CGN
FALL 2018 – GALLERIES • MUSEUMS • NEWS
THE MULTI-FACETED PUBLIC ART PROGRAM AT FASHION OUTLETS OF CHICAGO SITE-SPECIFIC INSTALLATIONS | ROTATING EXHIBITIONS | SPECIAL EVENTS
NEW WORKS BY DERRICK ADAMS | CHAD KOURI | EDRA SOTO ON VIEW NOW
VidVuds ZViedris New Paintings
sept.15 – Oct.27
McCormick Gallery thomasmccormick.com Book Release 9/29/18: “26th of September Street” drawings and photographs by Zviedris from a year spent living in Yemen
YOU NEVER KNOW WHAT YOUʼRE GOING TO FIND! America’s Largest—and Liveliest!—Urban Antiques Market!
Distant journey, 48” x 48”, oil on canvas
LINC THELEN NEW WORKS
1620 W. CARROLL AVE., CHICAGO 312 593 5463 • LINCTHELENART.COM
Vertical Gallery
Pipsqueak Was Here!!!
Chicago’s premier urban-contemporary art gallery September 1 - 22: Pipsqueak Was Here!!! “Caution Children at Play” September 28 - 30: Spoke Art Group Show at Vertical Gallery October 6 - 27: James Reka “NEUDECO” November 3 - 24: Greg Gossel “Labor of Love” November 30 - December 29: John Bond Solo Show December 4 - 9: Ben Frost Solo Show at SCOPE Miami Beach Opening receptions are the first night of each exhibition 6:00 - 10:00pm.
1016 N. Western Ave. Chicago, IL 60622 773-697-3846 www.verticalgallery.com
Alicia LaChance, “New Village,” Fresco, oil, spray paint and acrylic on canvas over panel 5’ x 5’
The inaugural show from the newly reopened Melanee Cooper Gallery
SEP TEMBER 7— OC TOBER 27 Opening preview: Friday, September 7 | 5—7 pm Featuring work from: A LICI A L ACH A N CE J OA NNE M AT TER A A RN O ELI A S
M EL A N EE CO O PER GA L L ERY 740 N. Franklin St., Chicago | melaneecoopergallery.com
Joanne Mattera, “Silk Road 368,” Encaustic on panel 12” x 12”
Arno Elias, “Power of Spirit,” Painted photography 40” x 40”
COMING FULL CIRCLE
MEL A NEE COOPER GA LLERY RE TURNS to 740 N. Franklin St., Chicago After a 9 year hiatus, Melanee Cooper Gallery returns to showcase contemporary artwork with a focus on painting, fiber art, photography, and ceramics. As both curator and Gallerist, Cooper creates an inclusive gallery experience by bringing a broad spectrum of artists and mediums together, all of whom play with process, and materials to create dimension and depth. Melanee Cooper Gallery showcases work that inspires a visceral reaction in its audience; an emotional connection that can inspire and elevate the spirit.
Erwin Overes, Oroborus, mixed media, 22”x32”x18”
Gallery Studio Oh! 4839 N Damen Ave Chicago, IL 60625
art-studio-oh.com 773.474.1070 Gallery Hours: Thursday - Saturday, 1-6pm Or by appointment
In Motion | September 7 — September 30 Opening Reception: Friday, September 7, 6-9pm Gallery Grand Opening: Friday, September 28, 6-9pm Variable Views | October 5 — November 10 Opening Reception: Friday, October 5, 6-9pm Closing Reception: Friday, November 2, 6-9pm Moments in Time | November 15 — December 29 Opening Reception: Friday, December 7, 6-9pm
The Love Affair Continues… Diasporal rhythms & the Dusable museum present Artwork by Sylvester Sims
The Love Affair Continues Exhibition Private Reception: Friday, October 12, 2018 • 6 – 9 pm General Opening: Saturday, October 13 • 9 am – 5 pm DuSable Museum of African American History 740 E. 56th Place, Chicago
The Love Affair Continues… Diasporal rhythms presents the Artwork by Pearlie Taylor
2018 Collectors’ Home Tour Saturday, October 13, 2018 All tours depart from the DuSable Museum of African American History, 740 E. 55th Place
The Love Affair Continues… Diasporal rhythms presents the
2018 Collectors’ Auction Sunday, October 14, 2018 • 4 – 7 pm Connect Gallery 1520 East Harper Court, Chicago
www.diasporalrhythms.org
Admission is always free. All are welcome.
The Time Is Now!
Art Worlds of Chicago’s South Side, 1960–1980 September 13–December 30, 2018
Barbara Jones-Hogu, Land Where My Father Died, 1968, Color screenprint on gold-colored Japanese-style laid paper.
Expanding Narratives: The Figure and the Ground through December 16, 2018 Installation view of Expanding Narratives.
5550 S. Greenwood Avenue | Chicago, IL 60637
smartmuseum.uchicago.edu
Aug 30–Mar 23
Oct 4–Feb 9
Kennedy Browne The Special Relationship Kennedy Browne, Real World Harm (detail), 2018. Still from 360º video for Oculus, 5 minutes. Courtesy of the artists. The Special Relationship is made possible by The Andy Warhol Foundation for the Visual Arts and Culture Ireland. Co-sponsored by the European Union Center at Illinois.
Between the Buildings: Art from Chicago Sept 13 Premiere performance
Erica Gressman Limbs
René Romero Schuler
IN SEARCH OF GROUND September 7 – October 20, 2018 Opening Reception Friday, September 7, 5-8pm ZOLLA / LIEBERMAN GALLERY 325 W. Huron, Chicago, IL 60654 | 312.944.1990 | zollaliebermangallery.com Golden Hour, 77x73in, 18K gold leaf and oil on canvas, 2018
09.28.18 – 01.06.19
serious
Design in Midcentury America
Presenting Sponsors:
mam.org/play
CELEBRATING OUR 2018 UNITED STATES ARTISTS FELLOWSHIP AWARD
Martinez Studio
(920) 823 – 2154 | www.martinezstudio.com Open Daily 11 – 4 | Closed Wednesday
5877 State Highway 57 | Jacksonport, WI 54235 | in Door County, WI
unitedstatesartists.org
Join us in celebrating 25 years!
SAVE THE DATE
November 2-4 Opening Night, November 1 Navy Pier sofaexpo.com
Post War and Contemporary Art OCTOBER 2
Fine Prints
LESLIE HINDMAN
OCTOBER 2
American and European Art OCTOBER 15
AUCTIONEERS
Made In Chicago OCTOBER 23 INQUIRIES
info@lesliehindman.com 312.280.1212 1338 West Lake Street Chicago, Illinois 60607
Auction Exhibitions Open During
Jonas Wood, (American, b. 1977) White Dog 2 and 2 Slaves #2, 2010 (a pair of works)
CHICAGO
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AT L A N TA
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DENVER
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M I LWA U K E E
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NAPLES
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PA L M B E A C H
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SCOTTSDALE
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S T. L O U I S
BEAUTIFUL DREAMER in THE ’HAUS
BEAUTY’S LEGACY Gilded Age Portraits in America
Image: George Peter Alexander Healy (American, 1813–1894). Jeannette Ovington, 1887. Oil on canvas. Gift of the Estate of Ina Love Thursby, through Walter M. Brown.
SEPT 8 – JAN 6 DRIEHAUSMUSUEM.ORG 40 EAST ERIE STREET CHICAGO
Beauty’s Legacy has been organized by the New-York Historical Society.
LINE / FORCE / BURN RUBBER OLIVIA PETRIDES
SARAH KREPP
Olivia Petrides, Vortex I, 52” x 78”, Ink and gouache on paper
Sarah Krepp, Blow-Out: Fly (713), 5’ x 5’, tire, wire, oil, clamp
www.oliviapetrides.com
www.sarahkrepp.com
Explosive energy dominates the work of Sarah Krepp and Olivia Petrides, artists who see aggressive marking as an emblematic carrier of immense forces within urban and natural environments. UPCOMING EXHIBITIONS: • PHIPPS CENTER for the ARTS, Hudson WI, October 26 - December 2, 2018 • BRAUER MUSEUM, Valparaiso IN, January 8 - March 31, 2019 • LEEDY-VOULKOS ART CENTER, Kansas City MO, October 2 - November 28, 2020
A SPACE CALLED WANTOOT
John Himmelfarb Terrence Coffman Rande Barke Kristin Quinn Sandra Peterson
BiValve / L. JOHN ANDREW
L. John Andrew
TM
MINERAL POINT, WISCONSIN 53565 / WANTOOT.COM
JAMES MESPLÉ ARCADIA AN EXHIBITION OF DRAWINGS, PRINTS AND PAINTINGS NOVEMBER 2—DECEMBER 29, 2018
PRINTWORKS GALLERY 311 W. SUPERIOR ST. | CHICAGO 312.664.9407 PRINTWORKSCHICAGO.COM FB.COM/PRINTWORKSGALLERY
Tony Fitzpatrick, The Emerald Owl, And Her Mourner (In The Garden Of Stone)
T O N Y F I T Z PAT R I C K
T h e A b s i nt h e B i rd s December 7, 2018 T h e D i m e • 1 5 1 3 N . We s t e r n Av e . , C h i c a g o W- S a 1 2 - 4 p m • 7 7 3 . 8 5 0 . 9 7 0 2 tonyfitzpatrick.co
FALL 2018
CGN
IVÁN NAVARRO, LADDER (WATER TOWER), 2014, PART OF THIS LAND IS YOUR LAND, ON VIEW AT NAVY PIER DURING EXPO CHICAGO, SEPT 27–30, AND THRU APRIL 2019. PHOTO BY ELIZABETH BERNSTEIN, IMAGES COURTESY OF IVÁN NAVARRO AND PAUL KASMIN GALLERY
TABLE OF CONTENTS 22
SOCIAL CALENDAR
EXPO CHICAGO, SOFA, galas, parties, and seasonal events
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SEASON PREVIEWS
Highlights from our art listings
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GALLERY OPENINGS
Opening receptions in galleries, museums, studios and art spaces
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LISTINGS: ART ON VIEW
Exhibitions and events taking place through the end of 2018
FEATURES Artist Suellen Rocca: A Life Story Through Art 34 38 Catherine Edelman: 30 Years of Using Art to Drive Change 42 On the Auction Block 44 The Evolution of a Vision: Theaster Gates’ Stony Island Arts Bank 48 Sebastian Campos’ Art Collection 52 The New Chicago Architecture Center 54 Lauren Peterson: A Familiar Face Gets a New Start at Phillips 55 Popping Up This Fall 56 Fashionable Art Offers Surprises at Fashion Outlets of Chicago 57 The Driehaus Museum Turns 10 58 Holiday Art Finds 60
ART SERVICES + ADDITIONAL RESOURCES
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Published 3 times annually: CGN Arts Guide / Summer / Fall © 2018 Chicago Gallery News, Inc. Publisher + Executive Editor Virginia B. Van Alyea Managing Editor + Business Manager Emily Ackerman Contributors Mia DiMeo Franck Mercurio Alison Reilly Interns Victoria Thomas Isobel Van Alyea Thomas Van Alyea Chicago Gallery News 858 N. Clark St., Ste. 204 Chicago, IL 60610 312-649-0064 info@chicagogallerynews.com www.chicagogallerynews.com Fall 2018 • Vol. 33, No. 2 © 2018 ISSN #1046-6185 PICTURED ON THE COVER: SUELLEN ROCCA UNTITLED (HANDS/”HANDBAG-HANDBAG”) C. 1968, INK ON PAPER, 23 3/4 X 17 7/8 INCHES 60 X 45 CM. ©️ SUELLEN ROCCA, COURTESY MATTHEW MARKS GALLERY
PUBLISHER’S LETTER A RT SAV E S L I V E S My mother owned a glittery pin that she used to wear in the 90s that said ‘Art Saves Lives.’ I always liked it, especially since at the time it was very tween-trendy to collect pins featurMARIA C MOYA ing clever sayings and places and pin them on your backpack or jean jacket (I also had one that said ‘Be careful, or we shall banish you to the Midwest!’) I still see that Art Saves Lives pin every day on the bulletin board above my desk. We say CGN is a cheerleader of the arts, and, as many in the art world experience an unpredictable market, I have been thinking about how to better communicate why art is important in my own life as well as how to make the case for why people should actually buy it. As art occupies more of the public space than ever, which is a positive thing, it still needs to be invested in and supported. The general points about why it’s good for individuals to buy art are because you love it, because it supports an artist, because it makes a statement, because it’s unique. However, to buy art costs money. So what justifies the financial outlay, when we are often able to enjoy images and the fruits of creativity for free at a time when many of us generally want fewer things? There is a new generation of art collectors coming of age. Baby Boomers still make up half of art buyers, but Millennials are the fastest growing group, according to a 2018 study by US Trust. More women are also
buying art, and more new collectors seek to invest in art that will appreciate, as they are more likely to sell pieces than previous generations. Today both time and money are precious, and so is an attention span. While this rising demographic approaches a great deal of things in a more personally relevant way, how they value art may be more market– based, or even crowd–sourced as they seek to build a personal brand and rely more on data to inform their everyday lives. Millennials are also more likely to buy art online or to discover emerging artists via platforms like Instagram. They are engaged, but it may not be in person on a regular visit to a gallery. This brings me back to why art is important to me and how art can save lives. An artist’s view of the world, seen and experienced in person through a constructed object, a performance or a concept, can be a powerful learning resource as well as a lens through which to view history or what is happening right now. A work of art can memorialize a tragedy, and it can preserve beauty; it can provide a vehicle for participating in a larger community and also connect with the past. My message to buyers entering the market is to consider why art is what is left behind once we are gone. Art is not part of a personal brand that changes with the wind. Art that survives the ages should connect us to someone or some thing. To buy a work of art is to invest in an artist’s unique talent and be able to admire and learn from it everyday. – Ginny Van Alyea, CGN Publisher
Founded in 1983 Chicago Gallery News is the central source for information about the area’s art galleries, museums, events and resources. CGN aims to be a clear, accessible guide to the region’s visual arts, as well as an advocate on behalf of the local cultural community. Complimentary copies are available in all listed galleries, museums and art centers, as well as at the Chicago Cultural Center and at hotel concierge desks throughout Chicago and the suburbs. Magazines available by subscription. Pick up our annual CGN Arts Guide in listed area art spaces, featuring a portable format with 160 pages of gallery and museum listings as well as district maps. The 2019 edition will be out in January.
A NEW CGN ONLINE Our redesigned chicagogallerynews.com, built by Neoteric Design, features more ways than ever to discover what’s happening throughout the region by neighborhood, date and art specialty. CGN publishes new content weekly, from interviews and news, to events, opening receptions and more. Subscribe to our free e-newsletters and Apple News Channel, and follow @ChiGalleryNews on social media. Fall 2018 | CGN | 21
SOCIAL CALENDAR 4TH ANNUAL RIVER NORTH FALL GALLERY WALK Sept 7, 5-9pm; Sept 8, 11am-4pm The gallery walk includes free openings and events, a ticketed kickoff at Jesse Chicago/Home Element, and an after-party at Studio41. Family events Sat. Hosted by River North Design District + River North Art District rivernorthdesigndistrict.com THE ANNUAL: AN EXHIBITION OF NEW CHICAGO ART Sept 18–28 Mixtapes for the New Millennium. Hosted by the Chicago Artists Coalition, The ANNUAL is a sales exhibition to celebrate cuttingedge art and offer a forum for discovering affordable new work and engage with artists. 2130 W. Fulton St. chicagoartistscoalition.org EXPO ART WEEK Sept 24–30 EXPO CHICAGO’S 7th edition puts our city on the world stage when the art fair caps off a week of city-wide cultural programming, to present one of the highest quality platforms for global contemporary art and culture. The MCA’s Vernissage is Sept 27. Navy Pier, 600 E. Grand Ave. expochicago.com
FOR THE RNDD + RIVER NORTH GALLERY WALK HAILEY LAUREN DESIGNS FEATURES ART BY ANDREW BAE GALLERY ARTIST KEYSOOK GEUM AT THE TOTO SHOWROOM AT 500 N WELLS
EXPO CHICAGO FEATURES /DIALOGUES. PICTURED: GOLDSHOLL AND ASSOC., KIMBERLY-CLARK CORPORATION. KLEENEX X-PERIMENTS (SNEEZE, ROAD, GLOVE LOVE, BIRDS, SCRATCH), 1960S. 16 MM-FILM, IMAGE COURTESY CHICAGO FILM ARCHIVES AND THE BLOCK MUSEUM OF ART
CHICAGO ARTISTS COALITION’S THE ANNUAL IS CURATED BY JORDAN MARTINS AND FEATURES ART ‘MIXTAPES’ LIKE THIS ONE PICTURED BY DANIEL HOJNACKI (LEFT); BRITTNEY LEEANNE WILLIAMS (RIGHT)
TUESDAYS ON THE TERRACE © MCA CHICAGO
FILTER PHOTO FESTIVAL Sept 27-30 The 10th annual multi-day celebration of photography: workshops, lectures, receptions, a portfolio walk and more. Most events occur at the Millennium Knickerbocker Hotel; evening activities are in galleries and partner spaces • filterphoto.org INTUIT’S VISIONARY BALL Sept 28 Intuit’s annual party gets shiny with “It’s a Bling Thing,” honoring collector Susann Craig, artist Cheryl Pope, and artist Patty Carroll and husband Tony Jones, past SAIC president. 108 W. Germania Pl. • $300 art.org/visionary-ball-2018 22 | CGN | Fall 2018
THE 2018 FILTER PHOTO FESTIVAL KEYNOTE SPEAKER IS PHOTOGRAPHER MONA KUHN.
FALL/WINTER 2018 OPEN HOUSE CHICAGO Oct 13 and 14 The Chicago Architecture Center’s annual free public festival offers behind-the-scenes access to more than 200 buildings across Chicago. Explore the hidden gems and architectural treasures of Chicago’s diverse neighborhoods. Various locations openhousechicago.org
SACRED HEART SCHOOLS, DRIEHAUS CENTER (CONWAY HOUSE) WAS A 2017 SITE FOR OPEN HOUSE CHICAGO
PATRICK MCCOY LEADS A GROUP THROUGH HIS COLLECTION OF AFRICAN AND AFRICAN AMERICAN ART FOR THE DIASPORAL RHYTHMS HOME TOUR
HARUMI NAKASHIMA’S WORK WILL BE ON VIEW AT SOFA AT DUANE REED GALLERY
DIASPORAL RHYTHMS COLLECTORS’ HOME TOUR, EXHIBITION AND AUCTION Oct 13 and 14 15th annual weekend of culture featuring art of the African Diaspora on Chicago’s South Side. The Love Affair Continues opens Oct. 13 at the DuSable Museum. Ticketed tours of 12 homes also Oct. 13. Auction is Oct. 14. diasporalrhythms.net ARTS IN THE DARK HALLOWEEN ARTIST PARADE Oct 20, 6–8pm; Procession at 8:30 A magical evening parade celebrating Halloween as the “artist’s holiday.” Featuring unique floats, spectacle puppets and creative performances against the backdrop of Chicago’s majestic skyline. On Columbus, moving north from Balbo to Monroe • Free artsinthedark.org SOFA CHICAGO – 25TH YEAR Nov 1–4 The Sculpture Objects Functional Art and Design Fair is the premier gallery-presented art fair dedicated to three-dimensional art that crosses the boundaries of fine art, decorative art and design. Navy Pier, 600 E. Grand www.sofaexpo.com
THE ARTS IN THE DARK PARADE IS CALLED ‘THE ARTIST’S HALLOWEEN’
EVANSTON ART CENTER WINTER ARTS + CRAFTS EXPO Nov 17–Dec 22 One of the largest and most celebrated craft shows in the area, the 16th edition features original arts and crafts by over 140 selected artisans. 1717 Central St., Evanston • Free evanstonartcenter.org/winterexpo Fall 2018 | CGN | 23
SEASON PREVIEWS THIS FALL THERE ARE NOT ENOUGH DAYS IN THE WEEK TO SEE ALL THAT IS ON VIEW IN GALLERIES AND MUSEUMS. THE OFFERINGS IN OUR LISTINGS ARE BROAD, FROM AN OCTOGENARIAN’S LOOK AT SPACE AND TIME, TO A PLAYFUL TAKE ON DESIGN, AS WELL AS A LOOK AT DATA PRIVACY, AND NEW CONSIDERATIONS OF THE CONTRIBUTIONS OF BLACK ARTISTS.
DAVID HOCKNEY: TIME AND MORE, SPACE AND MORE... RICHARD GRAY GALLERY A series of recent lens-based works by David Hockney, comprised of three photographic collages and a monumental four-part video installation. The exhibition highlights the part of Hockney’s practice spent behind the camera, with works synthesizing the fragmentation of perception and observation, as well as time and space. Sept 13–Nov 21 2044 W. Carroll, Chicago • richardgraygallery.com IMAGE: DAVID HOCKNEY AND JONATHAN WILKINSON, INSIDE IT OPENS UP AS WELL, 2018. PHOTOGRAPHIC DRAWING PRINTED ON 7 SHEETS OF PAPER, MOUNTED ON 7 SHEETS OF DIBOND. © DAVID HOCKNEY. PHOTO CREDIT: RICHARD SCHMIDT
SERIOUS PLAY: DESIGN IN MIDCENTURY AMERICA MILWAUKEE ART MUSEUM An exploration of projects of over 40 designers who advocated for playfulness and whimsy within their creations for corporations, domestic interiors, and children presents play as a serious form of inspiration, experimentation, and problem solving in midcentury America, against the backdrop of a booming consumer market and as a counterbalance to Cold War–era anxiety. • Sept 28–Jan 6 700 N. Art Museum Drive, Milwaukee, WI • mam.org IMAGE: RAY EAMES WITH THE FIRST PROTOTYPE OF THE TOY, 1950. © EAMES OFFICE LLC (EAMESOFFICE.COM)
THE TIME IS NOW! ART WORLDS OF CHICAGO’S SOUTH SIDE, 1960-1980 SMART MUSEUM OF ART An immersive examination of the South Side, as told by the art and artists who shaped its contours— from the Chicago Imagists to the Black Arts Movement. The Time is Now! reassesses the story of postwar Chicago art through a nuanced look at the artists living, working, and exhibiting on the South Side. • Sept 13–Dec 30 5550 S. Greenwood, Chicago • smartmuseum.uchicago.edu IMAGE: CAROLYN LAWRENCE, UPHOLD YOUR MEN, UNIFY YOUR FAMILIES, 1971, SCREENPRINT ON WOVE PAPER. SMART MUSEUM OF ART, THE UNIVERSITY OF CHICAGO, GIFT OF DAVID LUSENHOP IN HONOR OF THE ARTIST, 2013.7. © CAROLYN LAWRENCE.
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AFRICOBRA 50 KAVI GUPTA GALLERY AfriCOBRA 50 commemorates the 50th anniversary of the founding AfriCOBRA (African Commune of Bad Relevant Artists), the black artists collective that defined the visual aesthetic of the Black Arts movement of the 1960s and 70s. Original works by the five founding members Gerald Williams, Wadsworth Jarrell, Jae Jarrell, Jeff Donaldson, and Barbara Jones-Hogu—as well as a select group of peers who influenced or were influenced by AfriCOBRA, will be shown. Sept 29–Nov 3 • 219 N. Elizabeth, Chicago kavigupta.com IMAGE: GERALD WILLIAMS, NATION TIME, 1969.
KENNEDY BROWNE: THE SPECIAL RELATIONSHIP KRANNERT ART MUSEUM A collaboration of Irish artists Gareth Kennedy and Sarah Browne surveying six bodies of work in video, sculpture, and text created in response to unfolding neoliberal systems of labor, technology and politics. The exhibition debuts Real World Harm, a sound installation and 360-degree video on Oculus virtual reality, a platform implicated in the project’s look at online data privacy. Oct 4–Feb 9 • University of Illinois at Urbana-Champaign • kam.illinois.edu IMAGE: KENNEDY BROWNE, REAL WORLD HARM, 2018. STILL FROM 360º VIDEO FOR OCULUS, 5 MINUTES. COURTESY OF THE ARTISTS. EXHIBITION SPONSORED IN PART BY THE ANDY WARHOL FOUNDATION FOR THE VISUAL ARTS AND CULTURE IRELAND. CO-SPONSORED BY THE EUROPEAN UNION CENTER AT THE UNIVERSITY OF ILLINOIS.
JENNY KENDLER & BRIAN KIRKBRIDE: THE PLAYHEAD OF DAWN THE ARTS CLUB OF CHICAGO
IMAGE: DIGITAL MOCK-UP FROM PLAYHEAD OF DAWN BY BRIAN KIRKBRIDE AND JENNY KENDLER. IMAGE COURTESY OF THE ARTISTS.
The Playhead of Dawn is a collaborative sound and software project by visual artist Jenny Kendler and sound artist/programmer Brian Kirkbride. By intricately reworking a massive dataset of geo-tagged birdsong recorded by citizen-scientists for the Xeno-canto project, the exhibition allows visitors to experience this planetary chorus for the first time. Opens Sept 24 and runs through December 201 E. Ontario, Chicago • artsclub.org
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GALLERY OPENINGS OPENINGS USUALLY TAKE PLACE THE FIRST NIGHT OF A NEW EXHIBITION. ARTISTS ARE OFTEN PRESENT, AND THE PUBLIC IS WELCOME. CHICAGOGALLERYNEWS.COM HAS DETAILS UPDATED DAILY. GALLERY KEY: RIVER NORTH WEST SIDE SOUTH SIDE MICHIGAN AVE/LOOP NORTH SIDE SUBURBS/MIDWEST
SEPT SAT SEPT 1 Vertical Perspective Sugar Row WED SEPT 5 Evanston Art Center TH SEPT 6 Spertus FRI SEPT 7
SAT SEPT 15 Kavi Gupta (W. Washington) McCormick PATRON Carrie Secrist Bert Green Renaissance Society Smart Museum Nathan Manilow SEPT 18 Block Museum SEPT 20 Arts Club
RIVER NORTH FALL GALLERY WALK
Addington Jean Albano Victor Armendariz Andrew Bae Melanee Cooper Catherine Edelman Carl Hammer Printworks Rangefinder Schneider Vale Craft Galerie Waterton Zolla/Lieberman PAGODA RED One after 909 Linda Warren Chicago Art Source Hofheimer Gallery Studio Oh! SAT SEPT 8 Chicago Printmakers Driehaus Museum Elmhurst Art Museum Salon Artists TH SEPT 13 Hilton | Asmus Richard Gray (Warehouse) FRI SEPT 14 ARC DOCUMENT Rhona Hoffman Paris London Hong Kong Volume Western Exhibitions Chicago Arts District
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SEPT 21 Filter Photo Aron Packer Bridgeport Art Center SEPT 25 Logan Center Exhibitions SEPT 28 EXPO ART AFTER HOURS Victor Armendariz Catherine Edelman DOCUMENT Filter Photo Kavi Gupta Rhona Hoffman PAGODA RED Paris London Hong Kong Carrie Secrist Gallery UIMA Vertical Volume Linda Warren Western Exhibitions Museum of Contemporary Photography (MoCP) Firecat Gallery Studio Oh! Video Game Art Gallery SEPT 29 Kavi Gupta (N. Elizabeth)
OCT OCT 3 Christopher/Prairie (11:30-2) OCT 5 Victor Armendariz Rangefinder Cornelia Arts Building Hofheimer Gallery Studio Oh!
OCT 6 Vertical Eat Paint Block Museum Perspective OCT 10 Fermilab OCT 11 Museum of Contemporary Photography (MoCP) State Street Evanston Art Center OCT 12 Jean Albano Weinberg/Newton Chicago Arts District OCT 13 Salon Artists OCT 19 Bridgeport Art Center OCT 26 Schneider Firecat Bridgeport Art Center OCT 27 Krasl Art Center
NOV NOV 2 SOFA WEEKEND Addington Jean Albano Victor Armendariz Andrew Bae Melanee Cooper Catherine Edelman Carl Hammer Printworks Rangefinder Schneider Vale Craft Galerie Waterton Zolla/Lieberman Filter Photo Paris London Hong Kong Western Exhibitions Hofheimer
NOV 3 McCormick PATRON Vertical Ice House Perspective NOV 9 Chicago Arts District Christopher/Prairie St (12-2) Ice House NOV 10 Bert Green NOV 15 Northern Illinois Univ. (NIU) Art Museum NOV 16 Chicago Art Source Bridgeport Art Center Logan Center Exhibitions Evanston Art Center NOV 27 Jean Albano NOV 30 Victor Armendariz Vertical Cornelia Arts Building Firecat
DEC DEC 1 Victor Armendariz Chicago Printmakers Ice House Perspective DEC 7 Filter Photo Gallery Studio Oh! DEC 14 Chicago Arts District DEC 28 Firecat
Coming Full Circle: Alicia LaChance, Joanne Mattera, Arno Elias marks Melanee Cooper Gallery’s return to River North after 9 years. September 7–October 27
Candice Lin: A Hard White Body, a Porous Slip Logan Center Exhibitions September 14–October 28
Dreaming in Color, New Gouache Paintings features William Conger, Eleanor Spiess-Ferris, Nicole Gordon, Michael Noland, Gene Skala and Nicholas Sistler Hofheimer Gallery Nov 2–Dec 29
Greg Gossel: Labor of Love Vertical Gallery November 3–24
Fall 2018 | CGN | 27
ART ON VIEW
RIVER NORTH CHICAGO WEINBERG/ NEWTON RANGEFINDER MELANEE COOPER VICTOR ARMENDARIZ ANDREW CATHERINE BAE EDELMAN
Addington Gallery 704 N. Wells (60654) www.addingtongallery.com
Sept 7: Robin Denevan: River Views; Gallery Season Opening Gala, 5-8pm Nov 2: Brooks Anderson: Illumina; Opening reception Friday, Nov 2, 5-8pm
Jean Albano Gallery 215 W. Superior (60654) www.jeanalbanogallery.com
Sept 7–Oct 6: Mary Ann Papanek-Miller Oct 12–Nov 17: Joe Tallarico Nov 27–Dec 22: Imagist Group Show
Gallery Victor Armendariz 300 W. Superior (60654) www.galleryvictor.com
Sept 7: Bruno Surdo: Liberaton Nov 2: Andrew LeMay Cox: POP-LORE Nov 1–4: SOFA Chicago 2018, Navy Pier Nov 30 & Dec 1: Wrap it Up: works from The Studio
Andrew Bae Gallery 300 W. Superior (60654) www.andrewbaegallery.com
Sept 7–Oct 5: KwangJean Park
Melanee Cooper Gallery 740 N. Franklin (60654) www.melaneecoopergallery.com
Sept 7–Oct 27: • Coming Full Circle: Alicia LaChance and Joanne Mattera • Gallery 2: Journey though Asia: Arno Elias Nov 2–Dec 29: California: Julie Montgomery, Rhiannon Griego and Elise Vazelakis
Catherine Edelman Gallery 300 W. Superior, Lower Level (60654) www.edelmangallery.com
Sept 7–Oct 27: How Do You See Me?: Alanna Airitam, Endia Beal, Medina Dugger Nov 2–Dec 22: Michael Koerner: My DNA Thank you River North for 31 years - look for us in January 2019 at 1637 W. Chicago Ave. 28 | CGN | Fall 2018
HILTON | ASMUS ADDINGTON
HURON
THE GOLDEN TRIANGLE
LASALLE
ZOLLA / LIEBERMAN
JEAN ALBANO
WELLS
PRINTWORKS GALERIE WATERTON
FRANKLIN
PLEASE REFER TO THE OPENINGS ON P. 26 TO CHECK RECEPTION DATES AND TIMES. CHICAGOGALLERYNEWS.COM UPDATED DAILY
ORLEANS
SUPERIOR
SEPTEMBER–DECEMBER 2018
RIVER NORTH
VALE CRAFT
SCHNEIDER
CARL HAMMER
RICHARD NORTON
The Golden Triangle 330 N. Clark (60654) www.goldentriangle.biz
The Rangefinder Gallery at Tamarkin Camera
300 W. Superior, 2nd Fl. (60654) www.rangefindergallery.com
Carl Hammer Gallery
Chicago’s gallery and hub for both emerging and established photographers to discover new work, display and share their own work, and to spark conversations and connections around photography and the arts.
Sept 7–Oct 27: Vanessa German: Things Are Not Always What They Seem: A Phenomenology of Black Girlhood Nov 2–Dec 27: Ka-Bam! Holy Moly! 70’s and 80’s Chicago Art From the Lonn Frye Collection
Schneider Gallery
740 N. Wells (60654) 312-402-1981 www.carlhammergallery.com
Hilton | Asmus Contemporary 716 N. Wells (60654) www.hilton-asmus.com
770 N. LaSalle, Ste. 401 (60654) www.schneidergallerychicago.com Sept 7–Oct 20: Robyn Day & Lisa Lindvay Oct 26–Dec 29: Jessica Sladek
Vale Craft Gallery
Sept 13: Sinatra: My Kind of Town
230 W. Superior (60654) www.valecraftgallery.com
Richard Norton Gallery
Sept 7–Nov 4: Wendy Franklin, fiber Nov 2–Dec 29: Rene Murray, ceramic sculpture
612 Merchandise Mart (60654) www.richardnortongallery.com
Notable American + European Impressionist + Modern paintings, drawings + sculpture from 19th + early 20th C. Consultation, appraisal, consignment + purchase of artwork. Participating in EXPO CHICAGO, Sept 27-30.
Aron Packer Projects
773-458-3150 aronpacker@gmail.com • www.aronpackerprojects.com Aron Packer is currently mounting Pop-Up exhibitions. Sept 21–Nov 10: Heart, Brain, Body and Soul, Charles Steffen and Iris Adler; At the Chicago Ceramic Center, Bridgeport Art Center, 5th Fl.
Printworks Gallery 311 W. Superior (60654) www.printworkschicago.com
Sept 7–Oct 27 Drawing Show: Vera Klement, Heather Accurso & Elizabeth Carson Manley Nov 2–Dec 29 James Mesplé: Arcadia Drawings, Prints and Paintings
GALERIE WATERTON 311 W. Superior, Ste. 115 (60654) www.galeriewaterton.com
Sept 7–Oct 30: Dangerous Games, Xiaofei Yue Opening reception Sept 7, 5-8pm Nov 2–30: Indonesian paintings: Chandra Johan and Gatot Widodo. Opening reception: Nov 2, 5-8pm
Weinberg/Newton Gallery 300 W. Superior, Ste. 203 (60654) www.weinbergnewtongallery.com
Thru Sept 15: Weight of a World Oct 12–Dec 8: Exhibition with My Block, My Hood, My City
Zolla/Lieberman Gallery 325 W. Huron (60654) www.zollaliebermangallery.com
Sept 7–Oct 20: Opening reception Sept 7, 5-8pm René Romero Schuler: In Search of Ground Nov 2–Dec 28: Opening reception Nov 2, 5-8pm • David Lozano: Madera Picado • Blake Aaseby: Gather Round • John Fraser: Found in the Making
ARC Gallery
WEST TOWN, UKRAINIAN VILLAGE, KINZIE CORRIDOR
1463 W. Chicago (60622) www.arcgallery.org
M
DIVISION
IL
Sept 5-29: WOMEN STRONG: New Space, New Work. Opening Reception: Friday, Sept 14, 6-9pm. VERTICAL
Sept 14–Oct 27: Stan VanDerBeek Nov 2–Dec 22: Sara Greenberger Rafferty
UKRAINIAN INST. OF MODERN ART
CHICAGO
DOCUMENT VOLUME RHONA WESTERN HOFFMAN EXHIBITIONS PARIS LONDON HONG KONG
Filter Photo
1821 W. Hubbard, Ste. 207 (60622) www.filterphoto.org Sept 21–Oct 27: Re/member/construct; we like small things v.2 Sept 27–30: 2018 Filter Photo Festival Nov 2–Dec 1: Ben Schonberger: Beautiful Pig Dec 7–Jan 5, 2019: Nicole Mauser and Colleen Keihm
GRAND MONGERSON
HUBBARD FILTER PHOTO
2044 W. Carroll (60612) www.richardgraygallery.com
CARROLL
Sept 13–Nov 21: David Hockney: Time and More, Space and More…
CHICAGO ARTISTS COALITION
FULTON
WEST LOOP + RIVER WEST CHICAGO INTUIT
DE
LINDA WARREN
Sept 14–Oct 27: Johannes VanDerBeek Nov 2–Dec 22: Marie Herwald Hermann
FULTON
HALSTED
GREEN
PEORIA
SANGAMON
LAKE
MORGAN
RACINE
KAVI GUPTA #2 ELIZABETH
ADA
MARKET
RANDOLPH RANDOLPH STREET MARKET
ASHLAND
LESLIE HINDMAN
MORGAN’S ON FULTON
MARS CARPENTER
Line Dot’s full inventory is available to view and purchase at linedoteditions.com. Our brick and mortar space showcases a changing array of artwork, with exclusive editions released monthly.
1709 W. Chicago (60622) www.parislondonhongkong.com
EE
KINZIE
1023 N. Western (60622) www.linedoteditions.com
Paris London Hong Kong
AU K
PAGODA RED
OG
Line Dot Editions
906 N. Ashland (60622) www.1after909.com
LW
N
GRAND
Thru Jan 6, 2019: • Chicago Calling: Art Against the Flow; • Chicago We Own It
One After 909
PATRON
MI
756 N. Milwaukee (60642) www.art.org
2251 W. Grand (60612) www.mongersongallery.com
LINC THELEN
RICHARD GRAY
Intuit: The Center for Intuitive and Outsider Art
Mongerson Gallery
ARC
INTUIT PATRON
Richard Gray Gallery – Gray Warehouse
Sept 14–Oct 20: Torkwase Dyson: James Samuel Madison
NOBLE
1709 W. Chicago (60622) • www.documentspace.com
ONE AFTER 909
ASHLAND
WESTERN
DOCUMENT
1711 W. Chicago (60622) www.rhoffmangallery.com
EE
AUGUSTA
2130 W. Fulton (60612) www.chicagoartistscoalition.org
Rhona Hoffman Gallery
AU K
LINE DOT
DAMEN
Chicago Artists Coalition
W
WASHINGTON EN FOCO
MADISON
KAVI GUPTA CARRIE SECRIST MCCORMICK
I-90/94 KENNEDY EXPRESSWAY
WEST TOWN + UKRAINIAN VILLAGE
Fall 2018 | CGN | 29
PATRON
673 N. Milwaukee (60642) • www.patrongallery.com Sept 15–Oct 27: Bethany Collins: Undersong Nov 3–Jan 19, 2019: Samira Yamin
Linc Thelen Gallery 1620 W. Carroll (60612) www.lincthelenart.com
Ukrainian Institute of Modern Art (UIMA) 2320 W. Chicago (60622) • www.uima-chicago.org
Vertical Gallery
1016 N. Western (60622) • www.verticalgallery.com
PAGODA RED
Les Enluminures
980 N. Michigan, Ste. 1330 (60611) www.lesenluminures.com
400 N. Morgan (60642) www.pagodared.com
Richard Gray Gallery
Carrie Secrist Gallery
John Hancock Building, 875 N. Michigan (60611) West Town Location: 2044 W. Carroll (60612) www.richardgraygallery.com
835 W. Washington (60607) www.secristgallery.com Sept 15: Liliana Porter
Bert Green Fine Art
Linda Warren Projects
8 S. Michigan, Ste. 620 (60603) • www.bgfa.us
327 N. Aberdeen, Ste. 151 (60607) www.lindawarrenprojects.com
Sept 1–22: PIPSQUEAK WAS HERE!!! Caution: Children At Play Sept 28–30: Spoke Art Presents Oct 6–27: James Reka NEUDECO Nov 3–21: Greg Gossel Labor of Love Nov 30–Dec 29: John Bond Solo Show
Sept 7–Oct 27: Michiko Itatani and Paula Henderson
Volume Gallery
The Arts Club of Chicago
Sept 14: Jonathan Muecke – Open Objects
Sept 20–Dec 21: Gaylen Gerber Autumn 2018: Garden Project – Jenny Kendler & Brian Kirkbride: The Playhead of Dawn
1709 W. Chicago, 2B (60622) www.wvvolumes.com
Western Exhibitions 1709 W. Chicago (60622) www.westernexhibitions.com
Sept 14–Oct 27: • Edie Fake, Gut Rehab • Paolo Arao Nov 2–Dec 22: Jessica Labatte: Shade Garden
WEST LOOP, RIVER WEST En Foco Gallery 17 N. Loomis (60607) www.enfocogallery.com
Kavi Gupta Gallery 835 W. Washington (60607) 219 N. Elizabeth (60607) www.kavigupta.com
Oct 4–7: Frieze Masters Oct 27–31: TEFAF New York Nov 7–11: Fine Arts Paris
Sept 7–Oct 31: Fly: New Works By Michael Thompson Sept 28: Then and Now: Dr. John Tancock and Ms. Helyn Goldenberg In Conversation. 6:30-8pm
Bert Green Fine Art represents and exhibits emerging and mid-career artists.
MICHIGAN AVE / THE LOOP + SOUTH LOOP
Hildt Galleries
140 E. Walton (60611) www.hildtgalleries.com
R.S. Johnson Fine Art 645 N. Michigan (60611) www.rsjohnsonfineart.com
201 E. Ontario (60611) www.artsclubchicago.org
Loyola University Museum of Art (LUMA) 820 N. Michigan Ave. (60611) • www.luc.edu/luma
The Art Institute of Chicago
Nov 13–Jan 12: • Art and Faith of the Crèche: • David Lee Csicsko: The Art of the Season Permanently on Display: Gilded Glory: European Treasures from the Martin D’Arcy, S.J. Collection
Chicago Cultural Center
Museum of Contemporary Art Chicago (MCA)
111 S. Michigan (60603) www.artic.edu
78 E. Washington (60602) • www.chicagoculturalcenter.org
The Richard H. Driehaus Museum
Museum of Contemporary Photography (MoCP)
40 E. Erie (60611) • www.driehausmuseum.com
Sept 8–Jan 6, 2019: Beauty’s Legacy: Gilded Age Portraits in America • Gilded Chicago, Portraits of an Era
DOWNTOWN OAK
Columbia College Chicago, 600 S. Michigan (60605) www.mocp.org Thru Sept 30: Lucas Foglia: Human Nature • View Finder: Landscape and Leisure in the Collection Oct 11–Dec 21: The Many Hats of Ralph Arnold: Art, Identity, and Politics • Echoes: Reframing Collage
E. LAKE SHORE DR WALTON DELAWARE
ILLINOIS
MICHIGAN AVE
RUSH
STATE
WABASH
GRAND
E
OHIO
IV
JOEL OPPENHEIMER
ERIE
ONTARIO
DR
1139 W. Fulton Market (60607) www.marsgallery.com
ONTARIO
E
Mars Gallery
DRIEHAUS MUSEUM
OR
1338 W. Lake (60607) www.lesliehindman.com
SH
MUSEUM OF CONTEMPORARY ART CHICAGO (MCA)
CHICAGO
Leslie Hindman Auctioneers
KE LA
HILDT RICHARD GRAY
• LES ENLUMINURES • SOTHEBY’S LOYOLA UNIVERSITY MUSEUM OF ART
N.
Sept 15–Nov 24: Firelei Báez (W. Washington) Sept 29–Nov 3: AfriCOBRA50 (N. Elizabeth)
220 E. Chicago (60611) • www.mcachicago.org
R.S. JOHNSON ARTS CLUB
NAVY PIER –
McCormick Gallery RANDOLPH
Sept 15–Oct 27: Vidvuds Zviedris: New Work Nov 3–Dec 22: Ben Tinsley: New Work
CULTURAL CENTER BERT GREEN
Morgan’s on Fulton was born of a passion for the arts and creative collaboration. The venue is made up of four unique floors, including an Art Gallery, and Industrial Loft, Penthouse/Rooftop Terrace, and Studio Lounge. 30 | CGN | Fall 2018
STATE STREET
S. ROG GALLERY
GRANT PARK
CONGRESS MUSEUM OF CONTEMPORARY PHOGRAPHY (MOCP) SPERTUS INSTITUTE
S. LAKE SHORE DRIVE
JACKSON
Morgan’s on Fulton
952 W. Fulton (60607) • www.morgansonfulton.com
MILLENNIUM ART PARK INSTITUTE
COLUMBUS
835 W. Washington (60607) www.thomasmccormick.com
Hofheimer Gallery
NORTH SIDE
4823 N. Damen (60625) • www.hofheimergallery.com
LAWRENCE LAWRENCE & CLARK
CORNELIA ARTS BUILDING I-9
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POSITIVE SPACE FIRECAT PROJECTS
VGA
AR
K
CL YB
OL
LEIGH GALLERY
ART DE TRIUMPH
DIVERSEY
N
OU
RN
4755 N. Clark (60640) • 773-459-0586
SHERIDAN
CL
LAKEVIEW
NC
Lawrence & Clark
BELMONT
FULLERTON
NORTH
DEPAUL ART MUSEUM
MADRON
WICKER PARK
Joel Oppenheimer, Inc.
10 E. Ohio, Tree Studio Annex (60611) www.audubonart.com
S. Rog Gallery
739 S. Clark, 2nd Floor (60605) www.sroggallery.com
Sotheby’s Chicago
980 N. Michigan, Ste. 1815 (60611) www.sothebys.com
Spertus Institute for Jewish Learning and Leadership 610 S. Michigan (60605) www.spertus.edu
Sept 6–Feb 17, 2019: Todros Geller: Strange Worlds. In our ground floor gallery, see work that shapes and gives expression to the Jewish experience.
State Street Gallery at Robert Morris University
401 S. State St. (60605) www.robertmorris.edu/studentlife/state-street-gallery/ Sept 24–Dec 20: Artists’ Atlas - Mapping Their Journey Reception: Oct 11, 5-7 pm
LINCOLN PARK / LAKEVIEW / OLD TOWN Art De Triumph & Artful Framer Studios
2938 N. Clark (60657) • www.NancieKingMertz.com Featuring work by Master Pastelist Nancie King Mertz, who paints & instructs en plein air around Chicago & the world in oil & pastel. Open seven days a week, featuring Mertz’s originals, Giclee prints, cards & gifts, & expert framing
4839 N. Damen (60625) • art-studio-oh.com Sept 7-30: In Motion: Eric Cortez, Janet Hamilton, Brendan McAlinden Oct 5-Nov 10: Variable Views: Piotr Antonow, Mercedes Cardenas, Dimitri Pavlotsky Nov 15-Dec 29: Moments in Time; Patrick DeJuilio, Raul Ortiz, Andrea Salinas
4740 N. Western, 4th Fl. (60625) www.dankhaus.com/Art-Gallery
Oct 14: Open House Chicago reception
OLD TOWN
CHICAGO ART SOURCE
Gallery Studio Oh!
Scharpenberg Gallery at DANK Haus
LINCOLN PARK
ARMITAGE
BUCKTOWN THE DIME
UPTOWN
BR OA D
W AY
SOUTHPORT
ADDISON
ASHLAND
IRVING PARK DAMEN
WESTERN
LINCOLN SQ.
RAVENSWOOD
SCHARPENBERG /DANK HAUS MONTROSE
Sept 7–30: Judith Roston Freilich: Release Oct 5–30: Salute Nov 2–Dec 27: Dreaming in Color, New Gouache Paintings, William Conger, Eleanor Spiess-Ferris, Nicole Gordon, Michael Noland, Nicholas Sistler, Gene Skala
HALSTED
RAVENSWOOD
SHEFFIELD
STUDIO OH HOFHEIMER GALLERY
RACINE
EAT PAINT FOSTER CHICAGO PRINTMAKERS
THOMAS MASTERS
WICKER PARK / BUCKTOWN The Dime
Chicago Art Source Gallery
1513 N. Western (60622) 312-659-0464 facebook.com/thedimechicago/
Sept 7-Nov 10: Amy Cannady; Michelle Gordon Nov 16-Jan 26, 2019: Winter Salon
Firecat Projects
1871 N. Clybourn (60614) www.chicagoartsource.com
Cornelia Arts Building 1800 W. Cornelia (60657) www.corneliaartsbuilding.com
Celebrating over 30 Years as a working art studio building! Established in 1986, the CAB is one of the largest all-artiststudio buildings on Chicago’s Northside, with open studios throughout the year. Upcoming: Oct 5 and Nov 30.
The Leigh Gallery 3306 N. Halsted (60657) www.theleighgallery.com
Realism, Representational, Abstract, Pottery, Sculpture, Glass, Photography, Digital, Etching, Watercolor, Raku
2124 N. Damen (60647) www.firecatprojects.org Sept 28: Zac Balousek Oct 26: Don Perlis Nov 30: Cal Schenkel Dec 28: Tim Anderson
Positive Space Studios 3520 W Fullerton (60647) positivespacestudios.com
Video Game Art Gallery (VGA) 2418 W Bloomingdale, #102 (60647) www.vgagallery.com
1000 W. North Ave (60642) www.madrongallery.com
Sept 16–Dec 23: Backlog: Five Years Building the VGA Print Collection. Opening Reception: Sept 28, 6-9pm. Visit to view anniversary celebration of VGA’s print collection of significant works of video game art.
Thomas Masters Gallery
BRIDGEPORT / PILSEN
Madron Gallery
245 W. North (60610) www.thomasmastersgallery.com
RAVENSWOOD / UPTOWN LINCOLN SQUARE Chicago Printmakers Collaborative 4912 N. Western (60625) www.chicagoprintmakers.com
Eat Paint Studio
5036 N Lincoln, (60625) • www.eatpaintstudio.com Oct 6: Grand Reopening, 5–9pm
Bridgeport Art Center
1200 W. 35th St. (60609) • www.bridgeportart.com Thru Sept 14: Opposites of Adam Sept 21–Oct 20: Chicago: INSIDE-OUT / Kathryn Sept 21–Nov 2: Patterns of Nature Oct 26–Nov 17: Ego vs. Alter Ego Nov 16–Jan 4, 2019: Considering the Circle
Chicago Arts District 1945 S. Halsted (60608) chicagoartsdistrict.org
2nd Friday Gallery Nights, Monthly 6-10pm Fall 2018 | CGN | 31
National Museum of Mexican Art
Smart Museum of Art
Woman Made Gallery
2150 S. Canalport, Suite 4A3 (60608) www.womanmade.org
Thru December 16: Expanding Narratives: The Figure and the Ground Sept 13–Dec 30: The Time is Now! Art Worlds of Chicago’s South Side, 1960–1980
HYDE PARK / DORCHESTER
Stony Island Arts Bank
University of Chicago, 5550 S. Greenwood (60637) www.smartmuseum.uchicago.edu
1852 W. 19th St. (60608) www.nationalmuseumofmexicanart.org
DuSable Museum
William Hill Gallery 6442 S. Dorchester www.williamhillgallery.com
6760 S. Stony Island (60649) www.rebuild-foundation.org
Artbeat Gallery
5
1409 W. Dundee Rd., Buffalo Grove, IL (60089) www.artbeatgallery.rocks
Hyde Park Art Center
5020 S. Cornell (60615) • www.hydeparkart.org
The Art Center - Highland Park
University of Chicago, 915 E. 60th St (60637) www.arts.uchicago.edu/logan/gallery Sept 14—Oct 28: Candice Lin: A Hard White Body, a Porous Slip. Opening Reception and Artist Tour: Sept 25, 6-8pm Nov 16–Jan 13, 2019: Mariana Castillo Deball: Petlacoatl. Opening Reception and Artist Tour: Nov 16, 6-8pm
SOUTH SIDE
Art Post Gallery
8
Upscale gallery with one of the largest inventories of original art in Chicagoland. Represents 125+ artists. Contemporary/Transitional/Traditional styles. Many large-scale paintings. Fine framing offered.
18TH ST
T OR
P AL AN
WOMAN MADE GALLERY C
10
19TH ST CERMAK
GARFIELD BLVD 59TH ST 60TH ST
HYDE PARK 32 | CGN | Fall 2018
COTTAGE GR.
HYDE PARK ART CENTER
SMART MUSEUM
MIDWAY PLAISANCE
64TH ST
Sept 6–30: Faces Not Forgotten. Opening Sept 5, 6–9pm Oct 11–Nov 7: Phases of Matter. Opening Oct 11, 5–8pm Oct 6–Nov 11: John Santoro. Opening Th, Oct 11, 5–8pm Nov 16–Dec 21: Paul Lorenz Nov 17–Dec 22: Winter Expo. Opening Nov 16, 6–9pm
Ice House Gallery
24
609 South Blvd., Evanston, IL (60202) www.icehousegalleryevanston.com We are a multi-faceted art space offering a Gallery, Artist Studios, Classes, Performances and more! Featuring local and Evanston-loving artists, we hope to spread a variety of art to Evanston’s variety of people. 9
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1310-1/2B Chicago Ave., Evanston, IL (60201) www.perspectivegallery.org
47TH ST
RENAISSANCE SOCIETY
24
1717 Central St., Evanston, IL (60201) www.evanstonartcenter.org
Perspective Group 24 + Photography Gallery, Ltd.
HYDE PARK BLVD
DUSABLE MUSEUM
24
309 Park Ave., Glencoe, IL (60022) www.loucksgallery.com
43RD ST
56TH ST
Evanston Art Center
Anne Loucks Gallery
PERSHING
WASHINGTON PARK
704 Main St., Evanston, IL (60202) www.cultivateurbanrainforest.com
Thru: Sept 16: Where the Children Sleep: Photos by Magnus Wennman Thru Sept 23: The 75th Anniversary of the Warsaw Ghetto Uprising Thru Jan 13: Stories of Survival: Object. Image. Memory.
35TH ST
MLK DRIVE
51ST ST
Multifaceted public art program featuring contemporary art installations and exhibitions by emerging and established artists. Permanent commissions by Daniel Arsham, Carlos Rolón/Dzine, Jen Stark and more.
9603 Woods Dr., Skokie, IL (60077) www.ilholocaustmuseum.org
31ST ST
I-90 DAN RYAN EXPRE SSWAY
MORGAN
RACINE
ZHOU B ART CENTER
5220 Fashion Outlets Way, Rosemont, IL (60018) www.fashionoutletsofchicago.com/TheCollection
Illinois Holocaust Museum & Education Center
I-55 STEVENSON EXPRESSWAY
BRIDGEPORT BRIDGEPORT ART CENTER
5
LOGAN CENTER WILLIAM HILL STONY ISLAND ARTS BANK
STONY ISLAND
MANA CONTEMPORARY
ROOSEVELT
E DR LAKE SHOR
6
3
DORCHESTER
THROOP
MUSEUM OF MEXICAN ART
CHICAGO ART DISTRICT
CANAL
HALSTED
PILSEN NATIONAL
22
984 Willow Rd., Ste. G, Northbrook, IL (60062) www.artpostgallery.com
I-290 EISENHOWER EXPRESSWAY
THE COLLECTION 10 at Fashion Outlets of Chicago
Cultivate Urban Rainforest & Gallery
1957 Sheridan Rd., Highland Park, IL (60035) www.theartcenterhp.org
Logan Center Exhibitions
24
Northwestern University, 40 Arts Circle Dr. Evanston, IL (60208) www.blockmuseum.northwestern.edu Thru Nov 4: Paul Chan: Happiness (finally)... Sept 18–Dec 9: Break A Rule: Ed Paschke’s Art and Teaching • Up is Down: Mid-century Experiments in Advertising and Film at the Goldsholl studio
SUBURBS: NORTH SHORE + NORTHWEST
740 East 56th Pl. (60637) • www.dusablemuseum.org
The Block Museum of Art
Perspective Group and Photography is a not-for-profit 501(c)(3) cooperative of member artists. Its mission is to promote fine art photography in all its forms through exhibitions, lectures, and community outreach activities.
SUBURBS: SOUTH Christopher Art Gallery at Prairie State College
13
202 S. Halsted St., Chicago Heights, IL (60411) prairiestate.edu/christopher-art-gallery/index.aspx Featuring 8 exhibitions yearly, 5 of works by renowned artists from the Midwest and beyond, and 3 student exhibitions. Artists exhibited have included Dawoud Bey, Terry Evans, Eleanor Spiess-Ferris, Gladys Nilsson and Joseph Jachna.
Robert F. DeCaprio Art Gallery 11 Moraine Valley Community College Fine and Performing Arts Center 9000 W. College Pkwy., Palos Hills, IL (60465) www.morainevalley.edu/fpac/artgallery
12
Governors State University, 1 University Parkway, University Park, IL 60484 • www.govst.edu/sculpture Thru Sept 30: Where the City Meets the Prairie – Terrence Karpowicz and Christine Tarkowski Sept 15: Sculpture, Wine and Dine event 4:30-9pm
Sept 8-29: Our Truth: CouSandra Armstrong, Janice Pratt & Faye Zalecki Oct 3-31: Made in America: Various gallery artists / samba Dec: Holiday Sale. Closed December 22–
SUBURBS: WEST
Tarble Arts Center
18
College of DuPage, 425 Fawell Blvd., Glen Ellyn (60137) www.clevecarneygallery.org/ Thru Oct 15: On Anxiety Curated by Gwendolyn Zabicki 15
21
707 Lake Blvd., St. Joseph, MI (49085) • www.krasl.org Aug 31-Nov 25: Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press • artlab: Allison Svoboda Oct 27: Envision Party: redesigned grounds and new sculpture by Richard Hunt
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Eastern IL Univ. 2010 9th St., Charleston (61920) www.eiu.edu/tarble/
INDIANA
WISCONSIN
Brauer Museum of Art
John Michael Kohler Arts Center
19
Martinez Studio
Thru Dec 9: The Photography of David Robert Austen: We Ended Up Australian. Lives Honored and Dreams Imagined. Based on a True Story. • Krista Steinke: Good Luck with the Sun and Other Works 17
1
5877 State Hwy 57, Jacksonport, Door County, WI (54235) www.martinezstudio.com Contemporary Tapestry/Symbolist Painting. 2018 United States Artists Fellows.
Milwaukee Art Museum
3
700 N. Art Museum Dr., Milwaukee, WI 53202 www.mam.org
1040 Ridge Rd., Munster, IN (46321) www.southshoreartsonline.org
Snite Museum of Art
2
608 New York Ave., Sheboygan, WI (53081) www.jmkac.org
Museum of American art and international religious art.
South Shore Arts
Cleve Carney Art Gallery
Sugar Row Gallery
20
4
234 High St., Mineral Point, WI (53565) www.sugarrowstudioandgallery.com
University of Notre Dame 100 Moose Krause Circle, Notre Dame, IN (46556) sniteartmuseum.nd.edu
Wantoot Gallery
4
236 High St, Mineral Point, WI (53565) www.wantoot.com
150 Cottage Hill Ave., Elmhurst, IL (60126) www.elmhurstartmuseum.org Sept 8–Jan 13, 2019: The Figure and the Chicago Imagists, curated by Suellen Rocca • Solo exhibition by Chicago based multi-media artist David Wallace Haskins
Fermilab Art Gallery
Krasl Art Center
Valparaiso University, 1709 Chapel Dr. Valparaiso, IN (46383) www.valpo.edu/brauer-museum-of-art
14
294 Main St., Park Forest, IL (60466) www.salonartistsgallery.com
Elmhurst Art Museum
MICHIGAN
6
711 N. Main St., Rockford, IL (61103) www.rockfordartmuseum.org Thru Sept 30: The Rockford Midwestern Biennial
Nathan Manilow Sculpture Park
Salon Artists Gallery
Rockford Art Museum
SUBURBS, ILLINOIS, MIDWEST 1
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Kirk Rd & Pine St., Batavia, IL (60510) events.fnal.gov/
2 SHEBOYGAN
Thru Sept 28: Seeing the Prairie; artists: Crosby, Kim, Macnamara, Serrano, Willis Oct 4–Nov 30: Employee Art Show, Opening Oct 10
Komechak Art Gallery (Benedictine University)
3
4 MINERAL POINT
18
5700 College Rd., Lisle, IL (60532) www.ben.edu/komechak-art-gallery/index.cfm
5
GREATER ILLINOIS
22
6
Krannert Art Museum (KAM)
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University of Illinois at Urbana-Champaign 500 E. Peabody Dr., Champaign, IL (61820) www.kam.illinois.edu
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7
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KAM is the second-largest general fine arts museum in the state of Illinois, hosting 15 temporary exhibitions every year and maintaining six permanent galleries to exhibit the university’s art collection.
Northern Illinois University (NIU) Art Museum
7
Altgeld Hall, 1st Fl., West End, DeKalb, IL (60115) www.niu.edu/artmuseum Thru Oct 19: SWEET, Golden, Delicious…Alumni Show Nov 15–Feb 21, 2019: • Transparency in Form and Content • Vanishing Art from Myanmar: The Buddhist Reverse Glass Painting Tradition
25 26 CHARLESTON
Fall 2018 | CGN | 33
ARTIST SUELLEN ROCCA A LIFE STORY THROUGH ART
SUELLEN ROCCA, CHOCOLATE CHIP COOKIE, 1965, OIL ON CANVAS, TWO PANELS, EACH: 84 X 60 INCHES; 213 X 152 CM OVERALL: 84 X 120 INCHES; 213 X 304 CM. ©️ SUELLEN ROCCA, COURTESY MATTHEW MARKS GALLERY
By ALISON REILLY
CGN: What kind of art were you making at that age?
Suellen Rocca is one of the six members of the Hairy Who group that graduated in 1964 from the School of the Art Institute of Chicago and exhibited their bold, figurative, and often colorful work together at the Hyde Park Art Center in the late sixties. This fall, the Art Institute of Chicago presents Hairy Who? 1966-1969 (on view September 26, 2018-January 6, 2019), the first-ever survey exhibition dedicated to the group. Rocca, whose father was a lighting salesman and mother was a pianist, grew up immersed in the world of art, primarily through her early exposure to the Art Institute. She developed a keen eye for looking closely, and her strong interest in art continued as a student, teacher, curator, and, of course, artist. Below is an edited transcript of my recent conversation with her.
SR: As an eight-year-old in classes in Fullerton Hall at the Art Institute of Chicago I had the opportunity to sketch from a live model. We would pay our 10 cents for a drawing board, newsprint, and charcoal and then we would turn in our best drawing. I think that experience is really unique for a young child.
Chicago Gallery News: Did you know early on that you wanted to be an artist? Suellen Rocca: I knew from the time I was eight that I wanted to be an artist. 34 | CGN | Fall 2018
CGN: And as you got older? SR: I was very interested in the figure in work that I did in high school. I did study art in high school but I also worked on my own at home. I was working on canvas with oil paints. I also took some classes in the museum at what was then called the Junior School. I studied with Nelli Bar [Weighardt]. There’s an exhibition right now at the Koehnline Museum in Des Plaines as part of the Terra Foundation’s Art Design Chicago. It’s Richard Hunt and his two teachers, Nelli Bar and Egon Weiner. I know Richard, of course, but I remember as a child being in Nelli’s sculpture class and hearing her talking about
her student Richard Hunt. She was a wonderful teacher. Addis Osborne, who taught the Raymond Fund classes in Fullerton Hall, was a tremendous support and mentor for me from the time I was eight through high school. And, of course, I always knew I wanted to study at the School of the Art Institute. Eventually I won a scholarship to go, and one of the most important parts of going to school there was the ability to be in the galleries anytime you wanted. CGN: It’s hard to imagine what your education would have been like without that exposure. At SAIC, did you see yourself opening up in terms of what you were experimenting with and whom you were exposed to? SR: Absolutely. Ray Yoshida was my first year drawing teacher, and he continued to be my most important influence throughout school. He had a wonderful way of having insight into my work and connecting me with material to look at that would allow me to go further. After SAIC, he continued to be, to all of us [in the Hairy Who], a friend, an inspiration and really a peer. Whitney Halsted was also important to me—in particular his art history classes and seeing slides of non-Western art and Native American art that he took himself. CGN: Around that time did you start to develop your own aesthetic vocabulary? SR: Absolutely. Certainly by the time I was in my fourth year I was making paintings that related very much to the work that followed. For the Fellowship Competition I did these very large canvases that were in some ways inspired by the repetition on wallpaper. One painting called, My Santa Painting, has a repetition of winter scenes and Santa Clauses. That very much related to work that followed. In fact, I think that piece was in the first Hairy Who show. CGN: From what I’ve read about the Hairy Who you formed the group partly to distinguish yourselves from a larger group of artists. Can you talk about, from your point of view, how the group started? SR: Don Baum was the director of the Hyde Park Art Center, and he had a series of thematic shows called Animal, Vegetable and Mineral. Each show had a wide variety of work with only a single piece by each artist. Jim Nutt and Jim Falconer went to Don with a proposal to have a show composed of Jim Falconer, Jim Nutt, Art Green, Gladys Nilsson, and me. Don thought it would be good to add Karl Wirsum. We all were in school together but we didn’t know Karl. Our work was very compatible, and showing as a group gave us each the opportunity to show more work. As a young artist getting to see my work alongside my peers’ work that I was excited and enthusiastic about was so important at that stage of my development. Then, of course, planning and installing the shows was a very creative experience. Together we made a comic book and poster for each of the shows.
SUELLEN ROCCA, DEPARTURE, 2012, OIL ON CANVAS, 30 X 30 INCHES, 76 X 76 CM ©️ SUELLEN ROCCA, COURTESY MATTHEW MARKS GALLERY
CGN: Trying to build an artistic community after graduating from school can be very challenging for some artists. SR: Absolutely. During school you’re in a community looking at each other’s work. It’s difficult when school ends, because you can become isolated. CGN: Historically, there is a focus on the late sixties when the Hairy Who was very active. That’s the subject of the upcoming exhibition at the Art Institute of Chicago. But how did your artistic community change after that? Were you still in touch with those artists? SR: Yes, we’ve always remained in touch with each other. And we’ve continued to support one another by going to each other’s exhibitions, but it’s truly because of our interest in the work, not just out of good will; we are really interested in each other as artists. That connection and appreciation has continued for 50 years. CGN: What does the Hairy Who mean to you now? SR: I’m very excited about the Art Institute’s show, Hairy Who? 1966–1969, and the resurgence of interest in the work of the Hairy Who. When I had a show in 2016 at Matthew Marks Gallery in New York, where I exhibited early work from the period of Hairy Who, it was very exciting to see the response from young artists. The Art Institute is putting the work into a historical context in American art, which is very important. It’s American art, not only Chicago art. I have the greatest respect for the process that the curators, Mark Pascale and Ann Goldstein, as well as Thea Liberty Nichols, co-organizer and researcher, have gone through working on the show. I have enjoyed that we have been involved in the decision making process. Fall 2018 | CGN | 35
SUELLEN ROCCA, DOUBLE FIGURE WITH FISH, 2000, GRAPHITE ON PAPER, 22 X 30 INCHES, 56 X 76 CM ©️ SUELLEN ROCCA, COURTESY MATTHEW MARKS GALLERY
CGN: How do you view Chicago’s art scene? Do you stay in touch with artists through Elmhurst or SAIC? SR: I’ve been introduced to several artists as curator and director of exhibitions at Elmhurst College. A very interesting part of being director is bringing professional artists to the campus and exhibiting their work. I’ve gotten to know some wonderful artists and expanded my own personal community. Like Eleanor Spiess-Ferris, Frank Trankina, Michael Barnes, Mary Lou Zelazny, just to name a few. CGN: Can you tell me about the exhibition that you’re curating this fall at the Elmhurst Art Museum? SR: It’s called The Figure and the Chicago Imagists: Selections from the Elmhurst College Art Collection, running September 8–January 13, 2019. The Terra Foundation’s Art Design Chicago is sponsoring it. The Elmhurst College Art Collection is unique because it’s a museum in the library and students live with the work. But there are renovations going on at the library, so all of the work had to be taken down and stored for a while. That’s why there is an opportunity to do this exhibition at the museum. The Terra Foundation’s Art Design Chicago also funded Elmhurst College to host a symposium on December 16 called “The Figure, Humor, and the Chicago Imagists.” It’s a full day, so the morning session will be on campus here. The afternoon session will be at the Elmhurst Art Museum. We’re literally across the street from each other. I’m very grateful to John McKinnon, EAM’s great new director, who made the exhibition possible. 36 | CGN | Fall 2018
CGN: When was Elmhurst College’s Art Collection started? SR: It was started in 1971 when the library was constructed and they found out there were federal funds available to buy original works of art for a new college or university building. The first 10 pieces were purchased under the supervision of Ted Halkin, longtime faculty at the School of the Art Institute, and an important artist as well. During his brief time as chair of the Art Department here at Elmhurst, he was responsible for determining the direction of the collection with the purchase of important works such as Jim Nutt’s Toot-Toot Woo-Woo and Miyoko Ito’s Chinoiserie. Ted returned to SAIC, and Sandra Jorgensen, the chairperson of the Art Department and curator of the college, continued to grow the collection through the seventies and eighties. She was a great admirer of the Imagists. It was a very serendipitous time to be collecting, because the Illinois Arts Council had a matching grants program called “Partners in Purchase” whereby Sandra would write a grant each year for the works she wanted to purchase, and if it was accepted, as it always was, the Illinois Arts Council would match the funding. That’s how the collection was able to grow. CGN: That’s fantastic. SR: Sandra built the collection. Since 2006, as curator, I have made the collection more widely recognized. It’s both nationally and internationally known. Because of the importance of the collection we have received
amazing gifts and donations from curators, collectors, and artists. CGN: It’s an actively growing collection? SR: Yes, we recently received a beautiful, very large, early Richard Hull drawing from an estate. And we will be loaning one of our Christina Ramberg paintings to a show that’s going to be at the KW Institute for Contemporary Art in Berlin. Our Jim Nutt painting Toot-Toot Woo-Woo is traveling. It was in a groundbreaking, important exhibition at the National Gallery. Now it’s at the High Museum in Atlanta, and next it’s going to LACMA. CGN: What is your own art practice like now? SR: My studio is at home. I continue to make paintings and drawings. I have a show opening on September 14 at Matthew Marks Gallery in New York of drawings made from 1980 to the present. CGN: What inspires you to make art? SR: Everything! Really, I emphasize to students that it’s so important to always be looking at things, to go to museums and see not just contemporary but ancient art – art from all periods and places all over the world – and to make personal connections with them. I believe—I’m sure many other artists do too—when an artist looks at a work of art from any period or culture and feels a connection with it, is drawn to it, it becomes a part of them and comes out in a very personal way. When I try to explain this to students I think of an artist like Gauguin, who was influenced by so many diverse works of art from different cultures. I also think it’s a tremendous gift as an artist to have that long history of, in a sense, your ancestors who made art. CGN: That’s true. SR: When I’m just functioning in everyday life, I see things as everybody else does, but when I’m working on a piece, I see things in a different way. For example, we all know that things that are far away appear smaller. You don’t really know that as a young child, but you learn it quickly. Sort of magical, isn’t it? Lately, I’ve been very interested in that change in scale. When I look out the window of my second floor studio to the house across the way, I see a chair. It looks like a little, tiny chair. The chair from my childhood 1950s doll house furniture sitting on the windowsill next to my drawing table is exactly the same size. I like thinking that they actually are the same size as they visually appear. CGN: How has your experience as a teacher influenced your practice as an artist? SR: I received so much that was important to my development from my teachers Addis Osborne and Ray Yoshida that it seemed natural to me to give back as a teacher. I wouldn’t be who I am without them.
Teaching is part of being an artist for me. I’ve taught students of all ages, from preschool to college. I enjoy working with very young children because I really like their art. At the Art Institute in the eighties I directed a pilot program, called Mini Masters, for four and five year olds. I would select a few works and take the students to visit them in the galleries. The children were amazing! Their insights were extraordinary, their visual acumen, their attention to detail – they saw things because they weren’t jaded. They really, really looked. And they would get so into the experience of the work itself. For example, we looked at a big J.M.W. Turner painting and we talked about the boat and the storm. One child said that he could actually see the boat moving! Not just an image representing moving, it was really moving! CGN: Can you tell me about your experience at Art Resources and Teaching (ART)? SR: ART was originally the Chicago Public School Art Society. It was started by Ellen Gates Starr, who was the co-founder of Hull House with Jane Addams. Ellen went to Europe and collected these engravings of “famous” paintings to put up in the halls of the CPS. When I joined as a teaching artist in the mid-eighties, the name had been changed to ART. At that point their mission was to give free programming to public elementary schools. Each of the teaching artists brought in slides and a slide projector and had a conversation with the children about the art. When we first met with the teachers who were going to participate in the program, many would say, “Oh no, I’m sorry. I really don’t think my class would be interested in looking at slides of works of art.” But the kids loved it. I remember a teacher came up to me after one session and said, “You know that boy that was raising his hand and practically falling out of his seat? He usually never says anything in class!” Kids really responded. I was a teaching artist for several years and then I became Education Director. I would observe our teachers. I got to go to so many different neighborhoods and schools, I met so many interesting principals and really had a kind of experience that even people working in CPS don’t get, because they’re usually focused on one particular school. I had some very heartfelt, meaningful experiences. CGN: What advice do you have for younger artists who are just starting their careers? SR: I’ve emphasized a lot about looking at works of art and how important I think it is to look at self-taught artists, indigenous art, ancient art, contemporary art – all types. I have heard that students now sometimes think that just looking at an image of something is the same as the original. Certainly, looking through books was important to me, but it’s only an introduction. And now, sure, use a phone, use whatever to look things up. But then you must go to exhibits, go to galleries, go to museums, look at work. The actual thing is A-ha! Fall 2018 | CGN | 37
CATHERINE EDELMAN 30 YEARS OF USING ART TO DRIVE CHANGE By GINNY VAN ALYEA Catherine Edelman was one of the very first art dealers I met, when I started working at the Chicago Art Dealers Association and Chicago Gallery News in 2002. She was, in fact, my office neighbor, since the CGN office and Catherine Edelman Gallery occupied the same building and connected via a back hallway. Edelman would regularly stop in to talk with CGN publisher Natalie van Straaten about the CADA, the art market and generally catch up. I already had an interest in photography, and I came to admire how Cathy was to the point, knowledgeable, and successful, with her finger on the pulse of the art business. Having marked the gallery’s 30th anniversary in 2017, and with a relocation – the gallery’s first – coming up at the end of this year, Cathy sat down with me in the viewing room of her eponymous River North gallery to talk about how she started the business and her plans for the gallery and beyond. CGN: I’ve known you a long time. Did you really decide to open the gallery when you were graduating from SAIC? Catherine Edelman: There’s a little more. When I was an undergraduate, I had a major surgery on my back. I missed the last few months of school, but they let me graduate. I didn’t really know what to do. CGN: Where were you in school? CE: I was at the Philadelphia College of Art, and a friend of mine, whom I’d met at PCA, was here at the Art Institute and said, ‘You should come to Chicago.’ SAIC was the only graduate school I applied to. I flew out to meet the people who were teaching at the time. That was the winter of ‘84. For reasons unbeknownst to me, because I remember it was 30° below zero, I still decided to come. I almost froze, and thought, ‘What the fuck is going on here?’
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CATHERINE EDELMAN GALLERY’S INSTALLATION FOR THEIR 25TH ANNIVERSARY SHOW IN 2012
CGN: You didn’t have snow in New York or Philadelphia? CE: I think it was one of the coldest winters in Chicago. It was brutal. CGN: But it worked out. CE: Thankfully I got in, because I don’t know what would have happened had I not. CGN: Did you come to SAIC to be a photographer? CE: I came to study photography, and knew I would get my Master’s degree somewhere. It was simply to keep my education going. I figured two more years would buy time to figure out what I was going to do. And, as many people know, I was born with a disease in my right eye, and I was going blind. I had my first surgery while in grad school, and that put me back physically and emotionally. I was a mess. We were sitting around – I think there were 8 to 10 of us in our program – and it came up, ‘What are you going to do?’
I remember talking to my mom about my surgeries and discussing that being a photographer might not be the right path. I didn’t have any passion for it. I was very good at getting by and at printing and constructing, but I didn’t have shit to say, and I knew that. I was all angry, and feminist, as many of us were then. Back then I wanted to go into museum work, but I was very tired of school. I thought that if I started and ran a gallery for five years, that would give me credibility, instead of needing a PhD. Many of my friends ran businesses, so I just went around asking people, ‘How do you start a business?’ CGN: You were going to get business cred by starting your own business rather than work for someone else? CE: Oh absolutely. I never really thought about going to work for somebody else. I guess I know myself better now than when I was 25, but I’m a leader not a follower, for better or for worse. Nobody has ever brought that up. I just thought I could start a gallery, since there was only one photography gallery here at the time, Edwynn Houk, and he didn’t specialize in living artists.
CGN: What happened at the start? CE: It was 1987. The stock market crashed two weeks after I signed the lease. Then we had the First Gulf War, and the Second Gulf War, and the ‘92 recession. It was a miserable time to be in business. CGN: And the River North fire. CE: Yes. On April 15, 1989. It was a whole series of shit. Just one disaster after another. In the meantime, I was going back and forth to LA, learning as much as I could from Robert Sobieszek, Director of Photography at the Los Angeles County Museum of Art. I met Bob before I opened the gallery, and he taught me a terrific amount about business, passion, and how to see. It was then that I decided I wanted to work for him, but when the job was announced for a position as his assistant, he said ‘You’re not going to do this’ and refused to let me apply.
photography section, so they covered every show, mostly because I was 25 and this anomaly. CGN: What was your first show? We started with Nan Goldin, apparently her first solo exhibition. People in Chicago didn’t know what The Ballad of Sexual Dependency was. We opened in February of ‘88 with her show. It was an extremely difficult beginning. CGN: But there was a lot of publicity. CE: A ridiculous amount of publicity. We tried to show the Ballad three times in Chicago. I think we were successful twice. Nan sort of didn’t make it to the showing one time. Then we had a show called Men on Men: A Look at Male Sexuality. The third show was Formaldehyde Etc. We did shows about sex and death – anything to get people in the door.
CGN: Because he thought you were already on your way and he didn’t want you to jump ship. CE: Yes. He had gotten to know me and said I wouldn’t be able to tolerate the museum world, since there was greater autonomy in what I was doing. He said if I could get through it financially (I was living on Rice-A-Roni), I’d be happier. CGN: So you stuck it out. CE: It moved so slowly, and then something just turned around. After the ‘89 fire we lost a lot of galleries. After the recessions in 91’ and 92’ I think 16 galleries closed. There was nobody here. I was on the second floor, and Susan Sazama was down where I am now. We were the only two here [at 300 W. Superior]. At the time I had some friends who were my “go to” people – my mentor, Bob [Sobieszek], and a dear friend, Warren Shifferd. He was in international banking and helped me with financial issues. When he said I should move downstairs to expand, I worried about taking on double the rent. So he explained that the worst that can happen is bankruptcy. I was 30. I had never heard somebody say it that way, that I could fail and still, as a person, be whole. CGN: You had to acknowledge a big risk and face it. CE: Yes. But I’m a good negotiator and didn’t have to pay anything for the buildout. CGN: How did your program start? CE: The programming was specific. When I started, I was with somebody who was one of the biggest PR people in Chicago, and we had a plan. The first year was all about publicity. The second year was about trying to make some sales. And the third year was supposed to bring the publicity and sales together in the hopes of breaking even. Of course, I didn’t bank on losing all the money that I had in the stock market crash. Even though I had this fiveyear plan, it did not go accordingly. I did get an incredible amount of publicity, but back then the Tribune had a
CATHERINE EDELMAN GALLERY STAFF TOASTS TO MOVING TO A NEW LOCATION, 1637 W. CHICAGO, IN JANUARY 2019. FROM LEFT: HANNAH, TIM, CATHY, JULI
CGN: How did you first talk to Nan Goldin and other artists you wanted to have as part of the program? You were 25, and you had never even worked in a gallery. CE: The summer after I graduated, I went around and introduced myself to some of the major players in the museum world. I probably looked like I was 17. It was a more generous time then. And the curators were only 10 years older than me. We were all learning together, and there was no Internet. We’d share things because that’s how it was then. I introduced myself to various curators, who then vouched for me. CGN: You must have wanted to do it all. CE: I used to be programmed a year or two ahead of time, because there was so much I wanted to show. CGN: Photography has changed since then. CE: I remember who my first clients were – they’re still clients today. And the first sale was a Michael Kenna, who I found out about because an arrogant guy came into the gallery early on and said to me, ‘What do you know? I Fall 2018 | CGN | 39
bet you don’t even know who Michael Kenna is.’ And I didn’t. I quickly wrote down the name, and somehow I found out who Michael was, and I reached out to Stephen Wirtz, who had the exclusive on him. I said, ‘I want to show him,’ and boom. Thank God that pompous guy came into the gallery and challenged me, because this became the gallery that Michael built. We’ve had 19 very successful shows of his work. That sustained me and allowed me to bring in an artist like Joel Peter Witkin. CGN: His work doesn’t fly out the door.
© OMAR IMAM
CE: I say we show everything from Kenna to Witkin. That encompasses almost all of photography. CGN: The gallery has been a business success, despite your initial plan to abandon it for museum work. CE: When I realized I was not going to be a curator, it was really drastic. I was 34 and thought, this must be my midlife crisis. I couldn’t get off the couch. CGN: What did you do? CE: Up until my 25th anniversary, I was convinced every year that I would close, because I never really embraced it. My oldest friend said, ‘You’re successful and you’re complaining, and I don’t want to hear this anymore.’ I had to turn it around and get my head in the game. I went to a life coach who helped me with clarity and focus. And there’s no reason the gallery should close. I have a great staff and if things work out the way I expect, they should have no problems taking over. Now the gallery has been here over 30 years, and I plan on being here for the 35th anniversary. CGN: Soon you’re moving the gallery to West Town after three decades in River North. CE: When this lease was coming up, I looked at the numbers. I know I am going to retire at 60, but retiring doesn’t mean I won’t do something else.
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CGN: So what’s your new 5-year plan? CE: I want to physically be at CEG for the 35th anniversary, which will be four years after we move. But yes, I started a non-profit this year with Anette Skuggedal, a dear friend from Oslo, called CASE Art Fund. I hope to work on CASE full-time in a few years, and then transition the gallery over to my staff. I made a promise to myself that I would not do CASE if it was ever a burden. It’s something I want to do. And I want to give back. I think what I’ve done is great, but it’s not fulfilling my soul anymore. I have a terrific staff that is more than capable of moving the gallery forward, as I eventually move onto CASE. I don’t want to be here today and gone tomorrow simply because my rent went up. I always said I’d rather close than move, but here we are. CGN: A new address and configuration in January 2019. CE: The new gallery will have three different exhibition spaces, a video area, and plenty of room for educational programming. As you know, the art world has changed. Not one person has walked in since you’ve been here. It used to be very active. The new space allows for flexibility and engagement that this one doesn’t.
CGN: With what you know now, would you do this all again? CE: Well, if my eyes and back were healthy, I think I would have gone to law school. I would’ve been a wicked lawyer. CGN: 30 years later, what’s different from when you began? CE: It’s obvious that the art world is having a massive shift right now. I’ve been talking about it with some of the top collectors in town, and we all see it. CGN: The collector base that has sustained many is as old as the dealers or older. They’re done spending money. CE: And their kids are not interested. There’s a lack of understanding among the ‘dot commers,’ if you will, on the power of art to influence policy. They don’t understand it. In the 80’s/90’s, when I was in Philadelphia, friends of mine were dying, before we even knew what AIDS was. We all learned together – ACT UP, what happened in the 80’s in the art world, it shook everything up, even if it was during the period of Jesse Helms. The art world single handedly spoke to the politics at the time. Today, artists don’t seem as invested in what is happening, and the younger generation is disconnected from collecting art. It’s a serious issue everyone in the art world is discussing: How do we engage a younger generation in collecting?
CGN: There is so much that’s visual out there. It’s not that they don’t respond to images, but it’s superficial and brief. CE: They’re just clicking for likes on Instagram. CGN: People are not compelled to own or invest in something the way previous generations of collectors once were.
Gaylen Gerber
CE: During the recent recession most people had to learn to live with less, and a lot of them did and enjoyed it, and I don’t blame them. I don’t believe that people need to own art to live. You need food, you need education, clothes and shelter. I remember another dealer who was adamant that you need art to live. And I think that’s a very privileged way of looking at it. A lot of people cannot afford clothes, let alone art. So we’re dealing with a specific demographic, and that’s never lost on me. Whether somebody buys a $500 piece or $50,000 piece it’s still money.
20 SEPTEMBER— 21 DECEMBER 2018
CGN: Tell me about your new non-profit. CE: It is called CASE Art Fund. My business partner’s name is Anette Skuggedal. I took the first letters of our names, and all it became ‘case’. We’re dealing with things on a case-by-case basis. We will be handing out biannual grants to fine art photographers who are working on humanitarian issues. The first grant will deal with human rights that affect children. CGN: This goes back to your point about how art in the 80’s made people understand in real time a current event. CE: It’s full circle. This goes back to the fact that I believe wholeheartedly that photography can effect change, but recently it has lost that ability, because everybody now has a phone and is a photographer.
Chicago Calling:
Art Against the Flow June 29, 2018–January 6, 2019 Image: Joseph Yoakum (American, 1886-1972). The Mounds of Pleasure/on JA Brimms Farm Near Walnut Grove... (detail), 1970. Ink and pastel on paper, 15 3/8 x 11 3/4 in. Richard and Ellen Sandor Family Collection
Now when we see images of death, we get outraged, but then we throw away the newspaper. I got fundamentally upset with the image of the bloody kid in the back of an ambulance in Aleppo. Everybody was outraged for 24 hours, and then nothing changed. Anette and I were talking about giving back and how we had to do something to get back to the basics. Photojournalists are no longer making images that separate them from anybody else. You see cellphone pictures that all look the same.
WWW.ARTSCLUBCHICAGO.ORG
When I saw work by Omar Imam, a photographer from Syria, it all clicked. He creates fictional stories about real things, and he’s creating change through his photography. CGN: This is what you want to help make happen. CE: If you show images that are narrative in nature, without blood all over the place, people will look and ask questions, which offers an educational exchange. We will have a booth at EXPO Chicago this fall to share the concept – our goal is to erect a refugee tent on the floor that people can enter. Three of Omar’s pieces from Syrialism will be spotlit inside the tent, along with an amazing video he created. Other pieces from Live, Love, Refugee will be hung on the outside of the booth. It is our hope that when viewers see the work in a non-traditional manner, they will stop, think, ask questions and act. That is one of our goals with CASE. We firmly believe photography can effect change.
A look at 10 extraordinary self-taught artists who taught Chicago to love art from the edge
Curated by Kenneth Burkhart & Lisa Stone
Intuit: The Center for Intuitive and Outsider Art 756 N Milwaukee Ave, Chicago | www.art.org Fall 2018 | CGN | 41
ON THE AUCTION BLOCK NOTABLE ART CHANGING HANDS AT MAJOR PRICES ARTIST: MIYOKO ITO (AMERICAN, 1918-1983) WHAT SOLD: KACHINA WHEN: June 24, 2018 AUCTION HOUSE: TOOMEY & CO., OAK PARK, IL PROVENANCE: Acquired from Phyllis Kind Gallery in Chicago in 1973, by the the Collection of owner George M. Irwin, Quincy, Illinois BUYER: Private Collection, West Coast HISTORY: Kachina was the cover lot of Toomey’s auction.There has been a great deal of interest nationally in Ito’s paintings, based on recent shows at the Berkley Art Museum and Artists Space in New York. 17 phone bidders from around the world competed, and the painting achieved an auction record. FINAL PRICE: $28,000 ($35,000 with premium) WOMAN MADE GALLERY’S BENEFIT HONORS ARTIST SANDRA PERLOW MIYOKO ITO’S KACHINA
ARTIST: DAME BARBARA HEPWORTH (BRITISH, 1903-1975) WHAT SOLD: MAQUETTE FOR MONOLITH WHEN: JUNE 18, 2018 AUCTION HOUSE: BONHAM’S, LONDON PROVENANCE: The initial owners of this cast, Mr & Mrs James H. Clark of Milwaukee, were important collectors who visited Hepworth in St Ives. They donated a cast of Hepworth’s Sea Form (Atlantic) to the Dallas Museum of Art in 1965. HISTORY: Maquette for Monolith is related to the monumental Squares with Two Circles (1963), which stands at over three metres high and is one of Hepworth’s largest monolithic bronzes. As noted by Matthew Gale and Chris Stephens, the simplicity of the sculpture recalls the purity of the artist’s works from the 1930s, with the conical holes providing continuity between the horizontal and vertical formats.
THE CHICAGO ANTIQUES + ART + DESIGN SHOW FEATURES ANTIQUE FURNITURE, DECORATIVE AND FINE ARTS, AND ANTIQUE AND ESTATE JEWELRY
DAME BARBARA HEPWORTH (BRITISH, 1903-1975), MAQUETTE FOR MONOLITH SIGNED AND NUMBERED ‘BARBARA HEPWORTH 3/9’ AND STAMPED WITH THE MORRIS, SINGER FOUNDRY STAMP (ON THE BASE), BRONZE WITH A GREEN AND BROWN PATINA, 13” H, CONCEIVED IN 1963-1964; CAST IN 1964
FINAL PRICE: £200,000 (US $257,290) ARTIST: KERRY JAMES MARSHALL (AMERICAN, 1955–) WHAT SOLD: PAST TIMES WHEN: MAY 2018 AUCTION HOUSE: SOTHEBY’S PROVENANCE: Property from the Metropolitan Pier and Exposition Authority in Chicago BUYER: Sotheby’s cannot comment (but it’s worth a Google search) HISTORY: This past May Sotheby’s Contemporary Art Evening Auction sold Kerry James Marshall’s Past Times, an indisputable masterpiece and culmination of the artist’s iconic Garden Project paintings, setting a new auction record for the artist. FINAL PRICE: Sold for $21,114,500 (estimate was $8.5 million)
KERRY JAMES MARSHALL, PAST TIMES, SIGNED AND DATED ‘97, ACRYLIC AND COLLAGE, ON CANVAS, 108 1/4 BY 157 IN.; 275 BY 398.8 CM.
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OCTOBER 11– DECEMBER 21 THE MANY HATS OF
ralph arnold ART, IDENTITY & POLITICS
mocp.org
In the Eye of the Beholder 8.18-12.16.18
Image: Berni Searle Home and Away, 2003 Color Video, 6:24 minutes Collection of the Speed Art Museum, Louisville, Kentucky; Gift of New Art Collectors
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THE EVOLUTION OF A VISION WHAT’S NEXT FOR THE STONY ISLAND ARTS BANK
THE STONY ISLAND ARTS BANK WAS FORMERLY THE STONY ISLAND STATE SAVINGS BANK, BUILT IN THE SOUTH SHORE NEIGHBORHOOD IN THE 1920S. PHOTO: TOM HARRIS
By GINNY VAN ALYEA In a city known for bars that offer everything from dry ice in your martini to two dozen TV screens on at the same time, The Stony Island Arts Bank may soon manage to be the most socially relevant, and appealing, of them all. The Arts Bank, opened three years ago when the Chicago Architecture Biennial debuted in the fall of 2015, began as an ambitious and multifaceted endeavor of the internationally renowned, Chicago-based artist and community developer Theaster Gates. The Arts Bank’s mission and influence was quickly and widely recognized for the many connections and collaborations it has fostered within the local arts community as well as the neighborhood. Now Gates is moving the project, which is part art space, part architectural treasure and more than a little social mission, into an ambitious, much more public and lively second phase of his original vision, increasing the pace of his plans for the many ways the art center can impact the surrounding South Shore neighborhood. As he said on a late spring day during a tour of the Arts Bank before it reopened after four months of renovations, “We’ve learned a few things.” Housed in an imposing, abandoned stone structure on Stony Island Boulevard, far on the city’s South Side and miles from traditional art centers, The Bank, as it’s commonly referred to, gets its name from its home, the former Stony Island State Savings Bank, a classic 44 | CGN | Fall 2018
structure built in the 1920s, which eventually fell into disrepair. In a building pretty much left for dead, Gates saw an opportunity to invest in something that would continually pay creative dividends. Just as a real bank accepts deposits from customers, raises capital and then makes loans and provides support for its clients, the Stony Island Arts Bank seeks to be a rock solid institution that can compound interest in order to benefit a range of community members long term. For many, Stony Island used to mean a connector to the Chicago Skyway on your way in or out of town. It was a section of town seen only in passing on the way elsewhere. When Gates wanted to build an arts center, he knew a location off the beaten path would be critical. Gates says, “The goal was to let the city see, and the world see, that there is beautiful architecture on the South Side.” He wanted to bring art to people living in the community as much as he also wanted to draw people to a neighborhood they were unfamiliar with. The building would be a lure that would draw people to a place where they would realize, as he explains, “that there was this work happening that was about capturing these moments of architectural beauty, so that beautiful things could happen on the South Side to black people by black people.” He goes on, “It was a demonstration work for me, that South Siders didn’t have to go somewhere else in order to have a well-built, intimate space; those spaces were
all around us, they just needed some care. And maybe we had some of the best architectural stock in the country, or definitely in the city.” The original bank is a mimic of one on the North Side at the intersection of Damen, Milwaukee and North Avenues, and its classic design is representative of what was in style at the time. Gates says now that using a structure like the bank was an experiment at the start, and he knew he’d have to try a range of programming to see what would attract locals as well as the art community. What at first seemed like the perfect expansive venue – it’s 20,000 square feet – for hosting exhibitions, performances, residencies and film screenings, sometimes simultaneously, was actually intimidating. The formidable, protective structure originally intended to safeguard money, seemed in its present form meant to keep certain people out, exactly the opposite of Gates’ welcoming vision. He realized, “We learned that the building itself has the potential to be uninviting for folk who live locally. It’s so big, that it had a way of making our neighbors feel more like it was made for someone else.” He came to see that while the beauty of the building can help draw people to a new destination, it’s more important to get people in the door and to make them feel as if they should be there. He says, “The building by itself isn’t a calling card for everyone. Another kind of invitation also needs to happen.” Essentially, Gates discovered that the best way to make friends with your neighbors is to invite them to your party. He shares, “Last summer we opened up the yard and began having movies and barbecues out there. We had food trucks coming through, and all of a sudden, the yard became its own little pocket park. Kids would bring their little dogs and they would stroll in the yard. It was amazing.” This maturing vision for the Arts Bank could not have been known at
SHINIQUE SMITH’S INSTALLATION IN THE NEW ATRIUM SPACE AT THE ARTS BANK WAS PART OF THIS SUMMER’S OUT OF EASY REACH
the start, and Gates acknowledges that being able to see such changes over the past three years has been remarkable, though he’s not entirely surprised that it’s taken time. He says, “We knew that we had a couple of amazing aspects right away – we had the Johnson Publishing collection, we had the Frankie Knuckles [house music] albums, and the [60,000] glass lantern slides from the [Department of Art History at] the University of Chicago, but we didn’t have a mechanism, yet, of making those things as accessible as we wanted.” As Gates points out, that accessibility required resources, which were very limited, to hire a librarian, a set of archivists, docents, and managers of the collection. They did have pride and excitement for what they had prepared to share. So they got creative, for instance starting a book club based on the Johnson Collection and inviting those who had a connection to Johnson to participate. In order to overcome limits, such as physically accessing the hundreds of books and albums stacked up to the library ceiling, Gates and his
team decided they needed a kind of catwalk, which would allow staff to use the entire soaring space. Next they devised a sound system that allows a DJ working from the catwalk to pump music through the building. For Gates, he says, “The building can function as a kind of resonator, allowing albums we have to both be digitized and also become a basic program in the Bank. If nothing else is happening, you’re going to hear good music – some house, some soul, gospel, you might hear comedy – whatever we have in this collection, because the music has to be felt.” The many, and sometimes unconventional, ways the collection can be experienced goes to the heart of what Gates is trying to use the space in the Arts Bank for at this time, as he is very interested in activating a place or material and engaging people on a relatable level. Gates refers to a fellowship he did at Harvard a few years ago, when he spent time thinking about something he calls ‘critical preservation.’ When considering the Arts Bank he asks Fall 2018 | CGN | 45
people to feel at ease when they are there. He explains, “These are normal people’s lives, everyday folk. They don’t want an audience of journalists visiting when they’re trying to have a meditation class. So the challenge that we had with rebuilding the Arts Bank is that, as excited as we are to shine a light and share with the public the things that we do, we also want to protect people’s privacy.”
GATES IS PICTURED AT THE ARTS BANK WITH THE DISASSEMBLED COMPONENTS AND MEMORIAL CONTRIBUTIONS OF THE CLEVELAND GAZEBO WHERE TAMIR RICE WAS KILLED IN 2016
out loud, “Are there ways adjacent to conventional preservation, where things are restored to their original hand? Is there an alternative to that, where you actually allow some of the truth of the history of the building to be evident? I felt if we let people see the truth of our buildings, then they can feel good about their own buildings, which is like, ‘Yeah, there was some rain damage, and I can’t afford to re-do it all, but I need a new kitchen.’” When the plan to build the Arts Bank first came up, the city gave Gates and his Rebuild Foundation the building for $1, but as Gates explains, the building had a negative value at the time of $500,000 (there was a hole in the ceiling almost as big as the roof, and extensive water damage from deteriorating skylights). To fund the initial $6.2 million restoration of a space suitable for art, Gates raised private funds from many supporters. He recalls, “The bones of the building were in great shape, but it needed a new envelope and a lot of care.” Even the architectural artifacts that give so much character to the building, 46 | CGN | Fall 2018
he points out, have their own history of trauma, which then creates an opportunity for dialogue between space and art. The completion of the initial restoration, for Gates, and even this second phase of development, where they have installed walls in the atrium space, is proof that the City of Chicago and the arts community helped to build the bank. Says Gates, “It feels really good. Projects can happen on the South Side, and they’re not cityincentivized; they’re just because a lot of people believe in them.” That belief drives Gates in his quest to preserve history while, as he says, at the same time, retrofitting a place so it fulfills a new purpose, in this case as a space for artists, scholars, for symposium, conferences, and music. Gates has built the house, while the art, artists and neighbors within it are making it a home. The Bank, even with its new walls, is not intended to be a white cube, and after the efforts to invite more members of the public in, especially not just art viewers but neighbors, Gates emphasizes that he wants
The way to do this is a programmatic split that on the one hand allows the Bank to host ambitious, public events but also, for instance, allows space for neighbors and those who live in and around Dorchester Art Housing [mixed income housing that features an even distribution of artist, public, affordable rate, and market rate homes]. For Gates it’s key to say to the public, “Not everything is show and tell with the spectacle of a public event. Some things need to be just at the neighborhood, grassroots level and to just mature in their own time.” Back to the Arts Bank as an antidote to Chicago’s sports-centric bar scene. Gates’ theory behind a split that serves various needs extends to the business of the Bank too. He shares, “One of the ongoing jokes that I have with my alderman is I need to be able to sell a good drink here. However, even though not every space needs to be a bar, or a pop-up yoga studio, we do need some spaces that make money, so that the other spaces can be free.” When Gates thinks about future opportunities, he wants to be able to offer what some people want and others need, “We want people to say, ‘Yeah, a chicken sandwich costs $5, a good drink costs $10,’ and not apologize for having both programs. Hey, a person can go get a $10 Negroni then go do some free yoga and work it off.” Money is not the only reason to offer food and drinks at the Bank. It also creates an ongoing reason for coming to South Shore and being able to stay there. Says Gates, “People go downtown to have a good meal, and they go to Pilsen, or farther North to have a reasonable drink. We don’t want people to have to travel. We just
want to have more amenities that say ‘yes’ to the people who live close.”
So much of Gates’ time and practice is thoughtfully planned, but he says he’s also found himself as of late serving as a steward called to help in the aftermath of a tragedy. He got a call from Samira Rice, whose son Tamir was killed in Cleveland by a police officer in 2016. Recalls Gates, “She said, ‘I need help deinstalling the gazebo where my son was killed,’ and at that point, my job was to just help manage this moment. It wasn’t an art move; there was no personal ambition. She just needed someone who could have the logistical wherewithal to handle this object.” Gates and his team didn’t know what to do with the gazebo, but he says they knew they needed to remove it in its entirety or the City of Cleveland was going to raze it. Gates explains, “People were mourning, and these teddy bears are kind of part of the altar. People would remember others killed by police.” Samira asked if we would care for the gazebo for awhile, which became an opportunity to ask a national question, ‘What does it mean that all of these deaths happened?’ and ‘How do we grapple with this around the country.’” Gates began to see that the gazebo had one function in Cleveland and another at the Bank that would allow for reflection on peace, and questions about violence. He began to envision something adjacent to the gazebo with swings, a little park, a place, he thinks, “where young people can come and actually be safe. As we’re continuing to work on the violence in this neighborhood, could this be a space of peace, even temporarily?” This spring the gazebo’s parts were neatly organized and stacked up in a room at the Arts Bank not much bigger than the structure itself. Gates imagines, “Next, we clean up the parts, and we offer the gazebo back to the city of Cleveland, when they’ve had a moment to reflect on their own defensive reaction to this complicated moment. In this room, that gives us a chance to say, ‘Yeah, there’s Aunt Jemima, there are negative stereotypes, but there are also things that are too close to talk about – they just happened. I see value in being the steward of those things. To number the roofing deck, to care for the steel – artists are well equipped to do that. Artists are probably more sensitive and more equipped to do it than the City of Cleveland could ever do it, because it’s part heart, and it’s part logistics. That’s art.’
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Within the Bank’s 20,000 square feet there is ample space for casual gatherings that may have nothing to do with art or yoga. Gates explains, “Sometimes I’m building with ambition toward the future.” Pointing to a large, Victorian looking curved structure, backed by a wall-length mirror, he says, “This bar’s about 30 years older than the architectural promenades of the building – it’s from the 1890s – but the size was right, so we built the bar space into the building with the understanding that we would grow into it.” By thinking ahead architecturally, Gates says there’s room for growth. Plans are underway at the Bank to start a food program that will also invest in local entrepreneurs, as well as a beverage program. For Gates, “If there is good music and an espresso, we want to be a contender to Starbucks.” At the end of the day, that big, beautiful bar, with a backdrop of live music, will draw people looking to connect or unwind.
2018
ADMISSION IS FREE THIS YEAR’S ARTISTS: JOHN ADDUCI • ANDREW ARVANETES • JANET AUSTIN • NICOLE BECK • CARL BILLINGSLEY • JACOB BURMOOD • HILDE DEBRUYNE • JIM GALLUCCI • TED SITTING CROW GARNER • MAUREEN BERGQUIST GRAY • PETER GRAY • DOUGLAS GRUIZENGA • SUNNY HAN • TERRENCE KARPOWICZ • RAY KATZ • RICHARD KIEBDAJ • GARY KULAK • MICKI LEMIEUX • JORGE LEYVA • TESS LITTLE • LAMBERT LUCIETTO • JOEY MANSON • JENNIFER MEYER • RUTH AIZUSS MIGDAL • FREDERICK NAPOLI • JUDD NELSON • J. CHRISTOPHER NEWMAN • GUS & LINA OCAMPOSILVA • BENJAMIN PIERCE • NATHAN PIERCE • ROBERT PULLEY • PAMELA REITHMEIER • DAN SHAUGHNESSY IV • CRAIG SNYDER • ERIC STEIN • FISHER STOLZ • RICHARD TAYLOR • CHRISTOPHER THOMSON • WAYNE VAUGHN • JASON VERBEEK • JACI WILLIS • SHENCHENG XU • CHARLES YOST • MICHAEL YOUNG
For further information on CSE or how to purchase pieces from this year’s exhibit, please contact us at: 312.772.2872 Chicago Sculpture Exhibit
CSESculpture
www.chicagosculptureexhibit.org
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COLLECTING STORIES SEBASTIAN CAMPOS’ ARTISTIC ADMIRATION
THE HOME SEBASTIAN CAMPOS SHARES WITH HIS FAMILY IS FILLED WITH AN ECLECTIC MIX OF ART, FROM PRINTS TO ARTIFACTS. PICTURED LEFT: JEROEN NELEMANS, PEDRO TYLER (IN HALL), JOHANNA BOCK (PHOTOGRAPH), CODY HOYT (CERAMIC ON FAR TABLE), ROBERT BURNIER (SCULPTURE ON LARGE TABLE), CEAL FLOYER (DOT PAINTINGS)
By FRANCK MERCURIO Sebastian Campos credits his father with sparking his interest in art as a boy. “My parents came to this country in 1970. My father studied medicine, and my mother was with him—she’s now the administrative assistant for his clinic—and their big escape was going to auctions and galleries and collecting,” said Campos during a Chicago Artists Coalition Chartwell Collectors Circle event held at his home this past July. According to Campos, who is also owner of The Mission (a virtual gallery that was previously located at 1431 W. Chicago Ave.), his parents began their collecting habits with traditional paintings, but eventually gravitated toward Latin American modernist works. These pieces, in particular, 48 | CGN | Fall 2018
grabbed the young Campos’ attention, and his admiration continues as an adult. Contemporary Latin American art is a mainstay of his gallery, as well as his personal collection, which he has built with his wife and business partner, Jennifer Andrade. In their Ukrainian Village home, Campos and Andrade showcase an eclectic blend of art, where traditional pieces speak to modern ones, and figurative works contrast with geometric abstractions. Again, Campos cites his father’s influence. “My father was introduced to Joseph Albers, but didn’t know that much about him,” said Campos. “And then, he bought a Joseph Albers, and a Carlos Cruz-Diez, the Venezuelan artist—both had this big idea of color theory. So, that changed [my father’s] notion of collecting only figurative work or landscapes and helped his eye
mature. I was lucky enough—being at a young age—to get involved with that.” Campos eventually received his formal education at the School of the Art Institute of Chicago, but he did not set out to become an artist; he was interested to learn the processes of art making. “I never went to SAIC knowing ‘I will become an artist,’” recalls Campos. “Rather, I wanted to be able to explain ‘Here is how they made this,’ whether a painting or a sculpture or mixed media. From there I went on to work at the gallery, and that’s how I started collecting.” During the July open house, Campos gave visitors a tour of his collection— which has grown exponentially since his younger days. Although the genres that Campos and Andrade collect might appear to be different, one thing
is clear: the collection itself is united by a number of themes and interests shared by the couple. “The things that I look for [in an artwork]: a little bit of obsessiveness, process, and humor,” explained Campos. “And also things that I’ve taken from my father’s collecting habits, such as geometry.” The following works are examples of the types that Campos and Andrade collect, explained in Campos’ own words.
JOHN SPARAGANA, UNTITLED (BATMAN VERSUS THE JOKER), DETAIL
KENJI NAKAMA, UNTITLED, BONDED PAPER COLLAGE, 2013
SC: John Sparagana is a local artist. This work of Batman vs. The Joker is based on the comic. It’s made up of comic book images that John has enlarged before he burnishes the page by hand in his pocket for two weeks—each page, the same page—when you see him, you’re like, ‘What are you doing with that paper all the time?’ And he’s like ‘You know, I’m just making some art.’ He then flattens the page out and cuts it into 8-inch strips and glues them down—he obscures the whole image. There’s something about that, too, the obscurity. You don’t know exactly what you’re looking at, but I enjoy it.
SC: Kenji Nakama is a Japanese-Peruvian artist—this [area] is my Peruvian quarter here. What he does is he cuts paper to about a quarter inch and then binds it like a book, lays it out on a piece of glass and frames it so it comes out as this beautiful, optical piece. I would say, what draws me to his pieces is the clear obsessiveness, because the process takes so much time.
JASON LAZARUS, UNTITLED (YELLOW CANARY), DETAIL, PHOTOGRAPH
JOSE CARLOS MARTINAT, TUMI, GRAPHIC LOGO, RESIN, FIBERGLASS, 2013
SC: And this Jose Carlos Martinat piece—he is interested in graffiti and logos. This is the logo of PetroPerú, the gas company in Peru. He found the logo on a wall and painted resin on top of it. Two days later he went out, cut it off the wall, then dipped it in fiberglass. You can still see the [texture of the] wall behind the logo.
SC: Again, the obsessive process, you know? Jason Lazarus’ work, when I heard the story behind it, I loved the humor, whether or not he thought it was funny. Jason was doing a residency in Tampa, FL when he got this canary, I guess, as a little pet. He decided to release it in his room—thinking it was a great idea, in the beginning—and two hours later, he’s trying to put it back in its cage. Aesthetically it’s beautiful, but the story makes me laugh so much. I think it’s brilliant! Fall 2018 | CGN | 49
ANDRÉ DERAIN, LE CERF ET LE CHEIN (LA CHASSE), OIL ON CANVAS, (YEAR UNKNOWN – POSSIBLY 1930’S)
SC: I grew up with this painting—it’s really gorgeous, and it’s a later piece that’s not as favored as [Derain’s] Fauvist stuff. But I think it’s a great little painting. It came from my dad’s collection.
MARIANA SISSIA, SISTEMAS TOBOGAN, GRAPHITE ON PAPER, 2010
SC: This is Mariana Sissia, an artist we show at The Mission. These toboggan slides go down into caverns. And the caverns she sees as security blankets—which seems like the opposite for most people, right? Her brother’s a land surveyor, so she goes out with him and photographs in the countryside outside of Buenos Aires.
JACQUELINE “JAC” LEIRNER, OS CEM, BANKNOTES AND BUCKRAM, 1998
SC: This is another really great piece—Jac Leirner— she’s a Brazilian artist. She collected these cruzeiros, the Brazilian currency that was still being used at the time. It was pretty worthless, so she was able to collect thousands of notes—I mean thousands. She did a beautiful piece with these notes at the Walker Art Center [in Minneapolis] that actually went all the way down the stairs—that’s how valueless they were. This piece was one of the last available to buy. It’s an earlier work. The beautiful thing is that I met her, and we hit it off and had a really nice friendship. 50 | CGN | Fall 2018
ZACHARY BUCHNER, UNTITLED (PINK), PLASTER, ENAMEL, BURLAP, MASONITE, 2010
SC: We have a lot [of art] in our bathroom. The main reason, one of my father’s things was ‘You’re in the bathroom everyday of your life, so why not put your favorite things there?’ I’ve always loved this Zach Buckner painting. With contemporary art, it’s hard to have a favorite, but the [Buckner painting] is one. That painting solidified my friendship with [Chicago dealer] Andrew Rafacz, so it has a sentimental value too.
L E V I N G G A L L E R Y. C O M
JEFFERY LEVING
“If suffering is indeed permanent, obscure, and dark and shares the nature o f i n f i n i t y, t h e n i t can be witnessed in Chicago attorney ar tist Jef fer y Leving’ s paintings.” —Josh Hof f International Ar t Magazine
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RISING UP FROM THE ROOTS
NEW CHICAGO ARCHITECTURE CENTER BUILDS ENGAGEMENT
THE CHICAGO MODEL EXPERIENCE, GREAT FIRE, COURTESY CHICAGO ARCHITECTURE FOUNDATION
By MIA DIMEO For more than 25 years, the Chicago Architecture Foundation (CAF) has been devoted to creating quality architectural programming and exhibitions from within a terra cotta, Beaux Arts Railway Exchange Building at 224 S. Michigan Avenue designed by Daniel Burnham, the architect who started it all. On Labor Day weekend the rebranded Chicago Architecture Center (CAC) opens in a new home, the modernist, glass and steel One Illinois Center (111 E. Wacker Drive), one of the last designs of another one of Chicago’s architectural lions, Mies van der Rohe. When CAC decided to acquire the new space they set out to implement a fresh vision and identity that would expand outreach and encompass all of the tours, talks, exhibitions, camps, classes and special events that attract 690,000 visitors annually. One of the top attractions, for tourists and local architecture lovers alike, in CAC’s former home was the Chicago Model, a 320-square foot miniature metropolis envisioned by President and CEO Lynn Osmond and completed in 2009. The process of creating the Model began by making a digital map of Chicago and 3D printing each of its 1,300 buildings before meticulously placing them in situ. 52 | CGN | Fall 2018
The Model is now the centerpiece of a larger exhibit in the new headquarters, and with 3,000 buildings it is more than twice its previous size, paralleling the Chicago’s more recent growth upward and outward. It is set within an examination of the city’s built history—from a phoenix of innovation rising up from the Chicago fire, to the epicenter of modern architecture today. The immersive Chicago Model Experience also highlights architects of note, explores the area’s diverse neighborhoods and includes a laser light show. Take that, Navy Pier. Daniel O’Connell, CAC’s Director of Communications and Public Affairs, stresses that the big strides the organization has made will gain momentum in the new space. “It gives us room to be more ambitious in our educational initiatives,” he says. “We work with Chicago Public Schools, host an engineering festival and present a range of programming for young women in the field. We are eager to draw everything together in a holistic way, in a space designed for us to fit our focus on public engagement.” In addition to several exhibition spaces, the 20,000-square foot center, designed by Adrian Smith + Gordon Gill Architecture, also features a new lecture hall and a design studio, all perched above the dock of the much-lauded River Cruise aboard First Lady Cruises.
“CAF started the cruises in 1983, back when no one did anything on the river,” says O’Connell. “So, we’ve been part of that change which has come to fruition with River Walk. Making our new home above the dock feels like we’re coming full circle.” Visible from the street through 40-foot windows, the second-floor exhibition space debuts with Building Tall, a display of supersize skyscrapers models investigating how and why skyscrapers are built, and how engineers and architects keep making them better. Familiar local towers, along with many from around the world, are featured in the exhibit, including Saudi Arabia’s Jeddah Tower, which will be the world’s tallest building when completed in 2020. Why was it vital for Chicago to have a center dedicated to architecture? The fact that CAC has made 85 tours happen 7,000 times a year says something about the city’s buildings as important cultural landmarks. With deep roots planted by CAC (as well as the Chicago Architecture Biennial, which launched in 2015) Chicago’s status an architecture capital is flourishing. O’Connell agrees. “We’ve been around 50+ years, and in that time the city has only burnished its image as the center of innovative architecture. The first skyscraper was built here, and we have a great design heritage,” he says. CAC’s new location is directly in the heart of the city, at the intersection of the Magnificent Mile and the Cultural Mile, atop the site of Fort Dearborn, where Chicago was founded in 1803. The river-side spot has evolved as the city has, from grain elevators and railroads to its present modernist structure, and now the Chicago Architecture Center is a part of that story.
The Rangefinder Gallery works from the legendary
camera
300 West Superior, Second Floor Monday-Friday 9-5:30 - Saturday 10-2 312 642-2255 rangefindergallery.com
Join us for First Friday receptions!
September & October
The Journey
by Arthur Meyerson
images from a lifetime of travel color photography
Artist Talk & Book Signing Friday, September 7th !
OPEN HOUSE CHICAGO: OCTOBER 13 AND 14 Covering more than 200 sites, Open House Chicago is CAC’s most geographically expansive program, offering behind-the-scenes looks at architectural gems, many of which are not normally open to the public throughout the city. The annual weekend initiative allows easy access to diverse spaces including civic buildings, theaters, mansions, office buildings and places of worship. OHC’s sites present a broad picture of the area’s cultural environments — a 1928 firehouse recently renovated by Chicago Filmmakers; the Italianate mansion home to Palette & Chisel Academy of Fine Arts; Oak Park Art League’s former carriage house gallery; and the Pilsen studio of muralist Héctor Duarte, to name a few.
December & November Where We Are: Mental States by Fred Teifeld and David Tepper
This year, new sites include Garfield Park’s ArtReach Chicago, a recently opened nonprofit providing mobile and studio art access (including glass blowing) to under-served Chicagoans, and the soon-to-be-completed University of Chicago’s Green Line Arts Center in Washington Park. Still under construction, OHC visitors will get an early look at the space dedicated to performance, theatre residencies, rehearsals, training, and education, as well as showcasing work by emerging and established artists. For complete details visit openhousechicago.org Editor’s note: The Chicago Artist Coalition also goes by CAC.
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LAUREN G. PETERSON A FAMILIAR FACE GETS A NEW START AT PHILLIPS CGN: Do auction houses get a bad rap in the art world? LP: Yes and no. I think in any relationship business, a person’s understanding of it is based on the experiences they have with the professionals in that field. The key to a good experience is finding trustworthy, informed and qualified individuals – a gallerist, an art advisor, a curator, an auction specialist or all of the above. Auctions are transparent, since demand dictates price, and the market speaks. Auction houses also have resources. Phillips has a team of specialists around the world, and we encourage people to ask the tough questions, as we want anyone buying or selling with us to be comfortable with the process. CGN: Bidding: in person, or online? LAUREN GRUNDHOFER PETERSON
Lauren Grundhofer Peterson serves on so many philanthropic and professional arts organizations, her love of art could qualify as a full time personal passion. She serves on the The Auxiliary Board of The Art Institute of Chicago, and is an active member of the MCA’s Emerge, The Arts Club of Chicago, ArtTable, The Art Institute’s Sustaining Fellows, as well as numerous other alumni groups and charities. She has dedicated herself professionally to art since graduating from Boston College in 2003 and receiving a Master’s Degree from SAIC in 2009. After 11 years in Christie’s Chicago office, Lauren joined Phillips in 2017 to serve as Regional Representative, Chicago and Midwest, and Associate Vice President to establish a Midwest presence for the international auctioneer specializing in 20th Century & Contemporary Art, Watches and Jewelry. We asked Lauren to share her story of working in the auction world as well as insider tips for treasure hunting by auction. – GV CGN: How did you become interested in contemporary art? LP: I had a strong interest in the Dada and Surrealist movements as an undergraduate at Boston College. I was fascinated by how these groups of artists reacted to the issues of their day – wars, technology, science, the advent of psychology, etc. During graduate school at the School of the Art Institute of Chicago, I wanted to learn what the artists of my day were examining through their practices. I still find art schools to be a barometer of the way things are heading in contemporary art. CGN: Tell me a bit about the focus in general at Phillips, as well as what your new role in Chicago is? LP: Phillips is very focused, specializing in works from the 20th and 21st centuries, which makes us rather unique in the auction world. We have six departments: 20th Century and Contemporary Art, Photographs, Design, Editions, Watches and Jewelry. We also broker private sales. My colleague Carol Ehlers and I have been brought on to establish a presence for the firm in the Midwest. 54 | CGN | Fall 2018
LP: The online experience has been transformed since I began in this business over 15 years ago. Call me old school, but I still advise collectors to preview works in-person when they are able. Previews are what make auctions unique. You can learn a lot by looking under the hood and examining museum-quality works in an intimate way. That said, once you’ve seen the artwork in person or been in touch with a specialist to answer questions, you can bid online or even by app from anywhere in the world without any issues. CGN: Estate Sales vs Auctions? LP: Estate sales certainly have a place in the ecosystem. The format tends to benefit the buyer because, when you are handling an entire household’s contents, some things may have been be overlooked. At Phillips, we are selective and seek out specific works to craft focused sales. Additionally, an auction is not just the day of the sale. Well before the hammer falls we are researching, writing essays, creating sale plans, organizing tours and events, speaking to the press, calling potential buyers and ensuring the best possible result for each of our consigners on the day of the sale. CGN: Weirdest valuation or work you’ve encountered? LP: When you think you’ve seen it all, something surprises. That said, very early on I worked with a collector who owned a Victorian hair wreath. The sentiment is sweet – these artifacts were made from the hair of a loved one and kept as a memento, often after that person had passed. In reality, I find them pretty creepy. CGN: Do you have advice for anyone unfamiliar with auctions? LP: Auction specialists love to educate and we often have an art history or fine art background. If someone has never been to a live auction, go visit a local house. It’s fun to see a sale in person and they’re usually open to the public. I also encourage people to go to New York in November and May for the previews and sales to see things that may not have come to market for years and may not be seen again for a generation – perhaps several.
TO INFINITY AND BEYOND? THESE POP-UP EXHIBITONS WON’T LAST
LIVE/WORK
Garry Noland, Materials Stash, 2017; mixed media. Photo courtesy of the artist.
FOUR EXHIBITIONS EXPLORE THE IMPORTANCE OF ARTISTS’ SPACES IN THE CREATIVE PROCESS.
FREE admission FROM TOP: THE MYSTERIOUS WNDR MUSEUM OPENED IN AUGUST AND FEATURES AN INFINITY ROOM BY YAYOI KUSAMA, AMONG OTHER INSTAGRAM-WORTHY EXPERIENCES. IN LINCOLN PARK ANDO AND LE CORBUSIER: MASTERS OF ARCHITECTURE MARKS THE INAUGURATION OF WRIGHTWOOD 659, A NEW NON-COMMERCIAL EXHIBITION SPACE DESIGNED BY ARCHITECT TADAO ANDO. AND VERTICAL GALLERY HAS A PARTNER POP-UP EXHIBITION WITH SPOKE ART (SAN FRANCISCO/NEW YORK) TAKING PLACE SEPT 28–30 AT 1016 N. WESTERN.
This exhibition is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. Funding was also provided by the Kohler Trust for the Arts and Education, Kohler Foundation, Inc., and the Frederic Cornell Kohler Charitable Trust. The Arts Center thanks its many members for their support of exhibitions and programs through the year.
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FASHIONABLE ART SURPRISES AN INVITATION TO SEE ARTWORK – AND MORE – IN PERSON
CARLOS ROLÓN/DZINE, A GRAND LOVE STORY (ANALOG LOVE IN A DIGITAL AGE), APPROPRIATED VINTAGE CHANDELIER, GOLD PLATED NECKLACES, CRYSTAL, GLASS, PORCELAIN, METAL, VINTAGE JEWELRY, SHATTERED TEMPERED AUTO GLASS AND ARTIFICIAL FLOWERS, 2016. FASHION OUTLETS OF CHICAGO PERMANENT COLLECTION. PHOTO: JIM PRINZ
By GINNY VAN ALYEA Millennials don’t want things, they seek experiences. Who shops in a store? The things people used to swear they’d buy only in person have since gone online. When you bring a horse to water, the conventional wisdom is, you cannot make him drink. To address a challenging retail landscape, Fashion Outlets of Chicago, a shopping destination near O’Hare Airport in Rosemont, linked fashion and art in order to consistently bring shoppers to the 530,000 square-foot indoor campus to not only discover designer discounts but to find unexpected experiences and serious art – in person. In this era of lazy, but free, 2–day shipping, shoppers must make the effort to get to Fashion Outlets. If it sounds more shoe-leather than scrolling (this is where the Millennials come in) it’s worth it. At the onset of its opening in 2013, Fashion Outlets of Chicago unveiled a collection of curated site-specific contemporary artwork installed throughout the center’s common areas. Artists created pieces for unconventional locations – Daniel Arsham’s relief Falling Time is installed near a parking garage vestibule, while Jen Stark’s psychedelic mural, Drippy, transforms a central escalator. Altogether there are currently 16 large-scale commissions, and the program continues to expand. In November 2016 THE COLLECTION: Where Art Meets Fashion launched with the unveiling of a permenant installation A Grand Love Story (analog love in a digital age) by Carlos Rolón/Dzine, and a rotating exhibition program 56 | CGN | Fall 2018
has featured work by more than a dozen artists so far, including Aimée Beaubien, Sarah and Joseph Belknap, Nnenna Okore, and others. New additions for this fall feature Derrick Adams’ largest work to date, installed at the shopping center’s grand entrance near Saks OFF Fifth. Edra Soto’s Open 24 Hours, a still-life format in three display cases, is composed of free standing shelves and glass bottles found by Soto in her East Garfield Park neighborhood. Artist and designer Chad Kouri is creating an interactive installation on the grand staircase, an extension of his Art For All series. Kouri will cover the staircase with colorful shapes, inviting visitors to text a number and receive a one-of-a-kind digital artwork composed of those very shapes, which will be texted to their phone. Each unique work will then be featured with the visitor’s initials on a monitor at the top of the staircase, across from J.Crew Factory and DKNY. While the premier shopping and high-end amenities have been a draw to Fashion Outlets from the start – today there are 130+ designer stores – the art program has elevated the experience to a more intellectual and visual level as Fashion Outlets seeks to distinguish itself from other retail properties by being a cultural destination that actively supports public art. On your way to Gucci, you’ll encounter work by Cody Hudson and Jim Drain. Head to Barney’s and Tory Burch and you’ll see Matthew Hoffman’s colorful You Are Beautiful construction, an artistic encounter that appeals to a new generation of selfie shoppers encouraged to pose for photographs in front of the singular work. Visitors leave Fashion Outlets with more than a deal, they’ve had an artistic enounter.
REDEFINING “MALL ART”
OCT 12, 2018–JAN 27, 2019 ROCKFORD ART MUSEUM | 711 N MAIN ST, ROCKFORD IL
Featuring paintings, photography, sculptures and installations by JACQUELINE MOSES, JUAN FERNANDEZ, JOE CASSAN, and SHANA MCCAW + BRENT BUDSBERG. rockfordartmuseum.org
Jacqueline Moses Spain: Twenty-First Century Dystopia
The installations at Fashion Outlets of Chicago are decidely not “mall art” but rather public art in an unconventional setting, which offers hope for encountering art in our every day lives and shows the benefit of increasing opportunities and exposure for living artists. The works shown below are part of the permanent collection. fashionoutletsofchicago.com
MATTHEW HOFFMAN, YOU ARE BEAUTIFUL. FASHION OUTLETS OF CHICAGO PERMANENT COLLECTION. PHOTO: JIM PRINZ
DANIEL ARSHAM, FALLING TIME, FIBERGLASS, AQUA-RESIN, PAINT, 2013. FASHION OUTLETS OF CHICAGO PERMANENT COLLECTION. PHOTO: JIM PRINZ.
Chicago New Media 1973-1992
Dan Sandin, Tom DeFanti and Mimi Shevitz, Spiral PTL Video, 1980, Collection of the Video Data Bank
November 1 - December 15, 2018 Organized by VGA Gallery In Partnership with Gallery 400 400 S. Peoria St, Chicago, IL 60607
LEONARD SURYAJAYA, CATTY CAT (DETAIL), 2017, PART OF BEYOND SURFACE, ON VIEW MARCH–JUNE 2017 AT FASHION OUTLETS OF CHICAGO
Fall 2018 | CGN | 57
A DECADE DEVOTED TO THE GILDED AGE THE RICHARD H. DRIEHAUS MUSEUM MAKES ITS OWN HISTORY
SAMUEL M. NICKERSON
TEN YEARS AGO PHILANTHROPIST RICHARD H. DRIEHAUS’S NAMESAKE MUSEUM OPENED WITH A MISSION TO EXPLORE THE ART, ARCHITECTURE, AND DESIGN OF THE LATE 19TH AND EARLY 20TH CENTURIES WITH A FOCUS ON THE GILDED AGE. THE MUSEUM, LOCATED WITHIN THE METICULOUSLY RESTORED 1883 NICKERSON MANSION, WAS GILDED AGE CHICAGO’S “MARBLE PALACE.” PERIOD PIECES FROM THE DRIEHAUS COLLECTION, ROTATING EXHIBITIONS AND CULTURAL PROGRAMS FURTHER ILLUMINATE THE ERA. SEVERAL SPECIAL EVENTS TAKING PLACE THIS FALL CELEBRATE THE MUSEUM’S 10 YEAR ANNIVERSARY.
10TH ANNIVERSARY GALA The Driehaus Museum’s Board of Trustees will host its first black tie gala this fall, in celebration of the museum’s 10th anniversary in 2018 and to honor Chicago architect, preservationist, and sustainable designer, Joseph Antunovich. September 13, 6–9pm
BEAUTY’S LEGACY: GILDED AGE PORTRAITS IN AMERICA GEORGE PETER ALEXANDER HEALY, JEANNETTE OVINGTON, 1887, OIL ON CANVAS
This exhibition, organized by the New York Historical Society, looks at the popular revival of portraiture in America during the late 19th and early 20th centuries and contains portraits of socially prominent Americans by artists such as Gilbert Stuart, Rembrandt Peale, John Singer Sargent, Eastman Johnson, and William Adolphe Bouguereau. September 8–January 6
GILDED CHICAGO: PORTRAITS OF AN ERA
WILLIAM MERRITT CHASE, MYRA REYNOLDS, LATE 19TH C, THE SMART MUSEUM OF ART, UNIVERSITY OF CHICAGO
The companion exhibition to Beauty’s Legacy, this intimate gallery comprised of ten paintings will focus on prominent Gilded Age Chicagoans, such as McCormick, Field, Pullman, and the portraits they commissioned. September 8–January 6
TREASURES FROM THE WHITE CITY: CHICAGO WORLD’S FAIR OF 1893
TIFFANY AND GORHAM EXHIBITS-MANUFACTURES BUILDING FROM OFFICIAL VIEWS OF THE WORLD’S COLUMBIAN EXPOSITION, BY C. D. ARNOLD AND H. D. HIGINBOTHAM, 1893.
58 | CGN | Fall 2018
An exhibition featuring designs by Louis Comfort Tiffany, substantial silver pieces by Gorham Manufacturing and Tiffany Studios, as well as fair memorabilia. The Nickerson Mansion, home of the Driehaus Museum and this exhibition, hosted a reception in 1893 to celebrate the fair. September 8–January 6 The Richard H. Driehaus Museum 40 E. Erie, Chicago • www.driehausmuseum.org
HOLIDAY ART
CREATIVE GIFTS + EVENTS
RANDOLPH ST HOLIDAY MARKET
CPC’S SMALL PRINT SALE
“Chicago’s Steakhouse” Winner of the “Award of Excellence” from Distinguished Restaurants of North America
ART AND FAITH AT LUMA
GIVING THE GIFT OF A PIECE OF ART ANY TIME OF YEAR IS A THOUGHTFUL, UNIQUE IDEA, BUT SHOPPING FOR ART AS A HOLIDAY GIFT HAS THE ADDED BENEFIT OF ALSO BEING A REPRIEVE FROM CROWD CRUSHING MADNESS AND MINDLESS ONLINE SHOPPING. ART OFFERS BOTH GIVER AND RECIPIENT THE ULTIMATE GIFT OF A PERSONAL CONNECTION. HERE ARE SOME ART-FOCUSED SHOWS AND SALES TO THIS SEASON.
ART AND FAITH OF THE CRÈCHE: • NOVEMBER 13–JANUARY 12 Art and Faith is a holiday tradition of exhibiting dozens of crèches at Loyola University Museum of Art. Running concurrently is David Lee Csicsko: The Art of the Season. SCHOOL OF THE ART INSTITUTE HOLIDAY ART SALE • NOVEMBER 15–17 This popular sale features prints, jewelry, ceramics, paintings and more created by over 120 students. RANDOLPH STREET HOLIDAY MARKETS • NOVEMBER 17–18 AND DECEMBER 15–16 An ever-changing resource for unearthing unusual items, this month you’ll find uniquely festive inspiration. 2ND ANNUAL FESTIVAL OF TREES AND CRÈCHES • NOVEMBER 19–DECEMBER 21
Tony + Marion Durpetti – Proprietors 500 North Franklin St. (312) 527-3718
Upcoming Exhibitions… Artists’ Atlas Mapping Their Journey
September 24 through December 20, 2018 Chicago artists explore location, identity, and memory.
Cloud Shadow and Footprints January 7 through February 28, 2019 Yuanwei Yang The Global Village through an Asian Artist’s Eyes
Taking place in suburban Lisle, this Komechak Gallery exhibition features 50 handcradted holiday displays. INTERNATIONAL SMALL PRINT EXHIBITION AND SALE • DECEMBER 1–JANUARY 31 (Opening Dec 1 & 2)
State Street Gallery
401 South State Street, Chicago, IL | Mon-Thur 10 a.m.-6 p.m.
Chicago Printmakers Collaborative hosts their 29th annual sale of gifts that fit any suitcase, wall and budget. Fall 2018 | CGN | 59
ART SERVICES + RESOURCES VISIT CHICAGOGALLERYNEWS.COM FOR COMPLETE LISTINGS, AND VIEW DETAILS IN OUR ANNUAL CGN ARTS GUIDE
THE CONSERVATION CENTER, BASED IN WEST TOWN, TRAVELS THE COUNTRY TO DO ART RESCUE
ART CONSULTANTS, PRIVATE DEALERS & APPRAISERS
ARON PACKER PROJECTS • PACKERGALLERY.COM ART ADVISORY LTD. • ARTADVISORYLTD.COM CHICAGO ART SOURCE • CHICAGOARTSOURCE.COM GB FINE ART • GBFINEART.COM HEDSPETH ART CONSULTING • HEDSPETHARTCONSULTING.COM MARLOWE FINE ART • MARLOWEART.COM
ARTISTS FRAME SERVICE IN LINCOLN PARK IS THE LARGEST PICTURE FRAME STORE IN THE COUNTRY
FRAMING
ART DE TRIUMPH & ARTFUL FRAMER STUDIOS • ARTDETRIUMPH.COM ARTISTS FRAME SERVICE • ARTISTSFRAME.COM FRAME FACTORY • FRAMEFACTORY.COM SEABERG PICTURE FRAMING • SEABERGFRAMING.COM
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ART HANDLING
CALLAHAN ART & ASSOCIATES • CALLAHANARTANDASSOCIATES.COM TERRY DOWD • TERRYDOWD.COM THE ICON GROUP • ICONGROUP.US SPENCER FINE ART SERVICES • SPENCERFAS.COM U.S. ART COMPANY INC. • USART.COM
ART SUPPLIES & PRODUCTS
IMAGING & PHOTOGRAPHY OSIO-BROWN EDITIONS • OSIOBROWN.COM
INSURANCE
CHARTWELL INSURANCE SERVICES • CHARTWELLINS.COM WILLIS FINE ART, JEWELRY & SPECIE DIVISION, WILLIS OF NEW YORK, INC. • WILLIS.COM
BLICK ART MATERIALS • DICKBLICK.COM/STORES
AUCTION HOUSES
LESLIE HINDMAN AUCTIONEERS • LESLIEHINDMAN.COM BONHAMS • BONHAMS.COM SOTHEBY’S CHICAGO • SOTHEBYS.COM TOOMEY & CO. AUCTIONEERS • TOOMEYCO.COM
CONSERVATION & RESTORATION
BROKEN ART RESTORATION • BROKENARTRESTORATION.COM THE CONSERVATION CENTER • THECONSERVATIONCENTER.COM RESTORATION DIVISION • RESTORATIONDIVISION.COM 60 | CGN | Fall 2018
ART FAIRS + EXPOSITIONS
THE ANNUAL • SEPT 18–28 AMERICAN CRAFT EXPOSITION • SEPT 21–23 EXPO CHICAGO • SEPT 27–30 FILTER PHOTO FESTIVAL • SEPT 27–30 THE OTHER ART FAIR • SEPT 28–30 SOFA CHICAGO • NOV 1–4 CHICAGO SCULPTURE EXHIBIT • FALL 2018 RANDOLPH ST MARKET • ONE WEEKEND A MONTH
COMPLETE LISTING AND EVENT DETAILS MAY BE FOUND AT CHICAGOGALLERYNEWS.COM/ART-SERVICES
CHICAGO ARCHITECTURE FINALLY GETS CENTERED. DISCOVER THE CHICAGO ARCHITECTURE F O U N D AT I O N ’ S A W E - I N S P I R I N G N E W LY O P E N E D H O M E AT 1 1 1 E . W A C K E R .
J. Keener Photography
THE INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART
27–30 SEPTEMBER 2018
OPENING PREVIEW THURSDAY 27 SEPT
CHICAGO | NAVY PIER GALLERIES
Anglim Gilbert Gallery San Francisco Peter Blake Gallery Laguna Beach Bockley Gallery Minneapolis Bortolami New York BorzoGallery Amsterdam Rena Bransten Gallery San Francisco Gavin Brown’s enterprise New York, Rome CarrerasMugica Bilbao Century Pictures Brooklyn Cernuda Arte Coral Gables Ceysson & Bénétière Paris, Saint-Étienne, Luxembourg, New York James Cohan New York Corbett vs. Dempsey Chicago Stephen Daiter Gallery Chicago DC Moore Gallery New York De Buck Gallery New York Galerie Division Montréal, Toronto Catherine Edelman Gallery Chicago Eric Firestone Gallery East Hampton, New York Flowers Gallery London, New York Tory Folliard Gallery Milwaukee Fort Gansevoort New York Forum Gallery New York Ghebaly Gallery Los Angeles David Gill Gallery London Michael Goedhuis London, New York, Beijing Richard Gray Gallery Chicago, New York Garth Greenan Gallery New York GRIMM Amsterdam, New York Kavi Gupta Chicago Hackett Mill San Francisco half gallery New York HDM Gallery Beijing, London Richard Heller Gallery Los Angeles Nancy Hoffman Gallery New York Rhona Hoffman Gallery Chicago The Hole New York Edwynn Houk Gallery New York, Zürich GALLERY HYUNDAI Seoul Charlie James Gallery Los Angeles Jenkins Johnson Gallery San Francisco, New York Kalfayan Galleries Athens, Thessaloniki Paul Kasmin Gallery New York Anton Kern Gallery New York Tina Kim Gallery New York David Klein Gallery Detroit, Birmingham Robert Koch Gallery San Francisco Alan Koppel Gallery Chicago Galerie Kornfeld Berlin
Lévy Gorvy New York, London, Shanghai David Lewis Gallery New York Library Street Collective Detroit Long-Sharp Gallery Indianapolis, New York Galeria Javier Lopez & Fer Frances Madrid Luhring Augustine New York, Brooklyn Matthew Marks Gallery New York, Los Angeles Philip Martin Gallery Los Angeles MARUANI MERCIER Brussels, Knokke, Paris McCormick Gallery Chicago Miles McEnery Gallery New York Monique Meloche Gallery Chicago Mendes Wood DM São Paulo, Brussels, New York Gallery MOMO Cape Town, Johannesburg Nahmad Projects London David Nolan Gallery New York Gallery Wendi Norris San Francisco Richard Norton Gallery Chicago October Gallery London Claire Oliver Gallery New York ONE AND J. Gallery Seoul Galeria Karla Osorio , Brasilia Pablo’s Birthday, New York Peres Projects Berlin Perrotin New York, Paris, Hong Kong, Tokyo, Seoul, Shanghai PKM Gallery Seoul P.P.O.W New York Praz-Delavallade Paris, Los Angeles R & Company New York Roberts Projects Los Angeles Ronchini Gallery London rosenfeld porcini London Royale Projects Los Angeles Galerie RX Paris Salon 94 New York Georgia Scherman Projects Toronto Vito Schnabel Gallery Engadine Valley Eduardo Secci Contemporary Florence Carrie Secrist Gallery Chicago Stuart Shave / Modern Art London William Shearburn Gallery St. Louis Jessica Silverman Gallery San Francisco Simoens Gallery Knokke Sims Reed Gallery London SmithDavidson Gallery Amsterdam, Miami Fredric Snitzer Gallery Miami Sous Les Etoiles Gallery New York Stene Projects Gallery Stockholm MARC STRAUS New York Hollis Taggart Galleries New York Sundaram Tagore Gallery New York, Singapore, Hong Kong
Tandem Press Madison TEMPLON Paris, Brussels Vallarino Fine Art New York Susanne Vielmetter Los Angeles Projects Los Angeles Weinstein Hammons Gallery Minneapolis Wexler Gallery Philadelphia Yares Art New York, Palm Springs, Santa Fe Zolla/Lieberman Gallery Chicago Pavel Zoubok Fine Art New York David Zwirner New York, London, Hong Kong
EXPOSURE
Curated by Justine Ludwig 313 Art Project Seoul Amar Gallery London Piero Atchugarry Garzón, Miami BEERS London London Club Pro Los Angeles Los Angeles Luis De Jesus Los Angeles Los Angeles Dio Horia Athens, Mykonos Anat Ebgi Los Angeles Edel Assanti London Daniel Faria Gallery Toronto FOLD London Fridman Gallery New York Geary New York Asya Geisberg Gallery New York Grice Bench Los Angeles MARIANE IBRAHIM Seattle Instituto De Visión Bogotá KANT Copenhagen Klowden Mann Culver City LAZY Mike Los Angeles, Moscow Harlan Levey Projects Brussels NINO MIER GALLERY Los Angeles, Cologne Moskowitz Bayse Los Angeles Shulamit Nazarian Los Angeles Night Gallery Los Angeles NOME Berlin Officine dell’lmmagine Milan ROCKELMANN& Berlin Romer Young Gallery San Francisco Sapar Contemporary New York Catinca Tabacaru New York, Harare Zalucky Contemporary Toronto
PROFILE
Carbon12 Dubai Edward Cella Art & Architecture Los Angeles Chambers Fine Art New York, Beijing Derek Eller Gallery New York Klaus von Nichtssagend Gallery New York Gallery Luisotti Los Angeles Martos Gallery New York MARUANI MERCIER Brussels, Knokke, Paris Galerie Barbara Thumm Berlin
EDITIONS + BOOKS
Art+Culture Projects New York Boreas Fine Art Chicago Candor Arts Chicago Downtown for Democracy U.S.A. Independent Curators International (ICI) New York Index Art Book Fair Mexico City LAND (Los Angeles Nomadic Division) Los Angeles Manneken Press Bloomington NFP Editions | Field Editions, Tate Editions, Royal Academy of Arts René Schmitt Berlin, WOL Spudnik Press Cooperative Chicago TASCHEN Los Angeles, New York, Miami, London, Paris, Berlin, Amsterdam, Milan
SPECIAL EXHIBITIONS
6018North/ 3Arts Chicago Aperture Foundation New York Artadia New York Eli and Edythe Broad Art Museum East Lansing Chicago Artists Coalition Chicago The Conservation Center Chicago DePaul Art Museum Chicago Human Rights Watch Hyde Park Art Center Chicago The Joyce Foundation MOSTYN Llandudno National YoungArts Foundation Miami Natural Resources Defense Council (NRDC) Chicago ProjectArt Chicago, New York, Los Angeles, Detroit, Miami, Pittsburgh The School of the Art Institute of Chicago Chicago Threewalls Chicago University of Chicago Department of Visual Arts Chicago Provisional as of July 2018
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