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

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)

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

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

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

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)

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

PATRON presents&nbsp;Let's Go Exploring!, a two-person exhibition by Chicago-based artists Gregory Bae and Tony Lewis. As studio-mates, colleagues, and peers, Bae and Lewis’s individual practices define&nbsp;an active, critical engagement with the world around us with a soulful awareness of being present–as individuals and in relation. Re-tracing various forms of collaboration and exchange,&nbsp;Let’s Go Exploring!&nbsp;posits friendship as one of the most underrated tools in any artist’s practice. The exhibition premieres a grouping of never - before exhibited works by both artists—tracing and expanding from Bae’s and Lewis’s 16-year friendship forged during their cohort at the School of the Art Institute of Chicago.&nbsp;This exchange is introduced in the form of a salon-style installation of sketches, drawings, paintings, and ephemera from both artist’s studios. Constructed from a process of revisiting Bae’s archive, largely housed at Lewis’s studio for the past five years, the installation collapses time through references to both unrealized and realized future works, indirect to incomplete thoughts, sketches, and unfinished conversations. A partial visual representation of the artists’ diverse interests, the installation introduces shared cultural connections, including Bill Watterson’s&nbsp;Calvin and Hobbes&nbsp;comic strips, a childhood favorite of both Bae and Lewis, but also a material resonant in Lewis’s practice since 2013. Here, the dynamic impulse of the last comic strip catalyzes an active return to two practices, inspired by the artists’ shared, persistent attempts to grasp the gaps of understanding and connection created by time.&nbsp;Time, as material and process appears in Bae’s&nbsp;24-7, 365 (sketch)&nbsp;(2017), a series of paintings on used car tires. Originally part of a kinetic sculpture,&nbsp;24-7, 365&nbsp;(2014) in which a tire endlessly turns on a treadmill at a rate that would travel the world's circumference in a year. Installed on the wall, Bae’s tire series reveals his experimental, assemblage-based approach to painting, shaped through continual testing with nontraditional materials drawn from the American import industry. Car tires, laptop screens, and found paper transition from everyday remnants to painted surfaces, carrying the history of their use along with them.&nbsp;

Gregory Bae and Tony Lewis: Let's Go Exploring!

Creature Feature

Elise Seigenthaler Gallery is pleased to present “The Soccer Show: A Celebration of the World Cup”, a group exhibition bringing together eight artists whose work explores the passion, politics, and cultural power of the world’s most followed sport. On view from June 12 through August 22, 2026, the exhibition opens in the spirit of World Cup season, a global moment of collective attention and anticipation as billions of viewers turn toward the game.The exhibition features new and recent work by Gabrielle Bianco, Chris Cosnowski, Adehle Daley, Modou Dieng Yacine, Aaron Eskridge, Sébastien Johnson, Duncan McGillivray-Smith, and Ed Oh. Working across diverse practices and perspective, these artists approach soccer as both a subject and a lens.From the roar of the stadium to the intimacy of a neighborhood pickup game, from the elation of a last-minute goal to the weight of systemic inequalities within the sport’s governing bodies, the works on view capture what makes soccer so enduringly powerful: its ability to contain multitudes. “The Soccer Show” invites visitors to engage with the game not only as spectators, but as witnesses to something larger: a cultural language that is ritual, entertainment, and social force folded into a game.

The Soccer Show: A Celebration of the World Cup

David Hockney: The Moon RoomGRAY Chicago, West GalleryJul 10 - Aug 22, 2026 Once, when we were just sitting outside the house, we put all the lights off in the house to see the moonlight more clearly. The moon could then be seen to cast shadows of the trees on the grass, so with my backlit iPad I could draw it. This would have been virtually impossible without it. — David Hockney In the spring of 2020, David Hockney was inspired by the sight of an unusually large moon—a supermoon, occurring when the moon is closest to Earth. Recalling the moment, the artist reflected on the challenge of capturing the experience through photography, emphasizing drawing’s unique ability to convey the intensity of perception: “I was looking at the moon for quite a while, and when you do that, you see this halo around it that you don't see in photographs at all because it's too far. That's an example of the way lenses push things away. In a lens view, it would be disappointingly small... My niece said that she tried to photograph a big moon, and I said, 'Well, no, you have to draw it, like the sunrise. It can't be photographed because it is the source of light.'” 1 GRAY announces David Hockney: The Moon Room opening in the gallery’s Chicago location on July 10, 2026. The exhibition centers on a recently released series focused on the artist’s observations of the moon. Created in 2020 at his Normandy studio in France, Hockney used his iPad to make daily paintings of the surrounding landscape, working en plein air to capture the changing seasons as illuminated by moonlight. Hockney turned to the iPad for its immediacy and responsiveness, a medium that bridges the disciplines of painting and drawing while accommodating the spontaneity of working outdoors, especially in the dark. The exhibition will remain on view through August 22, 2026. This is Hockney’s sixteenth exhibition with GRAY. Throughout his career, Hockney has consistently engaged with new technologies, particularly those designed for widespread use and accessibility. From his early experiments with Polaroid cameras, photocopiers, and fax machines to his pioneering use of digital tools such as the Macintosh computer and Photoshop, his practice has continually evolved alongside technological innovation. Since 2009, the iPhone and iPad have become central to his work, enabling an expansive body of digital drawings and paintings. Introduced in 2010, the iPad, in particular, afforded the artist greater scale and precision, while its playback function reveals the temporal unfolding of each composition, offering insight into the process of its making. The Moon Room was first presented by Florence Calame-Levert in David Hockney: Normandism, presented from March 3 through September 22, 2024, at the Musée des Beaux-Arts de Rouen in Normandy, France. ABOUT DAVID HOCKNEYDavid Hockney (1937–2026, Bradford, West Yorkshire, UK) is considered one of the most influential and defining figures in contemporary art. His seven-decade career and prolific oeuvre is characterized by formal invention, an intellectual inquiry into the nature of depiction and perspective, and a sustained commitment to celebrating and portraying the world around him. Image: DAVID HOCKNEY (1937–2026)31st October 2020, No. 4, 2020iPad painting printed on paper, mounted on Dibond27 1⁄8 × 39 1⁄8 inches68.9 × 99.4 cmEdition of 15 All Images: © David Hockney. Courtesy GRAY Chicago/New York

David Hockney: The Moon Room

GRAY Chicago | 2044 W Carroll AveGRAY is pleased to announce&nbsp;IT’S ABOUT TIME: Counterproductive Conceptualisms in Chicago, an exhibition that traces the contours of a newly emerging conceptual art ethos among younger generations of Chicago-based or -trained artists.Organized by DRAW, the curatorial duo composed of Dieter Roelstraete and Abigail Winograd, the exhibition brings together a group&nbsp;of artists who prefer taking their time, and who often use “time” itself as one of their subjects. Shaped to a discernible degree by the local legacies of artists like Iñigo Manglano-Ovalle and Pope.L, this distinctly contrarian strand of conceptualism in Chicago seeks to restore the social magic of both art and the artist’s life.&nbsp;The artists include Alex Chitty, Shir Ende, Max Guy, Jinn Bronwen Lee, Dave Lloyd, Iñigo Manglano-Ovalle, Devin T. Mays, Pope.L, Nick Raffel, and Miao Wang.While maintaining disparate practices, these artists share a spirit of studied nonchalance: what might be described as a “Midwestern” alternative to the demands of artistic production as a rat race.IT'S ABOUT TIME&nbsp;will open on July 10 with a public reception from 3-8 PM, with artist activations.<a href="https://ennouncement.exhibit-e.com/t/y-l-audiykl-sykijfhl-t/" rel="noopener noreferrer" target="_blank">Learn More</a> Image: Iñigo Manglano Ovalle,&nbsp;Untitled sawhorse free of metaphor (after Bas Jan Ader), 2025.

IT’S ABOUT TIME: Counterproductive Conceptualisms in Chicago

We're thrilled to share our&nbsp;first exhibition in partnership with&nbsp;<a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzMDg4MTg2NDEsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiIwMWJjNjUxNjlkMjc5NjI2In0" rel="noopener noreferrer" target="_blank">Vertical Gallery</a>:&nbsp;Wanderland,&nbsp;featuring all new works&nbsp;by Dutch artist&nbsp;Collin van der Sluijs. Opening on July 10, this exhibition marks the artist’s sixth solo presentation in Chicago and more than ten years of working&nbsp;with Vertical. We're honored to be part of the collaboration.Wanderland&nbsp;comprises a new body of work developed during a two-year period. Spanning enormous mixed-media paintings, intimate drawings, and skate decks bearing the artist’s signature birds, the exhibition reflects both the momentous and mundane, particularly loss, grief, and the therapeutic powers of nature.The opening also coincides with the publication of&nbsp;Wanderland: 1991-2026,&nbsp;a beautiful 180-page hardcover career retrospective spotlighting van der Sluijs' achievements as a painter, muralist and graffiti writer.You can&nbsp;<a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzMjE0MDE1NTcsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiJmYWFhMmYxZDYzNTQ1MTNhIn0" rel="noopener noreferrer" target="_blank">pre-order it here</a>.Join us&nbsp;for&nbsp;<a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzMzUwMzMwNDgsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiI5NzNkYWY1NGViNDk3ODdlIn0" rel="noopener noreferrer" target="_blank">an opening reception</a>&nbsp;from 6 to 8 p.m. on July 10. Van der Sluijs will be present.<a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzNDg2NjQ1NDIsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiJiMzkzMDQ0YWUxNmU4OWYyIn0" rel="noopener noreferrer" target="_blank">RSVP to the opening</a><a href="https://links.joymachine.art/tj/cl/eyJ2Ijoie1wiYVwiOjIzNjc5MyxcImxcIjoxOTEyNjk1MzgzNjQzOTMxODgsXCJyXCI6MTkxMjY5NTUyNTkwNDIzMjcxfSIsInMiOiJmOTA0NDY5NmM0MDFhYjljIn0" rel="noopener noreferrer" target="_blank">Join collector preview</a>

Collin van der Sluijs: Wonderland

In his first exhibition at EAM, visual artist Jeremiah Hulsebos-Spofford presents a series of outdoor sculptures in Wilder Park (on view starting April 18) as well as an immersive installation within the iconic McCormick House. Bridging handcrafted techniques and digital fabrication, featured works serve as a low-carbon alternative to traditional monumental sculpture as a way of reflecting on labor, materiality, the internet age, and architectural legacies. Curated by&nbsp;Allison Peters Quinn, EAM Executive Director and Chief Curator,&nbsp;Near Immortality&nbsp;features&nbsp;new sculptures inside the McCormick House&nbsp;created from 3D scans of important design items in EAM’s collection, including Mies’ Barcelona Chair and a leg splint designed by Charles &amp; Ray Eames.&nbsp;Hulsebos-Spofford is a sculptor and assistant professor of sculpture at Indiana University Northwest. He is also a co-director and founder of the collective Floating Museum, and co-curator of the 2023 Chicago Architecture Biennial. Through his large plaster and silicon sculptures, he reinterprets modern monuments and classical sculptures as glitched assemblages. Although many of his works evoke ancient art history, Hulsebos-Spofford’s pieces are rooted in modernist aesthetics and its relevance in the everyday experience.&nbsp;

Jeremiah Hulsebos-Spofford: Near Eternity

Raised in Wheaton, Illinois, and based in New York, Jeanette Andrews&nbsp;bridges the worlds of illusion, installation, and conceptual art, creating interactive vignettes and surreal, multisensory experiences that investigate perception, cognition, and the seemingly impossible. Andrews applies sensory illusion techniques and her interest in the bounds of perception to create artworks that explore magic, multiple realities, and the human psyche, often inviting audiences in as co-creators in her illusory performances.Her first solo museum exhibition,&nbsp;On Wonder, Mind, &amp; Magic&nbsp;will present interactive and site-specific works including installation, sculpture, video, sound, and performance, alongside&nbsp;new work developed while Artist in Residence at MIT’s Center for Art, Science, and Technology&nbsp;in 2024-25. Curated by&nbsp;Liz Chilsen, Manager of Exhibitions &amp; Collections, the exhibition represents a return home for Andrews, who cites EAM as an early influence in her pursuit of a career honing her technical skills and applying magic and sensory illusion techniques to create artworks.&nbsp;Andrews has presented numerous commissioned works with the Museum of Contemporary Art Chicago, as well as for the Quebec City Biennial and Boca Raton Museum of Art, presented talks for Cooper Hewitt, Chicago Ideas Week, The British Society of Aesthetics, and universities, including Yale, Columbia, Princeton, and Harvard. She has held residencies with the Institute for Art and Olfaction and the Cynthia Woods Mitchell Center for the Arts at the University of Houston and is a former National Arts Club Artist Fellow and Affiliate of metaLAB at Harvard. She was a 2024-2025 Visiting Artist for the Center for Art, Science and Technology at MIT and the current visiting artist for the Arts Institute at Brown University.

On Wonder, Mind, & Magic: Jeanette Andrews

Exhibit Hall, Chicago Cultural Center&nbsp;Chicago-based artist Alberto Aguilar presents a two-part&nbsp;retrospective&nbsp;exploring&nbsp;the&nbsp;themes of communication,&nbsp;translation&nbsp;and collaboration. Through&nbsp;distinctive&nbsp;acts of translation&nbsp;and&nbsp;shared authorship, Aguilar invites artists, friends, family members and even strangers into his creative process, transforming the exhibition into a living dialogue.&nbsp;The exhibition features works created with a range of collaborators including Saoirse Ahumada Furin, Jess Bass, Cecilia Beaven, Julieta Beltrán Lazo, Alex Bradley Cohen, Maria Burundarena, Jooeun Kim, Joshua Mitchell, Jonas Müller-Anheim, Ricardo Vilas Freire and Zespo.&nbsp;&nbsp;Please click&nbsp;<a rel="noopener noreferrer" href="https://link.mediaoutreach.meltwater.com/ls/click?upn=u001.CSSunAOBvEOR4GhykBjJWWnTwxFlkUDDBF-2Fji248p2y6hFXsBorvoCC9fZuH5e36AZGg2-2FtjC961wjBmgLlzNuz7Rq0zU-2BMLYcNhNIvpeOQ-3DEHvI_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVn7gGoI0v4yHfyxNzcTgWoLurliSnTAPDeTMjcpIoytOOx4olIMMV-2FUlia6rP-2BnJxXYH5O8tvn-2Fktq8OM7hVEsSIVa5QMZTlavNfGLkxY-2Bv5Ob8cNxVZY2QQwdDW7CjMxGACT3QdirHvuvzc-2FrsOP9qq38FKVrw-2Bh9GrF70Ft5aJeGU9JUtxgunhG3qQqj-2BBd7tnD-2FdpqjWxL-2Fa4NHpdsTiQUtoaEwE3RrYEjNAtk3izMJ2YvahaFX3oiKvlOSprDrjkY8srcE6zhUZAIal-2Fc7gOryvSwKytp1PAKnMYGiT-2Fh5CExJ-2BJuSePSfHnwccFhcyqY4CDYCv6QC3KEKttMDQ-3D-3D" target="_blank">here</a>&nbsp;for more information on this exhibition.&nbsp;&nbsp;&nbsp;

Alberto Aguilar: I just really want to tell you this one thing 

The City of Chicago and its people are celebrated in IAM’s exhibition of works by Chicago-based artist Marvin Young. A lifelong resident of Chicago’s South Side, Young joined&nbsp;<a style="color: rgb(70, 120, 134);" rel="noopener noreferrer" href="https://artsoflife.org/" target="_blank">Arts of Life</a>’s progressive studio for artists with intellectual and physical disabilities in 2024. Using graphite, colored pencil, crayon, pen, and marker, Young creates vivid drawings that reflect his community and personal history, capturing imagined and remembered urban scenes alongside large-scale portraits. Young’s architectural landscapes feature vintage Chicago walk-ups, brownstones, and high rises framed by bright skies and classic cars, taxi cabs, police officers, and bustling city life. Curated by IAM Assistant Curator&nbsp;Christina Stavros, the exhibition showcases Young’s vision and prolific practice.

Impressions of a City: Drawings by Marvin Young

Explore the role of satire as a visual record of social mores, tastes and opinions on fashionable dress with Alex Aubry, Director of SAIC’s Fashion Resource Center.

Mad Fashions, Stylish Eccentrics, & Those Who Satirized Them

Oliva Gallery, in partnership with Bridgeport Artist Community, presents Art in Transit, a group exhibition bringing together artists CV Peterson, Daniela Castro, Jane Michalski, Kuna Na, Pamela Staker, Takako, and Tara Sabini. The exhibition explores how movement, transition, and shifting environments shape artistic practice. Transit appears here as both a physical and internal condition, moving through space, memory, perception, material, and time. Together, the works reflect a creative community shaped by exchange, passage, and ongoing transformation. Programming in conjunction with Art in Transit includes: Opening Reception: Art in TransitFriday, July 24, 5:00 PMOliva Gallery Cake Decorating Workshop: Faux Frosting with Daniela CastroThursday, August 6, 4:30 PMOliva Gallery Introduction to Encaustic Materials and Demonstration with Jane MichalskiSunday, August 9, 10:00 AMOliva Gallery Virtual Studio Visit: Tara SabiniSaturday, August 15, 3:00 PM CDTVirtual Workshop: Collage with Recycled Materials&nbsp;Thursday, August 20, 6:00 PMOliva Gallery Art in Conversation: Art in Transit Closing ReceptionSaturday, August 29, 2:00 PMOliva Gallery To RSVP visit <a href="https://bit.ly/Oliva_Gallery" rel="noopener noreferrer" target="_blank">bit.ly/Oliva_Gallery</a>

Art in Transit with Bridgeport Artist Community

Fluid Mechanics&nbsp;is guest curated by Alexandra Riesco, Tandem Press 2025–2026 University of Wisconsin-Madison Graduate Student Curatorial Assistant. During her time at Tandem over the past year, Riesco has familiarized herself with many of the prints created at Tandem Press. As one of her final projects, she was challenged to conceptualize and curate an exhibition, selecting pieces from the Tandem Press inventory and contextualizing them to create a unique statement. Fluidity is defined as the ability of a substance to flow easily, the quality of being smooth and continuous, or the state of being unstable, likely to change repeatedly or unexpectedly. Artists use fluidity both conceptually and materially to express a range of seemingly contradictory ideas: stillness and motion, serenity and distress, unpredictability and the breakdown of boundaries. The quality of fluidity is directly tied to how liquids behave. Liquids respond to their environment, changing shape to fit their container. They are also transparent, acting as a lens to highlight or distort their surroundings. Beyond how these substances physically behave, different fluids—water, tears, beer, ether, etc—can each carry their own meanings.Fluid Mechanics&nbsp;features work by local Madison artists as well as selected works from Tandem Press’s inventory, each using or expressing fluidity in different ways. Created in a variety of processes and techniques, including printmaking, sculpture, photography, and painting, these works demonstrate the wide range of ideas and emotions that fluidity can express.This exhibition includes works by&nbsp;<a href="https://baranataei.com/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Baran Ataei</a>,&nbsp;<a href="https://tandempress.wisc.edu/artists/suzanne-caporael/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Suzanne Caporael</a>, Emma Harris,&nbsp;<a href="https://danifhughes.com/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Dani Hughes</a>,&nbsp;<a href="https://tandempress.wisc.edu/artists/marie-lorenz/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Marie Lorenz</a>,&nbsp;<a href="https://tandempress.wisc.edu/artists/cameron-martin/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Cameron Martin</a>,&nbsp;<a href="https://tandempress.wisc.edu/artists/judy-pfaff/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Judy Pfaff</a>,&nbsp;<a href="https://tandempress.wisc.edu/artists/jane-rosen/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Jane Rosen</a>,&nbsp;<a href="https://tandempress.wisc.edu/artists/alison-saar/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Alison Saar</a>, and&nbsp;<a href="https://christianulloa.com/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Christian Ulloa</a>.&nbsp;<a href="https://www.alexandrariesco.com/" rel="noopener noreferrer" style="color: inherit;" target="_blank">Alexandra Riesco</a>&nbsp;is an artist and printmaker from Miami, Florida. Her work is heavily influenced by the natural world and the dynamic processes that drive it. After completing a semester-long geology field program, she discovered the parallels between the forces that shape the planet and the slow, physical processes of printmaking. Her interest in the sciences and deep love for the outdoors feeds her practice, which incorporates drawing, printmaking, and papermaking to explore the bodily experience of the landscape, mapping and the geologic record, and the possibilities of a reciprocal rather than controlling relationship with the environment. Riesco received her B.A. in Studio Art and Biology modified with Earth Sciences from Dartmouth College in 2017, where she won the Robert Read Prize and the Artist’s Book Prize. After spending a few years working in outdoor education, Riesco returned to printmaking and has worked as an assistant printer, workshop instructor, and manager of a fine art print publisher. She is currently pursuing a Master of Fine Arts degree in Printmaking from the University of Wisconsin, Madison, where she received the Graduate Research Scholars Fellowship from the School of Education.

Fluid Mechanics

David R. Harper: Good Morning Sweetheart&nbsp;brings together sculpture, textiles, ceramics, stained glass, and found imagery to explore how memory takes shape in objects. Couches, perfume bottles, motel soaps, detergents, birds, flowers, fragments of figurative sculpture, and everyday household items appear throughout the exhibition. Familiar at first glance, these things are carefully handmade, altered, and recombined—becoming intimate, uncanny, and quietly charged.The exhibition unfolds across two connected spaces. In the MMoCA Icon, Harper creates a suspended environment centered on a lightweight mid-century couch upholstered in handwoven tones of pink, sherbet, melon, and honey. Embedded with domestic cleaning products, the couch becomes a floating “memory bank”—a meditation on home, care, and repose—surrounded by a mobile featuring a summer patio umbrella and garlands of cast-ceramic Froot Loops.In the State Street Gallery, the exhibition pivots around&nbsp;She Drank the Water That Was Meant for the Orchids&nbsp;(2019), a recent addition to MMoCA’s collection. New large-scale embroideries, stuffed horses with embedded objects, shelves of ceramic vases covered in cast cicadas, and ceramic flower bouquets extend the exhibition’s domestic and emotional terrain.Across both spaces, memory functions as a material. Objects act as containers of experience—holding care, pleasure, grief, desire, and loss. Rather than telling a single story, Harper creates environments where meaning emerges through movement and attention. Looking becomes an active process, shaped by proximity, perspective, and the viewer’s own lived experience.About the ArtistDavid R. Harper (b. Toronto, Canada / Lives and Works in the American Midwest), received his BFA from the Nova Scotia College of Art and Design, and his MFA from the School of the Art Institute of Chicago in Fiber and Material Studies. He currently teaches in the Painting and Drawing department at the Art Institute of Chicago and the New Studio Practice department at the Milwaukee Institute of Art and Design.&nbsp;Harper’s work employs both traditional and non-traditional materials such as embroidery, ceramic, and casting materials such as salt and charcoal in a cross-disciplinary manner to create objects installations that grapple with notions of loss, love, feelings of belonging and how we use objects to inform our notions of self.&nbsp;Harper has been included in group shows at museums in the US and Canada, including MASS MoCA, National Gallery of Canada and the Madison Museum of Contemporary Art and has participated in numerous solo exhibitions including&nbsp;My Own Personal Ghost&nbsp;(The John Michael Kohler Art Center),&nbsp;Plateau&nbsp;(South Bend Museum of Art)&nbsp;Skin and Bone&nbsp;(Textile Museum of Canada), A solo touring exhibition of Harper’s work titled&nbsp;Entre Le Chien et Le Loup&nbsp;was organized by the University of Toronto in 2013&nbsp;He has participated in several residencies, including the Robert Rauschenberg Foundation Residency (2016), Bemis Center for Contemporary Art (2014), and the Kohler Arts Industry (2012/2014)&nbsp;&nbsp;His work can be found in a number of notable collections, including The Museum of Arts and Design (NYC), The John Michael Kohler Art Center, The Museum of Wisconsin Art, The National Gallery of Canada, the Frederick R. Weisman Art Foundation (Los Angeles), and the Art Gallery of Nova Scotia.

David R. Harper: Good Morning Sweetheart

Mystic Meadows is an ethereal exhibition with dark undertones. Featuring work from four Swedish artists - Hanna Liljenberg, Karin Roy Andersson, and Märta Mattsson and Sofia Bjorkman - the exhibition addresses themes of repetition, transience, rebirth, and the tension that lies between beauty and decay.&nbsp;

Mystic Meadows

Anne Loucks Gallery is pleased to announce the opening of&nbsp;Age of Abstraction, a&nbsp;new exhibition in our Glencoe gallery featuring Liz Barber, Charlie Bluett, Jenny Nelson and Maura Segal. The show will be on view through August 30th and features forty vibrant, abstract paintings by these talented artists. For an exhibition list, please click&nbsp;<a href="https://loucksgallery.us10.list-manage.com/track/click?u=94b15167543c6c56d1b3c36b4&amp;id=a8a812016a&amp;e=f72f6f8cb1" rel="noopener noreferrer" target="_blank">here</a>.Liz Barber's work is inspired by memory, emotion, and natural elements. With loose, textured brushstrokes and a fresh palette, organic forms and lines flow through her canvases, capturing movement and light.&nbsp;Charlie Bluett's paintings combine subtle layers of color, texture and free flowing shapes. Inspired by nature, his compositions evoke light, movement, and reflection.Jenny Nelson’s paintings are vibrant, intuitive abstractions built through layers of color and gestural marks. Rooted in drawing and observation, her compositions balance spontaneity with structure, creating a sense of depth, movement, and harmony.&nbsp;Maura Segal’s abstract works conjure a delicate simplicity. Fields of color are balanced with thin meandering lines and curves - intricately cut patterns that add texture and interest to her compositions.&nbsp;&nbsp;Please stop in this summer ~ We'd love to see you!

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