Art Institute of Chicago Makes Thousands of Hi-Res Images Available for Free<h2>&nbsp;</h2>The museum has reproduced thousands of high-resolution images of its art and released a substantial amount into the public domain. This means that, under the&nbsp;Creative Commons Zero (CC0)&nbsp;license, students, educators, and even everyday art lovers can&nbsp;download this digitized art for free.By&nbsp;Kelly Richman-Abdou, My Modern Met<a href="https://mymodernmet.com/art-institute-of-chicago-free-resources/">Read More</a> &nbsp; &nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3186/original/2-2.gif" alt=""></figure>3Arts awards 20 Chicago artists with unrestricted cash grants<h2>&nbsp;</h2>3Arts,&nbsp;the Chicago-based nonprofit grant making organization,&nbsp;is&nbsp;honored to award 20 Chicago artists with unrestricted grants at the&nbsp;11th Annual 3Arts Awards Celebration taking place&nbsp;Monday, November 5, at the Museum of Contemporary Art. The celebration will honor the 10 annual 3Arts Awards recipients along with 10 recipients of&nbsp;Make a Wave—an unprecedented artist-to-artist giving initiative.Via The Chicago Crusader<a href="https://chicagocrusader.com/3arts-awards-20-chicago-artists-with-unrestricted-cash-grants/">Read More</a> &nbsp; &nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3188/original/art-deco-chicago-cover-miso76.jpg" alt=""></figure>Travel to Art Deco Chicago With This Book<h2>&nbsp;</h2>In part due to Instagram, architectural tourism has never been bigger. Few cities anywhere in the world can compete with Chicago for architectural splendor and variety. It’s river architecture tour is considered a must-do—even by travel snobs.&nbsp;Wright, Burnham,&nbsp;Sullivan, Gang, van der Rohe, S.O.M, Gehry, and&nbsp;Bofill—all have iconic buildings here. But for us, the most visually alluring period of skyscrapers is Art Deco.Via The Daily Beast<a href="https://www.thedailybeast.com/travel-to-art-deco-chicago?ref=scroll">Read More</a> &nbsp; &nbsp;Chicago Lays Claim to Modern Design Achievements in a New Show<h2>&nbsp;</h2>Chicago&nbsp;is well-known for innovation in design when it comes to architecture, but what about product, graphic, or interior design? Olivia Mahoney, senior curator at the Chicago History Museum, says the city was a leader in these areas, yet its contributions are often overlooked.&nbsp;By&nbsp;Rebecca&nbsp;Holland, Architectural Digest<a href="https://www.architecturaldigest.com/story/modern-by-design-clicago-history-achievements-in-a-new-show">Read More</a> &nbsp; &nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3187/original/306-he-nf-mask.jpg" alt=""></figure>Alaskan dancer helps the Met solve riddle of the Yup’ik mask<h2>&nbsp;</h2>When Caitlin Mahony, an assistant conservator at New York’s Metropolitan Museum of Art, first examined a wooden Yup’ik mask last spring, she was at a loss for how to proceed with its treatment. Created around 1900 at the behest of a shaman for use in a ritual dance in Alaska, it was perforated on the sides with holes into which appendages were inserted. Some of these were broken, missing or possibly in the wrong position, which made the mask difficult to understand.By&nbsp;Nancy&nbsp;Kenney, The Art Newspaper<a href="https://www.theartnewspaper.com/news/alaskan-dancer-solves-the-riddle-of-the-yup-ik-mask">Read More</a> &nbsp;

News from Around the Art World: October 30, 2018

By GINNY VAN ALYEAWhen I used to lead introductory&nbsp;tours of SOFA,&nbsp;there were some general points I always wanted to leave my group with as they headed out on their own to explore what can be an overwhelming and overstimulating art fair.&nbsp;There is so much to see and take in, that at some point your senses might not be able to handle it! Having a&nbsp;few key things in mind as you wander nearly 80 booths can help you manage the visual binge.While SOFA has made its name by&nbsp;being&nbsp;focused on the same part of the contemporary art market&nbsp;for two and a half decades, it has also evolved to welcome in new perspectives from the art world. Mostly SOFA is dedicated to Sculptural Objects and Functional Art - basically, sculpture and 3D works, but today&nbsp;there is more design on view than ever, which makes sense with SOFA's functional directive, and there is also more 2D work that shows up from time to time, offering, for example,&nbsp;a clever play on painting objects that may in fact by sculptural.&nbsp;This brief, and hopefully handy, overview of what's on view at SOFA this year in the gallery booths should help you see some of the show's hallmarks and come away with an understanding of what makes SOFA a different kind of contemporary art fair all together.Of course, once you go see it all for yourself, you can decide what makes SOFA unique.&nbsp;Complete information may be found at <a href="http://www.sofaexpo.com/">www.sofaexpo.com</a> &nbsp;GLASSGlass is what SOFA is most known for, even though it's not what dominates the fair. However, there's no denying that a visit to SOFA will offer an encounter with lions like Dale Chihuly as well as Lino Tagliapietra (after 16 years with CGN I can say that name four times fast!) &nbsp;The mezmerizing, traveling Hot Glass Show&nbsp;by Corning is also a not-to-be-missed chance&nbsp;to learn about the science and technology behind innovations in glass through live, narrated glassmaking demonstrations, offered all day at the fair.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3176/original/3.gif" alt=""></figure> &nbsp;<h3>&nbsp;</h3>CERAMICCeramic art at SOFA take so many forms. I'm always so taken in by porcelain because even though it's so delicate it can take on so many shapes.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3177/original/ceramic.gif" alt=""></figure> &nbsp;TEXTURE + TECHNIQUESo much of what's at SOFA is about contemporary art but it also references craft and decorative techniques from history, such as basket weaving and other functional arts.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3179/original/1.gif" alt=""></figure> &nbsp;MATERIALSSo much of an artist's challenge is working with various materials, and at SOFA this is always abundantly on view. Artists must figure out how to manipulate and work within a certain medium and then determine how a work can be displayed and enjoyed.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3180/original/6.gif" alt=""></figure>ILLUSIONThis is one of my favorite things about the art at SOFA - so much of it is created just to be visually appreciated and marvelled at. Visitors to the fair spend a lot of time trying to just figure out, 'How did they do that?'<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3182/original/larger-1.gif" alt=""></figure><figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3183/original/larger-2.gif" alt=""></figure> &nbsp;Top image: Kate Tremel,&nbsp;Lacey, 2018,&nbsp;Ceramic,&nbsp;19 × 20 × 20";&nbsp;unique,&nbsp;Steidel Contemporary

A SOFA Scavenger Hunt

Viceroy Chicago Hotel Uses Art To Help Fight Breast Cancer<h2>&nbsp;</h2>As part of National Breast Cancer Awareness Month, Chicago’s Viceroy Hotel (1118 N. State St.)&nbsp;is showcasing eight specially designed doors featuring artistic interpretations on the subject of breast cancer.&nbsp;The painted guest room doors are located on the hotel’s 5th floor and feature images inspired by each artist's interpretation of the fight against breast cancer.&nbsp;According to Don Samora,&nbsp;Director of Brand Management at Viceroy Hotel Group,“Designer Doors for Charity is the latest installation in&nbsp;Viceroy Hotel Group’s&nbsp;larger brand initiative,&nbsp;A Canvas for Discovery,&nbsp;which invites innovative artists to Viceroy Hotels and Resorts to create original, site-specific work.”&nbsp;By Julia Brenner, Forbes<a href="https://www.forbes.com/sites/juliabrenner/2018/10/17/the-viceroy-hotel-uses-art-to-help-fight-breast-cancer/#4b27a57b2dbd">Read More</a> &nbsp; &nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3167/original/art-on-the-mart-1024x0-c-default-1.jpg" alt=""></figure>Art on theMART turns Chicago’s Merchandise Mart into an architectural canvas<h2>&nbsp;</h2>Until the end of 2018, the façade of Chicago’s&nbsp;Merchandise Mart&nbsp;will become the world’s largest digital art projection, hosting the work of four artists for two hours each on Wednesday through Sunday evenings. Thirty-four projectors located across the&nbsp;Chicago River&nbsp;from The Mart, as the structure is informally called, will work in tandem to project images on the hulking façade of what was once the world’s largest building.By Elizabeth Blasius, The Architects Newspaper<a href="https://archpaper.com/2018/10/art-on-the-mart-chicago/">Read More</a> &nbsp; &nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3168/original/305-am-as-ai-edmond-de-belamy-high-res.jpg" alt=""></figure>Who needs artists? Rise in works made by artificial intelligence raises real questions for the art market<h2>&nbsp;</h2>This October in New York, Christie’s will become the first auction house to sell a work created by artificial intelligence (AI). The 2018 painting, a hazy portrait of what appears to be a well-fed clergyman, possibly French, hailing from an indeterminate period in history, is expected to fetch between $7,000 and $10,000. His name, according to the work’s title, is Edmond Belamy.By Anny Shaw, The Art Newspaper<a href="https://www.theartnewspaper.com/analysis/rise-in-works-made-by-artificial-intelligence-raises-real-questions">Read More</a> &nbsp;

News from Around the Art World: October 22nd, 2018

By GINNY VAN ALYEAI first met the organizers, and&nbsp;cultural cheerleaders, behind<a href="http://www.diasporalrhythms.net"> Diasporal Rhythms</a> 5 years ago,&nbsp;on the occasion of their 10th anniversary celebrating art of the African Diaspora. When I got to know collectors D.E. Simmons and Patric McCoy in 2013 they each told me about the group's mission as well as the&nbsp;changes they had&nbsp;undergone during a&nbsp;decade of finding their collective identity and outreach efforts. When Diasporal Rhythms started in 2003, there were four founding members; today they number closer to 100.&nbsp;Back in 2013 when I first learned about the group and their tours, Simmons described the&nbsp;fall home tour series&nbsp;as&nbsp;uniquely&nbsp;reflecting&nbsp;the spirit of the South Side art community and having a goal of showing off the&nbsp;talented community of&nbsp;artists doing wonderful works worthy of notoriety, and more important, of being added to other collections. Simmons said at the time, “I always talk about us as the little organization that could, and can, and does."He also warned me&nbsp;then that&nbsp;tour-goers can get a little overwhelmed at first, but ultimately the sensory overload is productive. He was absolutely right then, and now, and I decided it was time to dive right in. All the sudden the group's 15th anniversary&nbsp;arrived this fall.&nbsp;I knew it was time for me to finally&nbsp;go on this year's&nbsp;art tour of the South Side of Chicago taking place in October. I invited a friend, a Hyde Park native who knew the area well but admitted she wasn't aware of how many private collections there were throughout the South Side, and we had a fun and surprising afternoon going behind the scenes of some very special and uniquely personal art collections.&nbsp;We met at the DuSable Museum of Art and boarded a cheerful, very Chicago, trolley at the south entrance to the museum. The tours offered this year&nbsp;went in three directions: Bronzeville, South Shore, and the South Suburbs. Our particular tour was just of Bronzeville and would encompass a museum as well as four private homes. You could go on one route in the morning and then another in the afternoon, but this year for me that was not to be (it was a miracle I could go at all, but my helpful husband took our two toddlers on a whirlwind visit through lunch in Hyde Park followed by stimulation overload at the Museum of Science of Industry for 3 hours). The variety of tours held on the tour weekend each year is evidence of the depth of art to be explored on this side of the city (I say side, since it certainly is not limited to a single neighborhood or ZIP code).&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3164/original/sb.jpg" alt=""></figure>Our tour leader did not join us for our first stop, which worked out well since that left our group without a minder to remind us that we were on a schedule. With our first stop at the Smart Museum of Art, we were able to take in&nbsp;all the exhibitions on view right now and we definitely went over our allotted time. The exhibitions at the Smart&nbsp;fit particularly well with the DR tour, as the museum's&nbsp;newest show, The Time is Now! Art Worlds of Chicago's South Side, which opened in September, recreates a visual understanding and context of how in&nbsp;the 1960s and 1970s Chicago’s cultural landscape was shaped by the South Side’s vibrant art worlds. Focusing primarily on African American artists in and out of the Black Arts Movement, the exhibition features approximately 100 objects assembled from the Smart Museum’s collection and other public and private collections. Artists featured include several who are gaining broader appreciation as of late:&nbsp;Gertrude Abercrombie, Ralph Arnold,&nbsp;Jae Jarrell, Wadsworth Jarrell, Barbara Jones-Hogu,&nbsp;Carolyn Lawrence,&nbsp;Suellen Rocca, Gerald Willams, Karl Wirsum, and Joseph Yoakum, among many others.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3155/original/kjm.jpg" alt=""></figure><figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3161/original/nc.jpg" alt=""></figure>Also on view at the museum is&nbsp;Expanding Narratives: The Figure and the Ground,&nbsp;the first iteration in a three-part exhibition series.&nbsp;Expanding Narratives&nbsp;uses the formal relationship between the figure and the ground in Western art history as a conceptual springboard into discussions around visual representation, the museum space, and the role of the Smart Museum’s collection in fostering the exchange of diverse perspectives. The exhibition includes works by artists from Chicago and beyond, including&nbsp;McArthur Binion, Nick Cave, Rashid Johnson,&nbsp;Kerry James Marshall,&nbsp;Kehinde Wiley, and several&nbsp;others.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3154/original/1.jpg" alt=""></figure>Once our trolley driver herded us back on board, we were off to the home of an artist and collector, who also turned out to be my friend's former high school art teacher. Simmons' words all those years ago about art overload still didn't prepare me for the number of works hung in the collector's home. Right away she welcomed the group and began a room by room tour of the works she collected over the years, many by fellow artists and friends. Works both large and small are hung salon style on every wall, in every room,&nbsp;placed near African antiques as well as contemporary sculpture. We saw pieces by Sylvester Britton, Margaret Burroughs and Jae&nbsp;Jarrell, among others. The collector's enthusiasm was contagious – which embodies&nbsp;the point of the tours – to inspire visitors to look around their own communities to embrace creativity and make it part of day to day life. The collector said, as many do, that she buys what she loves and she loves it every day. She admits that once she got started, she couldn't stop, even when it seemed like there wasn't any more room.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3162/original/parker.jpg" alt=""></figure><figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3163/original/parker1.jpg" alt=""></figure><figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3156/original/burroughs.jpg" alt=""></figure>The next collection in nearby Kenwood was in a two story condo owned by an art historian, professor and lecturer&nbsp;who's even published a large book,&nbsp;African Art: The Diaspora and Beyond. His home was packed with many antiquities&nbsp;and artifacts from Africa as well as contemporary paintings and sculptures by artists working today. He grouped once such collection into a section devoted to contemporary depictions of African and African American men, who as he said, are not throwing a ball or playing a horn. Here we saw a unique framed brass sculpture by Richard Hunt as well as more works by Margaret Burroughs, Joyce Owens, Ralph Arnold, and Faith Ringgold.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3157/original/mccoy1.jpg" alt=""></figure><figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3158/original/mccoy2.jpg" alt=""></figure>I saw Patric McCoy's remarkable collection several years ago and have never forgotten it, so it was a great opportunity to see how the collection has (somehow) managed to grow, even though it's hard to believe McCoy has an inch of wall space left in his Kenwood condo. McCoy, an environmental scientist, has amassed 1,100 works by more than 300 artists&nbsp;and he displays them all. Arranged in mini collections, such as music, evil eyes, bicycles, McCoy's passion is charming as well as infectious.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3159/original/mccoy3.jpg" alt=""></figure>We ran out of time to enjoy the final stop on the tour, but it was in a Victorian home featuring a great deal of contemporary work, in particular work by the stained glass artist who lives there (and whose work we saw in each of the other homes on the tour!)My friend and I enjoyed a gorgeous fall day in Bronzeville and left knowing we'd like to come back to spend more time exploring and appreciating these collections built by these warm and welcoming collectors. Each collection felt unique to the neighborhood as well as to Chicago itself, and enjoying home tours such as these emphasizes the message that art collecting is fun and enjoyable and most of all doable. There are no right or wrong ways to collect art or even to display it in your home. Art makes a home come to life and that is a joy to be shared.&nbsp;Back when I visited with Simmons, he explained that getting people to interact at home is more unusual than one might think. He acknowledged&nbsp;there is some reluctance to opening up one’s home, “There’s something about not letting people into your space. Socially, I think in Chicago people tend to say, ‘Oh I’ll meet you here,’ but I’ve noticed that many people won’t invite you over. This home tour is special. It’s not only on the South Side, but it makes people open doors...so others can experience passion in a personal space. It’s a rare opportunity.” Homeowners quickly find it to be a very positive experience. They enjoy seeing guests inspired by the abundance of artwork. To Simmons, “It is a wonderful exchange - you get to talk about your passion for your collection and answer questions. We’re asking people to join the conversation and explore the possibilities. That openness has made many people want to support our organization.”&nbsp;Top image: Margaret T. Burroughs, Faces (Faces a la Picasso), printed and signed in 1993, block carved circa 1960s&nbsp;

A tour of south side art collections with Diasporal Rhythms

Diasporal Rhythms Annual Art Tour Shows a Passion For Living With Art 

By GINNY VAN ALYEA

At EXPO CHICAGO last weekend, I realized that it was a year ago that we started first hearing about Art Design Chicago&#39;s many plans for 2018. What began as a clever, interactive marketing campaign spearheaded by the smart-pants creatives at Leo Burnett, has grown into a smart and engaging lineup of collaborative&nbsp;public programming that has lasted all year long.

<img alt="" data-rich-file-id="3091" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3091/original/adc2017.jpg" />

Now that we find ourselves in October already, &nbsp;and we long-ago solved those marketing teases we first saw at EXPO in 2017,&nbsp;we can&#39;t overlook all there is still to do, thanks to ADC.&nbsp;This month alone there is a&nbsp;full slate to experience, as&nbsp;six&nbsp;new exhibitions&nbsp;open at cultural institutions across the city and beyond, exploring topics such as&nbsp;product design,&nbsp;mid-century art deco,&nbsp;Chicago bicycle culture, and much more.

Some upcoming exhibition and event highlights are listed below. Go check these amazing shows out soon. As indicated by the Smart Museum&#39;s current Art Design Chicago exhibition title, the time is now!&nbsp;

&nbsp;

<h4>October 13:&nbsp;<a href="https://www.artdesignchicago.org/events/diasporal-rhythms-2018-collectors-home-tours">Diasporal Rhythms Home Tour</a></h4>

Take a peek inside the homes of collectors of artworks by members of the African Diaspora. Chicago-based artists include Juarez Hawkins, Marva Lee Pitchford Jolly, Faheem Majeed, Joyce Owens, Felicia Grant Preston, and more.&nbsp;

<h4><img alt="" data-caption="D.E. Simmons Collection. Photo by Isadore Howard." data-rich-file-id="3082" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3082/original/simmons-2.jpg" style="font-family: -webkit-standard; text-transform: none;" /></h4>

<h4>&nbsp;</h4>

<h4>October 17:&nbsp;<a href="https://www.artdesignchicago.org/events/music-at-the-1893-world-s-fair?utm_source=Art+Design+Chicago+%28MASTER%29&amp;utm_campaign=78ed7af0b1-EMAIL_CAMPAIGN_2018_02_14_COPY_01&amp;utm_medium=email&amp;utm_term=0_9706030fea-78ed7af0b1-109297297">Music at the 1893 World&#39;s Fair</a></h4>

What role did music play at the World&rsquo;s Columbian Exposition of 1893? Stop by the Newberry Library (it just completed a major renovation!)&nbsp;for a special musical performance featuring original compositions written for and performed at the Fair in the late 19th century, then stroll through the accompanying exhibition&nbsp;Pictures from an Exposition: Visualizing the 1893 World&#39;s Fair.

<img alt="" data-caption="“Harmony Reigns at the World’s Fair,” from Puck Magazine, 1893" data-rich-file-id="3080" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3080/original/music.jpg" />

&nbsp;

<h4><a href="https://www.artdesignchicago.org/events/up-is-down-mid-century-experiments-in-advertising-and-film-at-the-goldsholl-studio">Block Cinema Film Series</a></h4>

The Block Museum of Art offers a film series showcasing the artistry of the Chicago design firm Goldsholl &amp; Associates, including screenings of mid-century film experiments and advertising campaigns, &aacute; la&nbsp;Mad Men.&nbsp;

In the 1950s, Chicago-based design firm Goldsholl Design Associates made a name for itself with innovative &quot;designs-in-film.&quot; Headed by Morton and Millie Goldsholl, the studio produced television spots, films, trademarks, corporate identities, and print advertisements for international corporations like Kimberly-Clark, Motorola, and 7-Up. Although they were compared to some of the most celebrated design firms of the day, the Goldsholls and their designers are relatively unknown today. Opening in September 2018, the Block Museum&rsquo;s exhibition&nbsp;Up is Down: Mid-Century Experimentation in Advertising and Film at the Goldsholl Studio&nbsp;reexamines the innovative work of Goldsholl and Associates and its national impact.

<img alt="" data-caption="Goldsholl Design Associates, Still from Kimberly-Clark Corporation Kleenex X-Periments: Sneeze, c. 1960. Chicago Film Archives." data-rich-file-id="3084" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3084/original/block.jpg" />

&nbsp;

<h4><a href="https://www.artdesignchicago.org/events/africobra-50?utm_source=Art+Design+Chicago+%28MASTER%29&amp;utm_campaign=78ed7af0b1-EMAIL_CAMPAIGN_2018_02_14_COPY_01&amp;utm_medium=email&amp;utm_term=0_9706030fea-78ed7af0b1-109297297">AfriCOBRA 50</a></h4>

At Kavi Gupta Gallery, through November 24 at the gallery&#39;s 219 N Elizabeth St. location.

AfriCOBRA (African Commune of Bad Relevant Artists) is the influential black artist collective that defined the visual aesthetic of the Black Arts Movement of the 1960s and 70s. In commemoration of the 50th anniversary of its founding in Chicago, this exhibition presents works by the five original members&mdash;Gerald Williams, Wadsworth Jarrell, Jae Jarrell, Jeff Donaldson, and Barbara Jones-Hogu&mdash;as well as a select group of their peers.

<img alt="" data-caption="Wadsworth Jarrell, Steel Square, 1995. Courtesy of the artist and Kavi Gupta." data-rich-file-id="3085" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3085/original/africobra.jpg" />

&nbsp;

<h4><a href="https://www.artdesignchicago.org/events/break-a-rule-ed-paschke-s-art-and-teaching?utm_source=Art+Design+Chicago+%28MASTER%29&amp;utm_campaign=78ed7af0b1-EMAIL_CAMPAIGN_2018_02_14_COPY_01&amp;utm_medium=email&amp;utm_term=0_9706030fea-78ed7af0b1-109297297">Break A Rule: Ed Paschke&rsquo;s Art and Teaching</a></h4>

Block Museum of Art, Northwestern University,&nbsp;now through December 9.

Ed Paschke is celebrated as one of the leading Chicago Imagists, a group of artists who emerged in the late 1960s with an expressive style of figurative painting rooted in Surrealism, outsider art, and popular culture. Less is known of his almost 30 years teaching art and artists at Northwestern University. This show celebrates his legacy as an educator with artworks by Paschke alongside his teaching material from the Northwestern University Archives and generous loans from Marc and Sharon Paschke. &nbsp;

<img alt="" data-caption="Ed Paschke, Ponderosa [detail], 1991, Color lithograph on paper, Mary and Leigh Block Museum of Art, Northwestern University, 1995.5" data-rich-file-id="3086" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3086/original/resize.jpg" />

&nbsp;

<h4><a href="https://www.artdesignchicago.org/events/yasuhiro-ishimoto-someday-chicago?utm_source=Art+Design+Chicago+%28MASTER%29&amp;utm_campaign=78ed7af0b1-EMAIL_CAMPAIGN_2018_02_14_COPY_01&amp;utm_medium=email&amp;utm_term=0_9706030fea-78ed7af0b1-109297297">Yasuhiro Ishimoto: SomedaY Chicago</a></h4>

At DePaul Art Museum,&nbsp;now through December 16

Yasuhiro Ishimoto: Someday, Chicago&nbsp;examines the work of American-born photographer Yasuhiro Ishimoto (1921&ndash;2012) through the lens of Chicago, where Ishimoto lived for nearly a decade and where he would continue to return throughout his life. Celebrated by many as one of the most influential photographers of Japan in the 20th century, Ishimoto also maintained deep ties to his adopted home city where he arrived in 1945 after having been interned during World War II. It was in Chicago that he first developed his uniquely modernist vision&mdash;both at the historic Institute of Design (ID) in dialogue with L&aacute;szl&oacute; Moholy-Nagy, Harry Callahan, Aaron Siskind, and other teachers there; and in the city&rsquo;s streets, where he captured changes reflective of broader societal shifts happening across the United States.

<img alt="" data-caption="Yasuhiro Ishimoto, Untitled, Chicago (El Over River), c. 1950. Silver gelatin print. Image: 7 1/4 in x 10 in. Collection of DePaul Art Museum, Gift of Stephen Daiter." data-rich-file-id="3083" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3083/original/2012-57-original.jpg" />

<h4>&nbsp;</h4>

<h4><a href="https://www.artdesignchicago.org/events/hairy-who-1966-1969?utm_source=Art+Design+Chicago+%28MASTER%29&amp;utm_campaign=78ed7af0b1-EMAIL_CAMPAIGN_2018_02_14_COPY_01&amp;utm_medium=email&amp;utm_term=0_9706030fea-78ed7af0b1-109297297">Hairy Who? 1966&ndash;1969</a></h4>

Art Institute of Chicago, now through January 6

The Art Institute of Chicago presents the first major exhibition dedicated solely to the groundbreaking Hairy&nbsp;Who. This&nbsp;self-named, self-organized group of six artists&mdash;Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl&nbsp;Wirsum&mdash;all came of age in Chicago, graduated from the School of the Art Institute, and began exhibiting at the Hyde Park Art Center in&nbsp;the late 1960s. Presented on the 50th anniversary of their final Chicago show, The Art Institute&rsquo;s major survey exhibition and publication feature key works as&nbsp;well as archival ephemera contextualizing the group&rsquo;s creative process, working methods, and the social and political milieu in which they made their art.

<img alt="" data-caption="Karl Wirsum, Screamin' Jay Hawkins, 1968. The Art Institute of Chicago, Mr. and Mrs. Frank G. Logan Purchase Prize Fund, 1969.248" data-rich-file-id="3089" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3089/original/sreamin-jay-hawkins.jpg" />

<h4>&nbsp;</h4>

<h4><a href="https://www.artdesignchicago.org/events/the-figure-and-the-chicago-imagists-selections-from-the-elmhurst-college-art-collection?utm_source=Art+Design+Chicago+%28MASTER%29&amp;utm_campaign=78ed7af0b1-EMAIL_CAMPAIGN_2018_02_14_COPY_01&amp;utm_medium=email&amp;utm_term=0_9706030fea-78ed7af0b1-109297297">The Figure and the Chicago Imagists: Selections from the Elmhurst College Art Collection</a></h4>

Elmhurst Art Museum, now through&nbsp;January 13, 2019

Over and over the Chicago Imagists cast the figure in numerous roles, distorting it and layering it with metaphor and personal meaning. Outrageous, irreverent, and humorous and inspired by popular culture, these works reflect highly original expressions of the human form.

This exhibition features the Elmhurst College Art Collection, focused on artists working in Chicago between about 1950 and the present. The exhibition is curated by Suellen Rocca, one of the original members of the prominent Imagist group known as the Hairy Who and Curator and Director of Exhibitions at Elmhurst College.

<img alt="" data-caption="Barbara Rossi, Shep Step II, 1973. Acrylic on Plexiglas, 29 x 23 inches. Elmhurst College Art Collection." data-rich-file-id="3087" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3087/original/rossi-shep-step-ii-web-version.jpg" />

<h4>&nbsp;</h4>

<h4><a href="https://www.artdesignchicago.org/events/the-time-is-now-art-worlds-of-chicago-s-south-side-1960-1980?utm_source=Art+Design+Chicago+%28MASTER%29&amp;utm_campaign=78ed7af0b1-EMAIL_CAMPAIGN_2018_02_14_COPY_01&amp;utm_medium=email&amp;utm_term=0_9706030fea-78ed7af0b1-109297297">The Time Is Now! Art Worlds of Chicago&rsquo;s South Side, 1960&ndash;1980</a></h4>

Smart Museum of Art, The University of Chicago, now through December 30

During the 1960s and 1970s, Chicago was shaped by art and ideas produced and circulated on the South Side. Yet the history of the period&#39;s creative and social ferment has often remained segregated by the city&rsquo;s social, political, and geographic divides.

The Time Is Now!&nbsp;takes a nuanced look at the cultural history of Chicago&rsquo;s South Side during this momentous era of change and conflict, with a focus on artists of the Black Arts Movement. Through nearly 100 objects, the show upends dominant narratives of the period and unearths rich stories by examining watershed cultural moments from the Hairy Who to the&nbsp;Wall of Respect, from the Civil Rights movement to the AfriCOBRA, from vivid protest posters to visionary outsider art, and from the Free University movement to the radical jazz of the Association for the Advancement of Creative Musicians.

<img alt="" data-caption="Gerald Williams, Messages, 1970, Acrylic on canvas. Smart Museum of Art, The University of Chicago, Purchase, The Paul and Miriam Kirkley Fund for Acquisitions, 2017.8." data-rich-file-id="3088" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3088/original/smart-williams-2017-0008p.jpg" />

<h4>&nbsp;</h4>

<h4><a href="https://www.artdesignchicago.org/events/living-architecture?utm_source=Art+Design+Chicago+%28MASTER%29&amp;utm_campaign=78ed7af0b1-EMAIL_CAMPAIGN_2018_02_14_COPY_01&amp;utm_medium=email&amp;utm_term=0_9706030fea-78ed7af0b1-109297297">Living Architecture</a></h4>

Thru&nbsp;December 23, 2018 at 6018North

Chicago has long served as a hub where creative people of different cultures, customs, and perspectives collide and converge.&nbsp;Living Architecture&nbsp;is a timely, large-scale multidisciplinary exhibition that showcases the work of over 50 Chicago contemporary immigrant artists. Located at 6018North, a historical home in the Edgewater community built and designed by immigrants, the exhibition draws from Chicago&rsquo;s rich heritage of immigrant artists&rsquo; work to highlight the continuous influence of immigrants in shaping visual culture locally and nationally.

<img alt="" data-rich-file-id="3090" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3090/original/kirsten-leenaars-re-housing-the-american-dream.jpg" />

<h4>&nbsp;</h4>

<h4><a href="https://www.artdesignchicago.org/events/between-the-buildings-art-from-chicago-1930s-1980s?utm_source=Art+Design+Chicago+%28MASTER%29&amp;utm_campaign=78ed7af0b1-EMAIL_CAMPAIGN_2018_02_14_COPY_01&amp;utm_medium=email&amp;utm_term=0_9706030fea-78ed7af0b1-109297297">Between the Buildings: Art from Chicago, 1930s&ndash;1980s</a></h4>

Krannert Art Museum,&nbsp;University of Illinois at Urbana-Champaign,&nbsp;thru&nbsp;March 23, 2019

Coined by art writers and critics in the mid- to late-twentieth century, the so-called Chicago School consisted of two groups of artists&mdash;the Monster Roster and the Imagists. These artists diverged from the broader mid-century trend toward abstraction and were largely ignored or dismissed by critics in New York, who were defining the canon of modernism. However, what happens when the categorization and labeling of a group of artists is unwanted or contested? This exhibition considers the problematic nature of art historical categories and explores what other stories are missed by perpetuating a single narrative. Between the Buildings&nbsp;also reflects Krannert Art Museum&rsquo;s strong collection of works by Chicago-based artists developed by former director Stephen Prokopoff (1983&ndash;1991).

<img alt="" data-caption="Allen Stringfellow, Street Smarts II, ca. 1990s. Collage and watercolor on paper. Krannert Art Museum. Gift of John and Dorothy Gardner." data-rich-file-id="3081" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3081/original/kam-stringfellow-full.jpg" />

&nbsp;

View the complete event and exhibition information at&nbsp;<a href="https://www.artdesignchicago.org">artdesignchicago.org</a>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>

Highlights of Art Design Chicago October 2018

Art Design Chicago's Busy October

<h2>What Sold at Expo Chicago</h2>

On most occasions, art fairs feel like their own little worlds&mdash;festive bubbles cocooned in the thick walls of climate-controlled convention centers, humming on coffee and champagne, impervious to natural light and whatever is happening in the real world.

By Anna Louie Sussman, Artsy

<a href="https://www.artsy.net/article/artsy-editorial-sold-expo-chicago-10-01-18">Read More</a>

&nbsp;

<img alt="" data-rich-file-id="3075" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3075/original/chi-ct-art-on-the-mart010-ct0082575188-20180930.jpg" />

<h2>Art on theMart kicks off with a really big-screen question: Is Chicago ready for video art?</h2>

Art on theMart, in the inaugural showing of what is being pitched as a three-decade, ongoing public art work, showed itself to be surreal, populist, inscrutable, obvious, confounding and engaging Saturday before a crowd that included city bigwigs down on the Riverwalk and thousands of Chicagoans up on the closed-off Wacker Drive.

By Steve Johnson, Chicago Tribune

<a href="http://www.chicagotribune.com/entertainment/museums/ct-ent-art-on-themart-launch-1001-story.html">Read More</a>

&nbsp;

&nbsp;

<img alt="" data-rich-file-id="3076" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3076/original/-martha-irvine-ap.jpg" />

<h2>Art helps bring a divided Chicago neighborhood together</h2>

Their task was to learn about one another &mdash; and differences surfaced quickly. An African American boy from a public school pulled up a pant leg to show where a bullet had pierced his calf. His partner, a white boy who attends a private school and lives three blocks away, was shocked and saddened. The 40 or so kids who had gathered found common ground, too: a love of family, sports, animals and video games; a wish to succeed.

By&nbsp;Associated Press, via The Washington Post

<a href="https://www.washingtonpost.com/lifestyle/kidspost/art-helps-bring-a-divided-chicago-neighborhood-together/2018/09/28/60f37ccc-c1b1-11e8-b338-a3289f6cb742_story.html?utm_term=.f6e8b3b9ea2b">Read More</a>

&nbsp;

<img alt="" data-rich-file-id="3074" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3074/original/karsten-moran-for-the-new-york-times.jpg" />

<h2>When Auctioneers Don&rsquo;t Know or Can&rsquo;t See Their Buyers</h2>

Live online bidding came to some of the major fine art auction houses about a decade ago, but it was not until about five years ago that it became commonplace for auction sales. Today, it is a fundamental part of how auctions work, said Jussi Pylkkanen, global president of Christie&rsquo;s and an auctioneer.

By&nbsp;Nina Siegal, The New York Times

<a href="https://www.nytimes.com/2018/10/02/arts/auctions-live-online-bidding.html?rref=collection%2Fsectioncollection%2Farts&amp;action=click&amp;contentCollection=arts&amp;region=stream&amp;module=stream_unit&amp;version=latest&amp;contentPlacement=3&amp;pgtype=sectionfront">Read More</a>

&nbsp;

&nbsp;

&nbsp;

News from Around the Art World: October 2nd, 2018

A summary of local Chicago highlights at EXPO CHICAGO 2018 

Spotlight on Chicago Galleries at EXPO

By GINNY VAN ALYEAMillennials don’t want things, they seek experiences. Who shops in a store? The things people used to swear they’d buy only in person have since gone online.&nbsp;When you bring a horse to water, the conventional wisdom is, you cannot make him drink. To address a challenging retail landscape, <a href="https://www.chicagogallerynews.com/institutions/fashion-outlets-of-chicago-the-collection">Fashion Outlets of Chicago</a>, a shopping destination near O’Hare Airport in Rosemont, linked fashion and art in order to consistently bring shoppers to the 530,000 square-foot indoor campus to not only discover designer discounts but to find unexpected experiences and serious art – in person.In this era of lazy, but free, 2–day shipping, shoppers must make the effort to get to Fashion Outlets. If it sounds more shoe-leather than scrolling (this is where the Millennials come in) it’s worth it.At the onset of its opening in 2013, Fashion Outlets of Chicago unveiled a collection of curated site-specific contemporary artwork installed throughout the center’s common areas. Artists created pieces for unconventional locations – Daniel Arsham’s relief Falling Time is installed near a parking garage vestibule, while Jen Stark’s psychedelic mural, Drippy, transforms a central escalator. Altogether there are currently 16 large-scale commissions, and the program continues to expand.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3025/original/escalator.jpg" alt=""></figure>In November 2016 THE COLLECTION: Where Art Meets Fashion launched with the unveiling of a permenant installation A Grand Love Story (analog love in a digital age) by Carlos Rolón/Dzine, and a rotating exhibition program has featured work by more than a dozen artists so far, including Aimée Beaubien, Sarah and Joseph Belknap, Nnenna Okore, and others.&nbsp;New additions for this fall feature Derrick Adams’ largest work to date, installed at the shopping center’s grand entrance near Saks OFF Fifth. Click <a href="http://&lt;iframe src=&quot;https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FCarolFoxAssociates%2Fvideos%2F238191173514299%2F&amp;show_text=0&amp;width=560&quot; width=&quot;560&quot; height=&quot;315&quot; style=&quot;border:none;overflow:hidden&quot; scrolling=&quot;no&quot; frameborder=&quot;0&quot; allowTransparency=&quot;true&quot; allowFullScreen=&quot;true&quot;&gt;&lt;/iframe&gt;">here</a> to see a time lapse video of the installation in progress.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3077/original/adams.jpg" alt=""></figure>Edra Soto’s Open 24 Hours, a still-life format in three display cases, is composed of free standing shelves and glass bottles found by Soto in her East Garfield Park neighborhood. Soto's installation will open during a special event at the Fashion Outlets on <a href="https://www.chicagogallerynews.com/calendar/the-collection-unveiling-event">Friday, October 5</a> (note: this is an update from the CGN print version of this article).&nbsp;Artist and designer Chad Kouri is creating an interactive installation on the grand staircase, an extension of his Art For All series. Kouri will cover the staircase with colorful shapes, inviting visitors to text a number and receive a one-of-a-kind digital artwork composed of those very shapes, which will be texted to their phone. Each unique work will then be featured with the visitor’s initials on a monitor at the top of the staircase, across from J.Crew Factory and DKNY.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3078/original/chadk.jpg" alt=""></figure>While the premier shopping and high-end amenities have been a draw to Fashion Outlets from the start – today there are 130+ designer stores – the art program has elevated the experience to a more intellectual and visual level as Fashion Outlets seeks to distinguish itself from other retail properties by being a cultural destination that actively supports public art. On your way to Gucci, you’ll encounter work by Cody Hudson and Jim Drain. Head to Barney’s and Tory Burch and you’ll see Matthew Hoffman’s colorful You Are Beautiful construction, an artistic encounter that appeals to a new generation of selfie shoppers encouraged to pose for photographs in front of the singular work.Visitors leave Fashion Outlets with more than a deal, they’ve had an artistic enounter.REDEFINING “MALL ART”The installations at Fashion Outlets of Chicago are decidely not “mall art” but rather public art in an unconventional setting, which offers hope for encountering art in our every day lives and shows the benefit of increasing opportunities and exposure for living artists. The works shown below are part of the permanent collection. <a href="http://fashionoutletsofchicago.com">fashionoutletsofchicago.com</a><figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3026/original/foctrio.jpg" alt=""></figure>&nbsp;Top image: Open 24 Hours, Edra Soto

The Fashion Outlets of Chicago blend art and design for a unique shopping and cultural experience.

Fashionable Art Surprises: An Invitation to See Artwork – And More – In Person

<h2>Art Gallery by Tadao Ando Set to Open October 12 in Chicago</h2>

A stunning new space for art will open in Chicago next month. Wrightwood 659 is Tadao Ando&rsquo;s second project in the city for the same client. The 35,000-square-foot gallery is located just a few doors down from the Pritzker laureate&rsquo;s first project, a house for media mogul and philanthropist Fred Eychaner&nbsp;completed twenty years ago in the Lincoln Park neighborhood. While the house was the Japanese architect&rsquo;s first free-standing building in the United States, Wrightwood 659 is a conversion of a four-story 1920&rsquo;s apartment building.

By Josephine Minutillo, Architectural Record

<a href="https://www.architecturalrecord.com/articles/13629-art-gallery-by-tadao-ando-set-to-open-october-12-in-chicago">Read More</a>

&nbsp;

&nbsp;

<img alt="" data-rich-file-id="3029" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3029/original/304-co-nk-miller-1-crop.jpg" />

<h2>Chicago resurrects its master craftsman</h2>

With their striking wealth of detail&mdash;stained-glass windows with frolicking animals, wood incised with geometric patterns, classical bas-reliefs, brick studded with tile&mdash;Edgar Miller&rsquo;s riotously decorated artists&rsquo; studios in Chicago have earned comparisons with landmarks such as Simon Rodia&rsquo;s Watts Towers in south Los Angeles or Antoni Gaud&iacute;&rsquo;s Sagrada Familia church in Barcelona. Yet Miller (1899-1993) has been largely overlooked in US architectural history.

By Nancy&nbsp;Kenney, The Art Newspaper

<a href="https://www.theartnewspaper.com/news/chicago-resurrects-its-master-craftsman">Read More&nbsp;</a>

&nbsp;

&nbsp;

<img alt="" data-rich-file-id="3030" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3030/original/b3-bu733-chicag-m-20180918124734.jpg" />

<h2>&lsquo;3-D Doings: The Imagist Object in Chicago Art, 1964-1980&rsquo; Review: A Celebration of the Weird</h2>

&lsquo;Weird&rdquo; is a word&nbsp;that&rsquo;s lost a lot of currency over the past couple of decades. Things that used to mark a person as someone who played outside the lines&mdash;tattoos, facial piercings, and clothes that make wearers look as if they&rsquo;d just escaped a burning building&mdash;now wax normal. Even the official slogan of the Independent Business Alliance of Texas&rsquo; capital city is &ldquo;Keep Austin Weird.&rdquo;

By&nbsp;Peter Plagens, The Wall Street Journal

<a href="https://www.wsj.com/articles/3-d-doings-the-imagist-object-in-chicago-art-1964-1980-review-a-celebration-of-the-weird-1537302109">Read More</a>

&nbsp;

&nbsp;

<img alt="" data-rich-file-id="3028" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3028/original/screen-shot-2018-09-25-at-4-36-31-pm.jpg" />

<h2>Want to Get Rich Buying Art? Invest in Women</h2>

Once, when asked about discrimination against female artists, the Abstract Expressionist Lee Krasner said the bias was as old as Judeo-Christian history. Brushing aside the weight of that realization, she added, &ldquo;There&rsquo;s nothing I can do about those 5,000 years.&rdquo;&nbsp;She painted anyway, as have women throughout the ages who have continued to create despite official disdain.&nbsp;Centuries and decades later, it seems their persistence may be finally paying off.

By&nbsp;Mary Gabriel, The New York Times

<a href="https://www.nytimes.com/2018/09/24/opinion/want-to-get-rich-buying-art-invest-in-women.html">Read More</a>

&nbsp;

&nbsp;

News from Around the Art World: September 25, 2018

By GINNY VAN ALYEA

Since EXPO CHICAGO is opening a little later in the month than usual this year, we have been looking forward to it a little bit longer. 

Built around&nbsp;rigorous and challenging programming,&nbsp;strategic international partnerships and&nbsp;strong institutional relationships with major local museums and organizations, the opening of EXPO CHICAGO launches the international fall art season, making Chicago&nbsp;the&nbsp;place to be in September. In addition to heralding the opening of the fair, EXPO ART WEEK&#39;s extensive programming, thanks in large part this year to the efforts and support of Art Design Chicago, is highly anticipated, and there are more shows to see and events to attend than there are hours in the week.&nbsp;

We recently plucked some <a href="https://www.chicagogallerynews.com/news/2018/9/see-you-soon-expo-chicago">art highlights</a> to watch for from the fair, and here we share&nbsp;some key events to watch this week, as well as highlights from EXPO&#39;s special programs and a list of notable exhibitors.&nbsp;

From city-wide openings to a marathon interview session to notable book signings and art that&#39;s as big as the Merchandise Mart, there is a lot to take in.

Check out&nbsp;<a href="http://expochicago.com">expochicago.com</a>&nbsp;for the complete guide. 

Our&nbsp;CGN&nbsp;<a href="https://www.chicagogallerynews.com/calendar">Arts Calendar</a>&nbsp;is also full of EXPO events, new gallery and museum exhibitions, and much more.&nbsp;Visit the CGN booth at the west end of the show floor to find out about more art events in the area all year long,&nbsp;as well as to&nbsp;say hi and&nbsp;pick up a copy of our CGN Arts Guide and our Fall 2018 magazine.

We look forward to EXPO all year. 

&ndash; See you in the galleries, and at the fair!

&nbsp;

<h3>EXPO CHICAGO FAIR HOURS + BASIC INFORMATION</h3>

VERNISSAGE&nbsp;-&nbsp;Purchase Tickets&nbsp;<a href="https://mcachicago.org/Calendar/2018/09/Vernissage#_ga=2.64153327.1303040742.1537506197-813855648.1537506197">Here</a> 
&bull;&nbsp;Thursday, Sept 27,&nbsp;5-9pm at Navy Pier 
A benefit for the Museum of&nbsp;Contemporary Art Chicago,&nbsp;presented by the MCA Women&#39;s Board.&nbsp;

GENERAL ADMISSION&nbsp;-&nbsp;Purchase Tickets&nbsp;<a href="https://www.expochicago.com/tickets">Here</a> 
&bull;&nbsp;Friday, Sept 28, 11a-7p 
&bull;&nbsp;Saturday, Sept 29, 11a-7p 
&bull;&nbsp;Sunday, Sept 30, 11a-6p

EXPO CHICAGO takes place&nbsp;at Chicago&#39;s historic&nbsp;Navy Pier in the Festival Hall:&nbsp;600 E Grand Ave,&nbsp;Chicago (60611)

&nbsp;

<h3>Notable Exhibitors in 2018</h3>

EXPO features a growing list of exhibiting galleries from around the world. Some participants to watch for from outside of Chicago include:

&bull; Anglim Gilbert Gallery, San Francisco 
&bull; DC Moore Gallery, New York 
&bull; GRIMM, Amsterdam, New York 
&bull; Nancy Hoffman Gallery, New York 
&bull; Edwynn Houk Gallery, New York, Z&uuml;rich 
&bull; Paul Kasmin Gallery, New York 
&bull; Anton Kern Gallery, New York 
&bull; L&eacute;vy Gorvy, New York 
&bull; Luhring Augustine, New York, Brooklyn 
&bull; Matthew Marks Gallery, Los Angeles, New York 
&bull; Gallery Momo, Cape Town, Johannesburg 
&bull; Nahmad Projects, London 
&bull; Gallery Wendi Norris, San Francisco 
&bull; GALERIA KARLA OSORIO, Brasilia/DF 
&bull; Perrotin, New York, Paris, Hong Kong, Seoul, Tokyo 
&bull; P.P.O.W, New York 
&bull; Galerie RX, Paris 
&bull; Eduardo Secci&nbsp;, Florence 
&bull; Jessica Silverman Gallery, San Francisco 
&bull; Sims Reed Gallery, London 
&bull; Sundaram Tagore Gallery, New York, Singapore, Hong Kong 
&bull; Templon, Paris, Brussels 
&bull; Pavel Zoubok Fine Art, New York

To see the complete list of all galleries exhibiting at EXPO CHICAGO click&nbsp;<a href="https://www.expochicago.com/exhibitors">here</a>.

&nbsp;

<h3>Special Programming Highlights</h3>

In addition to seeing the world&#39;s top galleries under one room, EXPO offers opportunities to connect with the international art community through unique programming.&nbsp;

<h3>&nbsp;</h3>

<h3>&bull;&nbsp;/DIALOGUES</h3>

Presented in partnership with the&nbsp;School of the Art Institute of Chicago (SAIC), offers panel discussions, conversations and provocative artistic discourse with leading artists, curators, designers and arts professionals on the current issues that engage them. The 2018 program&nbsp;includes an onsite panel and performance at the&nbsp;U.S. Pavilion&nbsp;of the&nbsp;16th Architecture Biennale in Venice, and&nbsp;the third annual /Dialogues Symposium,&nbsp;Present Histories: Art &amp; Design in Chicago, tracing select art and design legacies produced in the city, taking place during EXPO CHICAGO in conjunction with the&nbsp;Terra Foundation for American Art&rsquo;s initiative&nbsp;Art Design Chicago.

SEPT 28, 4:00PM &ndash; ALTERITY AND THE EXHIBITION ENVIRONMENT: FEMINIST HISTORY OF ALTERNATIVE SPACES IN CHICAGO&nbsp;

Alternative spaces are often discussed within the canon of Chicago&rsquo;s exhibition history. Yet, these spaces also played a parallel role in the activities that defined feminist art and social practice in the city&rsquo;s scene. In her chapter for the newly launched book&nbsp;Art in Chicago: A History from the Fire to Now,&nbsp;author Jenni Sorkin delivers a survey of communal alternative exhibition spaces from 1973 to 1993 as they built momentum in Chicago alongside the commercial gallery system and during the women&#39;s movement. The panel features Lynne Warren, Mary Patten,&nbsp;Kay Rosen, and Torkwase Dyson.&nbsp;This conversation will trace the histories and roles of feminism in Chicago&#39;s alternative spaces from the 1970s to the present.&nbsp;Torkwase Dyson, on view at Rhona Hoffman Gallery, will align with EXPO ART WEEK.

<img alt="" data-caption="US Pavilion: Dimensions of Citzenship at Biennale Architettura 2018" data-rich-file-id="3005" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3005/original/venice.jpg" />

SEPT 29, 2:00&ndash;3:00PM &ndash; DIMENSIONS OF CITIZENSHIP &mdash; US PAVILION&nbsp;

How do we visualize belonging? Tracing the responsibility of the architect and the artist to depict not only flows of data, but also manifestations of glitches or abstractions, this discussion will examine the role of representation as an agent to reveal truth. Moderated by Mimi Zeiger, Co-Curator of the US Pavilion, this panel will be hosted within the context of the exhibition at the Venice Biennale for Architecture, entitled Dimensions of Citizenship.&nbsp;Presented in partnership with CULTURED Magazine, and co-commissioners of the US Pavilion the School of the Art Institute of Chicago and the University of Chicago.&nbsp;Followed by a book signing.

&nbsp;

<h3>&bull;&nbsp;IN/SITU</h3>

Installed within the expansive, vaulted architecture of Navy Pier&rsquo;s Festival Hall,&nbsp;IN/SITU&nbsp;features large-scale, suspended sculptures and site-specific works. Solomon R. Guggenheim Museum Curator at large, Latin America&nbsp;Pablo Le&oacute;n de la Barra&nbsp;curates a selection of works featuring artists from leading international exhibitors participating in the 2018&nbsp;exposition.&nbsp;

&nbsp;

<img alt="" data-caption="Iván Navarro. Metal Electric Chair, 2017" data-rich-file-id="3007" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3007/original/navarro.jpg" />

Iv&aacute;n Navarro.&nbsp;Metal Electric Chair, 2017 &ndash;&nbsp;Paul Kasmin Gallery, New York

Iv&aacute;n Navarro was born in 1972 in Santiago, Chile, to a family of artists. What Navarro remembers most about his childhood growing up under the regime of General Augusto Pinochet, was the fear of being &ldquo;disappeared,&rdquo; as many political dissidents were. In order to better understand this dark history, Navarro uses light &mdash; a symbol of hope and truth &mdash; as his medium. Navarro uses electric light as his primary medium, making politically charged sculptures and installations that address the violence inflicted by the Chilean state.&nbsp;With their ambient glow, the works are seductive, and yet with the live current coursing through them, they are admittedly unnerving.&nbsp;

Navarro&#39;s&nbsp;This Land is Your Land, (2014), Paul Kasmin Gallery is also on view at the top of the pier outdoors in Polk Bros. Park as part of IN/SITU OUTSIDE.

&nbsp;

<img alt="" data-caption="Judy Chicago. Cartoon for The Fall from the Holocaust Project, 1987. " data-rich-file-id="3006" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3006/original/chicago.jpg" />

Judy Chicago.&nbsp;Cartoon for The Fall from the Holocaust Project, 1987 &ndash;&nbsp;Jessica Silverman Gallery, San Francisco and Salon 94, New York

The Fall is a visual narrative tracing artist Judy Chicago&rsquo;s discovery that the Holocaust grew out of the very &#39;fabric&#39; of Western Civilization, hence the use of tapestry for this work, is the full scale &#39;cartoon&#39; (based on the Italian word &#39;cartoni,&#39; a detailed painting for tapestry). The Fall introduces Chicago&rsquo;s longstanding and formative series the Holocaust Project: From Darkness into Light (1985&ndash;93) through a narrative that traces the battle between the Amazons and the giants, based on the Pergammon Altar, through the rise of patriarchal religions and their imposition through force.&nbsp;

&nbsp;

<h3>&bull; Book Signings&nbsp;&ndash; Highlights:</h3>

<img alt="" data-rich-file-id="3008" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3008/original/art-in-chicago.jpg" />

SEPT 28,&nbsp;5:00PM &ndash; BOOK LAUNCH:&nbsp;ART IN CHICAGO: A HISTORY FROM THE FIRE TO NOW

Edited by Maggie Taft and Robert Cozzolino,&nbsp;Art in Chicago&nbsp;is a magisterial account of the long history of Chicago art, from the rupture of the Great Fire in 1871 to the present. The first single-volume history of art and artists in Chicago, the book&mdash;in recognition of the complexity of the story it tells&mdash;presents an overlapping sequence of interrelated narratives that together tell a full and nuanced, yet wholly accessible history of visual art in the city.&nbsp;

Funded by the Terra Foundation for American Art, this newly launched book will be available for purchase and&nbsp;signing&nbsp;through the University of Chicago Press.&nbsp;Book price: $65. Location: /Dialogues Stage&nbsp;

SEPT 29,&nbsp;3:00PM &ndash; BOOK SIGNING,&nbsp;DIRK DENISON 10 HOUSES

Architect and educator Dirk Denison reflects on the diverse influences that have shaped his practice over 30 years in a volume featuring 10 remarkable houses designed in a broad range of modernist vocabularies&mdash;each finely tuned to its site and occupants. Taking the form of an in-depth conversation between architect and educator Dirk Denison and journalist Fred A. Bernstein, this volume chronicles Denison&rsquo;s childhood in Detroit, travels and early encounters with the arts and architecture, and his education at the Cranbrook Academy of Art, the Illinois Institute of Technology, and the Harvard Graduate School of Design. A perceptive interlocutor, Bernstein deftly draws upon Denison&rsquo;s own insights into how these experiences have influenced his aesthetic sensibilities, design philosophy, and working processes over 30 years of collaborative practice. For design professionals and students of architecture,&nbsp;Dirk Denison 10 Houses&nbsp;draws attention to the manifold ways in which life experiences at all scales nurture and shape a career in the field. More broadly, this book is an engaging read for anyone interested in the gratifying process of conceptualizing and building one&rsquo;s own home. Book price: $44.95. Location: /Dialogues Stage

SEPT 30,&nbsp;3:00PM &ndash;&nbsp;DAWOUD BEY: SEEING DEEPLY

With images ranging from Harlem in the 1970s and 2000s, to photographs that commemorate the 1963 Birmingham church bombing, this volume offers a forty-year career retrospective of the MacArthur &quot;Genius Grant&quot; award-winning photographer Dawoud Bey. An introduction by scholar and curator Sarah Lewis, and essays by noted art historians, scholars, and educators&mdash;including Hilton Als, Maurice Berger, Jacqueline Terrassa, David Travis, Leigh Raiford, and Deborah Willis&mdash;examines Bey&rsquo;s evolving practice. An illustrated Chronology documents Bey&rsquo;s diverse New York art community in the 1970s and 80s and places his work in the context of that community.&nbsp;Presented in partnership with the University of Texas Press and the Museum of Contemporary Art Store. Book price: $65. Location: /Dialogues Stage&nbsp;

&nbsp;

<h3>Highlights from EXPO ART WEEK</h3>

<h4><img alt="" data-caption="Global music kicks off EXPO Art Week at the Smart Museum of Art" data-rich-file-id="3010" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3010/original/smartexpo.jpg" /></h4>

<h3>&bull; The Time Is Now! &ndash; EXPO ART WEEK Party at the Smart Musuem of Art</h3>

SEPT 25, 8-10pm

Kick off&nbsp;EXPO CHICAGO&rsquo;s EXPO ART WEEK with an evening of overlapping receptions and programming on the South Side, ending at the Smart Museum of Art for a special celebration of&nbsp;The Time is Now! Art Worlds of Chicago&rsquo;s South Side, 1960&ndash;1980. 
 
The party features the live collaborative performance &ldquo;Cultural Confluence&rdquo; from&nbsp;Douglas R. Ewart&rsquo;s Nyahbingi Drum Choir&nbsp;and Tatsu Aoki&rsquo;s Miyumi Project that blends global traditions into a unique confluence of concepts and cultures that represent now and the future. Plus, food, drink, and after-hours access to the Smart Museum.&nbsp;FREE, open to all.

&nbsp;

<img alt="" data-caption="Serpentine Sackler Gallery, 8 October 2016." data-rich-file-id="3011" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3011/original/serpentine-sackler-gallery-8-october-2016.jpg" />

<h3>&bull; HANS ULRICH&nbsp;OBRIST:&nbsp;CREATIVE CHICAGO&nbsp;&mdash; AN INTERVIEW MARATHON</h3>

SEPT 29, 1-6pm, Aon Grand Ballroom, Navy Pier

The&nbsp;Chicago Humanities Festival&nbsp;in partnership with EXPO CHICAGO and the Terra Foundation for American Art&#39;s Art Design Chicago initiative will present&nbsp;Creative Chicago: An Interview Marathon during the 2018 exposition at Navy Pier. The marathon will be led by&nbsp;Hans Ulrich Obrist, Artistic Director of the Serpentine Galleries in London, and&nbsp;one of the world&#39;s leading curators, critics, and art historians.

Hosted on a stage commissioned and designed by artist&nbsp;Barbara Kasten, the five-hour interview marathon will be presented within Navy Pier&#39;s historic Aon Grand Ballroom on Saturday, September 29.&nbsp;Free and open to the public. Participants include, among many others: Louise Bernard, Museum Director,&nbsp;Obama Presidential Center Museum; Dawoud Bey, Photographer; Buritt Bulloch, Owner,&nbsp;Old Fashioned Donuts; Richard Hunt, Artist; Jeanne Gang, Architect; Theaster Gates, Artist; Joseph Grigely, Artist/Art Historian;&nbsp;Suellen Rocca, Artist; Tim Samuelson, Cultural Historian of the&nbsp;City of Chicago; Stanley Tigerman, Architect; Amanda Williams, Artist

The celebrated oral historian and iconic Chicagoan, author&nbsp;Studs Terkel, was a major influence and inspiration for Obrist&rsquo;s creative practice, making Chicago a fitting destination for the curator&rsquo;s first U.S. marathon. The two met in the 1990s during one of Obrist&rsquo;s visits to Chicago. Terkel&rsquo;s style of interviewing&mdash;intense, intimate and wide-ranging&mdash;and his subject choices (both major artistic figures and everyday citizens), inspired Obrist&rsquo;s marathon-style approach to interviewing, and is a central aspect of his current artistic and curatorial practice.

Obrist&rsquo;s first interview marathon in the United States, Creative Chicago will capture and chronicle individuals who have helped to define the city&rsquo;s creative landscape, as well as those who are shaping it in the twenty-first century.

&nbsp;

<h3>&bull;&nbsp;ART AFTER HOURS</h3>

SEPT&nbsp;28, 6-9pm

Art After Hours&nbsp;is a citywide open gallery night in more than 30 spaces, inviting EXPO CHICAGO visitors and the Chicago community to experience the city&#39;s vibrant art scene, including alternative exhibition venues and performance spaces,&nbsp;during extended hours. After the fair, head out into the various gallery centers around the city to see the season&#39;s best exhibitions on view. Some spaces are just staying open late, while others are offering tours, meet and greets, film screenings, and performances.&nbsp;

A list of participating galleries with extended hours and special events taking place on the evening of the 28th may be found <a href="https://www.expochicago.com/visit/expo-art-week/schedule-of-events-openings">here</a>.&nbsp;

&nbsp;

<h3>&bull; ART ontheMART</h3>

SEPT 29, 6:30pm &ndash;8:30pm

In the spirit of Chicago&rsquo;s great legacy of public art and culture,&nbsp;Art on theMART&nbsp;will be the longest-running and largest digital art projection in the world.&nbsp;The first-of-its-kind for Chicago, this curated series of digital artworks will be projected&nbsp;across 2.5 acres of theMART&rsquo;s exterior river-fa&ccedil;ade. Beginning at approximately 6:30 p.m., Wacker Dr. between N. Wells St. and N. Franklin St. will be closed off to traffic to enable public viewing of the projections. While viewing the inaugural program, the public will enjoy a live DJ, food trucks and a Lantern Procession presented by Light Up My Arts (LUMA8). The art&nbsp;unveiling&nbsp;will begin at 7:15 p.m. with a fireworks show at 8:00 p.m.

&nbsp;

Top image: Art ontheMART will feature artists such as Diana Thater, Jason Salavon, Jan Tichy and others.&nbsp;
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>

A summary of what to plan for during EXPO ART WEEK 2018

EXPO ART WEEK: Highlights and Key Events

By GINNY VAN ALYEAFor the Chicago Artists Coalition, life on the other side of 40 has been busier than ever. As CAC prepares to open another edition of The ANNUAL&nbsp;this week, they've also been busy with a major relocation this year as well as undertaking their first capital campaign.Over 40 years ago, CAC began as a small group of&nbsp;artists advocating for rights, support, and visibility&nbsp;in the city’s cultural landscape and economy. CAC was helped to inspire&nbsp;the formation of Chicago’s Department of Cultural&nbsp;Affairs, the&nbsp;development of Chicago Artists Month,&nbsp;and the passing of the Percent for Art Ordinance (a City law that requires that&nbsp;1.33% of new construction or&nbsp;renovation budgets of public buildings be allocated&nbsp;to a public art&nbsp;fund dedicated to the commission, purchase, and&nbsp;maintenance of public art in Chicago.)&nbsp;Today, CAC is still focused on the needs of artists, but its programming has expanded and evolved. In 2011 they opened their West Loop space on Fulton Market and had space&nbsp;to launch&nbsp;much-needed artist&nbsp;residencies and professional development programs.&nbsp;CAC was the first to offer a residency with a curatorial&nbsp;component (HATCH Projects) and is still one of the&nbsp;only residency programs that offer onsite studio space&nbsp;and a guarantee of a solo exhibition to its 10 BOLT&nbsp;residents. Since then, 60 BOLT artists have had solo&nbsp;shows, 288 HATCH artists have participated in group&nbsp;shows, 2,950 artists have participated in professional&nbsp;development programs, and 24 curators have further&nbsp;developed their curatorial and exhibition making skills.&nbsp;As the Fulton Market neighborhood went from an edgy meatpacking center west of downtown to a trendy (and expensive) corporate center,&nbsp;the needs of CAC's artists and the larger artistic community changed as well. In response&nbsp;CAC decided to launch&nbsp;MAKING SPACE, its first capital campaign to&nbsp;raise $500,000 to&nbsp;directly support the nonprofit's ability to build a fully ADA accessible building in a new part of town, create a dedicated education space for professional development programs,&nbsp;remove fees for artists in CAC's&nbsp;BOLT and HATCH Residency Programs, and to establish&nbsp;a board designated cash reserve fund to&nbsp;increase the long term sustainability of the organization."CAC is the beating heart of the emerging art scene in Chicago. The lifeblood of artists, writers, and curators who have come through its programs courses through the city, creating a vibrant art town that I believe is one of the finest in the world to produce, see, and create a conversation around art," says&nbsp;Erik Peterson, HATCH and BOLT alum, Manager of Family Program and Student Engagement, Smart Museum at the University of Chicago.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2999/original/wiplookcropped-113628.jpg" alt=""></figure>In early June, a lively party to unveil CAC's new space in the Kinzie Corridor took place in an&nbsp;unconventional (and unfinished) space - the CAC's future home at&nbsp;2130 W. Fulton St. The 'under-construction' Work in Progress theme, which also honored veteran gallerist Rhona Hoffman,&nbsp;inspired many party-goers to, of course&nbsp;creatively, don orange attire as well as accessorize with construction tape. Despite the lack of a red (or orange) carpet, the event&nbsp;raised over $130,000 to support its year-round exhibitions, residencies, resources for artists, and its new dedicated education space. CAC Board&nbsp;Chair Emeritus and EXPO CHICAGO President and Director Tony Karman said, "I am extremely proud to be a part of an organization that fosters and supports a new generation of artists, arts professionals, and collectors, and one that contributes greatly to Chicago's arts and culture community."<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2997/original/screen-shot-2018-09-19-at-9-55-30-pm.jpg" alt=""></figure>Also at the event CAC announced the&nbsp;2018 MAKER Grantees: Cecil McDonald, Jr.,&nbsp;Emilio Rojas,&nbsp;Yvette Mayorga. The MAKER Grant Program&nbsp;is an award opportunity for three Chicago-based contemporary visual artists who demonstrate a commitment to a socially conscious, progressive and sustainable artist practice and career development. MAKER Grant Program’s unrestricted awards of&nbsp;$5,000 (Coney Family Fund Award)&nbsp;and two at&nbsp;$3,000 (OtherPeoplesPixels Award)&nbsp;are intended to recognize exceptional emerging or established artists working in Chicago, and support the advancement of their artistic careers.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2996/original/mixtapepromo.jpg" alt=""></figure>This fall, just in time for The ANNUAL (An Exhibition of New Chicago Art)&nbsp;CAC's home is at last not so under-contruction, and it's ready to welcome visitors to an open house&nbsp;and a behind-the-scenes look at new artist studios.This year's exhibition:&nbsp;Mixtapes for the Next Millennium, is curated by&nbsp;Jordan Martins and features&nbsp;work (all for sale!)&nbsp;by Marzena Abrahamik,&nbsp;Claire Ashley,&nbsp;ASMA (Matias Armendaris and Hanya Belia), Dan Devening,&nbsp;Marianne Fairbanks,&nbsp;Deborah Handler,&nbsp;Cameron Harvey,&nbsp;Daniel Hojnacki,&nbsp;Cathy Hsiao,&nbsp;Cody Hudson,&nbsp;Gina Hunt,&nbsp;Jessica Labatte,&nbsp;Rodrigo Lara,&nbsp;Damon Locks,&nbsp;Marissa Chris Zain Neuman,&nbsp;John Opera,&nbsp;Kaveri Raina,&nbsp;Kellie Romany Soo Shin / Sonnenzimmer (Nadine Nakanishi and Nick Butcher), and&nbsp;Brittney Leeanne Williams.&nbsp;Mixtapes&nbsp;brings together a wide variety of studio practices and backgrounds into proximity with one another to encourage surprising synchronicities or points of overlap between them. The exhibition operates with two notions of the term “mixtape” in mind: 1) an informal compilation of songs that reflect different backgrounds and trans-genre jumps, and 2) the hip-hop use of the term to refer to more raw conjunctions of artists that allow for playful, experimental collaborations or tangents sprouting out of an artist’s more formal output. The freedom and spontaneity of the “mixtape” is embraced here in what kind of work is shown and how it is displayed, eschewing polite spacing between works on white walls for playful molecular combinations that explore how the works of different artists can more directly speak to one another.The yearly sales exhibition celebrates&nbsp;cutting-edge Chicago-based artists, and&nbsp;the mission of the unique show is to create&nbsp;an accessible forum for collectors to discover affordable new work and engage directly with its creators. A public opening reception takes place&nbsp;Friday, September 21, 5-8pm, and&nbsp;The ANNUAL Breakfast happens during EXPO Art Week on&nbsp;Friday, September 28, 9-11am (an RSVP is required).&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3000/original/blarose-sauverlesmeubles-vertical.jpg" alt=""></figure>Beyond the CAC headquarters, the group is also participating again in EXPO CHICAGO at Navy Pier, with an exhibition of work by&nbsp;Benjamin Larose&nbsp;(BOLT Resident 2017-2018). Larose&nbsp;was selected by&nbsp;Anastasia Karpova Tinari,&nbsp;Director of Rhona Hoffman Gallery and an artist talk will take place Sept. 30 2:30–3pm in CAC's booth (#174)&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/3001/original/unnamed.jpg" alt=""></figure>CAC staff has been working hard for well over a year to share a new physical and programatic vision of CAC with the artistic community as well as the general public, and over&nbsp;these past few months they have successfully laid significant groundwork for the group for years to come. The group continues to build its popular Chartwell Collectors Circle program, offering exclusive tours of private collections around the city as well as other art-networking events. CAC also launched the second year of its partnership with Chicago's Spudnik Press,&nbsp;“The New Printmakers Collection: A Collaboration between Spudnik Prints Cooperative and the Chicago Artists Coalition.” The program is designed to offer collectors a portfolio of prints by three artists on the rise. The artists invited to participate are new to printmaking, and all are former residents of CAC’s BOLT or HATCH programs. This year’s artists include&nbsp;Benjamin Larose&nbsp;(BOLT 2017-18 and EXPO 2018 CAC exhibitor),&nbsp;Caroline Liu&nbsp;(HATCH 2017-18), and&nbsp;Roni Packer&nbsp;(BOLT 2017-18). Prints are available at presale prices individually until 9/25 and as a suite until 9/26, and prices start at $175.&nbsp;No longer a work in progress but a foundational cultural center in the city,&nbsp;CAC&nbsp;keeps things moving and&nbsp;never stops supporting the arts from all sides by&nbsp;championing artistic careers, actively promoting professional advanacement, and&nbsp;enthusiastically engaging the public in the&nbsp;enjoyment of art collecting and support of the arts in general.&nbsp;&nbsp;

The Chicago Artists Coalition undergoes many changes in 2018

Hard at Work in 2018: CAC Makes an Impact by Changing

Chicago is currently considering a public art registry in response to &#39;accidental&#39; mural removals and surface scrubbing that has taken place this year. What city workers mistook for every day &#39;nusiance&#39; graffiti was in some cases much loved &ndash; and even commissioned &ndash;&nbsp;street art created by artists from around the city. This past spring, overexuberant and prevasive efforts to spiff up the area around Amazon&#39;s hoped-for new northside&nbsp;home, should it choose Chicago for HQ2, led to the City&#39;s&nbsp;Streets and Sanitation department taking down a work by French&nbsp;artist Blek le Rat at the Cards Against Humanity offices. Blek le Rat has exhibited with Chicago&#39;s <a href="https://www.chicagogallerynews.com/galleries/vertical-gallery">Vertical Gallery</a> and is widely known as the Godfather of modern street art.&nbsp;

A decade-old mural&nbsp;in Wicker Park, this one by acclaimed Chicago-based&nbsp;street artist&nbsp;Hebru Brantley, was accidentally painted over (after first being vandalized) by city workers who mistook it for graffiti earlier this year. The mural, which depicts Brantley&#39;s signature Flyboy characters, was one of the artist&#39;s&nbsp;earliest. This week Brantley completed a&nbsp;new mural in the original location,&nbsp;funded by Wicker Park Bucktown Special Service Area (SSA) #33. The community missed the work so much once it was covered up that&nbsp;they made a point of funding its replacement.

&ldquo;Public art is a vital part of the Wicker Park and Bucktown neighborhoods. Supporting and maintaining these works has always been a major part of our mission&mdash;the streets are a public art museum that we are constantly curating,&rdquo; said WPB SSA #33 Commission Chair&nbsp;Brent Norsman. &ldquo;We&rsquo;re thrilled Hebru Brantley was able to return and create this new piece, and we&rsquo;re working with Alderman Brian Hopkins and other city officials to ensure that public murals like Brantley&rsquo;s will not be mistaken for graffiti in the future.&rdquo;&nbsp;

More murals have been coverd up this year, which is why the city and the Department of Cultural Affairs are trying to make an effort to designate which works are also art that must be preserved. The proposed ordinance states,&nbsp;&quot;The owner of&nbsp;any building or&nbsp;structure that&nbsp;has art&nbsp;on it&nbsp;may voluntarily register with&nbsp;the&nbsp;department of streets and sanitation by filing a registration statement on a form provided by the&nbsp;department. The registration remains valid until the owner notifies the department to remove&nbsp;the building or structure from the registry provided for in this paragraph.&quot; The hope is also that a registry will then be&nbsp;publicly available on the DCASE web site&nbsp;as well as&nbsp;searchable with a mapping system.&nbsp;

&nbsp;

Image:&nbsp;Hebru Brantely paints new mural in Wicker Park - Photo by Kessel Cherney
<style type="text/css">
</style>

Oops I (Had to Do) It Again - Hebru Brantley Repaints Mural Covered by City

By GINNY VAN ALYEA&nbsp;

Last weekend&#39;s crush of openings put gallery-goers in the mood to see new art, meet artists and to take stock of what&#39;s new and exciting in area galleries and museums.&nbsp;

The momentum continues this weekend, primarily on the south and west sides, when dozens more shows open, building anticipation as we head into the second half of September. There is a lot of important art being shown this month in&nbsp;Chicago by artists from around the country and around the world, giving gallery visitors a chance to travel to and consider matters around the globe without leaving home.

Obviously there is a lot of great art to see, and these&nbsp;are just a few&nbsp;highlights from this coming September weekend&nbsp;around the city.&nbsp;We will&nbsp;share more of the season&#39;s&nbsp;highlights and coverage as the fall goes on, and don&#39;t forget to view our <a href="https://www.chicagogallerynews.com/calendar">full calendar of events</a>.&nbsp;

Enjoy the season of art, and see you in the galleries!&nbsp;

&nbsp;

<h2>Thursday, September 13</h2>

<img alt="" data-caption="David Hockney and Jonathan Wilkinson, Inside It Opens Up As Well, 2018. Photographic drawing printed on 7 sheets of paper, mounted on 7 sheets of Dibond. © David Hockney. Photo credit: Richard Schmidt" data-rich-file-id="2980" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2980/original/hockney.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/david-hockney-time-and-more-space-and-more">David Hockney: Time and More, Space and More...</a>&nbsp;at&nbsp;Richard Gray Gallery&nbsp;(the west side warehouse&nbsp;location) is an exhibition of new work by the artist (we spotted pictures of the octogenarian out on a Chicago Architecture Center River Cruise this week with gallery staff!) The show&nbsp;presents Hockney&rsquo;s recent video and camera-based works in tandem. Making its gallery debut&nbsp;at the center of the exhibition is Hockney&rsquo;s multi-part video installation&nbsp;The Four Seasons, Woldgate Woods, 2010-2011,&nbsp;which was exhibited in 2017 at&nbsp;Centre Georges Pompidou and Tate Britain. The work is composed of four 9-channel video walls and arranged within the space like the cardinal directions of a compass rose. Depicting the same view down a tree-lined country road in Yorkshire, each wall distinctively captures one of the four seasons.

&nbsp;

<h2>Friday, September 14</h2>

<img alt="" data-caption="Torkwase Dyson" data-rich-file-id="2988" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2988/original/tdyson-raymond-2018.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/torkwase-dyson-james-samuel-madison">Torkwase Dyson: James Samuel Madison</a>, a show of new work by this Brooklyn-based artist opens Friday at Rhona Hoffman Gallery.&nbsp;Dyson considers spatial relations an urgent question&nbsp;both historically and in the present day. Through abstract paintings, Dyson grapples with ways space is perceived and negotiated particularly by&nbsp;black and brown bodies. &nbsp;Explorations of how the&nbsp;body unifies, balances, and arranges itself to move through natural and built environments&nbsp;become&nbsp;both expressive and discursive structures within the&nbsp;work. &nbsp;

&nbsp;

<img alt="" data-caption="Edie Fake" data-rich-file-id="2987" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2987/original/fake1.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/gut-rehab-edie-fake">Gut Rehab: Edie Fake</a> at Western Exhibitions is one of several shows opening in West Town this Friday night. The show, featuring 12 elaborately patterned and intensely personal paintings make up the artist&#39;s&nbsp;second solo show at the gallery. Fake&rsquo;s paintings start as self-portraits, and from there, they make a break for it, referencing elements of the trans and non-binary body through pattern, color and architectural metaphor.&nbsp;

&nbsp;

<img alt="" data-caption="Candice Lin" data-rich-file-id="2985" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2985/original/bs-2017-candice-lin-07.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/candice-lin-a-hard-white-body-a-porous-slip">Candice Lin: A Hard White Body, a Porous Slip </a>at the Logan Center opens Friday night. A tour led by the artist takes place the same evening. Los Angeles-based artist Candice Lin creates sculptural environments that breathe, seep, ferment, and decay. Working with an arsenal of sculptural forms that include finely crafted objects, organisms such as plants, insects, and bacteria, and natural compounds, Lin interrogates the ways in which histories of power and marginality are inscribed into bodies and into the natural world.

&nbsp;

<h2>Saturday, September 15</h2>

<img alt="" data-caption="Gerald Williams, Messages (detail), 1970, Acrylic on canvas. Smart Museum of Art, The University of Chicago, Purchase, The Paul and Miriam Kirkley Fund for Acquisitions, 2017.8." data-rich-file-id="2990" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2990/original/williams-ttin-header.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/the-time-is-now-art-worlds-of-chicago-s-south-sides-1960-1980">The Time is Now!&nbsp;</a>a major new exhibition at the Smart Musuem of Art in Hyde Park&nbsp;offers an immersive examination of the South Side, as told by the art and artists who shaped its contours&mdash; from the Chicago Imagists to the Black Arts Movement. The Time is Now! reassesses the story of postwar Chicago art through a nuanced look at the artists living, working, and exhibiting on the South Side. Presented as part of Art Design Chicago, a citywide exploration of Chicago&rsquo;s art and design legacy spearheaded by the Terra Foundation for American Art. While the show begins Thursday, an opening event,&nbsp;Celebrating South Side Stories, &nbsp;takes place September 15, 11am&ndash;6pm

&nbsp;

<img alt="" data-caption="Shadi Habib Allah" data-rich-file-id="2989" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2989/original/image001.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/shadi-habib-allah-put-to-rights">Shadi Habib Allah: Put to Rights </a>opens Saturday night at&nbsp;The Renaissance Society&nbsp;with an artist talk at 6pm. Habib&nbsp;Allah&nbsp;is a New York and Miami-based Palestinian artist who works across film, sculpture, and installation, often drawing on a process of deep research and on-the-ground engagement in specific locales. Richly varied in form and focus, his projects run the gamut from reimagining a ghost story from 1930s Jerusalem to traveling along illicit trade routes with Bedouin smugglers.

&nbsp;

<img alt="" data-rich-file-id="2986" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2986/original/solidgold.jpg" />

Hyde Park Art Center has a mega-celebration on Saturday for <a href="https://www.chicagogallerynews.com/calendar/solid-gold-saturday">Solid Gold Saturday</a>.&nbsp;

&bull; The Art of Being Dangerous, Curated by Erin Toale.&nbsp;Public Critique,&nbsp;1&ndash;3pm and reception 3&ndash;5pm 
&bull; Open Studios, 2&ndash;5pm&nbsp;Welcome&nbsp;Jackman Goldwasser International Artist, Nadim Abbas who will be visiting from Hong Kong&nbsp;&nbsp; &nbsp;&bull; Free Family Art-Making Activites, 1&ndash;4pm. Be like the Hairy Who, or Ralph Arnold!&nbsp;

&nbsp;

<img alt="" data-caption="Liliana Porter" data-rich-file-id="2991" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2991/original/lp.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/liliana-porter">Liliana Porter&#39;s </a><a href="https://www.chicagogallerynews.com/calendar/liliana-porter">Memorabilia</a>, opening Saturday at Carrie Secrist Gallery,&nbsp;presents highlights from a celebrated and dedicated artistic career of giving voice to the Everyperson. Through the use of found inanimate objects, Porter posits the human condition as fragile and curious, yet full of wonder.&nbsp;Born in Argentina in 1941, Porter is a member of a pioneering wave of Latinx artists who have mined identity socio-politics using then-new strands of contemporary art making to forge engaging methods of aesthetic engagement.&nbsp;

&nbsp;

<img alt="" data-caption="Firelai Baez" data-rich-file-id="2984" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2984/original/baez.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/firelai-baez">Firelei B&aacute;ez&#39;s </a>work at Kavi Gupta Gallery&#39;s&nbsp;West Washington space employs&nbsp;humor, figuration, and fantasy to explore the narratives and myths that affect the creation and expression of personal identity and social mores. B&aacute;ez is interested in identity, culture, and the divisions humans create between each other. Born in a city on the border between the Dominican Republic and Haiti, the&nbsp;stark contrast between the poverty of Haiti and the abundance of the Dominica Republic is one element that permeates her work. When she was 10, her family moved to the United States. There, she encountered new racial and gender biases that challenged her to think about what identity means and how it separates some people and unifies others. Her work explores these themes in context with the narratives of the past and the many potential futures she perceives.

&nbsp;

<img alt="" data-caption="Bethany Collins" data-rich-file-id="2983" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2983/original/patron1.jpg" />

PATRON opens <a href="https://www.chicagogallerynews.com/calendar/bethany-collins-undersong">Bethany Collins, Undersong&nbsp;</a>on Saturday. Undersong&nbsp;makes use of three texts&mdash;translations of&nbsp;The Odyssey; classified ads placed by former slaves searching for family; and patriotic hymns. The first format of Homer&rsquo;s poem of nostos was passed down orally. &ldquo;Lost Friends&rdquo; ads were subsequently read aloud in church services to reach a broader audience. And patriotic hymns achieve national unity only through their collective voice. The vocalization of these texts becomes the undersong&mdash;the burden of the song; the chorus; the refrain&mdash;of an American landscape, one that feels intimately familiar, yet estranging.

&nbsp;

<img alt="" data-caption="Sanford Biggers" data-rich-file-id="2982" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2982/original/18-00-sanford-biggers-neroluce-72-203-4x61-ssbquilt129.jpg" />

<a href="http://moniquemeloche.com/exhibitions/sanford-biggers/">Sanford Biggers</a> has a show of new work opening at Monique Meloche Saturday night.&nbsp;Biggers roots his practice in the excavation of histories to shed light on the present. Having recently spent a year in Rome as a 2017 American Academy Fellow in Visual Arts, Biggers has created a new body of marble sculptures which develop the artist&rsquo;s use of classical materials as a means of destabilizing and reconfiguring their historical evocations. In addition to these marble works, the exhibition will also comprise a new group of quilt paintings and wall reliefs that are demonstrative of Biggers&rsquo; eclectic, trans-historical practice.

&nbsp;

<h2>Sunday, September 16</h2>

<img alt="" data-caption="Sabina Ott" data-rich-file-id="2981" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2981/original/sabinatsa.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/sabina-ott-all-flowers-tell-me">Sabina Ott: All Flowers Tell Me</a> is a special exhibition collaboration between Tiger Strikes Asteroid, the artist run space where Ott was an active member, and her gallery Aspect/Ratio.&nbsp;All Flowers Tell Me&nbsp;celebrates the many facets of Ott&rsquo;s career by exhibiting works previously not shown in Chicago. On view is part of her&nbsp;Sub Rosa&nbsp;series consisting of rich encaustic paintings that celebrate the richness and generosity that represents Sabina Ott. An opening reception takes place Sunday from 12&ndash;4 at TSA&#39;s new space at Mana Contemporary.&nbsp;

&nbsp;

View our full art calendar at <a href="https://www.chicagogallerynews.com/calendar">chicagogallerynews.com/calendar</a> and sort by date and event type.

&nbsp;

Top images from left: Edie Fake, Liliana Porter, Carolyn Lawrence
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>

A summary of fall opening highlights in chicago the 3rd weekend in September 

Fall Preview – Part II: West and South Side September Openings

The fall art season in Chicago, and around the world, is underway, and as we close in on the end of September, we are especially looking forward to EXPO CHICAGO, once again at Navy Pier for its 7th edition. Once the hot new fair when it launched in 2012, EXPO has grown up, expanding its international gallery roster as well as its expansive and increasingly important public and professional arts programming.&nbsp;CGN will be covering several aspects of the fair in the coming weeks, but while we're all running around trying to prepare for this year's art frenzy, we wanted to check in with&nbsp;the man beind the green curtain, the great and powerful Oz (AKA Tony Karman), about what's new and how he does it all year after year.&nbsp;EXPO CHICAGO runs Sept 27–30, 2018 at Navy Pier.Details <a href="http://expochicago.com">here</a>.&nbsp;&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2974/original/tony-karman-photo-by-audia.jpg" alt=""></figure>CGN: What's the best thing about this year’s EXPO CHICAGO?Tony Karman:&nbsp;Easy answer –&nbsp;it is the artwork that will be shown by our 135 galleries from 27 countries and 63 international cities in this seventh edition of the fair. I look forward to seeing work that is provocative, current,&nbsp;beautiful,&nbsp;and challenging—I never tire of encountering a new artist, or the inevitable moment when a work simply stops me in my tracks. &nbsp;&nbsp;CGN: What's been your biggest challenge so far this year?&nbsp;&nbsp;TK:&nbsp;Like every year, we must work to make&nbsp;sure that the world joins us in Chicago and that the participating exhibitors do well.&nbsp;&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2975/original/2018-crownhall-kasten-7.jpg" alt=""></figure>CGN: Breakdown an 'Interview Marathon' for me.&nbsp;TK: Hans Ulrich Obrist’s celebrated Marathon, entitled&nbsp;Creative Chicago, will be five hours of provocative interviews with artists, architects, donut makers, writers, actors, and activists from throughout the city. The marathon [taking place on site at the fair September 29 from 1–6pm]&nbsp;will capture the zeitgeist of Chicago, further defining what it means to live, work and create here.&nbsp;&nbsp;CGN:&nbsp;How do you keep people coming back to Chicago for EXPO, now that the fair is maturing?&nbsp;&nbsp;TK: We travel&nbsp;around the world&nbsp;year-round to engage with&nbsp;collectors, curators, and arts professionals&nbsp;to join us each September, and everywhere we go, we hear how great Chicago is. We built EXPO CHICAGO on a storied tradition, and it is the collective of our renowned institutions, collectors, curators, artists, galleries, restaurants, architecture, and the people of this great city that the world is enthusiastically returning to or visiting for the first time.I do love this city.&nbsp;&nbsp;CGN: Can you give me an elevator pitch for the case for art fairs today, amidst so much scrutiny and financial strain?&nbsp;TK: Galleries carry the burden for much of this industry, as they are funding their art fair participation, their artists work and exhibitions, staffing, rent, and daily operating expenses—we are ever mindful of this. However, there is something special about the convening moment of an art fair that brings collectors and curators and art enthusiasts together in one location to both experience and ultimately purchase artwork.Even with the current art fair overload, I believe if you do it right—gathering a great list of dealers and venue, a commitment to thoughtful and relevant programming, and layering the support of the cultural institutions and leaders of a city—then you have a perfect environment for galleries to succeed.&nbsp;EXPO CHICAGO benefits from all of the above, and although we cannot guarantee sales, we work hard to build a fair or exposition that hopefully does that and support the long term development of a gallery’s program. &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;CGN: How many cups of coffee do you have a day during the fair?&nbsp;&nbsp;TK: I was a coffee drinker for most of my life but just changed to tea. Simple answer:&nbsp;lots. I will probably have a tea bag in my pocket at all times.&nbsp;CGN: What’s the first thing you will do when the fair wraps up?&nbsp;&nbsp;TK: Start on the next one.&nbsp;Top image: Justin Barbin, EXPO CHICAGO 2017 Vernissage.

As EXPO CHICAGO Marks 7 Years, Tony Karman Answers 7 Questions 

By GINNY VAN ALYEA&nbsp;

Summer has somehow come and gone, and the energy of a new vibrant season is upon us. This coming weekend opens the start of the fall art season throughout the city, and these new shows are just the beginning.&nbsp;

A&nbsp;host of openings, clustered on the evening of Friday, September 7, mark the traditional start of the season, which happens largely in the city&#39;s first commercial artistic center in River North. There are dozens of new exhibitions opening, and many represent the highlight of the gallery&#39;s programming for the entire year.&nbsp;Gallery district lines and identities have evolved over the decades, since the heydey of the 1980s, but new life in today&#39;s River North comes in the form of an art and design collaboration between the nearly two dozen galleries still based near Superior and Franklin streets today and the dozens of design showrooms that have come to also call River North home, following a migration from the Merchandise Mart. The result of that collaboration is the&nbsp;<a href="https://www.chicagogallerynews.com/calendar/4th-annual-river-north-gallery-walk-designer-windows">4th Annual River North Gallery Walk and Designer Windows</a>, which covers a lot of creative ground in one weekend, with gallery artists matched with designers and showrooms, as well as individual galleries opening their latest exhibitions. There are several special events to attend as well, including a Friday kickoff event with Jesse Chicago |&nbsp;Home Element,&nbsp;featuring&nbsp;a live art creation by <a href="https://www.chicagogallerynews.com/galleries/linc-thelen-gallery">Linc Thelen</a>, and an after party&nbsp;at the <a href="https://www.chicagogallerynews.com/calendar/archetype-excavation-and-expectation-by-adam-siegel">Golden Triangle</a>. Saturday, September 8 is also a new family day in the district. Complete details and a list of participants may be <a href="https://www.chicagogallerynews.com/calendar/4th-annual-river-north-gallery-walk-designer-windows">found here</a>.&nbsp;

After a very busy couple of weeks, we of course cannot wait for&nbsp;<a href="https://www.chicagogallerynews.com/art-services/expo-chicago">EXPO CHICAGO</a> which&nbsp;opens at the end of the month on September 27 with its Vernissage, an opening benefit for the MCA. The art fair&#39;s slightly later than usual start, combined with some very notable programming thanks to Art Design Chicago,&nbsp;means that this September may be the busiest certainly in recent memory.&nbsp;

Obviously there is a lot of great art to see, and these&nbsp;are just a few&nbsp;highlights from this opening September weekend&nbsp;around the city.&nbsp;We will&nbsp;share more of the season&#39;s&nbsp;highlights and coverage as the fall goes on, and don&#39;t forget to view our full calendar of events. Stay tuned for&nbsp;Part II of our Fall Preview,&nbsp;featuring shows opening September 15&nbsp;and beyond, including many shows on the city&#39;s West Side.&nbsp;

Finally,&nbsp;I have to admit that I&nbsp;didn&#39;t see it until I&#39;d finished this wrap up, but all I could hear in my head was &quot;Sisters Are Doing It For Themselves...&quot; (Aretha Franklin on my mind!), as so many of this season&#39;s early highlights feature women!&nbsp;

Enjoy this start to fall, and see you in the galleries!&nbsp;

&nbsp;

<h3>Thursday, September 6</h3>

<img alt="" data-rich-file-id="2956" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2956/original/todros.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/todros-geller-strange-worlds">Todros Geller: Strange Worlds</a>, an exhibition opening at the Spertus&nbsp;Museum / Spertus Institute of Jewish Studies and in partnership with Art Design Chicago, is&nbsp;an exhibition featuring&nbsp;more than 30 works exploring the life and practice of a Chicago artist and educator central to the history of modern American and Jewish art. Geller, who immigrated to Chicago from Ukraine in 1918, was inspired by the blending of old world traditions and modern culture that characterized Chicago&mdash;what he termed the collision of &ldquo;strange worlds.&rdquo;&nbsp;

&nbsp;

<h3>Friday, September 7</h3>

River North, as mentioned above, offers the largest group of&nbsp;openings in the city on September 7.&nbsp;

Highlights include: 

<img alt="" data-caption="Medina Dugger; Alanna Airitam; Endia Beal " data-rich-file-id="2957" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2957/original/edelman.jpg" />

A&nbsp;show at <a href="https://www.chicagogallerynews.com/calendar/how-do-you-see-me">Catherine Edelman Gallery</a>,&nbsp;How do you see me?,&nbsp;features&nbsp;three women who confront the way people of color&nbsp;are perceived in&nbsp;art, the work place, and through their physical appearance.&nbsp;

&nbsp;

<img alt="" data-caption="Bruno Surdo" data-rich-file-id="2958" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2958/original/bruno.jpg" />

Around the corner&nbsp;<a href="https://www.chicagogallerynews.com/calendar/bruno-surdo-liberation">Gallery Victor Armendariz</a>&nbsp;opens a show by artist Bruno Surdo, titled&nbsp;LIBERATION.&nbsp;The 17 paintings included in the show explore personal yearning for spiritual and individual independence using various motifs and subject matter.&nbsp;The artworks challenge the viewer to connect with images that correspond to their own yearning for personal freedom.&nbsp;

&nbsp;

<img alt="" data-caption="Mary Ann Papanek-Miller" data-rich-file-id="2959" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2959/original/albano.jpg" />

At <a href="https://www.chicagogallerynews.com/calendar/mary-ann-papanek-miller-preparing-for-winter">Jean Albano Gallery</a> a show focused on the season beyond fall is Mary Ann Papanek-Miller: Preparing for Winter.&nbsp;Papanek-Miller is known for using a layered collection of visual images, creating a narrative within each piece.&nbsp;Her work&nbsp;incorporates reflections from childhood stories, songs, and rhymes which reveal a deep concern for the environment.&nbsp;

&nbsp;

<img alt="" data-caption="Alicia LaChance" data-rich-file-id="2960" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2960/original/cooper.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/coming-full-circle-alicia-lachance-and-joanne-mattera">Melanee Cooper</a> closed her eponymous River North gallery 9 years ago, and now she&#39;s back in the exact same space (740 N Franklin) she left when she moved to California. &nbsp;Her first show celebrating her return is called Coming Full Circle and features the work of artists&nbsp;Alicia LaChance and Joanne Mattera. Artist Arno Elias will also be exhibiting at the gallery.&nbsp;

&nbsp;

<img alt="" data-caption="Vera Klement" data-rich-file-id="2961" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2961/original/klement.jpg" />

<a href="https://www.chicagogallerynews.com/calendar/drawing-show-teacher-and-two-students-vera-klement-heather-accurso-elizabeth-carson-manley">At Printworks</a>,&nbsp;Drawing Show &ndash; Teacher and Two Students &ndash; Vera Klement, Heather Accurso &amp; Elizabeth Carson Manley​ features the work of three esteemed artists from the perspective of the student/master relationship.&nbsp;

&nbsp;

<img alt="" data-caption="René Romero Schuler" data-rich-file-id="2967" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2967/original/rene.jpg" />

Artist Ren&eacute; Romero Schuler is turning 50 this year, and her latest body of work,&nbsp;In Search of Ground, taking up the entire space at <a href="https://www.chicagogallerynews.com/calendar/rene-romero-schuler-in-search-of-ground">Zolla/Lieberman Gallery</a>, has emerged as a body of work that has given Rene solace through pain, strength through grief, and peace through turmoil. On view in addition to her paintings are also&nbsp;India ink drawings and&nbsp;steel wire sculptures.

Many other shows are opening in River North this evening. If you can&#39;t see them all in one night, come back on Saturday morning for the <a href="http://www.chicagogallerynews.com/art-services/free-cgn-saturday-gallery-tours">first&nbsp;free gallery tour</a>&nbsp;of the season from 11am-12:30pm, as well as family day activities that are part of RNDD&#39;s Gallery Walk weekend.&nbsp;

&nbsp;

<img alt="" data-caption="Michiko Itatani " data-rich-file-id="2962" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2962/original/michiko.jpg" />

In the West Loop <a href="https://www.chicagogallerynews.com/calendar/michiko-itatani-and-paula-henderson">Linda Warren Projects</a> opens their final gallery show on Friday night, and it features the work of two artists:&nbsp;Michiko Itatani and Paula Henderson.&nbsp;While clearly distinct in both style and focus, each artist uses recurring motifs and imagery to explore their individual concerns for the forces that shape and define our human condition.

&nbsp;

<img alt="" data-caption="Patty Carroll " data-rich-file-id="2964" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2964/original/pattyc.jpg" />

Artist Patty Carroll has a Friday evening&nbsp;opening at&nbsp;<a href="https://www.chicagogallerynews.com/calendar/patty-carroll-anonymous-women--3">One After 909</a> in West Town. The solo exhibition, Anonymous Women is a&nbsp;continuation of a decade-long series.&nbsp;The first variations of the&nbsp;series fully explored the intricacies of homemaking and femininity, while the most current work depicts their twisted friction.&nbsp;Despite the leaps and bounds of progress the women&rsquo;s movement has made over the course of her lifetime, with this work Carroll recognizes how far we still have to go.&nbsp;

&nbsp;

<h3>Saturday, September 8</h3>

<h3><img alt="" data-caption="Ed Paschke" data-rich-file-id="2965" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2965/original/paschkecollege-art-collection.jpg" /></h3>

The Figure and the Chicago Imagists: Selections from the Elmhurst College Art Collection&nbsp;opening at the <a href="https://www.chicagogallerynews.com/calendar/the-figure-and-the-chicago-imagists-selections-from-the-elmhurst-college-art-collection">Elmhurst Art Museum</a>&nbsp;features the Elmhurst College Art Collection, focused on artists working in Chicago between about 1950 and the present. The exhibition is curated by Suellen Rocca, one of the original members of the Hairy Who and Curator and Director of Exhibitions at Elmhurst College (Rocca is featured on the <a href="https://www.chicagogallerynews.com/news/2018/8/artist-suellen-rocca-a-life-story-through-art">fall 2018 cover</a> of CGN). The exhibition features artists such as Ed Paschke, Barbara Rossi, Gladys Nilsson and others and is part of Art Design Chicago.

Note that other Imagist-related exhibitions this fall will take place at the <a href="https://www.chicagogallerynews.com/calendar/hairy-who-1966-1969">Art Institute of Chicago</a> and <a href="https://www.chicagogallerynews.com/calendar/break-a-rule-ed-paschke-s-art-and-teaching">The Block Museum of Art</a>.&nbsp;

&nbsp;

<img alt="" data-caption="George Peter Alexander Healy" data-rich-file-id="2966" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2966/original/portraits.jpg" />

Beauty&rsquo;s Legacy: Gilded Age Portraits&nbsp;in America at the <a href="https://www.chicagogallerynews.com/calendar/beauty-s-legacy-gilded-age-portraits-in-america">Richard H. Driehaus Museum</a>&nbsp;looks at the popular revival of portraiture in the United States during the late 19th and early 20th centuries when both the established elite and the newly wealthy sought out artists who could highlight their social standing and personal affluence. Simultaneous exhibitions at the museum are&nbsp;Gilded Chicago: Portraits of an Era and&nbsp;Treasures from the White City: Chicago World&rsquo;s Fair of 1893.

&nbsp;

Top image: Barbara Rossi at Elmhurst Art Museum, Michiko Itatani at Linda Warren and&nbsp;Medina Dugger at Catherine Edelman Gallery.
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>

A summary of early September gallery and museum show highlights in Chicago.

Fall Preview – Part I: First September Openings

By GINNY VAN ALYEAIn a city known for bars that offer everything from dry ice in your martini to two dozen TV screens on at the same time, The Stony Island Arts Bank may soon manage to be the most socially relevant, and appealing, of them all.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2954/original/bankdoor.jpg" alt=""></figure>The Arts Bank, opened three years ago when the Chicago Architecture Biennial debuted in the fall of 2015, began as an ambitious and multifaceted endeavor of the internationally renowned, Chicago-based artist and community developer Theaster Gates. The Arts Bank’s mission and influence was quickly and widely recognized for the many connections and collaborations it has fostered within the local arts community as well as the neighborhood. Now Gates is moving the project, which is part art space, part architectural treasure and more than a little social mission, into an ambitious, much more public and lively second phase of his original vision, increasing the pace of his plans for the many ways the art center can impact the surrounding South Shore neighborhood. As he said on a late spring day during a tour of the Arts Bank before it reopened after four months of renovations, “We’ve learned a few things.”<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2953/original/yard.jpg" alt=""></figure>Housed in an imposing, abandoned stone structure on Stony Island Boulevard, far on the city’s South Side and miles from traditional art centers, The Bank, as it’s commonly referred to, gets its name from its home, the former Stony Island State Savings Bank, a classic structure built in the 1920s, which eventually fell into disrepair. In a building pretty much left for dead, Gates saw an opportunity to invest in something that would continually pay creative dividends. Just as a real bank accepts deposits from customers, raises capital and then makes loans and provides support for its clients, the Stony Island Arts Bank seeks to be a rock solid institution that can compound interest in order to benefit a range of community members long term.&nbsp;For many, Stony Island used to mean a connector to the Chicago Skyway on your way in or out of town. It was a section of town seen only in passing on the way elsewhere. When Gates wanted to build an arts center, he knew a location off the beaten path would be critical.&nbsp;Gates says, “The goal was to let the city see, and the world see, that there is beautiful architecture on the South Side.” He wanted to bring art to people living in the community as much as he also wanted to draw people to a neighborhood they were unfamiliar with. The building would be a lure that would draw people to a place where they would realize, as he explains, “that there was this work happening that was about capturing these moments of architectural beauty, so that beautiful things could happen on the South Side to black people by black people.”<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2950/original/moulding.jpg" alt=""></figure>He goes on, “It was a demonstration work for me, that South Siders didn’t have to go somewhere else in order to have a well-built, intimate space; those spaces were all around us, they just needed some care. And maybe we had some of the best architectural stock in the country, or definitely in the city.”The original bank is a mimic of one on the North Side at the intersection of Damen, Milwaukee and North Avenues, and its classic design is representative of what was in style at the time. Gates says now that using a structure like the bank was an experiment at the start, and he knew he’d have to try a range of programming to see what would attract locals as well as the art community. What at first seemed like the perfect expansive venue – it’s 20,000 square feet – for hosting exhibitions, performances, residencies and film screenings, sometimes simultaneously, was actually intimidating. The formidable, protective structure originally intended to safeguard money, seemed in its present form meant to keep certain people out, exactly the opposite of Gates’ welcoming vision.&nbsp;He realized, “We learned that the building itself has the potential to be uninviting for folk who live locally. It’s so big, that it had a way of making our neighbors feel more like it was made for someone else.”<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2951/original/smith.jpg" alt=""></figure>He came to see that while the beauty of the building can help draw people to a new destination, it’s more important to get people in the door and to make them feel as if they should be there. He says, “The building by itself isn’t a calling card for everyone. Another kind of invitation also needs to happen.”&nbsp;Essentially, Gates discovered that the best way to make friends with your neighbors is to invite them to your party.&nbsp;He shares, “Last summer we opened up the yard and began having movies and barbecues out there. We had food trucks coming through, and all of a sudden, the yard became its own little pocket park. Kids would bring their little dogs and they would stroll in the yard. It was amazing.”&nbsp;This maturing vision for the Arts Bank could not have been known at the start, and Gates acknowledges that being able to see such changes over the past three years has been remarkable, though he’s not entirely surprised that it’s taken time. He says, “We knew that we had a couple of amazing aspects right away – we had the Johnson Publishing collection, we had the Frankie Knuckles [house music] albums, and the [60,000] glass lantern slides from the [Department of Art History at] the University of Chicago, but we didn’t have a mechanism, yet, of making those things as accessible as we wanted.”&nbsp;As Gates points out, that accessibility required resources, which were very limited, to hire a librarian, a set of archivists, docents, and managers of the collection. They did have pride and excitement for what they had prepared to share. So they got creative, for instance starting a book club based on the Johnson Collection and inviting those who had a connection to Johnson to participate. In order to overcome limits, such as physically accessing the hundreds of books and albums stacked up to the library ceiling, Gates and his team decided they needed a kind of catwalk, which would allow staff to use the entire soaring space.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2952/original/uofcglasslanternslides.jpg" alt=""></figure>Next they devised a sound system that allows a DJ working from the catwalk to pump music through the building. For Gates, he says, “The building can function as a kind of resonator, allowing albums we have to both be digitized and also become a basic program in the Bank. If nothing else is happening, you’re going to hear good music – some house, some soul, gospel, you might hear comedy – whatever we have in this collection, because the music has to be felt.”The many, and sometimes unconventional, ways the collection can be experienced goes to the heart of what Gates is trying to use the space in the Arts Bank for at this time, as he is very interested in activating a place or material and engaging people on a relatable level. Gates refers to a fellowship he did at Harvard a few years ago, when he spent time thinking about something he calls ‘critical preservation.’ When considering the Arts Bank he asks out loud, “Are there ways adjacent to conventional preservation, where things are restored to their original hand? Is there an alternative to that, where you actually allow some of the truth of the history of the building to be evident? I felt if we let people see the truth of our buildings, then they can feel good about their own buildings, which is like, ‘Yeah, there was some rain damage, and I can’t afford to re-do it all, but I need a new kitchen.’”&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2949/original/gates.jpg" alt=""></figure>When the plan to build the Arts Bank first came up, the city gave Gates and his Rebuild Foundation the building for $1, but as Gates explains, the building had a negative value at the time of $500,000 (there was a hole in the ceiling almost as big as the roof, and extensive water damage from deteriorating skylights). To fund the initial $6.2 million restoration of a space suitable for art, Gates raised private funds from many supporters. He recalls, “The bones of the building were in great shape, but it needed a new envelope and a lot of care.” Even the architectural artifacts that give so much character to the building, he points out, have their own history of trauma, which then creates an opportunity for dialogue between space and art. The completion of the initial restoration, for Gates, and even this second phase of development, where they have installed walls in the atrium space, is proof that the City of Chicago and the arts community helped to build the bank. Says Gates, “It feels really good. Projects can happen on the South Side, and they’re not city-incentivized; they’re just because a lot of people believe in them.”That belief drives Gates in his quest to preserve history while, as he says, at the same time, retrofitting a place so it fulfills a new purpose, in this case as a space for artists, scholars, for symposium, conferences, and music. Gates has built the house, while the art, artists and neighbors within it are making it a home.&nbsp;The Bank, even with its new walls, is not intended to be a white cube, and after the efforts to invite more members of the public in, especially not just art viewers but neighbors, Gates emphasizes that he wants people to feel at ease when they are there. He explains, “These are normal people’s lives, everyday folk. They don’t want an audience of journalists visiting when they’re trying to have a meditation class. So the challenge that we had with rebuilding the Arts Bank is that, as excited as we are to shine a light and share with the public the things that we do, we also want to protect people’s privacy.”&nbsp;The way to do this is a programmatic split that on the one hand allows the Bank to host ambitious, public events but also, for instance, allows space for neighbors and those who live in and around Dorchester Art Housing [mixed income housing that features an even distribution of artist, public, affordable rate, and market rate homes]. For Gates it’s key to say to the public, “Not everything is show and tell with the spectacle of a public event. Some things need to be just at the neighborhood, grassroots level and to just mature in their own time.”Back to the Arts Bank as an antidote to Chicago’s sports-centric bar scene.Gates’ theory behind a split that serves various needs extends to the business of the Bank too. He shares, “One of the ongoing jokes that I have with my alderman is I need to be able to sell a good drink here. However, even though not every space needs to be a bar, or a pop-up yoga studio, we do need some spaces that make money, so that the other spaces can be free.” When Gates thinks about future opportunities, he wants to be able to offer what some people want and others need, “We want people to say, ‘Yeah, a chicken sandwich costs $5, a good drink costs $10,’ and not apologize for having both programs. Hey, a person can go get a $10 Negroni then go do some free yoga and work it off.”Money is not the only reason to offer food and drinks at the Bank. It also creates an ongoing reason for coming to South Shore and being able to stay there. Says Gates, “People go downtown to have a good meal, and they go to Pilsen, or farther North to have a reasonable drink. We don’t want people to have to travel. We just want to have more amenities that say ‘yes’ to the people who live close.”Within the Bank’s 20,000 square feet there is ample space for casual gatherings that may have nothing to do with art or yoga. Gates explains, “Sometimes I’m building with ambition toward the future.” Pointing to a large, Victorian looking curved structure, backed by a wall-length mirror, he says, “This bar’s about 30 years older than the architectural promenades of the building – it’s from the 1890s – but the size was right, so we built the bar space into the building with the understanding that we would grow into it.” By thinking ahead architecturally, Gates says there’s room for growth. Plans are underway at the Bank to start a food program that will also invest in local entrepreneurs, as well as a beverage program. For Gates, “If there is good music and an espresso, we want to be a contender to Starbucks.” At the end of the day, that big, beautiful bar, with a backdrop of live music, will draw people looking to connect or unwind.<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2955/original/library.jpg" alt=""></figure>So much of Gates’ time and practice is thoughtfully planned, but he says he’s also found himself as of late serving as a steward called to help in the aftermath of a tragedy. He got a call from Samira Rice, whose son Tamir was killed in Cleveland by a police officer in 2016. Recalls Gates, “She said, ‘I need help deinstalling the gazebo where my son was killed,’ and at that point, my job was to just help manage this moment. It wasn’t an art move; there was no personal ambition. She just needed someone who could have the logistical wherewithal to handle this object.”&nbsp;Gates and his team didn’t know what to do with the gazebo, but he says they knew they needed to remove it in its entirety or the City of Cleveland was going to raze it. Gates explains, “People were mourning, and these teddy bears are kind of part of the altar. People would remember others killed by police.” Samira asked if we would care for the gazebo for awhile, which became an opportunity to ask a national question, ‘What does it mean that all of these deaths happened?’ and ‘How do we grapple with this around the country.’” Gates began to see that the gazebo had one function in Cleveland and another at the Bank that would allow for reflection on peace, and questions about violence. He began to envision something adjacent to the gazebo with swings, a little park, a place, he thinks, “where young people can come and actually be safe. As we’re continuing to work on the violence in this neighborhood, could this be a space of peace, even temporarily?”This spring the gazebo’s parts were neatly organized and stacked up in a room at the Arts Bank not much bigger than the structure itself. Gates imagines, “Next, we clean up the parts, and we offer the gazebo back to the city of Cleveland, when they’ve had a moment to reflect on their own defensive reaction to this complicated moment. In this room, that gives us a chance to say, ‘Yeah, there’s Aunt Jemima, there are negative stereotypes, but there are also things that are too close to talk about – they just happened.' I see value in being the steward of those things. To number the roofing deck, to care for the steel – artists are well equipped to do that. Artists are probably more sensitive and more equipped to do it than the City of Cleveland could ever do it, because it’s part heart, and it’s part logistics. That’s art."&nbsp;The Stony Island Arts Bank is located&nbsp;at&nbsp;6760 S Stony Island Ave., Chicago, IL.&nbsp;For more info visit the Bank's <a href="https://rebuild-foundation.org/site/stony-island-arts-bank/">website</a>&nbsp;Top image:&nbsp;The Stony Island Arts Bank was formerly the Stony Island State Savings Bank, built in the South Shore neighborhood in the 1920s. Photo: Tom Harris

Artist Theaster Gates' vision for the future of his Stony Island Arts Bank 

The Evolution of a Vision: What’s Next for the Stony Island Arts Bank

By APRIL LANE

To those who decry the merciless Chicago heat, the brisk cool isn&rsquo;t the only thing you can look forward to this fall. From large scale expositions to smaller gallery exhibitions, CGN has made a comprehensive list of great art events to come. I recently completed an internship at Chicago Gallery News this spring, and with all the information that comes through the office, I selected just a few special exhibitions coming up in area museums that I am looking forward to and that I hope you will enjoy as well.

(Editor&#39;s note: an additional fall round-up of gallery opening highlights will be published by CGN in early September)

&nbsp;

<h3>The Time is Now! Art Worlds of Chicago&#39;s South Side, 1960-1980&nbsp;</h3>

September 13&ndash;December 30

<a href="https://www.chicagogallerynews.com/calendar/the-time-is-now-art-worlds-of-chicago-s-south-sides-1960-1980">Smart Museum of Art</a>

During the 1960s and 70s, Chicago was shaped by art and ideas produced and circulated on its South Side. Defined by the city&rsquo;s social, political, and geographic divides and by the energies of its multiple overlapping art scenes, it was a vibrant era of creative expression that produced a cultural legacy whose impact continues to unfold nationally and internationally.

The Time Is Now!&nbsp;examines this watershed cultural moment&mdash;brimming with change and conflict&mdash;and the figures who defined it. A companion book is being published with the DuSable Museum as well.&nbsp;

Also, on Saturday, September 15 from 11am-6pm&nbsp;in various south side locations, an <a href="https://smartmuseum.uchicago.edu/events/1459/celebrating-south-side-stories/">all-day festival</a> of art, music, film, and food marks opening of&nbsp;The Time Is Now!&nbsp;and other Art Design Chicago projects across the South Side.&nbsp;

Top image: &nbsp;Carolyn Lawrence,&nbsp;Uphold Your Men, Unify Your Families (detail), 1971, Screenprint on wove paper. Smart Museum of Art, The University of Chicago, Gift of David Lusenhop in honor of the artist, 2013.7. &copy; Carolyn Lawrence.

&nbsp;

<img alt="" data-caption="James Webb. Installation view of Prayer (Johannesburg), 2012. Photo by Anthea Pokroy. © James Webb. Courtesy of blank projects and Galerie Imane Farès." data-rich-file-id="2926" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2926/original/webb-prayer.jpg" />

<h3>James Webb: Prayer</h3>

Museum Admission $20+

Sept. 7&ndash;Dec. 31

<a href="http://www.artic.edu/exhibition/james-webb-prayer">The Art Institute of Chicago</a>

A project by South African visual artist and musician James Webb, this exhibit encompasses recordings of prayers from members of various faiths and spiritual affinites throughout the city of Chicago. The prayers are played on 12 speakers mounted onto a red carpet which visitors can walk up to and closely listen to the prayers being uttered. The work aims to showcase the humanity and solidarity that comes across in the vulnerable act of prayer. Webb&rsquo;s Chicago version of Prayer is his first in North America, having remade this project ten times in various cities since his first in Cape Town, South Africa in 2000 following the end of apartheid. &nbsp;

&nbsp;

<h3><img alt="" data-caption="Karl Wirsum, Screamin' Jay Hawkins, 1968. The Art Institute of Chicago, Mr. and Mrs. Frank G. Logan Purchase Prize Fund, 1969.248" data-rich-file-id="2924" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2924/original/sreamin-jayhawkins.jpg" /></h3>

<h3>Hairy Who 1966-1969</h3>

Museum Admission from $20+

Sept. 27&ndash;Jan. 6, 2019

<a href="http://www.artic.edu/exhibition/hairy-who-1966-1969">The Art Institute of Chicago&nbsp;</a>

In collaboration with Art Design Chicago, the Art Institute of Chicago presents Hairy Who 1966-1969, a collective of work made by Chicago-based School of the Art Institute of Chicago (SAIC) graduates &nbsp;Karl Wirsum, Jim Falconer, Art Green, Gladys Nilsson, Suellen Rocca&nbsp;and Jim Nutt. Starting in the 1960s, the self-made group of artists showcased their vibrant, avant garde and graphic work, which commented on sexuality, gender and social norms, at the Hyde Park Art Center. The exhibition is presented on the 50th anniversary of their final Chicago show, featuring prints, drawings and&nbsp;paintings by the group.

&nbsp;

<h3><img alt="" data-caption="Ralph Arnold, Who You/Yeah Baby, c. 1968. DePaul Art Museum. Reproduced with permission from The Pauls Foundation." data-rich-file-id="2923" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2923/original/ralph-arnold-hats.jpg" /></h3>

<h3>The Many Hats of Ralph Arnold: Art, Identity, and Politics</h3>

<a href="https://www.chicagogallerynews.com/calendar/the-many-hats-of-ralph-arnold-art-identity-and-politics">The Museum of Contemporary Photography (MoCP)</a>&nbsp;at Columbia College Chicago

October 11&ndash;December 21

The Museum of Contemporary Photography presents The Many Hats of Ralph Arnold: Art, Identity, and Politics. This exhibition showcases the artwork of American artist and teacher Ralph Arnold, who created a body of collages as a response to popular ideas and media depictions regarding gender, race, sexuality during the 1960s and 70s that continues to remain relevant in Chicago&rsquo;s art scene, even in 2018.

&nbsp;

<h3><img alt="" data-caption="Quilt Artwork (detail) by Jessica Skultety" data-rich-file-id="2927" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2927/original/wmg-quilts.jpg" /></h3>

<h3>Quilt + Resist: Art, Politics, Storytelling</h3>

<a href="https://www.chicagogallerynews.com/calendar/quilt-resist-art-politics-storytelling">Woman Made Gallery</a>

Nov 9-Dec 1

Free and open to the public. Opening reception on Friday, November 9.

This event showcases roughly 40 female-identifying quilters who aim to tell stories with a variety of methods -- whether it be abstract or pictoral. &nbsp;Juried by artist and teacher Marcia Grubb and quilt maker, activist and psychologist Adelia Moore, the quilts exhibited aim to tell a variety of stories from different women artists, depicting how they view and interpret the world around them. &nbsp;

<h3>&nbsp;</h3>

<img alt="" data-rich-file-id="2947" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2947/original/saints-and-sinners.jpg" />

<h3>Saints &amp; Sinners Walking Tour: Chicago&#39;s Legacy of Virtue and Vice</h3>

Fridays through September

<a href="https://www.chicagogallerynews.com/institutions/richard-h-driehaus-museum">Richard H. Driehaus Museum</a>

Tickets $30-$50. Ages&nbsp;21+

During this walking tour, which takes place weekly this fall, not only will attendees explore Chicago&rsquo;s Gold Coast neighborhood, but they&rsquo;ll learn all about Chicago&rsquo;s prohibition history and the key players in the Temperance movement between 1848&ndash;1871. They will also view numerous historic landmarks and pubs and sip spirits from renowned pubs along the way. &nbsp;

&nbsp;

CGN&#39;s complete calendar of exhibitions and openings may be found <a href="https://www.chicagogallerynews.com/calendar">here</a>.&nbsp;
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>

A round up of fall 2018 art events by a former CGN intern

A Fall Museum Preview

By MIA DIMEO

For more than 25 years, the Chicago Architecture Foundation (CAF) has been devoted to creating quality architectural programming and exhibitions from within a terra cotta, Beaux Arts Railway Exchange Building at 224 S. Michigan Avenue designed by Daniel Burnham, the architect who started it all.&nbsp;

<img alt="" data-caption="The new home of the Chicago Architecture Center can be easily spotted by the prominent CAC logo above the site of the center's popular river cruises." data-rich-file-id="2943" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2943/original/download-2.jpg" />

On Labor Day weekend the rebranded Chicago Architecture Center (CAC) opens in a new home, the modernist, glass and steel One Illinois Center (111 E. Wacker Drive), one of the last designs of another one of Chicago&rsquo;s architectural lions, Mies van der Rohe. When CAC decided to acquire the new space they set out to implement a fresh vision and identity that would expand outreach and encompass all of the tours, talks, exhibitions, camps, classes and special events that attract 690,000 visitors annually.&nbsp;

One of the top attractions, for tourists and local architecture lovers alike, in CAC&rsquo;s former home was the Chicago Model, a 320-square foot miniature metropolis envisioned by President and CEO Lynn Osmond and completed in 2009. The process of creating the Model began by making a digital map of Chicago and 3D printing each of its 1,300 buildings before meticulously placing them in situ.&nbsp;

The Model is now the centerpiece of a larger exhibit in the new headquarters, and with 3,000 buildings it is more than twice its previous size, paralleling the Chicago&rsquo;s more recent growth upward and outward. It is set within an examination of the city&rsquo;s built history&mdash;from a phoenix of innovation rising up from the Chicago fire, to the epicenter of modern architecture today. The immersive Chicago Model Experience also highlights architects of note, explores the area&rsquo;s diverse neighborhoods and includes a laser light show.&nbsp;

Take that, Navy Pier.&nbsp;

<img alt="" data-caption="The CAC's new lobby welcomes more visitors than ever" data-rich-file-id="2944" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2944/original/chicago-architecture-center-lobby-3b-credit-courtesy-caf.jpg" />

Daniel O&rsquo;Connell, CAC&rsquo;s Director of Communications and Public Affairs, stresses that the big strides the organization has made will gain momentum in the new space. &ldquo;It gives us room to be more ambitious in our educational initiatives,&rdquo; he says. &ldquo;We work with Chicago Public Schools, host an engineering festival and present a range of programming for young women in the field. We are eager to draw everything together in a holistic way, in a space designed for us to fit our focus on public engagement.&rdquo;&nbsp;

In addition to several exhibition spaces, the 20,000-square foot center, designed by Adrian Smith + Gordon Gill Architecture, also features a new lecture hall and a design studio, all perched above the dock of the much-lauded River Cruise aboard First Lady Cruises.&nbsp;

&ldquo;CAF started the cruises in 1983, back when no one did anything on the river,&rdquo; says O&rsquo;Connell. &ldquo;So, we&rsquo;ve been part of that change which has come to fruition with River Walk. Making our new home above the dock feels like we&rsquo;re coming full circle.&rdquo;&nbsp;

<img alt="" data-caption="The lecture hall allows for more public programs" data-rich-file-id="2946" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2946/original/lecturehall.jpg" />

Visible from the street through 40-foot windows, the second-floor exhibition space debuts with Building Tall, a display of supersize skyscrapers models investigating how and why skyscrapers are built, and how engineers and architects keep making them better. Familiar local towers, along with many from around the world, are featured in the exhibit, including Saudi Arabia&rsquo;s Jeddah Tower, which will be the world&rsquo;s tallest building when completed in 2020.&nbsp;

Why was it vital for Chicago to have a center dedicated to architecture? The fact that CAC has made 85 tours happen 7,000 times a year says something about the city&rsquo;s buildings as important cultural landmarks. With deep roots planted by CAC (as well as the Chicago Architecture Biennial, which launched in 2015) Chicago&rsquo;s status an architecture capital is flourishing.&nbsp;

O&rsquo;Connell agrees. &ldquo;We&rsquo;ve been around 50+ years, and in that time the city has only burnished its image as the center of innovative architecture. The first skyscraper was built here, and we have a great design heritage,&rdquo; he says.

CAC&rsquo;s new location is directly in the heart of the city, at the intersection of the Magnificent Mile and the Cultural Mile, atop the site of Fort Dearborn, where Chicago was founded in 1803. The river-side spot has evolved as the city has, from grain elevators and railroads to its present modernist structure, and now the Chicago Architecture Center is a part of that story.&nbsp;

A grand opening weekend celebration takes place at 111 E. Wacker, Aug 31&ndash;Sept 3.

Visit <a href="http://www.architecture.org">www.architecture.org</a> for details.&nbsp;

&nbsp;

<h4>Open House Chicago: OCTOBER 13 AND 14</h4>

Covering more than 200 sites, Open House Chicago is CAC&rsquo;s most geographically expansive program, offering behind-the-scenes looks at architectural gems, many of which are not normally open to the public throughout the city. The annual weekend initiative allows easy access to diverse spaces including civic buildings, theaters, mansions, office buildings and places of worship.&nbsp;

OHC&rsquo;s sites present a broad picture of the area&rsquo;s cultural environments &mdash; a 1928 firehouse recently renovated by Chicago Filmmakers; the Italianate mansion home to Palette &amp; Chisel Academy of Fine Arts; Oak Park Art League&rsquo;s former carriage house gallery; and the Pilsen studio of muralist H&eacute;ctor Duarte, to name a few.&nbsp;

This year, new sites include Garfield Park&rsquo;s ArtReach Chicago, a recently opened nonprofit providing mobile and studio art access (including glass blowing) to under-served Chicagoans, and the soon-to-be-completed University of Chicago&rsquo;s Green Line Arts Center in Washington Park. Still under construction, OHC visitors will get an early look at the space dedicated to performance, theatre residencies, rehearsals, training, and education, as well as showcasing work by emerging and established artists. For complete details visit <a href="http://openhousechicago.org">openhousechicago.org</a>

&nbsp;

Editor&rsquo;s note: The Chicago Artists Coalition also goes by CAC.

&nbsp;

Top image:&nbsp;THE CHICAGO MODEL EXPERIENCE, GREAT FIRE, COURTESY CHICAGO ARCHITECTURE FOUNDATION
<style type="text/css">
</style>

The Chicago Architecture Foundation rebrands as the Chicago Architecture Center and opens a new headquarters in Chicago

Rising Up from the Roots: New Chicago Architecture Center Builds Engagement

FALL 2018My mother owned a glittery pin that she used to wear in the 90s that said ‘Art Saves Lives.’ I always liked it, especially since at the time it was very tween-trendy to collect pins featuring clever sayings and places and pin them on your backpack or jean jacket (I also had one that said ‘Be careful, or we shall banish you to the Midwest!’) I still see that Art Saves Lives pin every day on the bulletin board above my desk.&nbsp;We say CGN is a cheerleader of the arts, and, as many in the art world experience an unpredictable market, I have been thinking about how to better communicate why art is important in my own life as well as how to make the case for why people should actually buy it.&nbsp;As art occupies more of the public space than ever, which is a positive thing, it still needs to be invested in and supported. The general points about why it’s good for individuals to buy art are because you love it, because it supports an artist, because it makes a statement, because it’s unique. However, to buy art costs money. So what justifies the financial outlay, when we are often able to enjoy images and the fruits of creativity for free at a time when many of us generally want fewer things?&nbsp;There is a new generation of art collectors coming of age. Baby Boomers still make up half of art buyers, but Millennials are the fastest growing group, according to a 2018 study by US Trust. More women are also buying art, and more new collectors seek to invest in art that will appreciate, as they are more likely to sell pieces than previous generations. &nbsp;Today both time and money are precious, and so is an attention span. While this rising demographic approaches a great deal of things in a more personally relevant way, how they value art may be more market–based, or even crowd–sourced as they seek to build a personal brand and rely more on data to inform their everyday lives. Millennials are also more likely to buy art online or to discover emerging artists via platforms like Instagram. They are engaged, but it may not be in person on a regular visit to a gallery.&nbsp;This brings me back to why art is important to me and how art can save lives. An artist’s view of the world, seen and experienced in person through a constructed object, a performance or a concept, can be a powerful learning resource as well as a lens through which to view history or what is happening right now. A work of art can memorialize a tragedy, and it can preserve beauty; it can provide a vehicle for&nbsp; participating in a larger community and also connect with the past.In this fall issue of CGN, artist <a href="https://www.chicagogallerynews.com/news/2018/8/artist-suellen-rocca-a-life-story-through-art">Suellen Rocca</a> shares her experiences of working with young children in museums as well as public schools. Observing the world around her informs her own art and has allowed&nbsp;her to help others think creatively. Art of the past also offers an ongoing and critical connection:&nbsp;"I believe—I’m sure many other artists do too—when an artist looks at a work of art from any period or culture and feels a connection with it, is drawn to it, it becomes a part of them and comes out in a very personal way."Dealer Catherine Edelman has started a nonprofit after more than 30 years running her own gallery. CASE Art Fund will award&nbsp;biannual grants to fine art photographers who are working on humanitarian issues. Edelman believes in the power of art and says, "It is our hope that when viewers see the work in a non-traditional manner, they will stop, think, ask questions and act. We firmly believe photography can effect change."Artist and community developer Theaster Gates opened the Stony Island Arts Bank three years ago. He is making a new community in the South Shore neighborhood while he also takes on new projects in his own artistic practice. When considering an artist's larger role in the world he says, "It’s part heart, and it’s part logistics. That’s art.’&nbsp;My message to buyers entering the market is to consider why art is what is left behind once we are gone. Art is not part of a personal brand that changes with the wind. Art that survives the ages should connect us to someone or some thing. To buy a work of art is to invest in an artist’s unique talent and be able to admire and learn from it everyday.&nbsp;– Ginny Van Alyea, CGN Publisher&nbsp;Pictured from left: Suellen Rocca, Bareshouldered Beauty, 1965, Oil on canvas, 83 1/4 x 59 3/4 inches, 213 x 158 cm.&nbsp;©️Suellen Rocca, Courtesy Matthew Marks Gallery;&nbsp;Theaster Gates at Stony Island Arts Bank with deinstalled materials from Cleveland gazebo where Tamir Rice was killed in 2016;&nbsp;©️Omar Imam, CASE Art Fund artist. Courtesy Catherine Edelman Gallery

Publisher's Letter: Art Saves Lives

By APRIL LANE

The Other Art Fair (TOAF),&nbsp;presented by Saatchi Art and heading into its 7th year in business,&nbsp;will make&nbsp;its first appearance in Chicago September 28-30, 2018&nbsp;at Mana Contemporary Chicago&nbsp;in&nbsp;Pilsen.&nbsp;TOAF&nbsp;has become&nbsp;known as the leading art fair for emerging artists in the United Kingdom, and with Chicago being an epicenter for art -- brimming with historic museums, theatres and galleries -- there&rsquo;s also an ever-growing population of independent, up-and-coming visual artists who would like to gain exposure by having their work featured in a big-name fair&nbsp;but who aren&rsquo;t yet connected with an established&nbsp;gallery or exhibitor who can get them in the door.

&ldquo;What we&#39;re trying to do is give a voice and a creative platform to those artists,&rdquo; says Ryan Stanier, founder and general manager of TOAF.

TOAF has received more than 500 applications for the Chicago fair, and its team of seasoned art world partners and staff are&nbsp;hand-selecting 120 artists to exhibit their work in the upcoming exhibition&nbsp;this&nbsp;fall. Exhibiting artists come largely from Chicago and throughout&nbsp;the Midwest, but also from as far&nbsp;as Beijing, India, Colombia, Toronto&nbsp;and London.&nbsp;

<img alt="" data-caption="Left; Moksha Kumar, Vadodara, Gujarat, India; Right: Alvaro Galindo, Chía, Colombia" data-rich-file-id="2928" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2928/original/art1.jpg" />

What TOAF says sets it aside from many&nbsp;bigger name fair competitors is that it explicitly&nbsp;tries to invite&nbsp;first time art buyers and&nbsp;novice collectors&nbsp;to search for original artwork alongside&nbsp;artists who are at the fair&nbsp;to speak for and represent themselves and their work. &ldquo;We&rsquo;re connecting local artists in Chicago to an art buying audience by&nbsp;saying, &lsquo;If you&rsquo;ve got $100, you can come to The Other Art Fair, and you can find an artwork which you can fall in love with and talk to the artist about, and then you can own it,&rsquo;&rdquo; explains&nbsp;Stanier. &quot;It really does make [the fair] accessible, and&hellip; that really is a big point of difference for us.&rdquo;

<img alt="" data-caption="Left: Pamela Staker, Chicago; Right: Raphaella Lima, Niterói, Brazil" data-rich-file-id="2932" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2932/original/art2.jpg" />

What started off in 2011 as a smaller fair that took place once a year in London to draw attention to emerging artists&nbsp;has ballooned into an international success. Over the past seven&nbsp;years, TOAF has held a total of 22 fairs and has featured more than 1,000 exhibiting artists. This year&nbsp;TOAF is hosting a total of 10 fairs in cities throughout the United States, UK and Australia.&nbsp;Moving forward in 2019&nbsp;Stanier says TOAF&rsquo;s plan is to increase the number of fairs per year&nbsp;to 15.

There&rsquo;s more to TOAF than just&nbsp;supporting local artists by selling art: the fair is meant to be an interactive experience for everyone who visits. The fair allows for visitors to spend a number of hours enjoying interactive art installations as well as&nbsp;various amenities, including&nbsp;music, numerous restaurant partners, virtual reality and tattoo projects. &ldquo;It&rsquo;s like when you go to a museum -- you almost want to experience something unexpected, and that&rsquo;s what we are really try getting across during the fair,&rdquo; says Stanier. &ldquo;Even if you come and don&rsquo;t buy anything, it doesn&rsquo;t matter. Ultimately, I want everyone to walk away saying that they had a really good day out.&rdquo;

&nbsp;

<h3>Other events at TOAF to note:</h3>

<h3>&nbsp;</h3>

<h4><img alt="" data-caption="Limited edition print by Chicago artist Hebru Brantley" data-rich-file-id="2929" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2929/original/hebru.jpg" /></h4>

<h4>GUEST ARTIST HEBRU BRANTLEY PRESENTED BY LITTLE BLACK PEARL</h4>

Purchase a limited edition print, exclusive to the fair, by acclaimed Chicago artist Hebru Brantley. All proceeds support our Charity Partner, Little Black Pearl.

&nbsp;

<h4><img alt="" data-caption="TOAF After Dark is Sept 29" data-rich-file-id="2930" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2930/original/nightout.jpg" /></h4>

<h4>TOAF AFTER DARK SPONSORED BY THE COOPER SOUTHBANK</h4>

The Other Art Fair and&nbsp;The Cooper Southbank&nbsp;give you Art&#39;s biggest Saturday night on September 29,&nbsp;6&ndash;10pm. Enjoy a late evening of art, live music, drinks and special programming. Tickets start from $13.50 and permit re-entry to the fair on Sunday September 30th.&nbsp;

&nbsp;

<img alt="" data-caption="Art activities and offerings for the youngest visitors" data-rich-file-id="2931" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2931/original/pages.jpg" />

<h4>THE LITTLE ART PAGES</h4>

Younger visitors explore the fair with a free creative newspaper suitable for all ages.

&nbsp;

&nbsp;

<a href="http://theotherartfair.com">The Other Art Fair</a> takes place September 28-30, 2018 at <a href="https://www.chicagogallerynews.com/institutions/mana-contemporary">Mana Comtemporary</a>&nbsp;(2233 S. Throop St.) in Pilsen. 

It happens to coincide with the 7th edition of <a href="https://www.chicagogallerynews.com/art-services/expo-chicago">EXPO CHICAGO</a> at Navy Pier.&nbsp;

Visit <a href="http://chicago.theotherartfair.com">theotherartfair.com</a> for more info.
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>
<style type="text/css">
</style>

The Other Art Fair comes to Chicago for the first time Sept 28-30, 2018

The Other Art Fair is coming to Chicago

<h2>Chicago&rsquo;s &lsquo;Art on theMART&rsquo; to debut world&rsquo;s largest video display in September</h2>

An ambitious plan to transform the facade of Chicago&rsquo;s iconic 1930&rsquo;s Merchandise Mart into a massive canvas for projected art is just weeks away from dazzling residents and tourists alike. Dubbed&nbsp;&ldquo;Art on theMART&rdquo;, the public installation will launch Saturday, September 29.

By&nbsp;Jay Koziarz, Curbed Chicago

<a href="https://chicago.curbed.com/2018/8/20/17728826/art-on-the-mart-september-opening">Read More</a>

&nbsp;

&nbsp;

<img alt="" data-rich-file-id="2933" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2933/original/badowski.jpg" />

<h2>Michigan Avenue sculpture by famed Israeli artist is gone</h2>

A brightly colored work by Yaacov Agam had stood in front of a building at 150 N. Michigan Ave. since 1983. It&#39;s now in storage.

By&nbsp;ARI BENDERSKY, Crains Chicago Business

<a href="http://www.chicagobusiness.com/news/michigan-avenue-sculpture-famed-israeli-artist-gone">Read More</a>

&nbsp;

&nbsp;

<img alt="" data-rich-file-id="2935" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2935/original/article0-large.jpg" />

<h2>Chicago&#39;s Sector&nbsp;2337, Home to&nbsp;the Green Lantern Press, To Close</h2>

Beginning in 2019, the artist-run nonprofit organization&nbsp;Green Lantern Press&nbsp;(GLP) will close its Chicago-based headquarters&nbsp;Sector 2337&nbsp;and continue its publishing, curatorial, and public programming projects remotely.

Via Artforum

<a href="https://www.artforum.com/news/chicago-s-sector-2337-home-to-the-green-lantern-press-to-close-76294">Read More&nbsp;</a>

&nbsp;

&nbsp;

<img alt="" data-rich-file-id="2934" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2934/original/screen-shot-2018-08-21-at-3-16-15-pm.jpg" />

<h2>Artists Explore a New Canvas: Tennis Courts</h2>

This project, &ldquo;Art Courts,&rdquo; was spearheaded by the United States Tennis Association as part of a 50th anniversary celebration of the U.S. Open. Organizers hope to inject a dash of enthusiasm and color into community tennis courts in underserved neighborhoods &mdash; as well as enliven a sport that, to some, possesses a reputation for stuffiness and adherence to rules.

By&nbsp;Andrew R. Chow, The New York Times

<a href="https://www.nytimes.com/2018/08/18/arts/design/us-open-tennis-art-courts.html">Read More&nbsp;</a>

&nbsp;

&nbsp;

<img alt="" data-rich-file-id="2936" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2936/original/180827-r32632.jpg" />

<h2>Alex Katz&rsquo;s Life in Art</h2>

Alex Katz is on fire. He said so himself, when I visited his studio one day this spring. &ldquo;One thing after another is coming up,&rdquo; the ninety-year-old said, flashing a wide smile that transformed his usual expression of slight gloom. His proposal to place a series of cutout sculptures of his wife, Ada, on the median of New York&rsquo;s Park Avenue had been accepted by the city, and he had been commissioned to enhance the interior of a subway station. &ldquo;I told them a couple of little mosaics in the subway isn&rsquo;t going to change anything, what you need is an environment&mdash;and they went for it,&rdquo; he said.&nbsp;

By&nbsp;Calvin Tomkins, The New Yorker

<a href="https://www.newyorker.com/magazine/2018/08/27/alex-katzs-life-in-art">Read More</a>

&nbsp;

&nbsp;

News from Around the Art World: August 21, 2018

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721417656/spaqbdesj1ojifwwkwfc.jpg"></figure>&nbsp;Lauren Grundhofer Peterson serves on so many philanthropic and professional arts organizations, her love of art could qualify as a full time personal passion. She serves on the The Auxiliary Board of The Art Institute of Chicago, and is an active member of the MCA’s Emerge, The Arts Club of Chicago, ArtTable, The Art Institute’s Sustaining Fellows, as well as numerous other alumni groups and charities. She has dedicated herself professionally to art since graduating from Boston College in 2003 and receiving a Master’s Degree from SAIC in 2009. After 11 years in Christie’s Chicago office, Lauren joined Phillips in 2017 to serve as Regional Representative, Chicago and Midwest, and Associate Vice President to establish a Midwest presence for the international auctioneer specializing in 20th Century &amp; Contemporary Art, Watches and Jewelry. We asked Lauren to share her story of working in the auction world as well as insider tips for treasure hunting by auction. – GV&nbsp;Chicago Gallery News: How did you become interested in contemporary art?Lauren Peterson: I had a strong interest in the Dada and Surrealist movements as an undergraduate at Boston College. I was fascinated by how these groups of artists reacted to the issues of their day – wars, technology, science, the advent of psychology, etc. During graduate school at the School of the Art Institute of Chicago (SAIC), I wanted to learn what the artists of my day were examining through their practices. I still find art schools to be a barometer of the way things are heading in contemporary art.&nbsp;CGN: Tell me a bit about the focus in general at Phillips, as well as what your new role in Chicago is?LP: Phillips is very focused, specializing in works from the 20th and 21st centuries, which makes us rather unique in the auction world. We have six departments: 20th Century and Contemporary Art, Photographs, Design, Editions, Watches and Jewelry. We also broker private sales. My colleague Carol Ehlers and I have been brought on to establish a presence for the firm in the Midwest.&nbsp;CGN: Do auction houses get a bad rap in the art world?LP: Yes and no. I think in any relationship business, a person’s understanding of it is based on the experiences they have with the professionals in that field. The key to a good experience is finding trustworthy, informed and qualified individuals – a gallerist, an art advisor, a curator, an auction specialist or all of the above. Auctions are transparent, since demand dictates price, and the market speaks. Auction houses also have resources. Phillips has a team of specialists around the world, and we encourage people to ask the tough questions, as we want anyone buying or selling with us to be comfortable with the process.&nbsp;CGN: Bidding: in person, or online?LP: The online experience has been transformed since I began in this business over 15 years ago. Call me old school, but I still advise collectors to preview works in-person when they are able. Previews are what make auctions unique. You can learn a lot by looking under the hood and examining museum-quality works in an intimate way. That said, once you’ve seen the artwork in person or been in touch with a specialist to answer questions, you can bid online or even by app from anywhere in the world without any issues.&nbsp;&nbsp;CGN: Estate Sales vs Auctions?LP: Estate sales certainly have a place in the ecosystem.&nbsp; The format tends to benefit the buyer because, when you are handling an entire household’s contents, some things may have been be overlooked. At Phillips, we are selective and seek out specific works to craft focused sales. Additionally, an auction is not just the day of the sale. Well before the hammer falls we are researching, writing essays, creating sale plans, organizing tours and events, speaking to the press, calling potential buyers and ensuring the best possible result for each of our consigners on the day of the sale.&nbsp;&nbsp;CGN: Weirdest valuation or work you’ve encountered?LP: When you think you’ve seen it all, something surprises. That said, very early on I worked with a collector who owned a Victorian hair wreath. The sentiment is sweet – these artifacts were made from the hair of a loved one and kept as a memento, often after that person had passed.In reality, I find them pretty creepy.&nbsp;CGN: Do you have advice for anyone unfamiliar with auctions?LP: Auction specialists love to educate and we often have an art history or fine art background. If someone has never been to a live auction, go visit a local house. It’s fun to see a sale in person and they’re usually open to the public. I also encourage people to go to New York in November and May for the previews and sales to see things that may not have come to market for years and may not be seen again for a generation – perhaps several.</body></html>

A Q&A with Lauren Peterson of Phillips Auction House in Chicago

Lauren G. Peterson: A Familiar Face Gets a New Start at Phillips

By Franck Mercurio

The best art engages viewers on multiple levels&mdash;emotional, intellectual, and spiritual&mdash;and the art of Renee Robbins does just that. Her colorful, faceted forms, inspired by nature, capture our imagination while prompting us to care about the environment and our own relationships with the natural world.

<img alt="" data-caption="Comma Size, gouache, watercolor, and colored pencil on paper, 15&quot; x 22&quot;, 2017" data-rich-file-id="2905" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2905/original/comma-size-72.jpg" />

A selection of Robbins&#39; paintings, prints, and multimedia works is currently on view in&nbsp;Hidden Worlds, a solo exhibition at the Peggy Notebaert Nature Museum (now open through October 20). The show features five of the artist&#39;s recent series, showcasing her creative range:&nbsp;Sea Change,&nbsp;Wunderkammer, Biota,&nbsp;The Love Letter Etchings, and&nbsp;Galactic Lagoons.

<img alt="" data-caption="Drawbridge 48&quot;x72&quot;, acrylic on canvas, from Sea Change series" data-rich-file-id="2903" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2903/original/drawbridge-72.jpg" />

Robbins&#39; work explores scale in particular, referencing everything from sub-atomic particles to cosmic bodies, often within the same piece. These visions of nature constitute the artist&#39;s &quot;hidden worlds&quot;&mdash;some too small to see without a microscope&mdash;others so vast and distant that only a telescope can reveal them.

This contrast of scale and form sparks curiosity in viewers. Why are certain forms repeated in nature? What are the connections between those structures? This questioning is akin to a scientific observer exploring a query in pursuit of knowledge.

In this way, Robbins&#39; art inspires wonder about the natural world, but also subtly informs viewers about environmental issues. In her&nbsp;Biotaseries, the artist investigates the flora and fauna of a distinct region, often through multiple views within a single painting. In addition to inspiring appreciation for the shear diversity of life within a given habitat, the&nbsp;Biota series also examines the ecology of those life forms&mdash;how they relate to one another and their natural environment.

<img alt="" data-caption="Lure 30&quot; x 30&quot;, acrylic on canvas, 2014. From the Galactic Series" data-rich-file-id="2906" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2906/original/galacticlure.jpg" />

Similarly, in her series&nbsp;Galactic Lagoons, Robbins examines the interconnectedness of natural forms in unconventional ways, while subtly communicating messages about conservation. In the artist&rsquo;s own words, this series &ldquo;brings together aquatic and celestial spaces to explore natural wonder.&rdquo; These paintings reflect Renee&#39;s fascination with aquatic life&mdash;but also suggest the importance of water as the giver of life. As such,&nbsp;Galactic Lagoons carries a universal conservation message: the importance of clean water for our own survival and the survival of the planet.

Only a few blocks east of the Peggy Notebaert Nature Museum, Robbins&#39; themes of water and hidden worlds play out in a big way. In her mural project&nbsp;Kaleidoscope of Hidden Worlds&nbsp;(2017), the artist imagines what lies hidden underneath the surface of Lake Michigan: the Morgan Shoal, reefs (past, present, and future) and the biodiversity of the lake. Located underneath Lake Shore Drive inside the Fullerton Avenue underpass, the murals&rsquo; imagery moves from small scale to large scale as pedestrians walk west to east towards Lake Michigan. In Robbins&#39; own words, the murals &ldquo;consider the complex relationships between humans, nature, and the cosmos.&quot; Many of the forms that Robbins creates in her paintings&mdash;microscopic images, molecular diagrams, cellular structures, and camouflage systems&mdash;appear at a much larger scale in the murals. To envision the &ldquo;hidden&rdquo; biodiversity of the lake allows us to better appreciate it&mdash;and then, hopefully, to act to conserve it.

<img alt="" data-caption="A Kaleidoscope of Hidden Worlds, Murals by Robbins on both sides of the Lake Shore Drive at Fullerton underpass" data-rich-file-id="2902" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2902/original/murals.jpg" />

Where is the human presence in Renee&#39;s work? Sometimes it shines through in very conspicuous ways, such as the WWI camouflage patterns that populate paintings such as&nbsp;Sanctuary (2017). But the human presence is also suggested in the way the artist mixes different natural forms from different sources; perhaps something that only a human observer might do.

But even the simple act of making images inspired by nature suggests that humans are actually a part of nature and not separate from it. Sometimes, it takes an artist to reinforce such a basic&mdash;yet vital&mdash;message.

<h4>Hidden Worlds, Paintings and Etchings by Renee Robbins</h4>

Peggy Notebaert Nature Museum&nbsp;

Thru Oct 20, 2018

&nbsp;

Related events:&nbsp;

Artist walk and talk: Sunday, October 14, 2-3:30pm (talk starts at 2:30)

&nbsp;

Image at top of page: Sanctuary, 2017

For more info visit the Nature Museum <a href="https://www.chicagogallerynews.com/institutions/peggy-notebaert-nature-museum">website</a>&nbsp;and Renee Robbins&#39; <a href="https://reneerobbins.com">website</a>&nbsp;
<style type="text/css">
</style>
<span style="border-top-left-radius: 2px; border-top-right-radius: 2px; border-bottom-right-radius: 2px; border-bottom-left-radius: 2px; text-indent: 20px; width: auto; padding: 0px 4px 0px 0px; text-align: center; font-style: normal; font-variant-caps: normal; font-weight: bold; font-stretch: normal; font-size: 11px; line-height: 20px; font-family: &quot;Helvetica Neue&quot;, Helvetica, sans-serif; color: rgb(255, 255, 255); background-image: url(data:image/svg+xml;base64,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); background-size: 14px 14px; background-color: rgb(189, 8, 28); position: absolute; opacity: 1; z-index: 8675309; display: none; cursor: pointer; border: none; -webkit-font-smoothing: antialiased; top: 169px; left: 27px; background-position: 3px 50%; background-repeat: no-repeat no-repeat;">Save<span style="border-top-left-radius: 2px; border-top-right-radius: 2px; border-bottom-right-radius: 2px; border-bottom-left-radius: 2px; text-indent: 20px; width: auto; padding: 0px 4px 0px 0px; text-align: center; font-style: normal; font-variant-caps: normal; font-weight: bold; font-stretch: normal; font-size: 11px; line-height: 20px; font-family: &quot;Helvetica Neue&quot;, Helvetica, sans-serif; color: rgb(255, 255, 255); background-image: url(data:image/svg+xml;base64,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); background-size: 14px 14px; background-color: rgb(189, 8, 28); position: absolute; opacity: 1; z-index: 8675309; display: none; cursor: pointer; border: none; -webkit-font-smoothing: antialiased; top: 169px; left: 27px; background-position: 3px 50%; background-repeat: no-repeat no-repeat;">Save
<style type="text/css">
</style>


&nbsp;

Renee Robbins: Revealing Colorful Worlds

Brought to you&nbsp;by popular demand, CGN has launched&nbsp;a weekly interview series similar to&nbsp;&#39;An Interview With a Dealer&#39; but with a&nbsp;focus on&nbsp;meeting&nbsp;and learning about one&nbsp;new artist. This week we feature Sandra Perlow.&nbsp;

&nbsp;

Age: 77

Hometown: Chicago, Illinois

Previous/other occupations: Art teacher in Chicago Public Schools;&nbsp;professor at Columbia College Chicago, and the School of the Art Institute of Chicago (SAIC).

&nbsp;

Favorite spot in the city?&nbsp;The Cultural Center&#39;s mosaic floors

Art supply store? Blick

Music or Podcasts? Music - Opera

Sweater or Hoodie? Sweater

Coffee or tea? Tea

&nbsp;

Share with us a little bit about your artistic background and training.&nbsp;

Sandra Perlow:&nbsp;When I was 8 years old my mother took me to the Art Institute of Chicago, and that trip sparked my excitement for painting, drawing, and patterns. I received my Bachelor of Art Education from SAIC because my mother wanted to make sure I would be able to make a living. I actually have 2 Master&#39;s degrees:&nbsp;an MFA from SAIC, and an MA from Illinois Institute of Design, which is sadly no longer in existence. Because of my degrees I was able to teach&nbsp;while simultaneously pursuing my own artwork. I started teaching art in Chicago Public Schools, and then I taught at Columbia College Chicago and SAIC. For over 30 years I taught courses in drawing and fundamentals of 2D design, which both influenced my own art work.

&nbsp;

What art&nbsp;has been particularly meaningful in your life?

SP:&nbsp;I am interested in the layers of history, particularly of the city of Chicago, and I&#39;m also inspired by architecture. You can say that shapes, images, writings and patterns of Chicago and the midwest, are meaningful to me. This translates well into my love of abstraction and collage. I hope that reflects in my work. Collage is all about layers and communication &ndash; not just people communicating with the pieces I create, but the materials themselves should communicate and interact with each other.

&nbsp;

Do you remember the first work of art that made a lasting impression on you?

SP:&nbsp;I don&#39;t know if I have a specific piece, but I&#39;ve been fascinated by [Pablo] Picasso ever since I learned about him and his work - specifically his Cubist period. I love how he made everything so fresh. Picasso had ideas that other people never thought about, and the way he expressed them through painting and sculpture has always inspired me. He was maybe the first artist&nbsp;I learned about who elevated the art of collage for me. Collage seemed like such a natural progression for him, and everything influenced his work. He was fearless and tried everything.

&nbsp;

Please describe your studio.&nbsp; &nbsp;

SP:&nbsp;My studio has 12 foot tall white walls, which are&nbsp;large enough for me to hang my work&nbsp;and then stand back and really take a good look at the piece and decide what to do next. I have a section of the studio dedicated to &ldquo;office&rdquo; things, with a computer, artwork by colleagues, a flat file for specialty papers, a couch, coffee table, and a bookshelf filled with artist books for reference.

My studio is located in the Loop. I love the location, because everything is simultaneously old and new, sloppy and clean. You see brand new buildings next to old ones, and there is always a buzz in the air.

&nbsp;

How do you know when a piece of yours is finished?

SP:&nbsp;It&#39;s a gut feeling. The key is to not overwork&nbsp;it and make sure it doesn&#39;t lose its freshness.

&nbsp;

What do you do when you feel creatively blocked?

SP:&nbsp;Usually I take a little breather. I&#39;ll step away from my work for a week&nbsp;and then ease back into it;&nbsp;little by little it comes back.

&nbsp;

You have $400 to spend on art supplies, what do you purchase?

SP:&nbsp;Different brushes, interesting papers, colored inks, different brands of gouache and Golden brand acrylic paints. I&#39;ve been really drawn to yellows recently, and I just purchased a tube of &ldquo;Interference Green (fine)&rdquo; by Golden. It&#39;s an iridescent green sheen that I&#39;m excited to play around with. I would probably look for more paints like that to experiment with.

&nbsp;

Do you have a role model or mentor?

SP:&nbsp;I wish I had one when I was younger. Years ago I was very quiet and kept to myself regarding my work. My father was a pharmacist and my mother really wanted me to be something. Her husband died when she was young and she wasn&#39;t much of a people person. I made sure to marry someone who was diligent in life and work, who was a great role model for me in working hard and accomplishing what I set my mind to.

Regarding role models in the art world, I&#39;d say Jonathan Lasker, George Condo, William Conger, and David Sharpe.

&nbsp;

What should we expect to see from you next?

SP: More collage inspired work, more monoprints. and I might take a course in printmaking to see what else I can combine in future work.

&nbsp;

&nbsp;
<style type="text/css">
</style>