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

On Friday, July 12th, we will be having an exhibit opening for newly represented and featured artist Julia Jensen's show "Poised Between."&nbsp;The opening will run from 5-7 PM and will display Julia's impressionist paintings, which are influenced by her experiences in southern&nbsp;Vermont and Nantucket. Her&nbsp;goal is to evoke memories and create a lasting impact on the viewer.&nbsp; Image: Julia Jensen, 300 DPI image of "Expectation."

Julia Jensen: Poised Between

April Showers bring May Prints! Spring is in the air and our next show will soon be on the walls. Come to the Opening Reception on Friday, April 4th from 4pm-9pm for a first look at this selection of gorgeous prints by artists from all over the country. Featured Artists:﻿Jaquelee Chit Yu ChauTodd ChristensenErin DiGiovanniJohn HitchcockNikki Jabbora-BarberMei Lam SoBen NathanAndy RubinJandey ShackelfordCerese Vaden

Favorite Things

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

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. <a rel="noopener noreferrer" href="https://documentspace.us4.list-manage.com/track/click?u=86575b609554c4ccf7fa6c892&amp;id=000aa7cad1&amp;e=8ae6879d32" target="_blank">More information</a>&nbsp;

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 FloresDaniel HojnackiD. Rosen

Summer Group Exhibition: Flor Flores, Daniel Hojnacki, and D. Rosen

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

Paul Segedin and Karen Perl

2025 Curatorial Fellowship Exhibition

&nbsp;In the digital age, almost anything can become a global phenomenon.&nbsp;<a rel="noopener noreferrer" href="https://oh4nipbab.cc.rs6.net/tn.jsp?f=001sLX7ecqjiNqwMmstth8XEa6l4TQhk18687kN21xmIAShDy-6cBR8Zbwv_woTaUJc5W0vWsMnmKA-a3bBqB3cei47Zn9EESagwbDui7Ap6DAuDroOi_rB32V8WWZYR3pw6j7ccLCcNDx38mCiw0ukbuEZ9nnXtMK4TnACnGSMP1acO6PJ2VAmIwuHyGN1A5ez&amp;c=gB2iEyCuqG-aEFkvWW00vaI4ZV879_ebP2oV-iw_S7p4Euxptgxg5w==&amp;ch=HurcvyYYoj23toltKvv7_jVTzlKy2Et9hl6FRNE1ACtQQqUJ-Ng71Q==" target="_blank">#TRENDING&nbsp;</a>will put our pop culture, politics, music, fashion, memes and more under the microscope. Check out this exhibition to see if you’re also staying current with trends!

#TRENDING

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

Palestinian Artist in Residence, Taki Spateen

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

Carmen Winant

Artist Talk: Saturday, July 19 beginning at 1PM (Gallery Day)Kim Storage Gallery is thrilled to present "Mind Games," a solo exhibition by Chicago-based artist April Behnke. This captivating show features a new body of work showcasing Behnke's exploration of perceptual play through paintings and drawings. The exhibition delves into the ways we use vision to perceive patterns and make sense of the world. Behnke skillfully interrupts these patterns, mixing up foreground and background to create a visual experience that is both familiar and disorienting. Visitors will be intrigued by the dynamic interplay of colors and shapes, which challenge and engage the viewer's perception. "Mind Games" not only references the show's main theme but also invites viewers to participate in a playful and interactive experience. Behnke's work draws inspiration from both board games and early video games, incorporating structured patterns and visual interruptions that evoke a sense of nostalgia and curiosity. This exhibition marks Behnke's first solo show at Kim Storage Gallery, and it promises to be a thought-provoking and visually stimulating event. Join us for the opening reception and artist talk, where Behnke will provide deeper insights into her creative process and the conceptual underpinnings of her work.Electric Dreams, Flashe on canvas, 48 x 60"

April Behnke: Mind Games

Alex Chitty

Care is both love and labor—nurturing, repairing, and sustaining ourselves, others, and our communities. This exhibition builds on feminist histories of care work, recognizing its often invisible, gendered, racialized, and classed dimensions. ﻿Juror:&nbsp;<a rel="noopener noreferrer" href="https://womanmade.us10.list-manage.com/track/click?u=77610ec6940e4a7c0d652a863&amp;id=803ad95985&amp;e=a3993dd90f" target="_blank">Kristen Carter</a>

Acts of Care: Nurturing the Present, Shaping the Future

Guest curated by Wendy Ewald, Susan Meiselas, and Laura Wexler, along with Kristin Taylor, MoCP Curator of Academic Programs and CollectionsThis exhibition will feature works in the MoCP permanent collection that are included in the recent and groundbreaking publication titled&nbsp;Collaboration: A Potential History of Photography.&nbsp;The book&nbsp;was created by a group of artists, art historians, activists, and scholars—Ariella Aïsha Azoulay, Wendy Ewald, Susan Meiselas, Leigh Raiford, and Laura Wexler—and published by Thames and Hudson in 2024. It is an extension of a project that these five authors have collaborated on for over ten years, in which they reassess a range of photographs and projects that portray stories of humanity and social movements to decenter the photographer as the only author of the image, and to emphasize the act of photographing as an inherently collaborative process in which many parties are involved. By sharing both artists’ statements and excerpts from interviews with people depicted in photographs, they question whether memories align: Did both sides remember the moment in the same way? How did the photographed feel about the photograph’s life after it circulated through art markets, print media, and online? And what role might the photograph have played in perpetuating harmful or liberatory narratives about specific histories, places, or individuals?The works—both historical and contemporary—are presented in clusters focused on topics,&nbsp;to highlight and propose questions about photographed moments of coercion, friendship, exploitation, community, and violence.&nbsp;The exhibition will also feature a reflection space for the audience engagement, as part of the project’s ongoing effort to consider the history of photography as a living and evolving entity that is unfixed and expanding as we learn more about the people, communities, and histories that images depict.MoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.The 2024–2025 exhibition season is sponsored in part by the Efroymson Family Fund, Henry Nias Foundation, The Rowan Foundation, Phillip and Edith Leonian Foundation, Pritzker Traubert Foundation, Comer Family Foundation, and Venable Foundation. It is partially supported by a CityArts grant from the City of Chicago Department of Cultural Affairs and Special Events and 21c Museum Hotel, Chicago. MoCP acknowledges support from the Illinois Arts Council.This project is generously supported through the David C. and Sarajean Ruttenberg Impact Fund for Photography and the Westridge Foundation.&nbsp;

Collaboration: A Potential History of Photography in Dialogue with the MoCP Collection

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.

LUMINOSITY: The Ocean Between VIII

The&nbsp;Driehaus Museum&nbsp;is proud to announce&nbsp;Rory McEwen: A New Perspective on Nature, an exhibition exploring the trailblazing career and legacy of Scottish artist Rory McEwen, whose work is considered one of the major turning points in the development of contemporary botanical art. Presenting over one hundred works, including sculpture and manuscripts, the exhibition reveals how McEwen forged his own personal interpretation of 20th century modernism, portraying flowers, leaves, and vegetables as individual subjects worthy of their own portraits. Establishing McEwen’s role in shaping new generations of artists, the exhibition also features the work of contemporary botanical artists who&nbsp;continue to&nbsp;shape&nbsp;McEwen’s&nbsp;artistic&nbsp;legacy today.&nbsp;Rory McEwen: A New Perspective on Nature&nbsp;will be on view at the Driehaus Museum,&nbsp;50 E. Erie Street&nbsp;from&nbsp;May 16 to August 17, 2025.&nbsp;McEwen’s vibrant paintings balance the scientific detail of traditional botanical art with a modernist perspective influenced by other visual artists of his time. A student of the Old Masters as well as his contemporaries, McEwen developed a distinctive style over the course of his career, painting on vellum and using large empty backgrounds on which his plant portraits seem to float. In his paintings, he forged his own personal interpretation of twentieth-century modernism, portraying individual flowers, leaves, and vegetables as subject matter, “as a way of getting as close as possible to what I perceive as the truth, my truth of the time in which I live.” By encompassing a rare ability to see a plant as more than “just” a plant—to imbue his paintings with a sense of his subject’s “soul”—his techniques have had a lasting impact on botanical artists today. McEwen was a modern-day Renaissance man, whose artistry extended to sculpture, poetry, and most notably, music, where he was a successful folk revival musician and host of the popular 1960’s music show, “Hullabaloo!”“We are pleased to welcome audiences to the Museum this summer with an exhibition that invites us to approach our natural surroundings with curiosity and wonder and to feature an artist who is lesser known on these shores but who embodies the kind of excellence the Museum celebrates,” says&nbsp;Driehaus Museum Executive Director&nbsp;Lisa M. Key. She continues, “McEwen’s&nbsp;naturalistic paintings will echo the organic forms and ornamentation throughout our historic interiors.At the Driehaus Museum, we are committed to special exhibitions that bring visitors new perspectives and this exhibition hits that mark.”“The ability to give&nbsp;life and luminosity to a spectrum of emotions is what gives Rory McEwen’s art those qualities that distinguish it from the ordinary,” says&nbsp;Ruth L. A. Stiff, guest curator. “As Rory McEwen conceded to Wilfrid Blunt, his drawing master at Eton, ‘I have never really been interested in botanical illustration per se, but rather in that moment when painting starts to breathe poetry.’ “Rory McEwen: A New Perspective on Nature&nbsp;offers viewers&nbsp;an&nbsp;unparalleled&nbsp;context&nbsp;to&nbsp;explore McEwen’s pioneering artistic vision. The exhibition presents works by McEwen alongside works by the 17th&nbsp;and 18th&nbsp;century painters whom he studied—such as Nicolas Robert, Pierre Joseph Redouté, Georg Dionysius Ehret, and Claude Aubriet—as well as early illuminated manuscripts and folio volumes drawn from the Mellon Collection, Oak Spring Garden Foundation, and the RoyalBotanic&nbsp;Gardens,&nbsp;Kew.&nbsp;It includes works on loan from McEwen’s family as well as works drawn from numerous private collections, most of which have never been seen by the American public. Loans&nbsp;from&nbsp;the&nbsp;extensive&nbsp;contemporary&nbsp;botanical collection of British botanist and philanthropist, Dr. Shirley Sherwood, showcase contemporary artists following in McEwen’s techniques and styles.As part of&nbsp;Rory McEwen: A New Perspective on Nature, the Driehaus Museum will partner with local institutions across exhibits and programs, including Brushwood Center at Ryerson Woods, Chicago Botanic Garden, the Morton Arboretum, the Old Town School of Folk Music, and the Peggy Notebaert Nature Museum. The Driehaus Museum will also be participating in the Magnificent Mile Association’s annual Tulip festival with a special presentation of tulips and a tulip sculpture in the Museum’s garden.Rory McEwen: A New Perspective on Nature&nbsp;is&nbsp;generously supported by the&nbsp;Driehaus Trust Company, LLC., the Kovler Family Foundation, and Barbi and Tom Donnelley. Additional support provided by&nbsp;Friends of&nbsp;Rory McEwen.The exhibition is curated by Ruth L. A. Stiff, Curator of International Exhibitions, Royal Botanic Gardens, Kew (London) and accompanied by a full-color catalogue produced by the Oak Spring Garden Foundation. It is presented in association with the Oak Spring Garden Foundation (Virginia) and the Royal Botanic Gardens, Kew with tour management by Landau Traveling Exhibitions, Los Angeles, CA. Major support is provided by the Gerard B. Lambert Foundation. The Driehaus Museum is the final U.S. institution to host the exhibition, which included the Gibbes Museum of Art in Charleston, South Carolina; the Davis Museum at Wellesley College, Massachusetts; and the Society of Four Arts in Palm Beach, Florida.&nbsp; ABOUT THE ARTISTRory McEwen (1932-1982) grew up in Scotland as the third of seven children at Marchmont House, the family’s Palladian stately home, where he learned to draw flowers from an early age encouraged by his French governess, who instructed him in drawing from nature. He was influenced by 17th&nbsp;and 18th-century French flower painters throughout his education at Eton, including visits to the Royal Library at Windsor Castle, and his continued studies at Trinity College, Cambridge. After serving with the British Army, he discovered his passion for art. Initially a blues musician, McEwen toured the U.S. in 1956 with his brother Alexander, recording an LP for Smithsonian Folkways Records and appearing twice on the Ed Sullivan show. Back in Britain, he became known as a guitarist and singer, appearing nightly on the BBC’s&nbsp;Tonight&nbsp;show and produced, presented, and performed on the seminal music program,&nbsp;Hullabaloo. However, from 1964 until his death in 1982, McEwen focused solely on his work as a visual artist, known for his detailed work on vellum with watercolors. His posthumous 1988 exhibition at the Serpentine Gallery in London is considered one of the pivotal turning points in the development of contemporary botanical art, and his techniques have had a lasting impact on botanical artists today. McEwen’s&nbsp;work&nbsp;can&nbsp;be&nbsp;found&nbsp;in&nbsp;private&nbsp;and&nbsp;public&nbsp;collections&nbsp;across&nbsp;the&nbsp;globe,&nbsp;including&nbsp;the British&nbsp;Museum;&nbsp;Victoria&nbsp;and&nbsp;Albert&nbsp;Museum;&nbsp;Tate;&nbsp;National&nbsp;Gallery&nbsp;of&nbsp;Modern&nbsp;Art,&nbsp;Scotland; Fitzwilliam&nbsp;Museum,&nbsp;Cambridge;&nbsp;Hunt&nbsp;Institute,&nbsp;Pittsburgh;&nbsp;andMuseum&nbsp;of&nbsp;Modern&nbsp;Art,&nbsp;New&nbsp;York. ABOUT THE DRIEHAUS MUSEUMThe Driehaus Museum engages and inspires the global community through exploration and ongoing conversations in art, architecture, and design of the late nineteenth and early twentieth centuries. Its permanent collection and temporary exhibitions are presented in an immersive experience within the restored Nickerson Mansion, completed in 1883, at the height of the Gilded Age, and the Murphy Auditorium, built in 1926. The Museum’s collection reflects and is inspired by the collecting interests, vision, and focus of its founder, the late Richard H. Driehaus. For more information, visit&nbsp;<a style="color: windowtext;" rel="noopener noreferrer" href="http://www.driehausmuseum.org/" target="_blank">driehausmuseum.org</a>&nbsp;and connect with the Museum on&nbsp;<a style="color: windowtext;" rel="noopener noreferrer" href="https://www.facebook.com/pages/Driehaus-Museum/362867207176025" target="_blank">Facebook</a>,&nbsp;<a style="color: windowtext;" rel="noopener noreferrer" href="https://twitter.com/DriehausMuseum" target="_blank">Twitter</a>, and&nbsp;<a style="color: windowtext;" rel="noopener noreferrer" href="https://www.instagram.com/driehausmuseum/" target="_blank">Instagram</a>.

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