By BRIDGET BROWNLEE AND JAYCEE ROCKHOLD

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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

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>.

&nbsp;

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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

<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

<h2>As Harvey Hits Texas, Art Museums Shutter</h2>

&quot;On Friday morning, as Hurricane Harvey approached the Gulf Coast of Texas, museums in the region closed, saying that they would keep their doors closed for the weekend... Among the institutions that closed early or completely on Friday were the Museum of Fine Arts Houston, the Contemporary Arts Museum Houston, the Galveston Arts Center, the Menil Collection in Houston, the Blaffer Art Museum at the University of Houston, the Art Museum of Southeast Texas in Beaumont, and the Museum of South Texas in Corpus Christi, which is near where Harvey made landfall on Friday evening.&quot; &nbsp; -ARTnews

This post <a href="http://www.artnews.com/2017/08/27/as-harvey-hits-texas-museums-shutter-082717/">(Via ARTnews)</a> is being continuously updated with details about Harvey&rsquo;s effects on Texas&rsquo;s art community.

<a href="http://www.artnews.com/2017/08/27/as-harvey-hits-texas-museums-shutter-082717/">Read More...</a>

&nbsp;

<h2>Here&rsquo;s the latest site plan for the Obama Presidential Center</h2>

The Obama Foundation has just released the most detailed look at its plan for Jackson Park yet. An aerial illustration depicting the Obama Presidential Center has been sent along with a formal announcement regarding the&nbsp;planned parking garage&nbsp;for the new South Side campus. The new site map is a refinement to the original which was&nbsp;unveiled&nbsp;in May. &nbsp;-Curbed

<a href="https://chicago.curbed.com/2017/8/23/16190550/obama-presidential-center-parking-garage-site-map">Read More...</a>

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<img alt="" data-rich-file-id="2249" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2249/original/design.jpg" />

<h2>Ettore Sottsass:&nbsp;The Met Breuer looks back at the colorful work of the late postmodern designer.</h2>

&quot;Serious fun. That&rsquo;s what the disruptive design genius Ettore Sottsass was up to with his furniture, ceramics, buildings, glassware, textiles, jewelry, and photographs&mdash;in other words, with his life, which ended on New Year&rsquo;s Eve in 2007, at the age of ninety. For all the sensuous whimsy and nose-thumbing irreverence of his best-known work&mdash;the lipstick-red plastic&nbsp;Valentine&nbsp;typewriter for Olivetti, from 1968; the more-is-more pile on of color and form of the&nbsp;&ldquo;Carlton&rdquo; Room Divider, from 1981&mdash;Sottsass was at heart a philosopher, with a deep faith in the power of objects. As he told Charlie Rose in 2004, &ldquo;If you have good design, you will have a better society.&rdquo;&quot; &nbsp;-4Columns

<a href="http://4columns.org/scott-andrea-k/ettore-sottsass">Read More</a>

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<img alt="" data-rich-file-id="2250" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2250/original/hyperallergic.jpg" />

<h2>Four Uncompromising Finnish Women Artists</h2>

&quot;The story of the Finnish modernist painter Helene Schjerfbeck is a fascinating one, which was first told in America in 1992, 25 years ago, when she was the subject of an exhibition at the National Academy of Design. Writing for&nbsp;The New York Times&nbsp;(November 27, 1992), Roberta Smith characterized the exhibition of this neglected artist as &ldquo;revelatory [and] bittersweet.&rdquo; Smith&rsquo;s observation still holds true, perhaps even more so, in the exhibition&nbsp;Independent Visions: Helene Schjerfbeck and Her Contemporaries&nbsp;at Scandinavia House (April 29 &ndash; October 7, 2017), which fleshes out a story of independence and perseverance that keeps needing to be told, if only to remind us how complicated and chaotic history is.&quot; &nbsp; -Hyperallergic

<a href="https://hyperallergic.com/397644/independent-visions-helene-schjerfbeck-and-her-contemporaries-scandinavia-house-2017/">Read More...</a>

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<img alt="" data-rich-file-id="2251" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2251/original/sun-20times.jpg" />

<h2>STEINBERG: &lsquo;Wall of Respect&rsquo; less remembered but more&nbsp;significant</h2>

&quot;The Wall is important, not as enduring artwork &mdash; the building burned in 1971, the murals are gone &mdash; but as a statement that people who are routinely ignored can still manifest themselves, at least in their own neighborhood. The Wall was influential; hundreds of similar displays of pride went up in cities across the country.&quot; &nbsp; -Sun Times

<a href="http://chicago.suntimes.com/columnists/steinberg-wall-of-respect-less-remembered-but-more-significant/">Read More...</a>

Top Image: A satellite view of Harvey as it neared Texas on Thursday. COURTESY NASA

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The CGN weekly roundup of local, national and international art world news.

News from Around the Art World: August 28, 2017

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.

&nbsp;

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

Carrie Secrist Turns 25: Chicago Gallerist Makes the Old School New Again 

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418273/icm2dzxn65wdad7cb5ax.jpg"></figure>By GINNY VAN ALYEA&nbsp;On a summer morning, when the sky over Millennium Park is nearly black with storms, I notice several small, strange creatures perched among the high walls of Mark Kelly’s 3rd floor office in the Chicago Cultural Center. After Kelly introduces himself, he tells me that when he accepted the position of Commissioner of the City of Chicago’s Department of Cultural Affairs and Special Events in 2016, he first looked to&nbsp; the Visual Arts team for help hanging past public art proposals and exhibition posters salon-style around his office, since it needed, of all things, some art on the walls. Realizing I was still checking out the winged, dragon-like figures suspended in flight in the conference room, he tells me that they are actually part of his personal collection and were created by the Linares family (Mexico) and Erin Cramer (Chicago). They serve as the inspiration for the Wabash Avenue Flying Creatures project, which will soon feature many more of them, created by local teens, around the Loop. Kelly, it seems to me, is a man who can dig up forgotten treasure and summon exotic beasts, especially if he happens to be in the right place at the right time. For a moment I wonder if I am talking to a City administrator or a wizard.Kelly’s frenetic creativity is driving his overhaul of all things cultural in the City of Chicago. He came to the job almost by accident, after decades embedded in a more or less deliberate and predictable academic life at Columbia College. He says he has never felt more untethered in his professional life, but that presiding over DCASE has given him surprising professional freedom, in a government position no less, to easily change the direction of a given project and to be nimble in the pursuit of creativity on behalf of the City and its citizens. One year into this unexpected job, he is embracing a host of initiatives , all in pursuit of giving art and culture to the public.CGN: You’ve been [Commissioner of DCASE] for one year. How have things changed for you from your time at Columbia working with students and academics?&nbsp;Mark Kelly: The world of academia and committees is a very laborious process. Here, of course, I have to live within a budget...It’s incredibly tight, and [with] some of the rules of engagement in the City you would say it’s hard to be nimble, but I feel like we, the DCASE staff, working with our partners, can think and do pretty freely. It’s actually a lot of fun.CGN: Much of your past work has focused on youth and education. How has that influenced the directions you’ve taken at the City so far?MK: I didn’t know it, but my time at Columbia was 32 years of preparation for this job. I became very knowledgeable and connected to the creative and cultural life of the city. And I’ve always been interested in, intrigued by and determined to create creative and cultural environments that inspire and demand one’s attention. If anything, this job now is just an extension of that idea, but with a canvas, if you will, that is huge.CGN: You were working from the inside out before, and now you have to work from the outside in and take all those things and expand them for a wider audience.MK: Well, the scale is different, but the thinking and the possibilities are quite similar. So, here I was, the architect for the Wabash Arts Corridor, and then I come into the Department of Cultural Affairs and Special Events. They’ve declared it’s the Year of Public Art, and it’s fair to say that when I entered, they were still figuring out plans for all the elements of the year. I’m a practitioner, not just an administrator, so it was like a gift to bring a little more focus and energy to the concept, and then to quickly start to try to energize a city; it was a fascinating beginning for me.CGN: A lot has already taken place in the first half of 2017 for the Year of Public Art, but the second half sounds even more engaging.MK: Several major cultural, public art and art initiatives are all coming together. There’s EXPO at Navy Pier, the Nick Cave Jeanne Gang mash up, if you will, at the Pier as well, and then of course the second edition of the Chicago Architecture Biennial opens at the same time. I’m very impressed with our curators and that we get to host an international event like this. Finally, we can’t share details yet, but by early fall we will announce a stunning new permanent public art piece in the Loop by a renowned Chicago artist.CGN: What else is coming up?MK: We launch our public art festival in October, as well as a public art symposium October 26-27, and our Flying Creatures will take over Wabash under the El. At the same time we’ll be celebrating the majority of Mayor Emanuel’s 50 x 50 neighborhood arts projects that will have been completed – we are literally putting new public art in every ward of the city by artists who are respected and esteemed. On top of all of that, we’re going to be releasing an ambitious and focused public arts plan. Hopefully we are setting our compass going forward so that public art is not celebrated for just a year. We hope we’ve grabbed everyone’s attention and laid the path to ensure that public art, which is always changing, becomes a defining characteristic of the city.CGN: What do you think is significant about public art continuing to evolve and change and be created for a city?MK: I want to reverse that question. The idea that the art should be anywhere but with the public, to me, is crazy. So much of our thinking about art takes us to the wall, or the screen, or the stage. It’s relegated to static places. I’ve always been fascinated by the idea that art, that creative impulses may be one of the definitions of what distinguishes us as a species. It needs to be present in our lives, all the time and everywhere. So public art becoming a defining characteristic means it’s no longer relegated to somewhere over there, it’s centered. Does it save us? Does it necessarily make us a safer city? No. But it’s just fundamental. It brings things to light, and it brings surprises in our daily lives. The most powerful example of it is Millennium Park. None of us ever imagined the power of that space and the interactive public art at the highest level. I mean look at [Anish Kapoor’s Cloud Gate] “The Bean” – the public is not saying ‘Oh look at this great public art piece,’ they’re pulled into the vortex of the images; it’s a funhouse mirror as well as a selfie zone that always changes. I love the [Jaume Plensa] Crown Fountain in that it was intended to be a place of contemplation. The artist saw it as a place for serene moments of private reflection. And then the kids grabbed it, and it’s the coolest, most energizing, fun space. Even the Picasso – once they removed the barriers it became a slide for kids. So this is a long-winded answer, but art needs to be public. Art is now defined as part of what makes a city great. The artistry and the design around us, that built environment takes us somewhere.CGN: It seems that it’s not just putting art in the public space, it’s really turning it over to the public.MK: Well, that’s the other part of this. The definition of what we consider to be public art has so radically changed from the carefully placed monuments of the past. All of those still have their place, and should continue, but now the graffiti artist and the street artists grow a movement. They raise the question, ‘Why should walls have art on them?’ and ‘Who said the barren landscape couldn’t be remade?’ Now many people love the power of street art. Ten years ago, 15, 20 years ago it was the scourge of this city and all cities. The “urban wasteland” actually just inspired artists, and then they were schooled on the street, and they taught us something.CGN: What was the inspiration for the year of public art in Chicago?MK: The idea came from Mayor Emanuel, who announced it along with Yoko Ono’s Skylanding sculpture in 2015. 2017 is also the 50th anniversary of the Picasso, as well as the Wall of Respect mural, so he said ‘This is going to be the year of public art’, and then it was sort of out there. How fortuitous that’s when I just happened to arrive here. I’m a little insane and wrongheaded, and we committed to this idea and ran hard with it. It’s the power of a phrase or a unifying principle.CGN: How do you continue the unity that has come out of the Year of Public Art?MK: Next year is going to be the Year of Creative Youth, because we are rallying all of our organizations that can engage young people in creative ways in order to encourage more youth to go down an artistic path. Obviously this flows right from public art. What better way to engage young adults? They don’t want to be in non-violence programs, what is that? They want to be inspired and engaged, period. One of the most powerful ways to do that is through creative forms and practice.CGN: That must bring in a whole other circle of cultural institutions, beyond the visual arts.MK: In Millennium Park we’re going to have Chicago’s first ever Creative Youth Festival; I hope it becomes an annual event. It’s going to be all forms – fashion, design, performance, spoken word, music and dance. The tagline is going to be “Born Creative.” I’m going full circle to my work at Columbia, because the heart of my efforts there was to inspire young adults who have decided to pursue a creative field to be fearless. Now we also want to encourage all young adults to be creative somewhere in their life.CGN: Is there a plan for how these organizations will get more youth involved in their programs? How do you bring in people who have not done something like this yet?MK: We haven’t quite figured that out, but I’ve been amazed at the strength of organizations here supporting creative youth, whether it’s Louder Than a Bomb, Marwen, After School Matters, YOUMedia, SkyART – it’s amazing. We need to better appreciate them. Let’s put a spotlight on them – celebrate it and make it known. Then we can draw more youth into these programs. We will it figure out.CGN: Are you ever not connected to this job? Or is this twenty-four hours a day, everything that’s on your mind?MK: It’s twenty-four hours a day, everything that’s on my mind. Everything here in the city is a giant new canvas.&nbsp;&nbsp;&nbsp;Photo by Patrick Pyszka. Paintings by Phyllis Bramson.</body></html>

Chicago Gallery News interviews Mark Kelly, city commissioner, participant of the Wabash Flying Creatures project, and advocate for youth exposure to art. 

Commissioner Mark Kelly: Chicago's Out-of-the-Box Culture Wizard on Public Art

By FRANCK MERCURIOWhat happens when one of the country’s most renowned artists collaborates with one of the nation’s preeminent architects? The result is&nbsp;Here Hear, a series of performances combining the unique talents of artist Nick Cave and MacArthur Fellow Jeanne Gang, debuting this September at EXPO Chicago and during the Chicago Architecture Biennial.The joining of forces during such a key time in the city’s cultural calendar was the brainchild of Michelle T. Boone, the current Chief Program and Civic Engagement Officer for Navy Pier, home of EXPO, and former Commissioner of the city’s Department of Cultural Affairs and Special Events (DCASE).“Michelle felt this was a good way to partner two artists and also tie together the Biennial and the fair,” says Cave.According to Gang, the opportunity to team up with Cave was destined to be, “We have these parallel worlds, and every once in awhile they intersect.” She adds, “We knew each other before, but we’ve never done a project together. Michelle made it happen.” Over the past couple of years, EXPO and the Biennial have brought renewed international attention to Chicago’s vibrant art and design scenes, and&nbsp;Here Hear&nbsp;will help celebrate the opening of both exhibitions this fall in a fantastic way.EXPO CHICAGO, now in its sixth year, and building on a steady rise in prominence on the international art fair circuit, will see 135 exhibitors representing galleries from 25 countries. The Chicago Architecture Biennial, in its second edition, features 141 participants from 20 countries. Architects’ work will be displayed at the Chicago Cultural Center through the end of the year, as well as in several satellite venues around the city.Here Hear,&nbsp;premiering the evening of September 13, during Vernissage, EXPO’s kick-off party on the Pier, will be performed at the start of the Biennial on September 16 and promises to be a showstopper.“The introduction to the festivities will be led by the South Shore Drill Team, with a group of 30 performers in Soundsuits,” said Cave. “This is really the piece that will be engaged with Jeanne’s work.”Cave is best known for his performance pieces featuring dancers dressed in his signature Soundsuits – wearable works of art that are colorful, textured, and sometimes unsettling in their forms. The pieces are often exhibited in static museum displays, yet they come to life in exciting and unexpected ways when presented in motion to an audience, while inhabited by performers.Complementing Cave’s works will be “dynamic custom-fabricated objects” designed by Gang and her team of architects that will define the spaces where Cave’s performances take place.“These sculptural/architectural forms can be moved around the pier, creating various spaces to perform in,” said Cave. “The idea is organic enough that you can create this sort of environment to play within. The dancers will have the ability to dictate whether it’s a square box, or a long rectangular space, or a line with performances happening on both sides of the objects.” The space-defining objects themselves will be kinetic, and Gang’s inspiration for their design centers on the wave action of Lake Michigan, which of course surrounds the Pier on three sides.“The performance site is on Navy Pier, so there’s this idea of water and the movement of water and how things bob up and down in the water. This inspired how the objects move and their balancing properties,” said Gang. “Dance is so much about balance, and human movement is so much about that as well. The objects should have a nice relation with the performance.”Gang is known for some very high-profile buildings, including Chicago’s Aqua Tower (completed in 2009), Vista Tower (currently under construction), and the Gilder Center at the American Museum of Natural History in New York (scheduled for completion in 2020). But she is also known for her socially conscious and environmentally friendly projects, such as the Arcus Center for Social Justice Leadership (2014), the Nature Boardwalk at Lincoln Park Zoo (2010), and perhaps most notably, proposals for the sustainable redevelopment and resilient design of riverfronts in Memphis, Milwaukee, and Chicago (the latter published in&nbsp;Reverse Effect: Renewing Chicago’s Waterways).“More and more, people are focused on their virtual world and not as aware of the space they’re in or the people&nbsp;around them,” explained Gang. “I feel that in architecture and public space we have to work to get people to engage each other. It’s the biggest challenge and the most important thing we can do right now for our environment, for our politics—for everything. We need to get people to talk to each other and have empathy and have a conversation.”This goal, to help generate greater social awareness, is something that Gang shares with Cave. In previous interviews, Cave has said that his intention as an artist is to make an imprint on his audience, rather than just an impression. In many of his works, the audience participates, rather than just observes. Cave’s&nbsp;HEARD, to be performed at both EXPO and the Chicago Architecture Biennial, explores the collective power of people working together.&nbsp;Up Right,&nbsp;also slated for multiple performances, focuses on the challenges of being young and black in America. To perform these larger than life pieces, Cave needs to recruit dozens of people from across the city. His troupe of participants will be made up of creative professionals, but also everyday people—perhaps as many as 150 in total—including adults who work in public service and kids from the Chicago Children’s Choir, reflecting the variety of experiences from so many citizens in our city.“I’ve been performing all over the world, but this is really my first performance piece in the city,” said Cave. “We’re very excited about working with young people and as well as professionals, creating opportunities for individuals interested in performance, dance, the arts. It’s nice to be able to create a platform of possibility, and so&nbsp;Here Hear&nbsp;is really all about that.”“I’m thrilled to be working with Nick and to see a glimpse of what inspires him and what he’s thinking,” added Gang. “It’s been really great so far. I’m looking forward to everything coming together.”&nbsp;<h3>September Performance Schedule:</h3>Wed, Sep 13, 9-10pm – Aon Ballroom, Navy PierNick Cave’s&nbsp;Up Right Chicago, 8pm. The performance will start with a procession from EXPO CHICAGO, beginning at 8:30. Free; limited, ticketed seating avail. to the public.Sat, Sep 16, 1pm and 3pm – Navy Pier, Polk Bros ParkHEARD,&nbsp;Includes live music by Kahil Elzabar and Chicago Children’s Choir. Soundsuits activation at Navy Pier Wave Wall at 2pm. Here Hear Film Festival at Polk Bros Park Performance Lawn, Lake Stage, 5pm (runs approx. 2 hours).Note: The Sep 16 performances are free and open to the public.&nbsp;No tickets necessary.

Nick Cave and Jeanne Gang collaborate in Chicago fall 2017

Nick Cave & Jeanne Gang: An Interactive Collaboration Between Artist & Architect

<html><head></head><body>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417691/iedjuj1hxhm8a6egxivo.jpg"></figure>&nbsp;&nbsp;By ALISON REILLY“I had a roll of duct tape, and I would make my G.I. Joe into 20 other types of G.I. Joes,” Faheem Majeed says. “I was always making but I didn’t understand that as an art practice. In high school, I had an art teacher who said, ‘You’re really creative.’ I’m like, ‘Nah, that’s not real. That’s not work.’ I always assumed that work had to be something that you didn’t enjoy. I didn’t understand that you could love your work. Art was not something I took seriously, but it was something I did all the time.”Majeed, who grew up in Minneapolis, continued art classes throughout high school but ultimately had plans of becoming a veterinarian. It wasn’t until his art teacher took one of his paintings and sold it for $75 that he understood that something he loved could also support him.“The spark for me was my art teacher,” he says. “And then my mother supported my impulse and understood the value of art production and making. She was very happy, because she saw I had a passion.”Today Majeed’s practice extends well beyond a two-dimensional canvas. For each installation of his ongoing series, Planting and Maintaining a Perennial Garden, Majeed builds a room made of cedar planks that serves as a platform for other artists to meet, interact and perform. The walls, inspired by Margaret Burroughs Gallery at the South Side Community Art Center (SSCAC), pay tribute to the woman and community who supported him when he first moved to Chicago in 2003.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2238/original/majeed-11.jpg" alt=""></figure>Majeed eventually became Executive Director of SSCAC and served the organization from 2005-2011. He speaks often of Margaret Burroughs, a co-founder of SSCAC (1940) and the founder of the DuSable Museum (1961), whom he befriended. “Margaret Burroughs was a teacher who was frustrated about the lack of diversity in the Chicago Public School art curriculum. She complained, and it fell on deaf ears, so she gathered a group of people who had objects, some were valuable and some not so much, but they all had a story. She assembled the objects in her home and invited the community, her kids and neighbors to come in,” Majeed explains. This collection in Burroughs’ home eventually became the DuSable Museum of African American History. “The community started calling it a museum, and she realized that there was a need.”Tuning into the concerns of the local community now defines Majeed’s art practice. His work often acknowledges the dynamics of the space in which it exists and the changes that happen when the installation moves from one community to another. Around 2013 he built a shack in an empty lot on his street in Chicago’s South Shore neighborhood. When one of his neighbors asked him, “Why are you making this ugly shack in my neighborhood?” Majeed started to explain, “Hold on, I live here,” but the man interrupted and said, “Well, that’s not what I asked you.”“This was a defining moment of understanding for me,” Majeed explains, “that when I build a shack in my neighborhood, it is connected to all the artists and the organizations in the city that support me. Those people are going to come to that shack but not necessarily to the neighborhood. When they visit, they might discover that area and see different types of potential, but that may or may not be of interest to the people who live in proximity to where I build.”As he talked with his neighbor, Majeed not only recognized the effect of building a sculpture in his neighborhood, but also the perception of his body in space. “When I walk down the street as a black man, in a neighborhood that is predominantly black, I disappear. I realized that my art body is different than my physical body. I’m personally invisible in one way, but my art body sticks out because of what I draw in.”The first shack that Majeed built became part of an ongoing series called Shacks and Shanties, in which he creates structures for both artists and organizations to utilize as a community and performance spaces. Because of the prevalence of empty lots across the city, Majeed wants to reimagine them as areas of potential.Not blind to the controversy of his practice, in response to his own work as an artist engaged with local communities, Majeed started another series called My Socially Engaged Protest. “Basically, I protest my own art in the communities that I work in,” he says. “If I understand the problems of what it means to build a shack in a vacant lot in my neighborhood and what comes with that, then I can then ask, ‘What are the tools I can create to protest that action at the same time?’”<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2237/original/majeed-19-v2.jpg" alt=""></figure>By protesting his own work, Majeed calls attention to the complex relationships artists can have with the communities they serve. While some in the neighborhood may welcome art installations, others might be hostile or simply uninterested. “The real work happens with the people on the fringes who don’t want to engage with what I’m doing, because they think they’ve seen this before,” Majeed says. “But that’s where the work should happen.”Majeed’s self-awareness recently took the form of a 10-foot high inflatable balloon. Inspired by the fat cats and rats one might find at a union picketing strike, Majeed’s balloon is a Mario Brothers-like caricature of a black artist holding a palette in one hand and choking an adolescent with the other. “It’s hard to look at,” he admits. “It’s a complete, cartoony hot mess.”But for Majeed, both the content and the form are significant. The balloon protests against “the role of artists as first wave gentrifying agents in under-resourced neighborhoods,” he explains. “And it’s mobile. I can have it up and running in five minutes, because it’s designed for people to put up and break down quickly for protests on the fly.”This fall, for the first time, he will bring Planting and Maintaining a Perennial Garden to a commercial space. Supported by the Chicago Community Trust, Majeed will install a new iteration of his cedar gallery in a booth at EXPO CHICAGO. He has invited four local organizations and previous grantees of the Chicago Community Trust, including SkyART, Project Onward, Hyde Park Jazz Festival and Gwendolyn Brooks Centennial Celebration, to activate the space.For Majeed, who identifies both as an artist and an arts administrator, it is essential to bring local artists from organizations like SkyART and Project Onward into dialogue with EXPO. “It’s really thinking about leveling value and saying, ‘Yes, you have this space, and there’s this type of monetary value but there’s also another type of value.’ When these groups respectfully meet each other then they can see how their relationship can be mutually beneficial.”Along with his own work, Majeed is one of the founders of the Floating Museum, which operates without a permanent physical space. This summer, the Museum took on the literal embodiment of its name and organized an expansive project to float an industrial barge from southeast Chicago to the new Riverwalk in downtown Chicago. The barge, which is now installed at Navy Pier, serves as a mobile gallery for an impressive roster of cultural institutions, community organizations and artists including Maria Gaspar, Pope.L, Edra Soto, Cauleen Smith and Amanda Williams.&nbsp;“It’s just a different way of thinking about a networked museum,” Majeed says. “We’re making the city into a museum, and its neighborhoods are the galleries. Its partners are museums and community organizations. The Floating Museum is the city of Chicago.”<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2231/original/faheemsidebar.jpg" alt=""></figure>Top image: Artist Faheem Majeed in his studio in Chicago. Photo: Devin MaysPublisher's note: The Fall 2017 print version of this interview misspelled Margaret&nbsp;Burroughs's name as BurrowsSaveSave</body></html>

CGN interviews local artist Faheem Majeed about his history with art and his upcoming projects. 

Into the Neighborhoods: Faheem Majeed's Artistic Evolution

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418571/kh2w7e0szd2hu9cpdpun.jpg"></figure>&nbsp;By JAYCEE ROCKHOLDEven though the city of Chicago may be on the map, its photography community isn’t— which is exactly what Jennifer Murray, executive director of Filter Photo Festival and Filter Space, is trying to fix. A grad student turned Loyola University professor, Murray has always had her toes dipped in the Chicago photography community.Still currently the only photography festival in the Midwest, Filter Photo Festival (running September 21- 24, 2017) was founded by Sarah Hadley as a small operation in 2009, but now encompasses hundreds of participants, in-depth portfolio reviews, artist talks and interactive events. “Filter actually began about nine years ago as an annual festival,” said Murray. “This upcoming September will be our ninth annual Filter Photo Festival taking place at the Millennium Knickerbocker Hotel, just a short walk away from the Museum of Contemporary Art.” The festival draws both a Chicago centric and national crowd, as well as a few international photographers eager to get their work reviewed.Even though there are multiple facets of the festival, portfolio reviews make up a majority of the festival. Gathering a wide variety of artists and resources for both students and the public is one of the goals that solidifies Filter Photo Festival. It’s a high concentration of well-known artistic individuals in one area made available at a fair price.“The portfolio reviews happen with professionals like gallerists and curators,” said Murray. “We invite them to come from across the country. We usually have around 30 and about 10 of those are Chicago based. We really want people to take advantage of the fact that you have all of these professionals in one specific location as opposed to thinking that you needed to go to San Francisco, New York and different cities around the country in order to have your work looked at.” &nbsp;This year, Matt Austin, founder of Candor Arts, and Teresa Silva from Chicago Artists Coalition are among the Chicago-based reviewers.Murray’s background in teaching urged her to place a heavy emphasis on portfolio reviews (she currently teaches photography at Chicago’s own Loyola University). Proud of the fact that she could practically talk about a piece and workshop it all day long, part of her drive for reviews stems from her experience working in A+D Gallery, a non-photo gallery at Columbia College Chicago. “Teaching photography but running a non-photo gallery really helped me understand the place photography has in the art world,” said Murray. “I think we tend to think of photography as the subset or separate thing and it’s really not.”The public can purchase portfolio reviews in bulk, allowing the individual to spend 20 minutes discussing their work with multiple professionals, and runs on a first come first serve basis. Whoever submits a list of artists they wish to meet with quickly has more of a chance of speaking with the artists on their list.For Murray, the Filter portfolio reviews emphasize that photographers are artists, and should consider themselves so. Ranging from still life to street photography, each photographer has their own artistic value.Besides the public, portfolio reviews also attract plenty of students, who actually have an advantage for portfolio reviews. Not only do they get the chance to have their work reviewed by well-known artists, but they also can participate at a lower cost. Students who are faced with a tight budget can purchase single portfolio reviews versus the require bulk buy for others.&nbsp;“A lot of our local faculty will bring students and classes,” said Murray. “That’s really the goal; to create a festival, to create these four days of programming in Chicago that’s just not for people that can afford this. We really want it to be open to anybody. We want to provide opportunities to students.”Hand-in-hand with portfolio reviews, Filter Photo Festival also organizes artists talks. Topics range from searching for and finding photography opportunities to discussing and showcasing a particular artist’s work. Some talks implement tours or other interactive aspects, such as the Leica Camera walk organized by Chicago’s Tamarkin Camera, in which participants are lent a Leica camera to take photos while walking around the city. This free activity allows people to step out of their own specific area of photography and experience something they wouldn’t have been able to before, especially students who may not be able to afford a Leica camera.“It’s street photography and film based. It doesn’t have to be film, but it certainly could be,” said Murray. “It’s a nice community building opportunity. It’s a way to sample some gear but it’s also a way to be with other folks that want to walk around and take pictures.”Some of the artists speaking at the event this year include photographer Jeffrey Wolin and Catherine Edelman, owner and director of Catherine Edelman gallery in Chicago, both of which will lead a gallery tour of Wolin’s exhibition Pigeon Hill: Then and Now, which includes his photographs taken in a housing project in southern Indiana. Photographers Sara J. Winston and Terry Evans will also lead their own talks as well. Even though the content of each talk will differ, one can expect healthy discussions of what it means to take contemporary photographs, as well as an enlightening method to learn about the artist and their work.In addition to artist talks, Filter Photo also presents numerous opportunities for workshopping photographers. Following a similar formula to that of the portfolio reviews, some, like Filter Photo members and those who sign up when registration opens, get first pick on these workshops. Even though the workshops will give guidance like the reviews, they also take time to pose heavy questions to spur discussion. The workshop Getting Seen, Getting Shown: Professional Practices for the Fine Art Photographer With Sasha Wolf and Jess T. Dugan not only points out skills that a photographer should have to keep their head above water, but also questions when a photographer knows if when their work is ready to be shown, how to connect with others in the art world, and how social media intertwines with this all.“People that take those workshops have the opportunity to develop a peer group with the other people that are there and develop a relationship with that artist,” said Murray. “Most of the time people will bring their own work to the workshop, so they not only hear what the artist has to say about their own practice and how to move forward in this particular area, but also have the opportunity to have the artist look at their own work. [The artist] provides really direct one-on-one feedback.”Overall, the Filter Photo Festival, highlighted by portfolio reviews, artist talks, and workshops, bolsters a photography community. Murray, who hopes the festival continues to attract people from both Chicago and around the world, also intends the festival to stay around the same size as it is now in order to maintain the small, tight-knit community feel. The festival has definitely grown since its conception in 2009, but for now, it fill its own niche in the Midwestern photography community. At the end of the day, for Murray, the main concern isn’t the size of the festival, but the individuals that make it up. From amateur photographers to those who have decades of experience, from still life photographers to student photographers snapping pictures for their own personal project, Filter Festival provides a platform to aid them all.“We know you’re serious and that this isn’t just a passing fad for you,” Murray said. “We know that you’re genuinely interested in being a part of this community and that this is really a career for you. We want to nurture those people.”Photo: Courtesy of Filter Festival&nbsp;&nbsp;</body></html>

CGN interviews Filter Festival director Jennifer Murray.

Putting Chicago on the Map: How Filter Festival Builds Photography Community 

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&nbsp;Jayson Lawfer&nbsp;of&nbsp;<a href="http://www.chicagogallerynews.com/galleries/the-nevica-project">The Nevica Project</a>.

Name: The Nevica Project 
Dealer: Jayson Lawfer 
Age: 43 
Previous occupation: Director of a nonprofit 
Hometown: Freeport, IL

Chicago Gallery News: Please describe your gallery&rsquo;s program in one sentence. &nbsp;

Jayson Lawfer: Selling and promoting art and artists in both the primary and secondary markets&mdash;international in scope, personal in nature.

CGN: How did you become an art dealer?

JL: Long before I opened my gallery, I started collecting art and spending quality time with artists, collectors and dealers. Over time I saw an opportunity to create an interesting and fulfilling business. In 2008, while living abroad in Italy, I created the The Nevica Project and set it up as an online gallery working off of images and contracts. NEVICA is an Italian word that means &ldquo;it snows,&rdquo; and my idea was to build a small gallery business that would snowball into something bigger and bigger every year.

CGN: What&#39;s the first thing you do each morning when you get to the gallery?&nbsp;

JL: I mentally pinch myself, because I feel fortunate to do what I enjoy each day.

CGN: Thumbs up or down on art fairs?

JL: Thumbs up. Anytime you can corral millions of dollars worth of art and the population that can afford it, you create a win-win situation.

CGN: Artists you admire but don&#39;t represent?

JL: Jonas Wood, Theaster Gates, Kerry James Marshall and Richard Serra. But the great thing about collection management is that my gallery has work by all these artists within our secondary market situations.&nbsp;

CGN: Best sale you&rsquo;ve ever had?

JL: One of the most profitable was a Viola Frey 9-foot sculpture but one of the most exciting was a Magdalena and Michael Frimkess vase I sold to Jonas Wood.

CGN: What advice would you share with new or young collectors?

JL: I really believe one should buy what touches his or her soul. But I also feel like making investments with artwork is underrated, exciting and smart. I always inform young collectors that when they support artists and buy their artwork, they have a position in the success of that artist.

CGN: Which artist that you represent or work of art you have recently acquired are you most excited about? Why?

JL: I recently acquired a Ruth Duckworth wall mural.&nbsp; It was an interesting story because I was picking up a rare Duckworth we just sold (from a Wilmette private collection) and transporting it back through Evanston.&nbsp; I saw an estate sale, so I decided to stop for a second. I couldn&rsquo;t believe there was a Ruth Duckworth sculpture hanging on the wall in front of me.&nbsp; I made an offer and next thing I knew I was transporting two pieces of historic art back to Chicago. I have only been to a few estates sales in my life, and it just seemed like something told me to stop there.

CGN: What major successes have you had this year? What about challenges?

JL: In this day and age, if you can keep your doors open, then that is a success in itself.&nbsp; We have definitely reached a more global audience this year with sales happening in England, Holland, Saudi Arabia, Italy, Japan and Australia. That being said, The Nevica Project does about 95% of all our sales online and to people outside of Chicago. I do feel it is a bit of a challenge to keep paying rent for a brick and mortar space.&nbsp; But it is our gallery&rsquo;s dedication to the public that we keep a physical space and make art available. We want people to have opportunities to personally see the artwork by great artists such as Richard Serra, Cy Twombly, Richard Tuttle, Peter Voulkos, Neha Vedpathak, Jun Kaneko and Warren MacKenzie.

CGN: How do you view working as an art dealer in Chicago and Kansas City? &nbsp;

JL: In Kansas City when you have an exhibition and an opening, people come. In Chicago it is different, because there is so much going on that we end up competing with other spaces. We recently had an exhibition of Magdalena and Michael Frimkess&mdash;two artists that are getting great press right now. We sold work to major collectors and other artists such as KAWS and Jonas Wood (we even had interest from Reese Witherspoon), but we only had a handful of Chicago residents come and see the show.

CGN: What is your favorite interest outside of the art world?

JL: Food and vintage motorcycles.&nbsp;

CGN: What is your favorite work of public art in Chicago?

JL: I would say Richard Serra&rsquo;s Reading Cones. I do wish it were one of his larger pieces so viewers could lose themselves in the space and be intimidated by the scale. But I am still grateful our city has one.

I also love looking at Theaster Gates&rsquo; house in Dorchester. I know it is technically private, but it is there for the public to see. To me, it really does stand for his roots in social art practices by creating a space and bringing communities together in it. He once said, &ldquo;The word artist has been too small for too long&hellip; And I think I am just trying to fill the word up again so that it means more.&rdquo; I feel like that house is a gift to Chicago and has graciously invited myself, collectors, investors, supporters, neighbors and friends to have a memorable art experience.

CGN: What are your five&nbsp;favorite art spaces to visit in Chicago?

JL:

<ol>
	<li>Rhona Hoffman Gallery</li>
	<li>Shane Campbell Gallery</li>
	<li>Peanut Gallery</li>
	<li>Marilyn and Larry Fields Private Collection</li>
	<li>Museum of Contemporary Art</li>
</ol>

Jayson Lawfer is the owner of The Nevica Project located in Ravenswood&nbsp;in Chicago. For more information about his gallery visit: <a href="http://www.chicagogallerynews.com/galleries/the-nevica-project">The Nevica Project. &nbsp;</a>

CGN interviews local art dealer Jayson Lawfer. 

An Interview with a Dealer: Jayson Lawfer

CGN&#39;s weekly roundup of local, national and international art world news.

<h2>We Need to Move, Not Destroy, Confederate Monuments</h2>

&quot;The art historian in a critic wants to preserve Confederate images in&nbsp;museums, not trash them. At a crime scene, you don&rsquo;t destroy evidence.&quot; -New York Times

<a href="https://www.nytimes.com/2017/08/20/arts/design/we-need-to-move-not-destroy-confederate-monuments.html?referer=">Read More...</a>

&nbsp;

<h2>Not To Be&nbsp;Sniffed at: Long-Lost Banksy Artwork Is Rediscovered</h2>

&ldquo;A Banksy painting that appeared on a public toilet block in east London, only to disappear after it was vandalised, spray-jetted by the local council and then painted over, has been rediscovered over a decade later.&rdquo;

-The Guardian

<a href="https://www.theguardian.com/artanddesign/2017/aug/18/banksys-snorting-copper-east-london">Read More...</a>

&nbsp;

<h2>Singapore Art Museum Names June Yap as New Curatorial Director</h2>

&ldquo;June Yap has been named the new curatorial, programs, and publications director for the Singapore Art Museum, according to the Chinese newspaper Today. Yap was a curator of new-media exhibitions at the museum in 2003 and 2004, and she has remained involved since as a member of the institution&rsquo;s acquisitions committee as well as the Singapore Biennale 2016 Advisory Committee. From 2012 to 2014, she also served in a two-year curatorial residency at the Guggenheim Museum in New York.&rdquo; -ARTnews

<a href="http://www.artnews.com/2017/08/22/june-yap-joins-singapore-art-museum-as-new-curatorial-director/">Read More...</a>

&nbsp;

<h2>That Norman Rockwell Poster on the Wall? It&rsquo;s Actually a $300,000 Original, One Family Discovered</h2>

&ldquo;A long-lost work by&nbsp;Norman Rockwell&nbsp;has been discovered by&nbsp;Heritage Auctions&nbsp;Texas. The owners, who mistakenly identified the piece as&nbsp;a signed print, presented it to Heritage auctions experts to assess its value. However, after careful inspection,&nbsp;the work, showing three umpires standing in the rain during a baseball game,&nbsp;is actually an oil-on-paper study for the final piece&nbsp;titled&nbsp;Tough Call. Its value is estimated at $300,000, but based on past auction results, it could go for considerably more.&rdquo; -artnet News

<a href="https://news.artnet.com/market/newly-discovered-norman-rockwell-1031546">Read More...</a>

&nbsp;

<h2>Who is Really Making &ldquo;Chihuly&rdquo; Art?</h2>

&ldquo;More than 40 years later, Jeffrey Beers still vividly remembers what it felt like to have Dale Chihuly call up to convene a pre-dawn glassblowing session. You felt flattered and inspired, he said, jazzed by Mr. Chihuly&rsquo;s caffeinated freight train of energy and the idea of making art with him while most of the world slept in.&rdquo; -New York Times

<a href="https://www.nytimes.com/2017/08/21/arts/design/chihuly-glass-bipolar-court-moi.html">Read More...</a>&nbsp;

Read the August 14, 2017&nbsp;roundup&nbsp;<a href="http://www.chicagogallerynews.com/news/2017/8/news-from-around-the-art-world-august-14-2017">here</a>.

Photo: Julia Rendleman/Associated Press

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

News from Around the Art World: August 22, 2017

It&#39;s been a&nbsp;big year&nbsp;for Chicago&rsquo;s <a href="http://www.chicagogallerynews.com/institutions/museum-of-contemporary-art-chicago-mca">Museum of Contemporary Art (MCA)</a>. Coinciding&nbsp;with their 50th Year Celebration, MCA has&nbsp;hosted a slew of special exhibitions and events, ranging from their show devoted to Takashi Murakami, famed Japanese artist that specializes in anime inspired works, to soothing jazz music and drinks in the garden.

Although the&nbsp;year is halfway done,&nbsp;MCA continues&nbsp;their celebrations. Following suit of hosting&nbsp;past talks featuring musicians (Thurston Moore from Sonic Youth), the museum has&nbsp;three new artists invited to each lead a talk; &nbsp;R&amp;B and pop artist Solange Knowles (commonly known as Solange), rapper Vince Staples, and Chicago native&nbsp;Chance the Rapper. All three talks are&nbsp;in partnership&nbsp;with Chicago-based Pitchfork and are highlighted&nbsp;with hopes to be&nbsp;&ldquo;a conversation series exploring new perspectives in music, art, and culture&rdquo;.

Here is a breakdown of the participating speakers, and what to expect&nbsp;from each artist.

&nbsp;

<h2><a href="http://www.chicagogallerynews.com/calendar/mca-talk-solange-knowles">Solange</a></h2>

Wednesday, September 13, 6-7pm

Solange Knowles isn&rsquo;t just one of the year&rsquo;s most respected, Grammy winning R&amp;B/ artists&mdash; she&rsquo;s also an activist and&nbsp;experienced speaker. This fall, she will&nbsp;be bringing her speaking capabilities to the MCA. Solange, in conjunction with Chicago writer Britt Julious, will discuss her most recent album A Seat at the Table.

Tickets to see Solange Knowles will be on sale August 23 at noon. To purchase tickets,&nbsp;visit <a href="https://mcachicago.org/Home">mcachicago.org</a>

&nbsp;

<h2><a href="http://www.chicagogallerynews.com/calendar/mca-talk-vince-staples">Vince Staples</a></h2>

Friday, October 13, 6-7pm

There is more than meets the eye with Vince Staples, and that&#39;s&nbsp;what his MCA talk is going to be about. Aided by Matthew Schnipper, editing manager of Pitchfork, Staples will discuss his early life growing up in Long Beach, personal identity, and how a&nbsp;rap career has altered both his art and lifestyle.

Tickets to see Vince Staples&nbsp;will be on sale September 6 at noon. To purchase tickets, visit <a href="https://mcachicago.org/Home">mcachicago.org</a>

&nbsp;

<h2><a href="http://www.chicagogallerynews.com/calendar/mca-talk-chance-the-rapper">Chance the Rapper</a></h2>

Friday, November 17, 6-7pm

Chance the Rapper has become a household name in Chicago for many reasons&mdash; his loyalty to the city, popular and colorful mixtapes, and&nbsp;philanthropic efforts do not go unnoticed. Paired with Adrienne Samuel Gibbs, a journalist whose work focuses on south side Chicago, the audience can expect to hear from Chance the Rapper about personal&nbsp;ties to the city, his music, and how he is giving&nbsp;back to the&nbsp;community.

Tickets to see Chance the Rapper will be on sale October 11 at noon. To purchase tickets,&nbsp;visit <a href="https://mcachicago.org/Home">mcachicago.org</a>

This fall the MCA hosts Solange, Chance the Rapper and Vince Staples.

Hitting the Right Note: Fall MCA Artist Talks

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&nbsp;Claire Warner of&nbsp;<a href="http://www.chicagogallerynews.com/galleries/volume-gallery">Volume Gallery</a>.

Gallery: Volume Gallery 
Name: Claire Warner 
Age: 37 
Previous occupation: Specialist, Wright Auction 
Hometown: Dayton, Ohio

Chicago Gallery News: Please describe your gallery&rsquo;s program in one sentence.

Claire Warner: Volume Gallery focuses on American decorative arts and design with a strong emphasis placed on emerging contemporary architects, artists, designers and makers.

CGN: How did you decide to open Volume Gallery with Sam Vinz?

CW: Sam and I worked together very briefly at Wright. When the market collapsed in 2008, I had an idea of starting a gallery that featured new work from emerging designers. In my head there was really no stress to starting something when the market seemed in ruins. I connected with my friend, the very talented Jonathan Nesci, to be the first exhibition. He asked if I remembered Sam Vinz, who had also approached him about exhibiting in a new gallery that he was starting with the same mission. All three of us sat down to discuss, and Sam and I joined forces to start Volume. Jonathan Nesci&rsquo;s The New was our first exhibition. &nbsp;

CGN: What were you doing before you opened the gallery?

CW: Working at Wright in Chicago as a 20th century and contemporary design specialist.

CGN: What&#39;s the first thing you do each morning when you get to the gallery?&nbsp;

CW: Go through the day with Sam.

CGN: Thumbs up or down on art/design fairs?

CW: Thumbs up&mdash;fairs have gotten a bad reputation lately because of their abundance and expense to galleries, but it is the best way for people to see a condensed amount of work. And if you are not able to afford multimillion-dollar pieces, you get to see master works before they go into a private collection and might not be able to be viewed publicly in our lifetime. For us in the contemporary market, the fairs offer a snapshot into the now and a way to connect in person with new work. Dealing largely in material based work, it is crucial for us to be able to get people to view and feel. Exhibiting on an international platform like Design Miami gives us the opportunity to reach more people than we can in Chicago and expose our program to emerging collectors.

CGN: What advice would you share with new or young collectors?

CW: Buy from galleries! Galleries have gotten the reputation as intimidating places to purchase, but 90% are approachable and offer works in a wide range to fit emerging collectors budgets. If you don&rsquo;t have the budget for an original, you can buy a multiple. If you can&rsquo;t buy a multiple, you can buy the exhibition catalog. Buy what you love and stretch to get a work you really want. Buying from galleries supports the artist directly and contributes culturally in your community.

CGN: Best sale you ever had?

CW: The most fun has been the project we are doing with Commune (Los Angeles) and Ace. We worked intimately with Commune to commission nine works of art and design for the Ace Hotel Chicago, a beautiful new Bauhaus inspired building in the Fulton Market area. The hotel opens officially this September and features artists and designers from Volume&rsquo;s program as well as some new additions from Chicago. &nbsp;

CGN: Designers you admire but don&#39;t represent?

CW: Charlotte Perriand, Claire Zeisler (they don&rsquo;t have to be living right?)

CGN: What major successes have you had this year? What about challenges?

CW: Fortunately, this has been our most successful year to date. We moved into a new location, which has increased traffic, and more people are aware of the gallery and our program. Challenges have been to balance running a growing business while equally focusing on curation and finding new work to exhibit.

CGN: What is your favorite interest outside of the art world?

CW: My daughter Ada.

CGN: What is your favorite work of public art in Chicago?

CW: Not just saying this because Volume is having a solo exhibition opening this September with Kreuck and Sexton&mdash;but Crown Fountain is truly amazing. Jaume Plensa&rsquo;s video sculpture executed by Kreuck and Sexton is a perfect balance of interactive art and design.

CGN: What else is coming up at your gallery?

CW: After Kreuck and Sexton&rsquo;s exhibition, we have Tanya Aguiniga&rsquo;s third solo show with the gallery, which opens in November.

Claire Warner is the co-founder of Volume Gallery located in the Ukrainian Village. For more information about her gallery visit: <a href="http://www.chicagogallerynews.com/galleries/volume-gallery">Volume Gallery</a>.

Image: Claire Warner with co-director Sam Vinz

CGN interviews art dealer Claire Warner. 

 An Interview with a Dealer: Claire Warner

CGN&#39;s weekly roundup of local, national and international art world news.

<h2>Pope.L to Bottle Contaminated Flint Water and Sell It in Detroit</h2>

<img alt="" data-caption="Pope.L discussing his Flint Water Project in a video. Courtesy of the artist." data-rich-file-id="2225" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2225/original/popel.jpg" />

&quot;Pope.L is&nbsp;headed to the What Pipeline gallery in Detroit, where he will do a show that involves selling 1,200 bottles of water from Flint, Michigan, the city of nearly 100,000 people whose water became undrinkable after authorities decided to fill its water system with resources from the Flint River instead of using Detroit&rsquo;s network.&quot;

-ARTnews

<a href="http://www.artnews.com/2017/08/08/pope-l-is-raising-funds-to-bottle-sell-flint-water/">Read more...</a>

<h2>Gauguin: It&rsquo;s Not Just Genius vs. Monster</h2>

<img alt="" data-rich-file-id="2226" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2226/original/11gauguin5-web-superjumbo.jpg" />

&ldquo;Prodigy, pathfinder, nonconformist, virtuoso; fabulist, plagiarist, colonialist, pedophile. Are we fated forever to treat Paul Gauguin as an artist trailing a balance sheet behind him, a column of achievements and a column of crimes?&rdquo;

-The New York Times

<a href="https://www.nytimes.com/2017/08/09/arts/design/gauguin-its-not-just-genius-vs-monster.html?rref=collection%2Fsectioncollection%2Fdesign">Read more...</a>

<h2>John McKinnon Appointed Executive Director of Elmhurst Art Museum</h2>

<img alt="" data-rich-file-id="2227" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2227/original/elmhurst-2.jpg" />

The Board of Directors of the&nbsp;Elmhurst Art Museum&nbsp;announced John McKinnon as the new Executive Director. McKinnon comes to the Elmhurst Art Museum with over ten years of curatorial and administrative experience at major art institutions.&nbsp;

-ArtDaily

<a href="http://artdaily.com/news/98110/John-McKinnon-announced-as-new-Executive-Director-of-Elmhurst-Art-Museum#.WZHSB3eGMUE">Read more...</a>

<h2>Kentucky Mayor Calls for Review of Public Art Holdings After Charlottesville Rally</h2>

Kentucky&rsquo;s&nbsp;WHAS11&nbsp;reports that, in the wake of violence surrounding a white nationalist rally in Charlottesville, Virginia, the mayor of Louisville is asking state officials to look into his city&rsquo;s inventory of public art and determine which, if any, pieces could be interpreted as honoring bigotry, racism, or slavery.

-Art Forum

<a href="https://www.artforum.com/news/id=70341">Read more...</a>

<h2>Tananbaums Endow Curator Position at Block Museum of Art</h2>

<img alt="" data-rich-file-id="2228" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2228/original/5d2facaa-3d06-46b9-b609-6b3a191fd9fa.png" />

&nbsp;The Block Museum of Art at Northwestern University&nbsp;has announced the receipt of a major endowment from Lisa (WCAS &rsquo;86) and Steven Tananbaum in support of its modern and contemporary art program. The $1 million gift will permanently establish the position of the Steven and Lisa Munster Tananbaum Curator of Modern and Contemporary Art.

-Northwestern Now

<a href="https://news.northwestern.edu/stories/2017/july/tananbaums-endow-curator-position-at-block-museum-of-art/">Read more...</a>

Read the August 7, 2017&nbsp;roundup <a href="http://www.chicagogallerynews.com/news/2017/8/news-from-around-the-art-world-august-7-2017">here</a>.

Top image:&nbsp;Paul Gauguin.&nbsp;Vision of the Sermon&nbsp;(Jacob Wrestling with the Angel), 1888.&nbsp;Scottish National Gallery, Edinburgh.

News From Around the Art World: August 14, 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 Jackie Pernot of <a href="http://www.chicagogallerynews.com/galleries/chicago-art-source-gallery">Chicago Art Source Gallery</a>.

Gallery: Chicago Art Source Gallery 
Name: Jackie Pernot 
Age: 45 
Previous occupation: Art consultant 
Hometown: Born and raised in Lake Forest, IL; Chicago since 1989

Chicago Gallery News: Please describe your gallery&rsquo;s program in one sentence.

Jackie Pernot: The gallery represents emerging and mid-career contemporary artists with a focus on painting, mixed media and photography.

CGN: How did you become an art dealer?&nbsp;

JP: After graduating with a bachelor&rsquo;s degree in art history, I worked as a framer for a couple years and then moved into art sales. I always thought I&rsquo;d go back to school for my master&rsquo;s and end up in a museum, but I fell in love with the gallery world and found that working both with artists and different types of clients was much more diverse and satisfying than I had imagined. It still feels fresh and challenging almost twenty years later!

CGN: What&#39;s the first thing you do each morning when you get to the gallery?&nbsp;

JP: I go through my emails and voicemails with coffee in hand and make a list of what I want to accomplish that day.

CGN: Thumbs up or down on art fairs?

JP: I have to say thumbs up. The right art fairs are excellent opportunities to see a lot of work from around the world in one place. Of course, they&rsquo;re exhausting and not how work should ideally be viewed, but they&rsquo;re worth the effort.

CGN: Artists you admire but don&#39;t represent?

JP: Patrick Wilson, Keun Young Park and Kara Walker.

CGN: Best sale you ever had?

JP: The most rewarding sales have been large-scale commissions that I&rsquo;ve done for a number of clients. There is an extended interaction between the collector, the artist and myself when going through the commission process, which makes for a deeper and more memorable experience.

CGN: What advice would you share with new or young collectors?

JP: Ignore trends and go with your gut. And buy what you love and can afford. Or can nearly afford&mdash;I still wish I hadn&rsquo;t been &ldquo;too fiscally responsible&rdquo; to purchase one of the Rembrandts that we exhibited at my first gallery.&nbsp;

CGN: Which artist that you represent or work of art you have recently acquired are you most excited about?

JP: I have to preface this by saying that I&rsquo;m genuinely excited about all of the work that I show in the gallery, but if I had to single out one recent acquisition it would be Lisa Kokin&rsquo;s Prosody. It&rsquo;s a textile piece made with felt and thread that looks like a giant soft book with the most delicately rendered asemic text. It&rsquo;s language abstracted, yet highly tactile at the same time.&nbsp;

CGN: What major successes have you had this year?

JP: We have been in growth mode since I joined Chicago Art Source Gallery in 2009, and each year has been stronger in terms of sales than the previous one, so I am very excited about where we&rsquo;re headed.

CGN: How do you view working as an art dealer in Chicago?

JP: In many ways, I feel like it&rsquo;s the best of both worlds. We have a savvy collector base with the ability to financially support the arts without the art market saturation of a city like New York. And it&rsquo;s wonderful to have so much local talent to tap into!

CGN: What is your favorite interest outside of the art world?

JP: Family, friends, food, wine, music, books, film and travel.

CGN: What is your favorite work of public art in Chicago?

JP: Leonardo Nierman&rsquo;s Flame of the Millennium. This piece feels like a part of my personal history in the art world in Chicago. We represented Leonardo in my first gallery, and I&rsquo;ve met him several times, including at an intimate dinner that was given in his honor around the time that Flame of the Millennium was installed. He is a fascinating and gracious gentleman and a great talent.

CGN:&nbsp; What are your five favorite art spaces to visit?

JP:

<ol>
	<li>&nbsp;Galleria Borghese, Rome</li>
	<li>The Cloisters, New York</li>
	<li>Street art in Lisbon</li>
	<li>Peggy Guggenheim Museum, Venice</li>
	<li>The Broad, Los Angeles (it&rsquo;s really hard to stop at five!)</li>
</ol>

Jackie Pernot is the Gallery Manager of Chicago Art Source located in Lincoln Park. For more information about the gallery visit: <a href="http://www.chicagogallerynews.com/galleries/chicago-art-source-gallery">Chicago Art Source Gallery</a>.

An Interview with a Dealer: Jackie Pernot

On Tuesday, August 8, 2017 at noon the City of Chicago hosts a restaging of the 1967 Chicago Picasso dedication in Daley Plaza. The event features Commissioner Mark Kelly, artist Edra Soto and designer Paul Durica.

Mayor Rahm Emanual and the Chicago Department of Cultural Affairs and Special Events designated 2017 the &quot;Year of Public Art&quot;&nbsp;with a new 50x50 Neighborhood Arts Project, the creation of a Public Art Youth Corps, a new Public Art Festival, exhibitions, performances, tours and more representing a $1.5 million investment in artist-led community projects.

In honor of the &quot;Year of Public Art&quot;, CGN delved into the history of public art in the city of Chicago. Writer Franck Mercurio explored an array of topics including the controversy surrounding the installation of the Picasso sculpture in Daley Plaza. Below you&#39;ll find links to all the articles in the series.

July 6, 2017:&nbsp;<a href="http://www.chicagogallerynews.com/news/2017/7/does-man-love-art-a-history-of-public-art-controversy-in-chicago">Does Man Love Art? A History of Public Art Controversy in Chicago</a>

May 18, 2017:&nbsp;<a href="http://www.chicagogallerynews.com/news/2017/5/no-little-plans-the-battle-for-public-art-in-chicago">No Little Plans: The Battle for Public Art in Chicago</a>

April 25, 2017:&nbsp;<a href="http://www.chicagogallerynews.com/news/2017/4/public-art-and-the-masses-examining-sculpture-in-grant-park">Public Art and the Masses: Examining Sculpture in Grant Park</a>

March 15, 2017:&nbsp;<a href="http://www.chicagogallerynews.com/news/2017/3/the-origins-of-public-art-in-chicago-from-the-bronze-lions-to-skylanding">The Origins of Public Art in Chicago: From the Bronze Lions to Skylanding</a>

Image:&nbsp;Chris Walker / Chicago Tribune

Chicago celebrates the 50th anniversary of the Picasso sculpture in Daley Plaza.

Everyone's Picasso: Celebrating 50 Years of a Chicago Icon

CGN&#39;s weekly roundup of local, national and international art world news.

<h2>Graham Foundation Awards over $400,000 in Grants to&nbsp;Organizations</h2>

<img alt="" data-caption="Image: helloeverything/SelgasCano, Kibera Hamlets School, 2016, Nairobi, Kenya. Courtesy of the architects. From the 2017 organizational grant to New York Foundation for Architecture-Center for Architecture for &lt;i&gt;Scaffolding&lt;/i&gt;" data-rich-file-id="2221" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2221/original/9bb4988f-1301-4053-aecd-d7dd47a1bfb0.jpg" />

&quot;As part of its annual Grants to Organizations program, the <a href="http://www.chicagogallerynews.com/galleries/graham-foundation-for-advanced-studies-in-the-fine-arts">Graham Foundation</a> has awarded over $400,000 to support architectural projects around the world. Grants went to 41 projects ranging from exhibitions and publications to events and research projects.

Winners were chosen from more than 220 submissions from museums, educational institutions, architectural organizations, and architectural festivals. In the past 61 years, the Graham Foundation has awarded more than 4,300 grants.&quot; -The Architect&#39;s Newspaper

<a href="https://archpaper.com/2017/08/graham-foundation-2017-grants-for-organizations/#gallery-0-slide-0">Read more...</a>

&nbsp;

<h2>Walker Art Center&rsquo;s Deputy Director Steps Down</h2>

<img alt="" data-rich-file-id="2222" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2222/original/article0.jpg" />

&quot;David Galligan, the veteran arts administrator who served as the Walker&#39;s chief operating officer from 1996 to 2002, then&nbsp;returned&nbsp;in 2013&nbsp;to help lead the effort to develop a new Walker campus and renovate the&nbsp;Minneapolis Sculpture Garden renovation, is stepping down as deputy director and COO to become a consultant.&quot; -Star Tribune

<a href="http://www.startribune.com/now-that-garden-is-open-walker-art-center-s-deputy-director-steps-down/438139153/">Read more...</a>

&nbsp;

<h2>N.E.H., Once Targeted by Trump, Announces $39.3 Million in New Grants</h2>

<img alt="" data-caption="A typewriter Ernest Hemingway used, displayed in his former home in Ketchum, Idaho. A National Endowment for the Humanities grant will help to preserve the house. Photo: Matt Cilley/Associated Press" data-rich-file-id="2223" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2223/original/nyt.jpg" />

&quot;A literacy program on American military bases, an effort to revitalize Native American languages, a four-part TV documentary about the Atlantic slave trade and several large-scale projects relating to America&rsquo;s founding period are among the 245 recipients of new grants from the&nbsp;National Endowment for the Humanities across the country.&quot; -The New York Times

<a href="https://www.nytimes.com/2017/08/02/arts/neh-grants-national-endowment-for-the-humanities.html">Read more...</a>

&nbsp;

<h2>Following the Floating Museum: When and Where to Expect It</h2>

&quot;There are a few sights that a Chicagoan expects to see on the river&mdash;friends celebrating the weekend on yachts, people hustling to numerous restaurants on the river bank&nbsp;or the occasional architectural boat tour brimming with eager tourists. However, for the next month, city dwellers should keep their eye out for something a&nbsp;bit more uncommon: The Floating Museum.&quot; -Chicago Gallery News

<a href="http://www.chicagogallerynews.com/news/2017/8/following-the-floating-museum-where-and-when-to-expect-it">Read more...</a>

&nbsp;

<h2>Coming to Dana Schutz&rsquo;s Defense, Cindy Sherman and Other Artists Pen an Open Letter to Her Critics</h2>

<img alt="" data-caption="The Institute of Contemporary Art, Boston. Image courtesy of ICA Boston" data-rich-file-id="2224" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2224/original/boston.jpg" />

&quot;Prominent members of the National Academy, including&nbsp;Kara Walker,&nbsp;Marina Abramovic,&nbsp;Ed Ruscha, Jack Whitten, and&nbsp;Cindy Sherman, are coming to the defense of the artist&nbsp;Dana Schutz&nbsp;and the ICA Boston.

In an open letter distributed by email on Thursday evening, the signatories voiced their support of &#39;cultural institutions like the ICA Boston who refuse to bow to forces in favor of censorship or quelling dialogue.&#39;&quot; -Artnet

<a href="https://news.artnet.com/exhibitions/dana-schutz-defend-open-letter-1042361#.WYh_ylSMHzF.twitter">Read more...</a>

Read the July 26, 2017 roundup <a href="http://www.chicagogallerynews.com/news/2017/7/news-from-around-the-art-world-july-31-2017">here</a>.

Top image:&nbsp;Gwyneth Shanks,&nbsp;From Above Looking Down, 2017, Los Angeles. Courtesy the artist. From the Graham Foundation&#39;s organizational grant to Materials &amp; Applications for &quot;Privacies Infrastructure&quot;

News from Around the Art World: August 7, 2017

There are a few sights that a Chicagoan expects to see on the river&mdash;friends celebrating the weekend on yachts, people hustling to numerous restaurants on the river bank&nbsp;or the occasional architectural boat tour brimming with eager tourists. However, for the next month, city dwellers should keep their eye out for something a&nbsp;bit more uncommon: The Floating Museum.

Co-directed by Faheem Majeed, Jeremiah Hulsebos-Spofford, Andrew Schachman and Avery R. Young, the museum, perched on a barge that literally floats down the Chicago river, is designed to highlight specific areas of the city and, in their own words, &ldquo;create temporary, site-responsive museum spaces to activate sites of cultural potential throughout Chicago&rsquo;s neighborhoods&rdquo;.&nbsp;

Here&rsquo;s when and where you can catch a glimpse of the museum: 
 
August 11-13: Bridgeport/Pilsen (Park 571, 2751 S Eleanor St) 
August 14-27: Riverwalk (River Theater, between LaSalle and Clark) 
August 28: Navy Pier at Polk Bros Park 
 
As the barge travels around the city, there will&nbsp;be events reoccurring each week at all locations.&nbsp;

Song Circle 
Wednesdays, 6-8pm 
In addition to its growing reputation for public art, the city is also known for its music. Come check out some of Chicago&rsquo;s own blues and gospel artists with the group session led by Avery R. Young, fellow vocalist and poet. 
 
Breaking Bread 
Thursdays, 6-8pm 
Anyone who has stepped foot in the Midwest knows that the region has some great grub. Thursdays at every barge location, step on over to the river to talk about site-specific topics while enjoying some of the dishes Chicago has to offer. 
 
Friday Night Live! 
Fridays, 6-9pm 
What&rsquo;s a live event without any music? Take the time to check out some of the city&rsquo;s local venues while enjoying a live show. 
 
Sticks + Tape 
Saturdays, 6-8pm 
Even though those who attend the Floating Museum can certainly observe the art already made, they can help make it too! Join in on a temporary, large-scale sculpture making activity, materials provided.

For a full list of&nbsp;activities,&nbsp;participating artists and organizations,&nbsp;visit <a href="https://www.floatingmuseum.org/river-assembly">floatingmuseum.org/river-assembly</a>

Image: Courtesy of the Floating Museum

The Floating Museum takes to the Chicago River with a mobile gallery.

Following the Floating Museum: Where and When to Expect It

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&nbsp;Matthew Rachman of <a href="http://www.chicagogallerynews.com/galleries/matthew-rachman-gallery">Matthew Rachman Gallery</a>.&nbsp;

Gallery: Matthew Rachman Gallery 
Name: Matthew Rachman&nbsp; 
Age: 47 
Previous occupation: I spent 25 years primarily in risk management.&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;

Chicago Gallery News: Please describe your gallery&rsquo;s program in one sentence.

Matthew Rachman: Contemporary art with a heavy concentration of Chicago artists paired with modern furniture.

&nbsp;CGN: How did you become a dealer?

MR: I have always been a collector and over and over people would tell me I should open a gallery, so I did as a hobby. We caught traction quite fast, so I gave up my career in finance to run the gallery.

CGN: What&rsquo;s the first thing you do each morning when you get to the gallery?

MR: Open my email and answer client inquiries.

CGN: Thumbs up or down on art and design fairs?

MR: Thumbs down. Barriers of entry are too high for most galleries, and fairs are so big that buyers experience &ldquo;fair fatigue.&rdquo;

CGN: Who inspires you?

MR: My family.

CGN: Artists you admire but don&rsquo;t represent?

MR: Carlos Rol&oacute;n (Dzine).

CGN: Best sale you had?

MR: Recently, I found a stolen bike and returned it to the owner who happened to be an interior designer. She is now a client.

CGN: What advice would you share with new or young collectors?

MR: Buy art because you love it, not because you think it has room to appreciate.

CGN: What major successes have you had this year? What about challenges?

MR: Success has come from courting clients around the country and Europe, but it is still challenging to find local buyers.

CGN: Your gallery specializes in mid-century furniture and presents a program of emerging artists. How did you decide to pursue both?

MR: Mid-century has always been a love of mine. After looking around we found a void in the market of people who were curating art and furniture together correctly. It seemed to be either one or the other. It was important for us to share our vision of how the two mediums could live together.

CGN: What is your favorite interest outside of the art world?

MR: Outside of visual arts, I am passionate about travel.

CGN: What is your favorite work of public art in Chicago?

MR: My favorite public art in Chicago is the work of Ruth Aizuss Migdal. Her work is prominent around the city yet few know her by name. Her work has been shown in the Art Institute of Chicago, but at 84 years old, she has never shown in a gallery in Chicago. We will feature her work in our fall show opening September 22nd.

CGN: What&rsquo;s currently on view at your gallery?

MR: Our summer show, a solo exhibition by Hannah Perry Saucier, just opened. Hannah is an artist residing in Barcelona, Spain who has never shown in Chicago before.

Matthew Rachman is the owner of Matthew Rachman Gallery located at the corner of Chicago Avenue and Paulina Street. For more information about his gallery visit: <a href="http://www.chicagogallerynews.com/galleries/matthew-rachman-gallery">Matthew Rachman Gallery</a>.

An Interview with a Dealer: Matthew Rachman 

CGN&#39;s weekly roundup of local, national and international art world news.

<h2>Chicago Planning Big&nbsp;Celebration for the Daley Center Picasso&rsquo;s 50th birthday</h2>

&ldquo;On August 8, Mayor Rahm Emanuel and hundreds of Chicago residents will convene at Daley Plaza to celebrate the 50th birthday of the city&rsquo;s famous Picasso sculpture. Dubbed &lsquo;Everyone&rsquo;s Picasso,&rsquo; the event is organized by the city&rsquo;s Department of Cultural Affairs and Special Events and will feature performances by the Chicago Children&#39;s Choir and the After School Matters Orchestra.&rdquo; -Curbed Chicago

<a href="https://chicago.curbed.com/2017/7/25/16019828/daley-center-picasso-chicago-anniversary-birthday">Read more...</a>

&nbsp;

<h2>Sheikh Sultan Sooud Al Qassemi Joins Board of Trustees at the MCA Chicago</h2>

<img alt="" data-caption="Courtesy of the MCA Chicago" data-rich-file-id="2215" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2215/original/screen-shot-2017-07-27-at-2-57-15-pm-244x350.png" />

&ldquo;The Museum of Contemporary Art Chicago has added Sheikh Sultan Sooud Al Qassemi to its board of trustees. His addition to the board was announced on the same day that the museum official launched the Global Vision Initiative, which the MCA first began as a pilot program in 2016.&rdquo; -ARTnews

<a href="http://www.artnews.com/2017/07/27/sheikh-sultan-sooud-al-qassemi-joins-board-of-trustees-at-the-mca-chicago/">Read more...</a>

&nbsp;

<h2>EXPO CHICAGO Announces Artists for In/Situ Sector</h2>

<img alt="" data-caption="Courtesy of EXPO CHICAGO" data-rich-file-id="2218" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2218/original/general-2.jpg" />

&ldquo;EXPO CHICAGO has revealed the artists who will participate in the In/Situ sector of the fair&rsquo;s upcoming edition, which will open in the Windy City on September 13. Organized by Florence Derieux, who was formerly a curator of American art at the Centre Pompidou Foundation, this year&rsquo;s In/Situ sector&mdash;the fair&rsquo;s annual showcase for monumental artworks&mdash;will be titled Chronopolitics.&rdquo; -ARTnews

<a href="http://www.artnews.com/2017/07/26/expo-chicago-announces-artists-for-insitu-sector/">Read more...</a>

&nbsp;

<h2>Philippe de Montebello, Former Director of the Metropolitan Museum, Joins Acquavella Galleries</h2>

<img alt="" data-rich-file-id="2217" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2217/original/philippedemontebello-350x145.jpg" />

&ldquo;Acquavella Galleries has brought on an unlikely new director: Philippe de Montebello, the longest-serving former head of New York&rsquo;s Metropolitan Museum of Art. The art historian&rsquo;s hire, announced today, is effective immediately.&rdquo; -Artnet

<a href="https://news.artnet.com/art-world/acquavella-philippe-de-montebello-1034039">Read more&hellip;</a>

&nbsp;

<h2>Ancient Vase Seized From Met Museum on Suspicion It Was Looted</h2>

<img alt="" data-caption="Courtesy of The Metropolitan Museum of Art" data-rich-file-id="2220" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2220/original/01-seize-1-master768.jpg" />

&ldquo;For decades it was proudly displayed in the Greco-Roman galleries of the Metropolitan Museum of Art, a 2,300-year-old, vividly painted vase that depicts Dionysus, god of the grape harvest, riding in a cart pulled by a satyr.

Today it sits in an evidence room at the district attorney&rsquo;s office in Manhattan after prosecutors quietly seized the antiquity last week based on evidence that it had been looted by tomb raiders in Italy in the 1970s.&rdquo; -New York Times

<a href="https://www.nytimes.com/2017/07/31/arts/design/ancient-vase-seized-from-met-museum-on-suspicion-it-was-looted.html?_r=0">Read more...</a>

Read the July 24, 2017 roundup&nbsp;<a href="http://www.chicagogallerynews.com/news/2017/7/news-from-around-the-art-world-july-24-2017">here</a>.

Top image: Chicago Picasso sculpture in Daley Plaza. Courtesy of&nbsp;Franck Mercurio

News From Around the Art World: July 31, 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&nbsp;Linda Warren&nbsp;of&nbsp;<a href="http://www.chicagogallerynews.com/galleries/linda-warren-projects">Linda Warren Projects</a>.

Gallery: Linda Warren Projects 
Name: Linda Warren 
Age: 55 
Previous occupation(s): Film Producer/Production 
Hometown: Rochester, New York

Chicago Gallery News: How did you become an art dealer? &nbsp;&nbsp;

Linda Warren: A friend of mine was evicted from his studio, so I let him store over 100 pieces of artwork inside my home and garage. Friends would stop by to visit and began to buy some of the work. Two other artist friends brought their artwork over to my house to see if I could sell theirs as well, which I did.

Initially, I wasn&rsquo;t trying to make any money at all&ndash;I was just basically helping my friends out. But I started to realize that I could possibly make a living as an art dealer, and I was tired of the film industry and being out of town for months on end shooting films. I decided to convert my home into an art gallery and started having rotating shows every three weeks, introducing new artists. It was in Silverlake (Los Angeles), and there were a few others who were doing the same thing out of their apartments and homes. It became a little scene that drew a lot of people to the neighborhood. It all took off from there.

CGN: Please describe your gallery&rsquo;s program in one sentence. &nbsp;

LW: An eclectic mix of aesthetically and academically compelling artwork by emerging, mid-career and established artists working in all media and styles, but with an emphasis on strong painting and Chicago-based talent.

CGN: What&#39;s the first thing you do each morning when you get to the gallery? &nbsp;&nbsp;

LW: We have a staff meeting to discuss and prioritize goals of the day and week. The art consulting end of my business is extremely busy and demanding. To integrate that with the daily needs of the gallery, exhibitions and artists requires a lot of teamwork and juggling.

CGN: Thumbs up or down on art fairs? &nbsp;

LW: I am happy to be evolving more into a buyer then a seller. As a seller, art fairs are not my favorite way to use my energy or money. But as a buyer, they are a helpful and easy way to research and see a lot of good work.

CGN: Artists you admire but don&#39;t represent? &nbsp;&nbsp;

LW: Nick Cave, Jacob Hashimoto, Richard Hull, Claire Sherman, Jason Salavon, Anne Toeb, Jean Pierre Roy, Angel Otero, Merlin James, Anselm Keifer and Kerry James Marshall, to name just a few.

CGN: Best sale you ever had? &nbsp;

LW: As a gallerist, selling four very large-scale paintings by Michiko Itatani to one client; as an art consultant, commissioning a monumental kinetic sculpture by Pedro de Movellan.

CGN: What advice would you share with new or young collectors? &nbsp;

LW: Spend time researching online. Visit sites like artsy.net, artnet.com or Chicago Gallery News (plug&hellip;though I&rsquo;m serious). See what moves you and what you gravitate towards. Make lists of what you like and visit galleries. Buy what you love and what you would want to hold onto, not what you think you can resell. Don&rsquo;t rely on your first reaction to anything. Often the work you wind up loving the most is the work you might first have an aversion to. Be prepared for your taste and style to change over time and go with it. Don&rsquo;t be afraid to have and express your opinion. There should be nothing wishy-washy about your feeling towards what you buy. When in doubt&hellip;don&rsquo;t buy it.

CGN: What major successes have you had this year? What about challenges? &nbsp;

LW: I have completed three corporate projects&mdash;one in LA, one in SF and one in Chicago. &nbsp;&nbsp;I am about to do a major install in Houston this summer for a corporate job and am working on another corporate project in Boston. I spent most of the winter in LA, and it&rsquo;s challenging being away from the gallery for too long. But I have a fantastic staff and wonderful Gallery Director, Natalia Ferreyra, who keep things running smoothly and effectively, so I am lucky. &nbsp;&nbsp;

CGN: How do you view working as an art dealer in Chicago? &nbsp;

LW: It is what I love to do and could not see myself doing anything else. I love Chicago and will always view this as my home base. I feel the most connected now and think it&rsquo;s a great city for me to live and work. &nbsp;&nbsp;

CGN: What is your favorite interest outside of the art world? &nbsp;

LW: Traveling.

CGN: What is your favorite work of public art in Chicago? &nbsp;

LW: Crown Fountain by Jaume Plensa in Millennium Park.

CGN: What&rsquo;s coming up next at your gallery? &nbsp;

LW: On view now are three exhibitions: Chris Uphues: Heavy Sunshine, Chris Cosnowski: I Love Humanity This Much and David Reninger: Transformation. Our fall opener is Chris Silva and after that, ending the 2017 season, is Peter Drake.

CGN: You began your career as an art dealer in Los Angeles. What five differences do you see between LA and Chicago?

LW:

<ol>
	<li>LA&rsquo;s art scene is thriving and feels more alive and ever expanding than Chicago.</li>
	<li>Geographically, the art scene in LA is even more spread out then Chicago, so that, combined with the horrible traffic, makes it more challenging city to get around. &nbsp;</li>
	<li>There are many more galleries in LA then Chicago and in particular more significant international galleries have a presence there.</li>
	<li>Large-scale artwork seems easier to place in LA then in Chicago.</li>
	<li>LA is the opposite of conservative &ndash; so anything &ldquo;out of the box&rdquo; is looked upon favorably.</li>
</ol>

Linda Warren is the owner of Linda Warren Projects located in the West Loop in Chicago. For more information about her gallery visit: <a href="http://www.chicagogallerynews.com/galleries/linda-warren-projects">Linda Warren Projects</a>.

An Interview with a Dealer: Linda Warren

CGN&#39;s weekly roundup of local, national and international art world news.

<h2>Hundreds of Vivian Maier Prints Donated to University of Chicago</h2>

&quot;Almost 500 never-before-shown Vivian Maier prints have found a new home at the&nbsp;University of Chicago&nbsp;Library, the university announced Wednesday. Maier [see photo above], the Chicago-area nanny who has become famous posthumously as a street photographer &mdash; and as the subject of extensive legal wrangling &mdash; has had museum and gallery shows but has not previously had her work held by a research institution.&quot; -Chicago Tribune

<a href="http://www.chicagotribune.com/entertainment/museums/ct-ent-vivian-maier-prints-donated-uofc-0720-20170719-story.html">Read more...</a>

&nbsp;

<h2>Lee Bey Named Vice President of Chicago&rsquo;s DuSable&nbsp;Museum</h2>

<a href="http://chicago.suntimes.com/entertainment/lee-bey-named-vice-president-of-chicagos-dusable-museum/"><img alt="" data-caption="Lee Bey. Courtesy of the DuSable Museum" data-rich-file-id="2211" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2211/original/10408611-10153465068479758-2277530458266498679-n-e1500493052100.jpg" /></a>

&quot;Change and expansion have become the name of the game at Chicago&rsquo;s DuSable Museum of African American History since March 2016, when it was granted Smithsonian Affiliation status by the Smithsonian Institution in Washington, D.C. That distinction signaled the beginning of a long-term collaborative partnership between the DuSable and the world&rsquo;s largest museum and research complex. And now comes word that the museum has named Chicago cultural gadfly Lee Bey its first-ever vice president for planning, education and museum experience.&quot; -Chicago Sun-Times

<a href="http://chicago.suntimes.com/entertainment/lee-bey-named-vice-president-of-chicagos-dusable-museum/">Read more...</a>

&nbsp;

University of Michigan Hires New Director for Museum of Art

<a href="http://www.mlive.com/news/ann-arbor/index.ssf/2017/07/um_hires_new_director_for_muse.html"><img alt="" data-caption="Christina Olsen" data-rich-file-id="2212" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2212/original/article0.jpg" /></a>

&quot;The University of Michigan has hired a new director for the Museum of Art. Christina Olsen will run the museum for a five year term starting Oct. 30. The UM Board of Regents approved the appointment Thursday, July 20 after a national search.&quot; -MichiganLive

<a href="http://www.mlive.com/news/ann-arbor/index.ssf/2017/07/um_hires_new_director_for_muse.html">Read more...</a>

&nbsp;

<h2>Victims of a Jerusalem Bombing Want to Seize Artifacts from Oriental Institute&nbsp;as Damages</h2>

<a href="https://hyperallergic.com/391778/victims-of-a-jerusalem-bombing-want-to-seize-artifacts-from-a-chicago-museum-as-damages/"><img alt="" data-caption="The Oriental Institute of the University of Chicago" data-rich-file-id="2213" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2213/original/oi.jpg" /></a>

&quot;On September 4, 1997, Hamas terrorists&nbsp;bombed&nbsp;a mall in Jerusalem, killing five people and wounding nearly 200. In 2001, the US survivors and family members of those killed sued the Islamic Republic of Iran in federal court in Chicago, claiming the country had sponsored the bombing. In 2003, a US District Judge in Washington DC awarded the plaintiffs about $71 million in damages. Iran never paid up, so to satisfy their judgement, the plaintiffs have been waging a legal battle for over a decade to seize Persian artifacts that are &nbsp;in the&nbsp;Oriental Institute&nbsp;of the University of Chicago and in the&nbsp;Field Museum of Natural History, also in Chicago. The Supreme Court&nbsp;will hear the case&nbsp;in the fall.&quot; -Hyperallergic

<a href="https://hyperallergic.com/391778/victims-of-a-jerusalem-bombing-want-to-seize-artifacts-from-a-chicago-museum-as-damages/">Read more...</a>

&nbsp;

<h2>Motion to Dismiss Denied in Copyright Suit Against Richard Prince and Gagosian</h2>

<a href="http://theartnewspaper.com/news/news/motion-to-dismiss-denied-in-copyright-suit-against-richard-prince-and-gagosian/"><img alt="" data-caption="Donald Graham, &lt;i&gt;Rastafarian Smoking a Joint&lt;/i&gt;, 1996 (left). Richard Prince, &lt;i&gt;Untitled&lt;/i&gt;, 2014 (right) / Art Newspaper" data-rich-file-id="2214" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2214/original/rp.jpg" /></a>

&quot;A Manhattan federal court judge yesterday (18 July) rejected the request of Richard Prince, the Gagosian Gallery, and Larry Gagosian to dismiss the copyright infringement lawsuit of photographer Donald Graham. Graham alleges that Prince unlawfully used his photograph Rastafarian Smoking a Joint (1996) when he enlarged an Instagram post of it for his New Portraits show at New York&#39;s Gagosian Gallery&nbsp;in 2014. &quot; -Art Newpaper

<a href="http://theartnewspaper.com/news/news/motion-to-dismiss-denied-in-copyright-suit-against-richard-prince-and-gagosian/">Read more...</a>

Read the July 17, 2017 roundup <a href="http://www.chicagogallerynews.com/news/2017/7/news-from-around-the-art-world-july-17-2017">here</a>.

Top image:&nbsp;Unpublished work &copy; 2017 The Estate of Vivian Maier. All rights reserved.

News From Around the Art World: July 24, 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 Randy Alexander of <a href="https://www.chicagogallerynews.com/galleries/randy-alexander-gallery">Randy Alexander Gallery.</a>

Gallery: Randy Alexander Gallery 
Name: Randy Alexander 
Previous occupations: Fundraiser, Actor, Truck Driver, Curator 
Hometown: Chicago

Chicago Gallery News: How did you become an art dealer?&nbsp;

Randy Alexander: I lost my mind one day and the first thing that came to me was running a gallery.

CGN: Please describe your gallery&rsquo;s program in one sentence.

RA: Emerging and established conceptually-based art.

CGN: What&#39;s the first thing you do each morning when you get to the gallery?&nbsp;

RA: Use the restroom.

CGN: Thumbs up or down on art fairs?

RA: Down.

CGN: Artists you admire but don&#39;t represent?

RA: Berenice Abbott, Gertrude Abercrombie, Vito Acconci, Ansel Adams, Nicolas Africano, Josef Albers...I won&#39;t even get beyond the A&rsquo;s before we run out of space for this answer.

CGN: Best sale you ever had?

RA: <a href="https://en.wikipedia.org/wiki/Elaine_Sturtevant">Sturtevant&#39;s </a>Joseph Beuys&rsquo; Fat Corner.

CGN: What advice would you share with new or young collectors?

RA: Buy everything I tell you to buy.

CGN: What&rsquo;s coming up next at your gallery?

RA: Opening on September 16, two shows with Inigo Manglano-Ovalle and Jeff Prokash.

CGN: What major successes have you had this year? What about challenges?

RA: Major success this year was staying in business. Major challenge this year was staying in business.

CGN: How do you view working as an art dealer in Chicago? How does it compare to New York in the 1990s?

RA: Chicago has a dynamic emerging scene and my job is to find, exhibit and translate the most powerful work I encounter from that scene. &nbsp;The 1990s collectors in New York were more passionate about investing in emerging artists.&nbsp;

CGN: What is your favorite interest outside of the art world?

RA: Movies.

CGN: What is your favorite work of public art in Chicago?

RA: Kwagulth Totem Pole (east of Lake Shore Drive at Addison).

CGN: What are the five best shows you&rsquo;ve seen so far in 2017?

<ol>
	<li>Kerry James Marshall: Mastry at the Met Breuer</li>
	<li>Robert Rauschenberg: Among Friends at MoMA</li>
	<li>Joan Jonas: what is found in the windowless house is true at Gavin Brown&rsquo;s enterprise</li>
	<li>Florine Stettheimer: Painting Poetry at the Jewish Museum</li>
	<li>Rei Kawakubo/Comme des Gar&ccedil;ons: Art of the In-Between at the Metropolitan Museum of Art</li>
</ol>

Randy Alexander is the owner of Randy Alexander Gallery located in the South Loop in Chicago. For more information about his gallery visit: <a href="https://www.chicagogallerynews.com/galleries/randy-alexander-gallery">Randy Alexander Gallery.</a>

CGN interviews local art dealer Randy Alexander. 

An Interview with a Dealer: Randy Alexander

CGN&#39;s weekly roundup of local, national and international art world news.

<h2>Elizabeth Chodos Named Director of Carnegie Mellon&rsquo;s Miller Gallery</h2>

&quot;Elizabeth Chodos [see image above] has been named the director of Carnegie Mellon University&#39;s&nbsp;Regina Gouger Miller Gallery. Chodos joins CMU from&nbsp;Ox-Bow, school of art and artists&#39; residency in Saugatuck, Michigan, where she has worked since 2010, most recently as executive and creative director.&quot; -CMU News

<a href="http://www.cmu.edu/news/stories/archives/2017/july/miller-gallery-director.html">Read more...</a>

&nbsp;

<h2>MacArthur Gives $10 Million to Combat Violence in Chicago</h2>

<a href="http://www.chicagobusiness.com/article/20170717/NEWS07/170719886/macarthur-foudation-gives-10-million-to-combat-violence"><img alt="" data-caption="Photo courtesy of the MacArthur Foundation" data-rich-file-id="2201" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2201/original/chicago-grants-eblast-.jpg" /></a>

&quot;In what it says is the first round of big grants designed to fight violence,&nbsp;MacArthur Foundation has awarded $10 million to area organizations. Community Capital Grants, a new initiative from the Chicago-based foundation, account for $6.9 million of the total. The foundation says the Community Capital Grants might be awarded annually, beginning in 2018, to Chicago groups that work to stem violence and racial inequity in the city.&quot; -Crain&#39;s&nbsp;Chicago Business

<a href="http://www.chicagobusiness.com/article/20170717/NEWS07/170719886/macarthur-foudation-gives-10-million-to-combat-violence">Read more...</a>

&nbsp;

<h2>Fixing the Met: Art Lovers Speak</h2>

<a href="https://commons.wikimedia.org/wiki/File:The_MET.jpg"><img alt="" data-caption="The Metropolitan Museum of Art. © Kai Pilger / Wikimedia Commons" data-rich-file-id="2197" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2197/original/the-met.jpg" /></a>

&quot;O.K., finding a new director for the Metropolitan Museum of Art will take more than a LinkedIn posting &mdash; but the hunt is on for a successor to Thomas P. Campbell, whose resignation last winter&nbsp;added a kink to the Met&rsquo;s tangle of troubles. Attendance, at seven million, is at a high. Exhibitions are some of the finest anywhere. Yet as it approaches its 150th birthday, the museum lumbers under a nearly $15 million deficit; a planned new wing for modern and contemporary art has been deferred; and the Met&rsquo;s optional admissions charge&nbsp;may be replaced with a mandatory entrance fee&nbsp;for out-of-towners.&quot; -The New York Times

<a href="https://www.nytimes.com/2017/07/14/arts/design/fixing-the-met-museum.html">Read more...</a>

&nbsp;

<h2>In Wake of Closures, Galleries Are Adapating to Survive</h2>

<a href="http://theartnewspaper.com/market/galleries-adapt-to-survive-part-one/"><img alt="" data-caption="Joel Mesler in front of his Rental Gallery in the Hamptons, New York. Photo courtesy of Caliber Media" data-rich-file-id="2198" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2198/original/untitled.jpg" /></a>

&quot;For dealer Anthony Reynolds, the turning point came when the lease on his London gallery ran out and his landlord announced he was tripling the rent. &#39;I thought to myself, I can either find another space or I can find a different way to do this,&#39;&nbsp;the gallerist says.&quot; -The Art Newspaper

<a href="http://theartnewspaper.com/market/galleries-adapt-to-survive-part-one/">Read more...</a>

&nbsp;

<h2>Contemporary Art Museum St. Louis Launches Diversity Fellowship</h2>

<a href="https://www.artforum.com/news/id=69631"><img alt="" data-rich-file-id="2200" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2200/original/article0-popup.jpg" /></a>

&quot;The Contemporary Art Museum St. Louis,&nbsp;beleaguered by controversy last year, announced today that it was awarded a $25,000 grant in support of a new fellowship program that aims to promote diversity and equity at the museum.&nbsp;unded by the PNC Foundation, through its Arts Alive initiative, CAM&rsquo;s new Museum Pathways Project will also engage with existing youth programs, such as LEAP Middle School Intensive, Teen Museum Studies, and New Art in the Neighborhood, to educate adolescents on how to pursue a career in the arts.&quot; -Artforum

<a href="https://www.artforum.com/news/id=69631">Read more...</a>

Read the July 10, 2017 roundup&nbsp;<a href="http://www.chicagogallerynews.com/news/2017/7/news-from-around-the-art-world-july-10-2017">here</a>.

Top image: Elizabeth Chodos, formerly executive director of Ox-Bow, has been named director of Carnegie Mellon University&#39;s&nbsp;Regina Gouger Miller Gallery. Photo courtesy of CMU News