleidoscope brings together a vibrant community of friends, artists, art enthusiasts, collectors, gallerists, and philanthropists from Chicago, Evanston, and beyond. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745939991/ceqezredfbash9p9izk2.jpg">Left: Natalie van Straaten; Right: Ginny Van Alyea This year Art Encounter will recognize and honor three champions of the Chicago and Evanston art communities while raising vital funds for Art Encounter.&nbsp;Art Impacts Honorees&nbsp;Natalie van Straaten and Ginny B. Van Alyea have shaped Chicago’s art scene through&nbsp;Chicago Gallery News&nbsp;(CGN) for nearly 45 years. Natalie founded CGN in 1982, creating a vital platform for galleries, collectors, and artists. Ginny, CGN’s current publisher, has expanded its impact, amplifying artists' voices and fostering critical conversations. Their dedication makes them ideal&nbsp;Art Impacts&nbsp;Award&nbsp;recipients.&nbsp;Community Partner of the Year&nbsp;Andy Vick, Executive Director of Downtown Evanston, has been a steadfast supporter of public art initiatives, working tirelessly to enhance Evanston’s cultural landscape. Through his leadership, Downtown Evanston has championed Art Encounter’s community-driven public art initiatives and strengthened Evanston’s creative identity. Andy’s passion and dedication make him an outstanding recipient of this year’s&nbsp;Community Partner of the Year Award. Whether or not you'll be at Kaleidoscope in person, you can help support Art Encounter by entering to win one of three prize packages celebrating outstanding local businesses from Art Encounter's hometown by purchasing raffle tickets to win the following prizes: •&nbsp;Cocktails &amp; Concert at&nbsp;Evanston Space•&nbsp;Dinner Date at&nbsp;LeTour Brasserie•&nbsp;Curated Wine Basket from&nbsp;The Wine Goddess <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745939992/gslqjh4lfvoyeuxitdhx.png">From left: work by Jordan Nickel, Sandro Miller, and&nbsp;Rubén Aguirre All bidding for Art Encounter's art auction will take place in person at the event, but if you see something you love, you can&nbsp;purchase it now at the buy-it-now price! Online purchasing closes Friday, May 2. Check out AE's website to see 25 works by talented, notable area artists. Kaleidoscope will provide essential funding for Art Encounter's work throughout the greater Chicago area, which includes&nbsp;educational outreach programs for schools, senior homes, and social service agencies; art discussion programs for the public in artist studios and exhibition spaces; and a local mural program that makes art accessible to everyone in our community. These programs include: <ul><li>School Programs&nbsp;providing artist-led workshops, hands-on learning, and field trips to Chicago’s outstanding museums to over 1,500 students annually in under-resourced public schools. These initiatives–including our signature 10-week&nbsp;ARTiculations&nbsp;residency, after-school programs, and more–foster creativity, critical thinking, and self-expression while complementing and supporting classroom curriculum for young learners who may not otherwise have access to arts education.</li><li>Senior &amp; Special Audience Programs&nbsp;providing creativity and connection to seniors, adults with disabilities, and other groups through interactive art discussions, hands-on projects, and more. Engaging with art has been shown to combat isolation, promote cognitive stimulation, and bring joy to participants.</li><li>Evanston Mural Arts Program (EMAP)&nbsp;transforming public spaces into vibrant community landmarks, engaging local artists and residents to create meaningful, visually-inspiring works of public art that celebrate Evanston’s diversity and creativity.</li></ul> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745939994/e7gn6ua9lfosagzom0kk.png"> Kaleidoscope helps to support and sustain Art Encounter's community mural initiative, educational programs in public schools, local art tours, and more. &nbsp;In the past year alone, Art Encounter has impacted thousands of individuals, including: • 880 CPS students through our&nbsp;ARTiculations&nbsp;residency program• 250 Evanston students from Title 1 schools through free programs for after-school groups• 110 senior citizens through our program&nbsp;Making for Memory• 55 adults with intellectual and developmental disabilities through our program&nbsp;Art for All• 430 art-lovers and lifelong-learners through our educational art tours and travel programs• The entire Evanston community through the Evanston Mural Arts Program * Art Encounter's mission is to educate, inspire, and connect people of diverse ages and backgrounds through interactive encounters with visual art. AE believes that there are many ways to see, and that art can be a powerful vehicle to better understand ourselves and the world around us. Founded in 1978, Art Encounter is a non-profit organization dedicated to fostering creativity and connection through close, meaningful engagement with visual art. Art Encounter serves thousands of individuals annually, ensuring that art remains an accessible, engaging, and transformative experience for all through three pillars of programming: free, educational Outreach Programs making art accessible for underserved youth, adults, and seniors; unique Public Programs for art enthusiasts, from local art tours to international art travel; and Art Encounter's widely-respected Evanston Mural Arts Program, which has energized Evanston with transformative public art. <h4>For tickets and more information, please visit: <a style="background-color: transparent; color: rgb(0, 0, 0);" rel="noopener noreferrer" href="http://www.artencounter.org/" target="_blank">&nbsp;</a><a style="background-color: transparent;" rel="noopener noreferrer" href="http://www.artencounter.org/kaleidoscope-2025" target="_blank">www.artencounter.org/kaleidoscope-2025</a></h4> * KALEIDOSCOPE 2025 ART AUCTION <a rel="noopener noreferrer" href="https://static1.squarespace.com/static/5d938445b34ae0432cbf030c/t/68090a0ad3c25a4fcc24231e/1745422862141/Art+Auction+Descriptions.pdf" target="_blank">CONTRIBUTING ARTISTS</a> Dan AddingtonRubén AguirreTodd AndersonRené H. ArceoWilliam CongerClark EllithorpeDustin HarrisJames McNeill MespléSandro MillerBob MagrissoScott MossmanJordan NickelRaúl OrtizRaul Ortiz BonillaSarah PackerJoanna PinskyDon PollackNancy RosenKaren RossMax SansingAdam SiegelJay StrommenJoseph TaylorAnnie TrincotMolly Z.

Art Encounter Presents An Evening of Art, Inspiration, and Community Impact

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745933984/xeswhsrw6imc81ibyy8p.jpg">Dirk Denison with a painting by Leasho Johnson By GINNY VAN ALYEA Dirk Denison has been a practicing architect for over 30 years. Originally from Detroit, Denison and his designs, both residential and commercial, are well known to many Chicagoans. Though his reputation is national, CGN readers are likely familiar with the gallery spaces he has constructed to showcase much of the city’s best art. A professor at the IIT College of Architecture and the Director of the Mies Crown Hall Americas Prize, Denison also runs his own award-winning firm, <a rel="noopener noreferrer" href="https://www.dirkdenisonarchitects.com/" target="_blank">Dirk Denison Architects</a>, based in Chicago’s West Loop. I recently spoke with Denison about his art and design background, his connection to Chicago and what it’s like to design spaces for art as well as introduce his own clients to the world of art collecting.&nbsp; CGN: Tell me where you grew up and how you were first introduced to art as well as architecture. Dirk Denison: Well, I grew up around Detroit in a home that was filled with art as well as artists, so it’s always been a part of my life. My experience was enriched by going to Cranbrook for school in suburban Detroit, which has not only the world famous art academy, but also has an elementary and high school. I was fortunate to go through all the way, from nursery school through graduation. And actually both my parents went there as well. They met in high school. I left, of course with this great appreciation for design from a very holistic standpoint. If you have visited Cranbrook, the Saarinens* worked as a team, a family, and they designed the buildings and the furnishings and the tapestries, even the setting landscape that surrounds it. So, I arrived in Chicago with all of that not really consciously a part of my working reference, but it is certainly intuitively embedded in who I became as an architect.&nbsp; *Note from Cranbrook: Saarinen House is Eliel Saarinen’s Art Deco masterwork and the jewel of Cranbrook’s architectural treasures. Designed in the late 1920s and located at the heart of Cranbrook Academy of Art, from 1930 through 1950 Saarinen House served as the home and studio of the Finnish-American designer Eliel Saarinen—Cranbrook’s first resident architect and the Art Academy’s first president and the head of the Architecture Department—and Loja Saarinen—the Academy’s first head of the Weaving Department and director of Studio Loja Saarinen.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745933987/kithnrsbf97xjscxegnz.jpg">Meeting room of Dirk Denison Architects, with works by Tadashi Kawamata, Ellsworth Kelly and Aron Gent. CGN: It sounds like Detroit offered you so much inspiration. How did you come to Chicago?&nbsp; DD: Chicago has been, for me, not only practice, but also teaching. I’m a professor at IIT, the College of Architecture, and also very involved with the Art Institute through the Society for Contemporary Art and through art, architecture and design departments. Early on at the MCA, there was something called the New Group, which was sort of my introduction to the cultural and collecting community in Chicago. Many of those collectors I met are still our closest friends.&nbsp; I came to study architecture at IIT where I teach now. In the eighties there was a lot of fluctuation going on in the world of design, and IIT had a very, very strong program. So even though I had come from the University of Michigan–I studied there and then I went and did my Master’s at Harvard–I came back to Chicago because it has always been a city that had a real commitment to placemaking and to innovation and to thinking about what the next generation of architecture was going to be. It’s just a great place to work, and I’ve been fortunate to work all over the country. Chicago is a base that has allowed me that opportunity. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745933989/todbhiepsg2p1wcxvjea.jpg">Bucktown residence. Chicago, IL. A renovation and addition whose material, form, and proportion follow those of the original postmodern structure, a sculptor’s studio designed by Harry Weese for his daughter and son-in-law; set back onto an unusual site, it maintains an existing, generous garden. CGN: Where did you keep art in your mind while you were studying architecture and first becoming an architect? DD: For me the whole richness of the creative world is part of thinking about place and space making–furniture, design, tapestries, all of the mediums, from painting to sculpture. I’ve always made spaces that are about creating opportunity for those other voices. It’s not just my voice. I’ve never espoused a Frank Lloyd Wright approach, where I design everything. I actually want there to be diversity and I want there to be other voices that I’m in conversation with, because that’s the way I live, and that’s the way I want my clients to make their space. I design for opportunity. With my clients, I can help them build a collection, but obviously many of them have collections before I work with them. They choose to work with me because they know I appreciate how art enriches your life. Sometimes we plan around very specific works of art. Sometimes we plan around very specific commissions working with particular artists. Other times it’s a sense that there will be a moment or a place that is going to be asking for a work of art. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745933991/fr5pno0dhqh88ifylohk.jpg">A team member works by a painting by Judy Ledgerwood CGN: Do you personally have an art collection that is separate from what’s installed in your offices, or does your collection just exist where there is space?&nbsp; DD: Well, it’s interesting. Our offices have been in the West Loop for 20 years, in this heavy timber building. The size of the space, the ceiling heights and the size of the walls was the first time that I had wall space this scale. My first painting before we even moved into the office was this quatrefoil painting by Judy Ledgerwood that I saw in her studio when I had took a client there to pick something out for their new home. I said, ‘Would you hold that for me? In the next year I’m going to be moving into new offices where I’ll have a wall finally big enough for an eight-foot square painting.’ It’s been somewhat of an opportunity for us, since the idea of having art in the office is that it’s how we design space, and I want my amazing creative team to work in that same environment. Many architects have photographs of their former projects and awards up on the wall. I said to myself, that’s not necessarily inspirational for the team that’s working on whatever they’re focused on. Why not have them learn and be inspired by these other creative voices? So that’s why there is art in the office. We do switch the art out back and forth between home and work and [my partner] David’s studio as well. About a year ago we had a flood in our apartment, so we were forced to redo it. And as a result of that, we changed our whole philosophy at home, which is where we have just one work of art on each wall. And so as a result of that, we switched things out. We brought some of the bigger things from the office and took the smaller things out of the apartment. So it’s very fluid and we want to change things around. Nothing has a permanent place in how we live with it. The interesting thing is too, because of the artists, I’ve picked up on my parents’ philosophy that most of the artists in our collection are artists that we know, or as we get interested in them, we make a point of getting to know them. And that comes into not only our personal life and our friendships, but also into the office. So if you walked into my office now and talked to someone working there who’s fairly new out of school, they would know who Judy Ledgerwood is. They know there is a person behind the art that they work with. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745933992/mgls8kc4pahuivetny7p.jpg">Office view. On wall: Ad Reinhard’s ’Ten Screenprints’ CGN: Have you had challenging situations trying to blend works of art or a collection into a space you’re designing?&nbsp; DD: Yes. I think the main thing about working on a collection–whether it’s clients who have never collected art before or long-time collectors–we’re working together. I spend this concerted amount of time in the beginning showing them different lines of thinking about medium or scale or geographic source for works of art. It may be a color story, or it may just be space specific, but it’s something I like them to get to the point of saying, okay, this is what will be fun for us to work on. Obviously I can do the primary selection of the art, but hopefully they’ll get the [collecting] bug because there are many more spaces that they’ll be able to place art in, so I hope they keep looking at art themselves and finding opportunities. Often I will create some specific spaces, like for a glass collection or a wall that’s about ceramics or something so that they can keep thinking as they travel and make their life intertwined with collecting art and living with art. But it’s also the story behind every work of art that is what makes us collectors.&nbsp; I didn’t answer your question about the difficult works. I have had a couple of moments when someone bought something on a trip for something. One of my clients laughs about this fountain they bought in Morocco. We were starting the project and they were like, ‘We have this fountain. We’d love to find a spot for it!’ It didn’t end up making it into the home. We laugh about it now because we still have that thing sitting in the garage in a box, but they finally realized that there is some sort of line of thinking that does tie everything together. It’s really about things that speak well to each other. I just created a home with a wonderful Spencer Finch that was this very bright fluorescent light with amazing geometry. It was very eye catching, but it worked with the larger aesthetic of what they were doing. CGN: It sounds like you try to spend a lot of time having those client conversations leading up to when you get started designing that maybe prevent some of those clashes. DD: It’s another part of the process. I think when it is a couple, it’s important that they are both part of the decision and invested in it. It’s answering both their desires and needs for what we design in what they’ll live in. I feel the same thing with the art, where I really encourage them to make the decisions together and not buy one piece that one of them loves and the other one isn’t fond of. I’ve always approached that with my design work, that if you’re not in love with this option, let’s find the next thing that you are. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745933993/hvzh0bxmkql89jnvmmat.jpg">moniquemeloche gallery. Chicago, IL. The transformation of a hidden industrial building in Chicago’s West Town into a flexible space for encountering multiple forms of art. CGN: With regard to commercial spaces, you have designed many gallery spaces in Chicago. What are your main considerations when approaching that kind of design need versus another office or residence? DD: When you’re doing a space that’s specifically for art–a gallery or an exhibition space–you of course are not designing for particular works of art. Maybe a particular medium, but not specific works. In fact, you want it to be quite the opposite, quite flexible. My general attitude towards spaces for art is to create variety so that there is a sequence of experiences and spaces as well as the clarity of the wall, so that it doesn’t compete with what is going to be brought in, which you don’t know what it’s going to be in the future. So really simple detailing, ubiquitous materials, a flooring material, simple white walls, with maybe the exception of an entry moment or an office moment or something like that. And then lighting, of course, is the most important. You want to always over-light a space for art and have lighting from more than one source so that you can both throw light on the whole space as well as on highlights. And then you make it all flexible. You make it all controllable so that you have that moment where you want to pin light for a particular work, or you want to flood for something that’s a wall mural. And I think that a lot of times you’ll see space that’s been overly dramatized and that’s fine for a particular effect, but if it’s not flexible, if it’s not dimmable or expandable, it’s too restricting.I love to bring in natural light, but also moments where direct sunlight will work like a sundial to come in and make its way through a space is more flexible in a home or office than it is in a gallery. CGN: What’s design moment stands out for you? DD: Those are really difficult questions because my mind always goes to whatever we’re working on right now. My process tends to make things challenging. In other words, I’m looking for the constraints. I’m looking for the sort of requirements that will make the project better. And that’s fundamentally coming from how it’s going to be used, where it is, what we’re working with. I think what’s so important now is the clear attitude to working with what we have, using existing structures before tearing them down and building something new. More than half my work is restoration, preservation, adaptive reuse. The project that I did just two years ago at IIT, which is three towers that we made from staff into student housing, I actually won a competition at the school for a new 480 bed dorm. I convinced them we had these three legacy Mies van der Rohe designed buildings from the ‘50s on campus that we should do first before we build anything new. That ended up being very successful and has been an amazing opportunity for the students to live in these buildings. And economically, it was significantly less expensive to work with the existing structures than to build something new and of course, much more sustainable and much more environmental.&nbsp; CGN: Would you like to add anything else?&nbsp; DD: Even though I am often steering the boat or keeping it moving forward, I see design as having many voices, all of the expertises, all the vantage points. There isn’t just the the client, there are also the contractors, my amazing team of consultants and engineers, everybody at the office. The biggest challenge is listening to all that information, and then sorting out the priorities. #

Interview with Chicago architect and art collector Dirk Denison

Designs on Collecting: Architect Dirk Denison

<h3><a rel="noopener noreferrer" href="https://www.artforum.com/news/art-green-dies-19412025-1234729718/?utm_medium=email&amp;utm_source=exacttarget&amp;utm_campaign=Dispatch+-+Friday+April+24+2025&amp;utm_content=602503_4-25-2025&amp;utm_id=602503" target="_blank">Art Green (1941–2025)</a></h3> <a style="background-color: rgb(255, 255, 255); color: currentcolor;" rel="noopener noreferrer" href="https://www.artforum.com/t/art-green/" target="_blank">Art Green</a>, an original member of a rabblerousing group of artists known as&nbsp;<a style="color: currentcolor; background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://www.artforum.com/t/the-hairy-who/" target="_blank">the Hairy Who</a>&nbsp;and a key figure in the Chicago Imagist movement, died on April 14. He was eighty-three. His death was announced by Garth Greenan Gallery in New York, which represented him. Green in the mid-1960s was a recent art-school graduate when he founded the Hairy Who in Chicago alongside fellow grads James Falconer, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum.&nbsp; Via Artforum <h3><a rel="noopener noreferrer" href="https://www.theartnewspaper.com/2025/04/22/chicago-department-cultural-affairs-special-events-dcase-disarray" target="_blank">Chicago's cultural affairs department hits crisis point</a></h3> Chicago’s Department of Cultural Affairs and Special Events (<a style="color: inherit;" rel="noopener noreferrer" href="https://www.chicago.gov/city/en/depts/dca.html" target="_blank">DCASE</a>) is in disarray. At least 18 staff members—around 25% of the department—have left since Mayor Brandon Johnson appointed a former legislative director, Clineé Hedspeth, to replace ousted Cultural Commissioner Erin Harkey last year. (In February, Harkey was named the new chief executive of Americans for the Arts.) “The Chicago Department of Cultural Affairs and Special Events and Commissioner Clinée Hedspeth are committed to filling departmental vacancies and have successfully brought in new talent as positions are posted,” Bria Purdiman, the department's deputy commissioner for marketing and communications, tells&nbsp;The Art Newspaper. “Our department continues to operate at a high level and remains intensely devoted to the Chicago arts and culture community.” Via The Art Newspaper <h3><a rel="noopener noreferrer" href="https://chicago.suntimes.com/architecture-design/2025/04/23/dusable-park-development-chicago-takes-a-step-forward?utm_medium=email&amp;utm_campaign=042425%20Afternoon%20Edition&amp;utm_content=042425%20Afternoon%20Edition+CID_835720a863c0b9a8c3b8fd33a6b7b1db&amp;utm_source=cst_campaign_monitor&amp;utm_term=Long%20awaited%20DuSable%20Park%20takes%20a%20big%20step%20forward&amp;tpcc=cst_cm" target="_blank">Long-awaited DuSable Park takes a big step forward</a></h3> At just 3.4 acres, the long-awaited $15 million Jean-Baptiste Point DuSable Park won’t be the city’s largest public green space, but it has the potential to be one of the best.As it should be. The park is planned for an absolutely prime spot east of DuSable Lake Shore Drive that is bounded by the Chicago River, the Ogden Slip and the lake.Chicagoans have waited 38 years for this park honoring DuSable, watching previous plans come and go. But the wait now appears to be ending. Via Chicago Sun-Times Image: An artist’s rendering shows the proposed DuSable Park pavilion. Chicago Park District <h3><a rel="noopener noreferrer" href="https://news.wttw.com/2025/04/24/expo-chicago-director-talks-art-and-economy-2025" target="_blank">Expo Chicago Director Talks Art and Economy in 2025</a></h3> This year marks the 12th version of Expo Chicago. Despite changes in name and ownership, giant art fairs have been an annual civic tradition since 1980.The biggest recent development came in 2023 when Expo Chicago was acquired by Frieze, an international group of art fairs that platforms modern and contemporary art.Even with all of the change, the quality of the fair has been carefully cultivated, and one thing remains constant: the presence of Tony Karman. Karman is the president and director of Expo Chicago and its most passionate booster. Via WTTW

CGN Art World Recap: 4.27.25

Via PR <a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://brushwoodcenter.org/" target="_blank">Brushwood Center</a> announced an historic&nbsp;$2.5 million gift from the Hunter Family Foundation. The gift, the largest in Brushwood history, will go toward the construction of a new performance plaza, to be named in honor of Maxine M. Hunter, Brushwood Center’s first board chair.&nbsp;The Maxine M. Hunter Performance Plaza at Brushwood Center will have a profound impact on the accessibility, reach, and impact of our work supporting the health and well-being of participants from all backgrounds and experiences in healing art and nature programming. This incredible gift enables Brushwood to expand its wide range of programming for children, adults, families and Veterans, and comes at a time of growing concern about public resources dedicated to the environment and sustainability.&nbsp;&nbsp;The new plaza will be a dynamic, three-season open-air event space four times larger than the current structure, enhancing Brushwood’s ability to reach broader audiences, host more participants, and explore new, creative programs. The plaza will offer a seamless transition between indoor comfort and outdoor connection, allowing Brushwood visitors to enjoy the therapeutic benefits of nature while immersed in music, movement, and creative expression.&nbsp;&nbsp;We are grateful to the Hunter Family Foundation for this transformative gift that will enable Brushwood Center to expand access to nature for our neighbors and communities through the arts, healing, and education. In honoring the legacy of Maxine Hunter, the Foundation underscores the critical importance of local commitment to community organizations, particularly vital when so many federal resources are being cut back.&nbsp;Maxine Hunter was born and raised in Lake Forest and remained connected to her community and philanthropic endeavors throughout her life. As the first board chair of Brushwood Center, Maxine believed people visited Brushwood to experience serenity, study, and tranquility and most people left with a sense of awe of nature. She once said, "I work on things that are important to me: art, nature, conservation. We should be supportive of the community we live in, to make the world a better place."&nbsp;&nbsp;We are honored to continue Maxine's legacy at Brushwood with the Maxine M. Hunter Performance Plaza, and extend our deepest gratitude to the Hunter Family Foundation.

Brushwood Center Announces Largest Gift in Center's History To Support Creative Programs

Via PR CHICAGO –&nbsp;&nbsp;The Obama Foundation announced today it will soon be installing works by two notable American artists Spencer Finch (NY) and Lindsay Adams, an upcoming graduate of the School of the Art Institute of Chicago, at the Obama Presidential Center. Their installations are among 25 site-specific works from a range of luminary to emerging artists that will be featured at the Center as part of a broad commitment to elevating public art across its campus. “From their earliest days in the White House, President and Mrs. Obama celebrated the power of art to inspire change,” said Valerie Jarrett, CEO of the Obama Foundation. “We are proud to continue their legacy by featuring unique artwork from Spencer Finch, Lindsay Adams, and other extraordinary artists at the Obama Presidential Center. We look forward to serving as a place to activate the imagination of visitors from Chicago and around the world, and inspire them to bring change home to their communities.” “Both Spencer and Lindsay bring a strong sense of place and purpose to their work that accomplishes President Obama’s goal for the arts on campus: to spark conversations about the world as it is and the world as it ought to be,” said Louise Bernard, the Obama Presidential Center Museum Director. “We look forward to working with Lindsay and Spencer in the coming weeks as they join us onsite to install their work, and sharing their pieces with visitors next year.” Spencer FinchSpencer Finch is best known for his moving installation at the 9/11 Memorial &amp; Museum: “Trying to Remember the Color of the Sky on That September Morning.” In that piece, Finch used 2,983 individual watercolor tile squares to honor the victims of the attacks and symbolize the idea of memory.&nbsp; Finch’s piece for the Obama Center will similarly incorporate memory, color and a sense of place. Drawing on inspiration from President Obama’s autobiography “Dreams from My Father,” Finch will showcase a tile wall mural installation entitled “To Disappear Enhances – (Memory Landscapes)” that evokes memories of places from the President’s formative years, including Honolulu, Jakarta, Chicago, and Nairobi. The colors for each location were selected personally by President Obama from a large palette to represent a specific personal memory from that place. Measuring 12’ x 66’8”, Finch’s mural of tiles made of fired and glazed clay will be on display to welcome visitors in the lower level lobby of the Center’s Forum building.&nbsp; “It is an honor to create a new piece for the Obama Presidential Center that speaks directly to the earliest life experiences of President Obama,” said Spencer Finch. “It is my hope that this artwork will slowly reveal its meaning and specificity as viewers spend time with it. The piece aims to transform into the historical landscape and internal portraits of the President's memories, connecting his world experience with the experiences of the visitors.” Lindsay AdamsVisitors to the Center’s café will also have the opportunity to experience “Weary Blues” – a meditation on resilience, beauty, and the power of abstract forms from Chicago-based artist Lindsay Adams, currently a graduate student at SAIC. Her 24 x 24 inch painting, originally created in 2024, will be translated into silkscreen panels on fabric. The work is titled after Langston Hughes’ iconic poem and carries forward a lineage of Black creative expression that holds space for both weariness and transcendence. “It is my privilege to translate ‘Weary Blues’ for the Obama Presidential Center,” said Lindsay Adams. “The piece will become part of a shared environment at the Center’s café – an atmosphere for gathering, reflection, and rest – extending the piece’s emotional tenor into a communal space rooted in legacy, resilience, and imagination. It’s an honor to contribute to the rich tradition of Black artistic expression on Chicago’s South Side and to help carry that creative legacy forward.” Today’s announcement is the latest in a series of more than 25 artists who will have original pieces on display to the public at the Obama Presidential Center.&nbsp;<ul><li>Last fall, crews installed&nbsp;<a style="color: rgb(107, 184, 171);" rel="noopener noreferrer" href="https://click.email.obama.org/?qs=f67242a3f22db69438039a894e8f11652586858a3abd593b03d533d7e70ecf79895616374b8752231159316e9311a2dbe2c7fa828c0ca844" target="_blank">Julie Mehretu’s 83-foot-high abstract painted glass window</a>&nbsp;in the Museum Building, which is visible now to visitors of Jackson Park.&nbsp;</li><li>The Foundation also previously unveiled plans for&nbsp;<a style="color: rgb(107, 184, 171);" rel="noopener noreferrer" href="https://click.email.obama.org/?qs=f67242a3f22db6948f82a2414ce106ee1694e993bc1d2770def91f7856cb942c18efb29ccffcb68383666380d1020aa3708f77e2cfb06826" target="_blank">“Book Bird,” a sculpture by celebrated Chicago artist Richard Hunt,</a>&nbsp;which will reside in the Reading Garden of the Center’s Chicago Public Library branch.&nbsp;</li><li>Additionally, acclaimed artist and architect Maya Lin – renowned for the Vietnam Veterans Memorial in Washington, D.C. –&nbsp;<a style="color: rgb(107, 184, 171);" rel="noopener noreferrer" href="https://click.email.obama.org/?qs=f67242a3f22db69499142f72380f3595418452997a34e670b5a5f860a4420798b5b138332bf081a7e6a6b4cb06c9f308f5ce6a3f1da9a74c" target="_blank">will design a sculptural water feature for the Center’s water terrace,</a>&nbsp;dedicated to President Obama’s mother, Ann Dunham.</li></ul>Nearly all original artwork will be free to view by the public at the Obama Presidential Center when the campus opens in 2026. About Lindsay AdamsLindsay Adams (b. 1990, Washington, D.C.) is a writer and painter working across traditional mediums. Employing her educational foundation as a social scientist, with a background in foreign relations, sociology, and cultural anthropology, she systematically engages in her work with precise critical analysis and a perceptive understanding of the complex fabric of social dynamics. Lindsay received her B.A.s in both in International Studies: World Politics and Diplomacy and Spanish from The University of Richmond. Embracing her intersectional identity, Lindsay’s work serves as a reflection of self, exploring personal and collective histories and the role imagination plays in mining the complexities and nuances of life. Her current body of work is a conceptual investigation of the balance between the known and the possible, examining themes of place, liberation, expanse, and freedom. Each intuitive mark invites a dialogue between reality and dreaming, as she mines through layers of gesture and color to build worlds. Adams alternates between abstract and representational forms, employing formal techniques that highlight the physicality of paint and the delicacy of gesture. In this way, she weaves multiple paintings within one, crafting a rich tapestry, informed by interconnected experiences that invite reflection on the boundlessness of dreaming. Adams’ work highlights her interest in constructing imagined ecologies, spaces in which rhythmic gestures and dynamic hues engage in a continuous dialogue. Lindsay Adams is currently finalizing her MFA in Painting and Drawing at the School of the Art Institute of Chicago She has been the recipient of the Helen Frankenthaler Award in 2024 and the New Artist Society Merit Award in 2023. Her work has been exhibited at the Baltimore Museum of Art, MD and the Martin Luther King Jr. Memorial Library, Washington, D.C., and is included in the collections of the Baltimore Museum of Art and Northwestern Law School. # <h3>An exhibition of Adams's work is currently on view in Chicago at <a style="color: rgb(57, 57, 57);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/lindsay-adams-all-water-has-a-perfect-opening" target="_blank">PATRON Gallery </a></h3> <h3>Spencer Finch is represented by <a rel="noopener noreferrer" href="https://www.rhoffmangallery.com/artists/spencer-finch" target="_blank">Rhona Hoffman Gallery</a></h3> Top image: Gutter (Brooklyn) beer bottle, leaf, soda can, vitamin water, roll of duct tape, orange powder, yogurt lid,&nbsp;2019Watercolor on papr21 x 29.5 inches24.25 x 32.25 inches, framed

Obama Foundation Announces Installations of works by Spencer Finch and Lindsay Adams

A 2025 interview with Chicago art dealer Rhona Hoffman 

Connecting Change Through the Decades: Rhona Hoffman

<h5><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745340252/smbitqoxu9j8cyp25hyb.jpg"></h5>From left: Rhona Hoffman Gallery's final exhibition in West Town; Huguette Caland:&nbsp;Bribes de corps&nbsp;at the Arts Club, and Barely Fair. <h5>By CGN Staff</h5> <h5>EXPO CHICAGO returns to Navy Pier on April 24, and while there will be a great deal of attention on all that happens on-site at the fair, there is a lot happening throughout the city. Openings coincide with EXPO Art Week, with many exhibitions continuing long after the fair has ended. Following are some highlights, from museum re-openings to major institutional exhibitions, and of course, parties! </h5><h5> </h5><h5>For full details about all EXPO Art Week programs click <a rel="noopener noreferrer" href="https://www.expochicago.com/programs/expo-art-week-2025" target="_blank">here</a> or view the full CGN calendar <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events" target="_blank">here</a>.</h5> __________________________________________________________________ <h3>﻿April 23 –&nbsp;May 11 – <a rel="noopener noreferrer" href="https://www.barelyfair.com/" target="_blank">Barely Fair</a></h3> 2025 marks the 5th iteration of the fair, with organizers returning to the white cube&nbsp;from which the fair originated. In 2019, BARELY FAIR first exhibited inside the Julius Caesar artist-run project space, and in 2025 the fair returns to JC as host to the fair. As a result of the smaller venue, BF is focusing on creating intimate experiences with miniature contemporary art. As a result, all visitation is ticketed, and&nbsp;tickets are limited (and must be purchased in advance via ARTSVP.) Visitation is spread across 3 ticket tiers: General Admission: $10, VIP NIGHTS: $60, Extended Exhibition: $5 General Admission: APR 23-27, 11AM - 4PM. Extended Exhibition: May 3-11, 12PM - 5PM <h3>﻿April 23 –&nbsp;<a rel="noopener noreferrer" href="https://renaissancesociety.org/events/1384/renben-2025/" target="_blank">RenBen 2025 by Meriem Bennani</a></h3> RenBen is the Renaissance Society’s annual gala which raises a significant portion of the museum’s annual budget, enabling new artistic commissions, scholarly discourse, and lasting publications. The 2025 edition is shaped by the vision of Meriem Bennani. Known for her sharp humor, resourcefulness, and ability to blend the absurd with the deeply human, Bennani is the latest artist to lead the Renaissance Society’s tradition of artist-conceived galas, following the bold propositions of Piero Golia (2022), Adam Linder (2023), and Kevin Beasley (2024). This year, Bennani’s playful yet incisive approach will transform Vertiport Chicago—a working commercial helicopter facility—into an unexpected gathering space. Note: the event is sold out, but it usually aligns with EXPO Art Week, so take note for next year if you don't have a ticket! <h3> </h3><h3>April 25 –&nbsp;<a rel="noopener noreferrer" href="https://www.expochicago.com/event/expo-chicago-presents-art-after-hours" target="_blank">Art After Hours</a></h3> Art After Hours is an annual EXPO event in support of local galleries. AAH takes place across the city on the Friday evening of EXPO ART WEEK (April 25), and features extended hours at contemporary art galleries, as well as special programming, including opening receptions, artist talks, late nights and more.&nbsp;Full details are&nbsp;<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.expochicago.com/event/expo-chicago-presents-art-after-hours" target="_blank">here</a>.&nbsp; <h3>April 25 – <a rel="noopener noreferrer" href="https://flourishartaccelerator.com/" target="_blank">Flourish Fine Art Accelerator Party at the MCA</a></h3> Join a party with a purpose as Flourish Fine Art Accelerator honors the 2025 Flourish Fellows and celebrates the impact of their contributions to shaping the future of contemporary art. This vibrant celebration of creativity, inspiration, and community is Flourish's annual fundraiser, intentionally designed to connect EXPO Creatives, local leaders in the visual arts community, and collectors, fostering meaningful relationships that drive the arts forward and accelerate diverse creatives. Funds raised will support Flourish's bi-annual goal of $150,000, providing essential grants and programming for local artists and curators. April 25, 7-10pm, at the Museum of Contemporary Art <h3>April 25 – <a rel="noopener noreferrer" href="https://www.svngrn.org/" target="_blank">Opening of new art center SVNGRN</a></h3> SVNGRN is a new art center in Chicago's Fulton Market District.&nbsp;Its inaugural exhibition,&nbsp;Conversations in Color, opens Friday, April 25 from 6-9 PM at 310 N Peoria St as part of EXPO CHICAGO's Art After Hours. The exhibition&nbsp;features a global group of artists using color as a tool for dialogue—telling stories, expressing identity, and engaging with culture, memory, and emotion. <h3>﻿April 26 –&nbsp;<a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/grand-reimagining" target="_blank">Celebratory Opening of Intuit Art Museum</a></h3> The newly renamed Intuit Art Museum also has a newly expanded 18,000 square foot home, reimagined in space and spirit. IAM will offer a more expansive experience in self-taught, outsider and intuitive art. On Saturday, April 26 a big celebration will offer a festive chance to mingle with fellow art enthusiasts, enjoy delicious bites, spirited libations and a special performance by the Grammy-nominated Kahil El’Zabar Ethnic Heritage Ensemble, followed by a lively After Party with DJ and dancing. On April 25 there is a <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/public-preview-catalyst-immigration-and-self-taught-art-in-chicago" target="_blank">public preview</a> of Catalyst: Im/migration and Self-taught Art in Chicago,&nbsp;the first exhibition to open in Intuit’s newly-renovated museum. This the first major exhibition to focus on the importance of immigration and migration in the genre of self-taught art.&nbsp; <h3>﻿April 27 –&nbsp;<a rel="noopener noreferrer" href="https://randolphstreetmarket.com/schedule/" target="_blank">Modern Vintage Chicago </a></h3> Hosted by Randolph Street Market at the Ravenswood Event Center, this indoor market offers a chance to see and shop a stunning selection of vintage clothing, jewelry, furniture, handbags and accessories from 1890’s-2000’s as well as global goods, decorative arts, vinyl and more! Sunday, 10am–5pm _______________________________________________________________________ <h3>And also on view, or ending soon:</h3> <h3>At Rhona Hoffman Gallery: <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/not-just-a-pretty-picture" target="_blank">Not Just A Pretty Picture</a></h3> After nearly 50 years in the gallery world, Not Just a Pretty Picture&nbsp;is&nbsp;Rhona Hoffman Gallery's&nbsp;final exhibition&nbsp;in&nbsp;their&nbsp;West Town space.&nbsp;This group show includes drawings, assemblage, sculpture, prints, and paintings by established artists Giovanni Anselmo, Susan&nbsp;Hefuna, Sol LeWitt, Gordon Matta-Clark, Sylvia Mangold,&nbsp;Martin Puryear,&nbsp;Edda Renouf, Richard Tuttle, and Gunter Umberg.&nbsp;This exhibition&nbsp;displays Gallerist Rhona&nbsp;Hoffman's depth as a curator in&nbsp;its&nbsp;appreciation for the artist's exploration of materiality, process, concept, and inquiry into the human condition.&nbsp; Thru April 26 <h3>At the South Side Community Art Center:</h3><h3><a rel="noopener noreferrer" href="https://sscartcenter.org/event/beyond-frames-black-women-collectors-shaping-cultural-heritage-in-chicago/" target="_blank">Beyond Frames: Black Women Collectors Shaping Cultural Heritage in Chicago</a></h3> This exhibition highlights a trailblazing group of Black women collectors in Chicago, exploring their practices through care, memory work, and cultural heritage preservation. “Beyond Frames” celebrates an intergenerational group of women who continue this legacy today. Viewers can experience artworks from the personal collections of fourteen different Chicago collectors Thru April 26 <h3> </h3><h3>At the Art Institute: <a rel="noopener noreferrer" href="https://www.artic.edu/exhibitions/10397/frida-kahlo-s-month-in-paris-a-friendship-with-mary-reynolds" target="_blank">Frida Kahlo’s Month in Paris: A Friendship with Mary Reynolds</a></h3> Unveiling Frida Kahlo’s work for the first time in the Art Institute galleries, this exhibition focuses on the celebrated Mexican artist’s first and only trip to Europe and her brief yet pivotal encounter with Mary Reynolds, an American avant-garde bookbinder who stood at the center of a rich Parisian artistic community. Thru July 13 <h3> </h3><h3>At the Arts Club: <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/huguette-caland-bribes-de-corps" target="_blank">Huguette Caland Bribes de Corps</a></h3> Huguette Caland:&nbsp;Bribes de corps&nbsp;presents painted works by the Lebanese artist whose life and career traversed decades, continents, and media, defying both aesthetic and social conventions of her time and place. Bringing together a significant corpus of works that have rarely been seen together, the exhibition focuses on the body of work that Caland produced while living in Paris in the 1970s, the&nbsp;Bribes de corps&nbsp;[“Body Bits”] and constitutes the largest presentation of the series to date. Thru August 2 <h3>At the MCA: <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/wafaa-bilal-indulge-me" target="_blank">Wafaa Bilal: Indulge Me</a></h3> Indulge Me&nbsp;is a major survey of renowned artist Wafaa Bilal (b. 1966, Najaf, Iraq; lives in New York, NY). Crucially, the exhibition takes a comprehensive look at Bilal’s myriad practice, highlighting the development of his work across decades and placing it in conversation with broader art histories. It will also explore cultural cannibalism—that is, how culture (specifically the culture of the other) is used, disassembled, and consumed. Working in performance, sculpture, and with online and interactive technologies, Bilal’s interdisciplinary practice investigates the dynamic between international and interpersonal politics while highlighting the tension between the United States, which he has deemed the “comfort zone,” and the “conflict zone” of Iraq.&nbsp; Thru October 25

A summary of exhibitions and events taking place in Chicago during EXPO Art Week 2025

EXPO Art Week 2025: Parties and Exhibitions Beyond the Fair

This year's&nbsp;<a rel="noopener noreferrer" href="https://www.expochicago.com/" target="_blank">EXPO CHICAGO</a>&nbsp;features more than 200 galleries and exhibiting organizations from around the world – from London to&nbsp;Johannesburg&nbsp;to Seoul, and of course Chicago. Many notable exhibiting galleries operate close to home all year round, and in recognition of the special programming that these Chicago and regional galleries are exhibiting this weekend, we are sharing a wrap–up of what they are showing at EXPO. Many spaces are presenting special exhibitions and exclusive editions that are available for the first time at EXPO CHICAGO 2025. The details below include information available as of press-time, so we will make updates as we are able in an effort not to leave anyone out. A list of regional exhibiting spaces not yet mentioned in CGN's previews is also included at the end. We will be sharing visual updates from the fair all weekend long via Instagram. Please double check booth details as you are able with an on-site map.&nbsp; See you at the fair! – CGN Staff <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745253575/qnzxmfnptg7iwe5to1v7.jpg">Mary Abbott, Untitled, n.d., gouache on paper, 17 x 14 inches, signed at lower right; estate stamped verso <h3> </h3><h3>McCormick Gallery</h3> Booth # 235 20 years ago the gallery organized a touring museum exhibition called&nbsp;Suitcase Paintings: Small Scale Abstract Expressionism&nbsp;in partnership with the Georgia Museum of Art. The exhibition was comprised of 58 works by 51 artists and traveled for two years to six museums. None of the work was for sale with much of it on loan. Afterwards the gallery sold a few pieces but most were either retuned to the owner or tucked away, not for sale. The idea of a redux of the show, but in Chicago this time, has been bouncing around Tom McCormick's head for several years and with the gallery's recent move to a new gallery location, it seemed the right time to take the plunge with&nbsp;Small Pleasures – Suitcase Paintings Redux. Many of the works are being offered for sale for the first time. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745253575/sq5vk7xsyzabrvvhbtdu.png">Victoria Fu <h3>DOCUMENT</h3> Booth #324 DOCUMENT will present recent works by&nbsp;Alexandra Barth&nbsp;(b. 1989, Malacky, Slovakia),&nbsp;Raul Ortiz Bonilla&nbsp;(b. 1955, Puerto Rico),&nbsp;Julien Creuzet&nbsp;(b. 1986, Paris, France),&nbsp;Anneke Eussen&nbsp;(b. 1978, Kerkrade, The Netherlands),&nbsp;Victoria Fu&nbsp;(b. 1978, Santa Monica, CA),&nbsp;Laura Letinsky&nbsp;(b. 1962, Winnipeg, Canada),&nbsp;Faheem Majeed&nbsp;(b. 1976, Chicago, IL),&nbsp;Sara Greenberger Rafferty&nbsp;(b. 1978, Evanston, IL),&nbsp;Paul Mpagi Sepuya&nbsp;(b. 1982, San Bernardino, CA),&nbsp;Kazuhito Tanaka&nbsp;(b. 1973, Saitama, Japan),&nbsp;Pedro Vaz&nbsp;(b. Maputo, Mozambique, 1977), and&nbsp;Claude Viallat&nbsp;(b. 1936, Nîmes, France). As part of the fair’s IN/SITU program, curated by Jessica S. Hong, the installation&nbsp;Beta&nbsp;(2019) by artist collective&nbsp;Tromarama&nbsp;(est. 2006, Bandung, Indonesia) will be on view at Navy Pier’s Festival Hall. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745253576/gjsvfesaoibvzzmauyth.jpg"> <h3>Secrist | Beach</h3> Booth #104 The SECRIST | BEACH booth at EXPO 2025 will feature two curated presentations, the first of which will be shown in conjunction with the gallery's current exhibition on view in West Town, Master Class: Inside the Last American Museum School with SAIC Painting Alumni. The second portion of booth will reflect on&nbsp;the gallery's inaugural year at their 10,000 square foot space and will reveal upcoming exhibitions at 1801 W Hubbard Street. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745253578/uarm2hqp2vx94ljlxkgr.png">Edra Soto <h3>ENGAGE Projects</h3> Booth #241 The gallery will be exhibiting work by several gallery artists during EXPO Art Week. ENGAGE will have a PROFILE booth featuring the work of Edra Soto, while Adam Daley Wilson's art is featured as part of EXPO OVERRIDE, a project that exhibits contemporary art on billboards around the city. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745253579/x1a0w05ihonzpycunfth.jpg">Ashkon Haidari, The Green Lady, 2023 <h3>POVOS</h3> Booth #241 Povos will be featuring new works from represented artist Ashkon Haidari and introducing Angela Ferrari, who has a forthcoming solo presentation with the gallery in November 2025. <h3><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745253580/cufhyzv1ca68qwtw3cxf.png"></h3>Kumi Obata,&nbsp;After Low Air Pressure Left, etching <h3>Chicago Printmakers Collaborative</h3> Booth #355 CPC is represented in EXPO's Edition + Books Section. This year, CPC will feature a "printstallation" by Raeleen Kao, a piece that will be debuted on Opening Day (she will create it during the two days prior), because nothing says printmaking more than a giant REVEAL. Made from hand cut etchings and woodcuts, drawings, wax and paper casts,&nbsp;CRAWL SPACE&nbsp;is described by the artist as "the unraveling of a body burgeoning from a swollen wound". Also featured:&nbsp;brand new etchings byTony Fitzpatrick, created in the past year at the CPC with Master Printer Duffy O'Connor, along with gorgeous, whimsical intaglio prints by Kumi Obata. The print racks will be full of affordable works by gallery artists, and if last year was any indication, the booth will be hopping. Booth 355 is located on the west end of the Festival Hall, right by the West Cafe, so grab a glass and a cheese cube and come say hello and feast your eyeballs on some of the most interesting and beautiful hand made prints in the known galaxy. # <h3><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/what-galleries-are-bringing-to-expo-chicago-2025-part-1" target="_blank">Read Part I of What Chicago Galleries are Bringing to EXPO 2025</a></h3> <h3>Additional Chicago-based and regional galleries exhibiting at EXPO CHICAGO 2025</h3> <a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.lesenluminures.com/" target="_blank">Les Enluminures</a>, Chicago, New York, Paris&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.rhoffmangallery.com/" target="_blank">Rhona Hoffman Gallery</a>, Chicago <a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.65grand.com/" target="_blank">65GRAND</a>, Chicago<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://anthonygallery.com/" target="_blank">Anthony Gallery</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://goldfinch-gallery.com/" target="_blank">Goldfinch</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.omenaigallery.com/" target="_blank">Omenai Gallery</a>, Chicago&nbsp;&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.flbfineart.com/" target="_blank">F.L. Braswell Fine Art</a>, Chicago, Lakeside&nbsp;(Editions + Books)<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://bgfa.us/" target="_blank">Bert Green Fine Art</a>, Chicago&nbsp;(Editions + Books) Special Exhibitions <a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.6018north.org/" target="_blank">6018North</a>, Chicago<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://artistsinpublicschools.org/" target="_blank">Artists in Public Schools</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://artsoflife.org/" target="_blank">Arts of Life / Circle Contemporary</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://blancchicago.com/" target="_blank">Blanc Gallery</a>&nbsp;+&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://sscartcenter.org/" target="_blank">South Side Community Art Center</a>,&nbsp;Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.centerfornativefutures.org/" target="_blank">Center for Native Futures</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://chicagoarchitecturebiennial.org/" target="_blank">Chicago Architecture Biennial</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://chicagoartistscoalition.org/" target="_blank">Chicago Artists Coalition</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.msichicago.org/" target="_blank">Griffin Museum of Science and Industry</a>, Chicago<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">Hyde Park Art Center</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.projectonward.org/" target="_blank">Project Onward</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.saic.edu/" target="_blank">School of the Art Institute of Chicago</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://dova.uchicago.edu/" target="_blank">University of Chicago</a>, Chicago<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://wrightwood659.org/" target="_blank">Wrightwood 659</a>, Chicago&nbsp;

What Galleries Are Bringing to EXPO CHICAGO 2025: Part II

CGN has conducted dozens of collector interviews over the years. The chance to see works of art in people’s homes is an opportunity to see art outside of a commercial or institutional space and to understand the personal nature of collecting.&nbsp; With this year's EXPO CHICAGO coming around again in late April, we wondered, what works continue to join an evolving collection? The following Chicago-based collectors were kind enough to update CGN, in their own words, about what they’ve recently acquired and the artists they are admiring now. – GV <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744947976/qw0aqi9oahnlj330evm8.jpg">Luke Agada <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744947977/kzsqarqj0121dfdprbyq.jpg">Andrea Carlson <h3>TRISSA BABROWSKI&nbsp;AND SUNDEEP MULANGI –&nbsp;</h3> • <a rel="noopener noreferrer" href="https://lukeagada.com/" target="_blank">Luke Agada</a>• <a rel="noopener noreferrer" href="https://www.mikinaak.com/" target="_blank">Andrea Carlson</a> “Two of our recent highlights include a painting by Luke Agada and a work on paper by Andrea Carlson.&nbsp; Luke, a fairly recent graduate of the MFA program at SAIC, trained as a veterinarian in his native Nigeria. His dreamy, surrealist works often incorporate animal shapes that speak to his former career. We’ve been watching Luke’s work grow and evolve over the last several years and with this painting, he really seems to be hitting his stride. Andrea Carlson’s landscapes are unlike anything being painted right now. You truly do feel as if the land is a living, breathing entity filled with the past; the cacophony of colors and text only adds to this effect. Her exhibition at the MCA this winter was one of the highlights for us, and we count ourselves fortunate to have added this particular work to our collection.” Read CGN's 2024 interview with Trissa and Sundeep <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/a-living-collection-sundeep-mullangi-and-trissa-babrowski-support-their-city-through-art" target="_blank">here</a>. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744947978/ccst1nuajxhcobpxpspg.jpg">Leah Ke Yi Zheng <h3>ZACH SMITH –</h3> • <a rel="noopener noreferrer" href="https://leahkeyizheng.com/" target="_blank">Leah Ke Yi Zheng</a> no.64 &lt;-&gt; no.6 &lt;-&gt; no.50 &lt;-&gt; no.44 &lt;-&gt; no.14 &lt;-&gt; no.1, 2024 “This is a work I recently acquired. Leah is one of Chicago’s top emerging artists. Her silk paintings are simultaneously subtle and transcendent. I first came across her art at Apparatus Projects, a now-defunct non-profit exhibition space that was in the Midland Building near Pilsen. I am thrilled to live with her work and excited to see her practice unfold.” Read CGN's 2023 interview with Zach <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/building-a-next-gen-collection-zach-smith" target="_blank">here</a>. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744947979/x2nfygmyaa3niqbnkbju.jpg">Anna Elise Johnson, Zzyzx Road at Magic Hour V <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744947979/tmo6l2qs4mbwzmhtmvov.jpg">Maha Al-Zahrani <h3>MICHELLE EDWARDS –</h3> • <a rel="noopener noreferrer" href="https://themissionprojects.com/artist/annaelisejohnson" target="_blank">Anna Elise Johnson</a>&nbsp; “I always keep a sort of&nbsp;‘hit list’ and number one on it right now is a rock sculpture by Anna Elise Johnson at Sebastian Campos’s The Mission Projects. It’s been top on my list for too long and will be my next purchase. I have been following Sebastian and his wife Jennifer’s program since way back to their space on Chicago Ave.” • <a rel="noopener noreferrer" href="https://www.saatchiart.com/mahaalzahrani" target="_blank">Maha Al-Zahrani</a> “My most recent “hang” is a gift from Maha Al-Zahrani, a Saudi Arabian artist who studied at SAIC. She gifted it to me after we became friends the Society for Contemporary Art. It means so much to me for that reason. I call her the Saudi Elizabeth Peyton, and I look forward to purchasing one of her paintings next.&nbsp; I also recently attended the Museum of Contemporary Photography’s DARKROOM benefit in February. It was a great event, but sadly for me I was outbid on the artwork I wanted. I highly encourage aspiring collectors to attend fundraisers with auctions because it’s fun, you meet people and the process of bidding is infectious but not intimidating. That is how I got started collecting, and I have heard similar stories from some active, high profile collectors.” Read CGN's 2024 interview with Michelle <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/nurturing-a-garden-of-art-michelle-edwards-tends-to-her-collection" target="_blank">here</a>. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744947980/ftkhmt2gcgpsrz1kbkry.jpg"> <h3>JULIA AND LARRY ANTONATOS –&nbsp;</h3> • <a rel="noopener noreferrer" href="https://www.instagram.com/diyaebourhim/" target="_blank">Diyae Bourhim</a> “Our most recent acquisition is a print that we bought at an artist-run space in Morocco that reminds us of the architectural profiles we saw there. In addition to loving the boldness of the images, we also liked that proceeds from the sale benefitted the nonprofit cultural organization that runs the space, <a rel="noopener noreferrer" href="https://www.instagram.com/thinktanger/" target="_blank">ThinkTanger</a>, which is doing very cool work shaping Tangier’s development.” <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744947981/qedozf8aa4e5zegufkdt.jpg">Raymond A. Thomas <h3>D.E. SIMMONS –</h3> • <a rel="noopener noreferrer" href="https://www.instagram.com/raymondt65/" target="_blank">Raymond A. Thomas</a> My Conscience Bares Witness To The Truth, mixed media on canvas, 2024 “I have been following Raymond for about two years and this just spoke to me, and the title nailed it. A St. Louis native, Thomas graduated from the School of the Art Institute of Chicago in 1984, where he studied painting, filmmaking and graphic design. Thomas also served as art director and creative manager at Chicago-based Johnson Publishing Company Inc. for over 23-years. Thomas has won numerous artistic awards, including “best painting” and “best of show” at the Black Creativity juried art exhibition held the Museum of Science and industry in Chicago in 2013.” Read CGN's 2013 profile of Diasporal Rhythms <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/diasporal-rhythms-10-years-of-collecting" target="_blank">here</a>.

Acquiring and Admiring: What Collectors Are Buying Now

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744924994/wpf2o9qxpe1qy42bbb6i.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/mikey-mosher-crossroads" target="_blank">Mikey Mosher: Crossroad</a>Opening: Saturday, April 19, 5:00 PM – 7:00 PMBert Green Fine Art <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744925003/hlbnogjzwg1dynxfwtbh.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/symbiotic-struggles-lichen-and-coral" target="_blank">Symbiotic Struggles: Lichen and Coral</a>Opening: Saturday, April 19, 12:00 AM – 4:00 PMUkrainian Institute of Modern Art (UIMA) <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744925005/oztlyevb0twpfek15kga.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/master-class-inside-the-last-american-museum-school-with-saic-painting-alumni" target="_blank">Master Class: Inside the Last American Museum School with SAIC Painting Alumni&nbsp;</a>Opening: Saturday, April 19, 5:00 PM – 8:00 PMSecrist | Beach <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744925007/czmeeqrt8blvmbtiwc2q.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/yasmin-spiro-cornerstone" target="_blank">Yasmin Spiro: Cornerstone</a>Opening: Saturday, April 19, 1:00 PM – 4:00 PMHyde Park Art Center (HPAC)

New Exhibitions: April 19

This year's&nbsp;<a rel="noopener noreferrer" href="https://www.expochicago.com/" target="_blank">EXPO CHICAGO</a>&nbsp;features more than 200 galleries and exhibiting organizations from around the world – from London to Johannesburg to Seoul, and of course Chicago. Many notable exhibiting galleries operate close to home all year round, and in recognition of the special programming that these Chicago and regional galleries are exhibiting this weekend, we are sharing a wrap–up of what they are showing at EXPO. Many spaces are presenting special exhibitions and exclusive editions that are available for the first time at EXPO CHICAGO 2025. The details below include information available as of press-time, so we will make updates as we are able in an effort not to leave anyone out. A full list of regional exhibiting spaces is also included at the end. We will be sharing visual updates from the fair all weekend long via Instagram. Please double check booth details as you are able with an on-site map.&nbsp; See you at the fair! – CGN Staff <h4><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342606/ihw8fmcudqwziddmybxh.jpg"></h4>Roy Lewis,&nbsp;Man and Boat in Lagos Harbor, 1977<h4> </h4><h3>GRAY</h3> •&nbsp;Booth #204 GRAY is participating in EXPO's CONTRAST sector, with selections from&nbsp;So Be It! Asé! Photographic Echoes of FESTAC ’77, an exhibition curated by Chicago-based art historian Romi Crawford. This presentation unveils visual documentation of one of the most significant, yet lesser known, cultural events of the twentieth century: the Second World Black and African Festival of Arts and Culture, held in Lagos, Nigeria. Known as FESTAC, the 1977 Pan-African festival and convening, brought together around 17,000 artists from African countries and Black diaspora communities across the world. GRAY’s EXPO Chicago exhibition features photographs by Roy Lewis, Bob Crawford, and K. Kofi Moyo, three members of the United States delegation to FESTAC. CONTRAST is a new section of galleries and artist presentations for the 2025 edition of EXPO CHICAGO. The inaugural section will be curated by Lauren Haynes, Head Curator, Governors Island Arts and Vice President for Arts and Culture at the Trust for Governors Island. <h4><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342607/lxo2qsxhg7ditxyuuljv.jpg"></h4><h4> </h4><h3>moniquemeloche</h3> •&nbsp;Booth #305 moniquemeloche presents a selection of works by&nbsp;Luke Agada,&nbsp;Candida Alvarez, Sanford Biggers, Brendan Fernandes, Ebony G. Patterson, Maia Cruz Palileo, Cheryl Pope,&nbsp;and&nbsp;Arvie Smith&nbsp;— artists who engage history, identity, and cultural narratives. Through sculpture, painting, installation, textile, and performance-based media, the works on view explore themes of memory, visibility, and transformation. Presented in conjunction with moniquemeloche’s 25th anniversary exhibition at the gallery, the booth showcases the broad spectrum of practices championed by the gallery, all of which are united by the desire to disrupt and challenge, both formally and conceptually. The gallery is also celebrating 25 years this year. ﻿ <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342608/lf4plaj7pukod5choviw.jpg">Florence Solis,&nbsp;Makahiya VII, 2025, acrylic on canvas, 48 x 36 in&nbsp; <h3>THE MISSION PROJECTS</h3> •&nbsp;Booth #108 THE MISSION PROJECTS&nbsp;presents an EXPOSURE booth at EXPO featuring new paintings by Filipino-Canadian artist Florence Solis (b. 1988). A self-taught artist and professional designer, Solis’s practice explores the complex intersections of womanhood, identity, and cultural heritage. Working through a process of digital collage translated into acrylic on canvas, she delves into the emotional and mental transformations that have shaped her, particularly her experiences as a mother and person of color. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342609/puzl89ro706oqviy1iyn.jpg"> <h3>MCA x Hebru Brantley</h3> The Museum of Contemporary Art's exclusive Hebru Brantley x MCA Store Collection features limited edition prints and exclusive apparel, and the collection drops first at EXPO Chicago on April 24—only at the MCA Store booth. Remaining pieces will be made available online at 11 am CST April 25, while supplies last. Hebru Brantley creates narrative-driven work revolving around his conceptualized iconic characters. Brantley utilizes these characters to address complex ideas around nostalgia, the mental psyche, power, and hope. The color palettes, pop-art motifs and characters themselves create accessibility around his layered and multifaceted ideas. Brantley works in a plethora of mediums and his art challenges the traditional view of the hero or protagonist. Through his characters, Brantley seeks to reassess contemporary culture and mythology through the lens of Afrofuturism. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342609/zfverrlnbcx8chfsj1kx.jpg">SOO SHIN, We, Dandelions (A lift), 2024, Brass, steel, 61 1/2" x 16" x 19 1/2" (detail)&nbsp;<h4> </h4><h3>PATRON</h3> •&nbsp;Booth #109 For the 2025 edition of EXPO Chicago, PATRON will exhibit a solo presentation with Chicago-based artist Soo Shin. Shin’s conceptual, sculptural practice examines universal experiences of displacement, connection, and belonging, often using the perimeters and gestures of her own body to realize abstract ideas of distance and place. Originally from South Korea, Shin draws upon her personal journey of migration and connectedness, to inform a materially driven, poetic sculptural practice. Utilizing ceramic, brass, concrete, wood, seawater, and other materials drawn from personal experience, Shin has developed a visual vocabulary that connects what is deeply human to the natural world. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342611/rqjzbqjcqezbxknnifr0.jpg">Diane Simpson,&nbsp;Armour Pattern #2,&nbsp;1975,&nbsp;collagraph print,&nbsp;35 x 30 1/2 inches,&nbsp;signed and dated recto,&nbsp;edition 2/6.&nbsp; <h3>Corbett vs. Dempsey</h3> •&nbsp;Booth #230 Corbett vs. Dempsey presents a solo booth featuring a selection of historical prints by Diane Simpson. Created over a period from the mid 1970s to the early 1980s, most of these extraordinary works on paper have never been exhibited. Deploying various techniques including collagraphy and collage, the works' images consist of some of the same types of forms Simpson would explore over the subsequent five decades: architectural shapes and ideas drawn from women's clothing. The earliest prints are uncommonly vivid, later ones more subdued, in browns, blue, and grey tones. Made in tiny editions, some in fact unique, these printworks allude directly to the artist's work in three dimensions; one of them was designed to be cut out and folded into a kind of origami sculpture. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342612/tgsbtivyrzmjm96k06ys.png">Left: Edie Fake, Two of Wands (Facing), 2025. Right: Edie Fake, Two Of Wands (Future), 2025 <h3>Manneken Press</h3> •&nbsp;Booth #472 This will be Manneken’s sixth time exhibiting at EXPO, participating as part of&nbsp;Editions + Books, a distinct gallery section which features artist books, editions and multiples. Manneken Press’s presentation will feature prints by notable contemporary artists, published by and produced at Manneken Press. 2025 is Manneken Press’ 25th anniversary. At EXPO Manneken will acknowledge their silver jubilee year by hanging some of Manneken’s earliest published prints alongside the most recent. Rupert Deese’s Iris suite of six etchings, produced in 2000 were among the first projects. A pair of exquisite etchings with aquatint by Edie Fake and monotypes by Andrea Ferrigno, both published in 2025, represent the latest. Two aquatints by Jason Karolak and monotypes by Catherine Howe, both from 2024, and Array 1000/Dark Blue, also by Deese, from his 2012 Array opus of woodcuts, and at 45 x 45 inches one of the largest prints published by Manneken Press, will also be on view. Handmade paper editions by Claire Lieberman, etchings by Jill Moser and Matt Magee, monotypes by Sarah Smelser, Judy Ledgerwood, and Anna Kunz, will round out Manneken Press’ presentation. Several print portfolios, including Ted Kincaid’s Kakistocracy Portfolio, a timely comment on the tenuous state of our nation, will be available to view, as well as new photogravures by Claire Seidl and collaborative monotypes by John Yau and Richard Hull. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342613/ljubpg0avzhi2neybykf.jpg"> <h3>Museum of Contemporary Photography (MoCP)</h3> •&nbsp;Booth #256 MoCP will present a selection of fine prints by Henry Nias Business in Arts Fellow Hiwot Ayele-Schutz. Displayed prints are a thematic extension of the museum’s current exhibition&nbsp;Regina Agu: Shore | Lines&nbsp;about environment, place, and identity - on view during EXPO. Fine prints and publications will be available for purchase with guided conversations from museum staff and friends. On Saturday, April 26, at 1:00 pm there visit MoCP’s booth to celebrate the premier and signing of Regina Agu’s&nbsp;Field Guide&nbsp;by&nbsp;Kris Graves Publishing. <h4> </h4><h4><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342614/a0gowk7tsv3ksi7i0osc.jpg"></h4> <h3>Process/Process</h3> •&nbsp;Booth #449 Process/Process will release an edition with artist&nbsp;Edie Fake&nbsp;at&nbsp;EXPO Chicago. The woodblock print merges Fake's long held interest in queer spaces of potential and vernacular culture with a new subject of chromatic and compositional exploration: the board game. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1745342615/isg5cjngpuhosaevwhby.jpg"> <h3>VOLUME Gallery</h3> Volume Gallery will exhibit a solo presentation of handwoven weavings by Chicago-based artist SHENEQUA. SHENEQUA’s work is a material celebration of her Afro-Caribbean identity. Born in St. Thomas, U.S. Virgin Islands, raised in Miami, Florida and having studied with master weaver Sebastian Dayi in Ghana, West Africa, SHENEQUA deftly weaves together meaningful materials to honor the resilience, beauty, and creativity of the Afro-Caribbean diaspora. Throughout her practice, she incorporates plaits of synthetic hair and sculptural bobby pins to honor the Black hair salon as a center of community, intimacy, and friendship. Her intricate textiles push the boundaries of form with shifts in scale, organic edges, and improvisational moments. Recent work in vivid colors is inspired by the exuberant Sugar Mas carnival celebrations of Saint Kitts and Nevis, of which her family are longtime participants. Carnivals arose in the Caribbean as independence celebrations, and now the weeks-long festivities feature elaborately costumed dancers, soca music, food, and pageantry. SHENEQUA weaves vibrantly colored fabric with braids of synthetic hair, jewel-like embellishments, strips of Caribbean batik fabric, and iridescent elements, all intertwined to create rich, layered textures that echo African&nbsp;and Caribbean cultural heritage in a striking, tactile display of communal joy. <h5><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/what-galleries-are-bringing-to-expo-chicago-2025-part-ii" target="_blank">Read Part II of What Galleries are Bringing to EXPO Chicago 2025</a></h5> <h3>Additional Chicago-based and regional galleries exhibiting at EXPO CHICAGO 2025 </h3> <a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://documentspace.com/" target="_blank">DOCUMENT</a>, Chicago, Lisbon&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.lesenluminures.com/" target="_blank">Les Enluminures</a>, Chicago, New York, Paris&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.rhoffmangallery.com/" target="_blank">Rhona Hoffman Gallery</a>, Chicago<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.thomasmccormick.com/" target="_blank">McCormick Gallery</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://secristbeach.com/" target="_blank">Secrist | Beach</a>, Chicago&nbsp; <a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.65grand.com/" target="_blank">65GRAND</a>, Chicago<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://anthonygallery.com/" target="_blank">Anthony Gallery</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://goldfinch-gallery.com/" target="_blank">Goldfinch</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.omenaigallery.com/" target="_blank">Omenai Gallery</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://povoschicago.com/" target="_blank">Povos</a>, Chicago&nbsp; <a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.engage-projects.com/" target="_blank">ENGAGE Projects</a>, Chicago&nbsp;&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.flbfineart.com/" target="_blank">F.L. Braswell Fine Art</a>, Chicago, Lakeside&nbsp;(Editions + Books)<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://chicagoprintmakers.com/" target="_blank">Chicago Printmakers Collaborative</a>, Chicago&nbsp;(Editions + Books) <a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://bgfa.us/" target="_blank">Bert Green Fine Art</a>, Chicago (Editions + Books) <a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://mcachicagostore.org/" target="_blank">MCA Chicago Store</a>, Chicago&nbsp;(Editions + Books) Special Exhibitions <a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.6018north.org/" target="_blank">6018North</a>, Chicago<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://artistsinpublicschools.org/" target="_blank">Artists in Public Schools</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://artsoflife.org/" target="_blank">Arts of Life / Circle Contemporary</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://blancchicago.com/" target="_blank">Blanc Gallery</a>&nbsp;+&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://sscartcenter.org/" target="_blank">South Side Community Art Center</a>,&nbsp;Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.centerfornativefutures.org/" target="_blank">Center for Native Futures</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://chicagoarchitecturebiennial.org/" target="_blank">Chicago Architecture Biennial</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://chicagoartistscoalition.org/" target="_blank">Chicago Artists Coalition</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.msichicago.org/" target="_blank">Griffin Museum of Science and Industry</a>, Chicago<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">Hyde Park Art Center</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.projectonward.org/" target="_blank">Project Onward</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://www.saic.edu/" target="_blank">School of the Art Institute of Chicago</a>, Chicago&nbsp;<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://dova.uchicago.edu/" target="_blank">University of Chicago</a>, Chicago<a style="color: rgb(102, 119, 166);" rel="noopener noreferrer" href="https://wrightwood659.org/" target="_blank">Wrightwood 659</a>, Chicago&nbsp;

What Galleries Are Bringing to EXPO CHICAGO 2025

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744906840/b7yienrvcayll1d1dkse.jpg"> -Via GRAY PR Theaster Gates has been named a 2025 Guggenheim Fellow. The John Simon Guggenheim Memorial Foundation announced their appointment of the 100th class of Guggenheim Fellows, including 198 distinguished individuals working across 53 disciplines.“This acknowledgment is deeply affirming, and I’m humbled to be amongst the ranks of excellent thinkers and makers whose practices I admire,” says Gates. “Studying the craft traditions that shaped me, both at home and abroad, always gives me tremendous joy. This Guggenheim fellowship will allow me an opportunity to immerse myself in the traditions of Japanese ceramic culture focusing principally on Mingei, a movement that celebrated the power of local craft traditions. I look forward to deepening my knowledge and I’m grateful for this honor.”Chosen through a rigorous application and peer review process from a pool of nearly 3,500 applicants, the Class of 2025 Guggenheim Fellows was tapped based on both prior career achievement and exceptional promise. As established in 1925 by founder Senator Simon Guggenheim, each Fellow receives a monetary stipend to pursue independent work at the highest level under “the freest possible conditions.”The 100th class of Fellows is part of the Guggenheim Foundation’s yearlong celebration marking a century of transformative impact on American intellectual and cultural life. “At a time when intellectual life is under attack, the Guggenheim Fellowship celebrates a century of support for the lives and work of visionary scientists, scholars, writers, and artists,” said Edward Hirsch, award-winning poet and President of the Guggenheim Foundation. “We believe that these creative thinkers can take on the challenges we all face today and guide our society towards a better and more hopeful future.”

Theaster Gates awarded a 2025 Guggenheim Fellowship

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744908776/lxtnnhi6jdp7tj2zuc5y.png"> Chicago’s legendary&nbsp;<a rel="noopener noreferrer" href="http://www.oldtownartfair.org/" target="_blank">Old Town Art Fair</a>&nbsp;is proud to unveil its first specially-commissioned poster to celebrate the Fair’s landmark&nbsp;75thAnniversary, taking place June 14-15, 2025. Featuring the work of local artistChuck Meyers, who has been a full-time Chicago painter for 23 years and exhibited at the Old Town Art Fair for over 10 years,&nbsp;Soaring Around Old Town&nbsp;is a portrait of the Old Town Triangle created from multiple drone photography sessions throughout the neighborhood. Meyers’ work is inspired by his fascination by the transportation, alleys, and side streets that make Chicago distinctly recognizable. Established in 1948, the Old Town Art Fair is one of Chicago’s oldest juried art fairs and one of the first fine art fairs of its kind in the country. Each year, the Old&nbsp;TownArt&nbsp;Fair selects&nbsp;an existing work by&nbsp;an&nbsp;exhibiting&nbsp;artist&nbsp;for its&nbsp;commemorative&nbsp;poster.&nbsp;Soaring Around Old Town&nbsp;is the Old Town Art Fair’s first commissioned work for a poster and joins a colorful history of collectible posters; a rich online library showcasing the dynamic evolution of 75 years of posters can be found&nbsp;<a rel="noopener noreferrer" href="https://www.oldtownartfair.org/more/vintage-art-fair-posters/" target="_blank">HERE</a>. Organized by the non-profit&nbsp;Old Town Triangle Association&nbsp;and completely volunteer-run, the Old Town Art Fair will take place, rain or shine,&nbsp;Saturday, June 14, from 10am-7pm, and Sunday, June 15, from 10am-6pm. Proceeds from the suggested donation of $12 for adults (free for children) go directly back into local schools, arts, and cultural programs in the area, including historic and architectural preservation clubs; the Menomonee Club; and the Old Town Triangle Association. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744908777/nij9ovl4v6znevu6y75x.png"> This year’s Fair promises to be the most festive in its milestone 75-year history, attracting over 230 artists from across the country plus live music on two stages; an array of classic Chicago food and beverage options from local vendors; a dedicated Children’s Corner featuring interactive activities and crafts for kids; and the return of self-guided Garden Walks in over 50 gardens in the Old Town Triangle neighborhood.&nbsp;Annually, the Fair introduces artists to an estimated 30,000 art lovers over the course of the two-day event. Chris Nelson, Old Town Art Fair 2025 Chair, noted that a record number of artists applied to exhibit this year. “We have world class artists across all media showing with us,” he said. “We continue to expand our search for new exhibitors to ensure talented contemporary and upcoming artists are well represented, bringing a fresh feel to each year that has contributed to the Fair’s longevity and legacy over the past 75 years. From exceptional art to strolling Old Town’s historic gardens, there will be something for everyone to discover in this year’s Fair!” Selected by a jury of local art professionals, including gallery owners, museum curators, and artists, the Fair features a dynamic mix of artists working across media, including paintings, sculpture, photography, printmaking, ceramics, glass, fiber, jewelry, and more. Over 700 artists apply each year for a coveted spot within the Fair. The Fair’s exhibitor committee also identifies an annual Emerging Artist to receive a courtesy booth space&nbsp;provided&nbsp;by&nbsp;the&nbsp;Fair&nbsp;at&nbsp;no&nbsp;cost&nbsp;to&nbsp;the&nbsp;artist. This year’s Emerging Artist,&nbsp;<a rel="noopener noreferrer" href="https://annabellesigmond.com/fine-art" target="_blank">Annabelle Sigmond</a>, explores the patterns of nature, human impact on geography, and climate change in her vibrant paintings and illustrations. Along with the visual art offerings, the Garden Walk--an attendee-favorite year after year--offers visitors the opportunity to tour over 50 gardens, many of which are private and only viewable during the Art Fair. Organizers provide historical information, fun facts, and anecdotes about the homes, architecture, and past and present residents. Old Town’s quaint green spaces make the neighborhood a charming and delightful destination for locals and tourists alike.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744908779/ina0uy8y1ffpknxcsoct.png"> For fifty years, two events have been held in Old Town on the second weekend in June; the Old Town Art Fair and the Wells Street Art Festival are separate events. For&nbsp;more&nbsp;information,&nbsp;please&nbsp;visit&nbsp;<a rel="noopener noreferrer" href="http://www.oldtownartfair.org/" target="_blank">oldtownartfair.org</a>&nbsp;or&nbsp;follow&nbsp;along&nbsp;on&nbsp;<a rel="noopener noreferrer" href="https://www.instagram.com/oldtownartfair/" target="_blank">Instagram</a>&nbsp;and<a rel="noopener noreferrer" href="https://www.facebook.com/OldTownArtFair/" target="_blank">Facebook</a>. ABOUT&nbsp;THE&nbsp;OLD&nbsp;TOWN&nbsp;TRIANGLE&nbsp;ASSOCIATIONThe Old Town Triangle Association (OTTA) is a community-based, not-for-profit organization dedicated&nbsp;to&nbsp;enhancing&nbsp;the&nbsp;quality&nbsp;of&nbsp;life&nbsp;for&nbsp;neighbors&nbsp;in&nbsp;the&nbsp;historicOld&nbsp;Town&nbsp;Triangle&nbsp;District on Chicago’s north side. The&nbsp;OTTA&nbsp;hosts&nbsp;the&nbsp;Old&nbsp;TownArt&nbsp;Fair&nbsp;along&nbsp;with&nbsp;many&nbsp;other&nbsp;neighborhood&nbsp;initiatives&nbsp;and works to maintain the historic, landmarked buildings that make Old Town a unique and wonderful community. The&nbsp;“Triangle&nbsp;Building”&nbsp;at&nbsp;1763&nbsp;N.&nbsp;North&nbsp;Park&nbsp;serves&nbsp;as&nbsp;OTTA’scommunity&nbsp;center,&nbsp;meeting&nbsp;place, and neighborhood resource.

Chicago’s Legendary Old Town Art Fair Unveils First-Ever Commissioned Poster for Its 75th Anniversary

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753707/xpkxk3rpkudifujzibll.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/escaramuza-the-poetics-of-home" target="_blank">Escaramuza, the Poetics of Home</a>Opening: Thursday, April 17, 6:00 PM – 8:00 PMPoetry Foundation <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753711/srb6oyctqidctor0djvv.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/huguette-caland-bribes-de-corps" target="_blank">Huguette Caland Bribes de Corps</a>Opening: Thursday, April 17, 6:00 PM – 8:00 PMThe Arts Club of Chicago <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753717/fhtj0sfcsw0go3zzqhba.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/robell-awake" target="_blank">Robell Awake: Human Resources</a>Opening: Friday, April 18, 5:00 PM – 8:00 PMVolume Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753723/jae8zmswovt59aviso83.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/jonathan-worcester-dead-reckoning" target="_blank">Jonathan Worcester: Dead Reckoning</a>Opening: Friday, April 18, 6:00 PM – 9:00 PM65GRAND <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753726/hywz2sjafk56dogrd4g6.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/crossings-by-bernard-williams" target="_blank">CROSSINGS by Bernard Williams</a>Begins April 18Elmhurst Art Museum <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753727/qnik3lpltr96ncfdhlbt.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/faheem-majeed" target="_blank">Faheem Majeed</a>Opening: Friday, April 18, 4:00 PM – 7:00 PMDOCUMENT

New Exhibitions: April 17 & 18

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744739732/c7naayju9y8bnflextd6.png"> By CGN Staff A new local arts advocacy group, Artists for Chicago, was recently created because of the pressing need to collectively share a voice on behalf of the city's artistic community. Part of the letter to the Mayor states, "It is with this understanding that we write to share our deep concern about the dysfunction in the Department of Cultural Affairs and Special Events (DCASE). Our sector depends on DCASE to be a partner in local government that is available and responsive to the community's needs and a strong advocate for the economic and civic power of the arts. Last month marked the first anniversary of Clinée Hedspeth's <a style="background-color: transparent; color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://www.wbez.org/culture-the-arts/2024/03/18/chicago-names-clinee-hedspeth-cultural-commissioner" target="_blank">appointment</a> as the City of Chicago’s Commissioner of DCASE. Over the last year, through revelations in the media, reports from DCASE staff, and statements from the community, it has become evident that the urgent needs of the arts and cultural sector are not currently being met." The letter goes on to outline the problems facing the artistic community and the tangible solutions and leadership it critically needs. The letter was sent the the Mayor's Office on April 14, but we are sharing the group's message and full letter below (also linked <a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://docs.google.com/document/d/1o6myNq2a6lnAJozY9IwngYuHmdhvxv4UUcj3gINnzk0/edit?tab=t.0" target="_blank">here</a>). –––––––––––– Dear Chicago Artists &amp; Cultural Workers: As of noon today, Artists for Chicago submitted this&nbsp;<a style="background-color: transparent;" rel="noopener noreferrer" href="https://docs.google.com/document/d/1o6myNq2a6lnAJozY9IwngYuHmdhvxv4UUcj3gINnzk0/edit?usp=sharing" target="_blank">Letter of Concern</a>&nbsp;to Mayor Brandon Johnson regarding the Department of Cultural Affairs and Special Events (DCASE). While we don’t know what the Mayor’s response will be, we have been overwhelmed by the positive feedback to these efforts. We were thrilled to be able to include 270 signatures (55 anonymous, 215 named) from people across the sector. We had feature articles written in the&nbsp;<a style="background-color: transparent;" rel="noopener noreferrer" href="https://www.chicagotribune.com/2025/02/06/cultural-commissioner-void-bullying-allegations/" target="_blank">Chicago Tribune</a>&nbsp;and&nbsp;<a style="background-color: transparent;" rel="noopener noreferrer" href="https://www.wbez.org/city-hall/2025/04/10/chicago-cultural-department-brandon-johnson-letter-of-concern" target="_blank">WBEZ Chicago</a>, an on-air interview with&nbsp;<a style="background-color: transparent;" rel="noopener noreferrer" href="https://www.nbcchicago.com/top-videos-home/artists-speak-out-against-dcase-commissioner/3719655/" target="_blank">NBC 5</a>, and additional coverage is in the works. By far, the most gratifying comments have been from current and former DCASE staffers who have been sounding the alarm for months. Our letter has made them feel seen, heard, and respected. Because of the incredible response to this work, Artists for Chicago will continue to build collective power for individual artists and cultural workers, inform the field about urgent issues, and keep our public servants accountable to the community. If you would like to do more, we encourage you will reach out to your&nbsp;<a style="background-color: transparent;" rel="noopener noreferrer" href="https://docs.google.com/document/d/1ZTQOmO75Dq9OluJEBzeTgvsTdz4gjUTFq3hKWcdqWSI/edit?usp=sharing" target="_blank">Alderperson</a>&nbsp;or submit&nbsp;<a style="background-color: transparent;" rel="noopener noreferrer" href="https://www.chicityclerk.com/about-city-government-chicago-city-council#:~:text=Persons%20wishing%20to%20comment%20at,their%20name%20and%20telephone%20number." target="_blank">written comments</a>&nbsp;to the City Council. Please stay tuned for next steps. We hope you will follow us on Instagram&nbsp;<a style="background-color: transparent;" rel="noopener noreferrer" href="https://www.instagram.com/artistsforchicago/" target="_blank">@artistsforchicago</a>, and we can always be reached at&nbsp;<a style="background-color: transparent;" rel="noopener noreferrer" href="mailto:artists.for.chicago@gmail.com" target="_blank">artists.for.chicago@gmail.com</a> Thank you, Artists for Chicago ––––––––––––

A group of Chicago artists and arts industry leaders send a letter to Mayor Brandon Johnson

Advocacy Group Artists for Chicago Sends Letter to Mayor Johnson and DCASE Commissioner

<h4><a rel="noopener noreferrer" href="https://www.artnews.com/art-news/news/ari-emmanuel-private-equity-acquisition-frieze-art-fair-1234738559/" target="_blank">Asset Manager Group Led by Hollywood Super Agent Ari Emanuel Nears Deal that Could Include Frieze</a></h4> Ari Emanuel, Hollywood superagent and CEO of Endeavor Group Holdings, is edging closer to a major acquisition that could expand his influence from sports and entertainment into the art world. A consortium he leads, partnered with New York private equity firms Apollo Global Management and RedBird Capital Partners, has reportedly outbid the European firm CVC Capital Partners to buy a group of assets currently owned by Endeavor, valued at more than $1 billion,&nbsp;Bloomberg&nbsp;reported last week. The centerpiece of the deal involves the Madrid and Miami Open tennis tournaments, two of the most prestigious sports events in the world, but the portfolio up for auction may also include&nbsp;<a style="color: rgb(229, 75, 39);" rel="noopener noreferrer" href="https://www.artnews.com/t/frieze/" target="_blank">Frieze</a>, the global contemporary art fair and publisher. Via ARTnews Top image: Frieze Sculpture Park, Regents Park, London. 17/09/2024Linda Nylind<h4> </h4><h4> </h4><h4><a rel="noopener noreferrer" href="https://blockclubchicago.org/2025/04/14/macarthur-foundation-pledges-1-million-to-create-more-public-art-at-developments-near-transit/" target="_blank">MacArthur Foundation Pledges $1 Million To Create More Public Art At Developments Near Transit</a></h4> A local advocacy group will hand out more than $1 million over the next three years to support art projects that preserve and grow the “cultural identities” of Chicago’s neighborhoods. Elevated Chicago will grant $350,000 a year for three years to support public arts projects at developments near transit. The funding aims to “activate” neighborhood gathering spaces while bringing more artists into urban planning and development processes. Via Block Club Chicago <h4><a rel="noopener noreferrer" href="https://www.nytimes.com/2025/04/14/arts/design/climate-disaster-art-conservation.html" target="_blank">Saving Art from Climate Disasters</a></h4> The conservator Nicole Grabow has spent thousands of hours vacuuming fine art. In her Minneapolis office, Grabrow demonstrated how to use a canister vacuum bought on Amazon for $100 to remove dried mold from a painting. With one hand, she steadied the hose over her shoulder and, with the other, made small strokes with a tiny paintbrush. “We don’t want to suck up part of the artwork, right?” she said. “We want to have control of the suction so that we’re being really gentle, especially if we’re working with delicate, fragile, friable surfaces.” Grabow does this work as the director of the preventative conservation department at the&nbsp;<a style="color: rgb(50, 104, 145); background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://preserveart.org/" target="_blank">Midwest Art Conservation Center</a>. The department provides resources and guidance on disaster preparedness to art and cultural heritage stewards, such as state agencies, institutions, museums, galleries and private individuals. Via NYT As one of the few trained conservators in the field of art and cultural heritage emergency response, Grabow teaches people around the world how to remove mold from artwork, along with other salvaging techniques.She said the demand for these skills had grown as climate change increased the frequency of intense weather events such as wildfires and flooding that put collections in danger.

What We're Reading – 4/15/25

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744737487/neysxzwoxscvn75uc1lx.jpg"> EXPO CHICAGO returns to Chicago this April at Navy Pier’s Festival Hall, featuring over 170 leading galleries from 36 countries and 93 cities. Now firmly part of the Frieze network of fairs, all eyes will be on EXPO’s retrenched role as the region’s premier cultural destination in the spring, as well as the sincere expectation that it remain a steadfast tide that lifts all boats (or galleries) even amidst the churning waters of the current global art market. Dozens of local institutions and stakeholders are committed to fostering meaningful dialogue through both contemporary and modern art and to showing off the city’s cultural street-cred.&nbsp; Highlights of this year’s fair include the debut of&nbsp;CONTRAST, a new section curated by Lauren Haynes, as well as a special collaboration with the Galleries Association of Korea (GaoK), alongside the core Galleries section, EXPOSURE and PROFILE. Following are just a few programming highlights to watch for this April. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744737488/cwquo8okmgell43kjvsf.jpg"> ––––––––––– VIP Preview: Th, April 24, 2025. By Invitation Only.&nbsp; General Admission– Friday, April 25, 2025 | 11:00am – 7:00pm– Saturday, April 26, 2025 | 11:00am – 7:00pm– Sunday, April 27, 2025 | 11:00am – 6:00pm <a rel="noopener noreferrer" href="https://www.expochicago.com/" target="_blank">EXPOCHICAGO.COM</a>&nbsp; More highlights: • A dual-artist exhibition of Kwaku Osei Owusu Achim and Tariq Oliver, two emerging artists with a shared reflection on language, meaning, and memory, presented by Omenai Gallery.&nbsp; • A selection of iconic early photographs by Rashid Johnson alongside works by Ebony G. Patterson, presented by moniquemeloche. • A re-imagination of the 1946 art brut&nbsp;installation at Galerie Rene Drouin, inspecting&nbsp;Jean Dubuffet’s relationship to Chicago and&nbsp;Chicago’s relationship to ‘outsider’ art, presented by The Gallery of Everything. ––––––––––– <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744737489/xwwziwe7qxpwiq6vimf9.jpg">Pictured: KIM Tschangyeul, PK95002, 1995,&nbsp;Acrylic and oil on canvas, 162.2x130.3cm.&nbsp;Courtesy PYO Gallery * In a significant new partnership, EXPO&nbsp;CHICAGO introduces a collaboration with the Galleries Association of Korea (GaoK), to present a selection of 20 leading Korean galleries within the fair’s core Galleries section. PYO Gallery will present The Stillness of Water: Tschang-Yeul Kim’s Final Reflections on the Flow of Life, prominently featuring the artist’s images of water droplets and the contemplations on the concept of water itself.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744737490/xdrjddxgvcaguzljbvj9.jpg">Pictured: Lauren Haynes, Hiroko Masuike/The New York Times * Curated by Lauren Haynes, Head Curator, Governors Island Arts and Vice President for Arts and Culture at the Trust for Governors Island, CONTRAST brings together eight contemporary galleries each presenting artists whose work explores contrasts in culture, identity, and experience.“CONTRAST will include a vibrant selection of galleries featuring work by artists, including Devan Shimoyama, Esther Mahlangu, Wangari Mathenge, Fahamu Pecou and Chico da Silva, whose work highlights diverse perspectives through visual storytelling” said Haynes. “This special section seeks to explore contrasts in culture, identity, and experience, with each artist contributing their unique voice to the dialogue. CONTRAST is designed to spark conversation around the artists and artworks on view.” <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744737491/ntafnp0c6jsngksjzqey.jpg"> * GRAY will mount a special presentation, So Be It! Asé! Photographic Echoes of FESTAC ‘77, featuring photographs by members of Chicago’s Black Arts Movement: Roy Lewis, Bob Crawford and K. Kofi Moyo. The presentation is curated by Chicago-based art historian Romi Crawford and unveils documentation of the U.S. delegation to FESTAC ‘77, the Second World Black and African Festival of Arts and Culture, held in Lagos, Nigeria. ––––––––––– <h4>CGN will share additional local EXPO spotlights on April 17, 2025</h4> <a style="background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://www.expochicago.com/" target="_blank">EXPOCHICAGO.COM</a>&nbsp;

A Familiar Fair’s New Approach: EXPO CHICAGO 2025

<h4><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753922/nzcp8furgv3ze8oeex9q.jpg"></h4><h4> </h4><h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/contemporary-curated" target="_blank">Contemporary Curated</a></h4> Apr 10 - May 23Opening Apr 10 5-7pm. Appt only Sat. Apr 12.McCormick Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753922/qp1llvgfnjokmmfeqouy.jpg"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/lindsay-adams-all-water-has-a-perfect-opening" target="_blank">Lindsay Adams: All water has a perfect memory</a></h4>Apr 10 - Jun 14Opening Apr 10 5-7pm.PATRON <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753923/vtqvjsjqqskyvg0fsmuk.jpg"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/caroline-kent-the-sentimental-hand" target="_blank">Caroline Kent: The Sentimental Hand</a></h4>Apr 10 - Jun 14Opening Apr 10 5-7pm.PATRON <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753924/uat4x7n69gmlz0smrrqs.jpg"><h4> </h4><h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/kermit-berg-article-1-human-dignity-shall-be-inviolable" target="_blank">Kermit Berg | Article 1: Human Dignity Shall Be Inviolable</a></h4> Apr 11- May 17Opening: Friday, Apr 11, 5:00 PM – 8:00 PMSoNa Chicago Contemporary Art <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753924/d4utav97g9ehgoaezwhv.jpg"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/urbs-in-myco" target="_blank">Urbs in Myco</a></h4>Apr 11–May 10Gallery of Contemporary Mosaics <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753925/zhaa2i7k611y3e27jm7d.jpg"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/industrial-design-senior-show-university-of-illinois-urbana-champaign" target="_blank">Industrial Design Senior Show, University of Illinois, Urbana - Champaign</a></h4>Apr 11, 2025 - Apr 30Opening: Friday, Apr 11, 5:00 PM – 7:00 PMJohn David Mooney Foundation <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753926/uabdcf0vwnga0luy2kul.jpg"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/gallery-day-mke2025" target="_blank">Gallery Day MKE 2025</a></h4> Saturday, Apr 12, 2025 11:00 AM – 6:00 PMLily Pad | West <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744753926/b9advvrnpgcdmxmn0uns.jpg"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/closing-reception-gallery-night-mkeApr25" target="_blank">Gallery Day MKE 2025</a></h4> Friday, April 11th from 5 to 9PMSaturday, April 12th from 11AM to 4PMArtist Talk: April 12th beginning at 1PMKim Storage Gallery <h4>View the full CGN Calendar <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events?filter=upcoming&amp;page=1" target="_blank">here</a></h4>

New Exhibitions: April 10–12

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744316153/biedktpayoenvi0ob6sw.jpg"> By GINNY VAN ALYEA Sara Mongerson is the director of <a rel="noopener noreferrer" href="https://www.mongersongallery.com/" target="_blank">Mongerson Gallery</a>, a family-founded gallery in business since 1971. Sara took over as director after husband and gallery director Tyler Mongerson unexpectedly passed away in May 2023. CGN checked in with Sara recently about the changes and challenges she has embraced these past two years. – GV&nbsp; CGN: How have things have been going at the gallery this year?&nbsp;SM: It’s been a year of transition. After Tyler’s passing in 2023, gallery Director Jack Spector-Bishop and I had to dig out and figure out our plan going forward. This included going private, investing in our online presence, and finding new ways to partner with local businesses. Art dealing is evolving, and you can’t rely on walk-in traffic. I have to think about safety and security for the staff and the art, so we moved into a secure co-working space and we show by appointment only. We added an art-specific CRM and inventory system and built out a new website, and we have enhanced our newsletters and are dabbling in social media. For Black History Month this year, we tried something new and partnered with several local businesses (Cosentino, Regiment Securities, Alexis Goettsch Photography) to host an exhibition of works by Detroit artist Harold Neal, whose estate we represent. This was successful and I expect to do more in the future. Over the years, our focus has expanded. The gallery was founded in 1971 as a sporting and wildlife art gallery. It quickly shifted, slightly but significantly, to period Western and Western Expansion, which is still what we are most known for today. Over time, we’ve added additional areas of interest. Now we deal in 19th and 20th century fine art including other genres such as American Surrealism, Regionalism, African American, Early Modernism, and select Contemporary. It might seem varied, but there are themes throughout that make sense. For example, Western art is about taming the wild and documenting the movement of people as they settled across the Western US. It’s romanticised, but there is also the issue of the displaced Native American. The Black Arts Movement is about documenting the Black experience including civil unrest in cities like Detroit after the Great Migration to the North. Both share ideas of everyday beauty but also human mistreatment and conflict. It’s about our nation’s history, good and bad.&nbsp; Quality Western work is in high demand, and we have buyers. It’s a challenge to find available inventory and clients who wish to sell. Our inventory of Black Art is attracting private collectors as well as museum interest. CGN: You recently mentioned the 100th anniversary of Surrealism. How has attention shifted for this group of artists, your gallery’s artists in particular?SM: It’s been exciting. Globally everyone with a connection to Surrealism seems to be having an exhibition to honor this anniversary–the Pompidou, the Tate, the Met.&nbsp;Interestingly, female artists like Getrude Abercrombie are getting more attention. Gertrude Abercrombie: The Whole World is a Mystery, which opened at the Carnegie Museum, travels to the Colby College Musuem of Art this summer and then to the Milwaukee Art Museum in March of 2026. We deal in Chicago-area female Surrealists, including Abercrombie, and also Julia Thelca, and Marcena Barton. We have definitely seen increased interest from collectors and museums who are paying attention. CGN: What is Mongerson exhibiting planning next?&nbsp;SM: We have a few Harold Neal pieces still on display at Cosentino Chicago. We are in the early stages of planning an event to highlight our Julia Thecla inventory, likely in May, and we are also participating in an educational event with the Frederic Remington Art Museum in April, as we are committed to remaining connected to our roots and educating the public on this important period of American art. There is a lot coming up. More info at <a rel="noopener noreferrer" href="https://www.mongersongallery.com/" target="_blank">mongersongallery.com</a>

Checking–in: Sara Mongerson of Mongerson Gallery

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744316208/min9i3ef9r02c581l3rp.jpg">Jonathan Worcester By BIANCA BOVA CGN: Thanks for taking the time out to speak with me Jonathan. I realize I’m catching you in the middle of a busy year.&nbsp;Jonathan Worcester: Yes, absolutely. Recently I was in a group show at Old Friends called Ambulance Chase with Peter Fagundo and Michelle Grabner [n.b. curated by the interviewer, Bianca Bova], where I showed some paintings that were dealing in the genre that I’ve been working in for a few years now, but sort of thinking through them differently in terms of their contingency. Shortly I will be in a group show called Masterclass at Secrist | Beach that is a show of 25 years of painting alumni from the School of the Art Institute of Chicago. Then in April, I open a solo exhibition at 65Grand, Dead Reckoning. CGN: The show at 65Grand, that is a new body of work that was conceived of for the exhibition?JW: An entirely new body of work, yes. Everything is being made specifically for the walls of that space. I am measuring everything to the exact gallery specs. It will be a contiguous run of work with basically no space between the paintings, except where they meet the wall. It’s a horizon line of paintings. Everything is 48 inches high with different widths and different depths. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744316209/bvqdxytbk4e8mzy8rkzp.jpg">Jonathan Worcester, Untitled, 48 x 48 x 3.25”. Courtesy the artist. CGN: Right now there is a resurgence among young artists for a number of reasons, ascribed to everything from the economic conditions of the day to this kind of a reverb off of the last 20 years of post-modern conceptualism, of a return to painting. Your work is often remarked on for being very process-oriented, which we see less of. I’m interested in what context you see yourself in given that assessment.&nbsp;JW: Well, okay, thinking about process painting, I feel like there was such a resurgence of process painting that has been categorized through zombie formalism. I reject categorizing myself that way at all because I find maybe the least interesting thing about my work is the process. A lot of it is really just me sort of obsessively, episodically dealing in dots. And I feel like looking through the lens of process at the work allows for sort of this idea of labor being the most important thing that happens there, which is really not what I’m interested in. It becomes a simple solution for getting an understanding of a work without actually having to deal with the physicality of the thing itself. I don’t know, one of the things that I feel is fundamental in the aesthetics of “process” work, is painting that deals with the removal of the hand. That’s one of the things that is notably common among some of my peers in Chicago. I do feel like I’m a little bit on an island, though. CGN: Knowing that, I’m curious what has your&nbsp;attention right now? What are you looking at?&nbsp;JW: The work that I’m looking at and responding to is not really happening in Chicago right now. Except there was an exhibition in 1999 at Illinois State University that was called Post-Hypnotic. That was a seminal show that relates to the aesthetics that I’m interested in. It was curated by Barry Blinderman. CGN: Oh, that’s a name I don’t hear often enough.&nbsp;JW: The exhibition was a look at these aesthetics 25 years later, from a show at MoMA from 1965 titled The Responsive Eye that was dealing with the same thing. I picked up a copy of the catalog, and I’d actually be interested to talk to him as we’re 25 years later from his own exhibition, and see what he thinks about this sort of thing in the zeitgeist.&nbsp; CGN: I’d love to know how that goes if you reach out to him. To pull back a little bit immediately from the work and go back to how you relate yourself to Chicago, you grew up here, didn’t you?JW: I did. I was born in Milwaukee, but I moved here in first grade, and we moved to Hyde Park because my mom is a research professor at the University of Chicago. I left for New York for college and attended Sarah Lawrence, which is right outside the city, but I would do summers in Brooklyn. You know, served my Bushwick tour of duty. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744316210/fwqamhe5kldabfoalgpu.jpg">Jonathan Worcester, Untitled, 48 x 58 x 1.75”. Courtesy the artist. CGN: As one does.JW: As one does, or at least did in the mid-2000s. I love New York. I just needed to come back to Chicago for various life-oriented reasons. And I was having so much trouble actually making work in New York. Once I was out of school, and I didn’t have institutional resources, it was…I was painting on my roof. That was the only place I could get space. So moving back here has been great, because I’ve been able to have a studio all along. I was in the basement of a building in Logan Square, where I didn’t know if the tenants even knew I was there. But there was sort of an arrangement where I could use the basement and paint. I was down there in this windowless space for eight years. The rent was dirt cheap. I moved out because my desire for windows was strong, and the person above me was a religious zealot. They started having, I don’t know—Bible parties? All the time. And they were rowdy. It was so loud. Reciting things and slamming things on the floor. Now I’m in the 3200 Carroll Building with a number of good friends, people who I went to school with, and various artists at various points in their careers. I share a space with my friend Trey Rozell. CGN: When you moved back, you also enrolled in graduate school at SAIC?JW: I did, yeah. I was working at the MCA as a preparator and realized if I worked at the Art Institute, I could go to school for free on tuition remission. So I got a job at the museum as an art technician in the Collections and Loans Department, and then moved over to be the specialist of the European Decorative Arts Department. That’s where I still am. And went through grad school. CGN: You also made your first foray into teaching at SAIC.JW: I did, yeah. I was given a fellowship once I graduated to begin to teach a class there. And I taught painting practices. My time at SAIC was really affected by Michelle Grabner, and talking about pedagogy and sort of considering the way in which education, specifically higher education should work. I needed to try my hand at that. She put that bug in my ear. Having a chance to reflect on the way in which my education works and things that I wanted, and reacting to how students are now was really impactful for me in terms of thinking about how I create considerations in my own research. I’m grateful to have been forced to reckon with the way in which this thing should be done. CGN: I’m deeply interested in something that I happen to know about your studio practice, a very specific form of passive media consumption. And that is that you are a habitual listener—not watcher—of Dateline.JW: I sort of thought you might ask me about this. So, okay, full context. I work a nine to five job. I paint with an obsessiveness that requires me to basically be in the studio from 6 p.m. to almost 2 a.m. most days. I don’t have a lot of time for anything else. So I do audio books and I listen to podcasts to be able to feed the intellectual questions that I have. But yes, one of the lighter things I very often engage with is Dateline—I’ve more or less listened to its archive by now. The format itself is obviously made for television. It’s so funny they offer it in podcast form because they constantly refer to images and people. I think there’s always been a fixation culturally with true crime. And I definitely participate in that to a certain extent, but the reason I love Dateline is the format in which they do it is classic. They’re like the first true crime show and they still have these sort of network television personalities that are associated with it. Despite the uptick in interest in true crime, they have not strayed from their formula in the decades they have been on. It’s not a dumb podcast that’s more about the podcasters’ friendship, which I could not care less about, than the content. They explicate the thing thoroughly. They go through the entire investigation and there’s no frivolous conversation. It’s fact-based. It’s well-edited.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744316211/nq1zpuyopymkn2mukezj.jpg">Jonathan Worcester, Untitled, 48 x 68.75 x 3.5”. Courtesy the artist. CGN: This is what fascinates me—you’ve chosen a highly, highly, highly consistent and formulaic program to be the thing that you are passively consuming as you work. The relationship between that and the inherent obsessiveness of your paintings, both in practice and process, I would like to know more about that.JW: Yeah, that’s a great connection. Actually that wasn’t obvious to me. So thank you. The way that I actually am making work is so scripted. I know how I’m going to do it, and from there it just deals with repetition, with patterning. The way I create difference is in semi-object-oriented things about the work, like changing the context, changing how they are contingent to the space around them. I can get so obsessive about color relationships. Just looking at a painting next to a painting that’s dealing in the same patterning and how much they affect each other—that’s what’s really been blowing my mind recently. But I am extremely formulaic. I think I’ve worked out a practice where I don’t have to stand back with my brush and feel this romantic trauma. I find that so obnoxious. I am not struggling. I’m having a great time listening to Dateline and I’ve baked in maybe ten decisions for each individual painting. Then I’m just working. And that is fun for me. Dead Reckoning at <a rel="noopener noreferrer" href="https://www.65grand.com/" target="_blank">65Grand</a> opens Friday, April 18, 6-9pm. On Friday, April 25, 6-9pm Frieze is hosting a private reception and exhibition viewing for EXPO Chicago VIPS.&nbsp;RSVP to <a rel="noopener noreferrer" href="mailto:info@65grand.com?subject=Rsvp%20for%20April%2025%20Reception" target="_blank">info@65grand.com</a> More information about the artist at <a rel="noopener noreferrer" href="https://www.jonathanworcester.com/" target="_blank">jonathanworcester.com</a> #

Jonathan Worcester: Painting with Creative Precision

<h4><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744055481/jmhxde6assnnr92csubk.jpg"></h4>Until recently, the Barcelona chairs only came in leather, with polished chrome frames. The reluctance to introduce new variations stemmed from a desire to stay true to Mies’ tastes.&nbsp;Knoll <h4><a rel="noopener noreferrer" href="https://www.cnn.com/2025/04/07/style/architect-ludwig-mies-van-der-rohe-barcelona-chair/index.html" target="_blank">This famous architect’s iconic furniture line is getting its first update in decades</a></h4> There are only a handful of architects in contemporary history whose names are widely recognized. Among this cohort is also Ludwig Mies van der Rohe, whose vision of industrial modernism helped define the look of postwar urban America. His signature materials — high-tensile steel, black graphite paint, broad panes of glass — and his minimalist ethos of “less is more” set him apart from the more decorative, hand-hewn buildings of earlier generations.￼￼At the 2025 edition of the world’s most prestigious design fair, Salone del Mobile, in Milan, Italy, [van der Rohe's] iconic “Barcelona” furniture line — a sleek, blocky trio of a chair, daybed and footstool — is receiving its first major update in decades. Added options in the range feature new upholstery choices in twill, velvet and linen, and an ultra-matte black frame (perhaps a subtle nod to the architect’s hallmark painted steel). Previously, Barcelona items have only been available in various leathers, with polished chrome frames. Via CNN <h4><a rel="noopener noreferrer" href="https://blockclubchicago.org/2025/04/02/the-art-institute-of-chicago-returned-a-sculpture-to-nepal-but-obscured-its-connection-to-a-wealthy-donor/" target="_blank">Art Institute Of Chicago Returned A Sculpture To Nepal But Obscured Its Connection To A Wealthy Donor</a></h4> The Art Institute of Chicago&nbsp;<a style="color: var(--newspack-theme-color-secondary-against-white);" rel="noopener noreferrer" href="https://www.artic.edu/press/press-releases/385/art-institute-of-chicago-returns-12th-century-buddha-sculpture-to-nepal" target="_blank">announced recently</a>&nbsp;that it had returned to Nepal a sculpture that had been in its collection for at least a quarter century. Conspicuously left out of the press release: that the sculpture had been a gift from a wealthy Chicago donor.That omission obscured a simmering controversy about whether Chicago philanthropists Marilynn Alsdorf and her husband, James, both of whom are dead,&nbsp;<a style="color: var(--newspack-theme-color-secondary-against-white);" rel="noopener noreferrer" href="https://www.propublica.org/article/art-institute-chicago-nepal-artifacts-repatriation" target="_blank">improperly built their collection of hundreds of South Asian works</a>&nbsp;and why the Art Institute, which houses some of that collection in its Alsdorf Galleries, has been reluctant to return those works to countries with compelling claims for them. Via Block Club <h4> </h4><h4><a rel="noopener noreferrer" href="https://www.theartnewspaper.com/2025/04/07/five-years-after-pandemic-art-fairs-still-in-recovery" target="_blank">Why five years after the pandemic, art fairs are still in recovery</a></h4> Writing in&nbsp;<a style="color: inherit;" rel="noopener noreferrer" href="https://www.nytimes.com/2025/03/11/opinion/pandemic-cycle-chaos.html" target="_blank">The New York Times</a>&nbsp;last month, Charles Kenny, the author and senior fellow at the Center for Global Development, noted that we may still be in the “chaos phase” of a pandemic cycle. “Our global economy and politics are suffering their own form of long Covid,” he wrote.Five years on from the first lockdowns, the art market is far from back to full health, and art fairs, once the powerhouses of the industry, are struggling to regain their footing. Faced with rising exhibiting and travel costs as well as dampened spending among collectors, dealers are taking bigger risks by doing fairs. At the same time, the way VIPs engage with art world events has changed significantly since the pandemic. A survey published in November of 1,400 Art Basel VIPs revealed that art fair attendance almost halved between 2019 and 2024, from eight to an estimated five last year. Via the Art Newspaper<h4> </h4> <h4> </h4><h4><a rel="noopener noreferrer" href="https://www.npr.org/2025/04/05/nx-s1-5344980/opinion-art-fair-flyers-should-showcase-human-creativity" target="_blank">Opinion: Art fair flyers should showcase human creativity</a></h4> The spring flyer for Oakland's First Fridays street fair shows people strolling on an urban avenue past a building festooned with bright, pink flowers.But that advertisement for an event celebrating creativity wasn't created by an artist. It was generated by AI. Riva Lehrer, the artist and writer who also teaches at the School of the Art Institute of Chicago, told us: "We in the arts have to understand the machinery of our imaginations in order to become deeper artists. AI is like letting our minds be kidnapped and distorted. It is a vampire mirror, capturing your soul and putting it in a cage." ViA NPR's Scott Simon

What We're Reading: 4/7/25

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744057229/rgykohdptfvo8hfw2xbe.jpg">National Public Housing Museum exterior; photo courtesy National Public Housing Museum By CGN Staff via PR The <a style="color: rgb(13, 13, 13);" rel="noopener noreferrer" href="https://nphm.org/" target="_blank">National Public Housing Museum</a> has opened in Chicago, and it's been 18 years in the making. The new cultural space marks the culmination of a journey to complete an expansive adaptive reuse project of the last remaining building of the Jane Addams Homes in Chicago's Little Italy neighborhood at 919 S. Ada Street. Founded by public housing residents, the Museum is a place to experience stories of hope and personal achievement amid struggle, resistance, and resilience. The Museum aims to preserve an important building as well as the many experiences and stories that happened within its walls –&nbsp;and the walls of other public housing structures. It also seeks to cultivate stories that are yet to come, both for individuals who may have spent time in public housing as well as those whose lives have been quite removed from public housing. “This museum was built by hundreds of dedicated people who have made it a reality,” said Sunny Fischer, Co-Founder and Board Chair for the National Public Housing Museum. “They shared their stories, and they patiently provided their labor and love and support over the last 18years. As a Site of Conscience, we join museums around the world committed to telling complicated and difficult stories, preserving history, and imagining a more just future.” “Growing up in public housing, I saw the strength, pride, and resilience of our communities, which are too often erased,” said Francine Washington, Chairperson of the Central Advisory Committee for the Chicago Housing Authority and board member of the National Public HousingMuseum. “This Museum is personal. It’s the first in the country to tell our stories–not just the bricks and buildings but the people who made public housing, home. We’ve always had a voice. Now we have a place that listens.” <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1744057230/irqigck8dfd8joavhcft.jpg">Inside the Historic Apartments; photo credit Percy Ollie Jr. of Ollie Photography, Inc. “The National Public Housing Museum is dedicated to the belief that housing is a human right,” said Executive Director Dr. Lisa Yun Lee. “The dazzling stories, precious keepsakes, compelling cultural production of public housing, and activism of public housing residents have much to teach us. And because housing insecurity and injustice is such a critical issue facing so many people across our nation, the National Public Housing Museum will be an important civic anchor that brings people together to imagine innovative solutions and envision a moreequitable future.” In a recent interview with NPR's Alison Cuddy, Lee shared "We believe that in order to preserve history, you have to make it relevant to the most critical social justice issues of today and that there is no way that we can actually address any of the social issues that we want to unless we go back in time and ask, what have we not yet learned from history?" The museum celebrated its opening with a weekend-long celebration, including meet-and-greets with artists, hands-on art-making sessions, and even a dance party emceed by DJ Spinderella. Highlights of Museum exhibitions include: Restored ApartmentsThree historic apartments from different generations of public housing residents that engage and teach visitors about the cultural, social, and economic history of housing. Everyday ObjectsArtifacts, objects and stories from public housing across the country that encourage empathy and connection. By foregrounding storytelling, the National Public Housing Museum encourages innovative and creative public policy that responds to people’s lived experiences. Art and Exhibition SpacesEnthralling art that expands people’s imaginations and their horizons of learning. Highlights include a public art commission by internationally renowned artists Amanda Williams and Olalekan Jeyifous and the Alphawood Foundation Sculpture Garden with restored WPA-eraAnimal Court sculptures by Edgar Miller. Oral History Archive and Oral History CollectiveThe Museum is home to the nation’s largest archive of the stories of public housing residents. These stories are featured in podcasts, exhibits, research, and scholarship. The new building includes the Dr. Timuel Black Recording Studio. Empowerment HubGood Chaos Empowerment HubThe National Public Housing Museum has a space dedicated to programs that address the racial wealth gap, build solidarity economies and cooperatives, and create a cultural workforce that contributes to diversifying the museum profession. Corner Store Co-opAlvin H. Baum Family Foundation Museum StoreIn place of traditional museum retail, the National Public Housing Museum’s official shop is co-owned and operated by public housing residents. Demand the ImpossibleDoris Conant Advocacy SpaceHere, visitors participate in discussions of social justice issues to encourage action and meaningful civic dialogue. The Museum enables people to understand principles of urban planning and systemic racism to find new ways of addressing segregation. Through the Doris Conant Advocacy Space, visitors learn to challenge perceptions of what public housing was in order to re-imagine the future of housing for all. The REC RoomAn interactive exhibit curated by DJ Spinderella that showcases the music that has emerged from public housing projects, encompassing a range of popular sounds that have expanded our idea of American culture and American identity. The National Public Housing Museum is now open at 919 S. Ada Street in Chicago. General admission is free and open to all. Historic Apartment Tours can only be experienced through aguided tour led by a Museum educator, with a limited number of tickets available each day ($25 adults, $15 seniors, students, and children; free for Members). The Museum is open Wednesdays, Thursdays, Fridays, Saturdays, and Sundays from 10 a.m.- 5 p.m., with extended hours on Thursdays until 8 p.m. More information about the museum's hours and programs may be found at <a style="color: rgb(16, 60, 192);" rel="noopener noreferrer" href="https://nphm.org/" target="_blank">www.nphm.org</a>

Chicago's New National Public Housing Museum: An 18 Year Dream Realized

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743702305/dbduykzawequmimr74zk.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/cameron-gainer-take-time" target="_blank">Cameron Gainer: Take Time</a>Opening: Friday, April 4, 5:30 PM – 7:30 PMENGAGE Projects <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743702310/bxvt2kc647zdw3mg6rky.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/eric-lebofsky-liminality-blue" target="_blank">Eric Lebofsky: Liminality Blue</a>Opening: Friday, April 4, 4:00 PM – 7:00 PMZolla / Lieberman Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743702314/gf6n5ltwv6nmjpsshlz7.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/busted-contemporary-sculpture-busts" target="_blank">Busted: Contemporary Sculpture Busts</a>Exhibition begins April 4Frederik Meijer Gardens &amp; Sculpture Park <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743702319/cunfvaxdyis9ylttfyrb.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/rescue-me-jenny-hiser-solo-show" target="_blank">Rescue Me: Jenny Hiser Solo Show</a>Exhibition begins April 4Chicago Truborn <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743702322/vapfbuqpjrhgshft3det.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/arc-collective-member-show" target="_blank">ARC Collective: Member Show</a>Opening: Friday, April 4, 5:00 PM – 8:00 PMARC Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743702328/yoqfnzbtwf8cx9wvu9ib.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/behind-blue-eyes" target="_blank">Behind Blue Eyes</a>Opening: Friday, April 4, 4:00 PM – 7:00 PMZolla / Lieberman Gallery

New Exhibitions Opening April 4 & 5 (Part 1)

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743703785/tiqodhutrtmu3ddnchme.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/echo-mutation" target="_blank">Echo Mutation</a>Opening: Friday, April 4, 6:00 PM – 10:00 PMChicago Grand Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743703788/l6muxlhhjf15ewyphvmj.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/12-year-anniversary" target="_blank">12-Year Anniversary&nbsp;</a>Opening: Friday, April 4, 5:00 PM – 8:00 PMVertical Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743703790/uwt7yyqm3ttjmpzvlzgu.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/favorite-things" target="_blank">Favorite Things</a>Opening: Friday, April 4, 4:00 PM – 9:00 PMChicago Printmakers Collaborative <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743703791/phug2jwrunc8mvksmla7.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/insideout" target="_blank">Inside/Out</a>Opening: Saturday, April 5, 5:00 PM – 8:00 PMThe Grove Gallery <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743703793/sw918zzf570qsafabttb.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/25" target="_blank">25!</a>Exhibition begins April 5moniquemeloche <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1743703794/zwm1oshfwxlessvy3gdu.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/steve-geer-and-anthony-iacuzzi-the-real-and-imagined" target="_blank">Steve Geer and Anthony Iacuzzi: The Real and Imagined</a>Opening: Saturday, April 5, 5:00 PM – 7:00 PMPerspective Photo Gallery