![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419596/n855ixeitlxrsrcqgghc.jpg\")
Bert Green Fine Art exhibits emerging, mid-career, queer and underrepresented artists. We present smart, challenging work and site-specific exhibitions, and publish original limited edition prints in various media.
Email sign-up on our website.
Image: BGFA is located in the Willoughby Building on Michigan Avenue; exterior view pictured above.
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Guest Curated by Dan Cameron
Bert Green Fine Art is pleased to present a solo show by Chicago-based artist Kevin Blake, guest curated by Dan Cameron.
Kevin Blake grew up on the far south side of Chicago, and while young bore witness to the unique fraternity of white male power that was the Chicago Police Department, where his father and grandfather both enjoyed long careers, while forbidding him to follow in their footsteps. Instead, he studied painting at the School of the Art Institute of Chicago, where he was inspired by its emphasis on art that reflects the specific paradoxes of one’s time and place. Thus incentivized to investigate subject matter close to home, Blake began the challenging process of minutely examining the psychological and cultural effects of toxic masculinity left over from his personal history and presumed cultural identity, to see how they might be reassembled into something more redemptive.
The poignant results of Blake’s intensive cross-examination of (mostly) male identity can be seen in “Sundowning,” a word that typically refers to the dramatic mood shifts experienced by Alzheimer’s patients when daylight ends. Its use here is metaphorical, a reference to the crumbling of certain longstanding myths about what male roles are appropriate in today’s increasingly pluralistic society. If what first strikes one about Blake’s work is his impressive level of skill and creativity, that technical aspect is soon overtaken by our gradual discovery that the characters he depicts so unerringly can evoke our capacity to empathize with their suffering, no matter how unappetizing they first appear.
In Blake’s compositions, the male of the species is typically portrayed performing a social role fully in accord with societal expectations, only something isn’t going the way it should. A round of golf is swept away by a typhoon, a poolside reverie is harshly interrupted, a gym bro grimaces in our direction: while his subjects aspire to maintain their male privilege in the material world, Blake invites us to see through the bravado, and perceive them within a framework of near-desperate social isolation, worsened by their inability to drop their deeply ingrained roles. — Dan Cameron
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us
A Third Degree Witness, Graphite, oil pastel, oil paint, and collage on paper mounted on canvas, 29.5 x 21\", 2024
Bert Green Fine Art is pleased to present a solo show by Chicago-based artist Kevin Blake, guest curated by Dan Cameron.
Kevin Blake grew up on the far south side of Chicago, and while young bore witness to the unique fraternity of white male power that was the Chicago Police Department, where his father and grandfather both enjoyed long careers, while forbidding him to follow in their footsteps. Instead, he studied painting at the School of the Art Institute of Chicago, where he was inspired by its emphasis on art that reflects the specific paradoxes of one’s time and place. Thus incentivized to investigate subject matter close to home, Blake began the challenging process of minutely examining the psychological and cultural effects of toxic masculinity left over from his personal history and presumed cultural identity, to see how they might be reassembled into something more redemptive.
The poignant results of Blake’s intensive cross-examination of (mostly) male identity can be seen in “Sundowning,” a word that typically refers to the dramatic mood shifts experienced by Alzheimer’s patients when daylight ends. Its use here is metaphorical, a reference to the crumbling of certain longstanding myths about what male roles are appropriate in today’s increasingly pluralistic society. If what first strikes one about Blake’s work is his impressive level of skill and creativity, that technical aspect is soon overtaken by our gradual discovery that the characters he depicts so unerringly can evoke our capacity to empathize with their suffering, no matter how unappetizing they first appear. In Blake’s compositions, the male of the species is typically portrayed performing a social role fully in accord with societal expectations, only something isn’t going the way it should. A round of golf is swept away by a typhoon, a poolside reverie is harshly interrupted, a gym bro grimaces in our direction: while his subjects aspire to maintain their male privilege in the material world, Blake invites us to see through the bravado, and perceive them within a framework of near-desperate social isolation, worsened by their inability to drop their deeply ingrained roles. — Dan Cameron
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\r\n\r\nArtist Talk: Saturday, February 25, 4pm
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\r\n\r\n\r\n","type":"Event","state":"published","slug":"artist-talk-for-megan-sterling-and-julie-weber","created_at":"2018-10-22 20:39:50.921158","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'25':14B '4pm':15B 'artist':1A,9B 'februari':13B 'juli':7A,25B 'megan':4A,16B 'paper':20B 'photo':27B 'process':28B 'project':23B 'room':24B 'saturday':12B 'sterl':5A,17B 'talk':2A,11B 'weber':8A,26B 'work':18B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669420/event_ics_1721669420385.ics","carousel":null,"category_name":"Talks"},{"id":3870,"title":"Opening Reception: Matthew Schlagbaum and Victoria Reynolds","starts_at":"2017-03-11 17:00:00","ends_at":"2017-03-11 20:00:00","body":"
Exhibition on view: March 11-April 22, 2017
\r\nOpening reception: Saturday, March 11, 5-8pm
\r\nArtist talk: Saturday, April 15, 4pm
Matthew Schlagbaum unites the media of sculpture, photography, and paint to depict metaphors for oppressive social structures that masquerade as universal ideals. Mainstream concepts of happiness, and their resulting recommended lifestyles, are exposed as methods of systematic social control. His images and sculptural objects are sometimes drained of color, viewed from behind, or seen as manipulated emotional and physical states of being that express the profound exclusion experienced by those who are not the intended audience.
\r\n\r\nVictoria Reynolds uses meat as a primary decorative motif, playfully applying it’s visceral qualities to the surface of the painting and the surrounding frame. There is an uneasy tension between the understanding of flesh as food, and our self-identification of it; her conflation of desire, mortality, viscerality, and the survival instinct is a powerful source of aesthetic fascination.
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\r\nOpening reception: Saturday, March 11, 5-8pm
\r\nArtist talk: Saturday, April 15, 4pm
Victoria Reynolds uses meat as a primary decorative motif, playfully applying it’s visceral qualities to the surface of the painting and the surrounding frame. There is an uneasy tension between the understanding of flesh as food, and our self-identification of it; her conflation of desire, mortality, viscerality, and the survival instinct is a powerful source of aesthetic fascination.
\r\n\r\nVictoria Reynolds, Flesh Medallion, 2017, Giclee print on Hahnemuhle Photo Rag Paper, Edition of 20, 10" x 8"
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\r\nOpening reception: Saturday, March 11, 5-8pm
\r\nArtist talk: Saturday, April 15, 4pm
Matthew Schlagbaum unites the media of sculpture, photography, and paint to depict metaphors for oppressive social structures that masquerade as universal ideals. Mainstream concepts of happiness, and their resulting recommended lifestyles, are exposed as methods of systematic social control. His images and sculptural objects are sometimes drained of color, viewed from behind, or seen as manipulated emotional and physical states of being that express the profound exclusion experienced by those who are not the intended audience.
\r\n\r\nImage: Matthew Schlagbaum, The promise that seems to not be quite so promising, 2017, Archival Digital Print, Oak Artist Frame, Unique 1/1, 35.5" x 25"
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\r\nOpening reception: Saturday, March 11, 5-8pm
\r\nArtist talk: Saturday, April 15, 4pm
Matthew Schlagbaum unites the media of sculpture, photography, and paint to depict metaphors for oppressive social structures that masquerade as universal ideals. Mainstream concepts of happiness, and their resulting recommended lifestyles, are exposed as methods of systematic social control. His images and sculptural objects are sometimes drained of color, viewed from behind, or seen as manipulated emotional and physical states of being that express the profound exclusion experienced by those who are not the intended audience.
\r\n\r\nVictoria Reynolds uses meat as a primary decorative motif, playfully applying it’s visceral qualities to the surface of the painting and the surrounding frame. There is an uneasy tension between the understanding of flesh as food, and our self-identification of it; her conflation of desire, mortality, viscerality, and the survival instinct is a powerful source of aesthetic fascination.
\r\n","type":"Event","state":"published","slug":"artists-talk-matthew-schlagbaum-and-victoria-reynolds","created_at":"2018-10-22 20:40:16.182873","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':22B '11':12B,20B '15':28B '2017':15B '22':14B '4pm':29B '5':21B 'aesthet':165B 'appli':116B 'april':13B,27B 'artist':1A,24B 'audienc':105B 'behind':81B 'color':78B 'concept':53B 'conflat':151B 'control':68B 'decor':113B 'depict':41B 'desir':153B 'drain':76B 'emot':86B 'exclus':96B 'exhibit':8B 'experienc':97B 'expos':62B 'express':93B 'fascin':166B 'flesh':140B 'food':142B 'frame':130B 'happi':55B 'ideal':51B 'identif':147B 'imag':70B 'instinct':159B 'intend':104B 'lifestyl':60B 'mainstream':52B 'manipul':85B 'march':11B,19B 'masquerad':48B 'matthew':3A,30B 'meat':109B 'media':34B 'metaphor':42B 'method':64B 'mortal':154B 'motif':114B 'object':73B 'open':16B 'oppress':44B 'paint':39B,126B 'photographi':37B 'physic':88B 'play':115B 'pm':23B 'power':162B 'primari':112B 'profound':95B 'qualiti':120B 'recept':17B 'recommend':59B 'result':58B 'reynold':7A,107B 'saturday':18B,26B 'schlagbaum':4A,31B 'sculptur':36B,72B 'seen':83B 'self':146B 'self-identif':145B 'social':45B,67B 'sometim':75B 'sourc':163B 'state':89B 'structur':46B 'surfac':123B 'surround':129B 'surviv':158B 'systemat':66B 'talk':2A,25B 'tension':135B 'understand':138B 'uneasi':134B 'unit':32B 'univers':50B 'use':108B 'victoria':6A,106B 'view':10B,79B 'viscer':119B,155B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669424/event_ics_1721669424509.ics","carousel":null,"category_name":"Talks"},{"id":3875,"title":"Opening Reception for Stephen Kaltenbach and David & Cathy Stone","starts_at":"2017-05-13 17:00:00","ends_at":"2017-05-13 20:00:00","body":"Opening reception for Stephen Kaltenbach: New Conceptual Works and David and Cathy Stone: New Concepts and Sculpture
\r\n\r\nExhibitions on view: May 13-June 17, 2017
\r\n","type":"Event","state":"published","slug":"opening-reception-for-stephen-kaltenbach-and-david-cathy-stone","created_at":"2018-10-22 20:40:32.167267","updated_at":"2019-01-04 14:58:00.968769","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'13':31B '17':33B '2017':34B 'cathi':8A,21B 'concept':24B 'conceptu':16B 'david':7A,19B 'exhibit':27B 'june':32B 'kaltenbach':5A,14B 'may':30B 'new':15B,23B 'open':1A,10B 'recept':2A,11B 'sculptur':26B 'stephen':4A,13B 'stone':9A,22B 'view':29B 'work':17B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669424/event_ics_1721669424532.ics","carousel":null,"category_name":null},{"id":3873,"title":"Stephen Kaltenbach: Sky Totems and Other Bad Ideas","starts_at":"2017-05-13 18:00:00","ends_at":"2017-06-17 19:00:00","body":"Exhibition on view: May 13-June 17, 2017
\r\n\r\nOpening Reception: Saturday May 13, 5-8 pm
\r\n\r\nAlso on view in the Project Room - Cathy Stone: Imagery of the Poets and David Stone: Economic Value
\r\n","type":"Event","state":"published","slug":"stephen-kaltenbach-sky-totems-and-other-bad-ideas","created_at":"2018-10-22 20:40:32.376137","updated_at":"2018-10-22 20:40:32.376137","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':23B '13':13B,21B '17':15B '2017':16B '5':22B 'also':25B 'bad':7A 'cathi':32B 'david':39B 'econom':41B 'exhibit':9B 'idea':8A 'imageri':34B 'june':14B 'kaltenbach':2A 'may':12B,20B 'open':17B 'pm':24B 'poet':37B 'project':30B 'recept':18B 'room':31B 'saturday':19B 'sky':3A 'stephen':1A 'stone':33B,40B 'totem':4A 'valu':42B 'view':11B,27B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669424/event_ics_1721669424518.ics","carousel":null,"category_name":null},{"id":3874,"title":"Cathy Stone: Imagery of the Poets and David Stone: Economic Value","starts_at":"2017-05-13 19:00:00","ends_at":"2017-06-17 20:00:00","body":"Exhibition on view: May 13-June 17, 2017
\r\n\r\nOpening Reception: Saturday May 13, 5-8pm
\r\n\r\nAlso on view - Stephen Kaltenbach: Sky Totems and Other Bad Ideas
\r\n","type":"Event","state":"published","slug":"cathy-stone-imagery-of-the-poets-and-david-stone-economic-value","created_at":"2018-10-22 20:40:32.429759","updated_at":"2018-10-22 20:40:32.429759","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':26B '13':16B,24B '17':18B '2017':19B '5':25B 'also':28B 'bad':37B 'cathi':1A 'david':8A 'econom':10A 'exhibit':12B 'idea':38B 'imageri':3A 'june':17B 'kaltenbach':32B 'may':15B,23B 'open':20B 'pm':27B 'poet':6A 'recept':21B 'saturday':22B 'sky':33B 'stephen':31B 'stone':2A,9A 'totem':34B 'valu':11A 'view':14B,30B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669424/event_ics_1721669424512.ics","carousel":null,"category_name":"Exhibitions"},{"id":4325,"title":"Robert Horvath: White Gold","starts_at":"2017-07-08 16:00:00","ends_at":"2017-08-19 20:00:00","body":"Exhibition on view: July 8-August 19, 2017
\r\nOpening Reception: Saturday, July 8, 5-8 pm
\r\nArtist’s Talk: Saturday, August 19, 4pm
Bert Green Fine Art, in partnership with Aron Packer Projects, is pleased to present our second solo show of the work of Indianapolis-based painter and sculptor Robert Horvath.
\r\n\r\nRobert Horvath is originally from Slovakia in Eastern Europe, and has in recent years developed a fascination with Rococo porcelain. His work for this show is a series of paintings and digital compositions that incorporate homoerotic imagery into the Rococo style, transforming it into a contemporary idiom. Fusing technical virtuosity with “NSFW” (Not Safe for Work) imagery permits these artworks to advance a dialogue that breaks free of historical strictures.
\r\n\r\nThe visual style of this current body of work expands on what Horvath has been doing over the past 20 years. Originally a portraitist of club kids and club fashion, Horvath captures figures of gay porn in throes of ecstasy. He places the miniaturized “actors” into the porcelain ornament, which is not unlike his exploration into organic forms and light on which his last decade of work was based. Morphing all his interests has led to this precisely controlled and filigreed still life with figures, upon a background of set pattern with abstract elements. Over the top, glossy and self-absorbed, his work has gone back from whence it came, as the club kids and the porn stars are not unlike the dandies and elegant ladies of the Rococo.
\r\n","type":"Event","state":"published","slug":"robert-horvath-white-gold","created_at":"2018-10-22 20:40:56.794199","updated_at":"2018-10-22 20:40:56.794199","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':19B '19':11B,26B '20':147B '2017':12B '4pm':27B '5':18B '8':9B,17B 'absorb':229B 'abstract':220B 'actor':172B 'advanc':119B 'aron':35B 'art':31B 'artist':21B 'artwork':117B 'august':10B,25B 'back':234B 'background':215B 'base':52B,196B 'bert':28B 'bodi':134B 'break':123B 'came':238B 'captur':159B 'club':153B,156B,241B 'composit':90B 'contemporari':103B 'control':206B 'current':133B 'dandi':251B 'decad':192B 'develop':72B 'dialogu':121B 'digit':89B 'eastern':65B 'ecstasi':167B 'eleg':253B 'element':221B 'europ':66B 'exhibit':5B 'expand':137B 'explor':182B 'fascin':74B 'fashion':157B 'figur':160B,212B 'filigre':208B 'fine':30B 'form':185B 'free':124B 'fuse':105B 'gay':162B 'glossi':225B 'gold':4A 'gone':233B 'green':29B 'histor':126B 'homoerot':93B 'horvath':2A,57B,59B,140B,158B 'idiom':104B 'imageri':94B,114B 'incorpor':92B 'indianapoli':51B 'indianapolis-bas':50B 'interest':200B 'juli':8B,16B 'kid':154B,242B 'ladi':254B 'last':191B 'led':202B 'life':210B 'light':187B 'miniatur':171B 'morph':197B 'nsfw':109B 'open':13B 'organ':184B 'origin':61B,149B 'ornament':176B 'packer':36B 'paint':87B 'painter':53B 'partnership':33B 'past':146B 'pattern':218B 'permit':115B 'place':169B 'pleas':39B 'pm':20B 'porcelain':77B,175B 'porn':163B,245B 'portraitist':151B 'precis':205B 'present':41B 'project':37B 'recent':70B 'recept':14B 'robert':1A,56B,58B 'rococo':76B,97B,257B 'safe':111B 'saturday':15B,24B 'sculptor':55B 'second':43B 'self':228B 'self-absorb':227B 'seri':85B 'set':217B 'show':45B,82B 'slovakia':63B 'solo':44B 'star':246B 'still':209B 'strictur':127B 'style':98B,130B 'talk':23B 'technic':106B 'throe':165B 'top':224B 'transform':99B 'unlik':180B,249B 'upon':213B 'view':7B 'virtuos':107B 'visual':129B 'whenc':236B 'white':3A 'work':48B,79B,113B,136B,194B,231B 'year':71B,148B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669437/event_ics_1721669437044.ics","carousel":null,"category_name":"Exhibitions"},{"id":4842,"title":"Robert Horvath: Artist Talk","starts_at":"2017-08-19 16:00:00","ends_at":"2017-08-19 17:00:00","body":"Exhibition on view: July 8-August 19, 2017
\r\nOpening Reception: Saturday, July 8, 5-8 pm
\r\nArtist’s Talk: Saturday, August 19, 4pm
Bert Green Fine Art, in partnership with Aron Packer Projects, is pleased to present our second solo show of the work of Indianapolis-based painter and sculptor Robert Horvath.
\r\n\r\nRobert Horvath is originally from Slovakia in Eastern Europe, and has in recent years developed a fascination with Rococo porcelain. His work for this show is a series of paintings and digital compositions that incorporate homoerotic imagery into the Rococo style, transforming it into a contemporary idiom. Fusing technical virtuosity with “NSFW” (Not Safe for Work) imagery permits these artworks to advance a dialogue that breaks free of historical strictures.
\r\n\r\nThe visual style of this current body of work expands on what Horvath has been doing over the past 20 years. Originally a portraitist of club kids and club fashion, Horvath captures figures of gay porn in throes of ecstasy. He places the miniaturized “actors” into the porcelain ornament, which is not unlike his exploration into organic forms and light on which his last decade of work was based. Morphing all his interests has led to this precisely controlled and filigreed still life with figures, upon a background of set pattern with abstract elements. Over the top, glossy and self-absorbed, his work has gone back from whence it came, as the club kids and the porn stars are not unlike the dandies and elegant ladies of the Rococo.
\r\n","type":"Event","state":"published","slug":"robert-horvath-artist-talk","created_at":"2018-10-22 20:41:19.32657","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':19B '19':11B,26B '20':147B '2017':12B '4pm':27B '5':18B '8':9B,17B 'absorb':229B 'abstract':220B 'actor':172B 'advanc':119B 'aron':35B 'art':31B 'artist':3A,21B 'artwork':117B 'august':10B,25B 'back':234B 'background':215B 'base':52B,196B 'bert':28B 'bodi':134B 'break':123B 'came':238B 'captur':159B 'club':153B,156B,241B 'composit':90B 'contemporari':103B 'control':206B 'current':133B 'dandi':251B 'decad':192B 'develop':72B 'dialogu':121B 'digit':89B 'eastern':65B 'ecstasi':167B 'eleg':253B 'element':221B 'europ':66B 'exhibit':5B 'expand':137B 'explor':182B 'fascin':74B 'fashion':157B 'figur':160B,212B 'filigre':208B 'fine':30B 'form':185B 'free':124B 'fuse':105B 'gay':162B 'glossi':225B 'gone':233B 'green':29B 'histor':126B 'homoerot':93B 'horvath':2A,57B,59B,140B,158B 'idiom':104B 'imageri':94B,114B 'incorpor':92B 'indianapoli':51B 'indianapolis-bas':50B 'interest':200B 'juli':8B,16B 'kid':154B,242B 'ladi':254B 'last':191B 'led':202B 'life':210B 'light':187B 'miniatur':171B 'morph':197B 'nsfw':109B 'open':13B 'organ':184B 'origin':61B,149B 'ornament':176B 'packer':36B 'paint':87B 'painter':53B 'partnership':33B 'past':146B 'pattern':218B 'permit':115B 'place':169B 'pleas':39B 'pm':20B 'porcelain':77B,175B 'porn':163B,245B 'portraitist':151B 'precis':205B 'present':41B 'project':37B 'recent':70B 'recept':14B 'robert':1A,56B,58B 'rococo':76B,97B,257B 'safe':111B 'saturday':15B,24B 'sculptor':55B 'second':43B 'self':228B 'self-absorb':227B 'seri':85B 'set':217B 'show':45B,82B 'slovakia':63B 'solo':44B 'star':246B 'still':209B 'strictur':127B 'style':98B,130B 'talk':4A,23B 'technic':106B 'throe':165B 'top':224B 'transform':99B 'unlik':180B,249B 'upon':213B 'view':7B 'virtuos':107B 'visual':129B 'whenc':236B 'work':48B,79B,113B,136B,194B,231B 'year':71B,148B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669458/event_ics_1721669457842.ics","carousel":null,"category_name":"Talks"},{"id":4765,"title":"James Greco: Tarp Paintings","starts_at":"2017-09-09 10:00:00","ends_at":"2017-10-22 18:00:00","body":"Brooklyn-based painter James Greco exudes a sophisticated understanding of the expressive and emotive powers of painting. His newest works are paintings on unstretched, flat tarps on which he rapidly and intuitively applies color from punctured spray paint cans, in a contemporary iteration of action painting. The older paintings on canvas are luscious works in which abstraction and representation collide with dynamic results.
\r\n","type":"Event","state":"published","slug":"james-greco-tarp-paintings","created_at":"2018-10-22 20:41:32.057704","updated_at":"2018-10-22 20:41:32.057704","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'abstract':62B 'action':50B 'appli':38B 'base':7B 'brooklyn':6B 'brooklyn-bas':5B 'can':44B 'canva':56B 'collid':65B 'color':39B 'contemporari':47B 'dynam':67B 'emot':19B 'express':17B 'exud':11B 'flat':30B 'greco':2A,10B 'intuit':37B 'iter':48B 'jame':1A,9B 'luscious':58B 'newest':24B 'older':53B 'paint':4A,22B,27B,43B,51B,54B 'painter':8B 'power':20B 'punctur':41B 'rapid':35B 'represent':64B 'result':68B 'sophist':13B 'spray':42B 'tarp':3A,31B 'understand':14B 'unstretch':29B 'work':25B,59B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453923.ics","carousel":null,"category_name":"Exhibitions"},{"id":4766,"title":"Marissa Lee Benedict: I Come Apart","starts_at":"2017-09-09 17:00:00","ends_at":"2017-10-21 20:00:00","body":"A site specific installation by Marissa Lee Benedict.
\r\n","type":"Event","state":"published","slug":"marissa-lee-benedict-i-come-apart","created_at":"2018-10-22 20:41:33.522255","updated_at":"2018-10-22 20:41:33.522255","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'apart':6A 'benedict':3A,14B 'come':5A 'instal':10B 'lee':2A,13B 'marissa':1A,12B 'site':8B 'specif':9B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453886.ics","carousel":null,"category_name":"Exhibitions"},{"id":5103,"title":"Marissa Lee Benedict: Artist Talk","starts_at":"2017-10-21 16:00:00","ends_at":"2017-10-21 17:00:00","body":"","type":"Event","state":"published","slug":"marissa-lee-benedict-artist-talk","created_at":"2018-10-22 20:41:58.753673","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':4A 'benedict':3A 'lee':2A 'marissa':1A 'talk':5A","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669466/event_ics_1721669466150.ics","carousel":null,"category_name":"Talks"},{"id":4767,"title":"Morgan Sims: New Paintings and Neon","starts_at":"2017-11-04 16:00:00","ends_at":"2017-12-16 17:00:00","body":"Opening Reception: Saturday November 4, 2017 5-8pm
\r\n\r\nArtist's Talk: Saturday December 16, 2017 4pm
\r\n\r\nSim's recent geometric paintings start with ideas explored by 1970s hard-edge Op Art.
\r\n\r\nThe distressed works provide an alternative to the pristine surfaces and clean solids of the pure Op Art tradition. They are modified and enhanced by the use of distressed and organically worked surfaces. Like his predecessors, he starts with a simple, geometric-shaped, linen canvas, and generates a dimensional illusion with line and color. Sims then avoids the temptation to seek perfection, instead introducing layers of striated color and texture that highlight a tension between the underlying geometry and the propensity towards decay of all physical objects.
\r\n\r\nThe line works are studies in impure line work. Like the distressed paintings, they add a hand made quaility to the "perfection" of the geomtery; making them emotional as well as rational.
\r\n\r\nThe drip paintings process and distort symbols and images into near abstraction, retaining just enough of the image to retain a rudimentary recognition. He thoughtfully extends the reach of methods such as pixillation, halftoning, and patterning through manual means which humanizes the painting so that there is a warmth and handmade quality.
\r\n\r\nSims' neon works are concerned with the interaction of light, space, and color.
\r\n","type":"Event","state":"published","slug":"morgan-sims-new-paintings-and-neon","created_at":"2018-10-22 20:42:02.361417","updated_at":"2018-10-22 20:42:02.361417","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':14B '16':21B '1970s':34B '2017':12B,22B '4':11B '4pm':23B '5':13B 'abstract':171B 'add':142B 'altern':45B 'art':39B,57B 'artist':16B 'avoid':97B 'canva':85B 'clean':51B 'color':94B,108B,224B 'concern':216B 'decay':123B 'decemb':20B 'dimension':89B 'distort':165B 'distress':41B,68B,139B 'drip':161B 'edg':37B 'emot':155B 'enhanc':63B 'enough':174B 'explor':32B 'extend':185B 'generat':87B 'geometr':27B,82B 'geometri':118B 'geometric-shap':81B 'geomteri':152B 'halfton':193B 'hand':144B 'handmad':210B 'hard':36B 'hard-edg':35B 'highlight':112B 'human':200B 'idea':31B 'illus':90B 'imag':168B,177B 'impur':134B 'instead':103B 'interact':219B 'introduc':104B 'layer':105B 'light':221B 'like':73B,137B 'line':92B,129B,135B 'linen':84B 'made':145B 'make':153B 'manual':197B 'mean':198B 'method':189B 'modifi':61B 'morgan':1A 'near':170B 'neon':6A,213B 'new':3A 'novemb':10B 'object':127B 'op':38B,56B 'open':7B 'organ':70B 'paint':4A,28B,140B,162B,202B 'pattern':195B 'perfect':102B,149B 'physic':126B 'pixil':192B 'pm':15B 'predecessor':75B 'pristin':48B 'process':163B 'propens':121B 'provid':43B 'pure':55B 'quailiti':146B 'qualiti':211B 'ration':159B 'reach':187B 'recent':26B 'recept':8B 'recognit':182B 'retain':172B,179B 'rudimentari':181B 'saturday':9B,19B 'seek':101B 'shape':83B 'sim':2A,24B,95B,212B 'simpl':80B 'solid':52B 'space':222B 'start':29B,77B 'striat':107B 'studi':132B 'surfac':49B,72B 'symbol':166B 'talk':18B 'temptat':99B 'tension':114B 'textur':110B 'thought':184B 'toward':122B 'tradit':58B 'under':117B 'use':66B 'warmth':208B 'well':157B 'work':42B,71B,130B,136B,214B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669454027.ics","carousel":null,"category_name":"Exhibitions"},{"id":5314,"title":"Mary Jane Duffy: Glitch ","starts_at":"2018-01-20 17:00:00","ends_at":"2018-02-24 18:00:00","body":"Opening Reception Saturday January 20, 2018 5-8 pm
\r\n\r\nMary Jane Duffy is a Chicago-based painter who makes works which are based on an interpretation of land and the landscape of information. The artist sees the influence of human activity and human perception as a significant and important diversion from the otherwise natural order of things. Employing the languages of map making, pointillist obfuscation, and digital noise, Duffy creates a series of works that resonate with uneasiness and ambiguity towards the human condition and its impact.
\r\n","type":"Event","state":"published","slug":"mary-jane-duffy-glitch","created_at":"2018-10-22 20:42:18.739151","updated_at":"2018-10-22 21:15:35.150413","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':12B '20':9B '2018':10B '5':11B 'activ':46B 'ambigu':85B 'artist':40B 'base':21B,28B 'chicago':20B 'chicago-bas':19B 'condit':89B 'creat':75B 'digit':72B 'divers':55B 'duffi':3A,16B,74B 'employ':63B 'glitch':4A 'human':45B,48B,88B 'impact':92B 'import':54B 'influenc':43B 'inform':38B 'interpret':31B 'jane':2A,15B 'januari':8B 'land':33B 'landscap':36B 'languag':65B 'make':24B,68B 'map':67B 'mari':1A,14B 'natur':59B 'nois':73B 'obfusc':70B 'open':5B 'order':60B 'otherwis':58B 'painter':22B 'percept':49B 'pm':13B 'pointillist':69B 'recept':6B 'reson':81B 'saturday':7B 'see':41B 'seri':77B 'signific':52B 'thing':62B 'toward':86B 'uneasi':83B 'work':25B,79B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668409/uyholtlwi0qrs03nm5uo.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669475/event_ics_1721669474618.ics","carousel":null,"category_name":"Exhibitions"},{"id":5315,"title":"Regina Mamou: How the West Was Won ","starts_at":"2018-01-20 17:00:00","ends_at":"2018-02-24 18:00:00","body":"Opening Reception Saturday January 20, 2018 5-8 pm
\r\n\r\nRegina Mamou is concerned with ideology as it manifests through religion, politics, authoritarian structures, charismatic mass movements, utopias, dystopias, and other types of communities. Individuals and events that are the product of the complex clash between ideologies are of special interest. Her current works are juxtapositions of imagery sourced from such clashes, produced with printmaking techniques singly and in multiples.
\r\n","type":"Event","state":"published","slug":"regina-mamou-how-the-west-was-won","created_at":"2018-10-22 20:42:18.566174","updated_at":"2018-10-22 21:15:34.515072","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':15B '20':12B '2018':13B '5':14B 'authoritarian':29B 'charismat':31B 'clash':51B,68B 'communiti':40B 'complex':50B 'concern':20B 'current':59B 'dystopia':35B 'event':43B 'ideolog':22B,53B 'imageri':64B 'individu':41B 'interest':57B 'januari':11B 'juxtaposit':62B 'mamou':2A,18B 'manifest':25B 'mass':32B 'movement':33B 'multipl':76B 'open':8B 'pm':16B 'polit':28B 'printmak':71B 'produc':69B 'product':47B 'recept':9B 'regina':1A,17B 'religion':27B 'saturday':10B 'singl':73B 'sourc':65B 'special':56B 'structur':30B 'techniqu':72B 'type':38B 'utopia':34B 'west':5A 'won':7A 'work':60B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668409/qsml8dc0xcwwqz8olxwf.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669475/event_ics_1721669474581.ics","carousel":null,"category_name":"Exhibitions"},{"id":5317,"title":"Doug Stapleton and Jeffrey Michael Austin ","starts_at":"2018-03-10 17:00:00","ends_at":"2018-04-21 20:00:00","body":"Opening Reception and Event Information can be found Here.
\r\n","type":"Event","state":"published","slug":"doug-stapleton-and-jeffrey-michael-austin--2","created_at":"2018-10-22 20:42:35.176421","updated_at":"2018-10-22 21:15:34.038432","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'austin':6A 'doug':1A 'event':10B 'found':14B 'inform':11B 'jeffrey':4A 'michael':5A 'open':7B 'recept':8B 'stapleton':2A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668409/nssst3oo8nal5pyvstno.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669475/event_ics_1721669474587.ics","carousel":null,"category_name":"Exhibitions"},{"id":5318,"title":"Nicole Etienne: The Darling Buds of May","starts_at":"2018-05-12 17:00:00","ends_at":"2018-06-23 20:00:00","body":"Nicole Etienne's paintings are amalgams of paint and photography. She covers images printed on canvas with painted layers of luscious viscosity, leaving visible parts of the photographic image to facilitate a poetic conversation between the two media. These works ooze sensuality and emotional resonance yet remain fully grounded in the present moment.
\r\n\r\nCurated by Alix Sloan of Sloan Fine Art
\r\n\r\nTop Image: Nicole Etienne, Night Blossoms, Oil, Gold Leaf & Glitter on Photo Printed Canvas, 60 x 40", 2018
\r\n","type":"Event","state":"published","slug":"nicole-etienne-the-darling-buds-of-may","created_at":"2018-10-22 20:42:58.948123","updated_at":"2018-10-22 21:15:33.560297","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2018':86B '40':85B '60':83B 'alix':63B 'amalgam':13B 'art':68B 'blossom':74B 'bud':5A 'canva':23B,82B 'convers':41B 'cover':19B 'curat':61B 'darl':4A 'emot':51B 'etienn':2A,9B,72B 'facilit':38B 'fine':67B 'fulli':55B 'glitter':78B 'gold':76B 'ground':56B 'imag':20B,36B,70B 'layer':26B 'leaf':77B 'leav':30B 'luscious':28B 'may':7A 'media':45B 'moment':60B 'nicol':1A,8B,71B 'night':73B 'oil':75B 'ooz':48B 'paint':11B,15B,25B 'part':32B 'photo':80B 'photograph':35B 'photographi':17B 'poetic':40B 'present':59B 'print':21B,81B 'remain':54B 'reson':52B 'sensual':49B 'sloan':64B,66B 'top':69B 'two':44B 'viscos':29B 'visibl':31B 'work':47B 'x':84B 'yet':53B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668409/s9fpflv9zlqanvqqgc1x.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669475/event_ics_1721669474609.ics","carousel":null,"category_name":"Exhibitions"},{"id":6015,"title":"Sandra Yagi: Holiday in Hell","starts_at":"2018-05-12 17:00:00","ends_at":"2018-06-22 20:00:00","body":"Sandra Yagi is interested in the intersection between science and art, using themes of anatomy, genetic manipulation, evolution, and medical oddities as tools in the creation of intricate, small and medium scale paintings in traditional styles. These works depict strange worlds where flesh is malleable, skeletons of conjoined twins play, flayed simians invade the historical canons of Western art, and small, delicate, genetically hybrid creatures satisfy unusual curiosities and symbolize moral conundrums.
\r\n","type":"Event","state":"published","slug":"sandra-yagi-holiday-in-hell","created_at":"2018-10-22 20:42:58.869694","updated_at":"2018-10-22 21:09:01.914854","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'anatomi':20B 'art':16B,64B 'canon':61B 'conjoin':53B 'conundrum':77B 'creation':31B 'creatur':70B 'curios':73B 'delic':67B 'depict':44B 'evolut':23B 'flay':56B 'flesh':48B 'genet':21B,68B 'hell':5A 'histor':60B 'holiday':3A 'hybrid':69B 'interest':9B 'intersect':12B 'intric':33B 'invad':58B 'malleabl':50B 'manipul':22B 'medic':25B 'medium':36B 'moral':76B 'odditi':26B 'paint':38B 'play':55B 'sandra':1A,6B 'satisfi':71B 'scale':37B 'scienc':14B 'simian':57B 'skeleton':51B 'small':34B,66B 'strang':45B 'style':41B 'symbol':75B 'theme':18B 'tool':28B 'tradit':40B 'twin':54B 'unusu':72B 'use':17B 'western':63B 'work':43B 'world':46B 'yagi':2A,7B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668434/uedvyyr3ble5uvxgxlmr.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669500/event_ics_1721669500172.ics","carousel":null,"category_name":"Exhibitions"},{"id":6188,"title":"Chicago Print Crawl","starts_at":"2018-06-24 12:00:00","ends_at":"2018-06-24 18:00:00","body":"Bert Green Fine Art is a participating venue in the first annual Chicago Print Crawl, a self-guided tour of printmaking production, publishing, exhibition and sales venues throughout the City of Chicago, organized by Spudnik Press Cooperative. The inaugural event is Sunday, June 24, 2018 from 12-6 pm. A free after party will be held by Spudnik at Low Res Studios from 6-8 pm.
\r\n\r\nOn display in the gallery for the Crawl will be our entire portfolio of published prints (plus other works) by William Powhida, Jim Bachor, Emmeric Konrad, Fallen Fruit, Jeff Gillette, Morgan Sims, Derek Boshier, Victoria Reynolds, Laurie Lipton, Sandra Yagi, Gronk, Sandow Birk, Stephen Kaltenbach, Megan Geckler, Shane Guffogg, Lisa Adams, Ed Ruscha, Tom Knechtel, Ed Fuentes, John Baldessari, Llyn Foulkes, Rebecca Gray Smith, Raeleen Kao, Los Angeles Loteria, HOMO RIOT, Logan Kruidenier, Jun Sta. Ana, Greg Colson, and Joel Hoyer.
\r\n\r\nAll gallery events are free and open to the public.
\r\n\r\nA free after party will be held by Spudnik Press Cooperative at Low Res Studios at 1821 W Hubbard St from 6-8 pm.
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\r\n\r\n","type":"Event","state":"published","slug":"jacob-saunders-per-aspera-ad-astra","created_at":"2018-10-22 20:43:29.302889","updated_at":"2018-10-22 21:07:42.359883","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'ad':5A 'aspera':4A 'astra':6A 'draw':41B 'find':47B 'found':17B 'incongru':54B 'infam':25B 'interest':55B 'intersect':49B 'jack':14B 'jacob':1A,7B 'jet':21B 'laboratori':23B 'life':30B 'look':9B,45B 'magic':62B 'materi':36B 'member':18B 'occult':60B 'occultist':27B 'parson':15B,51B 'per':3A 'print':43B 'propuls':22B 'provid':31B 'rich':33B 'ritual':63B 'rocket':57B 'saunder':2A,8B,44B 'scienc':58B 'seem':53B 'seri':39B 'sex':61B 'sourc':34B 'stori':12B 'strang':29B 'thelemit':26B 'whose':28B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668438/hjepmwxw5fvdlbaxhjdp.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669505/event_ics_1721669504963.ics","carousel":null,"category_name":"Exhibitions"},{"id":5319,"title":"Tom Burtonwood: Three Points Make a Plane","starts_at":"2018-07-14 17:00:00","ends_at":"2018-08-18 20:00:00","body":"Tom Burtonwood works at the forefront of 3D imaging and printing technologies. He reinterprets physical space through technological means using scanning, printing, and virtualization of positive and negative spaces to expose the inner workings and invisible structures of our environments. Burtonwood shows how solid matter and empty space merge and intersect in surprising ways.
\r\n\r\n\r\n\r\n\r\n","type":"Event","state":"published","slug":"tom-burtonwood-three-points-make-a-plane","created_at":"2018-10-22 20:43:29.525582","updated_at":"2018-10-22 21:07:42.098048","excerpt":null,"is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'3d':15B 'burtonwood':2A,9B,48B 'empti':54B 'environ':47B 'expos':38B 'forefront':13B 'imag':16B 'inner':40B 'intersect':58B 'invis':43B 'make':5A 'matter':52B 'mean':26B 'merg':56B 'negat':35B 'physic':22B 'plane':7A 'point':4A 'posit':33B 'print':18B,29B 'reinterpret':21B 'scan':28B 'show':49B 'solid':51B 'space':23B,36B,55B 'structur':44B 'surpris':60B 'technolog':19B,25B 'three':3A 'tom':1A,8B 'use':27B 'virtual':31B 'way':61B 'work':10B,41B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668409/uhjkj4fojdefyqtrcsrw.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669474/event_ics_1721669474500.ics","carousel":null,"category_name":"Exhibitions"},{"id":6566,"title":"Christopher Ottinger: Arcade","starts_at":"2018-09-15 17:00:00","ends_at":"2018-10-20 20:00:00","body":"
Christopher Ottinger works with the moving image as a thing in itself, removed from a specific individual narrative and presented as an artifact of our shared cultural history. His samples are chosen from more than a century of technology: projection, scanning, and interactive video games. These images are isolated from context, and then presented along with their technology — the physical manifestations which show them as a unified phenomenon. In ARCADE, Ottinger hopes to rekindle that sense of wonder and awe that people in the past, seeing moving images for the first time, must have felt.
\r\n\r\n\r\n\r\n
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Helen Maurene Cooper is a photographer who engages cultures and communities of women to find the intersection of race, class, and feminism. The subject of her current work is drag queen, drag king, and trans communities photographed using 19th century technologies, as a way of completing an ignored ancestry for marginalized people. Like her past series about the historic Weeki Wachee Mermaid show in Florida, and Chicago nail and prom cultures, Cooper has isolated specific currents of localized human behavior that reveal deep truths about our nature as socialized beings. Helen Maurene Cooper's new book is available now at Onomatopee
\r\n\r\nImage: Shallow Waters, Jenkins Park, Archival Pigment Print, 2016, 16 x 24", Edition of 5, $1,200; 22.5 x 34", Edition of 3, $2,000
\r\n\r\nOpening Reception and Event Information can be found Here.
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Erik L. Peterson, Dirt
Erik L Peterson creates sculpture that looks at our contemporary cultural and political realities. Using neon, clothing, birdseed, compost, wood, metal, etc., he crafts wry commentaries on the issues of the day. Without being overtly political, but clearly aimed at recognizable targets, Peterson critiques the powerful through satire and craft.
Image: Erik L Peterson, digital image, proposal for fabric pattern, 2018
In the Project Room: Stephen Kaltenbach, Slant Step Observations
Stephen Kaltenbach has for years made artworks (as have many other Bay Area artists) based on a funky, odd and humorous object: the “Slant Step.” Discovered and purchased in a thrift shop in 1965 by William T. Wiley, who then gave it to Bruce Nauman, when he was a young student, it has remained an obsession of many of his contemporaries over the decades. Our project room show includes several drawings, a multiple, and a video. These works by the usually deadpan Kaltenbach atypically embrace the humorous spirit of the Slant Step tradition.
Stephen Kaltenbach, Marble Slant Step Monument, Graphite On Paper, 12 x 18\", 1970 - Present
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Haley is interested in treating the body as raw material, and with consideration of the body as an apparatus. His stand-ins create attentiveness to the materials they are being made from, and point to the authentic corpus it references. “Rehearsals Part 2” serves to shift the work outside the vernacular of performance and documentation and steer it towards the presence and present-ness of sculpture. By using screen-based technology, Haley forces a collision between the hyperreal/unreal virtual world and the tangible physical lived experience, calling into question the ephemeral weightless matter of digital images and their heavy influence on daily lives.
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Opening Reception: Saturday January 12, 5-8pm
Works by 3 contemporary Detroit artists:
Trisha Holt
Lauren Kalman
Millee Tibbs
Curated by Richard Haley
\"The Fragment As\" is a meditation on technology and how it has affected the ways we think about ourselves, asking: do we know ourselves differently than we did before the encounter with the sculpture, the book, the photograph, the video? Each experiential moment is composed of a sequence of reactions, some of which appear in a recognizable chronology, others of which, dematerialized, are scattered in a swirling orbit of nonsense.
The most common operationalized perception of technology is that it extends human capacities. But what do we make of the ephemera produced (and lost) in the noise of missed signals, disordered representations, and the chaos of ricocheting fragments?
Works in this exhibit place focus on the fragment, the bit, and – inevitably – the artifact. Nothing in the show is whole. Inhabiting this fragmentary space, in some instances, meaning is intentionally pulled away from the object because of its distance from experience. A real or imagined location in a past tense simultaneously affirms and compromises the authenticity of the present.
Millee Tibbs, Brunod Bruno, Silver Gelatin Print, 24 x 20”, 2018
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Image: Oli Rodriguez, Las Mensajeras de Satanás
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Image: Grey James, Dark Headed Guy, 2017.
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Organized by Spudnik Press Cooperative.
The Chicago Print Crawl offers a behind-the-scenes peek into Chicago’s vibrant printmaking industry. 34 eclectic printmaking venues throughout the city are inviting the public to stop by for a day of free activities including studio tours, print sales, hands-on art projects, gallery exhibitions, and printmaking demonstrations.
Chicago has been a hub for commercial printing since the late nineteenth century with dozens of mail order catalogs (Sears Roebuck and Co.), magazines (Time Magazine via RR Donnelley), and maps (Rand McNally) all produced in the area. While the printing industry has undergone tremendous change, the Third Coast continues to boast an impressive spectrum of print shops from private artist studios to commercial facilities to collectives and educational spaces. Some venues proudly house cast iron presses, tradition stone lithography, and analog processes. Other favor digital design, modern technology, or a blend of old and new. Connected to these distinctive production sites are a range of unique galleries, local businesses, and DIY spaces that bring printed items (i.e. stationary, fine art, books, posters, apparel, and more) to an audience of print-enthusiasts, art collectors, and anyone interested in craftsmanship and shopping local.
With open houses in neighborhoods from Evanston to McKinley Park and from Oak Park to Michigan Avenue, participants are invited to print their way through Chicago.
This event is free and open to the public.
Exhibitors map and directory coming soon, along with additional details such as times and locations for special events like print releases, talks, demonstrations, and hands-on workshops.
The map may also be used as a guide to the print venues all year round, but call first to confirm hours and availability.
Folow us on Instagram
Use and watch our hashtag #chicagoprintcrawl
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","type":"Event","state":"published","slug":"emmeric-konrad","created_at":"2019-02-20 18:08:36.164066","updated_at":"2019-02-20 18:08:36.456684","excerpt":"","is_timeless":true,"organization_id":733,"highlighted":false,"opening_starts_at":"2019-05-04 17:00:00","opening_ends_at":"2019-05-04 20:00:00","searchable":"'2017':15B 'anoth':11B 'emmer':1A,4B 'frown':9B 'imag':3B 'konrad':2A,5B 'man':7B,12B 'one':6B 'smile':14B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668242/jbatltjb1ce6pms3io2o.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669278/event_ics_1721669278640.ics","carousel":null,"category_name":"Exhibitions"},{"id":940,"title":"Cathie Bleck, Immersion, and Raeleen Kao, Widow's Weeds","starts_at":"2019-05-18 17:00:00","ends_at":"2019-06-22 17:00:00","body":"Guest curated by Alix Sloan of Sloan Fine Art, Cathie Bleck‘s work is a series of luscious explorations into color, light, movement and form. Her expressive gestures — both subtractive and additive — create depth and lightness. Raeleen Kao uses bodily imagery: hair, skin and scars to depict the interrelationship of mortality, bodily frailty, consciousness, and identity. Her drawings expose extreme personal vulnerabilities yet project a quiet and profound sophistication.
Image: Left – Cathie Bleck, Bouquet, Kaolin clay, inks, lacquer, oil on panel, 24 x 24 x 2”, 2019; Right – Raeleen Kao, Every Creeping Thing (I), 2 plate etching, 14 x 11\", 2019
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","type":"Event","state":"published","slug":"artist-talk-cathie-bleck","created_at":"2019-05-29 19:24:38.156078","updated_at":"2019-05-29 19:24:38.169569","excerpt":"","is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'18':68B 'ad':45B 'addit':57B 'and/or':49B 'artist':1A 'bleck':4A,6B,62B 'bold':101B 'build':25B 'carv':38B 'cathi':3A,5B 'clay':32B 'color':16B 'complet':93B 'confid':104B 'creat':58B,63B 'depth':59B 'envelop':81B 'etch':41B 'explor':14B 'express':52B 'form':20B 'gestur':53B 'glitter':78B 'handmad':34B 'immers':94B 'ink':46B 'intim':103B 'lacquer':48B 'landscap':84B 'layer':29B 'light':17B,61B 'luscious':13B 'lush':83B 'month':69B 'movement':18B 'multipl':28B 'organ':31B 'paint':47B 'pigment':35B 'process':22B 'quiet':106B 'refresh':76B 'result':96B 'sabbat':70B 'sand':39B 'seri':11B 'show':65B 'smart':109B 'soul':107B 'subtract':55B 'surfac':43B 'surrend':86B 'talk':2A 'travel':73B 'univers':90B 'utter':91B 'varnish':50B 'water':79B 'work':8B,97B 'world':75B 'yet':105B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668270/xeglla38n9w3wq7g93mx.gif","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669340/event_ics_1721669340179.ics","carousel":null,"category_name":"Talks"},{"id":1343,"title":"Meg Leary: Commedia","starts_at":"2019-07-13 12:00:00","ends_at":"2019-08-17 17:00:00","body":"
Guest curated by MK Meador
Meg Leary explores of the intersection of visual art with musical performance. Trained as a classical singer, Leary activates static objects and explores various ways to use music as “material” — combining multiple material strategies, concepts and ideas, Leary then introduces humor and hyperbolic color to express her queer aesthetic. For this show Leary debuts an installation of hand-made ceramic musical snow globes inspired by Mozart’s aria “Der Hollë Rache” from The Magic Flute. Featuring multiple scores composed by Leary, it relies on a viewer to play each music-globe, which blend together and create improvised larger scores. These works are accompanied by a series of multimedia work that makes use of analog magnetic tape repurposed from old cassette tapes.
Image: Meg Leary, Bleach, Plaster, glass globe, paint, bleach, cassette, 12 x 8 x 8”
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Scott Horsley is concerned with the ways in which history, biology and technology interact. His work combines imagery from disparate sources, highlighting the tension inherent in the power dynamics of survival, achievement and failure.
Download Artist Statement and Resume
Image: Scott Horsley, Annihilation Game 06: Lies of Translation, Oil, Spray Paint, Graphite, 10 x 16\"
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Derek Boshier first came to prominence as a student at the Royal College of Art in London in the early 1960s, with fellow students David Hockney, Allen Jones, R.B. Kitaj, and others in the British Pop Art movement. His \"Ghosts of...\" series now includes Chicago, and these drawings were made specifically for this exhibition. The artist states: “For Chicago I researched and selected people I want to include to give a diverse range. In \"Ghosts of Chicago\" it is the first time I have included people still alive as they are contemporary and very important to the city.\"
Image: Derek Boshier, Ghosts of Chicago: Oprah Winfrey, Graphite on Paper, 8 x 12.5\", 2019
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In the Project Room
Ginger Krebs' small-scale sculptures spoof real world organic forms using discarded materials put through a rigorous process of reinvention. She is interested in the nature of waste and how inorganic matter and minute fragments of our synthetic things have made their way into every nook and cranny of life on earth. With these sculptures, she imagines future life forms which may see our detritus as their own bodies.
Image: Ginger Krebs, Restless Leg, Mixed Media, 2.5 x 4.75 x 2”, 2019
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Kerry Hirth uses her synesthetic experience of musical harmony as color to create visual music in vibrant linear patterns. Her recent work goes beyond representing the complexities of musical patterns to explore the ways they point to the source of music in life experiences. By engaging the colors of real and enchanted landscapes, her drawings of music gain a unique sense of time, place, and the profound relationship between music and the natural world.
The pastel drawings in All I Wish to Own represent the progression of harmonies in a late piano Intermezzo by Johannes Brahms. Essentially, they are visual music, conveying the continuous motion and contours of the music in a linear pattern with consistent correlations between harmony and color. These drawings attempt to characterize visually how music is gleaned, distilled, and differentiated by the imagination from our experiences of the real living world around us. All I Wish to Own deals with the ways that our human longing to own or possess natural living things, and other people, is reflected in musical patterns. By using colors that summon real landscapes and fantastic visions about them, these drawings weave together a story of the tragic loss of nature resulting from human desire, leaving evidence of beauty and grief behind.
Download Artist Statement and Resume
Image: Kerry Hirth, The Coast of Barcelona, 2019, pastel on bonded paper.
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Man Bartlett's work is a mixture of traditional media, digital media, and performance, all of which emphasize the philosophical difference between perceptual knowledge and reality and how this manifests in the interaction of technology and culture. “End Game,” plots the path of consciousness through the end of history. A hypnotic and immersive dirge, “End Game” uses video, sound, sculpture, and scent to ask, “What is the transference method of our psychic energies after the destruction of our planet? Where might the remaining matter of our essence travel to when our physical home is no more?\" In this light, “End Game” is both a vessel and a sarcophagus for the human spirit, traveling to an unknown and unknowable destination.
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us.
Image: Man Bartlett, End Game, 2019, video still.
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Margie Criner makes intimate sculptures which contain miniature dioramas, viewable through a small window on one or more sides of the work. Her intention is to stimulate curiosity and discovery — opening up new worlds to anyone who is willing to look. At once charming, disarming, challenging and provocative, these sculptures make one work a little harder at looking, in an effort to make engagement with the artwork more satisfying.
Download Artist Statement and Resume
Image: Margie Criner, Mind Over Matter, Various Media, 10 x 9 x 8”, 2019
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Megan Sterling and Matt Bodett both establish meaning via mental and emotional expressions which are based in their personal experiences with personal traumas, mental illness, depression, and anxiety. That Which Holds Us looks at the boat as a metaphor for life as being dependent now and then on the presence of a container — a thing that holds us. The container can preserve life as well as take it away. Both artists use a variety of media centered around their core practices of printmaking and drawing.
Download Artist Statement and Resume
Image: left- Megan Sterling, I Stopped Somewhere, Charcoal, acrylic, neon on wood, 54 x 46”, 2019; right- Matt Bodett, Step t, Trace Monotype, 72 x 48\", 2019
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Bert Green Fine Art is pleased to present our second solo show by Chicago-based artist Megan Sterling, this time in a dialogue with her partner Matt Bodett, and in the Project Room, our first show by Chicago-based sculptor Margie Criner, guest curated by Aron Packer Projects.
Megan Sterling and Matt Bodett both establish meaning via mental and emotional expressions which are based in their personal experiences with personal traumas, mental illness, depression, and anxiety. That Which Holds Uslooks at the boat as a metaphor for life as being dependent now and then on the presence of a container — a thing that holds us. The container can preserve life as well as take it away. Both artists use a variety of media centered around their core practices of printmaking and drawing.
Margie Criner makes intimate sculptures which contain miniature dioramas, viewable through a small window on one or more sides of the work. Her intention is to stimulate curiosity and discovery — opening up new worlds to anyone who is willing to look. At once charming, disarming, challenging and provocative, these sculptures make one work a little harder at looking, in an effort to make engagement with the artwork more satisfying. Curated by Aron Packer Projects.
Image: left- Megan Sterling, I Stopped Somewhere, Charcoal, acrylic, neon on wood, 54 x 46”, 2019; right- Matt Bodett, Step t, Trace Monotype, 72 x 48\", 2019
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Bert Green Fine Art is pleased to present our fourth solo show by Chicago-based painter and neon artist Morgan Sims, and our second solo show by Jeffrey Michael Austin, now based in Austin TX.
In his recent series of paintings, Morgan Sims fuses his previously separate practices of neon and painting into a single approach, combining both media. These works explore randomness, color, and light, and seek to decouple the traditional impulse to orient the works, allowing the paintings to be displayed at any angle or direction. The resulting effect is one of shifting impressions, indeterminate effects, and alternating interpretations.
Image: Morgan Sims, Nightshade, 2020
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Bert Green Fine Art is pleased to present our fourth solo show by Chicago-based painter and neon artist Morgan Sims, and our second solo show by Jeffrey Michael Austin, now based in Austin TX.
Jeffrey Michael Austin has an abiding fascination with the phenomenon of reflection. Whether a puddle, a mirror, or a glistening, slick, viscous surface, he works with materials that imitate and amplify reflective qualities. Simulacra of ordinary objects employ illusory effects to mediate and obscure reflectivity and invite interactivity with a large dose of caution and social critique, as climate change looms large in his messaging. This show runs concurrently with the show \"Everything Must Go\" at the Chicago Art Department, opening on April 10, which uses that space for communal conversation, educational programming and skill-sharing.
Image: Jeffrey Michael Austin, Please Return (No More), 2020
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These works are installed on site for in-person viewing by appointment.
Victoria Reynolds uses meat as a primary decorative motif, playfully applying its visceral qualities to the surface of the painting and the surrounding frame. There is an uneasy tension between the understanding of flesh as food, and our self-identification of it; her conflation of desire, mortality, viscerality, and the survival instinct is a powerful source of aesthetic fascination.
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Curated by Alix Sloan of Sloan Fine Art
This show is an online only exhibition
Alix Sloan of Sloan Fine Art has curated this two person exhibition of collages by Dan Barry and Jason Houchen. Barry and Houchen share an obsession with materials and a passion for re-invention. In their works, they deftly combine and collage collected, often vintage, sources with deliberate new marks in a variety of mediums to create fresh new compositions. The resulting works remind us that while we cannot rewrite our history, we can choose how we frame our future.
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Opening Reception
Saturday, September 12, 2020. 2-6 pm
RSVP is required to attend the opening recepton Click here to RSVP
Eleftheria (Freedom) Lialios is a Chicago-based photographer with a long and distinguished history in the Chicago art community. Originally from Detroit, she got her start photographing locally distinct communities at a time when Detroit was in its famous decline; communities that are long gone in sections of a city that have vanished.
For this series, she shoots a series of photographs of birds which capture their behaviors up close. She then mounts the images as transparencies into the frames of metal boxes, allowing light to pass through. The boxes act as dioramas for the photos, which examine the social aspects of their interactions with one another, and their solitary practices. Accompanied in the gallery by a looping audio of bird sounds, the installed boxes evoke the fascinating world of birds up close. Also on display are a selection of individual, affordable 10 x 8” prints from the series.
Lialios’ photographs are included in the collections of the The J Paul Getty Museum, The Art Institute of Chicago, the Chicago Symphony Orchestra, the Thessaloniki Museum of Photography in Thessaloniki, Greece, and the Hellenic Museum in Chicago.
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Doug Fogelson's \" Dissolution\" is a series of photographic works that employ chemical alteration on the film of a landscape or nature image, and transform it, leaving an image that falls somewhere between representation and abstraction. The mind naturally seeks to identify distinct imagery, but here, that impulse is gently thwarted, directing the eye away from instant recognition.
","type":"Event","state":"published","slug":"doug-fogelson-dissolution","created_at":"2020-08-27 19:57:35.987368","updated_at":"2020-08-27 19:57:35.998577","excerpt":"","is_timeless":true,"organization_id":733,"highlighted":true,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'abstract':39B 'alter':17B 'away':58B 'chemic':16B 'direct':55B 'dissolut':3A,7B 'distinct':46B 'doug':1A,4B 'employ':15B 'eye':57B 'fall':34B 'film':20B 'fogelson':2A,5B 'gentl':53B 'identifi':45B 'imag':26B,32B 'imageri':47B 'impuls':51B 'instant':60B 'landscap':23B 'leav':30B 'mind':41B 'natur':25B,42B 'photograph':12B 'recognit':61B 'represent':37B 'seek':43B 'seri':10B 'somewher':35B 'thwart':54B 'transform':28B 'work':13B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668463/r7pvd5cpmdfegltddjgq.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669527/event_ics_1721669527392.ics","carousel":null,"category_name":"Exhibitions"},{"id":7074,"title":"Doug Stapleton: Dropped from the Clouds","starts_at":"2020-11-14 12:00:00","ends_at":"2020-12-31 12:00:00","body":"
RSVP required to attend. Link for RSVP coming in November.
Doug Stapleton is a master collagist. His works employ extreme precision, keen composition, and idiosyncratic source materials which address identity, history, and ancestral themes. His interest in traditional illustrative and reproduction techniques give his work gravity and a sense of solidity. Collage is a time-honored medium that is practiced by most artists at one time or another - either in their preparatory practice or as final, finished artworks. The impulse to assemble, dismember, and re-organize imagery is central to an artist's methodology and the creative process.
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RSVP required to attend. Link for RSVP coming in November.
Sandra Yagi's newest works are inspired by medieval illuminated manuscripts, which are hand-made, jewel-like book pages that celebrate and educate the reader with the important cultural issues of their time. She has chosen Hollywood movie monsters as her subjects for these stand-alone pages, with a wink and a nod to history and to popular culture.
Yagi is interested in the intersection between science and art, using themes of anatomy, genetic manipulation, evolution, and medical oddities as tools in the creation of intricate, small and medium scale paintings in traditional styles. These works depict strange worlds where flesh is malleable, skeletons of conjoined twins play, flayed simians invade the historical canons of Western art, and small, delicate, genetically hybrid creatures satisfy unusual curiosities and symbolize moral conundrums.
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BlackManWhiteBaby uses the self portrait to focus attention on the black body as a locus for the recognition of the lack of justice in American life and history. The presence of the white baby doll and the use of gender fluidity introduces a flexible, performative power to the work, allowing the artist to wield a powerful critique of cultural touchstones, which he then proceeds to demolish.
Download PDF Artist Statement and Resume
Download PDF Articles, Reviews and Press
The remaining works in this new show will be posted on the day of the opening: January 15. Contact the gallery for a collector's preview.
Note: This exhibition is online only
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Grey James' paintings and mixed media works are concerned with the examination of specific motifs. Many of his core subjects are repeatedly and rigorously selected: the male nude, lemons, the sky, the sea, the horizon. At the center of the work is the idea of “Nothing.” As the artists observes: “there’s a lot going on in Nothing.” As banal and monotonous as that appears, there are deeper meanings that touch on age old experiences of solitude, simplicity, and the truth found in silence and the observation and contemplation of the world. Simple works presented without pretension are tremendously powerful.
Download Artist Statement and Resume
Download Articles, Reviews and Press
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us.
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RSVP required. RSVP link will be available on the gallery home page.
Face coverings required to enter the building.
High-resolution images and full exhibition previews available upon request.
Bert Green Fine Art is pleased to present our first solo exhibition by Chicago artist Jesse Howard.
Jesse Howard is a Chicago native who has observed the rhythms and nuances of African American cultural life in Chicago over many decades. His artworks are portraits and figurative typologies meant to document and celebrate the rich variety of individual and collective expressions, showing the good, the bad, the beautiful, and the ugly. At the core of this work is a deeply felt, powerful pronouncement of the human spirit.
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us. Please forward to any interested parties.
Image: Jesse Howard, Blues for Naima, Charcoal and acrylic on paper, 45 x 34\", 2021
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Opening Reception: Saturday May 8, 2-5 pm | RSVP required. RSVP link will be available on the gallery home page.
Bert Green Fine Art is pleased to present our third solo show by Chicago-based printmaker Rebecca Gray Smith.
Rebecca Gray Smith explores the presence of death in all human endeavors, using traditional signifiers of mortality such as the skeleton as a primary actor and subject. Each letter or number plate corresponds to a specific fatal activity or malady, highlighting the act of existence as a high risk activity fraught with peril. The artist examines how the Medusa of Death stalks us all, in all walks of life, while at the same time looking at the capriciousness inherent in the present: the absurdities, cruelties, and horrors of modern existence. The history of printmaking is elemental in the helix of human civilization, a taproot reaching back to the prehistoric dawn of mankind.
The \"Alphabet and Numbers\" is a series of intaglio etchings: upper case letters A-Z with two repeated letters B and C, lower case A-Z plus title plate and end plate, and numbers 0-9 plus a title plate for a total of 67 plates. The images in the uppercase Alphabet series were created over a 25-year period starting around 1989, originally intended as a response to the AIDS crisis. The uppercase edition was printed in 2014, the numbers 2016, and the lower case in 2020. Also included in the exhibition are 2 stone lithograph self-portraits, and a human-scale sculpture.
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us. Please forward to any interested parties.
Gallery Hours
Friday 12-4 pm or by appointment Monday - Saturday. Free Admission.
Face coverings required to enter the building.
Image: Rebecca Gray Smith, Alphabyte - Title Plate, Intaglio Print on Somerset Satin Paper, Edition of 5, 3 APs, Image 8 x 6” Paper 11 x 10”, 2020
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Prints Published During the Pandemic is a selection of limited edition prints published by Bert Green Fine Art between late 2019 and today. Most of these works were offered as web-only releases, but have never been shown in person. This is the first time they will be presented in the gallery for exhibition. The prints are by Shepard Fairey, Moira Hahn, Stephen Kaltenbach, Sandra Yagi, Jeff Gillette, and Rebecca Gray Smith.
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Very Small Paintings highlights seven artists who may work in other media and at many different scales, but who for this show, have offered their smallest works for an installation that celebrates intimacy and up-close relationships: two things that many people were forced to do without for most of the past 16 months. The artists are Camille Rose Garcia, Grey James, Linda LaBella, Jeff Britton, Morgan Sims, Victoria Reynolds, and Sandra Yagi.
https://bgfa.us/exhibits/2107.html#paintings-div
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Mara Baker is an installation artist who creates her works using found materials specific to life in the city: construction materials, fragments of urban infrastructure, discarded packaging, wire, plastic, etc. Her installations are visible day and night in well-lit storefronts or other visually accessible spaces.
In 2021 she was a resident artist at Spudnik Press in Chicago, where she created a series of monotypes which use the same visual language as her installation work. Created in several series, a selection of these prints make up this show.
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Open House style opening. Masks required for all visitors. No reservations required.
In this exhibition, artists Felecia Chizuko Carlisle, Richard Haley, Trisha Holt and Bailey Scieszka engage in experiments in \"saliency detection\"* at the intersection of the human soma and the lens-based technologies that saturate our environment.
Felecia Chizuko Carlisle’s camera sinks deep into the intimate immensity of tiny paper cardboard sculptures, covered in graphite and photographed under colored lights. A digital video documents the dance of an abstract liquid form that unfolds across the surface of a vibrating speaker.
Richard Haley juxtaposes organic and digital ephemera in puppet surrogates of his body. A rock wears images of Haley printed on cloth and paper and is adorned with a wig. Generic 3D animation figures dress in his image. One of Haley’s hands is cast in rubber. Another hand uses a tiny broom to sweep on a stage covered in dirt, with an empty sky as a backdrop.
Trisha Holt plays with doubles and duplication as she stages repeat visits to iconic landscapes. Traveling out West to document tourist destinations, Holt takes photographs, prints them to scale in her hotel room, and then returns to the location of the shoot to rephotograph the site with her image inserted.
Bailey Scieszka embodies the persona of her character, Old Put, a bizarre clown amalgamation of imagery and language at the intersection of World Wrestling Entertainment tropes and jargon and the visual and verbal patois of YouTube celebrities.
Cumulatively, Carlisle, Haley, Holt and Scieszka mobilize their art practices as a heuristic device, offering up poetic images of sudden salience and asking: What are we supposed to do with the information that comes our way? What are we learning? What does it have to do with survival? and What are we preparing for?
Top left: Richard Haley, top right: Trisha Holt, bottom left: Bailey Scieszka, bottom right: Felecia Chizuko Carlisle
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Happy Returns is a collaborative partnership between Tom Burtonwood and Cody Norman which attempts to redefine the historic tension between the handmade and the industrially produced object. Both artists are adept at cutting edge technologies in 3D printing, robotics, and programming; and here they use these mass production technologies to create one of a kind objects with a nod to historic precedents. Happy Returns is both a play on “returning” or recycling physical materials such as plastic or paper and on “returning” code for controlling robots and similar tools.
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Man Bartlett's practice is a mixture of traditional media, digital media, and performance, all of which emphasize the philosophical difference between perceptual knowledge and reality and how this manifests in the interaction of technology and culture. Bartlett is concerned with action and repetition and \"the manipulation of the relationship of a medium to itself.\" Man Bartlett lives and works in New York.
\"At a Certain Point\" is a series of new ink and graphite drawings.
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Artist's talk at 3 pm followed by closing reception
Happy Returns (Tom Burtonwood and Cody Norman)
Man Bartlett's practice is a mixture of traditional media, digital media, and performance, all of which emphasize the philosophical difference between perceptual knowledge and reality and how this manifests in the interaction of technology and culture. Bartlett is concerned with action and repetition and \"the manipulation of the relationship of a medium to itself.\" “At a Certain Point” is a series of new ink and graphite drawings, in a return to an analog approach as a respite from the relentless march of technology in an era of tremendous upheaval.
Happy Returns is a collaborative partnership between Tom Burtonwood and Cody Norman which attempts to redefine the historic tension between the handmade and the industrially produced object. Both artists are adept at cutting edge technologies in 3D printing, robotics, and programming; and here they use these mass production technologies to create one of a kind objects with a nod to historic precedents. Happy Returns is both a play on “returning” or recycling physical materials such as plastic or paper and on “returning” code for controlling robots and similar tools.
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us. Please forward to any interested parties.
Image: Happy Returns, Fit For Porpoise 001, Video monitor, 3D printed PLA, Acrylic on cotton. 10 x 12 x 3”, 2022
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Mac Pierce is an artist working in the various mediums of technology: coding, 3D printing, data automation, and cryptography. He creates objects and installations which examine the meaning of information, how it is perceived, interpreted, and distributed. The works he creates attempt to expose the intermediation that technological structures use to present information, and to alert the viewer to the distortions present in those structures.
Mac Pierce (b. 1993, in Seattle WA) received a BFA in Studio Art & Design from the University of Idaho in 2014, and is currently pursuing an MFA in Art & Technology Studies from the School of the Art Institute of Chicago.
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Bert Green Fine Art is pleased to present our first solo show of Chicago-based artist Mac Pierce.
On the closing day of Friday, June 24, the artist will be present to give a talk about the works in the show.
Mac Pierce is an artist working in the various mediums of technology: coding, 3D printing, data automation, and cryptography. His works examine the meaning of information, how it is perceived, interpreted, and distributed, in an attempt to expose the intermediation that technological structures use to present information, and to alert the viewer to the distortions present in those structures.
Mac Pierce (b. 1993, in Seattle WA) received a BFA in Studio Art & Design from the University of Idaho in 2014, then worked for 6 years as a creative technologist building large scale public and private art installations. Pierce is currently pursuing an MFA in Art & Technology Studies from the School of the Art Institute of Chicago.
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us. Please forward to any interested parties.
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Jesse Howard is a Chicago native who has observed the rhythms and nuances of African American cultural life in Chicago over many decades. His artworks are portraits and figurative typologies meant to document and celebrate the rich variety of individual and collective expressions, showing the good, the bad, the beautiful, and the ugly. At the core of this work is a deeply felt, powerful pronouncement of the human spirit. The exhibition is the debut and initial release of his first limited edition, multi-plate stone lithograph print, published by Bert Green Fine Art and TC Editions in Chicago. The print will be displayed along with several of his original drawings.
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us. Please forward to any interested parties.
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Delirium, a solo show of new work by contemporary surrealist painter Deirdre Sullivan-Beeman, opens at Bert Green Fine Art in Chicago, IL on Saturday July 9, 2022 (https://bgfa.us). There will be an artist’s reception from 5-7PM. The exhibition, which is curated by Alix Sloan with Sloan Fine Art, will run through August 26. It is Sullivan-Beeman’s first show with the renowned gallery, which is located at 8 S. Michigan Ave., Suite 620, Chicago, 60603.
A self-taught figurative artist, Sullivan-Beeman lives and works in Los Angeles, CA, and Vancouver, Canada. She integrates modified oil and egg tempera techniques of the Renaissance with the evocative genre of magic realism – with layers and layers of meticulous brushwork, her pieces seem to illuminate from within. She uses her personal dream journal as inspiration, exploring Jung’s collective unconscious with an overt curiosity for the occult and the esoteric, especially alchemy, the tarot and spirit animals.
Of “Delirium,” she says:
“This series of work explores the pursuit of love, compassion, and connection with the essential holy feminine. I see the power in love for all people, especially love for each other as women. My first inspiration for the painting ‘Blown About the Sky’ was an empowering feminine Hangman from the Tarot. The Hangman represents the ‘Law of Reversal,’ to reverse the conditions of misery, disease, and failure - the defiance of opposites.
The upside-down position of the figure, and the sense of freefall, made me think about Cuban-American multi-disciplinary artist Ana Mendieta, who fell to her death in 1985 from her New York City apartment building, sparking a controversy about whether she was pushed or not. She surely could not have imagined her resurrection on the wings of the women who uplifted her memory to tell their own stories. I then realized that the model for this piece, who lives in New York, looks so much like Mendieta, which gave me goosebumps, and really sealed the bond here for me.”
Throughout her oeuvre, Sullivan-Beeman examines the lore of the “girl” to empower femininity, question gender roles, and investigate the portrayal of young women in popular culture. She pairs her female figures with their animal guides – daemon spirits – to construct allegorical, fantastical narratives. Sullivan-Beeman’s young women are usually teetering on the edge of naïveté, while also steadfastly powerful and wise. She has said of her work, “I aim to connect the wisdom of living things with the wisdom of the unknown. The collective unconscious joins the contents of my dreams in a magical, subliminal, and deep well.”
Sullivan-Beeman’s career was born out of third wave feminism, and she came into her own in Los Angeles in the 1990s alongside cultural movements including Riot Grrrl, Queercore, and DIY. She holds a BFA in Cinema from the University of Southern California, a pursuit that informs the storytelling aspect of her pieces. She has been exhibited in notable galleries and museums including: KP Projects and La Luz de Jesus in Los Angeles, CA; Haven Gallery in Northport, NY; Modern Eden Gallery in San Francisco, CA; WMOCA, Wausau, WI: The Belskie Museum of Art & Science in Closter, NJ; Greg Moon Art in Taos, NM; Merlino Galleria d'Arte Contemporanea in Florence, Italy; and Galerie Bruno Massa in Paris, France. She has participated in art fairs such as Scope Immersive 2020, Aqua Art Miami, Pulse Art Fair in Miami, FL; Seattle Art Fair in Seattle WA; LA Art Show in Los Angeles, CA; Art! Vancouver in British Columbia, Canada. The international salon ARC (Art Renewal Center) has named her a Finalist in the Imaginative Realism category three times.
“Blown About the Sky” (2022) by Deirdre Sullivan-Beeman
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Party","starts_at":"2022-09-17 12:00:00","ends_at":"2022-10-21 12:00:00","body":"
Bert Green Fine Art is pleased to present our first solo show by Chicago-based painter Boris Ostrerov, and our fourth solo show by Raeleen Kao, a Chicago-based printmaker and installation artist.
Boris Ostrerov exploits paint’s tactile qualities: using volume and viscosity along with color. His paintings are messy, exuberant, weighty, and sculptural. Layered with juicy piles of paint often squeezed from cake decorating bags, they both rely on and defy gravity. The pieces elicit attraction and repulsion — the work simultaneously (but abstractly) presents as food, abundance, human waste, viscera. The tension and conflict in the work between opposing themes and visual elements mirrors our own conflicted understanding of life.
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us.Please forward to any interested parties.
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Bert Green Fine Art is pleased to present our first solo show by Chicago-based painter Boris Ostrerov, and our fourth solo show by Raeleen Kao, a Chicago-based printmaker and installation artist.
Raeleen Kao's \"Vital Signs\" is a site-specific installation which will fill the gallery project room. It is composed of printed etchings, hand-cut paper, and wax. The artist describes it as “an arrhythmia leached across the wall in paper.\" Kao uses bodily imagery: hair, skin and scars to depict the interrelationship of mortality, bodily frailty, consciousness, and identity. Kao sees vanity as a futile foil against deterioration, and is highly critical of social norms around the treatment of women and the dismissal of their legitimate concerns. Her works expose extreme personal vulnerabilities yet project a quiet and profound sophistication.
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us.Please forward to any interested parties.
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Matt Bodett establishes meaning via mental and emotional expressions which are rooted in personal experiences with madness and the complex ways it is misunderstood. These drawings are based on diagrams of the works of Cezanne, and attempt to challenge \"authoritative\" declarations of fact.
Image Credit: Matt Bodett, early years, India ink and crayon, 22 x 30”, 2022
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Megan Sterling's fragmented figuration is a vehicle for an introspective study of trauma, inner turmoil, and personal discovery. Her use of drawing, printmaking, collage and installation portrays the body in an incomplete state that reflects an ongoing process of healing and becoming.
Image Credit: Megan Sterling, String Theory, Lithograph and screen print on laser-cut paper, 8 x 12”, 2022
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All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us.
https://bgfa.us/artists/fogelson
Image: Doug Fogelson, The Witness No. 28, Color photogram, 20 x 16”, 2022
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Mac Pierce is an artist working in the various mediums of technology: coding, 3D printing, data automation, and cryptography. \"Shall Not Be Infringed\" addresses the Second Amendment and the influence technology has had on the nature of and access to weaponry. 3D printing has complicated the dialogue surrounding legal vs illegal weaponry, allowing many gray areas to emerge which are quickly politicized and exploited.
All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us.
https://bgfa.us/artists/pierce
Image: Mac Pierce, Castle Doctrine, 3D printed plastic, welded steel, chiffon mesh, and readymade wheels, 36 x 36 x 108”, 2022
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Jeff Gillette’s Art History Shacks explore a post-apocalyptic, worst case future scenario where some of contemporary western culture’s most important artists’ works have degenerated into the trash in a landfill and the architectural building materials of a typical third-world shanty.
Accompanying the paintings are a series of unique “iLandfill” prints showcasing popular culture’s most iconic cartoon characters in an endless e-waste landfill.
Image: Jeff Gillette, Art History Shack (Johns), Spray paint, acrylic and collage on canvas, 24 x 24”, 2023
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Laurie Hassold makes sculptures that she presents to the world as possible \"future fossils\"; remnants of what could be and might well be a result of the impact of our species on the planet. Fully speculative yet imbued with a reverence for Nature and its brutal force, these creatures are amoral and magnificent.
She derives inspiration from the awe-inspiring forces of nature: avalanches, earthquakes and geologic formations looming large at a scale that is clearly not human. Her sculptures examine a possible post-human evolution assembled from fossilized remains and the detritus of our disposable culture.
Image: Laurie Hassold, Future Reflection, mixed media, 45 x 30 x 7”, 2023
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Sandra Yagi is interested in the intersection between science and art, using themes of anatomy, genetic manipulation, evolution, and medical oddities as tools in the creation of paintings in traditional styles. Her latest works draw on her Japanese heritage and depict numerous supernatural entities and spirits, known as Yokai, parading through Japanese villages and countryside. This procession, Hyakki Yagyō, was a popular theme in Japanese art, and was usually shown in long scrolls in pre-modern Japan.
Image: Sandra Yagi, Hyakki Yagyo (Yokai) #17, Goache and ink on paper, 9 x 12”
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Deborah Maris Lader
July 15 - September 9 2023
Opening Reception: Saturday July 15, 5-7 pm
Closing Reception (Open House): Saturday September 9, 3-5 pm
Image: Deborah Maris Lader, The Air & Water Show, 3-color stone lithograph w/ screen print, 16 x 15”
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All gallery events are free and open to the public. Additional information found at the gallery website at http://bgfa.us. Please forward to any interested parties.
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There will be a Holiday Open House Reception on Saturday, December 2 from 12-4 pm at the gallery, and the exhibition is on view through December 29
New prints by:
Ed Ruscha
Laurie Lipton
Scott Siedman
Jeff Gillette
Jesse Howard
Mac Pierce
Mara Baker
Bert Green Fine Art is pleased to present a selection of new prints, the majority of which are editions recently published by BGFA. All of the artists included in the show are accomplished in various media, and almost all have shown in solo shows at the gallery over the years. The print media represented in the show are etching, stone lithography, plate lithography, archival digital prints, photography, linocut, letterpress, and serigraph.
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A Cornucopia of Prints
New editioned prints by Ed Ruscha, Laurie Lipton, Scott Siedman, Jeff Gillette, Jesse Howard, Mac Pierce, and Mara Baker
and
Group Show of Works on Paper by Gallery Artists (and others)
William Powhida, Sandra Yagi, Eleftheria Lialios, Doug Fogelson, Doug Stapleton, Man Bartlett, Rebecca Smith, Christian Rex van Minnen, Shepard Fairey, Gajin Fujita, Moira Hahn, Stephen Kaltenbach
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Mac Pierce critically engages with weaponized emerging technologies via coding, 3D printing, data automation, and cryptography. Pierce examines issues surrounding government power and its nemesis, the exposure of classified information. Pierce presents this capture and storage of strategically important information as a metaphor for a contemporary redefinition of sacred icons and objects.
Mikey Mosher arranges extremely ordinary, everyday objects which quietly reference religious imagery. These items expose a spiritual truth hiding behind day-to-day life, revealing their origins in religiosity in ordinary American culture. Mosher’s object assemblages are created as sculptural tableaux which are then digitally rendered as lenticulars, presented in custom, digitally fabricated frames.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
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Bert Green Fine Art is pleased to present our third solo show by Mac Pierce, and our first show by Mikey Mosher. Both artists are based in Chicago and are recent MFA graduates from the School of the Art Institute. They have conspired to exhibit their solo works under a single concept: The Keys to the Castle. On February 17 is a 1-on-1 conversation with the artists from 1-5 pm.
Mac Pierce critically engages with weaponized emerging technologies via coding, 3D printing, data automation, and cryptography. Pierce examines issues surrounding government power and its nemesis, the exposure of classified information. Pierce presents this capture and storage of strategically important information as a metaphor for a contemporary redefinition of sacred icons and objects.
Mikey Mosher arranges extremely ordinary, everyday objects which quietly reference religious imagery. These items expose a spiritual truth hiding behind day-to-day life, revealing their origins in religiosity in ordinary American culture. Mosher’s object assemblages are created as sculptural tableaux which are then digitally rendered as lenticulars, presented in custom, digitally fabricated frames.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
Bert Green Fine Art is pleased to present our third solo show by Mac Pierce, and our first show by Mikey Mosher. Both artists are based in Chicago and are recent MFA graduates from the School of the Art Institute. They have conspired to exhibit their solo works under a single concept: The Keys to the Castle. On Saturday, March 23, 1-4pm, the last day of the show, both artists are releasing limited editions which will also be featured at EXPO Chicago in the Bert Green Fine Art booth #374.
Mac Pierce critically engages with weaponized emerging technologies via coding, 3D printing, data automation, and cryptography. Pierce examines issues surrounding government power and its nemesis, the exposure of classified information. Pierce presents this capture and storage of strategically important information as a metaphor for a contemporary redefinition of sacred icons and objects.
Mikey Mosher arranges extremely ordinary, everyday objects which quietly reference religious imagery. These items expose a spiritual truth hiding behind day-to-day life, revealing their origins in religiosity in ordinary American culture. Mosher’s object assemblages are created as sculptural tableaux which are then digitally rendered as lenticulars, presented in custom, digitally fabricated frames.
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Industry of the Ordinary were formed in 2003. The two artists who make up this collaborative team, Adam Brooks and Mathew Wilson, have long histories as visual and performative artists. They bring complementary sensibilities to their activities.
Their projects exist in temporal terms but have also been conceived to function on the web site associated with the collaboration, http://www.industryoftheordinary.com.
They have had solo shows at multiple venues including the Museum of Contemporary Art, Chicago and a major mid-career survey at the Chicago Cultural Center in 2012-13 that was received with much acclaim.
They also performed at the opening of the Modern Wing of the Art Institute of Chicago in 2009, as well as making work for a wide variety of private, semi-private and public settings, nationally and internationally, both temporary and permanent.
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Industry of the Ordinary is a collaborative project of Adam Brooks and Mathew Wilson, who for over 20 years have used performance, installation, objects, and interventions to explore and celebrate “ordinariness” and to challenge and elevate the everyday experience into an endeavor worthy of study and veneration.
This exhibition will include a number of works spanning the history of Industry of the Ordinary, including “Ghost of the Real,” a site-specific installation of wall text and accompanying book based upon hundreds of conversations with an AI. Exclusively for this show, Bert Green Fine Art has published a print, “Disclaimer,” which recycles text that has been used repeatedly in multiple Industry of the Ordinary projects.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
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This exhibition will include a number of works spanning the history of Industry of the Ordinary, including “Ghost of the Real,” a site-specific installation of wall text and accompanying book based upon hundreds of conversations with an AI. Exclusively for this show, Bert Green Fine Art has published a print, “Disclaimer,” which recycles text that has been used repeatedly in multiple Industry of the Ordinary projects.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
Industry of the Ordinary, Ghost Of the Real, Site-specific phototex installation and book based upon hundreds of conversations with an AI, 8.5 x 11 x 1”, 2024
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Collage is a time-honored medium that is practiced by most artists at one time or another - either in their preparatory practice or as final, finished artworks. The impulse to assemble, dismember, and re-organize imagery is central to an artist's methodology and the creative process.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
Image: Doug Stapleton, Agnolo, Collage and ink on paper, 11.5 x 9\", 2023
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Doug Stapleton is a master collagist. His works employ extreme precision, keen composition, and idiosyncratic source materials which address identity, history, and ancestral themes. His interest in traditional illustrative and reproduction techniques gives his work gravity and a sense of solidity.
Collage is a time-honored medium that is practiced by most artists at one time or another -- either in their preparatory practice or as final, finished artworks.
The impulse to assemble, dismember, and re-organize imagery is central to an artist's methodology and the creative process.
All gallery events are free and open to the public.
Additional information found at the gallery website at https://bgfa.us.
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Bert Green Fine Art began life with the name “Circle Elephant Art” in December 1999 in a small storefront on Hollywood Boulevard in Los Angeles. In 2004, the gallery relocated to Downtown Los Angeles and was renamed Bert Green Fine Art. In 2012, the gallery relocated again, this time to our current location on Michigan Avenue in Chicago, across from Millennium Park and the Art Institute of Chicago.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
Image: Clive Barker, Impasto Color photo, 8x10, 2009
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Tom Burtonwood works in various media, including drawing, digital technologies, video, and the internet, all with a particular interest in the nature of durational sampling, in which images and objects are depicted both in and out of time and space. Sometimes illusionistic, and often challenging, his works operate in a way similar to quantum states, where they can be present both simultaneously and consecutively.
Tom Burtonwood, A Cube is a Rectangle, Acrylic and ink on vellum, 9.2 x 7.5”, 2024
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Holly Holmes’ most recent work is an exploration of found objects (Findings), which are examined under a microscope. The resulting detailed visual appearance is then rendered in fabric, using a traditional craft methodology of rug weaving. The finished work exhibit both realism and abstraction, moderated by the softness and warmth of the wool and cotton materials used — they straddle a line between comforting and uncanny.
Holly Holmes, Carried by the Sage, Wool, acrylic, and cotton, 43 x 32”, 2024
","type":null,"state":"published","slug":"holly-holmes-findings","created_at":"2025-03-03 19:53:55.652","updated_at":"2025-03-03 19:53:55.652","excerpt":"","is_timeless":true,"organization_id":733,"highlighted":true,"opening_starts_at":"2025-01-18 17:00:00","opening_ends_at":"2025-01-18 19:00:00","searchable":"'-7':11B '18':9B '2024':91B '32':90B '43':88B '5':10B 'abstract':56B 'acryl':85B 'appear':35B 'carri':80B 'comfort':75B 'cotton':67B,87B 'craft':44B 'detail':33B 'examin':27B 'exhibit':52B 'explor':20B 'fabric':40B 'find':3A,24B 'finish':50B 'found':22B 'holli':1A,13B,78B 'holm':2A,14B,79B 'januari':8B 'line':73B 'materi':68B 'methodolog':45B 'microscop':30B 'moder':57B 'object':23B 'open':4B 'pm':12B 'realism':54B 'recent':16B 'recept':5B 'render':38B 'result':32B 'rug':47B 'sage':83B 'saturday':6B,7B 'soft':60B 'straddl':71B 'tradit':43B 'uncanni':77B 'use':41B,69B 'visual':34B 'warmth':62B 'weav':48B 'wool':65B,84B 'work':17B,51B 'x':89B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1735928126/puiqvwt8wlu3jfvwbspj.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":18269,"title":"Closing Reception","starts_at":"2025-03-15 13:00:00","ends_at":"2025-03-15 16:00:00","body":"Bert Green Fine Art is hosting a closing reception for the exhibition featuring Tom Burtonwood and Holly Holmes on March 15.
This is the third show by Tom Burtonwood and the first by Holly Holmes at the gallery.
Tom Burtonwood's work involves various media, including drawing, digital technologies, video, and the internet, focusing on durational sampling. Holly Holmes explores found objects through a microscope and renders them in fabric using rug weaving, creating works that balance realism and abstraction.
The event is free and open to the public.
","type":null,"state":"published","slug":"closing-reception","created_at":"2025-03-19 15:56:46.586","updated_at":"2025-03-19 15:56:46.586","excerpt":"","is_timeless":false,"organization_id":733,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'15':23B 'abstract':82B 'art':6B 'balanc':79B 'bert':3B 'burtonwood':17B,31B,42B 'close':1A,10B 'creat':76B 'digit':50B 'draw':49B 'durat':58B 'event':84B 'exhibit':14B 'explor':62B 'fabric':72B 'featur':15B 'fine':5B 'first':34B 'focus':56B 'found':63B 'free':86B 'galleri':40B 'green':4B 'holli':19B,36B,60B 'holm':20B,37B,61B 'host':8B 'includ':48B 'internet':55B 'involv':45B 'march':22B 'media':47B 'microscop':67B 'object':64B 'open':88B 'public':91B 'realism':80B 'recept':2A,11B 'render':69B 'rug':74B 'sampl':59B 'show':28B 'technolog':51B 'third':27B 'tom':16B,30B,41B 'use':73B 'various':46B 'video':52B 'weav':75B 'work':44B,77B","thumbnail":"http://res.cloudinary.com/dfafo598z/image/upload/v1740778531/8fde43d0-558a-455b-ac7d-5b34676c962a_yjiyde.jpg","calendar":null,"carousel":false,"category_name":"Special Event or Closing Reception"},{"id":19026,"title":"Mikey Mosher: Crossroads","starts_at":"2025-04-19 00:00:00","ends_at":"2025-06-14 00:00:00","body":"Bert Green Fine Art is pleased to present our first solo show by Pennsylvania-based artist Dan Barry, and our second show by Chicago artist Mikey Mosher. Both artists will have limited edition prints in the BGFA booth #352 at EXPO Chicago 2025.
Mikey Mosher intersects materials and techniques which are not normally combined; he is using carpentry, CNC routing, sewing, found materials, symbolic objects, and textiles to reference multiple historical styles of art making which are rarely ever seen together: Op Art, assemblage, quilting, fabric arts, and abstraction. Taking advantage of contemporary access to all kinds of materials and historical knowledge, Mosher is synthesizing compositions which would have been improbable in earlier eras.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
Mikey Mosher, Recalibration, Poplar, fabric, acrylic paint, 21 x 20”, 2025
Bert Green Fine Art is pleased to present our first solo show by Pennsylvania-based artist Dan Barry, and our second show by Chicago artist Mikey Mosher. Both artists will have limited edition prints in the BGFA booth #352 at EXPO Chicago 2025.
Dan Barry combines found objects, ephemera, and vintage frames with mark making and text to produce artworks densely layered with meaning and textural complexity. Tending toward smaller sizes, they engage the viewer on an intimate scale, and invite a dialogue with the work through close inspection. For this exhibition, BGFA has published a limited-edition archival pigment print of a reproduction of one of his earlier works.
Dan Barry, As Funny As It May Seem, Found paper, graphite, cotton thread, antique frame, 13.5 x 10.5”, 20 x 16”, 2025
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Saturday June 14, 2-5 pm
Both artists will be present
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1748491901/nhlfylbtuijgn3wpbpya.jpg\")
Dan Barry, As Funny As It May Seem, Found paper, graphite, cotton thread, antique frame, 13.5 x 10.5”, 20 x 16”, 2025
Dan Barry
As Funny As It May Seem
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1748491902/qulabx9yvgnugg65owg8.jpg\")
Mikey Mosher, Recalibration, Poplar, fabric, acrylic paint, 21 x 20”, 2025
In the Project Room:
Mikey Mosher
Crossroads
https://bgfa.us/artists/mosher
Read CGN's recent feature on deathmatch here from the Fall 2025 magazine.
Mac Pierce is concerned with the influence of technology on society and culture, with a special emphasis on the tendencies for technocratic overreach and surveillance to contribute to social decay and violence. His work utilizes 3D printing, coding, video, computer hardware, video game content, and carefully selected text and data, synthesized into a conceptual framework.
Given contemporary national and world political trends, Pierce’s work takes on added significance as many of his conceptual approaches have shown to be relevant to the realities of recent current events.
In addition to an opening reception, the gallery will be hosting a public Halo CE LAN party (participation reservations required), at which players will participate in a competitive in-person video game event scheduled to run all day long. Sponsored by Bawls Energy. Reservation link is above.
Mac Pierce (He/Him) (b. 1993, Seattle, WA) is a Chicago based artist and creative technologist. Raised in Idaho, he studied fine arts at the University of Idaho and self-taught various digital technologies to incorporate into his artistic practice. Refining his practice, he received his MFA in studio arts from the Art and Technology Studies department at the School of the Art institute of Chicago.
All Day LAN party, Saturday, August 9, 2025
Halo CE LAN party - Players will participate in a competitive in-person video game event scheduled to run all day (12pm to Late). Sponsored by Bawls Energy.
LAN party sign up link
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Friday and Saturday, September 19 & 20, 12-5 pm
Mac Pierce Artist Talk
Saturday September 20, 3-5 pm
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Closing Reception
Saturday October 18, 2-5 pm
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Tom Torluemke is known for his ambitious and evocative socio-political paintings. Drawing is the rarely seen starting point and driving force in his practice. It serves as a meditative and relaxing exercise, a testing ground for ideas, and a springboard for the direction the artist takes when pursuing a project. This exhibit features a selection of drawings by the artist stemming from three areas of the artist's work: plein air landscape drawings of the area near the artist's home, fanciful and personal autobiographical graphite drawings, and studies for the artist's large, imaginative, ambitious socio-political paintings.
Born in Chicago, Illinois, his practice spans 40+ years and includes works in painting, drawing, sculpture, and installations in various mediums. Torluemke is known for his powerful, no-holds-barred approach to subject matter relating to socio-political, ethical, and humanistic themes. With over 150 solo and group exhibitions and 30 public art commissions throughout the Midwest, his work testifies to the relevance and scope of his ideas and his ability to present them in a meaningful context within their communities. In 2025, Torluemke's work on paper was the subject of a career retrospective, Tom Torluemke: Live! On Paper, 1987 – 2024 curated by Dan Cameron at the Chicago Cultural Center with a monograph published by SKIRA Editore, Milan. The show was reviewed in Art Forum magazine in October 2025.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
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Born in Chicago, Illinois, his practice spans 40+ years and includes works in painting, drawing, sculpture, and installations in various mediums. Torluemke is known for his powerful, no-holds-barred approach to subject matter relating to socio-political, ethical, and humanistic themes. With over 150 solo and group exhibitions and 30 public art commissions throughout the Midwest, his work testifies to the relevance and scope of his ideas and his ability to present them in a meaningful context within their communities. In 2025, Torluemke's work on paper was the subject of a career retrospective, Tom Torluemke: Live! On Paper, 1987 – 2024 curated by Dan Cameron at the Chicago Cultural Center with a monograph published by SKIRA Editore, Milan. The show was reviewed in Art Forum magazine in October 2025.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
Closing Reception: Saturday January 17 2026, 2-5 pm
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Born in Chicago, Illinois, his practice spans 40+ years and includes works in painting, drawing, sculpture, and installations in various mediums. Torluemke is known for his powerful, no-holds-barred approach to subject matter relating to socio-political, ethical, and humanistic themes. With over 150 solo and group exhibitions and 30 public art commissions throughout the Midwest, his work testifies to the relevance and scope of his ideas and his ability to present them in a meaningful context within their communities. In 2025, Torluemke's work on paper was the subject of a career retrospective, Tom Torluemke: Live! On Paper, 1987 – 2024 curated by Dan Cameronat the Chicago Cultural Center with a monograph published by SKIRA Editore, Milan. That show was reviewed in Art Forummagazine in October 2025.
Bert Green Fine Art is pleased to present our third solo show by Chicago native artist Jesse Howard.
Jesse Howard is a Chicago native who has observed the rhythms and nuances of African American cultural life in Chicago over many decades. His artworks are meant not as portraits but rather as figurative typologies. meant to document and celebrate the rich variety of individual and collective expressions, showing the good, the bad, the beautiful, and the ugly. At the core of this work is a deeply felt, powerful pronouncement of the human spirit.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
Image: Jesse Howard, Oh Cyrus, Charcoal, 42 x 30”, 2026
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Jesse Howard is a Chicago native who has observed the rhythms and nuances of African American cultural life in Chicago over many decades. His artworks are meant not as portraits but rather as figurative typologies. meant to document and celebrate the rich variety of individual and collective expressions, showing the good, the bad, the beautiful, and the ugly. At the core of this work is a deeply felt, powerful pronouncement of the human spirit.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us. Please forward to any interested parties.
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Architect / Artist Wallace Bowling assembles numerous constructs in a 10’ X 10’ X 10’ Boxx at Bert Green Fine Arts, 8 South Michigan Avenue, concurrent with Expo Chicago 2026.
The title Ensemble - individual components regarded as single and complete, forming a larger, more complex whole - is ideal.
Ensemble opens Saturday, 11 April and runs through Saturday, 13 June.
Opening Reception is on Saturday, 11 April from 5:00 to 7:00 pm.
Artist Talk is on Saturday, 9 May from 2:00 to 4:00 pm.
Closing Reception is on Saturday, 13 June from 2:00 to 4:00 pm.
The artist will be present at all events.
“An artwork is not complete until it is viewed.”
Marcel Duchamp, 1957
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Additional information found at the gallery website at bgfa.us
Image: Breakfast at Tiffany's, Cigar box, b/w photo, vintage jewelry, “Tiffany blue” lid, 8 x 9 x 8”, 2026
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Grey James’ latest works are concerned with his personal experience as a trans man, having experienced significant harassment and defamation. These works have become supercharged with emotion and defiance in response to being targeted by anti-trans individuals. PJOB is an acronym for “Pink Jerkoff Boy,” the title of a painting sold in 2017 that was used by James’ tormentors as evidence of his depravity. James has repurposed this title to reclaim his power.
Wallace Bowling’s “constructs” are three-dimensional, interactive artworks that juxtapose natural materials and cultural touchstones with sensual innuendo. Using mostly found objects and printed matter, Bowling, who was trained as an architect, crafts objects into structures which influence perception and invite gentle participation.
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A skilled artist and printmaker who constantly explores experimentation with a vast array of other materials, Deborah Maris Lader’s newest work extends the printed image off the page via animations, sculptural techniques, and automata. Using mechanistic props, light and space, she devises a diverse menagerie of beings, creatures from the inner workings of Lader's creative brain.
All gallery events are free and open to the public. Additional information found at the gallery website at https://bgfa.us.
Image: Deborah Maris Lader, Becoming, Hand operated automata, mixed media interactive object: printers proofs, wire, cardboard, beads, 11 x 5 x 4\" , 2026
Closing Reception: Sunday, August 30, 4-6pm
Bert Green Fine Art is pleased to present our second solo show by Chicago-based artist Deborah Maris Lader. A skilled multi media artist and printmaker who constantly explores experimentation with a vast array of other materials, Deborah Maris Lader’s newest work extends the printed image off the page via animations, sculptural techniques, and automata. Using mechanistic props, light and space, she devises a diverse menagerie of beings; creatures from the inner workings of Lader's creative brain.
All gallery events are free and open to the public.
prices available on the Bert Green Fine Art website
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A skilled artist and printmaker who constantly explores experimentation with a vast array of other materials, Deborah Maris Lader’s newest work extends the printed image off the page via animations, sculptural techniques, and automata. Using mechanistic props, light and space, she devises a diverse menagerie of beings, creatures from the inner workings of Lader's creative brain.