Artists: Andrew Bearnot, Larry Bell, James Collins, Shingo Francis, Kate Joyce, Jan Tichy, Ruth Root and Kim Uchiyama “Colours are the deeds and sufferings of light.”&nbsp;- Goethe&nbsp; SECRIST | BEACH is pleased to present the salon invitational exhibition&nbsp;Luminous Matter.&nbsp;Luminous Matter&nbsp;brings together a group of eight artists that formally and conceptually explore the interconnectedness of color, light, and form. The exhibition includes an intergenerational roster of artists and was curated with the assistance of gallery artists’ Luftwerk.&nbsp;Luminous Matter&nbsp;is presented concurrently with Luftwerk’s debut solo exhibition&nbsp;The Sun Standing Still.&nbsp;These exhibitions will be on view from December 5 through February 14, 2026 at 1801 W. Hubbard St. An opening reception will take place on Friday, December 5 from 5 to 8PM.Luminous Matter&nbsp;is an exhibition that examines the interdependent and generative relationship between three elemental constituents of visual experience: color, light, and form. Each, in isolation, holds an autonomous aesthetic and conceptual presence; yet, in their convergence, they produce the perceptual and emotional conditions through which we apprehend the world. This exhibition proposes that the meeting point of these three tropes — their overlaps, tensions, and dissolutions — can offer a renewed lens through which to consider the nature of perception itself.While color, light, and form have historically served as fundamental building blocks of visual art, they also occupy complex theoretical terrain. Goethe’s assertion that “colours are the deeds and sufferings of light” provides an entry point into this dialogue: color emerges not merely as a surface attribute, but as an event — a manifestation of interaction, time, and transformation. Light, meanwhile, becomes both a material and a metaphor, shaping visibility and revealing the interstitial boundaries between presence and absence. Form, often regarded as static or structural, is here treated as fluid and responsive, contingent upon the oscillations of both light and color.In this exhibition, these three forces are explored not as fixed categories but as active agents of experience. They are seen as participants in an ongoing exchange between the physical and the psychological, the empirical and the affective. The works assembled for&nbsp;Luminous Matter&nbsp;engage with this exchange through a range of media — from painting and installation to light-based and spatial practices — each probing how visual phenomena can evoke states of emotion, cognition, and embodied perception.At its conceptual core,&nbsp;Luminous Matter&nbsp;contends that perception is never neutral. It is conditioned by memory, by emotion, and by cultural systems of meaning. The exhibition therefore foregrounds the socio-emotional register of perception: how color can serve as a proxy for mood or identity; how light, in its absence or excess, can structure both social and psychic space; and how form operates as a vessel for the unseen forces of attention, gesture, and time. These investigations bridge the rational and the intuitive, inviting viewers to inhabit a space where vision becomes a mode of introspection.In dialogue with this group presentation, a solo exhibition by the Chicago-based artist collaborative&nbsp;Luftwerk&nbsp;(Petra Bachmaier and Sean Gallero) expands the conversation into an immersive field of light and spatial perception. Known for their site-responsive installations that manipulate color and luminosity to alter architectural experience, Luftwerk’s practice offers a vivid articulation of the exhibition’s central inquiry: how light not only illuminates but transforms — both materially and psychologically.Situated within the gallery’s newly expanded 10,000-square-foot space,&nbsp;Luminous Matter&nbsp;is conceived as an experiential continuum rather than a static arrangement. Viewers are invited to navigate a choreography of light, hue, and shape that evolves with each movement and glance. This mutable environment underscores the exhibition’s central thesis: that meaning is not located solely in the object, but in the relational encounter between viewer, artwork, and environment.Ultimately,&nbsp;Luminous Matter&nbsp;seeks to reactivate our sensitivity to the subtle transactions that occur at the thresholds of perception. In an era saturated by digital imagery and artificial illumination, this exhibition returns to the primal forces of color, light, and form — not as mere formal devices, but as conduits of human experience, capable of evoking wonder, reflection, and the quiet rediscovery of seeing itself.

Luminous Matter

this morning there was&nbsp;light,tomorrow morning there&nbsp;will be light,but where is light?&nbsp;&nbsp;- Etel Adnan SECRIST | BEACH is pleased to announce our representation of, and the debut solo presentation for, Chicago-based artist collaborative&nbsp;Luftwerk.&nbsp;Titled&nbsp;The Sun Standing Still, this&nbsp;exhibition features a suite of new sculptures, wall reliefs, and a site-specific installation by Luftwerk that investigate the dynamic interplay between sunlight and the Earth’s revolution. This exhibition is presented concurrently with&nbsp;Luminous Matter, an invitational survey co-organized with Luftwerk and featuring 8 artists. Both exhibitions open Friday, December 5 from 5–8 PM and remain on view through February 14, 2026.The time before and after daylight, when everything appears muted yet quietly spectacular, reveals a distinct and transitory palette. Capturing the fleeting and subjective perception of light and atmosphere, the works on view in&nbsp;The Sun Standing Still&nbsp;explore how color, devoid of literal representation, can evoke emotional and sensory responses. Fittingly, the exhibition dates include December 21, better known as the Winter Solstice, or the first day of winter. This is the day when the Northern Hemisphere is tilted farthest from the sun, resulting in the shortest period of daylight and the longest night of the year.&nbsp;Beyond its astronomical importance, this day also marks the culturally symbolic rebirth of the sun: a renewal imbued with hope, resilience, and the cyclical rhythm of time.Expanding upon their ongoing investigations into the relationship between perception, space, and light, Luftwerk draws conceptual parallels to Claude Monet’s 1872 painting&nbsp;Impression, soleil levant&nbsp;(Impression, Sunrise), the work that gave name to Impressionism. Just as Monet sought to capture the immediacy of light, Luftwerk transforms that fleeting energy into sculptural and immersive forms, translating light itself into color and vibration.The Sun Standing Still&nbsp;features a range of sculptural objects and a large-scale installation that together create a harmonious, meditative environment. With a focus on heightened perception, color, light, and form become the primary materials shaping an experience that unfolds through the viewer’s movement. This reciprocal interaction—light cast as color onto form—reveals a complex dialogue between energy and perception. Filtered through the celestial rhythm of the sun’s path, Luftwerk’s phenomenological approach opens a space for reflection, renewal, and tangible meaning. Luftwerk&nbsp;(Petra Bachmaier and Sean Gallero, lives and works in Chicago) have exhibited broadly at institutions including: Chicago Cultural Center, Chicago, IL; Fosdick-Nelson Gallery, Alfred University, Alfred, NY; Cheekwood Estate &amp; Gardens, Nashville, TN; Mattress Factory, Pittsburgh, PA; Museum für Gestaltung, Zürich; Arts Club of Chicago, Chicago, IL and Garfield Park Conservatory, Chicago, IL. Throughout their practice, Luftwerk has develop a robust portfolio of projects that engage with notable modern and contemporary architecture including: Jay Pritzker Pavilion, Chicago, IL by Gehry Partners;&nbsp;Barcelona Pavilion, Barcelona and Farnsworth House, Plano, IL by Mies van der Rohe; Ford Residence, Aurora, IL by Bruce Goff; Millennium Park, Chicago, IL by SOM; Fallingwater, Mill Run, PA and Robie House, Chicago, IL by Frank Lloyd Wright; and Netsch Residence, Chicago, IL by Walter Netsch. The artists have realized numerous large-scale permanent public and private commissions in Atlanta, Calgary, Charlotte, Chicago, Harare, Tampa, and Kansas City. They have received numerous awards, including project awards from the AIA Chicago, Graham Foundation, and the Illinois Arts Council. Their work is in several public and private collections including the Public Art collections of Chicago and Fulton County, Museum Buchheim, USF Institute for Research in Art.&nbsp;Their work has been featured in publications such as Artforum, Hyperallergic, Time Magazine, The New Yorker.&nbsp; Adnan, Etel.&nbsp;Journey to Mount Tamalpais, 1986. The Post-Apollo Press.

Luftwerk: The Sun Standing Still

SECRIST | BEACH, located in the West Town neighborhood at the corner of&nbsp;Wood and Hubbard Streets, occupies a double bow-truss, sky-lit 10,000 sq. ft. space that features an expanded approach to contemporary exhibition experiences. Our reinvigorated programming presents solo artists’ exhibitions alongside curated surveys by like-minded creators, elaborating the dialogue around related topics.&nbsp; Additional programming includes panel discussions, space activations, and&nbsp;curatorial invitationals. As we dive into our third decade we offer a revitalized&nbsp;mission as a gift to engage our art community locally and at large.&nbsp; Image: Installation view: Jacqueline Surdell

Secrist | Beach

Join us for an artist panel discussion between solo artist Jacqueline Surdell and survey artists Jeff Carter and Amy Vogel, moderated by Pia Singh.This panel discussion will explore common themes found throughout both Surdell’s solo exhibition&nbsp;The Conversion: Rings, Rupture, and the Forest Archive&nbsp;and the invitational group exhibition&nbsp;Natura Non Constristatur. Pia Singh will lead a discussion investigating the fraught relationship between nature and humanity, philosophical constructs of time as it pertains to the artists’ practice, and the role of the sublime in a contemporary society.&nbsp;The artist talk will conclude by 4pm with a reception to follow.

Artist Panel Discussion moderated by Pia Singh

A new body of multimedia works engaging themes of transformation through land, storytelling, memory, and spirituality <a rel="noopener noreferrer" href="https://secristbeach.com/" target="_blank">Details</a>

Jacqueline Surdell: The Conversion: Rings, Rapture and the Forest Archive

Artists: Whitney Bedford, Jeff Carter, Mitchell Charbonneau,&nbsp;Rick Leong, Morgan Mandalay, Kiki Smith, William Staples, Ena Swansea and Amy Vogel Natura Non Constristatur&nbsp;is a Latin phrase meaning “Nature Is Not Saddened.” Co-curated by solo artist Jacqueline Surdell, this survey exhibition brings together a diverse group of multimedia works that formally and conceptually explore the cultural potency of nature - specifically trees and forests - in relation to humanity.

Natura Non Constristatur

An immersive environment by interior designer Andee Hess / OSMOSE

Salon: Lumen Reliquary

Join us for an afternoon of conversation, reflection, and insight as artists from the acclaimed exhibition&nbsp;Master Class: Inside the Last American Museum School with SAIC Painting Alumni&nbsp;gather to discuss the enduring power of the museum, the legacy of modernism, and painting as a medium of freedom and innovation.&nbsp;&nbsp;Moderated by curator and professor Lisa Wainwright, ideas about the canonical giants who stimulated these artists—Turner, Monet, Gauguin, O’Keefe, Pollock—as well as more far-ranging influences of Navajo textiles, Roman sculpture, and video art from the Art Institute of Chicago, will underscore the museum as a living archive and a potent source of knowledge, complexity, and creative friction. Wainwright will ask what it means to return to modernism in a time of radical plurality? How do contemporary artists reconcile inspiration with critique, or heritage with invention? This panel will explore the convergences between tradition and transformation, medium specificity in an age of digital noise, identity and abstraction, and politics and painting.

Artist Roundtable Discussion

Extended Hours 5:00–8:00pm Master Class: Inside the Last American Museum School with SAIC Painting Alumni brings together artworks by over 60 former and current students who studied in the Painting and Drawing Department of the School of the Art Institute of Chicago (SAIC) between the years 2000 and 2025. Master Class is guest-curated by art historian, Chair of the Department of Painting and Drawing and current faculty member Lisa Wainwright along with SAIC President Emerita, Elissa Tenny.

EXPO Art After Hours 2025

SECRIST | BEACH is&nbsp;pleased to announce the exhibition&nbsp;Master Class: Inside the Last American Museum School with SAIC Painting Alumni.&nbsp;Master Class&nbsp;brings together artworks by over 60 former and current students who studied in the Painting and Drawing Department of the School of the Art Institute of Chicago (SAIC) between the years 2000 and 2025. This exhibition, on view from April 19 through June 21, 2025 at SECRIST | BEACH in Chicago, is guest-curated by art historian, Chair of the Department of Painting and Drawing and current faculty member Lisa Wainwright along with SAIC President Emerita, Elissa Tenny. The gallery will host an opening reception for the public on Saturday, April 19 from 5-8PM.&nbsp; In 1866 a group of 35 artists founded the Chicago Academy of Design. Their mandate was to create a free school to study “life” and “antique” drawing and to run a gallery space alongside the school. The building the original gallery space occupied was lost in the Great Chicago fire of 1871, but by 1879 a new gallery space, with the support of new board members, was born and renamed the Chicago Academy of Fine Arts. In 1882, that name was changed to&nbsp;what we know as&nbsp;the Art Institute of Chicago. Since that time, the School and the Art Institute have grown into a symbiotic dynamic that has&nbsp;greatly impacted both the Chicago scene and the larger art world&nbsp;in myriad ways.&nbsp;&nbsp;&nbsp; On the eve of its 160th anniversary, and little known to many, the School of the Art Institute of Chicago is the last 'Museum School' in North America. In celebration of this achievement,&nbsp;Master Class&nbsp;dives into the close connection between the museum and the alums of its renowned Painting and Drawing Department from the last 25 years. On view in the gallery will be an artwork by each of the artists selected, taking up the entirety of the gallery’s 10,000 sq. ft. space. In addition to their own artwork, each artist has been asked to identify an artist and a work of theirs from the collection of the Art Institute. Didactics and a video presentation on view in our salon room will guide viewers to those works in the collection.&nbsp; Curating this exhibition has reminded us - and will express to viewers - the integral and generative link between the school and the museum, highlighting the long histories of public collections and art-making in Chicago. Some of the connections between the artwork on view and their chosen Art Institute collection include a Tony Lewis drawing and Stuart Davis’&nbsp;Ready-to-Wear&nbsp;(1955), Jeffly Gabriela Molina’s painting with Agnes Martin’s&nbsp;Untitled No. 12&nbsp;(1977), Minami Kobayashi’s painting and Pierre Bonnard’s&nbsp;Earthly Paradise&nbsp;(1916-1920). What becomes apparent in&nbsp;Master Class&nbsp;is the indelible impact these master artworks have provided for two and a half decades of art students. Contextually, placing these works into close proximities allows the viewer to comprehend the role a museum has in the cognitive&nbsp;and technical&nbsp;development&nbsp;of artists. Ultimately, the engaging&nbsp;pairings provide&nbsp;insight into the role of looking,&nbsp;sensorial consciousness,&nbsp;historical mapping,&nbsp;institutional awareness and other more surprising discoveries.&nbsp;This exhibition serves as a&nbsp;tangible experience for anyone interested in art history and pedagogy. CATALOGUE:&nbsp;In recognition of the importance of this monumental exhibition, SECRIST | BEACH is developing a comprehensive catalogue that will provide valuable insight regarding&nbsp;Master Class.&nbsp;Many&nbsp;participating artists&nbsp;have&nbsp;provided their own writing in which they expound on their experience as a student, their relationship with SAIC and why the master artwork they chose was impactful. A cadre of art historians, critics and academics connected to SAIC will also be contributing essays that focus on individual artists and their inspiration. Additionally, art historian and co-curator of&nbsp;Master Class&nbsp;Lisa Wainwright and artist and SAIC&nbsp;Crown Family&nbsp;professor Michelle Grabner will contribute introductory essays diving into the history of the relationship between the School and the Institute,&nbsp;and the placement of twenty-five years of production in the context of contemporary art. SCHOLARSHIP:At the conclusion of&nbsp;Master Class, Carrie Secrist and Bill Beach will be presenting a gift to The School of the Art Institute to support future students and their endeavors in learning.&nbsp; Artists featured in&nbsp;Master Class&nbsp;include:Lindsay Adams, Noelle Africh, Luke Agada, Alberto Aguilar, Latifa Alajlan, Cecilia Beaven, Aviv Benn, Samantha Bittman, Elijah Burgher, Robert Burnier, Nik Cho, Alex Bradley Cohen, Jeane Cohen, Paula Crown, Chelsea Culprit, Tavin Davis, Dana DeGiulio, Austin Eddy, Stephen Eichhorn, Peter Fagundo, Nicola Florimbi, Howard Fonda, Jae Ford, Jonathan Gardner, Magalie Guérin, Antonia Gurkovska, Efrat Hakimi, Andrew Holmquist, Mika Horibuchi, Patrick Dean Hubbell, Steven Husby, Omair Hussain, G.D. Johnson, James Kao, Em Kettner, Minami Kobayashi,&nbsp;Meredith Kopelman,&nbsp;David Leggett, Tony Lewis, MJ Lounsberry, Wangari Mathenge, Kristoffer McAfee,&nbsp;Rodney McMillian, Isabella Mellado, Emily Miller, Jeffly Gabriela Molina, Aliza Nisenbaum, Angel Otero, Ruth Poor, Kaveri Raina, Autumn Ramsey, Celeste Rapone, Josh Reames,&nbsp;Clare Rojas, Sterling Ruby, Charlotte Saylor, Claire Sherman,&nbsp;Sumakshi Singh, Cameron Spratley, Keer Tanchak, Sebastian Thomas, Alice Tippit, Orkideh Torabi, Pedro Trueba, Cody Tumblin, Omar Velázquez, Jonathan Worcester, Hiejin Yoo and Molly Zuckerman-Hartung.

Master Class: Inside the Last American Museum School with SAIC Painting Alumni 

Sunday, March 2, 2025 from 2 to 5 PM SECRIST | BEACH 1801 W Hubbard Street Carrie Secrist will engage with artists on their individual and communal perspectives regarding materiality, craft and reason for making in our current age of uncertainty.

Artist Panel Discussion

Diana Guerrero-Maciá:&nbsp;PAINTINGS FOR BIRDS, marks Chicago-based artist Diana Guerrero-Maciá’s third solo show with SECRIST | BEACH. On view will be a suite of ten new paintings, a series of large works on paper and an installation that includes a sound work created in collaboration with Joseph Adamik.&nbsp;PAINTINGS&nbsp;FOR&nbsp;BIRDS&nbsp;is presented in conjunction with&nbsp;FOLDS, a survey invitational featuring 15 artists at 1801 W. Hubbard St. Both exhibitions open on January 17 and will be on view through March 15, 2025. Guerrero-Maciá’s post-disciplinary approach to image-making embraces the rejection of traditional ideas around the division of artistic disciplines. Instead, techniques from a variety of methodologies are combined to create a flexible approach for new ideas. With a formal approach to abstract concepts from an art historical direction, these works live at the intersection of pictorial space and textile consciousness. In other words, they are artworks that are yes/and, rather than either/or. They are works of art that don’t check a box; they are not&nbsp;&nbsp;quilted nor painted, they are something else in-between, they are new ideas, as Guerrero-Macia calls them: unpainted pictures.&nbsp; This new series of patchwork colorfields evolve from traditional designs that date from the early 19th century quilting techniques: the Nine Patch, Flying Geese and Solmon’s Puzzle. Using this as a template imbued with an art-historically relevant post-painterly abstraction rigor, Guerrero-Maciá’s “paintings” present luscious palettes on seductive tactile surfaces. With a keener eye, viewers will note that the dedicated embrace of abstraction explores the lived experience. This includes ideas around market consumption, sustainability, and the migration of people that are expressed through color and form. Here, the combination of historical standards with contemporary quandaries strongly suggests that the dynamic between yesterday and today is a fluid reminder that tomorrow is daunting yet exciting.&nbsp; In addition to the paintings, on view will be a new series of works on paper and an installation created in collaboration with Joseph Adamik. The works on paper incorporate collage elements of nature, architecture and birds alongside monochromatic abstract shapes implying our symbiotic relationship to the world around us. The installation, titled&nbsp;Pourparler,&nbsp;features randomly generated songs and calls from 15 birds that migrate between the Caribbean &amp; Central America and the Midwest. Emanating from the gallery’s salon space, which mimics a park after dark, the sound’s digitally generated “conversation” starts with one bird at random while others are slowly added to create rhythmic and tonal audio clusters as the bird song intersects. This manipulated yet melodic confabulation between birds coexisting with the artwork on view confirms a dedication to the elusive expansiveness of perception - both the aural and visual.&nbsp; Diana Guerrero-Maciá’s (lives and works in Chicago) practice includes a hybrid investigation of painting, textiles, print &amp; sculptural objects with an interest in sustainable craft practices. Her largely abstract works engage with myth, iconography, symbols, and color. She is most known for her unpainted pictures, poetic abstract paintings constructed from textiles. Guerrero-Maciá is a 2023 Lenore Tawney Fellow, 2021 John Simon Guggenheim Fellow, a Louis Comfort Tiffany Foundation Fellow, and a MacDowell Fellow. Her exhibitions include the Kohler Museum of Art, Museum of Contemporary Art Chicago, Art Pace San Antonio, Elmhurst Art Museum, The Bronx Museum of the Arts, Contemporary Art Museum St. Louis, Hyde Park Art Center, Chicago and the Crocker Museum of Art. She is an alumnus of Skowhegan School of Painting &amp; Drawing, Cranbrook Academy of Art, Penland School of Craft, and Villanova University. She has also created multiple public art commissions for the Public Art Fund, NYC, and the City of Chicago. She is a Professor at the School of the Art Institute of Chicago. Image: SOUTH-SOUTH, 2023, Dye, canvas, deconstructed clothing, &amp; deadstock wool, and button, 57.75 x 49.75 inches

Diana Guerrero-Maciá: PAINTINGS FOR BIRDS

ARTISTS: Alexandra Barth, Rachael Bos, Robert Burnier, Nick Cave, Tim Doud, Crystal Gregory, Dan Gunn, Harmony Hammond, Cameron Harvey, Mie Kongo, Jo Sandman, Alyson Shotz, Malicke Sidibé, Samantha Thomas and Letha Wilson. The fold&nbsp;forms,&nbsp;informs, and&nbsp;deforms. … With the fold the material transforms itself to contain its subject, allowing access to its content. The fold articulates the art as an object while punctuating its dynamic subject-content. Most importantly, the fold moves us emotionally by the implied and real physicality of its active displacements.* (Chicago)&nbsp;SECRIST | BEACH is&nbsp;pleased to announce our first survey exhibition of 2025,&nbsp;FOLDS.&nbsp;FOLDS&nbsp;brings together a group of artists that formally and conceptually incorporate “folds” into their artworks, highlighting the deceptively simple yet germane moment an inanimate object or thing is - or becomes - expressive. The exhibition includes an intergenerational roster of artists and was curated with the assistance of gallery artist Diana Guerrero-Maciá.&nbsp;FOLDS&nbsp;is presented in conjunction with Guerrero-Maciá's solo exhibition&nbsp;PAINTINGS&nbsp;FOR&nbsp;BIRDS&nbsp;at 1801 W. Hubbard St. from January 17 through March 15, 2025. The concept for&nbsp;FOLDS&nbsp;evolved from Guerrero-Maciá’s early&nbsp;art&nbsp;class experience with the ubiquitous exercise of drawing still lifes that include drapes and folds of fabric in the composition. The difficulty of rendering these elements eventually led to her decision to eliminate drawing altogether and instead use the fabric itself as a medium for drawing and&nbsp;painting. Building on this,&nbsp;FOLDS&nbsp;takes on this deceivingly natural everyday physical moment and inserts a wide range of dual metaphorical implications: hiding/revealing, deformation/reformation, compression/release, flexible/rigid, etcetera. The variety of approaches on view - from sartorial to semiotic - articulate complexities in ways that implore attention while amplifying the mundane into a gesture that evolves into something dynamic.&nbsp; When they appear in or as works of art, the form of the fold both produces and expects degrees of fidelity, resolution, and sentience. Compositionally, folds delineate and generate movement and energy, with a keen sense of suggested&nbsp;accuracy.&nbsp;This sense of volume then renders qualities of resolution, sharpening the image or object as it relates to the body, gravity and weight. The physicality of and by the fold seems to arrest a moment of intimacy somewhere between the depiction of the thing and how the thing is depicted, as if the folds are emotional repositories of narratives of becoming and creating. Where the fold&nbsp;expects&nbsp;a degree of fidelity, resolution, and sentience is the foundational necessity of specific qualities of a fold to represent and define. For the artists in&nbsp;FOLDS, where the form is investigated, interrogated, and appreciated, the symbolic and effective potential for the fold becomes expansive. *Perrone, Jeff. ”Working Through,&nbsp;Fold&nbsp;by&nbsp;Fold”, Artforum, January 1979, pages 44-50.&nbsp; Image: Cameron Harvey, Figure 1: Cor (Rhus Integrifolia), 2021, Acrylic on canvas, 120in x 54 in

FOLDS

Reflecting... At this midpoint in our inaugural year of programing, we will be presenting a curated series of installations highlighting our first six exhibitions: Hilma's Ghost: Spectral VisionsCosmic Geometries: The Prairie's EdgeStephen Eichhorn: VOIDGROUNDMaking TimeAnne Lindberg: Of all colorsMANIFEST Revealing...Each Friday in December, we will be announcing exciting new projects, commissions and new connections with artists + curators to look forward to in 2025.

Review | Reveal

Book Signing with Anne Lindberg at Light the Way: DMoC's 2024 BenefitArtist Anne Lindberg&nbsp;will be present for the Design Museum benefit, signing copies of her monograph released by Dürer Editions in 2022.The book is available for <a href=https://checkout.square.site/buy/HEWRQNIXCJ5LXU3K67A2DJY6>purchase online</a> or in person at the benefit (<a href=https://www.designchicago.org/events-calendar/design-together-galavant-2024>ticket required</a>).&nbsp;

Book Signing with Anne Lindberg (ticketed event)

SECRIST | BEACH is pleased to participate in CXW 2024Extended&nbsp;Hours: Friday, October&nbsp;4: 10 - 7&nbsp;pm Saturday, October 5: 11 - 5 pmVisit us at: 1801 W Hubbard Street, Chicago, IL 60622

Extended Hours: CXW 2024

There will be an artists talk Saturday, September 21 at 3PM&nbsp;with&nbsp;participating&nbsp;artists&nbsp;Anne Lindberg&nbsp;and&nbsp;Luftwerk. This discussion will be moderated by&nbsp;Michael Rossi. Rossi&nbsp;is a University of Chicago&nbsp;Associate Professor of the History of Medicine, Chair, Conceptual and Historical Studies of Science, and the author of The Republic of Color: Science, Perception, and the Making of Modern America.<a href=https://www.chicagogallerynews.com/events/anne-lindberg-of-all-colors>Exhibition Details</a>&nbsp;

Artist Talk with Anne Lindberg and Luftwerk

We are pleased to announce Anne Lindberg: Of all colors taking place at SECRIST | BEACH this fall. Of all colors marks New York-based artist Anne Lindberg’s fourth solo show with SECRIST | BEACH and will be presented concurrently with MANIFEST, a survey of artworks and inspired studies/drawings by artists and architects exploring themes of light, color and space.For&nbsp;Of all colors, Anne Lindberg will create a sweeping horizontal sculpture made with thousands of lengths of fine cotton thread pulled taut from wall to wall under the gallery’s bow truss skylights. With a gap at the artist’s eye level, the form will deepen in dark blue hues and gradually fade to white or almost white. Flashes of hot color will appear to float within the gradient of blue. In addition, 13 new drawings made with graphite and colored pencil on mat board will pick up elements compositionally and chromatically from within the thread installation. Ranging in scale and number of panels, Lindberg’s drawings explore the luminous possibilities of hue. Intermittent bold bands of contrasting color shift imply a layered space while referencing changes in light that come with time of day, viewpoint and atmosphere.Lindberg has long activated architecture with her site-responsive thread installations. Her work is first experienced by the body, with intellect and analysis coming later. For Lindberg, space is a vital material, and just as important and rich with possibilities as thread, paper and pencils. Creating her architecturally scaled sculptures with thread is akin to working in the air, with the air and of the air to build a constantly changing experience. As she “stitches” the architecture, the airborne mass of delicate threads become filters for chromatic light, striking a voluminous pose with visceral results.Blue, and the concept of blue, has a beguiling history, cultural significance, phenomenological radiance and scientific profundity. From artists to philosophers, scientists and astronauts, blue is by unequal measures intangible, mysterious and indeterminate. Scarce in nature, blue eludes perception emotionally and physically but is also everywhere - making it a symbol for the ideal - verging on the utopian. Whatever this color evokes in an individual, one of the most powerful elements is its ability to create meaning-making which, by definition, designates the way in which people interpret the world around them.Anne Lindberg has been exploring the color blue for much of her artistic career. As a young artist, she traveled to Kyoto several times to work with traditional indigo dyers where she became fascinated with indigo’s unique ability to generate beautiful slow gradations from deep blues to hints of the lightest blues. It was Lindberg’s early experience watching cloth being lifted out of an indigo dye pot and its exposure to oxygen changing the yellow-ish green color of the fermented liquid dye into deeper and deeper shades of blue with each successive dip that formed the underpinnings of her lifelong interest in color. In recent years, Lindberg has been considering the semiotics of color, or how color can be used as a signifier for meanings associated with socio-emotional, cultural, environmental and political significance.Searching for ways to visualize the mysteries of visual and spatial experience is a compelling way of working especially in times of social, environmental, and economic change. Color, particularly blue, has an inherent intrigue in human vision; it exists beyond our grasp as it holds constant conversation with adjacent colors in both time and space. Imagining a world without color, and particularly blue, underlines its significance in the whole of human experience.Image: Anne Lindberg, Two Moons, 2024Graphite and colored pencil on mat board40.5 x 36 inches (two panels) &nbsp;

Anne Lindberg: Of all colors

We are pleased to announce our salon invitational exhibition MANIFEST taking place at SECRIST | BEACH this fall.&nbsp;MANIFEST is a survey of artworks and inspired studies/drawings by artists and architects exploring themes of light, color and space. This exhibition includes an international roster of artists and was guest curated with the assistance of Anne Lindberg. MANIFEST is presented in conjunction with the solo exhibition Of all colors by Lindberg at 1801 W. Hubbard St. from September 20 - November 16, 2024.The manifestation of an idea is a universal experience that can occur at both micro and macro levels, consciously and subconsciously and oscillate between different levels of publicness and privacy. To manifest, or to evidence an idea, implies that the idea has completed its journey and come to fruition. Ultimately, the how, if and why of that idea often leads to more ideas. For artists and architects, this self-perpetuating processes of ideation represent a creative venture unto its own. Often the remnants, or evidence, of some of these ideas manifests itself in a physical form, from which presentation takes the form of an object.MANIFEST builds a framework for understanding the life of ideas through a rubric that includes the intertwined elements of light, color and space. Each artist and architect on view utilizes one or more of these components to develop a conceptual framework to develop their ideas in a variety of physical formats. The conceptual components of each of these aspects find common ground in nature, the original inspiration spot: light (luminosity &amp; illumination), color (emotion &amp; symbolism) and space (motion &amp; volume). Cumulatively, the representation of ideas on their respective journeys make up the building blocks of the world around us and offer an opportunity for examination.&nbsp;In our west gallery, Anne Lindberg’s concurrent exhibition Of all colors encapsulates many of these ideas. In addition to 14 new abstract drawings made with graphite and colored pencil on mat board, on view will be a 54-foot-long thread sculpture made on site. The color blue will be the binding tie here, which she abstractly approaches with cultural, historical and phenomenological curiosity. Ultimately, the dialogue between&nbsp;these connected installations taking place in our renovated&nbsp;double-bow trussed skylit&nbsp;warehouse building promises to create a synergistic dynamic that we hope will be memorable and inspiring.&nbsp;Artists and architects featured in MANIFEST include:<ul><li>Marshall Brown</li><li>Teddy Cruz</li><li>Rachel Duckhouse</li><li>Jeanne Gang</li><li>Jason Lazarus</li><li>Luftwerk</li><li>Amanda Martínez</li><li>Dean Smith</li><li>Ana Tiscornia</li></ul>&nbsp;Marshall Brown (New Jersey) utilizes speculative architectural fiction to reimagine the future of cities (Berlin) by invoking the past. Brown’s collages, culled from monographs on significant figures from the history of architectural photography, create new narratives within architectural constructs without function.&nbsp;Teddy Cruz’s (San Diego) collages investigates what he calls the “wasted landscape”. These works elaborate on the social, cultural, political, and economic forces of landscape by highlighting the critical issues surrounding borders, density and urban sprawl in the territory between the U.S. and Mexico.&nbsp;Rachel Duckhouse’s (Glasgow) artwork explores structures, patterns and flows within landscapes and the dynamic relationships between things - particularly architecture, water, light and memory. Her drawings and prints utilize abstract forms to express the dynamic relationships between inner and outer worlds through imagined geometries, patterns and places.Jeanne Gang’s (Chicago) architectural practice draws insight from ecological systems, creating striking places that connect people with each other, their communities, and the environment. Gang’s maquettes, sculptural drawings and installations are emblematic of a practice she calls “actionable idealism”: pushing design’s ability to create public awareness and give rise to change.Jason Lazarus’ (Tampa) photographs from his 2004-Present series and eclipse viewers from 2017 &amp; 2024 made by both the general public and the artist represent his democratic approach to seeing, exploring and being in the world around us. By expanding photography’s capability to bear witness through discrete conceptual gestures, light, color and space are lauded.&nbsp;Luftwerk’s (Petra Bachmaier and Sean Gallero) (Chicago) reimagines the realities of physical space by developing spatial experiences mined from the creative possibilities of nature, data, and the built environment. The installation of paint and light in the gallery’s salon room play with physiological senses by interrupting what our brain sees and in turn create a visceral moment that will have one questioning what color is.Amanda Martínez’s (New York) sculptural wall relief is an interpretive reference to adobe constructions in New Mexico referencing structure, design and color while also embracing ancestry, memory, and emotional inheritance.&nbsp;Dean Smith's (Oakland, CA) drawings and collages reflect upon the measure of time, the peculiarities of space, and the ceaseless human impulse to render the invisible visible. Works from Smith’s labyrinthseries depict ahistorical geometric forms drawn precisely, on found vintage paper—time presented both as rumination and physical fact.&nbsp;His environment collages, sourced from 19th century engraving illustrations, are arranged to abstract rather than reveal their figural nature.Ana Tiscornia’s (Rhinebeck, NY) wall works and assemblages of fragments of furniture and common tools reflect a tension between order and disorder, wherein the later is salvaged by an uncanny order. Working from the trauma of a military dictatorship in her native Uruguay, the manipulations - or rearranging - allow for a type of recovery that refers to simultaneously exposing and scattered fragments of a failed utopia.&nbsp;Image: Rachel Duckhouse Through to the Citz (C), 2024 Etching (Copperplate hardground and aquatint etching on Arches Blanc paper) 20 x 20 inches, framed

Manifest

&nbsp;“Of all colors, blue and green have the greatest emotional range…. Blue is therefore most suitable as the color of interior life. Whether slick light sharp high bright thin quick sour new and cool or low deep sweet dark soft slow smooth heavy old and warm: blue moves easily among them all, and all profoundly qualify our states of feeling.”&nbsp;- William Gass&nbsp;We are pleased to announce&nbsp;Anne Lindberg: Of all colors&nbsp;taking place at SECRIST | BEACH this fall.&nbsp;Of all colors&nbsp;marks New York-based artist Anne Lindberg’s fourth solo show with SECRIST | BEACH and will be presented concurrently with&nbsp;MANIFEST, a survey of artworks and inspired studies/drawings by artists and architects exploring themes of light, color and space.

Anne Lindberg

<html><head></head><body>We hope you will join in celebrating site-specific projects&nbsp; by MAKING TIME artistsStephen Eichhorn, Juan Chavez, and Jacqueline Surdell,along&nbsp;withKristoffer McAfee's five-panel work, Universal Identity, adapted for the&nbsp;DNC commission,&nbsp;Ether And.&nbsp; It is featured as part of a moving mural Track(ed) Changes a&nbsp;project curated by Bob Faust. In The&nbsp;New York Times:&nbsp;<a href="http://artlocalapp.com/sendy/l/yWnpdkv763mAW2IQW93UM763Aw/fgkcpmLObQuycrNK7vOTbw/aUmYiSrqfmbFNGqoTqZgGg">New Public Art Rides the Rails in Chicago, Timed to the Convention</a>Luke Batten,&nbsp;an artist and Associate Professor of Photography at the University of Illinois,&nbsp;will lead a&nbsp;panel discussion.&nbsp;<figure class="image"><img src="https://res.cloudinary.com/dfafo598z/image/upload/v1731092749/oznw7xuyr4onlven3ssm.jpg"><figcaption>Jacqueline Surdell</figcaption></figure></body></html>

Artist Reception for In Situ Projects and Panel Discussion

<a href="https://website-artlogicwebsite0914.artlogic.net/exhibitions/33-making-time/">MAKING TIME</a>14 JUNE - 17 AUGUST 2024&nbsp;Featuring: Sarah Bedford, Juan Angel Chavez, Isabella Cuglievan, Michael Dumontier &amp; Neil Farber, Robert Heinecken, Paul Heyer, Ben Houtkamp, Kysa Johnson, Sung Jang, Tony Matelli, Kristoffer McAfee, Alessandra Norman, Carolyn Ottmers, Sterling Ruby, A.V. Ryan, Claudia Peña Salinas&nbsp;and Jacqueline Surdell.Secrist | Beach is pleased to present Making Time, a salon presentation curated by artist Stephen Eichhorn. The title of the exhibition is taken from a concept called "The Archeology of Time". This states that if we want to understand what time is, then we need to accept that things, or objects, do not just exist in time, they make time. Featuring seventeen artists working in a variety of mediums, on view will be works of art that represent a variety of philosophical and metaphysical ideas about how objects exist within and interact with the framework of time. Making Time is presented in conjunction with the solo exhibition VOIDGROUND by Stephen Eichhorn at 1801 W. Hubbard St. from June 14 - August 17, 2024.The artworks in Making Time use elements of organica as a way of exploring the dichotomy between objects and time. With materials made from - or representing - flowers, wood, fiber, rock, light, seeds, clay and the human figure, each artwork/object offers profound insights into the human experience. The bridge between objects and time is a concept that delves into the relationship between material entities and the temporal dimension. How those objects merge and exist within the framework of time oscillates between the existence of the natural world and how we interpret, utilize, ingest and embrace/reject it. If these interlocking elements of the physical world around us and the objects it produces accumulate what we know as the macrocosm, its excavation leaves us with wonder.&nbsp;Through metaphor and symbolism, the themes in Making Time revolve around ideas of ownership, transcendence, entropy and perception. By using the earth as a starting point for understanding an object's place within the structure of time, the positive and negative elements of human interference in our complex ecosystem are revealed. In elevating these objects with their alchemic approaches, the artists here individually decipher the macrocosm through the act of slowing time and illuminating the microcosms that surround us.Image:&nbsp;JUAN ANGEL CHAVEZGIFT DETAIL, 2024Burnt plywood, bison fur, ash, mourning dove feather36 x 36 x 6 inches

Making Time

Secrist | Beach is pleased to announce Chicago-based artist Stephen Eichhorn's exhibition <a href="https://website-artlogicwebsite0914.artlogic.net/exhibitions/32-stephen-eichhorn-voidground/">Voidground</a>, his third solo show with Secrist | Beach.&nbsp;Stephen Eichhorn's art practice revolves around the deceptively simple plant by exploring a range of dichotomies located within its physical and spiritual properties. Intricately cut out images of grasses, cacti, succulents and blooming flowers are placed, piled and arranged on colorful paper, board, and aluminum creating new forms that offer meditations on consciousness and time. Using design elements and materials sourced from botany textbooks and other publications, these works on paper and panel heighten our connection to the natural and man-made climates that surround us.&nbsp;Voidground introduces another element in the figure-ground principle, a compositional device that guides dimensional understanding in images. In addition to the foreground, middle ground or background on a two-dimensional plane - which triggers the viewers focus on the composition by alluding to a third dimension - "voidground" which puts the void front and center (or behind) as a perceptual device that metaphorically alludes to liminal space. These&nbsp;voids, or portals, share the surface with flora to create focal points that simultaneously herald absence and presence. This complicated dimensionality can create a visceral response while also encouraging a closer look and, perhaps, self-exploration.&nbsp;With Voidground, the binding visual element is color, which as a descriptive tool, represents a variety of emotional complexities that can be shared by many but felt individually. As an origin story, it could be argued that the color wheel itself can be traced back to the organization of nature: flora. And it is from this point of view, that Eichhorn's exploration of temporality, or the state of existing within our earthly life, evolves. From dark, light, familiar and warming to the bright, reflective, strange and visceral, color's role in these artworks reflects the world around us, just as it exists in the pigments of plants.&nbsp;Voidground invites the viewer on a journey of self-awareness with the void as transition, color as guide and flora as bond. This artwork encourages long, slow looks from the individual in order to discover their own path through the multi-dimensional complexities that parallels our own moment in time. Where else but situated in the wonders of nature can we find a level of transparency that can only be truly revealed with patience and understanding.Image: THE DRAPE (GONE IN A DAY), 2024Collage and vinyl on archival matboard40 x 30 inches 41.25 x 31.25 inches, framed

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