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

Jackson Junge Gallery presents&nbsp;RURAL, a mini exhibition featuring the artwork of Chicago-based artist&nbsp;<a rel="noopener noreferrer" href="https://j2gallery.com/about/artists/pedro-igrez/" target="_blank">Pedro Igrez</a>. Known for his mixed media work using found objects and raw materials, Igrez has created an incredible new collection for&nbsp;RURAL&nbsp;that focuses on capturing the spirit of a rural landscape.The series of pieces featured in&nbsp;RURAL&nbsp;were created to invoke feelings of being immersed in the countryside, dwelling in a world where one is surrounded by both immense pastures and golden fields of grains. By adding natural elements to canvases of earth tones, Igrez attempts to recreate the beauty of pastoral poetry into physical form.&nbsp;RURAL&nbsp;provides a moment of peaceful reflection as it gives the viewer space to imagine themselves alone in the expansive, quiet world Igrez has created.Join us Friday, June 6th, 6-9pm for an opening reception for&nbsp;RURAL&nbsp;which will coincide with Wicker Park Bucktown’s monthly art walk, First Fridays. Refreshments will be provided. The event is free and open to the public. The exhibition will be on view June 2nd&nbsp;through June 29th, 2025. RURAL is curated by Gallery Director Kaitlyn Miller and Gallery Assistant Maddie Kirmse.﻿

RURAL

<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/" target="_blank">Jackson Junge Gallery</a>&nbsp;is pleased to present their second group exhibition of the year,&nbsp;<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/exhibitions" target="_blank">TACTILE TERRAIN</a>, featuring the artwork of thirty-two artists. The exhibition celebrates techniques passed down by artists and craftspeople for generations, with handcrafted work made from fiber, textiles, weaving, woodwork, pottery, ceramics and more.<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/exhibitions" target="_blank">TACTILE TERRAIN&nbsp;</a>brings together artists whose work draws directly from the earth, composed of natural elements and inspired by organic textures and forms. The mediums represented are either found in nature or derived from natural materials. Imagination facilitated by the human hand spins these materials into works of art, a collaboration between artist and nature. The exhibition is filled with beautiful earth tones and varied textures, providing an experience that invites viewers to slow down and reconnect.Local artist Pamela Penney exemplifies this connection with nature in her piece “<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/outside-in" target="_blank">Outside In</a>”. Framed in a salvaged window, the work features twigs, seed pods, grasses, and flowers gathered on walks with her dogs. Her process of composing a piece begins out in the wild, where she curates and composes her finds before bringing the chosen pieces home and weaving them together with hand-spun yarns. Penney uses the terrain surrounding her as both inspiration and medium, resulting in work that feels as if it were grown, not made - nature woven through the artist’s hands.&nbsp;Capturing that moment of inspiration in nature is Karen Remsen’s “<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/sylvan" target="_blank">Sylvan</a>”. The mixed media painting replicates the immersive feeling of walking down a lush forest path. Remsen used thousands of strung beads to bring texture and shine to the leaves framing the painted subject, a portrait of a woman peeking through the leaves, as well as crushed green stone that you might imagine crunching under your feet as you walk. “<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/sylvan" target="_blank">Sylvan</a>” represents the sensory experience of losing oneself in nature, and the magic of being fully in the moment.Shelly Brucar’s fiber collage asks us to take advantage of the moments we have left. “<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/while-there-is-still-time" target="_blank">While There is Still Time</a>” focuses on the beauty of the life found within our coral reefs, while stressing the need to protect them from the devastating effects of climate change. The collage is bursting with color, in contrast to&nbsp;the bleached white corals lining our coasts. The piece is both beautiful and sobering, a reminder of what is at stake if we fail to protect our fragile ecosystems.Chicago-based ceramicist Drew Reynolds brings movement into the gallery with interactive sculptures like “<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/nebulous" target="_blank">Nebulous</a>”, a ceramic piece designed to rotate freely when engaged by the viewer. “<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/nebulous" target="_blank">Nebulous</a>” is an undefined form intended to be viewed from any angle, rather than having a fixed orientation.&nbsp;The result is a sculpture that feels dynamic, alive, and ever-changing, while including the viewer in the process. His piece is joined by other organic, abstract sculptures in the exhibition, like Celia Greiner's wood sculpture “<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/cells" target="_blank">Cells</a>”. Greiner’s stacked sculpture places just as much importance on the empty space within the forms as the forms themselves. The grain of maple wood adds a beautiful element of texture and line to the interiors of the piece, inviting the viewer to experience the space between them.Kelly McKaig’s “<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/the-sum-and-the-parts" target="_blank">The Sum and the Parts</a>” pays homage to the tradition of stitching - one of the oldest textile arts. The piece is composed of corks sewn together with vintage cotton thread to create a curtain-like installation. McKaig places importance on the social aspect of stitching, saying, “For me, stitching is a companion activity. It’s something taught and practiced among the women in my family, taking place in and around the goings-on of everyday life. Indeed, it is an endeavor that brings and binds people together…” “<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/store/special-exhibit/the-sum-and-the-parts" target="_blank">The Sum and the Parts</a>” emphasizes the communal and generational nature of textile work.&nbsp;In&nbsp;<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/exhibitions" target="_blank">TACTILE TERRAIN</a>,&nbsp;<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/" target="_blank">Jackson Junge</a>&nbsp;offers a group exhibition featuring artwork that takes us back to our roots and celebrates the oldest forms of making. Whether it be ceramics, textiles, wood or stone, each piece highlights the beauty and versatility of natural materials.<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/exhibitions" target="_blank">TACTILE TERRAIN</a>&nbsp;will be on view at&nbsp;<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://j2gallery.com/" target="_blank">Jackson Junge Gallery</a>&nbsp;May 12th&nbsp;– June 29th, 2025. The gallery will be holding the exhibition’s opening reception on Friday, May 16th, from 6 pm - 10 pm, free and open to the public. It is curated by Owner Chris Jackson, Gallery Director Kaitlyn Miller and Gallery Assistant Maddie Kirmse.

Tactile Terrain

The focus of the&nbsp;Portraits With Impact&nbsp;Exhibition is on original paintings which reflect&nbsp;diverse range of personalities. The portrait genre enables artists to create work that resonates on a visual and emotional level, and ultimately invites reflection, sparks dialogue, and fosters a deeper connection. See unique paintings by local artists of historically-relevant individuals: Maya Angelou, James Baldwin, Malala, and more. The individual sitters’ personalities are communicated through visual elements such as symbolic color, patterns, abstract shapes and brush strokes. Such design elements have the power to evoke moods that words often cannot express. The portraits, juror Joanna Pinsky, convey emotional responses and disrupt conventions. The result is an impressive exhibition of thought-provoking work.&nbsp;&nbsp;Artists: Melissa Arostegui, Pochis Bank, Andrea Beilke, Nancy Behles, Helena Celewicz, Tony Collias, Shirley Yang Crutchfield, Zarina Natividad Docken, Chris Froeter, Isaac Galvan, David Gista, Alan Hobscheid, Juana Fernandez-Hamer, Fran Joy, Randall Mattheis, Daniel Nolan, Sam Onche, Patty Ray, Bruno Surdo, John Wang’endo, Allison Winstanley, and Jim Yale.

Portraits With Impact

The Evanston Art Center (EAC) is excited to welcome the public to the&nbsp;Evanston Made All Members Group Show Continuing a robust partnership, Evanston Art Center hosts Evanston Made’s All Members Group Show, featuring contemporary artworks from a diverse group of artists working across several mediums. “This annual art exhibit is an excellent opportunity to start an Evanston Art Collection,” says curator and Evanston Made Co-Director Liz Cramer. “Our membership base boasts an impressive roster of artists from emerging/self-taught to credentialed artists who are getting back to their practice after a career in finance. There is something for every collector in this exhibit, with more than 150 artists on exhibit.”"The Evanston Art Center is very honored to be partnering with Evanston Made. This annual exhibit offers a unique view of Evanston’s Creative Community. I also love that this annual event lands on Lisa D’s bday week!"-Paula Danoff, President &amp; CEO of Evanston Art Center. The Evanston Made All Members Group Show&nbsp;will be exhibited in the First Floor Gallery of the Art Center. The opening reception is free and open to the public. This exhibition is partially funded by the Illinois Arts Council, a state agency, and the EAC’s general membership. Evanston Art Center, a nonprofit 501 (c)(3) organization, is dedicated to fostering the appreciation and expression of the arts among diverse audiences. The Art Center offers extensive and innovative instruction in broad areas of artistic endeavor through classes, exhibitions, interactive arts activities, and community outreach initiatives.

Evanston Made All Members Group Show 

On Friday, June 6th, we will be having an exhibit opening for featured artist Anne Smith Stephan's show "Parallel Universe."&nbsp;The opening will run from 5-7 PM and will display Anne's newest abstract paintings, which are influenced by her experiences and her memories of them. This body of Anne's work contains a range of pieces, from paintings featuring earthy, muted tones to bright ethereal landscapes.&nbsp;Her&nbsp;work&nbsp;invites the viewer to contemplate the power of our experiences and the unknown.&nbsp;

Anne Smith Stephan: Parallel Universe

Thirty years after assisting John David Mooney on STAR DANCE for the Atlanta Olympics, Arvedo Arvedi returns to Chicago with an exhibition of his recent works.Arvedo's action-oriented technique, painting with hands, brushes, and pipettes, channels an- cestral forms drawn from Hopi cave paintings, the Nazca lines, and Saharan rock engravings. The result is a powerful visual language that transcends borders and time, aiming not to explain, but to connect.The exhibition unfolds across four thematic sec- tions, including a striking series of large-scale canvases representing the 4 elements - Fire, Air, Water &amp; Earth - and a dedicated space for his Arte da Vestire project-limited-edition pash-mina scarves that merge fine art with design and storytelling. DIFFERENT LANGUAGES - Ancient Memories is more than a return to Arvedo's "artistic home," it's a reconnection: to place, to memory, and to the essential role of art as a shared language in a world that's never been louder or more disconnected.

Italian Artist, Arvedo Arvedi

Every once in a while,&nbsp;a gallerist has the good fortune to connect with someone who “speaks”&nbsp;to you through&nbsp;knowledge, elegance and skill with a purity and simplicity that is transcendent...&nbsp;Angel Haro is that for us.&nbsp;When we first saw Haro's paintings, we were taken by his sense of humanity,&nbsp;with a purity in vision through composition&nbsp;and&nbsp;fearless&nbsp;gestures in his work.&nbsp;And that's because Haro creates from a vision of the reality around him. He feels his environment and then expresses it.&nbsp;This&nbsp;expressiveness is about movement and emotion.&nbsp;For example, color takes on feelings and the abstractions&nbsp;become&nbsp;visual narratives. Simply put, he brings a subtle&nbsp;interpretation&nbsp;to the work that&nbsp;challenges&nbsp;the eye into feeling there's something more to be seen.Because&nbsp;of the evocative nature of his work, the gestural, technical characteristics are secondary&nbsp;to&nbsp;his central objective: to place the viewer in the artist's experiential space.&nbsp;Yet, he doesn't overlook the technical either. The simplicity of Haro’s abstractions take on a true understanding of paint, space and his ability to&nbsp;express the human experience&nbsp;on canvas -- or paper -- that is pure and powerful.&nbsp;Angel Haro lives and creates art in Madrid, Spain.&nbsp;There's so much more to say, but more importantly,&nbsp;it's better to see for yourself.&nbsp;Please join us for an evening of HARO's&nbsp;EXPRESSIONS OF REALITY.Meet the Artist at the Opening Reception on May 16th&nbsp;from 6 pm - 8 pm at Rosenthal Fine ArtLight hor d'oeuvres and wine will be served.Image: PALIMPEST, 2025 - Acrylic on Canvas, 78.7 X 118 inches

Haro: Expressions of Reality

3rd Floor GalleryExperience the powerful new exhibition by South Asian artist Grishma Shah, where art, identity, and disability converge in a compelling exploration of personal and societal contradictions.&nbsp;Dissonance&nbsp;challenges perceptions of discomfort, inviting you to reflect on the tensions that shape our lives. Through installations and mixed-media artwork, Shah’s work celebrates the complexity of existing at the intersection of culture and self-expression.Join us for the opening reception on May 16, from 7-9pm.&nbsp;Cover Artwork: “All Dolled Up For Zoom ”Mixed Media on canvas -2020Image Description: Pandemic bride showing off her bright red bangles and henna-tattooed hands. Blue paint representing spotty video call.&nbsp;

Dissonance

﻿Project Onward Exhibition of the works by Chicago artists from Project Onward that supports artists with developmental and mental disabilities. These sensational works are in a wide variety of media.

Project Onward Exhibition

Sacristy GalleryLaurie Buman’s series,&nbsp;Santos y Milagros (Saints &amp; Miracles) | The Light Within the Darkness, is the culmination of over a decade of work. This collection explores social issues affecting the most vulnerable members of society. Through the lives of the Saints, Buman addresses contemporary concerns and shares the stories of these heroic women.Each piece is layered with meaning beyond the obvious—every item and image carries its own history, coming together to form a larger narrative that transcends the physical. With these images, Buman seeks to inspire awareness, protection, and positive change in the world.For more information, go to: www.epiphanychi.comPhoto credit:&nbsp;Epiphany Center for the Arts

Laurie Buman:Santos y Milagros (Saints & Miracles) | The Light Within the Darkness

Epiphany Center for the Arts | Guild Room201 S. Ashland Avenue, Chicago&nbsp;60607Coral reefs are an ancient microcosm with a changing diversity of phantasmagoric beauty. As a crucial building block of our planet that feeds twenty-five percent of sea life, the urgency to save coral from repeated bleaching episodes is becoming clear. The Ring of Fire and Coral Triangle, located in the Southern Pacific Ocean, shows why it matters. Endorsed by UNESCO for ocean awareness during the United Nations Ocean Decade, Margot McMahon’s&nbsp;Ring of Fire: Friends, Reefs, and Bouncing Back&nbsp;exhibit brings attention to how human activities, such as burning fossil fuels, significantly contribute to climate change and rising sea temperatures, which severely impacts ocean life and marine biodiversity. United States’ weather patterns originate in the Southern Pacific Ocean. A warmer ocean slows currents causing west coast droughts, more volatile storms, and Midwest flooding. On McMahon’s 2017 diving excursion to the Palauan reefs in the Ring of Fire with a childhood friend, they witnessed the largest recorded global bleaching event, impacting the Coral Triangle: a marine epicenter with the highest coral reef and fish diversity in the world. On a return trip in 2023, the two friends and environmental activists observed a revitalization of the coral reefs through a healthy reef bounce-back, made possible by&nbsp;reduced carbon emissions during the global Covid-19 lock-down, conservation efforts,&nbsp;and sustainable practices. Over the seven years of reef recovery worldwide, McMahon painted her&nbsp;Ring of Fire&nbsp;series to show the symbiotic relationship between a vast variety of plants, animals, and minerals that form the most diverse ecosystem on earth.&nbsp;Her ocean landscapes also emulate prayer cloths to express a spiritual energy that conveys healing, while highlighting the biodiversity and stunning magnificence of the reefs. Through her technique mixte process, combining egg tempera and oil paints, McMahon’s coral reefs are luminous, as light penetrates and reflects through the layers, giving the paintings a depth and vibrancy that echo the resonance of the ocean. Coral reef bleaching events are caused by environmental stressors that include increased water temperatures due to global warming and human pollution. These stressors disrupt the interdependent relationship between coral and algae, leading to the whitening or bleaching of corals. With the increase of carbon emissions since 2023, the world is currently experiencing its&nbsp;fourth global coral bleaching event, which NOAA (National Oceanic and Atmospheric Administration) announced in April 2024 and is ongoing. This event has affected coral reefs across all major ocean basins, including the Atlantic, Pacific, and Indian Oceans.For more information, go to: www.epiphanychi.comPhoto Credit: Margot McMahon

Margot McMahon: The Ring of Fire: Friends, Reefs, and Bouncing Back

Artists Reception: Friday, June 20, 6–8pm Featuring the work of&nbsp;Mark Banks,&nbsp;Kathy Los-Rathsburn and Andy Paczos,&nbsp;Steel &amp; Silence&nbsp;explores the haunting beauty and enduring presence of industrial landscapes. Beauty that otherwise goes unnoticed is thrust to the forefront for this exhibition.

Steel and Silence: Paintings of Chicago's Silent Streets

The Museum of Contemporary Art Chicago is excited to announce&nbsp;<a rel="noopener noreferrer" href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=97ccbc71af&amp;e=4ba592fe2a" target="_blank">Collection in Conversation with Pablo Helguera</a>, a community-informed exhibition running from August 2, 2025, to July 5, 2026, in the MCA’s stairwell galleries. For this exhibition, the MCA invited artist and educator Pablo Helguera to draw a selection of works from the museum’s permanent collection, inspired by conversations with Chicago artists, writers, activists, and educators.&nbsp;In the fall of 2024, the MCA invited twenty individuals with different backgrounds and life experiences to meet and discuss the role of art in moments of uncertainty and possibility. This exhibition, which is curated by Helguera and representatives from the MCA’s curatorial and learning teams in response to the group’s discussions, will be organized by theme throughout the three floors of the MCA’s stairwell galleries, confronting trauma, resistance, complicity, and the power of individuals and movements during times of uncertainty. Each floor of the exhibition will be accompanied by the voices of individuals whose unique perspectives from the conversations informed the selection of works. With this exhibition, the MCA experiments with a new mode of presenting its permanent collection—in conversation with the people it is meant to serve.Chicago participants include Olivia Gude, Tempestt Hazel, Jeremiah Hulsebos-Spofford, Ankit Khadgi, Maira Khwaja, S. Y. Lim, Stephanie Manriquez, Magdalena Moskalewicz, Nissa Rhee, Monica Rickert-Bolter, Mérida M. Rúa, Pia Singh, Carlos Salazar-Lermont, Sufyan Sohel, and several others who wish to remain anonymous.Collection in Conversation with Pablo Helguera&nbsp;is organized by guest curator Pablo Helguera with Miguel Aguilar, Manager of Learning, School Partnerships and Curriculum, and Iris Colburn, Curatorial Associate. ABOUT THE CURATORPablo Helguera (b. 1971, Mexico City, lives in New York)&nbsp;is an artist working in installation, sculpture, photography, drawing, socially engaged art, and performance. Helguera’s work focuses on a variety of topics ranging from history, pedagogy, sociolinguistics, ethnography, memory, and the absurd, in formats that are widely varied including the lecture, museum display strategies, musical performances, and written fiction. His project,&nbsp;The School of Panamerican Unrest, is one of the most extensive socially engaged public art initiatives on record. Helguera has exhibited at major institutions worldwide and received numerous awards, including a Guggenheim Fellowship. He has held key roles in museum education, including at the Museum of Modern Art, New York, and the Guggenheim Museum. Currently, he teaches at The New School and writes the weekly column&nbsp;Beautiful Eccentrics. He is the author of&nbsp;Education for Socially Engaged Art&nbsp;(2011) and&nbsp;The Parable Conference(2014).SUPPORTLead support is provided by the Pritzker Traubert Collection Exhibition Fund, Cari and Michael Sacks, and the Zell Family Foundation. ABOUT THE MUSEUM OF CONTEMPORARY ART CHICAGOThe Museum of Contemporary Art Chicago is a nonprofit, tax-exempt organization accredited by the American Alliance of Museums. The MCA interweaves exhibitions, performances, collections, and educational programs while providing a place for audiences to contemplate and discuss contemporary art in pursuit of a creative and diverse future. The MCA believes in the values of inclusion, diversity, equity, and accessibility (IDEA) as a platform to enact structural change. The museum is generously supported by its Board of Trustees; individual and corporate members; private and corporate foundations, including the John D. and Catherine T. MacArthur Foundation; and government agencies. The MCA is a proud member of Museums in the Park and receives major support from the Chicago Park District.&nbsp;<a rel="noopener noreferrer" href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=5d2c89b640&amp;e=4ba592fe2a" target="_blank">The MCA is located at 220 E. Chicago Avenue</a>&nbsp;and is open 10 am to 5 pm Wednesday to Sunday and Tuesdays from 10 am to 9 pm. Tuesday evenings (5-9 pm) are free for Illinois residents. The museum is closed on Mondays.&nbsp;Admission is free for all youth 18 and under, members of the military and veterans, and MCA members. Free admission for anyone 18 and under is generously provided by Liz and Eric Lefkofsky, and Northern Trust. Find more information about MCA's exhibitions, programs, and special events at&nbsp;<a rel="noopener noreferrer" href="https://mcachicago.us4.list-manage.com/track/click?u=c24ba7c5a91cefd699dc985e1&amp;id=e89923038a&amp;e=4ba592fe2a" target="_blank">mcachicago.org</a>&nbsp;or at 312.280.2660. Howardena Pindell,&nbsp;Free, White and 21,1980. Single-channel video (color, sound). Collection Museum of Contemporary Art Chicago; gift of Garth Greenan and Bryan Davidson Blue, 2014.22. © 1980 Howardena Pindell. Image courtesy Garth Greenan Gallery.

Collection in Conversation with Pablo Helguera

The University of Iowa Stanley Museum of Art’s permanent collection encompasses over sixteen thousand artworks. Our inaugural exhibition, <a href="https://stanleymuseum.uiowa.edu/art/exhibitions/current/homecoming">Homecoming</a>, reintroduces our extraordinary collection to the public.Homecoming comprises a series of related installations.&nbsp;“Generations," curated by Diana Tuite, Visiting Senior Curator of Modern and Contemporary Art, foregrounds the University of Iowa’s history of innovative arts education and scholarship.&nbsp; "Fragments of the Canon:&nbsp;African Art from the Saunders and Stanley Collections," curated by Cory Gundlach, Curator of African Art, features African art collected by a Black Iowan, Meredith Saunders. “History Is Always Now,” also curated by Gundlach, displays the Stanley’s celebrated collection of African art in a way that emphasizes movement and cultural exchange through time and across space. Smaller, more focused installations, curated by Gundlach, include "Centering on Cloth: The Art of African Textiles," which highlights the global scope of interactions that surround the creation, use, and circulation of cloth in Africa, and "About Face: African Masks in Iowa,"&nbsp;which emphasizes the historical and artistic relationships between West and Central African masks from the world-renowned Stanley Collection of African Art.&nbsp;Developed collaboratively by curators, educators, and faculty under the museum director’s guidance, Homecoming&nbsp;illustrates the importance of our world-class collection and allows us to envision new futures in art.In order to protect sensitive works of art from extended exposure to light, many of the works on display in Homecoming will rotate every six months--meaning that there will always be something new to see during the inaugural exhibition's&nbsp;three-year run.

Homecoming

Krannert Art Museum‘s major reinstallation of its pre-Hispanic Andean arts collection will center past Andean communities as active agents in the creation of their own art histories. Comprising over 700 objects, the KAM collection includes exquisite textiles, ceramics, and objects fashioned in gold, silver, wood, and shell from cultures that flourished throughout the coastal and highland regions of Peru from 1500 BCE to the Spanish colonial period.Image: Model Depicting the Manufacture of Chicha, Lambayeque or Chimu, North Coast, Peru, 1100-1470 CE. Silver-copper alloy. The Fred Olsen Collection. 1967-29-304

Andean Gallery Reinstallation

Slemmons GalleryArtist Alok Vaid-Menon has said,&nbsp;“There’s something audacious and beautiful about insisting on maintaining your humor and delight.”&nbsp;For Laurie LeBreton, humor and delight are a direct result of her work as a fiber artist. She works primarily in handmade paper to convey these ideas, using her favorite properties of paper – the messy pleasure of making it, its ability to absorb color, and both its apparent fragility and veritable strength.The paper tapestries in LeBreton’s exhibit&nbsp;INSISTING AND MAINTAINING&nbsp;are typical of her work in many ways. The simplicity and repetitiveness of their construction lead LeBreton to calm and peace. There’s an element of playfulness: She turns a series of flat objects into a three-dimensional structure. She uses this simple structure to comment on impermanence through various means of installation. She uses color to express joy.Finally, through this work, LeBreton also honors traditional women’s crafts – quilt making, sewing, and weaving, with the intent to convey warmth and comfort, and to express love.For more information, go to: www.epiphanychi.comPhoto credit: Epiphany Center for the Arts

Laurie LeBreton: INSISTING AND MAINTAINING

Renowned multimedia artist Dieter Roth’s preferred form, and the one he spent his lifetime pursuing, was the&nbsp;Gesamtkunstwerk, a German term for “total work of art.” Working across a diverse range of media, disciplines, and creative activities, Roth developed an artistic practice that dissolved the boundaries between art and life, upending traditional categories, hierarchies, and even timeworn notions of singular authorship. Often collaborating with other artists, including his son Björn, Roth produced an ever-expanding body of work that gestured toward the cumulative effects of a life spent making and remaking.&nbsp;The sculpture&nbsp;Balabild 5&nbsp;(c. 1975–2005), made in collaboration with Björn Roth, is a complex portrait of their shared creative life, expressed through an array of artifacts that passed through their family art studio in Iceland. Made of materials including wooden flooring from the original studio, canvas, paint and paint tubes, brushes, lightbulbs, photographs, and other found items,&nbsp;Balabild 5&nbsp;was developed over decades and is intended to look forever unfinished, as if the artists have frozen the energy of their studio and could step in at any moment to keep working. Björn Roth has called their studio “a laboratory, to search for beauty in nothing.”&nbsp;Dieter Roth and Björn Roth: Balabild 5&nbsp;is curated by Jason Foumberg, Daskalopoulos Collection Manager.

Dieter Roth and Björn Roth: Balabild 5

Opening May 18: The Future Voyagers Exhibition Opening Reception | Sunday, May 18 | 1:00 pm - 3:00 pm | Brushwood Center at Ryerson Woods | FreeExhibition runs May 18 - July 6&nbsp;Join&nbsp;Brushwood Center and&nbsp;Chicago Voyagers&nbsp;in a celebration of the opening of&nbsp;The Future Voyagers Exhibition!&nbsp;Be the first to view the brand new exhibition and have a chance to hear directly from artists that created the works.&nbsp;1:00 pm&nbsp;Exhibition opens for viewing2:00 pm&nbsp;Panel discussion with: Bernie Rupe (Chicago Voyagers), Edo (exhibiting artist), Kevin West (exhibiting artist), moderated by Dani Abboud (Brushwood Center)Light refreshments will be served.&nbsp;About the Exhibition:&nbsp;The Future Voyagers Exhibition&nbsp;is a two-part exhibition that visualizes the future of American exploration: one where adventure knows no gender or color. The exhibition at Brushwood Center at Ryerson Woods, opening May 18, 2025, is the first part of this two-part endeavor where we will get a first look at studies for larger portraits. The completed portraits will be unveiled at the final exhibition in Chicago later this summer.

The Future Voyagers Exhibit

OPEN LENS XV June 5 - July 6, 2025 The Artist Reception is June 14, from 4:00PM - 7:00PM

Open Lens XV

Brush &amp; Chisel showcases the work of two local artists: a painter and a sculptor.Brad Purse, a former Advertising Art Director, has embraced oil painting after leaving the advertising world. His paintings are surreal and often incorporate elements of humor and irony, inviting viewers to look deeper into each scene. Purse seeks subjects that offer unusual interpretations of familiar visual elements, aiming to create intriguing images using both oil paint and occasional graphite. His work often features a humorous or observational twist, representing a unique perspective on everyday norms.Brad Cahill is a sculptor who works primarily in stone. He is presenting his series, "One Lone Drone" in this gallery show. This series draws a comparison between the occupants of a typical office environment and those of a hive or colony. While some of their actions are obvious, much of their busyness can seem baffling and inexplicable, even to themselves. As a collective entity, workers are agents of production, contributing to the growth and success of a larger structure, while their individual identities and purposes often remain hidden. Cahill's therianthropic statues aim to reveal the personalities of anonymous characters and to elevate otherwise insignificant beings.Fine Line will hold an opening reception on Thursday, June 12, from 6 to 8 PM, with both artists in attendance. This reception, like all Fine Line receptions, is free and open to everyone.The Kavanagh Gallery is open Monday through Saturday from 10 AM to 5 PM, and admission is always free to view the art. Brush &amp; Chisel will be on display from June 12 to July 10 (the gallery will be closed from July 4 to 6 for the Fourth of July weekend)&nbsp; Image: Left: Pop-up Air Safari at Failing Wildlife Monument by Brad Purse.&nbsp;Right: Nu Tru Luv Brad Cahill

Brush & Chisel 

(<a rel="noopener noreferrer" href="https://artsoflife.us4.list-manage.com/track/click?u=676dcf6750de4694fd657fca1&amp;id=cf934c3253&amp;e=ed6a12e728" target="_blank">Dorothy Carlos</a>&nbsp;performance)&nbsp;﻿

Closing Reception for sounds better with you

A Concert Series on the Lincoln Landing200 West 8th Street Lockport, IL 60441

Friday in the Park - July 2025

This iteration of&nbsp;Et cetera&nbsp;features works by Iris Bernblum, Meghan Borah, Patrick Carroll, Mari Eastman, Andreas Fischer, Sherwin Ovid, Scott Wolniak and Gwendolyn Zabicki and is&nbsp;on view April 4 - July 12, 2025. Et cetera, a new, ongoing presentation of works from our Gallery inventory, is open for in-person viewing&nbsp;in our East Wing gallery during regular gallery hours, and online via our website. The goal of&nbsp;Et cetera&nbsp;is to provide opportunities for public viewing of works from Goldfinch's inventory while also serving as a gentle corrective to the idea that access to a Gallery's "back room" is only for the privileged few. All of the works on view are available for acquisition. Visit our website for more information on each work and&nbsp;<a rel="noopener noreferrer" href="mailto:claudine@goldfinch-gallery.com?subject=Et%20cetera%20works" target="_blank">contact us</a>&nbsp;if you would like to arrange a private showing outside of regular Gallery hours.&nbsp; To view all of the works in this edition of Et cetera,&nbsp;<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://goldfinchgallery.us1.list-manage.com/track/click?u=857fcb5b671b71824107951c2&amp;id=6bbff3cd1f&amp;e=eea4831c04" target="_blank">visit our website.</a>

Et cetera

SoNa Chicago Contemporary Art is proud to present the exhibition, Better World, featuring the artwork of Alan Emerson Hicks. Better World takes its title from a 1970s commercial produced by the Plastics Council of America that promised a brighter future through plastic. His work responds to this false optimism, reflecting on the environmental and cultural consequences of single-use plastic production in contemporary American society. The artist’s practice spans sculpture, wearable art, and dimensional assemblage. The sculptures are constructed from repurposed plastics over steel armatures and are designed to resemble human figures—commenting on both form and the act of building form through assemblage. These figures suggest presence, identity, and humanity within a material culture of disposability. Hicks’s two-dimensional works explore mass production and transformation through the use of dollar store items and goods sourced online, particularly from Chinese suppliers—materials now affected by recent U.S. tariffs. These pieces often incorporate butterflies and natural imagery as metaphors for change, fragility, and the uneasy relationship between nature and synthetic consumer goods. The work is in constant flux, evoking a sense of transformation and suspended development. These pieces fall into two distinct styles: one, a dimensional couture approach using stickers and objects layered onto boards; the other, shallowly layered compositions sealed in Envirotex resin, creating a dense, atmospheric quality. Hicks also creates wearable dresses from plastic waste and consumer packaging, many of which have been featured in sustainable fashion shows like Trashion Revolution. These works blur the boundaries between sculpture, performance, and activism. Through assemblage, Hicks builds form while commenting on form—referencing nature, transformation, and African American historical figures. His work is in constant evolution, much like the materials and systems it critiques. Better World is both an ironic echo of the past and a call to imagine alternative futures shaped by care, reuse, and reimagining. Hicks has exhibited nationally and internationally, including a recent solo show at the Center on Halsted in Chicago. He works out of his studio in Bronzeville on the South Side of Chicago. Image: Natural Selection, Alan Emerson Hicks, Found object, stickers and paint on board, 13.5"×13.5"

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