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

Artist and musician Richard Landry's short film plays on a game of eye-ear coordination. A play of visual and sonic rhythms using hands and light. Landry considers these movements "imaginary hand exercises for beginning drummers."

Richard Landry: One, Two, Three, Four

A group show exploring the interplay between art, interior design, and the natural world.&nbsp;The show examines the boundaries between indoor and outdoor spaces and the psychologies of our interior worlds.Featured artists: Michelle Peterson Albandoz, Arlene Byster, and Michael McGuire. <a style="color: rgb(49, 95, 195);" rel="noopener noreferrer" href="https://rkcgwygbb.cc.rs6.net/tn.jsp?f=001pQCTLAZWoLcf8QKJ7bW0UTmQQvLi8QCbGnkKtsql4i6I9ZL64t5o-ClLO30U4qlgv048XIrjFaewr2r6LMYau17m9mnS_bzm057XRhSnUrrLvOWRjDozAZ1z0dr1mWM1ZFSpwnFn1iGu7xAuUdfO__an6CkBezKnVNNCFkOBDOK57GYT99hHze8q7mHIJ_OYezlzgwpQEh-Ha5D_DagQMdE7ZK-F7QE7uOMYZKgk0MlDIZhdACWpww==&amp;c=IJzV2jz8yvZtX5CTPVPXoMUDippq0o1jIRBZpwu4VeFXp_eCnKxnzg==&amp;ch=kzLhgOqA5aEWuRf34Ovhff1OQt3YOA0ZU-fCxhD596BhhhFEKh0xXw==" target="_blank">Learn more</a>

Where we dwell

Although its placement in the annals of art history has been linked to exhibitions there in the latter half of the 1960s, the Chicago neighborhood of Hyde Park had been an enclave for artistic activity starting decades earlier. This focused group show gently decenters the Hyde Park mythology, configuring the Imagist shows at the Hyde Park Art Center as a continuation of the neighborhood’s longstanding bohemianism and experimentation.&nbsp; At the center of the exhibition sits painter Gertrude Abercrombie, whose recent “discovery” and meteoric ascent in the contemporary art world, fifty years after her death, has come as a surprise to her many admirers in Chicago. Spotlighting an important canvas first unveiled in 1945 at the Renaissance Society (also located in Hyde Park) and a tiny self-portrait in a thrift store frame, the show presents never-seen portraits of Abercrombie by Karl Priebe and Ceil Rosenberg.&nbsp; The exhibition features work by Eleanor Coen and Max Kahn, whose printmaking activities were based in the south side neighborhood in the 1930s and ’40s, as well as fellow Hyde Parker Miyoko Ito, represented by an early canvas, and a “binocular” painting by Harold Haydon, an artist and critic closely associated with the University of Chicago. One of the most beloved and colorful artists of Hyde Park, Cosmo Campoli is present with his signal 1950s bronze “Birth of Death.” Don Baum, like Campoli, was associated early on with the Monster Roster; as director of the Hyde Park Art Center, Baum went on to help facilitate the Hairy Who, False Image, and Non-Plussed Some Imagist shows, and is included in&nbsp;“Nuth’n to Hyde”&nbsp;with two pieces from the 1960s, one of which is an assemblage portrait of collector and Hyde Park social maven Ruth Horwich. From the Imagist camp, the show presents works by Karl Wirsum (the elaborate flyer from which comes the show’s title, together with its original sketch), a piece by Jim Falconer shown in the third Hairy Who exhibition, replete with its original price tag, and a sensational Jim Nutt painting from the mid 1970s. Image: Karl Wirsum,&nbsp;Untitled (We Got Nuth’n to Hyde),&nbsp;1974,&nbsp;ballpoint pen, and colored pencil on notebook paper,&nbsp;17 x 13 1/2 inches,&nbsp;signature in graphite on the bottom.&nbsp;

Nuth'n to Hyde: Gertrude Abercrombie and the Hyde Park Ethos, 1935–1975

Corbett vs. Dempsey is honored to present&nbsp;Poised Compression, an exhibition of sculpture, film, and sound by Rosa Barba. This is Barba’s first show at the gallery and her Chicago debut. CvsD previously screened her film “Radiant Exposures – Facts Run on Light Beams These Days” and released her CD (with drummer Chad Taylor) titled&nbsp;In a Perpetual Now of Instantaneousness. If our present moment is, as Rosa Barba has postulated, held captive by a particular version of the cinematic, one that we deploy unquestioningly with screens and projections of every imaginable scale, how can an artist critique and interrogate those by now thoroughly internalized mechanisms of viewing? Over the course of two decades, Barba has sought to rewire the cinematic stranglehold on our collective phenomenological reality. Both in the content of her films and in her inventive deconstruction of the cinematic apparatus, the Italian-born, Berlin-based artist has created an extensive oeuvre of free-standing and wall-hanging works, as well as movies, music, writings, performances, and installations that deeply question cinema’s construction of time, space, and perspective and subvert the way it has been subtly substituted for the popular unconscious.&nbsp;Poised Compression&nbsp;is the first gallery exhibition to follow (with a short cross-fade) Barba’s highly lauded solo show at New York’s Museum of Modern Art,&nbsp;The Ocean of One’s Pause, which surveyed fifteen years of her work and included performances and screenings, as well as an installation of the work in MoMA’s permanent collection.&nbsp; CvsD’s presentation includes one pivotal work that also appears in MoMA’s show, her 2009 sculpture “One Way Out,” which conceives of a film projector as a mysterious kind of feeder, spooling celluloid up into and back out from a swath of HVAC tubing, which amplifies the sound of the film as it bounces against the metal edges; over time, the film’s image, which is simultaneously being projected against a wall, acquires scratches made during the continuous action of its being sucked up into the pipe. The show includes two other kinetic sculptural works. “Color Clocks: Verticals Lean Occasionally Consistently Away from Viewpoints” (2012) consists of three towers with open housings each containing red, yellow, or blue 35mm film strips imprinted with letters spelling the colors they represent, which slide through a mechanical set of rollers in an infinite loop. The exhibition’s title work, “Poised Compression” (2023) is a wall-hanging, glazed metal box in which three spools rotate continuously, spinning strips of 35mm film in an ever-shifting pattern of lines, a kind of perpetual drawing machine. The exhibition also includes two still pieces, “Weavers” (2023), framed wall-works consisting of woven red and milky white 16mm film as an abstract painting, a ductile reclamation of cinema’s basic means of production. Rosa Barba (b. 1972, Agrigente, Italy) lives and works in Berlin. She studied at the Academy of Media Arts Cologne, the Rijksakademie van Beeldende Kunsten, Amsterdam, and the Malmö Art Academy, Lund University, where she completed her PhD in 2018. Recent and upcoming solo institutional exhibitions include the Calouste Gulbenkian Museum, Lisbon (2026, upcoming); MAXXI, Rome (2025, upcoming); Museum of Modern Art, New York (2025); MALI, Lima (2024); Boijmans Museum, Rotterdam (2024); Centre Pompidou, Paris (2023); Tate Modern, London (2023); and Perth Institute of Contemporary Arts, Perth, Australia (2023). Her work is held in numerous collections internationally, such as the Museum of Modern Art, New York; Philadelphia Museum of Art; Walker Art Center, Minneapolis; Centre Pompidou, Paris; Staatliche Museen zu Berlin, Neue Nationalgalerie, Berlin; Tate Modern, London; Museo Nacional Centro de Arte Reina Sofía, Madrid; among many others.&nbsp; Image: Rosa Barba,&nbsp;Poised Compression,&nbsp;2023,&nbsp;steel, glass, motors, 35 mm film, aluminum,&nbsp;51 1/8 x 43 1/4 x 4 3/4 inches (130 x 110 x 12 cm),&nbsp;edition #2/7 (unique in a series of 7 variations + 2 AP).

Rosa Barba: Poised Compression

SECRIST | BEACH is&nbsp;pleased to announce the exhibition&nbsp;Master Class: Inside the Last American Museum School with SAIC Painting Alumni.&nbsp;Master Class&nbsp;brings together artworks by over 60 former and current students who studied in the Painting and Drawing Department of the School of the Art Institute of Chicago (SAIC) between the years 2000 and 2025. This exhibition, on view from April 19 through June 21, 2025 at SECRIST | BEACH in Chicago, is guest-curated by art historian, Chair of the Department of Painting and Drawing and current faculty member Lisa Wainwright along with SAIC President Emerita, Elissa Tenny. The gallery will host an opening reception for the public on Saturday, April 19 from 5-8PM.&nbsp; In 1866 a group of 35 artists founded the Chicago Academy of Design. Their mandate was to create a free school to study “life” and “antique” drawing and to run a gallery space alongside the school. The building the original gallery space occupied was lost in the Great Chicago fire of 1871, but by 1879 a new gallery space, with the support of new board members, was born and renamed the Chicago Academy of Fine Arts. In 1882, that name was changed to&nbsp;what we know as&nbsp;the Art Institute of Chicago. Since that time, the School and the Art Institute have grown into a symbiotic dynamic that has&nbsp;greatly impacted both the Chicago scene and the larger art world&nbsp;in myriad ways.&nbsp;&nbsp;&nbsp; On the eve of its 160th anniversary, and little known to many, the School of the Art Institute of Chicago is the last 'Museum School' in North America. In celebration of this achievement,&nbsp;Master Class&nbsp;dives into the close connection between the museum and the alums of its renowned Painting and Drawing Department from the last 25 years. On view in the gallery will be an artwork by each of the artists selected, taking up the entirety of the gallery’s 10,000 sq. ft. space. In addition to their own artwork, each artist has been asked to identify an artist and a work of theirs from the collection of the Art Institute. Didactics and a video presentation on view in our salon room will guide viewers to those works in the collection.&nbsp; Curating this exhibition has reminded us - and will express to viewers - the integral and generative link between the school and the museum, highlighting the long histories of public collections and art-making in Chicago. Some of the connections between the artwork on view and their chosen Art Institute collection include a Tony Lewis drawing and Stuart Davis’&nbsp;Ready-to-Wear&nbsp;(1955), Jeffly Gabriela Molina’s painting with Agnes Martin’s&nbsp;Untitled No. 12&nbsp;(1977), Minami Kobayashi’s painting and Pierre Bonnard’s&nbsp;Earthly Paradise&nbsp;(1916-1920). What becomes apparent in&nbsp;Master Class&nbsp;is the indelible impact these master artworks have provided for two and a half decades of art students. Contextually, placing these works into close proximities allows the viewer to comprehend the role a museum has in the cognitive&nbsp;and technical&nbsp;development&nbsp;of artists. Ultimately, the engaging&nbsp;pairings provide&nbsp;insight into the role of looking,&nbsp;sensorial consciousness,&nbsp;historical mapping,&nbsp;institutional awareness and other more surprising discoveries.&nbsp;This exhibition serves as a&nbsp;tangible experience for anyone interested in art history and pedagogy. CATALOGUE:&nbsp;In recognition of the importance of this monumental exhibition, SECRIST | BEACH is developing a comprehensive catalogue that will provide valuable insight regarding&nbsp;Master Class.&nbsp;Many&nbsp;participating artists&nbsp;have&nbsp;provided their own writing in which they expound on their experience as a student, their relationship with SAIC and why the master artwork they chose was impactful. A cadre of art historians, critics and academics connected to SAIC will also be contributing essays that focus on individual artists and their inspiration. Additionally, art historian and co-curator of&nbsp;Master Class&nbsp;Lisa Wainwright and artist and SAIC&nbsp;Crown Family&nbsp;professor Michelle Grabner will contribute introductory essays diving into the history of the relationship between the School and the Institute,&nbsp;and the placement of twenty-five years of production in the context of contemporary art. SCHOLARSHIP:At the conclusion of&nbsp;Master Class, Carrie Secrist and Bill Beach will be presenting a gift to The School of the Art Institute to support future students and their endeavors in learning.&nbsp; Artists featured in&nbsp;Master Class&nbsp;include:Lindsay Adams, Noelle Africh, Luke Agada, Alberto Aguilar, Latifa Alajlan, Cecilia Beaven, Aviv Benn, Samantha Bittman, Elijah Burgher, Robert Burnier, Nik Cho, Alex Bradley Cohen, Jeane Cohen, Paula Crown, Chelsea Culprit, Tavin Davis, Dana DeGiulio, Austin Eddy, Stephen Eichhorn, Peter Fagundo, Nicola Florimbi, Howard Fonda, Jae Ford, Jonathan Gardner, Magalie Guérin, Antonia Gurkovska, Efrat Hakimi, Andrew Holmquist, Mika Horibuchi, Patrick Dean Hubbell, Steven Husby, Omair Hussain, G.D. Johnson, James Kao, Em Kettner, Minami Kobayashi,&nbsp;Meredith Kopelman,&nbsp;David Leggett, Tony Lewis, MJ Lounsberry, Wangari Mathenge, Kristoffer McAfee,&nbsp;Rodney McMillian, Isabella Mellado, Emily Miller, Jeffly Gabriela Molina, Aliza Nisenbaum, Angel Otero, Ruth Poor, Kaveri Raina, Autumn Ramsey, Celeste Rapone, Josh Reames,&nbsp;Clare Rojas, Sterling Ruby, Charlotte Saylor, Claire Sherman,&nbsp;Sumakshi Singh, Cameron Spratley, Keer Tanchak, Sebastian Thomas, Alice Tippit, Orkideh Torabi, Pedro Trueba, Cody Tumblin, Omar Velázquez, Jonathan Worcester, Hiejin Yoo and Molly Zuckerman-Hartung.

Master Class: Inside the Last American Museum School with SAIC Painting Alumni 

Huguette Caland:&nbsp;Bribes de corps&nbsp;presents painted works by the Lebanese artist whose life and career traversed decades, continents, and media, defying both aesthetic and social conventions of her time and place. Bringing together a significant corpus of works that have rarely been seen together, the exhibition focuses on the body of work that Caland produced while living in Paris in the 1970s, the&nbsp;Bribes de corps&nbsp;[“Body Bits”] and constitutes the largest presentation of the series to date.Caland’s own body and her preoccupations with its size and its pleasures motivated much of her work throughout this period, and this exhibition introduces the languages—sometimes joyful and sometimes pain-ridden—she cultivated in shape and color to speak of her experience alongside those of other bodies. The artist also played with what Western art history categorizes as the diametrically opposed poles of abstraction and figuration, rendering the distinction between color and line indiscernible, subject positions and parts indecipherable, and making normative or binaristic gendering unimaginable even as the body parts she painted often transform into landscapes or blend into the haze of color fields.The work is contextualized in relationship to debates about gender and sexual norms in both France and Lebanon during the time. It concludes with a more recent painting from the artist’s late series of tapestry-like paintings, which bring her interest in the body and its surroundings to full force through a painterly idiom that borrows from the techniques and cultures of&nbsp;tatreez, or Palestinian embroidery. The exhibition also includes a selection of three embroidered dresses, which Caland designed and wore, and which consolidate the relationship between art and flesh in her practice. The exhibition is made possible by the Smart Family Foundation through a grant to the Ambition Fund of The Arts Club of Chicago.This exhibition is curated&nbsp;by Hannah Feldman,&nbsp;Keith L. and Katherine Sachs Associate Professor of Contemporary Art, University of Pennsylvania. During the run of the exhibition, The Arts Club will host two public programs in the gallery: Thursday June 5Evening Public Program: Visual ArtJanine Mileaf gives an Exhibition Tour of&nbsp;Huguette Caland: Bribes de corpsProgram 6:00 pm 20th-century painter Huguette Caland (1931–2019), whose paintings made in Paris in the 1970s are now on view in the gallery at The Arts Club of Chicago, is also the current subject of a grand-scale retrospective at the Reina Sofia in Madrid. Join Arts Club Executive Director and art historian Janine Mileaf for a guided tour of the exhibition at The Arts Club.&nbsp; Free and Open to All. Limited Capacity. Register&nbsp;<a rel="noopener noreferrer" href="https://artsclubchicago.us7.list-manage.com/track/click?u=502da7c1672081e981f967563&amp;id=465efb6f8d&amp;e=e3c33543d7" target="_blank">here</a>. Thursday July 31Evening Public ProgramBody Bits: poetry, prose and performance in the galleryProgram 6:00 pm In celebration of the landmark exhibition,&nbsp;Huguette Caland: Bribes de corps, The Arts Club of Chicago collaborates with MAKE Literary Productions to co-curate an evening of readings on the theme “Body Bits,” a loose translation of the exhibition’s title. Text-oriented artists in a variety of genres will perform alongside Caland’s evocative body of work with their own ruminations on bits, bumps, lumps, and the occasional humps here and there. Free and open to all. Register&nbsp;<a rel="noopener noreferrer" href="https://artsclubchicago.us7.list-manage.com/track/click?u=502da7c1672081e981f967563&amp;id=5324a49e08&amp;e=e3c33543d7" target="_blank">here</a>. Image: Self Portrait (Bribes de corps), 1973, oil on linen. Courtesy Huguette Caland Estate

Huguette Caland Bribes de Corps

Victoria Fu’s third solo exhibition with DOCUMENT features a new series of glass artworks that are at once sculptures, paintings, photographs, and prints. Reflecting her ongoing interest in the mediation of perception through technology, these works quote the visual qualities of LCD screens through material and figural representations of iridescence. By layering digitally-derived, lens- and scanner-based imagery onto painted glass and aluminum surfaces, light and color are constructed and refracted in physical ways to evoke—and to riff off of—the idiosyncratic and seductive apparatus of our engagement with the virtual world. The exhibition also includes a video on a monitor, filtered through a glass sculpture, blurring further the boundaries between screen and object. This body of work continues her exploration of how material processes and technological aesthetics intersect to challenge the viewer’s engagement with surface, depth, and temporality.Request information about available works&nbsp;<a rel="noopener noreferrer" href="mailto:sibylle@documentspace.com?subject=Victoria%20Fu&amp;body=Please%20send%20me%20more%20information%20about%20the%20works%20in%20the%20exhibition%20Lather%20Cactus%20Drape." target="_blank">here</a>.

Victoria Fu: Lather Cactus Drape

DePaul Art Museum announces the opening of its spring exhibition, “Christina Fernandez: Multiple Exposures.” This show surveys the work of Fernandez, a Los Angeles-based artist who from the late 1980s to the present has conducted a rich exploration of migration, labor, gender, and her Mexican American identity through photography. “Multiple Exposures” will open March 20 and run until Aug. 3 at the museum, located on DePaul University’s Lincoln Park Campus.&nbsp; “DePaul Art Museum is pleased to bring the work of Christina Fernandez to Chicago audiences this spring as a continuation of our commitment to highlighting Latinx stories in our exhibitions and programs,” said Laura-Caroline de Lara, director of DPAM. “This exhibition grapples with themes that ring true in Chicago as well as LA. We hope that the conversations that spring out of the Chicago iteration of the show and its programming will create new geopolitical and cultural understandings for our university students and neighbors.” Bringing together the artist’s most important bodies of work for the first time, Fernandez’s retrospective highlights the experiences of Mexican Americans, from border-spanning family histories to contemporary “lavanderías,” or laundromats. Fernandez also portrays the realities of being an artist, professor, and mother through series that acknowledge both the beauty and the instability of a creative life.&nbsp; The exhibition’s title, “Multiple Exposures,” refers not only to a photographic technique but also to the artist’s revealing of that which is often hidden away, including fraught racial histories and the mistreatment of precarious communities. The exhibition evokes the artist’s self-exposure as a woman and the vulnerability of certain communities to exploitation and displacement. Whether staged or candid, Fernandez’s photographs record touch and mark-making, engaging the medium’s distinct ability to convey surfaces — the surfaces of bodies, architecture, and the images themselves.&nbsp; “Christina Fernandez brilliantly weaves self-portraiture, family history, the built environment and broader Latinx narratives into her work,” said Ionit Behar, curator. “Her photography illuminates the rich complexities of Latinx identity and invites viewers to actively engage with the layers of her imagery."&nbsp; Planned programs include an exhibition walkthrough with Fernandez, a family-oriented workshop on self-portraiture as part of DPAM’s Learning Studio ongoing Family Day series, a panel with local artists on Chicago Latinx photography and a podcast interview with the artist to be released in partnership with the Museum of Contemporary Photography at Columbia College Chicago.&nbsp; The traveling exhibition is organized by UCR ARTS and curated by Joanna Szupinska, senior curator at the California Museum of Photography; Chon Noriega, distinguished professor of film, television, and digital media at UCLA, is the curatorial advisor. Behar organized the presentation of this exhibition at DPAM. This exhibition was made possible by grants from The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. DePaul Art Museum’s iteration of the exhibition and accompanying programs is generously supported by the Teiger Foundation and Vincentian Endowment Fund. An opening reception will be held on March 20 from 6 – 8 p.m.&nbsp; ﻿Image credit: Christina Fernandez, "Lavanderia #1," 2002. Archival pigment print. From the series Lavanderia. Courtesy Los Angeles County Museum of Art, Ralph M. Parsons Foundation.

Christina Fernandez: Multiple Exposures

Roger Carlson worked at The Friends of Community Public Art in Joliet, painting murals, working with oil-based clay sculpture, glass and ceramic tile mosaics. He also worked at Marsha Lega Studio, making sculptures out of stainless-steel sheets with different grinding finishes as well as stainless-steel mirror and picture frames, tabletops, and wall panels. Roger studied graphic design and fine art at Joliet Junior College and University of St. Francis. He incorporates both traditional painting and graphic design in his paintings, which are created in reverse on plexiglass using acrylic paint, spray paint, paint marker, and ink.

Roger Carlson: Innocent Dawn

Summer Group Exhibition including: Flor Flores, Daniel Hojnacki, D. Rosen <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1752622165/okvin3mmfndlwm746dva.png">From left: Flor Flores, Daniel Hojnacki, D. Rosen

Flower, Wind and Dog

Volume Gallery is pleased to announce&nbsp;The Crystal Chain, a 15-year anniversary show, opening Friday, June 13, 2025, from 5-8PM.Named for a series of utopian letters initiated by Bruno Taut in 1919, in which a small group of like-minded architects and artists, unfettered by the demands of practicability, exchanged ideas on what form the architecture of the future should take. The exhibition celebrates Volume Gallery's 15 years of collaboration, showcasing the innovative practices of the celebrated artists we’ve been privileged to work with, fresh perspectives that continue to push the boundaries of art and design.More about the exhibition&nbsp;<a rel="noopener noreferrer" href="https://ymlps3.com/72857mmmbapaeqemhanawmsacajbsm/click.php" target="_blank">here.</a> Image: Anders Ruhwald,&nbsp;L3, 2024

The Crystal Chain, a 15-year anniversary show

While traditional museum etiquette expects visitors to observe from a distance, RAM’s 2025 community art show invites guests to break from convention by interacting with the art directly. Activating the senses beyond sight alone, museum-goers are encouraged to make emotional—and physical—connections by getting up close and personal with community-created pieces. Explore the galleries by feeling, trying on, adding to or subtracting from, listening to, or smelling works specifically created to awaken the senses. Image: RAM’s Charles A. Wustum Museum of Fine Arts, Photography: Jessica Zalewski

Awakening the Senses: Art that Invites Interaction

The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition,&nbsp;Leopold Segedin | A Habit of Art: Paintings from 2015 to the Present. The exhibition will be on display fromJuly 8 - August 10, 2025, and will be free and open to the public.Leopold Segedin is a Chicago-born painter (b. 1927) who has been exhibiting his work since 1944. His works have been shown at the Art Institute of Chicago, the Corcoran Art Gallery in Washington, D.C., and the Milwaukee Art Institute. At 97, Segedin currently lives and works in Evanston from his home studio. After retiring after 32 years of teaching in 1987, Segedin’s major retrospective&nbsp;I Remember&nbsp;was held in the Renaissance Court of the Chicago Cultural Center. He has since exhibited with a group called the ‘5’ at the Belzekas Museum of Lithuanian Culture, the Loyola University Art Gallery, the Ukrainian Institute of Fine Art, and Suburban Fine Art Center in Highland Park.Segedin has had nearly two dozen solo exhibitions in the Chicagoland area and his work has been recognized by several arts institutions including the Art Institute. Three books have been published about Segedin’s life and work: Leopold Segedin: A Habit of Art&nbsp;(2018),&nbsp;Segedin x Segedin: Self Portraits and Cameos: 1944-2020 (2020), and&nbsp;The Holocaust Series: Paintings &amp; Drawings: 1967-1979 (2023).Leopold Segedin | A Habit of Art: Paintings from 2015 to the Present&nbsp;will be held in the Second Floor Gallery of the Evanston Art Center (EAC).&nbsp;The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership.Evanston Art Center, a nonprofit 501 (c)(3) organization, is dedicated to fostering the appreciation and expression of the arts among diverse audiences. The Art Center offers extensive and innovative instruction in broad areas of artistic endeavor through classes, exhibitions, interactive arts activities, and community outreach initiatives. Evanston Art Center is located at 1717 Central St., Evanston, IL. Evanston Art Center Gallery Hours:Monday–Thursday, 9 am–6 pm; Friday, 9 am–5 pm; Saturday &amp; Sunday, 9 am–4 pm. First and second floor gallery spaces are accessible. Limited free parking is available.

Leopold Segedin | A Habit of Art: Paintings from 2015 to the Present

Early prototypes of 3D printers can be traced back to the 1980's in Japan, but not until more recently have we seen contemporary jewelers incorporating this technology into their creative practices. Three international artists -&nbsp;Eve Balashova, Lynne MacLachlan, and Ryungjae Jung - each utilize this modality of creating, exemplifying what it means to bring 3D printed jewelry to the highest standard. On June 5, 2025 you're invited to see the exhibition in person while enjoying a glass of champagne and charcuterie! Try the work on and chat with our knowledgeable team members about contemporary art jewelry. This event is free and open to the public.

Wearing Technology

“Trees, grasses, water, sun, stars, moon, clouds, rain, all are our friends. Nature embraces us, and we embrace nature. We are nature.” ~ Ram Dass&nbsp;Women give life; women build foundations; women offer love; women provide strength. Women deserve to take up space.&nbsp;My name, Sholo, by definition, means “fire” in Sanskrit. I am a believer in the healing powers of nature and tie my appreciation for nature with my joy of being a woman. The power of nature is vast in my life: for healing, learning, creating art, and building community. I wanted to share my personal and artistic experiences with other creative women to hear and see their stories. This show is specially juried with women whose art practice and lives are strongly connected to nature and their femininity. The art will be displayed on a large scale to immerse the viewer in a curated environment.&nbsp;Women and nature are intrinsically linked. Both uphold the foundation of the human race. This show, Women In Nature: Taking Up Space, is meant to touch the audience with all of these traits and emotions, while at the same time creating a community to experience and reflect. Through the eyes of women in nature, you will gain witness to the beauty and secrets of memories, ancestors, connection, and the stories of strength related to the beauty of the natural world.&nbsp;&nbsp;This show will reflect all the earthly elements we seek for peace of mind, especially in this unpredictable time in the world. The senses will be enticed by color, texture, and sound from the perspective of an all-female art show. Curatorial StatementThis exhibition was a very personal curation when seeking artists.The selected artists are dedicated to their artistic practices for human rights, nature, and the ability to make change in the world through their art, while enduring the complexity of being a woman in today’s world.This show will explore the concept of female artists from different cultures, diverse backgrounds, and artistic skills in painting. Through the lens of large-scale paintings, we will become witness to the stories these women want to share.&nbsp; By displaying the paintings on a large scale, the viewer will become part of the story. These pieces will highlight both the beauty and mystery of nature in all its vastness of expression through the eyes of a woman. This exhibition invites viewers to contemplate their own relationship with nature and all humans.&nbsp; Exhibition StatementThe foundation of this show is to be immersed in nature with art. Art specifically created by women with visions and strengths from nature, which reflect wildly in their creations.&nbsp;The gallery will, for one night, embark on a journey in nature to commune with art and create a community to share with. Give credit to women for their divine connection, creating the foundations for nurturing, nature, and the human race.&nbsp;&nbsp;See and feel the energy from shadows that will be created, bringing the outside IN.Quiet your mind to the sensations that will be offered for your experience. Wind, water, nature, and earth. There will be something for everyone to experience during this show.

Women in Nature: Taking up Space | 2025 Curatorial Fellowship Exhibition

Jackson Junge Gallery is excited to hold&nbsp;#TRENDING, their third group exhibition of the year.&nbsp;#TRENDING&nbsp;features art about trending topics from the year leading up to the show. In the digital age, almost anything can become a global phenomenon.&nbsp;#TRENDING&nbsp;puts our pop culture, media, music, fashion, memes and more under the microscope. Check out this exhibition to see if you’re also staying current with trends! What is trending? The exhibition&nbsp;#TRENDING&nbsp;takes a lighthearted approach to the question. As many people turn to their screens, social media and social trends for a bit of escapism during rough times, Jackson Junge Gallery hopes to provide the same in a physical space. In “Jeep and Duck,” well known Bodyscapes photographer Allan Teger captures the inside joke between Jeep owners who leave rubber ducks on each other’s hoods. Zapiain’s “Irish (Trend) Setter” does a good job at acknowledging playful trends as well! Zapiain’s colorful painting of a fabulous dog with fashionable accessories plays with a pun on the word trendsetter. Zapiain describes the subject: “With their doggy bag in heel and their custom matching star doggles to boot, they're pawsitively iconic. Often imitated but never duplicated, K-9 out of 10 critics agree this pup isn't just a cliché but the genuine article." Zapiain’s work views trends playfully, and&nbsp;#TRENDING&nbsp;similarly hopes to have fun and laugh at our ideas of what’s trending. It’d take some time to see all the pop culture references featured in the artwork of&nbsp;#TRENDING. To name a few - Peter Brourman’s portrait of the character Carmy from the currently airing tv show The Bear in “Yes, Chef,” Victoria Park’s painting of the redlight greenlight doll from December 2024’s Squid Game season 2 in “Squid Game”, Megan Nixon’s landscape transforming Chicago into The Emerald City from Wicked in “ When I Meet the Wizard”,&nbsp;and Audrey Jewell’s painting of a Charli XCX concert coming off Brat Summer in “Sweat Tour September 30th&nbsp;2024 United Center”. Huy Nguyen’s “Bat” and “Bart” were also created in celebration of Brat Summer. Nguyen channels Brat energy through unexpected icons - Batman and Bart Simpson, who are fashionably decked out in trendy items like Labubu keychains, Trader Joe’s tote, 2000’s digital camera and long shorts with docs. Nguyen says while Batman is “traditionally a symbol of justice, here he’s moonlighting as a fashion icon, serving not only justice, but a look as well. This piece channels the exhilaration of late nights, bold looks, and dancing like no one’s watching. It’s about reclaiming power through self-expression and turning every sidewalk into a runway, even after dark.” Nguyen’s “Bart” reimagines Brat Summer as Bart summer, “channeling the spirit of the iconic Bart Simpson as a symbol of living in the moment. This piece captures the attitude of being unapologetically yourself, having fun for fun’s sake, and not taking life too seriously. It’s about the ones who are here for a good time, not necessarily a long time.” Nothing trends on the internet quite like a cute animal. In the fall of 2024, the baby pygmy hippo Moo Deng took the world by storm from the Khao Kheow Open Zoo in Thailand. Sophie Levit’s bright painting “Bubble Bath Bliss” playfully depicts the adorable hippo at bath time. Levit says that “In a time of so much uncertainty and stress, sometimes all you can do is try and find the small things that make you smile and escape the horrors of the world, even if it’s just for a little bit. For many, that escape came from a small baby Pygmy hippo that quickly captured hearts all over the world with her cuteness and playful personality. Moo Deng or “bouncy pork” was a welcome escape and ray of sunshine in an incredibly cloudy time.” Yuliya Klochan’s beaded piece “Moo Deng and Pesto” also features Moo Deng alongside another baby animal sensation that appeared on the internet at the same time - Pesto the penguin at Sea Life Melbourne Aquarium in Australia, who rose to fame for weighing more as a chick than both his King penguin parents combined. Using 2,160 Miyuki Delica beads to craft images of the pair, Klochan “couldn't resist imagining them meeting. Moo Deng is tiny and sassy: Her body is made of iridescent gray and neon pink beads. Pesto is giant and resolute: His baby fuzz is a low-shine dark brown with matte beak and feet.” Kara Volle’s digital painting “The Child” also immortalizes Pesto the giant baby penguin, but it is Volle’s painting of a small anglerfish titled “Ascension” which may offer insight into why cute animals go viral beyond our desire for sweet distraction. In February of 2025, a little six-inch anglerfish from the deep sea mysteriously ascended to the surface off the coast of Spain. Volle recollects how “perplexing scientists, she took over the internet as different theories for her swim to the surface arose. Did she know her life was coming to an end and want to see the sun? Did a volcanic current push her upwards? We may never know, but this now famous fish has inspired many in her final journey.” Our screens can provide much needed distraction, but too much screentime can also be overwhelming for the chronically online. Bridget Gallagher addresses this stress in “In This Economy?!” Gallagher’s silly painting is of a scared opossum clinging to a pole plastered with a sanity wanted poster, and it has an undeniable relatability. Gallagher empathizes “if opossums could talk, they'd probably have a Better Help-sponsored TikTok account dedicated to explaining the "freeze" stress response. This opossum, like her creator, is at her wit's end. It seems impossible to keep up with rapidly shifting pop culture trends, an increasingly absurd news cycle, and the laundry. She's not super qualified for "fight" or "flight," so she'll keep holding on for dear life, hoping that someone has some sanity to spare. But that's tough to find in this economy.” #TRENDING&nbsp;is sure to be a bit of fun escapism. An Opening Reception for&nbsp;#TRENDING&nbsp;will be held Friday, July 11th, from 6pm - 10pm and is free to the public. The exhibition will be on view at Jackson Junge Gallery July 1st&nbsp;– August 10th, 2025. It is curated by Owners Chris Jackson &amp; Laura Lee Junge, Gallery Director Kaitlyn Miller, Assistant Gallery Director Kristen Arcus, and Gallery Assistant Marisa Taravella.

#TRENDING

The Evanston Art Center (EAC) is excited to welcome the public to&nbsp;<a rel="noopener noreferrer" href="https://www.evanstonartcenter.org/exhibitions/try-remember-karen-perl" target="_blank">Try to Remember | Karen Perl</a>On July 8th, the Evanston Art Center will open an exhibition showcasing the works of Karen Perl, an Evanston based artist.At around the age of 13, I inherited a box of paints and some brushes. I knew absolutely nothing about oil paints. But I had an image in my head of a thick wooded area with a path running through the center. A person was walking down the path. This coincidence of the acquisition of the painting materials and the presence of the inner vision ignited my desire to paint. Here was a means of describing something that I could not express in words. I spent several years attending various colleges, intermittently studying physics and psychology, before getting a degree in drawing and painting, with an emphasis on the figure, from the School of the Art Institute in 1985. During my third year of art school, I attended the National College of Art and Design in Dublin, Ireland, where I worked primarily from dreams and imagination. I also spent several years in the South of France cultivating a practice of setting up my easel outside and painting the landscape. I currently work out of my studio located in my home in Evanston Illinois. Try to Remember | Karen Perl&nbsp;will be exhibited in the Second Floor Atrium Gallery of the Art Center. The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership.&nbsp;Evanston Art Center, a nonprofit 501 (c)(3) organization, is dedicated to fostering the appreciation and expression of the arts among diverse audiences. The Art Center offers extensive and innovative instruction in broad areas of artistic endeavor through classes, exhibitions, interactive arts activities, and community outreach initiatives.&nbsp;Evanston Art Center is located at 1717 Central St., Evanston, IL. Evanston Art Center Gallery Hours:&nbsp;Monday–Thursday, 9 am–6 pm; Friday, 9 am–5 pm; Saturday &amp; Sunday, 9 am–4 pm. First and second-floor gallery spaces are accessible. Limited free parking is available.&nbsp;

Try to Remember | Karen Perl

Our new Kavanagh Gallery Show, Sculpture, opens on Thursday. This show features gorgeous sculptures from both local and out-of-state artists.&nbsp; Join us for our opening reception this Thursday, July 17, from 6 to 8 p.m.﻿Like all Fine Line receptions, this reception is free and open to everyone.

Sculpture at the Kavanagh

Line Weight&nbsp;is guest curated by Teralyn Brown, our 2024-2025 University of Wisconsin-Madison Graduate Student Curatorial Assistant. During her time working at Tandem over the past year, Brown familiarized herself with many of the prints that have been created at Tandem Press. As one of her final projects, she was challenged to conceptualize and curate an exhibition of prints, selecting pieces from the Tandem Press inventory and contextualizing them to create a unique statement.The concept of line weight refers to the ability for texture, depth, value, and emotion to be conveyed through line alone by way of varying the thickness and qualities of line marks.&nbsp;In this exhibition of prints, the weight of the artists’ intentions is carried by the illusions of the printed line across multiple techniques.This exhibition includes prints by Suzanne Caporael, Manabu Ikeda, Michelle Grabner, Cameron Martin, Mickett/Stackhouse, Swoon, Dan Rizzie, David Shapiro, and Steven Sorman.This exhibition is supported by the Anonymous Fund.

Line Weight 

July 26 – August 15 CSI Project Space: New works by Jyl Bonaguro, Darlys Ewoldt and Stephanie Sailor

CSI Project Space: New works by Jyl Bonaguro, Darlys Ewoldt and Stephanie Sailor

Oliva Gallery presents LUMINOSITY: The Ocean Between VIIIA group exhibition curated by Marianna Buchwald and Tamara WassermanLUMINOSITY:&nbsp;The Ocean Between VIII&nbsp;brings together a dynamic roster of international and Chicago-based artists whose work reflects the fluid intersections of culture, imagination, and personal mythology. The exhibition explores light, not only as a visual phenomenon, but as a metaphor for transformation, connection, and creative vision.Through diverse media including painting, sculpture, mixed media, and installation, the featured artists illuminate the conceptual distance between places, people, and identities, transforming it into a shared space of artistic inquiry.Participating artists include:&nbsp;Betty Kirk Chernansky, Bishal Manandhar, Bonnie Katz, Dale Pesmen, Franz Betz, Harro D.B Schmidt, Jenny Chernansky, Judith Meyer, Kao Ra Zen, Kathryn Hempel, Kevin B.Chatham, Lars Schumacher, Lori Kaplan, Marianna Buchwald, Michaela Hanemann, and Tamara Wasserman.<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.eventbrite.com/cc/programming-for-luminosity-the-ocean-between-viii-4348793" target="_blank">Browse Event Programming</a>

LUMINOSITY: The Ocean Between VIII

PATRON is proud to announce our second solo exhibition with conceptual photo-based artist Carmen Winant.&nbsp;Manuals for Living&nbsp;brings together two long standing tenants of Winant's practice: instructional pictures as an educative&nbsp;genre, and studio practice as the site of material transformation and inquiry. Throughout the exhibition, Winant adopts strategies of repetition, procedural memory, and intuition to enact strategies of what it means to "practice".&nbsp;﻿

Carmen Winant: Manuals for Living

JUNE 21 - AUGUST 16, 2025OPENING RECEPTION | Saturday, June 21, 5:00&nbsp;–&nbsp;7:30pm The word ‘mine’ is both a declaration of ownership, and a verb that describes acts of<a style="color: rgb(0, 124, 137);" rel="noopener noreferrer" href="https://patrongallery.us10.list-manage.com/track/click?u=fe9966abed200e47655a01bab&amp;id=8144e1bb02&amp;e=9e3563b61b" target="_blank">&nbsp;</a>excavation and extraction. Alex Chitty’s solo exhibition,&nbsp;Mine,&nbsp;is an assembly of new works situated within a former theater. Each artwork leans on borrowed histories, past lives, and accumulative actions, all toying with the notion of how ‘mine’ is, perhaps, an impossibility. # ALEX CHITTY&nbsp;(b. 1979, Miami, FL) lives and works in Chicago. Chitty received a Bachelor of Fine Arts from Smith College with a combined major in fine art, biology and education. She received a Master of Fine Arts from the Printmedia department at the School of the Art Institute of Chicago.&nbsp; Recent exhibitions include:&nbsp;Entirely opposite, with moments of overlap&nbsp;(2025)&nbsp;Abroms-Engel Institute for Visual Arts, Birmingham, AL;&nbsp;Dialogues&nbsp;(2023),&nbsp;PATRON, Chicago, IL;&nbsp;Bright day will turn to night, my love&nbsp;(2023),&nbsp;Tiny&nbsp;Table Gallery, Chicago, IL;&nbsp;Amuleto&nbsp;(2023),&nbsp;Mayfield, Forest Park, IL&nbsp;Figs break open of themselves&nbsp;(2022),&nbsp;PATRON, Chicago, IL;&nbsp;Both And&nbsp;(2021),&nbsp;Tiger Strikes Asteroid, Chicago, IL;&nbsp;State of the Art II&nbsp;(2020),&nbsp;Crystal Bridges Museum of American Art, Bentonville, AK;&nbsp;Becoming the Breeze: Alex Chitty with Alexander Calder&nbsp;(2019),&nbsp;Museum of Contemporary Art,&nbsp;Chicago, IL;&nbsp;In the Hot Seat,&nbsp;KMAC Museum&nbsp;(2019) Louisville KY;&nbsp;pulling flavor from the dirt (2018),&nbsp;PATRON, Chicago, IL;&nbsp;After (the sun-drenched neutral that goes with everything)&nbsp;(2018),The Anderson Gallery, Virginia Commonwealth University, Richmond, VA;&nbsp;Living Architecture&nbsp;(2020),&nbsp;6018 North, Chicago, IL;&nbsp;They will bloom without you&nbsp;(2017),&nbsp;Elmhurst Art Museum,&nbsp;Elmhurst IL;&nbsp;Small Sculpture&nbsp;(2017),&nbsp;Corbett Vs. Dempsey,&nbsp;Chicago, IL;&nbsp;Stranger Things&nbsp;(2017),&nbsp;DePaul Art Museum, Chicago, IL;&nbsp;Objectifying the Photograph&nbsp;(2017),&nbsp;NIU Art Museum, DeKalb, IL;&nbsp;slight pitch&nbsp;(2016),&nbsp;LUCE&nbsp;Turin, Italy,&nbsp;the sun-drenched neutral that goes with everything&nbsp;(2016),&nbsp;PATRON&nbsp;Chicago, IL;&nbsp;Turning Spoons into Forks&nbsp;(2016),&nbsp;Hyde Park Art CenterChicago, IL;&nbsp;&nbsp;Theory of Forms&nbsp;(2015),&nbsp;&nbsp;PATRON, Chicago, IL;&nbsp;Orchid&nbsp;(2014),&nbsp;ADDS DONNA, Chicago, IL;&nbsp;Almost Ergonomic&nbsp;(2014),&nbsp;Studio 424, Chicago, IL;&nbsp;Codification&nbsp;(2014)&nbsp;LVL3, Chicago, IL;&nbsp;Alex Chitty: Recent Work&nbsp;(2013),&nbsp;Corbett vs. Dempsey, Chicago, IL and&nbsp;Ella Hatchet&nbsp;(2013) at&nbsp;Roots and Culture, Chicago, IL. Chitty is the recipient of a Illinois Arts Council Agency&nbsp;Artist Fellowship Award (2022); DCASE Individual Arts Program Grant (2021);&nbsp;The Nancy Graves Grant for Visual Artists (2017);&nbsp;has been an artist in residence at&nbsp;Writing Space, Chicago (2023);&nbsp;Warburg Library, London (2019);&nbsp;Wright Auction House&nbsp;(2019);&nbsp;Fundación Casa Wabi; Oaxaca (2018);&nbsp;Bemis Center for Contemporary Art, Omaha (2017);&nbsp;Fountainhead Residency, Miami (2015);&nbsp;Cargo Space, Milwaukee (2014);&nbsp;Latitude, Chicago (2014), among others.

Alex Chitty : Mine

Juror: Kristen Carter&nbsp;is an assistant professor of art history at Florida Southern College. She holds a PhD in modern and contemporary art from the University of British Columbia and a BA in art history from DePaul University. Her research concerns different modes of relationality, care, and institutional critique with an emphasis on artistic praxis and pedagogy in the 1960s and 1970s. She has presented and published on a range of topics, including performance, body art, and dance, histories of art and pedagogy in the U.S., Europe, and Latin America, and the changing relationship between art and politics. Her research has been supported by fellowships from the University of British Columbia and the Getty Research Institute.Committed to collaborative and inclusive pedagogy, Carter serves on the College Art Association’s Education Committee, advocating for undergraduate research and innovative teaching.Exhibiting Artists:&nbsp;​Lynne Breitfeller, Anna Brody, Oona Bruss, Ingrid Butterer, Maddie Casagranda, Christeina Nena, Krista Cibis, Jeanne Ciravolo, Kimberleigh Collins-Peynaud, Samantha Degucz, Leslie Drennan, Jessica Gomez Ferrer, Veronica Hicks, Rana Huwais, Blond Jenny, Lauren Johnston, Khin, Yuliya Klochan, Beth Lemerand, Anna Lentz, Annamaria Eleanor Loia, Lindsay Lion Lord, Ashley Mangum, Ashley Martin, Susan Messer McBride, Laura Lee McCartney, Lorena Molina, Mackenna Morse, Abbey Peters, Felicia L. Reed, Astrid Reichenbach, Elke Richter, Robyn Rozelle, Ramya Shenoy, Vivian Smith, Victoria Smits, Phoebe Snyder, Kelly Sturhahn, Gwynneth VanLaven, Julie Waltz-Stalker, and Danielle C. Wyckoff

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