<h4><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1751340904/r6vxxjvj55qesjnudgeb.jpg"></h4>The new entrance is intended to take pressure off the Louvre’s main entrance, which was designed by the architect I.M. Pei in the 1980s. Credit: Andrea Mantovani for The New York Times<h4> </h4><h4><a rel="noopener noreferrer" href="https://www.nytimes.com/2025/06/27/arts/design/france-louvre-design-competition.html?unlocked_article_code=1.TE8.MhgS.FcJbMp27V3NW&amp;smid=url-share" target="_blank">France Opens Competition to Expand Overcrowded Louvre</a></h4> France on Friday started an architectural competition for the daunting task of expanding the Louvre in Paris, in a bid to ease overcrowding at the world’s biggest and most visited museum.The project, which will create a new entrance and give the Mona Lisa a new exhibition space, was first&nbsp;<a style="color: rgb(50, 104, 145);" rel="noopener noreferrer" href="https://www.nytimes.com/2025/01/28/arts/design/mona-lisa-louvre-macron.html?searchResultPosition=2" target="_blank">announced in January</a>&nbsp;by President Emmanuel Macron. He set the ambitious target of welcoming 12 million visitors per year — three million more than today — while also solving crowd-management headaches at the museum. The architectural competition will be decided by a 21-person international jury, which will choose five finalists in October. A winner will be announced in early 2026, according to the Louvre. Via NYT <h4><a rel="noopener noreferrer" href="https://www.artnews.com/art-news/market/ken-griffin-13th-amendment-copy-sothebys-1234746499/" target="_blank">Ken Griffin Buys Lincoln’s Handwritten Copy of 13th Amendment for $13.7 M.</a></h4> Billionaire Kenneth C. Griffin&nbsp;has been revealed as the winner of last week’s auction at Sotheby’s for President&nbsp;<a style="color: rgb(229, 75, 39);" rel="noopener noreferrer" href="https://www.artnews.com/t/abraham-lincoln/" target="_blank">Abraham Lincoln</a>’s handwritten copy of the 13th Amendment, the auction house said in a statement Monday. The document—one of only four copies still in private hands—was offered during the first part of Sotheby’s “Fine Books and Manuscripts, Including Americana” sale last Thursday, with an estimate of $8 million to $12 million. After a spirited round of bidding, Griffin secured the winning bid of $12 million by phone. With buyer’s premium, the total came to $13.7 million, well above the $2.4 million record set for a different copy of the amendment in 2016. Via Artnews <h4><a rel="noopener noreferrer" href="https://www.wttw.com/playlist/2025/06/27/bear-frank-lloyd-wright-home" target="_blank">'The Bear' Spotlights Frank Lloyd Wright's Home and Studio in Oak Park</a></h4> The Bear&nbsp;is famous for spotlighting beloved Chicago landmarks, and the new fourth season is no different. In episode five, protagonist Carmy drives to the western suburb of&nbsp;<a style="color: rgb(0, 81, 186); background-color: rgb(245, 245, 245);" rel="noopener noreferrer" href="https://www.wttw.com/chicago-by-l/neighborhoods/oak-park" target="_blank">Oak Park</a>&nbsp;to visit the legendary architect&nbsp;<a style="color: rgb(0, 81, 186); background-color: rgb(245, 245, 245);" rel="noopener noreferrer" href="https://www.wttw.com/playlist/2022/12/22/frank-lloyd-wright-jonathan-adams" target="_blank">Frank Lloyd Wright</a>’s home and studio. Carmy wanders through the connected buildings, admiring such details as the octagonal, double-height drafting room; the barrel-vaulted second floor playroom; patterned windows and skylights of Wright’s own design; and some signature high-backed chairs in the dining room. Interspersed throughout the shots are blueprints, historic photos of the home, and a photo of the Wright family there, which a docent shows to Carmy. (The&nbsp;<a style="color: rgb(0, 81, 186); background-color: rgb(245, 245, 245);" rel="noopener noreferrer" href="https://flwright.org/tour/home-and-studio" target="_blank">home and studio</a>&nbsp;are open for tours.) Unsurprisingly, the chef Carmy lingers in the kitchen at an antique stove. Via WTTW

What We're Reading: July 1, 2025

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1751075453/xq2ojktgldnasphc1vnz.jpg">Maxwell Volkman, Tweakin, 2023, 34x 44 in. Acrylic, oil, inkjet prints, I’ve varnish, cut paper, colored pencil, and staples on canvas By SUSAN GESCHEIDLE <a style="color: rgb(13, 13, 13);" rel="noopener noreferrer" href="https://www.instagram.com/_gure__/" target="_blank">GURE</a> – Alex Adkinson &amp; Maxwell Volkman: The River Sweats with Oil and Tar GURE, located in Chicago’s Little Village neighborhood, is presenting its third exhibition titled “The River Sweats with Oil and Tar,” featuring the works of artists Alex Adkinson and Maxwell Volkman. GURE is a converted garage with an industrial design and provides a unique backdrop for the two-person show. The exhibition explores themes of angst and critiques of American culture through mixed media artworks that reflect on post-industrial landscapes and societal issues. GURE, owned and operated by Sharmarke Ahmed, is located on a quiet residential street. Enter through the side yard gate to find an enchanting garden setting and a fire pit where people gather. The gallery is in the rear corner of the yard and features industrial components including brick walls, a metal garage door, and concrete floors, alongside modern white walls. It suits the Adkinson and Volkman show perfectly.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1751075454/lvoky0byytgkvmj5m5wy.jpg">Installation view. Work by Alex Adkinson on left and by Maxwell Volkman on right. Adkinson's mixed media artworks use materials such as steel, copper, reclaimed wood, inkjet prints, and various other elements to create pieces with an organic and raw aesthetic. Volkman uses various materials like paint, duct tape, shooting targets, grommets, inkjet prints, cut paper, and fingerprints to create textured visual compositions. They both tackle contemporary issues: Adkinson focuses on post-industrial landscapes and ecological problems, while Volkman explores fear, trauma, drug culture, and violence. Their work shares an organic quality that complements each other in the GURE framework. Adkinson's relocation from Tallahassee to Chicago has significantly influenced his recent work, integrating elements of both natural and urban environments seamlessly. As an artist and digital imaging researcher focusing on biodiversity, his surroundings are understandably crucial to him. In Tallahassee, he experienced isolation and swampy conditions, which he found powerful. In contrast, he believes that the densely populated urban environment of Chicago exerts a stronger influence on him. This is evident in his artwork, exploring themes of alienation and beauty in a post-industrial landscape. The Midwest’s abandoned factories, rusted steel and objects, crumbling bricks, and industrial agriculture highlight significant changes in the landscape. These conditions, coupled with the constant lack of solitude in the city, deeply affect Adkinson. He notes that he and Volkman share concerns about their examinations of American culture, feeling frustration, angst, and melancholy in a problematic world. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1751075455/wvhunjk5wo0ju4th85pk.jpg">Alex Adkinson, Wished-for Disappearances, 2025, 10 X 22 in., Steel, reclaimed wood, acrylic, inkjet print, aluminum&nbsp; Adkinson's inspirations are diverse. He aligns with T.S. Eliot's sentiments on modernity and the wasteland, which inspired the GURE exhibit title. Others include Gilberto Zorio, Robert Smithson, Donald Judd, Ellsworth Kelly, Sasha Fishman, and Heana Yoo. Adkinson's work at GURE features three small assemblages, a collage on paper, and two larger sculptures. 'Fidelity Ablation,' an 8-foot-tall sculpture made of steel, acrylic, and photographic print on polyvinyl, stands prominently on the lawn outside the gallery. The gallery features four smaller pieces displayed on the walls, along with Adkinson's floor sculpture 'A Measure of Growth,' which is 51-inches tall. The eye-catching sculpture features tall urban fruiting grass, steel, copper, mounted objects, and clay bowls suspended by chains. It balances a calm presence suitable for a yoga studio with an unusual vibe that suggests a ritualistic gathering. It Illustrates the beauty and ambiguity present within the post-industrial environment. The small pieces are intricate and interesting as well. ‘Wished-for Disappearances,’ made from materials including reclaimed wood, acrylic, aluminum, a nature photo, and part of a rusted pitchfork fished out of the Chicago River, tells a compelling story. I appreciated the piece and its narrative. Adkinson employs a diverse and rich array of materials in his work, and the palette features muted, earthy tones. His work is elegant, poetic, and fragile, yet still conveys a sense of frenetic movement, akin to Led Zeppelin's Stairway to Heaven, which transitions from an acoustic intro to a rock anthem. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1751075456/baikpu31kbfcccc8gzrn.jpg">Alex Adkinson, A Measure of Growth, 2024, 51 X 28 X 12 in. Steel, copper, wild clay, urban fruiting grass, root&nbsp;&nbsp;ball, bismuth, manoammonium, phosphate, copper sulphate&nbsp; Volkman relocated to Chicago in 2019 from Tacoma, WA and obtained a Master of Fine Arts in Painting and Drawing from the School of the Art Institute (SAIC). He consistently made collages before his arrival, and he still does. At GURE, he is showcasing two collaged acrylic and oil canvases, along with two smaller collaged acrylic and flashe works on paper. 'Tweakin,' a 34 x 44-inch painting, portrays an individual in a stapled shut yellow straitjacket, encapsulating Volkman's exploration of themes related to discomfort. The piece incudes an image of a Xanax tablet and the text "Ketamine Infusion.” On the opposite wall is 'Confetti,' a piece related to Ketamine featuring multiple images of Crysten Ritter as Jane from Breaking Bad, with red paint resembling blood. Volkman's art, though unsettling, grabs attention like drivers observing accidents. His paintings combine spectacle with nuance to explore broader themes and issues. Volkman suggests that horror helps people manage anxiety, fear, and trauma, and he uses his art to process events and engage with the world.&nbsp; Volkman cites Francis Bacon, David Wojnarowicz, Sterling Ruby, Dash Snow, Daniel Johnston, Thomas Hirschhorn, and Harmony Korine as influences. His work explores themes of mental illness, social class, drugs, dark humor, religion, and violence. Volkman notes that his night terrors affect his art as well. He sources images online, from mass media, videos, horror films, and photography that evoke unease, fear, loss of control, and helplessness. Volkman integrates these images into his layered paintings, producing visuals that are subtly unsettling yet socially pertinent. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1751075457/ccwdfoivkvlwpuw7ucyj.jpg">&nbsp;Maxwell Volkman, 2 Geeked, 2025, 24 x 18.75 in. Acrylic, flashe, inkjet prints, cut paper, colored pencil, duct tape, shooting targets, and grommets on paper in custom poplar frame The works on paper pieces ‘2 Geeked,’ and ‘Snow White,’ are good examples of this. 'Snow White' shows an alluring dark-haired woman encircled by enticing blue OxyContin pills. In '2 Geeked,' an erotic woman holding a gun faces the viewer with red paint dripping like blood, and the word OMEN appears in block text above her. It exhibits qualities that are both repelling and provocative, making it notable in the show (and my favorite by Volkman.)&nbsp;The theme from The Exorcist, Tubular Bells by Mike Oldfield, would complement Volkman’s work perfectly. Volkman framed the two 24 X 18.75 inch works on paper to harmonize with Adkinson’s industrial style. He made wood frames and spray-painted them with Rust-Oleum Chrome Metallic Finish. The paintings are attached to the frames using grommets, screws, and staples, with fingerprints visible on the frames. The faux-metal frames enhance 'Snow White' and '2 Geeked,' Volkman’s newest pieces.&nbsp; Art often reflects society, and this exhibition does just that. It offers not only an aesthetic experience but also a commentary on contemporary issues. Both artists have upcoming local exhibitions. Adkinson will be in a two-person show at Sawhorse, and Volkman will participate in a two-person exhibition at LVL3. The exhibition continues at GURE through June 28th and is open by appointment only. <a rel="noopener noreferrer" href="https://www.instagram.com/_gure__/" target="_blank">DM for address</a> and to schedule viewing.

Landscape survey: Alex Adkinson & Maxwell Volkman at GURE 

Manny Singletary: A New Art Collector Embraces Chicago

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748455811/nfagrtskgpxzth4ww7kn.jpg">Gustave Caillebotte. The Pont de l'Europe, 1876. Association des Amis du Petit Palais, Genève. Image courtesy of the Milwaukee Art Museum. Photo by John R. Glembin. By GINNY VAN ALYEA This June the Art Institute’s major summer exhibition, Gustave Caillebotte: Painting His World, will present the Impressionist’s work in the context of the era and the social circles in which he lived. Caillebotte (1848–1894) is closely associated with his monumental painting of a French street scene on a gray and inclement day, Paris Street; Rainy Day, a work that is the crown jewel of the Art Institute’s permanent collection as well as this exhibtion. The show promises to expand how visitors see the artist’s own life and what inspired him, allowing us to appreciate intimate elements of Caillebotte’s world while also presenting questions about what the artist himself saw and wanted viewers to see in his paintings. Curious about the every-day, despite his own privileged background, his radical perceptions and depictions are quite relevant today.&nbsp; This exhibition, which opened in October 2024 at Paris’s Musée d’Orsay, includes more than 120 works—paintings, works on paper, photographs, and other ephemera from throughout Caillebotte’s career. In addition to recognizable works like Floor Scrapers and Paris Street; Rainy Day, the show presents lesser-known but pivotal works like the Musée d’Orsay’s recent acquisition, Boating Party, and the Louvre Abu-Dhabi’s The Bezique Game, as well as many works from private collections that are rarely seen by American audiences.&nbsp; Gloria Groom, Chair and Winton Green Curator, Painting and Sculpture of Europe, The Art Institute of Chicago took time this spring to give us a preview of what we can expect from Gustave Caillebotte: Painting His World.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748455812/wnq92w8vw1eyqst82sod.jpg">Gloria Groom, Chair and Winton Green Curator, Painting and Sculpture of Europe, The Art Institute of Chicago. Photo by <a style="color: rgb(136, 136, 136);" rel="noopener noreferrer" href="https://www.clarebritt.com/" target="_blank">Clare Britt</a> <h4> </h4><h4>CGN: How did this exhibition come together? What will visitors see, in addition to Paris Street: Rainy Day?</h4> Gloria Groom: Caillebotte is a figure painter, first and foremost. The Art Institute of course owns the granddaddy of all of his paintings, Paris Street: Rainy Day, and it is such a remarkable work because really it’s the first and last multi-figural painting at this scale. Everybody kind of knows the painting, but they don’t know the man. That’s what we wanted to flesh out. We were able to amass a lot of new archival material and get into family archives and really identify the people in his paintings. As a result we realized most of the people are men, so he had a real focus on a subject that most Impressionists wouldn’t be doing, because men weren’t commercially viable [as subjects]. We wanted to focus on that.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748455813/pmscstqop8gmqg7p905h.jpg">Gustave Caillebotte. Paris Street; Rainy Day, 1877. The Art Institute of Chicago, Charles H. and Mary F. Worcester Collection. <h4>CGN: Caillebotte was an Impressionist, but what set him apart from his contemporaries?&nbsp;</h4> He was born in 1848, right during the&nbsp;French Revolution of that year. He watched Paris go from having a king, to the monarchy collapsing, then to the Second Republic. What the republic brings with it is a lot more freedom, but at the same time anxiety, because he grows up and he’s painting and taking classes during the Franco–Prussian War. For men it was a complicated time, fighting and getting beat by Germans. His interests were not only in the men of his social class, which was upper middle class, but also the people that worked for him, the workers, the gardeners, the people who were scraping down the floors in the room that was going to be his studio in Paris.&nbsp; He’s also not like the Impressionists because he actually lives with his family and gets along fine with them. He accepted his wealth, but he didn’t want to be just known as a wealthy dilettante. He really throws himself into whatever he’s doing, be it gardening, racing boats or building boats. We wanted to show he was a man of his era. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748455814/othwlxdhbioth5zp7fmh.jpg">Gustave Caillebotte. Balcony, about 1880. Private collection. Photo courtesy of the private collection/Bridgeman Images. <h4>CGN: What was so unusual about how he observed and depicted male subjects?</h4> GG: Men had clubs–like the sailing club, as an example–to belong to, but women did not. Caillebotte liked to be with other males in the Impressionist circle. He esteemed women artists like Berthe Morisot and Mary Cassatt, but he liked to be in groups and he liked supporting them through his financial wealth, through his talents as a painter. We are really expanding on what he did by spending time in these circles. It’s hard to paint men and make them look interesting, but he’s a real colorist and he’s interested in decorative patterns. So you get portraits that aren’t as austere as one might think. And he uses his male friends as his models. <h4>CGN: There are few direct gazes I see in these paintings of men. He’s really observing them, whatever they’re doing. They’re not sitting for a portrait or even necessarily paying attention to him.</h4> GG: Right. There are only a couple that you get the sense of portraiture. And those are really the ones that ended up in those collections, since most didn’t sell and ended up with family. The idea of detachment is very Baudelairean and something quite modern in the last part of the century. The male gaze is very different, because it’s looking at males. Even when he’s looking at women, there’s a kind of detachment. When you compare a Renoir painting of a woman to one by Caillebotte, any day of the week you’ll see there’s a big difference between the way they’re expressing the feminine in art. He’s really more interested in showing men. He was surrounded by men, he grew up with three brothers and lived in a household of men–he lived with his brother after he left his parents’ house, when they both died. So he is happiest and most comfortable it seems, through his paintings, with these male companionships.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748455815/chsxfsnch0svmodbhg8e.jpg">Gustave Caillebotte. Floor Scrapers, 1875. Musée d'Orsay, Paris, Gift of the Caillebotte heirs through Auguste Renoir, 1894. Photo courtesy of Musée d’Orsay, Dist. GrandPalaisRmn / Franck Raux. <h4>CGN: Did Caillebotte’s subject matter alone qualify him as radical, or was it something else?</h4> GG: I think he was radical not just in his male portraits, but in everything. The Floor Scrapers was considered radical. The thing that really made him stand out was his technique. It looked like it came from the tradition of painting where you do drawings, then you do sketches, then you find the final composition, because some of them were large scale, not as large as ours, but bigger than a regular Impressionist landscape. He painted in a way that suggested he spent a long time with it, as opposed to the impressions of the Impressionists, and that painting style made him popular. His subject matter was still rather radical because he would zoom in on things.&nbsp; One of the criticisms of our painting at the Art Institute was, why would you make a subject so banal on that scale? It doesn’t deserve that scale. He was considered a more traditional artist, and at the same time a very radical artist because of the foreshortening and because of the subjects he chose, but the way he painted was more legible and accessible than what we call the flickering brushstrokes of a Monet or a Pissarro. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748455817/oaygemgwse1dzylxbhah.jpg">Gustave Caillebotte. Man Drying His Leg, about 1884. Private collection. Photo by Lea Gryze, Berlin. © Private collection, Berlin, 2024. <h4> </h4><h4>CGN: It sounds like he didn’t fit that easily with the other Impressionists.&nbsp;</h4> GG: It’s when he’s painting landscapes in water that he becomes an Impressionist, but when he’s painting figures,&nbsp;it looks more traditional. We’ll have a lot of preparatory drawings in the exhibition, for our Paris Street: Rainy Day and The Floor Scrapers and others. People will be able to see that he, like Seurat and like so many artists who are considered modern, starts with observation and drawings and then eventually composes the final painting. But I think the big story is his insistence on painting figures, and men in particular. It’s the radicalness of his way of seeing men. <h4>CGN: What do you think Caillebotte was trying to say or capture in his subject matter?&nbsp;</h4> It’s narrative, but it’s not. He sets us up. Even Paris Street: Rainy Day, it looks like you can read the scene. And when you start trying to figure it out, you don’t know what they’re looking at. They’re not looking at each other, but they’re together. It’s cinematic but it’s not yet giving you the caption that you need. And the name he called it, Paris Street: Rainy Day–he’s not telling you what to think either. That’ll be fun. It will help us understand our painting, which we associate with Chicago. I think it’ll give us the context through the other modern works to better understand it. # <h4>Gustave Caillebotte: Painting His World</h4>Jun 29–Oct 5, 2025The Art Institute of Chicago<a rel="noopener noreferrer" href="https://www.artic.edu/exhibitions/10068/gustave-caillebotte-painting-his-world" target="_blank">artic.edu</a>

A preview of the Gustave Caillebotte exhibition at the Art Institute of Chicago summer 2025

An Artist’s Own World: Gustave Caillebotte at the Art institute

This summer will take many people to destinations both far and near, and chances are, if you are on vacation there may be water close by. In the spirit of summer days, we are sharing some Midwestern inspirations for lakeside–or even riverside–places to visit in search of art as well as a mental reset or social reconnection.If Chicago is the center, there are endless directions in which to travel this season throughout the region. These exhibitions, installations and events, are down the street or within a day’s drive, each worthy of an adventure. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750528377/evndjscqudqznpwybf6w.jpg"> SOUTHWEST MICHIGANOn the eastern edge of Lake Michigan there are many stops for art, from small galleries to antiques shops to art centers. Most of them are busiest this time of year and are certainly worth a day or weekend trip, with some planning if you want to stay overnight. When you cross into Michigan from Indiana you can take the Red Arrow Highway from New Buffalo and see a lot of art along the way, from F.L. Braswell Fine Art in Lakeside and continuing up to St. Joseph where the Krasl Art Center sits on a bluff above Lake Michigan. The highway near the water will carry you the artsy twin towns of Saugatuck and Douglas and then you’re not far from Frederik MeijerGardens and Sculpture Park in Grand Rapids. Krasl Art Center’s Art Fair on the Bluff takes place July 12 and 13, 2025. You can also view sculpture on the grounds and in the area 24 hours a day, and Krasl offers a helpful sculpture map and scavenger hunt. • KRASL.ORG <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750528378/oklmtbejab6tq2mbywap.jpg"> TINTORETTO’S GENESIS – CINCINNATI ART MUSEUMIn a park overlooking the Ohio River is the Cincinnati Art Museum. On view this summer is an exhibition about the Italian artist Jacopo Tintoretto (1518–1594). In the early 1550s Tintoretto made a series of large paintings depicting scenes from the Book of Genesis for the Scuola della Trinità, a charitable organization in Venice. Painted just as the artist was maturing, these canvases display a fusion of Michelangelo’s forceful conception of the figure, Titian’s renowned colorism, and Tintoretto’s own vigorous brushwork, dynamic compositions, and command of the workshop. APR 18-AUG 31, 2025 • CINCINNATIARTMUSEUM.ORG <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750528379/yfudbujw5bnzn7s6hnww.jpg"> MAKE THE RIVER PRESENT – CONTEMPORARY ART MUSEUM ST. LOUISAlthough St. Louis is physically bordered by the Mississippi and Missouri rivers—the two longest in the US which come together at the confluence a few miles north of downtown—their presence is often obscured by industrialization, urban planning, and erasure of Indigenous culture. Make the River Present invites visitors to strengthen our connections to these enduring waterways through works of art, resources, and activities. THRU AUG 10, 2025 • CAMSTL.ORG <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750528380/r5ca2rvyhde5bmfg01lv.jpg"> JAMES TELLEN WOODLAND SCULPTURE GARDEN – SHEBOYGAN, WINestled in the Town of Wilson in the woods, and cared for by the John Michael Kohler Arts Center, you’ll find over 30 sculptures connected by a woodland path. A convalescent stay inspired James Tellen (1880–1957) to create large-scale concrete sculptures that impart moral messages and unite interests in art, nature and religion. The site is free and open to the public. The log home often hosts visiting artists. • JMKAC.ORG <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750528381/rrur3x4wrhv1c3rcazte.jpg"> DOOR COUNTY CONTEMPORARY – DOOR COUNTY, WIA new fair debuts in Wisconsin in time for the start of summer. Door County Contemporary will be a three-day celebration of art and ideas set against the backdrop of one of America’s classic destinations. DCC hopes to marry the best of fine art with the idiosyncratic swagger of the region. The events, the setting, the tastes, and the world class art will create something far greater than the sum of its eclectic parts: woodsy tradition and bleeding-edge cultural objects; old-fashioned and conceptual art. JUNE 5-8, 2025 IN FISH CREEK, WI DOORCOUNTYCONTEMPORARY.COM

Lake Effects: Midwest Sightseeing

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362011/fdm8t64tkcdhf9wsd7gh.jpg"> By GINNY VAN ALYEA The city of Detroit. Once synonymous with industry, and consequently, urban decline. What once looked, for years, to be a city perpetually in a hapless situation has been recently overcoming adversities and undergoing a remarkable reinvention I would say, to a great extent, thanks to doubling down on the vitality of arts and culture (something I couldn’t help but think city leadership in Chicago could take a moment to study).&nbsp; My children had a school break this past October. Some classmates went to places like New York, Costa Rica, even Europe! Instead, in the spirit of embracing what’s near, I opted to plan a three-night family visit to Detroit. The entire drive would be awash in colorful fall foliage, I was excited to experience a vibrant Midwestern city filled with creativity, innovation, and civic pride, getting just enough scenery along the way that it would feel like we spent some time in nature. During our trip, we got just a taste of Detroit’s revitalized downtown—its galleries, museums, restaurants, and charming independent shops—a cultural beating heart of dynamic artistic expressions developing the city. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362013/m69bfdup0rp8zurnwvqx.jpg"> We arrived in Detroit on a crisp autumn afternoon. Due to our own time constraints, we weren’t going to arrive until around 3:30 p.m. Our very first stop was The Shepherd, a new art center that opened only a few months earlier in 2024. Located in an 110-year-old Catholic church, once known as Good Shepherd and that closed in 2016, plans to breathe new life into the space as The Shepherd were announced in 2021 by Library Street Collective co-founders Anthony &amp; JJ Curis. The Shepherd is at the heart of the Curis’ vision for a revitalization of Little Village on Detroit’s east side, and the pre-existing space offered room for exhibitions, performances, a library and educational spaces. An artist-focused b&amp;b retreat in the church’s former rectory space, a park, and public sculpture offer something for everyone. Mothership Connection, a 26-foot tall outdoor sculpture by British-Trinidadian artist Zak Ové shares a name with Parliament Funkadelic’s iconic album of the same name from the 1970s. The towering work’s details show that varied materials and colors intentionally engage viewers in order to invite them aboard to consider the histories and contributions of enslaved Africans and others who helped build the country. Nearby, also on the grounds, is Charles McGee Legacy Park, in honor of the late Detroit artist who created art about the Black experience and the citizens of the city. There is even a skate park, designed by skateboarder Tony Hawk and the artist MacArthur Binion, whose own foundation, Modern Ancient Brown is onsite at the Shepherd. There is so much going on both inside and out of the main building there is a feeling that the creative energy on campus is bound to spill into the neighborhood. The day we visited, fall colors and sunny skies showed the parks in perfect light. Visitors lingered on benches, and it was easy to see how The Shepherd will be a gathering space for many people and eventsthroughout the year.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362015/omo0rneetggcbzkf1frq.jpg"> After leaving The Shepherd as the sun started to set, we drove right into downtown so we could visit two galleries before they closed for the weekend. We arrived at The Belt, an alley with a lot going on on a Saturday night. Packed with people enjoying drinks around communal tables, taking a shortcut between streets or heading to the Standby restaurant and cocktail bar, The Belt is billed as a “culturally redefined alley” and is named for its location in a former downtown garment district. Installed along the walls of the alley were large-scale photographs by Genevieve Gaignard, part of Public Matter, The Belt’s fully accessible, outdoor exhibition platform. Previous exhibiting artists include Shepard Fairey, Nina Chanel Abney, Beverly Fishman, Daniel Arsham, and others. Happening upon The Belt is like saying the magic word to enter Harry Potter’s Diagon Alley and having a secret entrance appear. In keeping with the theme of being transported, in this case between Broadway and Library Street and Gratiot and Grand River, an opening in a brick wall offers a special window into the gallery we had come to see, Library Street Collective, the space responsible for this inviting destination. On view during our visit was an exhibition of round, large-scale paintings by Detroit artist James Benjamin Franklin. The highlighter-bright paint hues leave impressions on your retinas, adding to the stunning visual staying power of the works. Next door to LSC is Louis Buhl &amp; Co., a project space with an exhibition in its front gallery and shelves and flatfiles in the back area. Gretchen at the gallery gave us a helpful tour of the space while talking about what it means to her to have grown up near Detroit and live in the city now as a young person, when just a generation ago very few people would have considered living and working downtown. The vibrancy and cultural currency of art in Detroit is a testament to what can draw and retain a young professional class in the city. Gretchen also gave us a great recommendation for where to find the best Detroit-style pizza. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362017/na616ypjbo9lwhnynoke.jpg"> On Sunday morning, it took us less than 10 minutes to drive from our hotel in Corktown to the Detroit Institute of Arts (DIA), one of the premier cultural institutions in the entire country. Situated on the outskirts of Midtown Detroit, the museum is an architectural masterpiece and houses an extensive collection of more than 65,000 works that span centuries and cultures. DIA made news more than a decade ago when its trove of priceless art was considered fair game for deaccessioning as a means of raising money to lift the beleaguered city out of bankruptcy and pay the pensions of city retirees. The near-miraculous, widely covered “Grand Bargain” with business leaders, private foundations and the state of Michigan —who collectively contributed $800 million to the underfunded plans in exchange for ensuring the museum’s collection, even works that were purchased with city funds, was spared from the auction block—means that you cannot view the works on view at the museum today without thinking what might have been: art lost from public view forever. My family spent almost the entire day at DIA.&nbsp; There was so much to see, just among the permanent collection’s highlights, including Pieter Bruegel the Elder’s magnificent The Wedding Dance from 1566, to the expansive paintings by contemporary African American artists. And, of course, the Detroit Industry Murals by Diego Rivera, which recall Michelangelo’s Sistine Chapel in scale of course, but they also tell a story of humanity in painterly detail on a cavernous surface. The murals are a national treasure depicting the history of the city’s industrial might and the backbreaking work of its citizens during the 1930s.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362020/a67dcotpigmvjulkfp2x.jpg"> An immersive, special exhibition by Detroit artist Tiff Massey, Tiff Massey: 7 Mile + Livernois, notably features contemporary installations by Massey in dialogue with DIA holdings by Donald Judd and Louise Nevelson. Massey’s own contemporary, monumental works summon Detroit’s hardworking spirit just as Rivera’s murals did a century ago. The exhibition ends May 11, 2025. On Monday, we took the kids to the Henry Ford Museum of American Innovation and enjoyed the interactive exhibits. Some notable highlights include the Rosa Parks Bus, presidential limousines, and yes, a Weiner Mobile. Spending time here continued my childrens’ first-hand engagement with various avenues for creativity on this trip, and the historic campus in Dearborn was especially beautiful in October. We enjoyed the change to let the kids run loose outside by the museum’s clock tower before departing. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362022/i45js8oake51rygn7uab.jpg"> Our final evening found us back downtown for dinner, and we ended up having Detroit-style pizza, as we had promised the kids. Everyone agreed that an art trip wasn’t so bad after all, and we enjoyed spending time in a city with so much energy and so much to do. It’s always nice to be someplace where people are glad you are there, and that felt especially true in Detroit. We will be back. OUR FAMILY DETROIT ITINERARYNote: Our travel days were based around a school schedule, which was less than ideal, but aren’t all school vacation times? We drove on Saturday, and the trip is 4 1/2 hours and heads into Eastern Standard time. We had to hustle to make it to some spaces that afternoon.as they did not reopen until Wednesday. For our DIA visit we had to go Sunday, since the museum was closed Monday and Tuesday. We unfortunately couldn’t fit in a much- anticipated stop at Cranbrook Art Museum and Cranbrook House and Gardens because we ended up spending four hours at DIA–whoops–but it was time well spent and a good reason to return. Another seasonal note: the Henry Ford Museum was open, but Greenfield Village was closed. SATURDAY• The Shepherd, and downtown galleries Library Street Collective and Louis Buhl &amp; Co.• Coffee at Madcap Coffee Co., ice cream at mister dips, Bon Bon Bon Chocoltes in Parker’s Alley• Dinner @ San Morello• Drinks @ Shinola Hotel SUNDAY• Detroit Institute of Arts• Museum of Contemporary Art Detroit (MOCAD)• Walk through The Belt alley• Dinner @ Standby MONDAY• Breakfast at Astoria Pastry Shop in Greektown• Henry Ford Museum of American Innovation• Dinner @ Buddy’s for Detroit-style pizza downtown TUESDAY• University of Michigan Museum of Art (UMMA) in Ann Arbor• Twin Maple Orchard in Galien ﻿

Detroit: A City’s Fresh Energy Offers an Excellent Family Weekend Away

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362896/rrmoesfrmjpurz3nu40u.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/undercurrents-nathan-brad-hall" target="_blank">Undercurrents: Nathan Brad Hall</a>Opening: Friday, June 20, 5:00 PM – 8:00 PMGallery Victor&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362899/qe9yrilmgiwxppptdjfy.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/rosa-barba-nuthun-to-hyde-gertrude-abercrombie-and-the-hyde-park-scene-193575" target="_blank">Rosa Barba: Poised Compression</a>Opening: Friday, June 20, 6:00 PM – 8:00 PMCorbett vs. Dempsey <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362904/ybhvossgbd16uoq5vocf.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/nuthn-to-hyde-gertrude-abercrombie-and-the-hyde-park-ethos-19351975" target="_blank">Nuth'n to Hyde: Gertrude Abercrombie and the Hyde Park Ethos, 1935–1975</a>Opening: Friday, June 20, 6:00 PM – 8:00 PMCorbett vs. Dempsey <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362905/i2fzzghi8jbmtimdjuce.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/where-we-dwell" target="_blank">Where we dwell</a>Opening: Friday, June 20, 5:30 PM – 8:00 PMThe Art Center Highland Park <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1750362906/dawgogyv833kkm2vya9r.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/woven-worlds" target="_blank">Woven Worlds</a>Opening: Friday, June 20, 6:00 PM – 8:00 PMSouth Shore Arts

New Exhibitions Opening June 20th

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749767599/bceuxkadt88sfd0svuxg.jpg"> Via PR GRAY announces the appointment of Valerie Carberry, President and Chief Executive Officer. Carberry, who has served alongside Paul Gray as a Partner since 2015, will steward the gallery as Gray assumes the role of Chairman. These appointments reflect GRAY’s continued commitment to the advancement of its program, and the cultivation of new relationships with artists, collectors, and institutions. As President and CEO, Carberry will provide visionary leadership across all aspects of the organization, guiding operations, the direction of GRAY’s program, forging new artist relationships, and cultivating institutional partnerships that support the gallery’s continued position as a leading platform for art of the 20th and 21st centuries. “This is a moment of profound continuity for GRAY as much as it also marks a new chapter. I acknowledge the trust placed in me to uphold enduring standards of excellence at GRAY, to serve the growing roster of exceptional artists we represent, and to work alongside the very best team of colleagues I could possibly hope for” stated Carberry. Paul Gray, who joined the business in 1982 and has been its leading director since 1996 will continue to foster the gallery’s mission in his role as Chairman, providing strategic&nbsp;leadership and governance, and reinforcing the gallery’s long-term vision and commitment to its clients and artist relationships. “I look to our future with pride, optimism and humility, and I am confident that our mission of serving artists, collectors and institutions is in excellent hands with Valerie” explained Gray. “As I review the growth of our programming, the artists represented and our extraordinary team of directors and associates in Chicago and New York, I realize that much of this is already due to Valerie’s leadership over the decade since she joined. Founded in 1963 by Richard Gray (1928-2018), the gallery has played a pioneering role in bringing major postwar and contemporary artists to Chicago, presenting figures like Alexander Calder, Willem De Kooning, Magdalena Abakanowicz, Jean Dubuffet, Pablo Picasso, Roy Lichtenstein and many others. Today, GRAY’s close artist and artist estate relationships include Alex Katz, McArthur Binion, Torkwase Dyson, Theaster Gates, David Hockney, Rashid Johnson, Judy Ledgerwood, Jaume Plensa, Leon Polk Smith, Evelyn Statsinger, and many more. GRAY is a globally recognized team of art professionals devoted to fostering the development of artists’ careers and to building outstanding art collections. For more than six decades GRAY has supported the visions of artists by bringing exhibitions and projects to audiences around the world, working with collectors and institutions to foster practices and preserve legacies. Founded in Chicago in 1963 as Richard Gray Gallery and since 1997 also in New York City, the gallery, now under the leadership of Paul Gray and Valerie Carberry, continues to be recognized for the exceptional quality of its program and for the expert counsel it provides to private and museum clients worldwide. Image: Valerie Carberry. Credit: Weston Wells.

Valerie Carberry Appointed President and Chief Executive Officer of GRAY Chicago and New York

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749262337/brj4tyu0bchv7tow49a3.jpg">Grunts Rare Books By SUSAN GESCHEIDLE <a rel="noopener noreferrer" href="https://gruntsrarebooks.us/pages/peter-carney-nightside-of-eden" target="_blank">GRUNTS RARE BOOKS</a> –&nbsp;Peter Carney, The Nightside of Eden Peter Carney can paint, and beautifully! Carney grew up in Utah; played in a punk band in high school; was given free paints by a friend after high school that led to his interest in painting; and has a background working back of house in restaurants. So how did he end up in Chicago, break into the tight-knit art scene here, and secure a solo show at Grunts Rare Books—an unassuming but well-regarded bookstore and curated project space? And has Carney’s extensive restaurant experience influenced his art practice? To get answers I headed to Grunts Rare Books for the Friday night opening of Carney’s first solo painting exhibition,&nbsp;The Nightside of Eden. Grunts Rare Books opened in October 2024, and is co-owned/operated/directed by Marc LeBlanc and Taylor Payton.&nbsp;Payton portrays it as, “Chicago’s premier bookstore for rare books, exhibition catalogs, and other exhibition ephemera that document the history of modern and contemporary art in printed material.”&nbsp;Adjacent to the bookstore is the project space for curated art exhibitions. The creative duo of LeBlanc and Payton share a passion for books, readings, poetry, performances, film screenings, and art exhibitions. Thus, Grunts Rare Books serves as a gathering space for intellectuals and creatives of all sorts to hang out and have conversations. It’s a dynamic yet low-key multifaceted space, much like the beatnik coffee shops one might have frequented in the '60s.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749262338/cojxriy9vfmfdq25xmx9.jpg"> While LeBlanc and Payton are Co-Directors of the bookstore, Payton curates the exhibition program in the adjacent gallery (a continuation of her former apartment gallery, SULK.) Payton, a graduate of the School of the Art Institute of Chicago (SAIC), is one of the busiest people I know. She works not only at M. LeBlanc and Grunts Rare Books but bartends at Inner Town Pub—which bills itself as “Home to the Arts,” and is located around the corner from the historic Rainbo Club. And for the past two years Payton has curated onsite public programs for EXPO CHICAGO, the contemporary art fair held at Navy Pier. She does it all, and she does it well.&nbsp; Stepping through the doorway of the bookstore into the tiny gallery space, one immediately notices the tall windows and the far-off city skyline. At that time of the day, the windows cast just the right amount of ambient light, bathing the room and Carney’s seven oil-on-panel paintings in a perfect soft glow. Being somewhat familiar with Carney’s work, I was anticipating paintings of miniature figures (often with weapons) as he has painted before.&nbsp;I was delightfully surprised by this new body of work of luscious still lifes and moody seascapes. The paintings convey quietude and are formal compositions with muted palettes and a sophisticated use of light (think Dutch Master vibes.) <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749262338/irsvs2b98fisbhoqo7i5.jpg">Peter Carney, Slim ball, 2024, oil on panel, 18 x 24 in. The first thing you’re struck by is the imagery of comestibles: a pile of freshly caught&nbsp;Golden Bream fish&nbsp;lying haphazardly on the beach, plump squabs (baby pigeons) hanging on meat hooks drying, a bright pink crab staring us down, and a green apple. Equally attention-grabbing are the melancholic seascapes (several with lone figures on isolated beaches.) All of Carney’s paintings are captivating and elegant—even a bit sensuous. The dangling lifeless squabs, dead fish with bulging eyes, and the crab--still alive with eyes wide open--but as Carney says, “suggesting itself as food,” remind the viewer of the fleeting nature of life and the inevitability of death. The solitary figures in the seascapes are equally unsettling. In&nbsp;Benito Soy&nbsp;the isolated figure stands pensively in the foreground against the sea grass, ocean, and night sky. In&nbsp;Oregon timber&nbsp;and&nbsp;Wet dreams, the reclining and sprawling position of the figures seems to indicate something is amiss, despite the scenic setting. Carney’s seascapes are inspired partially by film stills, videos and playlists he made before he turned twenty, Milton Avery’s seascapes and landscapes, trips to the ocean in California and Maine, and finally, from recent cooking-related trips that took him to Miami and Spain.&nbsp;&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749262339/rpojogzuijgi6lvnncyw.jpg">Peter Carney, The Constant of blood, 2025, oil on panel, 18 x 24 in. Carney moved to Chicago in 2022 to be a part of a broader painting scene with friends.&nbsp;To help supplement his painting practice, he looked for a job.&nbsp;He saw an ad for restaurant work at Kasama, a relatively new Filipino restaurant in his neighborhood, and, fortuitously, he was hired on the spot. It is here that his restaurant background begins to really merge with his artistic world. He started his new job the day Kasama was awarded a Michelin Star–the only Filipino restaurant in the world, coincidentally, with a Michelin Star. It was Carney’s first fine dining restaurant experience, and he began to observe food differently there, leading over time to this exhibition. He worked his way up to Junior Sous Chef in charge of the breakfast team and prep for pop-ups. Seeing food up close and personal day in and day out, Carney was in awe of the splendor of it all (from the colorful ingredients to meat to seafood to finished meals plated and served artfully to guests.)&nbsp;Gourmet food is thoughtfully prepared, and the presentation is a thing of beauty showcasing a chef’s skill, much like the aesthetically pleasing and thoughtful paintings Carney created for this exhibition. Food has long been considered an art form, so it’s a fine line between the sensibility of cooking and sensibility of creating paintings. Carney appears, however, to enthusiastically and successfully blend these two worlds (though full disclaimer, I have yet to get to Kasama to taste his cooking.) On my bucket list!&nbsp; Also, through Kasama, Carney traveled to San-Sebastian, Spain, for Gastronomika, to serve breakfast sandwiches, and to Bilboa for a dinner pop-up with Miele Appliances. He walked along the beaches at night with his best friend and painted. Chefs Kitchen brought him to Miami for a pop-up during Art Basel, where he spent every night on the beach recording it and taking photos.&nbsp; It seems that Carney has, indeed, been influenced in many ways by his restaurant experiences.&nbsp;Squabs, crabs, and fish became his muses. Their flesh, and the colors and textures of produce and herbs, influenced his palette.&nbsp;And the industrial look and color of the Kasama kitchen inspired his muted minimal (mostly) horizontal backgrounds. The pop-ups, meanwhile, informed his seascape paintings.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749262340/oyefceedkmcljt7meunj.jpg">Peter Carney, Wet dreams, 2025, oil on panel, 18 x 24 in. When asked about artistic influences, Carney says “I fell in love with oil painting and Francis Bacon at first, then eventually really really loved Edouard Vuillard and Matisse.” Bacon’s influence is evident in Carney’s treatment of flesh, most notably in the pile of fish in&nbsp;Slim ball&nbsp;and the squabs in&nbsp;The Constant of blood. The squab flesh appears silky, meaty, and juicy, painted in pink, yellow, and grey, with dabs of gold, set against a stark horizontal horizon of grey and green.&nbsp;Carney is not concerned about tight realism or precise detail-- it’s more about visual quality, color and texture, and the act of loosely rendered painting. Carney’s works evoke emotion and are of a painterly quality, though his brush strokes are delicate and not heavy-handed.&nbsp;Carney, at 26, has a skillful hand and a good eye.&nbsp; In the bookstore hang three additional paintings that have a different feeling than the rest of the show.&nbsp;They are fanciful and charming, and the palette is subtler.&nbsp;Cupcake&nbsp;is an oil on panel painting of a yummy-looking koala bear cupcake with a ship silhouette in the background. It’s a stunner with a sugary sweet pinkish-violet palette, which is perfect. The other two smaller pieces, Dance dance revolution and Music farm animal toy, are framed paintings on paper of monkeys. Payton equates the beach to theater in these pieces saying, “two circus monkeys are caught on an absurdist shore by the relentless spin of the disco ball beneath them.”&nbsp; Carney’s path to Chicago was via one of his oldest friends, Rachael Bos, another transplanted artist from Utah. Once in the city Carney quickly became immersed in the local art scene, meeting Payton, and discovering SULK. He participated in exhibitions at SULK, Unda.m, Inner Town Pub, and most recently, his work was part of the&nbsp;Miniotics&nbsp;group show at Weatherproof.&nbsp;The Nightside of Eden&nbsp;is Carney’s first solo painting exhibit. Carney is one to watch, and Payton is another. The exhibition continues at Grunts Rare Books through July 5th.&nbsp;1500 S. Western Avenue, Suite 403. Open Saturdays 1-4 PM.<a style="color: rgb(136, 136, 136);" rel="noopener noreferrer" href="https://gruntsrarebooks.us/" target="_blank">gruntsrarebooks.us</a> You can also find Grunts Rare Books hosting Grunts Plein Air every Sunday at Logan Square Park from 11am-3pm (during warmer months.) <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749262341/u6eb0zif3jvykiej3jg2.jpg">Installation view of The Nightside of Eden # Publisher's Note: I met Susan Gescheidle when I first moved to Chicago and started working at&nbsp;Chicago Gallery News&nbsp;in 2002. At the time the CGN office was located around the corner from the River North gallery, called&nbsp;gescheidle,&nbsp;Susan had just opened after working at Lyons Wier Gallery for a time.&nbsp;Susan&nbsp;eventually relocated her gallery to Peoria Street in the burgeoning West Loop, then relocated to Lake Street before closing in the fall of 2008. In fall 2024 I ran into Susan again after many years. We chatted about CGN, as well as how Susan had recently found her way back to being immersed in Chicago's gallery scene, in particular visiting the city's smaller, newer spaces. After following her art outings on&nbsp;<a rel="noopener noreferrer" href="https://www.instagram.com/susangescheidle/" target="_blank">Instagram</a>&nbsp;for a couple months, I asked Susan if she'd ever consider sharing her personal and informal dispatches with CGN readers in order to help spotlight and support these spaces, and she graciously accepted.&nbsp; – Ginny Van Alyea, CGN Publisher You can read Susan's other surveys here: • <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/landscap-survey-whats-on-in-chicagos-outer-spaces-sawhorse" target="_blank">SAWHORSE</a>•&nbsp;<a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/landscape-survey-whats-on-in-chicagos-outer-spaces-minionotics-at-weatherproof" target="_blank">Weatherproof</a>

Susan Gesceidle visits Grunts Rare Books to see paintings by Peter Carney

Landscape survey: Peter Carney at Grunts Rare Books

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749094447/rbb1ygtubrzswovchpe7.jpg"> By CGN Staff <a rel="noopener noreferrer" href="https://dock6collective.com/Design-Art-16" target="_blank">Dock 6</a>, a collective of 6 independent designers, furniture-makers, and fabricators is a group known for delivering well crafted, thoughtfully made products to architects, interior designers, retailers, contractors, and the public. Located in Chicago’s Belmont-Cragin neighborhood, Dock 6 is also a hub for the Chicago creative community, fostering a forum for open dialogue between artists and designers. Opening this weekend for one day only on June 7 is the 16th edition of Design &amp; Art. Guest curator Kristina Daignault and the Dock 6 Collective family has selected a group of artists and designers to present throughout their warehouse facility. The Design &amp; Art Series puts furniture design and fine art side by side in the industrial setting at the Dock 6 shop, simultaneously highlighting the symbiotic relationship of the two mediums and embracing their intrinsic differences. Dock 6 Collective advocates for themselves but also as a group, delivering well crafted, thoughtfully made products to architects, interior designers, retailers, contractors, artists, and the public. New work will be on display from the Dock 6 Collective partners: Carson Maddox Studios, Lagomorph Design, Navillus Woodworks, zakrose, -ism furniture Participating artists include: Nate PhilpJulie WallackerMike AnthonyJeff ForsytheConor KeelingRachel CropperRaun MeynNathan BraunfeldSculpturelandiaSabina ClodgoClayton PhillipsEdra SotoNavillus GuitarsTeagan PrichardKate HeilenbachAlex JonesDrew ReynoldsNancy ValenzuelaPaul WearJon Leonetchogninou larryZita BrizziRichard HullNorman TeagueJustin RoeKelly Kristin JonesPinar AralAlexis de ChaunacMelissa PokornyVladimir KhartonskyKonrad TuradekAndy HallArts of LifePat DuffyJess BassPaola CabalLynn BasaJaclyn JacunskiAndi CristAlberto AguilarHolly HolmesKatie VotaRenee RobbinsChristina VillaRegin IgloriaBen MadeskaGwendolyn ZabickiJeroen Nelemans <a rel="noopener noreferrer" href="https://dock6collective.com/Design-Art-16" target="_blank">Design &amp; Art 16</a>Dock 6 Collective: 2100 N Major Ave, Chicago, IL 60639One day only: Saturday, June 7, 2–8PMFree to the public ﻿<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749094448/k1owiik8dlsuzmldmieo.jpg">

Dock 6 Collective's D&A 16: June 7, 2025

CGN adds to its calendar of art events daily, and there is no shortage of new exhibitions, openings, art fairs, talks and family art events to explore. We have put together a preview of what is coming up the rest of this month as an art-filled summer ramps up. Events happen throughout the city as well as in the suburbs and within a day's drive. Whether you have an hour after work or you are looking for a weekend road trip, take a look and do a little planning in order to take a step into the world of art. Everyone is welcome! Highlights are organized by event type. Dates vary and are subject to change. –&nbsp;GinnyCGN Publisher <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748983865/hbskpbhzoaohyqfod7th.png"> <h3>•&nbsp;Film Screening / Talks</h3> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/the-first-homosexuals-film-series" target="_blank">The First Homosexuals Film Series</a></h4> Beginning Wednesday, Jun 4, at 7:30 PM<a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/organizations/wrightwood-659" target="_blank">Wrightwood 659</a> and FACETS Chicago The First Homosexuals Film Series is an upcoming event starting next week, featuring a series of film screenings. The opening night is on Wednesday, June 4th,&nbsp;at FACETS 1517 W. Fullerton Ave., Chicago, IL,&nbsp;with a special reception, a curated selection of shorts, and an introduction from the program's curator, Laura Horak. The event includes a program titled 'THROUGH THE KEYHOLE: SHORTS PROGRAM' with a reception at 7:30 pm and the shorts program at 8:00 pm. The series will showcase 14 short films, highlighting characters from the 20th century who contribute to queer history and discourse. The event requires advance registration, with general admission priced at $15 and student admission at $5 with ID. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748983867/mzposn2mulfjyfbnjflg.jpg"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/artist-roundtable-discussion" target="_blank">Artist Roundtable Discussion</a></h4> Saturday, June 7, 3:00 PM<a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/organizations/secrist-beach" target="_blank">Secrist | Beach</a> Join us for an afternoon of conversation, reflection, and insight as artists from the acclaimed exhibition&nbsp;Master Class: Inside the Last American Museum School with SAIC Painting Alumni&nbsp;gather to discuss the enduring power of the museum, the legacy of modernism, and painting as a medium of freedom and innovation.&nbsp;&nbsp;Moderated by curator and professor Lisa Wainwright, ideas about the canonical giants who stimulated these artists—Turner, Monet, Gauguin, O’Keefe, Pollock—as well as more far-ranging influences of Navajo textiles, Roman sculpture, and video art from the Art Institute of Chicago, will underscore the museum as a living archive and a potent source of knowledge, complexity, and creative friction.&nbsp; <h3>• Auctions</h3> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748983869/lkm7weauk4cr91hkvwbq.jpg"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/contemporary-fine-folk-and-outsider-art-auction" target="_blank">Contemporary, Fine, Folk, and Outsider Art Auction</a></h4> Thursday, June 5Potter &amp; Potter Auctions, Inc. The first 70 lots are related to a collection of&nbsp;Charles and Ray Eames&nbsp;design material. A few drawings by Eames, blueprints and presentation fabric samples by Alexander Girard for Herman Miller, a Noguchi table shipped to Charles Eames and two matching Sofa Compacts with Girard fabric. Within the collection that came with this group are also 11 prints by&nbsp;Harry Bertoia, a major work on panel and another on paper by&nbsp;Hans Hofmann. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748983871/qmytdverfrprdjygbv52.png"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/design-june25" target="_blank">Design</a></h4> Thursday, June 5Wright / Chicago Offered three times a year and dedicated to the most influential and important designs of the 20th century,&nbsp;Design&nbsp;celebrates visionary creators from across the globe. From iconic standards to one-of-a-kind works, this highly vetted sale brings together the quality craftsmanship and ambitious vision that defined the past 100 years and continues to shape the way we live today. <h3>• Exhibitions</h3> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748983873/cvcf7fuutghbxwaosqee.png"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/stinkfish-prickly-portraits-of-a-fragmented-world" target="_blank">Stinkfish: Prickly portraits of a fragmented world</a></h4> Jun 6–28Opening: Friday, Jun 6, 5:00 PM – 8:00 PMVertical Gallery Born in Mexico, but raised in Colombia, Stinkfish has been honing his skills on the streets of his hometown of Bogota since an early age. He first experimented with stencils in 2003 and has since perfected his own, unique style. His murals always have a stenciled portrait at their center. These portraits are taken from photos that the artist shoots during his travels around the world. They are faces that catch his eye, but not people he approaches and talks to. Another source is found photographs; either discovered lying on the streets or bought at flea markets. He fashions large format stencils based on these photographs, which on the street are then amended by impromptu, colorful halos. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748983874/mdqlvtd5almjk3n16e7u.png"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/group-exhibition-opening-thus-masked" target="_blank">Thus masked, the world has a language</a></h4> Jun 6-Aug 23Mariane Ibrahim Thus masked, the world has a language is a group exhibition exploring the masquerade and mask traditions across the African diasporas in Mexico, the Caribbean, and the United States.&nbsp;Across the exhibition, masks are activated forms—a vessel through which truths can be expressed, history can be questioned, and memory can be reactivated. The exhibition will feature works by gallery artists Raphaël&nbsp;Barontini&nbsp;and Lorraine O’Grady, alongside invited artists Nick Cave, Ebony G. Patterson, Darryl Richardson, and Tavares Strachan.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748983876/hiulinprdpf5vk4rdpcy.png"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/space-travelers-the-dreamworlds-of-julia-thecla" target="_blank">Space Travelers: The Dreamworlds of Julia Thecla</a></h4> Opening: Wednesday, Jun 11, 5:30 PM – 7:30 PMMongerson Gallery - exhibition and opening takes place at Expansive Superior, 405 W Superior Once described as “the mystery girl of Chicago art,” Thecla was known for her dreamlike compositions featuring a world of fairies, dancers, animals, and sprites rendered in her signature jewel-toned blues.&nbsp;Space Travelers&nbsp;invites viewers into Thecla’s radiant inner cosmos — an imaginative, escapist world that feels both fantastical and uncannily intimate. This one-night exhibition and reception will take place&nbsp;on June 11,&nbsp;5:30-7:30 p.m., with remarks at 6:15pm, at Expansive Superior, 405 W. Superior St., on the 7th floor. <h1><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748983877/zmchzwlgskvioygvbvuw.jpg"></h1><h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/yvette-mayorga-puh-thru" target="_blank">Yvette Mayorga: Pu$h Thru</a></h4> Jun 14–Jul 26Opening: Saturday, Jun 14, 4:00 PM – 7:00 PMmoniquemeloche Yvette Mayorga is a multidisciplinary artist based in Chicago renowned for her confection-inspired artworks that intertwine themes of immigration, identity, and feminized labor through a maximalist lens.&nbsp;Utilizing materials like acrylic piping applied with bakery tools—a nod to her mother's labor as a baker—Mayorga crafts opulent, Rococo-influenced pieces dominated by shades of pink to critically examine the American Dream and the Latinx experience, often&nbsp;borrowing compositions from personal and family photos&nbsp;and art history.Pu$h Thru&nbsp;is Mayorga’s first solo show in Chicago since 2018 and reflects on the last decade of the artist’s life in the city. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748983878/ewsw2y8rtv0uw0skqzph.jpg"> <h4><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/gustave-caillebotte-painting-his-world" target="_blank">Gustave Caillebotte: Painting His World</a></h4> Jun 29–Oct 5The Art Institute of Chicago Impressionist artist Gustave Caillebotte (1848–1894)—known and beloved by many Art Institute visitors for his monumental painting&nbsp;Paris Street; Rainy Day—takes center stage in this major exhibition exploring the very personal interests and relationships that shaped his world. Caillebotte was unique among his Impressionist peers. At a time when modernity was synonymous with fashionable young women and new forms of entertainment, he focused instead on a more intimate and individualized sphere: his family and friends, his fellow sportsmen, the bourgeois pedestrians strolling in his neighborhood, and the workers who came to his house or whom he observed in the street. <h3><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events" target="_blank">View the full CGN calendar here</a></h3>

CGN Art Preview: June 2025

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749402495/wmtmrjrll4ovnthk1n2o.jpg">David Krueger working on art in the Chicago studio By JACKIE LEWIS Five years ago <a rel="noopener noreferrer" href="https://artsoflife.org/" target="_blank">Arts of Life</a> turned 20, but the pandemic disrupted some of their larger plans to mark the anniversary. This year, the city-wide celebration of a quarter century of making a difference in the lives of artists andbringing awareness to disability culture has already more than made up for plans cancelled in 2020. Since January 2000, Arts of Life has elevated the broader Chicago arts community by challenging the notion that disabled artists are “outsiders” when compared to their contemporaries. Through a collaborative decision making model that allows all artist voices a say, Arts of Life has created an equitable, creative collective that speaks with their artists and their needs, not for them. By offering professional art studio space, community programs, and home-based programs, Arts of Life strives to meet the needs of people of all abilities who are interested in making art and connecting with fellow artists. Today, the organization supports over 80 artists, offering each one their own studio space in one of their three professional studios where artists work from individualized project plans or receive 1:1 visual art facilitation, all while earning monthly stipends and bonuses from the sales of their own artworks. To celebrate this year’s anniversary of a quarter century, Arts of Life has published a book titled&nbsp;2wenty 5ive Arts of Life 2000–2025, highlighting 25 artists who have impacted the Arts of Life community alongside stories of inspiration. In the book’s foreword, Debra Kerr, the Director of the Intuit Art Museum (formerly Intuit, the Center for Intuitive and Outsider Art) notes, “Arts of Life has built a thriving organization from the initial nine artists and one location to more than 80 artists in three locations.” Numbering more than 200 pages, the book is the culmination of years of hard work and inspiration, commemorated within a bright blue cover and featuring a portrait by an Arts of Life artist centered among colorful rays emanating joy and creative energy. The book will be distributed across the country through Urban Outfitters. Arts of Life’s Co-Founder and Executive Director, Denise Fisher, shares the organization’s excitement regarding this milestone while looking towards an exciting future, “We are overjoyed to mark Arts of Life’s silver anniversary with a year of celebrating both the past quarter century and what is to come. This milestone is a testament to the creativity and resilience of our community. Our collective work is captured in our beautiful book, which highlights our role in the national progressive art studio movement in supporting artists with disabilities. We look forward to gathering with new and longtime friends as we continue to work towards a more equitable and accessible future.” At the book launch and birthday party on February 22nd current and former artists, families, staff, volunteers and art supporters gathered to dance, cut cake, take photos under a balloon arch and share their love of art and community. Cindy Shanker, a volunteer since 2012 and a pillar in the Arts of Life community was honored for her many years of community service. Those who work with her say Shanker has a reputation for being dependable and encouraging people not to worry, confidently promising that today each artist will receive skillful attention, sensible assistance, and boundless energy and enthusiasm. The February celebration was truly a kickoff for a year of gratitude as well as national engagement. Later that month in New York City the organization continued the book launch at the Outsider Arts Fair where they set up a booth centered on selling the new book. Arts of Life also brought along artist Marcus Kennedy, who is featured in the book, as an artist ambassador, an exciting first for the group. The organization has participated in art fairs around the world, including Art Fair Tokyo and Art Collaboration Kyoto, NADA and Untitiled in Miami, and EXPO Chicago. Circle Contemporary, Arts of Life’s rotating exhibition gallery that features recent works from in-house artists as well as guest contemporary artists is also mounting a special exhibition, What they said, March 28–May 9. Circle Contemporary is an extension of efforts to strengthen Arts of Life’s creative community, and it aims to provide a space and outlet for artistic inspiration and exploration.&nbsp;What they said&nbsp;is guest curated by acclaimed artists Nick Cave and Bob Faust. “We are overjoyed to be working with Bob and Nick on&nbsp;What They Said,” shares Fisher. “For 25 years, Arts of Life has worked to support the careers of our artists with disabilities. Collaborating with internationally recognized artists like Faust and Cave plays an essential role in increasing our artists’ opportunities for professional development as well as increased visibility.” <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1749402497/fe3wbqsgu7mknsvltftn.jpg">Image: Art work by Arts of Life artist David Kreuger Prolific artist and designer Faust says he was inspired by the formal qualities of Arts of Life artists’ recent work. “For What they said, Nick and I are making artwork selections based on the feelings that come up when we experience them. Whether it’s a clash of color, build-up of material or anintensity coming through repetitive mark-making, each has a way of getting under the skin.” Artists included in the exhibition are John Bateman, Shenequa Brooks, Saumitra Chandratreya, Joel Ebner, Dan Gamble, Ted Gram-Boarini, Ted Hamel, David Krueger, Lawrence M., Tim Stone, James Schenck, Lisa Solar, Oly Trindl, Maria Vanik, Frank Vega and Jean Wilson. Late this summer Arts of Life will have a dedicated exhibition at the Design Museum of Chicago, August 11–September 30, and a correlating Art on theMART projection later this year. Their annual Benefit Art Auction will take place on October 3. Arts of Life artist David Krueger says, “To me, art makes me really happy about myself, it gives me a lift. It makes me feel happy to experience the different colors and the different textures. It makes me feel more comfortable. I like to spread my feelings through my paintings.” With 25 successful years of art inclusion and exposure in the Chicago community, it’s clear that the work of Arts of Life and the joy they have to share through and for their artists is only getting started. DETAILS AT <a rel="noopener noreferrer" href="ARTSOFLIFE.ORG" target="_blank">ARTSOFLIFE.ORG</a>

Celebrating Arts of Life: 25 Years In, There's More Joy To Come

Spring is shaping up to be a busy&nbsp;season in Chicago’s art world, with new&nbsp;exhibitions across galleries and museums.&nbsp;Behind the scenes, many people in the community&nbsp;are working tirelessly to support artists and bring&nbsp;fresh perspectives to the public. We spoke&nbsp;with five insiders about what excites them now&nbsp;and what they anticipate next. To receive a copy of the print edition&nbsp;<a style="background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://835ba3.myshopify.com/" target="_blank">click here.</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748971082/x6yj3qqdoja6ifeigjcl.jpg"> <h4>Laura-Caroline de Lara – DePaul Art Museum</h4> “Our team at <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/organizations/depaul-university-art-museum-dpam" target="_blank">DePaul Art Museum</a> recently opened Christina Fernandez: Multiple Exposures, curated by UCR Arts’s Joanna Szupinska, in March. We have been loving introducing Chicago audiences to the LA-based artist’s photography, exploring migration, labor, gender, and Fernandez’s Mexican American identity. As part of our ongoing initiative to support Latinx artists, DPAM is honored to have recently acquired one of Fernandez’s works from the exhibition for our permanent collection, so audiences can continue to engage with her work in Chicago after the exhibition’s close. We also have an incredible array of public programs alongside the exhibition, including an exhibition tour with the artist during EXPO Chicago; a hands-on, multi-generational workshop with Chicago-based artist Victoria Martinez; and more. Simultaneously, DPAM will prep to launch our fall season, which includes a solo show for internationally renowned artist Iñigo Manglano-Ovalle and a survey of the history of the Young Lords Organization in Lincoln Park, which both open to all on September 11.”

Anticipating a Season of Art: Five to Talk to – Laura-Caroline de Lara 

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748619688/xp5obi9qlazyavwoarsm.jpg">Intuit's new exterior, with a vinyl building wrap by Bob Faust By GINNY VAN ALYEA Last week, after being closed for 20 months, Intuit Art Museum, formerly the Intuit Center for Outsider Art, reopened after an extensive renovation, both inside and out. Now encompassing three floors over 18,000 square feet, among the dramatically enhanced spaces that will welcome Intuit visitors are four exhibition galleries; a dedicated education and art-making studio; a flexible community gathering space to host performances, lectures and activities for visitors; a revamped gift store featuring an array of unique, fun and artist-made products; and a reimagined Henry Darger Room and interpretive exhibition, showcasing the art and life of the iconic Chicago artist over the span of two floors. Intuit’s staff is especially proud of the physical upgrades to accommodate all guests, including a new passenger elevator, interior staircases, and an accessible and welcoming entryway.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748619688/nmzysaatpspwz5q63e1h.jpg">The Henry Darger Room Founded in 1991 as a nonprofit, Intuit is a premier museum of self-taught art. Intuit champions the diverse voices of self-taught art, welcoming both new and familiar audiences.&nbsp; At the press gathering in front of a packed room – named the Cleo (after one of Intuit's biggest supporters, Cleo Wilson) – Intuit's Executive Director Debra Kerr repeated the old, very long name (Intuit:&nbsp;The&nbsp;Center&nbsp;for&nbsp;Intuitive&nbsp;and&nbsp;Outsider&nbsp;Art) seemingly one last time in order to officially usher in a new day for the creative organization in its refreshed West Town home. Kerr was ecstatic to laud the new identity&nbsp;in the spirit of welcoming not just artists but the many Chicagoans and visitors to the city who are not familiar with Intuit's mission of recognizing artists who are outside of the mainstream and who did not, or could not, go to art school often, because of barriers–geographic or societal or other. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748619689/lkfwot7jq8lnffg0shdh.jpg">Sculptures by Dr. Charles Smith Because of Intuit, Chicago is recognized worldwide as one of first places to represent these artists. Now, following a $5 million business development grant from the City of Chicago, Kerr and the Intuit team were able to realize a dream to have more exhibition space as well as educational classrooms and to make their 100 year old building accessible. 27th Ward Alderman Walter Burnett Jr. credited Intuit with paving the way for the community growth that has happened around West Town over the decades. "Intuit has been here a long time," he said. "There used to be Cabrini Green here, gas fires and vacant properties. Intuit had the foresight, like many art spaces, to go where others hadn’t. Artists make a city vibrant and that brings diversity to the neighborhoods." * <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748619690/p9gwgucxvtdxd2bsgqhs.jpg">A work by Charles Warner from Catalyst, looking out into West Town Intuit's first exhibition in the new space is installed throughout the second floor, which overlooks the busy West Town intersection of Chicago, Ogden and Milwaukee Avenues. The groundbreaking&nbsp;<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://qjxtjxbbb.cc.rs6.net/tn.jsp?f=001qGm0Cd0PQG4MW-49mn3aXLXOsgDPbh3B3euYI72gHm-lSYJ9xSsbRtc8VLytOv-dCXvC-GAgSC1obO-CByMoydjMKWCDn1DBTGwGYkbYBVx3o7CIpiTO90qYWlRnfnC4FxWwHeLRQwgKjSCZwKryMEqOAWFr6ceDwlaCEXM-cwvpd0WVbwCPCw==&amp;c=JYDNkpGo5Up_ciQdGCOCPBK0NOir0ppJ7m0Oy-FlvwVWyXDDCUaGLg==&amp;ch=AZmHzuGSdNJtHxLBuS3MjN7Mspa5FRMPd9CG_JEMdwG0IUEU-jwURw==" target="_blank">Catalyst: Im/migration and Self-taught Art in Chicago</a> is the first major exhibition to focus on the importance of immigration and migration in the genre of self-taught art.&nbsp;Catalyst&nbsp;explores the contributions of artists who came to and continue to enrich the culture of Chicago, a city with a significant and ongoing history of migration and immigration.&nbsp; Permanently on view is <a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://qjxtjxbbb.cc.rs6.net/tn.jsp?f=001qGm0Cd0PQG4MW-49mn3aXLXOsgDPbh3B3euYI72gHm-lSYJ9xSsbRq_rNVn5wMHpPyBmOHGCoe-ZaX-TewRgOUKKRYq5YUDQbBuDsDn4IGN0yJqKHNQGAEPsUe-eOCE4J9wNu4PU8cnTs4Ot8GebQ9DtKzwb1GijUWdQGT9h4YPRxyUsUtORiA==&amp;c=JYDNkpGo5Up_ciQdGCOCPBK0NOir0ppJ7m0Oy-FlvwVWyXDDCUaGLg==&amp;ch=AZmHzuGSdNJtHxLBuS3MjN7Mspa5FRMPd9CG_JEMdwG0IUEU-jwURw==" target="_blank">Henry Darger: The Room Revealed</a>, which celebrates the legacy of the noted Chicago artist through exhibition of his artworks, source materials and evocation of his apartment at 851 Webster Avenue in Chicago’s Lincoln Park neighborhood, which doubled as his home and studio for more than 40 years.&nbsp;Darger's images are animated in the windows of the apartment space and a wall with digital representations of the ephemera and papers he saved gives viewers a feel of what the artist's creative environment was like. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748619691/d59o3sfn0xp56tbjoqwx.jpg">A work by Lee Godie <a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://qjxtjxbbb.cc.rs6.net/tn.jsp?f=001qGm0Cd0PQG4MW-49mn3aXLXOsgDPbh3B3euYI72gHm-lSYJ9xSsbRtc8VLytOv-dZRIP5yycpATq9DWd0oEqoVbIV-uDN9yeRnZn60SiTTTOPKOFrhsp21Zn-1XBHRy5E6P6iXkELflbK172G3-ROAftwP2elFHl8DjANffPgyJRG9zKfsevQkY1H90M5CAInP0TGtLe1gfLMNwxd1jNibguITY0uk2K&amp;c=JYDNkpGo5Up_ciQdGCOCPBK0NOir0ppJ7m0Oy-FlvwVWyXDDCUaGLg==&amp;ch=AZmHzuGSdNJtHxLBuS3MjN7Mspa5FRMPd9CG_JEMdwG0IUEU-jwURw==" target="_blank">Highlights from the IAM collection</a>&nbsp;are also now on view in in the first-ever gallery devoted to continually exhibiting the Museum’s collection. The exhibition acknowledges significant work made by Chicago-based artists such as William Dawson, Lee Godie, Mr. Imagination, Roman Villarreal, Wesley Willis and Joseph Yoakum. Intuit may have been closed for over a year and a half, but this reopening means that the public will enjoy the museum and its unique mission for many years to come. # <a rel="noopener noreferrer" href="https://art.org/" target="_blank">Intuit Art Museum</a>756 N. Milwaukee Ave.Chicago, IL 60642 HoursWed-Sun: 11 am–6pmThird Thursdays: 11 am–8 pm Admission is $15, or free for members, those 24 and younger, and those unable to pay.&nbsp;

Intuit Art Museum Reopens to Welcome the Public Inside

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748544046/adfpqvcebxwukzt3kguc.jpg"> In an email today EXPO CHICAGO announced that fair founder and Director Tony Karman will be stepping back. The full announcement is below. This leadership change comes after EXPO CHICAGO was <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/expo-chicago-to-be-acquired-by-global-art-fair-platform-frieze" target="_blank">acquired by Frieze</a> in 2023. Then at the beginning of this month after the April fair wrapped up, it was announced that a new company founded by <a style="color: rgb(13, 13, 13);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/ari-emanuels-new-company-buys-frieze-owner-of-expo-chicago" target="_blank">Ari Emanuel</a> would acquire Frieze. It's hard to say just how much Tony has contributed to Chicago's art fair legacy and to the many organizations he has championed and supported in visible and invisible ways over the years, including CGN. We are grateful for his vision, his leadership and most of all, his optimism. – Ginny Van Alyea, CGN Publisher After 14 remarkable years as a driving force behind the fair, Tony Karman will step back from his role as Director of EXPO CHICAGO at the end of June. He will continue as President of the fair, serving in an advisory capacity to support the team.&nbsp; Frieze will now begin the search for a new Fair Director, with Tony providing continuity and counsel during this transition.&nbsp;&nbsp; Simon Fox, CEO of Frieze, said: “I want to thank Tony for his dedication, professionalism, and energy at EXPO CHICAGO. I am delighted that this next chapter will ensure a seamless transition of leadership whilst retaining Tony’s tireless enthusiasm, positivity, and support for both the fair and the City of Chicago.”&nbsp; Reflecting on his time with the fair, Tony said: “When I founded EXPO CHICAGO in 2011, our ambition was to renew Chicago’s storied tradition as a preeminent art fair destination — to innovate, to establish enduring programming and partnerships that would benefit the local, regional, and global communities of galleries, collectors, curators, and institutions, and to consistently support our exhibitors and the artists they represent. I remain deeply proud of all that we accomplished, and of the distinct honor it has been to work alongside an extraordinary group of individuals, each of whom contributed meaningfully to this legacy.&nbsp;&nbsp; As I move into a new advisory role with EXPO CHICAGO, I want to acknowledge the deep commitment Frieze has made to both the fair and to Chicago’s wider cultural landscape. I’m extremely grateful for the opportunity to continue supporting the team as they shape the future of the fair.”&nbsp; Tony’s leadership has played a defining role in shaping EXPO CHICAGO, driven by his dedication, and we look forward to building on the strong foundation he has built.&nbsp;

EXPO Founder Tony Karman to Step Down As Director

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748271434/kczntekbncdunnmyysgi.png"> By GINNY VAN ALYEA An adventure for families and for a carload of friends is to head north for a night or two in Door County, Wisconsin. Door County Contemporary is a brand new contemporary, regional art fair that is blending the best of this beautiful, welcoming part of the country with some of the area's best galleries. DCC was born from the desire to address a lack of contemporary art in an otherwise culturally enriched and dynamic destination. There is no shortage of visitors to Door County, especially in the summer, but DCC founders saw an opportunity to also introduce some of the region's best contemporary art to the area for a weekend at the start of summer. Organizers wanted to do a fair with enthusiasm that embraces the energy, vision, and welcoming spirit of the region. ﻿DCC will host 20 art galleries from Wisconsin and beyond while welcoming thousands of art lovers from around the United States. It will also feature a wealth of site-specific art works and projects, plenty of Wisconsin-centric food and drink, and curated events and art-related projects. Several participating exhibitors hail from Chicago, a sign of warm cross border relations for sure. If you can't make it to the fair, maybe one of these galleries will bring back some Spotted Cow for you (hint: 65 Grand, Oliva, Process/Process, Western Exhibitions, Devening Projects...) I love any excuse to go to Wisconsin but I have also spent all my life going to the Northwoods, Madison, Green Bay, Sheboygan and Milwaukee and expanding my own understanding of all that Wisconsin has to offer. Yes, good cheese curds are a revelation and a properly made Old Fashioned (bitter, not sweet) is a treat every time, but it's a mistake to reduce such a dynamic state to some stereotypes that seem to always volley over the Illinois border. DCC organizers say they hope to leave visitors feeling they’ve married the best of fine art with the idiosyncratic swagger of the region, meant to resonate long after its visitors exit the highway. The events, the setting, the tastes and smells, and of course the world class art will create something far greater than the sum of its eclectic parts: woodsy tradition and bleeding-edge cultural objects; Spotted Cows and conceptual art; and all the best things talented humans can deliver to the world to make it worth inhabiting. It will be worth the trip to find out. Jun 5-8, 2025Opening: Thursday, Jun 5, 4 – 7:00 PMPeninsula School of Art in Fish Creek, Wisconsin<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/event/randolph-street-market-festival-may-2025/" target="_blank">Details</a><a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.instagram.com/doorcountycontemporary/" target="_blank">@doorcountycontemporary</a>

A preview of Door County Contemporary in Wisconsin in 2025

Door County Contemporary Brings Art of Today to Wisconsin, June 5–8

By GINNY VAN ALYEA As we head into another Memorial Day weekend, thoughts will be on summer art hallmarks like some of the city's longest running art fairs and markets, several of which have been taking place for decades. Each weekend is an opportunity to travel around the city and spend time in its neighborhoods being a part of these traditions and creative gatherings. View CGN's <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events?filter=upcoming&amp;page=1" target="_blank">full calendar of events</a> taking place all summer long. More events, including art fairs and festivals will be added each week. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748269856/cgqwqufqdwbqzjjxrdqg.jpg"> <h4>Randolph Street Market –&nbsp;May 24 &amp; 25 in West Loop</h4> The Randolph Street Market opens in the West Loop on Saturday May 24 and runs on Sunday the 25th as well. The summer market takes place outside as well as inside of Plumber's Hall, making for a true treasure-hunting expanse. Open 10am to 5pm both days (with a charity preview on Saturday at 9am) the 2025 Garden Party features 200 sellers offering the best vintage, antique &amp; repurposed furniture, art, decor, ephemera, vintage fashion and global goods. Tariffs be damned! There's also continuous live music &amp; DJ’s as well as fun food and libations to keep the party going and the wallet open... This year RSM founder Sally has gotten extra creative and there are festive ticket packages for families (drinks for adults, snacks for kids) as well as outings with your girlfriends (Prosecco for everyone!) and for students (cheap tickets that mean you can buy your own drink!) May 24 and 251341 W Randolph StIndoor &amp; Outdoor<a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://randolphstreetmarket.com/event/randolph-street-market-festival-may-2025/" target="_blank">Details</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748269857/z39m2agluxtivhhxjg0g.jpg"> <h4>57th Street Art fair – June 7 &amp; 8 in Hyde Park</h4>​Kick off the summer at the first major art fair of the season, located in the beautiful Hyde Park neighborhood on the South Side of Chicago. <a rel="noopener noreferrer" href="https://www.57thstreetartfair.org/" target="_blank">The 57th Street Art Fair</a> is THE place to buy art, whether you’re a seasoned collector or new to the art scene. Listen to some of Chicago's best Blues music at the Buddy Guy's Legends Stage, meet friends, bring your family, enjoy the day at this historic, welcoming, fun event. All artists exhibiting at the Fair are stationed in their booths throughout the weekend to discuss their work. Saturday, June&nbsp;7, 11–6 and Sunday, June 8, 10–5Admission is always FREE <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748269859/bkcfpktwmzevf2cqqlad.png"> <h4>Gold Coast Art fair – June 7 &amp; 8, Downtown</h4> Amdur Productions puts on a nonstop run of art fairs in the city and the suburbs from Memorial Day onward (view full schedule <a rel="noopener noreferrer" href="https://amdurproductions.com/" target="_blank">here</a>) During the first weekend in June the long-running <a rel="noopener noreferrer" href="https://amdurproductions.com/gold-coast-art-fair/" target="_blank">Gold Coast Art Fair</a> marks its 67th year and returns to Chicago’s Grant Park. Featuring over 200 juried artists from across the country, with a diverse range of original works in painting, sculpture, jewelry, ceramics, mixed media, and more, thousands of visitors are expected. Set in the heart of Chicago, between the Art Institute and Lake Michigan, the Gold Coast Art Fair offers an exciting atmosphere with live music throughout the weekend, and a variety of food, wine, beer, and sangria at three oases in Grant Park’s Butler Field. The fair also includes Paint and Sip classes, henna art, caricatures, personalized poems, and interactive art booths for kids. The Kids Art Zone is packed with fun activities, including face painting, sand art, giant bubbles, and more. Saturday, June 7 and Sunday, June 8, 10a-5p daily. Tickets are $15, with $2 from each sale benefiting WINGS Program, Inc., a non-profit organization dedicated to providing housing, integrated services, education, and advocacy to end domestic violence. Children 12 and under are admitted free. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748269860/vxwawcqm3f2lbqkuwr2o.jpg"> <h4>Fox River Arts Ramble, June 7 &amp; 8 in St, Charles</h4> The Fine Line Creative Arts Center invites you to <a rel="noopener noreferrer" href="https://fineline.org/pages/fox-river-arts-ramble" target="_blank">The Fox River Arts Ramble</a>, a one-day ramble through the Fox River Arts area, showcasing the amazing art and artists in this creative community west of Chicago. Fine Line's ever-popular Outdoor Artisan Market will feature new and returning artists, live music, and art demonstrations. Riverlands Brewing Company and Inches Taco Truck will offer great beer and great food! There is a music lineup and there will be dozens of local artists offering affordable art. Saturday, June 7, 10 am - 4 pmSt. Charles, ILNo Admission Fee. Includes the Fine Line Art Festival.Open Rain or Shine <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748269861/aeft2rfmufypdoihewnx.jpg"> <h4>Old Town Art Fair - Jun 14 &amp; 15 in Old Town</h4> Chicago’s legendary&nbsp;<a style="color: blue;" rel="noopener noreferrer" href="http://www.oldtownartfair.org/" target="_blank">Old Town Art Fair</a>, now celebrating its&nbsp;75th&nbsp;Anniversary, returns to the heart of the historic&nbsp;Old Town&nbsp;Triangle&nbsp;Historic&nbsp;District the second weekend in June. Established in 1948, the Old Town Art Fair is one of Chicago’s oldest juried art fairs and one of the first fine art fairs of its kind in the country. Organized by the non-profit&nbsp;Old Town Triangle Association&nbsp;and completely volunteer-run, this year’s Fair will be the most festive in its milestone 75-year history, attracting over 230 artists from across the country plus live music on two stages; an array of classic Chicago food and beverage options from local vendors; a dedicated Children’s Corner featuring interactive activities and crafts for kids; and the return of self-guided Garden Walks in over 50 gardens in the Old Town Triangle neighborhood.&nbsp;Annually, the Fair introduces artists to an estimated 30,000 art lovers over the course of the two-day event.&nbsp; Chris Nelson, Old Town Art Fair 2025 Chair, noted that a record number of artists applied to exhibit this year. “We have world class artists across all media showing with us,” he said. “We continue to expand our search for new exhibitors to ensure talented contemporary and upcoming artists are well represented, bringing a fresh feel to each year that has contributed to the Fair’s longevity and legacy over the past 75 years. From exceptional art to strolling Old Town’s historic gardens, there will be something for everyone to discover in this year’s Fair!” Along with the visual art offerings, the Garden Walk--an attendee-favorite year after year--offers visitors the opportunity to tour over 50 gardens, many of which are private and only viewable during the Art Fair. Organizers provide historical information, fun facts, and anecdotes about the homes, architecture, and past and present residents. Old Town’s quaint green spaces make the neighborhood a charming and delightful destination for locals and tourists alike.&nbsp; Proceeds from the suggested donation of $12 for adults (free for children) go&nbsp;directly back into local schools, arts, and cultural programs in the area, including historic and architectural preservation clubs; the Menomonee Club; and the Old Town Triangle Association. Saturday, June 14, 10am-7pm, and Sunday, June 15,10am-6pm.OldTown&nbsp;Triangle&nbsp;Historic&nbsp;District - Main Gate at the intersection of Lincoln and Wisconsin StreetsTakes place, rain or shine <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748269861/bxmugsngdo56tlu3b34g.jpg"> <h4>Art Fair on the Square, Jul 12 and 13, Madison, WI</h4> One of the Midwest’s most popular and highly regarded outdoor celebrations of the arts will return to the Capitol Square on Saturday, July 12 and Sunday, July 13, 2025, as MMoCA presents the 67th annual Art Fair on the Square. With its mix of music, entertainment, and outdoor dining, as well as over 500 artists exhibiting paintings, prints, photographs, sculpture, jewelry, handmade clothing and accessories, and fine craft, the fair draws nearly 200,000 visitors to Madison’s Capitol Square. Madison, WISaturday, July 12, (9 AM–6 PM)Sunday, July 13, (10 AM–5 PM) # View CGN's <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events?filter=upcoming&amp;page=1" target="_blank">full calendar of events</a> taking place all summer long. More events, including art fairs and festivals will be added each week.

Preview of art fairs and festivals taking place in Chicago summer 2025

Summer Art: Time for Markets and Festivals 

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748035235/iwsqvnnqsujb8miww8zt.jpg">Wallace Bowling,&nbsp;Champion By GINNY VAN ALYEA Wally Bowling enjoyed a career as an architect for over 30 years, all the while living and working in proximity to his life partner Douglas Dawson’s eponymous gallery in Chicago. When I first began working at CGN many years ago, I got to know both Dawson and Bowling. Dawson’s gallery fit with the community of galleries that were primarily contemporary, even though he specialized in ancient and historic tribal art from all corners of the world. Dawson closed the gallery in 2017, however elements live in their gorgeous vintage Edgewater apartment overlooking Lake Michigan, which I recently visited on a late Monday afternoon this past winter. Upon stepping off the elevator onto the private floor, you can feel the weight of the art’s history and the care and preservation the couple have shown for it. From room to room remarkable objects are primely placed–pots from Africa, linear furniture and symmetrical pottery from Japan, a collection of stone tools. Excellent talking points, we discussed the consideration of form, shape, and structure, things that Bowling is attuned not just due to his architectural background but because he is also an artist, something he has been actively embracing for the past decade. I had not seen Bowling very often since the gallery closed, but Bowling invited me to his home so I could view some of his recent artworks he has been assembling, pieces that he calls constructs. Bowling has retired as an architect, but his creative instincts still find an active outlet in his art. His first gallery exhibition was in his hometown of Louisville, Kentucky a decade ago. As much as it is a form of expression, art making can also solve a design problem, such as how separately interesting objects can fit together to make something entirely new.&nbsp; Bowling’s constructs are placed throughout a set of ebonized bookshelves lining the full length of a wall in the lakeside dining room. None is particularly large in scale, but each features many curious, yet mostly familiar, utilitarian elements–knobs, hooks, latches, handles. The additions of found photographs, game pieces and text unify the disparate pieces into something new, almost ideally matched.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748035237/oe1myvbhdmkmueb6jhew.jpg">Wallace Bowling at home in Chicago. Photo by CGN. Several works are made from cigar boxes, containers Bowling says he used to find easily when traveling between Kentucky, Chicago, Madison and his and Dawson’s farm in Iowa. “What was interesting is that all the cigar stores were keen on recycling these boxes. Each of them had a charity that they wanted to donate the few bucks that you’d buy them for.” This resourcefulness impressed Bowling, and the architect in him was excited when he realized that the factory molds he had found in another shop fit neatly into the boxes, like they were meant to be despite disparate purposes. Finding and acquiring the molds made Bowling wonder what each one would have been for. Initially Bowling says, “The architect in me would sit down and do a drawing, and I would foolishly try to find the pieces that I wanted for it. I got over that really quickly.” A fit makes itself known, but it cannot be forced. Bowling says he is glad he bought what he could over the years because many of the antiques stores and flea markets he sourced his boxes and molds from are no longer around. While he could search more easily online today than years ago, he says that’s not the same as happening upon one object in a market and then waiting to encounter the piece that will make its match.&nbsp; Browsing the collection of constructs along the bookshelves, it’s as if I am looking over a set of family photographs, not because of the images within many of the boxes but because of the thematic and visual similarities I see. It’s as if they are a family–not an immediate or nuclear one but generations gathered at a reunion. I start to guess which pieces came before the others. Bowling’s process, while methodical and precise due to his architectural roots, is deliberate but I don’t think he has limited himself to thematic blocks, due to the serendipitous nature of sourcing his materials. Some of his constructs showcase tools that are no longer widely used, others show off the beauty of an obsolete factory mold. When I remark that many are phallic, though he points out there are nude women here and there as well. Others hint at a secret sadness. While others have attachments which might be harmful, if not handled properly. Each one is a departure from its material’s original purpose and contains a surprise.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748035239/edrlb2mcnlym2recqymw.jpg">Wallace Bowling, Amended cigar box with vintage aerial image of nuns’ cornettes. Wallace Bowling, Amended cigar box with vintage aerial image of nuns’ cornettes Bowling shares a story about a simple thin box with a hinged lid that was once a popcorn box, perhaps for storing kernels. He joined a handle on the side of the box at the suggestion of a friend, and he pasted an image to the inside, revealed to anyone who opens it. The amended and reassembled photograph is a vintage aerial shot of nuns’ cornettes. Bowling hails from Kentucky, but for many years now he and Dawson have spent about half the year on their farm in Harpers Ferry, Iowa, where they enjoy rural quiet and the chance to live and work outdoors, and the other half in Chicago. Traveling between their two homes, and a bit beyond, means Bowling frequents galleries and museums on both sides of the Wisconsin and Minnesota border, which has led to several institutional relationships over the years, from the Racine Art Museum, to the Chazen Museum of Art on the campus of the University of Wisconsin-Madison, as well as the Lanesboro Art Center in Lanesboro, MN. Bowling and Dawson have long been world travelers, but now with the gallery closed they have the freedom to slow down and spend longer stretches in Iowa, where Bowling can work out of his rural studio and take time to tinker and experiment with his designs. His artistic process is similar to solving a design problem in that he has to take the measure of a project and then find what elements go together best. He also likes to take his time. Sometimes, Bowling shares, he starts with a sketch. Other times he shops his own studio, where the shelves are filled with tubes and boxes and organizers intended for tools and assembly pieces.&nbsp; Much of Bowling’s eccentric interests come out of the many art forms he has dabbled in: welding, ceramics, painting, and a lot of his collection he has dubbed “the museum of the discarded” as it’s filled with things you might find in an antique shop. He brings something home because it has a really unusual shape, he explains, or a patina. He points to a large, rusty, collapsed oil container he scavenged when traveling abroad. When some vendors nearby wondered what he saw, he explained he collects things he sees as interesting. “You never know what you might need it for,” he admits. Just in case, Bowling keeps numerous Bakelite radio knobs, drawer pulls, plumbing fixtures and other items on hand in his studio. “On their own they don’t mean a lot, but frequently they’re the perfect piece.”&nbsp; Bowling has been considering building a really large construct. “I might do a whole series of boxes that would make a landscape, and they could be filled with architectural objects and images.” He imagines they look like small domiciles, once again referencing his architecture career. “These shapes, they’re perfect. Even how they’re arranged they come across with a strong architectural influence, but they’re definitely their own creations.” Somehow, this artist will find how to fit them all together. ﻿<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748035241/grss7jmqdsdr2jhpqzmf.jpg">Wallace Bowling, Exquisite Horse

Constructing Surprises: Wallace Bowling

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747866640/xqflunbxtmliotyelay8.jpg">Newfields IMA, Photo by Eric Lubrick; Courtesy of Newfields By BIANCA BOVA For those attuned to the dramas of the art world, Newfields needs no introduction. Formerly the Indianapolis Museum of Art (founded 1883), the institution reconceptualized itself in 2017, marrying the museum to its grounds and surrounding attractions in Indianapolis, Indiana. Newfields became the unified name for the 152-acre compound that houses the Indianapolis Museum of Art, Fairbanks Park, The Garden, Lilly House, and the Elder Greenhouse. It then further extended its brand to the Miller House and Garden in Columbus, Indiana. The rollout of this expansion and rebranding was less than smooth. It was deemed by critics to be “<a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.bloomberg.com/news/articles/2017-12-29/why-is-everything-being-designed-for-instagram" target="_blank">the greatest travesty in the art world</a>,” and earned Newfields’ then-director Charles Venable the honorific of “<a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://news.artnet.com/art-world/newfields-director-charles-venable-indianapolis-art-museum-1218602" target="_blank">the most controversial museum director in America</a>.” The museum was accused of abandoning its mission, and Venable of turning “a grand encyclopedic museum into a cheap Midwestern boardwalk.” Venable resigned from his role as Director in 2021, though not officially because of the backlash from his refocusing of the museum’s program. Rather, it was a decision born of the fallout from a <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.nytimes.com/2021/02/13/arts/design/indianapolis-museum-job-posting.html" target="_blank">racially insensitive job posting</a>. All of this left Newfields seemingly adrift, and the institution cycled through an astonishing <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.nytimes.com/2024/08/26/arts/design/indianapolis-museum-le-monte-booker.html" target="_blank">three leaders in just four years</a>. Today it is helmed by Director Belinda Tate and President and CEO Le Monte Booker, whose efforts to right the ship are legible.&nbsp; Its museum is one that I know better than most. I was born and reared in Indiana, and I come from a family of automotive professionals and enthusiasts. All my life we made regular trips from my hometown of St. John down to Indianapolis to attend events at the Indianapolis Motor Speedway. These trips invariably included visits to the Indianapolis Museum of Art as well. The IMA looms as large in my memory, and went as far in forming my interest–and eventually my taste–in art as did the Art Institute of Chicago.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747866641/nfkddwkkcuwg9da6feg6.jpg">Roy Lichtenstein (American, b.1923–d.1997)Five Brushstrokes, 2012; Design Date 1983-84painted aluminum480 x 77 x 15 in. (assembled)Courtesy of the Robert L. and Marjorie J. Mann Fund, Partial Gift of the Roy Lichtenstein Foundation Still, I never felt compelled to visit Newfields. I met every headline regarding its dysfunction with fresh disappointment. Earlier this year I was given good reason to reconsider my position, when a checklist for one of their current exhibitions <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://discovernewfields.org/exhibitions/message-medium-contemporary-art" target="_blank">The Message is the Medium</a> landed in my inbox. There isn’t really a museum I wouldn’t go to for a show with a roster that reads in part as follows: Vito Acconci, Robert Irwin, Donald Judd, Anselm Kiefer, Robert Rauschenberg, Do Ho Suh, Rachel Whiteread, Richard Hunt, Roger Brown, Robert Smithson, Lynda Benglis, Simone Leigh, James Turrell. So I booked a trip to Indianapolis and went to Newfields, ready to be impressed by the exhibition and resentful of the degradation of its environs.&nbsp;&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747866641/vz2svd1v43rempminwcz.jpg">Vito Acconci (American, b.1940 - d.2017)&nbsp;Round Trip (A Space to Fall Back On), 1975; rebuilt 1987Medium and Support: stools, boxes, audio tape Dimensions: Dimensions variable The exhibition itself is not without curiosities that are suggestive of ongoing administrative troubles (no one, including the exhibition’s curator, could pin down an end date for the show or explain to me why it seems to be in the middle of an indefinite run). Setting that aside, it is an exceptional exhibition. Vito Acconci’s Round Trip (A Space to Fall Back On) and James Turrell’s Acton are both early masterworks requiring participatory attention that alone makes a visit worthwhile. Robert Rauschenberg’s Sling-shots lit #3, one of the few pieces from a series that utilizes sailcloth, mylar, and moveable window shade systems to remain in public circulation, as well as Anselm Kiefer’s Die Himmelspaläste (The Palaces of Heaven), are proof positive of the deep collecting habits of a handful of notable benefactors to the museum, as well as the commitment of the museum’s Contemporary Art Society (which for 58 years acquired work for the permanent collection, until being dissolved in 2020, along with the rest of Newfields’ affiliate organizations). The show is rounded out by a suite of loans (the aforementioned Smithson, Leigh, and Benglis sculptures) from <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://artbridgesfoundation.org/exhibitions/crystal-bridges-museum-of-american-art" target="_blank">Art Bridges</a>, the partner loan network of Crystal Bridges. It's of interest to see this initiative put into practice, and the works lent make a fine complement to the museum’s contemporary holdings.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747866642/djqlvjneofgtxbbx13nj.jpg">Simone Leigh (American, b. 1967)&nbsp;Las Meninas II,&nbsp;2019Medium and Support: terracotta, steel, raffia, and porceleinDimensions: 71 1/2 x 77 1/2 x 62 in. Beyond the contemporary galleries are equally satisfying exhibitions drawn from the museum’s extensive American Art, Asian Art, European Art, African Art, Native Art of the Americas, Textile and Fashion, Design, and Glass collections (the lattermost being especially robust, as it's a <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://indianaglasstrail.com/history/" target="_blank">regionally significant medium</a>). Periodically the galleries are punctuated by interdepartmental installations that veer from the heavy-handed (a Jenny Holzer LED sign hung alongside a 15th century Italian wedding chest sidepanel) to the smart and striking (paintings by Joan Mitchell and Sam Gilliam flanking a set of Frederick Wilson Tiffany stained glass windows depicting the Angel of the Resurrection). Also of note is the museum’s atrium, which houses one of only a handful of large-scale, site-specific institutional commissions by the late light and space artist Robert Irwin. Light and Space III spans the rise of the escalators servicing the museum’s four floors, lending the space an ethereal, heady, almost spiritual atmosphere. By way of special exhibitions on view, the Robertson-Slapak Collection of Chicago Imagist works puts to shame any other retrospective of the group’s output mounted in the past decade, and speaks to what feels like an oft-overlooked Midwestern collector class that has pockets as deep and taste as good as any propping up the more well-known institutions in larger cities.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747866643/d6q6tgf0f9rjs0lbkdzg.jpg">Kathryn Janeway,&nbsp;Michael, 1978&nbsp; Down in the museum’s lower level, alongside the theatre and the giftshop, one finds galleries presently devoted to the 93rd Annual Juried Exhibition of The Indiana Artists Club and a show, Artists Among Us, of works by Newfields’ staff. One work included in the latter, a 1978 photograph entitled Michael, by Kathryn Janeway (a member of the museum’s security team, who shared with me that she had not previously exhibited her work), is nothing short of exceptional. I continue to think about it daily, which I can't say about much other work I’ve seen recently. Both exhibitions feel like throwbacks to a time when institutions on the whole were more in touch with and respectful of their core constituencies–which is to say, those engaged directly with the art world, rather than the general public at large–and were as much a pleasure as a surprise to see.&nbsp; All told, Newfields should be on the shortlist of museums that are in and of themselves a worthwhile destination. May (when I went) happens to be an ideal time to travel to Indianapolis, as the city is energized by the lead-up to the “greatest spectacle in racing,” the Indianapolis 500, which is run every Memorial Day weekend. Moreover, there is not a more hypnotically beautiful place to be in the Spring than Indiana, and not a nicer place to experience the full pleasure of it than, quite honestly, on the grounds of Newfields. A long stroll through the manicured English gardens and rolling prairies that surround the historic Lilly House (itself a beautifully restored example of turn-of-the-century architecture) can replace all that a long, hard Midwestern winter depletes from one.&nbsp; In the aggregate all of this is almost–almost–enough to make one forget that Newfields is simultaneously responsible for propagating such cultural dreck as <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://discovernewfields.org/taptours/stop/1/stop-8" target="_blank">Funky Bones</a>, various <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://discovernewfields.org/lume-indianapolis-featuring-dali-alive" target="_blank">immersive projection rooms</a>, and of course the infamous <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="http://joyfulnoiserecordings.do317.com/events/2016/11/17/internet-cat-video-festival" target="_blank">Cat Video Festival</a> that seemed, with its debut, to signal the beginning of the end.&nbsp; All museums in all strata of the cultural sector are beleaguered by problems of one kind or another. It is inherent to their very nature, their bureaucratic form. Newfields has perhaps brought more problems onto itself than other institutions, and surely has borne them more publicly than most. For all of this, at the core still sits one of the great American museum collections, which in fairness ought to be a point of pride in the Midwest, for its content if not its delivery in concept. Still and all, the message–as we’re told–is the medium.&nbsp; Support for this article’s research was furnished by a&nbsp;Travel Grant for Visual Arts Journalism from the Dorothea and Leo Rabkin Foundation.&nbsp; # <h4>Read Bianca Bova's Indianapolis art itinerary <a style="color: rgb(136, 136, 136);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/three-hours-southeast-of-chicago-art-in-indianapolis" target="_blank">here</a></h4>

Recapturing an Indiana Art Center: A Visit to Newfields 

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747938470/oyrg1nzhr11skkj2ndup.png">Aerial view of Indianapolis. Photo courtesy Factory Arts District By BIANCA BOVA Indianapolis is just three hours southeast of Chicago, (four if you take the Amtrak Cardinal), making it an ideal destination for a weekend roadtrip. If you’re an avid museum-goer and haven’t made it down to Indy, plan your visit without further delay. Indiana’s state capitol is rich with museums both institutional and obscure, and nearly all of them merit a visit.&nbsp; <h4><a style="background-color: transparent; color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://discovernewfields.org/" target="_blank">Newfields</a> </h4> Newfields is the 152-acre compound that encompasses the Indianapolis Museum of Art, Fairbanks Park, The Garden, the historic Lilly House, and the Elder Greenhouse. The museum is an encyclopedic institution that houses a permanent collection of over 54,000 works spanning over 5,000 years of art and human history. Its contemporary collection is as strong as its collection of historical works and antiquities, and the grounds surrounding the museum campus are exceptionally beautiful.&nbsp; Read Bianca's CGN feature about her recent visit to <a style="color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/articles/recapturing-an-indiana-art-center-a-visit-to-newfields" target="_blank">Newfields</a>. <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747938472/szvrzecy75737cok4pqm.jpg">The Eiteljorg Museum in downtown Indianapolis, front exterior. File image courtesy of the Eiteljorg Museum&nbsp; <h4><a style="background-color: transparent; color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://eiteljorg.org" target="_blank">Eiteljorg Museum of American Indians and Western Art </a></h4> The Eiteljorg Museum was founded in 1989 with the mission to inspire an appreciation and understanding of the art, history, and cultures of the Indigenous peoples of North America and of the American West. The museum collects, conserves, and exhibits both contemporary and historical art and cultural objects. It is the only museum of its kind in the Midwest, and one of only two museums east of the Mississippi that explore both Native America and the American West, and as such is not to be missed.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747938475/fjgig34grxi22crsa0cb.jpg">Courtesy of the Indiana State Museum&nbsp; <h4><a style="background-color: transparent; color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.indianamuseum.org" target="_blank">Indiana State Museum </a></h4> Officially the Indiana State Museum is the anchor institution in a network of 12 sites of cultural and historical significance across the state. In practice, it feels more like a fever dream. Unfolding across three floors, it crosses the frenetic visual dynamics of a children's museum with the spirit of a small town historical society. The result includes more rotunda galleries lit with disco lights and taxidermy raccoons than any one museum frankly ought to have. As a Hoosier all I can say is that it does capture some element of absurdity endemic to life in Indiana with great accuracy.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747938478/ffiyhi4arjvcpwjecyur.jpg">Courtesy of the Indianapolis Motor Speedway&nbsp; <h4><a style="background-color: transparent; color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.indianapolismotorspeedway.com/at-the-track/museum" target="_blank">Indianapolis Motor Speedway Museum </a></h4> Fresh off their grand reopening after a seventeen-month-long, $60.5 million dollar renovation (its first in forty years), the Indianapolis Motor Speedway Museum has never been more worth a visit. While it now contains all the bells and whistles associated with contemporary American museums (new media displays, interactive elements, a kids section, etc.), the real star is the exhibition design. From the invisible mounting of the banked automobile displays in the main galleries to the historic life-size dioramas in Gasoline Alley, it's a rare example of flawless execution. For fans of the old IMS, note that it still retains its charm. The top floor gallery highlights deep archival content including a suite of Leroy Neiman paintings, Miss Speedway sashes, and Indy 500-themed pachinko machines.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747938481/pfr79ob4xgvlxislnhyq.jpg">Courtesy of Long-Sharp Gallery&nbsp; <h4><a style="background-color: transparent; color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.longsharpgallery.com/" target="_blank">Long-Sharp Gallery at the Conrad Hotel </a></h4> While strictly speaking not a museum, Long-Sharp is the only bluechip art dealership with an outpost in downtown Indianapolis. Operating out of a well-appointed gallery located in the residential wing of the Conrad Hotel, it’s worth a visit to see their exhibitions and whatever secondary market inventory is on hand. The trick, though, is to exit through the hotel lobby and sweet talk a bellman into letting you upstairs to view the hotel’s art collection. Then, if you can bear to part with the money, spend the night in one of their famed Collection Suites and enjoy a Warhol, Dali, or Picasso instead of the traditional milquetoast hotel art you could expect down the street at, say, the Holiday Inn.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747938484/anjts1r77dsyyie8gyne.jpg">Courtesy of Factory Arts District&nbsp; <h4><a style="background-color: transparent; color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.factoryartsdistrict.com/" target="_blank">Factory Arts District </a></h4> Once the home of legendary automotive engineering and manufacturing giant Schwitzer, the sixteen acre industrial complex on Mass Avenue on Indianapolis’ near eastside known as the Factory Arts District is a sprawling complex that contains galleries, artist studios, car collections, restaurants, event spaces, and vintage shops. Visit on the first Friday of each month for an open house event that features an exhibition opening in the central gallery, refreshments, open studios, pop-up vendors, and a DJ.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747938486/zkuugi1xr9zrnq0ze4bl.jpg">Courtesy TSLM <h4><a style="background-color: transparent; color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://www.visitindy.com/listing/teeny-statue-of-liberty-museum/279345/" target="_blank">The Teeny Statue of Liberty Museum </a></h4> Unlikely though it may seem, Indianapolis is home to a private museum that contains a permanent collection of over 450 pieces, all of which immortalize Lady Liberty in some fashion. For over 33 years, owner Tim Harmon has collected everything from Avon bottles, toothbrush holders, and lawn sprinklers, to cigarette lighters, pencil sharpeners, and condoms, all featuring the Statue of Liberty. Formerly located on Tenth Avenue, the museum has recently relocated to the aforementioned Factory Arts District. Admission is 50¢, though bringing an object to donate to the collection yields you a lifetime membership, gratis–a bargain whether you’re a fan of New York, Americana, or just obsessiveness.&nbsp; <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747938488/vnoownlnk6ecs4q09rbh.jpg">Courtesy AFCA Antique Fan Museum&nbsp; <h4><a style="background-color: transparent; color: rgb(0, 0, 0);" rel="noopener noreferrer" href="https://fanimation.com/museum/" target="_blank">Antique Fan Collectors Association Museum</a> </h4> Though you’ll have to travel to neighboring Zionsville, Indiana to visit the official Antique Fan Collectors Association Museum, I think you’ll agree it's well worth the out-of-town carfare charge to pay a visit to one of the more niche institutions in the Midwest. The promise that it contains an "overwhelming number of examples of antique fans from every era,” is one on which it overdelivers. Over 2,000 examples dating as far as the 1880s, amassed with the assistance of over 750 Antique Fan Collectors Association members, are on view, exhibited warehouse-style on shelving units. It’s not a wholly uninteresting place to pass an afternoon.&nbsp; ________________________________________________________________________________________________ <h4>Restaurants&nbsp;</h4> It’s not a proper trip to Indianapolis without dinner at the legendary <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.stelmos.com/" target="_blank">St. Elmo’s</a>, with their world famous, sinus-clearing shrimp cocktail. If you’re looking to escape downtown, head to Broadripple for an exceptional, rustic meal at <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.rootnboneindy.com/" target="_blank">Root &amp; Bone</a>. For mornings when the complimentary continental breakfast doesn’t cut it, stop by <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="http://www.goodmorningmamas.com/" target="_blank">Good Morning Mama’s</a> for authentic Hoosier cuisine, with a side of kitsch.&nbsp; <h4>Hotels</h4> If you can, by all means stay at the <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.longsharpgallery.com/" target="_blank">Conrad</a>. If you can’t, <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.marriott.com/en-us/hotels/indmd-le-meridien-indianapolis/overview/?nst=paid&amp;hmGUID=e6d1d0c2-0088-400a-14bd-aebc60518232" target="_blank">Le Méridien</a> will do. If you or your traveling companion happen to be railway foamers (or, like myself, just have mixed luck with hotwire.com) you might stay at the <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://crowneplaza.reservationscenter.com/hotel/crowne-plaza-indianapolis-dwtn-union-stn-an-ihg-hotel-123-west-louisiana-street-indianapolis?modal&amp;gad_source=1&amp;gad_campaignid=20486196362&amp;gbraid=0AAAAAo_xMh34wEchTPYbj1Z8D6TD4zgmo&amp;gclid=CjwKCAjwravBBhBjEiwAIr30VBFk4blvJJ3T0gu3D7lBhNmza2Hd5KxpocK_zi2nTqFod2HJcBOzeBoCvKQQAvD_BwE" target="_blank">Union Station Hotel</a>, where if desired you can opt for a room inside a vintage train car. If you prefer something more boutique, the <a style="background-color: transparent; color: rgb(17, 85, 204);" rel="noopener noreferrer" href="https://www.hotelbroadripple.com/" target="_blank">Hotel Broad Ripple</a> has a great deal of charm.&nbsp;&nbsp; Support for this article’s research was furnished by a&nbsp;Travel Grant for Visual Arts Journalism from the Dorothea and Leo Rabkin Foundation.&nbsp;

A writer takes a road trip to Indianapolis to see art

Three Hours Southeast of Chicago: Art in Indianapolis

Spring is shaping up to be a busy&nbsp;season in Chicago’s art world, with new&nbsp;exhibitions across galleries and museums.&nbsp;Behind the scenes, many people in the community&nbsp;are working tirelessly to support artists and bring&nbsp;fresh perspectives to the public. We spoke&nbsp;with five insiders about what excites them now&nbsp;and what they anticipate next. To receive a copy of the print edition&nbsp;<a style="background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://835ba3.myshopify.com/" target="_blank">click here.</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748038717/ko0afvdqszv9giugnro3.jpg"> <h4>Victor Armendariz –&nbsp;Gallery Victor</h4> “<a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/organizations/gallery-victor" target="_blank">Gallery VICTOR’s</a> busy spring and summer schedule includes a wonderful exhibit of photography by Kirill Polevoy titled Allure, which opened in conjunction with EXPO Chicago/Frieze on April 25.&nbsp; We are also thrilled to announce our representation of long-time Chicago artist Leopold Segedin, who passed away in January and left behind an extraordinary body of work. In May we will open a show at the Art Center Highland Park, Gallery VICTOR Presents: Our Time, which is an overview of the gallery that will fill all TACHP’s massive space through mid-June. Our summer show of monumental paintings by Brooklyn-based artist Nathan Brad Hall will cap off season.”

Anticipating a Season of Art: Five to Talk to – Victor Armendariz

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748039077/rruwjw9w6rwjj7qvtosb.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/ocean-house-may-2025" target="_blank">Ocean House May 2025</a>Begins May 21Lily Pad | West <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748039078/d4eoml3aphgv29c1qtbi.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/melissa-weber-ode-to-common-things" target="_blank">Melissa Weber: Ode to Common Things</a>Opening: Thursday, May 22, 6:00 PM – 9:00 PMEpiphany Center for the Arts <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748039079/zr3dmmacvonvw2atmglg.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/willie-kohler-there-are-many-nows" target="_blank">Willie Kohler: There Are Many Nows&nbsp;</a>Opening: Friday, May 23, 6:00 PM – 9:00 PM65GRAND <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748039080/ezyhkkcdrunq7rd1liun.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/sounds-better-with-you" target="_blank">sounds better with you</a>Opening: Friday, May 23, 5:00 PM – 8:00 PMCircle Contemporary (Arts of Life) <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748039081/mqqjunqvape0wemc107h.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/catalyst-immigration-and-self-taught-art-in-chicago" target="_blank">Catalyst: Im/migration and Self-taught Art in Chicago</a>Begins May 23Intuit Art Museum <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748039082/mebuvbyv2izwes1k9a8x.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/tom-torluemke-live-on-paper-1987-2024" target="_blank">Tom Torluemke: LIVE! ON PAPER, 1987 - 2024</a>Opening: Saturday, May 24, 1:00 PM – 4:00 PMChicago Cultural Center <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748039082/jprkm4nwfqbhkvxkupoz.png"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/friends-of-dorothys" target="_blank">Friends of Dorothy’s</a>Begins May 24Evanston Art Center <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748039083/bwz4kmwpf4ou4mdmgxwr.jpg"> <a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/photography-now" target="_blank">Photography Now</a>Opening: Saturday, May 24, 4:00 PM – 7:00 PMWoman Made Gallery

New Exhibitions May 21 - 24

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1748039035/s4bvypfb3gucinmlowvu.jpg"> Carved limestone Maya frieze, late classic period, 500-700 CE, 47" x 20"By CGN Staff via PR The&nbsp;<a style="background-color: transparent; color: rgb(0, 0, 255);" rel="noopener noreferrer" href="http://www.nationalmuseumofmexicanart.org/" target="_blank">National Museum of Mexican Art</a>&nbsp;(NMMA), announced that&nbsp;in collaboration with the Government of Mexico, it is facilitating the repatriation of a Mayan frieze to its place of origin in Mexico.&nbsp;&nbsp;&nbsp;At a press conference on Friday, May 16. Anthropologist Diego Prieto Hernández, Director General of the&nbsp;National Institute of Anthropology and History (INAH), a branch of the Ministry of Culture of the Government of Mexico, accepted the artifact. Dr. Antonio Saborit, Director of the&nbsp;National Museum of Anthropology in Mexico City, was also present. The limestone frieze, measuring 47”x 21”x 4” and dating from between 500 - 900 CE, is from the Classic Period of Maya civilization in Mexico and depicts a figure wearing an elaborate mask and headdress with hands extended as if speaking. Originally, there were two figures facing one another. The artifact, which was held in a private collection, was displayed at the Brooklyn Museum in the 1960s and 1970s and then at the Art Institute of Chicago in the late 1980s. Jeanne and Joseph Sullivan acquired the piece in 1988, and in 2024, their family sought the National Museum of Mexican Art’s assistance in returning the sculpture to Mexico. This past February the NMMA signed a Memorandum of Understanding with INAH to continue collaborating on projects and exhibitions that promote Mexico’s cultural patrimony. The NMMA Visual Arts Department worked with INAH to coordinate an orderly transfer of the Maya frieze.&nbsp;INAH has full normative and guiding power in the protection and conservation of tangible and intangible cultural heritage.&nbsp;This Mexican institution, founded in 1939, researches, preserves and disseminates the nation's archaeological, anthropological, historical, and paleontological heritage in order to strengthen the identity and memory of the society that holds it.&nbsp; Prieto emphasized that “through this act we wish to attest the significance for the Mexican Government to recover our archaeological and historical heritage, and in general the cultural patrimony of Mexicans that is improperly residing in other countries.” “Our mission compels us to advocate for practices that promote equity and acknowledge the significance of cultural heritage for communities worldwide,” said Cesáreo Moreno, Visual Arts Director for the NMMA. “By acknowledging the importance of cultural heritage to its originating communities, we promote a richer and more nuanced understanding of humanity.”&nbsp;“We are honored to collaborate on this repatriation mission with our colleagues at the National Institute of Anthropology and History and the National Museum of Anthropology. We encourage institutions that collect cultural objects to engage in open, respectful, and proactive dialogue with the communities and countries from which they originate.” Moreno said.&nbsp; # The National Museum of Mexican Art is one of the country’s most prominent Latino cultural organizations and the only nationally accredited museum dedicated to Mexican art and culture. Its Permanent Collection consists of more than 20,000 artworks. The museum has presented over 250 exhibitions, provides arts education to 52,000 students annually, and serves over 150,000 annual visitors from 60 countries. Admission is always free. For more information visit <a style="background-color: transparent; color: rgb(0, 0, 255);" rel="noopener noreferrer" href="https://urldefense.proofpoint.com/v2/url?u=http-3A__www.nationalmuseumofmexicanart.org&amp;d=DwMFaQ&amp;c=euGZstcaTDllvimEN8b7jXrwqOf-v5A_CdpgnVfiiMM&amp;r=FfBUr_MZk6PLh28C8c1iGjWQc97R0RMsKa1_eFuKPGI&amp;m=oCf9FuXvJHOQUdgdj1q3lYaeMMv03rD1bNDgLujGeCM&amp;s=IgIcU2FTm5YMogCHsOKH3EytMpGjrc32VosKz6U7SKE&amp;e=" target="_blank">www.nationalmuseumofmexicanart.org</a>.&nbsp;

National Museum of Mexican Art Facilitates Repatriation of Mayan Frieze to Mexico

Spring and summer is shaping up to be a busy&nbsp;season in Chicago’s art world, with new&nbsp;exhibitions across galleries and museums.&nbsp;Behind the scenes, many people in the community&nbsp;are working tirelessly to support artists and bring&nbsp;fresh perspectives to the public. We spoke&nbsp;with five insiders about what excites them now&nbsp;and what they anticipate next. To receive a copy of the print edition&nbsp;<a style="background-color: rgb(255, 255, 255);" rel="noopener noreferrer" href="https://835ba3.myshopify.com/" target="_blank">click here.&nbsp;</a> <img src="https://res.cloudinary.com/dfafo598z/image/upload/v1747427477/j8zhagwc0g2prcumklra.jpg"> <h4>Justin Witte –&nbsp;Cleve Carney Museum of Art</h4> “Right now, I’m deep in final preparations for Hokusai &amp; Ukiyo-e: The Floating World, our summer exhibition featuring works from the Edoardo Chiossone Museum in Genoa, Italy. After that, I’m super excited to shift focus back to some incredible Chicago artists. Opening October 16, 2025, Andi Crist will have a solo exhibition showcasing her phenomenal work in her largest show to date. Then, on January 27, 2026, our Assistant Curator Julia Walker presents Chairish, an exciting show featuring the unstoppable talents of Norman Teague and Alex Chitty. Both exhibitions promise to be absolutely phenomenal.” <a style="color: rgb(29, 29, 29);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/organizations/the-cleve-carney-museum-of-art-ccma" target="_blank">Cleve Carney Museum of Art</a> ﻿