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

Catacombs Gallery September 19, 2025 - November 14, 2025 The Filipino American experience is a story of cultural fusion. With a heritage woven from Malay, Chinese, Spanish, American, and indigenous influences, Filipinos have cultivated a rich cultural tapestry. As immigrants, Filipino Americans have further diversified this vibrant heritage, creating a natural predisposition to adaptation and an appreciation of inter-cultural exchange. This has led to Filipino Americans often finding themselves at a crossroads, negotiating change while maintaining deep-rooted cultural connections. This experience provides fertile ground for artistic exploration.&nbsp;Lumpia Fusion celebrates this fluid identity by encouraging bold experimentation and unexpected pairings. What new forms emerge when sound or movement intertwine with fabric? What groundbreaking creations can arise from a collaboration between a visual artist and a scientist? How can traditional techniques, such as wood carving, be reimagined through the lens of contemporary art? This exhibition celebrates the beauty that emerges from the fusion of minds and cultures, sparking meaningful conversations.RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below: <a rel="noopener noreferrer" href="https://epiphanychi.com/the-opening-reception-of-lumpia-fusion-filipino-americans-at-a-crossroads/" target="_blank">Register Here</a>

Lumpia Fusion: Filipino Americans at a Crossroads

Woman Made Gallery (WMG) is proud to present “Drawing Resistance: The Artist’s Dilemma in Political Conflict,” a virtual group exhibition that explores the tensions artists face when navigating their creative practice in politically charged environments. The title plays on the dual meaning of “drawing”—as both a visual act and a metaphor for tracing boundaries, beliefs, or courage. In a world increasingly shaped by political unrest, censorship, and global crises, artists are often confronted with a critical question: What is my responsibility in the face of conflict? Must art speak truth to power—or is silence also a choice? Selections by WMG’s Program Committee include works that confront, reflect on, or challenge political realities—whether global or deeply personal.Exhibiting Artists:&nbsp;Ellis Angel, Lucy Aragon, Amal Azzam, Jenny Balisle, Jesper Beckholt, Carol Bivins, Blackmedu$a, Sally Jane Brown, Lulu Luyao Chang, Violet Costello, Rosemary Ann Davis, Graciela DeAnda, Mary Rose Deraco, Jena Doolas, Julianna Finch, Claire Flath, Shawna Gibbs, Julie Glass, Renee Golway, Farah Art Griffin, Deborah Hirshfield, Joanna Hoge, Maggy Hovden, Doina Mihaela Iacob, Meg Katherine Johnson, Tumí Johnson, Elizabeth Kelly, Helen Klebesadel, Kim Laurel, Michelle Louis, Ruth Marchese, Kristen Martin-Aarnio, Clarissa Martinez, Lineadeluz, Heather Mawson, Lori McCoy, Angela A. McElwain, Shanna Merola, Amy L Misurelli Sorensen, Jacie Morgan, Ena Mork, Yue Nakayama, Kelsey Nichols, Laura O’Connor, Olivia Outlaw, Monika Andrew Poray, Nina Rastgar, Ippy, Kathy Sayad Zatari, Mary Senter, Rosa Silver, Sarah Sipling, Talon, Alexandra Rey, Susanne McKenzie Swanson, Jacqueline E. Tirey, Rhonda Urdang, Ria Vanden Eynde, Vikkokoro, Denise Weaver Ross, Lisa Wright, Denise Yaghmourian, Jane Zich.

Drawing Resistance: The Artist's Dilemma in Political Conflict

ART &amp; ARCHITECTURE SHOW East Erie Gallery opens a new fall show in our historic location 161 E. Erie. The gallery is housed in 1877 construction built after the great fire and is on the cusp of receiving landmark status. Work on view will feature a blend of our concrete &amp; natural world. Email <a rel="noopener noreferrer" href="mailto:easteriegallery@gmail.com" target="_blank">easteriegallery@gmail.com</a> for details The show opens Friday Evening, Oct. 17th 5-8PM with small reception and runs till Nov. 15th. Image: Randolph Street, mixed media, 34 x 44 in. by Barbara Tinger.

An Evening of Art & Architecture

An immersive environment by interior designer Andee Hess / OSMOSE

Salon: Lumen Reliquary

Artists: Whitney Bedford, Jeff Carter, Mitchell Charbonneau,&nbsp;Rick Leong, Morgan Mandalay, Kiki Smith, William Staples, Ena Swansea and Amy Vogel Natura Non Constristatur&nbsp;is a Latin phrase meaning “Nature Is Not Saddened.” Co-curated by solo artist Jacqueline Surdell, this survey exhibition brings together a diverse group of multimedia works that formally and conceptually explore the cultural potency of nature - specifically trees and forests - in relation to humanity.

Natura Non Constristatur

A new body of multimedia works engaging themes of transformation through land, storytelling, memory, and spirituality <a rel="noopener noreferrer" href="https://secristbeach.com/" target="_blank">Details</a>

Jacqueline Surdell: The Conversion: Rings, Rapture and the Forest Archive

Apparent Paths&nbsp;brings together a new series of weavings by&nbsp;Emily Frances Winter. These building portraits utilize the textile language of plaids, stripes and gradients to render sky, earth and architecture. Woven while in residence at the Icelandic Textile Center (Blönduós, Iceland) and Praxis Fiber Workshop (Cleveland, Ohio), the works represent a series of singular moments when light and form and shadow lined up in such a way as to bring the simultaneous specificity and universality of the built environment into view. These building portraits deploy the material qualities of thread and woven structure to address questions of space, light, and volume and a certain type of observation made possible by attention and patience and presence.<a rel="noopener noreferrer" href="https://oq8cplyab.cc.rs6.net/tn.jsp?f=001qN7C5MC1MKO26JFpc-Z7s3qARqx8-wDlTd2g1OfsVdW6rFZqSNrcTTYw-d9rdQc-zEQt8v0NEchmef55vn0xwNQljxW9rQqN9546uWDEz57UmwdfQVkGMzQ0W00zzRnxK5ehGMigtoeSjNXTLydp6ta2tJvvsB89qmNFA5PZ3xFpU4bG42dwGUC5fG0vRCN6B3G_oZVedDhfmj1evBHXPSxlswx4MSp25R6Uhv9_eAc=&amp;c=VE1pMnxRc_25qd3r0J13n6ETpf00E4h05M_mSX32i6nUkwnGJttMeQ==&amp;ch=rO_GT9QZ_7EquiEoc4K3l_8dwwD5PjmFcamBCJKhUj6IXaD91Vxe4g==" target="_blank">Read More</a> Image: Emily Frances Winter,&nbsp;Detail of&nbsp;SHED 1,&nbsp;2023, Linen, cotton, and wool.

Emily Frances Winter: Apparent Paths

Krasl Art Center is pleased to present&nbsp;Andrew Light: The Shadow Caster Variations, an exhibition that reflects on two decades of sculptural exploration by artist Andrew Light. On view October 4 through November 16, the exhibition features new and recent works that explore the correspondence between images and ideas, and how shadows shape perception.For much of his career, Light has created sculptures intended for outdoor placement, where seasonal shadows become part of the work itself. Through years of photographic documentation, Light has amassed an archive of these ephemeral forms. In this exhibition, he transforms those shadow—images born of absence into drawings, portraits, and sculptures that explore possibility, imagination, and the heroic tradition.Light explains, “Shadows inevitably exist outside of the realm of things, made purely of possibility, their presence constituted by absence. Without the burden of being a thing, they become a place for imagining, for questioning what might be.”The exhibition demonstrates Light’s shift from a practice rooted in direct engagement with physical materials toward one informed by images and their generative potential. His process of experimentation — marked by both failures and triumphs — elevates fleeting impulses into resolved works of art.Krasl Art Center Associate Curator Meli Bandera notes, “Andrew’s work bridges the tangible with the intangible, reminding us that absence and presence exist together in constant dialogue. His practice is both rigorous and poetic, and this exhibition highlights the depth of his inquiry into form, light, and possibility.”Andrew Light is an award-winning, multidisciplinary artist with an emphasis in direct metal sculpture. Trained both academically and through apprenticeships, he is celebrating his 20th year of professional practice. Light has participated in hundreds of exhibitions throughout the United States and the United Kingdom, with works included in public and private collections worldwide. ﻿For more information regarding the exhibitions, visit&nbsp;<a rel="noopener noreferrer" href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=001HmpqRwV80WkbKPruFDnzFUGkiKQNyoGUavRga1jrxyWxCKtNFKHvN6ckjQeHGt0GtdyWjk3lSYmRr-qDdWN2CLBviN4xkszoDaKJAf1e4I6jqxA78v6412ePiTkmFurKZJuEJpPq3qx-W6mnKwLzgu7pudjcqkA0&amp;c=XW2_C_qvaV_2sJUlWXKsNO6E1LI64vwmFnu41A5IxWow6qJf7USNBw==&amp;ch=2eHJQMFdrRbue83Z0oaRX3WQqpmh_fYjqvx-vsRpyk5UeBAM9szUPg==" target="_blank">www.krasl.org</a>.

Andrew Light: The Shadow Caster Variations

The Chicago Printmakers Collaborative is pleased to open the gallery season with a Reception on September 6th from 5-8pm with a gallery show focused on architecture. Join us on September&nbsp;6th to meet some of the remarkable artists participating in this exhibition and take a first look at this selection of gorgeous prints. Foundations: Architecturally Themed Prints will be on view through November 16th, 2025. Image:Top (left to right: Art Werger, Dan MacAdam, Kouki TsuritaniBottom (left to right): Thessalia Stephanou, Dennis O'Malley, Joanna Anos, Hiroshi Ariyama

Foundations: Architecturally Themed Prints

The Ukrainian Institute of Modern Art presents&nbsp;Black Women and Clay, a powerful exhibition that brings to light the remarkable but often overlooked contributions of Black female ceramic artists in Chicago. This groundbreaking show honors the legacy of pioneering artists while celebrating contemporary voices who have shaped the city's ceramic arts landscape.The exhibition addresses a critical gap in art world recognition, as Black women artists represent less than 0.5% of museum acquisitions nationwide despite the Black population comprising 14% of the U.S. population.&nbsp;Black Women and Clay&nbsp;seeks to rectify this disparity by showcasing the exceptional talent, innovation, and cultural significance of Chicago's Black female ceramic sculptors.Central to the exhibition's narrative is the legacy of Marva Lee Pitchford-Jolly, known as a transformative force in Chicago's ceramic arts community. After transitioning from social work to ceramics in 1981, Pitchford-Jolly taught at Chicago State University and mentored numerous Black artists including Juarez Hawkins and Malika Jackson. Her founding of the art collective "Sapphire and Crystals" in 1986 created essential community support for Black female artists. The exhibition also pays tribute to other influential figures including Eselean Goree Henderson, known as "The Clay Lady," who launched her ceramic career after retiring from teaching and studying at the Art Institute of Chicago in the 1970s. The exhibition also explores how these artists draw upon rich African ceramic traditions while addressing contemporary themes of identity, community, and social justice. The exhibition traces connections from masters like Ladi Kwali and Magdalene Odundo to Chicago's vibrant contemporary ceramic scene, highlighting how cultural heritage informs modern artistic expression.Additionally, the exhibition addresses the unique challenges faced by Black women working in ceramics, from limited access to expensive equipment and studio space to confronting racism within predominantly white ceramic studios. These artists have persevered through systemic barriers while creating spaces for authentic artistic expression that centers Black experiences and perspectives. "My message that is good for about Black women, that is my specialty, that is somethingI want us to be about is success. We have nurtured everybody else's and not ours," said Marva Lee Pitchford-Jolly, whose words serve as inspiration for this exhibition. The artists in&nbsp;Black Women and Clay&nbsp;work to challenge commonly held stereotypes about Black artists, demonstrating that they are not a monolithic group creating uniform art.Instead, the exhibition showcases the rich diversity of artistic voices, techniques, and perspectives within Chicago's Black female ceramic community. United by their shared commitment to creating in comfortable, accepting environments, these artists populate the art world with figures from their lives, histories, and spiritual hearts. Many of the featured artists grew up during an era when positive representations of Black artistic life were largely absent from mainstream media, museums, television, and movies. Through their ceramic works, they create the representation they wished to see, crafting powerful visual narratives that celebrate Black identity, culture, and experience. Building on Chicago's rich tradition of community-based Black arts initiatives dating back to the 1940s and the founding of the Southside Community Art Center–the first Black art institution in the U.S.–this exhibition continues the city's legacy of supporting marginalized voices and challenging traditional art world hierarchies. About the Ukrainian Institute of Modern Art The Ukrainian Institute of Modern Art (UIMA) preserves and promotes contemporary art as a shared expression of the Ukrainian and American experience. UIMA develops, utilizes and encourages artistic talent through exhibitions, concerts, readings, lectures and films to serve the cultural needs of our community and city, and thereby strengthen cultural understanding and diversity.

Black Women and Clay

Join us on October 16, from 6-8 pm, for the opening reception of this amazing new show. Meet some of the artists and hear who won the awards.&nbsp;Doors open at 6.00 pm, the artists' talks and awards begin at 6.30 pm.&nbsp;

Animalia

Oct. 11 – Nov. 21 CSI Project Space: Group Exhibit - Curator Chris Wubbena ﻿Oct Sculpture in the Parks: New Installations Photo credit: Chris Wubbena

CSI Project Space: Group Exhibit

Our fall show,&nbsp;A New Season: A Small Group Show featuring Jennifer JL Jones and Karl Pilato,&nbsp;opens on Thursday, September 18th with a reception in the gallery from 5-7 pm. We hope you'll join us for an evening of arresting art, engaging conversation and light refreshments!A New Season&nbsp;will be on view through November 22nd.

A New Season: A Small Group Show featuring Jennifer JL Jones and Karl Pilato

65GRAND presents SCOTT STACKOctober 24 - November 22, 2025 Opening Reception: Friday, October 24 (6 - 9PM) 65GRAND is located at 3252 W. North Ave Image: Scott Stack, G in Portugal, 2020, oil on canvas, 72 x 96 inches&nbsp;

Scott Stack

Sacristy GallerySeptember 19, 2025 - November 22, 2025 My 1.5-year-old son says only a handful of words- wow, momma, daddy, ball, truck, fraise, ciao. The week I committed to this exhibition at Epiphany, he added a new word: birthday.Birthday is about how scary it is to begin. The first scream, first smile, first word, first step, first fall. The moment my son was born, I was certain I was dying. In the days and months that followed it still wasn’t clear as we existed in a new web of pain, euphoria, and wonder. It helps to have something to hug, something to hold you up, somewhere to rest. A birthday is a celebration, a renewal, but also a reckoning. Sometimes counting up feels like counting down, and the beginning is also an ending. The work in this show is holding on and letting go. The subject matter appears familiar, a stuffed animal, a lifejacket, paintings of pillowcases. Materials in the show include silk, human hair, and hair salon foils. Having grown up in a hair salon, these objects and images anchor me to my own childhood, my own history of birthdays, and the experience of the passing of time. The week Birthday opens, my son will turn 2. RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below: <a rel="noopener noreferrer" href="https://epiphanychi.com/the-opening-reception-of-margaret-crowleys-exhibit-birthday/" target="_blank">Register Here</a> About Margaret CrowleyMargaret Crowley&nbsp;(b. 1987, Ottawa, Illinois) is a Chicago-based artist. Recent solo shows include Hazard at University Galleries at Illinois State University, and Comb at Devening Projects in Chicago. Her work has been exhibited at Ditch Projects in Springfield, Oregon; Reva and David Logan Center for the Arts, University of Chicago; Chicago; Hyde Park Art Center, Chicago; Chicago Artists Coalition; Cue Foundation, New York City; and Área: Lugar de Proyectos, Caguas, Puerto Rico. Crowley has received the Jarislowsky Foundation’s Emerging Artist Award, which included a residency at the Banff Centre for Arts and Creativity in Banff, Canada. She has also been awarded multiple individual artist grants from the Illinois Arts Council and a residency at Ox-Bow School of Art and Artists. NewCity Chicago named her one of Chicago’s 10 Breakout Artists of 2023. Crowley is the co-director of Produce Model Gallery, Chicago. She received her M.F.A. from the University of Chicago, M.A. from Eastern Illinois University, and B.S. from Illinois State University.

Margaret Crowley: Birthday

Slemmons Gallery September 19, 2025 - November 22, 2025 Imperfect Players&nbsp;is a collection of ceramic vessels that can be performed as musical instruments and accompanied by drawings. I worked at an auction house creating condition reports for fine and decorative art. These objects were valuable for their aesthetic, craft, and cultural histories. I often studied ceramic vases closely and under a black light to find the imperfections: cracks, chips, and many networks of hidden repair. They had their own material stories in the flaws of their production and accumulation of wear. These imperfections degraded their value, but also served as evidence of their authenticity.&nbsp; I am a similar vessel. My human body has sustained physical and psychological changes and damage, and I hold that with me as I function day to day. Especially after giving birth to my child, I was very aware of dramatic shifts to my mind and body, and I struggled to perform as I once did. Imperfect Players is a response to that corporal rift. These forms are adorned with their own broken and fused pieces, just as I hold onto memories and my material body holds scars and strain of the past. Although broken, these vessels are also instruments that can be played to make musical sounds. Imperfect Players&nbsp;celebrates imperfect and broken vessels that disrupt the idealized form, and still function as instruments in the world.RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below: <a rel="noopener noreferrer" href="https://epiphanychi.com/events/the-opening-reception-of-liz-mccarthys-exhibit-imperfect-players/" target="_blank">Register Here</a>

Liz McCarthy: Imperfect Players

At RAM’s Wustum Museum Contemporary art jewelry often investigates cultural, social, personal, and environmental topics. Distinguished by a vocabulary of diverse media from precious metals to recycled objects, it also reflects artists’ interests in material exploration and notions of wearability. RAM’s holdings in art jewelry—with examples from artists from across the globe at varying stages in their careers—have grown rapidly. Artistic self-consciousness often drives those who make work considered “art jewelry,” though this is just part of a much larger conversation. Makers explore a wide variety of issues, materials, and themes, while utilizing media—both precious and non-precious—that encourage the exploration of jewelry and its history. In this selection of seven artists of color from RAM’s collection, the emphasis is on materials not traditionally anticipated for use in jewelry, such as polymer, safety pins, and silicone. While there are theoretically no limitations to the materials any artist can use, there have historically been barriers to some artists of color in the United States—indirect or otherwise—to access tools, materials, or studio spaces. At this moment, more and more efforts are being made to support and encourage the work of artists of color while drawing attention to existing work.Following the&nbsp;<a style="color: var(--link_color);" rel="noopener noreferrer" href="https://www.ramart.org/exhibit/nicole-acosta-hoops/" target="_blank">solo exhibition of Nicole Acosta</a>, which featured photographs of people of the global majority wearing hoop earrings, this exhibition emphasizes an idea that RAM often explores: how adornment can go beyond decoration to become a symbolic and layered space for meaning. While some of the work in this exhibition has been shown in the galleries at RAM, all of these pieces are making their debut at Wustum. Image: Lorena AnguloMilagro Heart Tree of Life, 2022Bronze, coral and turquoise beads, brass wire, and stainless steel wire4 7/8 x 3 7/8 x 3/4 inchesRacine Art Museum, Windgate Foundation Contemporary Craft Acquisition GrantPhotography: Jon Bolton

RAM Showcase: Focus on Adornment

Guild Room September 19, 2025 - November 22, 2025 This series of paintings and drawings explores the enduring spirit of Pierrot—the iconic French character who embodies poetic vulnerability, theatrical grace, and quiet melancholy. L'esprit de Pierrot&nbsp;(The Spirit of Pierrot) is not a character study—it is an atmosphere. The works evoke fragility, introspection, and the unspoken drama of being. Each piece exists in a suspended moment between stillness and performance, between reality and reverie. Through subtle gesture and deliberate restraint, the artwork creates an emotional atmosphere that transcends literal representation. The compositions become mirrors, inviting viewers to project their own inner theater onto each image.With this exhibition, WERIEM invites viewers to pause within these contemplative spaces, to feel the weight of unspoken emotion, and to recognize the delicate ways in which beauty, loss, and imagination intertwine in our daily performance of being human. RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below: <a rel="noopener noreferrer" href="https://epiphanychi.com/events/the-opening-reception-of-weriems-lesprit-de-pierrot/" target="_blank">Register Here</a>

WERIEM: L’esprit de Pierrot

I collect clothes from resale shops. The coat was too expensive and designed for Paris weather.&nbsp;I visited “my” coat several times. Kimono cut, loose woven wool, perfect fit. Hard to leave it behind… So, I drew it. Another form of ownership.I tailored the coat to my wish with colors, prints, words, more prints. I customized each piece of clothing in the show, to be my own and all about me. With time, as I worked on the many designs and screens, I discovered that they didn’t happen by chance. Many unexpected memories found their way between layers.Anne attended the École Supérieure d'Arts Graphiques Penninghen in Paris. She received her Master’s Degree in Art History from the Sorbonne and her PhD from Northwestern University.&nbsp;She works at her home and in local studios.&nbsp;Anne draws inspiration from her encounters with people, books, objects, landscapes, events, and passing thoughts.I treasure overlooked details. They carry big worlds and make them almost manageable.They show loss through the beauty of what is left and joyful. The immeasurable abundance of life, and my ignorance of most things in it, alarms and dazzles me; with infinite layers, lines, and colors.&nbsp;Printmaking has allowed me to create a library of designs that can transfer across a variety of media. In my case, ceramics and textile. Designs can be mixed, reused and altered. They are friends, markers and narratives in time. The designs transfer between media seamlessly.&nbsp;For me, printmaking is fast and exuberant, or slow and contained just as writing is. I see no difference.&nbsp;These art forms&nbsp;share paper and ink. They delight me with the slight but indelible transformation created when ink presses on the white surface of the paper.&nbsp;Throughout my cheerful, blind walk across artwork, printmaking gives me an illusion of perennity.

Anne Bernard-Pattis: My Extravagant Wardrobe

Diego Marcon, an artist known for his radical rethinking of cinema, sound, and space, makes his U.S. debut at the Renaissance Society this September. Marcon’s practice is rooted in entertainment and structural cinema—eschewing traditional storytelling to explore the mechanics of filmmaking itself. His works challenge the hierarchy between subject and image, dissolving narrative into abstraction. For this exhibition, Marcon presents&nbsp;Krapfen, a newly commissioned musical dance film that stages an encounter between the kid, performed by dancer Violet Savage, and four characters represented by costume props: gloves, foulard, trousers, and pullover.&nbsp;Krapfen&nbsp;is also an encounter between the golden age of American animation and Italian opera. The choreography—a mix of contemporary dance, classical ballet, and popular entertainment forms—reflects the juxtaposition of traditional and digital filmmaking processes, a hallmark of Marcon’s practice. Curated by Myriam Ben Salah. Lead support for this exhibition at the Renaissance Society is provided by the Robert and Penelope Steiner Family Foundation. Diego Marcon’s&nbsp;Krapfen&nbsp;is co-commissioned and made possible by Fondazione Sandretto Re Rebaudengo, Lafayette Anticipations, New Museum, the Renaissance Society, and The Vega Foundation with additional support from Sadie Coles HQ, London, and Galerie Buchholz, Berlin/Cologne/New York. <a rel="noopener noreferrer" href="https://renaissancesociety.us11.list-manage.com/track/click?u=28258b64874e626df0979c0de&amp;id=a0683e9dae&amp;e=375d06b725" target="_blank">Learn more</a>THIS PROGRAM WILL HAVE REALTIME CAPTIONING. Image: Diego Marcon,&nbsp;Krapfen (Gloves), 2025 © Diego Marcon. Courtesy Diego Marcon. Produced by Fondazione Sandretto Re Rebaudengo, Lafayette Anticipations, New Museum, the Renaissance Society, The Vega Foundation. Photo: Brigida Brancale.

Diego Marcon: Krapfen

Devin Ingram, a Chicago-area artist, husband, and father, creates artwork reflecting his life experiences encompassing tragedy, love, pain, and joy. His diverse artistic approach, utilizing acrylics, oils, ink, pastels, and pencils, demonstrates his commitment to employing readily available materials to convey his artistic vision. Dev intends to convey his concepts visually, creating a presentation that is not only seen but is also felt.&nbsp;Reception and Gallery Talk: November 13, 7-9pm

Devin Ingram

Not Everything We’ve Inherited is Worthy examines the complexities of parent-child relationships, with a focus on motherhood. Drawing inspiration from the enduring expectations placed on children, often regardless of their own feelings, the pieces confront the realities of failed motherhood and abuse that leave lasting emotional wounds. By incorporating deliberate motifs such as pantyhose, cowry shells, and hair, the work juxtaposes traditional sculptural materials with objects that symbolize femininity, reflecting the artist’s contextualization of motherhood. These materials and forms explore the intertwined dynamics of love, manipulation, and envy. Revealing the emotional layers that shape these relationships. Conceptual installations are grounded in a nude color palette, emphasizing the body and the physicality of parent-child connections. Through this lens, the work provokes reflection on power dynamics, the struggle for self-assertion, and the enduring impact of emotional harm within intimate familial relationships.

Hannah Fitzgerald: Not Everything We’ve Inherited is Worthy 

This series is a response to the subtle erasure of the natural world from our shared language. The removal of words like "acorn,” "dandelion," and “raven" from children's dictionaries is more than a linguistic update; it is a symptom of a growing disconnect from the environment. These once-common words, replaced by tech words like "broadband" and "bullet-point", represent a wealth of lived experience and ecological knowledge that is being forgotten. Language has the power to both define and connect us to our surroundings. This series urges us to pause, look, and remember the words that anchor us to the living world. The work aims to reclaim and celebrate these words and to encourage a deeper appreciation for the environment and a more mindful engagement with the world around us.

Lee Stanton: Lost Words

“Frankly, I make clothes for women to look sweet. I like sweet women. I see women’s role in life in the light of sweetness. Men should be the hunters. Women are the keepers of the hunters: it’s a straightforward, set philosophy of mine.” - Laura Ashley “Disruptive camouflage” is a type of camouflage that uses patterns and color to hinder detection or recognition of an object's boundaries and/or other conspicuous features of its body. It involves the manipulation of the perceptual processing of its viewers. Laura Ashley was a Welsh designer known for her romantic floral prints and feminine designs with a bucolic feel. Like modern tradwife influencers, she promoted the idea of women as submissive wives and mothers to contradictorily become a breadwinner. Hunting camouflage is meant to render a person invisible while hunting, but wearing it has become a fashion statement in rural areas to show off one’s masculinity and dominance over nature. Sophia Brueckner designs new camo patterns that integrate Laura Ashley florals with Realtree hunting camo and use them to make gender stereotyped artifacts and clothing to subvert false binaries about gender, class, domesticity, and nature.

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