West Town, Wicker Park, Ukrainian Village, Kinzie Corridor, Humboldt Park

West Town

Wisconsin

IL • MI • IN

West Loop, Fulton Market, East Garfield Park

West Loop and West Side

Evanston, The North Shore, Northern, Western and Southern Suburbs

Suburbs

Old Town, Lincoln Park, Lakeview, Roscoe Village, Bucktown, Wicker Park, Logan Square, Lincoln Square, Ravenswood, Uptown, Edgewater, Andersonville, Rogers Park

North Side

Michigan Avenue, Streeterville, The Gold Coast, The Loop, and South Loop

Michigan Avenue

Pilsen, Bridgeport, Chinatown, plus Hyde Park, Jackson Park/Dorchester, and Bronzeville

South Side

Superior and Franklin streets, West Chicago Ave, and down to Merchandise Mart and the River

River North

Freeman’s presents Essential Jewelry, a live online auction taking place October 28 at 10 a.m. Central. Visit the auction page for catalogue and bidding information.<a href="https://freemansauction.com/auction/6552-essential-jewelry" rel="noopener noreferrer" target="_blank">DETAILS</a> Sale number: 6552

Essential Jewelry

Friday evening, September 11, 5 to 8 PM. Misha Goro - Images of the City. River North Fall Gallery Walk, 5-8pm. On view through October 28, 2026.

Misha Goro - Images of the City

October 29, 2026Start time: 10:00 AM CDT Freeman’s presents Watches, a live auction in Chicago on October 29 at 10 a.m. Central. Visit the auction page for catalogue and bidding information. <a href="https://freemansauction.com/auction/6574-watches" rel="noopener noreferrer" target="_blank">DETAILS</a> Sale number: 6574

Watches

The event is an online auction titled "20|21 Art: The Chicago Edition". The live auction is scheduled for October 29, 2026, at 11 AM CT. The auction features various artworks, including pieces by artists such as Paul Mogensen, Jannis Varelas, Sanford Biggers, Acaye Kerunen, Alfred Jensen, and Heidi Hahn. Interested parties can view lots online and contact specialists for a free evaluation of works in their collection. The auction is organized by Rago/Wright LLC, located at 1440 West Hubbard Street, Chicago, IL 60642. For inquiries, contact info@wright20.com or call 312 563 0020, Monday to Friday, 9 AM to 5 PM CDT.

20|21 Art: The Chicago Edition

Join Aviva Lehmann, Deputy Chair of Fine Art at Heritage Auctions, for a guided tour of highlights from the remarkable American Art Signature Auction to take place on November 13. From Ernie Barnes to Norman Rockwell, enjoy these impressive, large-scale American classics and masterworks and the stories behind them before the gavel strikes. Kindly RSVP Here <a href="https://forms.monday.com/forms/6bb069dd7c31f5d0566301f636a238ec?r=use1" rel="noopener noreferrer" target="_blank">HA.com/8258a</a>

American Art Auction Preview 

Ben Tinsley “Thick as Thieves” is an event scheduled to take place from September 10 to October 30.

Ben Tinsley: Thick as Thieves

The palindrome works as a whole only from a separate vantage point, the same forwards and backwards, but we are always in the center of it, processing the strangeness of a life that has arrived. Is the still center created by infinite movement what being present actually feels like? The word reads the same forwards and backwards, mirroring itself perfectly. Rotator performs rotation just by being read — form and meaning reflect each other. Arguably the most philosophically complete palindrome: ROTATOR enacts its meaning. Being inside a future once imagined is stranger than the wanting of it. Seeing from within a once-future now is unmooring — calmer in some places, wilder in others. Can we see the texture of the actual? Not the dream of a life, but the life of a dream? A new place becomes familiar as time is lost inside of it. This is the unexpected weight of a world created with intention. Rotator is the lightness of beauty that arrives without being conceived of. The synchronicity of a plan not fully fleshed out that becomes a reality which cannot be removed from the picture. The act of rotation only functions as it moves. For an object like a gyroscope, a bicycle wheel, a spinning top, rotation is their function. Stillness changes their purpose. As a metaphor, this inverts the usual assumption that a successful life means rest. Rotation is to be present inside a life you only once imagined. Human presence isn’t stillness or clarity, it is both the balance within rotation and the disorientation of attempting to take stock of it. Always in equilibrium inside something, never outside it looking in. <a href="https://www.eventbrite.com/e/solo-group-shows-opening-reception-tickets-2002347008805" rel="noopener noreferrer" target="_blank">Details on Eventbrite</a>

Stacey Lee Gee: ROTATOR: OSCILLATIONS

This work gathers at the midpoint between the fall equinox and the winter solstice, where the year tips into its dark half. It is a threshold season, and the body knows it before the mind does. The pull toward slowness and the disappearing of the light. The instruction to fold inward as the ground begins its own long rest. To pause here is not idleness. It is a refusal. The world we inhabit demands constant motion and vigilance, and to stop is to say no to that. In this season, the choice to slow becomes an act of care. It is also defiance. As the warmth thins and light withdraws, the self turns to interior work. This is the kind of knowledge only the dark makes possible. The western hemisphere, and the body alongside it, prepares for rest, the implied question is what should be carried forward and what should be laid down? The withdrawal of light is not where the membrane between worlds grows thin. The shadows draw near, and we make room for them. We honor the ones who created our bodies with their own erotic power. We honor the dead and respect their navigation of the same rhythm of humanity we are now pursuing. We keep vigil to remember the accumulated knowing our own bodies fight to retain. Photography mimics this register of motion and rest, of the porous body and the thinning veil. It respects the cyclical. The natural rhythm of withdrawal and return. It harkens, as Lorde wrote, to the body's deepest rhythms. To slow, to descend, to honor the dead, to let the body rest. They are one act to tend the fire of our fearless selves. This call is for photography that engages with liminality and seasonal transition; images exploring rest, descent, ancestry, grief/vigil, or the body's relationship to seasonal rhythm. Landscape, portraiture, and still life photographs are all welcome as long as the work speaks to this in-between, threshold energy. Exhibiting Artists: Vanessa Lafolla, Sarah Gillingham Schorr, Eden Berke, Sarah Joy, DanaidX Duo, Kevin Lyle, Erin Graver, Frank Morgan, Kathryn Rodrigues, Alan Leder, Maria Macko, Brent Showalter, Erica McKeehen, Darlene Poloniak, Andrea Vaca, Bethany Barto. <a href="https://www.eventbrite.com/e/solo-group-shows-opening-reception-tickets-2002347008805" rel="noopener noreferrer" target="_blank">Details on Eventbrite</a>

Deepest Rhythms

MARÍA: ¿Qué es un huracán? Join us on October 30 at 5 PM at the National Museum of Puerto Rican Arts and Culture for the opening of an exhibition exploring Hurricane María through the archive and lived experience of Puerto Rican chef, producer, and cultural organizer Manolo López. Come learn how communities across Puerto Rico and its diaspora cooked, cared for one another, and organized when institutions failed—and why, nearly a decade later, Puerto Rico is still weathering another kind of hurricane: unreliable water and electricity, weakened public systems, and political decisions made without equal representation. Together, we’ll reflect on what it means to survive, rebuild, and sustain the collective care that carries people forward. When does a hurricane end? <a href="https://nmprac.org/event/maria-que-es-un-huracan-exhibition-opening/" rel="noopener noreferrer" target="_blank">Free must RSVP</a> Image: Carmelo Varela

MARÍA: ¿Qué es un huracán? Exhibition Opening

In the Vault, CvsD presents&nbsp;The Lawnmower Video, starring Pope.L and the band Jon Waine.&nbsp; This short film features the only known footage of Jon Waine, recorded live in concert circa 1981. Jon Waine started in 1975 as a duo of Brian McCormack and Bill Pope (Pope.L), when they were students at Montclair State University in New Jersey, and expanded to a quartet and eventually quintet, featuring Franc Palaia on drums, Ellen La Forge on bass, and Steve Davison on rhythm guitar. In the video, Pope.L's bigger-than-life stage persona is clearly visible, offset by the everydayness of a segment dedicated to Pope.L mowing the lawn of the house he shared with McCormack in East Orange, New Jersey.

The Lawnmower Video

Corbett vs. Dempsey is honored to present&nbsp;No Thing Skin Sets, an exhibition of recent works by the artist Pope.L. This is the gallery’s first exhibition with Pope.L and the first major gallery show of his work in Chicago. One of the key figures in contemporary conceptual art, Pope.L was based in Chicago from 2010, when he started teaching at the University of Chicago, until his death in December of 2023, at the age of 68. Pope.L first came to international attention with a number of performance- and endurance-based pieces in the early 1990s, though he’d already been working for more than a decade by then. His graduate studies at Rutgers University included a performance art class with Fluxus artist Geoffrey Hendricks, whose influence was profound and lifelong. Reflecting that lineage, right out of the gate, in performances such as&nbsp;Tompkins Square Crawl&nbsp;and later&nbsp;The Great White Way&nbsp;and&nbsp;Eating the Wall Street Journal, Pope.L established himself as an artist unbounded by the usual artistic silos, freely mixing performance with sculpture, painting, drawing, installation, and video. And he was unafraid to present work that challenged assumptions about race and class, pressing buttons with satire, sarcasm, irony, absurdity, and a healthy dose of countervailing earnestness. Among the indelible, confounding works Pope.L presented in Chicago were the 2013 Renaissance Society exhibition&nbsp;Forlesen&nbsp;and the 2018 Art Institute of Chicago performance&nbsp;The Escape. Subtly, but through sheer force of intellectual rigor and nonconformist experimentation, Pope.L infused the city with his unorthodox way of thinking. It’s possible to consider the environment we now live in as post-Pope.L Chicago. Conversations around a potential show at CvsD with Pope.L evolved organically after the gallery’s move to its present location in 2019. We were able to continue discussions about the exhibition after his death, courtesy of the Pope.L estate and the artist’s longtime assistant Dave Lloyd, whose guidance in choosing and installing&nbsp;No Thing Skin Sets&nbsp;has been invaluable. The exhibition covers several areas of Pope.L’s recent work and includes one older work titled&nbsp;Trap&nbsp;(1992). The North Gallery is consumed by a major installation piece,&nbsp;I Machine&nbsp;(2014–2022), which integrates multiple overhead projectors, tubing, water, a painted canvas onto which constantly shifting images of plastic letters and degrading coins are projected through the water, and many, many Post-It notes, some featuring little drawings.&nbsp;I Machine&nbsp;has only been exhibited once. Prior to completion it was featured in a 2020 profile in&nbsp;The New York Times&nbsp;titled “A Work In Progress that Explores Our Collective Ignorance.” In the South Gallery, CvsD presents a number of distinct groups of Skin Set works that belong together. These include a group of four “sluice” paintings made of birchwood and filled with acidic green acrylic paint, and a group of four “window” pieces, which involve rectangular holes cut out of the top of the gallery’s west wall, recalling the out-of-reach apertures in a prison cell.&nbsp;Well (Redistribution Version)&nbsp;(2019), is a floor-piece consisting of nine decorative drinking glasses filled past the brim with water each morning, a futile directive recalling Fluxus artist George Brecht’s&nbsp;Drip Music&nbsp;(1959–1962). A small painting made with a light absorbing black material features in&nbsp;King Actar’s Wife&nbsp;(2018), but it is lit unusually by a penlight mounted on a bulky stand positioned directly in front of it. These mysterious, provocative works, as well as others, give the exhibition a multi-ring quality, with Pope.L as its inscrutable ringmaster.&nbsp; Pope.L’s works on paper, of which the gallery also presents two earlier Skin Set examples, are currently the subject of&nbsp;Certainly an Act, a 50-year retrospective, at New York’s Drawing Center.&nbsp; Image: Pope.L, Well (Redistribution Version),&nbsp;2019, 9 drinking glasses, water, dimensions variable, installation

Pope.L: No Thing Skin Sets

Marking his fifth presentation with the gallery and his second solo exhibition in Chicago, Jiménez (b. 1990 in Hawaii; lives and works in Mexico City, Mexico) turns to a personal narrative rooted in Puerto Rico, tracing the histories, memories, and inherited silences that have shaped his understanding of family and identity.Through painting, collage, drawing, and sculpture, the orange emerges as a recurring motif and metaphor. It evokes the sweetness and abundance of family histories, but also the omissions, secrets, and unresolved tensions that pass from one generation to the next. Like the fruit itself, lineage carries both nourishment and decay. Beneath its vibrant skin lies stories that shape a family's character and flavor, revealing how memory—and the spaces where memories falter—becomes embedded within the narratives we inherit. Clotilde Jiménez, China de Mayagüez, 2026. Detail. Courtesy of the artist and Mariane Ibrahim.

Clotilde Jiménez: Eramos Silencios

MUMS at Meijer Gardens&nbsp;showcases Michigan’s largest display of chrysanthemums, featuring thousands of garden and specialty mums in rich autumnal colors, along with fall-themed programming and Tuesday evening events.

MUMS at Meijer Gardens

Black Is Beautiful (II)&nbsp;revisits the theme of our&nbsp;2018 exhibition&nbsp;with a fresh group of&nbsp;artists and artworks. With this exhibition we argue that powerful images rendered in black ink on white paper remain fundamental to the visual language of printmaking.View on <a href="https://www.artsy.net/show/manneken-press-black-is-beautiful-ii" rel="noopener noreferrer" target="_blank">Artsy</a> Image: Gelnn Goldberg:&nbsp;Empyrean (2)&nbsp;(detail), 2026. Etching and aquatint, edition of 20.

Black Is Beautiful (II)

Join us for two Saturday mornings this month for our Off the Wall talk series. Meet Helen Oh on Saturday October 24 and Jane Birch on Saturday October 31 from 10-noon. Doors open at 9:30. Audience participation is encouraged, with plenty of opportunity for questions and open discussion with the artist. Coffee and donuts will be served. Free and open to the public.

Off the Wall talk series

Errantry&nbsp;is on view through October 31, 2026PATRON presents our second solo exhibition,&nbsp;Errantry, with Chicago-based artist Lindsay Adams. Adams’s new body of work extends an exploration into the query at the root of her practice;&nbsp;Where can I go to wander?&nbsp;As she moves across her canvases with an intuitive choreography, delicate gestures evidence errant modes of being, and moving through the world.&nbsp;Errantry&nbsp;marks her first exhibition since the unveiling of her mural commission at the Obama Presidential Center.The exhibition takes its title from Édouard Glissant's concept of errantry, articulated in his&nbsp;Poetics of Relation&nbsp;published in 1990, as a form of movement that resists the demand for a singular origin or stable identity. For Glissant, errantry is not aimlessness but a way of being, in relation to places, histories, people, and systems of knowledge that remain irreducible to one another. Adams's paintings similarly resist a fixed point of arrival. Forms appear to gather and float across their surfaces, creating environments that feel at once intimate and expansive.&nbsp;Glissant's writing enters the exhibition directly through&nbsp;Untitled (Poetics of Relation, Glissant) #1&nbsp;(2026) and&nbsp;Untitled (Poetics of Relation, Glissant) #2&nbsp;(2026), large-scale works on paper with fervent gestures in ink, graphite, and charcoal on Yupo paper. These works establish a dialogue between her conceptual references and painterly language, where marks can function as fragments of something beyond the image.&nbsp;&nbsp; The ascendent diptych,&nbsp;“Not being afraid of what I don’t know I unanxiously awaited the emergence”&nbsp;(2026), marks the threshold to Adams's exhibition. Swirls of green and pink juxtaposed against cutting blues and yellow dripping down the surface beckon the viewer into imagined realities. Adams's approach to the painted surface finds an important precedent in Helen Frankenthaler's radical rethinking of the relationship between color, gesture, and ground, which allowed paint to behave as both image and material. Likewise, Adams approaches the canvas as a permeable field through aqueous washes of pigment and thick applications oil stick, culminating in compositions that float through undetermined spaces.&nbsp;Continuing her engagement with concepts of opacity and refusal, Adams builds each painting on a foundational ground of black paint. With each layer she mitigates the light and spatial perception available to the viewer, negotiating what is knowable and what is withheld. In&nbsp;Rhizome&nbsp;(2026), the subtlest green hues seem to glow from within deep tones of inky blue, articulating a state of suspension.Throughout&nbsp;Errantry&nbsp;Adams&nbsp;constructs paintings that refuse to settle into a singular reading. Her works move through abstraction as one might move through an unfamiliar landscape without a map, but with an attentiveness to what emerges along the way. Her paintings evidence a commitment to openness and emphasize wayfinding over arrival.&nbsp; <a href="https://patrongallery.us10.list-manage.com/track/click?u=fe9966abed200e47655a01bab&amp;id=2a182bb1fc&amp;e=9e3563b61b" rel="noopener noreferrer" target="_blank">Explore Further</a>

Lindsay Adams | Errantry

Join us at the National Museum of Puerto Rican Arts and Culture for a FREE docent-led tour and discover the rich history, art, and culture of Puerto Rico and its diaspora. 🕛 12:30 PM–1:40 PM | ALL WHO REGISTER CAN ENJOY A FREE TREAT! Celebrate Halloween with us at the Museum! Costumes are welcome and completely optional, so feel free to come dressed up and add a little Halloween spirit to your museum visit. Explore the history and architecture of our historic building while learning more about the stories, artists, and cultural traditions represented throughout our galleries. Our knowledgeable docent will guide you through our current exhibitions, including our newest exhibition featuring Manolo López, while offering deeper insight into the works and stories on view. Currently on View <ul><li>MARÍA: ¿QUÉ ES UN HURACÁN?A Manolo López Exhibition — Newest Exhibition</li><li>Our Island of Treasures: Puerto Rican Voices from Indiana</li><li>Tr3s Generaciones Entrelazadas por el Encaje | Three Generations Intertwined by Lace</li><li>Rafael Tufiño: El Café Portfolio</li><li>Abolición: Primer Centenario de la Abolición de la Esclavitud (1873–1973)</li><li>El Llamado: Outdoor Mosaic by Celso González</li></ul> For questions, please contact Lead Docent Ignaik Cruz-Perez at <a href="mailto:Ignaikcp@nmprac.org?subject=CGN%20NMPRAC" rel="noopener noreferrer" target="_blank">Ignaikcp@nmprac.org</a>

Halloween Inspired Docent-led tour

Houdini Returns • The Centennial Auction is a special event and auction taking place at The Magic Castle in Hollywood, California. The event includes a preview and Q&amp;A session on October 30 from 2-4pm, with doors opening at 1:30pm. The auction itself will be held on October 31 from 1-3pm, with doors opening at 12pm (noon). Seating is limited, and reservations are required by October 26. The auction features 100 choice lots of Houdini memorabilia from Kevin Connolly's collection, including items owned and used by Houdini himself. Highlights include Houdini's engraved pocket watch, unusual photographs, and Houdini-owned handcuffs. The auction will be broadcast live on potterauctions.com, and commemorative auction catalogs are available for purchase. The event commemorates the 100th anniversary of Houdini's memorabilia auction.

Houdini Returns • The Centennial Auction

Please join for an opening reception for&nbsp;<a href="https://www.oliviazubko.com/" rel="noopener noreferrer" style="color: rgb(0, 0, 255);" target="_blank">Olivia Zubko’s</a>&nbsp;first show at Western Exhibitions, on Thursday, September 17, 5 to 8pm. Western Exhibitions is pleased to announce our first solo show,&nbsp;Nymphaeum,&nbsp;with&nbsp;Olivia Zubko, a Chicago-based artist new to our roster. Zubko’s recent work employs cast replicas of fixtures and found materials from private, semi-private, and domestic environments to create ceramic sculptures evoking viewers’ personal memories and associations with intimate spaces. Her works investigate the nuanced relationship between these objects and the human form, as well as the broader dynamic between the individual and the domestic sphere of private space, personal intimacy, having a body, and the burdens and privileges of maintaining it. The show opens with a free public reception on THURSDAY, September 17, 5 to 8pm (during Chicago Exhibition Week) and runs through October 31. Gallery hours are Tuesday to Saturday, 11am to 6pm. For Zubko, no object is too modest to use for appropriating into a material dialogue about metamorphosis.&nbsp;Cast porcelain dumbbells tessellate as repetitive units of laborious bodily upkeep. Single-use sheet masks swirl around a basin as reflections of a desire for a more perfect image. An orthopedic pillow assumes the role of a fleshy, corporeal fragment, both playful and possibly a touch foreboding. Her sculptural works recast these modest, mortal artifacts as mythological bathing nymphs, drawing reference from the long and expansive history of depicting “bathers” in both art and mythology. Celebrated, objectified and/or fetishized, bathers have been a trope throughout art history since antiquity, whether in a tub, basin, or outdoor body of water. Zubko’s work conflates historical depictions with modern sentiments towards private space and personal intimacy and focuses on the negative compositional space surrounding the bather while still invoking the sense of a body or its absence. A nymphaeum is an ancient Greek and Roman sanctuary built as tribute to water nymphs that functioned as a public fountain, water reservoir, and gathering place.&nbsp;Nymphs, while associated with healing, prophecy, love, and the natural world, are also often characterized as unconventional outcasts who reject conformity to societal standards. In Zubko’s exhibition the Nymphaeum is translated into an intimate space like a bathroom or locker room, spaces often imbued with visceral associations. They may evoke vivid recollections, such as childhood experiences of bubble baths, illnesses, and quiet reflections as well as discordances with body image, identity, and development. Associations deeply rooted in personal experience render the bathroom a significant site for daily rituals, personal intimacy, and “self-care,” occupying a paradoxical space that can be both familiar and distant, public and private, safe and unsafe, sterile and emotional. <a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4KRv7qzeuqPSkqj6BPi7qO2UG3nFoI5DPweExNglbXIlAkMBe3D7guCit-k28M2-0mock9r3zYEmXVjObxCj92tpKhX-OGZ1hfxlk4C0yzl2FGgwlXWr2aVzUT8lEWWxTxwQR6vYNa0Q9waQ25ZClV8=&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">Olivia Zubko</a>&nbsp;(born in 1995, Chicago, IL) has had solo and 2-person shows at Left Field Gallery in Los Osos, California and in Chicagoland at The Arts Club of Chicago, DeGroot Fine Art, Cleaner Gallery + Projects, and McHenry County College. Her work has been included in group shows at Patient Info and The Plan, both in Chicago, and at Rockford University, Illinois. Zubko recently curated Deep Cuts! at The Plan, a group show of over 75 Chicago artists with works that were made when the artists were 12 years old or younger. She is a current fellow at The Arts Club of Chicago. Zubko received her BFA in 2020 from Northern Illinois University, and lives and works in Chicago. Image: Cairn III , 2025, Stained porcelain. 16h x 6 1/2w x 6 1/2d in

Olivia Zubko: Nymphaeum

In October, Vivid Art Gallery will be featuring the work of represented artist Susan Jacoby.&nbsp;On Friday, October 2nd, we will be having an exhibit opening for featured artist Susan Jacoby's show "In the Stillness." The opening will run from 4-7 PM and will display Susan's trademark landscapes.&nbsp;Surrounded by a wealth of ever-changing inspiration from the shores of Lake Michigan, Jacoby is drawn to expansive vistas, shifting skyscapes, and ephemeral atmospheric conditions. Rather than a realistic depiction of a place, her paintings evoke the remembrance of a moment, combining observation with imagination.&nbsp;Image: Susan Jacoby, "Calm Passage"

Susan Jacoby

It is human nature to respond to Rhythm.&nbsp;The visual artists in our fall “Got Rhythm” exhibition respond to music in the language of lines, shapes and colors. When music pulses through their veins, they channel their emotional responses through mark-making: gestural lines and strokes vibrate like sound waves. They respond in their own unique way to rhythm and music: to the beat of their own drum. Artforms include paintings, photographs, and mixed-media approaches.Artists: David Alton, Ashley Alvarado, Nancy Behles, Alan Brunettin, Sheila Cahnman, Susan Chelminski, Rich Conti, Anna Marie Crovetti, Catherine Daniels, Melissa D’Souza, Shelley Gilchrist, Steven Guenther, Ivan Gutierrez, Peter Jablokow, Bonnie Katz, Jacqueline Kott-Wolle, Ari Koultourides, Diana Leviton Gondek, Victoria Loeb, Deborah Newmark, Sam Onche, Jim Parks, Patrick Perry, Patti Ray, Renee Robbins, Virginia Roeder, Margarete de Soleil, Josefien Stopplenburg, Frank Styburski, Joseph Taylor, Sally Wille and Colette Wright Adams.&nbsp;Image: Renee Robbins

Got Rhythm? Music-themed Visual Art

PATRON is proud to announce&nbsp;Tannic Waters, our second solo exhibition with Claire Sherman.&nbsp;Over the past two decades, Sherman’s conceptual approach to landscape painting has drawn upon researching, extensive hiking and photographing, and the development of a painterly language that shifts in and out of representation. Her emotive, intimate renderings of the natural world, of places filtered through her own psyche, shift from traditions of land ‘captured’ to an examination of nature as artifice that informs societal and personal narratives.&nbsp;In 2023, Sherman began what would be a multi-year project revisiting the writings of American writer William Faulkner, whose rich literary descriptions of both real and fictional locations constructed a vibrantly nuanced depiction of the American South in the mid-20th century. Alluding to the mired political landscape of the 2020s, as well as the artist’s own navigation of personal grief, Sherman’s work abstracts the trees, underbrush, and foliage observed in her voyage through waters of uncertainty, resisting a clear path forward.&nbsp;Borrowing its name from the leaves, peat, and minerals that give the region’s languid rivers and swamps a rusty, tea-hue, the exhibition premieres a group of new paintings created following Sherman’s visit to Faulkner’s estate, Rowan Oak, in Oxford, Mississippi and her subsequent visits throughout the swamplands of the South: along the coasts of Northern Florida, the Great Dismal&nbsp;Swamp in North Carolina, and Okefenokee Swamp in Georgia. Applying Faulkner’s construction of a place, through its shared history and present, Sherman’s paintings translate moments of landscape into spaces that slip, shift, or disintegrate. In works such as&nbsp;Vines&nbsp;(2026), the accumulation of branches and foliage appears as almost a natural barricade, alluding to Rebecca Solnit’s perception of&nbsp;landscape as the “battlefield of our time—not a scenery but as the space and systems we inhabit, a system our own lives depend on.”&nbsp;Sherman’s&nbsp;Tree and Moss&nbsp;(2026) and&nbsp;Tree and Vines&nbsp;(2026) act as abstracted memories of her experience within the otherworldly swamps, psychological environments that are at once eerily haunting and spiritually reverent. Vines playfully ensnare tree trucks ascending from brackish waters and Spanish mosses, elegantly draped across tree branches, become veils that fragment their environs. Slipping between representation and ambiguity, Sherman’s paintings become archaeologies themselves, constructed locations that bear the strata of our own complex personal, environmental, and political histories.<a href="https://patrongallery.us10.list-manage.com/track/click?u=fe9966abed200e47655a01bab&amp;id=4d089e118c&amp;e=9e3563b61b" rel="noopener noreferrer" style="color: rgb(105, 105, 105);" target="_blank">﻿</a><a href="https://patrongallery.us10.list-manage.com/track/click?u=fe9966abed200e47655a01bab&amp;id=4d089e118c&amp;e=9e3563b61b" rel="noopener noreferrer" target="_blank">Explore Further</a>

Claire Sherman | Tannic Waters

September 17 to October 31, 2026﻿ <a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4GJ82Rtjbik2x0ekA_aXO3Trzwn9QJN7tkoyGxTd57M2FpHOJ1fp56TxHUlyYWPgDFeT0D83HbexWdImgVgJQuU6KpaPFJnWQmtYhxeoSB7HxIRVytTqe2RS7pj63MNFT3_UgsWHauqlFf01ipLUiJ9GeduYAFWqnQ==&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">Affairs to Remember</a>Lilli CarréJournie CirdainNanako KonoPaul NuddGeoffrey Todd SmithCathrine Whited﻿﻿Olivia Zubko Opening receptionTHURSDAY, September 17, 5-8pm Request&nbsp;<a href="mailto:scott@westernexhibitions.com" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">preview</a> See images&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4GJ82Rtjbik2x0ekA_aXO3Trzwn9QJN7tkoyGxTd57M2FpHOJ1fp56TxHUlyYWPgDFeT0D83HbexWdImgVgJQuU6KpaPFJnWQmtYhxeoSB7HxIRVytTqe2RS7pj63MNFT3_UgsWHauqlz7w_jrvGzQeYaNY66Y_lSw==&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">here&nbsp;</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1786834152/wawlmoeq6lipdq49kvde.gif" height="1" width="5">Affairs to Remember&nbsp;features recent work by gallery artists: framed hand-drawn animation cels by&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4Ecp4-zmYSfF-VQZBZmUVKlWQVRH6_AhG1I1-V1YYcAM5KETdNf_Kwk6NVsABMUN9VHZmDgowuquPGKVbAjbZ7lrwIG2AJtKHdAeO30nwOTnTGzXszwIVa62uoAagSoKV3nDFIdhypE6&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">Lilli Carré</a>, large graphite drawings by&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4KRv7qzeuqPSJbyZEHDQYy0yJnyVTNPuIH6vwdLCZBn7ttl0m_R2h3NMQBcapdTv5USUVaUXsBASWYJzfCxJcrJKzCuKZg7F2_aiA2FuWRVkzWSmD6iiScwy1c6xiMbEU3pPzLB2ajec&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">Journie Cirdain</a>, miniature paintings on plastic by&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4KRv7qzeuqPSgoLDHOXbQYNb95U69fNW9R5eWgoGhlJ1yh3FVfYA1Ko0LRE4zcJcUtpB98WU2e8NC-k0Z9nh68bWdPpZV0m7a6wRqPi0sQJ-CtvQFvPEZ5kUaTv9GXJihKE7Qbrh6x4K&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">Nanako Kono</a>,&nbsp;ceramic sculptures by&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4Ecp4-zmYSfF3_bHlHaeUlqbOEqfBL3MLki3bO4UuI_Zf8Z7Td_7FH2UNmw_oIsH_Hw5y2ksCp08dt7sfPsSHw_jvldoY1KtyQGdfYyKthDen4Zakp3J7yuL744xeP-Ml9D8RyX5sjBV&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">Paul Nudd</a>,&nbsp;miniature paintings on paper by&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4Ecp4-zmYSfF4sQPwAA4ff4O_gipePbp9YPysskUcAFznRXYoQkd1bW67HT23sVWyZgESr8-CquYVpD0mcS0o3TZH8ZMWHJKBN_NgjH9W_Pn55D-mNMsFJt8YR-PWEQ-FFgMG_dvrESQ6d0HSaWABJo=&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">Geoffrey Todd Smith</a>,&nbsp;drawings&nbsp;of household objects&nbsp;by&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4OWYFLRuN-JzEVYoEAxENJmIQa7Rww9lyjjIXZNO_znaEKvc0YKlGw4WJ62w8U1_sKam5KtdEP3uPcm0pe8DpaGPwV-UjRtFypm-pZ51vsRqwJ6PUKQScrixMnjbnpgcYkXfIdlYvCoSOhNqRb0_oWU=&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">Cathrine Whited</a>. and&nbsp;wall-mounted ceramic sculptures by&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=0014NSeTmioPTcKPE2SKLImwATT-eVaYrMgJ8G7XcrClSSAmKSkgfNF4KRv7qzeuqPSkqj6BPi7qO2UG3nFoI5DPweExNglbXIlAkMBe3D7guCit-k28M2-0mock9r3zYEmXVjObxCj92tpKhX-OGZ1hfxlk4C0yzl2FGgwlXWr2aVzUT8lEWWxT2i4y0oXRbOh_bt2uGcX6hQ=&amp;c=XRFpR96WqnQq3v6Y8cwmEhx71pCGSccyMqCGuCpUT0Hb4dOerHDFAA==&amp;ch=ErPS6lgdweoFt1YhhY-wmgHtOv0NxXIwTxWXmDGORX7Unf5p7Y1aFA==" rel="noopener noreferrer" style="color: rgb(0, 64, 247);" target="_blank">Olivia Zubko</a>.

Affairs to Remember

Join us for our Halloween Masquerade Closing Reception for our "Got Rhythm" Exhibition. Greg Allen of Animal Records will be spinning some of our favorite tunes from the 80s and 90s on vinyl. See the "Got Rhythm" Exhibition one last time, as the event will also serve as the closing reception. Costumes encouraged! Family friendly event.&nbsp; Image: "Masquerade," Sarah Kaiser

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