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1</head><body><div id="__next"><div class="NewsPage_page-wrapper__YsKNx"><section class="NewsPage_section_main__mZSde"><div class="NewsPage_horizontaladspace__j2jzB"><div id="div-gpt-ad-1540843596741-0"></div></div><div class="NewsPage_news_wrapper__fGn4r"><h1 class="NewsPage_heading-h1__b_akV">News</h1><div class="NewsPage_tabs__ajn_y"><a href="/articles" class="NewsPage_categorytab__6XA0j NewsPage_first__yUuxq w-button">All</a><a href="/articles/features" class="NewsPage_categorytab__6XA0j w-button">Features</a><a href="/articles/interviews" class="NewsPage_categorytab__6XA0j w-button">Interviews</a><a href="/articles/announcements" class="NewsPage_categorytab__6XA0j w-button">Announcements</a><a href="/articles/previews" class="NewsPage_categorytab__6XA0j NewsPage_last__md2l8 w-button">Previews</a></div><div class="NewsPage_news_grid-cards__glJ6_"><a href="/articles/in-memoriam-mocp-pays-tribute-to-rod-slemmons-jay-wolke-and-elizabeth-ernst" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1790883517/foauygtbxwjxibxg8g2s.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Announcements</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Oct 1</div></div><div class="NewsCard_news_scard-title__ddMw2">In Memoriam: MoCP Pays Tribute to Rod Slemmons, Jay Wolke, and Elizabeth Ernst</div></a><a href="/articles/beyond-the-mirrors-four-artists-at-wrightwood-659" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1790868850/yc9upyvvwtwie7qhj1hu.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Previews</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Oct 1</div></div><div class="NewsCard_news_scard-title__ddMw2">
1Beyond the Mirrors: Four Artists at Wrightwood 659</div></a><a href="/articles/3arts-announces-10-recipients-of-2026-awards" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1790651268/lbxtkq2og8v75gsmv1qb.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Announcements</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 28</div></div><div class="NewsCard_news_scard-title__ddMw2">3ARTS Announces 10 Recipients of 2026 Awards</div></a><a href="/articles/kohlers-artsindustry-program-welcomes-final-2026-artist-cohort" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1790651958/bkat9kgbc4uaux4a5uds.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Announcements</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 28</div></div><div class="NewsCard_news_scard-title__ddMw2">Kohler’s Arts/Industry Program Welcomes Final 2026 Artist Cohort</div></a><a href="/articles/cgn-art-world-recap-september-23-2026" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1790194715/dbjfannb8npxdtoupt1f.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Previews</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 23</div></div><div class="NewsCard_news_scard-title__ddMw2">CGN Art World Recap: September 23, 2026</div></a><a href="/articles/trick-of-the-eye-r-justin-stewarts-creative-techniques" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1789751619/xs3b3bxjstacvoscidih.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Previews</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 22</div></div><div class="NewsCard_news_scard-title__ddMw2">Trick of the Eye: R. Justin Stewart’s Creative Techniques</div></a>
1<a href="/articles/art-matchmaking-hyde-park-art-centers-not-just-another-pretty-face-returns-this-fall" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1789744885/j4sxav3a4dlaktw2rls8.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Features</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 18</div></div><div class="NewsCard_news_scard-title__ddMw2">Art Matchmaking: Hyde Park Art Center’s Not Just Another Pretty Face Returns This Fall</div></a><a href="/articles/from-west-loop-to-west-town-the-development-of-an-arts-district" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1789745368/zqyubrrsccwmwwyzpvhc.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Features</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 18</div></div><div class="NewsCard_news_scard-title__ddMw2">From West Loop to West Town: The Development of an Arts District</div></a><a href="/articles/new-exhibitions-and-events-september-1819" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1789534181/u7rg6zaumbpe8n7dkdrm.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Previews</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 15</div></div><div class="NewsCard_news_scard-title__ddMw2">New Exhibitions and Events: September 18–19</div></a><a href="/articles/new-exhibitions-and-events-september-1517" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1789529475/rql8kr04strelq0hnsxv.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Previews</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 15</div></div><div class="NewsCard_news_scard-title__ddMw2">New Exhibitions and Events: September 15–17</div></a><a href="/articles/a-closer-look-at-chicago-exhibition-week" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1788756597/ndi64nd64eosryspzdww.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Previews</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 13</div></div><div class="NewsCard_news_scard-title__ddMw2">A Closer Look at Chicago Exhibition Week</div></a><a href="/articles/anticipating-a-season-of-art-five-to-talk-to-nikko-washington" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1788406360/ujd84dhihjroxqjs9izj.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Interviews</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 11</div></div><div class="NewsCard_news_scard-title__ddMw2">Anticipating a Season of Art: Five to Talk to – Nikko Washington</div></a>
1<a href="/articles/a-poster-from-tony-fitzpatricks-early-years-supports-his-legacy" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1789100202/bivecvykcgpbko4uxsmo.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div class="NewsCard_news_card-meta__NRMng"><div class="NewsCard_card_meta-tag__S1UHp">Features</div><div class="NewsCard_card_meta-dot__BAfpO">•</div><div class="NewsCard_card_date__y9lcw">Sep 10</div></div><div class="NewsCard_news_scard-title__ddMw2">A Poster from Tony Fitzpatrick’s Early Years Supports His Legacy</div></a><a href="/articles/milwaukee-art-escape-connects-museums-public-art-and-more-this-fall" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1788960645/hyklykvtkzbgds0hddf6.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div 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1Sep 8</div></div><div class="NewsCard_news_scard-title__ddMw2">Road to the Farthest Room: Elizabeth Lalley + Dan Devening Collaborate</div></a><a href="/articles/anticipating-a-season-of-art-five-to-talk-to-william-gross" class="NewsCard_features_card__2A4aR w-inline-block" id="NewsCard_w-node-d0fb1cd8-80a5-87df-864f-1313122cd0fa-122cd0fa__mZSvQ" data-w-id="d0fb1cd8-80a5-87df-864f-1313122cd0fa"><div class="NewsCard_features_card-wrapper__izK7t"><img alt="" class="NewsCard_news_card-img__u0AWa" loading="lazy" width="auto" height="auto" src="https://res.cloudinary.com/dfafo598z/image/upload/v1788405816/jwjcnjmc66cc8oznnyq0.jpg"/><div class="NewsCard_card_ovrelay__w_nh5"><div class="NewsCard_overlay_box__Tc7mf"><div class="NewsCard_box_line-top__jtPLj"></div><div class="NewsCard_box_line-right__TJays"></div><div class="NewsCard_box_line-bottom__kDpc6"></div><div class="NewsCard_box_line-left__xf1_J"></div><div class="NewsCard_box_text__VS_7C">Read More</div></div></div></div><div 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1<script id="__NEXT_DATA__" type="application/json">{"props":{"pageProps":{"articlesData":{"articles":{"all":[{"id":14225,"title":"In Memoriam: MoCP Pays Tribute to Rod Slemmons, Jay Wolke, and Elizabeth Ernst","excerpt":null,"body":"\u003ch3\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eWe have heard the sad news of the passing of three members of the Chicago art community in recent weeks, and I wanted to share a lovely tribute to all three from the Museum of Contemporary Photography (MoCP.) Each artist worked with the museum over the years, and each one's legacy will remain in safe keeping at MoCP for years to come. \u003c/em\u003e\u003c/h3\u003e\u003ch3\u003e\u003cbr\u003e\u003c/h3\u003e\u003ch3\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eThough they are gone too soon, Rod, Jay and Elizabeth each made an impact on the world of photography and on the people they knew. \u003c/em\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003e– Ginny Van Alyea\u003c/em\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch2\u003e\u003cstrong\u003eIn Memoriam\u003c/strong\u003e\u003c/h2\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eMoCP is saddened to share news of the passing of three close members of the Chicago photo community in recent weeks: Rod Slemmons, Jay Wolke, and Elizabeth Ernst.\u003c/em\u003e\u003c/h3\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003e\u003cbr\u003e\u003c/h3\u003e\u003ch3\u003e\u003cspan style=\"color: rgb(34, 34, 34);\"\u003eRod Slemmons\u0026nbsp;\u003c/span\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790883525/brm5x5c1vrnydvdi3ccg.jpg\" height=\"auto\" width=\"461.76\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong style=\"color: rgb(34, 34, 34);\"\u003eRod Slemmons\u0026nbsp;\u003c/strong\u003e\u003cspan style=\"color: rgb(34, 34, 34);\"\u003ewas MoCP’s Director from\u0026nbsp;\u003c/span\u003e2002 to 2011. He was a talented curator, museum leader, and educator. Natasha Egan, Karen Irvine, and Kristin Taylor all had the immense privilege of working with Rod for many years. He supported their careers and championed the work of women at large in the arts. Rod was especially passionate about exhibiting and studying work of Latin American and Indigenous artists, as seen in his 2010 MoCP exhibition,\u0026nbsp;\u003cem style=\"color: rgb(70, 120, 134);\"\u003eLa Frontera\u003c/em\u003e\u003cem\u003e,\u0026nbsp;\u003c/em\u003eor his traveling exhibition\u0026nbsp;\u003cem style=\"color: rgb(70, 120, 134);\"\u003eShadowy Evidence\u003c/em\u003e, that asked critical questions of Edward Curtis’s work and representation of Indigenous people.\u0026nbsp;A favorite MoCP memory is when Rod celebrated his 70th birthday and resolved to indulge in lobster and champagne. He invited his staff to dinner at his home, but after learning the exorbitant price of lobster that year, he shifted the menu to crab and champagne.\u0026nbsp;You can see Rod sharing some of his thoughts about photography and his work in this interview\u0026nbsp;\u003cspan style=\"color: rgb(70, 120, 134);\"\u003ehere\u003c/span\u003e.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFor many years, Rod taught undergraduate photo history and graduate seminars in the Photography Department at Columbia College Chicago, and prior to his time in Chicago he taught photography and the history of photography for twelve years at the University of Washington in Seattle. He was National Chair of the Society for Photographic Education from 1990 to 1994, and he was named Honored Educator at the SPE National Conference in 2007. Rod was also the Curator of Prints and Photographs at the Seattle Art Museum for 14 years.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003eJay Wolke\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790883525/pmi
1oroh3l2engvovp4xn.png\" height=\"auto\" width=\"530.4\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong style=\"color: rgb(34, 34, 34);\"\u003eJay Wolke\u0026nbsp;\u003c/strong\u003e\u003cspan style=\"color: rgb(34, 34, 34);\"\u003ewas a legendary educator and artist at Columbia College Chicago. Lovingly referred to by one of his students as “Obi-Wan” because of his sage wisdom, Jay guided thousands of students over his tenure at the college as Professor in the Art and Design Department from 2000-2014 and then as Professor in the Photography Department from 2014 until his recent retirement. MoCP holds\u0026nbsp;\u003c/span\u003e\u003cspan style=\"color: rgb(70, 120, 134);\"\u003e105 of his works in its permanent collection\u003c/span\u003e\u003cspan style=\"color: rgb(34, 34, 34);\"\u003e, and these works are regularly on display in exhibitions and print viewings. One fond memory, among many MoCP memories, is when many of Jay’s pieces were selected by Teju Cole for his 2019 exhibition at MoCP,\u0026nbsp;\u003c/span\u003e\u003cem style=\"color: rgb(34, 34, 34);\"\u003eGo Down Moses\u003c/em\u003e\u003cspan style=\"color: rgb(34, 34, 34);\"\u003e. Teju marveled at the prints in person, asking to meet Jay so he could share his awe for the exceptional sense of color. Whether depicting marble quarries in Italy, car crashes along the Dan Ryan expressway, or Las Vegas casinos, Jay captured the world he observed vibrantly. You can view a recording of Jay discussing color theory and his work at large in a 2020 virtual studio visit\u0026nbsp;\u003c/span\u003e\u003cspan style=\"color: rgb(70, 120, 134);\"\u003ehere\u003c/span\u003e\u003cspan style=\"color: rgb(34, 34, 34);\"\u003e. You can also hear him in discussion with a former student, Eli Giclas, in the museum’s Focal Point podcast\u0026nbsp;\u003c/span\u003e\u003cspan style=\"color: rgb(70, 120, 134);\"\u003ehere\u003c/span\u003e\u003cspan style=\"color: rgb(34, 34, 34);\"\u003e. We will dearly miss Jay and his presence at the college and out and about for gallery openings and panel discussions across the city.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790883527/w3xbucci1bdypdol80ab.png\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003eElizabeth Ernst\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eElizabeth Ernst\u0026nbsp;\u003c/strong\u003ewas also professor emeritus at Columbia College Chicago, where she taught for 25 years. Elizabeth completed her undergraduate degree at the Moore College of Art \u0026amp; Design in Philadelphia and her graduate degree at the Institute of Design. An active artist, she posed characters she made out of clay, papier mache, and metal in constructed environments to create fantastical images that communicate poignantly about human behavior. Her work was deeply informed by her relationship with her brother, David, who was born with cerebral palsy, and Elizabeth held a longstanding interest in tackling ideas of difference in her artwork. She was the recipient of numerous Illinois Arts Council Fellowships in Photography, and two Faculty Development Grants from Columbia College. Her work has been exhibited nationally, and she was a fixture in the Chicago art community. You can see her speaking about her work and life in a 2010 video from the Catherine Edelman Gallery\u0026nbsp;\u003cspan style=\"color: rgb(70, 120, 134);\"\u003ehere\u003c/span\u003e.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(34, 34, 34);\"\u003eOur hearts go out to Rod, Jay, and Elizabeth’s families and the Chicago photo community in this time.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e","published_at":"2026-10-01 14:27:06.229","state":"published","slug":"in-memoriam-mocp-pays-tribute-to-rod-slemmons-jay-wolke-and-elizabeth-ernst","type":null,"meta_description":"","text":null,"created_at":"2026-10-01 19:38:47.725","updated_at":"2026-10-01 19:38:47.725","category_id":1,"highlighted":false,"searchable":"'-2014':438B '105':455B '14':384B '1990':353B '1994':355B '2000':437B '2002':144B '2007':368B '2010':209B,766B '2011':146B '2014':448B '2019':496B '2020':567B '25':633B '70th':243B 'across':614B 'activ':659B 'along':534B 'also':371B,574B,622B 'alyea':104B 'american':201B 'among':478B 'art':29B,189B,381B,432B,645B,725B,752B 'artist':53B,204B,395B,660B 'artwork':717B 'ask':221B,510B 'awe':519B 'behavior':685B 'birthday':244B 'born':700B 'brother'
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Kusama’s two Infinity Mirror Rooms will likely be a draw for many visitors, but there is considerably more to see throughout the Lincoln Park exhibition space.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eInner Worlds: Visions from the Hirshhorn Collection\u003c/em\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e features Kusama, de Saint Phalle and Bauermeister in a focused presentation drawn from the Smithsonian museum’s collection. \u003c/span\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eYuan Goang-Ming: Everyday War\u003c/em\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e brings the Taiwanese artist’s video and installation work to Chicago following his presentation at the Taiwan Pavilion of the 2024 Venice Biennale.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eTogether, the exhibitions offer a substantial visit, with time to look closely at individual objects as well as sit and watch works that unfold over several minutes.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eCurated by the Hirshhorn’s Betsy Johnson, \u003c/span\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eInner Worlds\u003c/em\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e considers three artists who became part of the postwar avant-garde. Kusama, de Saint Phalle and Bauermeister were born in Japan, France and Germany, respectively, between 1929 and 1934. All three experienced World War II as children and made their way to New York by the early 1960s, developing careers that challenged expectations of women and took their work to audie
1nces around the world.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eKusama was put to work as a young girl in factories for the war effort, sewing parachutes in the period leading into and during World War II. She has spoken at length about air-raid sirens, the terror they caused, and their impact on her psyche. The first work in the exhibition, the infinity room \u003cem\u003ePhalli’s Field [Floor Show]\u003c/em\u003e, was made by hand-stitching phallic forms, a technique the artist developed by working in a parachute factory. Here,\u003cspan style=\"color: rgb(13, 13, 13);\"\u003e you can leave the room only when someone outside opens the door.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790868897/pc7jp9h6xs4tjv6eebcb.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eYayoi Kusama\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790868898/o3626zfhlhda7odjhwo0.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eYayoi Kusama\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eIn the second room, from 2018, \u003cem\u003eMy Heart Is Dancing into the Universe, \u003c/em\u003ethe visitor is disoriented by a black, mirrored space that recalls 1960s psychedelic lights. Highly reflective black tile reflect hanging, polka dot lanterns intended to realize what an afterlife might look like. This in-between space is one of Kusama’s pass-through infinity mirror rooms, where visitors can walk in one side and come out the other.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe opportunity to experience two of Kusama’s rooms in Chicago is reason enough to plan a visit. Visitors also become part of the work. Johnson explained, “She used mirrors because they implicate you in [the art] as well. You are being obliterated by the sort of environment that you’re entering.” Johnson added that Kusama’s famous polka dots became agents of this obliteration, a return to the cellular level we all come from.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eAt Thursday’s small press preview, our time inside the immersive spaces was limited. I had assumed the limits were for crowd control in the selfie age, so restricting just a handful of visitors made me pause. When I asked about our allotted minute and 25 seconds, a staff member explained that the interval was intentional. Johnson elaborated that Kusama’s studio had worked to establish an ideal viewing time. Infinity, I guess, does have a limit.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790868899/sr5kbfnskhosqqrpwovl.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"background-color: rgb(252, 252, 252); color: rgb(136, 136, 136);\"\u003eNiki de Saint Phalle\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eDe Saint Phalle’s large mixed-media work \u003c/span\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003ePink Lady\u003c/em\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e introduces the expressive imagery and full-bodied female figures for which she is known. Its surface rewards close looking, with small drawings and motifs spread throughout the body of the figure. Johnson discussed the artist’s abusive childhood and early marriage. \u003c/span\u003eThe confinement she felt resulted in a mental collapse\u0026nbsp;that led to a brief period of institutionalization, where she found painting.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eSeen near Kusama’s mirrored room, \u003c/span\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003ePink Lady\u003c/em\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e offers another example of an artist giving physical form to difficult personal experiences. The results are very different, but both women developed visual languages that could draw viewers into their worlds.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790868900/ycah29vdfm8akx3xey1g.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"background-color: rgb(252, 252, 252); color: rgb(136, 136, 136);\"\u003e Mary Bauermeister\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eBauermeister’s optical and stone assemblages occupy a narrower part of the gallery that invites close examination. Lenses alter the view of drawings and text within the works, changing what visitors see as they move around them. “It is meant to involve the viewer,” Johnson explained during the tour, comparing that experience to entering an infinity mirror room.\u003c/span\u003e She adds that an early reviewer of Bauermeister’s work suggested that time was the only thing preventing these works from becoming infinite: given enough time to keep making marks, they might keep expanding.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe exhibition gives visitors a chance to spend time with work that may be less familiar than Kusama’s but it no less revelatory. Considering the three artists together, as well as on their own, shows work that is clearly beautiful to behold but that also reveals what artists can express for future generations about the trauma and turmoil of living through the constant internal and external destructiveness of war.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e#\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790868900/desugwdd1ux23j2gty0v.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eYuan\u0026nbsp;Goang-Ming, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eProphecy\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e (2014)\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eYuan Goang-Ming: Everyday War\u003c/em\u003e\u0026nbsp;occupies the upper floors, though its sounds travel through the building, signaling that even when you cannot see a battlefield, the effects of war permeate the spaces of every day life. Even before a work comes into view, a sudden crash interrupts the visit. \u
1003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAdapted from the Venice exhibition curated by Abby Chen, the presentation examines how the possibility of conflict enters the day to day. As Yuan emphasized, war today is not limited to physical gunfire or military conflict: it can be experienced through pressure or conflict, including natural disasters and additional global and political threats that people are living through.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eSound is as important as the imagery in many of these works, and the videos need time to unfold. One projection takes viewers on a journey through downloaded Google Street View images, with no apparent beginning or end. In another, aerial footage shows Taipei during an annual air-raid drill. Yuan used five drones to record the city from different angles. The empty streets recall the pandemic, but this interruption takes place each year as residents rehearse what to do in an emergency.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790868901/zoouwyq8sutz3bqeyioz.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eYuan\u0026nbsp;Goang-Ming\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790868901/trujcytwahtgrpye1qx7.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eYuan\u0026nbsp;Goang-Ming\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eTwo Adirondack chairs on a landing between floors offer a place to watch the footage. They are an odd seating choice for viewing a city preparing for an attack, placing visitors in a comfortable position that recalls a lakeside weekend. Nearby, Yuan’s delicate drawing \u003c/span\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eWhat Lies Beyond Us?\u003c/em\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e references a 1951 photograph of American observers watching a nuclear test from Adirondack chairs. The connection gives the gallery seating a more unsettling association.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eIn \u003c/span\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eProphecy \u003c/em\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e(2014), glasses and dinnerware shake on a kinetic table. The first disturbance is startling. As it repeated through the galleries, I found myself becoming accustomed to the crash. That adjustment was unsettling in itself, suggesting how an alarming sound might become part of the background of daily life.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eSofas and picture lighting add to the exhibition’s domestic setting. In one video, a destroyed interior comes back together in a way that reminded me of a scene from Harry Potter. What has been blown apart is restored in reverse, while you anticipate when it will explode again.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790868902/rs630ofgelfa10vvzldg.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eYuan\u0026nbsp;Goang-Ming\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790868903/gez5jg0cztq7hobpt3fh.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eYuan\u0026nbsp;Goang-Ming\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eThese scenes make the uncertainty surrounding Taiwan feel closer to home. They shift attention from political debates about China and Taiwan to the people living there, their kitchens and daily routines. The works stay with you because so much of what they depict is recognizable, even if, fortunately, the circumstances are not.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"background-color: rgb(252, 252, 252);\"\u003eVisitors who come even just for Kusama's selfie opportunities will have plenty of reasons to explore art from these artists and these times more deeply. Across the two exhibitions, Wrightwood 659 offers work by four internationally significant artists, with more to absorb than many may expect when they arrive.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eInner Worlds: Visions from the Hirshhorn Collection\u003c/em\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e \u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eand \u003c/span\u003e\u003cem style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eYuan Goang-Ming: Everyday War\u003c/em\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e \u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eOn view through December 19, 2026\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eWrightwood 659\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e659 W. Wrightwood Ave., Chicago. \u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003eAdvance tickets are required. Visit \u003c/span\u003e\u003ca href=\"https://wrightwood659.org\" rel=\"noopener noreferrer\" style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\" target=\"_blank\"\u003ewrightwood659.org\u003c/a\u003e\u003cspan style=\"color: rgb(13, 13, 13); background-color: rgb(252, 252, 252);\"\u003e for reservations and current hours.\u003c/span\u003e\u003c/p\u003e","published_at":"2026-10-01 09:30:00","state":"published","slug":"beyond-the-mirrors-four-artists-at-wrightwood-659","type":null,"meta_description":"Yayoi Kusama, Niki de Saint Phalle, Mary Bauermeister and Yuan Goang-Ming at Wrightwood659 in Chicago","text":null,"created_at":"2026-10-01 15:35:03.335","updated_at":"2026-10-01 15:35:03.336","category_id":2,"highlighted":false,"searchable":"'19':1330B '1929':183B '1934':185B '1951':1081B '1960s':204B,342B '2014':829B,1105B '2018':323B '2024':117B '202
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171B,1202B,1206B,1320B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1790868850/yc9upyvvwtwie7qhj1hu.jpg","editor_pick":true,"category_name":"Previews"},{"id":14126,"title":"3ARTS Announces 10 Recipients of 2026 Awards","excerpt":null,"body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790651532/l9cff10tdlxubk2aogpr.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eThe 2026 Award Recipients \u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy CGN STAFF\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe organization will honor this year’s artists on October 26 as it marks more than $10 million in artist funding to 3,050 artists since 2007. 3Arts awardees reflect 66% women artists, 74% artists of color, and 17% Deaf or disabled artists.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eVisual artists \u003cstrong\u003eDiana Solís \u003c/strong\u003eand\u003cstrong\u003e Sandie (Chunshan) Yi\u003c/strong\u003e are among the recipients of the 2026 3Arts Awards, which provide $30,000 in unrestricted funding to each honoree. The Chicago-based nonprofit will celebrate the recipients at the Harris Theater for Music and Dance on October 26. In partnership with Artspace Southern Illinois, the event also honors downstate artist\u0026nbsp;\u003cstrong\u003eLuca Cruzat\u0026nbsp;\u003c/strong\u003ewith a 3Arts Award in visual art. \u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe artists represent a range of practices, from documentary photography and public murals to textiles, wearable art and printmaking.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMexican-born\u0026nbsp;Diana Solís\u0026nbsp;works across photography, painting, illustration, murals and installation, exploring identity, belonging, memory and community. Her documentary photography has created an archive of LGBTQ+, Latinx and feminist communities and movements in Chicago and Mexico City. Recent exhibitions include\u0026nbsp;\u003cem\u003eCity in a Garden: Queer Art and Activism in Chicago\u003c/em\u003e\u0026nbsp;at the Museum of Contemporary Art Chicago and\u0026nbsp;\u003cem\u003eChicano Camera Culture: A Photographic History, 1966 to 2026\u003c/em\u003e\u0026nbsp;at The Cheech Marin Center for Chicano Art \u0026amp; Culture.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eChicago-based\u0026nbsp;Sandie (Chunshan) Yi\u0026nbsp;is a visual and textile artist, educator and disability culture maker. Working with wearable art, sculpture, biomaterials and social practice, Yi explores disability, visibility, care, access and intimacy. Her work has been exhibited at institutions including Gallery 400, the Chicago Cultural Center, the MCA Chicago and the Denver Art Museum.\u003c/p\u003e\u003cp\u003eChilean-born\u0026nbsp;Luca Cruzat, based in Southern Illinois, receives a visual art award through 3Arts’ partnership with Artspace Southern Illinois. Her practice encompasses collagraphy, installation and three-dimensional objects, using simplified forms, restrained color and everyday materials to explore personal and collective experiences.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAlso of interest to the visual arts community is teaching artist award recipient\u0026nbsp;Wisdom Baty, a multidisciplinary artist, educator and curator on Chicago’s South Side. Baty founded WILD YAMS: Black Mothers Artist Residency, which provides time, space and resources for Black artist mothers and caretakers to sustain their practices.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAdditional 3Arts Award recipients are dance artists Silvita Diaz Brown and Kara Brody; musicians Marvin Tate and Tahirah Whittington; teaching artist John Chapman; and theater artists Tina Fakhrid-Deen and Ana Santos. \u003cspan style=\"color: rgb(13, 13, 13);\"\u003eThe celebratory evening will feature powerful performances by three past 3Arts awardees: Keyierra Collins, Sparklmami, and Sandra Delgado.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe October celebration will honor 36 artists across the $30,000 3Arts Awards, $50,
1000 Next Level Awards and $2,000 peer-selected Make a Wave Awards. Since 2007, 3Arts has distributed more than $10 million to more than 3,050 artists.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe 2026 3Arts Awards Celebration takes place Monday, October 26, at 5:30 pm at the Harris Theater, 205 E. Randolph St.\u0026nbsp;Tickets are $50–$300 and include a reception, awards program and after-party. Funds raised will be split between 3Arts and Center for Native Futures.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://3arts.org/tickets\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eTickets and information\u003c/a\u003e.\u003c/p\u003e","published_at":"2026-09-28 22:04:42.086","state":"published","slug":"3arts-announces-10-recipients-of-2026-awards","type":null,"meta_description":"","text":null,"created_at":"2026-09-29 03:12:12.983","updated_at":"2026-09-29 03:12:12.983","category_id":1,"highlighted":false,"searchable":"'000':78B,435B,439B,445B '050':38B,466B '10':3A,31B,460B '17':53B '1966':211B '2':444B '2007':41B,454B '2026':6A,9B,72B,213B,469B '205':486B '26':25B,104B,477B '3':37B,465B '30':77B,434B,480B '300':493B '36':430B '3arts':1A,42B,73B,121B,294B,375B,417B,436B,455B,470B,510B '400':266B '5':479B '50':438B,492B '66':45B '74':48B 'access':254B 'across':151B,432B 'activ':194B 'addit':374B 'after-parti':501B 'also':113B,324B 'among':67B 'ana':405B 'announc':2A 'archiv':170B 'art':125B,142B,192B,202B,221B,243B,277B,291B,330B 'artist':22B,34B,39B,47B,49B,57B,59B,116B,127B,234B,334B,341B,356B,366B,380B,394B,399B,431B,467B 'artspac':108B,297B 'award':7A,10B,74B,122B,292B,335B,376B,437B,442B,452B,471B,498B 'awarde':43B,418B 'base':88B,225B,284B 'bati':338B,350B 'belong':160B 'biomateri':245B 'black':354B,365B 'born':147B,281B 'brodi':386B 'brown':383B 'camera':206B 'care':253B 'caretak':369B 'celebr':91B,427B,472B 'celebratori':408B 'center':218B,270B,512B 'cgn':13B 'chapman':396B 'cheech':216B 'chicago':87B,180B,196B,203B,224B,268B,273B,346B 'chicago-bas':86B,223B 'chicano':205B,220B 'chilean':280B 'chilean-born':279B 'chunshan':64B,227B 'citi':183B,187B 'collagraphi':303B 'collect':322B 'collin':420B 'color':51B,314B 'communiti':163B,176B,331B 'contemporari':201B 'creat':168B 'cruzat':118B,283B 'cultur':207B,222B,238B,269B 'curat':344B 'danc':101B,379B 'deaf':54B 'deen':403B 'delgado':424B 'denver':276B 'diana':60B,148B 'diaz':382B 'dimension':308B 'disabl':56B,237B,251B 'distribut':457B 'documentari':134B,165B 'downstat':115B 'e':487B 'educ':235B,342B 'encompass':302B 'even':409B 'event':112B 'everyday':316B 'exhibit':185B,261B 'experi':323B 'explor':158B,250B,319B 'fakhrid':402B 'fakhrid-deen':401B 'featur':411B 'feminist':175B 'form':312B 'found':351B 'fund':35B,81B,504B 'futur':515B 'galleri':265B 'garden':190B 'harri':96B,484B 'histori':210B 'honor':18B,114B,429B 'honore':84B 'ident':159B 'illinoi':110B,287B,299B 'illustr':154B 'includ':186B,264B,495B 'inform':518B 'instal':157B,304B 'institut':263B 'interest':326B 'intimaci':256B 'john':395B 'kara':385B 'keyierra':419B 'latinx':173B 'level':441B 'lgbtq':172B 'luca':117B,282B 'make':449B 'maker':239B 'marin':217B 'mark':28B 'marvin':388B 'materi':317B 'mca':272B 'memori':161B 'mexican':146B 'mexican-born':145B 'mexico':182B 'million':32B,461B 'monday':475B 'mother':355B,367B 'movement':178B 'multidisciplinari':340B 'mural':138B,155B 'museum':199B,278B 'music':99B 'musician':387B 'nativ':514B 'next':440B 'nonprofit':89B 'object':309B 'octob':24B,103B,426B,476B 'organ':16B 'paint':153B 'parti':503B 'partnership':106B,295B 'past':416B 'peer':447B 'peer-select':446B 'perform':413B 'person':320B 'photograph':209B 'photographi':135B,152B,166B 'place':474B 'pm':481B 'power':412B 'practic':132B,248B,301B,373B 'printmak':144B 'program':499B 'provid':76B,359B 'public':137B 'queer':191B 'rais':505B 'randolph':488B 'rang':130B 'receiv':288B 'recent':184B 'recept':497B 'recipi':4A,11B,69B,93B,336B,377B 'reflect':44B 'repres':128B 'resid':357B 'resourc':363B 'restrain':313B 'sandi':63B,226B 'sandra':423B 'santo':406B 'sculptur':244B 'select':448B 'side':349B 'silvita':381B 'simplifi':311B 'sinc':40B,453B 'social':247B 'solí':61B,149B 'south':348B 'southern':109B,286B,298B 'space':361B 'sparklmami':421B 'split':508B 'st':489B 'staff':14B 'sustain':371B 'tahirah':391B 'take':473B 'tate':389B 'teach':333B,393B 'textil':140B,233B 'theater':97B,398B,485B 'three':307
1B,415B 'three-dimension':306B 'ticket':490B,516B 'time':360B 'tina':400B 'unrestrict':80B 'use':310B 'visibl':252B 'visual':58B,124B,231B,290B,329B 'wave':451B 'wearabl':141B,242B 'whittington':392B 'wild':352B 'wisdom':337B 'women':46B 'work':150B,240B,258B 'yam':353B 'year':20B 'yi':65B,228B,249B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1790651268/lbxtkq2og8v75gsmv1qb.jpg","editor_pick":true,"category_name":"Announcements"},{"id":14127,"title":"Kohler’s Arts/Industry Program Welcomes Final 2026 Artist Cohort","excerpt":null,"body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790651972/pa9qyggppu2j43tpwtta.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy CGN STAFF\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFour artists began residencies this month at the Kohler Co. factory in Kohler, Wisconsin, as the John Michael Kohler Arts Center welcomed its third and final Arts/Industry cohort of 2026. A new pilot fellowship with the Yale School of Art brings a fifth artist into the factory’s studios this fall.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAbigail Lucien and Louis-Charles Dionne\u003c/strong\u003e\u0026nbsp;are working in the foundry, while\u0026nbsp;\u003cstrong\u003eSharif Farrag and Jason S. Yi\u003c/strong\u003e\u0026nbsp;are working in the pottery studios. Over three months, the residents have access to industrial processes, materials and technical expertise, working alongside Kohler’s skilled artisans to experiment and develop new work.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eA collaboration between the John Michael Kohler Arts Center and Kohler Co., Arts/Industry hosts 12 artists annually. The program provides around-the-clock studio access and technical support, allowing artists to explore the possibilities of making art within a working manufacturing facility. The program is one of the most remarkable collaborations between art and industry in the United States. Founded by visionary arts leader Ruth DeYoung Kohler, Arts/Industry provides artists a place to make their artwork in tandem with the skilled craftspeople who w
1ork for Kohler Co. The program is rooted in the collaborative efforts between contemporary artists and industrial artisans, resulting in brilliant works of art. Hundreds of artists have benefited from this celebrated artist residency since its beginning in 1974. Arts/Industry offers artists the time and space to focus on the creation of new work in studios located within the Pottery and Foundry at the Kohler Co. factory.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJoining this fall’s residents is\u0026nbsp;\u003cstrong\u003eA.Y. Wang\u003c/strong\u003e, the Yale School of Art Fellow. The Arts Center, Yale School of Art and Kohler Co. are piloting the three-month fellowship during September–December 2026, offering a recent Yale graduate the opportunity to work in the Arts/Industry Pottery studio.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003ePast award recipients include Edra Soto, Ann Agee, Barbara Cooper and many others. \u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.jmkac.org/engage/programs/arts-industry/\" rel=\"noopener noreferrer\" style=\"color: rgb(0, 0, 0);\" target=\"_blank\"\u003eLearn More About the Artists\u003c/a\u003e\u003c/p\u003e","published_at":"2026-09-28 16:45:00","state":"published","slug":"kohlers-artsindustry-program-welcomes-final-2026-artist-cohort","type":null,"meta_description":"","text":null,"created_at":"2026-09-29 03:19:32.954","updated_at":"2026-09-29 03:19:32.954","category_id":1,"highlighted":false,"searchable":"'12':129B '1974':237B '2026':7A,42B,300B 'a.y':272B 'abigail':64B 'access':95B,140B 'age':322B 'allow':144B 'alongsid':104B 'ann':321B 'annual':131B 'around':136B 'around-the-clock':135B 'art':32B,52B,122B,152B,168B,178B,222B,278B,281B,286B 'artisan':108B,216B 'artist':8A,14B,56B,130B,145B,185B,213B,225B,231B,240B,332B 'arts/industry':3A,39B,127B,183B,238B,312B 'artwork':191B 'award':316B 'barbara':323B 'began':15B 'begin':235B 'benefit':227B 'brilliant':219B 'bring':53B 'celebr':230B 'center':33B,123B,282B 'cgn':11B 'charl':69B 'clock':138B 'co':22B,126B,202B,264B,289B 'cohort':9A,40B 'collabor':116B,166B,209B 'contemporari':212B 'cooper':324B 'craftspeopl':197B 'creation':249B 'decemb':299B 'develop':112B 'deyoung':181B 'dionn':70B 'edra':319B 'effort':210B 'experi':110B 'expertis':102B 'explor':147B 'facil':157B 'factori':23B,59B,265B 'fall':63B,268B 'farrag':78B 'fellow':279B 'fellowship':46B,296B 'fifth':55B 'final':6A,38B 'focus':246B 'found':175B 'foundri':75B,260B 'four':13B 'graduat':305B 'host':128B 'hundr':223B 'includ':318B 'industri':97B,170B,215B 'jason':80B 'john':29B,119B 'join':266B 'kohler':1A,21B,25B,31B,105B,121B,125B,182B,201B,263B,288B 'leader':179B 'learn':328B 'locat':255B 'loui':68B 'louis-charl':67B 'lucien':65B 'make':151B,189B 'mani':326B 'manufactur':156B 'materi':99B 'michael':30B,120B 'month':18B,91B,295B 'new':44B,113B,251B 'offer':239B,301B 'one':161B 'opportun':307B 'other':327B 'past':315B 'pilot':45B,291B 'place':187B 'possibl':149B 'potteri':87B,258B,313B 'process':98B 'program':4A,133B,159B,204B 'provid':134B,184B 'recent':303B 'recipi':317B 'remark':165B 'resid':16B,93B,232B,270B 'result':217B 'root':206B 'ruth':180B 'school':50B,276B,284B 'septemb':298B 'sharif':77B 'sinc':233B 'skill':107B,196B 'soto':320B 'space':244B 'staff':12B 'state':174B 'studio':61B,88B,139B,254B,314B 'support':143B 'tandem':193B 'technic':101B,142B 'third':36B 'three':90B,294B 'three-month':293B 'time':242B 'unit':173B 'visionari':177B 'wang':273B 'welcom':5A,34B 'wisconsin':26B 'within':153B,256B 'work':72B,84B,103B,114B,155B,199B,220B,252B,309B 'yale':49B,275B,283B,304B 'yi':82B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1790651958/bkat9kgbc4uaux4a5uds.jpg","editor_pick":true,"category_name":"Announcements"},{"id":14093,"title":"CGN Art World Recap: September 23, 2026","excerpt":"","body":"\u003ch1\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790195423/u89vlyh0okmzhdeznsvb.jpg\"\u003e\u003c/h1\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eJeffreen M.H. Ash, Ph.D.\u0026nbsp;Photo by Shané K Gooding\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://three-walls.org/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eJeffreen M.H. Ash to Depart Threewalls After 11 Years\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eJeffreen M.H. Ash, Ph.D. Photo by Shané K Gooding.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThreewalls Executive Director Jeffreen M.H. Ash will leave the organization September 30 after 11 years. Under her leadership, Threewalls moved beyond a traditional gallery model to focus on artist support rooted in Black feminist practice, including unrestr
1icted grants and wellness resources. Jamie J. Brunson, formerly executive director of Philadelphia’s First Person Arts, will serve as interim director while the board conducts a search for Ash’s successor.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790195424/bmiilkqrulqqkdqfoabg.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eSandra Leonard, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eBowerbird\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, 2025\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.hanapietri.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eHana Pietri Opens The Living Room in West Town\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eHana Pietri marks its 14th year with the opening of The Living Room, a new space at 350 N. Ogden Avenue, second floor. Founded by artist Tiphanie Spencer, the organization will inaugurate the space with Marvin Tate’s exhibition,\u0026nbsp;\u003cem\u003eThe Golden Hour\u003c/em\u003e, opening Friday, October 2, with a public reception from 6–9 p.m. The intimate setting will host exhibitions, multimedia projects and artistic collaborations.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790195425/av6rjtf7a1uoibgmsnuy.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eElizabeth Catlett in her studio, 1942. Courtesy of The Charles White Archives.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://marianeibrahim.com/artists/241-elizabeth-catlett/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eMariane Ibrahim to Represent Elizabeth Catlett\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eMariane Ibrahim is honored to announce the representation of Elizabeth Catlett (American and Mexican, 1915–2012), one of the most influential artists of the twentieth century, whose extraordinary seven-decade practice transformed modern sculpture and printmaking. The gallery will unveil a solo exhibition of Elizabeth Catlett in November 2027 in Chicago to inaugurate the new representation.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1790195425/rtzjo3g1zoa7yrzkhdil.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eJean Metzinger, Woman with a Fan, 1913. Gift of Mr. and Mrs. Sigmund Kunstadter. © 2026 Artists Rights Society (ARS), New York / ADAGP, Paris. Image: Art Institute of Chicago.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://news.wttw.com/2026/09/22/art-institute-return-painting-forcibly-sold-during-world-war-ii-heirs-jewish-collector\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eArt Institute to Return Metzinger Painting to Jewish Collector’s Heirs\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe Art Institute of Chicago will return Jean Metzinger’s\u0026nbsp;\u003cem\u003eWoman with a Fan\u003c/em\u003e\u0026nbsp;(1913) to the heirs of Jewish collector Emanuel Lewenstein, WTTW reports. Research conducted with Mondex Corporation established that the painting was part of Lewenstein’s collection and was forcibly sold in Amsterdam following the German invasion of the Netherlands. The work entered the museum’s collection in 1959.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e","published_at":"2026-09-23 12:50:17.754","state":"published","slug":"cgn-art-world-recap-september-23-2026","type":null,"meta_description":"","text":null,"created_at":"2026-09-23 20:30:26.107","updated_at":"2026-09-23 20:30:26.107","category_id":2,"highlighted":false,"searchable":"'11':24B,48B '14th':120B '1913':262B,309B '1915':213B '1942':186B '1959':356B '2':161B '2012':214B '2025':106B '2026':7A,270B '2027':248B '23':6A '30':46B '350':133B '6':167B '9':168B 'adagp':277B 'american':210B 'amsterdam'
1:340B 'announc':204B 'ar':274B 'archiv':192B 'art':2A,87B,280B,284B,296B 'artist':63B,141B,179B,220B,271B 'ash':10B,19B,28B,40B,100B 'avenu':136B 'beyond':55B 'black':67B 'board':95B 'bowerbird':105B 'brunson':78B 'catlett':182B,198B,209B,245B 'centuri':224B 'cgn':1A 'charl':190B 'chicago':250B,283B,299B 'collabor':180B 'collect':334B,354B 'collector':292B,315B 'conduct':96B,321B 'corpor':324B 'courtesi':187B 'decad':229B 'depart':21B 'director':37B,81B,92B 'elizabeth':181B,197B,208B,244B 'emanuel':316B 'enter':350B 'establish':325B 'execut':36B,80B 'exhibit':154B,175B,242B 'extraordinari':226B 'fan':261B,308B 'feminist':68B 'first':85B 'floor':138B 'focus':61B 'follow':341B 'forcibl':337B 'former':79B 'found':139B 'friday':159B 'galleri':58B,237B 'german':343B 'gift':263B 'golden':156B 'good':16B,34B 'grant':72B 'hana':107B,116B 'heir':294B,312B 'honor':202B 'host':174B 'hour':157B 'ibrahim':194B,200B 'imag':279B 'inaugur':147B,252B 'includ':70B 'influenti':219B 'institut':281B,285B,297B 'interim':91B 'intim':171B 'invas':344B 'j':77B 'jami':76B 'jean':256B,302B 'jeffreen':8B,17B,26B,38B 'jewish':291B,314B 'k':15B,33B 'kunstadt':269B 'leadership':52B 'leav':42B 'leonard':104B 'lewenstein':317B,332B 'live':111B,127B 'm.h':9B,18B,27B,39B 'marian':193B,199B 'mark':118B 'marvin':151B 'metzing':257B,288B,303B 'mexican':212B 'model':59B 'modern':232B 'mondex':323B 'move':54B 'mr':265B 'mrs':267B 'multimedia':176B 'museum':352B 'n':134B 'netherland':347B 'new':130B,254B,275B 'novemb':247B 'octob':160B 'ogden':135B 'one':215B 'open':109B,124B,158B 'organ':44B,145B 'p.m':169B 'paint':289B,328B 'pari':278B 'part':330B 'person':86B 'ph.d':11B,29B 'philadelphia':83B 'photo':12B,30B 'pietri':108B,117B 'practic':69B,230B 'printmak':235B 'project':177B 'public':164B 'recap':4A 'recept':165B 'report':319B 'repres':196B 'represent':206B,255B 'research':320B 'resourc':75B 'return':287B,301B 'right':272B 'room':112B,128B 'root':65B 'sandra':103B 'sculptur':233B 'search':98B 'second':137B 'septemb':5A,45B 'serv':89B 'set':172B 'seven':228B 'seven-decad':227B 'shané':14B,32B 'sigmund':268B 'societi':273B 'sold':338B 'solo':241B 'space':131B,149B 'spencer':143B 'studio':185B 'successor':102B 'support':64B 'tate':152B 'threewal':22B,35B,53B 'tiphani':142B 'town':115B 'tradit':57B 'transform':231B 'twentieth':223B 'unrestrict':71B 'unveil':239B 'well':74B 'west':114B 'white':191B 'whose':225B 'woman':258B,305B 'work':349B 'world':3A 'wttw':318B 'year':25B,49B,121B 'york':276B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1790194715/dbjfannb8npxdtoupt1f.jpg","editor_pick":true,"category_name":"Previews"},{"id":14062,"title":"Trick of the Eye: R. Justin Stewart’s Creative Techniques","excerpt":null,"body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789751632/yg2skdzwayfhuk5ibsr5.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eA series of 24 individual works by R. Justin Stewart hangs near a brightly-hued sofa.\u0026nbsp;Images courtesy of the artist \u0026amp; VSG Contemporary.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy JEFFERSON GODARD\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eR. Justin Stewart creates intersecting compositions made of felt with systematically ordered patterns that trick the eye into thinking that only a machine would be able to produce such works on their own. Yet behind it is the skilled hand of the artist, exacting these dizzying, brightly colored patterns and elaborate networks. Felt forms float within acrylic apertures mimicking ferrofluids, spores, or landscapes where they undulate and overlap one another.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eStewart, a New York-based artist, will present a new series of soft and tactile works at his inaugural Chicago solo exhibition, \u003cem\u003eBetween Layers\u003c/em\u003e, this October at VSG Contemporary. For Stewart, the unconventionality of felt is especially intriguing and pays homage to both his love of material and his ceramics background.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789751633/tbctxj9keaoxnviy1dbn.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eHail
1ing from Wisconsin, this multi-disciplinary artist started out as a ceramicist. And while he may not currently be firing anything, he is still deeply material-driven. The artist explains that he is “drawn to materials that aren’t immediately recognizable and encourage viewers to slow down and question what they’re seeing.” His renderings often leave the viewer to question what they are made of and their own materiality. Much like clay, felt can be easily manipulated and provides a contradictory relationship. Here the artist explains that he likes “working with felt because it’s full of those contradictions. It feels soft and familiar, yet in these pieces it can appear solid, and almost architectural.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe work begins in a digital format and is machined into layers, but this is where the machine and the human have their final connection. From this stage forward, it is the patient hand of the artist who meticulously ensures that each layer finds a connection. As VSG owner Allan Weinberger shares, “Justin’s practice exists at the intersection of digital technology and human labor, yet it remains deeply handmade, even though a first glance might suggest otherwise.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789751633/nibi6c7c4vwbhw8opel0.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eArt and technology are often at odds with one another, and Stewart enjoys playing with this perceived adversarial relationship. In an ode to this opposition, referencing material, technology, and art, Czech philosopher and media theorist Vilém Flusser hearkens back to fellow philosopher Plato in “On the Word Design: An Etymological Essay”* and states that “(t)he Greek techne means ‘art’ and is related to tekton, a ‘carpenter.’” Flusser further delved into early conceptions of how the artist portrays material, “Plato’s basic objection to art and technology was that they betray and distort theoretically intelligible forms (“Ideas”) when they transfer these into the material world.” In a similar fashion, Stewart is giving form to felt, or in the artist’s words, “enjoys creating (this) shift in perception.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWith this shifting perception of spaces as well as a confluence of evolving geometrical systems, we can see the merging of architectural elements and sculpted surfaces. These delicate maneuvers help to solidify the work but also create even more tension.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e#\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eBetween Layers\u003c/em\u003e opens October 17, 2026\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://vsgcontemporary.com\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003eVSG Contemporary\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e673 N. Milwaukee Ave., Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e*Flusser, Vilém, and John Cullars. “On the Word Design: An Etymological Essay.”\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eDesign Issues, vol. 11, no. 3, 1995, pp. 50–53.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e","published_at":"2026-09-22 06:00:00","state":"published","slug":"trick-of-the-eye-r-justin-stewarts-creative-techniques","type":null,"meta_description":"","text":null,"created_at":"2026-09-18 17:13:54.336","updated_at":"2026-09-18 17:13:54.336","category_id":2,"highlighted":false,"searchable":"'11':552B '17':527B '1995':555B '2026':528B '24':14B '3':554B '50':557B '53':558B '673':531B 'abl':63B 'acryl':94B 'adversari':373B 'allan':327B 'almost':276B 'also':518B 'anoth':107B,365B 'anyth':181B 'apertur':95B 'appear':273B 'architectur':277B,504B 'aren':199B 'art':356B,385B,415B,440B 'artist':32B,80B,114B,167B,190B,247B,314B,432B,474B 'ave':534B 'back':394B 'background':159B 'base':113B 'basic':437B 'begin':280B 'behind':72B 'betray':446B 'bright':25B,84B 'brightly-hu':24B 'carpent':422B 'ceram':158B 'ceramicist':172B 'chicago':128B,535B 'clay':234B 'color':85B 'composit':43B 'concept':428B 'confluenc':493B 'connect':302B,323B 'contemporari':34B,137B,530B 'contradict':261B 'contradictori':243B 'courtesi':29B 'creat':41B,478B,519B 'creativ':9A 'cullar':541B 'current':178B 'czech':386B 'deepli':185B,346B 'delic':510B 'delv':425B 'de
1sign':403B,545B,549B 'digit':283B,338B 'disciplinari':166B 'distort':448B 'dizzi':83B 'drawn':195B 'driven':188B 'earli':427B 'easili':238B 'elabor':88B 'element':505B 'encourag':204B 'enjoy':368B,477B 'ensur':317B 'especi':145B 'essay':406B,548B 'etymolog':405B,547B 'even':348B,520B 'evolv':495B 'exact':81B 'exhibit':130B 'exist':333B 'explain':191B,248B 'eye':4A,54B 'familiar':266B 'fashion':464B 'feel':263B 'fellow':396B 'felt':46B,90B,143B,235B,254B,470B 'ferrofluid':97B 'final':301B 'find':321B 'fire':180B 'first':351B 'float':92B 'flusser':392B,423B,537B 'form':91B,451B,468B 'format':284B 'forward':306B 'full':258B 'geometr':496B 'give':467B 'glanc':352B 'godard':37B 'greek':412B 'hail':160B 'hand':77B,311B 'handmad':347B 'hang':21B 'hearken':393B 'help':512B 'homag':149B 'hu':26B 'human':298B,341B 'idea':452B 'il':536B 'imag':28B 'immedi':201B 'inaugur':127B 'individu':15B 'intellig':450B 'intersect':42B,336B 'intrigu':146B 'issu':550B 'jefferson':36B 'john':540B 'justin':6A,19B,39B,330B 'labor':342B 'landscap':100B 'layer':132B,289B,320B,524B 'leav':218B 'like':233B,251B 'love':153B 'machin':60B,287B,295B 'made':44B,226B 'maneuv':511B 'manipul':239B 'materi':155B,187B,197B,231B,382B,434B,459B 'material-driven':186B 'may':176B 'mean':414B 'media':389B 'merg':502B 'meticul':316B 'might':353B 'milwauke':533B 'mimick':96B 'much':232B 'multi':165B 'multi-disciplinari':164B 'n':532B 'near':22B 'network':89B 'new':110B,118B 'object':438B 'octob':134B,526B 'odd':362B 'ode':377B 'often':217B,360B 'one':106B,364B 'open':525B 'opposit':380B 'order':49B 'otherwis':355B 'overlap':105B 'owner':326B 'patient':310B 'pattern':50B,86B 'pay':148B 'perceiv':372B 'percept':482B,486B 'philosoph':387B,397B 'piec':270B 'plato':398B,435B 'play':369B 'portray':433B 'pp':556B 'practic':332B 'present':116B 'produc':65B 'provid':241B 'question':210B,222B 'r':5A,18B,38B 're':2
113B 'recogniz':202B 'referenc':381B 'relat':418B 'relationship':244B,374B 'remain':345B 'render':216B 'sculpt':507B 'see':214B,500B 'seri':12B,119B 'share':329B 'shift':480B,485B 'similar':463B 'skill':76B 'slow':207B 'sofa':27B 'soft':121B,264B 'solid':274B 'solidifi':514B 'solo':129B 'space':488B 'spore':98B 'stage':305B 'start':168B 'state':408B 'stewart':7A,20B,40B,108B,139B,367B,465B 'still':184B 'suggest':354B 'surfac':508B 'system':497B 'systemat':48B 'tactil':123B 'techn':413B 'techniqu':10A 'technolog':339B,358B,383B,442B 'tekton':420B 'tension':522B 'theoret':449B 'theorist':390B 'think':56B 'though':349B 'transfer':455B 'trick':1A,52B 'unconvent':141B 'undul':103B 'viewer':205B,220B 'vilém':391B,538B 'vol':551B 'vsg':33B,136B,325B,529B 'weinberg':328B 'well':490B 'wisconsin':162B 'within':93B 'word':402B,476B,544B 'work':16B,67B,124B,252B,279B,516B 'world':460B 'would':61B 'yet':71B,267B,343B 'york':112B 'york-bas':111B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1789751619/xs3b3bxjstacvoscidih.jpg","editor_pick":true,"category_name":"Previews"},{"id":14060,"title":"Art Matchmaking: Hyde Park Art Center’s Not Just Another Pretty Face Returns This Fall","excerpt":null,"body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744922/bg6tksld7p6rk2cmp3xc.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eCollectors and artists attend the Not Just Another Pretty Face unveiling at the Hyde Park Art Center.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e\u003cspan class=\"ql-cursor\"\u003e\u003c/span\u003e\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy JACQUELINE LEWIS\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThis year, Hyde Park Art Center is hosting the latest installment of \u003ca href=\"https://www.hydeparkart.org/njapf-2026/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eNot Just Another Pretty Face\u003c/a\u003e (NJAPF). This special experience and exhibition began in the mid-1990s and occurs only every three years.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eNot Just Another Pretty Face uses a matchmaking program to connect local patrons with artists. During this experience, patrons and artists choose each other, and the artist creates artwork specifically for that patron. Works range from traditional to experimental, depending on the artist chosen and the desires of the patron. At the end of the experience, the pieces are unveiled in an exhibition later this year before being purchased and taken home by the patron.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThis matchmaking process differs from traditional art purchasing. Instead of collectors looking for works that already exist, purchasing them, and moving on, they become part of the artistic process and the work’s origin. Once matched, patrons meet with artists to discuss what they like and what they hope for from the final work, and the artist melds those desires with their own style.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe process cultivates a sense of generosity between artist and patron as they mutually share themselves and allow each other into their individual worlds. It facilitates lasting relationships that do not often develop naturally in gallery spaces and plays an important role in establishing broader financial support for the artistic community.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eDirector of Development Eric Thompson has been with Hyde Park Art Center since 2023, making this his second iteration of NJAPF. As this year’s program nears completion, Thompson offered insight into how the experience comes together.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744923/iltm7ht7zujlikhhpjid.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eA commission being unveiled at Hyde Park Art Center\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJackie Lewis: What is the process for artists and patrons to sign up for this experience?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEric Thompson:\u003c/strong\u003e For the artists, our team begins reaching out to invite them to participate about 18 months before the unveiling. For this iteration, conversations began in late spring 2025. They provide information on their artistic process, image examples of their work, and their commission rate. Our team then publicizes this information on our website and presents the artists at various s
1alons throughout the city.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSeveral supporters of the Art Center host NJAPF salons and invite their own guests. Potential patrons learn about the artists and the project at large and express interest with our team. From there, we work to get the commission started!\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: Once artists and patrons are chosen, what does the matchmaking process look like? Is there any process beyond the salons?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEric Thompson: \u003c/strong\u003eMuch of the process happens after the salons. Patrons and the Hyde Park Art Center staff discuss artists who have piqued their interest. The HPAC staff sets up studio visits with the artists, giving the patron and artist a chance to meet, learn about each other, and discuss a possible commission. Sometimes artists may meet with multiple patrons through the project, and patrons will visit multiple studios before making a decision. Once a patron and artist agree to work together, the artist begins the work.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: What is your role in the process? How does HPAC support both the artists and the patrons?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEric Thompson:\u003c/strong\u003e NJAPF is a win-win-win situation for all parties. The patron has the opportunity to meet amazing Chicago artists, receives a unique commissioned work, and has that piece included in a public exhibition at the Art Center. The artist receives payment for the work, has the opportunity to expand their network of collectors, and often pushes their own practice through this process. The Art Center also benefits, as half of the commission serves as a tax-deductible donation that supports our mission to sustain Chicago art and artists.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: What aspect of NJAPF do you think has the greatest impact on the Chicago art community?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEric Thompson: \u003c/strong\u003eThe project itself embodies the mission of the Art Center: it is designed for artists in Chicago to flourish. I think the greatest impact from the program’s ten iterations is the access it has created between artists and patrons. Relationships have been built. It is all about connection—a personal connection to the art and the connection between the artist and the patron. As a staff member, it is a wonderful thing to observe.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744924/hrzsontqcaqfvocwlay0.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);
1\"\u003eSarah Nishiura, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eInching\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744925/h0b8mudpvkr54bss2yvp.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eD. Lammie-Hanson, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eAgility to Surrender,\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e 14k gold on Acrylic\u0026nbsp;(wood panel)\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eA Word From the Artists\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eFor a deeper understanding of the experience, artists D. Lammie-Hanson and Sarah Nishiura shared their own perspectives. Both have completed commissions for NJAPF in the past and are currently creating work for this year’s iteration.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: How did you first learn about NJAPF, and how did you become involved?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSarah 
1Nishiura:\u003c/strong\u003e I have been teaching and exhibiting with the Hyde Park Art Center for over 15 years now, and I think it was through this affiliation that I was first invited to participate in NJAPF. I was lucky enough to receive two commissions the first year that I participated, and I think this success led to repeat invitations through the years.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eD. Lammie-Hanson:\u003c/strong\u003e I learned about NJAPF through an email invitation from Hyde Park Art Center. After I responded that I was interested, they placed me in their rotation to be presented to their patrons.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: How has working with NJAPF affected your artistic career? Did it fit within your practice?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSarah Nishiura: \u003c/strong\u003eMy favorite thing about NJAPF is the opportunity to step outside my usual practice to try something different. Many of the commissions I have done in the past have involved working with materials given to me by the patron. This presents technical challenges that I wouldn’t normally take on, but I learn so much from stepping outside my comfort zone every few years. I have had continued relationships with patrons, and I have appreciated seeing the commissioned pieces in their homes. There is nothing better than seeing your work be part of someone’s life.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eD. Lammie-Hanson: \u003c/strong\u003eThe patron trusted me to interpret their direction through my own lens. They gave me the subject and overall intent, and I stayed grounded by making creative choices around composition and focus that matched their goals while keeping my personal approach. Because metalpoint/silverpoint isn’t a widely known medium, working with NJAPF and Hyde Park Art Center helped me present my process to a wider audience. It also strengthened my broader portfolio by giving my work a strong platform and context.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: What was your experience working with a patron? How did it differ from your usual process?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSarah 
1Nishiura: \u003c/strong\u003eThe two patrons came by my studio, and we immediately found we had a lot in common and a lot to talk about. We shared some of our favorite artists, our experiences with travel, our love of craft and nature, and from these conversations they came up with great ideas for jumping-off points for the commission. At the same time, they let me know they really wanted me to have the freedom to go in any direction I wanted with the final piece. This experience only differed from my usual process because it began with conversations with other people rather than the conversation that usually happens in my own head!\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eD. Lammie-Hanson: \u003c/strong\u003eThe patron visited my studio while I was an artist in residence at Little Black Pearl, and we discussed his vision. He chose my silverpoint-on-black/metalpoint technique, and we developed the direction together. This differed from my usual process because I don’t usually enjoy doing commissions, but I enjoyed working with Hyde Park Art Center through this program. After we aligned on the creative direction for the artwork, the patron gave me the freedom to carry out the piece according to my own vision.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: Since you have participated in NJAPF before, what made you decide to do it again?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSarah 
1Nishiura:\u003c/strong\u003e I love HPAC, and I feel like this is a great program that allows me to support their mission while also giving me a wonderful opportunity to work with collectors I might never meet otherwise. It is a win-win!\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eD. Lammie-Hanson: \u003c/strong\u003eI enjoyed the opportunity to work with Hyde Park Art Center again. I submitted my interests without knowing which new collectors would be interested, but I was willing to take the chance, and I’m glad I did.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789744926/umy0i4utfyykeobpumou.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eUnveiling party attendees at Hyde Park Art Center\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eFrom the Collectors\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eTo understand more about another side of the program, Ginny Van Alyea, CGN’s publisher and a past participant of NJAPF, shared her perspective as a patron who commissioned a work by artist Mel Watkin several years ago.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: Before NJAPF, did you consider yourself an art collector? Had you ever commissioned a work before?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eGV: \u003c/strong\u003eNJAPF appealed to my husband and me because we had bought art separately and together, but we hadn’t commissioned anything. My parents gave us the commission as a wedding gift, so it was especially meaningful.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: Before meeting with the artist, did you have a specific idea for the artwork you wanted?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eGV:\u003c/strong\u003e We looked through a lot of artwork before deciding whose work would be the best fit. There were so many choices, but we liked Mel Watkin’s particular focus. It felt like a good fit for creating something that spoke to both of us and our families when we got married.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: What was your experience working with the artist like? Did it feel collaborative?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eGV\u003c/strong\u003e: Working with Mel on a piece that was just for us was so cool. We sent images, ideas, and references back and forth. We met for coffee. We gave a little feedback but also listened to what she suggested. It was definitely a collaborative experience, but ultimately it was still the artist who made the art.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: Have you continued your relationship with your paired artist?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eGV\u003c/strong\u003e: Yes! A few years later, for a milestone birthday, I commissioned Mel again to make two more works: one about our daughter and one about our son. Now all three works hang together at home.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJL: Is there anything else you’d like to add about the experience?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eGV: \u003c/strong\u003eI know many collectors who have participated in the program more than once, and I can see us doing it again someday. It’s a wonderful chance to work with a local artist while also setting the parameters—like price and size—up front, which is another unique benefit of the program. It’s also terrific to support HPAC and local artists at the same time. While there are some big artist names in the program, NJAPF is also a wonderful way to discover emerging artists.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThis year’s unveiling reception will take place on December 11, 2026, from 6:00–8:00 p.m. at Hyde Park Art Center. Following the reception, the artwork will remain on display and will be accompanied by a catalogue documenting the entire process for patrons, artists, and visitors alike.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe success of NJAPF has extended beyond Chicago, with similar exhibitions adapted in Boise, Indianapolis, Philadelphia, and Salt Lake City. To date, the program has generated more than $2 million in sales. Half of the proceeds go directly to participating artists, while the other half supports Hyde Park Art Center’s programs and mission. With more than 400 works commissioned by over 300 new and established collectors, NJAPF has cultivated an ecosystem of patronage that enables artists to thrive.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy embracing and encouraging the idea of patronage in contemporary art, NJAPF has built a community of people who value not only finished works of art, but also the creative process behind them. If you missed your opportunity to participate this year, consider becoming a patron for the next iteration.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMore details at \u003ca href=\"https://www.hydeparkart.org/njapf-2026/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003ehydeparkart.org/njapf-2026/\u003c/a\u003e\u003c/p\u003e","published_at":"2026-09-18 08:02:07.343","state":"published","slug":"art-matchmaking-hyde-park-art-ce
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'zone':990B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1789744885/j4sxav3a4dlaktw2rls8.jpg","editor_pick":true,"category_name":"Features"},{"id":14061,"title":"From West Loop to West Town: The Development of an Arts District","excerpt":"","body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789745564/alcfyxluqhvrxxmtqedb.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eA view looking across Chicago Ave. in West Town to the 1709\u0026nbsp;building. Photo by CGN.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy ELISA SHOENBERGER\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWhen you think of West Town, you may think of an abundance of art galleries and restaurants. But that reputation as a center of the city’s contemporary art scene is a relatively recent one. With a decade in the rearview mirror, what now seems well-established is a change that did not happen overnight.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003ePreviously, and for many years following a gallery migration from the traditional nexus of River North, the West Loop w
1as a Chicago art scene hot spot, particularly near Randolph Street and its restaurants. In 2016 galleries began leaving the West Loop to find new, more affordable spaces, which they found in West Town. Today there’s arguably a larger concentration of galleries in the area than there was in the West Loop, and the shape of a definitive arts district has formed in a part of the city that offers sustainable options for galleries to exist. Five gallerists share their thoughts with CGN about what it took to get here and what West Town is today.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003cstrong\u003eNeeding a New Home\u003c/strong\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWest Loop initially offered gallerists great opportunities to grow their galleries and reputations, but in time, the neighborhood’s popularity made it harder for businesses to be sustainable. Monique Meloche, owner of moniquemeloche (451 N. Paulina), opened her gallery to the public in 2001 in the West Loop because “That’s where everyone needed to be.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eClaire Warner, co-owner and co-director of Volume Gallery (1700 W. Hubbard), explains that the West Loop presented a lot of advantages; there was an abundance of vacant and raw spaces that worked for holding art shows. Additionally, landlords seemed to really like what the galleries were doing to bring clientele to the area. Attracting people to the new destination was also a great benefit for the burgeoning restaurants nearby.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eHowever, that adjacent success had another cost, Warner explained, “the restaurants really started bringing in a lot of traffic to the area, and we noticed during exhibitions that our clients weren’t able to park or come up to the gallery to see the show, which was really disappointing.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOn top of that, landlords’ priorities began to change. Scott Speh, founder and director of Western Exhibitions (1709 W. Chicago), says that landlords initially let galleries share floors between different galleries, which included Volume Gallery and DOCUMENT.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAs the neighborhood gained popularity, the landlords decided they wanted to rent entire floors, not parts of floors. That meant that the galleries had to find a new location.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMeloche noted that the neighborhood’s success, largely driven by galleries in the first place, eventually priced many of the same galleries out. Her gallery moved earlier than others, in 2008, to Wicker Park/Bucktown, before eventually moving to its current location at Paulina and Hubbard.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789745565/cannk40giqjqozkpez11.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eThe entrance to moniquemeloche on N. Paulina St.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003cstrong\u003eThe Right Feel\u003c/strong\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAs the West Loop became less sustainable, gallerists needed to find more suitable locations. Warner wanted to find an area that was unlikely to develop as quickly as Randolph Street. She looked for something that felt equally commercial and residential. She recalls, “We wanted mostly the scale to feel like it was walkable, where people would want to spend time, and so we went out and looked all over the city.” Ukrainian Village and West Town fit the bill for the neighborhood feel she was seeking.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eIt was also a group effort to find a location that worked for all three galleries, DOCUMENT, Volume, and Western Exhibitions, which had previously been at 845 W. Washington. Speh explains, “We all liked each other. We didn’t feel our programs overlapped at the time, and we all worked well together. So we decided we were going to look for a new address that would house all of us.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eIn late 2016/early 2017, they found a building that was suitable at 1709 W. Chicago Ave. Owned by their former West Loop landlord, Warner says, “They were more than happy for us to bring the same energy into West Town that we had into [845 W. Washington]. It felt like we could all be a community together but maintain individual spaces.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOther gallerists also saw the benefits of the neighborhood. Sara Dulkin, owner and gallery director of Chicago Truborn (1741 W. Chicago), was already living in West Town when she first incorporated her LLC to create her gallery in 2011. She began curating shows at street festivals and held independent pop-up shows before moving into a physical storefront at 1418 W. Division in 2013.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789745566/xqqjizvglyeakufan74a.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eThe street view of Chicago Truborn on Chicago Ave.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eDulkin foun
1d her current gallery space on Chicago Ave. simply by walking the neighborhood and keeping an eye out. She eventually passed a vacant, dark storefront that intrigued her. When she learned it had a dirt floor and two fluorescent lights, she still saw that it fulfilled her needs. With a manageable size of around 1,000 square feet and large, street-level windows that could display murals while staying protected from the elements, as well as vandalism, it also reminded her of her family’s shoe business. “It was just the perfect size and felt like a good neighborhood,” Dulkin says.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eDulkin notes that the area likely attracted art galleries and art enthusiasts in part because of its number of public murals. Today for many of Chicago Truborn’s exhibitions, Dulkin continues to work with local businesses and other entities to get permission to paint murals nearby, an ongoing effort that she says has resulted in crowds coming to the area just to see and photograph them.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAs galleries began to move in in greater numbers, that collective momentum encouraged other galleries to follow suit. Meloche recalls that a year after she moved to West Town, fellow gallerist and friend Mariane Ibrahim asked about moving her gallery into the space next door. Meloche remembers thinking “That makes perfect sense. We have such overlap in our programming and in our clientele.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMeloche says that a big advantage of having everyone in the West Loop in the 2000s was that it was easy for clients and other visitors to go to multiple galleries at once. That would prove just as true in West Town.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eIn the spring of 2017, Richard Gray Gallery, which had long been based in the Gold Coast, opened a warehouse location in the Kinzie Corridor at 2044 W. Carroll, which provided more exhibition space, explains Valerie Carberry, President and Chief Executive Officer, at GRAY. In 2024, they moved all Chicago operations to West Town.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eA year later another Chicago mainstay with a national reputation, Rhona Hoffman, moved from her West Loop North Peoria space to 1711 W. Chicago. Hoffman’s ground floor presence on the street cemented the significance of what was developing for galleries, both new and established, in West Town.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003cstrong\u003eWest Town Today\u003c/strong\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWhen asked about West Town today, the gallerists I spoke with all agreed that it remains a vibrant place for galleries to do business. Speh notes that it’s easily walkable, dense but not too dense, and filled with a diversity of businesses. “It’s been a great location,” Speh says, “Unlike the West Loop, there’s not a new high-rise going up every three weeks. It still feels manageable.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWarner concurred that she felt West Town “could accommodate galleries without overwhelming the neighborhood or having to adapt amidst the kind of overnight development that took place in the West Loop.” She hoped the new neighborhood would have a slower pace of change.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSince Volume Gallery’s relocation to West Town in 2017, Warner says she feels like the area has largely stayed the same in a good way. “I think we’re finding ways to kind of work with the larger community here and not overwhelm it, while also building up a sense of community in the galleries and working towards a critical mass here as well.” Warner credits a supportive alderman, Alderman Walter R. Burnett Jr., and an active [West Town] Chamber of Commerce. Since GRAY consolidated in West Town, Carberry notes there have been recent upgrades in the neighborhood, including the renovated Green Line Lake Street station, as well as investment and improvements for 2024’s Democratic National Convention, which took place nearby at the United Center. She says, “Overall, the neighborhood is much livelier and more pedestrian and bike-friendly.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe evolution that Volume was part of a decade ago continued when Warner and gallery partner Sam Vinz moved out of 1709 W. Chicago to an expansive space at the corner of N. Paulina and W. Hubbard. David Salkin made the same address change as well. Now Volume is close to Meloche and Ibrahim, as well as Secrist | Beach. Elise Seigenthaler, who worked for Rhona Hoffman before she closed in 2025, opened in January 2026 where Volume used to be, with Ox-Bow Sc
1hool of Art opening an office in the space as well.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789745566/dcjju4mfbloi36lvegj7.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eA view of Volume Gallery’s new space at W. Hubbard and N. Paulina Streets.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFor Dulkin, who has been in West Town the longest, the changes have been a pleasant surprise. She was drawn to the area in part because it was a commercial corridor, but she thought it would develop more of a retail stretch featuring vintage clothing shops. Alcala’s Western Wear, which opened in 1972, remains an anchor on the street. Dulkin says she would never have expected so many galleries to open in the area. Farther west on the south side of Chicago Ave. is Andrew Rafacz Gallery, while across to the north and to the east are PATRON, as well as the more recently opened Tala. ARC Gallery, which opened in 1973, relocated from Bucktown to Chicago Ave. east of Ashland in 2018. Carrie Secrist closed her West Loop space around the pandemic and reopened as Secrist | Beach at 1801 W. Hubbard, where Jaime DeGroot also has her art consultancy. Secrist’s former West Loop neighbor at 835 W. Washington, McCormick Gallery, is now at 2251 W. Grand, a little west of the Golden Triangle, which moved there from River North.\u0026nbsp;There are many other galleries throughout the area, with more choosing to open in West Town every year. \u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWith the concentration of galleries continuing to grow, Meloche notes that they often try to hold simultaneous openings; this fall there are plans for many galleries to open the same weekend in September in conjunction with Chicago Exhibition Week. Dulkin notes that the West Town Chamber of Commerce has hosted Art Walks and First Fridays for many years, notably with a key event in the fall, where participating galleries all host openings or stay open later on the same night.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOf course, there’s always room for improvement. Several gallerists have expressed a desire for more day-to-day food options, especially around Grand Avenue, though they may be wary of the consequences that can spill over from culinary success, like the ones that contributed to the move that drove galleries from the West Loop.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSpeh also would like to see more third-type spaces, where people could hang out after going to a gallery. West Town’s reputation has been spreading beyond the borders of Chicago. Meloche notes, “We definitely have seen a lot more out-of-town visitors make a concerted effort to come to our openings.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWarner also sees a lot of people from New York City, Los Angeles and around the world come and visit the galleries in West Town, always commenting how incredible the art scene and the community is in Chicago. But it’s something that Chicagoans may take for granted. “Sometimes I feel like we get more out-of-towners than Chicagoans coming through,” she says.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFor locals West Town doesn’t have to be a destination, but it is worth remembering how much art has become a part of the neighborhood and appreciating how close to home it really is.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e#\u003c/p\u003e","published_at":"2026-09-18 06:00:00","state":"published","slug":"from-west-loop-to-west-town-the-development-of-an-arts-district","type":null,"meta_description":"","text":null,"created_at":"2026-09-18 15:32:47.44","updated_at":"2026-09-18 15:32:47.44","category_id":4,"highlighted":false,"searchable":"'000':855B '1':854B '1418':785B '1700':276B '1709':24B,403B,676B,1456B '1711':1148B '1741':743B '1801':1685B '1972':1598B '1973':1657B '2000s':1046B '2001':251B '2008':482B '2011':763B '2013':789B '2016':122B '2016/early':666B '2017':667B,1077B,1302B '2018':1668B '2024':1118B,1407B '2025':1505B '202
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1B,1100B,1149B,1457B,1470B,1539B,1686B,1704B,1712B 'walk':810B,1796B 'walkabl':560B,1208B 'walter':1364B 'want':432B,523B,551B,564B 'warehous':1092B 'wari':1855B 'warner':265B,344B,522B,687B,1250B,1303B,1358B,1447B,1937B 'washington':622B,710B,1705B 'way':1318B,1324B 'wear':1594B 'week':1245B,1783B 'weekend':1775B 'well':78B,644B,875B,1357B,1401B,1480B,1490B,1529B,1645B 'well-establish':77B 'went':571B 'weren':367B 'west':2A,5A,20B,36B,105B,127B,139B,158B,200B,208B,254B,282B,510B,582B,684B,702B,750B,995B,1042B,1071B,1125B,1142B,1173B,1175B,1181B,1231B,1255B,1279B,1299B,1371B,1380B,1551B,1621B,1673B,1699B,1716B,1741B,1788B,1879B,1902B,1960B,2004B 'western':401B,613B,1593B 'wicker':484B 'window':863B 'without':1260B 'work':299B,605B,643B,934B,1328B,1350B,1497B 'world':1953B 'worth':2016B 'would':563B,659B,1065B,1286B,1580B,1608B,1883B 'year':92B,990B,1128B,1744B,1802B 'york':1946B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1789745368/zqyubrrsccwmwwyzpvhc.jpg","editor_pick":true,"category_name":"Features"},{"id":14027,"title":"New Exhibitions and Events: September 18–19","excerpt":"","body":"\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThis is a very busy week in the art world during a very busy month in everyone's world.\u003c/p\u003e\u003cp\u003eHere is Part II of our summary of some of what's happening this week. We will be updating CGN's calendar daily, so check back for updates!\u003c/p\u003e\u003cp\u003eHappy September and happy Chicago Exhibition Week!\u003c/p\u003e\u003cp\u003e– CGN\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/concerts-of-dance-xenia-mansour\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677963/wqjvqsnjzgd0v6fq0nmi.jpg\" alt=\"Concerts of Dance: Xenia Mansour\" height=\"600\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/concerts-of-dance-xenia-mansour\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eConcerts of Dance: Xenia Mansour\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 16 – Sep 19\u003c/p\u003e\u003cp\u003eOpen rehearsal: Friday, Sep 18, 11:00 AM – 3:00 PM\u003c/p\u003e\u003cp\u003eOpen dress rehearsal and artist talkback: Friday, Sep 18, 3:15 PM – 4:30 PM\u003c/p\u003e\u003cp\u003ePerformance: Saturday, Sep 19, 1:00 PM – 2:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/the-driehaus-museum\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003eThe Driehaus Museum\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eThe Driehaus Museum’s dance program continues with an open rehearsal and a dress rehearsal followed by an artist conversation moderated by Brendan Fernandes. On Saturday, Xenia Mansour and Faith Balderrama present\u0026nbsp;\u003cem\u003ewas, still is\u003c/em\u003e, adapted for Murphy Auditorium, where audiences can move through the space and experience the performance from different viewpoints.\u003c/p\u003e\u003cp\u003eAlso on Saturday: an after-hours house dance party with Brendan Fernandes begins at 8:00 PM. See the\u0026nbsp;\u003ca href=\"https://www.chicagogallerynews.com/events/brendan-fernandes-in-the-roundsept\" rel=\"noopener noreferrer\" target=\"_blank\"\u003efull In the Round listing\u003c/a\u003e\u0026nbsp;for ticket updates.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/inaugural-makers-shakers-bash\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677964/qyhsj3xongjgbxwppfm0.jpg\" alt=\"Inaugural Makers \u0026amp; Shakers Bash\" height=\"300\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/inaugural-makers-shakers-bash\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eInaugural Makers \u0026amp; Shakers Bash\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFriday, Sep 18, 6:00 PM – 9:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/woman-made-gallery\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eWoman Made Gallery\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eEvent location: Morningstar’s Headquarters, 22 W. Washington St., 7th Floor, Chicago\u003c/p\u003e\u003cp\u003eWoman Made Gallery launches an annual celebration of artists and activists with honorees Scheherazade Tillet and Jane Ruby. Hosted at Morningstar’s headquarters, the evening features a conversation with the honorees, an art auction, live blues, a DJ set, creative activities, cocktails, and bites. Tickets are available through Woman Made Gallery.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/una-vuelta-a-mis-races-a-return-to-my-roots-robert-lipton\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677965/vd9k9sksz96evqhpq308.jpg\" alt=\"Una Vuelta a Mis Raíces (A Return to My Roots): Robert Lipton\" height=\"468\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003cbr\u003e\u003c/h3\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/una-vuelta-a-mis-races-a-return-to-my-roots-robert-lipton\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eUna Vuelta a Mis Raíces (A Return to My Roots): Robert Lipton\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 18 – Nov 6\u003c/p\u003e\u003cp\u003eOpening: Friday, Sep 18, 7:00 PM – 10:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/bridgeport-art-center\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eBridgeport Art Center\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eRobert Lipton presents textured mixed-media paintings in Bridgeport Art Center’s third-floor gallery. Layered pigments and organic processes build shifting surfaces of color and form, inviting close looking. The monochromatic works draw on the material experimentation of abstract expressionism and artists including Antoni Tàpies, Anselm Kiefer, and Bosco Sodi.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677965/rxpju7aycqerijplgpj9.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/own-who-you-are\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eJesse Bond's Own Who You Are\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSaturday, Sep 19, 6:00 PM – 9:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/sawhorse\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003eSAWHORSE\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(29, 29, 29);\"\u003eJoin us for a closing reception on Saturday, September 19 from 6-9pm. Maybe we will serve tea and paint our nails and smoke hookah.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/eric-bladholm-voices-from-the-gray-zone\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677966/joc1jxuhh6atmsz9dqev.jpg\" alt=\"Eric Bladholm: Voices From the Gray Zone\" height=\"400\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/eric-bladholm-voices-from-the-gray-zone\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eEric Bladholm: Voices From the Gray Zone\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 19 – Jan 9, 2027\u003c/p\u003e\u003cp\u003eOpening: Saturday, Sep 19, 
112:00 PM – 4:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/ukrainian-institute-of-modern-art-uima\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eUkrainian Institute of Modern Art (UIMA)\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003ePhotographs and video made during nine humanitarian aid trips to Ukraine from 2022 to 2026 trace the experiences of civilians living through Russia’s war. Chicago artist Eric Bladholm’s documentary exhibition records daily life, resilience, and worsening conditions in communities affected by occupation and conflict.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/john-corbett-hamza-walker-in-conversation\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677967/vqeutal7isqh5vl4ym27.jpg\" alt=\"John Corbett \u0026amp; Hamza Walker in Conversation\" height=\"426\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/john-corbett-hamza-walker-in-conversation\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eJohn Corbett \u0026amp; Hamza Walker in Conversation\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSaturday, Sep 19, 4:00 PM – 5:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/corbett-vs-dempsey\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eCorbett vs. Dempsey\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eJohn Corbett and Hamza Walker discuss Jon Waine at Corbett vs. Dempsey.\u003c/p\u003e\u003cp\u003eThe conversation is joined by original band members Franc Palaia on drums and Ellen La Forge on bass, performing selections from the group’s repertoire.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677967/kuredgjzr5bbhhudcoiw.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/sarah-sipling-solo-exhibition\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eSarah Sipling | Solo Exhibition\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 19 - Oct 25\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/evanston-art-center\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003eEvanston Art Center\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(29, 29, 29);\"\u003eSarah Sipling is a mixed media artist and printmaker. Sipling received her MFA in Printmaking from Rhode Island School of Design and BFA in Printmaking from Purchase College, State University of New York. She lives and works in New York and Kansas City.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677968/edaqrglfk8mcmvkf5ddu.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/laleh-motlagh-artist-talk-26\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eArtist Talk: Laleh Motlagh\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSaturday, Sep 19, 
112:15 PM – 1:30 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/sona-chicago-contemporary-art\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003eSoNa Chicago Contemporary Art\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(29, 29, 29);\"\u003eIn\u0026nbsp;\u003c/span\u003e\u003cem style=\"color: rgb(29, 29, 29);\"\u003eRooted. Uprooted\u003c/em\u003e\u003cspan style=\"color: rgb(29, 29, 29);\"\u003e, Iranian-Azerbaijani American artist Laleh Motlagh presents new bodies of work exploring multicultural identity, resilience, and personal geography. Moving between the memories of her hometown of Tabriz, Iran, and her current life in Chicago, Motlagh navigates the complex realities of geopolitical displacement and belonging.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677969/my5tv3euwbbrlnjh6aaz.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/stone-age-a-lithography-showcase\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eStone Age: A Lithography Showcase\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 19 - Nov 14\u003c/p\u003e\u003cp\u003eOpening: Saturday, Sep 19, 5:00 PM – 8:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/chicago-printmakers-collaborative\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003eChicago Printmakers Collaborative\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem style=\"color: rgb(29, 29, 29);\"\u003eStone Age\u003c/em\u003e\u003cspan style=\"color: rgb(29, 29, 29);\"\u003e\u0026nbsp;at the Chicago Printmakers Collaborative will feature handmade fine art lithograph prints created by both renowned lithographers along with some of our most recent litho students at the studio. Each of these artists grain, draw, and print from a stone to create their work.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789677970/jd5lk9harzgfwpk8bydw.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/temporary-solutions-to-lifelong-problems\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eTemporary Solutions to Lifelong Problems\u003c/a\u003e\u003c/h3\u003e\u003cp\u003eSep 19 - Nov 14\u003c/p\u003e\u003cp\u003eOpening: Saturday, Sep 19, 5:30 PM – 8:00 PM\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e#\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eView full CGN calendar \u003c/em\u003e\u003c/strong\u003e\u003ca href=\"https://www.chicagogallerynews.com/events?filter=upcoming\u0026amp;page=1\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003ehere\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u003cem\u003e.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"mailto:[email protected]?subject=Listing%20with%20CGN\u0026amp;body=I'd%20like%20to%20know%20how%20to%20list%20my%20space%20and%20events%20with%20CGN.%20\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003eAsk us\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u003cem\u003e about being part of CGN.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e","published_at":"2026-09-15 21:36:15.35","state":"published","slug":"new-exhibitions-and-events-september-1819","type":null,"meta_description":"","text":null,"created_at":"2026-09-17 20:46:10.839","updated_at":"2026-09-17 20:46:10.839","category_id":2,"highlighted":false,"searchable":"'-9':382B '00':78B,81B,103B,106B,180B,200B,203B,292B,295B,364B,367B,413B,416B,480B,483B,658B,661B,729B '1':102B,589B '10':294B '11':77B '12':412B,586B '14':652B,720B '15':93B,587B '16':69B '18':6A,76B,91B,198B,284B,290B '19':7A,71B,101B,362B,379B,404B,411B,478B,530B,585B,650B,656B,718B,724B '2':105B '2022':436B '202
16':438B '2027':407B '22':213B '25':532B '3':80B,92B '30':96B,590B,726B '4':95B,415B,479B '5':482B,657B,725B '6':199B,286B,363B,381B '7':291B '7th':217B '8':179B,660B,728B '9':202B,366B,406B 'abstract':341B 'activ':260B 'activist':230B 'adapt':146B 'affect':465B 'after-hour':168B 'age':645B,667B 'aid':431B 'along':685B 'also':164B 'american':602B 'annual':225B 'anselm':348B 'antoni':346B 'art':16B,252B,298B,310B,422B,534B,595B,677B 'artist':87B,129B,228B,344B,450B,542B,579B,603B,700B 'ask':736B 'auction':253B 'audienc':151B 'auditorium':149B 'avail':266B 'azerbaijani':601B 'back':52B 'balderrama':141B 'band':506B 'bash':195B 'bass':517B 'begin':177B 'belong':643B 'bfa':558B 'bite':263B 'bladholm':397B,452B 'blue':255B 'bodi':608B 'bond':354B 'bosco':351B 'brendan':133B,175B 'bridgeport':297B,309B 'build':322B 'busi':12B,21B 'calendar':48B,734B 'celebr':226B 'center':299B,311B,535B 'cgn':46B,62B,733B,742B 'check':51B 'chicago':59B,219B,449B,593B,633B,663B,670B 'citi':578B 'civilian':443B 'close':330B,374B 'cocktail':261B 'collabor':665B,672B 'colleg':563B 'color':326B 'communiti':464B 'complex':637B 'concert':63B 'condit':462B 'conflict':469B 'contemporari':594B 'continu':117B 'convers':130B,247B,475B,501B 'corbett':471B,485B,489B,497B 'creat':680B,709B 'creativ':259B 'current':630B 'daili':49B,457B 'danc':65B,115B,172B 'dempsey':487B,499B 'design':556B 'differ':162B 'discuss':493B 'displac':641B 'dj':257B 'documentari':454B 'draw':335B,702B 'dress':84B,124B 'driehaus':109B,112B 'drum':511B 'ellen':513B 'eric':396B,451B 'evanston':533B 'even':244B 'event':4A,208B 'everyon':24B 'exhibit':2A,60B,455B,528B 'experi':158B,441B 'experiment':339B 'explor':611B 'expression':342B 'faith':140B 'featur':245B,674B 'fernand':134B,176B 'fine':676B 'floor':218B,315B 'follow':126B 'forg':515B 'form':328B 'franc':508B 'friday':74B,89B,196B,288B 'full':184B,732B 'galleri':207B,222B,270B,316B 'geographi':617B 'geopolit':640B 'grain':701B 'gray':401B 'group':522B 'hamza':472B,491B 'handmad':675B 'happen':39B 'happi':55B,58B 'headquart':212B,242B 'hometown':624B 'honore':232B,250B 'hookah':395B 'host':238B 'hour':170B 'hous':171B 'humanitarian':430B 'ident':613B 'ii':30B 'inaugur':192B 'includ':345B 'institut':419B 'invit':329B 'iran':627B 'iranian':600B 'iranian-azerbaijani':599B 'island':553B 'jan':405B 'jane':236B 'jess':353B 'john':470B,488B 'join':370B,503B 'jon':494B 'kansa':577B 'kiefer':349B 'la':514B 'laleh':581B,604B 'launch':223B 'layer':317B 'life':458B,631B 'lifelong':715B 'lipton':282B,301B 'list':188B 'litho':692B 'lithograph':678B,684B 'lithographi':647B 'live':254B,444B,570B 'locat':209B 'look':331B 'made':206B,221B,269B,427B 'maker':193B 'mansour':67B,138B 'materi':338B 'mayb':384B 'media':306B,541B 'member':507B 'memori':621B 'mfa':548B 'mis':274B 'mix':305B,540B 'mixed-media':304B 'moder':131B 'modern':421B 'monochromat':333B 'month':22B 'morningstar':210B,240B 'motlagh':582B,605B,634B 'move':153B,618B 'multicultur':612B 'murphi':148B 'museum':110B,113B 'nail':392B 'navig':635B 'new':1A,567B,574B,607B 'nine':429B 'nov':285B,651B,719B 'occup':467B 'oct':531B 'open':72B,83B,120B,287B,408B,653B,721B 'organ':320B 'origin':505B 'paint':307B,390B 'palaia':509B 'part':29B,740B 'parti':173B 'perform':98B,160B,518B 'person':616B 'photograph':424B 'pigment':318B 'pm':82B,94B,97B,104B,107B,181B,201B,204B,293B,296B,365B,368B,383B,414B,417B,481B,484B,588B,591B,659B,662B,727B,730B 'present':142B,302B,606B 'print':679B,704B 'printmak':544B,550B,560B,664B,671B 'problem':716B 'process':321B 'program':116B 'purchas':562B 'raíc':275B 'realiti':638B 'receiv':546B 'recent':691B 'recept':375B 'record':456B 'rehears':73B,85B,121B,125B 'renown':683B 'repertoir':524B 'resili':459B,614B 'return':277B 'rhode':552B 'robert':281B,300B 'root':280B,597B 'round':187B 'rubi':237B 'russia':446B 'sarah':525B,536B 'saturday':99B,136B,166B,360B,377B,409B,476B,583B,654B,722B 'sawhors':369B 'scheherazad':233B 'school':554B 'see':182B 'select':519B 'sep':68B,70B,75B,90B,100B,197B,283B,289B,361B,403B,410B,477B,529B,584B,649B,655B,717B,723B 'septemb':5A,56B,378B 'serv':387B 'set':258B 'shaker':194B 'shift':323B 'showcas':648B 'sipl':526B,537B,545B 'smoke':394B 'sodi':352B 'solo':527B 'solut':713B 'sona':592B 'space':156B 'st':2
116B 'state':564B 'still':144B 'stone':644B,666B,707B 'student':693B 'studio':696B 'summari':33B 'surfac':324B 'tabriz':626B 'talk':580B 'talkback':88B 'tea':388B 'temporari':712B 'textur':303B 'third':314B 'third-floor':313B 'ticket':190B,264B 'tillet':234B 'trace':439B 'trip':432B 'tàpi':347B 'uima':423B 'ukrain':434B 'ukrainian':418B 'una':271B 'univers':565B 'updat':45B,54B,191B 'uproot':598B 'us':371B,737B 'video':426B 'view':731B 'viewpoint':163B 'voic':398B 'vs':486B,498B 'vuelta':272B 'w':214B 'wain':495B 'walker':473B,492B 'war':448B 'washington':215B 'week':13B,41B,61B 'woman':205B,220B,268B 'work':334B,572B,610B,711B 'world':17B,26B 'worsen':461B 'xenia':66B,137B 'york':568B,575B 'zone':402B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1789534181/u7rg6zaumbpe8n7dkdrm.jpg","editor_pick":true,"category_name":"Previews"},{"id":13994,"title":"New Exhibitions and Events: September 15–17","excerpt":"","body":"\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThis is a very busy week in the art world during a very busy month in everyone's world. We have tried to summarize some of what's happening this weekend and we will be updating CGN's calendar daily, so check back for updates!\u003c/p\u003e\u003cp\u003eHappy September and happy Chicago Exhibition Week!\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e– CGN\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678113/tavbapqs9gepjoy8e5qf.jpg\"\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagoexhibitionweek.com\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eChicago Exhibition Week\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSeptember 14–20\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(51, 51, 51);\"\u003eChicago's galleries are the reason to get out and explore, and this year’s participants represent a broad cross-section of the city, from longtime galleries to newer and artist-run spaces. Among them are Anthony Gallery, Corbett vs. Dempsey, Devening Projects, Elise Seigenthaler Gallery, The Franklin, Good Weather, Kavi Gupta, M. LeBlanc, Mariane Ibrahim, McCormick Gallery, moniquemeloche, Regards, Rhona Hoffman Gallery (\u003c/span\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eparticipating with the launch of a second RHG catalog rather than a gallery exhibition),\u003c/span\u003e\u003cspan style=\"color: rgb(51, 51, 51);\"\u003e\u0026nbsp;Secrist | Beach, Volume Gallery and WesternExhibitions.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagoexhibitionweek.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003echicagoexhibitionweek.com\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/popel-no-thing-skin-sets\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678113/skpopvfpe2kaclcdpyoj.jpg\" alt=\"Pope.L: No Thing Skin Sets\" height=\"450\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/popel-no-thing-skin-sets\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003ePope.L: No Thing Skin Sets\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 15 – Oct 31\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/corbett-vs-dempsey\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eCorbett vs. Dempsey\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eCorbett vs. Dempsey presents its first exhibition of Pope.L’s work, bringing together installations, paintings, and works on paper. The selection includes the projector-based installation\u0026nbsp;\u003cem\u003eI Machine\u003c/em\u003e\u0026nbsp;and groups of\u0026nbsp;\u003cem\u003eSkin Set\u003c/em\u003e\u0026nbsp;works, reflecting the artist’s expansive practice and his probing approach to race, class, language, and perception.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/clotilde-jimnez-eramos-silencios\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678114/a1il8w11u4hdj7pnfyuv.jpg\" alt=\"Clotilde Jiménez: Eramos Silencios\" height=\"800\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/clotilde-jimnez-eramos-silencios\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eClotilde Jiménez: Eramos Silencios\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 16 – Oct 31\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/mariane-ibrahim\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eMariane Ibrahim\u003c/a\u003e\u003c/p\u003e\u003cp\u003eFor his second solo exhibition in Chicago, Clotilde Jiménez explores family history, memory, and identity through a personal narrative rooted in Puerto Rico. Paintings, collages, drawings, and sculptures use the orange as a recurring symbol of both familial abundance and the secrets and silences carried between generations.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/brendan-fernandes-in-the-rou
1ndsept\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678115/sxevn5c2qqz2dglanoay.jpg\" alt=\"Brendan Fernandes: In the Round\" height=\"400\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/brendan-fernandes-in-the-roundsept\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eBrendan Fernandes: In the Round\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 16 – 19\u003c/p\u003e\u003cp\u003ePerformance: Wednesday, Sep 16, 4:00 PM – 6:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/the-driehaus-museum\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eThe Driehaus Museum\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eThe Driehaus Museum’s first artist-in-residence brings dance, sound, and sculptural installation into the historic Murphy Auditorium. Inspired by the experimental spirit of Judson Dance Theater, Fernandes’s\u0026nbsp;\u003cem\u003eScore for the Murphy Auditorium\u003c/em\u003e\u0026nbsp;returns on September 16, inviting audiences to encounter movement in dialogue with the building’s architecture. Programs are free; reservations are encouraged.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/brendan-fernandes\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678115/erjgre9grwzk3rz3bjnn.jpg\" alt=\"Brendan Fernandes\" height=\"600\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/brendan-fernandes\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eBrendan Fernandes\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 17 – Oct 31\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eOpening Reception: September 17th, 5:00–7:00 PM\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/moniquemeloche\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003emoniquemeloche\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003emoniquemeloche presents an exhibition by Chicago-based artist Brendan Fernandes, whose multidisciplinary practice spans dance, installation, video, and sculpture. His work considers migration, labor, queer identity, and collective movement, bringing cultural performance into contemporary art through collaborative projects.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/flowers-and-leaves\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678116/bse9aqbddq5zgm5l7deu.jpg\" alt=\"Flowers and Leaves\" height=\"450\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/flowers-and-leaves\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eFlowers and Leaves\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 17 – Oct 24\u003c/p\u003e\u003cp\u003eOpening: Thursday, Sep 17, 5:00 PM – 8:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/volume-gallery\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eVolume Gallery\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eChristy Matson’s fifth solo exhibition at Volume Gallery begins with a collection of nineteenth-century family textiles. Drawing on inherited lace and woven cloth, Matson translates floral and geometric motifs into layered collages and Jacquard-woven paintings, connecting the history of women’s labor with questions of memory, resistance, and pattern.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/alexandra-barth-the-awnings\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678117/oipw4lckhq8vwutpwo5n.jpg\" alt=\"Alexandra Barth: The Awnings\" height=\"798\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/alexandra-barth-the-awnings\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eAlexandra Barth: The Awnings\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 17 – Nov 7\u003c/p\u003e\u003cp\u003eOpening: Thursday, Sep 17, 5:00 PM – 8:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/document\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eDOCUMENT\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eAlexandra Barth’s first Chicago exhibition turns a familiar architectural feature into an unexpected subject. Working from photographs found online, the artist uses airbrushed paint to depict awnings in showrooms, secondhand listings, and states of disuse, reveal
1ing the overlooked patterns, mechanics, and histories of everyday surroundings.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/second-star\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678117/fjlkirin3pbye3kmbumr.jpg\" alt=\"Second Star\" height=\"600\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/second-star\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eSecond Star\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 17 – 30\u003c/p\u003e\u003cp\u003eOpening: Thursday, Sep 17, 5:00 PM – 8:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/secrist-beach\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eSecrist | Beach\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eSecrist | Beach introduces its satellite project space, Second Star, with an inaugural project featuring Stephen Eichhorn. The opening takes place during Chicago Exhibition Week at 1801 W. Hubbard Street.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/olivia-zubko\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678118/wc9skpe4791bnbfgjexd.jpg\" alt=\"Olivia Zubko: Nymphaeum\" height=\"800\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/olivia-zubko\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eOlivia Zubko: Nymphaeum\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 17 – Oct 31\u003c/p\u003e\u003cp\u003eOpening: Thursday, Sep 17, 5:00 PM – 8:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/western-exhibitions\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eWestern Exhibitions\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eIn her first solo show at Western Exhibitions, Chicago artist Olivia Zubko transforms familiar objects from bathrooms, locker rooms, and other intimate spaces into ceramic sculptures. Cast fixtures and everyday materials evoke rituals of bodily care, while references to mythological bathers connect domestic experience with the history of the human figure.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/nolis-anderson-no-such-thing\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678118/myj9cvpooajsp5kjp4xm.jpg\" alt=\"Nolis Anderson: No Such Thing\" height=\"750\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/nolis-anderson-no-such-thing\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eNolis Anderson: No Such Thing\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 17 – Oct 31\u003c/p\u003e\u003cp\u003eOpening: Thursday, Sep 17, 5:00 PM – 8:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/elise-seigenthaler-gallery\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eElise Seigenthaler Gallery\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eEight medium-format photographs mark Nolis Anderson’s first exhibition at Elise Seigenthaler Gallery. Made over three years, the portraits explore ideas of perfection through conversations with their subjects and the unpredictable qualities of film. Scratches, dust, and light effects become part of the finished images, embracing the space between intention and accident.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/karla-wong-journeys-of-being\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678119/kqalsydoimvwo8zxvkbi.jpg\" alt=\"Karla Wong: Journeys of Being\" height=\"805\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/karla-wong-journeys-of-being\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eKarla Wong: Journeys of Being\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThru Jan 10, 2027\u003c/p\u003e\u003cp\u003eOpening: Thursday, Sep 17, 5:00 PM – 8:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/intuit-art-museum\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eIntuit Art Museum\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eCelebrate Karla Wong’s richly symbolic paintings with the artist and the Intuit Art Museum community. Drawing on her Mexican and Chinese heritage, her experience as a trans woman, and her ties to Oaxaca and Chicago, Wong creates dreamlike scenes of identity and transformation. The free reception includes Mexican cocktails, bites, and a performance by singer Geo Meneses.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/jaume-plensa-beyond-silence\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678120/kwdgp78v8qz0iket8n3s.jpg\" alt=\"Jaume Plensa: Beyond Silence\" height=\"400\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/jaume-plensa-beyond-silence\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eJaume Plensa: Beyond Silence\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSep 17 – Dec 19\u003c/p\u003e\u003cp\u003eOpening: Thursday, Sep 17, 6:00 PM – 8:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/gray\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eGRAY\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eJaume Plensa’s tenth solo exhibition with GRAY brings together monumental carved-wood reliefs, cast-iron and granite sculptures, and smaller bronze works. Moving between architectural scale and intimate encounters, the exhibition explores the human figure through contrasting materials, with two twenty-eight-foot reliefs at its center.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/japanese-whiskey-koji-fermentation-science-history-and-taste\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789678120/djrx53ncdlzckiplayug.jpg\" alt=\"Japanese Whiskey \u0026amp; Koji Fermentation: Science, History, and Taste\" height=\"303\" width=\"600\"\u003e\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003ca href=\"https://www.chicagogallerynews.com/events/japanese-whiskey-koji-fermentation-science-history-and-taste\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003eJapanese Whiskey \u0026amp; Koji Fermentation: Science, History, and Taste\u003c/a\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThursday, Sep 17, 6:00 PM – 7:00 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagogallerynews.com/organizations/international-museum-of-surgical-science-imss\" rel=\"noopener noreferrer\" style=\"color: rgb(23, 75, 120);\" target=\"_blank\"\u003e\u003cstrong\u003eInternational Museum of Surgical Science (IMSS)\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eThe International Museum of Surgical Science hosts an evening exploring Japanese whiskey through its scientific and cultural history, with koji fermentation providing the focus for a program connecting science, history, and taste.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e#\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eView full CGN calendar \u003c/em\u003e\u003c/strong\u003e\u003ca href=\"https://www.chicagogallerynews.com/events?filter=upcoming\u0026amp;page=1\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003ehere\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u003cem\u003e.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"mailto:[email protected]?subject=Listing%20with%20CGN\u0026amp;body=I'd%20like%20to%20know%20how%20to%20list%20my%20space%20and%20events%20with%20CGN.%20\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003eAsk us\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u003cem\u003e about being part of CGN.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e","published_at":"2026-09-15 00:30:00","state":"published","slug":"new-exhibitions-and-events-september-1517","type":null,"meta_description":"","text":null,"created_at":"2026-09-17 20:48:41.085","updated_at":"2026-09-17 20:48:41.085","category_id":2,"highlighted":false,"searchable":"'00':286B,289B,363B,365B,419B,422B,493B,496B,555B,558B,603B,606B,675B,678B,751B,754B,830B,833B,899B,902B '10':744B '14':65B '15':6A,159B '16':221B,279B,284B,333B '17':7A,355B,411B,417B,485B,491B,548B,553B,595B,601B,667B,673B,749B,822B,828B,897B '17th':361B '1801':587B '19':280B,824B '20':66B '2027':745B '24':413B '30':549B '31':161B,223B,357B,597B,669B '4':285B '5':362B,418B,492B,554B,602B,674B,750B '6':288B,829B,898B '7':364B,487B,901B '8':421B,495B,557B,605B,677B,753B,832B 'abund':264B 'accid':736B 'airbrush':522B 'alexandra':480B,499B 'among':102B 'anderson':662B,690B 'anthoni':105B 'approach':209B 'architectur':345B,508B,863B 'art':16B,403B,757B,772B 'artist':99B,202B,300B,376B,520B,619B,768B 'artist-in-resid':299B 'artist-run':98B 'ask':947B 'audie
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1:118B 'wednesday':282B 'week':13B,59B,63B,585B 'weekend':38B 'western':608B,616B 'westernexhibit':151B 'whiskey':888B,921B 'whose':379B 'woman':787B 'women':470B 'wong':738B,761B,795B 'wood':849B 'work':175B,181B,199B,389B,514B,860B 'world':17B,26B 'woven':450B,464B 'year':80B,701B 'zubko':592B,621B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1789529475/rql8kr04strelq0hnsxv.jpg","editor_pick":true,"category_name":"Previews"},{"id":13897,"title":"A Closer Look at Chicago Exhibition Week","excerpt":"","body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789334145/qi6eujbbzrlhddzvate0.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eGertie members and artists at NEPO curated by Tony Lewis at Lewis Bag. Image Credit: Zoey Marciniak, Courtesy of Gertie\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy GINNY VAN ALYEA\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWe included Chicago Exhibition Week in CGN’s fall season preview, but with final plans now announced—and more than 50 galleries participating—it is worth taking a closer look at what you can expect September 14–20 so you can at least try to fit in as much art viewing and mingling as possible this week.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eChicago's galleries are the reason to get out and explore, and this year’s participants represent a broad cross-section of the city, from longtime galleries to newer and artist-run spaces. Among them are Anthony Gallery, Corbett vs. Dempsey, Devening Projects, Elise Seigenthaler Gallery, The Franklin, Good Weather, Kavi Gupta, M. LeBlanc, Mariane Ibrahim, McCormick Gallery, moniquemeloche, Regards, Rhona Hoffman Gallery (\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eparticipating with the launch of a second RHG catalog rather than a gallery exhibition),\u003c/span\u003e Secrist | Beach, Volume Gallery and WesternExhibitions.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe week offers a useful occasion to catch up on new fall exhibitions, revisit familiar spaces and discover galleries outside your usual route. Hours and programming vary, so as always we recommend checking individual gallery schedules before heading out.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFinal additions to the week include seven Curated Routes assembled by Chicago artists, writers, chefs and cultural leaders. The routes combine art destinations with neighborhood restaurants, bookstores, shops and public spaces. Contributors include artist Yvette Mayorga, chef Jake Potashnick, writer Kaylen Ralph, Griffin Museum of Science and Industry President and CEO Dr. Chevy Humphrey, and SkyART Executive Director Devon VanHouten-Maldonado.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“We are reaching more widely and more deeply this year, which is a reflection of how deeply invested we are in Chicago, its artists, and cultural institutions, and the many people who make this community what it is. That includes the collectors and longtime supporters who have helped sustain Chicago’s cultural ecosystem, as well as the next generation of artists, collectors, patrons, and curious people who will shape its future,” said Chanelle Lacy, Head of Programming, Partnerships, and Membership at Gertie.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eVisitors who complete the activities included on CXW's p\u003cspan style=\"color: rgb(13, 13, 13);\"\u003erinted and digital maps\u003c/span\u003e may present them on Sunday, September 20 for complimentary admission to the Art Institute of Chicago, the Driehaus Museum or the Museum of Contemporary Art Chicago. \u003cspan style=\"color: rgb(13, 13, 13);\"\u003eMayorga's\u003c/span\u003e curated route this year includes the National Museum of Mexican Art, Chicago Art Department, El Anticuario, Semillas, Café Jumping Bean, Rubi’s Tacos, Cerdito Muerto, and Skylark, highlighting cultural, artistic, and neighborhood destinations across Pilsen.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eTwo newly announced conversations round out the public programming:\u0026nbsp;\u003cem\u003eArt After Subcultures\u003c/em\u003e, featuring critics Sean Tatol and Troy Sherman, on September 17 at the Gertie Hub; and\u0026nbsp;\u003cem\u003eA River Runs Through It: ICI’s Mississippi River Projecton\u003c/em\u003e September 20 at the Studio Gang Treehouse.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOrganized by Gertie, Chicago Exhibition Week takes place September 14–20. \u003c/p\u003e\u003cp\u003eFind the participating galleries, exhibition details and related events at \u003ca href=\"https://www.chicagoexhibitionweek.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003echicagoexhibitionweek.com\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e#\u003c/p\u003e","published_at":"2026-09-13 06:00:00","state":"published","slug":"a-closer-look-at-chicago-exhibition-week","type":null,"meta_description":"","text":null,"created_at":"2026-09-13 21:15:45.746","updated_at":"2026-09-13 21:15:45.746","category_id":2,"highlighted":false,"searchable":"'14':68B,487B '17':455B '20':69B,377B,472B,488B '50':52B 'across':432B 'activ':361B 'addit':214B 'admiss':380B 'alway':203B 'alyea':31B 'among':124B 'announc':48B,436B 'anthoni':127B 'anticuario':414B 'art':81B,234B,383B,395B,409B,411B,443B 'artist':11B,121B,225B,246B,298B,335B,428B 'artist-run':120B 'assembl':222B 'bag':20B 'beach':169B 'bean':418B 'bookstor':239B 'broad':107B 'café':416B 'catalog':162B 'catch':181B 'ceo':263B 'cerdito':422B 'cgn':38B 'chanell':347B 'check':206B 'chef':227B,249B 'chevi':265B 'chicago':5A,34B,89B,224B,296B,324B,386B,396B,410B,481B 'chicagoexhibitionweek.com':499B 'citi':113B 'closer':2A,60B 'collector':316B,336B 'combin':233B 'communiti':309B 'complet':359B 'complimentari':379B 'contemporari':394B 'contributor':244B 'convers':437B 'corbett':129B 'courtesi':25B 'credit':22B 'critic':447B 'cross':109B 'cross-sect':108B 'cultur':229B,300B,326B,427B 'curat':14B,220B,399B 'curious':339B 'cxw':364B 'deepli':282B,291B 'dempsey':131B 'depart':412B 'destin':235B,431B 'detail':494B 'deven':132B 'devon':271B 'digit':369B 'director':270B 'discov':191B 'dr':264B 'driehaus':388B 'ecosystem':327B 'el':413B 'elis':134B 'event':497B 'execut':269B 'exhibit':6A,35B,167B,186B,482B,493B 'expect':66B 'explor':99B 'fall':40B,185B 'familiar':188B 'featur':446B 'final':45B,213B 'find':489B 'fit':77B 'franklin':138B 'futur':345B 'galleri':53B,91B,116B,128B,136B,148B,153B,166B,171B,192B,208B,492B 'gang':476B 'generat':333B 'gerti':8B,27B,356B,458B,480B 'get':96
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We spoke\u0026nbsp;with five insiders about what excites them now\u0026nbsp;and what they anticipate next.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe following preview is one of five conversations that appear in CGN's Fall 2026 magazine. To receive a copy of the print edition\u0026nbsp;\u003c/em\u003e\u003ca href=\"https://835ba3.myshopify.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eclick here.\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789517637/noxz9olp47gfneafz8xg.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch4\u003e\u003cem\u003eNikko Washington –\u0026nbsp;\u003c/em\u003e\u003c/h4\u003e\u003ch4\u003e\u003cem\u003eArtist\u003c/em\u003e\u003c/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“I’m thrilled to further expand my artistic and design practice by introducing other mediums into the mix. I’m looking forward to watching the seasons change and devoting a lot of time in the studio as well. Fall/winter is my favorite time to create new works.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eI have an upcoming solo show with \u003ca href=\"https://vsgcontemporary.com\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eVSG\u0026nbsp;Contemporary\u003c/a\u003e that I am excited about. The work will delve further into the topics of cultural mythology and how these tales and narratives have helped shape my worldview.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAlso, it wouldn’t be right if I left out my\u0026nbsp;excitement for this upcoming season of Chicago sports.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.nikkowashington.com\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eNikko Washington\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e","published_at":"2026-09-11 00:30:00","state":"published","slug":"anticipating-a-season-of-art-five-to-talk-to-nikko-washington","type":null,"meta_description":"","text":null,"created_at":"2026-09-16 00:13:58.216","updated_at":"2026-09-16 00:13:58.216","category_id":3,"highlighted":false,"searchable":"'2026':76B 'across':19B 'also':174B 'anticip':1A,60B 'appear':71B 'art':5A 'artist':39B,90B,98B 'behind':26B 'bring':41B 'cgn':73B 'chang':117B 'chicago':191B 'click':86B 'communiti':33B 'contemporari':146B 'convers':69B 'copi':81B 'creat':135B 'cultur':161B 'delv':155B 'design':100B 'devot':119B 'edit':85B 'excit':54B,150B,185B 'exhibit':18B 'expand':96B 'fall':12B,75B 'fall/winter':129B 'favorit':132B 'five':6A,50B,68B 'follow':63B 'forward':112B 'fresh':42B 'full':15B 'galleri':20B 'help':170B 'insid':51B 'introduc':103B 'left':182B 'look':111B 'lot':121B 'm':92B,110B 'magazin':77B 'mani':29B 'medium':105B 'midwest':25B 'mix':108B 'museum':22B 'mytholog':162B 'narrat':168B 'new':136B 'next':61B 'nikko':10A,88B,193B 'offer':13B 'one':66B 'peopl':30B 'perspect':43B 'practic':101B 'preview':64B 'print':84B 'public':46B 'receiv':79B 'right':179B 'scene':28B 'season':3A,116B,189B 'shape':171B 'show':143B 'slate':16B 'solo':142B 'spoke':48B 'sport':192B 'studio':126B 'support'
1:38B 'tale':166B 'talk':8A 'thrill':93B 'throughout':23B 'time':123B,133B 'tireless':36B 'topic':159B 'upcom':141B,188B 'vsg':145B 'washington':11A,89B,194B 'watch':114B 'well':128B 'work':35B,137B,153B 'worldview':173B 'wouldn':176B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788406360/ujd84dhihjroxqjs9izj.jpg","editor_pick":true,"category_name":"Interviews"},{"id":13961,"title":"A Poster from Tony Fitzpatrick’s Early Years Supports His Legacy","excerpt":null,"body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789100262/zyjzsjooddklp8aljtdd.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy GINNY VAN ALYEA\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOver the years, CGN has covered many chapters of artist and Chicagoan Tony Fitzpatrick’s life and work. \u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFollowing his \u003ca href=\"https://www.chicagogallerynews.com/articles/artist-tony-fitzpatrick-has-died-at-age-66\" rel=\"noopener noreferrer\" target=\"_blank\"\u003edeath\u003c/a\u003e in October 2025, his wife, Michelle, and children, Max and Gaby, have been working to preserve Fitzpatrick's legacy. One of their efforts offers an accessible way to bring an early Fitzpatrick image home—and support the work his family is carrying forward. The family is issuing a limited-edition poster featuring Houdini, an image Fitzpatrick originally created for the inaugural exhibition at World Tattoo Gallery in 1989. Priced at $100, the edition is limited to 500 prints, each accompanied by a certificate of authenticity. All proceeds support projects dedicated to preserving and protecting his life’s work.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe image comes from a formative period. Fitzpatrick left Chicago for New York in 1987 to pursue his career as an artist. When he returned, he wanted to build the kind of rebellious, vibrant artistic community he had encountered there. With help from friends, he opened World Tattoo Gallery in the South Loop in 1989.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAccording to Tony's family, Houdini held particular significance for Fitzpatrick during those years: an escape artist who could accomplish the seemingly impossible. His appearance on the gallery’s first exhibition poster connects the image to Fitzpatrick’s ambitions for both his own work and a community of artists in Chicago.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFor longtime followers and those just discovering his art, the release offers a connection to that early chapter while helping his family care for what comes next.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eIn 1988, Tony left Chicago to find a career as an artist in NY. In NY he experienced something he often described as “unimagined possibilities” of creativity, supported by a rebellious art\u003c/p\u003e\u003cp\u003ecommunity. When he returned to Chicago in 1989, he was determined to create the “art community” he experienced in NY. In 1989 and with the help of several friends, he opened The World Tattoo Gallery in the crumbling area of the South Loop. The space was a 6000 square foot loft at the corner of 13th and Wabash dedicated to emerging visual artists and performance art.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAmong the many heroes Tony idealized in his work, Houdini was the most relevant to him during this period of his career. Houdini represented “escape” and a man who would achieve\u003c/p\u003e\u003cp\u003ethe impossible challenge.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe legendary Friday night openings at World Tattoo would see an average of a 1000 people attending. The gallery was described by many as a phenomenon and a testimony to Tony’s\u003c/p\u003e\u003cp\u003eboundless energy and dedication his city, Chicago.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eHe created this poster to honor the grand opening of World Tattoo Gallery. “Houdini” is a limited edition of 500 prints and will come with a certificate of authenticity.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe World Tattoo Poster measures 12.5 × 18 inches and is available for $100 at\u0026nbsp;\u003c/em\u003e\u003ca href=\"https://tonyfitzpatrick.co/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003etonyfitzpatrick.co\u003c/em\u003e\u003c/a\u003e\u003cem\u003e.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e","published_at":"2026-09-10 14:49:31.962","state":"published","slug":"a-poster-from-tony-fitzpatricks-early-years-supports-his-legacy","type":null,"meta_description":"","text":null,"created_at":"2026-09-11 04:17:42.549","updated_at":"2026-09-11 04:17:42.549","category_id":4,"highlighted":false,"searchable":"'100':108B,481B '1000':415B '12.5':474B '13th':356B '18':475B '1987':150B '1988':270B '1989':105B,190B,308B,322B '2025':39B '500':114B,459B '6000':348B 'access':62B 'accompani':117B 'accomplish':210B 'accord':191B 'achiev':397B 'alyea':15B 'ambit':229B 'among':367B 'appear':215B 'area':339B 'art':250B,300B,315B,366B 'artist':25B,157B,170B,207B,239B,280B,363B 'attend':417B 'authent':122B,468B 'avail':479B 'averag':412B 'boundless':433B 'bring':65B 'build':164B 'care':264B 'career':154B,277B,388B 'carri':78B 'certif':120B,466B 'cgn':19B 'challeng':400B 'chapter':23B,259B 'chicago':145B,241B,273B,306B,439B 'chicagoan':27B 'children':44B 'citi':438B 'come':138B,267B,463B 'communiti':171B,237B,301B,316B 'connect':223B,255B 'corner':354B 'could':209B 'cover':21B 'creat':95B,313B,441B 'creativ':295B 'crumbl':338B 'death':36B 'dedic':127B,359B,436B 'describ':290B,421B 'determin':311B 'discov':248B 'earli':7A,67B,258B 'edit':87B,110B,457B 'effort':59B 'emerg':361B 'encount':174B 'energi':434B 'escap':206B,391B 'exhibit':99B,221B 'experienc':286B,318B 'famili':76B,81B,195B,263B 'featur':89B 'find':275B 'first':220B 'fitzpatrick':5A,29B,53B,68B,93B,143B,201B,227B 'follow':34B,244B 'foot':350B 'format':141B 'forward':79B 'friday':403B 'friend':179B,329B 'gabi':47B 'galleri':103B,184B,218B,335B,419B,452B 'ginni':13B 'grand':447B 'held':197B 'help':177B,261B,326B 'hero':370B 'home':70B 'honor':445B 'houdini':90B,196B,376B,389B,453B 'ideal':372B 'imag':69B,92B,137B,225B 'imposs':213B,399B 'inaugur':98B 'inch':476B 'issu':83B 'kind':166B 'left':144B,272B 'legaci':11A,55B 'legendari':402B 'life':31B,133B 'limit':86B,112B,456B 'limited-edit':85B 'loft':351B 'longtim':243B 'loop':188B,343B 'man':394B 'mani':22B,369B,423B 'max':45B 'measur':473B 'michell':42B 'new':147B 'next':268B 'night':404B 'ny':282B,284B,320B 'octob':38B 'offer':60B,253B 'often':289B 'one':56B 'open':181B,331B,405B,448B 'origin':94B 'particular':198B 'peopl':416B 'perform':365B 'period':142B,385B 'phenomenon':426B 'possibl':293B 'poster':2A,88B,222B,443B,472B 'preserv':52B,129B 'price':106B 'print':115B,460B 'proceed':124B 'project':126B 'protect':131
1B 'pursu':152B 'rebelli':168B,299B 'releas':252B 'relev':380B 'repres':390B 'return':160B,304B 'see':410B 'seem':212B 'sever':328B 'signific':199B 'someth':287B 'south':187B,342B 'space':345B 'squar':349B 'support':9A,72B,125B,296B 'tattoo':102B,183B,334B,408B,451B,471B 'testimoni':429B 'toni':4A,28B,193B,271B,371B,431B 'tonyfitzpatrick.co':483B 'unimagin':292B 'van':14B 'vibrant':169B 'visual':362B 'wabash':358B 'want':162B 'way':63B 'wife':41B 'work':33B,50B,74B,135B,234B,375B 'world':101B,182B,333B,407B,450B,470B 'would':396B,409B 'year':8A,18B,204B 'york':148B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1789100202/bivecvykcgpbko4uxsmo.jpg","editor_pick":true,"category_name":"Features"},{"id":13929,"title":"Milwaukee Art Escape Connects Museums, Public Art and More This Fall","excerpt":"","body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789485212/jxryqhayppogrtryuu0b.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBy CGN Staff\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThere is no shortage of art to see at home in Chicago but fall also offers chances to venture elsewhere for the day or for a weekend.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eIn Milwaukee right now, and through October 6, is a new Milwaukee initiative that brings together museums, galleries and public art with a free passport to help visitors explore the city’s cultural offerings easily.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOrganized by Sculpture Milwaukee,\u0026nbsp;Milwaukee Art Escape runs through October 6, 2026, with participants including the Milwaukee Art Museum, Saint Kate – The Arts Hotel, Villa Terrace Decorative Arts Museum, Lynden Sculpture Garden, Haggerty Museum of Art and Milwaukee Institute of Art \u0026amp; Design Galleries. Sample itineraries are available.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe free Milwaukee Art Escape Passport offers a starting point for building a day trip or weekend itinerary, connecting art destinations with dining, hospitality and other local partners. Participating locations offer a range of visitor incentives, including special experiences and, at some stops, prize giveaways. The specially created Welcome Packet includes participating partner offers, transportation tips, and your Milwaukee Art Escape Passport. Organizers say that as you explore, you can take advantage of exclusive offers and visit participating partners, using the Passport as a guide and tool to access exclusive offers by visiting in person. Examples are a Lion’s Tooth bookstore 10% discount, and 15% off general admission or $10 off the annual membership at Villa Terrace Museum \u0026amp; Gardens. There is even a free streetcar that connects several destinations.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“There are so many great cultural institutions in Milwaukee, and collectively we are building a culture of collaboration,” said John Riepenhoff, Executive Director of Sculpture Milwaukee. “By working together, we are increasing the visibility of the arts and sharing our Milwaukee art experience with visitors from Chicago, Madison, and beyond.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eLaunched August 21 with a few days left of summer, the initiative has received support from Travel Wisconsin and Baird, as the campaign also encourages Milwaukee residents to explore their own city. For returning visitors, the roster offers a reason to pair a familiar museum stop with a sculpture garden, gallery or historic site they have yet to visit.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFind participating destinations and register for the free passport at\u0026nbsp;\u003ca href=\"https://www.milwaukeeartescape.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003emilwaukeeartescape.com\u003c/a\u003e.\u003c/p\u003e","published_at":"2026-09-10 08:18:22.382","state":"published","slug":"milwaukee-art-escape-connects-museums-public-art-and-more-this-fall","type":null,"meta_description":"","text":null,"created_at":"2026-09-15 15:13:33.412","updated_at":"2026-09-15 15:13:33.412","category_id":2,"highlighted":false,"searchable":"'10':226B,234B '15':229B '2026':88B '21':306B '6':49B,87B 'access':212B 'admiss':232B 'advantag':195B 'also':29B,327B 'annual':237B 'art':2A,7A,20B,62B,82B,94B,99B,104B,112B,117B,127B,143B,183B,290B,295B 'august':305B 'avail':123B 'baird':323B 'beyond':303B 'bookstor':225B 'bring':56B 'build':135B,267B 'campaign':326B 'cgn':13B 'chanc':31B 'chicago':26B,300B 'citi':72B,335B 'collabor':271B 'collect':264B 'connect':4A,142B,251B 'creat':171B 'cultur':74B,259B,269B 'day':37B,137B,310B 'decor':103B 'design':118B 'destin':144B,253B,365B 'dine':146B 'director':276B 'discount':227B 'easili':76B 'elsewher':34B 'encourag':328B 'escap':3A,83B,128B,184B 'even':246B 'exampl':219B 'exclus':197B,213B 'execut':275B 'experi':162B,296B 'explor':70B,191B,332B 'fall':11A,28B 'fam
1iliar':347B 'find':363B 'free':65B,125B,248B,370B 'galleri':59B,119B,354B 'garden':108B,243B,353B 'general':231B 'giveaway':168B 'great':258B 'guid':208B 'haggerti':109B 'help':68B 'histor':356B 'home':24B 'hospit':147B 'hotel':100B 'incent':159B 'includ':91B,160B,174B 'increas':285B 'initi':54B,315B 'institut':115B,260B 'itinerari':121B,141B 'john':273B 'kate':97B 'launch':304B 'left':311B 'lion':222B 'local':150B 'locat':153B 'lynden':106B 'madison':301B 'mani':257B 'membership':238B 'milwauke':1A,43B,53B,80B,81B,93B,114B,126B,182B,262B,279B,294B,329B 'milwaukeeartescape.com':373B 'museum':5A,58B,95B,105B,110B,242B,348B 'new':52B 'octob':48B,86B 'offer':30B,75B,130B,154B,177B,198B,214B,341B 'organ':77B,186B 'packet':173B 'pair':345B 'particip':90B,152B,175B,201B,364B 'partner':151B,176B,202B 'passport':66B,129B,185B,205B,371B 'person':218B 'point':133B 'prize':167B 'public':6A,61B 'rang':156B 'reason':343B 'receiv':317B 'regist':367B 'resid':330B 'return':337B 'riepenhoff':274B 'right':44B 'roster':340B 'run':84B 'said':272B 'saint':96B 'sampl':120B 'say':187B 'sculptur':79B,107B,278B,352B 'see':22B 'sever':252B 'share':292B 'shortag':18B 'site':357B 'special':161B,170B 'staff':14B 'start':132B 'stop':166B,349B 'streetcar':249B 'summer':313B 'support':318B 'take':194B 'terrac':102B,241B 'tip':179B 'togeth':57B,282B 'tool':210B 'tooth':224B 'transport':178B 'travel':320B 'trip':138B 'use':203B 'ventur':33B 'villa':101B,240B 'visibl':287B 'visit':200B,216B,362B 'visitor':69B,158B,298B,338B 'weekend':41B,140B 'welcom':172B 'wisconsin':321B 'work':281B 'yet':360B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788960645/hyklykvtkzbgds0hddf6.jpg","editor_pick":false,"category_name":"Previews"},{"id":13930,"title":"Andi Crist: The Art of The Pun","excerpt":null,"body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961823/s3lp0uull2s8mvd8funj.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eAndi Crist, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eExtension Cords\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, Glazed stoneware, chrome, Sizes vary 2021-present. Photo: Mikey Mosher\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThis interview is part of CGN's Fall 2026 issue.\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003cstrong style=\"color: rgb(51, 51, 51);\"\u003e\u003cem style=\"color: rgb(51, 51, 51);\"\u003e\u003ca href=\"https://chicagogallerynews.myshopify.com/\" rel=\"noopener noreferrer\" style=\"color: rgb(51, 51, 51);\" target=\"_blank\"\u003ePurchase a copy or subscribe\u003c/a\u003e.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961824/mghrpnghxd9j9ko2dsjt.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eAndi Crist\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBY ALISON REILLY\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAndi Crist’s warm, engaging demeanor is evident in the first few minutes of our conversation. Generous with her time and forthcoming in her observations, she cares deeply about building relationships through her art making. Crist grew up in Birmingham, Alabama, devoured art classes, wrote songs and played music in high school, and moved to Chicago to study visual art at Columbia College. In 2024, she received her MFA from the University of Illinois at Chicago. She is a woodworker, sculptor, ceramicist, and conceptual artist, and she teaches at Illinois Institute of Technology. We discussed her multidisciplinary practice, her experience working as an art handler, preparator, and fabricator, and how she thinks about labor, creativity, and value in the art world.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: You grew up in Birmingham, Alabama. How did that environment shape your point of view as an artist?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAndi Crist:\u003c/strong\u003e That’s such a funny question. Nobody’s ever really asked.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: Oh, really?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC: \u003c/strong\u003eYeah, maybe because I never was super connected with the arts community down in Birmingham. I moved to Chicago in 2007, so it’s been 20 years since I lived in the South. I was definitely one of those art kids—one art credit was required in high school, and I graduated with like seven. I was surrounded by artists who had a big impact on me, because they were working artists. All my art teachers were trained in Alabama and then continued to teach and work in Alabama, which gave me this desire to try to expand my community outside of what I was familiar with.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: Do you identify as a Chicagoan?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC: \u003c/strong\u003eMy family still lives in Alabama, and I go back every year. I love being in Alabama. Maybe now being in Chicago for almost 20 years, I identify as a southerner living in the city. I carry on the social qual
1ities of a friendly southern person [laughs].\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN:\u003c/strong\u003e \u003cstrong\u003eYou have a varied art practice\u003c/strong\u003e\u003cstrong style=\"color: rgb(71, 71, 71);\"\u003e—\u003c/strong\u003e\u003cstrong\u003ewoodwork, ceramics, mold making. What drew you to those types of fabrication methods and that type of art making?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC:\u003c/strong\u003e My dad is a carpenter and a hobbyist woodworker, but his career was psychology, and my mom was a professor and an incredible craftswoman. I absorbed my mom’s model of creativity, which is to try a bunch of different things and not necessarily finish them but to try to learn as much as I can by just going for it. My practice over the years has become an exploration of conceptual elements of what makes art art and not just craft. Do you have to be a master craftsperson or a professional artist in order to make something that resonates with people?\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eI make a lot of work that references the mode of making and requires a variety of different media. I just finished teaching a ceramics production class where students learned how to produce molds, think about positives and negatives, and get into a level of production rather than just handicraft as a way to multiply their output.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eI got into fabrication because I’ve always liked working with other artists. I have a background in theater and gallery work. I’m a voracious learner, and I like being able to share those skills with my community. Then I end up making work about that. It’s a self-feeding cycle.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961825/zzejqwibga5f5wk6einh.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eAndi Crist,\u0026nbsp;\u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eArtist’s Ladder\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, 2023.\u0026nbsp;Photo: Jeff Perlman\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: Thinking about your background as an art handler and preparator\u003c/strong\u003e\u003cstrong style=\"color: rgb(59, 62, 65);\"\u003e—\u003c/strong\u003e\u003cstrong\u003ehow did you get to the point where you were making work about that experience?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC: \u003c/strong\u003eIn 2010, right before I graduated from Columbia, I was living in a storefront in West Logan Square with my partner at the time. We started a gallery called Autotelic in the space and had to build it out using the worst tools with very minimal resources. Then we started curating shows there and that meant helping other artists figure out how to install their work in our unusual space. Eventually, I gained the reputation for knowing how to do that type of work. I started getting invited to work in museums and galleries.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe Holocaust Museum was the first museum I worked at, and as difficult as that subject matter is, that experience was really important to me because I was learning more about the larger world of gallery work. As an artist working as a preparator, you’re straddling both sides of that space. You’re really seeing how the sausage is made. You’re hearing all the conversations about artists, curators, the process of exhibition making. There is a lot of information you can gather about the economics of the art world by just being the person that has the know-how to touch and handle artwork. Eventually that started feeding into my art practice because I wanted to make work that was contributing to a conversation around art as a type of job. It fueled a methodology of seeing everything in the world as the result of a long line of processes that required effort and thoughtfulness by many hands.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961826/uv5bysb5fbne30gr5czh.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eAndi Crist, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eFair Warning\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, 2025.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: The title of your recent exhibition at the Cleve Carney Museum—\u003cem\u003eLive, Laugh, Lo\u003c/em\u003e—sorry, not \u003cem\u003eLive, Laugh, Love\u003c/em\u003e—\u003cem\u003eLive, Laugh, Labor\u003c/em\u003e.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC:\u003c/strong\u003e [Laughs] That’s what everybody does.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: I love the title—it’s perfect. You incorporate humor along with thoughtful critiques about labor and value in y
1our work. What role does humor play? How does it help you connect with your audience?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC:\u003c/strong\u003e One of my biggest criticisms of art with a capital A is how easily it can be overly intellectualized. I think that’s why I end up making a lot of work that references things that already exist or have some kind of real purpose. It’s important to give people a foothold so there’s an obvious place to board that train of thought. As an artist—maybe this is me getting into a sweeping argument about what artists should be—but I personally believe in intellectual accessibility. Humor is a swift way to drop defenses and allow people to come in without feeling like they are not getting the joke or not understanding. I like to make work that can hold both of those things at the same time—it’s funny on the surface level, it’s kind of cheeky, but there’s also another way to look at it that is intellectually clever. There is a joy in the attempt to “get it”. Like the satisfaction of grasping how a crossword puzzle actually works.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eIt’s also so much a part of my personality. I take myself seriously as an artist, but my ego isn’t at the heart of it. It’s really something that I do because I love to make things, and I love to connect with other people. My parents raised me on puns, creating those language relationships between things and people and space. Understanding a joke is the same way that we understand art, and while neither of my parents would consider themselves artists, they taught me how to think about art.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961828/gnotyfijabr7e15kb6hm.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eAndi Crist,\u0026nbsp;\u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003e69 Bananas\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: Your work, \u003cem\u003eArtist’s Ladder\u003c/em\u003e, explores hierarchies, workplace cultures, and institutional values. What experiences shaped your reflections on these themes?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC:\u003c/strong\u003e The ladder piece distinctly represents the complicated relationship between front of house, back of house, and the hierarchy of labor. Who is the artist in those relationships? How much does another person’s knowledge and expertise contribute to the success of another artist?\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThere are enormous, industrialized art practices out there, warehouses full of people making things, and those people are also artists. When you make work that involves other people, it’s important to acknowledge their contributions. I’ve had complicated interactions with other artists who are like, ‘Hey, do you want to collaborate with me on this thing?’ but really they just want me to make their idea. I made \u003cem\u003eArtist’s Ladder\u003c/em\u003e while I was in grad school at UIC, and it really represented my relationship with a lot of other artists, because I could be an actual support structure for them. Then it turned into this absurd physical thing. It’s extremely overbuilt with inlaid racing stripes made of exotic hardwood, and a butcher’s block-style plaid top. It’s not really like an FU as much as it is asking for acknowledgement of my skills and the essential support structures that exist.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: I want to ask you about another piece, \u003cem\u003eFive O’Clock Somewhere\u003c/em\u003e, a wool rug that resembles a children’s play mat. I work at a library, and it reminded me of rugs I see all the time. It’s a peaceful image of an office park with a large fountain surrounded by a parking lot. I’m curious why you chose a rug as the medium to depict that image.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong style=\"color: rgb(38, 38, 38);\"\u003eAC: \u003c/strong\u003e\u003cspan style=\"color: rgb(38, 38, 38);\"\u003eTo me \u003c/span\u003ethe heart of that joke was that it was a landscape. I 
1wanted it to be physically traversable. And that was, I don’t want to say controversial, but it was something that I had to talk about a lot.\u003cspan style=\"color: rgb(38, 38, 38);\"\u003e \u003c/span\u003eThe critique of that work was the fact that I didn’t want to hang it on the wall and turn it into a tapestry. I really wanted it to be a rug that people could walk on. When I showed that work at Chicago Artists Coalition for the New City Breakout Artists show. There was a lot of pushback about having it on the floor and allowing people to walk on it.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eThat, to me, was such an important conversation, because, in my mind, the fact that you could walk across it and traverse it was part of how I was thinking about the object. Rugs are utilitarian–they are floor coverings. When you make art that doesn’t do anything, you don’t get to participate in that part of the conversation.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eI enjoy sparring around art like that. I am totally tickled by the pushback. The critique of display is exciting, and sorting through the politics of utilitarianism in art spaces is fun to me. And then—it was so crazy—we ended up showing it halfway on the wall and halfway on the ground.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961829/r1zylkwfw9rkw191skdl.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eAndi Crist, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eFive O’Clock Somewhere\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, on display at \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eLive, Laugh, Labor: Thoughts on Usefulness and Other Myths\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e at The Cleve Carney Museum of Art, 2025.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: Oh, wow.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC: \u003c/strong\u003eI was like, this is the epitome of compromise! I had to build a structure so that it could hang that way safely.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: I would say just put it on the ground if that’s what you want to do. It’s interesting that there are still very fixed ideas about the way that art should be displayed.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC: \u003c/strong\u003eThat preparator part of it, that’s what I’m all about. I was having that conversation about what physically supports the work or what conceptually supports it in the way that it’s shown.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: Have you always been a writer? How do your art and writing practices work together?\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC: \u003c/strong\u003eI can’t say that I’m a writer, it’s probably the same way that it can feel weird to call yourself an artist. But I feel like I’ve always been relatively good at writing. The first time I ever did any kind of professional writing was contributing,\u0026nbsp;a long time ago, to a website called eHow. The editors would send me a title, and then I would have to research how to do that thing. Then I would write out step-by-step instructions for how to do that.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eI think that’s how I had to make myself think through my conceptual practice—I had to do the research, coagulate that into some kind of document, and then I would have stream-of-consciousness conversations with myself. “Why are we interested in this? Why would we make it this way? What would I want to talk about if someone were to ask me about this?” It’s almost like I was pre-interviewing myself.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eI think the writing is just another way for me to process that idea before I put in all of the time and energy to actually accomplish it.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: What are you working on right now? What projects do you have coming up?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC: \u003c/strong\u003eThe biggest project that I have right now is my house. My family and I suffered a major house fire on New Year’s Day. We’ve been displaced since then and are navigating rebuilding our house. It was a total loss.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961830/kekfqzf9f87fq48juogh.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eAndi Crist, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eSingle-Use Fireplace\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, 2025. Photo: Mikey Mosher.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: I’m so sorry to hear that.\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC: \u003c/strong\u003eThank y
1ou. We’re all okay, but it’s been a really tumultuous year. I moved my studio into a storefront last summer, and so most of my, at least relatively recent, work is safe, and I still have all of my materials, but my home life is starting over. I just had my first full year at this space, and it’s got a little gallery built out in the front called Coming Soon. It’s beautiful with floor-to-ceiling windows on Division and Central Park. I’ve been inviting people into the space to try things out.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eAfter teaching the ceramics class, I came into a bunch of nice slip casting molds, and I’m making some really playful, weird, ceramic stuff. I want to be open and not put too much pressure on myself. Having a big studio by myself is very expensive, so it’s easy to want to make it feel like it’s worth it. But if for now all I can do is make it a resource for other people, then that will be the thing I do. Be less selfish, but more selfish with my time. Saying I can’t do that, or I don’t want to do that. It’s not my nature to say no—I’m such a yes man. I’m learning how to be a yes man for myself.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: That makes sense after going through something so traumatic.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC:\u003c/strong\u003e I have an amazing support system. Our friends started a GoFundMe. It was incredible. I’m so humbled and floored by how held I felt by Chicago. I can’t help but throw a little shout out to my Chicago people. I can see how people’s lives get totally ruined by this kind of tragedy. I feel so lucky. Chicago definitely showed its love back.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCGN: For your project Coming Soon, are you bringing in other artists?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAC: \u003c/strong\u003eMy philosophy is that I want to be involved as little as possible. I am thinking about it more as a hosted than curated space. I’m actively soliciting proposals or ideas for workshops, meetings, book clubs—I’m down for making it a resource, whatever that means. I don’t want to over-think it, I want it to be an intuitive and organic thing, which is why I call it Coming Soon—it can be a placeholder for anything. It’s exciting. Taking my hands off the reins is a good exercise for me.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.andicrist.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eandicrist.com\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961831/gno5dhliwfnzpuaim78s.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eAndi Crist, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eExtension Cords\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, Glazed stoneware, chrome, Sizes vary 2021-present. Photo: Mikey Mosher\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e","published_at":"2026-09-10 01:00:00","state":"published","slug":"andi-crist-the-art-of-the-pun","type":null,"meta_description":"","text":null,"created_at":"2026-09-09 13:50:32.441","updated_at":"2026-09-09 13:50:32.441","category_id":3,"highlighted":false,"searchable":"'20':224B,338B '2007':219B '2010':639B '2021':17B,2614B '2023':607B '2024':106B '2025':897B,1789B,2169B '2026':30B '69':1238B 'abl':579B 'absorb':413B 'absurd':1412B 'ac':198B,313B,387B,637B,921B,964B,1261B,1533B,1793B,1853B,1905B,2120B,2181B,2427B,2506B 'access':1053B 'accomplish':2103B 'acknowledg':1337B,1450B 'across':1667B 'activ':2534B 'actual':1141B,1402B,2102B 'ago':1959B 'alabama':82B,169B,278B,287B,319B,330B 'alison':40B 'allow':1063B,1643B 'almost':337B,2069B 'along':939B 'alreadi':1001B 'also':1111B,1145B,1323B 'alway':555B,1892B,1937B 'amaz':2431B 'andi':1A,8B,37B,42B,182B,602B,893B,1236B,1764B,2163B,2605B 'andicrist.com':2604B 'anoth':1112B,1292B,1303B,1468B,2083B 'anyth':1697B,2588B 'argument':1041B 'around':859B,1713B 'art':4A,75B,84B,101B,145B,161B,209B,238B,241B,273B,366B,385B,464B,465B,618B,821B,845B,860B,971B,1217B,1235B,1309B,1692B,1714B,1738B,1788B,1849B,1899B 'artist':126B,181B,258B,270B,48
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1B 'sorri':913B,2177B 'sort':1731B 'south':231B 'southern':344B,358B 'space':670B,707B,783B,1206B,1739B,2241B,2278B,2531B 'spar':1712B 'squar':655B 'start':663B,687B,723B,841B,2230B,2436B 'step':1990B,1992B 'step-by-step':1989B 'still':316B,1841B,2219B 'stonewar':13B,2610B 'storefront':651B,2202B 'straddl':778B 'stream':2033B 'stream-of-consci':2032B 'stripe':1422B 'structur':1404B,1458B,1808B 'student':519B 'studi':99B 'studio':2199B,2324B 'stuff':2307B 'style':1433B 'subject':747B 'subscrib':36B 'success':1301B 'suffer':2136B 'summer':2204B 'super':205B 'support':1403B,1457B,1874B,1880B,2432B 'surfac':1101B 'surround':256B,1513B 'sweep':1040B 'swift':1057B 'system':2433B 'take':1154B,2592B 'talk':1572B,2057B 'tapestri':1600B 'taught':1229B 'teach':129B,283B,513B,2284B 'teacher':274B 'technolog':134B 'thank':2182B 'theater':566B 'theme':1260B 'thing':428B,999B,1091B,1182B,1202B,1318B,1361B,1414B,1983B,2281B,2366B,2573B 'think':153B,525B,612B,985B,1233B,1678B,2000B,2009B,2078B,2522B,2562B 'thought':889B,941B,1029B,1776B 'throw':2460B 'tickl':1720B 'time':61B,661B,1095B,1499B,1945B,1958B,2098B,2377B 'titl':900B,932B,1971B 'togeth':1904B 'tool':680B 'top':1435B 'total':1719B,2161B,2477B 'touch':835B 'tragedi':2483B 'train':276B,1027B 'traumat':2426B 'travers':1553B,1670B 'tri':294B,423B,436B,2280B 'tumultu':2194B 'turn':1409B,1596B 'type':377B,383B,719B,863B 'uic':1384B 'understand':1079B,1207B,1216B 'univers':113B 'unusu':706B 'use':677B,1778B,2167B 'utilitarian':1684B,1736B 'valu':158B,946B,1252B 'vari':16B,365B,2613B 'varieti':506B 've':554B,1341B,1936B,2147B,2272B 'view':178B 'visual':100B 'voraci':573B 'walk':1612B,1646B,1666B 'wall':1594B,1758B 'want':849B,1354B,1366B,1463B,1548B,1560B,1588B,1603B,1832B,2055B,2309B,2335B,2388B,2512B,2558B,2565B 'warehous':1313B 'warm':45B 'warn':896B 'way':543B,1058B,1113B,1213B,1815B,1847B,1884B,1920B,2051B,2084B 'websit':1962B 'weird':1925B,2305B 'west':653B 'whatev':2552B 'window':2265B 'without':1068B 'woodwork':121B,368B,396B 'wool':1475B 'work':142B,269B,285B,496B,557B,569B,592B,633B,703B,721B,727B,740B,768B,772B,852B,949B,996B,1084B,1142B,1242B,1328B,1485B,1580B,1618B,1876B,1903B,2109B,2214B 'workplac':1248B 'workshop':2540B 'world':162B,765B,822B,875B 'worst':679B 'worth':2343B 'would':1224B,1819B,1967B,1975B,1986B,2030B,2046B,2053B 'wow':1792B 'write':1901B,1942B,1953B,1987B,2080B 'writer':1895B,1914B 'wrote':86B 'yeah':199B 'year':225B,325B,339B,453B,2143B,2195B,2238B 'yes':2404B,2413B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788961816/q8i9yimdkrhqptwlczmp.jpg","editor_pick":true,"category_name":"Interviews"},{"id":13768,"title":"CGN Collecting 102","excerpt":"","body":"\u003ch3\u003e\u003cstrong\u003eBuilding a collection that reflects you\u003c/strong\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eCGN’s Spring/Summer 2026 issue featured\u0026nbsp;\u003c/em\u003e\u003ca href=\"https://www.chicagogallerynews.com/articles/cgn-collecting-101\" rel=\"noopener noreferrer\" style=\"color: rgb(136, 136, 136);\" target=\"_blank\"\u003e\u003cem\u003eCollecting 101\u003c/em\u003e\u003c/a\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003e, and now we are pleased to continue sharing some tips and advice about starting and building an art collection that is one you want to take care of and nurture because it is a reflection of your own passions and tastes.\u0026nbsp;\u003c/em\u003e\u003c/h3\u003e\u003ch3\u003e\u003cbr\u003e\u003c/h3\u003e\u003ch3\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eWe’re also sharing a few words of wisdom from collectors we have profiled over the years.\u0026nbsp;\u003c/em\u003e\u003c/h3\u003e\u003ch3\u003e\u003cbr\u003e\u003c/h3\u003e\u003ch3\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eOur most recent profile of collectors Macol and José Cerda in our fall issue features a collection built over many years and which is a very personal reflection of taste that has evolved through generations.\u0026nbsp;\u003c/em\u003e\u003c/h3\u003e\u003ch3\u003e\u003cbr\u003e\u003c/h3\u003e\u003ch3\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003e– CGN\u003c/em\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789134190/zx31f0fxjcpzheouaue1.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eCGN has interviewed dozens of art collectors over the years. Some images from collections are pictured above: Top left: William Lieberman; top right: Christopher Craft; Lower right: Michelle Edwards; Lower left: Melissa Weber and Jay Dandy. \u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3 class=\"ql-indent-1\"\u003e\u003cstrong\u003e\u003cem\u003eCollector Wisdom:\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/h3\u003e\u003cp class=\"ql-indent-1\"\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-indent-1\"\u003e“Don’t buy anything for six months. If you’re really into art, start by going to as many gallery and museum exhibitions as you can. See what curators are interested in...See what artists and dealers are excited about. You need to learn as much as possible and develop your own taste.”\u003c/p\u003e\u003cp class=\"ql-indent-1\"\u003e\u003cstrong\u003e\u003cem\u003e– Zach Smith, CGN 2023\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"ql-indent-1\"\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-indent-1\"\u003e“It is always a thrill when a piece by an artist in\u0026nbsp;our collection is borrowed for a major exhibition... Attending the openings is enormously gratifying\u0026nbsp;and is a great way to meet other curators, collectors, and arts patrons from around the country.”\u0026nbsp;\u003c/p\u003e\u003cp class=\"ql-indent-1\"\u003e\u003cstrong\u003e\u003cem\u003e– Michael Robertson and Christopher Slapak,\u0026nbsp;CGN 2025\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"ql-indent-1\"\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch4\u003e\u003cstrong\u003e1. Don’t Be Afraid to Let Your Collection Evolve\u003c/strong\u003e\u003c/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eYour first purchases don’t have to define your collection forever. As you visit more exhibitions and meet more artists, your tastes will naturally grow and change.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSome collectors keep their early purchases as a reminder of where they started, while others may resell or pass certain works of art on to new owners in order to clarify a new focu
1s or simply to make wall space.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch4\u003e\u003cstrong\u003e2. Buy with Intention\u003c/strong\u003e\u003c/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eInstead of asking, “Does this match what I already own?” ask, “Does this add something new?” Great collections are built through curiosity, not perfection. This isn’t to say impulse purchases are bad, since sometimes you just have to buy what you love and make it work. That’s the heart of a personal collection, but serious collectors tend to want to enrich a body of work by filling in gaps or deepening the range of art by a particular artist.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch4\u003e\u003cstrong\u003e3. There’s No Right Way to Collect\u003c/strong\u003e\u003c/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eSome collectors focus on one artist. Others collect across mediums or themes. The best collections reflect the people who build them. Buying art comes with a lot of information. It’s OK to filter the noise and just look, listen and decide for yourself.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch4\u003e\u003cstrong\u003e4. Build Relationships\u003c/strong\u003e\u003c/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eCollectors don’t just collect art—they become part of an arts community. Get to know galleries, attend openings, ask questions, and stay connected with artists whose work resonates with you. Touring galleries and exhibitions with fellow collectors is collegial, not competitive. A social life connected to art undoubtedly makes engagement with the art market more fun and more personal, as you get to know the artists working today while also making friends with other collectors as well as gallery owners and curators.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFall is an ideal time to attend benefits and art walks that put you in social settings around art while also supporting institutions that need resources and an engaged audience.\u0026nbsp;\u003ca href=\"https://www.chicagogallerynews.com/events?filter=upcoming\u0026amp;page=1\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eCGN’s calendar\u003c/a\u003e offers a lineup of the season’s most fun events.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch4\u003e\u003cstrong\u003e5. Practice Self-Care for Your Collection\u003c/strong\u003e\u003c/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eKeep records of your purchases, frame works properly, avoid direct sunlight, and don’t hesitate to ask galleries for advice about installation and conservation. Once you have purchased a work of art, treat it well so it can live a long life. Light, water and temperature can each wreak a lot of havoc on delicate works of art.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e","published_at":"2026-09-10 00:30:00","state":"published","slug":"cgn-collecting-102","type":null,"meta_description":"A short guide to art collecting from CGN, fall 2026","text":null,"created_at":"2026-09-11 13:43:11.41","updated_at":"2026-09-11 13:43:11.41","category_id":4,"highlighted":false,"searchable":"'1':257B '101':17B '102':3A '2':334B '2023':206B '2025':256B '2026':13B '3':419B '4':471B '5':600B 'across':435B 'add':351B 'advic':29B,627B 'afraid':261B 'alreadi':346B 'also':61B,544B,577B 'alway':209B 'anyth':153B 'around':247B,574B 'art':35B,117B,162B,244B,316B,414B,449B,479B,485B,521B,527B,566B,575B,639B,665B 'artist':184B,217B,286B,418B,432B,499B,540B 'ask':340B,348B,493B,624B 'attend':227B,491B,563B 'audienc':586B 'avoid':616B 'bad':370B 'becom':481B 'benefit':564B 'best':440B 'bodi':402B 'borrow':222B 'build':4B,33B,446B,472B 'built':93B,357B 'buy':152B,335B,377B,448B 'calendar':589B 'care':44B,604B 'cerda':85B 'certain':313B 'cgn':1A,10B,111B,112B,205B,255B,587B 'chang':293B 'christoph':135B,253B 'clarifi':324B 'collect':2A,6B,16B,36B,92B,125B,220B,265B,276B,355B,392B,426B,434B,441B,478B,607B 'collector':69B,81B,118B,148B,242B,295B,395B,428B,474B,511B,549B 'collegi':513B 'come':450B 'communiti':486B 'competit':515B 'connect':497B,519B 'conserv':631B 'continu':24B 'countri':249B 'craft':136B 'curat':178B,241B,556B 'curios':359B 'dandi':147B 'dealer':186B 'decid':468B 'deepen':410B 'defin':274B 'delic':662B 'develop':199B 'direct':617B 'dozen':115B 'earli':298B 'edward':140B 'engag':524B,585B 'enorm':231B 'enrich':400B 'event':599B 'evolv':108B,266B 'excit':188B 'exhibit':172B,226B,282B,508B 'fall':88B,557B 'featur':15B,90B 'fellow':510B 'fill':406B 'filter':460B 'first':268B 'focus':327B,429B 'forev':277B 'frame':613B 'friend':546B 'fun':530B,598B 'galleri':169B,490B,506B,553B,625B 'gap':408B 'generat':110B 'get':487B,536B 'go':165B 'gratifi':232B 'great':236B,354B 'grow':291B 'havoc':660B 'heart':388B 'hesit':622B 'ideal':560B 'imag':123B 'impuls':367B 'inform':455B 'instal':629B 'instead':338B 'institut':579B 'intent':337B 'interest':180B 'interview':114B 'isn':363B 'issu':14B,89B 'jay':146B 'josé':84B 'keep':296B,608B 'know':489B,538B 'learn':193B 'left':130B,142B 'let':263B 'lieberman':132B 'life':518B,649B 'light':650B 'lineup':592B 'listen':466B 'live':646B 'long':648B 'look':465B 'lot':453B,658B 'love':380B 'lower':137B,141B 'macol':82B 'major':225B 'make':331B,382B,523B,545B 'mani':95B,168B 'market':528B 'match':343B 'may':309B 'medium':436B 'meet':239B,284B 'melissa':143B 'michael':250B 'michell':139B 'month':156B 'much':195B 'museum':171B 'natur':290B 'need':191B,581B 'new':319B,326B,353B 'nois':462B 'nurtur':47B 'offer':590B 'ok':458B 'one':39B,431B 'open':229B,492B 'order':322B 'other':308B,433B 'owner':320B,554B 'part':482B 'particular':417B 'pass':312B 'passion':56B 'patron':245B 'peopl':444B 'perfect':361B 'person':102B,391B,533B 'pictur':127B 'piec':214B 'pleas':22B 'possibl':197B 'practic':601B 'profil':72B,79B 'proper':615B 'purchas':269B,299B,368B,612B,635B 'put':569B 'question':494B 'rang':412B 're':60B,159B 'realli':160B 're
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We spoke\u0026nbsp;with five insiders about what excites them now\u0026nbsp;and what they anticipate next.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe following preview is one of five conversations that appear in CGN's Fall 2026 magazine. To receive a copy of the print edition\u0026nbsp;\u003c/em\u003e\u003ca href=\"https://835ba3.myshopify.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eclick here.\u0026nbsp;\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789516769/izokunnmrufdyjbjnypk.jpg\"\u003e\u003c/p\u003e\u003ch4\u003e\u003cem\u003eDebra Kerr –\u0026nbsp;\u003c/em\u003e\u003c/h4\u003e\u003ch4\u003e\u003cem\u003eCEO, Intuit Art Museum\u003c/em\u003e\u003c/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“Intuit Art Museum’s renovated, expanded spaces give audiences the chance to connect with art through daily art-making, third Thursday Art After Work, group Slow Looks designed to provide a mindful experience with a single work and upcoming conversations with sculptor Bill Brady (Oct. 3) and Dr. Mary Trent (Oct. 15), who curated our current exhibition on the role of scrapbook-making in Henry Darger’s art.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOn view is the thought-provoking \u003cem\u003eMonumental: The Sculpture of Dr. Charles Smith\u003c/em\u003e, which encourages guests to consider the lack of historical representation of African Americans and Black people in America. Dr. Smith’s memorials champion Black history and stories of everyday life he sees missing in mainstream narratives.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThis fall we’re opening an exhibition of paintings by Karla Wong, an artist who immigrated from Oaxaca and who explores themes of life and death, gender identity and self-discovery.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://art.org\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eIntuit Art Museum\u003c/a\u003e\u003c/p\u003e","published_at":"2026-09-09 00:30:00","state":"published","slug":"anticipating-a-season-of-art-five-to-talk-to-debra-kerr","type":null,"meta_description":"","text":null,"created_at":"2026-09-15 23:59:29.662","updated_at":"2026-09-15 23:59:29.662","category_id":3,"highlighted":false,"searchable":"'15':146B '202
16':76B '3':140B 'across':19B 'african':189B 'america':195B 'american':190B 'anticip':1A,60B 'appear':71B 'art':5A,92B,95B,108B,112B,116B,163B,247B 'art-mak':111B 'artist':39B,227B 'audienc':102B 'behind':26B 'bill':137B 'black':192B,201B 'bradi':138B 'bring':41B 'ceo':90B 'cgn':73B 'champion':200B 'chanc':104B 'charl':176B 'click':86B 'communiti':33B 'connect':106B 'consid':182B 'convers':69B,134B 'copi':81B 'curat':148B 'current':150B 'daili':110B 'darger':161B 'death':239B 'debra':10A,88B 'design':122B 'discoveri':245B 'dr':142B,175B,196B 'edit':85B 'encourag':179B 'everyday':206B 'excit':54B 'exhibit':18B,151B,220B 'expand':99B 'experi':127B 'explor':234B 'fall':12B,75B,215B 'five':6A,50B,68B 'follow':63B 'fresh':42B 'full':15B 'galleri':20B 'gender':240B 'give':101B 'group':119B 'guest':180B 'henri':160B 'histor':186B 'histori':202B 'ident':241B 'immigr':229B 'insid':51B 'intuit':91B,94B,246B 'karla':224B 'kerr':11A,89B 'lack':184B 'life':207B,237B 'look':121B 'magazin':77B 'mainstream':212B 'make':113B,158B 'mani':29B 'mari':143B 'memori':199B 'midwest':25B 'mind':126B 'miss':210B 'monument':171B 'museum':22B,93B,96B,248B 'narrat':213B 'next':61B 'oaxaca':231B 'oct':139B,145B 'offer':13B 'one':66B 'open':218B 'paint':222B 'peopl':30B,193B 'perspect':43B 'preview':64B 'print':84B 'provid':124B 'provok':170B 'public':46B 're':217B 'receiv':79B 'renov':98B 'represent':187B 'role':154B 'scene':28B 'scrapbook':157B 'scrapbook-mak':156B 'sculptor':136B 'sculptur':173B 'season':3A 'see':209B 'self':244B 'self-discoveri':243B 'singl':130B 'slate':16B 'slow':120B 'smith':177B,197B 'space':100B 'spoke':48B 'stori':204B 'support':38B 'talk':8A 'theme':235B 'third':114B 'thought':169B 'thought-provok':168B 'throughout':23B 'thursday':115B 'tireless':36B 'trent':144B 'upcom':133B 'view':165B 'wong':225B 'work':35B,118B,131B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788406120/wgkj5rkg0rq42watsxad.jpg","editor_pick":true,"category_name":"Interviews"},{"id":13769,"title":"Road to the Farthest Room: Elizabeth Lalley + Dan Devening Collaborate","excerpt":"","body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961898/skkuau3by2vcm5kzmgkx.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eJobe Gemmell-Hughes, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eTowards Passage\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, 2026, oil on canvas, 10” x 15”\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThis interview is part of CGN's Fall 2026 issue.\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003ca href=\"https://chicagogallerynews.myshopify.com/\" rel=\"noopener noreferrer\" style=\"color: rgb(51, 51, 51);\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003ePurchase a copy or subscribe.\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy Curtis Anthony Bozif\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eUpon learning that Dan Devening and Elizabeth Lalley\u0026nbsp;would be co-curating a three-person exhibition at Devening Projects this fall, and that the show would explore inwardness, privacy, and the domestic, I was eager to find out more and get both of their thoughts on curation and collaboration, as well as to hear from Lalley about what it’s been like to return to the art world after stepping away from it for a while.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCurtis Anthony Bozif: Dan and Elizabeth, can you tell me what the impetus for this exhibition was and how it came together? Dan, can you talk specifically about your decision to collaborate with another curator?\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDan Devening:\u003c/strong\u003e For the opening exhibition of our fall 2026 season at Devening Projects, I had planned a solo show of recent paintings by Jobe Gemmell-Hughes, a young artist recently graduated with his BFA from SAIC. His paintings from this year seem acutely relevant to our times: dark, impressionistic, densely textured canvases that seem preoccupied with trying to capture a delicate balance between apprehension and euphoria. These paintings really resonate with me, more so because so much of what they express comes through his touch and sensitivity to his medium. I looked forward to debuting this work but had not yet considered an artist with whom to pair him.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWith two spaces in the gallery, I typically feature a pair of solo projects for each show. I had recently connected again with Elizabeth, as she and her husband Billy James Joyce moved into a studio space in the same building as the gallery. Elizabeth was talking about how she was looking forward to relaunching Slow Dance Projects now that she had returned to Chicago after living in Michigan for a year. I always loved Elizabeth’s curation at Slow Dance, particularly her focus on strong emerging artists. We’re also both deeply committed to the material integrity of the work. In her shows at Slow Dance it was the delicate atmospheres evident in the paintings of Noelle Africh as well as the visceral and primordial sculpture of Travis Morehead. I knew she would have a particularly interesting way to build a show with Jobe’s paintings as a starting point.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWith my invitation to contribute ideas to how this show might evolve, we agreed that co-curating \u003cem\u003eRoad to the Farthest Room\u003c/em\u003e would lead to something fantastic. We considered several propositions that resulted in adding the Detroit-based painter Julia Firestone Callis and the Chicago sculptor Ben Driggs to the mix. There were threads in the work of each artist that suggested interiority, domestic spaces and uneasiness. From a curatorial standpoint, we began with the idea that each of the two painters would be showcased in a solo show, one in each of the two galleries. We asked Ben to consider making small installations for both spaces that would reveal something even more mysterious in the paintings of the other artists. Through the witchy, wonderfully ecce
1ntric constructions and castings he makes, we knew Ben would add a layer of depth and mystery to a show already thick with emotional and psychological undercurrents.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961898/gitabcxvgoepbz3i1tj4.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eLeft: Julia Callis, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eA Chair in the room upstairs Pt. 1\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, 2024,\u0026nbsp;Acrylic, colored pencil, on board, 31.5 x 15.5”\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eRight: Julia Callis, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003ePedestrian Equestrian\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, 2026, Acrylic on board,\u0026nbsp;36.75 x 26.6”\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCAB: Elizabeth, your curatorial project, Slow Dance, is currently on hiatus. In different periods of my life, I too have stepped away from the art world, and my return to it, if I’m being honest, hasn’t always been easy. I wonder what this experience has been like for you. Did it clarify anything? How do you think your time away has influenced this exhibition?\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eElizabeth Lalley:\u003c/strong\u003e The hiatus was really a hiatus from urban life, to which the art world was sort of inextricably linked. We moved to rural Michigan for a year, a bit impulsively, after fantasizing about it for a while. I think I was in a place, in terms of my relationship with the art world, where I was just moving through things a little robotically. I wasn’t seeking things out or exploring or being driven by my own curiosity the way I had been before. I was feeling too impressionable, feeling in a little bit of an echo chamber, and I was working at SAIC in Graduate Admissions, so I was also tired from juggling a creative practice and an intense arts administrator role.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAs soon as we moved, we found out we were having a baby, so that intensified the hiatus too. We were living with so much space around us—big skies, fields—and I spent a lot of time writing and just remembering my influences, the things I return to, the art I love. We came back to Chicago when our son was 3 months old and I felt immense renewed excitement and love for the city and the art scene here.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eI’ve respected Dan and his program for a long time, and the opportunity for this show had me spending a lot of time thinking about who I would want to work with, after this break from curation and after such a personal shift.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJulia is someone whose work I looked at a lot over the past few years, and there’s a deeply personal resonance I feel with her practice, in terms of connection to Detroit, love for food and for home. And Ben, who is also a dear friend of mine and my husband’s, is one of the most creative, incredible makers I know and he doesn’t operate in a traditional gallery context. So there was also a vulnerability in inviting him to be part of this that felt very real and true to me, especially when feeling a vulnerability myself of coming back to something as a new mother, which can be such an isolating time. I feel more invested in developing true relationships and making things without affect or pretense than ever before.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961899/mrcyq3urjxkrl27y2sy6.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eLeft: Ben Driggs, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eCell Cage\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);
1\"\u003e, 2026, steel, wood, cloth, 8 x 7 x 13”. \u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eRight: Ben Driggs, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eBath Light\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, 2026, copper, 41 x 16 x 16”\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCAB: Could you tell me a little bit more about each of the artists and their practices? Dan has already alluded to how their work might suggest “interiority, domestic spaces and uneasiness.” What other ideas, states of mind, or feelings do you hope to explore or elicit in this exhibition?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDD:\u0026nbsp;\u003c/strong\u003e As I said, Jobe’s paintings reflect a young painter’s desire to tease out the emotional and psychological states of searching and discovery through the process of making. It’s as if he’s mapping the inside of his own mind, looking closely at the circuits and neurons that interconnect to form what then reads as physical space. To me, his paintings suggest landscape, but rarely does a horizon appear. Instead, what he conjures are expansive chambers that feel both vast and claustrophobic—environments with so much surface activation that the air itself feels close, the space encroaching. That pressure could only come through the patient accumulation of his surfaces. Mark by mark, pigment layered and scraped onto an already heavily worked canvas.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWe love how Ben’s work suggests a different kind of intense focus—that of a hermetic tinkerer who takes what material is most readily available and breathes life into it with delicate craftsmanship and delightful whimsy. Everything is functional. Everything has specific domestic use. The work is clearly sculpture, but as Ben says, each object has a specific place in his home and functions with purpose. Although often highly peculiar, each sculpture has a reference and use that becomes more apparent as the work is experienced.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEL: \u003c/strong\u003eAnd to echo this, there’s something about the intense specificity of Ben’s pieces that I think makes them even more mysterious, as they’re sort of “unhomed” and brought into the gallery. It makes me think a little about how, when you isolate a single word and poke at it, it can expand and expand the more you look at and investigate it. Ben is so deeply focused in his making, yet so expansive—he seems to hold so much at once. He’s also deeply invested and interested in outsider artists and artists’ homes and art environments. He and his wife, Ash, are intensely curious about the way people live with objects and put objects into the world. Something he said recently to me was that Ash showed him a picture of a door Ruth Asawa carved from redwood for her home in San Francisco, and how Ben was more drawn to it than to any of her better-known artworks. This interest in the sort of “non-professional” parts of an artist’s life—the parts that don’t seem to fit a prescribed space or arch—are important to Ben.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDD: \u003c/strong\u003eFor me, Julia’s paintings have a surreal lightness that’s less present in the work of the other two artists. Her paintings are graceful and open—there’s room to move, room to breathe. That sense comes through in how her characters seem to freely populate the work: they float and hover, not always in control of their own trajectory, but clearly active, buoyant, alive. That lightness carries through in her palette too, which ranges from colors grounded in nature to more richly saturated hues, bringing a wonderfully joyful energy to the work. Her paintings are important to this project because they offer a lyricism and cadence less present in the other two artists’ work.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eTogether, these three artists reveal how each might dig deep into their own inner states to tune into the frequency the times demand.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961900/b5toe9klgcf2ut3bdntf.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eJobe Gemmell–Hughes, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eGulf\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e, 2026, oil on canvas, 74 x 46”\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCAB: Collaboration of any kind involves giving up some control and putting your trust in the people you work with. I’m thinking of your collaboration as co-curators, but I’m also thinking about how you’re working with artists, much of whose work I understand is still in progress. What is it like for both of you, giving up some control and trusting each other and your artists?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDD:\u003c/strong\u003e From my experience running a gallery, collaboration has always offered more opportunities for positive gain than any real loss of control. Working with other curators and artists on projects and shows lets my ideas expand beyond my own limitations. There are always new angles from which to see a concept; I rely on my collaborators and co-curators to lead me in unexpected directions that make a show better, more rigorous, and more interesting.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThis is especially true when working with artists showing at the gallery. When I begin working on an exhibition, I know the artist will already have ideas about what they’d like to show and how. My role is to offer thoughts on how that vision can be realized within the spaces of the gallery—that’s where I think my contributions are most useful. I know the possibilities and limitations of the rooms, how full or empty a show should feel based on the work, and how visitors tend to move through and around the installations. I share that with the artists, and together we arrive at a strategy that most successfully and accurately reflects their intent.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFor this show, we’re in close contact with the artists as they fine-tune the work they’d like to feature in their installations. In most cases, we’ll have more work than we can show, which allows for flexibility and gives real collaboration room to happen. Each of the three artists, along with Elizabeth and I, will spend a good amount of time with the work in the galleries. For me, this is a chance to get to know the artists and their most recent work better—which is the greatest pleasure of collaborating: meeting the artists and growing closer to both them and their work.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEL: \u003c/strong\u003eI love collaboration. Sometimes I forget how much I love it until I’m working on something with others, and then I realize how much I miss it when I’m working in solitude. Being together with artists in a space, watching how the space and the work are responding to each other, all of that is, to me, the very best part of the process. There can be real surprises, and the different perspectives that everyone brings make the space and the work feel really alive. Working on this with Dan as a co-curator has been such a wonderful opportunity for me because I have such respect for his program. He has an exquisite and incisive eye, and his tastes feel varied while also running deep and feeling very honest.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eRoad to the Farthest Room \u003c/em\u003eis a three-person exhibition featuring the work of Julia Callis, Ben Driggs and Jobe Gemmell–Hughes, co-curated by\u0026nbsp;Elizabeth Lalley and Dan Devening\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://deveningprojects.com\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003eDevening Projects\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eSeptember 13–October 24, 2026\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eReception September 13, 3 – 5 pm\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e3039 W. Carroll\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eChicago, IL 60612\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e#\u003c/em\u003e\u003c/p\u003e","published_at":"2026-09-08 00:30:00","state":"published","slug":"road-to-the-farthest-room-elizabeth-lalley-dan-devening-collaborate","type":null,"meta_description":"","text":null,"created_at":"2026-09-09 13:51:40.511","updated_at":"2026-09-09 13:51:40.511","category_id":4,"highlighted":false,"searchable":"'1':582B '10':21B '13':1068B,2235B,2241B '15':23B '15.5':591B '16':1078B,1080B '2024':583B '2026':17B,32B,165B,597B,1060B,1074B,1685B,2238B '24':2237B '26.6':603B '3':857B,2242B '3039':2245B '31.5':589B '3
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We spoke\u0026nbsp;with five insiders about what excites them now\u0026nbsp;and what they anticipate next.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe following preview is one of five conversations that appear in CGN's Fall 2026 magazine. To receive a copy of the print edition\u0026nbsp;\u003c/em\u003e\u003ca href=\"https://835ba3.myshopify.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eclick here.\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788406185/ufuadbvbeybjwsvzr4qz.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003ePhoto by Travis Roozée\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch4\u003e\u003cem\u003eWilliam Gross –\u0026nbsp;\u003c/em\u003e\u003c/h4\u003e\u003ch4\u003e\u003cem\u003e65GRAND\u003c/em\u003e\u003c/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“Ever since my school days, I’ve looked forward to fall—a season of reconnecting with friends, embarking on new adventures, and sharing an enthusiasm for art. In that spirit, I’m excited to announce our fall lineup at 65GRAND.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe gallery presents solo exhibitions by William Staples, Holly Murkerson and Shane Huffman. Staples debuts paintings that both reflect and incorporate materials from the landscape surrounding his home along the Esopus Creek in the Catskills, exploring formal conventions of painting while challenging how we perceive pictorial space. Murkerson makes photographic work that seeks to visualize embodiment and the porousness between body and environment, grounded in the materiality (liquid, mineral, animal, light), apparatuses (eye, room, womb, chamber) and slow metabolism of analog photography. Huffman continues ‘swimming to the moon,’ investigating the unified phenomena of “lightmotionspace” through photographic experiments at the intersection of lab work and alchemical sorcery.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWe have also extended Jenal Dolson’s installation, \u003cem\u003eInterrobang\u003c/em\u003e, which inaugurated our project space.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWe look forward to welcoming you for artist talks and special events at the gallery this 
1season!”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.65grand.com\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e65GRAND\u003c/a\u003e\u003c/p\u003e","published_at":"2026-09-07 00:30:00","state":"published","slug":"anticipating-a-season-of-art-five-to-talk-to-william-gross","type":null,"meta_description":"","text":null,"created_at":"2026-09-03 03:29:46.054","updated_at":"2026-09-03 03:29:46.054","category_id":3,"highlighted":false,"searchable":"'2026':76B '65grand':94B,134B,272B 'across':19B 'adventur':115B 'alchem':239B 'along':163B 'also':243B 'analog':215B 'anim':204B 'announc':129B 'anticip':1A,60B 'apparatus':206B 'appear':71B 'art':5A,121B 'artist':39B,262B 'behind':26B 'bodi':195B 'bring':41B 'catskil':169B 'cgn':73B 'challeng':176B 'chamber':210B 'click':86B 'communiti':33B 'continu':218B 'convent':172B 'convers':69B 'copi':81B 'creek':166B 'day':99B 'debut':149B 'dolson':246B 'edit':85B 'embark':112B 'embodi':190B 'enthusiasm':119B 'environ':197B 'esopus':165B 'event':266B 'ever':95B 'excit':54B,127B 'exhibit':18B,139B 'experi':231B 'explor':170B 'extend':244B 'eye':207B 'fall':12B,75B,105B,131B 'five':6A,50B,68B 'follow':63B 'formal':171B 'forward':103B,257B 'fresh':42B 'friend':111B 'full':15B 'galleri':20B,136B,269B 'gross':11A,93B 'ground':198B 'holli':143B 'home':162B 'huffman':147B,217B 'inaugur':251B 'incorpor':155B 'insid':51B 'instal':248B 'interrobang':249B 'intersect':234B 'investig':223B 'jenal':245B 'lab':236B 'landscap':159B 'light':205B 'lightmotionspac':228B 'lineup':132B 'liquid':202B 'look':102B,256B 'm':126B 'magazin':77B 'make':183B 'mani':29B 'materi':156B,201B 'metabol':213B 'midwest':25B 'miner':203B 'moon':222B 'murkerson':144B,182B 'museum':22B 'new':114B 'next':61B 'offer':13B 'one':66B 'paint':150B,174B 'peopl':30B 'perceiv':179B 'perspect':43B 'phenomena':226B 'photo':88B 'photograph':184B,230B 'photographi':216B 'pictori':180B 'porous':193B 'present':137B 'preview':64B 'print':84B 'project':253B 'public':46B 'receiv':79B 'reconnect':109B 'reflect':153B 'room':208B 'roozé':91B 'scene':28B 'school':98B 'season':3A,107B,271B 'seek':187B 'shane':146B 'share':117B 'sinc':96B 'slate':16B 'slow':212B 'solo':138B 'sorceri':240B 'space':181B,254B 'special':265B 'spirit':124B 'spoke':48B 'stapl':142B,148B 'support':38B 'surround':160B 'swim':219B 'talk':8A,263B 'throughout':23B 'tireless':36B 'travi':90B 'unifi':225B 've':101B 'visual':189B 'welcom':259B 'william':10A,92B,141B 'womb':209B 'work':35B,185B,237B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788405816/jwjcnjmc66cc8oznnyq0.jpg","editor_pick":true,"category_name":"Interviews"},{"id":13896,"title":"A Family Home for Stories: Collectors Macol and José Cerda","excerpt":"","body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961429/hamcrcrirmt5aatz7khw.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eJosé and Macol Cerda in front of a sculptural work by Edra Soto. Over José’s shoulder are two works by Jason Lazarus.\u0026nbsp;Macol is wearing a dress by Maria Pinto.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThis interview is part of CGN's Fall 2026 issue.\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003ca href=\"https://chicagogallerynews.myshopify.com/\" rel=\"noopener noreferrer\" style=\"color: rgb(51, 51, 51);\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003ePurchase a copy or subscribe.\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy GINNY VAN ALYEA\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJosé and Macol Cerda’s home sits in a historic section of Jackson Blvd. in Chicago. From the street it gives the impression of a lovely older house, offering warm, inviting light and a respite from the beginning of a rainstorm. Inside the art collection that the couple has built together is as much a part of their home as the stained glass windows and historic fixtures. Theirs is a home that tells a generational story of a family’s life shaped by curiosity, history and hospital
1ity.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOn a quiet stretch of the city, in an otherwise busy confluence of neighborhoods, the Cerdas’ 1880s house sits among a row of remarkably preserved historic homes—a reminder of a formative chapter in Chicago’s history. It’s the kind of block that surprises even longtime Chicagoans. Tucked just beyond the bustle of downtown and near a congested medical district, the home’s brick facade is almost hidden behind a low iron gate and mature trees unfurling into full summer. It’s a home that has yet to give any clues about what’s inside.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAfter I am cheerfully greeted by Macol and José, looking around their front hall I observe a large-scale modern painting, antique furniture, works on paper featuring embroidery, and at the base of an historic staircase that centers the first floor, an imposing sculpture by Rodrigo Ímaz, \u003cem\u003eBlueticue\u003c/em\u003e, a combination of Blue Demon, a well-known Mexican wrestler, and Coatlicue, the Aztec earth goddess. In the adjacent living room, it takes me a minute to register the mix. Among the paintings, art books and glittering objects are vintage family photographs and portraits spanning generations, comfortably sitting in conversation with works by established and emerging contemporary artists. Furniture inherited from relatives from Texas shares space with recognizable acquisitions from Chicago galleries and international art fairs. Expertly wrought artwork by the couple’s creative children hangs naturally alongside museum-exhibited artists. Nothing feels staged, yet everything feels intentionally layered over many years.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAsk José or Macol about almost anything—a painting, a table, a ceramic vessel, an old photograph—and the answer doesn’t dwell on where they bought it. Instead, it begins with a story about a connection with a person – a family member, artist, fellow collector or house guest who shared a work of art as well as imparted a memory.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961431/wjieu3wro0khvn9zjwbd.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eThe Cerdas’ living room features contemporary art by many artists from Chicago as well as many family heirlooms and antiques. All photos by CGN.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAlthough José grew up in Chicago and Macol spent her childhood between Texas and New York, the city they now call home wasn’t always part of the plan. After college and graduate school, both built their early professional lives in Washington, D.C., where they met, married and began imagining what they wanted their future to look like.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThey considered leaving Washington to return to José’s hometown, and they made an unusual list—not of neighborhoods, but of community qualities. They wanted an old house with character, enough room to eventually raise a family, and to be close to downtown while still feeling part of a neighborhood. Living in Georgetown had taught them the pleasures of historic architecture, but also its limitations. Their charming row house in D.C. offered aesthetic benefits along with very little space for living, let alone art.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eChicago, they hoped, might offer both.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“We fell in love with the block,” José recalls. They moved into the house in December 2004, believing they had found the setting where they would build the next chapter of their lives. What they couldn’t have predicted was how closely the house itself would shape their approach to collecting.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMacol’s mother began sending family furniture, paintings and heirlooms, some of which had been waiting in storage for years. A truck arrived filled with pieces carrying decades of family history. Rather than furnishing the house with newly purchased furniture, the Cerdas began 
1surrounding themselves with objects that already held meaning.\u003c/p\u003e\u003cp\u003eAt first, they imagined restoring the interiors much as they might have appeared when the house was built nearly 140 years prior. José, an enthusiastic student of Chicago history, was captivated by the neighborhood’s place in the city’s development. This stretch of the Near West Side, he explains, was once among Chicago’s most desirable residential districts before population shifts and new development transformed the city. Much of that architectural history disappeared over time, making blocks like theirs increasingly rare and all the more surprising to encounter today.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe original plan to update and fill the home was museum-like in its specificity: assemble period furnishings, antique carpets and family heirlooms that would reflect the home’s Victorian origins.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“But once we got doing that,” José says, “we got more interested in art.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961433/htc4q5vjlr04ezvut436.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eA mix of family images blends well with art by artists from Chicago and elsewhere. \u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eInstead of recreating the past for the home, the house became a living document of the present.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWhen I ask whether collecting has always been a shared pursuit, both José and Macol answer without hesitation. While each may respond differently to a particular work, the decisions have always been collaborative.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“We research the works and the artists,” Macol explains. “We have many works from artists that we know, either here in Chicago or elsewhere, but we make the decisions on our collecting together.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAs their collection has grown over the past two decades, so has their family. Their two daughters have grown up surrounded by artists, gallery exhibitions, museum visits and art fairs. Not surprisingly, they have begun contributing their own opinions as well.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“There are some pieces we’ve purchased because the girls like them. They’re family purchases. We’ve dragged them to galleries and art shows for all of their lives,” José says with a laugh.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMacol adds that both children have developed an appreciation for creativity in their own way, with their oldest daughter especially interested in making art herself. “She won the visual arts award at her high school,” José says. “She’s really into process and creation.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eLooking around the house, that appreciation seems almost inevitable, considering each room offers another opportunity to stop, ask a question and hear more about a painting, sculpture or a piece of furniture. Before long, our conversation shifts from how Macol and José collect to what makes this collection so personal.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“There’s a story behind everything,” José says.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961434/u2lwtdmqluqj8lhhafsg.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eA 14–foot wide painting by Leonardo Nierman belonged to Macol’s family and was the background for milestones of her youth. The tradition has continued for José and Macol’s daughters. Also pictured is A Fake History of Humanity by Octavio Abúndez from CURRO Gallery in Guadalajara, Mexico.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003ePortraits, sculpture, furniture and decorative objects all carry their own histories, and each has found a place alongside works by contemporary artists. Macol points out a number of objects and images near where we are seated that she says came from her family’s collection.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“My fam
1ily always supported living artists and bought their work,” she explains. “I was really fortunate to grow up around that vibrancy and their interests.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eShe pauses in front of portraits of her father as well as several black-and-white photographs of her mother—pictured in one with singer Dean Martin—who, she says, was once a model and actress who danced in Las Vegas. Pointing out two substantial busts placed on the floor by the fireplace, “They were so heavy they were pulling the mantel down,” she says with a laugh. “We finally replaced my great-great-grandfather with Michelle Grabner’s geometric painting. We always wanted to keep the family portraits with the art, but we had nowhere to put [Michelle’s] painting.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eLooking around the room, it’s striking to see works by José Lerma, Michelle Grabner, Edra Soto and Barbara Kasten – artists José says are from “our Chicago period” – sharing the walls with generations of family portraits and heirlooms.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe same layering extends beyond contemporary art. Architectural fragments, antique light fixtures and even inherited animal mounts from Macol’s parents’ many international travels years ago add texture and interest while inviting closer inspection.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“When we first moved into this house and had so many things from my family,” Macol reflects, “we jokingly referred to it as the Stewart Family Museum. I think now it’s really become the Cerda Family Museum.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“Having those things was our initial grounding,” José says. “It’s not like we decorated it. We have all these things that we’ve accumulated, our kids’ artwork, things her mom and dad bought. That’s how we filled it out. And for most people, that’s life. That’s how you put things together.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eFor the Cerdas, collecting has unfolded much the same way. Rather than setting out to build a collection around a particular movement or medium, they have built it through years of curiosity, friendships and a deep engagement with Chicago’s arts community.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eTheir first purchase together came soon after moving to Chicago.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“Our wedding anniversary always fell around Art Chicago,” Macol says. “It’s where we bought our first piece together.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAnnual visits to the fair soon became part of their routine, while gallery openings, museum exhibitions, artist studios and nonprofit events also began to fill their calendar, introducing them to a growing network of artists and gallerists who would shape the collection over the next two decades.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“The Chicago art scene and its vibrancy are very important to us,” Macol says. “It’s also really important culturally for the city of Chicago, so it’s something we enjoy supporting and are invested in, whether that’s the individual artist and their career, the galleries and their ecosystem, or the various arts groups here.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWhile they have purchased work from galleries across the country and internationally, Chicago galleries remain at the center of their collecting life.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“We’ve spent a lot of time going to different openings, seeing new work, discovering artists we didn’t know about or catching up on artists we’ve been following,” Macol says.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJosé credits much of that approach to his own professional background.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“I used to work in politics and government,” he says. “I am a huge believer that relationships are everything. I think a lot of the fun for us in art has been building relationships with artists, with galleries, with real people.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOne of their newest acquisitions grew directly from one of those relationships. The couple met the owner of Art Latinou in Mexico City, Mexico during her first appearance at EXPO CHICAGO. Before returning to the fair the owner called José and Macol to say she would be back in town so they could meet for dinner. She ended up introducing them to one of the gallery’s artists, Otto Martín Moreno. Another evening together followed, and eventually so did a new work of art, \u003cem\u003eEl Mundo se Construye\u003c/em\u003e.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“The art wasn’t something we planned to buy,” José says. “We bought a piece from the artist because we got to know him as well as his work.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961436/vbv0qf68u4aflt19cwy9.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003ePictured above from top to bottom: Rodrigo Lara Zendejas, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003euntitled\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e;\u0026nbsp;Jeroen Nelemans, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eTo be Crystal Clear – #10\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e; Hung Liu, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);
1\"\u003eRed Wash – Series II\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e;\u0026nbsp;Salomón Huerta, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003euntitled\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e; Jonathan Nesci, \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003e100 Variations Table – #99\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e.\u003c/span\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBoth describe the years before the pandemic as an especially vibrant time for them in Chicago’s art community. Gallery openings overlapped with museum programs, artists gathered after exhibitions, and organizations such as the Renaissance Society, the Society for Contemporary Art and the Chicago Artists Coalition became regular destinations.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“There was a period when we got to know a lot of young artists really well,” José recalls. “We’d socialize with them, spend time together, go to events they were throwing. It wasn’t just buying the work and hanging it. It became this whole group of relationships.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“We worked with galleries in New York and Mexico too,” José says. “But the Chicago galleries really became our mainstays.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMacol reflects on how collecting has a way of feeding itself. “The more you’re in it,” she says, “the more you want to collect. The more people you know, the more you learn, the more you’re exposed to.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJosé points out another example of how a relationship with an artist has stayed with him as he stops beside a large-scale work by Edra Soto.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“This is a piece that Edra had several years ago at El Museo del Barrio in New York,” he says. “It was right before Edra became…Edra.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe Cerdas knew Soto before her work entered their home, when she was documenting Garfield Park through photography. They followed her career as her practice evolved and she gained national recognition.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“Edra was also the one who turned me on to a book about Latinx artists, and that opened up a whole group I became really interested in. I continue to follow Mexican and Cuban artists, since that’s also my background.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAcross the room hangs Michelle Grabner’s quietly geometric canvas, its subtle gingham pattern shifting almost imperceptibly with the changing light. Nearby, José Lerma’s monumental portrait of Antonio de Ulloa y de la Torre-Guiral, the first Spanish governor of Louisiana, commands another wall, its thick impasto layered onto a burlap–covered wooden door contrasting with Grabner’s restrained surface. José first saw the portrait by Lerma at DePaul Art Museum’s \u003cem\u003eLatinXAmerican \u003c/em\u003eexhibition in 2021. “I loved that show. It had work by more than 40 artists, and there were several pieces I was crazy about,” he says. “This particular piece was displayed with three others like it, against a backdrop, on an entire wall of the exhibit.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJosé assumed the work had sold, only to come across it again two years later at Kavi Gupta Gallery in Chicago. “I thought somebody had bought it, and then I saw it again,” he says. “We were able to get it. We love that piece.” The couple was spared the lasting regret of art that got away for good.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eTogether this collection of work by artists well known in Chicago could easily dominate the room, yet they sit comfortably among inherited antiques, family portraits and decorative objects from many places and times that have lived with the family for generations. It is an arrangement that probably shouldn’t work, but somehow does.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eNearby, José points to a photograph by Jason Lazarus, whom they met through Andrew Rafacz’s gallery in Chicago. The work was made after the White House comment line was temporarily shut down during Donald Trump’s first administration. Lazarus incorporated the telep
1hone number, 202-456-1111, into the image by working directly on photographic paper.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“In the show there was a wall of 20 or more of them,” José says. “I wanted to recreate that wall.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eHaving worked in the White House during several administrations, José is drawn to pieces with connections to politics, government and the history of the presidency.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eArt shares nearly every surface in the room. Macol points to a bronze sculpture, \u003cem\u003eComposition Avec Des Lettres\u003c/em\u003e by Boris Zaborov, made from a stack of books and pieces of type. She remembers it as the last work of art she bought without José, many years ago, as a birthday present for him.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAnother playful work is a ceramic vessel by Jeremy Foy, who combines baseball and pottery. Foy would throw clay pots and swiftly arrange them and pitch handmade ceramic baseballs at them so that the ball would break through one side of the vessel and emerge through the other, leaving the action permanently suspended once the clay was fired. Foy’s technique and experimentation appealed to them, as did the idea of freezing a particular instant of force and movement.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“You can still see the lines from the baseball in the pottery,” Macol says.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eTheir own earliest purchases together are more traditional than many of the works they collect now. Two encaustic paintings hang near one another, made by Carmelo Blandino, with whom they have stayed in contact through the years.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“They are different and not necessarily something we would buy today,” Macol says. “But at the time, we were negotiating our tastes and seeing lots of things together. We loved the technique.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJosé points first to the brighter work and then to its darker companion. “We used to say this one, \u003cem\u003eVista di Monticchielo\u003c/em\u003e, is radiant and glorious, like Macol. The other one, \u003cem\u003eUltimo Sospiro in Giallo\u003c/em\u003e, is dark and brooding, like me. They complement each other.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961438/pmirzsx88npczibtmadb.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eMacol’s father purchased their dining room table in Galveston, Texas from a men’s clothing store. A pair of encaustic paintings by Carmelo Blandino hangs above it, one of the couple’s earliest joint purchases. Pictured on the left: \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eVista di Monticchielo\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e; on the right: \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eUltimo Sospiro in Giallo\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eA set of sculptural hammers in the Cerdas’ kitchen is the work they recently purchased at EXPO CHICAGO after having dinner with the gallerist from Mexico City. At EXPO the artist, Otto Martín Moreno, displayed 25 hammers together. The heads are commercially produced, while the handles were carved by hand. Unexpected curves appear rigid, yet the wood has a remarkably soft surface.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“It honestly wasn’t the kind of thing we were looking to buy,” Macol says. “But we met the artist and enjoyed 
1spending time with him. When we put them in the kitchen, we thought, ‘What a great piece for this place where we’ve never had any art.’”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eTurning around, I notice a remarkably long, narrow dining table. Like so much else in the house, it arrived with a history already attached.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMacol explains, “This was a men’s shirts table at a clothing store in Galveston, Texas. It’s 14 feet long and it’s where they put out bolts of fabric. When my father was a young bachelor living in Galveston and the department store was closing, they were selling everything, and he bought it. During my childhood in Princeton, New Jersey, it was our dining table. For a while when we lived in Dallas, my mother had it as a kind of headboard behind her bed with lamps and sculptures and different things on it. When we moved to Chicago it was perfect for this long narrow dining room.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eIt is easy to imagine this table filled with food and lively company. The house may contain museum-quality works, but it is clearly meant to be lived in. Art appears above kitchen counters and beside doorways. Sculptures occupy corners that might otherwise remain empty. Nothing seems separated from the practical business of family life.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eA combination of process, experimentation and transformation appears repeatedly throughout the collection. The Cerdas are often interested not only in what an artwork depicts, but also in how it came into being.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOn a table displaying an array of art and personal items is an assembly of what look like stones. The artist, Leander Mienardus Knust, who is interested in environmental topics, was inspired after noticing quantities of Styrofoam washing up near the studio where he was working by the mouth of the East River in New York City. Knust observed how the synthetic material weathered like stone but much more quickly, so he started collecting it. José adds that what makes these fabricated stones so dynamic is the movement imparted by the artist by adding the components that make cellphones vibrate. He created thousands of stones that move against each other in real time, further eroding each surface down to smaller particles.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe effect of all these works together is not chronological. A 19th-century portrait may appear beside an artwork made only a few years ago. A traditional piece of furniture supports an experimental sculpture. Works from Chicago share space with pieces connected to Mexico, Cuba, China and other parts of the world, allowing unexpected visual relationships to emerge that are testaments to how tastes build and evolve over time.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“We’ve changed,” Macol says. “Our tastes have changed, and what we’re interested in has changed.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe early encaustic works remain on the walls not because they represent the collection as it exists today, but because they represent the people José and Macol were when they began collecting together.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“They’re part of our story,” José says.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788961439/yfxhgt8iqbglumo0lh3w.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003ePictured in the Cerdas’ front hall is Rodrigo Ímaz’s \u003c/span\u003e\u003cem style=\"color: rgb(136, 136, 136);\"\u003eBluticue,\u003c/em\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003e from Art Latinou in Mexico City, Mexico.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp class=\"ql-align-center\"\u003e*\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe Cerdas do not speak about any single method for knowing when to buy. “We talk about it,” Macol says. “We research the artist. We think about where the work might fit, although sometimes we don’t know where it will go until we bring it home.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJosé admits that finding space has become more complicated. “There are not that many empty walls left.”\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eStill, neither seems ready to declare the collection finished.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eThe possibility of what happens to the collection in the future is not treated with great solemnity. José and Macol hope their daughters will want some of the works, but they also understand that the next generation will make its own choices.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJosé and Macol speak about their daughters with pride, especially when describing the distinct ways each has responded to growing up around art.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOne is particularly interested in process and making. The other may respond more strongly to the social experience of museums, galleries and travel. Both have developed confidence in expressing what they like and dislike.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“They have opinions,” José says, smiling. A work may enter the house because one of the girls feels strongly about it, becoming part of a collection that is increasingly shared across generations.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAfter all, the house itself was shaped by objects inherited from Macol’s family and then rearranged according to a new family’s life. Pieces were moved, reinterpreted and placed beside art that previous generations could not have imagined.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy the end of our visit, I have lost track of how many works we have discussed. One object leads to another, then to a memory. The art is significant, but it is rarely the final point of the story.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eInstead, the works serve as reminders of the people José and Macol have known, the places they have visited, the topics that interest them and the life they have built together.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe historic house has become a vessel for all of it: family history carried north from Texas, the beginning of a life together on the East Coast, two decades of engagement with Chicago artists, traces of political life, friendships made through galleries and museums, and the creativity of two daughters growing up among it all.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJosé and Macol may 
1jokingly call it the Cerda Family Museum, but life inside the house is always active and changing, piece by piece. The collection continues to expand, the daughters grow up, and the stories attached to the objects accumulate and keep each other company.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e#\u003c/p\u003e","published_at":"2026-09-06 22:04:15.987","state":"published","slug":"a-family-home-for-stories-collectors-macol-and-jos-cerda","type":null,"meta_description":"","text":null,"created_at":"2026-09-09 13:44:04.218","updated_at":"2026-09-09 13:44:04.218","category_id":3,"highlighted":false,"searchable":"'-1111':2524B '-456':2523B '10':1944B '100':1956B '14':1145B,3043B '140':751B '1880s':164B '19th':3356B '19th-century':3355B '20':2542B '2004':646B '202':2522B '2021':2322B '2026':50B '25':2925B '40':2333B '99':1959B 'abl':2403B 'abúndez':1186B 'accord':3711B 'accumul':1500B,3899B 'acquisit':362B,1815B 'across':1712B,2245B,2375B,3692B 'action':2683B 'activ':3877B 'actress':1299B 'ad':3316B 'add':1043B,1430B,3299B 'adjac':312B 'administr':2516B,2563B 'admit':3538B 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1sospiro':2827B,2887B 'soto':23B,1382B,2145B,2176B 'space':359B,618B,3383B,3541B 'span':338B 'spanish':2284B 'spare':2414B 'speak':3494B,3608B 'specif':837B 'spend':2032B,2974B 'spent':490B,1729B 'stack':2604B 'stage':388B 'stain':122B 'staircas':280B 'start':3295B 'stay':2131B,2757B 'stewart':1462B 'still':584B,2714B,3554B 'stone':3241B,3288B,3305B,3327B 'stop':1102B,2136B 'storag':698B 'store':2856B,3037B,3069B 'stori':5A,136B,430B,1139B,3469B,3772B,3894B 'street':79B 'stretch':151B,774B 'strike':1372B 'strong':3641B,3680B 'student':757B 'studio':1619B,3264B 'styrofoam':3259B 'subscrib':56B 'substanti':1308B 'subtl':2256B 'summer':228B 'support':1241B,1680B,3375B 'surfac':2306B,2584B,2951B,3339B 'surpris':192B,818B,997B 'surround':724B,986B 'suspend':2685B 'swift':2654B 'synthet':3284B 'tabl':407B,1958B,2847B,3010B,3033B,3091B,3141B,3225B 'take':316B 'talk':3505B 'tast':2784B,3408B,3420B 'taught':594B 'techniqu':2693B,2794B 'telephon':2520B 'tell':133B 'temporarili':2508B 'testament':3405B 'texa':357B,494B,2850B,3040B,3820B 'textur':1431B 'thick':2292B 'thing':1449B,1478B,1496B,1504B,1529B,2789B,2959B,3118B 'think':1466B,1790B,3515B 'thought':2388B,2986B 'thousand':3325B 'three':2352B 'throughout':3200B 'throw':2040B,2650B 'time':807B,1733B,1971B,2033B,2457B,2779B,2975B,3335B,3413B 'today':821B,2773B,3448B 'togeth':111B,965B,1530B,1576B,1601B,1884B,2034B,2425B,2730B,2790B,2927B,3350B,3463B,3803B,3826B 'top':1931B 'topic':3252B,3793B 'torr':2280B 'torre-guir':2279B 'town':1860B 'trace':3838B 'track':3742B 'tradit':1167B,2733B,3371B 'transform':797B,3197B 'travel':1427B,3650B 'treat':3576B 'tree':224B 'truck':702B 'trump':2513B 'tuck':196B 'turn':2210B,3001B 'two':29B,974B,981B,1307B,1647B,2378B,2742B,3831B,3852B 'type':2610B 'ulloa':2275B 'ultimo':2826B,2886B 'understand':3595B 'unexpect':2940B,3398B 'unfold':1536B 'unfurl':225B 'untitl':1937B,1953B 'unusu':554B 'updat':826B 'us':1660B,1797B 'use':1771B,2809B 'van':59B 'variat':1957B 'various':1701B 've':1012B,1024B,1499B,1728B,1754B,2996B,3415B 'vega':1304B 'vessel':410B,2639B,2675B,3810B 'vibranc':1259B,1655B 'vibrant':1970B 'vibrat':3322B 'victorian':852B 'vintag':333B 'visit':992B,1603B,3738B,3791B 'vista':2814B,2880B 'visual':1070B,3399B 'wait':696B 'wall':1396B,2290B,2362B,2540B,2554B,3438B,3552B 'want':534B,564B,1348B,2100B,2550B,3587B 'warm':90B 'wash':1948B,3260B 'washington':523B,543B 'wasn':504B,1901B,2042B,2954B 'way':1056B,1540B,2085B,3619B 'wear':36B 'weather':3286B 'wed':1584B 'well':300B,453B,471B,874B,1006B,1273B,1924B,2024B,2432B 'well-known':299B 'west':778B 'whether':903B,1685B 'white':1279B,2503B,2559B 'whole':2054B,2224B 'wide':1147B 'window':124B 'without':916B,2622B 'won':1068B 'wood':2946B 'wooden':2299B 'work':20B,30B,268B,345B,449B,926B,936B,945B,1211B,1247B,1375B,1709B,1740B,1773B,1892B,1927B,2047B,2059B,2142B,2179B,2329B,2369B,2429B,2474B,2498B,2529B,2556B,2617B,2635B,2738B,2801B,2901B,3155B,3268B,3349B,3379B,3434B,3519B,3591B,3669B,3746B,3775B 'world':3396B 'would':655B,675B,847B,1640B,1856B,2649B,2668B,2771B 'wrestler':303B 'wrought':371B 'y':2276B 'year':396B,700B,752B,1428B,1560B,1963B,2154B,2379B,2625B,2762B,3368B 'yet':235B,389B,2441B,2944B 'york':497B,2064B,2163B,3278B 'young':2021B,3061B 'youth':1165B 'zaborov':2600B 'zendeja':1936B 'ímaz':291B,3480B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788753780/ofvoexvyhj1ryut8kmyp.jpg","editor_pick":true,"category_name":"Interviews"},{"id":13796,"title":"Bad at Sports at 21: Before Everyone Had a Podcast, Chicago had This","excerpt":"","body":"\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789517086/oux9ecxxdnzsnnryqeak.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThis interview is part of CGN's Fall 2026 issue.\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003ca href=\"https://chicagogallerynews.myshopify.com/\" rel=\"noopener noreferrer\" style=\"color: rgb(51, 51, 51);\" target=\"_blank\"\u003e\u003cstrong\u003e\u003cem\u003ePurchase a copy or subscribe.\u003c/em\u003e\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eBy SUSAN GESCHEIDLE\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eLaunched in 2005 by Duncan MacKenzie, Richard Holland, and Amanda Browder, the legendary art podcast \u003c/em\u003e\u003ca href=\"https://badatsports.com\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eBad at Sports\u003c/em\u003e\u003c/a\u003e\u003cem\u003e is turning 21. If you were around the scene back then, you remember this trio of brilliant, sharp, and irreverent creatives who added dynamic intellectual energy to the city’s art dialogue. I spoke with Duncan to revisit the podcast’s early days, trace its evolution, and understand its impact today.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSusan Gescheidle: Let’s go back to 2005. How did the idea for Bad at Sports come together, and who named it?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDuncan MacKenzie: \u003c/strong\u003eFriendship and building lives around contemporary art is the real story of how Bad at Sports became a thing. The origin starts with Richard Holland, a marriage proposal, the Suburban, and a few drinks.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eRichard and I became friends at the 2003 Stray Show. While drinking, I accidentally blurted out that I was going to ask my girlfriend to marry me—and immediately tried to take it back. He demanded a quarter, explaining that it meant I had him on retainer and, as a lawyer and an artist, he was legally obligated to keep quiet. Realizing we worked in the same building, we resolved to meet after work to discu
1ss exhibitions.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWhile working on an exhibition at Michelle Grabner’s Suburban, we learned a handful of people were making “radio show-like” audio programs distributed as large MP3s. Of the 3,000 or so of these existing on Earth (per Adam Carolla’s early distribution numbers), none addressed contemporary art. It was a whimsical thing to do: make an audio program about things we are supposed to experience visually and bodily. It removed the most obvious thing in the content to address it through artistic intent, humor, philosophy, viewer reception, system status, and curatorial context. In doing it that way, the conversation becomes the thing, the artists become central, and the artwork bears fruit as a subject of contemplation, narrative, and experience.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAs we walked to Richard’s attic to record Episode 4, we ran into Amanda Browder and “press-ganged” her into joining us. It was a massive moment of serendipity that crystallized Bad at Sports. A few weeks later, Brian Andrews formed the “San Francisco Bureau,” setting our format for the first several years.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe name is another story. In our first graduate seminar with legendary curator Mark Pascal, he asked SAIC’s first-year print grads why they were there. It was an obvious feint to disabuse us of our naivety, so nobody answered. I looked around theatrically and said, “I don’t know, Mark, maybe we are all just bad at sports?” It wasn’t the answer he was looking for, but five years later it was exactly the name Richard and I were looking for to set a tone—light, a little real, a lot confusing, and just repellent enough that folks would have to be interested to figure out what we were about. We wanted to embrace contemporary art pretension and skewer it (and ourselves) at the same time.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789517087/tmnigpcwodswwukqx2nr.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eThe one where Bad at Sports interviewed David Hockney.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Whose brainchild was the audio format? Did you foresee a 21-year commitment?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM:\u003c/strong\u003e The impulse was twofold. Richard and I were trying to find something to listen to that would enrich our studio time. We came from practices requiring repetitive tasks, and we also wanted to document a scene getting less attention than it deserved. We had no idea what we were doing. There were no models. We borrowed from radio, bar and studio talk, magazines, and graduate seminars…but really, it was an adventure. We still lack infrastructure because we have never been planning a future; we have just been trying to do “a now”. So many projects get hung up on the things that can make the “work” work for them and forget that the “work” is the thing that must work before it can work for you. We approached the thing we make like an artist approaches their studio: we started and kept letting the project lead us.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Was the goal simply to review gallery shows or to capture the art world’s wider, raw conversations?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM:\u003c/strong\u003e When Amanda joined the show we figured it out. We thought we would pull an artist in to talk “smack” about what we had seen that weekend. But we had so much fun with Amanda that we started to see how we could engage the whole art world through the concerns of individual artists. It allowed us to constantly learn and grow while tracing the curves of the art world’s discourse. It completely reshaped our original notion. Brian and the SF crew expanded it to partnering with organizations like Art Practical.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Where did that very first episode take place? Was it with Chris Cook, curator from the Sioux City Art Center?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eYes. We did it a couple of days before it dropped, on what felt like the hottest day ever, in the hottest attic. Chris Cook was an outstanding guest, but it was hot, beer was involved, and I kept tr
1ying to bait him into arguments about modern art. We recorded for 90 minutes, and the episode was cut to something like 35. Richard claims he only cut my hectoring and pointed jokes about minimalism. Chris was a good sport—he is now the ED at the Bemis Center—but he is reluctant to get back on mic.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe second episode needs to be reissued. It is an interview with Chris Sperandio about a pilot show he made for Fox. They were unhappy that it had not gone through their lawyers first. I think we should put it out as a limited-release vinyl record.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Was the project easier to manage when it was a small core group, or do you prefer this mesh, “well-oiled machine”?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eThat is funny to think about. It always feels like being in a band—but one where you never really know who will show up for practice… or the gig. We only meant to have an independent voice in the art world and be beholden to the artwork itself. That has sometimes been a blessing and sometimes a curse.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eI think everyone who has ever worked with us has been mad at everyone else who has ever worked with us; but like any good band, we are just as much family as friends. We are always there to pick up the phone for one another, and the ethic of the project is about showing up and contributing. Everyone connected is still welcome where we are. No one would call us a “well-oiled machine,” but we are a bunch of folks who are serious and care about what we do.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789517087/dkxser2d1nxeboipqdcy.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eTony Lewis and Baddie on the Terrace of the MCA during a recording session in 2025.\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: In 2006, you added Christopher Hudgens for the website and Mark Staff-Brandl for a footprint in Europe. Did that expansion happen naturally?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM:\u003c/strong\u003e Like natural growth, we didn’t know how to control or dictate it; we learned along the way. Christopher Hudgens has been an incredible bedrock for the website. Mark joined us for a while because he loved what we were doing and wanted to contribute. Because of what Brian was doing in SF, what Amanda did in NYC, and the work of a few others, we actively tried to court a network model where we could share a different kind of art world than you get in \u003cem\u003eArtforum\u003c/em\u003e or \u003cem\u003eFrieze\u003c/em\u003e. In lots of ways, it worked amazingly for many years, but the core was always Chicago and the Midwest.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Looking at the local ecosystem—the galleries, art schools, fairs, non-profit and public spaces, curators, and critics—what has gotten better, what has gotten worse, and what is completely different?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eThis could be a whole interview, but there is a catch-22 here. Everything that has gotten better has also changed or taken away something great. The best thing is that we have more access to art than we could have imagined in 2005. The downside is that there is so much of it, and it is often overwhelming and underfunded. In 2005, we had a broken but stable model of the art “business.” In 2026, we have a lot of legacy models that need to be reassessed, but we are all afraid the sky is falling, so we stick with what we know.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWe need to rethink the value arguments contemporary art makes to its audience. For me, it is always the same: this is a space of experimental culture. A safe space to ask questions, take unpopular stands, and “fuck around and find out.” It’s the space in which we expose ourselves to the unknown and the unknown exposes itself to us. It shouldn’t be—but can’t help but be—a place where we build ourselves as idea brands that “co-lab” with institutions to cross-expose our audiences. What artists do for humans is too important for that.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: What does Chicago’s art scene do exceptionally well that outsiders—especially in New York, LA, and global art hubs—still don’t understand?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM:\u003c/strong\u003e I always think that this is a byproduct of Chicago-based collectors wanting their NYC friends to recognize and admire their newly acquired works without having to justify their tastes. In general, I think we do a decent job of supporting our scene, but I would love to see us have the confidence that LA does and just say, “What NYC doesn’t know won’t hurt them.” We incubate and train the country’s best talent; we need to give them more to stay for than part-time teaching jobs and an incredible scene. Sales would help.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Has your episode length changed over the years to keep up with how people consume digital media today?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eWe always try to keep it to about an hour, but that is totally flexible. If the conversation is going somewhere, I never want it to stop, but you also want to be conscious of the audience. That said, it seems almost impossible to do what we did 21 years ago. The social media requirements, the need for constant engagement, video, editing—it would have been too much to wrangle at one time.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Did you ever anticipate that Bad at Sports would step in front of the camera?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eWe never mean to. There is something magical about a voice going out and finding someone. I don’t know that we need a face; the works we talk about are the face. We are “Muppets” that exist to get ideas out. Plus, I have learned that if you make a mean joke, criticize someone’s artwork, or get something wrong, those folks’ friends never forget. Artists themselves are fairly forgiving.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: In 2007, you dedicated Episode 79 to the West Loop—including the Chris Verene show at my gallery, gescheidle. The show notes explicitly tease you for repeatedly butchering his name on air.\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eYes, and I am sorry. I remember and feel shame for every single incorrect moment of the last 21 years. I am fortunate to live in a community that has been accepting of my—and our—quirks. It has been a delight. Hopefully, we made some friends and some enemies. Either way, we loved you and all of it.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: You’ve evolved from irreverent commentators into trusted mainstays. How has that journey shifted your approach to honesty?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eIn the early days, we got a lot of hate mail. Our value then was honesty: we weren’t in anyone’s pocket, and we said what we meant. It didn’t mean we weren’t wrong sometimes, but we were giving a raw and real reaction. It was quite different from writing reviews.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eWhen reviewing, you sit with the work, balance internal and external 
1concerns, measure the venue, consider the gallery’s reputation, consult other writers, and look at precedents. But when you are in the space, you react to a work like it is another creature. You react viscerally, bringing reason and experience to the object to vibe-check it. It is messy but honest, and a product of direct engagement. I think that is rare, and the audience and artists understood. That said, a number of partners and friends threatened us with bodily violence—but it is art, so that seemed bonkers. To date, only two of us have been punched over reviews.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789517088/qz8gw1eo43f7blvn24gr.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(136, 136, 136);\"\u003eBAS atop the MCA\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: If you were forced to pick just one single episode as the most important or culturally significant conversation you’ve ever hosted, what would it be?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM:\u003c/strong\u003e Interesting question, and hard to answer. The interviews with Tony Fitzpatrick were important because we got a slightly different Tony than we got most of the time. Our interview with Kerry James Marshall was also important and incredibly revealing. Actually, everything in the first five years is amazing because no one was savvy enough to know what we were doing, so we got more honesty. I remember chatting with people from NYC where it felt like an hour-long pitch. A great interview is a conversation that is hard to leave, and that is what we chase now.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Where is the most unique, bizarre, or flat-out fun space you have ever recorded an episode?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eWe did a series with apexart in NYC where we would do interviews in destabilizing or transitory places. Amanda did one between two stalls in a decommissioned NYC school bathroom. I flew an artist to Chicago, met him for two hours of beer pong, and sent him back to the airport. His experience of Chicago was two taxis and one room. They were bizarre and fun. For VOLTA NY, we installed a bed and did 24 interviews over three days, John-and-Yoko style. Mat Gleason was super fun.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: What is the most unexpected geographic location where someone is downloading the podcast?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM:\u003c/strong\u003e I maintain a strict rule against checking metrics. We want the work to be the thing. That said, it has been fascinating to see the global reach of the show and just how many folks have spent time with us over the last 21 years.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: What platforms do you personally turn to?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eObviously, \u003cem\u003eChicago Gallery News\u003c/em\u003e. But The Visualist is a longtime collaborator and an invaluable artist-run resource. I completely trust Mike and Meg to point us all toward an interesting future.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eI am hopeful about the impact Gertie will have, or Mottley as an art-first PR firm.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eOne of the things I hope for with the next generation is that they see ways to help existing projects—and, where there is not a thing, that they go ahead and make the thing that should be there.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: How did your relationship with Ed Marszewski and Lumpen Radio come about?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eEd is a fellow traveler. We grew up in this art scene together, alongside Andrew Rafacz, Western Exhibitions, threewalls, Roots \u0026amp; Culture, a generation of artists, and a score of projects no longer with us. Ed and BAS have been vital parts of this artist-run community, and we remain deeply connected and supportive of one another.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMore directly, when Ed started WLPN, we had coffee and he explained that he was opening a radio station for us. Then Logan said if we did it live, there was no expectation to edit. We will do anything Ed asks because he is one of us, and he has never let us down.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Keeping an arts project alive for 21 years is a miracle. How is the podcast funded, and has an angel donor ever dropped a massive bag of cash?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eWe are super open to an angel donor. We have lofty ideas for Season Two. Season One was held together with duct tape, goodwill, and glue. You can find our merch at badatsports.threadless.com\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Did King LeBron actually fund the podcast, or is this just elite clickbait?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eWe are attempting to preserve the anonymity of our donors. I am horrified to hear that this has leaked.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Have you ever had to issue a genuine apology to someone for an episode that went too far or was just plain mean?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM:\u003c/strong\u003e I like to think we are never mean and that, when we punch, we punch up. That said, in retrospect, “up” is a matter of perspective, and maybe it wasn’t what we thought it was. We were a little hard on Sterling Ruby and Rashid Johnson. I remember apologizing to Rashid in a Miami bar one night. He got it. Sterling, on the other hand, went out of his way to upset one of us and be dramatically uncool about it. It was disappointing, given his compound in LA.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: What’s the next milestone?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eI can’t speak for everyone—maybe for our current team: Ryan Peter Miller, Brian Andrews, and permanent guest host Jesse Malmed—but I love it. This has been one of the greatest trips ever.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSG: Richard Holland traded BAS for real estate, and Amanda Browder has an art practice and studio in Brooklyn. Do you three still stay in touch?\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDM: \u003c/strong\u003eRichard is my real estate agent and neighbor. Amanda exploded out of Bad at Sports and has gone on to fortune and glory through building-sized installations and spectacularly colorful artworks. We all hang out every time we can track her down, and Richard and I get together whenever time allows. I am sure both will be present on October 3 at the MCA when we record the last six episodes of Season One. Episodes 999, 998, 997, 996, 995, 994… Not that I am counting. I fucking love Chicago. There is no better art city—or city city—in North America. I can’t imagine anyone wanting to be anywhere but here.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e#\u003c/p\u003e","published_at":"2026-09-04 07:00:00","state":"published","slug":"bad-at-sports-at-21-before-everyone-had-a-podcast-chicago-had-this","type":null,"meta_description":"","text":null,"created_at":"2026-09-16 00:04:48.948","updated_at":"2026-09-16 00:04:48.948","category_id":3,"highlighted":false,"searchable":"'-22':1364B '000':265B '2003':164B '2005':32B,106B,1396B,1415B '2006':1186B '2007':1868B '2025':1183B '2026':20B,1428B '21':5A,50B,561B,1753B,1918B,2445B,2677B '24':2372B '3':264B,3012B '35':908B '4':366B '79':1872B '90':898B '994':3032B '995':3031B '996':3030B '997':3029B '998':3028B '999':3027B 'accept':1931B 'access':1387B 'accident':170B 'acquir':1608B 'activ':1276B 'actual':2217B,2737B 'ad':70B,1188B 'adam':274B 'address':281B,315B 'admir':1605B 'adventur':636B 'afraid':1445B 'agent':2956B 'ago':1755B 'ahead':2536B 'air':1898B 'airport':2347B 'aliv':2675B 'allow':788B,3002B 'almost':1746B 'along':1225B 'alongsid':2572B 'also':595B,1372B,1734B,2212B 'alway':1024B,1112B,1314B,1474B,1586B,1706B 'amanda':39B,370B,734B,767B,1264B,2315B,2933B,2959B 'amaz':1306B,2225B 'america':3053B 'andrew':397B,2573B,2904B 'angel':2690B,2706B 'anonym':2754B 'anoth':414B,1121B,2075B,2615B 'answer':452B,476B,2183B 'anticip':1782B 'anyon':1999B,3058B 'anyth':2654B 'anyw
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We spoke\u0026nbsp;with five insiders about what excites them now\u0026nbsp;and what they anticipate next.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe following preview is one of five conversations that appear in CGN's Fall 2026 magazine. To receive a copy of the print edition\u0026nbsp;\u003c/em\u003e\u003ca href=\"https://835ba3.myshopify.com/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003e\u003cem\u003eclick here.\u0026nbsp;\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1788405779/eqa3we3n7ojlwakfnvjq.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch4\u003e\u003cem\u003eBrookes Ebetsch –\u0026nbsp;\u003c/em\u003e\u003c/h4\u003e\u003ch4\u003e\u003cem\u003eDirector, Chicago Artists Coalition\u003c/em\u003e\u003c/h4\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e“Fall is busy at Chicago Artists Coalition, since we will have Resident Exhibition openings on Frid
1ay, September 4 and October 30. We’re also hosting our annual \u003ca href=\"https://chicagoartistscoalition.betterworld.org/events/neon-90s-night\" rel=\"noopener noreferrer\" target=\"_blank\"\u003efundraiser\u003c/a\u003e at Ignite Glass Studio on Thursday, October 1, where we want\u0026nbsp;everyone to have the opportunity to support artists as much as they support art.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe National Association of Latino Arts and Cultures hosts a regional convening here in Chicago November 12–14, and there will be activities across the city, open to the\u0026nbsp;public, and CAC will be hosting at least one.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eMy favorite public event of the year, \u003cem\u003eGrabadolandia\u003c/em\u003e, is the 3rd weekend in November at the National Museum of Mexican Art. In its 14th year, it’s full of family-friendly, hands-on printmaking, social activism and gorgeous art for purchase. You’ll also meet some amazing gente!”\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.chicagoartistscoalition.org\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eChicago Artists Coalition\u003c/a\u003e\u003c/p\u003e","published_at":"2026-09-04 00:00:00","state":"published","slug":"anticipating-a-season-of-art-five-to-talk-to-brookes-ebetsch","type":null,"meta_description":"","text":null,"created_at":"2026-09-03 03:22:59.863","updated_at":"2026-09-03 03:22:59.863","category_id":3,"highlighted":false,"searchable":"'1':129B '12':163B '14':164B '14th':208B '2026':76B '30':114B '3rd':195B '4':111B 'across':19B,170B 'activ':169B,222B 'also':117B,230B 'amaz':233B 'annual':120B 'anticip':1A,60B 'appear':71B 'art':5A,146B,152B,205B,225B 'artist':39B,92B,99B,140B,236B 'associ':149B 'behind':26B 'bring':41B 'brook':10A,88B 'busi':96B 'cac':178B 'cgn':73B 'chicago':91B,98B,161B,235B 'citi':172B 'click':86B 'coalit':93B,100B,237B 'communiti':33B 'conven':158B 'convers':69B 'copi':81B 'cultur':154B 'director':90B 'ebetsch':11A,89B 'edit':85B 'event':188B 'everyon':133B 'excit':54B 'exhibit':18B,106B 'fall':12B,75B,94B 'famili':215B 'family-friend':214B 'favorit':186B 'five':6A,50B,68B 'follow':63B 'fresh':42B 'friday':109B 'friend':216B 'full':15B,212B 'fundrais':121B 'galleri':20B 'gent':234B 'glass':124B 'gorgeous':224B 'grabadolandia':192B 'hand':218B 'hands-on':217B 'host':118B,155B,181B 'ignit':123B 'insid':51B 'latino':151B 'least':183B 'll':229B 'magazin':77B 'mani':29B 'meet':231B 'mexican':204B 'midwest':25B 'much':142B 'museum':22B,202B 'nation':148B,201B 'next':61B 'novemb':162B,198B 'octob':113B,128B 'offer':13B 'one':66B,184B 'open':107B,173B 'o
1pportun':137B 'peopl':30B 'perspect':43B 'preview':64B 'print':84B 'printmak':220B 'public':46B,176B,187B 'purchas':227B 're':116B 'receiv':79B 'region':157B 'resid':105B 'scene':28B 'season':3A 'septemb':110B 'sinc':101B 'slate':16B 'social':221B 'spoke':48B 'studio':125B 'support':38B,139B,145B 'talk':8A 'throughout':23B 'thursday':127B 'tireless':36B 'want':132B 'weekend':196B 'work':35B 'year':191B,209B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1788405493/hr2em3drnixzbfcmydyc.jpg","editor_pick":true,"category_name":"Interviews"},{"id":13862,"title":"CGN Art World Recap: September 3, 2026","excerpt":"","body":"\u003ch3\u003e\u003cem style=\"color: rgb(12, 16, 20);\"\u003eWe saw several personnel and programatic changes announced this week and are excited to share them below. -CGN\u003c/em\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789485277/badfs6ttxphowvh1tejv.png\"\u003e\u003c/h3\u003e\u003ch3\u003e\u003cbr\u003e\u003c/h3\u003e\u003ch3\u003eSibylle Friche is named Director of Anthony Gallery\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(12, 16, 20);\"\u003eSibylle Friche has been named Director of Anthony Gallery as of September. Sibylle previously was a Director at DOCUMENT (2015–22) and then Partner until earlier this year. She also held roles at the MCA Chicago, the Guggenheim in New York and at Rhona Hoffman Gallery in Chicago (2011-2013). \u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(12, 16, 20);\"\u003eIn an announcement, Isimeme “Easy” Otabor, founder of Anthony Gallery, says: “I’ve always admired Sibylle’s work ethic and the respect she’s earned from everyone she’s worked with. We are excited and honored to have her on the team.”\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(12, 16, 20);\"\u003eFriche shared: “I am incredibly honored to start this new chapter alongside someone like Easy whose trajectory in design, fashion, and art is exemplary. I look forward to playing a part in advancing the gallery’s growth on a global stage.”\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgb(12, 16, 20);\"\u003eImage Courtesy of Ian Vecchiotti\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789485278/rvn4ehfs3iv10pjokqh9.jpg\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003eJoffrey Ballet President-CEO Greg Cameron Departing Next Year\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eGreg Cameron is stepping down as \u003cspan style=\"color: rgb(13, 13, 13);\"\u003ePresident \u0026amp; CEO of\u003c/span\u003e the Joffrey Ballet in 2027. He has held the role since 2013. The organizations' website says Cameron's 2013 appointment was the culmination of three decades of work in arts administration and philanthropy. “I always loved art, but I wasn’t a great artist,” he says. “I could paint by numbers, or I could connect the dots. I realized early on I was a good dot connector. I could connect people to each other and help them get involved with the things they believe in.”\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eCameron has held leadership roles at the Chicago Department of Cultural Affairs; the Art Institute of Chicago; the Museum of Contemporary Art and WTTW/WFMT.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eCameron told the Sun Times that this plan to step down has been in the works for three years, and that he is not retiring nor moving on to lead another organization. Cameron intends to stay connected to Chicago's cultural community.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789485279/s4rc3h6kwfiqdqzcqha0.png\"\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003eJennifer Murray is Named Executive Director at FACETS\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eEstablished in 1975, FACETS curates cinematic experiences that deepen human connections. Jennifer Murray has more than two decades of experience in Chicago's arts and culture community, having served as the museum manager at the now-closed 21c Hotel, as well as the Exec. Dir. of Filter Photo in Chicago for 8 years before that. She has also been a director at Columbia College's A+D Gallery, and she is the founder and Director of Staple + Stitch Art Book and Print Fair, which was launched in 2024.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003e\u003cimg src=\"https://res.cloudinary.com/dfafo598z/image/upload/v1789485280/lss1j8t1rnryb5bvefd3.jpg\"\u003e\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003eProcess/Process Announce
1s New Edition for Gertie's Inaugural Print Edition\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eJoin us for a launch to celebrate Gertie's inaugural print edition by Leonardo Kaplan. Process/Process are proud collaborators with the artist and\u0026nbsp;\u003cspan style=\"color: rgb(0, 0, 0);\"\u003eGertie\u003c/span\u003e.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eAt Gertie's Hub, Kaplan will be in conversation with curator Jack Schneider \u0026amp; artist Ben Foch, two longstanding interlocutors in his life and work. Their dialogue will explore the varying facets in the life of artists who have continued to work in Chicago across generations and exhibition models, tracing the symbiotic relationship between artist run projects, the commercial ecosystem, and institutional affiliation. Schneider's recent exhibition\u0026nbsp;\u003cem\u003eCity In a Garden: Queer Art \u0026amp; Activism in Chicago\u003c/em\u003e\u0026nbsp;featured paintings by Kaplan.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003e\"Auspicious Arrival,\"\u003c/em\u003e\u0026nbsp;an edition of 50, is borne out of Gertie's longstanding relationship with Process/Process, and our shared commitment to artists who live and work in Chicago. The print will be for sale at the event and\u0026nbsp;\u003ca href=\"http://link.artlogicmailings.com/ss/c/u001.oWK2ISRNMOkgqqM9UNObrgCkOaFaxb_EyJj_JhCt3-PWs1BSMSvmTJEPhafdWu7Z/4tp/dziOl-f2SEiiiZ52uE7Vxw/h5/h001.qDCwu6Y1p7d-BxoPoSWF-QMdNWt-5abcW2_Pgyg_7Gw\" rel=\"noopener noreferrer\" style=\"color: rgb(0, 0, 0);\" target=\"_blank\"\u003eonline\u003c/a\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThere will be a print launch event on September 10.\u003c/p\u003e\u003cp\u003eGertie, 400 N Peoria St\u003c/p\u003e\u003cp\u003eThu, Sep 10, 6 - 8 PM\u003c/p\u003e\u003cp\u003e\u003ca href=\"http://link.artlogicmailings.com/ss/c/u001.oWK2ISRNMOkgqqM9UNObrtVE_4Ff5IDnRA5Bjop_4YeMulTJM2cJuF-6ngCpmYdgYpDwyBfm6vKrMkhMfOnDBctldC-8uVQc8jMVpLXQU4UgUJ6H4qeZEtsA0S9FEUYOZz6HG2Rjy5Vd9JC56vTZ1ugZ0vdqPis6zZbnvt3sOO8SGyZi1nlHjLegpSH2ZiT1BrlUIp_Mmt7uFkuDBIvfLQ/4tp/dziOl-f2SEiiiZ52uE7Vxw/h3/h001.0SUAUV5acs5jkG0DpwC6Fxa-4wdcjFKis5DvNAaDTGc\" rel=\"noopener noreferrer\" style=\"color: rgb(0, 0, 0);\" target=\"_blank\"\u003eRSVP\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003ch3\u003eKavi Gupta Announces New Public Art and Advisory Service\u003c/h3\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"color: rgba(0, 0, 0, 0.9);\"\u003eOn LinkedIn Gupta shared an announcement about a new addition to the gallery's program that has an international reach. \u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003e\"[Here is a] sneak peek at our new public art and experiential Art Advisory services! Building on a 25 year legacy of producing and placing substantial large scale and experiential artworks from corporate headquarters to the centers of Asia’s capital cities.\"\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u003c/p\u003e\u003cp\u003eThe gallery's \u003ca href=\"https://kavigupta.com/public-works/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003ewebsite\u003c/a\u003e says they aim to realize ambitious public-facing projects that advance underrepresented artists on a global stage.\u003c/p\u003e","published_at":"2026-09-03 22:00:00","state":"published","slug":"cgn-art-world-recap-september-3-2026","type":null,"meta_description":"","text":null,"created_at":"2026-09-15 15:14:40.457","updated_at":"2026-09-15 15:14:40.457","category_id":1,"highlighted":false,"searchable":"'-2013':83B '10':600B,608B '1975':352B '2011':82B '2013':202B,209B '2015':53B '2024':438B '2026':7A '2027':195B '21c':388B '22':54B '25':660B '3':6A '400':602B '50':557B '6':609B '8':402B,610B 'across':516B 'activ':545B 'addit':631B 'administr':221B 'admir':98B 'advanc':158B,699B 'advisori':620B,655B 'affair':287B 'affili':534B 'aim':690B 'alongsid':137B 'also':63B,408B 'alway':97B,225B 'ambiti':693B 'announc':15B,86B,440B,615B,627B 'anoth':330B 'anthoni':32B,41B,92B 'appoint':210B 'arriv':553B 'art':2A,147B,220B,227B,289B,297B,373B,429B,544B,618B,651B,654B 'artist':234B,470B,486B,508B,526B,573B,701B 'artwork':672B 'asia':680B 'auspici':552B 'ballet':173B,193B 'believ':274B 'ben':487B 'book':430B 'born':559B 'build':657B 'cameron':178B,183B,207B,276B,300B,332B 'capit':682B 'celebr':455B 'center':6
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