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

Although its placement in the annals of art history has been linked to exhibitions there in the latter half of the 1960s, the Chicago neighborhood of Hyde Park had been an enclave for artistic activity starting decades earlier. This focused group show gently decenters the Hyde Park mythology, configuring the Imagist shows at the Hyde Park Art Center as a continuation of the neighborhood’s longstanding bohemianism and experimentation.&nbsp; At the center of the exhibition sits painter Gertrude Abercrombie, whose recent “discovery” and meteoric ascent in the contemporary art world, fifty years after her death, has come as a surprise to her many admirers in Chicago. Spotlighting an important canvas first unveiled in 1945 at the Renaissance Society (also located in Hyde Park) and a tiny self-portrait in a thrift store frame, the show presents never-seen portraits of Abercrombie by Karl Priebe and Ceil Rosenberg.&nbsp; The exhibition features work by Eleanor Coen and Max Kahn, whose printmaking activities were based in the south side neighborhood in the 1930s and ’40s, as well as fellow Hyde Parker Miyoko Ito, represented by an early canvas, and a “binocular” painting by Harold Haydon, an artist and critic closely associated with the University of Chicago. One of the most beloved and colorful artists of Hyde Park, Cosmo Campoli is present with his signal 1950s bronze “Birth of Death.” Don Baum, like Campoli, was associated early on with the Monster Roster; as director of the Hyde Park Art Center, Baum went on to help facilitate the Hairy Who, False Image, and Non-Plussed Some Imagist shows, and is included in&nbsp;“Nuth’n to Hyde”&nbsp;with two pieces from the 1960s, one of which is an assemblage portrait of collector and Hyde Park social maven Ruth Horwich. From the Imagist camp, the show presents works by Karl Wirsum (the elaborate flyer from which comes the show’s title, together with its original sketch), a piece by Jim Falconer shown in the third Hairy Who exhibition, replete with its original price tag, and a sensational Jim Nutt painting from the mid 1970s. Image: Karl Wirsum,&nbsp;Untitled (We Got Nuth’n to Hyde),&nbsp;1974,&nbsp;ballpoint pen, and colored pencil on notebook paper,&nbsp;17 x 13 1/2 inches,&nbsp;signature in graphite on the bottom.&nbsp;

Nuth'n to Hyde: Gertrude Abercrombie and the Hyde Park Ethos, 1935–1975

Corbett vs. Dempsey is honored to present&nbsp;Poised Compression, an exhibition of sculpture, film, and sound by Rosa Barba. This is Barba’s first show at the gallery and her Chicago debut. CvsD previously screened her film “Radiant Exposures – Facts Run on Light Beams These Days” and released her CD (with drummer Chad Taylor) titled&nbsp;In a Perpetual Now of Instantaneousness. If our present moment is, as Rosa Barba has postulated, held captive by a particular version of the cinematic, one that we deploy unquestioningly with screens and projections of every imaginable scale, how can an artist critique and interrogate those by now thoroughly internalized mechanisms of viewing? Over the course of two decades, Barba has sought to rewire the cinematic stranglehold on our collective phenomenological reality. Both in the content of her films and in her inventive deconstruction of the cinematic apparatus, the Italian-born, Berlin-based artist has created an extensive oeuvre of free-standing and wall-hanging works, as well as movies, music, writings, performances, and installations that deeply question cinema’s construction of time, space, and perspective and subvert the way it has been subtly substituted for the popular unconscious.&nbsp;Poised Compression&nbsp;is the first gallery exhibition to follow (with a short cross-fade) Barba’s highly lauded solo show at New York’s Museum of Modern Art,&nbsp;The Ocean of One’s Pause, which surveyed fifteen years of her work and included performances and screenings, as well as an installation of the work in MoMA’s permanent collection.&nbsp; CvsD’s presentation includes one pivotal work that also appears in MoMA’s show, her 2009 sculpture “One Way Out,” which conceives of a film projector as a mysterious kind of feeder, spooling celluloid up into and back out from a swath of HVAC tubing, which amplifies the sound of the film as it bounces against the metal edges; over time, the film’s image, which is simultaneously being projected against a wall, acquires scratches made during the continuous action of its being sucked up into the pipe. The show includes two other kinetic sculptural works. “Color Clocks: Verticals Lean Occasionally Consistently Away from Viewpoints” (2012) consists of three towers with open housings each containing red, yellow, or blue 35mm film strips imprinted with letters spelling the colors they represent, which slide through a mechanical set of rollers in an infinite loop. The exhibition’s title work, “Poised Compression” (2023) is a wall-hanging, glazed metal box in which three spools rotate continuously, spinning strips of 35mm film in an ever-shifting pattern of lines, a kind of perpetual drawing machine. The exhibition also includes two still pieces, “Weavers” (2023), framed wall-works consisting of woven red and milky white 16mm film as an abstract painting, a ductile reclamation of cinema’s basic means of production. Rosa Barba (b. 1972, Agrigente, Italy) lives and works in Berlin. She studied at the Academy of Media Arts Cologne, the Rijksakademie van Beeldende Kunsten, Amsterdam, and the Malmö Art Academy, Lund University, where she completed her PhD in 2018. Recent and upcoming solo institutional exhibitions include the Calouste Gulbenkian Museum, Lisbon (2026, upcoming); MAXXI, Rome (2025, upcoming); Museum of Modern Art, New York (2025); MALI, Lima (2024); Boijmans Museum, Rotterdam (2024); Centre Pompidou, Paris (2023); Tate Modern, London (2023); and Perth Institute of Contemporary Arts, Perth, Australia (2023). Her work is held in numerous collections internationally, such as the Museum of Modern Art, New York; Philadelphia Museum of Art; Walker Art Center, Minneapolis; Centre Pompidou, Paris; Staatliche Museen zu Berlin, Neue Nationalgalerie, Berlin; Tate Modern, London; Museo Nacional Centro de Arte Reina Sofía, Madrid; among many others.&nbsp; Image: Rosa Barba,&nbsp;Poised Compression,&nbsp;2023,&nbsp;steel, glass, motors, 35 mm film, aluminum,&nbsp;51 1/8 x 43 1/4 x 4 3/4 inches (130 x 110 x 12 cm),&nbsp;edition #2/7 (unique in a series of 7 variations + 2 AP).

Rosa Barba: Poised Compression

SECRIST | BEACH is&nbsp;pleased to announce the exhibition&nbsp;Master Class: Inside the Last American Museum School with SAIC Painting Alumni.&nbsp;Master Class&nbsp;brings together artworks by over 60 former and current students who studied in the Painting and Drawing Department of the School of the Art Institute of Chicago (SAIC) between the years 2000 and 2025. This exhibition, on view from April 19 through June 21, 2025 at SECRIST | BEACH in Chicago, is guest-curated by art historian, Chair of the Department of Painting and Drawing and current faculty member Lisa Wainwright along with SAIC President Emerita, Elissa Tenny. The gallery will host an opening reception for the public on Saturday, April 19 from 5-8PM.&nbsp; In 1866 a group of 35 artists founded the Chicago Academy of Design. Their mandate was to create a free school to study “life” and “antique” drawing and to run a gallery space alongside the school. The building the original gallery space occupied was lost in the Great Chicago fire of 1871, but by 1879 a new gallery space, with the support of new board members, was born and renamed the Chicago Academy of Fine Arts. In 1882, that name was changed to&nbsp;what we know as&nbsp;the Art Institute of Chicago. Since that time, the School and the Art Institute have grown into a symbiotic dynamic that has&nbsp;greatly impacted both the Chicago scene and the larger art world&nbsp;in myriad ways.&nbsp;&nbsp;&nbsp; On the eve of its 160th anniversary, and little known to many, the School of the Art Institute of Chicago is the last 'Museum School' in North America. In celebration of this achievement,&nbsp;Master Class&nbsp;dives into the close connection between the museum and the alums of its renowned Painting and Drawing Department from the last 25 years. On view in the gallery will be an artwork by each of the artists selected, taking up the entirety of the gallery’s 10,000 sq. ft. space. In addition to their own artwork, each artist has been asked to identify an artist and a work of theirs from the collection of the Art Institute. Didactics and a video presentation on view in our salon room will guide viewers to those works in the collection.&nbsp; Curating this exhibition has reminded us - and will express to viewers - the integral and generative link between the school and the museum, highlighting the long histories of public collections and art-making in Chicago. Some of the connections between the artwork on view and their chosen Art Institute collection include a Tony Lewis drawing and Stuart Davis’&nbsp;Ready-to-Wear&nbsp;(1955), Jeffly Gabriela Molina’s painting with Agnes Martin’s&nbsp;Untitled No. 12&nbsp;(1977), Minami Kobayashi’s painting and Pierre Bonnard’s&nbsp;Earthly Paradise&nbsp;(1916-1920). What becomes apparent in&nbsp;Master Class&nbsp;is the indelible impact these master artworks have provided for two and a half decades of art students. Contextually, placing these works into close proximities allows the viewer to comprehend the role a museum has in the cognitive&nbsp;and technical&nbsp;development&nbsp;of artists. Ultimately, the engaging&nbsp;pairings provide&nbsp;insight into the role of looking,&nbsp;sensorial consciousness,&nbsp;historical mapping,&nbsp;institutional awareness and other more surprising discoveries.&nbsp;This exhibition serves as a&nbsp;tangible experience for anyone interested in art history and pedagogy. CATALOGUE:&nbsp;In recognition of the importance of this monumental exhibition, SECRIST | BEACH is developing a comprehensive catalogue that will provide valuable insight regarding&nbsp;Master Class.&nbsp;Many&nbsp;participating artists&nbsp;have&nbsp;provided their own writing in which they expound on their experience as a student, their relationship with SAIC and why the master artwork they chose was impactful. A cadre of art historians, critics and academics connected to SAIC will also be contributing essays that focus on individual artists and their inspiration. Additionally, art historian and co-curator of&nbsp;Master Class&nbsp;Lisa Wainwright and artist and SAIC&nbsp;Crown Family&nbsp;professor Michelle Grabner will contribute introductory essays diving into the history of the relationship between the School and the Institute,&nbsp;and the placement of twenty-five years of production in the context of contemporary art. SCHOLARSHIP:At the conclusion of&nbsp;Master Class, Carrie Secrist and Bill Beach will be presenting a gift to The School of the Art Institute to support future students and their endeavors in learning.&nbsp; Artists featured in&nbsp;Master Class&nbsp;include:Lindsay Adams, Noelle Africh, Luke Agada, Alberto Aguilar, Latifa Alajlan, Cecilia Beaven, Aviv Benn, Samantha Bittman, Elijah Burgher, Robert Burnier, Nik Cho, Alex Bradley Cohen, Jeane Cohen, Paula Crown, Chelsea Culprit, Tavin Davis, Dana DeGiulio, Austin Eddy, Stephen Eichhorn, Peter Fagundo, Nicola Florimbi, Howard Fonda, Jae Ford, Jonathan Gardner, Magalie Guérin, Antonia Gurkovska, Efrat Hakimi, Andrew Holmquist, Mika Horibuchi, Patrick Dean Hubbell, Steven Husby, Omair Hussain, G.D. Johnson, James Kao, Em Kettner, Minami Kobayashi,&nbsp;Meredith Kopelman,&nbsp;David Leggett, Tony Lewis, MJ Lounsberry, Wangari Mathenge, Kristoffer McAfee,&nbsp;Rodney McMillian, Isabella Mellado, Emily Miller, Jeffly Gabriela Molina, Aliza Nisenbaum, Angel Otero, Ruth Poor, Kaveri Raina, Autumn Ramsey, Celeste Rapone, Josh Reames,&nbsp;Clare Rojas, Sterling Ruby, Charlotte Saylor, Claire Sherman,&nbsp;Sumakshi Singh, Cameron Spratley, Keer Tanchak, Sebastian Thomas, Alice Tippit, Orkideh Torabi, Pedro Trueba, Cody Tumblin, Omar Velázquez, Jonathan Worcester, Hiejin Yoo and Molly Zuckerman-Hartung.

Master Class: Inside the Last American Museum School with SAIC Painting Alumni 

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. By layering digitally-derived, lens- and scanner-based imagery onto painted glass and aluminum surfaces, light and color are constructed and refracted in physical ways to evoke—and to riff off of—the idiosyncratic and seductive apparatus of our engagement with the virtual world. The exhibition also includes a video on a monitor, filtered through a glass sculpture, blurring further the boundaries between screen and object. This body of work continues her exploration of how material processes and technological aesthetics intersect to challenge the viewer’s engagement with surface, depth, and temporality.Request information about available works&nbsp;<a rel="noopener noreferrer" href="mailto:sibylle@documentspace.com?subject=Victoria%20Fu&amp;body=Please%20send%20me%20more%20information%20about%20the%20works%20in%20the%20exhibition%20Lather%20Cactus%20Drape." target="_blank">here</a>.

Victoria Fu: Lather Cactus Drape

Wright / ChicagoAuction6 August 202511 am central <a style="color: rgb(67, 90, 255);" rel="noopener noreferrer" href="https://www.wright20.com/editions-works-on-paper" target="_blank">information</a>

Editions & Works on Paper

Wright / ChicagoAuction7 August 202511 am central <a style="color: rgb(67, 90, 255);" rel="noopener noreferrer" href="https://www.wright20.com/design" target="_blank">information</a>

Design

Summer Group Exhibition including: Flor Flores, Daniel Hojnacki, D. Rosen <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1752622165/okvin3mmfndlwm746dva.png">From left: Flor Flores, Daniel Hojnacki, D. Rosen

Flower, Wind and Dog

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

Jackson Junge Gallery is excited to hold&nbsp;#TRENDING, their third group exhibition of the year.&nbsp;#TRENDING&nbsp;features art about trending topics from the year leading up to the show. In the digital age, almost anything can become a global phenomenon.&nbsp;#TRENDING&nbsp;puts our pop culture, media, music, fashion, memes and more under the microscope. Check out this exhibition to see if you’re also staying current with trends! What is trending? The exhibition&nbsp;#TRENDING&nbsp;takes a lighthearted approach to the question. As many people turn to their screens, social media and social trends for a bit of escapism during rough times, Jackson Junge Gallery hopes to provide the same in a physical space. In “Jeep and Duck,” well known Bodyscapes photographer Allan Teger captures the inside joke between Jeep owners who leave rubber ducks on each other’s hoods. Zapiain’s “Irish (Trend) Setter” does a good job at acknowledging playful trends as well! Zapiain’s colorful painting of a fabulous dog with fashionable accessories plays with a pun on the word trendsetter. Zapiain describes the subject: “With their doggy bag in heel and their custom matching star doggles to boot, they're pawsitively iconic. Often imitated but never duplicated, K-9 out of 10 critics agree this pup isn't just a cliché but the genuine article." Zapiain’s work views trends playfully, and&nbsp;#TRENDING&nbsp;similarly hopes to have fun and laugh at our ideas of what’s trending. It’d take some time to see all the pop culture references featured in the artwork of&nbsp;#TRENDING. To name a few - Peter Brourman’s portrait of the character Carmy from the currently airing tv show The Bear in “Yes, Chef,” Victoria Park’s painting of the redlight greenlight doll from December 2024’s Squid Game season 2 in “Squid Game”, Megan Nixon’s landscape transforming Chicago into The Emerald City from Wicked in “ When I Meet the Wizard”,&nbsp;and Audrey Jewell’s painting of a Charli XCX concert coming off Brat Summer in “Sweat Tour September 30th&nbsp;2024 United Center”. Huy Nguyen’s “Bat” and “Bart” were also created in celebration of Brat Summer. Nguyen channels Brat energy through unexpected icons - Batman and Bart Simpson, who are fashionably decked out in trendy items like Labubu keychains, Trader Joe’s tote, 2000’s digital camera and long shorts with docs. Nguyen says while Batman is “traditionally a symbol of justice, here he’s moonlighting as a fashion icon, serving not only justice, but a look as well. This piece channels the exhilaration of late nights, bold looks, and dancing like no one’s watching. It’s about reclaiming power through self-expression and turning every sidewalk into a runway, even after dark.” Nguyen’s “Bart” reimagines Brat Summer as Bart summer, “channeling the spirit of the iconic Bart Simpson as a symbol of living in the moment. This piece captures the attitude of being unapologetically yourself, having fun for fun’s sake, and not taking life too seriously. It’s about the ones who are here for a good time, not necessarily a long time.” Nothing trends on the internet quite like a cute animal. In the fall of 2024, the baby pygmy hippo Moo Deng took the world by storm from the Khao Kheow Open Zoo in Thailand. Sophie Levit’s bright painting “Bubble Bath Bliss” playfully depicts the adorable hippo at bath time. Levit says that “In a time of so much uncertainty and stress, sometimes all you can do is try and find the small things that make you smile and escape the horrors of the world, even if it’s just for a little bit. For many, that escape came from a small baby Pygmy hippo that quickly captured hearts all over the world with her cuteness and playful personality. Moo Deng or “bouncy pork” was a welcome escape and ray of sunshine in an incredibly cloudy time.” Yuliya Klochan’s beaded piece “Moo Deng and Pesto” also features Moo Deng alongside another baby animal sensation that appeared on the internet at the same time - Pesto the penguin at Sea Life Melbourne Aquarium in Australia, who rose to fame for weighing more as a chick than both his King penguin parents combined. Using 2,160 Miyuki Delica beads to craft images of the pair, Klochan “couldn't resist imagining them meeting. Moo Deng is tiny and sassy: Her body is made of iridescent gray and neon pink beads. Pesto is giant and resolute: His baby fuzz is a low-shine dark brown with matte beak and feet.” Kara Volle’s digital painting “The Child” also immortalizes Pesto the giant baby penguin, but it is Volle’s painting of a small anglerfish titled “Ascension” which may offer insight into why cute animals go viral beyond our desire for sweet distraction. In February of 2025, a little six-inch anglerfish from the deep sea mysteriously ascended to the surface off the coast of Spain. Volle recollects how “perplexing scientists, she took over the internet as different theories for her swim to the surface arose. Did she know her life was coming to an end and want to see the sun? Did a volcanic current push her upwards? We may never know, but this now famous fish has inspired many in her final journey.” Our screens can provide much needed distraction, but too much screentime can also be overwhelming for the chronically online. Bridget Gallagher addresses this stress in “In This Economy?!” Gallagher’s silly painting is of a scared opossum clinging to a pole plastered with a sanity wanted poster, and it has an undeniable relatability. Gallagher empathizes “if opossums could talk, they'd probably have a Better Help-sponsored TikTok account dedicated to explaining the "freeze" stress response. This opossum, like her creator, is at her wit's end. It seems impossible to keep up with rapidly shifting pop culture trends, an increasingly absurd news cycle, and the laundry. She's not super qualified for "fight" or "flight," so she'll keep holding on for dear life, hoping that someone has some sanity to spare. But that's tough to find in this economy.” #TRENDING&nbsp;is sure to be a bit of fun escapism. An Opening Reception for&nbsp;#TRENDING&nbsp;will be held Friday, July 11th, from 6pm - 10pm and is free to the public. The exhibition will be on view at Jackson Junge Gallery July 1st&nbsp;– August 10th, 2025. It is curated by Owners Chris Jackson &amp; Laura Lee Junge, Gallery Director Kaitlyn Miller, Assistant Gallery Director Kristen Arcus, and Gallery Assistant Marisa Taravella.

#TRENDING

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The Collected Library: Summer Reading

JUNE 21 - AUGUST 16, 2025OPENING RECEPTION | Saturday, June 21, 5:00&nbsp;–&nbsp;7:30pm The word ‘mine’ is both a declaration of ownership, and a verb that describes acts of<a style="color: rgb(0, 124, 137);" rel="noopener noreferrer" href="https://patrongallery.us10.list-manage.com/track/click?u=fe9966abed200e47655a01bab&amp;id=8144e1bb02&amp;e=9e3563b61b" target="_blank">&nbsp;</a>excavation and extraction. Alex Chitty’s solo exhibition,&nbsp;Mine,&nbsp;is an assembly of new works situated within a former theater. Each artwork leans on borrowed histories, past lives, and accumulative actions, all toying with the notion of how ‘mine’ is, perhaps, an impossibility. # ALEX CHITTY&nbsp;(b. 1979, Miami, FL) lives and works in Chicago. Chitty received a Bachelor of Fine Arts from Smith College with a combined major in fine art, biology and education. She received a Master of Fine Arts from the Printmedia department at the School of the Art Institute of Chicago.&nbsp; Recent exhibitions include:&nbsp;Entirely opposite, with moments of overlap&nbsp;(2025)&nbsp;Abroms-Engel Institute for Visual Arts, Birmingham, AL;&nbsp;Dialogues&nbsp;(2023),&nbsp;PATRON, Chicago, IL;&nbsp;Bright day will turn to night, my love&nbsp;(2023),&nbsp;Tiny&nbsp;Table Gallery, Chicago, IL;&nbsp;Amuleto&nbsp;(2023),&nbsp;Mayfield, Forest Park, IL&nbsp;Figs break open of themselves&nbsp;(2022),&nbsp;PATRON, Chicago, IL;&nbsp;Both And&nbsp;(2021),&nbsp;Tiger Strikes Asteroid, Chicago, IL;&nbsp;State of the Art II&nbsp;(2020),&nbsp;Crystal Bridges Museum of American Art, Bentonville, AK;&nbsp;Becoming the Breeze: Alex Chitty with Alexander Calder&nbsp;(2019),&nbsp;Museum of Contemporary Art,&nbsp;Chicago, IL;&nbsp;In the Hot Seat,&nbsp;KMAC Museum&nbsp;(2019) Louisville KY;&nbsp;pulling flavor from the dirt (2018),&nbsp;PATRON, Chicago, IL;&nbsp;After (the sun-drenched neutral that goes with everything)&nbsp;(2018),The Anderson Gallery, Virginia Commonwealth University, Richmond, VA;&nbsp;Living Architecture&nbsp;(2020),&nbsp;6018 North, Chicago, IL;&nbsp;They will bloom without you&nbsp;(2017),&nbsp;Elmhurst Art Museum,&nbsp;Elmhurst IL;&nbsp;Small Sculpture&nbsp;(2017),&nbsp;Corbett Vs. Dempsey,&nbsp;Chicago, IL;&nbsp;Stranger Things&nbsp;(2017),&nbsp;DePaul Art Museum, Chicago, IL;&nbsp;Objectifying the Photograph&nbsp;(2017),&nbsp;NIU Art Museum, DeKalb, IL;&nbsp;slight pitch&nbsp;(2016),&nbsp;LUCE&nbsp;Turin, Italy,&nbsp;the sun-drenched neutral that goes with everything&nbsp;(2016),&nbsp;PATRON&nbsp;Chicago, IL;&nbsp;Turning Spoons into Forks&nbsp;(2016),&nbsp;Hyde Park Art CenterChicago, IL;&nbsp;&nbsp;Theory of Forms&nbsp;(2015),&nbsp;&nbsp;PATRON, Chicago, IL;&nbsp;Orchid&nbsp;(2014),&nbsp;ADDS DONNA, Chicago, IL;&nbsp;Almost Ergonomic&nbsp;(2014),&nbsp;Studio 424, Chicago, IL;&nbsp;Codification&nbsp;(2014)&nbsp;LVL3, Chicago, IL;&nbsp;Alex Chitty: Recent Work&nbsp;(2013),&nbsp;Corbett vs. Dempsey, Chicago, IL and&nbsp;Ella Hatchet&nbsp;(2013) at&nbsp;Roots and Culture, Chicago, IL. Chitty is the recipient of a Illinois Arts Council Agency&nbsp;Artist Fellowship Award (2022); DCASE Individual Arts Program Grant (2021);&nbsp;The Nancy Graves Grant for Visual Artists (2017);&nbsp;has been an artist in residence at&nbsp;Writing Space, Chicago (2023);&nbsp;Warburg Library, London (2019);&nbsp;Wright Auction House&nbsp;(2019);&nbsp;Fundación Casa Wabi; Oaxaca (2018);&nbsp;Bemis Center for Contemporary Art, Omaha (2017);&nbsp;Fountainhead Residency, Miami (2015);&nbsp;Cargo Space, Milwaukee (2014);&nbsp;Latitude, Chicago (2014), among others.

Alex Chitty : Mine

PATRON is proud to announce our second solo exhibition with conceptual photo-based artist Carmen Winant.&nbsp;Manuals for Living&nbsp;brings together two long standing tenants of Winant's practice: instructional pictures as an educative&nbsp;genre, and studio practice as the site of material transformation and inquiry. Throughout the exhibition, Winant adopts strategies of repetition, procedural memory, and intuition to enact strategies of what it means to "practice".&nbsp;﻿

Carmen Winant: Manuals for Living

Mariane Ibrahim is pleased to present&nbsp;Thus masked, the world has a language, a group exhibition exploring the masquerade and mask traditions across the African diasporas in Mexico, the Caribbean, and the United States.&nbsp;Across the exhibition, masks are activated forms—a vessel through which truths can be expressed, history can be questioned, and memory can be reactivated. The exhibition will feature works by gallery artists Raphaël&nbsp;Barontini&nbsp;and Lorraine O’Grady, alongside invited artists Nick Cave, Ebony G. Patterson, Darryl Richardson, and Tavares Strachan.&nbsp;Through lens-based practices, collage, and sculpture, the artists engage the performative, political, and intergenerational dimensions of masks that bridge geographies and social histories. As a threshold between the visible and the invisible, the archival and the contemporary,&nbsp;African diasporic&nbsp;masquerades are rituals that summon the essence of nature, from the bush and swamp to animals, spirits, foreigners, witches, the past itself, or ancestors —to allow spiritual presence&nbsp;to be embodied for communal and social transformation.&nbsp;&nbsp;As masquerade culture spans between and beyond ritual, carnival, and street processions; ceremoniously the mask becomes a conduit: a threshold to the divine, a channel for the ancestral realm, or a vessel for collective memory. Darryl Richardson and Raphaël&nbsp;Barontini&nbsp;focus on the intersection of communal erasure and recovery, using partial concealment as a strategy to counter erasure and assert diasporic lineage. Their meditations on systemic erasure&nbsp;lead&nbsp;to&nbsp;Encourage from the&nbsp;Fambily&nbsp;series&nbsp;(2010) by Ebony G. Patterson,&nbsp;and&nbsp;sculpture&nbsp;by Nick Cave,&nbsp;that&nbsp;adorn figures&nbsp;whom&nbsp;transform the masked body into a site of reemergence and historical agency. Like&nbsp;Barontini, Tavares Strachan reclaims the archive through collage—but where&nbsp;Barontini&nbsp;gestures&nbsp;toward partial visibility, Strachan leans toward total concealment.&nbsp;Self Portrait: Loyalty to the Past (Blue Guro Mask)&nbsp;2023, emphasizes loyalty to ancestral heritage while addressing the metaphysical complexities of identity and memory, making the mask a statement on resilience and continuity within the African diaspora.&nbsp;Similar to&nbsp;traditional masks, Cave’s&nbsp;Soundsuits&nbsp;are constructed with everyday materials—twigs, sequins, fur, wire. These suits conceal the body entirely, freeing the wearer from assumptions tied to race, class, or gender. Within the context of masquerade, O’Grady’s concealment in&nbsp;Announcement&nbsp;(2020) becomes a vessel of deflection and power—resisting legibility while confronting the demands of visibility and representation. Both Cave and O’Grady activate concealment as a choreography of refusal and renewal.&nbsp;In&nbsp;Thus masked, the world has a language, concealment is not absence—it is redirection, resistance, and transformation. From object to action, the mask’s power lies in its ability to be worn, danced, and inhabited—activating knowledge that is both embodied and inherited. As Lorraine O’Grady posits, through&nbsp;Announcement&nbsp;(2020),&nbsp;what truths&nbsp;emerge&nbsp;through concealment?&nbsp;Thus masked, the world has a language, will be on view at Mariane Ibrahim Chicago until August 23, 2025.Image: Tavares Strachan, Self Portrait: Loyalty to the Past (Blue Guro Mask), 2023. Photo by Miho Suzuki.

Thus masked, the world has a language

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Essential Jewelry

Forms of Flesh: Contemplating Embodiment&nbsp;is a group exhibition exploring the strange, intimate, and often absurd experience of living in a body. Through sculpture, drawing, performance, video, and installation, the artists in this show consider flesh not as a neutral container but as a charged site of memory, identity, vulnerability, and transformation.Drawing from dance, trauma studies, queer aesthetics, speculative fiction, body horror, and decorative traditions, the exhibition invites viewers to examine how bodies hold sensation, gesture, history, and meaning. Ceramic figures defy function with flamboyant flair; otherworldly creatures pulse in chaotic ecosystems; projected bodies dissolve into light and architecture; improvised movements echo physical memory and emotional landscapes.Viewers are invited to reflect on their own embodiment: to see, to be seen, to feel, to question.&nbsp;Forms of Flesh&nbsp;sets the stage for curiosity, intimacy, and transformation.&nbsp;Featured artists:Jeremy Plotkin WongGeroge Mosher&nbsp;Kat BawdinPerformance:Hannah Marcus&nbsp; Curated by Alicja Seledec Email:&nbsp;<a rel="noopener noreferrer" href="mailto:chicagograndgallery@gmail.com" target="_blank">chicagograndgallery@gmail.com</a>Instagram: @chicagograndgalleryPhone: (773) 502-6010<a rel="noopener noreferrer" href="http://www.chicagograndgallery.com/" target="_blank">www.chicagograndgallery.com</a>&nbsp;

Forms of Flesh: Contemplating Embodiment

ATHENA FUND EXHIBITION WINNER <a rel="noopener noreferrer" href="https://www.arcgallery.org/exhibitions-archive/jasmine-percell" target="_blank">https://www.arcgallery.org/exhibitions-archive/jasmine-percell</a>

Jasmine Percell: Love, Lies, and Everything Else We’ve Ever Done Wrong

<a rel="noopener noreferrer" href="https://www.arcgallery.org/exhibitions-archive/rivers-qinnan-zhu" target="_blank">Rivers Qinnan Zhu:&nbsp;Thread’s Return along the Equinox</a> ATHENA FUND EXHIBITION WINNER I come from a lineage of four generations of female artisans, with a strong tradition of lace-making in Xiaoshan, China. Lace, with its intricate yet fragile structure, carries a tension between visibility and absence, labor and ornamentation, history and transformation. Lace-making is not just about preserving techniques; it’s about understanding them as shifting, unstable, and deeply connected to the people who practice them. Thread’s Return along the Equinox draws from the most elemental act in lace-making: the looping of a single thread. A loop does not simply repeat—it returns in order to continue. This circular rhythm echoes the dual life of rural women: working the fields by day, making lace by night. These alternating modes of labor—earth and hand, public and private—are woven into the fabric of shared memory and survival. The equinox is not the subject but the structure of the work. A moment of balance between light and dark that reflects a cyclical conception of time, where dyed threads and woven deviations reflect a tension between order and disruption. Thread’s Return along the Equinox asks how traditions continue— by preserving sameness or through adaptation? Lace becomes a way of holding time, of returning through making.

Rivers Qinnan Zhu: Thread’s Return along the Equinox

<a rel="noopener noreferrer" href="https://www.arcgallery.org/exhibitions-archive/jessica-swank" target="_blank">ATHENA FUND EXHIBITION WINNER</a> Opening Reception: Friday, August 1, 2025, 5-8pmExhibition dates: August 1-29, 2025 Muscle Memory is a meditation on the significance of labor and the body in a time increasingly shaped by automation and post-biological ideals. This series represents an extension of my own body detached from myself, exploring how the body may become detached from consciousness in the digital age.. Through repetitive processes and actions, I think of my labor in creating this work as itself an act of resistance against the idea that human beings can be reduced to machines. While the work is not directly performative, I consider the labor embedded in the making of these works as a quiet performance.&nbsp; "Muscle Memory" asks what it means to be human in a time when convenience, artificial intelligence, and tech-driven systems are rapidly reshaping how we live and think. Through a hands-on, process-based approach rooted in repetition, movement, and materiality, I reflect on the growing disconnect between the body and the mind—and what we risk losing when we value efficiency over human complexity.

Jessica Swank: Muscle Memory

Guest Curator:&nbsp;Dorota KruczalakAgainst Interpretation​July 25 - August 30, 2025

Against Interpretation​

“Gilt Complex”, Sébastien Johnson’s second solo exhibition at VSG Contemporary. <a style="background-color: rgb(255, 255, 255); color: rgb(65, 80, 247);" rel="noopener noreferrer" href="https://www.instagram.com/sflj_/" target="_blank">@sflj_</a>&nbsp;at&nbsp;<a style="background-color: rgb(255, 255, 255); color: rgb(65, 80, 247);" rel="noopener noreferrer" href="https://www.instagram.com/vsgcontemporary/" target="_blank">@vsgcontemporary</a> Join us from 6–9pm for the opening reception July 18

Gilt Complex, Sébastien Johnson

VSG Contemporary is pleased to present “Remedy for the Relief of Human Suffering”, the gallery’s first solo exhibition with ceramicist Fawn Penn (b. 1998). Opening Reception: Friday, July 18 from 6-9pm______________________________ <a style="background-color: rgb(255, 255, 255); color: rgb(65, 80, 247);" rel="noopener noreferrer" href="https://www.instagram.com/fawn.penn/" target="_blank">@fawn.penn</a>&nbsp;at&nbsp;<a style="color: rgb(65, 80, 247); background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://www.instagram.com/vsgcontemporary/" target="_blank">@vsgcontemporary</a>______________________________ Penn draws from an archive of collected apothecary bottles, building ornate forms with delicately wrought stoppers and cinched bottlenecks. Draped in cascading geometric patterns, the vessels seem to twist and move as supple bodies.&nbsp; Penn pulls medicalized phrases promising miracle cures from bus benches and billboards, carving them into their ceramic surfaces. Living with chronic illness and pain, Penn is often the intended recipient of the message. The text invokes a modern-day snake oil salesman, their false promise of wellness and remedy for all that ail the mind, body, and soul. – Delia Luz Pelli-Walbert&nbsp;<a style="color: rgb(65, 80, 247); background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://www.instagram.com/delia_pelliwalbert/" target="_blank">@delia_pelliwalbert</a> Photo ©️ Dayson Roa of TPYK&nbsp;<a style="color: rgb(65, 80, 247); background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://www.instagram.com/d4y5on/" target="_blank">@d4y5on</a>

  Fawn Penn: Remedy for the Relief of Human Suffering

Dining at Home﻿<a rel="noopener noreferrer" href="https://hindmanauctions.com/auctions/6408-dining-at-home?page=1&amp;per=48&amp;tab=overview" target="_blank">REGISTER TO BID</a> Sep 9, 2025&nbsp;10:00AM CT Online / Chicago

Dining at Home

Sale 6411 <a rel="noopener noreferrer" href="https://hindmanauctions.com/auctions/6411-fall-fashion?page=1&amp;per=48&amp;tab=overview" target="_blank">Fall Fashion</a> Sep 10, 2025&nbsp;10:00AM CT Timed Online / Chicago

Fall Fashion

We are excited to announce the return of our beloved open call exhibition now in its third year,&nbsp;Perennial Hug 3 Chicago and Vicinity!Perennial Hug&nbsp;is an annually occurring open call and guest juried exhibition that will feature&nbsp;artists of all demographics, and abilities. Through the deployment of various formal and material strategies the work selected for&nbsp;Perennial Hug&nbsp;functions as an assembly of outstretched arms awaiting the warm embrace of the viewer.

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