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

Why Collect Prints? A Primer from Process/Process

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

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

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

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

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

CGN Art World Recap: 10/21/24

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

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

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

CGN Insights: Chris Jackson of Jackson Junge Gallery

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

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

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

New Exhibitions October 17 - 20

<html><head></head><body>Milwaukee's original gallery hop event, <a href="https://gallerynightmke.com">Gallery Night MKE</a>, allows you to experience Milwaukee's vast creative culture and discover local galleries, art, and artists. This free, two-day art event offers you the opportunity to buy original art, dine in outstanding restaurants, and shop at unique boutiques.Gallery Night MKE Hours:&nbsp;Friday, October&nbsp;18th, 5:00 - 9:00pmSaturday, October 19th, 11:00am - 6:00pm &nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/php66lhm9cetf7wqhhhb.jpg"></figure><a href="https://www.chicagogallerynews.com/events/equus-intersections-the-blue-horses-2019-2024">Out of the Blue: The Blue Horse Paintings 2019 - 2024</a>Opening: Friday, October 18, 5 – 9&nbsp;pmKim Storage Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/hkptbwiv6b9tojynr14k.jpg"></figure><a href="https://www.chicagogallerynews.com/events/mke-gallery-night-how-to-traverse-a-vessel-lauren-woods-nikita-vishnevskiy">How to Traverse a Vessel: Lauren Woods &amp; Nikita Vishnevskiy</a>Opening: Friday, October 18, 5 – 8&nbsp;pmJames May Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/vrtu00ymovdrawsz82rb.png" art="" of="" michal="" patterson.png=""></figure><a href="https://www.chicagogallerynews.com/events/shadowplay-the-art-of-michal-patterson">Shadowplay: The Art of Michael Patterson</a>Opening: Friday, October 18, 5 – 9&nbsp;pmLily Pad | West&nbsp;&nbsp;</body></html>

Gallery Night MKE is October 18 & 19

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/csqra51s88ebudzbyaax.png"></figure>Via PRRhona Hoffman Gallery announces a significant program change following EXPO Chicago and its concurrent gallery exhibit. The gallery will continue working actively with artists, galleries, collectors, and institutions, but will leave its West Town Chicago exhibition space at the end of May. “It’s been nearly 50 years since I became a gallerist, even longer since moving to Chicago, joining the Art Institute’s women’s board, co-founding the MCA store, and 44 years since helping found the first EXPO Chicago –&nbsp;the gallery has&nbsp;been involved ever since. I’ve had the good fortune of witnessing many decades of social and artistic change, and the honor of engaging in how artists and institutions offer voice to their varied points of view. Representing artists and working with so many wonderful people over decades and around the world has been an honor and a great joy in my life.”&nbsp; The gallery remains vibrant in its ongoing exhibitions and will participate in Art Basel Miami Beach, and EXPO Chicago 2025.It’s with enthusiasm the Rhona Hoffman Gallery announces this coming change in May as it allows for new creative opportunities and collaborations.<a href="https://www.rhoffmangallery.com">www.rhoffmangallery.com</a>&nbsp;&nbsp;&nbsp;</body></html>

Announcing a Program Change at Rhona Hoffman Gallery

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/fuyvif4gggpmt3jwldnq.jpg"><figcaption>Hebru Brantley with Midnight Blue. Photo by CGN</figcaption></figure>&nbsp;By GINNY VAN ALYEAOn the morning of Friday, September 20 a small group of special guests visiting Fashion Outlets of Chicago in suburban Rosemont toasted THE COLLECTION’s newest permanent commission, Midnight Blue by acclaimed contemporary artist Hebru Brantley. The installation, which features one of Brantley's iconic Flyboys as well as a surface work running along an elevator stack, is the 25th work to become part of Fashion Outlet's permanent collection of public art. &nbsp;&nbsp; Midnight Blue was inspired by the world of Jazz, particularly the atmosphere created in the classic tune titled “Round Midnight and composed in the 1940s by Thelonious Monk. The song has been widely covered ever since.&nbsp;While visitors wander the mall and move between the upper and levels Brantley's art will hopefully draw their attention to something different about this shopping experience, much the way the artist's murals elsewhere around the city invite passersby by to stop for a moment. Midnight Blue aims to convey a state of being lost in the moment, carried away by the interplay of colors and shapes.&nbsp;Brantley is known throughout Chicago and around the country for his distinctive, narrative-driven work that revolves around his conceptualized characters. His art historical references include Robert Colescott, Andy Warhol, Kerry James Marshall and Jean-Michel Basquiat, and he utilizes his characters in a narrative output to address complex ideas around nostalgia, fear, safety, power, and hope. The color palettes, motifs and characters themselves juxtapose this intricacy, creating an air of innocence and accessibility around his layered and multifaceted ideas. In particular the public has come to recognize Brantly's character of the Flyboy. In his Negro Mythos series, Brantley reimagines the super heroes of American pop culture as people of color – as a quest to readdress modern mythology through his lens. Flyboy was also born from this concept. The one that is part of Midnight Blue is the second Flyboy publicly installed in the Chicago area. The first is at Navy Pier near the Chicago Children's Museum, and a third, which will actually be a (20 foot tall) Lil Mama figure, is coming soon to the city's west side, though there has been delays in unveiling it. &nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/ye826pi4rjd7irnfxa8g.jpg"><figcaption>Photo by CGN</figcaption></figure>&nbsp;Brantley himself has become a public figure, with an international reputation that has followed his beginnings in public art. Much of the work he has become known for is outside. He added, As somebody that started in public art, being able to do something in more of a controlled environment was kind of appealing. It's inside versus outside, And it's a challenge to figure out how to create a narrative around an escalator, but it's still wall space. It's just different.When I asked Brantley what he was most excited about for this particular installation at THE COLLECTION, he shared, For me, the thing that's exciting is that I haven't mixed the mediums of sculpture and painting before. I've done installations, murals, sculptures, but now this is the opportunity for that to all come together.&nbsp;As far as the concept of youth passing time walking in a mall, I wanted to know how much time Brantley had spent in malls growing up. While he did mall walk like many kids, he also recalled that he always had two jobs as a kid, and his first was at Water Tower downtown. I've been known to snack and spend a lot of time at the food court when it comes to malls, he admits. That's basically the kitchen, right? It's like when people come to someone's house – the part of the house they spent the most time in is the kitchen. The heart. Brantley wanted his work to be where people would be taking a break and socializing. And for Brantley, Midnight Blue's addition to THE COLLECTION feels good. This is coming home, so to speak, he says. It's really cool.Details on Hebru Brantley and Midnight Blue at the Fashion Outlets may be <a href="https://www.fashionoutletsofchicago.com/TheCollection-HebruBrantley">found here</a>#&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/v8250c8qjjysrpvozuwl.jpg"><figcaption>Photo by CGN</figcaption></figure>&nbsp;</body></html>

Hebru Brantley's Midnight Blue Joins Fashion Outlet's Permanent Art Collection

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/bvqk7enjbxj11owvjskj.jpg"><figcaption>Tattoos to prove it! &nbsp;Left: New Co-director of CPC, Lauren Steinert and Co-director and CPC Founder Deb Maris-Lader</figcaption></figure>&nbsp;<a href="https://chicagoprintmakers.com">Chicago Printmakers Collaboration</a> announces New Co-Director Lauren SteinertLauren Steinert received her MFA in printmaking from the University of Arizona. She received her Bachelor of Science and Arts from the University of Wisconsin-Madison in printmaking and glass-working, environmental studies, and German.Prior to joining the CPC, Lauren was an Adjunct at Pima Community College, teaching all of the printmaking classes including relief, monoprint, serigraphy, and intaglio. During graduate school she worked as the printmaking technician and taught relief printmaking at the University of Arizona. As a seasonal Print Coordinator at Pilchuck Glass School since 2019, she has overseen the facilities for vitreography and screen printing. Along with her printmaking experience, she has been a glassblowing instructor at the Sonoran Glass School and an artist assistant for a painter. Lauren Steinert's art practice revolves around documenting and archiving the histories of the community work spaces she occupies.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/k6tkgitlls4vmsne2lno.jpg"><figcaption>Julia Thecla, Hey Diddle Diddle, 1962, Oil on canvas board, 11.5 x 13 inches.</figcaption></figure><a href="https://mailchi.mp/87abb0cc025f/celebrating-womens-history-month-17225815?e=d4bddc3732">Mongerson Gallery Announces Series of Works by Julia Thecla</a>The gallery is pleased to offer a selection of works by the renowned Chicago Surrealist Julia Thecla. Once described as “the mystery girl of Chicago art,” Thecla was known for her dreamlike compositions featuring a world of fairies, dancers, animals, and sprites rendered in her signature jewel-toned blues. As a global movement in 20th-century art, Surrealism sought to unlock the unconscious mind, blending reality with the dream world in unexpected and thought-provoking ways. By exploring these fantastical elements, Surrealist artists challenged conventional perceptions of reality and offered viewers new ways to interpret their inner worlds. A contemporary of other Midwestern Surrealists such as Gertrude Abercrombie, Dorothea Tanning, and John Wilde, Thecla’s approach to fantastical subject matter helped shape Chicago’s unique legacy of visual art through the 20th century.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/hwekhub1scdwf9sypoth.png"></figure>Carl &amp; Marilynn Thoma Named ARTnews Top 200 Collectors<a href="https://www.chicagogallerynews.com/news/2020/5/behind-the-orange-door-the-thoma-art-foundation-builds-a-collection-to-share-with-the-world">Read CGN's 2020 interview with the Thomas&nbsp;</a>For the fourth year in a row, Carl and Marilynn Thoma have been included in the ARTnews Top 200 Collectors list.Click below to hear from the Thomas about what being a collector means and why the Dallas art scene is so special.<a href="https://thomafoundation.us9.list-manage.com/track/click?u=c75de283d0624ecb797b09730&amp;id=6682b9a361&amp;e=4a3982ec44">Read the full article →</a>&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

CGN Art World Recap: 10/10/24

By CGN Staff<a href=https://www.artencounter.org>Art Encounter</a>, an area nonprofit founded in 1978 by three artists, recently shared that it is expanding its community outreach programming. Currently Art Encounter serves over 1,000 individuals from all ages and backgrounds annually – work that is at the heart of the group's mission and which brings creativity and connection to youth, adults, and seniors throughout the greater Chicago area at no cost to the participants.﻿This fall new and revived programs include an introduction to street art for young adults in Evanston, art discussions and memory-themed projects for Chicago seniors in assisted living facilities, and even a mural project with pre-schoolers.&nbsp;&nbsp;<figure class=image><img src=https://files.constantcontact.com/4fd15233201/6c9bb9dd-52ac-4344-af35-e9a14cf4497d.png?rdr=true alt=><figcaption>Curt’s Café, left; Sholo Beverly working on a mural project with Curt’s Café in 2022, right</figcaption></figure>&nbsp;In 2022, AE partnered with Curt’s Café, which works to improve outcomes for young adults living in at-risk situations through work and life skills training, on a rewarding mural project. Led by artist Sholo Beverly, teens and young adults from their workforce development program designed and painted a beautiful mural entitled Elevate on the exterior of the restaurant. This fall AE is renewing their partnership by launching a new, five-week workshop introducing Curt’s Café’s students to the world of contemporary murals and street art. The series will include on-site workshops with professional muralists to explore art techniques through creative projects, a walking tour of Art Encounter’s Evanston murals, and a studio visit with a professional artist.&nbsp;&nbsp;<figure class=image><img src=https://files.constantcontact.com/4fd15233201/93127a27-bf44-4605-ba8c-f3a66eda989c.png?rdr=true alt=><figcaption>Participants share their work during Art Encounter's 2022 Making for Memory and Connection program</figcaption></figure>&nbsp;Last month Art Encounter returned to two Chicago senior homes-- Paul House and Greenview Place-- for a new series in their Making for Memory and Connection program, which first launched in 2022. This nine-week program, called A Special Place, honors each individual’s life by commemorating a special place from their lives. Teaching artists Val McCune and Alex Stevenson are bringing original, professional artworks related to place and memory for discussion, then leading participants in creating a personal mixed media artworks reflecting on their chosen special place. The program will culminate with a reception and exhibition, where friends and family will join the artists to celebrate their projects. The Elizabeth&nbsp;Morse&nbsp;Charitable Trust is the generous sponsor of&nbsp;this program.&nbsp;<figure class=image><img src=https://files.constantcontact.com/4fd15233201/afad9c3c-3166-4123-8df8-5ad51edc4d36.png?rdr=true alt=><figcaption>Theodore Roosevelt High School, left; Teaching Artist Courtney Reed discussing a painting by Sam Onche, right</figcaption></figure>&nbsp;In late October, teaching artist Courtney Reed will lead a four-session mini-residency with students from Theodore Roosevelt High School in Chicago’s Albany Park neighborhood as part of a new program at the school called PART: Performing Arts Responsive Therapy. This workshop, focusing on expressive self-portraits, will provide a creative outlet for newly-arrived migrant youth at the school to share their own migration stories and affirm their personal identities in a safe and supportive environment. Students will also discuss and draw inspiration from one of the recent additions to our traveling art collection: a painting entitled Two Pawns by Evanston artist Sam Onche, pictured above.&nbsp;<figure class=image><img src=https://files.constantcontact.com/4fd15233201/c9828909-61fe-4501-91ba-b7f30a08288c.png?rdr=true alt=><figcaption>Two former participants in a past session of Linking Generations, left; one of the program's completed artworks, right</figcaption></figure>&nbsp;Thanks to support from the foundation <a href=https://uphksziab.cc.rs6.net/tn.jsp?f=001vX1YWGAknTq9Z7Yq8Wi21jvpvxI-FZnVcWOSyb_7jOFy7QDCZtOGLKL3Mvg1zTZTDw21X3LYUKCE9wPhduKslzQK8CsKd7l-9M3c0KROTftVAg_jyYe5d0ZqaIumQYqm2jSSwy2Za-9irYdvGQvg652pRgJm2e9E&amp;c=S9HdhplnXyLkKOXg_4TV7Dfo7EiX8LjJp87VbiwYn2VxwAlrueIofw==&amp;ch=JqAe2-bHEe_tylOC-FJzj5i6hLZhYCVo2ZjtZ9Cdd4g6CSvjf480pg==>Innovation 80</a>, Art Encounter will be reviving a former intergenerational program called Linking Generations this year. In partnership with the social service agency Family Matters of Rogers Park, Chicago. this program pairs youth and seniors living in the same community to get to know each other through a series of hands-on workshops exploring different artistic media. Students and their senior partners interview each other to share life experiences, stimulate visual memory, and build relationships between generations. They then collaborate on a mixed media shadowbox project related to a shared interest, value, or dream that the pair has discovered. The program will culminate in a reception for family, friends, and community to share their work and reflect on their experience together.&nbsp;<figure class=image><img src=https://files.constantcontact.com/4fd15233201/d88cbb09-b7f7-4397-b277-9e7525efe03e.png?rdr=true alt=><figcaption>The future site of a nature-inspired outdoor artwork for nearby preschool students; Unity preschool, right</figcaption></figure>&nbsp;Finally, Art Encounter will be working with neighbor artists at the Noyes Cultural Arts Cente on a special outdoor art project. Nearby Unity Preschool has recently created a unique and special outdoor space next to Noyes, giving their students the opportunity to play and explore while connecting with nature. This space is currently bordered by low concrete barriers, which will be transformed into a wildflower garden through a collaborative mural painted by fellow Noyes tenants and Unity's preschoolers.&nbsp;#

Art Encounter Announces Expanded Outreach Programming This Fall

<html><head></head><body>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/fdeqqbhbsobw4ljck04t.jpg"></figure><a href="https://www.chicagogallerynews.com/events/history-of-the-chess-queen">History of the Chess Queen</a>Opening: Friday, October 11, 5 – 8&nbsp;pmHilton Contemporary - Bridgeport&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/ypgf8tq0mi4dtnnjtgfh.jpg"></figure><a href="https://www.chicagogallerynews.com/events/semaphoria-an-artist-s-language">Semaphoria: An Artist’s&nbsp;Language</a>Exhibition begins October 11South Shore Arts&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/sldmkulxf6vkxg5pee98.jpg" nocturne.jpg=""></figure><a href="https://www.chicagogallerynews.com/events/surreal-salon-group-exhibition">Surreal Salon: Group Exhibition</a>Opening: Friday, October 11, 6 – 9&nbsp;pmJackson Junge Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/fnrkvm9ee6i9kta5w9km.jpg"></figure><a href="https://www.chicagogallerynews.com/events/double-ground">Double Ground</a>Opening: Friday, October 11, 5 – 9&nbsp;pmOliva Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092762/blpva73ygtwoft8zxszn.jpg"></figure><a href="https://www.chicagogallerynews.com/events/through-a-bipoc-lens-decolonizing-feminism">Through a BIPOC Lens: Decolonizing Feminism</a>Opening: Saturday, October 12, 4 – 7&nbsp;pmWoman Made Gallery&nbsp;&nbsp;&nbsp;</body></html>

New Exhibitions Open October 11 - 13 (Part I)

<html><head></head><body>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/qlao6hezljfympsfeuhw.png" y="" deseos="" .png=""></figure><a href="https://www.chicagogallerynews.com/events/janice-marin-pia-cruzalegui-stories-y-deseos">Janice Marin &amp; Pia Cruzalegui: STORIES Y DESEOS</a>Opening: Friday, October 11, 6 – 9&nbsp;pmEpiphany Center for the Arts&nbsp;&nbsp;&nbsp;<figure class="image"><img 2015="" src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/gmtpzezi2srxahduosuw.jpg" embelleciendose="" (skeleton="" beautifying="" herself),="" reduction="" linocut,="" 22_x30_="" copy.jpg=""></figure><a href="https://www.chicagogallerynews.com/events/day-of-the-dead-exhibition">Day of the Dead Exhibition</a>Opening: Saturday, October 12, 1 – 4&nbsp;pmDragonfly Gallery &amp; Creative Spaces&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/suhd7yhnuibfx3tgpf8v.jpg" copy.jpg=""></figure><a href="https://www.chicagogallerynews.com/events/25th-anniversary-show-b29e05f4-8371-4ad6-9b15-a5b604f506a4">25th Anniversary Show</a>Opening: Saturday, October 12, 4 – 6&nbsp;pmBert Green Fine Art&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092762/kuvhwtwoag1yvbgxltcx.jpg"></figure><a href="https://www.chicagogallerynews.com/events/cecilia-beaven-flickering-cocoon">Cecilia Beaven: Flickering Cocoon</a>Exhibition begins October 12Hyde Park Art Center (HPAC)&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092763/uxxkr2kwidij80eo668q.jpg"></figure><a href="https://www.chicagogallerynews.com/events/magic-imaginary-realms-selections-from-the-elmhurst-art-museum-collection">Magic &amp; Imaginary Realms: Selections from the Elmhurst Art Museum Collection</a>Exhibition begins October 13Elmhurst Art Museum&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092764/gk210dmkmxhlq3thvh8v.jpg" chicago="" image.jpg=""></figure><a href="https://www.chicagogallerynews.com/events/dialogue-outloud">Dialogue Outloud</a>Opening: Sunday, October 13, 1 – 4&nbsp;pmEvanston Art Center&nbsp;&nbsp;</body></html>

New Exhibitions Open October 11 - 13 (Part II)

<html><head></head><body><figure class="image"><img 2024="" src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/jwh3u3immtoaem83sb9b.png" onecause="" banner="" (email="" header)="" (1).png=""></figure>&nbsp;By CGN StaffWe heard from James Lynch, Exec. Dir. of The Art Center - Highland Park, recently, since the Center has been busy preparing for its annual recycled art sale, opening next week on October 18.&nbsp;The Annual Recycled Art Sale&nbsp;includes thousands of pieces of art that have been donated to The Art Center from private collectors, galleries, estates, corporate art collections, and institutions throughout the year. Each October TAC organizes, researches, and prices to sell all of these donated items and offers them in a 10-day event that benefits TAC's programming, education, and outreach. A community favorite for over 20 years, the variety of items is vast and of high quality, including paintings, prints, ceramics, decorative objects, vintage posters, sculpture, art glass, jewelry, and more. The event keeps art in a sustainable loop or reuse and re-enjoyment.&nbsp;Because the event is well-known and also seeks to accomplish several goals, there are a lot of questions that come to Dir. Lynch each year. He shared his list of FAQs as TAC prepares to open the sale later this month.&nbsp;Are we still accepting donated art? Yes. We accept art every day, including during the event. It is not unusual for people to drop off art and stay to look over the sale.What kinds of art/things do you accept? We accept 2D and 3D art, collectibles, and jewelry. We have accepted furniture and decorative rugs in the past but we don’t accept them anymore.What do you do with the leftover art? First of all, we hope there isn’t anything left over! Leftover items of high value are held for next year. We also offer unsold items to Affordable Housing residents and other similar not-for-profit groups. Nothing is wasted.Should I attend the opening night? Of course! Opening night has two sections. First Look at 5 PM is a ticketed event ($175) and serious shoppers buy tickets way in advance to have early access to the best pieces. At 6 PM we welcome another round of shoppers ($75 in advance, $85 at the door). Most people agree that the pieces they find, whether for their own collection or for re-sale, more than make up the cost of the ticket. The ticket also includes an open bar and a food truck. It’s a really FUN party where art just happens to be the topic.Should I attend more than once? Absolutely. New items are brought in daily, including in the last hours of the sale!Is it free after opening night? Yes and no. We charge $10 for opening weekend, Saturday, and Sunday, and your admission will get you in all weekend. Beginning on Monday, 10/21, entry is free for the rest of the sale.Is there an evening event? Yes: one. Wednesday, 10/23, we’ll stay open until 8 PM.What is the sale for? All funds collected, admission fees, sponsorships, art sales, donations – all of it – go toward our general operating funds. This is our 65th year and this event goes a long way towards keeping our programming alive!Do we need volunteers? Yes! Volunteers help us make this event possible.&nbsp;Do we need sponsors? Yes. Your sponsorship will be shared according to the level of giving. See below.We hope that sharing this information will welcome more people, make attending easier and more attractive, and of course, help us sell out!&nbsp;The Recycled Art Sale runs October 18-26 at the <a href="https://one.bidpal.net/recycled24/welcome">Art Center Highland Park&nbsp;</a>&nbsp;&nbsp;</body></html>

The Art Center Highland Park's Recycled Art Sale Takes Place Oct 18–26

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/or50azraeazhpjaibe3g.jpg"><figcaption>2024's prints</figcaption></figure>&nbsp;By CGN StaffPrinted especially for the Museum by some of the most innovative photographers working today, the sale of editioned Fine Prints directly supports artistic and educational programs at the MoCP.&nbsp; Prints by more than 70 artists are available online including works by artists of local, national and international renown such as Sarah Pickering, Olivo Barbieri, Tony Tasset, Ken Fandell, Brian Ulrich, Anna Shteynshleyger, Anna Fox, Aspen Mays, Kahn and Selesnick, Simon Roberts, Yeondoo Jung, and Tim Davis. Works by internationally-collected artists like Alec Soth, Vik Muniz, Candida Höfer, and Curtis Mann have quickly sold out in recent years.View prints for sale <a href="https://shop.mocp.org/collections/fine-prints?mc_cid=3d4e18252c&amp;mc_eid=d76e1da35a">here</a>.MoCP's annual FIRST LOOK party unveiling its newest prints takes place on Tuesday, October 8. FIRST LOOK is the premier party of MoCP’s 2024 Fine Print Program artists. We welcome you to meet and mingle with friends and artists over light bites, cocktails, activities, and fine print photographs.<a href="https://securelb.imodules.com/s/1871/bp22/interior.aspx?sid=1871&amp;gid=2&amp;pgid=1941&amp;cid=5426&amp;mc_cid=3d4e18252c&amp;mc_eid=d76e1da35a">Buy tickets here and view the new print series</a></body></html>

MoCP Announces This Year's Fine Prints Series

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/l8gdzdtuuibog3l7i0vo.gif"><figcaption>The top floor of Bob Buford’s home is devoted to art. Pictured from left to right are works by Martin Kippenberger, Laura Owens, Peter Halley, and Marc Camille Chaimowicz.</figcaption></figure>&nbsp;By GINNY VAN ALYEACGN has been interviewing art collectors for well over a decade. To date we have profiled over 30 collections in print.&nbsp;When CGN was founded in 1982, it was created as a resource for collectors and a guide to area gallery openings. Over time CGN has evolved to be a resource for many players in the art world and beyond. After CGN Publisher Ginny Van Alyea took over from founder Natalie van Straaten in 2007, we began to conduct a series of interviews with many art community leaders, from dealers and artists to curators and local collectors. Some collectors have professional lives unaffiliated with the art world, while others see collecting as a natural extension of a profession they love. A few are anonymous. All have art collections that are lovingly built and cared for, and we are grateful for their generosity and candor.By building a catalog of collection profiles, we aimed to share the range of collecting experiences, practices and focuses, hopefully inspiring others to build their own art collections in their own unique way.&nbsp;You can read past interviews on <a href="https://www.chicagogallerynews.com/news/interviews">chicagogallerynews.com</a> any time, but we wanted to gather our collector profiles in one place and encourage you to revisit each one or read them all for the first time. These collections are proof of Chicago's deep, rich, long collecting history, and CGN's interviews are a means of recording that history for generations to come.&nbsp;&nbsp;2012<a href="https://www.chicagogallerynews.com/news/2012/1/collector-conversations-deone-jackman">Collector Conversations: Deone Jackman</a><a href="https://www.chicagogallerynews.com/news/2012/9/collector-profile-marilyn-larry-fields">Collector Profile: Marilyn + Larry Fields</a>&nbsp;2013<a href="https://www.chicagogallerynews.com/news/2013/1/collector-profile-anne-and-mark-siebert">Collector Profile: Anne and Mark Siebert</a><a href="https://www.chicagogallerynews.com/news/2013/8/collector-profile-an-eye-for-the-outsider">Collector Profile: An Eye for the Outsider</a>&nbsp;2014<a href="https://www.chicagogallerynews.com/news/2014/1/collector-profile-eileen-and-peter-broido">Collector profile: Eileen and Peter Broido</a><a href="https://www.chicagogallerynews.com/news/2014/4/collector-profile-janis-kanter-and-tom-mccormick">Collector Profile: Janis Kanter and Tom McCormick</a><a href="https://www.chicagogallerynews.com/news/2014/8/collector-profile-linda-and-paul-gotskind">Collector Profile: Linda and Paul Gotskind</a>&nbsp;2015<a href="https://www.chicagogallerynews.com/news/2014/12/a-classic-setting-for-eclectic-art">Carlos Martinez: A Classic Setting for Eclectic Art</a><a href="https://www.chicagogallerynews.com/news/2015/5/ellen-and-richard-sandor-s-art-obsession">Ellen and Richard Sandor’s Art Obsession</a><a href="https://www.chicagogallerynews.com/news/2015/9/helen-zell-s-old-fashioned-approach-to-collecting-contemporary-art">Helen Zell’s Old Fashioned Approach to Collecting Contemporary Art</a>&nbsp;2016<a href="https://www.chicagogallerynews.com/news/2015/12/an-art-world-figure-howard-tullman">An Art World Figure: Howard Tullman</a><a href="https://www.chicagogallerynews.com/news/2016/4/nancy-and-bob-mollers-down-to-earth-collectors">Nancy and Bob Mollers: Down-to-Earth Collectors</a><a href="https://www.chicagogallerynews.com/news/2016/8/collector-jason-pickleman-s-creative-life">Collector Jason Pickleman’s Creative Life</a>&nbsp;2017<a href="https://www.chicagogallerynews.com/news/2016/12/young-couple-eyes-chicago-s-future">Young Couple Eyes Chicago’s Future: Jessica and Tim Canning</a><a href="https://www.chicagogallerynews.com/news/2017/4/in-search-of-the-eclectic">Sally Schwartz: In Search of the Eclectic</a><a href="https://www.chicagogallerynews.com/news/2017/4/the-personal-art-of-collecting">The Personal Art of Collecting: Christopher Slapak and Michael Robertson</a><a href="https://www.chicagogallerynews.com/news/2017/8/collector-irving-stenn-jr-a-lifetime-of-relationships-through-art">Collector Irving Stenn Jr.: A Lifetime of Relationships Through Art</a><a href="https://www.chicagogallerynews.com/news/2017/9/seth-stolbun-today-s-collector">Seth Stolbun: Today's Collector</a>&nbsp;2018<a href="https://www.chicagogallerynews.com/news/2018/5/building-a-home-for-art-reviving-an-industrial-space-in-ravenswood">Building a Home for Art: Reviving an Industrial Space in Ravenswood – Brian Westphal and Michael McVickar</a><a href="https://www.chicagogallerynews.com/news/2018/10/collecting-stories-sebastian-campos-artistic-admiration">Collecting Stories: Sebastian Campos' Artistic Admiration</a>&nbsp;2019<a href="https://www.chicagogallerynews.com/news/2019/5/stewards-of-art-and-history-the-expansive-collection-of-lee-wesley-and-vicki-granacki">Stewards of Art and History: The Expansive Collection of Lee Wesley and Vicki Granacki</a><a href="https://www.chicagogallerynews.com/news/2019/9/collector-robert-buford-embracing-the-connectivity-of-art">Collector Robert Buford: Embracing the Connectivity of Art</a>&nbsp;2020<a href="https://www.chicagogallerynews.com/news/2020/5/art-dealer-ann-nathan-the-perpetual-collector">Art Dealer Ann Nathan: The Perpetual Collector</a><a href="https://www.chicagogallerynews.com/news/2020/5/behind-the-orange-door-the-thoma-art-foundation-builds-a-collection-to-share-with-the-world">Behind The Orange Door: The Thoma Art Foundation Builds a Collection to Share With the World</a><a href="https://www.chicagogallerynews.com/news/2020/8/a-collector-s-personal-focus-discovering-the-value-of-engagement">A Collector's Personal Focus: Discovering the Value of Engagement</a>&nbsp;2021<a href="https://www.chicagogallerynews.com/news/2021/8/stewards-for-generations-the-neal-family-s-influential-support-for-black-artists">Stewards For Generations: The Neal Family's Influential Support for Black Artists</a><a href="https://www.chicagogallerynews.com/news/2021/6/91a62c27-f078-4b58-977c-464ef44cc966">Vibrant Art Enlivens a Home: Collectors Gary Metzner and Scott Johnson</a>&nbsp;2022<a href="https://www.chicagogallerynews.com/news/2022/5/chris-craft-a-collector-discovers-friends-and-history-through-art">Chris Craft: A Collector Discovers Friends and History Through Art</a>&nbsp;2023<a href="https://www.chicagogallerynews.com/news/2023/4/the-art-dealer-as-collector-and-connector-william-lieberman">The Art Dealer as Collector and Connector: William Lieberman</a><a href="https://www.chicagogallerynews.com/news/2023/9/building-a-next-gen-collection-zach-smith">Building a Next Gen Collection: Zach Smith</a>&nbsp;2024<a href="https://www.chicagogallerynews.com/news/2024/4/a-living-collection-sundeep-mullangi-and-trissa-babrowski-support-their-city-through-art">A Living Collection: Sundeep Mullangi and Trissa Babrowski Support Their City Through Art</a><a href="https://www.chicagogallerynews.com/news/2024/9/nurturing-a-garden-of-art-michelle-edwards-tends-to-her-collection">Nurturing a Garden of Art: Michelle Edwards Tends to Her Collection</a>&nbsp;&nbsp;</body></html>

CGN's Collectors: A Recap of Collector Interviews

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/ugteocn119l9ndaptjrm.jpg"></figure>&nbsp;Via PR(Chicago, Illinois — October 4, 2024) — Floating Museum is proud to announce The Burroughs Residency Pilot (The Burroughs), a pilot residency program that will foster innovative connections between art, community, architecture, and public institutions. In line with Floating Museum’s organizational vision of creating a “museum without walls,” The Burroughs envisions a “residency without walls,” that serves local and international creatives of color and strengthens our local and global creative communities.To develop The Burroughs, Floating Museum will initiate a three-year pilot development phase, consisting of an asset-driven and community-engaged research &amp; development (R&amp;D) process and two pilot residency cohorts. The research phase will explore how a “residency without walls” might work, including how to leverage and reinforce the many cultural assets in the South Side and across Chicago. The proposed R&amp;D will also ask how The Burroughs might respond to the growing demand to strengthen ties between creative communities and creatives of color across the globe. During this phase, an open call for residents will not be initiated.This groundbreaking initiative is possible with the generous support of the Terra Foundation for American Art and Wagner Foundation. Floating Museum is deeply grateful to these foundation partners for their unwavering commitment to the arts and their invaluable financial contributions to this pilot. Their support has been instrumental in bringing this residency to life, ensuring that emerging and established creatives alike can thrive in an environment that nurtures creativity.“The Burroughs offers a promising model of multivocal and collaborative ways of working locally and globally that will benefit the residents and enrich the arts ecosystem in Chicago and in the residents’ locales, said Sharon Corwin, President and CEO of the Terra Foundation for American Art. Putting artists and thinkers from across geographies in dialogue and in community with one another is critical to developing nuanced understandings of American art and contemporary creative practice.”“Wagner Foundation is thrilled to be supporting this visionary project to build new models for artist residency programs that recognize and amplify the assets in community as an integral part of the experience, which we see as having ripple effects across the field.” said Abigail Satinsky, Program Officer and Curator, Arts &amp; Culture of Wagner Foundation.We’re beyond grateful to our supporters the Terra Foundation for American Art and Wagner Foundation for their dedication to the arts and their belief in the power of artistic expression, said Faheem Majeed, Co-Founder/Co-Director of Floating Museum. Their support allows us to offer this unique opportunity to creatives, helping them to grow and create work that resonates with our community and beyond.The Burroughs Residency Pilot pays homage to the late poet, printmaker, activist, and advocate Dr. Margaret T. Burroughs and is located at Dr. Burroughs' former home in the heart of Chicago’s historic Bronzeville neighborhood. The site is also where Dr. Burroughs founded the DuSable Museum of African American History–the first museum of African-American history in the world–in 1961.For more information on The Burroughs Residency, visit: <a href="https://floatingmuseum.org/Residency">https://floatingmuseum.org/Residency</a>Read the full press release <a href="https://files.cargocollective.com/c103156/FloatingMuseum_Burroughs-Residency-Announcement.pdf">here</a></body></html>

Floating Museum Announces The Burroughs Residency Pilot

<html><head></head><body>&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/ls0zbabgvpmqjkjilfpf.jpg" copy.jpg=""></figure><a href="https://www.chicagogallerynews.com/events/elefante-leopoldo-gout">Elefante: Leopoldo Goût</a>Opening: Thursday, October 3, 6 – 9&nbsp;pmPovos – West Town&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/eoid3isdc0qkn5ajqszd.jpg"></figure><a href="https://www.chicagogallerynews.com/events/departed-a-patrick-jilbert-solo-show">Departed: A Patrick Jilbert Solo Show</a>Opening: Friday, October 4, 5 – 8&nbsp;pmChicago Truborn&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/prlqiffmxevur9yt7bb3.jpg"></figure><a href="https://www.chicagogallerynews.com/events/blake-jones-solo-show">Blake Jones ‘B-Sides’ Solo Show</a>Opening: Friday, October 4, 5 – 7&nbsp;pmVertical Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092761/nqmpi9hilidb8optrfxv.jpg" design="" (13).jpg=""></figure><a href="https://www.chicagogallerynews.com/events/beneath-the-surface-spirituality-in-art">Beneath The Surface: Spirituality in Art</a>Opening: Friday, October 4, 5 – 8&nbsp;pmARC Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092762/yrtkkmwvxcx8vyjsvg7o.png" jacoby="" hidden="" cove.png=""></figure><a href="https://www.chicagogallerynews.com/events/susan-jacoby">Susan Jacoby: Quietude</a>Opening: Friday, October 4, 5 – 7&nbsp;pmVivid Art Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092763/cilsmlbgysx1prjnhpkq.jpg"></figure><a href="https://www.chicagogallerynews.com/events/susan-isaacson-and-katsy-johnson">Susan Isaacson and Katsy Johnson: The Power of Place: Geographical Memories and Identity</a>Opening: Saturday, October 5, 5 – 7&nbsp;pmPerspective Photo Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092764/tnyz4ilyljmngzjhizxa.png" stories.png=""></figure><a href="https://www.chicagogallerynews.com/events/from-dakar-street-stories">From Dakar: Street Stories</a>Opening: Saturday, October 5, 5 – 9&nbsp;pmT. Mari Gallery&nbsp;&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092765/hwpjldivajztarbyh210.jpg"></figure><a href="https://www.chicagogallerynews.com/events/phyllis-brodny-the-secret-life-of-gourds">Phyllis Brodny: The Secret Life of Gourds</a>Opening: Sunday, October 6, 1 – 3&nbsp;pmGallery Seven&nbsp;&nbsp;</body></html>

New Exhibitions Open October 3–6

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/dcweoa5hhlkd19kyjajr.jpg" copy.jpg=""><figcaption>Artist and educator Theaster Gates pushes flat the bound copies of magazines on display in “When Clouds Roll Away: Reflection and Restoration From the Johnson Archive,” as he prepares for the exhibition’s opening reception Sept. 12, 2024, at the Stony Island Arts Bank in Chicago. (John J. Kim/Chicago Tribune)</figcaption></figure><a href="https://www.chicagotribune.com/2024/09/19/how-the-offices-of-ebony-and-jet-became-the-latest-theaster-gates-exhibition/">How the offices of Ebony and Jet became the latest Theaster Gates exhibition</a>Theaster Gates stared hard at a room full of furniture.There were credenzas, chairs, desks, chests, a cube resembling an office refrigerator. Behind them, framed correspondence, photographs. Much of it came to him in 2010 after Johnson Publishing Co., home of Ebony and Jet magazines, vacated South Michigan Avenue. An office tower’s worth of furnishings, loose magazines, books, art and history needed a new home, and fast. Johnson Publishing was going through the final pains of watching its traditional place on newsstands vanish. So Columbia College stepped in and bought 820 S. Michigan. Johnson had occupied it since the early 1970s. It was the first building in downtown Chicago owned by a Black man. It’s still the only downtown skyscraper from a Black architect (John Warren Moutoussamy).Via Chicago Tribune&nbsp;<a href="https://www.latimes.com/entertainment-arts/story/2024-09-30/ucla-hammer-museum-new-director-zoe-ryan">Former AIC Curator Zoe Ryan Named Hammer Museum new director</a>One of the highest profile jobs in L.A.’s art world has officially been filled: The UCLA Hammer Museum in Westwood announced Monday that its next director will be Zoë Ryan, who arrives from the Institute of Contemporary Art at the University of Pennsylvania.Via LA Times&nbsp;<a href="https://news.artnet.com/market/the-top-10-most-searched-artists-which-stars-are-rising-which-are-dimming-2546195">The Top 10 Most Searched Artists: Which Stars Are Rising? Which Are Dimming?</a>Over the last decade, there haven’t been many dramatic shifts among the most frequently searched artists in the Artnet Price Database. Compared with 10 years ago, mainstays like Pablo Picasso, Gerhard Richter, and Andy Warhol even maintained the exact same spots on the new list, and Jean-Michel Basquiat, Alexander Calder, Marc Chagall and Joan Miró are close enough. But the Yayoi Kusamajuggernaut is newer, reflecting her meteoric rise in the market and the public consciousness.Via Artnet&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</body></html>

What We're Reading: 10/3/24

<html><head></head><body>A tip from a friend during a spring trip to Cambridge introduced us to a collection of everlasting flowers.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/u0iutjlvr87gy4a5m2sa.jpg"><figcaption>An apple blossom detail. Photo from HNHM website</figcaption></figure>&nbsp;By GINNY VAN ALYEADuring a trip to Boston earlier this year, my family and I knew that since April can be a harsh month on the East Coast, we would do well to sightsee indoors. While visiting Cambridge friends suggested we make Harvard University’s Museum of Natural History our first stop. Even with the clear preview of what we were going to see – “the Glass Flowers” – we had no idea that this sprawling antique collection, located on the second floor of a quiet academic museum, would be a spring explosion that would trick the senses and also give us a science lesson. The floral models on display looked so realistic that my husband asked the security guard where the glass ones were. She responded that at least half of visitors to the exhibit ask the same thing.&nbsp;The internationally acclaimed Ware Collection of Blaschka Glass Models of Plants was made by Leopold (1822-1895) and Rudolf Blaschka (1857-1939), a father and son team of Czech glass artists over a period of 50 years, from 1886 through 1936. During that time the Blaschkas produced 4,300 glass models that represent 780 plant species of flowering and nonflowering plants represented by nearly 850 life-sized models and over 3,000 highly accurate enlargements that detail plant anatomy and morphology, including many paper-thin crosssections, each with a label indicating the magnification level. A single hair of a Butterfly Flower from Chile, the “Schizanthus pinnatus”, was magnified 600 times, with the model measuring a couple of inches.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/mqenhakbdxleq3kkvz2d.jpg"><figcaption>The collection is displayed in rebuilt, original historic wood and glass display cases. Photo by CGN</figcaption></figure>&nbsp;Today the models make up one of Harvard University’s most famous treasures, equal parts artistic marvel and gift to science. We spent around 45 minutes peering through the exhibition’s display cases, and after we left, despite now trusting my eyes to believe the flowers were in fact glass, I wanted to know a little more about how these crystalline botanical studies were created. The Blaschkas, first working in the 19th century, came from a Czech family of jewelers and glassmakers that could trace their profession as far back as the fifteenth century. To create the models the Blaschkas, working out of their studio near Dresden, Germany, would usually heat the glass to soften it and then shape it into a particular flower. In other cases they would blow glass into hollow shapes or components. To add the correct pigments, colored glass was used for many, while other early creations were “cold painted” – a process that uses a thin wash of colored ground glass or metal oxide(s) and heated until the material fused to the model. Later versions created by Rudolph after his father’s death used glass enamels for color instead of paint.&nbsp;&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092760/ntx3eqow22lq78xnpipe.jpg"><figcaption>Several examples of both life-sized models alongside magnified plant sections. Photo: CGN.</figcaption></figure>&nbsp;A Harvard Professor and founder of the Botanical Museum, George Lincoln Goodale, saw a need for life-like, long-lasting representatives of the plant kingdom for teaching botany. Mrs. Elizabeth C. Ware and her daughter Mary Lee Ware financed the creation of the collection and presented it to Harvard University as a memorial to Dr. Charles Eliot Ware, Class of 1834. The synthesis of a gifted family of artists as well as professor’s vision and a benefactor’s generosity ultimately cultivated a marvelous historic collection of plant models that have significantly contributed to scientific study and to an appreciation for art and science. There is much to behold and to learn for all ages during a visit to the Glass Flowers.&nbsp;&nbsp;Harvard Museum of Natural History • 26 Oxford St., Cambridge, MA 02138<a href="https://hmnh.harvard.edu/glass-flowers">hmnh.harvard.edu/glass-flowers</a>&nbsp;&nbsp;</body></html>

Harvard’s Glass Flowers

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/v8y6rus1frklsyjfcgq8.png"></figure>&nbsp;By CGN StaffCPS Lives announced their 2025 Artist Residency Cohort, featuring 20 talented artists, including 9 returning residents and 11 new residents bringing fresh perspectives. This year’s cohort promises an inspiring journey of creativity and collaboration with Chicago Public Schools!Founded in 2018 by Chicago photographer, Suzette Bross, CPS Lives is a 501(c)(3) non-profit arts organization that pairs Chicago artists, designers, creatives, thinkers, makers, and educators with a Chicago Public School during the academic year to collaborate on a project, sharing the unique and individual story of each Chicago Public School. Each story will be celebrated and exhibited through local Chicago Public Library branches, as well as existing on the CPS Lives website as an accessible digital archive of history for students, families, community members, educators, administrators, policymakers, and the general public.CPS's mission builds on Chicago's long history of being an incubator for various industries: manufacturing, theater, architecture, music, science, literature. As a classic urban center, this city has provided opportunities and support for an array of industries. Now, as we enter the 21st century, this library of industrial and creative venues is transforming into a new range of digital industries. Providing educational resources to help develop an educated society is not a new issue, but one that changes and develops as the urban environment transforms itself. Public schools are key. If a city is to continue to develop and prosper, it must provide superior public services including schools and libraries.<a href="https://cpslives.org/artists?utm_source=CPS+Lives&amp;utm_campaign=7878f54125-EMAIL_CAMPAIGN_2024_09_26_04_52&amp;utm_medium=email&amp;utm_term=0_-7878f54125-%5BLIST_EMAIL_ID%5D">Details</a>&nbsp;</body></html>

CPS Lives! Announces 2025 Artist Residency Cohort

<html><head></head><body><figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092759/db4v6x7hfc1znzqmxuir.png"></figure>&nbsp;Via PRCongratulations to <a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=0016uP_BbuIpNfrdySlTiXGXFRejiRecC-J-uP4YtCodvdB2hta6e2Rbfsq67ppW3eiPHz4ybab6rTy0ZSibhFXKBb9UiWvel7s1oxl1N6bHdmet0thrgW5zzueYXkXB3pMOwSZD4yslNt9FcMV66O3G22VXqIAfiZceL8Ja1Q1kkFjRq5O_Cvxgs5NPEbT7Xc1HzE-n2fbRP-w2OTIUEDYMosnBzLIv4An&amp;c=NzXn9j3APTOa30ZmH7z0vnDJlduKON8EVnRmgMbI3bXYPIaY2YsDFg==&amp;ch=Hbu8S_kA3RbrlON8-dQxTAfTLsDcWFFbPvM2TUDtOMaPQ1FVHiNOMw==">Ebony G. Patterson</a> on the prestigious honor of being selected as a 2024 MacArthur Fellow.Twenty-two new geniuses were anointed today as the Chicago-based MacArthur Foundation announced the 2024 winners of its MacArthur Fellowship, an award commonly known as the “genius grant.” Four visual artists, three performing artists, six writers and a filmmaker are among this year’s winners, who hail from 15 states and Washington, D.C. The grants, given annually by the John D. and Catherine T. MacArthur Foundation, are considered one of the nation’s most prestigious awards for intellectual and artistic achievement; this year’s winners also include historians, activists, scientists and social scientists. Along with bragging rights, fellows receive $800,000, paid in quarterly installments over five years, with “no strings attached” or requirements for how the money is used. The foundation says the money is given to “talented and creative individuals as an investment in their potential.”<a href="https://t8j4tqkab.cc.rs6.net/tn.jsp?f=0016uP_BbuIpNfrdySlTiXGXFRejiRecC-J-uP4YtCodvdB2hta6e2RbQWEHr5LCIzsvf8k-6Ms_1Vya99o1j0gfMuhch1h-oq7VJ-k0q1CP4dA0H6yDSWmn8zouhCt0JuE_XiZM1Wp0g3sVKvnBm_emQ5M0KCJ9jIBEhAhwXX97X93dfTwixdrtinCZ1SWH3DzSD8feiiBL-D6SU_IdBBRTw==&amp;c=NzXn9j3APTOa30ZmH7z0vnDJlduKON8EVnRmgMbI3bXYPIaY2YsDFg==&amp;ch=Hbu8S_kA3RbrlON8-dQxTAfTLsDcWFFbPvM2TUDtOMaPQ1FVHiNOMw==">learn more</a><a href="https://www.chicagogallerynews.com/news/2020/5/ebony-g-patterson-the-interactivity-of-visual-appeal">Read CGN's 2020 interview with Patterson</a>&nbsp;Ebony G. Patterson's&nbsp;expansive practice addresses visibility and invisibility, through explorations of class, race, gender, youth culture,&nbsp;pageantry&nbsp;and acts of violence in the context of postcolonial spaces. With the strong sensibility of a painter, Patterson works across multiple media - including tapestry, photography, video, sculpture, drawing and installation - united by her consistent visual language and intention.&nbsp;Each work is intricately embellished and densely layered, in order to draw the viewer closer and to question how we engage in the act of looking.&nbsp;Patterson states: I aim to elevate those who have been deemed invisible/un-visible as a result of inherited colonial social structures, by incorporating their words, thoughts, dress, and pageantry as a tactic to memorialize them. It is a way to say: I am here, and you cannot deny me. Entrancing and colorful, Patterson's works command the viewer to look beyond their rich formal characteristics and to acknowledge the realities of social injustice. Using the paradoxical to convey important messages, she draws on far reaching vernaculars of art history, religious&nbsp;imagery&nbsp;and popular culture. Patterson explains that she uses beauty to trap the viewer 'physically, psychologically and emotionally' in intricate and seducing compositions. Shrouding figures&nbsp;almost completely, the artist creates a presence of bodies no longer there, which raises pertinent questions about those who are not visible.&nbsp;&nbsp;&nbsp;Patterson (b.1981, Kingston, Jamaica) received an MFA degree in Printmaking and Drawing from the Sam Fox School of Design &amp; Visual Arts at Washington University St. Louis (2006) and a BFA in painting from Edna Manley College of Visual and Performing Arts in Kingston, Jamaica (2004). Patterson has taught at the University of Virginia; Edna Manley College School of Visual and Performing Arts; the University of Kentucky and was the Bill and Stephanie Sick Distinguished Visiting Professor at the School of the Art Institute of Chicago. Her major survey exhibition&nbsp;...while the dew is still on the roses...&nbsp;opened at Pérez Art Museum Miami in 2018; then toured to Speed Art Museum, Louisville, KY (2019);&nbsp;and the Nasher Museum at Duke University, NC (2020).&nbsp;Other notable solo exhibitions include …things come to thrive…in the shedding…in the molting…,&nbsp;New York Botanical Garden, NY (2023); Hales Gallery, New York, NY (2022);&nbsp;moniquemeloche, Chicago, IL (2021);&nbsp;Kunsthal&nbsp;Aarhus, Denmark (2020); Contemporary Art Museum, St. Louis, MO (2020); Baltimore Museum of Art, MD (2018); SCAD Museum of Art, Savannah, GA (2016); The Studio Museum in Harlem, NY (2016);&nbsp;Atlanta Contemporary Art Center, GA (2016);&nbsp;Nerman&nbsp;Museum of Contemporary Art, Overland Park, KS (2014); Bermuda National Gallery (2012);&nbsp;among others. Select group exhibitions include&nbsp;Multiplicity: Blackness in Contemporary American Collage&nbsp;which originated at the Frist Art Museum, Nashville, TN (2023) and traveled&nbsp;to MFA Houston, TX (2024) and the Phillips Collection, DC (2024);&nbsp;Forecast Form: Art in the Caribbean Diaspora, 1990-Today,&nbsp;which originated at the MCA Chicago, IL&nbsp;(2023) and&nbsp;traveled&nbsp;to ICA Boston, MA&nbsp;(2023) and MCA San Diego, CA&nbsp;(2024);&nbsp;Giants: Art from the Dean Collection of Swizz Beatz and Alicia Keys,&nbsp;which originated at the Brooklyn Museum, NY&nbsp;(2024) and&nbsp;traveled to&nbsp;High Museum, Atlanta, GA (2024).Her work is in the public collections of The Whitney Museum of American Art, New York, NY; Studio Museum in Harlem, New York, NY; SFMOMA, San Francisco, CA; Los Angeles County Museum of Art, Los Angeles, CA; Pérez Art Museum Miami, FL; the High Museum, Atlanta, GA; The IndianapolisMuseum of Art at&nbsp;Newfields, Indianapolis, IN; Denver Art Museum, Denver, CO; Nasher Museum, Duke University, Durham, NC; National Gallery of Jamaica, Kingston, Jamaica; Speed Art Museum, Louisville, KY; 21c Museum and Foundation, Louisville, KY; among others. She has been the recipient of several awards and fellowships including the David C. Driskell Prize (2023); Tiffany Foundation Grant (2017), the United States Artist Award,&nbsp;Painter&nbsp;and Mixed Media Artist (2018) and the Joan Mitchell Foundation Art Grant (2015). Patterson lives and works between Kingston, Jamaica and Chicago, IL.&nbsp;</body></html>

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