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

Aesthetics of Power, an exhibition juried by artist Mahwish Chishty, looks closely at how aesthetics can be used to express layered, quietly disruptive ideas. This exhibition features work that surprises, that reveals itself slowly, or that occupies the fragile space where beauty unsettles rather than soothes. Artists in this exhibition reflect on how aesthetic interpretations carry the weight of history, how beauty might obscure or reveal power, and how what is finely wrought can also bear witness. Exhibiting Artists: Parto &amp; Pardis Ahmadpour, Rodrigo Azaola, Jane A Barrow, Rex Cassidy, Kyle Chaput, Lucas Cordes,&nbsp;Vincent Escareno, Morgan Ford Willingham, Tara Sabini, Mack Gingles, Matthew Girson, Briena Harmening, Yuliya Klochan, Roopa Kosuri, Jiselle Ramirez, Sajal Siwakoti, Yaning Xing, Shelly Zhang.

Aesthetics of Power

"Moving On” is a compilation of abstract paintings influenced by the experience of the pandemic, from the days before its onset, to the lasting effects on present day. Eleven bright and complex canvases invite the viewer to connect with the struggle between always changing complexities and mobile, but always present, soothing space.

Elyse Martin: Moving On

Between Here and Home&nbsp;is an exhibition of works from the Tarble's permanent collection curated entirely by Tarble student staff members. This exhibition explores themes of building a home away from home and interacting with various media to help one feel safe in a new environment. The Tarble's student staff comes from diverse backgrounds, and by cultivating a space that allows them to grow and develop as young adults,&nbsp;Between Here and Home&nbsp;gives them space to do so through direct interaction with and appreciation of the arts.The staff at the Tarble has become a small family, spending time together outside of work and keeping in touch once we move on from our college careers. Between Here and Home celebrates the joys and comforts the students have found while working in and around art.Displayed concurrently with the EIU Faculty exhibition, Between Here and Home acknowledges those who have helped and continue to help us find our place here.

Between Here and Home

Mariane Ibrahim is pleased to announce Flaming Memory, a solo presentation of new works by Tokyo–based painter, Yukimasa Ida, whose portrait-based practice explores the tension between fleeting perception and the lasting imprint of memory on canvas. Yukimasa Ida builds his paintings through decisive brushstrokes, layering matter onto the canvas to render faces, whether of people close to him or strangers encountered during his travels. These portraits simultaneously convey a sense of vulnerability, marked by the impossibility of truly confronting these figures face to face. At the same time, his recurrent use of red infuses the works with a contagious inner intensity. Imbued with memories of both near and distant presences, Yukimasa Ida’s work lingers in the viewer’s mind like the image of a glowing fire, at once magnetic and perilous. Through facial abstraction, Ida opens a perspective into the visceral depictions of the psyche. Each painting explores the subject's internal state, inviting viewers to confront the complexity of human experience. The absence of distinction between foreground and background draws the eye to the subtle cues of face figuration: the curve of an ear or shadow of a lip, that anchors one's gaze. The artist’s charged color palette, built over a canvas primed with black, amplifies the somatic intensities of his sculptural oil impasto technique that holds the memory of knife marks and wet-on-wet blending. In this way, Ida’s canvases behave like skin—vulnerable to scars, erosion, and inscription. In Ida Yukimasa’s work, the canvas becomes mnemonic flesh, a surface that absorbs what perception cannot fully hold: emotion, disorientation, psychic residue. The power of his work lies in its contradiction: while the image dissolves; the material endures. It is the impossibility of permanence, where memory flickers and decays like a flame, yet everything leaves a trace. Flaming Memory will be on view in Chicago from August 30 to October 25, 2025.

Yukimasa Ida: Flaming Memory

Art + Design Faculty Exhibition: Redux&nbsp;is the first faculty exhibition at the Tarble in five years. The exhibition brings together recent and newly created works by current and emeritus studio art faculty from Eastern Illinois University's Department of Art + Design. The term redux, meaning brought back or revived, was chosen to emphasize the long-awaited return of the faculty show to the Tarble’s exhibition cycle. Redux will feature a wide variety of artwork from painting, sculpture, and ceramics to digital media, installation, printmaking, and more. This exhibition presents a remarkable opportunity to engage with the creative work of the educators who shape the future generations of artists and designers.&nbsp; Featuring:&nbsp;Matt Boonstra, Jenny Chi, Ann Coddington, Hannah Eads, Burçak Gezeroğlu Christensen, Bill Heyduck, Chris Kahler, Alicia Little, Dwain Naragon, Laura O'Donnell, Brad Olson, Robert Petersen, Alan Pocaro, Erin Rice, David Richardson, and Samantha Tableriou.

Art + Design Faculty Exhibition: Redux

<a rel="noopener noreferrer" href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=18663075f4&amp;e=95b957c616" target="_blank">Wafaa Bilal: Indulge Me</a> opens February 1 and runs through October 19, 2025.Indulge Me is a major survey of renowned artist Wafaa Bilal (b. 1966, Najaf, Iraq; lives in New York, NY). Crucially, the exhibition will take a comprehensive look at Bilal’s myriad practice, highlighting the development of his work across decades and placing it in conversation with broader art histories. It will also explore cultural cannibalism—that is, how culture (specifically the culture of the other) is used, disassembled, and consumed.Working in performance, sculpture, and with online and interactive technologies, Bilal’s interdisciplinary practice investigates the dynamic between international and interpersonal politics while highlighting the tension between the United States, which he has deemed the “comfort zone,” and the “conflict zone” of Iraq. Through methods such as using his own body to interrogate notions of power and using innovative technologies to rectify acts of cultural destruction, Bilal shows us what it means to consciously engage across cultures while highlighting negative global implications of consumption, exploitation, and profiteering.The exhibition will be organized into five immersive sections, each of which focuses on a major work from Bilal’s practice. Artworks on display include a reconstruction of a room in Chicago’s FLATFILE Gallery that the artist confined himself to for a month-long performance in Domestic Tension (2007). During this performance, Bilal invited the audience to shoot at him with a paintball gun that was operated virtually by viewers who could also interact with him via camera feed and live chat. Over the course of thirty days, a total of 60,000 shots were fired by "shooters" from 128 countries. Also included in the MCA exhibition is a large-scale, towering video displaying images from Bilal’s year-long performance 3rdi (2010–11), wherein Bilal surgically implanted a camera into the back of his head that, every minute on the minute, captured photographs. The photos included in the MCA display will correspond to the minute, hour, and day they were taken.&nbsp;Wafaa Bilal: Indulge Me will also present Thumbsat Satellite (2024), which comprises a golden bust of Saddam Hussein fixed to a satellite and launched into Earth’s orbit as part of the exhibition. Developed as a critique of the former Iraqi president’s rumored desire to launch a bust of himself into space, the work will also feature a number of in-gallery components, including a model of the satellite and bust and a way for visitors to track the artwork’s location through live-captured images before it is destroyed upon re-entry into the atmosphere.&nbsp;Additionally, the exhibition will feature In a Grain of Wheat: Cultivating Hybrid Futures in Ancient Seed DNA, Bilal’s response to ISIS’s destruction of the Winged Bull of Nineveh sculpture, or Lamassu, in 2015. The piece involves inserting high-resolution 3D scans of the sculpture into the DNA of heirloom Iraqi wheat seeds. A commission by the MCA will see the project activated in a new, sculptural form, which will consider if it is possible for a wheat seed to transform terrorist violence into restorative agency.&nbsp;The exhibition is accompanied by a major publication, the first to survey multiple projects by the visionary artist.&nbsp;A series of exhibition-related programs will be announced closer to the opening.&nbsp;Wafaa Bilal: Indulge Me is curated by Bana Kattan, Pamela Alper Associate Curator, with Iris Colburn, Curatorial Associate.&nbsp;Image: Wafaa Bilal (b. 1966, Najaf, Iraq; lives in New York, NY), Rendering of Thumbsat Satellite, 2023. © Wafaa Bilal. Courtesy of the artist.

Wafaa Bilal: Indulge Me

What does the work mean? There is some mystery, some beauty, some drama, some surprise, and a little wit. There is much about being human and being part of or apart from the natural world. There is a lot about the passage of time and the persistence of the past. There is a great deal about celebrating the joy of seeing. That said, the content remains nearly as open for me as it does for you, the viewer.&nbsp;—Ron IsaacsMost of Ron Isaacs’s work—a combination of two-dimensional imagery and cut and sawn wood—operates in an in-between space. Isaacs identifies his work as “trompe l’oeil&nbsp;painted constructions.” He further goes on to state, “I never actually made it to three dimensions; I seem to have stalled at two and a half.”This exhibition debuts a new-to-RAM archive of works created by Isaacs between 1968 and 2020. This grouping—the scope of which is unmatched at any other organization—includes early acrylic on canvas paintings, a drawing, art jewelry, and over 20 painted wood constructions.

Collection Focus: Ron Isaacs

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1758218380/iihmmoarz2hlrglhi4qs.jpg"> PATRON is proud to present&nbsp;Dusk, our fourth solo exhibition with Chicago-based artist Bethany Collins. Continuing narratives and bodies of work included in her recent institutional presentations in the Prospect 6 Triennial New Orleans, as well as her solo exhibition&nbsp;At Sea&nbsp;at The Seattle Art Museum,&nbsp;Dusk&nbsp;brings together five bodies of work composed of paintings and drawings on paper along with sculpture.&nbsp; Dusk, as a moment in time, is defined by an anticipated immersion into darkness. The loss of light is as pivotal to its encounter as the acceptance of its impending absence. Through the use of language, both written and visualized, Collins’s recent work reflects on the metaphoric potential of one story, to be our collective warning and guide. While dusk brings the night, we enter the darkness together. Orchestrating the heart of the exhibition are three new paintings from Collins’s&nbsp;The Battle Hymn of the Republicseries. Arguably the most familiar early American contrafactum—a song in which the melody remains constant while the lyrics are rewritten over time—versions of&nbsp;The Battle Hymn of the Republic&nbsp;have been adapted in support of varying political causes, including revolution, temperance, suffrage, labor, secession, and abolition, articulating often contradictory versions of what it means to be American. Emerging from cloudy, gray- washed backgrounds, Collins’s gestural marks form fragments of lyrical excerpts from alternate versions of the war-time anthem. The phrases included are drawn from adaptations of the song which lean on floral references as universal symbols of grief,&nbsp;renewal, and peace. Bleeding down the paper and abstracted into gesture, Collins translates the intended unifying voices of the lyrics'&nbsp;symbology into illegible noise.&nbsp; Dusk&nbsp;premieres a series of graphite drawings adapted from commercially available floral lithographs produced during the second half of the 19th century. Now housed in the Library of Congress, Collins considers these reproductions of bouquets and arrangements of roses as a persistent American symbol (the rose would be named a top contender for national flower in the 1920s, an honor formalized in 1986 by President Reagan). Shrouded in plumes of charcoal dust, these household images of beauty are, in Collins’s work, disturbed and muddled, reflecting the tempestuous nature of the time.&nbsp; For three new bodies of work, Collins draws inspiration from Herman Melville's 1851 novel,&nbsp;Moby Dick;&nbsp;or, The Whale. Historian Nathaniel Philbrick refers to the novel as an "American Bible," a literary exploration of loss, salvation and the dark consequences of an unrepentant spirit.&nbsp;Or, The Whale. Vol 1., 2024 -2025, is the first of a three volume portfolio that was created by Collins handwriting the entirety of the novel in iron gall ink onto onion skin paper. Ubiquitous from the late Middle Ages through the 19th century, iron gall ink was originally chosen precisely for its “outstanding permanence.”[1] Eventually, this lauded fixity shifted to an inherent vice as the ink’s chemical makeup produced an inevitable corrosion. The ink may eventually eat through the delicate paper, rendering Collins’s adaptation of the original language, like that in her subsequent drawings, largely illegible. Yet, the laborious gestural text remains a doggedly futile act of care and preservation.&nbsp;&nbsp; Moby Dick, Vol. 1, 2&nbsp;and&nbsp;3&nbsp;extend Collins’s&nbsp;Loss&nbsp;series, a body of work which began as a search for the language of endings through expressive and often romantic language. The exhibition includes three graphite drawings, each of which reproduces a single page from the original volumes of Melville's novel. Through a process of physically rubbing away, or erasing the majority of the reproduced language, Collins leaves only phrases that describe, in violent or post-apocalyptic terms, the sea. Ending the exhibition with a line from Melville’s final chapter recasts our attention from the end to the persistence of “the sea . . . which rolls on as it rolled five thousand years ago.” Functioning as memorials to a language, land, or reality lost, are three related “erasure” sculptures, created from the erosion of a blue eraser, reduced to nearly dust after the physical removal of language from a page. The sculptures offer a type of non-textual postscript. Each contains the essence of the story, when language itself has faded away. Positioned on the threshold of uncertainty between past, present, and future,&nbsp;Dusk&nbsp;bears witness to the fleetingness of time as well as the permanence of attentive language and bond. Each shared expression—an epic tale, a national flower or an ever-changing anthem—is an attempt to weather the dark together. [1]&nbsp;&nbsp;Schulze, Charissa, “Inherent Vice, Part 1.” Historical Society of Pennsylvania, 2014. Image: Bethany Collins,&nbsp;In the whiteness of the lilies, 2024, Wax, pastel, and acrylic on paper, 40” x 60” | 101.6 x 152.4 cm

Bethany Collins : DUSK

Pistachios is collaborating with Precious Collective, an international community of artists that&nbsp;are bound together by their ambiguous&nbsp;definitions of what exactly "precious" is in relation to jewelry, to host an exhibition unlike any other. Featuring 34 members of Precious Collective, this exhibition will conceptually explore: What is a tangible manifestation for the things unsaid? How can we extend the voice of materiality through acts of making? Where does the metaphysical influence the language of jewelry?Join us in celebrating this monumental exhibition on August 14th! Enjoy champagne and charcuterie while admiring the impressive work included in this juried exhibition. This is also a wonderful opportunity to meet Lynne Speake, the Founder and Creative Director of Precious Collective.The exhibition will be on display at Pistachios before traveling to Munich Jewellery Week in 2026.This is the first time Precious Collective will be featured in the United States.

Things Unsaid

“For me, childhood roaming was what developed self-reliance, a sense of direction and adventure, imagination, a will to explore, to be able to get a little lost and then figure the way back.” Rebecca Solnit, A Field Guide to Getting Lost Sometimes we find ourselves lost. Or maybe we get lost on purpose. In the past five years or so I’ve had the feeling that I was lost. In various aspects of my life, I felt very unsure of my choices, perhaps doubtful of the map I felt I had been following. I worried about whether I was too far astray of a path I had previously been following to ever find it again. It scared me. I recalled that when I was young, I would set out into the woods, with no map at all, looking for new pathways, new adventures. I had the confidence that I would find my way – to return or go onward. My friends and I would occasionally plan expeditions, maybe “camping out” for the night. This would include packing of gear as if we were exploring a frontier. That frontier might only be a nearby forest, but to us it was wilderness to be traversed and conquered. Were we searching for adventure, or just to be independent? We wanted to be scouts, like Lewis and Clark. We wanted to venture out from the parentally minded homes, and enter a land with less guarantee of safety and more chance of discovery. We wanted to prove to ourselves we could survive it. Maybe we would find a new home in the wilds and never return to civilization.This new series of semi-narrative tableaus imagines a band of young explorers traversing the land. These young women portray both the fantasy of those childhood expeditions and serve to illustrate the idea of getting lost, being lost, and finding one’s way. This is not a specific story being told with a point-by-point plot, but a series of scenarios with repeating characters and tropes. The land they roam is a non-specific midwestern farmscape, both wild and cultivated, seen in a half-light of evening or gathering storms. The relationships between these wanderers shifts with the landscape and is often deliberately ambiguous. I intend to depict them just on the edge of reality, verging slightly into the cinematic, in hopes the viewer will indulge in the same idealistic vision and suspend disbelief.Solnit goes on to say, “Getting lost like that seems like the beginning of finding your way or finding another way, though there are other ways of being lost.” This series is in some ways my own processing of being lost and finding my way, and gaining an appreciation of getting lost as a deliberate act.Christopher Schneberger is a Chicago-based photographer, educator, and curator. Exhibitions of his photography include: Annenberg Space for Photography in Los Angeles; Dorsky Projects in New York City; Geocarto International in Hong Kong; and Blank Wall Gallery in Athens. His work is in the collections of: The Art Institute of Chicago; the Taubman Museum of Art in Roanoke, Virginia; and the Mary and Leigh Block Museum in Evanston, Illinois. He is Assistant Professor of photography and Gallery Director at Vincennes University. He has taught at The School of the Art Institute, and Columbia College Chicago.&nbsp; He has curated numerous exhibitions of photography at the Shircliff Gallery of Art, the Giertz Gallery, and Perspective Gallery, including Heirloom, Bending the Truth, Realms, This Particular Patch, and Re:Place. He has been a presenter at the Society for Photographic Education’s Midwest and Southeast conferences, and has been a visiting artist at Iowa State University, Indiana University, Kendall College of Art, and Western Michigan University. He received his BFA in Creative Photography from the University of Florida, and received his MFA in Photography at Indiana University.&nbsp;

Christopher Schneberger: The Wanderers

Perspective Gallery is proud to present a new show by fine art photographers Suzanne Metzel and Kaushik Sunder Rajan. Metzel’s&nbsp;For the Love of Trees&nbsp;celebrates trees through the medium of photopolymer gravure.&nbsp;Each image, hand-printed on an etching press, explores different ways of seeing these noble works of nature. Sunder Rajan’s work, titled&nbsp;Gods of Small Things, is a tribute to Arundhati Roy’s novel&nbsp;The God of Small Things,&nbsp;documenting his own visit to the village of Ayamenem in which it was set and the feelings that both the novel and its setting evoked.&nbsp; For the Love of Trees and Gods of Small Things&nbsp;open on October 2, with a public reception on Saturday, October 4 from 5 p.m.- 7 p.m. Suzanne and Kaushik will give an artist’s talk on zoom on Thursday, October 9 at 7 p.m. Please see&nbsp;<a style="background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="http://perspectivegallery.com/" target="_blank">perspectivegallery.com</a>&nbsp;for details on how to register for the zoom talk. The show will close on October 26.﻿ Kaushik Sunder Rajan,&nbsp;Untitled

Kaushik Sunder Rajan: Gods of Small Things

While in my senior year of undergraduate (visual psychology)&nbsp;I joined a friend working in the darkroom on a senior project in Architecture, it was at that point in time that the full weight of photography connected with me. The magic of the obfuscated image in the developing tray coming to life from a latent capture was the moment. My formal education in photography began at the Center for Photographic Studies where my first teacher was CJ. Pressma, himself a protégé of Henry Holmes Smith and Minor White. It was profound and lasting experience. After that my professional development led to a Masters in Fine Art | Photography. What came next was a 40 Year career in graphic design, with the final role of as Design Director for my own company. Filmmaking took over during this period where my visual skills were honed and applied as a Director of both film and photography. Looking through the lens at the flow of motion was mesmerizing. I have spent the better part of the last decade traveling the globe to documenting&nbsp;NGO humanitarian projects, from Education for Children with Disabilities in Andong, South Korea to Women Weavers in Maheshwar, India. With 50+ years of Photography I remain committed to explore, to learn and to help others find their path to self-expression and documentation via photography. This new body of work presented here is entitled REMNANTS.&nbsp;I have always collected found images. I have always looked at these objects as viewfinders into the past, some mine and some others. During COVID and the inability to travel I found myself going through a box of vintage color postcards looking at the images as if through a viewfinder. Within those frames I would begin to select a portion that would make an interesting image or print, sort of an “image within an image”.&nbsp;The enlarged lithography dot pattern added and abstract edge to the images and allowed me to present a unique vision. Of course there are numerous historic connections here for me, the Taos Church is a photographic icon, captured by the likes of Paul trand and Ansel Adams. One of my photographic heroes is Alfred Stieglitz, my cloud images connect to his Equivalents Series. There is also a graphic design or “painterly” quality to some of these images, the dot pattern of Roy Lichtenstein and to Andy Warhol as well. Many of these choices were intuitive, with others connecting only during the process when other connections revealed themselves. This body of work is at times more personal than some of my previous work and it has become important for me to show and to share this work within a gallery. I have been practicing fine art photography since the mid 1970s. I have watched it grow and I have developed my vision and my skills during this same period, this body of work presents the culmination of those efforts and presents a sense of my personal vision.&nbsp;

Stephen Guenther: Remnants

Perspective Gallery is proud to present a new show by fine art photographers Suzanne Metzel and Kaushik Sunder Rajan. Metzel’s&nbsp;For the Love of Trees&nbsp;celebrates trees through the medium of photopolymer gravure.&nbsp;Each image, hand-printed on an etching press, explores different ways of seeing these noble works of nature. Sunder Rajan’s work, titled&nbsp;Gods of Small Things, is a tribute to Arundhati Roy’s novel&nbsp;The God of Small Things,&nbsp;documenting his own visit to the village of Ayamenem in which it was set and the feelings that both the novel and its setting evoked.&nbsp; Suzanne Metzel,&nbsp;Cottonwood

Suzanne Metzel: For the Love of Trees

Opening Reception: Saturday, September 6, 2 to 5 PM&nbsp; The True Colors Exhibition offers fresh, painterly approaches to the landscape genre. Color is an expressive tool which illustrates emotional depth and subjective responses. In this exhibition, juried by Nina Weiss, selections include paintings executed from memory, abstract interpretations of the landscape, and Impressionistic approaches. As a result, this compelling exhibition is comprised of oil, pastel and watercolor paintings with evidence of brush strokes, texture, and bold, Expressionistic colors. All of the artists in this exhibition employ color as an evocative tool that conveys the essence of a place, whether real or imagined. They have painted their authentic emotional responses to nature.&nbsp; Artists: Colette Wright Adams, Piotr Antonow, Michael Birnbaum, Alan Brunettin, Carlos Cerrato, Anna Marie Crovetti, John Fleck, Peter Jablokow, Anne Kauff, Mike Barret Kolasinki, Basia Krol, Angela McElwain, Robyn McMurray Hurtig, Elaine Miller, Carol Neiger, Deborah Newmark,&nbsp;Deb Popely, David Ray, Alice Rebechini, Beth Shadur, Pam Spicer, Kris Stebbins Kelly, Maria Sundqvist, Claire Tarnacki, and Sally Wille Location: 619 Grove Street, Downtown Evanston, ILGallery Hours: Thursday through Sunday, 1 to 6 PM<a style="color: rgb(56, 101, 115);" rel="noopener noreferrer" href="http://www.grovegallery.shop" target="_blank">www.grovegallery.shop</a>Contact: Sarah Kaiser-Amaral(773) 318-0163

True Colors: Fall 2025 Juried Exhibition

Exhibition of Impressionistic Landscape Paintings, juried by Nina Weiss

True Colors: Expressive Landscape Paintings

Sept 26 - Oct 30: Guest curated show by Marc LeBlanc To celebrate M. LeBlanc’s 8th anniversary, the gallery has collaborated with local non-profit Arts Of Life on an extraordinary exhibition/event.&nbsp;Over twenty artists have generously donated their work for an exhibition and raffle to be held on Devils Night at Midnight in support of the Arts of Life studio and program.&nbsp;******Guest Curated by&nbsp;<a style="color: rgb(0, 112, 168);" rel="noopener noreferrer" href="https://mleblancchicago.com/" target="_blank">M. LeBlanc</a> Marc&nbsp;LeBlanc&nbsp;is an independent curator&nbsp;and the founder and owner of M.&nbsp;LeBlanc, one of Chicago’s premier galleries for international contemporary art. Prior to opening M.&nbsp;LeBlanc,&nbsp;LeBlanc&nbsp;worked as an independent curator, advisor, and writer, organizing over forty exhibitions for galleries in Berlin, Cologne, Chicago, and Los Angeles.Following his international curatorial work,&nbsp;LeBlanc&nbsp;served as the Director of Programming for Art Los Angeles Contemporary and on the host committees of several benefit art auctions supporting research in healthcare sectors, specifically for autoimmune disorders, HIV/AIDS, and reproductive health initiatives. In addition, he wrote numerous reviews and conducted interviews for magazines like Artillery, ArtReview, and Numero.LeBlanc&nbsp;received a Bachelors of Fine Arts from the School of the Art Institute of Chicago in 2003 before completing his Masters in Exhibition and Museum Studies from the San Francisco Art Institute in 2008.&nbsp;Opening Reception:September 26, 20255:00 – 8:00 pm&nbsp;Devils’ Night Party and Midnight Artwork RaffleOctober 30, 20258:00 – late&nbsp;Image:Rocco DicaroEyes! Forever Creeping Forward!,&nbsp;2024Marker and pen on paper3×5 in.

You're All Dead to Me: Guest Curated Show by Marc LeBlanc

21c Museum Hotel Chicago is pleased to present D (US) T, a solo exhibition by Daniel Hojnacki. As a part of the Elevate series at 21c Chicago, the work is on view from August - October in Gallery 3. D (US) T is a collection of work that contemplates the temporality of the body and its intrinsic interconnectedness with the cosmic landscape. Combining an array of experimental approaches to the apparatus of photography, I invite moments of stillness and poetic reflection. Photographs of my breath are suspended in frost, fingerprints are stilled with smoke soot, and a plume of dust is blown, hovering amongst the air. These records of performative and fleeting gestures with photography are paired with a selection of collaged found poetry redacted from a vintage book on planetary science, bringing together a collection of work that quietly observes and reflects on the brevity of mortality and the passage of time. Daniel Hojnacki (b.1989) uses experimental techniques in photography to investigate the quietness of being an observer within the world, creating work that explores the importance of materiality in the image-making process. Daniel seeks out ways of recording the movement of the body and natural world, trusting chance happenings within photography to capture the subtle and fleeting textural gestures around us. Daniel received his MFA from the University of New Mexico in 2022 and a BA from Columbia College Chicago in 2011. He is a recipient of the Penumbra Foundation Workspace Artist-In-Residence, LATITUDE Residency, The Patrick Nagatani Photography Scholarship, and The Phyllis Muth Arts Award, among other honors. He has exhibited work at the Museum of Contemporary Photography, University of New Mexico Art Museum, and the Chicago Cultural Center. His work has been featured in Aint-Bad, Pamplemousse Magazine, and Southwest Contemporary Magazine. He currently lives and works in Chicago, IL. Elevate at 21c presents temporary exhibitions of works by artists living and working in the communities surrounding each 21c Museum Hotel. Elevate provides hotel guests and visitors with unique access to the work of notable regional artists, while featuring their work in the context of 21c’s contemporary art space.

Daniel Hojnacki: D (US) T

In 2020, after living in Chicago and showing with the gallery for 18 years, Vidvuds moved with his wife and young daughter back to Latvia. There, they have created a rural life outside Riga on a property bursting with natural beauty. His work has evolved within this context, reflecting their shared experience and awe of the bountiful world surrounding them.<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.thomasmccormick.com/artists/vidvuds_zviedris" target="_blank">More info</a> Image: Vidvuds Zviedris, July 54th, 2025, acrylic on canvas, 72 x 90 inches, signed, dated and titled verso, #14168

Far and Further Still - New Works by Vidvuds Zviedris

On Friday, October 3rd, we will be having an exhibit opening for featured artist Debra Delbecq's show "Overspreading the Field." The opening will run from 4-7 PM and will display Debra's newest abstract landscape paintings, which are influenced by the viewpoint from her studio overlooking the&nbsp;fields&nbsp;outside. Debra's paintings are created using rhythm and repetition to provide energy and excitement in the work. Describing each piece as a quilted conversation, a way of taking the questions and feelings of a given moment and mingling them with inspiration from the outside world. This synthesis creates a new form, an imagined cosmic map or quilt on paper that coheres these disparate pieces into a grounding, geometrical structure.

Entwined Landscapes

Chicago Truborn is truly honored to announce a total gallery takeover by the one and only&nbsp;<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://shop.chicagotruborn.com/_t/c/v3/AAB0RkEuGrZ19VoolMW-bBNz_w52WkvwT8EhzXUzhQUxKd-SOCY0Rf4bC_pNUmDHLcRsLAWPTh0_M6z5hQOyLU_b2Y9POYU1a7WTniNOUVNiTQq3DZ5BIzLL2-UvnXOojHyu1g1O8cEXXze2M8DLrN5wGmyrXji2hBIW1e8112VdLQQcoSBMggCh_-BK6E9dSSAYxsYBhthhnNp9mp2X3Xc1hNDg3zjUZXoSUOHunaXdtcdlOPG4C_L7L5IjrtwfKcsk2e0W4tXN0ICIKCV1NC1ZWP_tQe5-5JDYU_1-s5kVYq3Xynau9Ck=" target="_blank">Jason Brammer</a>&nbsp;in honor of this year's West Town Art Walk.&nbsp;This prolific, Chicago based, artist is known for his intricate murals, site-specific installations, distinctive, optical illusion paintings, and mixed media hand-painted assemblages.&nbsp;His murals and other works have been commissioned by prominent clients such as Hulu, Shedd Aquarium , The Chicago Symphony, Jimmy Chamberlin (Smashing Pumpkins), My Morning Jacket and so many more.&nbsp;Jason's art has also been exhibited in numerous prestigious venues around the world from Seoul to Beijing and Turin to LA, Miami, and everywhere in between. But never... At Chicago Truborn!&nbsp;Making his CT debut, Jason will unviel two site specific installations alongside dozens of originals ranging in both price and size for collectors of all levels.Mark your calendars, and please note our hours vary slightly from the Art Walk. "Beyond the Fold" is a 3 day event (running through the month of October) beginning with the artist reception on Friday October 3 from 5-8 pm and continuing Oct 4 &amp; 5th from 12-6 pm both days.Stay tuned : we will be sharing a few additional events during the month of October featuring Jason and his wife Erin (hint...She is a yoga instructor!)

Beyond the Fold: A Journey Through the Realms of Jason Brammer

DOCUMENT is delighted to present&nbsp;Artifact Unidentified, a two-person exhibition of recent sculptural works by&nbsp;Kiah Celeste and Gordon Hall.&nbsp;Openingon September 12, the exhibition will remain on view through November 1, 2025.⁠Kiah Celeste’s practice is made up of materials and objects gleaned from urban and industrial contexts, repurposed and combined in sculptures and installations with a post-minimalist bend. Her latest body of work takes on a pared down, yet striking, form: monochromatic pieces of spandex, stretched in poplar frames and installed on the gallery’s walls, playfully incorporate a set of found materials. Extending well beyond the frame to rest on the floor, a large piece of Corian towers within&nbsp;Distent. In&nbsp;Skydrool, a used paint bucket emerges from the center of another frame.&nbsp;Little Apple of Paradise’s frayed bungee cord maintains tension between a cream field of fabric and glass that rests against the floor. Installed bridging a corner,&nbsp;Four Shores’ frames hold plastic cords in tension.Gordon Hall’s sculptures often take the form of pieces of furniture or domestic objects, meticulously reproduced in materials such as cast concrete, wood, or brass. These ambiguously functional works are often employed by performing bodies in Hall’s performances. The works on view in&nbsp;Artifact Unidentifiedrepresent a body of work made for the recent exhibition at ICA Boston,&nbsp;Believers: Artists and the Shakers. Taking cues from artifacts in the Shaker Museum’s collection of over 18,000 objects, sometimes joining discrete elements or extending their dimensions, Hall also introduces diligent interventions such as the steel nails fixed to the underside of&nbsp;Rocker&nbsp;or coloring&nbsp;Knob Weight&nbsp;with red pencil.Kiah Celeste&nbsp;(b. 1994, Brooklyn, NY) lives and works in Louisville, KY. In 2016 she received a BFA in photography from the State University of New York at Purchase. Solo exhibitions include Swivel Gallery, New York, NY (2025), DOCUMENT, Lisbon, Portugal (2023), DOCUMENT,&nbsp;Chicago, IL (2022); Swivel Gallery, Brooklyn, NY (2022); KMAC Contemporary Art Museum, Louisville, KY (2021); Quappi Projects, Louisville, KY (2021). Group exhibitions include The Carnegie, Covington, KY (2025), Salon 94, New York, NY (2025); Mary M. Torrgler Fine Arts Center, Newport News, VA (2024); Speed Art Museum, Louisville, KY (2023); University of Kentucky Art Museum, Lexington, KY (2021); Centre d’Art La Rectoria, Sant Pere De Vilamajor, Barcelona, Spain (2020); and Dadapost, Berlin, Germany (2018).Gordon Hall&nbsp;(b. 1983, Boston, MA) is a sculptor, performance-maker, and writer based in New York. Notable solo exhibitions include The Kitchen, New York, NY (2025); the Portland Institute for Contemporary Art, Portland, OR (2019); the Renaissance Society,&nbsp;Chicago, IL (2018); and the MIT List Visual Arts Center, Cambridge, MA (2018). Hall’s sculptures and performances have been exhibited in group exhibitions at the ICA Boston, Boston, MA (2025); Center for Maine Contemporary Art, Rockland, ME (2022); AIR Gallery, Brooklyn, NY (2021); the Verge Center for the Arts, Sacramento, CA (2019); The Drawing Center, New York, NY (2018); David Zwirner, New York, NY (2018); and the Whitney Museum of American Art, New York, NY (2015).&nbsp;Gordon Hall&nbsp;is Assistant Professor of Sculpture at Vassar College. They hold an MFA and an MA in Visual and Critical Studies from the School of the Art Institute of&nbsp;Chicagoand a BA from Hampshire College. Gordon Hall,&nbsp;Corner Shim (Artifact Unidentified), 2025. Cast brass; 2 x 8 x 13 in.

Kiah Celeste and Gordon Hall: Artifact Unidentified

Human Non-Human presents a sculpture cannibalized by the algorithm: generative software has scanned and obliterated a single artwork by Curry into nearly three hundred variations. Extracting nascent motifs from the original's silhouette, an array of new mutated forms emerge. In some, faces drift through neon-jellied skulls, while in others a jack-o-lantern maw cracks open where a chin once was. Upon completion of Human Non-Human, Curry destroyed the original physical sculpture, thus transforming these variations into the only record of that work's existence. What remains is a visual projection of what could have been: an amalgamation of possibilities and latent transformations across parallel timelines. The soundtrack is a collaboration with Richard Hawkins.

Aaron Curry & Richard Hawkins: Human Non-Human

Corbett vs. Dempsey presents Aaron Curry,&nbsp;Raw Dog, an exhibition of new sculptures, paintings, and collages.&nbsp;This is the gallery's first exhibition with Curry, and the artist's first solo show in Chicago.Aaron Curry (b. 1972) has charted a unique space for his work between the most sub-underground mania of the American pulp grotesque (think comix culture and the surreal side of sleazy commercialism) and the most refined formal elements of European high modernism (think Arp, Miro, Picasso).&nbsp;Based primarily in floor sculpture, his practice moves wildly between mediums, attaching to the walls (paintings, 3-D hanging boxes, collages), spreading into print (books, magazines, newsprint), as well as music and video.&nbsp; An avid historian of offbeat cultural materials, he synthesizes these points of reference in works that are often awash in dizzyingly clashing colors, hyperactive Matta-esque motion, and an ingenuity of construction that is as beautiful as it can be baffling.&nbsp;In&nbsp;Raw Dog, Curry introduces a new component to his wood sculptures, which is to leave them largely unpainted, allowing the natural grain of the material, its whorls and knots and eyes, to carry that sense of flow.&nbsp;Occasional flashes of hot pink, turquoise, and grape purple complement the tanscapes on several boxes and flatworks, while two human-scale sculptures are resolutely wooden, with cut away holes and curvilinear forms dancing with the wood's own patterns, the whole work suggesting a figure, cock's comb perched atop.&nbsp;One large painting compresses all the color that might have been in the other works into a single, atomically-charged abstract canvas. Although this is Curry's first show in Chicago, he is no stranger to the city.&nbsp;He received his BFA from the School of the Art Institute of Chicago before heading to the Art Center in Pasadena for grad school.&nbsp;The Chicago Imagists have remained an important touchstone for Curry in his work, in particular Karl Wirsum.&nbsp;Curry is exhibited widely internationally, with recent shows at Michael Werner Gallery (NYC), David Kordansky (Los Angeles), The Ranch (East Hampton, NY), McNay Art Museum (San Antonio, TX), STPI Creative Workshop and Gallery (Singapore), the Bass Museum of Art (Miami), and the deCordova Sculpture Park and Museum (Lincoln, MA).&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Aaron Curry, Raw Dog

Volume Gallery is thrilled to announce&nbsp;Porfirio Gutiérrez: Modernism, an exhibition of captivating new abstractions exploring linear motifs, opening September 12, 2025, from 5 to 8 p.m. Expanding on the renowned imagery of Gutiérrez’s Zapotec heritage, these highly intentional weavings feature color palettes achieved with natural dyes, honoring the artistic vision of the artist’s ancestors while adding layers of contemporary interpretation.&nbsp; Guided by tradition but informed by contemporary life and experience, Porfirio Gutiérrez’s practice is a powerful affirmation of cultural continuity, personal identity, and artistic innovation. His work bridges generations, reimagining ancestral Zapotec knowledge through a deeply personal and material-driven lens. By honoring the symbolism, technique, and spirituality embedded in Indigenous weaving and natural dyeing, Gutiérrez not only preserves a vital cultural legacy but also asserts its ongoing relevance in today’s world. His weavings are both of the land and expansive in vision—offering a resonant dialogue between past and present, earth and spirit, tradition and transformation. He engages the core principles of Modernism—experimentation with form, abstraction, and an emphasis on materials and process—as a continuation, reinvigorating the very Indigenous imagery that Modernists once borrowed. Through his practice, he asserts the original context and authorship of this visual language, while advancing its relevance within contemporary discourse.His geometric&nbsp;Continuous Line&nbsp;compositions are woven to appear as if drawn in a single, unbroken line, evoking the meandering path of life and a meditative precision. Embracing the beauty of simplicity, these works reflect the rhythms of contemporary life and the cadence of the weaving process itself. The use of line and restrained abstraction speaks to a long history of cultural influence, as the visual language of the Zapotec people has inspired artists all over the world. Through form and material—the texture of wool, the tones of the natural dyes, and the elegance of the continuous line—Gutiérrez creates new compositions with timeless symbolism. The artist’s&nbsp;Monte Albán&nbsp;works are derived from aerial and elevation views of the iconic steps of sacred Zapotec architecture. With concentric lines and stepped motifs, Gutiérrez improvises with the sacred symbolism embedded in his ancestors’ designs. The monumental civic and ceremonial structure Monte Albán in Oaxaca, Mexico, was built in alignment with the sun, moon, and cardinal directions. Gutiérrez is engaging with not only the geometry of the ancient structure, but also the play of light and shadow across stepped forms and the shifting perspective brought by time, season, and celestial movement. The step motifs and sunbaked colors evoke the structure’s spiritual resonance—cycles of life, cosmic balance, and the ongoing dialogue between man, earth, and sky. The presence of braids in Gutiérrez’s work is representative of the deep cultural and spiritual significance plaiting holds in Zapotec culture as ceremonial adornment as well as the artist’s feminine side. The piece is a gesture of healing and emotional connection—an exploration of the strength required to be in touch with one’s emotions. Gutiérrez gathers natural dye materials between his native Oaxaca and his current home in Ventura, California. His process draws from thousands of years of ancestral knowledge and an evolving understanding of chemistry and botany. He is able to produce over 200 distinct hues from a variety of materials: pericón produces golden yellows; marush, greens; huizache, deep blacks; añil, vibrant blues; and cochineal insects make intense reds. His practice requires a sensitivity to nature’s rhythms—harvesting must happen at particular times, and factors like drought or sun exposure can determine the final color. This practice is more than technical; it is spiritual. In transforming earth into color, the artist honors the divinity of nature, recognizing that plants, like people, are living beings. Through this process, he sees himself not as separate from the land but as an extension of it—engaged in an act of reverence, reciprocity, and transformation. Porfirio Gutiérrez: Modernism&nbsp;will be on view through November 1, 2025. Porfirio Gutiérrez&nbsp;(b. 1978) is a California-based Zapotec artist and activist whose deliberately patterned textile works are informed by a marriage of his cultural heritage and an exploration of Modernist principles. Embracing the traditions of the Cloud People, or Zapotecs, who have lived in the Oaxaca Valley of Mexico for over two centuries, the artist works with material sourced directly from the earth, informed by his childhood learning weaving and dyeing techniques from his parents. Gutiérrez’s palette is determined by the varied flora which populates his homeland. Acutely aware of nature’s constant flux, Gutiérrez makes record of the exact period a plant is harvested for dyes, which he calls its “seasonal imprint,” noting that the color gleaned from a specific plant or insect will vary in vibrancy as the effects of climate change continue to be felt.In 2023, the artist’s work was the subject of a solo exhibition,&nbsp;Continuous Line/Cosmos, at Chinati Foundation, Marfa, TX. Gutiérrez’s work has also been included in numerous significant group exhibitions in recent years, including&nbsp;We Live in Painting: The Nature of Color in Mesoamerican Art, Los Angeles County Museum of Art, Los Angeles, CA in 2024;&nbsp;Sangre de Nopal, Fowler Museum at UCLA, Los Angeles, CA in 2024;&nbsp;Temporary Spaces, Mingei International Museum, San Diego, CA in 2024;&nbsp;Weaving at Black Mountain College, Black Mountain College Museum + Arts Center, Asheville, NC in 2023; and&nbsp;Origins, Sharjah Institute, UAE in 2023, among others. Gutiérrez’s work has been acquired by a number of public collections, including the The Art Institute of Chicago, Chicago, IL; Fogg Art Museum, Harvard University, Cambridge, MA; Los Angeles County Museum of Art, Los Angeles, CA; and The National Museum of the American Indian, Smithsonian Institution, Washington, D.C., among others.

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