<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418161/jbd2rzscq3ot9q5f9vqq.jpg"></figure>&nbsp;Photographer&nbsp;Dawoud Bey was awarded the presigious MacArthur Foundation Genius Grant this week in recognition of his exploration of the role of portraiture and photography in examining life and history in America.Bey is represented in Chicago by <a href="https://www.chicagogallerynews.com/galleries/stephen-daiter-gallery">Stephen Daiter Gallery</a> and he is a professor of photography at Columbia College Chicago.&nbsp;Following is the announcement from the MacArthur Foundation:Dawoud Bey&nbsp;is a photographer and educator whose portraits of people, many from marginalized communities, compel viewers to consider the reality of the subjects' own social presence and histories. Through his expansive approach to photography—which includes deep engagement with his subjects and museum-based projects—Bey is making institutional spaces more accessible to the communities in which they are situated.During a residency in 1992 at the Addison Gallery of American Art at Phillips Andover, Bey embarked on what would become an ongoing series of portraits of high school students. He made his artistic practice more public and accessible, involving the students in shaping their own representations and working in a semi-public studio. The resultant large-scale, multiple-image works are powerful expressions of the youthful subjects' respective individualities, still in the throes of being formed and negotiated. Bey expanded on this project in&nbsp;Class Pictures&nbsp;(2002–2006), a body of work produced in collaboration with young people and institutions throughout the United States. In addition to playing a role in the construction of their psychologically rich portraits, the students provided written texts about themselves to accompany Bey's photographs of them, creating another layer of evocative self-definition. The exhibitions, public programming, and educational outreach Bey conceived as components of&nbsp;Class Pictures&nbsp;turned the museum into a vehicle for creating a closer relationship between institutions, youth, and the communities they inhabit.More recently, Bey has focused on the construction of collective history and memory. In&nbsp;The Birmingham Project(2013), he commemorates the lives of six children killed in the 1963 bombing of the Sixteenth Street Baptist Church and its aftermath in Birmingham, Alabama, through a series of portraits of Birmingham residents whose ages correspond either to the ages of the children in 1963 or to how old they would have been fifty years later in 2013. In another recent project,&nbsp;Harlem Redux&nbsp;(2014–2017), Bey returns to the site of his first project,&nbsp;Harlem, U.S.A. (1975–1979), but in this instance he focuses on the urban landscape and its transformation spurred by gentrification. Through his own work and long-time commitment to educating and mentoring young artists, Bey is redefining the role of photography and portraiture as active agents in the examination and formation of communities.BIOGRAPHYDawoud Bey received a B.F.A. (1990) from Empire State College of the State University of New York and an M.F.A. (1993) from Yale University. His work has been included in solo and group exhibitions at the Metropolitan Museum of Art, the Art Institute of Chicago, the Studio Museum in Harlem, the Walker Art Center, the National Portrait Gallery (London), and the Whitney Museum of American Art, among many others. In 1998, he joined the faculty of&nbsp;Columbia College Chicago, where he is currently a professor in the Department of Photography and a former Distinguished College Artist.Read <a href="https://www.macfound.org/fellows/984/">more here</a> and watch a video about Bey.Photo:&nbsp;John D. &amp; Catherine T. MacArthur Foundation</body></html>

Photographer Dawoud Bey Awarded Prestigious MacArthur Genius Grant

Each week CGN interviews a local art dealer or administrator to discuss the ins and outs of running a gallery or exhibition program. This week we caught up with curator Georgia Schwender of Fermilab Art Gallery. Though not a &#39;dealer&#39; this interview is still part of CGN&#39;s&nbsp;Interview with a Dealer series.&nbsp;

&nbsp;

Age: 55

Current Position: Curator

Hometown: Shoreham, NY

Previous Occupation: Senior Photographic Specialist at Brookhaven National Laboratory, Upton NY

&nbsp;

Favorites from this week:

Restaurant: Farm to Table &ndash; both ours! Nothing tastes better than homegrown heirloom vegetables.

Shop: REI

Read: Alan Alda &ndash; &ldquo;If I understood what you were saying, would I have this look on my face?&rdquo;

Neighborhood: Fermilab Tallgrass Prairie

Music: Eddie Vedder &ndash; Tuolumne

&nbsp;

Chicago Gallery News: Tell us about your art background and how you started with Fermilab Art Gallery?&nbsp;

Georgia Schwender:&nbsp;In 1995, I was part of a three-person exhibit in the Fermilab Art Gallery, exhibiting &ldquo;Stem&rdquo; large format black and white photographs from the Royal Botanic Garden in Edinburgh, Scotland. I became part of the Art Gallery&rsquo;s committee and discovered a community of like-minded individuals. I was offered the position as curator in 2001.

&nbsp;

CGN:&nbsp;How do you sum up Fermilab Art Gallery&rsquo;s program in one sentence?

GS:&nbsp;The Art Gallery, including the annual Artist-in-Residence program, is an intersection of art and science.

&nbsp;

CGN:&nbsp;Share a typical &#39;day in the life.&#39;

GS:&nbsp; There are no typical days, which is one of the many reasons I enjoy my job. One day, I&rsquo;m installing an exhibit. The next day, I&rsquo;m collaborating with the Office of Communication for public outreach.&nbsp;

&nbsp;

CGN: Affiliation with Fermilab puts this gallery in a unique position, can you speak to how the partnership affects and influences programming?

GS:&nbsp;The Art Gallery is a fundamental aspect of Fermilab&rsquo;s cultural and scientific heritage. &ldquo;Art@CMS,&rdquo; &ldquo;Art of Darkness &ndash; Images from the Dark Energy Survey,&rdquo; Ellen Sandor&rsquo;s &ldquo;Neutrinos in a New Light,&rdquo; and Edward Tufte&rsquo;s &ldquo;The Cognitive Art of Feynman Diagrams&rdquo; are all exhibits and partnerships exploring experiments and discoveries in physics. Because the gallery is located in the main building of this particle physics accelerator laboratory, the collaboration between artists and scientists is unique. The artwork brings to life the discoveries within Fermilab and engages the surrounding communities.&nbsp; &nbsp;

&nbsp;

CGN:&nbsp;Share some successes as well as challenges this year.

GS: Fermilab celebrated 50 years of discovery this year. 10,000 people attended the open house. The art gallery was a destination with presentations by the current Artist-in-Residence Jim Jenkins and Gallery Committee Member Anne Mary Teichert.

&nbsp;

CGN: What are some unique aspects about running a space dedicated to the visual arts while under the umbrella of a science and tech organization?

GS:&nbsp;Robert Wilson, the first director of Fermilab, was an artist and a physicist who created the space within the laboratory for art to thrive. We continue to uphold and further explore this connection between art and science. In 2014, I founded the annual Artist-in-Residence program, which enables an artist to have access to places and experiences not usually open to the public, in order to create a signature body of work that is displayed in the gallery.

&nbsp;

CGN:&nbsp;What do you want a young person to know who is considering this field?

GS:&nbsp;Follow your dreams. Do not be dismayed if you take some right or left turns along the way. You&rsquo;ll get there.

&nbsp;

CGN: What&#39;s coming up next at the Fermilab Art Gallery?

GS:&nbsp;&ldquo;Wind Flow Photography&rdquo; by Shirley Nannini and Candace Wark&rsquo;s &ldquo;Viewing Silence&rdquo; on display from October 12 - December 29. At the reception, held October 20, 2017 from 5-8 pm, artists will be demonstrating a Wind Tunnel.

&nbsp;

CGN: Favorite cultural pursuit outside of the art world?

GS:&nbsp;Understanding the ecosystems of the native Midwest prairie. This inspired my two grid pieces, that were on display at the Bridgeport Art Center during &ldquo;Curators Create&rdquo;, &ldquo;Prairie Quadrat Study I and II.&rdquo; It depicts a prairie quadrat study at Fermilab with the brown images represented as non-native plants and blue as native plants. These 25 pieces are displayed on 8x8 wooden panels and illustrate my passion for native prairies.&nbsp;&nbsp;

&nbsp;

CGN: Favorite work of public art in Chicago?

GS:&nbsp; &ldquo;My Pi&rdquo; by John Adduci

&nbsp;

CGN: Artists you admire most.

GS:&nbsp;Anna Atkins, Julia Margaret Cameron, FSA Photographers, National Geographic Photographers, the list goes on and on...

&nbsp;

CGN: Last Chicago restaurant you visited.

GS:&nbsp; Antique Taco, after collecting my cyanotypes from &ldquo;Curators Create&rdquo; at the Bridgeport Art Center.

&nbsp;

CGN: What have you learned about being an artist and curator?

GS: I am both an artist and a curator. In July 2017, I was an Artist-in-Residence at Homestead National Monument in Nebraska, which gave me time to work on my cyanotypes in the Prairie Quadrat Study series. It also allowed me a time period to identify purely as an artist. Curating a gallery and creating art are uniquely different, but are symbiotic in my pursuit of the arts.

&nbsp;

Georgia Schwender is the curator of&nbsp;Fermilab Art Gallery in Batavia, Illinois. For more information about the&nbsp;gallery and Fermilab&rsquo;s mission please visit:&nbsp;

<a href="https://www.chicagogallerynews.com/galleries/fermilab-art-gallery">Fermilab Art Gallery.</a>

&nbsp;

&nbsp;

&nbsp;

CGN's interview with Georgia Schwender of Fermilab Art Gallery

An Interview with Curator Georgia Schwender

&nbsp;

<img alt="" data-rich-file-id="2379" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2379/original/chicago-sun-times.jpg" />

<h2>Closed Bronzeville school becomes a student art&nbsp;gallery</h2>

It was hard for Irene Robinson not to cry as she walked the halls of the former Anthony Overton Elementary School. Five of Robinson&rsquo;s children attended the school before it was closed by Chicago Public Schools in 2013. Since then, the building has fallen into a state of disrepair. The flooring has been torn up, ceiling tiles are missing and some doors and windows are now boarded up or covered in caution tape, with glass shattered from attempts to enter.

&ldquo;It was so much more than a school,&rdquo; Robinson said through tears. &ldquo;This was a family. Every time I pass by here I feel like this is a gravesite.&rdquo;

&ldquo;Opening Closings&rdquo;&nbsp;is a collaboration between Borderless Studios, DOCOMOMO-US-Chicago and the Chicago Arts Partnerships in Education. For Saturday only, the former Bronzeville school featured student artwork. The exhibit is part of the Chicago Architecture Biennial

--Via&nbsp;Rachel Hinton,&nbsp;Chicago Sun Times

<a href="https://chicago.suntimes.com/entertainment/bronzeville-overton-school-art-exhibit/">Read More</a>

&nbsp;

<img alt="" data-rich-file-id="2383" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2383/original/robie-house.jpg" />

<h2>After hours program returns to Frank Lloyd Wright&rsquo;s Robie House</h2>

If you missed the last several iterations of After Hours at Robie House, there&rsquo;s going to be four more events this month. Once again, the Frank Lloyd Wright Trust is opening the historic Prairie School home in&nbsp;Hyde Park&nbsp;to the public for drinks and live music. Designed by Frank Lloyd Wright and completed in 1910, the Prairie style home is a Chicago Landmark, a U.S. National Historic Landmark, and is a home that Wright himself considered to be one of his greatest works.

--Via&nbsp;AJ LaTrace, Curbed Chicago

<a href="https://chicago.curbed.com/2017/10/3/16410722/frank-lloyd-wright-robie-house-chicago-happy-hour-drinks">Read More</a>

&nbsp;

<img alt="" data-rich-file-id="2381" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2381/original/declaration.jpg" />

<h2>Newly Discovered Copy of Declaration of Independence Will be Auctioned</h2>

On July 9, 1776, the Manhattan printer John Holt gently edited the Declaration of Independence text and then published 500 copies.

Only four of the Holt Broadsides, as the documents came to be called, were&nbsp;known to survive&nbsp;until a few months ago, when a fifth surfaced in a private collection. The authenticated document and related papers, which belong to a descendant of some of early British settlers in eastern Long Island, will be auctioned on Nov. 11 at&nbsp;Blanchard&rsquo;s Auction Service&nbsp;in Potsdam, N.Y.

--Via&nbsp;Eve&nbsp;M. Kahn, The New York Times

<a href="https://www.nytimes.com/2017/10/05/arts/design/declaration-of-independence-holt-broadside-auction.html?rref=collection/sectioncollection/design&amp;action=click&amp;contentCollection=design&amp;region=stream&amp;module=stream_unit&amp;version=latest&amp;contentPlacement=8&amp;pgtype=sectionfront&amp;_r=0">Read More</a>

&nbsp;

<img alt="" data-rich-file-id="2378" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2378/original/brexitartnewspaper.jpg" />

<h2>Frieze draws up plan to protect art world from Brexit</h2>

Ongoing concerns about the impact of the UK&rsquo;s withdrawal from the European Union (EU) have prompted the organisers of Frieze to draw up a list of recommendations designed to &ldquo;help maintain the best possible conditions&rdquo; for the art world. In an open letter, Victoria Siddall, the director of the Frieze fairs, aired her concerns about the impact of Brexit on galleries that are based in the UK or exhibit at fairs in London. Siddall shared her proposals with the Creative Industries Federation, an arts lobbying organisation, as part of a larger discussion of how the government should respond to the needs of the cultural sector.

Representatives of Frieze have &ldquo;spoken to a range of people working in galleries&rdquo;, Siddall says, and have formulated a plan of action with four recommendations. These include maintaining the current rate of VAT (5%) on works imported into the UK; continuing the free circulation of works between the EU and the UK; and maintaining the temporary admission procedure, which ensures that works imported temporarily for events such as fairs and exhibitions are exempt from import duties and VAT.

--Via&nbsp;Gareth&nbsp;Harris, The Art Newspaper

<a href="http://theartnewspaper.com/news/frieze-draws-up-plan-to-protect-art-world-from-brexit">Read More</a>

&nbsp;

&nbsp;

<h2>Brazilian Artist Tarsila do Amaral Comes to New York and Chicago</h2>

In Brazil she is famous enough to be called by her first name, Tarsila. In the U.S., where contemporary Brazilian art has an increasing following, the work of Tarsila do Amaral is rarely seen and hardly known. But starting this weekend, the artist, who spent the 1920s giving European modernism a resounding Brazilian makeover, will have her first American solo show at two major American museums.

--Via J.S. Marcus, The Wall Street Journal

<a href="https://www.wsj.com/articles/brazilian-artist-tarsila-do-amaral-comes-to-new-york-and-chicago-1507314040">Read More</a>

&nbsp;

<img alt="" data-rich-file-id="2380" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2380/original/christies.jpg" />

<h2>Christie&rsquo;s ends London contemporary auctions on a high note&mdash;despite Bacon flop</h2>

In stark contrast to Sotheby&rsquo;s&nbsp;sales&nbsp;the night before, and after an efficient sale of 34 lots at Phillips&rsquo;s 20th Century and Contemporary sale totalling &pound;23.9m hours prior, Christie&rsquo;s proved the depth of the international art market with double-header sales of post-war and contemporary and 20th century Italian works that saw solid results for stalwarts and deep bidding on established names new to the evening sale.

The evening&rsquo;s &pound;131.7m total, while below the presale estimates of &pound;168.4m to &pound;236.3m--which included a major Francis Bacon that failed to sell&mdash;nonetheless approached the standing record of &pound;132m for an October contemporary sale in London, quashing concerns over a flooded field. &ldquo;I think we can be very confident in the market&rdquo;, says the house&rsquo;s head of post-war and contemporary in Europe, Francis Outred.

--Via Sarah&nbsp;P. Hanson, The Art Newspaper

<a href="http://theartnewspaper.com/news/christie's-ends-london-contemporary-auctions-on-a-high-note">Read More</a>

&nbsp;

<img alt="" data-rich-file-id="2382" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2382/original/la-times.jpg" />

<h2>David Geffen pledges $150 million for new LACMA building</h2>

reathing fresh life into one of the city&rsquo;s most ambitious cultural projects and making history as the largest gift on record toward the construction of an American museum, David Geffen has pledged $150 million to a new building for the&nbsp;Los Angeles County Museum of Art.

Geffen&rsquo;s pledge raises LACMA&rsquo;s fundraising total to $450 million of the $650 million needed to break ground on a modernist&nbsp;Peter Zumthor&nbsp;building, arguably the most anticipated new piece of architecture in L.A. since&nbsp;Frank Gehry&rsquo;s Walt Disney Concert Hall opened in 2003.

--Via Jessica Gelt, Los Angeles Times

<a href="http://www.latimes.com/entertainment/arts/la-et-cm-lacma-david-geffen-20171004-htmlstory.html">Read More</a>

&nbsp;

&nbsp;

News from Around the Art World: October 9, 2017

Each week CGN interviews a local art dealer to discuss the ins and outs of running a gallery in the city of Chicago. This week we caught up with Betsy Nathan of <a href="https://www.pagodared.com/">Pagoda Red</a>.

&nbsp;

Gallery:&nbsp;Pagoda Red

Name: Betsy Nathan

Previous occupation: Media Monitoring in China

&nbsp;

Favorites from this week:

Restaurant: Ramen Takeya, Fulton Market

Shop: Robin Richman, Bucktown

Read: The Short and Tragic Life of Robert Peace

Neighborhood: Lake Michigan via paddleboard

&nbsp;

Chicago Gallery News: Tell us about your art background. How did Pagoda Red begin?&nbsp;

Betsy Nathan:&nbsp;It&rsquo;s been 20 years and I am doing anything but what I thought I would be doing. You could say I couldn&rsquo;t help it. All roads led here. My mother, the gallerist Ann Nathan, was a voracious collector. Our house was full of naive and fine art. As a kid, I remember Roger Brown and Ed Paschke in our living room.

I studied Mandarin in Beijing for a couple of years in my twenties&mdash;this is where I first fell in love with Chinese furniture. From there I amassed a collection of furniture, paintings and objects from Asia and beyond. Pagoda Red was the natural extension. I love the soul and authenticity of what I do. It&rsquo;s been a fantastic journey bringing the spirit and cultures of the artists together.&nbsp;

&nbsp;

CGN:&nbsp;Please describe your gallery&rsquo;s program in one sentence.

BN:&nbsp;We preserve and promote extraordinary and meaningful objects. Comfortable yet refined, inviting and unpretentious, personal and meaningful&mdash;ours are the everyday from the past and far away reflected amidst the contemporary. We are excited by the way rough and smooth, old and new come together to make places and moments rich and deep.

&nbsp;

CGN:&nbsp;Share a typical day in the life

BN:&nbsp;I enjoy the quiet morning. I usually wake up an hour before my husband and four boys. It gives me time to do some writing, yoga, or walk near the lake with our dog. After I get the boys settled at school I then head to the gallery.&nbsp; Sometimes, I stop by the warehouse to discuss restoration with our conservator. The gallery is nestled in a garden. Often times I organize my meetings with artists, writers, event planners and collectors outside amidst our collection of 18th c. garden stones. It&rsquo;s a great place to plan as we watch the microcosm in action&mdash;this summer it was a brood of baby skunks on the berm, robins eggs in one of the cherry trees, birds bathing in the meditation stones and city cats taking note of it all.

Before homework with my boys gets started in the evening, we like to cook vegetables from our garden at home&hellip; they are into lacrosse, chess, theatre and history. I sleep well every night.&nbsp;

&nbsp;

CGN: Best sale you ever had?

BN:&nbsp;Not sure if it was the best, but it was thrilling to see one of our monumental scholars&#39; stones placed as a focal point in the landscape of a major collector&rsquo;s property. This was a southern&nbsp;gentleman. I remember him asking me to keep my eye out for just the right stone for him. When I found the three-ton sculpture, I began to get a bit nervous about how to install&mdash;he&nbsp;didn&#39;t hesitate...&quot;I&#39;ll be there tomorrow to pick it up.&rdquo;&nbsp; And sure enough, his very own crane arrived to pick it up the following day.

&nbsp;

CGN:&nbsp;Share some successes as well as challenges this year.

BN: Our foray online has been a huge step forward. It has been a great opportunity to connect with distant audiences. Learning how to deliver with the same touch (as we have locally) to distant islands in the pacific is another thing.&nbsp; We are learning one day at a time.

&nbsp;

CGN: What are some unique aspects about running an art and antiques business in general as well as in Chicago?

BN:&nbsp;There is never a dull moment. We know our clients well.&nbsp; An antique is like a work of art.&nbsp; It only gets better with time.&nbsp; As my mother always says, &ldquo;With art you are speaking to the soul. No one needs a work of art. &nbsp;It must move them, anger them, excite them or thrill them. Otherwise, forget it.&rdquo;

&nbsp;

CGN:&nbsp;What do you want to tell a young person considering this business?

BN:&nbsp;Don&rsquo;t think about it too hard. This is not a rational business. Take it one day at a time and surround yourself with colleagues that you love to work with. In the end it feels better to laugh and cry with people you respect and appreciate.

&nbsp;

CGN: One piece of advice you would send back to yourself when you started out?

BN:&nbsp;Simplify.

&nbsp;

CGN: Favorite cultural pursuit outside of the art world?

BN:&nbsp;Exploring outside. Mostly hiking, paddling and pedaling with my boys.

&nbsp;

CGN: Favorite work of public art in Chicago?

BN:&nbsp;The Dubuffet outside of the State of Illinois Center (James R. Thompson Center.)

&nbsp;

CGN: Artists you admire most.

BN:&nbsp;Today, I am thinking about the unnamed masters who created African dance masks in the early 20th century. They did what they loved. It poured out of their spirit. No training, and yet, beautiful forms. There was nothing to prove in the world that we know but, rather, creation that called out to another world. It&rsquo;s no wonder they were a primary inspiration behind the prolific expressionists and cubists recognized today.

&nbsp;

CGN: What&rsquo;s coming up next at the gallery?

BN:&nbsp;The debut of the African collection that my mother, Ann Nathan, collected for the past 25 years in the backroom of her gallery. The primitive forms juxtaposed with the fine lines of Chinese furniture and contemporary art pushes the mix I truly love.&nbsp;

&nbsp;

Betsy Nathan is the owner of&nbsp;Pagoda Red&nbsp;located in Winnetka and Chicago. For more information about her&nbsp;gallery visit:<a href="https://www.chicagogallerynews.com/galleries/pagoda-red-winnetka">&nbsp;</a><a href="https://www.chicagogallerynews.com/galleries/pagoda-red-winnetka">Pagoda Red</a><a href="https://www.chicagogallerynews.com/news/2017/10/an-interview-with-a-dealer-betsy-nathan">.</a>

&nbsp;

An Interview with a Dealer: Betsy Nathan

Just as we wind down a bit from the frenzied September start of the fall art season, we look ahead to the City&#39;s next major art fair, SOFA CHICAGO, which takes opens in a few weeks and runs from&nbsp;November 2-5 at Navy Pier.&nbsp;

Critically acclaimed and ever popular with the public, SOFA has been&nbsp;continuously running since 1994.&nbsp;What distinguishes SOFA from other top contemporary art events is its focus on three-dimensional&nbsp;artworks&nbsp;that cross the boundaries of fine art, decorative art and design.&nbsp;Exhibitors from around the country and the world offer&nbsp;contemporary art and design in all media including ceramics, wood, glass, fiber, jewelry, metal, design, painting, photography, and works on paper.

Held annually in the fall in Chicago, SOFA averages&nbsp;80 participating dealers and 35,000 attendees during the fair weekend. Average sales&nbsp;are estimated at $15-20 million per show.

With a strong educational emphasis, SOFA CHICAGO includes an acclaimed lecture series and special exhibits exploring the artworks on view and surveying new trends in the art world. A complete programming lineup may be viewed on <a href="https://www.chicagogallerynews.com/art-services/sofa-chicago">SOFA&#39;s</a> website. VIP events tend to fill up in advance.&nbsp;

Some advance artwork images are shown below.

<img alt="" data-caption="John Garrett Santa Rita Shimmer, 2017 Copper, steel, brass, paint, metal leaf, paper, wire and beads 48 x 72 x 4 in. Courtesy of Duane Reed Gallery" data-rich-file-id="2363" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2363/original/8.jpg" />

<img alt="" data-caption="Christina Bothwell Angel Landing, 2017 Cast glass, ceramic and oil paint 28 x 31 x 12 in. Courtesy of Habatat Galleries" data-rich-file-id="2359" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2359/original/4.jpg" />

<img alt="" data-caption="Jun Kaneko Untitled Head Form, 2015 Ceramic with glass mosaic on stainless steel stand 69 x 24.75 x 20 in. Courtesy of Duane Reed Gallery" data-rich-file-id="2358" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2358/original/2.jpg" />

<img alt="" data-caption="Alain Mailland On the Seashore, 2016 Hackberry acrylics colored pencils Courtesy of Kirsten Muenster Projects" data-rich-file-id="2361" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2361/original/6.jpg" />

<img alt="" data-caption="Harumi Nakashima A Disclosing Form 1607, 2016 Porcelain 25 x 15.5 x 13 in. Courtesy of Duane Reed Gallery" data-rich-file-id="2357" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2357/original/3.jpg" />

<img alt="" data-caption="Marietta Patricia Leis Disturbances in the Field Styrofoam, cardstock, oil and MDF Courtesy of Michael Warren Contemporary" data-rich-file-id="2364" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2364/original/9.jpg" />

<img alt="" data-caption="Gina Stick Luminosity Vase Porcelain, celadon glaze, gucai overglaze, 24k roman gold, 22k german gold 17.5 x 7 in. Courtesy of Studio 21 Fine Art" data-rich-file-id="2356" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2356/original/1.jpg" />

<img alt="" data-caption="Niloufar Banisadr Iranian Spring, 2017 Print on plexiglass 26 x 39.5 in. Courtesy of 55Bellechasse" data-rich-file-id="2362" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2362/original/7.jpg" />

<img alt="" data-caption="Marta Mattsson Brooch Cicada wings, resin, cubic zirkonias, lacquer, glitter and silver Courtesy of Galerie Noel Guyomarc'h" data-rich-file-id="2365" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2365/original/10.jpg" />

&nbsp;

SOFA CHICAGO runs November 2-5, 2017 at Navy Pier in Chicago.&nbsp;

&nbsp;

Top image: &nbsp;Pascal Oudet,&nbsp;Natural Bowl (Group),&nbsp;Lathe turned and sandblasted oak.&nbsp;Courtesy of Kristen Muenster Projects

<span style="border-top-left-radius: 2px; border-top-right-radius: 2px; border-bottom-right-radius: 2px; border-bottom-left-radius: 2px; text-indent: 20px; width: auto; padding: 0px 4px 0px 0px; text-align: center; font-style: normal; font-variant-caps: normal; font-weight: bold; font-size: 11px; line-height: 20px; font-family: 'Helvetica Neue', Helvetica, sans-serif; color: rgb(255, 255, 255); background-image: url(data:image/svg+xml;base64,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); 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SOFA CHICAGO Returns to Navy Pier November 2-5, 2017

Each week CGN interviews a local art dealer to discuss the ins and outs of running a gallery in the city of Chicago. This week we caught up with Ken Saunders of <a href="http://Andrew Bae is the owner of Andrew Bae Gallery located in River North in Chicago. For more information about his gallery visit: Andrew Bae Gallery.">Ken Saunders Gallery</a>.

Gallery:&nbsp;Ken Saunders Gallery

Name: Ken Saunders

Hometown: Washington DC

&nbsp;

Favorites from the week:

1.&nbsp;&nbsp;&nbsp;&nbsp; Restaurant: Frontera Grill

2.&nbsp;&nbsp;&nbsp;&nbsp; Read: David Sedaris, Theft by Finding

3.&nbsp;&nbsp;&nbsp;&nbsp; Visit: Top of the Gross Point Lighthouse

4.&nbsp;&nbsp;&nbsp;&nbsp; Listen: Chicano Batman

&nbsp;

Chicago Gallery News:&nbsp;Tell us about your background and how you started Ken Saunders Gallery?&nbsp;

Ken Saunders:&nbsp;I started working for Marianne Deson in 1985 and took over the gallery in 1989. In 1994 I was invited to join Bonnie Marx to create Marx-Saunders Gallery, specializing in Studio Glass.

&nbsp;

CGN:&nbsp;Please describe your gallery&rsquo;s program in one sentence.

KS:&nbsp;We exhibit the most talented and innovative artists working with glass in the world.

&nbsp;

CGN: How do you spend a typical morning?

KS:&nbsp;Almost every day starts with a walk on the beach with my wife and our dogs.&nbsp;

&nbsp;

CGN:&nbsp;Best sale you ever had?

KS:&nbsp;The first one. Out of a show curated at Smart Bar/Metro I sold a very large painting to a young couple for $1,600.

&nbsp;

CGN:&nbsp;Share with us a highlight of the summer.

KS:&nbsp;I was very pleased by turnout for the Mid-Summer Art Walk. It was a pleasure to get the galleries to work together to mount a special event.

&nbsp;

CGN: Yours is a gallery focused on the Studio Glass Movement. What are some unique aspects about running the business in general?

KS:&nbsp;Handling glass sculpture is physically demanding. Much of the work is very heavy, large and of course extremely fragile. The artists that I represent are willfully decorative which makes the work quite accessible.

&nbsp;

CGN: Favorite cultural pursuit outside of the gallery world?

KS:&nbsp;My best friend and I have a production company called We Got Next with an office in New York City. Our first film One Wall: Kings of Coney Island is available on I-Tunes and Amazon.

&nbsp;

CGN: Favorite work of public art in Chicago?

KS:&nbsp;William Carlson, Delicato Balancia on Clark Street at Armitage in Lincoln Park.

&nbsp;

CGN: Artists you admire most.

KS:&nbsp;Brancusi, Giacometti and T.S. Eliot

&nbsp;

CGN: What&#39;s coming up next at Ken Saunders Gallery?

KS:&nbsp;Opening the weekend of SOFA Chicago we&rsquo;ll have collaborative works from two of America&rsquo;s most gifted glass blowers- John Kiley and Dante Marioni. It is going to be a bit of a blockbuster.

&nbsp;

CGN: Last Chicago restaurant you visited.

KS:&nbsp;Mon Ami Gabi

&nbsp;

&nbsp;

Ken Saunders is the owner of Ken Saunders Gallery located in River North in Chicago. For more information about his&nbsp;gallery visit:<a href="http://www.kensaundersgallery.com/"> Ken Saunders&nbsp;Gallery</a>.

An Interview with a Dealer: Ken Saunders

By GINNY VAN ALYEA

Earlier this summer when I interviewed DCASE Commissioner Mark Kelly, he told me a secret about a major public art announcement that would be revealed in the fall. Well, finally the secret is out: on Thursday Mayor Rahm Emanuel and the&nbsp;Chicago&nbsp;Department&nbsp;of&nbsp;Cultural&nbsp;Affairs&nbsp;and&nbsp;Special&nbsp;Events&nbsp;(DCASE) shared that&nbsp;internationally renowned artist and MacArthur Fellow&nbsp;Kerry James Marshall&nbsp;will create an epic, large-scale mural for the&nbsp;Chicago Cultural Center&nbsp;(78 E. Washington St.), honoring 20 women who have shaped the city&rsquo;s vibrant arts and culture landscape. Work on the mural began the same day that the announcement was made, and it is expected to continue throughout next month. The Garland Court facade has previously been blank.&nbsp;

<img alt="" data-caption="Artist Kerry James Marshall" data-rich-file-id="2353" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2353/original/kerry-20james-20marshal-20fb.jpg" />

When all is finished the 132-foot by 100-foot mural, which&nbsp;will be located outdoors and&nbsp;installed on the Cultural Center&#39;s&nbsp;west-facing Garland Court fa&ccedil;ade, between Washington and Randolph Streets,&nbsp;will be the largest artwork Kerry James Marshall&nbsp;has ever designed or created. The creation of the mural also&nbsp;coincides with the City&#39;s month-long Public Art Festival&nbsp;during Chicago&rsquo;s&nbsp;Year of Public Art.

&ldquo;Chicago is recognized across the country and around the world as an epicenter of innovative art, architecture and design,&rdquo; said Mayor Rahm Emanuel. &ldquo;Kerry James Marshall&rsquo;s new mural on&nbsp;the&nbsp;iconic&nbsp;Chicago Cultural Center will be a strong addition to Chicago&rsquo;s public art portfolio and a fitting&nbsp;commemoration of Chicago&rsquo;s Year of Public Art.&rdquo;

The Chicago Cultural Center is&nbsp;the first and most comprehensive free large-municipal cultural venue in the county.&nbsp;It is currently home to the&nbsp;Chicago Architecture Biennial, which runs through January 7, 2018.

&ldquo;When I was asked to design a mural for narrow Garland Court, it was immediately clear to me that the site had to be &lsquo;opened up&rsquo; in some way,&rdquo; said Kerry James Marshall. &ldquo;My solution was a park-like view with a bright sun and stand of trees to bring light and green space to the location while at the same time honoring&nbsp;the mission of the building as the hub of artistic activity in Chicago. My idea was to make of the trees a kind of Forest Rushmore acknowledging the contribution of 20 women who&rsquo;ve worked to shape the cultural landscape of the city, past and present.&rdquo;

<img alt="" data-caption="The current facade of the Chicago Cultural Center. What was once most likely overlooked will soon be sought out. " data-rich-file-id="2354" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2354/original/chicago-cultural-center-garland-court.jpg" />

The mural is funded by&nbsp;Murals of Acceptance, whose goal is to bring art to all people in a free public setting.&nbsp;

&ldquo;Kerry James Marshall is&nbsp;one of our nation&rsquo;s most acclaimed and important artists&mdash;and this mural for &ldquo;The People&rsquo;s Palace&rdquo; is a true gift to the people of Chicago,&rdquo; said DCASE Commissioner Mark Kelly. &ldquo;The City of Chicago was thrilled to celebrate Kerry at the Fifth Star Honors this summer &ndash; and two of the women represented in his mural are past Fifth Star honorees: Lois Weisberg and Sandra Cisneros.&rdquo;

The 20 women represented in Kerry James Marshall&rsquo;s mural are a who&rsquo;s who of Chicago&rsquo;s arts and culture community:

Suzanne Ghez, Director and Chief Curator for nearly 40 years, The Renaissance Society 
Barbara Gaines, Founder and Artistic Director, Chicago Shakespeare Theater 
Jacqueline Russell, Founder and Artistic Director, Chicago Children&rsquo;s Theatre 
Ruth Page, Dancer, Choreographer and Founder, Ruth Page Center for the Arts 
Lois Weisberg, Longest-serving Commissioner of the Chicago Department of Cultural Affairs 
Maggie Daley, Longest-serving First Lady of the City of Chicago 
Jackie Taylor, Founder and CEO, Black Ensemble Theater 
Monica Haslip, Founder and Executive Director, Little Black Pearl 
Abena Joan Brown, Founder, eta Creative Arts Foundation 
Margaret Burroughs, Founder, DuSable Museum of African American History 
Harriet Monroe, Founder, Poetry Magazine 
Cheryl Lynn Bruce, Co-founder, Goodman Theatre / Dearborn Homes Youth Drama Workshop 
Sandra Delgado, Founding Ensemble Member, Collaboraction 
Jane Saks, Founding Director of the Ellen Stone Belic Institute and Project&amp; 
Barbara Jones-Hogu, Founding Member, AfriCobra 
Gwendolyn Brooks, Literary Icon 
Sandra Cisneros, Literary Icon 
Achy Obejas, Pulitzer Prize-winning journalist 
Oprah Winfrey, Cultural Icon 
Joan Gray, Dancer and Longtime President of Muntu Dance Theatre of Chicago

Kerry James Marshall&nbsp;is an artist and MacArthur Fellow. A deeply accomplished artist, Marshall&nbsp;uses many types of mediums, including collage, drawings, murals and even comic books. His work is known for referencing African American culture and history, including the Civil Rights era and the Black Power movement.&nbsp;Painting in a Realist style, he depicts dark figures that celebrate black beauty and confront general racial stereotypes within contemporary American society.&nbsp;He has received solo exhibitions throughout Europe and North America and his work has been included in such prestigious international exhibitions as the 1997 Whitney Biennial, the 2003 Venice Biennial, the 2009 Gwangju Biennial, two Documentas (1997 and 2007) and the 1999 Carnegie International.&nbsp;Debuting at the Museum of Contemporary Art in Chicago in April 2016, Marshall&rsquo;s retrospective&nbsp;Mastry&nbsp;spanned his 35-year career and included nearly 80 original pieces. On August 28, 2017, the City of Chicago presented Kerry James Marshall with the Fifth Star Honor Award for his many contributions to our city&rsquo;s cultural landscape.

The design and vision&nbsp;created by Marshall will be executed&nbsp;by Chicago mural artist Jeff Zimmermann and his team from Jazim, Inc.

In addition to the work on Kerry James Marshall&rsquo;s mural at the Chicago Cultural Center, the City of Chicago will present a month-long Public Art Festival throughout October featuring&nbsp;a series of neighborhood events highlighting the city&rsquo;s public art collection located throughout the city. Programs will celebrate the completion of several new artworks as part of the 50x50 Neighborhood Arts Project, a citywide initiative that commissioned dozens of local artists to create new sculptures, murals and other public artworks in Chicago&rsquo;s 50 wards,representing a $1.5 million investment in artist-led community projects. In June, the City of Chicago announced&nbsp;the selected local artists and the participating communities. Many of these works are in the early stages of production and will be dedicated during the festival.

The month-long&nbsp;Public Art Festival&nbsp;in October will culminate with a Public Art Symposium on October 26 and 27 at the Chicago Cultural Center (78 East Washington St.). The symposium will convene artists, scholars, community organizers and public agents to explore the intersecting values of their work in public art. The symposium coincides with the release of Chicago&rsquo;s first Public Art Plan, a set of recommendations that will help shape the future of public art in Chicago.

The complete press release is available <a href="https://www.cityofchicago.org/city/en/depts/dca/provdrs/public_art_program/news/2017/september/kjm.html">here</a>.&nbsp;

The announcement of a mural by artist Kerry James Marshall at the Chicago Cultural Center

Kerry James Marshall Monumental Mural Announced for the Chicago Cultural Center

CGN's weekly roundup of local, national and international art world news.


News from Around the Art World: September 25, 2017

By GINNY VAN ALYEA

If you attended EXPO CHICAGO or the opening of the 2017 Chicago Architecture Biennial&nbsp;last&nbsp;week&nbsp;you knew that things were busy. EXPO and the City of Chicago both&nbsp;announced just how busy things were &ndash;&nbsp;8,500 people on opening night for EXPO&#39;s Vernissage, and 40,000 people over the course of the fair &ndash;&nbsp;and the news is positive on all fronts. Early sales wrap-ups from participating galleries have been healthy and encouraging, and the overall attendance numbers set records.&nbsp;

&ldquo;This is the first year that L&eacute;vy Gorvy participated in EXPO CHICAGO and we were thrilled by the reception that we received from collectors, curators and a very enthusiastic public. Chicago has a personal significance for me, and a phenomenal history as a pioneering city for art, architecture and collecting. We were very pleased to see old friends and to enjoy the revitalized energy of this fair. In particular, we were happy that works by Pat Steir, Carol Rama, Senga Nengudi and Dan Colen found new homes in the Midwest.&rdquo; &mdash; Brett Gorvy | L&eacute;vy Gorvy

&ldquo;Participating in EXPO CHICAGO for the first time, we wanted to show a dynamic selection of works. We were delighted with the level of engagement with the art from private collectors, as well as from representatives of major institutions.&rdquo;&nbsp;&mdash; Millicent Wilner | Gagosian&nbsp;

&ldquo;EXPO CHICAGO brings a wonderful audience of patrons and museum groups every September. Over the years, this has allowed us to debut major exhibitions, in addition to an ambitious presentation at the fair. We were thrilled to prominently feature work by artists in both the booth space as well as a part of IN/SITU. We also featured modernist and blue-chip contemporary work for the first time and are beyond happy to place these works in prominent collections.&rdquo; &ndash; Kavi Gupta | Kavi Gupta

&quot;The fair had and strong international representation of galleries this year and we continue to do good business with both known and new regional collectors. If a consensus can be achieved, and more top galleries join, EXPO CHICAGO is on it&#39;s way to being the dominant date and meeting point for American collectors West of the East Coast.&quot;&nbsp;&mdash;Christopher D&rsquo;Amelio | David Zwirner

<img alt="" data-caption="Visitors to EXPO Chicago 2017" data-rich-file-id="2349" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2349/original/img-3160.jpg" />

The opening of EXPO&nbsp;CHICAGO, the International Exposition of Contemporary and Modern Art,&nbsp;and the simultaneous launch of the second edition of the Chicago Architecture Biennial were also very good for the City of Chicago, since the city&nbsp;welcomed more than 100,000 visitors from around the world last week,&nbsp;a figure&nbsp;reported by Mayor Emanuel himself,&nbsp;&ldquo;Renowned exhibitions at both the Chicago Architecture Biennial and EXPO CHICAGO bolstered Chicago&rsquo;s reputation as the vanguard of architectural, art and design innovation on the national and international stage and underscores the city&rsquo;s important convening power,&rdquo; said Mayor Rahm Emanuel. &ldquo;I want to thank all of the architects, organizers, and residents of Chicago who made this week such a tremendous cultural, educational and economic success for our city.&rdquo;&nbsp;

EXPO&nbsp;presented 135 leading international galleries from 25 countries and 58 cities. Additional special projects in collaboration with both CAB and EXPO CHICAGO took place at Navy Pier with Nick Cave&rsquo;s&nbsp;Here Hear Chicago&nbsp;performances as well as&nbsp;at the DuSable Museum of African American History&rsquo;s Roundhouse for the Palais de Tokyo&rsquo;s first-ever off-site exhibition in the United States, in partnership with the Institut fran&ccedil;ais.&nbsp;

The Chicago Architecture Biennial (CAB) expanded to include over 140 practitioners from 20 countries at exhibitions at the Chicago Cultural Center hub, as well as at six neighborhood sites across the city. The estimated attendance at CAB was over 30,000 at opening festivities.&nbsp;The&nbsp;Biennial runs through January 7, 2018, and is free and open to the general public at the Chicago Cultural Center and sites across the city. EXPO returns to Navy Pier September 27-30, 2018.

It&#39;s hard to believe EXPO CHICAGO 2017&nbsp;is already over, but the 2018 dates have been set and we will look forward to once again seeing what&#39;s next for the fair as well as the contemporary art world. In the meantime, there is still so much to see around the city that is part of the Architecture Biennial as well as the city&#39;s programming for the Year of Public Art.&nbsp;Congratulations to EXPO, the MCA, the Chicago Architecture Biennial, the City of Chicago&nbsp;and all who participated during the weekend! &nbsp;&ndash; GV

&nbsp;

EXPO CHICAGO&#39;s&nbsp;press release regarding opening night&nbsp;is below:

<h3>SIXTH ANNUAL OPENING PREVIEW OF EXPO CHICAGO AND&nbsp;THE MCA&rsquo;S VERNISSAGE WELCOMES MORE THAN 8,500 PEOPLE AT NAVY PIER&nbsp; 
&nbsp; 
The Opening Night benefit for EXPO CHICAGO, Hosted by the MCA&nbsp;Women&rsquo;s Board, Raises $300,000</h3>

(Chicago, IL)&nbsp;EXPO CHICAGO, The International Exposition of Contemporary and Modern Art, opened its sixth edition to more than 8,500 people during&nbsp;Vernissage, the opening night event benefiting the&nbsp;Museum of Contemporary Art (MCA) Chicago. A vast crowd of the city&rsquo;s business, civic and cultural leaders, as well as artists, collectors and art enthusiasts filled Navy Pier&rsquo;s Festival Hall Wednesday, September 13 as they were treated to a special preview of more than 135 of the world&rsquo;s leading galleries from 25 countries and 58 cities.&nbsp;

Notable guests included&nbsp;Lena Baume,&nbsp;Allison Berg,&nbsp;Bruce&nbsp;and&nbsp;Barbara Berger,&nbsp;Marlene Breslow&nbsp;and&nbsp;Berle Blitstein,&nbsp;Fred Bidwell,&nbsp;Neil Bluhm,&nbsp;Barbara Bluhm-Kaul&nbsp;and&nbsp;Don&nbsp;Kaul,&nbsp;Pierre Boulais,&nbsp;Gwen Callans&nbsp;and&nbsp;Biff Ruttenberg,&nbsp;Larry&nbsp;and&nbsp;Marilyn Fields,&nbsp;Caryn&nbsp;and&nbsp;King&nbsp;John&nbsp;and&nbsp;Sharon Hoffman,&nbsp;Bill Gautreaux,&nbsp;Helyn Goldenberg&nbsp;and&nbsp;Michael Alper,&nbsp;Rod Lubeznik&nbsp;and&nbsp;Susan Goodman,&nbsp;James Gordon,&nbsp;Paul&nbsp;and&nbsp;Linda Gotskind,&nbsp;Ken Griffin,&nbsp;Jack&nbsp;and&nbsp;Sandra Guthman,&nbsp;Anne&nbsp;Kaplan,&nbsp;Susie Karkomi&nbsp;and&nbsp;Marvin Leavitt,&nbsp;Liz&nbsp;Lefkofsky,&nbsp;Nancy Lerner&nbsp;and&nbsp;David Frej,&nbsp;Jennifer&nbsp;Litowitz&nbsp;,&nbsp;Susan Manilow,&nbsp;Eric McKissack,&nbsp;Gary Metzner,&nbsp;Bob Munch,&nbsp;Lewis&nbsp;and&nbsp;Susan Nerman,&nbsp;Claire&nbsp;and&nbsp;Mike O&#39;Grady,&nbsp;Randall&nbsp;and&nbsp;Shelia Ott,&nbsp;MK Pritzker,&nbsp;Alan&nbsp;and&nbsp;Rebecca Ross,&nbsp;Cathy Ross&nbsp;and&nbsp;Chris Liguori,&nbsp;Lyn Segal,&nbsp;Amir Shariat,&nbsp;Irving Stenn,&nbsp;Kristin Binder Stevens&nbsp;and&nbsp;Stan Stevens,&nbsp;Carl&nbsp;and&nbsp;Marilyn Thoma,&nbsp;Lucas Walton, and&nbsp;Helen Zell, among others. 
&nbsp; 
This unique celebration, co-chaired by MCA Women&rsquo;s Board members&nbsp;Tonya Geesman,&nbsp;Christine Poggianti&nbsp;and&nbsp;Ellen Wallace, began with a patron reception at 5:00 pm in the VIP Collector&rsquo;s Lounge, presented by Northern Trust, featuring food by some of Chicago&rsquo;s top restaurants and food providers including: 20E, Talbott Hotel, BellyQ, Chicago Raw, Marisol, Big Star, Riva Restaurant, Tanta, The Windsor, Yusho, Eli&rsquo;s Cheesecake and Skinny Pop and Nude Dude Food. Featured beverage sponsors include Lagunitas and Terrazas de los Andes. 
&nbsp; 
At 6 pm President | Director of EXPO CHICAGO&nbsp;Tony Karman&nbsp;took a humbling moment to thank the crowd for their tremendous support for the fair&rsquo;s sixth year. He then called on MCA Chicago&rsquo;s Pritzker Director&nbsp;Madeleine Grynsztejn&nbsp;to speak to the incredible partnership between the MCA and EXPO CHICAGO. &nbsp; 
&nbsp; 
&ldquo;We have been collaborating with the art fair since the inception of Vernissage and we are especially proud of that partnership this year because we are celebrating the 50th&nbsp;anniversary of the MCA Women&rsquo;s Board. Thank you to the Women&rsquo;s Board and all of you for making the MCA the preeminent contemporary art museum in Chicago and beyond for 50 years.&rdquo; She added, &ldquo;Collaborations like this are so important, and I am proud to debut another collaboration between the MCA, world-renowned artist Kerry James Marshall and fashion brand MZ Wallace. Together, we debut a gorgeous bag based on a painting by Kerry James Marshall in our permanent collection, and all proceeds go directly to our education programs.&rdquo; 
&nbsp; 
Northern Trust Wealth Management Central Region President&nbsp;Mac MacLellan&nbsp;then took the stage stating, &ldquo;We are thrilled with the growth of the art fair and the major impact it has had on our entire city. Northern Trust remains the only financial services firm based in the U.S. to sponsor a modern and contemporary art exhibition of this scale and size, showing our firms commitment to the art community.&rdquo; He continued, &ldquo;The entire art world will have its eye on Chicago the next couple of days and that is entirely because of the unique collaborations that EXPO CHICAGO has made possible. Collaboration between the City of Chicago, Navy Pier, Corporate Sponsors, arts organizations, artists and galleries&mdash;and in this day in age, when we have so much dissonance between so many despaired groups, it&rsquo;s nice to see collaboration come together and be successful. EXPO CHICAGO is a great example not only for the City of Chicago but for the rest of the country.&rdquo; 
&nbsp; 
MacLellan then introduced Navy Pier&rsquo;s Chief Program and Civic Engagement officer&nbsp;Michelle T. Boone, who welcomed everyone to Navy Pier stating, &ldquo;Tony and his vision for EXPO CHICAGO has really paved the way for establishing Navy Pier as one of the most exciting cultural districts in the city of Chicago,&nbsp;and I am just thrilled and honored to continue this tradition and partnership.&rdquo; She reiterated MacLellan&rsquo;s sentiments by adding, &ldquo;This is a tremendous demonstration of the power of partnerships and collaborations between private, public and non-private sectors pulling together to make this the most exciting arts week not only in Chicago but in the nation.&rdquo; 
&nbsp; 
Chairman of the Chicago Architecture Biennial&nbsp;Jack Guthman&nbsp;also took a moment to thank Tony Karman for his vision. &ldquo;I told the Mayor we had to align the Biennial with EXPO CHICAGO because no one promotes Chicago the way Tony Karman promotes Chicago. I wanted the biennial, my little ship, to follow in his wake, and the Mayor got it right away.&rdquo; 
&nbsp; 
The City of Chicago Commissioner of Cultural Affairs and Special Events&nbsp;Mark Kelly&nbsp;concluded the remarks, perfectly encapsulating the unique collaborations of the night and throughout the city. &ldquo;This year is the 50th&nbsp;anniversary of the MCA and the sixth year of EXPO CHICAGO. 50 is the most perfect number in numerology, and six is the most harmonious of the single digit numbers so what we have is major good karma here today. Congratulations to the MCA and to EXPO CHICAGO. On behalf of Mayor Rahm Emanuel, I want to thank Tony Karman and his staff for lighting a fuse, making Chicago on fire with the visual arts. This is a civic event that reaches out into the entire city including artists, museums, galleries, cultural organizations and more. We are not only the center of visual arts in the country but in the world. When you take EXPO CHICAGO, the Chicago Architecture Biennial, the upcoming Art Design Chicago, the Year of Public Art and all the great work going on in the city, right here and now, this is the epicenter of great visual arts in the world.&rdquo; 
&nbsp; 
A bottle of&nbsp;Ruinart Champagne&nbsp;was popped and all gathered together for a celebratory toast before making their way onto the show floor. &nbsp; 
&nbsp; 
Guests mingled throughout the show floor until&nbsp;Nick Cave&rsquo;s&nbsp;Up Right Chicago&nbsp;commenced on the show floor, featuring a processional of dancers in soundsuits making their way through Festival Hall. The performance, a part of&nbsp;Here Hear Chicago&nbsp;and a unique collaboration between Cave and architect&nbsp;Jeanne Gang, continued in the Aon Ballroom welcoming guests of Vernissage in addition to the general public. 
 
EXPO CHICAGO 2018 will return September 27&ndash;30. For more information on EXPO CHICAGO and&nbsp;EXPO ART WEEK&nbsp;visit&nbsp;<a href="http://expochicago.com">expochicago.com</a> 
&nbsp;

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A wrap-up of EXPO chicago attendance and the Chicago Architecture Biennial opening

Impressive Numbers From Opening of EXPO CHICAGO 2017 and 2nd Chicago Architecture Biennial

We received the following press announcement from the MCA regarding the smashing success of Takashi Murakami: The Octopus Eats Its Own Leg.&nbsp;The exhibition and artwork by Murakami were featured on the <a href="https://www.chicagogallerynews.com/news/2017/5/publisher-s-letter-summer-s-fresh-take-on-art">summer 2017 issue</a> of Chicago Gallery News. The show also inspired our summer post about <a href="https://www.chicagogallerynews.com/news/2017/6/who-s-ever-heard-of-a-pink-octopus-enjoy-art-with-your-family-this-summer">seeing art as a family</a>.&nbsp;

The news was also a timely reminder that the show closes this coming Sunday, September 24. Don&#39;t wait to get timed-entrance tickets before it&#39;s too late.

Congratulations MCA! &ndash; GV

<img alt="" data-caption="The Summer 2017 CGN featured Takashi Murakami's &quot;ZuZaZaZaZaZa&quot;, 1994." data-rich-file-id="2345" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2345/original/cgn-cover-summer2017.jpg" />

&nbsp;

<img alt="" data-caption="Visitors in Takashi Murakami: The Octopus Eats Its Own Leg. Photo: Nathan Keay." data-rich-file-id="2348" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2348/original/murakamicrowds.jpg" />

<h3>&nbsp;</h3>

September 20, 2017

<h3>NEWS ALERT | Murakami Breaks Attendance Record Today</h3>

The&nbsp;Takashi Murakami&nbsp;exhibition officially broke the David Bowie attendance record of 193,000, making it the&nbsp;all-time highest attended exhibition&nbsp;in the MCA&#39;s 50-year history. Visitors&nbsp;still have five days to see the exhibition, it runs through Sunday, September 24. 
&nbsp; 
Takashi Murakami: The Octopus Eats Its Own Leg&nbsp;features the art and culture icon&#39;s immersive paintings, including several never-before-seen works. Murakami is widely known for both his fine art and commercial output -- including collaborations with pop icons such as Kanye West and fashion house Louis Vuitton -- and his ability to straddle high and low, ancient and modern, eastern and western, commercial and fine art. The exhibition is curated by MCA Chief Curator Michael Darling, who said in regards to setting a new attendance record for the museum, &quot;The audiences for this show have been amazing, incredibly youthful and diverse with an enthusiastic thirst for all that Murakami produces.&quot; 
&nbsp; 
Tickets are still available to see the exhibition, but visitors will need timed tickets on Friday, Saturday, and Sunday. On Saturday, in addition to regular museum hours, the exhibition will be open from 7 - 11 pm during the museum&#39;s late-night Prime Time event (21+, special ticket required). Tickets are at&nbsp;<a href="http://mcachicago.org">mcachicago.org</a>

<img alt="" data-caption="Installation view, Takashi Murakami: The Octopus Eats its Own Leg, MCA Chicago, June 6 – September 24, 2017. Photo: Nathan Keay, © MCA Chicago." data-rich-file-id="2347" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2347/original/murakami-20170601-119.jpg" />

<img alt="" data-caption="Takashi Murakami, Dragon In Clouds—Indigo Blue, 2010. Acrylic on canvas mounted on board, 143 x 708 5/8 in. (363 x 1,800 cm). Collection of Larry Gagosian. © 2010 Takashi Murakami/Kaikai Kiki Co., Ltd. All Rights Reserved. Photo: Gavin Ashworth." data-rich-file-id="2346" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2346/original/mca-takashi-murakamin.jpg" />

Top Image:&nbsp;Takashi Murakami,&nbsp;Photo: Maria Ponce Berre, &copy; MCA Chicago.

The MCA's Takashi Murakami exhibition smashes attendance records 

MCA's Takashi Murakami Exhibition Breaks Museum's All-time Attendance Record

CGN&#39;s weekly roundup of local, national and international art world news.

&nbsp;

<h3>Chicago Architecture Biennial: 10 things we loved</h3>

Artistic directors, architects, and educators Sharon Johnston and Mark Lee, of L.A.&rsquo;s&nbsp;Johnston Marklee, invited more than 140 participants from around the world to interpret the exhibit&rsquo;s theme, &ldquo;Make New History.&rdquo; Based on the myriad of architectural history, design, and urban planning displays, it appeared to be a wide-ranging prompt. Here are some of the exhibitions and events that stood out during a tour of the main display and many of the&nbsp;off-site exhibitions&nbsp;opening weekend. &nbsp;--Via Patrick Sisson, Curbed Chicago

<a href="https://www.curbed.com/2017/9/18/16317224/chicago-architecture-biennial-2017-must-see">Read More</a>

&nbsp;

<h3><img alt="" data-caption="Courtesy of EXPO CHICAGO" data-rich-file-id="2340" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2340/original/expo-20sold.jpg" /></h3>

<h3>What Sold at EXPO Chicago</h3>

Gupta credited Tony Karman, EXPO Chicago&rsquo;s director since 2011, with helping revitalize the city&rsquo;s art scene. Chicago has, for decades, had some of the world&rsquo;s most prestigious art institutions and a sophisticated group of collectors, but Karman, Gupta noted, has brought everyone together in support of the city&rsquo;s cultural scene&mdash;from Mayor Rahm Emanuel, whose photo and personal note appear in the fair&rsquo;s promotional materials, to the institutions, collectors, universities, and even non-profit organizations from the U.S. and abroad.

&ldquo;He&rsquo;s using [the fair] as this thing that&rsquo;s beyond a trade show,&rdquo; Gupta said. &ldquo;He&rsquo;s using it as a catalytic moment to shift the cultural makeup of the city.&rdquo; &nbsp;--Via Anna Louie Sussman, Artsy Editorial

<a href="https://www.artsy.net/article/artsy-editorial-sold-expo-chicago">Read More</a>

&nbsp;

<img alt="" data-caption="Courtesy of Co-Prosperity Sphere" data-rich-file-id="2342" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2342/original/cardboard.jpg" />

<h3>Cardboard Art Show At Bridgeport Gallery Seeks Submissions</h3>

BRIDGEPORT &mdash; Think you have the next oil-and-cardboard masterpiece? Now is your chance to submit it for a special, cardboard-only art show happening at Bridgeport&#39;s Co-Prosperity Sphere.

The&nbsp;Art on Cardboard Show&nbsp;is seeking submissions for its 15th annual exhibit in October. Described by organizers as an art show &quot;by the people for the people,&quot; the exhibit features pieces from dozens of artists guided by just one rule &mdash; use cardboard.

Most pieces are art paintings or drawings on cardboard, and artists of varying skill levels are encouraged to submit works to the show. &nbsp; --Via Joe Ward, dna info

<a href="https://www.dnainfo.com/chicago/20170919/bridgeport/cardboard-art-show-gallery-co-prosperity-sphere-lumpen-radio-birdhouse-museum">Read More</a>

&nbsp;

<img alt="" data-caption="Courtesy of &quot;Chicago Tribune&quot;" data-rich-file-id="2341" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2341/original/chicaog-trib.jpg" />

<h3>A visit to the art-filled Lakeview tavern that is Ten Cat</h3>

There are few more pleasant places than a neighborhood saloon on a late afternoon and so it was at the Ten Cat Tavern one day last week.

A couple of men played pool on one of the two ancient and magnificent Brunswick tables that occupy the middle of the long rectangular tavern and walking past them, careful not to bump their cue sticks, you would have passed a jukebox that still contains 45s (an amazing selection of them too), a room with a fireplace and comfortable chairs and a couch before eventually finding a small and peaceful garden dotted with a few tables. &nbsp;--Via Rick Kogan, Chicago Tribune

<a href="http://www.chicagotribune.com/entertainment/ct-ent-ten-cat-tavern-art-0919-story.html">Read More</a>

&nbsp;

<img alt="" data-caption="Courtesy of &quot;The New York Times&quot;" data-rich-file-id="2343" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2343/original/nytimes.jpg" />

<h3>It Might Have Been a Masterpiece, but Now It&rsquo;s a Cautionary Tale</h3>

AMSTERDAM &mdash; When the cultural historian and Piet Mondrian biographer L&eacute;on Hanssen visited the Bozar Center for the Arts in Brussels in the spring of 2016, a painting stopped him dead in his tracks.

It looked remarkably similar to an untitled 1923 Mondrian that the Nazis had displayed as an example of &ldquo;degenerate art&rdquo; in a famous 1937 Munich exhibition. It was thought to have been destroyed in the Berlin air raids at the end of World War II. But could this be it? &nbsp; --Via Nina Siegal, New York Times

<a href="https://www.nytimes.com/2017/09/19/arts/fake-mondrian-stedelijk-bozar.html?rref=collection%2Fsectioncollection%2Farts&amp;action=click&amp;contentCollection=arts&amp;region=rank&amp;module=package&amp;version=highlights&amp;contentPlacement=2&amp;pgtype=sectionfront&amp;_r=0">Read More</a>

&nbsp;

<img alt="" data-caption="Courtesy of &quot;Wall Street Journal&quot;" data-rich-file-id="2344" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2344/original/wsj-art.jpg" />

<h3>Art Collectors, Pay Your Taxes</h3>

States are cracking down on art collectors who aren&rsquo;t paying taxes owed on their purchases.

States don&rsquo;t release details about investigations into evasion of taxes on art purchases. But according to lawyers representing defendants in such cases, state attorneys general and revenue departments around the country have stepped up their investigations and prosecutions for failure to pay sales and use taxes on art purchases. &nbsp; --Via Daniel Grant, Wall Street Journal

<a href="https://www.wsj.com/articles/art-collectors-pay-your-taxes-1505095500">Read More</a>

<span style="border-top-left-radius: 2px; border-top-right-radius: 2px; border-bottom-right-radius: 2px; border-bottom-left-radius: 2px; text-indent: 20px; width: auto; padding: 0px 4px 0px 0px; text-align: center; font-style: normal; font-variant-caps: normal; font-weight: bold; font-size: 11px; line-height: 20px; font-family: 'Helvetica Neue', Helvetica, sans-serif; color: rgb(255, 255, 255); background-image: url(data:image/svg+xml;base64,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); 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CGN's weekly roundup of local, national and international art world news, Sept 19-24, 2017

News from Around the Art World: September 19, 2017

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418587/h31gtneupgnhhci8mhjg.jpg"></figure>Each week CGN interviews a local art dealer to discuss the ins and outs of running a gallery in the city of Chicago.This week we caught up with Andrew Bae of <a href="https://www.chicagogallerynews.com/galleries/andrew-bae-gallery">Andrew Bae Gallery</a>.&nbsp;Gallery:&nbsp;Andrew Bae GalleryName: Andrew BaePrevious occupation: Research chemist&nbsp;Chicago Gallery News:&nbsp;How did you become an art dealer?&nbsp;Andrew Bae:&nbsp;I came to America when I was 23 years old from Korea with a Bachelor’s degree in science. I worked as an analytical research chemist at Kellogg's company for seven years. I yearned to travel the world to see beautiful things I have always admired. I left my job as a scientist and became an importer of many beautiful things from around the world. I engaged in furniture making for a while, fascinated by its aesthetic and function. &nbsp;Some years later I found myself as an art dealer. Today, I still believe that nature and art are the ultimate beauty of all existing things.&nbsp;&nbsp;CGN:&nbsp;Please describe your gallery’s program in one sentence.AB:&nbsp;This gallery introduces a very small group of select artists from Korea and Japan to the mainstream art scenes in America for long-term bases.&nbsp;CGN:&nbsp;What's the first thing you do each morning when you get to the gallery?&nbsp;AB:&nbsp;Enjoy my walk to the gallery more than two decades and think about communication with all parties according to our priorities.&nbsp;CGN: Thumbs up or down on art fairs?AB:&nbsp;Thumbs down. Those are fun places for consumers of art but not good for the artists and collectors for its long-term effects.&nbsp;CGN:&nbsp;Who are artists you admire but don't represent?AB:&nbsp;Anselm Kiefer, Peter Doig, Shoichi Ida, Michal Rovner, Ai Wei Wei and Do Ho Suh, to name a few.&nbsp;&nbsp;CGN:&nbsp;What is the best sale you ever had?AB:&nbsp;A sale to a young couple from Moscow, who had previously failed to find their art collections from Miami art fairs. They chose five of the eight artists in my gallery for their two homes in Moscow. They knew exactly which works would go where in their home.&nbsp;Also, to an elderly artist from California who wanted to buy a small painting for $900. She paid installments of $100 each month. After five payments, I sent her the painting with a letter 'paid in full'.&nbsp;&nbsp;CGN: What advice would you share with new or young collectors?AB:&nbsp;Trust your own instincts. You don't need to ask around for other opinions. It’s like finding a good friend. You are the best person who knows what is best for yourself. It is an exhilarating experience to discover something you love and never knew before. It comes only with some courage.&nbsp;CGN: Which artist that you represent or work of art you have recently acquired are you most excited about? Why?AB:&nbsp;Jungjin Lee is the photographer I discovered 15 years ago. &nbsp;I never thought about having a photographer in my gallery until I saw the works in her Seoul studio. I was absolutely thrilled and convinced she was the perfect artist for ABG.&nbsp;She has since been selected as an artist of the year in 2017 by Paris Photo.&nbsp;She is one of our most recent partners to the gallery.&nbsp;CGN: What major successes have you had this year? What about challenges?AB:&nbsp;I have encountered several new collectors this year. A young man from San Francisco known to this gallery for several years acquired a major work for the first time. He took time to learn about the artist and I took time to answer all he wanted to know. I hand delivered the work for him and he is exuberant of his new collection.&nbsp;Instantaneous gratitude becoming fashionable in the art world. This is the most challenging trend for our current and future program.&nbsp;CGN: How do you view working as an art dealer in Chicago?AB:&nbsp;Chicago is one of the metropolitan cities that draws people from all over the world with interest in art and culture. In this regard, Chicago is a favorable city to be engaged in as an art dealer. Although, it is definitely a challenging time of change for all art galleries.&nbsp;&nbsp;CGN: What is your favorite interest outside of the art world?AB:&nbsp;I have broad interest in environmental issues and social science. (I hope the city of Chicago engages more effectively in environmental protection policy-- especially the recycling program.)&nbsp;I also enjoy&nbsp;listening to classical music and new Jazz from Korea.&nbsp;CGN: What is your favorite work of public art in Chicago?AB:&nbsp;SoundCloud&nbsp;by Harry Bertoia and&nbsp;Agora&nbsp;by Magdalena Abakanowicz.&nbsp;Andrew Bae is the owner of&nbsp;Andrew Bae Gallery&nbsp;located in River North in Chicago. For more information about his&nbsp;gallery visit: <a href="https://www.chicagogallerynews.com/galleries/andrew-bae-gallery">Andrew Bae Gallery.</a>&nbsp;*Editor's Note: This interview&nbsp;has been updated from its original posting on September 29, 2017</body></html>

An Interview with a Dealer: Andrew Bae

By GINNY VAN ALYEA

The sixth edition of EXPO CHICAGO,&nbsp;the International Exposition of Contemporary &amp; Modern Art, opened last night at Navy Pier. The crowds were humming from the earliest opening at 3pm, and the energy continued to build all evening, as art enthusiasts streamed through the doors, eager to see the best of the world&#39;s contemporary art all under a single, massive roof. Many prominent collectors, artists and art world figures&nbsp;were in attendance as expected,&nbsp;giving a boost to the fair and making many connections all evening, ensuring that the fair&#39;s vitality and reputation will continue to grow in years to come.

Overall the art in the show looked very strong, and the enthusiasm and excitement of the crowd overflowed positively all night. The evening concluded with Nick Cave&#39;s&nbsp;remarkable Up Right Chicago&nbsp;performance, which featured dozens of participants, some wore his famous Soundsuits, some helped dress the performers live on stage, and others played music and sang songs. Architect Jeanne Gang&#39;s custom objects, designed to be part of the performance, were irrisistably playful and touchable for all who walked through the atrium on the walk to the Aon Ballroom.&nbsp;

EXPO&#39;s sterling exhibitor list and offering of art, combined with outstanding and dynamic art programming, has made EXPO ART WEEK a cultural centerpiece of Chicago, and its effects will long be felt and remembered.&nbsp;

A few highlights from the show are pictured below, but properly&nbsp;viewing&nbsp;this show will take more than one party-filled evening, as much of the work displayed requires time and attention&nbsp;to truly see&nbsp;and understand. Lucky for us, EXPO added an extra day to the show this year!&nbsp;&ndash;GV

&nbsp;

To read other EXPO 2017 coverage, click <a href="https://www.chicagogallerynews.com/news/2017/9/expo-art-week-september-11-17-2017--2">here</a>.

&nbsp;

<img alt="" data-caption="Visitors to Galerie Gmurzynska, New York" data-rich-file-id="2338" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2338/original/img-6493.jpg" />

<img alt="" data-caption="Luftwerk's booth with the NRDC" data-rich-file-id="2326" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2326/original/img-3218.jpg" />

<img alt="" data-caption="Liat Elbling at Catherine Edelman Gallery, Chicago" data-rich-file-id="2319" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2319/original/img-3150.jpg" />

<img alt="" data-caption="Anna Kunz at McCormick Gallery, Chicago" data-rich-file-id="2336" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2336/original/img-6489.jpg" />

<img alt="" data-caption="Eduardo Terrazas at Proyectos Monclova, Mexico City" data-rich-file-id="2318" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2318/original/img-3139.jpg" />

<img alt="" data-caption="The Haas Brothers, Fruit Stripe, hand woven carpet in wool, R &amp; Company, New York" data-rich-file-id="2321" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2321/original/img-3154.jpg" />

<img alt="" data-caption="Manish Nai, Kavi Gupta Gallery, Chicago, part of IN/SITU" data-rich-file-id="2322" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2322/original/img-3157.jpg" />

<img alt="" data-caption="Faheem Majeed, Rhona Hoffman Gallery, Chicago (artwork is on cover of fall 2017 CGN!)" data-rich-file-id="2323" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2323/original/img-3169.jpg" />

<img alt="" data-caption="John Seal at Konig Gallerie, Berlin " data-rich-file-id="2325" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2325/original/img-3216.jpg" />

<img alt="" data-caption="Faig Ahmed at Sapar Contemporary, Handmade wool carpet" data-rich-file-id="2328" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2328/original/img-3223.jpg" />

<img alt="" data-caption="Jean-Francois Razzier, Musee d'Orsay, Waterhouse &amp; Dodd Gallery, London" data-rich-file-id="2327" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2327/original/img-3219.jpg" />

<img alt="" data-caption="Luring Augustine's all video booth" data-rich-file-id="2329" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2329/original/img-6475.jpg" />

<img alt="" data-caption="Robert Therrien, No Title (drops), stainless steel, at Gagosian Gallery" data-rich-file-id="2330" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2330/original/img-6477.jpg" />

<img alt="" data-caption="Wang Du's IN/SITU installation, Psychiatrie et Cardiologie, courtesy Galerie Laurent Godin, Paris" data-rich-file-id="2337" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2337/original/img-6492.jpg" />

<img alt="" data-caption="Lucas Simoes at PATRON, Chicago – concrete, glass, plastic and foam installation" data-rich-file-id="2333" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2333/original/img-6488.jpg" />

<img alt="" data-caption="Ed Ruscha at Gagosian" data-rich-file-id="2324" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2324/original/img-3214.jpg" />

<img alt="" data-caption="Judy Ledgerwood at Rhona Hoffman Gallery, Chicago" data-rich-file-id="2320" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2320/original/img-3146.jpg" />

<img alt="" data-caption="Adam Parker Smith at The Hole, New York, resin, fiberglass, preserved mylar, steel" data-rich-file-id="2332" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2332/original/img-6479.jpg" />

<img alt="" data-caption="Lara Schnitzers installation, Suffragette City, courtesy Anton Kern Gallery, New York" data-rich-file-id="2335" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2335/original/img-6480.jpg" />

<img alt="" data-caption="Nick Cave's Up Right Chicago concluded the evening in the Aon Grand Ballroom" data-rich-file-id="2339" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2339/original/img-6517.jpg" />

&nbsp;

&nbsp;

To see more images from CGN all weekend, follow us on Instagram <a href="https://www.instagram.com/chigallerynews/">@ChiGalleryNews</a>

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A wrap-up of the 2017 EXPO Chicago's Vernissage opening

EXPO CHICAGO 2017 Vernissage Visual Wrap-Up

By GINNY VAN ALYEA

EXPO Chicago is bringing the global art community to the city this week, and for the fair&#39;s sixth edition, which&nbsp;opens on Wednesday evening, EXPO&nbsp;is introducing a host of new initiatives that specifically address architecture, as the fair coincides with the launch of the second Chicago Architecture Biennial.

One of the most highly anticipated exhibitions happening offsite during the fair is part of a&nbsp;partnership with Palais de Tokyo, a self-proclaimed &quot;dynamic place for the artists of our time,&quot;&nbsp;and &quot;the largest center for contemporary artistic creation in all of Europe, as well as a one-of-a-kind exhibition space and a&nbsp;rebellious wasteland with the air of a Palace, an anti-museum in permanent transformation.&quot;

<img alt="" data-caption="Palais de Tokyo in France" data-rich-file-id="2303" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2303/original/palais-.jpg" />

The&nbsp;exhibition,&nbsp;Singing Stones, curated by Katell Jaffr&egrave;s, brings together 11 emerging artists from both the French and Chicago art scenes&nbsp;as part of the first&nbsp;Hors les Murs (beyond the walls)&nbsp;exhibition in the United States,&nbsp;in partnership with the&nbsp;Institut fran&ccedil;ais and&nbsp;Chicago&#39;s&nbsp;DuSable Museum of African American History.&nbsp;The exhibition has a strong contemporary architecture&nbsp;focus&nbsp;and is also possible in part because of&nbsp;a partnership with Chicago&#39;s Graham Foundation as well as&nbsp;guest designer Andrew Schachman.&nbsp;

This&nbsp;group&nbsp;exhibition, which will coincide with EXPO Art Week (September 13-17, 2017) and the&nbsp;opening of the second Chicago Architecture Biennial&nbsp;(September 16, 2017-January 8, 2018),&nbsp;will be on view&nbsp;at the DuSable Museum&#39;s Roundhouse on the South Side at 56th Street.&nbsp;

Famed Chicago architecture firm Burnham and Root designed the Roundhouse in 1893 as horse stables for the&nbsp;World&rsquo;s Columbian Exposition. Singing Stones&nbsp;begins a return for the Roundhouse to active use, though different of course from its original purpose. Fifty six years ago&nbsp;the DuSable Museum began as a small gallery in the home of Charles and Margaret Burroughs. In 1971, the Museum moved to the original wing of its current facility and then expanded in 1993.&nbsp;In 2005 the DuSable Museum acquired the Roundhouse, and since then they have been fundraising in order to recontruct the structure to its original state. Earlier this month the Museum&nbsp;unveiled a new outdoor event space, a&nbsp;15,000-square-foot plaza&nbsp;next to the Roundhouse, that would be open in time for the Architecture&nbsp;Biennial. Since the space has not been completely restored, it is in a more raw state now, something that curator Jaffr&eacute;s will use to his advantage for the exhibition as he showcases the raw artistic talent of Chicago and France&nbsp;today.&nbsp;

The exhibition partnership program is an extension of the French-American Curatorial Exchange initiated in 2013 with the Cultural Services of French Embassy in the United States. It ties together this year&#39;s focus in Chicago on art and architecture through a global lens.&nbsp;

The DuSable Museum&#39;s mission is to promote understanding and inspire appreciation of the achievements, contributions, and experiences of African Americans through exhibits, programs, and activities that illustrate African and African American history, culture and art.

<h3>&nbsp;</h3>

<h3>Singing Stones&nbsp;</h3>

Curated by Katell Jaffr&egrave;s (Palais de Tokyo)

September 12-October 29, 2017 
Opening Reception: 8&ndash;11pm |&nbsp;Tuesday, September 12, 2017&nbsp;

The Roundhouse 
740 E&nbsp;56th Pl.,&nbsp;Chicago (60637) 
FREE

Artists: Wilfrid Almendra, Daniel G. Baird, Floating Museum, Dorian&nbsp;Gaudin, Lola Gonz&agrave;lez, Bouchra Khalili, Guillaume Leblon,&nbsp;Florian Pugnaire &amp;&nbsp;David Raffini, Cauleen&nbsp;Smith, Thomas Teurlai,&nbsp;Rapha&euml;l Zarka, and&nbsp;Andrew Schachman

Extended hours during EXPO ART WEEK 
Wednesday, September 13 &mdash; 10:00am&ndash;7:00pm 
Thursday, September 14 &mdash; 10:00am&ndash;7:00pm 
Friday, September 15 &mdash; 10:00am&ndash;7:00pm&nbsp; 
Saturday, September 16 &mdash; 10:00am&ndash;7:00pm 
Sunday, September 17 &mdash; noon&ndash;7:00pm

Exhibition Hours during run of show 
September 18&ndash;October 29 
Mondays Closed 
Tuesday&ndash;Saturday &mdash; 10:00am&ndash;5:00pm 
Sunday &mdash; 12:00&ndash;5:00pm

More information is at <a href="https://www.expochicago.com/programs/palais-de-tokyo-hors-les-murs">expochicago.com</a>

To read CGN&#39;s original article on the partnership announcement, click <a href="http://www.chicagogallerynews.com/news/2017/3/expo-chicago-palais-de-tokyo-announce-new-partnership-with-dusable-museum">here</a>.&nbsp;

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Singing Stones as part of EXPO Chicago and Palais de Tokyo 

Palais de Tokyo at EXPO Chicago

<h3>The growth of Chicago&#39;s Super Loop: So much building, so little architecture</h3>

A flock of construction cranes fills the sky. Downtown&#39;s population is soaring. The skyline is changing and so is the texture of city life.

A generation ago, West Madison Street was Chicago&#39;s Skid Row home to winos and flophouses. It is now a chic strip of sushi joints, cycle studios, preschools and a gourmet ice cream shop. But the architectural fare consists of bland apartment high rises that have drawn complaints of monotony. &ndash; Via&nbsp;Blair Kamin, Chicago Tribune

<a href="http://www.chicagotribune.com/news/columnists/kamin/ct-chicago-building-boom-kamin-met-0903-20170908-column.html">Read More</a>

&nbsp;

<img alt="" data-caption="Salvador Dali. Photo by Kammerman/Gamma-Rapho via Getty Images." data-rich-file-id="2304" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2304/original/dali.jpg" />

<h3>DNA Tests Debunk a Psychic&rsquo;s Claim to Be Dal&iacute;&rsquo;s Daughter, and a Surreal Saga Comes to an End</h3>

A Spanish tarot card reader&rsquo;s quest to be acknowledged as the daughter of Surrealist painter&nbsp;Salvador Dal&iacute;&nbsp;may have come to an anticlimactic end.

The Court of First Instance no. 11, in Madrid, has ruled out&nbsp;Pilar Abel Mart&iacute;nez&rsquo;s claim&nbsp;to be descended from the artist, based on DNA samples from her and from the artist, analyzed by the National Institute of Toxicology and Forensic Sciences.

The artist&rsquo;s body&nbsp;was exhumed in July&nbsp;in&nbsp;a dramatic ceremonyat the Dal&iacute; Theater-Museum, located in his hometown of Figueres, Spain. &ndash; Via Artnet

<a href="https://news.artnet.com/art-world/dna-tests-debunk-psychic-claim-dali-1072697#.Wbarm5za0LM.twitter">Read More</a>

&nbsp;

<img alt="" data-caption="Gallery owner Kavi Gupta with Roger Brown's &quot;Hollywood With the Stars.&quot; Photo by Manuel Martinez " data-rich-file-id="2307" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2307/original/gupta.jpg" />

<h3>On a Mission to Make Roger Brown a Household Name</h3>

The late Imagist Roger Brown is one of the most underappreciated artists to come out of Chicago. Gallery owner Kavi Gupta wants to change that.&nbsp;&ndash; Via Crain&#39;s Chicago (subscription required)

<a href="http://www.chicagobusiness.com/article/20170908/ISSUE03/170909916">Read More</a>

&nbsp;

<img alt="" data-caption="Site Design Group" data-rich-file-id="2309" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2309/original/dusable.jpg" />

<h3>Chicago&rsquo;s DuSable Museum reveals new terrace, timeline for historic Roundhouse</h3>

Late last week, Chicago Mayor Rahm Emanuel helped cut the ribbon on a new outdoor event space at the DuSable Museum of African-American History. Created by local architecture firm Site Design Group, the addition replaces an underused parking lot with new grass, flowers, fencing, and pavers. The&nbsp;$582,000 project&nbsp;is aimed at not only boosting attendance, but also creating a new revenue stream for the museum at 740 E. 56th Place through hosting private events such as weddings and corporate functions. &ndash; Via Curbed Chicago

<a href="https://chicago.curbed.com/2017/9/5/16255038/dusable-museum-historic-roundhouse">Read More...</a>

&nbsp;

<img alt="" data-caption="Courtesy of Getty Images" data-rich-file-id="2306" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2306/original/paris.jpg" />

<h3>Out With the Old, and in With La Biennale Paris</h3>

Global competition has brought some big changes to the latest edition of the venerable art fair&nbsp;La Biennale Paris.

Think of it as an old-school Citro&euml;n with a brand-new engine. &ndash; Via New York Times

<a href="https://www.nytimes.com/2017/09/10/arts/design/la-biennale-paris-art-fair.html?action=click&amp;contentCollection=arts&amp;region=rank&amp;module=package&amp;version=highlights&amp;contentPlacement=7&amp;pgtype=sectionfront&amp;_r=0">Read More</a>

&nbsp;

<img alt="" data-caption="Courtesy Chicago Architecture Foundation" data-rich-file-id="2308" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2308/original/caf.jpg" />

<h3>Architecture Foundation moving to Wacker on the Chicago River</h3>

After more than 25 years at the Railway Exchange Building, the Chicago Architecture Foundation is moving to a new location in the heart of the city. The new Chicago Architecture Center will be at&nbsp;111 East Wacker Drive, just above the dock for the&nbsp;Chicago Architecture Foundation River Cruise aboard Chicago&rsquo;s First Lady Cruises. It will occupy 20,000 square feet, providing the foundation with expanded space for its growing program and education initiatives. The center will open in summer 2018.&nbsp;&ndash; Via Architecture.org

<a href="http://www.chicagobusiness.com/article/20170907/NEWS07/170909927/chicago-architecture-foundation-building-new-center">Read More</a>&nbsp;

&nbsp;

Top Image: Courtesy of Brian Cassella / Chicago Tribune

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A round-up of news from around the art world for the week of Sept 11, 2017

News from Around the Art World: September 11, 2017

A summary of highlights of EXPO ART WEEK and the 6th edition of EXPO CHICAGO

EXPO Art Week – September 11-17, 2017

By GINNY VAN ALYEA&nbsp;

If turning 50 means you&#39;re showing your age, then 50 sure looks good if you&#39;re the Museum of Contemporary Art.&nbsp;

Three quarters of the way through its 50th year in 2017, the MCA just unveiled the new building redesign by architects Johnston Marklee as well as opening of the highly anticipated restaurant Marisol, featuring the first US restaurant commission by British artist Chris Ofili.

Below are details from the museum&#39;s press release:&nbsp;

&quot;Today&nbsp;Madeleine Grynsztejn, Pritzker Director of the Museum of Contemporary Art Chicago, officially opened the dynamic new building redesign by Los Angeles-based architects&nbsp;Sharon Johnston&nbsp;and Mark Lee&nbsp;of&nbsp;Johnston Marklee.&nbsp;Grynsztejn says, &quot;Johnston Marklee understands the strength of our Josef Paul Kleihues-designed building, and they carry a deep respect of history throughout their architectural practice. Their legacy of stellar work-increasingly referenced as a leader in the field-resonates strongly with our interest in making thoughtful interventions to our building, including a new restaurant called Marisol. With this redesign, our distinctive space becomes even more welcoming and flexible for our audiences.&quot;

Johnston Marklee (JML) redesigned select public spaces of the museum to create three major new offerings: Marisol, the ground-floor destination restaurant with an immersive art environment by international artist Chris Ofili; a social engagement space called the Commons on the second floor with an installaion by Pedro y Juana; and a new third floor with classrooms and a flexible meeting space that puts learning at the very center of the museum. These new public spaces are connected by a dramatic new staircase that honors the MCA&#39;s original iconic staircase, and an elegant new vaulted ceiling that recalls the barrel vaults in the fourth-floor galleries. JML&#39;s design of these welcoming and vibrant new spaces reflects the changing needs of a 21st-century contemporary art museum while maintaining the integrity of the Josef Paul Kleihues-designed building opened in 1996. This major $16-million renovation converts 12,000 square feet of interior space and coincides with the MCA&#39;s 50th anniversary.&quot; 
 
<img alt="" data-caption="Photo: Kendall McCaugherty, © Hall+Merrick" data-rich-file-id="2302" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2302/original/jml-marisol-with-mural.jpg" />

Also today, Grynsztejn&nbsp;revealed&nbsp;Turner Prize-winning British artist&nbsp;Chris Ofili&#39;s first restaurant commission in the United States. For this commission, Ofili designed an immersive art environment for the MCA&#39;s new restaurant Marisol with a&nbsp;site-specific art mural as the centerpiece, carried through to every surface&nbsp;of the restaurant -- from line drawings on the walls and etchings on the glass, to all of the colors, fabrics, and textures in the restaurant. Grynsztejn says, &quot;This is not simply putting work from the collection on our walls. This is a&nbsp;full-scale, all-in, immersive art environment&nbsp;that&nbsp;surrounds you&nbsp;when you enter into the restaurant, for which Chris Ofili has&nbsp;decided on every surface.&quot;

The mural, called&nbsp;The Sorceress&#39; Mirror&nbsp;is exemplary of Ofili&#39;s incorporation of the imagined and the real in his paintings, and his unifying of these into a singular, vibrant, and sensuous visual narrative. Inspired by the vaulted ceiling designed by Johnston Marklee for the restaurant, Ofili has leaping figures arcing across the night sky, with two figures riding a beast in flight as it leaps over a red cave and into the stars. Beneath them, the sorceress in her cave seems to emerge from the water as she hunches over her mirror, observing the figures and canopy above.&nbsp;The sorceress&#39;s cave re-imagines the landscape of Trinidad, where the artist lives and works. Ofili drew from trips he made to Paria Bay on the north of the island, where a rock at the edge of the shore has been carved by the sea to create a natural arch through which the water flows. The transition of the sky from saturated black pigment to lighter washes punctuated by colorful glittering stars refers to the sense of an instant captured on the threshold between night and day.&nbsp;

Marisol features local chef&nbsp;Jason Hammel&nbsp;at the helm and&nbsp;re-imagines the relationship between food, art, and design in an immersive art environment created by&nbsp;Ofili.

Chef&nbsp;Hammel&#39;s menu is inspired by the muse of the new MCA restaurant, spirited French/Venezuelan artist&nbsp;Marisol --&nbsp;a star of the New York art scene in the 1960s with her friend Andy Warhol, whose artwork,&nbsp;Six Women&nbsp;(1968), became the first work in the MCA&#39;s collection of contemporary art.

<img alt="" data-caption="Marisol in Venice during the 1968 Biennale Photo: Jack Mitchell/Getty " data-rich-file-id="2301" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2301/original/marisol-2.jpg" />Built upon a twenty-year relationship with Midwestern farmers, chef Hammel&#39;s menu incorporates vibrant vegetables and handmade pastas, alongside meticulously sourced meat and seafood. Hammel has created a playfully designed menu that varies with the seasons, filled with imaginative, thoughtful, and contemporary flavors inspired by the artistic surroundings that fuel the mind, body, and soul. The menus reflect not only the seasonal availability of local ingredients, but the creative open environment of the restaurant and the museum. Further, a new area called the Street with the space&#39;s counter service offers coffee, pastries, and inventive small-bites welcoming both passers-by as well as destination travelers. 
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<img alt="" data-caption="Dry aged beef with spring onions and black currant vinaigrette Photo: Carolina Mariana Rodriguez, © MCA Chicago" data-rich-file-id="2300" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2300/original/cmr-mca-hires-111.jpg" />

The dinner menu showcases imaginative dishes including the&nbsp;Marisol Salad&nbsp;(apple, dill, macadamia nut, pecorino, Marisol&#39;s natural food salad dressing),&nbsp;Crispy Eggplant&nbsp;(roasted grapes, pistou, sweet and sour pork) and&nbsp;Steamed Swordfish&nbsp;(cauliflower, cherry tomato, uni hollandaise).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; 
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Lunch offerings include lighter plates of vegetables and sandwiches, full-bodied entrees, and signature sweets. Standouts on the lunch menu include the&nbsp;Marisol Sandwich&nbsp;(grilled skirt steak, spring onion jam, runny farm egg, avocado),&nbsp;French Omelet&nbsp;(cured salmon and cr&egrave;me fraiche, sourdough toast) and&nbsp;Fried Trout Sandwich&nbsp;(cherry tomatoes, bacon, bibb lettuce, gribiche).&nbsp;

<a href="http://www.chicagogallerynews.com/news/2017/4/takashi-murakami-at-the-mca">The Octopus Eats Its Own Leg</a>, Japanese artist&nbsp;Takashi Murakami&#39;s show at the MCA, closes on September 24. A new show featuring work by Michael Rakowitz opens on September 16.&nbsp;Stop by the museum to see both shows as well as to experience the new restaurant for yourself.&nbsp;

More info on the MCA is <a href="http://www.chicagogallerynews.com/institutions/museum-of-contemporary-art-chicago-mca">here</a>.&nbsp;

To read about more Chicago restaurants with an artistic environment, click <a href="http://www.chicagogallerynews.com/news/2017/8/eat-more-local-see-more-local-discovering-art-in-chicago-s-restaurants">here</a>.

&nbsp;

Top photo: Kendall McCaugherty, &copy; Hall+Merrick

The MCA's building redesign and a new restaurant, Marisol

Enticing – And Appetizing – Changes Come to the MCA

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418586/r1xthx09upko1lrdbllv.jpg"></figure>Each week, CGN interviews a local art dealer to discuss the ins and outs of running a gallery in the city of Chicago.This week we caught up with Tom McCormick of McCormick Gallery.Gallery:&nbsp;McCormick Gallery &nbsp; Name:&nbsp;Tom McCormick Age:&nbsp;68 Previous occupation(s):&nbsp;Drummer, Drifter, Antiques picker, Carpenter/Plumber/Electrician, Oriental rug guy Hometown:&nbsp;Kansas City, Missouri&nbsp;Chicago Gallery News: Please describe your gallery’s program in one sentence.Tom McCormick:&nbsp;Terrific artworks offered by nice people.&nbsp;CGN: How did you become an art dealer?&nbsp;TM: First and foremost I was a collector, with a budget of about $10. In 1971 with a new BFA I got a job with John Wilson (of Chicago Art Fair fame) as an itinerate print peddler. I traveled the eastern two-thirds of the country selling original prints in one-day shows on college campuses while living at the Holiday Inn. I lasted two years before going back to school for my MFA. Back in school I started selling off the prints and antiques I had collected while employed. After graduate school I roamed the country buying and selling antiques, folk art and textiles, often lugging 300 pound wardrobes out of barn lofts for a $50 profit. (That’s a much younger me above, in my trusty Ford pickup out on the antiques trail.) One day in 1978 I bought an old painting for $75 and sold it immediately with a phone call for $800. The next day I was an art dealer.&nbsp;CGN: What's the first thing you do each morning when you get to the gallery?&nbsp;TM: We start planning lunch.&nbsp;CGN: Thumbs up or down on art fairs?TM: I’ve done art (and antique) fairs since the late 1980s. They used to be fun and profitable. Now there are too many, they are too expensive, and not much fun to do.The big exception is EXPO CHICAGO… Tony Karman has really done a great job with our hometown art fair.&nbsp;CGN: Who are artists you admire but don't represent? &nbsp;TM: Francisco Goya, Odilon Redon, Richard Diebenkorn and Willem de Kooning.&nbsp;CGN: What is the best sale you ever had?TM: In September of 1971, on my very first outing as a print dealer at Ball State University I sold an Albrecht Dürer engraving to a student for $4,200. I was stunned. I didn’t actually believe anyone had that kind of money, much less spent it. I thought this art selling gig was going to be a breeze… needless to say I didn’t sell another expensive print for months!&nbsp;CGN: What advice would you share with new or young collectors?TM: Don’t pay any attention to your friends, or the “experts.” Listen to your stomach and look for something you can afford that really reaches out and grabs you by the throat. Find a dealer who is more interested in you being happy than in selling you something.&nbsp;CGN: Which artist that you represent or work of art you have recently acquired are you most excited about? Why? &nbsp;TM: I just bought a&nbsp;Classic Mexican Saltillo Sarape, c.1825, for my personal collection. I’ve been a textile junkie for nearly 50 years and a Saltillo collector since 1978. These works of art are incredibly rare and very expensive, and I have been waiting a very long time to find one I could afford. It is pinned to the wall of my office and I just can’t stop eating it up with my eyes. This, of course, has nothing to do with the gallery business, but I appreciate the open-ended nature of your question.&nbsp;CGN: What major successes have you had this year? What about challenges?TM: This has been an unexpectedly good year for the gallery. Our summer show of work from the estate of Perle Fine has sold extremely well. I have been slowly changing the focus of the gallery away from the vintage, estate works of mid-century painters over to more emphasis on our terrific group of contemporary artists. This is a bit of a challenge but one I’m excited about.&nbsp;CGN: How do you view working as an art dealer in Chicago? &nbsp;TM: Let’s face it, the traditional (old school) gallery scene in Chicago is a skeleton of what it was 20 years ago. Maintaining a retail presence in Chicago is expensive. We are blessed with certain advantages but still must rely on Internet traffic, out of town clients and the art fairs in order to remain profitable.&nbsp;CGN: What is your favorite interest outside of the art world?TM: We have a wonderful place in Sawyer, Michigan where we have been working on a native prairie project.&nbsp;CGN: What is your favorite work of public art in Chicago?TM: I don’t know who the artist is, but I love this crazy sculpture&nbsp;on South Lakeshore Drive at about 48th Street in Hyde Park. It is a very tall, skinny figure in some shiny silver material, who is staring up at the sky. Very whimsical but thoughtful.&nbsp;&nbsp;[Turns out it's&nbsp;<a href="http://www.luhringaugustine.com/news/tom-friedman-s-looking-up-to-be-installed-on-chicago-s-lakefront">Tom Friedman’s&nbsp;Looking Up</a>]&nbsp;CGN: What are your 5 favorite art spaces to visit?TM:1.&nbsp;&nbsp;&nbsp; Naoshima in the Seto Islands of Japan2.&nbsp;&nbsp;&nbsp; MassMOCA, North Adams, Massachussetts3.&nbsp;&nbsp;&nbsp; Smart Museum at the University of Chicago4.&nbsp;&nbsp;&nbsp; Museum of International Folk Art in Santa Fe, New Mexico5.&nbsp;&nbsp;&nbsp;&nbsp;Musée&nbsp;des Beaux-Arts, Montreal, Quebec, Canada&nbsp;&nbsp;Tom McCormick is the owner of McCormick Gallery,&nbsp;located at 835 W. Washington Blvd. in the&nbsp;West Loop. For more information about his gallery visit:&nbsp;<a href="http://www.chicagogallerynews.com/galleries/mccormick-gallery">McCormick Gallery</a>.&nbsp;Image: Tom McCormick c. 1978 in New Mexico&nbsp;</body></html>

CGN interview with Chicago art dealer Tom McCormick

An Interview with a Dealer: Tom McCormick

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418573/cz0zovj3fk1nvh2vyhaz.jpg"></figure>&nbsp;By GINNY VAN ALYEAA year ago this past summer, Michelle T. Boone left a high-profile position as head of the City of Chicago’s Department of Cultural Affairs and Special Events and took on a newly created role at Navy Pier as Chief Program and Civic Engagement Officer, with the goal of getting everyday Chicagoans to come to the Pier for its cultural offerings, not its food court. Classified as a nonprofit as of 2011, Navy Pier, now referred to as Chicago’s Mission Driven Cultural District, is host to contemporary art installations and a range of public programming set against the backdrop of Lake Michigan. CGN spoke with Boone about the importance of public space and how the city is supporting artists in ways no other city can.&nbsp;CGN: What were your expectations when you began your work with Navy Pier?Michelle T. Boone: For me, the best part was that I didn’t have any expectations, because it was a totally new position. To walk into a place that is so iconic, with a long Chicago history, and be charged with redefining how people think about Navy Pier in the 21st century, was really exciting. In particular I was thrilled to have the opportunity to lay the foundation for what art and cultural programming at the Pier would be. Other people may have had expectations of me, but I walked in the door with the vessel totally empty, ready to fill it with ideas and inspired by the opportunity.CGN: In 2016 Navy Pier marked its 100th anniversary. Its more recent reputation among locals has been as a place to go only if you have to, or with out-of-towners.MB: Personally, I was absolutely one of those people. I did not see it as an option for cultural programming, or even for entertainment. The times that I did come to the Pier were for very deliberate purposes – for EXPO CHICAGO or SOFA, for Shakespeare Theater. These were one-offs. I even surprised myself in accepting this position because of that, but that was a major attraction to the job. If I could be a part of helping to change those perceptions because of the new ideas and the new programming here, then that was going to be the real test, starting with myself first.CGN: It sounds like your primary challenge is to offer programming that makes everyone – locals as well as tourists – want to come back again and again, and to enjoy high-quality programming put on by the Pier.MB: Navy Pier is misperceived as a tourist trap, but close to 70 percent of the people who come here are actually Chicagoans. We have to do a better job telling that story. What’s the reason for Chicagoans to come? How many times can you ride the Ferris wheel? The philosophy for me in developing artistic programming is leveraging collaborations and partnerships with Chicago artists and cultural organizations, because they bring the reputation and the quality work; hopefully they bring the audience, too. It’s a great vehicle to introduce those audiences to the new Navy Pier, and it’s an excellent way for us to enhance the visitor experience for the guests here. They may not have come to Navy Pier for a cultural program, but how great to be surprised by some really moving experience that you didn’t think was going to be here?CGN: The Pier itself, with its spectacular backdrop, has the potential to be the ultimate public space.MB: It’s an oasis in the city. It’s the happiest place in town. Everybody’s in a good mood because they’re here with their family, they’re here on vacation, or they love showing it off to visitors or guests. For hardcore urban dwellers that are surrounded by concrete, buildings and limited green space, to be reconnected to the water is a tremendous asset that is also part of reminding Chicagoans the value of the Pier. You can’t find a bad view out here.CGN: People living in the city don’t have much space of their own.MB: Right. These public spaces become that much more important. We don’t have the city squares of Europe. What we do have are public spaces that are populated all over the city. I think people are paying more attention to and investing more resources into reclaiming abandoned space as public space for programming, for gathering or for just plain respite.CGN: I think that what you’ve just said provides insight into the year of public art and the valuable opportunities public space offers working artists.MB: Not every artist will have their work in a museum, and not every singer can be on stage at the Lyric Opera. That’s another great thing about public space – the potential to create more circumstances, for emerging artists especially, to showcase their work and to find new ways to be employed and to showcase work locally. It can help sustain the ecosystem of artists living in the city of Chicago and keep it vibrant.CGN: These public opportunities allow artists a great deal of freedom to do what they want to do, while removing some of the financial pressure.MB: Because it’s free public programming at the Pier, we’ve got this huge platform for artists to think about us almost as a test kitchen for trying out new ideas and collaborations, risk free. I think, overall, you can try ambitious, creative ideas in Chicago, and if something fails it’s not going to kill your career in a way that it might in New York City. In Chicago if a bold idea doesn’t work, the community is supportive enough to allow you the space to come back with something new. You can learn from it, you improve it, you find new ways to do things, and you come back even stronger. For an artist, the more critical risks of, ‘Oh my God, are we going to sell tickets?’ are removed here.CGN: This fall the Pier is hosting a packed lineup of arts programming. Can you talk about the thought behind bringing high-caliber contemporary art to this space regularly?MB: I think one of the motivating forces in inviting, for example, Nick Cave and Jeanne Gang to be at the Pier in September, was to have the Pier itself be a site as well as a participant, and to enhance what happens during the week of EXPO CHICAGO. Nick will continue to curate at least three other performances, and he’s going to work with a local performance curator to invite community based art groups to perform here at Navy Pier. Up until the middle of November or so, community performance companies have an opportunity to interact with the Jeanne Gang designed objects as well. It will carry beyond just these two sort-of signature performances that happen in September, but that will serve as inspiration for what will also happen in the fall. There will be at least three more performances. As part of the Chicago Architecture Biennial programming, the Jeanne Gang-designed objects used in Nick Cave’s performances will remain on site as visual art sculpture installations when not used for the performances.We’re working to have another two or three public conversations with thought leaders around the Architecture Biennial. Lee Bey is also doing a photography exhibition, called Lakeshore Vibe: The Architecture of Streeterville, at the Pier that will debut as a part of the Biennial.CGN: How do you think a place like Navy Pier can make Chicago standout from other cities?MB: I think in general Chicago is becoming a city that is really a model for demonstrating the value of public space. The City of Chicago is showing many ways of animating and activating our public space in a way that invites residents to reconnect to one another, to art and to nature.The history and the legacy that we have with our park system, the vision of keeping the lakefront free and clear, the transformation that you see happening with the River Walk, the addition of the 606 – I think there’s a movement happening where people are really valuing what public space is and how it can improve the quality of life.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2235/original/roger.jpg" alt=""></figure>&nbsp;Photo of Michelle T. Boone, Heidi Zeiger Photography / Navy Pier.SaveSaveSaveSaveSaveSave</body></html>

CGN interviews Michelle T. Boone, Chief Program and Civic Engagement Officer, of Navy Pier. 

Navy Pier Hosts Art for All: The Ultimate Public Space Welcomes Artists

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418572/yvxkqlsk6y7crdykrz6b.jpg"></figure>&nbsp;This fall the&nbsp;Chicago Architecture Biennial&nbsp;returns for its second edition with an exhibition at the Chicago Cultural Center and a number of off-site installations and performances. With so much to see and do, CGN asked&nbsp;Gibran Villalobos, Public Programs and Partnerships Coordinator, to highlight the programs he’s excited about.&nbsp;<h3>white wanderer: creating a Climate Change Soundtrack</h3>Luftwerk, the renowned artistic collaboration of Petra Bachmaier and Sean Gallero, will discuss White Wanderer, an immersive public art installation that takes inspiration from the Larsen C ice shelf in Antarctica. Using real life recordings of the sounds and frequencies of melting and moving glaciers, the artists will create a haunting and contemplative soundtrack of climate change. The panel discussion features collaborators Rob Moore, a Senior Water Policy Analyst at NRDC and Doug MacAyeal, Professor in Geophysical Sciences at the University of Chicago. It will be moderated by Neil Stevenson of Ideo.&nbsp;Sep 26, Claudia Cassidy Theater, Chicago Cultural Center<h3>LAMPO Performance: MARK FELL</h3>Mark Fell premieres his new multi-channel project for the Chicago Architecture Biennial and Lampo. The UK composer will position 24 speakers around the hall and manipulate electronic sound in dialogue with the acoustic and architectural space—a conversation of geometries. This interplay forms a framework within which Chicago bassoonist Katherine Young performs Fell’s score.Sep 29, Preston Bradley Hall, Chicago Cultural Center<h3>Iñigo Manglano-Ovalle &amp; Hannah Higgins</h3>In conversation with art historian Hannah Higgins, author of The Grid Book (MIT Press, 2009), the artist Iñigo Manglano-Ovalle discusses his use of the grid and its impact on contemporary practice.Oct 3, Claudia Cassidy Theater, Chicago Cultural Center<h3>VAN ALEN INSTITUTE: VARIETY SHOW</h3>In a medley of music, provocation, and presentations, the Van Alen Institute will reflect on hangouts defined by both personal experiences and physical spaces. How do communities appropriate urban space? How is the experience of hanging out different for different people? The group explores a series of questions in a night of fast-paced performance and conversation.Oct 23, Garfield Park Conservatory<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2234/original/gilla.jpg" alt=""></figure>&nbsp;&nbsp;&nbsp;Photo: Anjali Pinto; Luftwerk, white wanderer, 2017SaveSaveSaveSave</body></html>

CGN highlights some of the events at the Chicago Architecture Biennial. 

Making New History: Chicago Architecture Biennial

Hot on the heels of the busy September 8 opening of the fall art season, more openings take place on Saturday, September 9 and throughout the week leading up to and through EXPO Chicago. Part II of our September preview gives you the highlights so you can plan ahead.&nbsp;

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<h3>September 9</h3>

&bull;&nbsp;<a href="http://www.chicagogallerynews.com/calendar/ass-grass-or-gas">Ass Grass or Gas</a> at Tiger Strikes Asteroid &ndash; Sparked by an interest in vanning culture, curators Josue Pellot and Robin Dluzen explore the aesthetics of the sub-culture with this exhibition that encompasses wider ideas about taste, the vernacular, and the psychedelic.&nbsp;The opening reception on&nbsp;Saturday September 9&nbsp;will also feature a mini-vanning convention with Chicago-based vanners showing off their vehicles to the public. To read our fall interview with the artists behind TSA click <a href="http://www.chicagogallerynews.com/news/2017/8/tiger-strikes-asteroid-anna-kunz-michelle-wasson-on-artist-run-spaces">here</a>.&nbsp;

<img alt="" data-caption="From Ass Grass or Gas at TSA" data-rich-file-id="2275" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2275/original/grass.jpg" />

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&bull;&nbsp;<a href="http://www.chicagogallerynews.com/calendar/jose-lerma-nunquam-prandium-liberum">Jos&eacute; Lerma: Nunquam Prandium Liberum</a>, the artist&#39;s solo show,&nbsp;opens at Kavi Gupta Gallery. Gerald Williams also opens on the 9th. Both shows are on view&nbsp;at the gallery&#39;s second location at 219 N Elizabeth.&nbsp;

<img alt="" data-caption="José Lerma at Kavi Gupta" data-rich-file-id="2279" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2279/original/lerma.jpg" />

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&bull;&nbsp;<a href="http://www.chicagogallerynews.com/calendar/lilli-carre">Lilli Carr&eacute;</a> opens at Western Exhibitions in a two part show.&nbsp;It&#39;s the artist&#39;s third solo show at the gallery, featuring new ceramic sculptures, animation, and prints. It&#39;s&nbsp;a great reason to visit the gallery group in the 1709 W Chicago Ave. building, as other openings are also happening this evening&nbsp;from 5 to 8pm. Check out some fancy shiny 1980s chairs while you&#39;re at <a href="http://www.chicagogallerynews.com/calendar/krueck-sexton-reflections-from-there-to-here">Volume Gallery</a>...

<img alt="" data-caption="Like a Lantern, 2012, Handbound artist book of a portion of the animation frames that compose the film 8 1/2 x 11&quot;, closed 8 1/2 x 20&quot; open edition of 10 " data-rich-file-id="2277" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2277/original/carre.jpg" />

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&bull; James Greco is exhibiting tarp paintings at <a href="http://www.chicagogallerynews.com/calendar/james-greco-tarp-paintings">Bert Green Fine Art</a> on South Michigan Ave. across from Millennium Park.&nbsp;The&nbsp;Brooklyn-based painter&#39;s&nbsp;newest works are paintings on unstretched, flat tarps on which he rapidly and intuitively applies color from punctured spray paint cans, in a contemporary iteration of action painting.&nbsp;

<img alt="" data-rich-file-id="2274" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2274/original/zgreen.jpg" />

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&bull; Chris Silva&#39;s fall show at <a href="http://www.chicagogallerynews.com/galleries/linda-warren-projects">Linda Warren Projects</a> takes up two galleries. Open Source is a&nbsp;solo exhibition of new works and installation by the Chicago-based artist, who is showing for the first time at LWP.&nbsp;Silva will present an assortment of 2D collage sculptures and paintings in Gallery Y and a large-scale multi-sensory, multi-media, video animation installation in Gallery X. In LWP&#39;s third gallery space (O)&nbsp;Go Figure is&nbsp;a curated group exhibition of female artists from the gallery&rsquo;s roster:&nbsp;Loretta Bourque, Megan Euker, Lora Fosberg, Paula Henderson, Michiko Itatani, Judith Mullen and Jennifer Presant.

<h3><img alt="" data-caption="Chris Silva, Little Suggestion, 2017, reclaimed signage/wood, spray paint " data-rich-file-id="2282" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2282/original/silva.jpg" /></h3>

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<h3>September 12</h3>

&bull;&nbsp;<a href="http://www.chicagogallerynews.com/galleries/the-arts-club-of-chicago">The Arts Club of Chicago</a>&nbsp;will have a public opening on Sept 12 to celebrate the centennial of Marcel Duchamp&rsquo;s&nbsp;Fountain, welcoming&nbsp;an exhibition by acclaimed Slovak artist Roman Ondak. Known for a conceptual oeuvre that draws on both participatory and object-based processes, Ondak interrogates the peculiarities of daily life in a post-Soviet and increasingly global context. For The Arts Club, Ondak gathers four sculptural installations that have never been shown in the United States along with an ongoing series of paintings begun in the 1990s, most of which were produced expressly for this exhibition. Taken as an ensemble, this work deploys found materials to reflect on aspects of memory and place&ndash;indicating Ondak&rsquo;s rather ambivalent stance toward the legacy of the readymade.

<img alt="" data-caption="Roman Ondak at the Arts Club" data-rich-file-id="2278" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2278/original/escape-circuit-detail3-1140x430.jpg" />

<h3>&nbsp;</h3>

<h3>September 14 and 15</h3>

&bull; On Thursday, September 14 <a href="http://www.chicagogallerynews.com/calendar/david-hartt-in-the-forest">The Graham Foundation</a> opens&nbsp;David Hartt: in the forest.&nbsp;Borrowing his title from Claude L&eacute;vi-Strauss&rsquo; 1955 memoir&nbsp;Tristes Tropiques,&nbsp;in the forest&nbsp;continues Hartt&rsquo;s investigation into the relationship between ideology, architecture, and the environment. Consisting of a film, a suite of photographs, and a series of sculptures, the installation revisits architect Moshe Safdie&rsquo;s unfinished 1968&nbsp;Habitat&nbsp;Puerto Rico&nbsp;project through a contemporary lens.

<img alt="" data-caption="David Hartt, &quot;Carolina I,&quot; 2017, archival pigment print mounted to Dibond, print size 36 x 54 inches. Courtesy of Corbett vs. Dempsey and commissioned by the Graham Foundation for Advanced Studies in the Fine Arts." data-rich-file-id="2276" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2276/original/hartt.jpg" />

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&bull;&nbsp;<a href="http://www.chicagogallerynews.com/galleries/richard-gray-gallery-gray-warehouse">Gray Warehouse, Richard Gray Gallery&#39;s</a> west side location that opened this past April with a show of Jim Dine&#39;s paintings, presents new work by Spanish artist Jaume Plensa.&nbsp;At Gray Warehouse,&nbsp;Secret Garden&nbsp;presents recent sculptures in wood, stainless steel, and bronze in conjunction with a new suite of drawings. The exhibition continues at Richard Gray Gallery&rsquo;s John Hancock Center space with a portrait series carved in alabaster, as well as a second exhibition of historical works titled One Thought Fills Immensity. Featuring works from 1989 to 2002,&nbsp;One Thought Fills Immensity&nbsp;offers a deeper view into the artist&rsquo;s prolific career. The two exhibitions open with a public reception for the artist at Gray Warehouse on Thursday, September 14 from 6-8 pm.&nbsp;An exhibition walk-through and Q&amp;A with Jaume Plensa and curator Brooke Kamin Rapaport will take place at&nbsp;Gray Warehouse on Friday, September 15 at 10:30am.

<img alt="" data-caption="Jaume Plensa (b. 1955) Isabella, 2016 Stainless steel" data-rich-file-id="2281" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2281/original/plensa2.jpg" />

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&bull; Part of <a href="http://www.expochicago.com/programs/expo-art-week">EXPO </a><a href="https://www.expochicago.com/programs/expo-art-week">Art Week</a>, Art After Hours&nbsp;is a citywide open gallery night inviting EXPO CHICAGO visitors and the Chicago community to experience the city&#39;s vibrant art scene, including alternative exhibition venues and performance spaces,&nbsp;during extended hours on&nbsp;Friday,&nbsp;September 15,&nbsp;6:00&ndash;9:00pm. The list of participating galleries and related exhibitions is <a href="https://www.expochicago.com/programs/expo-art-week/art-after-hours">here</a>.

&nbsp;

&bull;&nbsp;<a href="http://www.chicagogallerynews.com/calendar/glenn-kaino-sign">Glenn Kaino&#39;s</a> second solo exhibition at Kavi Gupta Gallery,&nbsp;Sign,&nbsp;opens&nbsp;on Friday, September 15 from 5-8pm at the gallery&#39;s 835 W. Washington location.

<img alt="" data-caption="Glenn Kaino, In Search of New Systems (Celestial..., 2016. Wood, plexiglass, plastic, wire, metal, 6’ diameter x 6”" data-rich-file-id="2283" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2283/original/kaino.jpg" />

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&bull;&nbsp;<a href="http://www.chicagogallerynews.com/galleries/patron">PATRON Gallery</a> features work by gallery artist&nbsp;Nick van Woert on Friday, September 15

<img alt="" data-caption="Nick van Woert at PATRON" data-rich-file-id="2285" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2285/original/patrongallery-2515-1501260705.jpg" />

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&bull; <a href="http://www.chicagogallerynews.com/galleries/carrie-secrist-gallery">Carrie Secrist Gallery</a> opens their new season with a show of Anne Lindberg&#39;s work on September 15. walking as I stand, features six new monumental drawings that embody the seamless relationship between the pace of Lindberg&#39;s step and the evolution of the drawing. Citing a long tradition ranging from Henri Rousseau to William Wordsworth, Robert Walser and Immanuel Kant, the work in this exhibition&nbsp;expounds&nbsp;the relationship of deep thinking and composing with time spent walking. As thousands of lines are pulled across a pliant mat board while walking, an under-layer of graphite builds a matrix into which color is overlaid and embedded. Lindberg&rsquo;s work has a highly atmospheric inclination towards the rhythmic layers of luminous colors. To read CGN&#39;s interview with Secrist for the gallery&#39;s 25th anniversary, click <a href="http://www.chicagogallerynews.com/news/2017/8/carrie-secrist-turns-25-chicago-gallerist-makes-the-old-school-new-again">here</a>.

<img alt="" data-rich-file-id="2287" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2287/original/lindberg.jpg" />

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There is a LOT of great art to see, and there&nbsp;are just a few&nbsp;highlights&nbsp;around the city. View the entire&nbsp;<a href="http://www.chicagogallerynews.com/calendar?what-type-of-event">calendar here</a>.&nbsp;

To read&nbsp;Part I&nbsp;of our Fall Preview. featuring shows opening September 8, <a href="http://www.chicagogallerynews.com/news/2017/8/fall-preview-part-i-september-8-openings-annual-river-north-design-district-art-walk">click here</a>.

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Top image: EXPO Chicago&#39;s Vernissage opening night party takes place Wednesday, September 13

A second summary of opening highlights in Chicago art 

Fall Preview Part II: September 9, 14 + 15 Openings + EXPO Art Week

By BRIDGET BROWNLEE AND JAYCEE ROCKHOLD

&nbsp;

Chicago is not lacking in two things these days: food and art. Whether you&rsquo;re grabbing a quick bite to eat or sitting down for a twelve course meal, Chicago is home to a number of restaurants that feature tasty cuisine alongside local art.

ALINEA

You don&rsquo;t have to just look at art, you can eat it, too. In this immersive restaurant that celebrates dining as an artistic experience, enjoy an avant-garde inspired menu, with everything from green apple flavored balloons to lily bulbs, all while admiring new renovations to the space itself, as well as paintings by artist and dealer Thomas Masters.

1723 N. Halsted, alinearestaurant.com

3 ARTS CLUB CAFE AT RH

In a Gold Coast building built in 1914, which was once home to female artists living at the Three Arts Club, the ground floor space has been converted to offer casual dining in an airy artistic setting. The popular cafe is located in the historic courtyard space where artists used to enjoy abundant light by which to paint, sculpt and sketch.

1300 N. Dearborn, 3artsclubcafe.com

THE ALBERT

The Albert, an Albert Einstein themed restaurant, was designed to showcase the intersection between art and science, and it features work by local artists, including murals from cartoonist Jonathan Plotkin, and Art Institute of Chicago Mathematician Dr. Eugenia Cheng&rsquo;s colorful chalkboard musings.

228 E. Ontario, hotelemc2.com/eat-drink

<img alt="" data-caption="GT PRIME, A RIVER NORTH steakhouse, FEATURES PHOTOGRAPHIC MURALS BY JEFF KAUCK. PHOTO: ANTHONY TAHLIER" data-rich-file-id="2246" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2246/original/gtprime-0916-4365.jpg" />

GT PRIME

GT Prime takes food appreciation to the next level with striking culinary-focused murals. Created by artist Jeff Kauck, these larger than life photographs, along with fur-topped bar stools and taxidermy displays, set GT Prime apart from your typical steakhouse.

707 N. Wells Street, gtprimerestaurant.com

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Photo courtesy of Alinea.&nbsp;

CGN highlights art-oriented, locally based restaurants around the city of Chicago. 

Eat More Local, See More Local: Discovering Art in Chicago's Restaurants

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418573/so7pjr59dggzahripbh8.gif"><figcaption>The Stenns’ home features a variety of works by blue chip artists, such as Fred Sandback, Larry Bell, Ellsworth Kelly, Sol LeWitt, and Alexander Calder.</figcaption></figure>By GINNY VAN ALYEAThree years ago Irving Stenn Jr. significantly changed the Art Institute of Chicago’s collection of Minimalist art and works on paper by gifting 105 drawings to the museum. Growing up, Stenn would have never imagined that he would come to love art and pursue and acquire such a significant collection in his lifetime. Born and raised on the South Side of Chicago, with parents who were products of the Depression, he says he didn’t visit many museums as a child, outside of a few school trips. Today, at age 86, he is a Trustee Emeritus of the Art Institute.Stenn lives in a recently renovated, 13th floor Streeterville condo with his wife Judi. Seated in a brown leather Le Corbusier chair, with a view of the park that is just east of the Museum of Contemporary Art, Stenn reflects, “I was so fortunate to have attended the University of Michigan and live with a group of young men who were very interested in the arts.” It was because of these friends that he was inspired to take art survey courses while he was a student, and when he returned to Chicago as a young lawyer, he made time to attend the symphony, art exhibitions and to visit museums.Soon he married Marcia Sachs, with whom he had three children. Together they bought a Victorian rooming house in Lincoln Park that the city claimed was uninhabitable, due to prior flood damage. Referencing old photographs of what the building looked like originally, the couple undertook an extensive renovation with their friend, architect, Harry Weese.&nbsp;Stenn describes the process, “It was a crazy thing to do with three little kids running around at the time, but it was also really an exciting thing to see the house come together.”<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2247/original/img-2559.jpg" alt=""><figcaption>A narrow hallway is lined with dozens of framed drawings by artists such as Fred Sandback, Martin Puryear, Kazimir Malevich and Yves Klein. At the end of the hall is Roy Lichtenstein's Lighting bolt banner, 1966, Serigraphy on felt, 100 2/5 × 46 in, Edition of 20</figcaption></figure>When everything was complete, the couple was living in a home filled with white walls. The architect suggested to them that the house was a perfect place to display art.&nbsp;On a trip to San Francisco, they visited Gumps Department Store, a well-known store in the city, which had an art department. One vivid, geometric print caught the couples’ eye. Stenn recalls, “The artist’s name was not familiar to us at the time. My wife liked the color and design, so we sent it home.” The piece was titled River of Ponds and the artist was Frank Stella. It was the first work of art they purchased together, and it is still in Stenn’s collection. Over time that Stella print has proven to be seminal in the focus of his collection.Back in Chicago, the couple continued collecting prints by artists of the 50’s, 60’s and 70’s with the help of dealer William van Straaten. They continued their quest by beginning relationships with Donald Young, Rhona Hoffman, Richard Gray and many other gallerists, relying on them for guidance.&nbsp;Stenn says, “Under the thoughtful tutelage of Donald and Rhona – and as our confidence, eye and pocketbook grew – we began to acquire paintings, and sculpture as well.” They sought out artists such as Jasper Johns, Roy Lichtenstein, Josef Albers and Sol Lewitt.<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418575/jap1q5njrzwmrytvfrr5.gif"><figcaption>Stenn's bar features a reinstalled wall design by Sol Lewitt&nbsp;</figcaption></figure>Over time Stenn says that through their collecting they met many interesting people, gaining insight into what contemporary art was about. They became an active part of the art community, and eventually Stenn was asked to be a Trustee of the Museum of Contemporary Art. He spent time studying exhibitions and engaging with other supporters of the museum. He explains, “In my law practice I was introduced to Gerry Elliott, a premier Chicago collector who put together collections of several periods of art during his lifetime, a number of which were gifted to the Museum of Contemporary Art and to the Art Institute in Chicago. The three of us would often meet at our house, where we discussed art and artists, and it was through Gerry that we gained in-depth familiarity with the artists whom we began to collect, such as Donald Judd, Barnett Newman, Brice Marden and Robert Ryman.”While Stenn’s engagement with art increased, he still viewed himself as just an art enthusiast. He and Marcia were occupied raising their children, and he was busier than ever working as a lawyer. He remembers clearly, “One day, I don’t know how many years went by, someone called and asked to visit to see our collection of contemporary art&nbsp; That was the first time I’d ever heard anyone say, ‘You have a collection’. I’d never thought of it that way.”Marcia passed away in 1999. About a year later, in early in 2000, Mark Pascale, The Janet and Craig Duchossois Curator of Prints &amp; Drawings at the Art Institute, called and introduced himself. He proposed a visit to an exhibit of contemporary drawings from the Collection of Werner Kramarsky, an internationally respected contemporary drawings collector, that was to be shown at the Mary and Leigh Block Museum of Art on the Northwestern Campus.&nbsp;“I was fascinated with the material," Stenn says, "because the intimate nature of the drawings and works on paper gave me insight into the process of this art. I was hooked!”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418576/ykb2c3p8uiixdlesxzda.gif"></figure>Stenn and Pascale continued to talk regularly, and Stenn found himself with a new mentor in a new genre in the period he so loved. They traveled together in search of drawings by Ellsworth Kelly, Mel Bochner, Josef Albers, Agnes Martin, Fred Sandback, Jasper Johns, James Turrell, and so on. The collection that resulted was exhibited at the Art Institute in 2014, and the museum acknowledges that the bequest was one of the most significant bodies of works on paper given to the museum. It has meaningfully enlarged the Department of Prints and Drawings’ collection.During these years of collecting, Stenn became a Trustee of the Art Institute. In addition he stepped up his commitment to the University of Michigan Museum of Art by naming a gallery in the contemporary wing in 2007. He is also a member of the school’s National Leadership Council.Five years ago, Stenn’s wife Judi came into his life. As a designer, she worked with the architects to accommodate as much of the art as possible, placing works that once filled his large Lincoln Park home in a fresh new space in their downtown apartment. Here, art is everywhere, behind the bar, as well as on the sitting room floor. The installations show each piece’s individual attributes as well as the interesting ways they speak to one another.&nbsp;A small-scale, cubed Sol LeWitt sculpture has been placed atop a glass coffee near a vibrant Ellsworth Kelly painting, not far from a small bar, where a large LeWitt wall drawing has been installed for the second time, since it was formerly in his Lincoln Park home.&nbsp;A narrow hallway –– lined with dozens of framed drawings by artists such as Fred Sandback, Martin Puryear, Kazimir Malevich, and Yves Klein –– leads to a floor-to-ceiling, dark blue Roy Lichtenstein felt banner entitled Lightning Bolt.&nbsp;An Alexander Calder mobile floats near a steel-tiled Carl Andre floor installation. Says Stenn, “We love living with as much of the collection as possible.”For Stenn, “The collecting of art has not only been an education, it has broadened my life in so many ways. I’ve met and become friends with wonderful people in Chicago and around the globe. There have been many gallerists and curators who have been instrumental in building the collection over the years –– too many to mention –– and I am eternally grateful. Art has expanded my world. While there have been some bumps along the way, it’s been a good life. I’m a lucky guy!” &nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2232/original/stennsidebar.jpg" alt=""></figure>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

Chicago Gallery News interviews local art collector Irving Stenn Jr. 

Collector Irving Stenn Jr.: A Lifetime of Relationships Through Art

By GINNY VAN ALYEA

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Walking through the glass door into Carrie Secrist&rsquo;s eponymous gallery on a summer afternoon, the calm inside is a welcome respite from the frenzy that has encroached on the West Loop, an arts district that used to feel more removed from the traditional heart of the city, but which is now booming with new restaurants, hotels and condos on nearly every available corner. The gallery offers open space that is in short supply these days. At least 70 of Dannielle Tegeder&rsquo;s framed, abstract works are hung salon-style, filling the west wall with various colors and shapes that invite closer viewing &ndash; an unconventional arrangement and an appealing style indicative of Secrist&rsquo;s lively program, which she has honed over 25 years.

Seated at a large table in an office area filled with art books, Secrist looks at once like a laidback farmer, clad in a pair of overalls she loves to wear while gardening, as well as like the bright and chic art dealer she is, donning her signature short blond hair and a wide grin.

<img alt="" data-caption="Carrie Secrist, Photo: Clare Britt" data-rich-file-id="2241" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2241/original/071117-secrist-046bw.jpg" />

25 years in the gallery business have flown by. Secrist got her first job after college while wandering through the Whitney Museum in New York. After chatting up a curator, she was offered a position, on the spot, in the museum&rsquo;s education department. That encounter was a serendipitous start to her career, one that would be filled with connections, as well as risks, in the pursuit of art.

After a short time in New York, once she experienced the challenges of surviving in Manhattan on an intern&rsquo;s salary, Secrist&rsquo;s path led back to her hometown of Chicago, where she soon found herself directing a gallery when she was just 23. Secrist had been charting a professional art course since before she started college, when she and her parents discussed the importance of balancing her focus on art and business. In Chicago she was introduced to Natalie van Straaten &ndash; then publisher of Chicago Gallery News and Executive Director of the Chicago Art Dealers Association &ndash; who connected her with Steve Berkowitz and Kathy Cottong at the Center for Contemporary Art (CCA). They hired Secrist as an art handler, a role which remains to this day her favorite part of her job. She says, &ldquo;Actually hanging exhibitions and working with the artists is what I like best.&rdquo;&nbsp;

<img alt="" data-caption="Dannielle Tegeder installation, spring 2017" data-rich-file-id="2244" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2244/original/dannielle-tegeder-installation-turbulent-constellations-2017-image-rch-ekh-.jpg" />

From there, she says, she quickly ascended the ranks to become the assistant director at CCA, only to see the gallery close its doors in the early 1990s. Soon, her next opportunity knocked when collectors she had met through CCA wanted to open a new space, and they asked Secrist to be the director. She recalls, &ldquo;I was 23 and na&iuml;ve, so I said, &lsquo;Yes! I can do that!&rsquo;&rdquo; The space, known initially as Gallery A, launched in River North in November 1992. Within a year Secrist found that she and the gallery owners wanted to pursue different directions for the program, and her family ended up buying the gallery outright. She says, &ldquo;At that time that basically meant buying the office computer. Everything kind of went from there.&rdquo;

Secrist was fortunate to receive valuable advice from a group of dealers who helped her understand fundamentals about operating a gallery, from using transparencies to the importance of sending hand written letters. She says, &ldquo;I owe a great deal to people like Rhona Hoffman, Paul Gray of Richard Gray, Donald Young, and River North neighbors such as Phyllis Kind, Roberta Lieberman of Zolla/Lieberman, Catherine Edelman, and Ann and Roy Boyd.&rdquo; Secrist was the youngest of the dealers at that time, and she was grateful for the support for her program early on. Prominent collectors, including Susan and Lew Manilow, Donna and Howard Stone, and Linda and Paul Gottskind, also took interest in the burgeoning program. Secrist admits she still does many things the old school way, a trait she owes to the group that mentored her when she got started.

Continuing to learn from colleagues, Secrist had settled into a routine of running the gallery when she realized she was ready to change the name from Gallery A to Carrie Secrist Gallery. She explains, &ldquo;For a long time I wasn&rsquo;t ready to put my name on the door, and so many galleries, especially in Chicago, start with a name that is not their own. The transition from being a person with a name to having that name become a physical place remains, to this day, strange for me.&rdquo;

<img alt="" data-caption="The gallery’s booth at Untitled Miami 2016, featuring work by Andrew Holmquist" data-rich-file-id="2242" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2242/original/carrie-secrist-untitled-art-fair-miami-2016.jpg" />

Many changes have taken place during Secrist&rsquo;s 25 years running a gallery, including a relocation to her current space in the West Loop at 835 W. Washington in 2003, but she cites two shifts that are universally acknowledged among those in the gallery world, &ldquo;There are two truly double-edged swords: the Internet and art fairs. Art fairs are now where I begin relationships with new collectors &ndash; probably 80 percent or potentially more, and it begins a relationship that we really count on.&rdquo; By keeping up with the art fairs, Secrist says she also has the chance to connect with colleagues from all around the world and stay abreast of what everyone is doing, despite the expense of participating in and shipping to the fairs.

The downside of the art fair frenzy can be laborious as well as expensive. Secrist shares, &ldquo;I might have an impressive, monumental sculpture that I know this collector will love and want, and they live maybe 20 minutes from the gallery. I urge them to come in, but they&rsquo;ll say, &lsquo;We&rsquo;ll see it in Miami!&rsquo;&rdquo;

Secrist credits early local support as critical to getting her start, but today she also values the unique and dynamic art community of dealers in Chicago such as Monique Meloche, Julie and Shane Campbell, John Corbett and Jim Dempsey of Corbett vs Dempsey, Scott Speh of Western Exhibitions, and 835 W. Washington neighbors Andrew Rafacz, Tom McCormick and Kavi Gupta among others. She says it&rsquo;s also exciting to see the new generation coming up&nbsp; &ndash; Regards, PATRON, Aspect/Ratio, and DOCUMENT &ndash; and she hopes to be supportive to them the way her colleagues were to her early on.

But keeping up with others does not mean following the crowd. Secrist says, &ldquo;One thing that has remained constant for me is that I tend to show art that is a slow look. Work tends to have a very strong artist hand in it, and it can look very different in person than a quick in and out of a fair booth.&rdquo; Secrist&rsquo;s art fair booths tend towards the immersive and conceptual, so visitors are compelled to participate in her installations and spend more than a few seconds looking at it. She explains, &ldquo;Especially over the last few years, every booth we&rsquo;ve designed, and each gallery exhibition, we&rsquo;ve tried to have the production value feel like a museum installation. We have also been doing more solo booths, where we give an artist a challenge, for instance, showing an entirely new medium, or creating a standout presentation that will linger. No matter how the actual sales go, it&rsquo;s a curatorial experience that will make people stop and remember.&rdquo;

<blockquote>
I tend to show art that is a slow look. &ndash;Carrie Secrist
</blockquote>

She acknowledges, &ldquo;One reason why we do this has to do with the other biggest change to our business since I started &ndash; the Internet. It&rsquo;s fantastic that people, every minute of every day, in every country, can look up online what our current exhibition is and see new work, but we don&rsquo;t want them to stop there. People feel they have seen the exhibition online, but they haven&rsquo;t. And pardon my French, so often what I show appears like shit online [laughs], and you can&rsquo;t begin to get the nuances digitally.&rdquo; Secrist confesses, and her staff concurs, that she is not technologically savvy, which may motivate her to try to impress visitors with what they can see in person rather than on a screen.

Secrist has seen the Chicago art scene boom and evolve over the years. She remembers, &ldquo;When I opened there was really one contemporary art fair and that was Art Chicago. People anticipated it all year long, it was such an event. Now there are 2-3 significant fairs around the world every quarter.&rdquo; The complexities of a strong market-focus, which has largely come out of the proliferation of art fairs, are apparent in a story she recalls about encountering a collector who once bought several works by an artist solely because they were told the value of the artist&rsquo;s work would greatly multiply after it was part of a museum show. Secrist says her aim is to be able to help people understand and love art for many reasons that go beyond art market factors.

<img alt="" data-caption="Joe Adamik and Diana Guerrero-Maciá, Drum set, 2016. from A TRANSFORMATION OF THINGS, November 11 2016-January 14, 2017 at Carrie Secrist Gallery" data-rich-file-id="2245" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2245/original/dgmacia-jadamik-atot-drums-2016-full-.jpg" />

Secrist embraces art that is equally weighted between a visual experience and a richer conceptual connection, and she likes to reference the open atmosphere of early 19th century salons. The participatory productions she hosts at the gallery are designed to motivate people to show up and see art together, bringing a changing collective perspective to each show. Secrist explains, &ldquo;We&rsquo;ve done a lot of different performative things, like when artist Diana Guerrero-Maci&agrave;, with her musician husband, Joe Adamik, created a series of artist made drum sets. Throughout the whole exhibition of her other work, which were mostly tapestries, we had a call and response session with other famous drummers. When we opened the show and held the sessions last fall, the week after the [presidential] election, all sorts of people &ndash; from children to seniors &ndash; came together to listen to the drums. It really felt like a gathering and an exchange.&rdquo; Incorporating these performances and backdrops are a way to bring people into Secrist&rsquo;s space to participate in art, and it&rsquo;s a means to help artists expand their practice as well as their thinking.

Secrist is celebrating the gallery&rsquo;s 25th anniversary in several ways. For the gallery&rsquo;s EXPO CHICAGO booth (Sept 13-17) she explains, &ldquo;We&rsquo;re presenting a curated exhibition of select artists who will create work to commemorate this milestone. The comprehensive installation will include a wide range of media and each artist will be represented with art work that includes, or relates to, a metallic motif. We are also considering creating a reflective wall treatment in the booth to literally and figuratively include visitors within the experience. This offers a contemporary twist on a tradition, dating back to the Roman Empire, of exchanging symbolic elements for specific anniversaries. In this case, the element of silver will honor the interactions of the gallery, its artists and its audience in present time as well as over a quarter century of evolution.&rdquo; There will be an expanded presentation of the fair booth concept in the gallery in November for the actual anniversary.

Though art is with her every waking hour, Secrist has one other passion she gravitates to often. She shares, &ldquo;I am a crazy gardener. I paint with flowers. My husband and I acquired the property next door to us, and I&rsquo;m turning it into a fantastic secret garden, and eventually a small artist residence.&rdquo; Catching Secrist at an art fair in towering shoes and her unique couture choices is a chance to admire her sense of style, but she admits, &ldquo;If I&rsquo;m not in art clothes, I am basically in overalls. And sometimes I&rsquo;m in both, because I have like 20 pairs, including the dress ones. Getting in the mud makes me happy.&rdquo; 25 years after diving into gallery life, Secrist indeed has weathered the floods as well as the droughts, but she has found her calling as one who passionately tends to artists, as well as collectors, and helps them all thrive in her garden.

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Top image: CARRIE SECRIST GALLERY BOOTH AT EXPO CHICAGO 2016, featuring an installation by Shannon Finley

CGN interviews Chicago art dealer Carrie Secrets on 25 years in the business