Brought to you&nbsp;by popular demand, CGN has launched&nbsp;a new weekly interview series reminiscent of &#39;An Interview With a Dealer&#39; with the focus on&nbsp;meeting&nbsp;and learning about one&nbsp;new artist each week. This week, our first installment of the series features Dabin Ahn, represented by <a href="https://www.chicagogallerynews.com/galleries/andrew-bae-gallery">Andrew Bae Gallery</a>.&nbsp;

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Age: 30&nbsp;

Hometown: Seoul / Chicago

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Spot in the city:&nbsp;Starbucks (2nd floor, 1003 N Rush St)

Art supply store:&nbsp;Blick Art Materials

Music or Podcasts:&nbsp;Music

Sweater or Hoodie:&nbsp;Hoodie

Coffee or Tea:&nbsp;Coffee

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CGN: Share with us a little bit about your artistic background and training.

DA:&nbsp;Ever since I made my first oil painting on a stretched canvas in 2007, my work has been strictly about depicting figures and objects in a realistic manner. During my BFA program at the School of the Art Institute of Chicago, I was encouraged to depart from my old habits and lots of fun things started to happen in my work.

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CGN: What art&nbsp;has been particularly meaningful in your life?

DA: It has always been, and most likely always will be, traditional painting on canvas. I surely will expand my work at some point and possibly incorporate other media, but nothing will satisfy me more than the process of making a 2-dimensional painting.

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CGN: Do you remember the first work of art that made a lasting impression on you?

DA: It is probably the very first painting that I ever sold during my first solo show in 2011. The 18 x 24in self-portrait was lacking in many ways, but it was a good fail as I learned what to do (and what not to do) when making a painting.

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CGN: Describe your studio!

DA: I do not have a studio at the moment. It has been about 2 years since I started working at home and&nbsp;I paint in my bathroom, to be more specific. While it may&nbsp;not sound like a suitable space for making work,&nbsp;there is&nbsp;ventilation in the ceiling, enough room for a table and&nbsp;stool, and most importantly I can hang canvases up to 60 inches on one of the walls. It&rsquo;s free!

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CGN: Anything you can&rsquo;t work without?

DA: Jerky maker. I place it near wet paintings and everything is dry in just few hours. Definitely by the next morning.

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CGN: How do you know when a piece of yours is finished?

DA: Since I always work with a sketch, it is easy to know when my work is complete. I just don&rsquo;t know when to stop with my sketches. I spend much more time working on my sketches than the actual paintings.

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CGN: What do you do when you feel creatively blocked?

DA: I personally&nbsp;haven&#39;t had that experience, but taking some time away from looking at art and making art would probably work for me.

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CGN: You have three minutes to take anything you want from an art supply store, what do you grab?

DA: 2 x Double primed linen rolls. Both of my hands would be already full, but I&#39;d be very happy about the situation.

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CGN: Do you have a role model or mentor?

DA: Gerhard Richter and Jerry Saltz.

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CGN: What should we expect to see from you next?

DA: Today is July 12th&nbsp;and my solo show opens tomorrow at Andrew Bae Gallery. I have prepared a lot and hope to see many faces at the opening and throughout the show.

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Dabin Ahn is represented by Andrew Bae Gallery. For further information regarding Dabin and his upcoming show please visit <a href="https://www.chicagogallerynews.com/galleries/andrew-bae-gallery">Andrew Bae Gallery</a>.

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Artist Insights: Dabin Ahn

Recently the West Town-based Conservation Center shared a story with its clients and CGN about some recent restoration efforts, one of which pertains the gorgeous exhibition on view now at the Art Institute of Chicago featuring the art of Charles White. Following is the post from the <a href="https://www.chicagogallerynews.com/art-services/the-conservation-center--2">Conservation Center.&nbsp;</a>

By THE CONSERVATION CENTER

&quot;Charlie said to me, on more than one occasion, to focus on making the best drawing or painting you can. The ideas will take care of themselves. After all, you are making a picture. Its power has to be projected by its presence. This is clearly the case with just about every work he made.&quot; &ndash;&nbsp;Kerry James Marshall

Charles White, born and educated in Chicago, was one of the preeminent artists to emerge during the city&rsquo;s Black Renaissance of the 1930s and 1940s. This year, White&rsquo;s hometown is recognizing his contribution to the portrayal of African American culture and history with a retrospective of the artist&rsquo;s paintings, drawings, and prints at the&nbsp;Art Institute of Chicago. After being on display in Chicago from now until September, the exhibition will travel on to&nbsp;New York&rsquo;s Museum of Modern Art&nbsp;and&nbsp;Los Angeles&rsquo; County Museum of Art.

<img alt="" data-caption="Charles White at home in Altadena, California, 1971. Image courtesy of The Charles White Archives." data-rich-file-id="2854" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2854/original/charles-2bwhite-portrait.jpg" />

In correlation with the exhibition, we wanted to share our recent treatment of a 1965 Charles White lithograph that came to us from a private client who had concerns about framing damage. The lithograph on paper, titled &ldquo;Juba&rdquo;, had been passed down to our client Stacy Robinson by her father Louie Robinson, who was a journalist,&nbsp;one of the founders of&nbsp;Ebony Magazine, and a friend of Charles White. &quot;My father&#39;s work put him in close contact with many prominent Black actors, sports figures, and influencers of the 1960s, 70s, and early 80s,&quot; Stacy shared with us.

<img alt="" data-caption="Louie Robinson in the 1960s. Image courtesy of the Robinson family." data-rich-file-id="2852" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2852/original/1.jpg" />

Stacy&#39;s mother worked for a state college, and enjoyed collecting art by African American artists. &quot;Her collection included works by Charles White, Ernie Barnes, Elizabeth Catlett, and a Chicago artist named Bob Lee. Most of them were artists she and my father knew personally, or met over the years,&quot; Stacy explained. When Stacy&#39;s father passed away in 2015, her mother moved to Chicago.&nbsp;It was at this time that Stacy and her sister began to adopt some of the collection.&nbsp;&quot;My sister chose a very large portrait of Satchel Paige by Ernie Barnes.&nbsp;The Charles White was always my favorite so I brought it home and hung it in my living room.&quot;

&quot;I just knew this artwork wasn&rsquo;t being displayed to show it&rsquo;s ultimate beauty and I was also worried about fading and deterioration over the years. I researched some options and found The Conservation Center. I liked The Center&rsquo;s background and it seemed like the perfect fit for us,&quot; Stacy explained.

Upon unframing the piece, our conservators noticed the work was signed with a dedication to Louie Robinson. &ldquo;To you, with warmest regards and many thanks,&rdquo; was written carefully next to the title, signature, and blind stamp along the bottom edge of the lithograph.

&quot;The added gift was when I saw the signature by Charles White and that it included an inscription to my father, Louie. It turns out that my father had written a series of articles on Charles White, and the most extensive was written for Ebony Magazine in the 1960s entitled,&nbsp;Charles White &ndash; Portrayer of Black Dignity.&nbsp;The piece was actually a gift from the artist to my father.&quot;

The piece exhibited mat burn and a light strike within the mat opening. One of our client&rsquo;s concerns was the mat margin, as the large mat borders extended into the piece and hid some of exterior edges of the lithograph&rsquo;s image.

The piece exhibited age-related discoloration and select handling dents throughout. There was also a layer of minimal surface soil, and residual pressure sensitive tape stains on the verso margin edges.

The frame itself exhibited a moderate layer of particulates, abrasions, and scratches. There were multiple dents throughout, and the glazing was not UV-filtering. The matting and backing board were non-archival and acidic. When we removed the piece from its frame, we discovered a 1968&nbsp;Los Angeles Times&nbsp;newspaper between the backing board and the print. Our client, who was unaware of the clipping before bringing the work to The Center, was delighted to learn of the news. &ldquo;It was dated 1968 with a picture of newlyweds Jackie Kennedy and Aristotle Onassis on the front page. It was kind of like finding a time capsule!&rdquo; she told us.

Our Paper Conservators began their treatment by surface cleaning the lithograph on the recto and verso using dry methods. Next, the adhesive stains on the verso were mechanically reduced. The piece was then water bathed and light bleached to reduce discoloration and staining, to raise the pH neutrality, and to relax the overall sheet.

<img alt="" data-rich-file-id="2853" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2853/original/before1.jpg" />

Our client elected to keep the original frame and have the piece reassembled with new matting. Our Framing Conservators began their treatment by cleaning the frame using the appropriate solvents. Next, scratches and abrasions in the frame were retouched as best as possible. The piece was float mounted on an archival 4-ply mat, to allow for the full image to be visible.&nbsp;The piece was then reassembled in the frame with a conservation grade glass that protects against UV light rays. An acid free coroplast backing board was attached to the reverse to provide additional protection, and the hanging hardware was replaced. The newspaper was retained separately from the piece, and returned to the client to live on as part of the work&rsquo;s story.

<img alt="" data-rich-file-id="2851" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2851/original/before.jpg" />

When the piece was returned to Stacy, she was delighted with the treatment results. &ldquo;I&rsquo;m very excited with the results of the restoration. The work looks beautiful. The restoration team was able to not only restore the brilliance of the print, but reduce the discoloration caused by the haphazard mat and frame job we had before. The whole restoration process has really been an enjoyable experience of search and discovery.&rdquo;

Luis Serrano,&nbsp;a renowned artist and professor, attended the Art Institute&#39;s opening gala for the exhibition on June 8th.&nbsp;After the event, Serrano was kind enough to share his reflection on the piece we treated in relation to White&#39;s work.&nbsp;

&quot;Charles White&rsquo;s teachings and art transcend time, race, politics, and culture. His masterful use and distribution of tonal values, as well as the creation of harmonious atmospheric pictorial space create powerful poetic effects as evidenced in &#39;Juba.&#39;&quot;&nbsp;

Heather Becker, The Center&#39;s CEO, was also present at the Art Institute opening. As a graduate of the School of the Art Institute and a large advocate of Charles White&#39;s work, Heather was eager to show her support.

Becker shared, &quot;I highly recommend going to see this inspirational body of work by Charles White currently on exhibit at the Art Institute of Chicago if you have not already.&rdquo;

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<a href="https://www.chicagogallerynews.com/calendar/charles-white-a-retrospective">Charles White: A Retrospective</a>&nbsp;runs through&nbsp;September 3, 2018 at the Art Institute of Chicago.
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The Conservation Center restores a Charles White lithograph from 1965

The Careful Conservation of a Charles White Lithograph 

<h2>Theaster Gates salutes the spaces where Ebony and Jet&nbsp;happened</h2>

&ldquo;A Johnson Publishing Story,&rdquo; an exhibition that opened in Chicago last week, memorializes the iconic tastes of the late John and Eunice Johnson, pioneers in African-American publishing, fashion and cosmetics. Chicago artist/developer Theaster Gates has installed select furnishings from the Johnson Publishing Co. offices in the Ebony/Jet building that opened in 1972.

Besides a stylish desk, credenza and sofa, there&rsquo;s an IBM Selectric typewriter custom-clad in red alligator leather. Autographed copies of books by Richard Wright and Langston Hughes are on view too. Cards inform visitors: &ldquo;These objects are sacred, please be respectful.&rdquo;

By Bill Stamets, Chicago Sun Times

<a href="https://chicago.suntimes.com/entertainment/theaster-gates-salutes-the-spaces-where-ebony-and-jet-happened/">Read More</a>

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<img alt="" data-caption="Saul Bass, Vertigo film poster. Courtesy of The Saul Bass Poster Archive &amp; Saul in his office, 1970s. From Saul Bass: A Life in Film &amp; Design. Courtesy of Laurence King Publishing." data-rich-file-id="2842" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2842/original/made-america-fall-in-love-with-alfred-hitchcock-and-quaker-oats.jpg" />

<h2>This Artist&rsquo;s Radical Designs Made America Fall in Love with Alfred Hitchcock and Quaker Oats</h2>

They called him the&nbsp;Pablo Picasso&nbsp;of commercial artists. For over 50 years, beginning in the late 1940s,&nbsp;Saul Bass&nbsp;crafted quietly brilliant images for Hollywood and Madison Avenue, many of which still feel strikingly contemporary decades later. Much like Picasso, he reinvented himself again and again throughout his long life, excelling at wildly different genres of visual art&mdash;you can&rsquo;t talk about Bass without talking about posters, logos, feature films, documentary shorts, or title sequences.

By Jackson Arn, Artsy Editorial

<a href="https://www.artsy.net/article/artsy-editorial-artists-radical-designs-made-america-fall-love-alfred-hitchcock-quaker-oats">Read More</a>

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<img alt="" data-caption="Enclosure C at Göbekli Tepe in southern Turkey. Photo: Vincent J. Musi/National Geographic Creative" data-rich-file-id="2843" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2843/original/site-of-the-earliest-known-temple-on-earth-continues-to-keep-its-secrets.jpg" />

<h2>The site of the earliest known temple on earth continues to keep its secrets</h2>

One morning in May I stood in a dark room in southern Turkey, watching blue-skinned early humans domesticate wheat between bouts of interpretive dance. They were holograms, and they swayed across the walls to a doomy arrangement of bells, drums, and spectral voices: the soundtrack to the dawn of time. The display was a concession to drama in an otherwise austere complex of new museums &ndash; low, tan, elliptical structures tucked into a dip in the Harran plain &ndash; built to ease visits to G&ouml;bekli Tepe, a hilltop cluster of stone circles that is sometimes described as the earliest temple on earth. The museums take their shape from the limestone ruins a short walk up the rise, but for all the touch screens and soft-power gloss &ndash; this is the project of a large Turkish conglomerate &ndash; their&nbsp;raison d&rsquo;&ecirc;tre&nbsp;could hardly be more mysterious.

By Yasmine Seale, Apollo Magazine

<a href="https://www.apollo-magazine.com/the-site-of-the-earliest-known-temple-on-earth-continues-to-keep-its-secrets/">Read More</a>

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<img alt="" data-caption="Édouard Manet, Woman in Striped Dress, before and after treatment, (1877-80) Solomon R. Guggenheim Foundation, 2018; photos: Kris McKay and Allison Chipak" data-rich-file-id="2845" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2845/original/woman-in-striped-dressbefore-and-after.jpg" />

<h2>What colour is this dress? Guggenheim reveals Manet painting after three years of restoration</h2>

A freshly-cleaned fashion statement by &Eacute;douard Manet goes back on view at the Solomon R. Guggenheim Museum in New York today (29 June) for the summer, after three years of research and restoration. The free and expressive brushstrokes and bright colours of Woman in Striped Dress (around 1877-80), a full-length portrait of an unidentified model&mdash;and of the dress itself&mdash;were hidden under two layers of discoloured varnish.

&ldquo;Especially towards the end of his life, [Manet] was really quite modern in the way that he approached the canvas and he would describe things with very few touches,&rdquo; says Lena Stringari, the deputy director and chief conservator of the Guggenheim Foundation, who led the project. &ldquo;As this very thick and unsightly varnish came off, you could see how just with a few little touches he could make something sing.&rdquo;

By Victoria Stapley-Brown, The Art Newspaper

<a href="https://www.theartnewspaper.com/news/guggenheim-says-yes-to-the-dress-with-manet-painting-restoration-reveal">Read More</a>

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<img alt="" data-caption="TEER, Tehran’s first contemporary art fair, takes place in a high-rise car park. Photo courtesy of the organizers." data-rich-file-id="2844" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2844/original/teer01-1024x692.jpg" />

<h2>&lsquo;Art Is Almost Free&rsquo;: Iran Opens Its First-Ever Art Fair&mdash;Just as the Value of the Country&rsquo;s Currency Plummets</h2>

Imagine you are a gallerist preparing to attend an art fair. But almost overnight, the value of the works you plan to sell drops by half.

What is a bad dream for some dealers is a reality in Tehran, where 10 dealers gathered last week to participate in the country&rsquo;s first art fair. Teer Art opened&nbsp;against the backdrop of protests&nbsp;in the Iranian capital as the country&rsquo;s currency, the rial, hit a new low. Since the US withdrew from the Iranian nuclear deal in May, the rial has lost more than 40 percent of its value. Against all odds, however, the mood on the fair&rsquo;s opening day on June 24 was positive. There&rsquo;s a first time for everything, and for this first edition of an art fair in Tehran, just opening on time is an achievement.

By Tahereh Sariban, Artnet News

<a href="https://news.artnet.com/market/donald-trump-irans-currency-free-fall-not-stop-tehrans-first-art-fair-1311443?utm_content=from_www.artnet.com&amp;utm_source=Sailthru&amp;utm_medium=email&amp;utm_campaign=US%20newsletter%20for%207%2F2%2F18&amp;utm_term=New%20US%20Newsletter%20List">Read More</a>

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News from Around the Art World: July 2, 2018

<h3>Below is CGN&#39;s summary of recent art-world news and changes.&nbsp;</h3>

<h3>To send us your news&nbsp;<a href="mailto:info@chicagogallerynews.com?subject=News%20Submission&amp;body=Please%20add%20my%20update%20to%20your%20next%20CGN%20news%20summary.">email us</a>.&nbsp;</h3>

<h3>&nbsp;</h3>

<h3>&bull; Passings</h3>

Sabina Ott, artist, professor and local creative champion died at age 62. After a four-year battle with cancer, Ott passed away at home Tuesday, June 26. She exhibited extensively throughout Chicago any beyond, and she was represented by Aspect/Ratio. <a href="https://www.chicagogallerynews.com/news/2018/6/artist-and-professor-sabina-ott-dies-at-62">Read more here.&nbsp;</a>

Long-time&nbsp;art dealer Roy Boyd died on Wednesday nearly four years after closing his eponymous River North gallery. Read CGN&#39;s full tribute <a href="https://www.chicagogallerynews.com/news/2018/6/founding-river-north-dealer-roy-boyd-has-died">here</a>.&nbsp;

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<h3>&bull; Art World Moves and&nbsp;Updates</h3>

<a href="https://www.chicagogallerynews.com/art-services/leslie-hindman-auctioneers--3">Leslie Hindman Auctioneers </a>announced&nbsp;that the firm appointed Thomas Galbraith as Chief Executive Officer, effective June 4, 2018. He succeeds Hindman who founded the firm in 1982. The appointment follows a private equity investment that positions the firm for aggressive growth. 
&nbsp; 
Galbraith co-founded The Petraeus Group in 2010. The consulting firm has provided growth and start-up strategies to Steven Murphy &amp; Partners, Art Dubai, Paddle8,&nbsp;Arthena&nbsp;and numerous other luxury brands and VC firms. During this time, Galbraith also served as Managing Director of Paddle8 and prior to that as Director of Global Strategy for Artnet. He was most recently appointed interim CEO by the board of Twyla, a Google&nbsp;Ventures backed&nbsp;startup, tasked with repositioning the company towards a more profitable future.

Hindman will be stepping back from the day-to-day operations of the auction house and&nbsp;said,&nbsp;&ldquo;We are extremely excited to have Thomas join us as CEO. With his experience at the&nbsp;cross section&nbsp;of technology and&nbsp;art, and his reputation as a thought leader in the industry, we are poised for future expansion.&quot; Hindman will still serve as Chair of the firm&#39;s board.

Melanee Cooper Gallery, which was based in Chicago in River North&nbsp;until closing in 2009 when Cooper relocated to California,&nbsp;will be&nbsp;re-opening after a nine year hiatus. Cooper calls her return to her original gallery space at 740 N. Franklin Street &quot;serendipitous.&quot;&nbsp;Cooper is pleased to be among her old neighbors and plans a September 7 opening in conjunction with fellow River North galleries and the River North Design District.&nbsp;

&nbsp;

<h3>&bull; Artist Awards and Exhibitions Elsewhere</h3>

Richard Gray Gallery artist and Stony Island Arts Bank founder&nbsp;Theaster Gates received&nbsp;the Kurt Schwitters Prize.&nbsp;The award ceremony took place on the occasion of&nbsp;Theaster Gates: Black Madonna&nbsp;opening at Sprengel Museum Hannover.&nbsp;Spanning across four European institutions,&nbsp;Black Madonna&nbsp;is a multi-part project that explores the history of the black woman and her image. Additionally Theaster Gates: Black Madonna&nbsp;at the Kunstmuseum Basel&nbsp;takes place in&nbsp;two of the museum&rsquo;s locations.&nbsp;

<img alt="" data-caption="Theaster Gates" data-rich-file-id="2838" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2838/original/gates.jpg" />

Ben Blount, whose exhibition Typecast is on view at <a href="https://www.chicagogallerynews.com/calendar/ben-blount-typecast">Aron Packer Projects</a> in the CGN office through July 28, has a billboard up on the 606 Trail at Kimball Ave. featuring his Make American Great Again art &ndash; read between the lines when you go by.&nbsp;

<img alt="" data-caption="Ben Blount's 606 Trail Billboard" data-rich-file-id="2841" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2841/original/blount.jpg" />

Artist&nbsp;Lynn Basa&nbsp;has received the largest public art commission in the history of the Wicker Park and Bucktown neighborhoods for&nbsp;<a href="http://www.wickerparkbucktown.com/art-around-wpb/future/one-big-thing-lynn-basa-s-workers-cottage/">Worker Cottage Parklet</a>, a sculptural installation that pays homage to the traditional Chicago &ldquo;worker cottages&rdquo; frequently found in working- and middle-class neighborhoods in the nineteenth century. The $80,000 commission was awarded to Basa by&nbsp;Wicker Park Bucktown Special Service Area #33, the neighborhood&rsquo;s business improvement district,&nbsp;after an extensive call for artists and jury process led by Chicago art professionals.

Basa&rsquo;s&nbsp;Worker Cottage Parklet&nbsp;will be installed by July 2018 at the highly visible intersection of Milwaukee Avenue and Wood Street in Wicker Park. The intersection was redesigned in 2014 by the Chicago Department of Transportation in collaboration with WPB SSA #33 and 1st Ward Alderman Joe Moreno, to create a safer transit environment and develop a location specifically for a future public artwork.

<img alt="" data-caption="A rendering of Worker Cottage Parklet by Lynn Basa" data-rich-file-id="2839" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2839/original/worker-cottage.jpg" />

A giant silver hand by artist Kavi Gupta Gallery artist&nbsp;Tony Tasset&nbsp;is part of&nbsp;<a href="https://frontart.org">FRONT International Cleveland Triennial for Contemporary Art</a>. When finished, the 7-ton work will stand 21 feet high.&nbsp;FRONT will be held July 14&ndash;Sept. 30 at 18 venues and dozens of sites in downtown Cleveland, Ohio City, University Circle, Akron and Oberlin. (Image pictured at top of page)

<h3>&nbsp;</h3>

<h3>&bull; Announcements</h3>

<a href="http://www.chicagoartdepartment.org">Chicago Art Department</a> is excited to announce the pilot program for the&nbsp;Core Residency Program,&nbsp;an ambitious intervention in the field, one that will challenge&nbsp;artists, organizers, cultural producers to lead studio work, exhibitions, and public programs around topics that matter. 
 
Each of CAD&#39;s Core Residencies will come with the challenge of exploring inside a specific topic, and&nbsp;will be fully-funded with stipends and budgets to support professional development. Core Stipends will be $2000 per residency, which will include $500 to specifically support professional development enrolling in outside programs at organizations such as Hyde Park Art Center, Lillstreet Art Center, Spudnik Press, and Chicago Artists Coalition. Applications are due&nbsp;July&nbsp;8, 2018.

<img alt="" data-caption="Outside the Chicago Art Department" data-rich-file-id="2840" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2840/original/cad.jpg" />

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Top of page: Tony Tasset&#39;s giant hand sculpture will be installed in Cleveland as part of FRONT

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A mostly monthly round up of news from around the Chicago art world.

In the News: Updates from the CGN Art Community Vol. 2

By GINNY VAN ALYEAVeteran art dealer Roy Boyd passed away this morning, according to friend and long-time gallery artist Betty Cleeland.&nbsp;Boyd is&nbsp;survived by four sisters.Boyd's&nbsp;eponymous&nbsp;gallery, which he opened with his late wife Ann&nbsp;in 1972, closed in October 2014 after 42 years in business.&nbsp;Boyd served as president of the Chicago Art Dealers Association from 2003–2007, and the gallery participated in the original&nbsp;International Art Exposition at Navy Pier in the 1980s&nbsp;as well as Art Chicago and other international art fairs for many years.The Boyds opened Roy Boyd Gallery first&nbsp;in suburban Western Springs, before moving in 1976&nbsp;to downtown Chicago near the original site of the Museum of Contemporary Art&nbsp;(the museum opened in 1967 at 237 East Ontario). In 1979 they moved to West Superior Street to the second floor above Young Hoffman Gallery, along with&nbsp;Jack Lemon's&nbsp;Landfall Press. In a 2012 CGN interview&nbsp;Ann Boyd recalled, "It was a wonderful time. There was hardly any activity during the day, but people who came to see us came for a purpose. We were all feeling pressure to have higher ceilings, more space for art, more elbowroom during openings. Some artists thought we were crazy, until they&nbsp;saw the big spaces and recognized the sense of camraderie. Our insurance when we started was $1,500 a month because our agent thought all of our windows would be smashed." By 1983 16 galleries had opened in what would soon be known as River North.&nbsp;The gallery's ultimate home was at&nbsp;739 N. Wells, where the couple lived in an apartment above the gallery.&nbsp;Boyd&nbsp;opened a second location&nbsp;in Los Angeles from 1981–1993.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2835/original/boyd30th-copy.jpg" alt=""><figcaption>Ann and Roy Boyd with friend Edward Albee (left)</figcaption></figure>Roy became a personal friend&nbsp;during my early years working at Chicago Gallery News and the Chicago Art Dealers Association&nbsp;with Natalie van Straaten, and he continued to be a great supporter&nbsp;throughout my first years as CGN&nbsp;publisher. He was good company, whether he was stopping by our old lower level office on Franklin&nbsp;for a CADA meeeting or just a long chat.One of my favorite memories is from one day in 2007, quite a while before the 2008 presidential election, when attention in town and around the country was growing around Barack Obama. The CGN office was still located &nbsp;at 730 N. Franklin, in the lower level of the Central Arts Building and&nbsp;underneath Andrew Bae Gallery. One of the other tenants in the building was&nbsp;David Axelrod, who was advising Obama at the time. Because his profile was still low, Obama would come to the building for meetings from time to time. One day, while Roy was on my couch for one of our usual chats, we noticed a large SUV pull-up outside the building entrance and saw Obama&nbsp;dash in with his security detail.&nbsp;Others&nbsp;noticed too and&nbsp;gathered to wait&nbsp;in growing numbers. After waiting long enough hoping to&nbsp;glimpse the state senator another time, Roy decided it was time to walk back to the gallery. Wearing his own signature all-black outfit and ball cap, Boyd opened the front door of the Central Arts Building and strode outside into the crowd, which in its frenzy to snap pictures of Obama, ended up with pictures instead of a friendly, but certainly not politically famous, local art dealer, smiling at his mistaken celebrity.&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2836/original/roy2.jpg" alt=""></figure>Roy was always good for a joke and a laugh.&nbsp;His openings promoted and honored his artists and&nbsp;served as gatherings for many art world friends. The post-opening dinners he and Ann threw in their apartment above the gallery&nbsp;were a special chance to&nbsp;relax and connect with new friends and old while celebrating the artist of the evening.&nbsp;Boyd's gallery&nbsp;roster was packed with artists who worked primarily in abstraction. Many painted&nbsp;in&nbsp;vibrant colors and used bold textures, while other artists&nbsp;worked in sculpture using wood, or metal.&nbsp;Over the years represented and exhibited&nbsp;artists included, to name a few,&nbsp;William Conger, Sarah Krepp, Betty Cleeland, Roland Ginzel, Daniel Bodner, Jay Phillips, Joan Livingston, Carlos Estrada-Vega,&nbsp;Jerome Powers, Anne Wilson,&nbsp;Mark Arctander,&nbsp;Teo González, Dan Ramirez, Jay Kelly, John Fraser,&nbsp;Mario Trejo,&nbsp;Brigitte Riesebrodt,&nbsp;Buzz Spector, Joel Perlman,&nbsp;Vadim Katznelson, and Markus Linnenbrink. Many area collections began at the Boyds' gallery, as visitors were drawn in as much by the friendly and knowledgeable dealers&nbsp;as the accessible and appealing art.Roy and Ann kept things interesting for the gallery and for themselves until the end, as they continued to take on&nbsp;new artists whose art they just enjoyed and whose friendship they cherished. In 2013 to mark four decades in business,&nbsp;the Boyds let their artists take over the commeorative exhibition. At the time Boyd said,&nbsp;"We're going to just have a group show for our 40th anniversary. We're letting our artists submit their favorite old work, or they can submit something new. We just wanted to recognize the people we've worked so well with."Ann Boyd passed away in April 2013. Roy is now greatly missed as well.&nbsp;This post will be updated as we confirm more details.&nbsp;Top image: Roy and Ann Boyd, 2007.

Roy Boyd Chicago art dealer passed away June 27, 2018

Founding River North Dealer Roy Boyd Has Died

Each week CGN interviews a local art-industry professional to discuss the ins and outs of running a space&nbsp;in the city of Chicago. This week we caught up with Michelle Graves, Chair of <a href="http://www.agitatorgallery.com/">Agitator Co-operative Gallery</a>.

&nbsp;

Age: 38

Current Position: Chair of Agitator Co-operative Gallery

Hometown: Lafayette, IN&nbsp;-&gt; Bloomington, IN -&gt; NYC -&gt; Chicago resident since 2004

Current other occupations: Director of <a href="http://stateoftheartchicago.com">State of the Art</a>;&nbsp;Adobe (Certified Expert) Instructor at Digital Bootcamp, Ascend Training and Columbia College Chicago

&nbsp;

5 favorites from the past week:

Restaurant: Feed - Quarter dark chicken with mashed potatoes/gravy and fried okra!

Shop: Savvy Seconds and 1sts - best resale shop in town. I frequented Christin&rsquo;s shop so much, we became each other&rsquo;s ride-or-die and now travel internationally together.

Read: The Order of Time by Carlo Rovelli - a fascinating read on time and how it relates to physical heat and the human perspective.

Neighborhood: I currently live in the beautiful Humboldt Park area, 5 minutes from my art studio in East Garfield Park and 10 minutes from Agitator in Wicker Park/West Town.

Music: I grew up on garage punk/rock, watching bands play in basements, but my current taste is eclectic. Some current favorites across the genres are Shannon and the Clams, L.A. Witch, The Spits, Future Islands, and Motor City Drum Ensemble.

&nbsp;

CGN:&nbsp;Tell us a little bit about your background and the journey that has led you to work with Agitator Co-operative Gallery?

MG: My entire background involves fine art. I was always involved with art organizations in and outside of academia. Through the years, I slowly began to gain confidence as an artist and embraced leadership skills as well as interest in business that I was surprised to possess.

I&nbsp;credit the Chicago Outfit Roller Derby team with&nbsp;giving me&nbsp;major leadership and business knowledge;&nbsp;I was a co-founding member and original Marketing Manager for them, and&nbsp;building this team, brand and organization (not to mention learning to strategize and compromise with a variety of personalities) has given me a vast amount of&nbsp;interpersonal experience that I use frequently.&nbsp;&nbsp;

In my art practice, I have applied to numerous calls for art, some of which&nbsp;have accepted me and of course some have not. To fulfill the desire of exhibiting my artwork and colleagues work, I have been involved with putting on many &ldquo;alternative space&rdquo; or non-gallery exhibits dating back to my undergraduate&nbsp;and BFA photography program and James Nakagawa.&nbsp;This kind of exhibit gave me the start-to-finish experience of putting on a show&nbsp;that includes curation, marketing, reception logistics, and quality control of the display.

In early 2017&nbsp;I was inspired by the recent presidential election to do&nbsp;something positive and maintain some sort of integrity in my life. I attempted to build a monthly meet-up community at my art studio that was inclusive, encouraged important discourse&nbsp;and was meant to be a safe space where people could&nbsp;belong.&nbsp;&nbsp;

In the meantime, while submitting&nbsp;applications for art calls, I came across a call for an art co-operative led by Larry Kamphausen and Gretchen Hasse. &nbsp;My application was accepted and we had our first meeting in April 2017. Our beginning meetings discussed&nbsp;what we wanted out of our co-operative. I brought up a quote referencing political turmoil having two forms of underground from Tom Robbin&rsquo;s book&nbsp;Still Life with Woodpecker. &ldquo;There&rsquo;s the underground involved in political resistance and the underground involved in preserving beauty and fun - which is to say, preserving the human spirit.&rdquo; This preservation resonated with everyone and our mission statement included this tone.&nbsp;We came to a consensus on our name, Agitator Co-operative Gallery, and I was nominated Chair. We found a perfect storefront that has been open to the public, exhibiting under-represented artists and generating discourse on important topics since September 2017.

&nbsp;

CGN:&nbsp;Give us a day in the life!

MG: A day in my life is not&nbsp;consistent.&nbsp;Sometimes I wake up and teach a six-hour long Advanced Adobe workshop. Sometimes&nbsp;early on a Saturday I meet my business partner, Keith Skogstrom, downtown for an art install through our art subscription company, State of the Art. Sometimes&nbsp;Agitator has an opening and I help install and tidy the gallery beforehand. Or&nbsp;I might do yoga, go for a jog, sit in my apartment bay window on a sunny day, respond to emails, or&nbsp;do some marketing for the gallery and State of the Art. When I have my own art exhibit deadlines approaching I force myself to be at my studio by a certain time. Occasionally I travel to other cities to bench coach the Chicago Outfit Roller Derby team, or&nbsp;I have epic&nbsp;adventures in other countries. Other times I listen and stare at the sky, or moving cars, or an ant crawling by and contemplate existence.

&nbsp;

CGN:&nbsp;How would you sum up your experience with Agitator Co-operative Gallery?&nbsp;&nbsp;

MG: Through being a member of Agitator&nbsp;I have deepened my experience in communicating, planning,&nbsp;building and balancing the dynamic of a group of creative people. &nbsp;I have also really come to&nbsp;appreciate&nbsp;working with&nbsp;a variety of personalities and love finding the commonalities that bring people together.

&nbsp;

CGN:&nbsp;Do you have a favorite recent exhibition you worked on?&nbsp;

MG: I have a huge affinity for physics/science theory and use this research in my art. My recent favorite event held at Agitator was an Art of Science&nbsp;lecture series led by Yoav Kashiv. &nbsp;The lecturer was Ritoban Basu Thakur who spoke on CMB and the Early Universe and encouraged questions/challenges during the lecture. There was a great turnout of both artists and physics researchers. The conversation was awe inspiring and I was excited to understand the material and participate in the discussion. This inspiration will definitely influence the work&nbsp;on display at my solo show at Morpho Gallery in August, 2018.

&nbsp;

CGN:&nbsp;What are some successes you have had this year? What about challenges?

MG: The term &ldquo;success&rdquo; has changed for me in the past six&nbsp;months. &nbsp;At the end of our roller derby team chant, right before we go on the track, I like to say, &ldquo;Success feels great!&rdquo; In this frame&nbsp;success does not mean winning according to the score;&nbsp;there are many successes throughout the game. These small (or large) successes throughout a journey are motivators. The challenges are the various tasks we face, and the successes are borne from overcoming,&nbsp;or continuing to push the self through, the challenge.

&nbsp;

CGN:&nbsp;Favorite cultural pursuit outside of the art world?

MG: My favorite cultural pursuit outside of making art and Agitator Gallery is the pursuit of travel. Traveling has opened my eyes and my mind to an amazingly beautiful planet that contains our humanity, which is full of very interesting individual people.

&nbsp;

CGN: What&rsquo;s coming up next at Agitator?

MG: Agitator Co-operative Gallery has a different exhibit once per month, curated by one of it&rsquo;s members.&nbsp; Our current active members are Larry Kamphausen, Gretchen Hasse, Luna Rail, Andrea Kaspryk, Karmen Elaine, Emilio Nadales and myself. The next exhibit is coming up on July 14 with work by Daphne Walsh and Danielle Owensby curated by Luna Rail.&nbsp;Our exhibit&nbsp;opening receptions are typically held on the second Saturday of every month from 6&ndash;10pm.&nbsp; We are located at 1112 N. Ashland, just south of Division in Chicago.&nbsp; Other events throughout the month can be found on&nbsp;<a href="http://www.agitatorgallery.com/">agitatorgallery.com</a>&nbsp;and current updates can be found on&nbsp;<a href="https://www.facebook.com/agitatorgallery/">Facebook</a>&nbsp;and&nbsp;<a href="https://www.instagram.com/agitatorgallery/">Instagram</a>. Feel free to follow us and become one of the regulars at our fun, inspiring events!

&nbsp;

Michelle Graves&nbsp;is the Chair of&nbsp;<a href="http://www.agitatorgallery.com/">Agitator&nbsp;Co-operative Gallery</a>

Photo Credit:&nbsp;Brenda Hernandez

&nbsp;
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CGN Interview Series, Michelle Graves of Agitator Co-operative Gallery

Artist and Columbia College Chicago professor Sabina Ott died today at age 62 following a hard-fought four year battle with cancer. A mentor as well as fun-loving friend to many, she is a creative force who is greatly missed.&nbsp;

Ott was born in New York City and&nbsp;raised in Los Angeles and received her BFA&nbsp;in painting at the San Francisco Art Institute in 1979 before receiving an MFA in painting there in 1981. She made her way to the &quot;third coast&quot; in 2005 to&nbsp;serve&nbsp;as&nbsp;Chair of Art and Design at Columbia College Chicago and she called&nbsp;the city home from then on.&nbsp;

Exhibiting since 1985, Ott has participated in over 100 solo and group exhibitions at institutions in Sao Paulo, Brazil; Auckland, New Zealand; Melbourne, Australia; and many cities across the US. Her work is in numerous museum collections including The Whitney Museum of American Art, Los Angeles County Museum of Art and the Oakland Museum of Art.&nbsp;In recent years&nbsp;she completed a public art commission for the Chicago Transit Authority and a solo exhibition at the Chicago Cultural Center.&nbsp;

In 2011&nbsp;she founded <a href="https://www.terrainexhibitions.com">Terrain Exhibitions</a> with her husband&nbsp;John Paulett, an author&nbsp;and educator. Terrain is&nbsp;a public exhibition space &ndash; Ott&#39;s front lawn &ndash;&nbsp;in suburban Oak Park&nbsp;dedicated to featuring interventions into the conventional landscape of a front yard by emerging as well as established artists who have been invited to create a site-specific work that challenges the space between public and private, decoration and function, figure and ground. Artworks are intended to be accessible 24 hours a day, 365 days a year.&nbsp;

<img alt="" data-caption="Who Cares for the Sky?, at the Hyde Park Art Center, 2016" data-rich-file-id="2837" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2837/original/sabina-ott.jpg" />

In 2016, Ott constructed a massive,&nbsp;scalable installation of polystyrene, plywood, industrial spray foam and paint for an exhibition, Who Cares for the Sky?, at the <a href="http://www.hydeparkart.org/exhibition-archive/sabina-ott-who-cares-for-the-sky/?_sf_s=sabina">Hyde Park Art Center</a>. A version of the work, Because the mountains were so high,&nbsp;was recreated for a special project at EXPO Chicago that same year. CGN&#39;s Franck Mercurio wrote <a href="https://www.chicagogallerynews.com/news/2016/9/local-artists-create-immersive-environments-at-expo-chicago">about the work</a> as Ott was putting the finishing touches on it:

&quot;Walking through Sabina Ott&rsquo;s grotto-like installation,&nbsp;because the mountains were so high, I ran into the artist herself as she applied finishing touches of white paint to the work&rsquo;s polystyrene and spray foam walls.

&#39;It&rsquo;s not quite done yet,&#39; she said matter-of-factly.

&quot;Ott had borrowed a security guard&rsquo;s stool, using it as an improvised ladder while she touched-up the edges of a video monitor embedded into one of the installation&rsquo;s walls. The Thursday afternoon crowd of art collectors and journalists had just begun to filter through EXPO Chicago&rsquo;s maze of booths. Some people ventured into Ott&rsquo;s installation as the artist continued to work.

&#39;I think I hear my gallerist,&#39;&nbsp;said Ott, as Jefferson Godard of Aspect/Ratio appeared from around the corner.

&#39;Sabina, let&rsquo;s take a walk and see some art!&#39;&nbsp;said Godard.

&nbsp;

In 2019, Ott will be featured in a solo exhibition at <a href="http://www.aspectratioprojects.com">Aspect/Ratio</a>.&nbsp;

To view the many visual tributes to Ott from around the art community, <a href="https://www.instagram.com/explore/tags/sabinaott/">click here</a>.&nbsp;
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Artist and Columbia College Chicago professor Sabina Ott dies

Artist Sabina Ott Dies at 62

<h2>Barrels of Fun: Christo Erects a Brilliantly Colored Pyramid as Tall as Egypt&rsquo;s Sphinx in London&rsquo;s Hyde Park</h2>

The artist Christo is known for making the impossible possible. In 2016, he allowed hundreds of thousands of people to walk on water when he erected floating piers in the middle of Italy&rsquo;s Lake Iseo. In 1983, he and his wife Jeanne-Claude surrounded 11 islands in Miami&rsquo;s Biscayne Bay with floating fabric the color of Pepto Bismol.

By Naomi Rea, artnet News

<a href="https://news.artnet.com/art-world/christo-launches-a-massive-temporary-public-artwork-in-london-1304879?utm_content=from_&amp;utm_source=Sailthru&amp;utm_medium=email&amp;utm_campaign=US%20afternoon%20newsletter%20for%206/22/18&amp;utm_term=New%20US%20Newsletter%20List%20%2830%20Day%20Engaged%20Only%29">Read More</a>

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<h2>&lsquo;They Force You to Look Without Judgement&rsquo;: Watch Nick Cave Describe the Origins of His Trademark Soundsuits</h2>

If you visit the Park Avenue Armory in New York sometime this month, make sure to bring your dancing shoes. The artist&nbsp;Nick Cave&nbsp;has transformed the massive drill hall into a cavernous disco where New Yorkers are invited to boogie their anxieties away. On select evenings through July 1, the installation also hosts transporting performances during which a cast of dancers don &ldquo;Soundsuits,&rdquo; the ecstatic, wearable sculptures that have made Cave famous.

Via artnet News

<a href="https://news.artnet.com/exhibitions/watch-nick-cave-via-art21-1305284?utm_content=from_&amp;utm_source=Sailthru&amp;utm_medium=email&amp;utm_campaign=US%20afternoon%20newsletter%20for%206%2F21%2F18&amp;utm_term=New%20US%20Newsletter%20List%20%2830%20Day%20Engaged%20Only%29">Read More</a>

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<h2>From the community: Art Design Chicago: &lsquo;Sculpting a Chicago Artist&rsquo; comes to Oakton July 12</h2>

Oakton Community College&#39;s Koehnline Museum of Art will display the works of a world-renowned Chicago sculptor and the influences of his teachers as part of Art Design Chicago. &quot;Sculpting a Chicago Artist: Richard Hunt and his Teachers, Nelli Bar and Egon Weiner&quot; opens Thursday, July 12, and runs through Sept. 14 at the college&#39;s&nbsp;Des Plaines&nbsp;campus, 1600 E. Golf Road. The public is invited to a free opening night reception from 5 to 8 p.m.

By Community Contributor Oakton Community College, The Chicago Tribune

<a href="http://www.chicagotribune.com/suburbs/evanston/community/chi-ugc-article-art-design-chicago-sculpting-a-chicago-arti-2018-06-20-story.html">Read More</a>

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<h2>Why Have There Been No Great Black Art Dealers?</h2>

IN 1966, TWO BROTHERS, Alonzo and Dale Davis, set out from Los Angeles on a road trip across the United States, seeking out other artists of color like them. They meant for the trip &ldquo;to broaden our limited art history experience,&rdquo;&nbsp;Alonzo&nbsp;says, since African-American artists had been conspicuously absent from his curriculum at Pepperdine University, or&nbsp;Dale&rsquo;s at the University of Southern California. &ldquo;We drove from L.A. to Mississippi, up through New York and Chicago, and somewhere between all those cornfields, we thought: it&rsquo;d be interesting to own a gallery.&rdquo;

By&nbsp;Janelle Zara, The New York Times Style Magazine

<a href="https://mobile.nytimes.com/2018/06/20/t-magazine/black-art-dealers.html">Read More</a>

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<h2>&lsquo;Worker Cottage Parklet&rsquo; art installation honors Chicago&rsquo;s working class&nbsp;history</h2>

Chicago&rsquo;s past is right under our feet. Just below the trendy bars of Milwaukee Avenue, markers of the street&rsquo;s former life as a working-immigrant thoroughfare &mdash; hand-hewn granite cobblestones and streetcar ties &mdash; lie in their final resting place buried underneath the street&rsquo;s modern pavement.

Some of those granite cobblestones will be allowed to see the light of day again as part of Chicago artist Lynn Basa&rsquo;s newest public art installation, &ldquo;Worker Cottage Parklet,&rdquo; which will be installed July 18 on the corner of Milwaukee and Wood.&nbsp;Commissioned by Wicker Park Bucktown Special Service Area #33 for $80,000, this is the largest public art commission in the history of the Wicker Park and Bucktown neighborhoods.

By Jane Recker, Chicago Sun Times

<a href="https://chicago.suntimes.com/entertainment/worker-cottage-parklet-art-installation-honors-chicagos-working-class-history/">Read More</a>

News from Around the Art World: June 25, 2018

Each week CGN interviews a local art-industry professional to discuss the ins and outs of running a space&nbsp;in the city of Chicago. This week we caught up with Sandra Hindman, owner of <a href="https://www.chicagogallerynews.com/galleries/les-enluminures">Les Enluminures</a>.

&nbsp;

Age: Perpetually young in spirit 
Hometown: Chicago 
Previous Occupation: Professor 
Current Position: Founder and President Les Enluminures (Chicago, New York and Paris)

5 favorites from the past week&nbsp; 
Restaurant: the Bella Vista (near my house in Italy, where I had the most delightful scallops this week) 
Music: Flotow&rsquo;s Martha (which I listen to when walking in the countryside) 
TV:&nbsp; I just finished binge watching all the seasons of &ldquo;Call the Midwife,&rdquo; such an interesting take on women&rsquo;s lives in the late 50s and early 60s 
Favorite activity:&nbsp; Swimming a mile a day in the outdoor Olympic pool near my house in Italy (but when in Chicago I swim at the Peninsula, great pool) 
Favorite recent trip:&nbsp; 4 days in Crete with some Italian girlfriends (amazing landscapes, wonderful food, herbs, teas, olive oil, no wonder the Cretans are the longest living people!)

CGN: Tell us a little bit about your background and how the gallery came to be?

SH:&nbsp;I grew up in Hyde Park (my father was on the Manhattan Project and at University of Chicago and Argonne National Laboratory).&nbsp;Although I wanted to be a famous scientist like my father, math was my worst subject.&nbsp; I suppose my mother&rsquo;s attraction to art (she filled our house with reproductions of famous paintings &ndash; in my room, there was a Renoir, a Degas, and a Modigliani -- and took me to the Art Institute of Chicago on Saturdays) was what eventually led me to art history.&nbsp; Professors at University of Chicago, then at University of California at Berkeley, stimulated my interest in medieval art, specifically in manuscripts, and I went on to get a PhD in medieval art history.&nbsp;

Following that I taught for many decades, first at The Johns Hopkins University and then at Northwestern University, where I twice served as Chair of the department.&nbsp;

One day sometime in the 1980s, sitting in my office at Northwestern, the phone rang, and it was an art dealer from Ohio, asking me to write some descriptions of medieval manuscript leaves that he was taking for display at the New York Book Fair.&nbsp; I thought, &ldquo;Well, why not?&rdquo; although I had never done something like that before.&nbsp;Fast forward, I served as his &ldquo;expert&rdquo; for a number of years, wrote catalogues for him, suggested what purchases he should make at auction, and because most dealers in my field &ldquo;outsource&rdquo; their expertise, I helped other dealers identify and describe what they had for sale or were considering purchasing.&nbsp;For me, the &ldquo;magic&rdquo; of this experience was all about living closely with the material.&nbsp; As a scholar and professor, I spent years in research libraries, but having close access to manuscripts on a daily basis was a very moving and different experience.&nbsp;

Hence, my gallery,&nbsp;which I finally opened in Paris in 1991.&nbsp;Why Paris (apart from the fact that it&rsquo;s one of the most beautiful cities in the world)?&nbsp;I already had an apartment there from my many years of&nbsp;research on French medieval manuscripts.&nbsp;But, more important, there was no dealer in my field in Paris, and besides there were always manuscripts coming available from French dealers and private collections.&nbsp;I wanted better access to these sources.

Chicago is my home.&nbsp;Although I have always had a commercial presence here, the USA side of my business operated on a very low profile out of my home for decades.&nbsp;In the past few years, I decided I wanted more visibility in Chicago.&nbsp;It&rsquo;s such a great city for the arts.&nbsp;I had seen other spaces in the One Mag Mile building, and I love the award-winning architecture.&nbsp; Within the space of a morning, I signed on for a space that had hideous&nbsp;green shag carpeting from the &#39;80s, lowered ceilings, and glass cubby-holes.&nbsp;

I saw possibilities.&nbsp;I brought my Italian architect over, and voila!&nbsp;Eight months later,&nbsp;in August 2016, we opened our Chicago premises.&nbsp;This has been a wonderful two years for us. In 2017, I gave a third of my collection of medieval manuscript leaves to the Art Institute, and in 2018 (January&ndash;May) they mounted a well-received and beautifully installed exhibition (The Medieval World at Our Fingertips) to celebrate that gift.

&nbsp;

CGN: Share a typical day-in-the-life!

SH:&nbsp;Seat 1A on an airplane.&nbsp;

Actually, I borrowed that line from a client,&nbsp;who lives between Hong Kong, London, and New York.&nbsp;But&nbsp;it&rsquo;s appropriate for my life as well.&nbsp;I live between Chicago, Paris, New York (our commercial spaces are in&nbsp;big cities) and Italy, where I have a house in a tiny farming community in Veneto.&nbsp;My mother is Italian, and I have been coming to the same area since I was 17 years old.&nbsp;I have 35 cousins here.&nbsp;So, it&rsquo;s home. It has a huge beautiful garden &ndash; I call this part of my life &ldquo;flower therapy&rdquo; &ndash; and birds that chirp so loud you can hear them when I&rsquo;m talking on the phone.&nbsp; Then, I work. I write on the computer.&nbsp; I still do many of our descriptions, contribute to our blog, write academic books (I have one on French language manuscripts that is going to press this summer in Belgium), contact clients, talk to employees in my various locations, visit museums.&nbsp; I love cooking, especially Italian and French, although I am accomplished in several different cuisines (I even taught Chinese cooking when I lived in Baltimore).&nbsp;

&nbsp;

CGN: Best sale you&#39;ve ever had?&nbsp;

SH:&nbsp;The best story concerns a work that I&rsquo;ve often described as my favorite medieval manuscript leaf showing a group of people in a verdant landscape, illustrating the month of May.&nbsp; I long admired it in a private collection in New York.&nbsp;When it came up for sale, I bought it.&nbsp;It turned out to be a page from the Sforza Hours (a masterpiece painted in Milan in the 1490s) by the Italian artist Giovanni Birago.&nbsp;One day when Birago had gone out, some of the miniatures he was working on for this manuscript were stolen out of his workshop.&nbsp;They caught the monk who stole the miniatures, but the miniatures themselves never turned up.&nbsp;The manuscript was then completed by another Netherlandish painter, and it eventually ended up in the British Library.&nbsp;

&quot;My&quot;&nbsp;miniature of the month of May turned out to be&nbsp;one of the stolen miniatures!&nbsp;So, I sold it to the British Library&nbsp;and they&nbsp;reunited it with the original manuscript &ndash;&nbsp;500 years later!&nbsp; A footnote:&nbsp;for insurance in the 1490s, they called in Michelangelo to do the appraisal, and he appraised the miniatures at the same value (then) as Leonardo&rsquo;s Virgin of the Rocks.

&nbsp;

CGN: Any major successes this year? What about challenges?

SH:&nbsp;I think the show at the Art Institute was the most significant event so far of my 2018.&nbsp; I am proud of my relationship with the museum, thrilled that I have been able to add to an already-fine collection, and I look forward to continuing association with the museum.

There are always challenges when one is in business.&nbsp;Employees come and go (we have about 15 employees in our various locations), clients too.&nbsp;Finding great works of art and placing them in great collections is always the biggest challenge.&nbsp;I am working on a few amazing projects now in this regard.&nbsp;Ask me again in 2019!

&nbsp;

CGN: One piece of advice you would send back to your younger self?

SH:&nbsp;Enjoy everything you do.&nbsp;I really feel like I&rsquo;ve done it right.&nbsp;I loved teaching, and I have students who hold positions in many renowned universities and museums.&nbsp;They remain my colleagues today, sort of like far-flung children.&nbsp;And, I love the creativity of having my own business, of thinking up projects that give pleasure and are commercially viable, of working with younger colleagues.

&nbsp;

CGN: What do you look for in an artwork? When searching for yourself, what speaks to you?

SH:&nbsp;Quality, details, historical context.&nbsp;

I personally am very interested in art for and about women.&nbsp;

My largest personal collection includes most of the works by Dora Maar during the years that she lived with Picasso (and a few Picassos that relate to Dora Maar from the same years).&nbsp; But, I also have one of the two most significant collections of Alicja Halicka (the Polish wife of the famous Cubist painter Louis Marcoussis).&nbsp;If I could own any two illuminated manuscripts in the world, I would choose the Collected Works by Christine de Pizan (British Library Harley 4431) and the Darmstadt Haggadah, the former written by a proto-feminist author at the French court and illuminated for the Queen and the latter made for and used by young German women in the fifteenth century, women are pictured in it celebrating the Seder.

&nbsp;

CGN: What&rsquo;s coming up next at the gallery?

SH: We have many surprises for the latter half of 2018 and into 2019 &ndash; an exhibition of medieval and Renaissance rings, and an exhibition of three medieval masterpieces of manuscript illumination, the latter opening in New York at TEFAF New York in October, then exhibited in our New York gallery, before coming to Chicago in late November just in time for Christmas.

&nbsp;

Sandra Hindman is the Founder and President of Les Enluminures on Michigan Avenue. For more information regarding the gallery please visit <a href="https://www.chicagogallerynews.com/galleries/les-enluminures">Les Enluminures</a>.

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CGN Interview Series: Sandra Hindman of Les Enluminures

<h2>The Brilliant Artist That Chicago, and the World, Nearly Forgot</h2>

Edgar Miller was a virtuoso in any medium he chose: painting, sculpture, stained glass, architecture, interior design, printmaking, metalwork, cutlery, graphic design. He put those prodigious skills toward building a creative community on Chicago&rsquo;s near-north side in the 1920s and beyond. Miller&rsquo;s handful of architecture projects (a series of live-work lofts) stretched the boundaries of the city&rsquo;s bohemian frontier, seeding a new hub for culture, art, and radical politics. This output never earned Miller a place in Chicago&rsquo;s pantheon of culture. But now a non-profit,&nbsp;Edgar Miller Legacy, is celebrating his legacy and offering new ways for people to connect through Miller&rsquo;s work.

By Zach Mortice, CityLab

<a href="https://www.citylab.com/design/2018/06/the-brilliant-artist-that-chicago-and-the-world-nearly-forgot/562649/">Read More</a>

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<img alt="" data-rich-file-id="2830" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2830/original/kusya0531-detail-1-1024x767.jpg" />

<h2>The Mysterious New Wndr Museum Will Give Chicago Its First Yayoi Kusama Infinity Room</h2>

A mysterious new institution calling itself the&nbsp;wndr museum&nbsp;has announced plans to bring a&nbsp;Yayoi Kusama&nbsp;Infinity Room to Chicago, the first to ever go on view in the Windy City. The pop-up museum promises to feature educational and experiential installations that merge art and science to appeal to visitors of all ages.

By Sarah Cascone, artnet news

<a href="https://news.artnet.com/exhibitions/wnder-museum-chicago-yayoi-kusama-infinity-room-1302911">Read More</a>

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<img alt="" data-rich-file-id="2828" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2828/original/cook-county-hospital-1024x0-c-default-1.jpg" />

<h2>Historic Cook County Hospital restoration and redevelopment breaks ground in Chicago</h2>

Chicago&rsquo;s beleaguered&nbsp;Cook County Hospital&nbsp;is slated for redevelopment after sitting idle for 16 years.&nbsp;Skidmore, Owings &amp; Merrill&nbsp;will transform the Chicago landmark into a dual-branded Hyatt House/Hyatt Place hotel, accompanied by medical office space and retail. Leading the project is the Civic Health Development Group (CHDG) along with Chicago-based developer John T. Murphy. Walsh Construction is the general contractor with Koo Architecture as the interior designers. According to Cook County, the development plan is valued at over $1 billion dollars.

By Elizabeth Blasius, The Architects&nbsp;Newspaper

<a href="https://archpaper.com/2018/06/cook-county-hospital-restoration-redevelopment/">Read More</a>

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<img alt="" data-rich-file-id="2826" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2826/original/20170283-6066-full-jpg.jpg" />

<h2>The Neuroscientist in the Art Museum</h2>

&ldquo;The fact is, the culture is changing dramatically,&rdquo; says Monroe. &ldquo;When asked what people want out of cultural activities today, and this is across all age ranges, the number one priority people want is fun,&rdquo; he says, in reference to findings from the 2017&nbsp;Culture Track study, which listed fun as respondents&rsquo; &ldquo;single greatest motivation&rdquo; for attending cultural activities. &ldquo;That&rsquo;s not what we were all thinking about five or six or 10 years ago as the most important criterion for the success of a cultural event or activity, and what fun means is obviously an interesting question,&rdquo; he allows, &ldquo;but the whole definition of culture is changing, and the idea that cultural organizations are immune from the incredible changes that are occurring&mdash; at dramatically faster speed than ever before&mdash; would be incredibly dangerous and naive.&rdquo;

By Jackie Mansky, Smithsonian Magazine

<a href="https://www.smithsonianmag.com/arts-culture/neuroscientist-art-museum-180969388/">Read More</a>

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<img alt="" data-rich-file-id="2827" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2827/original/misere-cover-720x1085.jpg" />

<h2>Linda Nochlin&rsquo;s Lifetime Insights Continue to Amaze</h2>

Published after her death, this succinct volume draws important art historical connections pointing to longstanding struggles with depictions of misery.

By Olivia McEwan, Hyperallergic

<a href="https://hyperallergic.com/447025/linda-nochlin-misere-the-visual-representation-of-misery-in-the-19th-century/?utm_medium=email&amp;utm_campaign=June%2019%202018%20weekly%20-%20Artists%20Support%20Themselves%20Through%20Freelance%20Work%20and%20Dont%20Find%20Galleries%20Especially%20Helpful%20New%20Study%20Says&amp;utm_content=June%2019%202018%20weekly%20-%20Artists%20Support%20Themselves%20Through%20Freelance%20Work%20and%20Dont%20Find%20Galleries%20Especially%20Helpful%20New%20Study%20Says+CID_e91c381a09e2bffd6090fc076cb66855&amp;utm_source=HyperallergicNewsletter&amp;utm_term=Linda%20Nochlins%20Lifetime%20Insights%20Continue%20to%20Amaze">Read More</a>

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News from Around the Art World: June 19, 2018

Though Chicago may not be known as the &ldquo;City that Never Sleeps,&rdquo; it boasts one of the most remarkable public art collections in the world &ndash; one that is arguably best enjoyed in the summer months, at all hours, from early morning until late at night. Below are some of Chicago&rsquo;s sculpture highlights that certainly never sleep.&nbsp;

<h3>&nbsp;</h3>

<h3>ELLSWORTH KELLY &ndash; I WILL</h3>

At the intersection of Fullerton and Cannon off of Lake Shore Drive, this thin, 40 foot tall stainless steel column honors the City&rsquo;s rebirth after the Chicago Fire in 1871.

Lake Shore Drive at Fullerton, Lincoln Park (pictured at top of page:&nbsp;Ellsworth kelly, I Will. Photo: Ron Cogswell)

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<img alt="" data-rich-file-id="2798" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2798/original/knowledgewonderlg-copy.jpg" />

<h3>KERRY JAMES MARSHALL&nbsp; &ndash; KNOWLEDGE AND WONDER</h3>

Before Marshall painted the back of the Chicago Cultural Center in 2017, he created this mural to celebrate the library as a source of wonder and higher learning.&nbsp;

115 S. Pulaski Rd., Legler Branch Library

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<img alt="" data-caption="Louise Nevelson, Dawn Shadows" data-rich-file-id="2799" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2799/original/dawnshadows.jpg" />

<h3>LOUISE NEVELSON&nbsp; &ndash; DAWN SHADOWS</h3>

Next to the nonstop trains that circle the Loop, Nevelson intended that this work be viewed from all sides and especially from above on the El tracks.&nbsp;

200 W. Madison, The Loop

&nbsp;

<img alt="" data-caption="Richard Serra, Reading Cones, 1988, Cor-Ten Steel, City of Chicago. Photo Marin Sullivan, 2013" data-rich-file-id="2800" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2800/original/serra.jpg" />

<h3>RICHARD SERRA&nbsp; &ndash; READING CONES</h3>

A break in the minimalist exterior allows for a narrow space through which to view the surrounding city. Oh, there&rsquo;s <a href="https://sculpturalthings.com/2013/06/06/that-richard-serra-in-grant-park/">a story</a> about how this piece became the City&rsquo;s in 1990. Grant Park

&nbsp;

<img alt="" data-caption="Alex Katz working on Harlem Station mural. Photograph by Nick Maravell" data-rich-file-id="2797" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2797/original/alex-katz-harlem-station-mural.jpg" />

<h3>ALEX KATZ&nbsp; &ndash; HARLEM STATION</h3>

This freestanding painting celebrates hardworking Chicagoans from all walks of life. One of the largest and most complex pieces by Katz, this work is on the go, all the time. Harlem Station, CTA Blue Line&nbsp;
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Art at All Hours

<h2>Shane Campbell Gallery Sues Frieze Art Fair, Alleging &lsquo;Substantial Financial Losses&rsquo; Resulting from Heat in New York</h2>

Chicago&rsquo;s Shane Campbell Gallery has filed suit against the Frieze art fair, alleging that Frieze &ldquo;was grossly negligent in preparing&rdquo; its recent New York edition for temperatures that exceeded 90 degrees Fahrenheit. The suit, which was filed this past Friday in New York&rsquo;s Southern District Court, notes that &ldquo;Frieze was aware of the problem but took no action to correct it.&rdquo;&nbsp;

By&nbsp;Alex Greenberger, ARTNEWS

<a href="http://www.artnews.com/2018/06/11/shane-campbell-gallery-sues-frieze-art-fair-alleging-substantial-financial-losses-resulting-heat-new-york/">Read More</a>

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<h2>Elmhurst Art Museum opens Mies van der Rohe exhibit</h2>

The Elmhurst Art Museum is hosting an unusual open house &mdash; one that will last most of the summer and involve a famous house that hasn&rsquo;t been lived in for decades. The house is the McCormick House, designed by renowned architect&nbsp;Mies van der Rohe, built in Elmhurst in the 1950s and for more than 20 years an integral part of the structure of the Elmhurst Art Museum building.

By Graydon Megan, Chicago Tribune

<a href="http://www.chicagotribune.com/suburbs/elmhurst/news/ct-dob-elmhurst-art-museum-tl-0614-story.html">Read More</a>

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<h2>Charles White&#39;s powerful portraits of black America &ndash; in pictures</h2>

The artist created what his gallerist, and later he, called &lsquo;images of dignity&rsquo; while portraying African American life in the US. He was part of Chicago&rsquo;s flourishing black artistic community in the 30s, believing that &lsquo;art must be an integral part of the struggle&rsquo;. His work is being celebrated in the centenary year of his birth at the&nbsp;Art Institute of Chicago&nbsp;and the&nbsp;Museum of Modern Art&nbsp;in New York.

Via The Guardian

<a href="https://www.theguardian.com/artanddesign/gallery/2018/jun/12/charles-whites-powerful-portraits-of-black-america-in-pictures">Read More</a>

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<img alt="" data-rich-file-id="2823" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2823/original/screen-shot-2018-06-12-at-10-03-16-am.jpg" />

<h2>These Chicago projects won awards for eco-sensitive design</h2>

On Tuesday evening, Friends of the Chicago River doled out awards to a handful of Chicago projects with designs that were particularly mindful of their water impact. The 2018 Chicago River Blue Awards recognize the work of developers, architects and municipalities for projects that are sensitive to the Chicago River watershed. Studio Gang&rsquo;s Eleanor Street Boathouse in Bridgeport took home the organization&rsquo;s top prize.

By&nbsp;Sara Freund, Curbed Chicago

<a href="https://chicago.curbed.com/2018/6/8/17442972/chicago-river-design-awards-2018">Read More</a>

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News from Around the Art World: June 12, 2018

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721420192/jky7wucd0fzyw6w4vxop.jpg"></figure>&nbsp;Each week CGN interviews a local art-industry professional to discuss the ins and outs of running a space&nbsp;in the city of Chicago. This week we caught up with Natasha Egan of the <a href="https://www.chicagogallerynews.com/institutions/museum-of-contemporary-photography-mocp--2">Museum of Contemporary Photography</a>.Age: 48Current Position: Executive Director, Museum of Contemporary Photography at Columbia College ChicagoHometown: Santa Fe, New MexicoPrevious Occupations: Curator, teacher, gallery manager, landscaper&nbsp;5 favorites from the past week&nbsp;Restaurant: Dinner&nbsp;at HaiSous in Pilsen&nbsp; Watch: Went to Moutainfilm in Telluride Colorado—a documentary film festival.&nbsp; This year’s theme was migration with a particular focus on the global refugee crisis and some highlights were these powerful films: Soufra directed by Thomas Morgan; On Her Shoulders directed by Alexandria Bombach, Are We Listening? directed by Tim Kressin; and Lifeboat directed by Skye Fitzgerald.&nbsp; I am organizing an exhibition about this subject in early 2019 so my hope is to help bring these films to Chicago if they are not already scheduled. Listen: My most recent concert was The Sea and Cake at the Empty Bottle.&nbsp;&nbsp; Shop: I found a great Marni dress at Luxury Garage Sale on Wells. Read: This week I read Ai Weiwei’s “little blue book” Humanity edited by Larry Warsh released at the end of April.&nbsp;CGN: Tell us a little about your background and the journey that has led you to become Executive Director of MoCP?NE: I started at the MoCP in 1995 as the Assistant to the Director while pursuing my MA in Museum Studies and MFA in Photography at Columbia College Chicago.&nbsp; The first exhibition I organized opened in April of 1998 titled Alienation and Assimilation: Contemporary Images and Installations from the Republic of Korea.&nbsp; For many of the seventeen exhibiting artists, this exhibition was their first in the United States and today some of them are South Korea’s leading contemporary artists—such as Atta Kim (aka Kim Seok-Jung); Bae Bien-U; Choi Jeong-Hwa, and Yook Keun-Byung.In 1998, I moved to Germany and served as a freelance curator. In 2000, I was hired back at the MoCP as the Associate Director and Curator where I organized dozens of exhibitions and managed the operating budget for the MoCP. In those years I also taught in the photography department at Columbia College.&nbsp;I co-taught&nbsp;for five years a January session course for the humanities department taking students to Shanghai and Beijing for a crash course on the arts and culture of China.&nbsp;In 2011, I became the Executive Director of the MoCP.&nbsp; I continue to serve as a curator but have an increased role in administration and fundraising, while leading a remarkable staff of seven professionals and fifteen graduate and undergraduate interns from Columbia College Chicago.&nbsp;CGN: Give us a day in the life!NE: Everyday is a juggling act but when you are passionate about what you do everything usually ties together nicely.&nbsp;Today my day started on the Red Line reading the NYTimes morning report and NPR on my iPhone. Briefly reading and deleting the fifty new eblasts from galleries, museums and artists from around the world that filled my inbox during the night. When I get to the museum, my first task is to review a final report for a foundation grant. Next, I send&nbsp;a couple informal thank you emails to MoCP donors and set up a couple follow up lunch/coffee meetings.&nbsp; Next, I meet with Kenneth Guthrie, a graduate student intern working closely with me on an exhibition about the global refugee crisis for early 2019. We discuss&nbsp;developing the checklist, writing the individual artist’s wall texts&nbsp;and creating a print viewing set with works from the MoCP’s permanent collection that will complement the exhibition. We also discuss&nbsp;how a partnership with Heartland Alliance and the Transatlantic Refugee Resettlement Network could function. We ended with a conversation about the documentary films I had seen at Mountainfilm the week before.Next, I respond&nbsp;to a slew of emails that&nbsp;had been neglected for too long—some were responses to artists I had met back in March at Fotofest in Houston, admittedly, I am way behind on some email correspondence. Next, it is lunchtime. In the taxi on my way to lunch at The Kitchen with a potential new advisory board member&nbsp;I, again, briefly read and delete&nbsp;the next fifty plus art eblasts I had received over the last few hours. Several email announcements alerted me to important art openings dates, so I added certain ones to my calendar with the intent to attend as many as I can. After lunch, I walked back to the MoCP because the weather was finally beautiful.Back at the MoCP my afternoon turned to the more administrative side of my job. I met with Columbia’s finance department and in-house counsel to figure out the logistics of a new grant and then I put some time into preparing the MoCP’s FY19’s budget for review. Where did the day go? At the top of my To Do list is to write the introduction for the upcoming MoCP publication The Many Hats of Ralph Arnold: Art, Identity and Politics which will complement the exhibition opening in October as part of Art Design Chicago, but I did not get a chance to even think about Ralph Arnold—perhaps tomorrow, as the deadline is looming. I end&nbsp;my day on the Red Line reading the NYTimes evening report and skimming and deleting the fifty or so new art eblasts that have yet&nbsp;again filled my inbox.When I got home, I made fish tacos for my family with a cucumber-mango salad, we enjoyed catching up over dinner, and I am now sitting on my sofa responding to these interview questions.&nbsp;CGN: How would you sum up your experience during your time with MoCP?&nbsp;&nbsp;NE: Rewarding on so many levels.I have been fortunate to work with a great range of colleagues and artists from different corners of our planet and they have helped shape how I perceive the world. It is invigorating to work at a small and nimble college art museum in the heart of downtown Chicago with a staff that fosters creativity. We take advantage of our medium&nbsp;specificity and work with artists who often push the boundaries of what defines photography and address a range of contemporary social and political issues from different perspectives. I have learned to be unafraid to take risks allowing the MoCP to create impactful dialogues with our students, faculty, staff and our wider international audience.&nbsp;CGN: Do you have a favorite collection or exhibition that you have worked on in the past?NE: After organizing exhibitions for over twenty years it's impossible to pick a favorite but I will say that&nbsp;working closely with artists such as Beate Gütschow, Victoria Sambunaris, and Christina Seely on their exhibitions and monographs has been deeply rewarding.The craziest exhibition I organized was in 2016 for the Dubai Photo Exhibition. I was invited to serve as the curator for the USA and Canada Pavilion and the mission was to exhibit both the masters of the 20th Century and emerging artists of the 21st Century with only eight artists total from the USA and Canada.&nbsp;Picking the artists was tricky as one cannot just borrow an original&nbsp;masterpiece from say the Metropolitan Museum of Art on short notice, particularly for an exhibition that was going to be installed in a temporary space that&nbsp;was constructed in only three weeks. I also ran into some issues with the sponsors of the exhibition not supporting some of the artists I had originally chosen, and&nbsp;a Canadian artist pull out of the show&nbsp;as a protest to human rights issues.In the end, I had seven artists and only one Canadian represented—but all masters in my book. My theme was loosely based on political and social movements through the decades starting in the 1930s to the end of the 20th century. The exhibition started with Dorothea Lange's photographs from the Farm Security Administration and I used images downloaded from the Library of Congress archive.&nbsp;I then showed Alec Soth's Songbook project, which he made in the 21st century but the photographs harken back visually and conceptually to the 1950s.&nbsp;The sixties were represented by Dawoud Bey's The Birmingham Project, again contemporary work like Alec, but about the Ku Klux Klan bombing of the 16th Street Church in 1963 and racial violence.&nbsp;The 70s were marked by Chicago artist Barbara Crane's series titled People of the North Portal, which depicts people exiting the north portal of the Museum of Science and Industry in Chicago in 1970 and 1971. Looking at Barbara’s pictures decades later one realizes, based on the fashion and diversity of the individuals, that her portfolio captured humanity in the early 1970s.&nbsp;For the 1980s I showed Meridel Rubenstein's portfolio Lowriders: Portraits from New Mexico.&nbsp;The lowriders, descendants of the 1950s cruisers, was fitting as I learned that there is also a cruising culture in Dubai along the beach but the drivers are mostly in SUVs not lowriders.&nbsp; The last two artists were more about the passage of time and family over multiple decades with Nicholas Nixon's Brown Sisters and Moyra Davey’s Seven project focused on her and her six sisters.Each of the artists exhibited in Dubai&nbsp;have works included in the MoCP's permanent collection, so that was another method I used to distill the 20th and 21st centuries with only seven artists.&nbsp;CGN: What major successes have you had this year? What about challenges?NE: This year the MoCP received its largest cash gift of $1M from the David C. and Sarajean Ruttenberg Arts Foundation to support the museum’s future exhibitions and acquisitions. The Ruttenberg family’s generosity has been instrumental since our founding in shaping the MoCP and our mission: to cultivate a deeper understanding of the artistic, cultural and political roles of photography in our world today. Speaking of mission, the MoCP also collaborated with a remarkable team of volunteers this year from the Executive Service Corp to develop our current strategic plan, and in true Daniel Burnham style, we will make no little plan. Our future is bright and the challenges are exciting.&nbsp;CGN: What do you look for in an artwork? When searching for yourself, what speaks to you?NE: I find that I’m drawn to work that is layered—visually or conceptually. I’m interested in art that is capable of communicating multiple stories depending on the life experience of the viewer. I am also interested in art that educates us about a topic with artistic and conceptual integrity. For example, the MoCP is currently showing Mohau Modisakeng's three channel immersive film titled Passages (2017) which speaks to the Trans-Atlantic Slave Trade in both a haunting and visually compelling way. For me, an artwork needs to be able to create a complex story, with irony, humor, or formal complexity.&nbsp;CGN: What should we expect to see next from MoCP?NE: We currently have a phenomenal exhibition on view organized by our inaugural Curatorial Fellow for Diversity in the Arts Sheridan Tucker Anderson titled In Their Own Form:&nbsp;Contemporary Photography and Afrofuturism.&nbsp; If you haven’t had a chance to see the exhibition, run to the MoCP before July 8, 2018.&nbsp; Next up, MoCP’s Deputy Director and Chief Curator Karen Irvine has organized Lucas Foglia: Human Nature opening on July 19. For the last ten years, Lucas Foglia has been poetically examining our relationship to the natural world both emotionally and scientifically.We will also have a related collection show on view upstairs organized by Kristin Taylor, MoCP Curator of Academic Programs and Collections titled View Finder: Landscape and Leisure in the Collection with works by such artists as Ansel Adams, Terry Evans, and William Henry Jackson. And, then on&nbsp;October 11, 2018, as part of Art Design Chicago, we are very much looking forward to opening two companion exhibitions The Many Hats of Ralph Arnold: Art, Identity and Politics organized by art historian Greg Foster-Rice, PhD, associate professor of photography at Columbia College Chicago and Echoes: Reframing Collage organized by Karen Irvine, showcasing new works by Krista Franklin, Wardell Milan, Ayanah Moor, Nathaniel Mary Quinn, Paul Mpagi Sepuya, and Xaviera Simmons.&nbsp;Natasha Egan is Executive Director of the Museum of Contemporary Photography on South Michigan Avenue. For more information regarding MoCP please visit <a href="https://www.chicagogallerynews.com/institutions/museum-of-contemporary-photography-mocp--2">Museum of Contemporary Photography</a>.Photo Credit:&nbsp;Jonathan Castillo&nbsp;</body></html>

CGN Interview Series: MoCP's Natasha Egan

<h2>Labour leader Jeremy Corbyn pledges to return Parthenon sculptures to Greece</h2>

Comments come after Unesco calls for &ldquo;mutually acceptable&rdquo; solution to 200-year-old issue. The Labour Party leader Jeremy Corbyn says he will work to return the Parthenon sculptures to Greece if elected as British prime minster. Corbyn says the antiquities were &ldquo;made in and belong to Greece&rdquo; and that, on entering Downing Street, he would begin &ldquo;constructive talks&rdquo; with the Greek government to secure their repatriation.

By Anny Shaw, The Art Newspaper

<a href="https://www.theartnewspaper.com/news/labour-leader-jeremy-corbyn-pledges-to-return-parthenon-marbles-to-greece">Read More</a>

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<h2>Art and antiques show preview party benefits Northwestern Memorial Hospital</h2>

Nearly 400 guests attended the opening-night party for the second annual Chicago Antiques + Art + Design Show on May 17 at the Chicago Merchandise Mart. The event, produced by Dolphin Promotions, was hosted by the Woman&#39;s Board of&nbsp;Northwestern Memorial Hospital&nbsp;and raised over $200,000 to benefit the programs and care initiatives supported by the board, including a recent commitment to fund a study of collaborative mental health care.

By Candace Jordan,&nbsp; Chicago Tribune

<a href="http://www.chicagotribune.com/lifestyles/ct-life-candid-candace-0603-story.html">Read More</a>

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<h2>Art Institute uses data to give visitors what they want</h2>

If you saw &ldquo;Degas: At the Track, on the Stage&rdquo; at the Art Institute of Chicago in 2015 or early 2016, you were part of an experiment. The show, a microcosm of the impressionist artist&#39;s work, used a sophisticated attendance model to test the effect of smaller exhibits on attendance. Measuring Wi-Fi usage throughout the museum revealed that visitors spent more time in the room containing the Degas exhibit than they would have had that room not contained a special exhibit.

By&nbsp;Lisa&nbsp;Bertagnoli, Crain&#39;s Chicago Business

<a href="http://www.chicagobusiness.com/article/20180518/ISSUE01/180519840/art-institute-of-chicago-uses-data-to-make-exhibit-choices">Read More</a>

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<h2>&#39;Happy Place&#39; Art Exhibit Aims to Spread Positivity in Chicago</h2>

An art exhibition celebrating the joy of being happy is heading to Chicago after a successful run in Los Angeles.&nbsp;The exhibit, known as &ldquo;Happy Place,&rdquo; is a fully immersive space that features a slew of scenes designed to increase positivity and happiness. The world&rsquo;s largest confetti dome, and a pair of stiletto shoes made of candy are just two of the attractions that are being made available to Chicagoans beginning on June 28.&nbsp;

By&nbsp;James Neveau, NBC Chicago

<a href="https://www.nbcchicago.com/news/local/happy-place-art-exhibit-coming-to-chicago-484202651.html">Read More</a>

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<h2>C&eacute;zanne:&nbsp;An old-school approach to the famed artist&rsquo;s portraiture.</h2>

C&eacute;zanne Portraits, at the National Gallery in Washington, is indeed, as the curators claim proudly, &ldquo;the first major museum exhibition&rdquo; devoted to the portraits of Paul C&eacute;zanne, an artist more famous for his shimmering landscapes, still lifes, and bathers. The genre was a modest but persistent presence in the French postimpressionist&rsquo;s career&mdash;fewer than two hundred of the thousand or so canvases he produced in a lifetime (about sixty of which are assembled here).&nbsp;

By Aruna D&rsquo;Souza, 4Columns

<a href="http://www.4columns.org/d-souza-aruna/cezanne">Read More</a>

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<h2>Fire at London&rsquo;s Hayward Gallery as Rotting Fish Artwork Explodes</h2>

Majestic Splendor&nbsp;is composed of sequin-covered rotting fish. When it was shown in 1997 at New York&rsquo;s MoMA, it had to be removed as the smell made visitors feel sick. For the Hayward show, the fish were placed in potassium permanganate. Although it is not flammable, the chemical does increase the flammability of other combustible materials. On receiving advice, the gallery decided to withdraw the artwork, but it spontaneously combusted mid-removal.&nbsp;

Via Frieze Editorial

<a href="https://frieze.com/article/fire-londons-hayward-gallery-rotting-fish-artwork-explodes">Read More</a>

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News from Around the Art World: June 4, 2018

<h3>Below is CGN&#39;s summary of recent art-world news and changes. </h3>

<h3>To send us your news <a href="mailto:info@chicagogallerynews.com?subject=Art%20News">email us</a>.&nbsp;</h3>

<h3>&nbsp;</h3>

<h3>&bull; Anniversaries</h3>

The Randolph Street Market kicked off its summer outdoor season last weekend, and it also marked its 15th anniversary. Located at Plumbers Hall at 1341 W. Randolph, when the market first opened in 2003 the West Loop was not the hot spot it is today. Co-founded by Sally Schwartz and former partner Kathleen Finley, the market,&nbsp;formerly known as Chicago Antique Market, now features more than&nbsp;300 vendors in the summer&nbsp;months. To read CGN&#39;s 2017 interview with Schwartz <a href="https://www.chicagogallerynews.com/news/2017/4/in-search-of-the-eclectic">click here</a>.&nbsp;

<img alt="" data-caption="The Richard H. Driehaus Museum in 2014" data-rich-file-id="2804" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2804/original/rdm.jpg" />

The&nbsp;Richard H. Driehaus Museum turns 10 years old this June.&nbsp;In celebration of its milestone tenth anniversary&nbsp;The&nbsp;Museum will reduce regular priced adult admission to $10, from $20, for the weekend of June 8. In addition to the reduced admission, a day of festivities has been planned for Saturday, June 9.&nbsp;The complete schedule of events is available at&nbsp;<a href="http://DriehausMuseum.org/Programs">DriehausMuseum.org/Programs</a>

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<h3>&bull; Art World Moves and&nbsp;Updates</h3>

<a href="http://moniquemeloche.com">Monique Meloche Gallery</a>, which was previously located at 2154&nbsp;W. Division has moved to 451 North Paulina in West Town. The gallery&#39;s&nbsp;inaugural exhibition&nbsp;Jeff Sonhouse:&nbsp;Entrapment&nbsp;opens&nbsp;Saturday, June 9.

Nan Goggin has been named dean of the&nbsp;<a href="https://herron.iupui.edu/index.html">Herron School of Art and Design</a>&nbsp;at IUPUI in Indianapolis effective July 1, subject to approval by the IU Board of Trustees. Goggin previously served as the director of the School of Art and Design at the University of Illinois.

<img alt="" data-caption="Self portrait by artist Dabin Ahn" data-rich-file-id="2802" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2802/original/ahn.jpg" />

<a href="https://www.chicagogallerynews.com/galleries/andrew-bae-gallery">Andrew Bae Gallery </a>announced representation of artist&nbsp;Dabin Ahn, who&nbsp;graduated from&nbsp;SAIC in 201. Ahn will have his first solo show at the gallery&nbsp;on July 13. He is also returning to SAIC to enter the&nbsp;MFA program this fall.&nbsp; 
Ahn, born in Korea,&nbsp;is the first new artist the gallery has added to its roster in 13 years.&nbsp;

New Mexico-based visual artist&nbsp;Holly&nbsp;Roberts, known for her technique of combining digital images with paint, will now be represented by <a href="https://www.chicagogallerynews.com/galleries/schneider-gallery">Schneider Gallery</a> in River North. Much of Roberts&rsquo; thought-provoking work draws from her roots in the Southwest, which holds strong Native American cultural influence.&nbsp;

&nbsp;

<h3>&bull; Announcements</h3>

General registration for the&nbsp;<a href="https://www.chicagogallerynews.com/galleries/filter-photo">2018 Filter Photo Festival&nbsp;</a>opens June 1.&nbsp;Register for&nbsp;workshops and&nbsp;portfolio reviews&nbsp;and take advantage of early bird pricing which is in effect until&nbsp;June 30th. The&nbsp;10th Annual Filter Photo Festival takes place September 27-30 in Chicago.&nbsp;

This May, a cast of&nbsp;M&aacute;ximo,&nbsp;the largest dinosaur ever discovered, is coming to <a href="https://www.chicagogallerynews.com/institutions/field-museum-of-natural-history">The&nbsp;Field Museum</a>.&nbsp;The name, Spanish for &ldquo;maximum&rdquo; or &ldquo;most,&rdquo; is a nod to the titanosaur&rsquo;s enormous size and Argentinian homeland. M&aacute;ximo is 122 feet from head to tail, longer than two accordion CTA buses end-to-end, and his head will peek over the museum&rsquo;s second floor balcony.

The participants in the upcoming fourth annual <a href="https://rivernorthdesigndistrict.com">River North Design District&nbsp;Fall Gallery Walk</a> have been announced. The popular walk is expanding this year to include 12 River North art galleries. Each participting design showroom will&nbsp;exhibit&nbsp;vignettes from Chicago&rsquo;s top designers as they showcase living settings with artwork by contemporary artists. Participants for this year&rsquo;s walk include:&nbsp;PROjECT.interiors featuring Eric Gushee, Hailey Lauren Designs featuring Keysook Geum of Andrew Bae Gallery, Nora Schneider Interior Design featuring Terry O&rsquo;Neill of Hilton | Asmus Contemporary, JOLIE ID featuring Arthur Meyerson of The Rangefinder Gallery at Tamarkin Camera, Stephen Young for Kaufman Segal Design featuring Rose Freymuth Frazier of Gallery Victor Armendariz, London Walder Interior Design and Devon Grace Interiors featuring Robin Denevan of Addington Gallery, Robin Thomas Design featuring Rene Romero Schuler of Zolla Lieberman Gallery, Adam Siegel of The Golden Triangle, Blutter Shiff Design Associates featuring Linc Thelen, Kadlec Architecture + Design featuring Dylan Martinez of Echt Gallery, MOOD Design + Build featuring Daniel Jacob of Echt Gallery, Stone | Kent featuring Xiaofei Yue of Galerie Waterton, Inspired Interiors featuring Wendy Franklin of Vale Craft Gallery, Mitchell Channon Design featuring David Yarrow of Hilton | Asmus Contemporary Gallery, Wike | LaFrey featuring Rick Beck of Ken Saunders Gallery, Mia Rao Design featuring Anna Pales of Gruen Gallery, Sarah Dippold Interior Design featuring Gregory Block of Zolla Lieberman Gallery and Steve + Filip Design featuring Mary Ann Papanek-Miller of Jean Albano Gallery. The walk takes place on Friday, September 7 in conjunction with the opening of the fall gallery season. A special family day takes place Saturday, September 8.&nbsp;The vignettes will be exhibited until October 9th.

The Chicago Print Crawl takes place June 24.&nbsp;The free self-guided tour of 20 printmaking production, publishing, exhibition and sales venues in neighborhoods throughout the city, from to Fata Morgana Press in Bridgeport to Galerie F in Logan Square to Free Range Gallery in Albany Park.&nbsp;An after party will take place at Spudnik Press Cooperative. <a href="https://www.spudnikpress.org/event/chicago-print-crawl/">Details</a>&nbsp;

EXPO CHICAGO announced its list of 135 participating galleries for its seventh edition, its most globlal to date. The fair&#39;s dates are also a little later than usual, September 27-30, 2018,&nbsp;due to the fall holidays. Read the CGN post <a href="https://www.chicagogallerynews.com/news/2018/5/expo-chicago-announces-participating-galleries-for-seventh-edition">here</a>.

The Other Art Fair, presented by&nbsp;online art gallery&nbsp;Saatchi Art, is coming to Chicago September 28-30&nbsp;and is timed to coincide with EXPO Chicago. TOAF showcases work by 130 talented independent and emerging artists and&nbsp;will take place at Mana Contemporary. The fair also takes place in Bristol, England, Melbourne Australia, London, Los Angeles and Brooklyn.&nbsp;<a href="http://chicago.theotherartfair.com">Details</a>.&nbsp;

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Top of page: a dinosaur bone from&nbsp;M&aacute;ximo,&nbsp;the largest dinosaur ever discovered. On view at the Field Museum.
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In the News: Updates from the CGN Art Community 

EXPO CHICAGO announces 135 participating galleries for its seventh edition of the art fair

EXPO CHICAGO Announces Participating Galleries for Seventh Edition 

News from Around the Art World: May 29, 2018

Each week CGN interviews a local art-industry professional to discuss the ins and outs of running a space&nbsp;in the city of Chicago. This week we caught up with Christopher Schneberger of&nbsp;<a href="https://www.chicagogallerynews.com/galleries/perspective-group-photography-gallery-ltd">Perspective Gallery</a>.

&nbsp;

Age: 47

Current Position: Board Member at Perspective Gallery, Adjunct faculty in Photography at Columbia College and College of DuPage

Hometown: Chicago&nbsp;(born and raised in Miami, FL)

&nbsp;

5 favorites from the past week&nbsp;

Restaurant - Kimski in Bridgeport 
Shop - Chicago Drum Exchange 
Read &ndash; Medium Raw by Anthony Bourdain (audiobook) 
Neighborhood - Pilsen 
Music - New albums by Rocket Miner and RLYR

&nbsp;

CGN: Tell us about your background and your involvement with Perspective Gallery?

CS: I ran the photography program at the Evanston Art Center for thirteen years and had a number of students doing exhibition level work. Some of them decided to open a gallery and brought me in to consult about the idea. Before long we had decided to have a cooperative space with 20 area photographers, hosting exhibitions of members work and photographers at large. Our programming includes a lecture series of prominent photographers and curators, a curated invitational themed exhibition, a regional juried exhibition called Vicinity, a high school juried show, and a national juried exhibition (LENS) which brings in over 1000 submitted images each year for consideration.

&nbsp;

CGN:&nbsp;Give us a day in the life!

CS: My life involves a lot of teaching. My career is really as an educator in photography, and I teach classes at Columbia College, the College of DuPage, and Dominican University. So I&rsquo;m up in the morning and driving off to a school, trying to remember which one I&rsquo;m going to! When I have time away from classes, I spend it doing work for the gallery which might entail managing one of the special exhibitions we have, or coordinating something within our membership like outings or installing exhibitions.

&nbsp;

CGN:&nbsp;As a founding member of the non-profit group, how would you sum up your experience working with Perspective Gallery?&nbsp;

CS: It has been very rewarding to build Perspective Gallery from a just an idea to an institution on the&nbsp;Chicagoland photography landscape. A very dedicated group of people has made this possible, and it is my great honor to work with them. Our group has committees, and everything is done on a volunteer basis, with each member contributing to the success of the organization. When we began, we just hoped we could survive for a year, or until our first lease was up. Now we are looking years ahead and striving to become a recognized center for photography.

&nbsp;

CGN:&nbsp;Any major successes this year? What about challenges? &nbsp;

CS: At the gallery we had a terrific show that I co-curated with member Stephanie Taiber called &ldquo;Shadow Fixations,&rdquo; featuring artists who deconstructed the photographic materials and challenged the nature of the medium, and featured the work of Doug Fogelson, Julie Weber, Juan Fernandez, Elina Ruka, and Jaclyn Wright. In March we had our 9th annual LENS juried exhibition which was curated by Paula Tognarelli, director of the Griffin Museum of Photography.

We&rsquo;ve also had terrific lectures by Clarissa Bonet, Glenn Hansen, and Jeffrey Wolin. As for myself, I received the award for college-wide Outstanding Adjunct Faculty at College of DuPage, and was a visiting artist at Iowa State University.

Challenges? Finding time to make work while teaching up to six courses a semester!

&nbsp;

CGN:&nbsp;What do you want to tell a young person considering this career path?

CS: Think about law school! Seriously though, it can be very enriching as a cultural pursuit, but there&rsquo;s not much money in curating and teaching.

&nbsp;

CGN:&nbsp;Favorite cultural pursuit outside of the art world?

CS: Music. I play drums in a band called Moon, and we&rsquo;re releasing our third studio album on June 8th, with an album release show at Martyrs&rsquo; on Saturday, June 9th. I&rsquo;m also an avid music listener, and I go to shows around Chicago on a weekly basis.

&nbsp;

CGN: What should we expect to see next from Perspective Gallery in 2018?

CS: We&rsquo;re looking forward to a politically charged exhibition in August curated by Jane Fulton Alt called #metoo. Jane is a terrific photographer and serves on our advisory board. We&rsquo;ll also have more lectures. I have a show in September as well.

&nbsp;

Christopher Schneberger is a photographer and board member of Perspective Gallery. For more information about the photography group please visit:&nbsp;<a href="https://www.chicagogallerynews.com/galleries/perspective-group-photography-gallery-ltd">Perspective Gallery</a>.

&nbsp;

&nbsp;

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CGN Interview Series: Christopher Schneberger of Perspective Gallery

Art events and spaces for children in Chicago this summer

Summer round-up: Family-friendly art spaces 

Each week CGN interviews a local art-industry professional to discuss the ins and outs of running a space&nbsp;in the city of Chicago. This week we caught up with Ellen Philips Katz Director&nbsp;of the Block Museum of Art, Lisa Graziose Corrin.

&nbsp;

Current Position: &nbsp;Ellen Philips Katz Director, Block Museum of Art, Northwestern University

Hometown: I was born in Queens, New York and raised on Long Island, 52 miles east of Manhattan. My professional career has taken me to Izmir, Turkey, Baltimore, London, Seattle, Williamstown Massachusetts and now Chicagoland.

Previous Occupations:

Director, Williams College Museum of Art 
Deputy Director of Art/Curator of Modern and Contemporary Art at the Seattle Art Museum 
Chief Curator, Serpentine Gallery, London 
Assistant Director/Curator of The Contemporary, Baltimore

&nbsp;

5 favorites from the past week&nbsp;

Restaurant:&nbsp;Piccolo Sogno, West Loop and North Pond, Lincoln Park

Shop:&nbsp;Turley Road, Andersonville

Book:&nbsp;Outliers and American Vanguard Art, a catalog of a 2018 exhibition organized by the National Gallery of Art traveling to LACMA and the High Museum.

Neighborhood:&nbsp;Evanston! My husband and I chose to live in Evanston because we felt it was important to be part of the community that the Block serves. We admire Evanston&rsquo;s activist spirit; the City nurtures and supports its organizations and businesses and residents are unafraid to speak their mind. When we take walks in our neighborhood, the peace poles, signs of solidarity with our immigrant population, and commitment to diversity all remind us that we made the right choice of where to pitch our tent.

Music:&nbsp;Anything at the Lyric (we are season ticket holders) by David Lang, my favorite contemporary composer, or jazz pianist Keith Jarrett.

&nbsp;

Tell us a little bit about your background and how your position at the Block Museum of Art came to be?

Northwestern&rsquo;s legacy in the arts is extraordinary and it has been meaningful to me to be one of its champions. In 2012, when I came to the museum, the Block was ready to become an even stronger bridge between the campus and the community. I relished the opportunity to create a new model for an academic art museum within a research university, a model that is focused on collaboration, interdisciplinary teaching and learning, rigorous research, and innovative exhibitions and programs.&nbsp;

Northwestern is on the move! It is an exciting time to be at a future-focused institution that believes the experience of art should be part of the education of every student. It is a privilege too, to be doing this work in the greater context of Chicago, one of our nation&rsquo;s great cultural capitals, along with brilliant colleagues at the helms of so many dynamic institutions throughout the city.

&nbsp;

What&#39;s the first thing you do each morning when you get to the museum?&nbsp;

As I enter the museum I say hello to Aaron Chapman, our Assistant Manager of Visitor Services and Visitors Services Associate, Rocio Olasimbo and have a chat.&nbsp; Our front-line staff are our greatest ambassadors and the anecdotes they share with me about our visitor&rsquo;s responses ensure I don&rsquo;t forget what we are here to do.

&nbsp;

Do you have a favorite exhibition or collection from the past?

I am a great fan of the Ornithology Galleries at the Field Museum of Natural History, but my favorite collection in Chicago is most likely that of the Chicago Botanic Gardens.&nbsp; People don&rsquo;t think of this extraordinarily diverse collection on 385 acres as a cultural collection but it is.&nbsp; The research and conservation science that is going on in this living museum is world class&hellip;.&nbsp; Not to mention the pure joy of listening to the carillon bells now that the weather is warm.

I grew up inside the Metropolitan Museum of Art in New York.&nbsp; To this day when I walk through the front door of that museum I behave as though it is my own home.&nbsp; That&rsquo;s how comfortable I feel there. I am a great believer in getting lost inside museums so that you have unexpected encounters with works of art. I remember going to the Met and seeing a small study of Monet&rsquo;s Women in the Garden, which is now in the Musee d&rsquo;Orsay, and seeing the shadow on the back of a train on a woman&rsquo;s dress and the hundreds of shades of green and grey that composed this picture.&nbsp; I realized Monet was not painting women&rsquo;s dresses at all, he was painting the effects of light. It was like a veil had been lifted from my eyes and everything I looked at around me after that changed. &nbsp;I saw how art could be a window onto other ways of perceiving and understanding the world.&nbsp; At that moment I thought &ldquo;Wow I want to be looking through those windows for the rest of my life.&rdquo;

&nbsp;

Any major successes this year? Any challenges?

2018 has been an extraordinary year for the Block Museum so far with over 20,000 visitors in just three months for the groundbreaking exhibition Paint the Eyes Softer: Mummy Portraits from Roman Egypt.&nbsp; The exhibition became a true case study exemplifying our role of as an innovation hub and campus catalyst.&nbsp; In the creation of the exhibition we convened student research and faculty expertise from across the University&mdash;including contributions from classics, art history, sound arts, materials science, computer science, medicine, archaeology, and art history&mdash;all to investigate the mummy of a 5-year old girl buried nearly 2000 years ago.&nbsp; The exhibition included the first museum use of Apple&rsquo;s augmented reality toolkit, an experiment at the Argonne National Laboratory, a student sound design competition, and a class co-taught in Classics and Material Science, to name just a few of the related projects.&nbsp; The fact that our resulting exhibition was covered by Time Magazine, BBC, PBS NewsHour, and made the front page of the Chicago Tribune &ndash; is just icing on the cake, evidence of the power and endless possibilities that can come out of interdisciplinary collaboration.

2018 also saw the release of our new Strategic Plan &ndash; The Block Museum as a Frame of Mind.&nbsp; I see this plan as the Block team&rsquo;s great success, representing almost a year&rsquo;s worth of conversation, planning and stakeholder interviews. The plan lays out ambitious actions for impact over the next five years. I think our greatest challenge is keeping up with the rising tide of participation in the Block&rsquo;s program from faculty, students, and the broader community. We are living in a time when our visitors are seeking a way to understand the complexities of our contemporary world. We have a responsibility to connect to connect art to their lives so that the important contributions of artists across time and cultures resonate and are valued.

&nbsp;

What do you want to tell a young person considering this career path?

I am a first generation college graduate so a career as a museum director was atypical in my family.&nbsp; Of course being an art history major was great preparation but is not on its own what prepares one for being a museum director.&nbsp; Leadership is a process&mdash;learning from the twists and turns in the road, from my mistakes and, especially from the feedback of those with whom I work, have all been critical.&nbsp;

The museum field needs more diversity at the top.&nbsp; If museums are going to speak to everyone &ndash; then leadership positions need to be held by individuals with a greater range of backgrounds. I talk often to my students about cultivating the belief that change is possible. On my desk is this quote:&hellip;&rdquo;It had long since some to my attention that people of accomplishment rarely sat back and let things happen to them, they went out and happened to things.&rdquo; --Leonardo da Vinci

&nbsp;

What are your&nbsp;interests outside of the art world?

I have an unwieldy cookbook collection and am fascinated by global food culture. I am also a voracious reader of history and a compulsive viewer of television political commentary. My husband Peter and I have embraced Chicago&rsquo;s extraordinary cultural offerings. We are season ticket holders for the Lyric, regular theater-goers, support the Chicago Humanities Festival, and are members of The Chicago Botanical Gardens, the Field Museum, the Art Institute and the MCA. Kayaking is also a passion for both of us and we are eagerly anticipating another summer season out on the water.

&nbsp;

What do you look for in an artwork? What speaks to you?

As a curator of contemporary art, I have occasionally had the experience in a studio in which an artist&rsquo;s work struck a chord deep within me. I got disoriented and thrown off balance. &nbsp;The hair on the back of my neck stood up.&nbsp; I knew I was in the presence of something significant.&nbsp; If that experience lingers the second time I see the work, I am likely to want to do an exhibition or to write about it in order to explore that response and to understand what in the work provoked it.

&nbsp;

What&rsquo;s coming up next at the Block Museum of Art?

In Fall of 2018 we are thrilled to be partnering with the Terra Foundation and with institutions around the city on Art Design Chicago, our city-wide celebration of Chicago as America&rsquo;s crossroads of creativity and commerce.&nbsp; Our exhibition Up is Down: Mid-century Experiments in Advertising and Film at the Goldsholl studio is the first to examine the pioneering work of the Morton and Millie Goldsholl and their Chicago advertising firm, Goldsholl Design Associates, which brought &nbsp;Bauhaus design to a broad American audience, and created some of the nation&rsquo;s most iconic brand images including the Motorola logo and the 7Up &ldquo;See the Light&rdquo; campaign. In January 2018 we will present Caravans of Gold, Fragments in Time, an exhibition about art and cultural exchange along the trans-Saharan trade routes connecting Africa, the Middle East and Europe during the medieval period. Loans are coming from some of the world&rsquo;s greatest museums and the exhibition is traveling to the Smithsonian&rsquo;s National Museum of African Art. This is quite an achievement for the small but mighty Block Museum of Art.

&nbsp;

Lisa Graziose Corrin is the Ellen Philips Katz Director of the Block Museum of Art. For more information about the museum&nbsp;please visit: <a href="https://www.chicagogallerynews.com/institutions/block-museum-of-art">Block Museum of Art</a>.

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Photo Copyright: Joe Mazza,&nbsp;Brave Lux

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An Interview with Lisa Graziose Corrin, Director of the Block Mueseum of Art

<h2>Artist Robert Indiana Dies At 89: The Story Behind &#39;LOVE&#39;</h2>

Fifty years after his&nbsp;LOVE&nbsp;painting made Robert Indiana a sensation, the artist has died at age 89. Indiana&#39;s two-row rendering of the word, with its tilted &quot;O,&quot; became one of the most recognizable works of modern art in the world.

The famous design emerged from deep influences in Indiana&#39;s life, from his early exposure to religion to his father&#39;s career.

By Bill Chappell, NPR

<a href="https://www.npr.org/sections/thetwo-way/2018/05/22/613295340/artist-robert-indiana-dies-at-89-the-story-behind-love">Read More</a>

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<img alt="" data-rich-file-id="2777" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2777/original/merlin-138245391-9d3b59e8-5ea7-41b0-8774-4f9027c8e025-jumbo.jpg" />

<h2>Painting That Hung in a Chicago Convention Center Brings Unexpected Windfall</h2>

A lone painting by a celebrated contemporary artist turned into a windfall on Wednesday night for a small municipal agency in Chicago.

The painting,&nbsp;Kerry James Marshall&rsquo;s&nbsp;&ldquo;Past Times,&rdquo; sold for $21.1 million at Sotheby&rsquo;s in New York, nearly 900 times the $25,000 that the Metropolitan Pier and Exposition Authority spent on it in 1997, and a record for the artist. In a statement, Lori Healey, the authority&rsquo;s chief executive, said the M.P.E.A. was &ldquo;thrilled&rdquo; by the auction results, adding that the price tag ended up &ldquo;far exceeding anyone&rsquo;s expectations.&rdquo;

By&nbsp;Sopan Deb, The New York Times

<a href="https://www.nytimes.com/2018/05/17/arts/design/marshall-sothebys-auction.html">Read More</a>

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<img alt="" data-rich-file-id="2778" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2778/original/larger.jpg" />

<h2>1960s Chicago Gave Birth to a Colorful, Frenetic Art Style That Is Still Gathering Steam</h2>

The&nbsp;Chicago Imagists&nbsp;of the 1960s and &rsquo;70s created colorful, energetic paintings and sculptures that often riffed on vernacular sources (comic books, pinball machines) and the eccentricities of American culture.&nbsp;Barbara Rossi&rsquo;s colorful, corporeal shapes piled atop each other like jumbles of internal organs.&nbsp;Jim Nutt&nbsp;drew and painted grotesque figures that evoked brightly lit freak shows.&nbsp;Gladys Nilsson&nbsp;rendered overlapping bodies, simultaneously in their own worlds and parts of a larger, chaotic mass.&nbsp;Suellen Rocca&nbsp;created busy, symbol-laden canvases.

By&nbsp;Alina Cohen, Artsy Editorial

<a href="https://www.artsy.net/article/artsy-editorial-1960s-chicago-birth-colorful-frenetic-art-style-gathering-steam">Read More</a>

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<img alt="" data-rich-file-id="2779" src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2779/original/19693-94155-957-molly-z.jpg" />

<h2>A Mighty Mural: Oxbow launches artist-in-residence program to spice up downtown</h2>

The corner of Farwell and Galloway is about to get prettified in a big, bold way. Chicago-based artist Molly Z will begin work on a 3,200 square foot mural on the side of the Eau Claire Printing Building on June 3 as part of The Oxbow Hotel&rsquo;s first artist in residence program. The public is welcome to participate in the process during several events hosted throughout the residency &ndash; in addition to watching the image come to life over the roughly two-week project.&nbsp;

By Lauren Fisher, Volume One

<a href="http://volumeone.org/news/1/posts/2018/05/21/19693_a_mighty_mural">Read More</a>

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News from Around the Art World: May 22, 2018

By GINNY VAN ALYEA

Richard Gray has died at age 89. He passed away yesterday at home in Chicago.

Gray&nbsp;founded<a href="https://www.chicagogallerynews.com/galleries/richard-gray-gallery--2">&nbsp;The Richard Gray Gallery</a> on November 4, 1963, at 155 E. Ontario. Today the gallery, which includes a location in the John Hancock Center downtown and a West Side Warehouse venue, as well as a Madison Avenue space in New York,&nbsp;will continue under the leadership&nbsp;of Gray&#39;s son Paul, and partners Andrew Fabricant and Valerie Carberry.&nbsp;

As of 2012 the&nbsp;gallery&rsquo;s sales were just under $100 million, and&nbsp;clients included&nbsp;more than 10 percent of the Forbes 400 list, including nine members from the Chicago area, as well as&nbsp;collectors and museum curators from Europe, Asia, the Middle East and South America.

The gallery started out modestly in the early 1960s.&nbsp;With&nbsp;a&nbsp;young family at home&nbsp;at the time, Gray had&nbsp;been looking for a new career after working for his father&#39;s construction business for several years. Gray&#39;s wife Mary Kay Lackritz&nbsp;grew up in a family of art collectors, and Gray, who was trained as an architect, was inspired to follow his own passion for art and open a gallery that would allow him to make a personal passion into a profession.

Eventually the gallery occupied&nbsp;620 N. Michigan Ave. for nearly 30 years, before moving in 1995 to the 25th floor of&nbsp;875 N. Michigan in the John Hancock Center, and today the 38th floor.&nbsp;Gray Warehouse opened in April 2017 at&nbsp;2044 W. Carroll in the Kinzie Industrial Corridor in West Town.&nbsp;

According to Natalie van Straaten, founding publisher of Chicago Gallery News and former Executive Director&nbsp;of the Chicago Art Dealers Association (CADA), &quot;Richard Gray was not only recognized and respected&nbsp;in the international art world, but he also helped transform the Chicago art gallery world with vision, guidance and generosity.&nbsp;He was a mentor and model of integrity&nbsp;for other dealers; his encouragement of establishing the CADA, as well as the first international art exposition in Chicag, helped put our city on the map.&nbsp;His gallery&rsquo;s exhibitions of extraordinary artists brought greatness to the city (including Jaume Plensa to the Crown Fountain) and his philanthropy went well beyond the visual arts and the cultural life of Chicago.&quot;

Gray helped found the CADA in 1967 and was one of its early presidents (1967&ndash;1975). He was elected president of the Art Dealers Association of America (ADAA) in 1998, notably the first dealer based outside of New York to hold the position. He served on the board of the Art Institute of Chicago, where&nbsp;an extensive collection of prints and drawings collected by Gray and his wife Mary are shown. He was also a passionate supporter of the Chicago Symphony Orchestr, The Chicago Humanities Festival, and the Smart Museum of Art at the University of Chicago. A&nbsp;center for artistic and scholarly collaboration, the&nbsp;Richard and Mary L. Gray Center for Arts and Inquiry, opened on the campus of the University of Chicago&nbsp;in 2013.&nbsp;

In a 2013 interview with CGN Gray recalled,&nbsp;&ldquo;Maybe because of my architecture background, I had a particular interest in draftsmanship, prints and drawings.&nbsp;When I opened the gallery, I had the idea that I&rsquo;d be handling that kind of thing, and that&rsquo;s what happened. I started out by representing established and emerging artists primarily working on paper.&rdquo;

Gray&#39;s reach continued to expand, and he&nbsp;went on to sell art&nbsp;in a range of mediums by such well known artists as&nbsp;Jules Olitski, Morris Louis, Louise Nevelson, Hans Hofmann, Fernand L&eacute;ger and Jim Dine.&nbsp;The gallery roster continued to grow over the decades to feature David&nbsp;Hockney, Josef Albers, Joseph Cornell, Richard Diebenkorn, Willem de Kooning, Philip Guston, Roy Lichtenstein, Agnes Martin, Henry Moore, Robert Motherwell, Pablo Picasso, Jackson Pollock, Mark Rothko, David Smith, Cy Twombly and Andy Warhol, among many others. Gray also significantly represented&nbsp;aboriginal and African art.

&ldquo;My standards were about trusting my own eye, my own sense of aesthetics,&rdquo; Gray recalled. &ldquo;It wasn&rsquo;t the particular style or period that interested me; it was the individual work of art.&rdquo;&nbsp;

&ldquo;They were the best gallery in Chicago, as far as I was concerned,&rdquo; said artist Jim Dine in 2013, still one of the Grays&rsquo; most-shown artists. &ldquo;Richard has a tremendous eye and a great world view, and he was really the only truly international gallery in Chicago for a long time. I was very pleased to be there.&rdquo;&nbsp;

van Straaten said, &quot;[Richard] will be missed, but what a great legacy he left for Chicago.&quot;

&nbsp;

To read CGN&#39;s 2013 interview with Paul Gray on the occasion of the gallery&#39;s 50th anniversary, <a href="https://www.chicagogallerynews.com/news/2013/9/50-years-a-milestone-arrives-quietly-at-richard-gray-gallery">click here</a>.
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Chicago dealer and art pioneer Richard Gray has died at age 89.

Chicago Art Dealer and Pioneer Richard Gray Has Died at 89

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1721418589/jxtusrjkebxcy9rhqqdh.jpg"><figcaption>1709-1711 W Chicago Ave.</figcaption></figure>By FRANCK MERCURIOIn his poem, Carl Sandburg summed up Chicago’s rough-and-tumble reputation as a city concerned with only one thing: making a buck.Proud to be Hog Butcher, Tool Maker, Stacker of Wheat, Player with Railroads and Freight Handler to the Nation.But turn-of-the-19th-century Chicagoans were also involved in the commerce of art. Wealthy industrialists purchased art and encouraged artists to settle in the city, especially after the 1893 World’s Columbian Exposition had ended. Philanthropists Anne and Lambert Tree even financed the construction of Tree Studios—still thriving at Ohio and State Streets—providing artists with live/work spaces on the Near North Side. Soon after, artists, writers, and musicians congregated in the neighborhood surrounding the Water Tower, then known as Towertown.As North Michigan Avenue developed into the commercial district we know today, the Bohemian types moved on, but artistic enterprises remained. Katharine Kuh opened her eponymous gallery inside North Michigan Avenue’s Diana Court Building, which ran successfully from 1935 until 1943, despite the economic challenges of the Great Depression.&nbsp;Writing in the Encyclopedia of Chicago, MCA Curator Lynne Warren elaborates on the city’s first gallery district: “North Michigan Avenue and its immediate environs were the prime location for commercial art galleries from the 1940s until the 1980s. Pioneering spaces included Madeline Tourtelot’s Gallery Studio, Benjamin Galleries, and the Frank J. Oehlschlaeger Studio.”Today, a few gallerists still call North Michigan Avenue home, most notably Richard Gray (though they opened Gray Warehouse, an expansive West Side outpost, in 2017). But, as time passes, neighborhoods inevitably change. When River North became revitalized in the 1970s, the heart of Chicago’s gallery scene shifted from Michigan Avenue to the intersection of Superior and Franklin, which became the new hotspot for art. Today the neighborhood supports a concentration of approximately 20 galleries, including veterans Carl Hammer and Zolla/Lieberman, one-year-old Gallery Victor Armendariz, and now a pop-up from Aron Packer Projects.As gentrification of River North increased, a new generation of gallerists went in search of less expensive space; many found home in the West Loop, just south of Randolph Street’s restaurant row. Now, as development in that area rapidly increases, several galleries are moving on, seeking larger spaces, less expensive rents, and new audiences in West Town.“Fifteen years ago, the West Loop was all meat packing,” said Anastasia Tinari, director of Rhona Hoffman Gallery. “Now there are cranes on either side of our [former] building; it felt prohibitive. But people already come to this neighborhood [West Town]; and with Rhona having just moved here, her gallery serves as an anchor, along with the galleries upstairs.”Hoffman Gallery recently joined Western Exhibitions, DOCUMENT, Volume Gallery, and Paris London Hong Kong in a large commercial building at 1709 W. Chicago Avenue, making the intersection of Ashland and Chicago the new art nexus of the neighborhood.&nbsp;A new restaurant coming to the same building will also draw regular crowds; Funkenhausen, touted as a big beer hall with traditional German dishes, is a project of the building’s landlord, Daniel Boyd, and chef Marc Steuer (El Che and Carraige House).&nbsp;West Town isn’t new to the Chicago arts scene. A loose confederation of experimental galleries, called Uncomfortable Spaces, was located in the neighborhood in the 1990s. Corbett vs. Dempsey has also been a dynamic presence here since 2004. But recent events have made West Town a magnet for even more galleries.“The West Loop is getting too dense,” said Scott Speh, owner and director of Western Exhibitions. “The landlord of our old space offered this building [1709]; it seemed like the best solution after looking for a year or more. We [the gallery owners] all live nearby and wanted to be on the western fringes of the West Loop.”<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2757/original/rhona.jpg" alt=""></figure>Hoffman has been in the gallery business for over 40 years, and in that time she has run six different spaces. Her philosophy is practical, keeping the needs of the customer in mind. “If you want to see galleries in Chicago, you have to spend a day getting everywhere,” she says, “So you need to have some kind of a center.”Just up the street at 864 N. Ashland, Jefferson Godard relocated his gallery, Aspect/Ratio, from the West Loop in 2017. Aspect/Ratio had been operating at 119 N. Peoria, directly across the street from Hoffman’s previous space, for several years. Known for cutting-edge video installations, Godard’s 3rd floor West Loop gallery had no street visibility. The new space has large windows looking onto Ashland Avenue and a 1,000-square-foot floor plan, nearly five times the size of the old gallery.&nbsp;“We decided to move to a better, more prominent location,” said Godard. “West Town/Ukrainian Village offered us a great space and community.”The community is growing as other gallerists relocate near the intersection of Chicago and Ashland Avenues, including Mongerson Gallery, Mickey Pomfrey (of Courtney Blades Gallery) and Monique Meloche Gallery.Architect Dirk Denison is designing Meloche’s new space in an expanded location in West Town. The gallery opens June 9 with a solo exhibition of Jeff Sonhouse’s works.“We’ve been looking for a couple of years to move, and we’ve always liked being on the west side in Wicker Park/Bucktown,” said Meloche. “So it was natural to keep looking in the same general area. My gallery has always been a destination, but we are happy to soon be within walking distance of some of our colleagues.”&nbsp;<figure class="image"><img src="https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2756/original/5-install-handeye.jpg" alt=""></figure>“Like everything else, things change,” said Speh of Western Exhibitions. “Whenever I see articles about changing gallery districts, and bemoaning that, well this is historical. Every 10 to 15 years, things shift.”With ample street parking and multiple public transportation options, West Town has become a convenient and appealing art outpost. And with new restaurants and amenities continuing to move to the neighborhood, Chicago’s newest gallery district is becoming a destination to spend an afternoon or evening enjoying a meal and viewing art.&nbsp;West Town AREA Galleries:&nbsp;West Town’s general boundaries are considered Bloomingdale to Kinzie; the Chicago River to Kedzie. Neighborhoods within West Town also include: East Village, Humboldt Park, Kinzie Industrial Corridor, Noble Square, Smith Park, Ukrainian Village, and Wicker Park and nearby River West.For the purpose of identifying this new gallery center, we consider the West Town-ish arts boundaries to be between Augusta and Lake and the River to WesternThe list below is current as of May 2018.&nbsp;Aspect/Ratio:&nbsp;864 N. AshlandChicago Artists Coalition:&nbsp;2130 W. FultonChicago Truborn: 1741 W. Chicago&nbsp;Corbett vs. Dempsey: 1120 N. AshlandCourtneyBlades:&nbsp;1635 W. GrandDOCUMENT: 1709 W. ChicagoRichard Gray Warehouse: 2044 W. CarrollRhona Hoffman Gallery: 1711 W. ChicagoIntuit: The Center for Intuitive and Outsider Art: 756 N. MilwaukeeJohalla Projects: 1821 W. HubbardTHE MISSION: 1431 W. ChicagoMongerson Gallery:&nbsp;2251 W. Grandmonique meloche:&nbsp;451 N. PaulinaParis London Hong Kong:&nbsp;1709 W. ChicagoPATRON Gallery:&nbsp;673 N. MilwaukeeMatthew Rachman Gallery:&nbsp;1659 W. ChicagoRegards:&nbsp;2216 w. ChicagoRoots &amp; Culture:&nbsp;1034 N. MilwaukeeSpudnik Press:&nbsp;1821 W. HubbardLinc Thelen Galleries:&nbsp;1620 W. CARROLLUkrainian Institute of Modern Art&nbsp;(UIMA): 2320 W. ChicagoVolume:&nbsp;1709 W. ChicagoWestern Exhibitions: 1709 W. Chicago&nbsp;Top image: The&nbsp;1709–1711 W. Chicago Ave. building once housed a factory. Today it is home to several galleries that have moved from the West Loop.</body></html>

A New Westward Migration: Galleries Move in Search of Space and Community

Each week CGN interviews a local art-industry professional to discuss the ins and outs of running a space&nbsp;in the city of Chicago. This week we caught up with Executive Director and Chief Curator, Solveig &Oslash;vsteb&oslash;&nbsp;of the Renaissance Society.

&nbsp;

Age: 45&nbsp;

Current Position: Executive Director and Chief Curator, the Renaissance Society at the University of Chicago

Hometown: Bergen, Norway

Previous Occupation: Executive Director, Bergen Kunsthall (2003-2013)

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5 favorites from the past week:

Restaurant: S.K.Y. in Pilsen

Shop: Seminary Co-op Bookstores

Read: Constance De Jong, Modern Love

Neighborhood: Hyde Park, of course!

Music: Sigrid,&nbsp;an up-and-coming singer-songwriter from Norway

&nbsp;

Tell us about your background and the journey that led you to become Executive Director and Chief Curator of the Renaissance Society?

I joined Bergen Kunsthall as curator in my late 20s as I was finishing up my MA, and a few years later I was appointed director. During my time there I made exhibitions with some incredible artists including&nbsp;Rosa Barba, Danh Vo, Christopher Williams, Nairy Baghramian, Runa Islam, and Sergej Jensen. In the summer of&nbsp;2012 I was invited to apply for this job at the Ren, which of course I couldn&#39;t pass up, and the&nbsp;just about a year later my family and I undertook a very&nbsp;big move across the Atlantic!

&nbsp;

Give us a day in the life!

My daughters are 4 and almost 6, so getting us all ready and out of the house in the morning is often a bit of a circus.

At the office, my days usually consist of meetings with staff and other stakeholders, making plans with artists for upcoming exhibitions, fundraising,&nbsp;writing and editing texts, and of course&nbsp;lots and lots of emails! In the evenings I am frequently out at&nbsp;events with our supporters or seeing exhibitions&nbsp;at other institutions, but if it&#39;s a home night I might hang out with the girls at the playground before dinner.

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What major successes have you had this year? What about challenges?

What has been really exciting in the last year is seeing a number of artworks we have commissioned going&nbsp;out into the world. New projects&nbsp;by Kevin Beasley, Sadie Benning, and Mathias Poledna were acquired by major international museums (Tate Modern, MoMA, and the Art Institute of Chicago, respectively), and Jennifer Packer&#39;s beautiful show&nbsp;Tenderheaded&nbsp;is currently on view at the Rose Museum of Art at Brandeis University near Boston. The Ren is a small and nimble institution that does a&nbsp;lot, so one of my biggest challenges is simply&nbsp;managing my time and a very varied workload.&nbsp;&nbsp;

&nbsp;

How would you sum up your experience with the Renaissance Society thus far?

My experience at the Ren so far has been truly amazing. I feel that one of the greatest things about being a curator is just continually learning from artists, being alongside them&nbsp;from initial idea to final presentation. I also learn a ton from my brilliant team of colleagues.&nbsp;I faced a&nbsp;steep learning curve when I arrived in Chicago in terms of negotiating a new and very different cultural and professional field, but I have been humbled by, and am so grateful for, the community of support I have found around the Ren, from the generosity of funders to the enthusiasm of artists to work with us.

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What do you want to tell a young person considering this career path?

Look at art, read about art, talk to artists. Stay informed, but avoid chasing trends. And treat people well.

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Favorite&nbsp;pursuit outside of the art world?

I love swimming in Lake Michigan (in the&nbsp;summer) and doing anything outdoors.

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What&rsquo;s coming up next at the Renaissance Society?

Our current exhibition, <a href="http://renaissancesociety.org/exhibitions/530/richard-rezac-address/">Richard Rezac: Address</a>, runs through&nbsp;June 17 and really shouldn&#39;t be missed! I&#39;m also particularly&nbsp;excited about solo shows next season with Shadi Habib Allah in the fall&nbsp;and Liz Magor in the spring.

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Solveig &Oslash;vsteb&oslash; is Executive Director and Chief Curator of the Renaissance Society. For more information about the space please visit: <a href="https://www.chicagogallerynews.com/institutions/the-renaissance-society">The Renaissance Society</a>.

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