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

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

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

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

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

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

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.

Sophia Brueckner: Hearts and Flowers: Hunting for Love

The Consul General of Ireland, Brian Cahalane, will open the exhibition at 6:00 P.M. followed by a gallery walk with the artist.We are most grateful of Culture Ireland, who supported this event.John David Mooney Foundation is pleased to present&nbsp;Drifting Sovereignty, a solo exhibition by Elaine Byrne, represented by Kevin Kavanagh Galleries, from 5th - 29th November 2025. This show, supported by Culture Ireland, will be opened by Consul General Brian Cahalane.​​Drifting Sovereignty&nbsp;is a multidisciplinary exhibition that critically engages with the shifting nature of borders and the performance of power at geopolitical and environmental margins. Through photography, sculpture, video, and performance, the exhibition interrogates how sovereignty is both asserted and destabilized in contested spaces.​Contemporary borders are often represented as fixed lines on maps, yet such depictions obscure their social, political, and material complexity. Byrne's work shifts focus from the border as line to the borderscape--a dynamic, contested space shaped by governance, infrastructure, and lived experience. In doing so, the exhibition emphasizes the constructed and mutable nature of borders, which appear, dissolve, fracture, and overlap in response to both human and environmental forces.The works traverse multiple geographies. In the California desert. Byrne photographs prototypes of the U.S.-Mexico border wall--monumental forms that embody both the spectacle and futility of territorial enforcement. In the Canadian High Arctic, she documents landscapes marked by forced Indigenous relocation, revealing how political decisions have reconfigured lives and land. In Svalbard, where Russian-owned land exists within NATO territory, she explores competing territorial claims in the context of climate change and resource extraction.A central performance video shows Byrne walking across Arctic Sea ice--a minimal gesture that functions as a meditation on human presence within a rapidly changing landscape. This act underscores how environmental instability redraws boundaries once presumed stable.Byrne's sustained engagement with borders positions them not solely as barriers, but as active agents in the production of identity, belonging, and exclusion.&nbsp;Drifting Sovereignty&nbsp;offers a critical reflection on the entanglement of geopolitical power, mobility, and environmental change, prompting urgent questions about the future of territory and the limits of control in an increasingly unstable world.​

Elaine Byrne: Drifting Sovereignty

The main focus of the Food For Thought Exhibition is to heighten awareness of food insecurity.&nbsp;At least half of all proceeds will go directly to the C and W Foundation, an Evanston-based nonprofit that provides essential access to groceries.&nbsp;The still life genre illustrates portraits of edible subjects that tell stories of meals shared, community, and breaking bread together. This communal ritual is&nbsp;celebrated in paintings of food made from direct observation, which reveal tangible, poetic symphonies of color, shape and texture.&nbsp;&nbsp;Artists: Sheila Cahnman, John Fleck, Ken Minami, Sarah Kaiser-Amaral, David Roberts and Chunbo Zhang.&nbsp;

Food For Thought Exhibition 

Join us to celebrate the healing power of nature and the arts.&nbsp;At Ease in Nature&nbsp;features artwork created during our 2025&nbsp;<a rel="noopener noreferrer" href="https://brushwoodcenter.org/initiatives/at-ease/" target="_blank">At Ease</a>&nbsp;programs, as well as work inspired by experiences in nature from members of the Military Community.Started in 2015, Brushwood’s&nbsp;At Ease: Art and Wellness for Veterans&nbsp;initiative offers programs for Veterans, Service Members, and their families designed to empower wellbeing through nature-based art, music, and photography workshops.&nbsp;At Ease&nbsp;helps build skills in creative expression and provides Veterans with access to mental health support.<a rel="noopener noreferrer" href="https://secure.qgiv.com/for/artexhibitionsandmarkets/event/ateaseinnature2025/" target="_blank">REGISTER</a> | This exhibition will open with a reception and panel discussion on November 9, at 1 pm.&nbsp;

At Ease In Nature

This November, Perspective Gallery presents&nbsp;In Their Gardens of Good and Evil, a two-person exhibition contrasting two visions of nature shaped by personal tradition and belief.Artist&nbsp;Katsy Johnson&nbsp;unveils&nbsp;Evil Flowers, a modern floral representation of the Seven Deadly Sins. Drawing on classical still-life traditions, Johnson transforms lush bouquets into dark meditations on human vice, weaving in unsettling modern intrusions such as cell phones, doll artifacts, and even live animals.

Katsy Johnson: Evil Flowers

This November, Perspective Gallery presents&nbsp;In Their Gardens of Good and Evil, a two-person exhibition contrasting two visions of nature shaped by personal tradition and belief.In The 7th Year,&nbsp;artist&nbsp;Susan Isaacson&nbsp;reflects on the Jewish custom of letting the land rest every seventh year. Her work explores themes of renewal, connection, and oneness with the natural world, offering comfort while confronting life’s fragility and transience.

Susan Isaacson: The 7th Year

On Friday, November 7th, we will be having an exhibit opening for represented and featured artist Dorothy Alig's show "Land(e)scape."&nbsp;The opening will run from 5-7 PM and will display Dorothy's abstract paintings, which&nbsp;focus on finding a balance between representational depictions of the&nbsp;landscape and purely imagined, even illogical, depictions. Image: Dorothy Alig, 300 DPI image of "Morning Light (West)."

Dorothy Alig: Land(e)scapes

Chicago Grand Gallery Presents&nbsp;Becomings&nbsp;— Solo Exhibtion featuring Yang Lu&nbsp;Chicago Grand Gallery is excited to present&nbsp;Becomings, a solo exhibition featuring the emerging artist Yang Lu, curated by Alicja Seledec, opening on&nbsp;Friday, November 7, from 6–9 PM, and running through&nbsp;November 30, 2025.Becomings&nbsp;challenges anthropocentrism by simulating non-human-centered perspectives that turn the human gaze inward. Themes of the cosmos, the “alien”, and the relationship between consciousness and matter invite viewers to question what it means to be “human” and to reflect on the limitations of single-perspective narratives.&nbsp;Yang Lu’s research-based yet intuitive process bridges philosophy, astronomy, physics, and mysticism with technological experimentation. His work pushes boundaries in expressing complex ideas through materials such as acrylic, metal, and 3D printing, as well as digital fabrication processes like CNC machining and laser cutting. These hybrid techniques merge mechanical precision with optical ambiguity, creating objects that simultaneously reveal and distort, reflecting the artist’s desire to “think with” materials and tools themselves.This body of work transforms abstract concepts into direct visual forms. It is a manifestation of thought that transcends time, language, and easy classification. Each piece functions as a thought exercise, inviting audiences to reconsider the frameworks through which they perceive and assign meanings. Rather than offering comfort or visual pleasure,&nbsp;Becomings&nbsp;seeks to provoke reflection and disruption.Curator: Alicja SeledecChicago Grand Gallery | 2842 W Chicago Ave. | Chicago, IL

Yang Lu: Becomings

This exhibition features LARGE work by accomplished artists from across the US.

XXL Exhibition

VSG Contemporary is pleased to present&nbsp;Deferred Reality: Reimagination of the American Dream, a two-person exhibition featuring&nbsp;Nikko Washington&nbsp;and&nbsp;Jacob Rochester.&nbsp;Both artists explore the intersections of identity, lineage, and representation through portraiture and figuration, their practices unfold across distinct and parallel spectrums, geographically, historically, and spiritually. Deferred Reality&nbsp;marks the first time their work has been intentionally positioned in dialogue. The exhibition takes its title and conceptual grounding from Langston Hughes' poem&nbsp;Harlem, which opens with the question, “What happens to a dream deferred?” Here, the American Dream is reimagined as an ongoing performance, one sustained by repetition, endurance, and collective belief. Moving between the everyday and the extraordinary, here the American stage becomes a site of spectacle and reimagination. A place where family histories, collective memory, and mystical visions converge. Between nostalgia and futurism, each artist reclaims the right to dream again.&nbsp; <a style="color: rgb(65, 80, 247); background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://www.instagram.com/jacob_rochester/" target="_blank">@jacob_rochester</a><a style="color: rgb(65, 80, 247); background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://www.instagram.com/nikko.washington/" target="_blank">@nikko.washington</a><a style="color: rgb(65, 80, 247); background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://www.instagram.com/vsgcontemporary/" target="_blank">@vsgcontemporary</a>

Nikko Washington & Jacob Rochester 

Opening Reception: Fri., Oct. 17, 5-8 pm Michael Miller is a multi-talented artist whose artwork includes painting, drawing, woodwork, and music. He began his career studying cabinetmaking at the Milwaukee Trade and Technical High School. From there Michael went on to study fine art at the University of Wisconsin Milwaukee receiving both his BFA and MA in Painting and Drawing. After receiving his master’s degree in 1991 Michael taught art at both the University of Wisconsin Milwaukee and The Milwaukee Institute of Art and Design. Michael’s artwork often merges his background in cabinetmaking with his practice of painting and drawing.&nbsp; Michael has exhibited with Gallery A (Chicago), Tory Folliard Gallery (Milwaukee), Gallery Pink (Oak Park), as well as other galleries, art spaces, and universities. In recent years he has been invited to exhibit his work in group shows at Hairpin Arts Center, ARC, Oak Park Arts League, and SoNa Chicago Contemporary Art. Michael worked as lead carpenter and exhibit installer at the Spertus Institute for Jewish Learning and Leadership and eventually became Operations Manager and Facility Manager there, a position he held until 2016. He currently is a freelance exhibit designer, builder, and installer and he continues his own art practice in his home studio in Oak Park, IL. Michael has vast knowledge of a variety of materials, at times grinding his own pastels to achieve the color palette he wants. He also regularly uses found objects and reused materials, both as an act of conservation and for the aesthetic. Michael’s focus is often on supporting other artists, using his skills in art construction and installation to help them realize their own vision. He wrote, “I have been very fortunate that much of my working life has been spent creatively in the service of, and alongside many other amazing and talented individuals. As a woodworker and furniture builder, an art instructor, or as an exhibition designer/builder, creating and installing exhibitions for museums and galleries, I have had the opportunity to share ideas, problem solve countless issues, and explore a multitude of materials, all while expanding personal horizons of art making.” SoNa Chicago is proud to share Michael’s recent work in a solo show. The show includes recent works that reflect themes he has explored over his years as an artist such as the preciousness of the environment, valuing community, and working together to achieve positive change. His work in&nbsp;A Measure of Time&nbsp;features landscapes, wood sculptures, an interactive puzzle installation, banners, and other works.&nbsp; Michael is a self-taught musician; he builds acoustic resonator guitars using found objects and recycled materials. Several of his guitars are featured in the exhibition.&nbsp; Image: Landscape 7, oil, ink, pencil, and shellac, on book board,&nbsp;&nbsp;20.5"h x 26”w,&nbsp;2024

Michael J. Miller: A Measure of Time

The Tenth Biennial National Juried Exhibition for the Chicago Pastel Painters.

Pastels Chicago 2025

Online Nov 29-Dec 5, In Person: Dec 6-7

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