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

Krasl Art Center presents&nbsp;Sculpture in the Direct Method, a group exhibition featuring Ajene Cetawayo Williams, Isaac Duncan III, Albert LaVergne, and Richard Hunt. On view from May 16 through August 9, 2026, the exhibition brings together two generations of artists to explore how material, form, and process shape contemporary and modern Black sculpture.Spanning generations of artistic practice,&nbsp;Sculpture in the Direct Methodexplores how artists engage abstraction, representation, and material process as interconnected and evolving strategies. The featured artists employ a range of visual languages, from gestural and improvisational approaches to more structured and symbolic forms, reflecting the breadth of contemporary and modern Black artistic practice.At the center of the exhibition is the direct method of metal sculpture, in which materials are cut, bent, and welded together to build form. This process allows for immediacy and revision, positioning material as an active and responsive element in the development of each work. Rather than adhering to predetermined outcomes, artists working in this way often allow form to emerge through interaction with their materials.Within this framework, abstraction operates as a critical language. Across Black sculptural traditions, abstraction has been used to engage complex histories and lived experiences. In this exhibition, abstraction and representation move fluidly, offering multiple ways of approaching identity and cultural expression.Sculpture in the Direct Method&nbsp;highlights the diversity of approaches and relationships within Black art, emphasizing how artists use material, form, and process to explore and reimagine social, cultural, and aesthetic landscapes.&nbsp; Other exhibition related events:PUBLIC P<a href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=0018nGdO601K0Us765swOcLJfngaCAZK9Xpmx94WQZZwxVfLw22_iXp3k1uBVdLFIQC9fQbVHFvHVSq1OPWsIwZ1hTMTJqhYjzWAErQJh9DQ2SrJ_Hy0oGG8LD6gSx35mpeIQxaf_aO8OwmoWtmFTvhKzxghxu7-PE_CN3c8A9MA91sPFQj1gmosg==&amp;c=wEhlYspdbK8skk8jBCXuB7cKSX69SRG4MTy-zyu4SDZvQvucsarXsg==&amp;ch=TDWbgZ80bkqthX-o6bdbvqljuVQ3OlTItpD2tUiNXIWEr5DM8-KA-w==" rel="noopener noreferrer" style="color: rgb(22, 22, 22);" target="_blank">REVIEW PARTY</a>Friday, May 15, 2026﻿﻿6 - 8 PMARTIST IN DIALOGUE:&nbsp;Isaac Duncan III and Ajene Cetawayo WilliamsSaturday, May 16,&nbsp;2026﻿﻿12 PM<a href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=0018nGdO601K0Us765swOcLJfngaCAZK9Xpmx94WQZZwxVfLw22_iXp3k1uBVdLFIQCGU3A5vO7RN90eKktov-ar5K8RfXWg4zaIRRBznJX1_xfYZe9VzsjCaxqBisvvFc6KXLxn4XKNMpl5PInNIUyyJpZcx3hq9fTFFRwqfimTkDMVzESSxqu4PMMVTnGc8Yy&amp;c=wEhlYspdbK8skk8jBCXuB7cKSX69SRG4MTy-zyu4SDZvQvucsarXsg==&amp;ch=TDWbgZ80bkqthX-o6bdbvqljuVQ3OlTItpD2tUiNXIWEr5DM8-KA-w==" rel="noopener noreferrer" style="color: rgb(22, 22, 22);" target="_blank">COFFEE WITH THE CURATOR</a>Thursday,&nbsp;May 21, 202612 - 1 PMCLASS OFFERINGS: ART AND LABORAges 13+(5) Tuesdays, 6 - 7:30 PMMay 26 - June 23&nbsp;Instructors Tami Fauver and&nbsp;Meli BanderaBased on the book&nbsp;Art and Labor&nbsp;by Ellen Boris and supplemental readings about Richard Hunt. For more information regarding the exhibitions, visit&nbsp;<a href="https://sfpwlrdab.cc.rs6.net/tn.jsp?f=0018nGdO601K0Us765swOcLJfngaCAZK9Xpmx94WQZZwxVfLw22_iXp3nDt0v7q1qrzW9pZxMrgzZKFbCEhszZ0BI3Ak268G3qKRRaUwHkV3YBxnGY3Fc1V0GoHCeLM5vjXQFdHyrE9d49pNF60MdLJIhsxui7xQqN7&amp;c=wEhlYspdbK8skk8jBCXuB7cKSX69SRG4MTy-zyu4SDZvQvucsarXsg==&amp;ch=TDWbgZ80bkqthX-o6bdbvqljuVQ3OlTItpD2tUiNXIWEr5DM8-KA-w==" rel="noopener noreferrer" style="color: rgb(36, 125, 146);" target="_blank">www.krasl.org</a>.

Sculpture in the Direct Method

What does color feel like? In the hands of the artists gathered for Color Play, it feels like&nbsp;memory, motion, celebration, and wonder. Kim Storage Gallery is proud to present this vibrant group&nbsp;exhibition featuring the work of Poppy Dodge, Megan Woodard Johnson, Kathleen Waterloo, and Gretchen&nbsp;Warsen—four artists united by an unapologetic devotion to color as a primary language of expression.Across wildly different materials and methods, each artist approaches color not as decoration but as the very&nbsp;subject of their work. Poppy Dodge, a self-described Color Maximalist working in Sonoma County, California,&nbsp;builds richly layered abstractions inspired by improvisational quilting and collage—stacking shapes and hues&nbsp;into what she calls “playful color conversations” that stitch together a life’s worth of experience. Megan&nbsp;Woodard Johnson, a Milwaukee-based mixed media painter, layers paint and expressive drawn line with&nbsp;found ephemera—vintage ledgers, packaging, handwritten records—to map the beautiful, layered complexity&nbsp;of everyday moments. Her work captures how small, ordinary joys quietly accumulate into a life, and how&nbsp;color can carry the full weight of memory and mood. Kathleen Waterloo brings a uniquely architectural&nbsp;sensibility to the group: a former interior architect turned encaustic painter, she transforms aerial views,&nbsp;street maps, and structural blueprints into luminous abstract compositions rendered in molten wax and&nbsp;pigment. And Gretchen Warsen, working on a large scale in her studio, builds paintings through accumulation&nbsp;and intuition—layering opaque acrylic color, drawn line, and translucent fields while drawing inspiration from&nbsp;interior design, children’s illustration, and the eternal freshness of flowers. Her titles, arrived at through&nbsp;reflection and conversation with her daughters, serve as gentle invitations into each work’s emotional world.Together, these four artists make a compelling case that color is never neutral—it carries feeling, triggers&nbsp;memory, and opens dialogue between artist and viewer. Color Play invites visitors to slow down, look closely,&nbsp;and let color do what it does best: surprise, delight, and connect us to one another<a href="https://us.list-manage.com/rmKCk2gE3Bv?e=0feabe6389&amp;c2id=59e859111d676330d8f5e0c66464fc47" rel="noopener noreferrer" target="_blank">View the Exhibition</a> Artist Talks: Saturday, July 18 at 1 PM <a href="mailto:kim@kimstoragegallery.com?subject=RSVP%20for%20Color%20Play&amp;body=Hi%20Kim%2C%0A%0AI%20look%20forward%20to%20joining%20you." rel="noopener noreferrer" target="_blank">RSVP</a>

Color Play

In the North Gallery, CvsD presents&nbsp;Splatscape, featuring a single sculpture by Steven Urry.&nbsp;Steven Urry’s sculpture reminds me of number nine pasta.&nbsp;–&nbsp;Joe ZuckerSteven Urry (1939–1993) was based in Chicago and New York. Fabricated, as was much of Urry’s work from the late 1960s into the '70s, out of aluminum that had been cast and welded in his studio above the Biograph Theater, the monumental sculpture in&nbsp;Splatscapecomes from a period in which Urry was closely associated with the Chicago Imagist artists. His work was curated into numerous group exhibitions with members of the Hairy Who, False Image, and Nonplussed Some, and he showed alongside them at Phyllis Kind Gallery, despite the fact that his oeuvre was virtually all abstract. Biomorphic in the extreme, with unpainted metallic finishes, Urry’s globular, spurting, gooey sculptures often seemed to defy gravity, creeping up walls, dangling from the ceiling, or arcing high into the air. The sculpture featured in&nbsp;Splatscape&nbsp;dates from circa 1969, when a similar work adorned the façade of Loyola University’s library in Rogers Park and the Museum of Contemporary Art, Chicago, mounted a solo exhibition of related works titled&nbsp;Dribblescape. Urry’s work has not been exhibited since his 2012 retrospective at Koehnline Museum of Art, Des Plaines, Illinois. Image: Steven Urry in his Lincoln Avenue studio above Chicago's Biograph Theater, 1971. Photo: Mary Baber.

Steven Urry: Splatscape

This notorious episode from Glenn O'Brien's late 1970s NYC cable access TV show is a mess in all the best ways. The budgetless program served as a barometer of things that made New York glorious at that moment, including punk rock, underground film, experimental poetry, and postmodern art. Abounding with technical difficulties and featuring cameos by some of New York's most legendary hipsters,&nbsp;TV Party&nbsp;was a spirited improvisational playground–as Blondie's Chris Stein said of the hour-long show: "it's not chaos, it's art."

TV Party: The Sublimely Intolerable Show

Corbett vs. Dempsey is deeply honored to present&nbsp;Secondary Modern, an exhibition of paintings by Rodney Graham. This is the gallery’s first exhibition of the artist and the artist’s first in Chicago since his untimely death in 2022.&nbsp;With his paintings, Rodney Graham reversed time’s arrow.Convention, amongst conceptual artists, is for their painting practice to come first, to precede their transformation into full-fledged conceptualists. In Graham’s case, paintings came later, as part of his complex of different artistic activities, which included the photographic lightboxes for which he is best known, but also films, books, performances, songwriting, singing, bandleading, record making, sculpture, installation art, bakery ownership, and more. Among the personae the Vancouver-based artist created for his photographs were several art world archetypes – the collector, the dealer, and the artist. Graham inserted his own paintings into these works, in part as props, but also as the productions of an actual studio practice, which he reported finding “absorbing to a frightening degree.” The initial paintings, which incorporated many ideas from canonic modernist movements such as the School of Paris, CoBrA, and Abstract Expressionism, appeared in 2003 with a presentation of monochromatic works at the Venice Biennale, and continued in 2005 with his exhibition&nbsp;Picasso, My Master, at Johnen Galerie in Berlin, and in 2007 with&nbsp;Wet on Wet – My Late Early Styles&nbsp;at Lisson Gallery in London. All of these were small scale and most of them were painted directly by him. He went on to create a series of 84 huge, shaped panel paintings featuring permutations of two abstract designs from a satirical cartoon from an obscure 1950s pulp magazine; these were shown at Hauser &amp; Wirth in Zurich and Donald Young Gallery in Chicago in 2009. In subsequent works, what we might call Graham’s “early late” paintings, developed during the 2010s and continuing until his death, Graham borrowed visual elements from these original paintings, cut and pasted them together using a digital program, blew them up to monumental scale, and had them executed by studio assistants in order to change their facture.In&nbsp;Secondary Modern, CvsD presents seven of the “late early” canvases from 2004/5, small modernist paintings that are at once marvelous inventions of Rodney Graham and are at the same time, one step removed from that earnest endeavor, they are meditations on what it means to be a modern painting. Augmenting these rare examples of the first painterly output are two large-scale "early late"&nbsp;paintings from 2022, equally masterful, equally droll. In these incredible paintings, Graham seems to wonder how an object can be something and be a quotation of that thing at the same time. Image: Rodney Graham,&nbsp;Untitled,&nbsp;2022,&nbsp;oil and sand on linen,&nbsp;72 x 60 inches,&nbsp;77 5/8 x 65 5/8 x 2 5/8 inches, framed.&nbsp;

Rodney Graham: Secondary Modern

Zolla/Lieberman Gallery is pleased to present&nbsp;Mont Blanc on Wood, an exhibition of new pen-and-ink drawings on jelutong panels by acclaimed American sculptor and printmaker John Buck. Best known for his carved wood sculptures and monumental woodblock prints, Buck has spent more than five decades exploring the intersections of history, popular culture, environmental stewardship, and contemporary life.&nbsp;Mont Blanc on Wood&nbsp;marks a significant evolution in Buck's practice. Departing from the densely layered imagery of his sculptures and prints, these intimate drawings focus on singular landscapes inspired by the American West. Mountains, forests, waterfalls, and geological formations emerge through finely rendered pen work that transform familiar places into surreal environments. Rather than constructing expansive symbolic narratives, Buck distills each composition into a focused meditation on the enduring beauty of the natural world.&nbsp;Buck's characteristic blend of observation, humor, and allegory are present throughout the exhibition. Drawn directly onto jelutong panels with a Montblanc pen, these works embrace a more immediate and personal approach while maintaining the meticulous craftsmanship that has defined his career. Environmental concerns surface throughout the series as landscapes become reflections on conservation and humanity's evolving relationship with the land. <a href="https://www.zollaliebermangallery.com/john-buck---mont-blanc-on-wood.html" rel="noopener noreferrer" target="_blank">Details</a>

John Buck: Mont Blanc on Wood

<a href="https://j2gallery.com/" rel="noopener noreferrer" target="_blank">Jackson Junge Gallery</a>&nbsp;is proud to announce their second solo exhibition of the year,&nbsp;<a href="https://j2gallery.com/exhibitions/upcoming/" rel="noopener noreferrer" target="_blank">THE SENSUAL LAND: 50 YEARS OF BODYSCAPES</a>, a retrospective and celebration of the career of artist Allan Teger. 2026 marks the 50th anniversary of Teger’s beloved photography series&nbsp;BODYSCAPES. Having toured the US for many years showing in exhibitions and art festivals, with collectors across the country and internationally, you may recognize Teger’s work. What started with studio film photography in 1976 is now photographed digitally, but the spirit and process of the work remain the same. Utilizing nude models and toy miniatures, Teger’sBODYSCAPES&nbsp;transform the human form into a landscape straight from an alternate reality; one where tiny mountain climbers scale the facade of a breast and cross-country skiers glide across the curve of a back. Using precise lighting, Teger casts the lines and curves of the body into shadow, making them appear more like a natural landscape than a human body. These images range from subtle to recognizable nudes.&nbsp;BODYSCAPES&nbsp;evolved from Teger’s study of psychology and interest in altered realities, subjective reality, and mystical consciousness. Teger’s interest in photography began in his youth when he became the school photographer for his high school and college. His photography pursuits were put on pause after he earned his PHD in psychology and began pursuing a career, eventually teaching at the University of Pennsylvania. Teger’s time in academic psychology left an impression on him artistically and spiritually. After shifting from teaching social psychology to the psychology of consciousness, he began looking for a way to explore his ideas in depth. He started hisBODYSCAPES&nbsp;series in 1976, focusing on the concepts of coexisting realities, the structure of our universe, and human perception. Teger eventually devoted himself full time to his art practice and over the 50 years since, he has experimented with different variations of his&nbsp;BODYSCAPES. Some of these include color, one-of-a-kind images, bodies covered in stockings, surreal&nbsp;BODYSCAPES,&nbsp;and most recently adding a sky into his scapes.&nbsp;THE SENSUAL LAND&nbsp;follows the evolution of Teger’s groundbreaking series.&nbsp;In his&nbsp;BODYSCAPES, it is important to Teger that the realities he is photographing are truly real; no photo editing or darkroom tricks. He utilizes high quality miniatures to ensure that the scene is as convincing as possible. Each composition is created on the model’s body and a single exposure is made with Teger's camera. The audience plays an important role in finishing the piece- Teger sees their reaction as the completion of the artwork.&nbsp;Most of the series is photographed in black and white, but early on there was some experimentation with color. Teger used a variety of colored lights to illuminate his subjects for different effects. A few of these images are included in the exhibition, including “<a href="https://j2gallery.com/store/special-exhibit/color-bodyscapes-apple/" rel="noopener noreferrer" target="_blank">Apple</a>”, which shows a torso lit in red, with a hissing snake and apple balanced on the model’s stomach. While he enjoyed this process, he found that photographing in color did not offer the same illusion as black and white.&nbsp;A unique portion of the exhibition is Teger’s&nbsp;<a href="https://j2gallery.com/store/special-exhibit/steroptiocon-card-skier-fishermen/" rel="noopener noreferrer" target="_blank">stereopticons</a>. A stereopticon is two side by side images slightly offset from one another, that when looked at through a specialized viewing piece, creates the illusion of a 3D image. The stereopticons provide a way for viewers to fully immerse themselves in a&nbsp;BODYSCAPE, becoming part of that reality while viewing the photograph.&nbsp;THE SENSUAL LAND&nbsp;will also show a special, one-of-a-kind piece created in 1977, a year after the&nbsp;BODYSCAPES&nbsp;series began. Teger’s “<a href="https://j2gallery.com/store/artists/allan-teger/bodyscape-photographs/seven-views-of-mt-fuji/" rel="noopener noreferrer" target="_blank">Seven Views of Mt. Fuji</a>” is comprised of seven photos mounted to a burlap scroll. It references Hokusai’s 36 views of Mt. Fuji and reimagines seven scenes from the famous series as&nbsp;BODYSCAPES. Originally part of an editioned set, it is the last of its kind.&nbsp;THE SENSUAL LAND&nbsp;takes us on a trek through the landscape of Allan Teger’s mind and the many realities he has created for us over the last 50 years. The artistic process and development of the beloved&nbsp;BODYSCAPES&nbsp;series will be on full display alongside other notable work from the accomplished photographer, including Teger’s&nbsp;BODY STOCKING SCAPES, COLOR BODYSCAPES,&nbsp;and&nbsp;ZODIAC SERIES.&nbsp;<a href="https://j2gallery.com/exhibitions/upcoming/" rel="noopener noreferrer" target="_blank">THE SENSUAL LAND</a>&nbsp;will be on view at Jackson Junge Gallery July 6th – August 9th, 2026. The gallery will be holding the exhibition’s opening reception on Friday, July 10th, from 6 pm – 9 pm. It is free and open to the public.&nbsp;THE SENSUAL LAND&nbsp;is curated by Owner Chris Jackson and Gallery Director Kaitlyn Miller.

The Sensual Land: 50 Years of Bodyscapes with Allan Teger

The next Project Space exhibition features designer and artist Maryangela Sanchez Rocca, whose work spans furniture, sculpture, and domestic objects. Sanchez Rocca’s practice emphasizes materials often overlooked and systems of making rooted in care, ritual, and collective labor.For this exhibition, Sanchez Rocca focuses on ixtle (EESH-tleh), a fiber extracted from the lechuguilla plant, native to northern Mexico. Historically used for brushes, ropes, sacks, and baskets, ixtle is closely tied to agricultural labor, land stewardship, and resistance within ejido farming communities. Drawing from knowledge shared by farmworkers in Coahuila, Mexico, Sanchez Rocca traces the material’s significance across Indigenous cultivation practices, colonial economies, and contemporary labor systems.Through sculptural furniture, screens, and immersive installations made from raw ixtle and Douglas fir, Sanchez Rocca transforms utilitarian tools such as brooms and brushes into forms that resist usefulness. The works challenge assumptions about labor, value, and beauty while honoring the many hands that shape materials. In Project Space, the exhibition becomes an environment for reflection, rest, and quiet power.Previous Exhibition: <a href="https://krasl.org/material-memory/" rel="noopener noreferrer" target="_blank">MATERIAL MEMORY</a>

Maryangela Sanchez Rocca

<a href="https://www.theccma.org/tsm" rel="noopener noreferrer" target="_blank">The Saturday Man: At the Edge of the Game</a> presents 53 photographs depicting the world’s most popular sport through the eyes of the acclaimed photographer Peter Robinson. Robinson has spent over six decades documenting everything from the intensely local British football of the 1960s, to the unconventional (and now defunct) North American Soccer League, and the evolution into today’s game of billionaires and superstars. His time as the official photographer for FIFA and contributions to publications, such as Onze and Sports Illustrated, cemented his reputation as one of the leading photographers of his generation. However, what defines Robinson as an artist is his distinctive skill in storytelling, utilizing football to explore the human condition. Through decades of change in the worlds of football and photojournalism, Robinson’s unique artistry contrasts an increasingly commercialized version of the formerly grassroots sport. His lens has stayed focused not only on the field, but also the communities at its edges. This singular perspective is why Pablo Maurer of The Athletic deemed Robinson, “Arguably the world’s greatest living soccer photographer.” The Saturday Man: At the Edge of The Game is presented in partnership with The Footy Museum.

The Saturday Man: At the Edge of the Game

Join us in celebrating the reopening of the gallery at&nbsp;3149&nbsp;N. Halsted&nbsp;tonight, 6-9pm.Old Friends is pleased to present&nbsp;ReCentering, a secondary iteration of our inaugural&nbsp;Centering&nbsp;exhibition.&nbsp;Same artists, new works, same ethos of returning to purpose, place, and practice. Ava Igoe, Michelle Chun, Tong Pan, and Emily Schroeder Willis.As M. C. Richards writes in her seminal 1964 text:&nbsp;“An act of the self, that’s what one must make. An act of the self, from me to you. From center to center.”ReCentering&nbsp;will be on view through August 15th. Please email the gallery to schedule a viewing.&nbsp;<a href="mailto:office@oldfriendsgallery.com?subject=ReCentering%20%7C%20Preview%20Request&amp;body=" rel="noopener noreferrer" target="_blank">Request a Preview</a>Thank you for your continued support of our program! We look forward to christening this new location, and welcoming back our wonderful community of friends and colleagues.

ReCentering

For our summer exhibition, we will present five distinct bodies of work that exist somewhere between a traditional group show and a series of solo exhibitions. Spanning all three gallery spaces, the exhibition offers independent presentations by each artist, creating the experience of moving through a collection of intimate, mini solo shows housed within a larger collective framework. The gallery is especially thrilled to present New York based artist Melody Tuttle for the first time.&nbsp; Additionally, and we look forward to expanding on this in the coming weeks, we are pleased to announce that the gallery now fully represents Isamar Medina. This exhibition will debut the first of four planned bodies of work to be presented over the next two years, each with 6 works on paper and two paintings, culminating in Medina's first solo exhibition with the gallery in 2027.&nbsp;

Five Bodies

DOCUMENT Chicago is delighted to present a solo exhibition by Kazuhito Tanaka, opening on Friday, June 12. In Picture(s), Tanaka continues his exploration of the convergence of painting and photography across over a dozen mixed media works: equally formed by abstract paintings and collages made of torn chromogenic photographs, the works in the exhibition suggest a series of dialogues from their two distinct materialities. The exhibition runs from June 12 to August 15, 2026, with an opening event on Friday, June 12, from 5-8pm.

Kazuhito Tanaka: Picture(s)

Saturday, August 15, 2026 at 10am CSTThis auction features relics, posters, books, and props from the shows, collections and workshops of modern magic masters. Included are items owned or used by The Amazing Jonathan, Johnny Thompson, and Tom Mullica. Antiquarian items, posters, ephemera, and nearly 200 pieces of finely-crafted apparatus from the workshops and store rooms of Owen Magic Supreme will round out the auction. Place your bids now at <a href="http://url2796.potterauctions.com/ls/click?upn=u001.Xrkv5MDx4JU-2BcO33dbI1-2BQkLeC4Nhem9skMoCbF6bGTlMpvd2axwZTvc5s4Oz2NRU7Oh0eZgvyu-2FMgZ1o1EWkkwWriLRBOd2rBSOOjO-2FFPz8-2Bp4sLpE1LSN4deV0Du3OtHD-_F-2B18IOO1ZU6iY4K-2F9Q9GBGu5rvP-2BL20ZUrVQMSgnAy2dkeZXZkSsnZVlr-2Bsr2mNTUSMMfJD2V-2FRPtVrL8NfH4JJwqtGvR1-2B54VRfbiVqwmxcfSFKCqnFzsE-2BlDiow5-2BjLF2FlIAWcjpd6IB2W5rbdr3k2Z0wrVoKeLQlMO5u0g-2FhxYKb6IkfuiwgQGq-2FV2YTBE1uUmerl9pgXtyH5v6ePGIdcC7IXq-2FH8X61muHn-2FT2LRYh7GKISHrPXqxai5Ng5GPum1uhtjKIp-2BVyW4zhuUA2Pj6i-2BCzO0fRrv-2F4jasof-2B56C0y8-2FmscxHFTzKTd0-2B" rel="noopener noreferrer" style="color: rgb(17, 85, 204);" target="_blank">POTTERAUCTIONS.COM</a><a href="http://url2796.potterauctions.com/ls/click?upn=u001.Xrkv5MDx4JU-2BcO33dbI1-2BQkLeC4Nhem9skMoCbF6bGTwWvV7W6IocFx6yAX4Lr8y5Skx7M5G-2B4Pgmfgpym8LjQ-3D-3Dnk42_F-2B18IOO1ZU6iY4K-2F9Q9GBGu5rvP-2BL20ZUrVQMSgnAy2dkeZXZkSsnZVlr-2Bsr2mNTUSMMfJD2V-2FRPtVrL8NfH4JJwqtGvR1-2B54VRfbiVqwmxcfSFKCqnFzsE-2BlDiow5-2BjLF2FlIAWcjpd6IB2W5rbdv6uj0c3KMl7G-2BtQuZodXJCj3j4j2iVvFRxcCwABUK5mUdFJYM4zVgOjZMDatz4hKYdYB07XAkzHMd7lwMev1hqYLDAKWmUAmfE7gHeu6RSMtvy26TbfZBAe3AktVCPwfklsdIWwh-2BXlBK0xsjzu-2F9OYlQ8YWvnJRVXseKBLQkG8" rel="noopener noreferrer" style="color: rgb(17, 85, 204);" target="_blank">Register now</a> or <a href="http://url2796.potterauctions.com/ls/click?upn=u001.Xrkv5MDx4JU-2BcO33dbI1-2BQkLeC4Nhem9skMoCbF6bGTwWvV7W6IocFx6yAX4Lr8ysLJDk6xWcmZMLAkQMEZtkA-3D-3DaVPg_F-2B18IOO1ZU6iY4K-2F9Q9GBGu5rvP-2BL20ZUrVQMSgnAy2dkeZXZkSsnZVlr-2Bsr2mNTUSMMfJD2V-2FRPtVrL8NfH4JJwqtGvR1-2B54VRfbiVqwmxcfSFKCqnFzsE-2BlDiow5-2BjLF2FlIAWcjpd6IB2W5rbdg0x49H1PHA6BvRI5a-2BrkKmsEjhkV30FzjQ20LO3f7n3i-2FEwMXaz-2FzHOg1VcI0GLlLtLFXgGiDc32WOIAXHlyE6Z06vvO5Sl9t9fx6uDPKLqiP0HstwjmqL7kq4yQWs-2BRYnL4VgHrfuRQu7HCmNkQii3T6tyBx8-2FNLlgt0uXZi-2B8" rel="noopener noreferrer" style="color: rgb(17, 85, 204);" target="_blank">Sign in</a> below. EMAIL us or call 773.472.1442 to leave phone or absentee bids.

Modern Magic Masters

Woman Made Gallery presents&nbsp;Pro/Fuse, a juried exhibition celebrating the art of encaustic, featuring 48 women and non-binary artists from across the United States. Derived from the Greek&nbsp;enkaustikos, meaning “to burn in,” encaustic is a versatile medium traditionally composed of beeswax, damar resin, and pigment, fused through the application of heat. Juried by Kathleen Waterloo, this exhibition showcases the breadth of the medium’s expressive range, from luminous, translucent surfaces to richly textured, sculptural forms, spanning painting, mixed media, assemblage, and experimental works that push the boundaries of wax as an artistic material.Opening Reception:&nbsp;July 11, 2026 | 4–7 p.m.Artist Walkthrough &amp; Closing:&nbsp;August 13, 2026 | 2–4 p.m.

Pro/Fuse

Thru August 15 Hilton Contemporary | Bridgeport3622 S. Morgan StreetChicago, IL 60609 Techniques: Mixed MediaMixed media with 3D printing techniqueSculptureChromed resin skull with over 3,000 Swarovski stones and custom dye stingray skinPrintsArchival Fine Art Pigment Print on Hahnemühle Fine Art Baryta paper <a href="https://hiltoncontemporary.com/exhibitions/the-art-of-becoming-jonas-leriche/" rel="noopener noreferrer" target="_blank">Details</a>

Jonas Leriche: The Art of Becoming

The Prix Pictet is widely recognized as one of the world’s leading photography awards. Founded in 2008 by the Pictet Group, it seeks to harness the power of photography to draw global attention to critical sustainability issues. To date, the award has completed eleven cycles, each organized around a theme that highlights a distinct facet of sustainability.&nbsp;Storm&nbsp;is the theme of the eleventh cycle.Storm&nbsp;is both a natural phenomenon and a metaphor for the unseen and relentless forces shaping the world today. As a theme, it speaks to the growing volatility of our age, encompassing environmental collapse, political upheaval, economic instability, and social unrest, situating us perpetually on the brink of crisis.The theme challenges photographers to capture the raw energy and far-reaching consequences of these turbulent conditions. Whether addressing the devastation of climate disasters, experiences of displacement, or the simmering tensions within divided societies,&nbsp;Storm&nbsp;reveals not only disruption but also its generative force: the possibility of transformation, renewal, and hope that can emerge in its aftermath. The twelve shortlisted artists are:Takashi Arai (Japan/Germany)Marina Caneve (Italy)Tom Fecht (Germany/Italy)Balazs Gardi (Hungary/USA)Roberto Huarcaya (Peru)Alfredo Jaar (Chile/USA)Belal Khaled (Palestine)Hannah Modigh (Sweden)Baudouin Mouanda (Republic of the Congo)Camille Seaman (Denmark/USA)Laetitia Vançon (France)Patrizia Zelano (Italy)Alfredo Jaar was announced as the winner for his series&nbsp;The End, 2025 Support for this exhibitionMoCP is supported by Columbia College Chicago, MoCP Advisory Board, Museum Council, individuals, private and corporate foundations, and government grants.The 2025–2026 exhibition season is sponsored in part by the Comer Family Foundation, Efroymson Family Fund, Henry Nias Foundation, the Phillip and Edith Leonian Foundation, the Pritzker Traubert Foundation, Rowan Foundation, United States Artists, and Venable Foundation. MoCP also acknowledges support from the Illinois Arts Council and a CityArts grant from the city of Chicago Department of Cultural Affairs and Special Events. Image: Takashi Arai, 6 April 2013, Trinity Site, White Sands Missile Range, New Mexico, 2013, from the series “Exposed in a Hundred Suns”

Prix Pictet Storm

After All, Paintings and Prints&nbsp;presents new paintings in Gallery 1 and in Gallery 2, a retrospective, dating back to 1975, of his extensive printmaking practice. Please join us for an opening reception for the artist on&nbsp;Friday, June 12&nbsp;from&nbsp;5 to 8pm. The show runs through August 15, 2026. See more&nbsp;<a href="https://jxxaepcab.cc.rs6.net/tn.jsp?f=001DDJn5t7SCLROnu6EMLFiBqENtS3VLsfOwXpRh9eOk29q7cpssoKP-yYzN93tY-X05grKdOldBcB97V-F0zAK3jyEqX7sz1OTfWQw0ZuzpXq2bTmkrhaM9TDR9kEoIHldpelsOqUkdm8kXd7SHWjBKAz8hzQHC-sX6RBNogRPe3e0Mvv6bkHLuedFr5rVTrrx&amp;c=aMLPF4QjAKVcuZKFyu56mxtUzlOc411YFFS4Nx8zcU5oFs57J_n3kQ==&amp;ch=yiAePaIDDPz2Kklw6mHV6qlxcozMk5l7mMVZwyR6JZEtiLOg43GNYw==" rel="noopener noreferrer" target="_blank">here</a>﻿Image: Duet , 2023, Oil and wax ground on linen. 48h x 60w in

Richard Hull: After All, Paintings and Prints

Within the past&nbsp;several years, I have been making wall-mounted mixed media objects out of everyday materials.&nbsp;With a process-driven, improvisational approach, I allow chance and contingency into the work.&nbsp;A major project has been investigation of the possibilities of salvaged corrugated cartons.&nbsp;I also employ wood elements, both purchased and found, cast-off scraps, repositories of my own and others' decision making.&nbsp;By bringing materials into my studio, I can live with and consider them over time.&nbsp;I begin without a preconceived end in mind and proceed in a spontaneous way, bending, cutting, sawing, ripping, stomping, reconfiguring, gluing, until a form resonates. Surface treatments often include white house paint, scantily applied to suggest weathering and allowing exposure of structural seams.&nbsp;Inspiration for these pieces resides in the pulse of urban surroundings--architecture, construction and the accompanying debris, abandoned structures, fragmentation as well as the anxiety of instability and fragility of life.For a large part of my career,&nbsp;drawing has been the primary focus of my practice. Strongly influenced by minimalism, I employ varieties of wet and dry media to develop series of works on paper, the content addressing tensions among flat shapes and lines, the energy between them, their relationship to negative space as well as to the edges of the support. My approach is to begin with an element, adding information to develop a visual dialogue, mindful of restraint, challenging myself to know when to stop. The final images are distillations of experiential incongruities, with a prominent role given to negative space, referencing the weight of silence, of things unsaid.Pivot, 2022. Plywood, Acrylic, 10" x 6.5" x 2.5"

 Marian Carow: Permit Pending

The John Michael Kohler Arts Center (JMKAC) will debut&nbsp;Emily Endo: Estuary, a new exhibition by artist Emily Endo (they/them), on view from February 7 through August 16, 2026.Endo’s largest exhibition to date,&nbsp;Estuary&nbsp;marks JMKAC’s first scent-focused exhibition, inviting visitors into a multisensory experience that explores the body and perception. Endo is known for intricate glass sculptures that reference vascular systems, organic structures, and the porous boundaries between bodies and environment. In&nbsp;Estuary, they expand this practice by integrating scentwith sculptural forms, engaging visitors through both sight and smell. The exhibition challenges conventional modes of looking, encouraging audiences to experience art through embodied and sensory awareness. “Emily Endo’s work asks us to reconsider how meaning is formed through the senses,” said&nbsp;Chava.Krivchenia, Assistant Curator at the John Michael Kohler Arts Center. “By aligning scent alongside sculpture,&nbsp;Estuary&nbsp;creates intuitive ways of engaging with art.”Smell plays a central role in the exhibition. Closely tied to memory and emotion, scent has the power to transport, influence mood, and reshape perception. Rather than functioning as an accessory, curated fragrances throughout the gallery act as an extension of the sculptural works themselves. Drawn from minerals, seawater, metal, glass, and organic compounds, these scents reference both natural environments and industrial processes, serving as connective tissue between material, memory, and the body. Estuary&nbsp;also considers how perception differs across species. While humans tend to prioritize vision, many animals rely on smell or sound to navigate the world. Featured works incorporate a turtle shell, highlighting the overlapping and divergent ways animal and human bodies experience their environments. Through this lens, the exhibition invites reflection on the boundaries—both physical and perceptual—that shape how we understand and navigate the world.In addition to their artistic practice, Endo is an educator whose teaching background in glass, scent, and sculpture informs their approach to making. Their studio practice is grounded in curiosity, experimentation, and care, viewing the studio as a site of discovery and learning.Endo will also serve as the first 2026 artist-in-residence for ExAir, JMKAC’s residency program. Their time on- site will support deeper community engagement through public events and offer visitors insight into their evolving creative process.About Emily Endo Emily Endo works across sculpture, scent, and installation, pursuing a research-driven practice grounded in material experimentation and sensory experience. They hold an MFA from Cranbrook Academy of Art (2010) and a BFA from the Maryland Institute College of Art (2006). Endo’s work has been exhibited at Somerset House (London); Massey Klein (New York); Marta, Harkawik, and the Neutra VDL House (Los Angeles); LVL3 (Chicago); and Bullseye Projects (Portland). Recent press includes: The New York Times Style Magazine, Wallpaper, and Architectural Digest. Endo lives and works in Joshua Tree, California. Emily Endo. Photo courtesy of the artist.About the John Michael Kohler Arts CenterFounded in 1967, the John Michael Kohler Arts Center (JMKAC) is a nonprofit creative hub that supports the work of contemporary artists through original exhibitions, commissions, residencies, publications, and community programming across visual and performing arts. The only institution in the world that collects artist- built and artist home-based environments, JMKAC is a leading center for the research, preservation, and presentation of artists with wide-ranging practices and backgrounds from academically trained to self-taught and folk traditions, championing long-term relationships with artists and elevating work that has often been overlooked or under-recognized. JMKAC is a vital cultural resource that responds to the needs of its local and regional communities, preserving artistic heritage by uplifting contemporary voices and empowering future generations.HoursTuesday, Wednesday, Friday: 10:00 a.m.–5:00 p.m.Thursday: 10:00 a.m.–8:00 p.m.Saturday, Sunday: 10:00 a.m.–4:00 p.m. Image: Emily Endo,&nbsp;Orphic Diadem, 2024; glass, stainless steel, and fragrance; 22 x 22 x 10 in. Photo: Margeaux Walter.

Emily Endo: Estuary

Opening January 31, 2026, at the John Michael Kohler Arts Center (JMKAC),&nbsp;Lenka Clayton and Phillip Andrew Lewis: Rock Fade (~45&nbsp;Billion&nbsp;Years)&nbsp;is a large-scale installation by artist-collaborators Lenka Clayton and Phillip Andrew Lewis. Inviting viewers into an encounter with deep geological time, human perception, and our impulse to order the natural world, the work consists of a carefully selected sequence of stones arranged in a perfect line, gradually diminishing in size. This deceptively simple gesture becomes a profound meditation on material, meaning, and scale, prompting visitors to consider how aesthetic experience is shaped not only by material form, but also by embodied perception and collective engagement.&nbsp;&nbsp;“Rock&nbsp;Fade&nbsp;takes something deeply familiar, a stone, and asks us to encounter it in a new light. As the sequence shifts from boulder to sand, the work reveals how perception, movement, and shared experience shape what we understand as art,” states&nbsp;Jodi Throckmorton, Chief Curator at the John Michael Kohler Arts Center. “Relocating the installation across phases challenges us to reflect on our own role in ordering, witnessing, and ultimately returning these materials to the world.”&nbsp;&nbsp;On view through August 16,&nbsp;Rock Fade (~45&nbsp;Billion&nbsp;Years)&nbsp;references local and global rituals of marking time and space with stones, through collection, spirituality, and boundary setting. The work engages a deep human tradition to collect, order, control, and define the natural world against the backdrop of the slow transformation of rocks across ancient seas, volcanic flows, and glacial drifts; always in motion, even in their stillness. This juxtaposition highlights the tension between the human impulse to order and the inevitable processes of erosion and transformation that characterize geological time, revealing the work’s core inquiry: that the act of arranging the stones is both fleeting and monumental. Over time, the artwork will erode, scatter, and reintegrate with the earth, resulting not in failure, but in fulfillment.&nbsp;&nbsp;Rock&nbsp;Fade&nbsp;(~45&nbsp;Billion&nbsp;Years)&nbsp;builds on the conceptual framework of an earlier gesture of stone placement found in the artist environment of pioneer fiber artist Lenore G. Tawney (1907-2007) at JMKAC’s Art Preserve, in which Tawney arranged a subtle gradient of rocks from large to small. The work becomes a form of intergenerational dialogue—artists speaking to one another across time not by replicating but by amplifying, through matter, order, and attention. Clayton and Lewis will be Lenore G. Tawney Fellows at JMKAC in 2026, a fellowship that fosters new engagement with Tawney’s art environment, made possible with support from the Lenore G. Tawney Foundation. Candidates are encouraged to apply with projects that study overlooked aspects of works and movements related to Tawney or discuss previously unexplored connections between those works and art from other disciplines.&nbsp;&nbsp;“Rock Fade&nbsp;engages with the tradition of artist-built environments and the Arts Center’s work to preserve them while embracing the processes that shape them, offering a rare opportunity to witness an artwork that lives, changes, and integrates back into the environment over time. We’re proud to collaborate with Lenka Clayton and Phillip Andrew Lewis as this project unfolds with our community,” adds&nbsp;Amy Horst,&nbsp;Executive&nbsp;Director of the John Michael Kohler Arts Center.&nbsp;&nbsp;Rock Fade&nbsp;is designed to shift the audience’s relationship to material, scale, and time as it unfolds through multiple phases starting with the exhibition at the John Michael Kohler Arts Center (January 31-August 16, 2026). The linear installation in a white-cube space depicts the stones removed from their natural setting, placed in a controlled environment that invites close-looking and contemplation.&nbsp;&nbsp;On September 19, 2026, a community procession will follow, inviting participants of all ages and ability to help transport the stones from the gallery to an outdoor site. The procession is logistical and symbolic: an act of communal labor, care, and transformation that becomes a form of glaciation and procession through movement, merging geologic time with collective human effort. The procession will conclude at the Art Preserve where Lenka Clayton and Phillip Andrew Lewis will utilize the rocks for a long-term outdoor installation. The procession will be documented in a film to extend its impact and reach.&nbsp;&nbsp;For its final phase,&nbsp;Rock Fade&nbsp;will come to rest where, for years to come, environmental forces will erode and reshape the installation. Visitors will encounter the work embedded in the land, part as sculpture, part as earthwork, with accessibility top of mind to ensure a wide range of bodies are able to experience the piece.&nbsp;The project, through all the stages, reminds visitors to slow down, notice matter, and share responsibility for how they move through time and space, particularly potent during a global moment of political and climate crisis and shortened attention spans.&nbsp;&nbsp;About&nbsp;Lenka&nbsp;Clayton&nbsp;Lenka Clayton is an interdisciplinary artist whose work considers, exaggerates, and alters the accepted rules of everyday life, extending the familiar into the realms of the poetic and absurd. Clayton is the founder of&nbsp;An Artist Residency in Motherhood, a self-directed, open-source artist residency program that takes place inside the homes and lives of artists who are also parents.&nbsp;&nbsp;Recent exhibitions include&nbsp;Rising Sun&nbsp;(2023) at Pennsylvania Academy of the Fine Arts in Philadelphia,&nbsp;Day Jobs&nbsp;(2023) at the Blanton Museum of Art,&nbsp;The Museum Collects Itself&nbsp;(2023) at the Mattress Factory Museum in Pittsburgh,&nbsp;and&nbsp;To Begin Again&nbsp;(2022) at ICA Boston. Clayton’s work has been supported by The Warhol Foundation and The National Endowment for the Arts. She has received an Art&nbsp;Matters Award, a Carol R. Brown Award for Creative Achievement, and a Creative Development Grant from Heinz/Pittsburgh Foundation. She has been an artist-in-residence at The Fabric Workshop and Museum, PA and Headlands Center for the Arts, CA and was a Sabrina Merage Fellow with Black Cube Nomadic Art Museum.&nbsp;&nbsp;Clayton’s work is held in the permanent collections of The Metropolitan Museum of Art in New York, SFMoMA in California, Hamburger Kunsthalle in Germany, Mount Holyoke College Art Museum in Massachusetts, and The Carnegie Museum of Art, The Pennsylvania Academy of the Fine Arts, and The Philadelphia Art Museum in Pennsylvania. Permanent public artworks include Darkhouse Lighthouse, and Historic Site, both made with collaborator Phillip Andrew Lewis.&nbsp;&nbsp;About&nbsp;Phillip&nbsp;Andrew&nbsp;Lewis&nbsp;Phillip Andrew Lewis is a Philadelphia-based artist who works in a variety of media including photography, video, objects, and sound. His creative research often responds to historical events, psychology, and phenomenology. This work consistently examines duration, perceptual limits, and attentive observation. Lewis is actively involved in collaboration with artists and various groups.&nbsp;&nbsp;Phillip has exhibited his work both nationally and internationally. He received a 2012 Creative Capital Grant in Visual Art for his ongoing long-term project entitled SYNONYM. He has also received generous support for his research from Black Cube, Headlands Center for the Arts, Culture and Animals Foundation, Center for Creative Photography, Foundation for Contemporary Arts in New York, Fathomers, Bemis Center for Contemporary Arts, Midway Contemporary Arts Fund, Tennessee Arts Commission, University of Tennessee, UrbanArt Commission, The Heinz Endowments, The Pittsburgh Foundation, and Sabrina Merage Foundation. In collaboration with his wife, Lenka Clayton, he runs a project space in Pittsburgh called Gallery Closed, which is open 24/7 via two street-facing windows.&nbsp;&nbsp;

Lenka Clayton and Phillip Andrew Lewis: Rock Fade (~45 Billion Years)

Absurd Posterity By Nathaniel Foley﻿Art by over thirty artists, many from Illinois, will be on display at Fine Line’s Kavanagh Gallery for the Sculpture at the Kavanagh exhibition.Fine Line will host an in-person reception on Thursday, July 23, from 6:00 to 8:00 PM to officially open the show, with many of the participating artists in attendance. As with all Fine Line gallery receptions, this event is free and open to everyone. Light refreshments will be served during the evening. Fine Line Creative Arts Center37W570 Bolcum RdSt. Charles IL&nbsp;www.fineline.orgGallery Hours: 10 am - 5 pm Monday - Saturday&nbsp;

Sculpture at the Kavanagh

Art by over thirty artists, many from Illinois, will be on display at Fine Line’s Kavanagh Gallery for the Sculpture at the Kavanagh exhibition. Fine Line will host an in-person reception on Thursday, July 23, from 6:00 to 8:00 PM to officially open the show, with many of the participating artists in attendance. As with all Fine Line gallery receptions, this event is free and open to everyone. Light refreshments will be served during the evening. Fine Line Creative Arts Center 37W570 Bolcum Rd St. Charles IL <a href="https://www.chicagogallerynews.com/organizations/kavanagh-gallery-at-fine-line-creative-arts-center" rel="noopener noreferrer" target="_blank">www.fineline.org </a> Gallery Hours: 10 am - 5 pm Monday - Saturday

Dust That Lay explores the fleeting thoughts, inscrutable dreams, and fragmented memories that seep through subconscious containment and glisten through the veil of reality. Herman Aguirre, Diana Noh, and Skyler Simpson explore the unresolved detritus of the past as foundational for forming knowledge that can radically shift understandings of personal identity and how we navigate our shared reality.Spanning sculpture, photography, painting, and drawing, each artist surrenders to the unknown, exposing a devotion to their rawest, most uncontained tendencies.Herman Aguirre pulls imagery from his surroundings in Back of the Yards, Chicago, and revives them in sculptural paintings where he reveals the residual imprint of violence on his community. Diana Noh tears, folds, and repairs photographs of transitional spaces to examine presence within absence and reveal how the past continually interrupts and inhabits the present. Skyler Simpson employs automatism, teasing the strand between precision and intuition in her meticulously&nbsp;drawn, monochromatic fluid-scapes, submerging viewers into a mysterious world where beauty and horror coexist.Dust That Lay engages with Hauntology, a cultural philosophy suggesting the present is haunted by elements of the past as well as their unrealized futures. To this end, each artist interrogates the subconscious remnants that we may not readily understand but know play an active role in interpreting the various layers of the present moment. Herman Aguirre is a Mexican American artist born and raised in Chicago, IL, where he is currently based. Through his detailed drawings and large-scale, multi-layered paintings, he reconstructs memories to find adequate language to confront and co-exist with the realities of his experience growing up in Back of the Yards, Chicago. He received his BFA (2014) and MFA (2017) from the School of the Art Institute of Chicago, where he is currently a faculty member in the Painting and Drawing Department and a youth instructor in the Continuing Studies Early College Program. Aguirre's notable awards include University of Saint Francis Visiting Artist, Fort Wayne, IN (2021); Thelma Karges Memorial Merit Award, Evansville Museum of Arts, Evansville, IN (2018); and was one of 8 artists awarded the Leonore Annenberg Fellowship (2017-2018). Aguirre has exhibited in solo and group exhibitions across the country and has also been featured in New American Paintings - Midwest (2018, 2019, 2020, and 2022). Several of his pieces are in the permanent collections of the Phoenix Art Museum, Phoenix, AZ; the Rockford Art Museum, Rockford, IL; and the National Mexican Museum of Art, Chicago, IL. Aguirre is represented by Zolla Lieberman Gallery, Chicago, IL, and Portrait Society Gallery, Milwaukee, WI.<a href="https://www.hermanaguirre.org/home-copy-1" rel="noopener noreferrer" target="_blank">hermanaguirre.org</a><a href="https://www.instagram.com/herman.aguirre.35/" rel="noopener noreferrer" target="_blank">@herman.aguirre.35</a> Diana Noh is an interdisciplinary artist working across photography, fiber, and installation. Her practice celebrates reconstructions of distressed photographs of transitional spaces, exploring themes of trauma embedded in her family relationships and cultural in-betweenness. Noh received her BFA from Kyungil University, Gyeongsan, South Korea (2017) and her MFA in Photography from Cranbrook Academy of Art, Bloomfield Hills, MI (2022). She has participated in group and solo exhibitions at national and international art venues, including Strata Gallery, Santa Fe, NM; Red Springs Art Space, Artsy, Red Springs, NC; Harold Washington Library Center, Chicago, IL; Editart, Geneva, Switzerland; and Space HNH, Seoul, South Korea. Noh has participated in artist residencies with Kimball Arts Center, Chicago, IL (2026); Peninsula School of Art, Fish Creek, WI (2022); and Talking Dolls, Detroit, MI (2022). She has also been awarded the Freestyle Focus Forward Award, Society for Photographic Education (2026); Monthly Art Award, Boynes Emerging Artist (2023); and was a featured artist in the Sunspot Soho catalog and digital exhibition, Aedra Fine Arts (2024). Her work has been acquired by several private collectors as well as the Jennifer and Dan Gilbert Collection, Detroit, MI; and Kyungil University Collection, Gyeongsan, South Korea.<a href="https://diananoh.com/" rel="noopener noreferrer" target="_blank">diananoh.com</a><a href="https://www.instagram.com/diananohstudio/" rel="noopener noreferrer" target="_blank">@diananohstudio</a> In her paintings and drawings, Skyler Simpson explores the mysterious nature of intuition, a phenomenon that connects our world to the otherworld. She received her BFA from the University of Nebraska-Lincoln (2018) and her MFA from the University of Wisconsin-Madison (2024). Simpson’s work has been exhibited in solo exhibitions at Abel Contemporary Gallery, Stoughton, WI; Gallery 7, Madison, WI; and Lux Center for the Arts, Lincoln, NE. Her pieces have been featured in group exhibitions across the country, including Red Arrow Gallery at Oz Arts, Nashville, TN; New York Academy of Art, New York, NY; Day &amp; Night Projects, Atlanta, GA; and La Luz de Jesus Gallery, Los Angeles, CA. Simpson was most recently recognized as a Luminarts Visual Arts Finalist (2026) and her work was selected for the AXA Art Prize Exhibition in 2022, 2023, and 2024. Her work has been featured in New American Paintings (April/May 2024), <a href="http://juxtapoz.com/" rel="noopener noreferrer" target="_blank">juxtapoz.com</a> (2021), POBA Zine, issue n*6 (2020), and <a href="http://booooooom.com/" rel="noopener noreferrer" target="_blank">Booooooom.com</a> (2020). Simpson is represented by Abel Contemporary Gallery, Stoughton, WI.<a href="https://www.skysimpson.com/" rel="noopener noreferrer" target="_blank">skysimpson.com</a><a href="https://www.instagram.com/skylersimpsonart/" rel="noopener noreferrer" target="_blank">@skylersimpsonart</a> rachel dukes is a Texas-born and raised independent writer and curator based in Chicago, IL. She received a degree in Accounting from the University of Arkansas, Fayetteville, AR, and her MA in Museum and Exhibition Studies at the University of Illinois Chicago, Chicago, IL. She currently leads the Archives and Collections department at the South Side Community Art Center (SSCAC) and has supported the curation of exhibitions at Gallery 400, Hyde Park Art Center, and SSCAC, where she most recently co-curated Beyond Frames: Black Women Collectors Shaping Cultural Heritage in Chicago. Her exhibition reviews and artist interviews have appeared in several Chicago-based publications, including Sixty Inches From Center, LVL3, New City, and Chicago Reader. Her writing has also been featured in the 2022-2023 issue of Black Embodiments Studio, A Year in Black Art, and the Spring 2025 issue of the International Journal of Surrealism, Surrealism and the Black World. Rachel serves as board chair for Chicago Tap Theatre and plays the French Horn in community ensembles across Chicago.<a href="https://www.racheled.com/" rel="noopener noreferrer" target="_blank">racheled.com</a><a href="https://www.instagram.com/__racheldukes/" rel="noopener noreferrer" target="_blank">@__racheldukes</a> Skyler Simpson,&nbsp;The Streetlight, 2025, Colored pencil on mounted paper, 10” x 8”

Dust That Lay

Gallery VICTOR presents Creature Feature, an exhibition that brings together artworks where animal imagery takes on a cinematic, strange, and unforgettable life of its own. Drawing from fantasy, natural history, mythology, and the suspenseful language of film, the exhibition transforms creatures into symbols, characters, and unexpected forces of imagination. Insects, birds, beasts, hybrids, and otherworldly beings appear in scenes that feel both playful and uncanny, inviting viewers into a world where the familiar becomes fantastical. Visually charged, mysterious, and full of surprise, Creature Feature celebrates the animal form as a gateway into storytelling, transformation, and the wonderfully unusual.Including works by:<a href="https://us.list-manage.com/19JASLthdA7?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Adrian BARQUERO</a><a href="https://us.list-manage.com/De52XhnFUSh?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Rick BEERHORST</a><a href="https://us.list-manage.com/hQQm2X2BM57?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Oliver Hazard BENSON</a><a href="https://us.list-manage.com/19gVKc7IAav?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Jane BIRCH</a><a href="https://us.list-manage.com/14vVju2TAS4?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Mary BLOCK</a><a href="https://us.list-manage.com/yxLVU1bL35p?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Donald Owen COLLEY</a><a href="https://us.list-manage.com/3zerZ4mF6O3?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Jeff CONROY</a><a href="https://us.list-manage.com/dglQQIjcVyn?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Jesús CURIÁ</a><a href="https://us.list-manage.com/14sa2TRUDeU?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Eric Edward ESPER</a><a href="https://us.list-manage.com/QX3Q4JK1ybK?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Tina FIGARELLI</a><a href="https://us.list-manage.com/Au8Vz5nDy3b?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Rose FREYMUTH-FRAZIER</a><a href="https://us.list-manage.com/Qcmb8ZR6jiF?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">John HREHOV</a><a href="https://us.list-manage.com/KHXIzB_MuQe?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Wesley KIMLER</a><a href="https://us.list-manage.com/9GQShbV1okE?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Christopher A. KLEIN</a><a href="https://us.list-manage.com/tV6yeSusOeL?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">William KRUG</a><a href="https://us.list-manage.com/WY4AdT3q07F?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Josephine LALLY</a><a href="https://us.list-manage.com/gc1f9BogI3A?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Peter LUPKIN</a><a href="https://us.list-manage.com/LjcHUNKbOHq?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Helen OH</a><a href="https://us.list-manage.com/RzNh02U5M0W?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Rick PAS</a><a href="https://us.list-manage.com/hOAQoCD2dLd?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Kirill POLEVOY</a><a href="https://us.list-manage.com/5u3waz24_No?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Don POLLACK</a><a href="https://us.list-manage.com/YUcOBd8ket2?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Carol PYLANT</a><a href="https://us.list-manage.com/e4kjBb4PZNZ?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">John RUSH</a><a href="https://us.list-manage.com/2bauHYSCScE?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Dave STEVENSON</a><a href="https://us.list-manage.com/1W9fmY9J1uG?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Carol STEWART</a><a href="https://us.list-manage.com/WLTI1PyzI_u?e=c95ff8b063&amp;c2id=400d724778e1f5bdfce24ee427cf4378" rel="noopener noreferrer" target="_blank">Bruno SURDO</a>Gallery VICTOR is thrilled to include artist Josephine Lally in Creature Feature. Josephine is a recent graduate of The School of the Art Institute of Chicago. Her aerial sculpture, titled Rough Play, a suspended flock of birds, brings dramatic motion to the gallery as the birds appear caught mid-flight, hovering between weight and movement, fragility and force. This cinematic work is not to be missed!﻿

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