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

Mark your calendars! Stop in on Saturday, June 6, from 1-4PM. Visit the museum to meet and create art with exhibiting artist Jeremiah Hulsebos-Spofford. Jeremiah will speak about his sculptures and his practice, and then guide participants through art-making inspired by his work. Included with museum admission. Members are free. This event is made possible through a grant from the JCS Arts, Health and Education Fund of DuPage Foundation.

Create With Artist Jeremiah Hulsebos-Spofford

Please join us on Wednesday, April 8th from 5 - 7 pm for the opening reception of our new exhibition,&nbsp;Melanie Parke: Viridescence.&nbsp;The show features sixteen paintings inspired by the landscape, shorelines, fields and gardens surrounding the artist's Northern Michigan studio.&nbsp;Melanie Parke's work combines brilliant color with enchanting views and objects that evoke a sense of sense of warmth and memory. Her layered, painterly compositions reveal an intuitive sense of balance, structure and light.&nbsp;&nbsp;Join us to meet the artist and celebrate Spring with an exhibition that reflects the new light, blossoms, color and promise of the season. We look forward to seeing you this Wednesday at our Winnetka gallery!564 Lincoln Avenue in Winnetka

Melanie Parke: Viridescence 

Join us&nbsp;tomorrow (Thursday, May 14, from 6:00 to 8:00 pm)&nbsp;as we celebrate the new show at the Kavanagh Gallery!&nbsp;Art 2026 showcases the work of artists who have taken classes at Fine Line.Meet some of the artists and other members of your Fine Line community and view the incredible art.This reception, like all Fine Line receptions, is free and open to everyone. Light refreshments will be served.

Art 2026

Juried Group ShowHarmony is often hard to achieve. But let's be honest: Do we always want harmony? How tensions are resolved, make peace with, or completely defy opposition can be more enlightening.&nbsp;We want the clash. We want the contradiction. Let's see the fight!CONFLICT OF INTERESTS is about friction. It is about using the “wrong” material on purpose. It is about the disconnect between what something looks like and what it says.ShadowBoxX Gallery has asked 50 talented artists from across the country to show us what that disconnect looks like.

Conflict of Interests

The Hairy Who: Selections from the Chicago Imagists

Enter the world of photographer Sandro Miller with a unique exhibition coming to The Art Center Highland Park from May 8 to June 14. “Steppenwolf 50: Through the Eye of Sandro Miller” is an intimate portrait of the historic Steppenwolf theatre through the lens of a celebrated photographer and visual artist. This series will debut for a first-look at The Center’s Spring Benefit on May 8.Join us for the free public reception on May 15, with a special performance from musical guest Kahil El’Zabar.

Steppenwolf 50: Through the Eye of Sandro Miller

The storied city of Djenné, a center of Islamic learning, study, and scholarship since the twelfth century, is the hometown of Bamako-based photographer&nbsp;Hamdia Traoré&nbsp;(b. 1992, Mali).&nbsp;The thirty portraits in Traore’s series&nbsp;Des marabouts de Djenné (Marabouts of Jenne)&nbsp;reflect his intimate connections to the city’s people and deep history. Learned and devout, marabouts teach in Djenné’s over 50 Qur’anic schools, offer spiritual guidance, and treat ailments through their knowledge of the Qur’an.Made during a time of political and social upheaval in Mali, these portraits reflect enduring cultural resilience. Each image depicts a marabout seated with the tools of his practice—books, Qur’an boards, amulets, and prayer beads—framed by the architecture and atmosphere of Djenné. The consistent format underscores their collective identity, while individual poses and captions highlight personal roles and neighborhoods.Traoré’s work will be shown alongside mid-20th-century black-and-white portraits of marabouts by Malian photographers&nbsp;Mamadou Cissé, Abdourahmane Sakaly, and&nbsp;Tijani Sitou. Drawn from the Archive of Malian Photography, these earlier images share visual parallels and deepen the historical context.&nbsp;Together, these images illuminate evolving perspectives on spiritual authority, identity, and visual representation in Mali.This exhibition is developed in collaboration with the artist and professor Candace Keller, co-founder of the&nbsp;<a rel="noopener noreferrer" href="https://amp.matrix.msu.edu/" target="_blank">Archive of Malian Photography</a>.

Hamdia Traoré’s “Des marabouts de Djenné” and Muslim Portraiture in Mali

Sign up for a one-day collaborative painting workshop on June 14! This collaborative abstract painting workshop is all about experimentation, exploration, and shared creation. Through a mix of individual exercises and large-scale collective works, you’ll embrace surprise, let go of control, and learn to respond to instinct, emotion, and movement rather than technical perfection. Step out of your head... and into the chaos! You can sign up for summer art camps and summer classes on our website. If cost is an obstacle, apply for a scholarship for a class or camp!

Summer Painting Workshop

An exhibition exploring how images of luxury obscure the labor and extraction behind consumer culture.Sammy Baloji’s monumental diptych&nbsp;Raccord #1: Cite de Kawama&nbsp;stages a sharp visual contrast between a Congolese temporary mining settlement and an advertisement for an idealized resort. The advertising image is not merely decorative, but is part of an economic system that manufactures longing, offering miners and their families a fantasy of leisure and mobility even as they remain excluded from the wealth it fuels.Building from Baloji’s photograph, recently acquired by The Block Museum of Art, this exhibition reminds us that beneath the surfaces of leisure, consumption, and profit lie histories of exploitation and environmental damage.&nbsp;Beneath the Surface&nbsp;brings together artworks and advertising from The Block&nbsp;collection and the&nbsp;<a href="https://northwestern.us9.list-manage.com/track/click?u=904f932038284b4d9eea69636&amp;id=31838cac8b&amp;e=ec81127d70" rel="noopener noreferrer" target="_blank">Herskovits Library of African Studies</a>&nbsp;to make us think about how extractive industries rely on visual strategies to promote consumption, obscure labor, and elevate luxury. By presenting these works side by side, the exhibition invites viewers to consider how our own desires, shaped by photographs and advertisements, are linked to hidden processes of extraction, exploitation, and environmental harm.Beneath the Surface&nbsp;is presented in conversation with&nbsp;<a href="https://northwestern.us9.list-manage.com/track/click?u=904f932038284b4d9eea69636&amp;id=b8f5be7060&amp;e=ec81127d70" rel="noopener noreferrer" target="_blank">Teresa Montoya’s Tó Łitso (Yellow Water): Ten Years after the Gold King Mine Spill,</a>&nbsp;on view in the main gallery. Together, the projects underscore how the impacts of extraction link distant communities.<a href="https://northwestern.us9.list-manage.com/track/click?u=904f932038284b4d9eea69636&amp;id=0a7ea9386c&amp;e=ec81127d70" rel="noopener noreferrer" target="_blank">READ MORE</a> The exhibition is curated by Uche Okpa-Iroha, 2025‒2026 Art History Graduate Fellow, in consultation with Corinne Granof, Academic Curator. It is generously supported by the Illinois Arts Council Agency and The Graduate School (TGS), Northwestern University. Additional in-kind support is provided by Northwestern University Libraries. Image:&nbsp;Sammy Beloji,&nbsp;Raccord #1, Cité de Kawama, 2011. Digital inkjet print on Baryta paper. Copyright of the artist.

Beneath the Surface: Labor and Consumerism

On August 5, 2015, the rupture of the abandoned Gold King Mine near Silverton, Colorado, released more than three million gallons of toxic wastewater into the Animas River, turning its waters a shocking shade of yellow. In the following year, artist and anthropologist&nbsp;Teresa Montoya&nbsp;(Diné, born 1984) embarked on a road trip from Silverton to Shiprock, New Mexico, retracing the path of the contaminated water and documenting its ongoing cultural, spiritual, and material effects on the Navajo Nation and other Indigenous communities downstream.Marking the ten-year anniversary of the disaster, The Block Museum of Art partners with Montoya to revisit this journey.&nbsp;Tó Łitso (Yellow Water)&nbsp;explores the enduring consequences of the Gold King Mine spill through photography, sound recordings, water samples, and cartographic data.&nbsp;Combining documentary photographs with scientific data and poetic reflection,&nbsp;Tó Łitso&nbsp;invites viewers to consider water not only as a life-sustaining resource but also as a conduit for histories, stories, and harm. In doing so, the exhibition challenges extractive frameworks of land use, centering Indigenous knowledge and resilience. Through Montoya’s interdisciplinary practice,&nbsp;Tó Łitso (Yellow Water)&nbsp;offers a powerful meditation on environmental and cultural justice in the Southwest and beyond."The 2015 spill had discharged more than three million gallons of acidic mine waste fluid into Cement Creek before joining the Animas River and eventually into the San Juan River, which flows directly across the Navajo Nation. Through my photographic journey, I make explicit the enduring presence of toxicity across multiple landscapes and territories. Sometimes it appears beautiful, other times haunting.&nbsp;The images highlight the relationships that various communities sustain through water/tó&nbsp;despite the occurrence of repeated and enduring contamination from upstream locales.&nbsp;The Gold King Mine Spill shows us this, even in that, which cannot be readily seen." – Teresa MontoyaPronounce:&nbsp;<a href="https://navajowotd.com/word/to/" rel="noopener noreferrer" target="_blank">Tó</a>&nbsp;<a href="https://navajowotd.com/word/litso/" rel="noopener noreferrer" target="_blank">Łitso</a>&nbsp;&nbsp;Teresa Montoya’s Tó Łitso (Yellow Water): Ten Years after the Gold King Mine Spill&nbsp;was curated by Kathleen Bickford Berzock, Associate Director of Curatorial Affairs, and Marisa Cruz Branco (Isleta Pueblo/Portuguese), Terra Foundation Fellow, in collaboration with the artist. It was supported in part by a grant from the Illinois Arts Council. Ahéhee' (thank you) to Janene Yazzie, John Hosteen, Wade Campbell, and Andrew Curley for Diné language and curatorial guidance. Image: Teresa Montoya (Diné, born 1984), Tó Łitso #22 (Yellow Water #22), from the series Tó Łitso (Yellow Water), 2016, Inkjet print. Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase. Image courtesy of the artist

Teresa Montoya’s Tó Łitso (Yellow Water): Ten Years after the Gold King Mine Spill

Each spring The Block Museum of Art at Northwestern University is pleased to present the work of the Masters of Fine Arts candidates in the&nbsp;<a href="https://art.northwestern.edu/" rel="noopener noreferrer" style="color: rgb(78, 42, 132);" target="_blank">Department of Art Theory &amp; Practice</a>. Th 2026 exhibition,&nbsp;We can make any two stories touch, showcases the diverse accomplishments of five international artists: Lamia Abukhadra, Pegah Bahador, Gabby Banks, naakita f.k. and Przemek Pyszczek. Reflecting the intensive research undertaken during their two-year residency at Northwestern, the thesis projects brought together in&nbsp;We can make any two stories touch&nbsp;encompass a range of material and methodological approaches, posing fresh lines of inquiry into the conditions giving shape to the present moment. The exhibition marks an early milestone in these artists' careers, and also offers a glimpse into the future of contemporary art. Opening Reception, Thursday, May 7, 5PM-8PM&nbsp;<a href="https://www.eventbrite.com/e/opening-celebration-we-can-make-any-two-stories-touch-tickets-1985590581881?utm-campaign=social&amp;utm-content=attendeeshare&amp;utm-medium=discovery&amp;utm-term=listing&amp;utm-source=cp&amp;aff=ebdsshcopyurl?_eboga=false?_eboga=false" rel="noopener noreferrer" style="color: rgb(78, 42, 132);" target="_blank">(RSVP)</a>&nbsp;This exhibition and the associated events are co-organized by the Department of Art Theory and Practice and the Block Museum of Art at Northwestern University. The Block acknowledges support from the Illinois Arts Council, the Norton S. Walbridge Fund, the Myers Foundations, the Jerrold Loebl Fund for the Arts, and the Alsdorf Endowment.

We can make any two stories touch: 2026 Art Theory and Practice MFA Thesis Exhibition

Please join us on Sunday, June 14th at 4pm for the next in our series of free "Perspectives on Photography" lectures. We are delighted to welcome&nbsp;<a href="https://www.janefultonalt.com/" rel="noopener noreferrer" style="color: rgb(0, 0, 255);" target="_blank">Jane Fulton Alt</a>&nbsp;to our gallery for this in-person event, titled "Threading the Needle: The Camera as Companion".After the discussion, Alt will be signing copies of her latest book,&nbsp;<a href="https://www.janefultonalt.com/purchase-still-life" rel="noopener noreferrer" style="color: rgb(0, 0, 255);" target="_blank">"Still Life: A Photographer's Journey Through Grief and Gardening"</a>. Following the unexpected death of her husband, Howard, Alt assumed responsibility for the nascent ecosystem&nbsp;he had planted in response to his growing concern over climate change. What began as daily stewardship gradually became a source of creative focus and sustenance amid mourning."I was never a gardener," writes Alt, a statement that marks her abrupt turn toward caring for a landscape still in formation. If the garden represents new terrain, the camera remains constant,&nbsp;"a&nbsp;potent combination in adjusting to this new life." Together the photographs, and accompanying texts, form a body of work in which&nbsp;personal loss finds expression through close attention to the living world.Born in Chicago, Alt is an award-winning photographer who explores the universality of the human condition and the non-material world. Alt received a BA from the University of Michigan and an MA from the University of Chicago. She studied at the Evanston Art Center&nbsp;as well as at Columbia College and the Art Institute of Chicago. Her work is held&nbsp;in numerous permanent and private collections, both&nbsp;in the US and overseas, as well as in many special library collections. She is also the author of several books. Alt resides in Evanston and,&nbsp;her beloved adopted city, New Orleans.Image:"Persian Buttercup"

Threading the Needle: The Camera as Companion

My biomorphic imagery in this exhibition hinges on the comic with its gestural, voluminous – yet ambiguous forms. It is an inner world that is dreamlike – you know what it might be, but you’re not sure. The narratives are riddles with no clearly defined answer, allowing the interpretation of the viewer to be singular and as correct as the next.I have included a variety of sizes of panels in this exhibition to not only show my range, but also because I like the rhythmical play created by the juxtaposition of works. Viewers may also notice a cohesive thread of color between all the paintings. This was achieved by working on several works at the same time – carrying over colors from one panel to the next.-Denise PresnellMy current work contains two series: “Unrestrained Ambiguity” and “Extreme Makeovers – Painting Edition. Both series share some common threads, such as color palette, biomorphic forms, gestural lines, and a strong sense of motion. The subject matter is up for grabs – it’s all in the eye of the beholder. I’ve learned that what I see as a ‘horse’ is a ‘kitty’ to others. I am okay with the open interpretation. I like offering an open invitation for the viewer to explore the work from their imagination.Using a limited palette ties one work to another. I’ve developed a deeper relationship with color as a powerful vehicle of emotion. I’ve taken cues from the masters of color- Rothko, Matisse, Bonnard, and many more. Equally powerful in my method is the use of automatic, gestural line. Compositions are found through the automatic lines without a preconceived image or plan. Working from this standpoint has been extremely freeing for me.I enjoy working on panels that have many older paintings under them, leaving something from the older work in the newest iteration. It’s a family of paintings. I like using oil and cold wax on panel because of the ability to dig down through the painted surfaces. My love for tactile surfaces harkens back to my years of intaglio printmaking.Denise&nbsp;is a painter originally from Nebraska, currently living in Sheboygan, WI. She earned a BFA in Printmaking from the University of Nebraska and an MFA in Painting from the Pennsylvania State University. Graduate school was followed by a career of teaching art on the college level. Denise’s artwork has been exhibited in over 300 exhibitions, which include solo, invitational, group, and juried exhibitions in the United States, Tokyo, Botswana, Kenya, and Shanghai. Her work is in numerous private collections in the United States and abroad. GALLERY HOURS &amp; VISITOR INFORMATIONThis exhibition will be held in the Second Floor Gallery of the Evanston Art Center (EAC). Masks are optional but strongly recommended for students, visitors, and staff.Gallery HoursMonday–Thursday: 9am–6pmFriday: 9am–5pmSaturday–Sunday: 9am–4pmHOW TO PURCHASE ARTWORKArtwork sale proceeds benefit both the artist and the Evanston Art Center.&nbsp;If you are interested in purchasing artwork on display, please contact&nbsp;Emma Rose Gudewicz, Director of Development and Exhibitions, at&nbsp;egudewicz@evanstonartcenter.org&nbsp;or (847) 475-5300 x 102.This program is partially supported by a grant from the Illinois Arts Council through federal funds provided by the National Endowment for the Arts.Image Credits: Denise Presnell, "Sparks Are Flying," oil and cold wax on panel

Unrestrained Ambiguity | Denise Presnell

Louis De Guzman (b. 1989) is a Filipino-American award-winning visual artist and designer who creates artwork that merges his past with his present. Over the last decade, De Guzman has proved himself as a true multidisciplinary artist by blending both traditional and experimental techniques in his work. His signature geometric abstraction style often blends together images and stories that represent his family's immigrant journey, as well as his own experience as a second-generation Filipino American. De Guzman's career has led him to create well-received original bodies of work as well as interpretations of licensed intellectual property.“The idea for this exhibition stems from the sentiment that as individuals, we all carry ideas within our core memories. I wanted to share visual anecdotes—specifically from our studio—for attendees to walk into a space to get a glimpse into ambience that the team and I are surrounded by each and every day. Each piece carries over a story, a memory, and a notch in the timeline from where it all started, where it’s been, and where it’ll all ultimately lead.”This exhibition will be held in the Second Floor Gallery of the Evanston Art Center (EAC). Masks are optional but strongly recommended for students, visitors and staff.Gallery HoursMonday–Thursday: 9am–6pmFriday: 9am–5pmSaturday–Sunday: 9am–4pmArtwork sale proceeds benefit both the artist and the Evanston Art Center.&nbsp;If you are interested in purchasing artwork on display, please contact&nbsp;Emma Rose Gudewicz, Director of Development and Exhibition Manager, at&nbsp;egudewicz@evanstonartcenter.org&nbsp;or (847) 475-5300 x 102.This program is partially supported by a grant from the Illinois Arts Council through federal funds provided by the National Endowment for the Arts.

Excerpts of Imagination | Louis De Guzman

<a href="https://www.evanstonartcenter.org/exhibitions/thinking-through-tapestry-american-tapestry-alliance" rel="noopener noreferrer" target="_blank">Thinking Through Tapestry</a>&nbsp;is a juried exhibition featuring work that celebrates, explores, and builds upon specialized techniques often associated with tapestry.&nbsp;Selected artists&nbsp;explore techniques that consist of discontinuous weft-faced woven processes rooted in tapestry techniques, such as wedge weave, pulled tapestry, the use of hachures, or other structures, including the H.V. (Handarbetets Vänner) technique. The exhibition highlights work illustrating the close relationship between tapestry weaving, drawing, painting, and sculpture.&nbsp;The jurors of the exhibition are Emily Silver and Erin M. Riley.Emily Silver lives and works in Los Angeles and is on the faculty at Santa Monica College in the Sculpture Department and the Director/Curator of the Pete and Susan Barrett Gallery. She is also the co-founder of L.A. Tactile Lab, along with Svetlana Shigroff and Liv Aanrud.Erin M. Riley is a Brooklyn-based artist whose work focuses on women and women’s issues primarily in hand-woven, hand-dyed wool tapestries. Riley’s work challenges society’s comfort level by displaying shocking images, including nudity, drugs, violence, self-harm, sexuality, and menstruation.A catalog accompanies the exhibition and is available for purchase on the American Tapestry Alliance’s website.&nbsp;Juried Artists:Laura Burcin, Barbara Burns, Emily Cabaniss, Ching-Ting Chiu, Jasmine Claros, Molly Cleator, Deborah Corsini, Nancy Crampton, Sharon Crary, Liliana Crespi, Sam Dienst, Alex Friedman, Rama Ganesan, Tricia Goldberg, Anne Heide, Barbara Heller, Sally Heller, Sofia Herr, Connie Lynn Higgs, Christine Holtz, Rebecca Hooper, Cameron Kashani, Judit Eszter Kárpáti, Kristin Kelley-Munoz, Brendan Kenny, Riley Klein, Robbie LaFleur, Mary Lane, Fannie Lee, Monique Lehman, Connie Lippert, Kyle McKeown Mansfield, Ann Marie Miller, Pip Milton, Janet Moore, Annabelle O’Reilly, Tea Okropiridze, Anna Olsson, Libby Raab, Ellen Ramsey, Helena Richardson, Minna Rothman, Wendy Saam, Kristin Tinsa Saeterdal, Jennifer Sargent, Rowen Schussheim-Anderson, Mary-Ann Sievert, Kyla Sjogren, Rebecca Smith, Linda Soranno, Karmen Steigenga, Vicki Stone, Adrienn Szabo, Kathe Todd-Hooker, Trang Tran, Alta Turner, David van Buskirk, Stevie Van Housen, Ginny Wallace, Sue Weil, and Xingyi Zhao.GALLERY HOURS &amp; VISITOR INFORMATION:This exhibition will be held in the First Floor Gallery of the Evanston Art Center (EAC). Masks are optional but strongly recommended for students, visitors, and staff.Gallery HoursMonday–Thursday: 9am–6pmFriday: 9am–5pmSaturday–Sunday: 9am–4pmHOW TO PURCHASE ARTWORKArtwork sale proceeds benefit both the artist and the Evanston Art Center.&nbsp;If you are interested in purchasing artwork on display, please contact&nbsp;Emma Rose Gudewicz, Director of Development and Exhibitions, at&nbsp;egudewicz@evanstonartcenter.org&nbsp;or (847) 475-5300 x 102.This program is partially supported by a grant from the Illinois Arts Council through federal funds provided by the National Endowment for the Arts.Image Credits (L to R):&nbsp;Sam Dienst,&nbsp;Tea Okropiridze, and Libby Raab

Thinking Through Tapestry | American Tapestry Alliance

Hosted by the Evanston ASPA (Asian, South Asian, Pacific Islander American) Association Opening Reception: Saturday, June 6th, 4 to 6 PM&nbsp; Exhibition duration: ends June 28th <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1780357521/dvh3qoekh6q17xbzoisn.jpg">

In the Absence of Space

These artists employ a wide variety of artistic strategies and materials. Some utilize unconventional materials such as spray paint and PVC surfaces as canvases, while others incorporate traditional media in innovative and exciting ways, including encaustic and oil painting techniques. What unifies their work is a bold and dynamic use of color. True to modern sensibilities, color itself becomes the primary subject expressed through striking forms, expressive brushwork, and energetic processes. A public reception is scheduled for&nbsp;Thursday, June 4, from 11:00 AM–1:00 PM.&nbsp;Please join us as we celebrate the work of these outstanding artists. The exhibition opens tomorrow, Tuesday, May 26, and continues through July 2, 2026. Gallery hours are Monday through Thursday, 9:00 AM–5:00 PM.

The Shape of Color

In the words of Marvin Gaye, singer/songwriter, 1939-1984, "We don't need to escalate | You see, war is not the answer | For only love can conquer hate | You know we've got to find a way | To bring some lovin' here today | Come on talk to me | So you can see | What's going on (What's going on)"&nbsp;&nbsp; Opening Reception, Saturday, July 11, 2026Virtual Artists' Talk, Thursday, July 9, 2026, 7 PM CT

9th Annual Vicinity Regional Exhibition

John McIntire is a self-taught artist who turned&nbsp;to oil painting later in life as a way to create and express his interest in modern art. Surrounded by talented artists his entire life, John has been influenced by his mother (grade school art teacher), Tim Ferrarell (Lewis U roommate, art major) and his brother Paul (architect, sculptor). John‘s paintings are all abstract, inviting viewers to see whatever their imagination allows. He envisions them in urban spaces – open, expressive and minimalist.

John McIntire: Fields In Color

In his first exhibition at EAM, visual artist Jeremiah Hulsebos-Spofford presents a series of outdoor sculptures in Wilder Park (on view starting April 18) as well as an immersive installation within the iconic McCormick House. Bridging handcrafted techniques and digital fabrication, featured works serve as a low-carbon alternative to traditional monumental sculpture as a way of reflecting on labor, materiality, the internet age, and architectural legacies. Curated by&nbsp;Allison Peters Quinn, EAM Executive Director and Chief Curator,&nbsp;Near Immortality&nbsp;features&nbsp;new sculptures inside the McCormick House&nbsp;created from 3D scans of important design items in EAM’s collection, including Mies’ Barcelona Chair and a leg splint designed by Charles &amp; Ray Eames.&nbsp;Hulsebos-Spofford is a sculptor and assistant professor of sculpture at Indiana University Northwest. He is also a co-director and founder of the collective Floating Museum, and co-curator of the 2023 Chicago Architecture Biennial. Through his large plaster and silicon sculptures, he reinterprets modern monuments and classical sculptures as glitched assemblages. Although many of his works evoke ancient art history, Hulsebos-Spofford’s pieces are rooted in modernist aesthetics and its relevance in the everyday experience.&nbsp;

Jeremiah Hulsebos-Spofford: Near Eternity

Raised in Wheaton, Illinois, and based in New York, Jeanette Andrews&nbsp;bridges the worlds of illusion, installation, and conceptual art, creating interactive vignettes and surreal, multisensory experiences that investigate perception, cognition, and the seemingly impossible. Andrews applies sensory illusion techniques and her interest in the bounds of perception to create artworks that explore magic, multiple realities, and the human psyche, often inviting audiences in as co-creators in her illusory performances.Her first solo museum exhibition,&nbsp;On Wonder, Mind, &amp; Magic&nbsp;will present interactive and site-specific works including installation, sculpture, video, sound, and performance, alongside&nbsp;new work developed while Artist in Residence at MIT’s Center for Art, Science, and Technology&nbsp;in 2024-25. Curated by&nbsp;Liz Chilsen, Manager of Exhibitions &amp; Collections, the exhibition represents a return home for Andrews, who cites EAM as an early influence in her pursuit of a career honing her technical skills and applying magic and sensory illusion techniques to create artworks.&nbsp;Andrews has presented numerous commissioned works with the Museum of Contemporary Art Chicago, as well as for the Quebec City Biennial and Boca Raton Museum of Art, presented talks for Cooper Hewitt, Chicago Ideas Week, The British Society of Aesthetics, and universities, including Yale, Columbia, Princeton, and Harvard. She has held residencies with the Institute for Art and Olfaction and the Cynthia Woods Mitchell Center for the Arts at the University of Houston and is a former National Arts Club Artist Fellow and Affiliate of metaLAB at Harvard. She was a 2024-2025 Visiting Artist for the Center for Art, Science and Technology at MIT and the current visiting artist for the Arts Institute at Brown University.

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