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

July 26+2710am- 5pm EST (9am-4pm CST) Chicago's internationally renowned Randolph Street Market&nbsp;is taking a road trip this summer to Three Oaks Michigan!&nbsp;&nbsp;We're bringing 50 of the best dealers&nbsp;our Windy City extravaganza has to offer,&nbsp;just ninety minutes from downtown but a world away!&nbsp;&nbsp;If you're missing us this summer, take a day trip or stay the weekend.&nbsp; Come shop the wares of some of the dealers you love, cruise the stores on Three Oaks' main drag and even stop for a swim at Warren Dunes State Park.&nbsp;Hope to see you in beautiful Three Oaks Michigan July 26+27 this Summer!&nbsp;

Randolph Street Market – in Three Oaks Michigan

Wright / ChicagoAuction 29 July 202511 am central Preview / Chicagoby appointment <a style="color: rgb(67, 90, 255);" rel="noopener noreferrer" href="https://www.wright20.com/auctions/2025/07/the-curious-tour-the-lisa-goldberg-collection/info" target="_blank">information</a>

The Curious Tour: The Lisa Goldberg Collection

As a part of the Elevate series at 21c Chicago, Tom Burtonwood presents Recurring, three elements of his ongoing project “A Cube is a Rectangle.” Gallery 3 features a large gridded wall installation of over 200 of Burtonwood’s signature “Würfel” drawings. Adjacent to the gallery two large “Würfels” crafted from mixed media materials including hydrocal, paint, soil, and natural fibers hang side by side. Accompanying these two-dimensional works is a new single-channel stop-frame animation of his unfolding cube motif. Burtonwood’s series “A Cube is a Rectangle” reflects on the idea that true repetition is not mechanical or identical, but that it can be ”productive”—it creates something new each time. This contrasts with what Gilles Deleuze calls "generality," where repetition is based on sameness, predictability, and equivalence (like in a clock ticking or mass production). In contrast, “real” repetition occurs on a deeper, ontological level: it is singular, evental, and tied to difference.

Tom Burtonwood: Recurring

<a rel="noopener noreferrer" href="https://hindmanauctions.com/auctions/6446-the-collector-s-cabinet?page=1&amp;per=48&amp;tab=overview" target="_blank">DETAILS</a>

The Collector’s Cabinet

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

Favorite Things

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

Julia Jensen: Poised Between

Please join us for Rare Coins &amp; Currency!&nbsp;Numismatics Director Roxana Uskali invites you for an evening of rare finds from categories spanning World &amp; Ancient Coins, US Currency, and World Paper Money. Enjoy perusing these portals to history as a special first look before the American Numismatic Association and Great American Coin Shows!&nbsp;&nbsp;&nbsp;Thurs., July 31, 2025, 5 - 7 p.m.&nbsp;&nbsp;Heritage Auctions, 312-260-7200, 222 W. Hubbard St., Chicago, IL&nbsp;60654&nbsp;Also available to view July 30 - 31, 10 a.m. to 5 p.m.&nbsp;Free and Open to All&nbsp;Register <a rel="noopener noreferrer" href="https://forms.monday.com/forms/11c5847097dd15a4e721d4d576241278?r=use1" target="_blank">Here</a> View all lots and bid at&nbsp;<a rel="noopener noreferrer" href="http://ha.com/3125" target="_blank">HA.com/3125</a>,&nbsp;<a rel="noopener noreferrer" href="http://ha.com/3599" target="_blank">HA.com/3599</a>, and&nbsp;<a rel="noopener noreferrer" href="http://ha.com/4056" target="_blank">HA.com/4056</a> Image: Victoria gold Proof "Una and the Lion" 5 Pounds 1839 PR61 Ultra Cameo NGC, KM742, S-3851, W&amp;R-279 (R2).

Rare Coins & Currency

In celebration of the landmark exhibition,&nbsp;Huguette Caland: Bribes de corps, The Arts Club of Chicago collaborates with MAKE Literary Productions to co-curate an evening of readings on the theme “Body Bits,” a loose translation of the exhibition’s title. Text-oriented artists in a variety of genres will perform alongside Caland’s evocative body of work with their own ruminations on bits, bumps, lumps, and the occasional humps here and there. Free and open to all. Register&nbsp;<a rel="noopener noreferrer" href="https://artsclubchicago.us7.list-manage.com/track/click?u=502da7c1672081e981f967563&amp;id=5324a49e08&amp;e=e3c33543d7" target="_blank">here</a>.

Body Bits: poetry, prose and performance in the gallery

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

Friday in the Park - August 2025

Artist and musician Richard Landry's short film plays on a game of eye-ear coordination. A play of visual and sonic rhythms using hands and light. Landry considers these movements "imaginary hand exercises for beginning drummers."

Richard Landry: One, Two, Three, Four

A group show exploring the interplay between art, interior design, and the natural world.&nbsp;The show examines the boundaries between indoor and outdoor spaces and the psychologies of our interior worlds.Featured artists: Michelle Peterson Albandoz, Arlene Byster, and Michael McGuire. <a style="color: rgb(49, 95, 195);" rel="noopener noreferrer" href="https://rkcgwygbb.cc.rs6.net/tn.jsp?f=001pQCTLAZWoLcf8QKJ7bW0UTmQQvLi8QCbGnkKtsql4i6I9ZL64t5o-ClLO30U4qlgv048XIrjFaewr2r6LMYau17m9mnS_bzm057XRhSnUrrLvOWRjDozAZ1z0dr1mWM1ZFSpwnFn1iGu7xAuUdfO__an6CkBezKnVNNCFkOBDOK57GYT99hHze8q7mHIJ_OYezlzgwpQEh-Ha5D_DagQMdE7ZK-F7QE7uOMYZKgk0MlDIZhdACWpww==&amp;c=IJzV2jz8yvZtX5CTPVPXoMUDippq0o1jIRBZpwu4VeFXp_eCnKxnzg==&amp;ch=kzLhgOqA5aEWuRf34Ovhff1OQt3YOA0ZU-fCxhD596BhhhFEKh0xXw==" target="_blank">Learn more</a>

Where we dwell

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

Join DPAM for another exciting Learning Studio program! Inspired by&nbsp;Christina Fernandez: Multiple Exposures, Chicago-based artist Victoria Martinez will guide an all-ages workshop where participants use photographs, textiles, and everyday materials like fruit nets and bubble wrap to craft unexpected and creative collages.Image credits:Victoria Martinez,&nbsp;Batman incognito at the U.S. / Mexican border, 2019, Yale University School of Art.&nbsp;

The Learning Studio: Workshop with Artist Victoria Martinez

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 

Huguette Caland:&nbsp;Bribes de corps&nbsp;presents painted works by the Lebanese artist whose life and career traversed decades, continents, and media, defying both aesthetic and social conventions of her time and place. Bringing together a significant corpus of works that have rarely been seen together, the exhibition focuses on the body of work that Caland produced while living in Paris in the 1970s, the&nbsp;Bribes de corps&nbsp;[“Body Bits”] and constitutes the largest presentation of the series to date.Caland’s own body and her preoccupations with its size and its pleasures motivated much of her work throughout this period, and this exhibition introduces the languages—sometimes joyful and sometimes pain-ridden—she cultivated in shape and color to speak of her experience alongside those of other bodies. The artist also played with what Western art history categorizes as the diametrically opposed poles of abstraction and figuration, rendering the distinction between color and line indiscernible, subject positions and parts indecipherable, and making normative or binaristic gendering unimaginable even as the body parts she painted often transform into landscapes or blend into the haze of color fields.The work is contextualized in relationship to debates about gender and sexual norms in both France and Lebanon during the time. It concludes with a more recent painting from the artist’s late series of tapestry-like paintings, which bring her interest in the body and its surroundings to full force through a painterly idiom that borrows from the techniques and cultures of&nbsp;tatreez, or Palestinian embroidery. The exhibition also includes a selection of three embroidered dresses, which Caland designed and wore, and which consolidate the relationship between art and flesh in her practice. The exhibition is made possible by the Smart Family Foundation through a grant to the Ambition Fund of The Arts Club of Chicago.This exhibition is curated&nbsp;by Hannah Feldman,&nbsp;Keith L. and Katherine Sachs Associate Professor of Contemporary Art, University of Pennsylvania. During the run of the exhibition, The Arts Club will host two public programs in the gallery: Thursday June 5Evening Public Program: Visual ArtJanine Mileaf gives an Exhibition Tour of&nbsp;Huguette Caland: Bribes de corpsProgram 6:00 pm 20th-century painter Huguette Caland (1931–2019), whose paintings made in Paris in the 1970s are now on view in the gallery at The Arts Club of Chicago, is also the current subject of a grand-scale retrospective at the Reina Sofia in Madrid. Join Arts Club Executive Director and art historian Janine Mileaf for a guided tour of the exhibition at The Arts Club.&nbsp; Free and Open to All. Limited Capacity. Register&nbsp;<a rel="noopener noreferrer" href="https://artsclubchicago.us7.list-manage.com/track/click?u=502da7c1672081e981f967563&amp;id=465efb6f8d&amp;e=e3c33543d7" target="_blank">here</a>. Thursday July 31Evening Public ProgramBody Bits: poetry, prose and performance in the galleryProgram 6:00 pm In celebration of the landmark exhibition,&nbsp;Huguette Caland: Bribes de corps, The Arts Club of Chicago collaborates with MAKE Literary Productions to co-curate an evening of readings on the theme “Body Bits,” a loose translation of the exhibition’s title. Text-oriented artists in a variety of genres will perform alongside Caland’s evocative body of work with their own ruminations on bits, bumps, lumps, and the occasional humps here and there. Free and open to all. Register&nbsp;<a rel="noopener noreferrer" href="https://artsclubchicago.us7.list-manage.com/track/click?u=502da7c1672081e981f967563&amp;id=5324a49e08&amp;e=e3c33543d7" target="_blank">here</a>. Image: Self Portrait (Bribes de corps), 1973, oil on linen. Courtesy Huguette Caland Estate

Huguette Caland Bribes de Corps

Victoria Fu’s third solo exhibition with DOCUMENT features a new series of glass artworks that are at once sculptures, paintings, photographs, and prints. Reflecting her ongoing interest in the mediation of perception through technology, these works quote the visual qualities of LCD screens through material and figural representations of iridescence. 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

DePaul Art Museum announces the opening of its spring exhibition, “Christina Fernandez: Multiple Exposures.” This show surveys the work of Fernandez, a Los Angeles-based artist who from the late 1980s to the present has conducted a rich exploration of migration, labor, gender, and her Mexican American identity through photography. “Multiple Exposures” will open March 20 and run until Aug. 3 at the museum, located on DePaul University’s Lincoln Park Campus.&nbsp; “DePaul Art Museum is pleased to bring the work of Christina Fernandez to Chicago audiences this spring as a continuation of our commitment to highlighting Latinx stories in our exhibitions and programs,” said Laura-Caroline de Lara, director of DPAM. “This exhibition grapples with themes that ring true in Chicago as well as LA. We hope that the conversations that spring out of the Chicago iteration of the show and its programming will create new geopolitical and cultural understandings for our university students and neighbors.” Bringing together the artist’s most important bodies of work for the first time, Fernandez’s retrospective highlights the experiences of Mexican Americans, from border-spanning family histories to contemporary “lavanderías,” or laundromats. Fernandez also portrays the realities of being an artist, professor, and mother through series that acknowledge both the beauty and the instability of a creative life.&nbsp; The exhibition’s title, “Multiple Exposures,” refers not only to a photographic technique but also to the artist’s revealing of that which is often hidden away, including fraught racial histories and the mistreatment of precarious communities. The exhibition evokes the artist’s self-exposure as a woman and the vulnerability of certain communities to exploitation and displacement. Whether staged or candid, Fernandez’s photographs record touch and mark-making, engaging the medium’s distinct ability to convey surfaces — the surfaces of bodies, architecture, and the images themselves.&nbsp; “Christina Fernandez brilliantly weaves self-portraiture, family history, the built environment and broader Latinx narratives into her work,” said Ionit Behar, curator. “Her photography illuminates the rich complexities of Latinx identity and invites viewers to actively engage with the layers of her imagery."&nbsp; Planned programs include an exhibition walkthrough with Fernandez, a family-oriented workshop on self-portraiture as part of DPAM’s Learning Studio ongoing Family Day series, a panel with local artists on Chicago Latinx photography and a podcast interview with the artist to be released in partnership with the Museum of Contemporary Photography at Columbia College Chicago.&nbsp; The traveling exhibition is organized by UCR ARTS and curated by Joanna Szupinska, senior curator at the California Museum of Photography; Chon Noriega, distinguished professor of film, television, and digital media at UCLA, is the curatorial advisor. Behar organized the presentation of this exhibition at DPAM. This exhibition was made possible by grants from The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. DePaul Art Museum’s iteration of the exhibition and accompanying programs is generously supported by the Teiger Foundation and Vincentian Endowment Fund. An opening reception will be held on March 20 from 6 – 8 p.m.&nbsp; ﻿Image credit: Christina Fernandez, "Lavanderia #1," 2002. Archival pigment print. From the series Lavanderia. Courtesy Los Angeles County Museum of Art, Ralph M. Parsons Foundation.

Christina Fernandez: Multiple Exposures

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

Please join us in a viewing and conversation around works in the MoCP permanent collection on&nbsp;the topic of autonomous power in photography. Works presented include photographic practices of Black, Indigenous,&nbsp;and queer artists to expand topics presented in the exhibition, Collaboration: A Potential History of Photography&nbsp;In Dialogue with the MoCP Collection. This discussion will be led by MoCP Curatorial and Education Assistant, Kyli Hawks.*This program will be held in the MoCP print study room.&nbsp;

Photos at Noon: Autonomous Power in Photography

Roger Carlson worked at The Friends of Community Public Art in Joliet, painting murals, working with oil-based clay sculpture, glass and ceramic tile mosaics. He also worked at Marsha Lega Studio, making sculptures out of stainless-steel sheets with different grinding finishes as well as stainless-steel mirror and picture frames, tabletops, and wall panels. Roger studied graphic design and fine art at Joliet Junior College and University of St. Francis. He incorporates both traditional painting and graphic design in his paintings, which are created in reverse on plexiglass using acrylic paint, spray paint, paint marker, and ink.

Roger Carlson: Innocent Dawn

Summer Group Exhibition including: Flor Flores, Daniel Hojnacki, D. Rosen <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1752007506/gp48pygaqeuj38sefuog.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

Calendar

Chicago Gallery News