<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255241/efgthpmcjg7b5k1hl3sw.jpg">DCASE Commissioner Clineé Hedspeth described her department’s proposed budget as a boost, which is needed to support artists and keep up with the rising costs of large-scale events.City of Chicago YouTube<a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.wbez.org/arts-culture/2024/11/13/chicago-arts-funding-city-budget-dcase-culture-artist-grants?subscription=true&amp;utm_source=Newsletter_Daily-Rundown-Non-Member&amp;utm_medium=WBEZEmail&amp;utm_campaign=Daily_Newsletter_Daily-Rundown_Sponsored_20241114&amp;utm_content=11/14/2024&amp;DE=WBEZEmail" target="_blank">Will Chicago arts see a boost next year from City Hall? Numbers tell mixed story</a>Amid big questions about how to sustain creative industries in a post-COVID, inflationary economy, Chicago’s proposed cultural budget for 2025 is under close scrutiny by some arts advocates.Mayor Brandon Johnson’s&nbsp;<a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://chicago.suntimes.com/city-hall/2024/11/12/mayor-brandon-johnson-budget-cuts-negotiations-property-taxes-pension-payment" target="_blank">2025 budget</a>&nbsp;calls for about $73 million for the Department of Cultural Affairs and Special Events (DCASE) for next year. Last fall, City Council approved more than $84 million for the department. However, fewer grants than forecasted came in, according to the city’s budget department, so DCASE actually received about $66 million, according to this year’s budget documents.Via WBEZ&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255242/vx8illm3q8tzh4n3yrip.webp">Image by Clare Britt&nbsp;<a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.artic.edu/press/press-releases/372/art-institute-of-chicago-announces-eric-lefkofsky-as-new-chair-of-the-board-of-trustees" target="_blank">Art Institute of Chicago Announces Eric Lefkofsky as New Chair of the Board of Trustees</a>The Art Institute of Chicago announced on Nov 12 the election of Eric Lefkofsky as the organization’s new chair of the Board of Trustees. Lefkofsky will succeed Denise Gardner as the leader of the board, the governing body for both the Art Institute of Chicago museum and the School of the Art Institute of Chicago (SAIC).Via Arctic.edu&nbsp;<a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://news.wttw.com/2024/11/04/chicago-living-color-photography-book-focuses-chicago-european-s-point-view" target="_blank">Chicago in Living Color: Photography Book Focuses on Chicago From a European’s Point-of-View</a>A native of Spain, Judit Prat Marti was a newcomer to Chicago in early 2020. She moved here to accept a fellowship in the University of Chicago’s Department of Astronomy and Astrophysics.Three months later, the pandemic struck – and Prat Marti shifted her focus from the cosmos to the city.She took photography classes and explored Chicago with a camera. She built a body of work taking photos of overlooked nooks of the city, embracing the finer points of her temporary home.Now this scholar of cosmology is a photographer with a new book, published by Chicago’s Trope Publishing Company.Via WTTW

What We're Reading: 11/15/24

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255289/b6l0nhirrtpujxwmslqm.jpg">&nbsp;By ABBEY KOT&nbsp;Janine Mileaf has served as the executive director and chief curator at&nbsp;<a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.artsclubchicago.org/" target="_blank">The Arts Club of Chicago</a>&nbsp;since 2012. This week, we sat down with her to discuss her educational background and time at The Arts Club.&nbsp;&nbsp;Chicago Gallery News: As both director and curator at The Arts Club of Chicago, it’s almost hard to imagine the depth of your involvement in each exhibition. Are there any areas within your process that you look forward to, or that you find particularly challenging?Janine Mileaf:&nbsp;I find it extremely gratifying to work directly with artists to help them realize a particular project. It is especially exciting when an exhibition takes form specifically around the opportunity to show work in the context of The Arts Club of Chicago. Our long history often provokes new ideas for artists or new ways in which to situate their work. I love when that happens.&nbsp;CGN: As a student of art history, how do you feel your own research and understanding of the art world impacts what you are drawn to as a curator?&nbsp;JM:&nbsp;I come to curation from the point of view of a historian, but I find that this does not necessarily draw me to historical works (although sometimes it does). More frequently, I’m compelled by artists who themselves are engaged in historical or research-based thought. I try not to go after trends, but rather to work with artists whose ideas and objects will endure beyond the moment and who are making things that make me think or feel something new.CGN: In&nbsp;2010, you published&nbsp;Please Touch: Dada and Surrealist Objects After the Readymade.&nbsp;What ultimately moved you to write about the Dada movement, a period which can be difficult to digest in many ways?&nbsp;JM:&nbsp;That is exactly why I wanted to write about Dada! I chose to think about Marcel Duchamp’s readymades and their aftermath because at the time they were conceived, they were understood to be the farthest thing from a work of art–and yet, in the long-run, that very idea is hard to grasp because the object-as-art has become so commonplace. I wanted to look at that difficulty and the gesture of inserting something so problematic into the context of art and figure out what that tells us about the category “art” and its function.CGN: During your time working at The Arts Club of Chicago, has there been an exhibition that stands out to you as a critical learning moment?&nbsp;JM:&nbsp;Our most recent exhibition&nbsp;Haegue Yang: Flat Works&nbsp;has reminded me not to shy away from ambitious projects. Each time I start a conversation with an artist about what they want to make, it is a risk—something of a challenge—to see how the institution is equipped to meet their intentions and to find out what we can do to surpass any limitations. In this project we surveyed work that Yang has been making for 30 years, but that has never been considered as an entity; we fabricated an exquisite display to tell the history of Yang’s most recent series of paper cuttings known as Mesmerizing Mesh; and we published a book that will be distributed internationally by Skira and outlast the exhibition. In the end, The Arts Club provided a venue for the artist to showcase long-term thought processes that are at the core of her practice and to discover the unifying concept that has to do with abstraction.CGN: What advice would you give to those wishing to work on the business side of the art world?&nbsp;JM:&nbsp;I’m sure this sounds trite, but I would say to follow your passion, not the market. If you do that, you will develop a point of view and a distinct program that are authentic and lead to meaningful and genuine engagements.&nbsp;Image: Headshot by Frank Ishman&nbsp;

CGN Insights: Janine Mileaf, The Arts Club of Chicago

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255175/n9wmntemroghfkylgx9u.png"><a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/wearing-red-ignite-the-fire" target="_blank">Wearing Red: Ignite the Fire</a>Exhibition begins November 14Pistachios Contemporary Art Jewelry and Objects&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255176/np9dcfbgjkso59qgjl5p.jpg"><a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/jane-sloss" target="_blank">Jane Sloss: The&nbsp;Sound of the "L"</a>Opening: Friday, November 15, 2024 7 – 10&nbsp;pmFirecat Projects&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255177/vhp8vgizrmzslwqq4arl.jpg"><a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/true-story-photography-journalism-and-media" target="_blank">True Story: Photography, Journalism, and Media</a>Exhibition begins November 15Milwaukee Art Museum (MAM)&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255178/girizsxnzpbvwirwb1vn.png"><a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/progressions" target="_blank">Progressions</a>Opening: Friday, November 15, 7 – 9&nbsp;pmGallery of Contemporary Mosaics&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255179/ktffydhhqc81elcv55ty.jpg"><a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/eva-jospin-vanishing-points" target="_blank">Eva Jospin: Vanishing Points</a>Opening: Thursday, November 14, 6 – 8&nbsp;pmMariane Ibrahim&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255180/canzxbgv5xspuhadmdh7.jpg"><a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/thirst-trap" target="_blank">Thirst Trap</a>Opening: Friday, November 15, 7 – 10&nbsp;pmBridgeport Art Center&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255180/soydzyk0hr6wwcp11omz.jpg"><a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/richard-mosse-broken-spectre" target="_blank">Richard Mosse: Broken Spectre</a>Opening: Friday, November 15, 5 – 8&nbsp;pmMadison Museum of Contemporary Art (MMoCA)&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255181/mo1myzwefdhbiqdwtzvc.png"><a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/community-members-show" target="_blank">Community Members’ Show</a>Exhibition begins November 16Krasl Art Center&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255182/jb86ez5z2l7gk3w0kov2.jpg"><a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/process-pro-forma" target="_blank">Process Pro Forma</a>Exhibition begins November 19John Michael Kohler Arts Center (JMKAC)

New Exhibitions November 14 - 19

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733255085/t2g3hponuyeeqdupjzmn.jpg">-Via PR<a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/organizations/rockford-art-museum" target="_blank">Rockford Art Museum</a>&nbsp;(RAM) announces the reopening of their galleries after a year-long HVAC construction project this Thursday, November 14th at 10 AM. The first-floor galleries (Funderburg and Kuller) will showcase over 100 pieces from the museum’s acclaimed Permanent Collection. Galleries will be open Thursday through Sunday from 10 AM to 5 PM with free admission sponsored by Lon and Dick Behr, Dean Alan Olson Foundation, and, Rosecrance Behavioral Health. We are also excited to unveil a new children’s art space, “Young Masters”. This creative space, located just outside the museum galleries, will provide art supplies and guided activities for some of our youngest artists. Young Masters will be open whenever the galleries are open and will be free. This space was sponsored by Women’s Art Board of Rockford Art Museum with in-kind support from Xaja Designs. &nbsp;About Rockford Art Museum<a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.chicagogallerynews.com/organizations/rockford-art-museum" target="_blank">Rockford Art Museum</a>, a Partner in Excellence of the Illinois Arts Council Agency since 2004, houses a diverse yet concise collection featuring acclaimed modern galleries, a museum store, offices, studios, and classrooms. With a steadfast focus on regional art, particularly Illinois artists, the museum aims to foster creativity and build community through the visual arts.It is the mission of Rockford Art Museum to foster creativity and build community through visual arts.

Rockford Art Museum Announces Reopening After Year-Long Gallery Closure

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1733254619/nffqdokhuzw4klrbhwph.jpg">- Via PR&nbsp;The&nbsp;Elmhurst Art Museum&nbsp;announces the appointment of&nbsp;Allison Peters Quinn&nbsp;to&nbsp;Executive Director and Chief Curator. An established curator, educator, and art writer based in Chicago, Peters Quinn will spearhead the Elmhurst Art Museum’s mission to spark cultural enrichment and serve as “a creative space where art is for everyone.” With her significant background presenting thought-provoking, diverse exhibitions and programming, Peters Quinn will expand the museum’s role as a cultural leader in the Chicagoland area for contemporary art, arts education, and mid-century modern architecture. Peters Quinn succeeds former Executive Director John McKinnon and Interim Executive Director Ann Quinn Kelly and begins her role effective December 2, 2024.Peters Quinn&nbsp;says, “Elmhurst Art Museum brings together contemporary art, education, community, and authentic modern architecture to establish a welcoming, intentional space for culture and creativity. Sharing the museum’s belief that ‘art is for everyone’, I see exciting opportunities for the institution to expand its impact through this commitment to radical accessibility. My work over the past twenty years has been dedicated to bringing diverse audiences into civic dialog through looking at, experiencing, and making art – all of which will complement the inclusive programming at the museum. I look forward to building on the deep relationships with artists and institutional partnerships I have established in Chicago and around the world and working with the outstanding Board of Directors and staff to take the museum to the next level as an accredited and visionary leader in the field.”As Executive Director and Chief Curator, Peters Quinn will oversee the programming and operations of the 15,000-square-foot museum campus, including its art galleries, studio classrooms, gathering spaces, and the on-campus McCormick House, a single-family home designed in 1952 by the iconic 20th century architect&nbsp;Mies van der Rohe. Peters Quinn builds on the recent momentum of the museum, which welcomed nearly 15,000 visitors to exhibitions and approximately 20,000 to outdoor community projects in 2023, including visitors to its annual Art in Wilder Park juried art fair.Peters Quinn comes to the Elmhurst Art Museum from the&nbsp;Hyde Park Art Center&nbsp;where she served as Director of Exhibitions and Residency Programs. Throughout her twenty-year tenure at the Art Center, Peters Quinn mounted career-altering exhibitions of emerging and mid-career artists who are now well-recognized, such as Theaster Gates, Edra Soto,&nbsp;Cándida Alvarez, Faheem Majeed, Fo Wison, Jim Duigan, and Lan Tuazon.Peters Quinn’s exhibitions feature social and environmental justice as a central focus, highlighting artists who engage the public in conversations and actions towards community change. Identifying and presenting Chicago artists through the lens of the social, political, ecological, and educational concerns of our time, Peters Quinn provides a critical platform for artists to take risks and realize large scale projects, launching artists into the next chapters of their careers.“On behalf of the Elmhurst Art Museum’s Board of Directors, I am thrilled that Allison Peters Quinn will be the museum’s next Executive Director and Chief Curator,” stated&nbsp;Board Chair of the Elmhurst Art Museum Joseph R. Jeffery. “Allison has earned a reputation as a creative and thoughtful leader, curator, and educator. Those talents align perfectly with the museum’s mission to serve as ‘a creative space where art is for everyone’. Allison’s decades of experience working within the Chicago artist community will allow her to draw on her deep connections to Chicago’s emerging and mid-career artists, arts patrons, galleries, and museums to ensure the museum continues to offer the engaging and impactful exhibitions for which it is known. We are beyond excited about all that Allison brings to the Elmhurst Art Museum and look forward to its next chapter under her leadership.”Throughout her career, Peters Quinn has regularly advocated for the need for resources for artists in the form of studio space, financial support, and mentorship. Peters Quinn led Hyde Park Art Center in developing a commissioning program that pays Chicago artists to realize ambitious new artworks and installations and designed a Residency program that advanced the Art Center’s strengths in caring for artists. She also established the Artists Run Chicago Fund, which has distributed over one million dollars to nearly 100 artist-run platforms since 2020.&nbsp;By building networks, encouraging new ideas, and providing opportunities for growth, Peters Quinn nurtures artistic practices in all career stages.At the Elmhurst Art Museum, Peters Quinn will continue to champion the work of artists from diverse backgrounds of knowledge and experience, reflecting the priorities and strengths of the museum’s exhibition program. Its recent exhibitions&nbsp;Rafael Blanco: Reflecting on a Decade of Public Art&nbsp;(2024),&nbsp;Norman Teague: A Love Supreme&nbsp;(2024),&nbsp;andSentrock: The Boy Who Wanted to Fly&nbsp;(2023)&nbsp;offered first solo museum exhibitions to rising Chicagoland artists with a focus on supporting bold new commissions and site-specific works.Deepening the museum’s investment in its community, Peters Quinn looks forward to building on the Elmhurst Art Museum’s long history of collaborating with its artists, students, staff, neighbors, and local organizations to create welcoming and educational programming for all ages. Peters Quinn’s wealth of experience in accessible art education will ensure the continued growth and quality of the museum’s youth and adult classes, camps, community workshops, and school tours.&nbsp;Awarded the Ramapo College Curatorial Prize, Quinn has served as juror for national art organizations including the Artadia Award, Efroymson Award, Nohl Award, Oklahoma Visual Arts Fellowship, and the Ragdale Foundation, among others. Her ongoing work with alternative art spaces has led to her invitation to the Founding Board for Narrow Bridge Art Club in Woodlawn.Texts by Peters Quinn on the historical relevance of contemporary artists’ practices have appeared in art anthologies, journals, and catalogs including&nbsp;Stockyard Institute: 25 Years of Art and Radical Pedagogy&nbsp;(DePaul Art Museum, 2023),&nbsp;Service Media: Is it Public Art or Art in Public Space&nbsp;(Green Lantern Press, 2013), and&nbsp;The&nbsp;Artists Run Chicago Digest&nbsp;(Three Walls, 2009)&nbsp;in addition to artists’ monographic publications through Hyde Park Art Center on dozens of artists like Susan Giles, Dutes &amp; Shellabarger, and Jefferson Pinder.&nbsp;Peters Quinn seeks out opportunities to mentor and teach emerging art administrators, curators, and artists to encourage dynamic conversations in art and culture. She has taught curatorial practice courses for the School of the Art Institute in Chicago and the University of Chicago Graham School and a Business in the Visual Arts course at Columbia College Chicago. She earned her MA at the Center for Curatorial Studies, Bard College, and BA at the University of Wisconsin – Madison.&nbsp;&nbsp;ABOUT THE ELMHURST ART MUSEUMThe Elmhurst Art Museum is located at 150 South Cottage Hill Avenue in Elmhurst (IL), 25 minutes from downtown Chicago by car or public transportation (Metra). On the museum’s campus is the McCormick House, a single-family home designed in 1952 by Mies van der Rohe, one of the great architects of the 20th Century. The McCormick House is one of only three residences designed and built by van der Rohe in the United States – and one of only two open to the public.&nbsp;The Museum is open Wednesday and Thursday from 12:00 p.m. – 5:00 p.m., Friday through Sunday, 11:00 a.m. – 5:00 p.m. Regular admission prices are $18 for adults, $15 for seniors 65+, $10 for students (ages 18+) with school ID, $5 for children 5-17, and free for children under 5. For more information, please call 630.834.0202 or visit<a style="color: rgb(29, 65, 160);" rel="noopener noreferrer" href="https://www.elmhurstartmuseum.org/" target="_blank">elmhurstartmuseum.org</a>.

The Elmhurst Art Museum announces the appointment of Allison Peters Quinn to Executive Director and Chief Curator

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/iygd484mhfnwildmbjef.jpg"><figcaption>CAROLINE KENT, Daydreaming, 2024 Digital print on vinyl adhesive film. Chicago Union Station</figcaption></figure>By CGN Staff via PRLast month a new exhibition opened in a somewhat unusual but highly visible space in downtown Chicago. Art at Amtrak is series of temporary public art works, curated by Debra Simon Art Consulting, and on view at Chicago's Union Station. Part of a rapid expansion of the initiative from New York Penn Station to other Amtrak stations, based on its success, this Chicago debut of Art at Amtrak, which opened October 7, features works by three acclaimed, contemporary artists who live and work in the city: Caroline Kent, Chad Kouri, and POSE (Jordan Nickel). They will remain on view through Summer 2025.&nbsp;&nbsp;One participant is CGN's fall cover artist, Caroline Kent. Kent’s mural, Daydreaming, covers over 40 panels at Chicago Union Station with large, abstract shapes that overlap soft pinks, blues, and yellows with richer shades of dark blue, gray, and deep green. Where these colors intersect, new hues emerge, reflecting the vibrancy of cityscapes. Inspired by various elements encountered during travel—architectures, landscapes, the horizon, sculptures—Kent’s shapes invite interpretation and imaginative associations. The overall mood conveys serene, bright, and sentimental introspection—a reflection of the emotional states experienced by travelers, whether weary or filled with anticipation. Daydreaming’s layers create depth and complexity, symbolizing the layers of experience one encounters while journeying through life and how they are embedded in memory.&nbsp;You&nbsp;can&nbsp;read&nbsp;CGN's&nbsp;profile&nbsp;of&nbsp;Kent&nbsp;from&nbsp;September 2024&nbsp;<a href="https://www.chicagogallerynews.com/news/2024/8/caroline-kent-confidence-on-canvas">here</a>.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/datruosv8x8evrqpw7vy.jpg"><figcaption>CHAD KOURI, Reflection Pools Monument, 2024 Digital print on vinyl adhesive film. Chicago Union Station</figcaption></figure>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Multidisciplinary artist Chad Kouri created a sequence of metallic orbs strung together across the windows of a vacant retail space to provide opportunities for quiet reflection and self-awareness. The work, entitled Reflection Pools Monument, evokes motion—both up and down, in and out—as the viewer’s eyes roll across its length. The titular “pools”—simple, austere, metallic surfaces—are arranged in flowing, repetitive motion to strike a balance between sophistication and playfulness, a core tenant of Kouri’s practice.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/trpwcxjidwzqrnw0e6fp.jpg"><figcaption>POSE, Accord, 2024 Digital print on vinyl adhesive film. Chicago Union Station</figcaption></figure>&nbsp;Pop artist POSE’s mural, Accord, is loosely inspired by a wedding photo shoot he observed during his first site visit to Chicago Union Station. The photo shoot reminded the artist that the transit hub represents connection, brings people closer together, and ultimately makes relationships possible. He used that concept as a springboard for the nonlinear, bright visual narrative of Accord, which depicts an oversized comic strip bursting from its own panels. The mural boldly engulfs travelers, each enmeshed in a personal journey of their own. Like the characters in Accord, POSE encourages travelers to go beyond what is familiar, explore the world, and connect with others.Art at Amtrak is co-conceived, curated, and produced by Debra Simon Art Consulting. Since Amtrak launched the program in June 2022 at New York Penn Station, it has expanded to Washington Union Station, Moynihan Train Hall in New York, William H. Gray III 30th Street Station in Philadelphia, and now, Chicago Union Station. Artists commissioned for the program have included William Kentridge, Shahzia Sikander, Derrick Adams, and Joshua Frankel, among many others. In addition to the works at Chicago Union Station, the Fall 2024 Art at Amtrak exhibitions include works by Chitra Ganesh and Eirini Linardaki at Penn Station, Nekisha Durrett at Washington Union Station, and Roxana Azar at Gray 30th Street Station in Philadelphia. More information about Art at Amtrak and a complete list of artists can be found <a href="https://link.mediaoutreach.meltwater.com/ls/click?upn=u001.aTnlSMXQD2tnweOBXRZ-2BcIflYm9Qa1eTe0j2F9ELKl6IK4N0xptzg2ZBqWYz2XG-2FgOhE9kxSly2A3-2BeP-2BiTbOg-3D-3DGVS7_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVn7gGoI0v4yHfyxNzcTgWoAEErl-2Fwpq7ZqbzRcnU4dMcJdFYIQhhOlCinIImreDBPSG1EmHviAcXtRVaBkIdeAKb-2Bj0SG-2B8v8JmbmtC2rPPebxb4Luz8v1o4OUX-2BxeO2RbtlFrd1jSAoH5WuIP14iDxngJBxeTQTuGTENaIbiME-2B4Rm3EzGaTXh9l3vjdHp6q81HIUFqwg2ryJbvCptPfhcT0ywQJ-2Bo3WN55QdTzJb5PaaJrq5VYyXSvWOYjfarAXW6I3lxvfaxX1yRdrkB50hMf4JLnJCzfIUfd8JGyTArFeH9RkRTuIATd8XRdtjfVRKfz7K4BViu-2BV4IkVqv1cjw-3D-3D">here</a>.The establishment and rapid evolution of Art at Amtrak is the latest chapter in Debra Simon’s path-breaking career in public art. She was Director of Public Art at the Times Square Alliance and oversaw its Midnight Moment series, the world’s foremost digital public art series; created Arts Brookfield, the largest privately funded public art program in the United States; and co-founded the River to River festival, established to bring audiences back to Lower Manhattan after 9/11.View more about Art at Amtrak at Union Station <a href="https://www.amtrak.com/artatamtrak">here</a>. It's on view until Summer 2025.&nbsp;</body></html>

Art at Amtrak Transports Chicago Travelers 

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438761/sgyvefxzkgf5iivbqyu2.jpg">Judy Ledgerwood, Inner Vision at Manneken Press&nbsp;&nbsp;Manneken Press Has Been Accepted for Membership in the International Fine Print Dealers Association.<a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/organizations/manneken-press" target="_blank">Manneken Press</a> joins the IFPDA, the preeminent international membership organization for publishers and galleries specializing in prints and editions. The IFPDA was founded in 1987 by a small group of art dealers specializing in prints. The IFPDA has includes 150 elected members in 17 countries. The expertise embodied in IFPDA’s membership ranges from old master and modern to contemporary prints and publishers of prints.Through its network, online presence, and public programs, the IFPDA fosters knowledge and stimulates discussion about collecting prints in the public sphere and the global art community. The IFPDA Print Fair, held annually in New York City, is the largest and most celebrated art fair dedicated to the artistic medium of printmaking.Manneken Press is a fine art publisher, based in Bloomington, IL, producing original, limited edition and unique prints, portfolios and artist’s books by significant contemporary artists. Founded in 2000 by owner/operators Jonathan Higgins and Sarah Smelser, Manneken Press has established a reputation as a leading fine art press. Manneken has worked with a range of American and international artists to create a unique body of contemporary prints, and currently represent more than 30 artists.&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438762/u7bbyqhatmjg1uxmly8n.jpg">Zoe Minzenberger and Fawn PennThe Digs Chicago and Povos Gallery Featured in SAIC Magazine• The Digs Shapes Chicago CeramicsFounded in 2020 by alums Zoe Minzenberger (BA 2020) and Fawn Penn (BFA 2020), The Digs Chicago has become a pillar in the local ceramics scene.<a rel="noopener noreferrer" href="https://www.saic.edu/magazine/fall24/povos-vision-for-relationships" target="_blank">• Emerging Together: How Povos Gallery is Building a Cultural Space for Young Artists&nbsp;</a>You’ll find white walls, expansive floor space, no titling or artist statements, artwork set in constructed niches and corners and sectional walls—like kerning on a page—to invite you to give your time to each individual piece.&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438763/c5rzrrjtuw9snqyivlp8.jpg"><a rel="noopener noreferrer" href="https://mailchi.mp/uchicago.edu/summer_logan_2023-5477008?e=d57bd5477e" target="_blank">U. Chicago to Host CAMPAIGN: A Celebration of Pope.L</a>The Division of the Humanities at The University of Chicago is hosting CAMPAIGN: A Celebration of Pope.L,&nbsp;a public event to commemorate the artist's legacy on November 10 and 11.An artist &amp; teacher for over a decade in the city of Chicago, Pope.L touched countless lives in big and small ways with his insight, generosity, kindness, and creative vision.&nbsp;Whether you were a student, fan, friend, or colleague, we know that Pope.L was incredibly important to a broad and diverse community. To learn more about Pope.L’s career at The University of Chicago, visit&nbsp;<a rel="noopener noreferrer" href="https://news.uchicago.edu/story/popel-renowned-interdisciplinary-artist-and-scholar-1955-2023" target="_blank">here</a>.Free and open to the public,&nbsp;the University invites everyone to join for all&nbsp;or part of this two-day commemoration to celebrate this singular artist whose work inspired so many.&nbsp;Events will take place at the Reva and David Logan Center for the Arts and Midway Studios at The University of Chicago.<a rel="noopener noreferrer" href="https://dova.uchicago.edu/events/campaign-celebration-popel" target="_blank">See the schedule and RSVP</a>&nbsp;<a rel="noopener noreferrer" href="https://chicago.suntimes.com/art/2024/11/04/art-institute-opens-its-first-ever-korean-art-gallery-chicago" target="_blank">Art Institute of Chicago opens its first-ever Korean gallery</a>Yeonsoo Chee likes small spaces — they focus the mind, make it harder to be distracted, she says.Good thing, because for the last four years, Chee has been working with a space about the size of a cramped two-bedroom condo. It might be easy for a visitor to the Art institute of Chicago to overlook.Yeonsoo Chee hopes you won’t. It’s the museum’s first gallery dedicated solely to Korean arts — works from the permanent collection (as well as some on loan), dating from from the 5th century to the present.Via Chicago Sun-Time&nbsp;

CGN Art World Recap: 11/4/24

<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438804/ha5h9560wjfpakzw15vt.jpg">Robert Longo (American, b. 1953), “Untitled (American Eagle 2017)”, 2017. Charcoal on mounted paper. 70 1/16 × 96 in. (177.96 × 243.84 cm). Nancy A. Nasher and David J. Haemisegger Collection&nbsp;By GRACE KRAKOWRobert Longo used to view the future as a path we forge ahead on, but over time, he has come to see it as something rushing toward us, reshaping our past at an exponential rate. This perspective raises essential questions: How do we keep up? How do we avoid repeating history? This is the crux of his exhibition, Robert Longo: An Accelerated History, on view at the Milwaukee Art Museum until February 25, 2025. The survey exhibition is his first solo show in the Midwest in 30 years and a must see.Longo considers his art an act of resistance. As a prominent figure of The Pictures Generation, he challenges us to rethink our assumptions using archetypes of power and authority. Senior Curator of Contemporary Art, Margaret Andrea, notes that since Longo began his Destroyer Cycle series in 2014, his work has gained urgency. It serves as a call to attention and action. These works tower over the viewer: a police riot line in Ferguson, the dismantling of a Confederate monument, and the migrant crisis. Longo aims for viewers to experience the exhibition as if walking through a movie. This experience is unsettlingly dystopian, considering the works resemble photographs extracted from the daily news cycle.&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438805/iczowpzepddxs8rlkegw.jpg">Robert Longo (American, b. 1953), “Untitled (Nathan Bedford Forrest Statue Removal; Memphis, 2017)”, 2018. Charcoal on mounted paper. 70 × 120 in. (177.8 × 304.8 cm). Courtesy of the artist&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438806/yg14ufezzeiypugfo9fg.jpg">Robert Longo (American, b. 1953), “Untitled (Riot Cops)”, 2016. Charcoal on mounted paper. 101 × 140 in. (256.54 × 355.6 cm). Carrancedo Collection&nbsp;They are in fact intricately detailed charcoal drawings. Longo prefers the term hyper-real over photorealistic as his art is not a replication of reality, but images compiled and modified to evoke specific atmospheres. Longo plays with the “truth” of an image. Influenced by John Berger’s Ways of Seeing, Longo prompts viewers to reflect not only on the subject, but on the act of looking itself. How do our backgrounds and the broader historical context influence our perceptions? This inquiry is embodied in Longo’s Dürer’s Solid (2012), which reflects both his drawings and the viewers in the room. The exhibition is punctuated by sounds resembling gunshots; however, this is another layer of subversion—what we hear is the sound of paper ripping as he tears images in Icarus Rising (2019).Longo speaks of making his drawings like a sculptor, employing his classical training, building layers and chiseling away details. This technique invites viewers to scrutinize the works, searching for the artist’s hand. As one draws closer, the hyper-real image dissolves into abstraction. Longo identifies as an abstract artist working representationally, finding kinship with the Abstract Expressionists. As an American, these are his great classical artists of history; his reverence for them is explored through his Gang of Cosmos series.The exhibition culminates in a sobering reflection on American history: colonialism, genocide, a fractured democracy, the opioid epidemic, and the climate crisis. These weighty themes prompt us to consider what actions we can take against current crises and how we can prevent history from repeating its darker chapters. Although the exhibition's weight is palpable, Longo offers glimmers of hope, which he says has two daughters: a fierce anger at the state of the world and the courage to do something about it. Through this lens, Longo’s work not only critiques the past but also inspires action for a better future.#<a rel="noopener noreferrer" href="https://mam.org/exhibitions/acceleration-of-history/" target="_blank">Robert Longo: The Acceleration of History</a>October 25, 2024–February 23, 2025Milwaukee Art MuseumMilwaukee, WI&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438807/h1vdiupolojfxvlckcld.jpg">Robert Longo (American, b. 1953), “Untitled (Christmas Tree House from “The American Stories Cycle”)”, 2015. Charcoal on mounted paper. 91 x 124 1/2 in. (231.14 x 316.23 cm). Courtesy of the artist&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438807/kjueztkc8ygpdvbpwijj.jpg">Robert Longo (American, b. 1953), “Untitled (State of the Union, Washington DC, USA, February 5, 2019)”, 2019. Charcoal on mounted paper. 96 × 146 in. (243.84 × 370.84 cm). Courtesy of the artist&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;

Robert Longo's Hyper-Real Art Addresses Today's Realities

CAB Announces Artistic Director Florencia Rodriguez and 2025 Edition - Shift: Architecture in Times of Radical Change

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/um44dwr9aazqzn4xksfg.png" of="" brooks="" +="" scarpa,="" via="" bloomberg.png=""><figcaption>The 48-unit Brunson Terrace complex recalls the history of courtyard developments in Southern California.Courtesy of Brooks + Scarpa</figcaption></figure><a href="https://www.bloomberg.com/news/features/2024-10-31/from-brooklyn-to-santa-monica-courtyards-make-apartments-more-kid-friendly?srnd=homepage-americas">The Answer To Making Cities&nbsp;More Family-Friendly? Courtyards</a>New housing experiments with courtyards show that this age-old design approach can still deliver for cities struggling to provide homes for families.The population of children under five is shrinking across the US. That group <a href="https://eig.org/families-exodus/">has decreased most rapidly in big cities</a>: 14% in Los Angeles County, 18% percent in New York City and 15% percent in Cook County, Illinois, which includes Chicago.Via Bloomberg&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/yrpyekjttjpkxev1ymod.png" and="" pixelflakes,="" via="" chicago="" sun="" times..png=""><figcaption>A newly released rendering shows Google’s redesign of the former Thompson Center atrium.Google and Pixelflakes</figcaption></figure><a href="https://chicago.suntimes.com/columnists/2024/10/31/new-google-rendering-former-thompson-center-atrium-future-lee-bey-column">New Google rendering gives an early glimpse of former Thompson Center atrium's future</a>The rendering obtained by the Sun-Times is the first look Google has provided of its vision for the remade interior of the Helmut Jahn-designed icon.Via Chicago Sun-Times&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/xy1qpdnf8r9ilks5otlc.png" via="" cbs.png=""><figcaption>The Song of the Lark</figcaption></figure><a href="https://www.cbsnews.com/amp/chicago/news/bill-murray-chicago-painting/">How an 1884 painting at Chicago's Art Institute saved Bill Murray's life</a>A social media clip of a 2014 video of actor Bill Murray talking about a painting that he said saved his life recently got the attention of CBS News Chicago.I think it's called 'The Song of the Lark,' and it's a woman working in a field and there's a sunrise behind her, Murray said in the clip.Murray said it was early on in his career and he was feeling hopeless after a performance. So CBS News Chicago's Marie Saavedra went looking for that painting.Via CBS News&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092762/czsxoqzzwexh3rrdsdgq.png" the="" metropolitan="" museum="" of="" art,="" new="" york,="" via="" art="" newspaper.png=""><figcaption>Courtesy the Metropolitan Museum of Art, New York</figcaption></figure><a href="https://www.theartnewspaper.com/2024/10/25/old-master-fakes-forgeries-educational-tools-connoisseurship">Old Master forgeries’ second lives as teaching tools</a>What is the afterlife of an art forgery? Numerous stories on counterfeits end once the trickery has been unmasked, the coterie corralled and the investigation closed. But in some cases, known fakes eventually move on to become something surprising: practical tools used by art and educational institutions to sharpen scholars’ connoisseurship.Via The Art Newspaper&nbsp;&nbsp;&nbsp;</body></html>

What We're Reading: 10/31/24

<html><head></head><body>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/r3jte3deqytz54rlnuu2.jpg"></figure><a href="https://www.chicagogallerynews.com/events/ryca-all-my-heroes-are-dead">RYCA: All My Heroes Are Dead</a>Opening: Friday, November 1, 5 – 8&nbsp;pmVertical Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/ihwmsauvquiptbembea8.jpg"></figure><a href="https://www.chicagogallerynews.com/events/maria-burundarena">Insula: Work by Maria Burundarena</a>Opening: Friday, November 1, 5 – 8&nbsp;pmChicago Artists Coalition (CAC)&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/tp6onukdghsfgxdvettk.jpg"></figure><a href="https://www.chicagogallerynews.com/events/zhi-ding">Zhi Ding: Drifting Shore</a>Opening: Friday, November 1, 5 – 8&nbsp;pmWestern Exhibitions&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/vauqjwxdfazxtasydduy.jpg"></figure><a href="https://www.chicagogallerynews.com/events/deborah-di-vita-glascott-body-language">Deborah Di Vita Glascott: Body Language</a>Opening: Friday, November 1, 5 – 8&nbsp;pmARC Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092762/uqdflz2w49vl0oewgczw.jpg"></figure><a href="https://www.chicagogallerynews.com/events/anneke-eussen">Anneke Eussen: Beyond purpose</a>Opening: Friday, November 1, 5 – 8&nbsp;pmDOCUMENT&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092763/v9ebogmtrmd86yhxa2pb.jpg"></figure><a href="https://www.chicagogallerynews.com/events/ricki-dwyer-a-mobilizing-force">Ricki Dwyer: A Mobilizing Force</a>Opening: Friday, November 1, 5 – 8&nbsp;pmVolume Gallery&nbsp;&nbsp;</body></html>

West Side Edition: New Exhibitions November 1st

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/r77ioopi8gyoafdvk3ov.jpg" ir2014.130="" lniana="" tablica.jpg=""></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/collection-focus-polish-fiber">Collection Focus: Polish Fiber</a>Exhibition begins October 30Racine Art Museum&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/zydtz4c1slcsqhjrvyuq.png"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/jane-d-angelo">Painting the Town: Jane D'Angelo</a>Opening: Friday, November 1, 5 – 7&nbsp;pmVivid Art Gallery&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/kqa0wvpj2t8lq2hvueew.jpg"></figure>&nbsp;<a href="https://www.chicagogallerynews.com/events/jeffrie-chirchirillo">Jeffrie Chirchirillo</a>Opening: Saturday, November 2, 5 – 7&nbsp;pmPerspective Photo Gallery&nbsp;</body></html>

North Suburbs & Wisconsin Edition: New Exhibitions October 30 - November 2

<html><head></head><body>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/xvwpk7qmgys5zwbjt4kt.png" huck.png=""></figure><a href="https://www.chicagogallerynews.com/events/tom-huck-american-dream">Tom Huck: American Dream</a>Opening: Friday, November 1, 5 – 8&nbsp;pmGallery Victor&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/zhuymcilf43enl6avxsc.jpg"></figure><a href="https://www.chicagogallerynews.com/events/fall-selections">Fall Selections</a>Opening: Friday, November 1, 7 – 8&nbsp;pmRosenthal Fine Art, Inc.&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092762/ltof76efowyptesecjjw.jpg" (1).jpg=""></figure><a href="https://www.chicagogallerynews.com/events/ed-paschke-roger-brown">Ed Paschke &amp; Roger Brown: Imagistic Masters</a>Opening: Friday, November 1, 5:30 – 8&nbsp;pmCarl Hammer Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092763/rzgbjn9ewglqc8eiyclt.jpg"></figure><a href="https://www.chicagogallerynews.com/events/tell-me-something-beautiful">Tell Me Something Beautiful</a>Opening: Friday, November 1, 6 – 8&nbsp;pmIstituto Italiano di Cultura&nbsp;&nbsp;&nbsp;</body></html>

River North and Streeterville Edition: November 1st

&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438823/ckjskgpdo5lkymdcgqjz.jpg"><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/jesse-howard-the-emerging-of-a-black-diaspora" target="_blank">Jesse Howard: The Emerging of a Black Diaspora</a>Exhibition begins November 1Wadsworth Family Gallery at Lewis University&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438823/l7ld8owuy3cplzorcrxz.jpg"><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/lemont-artists-guild" target="_blank">Lemont Artists Guild</a>Opening: Sunday, November 3, 1 – 3&nbsp;pmGallery Seven&nbsp;&nbsp;&nbsp;<img src="https://res.cloudinary.com/dfafo598z/image/upload/v1736438824/g71tmigb0a7ouzwkzbub.jpg"><a rel="noopener noreferrer" href="https://www.chicagogallerynews.com/events/artist-reception-semaphoria-an-artist-s-language" target="_blank">Artist Reception: Semaphoria: An Artist’s&nbsp;Language</a>Opening: Friday, November 1, 5:30 – 8&nbsp;pmSouth Shore Arts&nbsp;&nbsp;&nbsp;

South Suburbs & Indiana Edition: New Exhibitions November 1st

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/ytlqgk20wljssixs1qli.jpg"></figure>&nbsp;By GINNY VAN ALYEAOn a Monday evening downtown at the Harris Theater for Music and Dance, an energetic crowd of around 700 gathered to cheer the announcement of this year's 3Arts Awards. <a href="https://www.3arts.org">3Arts</a>, the Chicago-based nonprofit grantmaking organization, announced the recipients of its Next Level Awards—$50,000 unrestricted awards given to past 3Arts awardees. The organization also celebrated ten previously announced 3Arts Awards recipients with $30,000 unrestricted grants, and ten artists who were selected by past 3Arts awardees to receive $2,000 unrestricted Make a Wave awards, a pay-it-forward gift that artists are empowered to usher through their own creative community in order to create a rising tide.&nbsp;While 3Arts has in the past distributed five Next Level Awards, the roster this year was expanded to include one additional award for teaching artists; at $50,000, this is the largest no-strings-attached award for teaching artists in the world. Honoring the powerful work of local artists and their ripple effects in neighborhoods across Chicago, the 2024 Next Level awardees are teaching artists William Estrada, Emily Hooper Lansana, and Andy Slater, and visual artists Rozalinda Borcilă, Bethany Collins, and Riva Lehrer.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/w1czngjredobirzinufz.png"><figcaption>The 2024 Next Level awardees. Top row: Rozalinda Borcilă, Bethany Collins, William Estrada. Bottom row: Emily Hooper Lansana, Riva Lehrer, Andy Slater.</figcaption></figure>&nbsp;In such a competitive field in which grants and awards for artists are often hard to access, receiving a major award is quite an achievement—but a one-time infusion of support is rarely enough to power artists’ ambitious dreams. Our Next Level Award is a rare second award designed to fuel their work as their careers evolve over time, when they are ready to bring new visionary projects to life,” said 3Arts Executive Director&nbsp;Esther Grimm. She adds, “In 2023, we celebrated three Next Level visual artists and two teaching artists. Last night, we announced the addition of a third Next Level Award for teaching artists, expressing our enduring admiration for the artists who work across generations, in schools, neighborhoods, hospitals, prisons, elder care centers, and more. The six new awardees are truly ‘next level.’”&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/qfgpnecezh2nxeg4isja.jpg"><figcaption>Esther Grimm</figcaption></figure>&nbsp;The night's other big annoucement was about the future of 3Arts. Esther Grimm, who has served as Executive Director for 23 years and who is stepping down in 2025, shared that the organization will always have her heart, even when she's not there in an official role. Leading 3Arts, she said, unexpectedly became the ride of a lifetime. Grimm told the crowd that since the organization started 17 years ago, there has been a dream of reaching artists beyond Chicago in order to bridge divides and connect more artists. Next year 3Arts will partner with <a href="https://artspace304.org">Art Space 304</a> in Carbondale, Illinois to pilot two 2025 3Arts awards, in East St. Louis and in Carbondale, meaning 3Arts will celebrate 12 artists in 2025 – two more than the usual 10.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/eblp7lubgmmcbvx76ybw.jpg"><figcaption>Nashon Holloway</figcaption></figure>&nbsp;The jam-packed awards ceremony featured boundary-breaking performances by three past 3Arts awardees, including Rika Lin (2023 awardee) presenting the experimental dance work, Feedback, with collaborator Takashi Shallow. Appearing in what looked like sunset on stage, singer-songwriter Nashon Holloway (2022 awardee) performed the world premiere of Go Awf, an original new song from her forthcoming album. Wearing a pink sparkly ballgown the color of cotton candy, Holloway sang and spoke about doing things in harmony and making it a life style and ethos for treating one another.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092762/mpxwvhqqhu6or1tx8ncn.jpg"><figcaption>M.A.D.D Rhythms</figcaption></figure>Donnetta “LilBit” Jackson (2023 awardee) performed an excerpt from A M.A.D.D. Mixtape, a piece choreographed by Jackson that explores the African diasporic roots of tap and footwork with a team of energetic dancers from Chicago's M.A.D.D Rhythms. Bright backgrounds and alternating sounds and tempos sustained the energy of the evening.&nbsp;Each awardee was part of a video program featuring individual interviews with each artist as they shared their stories of the moment they got the call from 3Arts as well as what they hope to create and give back to Chicago. Each recipient was so positive about Chicago and its artist communities, creating a picture of a community hard at work to keep the city a culturally rich place with people from so many corners of the world.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092764/pq2ssjj7xj5agoscj2cn.jpg"><figcaption>Awardees</figcaption></figure>When it was time for the program to conclude, Co-Chairs Michelle T. Boone, Whitney Hill, and Candace Hunter thanked the Host Committee of arts and civic leaders and noted that its 17-year history, 3Arts has distributed more than $8.1 million to more than 2,300 Chicagoland artists. 3Arts awardees include 68% women artists, 73% artists of color, and 22% Deaf and disabled artists. Boone thanked Grimm for her leadership as her tenure, sharing testimonials from artists, such as Amanda Williams, who credit their 3Arts award with helping them reach new heights in their career. Grimm has tended to this community and nurtured so many artists, and her work will continued for years to come, now that 3Arts has been established as a model for arts best practices in our country. Said Boone, It’s an organization with guts.More information about this year's awardees may be found at <a href="https://www.3arts.org">3arts.org</a>&nbsp;</body></html>

3Arts Awards Transformative Funds to New Group of Artists  and Announces Big Plans

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/otva6kx66jprjqokxepd.jpg"></figure>&nbsp;By CGN StaffThe Golden Triangle in West Town occupies a cavernous space suited to its often large scale salvages from around the world. Visiting the space is like going on a house tour where everything is for sale.&nbsp;Their latest offering includes the sumptuous furnishings of George Greene, the legendary Oak Street clothier that opened in the mid-2000s. When George Greene opened it was a go-to for a set of Chicagoans looking for the atmosphere of a stylish English club, designed by Patrick DiMichele and The Golden Triangle, as well as high-end Italian clothes.&nbsp;As Golden Triangle co-founder Doug van Tress shared, It was pure British Raj, straight out of Rangoon, with varnished teak tables, brass fittings, leather and cane all around. The props were real antiques from Burma, India, and Britain.Now, the clothes may be long gone, but the furnishings that made the store itself so appealing are for sale at the Golden Triangle. All, as Doug says, at highly advantageous prices.On view through November 30Details <a href="https://www.chicagogallerynews.com/events/the-sumptuous-furnishings-of-george-greene">here</a><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/ffh4mckmecgg67abk2bo.jpg"><figcaption>A Pair of Anglo-Indian Veranda Chairs. Sale: $2,900</figcaption></figure></body></html>

The Golden Triangle Is Selling Collection from Famed Oak Street Outfitter George Greene

<html><head></head><body>Editor's Note: Jessica Cochran and Angee Lennard launched a new printmaking venture earlier this year called Process / Process. They have been releasing special print editions of works by area artists and also trying to educate the public about why collecting prints and works on paper is fun, accessible and an affordable means of supporting contemporary artists in a market that can sometimes seem out of reach. There are many artists in Chicago and beyond working in printmaking &nbsp;– sometimes exclusively as their chosen medium and sometimes as a means of creating more affordable versions of their work (painters and sculptors can work in printmaking too.)&nbsp;The feature below was posted by Process/Process on October 21, 2024. To learn more visit <a href="https://process-process.com">process-process.com</a>&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/ckbsz5bnoj6oqdsmlhzn.jpg"></figure>&nbsp;By JESSICA COCHRAN AND ANGEE LENNARD of PROCESS/PROCESS&nbsp;Sometimes artists make prints on their own, and sometimes they “publish” in collaboration with a gallery or studio like Process/Process. As Nate Freeman <a href="https://www.artsy.net/article/artsy-editorial-5-essential-tips-collecting-prints">wrote</a> in an explainer for Artsy, “So, aren’t prints just, like, copies of an artist’s big, famous works?”&nbsp;&nbsp;&nbsp;Well, no. In our case, they are original–handmade–artworks, and always incredibly meaningful expressions of an artist’s practice. A print might typify an artist’s visual vocabulary, for example, or it might offer an experimental interlude.&nbsp; Here are&nbsp; just a few reasons to collect what we like to call “multiple originals.”&nbsp;&nbsp;&nbsp;ORIGINAL ARTWORKSWhile prints may pull imagery or themes from an artist's existing body of work, prints rarely just replicate a painting or drawing. As artworks, prints carry their own meaning and potential. An artist who more typically paints, for example, may utilize the etching process to draw an image by hand directly onto a copper plate (see Figure 1). When pulled from the press, the resulting impressions are signed, dated, and numbered by the artist.&nbsp;&nbsp;&nbsp;We are often asked: how involved is the artist in the printing process? It varies. Sometimes an artist works side by side with us in the shop or they actually work “on press”; and other times, an artist turns over the printing entirely to us–that is, after they create the original plate, drawing, collage, or source material from which we work. At every step, however, the printer and artist are in close collaboration, with the printer offering guidance on everything from technique to paper selection.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/lywdgkclqnl0mlwyxbue.jpg"><figcaption>An etching by painter Alex Bradley Cohen</figcaption></figure> &nbsp;AN AMAZING TRADITIONPrintmaking is one of the oldest artforms, traced to China’s Han Dynasty and proliferating through Europe from the fifteenth century onward, with the spread of techniques like woodcut and Intaglio. Much (much) more recently, 20th century artists like Helen Frankenthaler, Picasso, and Andy Warhol helped to popularize prints within their incredibly expansive oeuvres. Printmaking at the intersection of art is also crucial&nbsp; to the history of democracy, activism, and protest, from revolutionary Mexican lithographs to screenprints by the Guerrilla Girls: think broadsides, underground newspapers, and wheatpaste posters. PRICE POINTSWhile prints can carry high prices for distinguishing qualities such as size, complexity, scarcity, and an artist’s market, they tend to land at more accessible price points. It is not uncommon for a “blue chip” artist whose works in painting or sculpture sell for tens (or even hundreds) of thousands of dollars to have an edition that is priced in the low thousands or even hundreds of dollars.Prints are popular both with collectors who collect “vertically”—that is, as much as they can by a single artist; and also by those who collect works horizontally in a variety of mediums. Prints are sometimes considered a “gateway” to collecting for their more approachable price points, but prints on the primary market can also reach prices in the tens of thousands.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/c70utcoddjp1rhdxaamn.jpg"><figcaption>Alberto Aguilar</figcaption></figure> MARKET DURABILITY&nbsp;It is no secret that the art market has hit hard times over the last year, with some analysts suggesting that primary market prices have simply soared out of reach. But prints do offer some durability and perspective in a cyclical marketplace. The Art Newspaper <a href="https://www.theartnewspaper.com/2024/02/07/will-the-art-market-rebound-that-might-not-be-the-right-question">reported</a> last February that “that auction sales of prints and limited editions—a sector favoured by younger art buyers—generated $103.2m last year across Christie’s, Sotheby’s and Phillips, an increase of 18.3% on 2022.”&nbsp; Prints along with multiples, and photography <a href="https://theartmarket.artbasel.com/global-market">made up</a> 9% of art sales by dealers in 2022, and the IFPDA Print Fair in New York reported a 45% increase in attendance for their 2022 fair over their last in-person edition.&nbsp;&nbsp;SCALECan prints be huge? Sure! But they are often done in sizes that are perfectly scaled to residential or commercial interiors. As many advisors will attest, prints lend themselves to salon style hangs, or playful interventions from home to office.&nbsp;COMMUNITYTo publish a print is to work collectively. We find ourselves working alongside artists, and also fabricators and suppliers.&nbsp; And to&nbsp;buy&nbsp;a limited edition print is to join a community! As veteran print dealer (formerly of <a href="https://paceprints.com/home">Pace Prints</a>) Jeff Bergman pointed out to us recently–one is buying an image that an artist liked so much they wanted to put it into the world 10 or 20 or 30 times. And so naturally, that print’s many collectors find themselves in the very good company of like-minded connoisseurs. &nbsp;</body></html>

Why Collect Prints? A Primer from Process/Process

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/pyntkcsxqkoyzzgvu7xu.jpg"><figcaption>Pictured (L to R): Selections from Midway Public Art displays including Lorraine Hansberry, 30” x 36” oil on canvas by Steve Musgrave; Michelle, Mr. B. Jessican and Javell, Old Fashioned Donuts (Roseland) by Jonathan Michael Castillo; and Model for Cloud Gate, 2004 Stainless steel.&nbsp;</figcaption></figure>&nbsp;By CGN StaffLast week Mayor Johnson, the Chicago Department of Cultural Affairs and Special Events (DCASE) and the Chicago Department of Aviation (CDA) welcomed the first new public art installations at Midway International Airport. Some new art and objects include a model of what would become Cloud Gate (a tiny shiny bean!) and other items from the City of Chicago’s 750-piece Public Art Collection. These installations are part of an ongoing exhibition to celebrate Chicago's rich diversity and influence on American art and culture at an entrance (and departure) point for the city. Many Chicago-based artists are showcased, including photographer Jonathan Michael Castillo and illustrator Steve Musgrave. Travelers will encounter the impactful art activations as they leave the airport from the Concourse to the Baggage Claim and Ground Transportation.&nbsp;“Public art embodies the spirit of Chicago — our resilience, diversity and vibrant culture,” said Mayor Johnson.&nbsp;“For millions of passengers, Midway is their first impression of Chicago — and there is no better way to showcase the essence, the diversity, and the beauty of our city than through the arts,” said CDA Commissioner Jamie L. Rhee.The new public art installations at Midway International Airport include:&nbsp;<ul><li>A series of photographs on glass by celebrated Chicago-based artist Jonathan Michael Castillo, who was commissioned by DCASE and the Chicago Department of Planning and Development to develop a work in response to the 2023 Citywide Plan. The collection of photographs celebrates 38 Black and Latinx-owned small businesses and their workers. The images were taken primarily in Chicago’s South and West side neighborhoods, including neighborhoods surrounding Midway.</li><li>Paintings and sculptures from the Chicago Public Library public art collection featuring legendary artists such as Roger Brown, Alison Saar, and Hollis Sigler — as well as the model for Anish Kapoor’s iconic “Cloud Gate.”</li><li>A series of paintings by Steve Musgrave, paying homage to the great diversity of some of Illinois’ most prolific writers, who inspire us and capture our imaginations. These 30” x 36” oil on canvas paintings are part of the City’s collection at the Near North Library.</li></ul>For more details, please visit <a href="https://link.mediaoutreach.meltwater.com/ls/click?upn=u001.CSSunAOBvEOR4GhykBjJWWnTwxFlkUDDBF-2Fji248p2y6hFXsBorvoCC9fZuH5e36Fen5ikbk83DIK8lBGF4LUnZjC-2BxEZgQFTLDqIlMigVTVMxb10fmgRvb-2Bxdca6uhYPi1Z_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVn7gGoI0v4yHfyxNzcTgWoLurliSnTAPDeTMjcpIoytOOx4olIMMV-2FUlia6rP-2BnJxTsx2-2FbeE3g4W-2FY81d4iSlQrV9SbSoQRikN3b-2B4uGFDofSVDkETlSCkODoi6m-2FhL-2Bx9iYBo5faJAygPvVepaJcBRJEHtJEjB5M7sQQ7YjmOpAeBGezfjMsMeDGQClNGoLhJFMjZ9aNFwN8k6931vw4L0Ux7-2FzYBYqtJZVAdCOMPWM00Gd3jR9wQ3mEGjH3dzbto7PQ6My7IS1rrJLbCuC8oXgRBMOFibSnjl4WcCFCn5KsT3XdIHuHYe8fVkLl10Wg-2FIgYKWazpcrlJ8w-2BCtcpA-3D-3D">Chicago.gov/PublicArt</a>.&nbsp; &nbsp; &nbsp;</body></html>

DCASE and CDA Install Public Art Objects At Midway Airport (Including a Tiny The Bean)

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/tl8pg2bkbbmc1kkckutk.jpg"></figure>&nbsp;Via PR[CHICAGO]—<a href="https://pigmentintl.com/"> Pigment International® </a>is proud to announce the culminating events for the 5th Anniversary of Black Fine Art Month®.&nbsp; Pigment’s Signature Salon Talk will be held on Friday, October 25th at the DuSable Black History Museum and Education Center’s Ames Auditorium and will include a preview of a portion of <a href="https://luministfilms.com/monumental-life.html">Richard Hunt: A Monumental Life.</a> The documentary by filmmakers Rana Segal and Laurie Little, tells the story of Richard Hunt’s life growing up in Chicago and the&nbsp;experiences that inspired him to create his beautiful works of art.&nbsp;Following the preview there will be a discussion of Black nonrepresentational art led by Angel Idowu, Art by Angel and will feature Michelle Duster, great granddaughter of Ida B. Wells and co-chair of the&nbsp;Ida B.&nbsp;Wells Commemorative Art Committee, September Gray of September Gray Fine Art in Atlanta, Pam Eatman of Blackbird Gallery in Detroit and artist Jamele Wright, Sr.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;On, Sunday October 27, Pigment founder and CEO Patricia Andrews-Keenan will moderate a post-screening discussion of The Light of Truth: Richard Hunt’s Monument to Ida B. Wells at the Chicago History Museum at noon.&nbsp; Panelists for the discussion will be Dan Duster, great grandson of Ida B. Wells and Monument Committee member; Tony Rogers, monument committee member; Eric Stephenson, studio manager at Richard Hunt Studios; Jon Ott, biographer of Richard Hunt book and website and Rana Segal, producer/director.&nbsp;A platform for recognizing the contributions of Black artists, creators, and cultural leaders, this year’s BFAM celebration offered an immersive experience in the visual arts. From gallery exhibitions to mural tours and curated discussions, Black Fine Art Month aims to connect, inspire, and educate through the lens of Black fine art. As since its inception, the DuSable Black Museum and Education Center is a founding partner.BFAM was launched in October 2019 and was entered into the Congressional Record that year by Congresswoman Robin Kelly.&nbsp; It was also recognized by the State of Illinois, Cook County President Toni Preckwinkle, the State of Illinois, then Commissioner, now Mayor, Branden Johnson, and former Mayor Lori Lightfoot.&nbsp; Since then, the celebration has been adopted in Houston, Texas and last year was concretized by Mayor Richard Irvine in Aurora, IL.&nbsp;&nbsp;&nbsp;<a href="https://www.eventbrite.com/myevent?eid=1026383630067">Eventbrite Link</a><a href="https://luministfilms.com/monumental-life.html">Film details</a>&nbsp;About Black Fine Art Month® (BFAM)Black Fine Art Month is a global celebration of the Black visual arts movement. With an emphasis on education, awareness, and appreciation of Black culture, this annual observance is an essential platform for recognizing the achievements of Black artists worldwide. It is designed to support and spotlight contemporary Black art and create opportunities for future generations of artists.&nbsp;</body></html>

Pigment International Concludes Black Fine Art Month® with Special Event and Richard Hunt Film Preview

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/cugeaqfkknk5kixklxnx.png"></figure><a href="https://www.afar.com/magazine/must-visit-university-art-museums-in-the-united-states?utm_source=Block+Museum+of+Art%2C+Northwestern+University&amp;utm_campaign=a7fc8ca7d3-EMAIL_CAMPAIGN_9_27_2021_COPY_01&amp;utm_medium=email&amp;utm_term=0_a04c98ee9f-a7fc8ca7d3-309155557&amp;mc_cid=a7fc8ca7d3&amp;mc_eid=64540e863b">Block Named Top Art Museum by Afar Magazine</a>In an article about the country's university art museums, Northwestern's Block Museum was named one of the 8 best.&nbsp;Even art fans can only absorb so much at one time before “museum fatigue” sets in. That’s not an issue at this <a href="https://www.blockmuseum.northwestern.edu/">small, glass-clad museum of three galleries</a>. Dirk Lohan, who studied architecture with Ludwig Mies van der Rohe (his grandfather), designed the building, which opened in 1980.The collection’s highlights include documentary photos of the Midwest (1930s–1970s), Chicago-based printmakers (1930s–1940s), and South African township prints (1980–1990s). The Block also has a 148-seat auditorium screening free movies.&nbsp;&nbsp;<a href="https://www.chicagobusiness.com/commercial-real-estate/loyola-university-property-deals-alarm-rogers-park-businesses?share-code=17295208784811665-192af99f505&amp;utm_id=gfta-ur-241021">Roman Susan Displaced by Loyola University Expansion Plans</a>The purchase of 1226-1234 W. Loyola Ave. late last year captures the dueling interests of the community and Loyola.&nbsp;Roman Susan, a nonprofit art gallery, is working to save the residential building from demolition, which the university plans to pursue.Kristin Abhalter-Smith, who owns the art gallery along with her partner, Nathan, said many of the building’s residents didn’t know the property was for sale until the deal closed. The building has about 30 residential units, with businesses occupying the ground floor.“We were hoping that since our lease was good until then (September 2025), all the other people would get to stay, but Loyola let all the residential leases expire,” she said. “If we’re increasing the amount we’re spending on rent, everything has to go up in our budget, and that could mean an exponential increase in our budget. . . .We haven’t located anywhere else that serves us as well as the location we’re in.”Via Crain's (gifted link above)&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/lxqkdcy3guhu2zrxvsyx.jpg"><figcaption>Robell Awake, America Online, 2024</figcaption></figure>&nbsp;<a href="http://wvvolumes.com/artist/robell-awake/">Volume Gallery announces representation of Robell Awake</a>Volume Gallery is proud to announce the gallery’s representation of Robell Awake. Awake is a chairmaker, teacher, and researcher based in Atlanta, Georgia. His work centers Black aesthetic traditions and histories through scholarship and craft. His finely hand-carved chairs reference Ethiopian Jimma chairs hewn out of single tree trunks and mule ear ladder-back chairs pioneered by Richard Poynor - a formerly enslaved craftsperson from Tennessee.<a href="http://wvvolumes.com/artist/robell-awake/">Details</a>&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

CGN Art World Recap: 10/21/24

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/nw1kpdz3nrcsdhma27vo.jpg"><figcaption>Visionary Luncheon featuring Sarah Sze in conversation with MCA Pritzker Director Madeleine Grynsztejn, October 7, 2024. Photo: Jeremy Lawson Photography, © MCA Chicago.</figcaption></figure>&nbsp;By GINNY VAN ALYEAOn Monday October 7, the Museum of Contemporary Art Chicago’s Board of Trustees and the MCA Women’s Board hosted the MCA Chicago Gala Visionary 2024 at The Four Seasons Hotel, Chicago.The luncheon is an annual celebration of leadership in the arts and featured a dynamic conversation between renowned artist Sarah Sze and the MCA's Pritzker Director, Madeleine Grynsztejn. At the luncheon, attended by nearly 350 arts industry leaders and supporters, collectors, board members, as well as civic and corporate leaders, the MCA presented the 2024 Arts Philanthropy Award to BMO Bank N.A. for its exceptional support of arts education in Chicago. Mr. Darrel Hackett, President, and Chief Executive Officer of BMO Bank &nbsp;accepted the award on behalf of the bank. Additionally, the award honored both Mr. Hackett and his wife, MCA Trustee Nickol Hackett, for their generous philanthropy in our city.In addition to being one of the fall season's highest profile arts gatherings, the Visionary luncheon plays a crucial role in supporting the MCA's commitment to learning and public programs. Each year, thousands of young people from across Chicago visit the museum to engage with contemporary art and explore its broader historical, social, and cultural contexts. The MCA raised over $640,000 dollars at the event in support of its Learning programs.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/iff8iejbcgczh4t5xnv6.jpg"><figcaption>Daytime candlelight</figcaption></figure>&nbsp;During their extensive conversation, Grynsztejn and Sze discussed Sze’s painting and sculptural work, how the MCA was her first institutional solo venue, and how artists and museums work together to create an artistic experience for the viewer. Sze's career has spanned three decades, but her creative perspective on technology and art continues to evolve. She notably got one of her early starts at the MCA, and at the luncheon Sze shared her own personal fondness for the museum, [The MCA] is a very special place. As Madeline said, it was here where I first did a show at an institution, and it was an incredibly warm institution. There are still many people on the staff who were there in 1999.Sze's career has grown internationally since that first museum show, and she and Grynsztejn discussed how much the world has changed in the ensuing years, particularly when it comes to the accessibility as well as bombardment of images in our daily lives. At a time when everyone is a photographer, Sze has largely returned to painting.The return to painting, she said, is about not representing reality, but really thinking about how we store images in our head. Since the late nineties, when I started making work, for all of us who have lived in that time period, we have been barraged by images in a way that has really changed the way we experience the world, the way we communicate. We're all photographers, we receive images at this incredible rate. I want to remind people about what we dream for, what we hope for, what we imagine. I want the paintings to be in this place when we wake every morning, where we've spent hours of our time making images in our head – that time where you are in this fragile moment trying to remember what your mind has created in the images, but you're moving into the space of the images outside your head.Sze also still harnesses the ubiquity of images, merging the digital and the static in her public sculpture. Even the history of photography has influenced her current work. Sze explained, Most of the images that are in the paintings are actually stills from videos. So I think the static photograph is disappearing. Film was really started in the 1880s, and it came out of photographs – the photographs in repetition became the moving image. And now we rarely see images static. Our children are all pushing the button down and holding it and getting 20 images and choosing. Similarly in my work, they're mostly stills from video that I choose.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/nmaoxowhwfo71jtcreds.png" 2024-10-19="" at="" 3.01.50="" pm.png=""><figcaption>Sarah Sze, Sleepers, 2024. Mixed Media, Paper, String, Video Projectors, Aluminium Dimensions variable. More info at <a href="https://online.victoria-miro.com/sarah-sze-venice-2024/">victoria-miro.com</a></figcaption></figure>&nbsp;Grynsztejn drew attention to a work by Sze in Venice, noting for the audience the synthesis of a somewhat static grid holding pieces of torn paper onto which video is projected. Explains Sze, This idea reminds people that the digital and the physical are not actually separate. That everything outside our eyes is physical. In this work they're torn pieces of paper that you can imagine having in your pocket. Usually when we see a film and we forget the world around us. I'm interested in keeping you in this teetering place between what is the real and what is imagined. Floating images and space that we're navigating at this incredible pace is something I'm really interested in right now.Continuing, Grynsztejn added, You've called these interior landscapes. The time of them, the experience of them is more like looking at memory than it is looking at reality. It's a nonlinear kind of experience. The writer, Sadie Smith, a really good friend of yours, recently compared your installations to being in an open iPhone that mashes up momentous and really incidental events.&nbsp;&nbsp;*&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/criigryj2fj7w1ldviiy.jpg" copy.jpg=""><figcaption>Installation view, Sarah Sze, MCA Chicago. Photo: James Isberner, © MCA Chicago</figcaption></figure>&nbsp;Sze’s father immigrated to the United States from China and became an architect. She reflected that he probably would've been an artist, except that his family emphasized that he would have to get a degree or he would not get a job, or worse, no one would take him seriously in his new country. In the next generation, Sze grew up in Chicago looking at the world through the eyes of an architect in a modern city and understanding the potential to do what she wanted. That perspective of examining space and structure remains with Sze today.&nbsp;When looking at images from Sze’s U.S. pavilion where she represented the United States of the Venice Biennale, Grynsztejn commented, “The thread that I think you may be picking up on directly, or even unconsciously, is that your work is both whole and made up of parts. Because of that sometimes, even though it is not the case in reality, it communicates the state of being barely held together. A consistent theme in your work is that vulnerability of the object, that fragility.” Grynsztejn continued, asking, “Why is that important to you? Why do you want to create that condition for us to share?”Sze responded, “One of the primary ideas for me was how do you create an artwork that feels live? I think post COVID we've become more addicted to live events, to theater, to these shared moments where we feel things will never happen again. So [the work is about] how do you mark time? A birth, a marriage, a death – these moments are completely out of our control but they really mark what it is to be alive in this way that nothing else can, this kind of serendipity of process in the moment.”Grynsztejn’s response spoke for the audience, “I think one of the reasons why I find your art so important and so gorgeous, but also so heartbreaking is because it reverberates with the transient nature of our own life, because it could so easily be forced to come apart.”She went on to comment that part of what she loves about Sze’s work is how she actively compels viewers to care about what they are seeing. Through questioning how it is constructed, how long that process took, what is looks like from one side and then another, viewers are part of the conversation. They are being asked she says, “to gently to care for this work forever.” Or as long as we are each here.&nbsp;&nbsp;*&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092762/kcmbxxopyptbfwaalli8.jpg"><figcaption>Sarah Sze Shorter than the Day, (powder coated aluminum and steel, 48' x 30' x 30,' 2020) Commissioned by LaGuardia Gateway Partners in partnership with Public Art Fund for LaGuardia Airport's Terminal B Photo: Nicholas Knight, courtesy of the artist; LaGuardia Gateway Partners; Public Art Fund, NY.</figcaption></figure>&nbsp;Sze has a new permanent monumental work on view at New York’s LaGuardia Airport. She said she’s always getting messages from friends and family who take selfies near the work when they pass by. She also points out that while the work may look delicately suspended, it really is not. “The most fragile thing we have,” she says, “which I think is important for people to understand, is technology. The technology we have in public space as opposed to governmental space, it's already outdated. Think about how for museums, what they have to change all the time are the light bulbs, the cameras, the film. Now they have to tend to videos. They are [surprisingly] the most ephemeral things.”We tend to think about videos that last forever – a moment captured and then shared digitally seems like it may never be erased. But installed in a museum or public setting, video and technology must be maintained and cared for in order to last. Sze made a surprising point in the 21st century, that paper is more durable than one would think, and that we also have centuries of experience preserving it. In the same vein, the work at LaGuardia may look fragile, but it is created to last, with images printed on metal and its structure crafted from industrial materials. This deceptive and chaotic digital and analog mashup, Grynsztejn points out, is actually what we all have been enduring for the last 15 years. Sze’s work shows where the physical and the digital are interchangeable and equivalent and here to stay. She is revealing the art history that we are all living through, whether we like it or not.&nbsp;Sze admitted that she hates her phone and her attachment to it, but she knows she cannot live without it either, a sentiment that is entirely relatable. We know the pull phones have, the damage they can do as well as the access they can offer. The personal digital relationships we all balance are both fragile, formidable and changing fast. &nbsp;Towards the end of the discussion, Sze talked about her students at Columbia University, where she is a professor. To emphasize her earlier point about how much we are accustomed to accepting digital images as reality, she talked about the disappointment many feel when they order art materials only to realize that when they arrive they are not what they expected. Often variances in color and texture leave them without the quality they expected. “They'll say, I want this to be fuzzy and red, and it's itchy and kind of purple. It's not the right thing. They're getting things digitally before they're getting physically,” she explains. It’s a lesson worth remembering.There are plenty of chances to encounter Sze’s work in person. In addition to the work at Laguardia she has placed many works in public, very deliberately as Grynsztejn says, in zones of transit, such as subway and train stations, along New York’s High Line, and as outdoor projections on museums. Each work is accessible in this way is a democratic experience, says Sze. “We can spend all the time in the world trying to get people into the museum, but it is a building with walls. To put things into the public space where people don't need to know it's art, they don't need to know who made it, they can have an experience with it. They might be drawn in. The democratization of art has always been extremely important to me.”&nbsp;More information about the artist Sarah Sze may be found at <a href="https://sarahsze.com">sarahsze.com</a> and <a href="https://www.victoria-miro.com/artists/33-sarah-sze/">victoria-miro.com</a>&nbsp;</body></html>

MCA's 2024 Visionary Luncheon Honors Artist Sarah Sze and Key Museum Supporters

<html><head></head><body>CGN works with dozens of art world leaders, creatives and supporters all year long. Each one has a different perspective on the industry in general as well as their own role within it. CGN is pleased to share many of these insights and personal stories in a new online series.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/opuadyqjkyefggayfcnk.jpg" jackson-1.jpg=""><figcaption>Chris Jackson in Jackson Junge Gallery with Surreal Salon on view. The show celebrates the gallery's 15th year in business.</figcaption></figure>&nbsp;By ABBEY KOTSince 2009, Chris Jackson and his partner, Laura Lee Junge, have owned and operated the Jackson Junge Gallery out of Chicago’s Wicker Park neighborhood. This week, we sat down with Jackson to discuss the details of his career as well as his personal insights on the gallery’s unique shows and services.&nbsp;&nbsp;CGN:&nbsp;Your career has a dynamic background in the arts world, ranging from work in theater and television to the founding of this gallery. What are some surprising commonalities you have found throughout your career?&nbsp;Chris Jackson: Throughout my career in theater, film, television, and the arts—including founding a gallery—I’ve noticed several surprising themes across these mediums. Storytelling is at the heart of each. In theater and television, storytelling is more overt, with narratives shaping each performance or episode. In the art world, it’s subtler, as curating an exhibition involves crafting a story that connects the artworks in meaningful ways for viewers.Each field also demands significant teamwork. In theater, film and television, writers, directors, actors, and crews work together to bring a vision to life. Similarly, in the art world, I collaborate closely with artists, curators, and the public. The success of any project depends deeply on this collaborative spirit. Creativity and out-of-the-box thinking are essential in all three fields. In theater and commercial work, problem-solving happens on the fly—managing time, budget, or a tricky scene. In the gallery world, I balance artistic vision with practical considerations like space, lighting, and presentation. Regardless of the medium, the ultimate goal is to engage the audience, evoking an emotional or intellectual response. The challenge lies in understanding your audience and connecting with them on a deeper level.The arts also demand adaptability and resilience. In the performing world, you might face changing scripts, technical issues, or unexpected challenges, while in the gallery world, market trends and public tastes are constantly evolving. The ability to pivot and embrace change is crucial in both arenas. Authenticity is valued across all fields—whether it’s an actor’s performance, a showrunner’s vision, or an artist’s work in a gallery. Audiences respond to genuine expressions of creativity. Emotions drive reactions in theater, film, television, and the visual arts. All these forms thrive on making people feel—whether joy, sadness, curiosity, or even discomfort. The ability to evoke emotions is a common thread that transcends the medium.These shared elements emphasize that while the mediums may differ, the core principles that drive success in the arts are remarkably similar.&nbsp;CGN: The Jackson Junge Gallery offers custom framing services alongside its typical exhibition space. What inspired you to curate an environment that suits the needs of collectors on multiple levels?CJ: Combining custom framing services with a traditional exhibition space creates a comprehensive experience for collectors and art enthusiasts. The gallery can provide a complete, end-to-end service, allowing collectors to acquire a piece of art and leave with it fully framed and ready for display.&nbsp;Framing serves as an extension of the artwork itself. The right frame can elevate a piece, enhancing its style, while the wrong one can detract from its impact. By offering custom framing in-house, the gallery retains creative control over how the artwork is ultimately displayed, aligning it with both the artist’s vision and the buyer’s preferences. Framing services also allow the gallery to build ongoing relationships with clients, as collectors often return for framing services for pieces acquired elsewhere. This creates opportunities to nurture relationships, share expertise, and introduce clients to new exhibitions.From a business perspective, framing services provide an additional revenue stream, supporting the gallery’s sustainability even during fluctuations in art sales. This model allows the gallery to act not only as a curator of fine art but also as a partner in preserving it. In doing so, the gallery enhances the experience for art collectors while becoming more dynamic and versatile.&nbsp;CGN:&nbsp; As the gallery’s proprietor, your day to day involves managing multiple facets of the business. Have there been any challenges that stand out to you as an important lesson that shapes your practice currently?CJ: One of the most defining challenges of running a gallery is the constant balancing act between the creative and business sides. Early on, I learned that managing a gallery is as much about business as it is about showcasing art. Ensuring financial sustainability while maintaining artistic authenticity requires balancing creativity with practical considerations like overhead, pricing, and marketing. This ongoing negotiation has honed my ability to operate with both a creative vision and a business mindset.The art market is ever-evolving, and staying responsive to these changes is crucial. Whether adapting to the rise of online art sales, shifts in collector preferences, or new technologies like AI, flexibility has become a cornerstone of the gallery’s strategy. This adaptability helps keep the gallery relevant and appealing to a diverse audience. Managing relationships with artists, collectors, and the local community is also key to the gallery’s success. Finding the right balance between promoting artists’ work and making collectors feel valued has been a delicate but essential lesson.&nbsp;With so many facets to oversee—curating exhibitions, managing sales, overseeing framing services, marketing, and more—time management and delegation have become vital. Learning to trust staff with certain responsibilities while focusing on the broader vision is essential to avoid burnout and ensure smooth operations. Resilience is another invaluable lesson, especially in the face of uncertainty. Whether it’s fluctuations in art sales, unexpected costs, or global events like the COVID-19 pandemic, the ability to pivot, re-strategize, and explore new avenues (such as virtual exhibitions) shapes the gallery’s approach to both short-term and long-term goals.Another important lesson is that each exhibition needs a strong, cohesive vision. Over time, refining the practice of curation to present exhibitions that resonate with visitors, tell a story, and provoke thought has become even more crucial. It’s not just about displaying beautiful art, it’s about creating a meaningful experience for viewers. These challenges and lessons underscore that managing an art gallery requires a blend of creativity, business awareness, and adaptability, all of which shape my approach to leadership.&nbsp;CGN: What does the curation process look like when proposing a very open ended concept, such as your recurring TEN by TEN group exhibition, in which the only limitation is essentially size?&nbsp;CJ: The curation process for an open-ended concept like the TEN by TEN exhibition, where size is the primary limitation, requires a careful balance of inclusivity, medium diversity, and cohesive presentation. With the 10x10 inch size as the only constraint, I remind our staff that this limitation serves to equalize all submissions, making the size both a challenge and a unifier for artists from various backgrounds.We actively reach out to artists from a wide range of disciplines and backgrounds. An inclusive exhibition should represent diverse perspectives, styles, and cultural influences. TEN by TEN welcomes all artistic mediums—painting, sculpture, mixed media, photography, digital art, textiles, and more. The open call for submissions encourages artists to explore how their medium adapts to the 10x10 format. This exhibition creates space for both emerging and established artists, allowing visitors to discover new voices alongside familiar ones.In TEN by TEN, size becomes a unifying thematic element. The artworks are displayed in a grid, emphasizing the consistent dimensions and highlighting how each artist uniquely fills that 10x10 space. This approach enables viewers to appreciate both the individuality of each piece and the cohesive visual impact of the collection as a whole.By focusing on inclusivity, diverse mediums, and cohesive presentation, the TEN by TEN exhibition showcases the adaptability of artists and fosters a dialogue between different forms of creative expression, all within the shared 10x10 constraint. This not only highlights the variety of work possible within a common framework but also celebrates the richness of a collective artistic experience.&nbsp;CGN: Is there any advice you would give to those looking to enter the gallery space, either on the creative or the administrative side?&nbsp;CJ: Entering the gallery world—whether on the creative or administrative side—requires a combination of passion, perseverance, and practical skills.For creatives, it’s essential to cultivate a consistent style or thematic focus that distinguishes your work. The Jackson Junge Gallery seeks local artists with a clear, unique voice and a cohesive body of work that tells a story or explores a specific idea. To gain exposure, I suggest displaying your work at local art fairs, community shows, or online platforms. Building relationships with galleries and curators is crucial. Attend gallery openings and events to network with curators, gallery owners, and other artists. Networking can lead to valuable connections and opportunities. Research galleries that align with your style and reach out with a professional portfolio and artist statement. We often invite artists to apply for our group exhibitions, which can lead to additional opportunities. Professionalism is key. Meet deadlines, communicate clearly, and be reliable. If you don’t get an opportunity right away, keep creating, refining your skills, and continue to reach out. Don’t be discouraged by rejection; be persistent.For those interested in the administrative side, start by volunteering or interning at a gallery or museum to gain firsthand experience. Many galleries value practical experience, and internships provide insights into daily operations, curation, and event planning. Entry-level positions, such as front desk staff or gallery assistant, offer a solid foundation in customer service, sales, and gallery operations. Sales skills are especially valuable. Understanding how to connect with clients, tell the story of an artwork, and close a sale is essential. Marketing also plays a significant role in a gallery’s success, so learn about social media marketing, email campaigns, and event planning to promote exhibitions and attract visitors. If you’re interested in curation, practice by organizing smaller shows or pop-up exhibitions. This experience helps you build a portfolio and gain skills in developing themes, selecting works, and designing shows. Gallery work often involves juggling multiple tasks, from event planning to managing artists’ contracts. Strong organizational skills and flexibility are crucial, as gallery staff frequently wear many hats. Ultimately, working in a gallery is about supporting and championing artists. Building strong relationships with artists and helping them present their work to the world is incredibly rewarding and central to the role.The gallery world can be competitive, but it’s also vibrant and full of opportunities for those who are passionate, resourceful, and determined to contribute to the art community.&nbsp;Jackson Junge Gallery is located in Wicker Park at 1389 N. Milwaukee Ave., Chicago, IL 60622<a href="https://j2gallery.com">j2gallery.com</a>&nbsp;#</body></html>

CGN Insights: Chris Jackson of Jackson Junge Gallery

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/p46zukgwkcx370yuvrsc.jpg"><figcaption>Richard Hunt if front of his work, Harlem Hybrid. Photo courtesy (C) 2024 The Richard Hunt Trust / Artists Rights Society (ARS), New York</figcaption></figure>Via PRDENVER, Oct. 15, 2024&nbsp;The <a href="http://email.prnewswire.com/ls/click?upn=u001.v9xoTZaCB3KDvUFxTt6K9ITfJcLtx-2FOvmuVizoBK57AumI5QX3WfGbRloyvG9DqhPcrY9DDoCHQQf-2Favqdh-2BbKV9j5Lj1Zeztzt9OnHU1RD7-2FQc8aNdtSn19PmoGm5H4IGNv9qmQe1CgREAQBp-2F8ZqDDEogAg9nipPHOjBjbcVlWDaPqS9Mdoqsj2cNuB1-2BTdSOBwJVd26XXhtG4TX0vJg-3D-3DrIhJ_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVRLvd3Kg4KYI7NcKpiVLJL8sBXGkLfkWQGHIVoJFgxn-2FFIB2lx8Aj5HkyS3ef91fygwbtsBBddiMfNlBtSdpvUIzlwyeu0vKrAi9eLpunhfwfyqXf-2FORAxoBhF570IT7OdVN-2B6crB4hIQeFpMYoR7-2FdCwUs6MQ2cfDbBt4IWPXIZvQxICJCgAcW2DHvEtIPQGhpwA4zhIpBlgE9-2Fy0D7Ab1DqyK7FdOtYUEn4zlyimZxTRGPS-2FHMKkUxiBaiiKXBfc8h9jCD34puwqiY0D0GU0Lm6gjYaD2Jl67y52eOFz-2FfKRHEfzZHF0y1faXXtFwZm">Richard Hunt Legacy Foundation</a> and Creative West's (formerly WESTAF) <a href="http://email.prnewswire.com/ls/click?upn=u001.v9xoTZaCB3KDvUFxTt6K9ITfJcLtx-2FOvmuVizoBK57AumI5QX3WfGbRloyvG9DqhlJ-2FfCI9GLsUcpWTM2Mlm-2BCd-2Bo8L-2FKzCx2PmJj6IeNB7redcu3dm8-2BzoHH-2BGo-2B4mL3Xckrs1ymCoJyDdAG1BOKhJbEQxTU-2FfKGVa9N6FaSycmSaym8xZWQen0nYgwCbEmixxh_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVRLvd3Kg4KYI7NcKpiVLJL8sBXGkLfkWQGHIVoJFgxn-2FFIB2lx8Aj5HkyS3ef91fygwbtsBBddiMfNlBtSdpvUIzlwyeu0vKrAi9eLpunhfwfyqXf-2FORAxoBhF570IT7OdVN-2B6crB4hIQeFpMYoR7-2FdCwUs6MQ2cfDbBt4IWPXIZ3Pfl0X-2BRh5iBJlTr7NHJvv2zYfH4aeOOT0S5P0OnITxm-2F2vjkcJyx1X-2BDbtW-2BJd-2BKaI0M37LaUMKR6nEtOmx8vSEye-2BNnGZ2BuyqiDdeHc8kqmUh1iOWu6eOc9rci5xO7sLZ9B025VSFLRhXRb4xC">Public Art Archive™</a> are pleased to announce a new partnership developed to inventory, document, and provide free online access to a comprehensive catalog of Richard Hunt's extensive public art commissions throughout the United States. As the most prolific public sculptor in the United States, Hunt's artistic legacy, seen in works installed across parks, universities, and a multitude of public spaces, is paramount to the history of public art in the U.S. BK Fulton, Chair of the Richard Hunt Legacy Foundation (a 501c3 non-profit organization to advance awareness of the artist) remarked: The artist's passing in December 2023, as well as his forthcoming prominent installations at the Obama Presidential Center and The Emmett and Mamie Till-Mobley House Museum, generated overwhelming public interest in Richard Hunt's life and practice, making the creation of a digital destination to explore his work an important and timely pursuit.Richard Hunt's growing archive of public artworks and information about the project is now viewable at <a href="http://email.prnewswire.com/ls/click?upn=u001.v9xoTZaCB3KDvUFxTt6K9ITfJcLtx-2FOvmuVizoBK57AumI5QX3WfGbRloyvG9Dqhyt7imhDpzAhboPqDkoDVXIVue0JpR4eUlP4MbM-2BzXj19mxsPrrjCzxszwrQ9OEAYRPPhxWjdYrkNBewuOROwCJj3BmBdFryqNB3bqJobRdxiu2fxDcojgwb2oEJIAjqJPb06tFuuRJMkOSF6DLLfvvQSJvqXogp3vahSyuFXJ7WOMVoZhdA4Dv-2B9MdDOrggzzzGm_0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVRLvd3Kg4KYI7NcKpiVLJL8sBXGkLfkWQGHIVoJFgxn-2FFIB2lx8Aj5HkyS3ef91fygwbtsBBddiMfNlBtSdpvUIzlwyeu0vKrAi9eLpunhfwfyqXf-2FORAxoBhF570IT7OdVN-2B6crB4hIQeFpMYoR7-2FdCwUs6MQ2cfDbBt4IWPXIbqsAKB2r3pfUJhExPB7dSqxtETiEQzFbKD0tuEn4r7NQfC3-2Bdrs615d8AP1-2BtzEUeuzOkMW5XwOok5ac5g4ZtWXaO5S5FB0V5wLMTryAAXfTHk4hjMtKz-2BY8llx61ua21XgZirEo-2Fbwz7vcZ9hcYmp">https://explore.publicartarchive.org/richard-hunt</a>. With each artwork added to the archive, a new site to visit and explore is added to an interactive map of Hunt's works throughout the country. While the archive project is underway, both Foundation and Archive leaders hope to collaborate with organizations, artists, journalists, and scholars to gain insights and cultivate context—including articles, photographs, interviews, and other materials—to make the archive a robust and comprehensive resource for all audiences.Richard Hunt's public art practice expanded in the late 1960s, when he was inspired by the 1967 installation of the <a href="http://email.prnewswire.com/ls/click?upn=u001.v9xoTZaCB3KDvUFxTt6K9ITfJcLtx-2FOvmuVizoBK57AumI5QX3WfGbRloyvG9DqhyrFAykgAu2jiUJ17Yv-2F-2FzxyYF75mMzGPD-2FL3BW09J721t1BoaXVaApuNORtwsmqiYuNpY9mbSTJ12aeM0W6qDGkF-2BOUTizD-2FshCXY2rL44Ox-2BFX5rnYsP93dtqCr0Ver-2FuuzJsi5Y5O952rRhrCCiA-3D-3Dxal__0g5QiKQ3ANfCkWXxwzczn1phIok0-2FnBF8GNWXrNhq2-2B4ftGj9DI8Jn4AfRAGeAJVRLvd3Kg4KYI7NcKpiVLJL8sBXGkLfkWQGHIVoJFgxn-2FFIB2lx8Aj5HkyS3ef91fygwbtsBBddiMfNlBtSdpvUIzlwyeu0vKrAi9eLpunhfwfyqXf-2FORAxoBhF570IT7OdVN-2B6crB4hIQeFpMYoR7-2FdCwUs6MQ2cfDbBt4IWPXIZCXNJpjzNTJXjh6TaDzOYUKbhoMvHKsZFrm4Ee60DuUvl9mscERLZocQwzQ1BkYwAqA4s4lDMZX7PueADfdPceFevO1-2BrmLxoxEuZt9pbe0j92kUbkyRyEygBz26QQvuQRQCuOzTSqVb-2FYzs8-2FfI3a">Chicago Picasso</a>, a 50-foot-tall Cor-Ten steel sculpture in what is now Daley Plaza in Chicago. That same year, Hunt was commissioned by architect Walter Netsch to create a sculpture for the John J. Madden Mental Health Center in Maywood, Illinois, entitled Play (1969).&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/gury2cqktoj4jkajr6on.jpg" flame="" of="" hope="" .jpg=""><figcaption>Richard Hunt,. Eternal Flame of Hope, Chicago, IL &nbsp;</figcaption></figure>&nbsp;Play, as I look back on it, began what has been a second career for me, that of a public sculptor, Hunt would later reflect. Hunt continued to collaborate with architects, engineers, public agencies, private corporations, and communities to conceive of and produce soaring abstract sculptures of Cor-Ten steel, stainless steel, and bronze, often inspired by prominent historical references and figures. Hunt considered his public art contributions and how they enhance the public's experience in that space, saying, Public sculpture responds to the dynamics of a community, or of those in it, who have a use for sculpture. It is this aspect of use, of utility, that gives public sculpture its vital and lively place in the public mind.Just as Hunt aimed to make his artwork accessible to broader public communities through both form and placement, the Public Art Archive, a program sponsored by Creative West, is rooted in an analogous mission, with the cornerstone goal of creating opportunities for discovery and engagement with public art at whatever level of interest, knowledge or background one might begin exploring.The Public Art Archive is honored to partner with the Richard Hunt Legacy Foundation to bring the artist's public works to new audiences on our platform. As a digital archive devoted to the mission of 'making public art more public,' we are thrilled to be the home for Richard Hunt's public works; Hunt's altruistic approach to art-making and sharing is the exemplar of public art's core values of enhancing community and exploring our shared humanity, noted Lori Goldstein and Alison Verplaetese, who manage the Public Art Archive on behalf of Creative West.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/ckjwlzz9lg92af9j5emz.png" 2024-10-15="" at="" 10.03.31="" pm.png=""><figcaption> Explore Richard Hunt's Public Commissions around the U.S.</figcaption></figure>&nbsp;About Richard Hunt As an artist and prominent American sculptor, Richard Hunt considered artistic freedom the most important aspect of his career, I am interested more than anything else in being a free person. To me, that means that I can make what I want to make, regardless of what anyone else thinks I should make. At 35, he became the first African American sculptor to have a retrospective exhibition at the Museum of Modern Art (MoMA). Hunt held over 160 solo exhibitions and is represented in more than 100 public museums across the globe. Hunt made the largest contribution to public art in the United States, with more than 160 public sculpture commissions gracing prominent locations in 24 states and Washington, D.C. Hunt was a central figure in Civil Rights-era action and commemorated many African American icons. His body of work explores themes of the African diaspora, African and Western art, mythology, and Hunt's own ancestry, especially in relation to growth, expansion, freedom, movement, and flight.About The Richard Hunt Legacy Foundation The Richard Hunt Legacy Foundation advances public awareness, education, and appreciation of the life and art of American sculptor Richard Hunt. The Foundation was incorporated in Illinois in 2023 to become a 501(c)(3) nonprofit at the direction of its founder, Richard Hunt. The foundation welcomes support from all who appreciate the incredible contributions of one of America's most important sculptors. The Richard Hunt Legacy Foundation's vision is to ensure that future generations fully appreciate the life and art of the American sculptor Richard Hunt by encouraging, inspiring, facilitating, educating, and supporting the public's understanding of his work and his place in American and art history. In addition, the foundation aims to support the next generation of sculptors and artists.About Public Art Archive The Public Art Archive (PAA) is a free, continually growing database of completed public artworks throughout the U.S. and abroad. By uniting records from public art organizations and artists into one comprehensive resource, the PAA aims to provide universal access to the complex stories that characterize public artworks not as static objects, but as dynamic, interconnected keepers of history, context and meaning. The PAA's mission to make public art more public has guided the program's growth into one of the largest active databases of public art. Since its inception in 2010, public art organizations and artists have submitted informational text, images, and additional multimedia files describing completed public artworks for free.&nbsp;</body></html>

Over 160 Public Richard Hunt Sculptures Available on PAA's Free Discovery Platform

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/zjurjrzpy5ge31etpprh.jpg"></figure><a href="https://www.chicagogallerynews.com/events/more-light-luftwerk-x-aram-saroyan">More Light! Luftwerk x Aram Saroyan</a>Opening: Thursday, October 17, 6 – 8&nbsp;pmPoetry Foundation&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/d7n9wv5uiddxb96jwmcf.jpg" gallery="" news="" pantuso="" 700x500="" copy.jpeg=""></figure><a href="https://www.chicagogallerynews.com/events/pantuso-creative-dimensions">Pantuso: Creative Dimensions</a>Opening: Thursday, October 17, 7 – 9&nbsp;pmWadsworth Family Gallery at Lewis University&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/tbxi8wv1eabsxcxqq4nr.jpg"></figure><a href="https://www.chicagogallerynews.com/events/images-illusions-art-in-the-digital-age">Images &amp; Illusions</a>Exhibition Begins October 17Kavanagh Gallery at Fine Line Creative Arts Center&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/wvdohihen8wk1f6rkjnf.png" shot="" 2024-10-14="" at="" 3.42.27="" pm.png=""></figure><a href="https://www.chicagogallerynews.com/events/3rd-friday-open-studios-ea91220f-4d25-4bfb-ae02-fd7cef2e26b3">3rd Friday Open Studios</a>Friday, October 18, 7 – 10&nbsp;pmBridgeport Art Center&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092762/faaqilylnuuf1tfi8qxq.jpg"></figure><a href="https://www.chicagogallerynews.com/events/open-house-chicago-64631e48-3611-4bcb-be96-8629fc9baad3">Open House Chicago</a>Exhibition Begins October 19Chicago Printmakers Collaborative&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092763/cc4cm5jp03i51l9x8cen.jpg" is="" poltical_image.jpg=""></figure><a href="https://www.chicagogallerynews.com/events/existing-is-political">Existing is Political</a>Opening: Saturday, October 19, 6 – 9&nbsp;pmChicago Sculpture International (CSI)&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092764/bnryry5tbkuk66wvqmth.jpg" black="" artist="" group="" logo.jpg=""></figure><a href="https://www.chicagogallerynews.com/events/north-shore-black-artist-group-show">North Shore Black Artist Group Show</a>Exhibition Begins October 19Evanston Art Center&nbsp;&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092765/ckpmtsgynznkrneffdpd.jpg"></figure><a href="https://www.chicagogallerynews.com/events/elijah-burgher-sigils">Elijah Burgher: A List of Wishes</a>Opening: Sunday, October 20, noon – 4&nbsp;pm(northern) Western Exhibitions&nbsp;&nbsp;</body></html>