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

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

Kiah Celeste and Gordon Hall: Artifact Unidentified

Simone Mantellassi: Carpeting In The Kitchen Incorporated Opening reception:&nbsp;Friday, September 12, 5-8pm Western Exhibitions is thrilled to present our first solo show with Simone&nbsp;Mantellassi,&nbsp;<a style="color: rgb(8, 83, 247);" rel="noopener noreferrer" href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001MH-s0M4jV6liDssxt7ej_ZzkG6YCLP3PMmNgv6Xr4EPPGsiPGxRqvDYbxxeBs8qRqiAKf1LTRmNqb-LWphO1fwa4JIga0i1okdkrFgh5ZpCJXmw3cpPuFhbWMMRspBsxhn4eYb-yLlZiBjqn4gw9uvF-LpR_rvCsdOsx9I2N_xQsbByrFggcGynCPb7UATN66_1fF_lqiD1Fvb2W8K1Dauu-6SBjRq6hp67XIk8VcVI=&amp;c=swVh1nE_zz0e7Zdrsb479IUjZQUqfPtnUQZyDc7V-Xk7ygDb30kIIw==&amp;ch=MG1s6P5ZVejj-dfvtJjb7ALHtdziU5F3COJ90ZbLF4T5za13DvTapA==" target="_blank">Carpeting In the Kitchen Incorporated.</a>&nbsp;Mantellassi’s paintings on paper and sculptural tableaus poke fun at the tragicomedy life, tackling subjects ranging from two former American presidents, Captain Ahab, Ronald McDonald and the axis of evil, to the ancient superheroes of Ellenic Greece and the Brooklyn Botanical Gardens. Inspired by a trove of artists and filmmakers including David Lynch, Alejandro Jorodowsky, Josephine Halvorson, and Philip Guston, Mantellassi works in an aesthetic fully his own; mixing comic book storytelling, surrealism and formalism into a distinct visual language. The show opens in Gallery 2 at Western Exhibitions in Chicago on September 12 with a public reception from 5 to 8pm. and runs through November 1. Gallery hours are Tuesday to Saturday, 11am to 6pm. His works on paper echo the multi-perspective quality of comic book pages and surrealist art as overlapping storylines and viewpoints cohabitate in one plane. Nonsensical alignments of objects and narratives intermingle with a humorous, dreamy color palette, often paired with poetically off-kilter titles in his second language, English. Pastries (real and fake), trees, pipes, body parts, treehouses, scenes from the kitchen, shoes and trash from the woods all expand and contract between resolution and dissolution, animating a dreamlike quality where highly vivid thoughts remain incomplete and half-formed. From certain drawings, Mantellassi creates three-dimensional sculptures—compact, diorama-like compositions composed of everyday materials in plexiglas casing. The humor and irony of his work is made concretely manifest in these objects, whose crumply, crude surfaces and “imperfect” finishes are precisely where the work culminates most fully; stage-sets for the tragicomedy of life where narrative and its artifice are on display simultaneously. In&nbsp;The Status Of Things As They Have Been&nbsp;an irregularly contoured rectangular slab of pink styrofoam leans back in a clear plastic vitrine, with white overalls painted on it, a torso shape as a stand in for the artist, perhaps. The title of the work is painted cartoonishly on each side of the slab, with quirky sculptures made from commonplace materials inhabit the space. On the back of the vitrine the Mantellassi scrawled on a painted banner “I DIDN’T LIKED RONALD REAGAN THE FIRST TIME AROUND ANYWAY” as a discrete viewer gazes up at it from the bottom right of the plane. A similar pink slab forms the central image in the work on paper&nbsp;Ronald McDonald And The Axis of Evil On Frakt Boulevard P.M.&nbsp;Instead of being adorned by overalls, this shape serves as the ground for a tumbling tableau of Guston-like forms: boots, human faces, headstones, beer cans, trees hiding fat pixies in their leaf clouds, street signs and hats, punctuated by a head of a pink man at the bottom of the page exclaiming in a comic book balloon “FUCK! IT’S THE AXIS OF EVIL.” We are particularly enamored with another sculpture in vitrine titled “Piece of Skin From My Forehead Enlarged Quite A Bit.” Descriptions defy it, you’ll have to see it in person. A self-taught artist, born and raised in Florence, Italy in 1971,&nbsp;<a style="color: rgb(8, 83, 247);" rel="noopener noreferrer" href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001MH-s0M4jV6liDssxt7ej_ZzkG6YCLP3PMmNgv6Xr4EPPGsiPGxRqvDYbxxeBs8qROz7H6CHT_LokWPbMFe8GDBay1e5BkZzGfSRNpeZY2eJ6NrCLN4HQXxtApe_AViaiepxx7Q70_3I_A-QaO1g3BZFxvwVzNc6MMPuXY9-8YodpV-zrYFsRLQ==&amp;c=swVh1nE_zz0e7Zdrsb479IUjZQUqfPtnUQZyDc7V-Xk7ygDb30kIIw==&amp;ch=MG1s6P5ZVejj-dfvtJjb7ALHtdziU5F3COJ90ZbLF4T5za13DvTapA==" target="_blank">Simone Mantellassi</a>&nbsp;moved to the United States in 2002 and lives and works in Gilbertsville, New York, in the Western Catskills.&nbsp;His work has been shown at and is in the collection of the Buffalo AKG Art Museum. Other exhibitions include the Everson Museum of Art in Syracuse, Buller Space in New York, NADA New York and KIPNZ in Walton, NY. Image: Little Jimmy On Big Jimmy (The Jimmies), 2022Acrylic on paper30h x 22w in

Simone Mantellassi: Carpeting In The Kitchen Incorporated

Jornie Cirdain: The Gloaming Opening reception:&nbsp;Friday, September 12, 5-8pm Western Exhibitions is pleased to present&nbsp;<a style="color: rgb(8, 83, 247);" rel="noopener noreferrer" href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001MH-s0M4jV6liDssxt7ej_ZzkG6YCLP3PMmNgv6Xr4EPPGsiPGxRqvDYbxxeBs8qRRI59dxTG89d5E35tAvNvbGzZP_kFe56slKi1KhU_1c8H6-xi7ZCoArTl2i9qBi9colmISnlVVUITtxGO2isptwivYboP_-jEG4u8g66V_j1c_kt1vS7cuEJBU8IaP7jfkHOQ-AKgpHM=&amp;c=swVh1nE_zz0e7Zdrsb479IUjZQUqfPtnUQZyDc7V-Xk7ygDb30kIIw==&amp;ch=MG1s6P5ZVejj-dfvtJjb7ALHtdziU5F3COJ90ZbLF4T5za13DvTapA==" target="_blank">The Gloaming</a>, Journie Cirdain’s second solo show with the gallery. Cirdain’s large allegorical drawings exist at the intersection of the human and animal, internal and external, magic and reality, and ultimately, life and death. The show opens on September 12 with a public reception and runs through November 1. Gallery hours are Tuesday to Saturday, 11am to 6pm. Another word for twilight is gloaming, which influences Cirdain’s almost exclusive use of a crepuscular value range of graphite. She meticulously renders moments of tension between the human and non-human, reimagining art historical subjects (still lives, nudes, and luxury items) as living participants in an enmeshed environment. With a film director’s focus on drama and a romantic flirtation with the macabre, her drawings betray an exquisite attention to light surface as a chandelier becomes an environment for cobwebs; a spiderweb glistens like crystal; a bouquet hangs next to the site of its extraction; an environment shows beheaded tulips. Her drawings engage with ideas about living and dying as entangled beings. <a style="color: rgb(8, 83, 247);" rel="noopener noreferrer" href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001MH-s0M4jV6liDssxt7ej_ZzkG6YCLP3PMmNgv6Xr4EPPGsiPGxRqvDYbxxeBs8qRwSw59TaRAkeoGHP1R_SMDtSq7wEwEQ96YEEzlS8aSVnn-dOqK8L_35f06_WOr3QDboi-hPutlnLX4NvdaM5GjGB046HaZanPno8b7MAGiZF6laHN1vcUSw==&amp;c=swVh1nE_zz0e7Zdrsb479IUjZQUqfPtnUQZyDc7V-Xk7ygDb30kIIw==&amp;ch=MG1s6P5ZVejj-dfvtJjb7ALHtdziU5F3COJ90ZbLF4T5za13DvTapA==" target="_blank">Journie Nikala Cirdain</a>&nbsp;was born in 1993 in Santa Rosa, California. In 2017, she received her BA in Liberal Arts in the Great Books at St. John’s College and an MFA from the School of the Art Institute of Chicago. She has shown in exhibitions nationally and internationally, including The Green Gallery in Milwaukee, Elmhurst Art Museum in Illinois, A Gallery in Seattle, and in Chicago at Goldfinch and Patient Info. Cirdain lived and worked in Chicago for the past five years and is now on her way to Queens. Image: Chandelier (Crystals), 2025Graphite on paper mounted on aluminum dibond60h x 48w in

Jornie Cirdain: The Gloaming

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

Aaron Curry, Raw Dog

Oliva Gallery presents&nbsp;Verdastro&nbsp; Opening October 3 5-9&nbsp; Thru Nov 1, 2025&nbsp;

Verdastro: Carolyn Cronin Hughes 

Corbett vs. Dempsey is excited to present Nick Drnaso,&nbsp;Ghost Works. This is Drnaso’s first gallery exhibition.﻿Based in Chicago, Nick Drnaso is best known as a graphic novelist. He has just finished work on his fourth book, which, like the other three, will be published on the illustrious Drawn and Quarterly press. Drnaso’s second book,&nbsp;Sabrina&nbsp;(2018), is the only graphic novel to have been nominated for a Man Booker Prize; his first offering was awarded the Los Angeles Times prize for Best Graphic Novel. Parallel to and intersecting with his graphic novel work, Drnaso maintains an active painting practice. Using back-painting on glass and plexiglass, a technique he has in common with several Chicago Imagist artists, Drnaso has created a series of portraits, highly graphic and also deeply enigmatic, often in a shadow-box format. His most recent series, which will be shown complete in this exhibition, features figureless environments, haunted suburban and urban landscapes with ghostly skies, sometimes surrounded by glyph-like borders. Like his novels, Drnaso’s paintings beg more questions than they answer, their characters and situations as mysterious as they are beautifully and meticulously rendered.

Nick Drnaso, Ghost Works

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

Porfirio Gutiérrez: Modernism

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

Aaron Curry & Richard Hawkins: Human Non-Human

With a focus on painting, sculpture, printmaking and installation,&nbsp;Braxton Garneau's&nbsp;practice is rooted in materiality, costuming, and transformation. Working in betwen cultures, Garneau combines visual influences from classical and contemporary forms with material investigations to consider cultural, social, and historical implications. Garneau is interested in what he refers to as "material honesty", or the idea that the use of living matter can imbue work with their essence and power. Exploring and exploiting the physical qualities of materials, Garneau works with harvested and hand-processed mediums including asphalt, raffia, cotton, linen, sugarcane pulp, bones, and shells. Garneau's work investigates transformation through both natural cycles and the inherent human tendency for adornment, costuming, and masquerade. Connecting materials, customs, and clothing, he explores the ability of the natural world, and of the people in it, to adapt and transmute to whatever circumstances&nbsp;they may find themselves in.&nbsp;Braxton Garneau is a visual artist based in amiskwaciwâskahikan (Edmonton, Canada). He holds a BFA from the University of Alberta and has had solo exhibitions at the Art Gallery of Alberta, Edmonton (2024), Efraín López, New York (2024), GAVLAK, Los Angeles (2023) and Stride Gallery, Calgary (2021). Recent group exhibitions include&nbsp;Land, Sea, Sugar, Salt: Terrestrial and Aquatic Contemplations of the Caribbean, Remai Modern (2025);&nbsp;Black Every Day, Art Gallery of Alberta (2021); and&nbsp;It's About Time: Dancing Black in Canada 1900 - 1970 and Now, Mitchell Art Gallery, Edmonton (2020). In 2024, his work&nbsp;Pitch Lake (Pietà)&nbsp;was acquired by the Museum of Contemporary Art San Diego through the Northern Trust Purchase Prize at EXPO Chicago, and he was awarded the Lieutenant Governor of Alberta Emerging Artist Award. In Spring 2025, he was in residency at the International Studio &amp; Curatorial Program (ISCP), Brooklyn, NY.&nbsp;

Braxton Garneau: Antilles Lace

Solo ExhibitionMisha Goro: Urban Echoes – New oil paintings on aluminumParticipating in the River North Fall Gallery Walk Misha Goro's artistic practice is a continuous creative search for raw authenticity in urban environments that are constantly changing. Cities are weathered by time and through use, taking on a personality of their own from the people and the elements that have interacted with them. When considering subject matter, Goro seeks simple things that we see every day, things that become symbolic once they are taken out of context. Image: Misha Goro, State Street, oil on aluminum, 30x40"

Misha Goro: Urban Echoes

Rosenthal Fine Art is pleased to present&nbsp;The Real Real&nbsp;-- a new exhibition by Dennis Wojtkiewicz. In this new body of work, the artist questions what place is there of such fiercely analog work in a mechanized, mass-produced, digital world? What is the value of a painting painstakingly constructed over time when anyone can capture an image instantly with a phone and further heighten its reality through manipulation?In his recent artist's statement Wojtkiewicz talks about his process:&nbsp;I focus primarily on how light interacts with the diverse surfaces of natural forms—forms that exist at the boundary of biology and sensuality, carrying within them an erotic charge tied to their fertility and ephemerality.The close-up, intimate vantage points I choose liberate these forms from mere depiction, pressing them toward abstraction, toward rhythm, pattern, and texture. They surrender to the idea that representation itself is an unreliable illusion, asking the viewer to engage the paintings not just as signs pointing to recognizable objects but as vivid, sensual encounters—experiences accountable only to their own internal logic.Finally Wojtkiewicz invites us to experience the work:Ultimately, my paintings are about attention and presence. They reimagine biology's fleeting moments of beauty as luminous icons, asking us not only to contemplate impermanence but also to celebrate the act of looking itself—the possibility of finding, again and again, that moment of discovery where craft, vision, and wonder converge. Image: ROSETTE SERIES #37, O/CANVAS 48 x 48 INCHES

The Real Real

Oliva Gallery is proud to present Found in Place, an exhibition of new abstract oil paintings by Chicago-based artist Tiffany Stronsky and ceramic installations by sculptor Carolyn Cronin Hughes, running&nbsp;from October 3 through November 1, the exhibition opens with a reception on Friday, October 3, from 5:00 to 9:00 PM. Found in Place explores the ways belonging reveals itself in fragments, through familiar sights such as the lines of a porch, the shadow of a tree, or the glow of late afternoon light across a neighborhood street. Stronsky translates these impressions into layered, abstract compositions where brushstrokes act as gestures of recognition, each canvas becoming a meditation on seeing, staying, and claiming space.Through her vibrant palette and richly textured surfaces, Stronsky transforms the everyday into expressive landscapes of memory and presence. The works invite viewers to consider their own connections to place, tracing the quiet beauty of what surrounds them and reflecting on the resonance of home. About the ArtistTiffany Stronsky is a Chicago-based painter whose work investigates memory, perception, and place. Known for her layered oil technique and expressive use of color, she creates abstract works that draw viewers into an active relationship with the canvas.

Found in Place – Tiffany Stronsky’s Abstract Exploration of Belonging

Luke Agada’s&nbsp;practice examines themes of globalization, migration and cultural dislocation within the framework of a postcolonial world and its impact on neo-cultural evolution. Agada's surrealist paintings of disembodied figures and dream-like grounds reference identity and the transformation of the postmodern human, where both time and space produce complex bodies of difference. Overlapping the past and present, the other and the self-reflect the ambiguity of our identiy within post-structuralist theory. Agada's work has been inspired by the postcolonial writings of Homi Bhabha, Edward Said, and literary works by Nigerian authors Chinua Achebe and Chimamanda Ngozi Adichie. His work is a continuous reflection of his investigative approach to history and critical theory with regards to the examination of the culture of dominance through globalization.&nbsp;Agada (b.1992, Lagos, Nigeria) received his MFA in Painting and Drawing at the School of the Art Institute of Chicago (2023) and a DVM at Federal University of Agriculture, Abeokuta (2018). He has had recent national and international exhibitions with Roberts Projects, Los Angeles, CA (2024); African American Museum of Philadelphia, Philadelphia, PA (2024) moniquemeloche, Chicago, IL (2023); Kristin Hjellegjerde Gallery, Berlin, Germany (2023); Hive Center for Contemporary Art, Beijing, China (2023);&nbsp;African Artist’s&nbsp;Foundation, Lagos, Nigeria (2021); and Gallery 1957, Accra, Ghana. Agada’s work is&nbsp;included in the forthcoming group exhibition&nbsp;Ever So Present II: Between Home and Elsewhere&nbsp;at Gagosian, NYC, alongside artists Amoako Boafo, Joséfa Ntjam, and Emma Prempeh, curated by Brice Arséne Yonkeu. Agada will present a solo exhibition at moniquemeloche Fall 2025.&nbsp;He has been a recipient of various awards and fellowships including Newcity’s&nbsp;Breakout Artist (2024); Studios at MASS MoCA Fellowship (2023); The James Nelson Raymond Fellowship Award (2023);&nbsp;Dean’s&nbsp;Grant, School of the Art Institute of Chicago, Chicago, IL (2023); Janet and Russell Doubleday Award at The Art Students League of New York (2022); The Helen Frankenthaler Award at SAIC in (2022); George and Ann Siegel Award, School of the Art Institute of Chicago, Chicago, IL (2021); Global Warming International Art Prize, New York, New York (2020). Agada currently lives and works in Chicago, IL.

Luke Agada: To Translate is to Move Across

The Evanston Art Center (EAC) is excited to welcome the public to The Forgotten Lives Project.“I’m a digital collage artist and photographer and a collector of early portrait photography—daguerreotypes, tintypes, and cabinet cards from the 1800s. I’m fascinated and sometimes saddened by these mysterious and haunting photographs of long-forgotten people, and I’m driven not only to preserve their memory, but to awaken it. My work intertwines 19th century photographs with whimsical objects and animals, creating playful, surreal, and haunting worlds. Titled The Forgotten Lives Project, these reimagined images aim to bring life to long-lost souls and tell a new story.”-David BenderThe Forgotten Lives Project will be exhibited in the Lobby 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.

The Forgotten Lives Project

<a rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">Hyde Park Art Center</a>, the renowned non-profit hub for contemporary art located on Chicago’s vibrant South Side, announces&nbsp;Yasmin Spiro: Cornerstone,&nbsp;the first major solo exhibition of the Chicago-based Jamaican artist, and related free public programming. Inspired by Spiro’s background, the exhibition presents the artist’s ongoing exploration of the intersections between land, body, memory, and architecture, inviting the audience to contemplate the physical and psychological effects of histories of migration and colonialism. Layered with aspects of Jamaica’s ecology, architectural structures, land ownership, and socio-political history,&nbsp;Cornerstone&nbsp;emphasizes the hybridity of the island's culture and people, via immersive new works including sculptures, sound and scent work, and weavings.&nbsp;Yasmin Spiro: Cornerstone&nbsp;is curated by Allison Peters Quinn and runs&nbsp;from April 19 to November 2, 2025; admission is free. The title work&nbsp;Cornerstone&nbsp;is a new, towering fort-like structure made with cast forms and textile walls designed for visitors to enter. In construction, the cornerstone refers to the first-laid stone of a building, to which all other stones are positioned in relation. Set up at the center of the gallery, the installation—created during Spiro’s 2024 Jackman Goldwasser Residency at the Art Center—connects to three surrounding bodies of work in the gallery, serving as a metaphor for home and the feeling of being grounded in an identity that is shaped by a homeland. Combining burlap, wood, rope, mixed-media cast, and ceramic forms, video, and rural sound, Spiro composes a sensorial environment that elicits comfort and belonging. The three related bodies of work combine old and new elements from Spiro’s practice within texture, muted organic tones, and sensory-rich materials. The north end of the gallery will feature a 17 ft. long burlap weaving embedded with handmade ceramic bells, found driftwood, and rope that projects a complex lattice of shadows on the wall, offering a new perception of space. On the west wall, six mounted panels align rope compositions next to flesh-toned ceramic tiles made during Spiro’s Arts/Industry residency at Kohler Co. Finally, ropes descend from the ceiling on the south end of the gallery and extend outward, forming a suspended alternative architecture. Through these works, Spiro contemplates the fluidity of land and water, and how people’s relationship to land is shaped by migration, colonial histories, and national identity. To the artist, buildings are not simply physical structures, but spaces that anchor human experiences, culture, and history. “Materiality is central to the meaning of the work,” explains Spiro. “The cast forms in&nbsp;Cornerstone&nbsp;create an organic, almost fossilized presence that simultaneously emerges from and erodes back into the earth, reflecting how landscapes shift and histories accumulate over time. Pigmented in shades of pink, their fleshy, shell-like tones correspond to the cast porcelain on the walls, referencing the natural landscapes of Jamaica and the layered histories embedded in them. These forms speak to the way places shape us and how we carry them within us.” This exhibition is part of an ongoing annual series of large-scale artworks commissioned by Hyde Park Art Center, which in the past included new works by Edra Soto, Faheem Majeed, and Lan Tuazon among others. The exhibition will be documented and enhanced through a publication with essays by critic and writer Seph Rodney and curator Allison Peters Quinn. A series of public programs will offer opportunities for audiences to further engage with the exhibition.&nbsp;Yasmin Spiro: Cornerstone&nbsp;is generously supported by the Abakanowicz Arts and Culture Charitable Foundation Research and Production Fund. Related free public programs include: Artist-led Exhibition TourTuesday, April 22, 5:30 p.m.<a rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">Yasmin Spiro leads an exhibition tour as part of EXPO Chicago’s South Side Night.</a> Yasmin Spiro in conversation with Seph RodneyThursday, May 15, 6 p.m.<a rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">Writer and critic Seph Rodney joins Yasmin Spiro in conversation to discuss her exhibition</a>&nbsp;in relation to colonial and post-colonial Caribbean culture, land, body, and identity. Panel discussion: Geographies of Belonging: Land, Identity, and Collective MemorySaturday, June 21, 1-2:30 p.m.<a rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">Artists, architects, archaeologists, and historians discuss how human bodies relate to land and space, exploring themes of displacement, rootedness, and identity.&nbsp;</a> Cornerstone Performance in collaboration with Neila EbanksThursday, October 9, 6 p.m.<a rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">A performance developed in collaboration with Jamaican choreographer Neila Ebanks that explores themes in the exhibition through movement and dance. Ebanks is the co-founder of dance collective Enkompane and Director of Dance Studies at Edna Manley College of Visual and Performing Arts in Kingston.</a> ABOUT THE ARTIST<a rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">Born and raised in Kingston, Jamaica by a family from multiple geographies, the interdisciplinary artist&nbsp;</a><a rel="noopener noreferrer" href="https://www.yasminspiro.com/" target="_blank">Yasmin Spiro&nbsp;</a>approaches cultural identity with a unique perspective. Through her sculptures and installations, she addresses issues of socio-economic imbalance within the framework of urban development and architecture – often through the lens of Caribbean culture. Spiro works in a variety of media from wood, ceramic, natural and synthetic fibers and textiles to performance and video, exploring materiality while investigating the relationship between the body, nature, and the built environment. She attended Pratt Institute and held residences at the Dora Maar Foundation, The Kohler Arts and Industry residency, Vermont Studio Center, and the Chicago Artist Coalition. She currently resides in Chicago. ABOUT THE HYDE PARK ART CENTER<a rel="noopener noreferrer" href="https://www.hydeparkart.org/" target="_blank">Hyde Park Art Center, at 5020 South Cornell Avenue on Chicago’s vibrant South Side, is a hub for contemporary arts in Chicago, serving as a gathering, production, and exhibition space for artists and the broader community to cultivate ideas, impact social change, and connect with new networks. Since its inception in 1939, Hyde Park Art Center has grown from a small collective of artists to establishing a strong legacy of risk-taking and experimentation, emerging as a unique Chicago arts institution with social impact. Today, the Art Center offers a diverse suite of programs for artists and art lovers of all backgrounds, ages, and stages in their careers including: contemporary art exhibitions in six galleries; an open-access community-based school with 2,000 annual enrollments; weekly arts education to 1,000 elementary school students in public schools; weekly and summer teen programs for 100 teen artists; professional-advancement programs for artists; a local and international artist residency; and public programs that connect residents with Chicago art and artists. The Art Center’s Oakman Clinton School + Studio is the nation’s first fully contribute-what-you-can visual art school for all ages. The Art Center functions as an amplifier for creative voices of today and tomorrow, providing the space to cultivate new work and connections. For more information, visit&nbsp;www.hydeparkart.org</a>.

Yasmin Spiro: Cornerstone

Tickets available<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://renaissancesociety.us11.list-manage.com/track/click?u=28258b64874e626df0979c0de&amp;id=91d033c02c&amp;e=375d06b725" target="_blank"> </a><a style="color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://renaissancesociety.us11.list-manage.com/track/click?u=28258b64874e626df0979c0de&amp;id=91d033c02c&amp;e=375d06b725" target="_blank">Here</a>For the exhibition Nine Lives at the Renaissance Society, in fall of 2020, artist and Pulitzer-Prize-winning composer Raven Chacon created a new score in his ongoing American Ledger series. Inspired by journalist and activist Ida B. Wells, American Ledger No. 3 is written for two choirs of women who meet in a public place, like a field, street, or town square. Unable to be staged at the time of the exhibition in the early days of the pandemic, this outdoor performance now makes its Chicago debut, co-presented by UChicago Presents and the Renaissance Society.Gather at the Logan Center courtyard on the University of Chicago campus, as the two groups of singers converge for this evocative work, which links past and present and takes on new resonance today, joined by the sound of drums, glockenspiels, and coins.<a style="color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://renaissancesociety.us11.list-manage.com/track/click?u=28258b64874e626df0979c0de&amp;id=b9264ef9a9&amp;e=375d06b725" target="_blank">Learn more</a>. Image: Raven Chacon, photo by Neal Santos.&nbsp;

Concert: Raven Chacon

Jackson Junge Gallery is excited to announce&nbsp;THREADS OF MEMORY, a solo exhibition featuring paintings by viral fine artist Sydney Swisher who specializes in oil on fabric paintings. In an era defined by technological acceleration, Swisher’s work explores the intersection of memory, materiality, and machine intelligence. By prompting generated images through the uploading of personal photos and descriptions of memories, she creates familiar yet digitally fabricated scenes that are then painted with oil onto thrifted fabric. The pieces serve as a collage of old &amp; new, with the reference locations being a blend of real and falsified spaces. Her work brings digital recollection into physical form and navigates contemporary paradoxes. While Sydney Swisher has amassed an incredible fan base online, with over 5 million likes on her videos and almost 600k followers across social media platforms,&nbsp;THREADS OF MEMORY&nbsp;is only the second physical solo exhibition of Swisher’s work. The reception she’s gotten online is more than she ever imagined. A self-taught painter from a small, rural town in southern Illinois, Swisher has found success as a corporate graphic designer. As a result of her career, Swisher is focused on how machine intelligence is coming into our digital space and warping the human narrative, which inspired her to explore generative AI as a tool in the creative process. AI is not the core of her work, but a part of it, used specifically to explore themes of memory, nostalgia, and the blurred line between real and imagined. Her goal is to create "amalgamated" places that don’t exist, but which speak to collective memory. Swisher starts with a nostalgic memory or the feeling of a vaguely familiar place. She then gathers personal and found images from thrift stores, her own photography, or her family film photo collection. She feeds her references into AI (Midjourney) to generate blended visuals that feel like memories more than literal depictions. Swisher’s painting “If It Comes to You, It Means Something” gives a peek at a dated living room drenched in mauve, the view seemingly dissolving into a vintage floral-patterned piece of fabric. One of the most personally nostalgic scenes Swishers created, she remembers the painting “was inspired by the home I was raised in until the age of 4. Although this is not the exact living room, and I don't have a good image of the room, this is how I remember it through my childhood memories. I feel that the younger the memory, the more vividly I see the scene.” After generating an AI image from photos and memories, Swisher further refines it in Photoshop to create her reference. She includes these elements into her physical paintings, creating a hybrid of digital and traditional media. Swisher elegantly makes the transition from an intricate digital process to an intense art form requiring a high degree of technical skill, oil painting. Her painting “Nonviolent Misbehavior” highlights her skill with the medium, capturing subtle shifts in shadow as light bounces around a chandelier painted in oil. Swisher also incorporates thrifted materials into her paintings to further bridge the digital and real. Adding physical objects like blankets, curtains, and crafts that once belonged to someone adds a further connection to a personal past, while creating a new collective narrative around the items. Swisher’s painting “When You and It Are Aligned” depicts a kitchen workspace warmly lit by a flood of sunshine streaming through a window. Swisher delicately sewed a cloth to sit on the table and lace into the window dressings of the painting to pay homage to the details of our cherished daily possessions. Reflecting on the evolution of this collection, Swisher said “I continued to try to make these pieces more sculptural, with sewn-in pieces ‘spilling out’ of the canvas. I would like to continue to challenge myself in this way to create memories that seem to be ‘reaching out’ into our current reality. Making this transition seamless is pretty difficult, but I appreciate the challenge and hope to continue to push the work in this direction.” Swisher’s “The Good of It” features an actual lampshade jutting out from the canvas where a familiar still life is painted of an armchair, side table and lamp. Swisher’s work is a commentary on authorship and influence. While prompted by her own memories and images, she does appropriate fragments from strangers, blending them into new narratives. There is a parallel between AI and the natural artistic process - both involve borrowing, remixing, and reinterpreting pieces of existing work. Swisher believes “creativity has always been about taking fragments of your influences and fragments of the past and creating something that's a new story that's authentic and unique to you.” While AI can enhance creativity, Swisher thinks artists, unlike machines, add emotional depth and personal narratives to their work. Her goal is to create work that feels authentic, even if built from fragmented, artificial sources. For Sydney, “this collection is an amalgamation of years of my interests through my life. It incorporated my love of crafting, photography, technology, painting, and mixed media.” While all the pieces Swisher created for&nbsp;THREADS OF MEMORY&nbsp;start at an attempt to re-create her own personal memory, she sees them as a tapestry woven together with threads of memory from many individuals. Scenes that are specific to no one, but evoke collective nostalgia and probe the evolving nature of human experience in the digital age. They allow us to step into a familiar time, to experience a sense of warmth and comfort that is often associated with home, to have a deeper appreciation for the complexity of our unique history, and to question our future direction in a world filled with fabricated images of the past. THREADS OF MEMORY&nbsp;will be on view at Jackson Junge Gallery September 22nd&nbsp;– November 2nd, 2025. The gallery will be holding the exhibition’s opening reception on Friday, September 26th, from 6 pm - 9 pm. The event is free and open to the public. The exhibition is curated by Owner Chris Jackson, Gallery Director Kaitlyn Miller and Assistant Gallery Director Kristen Arcus.

Sydney Swisher: Threads of Memory

Reflections of Resiliance

The Alchemy of Color:Exploring the Evolution of Glassmaking in the Golden Age&nbsp; Thursday, November 66:00-7:00 pm Led by Amy McHugh, Curator of Modern Glass at the Corning Museum of Glass, this&nbsp;lecture offers an in-depth exploration of the creative and technical innovations that defined glassmaking during the modern era. <a rel="noopener noreferrer" href="https://driehausmuseum.us3.list-manage.com/track/click?u=32343bbcd4e3063e18cdf64bf&amp;id=154b228c60&amp;e=d1db3f815c" target="_blank">MORE INFORMATION + TICKETS</a>

The Alchemy of Color: Exploring the Evolution of Glassmaking in the Golden Age

Legacies on Display: The Forbidden and Venerated Arts of BurmaTaking Museums to the Streets:&nbsp;Using Fine Art for Protest, Courtesy of the Center for the Study of Political Graphics,&nbsp;<a rel="noopener noreferrer" href="http://www.politicalgraphics.org/" target="_blank">www.politicalgraphics.org</a>

Legacies on Display: The Forbidden and Venerated Arts of Burma

Woman Made Gallery is pleased to announce&nbsp;Finding My Way, a curated exhibition featuring the work of undergraduate and graduate students currently enrolled in universities in Illinois and Indiana, as well as Spring 2025 graduates. The exhibition will run from October 11 through November 8, 2025, with a public artist reception on Saturday, October 11, 2025, from 4–7 PM, and an Artist Walkthrough on Saturday, November 8, 2025, from 2–4 PM.Finding My Way explores the profound transformations that shape our lives—especially the pivotal journey from childhood to adulthood. Through this theme, the exhibition invites artwork that captures the physical, emotional, and psychological changes defining these formative years.The diversity of student voices creates a compelling portrait of resilience, vulnerability, and discovery. All mediums are represented, from painting, drawing, and photography to sculpture, mixed media, and installation.&nbsp;Exhibiting Artists:&nbsp;Vianée Anahil, Presley Baldwin, Elan Bareket, Summer Boezeman, Celeste Botello, Cait, Lucas Cordes, Dashi, Lulu Franke Barker, Rosalie Gengras, Julia Goldberg, Lily Gregoire,&nbsp;Kennedy Hardy, Sophia Hasmonek, Brianna Ho, Myrkul Holly-Meadowcroft, Cherin Kim, Ilhana Kisija, Becca Krusza, Jen LaMastra, Maddie Lee, MAC, Katelyn Nee, Samaya Norman, Avery O’Brien, Fumika Okumura, Emy Ori, Madeline Penzel, Abigail Potter-James, Maryam Rodgers, Mia Rose, Josie Ross, Ted Roth, Abigail Svitko, Nehir Uslu, Step Walkowiak, Elise Wentzel, Jozlyn Skye White, Nia Wilson, Huiqi ZhouCuratorial Team:&nbsp;Finding My Way&nbsp;is made possible through the collaborative efforts of Corinne Pompéy and Diana Vallera, co-creators of&nbsp;For Women, By Women&nbsp;at Columbia College Chicago, together with Rebekah Baker, Gallery Director at Woman Made Gallery.&nbsp;Woman Made Gallery thanks&nbsp;<a rel="noopener noreferrer" href="https://northwest.iu.edu/" target="_blank">Indiana University</a>&nbsp;for sponsoring the&nbsp;Finding My Way&nbsp;exhibition program.View the exhibition online:&nbsp;<a rel="noopener noreferrer" href="https://womanmade.org/finding-my-way/" target="_blank">https://womanmade.org/finding-my-way/</a>

Finding My Way

Michael Banning’s new paintings of window views and garden walls represent a departure from his recent work that focused on faithfully depicting the interior spaces of his home. Although some of these small paintings are loosely based on windows within the artist’s house, the spaces outside the windows are derived from his travels in the United States and Europe. These constructed images represent both the solace of home and the longing for another place and time. In each of the paintings, doors and windows reveal glimpses of the natural world just outside. The views are partial, framed and fragmented by the structures that surround them, serving as metaphors for both the archetypal garden and the forest of the unconscious.&nbsp;Artists' Reception: Friday, October 17 from 5 to 8PM (<a rel="noopener noreferrer" href="https://gallerynightmke.com/" target="_blank">Gallery Night MKE</a>)Artist Meet &amp; Greet: Saturday, October 18 from 1 to 3PMLocation: 207 E Buffalo St, Suite 404, Milwaukee, WI 53202 (Marshall Building, 4th floor)

Michael Banning: My Window is a Garden Gate

Kim Storage Gallery is pleased to announce, "New Work," a solo exhibition by Madison-based artist&nbsp;Paul Krainak. His newest work includes a series of acrylic abstractions on canvas that are diagrammatic and chromatic filters applied to the memory of nature in rural and suburban environments. The Edith Farnsworth House in Plano, Illinois has been an occasional conceptual template. Previous works structure that was more oblique architectural signs, are now compressed to a gridded and tiled format.&nbsp;Artists’ Reception: Friday, October 17 from 5 to 8PM (Gallery Night MKE)

Paul Krainak: New Work

The Evanston Art Center (EAC) is excited to welcome the public to our upcoming exhibition,&nbsp;CSI | Materiality in Sculpture: A Dialogue Between Substance and Form. The exhibition will be on display from September 27 - November 9, 2025, and will be free and open to the public.Juried by Debra Favre,&nbsp;CSI | Materiality in Sculpture: A Dialogue Between Substance and Form explores the interplay of materials in the realm of sculpture, showcasing works that challenge, celebrate, and redefine our understanding of material substance through freestanding and wall-hung sculptures as well as installation and video. Forty members of Chicago Sculpture International have been selected for this exhibition.CSI | Materiality in Sculpture: A Dialogue Between Substance and Form&nbsp;will be exhibited in the&nbsp;First Floor Gallery&nbsp;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.

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