In recognition of Chicago&rsquo;s &ldquo;Year of Public Art,&rdquo;&nbsp;Chicago Gallery News&nbsp;is featuring a series of articles chronicling milestones of public art in Chicago. The fourth in the series examines the history of controversial public art installations.

By FRANCK MERCURIO

Controversy is never far from public art, especially in Chicago. Throughout the years, the city has seen its share of debates and scandals over art installations, ranging from cost overruns and incompetence to charges of public indecency and immorality to misplaced or destroyed artwork.

Even works that are much beloved today often began with rocky public relationships. When the city&#39;s famous &ldquo;Chicago Picasso&rdquo; (officially untitled) was unveiled in Daley Plaza fifty years ago this summer, it was&nbsp;not&nbsp;universally embraced. Indeed, most people puzzled over it.&nbsp;

<img alt="" data-caption="&lt;i&gt;The “Chicago Picasso” was fabricated in Gary, Indiana at the American Bridge Division of U.S. Steel.&lt;/i&gt; Photo: Untitled sculpture (“The Picasso”), Chicago Illinois, 1967. Pablo Picasso, sculptor. Fazlur R. Khan Collection, Ryerson and Burnham Archives, The Art Institute of Chicago. Digital File #199207_151211-007. " data-rich-file-id="2184" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2184/original/199207-151211-007.jpg" />

&ldquo;Was it a joke? Was it for real? Why that? Everyone had an opinion,&rdquo; wrote&nbsp;Chicago Tribune&nbsp;reporter Sheila Wolfe the day after the unveiling ceremony in August 1967.&nbsp;

Writing in the same edition, the Tribune&rsquo;s art editor, Edward Barry, reported on the crowd&rsquo;s decidedly mixed reactions. &ldquo;With applause, startled exclamations, and incredulous smiles,&rdquo; wrote Barry, &ldquo;Chicago received its long awaited gift yesterday from the most celebrated of living artists.&rdquo;

Gwendolyn Brooks seemed to brace Chicagoans for the impending public controversy. In her poem, composed on the occasion of the Picasso&rsquo;s unveiling, she wrote:

Does man love art? Man visits art, but squirms. 
Art hurts. Art urges voyages&mdash; 
And it is easier to stay at home, 
The nice beer ready.

Art&mdash;especially public art&mdash;does indeed urge voyages. Each new work tends to push the boundaries of our collective sensibilities, challenging our shared notions of what art is supposed to be. The rules for evaluating public art go beyond formal and conceptual concerns and take into account other criteria that can make or break an installation. Does the work provide a civic amenity? Does it fit within its urban and architectural contexts? Is it accessible to the general public, both physically and intellectually?

All of these issues were debated with the unveiling of the Chicago Picasso in 1967. But what was then new and provocative gradually became familiar and accepted. Today, the gargantuan modernist sculpture serves as a symbol of Chicago; it&rsquo;s considered a unique civic asset, one that paved the way for subsequent &ldquo;plaza sculptures&rdquo; by other renowned artists, including Calder, Miro, Chagall, Nevelson, and DuBuffet.

Yet despite its current popularity, the Chicago Picasso still presents a conceptual conundrum to many people. What exactly is it supposed to be? A baboon? A dog? A horse? A praying mantis? A woman? For decades, the question has been debated by experts and amateurs alike.&nbsp;

&ldquo;The identity of the sculpture&rsquo;s inspiration [is] an ongoing controversy that to this day has not been definitively resolved,&rdquo; writes Patricia Balton Stratton in her recently published book The Chicago Picasso: A Point of Departure. &ldquo;Part of the reason for the uncertainty,&rdquo; continues Stratton, &ldquo;was that Picasso himself refused to speak about the sculpture&rsquo;s provenance or even to name it, an act of negative creativity that opened up the sculpture&rsquo;s field of meaning and made it truly public.&rdquo;

<img alt="" data-caption="Photo courtesy of Franck Mercurio" data-rich-file-id="2177" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2177/original/2016-04-29-19-37-48.jpg" />

Despite the intense desire to solve the mystery of the sculpture&rsquo;s identity, the subject matter (if there is any) probably didn&rsquo;t mean much to Picasso himself. Instead, the artist seemed more intent on refining a set of formal concepts that he had pursued and explored throughout his 70-plus-year career.

These explorations can be traced back to Picasso&rsquo;s guitar constructions of 1912&ndash;1914 when he first experimented with planar and linear elements to define space and suggest volume. More radically, the artist used linear elements to compose his&nbsp;Project for a Monument to Guillaume Apollinaire&nbsp;(1928), a collaboration with the sculptor Julio Gonz&aacute;lez. These early works are the ancestors of the Chicago Picasso, which includes many of the same elements, but rendered on a monumental scale.

Picasso also played with the idea of seeing and experiencing the sculpture in different ways depending on the viewer&rsquo;s vantage point.

Looking directly at the work, the viewer is confronted with a gigantic totemic figure, its &ldquo;face&rdquo; reminiscent of an African mask. Picasso collected art from Africa and Oceania throughout his career, and these works often served as inspiration for his own art, most famously in his painting&nbsp;Les Demoiselles d&#39;Avignon&nbsp;(1907).

However, looking at the Chicago Picasso from either side, the viewer&rsquo;s perception changes; a profile of a woman becomes apparent, suggesting the many portraits Picasso made of his wife, Jacqueline, created during the same time period he was working on the Chicago commission.

These shifting perceptions reflect a kind of Cubist sensibility, providing multiple perspectives within one piece. But the Chicago Picasso also represents a lifetime of sculptural explorations, culminating in a single work and making a simple &ldquo;one answer&rdquo; reading of the piece impossible.

But even as debates about the meaning of the Chicago Picasso continue, it&rsquo;s worth noting that it was not the first or last public art controversy in Chicago. One of the earliest to seize the public&rsquo;s attention centered around a bronze sculpture installed on the front steps of the Art Institute in 1916: a rather handsome male nude titled&nbsp;The Sower.

<img alt="" data-caption="Albin Polasek, &lt;i&gt;The Sower&lt;/i&gt;, 1916. &lt;i&gt;The Sower&lt;/i&gt; currently overlooks the Esplanade at the Chicago Botanic Garden. Photo courtesy of Chicago Botanic Garden " data-rich-file-id="2183" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2183/original/sower-183.jpg" />

The artist, Albin Polasek (1879&ndash;1965), had arrived in Chicago from Rome to head the School of the Art Institute&rsquo;s sculpture department. While studying at the American Academy in Rome, Polasek had modeled&nbsp;The Sower, a classically inspired figure in the tradition of monumental male nudes in Western art. (Think Michelangelo&rsquo;s&nbsp;David, but with an agrarian calling.) The Art Institute placed&nbsp;The Sower&nbsp;on public view outside the museum&rsquo;s main entrance, in part to advertise a large exhibition of American sculpture, but also to celebrate the opening of a new gallery space&mdash;Gunsaulus Hall&mdash;spanning the Illinois Central Railway tracks.

The &ldquo;naked farmer&rdquo; immediately caught the gaze of many Chicagoans, who were not accustomed to seeing full-frontal male nudity on Michigan Avenue. It also caught the attention of the city&rsquo;s first &ldquo;censor of public morals&rdquo; Major M.L.C. Funkhouser. He tried&mdash;in vain&mdash;to have&nbsp;The Sower&nbsp;taken off view in the name of public decency. Letters to Chicago&rsquo;s newspapers were both for and against sculpture. Yet throughout the scandal, the Art Institute stood its ground, and Polasek kept his sense of humor.

&ldquo;He was highly entertained by it all,&rdquo; recounted Polasek&rsquo;s wife, Ruth Sherwood, in her biography of the artist. &ldquo;More over, the discussion brought him fame overnight. People who would never have thought to visit the Art Institute flocked downtown to see the &lsquo;Sower.&rsquo;&rdquo;

Chicago newspapers also had fun with the controversy. When the time came to bring&nbsp;The Sower&nbsp;inside the museum (to accompany an exhibition of Polasek&rsquo;s work), the&nbsp;Chicago Tribune&nbsp;wrote that &ldquo;Nippy December breezes whistling about the Art Institute made it necessary for &lsquo;The Sower&rsquo; to put on his pants or get out of the weather&mdash;so he has gone in.&rdquo;

The Sower&nbsp;is now on permanent display at the Chicago Botanic Garden where he watches over the Esplanade four seasons a year&mdash;in all his natural glory.

<img alt="" data-caption="Albin Polasek, &lt;i&gt;The Sower&lt;/i&gt;, 1916. &lt;i&gt;The Sower&lt;/i&gt; currently overlooks the Esplanade at the Chicago Botanic Garden. Photo courtesy of Chicago Botanic Garden " data-rich-file-id="2180" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2180/original/esplanade-20sower-201.jpg" />

Polasek&rsquo;s masterwork remained controversial for only a few months. But not all public art controversies erupt immediately after a work is unveiled. In some cases, the scandal happens long after a work has been de-installed or decommissioned.&nbsp;

Case in point: The controversy surrounding&nbsp;Chicago Rising from the Lake&nbsp;(1954) by artist Milton Horn (1906&ndash;1995) happened years after the sculpture was created. Today, this monumental bronze relief adorns the Columbus Drive Bridge along the Chicago River Walk. But the sculpture took a very circuitous route to its present home.

Horn originally created the massive 12-foot-by-14-foot relief for Parking Facility Number 1, the first city-owned and operated public parking garage in Chicago. Opened in 1955, the modernist structure at Wacker Drive and State Street accommodated a growing number of car commuters within a state-of-the-art facility. The sculpture,&nbsp;Chicago Rising from the Lake, took pride of place on the building&rsquo;s gleaming white brick fa&ccedil;ade, where it faced north toward the Chicago River. There, it presided over a daily parade of automobiles, driving in and out of the facility, until the garage was demolished in 1983, making way for the Renaissance Hotel and the Leo Burnett Building.

But after its de-installation, the sculpture disappeared.

<img alt="" data-caption="Milton Horn’s &lt;i&gt;Chicago Rising from the Lake&lt;/i&gt; (1954) as depicted on the façade of Parking Facility Number 1 (1955) designed by the architecture firm Shaw, Metz and Dolio. Photo courtesy of City of Chicago Bureau of Parking and forgottenchicago.com" data-rich-file-id="2181" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2181/original/parkingfacility1-milton-horn-photo.jpg" />

Several attempts were made to find it. Horn tracked it down in 1987 near the city&rsquo;s Transportation Department office at 31st Street and Sacramento where it was found lying at the bottom of a tarp-covered swimming pool. Sometime later, the sculpture was moved to a metal scrapyard along the banks of the Chicago River. It was rediscovered there in 1994, receiving much press attention in the process.

Chicago Rising&nbsp;soon became a symbol of the city&rsquo;s failures to keep track of and maintain the hundreds of works of public art that had been financed over the years by taxpayers. Horn&rsquo;s sculpture sparked a movement in the 1990s to reform and improve the Chicago Public Art Program, which today oversees more than 500 works of art in 150 locations throughout the city&mdash;including the Chicago Picasso.

<a href="https://www.flickr.com/photos/reallyboring/4040731323"><img alt="" data-caption="Photo: Eric Allix Rogers, &lt;i&gt;Chicago Rising From The Lake&lt;/i&gt; (Milton Horn, 1954). On the Columbus bridge over the Chicago River. © Eric Allix Rogers" data-rich-file-id="2182" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2182/original/4040731323-ffd088ab78-b.jpg" /></a>

Happily,&nbsp;Chicago Rising&nbsp;was restored and reinstalled in 1998. The sculpture, rescued from obscurity, is now enjoyed by citizens and tourists alike as they promenade along the River Walk.

What new controversies will arise now and in the future? Perhaps one is the scarcity of commissions given to women artists and artists of color to create major works in highly visible locations. Projects such as the Wabash Arts Corridor are beginning to address and correct this historic bias. But prestigious civic projects seldom are awarded to artists that fall outside the &quot;old white man&quot; category. Hopefully, new commissions&mdash;going to a broader range of artists working today&mdash;will be as exciting, challenging and significant as the great ones that came before.

Top image: Thousands of people jammed Daley Plaza on Tuesday, August 15, 1967 to witness the dedication and unveiling of the &ldquo;Chicago Picasso.&rdquo;&nbsp;Photo: Richard J. Daley Center, Untitled sculpture (&ldquo;The Picasso&rdquo;), Chicago Illinois, 1963-1965. C. F. Murphy Associates, architect. Fazlur R. Khan Collection, Ryerson and Burnham Archives, The Art Institute of Chicago.&nbsp; Digital File #199207_151211-009.

Read more from Franck Mercurio&#39;s Public Art series:

<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>

<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>

<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>

CGN explores examines controversial public art installations in Chicago.

Does Man Love Art? A History of Public Art Controversy in Chicago

By ALISON REILLY

On June 23, Rashid Johnson&#39;s solo exhibition opened&nbsp;at the Milwaukee Art Museum. Hail We Now Sing Joy initiates&nbsp;a new program for the museum to feature the work of a contemporary artist in the Quadracci Pavilion (designed by&nbsp;architect Santiago Calatrava). The show is&nbsp;an impressive presentation&nbsp;of Johnson&#39;s recent work and an exciting way for director Marcelle Polednik to inaugurate the space with her new vision.

&nbsp;

<img alt="" data-caption="Rashid Johnson leads a tour of his new exhibition at the Milwaukee Art Museum. Pictured on the left is &lt;i&gt;Antoine's Organ&lt;/i&gt;, an enormous black scaffolding cube filled with houseplants, books and fluorescent lights. For Johnson, the grid is significant because he grew up in an academic household (his mother is a professor) and he learned how to draw on lined paper. " data-rich-file-id="2168" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2168/original/img-4225.jpg" />

&nbsp;

<img alt="" data-caption="Inside &lt;i&gt;Antoine's Organ&lt;/i&gt; is a piano that will be activated by local musicians throughout the course of the exhibition. The installation also features some early video work by Johnson including &lt;i&gt;Black Yoga&lt;/i&gt;." data-rich-file-id="2171" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2171/original/img-4252.jpg" />

&nbsp;

<img alt="" data-caption="In the next room, Johnson continues to explore his interest in the grid but in this case through a two-dimensional surface. For his series of &lt;i&gt;Escape Collage&lt;/i&gt; paintings, Johnson layers photos from his childhood, stock images of palm trees, and black soap and wax onto ceramic tiles." data-rich-file-id="2170" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2170/original/img-4240.jpg" />

&nbsp;

<img alt="" data-caption="&quot;I was trying to be coy, but these are self-portraits,&quot; Johnson said. Like the &lt;i&gt;Escape Collage&lt;/i&gt; paintings, the the artist creates the &lt;i&gt;Anxious Audience&lt;/i&gt; work by melting black soap and wax and pouring it directly onto the white ceramic tiles. Johnson then quickly draws on the surface to create a portrait through the removal of material." data-rich-file-id="2174" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2174/original/img-4244.jpg" />

&nbsp;

<img alt="" data-caption="In the final room of the exhibition, a large wood table is covered with a Persian rug and blocks of shea butter, which Johnson uses often in his work. For him, the material signifies how he was raised in an Afrocentric, non-religious space. But he noted that as he became an adolescent that familial space shifted leaving him to question his own identity. " data-rich-file-id="2176" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2176/original/img-4247.jpg" />

&nbsp;

<a href="http://www.chicagogallerynews.com/calendar/rashid-johnson-hail-we-now-sing-joy">Hail We Now Sing Joy</a>&nbsp;is open through September 17, 2017 at the <a href="http://www.chicagogallerynews.com/institutions/milwaukee-art-museum-mam--2">Milwaukee Art Museum</a>.&nbsp;

Top image: Rashid Johnson,&nbsp;Untitled Escape Collage (detail), 2016, ceramic tile, black soap, wax, vinyl and spray enamel. All images courtesty of Alison Reilly.

Rashid Johnson leads a tour of his new exhibition at the Milwaukee Art Museum.

Rashid Johnson Leads Tour of Solo Exhibition at Milwaukee Art Museum

The year of public art is turning out to be just that - new elements of the year-long celebration continue to be unveiled regularly, adding to the ongoing joy and affection many of us have for our city&#39;s second-to-none public art collection.&nbsp;

Most recently, the&nbsp;Chicago Loop Alliance unveiled&nbsp;newly commissioned public art banner series on State Street in conjunction with the Year of Public Art. The commissioned&nbsp;series of&nbsp;banners&nbsp;pay homage to the Loop&rsquo;s iconic public art, though they are in fact temporary.&nbsp;Eight unique banner designs feature abstracted and distilled interpretations of public artworks that span the decades (including Pablo Picasso&rsquo;s unnamed sculpture in Daley Plaza (1967) and Anish Kapoor&rsquo;s&nbsp;Cloud Gate&nbsp;(2006). Done&nbsp;in an arresting eight-color Modernist palette, and created by&nbsp;designer and artist&nbsp;Bob Faust, the banners&nbsp;will be displayed&nbsp;July 5&ndash;30 on State Street between Lake Street and Congress Parkway.&nbsp;

<img alt="" data-rich-file-id="2165" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2165/original/image002.png" />

Faust sought a design that allowed each unique sculpture to be recognizable, but also be part of a discreet set, arriving at a simple shape solution. Typography was reduced to its simplest elements, also to be part of the illustrative style and not compete with the illustrations themselves. Matisse&rsquo;s cutouts were among the inspirations for the graphic style.

&ldquo;These banners &ndash; which take familiar works and reduce them to their elements, reinforcing how ingrained public art is in our consciousness -- blur the line between art and design,&rdquo; said&nbsp;Kate Keleman, Creative and Placemaking Manager at the Chicago Loop Alliance.&rdquo; They transform the often-mundane street pole banner into an instrument that changes the experience of the street and creates an immersive design gesture.&rdquo;

&quot;Chicago&#39;s greatest public artworks make powerful memories from the feelings they invoke,&rdquo; said Faust. &ldquo;My goal through these minimalist graphics is to instigate a reaction that reaches back into our memory banks and pull up the original feelings made by the artworks they represent.&rdquo;

To read more&nbsp;about the battle for public art in Chicago click <a href="http://www.chicagogallerynews.com/news/2017/5/no-little-plans-the-battle-for-public-art-in-chicago">here</a>.

Street banners for the year of public art in Chicago 

Look Up! Bright Banners Spread Art in the Loop

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;Louise Rosenberg&nbsp;of&nbsp;<a href="http://www.chicagogallerynews.com/galleries/cultivate-urban-rainforest-gallery">Cultivate Urban Rainforest &amp; Gallery</a>.

Gallery: Cultivate Urban Rainforest &amp; Gallery &nbsp; &nbsp; 
Name: Louise Rosenberg 
Age: 54 
Previous occupations: Records Store Manager, Office Manager at Cabaret Metro, Massage Therapist at a holistic healthcare center 
Hometown: Skokie, Illinois

Chicago Gallery News: Cultivate Urban Rainforest &amp; Gallery is unique because you offer a selection of indoor plants alongside a rotating exhibition space. How did you decide to pursue art alongside gardening?

Louise Rosenberg: Great art and design are often inspired or informed by plants and the natural world. Many plants are in and of themselves works of art. We feature indoor plants and terrariums as a way to bring nature inside living and workspaces.

CGN: Please describe your gallery&rsquo;s program in one sentence.

LR: Our works are directly informed and inspired by pattern, texture, color and organic form found within nature, with an emphasis in flora.

CGN: What&#39;s the first thing you do each morning when you get to the gallery?&nbsp;

LR: Turn on the music.

CGN: Who are artists you admire but don&#39;t represent?

LR: Andrew Goldsworthy.

CGN: What is the best sale you ever had?

LR: When our buyers really deeply connect to a work of art, every sale is wonderful!

CGN: What major successes have you had this year? What about challenges?

LR: I really am bolstered by kind words from other curators and artists that appreciate the exhibits here at Cultivate. Our neighbors have said we are a wonderful addition to the community. Cultivate is different in many ways. We are not solely an art gallery. We offer many things that add life and dimension to any space. That is both an advantage and a challenge.

CGN: How do you find new artists to work with?

LR: Several different avenues. Artists sometimes make connections and suggestions. Being a business on Main Street in Evanston with longer hours than a more typical gallery setting, I am exposed to many people. Sometimes those conversations turn out to be with other artists or art lovers. I many times discover wonderful artists that live in the area. I have been approached on a pretty regular basis as well.

CGN: What are your favorite places to see art in Evanston?

LR: Artists studios and looking around me while walking the neighborhood.

CGN: What is your favorite interest outside of the art world?

LR: Music, plants&nbsp;and cats.

CGN: What&rsquo;s coming up next at Cultivate?

LR: In August, we have an exhibition called <a href="http://www.chicagogallerynews.com/calendar/flora-and-fauna-works-by-stephanie-chambers-lucy-engelman">Flora and Fauna: Stephanie Chambers &amp; Lucy Engelman,</a> which includes painting and illustration and in October, Shar Coulson will present mixed media on linen.

Louise Rosenberg is the owner of Cultivate Urban Rainforest &amp; Gallery located in Evanston. For more information visit: <a href="http://www.chicagogallerynews.com/galleries/cultivate-urban-rainforest-gallery">Cultivate Urban Rainforest &amp; Gallery.</a>

CGN interviews local art dealer Louise Rosenberg. 

An Interview with a Dealer: Louise Rosenberg

CGN&#39;s weekly roundup of local, national and international art world news.

<h2>New York Congresswoman Proposes Student Loan Relief for Arts Workers</h2>

<a href="https://hyperallergic.com/387131/new-york-congresswoman-proposes-student-loan-relief-for-arts-workers/"><img alt="" data-caption="Participants at a demonstration against the normalization of more than $3 trillion in student debt, which took place at the Whitney Biennial on Friday, May 5. Photo: Occupy Museums" data-rich-file-id="2158" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2158/original/article0-popup.jpg" /></a>

&quot;Congresswoman Nydia Vel&aacute;zquez has introduced a new bill to help art professionals with their student loans. Under the&nbsp;American Arts Revival Act, announced by the Democratic representative from New York this week,&nbsp;arts workers would qualify for $10,000 of student loan forgiveness.&quot; -Hyperallergic

<a href="https://hyperallergic.com/387131/new-york-congresswoman-proposes-student-loan-relief-for-arts-workers/">Read more...</a>

&nbsp;

<h2>Entire Body of UK Public Sculpture Will&nbsp;Be Digitized by 2020</h2>

<a href="http://theartnewspaper.com/news/entire-body-of-uk-public-sculpture-to-go-online-by-2020/"><img alt="" data-caption="United Trinity (2008) by Philip Jackson outside Old Trafford stadium. Image: © the artist. Photo: Art UK)" data-rich-file-id="2157" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2157/original/34f37777fe12187b38e93ddabe17071f-da8c561f116b28d3bfb89b59e59b030a2000x1334-quality99-o-1bj4ulvd7k3toq72it14c1svva.jpg" /></a>

&quot;Britain will be the first country to create an online catalogue of its entire collection of publicly owned sculpture. Art UK, a charity which recently completed a similar venture for 210,000 oil paintings, is undertaking the operation in partnership with the Public Monuments and Sculpture Association.&quot; -The Art Newspaper

<a href="http://theartnewspaper.com/news/entire-body-of-uk-public-sculpture-to-go-online-by-2020/">Read more...</a>

&nbsp;

<h2>Along Chicago&#39;s Lakefront Trail, An Open-Air Museum</h2>

<a href="http://www.chicagotribune.com/news/local/breaking/ct-lakefront-trail-public-art-met-20170620-story.html#nws=true"><img alt="" data-caption="John Henry’s sculpture Chevron becomes a part of Chicago’s cobalt skyline June 17, 2017, from its resting place near Diversey Harbor on the Lakefront Trail. Photo: Alexandra Wimley / Chicago Tribune" data-rich-file-id="2159" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2159/original/ct-lakefront-art-20170617-20170620.jpg" /></a>

&quot;On a cool, windy June afternoon, a ghostly figure, its knuckles hanging at its sides, strode south toward the Chicago skyline. Large Walking Figure 1&nbsp;by Thomas Houseago&nbsp;is the newest and northernmost piece in a rotating collection of sculptures along the Lakefront Trail. Installed two months ago, it will stand near the bike path about a third of a mile south of the Bryn Mawr Avenue access point for at least a year.&quot; -Chicago Tribune

<a href="http://www.chicagotribune.com/news/local/breaking/ct-lakefront-trail-public-art-met-20170620-story.html#nws=true">Read more...</a>

&nbsp;

<h2>New Jim Dine Mural Installed at Chazen Museum of Art</h2>

<a href="http://host.madison.com/wsj/entertainment/arts-and-theatre/installation-of-jim-dine-work-at-chazen-museum-of-art/article_f2bc9b04-34d3-53ce-a83c-c2f7a7b1c5ad.html"><img alt="" data-caption="Photo: John Hart / State Journal" data-rich-file-id="2160" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2160/original/594980f7e7d41-image.jpg" /></a>

&quot;It took a transatlantic ship, enormous crates, special gantries, and before all that a high-tech laser scan &mdash; but finally Jim Dine&rsquo;s latest artwork is installed at the Chazen Museum of Art.&quot; -Wisconsin State Journal

<a href="http://host.madison.com/wsj/entertainment/arts-and-theatre/installation-of-jim-dine-work-at-chazen-museum-of-art/article_f2bc9b04-34d3-53ce-a83c-c2f7a7b1c5ad.html">Read more...</a>

&nbsp;

<h2>Palais de Tokyo Taps 13 Artists for Satellite Exhibition at Expo Chicago</h2>

<a href="http://www.artnews.com/2017/06/26/palais-de-tokyo-taps-13-artists-for-satellite-exhibition-at-expo-chicago/"><img alt="" data-caption="Tony Karman, president and director of EXPO Chicago, speaks at a press conference on March 7, 2017 at the DuSable Museum's Roundhouse." data-rich-file-id="2161" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2161/original/tonykarman-hlm.jpg" /></a>

&quot;Palais de Tokyo and Expo Chicago announced today the list of 13 artists who will contribute work to an exhibition that will be held during the sixth edition of this year&rsquo;s <a href="http://www.chicagogallerynews.com/art-services/expo-chicago">EXPO CHICAGO</a>, taking place September 13-17.&quot; -ARTnews

<a href="http://www.artnews.com/2017/06/26/palais-de-tokyo-taps-13-artists-for-satellite-exhibition-at-expo-chicago/">Read more...</a>

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


News From Around the Art World: June 26, 2017

Here we are enjoying the start of summer but still there are exciting&nbsp;signs of fall that we can look foward to and even embrace now.&nbsp;

In the art world here, and elsewhere,&nbsp;fall is the&nbsp;biggest cultural season of the year. In Chicago the defining&nbsp;event is undoubtedly the opening of <a href="http://www.chicagogallerynews.com/art-services/expo-chicago">EXPO CHICAGO</a> on Navy Pier and the art events and exhibitions timed to open along with the fair.&nbsp;The first sign of the upcoming fall art season erupted on Wednesday afternoon&nbsp;when an interactive installation by artist Roger Hiorns (Luhring Augustine, New York)&nbsp;debuted on the Pier&nbsp;as the first work that is part of IN/SITU Outside.

IN/SITU Outside is a citywide initiative that provides the opportunity for EXPO CHICAGO exhibitors to present temporary public art installations situated along the lakefront and throughout Chicago neighborhoods. A retrospective view of the pathway&nbsp;will be on view at Polk Bros Park on the Pier from June 21, 2017 through EXPO CHICAGO (September 13-17, 2017).

&ldquo;Siting internationally renowned artwork by artists such as Roger Hiorns speaks to the true collaboration between EXPO CHICAGO and Navy Pier,&rdquo; said EXPO CHICAGO President | Director Tony Karman. &ldquo;Navy Pier has a long history of working with the art exposition and presenting large-scale sculptures, and we are grateful to Michelle Boone and all at Navy Pier for recognizing the importance of presenting this work as a part of our IN/SITU Outside program. We are also grateful to one of our participating galleries, <a href="http://www.luhringaugustine.com/news/roger-hiorns-opens-large-scale-installation-in-chicago2">Luhring Augustine</a>, for working closely with all of us to make this happen.&rdquo;

The press release announcing Hiorns&#39; work on Wednesday explains, &quot;Hiorns&rsquo; interactive art piece is comprised of large-scale stainless-steel tanks, a compressor and foam, presenting the idea of continuous change in a joyous and ebullient manner.

The sculpture will produce giant foam clusters, which will be shaped by the wind and spread across the landscape. In this way, the artist engages with the surroundings, and blurs the lines between where the city begins and the art ends. The public is welcome to engage with the interactive installation, with the foam becoming the connective tissue between the individual and the artwork.&quot;

Hiorns said,&nbsp;&ldquo;I look to put the human back at the center of the artwork. I look towards how the human may now look, how the human will look in the future.&nbsp;I have to respond to my local environment of inner city pollution and a world of deeply contaminated ideas, so I make these acts of purification and cleansing. I want the foam to breathe a language of perfection over the environment, and this machine is the symbolically living body, to cross over to the world of breathing form from the simple and un-formable foam.&rdquo;

In case you thought you wouldn&#39;t make it out to Navy Pier before September, you now have an entirely cultural reason to make a visit much sooner than that, and that is just what the team at Navy Pier, led by former DCASE Commissioner Michelle Boone, is hoping for, following the extensive aesthetic as well as programming renovations that have taken place over the past couple of years.

Visitors to the Pier to see the work will be able to experience the daily foam eruptions at noon and 4pm. The installation is interactive and participatory, and the foam lasts for quite awhile after it erupts.&nbsp;

More information on the 6th Edition of EXPO CHICAGO may be found <a href="http://www.chicagogallerynews.com/news/2017/5/expo-chicago-announces-participating-galleries-for-sixth-edition">here</a>.

Top image:&nbsp;Roger Hiorns,&nbsp;A retrospective view of the pathway, 2008-17, Foam, compressor, and stainless steel tanks, Dimensions variable. Installation view, Atelier Calder, 2008, courtesy&nbsp;Luhring Augustine, New York

Artist Roger Hiorns interactive sculpture was recently installed at Navy Pier in Chicago.

An Interactive Work Erupts on Navy Pier

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;Richard P. Norton of&nbsp;<a href="http://www.chicagogallerynews.com/galleries/richard-norton-gallery">Richard Norton Gallery</a>.

Gallery:&nbsp;Richard Norton Gallery 
Name:&nbsp;Richard P. Norton 
Age:&nbsp;48 
Previous occupation:&nbsp;Distracted undergraduate 
Hometown: Chicago

CGN: How did you become an art dealer?

Richard P. Norton: Born and bred.

CGN: Please describe your gallery&#39;s program in one sentence.

RN: Great 20th century American paintings.

CGN: What is the first thing you do each morning when you get to the gallery?

RN: Hot coffee!

CGN: Thumbs up or down on art fairs?

RN: Big thumbs up!

CGN: Artists you admire but don&#39;t represent?

RN: Aziz&nbsp;Ansari, Leslie Jones, John&nbsp;Mulaney.

CGN: Best sale you ever had?&nbsp;

RN: Happy, appreciative and grateful for all of them!

CGN: Advice would you share with new or young collectors?

RN: Don&#39;t drink at Art Fairs; the &quot;stupid question&quot; is the one not asked and never buy anything online without seeing it first!&nbsp;

CGN: Which artist that you represent or work of art you have recently acquired are you most excited about?

RN: I&rsquo;m very keen on the gallery&#39;s collection of large, Post-War abstractions by the Bauhaus trained artist Eugene Dana, and the 1930s &amp; 1940s Modern Cubist paintings by&nbsp;LeRoy&nbsp;Turner we plan to exhibit this fall at <a href="http://www.chicagogallerynews.com/art-services/expo-chicago">EXPO CHICAGO</a>.&nbsp;The artwork hasn&#39;t been seen by the public eye in over thirty years.

CGN: What major successes have you had this year? What about challenges?

RN: My erg score is holding up pretty well, and I hope our set in the quad is better during the head races this fall.

CGN: How do you view working as an art dealer in Chicago?

RN: Find a good art fair in Grand Cayman during February!

CGN: What is your favorite interest outside the art world?

RN: Democracy in America

CGN: What is your favorite work of public art in Chicago?

RN: Lake Michigan

Top 5 
CGN: What are your favorite art spaces to visit?

RN:

<ol>
	<li>D&#39;amato&#39;s&nbsp;</li>
	<li>Bennison&#39;s</li>
	<li>Sweet Mandy B&#39;s</li>
	<li>Manny&#39;s</li>
	<li>Furama</li>
</ol>

Richard P. Norton is the owner of Richard Norton Gallery located in the Merchandise Mart in Chicago. For more information about his gallery visit: <a href="http://www.chicagogallerynews.com/galleries/richard-norton-gallery">Richard Norton Gallery.</a>

CGN interviews local art dealer Richard P. Norton.

An Interview with a Dealer: Richard P. Norton

CGN&#39;s weekly roundup of local, national and international art world news.

&nbsp;

<h2>University of Chicago to Renovate, Reopen Historic CTA Green Line Station</h2>

<a href="http://news.uchicago.edu/article/2017/06/14/university-chicago-renovate-reopen-historic-cta-green-line-station"><img alt="" data-caption="Renovations are planned for the historic CTA Green Line station as part of plans for a major arts and culture corridor along East Garfield Boulevard. Photo: Graham Garfield" data-rich-file-id="2149" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2149/original/garfield26.jpg" /></a>

&quot;The University of Chicago will renovate the interior of the shuttered, 125-year-old Chicago Transit Authority Green Line stationhouse in Washington Park as part of an ongoing effort to establish a major arts and culture corridor, called the&nbsp;Arts Block, along East Garfield Boulevard.&quot; &nbsp;-UChicagoNews

<a href="https://news.uchicago.edu/article/2017/06/14/university-chicago-renovate-reopen-historic-cta-green-line-station">Read more...&nbsp;</a>

&nbsp;

<h2>$11 Million Newberry Library Renovation to Add Gallery, Bigger Bookstore</h2>

<a href="https://www.dnainfo.com/chicago/20170612/gold-coast/newberry-library-renovation-bookstore-expansion"><img alt="" data-caption="A rendering of the new ground floor lobby at the Newberry Library" data-rich-file-id="2150" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2150/original/lobby.jpg" /></a>

&quot;The Newberry Library will spend $11 million renovating its first floor next year, adding a new gallery and expanding its bookstore as it looks to &#39;foster new connections&#39;&nbsp;with visitors.&quot;&nbsp;- DNAinfo

<a href="https://www.dnainfo.com/chicago/20170612/gold-coast/newberry-library-renovation-bookstore-expansion">Read more...</a>

&nbsp;

<h2>NEA Awards $82 Million in Final Round of Grants for 2017</h2>

<a href="https://www.artforum.com/news/id=68954"><img alt="" data-caption="Arrow Rock Lyceum Theater in Missouri, which received $75,000 from the NEA’s final round of grants in support of its expansion project." data-rich-file-id="2152" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2152/original/article0-popup.jpg" /></a>

&quot;The National Endowment for the Arts, which is&nbsp;currently preparing to shut down operations after President Trump slashed funding for the federal agency in the 2018 budget, has announced that it is awarding $82.06 million in its final grant round for 2017.&quot; -Artforum

<a href="https://www.artforum.com/news/id=68954">Read more...</a>

&nbsp;

<h2>U.S. Moves to Seize DiCaprio&#39;s Picasso, &#39;Stolen&#39; Funds in 1MDB Case</h2>

<a href="https://www.reuters.com/article/malaysia-scandal-usa-idUSL1N1JC11F"><img alt="" data-rich-file-id="2153" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2153/original/dept-of-justice.jpg" /></a>

&quot;U.S. authorities moved on Thursday to seize a Picasso painting given to American movie star Leonardo DiCaprio and the rights to two Hollywood comedies, as they filed complaints to recover about $540 million they say was stolen from the 1Malaysia Development Berhad sovereign wealth fund.&quot; -Reuters

<a href="https://www.reuters.com/article/malaysia-scandal-usa-idUSL1N1JC11F">Read more...</a>

&nbsp;

<h2>What Sold at Art Basel</h2>

<a href="https://www.artsy.net/article/artsy-editorial-sold-art-basel-basel"><img alt="" data-caption="Installation view of Mnuchin Gallery’s booth at Art Basel, 2017. Photo by Benjamin Westoby for Artsy. " data-rich-file-id="2154" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2154/original/d7hftxdivxxvm-cloudfront.jpg" /></a>

&quot;The mood at the 48th edition of Art Basel in Basel was buoyant, perhaps even jubilant. Was it the function of a European economy that has performed stronger than most had expected? Relief that populism may not be sweeping the Continent after all? A stronger influx of Asian buyers? The long days of nonstop sunshine? The contagion of the miniature dance party in the plaza outside of the conference center in which the art fair is held, courtesy of artist&nbsp;Claudia Comte? This depended on who you asked.&quot; -Artsy

<a href="https://www.artsy.net/article/artsy-editorial-sold-art-basel-basel">Read more...</a>

&nbsp;

Read the June 12, 2017 roundup <a href="http://www.chicagogallerynews.com/news/2017/6/news-from-around-the-art-world-june-12-2017">here</a>.

Top image:&nbsp;Aerial view of the Newberry and Washington Square Park. Courtesy of the Newberry

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

News From Around the Art World: June 19, 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 Francois Grossas of <a href="http://www.chicagogallerynews.com/galleries/galerie-waterton">Galerie Waterton</a>.

Gallery: Galerie Waterton &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; 
Name: Francois Grossas 
Previous occupation: World Bank Executive 
Hometown: Originally from Provence, France

CGN: How did you become an art dealer?&nbsp;

Francois Grossas: I had a career as an investment banker, working for Chase and for the World Bank. With the latter, I spent several years in Southeast Asia (Singapore, Hong Kong, and Indonesia) and while working there, I spent my spare time visiting art galleries, meeting and developing personal relationships with local artists and building an art collection. I also participated in the life of galleries, forming friendships with gallery owners and sometimes &ldquo;babysitting&rdquo; their galleries while they were away. Then one day I decided to open my own gallery in Singapore (2009).

CGN: Describe your gallery&rsquo;s program in one sentence.

FG: Galerie Waterton promotes and exhibits emerging and established artists mostly from South-East Asia.

CGN: What&#39;s the first thing you do each morning when you get to the gallery?&nbsp;

FG: After opening up, I tour the gallery and look at every painting on the walls, making sure that everything looks good before visitors arrive.

CGN: Thumbs up or down on art fairs?

FG: I like attending art fairs but would not participate as an exhibitor. I find the cost to be excessive for the potential return.

CGN: Best sale you ever had?

FG: It was in Singapore, when I had an exhibition for an Indonesian woman artist. A collector from Malaysia bought six of her paintings a couple of days before the opening reception.

CGN: What advice would you share with new or young collectors?

FG: Don&rsquo;t be obsessed by names or reputations, go for what you like, follow your instinct and above all, buy an&nbsp;artwork only if it literally fascinates you. Art appreciation is a personal thing, and you have to fall in love with an art piece before buying it. Our challenge is always to introduce new and attractive artwork so that our collectors and buyers keep coming back.

CGN: What major successes have you had this year? What about challenges?

FG: An exhibition for the late Indonesian artist Chandra Johan was well received and some major pieces were purchased. We also had an exhibition for another Indonesian artist, Gatot Widodo, and sold practically all the paintings exhibited.

CGN: How do you view working as an art dealer in Chicago?

FG: Being part of the River North Gallery District is very satisfying. It&rsquo;s a nice community of dealers who exhibit quality art, are friendly to one another and make a coordinated effort to promote the district as an important art destination. I am proud to be part of it.

CGN: What is your favorite interest outside of the art world?

FG: Traveling, mostly by car on the open road, going West to California and visiting the wonders of national parks.

CGN: What is your favorite work of public art in Chicago?

FG: The Cloud Gate by Anish Kapoor

CGN: What&rsquo;s coming up next at your gallery?

FG:&nbsp;We are exhibiting several women artists for the remainder of 2017. Our next show is Mamas, Monks and Marigolds featuring two artists, one from Singapore and the other from Germany (June 23), followed by Chicago-based French artist Laurence Lignel, who will present her latest sculptures and paintings (September 8) and Indonesian artist Diah Yulianti (November 3).

TOP FIVE 
CGN: What five differences do you see between Chicago and Singapore?

FG:

<ol>
	<li>Singapore is a much smaller town, but it has proportionately more expats, who are good buyers and collectors.</li>
	<li>Singapore is a major regional center and attracts elites and wealthy visitors from neighboring countries.</li>
	<li>Singapore&rsquo;s government is very involved in promoting art, galleries and art fairs.</li>
	<li>Chicago has more local artists than Singapore and a much longer artistic tradition.</li>
	<li>Asian buyers tend to look at art more as speculative investment than for its decorative and artistic value.</li>
</ol>

Francois Grossas is the owner of Galerie Waterton located in River North. For more information about his gallery and upcoming exhibitions visit: <a href="http://www.chicagogallerynews.com/galleries/galerie-waterton">Galerie Waterton</a>.

CGN interviews art dealer Francois Grossas of Galerie Waterton.

An Interview with a Dealer: Francois Grossas

CGN&#39;s weekly roundup of local, national and international art world news.

<h2>Naomi Beckwith is Chairing New Curatorial Leadership Summit at 2018 Armory Show</h2>

&quot;The Armory Show named curators for its Focus and Platform sections today and also announced a new curatorial leadership summit for its 2018 fair. Bringing together an international roster of prominent curators, the daylong summit is designed to foster &#39;new ideas and developments within the curatorial landscape.&#39;&nbsp;Naomi Beckwith [see image above],&nbsp;curator at the <a href="http://www.chicagogallerynews.com/institutions/museum-of-contemporary-art-chicago-mca">Museum of Contemporary Art Chicago</a>, is serving as chair of the summit.&quot; - Culture Type

<a href="http://www.culturetype.com/2017/06/07/naomi-beckwith-is-chairing-new-curatorial-leadership-summit-at-2018-armory-show/">Read more...</a>

&nbsp;

<h2>Former Sotheby&rsquo;s Specialist Accused of Fraud May Face Twenty-Five Years in Prison</h2>

<a href="http://www.dailymail.co.uk/news/article-4567912/Mayfair-art-dealer-face-25-years-bars-US.html"><img alt="" data-rich-file-id="2142" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2142/original/40efc5a600000578-0-image-a-21-1496445995033.jpg" /></a>

&quot;A top Mayfair art dealer is set to be extradited to the US where he could face 25 years in jail for allegedly swindling masterpieces worth more than &pound;8 million from wealthy clients.&quot;&nbsp;- DailyMail

<a href="http://www.dailymail.co.uk/news/article-4567912/Mayfair-art-dealer-face-25-years-bars-US.html">Read more...</a>

&nbsp;

<h2>Auction of Rockefeller Art Is to Benefit Charities</h2>

<a href="https://www.nytimes.com/2017/06/07/arts/design/rockefeller-art-christies-auction-charities.html"><img alt="" data-caption="David and Peggy Rockefeller (1973). Photo: Arthur Lavine/Rockefeller Estate" data-rich-file-id="2143" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2143/original/rockefeller-item-blog427.jpg" /></a>

&quot;The personal art collection of Peggy and David Rockefeller will end up at Christie&rsquo;s &mdash; no surprise, given the&nbsp;return&nbsp;to that auction house from Sotheby&rsquo;s of Marc Porter, who has a long working relationship with the Rockefellers.&quot; - The New York Times

<a href="https://www.nytimes.com/2017/06/07/arts/design/rockefeller-art-christies-auction-charities.html?rref=collection%2Fsectioncollection%2Fdesign&amp;action=click&amp;contentCollection=design&amp;region=stream&amp;module=stream_unit&amp;version=latest&amp;contentPlacement=3&amp;pgtype=sectionfront&amp;_r=0">Read more...</a>

&nbsp;

<h2>Units in Former Old Town Artists Colony For Sale&nbsp;</h2>

<a href="http://www.chicagobusiness.com/realestate/20170608/CRED0701/170609886/units-in-former-old-town-artists-colony-for-sale-together?X-IgnoreUserAgent=1"><img alt="" data-caption="Photo: Jeff Bara" data-rich-file-id="2140" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2140/original/ar-170609886.jpg" /></a>

&quot;A collection of five units is coming on the market in a onetime Old Town artists colony known for eccentric rehabs.&quot; - Crain&#39;s Chicago Business

<a href="http://www.chicagobusiness.com/realestate/20170608/CRED0701/170609886/units-in-former-old-town-artists-colony-for-sale-together?X-IgnoreUserAgent=1">Read more...</a>

&nbsp;

<h2>Dakota People Are Debating Whether to Burn &lsquo;Scaffold&rsquo; Fragments</h2>

<img alt="" data-caption="Photo: Jim Mone/Associated Press" data-rich-file-id="2145" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2145/original/06durant-master768.jpg" />

&quot;The four-day public dismantling of Sam Durant&rsquo;s sculpture &ldquo;Scaffold,&rdquo; overseen by Dakota traditional and spiritual leaders, is nearly complete in the Minneapolis Sculpture Garden, after a week of protests, apologies and mediation involving the artist, the Walker Art Center and the Dakota people. But in an interview on Monday, the Walker&rsquo;s executive director, Olga Viso, said the Dakota were debating whether the wood fragments would indeed be burned, as previously announced.&quot; - The New York Times

<a href="https://www.nytimes.com/2017/06/05/arts/design/dakota-people-are-debating-whether-to-burn-scaffold-fragments.html">Read more...</a>

&nbsp;

Read the June 5, 2017 roundup&nbsp;<a href="http://www.chicagogallerynews.com/news/2017/6/news-from-around-the-art-world-june-5-2017">here</a>.

News From Around the Art World: June 12, 2017

Who's Ever Heard of a Pink Octopus? Enjoy Art with Your Family This Summer

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 Bert Green of <a href="http://www.chicagogallerynews.com/galleries/bert-green-fine-art--2">Bert Green Fine Art</a>.

Gallery: Bert Green Fine Art 
Name: Bert Green 
Age: 57 
Previous occupations: graphic designer, nonprofit curator, art supply store manager 
Hometown: New York City

CGN: How did you become an art dealer?&nbsp;

Bert Green: I started organizing independent art shows right after college in the East Village in New York in the early 80s, and did a series of jobs with nonprofit organizations for the subsequent decades in New York and San Francisco. That work led me to decide to open a gallery when I moved to Los Angeles, where rent was affordable, in 1999.

CGN: Describe your gallery&rsquo;s program in one sentence.

BG: Bert Green Fine Art represents and exhibits emerging and mid-career artists and publishes original limited edition prints.

CGN: What&#39;s the first thing you do each morning when you get to the gallery?&nbsp;

BG: Update our website, Artsy page, and social media accounts.

CGN: Thumbs up or down on art fairs?

BG:&nbsp;I hate art fairs but they are a necessary evil in small quantities. I am convinced they are really thinly disguised real estate operations and do not provide any real service to the art world.

CGN: Artists you admire but don&#39;t represent?

BG: Cauleen Smith, Wafaaa Bilal, Christian Rex van Minnen

CGN: Best sale you ever had?

BG: Limited edition letterpress print I published with Ed Ruscha, which sold out in 11 days to collectors all around the world.

CGN: What advice would you share with new or young collectors?

BG: Buy what you love and can afford. By following your nose you can build a collection that can grow into a wonderful asset and provide a significant boost to your quality of life.

CGN: What major successes have you had this year? What about challenges?

BG: Our print publishing program is in its fourth year and the quantity and quality of artists participating is continuing to grow.

CGN: How do you view working as an art dealer in Chicago?

BG: I love living in Chicago and thrive on its vitality. However, having been located in multiple cities over the past decades, I have found that physical location is way less important than it used to be. My gallery deals with collectors all around the country and the world, and few if any ever step through the door. Transitioning the business to the Internet has been the greatest challenge of the last decade, but I think we have managed to be successful doing that.

CGN: What is your favorite interest outside of the art world?

BG: Swimming and travel.

CGN: What is your favorite work of public art in Chicago?

BG: The Cloud Gate (Anish Kapoor). It is across the street from my gallery and never fails to amaze. I think it is one of the most successful pieces of public art in the world, because it manages to be both a crowd pleaser and a profound object of contemplation.

CGN: What&rsquo;s coming up next at your gallery?

BG: In July/August we are showing Robert Horvath, painter and professor of art at Herron College in Indianapolis. The show is in association with <a href="http://www.chicagogallerynews.com/art-services/aron-packer-projects">Aron Packer Projects</a>.

TOP FIVE 
CGN: What five differences do you see between Chicago and Los Angeles?

BG:&nbsp;

<ol>
	<li>Both Chicago and LA have vibrant art scenes, which in many ways are more similar than different. Chicago has a more developed nonprofit support network and Los Angeles has a much larger number of artist communities.</li>
	<li>Chicago is urban and centralized and Los Angeles is multi-centric. The multi-centric model allows for many independent communities, but they often do not interact as fully as the communities in Chicago do.</li>
	<li>Both cities are very diverse, but they have a very different mix of ethnicities, so there is always something unexpected to discover in each city. Los Angeles has massive immigrant communities that act as satellite expat capitals for their respective nationalities. Chicago has smaller and more defined historical ethnicities, but they continue to expand and morph with new arrivals.</li>
	<li>Chicago is politically expedient while Los Angeles is often politically paralyzed.</li>
	<li>Weather (LOL).</li>
</ol>

Bert Green is the owner of Bert Green Fine Art&nbsp;located across from Millennium Park in Chicago. For more information about his gallery and upcoming exhibitions visit: <a href="http://www.chicagogallerynews.com/galleries/bert-green-fine-art--2">Bert Green Fine Art</a>.

CGN interviews Chicago art dealer Bert Green.

An Interview with a Dealer: Bert Green

CGN&#39;s weekly roundup of local, national and international art world news.

<h2>Louise Bernard Named Museum Director for&nbsp;Future Obama Presidential Center</h2>

<a href="http://www.chicagotribune.com/news/obamalibrary/ct-obama-center-museum-director-met-0531-20170531-story.html"><img alt="" data-rich-file-id="2124" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2124/original/article0.jpg" /></a>

&quot;A luminary among the nation&#39;s museums devoted to African-American history was named the museum director at the future&nbsp;Obama&nbsp;Presidential Center, the foundation planning the center announced Wednesday.&quot; - Chicago Tribune

<a href="http://www.chicagotribune.com/news/obamalibrary/ct-obama-center-museum-director-met-0531-20170531-story.html">Read more...</a>

&nbsp;

<h2>Why We Stay: Notable Chicagoans Talk About Why They Call City Home</h2>

<a href="http://www.chicagotribune.com/news/local/breaking/ct-why-we-stay-met-20170531-story.html"><img alt="" data-rich-file-id="2126" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2126/original/ct-why-we-stay-raya-20170601.jpg" /></a>

&quot;At a time when Chicago&#39;s population is falling and its image has been tarnished by shootings and other violence, we asked prominent Chicago residents why they have remained in Chicago when their work or bank accounts would allow them to live anywhere.&quot; - Chicago Tribune

<a href="http://www.chicagotribune.com/news/local/breaking/ct-why-we-stay-met-20170531-story.html">Read more...</a>

&nbsp;

<h2>Douglas Dawson Gallery Closing in July After 35 Years</h2>

<a href="http://www.chicagogallerynews.com/news/2017/5/douglas-dawson-gallery-closing-in-july"><img alt="" data-rich-file-id="2127" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2127/original/douglas-dawson-copy.jpg" /></a>

&quot;The following letter from Douglas Dawson Gallery announces that the gallery will close in July after 35 years of sharing tribal art and ethnographic material with the public. Dawson and Wallace Bowling will continue to operate as private dealers.&quot; - Chicago Gallery News

<a href="http://www.chicagogallerynews.com/news/2017/5/douglas-dawson-gallery-closing-in-july">Read more...</a>

&nbsp;

<h2>Japan&#39;s New Billionaire Trophy Hunter</h2>

<a href="https://www.wsj.com/articles/japans-new-billionaire-trophy-huntermaezawa-1495838486?mod=itp&amp;mod=djemITP_h"><img alt="" data-rich-file-id="2129" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2129/original/bn-tq098-maezaw-m-20170526162657.jpg" /></a>

&quot;The art world was stunned earlier this month when a Japanese billionaire paid&nbsp;Sotheby&rsquo;s $110.5 million for a Jean-Michel Basquiat painting of a black skull. The purchase reset the record for a U.S. artist at auction and infused the beleaguered art market with a shot of adrenaline. Now, the Basquiat&rsquo;s newcomer buyer&mdash;41-year-old e-commerce mogul Yusaku Maezawa&mdash;is getting a closer look by the art establishment.&quot; - The Wall Street Journal

<a href="https://www.wsj.com/articles/japans-new-billionaire-trophy-huntermaezawa-1495838486?mod=itp&amp;mod=djemITP_h">Read more...</a>

&nbsp;

<h2>EXPO CHICAGO Announces Participating Galleries for Sixth Edition</h2>

<a href="http://www.chicagogallerynews.com/news/2017/5/expo-chicago-announces-participating-galleries-for-sixth-edition"><img alt="" data-rich-file-id="2128" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2128/original/tom-burr-other-people-s-pants-2010-.jpg" /></a>

&quot;EXPO CHICAGO has released its list of exhibiting galleries for its sixth annual edition, September 13-17, 2017 at Navy Pier&#39;s Festival Hall.&quot; - Chicago Gallery News

<a href="http://www.chicagogallerynews.com/news/2017/5/expo-chicago-announces-participating-galleries-for-sixth-edition">Read more...</a>

Read the May 22, 2017 roundup <a href="http://www.chicagogallerynews.com/news/2017/5/news-from-around-the-art-world-may-22-2017">here</a>.

News From Around the Art World: June 5, 2017

BY ALISON REILLY

CGN is thrilled to partner with Chicago-based artist Brian T. Leahy to present Prop(House), an exhibition of new sculpture and drawing. We invite you to join us for an <a href="http://www.chicagogallerynews.com/calendar/brian-t-leahy-prop-house">opening reception</a> on Friday, June 2 from 5-8pm at our space in River North.

In advance of the opening, we had the opportunity to interview Brian about his background as an artist and art historian and his particular interest in domestic spaces, interior construction materials and the history of Minimalism.

Brian received a master&#39;s degree from the School of the Art Institute of Chicago in 2015 and is currently pursuing a PhD in Art History at Northwestern University. <a href="http://www.chicagogallerynews.com/calendar/brian-t-leahy-prop-house">Prop(House)</a> is on view through July 21 at Chicago Gallery News.

Chicago Gallery News: You&rsquo;re an artist, an organizer and an art historian.&nbsp; How does your research experience influence your art practice?

Brian T. Leahy: This is an ongoing and active question for me. My background as an artist is rooted in studio painting and a commitment to abstraction; however, my research interests have tended towards conceptual and performative practices, such as the work of Tehching Hsieh. The easy answer&mdash;which is also truthful&mdash;is that my research, reading, and writing practices are always somehow informing how I am thinking in the studio, and vice versa, even if those connections are not always explicit.

However, over the last few years, I&rsquo;ve been trying to work through how these practices might more specifically coincide. These recent investigations of wallpaper, a bit of which I&rsquo;ll be showing at Chicago Gallery News, are one attempt in that direction. They arose out of simultaneous considerations of wallpaper as a pictorial strategy&mdash;which has a long history in modern painting, including the seductively patterned backgrounds in Matisse, Bonnard, and Vuillard, and an active life in contemporary painting, which you can see in work by a number of Chicago-based artists who are exploring ideas around pattern, textile, and abstraction now&mdash;and thinking about the cultural, aspirational, racialized, and political dimensions of wallpaper as a social material.

CGN: Tell me about your background. How did you end up in Chicago?

BL: I grew up in a small suburb just north of Milwaukee. I was able to escape the northern cold for the southeast, and spent a number of years in North Carolina. I went to school there, where I first wanted to study biology, and then realized I didn&rsquo;t want to spend sixty to eighty hours a week inside in the lab. I decided to study art and Buddhism, instead, and that&rsquo;s where I first learned what painting might do. After school I lived in the western part of the state in the Appalachian mountains&mdash;first I helped get a Buddhist community center started, and then worked with a small construction company as a carpenter&rsquo;s assistant, all while trying to keep making paintings. At some point, I wanted to be involved in the conversations around art that only seemed possible in a larger city, and ended up at the School of the Art Institute of Chicago. I&rsquo;ve just begun studying for a PhD at Northwestern University, so I&rsquo;ll be in Chicago at least a few more years&mdash;and now I spend all my time in the library, instead of the lab.

<img alt="" data-caption="Brian T. Leahy, &lt;i&gt;Untitled&lt;/i&gt;, 2017, gouache on panel, 7&quot; x 5&quot;" data-rich-file-id="2121" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2121/original/leahy3.jpg" />

CGN: Can you describe your experience as a carpenter and homebuilder in North Carolina?

BL: I was working with a construction firm that built large, well-made, super-insulated, expensive homes. I did it for a few reasons, other than just needing a job&mdash;at that time, I was thinking about trying to work in architecture. But I was also interested in knowing how a house goes together, how a pile of industrially produced materials gets re-configured into a place in which life happens.

CGN: How does that influence your art practice?

BL: It influences how I think about sculpture, certainly&mdash;often, when a house was framed but not yet sheathed in plywood, I wanted nothing more than to paint the whole thing monochrome and call it a sculpture. There are many sculptural moments that happen when building a house, from the way materials are stacked, to provisional two-by-four braces put up when the walls are raised, to the strange perspectives you get when installing hardware underneath the eaves of a three-story rise. It changed how I thought about form, but also how I thought about what materials might be meaningful, what kinds of things I could bring into the work I make, and how I thought about some of the relationships between labor and material.

<img alt="" data-caption="Brian T. Leahy, &lt;i&gt;Untitled&lt;/i&gt;, 2017, graphite on paper, 15&quot; x 15&quot;" data-rich-file-id="2122" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2122/original/leahy4.jpg" />

CGN: Your work Prop(House) appropriates Richard Serra&rsquo;s 1969 sculpture One Ton Prop (House of Cards). What prompted your interest in Serra&rsquo;s work and in Minimalism?

BL: Richard Serra&rsquo;s work is complicated for me. He has an epic status in histories of sculpture, and the October editorial board has championed his work for some time. On the one hand, I do love his work. The lead throwing pieces were important to me when I first saw them, and the Verb List is an incredibly beautiful moment in which language, drawing, and sculptural concerns all coincide. Balance as a component of sculptural practice is something that I am deeply interested in, and something that I first learned from Serra.

However, his work certainly has a darker side: multiple incidents in which preparators were injured during installation of his large plate works, and the installation of Sculpture No. 3 actually killed one technician, Raymond Johnson, in 1971. (Not incidentally, wallpaper also has a deadly history, something Lucinda Hawksley writes about in Bitten by Witch Fever: Wallpaper and Arsenic in the Nineteenth-Century Home.) Serra&rsquo;s work also seems to refuse to consider the social dimensions of its context&mdash;while he has often insisted on site-specificity, best exemplified in the legal case around Tilted Arc, he seems invested in the spatial and formal repercussions of site, rather than the socio-political implications. At the same time, I think Minimalism offered a kind of serious consideration of material that is still important now&mdash;and so, I&rsquo;m interested in working through the ways in which materials interact with the socio-political.

CGN: Serra&rsquo;s sculpture uses lead antimony plates, but you&rsquo;ve decided to use sheets of drywall and wallpaper. What is the significance of the material?

BL: The idea for Prop(House) actually began for dimensional reasons. I noticed that each of the lead antimony plates for One Ton Prop (House of Cards) are 48&rdquo; square&mdash;this is precisely one half of a standard sheet of drywall that you can buy at any building supply store. So, there was a kind of potential material efficiency in the replication of Serra&rsquo;s work with drywall&mdash;and, as anyone who has ever installed drywall before will know, it is always a question of material and temporal efficiency, minimizing waste and maximizing speed.

I was also interested in how drywall as a mass-produced, standardized material might update the rhetoric of industrial materials and standard sizes that Minimalist artists were engaged with, while simultaneously deforming their insistence on a kind of over-determined masculinity that materials like lead antimony seem to signal. I wanted to domesticate Serra, somehow&mdash;something that I feel like has already happened, in a certain sense, in the way that the imaginary of the cheap, rough, downtown New York loft scene of the 1960s and 1970s&mdash;which is crucial to early images of One Ton Prop&mdash;has been commercialized by real estate practices of the &ldquo;soft [newly constructed] loft.&rdquo; Indeed, this is the situation in River North, to a large extent, and one for which artists, galleries, and artworks have been a driving factor.

<img alt="" data-caption="Brian T. Leahy, &lt;i&gt;Toasters&lt;/i&gt;, 2017, gouache on drywall, 24&quot; x 24&quot;" data-rich-file-id="2120" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2120/original/leahy2.jpg" />

CGN: You&rsquo;ve described your interest in binaries, particularly the domestic versus the industrial. How do those relationships relate to Prop(House)?

BL: I suppose it&rsquo;s important to clarify my own interest: I am not interested in constructing binaries, per se, but rather in the processes by which binaries tend to structure so much of our cultural and psychological perspectives. A friend once told me that she thought good art is that which can hold multiple, seemingly contradictory things together. That&rsquo;s what I would hope my work as a whole, and specific works like Prop(House), might do: to hold the poles of a binary together in a single object or event. In that sense, I&rsquo;m interested in the way Prop(House) might be both industrial and domestic, unthreatening and disturbing, all in the same moment. To collapse seemingly disparate poles into a single object, I think, can make us a little more conscious of how those binaries get constructed in the first place. To me, houses themselves already do this&mdash;the contradictions are already present&mdash;but making a sculptural version of a &ldquo;house&rdquo; is a way of intensifying some of those contradictions, making them more distilled.

CGN: In November 2016 Mayor Emanuel announced that a record 33 tower cranes were installed in the city. However, the Chicago metropolitan area as a whole lost 19,570 residents in 2016, which was the greatest loss in any metropolitan area in the United States. Do you see a connection between your work and the current Chicago landscape?

BL: That&rsquo;s an incredible fact. I think the work can relate to similar changes happening across a number of urban centers in the United States&mdash;I&rsquo;m not sure how much of Chicago can be specifically read into the work. But, this fact&mdash;that high-rise construction is increasing even as population dwindles&mdash;certainly gives us some clues about the relationship between high-end construction, cost-of-living, and the political and economic priorities of a city. For me, the question is: what kind of material reconfigurations are occurring, and who are those arrangements affecting and how? And, what kind of questions can artistic labor introduce into those dynamics?

<img alt="" data-caption="Brian T. Leahy, &lt;i&gt;Allen Wrench&lt;/i&gt;, 2017, acrylic on canvas, 30&quot; x 30&quot;" data-rich-file-id="2119" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2119/original/leahy1.jpg" />

CGN: Do you often collaborate with other artists?

BL: I try to collaborate with artists as much as I can. It can be a way of having a more intensive kind of conversation with someone, one that allows each of you to figure out more clearly what the stakes&mdash;and blind spots&mdash;of your own practices might be. As just one example, I worked on an exhibition last summer called Our Lovely Secret Wreck at Hume Chicago, a non-profit gallery in south Logan Square that is run by an amazing group of artists and organizers. That show involved my own work, but also the work of J. Michael Ford, an artist here in Chicago, and Margaux Crump, who is based in Houston. I also worked with a large group of writers to develop something in between a catalog for the show, a collection of experimental writing, and an artist&rsquo;s book, which was in turn designed by Kitemath, an incredible design collective here in Chicago. The Chicago Design Museum has actually just acquired that book for their collection, in large part due to Kitemath&rsquo;s efforts. That whole show was a huge collaborative effort.

CGN: What&rsquo;s on the horizon for you? Do you have shows or projects planned for the summer and fall?

BL: The next major project is a solo show in Charlotte, at the New Gallery of Modern Art, opening July 13th. That show is called Easy Colors, and will involve an installation, paintings, and some works on paper, all thinking through the relationship between wallpaper and painting. In some ways, it&rsquo;s a companion to the work here at Chicago Gallery News. After that, I&rsquo;m not sure&mdash;I&rsquo;d like to find somewhere to show the new material that is more about aspirational, DIY diagrams from the 1970s and 1980s, these drawings and paintings on drywall that I&rsquo;ve mentioned. I&rsquo;ll be travelling some for research related to art historical projects, and I always like to draw when travelling. There are some projects that I&rsquo;ve been thinking about for a while that I&rsquo;d like to move forward on, including a large artist&rsquo;s book, and another painting series. Hopefully, there will also be time for some new collaborative projects.

For more information about Brian T. Leahy visit:&nbsp;<a href="https://www.briantleahy.com/">briantleahy.com</a>. Prop(House) is on view at <a href="http://www.chicagogallerynews.com/galleries/chicago-gallery-news">Chicago Gallery News</a> through July 21. Please email or call to schedule a time to visit the exhibition.&nbsp;

Top image: Brian T. Leahy, Prop(House), 2017. Installation view at Chicago Gallery News, June 2-July 21, 2017.

An interview with artist Brian T. Leahy about his exhibition of new work at Chicago Gallery News

The Art of Domesticity: An Interview with Brian T. Leahy

The following letter from Douglas Dawson Gallery announces that the gallery will close in July after 35 years of sharing tribal art and ethnographic material with the public. Dawson and Wallace Bowling will continue to operate as private dealers.&nbsp;

To read CGN&#39;s interview with Dawson and Wallace Bowling on their 30th anniversary in 2012, <a href="http://www.chicagogallerynews.com/news/2012/9/douglas-dawson-gallery-30-years-of-tribal-art">click here</a>.&nbsp;

&nbsp;

May 30, 2017

This year the Douglas Dawson Gallery completes thirty five years of business in Chicago. Hundreds of exhibitions, dozens of art fairs, and thousands of magical, provocative and beautiful objects later we have decided to close the gallery. At the end of this coming July, 2017, we will close the doors of our gallery space&nbsp;and assume a new persona as private dealers. From time to time we will mount exhibitions and publish catalogs - just not in our own gallery. We will not disappear - just change the scope and presentation of our operations.

&nbsp;Over the next three months we will be mounting small, thematic exhibitions of existing inventory in our Michigan Avenue location. These sales will provide an excellent opportunity to acquire high quality and important ethnographic material at exceptionally low prices.&nbsp; 
&nbsp; 
In July Chicago-based Wright Auctioneers will feature a selective sale of approximately one hundred curated objects acquired by this Gallery over the years. We are very excited about this collaboration with Wright, whose presentation and professionalism set a standard in their field. 
&nbsp; 
The importance of tribal art cannot be overstated. Its complex history with modern Western art is intriguing and complex. Each informs the other. For anyone interested in how the human mind is compelled to make experience tangible then one must consider tribal art. Look at it, wonder about it, live with it, be inspired by it and let it broaden your world. 
&nbsp; 
Profound gratitude to everyone who has supported this gallery through patronage and visitation over the past thirty-five years. 
Please continue to follow us on-line for updates on our plans and activities. 
 
Douglas, Wallace, Nancy, Armando and Roman 
 
&nbsp;

&nbsp;

<a href="http://www.chicagogallerynews.com/galleries/douglas-dawson-gallery">douglas dawson</a> 
224 South Michigan Avenue 
Suite 266&nbsp; 
Chicago, IL 60604 
&nbsp;312.226.7975

Douglas Dawson Gallery Closing Chicago space after 35 years

Douglas Dawson Gallery Closing in July

<a href="http://www.chicagogallerynews.com/art-services/expo-chicago">EXPO CHICAGO</a> has released its list of exhibiting galleries for its sixth annual edition, September 13-17, 2017 at Navy Pier&#39;s Festival Hall.&nbsp;

From the official press release:

<blockquote>
EXPO CHICAGO, The International Exposition of Contemporary &amp; Modern Art, today announced the premier list of exhibitors for its sixth annual edition,&nbsp;September 13&ndash;17, 2017&nbsp;at Navy Pier&rsquo;s Festival Hall. Marking its most global edition to date, EXPO CHICAGO welcomes 135 leading galleries representing 25 countries and 58 cities from around the world. Countries represented at the 2017 exposition include: United States, Austria, Belgium, Brazil, Canada, China, England, France, Germany, Greece, Iceland, Italy, Japan, Korea, Lebanon, Luxembourg, Mexico, Norway, Portugal, Singapore, South Africa, Spain, Switzerland, The Netherlands, and Uruguay. 
 
The 2017 exhibitor list was chosen by an international Selection Committee comprised of leading gallerists, including Stefania Bortolami |&nbsp;Bortolami, New York; John Corbett |&nbsp;Corbett vs. Dempsey, Chicago; Christopher D&rsquo;Amelio |&nbsp;David Zwirner, New York, London; Rhona Hoffman |&nbsp;Rhona Hoffman Gallery, Chicago; David Nolan |&nbsp;David Nolan Gallery, New York; Jessica Silverman |&nbsp;Jessica Silverman Gallery, San Francisco; and Susanne Vielmetter |&nbsp;Susanne Vielmetter Los Angeles Projects, Los Angeles. 
 
Of the many new additions to the 2017 exposition, highlights include:&nbsp;Gagosian&nbsp;| New York, Los Angeles, San Francisco, London, Paris, Rome, Athens, Geneva, Hong Kong;&nbsp;Tina Kim Gallery&nbsp;| New York;&nbsp;STANDARD (OSLO)&nbsp;| Oslo;&nbsp;Anton Kern Gallery&nbsp;| New York;&nbsp;Ceysson &amp; B&eacute;n&eacute;ti&egrave;re&nbsp;| Saint-&Eacute;tienne, Paris, Luxembourg, New York;&nbsp;Praz-Delavallade&nbsp;| Paris, Los Angeles;&nbsp;galerie frank elbaz&nbsp;| Paris, Dallas;&nbsp;Galerie Laurent Godin&nbsp;| Paris;&nbsp;Galerija Gregor Podnar&nbsp;| Berlin;&nbsp;MARIANE IBRAHIM&nbsp;| Seattle; and&nbsp;Galeria Filomena Soares&nbsp;| Lisbon.

In addition to the notable Selection Committee galleries, leading exhibitors returning to EXPO CHICAGO include:&nbsp;Carpenters Workshop Gallery&nbsp;| London, Paris, New York;&nbsp;Galerie Gmurzynska, Z&uuml;rich, St. Moritz, Zug;&nbsp;Alexander Gray Associates&nbsp;| New York;&nbsp;Garth Greenan Gallery&nbsp;| New York;&nbsp;GRIMM&nbsp;| Amsterdam;&nbsp;Paul Kasmin Gallery&nbsp;| New York;&nbsp;K&Ouml;NIG GALERIE&nbsp;| Berlin;&nbsp;Luhring Augustine&nbsp;| New York;&nbsp;MACCARONE&nbsp;| New York, Los Angeles;&nbsp;Matthew Marks Gallery&nbsp;| New York, Los Angeles;&nbsp;ONE AND J. Gallery&nbsp;| Seoul;&nbsp;Peres Projects&nbsp;| Berlin;&nbsp;Perrotin&nbsp;| New York, Paris, Hong Kong, Seoul, Tokyo;&nbsp;R &amp; Company&nbsp;| New York; and&nbsp;Salon 94&nbsp;| New York.
</blockquote>

2017 PARTICIPATING GALLERIES&nbsp; 
AKINCI, Amsterdam 
Ameringer | McEnery | Yohe, New York 
Anglim Gilbert Gallery, San Francisco 
BERG Contemporary, Reykjav&iacute;k 
Peter Blake Gallery, Laguna Beach 
Bortolami, New York 
Carpenters Workshop Gallery, London, Paris, New York 
CarrerasMugica, Bilbao 
casati gallery, Chicago 
David Castillo Gallery, Miami Beach 
Edward Cella Art &amp; Architecture, Los Angeles 
Cernuda Arte, Coral Gables 
James Cohan, New York 
CONNERSMITH., Washington, DC 
Corbett vs. Dempsey, Chicago 
Galerie de Bellefeuille, Montreal 
Luis De Jesus Los Angeles, Los Angeles 
Catherine Edelman Gallery, Chicago 
galerie frank elbaz, Paris, Dallas 
Flowers Gallery, London, New York 
Forum Gallery, New York 
Honor Fraser, Los Angeles 
Gagosian, New York, Los Angeles, San Francisco, London, Paris, Rome, Athens, Geneva, Hong Kong 
Hilario Galguera Gallery, Mexico City 
Galerie Gmurzynska, Z&uuml;rich, St. Moritz, Zug 
Galerie Laurent Godin, Paris 
Graphicstudio, Tampa 
Alexander Gray Associates, New York 
Richard Gray Gallery, Chicago, New York 
Garth Greenan Gallery, New York 
GRIMM, Amsterdam 
Kavi Gupta, Chicago 
Hackett Mill, San Francisco 
HDM Gallery, Beijing, Hangzhou 
Richard Heller Gallery, Los Angeles 
Nancy Hoffman Gallery, New York 
Rhona Hoffman Gallery, Chicago 
The Hole, New York 
Edwynn Houk Gallery, New York, Z&uuml;rich 
MARIANE IBRAHIM, Seattle 
Jenkins Johnson Gallery, San Francisco, New York 
Paul Kasmin Gallery, New York 
Anton Kern Gallery, New York 
Tina Kim Gallery, New York 
K&Ouml;NIG GALERIE, Berlin 
Alan Koppel Gallery, Chicago 
Galerie Lelong, New York, Paris 
Library Street Collective, Detroit 
Jane Lombard Gallery, New York 
Diana Lowenstein Gallery, Miami 
Luhring Augustine, New York 
Maccarone, New York, Los Angeles 
Maison Gerard, New York 
Matthew Marks Gallery,&nbsp;New York, Los Angeles 
Maruani Mercier, Brussels, Knokke 
Mario Mauroner Contemporary Art, Vienna, Salzburg 
McCormick Gallery, Chicago 
moniquemeloche, Chicago 
THE MISSION, Chicago 
Gallery MOMO, Johannesburg, Cape Town 
Anne Mosseri-Marlio Galerie, Basel 
David Nolan Gallery, New York 
Gallery Wendi Norris, San Francisco 
Richard Norton Gallery, Chicago 
Claire Oliver Gallery, New York 
ONE AND J. Gallery, Seoul 
Karla Osorio Gallery, Bras&iacute;lia, S&atilde;o Paulo 
parrasch heijnen gallery, Los Angeles 
Peres Projects, Berlin 
Perrotin, New York, Paris, Hong Kong, Seoul, Tokyo 
Galerija Gregor Podnar, Berlin 
Praz-Delavallade, Paris, Los Angeles 
PROYECTOSMONCLOVA, Mexico City 
R &amp; Company, New York 
ANDREW RAFACZ, Chicago 
RONCHINI, London 
rosenfeld porcini, London 
Salon 94, New York 
Eduardo Secci Contemporary, Florence 
Carrie Secrist Gallery, Chicago 
William Shearburn Gallery, St. Louis 
Jessica Silverman Gallery, San Francisco 
SIM Galeria, Curitiba 
Sims Reed Gallery, London 
Galeria Filomena Soares, Lisbon 
Sous Les Etoiles Gallery, New York 
STANDARD (OSLO), Oslo 
Louis Stern Fine Arts, West Hollywood 
Allan Stone Projects, New York 
MARC STRAUS, New York 
Hollis Taggart Galleries, New York 
Sundaram Tagore Gallery, New York, Singapore, Hong Kong 
Tandem Press, Madison 
Galerie Tanit, Beirut, Munich 
Galerie Daniel Templon, Paris, Brussels 
Paul Thiebaud Gallery, San Francisco 
Traywick Contemporary, Berkeley 
Vallarino Fine Art, New York 
Susanne Vielmetter Los Angeles Projects, Los Angeles 
Von Lintel Gallery, Los Angeles 
Weinstein Gallery, Minneapolis 
Zolla/Lieberman Gallery, Chicago 
Pavel Zoubok Gallery, New York 
David Zwirner, New York, London

EXPOSURE 
The&nbsp;EXPOSURE&nbsp;section, installed on the main floor of the exposition, features solo and two-artist presentations represented by galleries eight years and younger, allowing the opportunity for younger galleries to participate in a major international exposition. For the first time, EXPOSURE will be curated, and will be selected by Director of Exhibitions and Senior Curator at Dallas Contemporary&nbsp;Justine Ludwig. 
 
The list of 2017 EXPOSURE galleries includes:&nbsp; 
313 Art Project, Seoul |&nbsp;Gigisue 
AA|LA, Los Angeles |&nbsp;Alex Ito 
Piero Atchugarry, Pueblo Garz&oacute;n |&nbsp;Yuken Teruya 
Cardoza Fine Art, Houston |&nbsp;Paul Kremer 
DITTRICH &amp; SCHLECHTRIEM, Berlin |&nbsp;Ivan Comas, Dorian Gaudin 
Downs &amp; Ross, New York |&nbsp;Vikky Alexander 
Anat Ebgi, Los Angeles |&nbsp;Alec Egan, Jordan Nassar 
Edel Assanti, London |&nbsp;Dale Lewis 
Fridman Gallery, New York |&nbsp;Reuven Israel, Navine G. Khan-Dossos 
jos&eacute;garc&iacute;a ,mx, Mexico City, Merida |&nbsp;Tania P&eacute;rez C&oacute;rdova, Jos&eacute; Le&oacute;n Cerrillo 
Geary Contemporary, New York |&nbsp;Vadis Turner 
Grice Bench, Los Angeles |&nbsp;Luis Flores, Kevin Reinhardt 
Gerhard Hofland, Amsterdam |&nbsp;Koen Delaere, Johan Tahon 
Charlie James Gallery, Los Angeles |&nbsp;Ramiro Gomez 
Kimmerich, Berlin |&nbsp;Ivan Morley, Alice Tippit 
KLOWDEN MANN, Los Angeles |&nbsp;Rodrigo Valenzuela 
Harlan Levey Projects, Brussels |&nbsp;TR Ericsson, Emmanuel Van der Auwera 
David Lewis, New York |&nbsp;Barbara Bloom, Sean Paul 
MARSO, Mexico City |&nbsp;Lucas Sim&otilde;es 
Meliksetian | Briggs, Los Angeles |&nbsp;Steven Hull 
Shulamit Nazarian, Los Angeles |&nbsp;Genevieve Gaignard 
Night Gallery, Los Angeles |&nbsp;Mira Dancy, Isabel Yellin 
NOME Gallery, Berlin |&nbsp;Navine G. Khan-Dossos 
Officine dell&#39;lmmagine, Milan |&nbsp;Bronwyn Katz, Marcia Kure 
OFG.XXX&nbsp;|&nbsp;Arthur Pe&ntilde;a 
PATRON, Chicago |&nbsp;Lucas Sim&otilde;es 
David Petersen Gallery, Minneapolis |&nbsp;Lukas Geronimas, Lizzy Marshall 
ROCKELMANN&amp;, Berlin |&nbsp;Zachary Fabri, Kathleen Vance 
Romer Young Gallery, San Francisco |&nbsp;Elise Ferguson, Ryan Wallace

EXPO PROFILE 
New to the exposition,&nbsp;EXPO PROFILE&nbsp;presents solo booths and focused projects by established international galleries. Showcasing ambitious installations and tightly focused thematic exhibitions, this invitational section features major projects by a single artist or collective. 
&nbsp; 
The list of 2017 PROFILE galleries includes: 
Ceysson &amp; B&eacute;n&eacute;ti&egrave;re, Saint-&Eacute;tienne, Paris, Luxembourg, New York |&nbsp;Alexander Nolan 
GRIMM, Amsterdam |&nbsp;Charles Avery&nbsp; 
Maruani Mercier,&nbsp;Brussels, Knokke |&nbsp;Ron Gorchov 
R &amp; Company, New York |&nbsp;SuperDesign (Gianni Pettena, Lapo Binazzi, Studio 65, and Guido 
Drocco &amp; Franco Mello) 
Solo Galerie, Paris |&nbsp;Pezo von Ellrichshausen

EXPO EDITIONS +&nbsp;BOOKS 
The EXPO Editions + Books&nbsp;section offers a robust showcase of artist books, editions, prints and more. From limited edition collectibles to commissioned prints, the participating exhibitors will offer a diverse array of media that spans photography, collage, drawing, printmaking and art monographs. 
 
The list of 2017 Editions + Books exhibitors includes:&nbsp; 
Art+Culture Projects, New York 
Boreas Fine Art, Chicago 
DOCUMENT, Chicago 
Field Editions, Liverpool 
Richard Gray Gallery, Chicago, New York 
Island Press, St. Louis 
Other Criteria, New York, London, Ilfracombe 
REN&Eacute; SCHMITT, WOL 
Spudnik Press Cooperative, Chicago 
Tate, London 
Whitechapel Gallery, London

More info on EXPO CHICAGO may be found <a href="http://www.chicagogallerynews.com/art-services/expo-chicago">here</a>.&nbsp;

Top image:&nbsp;Tom Burr, Other People&#39;s Pants, 2010.

EXPO CHICAGO announces 2017 participating galleries

EXPO CHICAGO Announces Participating Galleries for Sixth Edition

CGN is excited to announce that starting Saturday, June 3, 2017&nbsp;the meeting place for the River North Saturday morning gallery tours&nbsp;will&nbsp;be Fabcakes at 714&nbsp;N. Wells St. We are thrilled to partner with Fabcakes, an independently owned cafe in River North. 
&nbsp; 
Every Saturday morning at 11am a&nbsp;gallery representative meets participants inside Fabcakes at a designated table. Participants can enjoy a cup of coffee and complimentary samples from the bakery. The representative then takes the group on a guided tour of four River North galleries. The gallery roster and tour leader change weekly, and conversation centers on the exhibitions and artists on view. 
&nbsp; 
Tours run rain or shine every weekend of the year, except on major holiday weekends. No reservations are required. For groups larger than 10 people, please contact CGN at&nbsp;<a href="mailto:info@chicagogallerynews.com">info@chicagogallerynews.com</a> or 312-649-0064.

Participating Galleries as of June 3, 2017 include: 
<a href="http://www.chicagogallerynews.com/galleries/addington-gallery">Addington Gallery</a> 
<a href="http://www.chicagogallerynews.com/galleries/gallery-victor-armendariz">Gallery Victor Armendariz</a> 
<a href="http://www.chicagogallerynews.com/galleries/andrew-bae-gallery">Andrew Bae Gallery</a> 
<a href="http://www.chicagogallerynews.com/galleries/catherine-edelman-gallery">Catherine Edelman Gallery</a> 
<a href="http://www.chicagogallerynews.com/galleries/galerie-waterton">Galerie Waterton</a> 
<a href="http://www.chicagogallerynews.com/galleries/hilton-asmus-contemporary">Hilton | Asmus Contemporary</a> 
<a href="http://www.chicagogallerynews.com/galleries/ken-saunders-gallery">Ken Saunders Gallery</a> 
<a href="http://www.chicagogallerynews.com/galleries/printworks-gallery">Printworks Gallery</a> 
<a href="http://www.chicagogallerynews.com/galleries/the-rangefinder-gallery-at-tamarkin-camera">Rangefinder Gallery at Tamarkin Camera</a> 
<a href="http://www.chicagogallerynews.com/galleries/schneider-jdc">Schneider | jdc</a> 
<a href="http://www.chicagogallerynews.com/galleries/stephen-daiter-gallery">Stephen Daiter Gallery</a> 
<a href="http://www.chicagogallerynews.com/galleries/vale-craft-gallery">Vale Craft Gallery</a> 
<a href="http://www.chicagogallerynews.com/galleries/weinberg-newton-gallery">Weinberg/Newton Gallery</a> 
<a href="http://www.chicagogallerynews.com/galleries/zg-gallery">Zg Gallery</a> 
 
For more information and complete schedule visit: <a href="http://www.chicagogallerynews.com/art-services/free-cgn-saturday-gallery-tours">Free CGN Gallery Tours</a>

<img alt="" data-rich-file-id="2109" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2109/original/fabcakes.jpg" />

Starting Saturday, June 3, 2017 Fabcakes will be the meeting spot for the Saturday morning gallery tours in River North.

CGN River North Gallery Tour Announces New Meeting Location

An exhibition of recent sculptures and paintings by Rashid Johnson opens June 23, 2017&nbsp;at the <a href="http://www.chicagogallerynews.com/institutions/milwaukee-art-museum-mam--2">Milwaukee Art Museum</a>. Hail We Now Sing Joy includes a number of large-scale work including Antoine&rsquo;s Organ, Anxious Audience, Falling Man and Escaping Collage. Johnson, who is now based in New York, studied at Columbia College Chicago and the School of the Art Institute of Chicago in the early 2000s. He was offered his first solo exhibition at Schneider Gallery in River North after presenting his photography portfolio for a group show, and he had his first major solo museum exhibition at the Museum of Contemporary Art Chicago in 2012.&nbsp;

<img alt="" data-rich-file-id="2025" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2025/original/-mg-0931-johnr78463-2-.jpg" />

Johnson is now known for his use of glass panes, white ceramic tiles, shea butter, black soap, and wax to create compelling and immersive installations. Antoine&rsquo;s Organ, for instance, the centerpiece of the exhibition, which was shown at Hauser &amp; Wirth in New York in 2016, features a 10 foot tall grid of black scaffolding filled with lush houseplants in handmade pots. Embedded within the leafy greens are analog screens playing his early video work alongside neon tubes and shea butter figurines. Johnson noted, &ldquo;As a kid I remember thinking that if you could actually live in a place with palm trees, if you could get away from the city and the cold, that meant you&rsquo;d definitely made it.&rdquo;

<img alt="" data-rich-file-id="2026" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2026/original/-mg-1034-johnr78716-2-.jpg" />

Rashid Johnson: Hail We Now All Sing Joy is on view June 23-September 17, 2017.

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An exhibition of recent sculptures and paintings by Rashid Johnson opens June 23 at the Milwaukee Art Museum.

Among The Palm Trees: Rashid Johnson at the Milwaukee Art Museum

CGN&#39;s weekly round up of local, national and international art world news.

<h2>Elmhurst Art Museum Executive Director Steps Down and Joins Sotheby&rsquo;s Institute of Art</h2>

<h2><a href="http://www.artforum.com/news/id=68522"><img alt="" data-rich-file-id="2112" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2112/original/article0-popup-20-2-.jpg" /></a></h2>

&quot;Jenny Gibbs will be stepping down from her post as head of the Elmhurst Art Museum in Illinois at the end of this summer to become director of the Sotheby&rsquo;s Institute of Art&rsquo;s graduate program in New York.&quot; - Artforum

<a href="https://www.artforum.com/news/id=68522">Read more...</a>

&nbsp;

<h2>A Basquiat Sells for &lsquo;Mind-Blowing&rsquo; $110.5 Million at Auction</h2>

<h2><a href="https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html"><img alt="" data-rich-file-id="2110" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2110/original/article0-popup.jpg" /></a></h2>

&quot;Joining the rarefied $100 million-plus club in a salesroom punctuated by periodic gasps from the crowd,&nbsp;Jean-Michel Basquiat&rsquo;s powerful 1982 painting of a skull brought $110.5 million at Sotheby&rsquo;s, to become the sixth most expensive work ever sold at auction. Only 10 other works have broken the $100 million mark.&quot;&nbsp;- The New York Times

<a href="https://www.nytimes.com/2017/05/18/arts/jean-michel-basquiat-painting-is-sold-for-110-million-at-auction.html">Read more...</a>

&nbsp;

<h2>Knight Foundation Awards $1.87 Million for Digital Museum Projects</h2>

<h2><a href="https://www.artforum.com/news/id=68480"><img alt="" data-rich-file-id="2111" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2111/original/article0-popup-20-1-.jpg" /></a></h2>

&quot;The John S. and James L. Knight Foundation announced today that it will grant $1.87 million in funding to help twelve art museums [including the <a href="http://www.chicagogallerynews.com/institutions/museum-of-contemporary-art-chicago-mca">Museum of Contemporary Art Chicago</a>]&nbsp;use technology to immerse visitors in art.&quot; - Artforum

<a href="https://www.artforum.com/news/id=68480">Read more...</a>

&nbsp;

<h2>National Endowment for the Humanities Chairman Announces Resignation</h2>

<h2><a href="http://thehill.com/blogs/blog-briefing-room/334581-humanities-endowment-chair-announces-near-immediate-resignation"><img alt="" data-rich-file-id="2113" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2113/original/article0-popup-20-3-.jpg" /></a></h2>

&quot;The chairman of the National Endowment for the Humanities (NEH) is resigning effective Tuesday &mdash; the same day the Trump administration will roll out a federal budget blueprint expected to make big cuts to domestic programs.&quot; - The Hill

<a href="http://thehill.com/blogs/blog-briefing-room/334581-humanities-endowment-chair-announces-near-immediate-resignation">Read more...</a>

&nbsp;

<h2>New York Culture Czar&rsquo;s Plan: Boroughs Without Borders</h2>

<a href="https://www.wsj.com/articles/new-york-culture-czars-plan-boroughs-without-borders-1495116952"><img alt="" data-rich-file-id="2114" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2114/original/finkelpearl.jpg" /></a>

&quot;Tom Finkelpearl, New York City cultural affairs commissioner who oversees $330 million in funding, has a plan for supporting underfunded communities.&quot; - The Wall Street Journal

<a href="https://www.wsj.com/articles/new-york-culture-czars-plan-boroughs-without-borders-1495116952">Read more...</a>

Read last week&#39;s roundup <a href="http://www.chicagogallerynews.com/news/2017/5/news-from-around-the-art-world-may-15-2017">here</a>.

CGN's weekly roundup of stories from the art world.

News From Around the Art World: May 22, 2017

For the next few days the seventh floor of the Merchandise Mart will packed wall to wall with&nbsp;a wealth of fine antiques and art from many of the world&#39;s top dealers. Chicago has a global reputation for showcasing what&#39;s new and contemporary - in art, food, architecture and design, but this weekend&nbsp;antiques are once again new, in many ways. After a few years without a major antiques&nbsp;show to count on its cultural calendar,&nbsp;Chicago once again has an international fair in town. Thursday evening&nbsp;the&nbsp;Chicago Antiques + Art + Design Show&nbsp;opens with a preview party for collectors and enthusiasts, and Friday the show welcomes the&nbsp;public for the weekend. Thursday&#39;s preview benefits the restoration and conservation efforts of&nbsp;the Illinois Executive Mansion Association, with Honorary Chair Governor James R. Thompson.

Running through Sunday&nbsp;the show highlights fine antiques and artworks reflecting a variety of design periods from 100&nbsp;national and international exhibitors. The show is the only one of its kind in the city all year. Last year it was announced that the Chicago Botanic Garden cancelled its annual April fair. Antiques + Modernism Winnetka still takes place on the north shore in November.&nbsp;

Some highlight&#39;s from this year&#39;s show are shown below.&nbsp;

<a href="http://www.chicagogallerynews.com/calendar/chicago-antiques-art-design-show">The Chicago Antiques + Art + Design Show</a> runs May 19-21, 2017

<img alt="" data-caption="A work from Chicago's Richard Norton Gallery" data-rich-file-id="2106" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2106/original/img-1634.jpg" />

<img alt="" data-caption="Loana Purrazzo of San Francisco, CA" data-rich-file-id="2108" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2108/original/img-1630.jpg" />

<img alt="" data-caption="A Bird in Hand, Florham Park, NJ" data-rich-file-id="2107" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2107/original/img-1632.jpg" />

<img alt="" data-caption="Only Authentics, New York and Palm Beach" data-rich-file-id="2104" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2104/original/img-1629.jpg" />

<img alt="" data-caption="Jeff Bridgman, York County, PA" data-rich-file-id="2103" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2103/original/img-1628.jpg" />

<img alt="" data-caption="Solomon Suchard, Shaker Heights, OH" data-rich-file-id="2105" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2105/original/img-1625.jpg" />

Key image at top: Earle Vandekar of Knightsbridge, Maryknoll, NY

&nbsp;

The Chicago Antiques and Art and Design fair at the Merchandise Mart in Chicago May 2017

A New Show of the Old Arrives in Chicago: Chicago Antiques + Art + Design at the Mart

In recognition of Chicago&rsquo;s &ldquo;Year of Public Art,&rdquo;&nbsp;Chicago Gallery News&nbsp;is featuring a series of articles chronicling milestones of public art in Chicago. The third in the series recounts the battles between traditionalists and modernists in the world of public art.

By FRANCK MERCURIO

On&nbsp;summer days, the Art Institute of Chicago&rsquo;s South Garden provides a cool refuge from the heat and noise of Michigan Avenue. Formal in composition, yet modern in conception, the garden is a masterwork of mid-twentieth century landscape architecture. Its designer, Dan Kiley (1912&ndash;2004), planted a simple grid of hawthorns and honey locusts surrounding a large rectangular reflecting pool, activated by rows of water jets. Presiding over this urban oasis are five bronze muses from a bygone era, each representing one of the Great Lakes: Superior, Michigan, Huron, Erie, and Ontario.

<img alt="" data-caption="Lorado Taft, &lt;i&gt;Fountain of the Great Lakes&lt;/i&gt; (1913) as it appears today as the focal point of Dan Kiley’s South Garden at the Art Institute of Chicago. Photo: Franck Mercurio" data-rich-file-id="2097" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2097/original/img-20170507-143811830.jpg" />

Modeled in various stages of dress (and undress), each idealized female figure holds a giant clamshell with water flowing from one shell to the next, mimicking the hydrology of the Great Lakes. This exemplar of American Beaux-Arts sculpture&mdash;titled Fountain of the Great Lakes&mdash;is the work of Lorado Taft (1860&ndash;1936), the Illinois-born sculptor, instructor, writer and lecturer.

Educated at L&rsquo;Ecole des Beaux-Arts in Paris in the 1880s, Taft first gained national attention at the 1893 World&rsquo;s Columbian Exposition. There, he put his academic training to good use, creating two monumental groups of figures for the fair&rsquo;s Horticulture Building. Later, in 1903, Taft made a name for himself by writing the first comprehensive history of American sculpture. Around this same time, he conceived the idea for&nbsp;Fountain of the Great Lakes, reportedly inspired by a suggestion from Daniel Burnham (1846&ndash;1912), the Chicago architect, urban planner and promoter of &ldquo;no little plans.&rdquo;

<img alt="" data-caption="Lorado Taft, &lt;i&gt;Fountain of the Great Lakes&lt;/i&gt;, 1913. Photographed in its original location in front of the south façade of the Art Institute of Chicago’s Allerton Building. Photo: Charles Cushman, 1941. Courtesy Charles Cushman Collection: Indiana University Archives." data-rich-file-id="2099" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2099/original/p02198.jpg" />

Burnham included a rendering of Taft&rsquo;s fountain in his influential 1909&nbsp;Plan of Chicago. A product of the City Beautiful movement, Burnham&rsquo;s plan presented a holistic vision of Chicago, unifying urban design, architecture and public sculpture. Within this context, outdoor sculpture was viewed as an important civic amenity.

But Taft&rsquo;s and Burnham&rsquo;s idea to promote Beaux-Arts ideals through public sculpture did not gain much public traction. Times were changing in 1913. Even before Fountain of the Great Lakes&nbsp;was unveiled that September, it was already out of date. The academic conventions of Beaux-Arts classicism&mdash;and artists like Taft who championed it&mdash;were being challenged by a younger generation of modern artists. The 1913 Armory Show (which opened at the Art Institute six months before Taft&rsquo;s fountain was unveiled) turned the American art scene upside-down. A celebration of European and American Modernism, the exhibition rocked New York before arriving&nbsp;in Chicago, where it was largely greeted with derision.

<img alt="" data-caption="Lorado Taft and group at luncheon at Midway Studios before a plaster cast of the &lt;i&gt;Fountain of the Great Lakes&lt;/i&gt;, circa 1915–16. Courtesy of the University of Illinois Archives, ID: 5338, RS: 26/20/16" data-rich-file-id="2096" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2096/original/0005338.jpg" />

Taft&rsquo;s scorn for some of the Armory Show sculptors&mdash;in particular Matisse, Brancusi, Archipenko, and Gaudier-Brzeska&mdash;was&nbsp;recorded and published in his 1917 book&nbsp;Modern Tendencies in Sculpture. He described their works in colorful language that ranged from &ldquo;foolish caricatures&rdquo; to &ldquo;startling abortions.&rdquo; Taft was no less kind to critics and members of the public who supported and embraced this art of a new age.

But despite Taft&rsquo;s protests, the genie was out of the bottle. In 1916, inspired by the Armory Show, a group of Chicagoans founded the Arts Club of Chicago, expressly as a vehicle for showcasing modern art. Here, many European and American modernists received their first major exhibitions in the United States, including Brancusi and Picasso and a few lesser-known artists, such as Lorado Taft&rsquo;s one-time student John Storrs.

<img alt="" data-caption="Chicago Board of Trade Building, Chicago Illinois, 1928-1930. Holabird &amp; Root. Historic Architecture and Landscape Image Collection, Ryerson and Burnham Archives, The Art Institute of Chicago. Digital File #31598." data-rich-file-id="2102" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2102/original/l031598b.jpg" />

The son of a Chicago real estate magnate, Storrs (1885&ndash;1956) spent much of his twenties bouncing between the United States and Europe, studying sculpture in Chicago, Boston, Philadelphia, Hamburg and Paris. In 1913, he began studying under Auguste Rodin, and soon fell in with the modernists of the Paris art scene, making social and professional connections with the likes of Jacques Lipchitz, May Ray and Marcel Duchamp. Storrs began experimenting with abstraction, venturing from figurative works into non-objective compositions and working largely in a Cubist style.

Storrs exhibited at the Arts Club of Chicago on three separate occasions in the 1920s, and his works were well received by critics. In his 1927 show, Storrs displayed many of his &ldquo;studies in form&rdquo; and &ldquo;architectural forms&rdquo;&mdash;abstract constructions of stone and metal reminiscent of Art Deco skyscrapers. It is very likely that he met the architect John Wellborn Root, Jr. (1887&ndash;1963) of Holabird and Root at this exhibition. (Root&rsquo;s aunt, Harriet Monroe&mdash;the founder and publisher of Poetry magazine&mdash;was an active member of the Arts Club and hosted a reception at the exhibition.) Within a few months, Holabird and Root gave Storrs his first major public commission: a project to create a monumental figure to adorn the new Chicago Board of Trade Building.

The result was&nbsp;Ceres&nbsp;(1930) a 31-foot-tall aluminum statue representing the Roman goddess of grain. Storrs designed the sculpture as an extension of the architecture; the figure&rsquo;s streamlined form and long vertical lines echo the lines of the building. Capping the structure&rsquo;s pyramidal roof,&nbsp;Ceres&nbsp;serves as a kind of exclamation point at the apex of the building.

<img alt="" data-caption=" Chicago Board of Trade Building, &lt;i&gt;Ceres&lt;/i&gt; statue, Chicago Illinois, 1928-1930. Holabird &amp; Root. Historic Architecture and Landscape Image Collection, Ryerson and Burnham Archives, The Art Institute of Chicago. Digital File #80225." data-rich-file-id="2101" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2101/original/l080225b.jpg" />

The influence of Modernism is apparent in the design of&nbsp;Ceres. Storrs simplified the figure, reducing its forms to essential&nbsp;elements, much in the manner of Brancusi. Yet, despite the sculpture&rsquo;s abstracted formal qualities and industrial materials, its allegorical subject grounds the figure in earlier traditions.&nbsp;Ceres&nbsp;holds sheaths of wheat in one hand and a trader&rsquo;s sample bag in the other, symbolizing the&nbsp;commodities sold within the building. She&nbsp;is&nbsp;the city&rsquo;s Machine Age goddess of wealth.

Ceres&nbsp;is Chicago&rsquo;s first work of public art designed in a modern idiom, and she influenced later artists in a number of ways. Fast forward to 1991 when an artist of a later generation, Roger Brown (1941&ndash;1997), looked to&nbsp;Ceres&nbsp;and classical mythology as inspiration for two murals located a few blocks north of the Board of Trade Building. The controversial Chicago architect Helmut Jahn commissioned Brown to create the two murals for a new office building at 120 N. LaSalle Street.

Brown was associated with the Chicago Imagists, a group of artists set in opposition to art movements in New York, especially Abstract Expressionism. The Imagists&nbsp;found value in figuration, which they interpreted in surreal, cartoonish and quirky ways, often using humor and satire to inject social commentary into their work.

The interior mural, titled&nbsp;Arts and Sciences of the Modern World: LaSalle Corridor with Holding Pattern&nbsp;(1991) depicts a stylized version of the Chicago Board of Trade Building topped by an outline of&nbsp;Ceres. On either side, skyscrapers rise up along LaSalle Street, while two passenger jets fly high above the scene. A light shines down on the Board of Trade&mdash;through Brown&rsquo;s signature arcs of clouds&mdash;projecting a kind of sacred glow onto the building and on&nbsp;Ceres&nbsp;herself.

<img alt="" data-caption="Roger Brown (1941-1997). &lt;i&gt;Arts and Sciences of the Modern World: LaSalle Corridor with Holding Pattern&lt;/i&gt;, 1991, Italian glass mosaic, 9' x 6'. Interior mural in lobby of 120 N. LaSalle Street, Chicago. Photo: William Bengtson. Courtesy of the Roger Brown Study Collection Archive, the School of the Art Institute of Chicago." data-rich-file-id="2100" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2100/original/3-120-n-lasalle-inside.jpg" />

The massive exterior mural (22 feet tall by 57 feet long) above the entrance to 120 N. LaSalle is well known by many Chicagoans. It depicts two male, winged figures flying above a body of water. Titled&nbsp;Arts and Sciences of the Ancient World: The Flight of Daedalus and Icarus&nbsp;(1991) [Pictured, top of page], the mural takes its inspiration from classical mythology, specifically the story of Daedalus, the architect and inventor, and his son Icarus. The scene depicts them fleeing imprisonment using fabricated wings.

The exact meaning of the mural has been much debated. On one level, it can be read as a cautionary tale about &ldquo;flying too close to the sun&rdquo;; a warning to business leaders on LaSalle (and politicians in City Hall across the street) to reign in unbridled greed and ambition.

But a more subtle reading interprets the two figures as a portrait of Brown and his partner, the architect George Veronda. Curiously, both Daedalus and Icarus are represented in an identical manner&mdash;in fact, they look like brothers instead of father and son. In many of his works, Brown used a coded visual language&mdash;easily read by those in the know&mdash;but perhaps invisible to those outside the world of gay male culture. In this reading, the work represents a radical&mdash;even subversive&mdash;take on public art.

Each generation of artists brings its own mix of radicalism and traditionalism to public art. In a sense, Brown was following the precedents of earlier artists&mdash;such as Storrs&mdash;who developed new forms and concepts for the public to consider within the somewhat conservative, institutional framework that often finances public art commissions. What will the next generation of artists present to the city of Chicago? &nbsp; &nbsp;

Top image:&nbsp;Roger Brown (1941-1997).&nbsp;Arts and Sciences of the Ancient World: The Flight of Daedalus and Icarus,&nbsp;1991, Italian glass mosaic and stone, 22&rsquo; x 57&rsquo;. Mural over the entry of 120 N. LaSalle Street, Chicago. Photo: William Bengtson. Courtesy of the Roger Brown Study Collection Archive, the School of the Art Institute of Chicago.

Read more from Franck Mercurio&#39;s Public Art series:

<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>

<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>

&nbsp;

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Franck Mercurio recounts the battles between traditionalists and modernists in the world of Chicago public art.

No Little Plans: The Battle for Public Art in Chicago

CGN&#39;s weekly roundup of local, national and international art world news.

&nbsp;

<h2>Stanley Tigerman, Margaret McCurry Closing Chicago Office</h2>

&quot;Two eminent Chicago architects, married to one another and partners in their own firm, are in the process of shutting down their Chicago office.&quot;&nbsp;- Crains Chicago Business

<a href="http://www.chicagobusiness.com/article/20170511/NEWS07/170519955">Read more...</a>

<a href="http://www.chicagobusiness.com/article/20170511/NEWS07/170519955"><img alt="" data-rich-file-id="2085" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2085/original/ar-170519955.jpg" /></a>

&nbsp;

<h2>Frank Lloyd Wright-Inspired Bar To Open in Chicago</h2>

<img alt="" data-rich-file-id="2086" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2086/original/smackshack.jpg" />

&quot;Prairie School, a partnership with Heisler Hospitality, is slated for a summer opening in the booming Fulton Market&quot; - Eater Chicago

<a href="https://chicago.eater.com/2017/5/10/15596634/prairie-house-chicago-bar-pdt-nyc-meehan-heisler-hospitality-frank-lloyd-wright-fulton-market">Read more...</a>

&nbsp;

<h2>Floating Museum Will Bring Exhibitions to the Chicago River This Summer</h2>

<img alt="" data-rich-file-id="2087" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2087/original/floating.jpg" />

&quot;This summer, a mobile museum will travel to communities throughout the city via a floating barge, traversing the Chicago River.&quot;&nbsp;- TimeOut Chicago

<a href="https://www.timeout.com/chicago/blog/a-floating-museum-will-bring-exhibitions-to-the-chicago-river-this-summer-050817">Read more...</a>

&nbsp;

<h2>White House Curator to Retire After Working With First Families For Decades</h2>

<img alt="" data-rich-file-id="2088" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2088/original/imrs.jpg" />

&quot;White House Curator William Allman is retiring June 1 after a 40-year career,&nbsp;the White House announced Tuesday.&quot; -&nbsp;The Washington Post

<a href="https://www.washingtonpost.com/news/reliable-source/wp/2017/05/09/white-house-curator-to-retire-after-working-with-first-families-for-decades/?utm_term=.6043c552bcd1">Read more...</a>

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&nbsp;

<h2>Venice Notebook: Samplers From a Biennale Banquet</h2>

<img alt="" data-rich-file-id="2091" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2091/original/15venicenotebook-1-master768.jpg" />

&quot;The Venice Biennale, still the world&rsquo;s most distinguished exhibition of international contemporary art, opened to the public on Saturday, after a prosecco-drenched professional preview that has grown larger and less professional than ever.&quot;&nbsp;- The New York Times

<a href="https://www.nytimes.com/2017/05/14/arts/design/venice-notebook-a-feast-at-the-biennale-and-beyond.html">Read more...</a>

&nbsp;

<h2>Tower at Obama Center (Don&#39;t Call It a Library) Needs Tweaking</h2>

<img alt="" data-rich-file-id="2092" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2092/original/obamacenter-1.jpg" />

&quot;If nothing else, last week&#39;s unveiling of a design for the&nbsp;Obama&nbsp;Presidential Center in Chicago&#39;s Jackson Park reveals that the American&nbsp;presidential library&nbsp;has entered a new phase, one in which its traditional role as a trove of physical documents &mdash; actual pieces of paper and artifacts handled by actual presidents &mdash; is dead, a victim of the digital age.&quot; - Blair Kamin of the&nbsp;Chicago Tribune&nbsp;

<a href="http://www.chicagotribune.com/news/columnists/ct-obama-library-design-kamin-met-0507-20170505-column.html">Read more...</a>

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CGN's weekly roundup of stories from the art world/

News From Around the Art World: May 15, 2017

This summer the <a href="http://www.chicagogallerynews.com/institutions/art-institute-of-chicago">Art Institute of Chicago</a> presents a major exhibition of work by the French Post-Impressionist artist Paul Gauguin, highlighting his career not only as an accomplished painter but also as a sculptor, ceramicist, printmaker and decorator. Gauguin: Artist as Alchemist, organized by the Art Institute, Mus&eacute;e D&rsquo;Orsay and R&eacute;union des mus&eacute;es nationaux&ndash;Grand Palais (Rmn-GP) features more than 240 multimedia works, including the largest public presentation of the artist&rsquo;s ceramic work to date.

<img alt="" data-caption="Paul Gauguin. &lt;i&gt;Merahi metua no Tehamana (Tehamana Has Many Parents or The Ancestors of Tehamana),&lt;/i&gt; 1893. The Art Institute of Chicago, gift of Mr. and Mrs. Charles Deering McCormick." data-rich-file-id="2027" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2027/original/g59325-press.jpg" />

Gauguin, best known for his paintings of Tahitian women, was an itinerant; he was born in Paris, but he moved to Peru at a young age only to flee the country with his family after political tides shifted. Throughout his life he lived in Copenhagen, Brittany, Martinique, and the French Polynesian islands, including Tahiti and Hiva-Oa. His paintings, which feature bold colors, stark contrasts and exaggerated proportions, will be presented alongside experiments in clay, stained glass and wood. A selection of ethnographic objects will also be on display. In partnering with the Mus&eacute;e D&rsquo;Orsay and the Rmn-GP, the Art Institute builds on their strong collection of Gauguin, which includes over 200 works on paper.

<img alt="" data-caption="Paul Gauguin. &lt;i&gt;The Singer,&lt;/i&gt; 1880. Ny Carlsberg Glyptotek, Copenhagen, MIN 3230." data-rich-file-id="2028" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2028/original/gauguin2.jpg" />

Gaugin: Artist as Alchemist opens June 25 and will be on display through September 10, 2017. For more information visit <a href="http://artic.edu">artic.edu</a>.

Top image: Paul Gauguin,&nbsp;Mahana no atua (Day of the God), 1894. Helen Birch Bartlett Memorial Collection.

"Gauguin: Artist as Alchemist" at the Art Institute of Chicago features more than 240 multimedia works, including the largest public presentation of the artist’s ceramic work to date.

Artist as Alchemist: Major Exhibition Examines Scope of Gauguin's Practice

The first week in May is packed with exhibition openings across the city including&nbsp;River North,&nbsp;West Town and nearby&nbsp;Evanston. Below you will find a few highlights, but be sure to check out the full schedule <a href="http://www.chicagogallerynews.com/calendar?tag=opening-receptions">here</a>.&nbsp;

&nbsp;

<h2>BLOCK MUSEUM OF ART</h2>

<a href="http://www.chicagogallerynews.com/calendar/everything-is-fine-department-of-art-theory-and-practice-mfa-thesis-exhibition"><img alt="" data-rich-file-id="2063" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2063/original/block.jpg" /></a>

The Block Museum of Art presents the annual MFA Thesis Exhibition for the Department of Art Theory and Practice. The show&nbsp;opens&nbsp;Thursday, May 4. <a href="http://www.chicagogallerynews.com/calendar/everything-is-fine-department-of-art-theory-and-practice-mfa-thesis-exhibition">More info</a>

&nbsp;

<h2>FILTER PHOTO</h2>

<a href="http://www.chicagogallerynews.com/calendar/marta-zgierska-post"><img alt="" data-rich-file-id="2070" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2070/original/zgierskam09-1-.jpg" /></a>

Post, a&nbsp;solo exhibition of photography by Marta Zgierska, opens Friday, May 5 at Filter Photo. Through her work, Zgierska responds to a serious car accident that occured in 2013.&nbsp;&nbsp;<a href="http://www.chicagogallerynews.com/calendar/marta-zgierska-post">More info</a>

&nbsp;

<h2>SCHNEIDER | JDC</h2>

<a href="http://www.chicagogallerynews.com/calendar/kilimanjaro-the-last-glacier"><img alt="" data-rich-file-id="2060" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2060/original/james.jpg" /></a>

Kilimanjaro: The Last Glacier,&nbsp;featuring the work of Ian van Coller, opens Friday, May 5 at Schneidger | jdc. Van Coller has accompanied climate change scientists on many of their expeditions to study tropical glaciers.&nbsp;<a href="http://www.chicagogallerynews.com/calendar/kilimanjaro-the-last-glacier">More info</a>

&nbsp;

<h2>GALERIE WATERTON</h2>

<a href="http://www.chicagogallerynews.com/calendar/ashley-yeo-and-xiaofei-yue-recent-drawings-on-paper"><img alt="" data-rich-file-id="2068" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2068/original/a-lot-of-things-are-beyond-me-.jpg" /></a>

An exhibition of work by Ashley Yeo (Singapore) and Xiaofei Yuy (China)&nbsp;opens May 5 at Galerie Waterton. <a href="http://www.chicagogallerynews.com/calendar/ashley-yeo-and-xiaofei-yue-recent-drawings-on-paper">More info</a>

&nbsp;

<h2>VERTICAL GALLERY</h2>

<img alt="" data-caption="www.chicagogallerynews.com/calendar/word-to-mother-forgot-how-to-fly" data-rich-file-id="2069" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2069/original/7730611c-66fb-4cb4-bb4d-b1bc71f5a8b5.jpg" />

Forgot How to Fly&nbsp;featuring the work&nbsp;of London-based artist&nbsp;Word to Mother opens Saturday, May 6 at Vertical Gallery. <a href="http://www.chicagogallerynews.com/calendar/word-to-mother-forgot-how-to-fly">More info</a>

For a full list of opening receptions visit: <a href="http://www.chicagogallerynews.com/calendar?tag=opening-receptions">chicagogallerynews.com/calendar</a>

Top image: Ashley Yeo of Galerie Waterton

CGN shares exhibition highlights for the first week in May.