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

A beautifully crafted object can enhance any home or workspace. From a mug for your morning coffee, a plate for your toast, a bowl for your favorite soup, a rocking chair to relax in, a colorful pottery jar for storage, a contemporary hand-blown glass vase, and a woven textile are not just art pieces, but also practical items that can be used in our daily lives. Art can be all around us in the form of these functional pieces that make our spaces fun.The exhibition will showcase artwork from over 30 artists, many from Illinois.Fine Line will host an in-person reception on Thursday, March 26, from 6:00 to 8:00 PM to officially open the show, with several of the participating artists in attendance. As with all Fine Line gallery receptions, this event is free and open to everyone. Light refreshments will be served during the evening.

Home Improvements: The Functional Art Show

April showers brings us a solo show with&nbsp;<a href="https://www.manvshadow.com/erik-jon-olson-shadowboxx-collective-artist" rel="noopener noreferrer" target="_blank">Erik Jon Olson, ShadowBoxX Collective Artist</a>. Olson is renowned for his unique large-scale artwork that uses quilted plastic waste to illustrate the amount of waste material we produce, prompting viewers to reconsider and reevaluate their relationships to plastics. His work also addresses how our unfettered capitalism and mass consumption can waste our natural resources and damage our society.An ethos of minimal waste permeates Olson's creative process. Each piece is constructed of eight to 12 layers of used single-use plastic, which he quilts together using his grandmother's circa 1960 sewing machine. He uses overstock and leftover thread, plus scrap materials from his own production process. Schedule a Viewing (through 5/9)&nbsp;<a href="mailto:mev@manvshadow.com" rel="noopener noreferrer" target="_blank">mev@manvshadow.com</a>

What A Waste: Erik Jon Olson

May 9 &amp;10 | Brushwood Center at Ryerson Woods&nbsp;The Mother Earth Market features and celebrates local artists, makers, vendors, and organizations who are inspired by “Mother Earth” and are working towards a more sustainable future. Check out the vendors and don’t miss the BASE Art Supply Clearance Sale.&nbsp;In preparation for upcoming construction, the Brushwood Art Supply Exchange (BASE) is clearing out space with a super sale during the Mother Earth Market. Get your summer art and craft supplies at even lower prices than usual. Tell the teachers, camp directors, parents, artists, and kids in your life!

Mother Earth Market

The Evanston Art Center (EAC), a non-profit arts organization, proudly presents its&nbsp;<a href="https://my.onecause.com/event/organizations/sf-0018000000kI1AnAAK/events/vevt:df36c06f-0832-407a-9888-dcabf6d63cdd/home/story" rel="noopener noreferrer" target="_blank">37th Annual The Art Party</a>,&nbsp;taking place on Saturday, May 16, 2026, at 6:00 pm at 1717 Central Street.This yearly tradition includes silent and live auctions that raise money to support EAC’s mission: fostering the appreciation and expression of the arts among diverse audiences. Last year, over 230 attendees from the Chicago and North Shore areas helped to raise $100,000 for outreach, scholarship, and exhibition programs.For almost 100 years, EAC has provided public outreach programs, exhibitions, and resources for art education. The Spring Benefit is an integral part of the Evanston Art Center’s success.To purchase tickets, go to our&nbsp;One Cause&nbsp;page. Individual tickets cost $275. The price for all tickets includes a wonderful dinner by J &amp; L Catering and the opportunity to bid on a selection of items in our silent and live auctions. Items include a vibrant range of artwork, hotel stays, restaurant certificates, weekend getaways, jewelry and accessories, and more.This event will be a lovely evening out and an opportunity to support EAC’s important mission. Even if you can’t attend, you can still participate in the&nbsp;<a href="https://my.onecause.com/event/organizations/sf-0018000000kI1AnAAK/events/vevt:df36c06f-0832-407a-9888-dcabf6d63cdd/home/story" rel="noopener noreferrer" target="_blank">online auction</a>.The Evanston Art Center is dedicated to fostering the appreciation and expression of the arts among diverse audiences by offering extensive and innovative instruction in broad areas of artistic endeavor through classes, exhibitions, interactive arts activities, and community outreach.

Evanston Art Center’s The Art Party 2026

Reception and Gallery Talk, May 7, 7-9pmThe Lewis University Department of Art and Design is proud to present the Senior Capstone Exhibition. This biannual art show coincides with the capstone course, Senior Project. The course challenges graduating students to put their newly acquired skills and understanding of art to the test by participating in a professional exhibition experience.Image by: Erika OrnelasArtists:Nicholas AguilarEmilia ConnellAmanda DeweyErika OrnelasMarley PiersonJenna Purdy

Senior Capstone Exhibition

The exhibition&nbsp;<a href="https://www.evanstonartcenter.org/exhibitions/walldrawings-friedhard-kiekeben-and-maria-burundarena" rel="noopener noreferrer" target="_blank">Walldrawings</a>&nbsp;at Evanston Art Center creates immersive spatial experiences for the viewer through digital wall works made on inkjet-printed paper and pasted vinyl, suggesting dynamic crystalline and hyperbolic abstract repeat forms that invite contemplation and a multiplicity of views and readings.&nbsp;Maria Burundarena was invited to create a dialogue with these works through reflective and mirrored spaces, LED light intervention, and pillar wrappings throughout the gallery. Both artists also show a selection of 'panel paintings' that accompany the site-specific installation works.RCA, trained, the German/American artist&nbsp;Friedhard Kiekeben&nbsp;is currently based in Indianapolis.&nbsp;A minimalist aesthetic manifests in site-specific installations and series of paintings and overpaintings, and has been exhibited internationally in galleries and museums since the late 1980s.The Chicago-based Argentinian artist&nbsp;Maria Burundarena&nbsp;makes site-specific installations using large-scale printed images, light projection, and reflective materials. Her work has been exhibited at ZAZ 10, Times&nbsp;Square, New York, SITE Gallery, Mayfield, MdW Mana Contemporary, Chicago Athletic Association, The Franklin, Heaven Gallery, and Hyde Park Art Center in Chicago, Illinois, USA.

Walldrawings | Friedhard Kiekeben and Maria Burundarena

Waterscapes convey emotional depth. The artists in the Horizons Exhibition capture the essence of water by reflecting upon abstract shapes of color and light that shimmer on the surface. They are keenly aware of subtle shifts in temperature, mood and atmosphere.&nbsp;They blur the lines between representation and abstraction. See beyond the horizon through their eyes.&nbsp; This exhibition addresses the fragile relationship humans have with water, our most precious natural resource. Twenty percent of all revenue from sales will be donated to the Alliance for the Great Lakes. Artists: Anna Marie Crovetti, Mark Collins, Catherine Daniels, Cindy Fuller, Ted Glasoe, Louise LeBourgeois, Lynne Miller Jones, Eleanor Speiss-Ferris, Ellen Starr Lyon, and Nina Weiss.&nbsp; Opening Reception: Saturday, May 2nd, 2 to 5 PM &nbsp; May 17th @ 2 PM: Talk "Connections, Conversations and Commitment: Reflections Upon the Great Lakes." Louise LeBourgeois will discuss her connection to Lake Michigan in her paintings. Matt Alsteil will discuss the Alliance’s efforts to ensure clean water via science-based solutions, community engagement.&nbsp; Gallery Hours: Thursday through Sunday, 1 to 6 PMWebsite: <a href="http://www.grovegallery.shop" rel="noopener noreferrer" style="color: rgb(56, 101, 115);" target="_blank">www.grovegallery.shop</a>Contact: Sarah Kaiser, Gallery Director<a href="mailto:sarah@studio215.org" rel="noopener noreferrer" target="_blank">sarah@studio215.org</a>773 318 0163

Horizons: the Waterscapes

On Friday, May 1st, we will be having an exhibit opening for featured artist Erin Kaya's show "Atmospheric Geometry." The opening will run from 5-7 PM and will display Erin's lively, intriguing abstract paintings, which&nbsp;are defined by a strong use of color and geometric shapes, specifically lines and squares.Image: Metropolis Tapestry

Erin Kaya: Atmospheric Geometry

Anne Loucks Gallery is pleased to announce the opening of&nbsp;Reflections,&nbsp;a new exhibition in our Glencoe gallery featuring west coast artists Victoria Adams, John McCormick and Leslie Wu.The show includes 35 landscape paintings capturing dramatic skies, glistening water, and meditative vistas.&nbsp;Please join us for the Opening Reception with artist Leslie Wu, Friday, March 13th from 5 - 7 pm at 309 Park Avenue in Glencoe.&nbsp;

Victoria Adams, John McCormick & Leslie Wu: Reflections  

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 

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

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

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

2025 Master of Fine Arts degree candidates — present their thesis projects and conclude their residencies in the Department of Art, Theory, and Practice at Northwestern University.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. Support provided by the Norton S. Walbridge Fund; the Myers Foundations; the Jerrold Loebl Fund for the Arts; and the Alsdorf Gallery Endowment.

Art, Theory, and Practice

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

The Shape of Color, A Formalist Painting Exhibition

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

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.

On Wonder, Mind, & Magic: Jeanette Andrews

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;

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