<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419107/f5mgkx946jkqw5gb8ets.jpg"><figcaption>Just a few of CGN's 120 issue covers to date. Top row: The Sept–Dec 1991 cover of CGN in its slim format; The Spring 1994 issue was the first ‘large format’ edition, featuring Richard Gray Gallery artist Antony Caro; Vedanta Gallery (now Kavi Gupta), 1998, when the West Loop was a new gallery destination; Rashid Johnson at G.R. N’Namdi Gallery, 2002; Second row Carrie Secrist Gallery, 2004; Catherine Edelman Gallery/Julie Blackmon, 2008 (Ginny Van Alyea’s 1st issue as publisher); McCormick Gallery, ; Ed Paschke Art Center, 2014; Bottom row: Women in the Arts; 1st issue of annual CGN Arts Guide, 2017; Monique Meloche Gallery/Ebony G. Patterson, summer 2020; Tony Fitzpatrick, fall 2021</figcaption></figure>&nbsp;By GINNY VAN ALYEAIn the early 1980s Natalie van Straaten was running a gallery with her husband, William van Straaten, in an up-and-coming neighborhood. Fortified by a Journalism degree from the University of Michigan, Natalie was a sort of “gallery mother” and natural organizer serving the changing needs of a small, but rapidly growing, community of peers in Chicago. She founded the Superior/Huron Gallery News as a means of centrally promoting local art openings. It didn’t take long for the art guide to expand and evolve alongside the spaces it listed, ultimately becoming Chicago Gallery News, the publication of record that today has covered four decades of local and regional culture and art history.&nbsp;&nbsp;*&nbsp;I started working with Natalie in late 2002. A few months before graduating from Hamilton College that year with an English major and art minor I decided I wanted to work in publishing. Hamilton’s career office, and perhaps a little divine intervention, connected me to alumna Tracy van Straaten, a Chicago-native who was then overseeing PR for children’s books at a major publishing house in New York. When I decided to move to Chicago after graduation, I let Tracy know, and she connected me to her mother, CGN founder Natalie van Straaten. She hired me sight-unseen to work for her four days a week until I figured out what I wanted to do. I was thrilled.&nbsp;Natalie took me under her wing, a 22 year-old with no job experience, other than as a camp counselor and canoeing instructor. Soon I was immersed not only in the local art community but in Chicago itself. Four days a week turned into five years, chatting in the basement office at 730 N. Franklin in River North, working on each issue of CGN and running the Chicago Art Dealers Association. Mostly we traded stories and had a terrific time, me with a front row seat to Chicago’s art world, from the friendliest dealers and most eccentric interns, to watching the drama of a storied art fair’s devastating implosion and rapid rescue in real time. I loved CGN’s mission to be supportive of the artistic and cultural community as well as informative and reliable for the general public. Our work was never just one thing, and no day was ever the same. It was all of it.&nbsp;Natalie and I used to talk about any number of topics while working to publish three print issues a year and familiarize ourselves with CGN’s first website. This 40th anniversary issue is a chance to revisit some of the conversations and history lessons I received from 2002-2007 as well as review changes that have taken place, both within CGN as well as the art world at large, since I became publisher 15 years ago.&nbsp;Natalie always said that she would write a book someday about the history of the art world in Chicago, and I hope she still does. In the meantime, as always, it continues to be a privilege to record in these pages this important history of a creative community in one of the world’s cultural centers.&nbsp;*&nbsp;Ginny Van Alyea: Please share how CGN first came to be as well as what it was first titled.&nbsp;Natalie van Straaten: In the late ‘70s and early ‘80s, several galleries were making a mark on Chicago’s small but mighty art scene. The city of course had long been regarded as a center of international culture, thanks in large part to the reputation of the Art Institute of Chicago and its school, not to mention its architecture bonafides and theater reputation.&nbsp;But the commercial art scene was still small at the time. By the early 1980s that relatively small scene would phyiscally need more space. What quickly followed some notable gallery moves was a publication created to share with the public all that was happening in area galleries. That four-page guide to the galleries and their openings eventually became Chicago Gallery News. It’s been 40 years and nearly as many changes, but the CGN of today comes from the Superior/Huron Gallery News of 1982.&nbsp;&nbsp;GV: What was the energy like in Chicago at that time?&nbsp;NvS: It was 1981, and the entire art world was coming to the city! The 1st Chicago International Art Exposition at Navy Pier was the magnet, and there was now a dynamic art gallery community eager to welcome them. The energy was infectious; established galleries were discovering loft spaces in a new district that gave them extraordinary space for large-scale works of art; new galleries were popping up; and a couple of visiting galleries were so impressed with Chicago when they came to see “Art Expo” that they made plans to move here.Within a year, 16 galleries opened within a block of one another. A local art critic called the new district 'SuHu' (Superior and Huron streets were the geographic center). Of that original 16, only two galleries remain today in Chicago all these years later: Rhona Hoffman (originally Young Hoffman) and Zolla/Lieberman (now directed by William Lieberman, the second generation). The original list is on the front over of the first issue issue cover (pictured below).&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419108/zahea2r9dx5t7mohwwyl.jpg"><figcaption>The CGN of today comes from the Superior / Huron Gallery News, published first in the winter gallery season of 1982/83 &nbsp;</figcaption></figure>&nbsp;GV: How did you come to publish the first gallery guide?&nbsp;NvS: The galleries agreed their new community needed a printed guide to celebrate and publicize their exhibitions, locations and coordinated opening nights. I was in a unique position of being a freelance writer on art-related subjects and a co-owner of one of the 16 Galleries in the new Superior/Huron district (which later became River North). I offered to put the guide together and the galleries shared the expenses of printing and distribution. The Superior/Huron Gallery News was born!As the publication grew, I established the guide and magazine as my own business, expanding it beyond its original mission.&nbsp;GV: Obviously the term 'SuHu' didn’t stick, for the magazine or the neighborhood.&nbsp;NvS: Very quickly, what became the River North Gallery District grew, ultimately housing more than 65 galleries within a two-block radius. And the Gallery News grew with them. The publication included so many exciting exhibits that drew casual art enthusiasts as well as serious collectors, that galleries in other Chicago neighborhoods wanted to be included. So the publication became The Chicago Gallery News to expand its coverage and celebrate all the art throughout the city and beyond. Maps, art services, and news items were added–and by the mid-1990’s the slim “guide“ turned into a full-color magazine.&nbsp;GV: Was there anything else out there that you were aware of that was like CGN?NvS: Art Now Gallery Guide was the closest thing to CGN, but they weren’t local, and it was hard for them to keep up-to-date with what was going on, especially as so many new galleries opened in those early years. And we were more than a guide. We were the information center for the galleries–we helped coordinate opening nights, led gallery tours, and served as an interface with the rest of the city, especially the international art fairs.&nbsp;GV: “The art fair” at the time was of course Art Expo. That seemed to really ramp up the boom in the local art scene.&nbsp;NvS: The CIAE (Chicago International Art Exposition) or Art Expo was transformative for the Chicago art community and gallery scene. The art world came to Chicago and they were wowed. John Wilson’s idea of a U.S. art fair at Navy Pier was brilliant. The rotunda; the views; the welcoming city with great restaurants, hotels and culture made Chicago an international destination. And there had been nothing like it in the United States. &nbsp;After a few years, inevitable problems, politics, and egos challenged the fair. Other organizers staged simultaneous events to compete with it, and a new fair, Art Chicago, took over under the leadership of Tom Blackman. That, too, eventually faltered, and the current EXPO CHICAGO under Tony Karman continues to draw the art world to Chicago annually. CGN has continued to coordinate gallery events in conjunction with the art fairs and has long been an art concierge of sorts for visitors.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419109/egftcgwcrdmfq3ky1qd9.jpg"><figcaption>The Fall 1983 issue of the Superior/Huron Gallery News listed area galleries and their seasonal exhibitions. &nbsp;</figcaption></figure>&nbsp;GV: How did you decide to print three times a year?NvS: Our printing schedule was guided by gallery activity.&nbsp; September was the opening of the big fall season; January was the next big coordinated time after the holidays and New Year. April celebrated the annual Art Expo, and most galleries mounted special exhibits for local and international visitors. Summers were relatively quiet with lots of “group exhibitions” and vacations.&nbsp;GV: CGN has had to adapt at an even more rapid pace, it seems, in the past couple of years, particularly due to the twin forces of the pandemic as well as online viewing and consumption. I think you and I talked years ago about how chicagogallerynews.com would become like a fourth issue. I laugh when I remember when the website was brand new, and we would put all the current issue information online and into the listings, and then it would sit there for 3–4 months before we’d change any of it again.&nbsp;NvS: Well, you have added tremendously to the scope of editorial coverage in print as well as online, and you’ve expanded to include national and international art news. Plus CGN now sends twice-weekly newsletters and uses social media to reach readers much more often.&nbsp;&nbsp;GV: CGN’s gallery coverage has continued to expand over time to accomodate more spaces in various neighborhoods, even beyond Illinois. I think the digital presence is a double edged sword. It’s essential, but it’s also replaced some in-person engagement the long-time dealers still miss.&nbsp;What have been some other notable changes?&nbsp;NvS: Chicago Gallery News did recognize changes in technology along the way, first adding FAX numbers, then email addresses and gallery websites in its listings. It has managed to stay a print resource as well as become a comprehensive online presence that is constantly updated. Another major update I saw you do was to replace the slower winter issue with the annual guide, starting in 2017.&nbsp;There have been so many funny stories and memories, but the most important change was when young Ginny Berg came seeking a job with photography or children’s books!&nbsp; After 5 years you took the reins and brought it into the 21st century.&nbsp;GV: Thank you! It’s always felt like it was meant to be. I still draw on many of the lessons you taught me. Most of all I try to keep up CGN’s position of support and optimism, which I think is extra important today, and in the future.#&nbsp;<a href="https://www.chicagogallerynews.com/print-subscriptions">Please consider subscribing to CGN for $25 for 3/issues a year&nbsp;</a>&nbsp;</body></html>

CGN Turns 40: Charting Four Decades of Art and Changes

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/zw6a7gfjofe3pvmtqqk9.jpg"><figcaption>From left: CGN publisher Ginny (Berg) Van Alyea, Nancy Berg, Chuck Berg, founding CGN publisher Natalie van Straaten, John B. Hirsch. pictured at CGN's 25th anniversary party at the Arts Club, fall 2007</figcaption></figure>&nbsp;By GINNY VAN ALYEAFor CGN’s 40th anniversary issue, in addition to being the publisher, I feel especially like the steward of a vital resource that has withstood time and many tests–expanding throughout the booming 80s, going lean after the 2008 recession, introducing an annual guide in 2017, rebounding following a pandemic, and building a solid reputation and many, many relationships over the course of four decades.&nbsp;An anniversary is a time to look back as well as forward, and this issue tries to do that in celebratory ways that are both personal as well as reflective of CGN’s history.&nbsp;It’s been a priority of mine, especially in recent years, to continue to print CGN, despite seeing other publications slash their schedules or abandon print entirely. One reason I see this as so important, especially for a magazine covering visual art, is that each issue is one you can hold in your hand, dog-ear, annotate, stash away and reread. We’ve preserved our own art history in these pages for all these years. How could we stop now?&nbsp;&nbsp;*&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/xz1b4iyw16yxciuxrgzm.jpg"><figcaption>The Cover: The fall 2022 cover reflects our 40th anniversary. Usually we feature an artist or work of art but we chose a solid red as a nod to our ‘ruby’ anniversary. See past CGN covers in our article about CGN's history.&nbsp;</figcaption></figure>There is always more to write about and share. In this issue Alison Reilly interviews Barbara Kasten, who at 86 is still creating inspiring and innovative work. Jason Pickleman reports on a the installation of the long-awaited lakefront AIDS Garden sculpture by ‘80s icon and AIDS activist Keith Haring. Bianca Bova takes a personal view of art collecting at a time when many wonder what the next generation of collectors will be drawn to. Sara Dulkin of Chicago Truborn discusses her model for selling art in person, online and via social media in the name of making art not only affordable but accessible. And we hear from Hindman team members about four-decades in business, as well as an upcoming fall auction of works by the overlooked-no-more Surrealist artist Gertrude Abercrombie.&nbsp;Of course we are fortunate to hear from CGN founding publisher Natalie van Straaten, who passed the torch to me 15 years ago when CGN turned 25. In this issue we also share some really wonderful and enlightening recollections and photos from many who have been in the arts as long as CGN, or even longer. Read Where Were You in the ‘80s? for a trip down memory lane.In the midst of an anniversary, we’re thrilled to fully welcome <a href="https://www.chicagogallerynews.com/events?filter=upcoming">a fall art season</a> that frankly feels, well, like a fall art season should! It feels good to celebrate and be a part of so much, and this energetic return of shows and events this season makes me especially thankful for the exciting years before I arrived at CGN, and of course the years since. Challenges included, we wouldn’t have gotten here any other way.&nbsp;Thank you, and happy anniversary to all of us!&nbsp;&nbsp;&nbsp;Note: We will be posting articles and interviews from the 40th anniversary issue online in the coming weeks.&nbsp;Please consider <a href="https://www.chicagogallerynews.com/print-subscriptions">subscribing to the print edition today for $25/year</a>.&nbsp;&nbsp;&nbsp;</body></html>

Fall 2022 Publisher's Letter: 40 is the New 25

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419107/ged5hkoqqqynk1tqeumq.webp"><figcaption>Photo:&nbsp;National Portrait Gallery, Smithsonian Institution; portraits by Amy Sherald (L) and Kehinde Wiley (R) &nbsp;</figcaption></figure><a href="https://www.chicagobusiness.com/politics/obamas-official-portraits-set-white-house-unveiling-after-trump-snub?utm_source=breaking-news&amp;utm_medium=email&amp;utm_campaign=20220831&amp;utm_content=article1-readmore">Obama Portraits Coming to White House After National Tour</a>President Joe Biden and first lady Jill Biden will host former President Barack Obama and Michelle Obama next week for the unveiling of their official White House portraits.The Sept. 7 ceremony, which the White House announced Wednesday, is typically an occasion for a president to honor his immediate predecessor. But Obama’s unveiling did not occur during Donald Trump’s presidency, given the animus between the two men.&nbsp;Via Crain's&nbsp;Art Design Chicago Returns This Fall<a href="https://artdesignchicago.us4.list-manage.com/track/click?u=267a08a7bec1f099f2207f0ac&amp;id=cb25267494&amp;e=ed2e5b3048">Art Design Chicago Now</a> is a series of public conversations and digital storytelling amplifying the voices of Chicago's diverse community of makers―past and present. Featuring archivists, academics, artists, and curators, Art Design Chicago Now programs deepen understanding of the essential role the city’s creatives continue to play in shaping the now, in Chicago and beyond. Programs include Sustainable Sustenance on September 13, 7:00 PM at 6018North, Chicago Murals: An online Discussion with Artists Meg Duguid and Bernard Williams on September 14, 6:00 PM, and Pilsen Mural Tour with Sam Kirk September 18, 11:00 AM or 1:00 PM at16th Street and Paulina Street&nbsp;<a href="www.hydeparkart.org/gala">Hyde Park Art Center hosts its 83rd Annual Gala in November</a>Hyde Park Art Center hosts its annual Gala that activates its entire building on Friday, November 18, from 5:30 p.m. to 8 p.m., with an after party that goes till midnight. The lively event is packed with hands-on art activities, performances, open studios, art auctions, and a DJ set, offering a unique and interactive experience while benefitting the art center’s various programs supporting Chicago art and artists.Art Center Director of Development, Aaron Rodgers, says: “This year’s Gala celebrates Open Arts, the Art Center’s groundbreaking contribute-what-you-can model launched in 2021 that removes financial barriers to arts education for artists of all ages and stages. We are also toasting Chicago art, artists, and the people who love them with an evening full of art experiences, personal connections, and fun. We are especially excited to bring back the vibrant after party, returning for the first time since 2019. Support generated from Gala will make 2023 programming possible, including major solo exhibition Casas/Islas by Edra Soto and other initiatives.”The Gala is co-chaired by Rachel Conant, Laura Letinsky, Kim + Jim Taylor, and Satannia + Sylvester Williams, with funds raised to deepen the impact of the Art Center’s programs for Chicago art and artists, including exhibitions, residency programs, free public programming, Artists Run Chicago funding for independent art spaces, Open Arts and other educational programs, and more. Hyde Park Art Center’s Gala 2022 is presented by Lead Sponsors Rachel Conant and Julie and John Guida of The Guida Family Foundation.&nbsp;&nbsp;<a href="http://www.hydeparkart.org/gala">www.hydeparkart.org/gala</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419108/j23apmppnfrbpxjiqyd8.png"><figcaption>Art by Judy Ledgerwood</figcaption></figure>Judy Ledgerwood Partner Exhibition Event at University Club of ChicagoTuesday, September 20, 2022&nbsp; University Club of Chicago | 76 E.&nbsp;Monroe St. <a href="https://expochicago.us4.list-manage.com/track/click?u=feab88d1702b05fff44372e88&amp;id=3ac2ac5701&amp;e=b25d02ccd1">Tickets $25</a> –&nbsp;Limited Spots AvailableThe University Club of Chicago will showcase a solo presentation of paintings and ceramics by Judy Ledgerwood, in partnership with&nbsp;Rhona Hoffman Gallery. For this exhibition, Ledgerwood’s selection of work was inspired by the architectural elements present throughout the Club’s historic gothic skyscraper – the quatrefoil.In contrast to an architectural quatrefoil, Ledgerwood’s forms take shape through the imperfect gesture of her own hand. Within the canvases, subtle and bold color interactions collide, curving lines zigzag and droop, paint drips off, and edges become fluid.&nbsp;Chicago-based painter and Assistant Professor of Painting and Drawing at Illinois State University, Andreas Fisher joins Ledgerwood to discuss the work on view as well as speak to her larger art making practice.&nbsp;&nbsp;</body></html>

CGN Art World Recap: 8/31/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/hh4mv1vanrlxff7np68h.jpg"><figcaption>David Hockney. 5th March 2020, No. 2. © David Hockney.</figcaption></figure>&nbsp;David Hockney: The Arrival of Spring, Normandy, 2020Two years ago—at the beginning of the COVID-19 pandemic—the ever-versatile and inventive artist David Hockney traveled to France with the express intention of capturing the emergence of spring.&nbsp;The Art Institute of Chicago&nbsp;Thru Jan 9, 2023<a href="https://www.artic.edu/exhibitions/9705/david-hockney-the-arrival-of-spring-normandy-2020">artic.edu&nbsp;</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/exuy60fszfrxmf3c3xnx.jpg"><figcaption>Yinka Shonibare at Frederik Meijer Sculpture Gardens in Grand Rapids, MI</figcaption></figure>Yinka Shonibare CBE: Planets in My HeadThis exhibition presents works by Shonibare from the past three decades, many of which have never been shown in the U.S.&nbsp;Frederik Meijer Sculpture Gardens&nbsp;Thru Oct 23&nbsp;<a href="https://www.meijergardens.org">meijergardens.org</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419102/qfiifggk11xwd9cmhifh.jpg"><figcaption>Tavares Strachan, Meleager, 2022. Oil, enamel and pigment on acrylic; two panels, 84 x 84 x 2 inches (213.4 x 213.4 x 5.1 cm)</figcaption></figure>Citing Black GeographiesCiting Black Geographies presents the work of 15 artists —including Dawoud Bey, Amanda Williams and Rashid Johnson— whose practices examine “black space”—a term describing the topographies, zones, scenes, and structures that portend black cultural experience.&nbsp;GRAY, West Town.&nbsp;Sept 9–Oct 27<a href="https://www.richardgraygallery.com">richardgraygallery.com</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419103/om2ncgkkpxns47uygk2r.jpg"><figcaption>Sentrock</figcaption></figure>Sentrock: The Boy Who Wanted to FlyThe exhibition features new work by the rising artist that reveals for the first time the origin story of his distinctive Bird City&nbsp;Saint character, which appears in prominent murals in Chicago and other cities.&nbsp;Elmhurst Art Museum&nbsp;Sept 9–Jan 15, 2023<a href="https://www.elmhurstartmuseum.org">elmhurstartmuseum.org</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419104/lreo40stinwiqkfc8b7g.png"><figcaption>Raheleh Filsoofi</figcaption></figure>Raheleh Filsoofi: Debated NarrativeBorn in Iran, living in the United States, and working in between, Filsoofi contemplates the psychological effects of marginalization and the occupation of geographic and socio-political liminal space. Filsoofi’s work oscillates between the literal and figurative concepts of land, ownership, and border.&nbsp;ENGAGE ProjectsSept 10–Oct 15engage-projects.com&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419105/mdhbdgedzgh5w0dnzfic.jpg"><figcaption>Suzanne Jackson</figcaption></figure>Suzanne Jackson: Listen’ N HomeThrough a selective representation of pivotal works from the past 20 years, as well as a newly made monumental installation, the exhibition presents Jackson’s turn to environmental abstraction, marking the territory and trajectory of her late-life breakthrough paintings.&nbsp;The Arts Club of Chicago&nbsp;Sept 14 – Dec 23<a href="https://www.artsclubchicago.org/exhibition/suzanne-jackson/">artsclubchicago.org</a>&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419105/xehd5gixwxdy5tlm6c7m.jpg"><figcaption>Michiko Itatani</figcaption></figure>Michiko Itatani: Celestial StageChicago-based American artist Michiko Itatani (b. 1948, Osaka, Japan) has grappled with the mysteries of the universe in her work throughout her prolific career.&nbsp;Wrightwood 659Oct 1–Dec 17<a href="https://wrightwood659.org">wrightwood659.org</a>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419106/ww93qxbojmdbbhds3m4v.jpg"><figcaption>Courtesy Randolph Street Market</figcaption></figure>Randolph Street Holiday MarketsThree markets take place this fall, in the West Loop and on Chicago’s Magnificent Mile!Sept 24-25, Nov 12-13, and Dec 17–18. 10am–5pm&nbsp;<a href="https://randolphstreetmarket.com">randolphstreetmarket.com</a>&nbsp;#&nbsp;To view CGN's full calendar <a href="https://www.chicagogallerynews.com/events">click here.</a>&nbsp;To subscribe to our free newsletters, <a href="https://www.chicagogallerynews.com/contact/newsletter">click here.</a>&nbsp;</body></html>

The Season's Highlights: Fall 2022

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419107/yctwzu3ajvj74y5ull4v.png"></figure><a href="https://www.chicagogallerynews.com/events/fake-news-lying-pictures-dutch-political-prints">Fake News &amp; Lying Pictures: Political Prints in the Dutch Republic</a>Opening: Thursday, September 1, 5 – 7&nbsp;pmKrannert Art Museum, University of Illinois&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419108/ea0idoz91cdt2rsqxikj.jpg"></figure><a href="https://www.chicagogallerynews.com/events/ellen-berkenblit">Ellen Berkenblit: Umberville</a>Opening: Thursday, September 1, 2022 6 – 8&nbsp;pmCorbett vs. Dempsey&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419109/am51jfgam9c0ulu3hn1b.png"></figure><a href="https://www.chicagogallerynews.com/events/thank-you-goodbye">Thank You Goodbye</a>Opening: Friday, September 2, 2022 6 – 9&nbsp;pmEpiphany Center for the Arts&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419110/tsstrsac11kilto6cdbb.png"></figure><a href="https://www.chicagogallerynews.com/events/forward">Forward</a>Opening: Friday, September 2, 2022 5 – 9&nbsp;pmLily Pad | West&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419110/gbqtldd1vzm9corek66o.jpg"></figure><a href="https://www.chicagogallerynews.com/events/helene-smith-romer">Helene Smith-Romer</a>Opening: Saturday, September 3, 2022 5 – 8&nbsp;pmStola Contemporary Art&nbsp;&nbsp;</body></html>

New Exhibitions September 1 - 3

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/dcngdvok7ussph1oj7hj.jpg"><figcaption>&nbsp;Chicago Design Through the Decades by Chicago Design Archives – Photo courtesy of Art on theMART &nbsp;</figcaption></figure>&nbsp;Via PR<a href="https://artonthemart.com">Art on theMART</a> continues to celebrate The City of Chicago's Year of Chicago Dance with artists&nbsp;Yuge Zhou and&nbsp;Jasmin Taylor.&nbsp;Enjoy this never-before-seen footage below of each artists' upcoming works that will debut on the façade of one of Chicago's most iconic buildings, theMART.&nbsp;"As a large-scale, centrally-located platform, Art on theMART is a new kind of stage for performing artists and shows the world the breadth and&nbsp;depth of Chicago's creative talent."– Cynthia Noble, Executive Director, Art on theMART&nbsp;Love Letters, Yuge ZhouLove Letters is a video projection by Chinese-born, Chicago-based artist Yuge Zhou that portrays a lively courtship dance between two urban dwellers searching for each other through a labyrinth of colorful geometry with growing curiosity, electricity and affection.Choreography:&nbsp;Hannah SantistevanPerformers:&nbsp;Rebecca Huang and Joffrey dancer Xavier NunezComputational Animation:&nbsp;Mary Franck and Patrick SteppanSound: Ori Zur&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419102/jw6pjs2d4o36c26l0ahh.png"><figcaption>&nbsp;Chicago Design Through the Decades, Daria Tsoupikova – Photo courtesy of Art on theMART &nbsp;</figcaption></figure>Trap Moulin Rouge, Jasmin TaylorTrap Moulin Rouge by Jasmin Taylor, in co-production with Motion/Pictures Dance Project, takes audiences to Chicago's South Side to showcase the vibrant Black culture and dance that emanate from it. Taking sonic and aesthetic inspiration from the 2001 film "Moulin Rouge," Trap Moulin Rouge combines classical, R&amp;B and jazz melodies with a variety of dance styles with the aim of creating and promoting equity in Chicago through the performing arts.Co-producer: Motion/Pictures Dance ProjectAssistant Composer: Atticus LazenbySound: Friends of Friends Recording (Book Mende and DeAnna Doersch)Design: India Wilson and Icy Nails&nbsp;The Art on theMART Foundation is a 501(c)(3) non-profit created to advance Art on theMART's mission to provide free access to compelling and contemporary moving-image artwork projected onto the façade of theMART. The Foundation's objective is to expand funding for artist commission fees and other art production costs.&nbsp;&nbsp;&nbsp;</body></html>

Art on theMART Fall 2022 Program Announced

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419107/te3gymsi2pg0jvigq4tn.jpg"><figcaption>Image: Scott Fortino,&nbsp;Jenner School, Alphabet,&nbsp;1998</figcaption></figure>&nbsp;Via PRAs students head back to school at Columbia College Chicago and beyond, education remains a primary pillar of the museum’s focus.Museum of Contemporary Photography is providing <a href="https://www.mocp.org/education/schedule-a-visit.php">educational resources</a>, including custom print viewings, educational guides, and more.&nbsp;<a href="https://www.mocp.org/education/exhibition-tours.php">Exhibition Tours</a><a href="https://www.mocp.org/education/tours-and-print-viewings.php">Collection Print Viewings</a><a href="https://www.mocp.org/exhibitions/2020/10/mocp-education-brochure.pdf">Read MoCP's brochure on School &amp; Teacher Programs here</a>&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419108/ol1nn3nxfpyhoksnmv9a.jpg"><figcaption>James Iska,&nbsp;First Day of School, Hans Christian Anderson Elementary School, from Changing Chicago, 1988.</figcaption></figure>&nbsp;The Museum of Contemporary Photography aims to promote a greater understanding and appreciation of the artistic, cultural and political implication of the photographic image in our world today. As a college art museum with a teaching mission, the museum provides a wide range of educational opportunities for students, educators, and the general public including: public programs, free docent-led museum tours, viewings of works from the museum’s collections, community engagement initiatives, and curricular resources for educators.&nbsp;&nbsp;</body></html>

MoCP Announces Back To School Educational Resources

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/zdoicaj26vins8h28mu1.jpg"></figure>By Anna Dobrowolski&nbsp;Art auctions have a reputation for high-dollar headlines and cinematic cameos. You know the trope: something old and all-but forgotten is, with a final paddle raise and the help of a fast-talking auctioneer, someone’s ticket to early retirement. While that can’t always be the case (sadly), these auction fairytales remind us to pay more attention to our possessions. At Hindman, they have spent the last four decades doing just that.&nbsp;<figure class="image image-style-side"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419102/oz7fgtfguxfl4v3yaoy7.jpg"><figcaption>Jay Krehbiel</figcaption></figure>In 1982, Leslie Hindman opened the doors to her eponymous auction house on Lake Street in Chicago’s West Loop. It grew to be one of the largest auction houses in the country. In 2018, Leslie Hindman Auctioneers and Cowan’s Auctions merged, and Hindman formed, with Jay Krehbiel at the helm.&nbsp;Today Hindman Auctions’ operations are spread across 13 cities, holding over 140 auctions a year and looking towards a future in an increasingly global and digital market.Despite Hindman’s physical presence across the country, Jay Krehbiel, Co-Chairman &amp; Chief Executive Officer at Hindman, has not lost sight of the importance of digital technologies and reach in the auction world. In September, as a prologue to anniversary celebrations, one of their headlining shows will be a&nbsp; single owner, single artist auction of Chicago’s surrealist painter Gertrude Abercrombie. A strong digital presence will ensure that the sale of Laura and Gary Maurers’ Abercrombies will reach as many potential collectors as possible.Krehbiel, who first got involved at Hindman through watching Leslie conduct her business, officially partnered up with her six years ago. He has since taken Hindman’s digital expansion to a far greater level. “Leslie was always thinking about introducing technology into auctions, a tradition bound, tradition-based industry. That’s something that she had been working on for a long time. Hindman was early to put their auction catalogs online, and what I try to do now is supercharge that. When the pandemic hit, we were in a much stronger place to continue business as usual,” he says.According to Krehbiel, there are ways to tech-enable this business, but there’s no such thing as being fully remote in the auction room. Behind the scenes, the team handles every object in order to analyze its condition and present it to future buyers as accurately as possible.&nbsp;&nbsp;*&nbsp;When I called Zachary Wirsum, Director and Senior Specialist for Post War and Contemporary Art, he was at Hindman’s Lake Street headquarters, taking a break from curating the Cool for the Summer sale—the third in the summer series inspired by a pop song. Queueing Demi Lovato, the show channeled ‘cool’ with sizable abstracts and some household names such as Jeff Koons’ Puppy Vase; Salvador Dalí’s Venus with the giraffe; and Jane Hammond’s Love Laughs (1973). At the same time, Wirsum is looking ahead to the fall. He and Joe Stanfield, Hindman’s Vice President and Senior Specialist for Fine Art are co-head of sale for Casting Spells: The Gertrude Abercrombie Collection of Laura and Gary Maurer on September 28. Before the auction they will show the Maurer collection in Milwaukee and New York–both to expose more people to her work, and to pay tribute to the artist’s own roaming spirit and the friends she made along the way.When the Hindman team is not actively sourcing art for an upcoming auction, art usually arrives from the ‘triple D’s’—death, divorce, and debt—or, more recently due to the pandemic, ‘deaccession and downsizing,’ explains Wirsum. It depends on the individual or institution.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419102/xp67sctkrtncgqh6nyoz.jpg"><figcaption>Andy Warhol, Goethe, 1982 screenprint, signed and numbered AP 3/22 in pencil. Property from the Carmen S. Holeman Trust, Indianapolis, Indiana. Price Realized: $81,250. Offered in Hindman Auctions’ May 12, 2022. Prints &amp; Multiples auction</figcaption></figure>&nbsp;Not all art arriving at the auction house involves stories of loss. Some buyers spend their whole lives pursuing their passion for collecting. Corbin Horn, Vice President and Senior Specialist of European Furniture &amp; Decorative Arts, adds, “For people who are working to build up their collections, they consider selling a way to ‘trade up.’ When building a collection, many people don’t realize that you can’t just buy things at once. You have to spend your life buying, selling and trading up in terms of quality,” Horn says.“One of the things we talk about at Hindman is that we believe that everyone is a collector at heart. These objects inspire people,” says Krehbiel. “If you don’t know where to start, everyone will tell you to start with what you love. The inspiration you have for the objects, and the passions you develop for the objects, will drive your curiosity forward and encourage you to learn more about the makers and their stories. So, buy what you love. It seems trite, but there’s truth to it.”While the business is art and object driven, it’s people driven as well. Alyssa Quinlan, Chief Business Development Officer, tells me that her favorite part of the job is making connections with people and hearing stories, from a WWII fighter pilot to someone who has lost their spouse and sharing their stories through their art. “When people bring us the things they collected, it’s another chance to take a moment to reflect on how wonderful they were. There’s a lot more to it than looking at objects on their own. The emotional aspect and curating those collections means hearing their stories.”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419103/jr7pfln5rtqsyi59y1ra.jpg"><figcaption>Ed Clark, Creation, 2006, acrylic on canvas, signed Ed Clark, titled and dated (verso) 72 x 84 inches. Property from the Collection of Dominic Pangborn, Grosse Pointe, Michigan. Price Realized: $740,000. Offered in Hindman Auctions’ May 11, 2022. Post War &amp; Contemporary Art auction</figcaption></figure>&nbsp;Stories about what can show up at auction can also become fairytales. Here are a few recent ones the Hindman team members shared with CGN:Jay Krehbiel: In 2019, we were honored to bring works to market for the Cranser family from St. Louis. They had, among other great things in their collection, two Calder Stabiles. We sold one for $1.9 million and a smaller one for $432,500. It’s exciting for everyone to sell big dollar items.Famously, there was a 17th c. Chinese bowl from a North Shore Collection. The final price tag was $1.5 million, which was surprising, considering it was used as a bowl for car keys.Joe Stanfield: There is one particular work of art I tend to go back to from maybe 12 years ago. A colleague and I drove to western Illinois and discovered what was, at the time, an unknown trove of watercolors by Wassily Kandinsky, just buried in a closet at this home. We took 60–70 unframed works on paper. We contacted one of the scholars in New York to authenticate the art, which were then flown to Paris and reviewed by a committee. It ended up being sold for $450,000.Corbin Horn: The most unusual work of art that comes to my mind is an Andrew Clemens (American, 1857-1894) sand bottle that sold for $956,000. Clemens was a little-known Iowa artist who was deaf, and he made pictures formed by compressing colored grains of sand inside chemists’ jars. Remarkably, he made these works of art without glue and using only homemade tools. There are a few collectors in the U.S. who pursue these very aggressively. We have handled several Clemens bottles over recent years, and we have one (maybe two!) more coming for sale this fall.&nbsp;&nbsp;*&nbsp;Fairy tale or not, there’s no crystal ball to predict the outcome of an auction. So, what happens when a work of art simply doesn’t sell? It doesn’t mean that the previous owner had poor taste; sometimes it boils down to pure luck and timing.&nbsp;“If on the day of the auction there just isn’t a buyer for an object, we either reoffer it for sale or return it. The auction industry is fascinating because the market is the global economy; different buyers are just there on different days,” says Krehbiel.Delivering unfortunate news is a large part of the business, Stanfield tells me. “Most of us, including myself, think the work that we own is great. We are sentimental, especially with inherited things. I understand why people are disappointed. One of the handy things about auctions is that it is a fair market and the sales are transparent. We are able to pull up global data showing where the art is selling, and for how much.” The added transparency helps stymie disappointments and manage expectations before bringing a work into the auction room.Technologies and tastes are bound to change over time. What ensures that an auction house like Hindman lasts is looking towards and embracing the future.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419104/ugvpq8ojnnxgybbwee7c.jpg"><figcaption>Gertrude Abercrombie, Solitude, 1942. oil on masonite, signed Abercrombie and dated (lower left), 20 1/2 x 40 1/4 inches. Estimate: $120,000 -$180,000</figcaption></figure>&nbsp;Under Gertrude Abercrombie’s SpellA surrealist by any other name — known as ‘Mid-century jazz witch’ and Chicago’s Queen of Bohemia, painter Gertrude Abercrombie has long enchanted artists, writers, and musicians. To collectors Laura and Gary Maurer, who are offering up their entire collection of 21 paintings in September, she is simply known as “Gertrude.”Abercrombie’s biography reads better than fiction. She was born in Austin, Texas, in 1909 but often traveled due to her parents’ careers at a traveling opera company (her mother, Lula Janes, was a prima donna). When Gertrude was four, the Abercrombies lived in Berlin until the outbreak of WWI. Forced to return to Illinois, they eventually settled in Chicago, where Gertrude would go on to study Romance languages and later work as a commercial illustrator designing gloves for Mesirow department store. It wasn’t until taking on commissioned work by the WPA in the 30s, however, that she decided to pursue art full time.By then, she was a Hyde Park local, forging her own style in a studio on Dorchester Avenue near the University of Chicago campus. Walking past the heather-bricked row house today, you would not know this was where the magic happened–I didn’t. Those walls have heard the piano-tuning, rants, and laughter of musical giants: Dizzy Gillespie and Sonny Rollins, Pearl Bailey, Duke Ellington, Billie Holiday, and Max Roach. Where’s the commemorative blue plaque, “Gertrude Abercrombie (1909-1977) Artist, Friend, ‘Good Witch’ lived here”? Wrong Hyde Park, I regret to say.Surrounded by music and a lively cast of writers for most of her life, Abercrombie channeled her idiosyncratic artistic rhythm in easel paintings. Though Abercrombie never affiliated herself with any formal movement in modern art, she was labeled a ‘magical realist’ for her references to the otherworldly. Her subjects ranged from evocative, stark landscapes to still lifes with cats, owls, crystal balls, and shells. It’s unsurprising that surrealism’s vocabulary seeped into interpretations of her work–indeed, when she first saw the work of René Magritte, she called him her ‘spiritual daddy’ for sharing that same tendency for the absurd, illogical and dream-like–but her style remains a personal, psychological enigma. In essence, she painted from the reality she was most familiar with.&nbsp;She painted self-portraits most frequently throughout her oeuvre and at various stages of her life. Her choice of subject matter, and the puzzling approach to them, earned her the title of ‘witch.’ (Who amongst women deviating from the norm - much less putting paint to it - hasn’t been suspected of sorcery?) In a 1977 interview with Studs Terkel, she mentioned that she was used to the moniker, once confessing to a group of children calling her a witch that she was ‘one of the good ones.’ Looking at her work, it’s impossible not to believe her. That was certainly the case for Laura Maurer.&nbsp;&nbsp;*&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419105/adlvafkiwsfiqocmwd2p.jpg"><figcaption>Gertrude Abercrombie, Self and Cat (Possims), 1953, oil on canvas, signed Abercrombie and dated (lower left) 34 x 24 inches. Estimate: $300,000-$500,000</figcaption></figure>&nbsp;Laura Maurer describes herself as “the kid who dreamed about being locked in a museum after closing time and living among all of that great art.” She knew art would always be a part of her life—a fact that her husband, Gary, understood was non-negotiable.She first encountered Abercrombie’s work in the ‘90s on a trip to negotiate contracts in Springfield, IL. With time to spare, she walked over to the Illinois State Museum, which had Abercrombie’s paintings on display. There, Maurer had the museum to herself. &nbsp;“Mesmerized doesn’t even come close,” she tells me over the phone, “It was love at first sight.” Through library searches, she found out that Robert Henry Adams Gallery had more Abercrombie paintings available. “I went up to Robert Adams, and said, ‘I’ll take it.’” The painting in question: Abercrombie’s Solitude. In this moonlit landscape, a woman is mid-gait, walking along a gray footpath amongst sparsely spaced trees. Behind her, a white cat glances back towards the distant forest. “While Laura fell in love at first sight, my appreciation [for Abercrombie] developed more gradually,” Gary Maurer adds. “After I spent some time with the painting, I found myself wondering, what was she thinking or going through at the time.” Both agreed that Solitude would be the start of their collection.For the Maurers, searching for Abercrombie in local art fairs, estate sales, auctions, and galleries decades-long search was just as exciting as the acquisition. One of their most memorable discoveries was finding her self-portrait–which, at 34 x 24 inches, remains one of her larger works. “When we found her self-portrait with Possim, it was better than a million photographs. Much of her work was her searching for herself. Occasionally she would appear and become recognized as an element in some of her work. When this self-portrait became available, it spoke to her inner life and what she thought of herself.”The thrill of discovery propelled the Maurers’ decades-long quest for Abercrombie’s work. So, how does one part with a collection after so many years?&nbsp; “It was time for these works that have lived with us over the years to be with other families or institutions so that they can live with Gertrude, like we have, for the last 30 years,” says Laura. &nbsp;&nbsp;*&nbsp;Preparing for a sale such as this takes a village of experts and specialists who are able to first authenticate the art, write detailed condition reports, set the starting price points and of course bring it to a wide market of interested buyers.&nbsp;Chicago-based <a href="https://hindmanauctions.com">Hindman</a> will be handling the sale of the Maurers’ beloved pieces this fall, while at the same time celebrating the auction house’s 40th anniversary.&nbsp;#</body></html>

Hindman Celebrates Four Decades in Chicago & Beyond

<html><head></head><body><a href="https://files.constantcontact.com/db846255701/23d81380-19c7-4d48-aad6-17733d5236b9.pdf?rdr=true">Passing the Torch – Sculptor to Sculptor</a>Pigment International made a very special visit to iconic sculptor Richard Hunt’s studio in the Lincoln Park neighborhood of Chicago. There we witnessed three generations of Black sculptors connect. Delaware based sculptors Aaron Paskins and his wife Gina were visiting as part of their attendance at the Fellowship Open in Milwaukee. They were joined by Sand Robinson, member of the Board of Trustees of the Milwaukee Art Museum (MAM) and former president of the African American Art Alliance (AAAA) and art consultant Don Roman.Via Pigment International&nbsp;<a href="https://www.artsy.net/article/artsy-editorial-chicago-gallery-scene-overlooked">The Chicago Gallery Scene Is often Overlooked—It Shouldn’t Be</a>Several cities leap to mind when discussing contemporary art galleries in the U.S.: Los Angeles, with its recent influx of East Coast spaces opening West Coast outposts. Palm Beach, as growing populations and support for the scene have turned seasonal locales into year-round ventures. New York, always ubiquitous. But Chicago seems perennially overlooked.Via Artsy&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/w2fst3vgnpc2uduo6p0e.jpg"><figcaption>The Pritzker Archives and Memorial Park Center (10475 12th St., Somers) is set to finish construction in December; Photo courtesy of Pritzker Military Museum &amp; Library</figcaption></figure><a href="https://www.milwaukeemag.com/a-legendary-architects-last-design-is-being-built-in-wisconsin/">A Legendary Architect’s Last Design Is Being Built in Wisconsin</a>Helmut Jahn wanted to create a new landmark.&nbsp;The legendary postmodernist architect – known for the James R. Thompson Center in Chicago, among many other buildings – was tapped by the Pritzker Military Museum &amp; Library to design a new storage facility in 2018. Pritzker’s Chicago home was running out of room for its collection of over 100,000 military artifacts and was looking to an open site northwest of Kenosha to expand.&nbsp;&nbsp;Via Milwaukee Magazine&nbsp;</body></html>

What We're Reading 8/25/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/iyqa1yuzhtxhsbxtf3ri.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/capturing-louis-sullivan-what-richard-nickel-saw-august-26-through-february-19-2023">Capturing Louis Sullivan: What Richard Nickel Saw</a>Exhibition begins August 26Richard H. Driehaus MuseumFocusing on Adler &amp; Sullivan’s Chicago buildings of the 1880s and early 1890s, the exhibition will explore the firm’s architecture through the lens of Nickel’s photography, which provides a detailed record of these buildings and, in particular, Sullivan’s signature ornamentation. The exhibition will highlight the integral role Nickel played in preserving Sullivan’s legacy—the photographer’s work is all that remains of many of Adler &amp; Sullivan’s major buildings—while ultimately losing his life in an effort to salvage artifacts during a demolition.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/k2nxodufz5povw80q9f3.jpg"></figure><a href="https://www.chicagogallerynews.com/events/world-that-awaits">World that Awaits</a>Opening: Friday, August 26, 6 – 10&nbsp;pmMu GalleryA group exhibition that includes work by Chicago-based artists Kayla Anderson, Scott Kemp, Sofia Diaz Fernandez, Cody Norman, Jungwoo Lee, and FÁTIMA, curated by Amay Kataria.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419102/p9ye4yjvcphdagwk0idf.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/nick-cave-and-jack-cave-the-color-is-a-fashion-exhibition">Nick Cave and Jack Cave: The Color Is: A Fashion Exhibition</a>Exhibition begins August 27The DuSable Museum of African American HistoryIn partnership with the MCA Chicago and the groundbreaking retrospective exhibition “NICK CAVE: FOROTHERMORE,” which is currently on view at the MCA until October 2, 2022.&nbsp; This is the first time that these works of art will be installed publicly and the DuSable is the first museum in the world to ever exhibit Nick Cave’s or Jack Cave’s “fashion art.”&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419103/siy8xafewpufvrtrhnn7.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/zen-blues-visual-ponderings-mixed-media-cyanotypes-by-colleen-steenhagen">Zen Blues &amp; Visual Ponderings. Mixed Media Cyanotypes&nbsp;by Colleen Steenhagen</a>Opening: Saturday, August 27, 6 – 9&nbsp;pmBlue Moon GalleryColleen's current collection of mixed media art is built upon cyanotypes created from found materials and negatives. With her long history of photography, she has been drawn to the cyanotype process of developing images with the use of the sun in her own back yard in place of a darkroom within the confines of a building.&nbsp;&nbsp;</body></html>

New Exhibitions August 26 & 27

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/brtsqkdwh8evtrdxtdx6.png"></figure>Via PRThe Chicago Monuments Project (CMP) Advisory Committee released its final report, synthesized from a comprehensive, community-focused engagement process over the past year or more — the first of its kind in a major U.S. city. Thousands of Chicagoans from diverse communities contributed to this conversation on the city’s public monuments through several modes including surveys, live discussions and free-response public feedback submitted via <a href="http://link.mediaoutreach.meltwater.com/ls/click?upn=jd8-2BsLkKeKzJJH-2F5YciLh8sfr5LTTKWIM6bd94IhkrYCQ1vgIKwNDhzS9APcqT9jjxps_BYLPtpUivDHORxxkVXshLCRT3wjV7CgXbLJWP9J5MP9LJ6jv7-2Bb0c97UF1yE1XeiKasl3Q0KHAlfCn9N7XONZksYe5OIXa5kf5eLUqZODuRSP9aq4SJ-2B49W0jH0wJ361i16ryG-2B6zGsCP-2B3aeL3idfpMpxdsVAUMKbFeDmiql6IbUF6a9DGmXwmRVIL0QHVt1oUuktxYG4n1LAs21dSLBL7TYVq9E8q-2B0dhF0A1nPkmS18OOYMe59BPhJlDiRUQ8QnaY0cPBvpMMaflJz5boxWV09HbEOLkIQSiDc2RkBHvSUzDBzzQfS-2Fm5pce9svUeo2KoklervfYuB1-2FNcDH0pxN2a8f9DpxMUxhg3RLUd8sjCZLQgeRMjQ4MDJw0hFfA0Sr7GSE2x92xqblEjE1NNA-3D-3D">ChicagoMonuments.org</a>. The recommendations overwhelming conveyed the public’s desire for the creation of new monuments that memorialized Chicago’s true and complete history. As a result, DCASE is supporting the creation of eight new works each with a $50,000 planning grant, in addition to ongoing programs and investments to help diversity the collection.Leading the effort was the Chicago Monuments Project Advisory Committee, a group of community leaders, artists, architects, scholars, curators, and city officials, who dedicated their time, experience, and expertise. This broad coalition engaged with a wide range of communities and world views to ask questions and bring the perspectives required to do this work on behalf of all Chicago’s people. The committee began its work in Fall 2020, conducted outreach throughout 2021 and compiled analysis and recommendations in Spring and Summer 2022.CMP Co-chairs Mark Kelly and Bonnie McDonald shared, “As Co-chairs, we proudly submit our report for consideration. The committee recommends interventions, ongoing program investments, funding of new public art projects and the development of curriculum and engagement programs for youth, teachers and docents. We believe the report’s ideas and recommendations will strengthen our City as our public art collection becomes more honest about our history and far more inclusive regarding who is represented and what stories are told. To our knowledge, we had one of the most engaging processes among many cities also grappling with the topic of their problematic monuments. We wish to thank and acknowledge the work of the committee members in doing so; this was a labor of love on the part of our community and is proof of what is possible when we listen to each other.”Since the launch of the Chicago Monuments Project, the project has engaged thousands of individuals through its hotline and website, <a href="http://link.mediaoutreach.meltwater.com/ls/click?upn=Fx6ZlfogyykExOP4a2vWQ8Wo6HEowryPWd6OEYKkPlRNjkQ-2BJSO-2Bw5Q1orVDDW2ZEm1b_BYLPtpUivDHORxxkVXshLCRT3wjV7CgXbLJWP9J5MP9LJ6jv7-2Bb0c97UF1yE1XeiKasl3Q0KHAlfCn9N7XONZksYe5OIXa5kf5eLUqZODuRSP9aq4SJ-2B49W0jH0wJ361i16ryG-2B6zGsCP-2B3aeL3idfpMpxdsVAUMKbFeDmiql6IbUF6a9DGmXwmRVIL0QHVt1oUuktxYG4n1LAs21dSLBL7TYVq9E8q-2B0dhF0A1nPkmrRs5-2BYaTU6gTslj87j9CnTMQbJetbCXQBFFhjpqOKFuXxB86y2ueNadOnUlngBksp11gmccZifwCCy0ovFte1y3VMb6ij86GIqDbKNELviWYiCcfyd-2Bdt3ibh35trCFGnjTMOB9gzIWH9WEI3QkQId5LpWtFlp8yOLI7sgV8giQ-3D-3D">ChicagoMonuments.org</a> — and dozens of virtual and in-person neighborhood programs were hosted by committee members, national experts, and local community organizations.&nbsp;Ken Lum, Chief Curatorial Advisor of the Monument Lab and participant in one of the CMP engagement series shared, “The Chicago Monuments Project is an ambitious democratic exercise, unprecedented in scope by any large American urban center, to grapple with the fullness of omissions regarding Chicago's monumental landscape and public works system of representation.”&nbsp;Treatments for Monuments Under ReviewCMP has carefully deliberated and reflected on the extensive, passionate, and wide-ranging public opinion offered. The report offers specific treatment recommendations for the monuments under review, including taking the monument down, modifying the monument by commissioning another artwork and/or adding additional signage. Among the various reasons that an artwork or monument may require action to be taken by the City are: the work does not fit with the City’s mission, goals and objectives for the Chicago Public Art Program; the work presents a threat to public safety; providing security for the work requires too many resources; acknowledgement of significant deleterious information about the monument and what or whom it represents; in addition to other criteria outlined in the <a href="http://link.mediaoutreach.meltwater.com/ls/click?upn=jd8-2BsLkKeKzJJH-2F5YciLh8sfr5LTTKWIM6bd94IhkrYCQ1vgIKwNDhzS9APcqT9jr8NN_BYLPtpUivDHORxxkVXshLCRT3wjV7CgXbLJWP9J5MP9LJ6jv7-2Bb0c97UF1yE1XeiKasl3Q0KHAlfCn9N7XONZksYe5OIXa5kf5eLUqZODuRSP9aq4SJ-2B49W0jH0wJ361i16ryG-2B6zGsCP-2B3aeL3idfpMpxdsVAUMKbFeDmiql6IbUF6a9DGmXwmRVIL0QHVt1oUuktxYG4n1LAs21dSLBL7TYVq9E8q-2B0dhF0A1nPklAoYE2H13FjbqvtGjF1-2FZgmt-2F9H1hxva0-2BtrpnA3pXVygVN6cCT7Rit3oIyi1KXQpKX8sKCp94Kg8uwEpnNTrLT55MJkYO1-2B2w1YTBSz3ZKjqqES4TiYuGaBhW3T3SahwNNX6wBXOHgMylvc63sRh3h1U399CuWVkjWN54kbiOcw-3D-3D">full report</a>.&nbsp;There is much work to come before any of these recommendations will be finalized and implemented. While the City works through the recommendations, which will require time and the involvement of various City agencies, CMP recommends that signage for all work currently on display be updated.&nbsp;New WorkAs part of its engagement process, CMP released a call, “Reimagining Monuments: Request for Ideas,” to solicit proposals from individual artist and community groups that rethink the place, purpose, and permanence of monuments in our public spaces. In addition, DCASE and Parks commissioned a number of demonstration projects through their public art and grant programs that signified the potential for new types of monuments that highlight diverse approaches and stories. A number of key action items emerged across proposals and demonstration projects, including engaging and interpreting the City’s existing public art collection; achieving greater visibility for American Indians; reexamining Chicago’s history, considering unsung people and underrecognized stories; and prioritizing programs led by or engaging youth.&nbsp;In the near term, the City will award $50,000 planning and implementation grants toward the development of eight new projects, which will add—permanently or temporarily—to the City’s collection and memorialize events, people or groups that historically have been excluded or underrepresented. Among the new works awardees are:<ul><li>The Greater Chatham Initiative for a Mahalia Jackson memorial</li><li>Artists and community groups for a monument to historic events and people that have shaped the Latina/x experience in the Pilsen neighborhood</li><li>The Mother Jones Heritage Project</li><li>Community organizations working to create a monument to honor Jean Baptiste Pointe du Sable and Kitihawa, his wife and a local Potawatomi woman</li><li>Artist Patricia Nguyen and architectural designer John Lee for the Chicago Torture Justice Memorial concept</li><li>The Chicago Race Riot of 1919 Commemoration Project</li><li>A Long Walk Home, for its “Visibility Project” proposal centering on Black women and girls</li><li>A community-led monument to victims of gun violence in Chicago</li></ul>&nbsp;Public Engagement ProcessThe CMP conducted extensive public engagement efforts throughout 2021 to gain feedback on the monuments under review, begin a dialogue about who and what has not been memorialized and solicit ideas and recommendations for future monuments. Engagement modes included:<ul><li>Open-ended public feedback form on the CMP website; online speaker series examining key issues around Chicago’s monuments</li><li>Community-based groups presenting virtual public discussions on specific monuments</li><li>“Drop-in” virtual discussion sessions with CMP advisory committee members and DCASE staff</li><li>Virtual conversations with eight community stakeholder groups: African American, American Indian, Italian America, Latinx, leadership of culturally specific organizations, disability, historic preservation and youth</li><li>American Indian representation developed in partnership with Chicago American Indian Community Collaborative (CAICC)</li><li>Solicitation of project ideas from individual artist and community group for the development of new monuments that rethink the place, purpose and permanence of monuments in our public spaces.</li></ul>“This report looks to the future and recognizes that this is just one phase in an ongoing process. Just as we are reconsidering the permanence of the monuments themselves, the recommendations included in this report are not the final word on the complex, ever-evolving issues related to justice, public space and our shared history. The CMP does not intend for the interventions suggested here to preclude later actions that might further correct or expand the narratives in our public spaces. We will continue to engage with Chicago residents in an honest and sincere effort to build a more diverse and representative public art collection that this city and its residents deserve,” shared DCASE Commissioner Erin Harkey.#&nbsp; #&nbsp; #&nbsp;The project had four main objectives, including:<ul><li>Cataloging monuments and public art on City or Park District property;</li><li>Appointing an advisory committee to determine which pieces warrant attention or action;</li><li>Making recommendations for new monuments or public art that could be commissioned; and</li><li>Creating a platform for the public to engage in a civic dialogue about Chicago’s history.</li><li>&nbsp;</li></ul>Read the full report, compiled by Metris Arts Consulting, at <a href="http://link.mediaoutreach.meltwater.com/ls/click?upn=jd8-2BsLkKeKzJJH-2F5YciLh8sfr5LTTKWIM6bd94IhkrYCQ1vgIKwNDhzS9APcqT9j1-QU_BYLPtpUivDHORxxkVXshLCRT3wjV7CgXbLJWP9J5MP9LJ6jv7-2Bb0c97UF1yE1XeiKasl3Q0KHAlfCn9N7XONZksYe5OIXa5kf5eLUqZODuRSP9aq4SJ-2B49W0jH0wJ361i16ryG-2B6zGsCP-2B3aeL3idfpMpxdsVAUMKbFeDmiql6IbUF6a9DGmXwmRVIL0QHVt1oUuktxYG4n1LAs21dSLBL7TYVq9E8q-2B0dhF0A1nPkmLEH9S2dqgryEko7ONOr7dW2OByTP67hptfvvoOm10TgnXlb6s-2Bw-2F1VPGoj6IraSIQBTOTL9TQ6ptmFrypXlS8G94XrlSStI-2FxvJfENABAEZnztU0GaL9kmw0zxCdvENWL5bODYDtMlPKD6Ea-2FZpYLEIroxAKVQ1kmSxH-2BXK3gbA-3D-3D">ChicagoMonuments.org</a>.&nbsp;</body></html>

Chicago Monuments Project Advisory Committee Releases Its Final Report

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/u0j2xas8walicgxbauea.jpg"><figcaption><a href="https://www.saichicago.org/exhibition/pritika-chowdhry-unbearable-memories-unspeakable-histories">Unbearable Memories, Unspeakable Histories</a>, South Asia Institute Chicago (until 10 December)</figcaption></figure><a href="https://www.theartnewspaper.com/2022/08/12/india-and-pakistan-independence-75-years-exhibitions-to-see-around-the-world">India and Pakistan turn 75: exhibitions on independence and partition to see around the world</a> &nbsp;As the nations of India and Pakistan celebrate 75 years of independence—and commemorate the act of partition that brought them into being—cultural institutions are hosting exhibitions and artistic interventions to mark the moment. These provide not only educational information on an important period of history, but also a chance to reflect on the state of both nations today. In doing so, artistic responses can help us to consider partition as an ongoing process; an act that is continually reperformed and still shapes the futures of both countries.Featured is Chicago's own South Asia Institute (<a href="https://www.saichicago.org/exhibition/pritika-chowdhry-unbearable-memories-unspeakable-histories">Unbearable Memories, Unspeakable Histories</a>, South Asia Institute Chicago (until 10 December))&nbsp;<a href="https://www.pbs.org/newshour/show/art-and-medicine-intersect-in-new-york-city-hospitals">Art and medicine intersect in New York City hospitals</a>It's one of the largest public art collections in the country, and it's not where you might expect to see it. Artwork in New York hospitals aims to heal patients and healers.Via PBS Newshour&nbsp;<a href="https://news.artnet.com/art-world/howard-carter-stole-king-tut-tomb-artifacts-2161023">The Archaeologist Who Discovered King Tut’s Tomb Almost Certainly Stole Artifacts From It, a New Book Reveals</a>Howard Carter achieved lasting fame for his discovery of the tomb of Tutankhamun in 1922. Now, a century later, the archaeologist’s legacy may be tainted as new evidence confirms long-held suspicions that he stole from the pharaoh’s final resting place.“The&nbsp;whm amulet you showed me has been undoubtedly stolen from the tomb of Tutankhamun,” Alan Gardiner, a philologist who helped translate the site’s hieroglyphs, wrote to Carter in a previously unpublished 1934 letter. The letter will be published in full for the&nbsp;first time in the forthcoming book Tutankhamun and the Tomb that Changed the World.Via Artnet&nbsp;<a href="https://www.artnews.com/art-news/news/architectural-digest-alter-photos-lindemann-barnett-looted-artifacts-1234636671/">Architectural Digest Altered Photos to Edit Out Allegedly Looted Artifacts from Billionaire’s Daughter’s Home</a>Architectural Digest appears to have scrubbed evidence of ancient Khmer artifacts from photos depicting the luxurious San Francisco home of Sloan Lindemann Barnett and husband Roger Barnett, a&nbsp;Washington Post investigation revealed Monday.The photos, which appeared in the January 2021 issue, show numerous empty pedestals in Lindemann Barnett’s courtyard. However, the&nbsp;Post found photos on the website of the couple’s architect, Peter Marino, that showed the pedestals actually held numerous Khmer artifacts that the Cambodian government has said were looted from the country years ago.Via Artnews&nbsp;&nbsp;</body></html>

What We're Reading 8/18/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/efxuwtr3tg0j2idccnhi.png"><figcaption>Chiffon Roulade. Hand-painted chiffon roulade, pear mousse, clementine marmalade, ginger crumble and candied orange. From Entrée.</figcaption></figure>Via PRTo celebrate the Art Institute of Chicago hosting the largest Cézanne exhibition in the US in 25 years, Entrée–a new restaurant concept that blends delivery with fine dining–created a 6 course tasting menu inspired by the life, work, and legacy of an “artist’s artist”. Chef Alex Carnovale, formerly of The French Laundry and Entrée’s culinary director, has created this tasting menu inspired by Cézanne's varied approach to citrus, distinct brushwork, and his life in Provence, France.&nbsp;Each course connects to an aspect of Cézanne's life, work, or legacy. Entrée designed the menu kit to be enjoyed at the convenience of your own home. Each course can be completed by any home cook in minutes. The experience is further enhanced by a curated playlist, plating tips, coursed wine pairings, and fun facts about the artist and the exhibition.“When we visited the Cezanne exhibition, we were inspired to cook. The art was so vibrant, we could practically taste it, and we wanted to make those flavors accessible to Chicagoans at home.” said Carnovale.Each course connects to an aspect of Cezanne's life, work, or legacy. For instance, the roulade features ingredients from Provence, as well as fruit depicted in some of the artist's most popular works. It also serves as an homage to Cezanne's distinctive brushwork and mimics several of his works featuring a grove of trees.Entrée designed the menu kit to be enjoyed at the convenience of your own home. Each course can be completed by any home cook in minutes. The experience is further enhanced by a curated playlist, plating tips, coursed wine pairings, and fun facts about the artist and the exhibition. Entrée notes that its table-ready meals are crafted by Michelin-trained chefs, plate beautifully, and have all the taste, texture, and temperature you crave in the perfect bite.Cezanne is on view at the Art Institute of Chicago from May 15 through September 5, 2022 and explores Cezanne’s work across media and genres with 80 oil paintings, 40 watercolors and drawings, and two complete sketchbooks.The Cezanne tasting menu will be available through Entrée for delivery throughout Chicago and for pickup at the restaurant (1639 S. Wabash) minutes from the Art Institute, from August 25th to the 27th.&nbsp;Learn more <a href="https://www.joinentree.com/cezanne">here</a><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419102/rfcnyo0wxgpm1lulz0ec.png"></figure></body></html>

French Laundry Alumnus Chef Alex Carnovale, Creates Cezanne-inspired Tasting Menu for Art Institute

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/asrmr1xihy0fqaab1qcq.jpg"></figure><a href="https://www.chicagogallerynews.com/events/plan-b-art-project">Plan B Art Project</a>Opening: Thursday, August 11, 5 – 8&nbsp;pmPistachios Contemporary Jewelry Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419101/eoto0lsyhprguaargukm.jpg"></figure><a href="https://www.chicagogallerynews.com/events/jaime-foster-solo-exhibition">Jaime Foster Solo Exhibition</a>Exhibition begins August 12Elephant Room Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419102/iigbnkko24qdtrzwv5dp.jpg"></figure><a href="https://www.chicagogallerynews.com/events/aj-ainscough-back-outside">AJ Ainscough: Back Outside</a>Opening: Saturday, August 13, noon – 5&nbsp;pmVertical Project Space&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419103/pziywbghsrzxpxwf3pyi.jpg"></figure><a href="https://www.chicagogallerynews.com/events/shane-walsh-coconuts">Shane Walsh: Coconuts</a>Opening: Saturday, August 13, 1 – 3&nbsp;pmOS Projects&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions August 11 - 13

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419090/bpuyrydnsarm09wmxwag.png"></figure>&nbsp;<a href="https://artsinthedark.com">Arts in the Dark</a>, also known as the "artist's holiday," is a magical evening parade that celebrates Halloween.&nbsp;LUMA8 is proud to announce that the Arts in the Dark Halloween Parade will return to State Street as the Grand Finale of the city's "Halloweek" program on Saturday, October 29th, 2022.&nbsp; This event draws together world-renowned institutions like the Art Institute of Chicago, celebrated Chicago organizations like Lookingglass Theatre Company, important programs like After School Matters and aspiring artists in every field.&nbsp; Now in its eigth year, this extraordinary parade has delighted hundreds of thousands of locals and visitors with unique floats, spectacle puppets and creative performances.This year CGN is helping Arts in the Dark to bring together a group of artists interested in getting involved in the annual Halloween parade in the Loop.&nbsp;What is Art After Dark?&nbsp;Mark Kelly, former Commissioner of Cultural Affairs for the City of Chicago (DCASE), along with Sharene Shariatzadeh, President &amp; CEO of LUMA8, will be coordinating the project again and helping you and your fellow artists to develop a theme that would work well for a contingent of artists.&nbsp;&nbsp;Your role: As artists you will operate as a part of a committee to develop a plan for your participation in Arts in the Dark. There is also the potential to choose a chair or co-chairs to lead the group. &nbsp;What: The Arts in the Dark Halloween Parade on State Street and the Grand Finale of the city's "Halloweek" program.When: Saturday, October 29th, 2022How many: We are seeking 15–25 artists/participants. Spectacle pieces or a float may need just 10-15 people, but for a walking contingent without large props we recommend at least 25 artists.&nbsp;Participation deadline: August 12&nbsp;Please contact CGN for more information: <a href="mailto:info@chicagogallerynews.com?bcc=ginny@chicagogallerynews.com&amp;subject=Arts%20in%20the%20Dark%20Participation">info@chicagogallerynews.com</a>&nbsp;<a href="https://artsinthedark.com/press/">Click here</a> for more information or to read recent press.&nbsp;</body></html>

Call for Artists: Arts in the Dark 2022

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419096/ydxk21shmjnfbcgdsqhg.jpg"><figcaption>Warhol exhibition concept image designed by curator Justin Witte</figcaption></figure>&nbsp;Via PRGLEN ELLYN, Ill. — Following the success of the summer 2021 blockbuster exhibition, “Frida Kahlo: Timeless,” the Cleve Carney Museum of Art (CCMA) and the McAninch Arts Center (MAC) at the College of DuPage (COD) will present “Warhol: Featuring Andy Warhol Portfolios: A Life in Pop / Works from the Bank of America” June 3 – Sept. 10, 2023.&nbsp;$40 Anytime Entry tickets (tickets for a specific date/flexible time) for the 2023 Warhol exhibition will go on sale to the public beginning at 11 a.m. Saturday, Aug. 6 at the MAC Box Office. Anytime Entry Tickets may be purchased online at&nbsp;<a href="https://www.theccma.org/warhol">Warhol2023.org</a>&nbsp;or by calling&nbsp;630.942.4000&nbsp;beginning noon on Tuesday, Aug. 9.&nbsp;&nbsp;In recognition of Warhol’s birthday, the Tickets On-Sale Party will include Warhol-themed décor and photo opportunities with an Andy Warhol lookalike plus music, free food and drink. The event also will feature gifts for the first 100 buyers and drawings for prizes every half&nbsp;hour.&nbsp;Attendees of the Tickets On-Sale Party will also have the opportunity to purchase single show tickets for the MAC, Buffalo Theatre Ensemble and New&nbsp;Philharmonic seasons.&nbsp;For more information visit <a href="https://www.atthemac.org">AtTheMAC.org</a>.Guests that purchase "anytime entry" tickets have the opportunity to reserve a day to attend, and then view the exhibition at any time for that reserved date. "Timed entry" tickets will also be available at a lower price point, allowing guests to reserve a specific date and time to attend. Timed tickets will be available later this year.&nbsp;About “Warhol: Featuring Andy Warhol Portfolios: A Life in Pop / Works from the Bank of America Collection”The Warhol exhibition will feature 94 works from “Andy Warhol Portfolios: A Life in Pop / Works from the Bank of America Collection” on loan through Bank of America’s Art in our Communities® program. Aside from the Bank of America collection, which will be on display in a dedicated space in the exhibition, there will also be over 100 works from the College of DuPage Permanent Art Collection.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419097/rljq5arkbxgvrsxb0e8d.jpg"><figcaption>Andy Warhol, Campbell’s Soup II: New England Clam Chowder (1969)© 2022 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York. Campbell Trademarks used with permission of Campbell Soup Company.</figcaption></figure>&nbsp;Notable works from the College of DuPage Permanent Art Collection will include Warhol’s 1980 screen-printed portrait of Joseph Beuys as well as his iconic $ (1983). Also included: more than 150 photographs by Warhol comprised of both black-and-white gelatin silver prints and color Polaroid prints featuring unidentified figures and celebrities alike. These photographs offer a rare and intimate glimpse into Warhol’s New York of the 1970’s and 80’s.The exhibition will encompass both the CCMA and the MAC, unfolding across roughly 11,000 square-feet of exhibition space. Educational and interactive elements will include a biographical exhibition highlighting key points in Warhol’s life and career, video installation, interactive mural, children’s print factory area, Studio 54 and Silver Cloud Room experiences and Central Park-inspired outdoor café, creating an immersive, multifaceted exhibition focused on the life and work of one of the most influential artists of the past century.Andy Warhol (American, 1928–1987) was a central figure in the Pop Art movement that emerged in the U.S. in the early 1950s and is the most recognizable artist of the second half of the twentieth century. Warhol worked across media, including painting, sculpture, film and printmaking. Warhol’s printed multiples were central to his practice allowing him to explore the aesthetics and mechanics of mass-produced images and popular culture. Warhol’s prints also touched on other themes. Warhol’s “Endangered Species” series grew out of his concern for the environment. In 1979, with “Ten Portraits of Jews of the Twentieth Century,” Warhol departed from his repeated images format to create a series of iconic images based on a single theme.The exhibition and programming will be led by MAC Director Diana Martinez and CCMA Curator Justin Witte.&nbsp;</body></html>

Cleve Carney Museum of Art Announces Warhol 2023

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419096/vdennellbq4frsntvdbe.jpg"><figcaption>Obama Presidential Center's Ann Dunham Water Garden featuring "Seeing Through the Universe" Sculpture by Maya Lin. Credit “The Obama Foundation.”</figcaption></figure>Via PRCHICAGO – Today, on his 61st birthday, President Obama announced that the Water Garden at the Obama Presidential Center will be named in honor of his mother, Ann Dunham. The Water Garden, located near the Center’s north entrance, will serve as a designated place on campus meant for reflection and relaxation. The garden will be anchored by a commissioned art installation from world-renowned artist, Maya Lin. The sculpture, titled “Seeing Through the Universe,” will feature an upright “oculus” piece that mists and a flat “pebble” piece that fills with water and then cascades over. “When we thought about what may be a fitting way to commemorate my mother’s influence on my sister and me, I thought about where she would want to be in this space,” said President Obama. “I could picture her sitting on one of the benches on a nice summer afternoon, smiling and watching a bunch of kids running through the fountain, and I thought that would capture who she was as well as just about anything else." <a href="https://click.email.obama.org/?qs=d0abc585f28fb1fc677fe57a74c7603443a4627019427ebbae8546eae08d8495a4d3a1c62d83b71f52d3e63cd21f11cd0c54699a26ca2881">Watch this video to hear President Obama share special memories honoring Ann Dunham and discuss the significance of Maya Lin’s work.</a> Maya Lin, one of President Obama’s favorite artists, is an Ohio native and Yale University graduate known for her ability to ground her work in nature. She has received distinguished recognition for her work, including her designs of the Vietnam Veterans Memorial in Washington D.C., and the Civil Rights Memorial in Montgomery, Alabama. Lin creates art that invites visitors to engage with it and the surrounding environment. In 2016, she was awarded the Presidential Medal of Freedom by President Obama, the Nation’s highest civilian honor. The Ann Dunham Water Garden will be made possible by generous contributions from the Obama Administration and campaign alumni community.&nbsp; “It means so much to us that this gesture comes from the team who helped President Obama reach the White House and serve the American people,” said Obama Foundation CEO Valerie Jarrett. “President Obama’s mother was an inspiration to him, exemplifying passion, curiosity, and a commitment to service. Our hope is that the Ann Dunham Water Garden and the Obama Presidential Center inspire the same qualities within our visitors.” &nbsp; The Obama Foundation seeks to make the Obama Presidential Center a place for community gathering, providing significant educational offerings both within the Center and in the natural space surrounding it. The Ann Dunham Water Garden follows the recent announcements of other open, public spaces including the John Lewis Plaza, the Eleanor Roosevelt Fruit and Vegetable Garden, and the Hadiya Pendleton Winter Garden. &nbsp; The Obama Presidential Center broke ground in September 2021 and is estimated to bring more than 700,000 visitors to the South Side each year. The Center is expected to open its doors in 2025.&nbsp;&nbsp;</body></html>

Artist Maya Lin Commissioned to Create “Seeing Through the Universe” Sculpture for Obama Presidential Center

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419096/sjys128dhgeeid20xtq7.png"></figure>&nbsp;The Artists Run Chicago Fund is now accepting applications!The Artists Run Chicago Fund (ARC Fund) is back! Now in its third iteration, the ARC Fund seeks to award fifteen $8,000 grants to artists-run spaces, projects, and platforms in Chicago. NEW and established platforms are eligible to apply for flexible funding to support their work. Grantees will be selected through a free, juried, open call.&nbsp;Since 2020, this unique regranting initiative designed and administered by Hyde Park Art Center has awarded seventy $8,000 grants to artist-run platforms, infusing Chicago’s independent art scene with flexible financial support to strengthen experimental programs.The deadline to apply is September 15.<a href="https://r20.rs6.net/tn.jsp?f=001Mpn3MbJvr5fZQFBEg5LMTU4s__2OtlJl-m2Xn6a_maV4raUQ6Hmy27_BDJ8R7p8lgcDeYqGrlCda7UcI0Rcv6wHLWLI-wt0niHTVtcRsS0S3g8RnfxswtIYST7S2i_T0Jt25VqrrBB5c4NM0sDxH8eQnww4tfhqRkcEzJErOGIi0czAr5bbRM08_4v7V3xQPRQ5-JhnSG3oLiQB7J80Zq7ffWwXQCe_n8k2y3nOTjQo=&amp;c=MpeGIXevNwDSFpSjx4r_AbtRJ2LZekNNpqhJIvXVl82NrUM7ur8pag==&amp;ch=N3K8TcXXXyqAOQDBFEhpnaAy5hbe6R-NRP1LjhyzqkaHJu6RIl40lQ==">More Info.</a>&nbsp;</body></html>

Artists Run Chicago Fund Now Accepting Applications

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419096/dfcievz99ncxiuowz6y9.png"><figcaption>Left: Aimé&nbsp;Iglesias&nbsp;Lukin,&nbsp;Director&nbsp;and Chief Curator of&nbsp;Visual&nbsp;Arts,&nbsp;Americas Society in New&nbsp;York. Right: Claudia Segura,&nbsp;Curator&nbsp;of&nbsp;Exhibitions&nbsp;and Collection,&nbsp;MACBA&nbsp;Museu&nbsp;d'Art&nbsp;Contemporani&nbsp;de&nbsp;Barcelona</figcaption></figure>&nbsp;<a href="https://expochicago.us4.list-manage.com/track/click?u=feab88d1702b05fff44372e88&amp;id=69a399cc84&amp;e=c5b146cc27">EXPO CHICAGO</a> is pleased to announce the 2023 Program Curators for the tenth anniversary edition, returning to Navy Pier April 13–16, 2023. Showcasing large-scale sculpture, video, film and site-specific works throughout Festival Hall, the 2023 <a href="https://expochicago.us4.list-manage.com/track/click?u=feab88d1702b05fff44372e88&amp;id=5f14879f22&amp;e=c5b146cc27">IN/SITU</a> program will be curated by Claudia Segura, Curator of Exhibitions and Collection of the Museu d'Art Contemporani de Barcelona (MACBA). Aimé Iglesias Lukin, Director and Chief Curator of Visual Arts at Americas Society in New York has been selected to curate the 2023 <a href="https://expochicago.us4.list-manage.com/track/click?u=feab88d1702b05fff44372e88&amp;id=1971efe5fa&amp;e=c5b146cc27">EXPOSURE</a> section, which highlights solo and two-artist presentations from galleries ten years and younger. Lukin will curate a presentation focused on heralding emerging artists and exhibition programs, with counsel from the Selection Committee and exposition’s directors.&nbsp;<a href="https://expochicago.us4.list-manage.com/track/click?u=feab88d1702b05fff44372e88&amp;id=6480924884&amp;e=c5b146cc27">Read the full press release</a>&nbsp;About Aimé Iglesias LukinAimé Iglesias Lukin&nbsp;is the Director and Chief Curator of Visual Arts at Americas Society in New York.&nbsp;Born in Buenos Aires, she received her PhD in art history from Rutgers University with a dissertation titled “This Must Be the Place: Latin American Artists in New York 1965–1975,” which she presented as a two part exhibition and a book at Americas&nbsp;Society in 2021 and 2022. She completed her M.A. at The Institute of Fine Arts at New York University, and her undergraduate studies in art history at the Universidad de Buenos Aires. Her research received grants from the Smithsonian American Art Museum, the Metropolitan Museum of Art, the Terra and Andrew W. Mellon Foundations, and the ICAA Peter C. Marzio Award from the Museum of Fine Arts, Houston. She curated exhibitions independently in museums and cultural centers and previously worked in the Modern and Contemporary Art Department of the Metropolitan Museum of Art, the Institute for Studies on Latin American Art, and Fundación PROA in Buenos Aires.About Claudia SeguraClaudia Segura is the Curator of Exhibitions and Collection of the MACBA Museu d'Art Contemporani de Barcelona. She previously held positions as the Director and Chief Curator of NC-arte in Bogotá, Colombia (2015-2019), where she curated several exhibitions and site-specific projects by different artists (Amalia Pica, Luis Camnitzer, Xavier Le Roy, Nicolás Paris, Nicolás Consuegra, Los Carpinteros, Alia Farid, among others). She was coordinator of cultural initiatives at the Fundació ”la Caixa”, Barcelona (2010-2012); an external curator of the Mardin Biennial, Turkey (2014-2015); and mentor of the Sala d’Art Jove, Barcelona (2014), and at the Cano Laboratory at the Art Museum of the National University of Colombia (2018). In addition, she has been a visiting lecturer at the National University of the Andes, Bogotá (2017).&nbsp;</body></html>

EXPO CHICAGO Announces 2023 Program Curators Aimé Iglesias Lukin and Claudia Segura 

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419096/ttwzgtmxtjvpoqgkhowh.jpg"><figcaption>A photo shows a room in Henry Darger’s apartment at 815 W. Webster Ave. in Chicago and was taken when his works were discovered, shortly before his death in 1973. (U.S. District Court records / HANDOUT)</figcaption></figure><a href="https://www.chicagotribune.com/news/criminal-justice/ct-henry-darger-artist-estate-federal-copyright-lawsuit-20220731-mfhokcqu6jeunkdpgz33vx3v3m-story.html">Fate of Lincoln Park recluse Henry Darger’s famed works at center of federal court fight</a>Recluse janitor Henry Darger spent more than 40 years in a tiny one-room apartment in Lincoln Park, writing, painting, sketching, collecting and fantasizing.It wasn’t until after his death in 1973 that his works, discovered by his landlords, trickled onto Chicago’s art scene, with his fanciful stories and sometimes-violent imagery eventually gaining worldwide appreciation — and skyrocketing value.Now, nearly a half a century later, a brewing legal battle over the rights to Darger’s legacy has landed in Chicago’s federal court, where a lawsuit was filed this week by his estate accusing the landlords of copyright infringement.Via Chicago Tribune&nbsp;<a href="https://www.brushwoodcenter.org/smith2022.html?eType=EmailBlastContent&amp;eId=ec497e96-b17a-4e86-853a-8d6de34cd7aa">Brushwood Center's 2022 Smith Nature Symposium Honors Two Photographers</a>This year, Brushwood Center's 2022 Smith Nature Symposium,&nbsp;Inspiring Change, lifts up the voices of youth, artists, and scientists who are challenging the status quo and pushing for change where it matters most. ​ The Series culminates in the Awards Ceremony on Friday, September 30th&nbsp;honoring Cristina Mittermeier and Paul Nicklen, our 2022 Environmental Leadership Awardees.&nbsp; These internationally acclaimed marine biologists, photographers, and founders of SeaLegacy are leading bold campaigns for ocean justice around the world.&nbsp; Both use their photography and their platforms to inspire action on behalf of our great blue planet and protect the world’s oceans.<a href="https://www.brushwoodcenter.org/smith2022.html?eType=EmailBlastContent&amp;eId=ec497e96-b17a-4e86-853a-8d6de34cd7aa">Read more</a>&nbsp;Call for Artists: ART-IN-PLACE (AIP)Presented by&nbsp;<a href="https://cortneylederer.us15.list-manage.com/track/click?u=209edfd3257df90385f531e52&amp;id=4eff776fcf&amp;e=f4ae6782ba">CNL Projects</a>&nbsp;and&nbsp;<a href="https://cortneylederer.us15.list-manage.com/track/click?u=209edfd3257df90385f531e52&amp;id=02f7c2a4b6&amp;e=f4ae6782ba">Terrain Exhibitions</a>, the second iteration of ART-IN-PLACE (AIP) invites artists of all levels and disciplines to respond to the violence epidemic in the United States.&nbsp;Join us in calling each other to action through the experience of public art. To participate: 1. Install an original work of art that responds to the violence epidemic, directly or indirectly. 2. Ensure the artwork is viewable by the public (from a window, front yard, or presented in partnership with a local business). For ideas, check out the&nbsp;<a href="https://cortneylederer.us15.list-manage.com/track/click?u=209edfd3257df90385f531e52&amp;id=55e70549e4&amp;e=f4ae6782ba">2020 ART-IN-PLACE projects</a>. 3. Take a few images of the installed work at different angles.&nbsp; 4. Complete&nbsp;<a href="https://cortneylederer.us15.list-manage.com/track/click?u=209edfd3257df90385f531e52&amp;id=c31c92ba9f&amp;e=f4ae6782ba">this google form</a>&nbsp;and&nbsp;upload your images. We'll use the information collected to populate the new ART-IN-PLACE website,&nbsp;<a href="https://cortneylederer.us15.list-manage.com/track/click?u=209edfd3257df90385f531e52&amp;id=68b4557186&amp;e=f4ae6782ba">artinplace.net</a>. 5. Spread the word about AIP!&nbsp; Shout out your favorite organizations working toward positive change, write letters to your congress people, or talk to your neighbors. 6. Leave the work installed from August 15 - September 30, 2022. &nbsp;&nbsp;&nbsp;</body></html>

CGN Art World Recap: 8/1/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419096/z8mdvyluipbxmbiipse4.jpg"></figure><a href="https://www.chicagogallerynews.com/events/unbearable-memories-unspeakable-histories">Unbearable Memories, Unspeakable Histories</a>August 6South Asia Institute&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419097/dwuej5m0eegc5nfxmnbb.png"></figure><a href="https://www.chicagogallerynews.com/events/jeffery-chirchirillo-bad-weather-makes-for-good-photography-ansel-adams">Jeffrie Chirchirillo: “Bad Weather Makes For Good Photography” …. Ansel Adams</a>Opening: Saturday, August 6, 4 – 7&nbsp;pmPerspective Photo Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419098/a5uomqdo5y3ohwaifauv.png"></figure><a href="https://www.chicagogallerynews.com/events/verna-todd-vi-reste-hemifran-we-left-home">Verna Todd: Vi Reste Hemifrån (We Left Home)</a>Opening: Saturday, August 6, 4 – 7&nbsp;pmPerspective Photo Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419099/w5raiefs3bjmlrwcwkku.jpg"></figure><a href="https://www.chicagogallerynews.com/events/alexface-solo-show">Alex Face’s</a>Opening: Saturday, August 6, noon – 6&nbsp;pmVertical Gallery&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions August 5 - 6 (Part II)

<html><head></head><body>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419096/tcn5giv4b6qvcznax6ho.png"></figure><a href="https://www.chicagogallerynews.com/events/liminal-by-rossa-crean">Liminal by Rosśa Crean</a>Opening: Friday, August 5, 6 – 8&nbsp;pmInternational Museum of Surgical Science&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419097/ayamgt9jbywus0ovgfjl.jpg"></figure><a href="https://www.chicagogallerynews.com/events/voices-visions-standing-on-the-bridge-between-health-and-disease-cb5a61e2-5d42-47c1-8492-bb72c1626dc1">Voices &amp; Visions: Standing on the Bridge Between Health and Disease</a>Opening: Friday, August 5, 5:30 – 8&nbsp;pmThe Art Center Highland Park&nbsp;&nbsp;&nbsp;&nbsp;<a href="https://www.chicagogallerynews.com/events/20-print-sale-reboot">$20 PRINT SALE REBOOT!</a>August 6 – 27Chicago Printmakers Collaborative&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions August 5 - 6 (Part I)

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419096/fsslbkz8vpqldnou1kb4.jpg"><figcaption>Courtesy of StockX.</figcaption></figure>&nbsp;<a href="https://news.artnet.com/buyers-guide/stockx-vincent-van-gogh-starry-night-lego-set-2152258">The New ‘Starry Night’ Lego Set Is a Sold-Out Collector’s Hit</a>Art lovers know to expect sold-out gallery shows. But what about sold-out Lego kits? Such is the case with Lego’s Vincent van Gogh’s Starry Night edition. The kit, which allows enthusiasts to build a recreation of the 1889 Post-Impressionist masterpiece, has been flying off the shelves since it came out in May of this year. The kit came to market through a unique avenue; the Starry Night theme was proposed as a set by Truman Cheng, a PhD student from Hong Kong, through the company’s Lego Ideas system that allows people to suggest ideas for potential kits.&nbsp;Via Artnet&nbsp;<a href="https://www.nytimes.com/2022/07/28/arts/design/ukraine-war-art-culture.html">The Role of Art in a Time of War</a>You do not have to go far outside of Kyiv to see how the massacre of civilians and the trampling of culture still come one after the other. In Borodianka, a nucleus of Russian atrocities about 45 minutes north of here — the drive is slower now that the bridges have been demolished — the Palace of Culture has had its windows blown out; its concert hall is dust-caked, and the ticket booths have been ripped asunder. Halfway between the capital and the Belarusian border, I had to contort my body through twisted studs to enter the leveled Ivankiv Historical and Local History Museum, its statuary now pitted, its embroideries scorched. It is far worse further east.Here in Kyiv the masterpieces have, like many of its citizens earlier, gone underground.Via the New York Times&nbsp;<a href="https://www.chicagotribune.com/entertainment/ct-ent-chicago-climate-change-art-initiative-tt-0720-20220720-rbyp7oq6fngo5mar2lisoz2rzm-story.html">E(art)H Chicago awards $547,310 for art projects addressing climate change: From murals to money for native plantings</a>A bilingual, multisensory theater piece for pre-K youth and their families to explore Eggers Grove’s rich ecosystem. A Little Village mural that will be created from a community coloring book and painted by community members. A documentary film that focuses on the environmental justice issues on the Southeast Side where screenings and discussions will take place.These are but a few art projects centered on environmental justice and climate change that will be created and activated with public programming by next summer through E(art)H Chicago (Earth Art Chicago). The citywide community-based art initiative was created by the Illinois Science and Energy Innovation Foundation (ISEIF) to raise awareness and inspire action on the environment and to educate Illinois residents on cost-saving environmental interventions they can make in their homes.Via Chicago Tribune&nbsp;<a href="https://www.latimes.com/entertainment-arts/story/2022-07-27/why-new-york-art-galleries-are-flocking-to-los-angeles-altering-art-scene">Why New York art galleries are flocking to Los Angeles — and how it’s altering the art scene</a>Call it the great Art Rush — but panning for affluent art collectors instead of gold nuggets.The Los Angeles gallery scene is seeing an influx of established New York art galleries moving into town as of late — 11 so far are here or coming soon. Several venues opened this February, timed to the Frieze Los Angeles art fair; other openings are in the works for later this year or 2023.Via LA Times&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

What We're Reading: 7/28/22

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419096/fmbhkguhlhubybhtkmrw.png"></figure><a href="https://www.chicagogallerynews.com/events/lakefront-anonymous-chicago-s-unknown-art-gallery">Lakefront Anonymous: Chicago’s Unknown Art Gallery</a>Opening: Friday, July 29, 7 – 10&nbsp;pmFirecat Projects&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419097/sl0j9alghox5xyxtd0t5.png"></figure><a href="https://www.chicagogallerynews.com/events/cesar-conde-c-j-hungerman-c-c-collision">Cesar Conde &amp; C.J. Hungerman: C+C=COLLISION</a>Opening: Friday, July 29, 6 – 9&nbsp;pmEpiphany Center for the Arts&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419098/rjuoohyhamo2pejlpxeq.jpg"></figure><a href="https://www.chicagogallerynews.com/events/all-that-glows-in-the-dark-of-democracy">All that Glows in the Dark of Democracy</a>Opening: Friday, July 29, 5 – 7&nbsp;pmWeinberg/Newton Gallery&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419099/wufmipzco3fx4ux2o9n7.png"></figure><a href="https://www.chicagogallerynews.com/events/abraham-cone-wall-ornament">Abraham Cone: Wall Ornament</a>Opening: Friday, July 29, 6 – 10&nbsp;pmMu Gallery&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721419100/ogo92kxl74wvv7po3exb.png"></figure><a href="https://www.chicagogallerynews.com/events/age-of-the-bimbo">Age of the Bimbo</a>Opening: Saturday, July 30, 4 – 7&nbsp;pmWoman Made Gallery&nbsp;&nbsp;&nbsp;</body></html>