DePaul Art Museum (DPAM) is a world-class museum located in the heart of Lincoln Park on DePaul University’s campus. DPAM is open to the public and presents three to five temporary exhibitions per year with a permanent collection of nearly 4,000 objects with strengths in international modern and contemporary art, particularly highlighting the voices of marginalized artists and communities.
DPAM enriches the university’s commitments to excellence, diversity and social concerns by connecting people through art and ideas that explore the vast range of human experience and expression. We provide an inclusive platform for innovative artistic voices with a program that bridges local and global concerns.
Image: Christina Fernandez, Lavanderia #1, 2002. Archival pigment print. From the series Lavanderia. Courtesy Los Angeles County Museum of Art, Ralph M. Parsons Fund
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\r\n\r\nThis is DPAM’s first public display of these works by Candida Alvarez, Don Baum, McArthur Binion, Michelle Grabner, Miyoko Ito, Helen Mirra, Zoe Nelson, William J. O’Brien, Adam Pendleton, Neil Raitt, Christina Ramberg, Melanie Schiff, and Carrie Schneider, representing a fraction of the museum’s acquisitions within the last few years.
\r\n\r\nImage: Christina Ramberg, Overlap, 1985-96 Collection of DePaul Art Museum, gift of Jerrold and Madelyn Seckler
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\r\n\r\nImage: BEVERLY FRESH, OUTSKIRTS, Performance still, 2013. Photo Credit: Travis Roozee.
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\r\n\r\nDPAM presents an evening with artists Ayanah Moor, Bethany Collins, and Edra Soto. Through short gallery talks, the artists will discuss their works in Out of Easy Reach, the role of archives in their practices, and engage in conversation with the audience and each other.
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This exhibition also features musical annotations inspired by architecture, with a focus on the work of American composer Andrew Norman. Norman’s work, The Companion Guide to Rome (2006–10), is a series of nine musical “portraits” reflects the experience of visiting architecturally significant churches and basilicas. In this installation, Fish has consulted with Norman and composer and scholar Anne Leilehua Lanzilotti — who has studied and written extensively on Norman’s work — to present a selection of Norman’s working sketches and Lanzilotti’s annotations and graphic analyses in response to selected scores from The Companion Guide to Rome.
Architectural Annotations is organized by DePaul Art Museum and curated by Julia Fish. Support for this exhibition is provided by the Terra Foundation for American Art.
Image: Giovanni Battista Piranesi, Veduta della Piazza del Campidoglio, mid 18th century
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Remember Where You Are presents work by four emerging artists based in San Antonio and Chicago who use performance, sculpture, and textiles to make visible untold narratives of heritage and place, while questioning practices of exclusion and erasure. Their works are informed by layering personal and public histories to imagine new methods for navigating the world around us.
Jimmy James Canales (American, b. 1985) uses performance and sculpture to create works about exploration, myth, and technology. For this exhibition, he will complete a two-day, 27-mile trek across the city of Chicago, collecting found materials and creating documentation to be installed in the museum’s galleries. Jenelle Esparza (American, b. 1985) examines the history of cotton and labor in South Texas through photography and textiles. Her recent projects consider the intersections of Mexican and American culture and the implications of generational trauma. Melissa Leandro (American, b. 1989) fuses digital and traditional weaving techniques in fabric works that touch upon painting as well as her experience as the daughter of a domestic worker. Leandro combines colors and patterns that speak to her Costa Rican roots with abstract patterns and found furniture. Emilio Rojas (Mexican, b. 1985) uses his body to address legacies of colonialism and oppression. His current research studies Chicago’s ties to Christopher Columbus from the World’s Fair to the present day, and invites speculation and imagination of alternative histories.
Remember Where You Are draws its title from a durational work by Canales and the S.U.R.V.I.V.A.L. acronym.
Remember Where You Are is organized by DePaul Art Museum and curated by Mia Lopez, Assistant Curator. This exhibition is part of DePaul Art Museum’s Latinx Initiative, a three-year research inquiry focused on artists of Latin American heritage living and working in the United States.
Image: Jimmy James Canales, Value Life and Living, 2014
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For three decades, Julia Fish has used her house and its vernacular architecture — a Chicago storefront designed by Theodore Steuben in 1922 — as the basis for a system of mapping color, form, and light in paintings and works on paper. Julia Fish: bound by spectrum presents a survey of the last decade (2009–19) of Fish’s paintings and works on paper while providing new scholarship around her ongoing project that brings together the disciplines of painting, drawing, and architecture. Rendering architectural details at actual size and from observation, she creates a subjective response to objective information, informed by effects of light in space, time of day, the seasons, cardinal direction, and her own physical vantage point. Fish examines and recontextualizes evidence of the house, most recently thresholds between rooms, within paintings, which elude pure abstraction: they are, in fact, depictions of transitional spaces filtered through Fish’s increasingly complex visual logic.
This exhibition is accompanied by a fully-illustrated catalogue published by DePaul Art Museum, designed by Studio/lab, and distributed by the University of Chicago Press. It includes essays by exhibition curator and DPAM Director and Chief Curator Julie Rodrigues Widholm, independent curator Kate Nesin, architect Dan Wheeler, and author Colm Tóibín. The catalogue also includes a selection of more than ten years of previously unpublished studio notes by the artist.
Julia Fish: bound by spectrum is organized by DePaul Art Museum and curated by Julie Rodrigues Widholm, Director and Chief Curator. Generous support for this exhibition is provided by the Graham Foundation for Advanced Studies in the Fine Arts, Anonymous, James Rondeau & Igor DaCosta, Donna Stone, Eric Ceputis & David W. Williams, Jack & Sandra Guthman, Anne L. Kaplan, Valerie Carberry & Richard Wright, Rhona Hoffman Gallery, Penny Cooper & Rena Rosenwasser, Dia S. & Edward S. Weil Jr., Scott J. Hunter, Jay Dandy & Melissa Weber, Helyn Goldenberg & Michael Alper, Susanne Ghez, Tony Karman I EXPO Chicago, and Judith & Jules Kirshner. In-kind support is provided by The Ragdale Foundation.
DePaul Art Museum is excited to present three new exhibitions this fall organized on the occasion of the Chicago Architecture Biennial: Julia Fish: bound by spectrum, Architectural Annotations, and Remember Where You Are. Together, these exhibitions consider the influence of architecture, geography, and place on individual narratives and experiences.
Mark your calendar for the opening reception on Thursday, September 12, from 6–8pm! RSVP on Facebook →
Image: Julia Fish, Threshold, SouthWest - One [spectrum : red], 2011-12.
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Join artists Jenelle Esparza and Melissa Leandro in the galleries for a conversation with Dianna Frid, Chicago-based artist, to learn more about the textile-based works on view in Remember Where You Are, an exhibition that brings together four emerging artists to make visible untold narratives of culture and place. Based in San Antonio and Chicago, respectively, Esparza will speak to her research on Mexican-American labor in the cotton fields of South Texas, while Leandro will touch on the process of creating textiles that layer weaving, embroidery, and digital imagery with personal references to her mother, Miami, and Costa Rica.
Presented in partnership with the Chicago Architecture Biennial, DePaul Department of Art, Media, and Design, and DePaul Department of History of Art and Architecture.
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In the first museum survey of her work in 23 years, Julia Fish: bound by spectrum features a selection of paintings and works on paper from the last decade by one of Chicago’s most significant artists. Primarily based on architectural details within her house — a 1922 two-flat storefront on the near north side of the city — the works are meticulously detailed yet curiously ambiguous. Join Fish for a short lecture followed by a conversation in the galleries to learn more about her artistic practice and inspirations.
Presented in partnership with the Chicago Architecture Biennial, DePaul Department of Art, Media, and Design, DePaul Department of History of Art and Architecture, and Graham Foundation for Advanced Studies in the Fine Arts.
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During his brief career, photographer Rotimi Fani-Kayode (1955–89) produced a visionary body of work that pushed the boundaries of race, nation, and cultural identity. As a queer artist working in the early years of the AIDS crisis, his pictures drew on Yoruban tradition and meditated on the ephemerality of our lives even as he used them as a means to resist erasure in the art world and society at large. In conjunction with the first solo exhibition of his oeuvre in Chicago at Iceberg Projects and the 30th anniversary of his death, a panel discussion will be held at the DePaul Art Museum to consider the legacy of Fani-Kayode's work and to reflect on how key themes that animated his life apply today — from intersectionality and antiracism to collectivity and creative practice.
Panelists include Greg Foster-Rice, Associate Professor of Art History, Theory & Criticism, Columbia College; Deana Haggag, President & CEO, United States Artists; Solveig Nelson, Mellon Postdoctoral Fellow, Art Institute of Chicago; and Derrick Woods-Morrow, Multimedia Artist.
Presented in partnership with Iceberg Projects and the DePaul Center for Black Diaspora.
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Join artist Emilio Rojas in the gallery for a performance that will activate his work on view in Remember Where You Are, an exhibition that brings together four emerging artists to make visible untold narratives of culture and place. Rojas uses his body as a political tool in performances to address legacies of colonialism and oppression across history and geography. His recent research examines Christopher Columbus as a symbol of European imperialism and white supremacy and the lasting impact of his “discovery” of the Americas. The performance will be followed by a panel at 3pm on social justice and public memorials.
Presented in partnership with the Chicago Architecture Biennial, DePaul Department of Art, Media, and Design, and DePaul Department of History of Art and Architecture.
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Accompanying her solo exhibition concurrently on view, artist Julia Fish guest-curated a selection of works on paper drawn largely from DePaul Art Museum’s collection. Featuring architectural plans, views, and elevation studies alongside annotated musical scores and graphic analyses, Architectural Annotations contextualizes Fish’s artistic inspirations and process. Join Fish in conversation with architect Dan Wheeler and Graham Foundation for Advanced Studies in the Fine Arts Director Sarah Herda for an in-depth look into the exhibition followed by a book signing of DPAM’s newest catalogue, Julia Fish: bound by spectrum.
Presented in partnership with the Chicago Architecture Biennial, DePaul Department of Art, Media, and Design, DePaul Department of History of Art and Architecture, and Graham Foundation for Advanced Studies in the Fine Arts.
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Victoria Woodhull, Belva Ann Lockwood, Abigail Scott Duniway, Laura Clay, Cora Wilson Stewart, Gracie Allen, Anna Milburn, Ellen Linea Jensen, Mary Kennery, Agnes Waters, Margaret Chase Smith, Fay T. Carpenter Swain, Charlene Mitchell, Shirley Chisholm, Linda Jenness, Evelyn Reed, Bella Savitzky Abzug, Patsy Takamoto Mink, Margaret Wright, Barbara Jordan, Ellen McCormack, Deirdre Griswold, Koryne Kaneski Horbal, Maureen Smith, Alice Tripp, Gavrielle Holmes, Sonia Johnson, Martha Kirkland, Tonie Nathan, Mary Ruwart, Wynonia Burke, Lenora Fulani, Willa Kenoyer, Mamie Moore, Patricia Schroeder, Georgiana Doerschuck, Helen Halyard, Caroline Killeen, Gloria La Riva, Isabell Masters, Tennie Rogers, Susan Gail Ducey, Elvena Lloyd-Duffie, Marsha Feinland, Dr. Heather Anne Harder, Mary Cal Hollis, Jo Jorgensen, Mary “France\" Letulle, Monica Moorehead, Diane Beall Templin, Cathy Gordon Brown, Angel Joy Chavis Rocker, Elizabeth Dole, Dorian Yeager, Katherine Bateman, Joanne Bier Beeman, Sheila Bilyeu, Carol Moseley Braun, Jeanne Chebib, Mildred T. Glover, Millie Howard, Carol A. Miller, Lorna Salzman, Florence Walker, Elaine Brown, Hillary Clinton, Nan Garrett, Cynthia McKinney, Christine Smith, Kat Swift, Roseanne Barr, Peta Lindsay, Jill Stein, Michele Bachmann, Khadijah Jacob-Fambro, Carly Fiorina, Alyson Kennedy, Lynn S. Kahn, Cherie Deville, Souraya Faas, Tulsi Gabbard, Kirsten Gillibrand, Kamala Harris, Amy Klobuchar, Kim Ruff, Elizabeth Warren, Marianne Williamson
An Installation by Kathryn Andrews
On the occasion of the fall 2020 U.S. presidential election, LA-based artist Kathryn Andrews's site-specific installation highlights the name of each woman who has run for President of the United States throughout the history of our country's democracy. Beginning with Victoria Woodhull in 1872, women have graced the nation's potential presidential stages in primaries and general elections long before they could vote. These trailblazers include Shirley Chisholm, the first Black woman elected to Congress; Patsy Mink, the author of the nation's Title IX civil rights law, protecting people from discrimination based on their sex; and Gloria La Riva, the 2020 presidential nominee for the Party for Socialism and Liberation, who was also the first Latinx woman to run for president in 1992. Foregrounded in Andrews's installation, the long list of historic women's names are contrasted with the highly recognizable faces of the men who have won, ranging from Dwight D. Eisenhower to Barack Obama. Chronicling the nearly 150 years of women vying for the presidential seat, Kathryn Andrews's work spotlights the persistent sexism in American politics and the urgent need for change. This site-specific installation of Kathryn Andrews's work, which dominates the entirety of the museum's front windows is organized by DePaul Art Museum and curated by Julie Rodrigues Widholm, Director, UC Berkeley Art Museum and Pacific Film Archive.
Generous support for this exhibition was provided by The Andy Warhol Foundation for the Visual Arts and Rena & Daniel Sternberg.
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Stockyard Institute is an ongoing civic and artistic practice founded in 1995 by artist Jim Duignan in Chicago, influenced and shaped by youth, radical teachers, and activists. Together, this continually growing network--rooted in love and care--instrumentalized the arts in Chicago neighborhoods to reimagine social, civic, and personal forms of public engagement through art making, conversation, and relationship building.
Generous support for this exhibition and its associated programming has been provided by The Andy Warhol Foundation for the Visual Arts.
Photo: Stockyard Institute & Seen and Heard (Jim Duignan & Rachel Harper), PUBLIC SCHOOL, 2017. Jim Duignan
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Learned Objects brings together four Chicago-based artists--William Estrada, Regin Igloria, Nicole Marroquin, and Rochele Royster--whose socially engaged practices are developed alongside an equally robust object-making practice. While all are seasoned activists, educators, and pillars of their local communities, the result of their collaborations with the public extends beyond classrooms and the city streets into the artists' studios. The objects created in the studio environment are influenced by collective intelligence and shared knowledge. Seen in this light, a \"learned\" object is both a material and conceptual site for encounters between social relations, lived experience, and community history.
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Ahead DePaul Art Museum’s exhibition “Remaking the Exceptional: Tea, Torture, and Reparations | Chicago to Guantánamo there will be an online conversation on Jan. 8, 2022, which will observe the 20th year of Guantánamo as an extra-legal prison and the seventh year since Chicago’s passage of the Jon Burge reparations ordinance, the first and only ordinance of its kind in the U.S. Panelists include Aislinn Pulley (Chicago Torture Justice Center), Kilroy Watkins (Chicago torture survivor), Mansoor Adayfi (Guantánamo torture survivor and author of “Don’t Forget Us Here”). Joey L. Mogul (People’s Law Office) will moderate the panel.
“Remaking the Exceptional: Tea, Torture, and Reparations | Chicago to Guantánamo” marks 20 years since the opening of the United States’ extralegal prison in Guantánamo Bay, Cuba, by examining the local and international ramifications of state violence. The exhibition and associated publication, published by the museum, uplift acts of creative resistance while highlighting connections between policing and incarceration in Chicago and the human rights violations of the “Global War on Terror.”
The exhibition will feature paintings, drawings, sculptures and installations produced by torture survivors, artists, activists and collectives. Contributors to the exhibition include Abdualmalik Abud, Mansoor Adayfi, Djamel Ameziane, Muhammad Ansi, Ghaleb Al-Bihani, Dorothy Burge, Chicago Torture Justice Memorials, Debi Cornwall, Amber Ginsburg, Assad “Haroon” Gul, Mashaun Hendricks, Aaron Hughes, Invisible Institute, Damon Locks, Lucky Pierre, Trevor Paglen, Prison + Neighborhood Arts/Education Project, Khalid Qasim, Sabri Mohammad Ibrahim Al Qurashi, Ahmed Badr Rabbani, and Sarah-Ji Rhee.
Other public programs in conjunction with the exhibition include a poetry reading and stories of resistance by survivors, a workshop by Chicago artist/activist Monica Trinidad on how to produce artwork in collaboration with organizations and activists, a performance by Damon Locks and Martine Whitehead from Prison + Neighborhood Arts/Education Project (PNAP), and a quilting workshop with artist Dorothy Burge. Dates and details will be forthcoming on the museum’s website.
Museum professionals from different Latin American institutions in Chile, Paraguay, Argentina, and Colombia will speak about long-term relationships that open up ways for subjective and collective transformation. Our panelists include Ticio Escobar, Soledad García Saavedra, William Alfonso López Rosas, Johanna Palmeyro, with moderator Eva Marxen. The virtual event will be in Spanish with simultaneous translation into English by Alejo Magariños.
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DePaul Art Museum’s exhibition “Remaking the Exceptional: Tea, Torture, and Reparations | Chicago to Guantánamo” marks 20 years since the opening of the United States’ extralegal prison in Guantánamo Bay, Cuba, by examining the local and international ramifications of state violence. The exhibition and associated publication, published by the museum, uplift acts of creative resistance while highlighting connections between policing and incarceration in Chicago and the human rights violations of the “Global War on Terror.”
The exhibition will feature paintings, drawings, sculptures and installations produced by torture survivors, artists, activists and collectives. Contributors to the exhibition include Abdualmalik Abud, Mansoor Adayfi, Djamel Ameziane, Muhammad Ansi, Ghaleb Al-Bihani, Dorothy Burge, Chicago Torture Justice Memorials, Debi Cornwall, Amber Ginsburg, Assad “Haroon” Gul, Mashaun Hendricks, Aaron Hughes, Invisible Institute, Damon Locks, Lucky Pierre, Trevor Paglen, Prison + Neighborhood Arts/Education Project, Khalid Qasim, Sabri Mohammad Ibrahim Al Qurashi, Ahmed Badr Rabbani, and Sarah-Ji Rhee.
Occupying all of the museum’s galleries, “Remaking the Exceptional” is organized by DePaul Art Museum staff and is curated by contributing artists Amber Ginsburg and Aaron Hughes. “The Tea Project,” which informs the development of the exhibition and the accompany publication, is an ongoing series of installations and performances that create opportunities to engage with local and global histories of war, torture and confinement. In the project, tea serves not only as a contradictory metaphor for imperialism and settler colonialism, but also as a ritual of human connection and international solidarity.
“Remaking the Exceptional” is accompanied by a fully illustrated exhibition catalogue that brings together artworks, poetry and testimony by torture survivors from Chicago and abroad, as well as new texts by leading scholars working at the intersection of aesthetics and politics.
Ahead of the exhibition, an online conversation is scheduled for Jan. 8, 2022, which will observe the 20th year of Guantánamo as an extra-legal prison and the seventh year since Chicago’s passage of the Jon Burge reparations ordinance, the first and only ordinance of its kind in the U.S. Panelists include Aislinn Pulley (Chicago Torture Justice Center), Kilroy Watkins (Chicago torture survivor), Mansoor Adayfi (Guantánamo torture survivor and author of “Don’t Forget Us Here”). Joey L. Mogul (People’s Law Office) will moderate the panel.
Other public programs in conjunction with the exhibition include a poetry reading and stories of resistance by survivors, a workshop by Chicago artist/activist Monica Trinidad on how to produce artwork in collaboration with organizations and activists, a performance by Damon Locks and Martine Whitehead from Prison + Neighborhood Arts/Education Project (PNAP), and a quilting workshop with artist Dorothy Burge. Dates and details will be forthcoming on the museum’s website.
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Saturday, May 14, 1pm & 3pm
D.E.F.'s “Showcase Screening” features short films that span many forms of the experimental filmmaking medium, from letterist cinema, to lyrical film, to collage, to structural, to landscape, to music video, to dance film, to experimental documentary, experimental narrative, and beyond. Preceding the “Showcase Screening,” is the single-channel “Space Junk” Video Installation (on loop) featuring sculptural video created with objects found in Chicago’s glorious alleyways.
These projects were created by DePaul University School of Cinematic Arts students in Experimental Filmmaking I and Experimental Filmmaking II classes.
35 tickets will be available for the 3pm Showcase Screening.
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Abolitionist Company Class reimagines the function of dance/theater rehearsal and study as liberation practice. Curated by Anna Martine Whitehead, a series of in-person workshops will introduce participants to abolitionist theater tactics with Monica Cosby, who works together with Acting OutSide, a self-contained theater group of formerly incarcerated women.
This program is made possible in part by a grant from Illinois Humanities through its Envisioning Justice initiative.
To register, email Ionit Behar at IBEHAR@depaul.edu with the subject line “Abolitionist Company Class\" by May 2, 2022.
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As part of the Abolitionist Company Class series, \"Assembly\" is a performance exploring collective organizing. Dancers Darling Shear, Raquel Monroe, Kierah King, Rahila Coats, Zachary Nicol, and Anna Martine Whitehead will explore Black radical imaginative practice through the body.
This program is made possible in part by a grant from Illinois Humanities through its Envisioning Justice initiative.
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Saturday, June 18, 2-5pm (in-person)
Please join us for a quilting workshop with DPAM artist-in-residence Dorothy Burge as she guides participants through the steps to create patches for an ongoing social justice quilt exhibition that sends a positive message to survivors of police torture.
Registration is required. Please email Ionit Behar (ibehar@depaul.edu) no later than Monday, June 6 to sign up.
This program is made possible in part by a grant from Illinois Humanities through its Envisioning Justice initiative and DePaul University's Vincentian Endowment Fund.
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Opening virtually Fall 2022
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Simultaneously, Chicago-based artist Krista Franklin (American, b. 1970) presents “Solo(s),” an exhibition that draws on the artist’s vast range of materials and references. Franklin’s work intersects poetry, popular culture and the dynamic histories of the African Diaspora.
A surrealist at heart, Franklin’s works on display will include books, poetry, collages, handmade paper, installations, murals, performances, sound works and sculptures. “The word ‘solo’ often refers to the performance of a single musician,” Behar said. “Here, it highlights the artist’s commitment to collaboration with fellow artists, writers and musicians.”
Franklin creates collages from the text and images of vintage magazines and other printed matter she collects. The museum created a fully illustrated exhibition catalogue for “Solo(s)” featuring documentation of the artist’s ongoing collage work, handmade paper, book and record covers, and installations alongside her poetry and other writings.
Public programs are set to be held in conjunction with both exhibitions. Franklin will perform with Ben LaMar Gay and have a public conversation about collaboration with artist Cauleen Smith. Behar will moderate a public conversation about making surrealist work today with Berrío, Minaya, Paulino and Sinnapah Mary. A Family Day program will include workshops, crafts and storytelling. A tarot reading program with adrienne marie brown is also in the works. Dates and details will be forthcoming on the museum’s website at http://artmuseum.depaul.edu.
DePaul Art Museum is located at 935 W. Fullerton Ave. on DePaul University’s Lincoln Park Campus. The museum is open 11 a.m. to 7 p.m. Wednesday and Thursday and 11 a.m. to 5 p.m. Friday, Saturday and Sunday. The museum is closed Monday and Tuesday. Admission is free for everyone. Additional information is online or by calling 773-325-7506.
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Surrealists redefining womanhood
“A Natural Turn” is a group exhibition with the works of four artists living in the Americas: María Berrío (Colombian, b. 1982), Joiri Minaya (Dominican-American, b. 1990), Rosana Paulino (Brazilian, b. 1967), and Kelly Sinnapah Mary (Indo-Guadeloupean, b. 1981). This exhibition will be the first time any of these artists will show their work in a Chicago museum. It is part of the museum’s ongoing Latinx Initiative, which fosters representation and participation in museum exhibitions, collections and public programs.
The works on display –– paintings, works on paper, videos, photographs and installations –– depict fantastical creatures and otherworldly female characters. Using patterned Japanese paper and paint, Berrío makes intricate collages that invariably speak to female strength and the “outsider.” Minaya’s multi-disciplinary work challenges the Western caricatures of tropicality and “tropical” people. Paulino reinscribes the Black female body into the layers of Brazil’s historical narrative, complicating engrained ideas of national identity. Sinnapah Mary’s paintings and sculptures depict diasporic myths with a fairytale-like quality of magical enchantment and cruel brutality.
“Many have come to know surrealism through artworks by men from Western Europe, such as André Breton and Salvador Dalí,” Behar said. “And while these artists desired to revolutionize human experience, they often did so at the expense of women. In contrast, the artists in ‘A Natural Turn’ call into question Western and Eurocentric standards of beauty, femininity and womanhood. They present imaginary journeys through the metamorphoses of bodies and a redefinition of what it means to be human.”
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Join us Saturday, September 17, at 6pm for the screening of Rashayla Marie Brown’s newest film Reality Is Not Good Enough (2021), a moving tribute to Black women who dream of being reality TV stars, no matter how exploited they might become. Following the screening, the artist will be in conversation with her mother, sisters, and nieces: Ann-Marie Hammond, Abrina Marie Matthews, Angell Marie Brown, Bailey Marie Brown, and Parker Marie Williams. Sponsored by DePaul’s Center for Black Diaspora and Department of History of Art and Architecture.
Rashayla Marie Brown, Reality Is Not Good Enough, 2021.
","type":"Event","state":"published","slug":"rashayla-marie-brown-s-reality-is-not-enough-screening-conversation-in-person","created_at":"2022-09-06 16:14:53.453785","updated_at":"2024-06-06 19:43:42.565797","excerpt":"","is_timeless":false,"organization_id":221,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'17':18B '2021':36B,116B '6pm':20B 'abrina':76B 'angel':79B 'ann':73B 'ann-mari':72B 'architectur':104B 'art':102B 'artist':61B 'attend':105B 'bailey':82B 'becom':56B 'black':41B,95B 'brown':3A,27B,81B,84B,110B 'center':93B 'convers':10A,65B 'depart':98B 'depaul':91B 'diaspora':96B 'dream':44B 'enough':8A,35B,115B 'event':107B 'exploit':53B 'film':30B 'follow':57B 'good':34B,114B 'hammond':75B 'histori':100B 'in-person':11A 'join':14B 'mari':2A,26B,74B,77B,80B,83B,87B,109B 'matter':51B 'matthew':78B 'might':55B 'mother':68B 'move':38B 'newest':29B 'niec':71B 'parker':86B 'person':13A 'rashayla':1A,25B,108B 'realiti':5A,31B,47B,111B 'saturday':16B 'screen':9A,23B,59B 'septemb':17B 'sister':69B 'sponsor':89B 'star':49B 'tribut':39B 'tv':48B 'us':15B 'william':88B 'women':42B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668584/xextjhqeaad1fus2g4jj.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669636/event_ics_1721669636054.ics","carousel":null,"category_name":"Talks"},{"id":9915,"title":"Octavia E. Butler Tarot Deck: A Conversation with adrienne maree brown and Krista Franklin (Online)","starts_at":"2022-09-28 18:00:00","ends_at":"2022-09-28 19:00:00","body":"Writer, activist, and facilitator adrienne maree brown and writer, performer, and visual artist Krista Franklin share a love for science fiction author Octavia E. Butler and recently collaborated on the Octavia E. Butler Tarot Deck, forthcoming with AK Press. Join them Wednesday, September 28 at 6pm for an online conversation about Butler, tarot, and more, moderated by Julie E. Moody-Freeman. Supported by DePaul’s Women's Center, Center for Black Diaspora, Department of Women’s and Gender Studies, and Department of History of Art and Architecture.
Photo: Anjali Pinto // Krista Franklin. Photo: zakkiyyah nabeejah dumas o'neal
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Presented by DePaul Art Museum in partnership with and supported by EXPO CHICAGO and DePaul’s Center for Black Diaspora. This program is also presented in partnership with Pigment International as a part of Black Fine Art Month.
*Event is free but registration is required. REGISTER HERE
Image credit: Cauleen Smith. Photo courtesy of the artist. Krista Franklin. Photo: zakkiyyah nabeejah dumas o'neal
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Solo(s): Krista Franklin draws on the artist’s vast range of materials and references, situated at the intersection of poetics, popular culture, and the dynamic histories of the African Diaspora. Franklin appropriates text and images from vintage magazine articles and other printed matter that she collects. Join Krista Franklin for an in-person conversation in DPAM's galleries to learn more about her artistic practice and inspirations.
Image: Krista Franklin, Blood Meridian (Or, DeVante at the Blood Meridian), 2019. Ink, chalk, charcoal, pencil, and collage on paper. Courtesy of the artist
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Artist Joiri Minaya will present about her practice and current works in the exhibition A Natural Turn. Minaya is a multi-disciplinary artist whose work investigates the female body within constructions of identity, multicultural social spaces and hierarchies.
This program is supported by DePaul’s Department of Latin American and Latino Studies and the Center for Latino Research
Image Credit: Joiri Minaya. Photo by Joel Gaal, courtesy of Red Bull House of Art
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Please join us for an online conversation with the artists of A Natural Turn, moderated by exhibition curator Ionit Behar, PhD. María Berrío (Colombian, b. 1982), Joiri Minaya (Dominican-United Statesian, b. 1990), Rosana Paulino(Brazilian, b. 1967), and Kelly Sinnapah Mary (Indo-Guadeloupean, b. 1981) will present their work in the exhibition and talk about their cross-cultural connections and their understanding of the “natural” seen through the prism of their own history.
Supported by DePaul’s Department of History of Art and Architecture.
Image: María Berrío . Photo by Brad Ogbonna. Courtesy the artist and Kohn Gallery; Joiri Minaya. Photo by Joel Gaal, courtesy of Red Bull House of Art; Rosana Paulino. Photo by Isabella Matheus; Kelly Sinnapah Mary. Photo credit: Soul
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Art for the Future: Artists Call and Central American Solidarities focuses on the seminal 1980s activist campaign, Artists Call Against US Intervention in Central America. Growing out of the friendships, solidarity networks, and political organizing amongst artists and activists such as Daniel Flores y Ascencio, Lucy Lippard, Doug Ashford, Leon Golub, and Coosje van Bruggen, the campaign resulted in exhibitions, performances, poetry readings, film screenings, concerts, and other cultural and educational events in over 27 cities across the United States and Canada, including Chicago. The exhibition highlights Artists Call’s history through a selection of activities and works from the 31 exhibitions and over 1,100 artists who participated in New York City and references Artists Call’s legacy today in new forms of inter-American solidarity networks and visual alliances.
This exhibition is organized by Tufts University Art Galleries (TUAG) and curated by Erina Duganne, Associate Professor of Art History, Texas State University and Abigail Satinsky, TUAG Curator & Head of Public Engagement. A fully illustrated, bilingual English-Spanish catalogue co-published by Inventory Press & Tufts University Art Galleries, is available at http://www.inventorypress.com.
Major support for the exhibition and catalogue was provided by The Andy Warhol Foundation for the Visual Arts, the National Endowment for the Arts, and the Institute for Studies on Latin American Art (ISLAA).
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Installation view of Art for the Future: Artists Call and Central American Solidarities. Photo: Chiara Conner.
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Installation view of Art for the Future: Artists Call and Central American Solidarities. Photo: Chiara Conner.
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","type":"Event","state":"published","slug":"the-man-who-envied-women-film-screening-and-discussion","created_at":"2023-03-31 17:26:32.583569","updated_at":"2024-06-06 19:43:42.565797","excerpt":"","is_timeless":false,"organization_id":221,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'discuss':9A 'envi':4A 'film':6A 'man':2A 'reserv':10B 'screen':7A 'spot':12B 'women':5A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668631/thaikw66tecso9ikkrk1.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669679/event_ics_1721669679607.ics","carousel":null,"category_name":"Talks"},{"id":10954,"title":"Art Projects For The Now: LL Proyectos & Casa Ma—A panel discussion on Central American Based Art Spaces (online)","starts_at":"2023-05-18 18:00:00","ends_at":"2023-05-18 19:00:00","body":"
","type":"Event","state":"published","slug":"art-projects-for-the-now-ll-proyectos-casa-ma-a-panel-discussion-on-central-american-based-art-spaces-online","created_at":"2023-03-31 17:24:10.551213","updated_at":"2023-03-31 17:45:27.147866","excerpt":"","is_timeless":false,"organization_id":221,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'american':15A 'art':1A,17A 'base':16A 'casa':8A 'central':14A 'discuss':12A 'll':6A 'ma':9A 'onlin':19A 'panel':11A 'project':2A 'proyecto':7A 'reserv':20B 'space':18A 'spot':22B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668631/zwnrvylevyma2rjustab.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669679/event_ics_1721669679630.ics","carousel":null,"category_name":"Talks"},{"id":10953,"title":"Revolutionary Filmmaking and Historical Memory in El Salvador: Seizing the Means of Projection","starts_at":"2023-07-15 17:00:00","ends_at":"2023-07-15 18:00:00","body":"
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Curated by Jacob Lindgren from Inga Books (Pilsen, Chicago) this film screening features various generations of Salvadoran filmmakers and activists showing what it means to seize the means of projection and make films for and by communities in control of their own stories. Films shown in the program include La Zona Intertidal (1980) by El Taller de los Vagos, a deceptively calm fictional essay on the detainment, torture and assassination of Salvadoran teachers, Carta de Morazán (1982) by Sistema Radio Venceremos, a portrait of rebel military life in guerilla-controlled Morazán, and ¿Por que nos organizamos? (2022) by Colectivo Audiovisual Guacamaya, a weaving of both historical struggles and contemporary activism which stresses the importance of maintaining historical memory alive as means to avoid repeating the past.
During the 1980s, against the backdrop of El Salvador's civil war, revolutionary groups engaged in armed struggle turned to filmmaking as an equally fundamental weapon against oppression, misinformation, and the erosion of historical memory. Working towards an urgent, agitational, and conscious-raising—or revolutionary—cinema, the documentaries produced often depicted life (and death) in the guerilla’s zones of control, featuring scenes of agricultural work, civic festivals, education environments, and combat. Often without concern for cinematic tradition, filmmaking took place across a patchwork of formats, recording techniques, and abilities, with film frequently lost, destroyed, or buried underground for safety by one film crew to be unearthed by another. Always a collective effort, with a film’s credits typically entirely pseudonyms, the period produced several revolutionary and guerrilla filmmaking units, such as the Farabundo Martí National Liberation Front’s in-house media collective Sistema Radio Venceremos and the Fuerzas Populares de Liberación’s Instituto Cinematográfico de El Salvador Revolucionario.
In collaboration with Carlos Henríquez Consalvi (“Santiago”), Museo de la Palabra y la Imagen, and Colectivo Audiovisual Guacamaya.
Presented in partnership with DePaul's Center for Latino Research.
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Opening this fall, DePaul Art Museum’s exhibition “Life Cycles” will include artworks from the museum’s permanent collection in conversation with contemporary Chicago artists who are not yet represented in the collection. With more than 50 artists, “Life Cycles” will feature paintings, sculptures, video, photography, drawings, installation and other multi-media work. Museum staff collaborated with DePaul University undergraduates to select artworks from the collection, write educational texts, and plan public programs.
The exhibition focuses on the processes and materials that structure and span life while also examining the life of art objects, and will run from September 7, 2023, through February 11, 2024.
“The DePaul Art Museum’s collection is an incredible resource of more than 4,000 objects, and this exhibition gives a glimpse at some of these works,” said Ionit Behar, associate curator. “The addition of the 10 Chicago artists not yet in the collection shows that a collection is never complete and should keep growing and changing with time. It has also been incredible to work with students on this project, all of them deeply involved with and passionate about the museum.”
Behar describes how the exhibition explores life without a linear structure, but instead “a marvelous tangle, where there is no beginning or end, where death is not the opposite of life, nor the truth or fulfillment of it.”
“Life Cycles” is curated by Behar, with contributions by David Maruzzella, collection and exhibition manager, and DePaul University students Spencer Bolding, Chiara Conner, Charlie Delgado, Zoe Hamilton, Ellie Naughton, Eli Schmitt, and Bernardo Soares.
The collaborative curatorial approach to “Life Cycles” is part of the Learning Studio initiative in partnership with Chicago artist and DePaul faculty member Jim Duignan. Together with Duignan’s Stockyard Institute, the museum is piloting a radical and groundbreaking approach to engagement, learning, and experimentation. This art education model champions intergenerational exchange and experimentation across the city through the mutual sharing of ideas and resources amongst artists, teachers, and students, with a fundamental shift and redefinition of current educational hierarchies and frameworks.
“Working on ‘Life Cycles’ has allowed me to dive deep into the museum’s wonderful collection and get to know each piece intimately,” said Soares, a rising sophomore at DePaul and the museum’s curatorial intern. “The museum has such a broad range of works that sometimes get overlooked. I have also loved working with such an extraordinary staff, creating connections and gathering experiences that I’m sure are going to last me a lifetime.”
Public programs in conjunction with the exhibition are set to include a performance and workshop with artist Natalia Villanueva Linares, a panel with the students who co-curated and programmed the show, a zine workshop and exchange, poetry events with Latinx writers, and more.
Featured artists in the exhibition include: Gertrude Abercrombie, Selva Aparicio, Iris Bernblum, Hugo Brehme, Gérard Castello-Lopes, Barbara Crane, Brendan Fernandes, Theaster Gates, Leon Golub, Nancy Hild, Laurie Hogin, Elnaz Javani, Jenny Kendler, Mayumi Lake, Nathan Lerner, Laura Letinsky, Natalia Villanueva Linares, Maryan S. Maryan, Devin T. Mays, Susan Michod, Abelardo Morell, Elsa Muñoz, Laurel Nakadate, William J. O'Brien, Sabina Ott, Angel Otero, Chris Pappan, Dan Peterman, Michael Rakowitz, Seymour Rosofsky, Hollis Sigler, Bibiana Suárez, Julia Thecla, Alberto Ortega Trejo, Selina Trepp, Chris Vasell, Miwa Yanagi, Nate Young, Claire Zeisler, and more.
Support for the exhibition and related programming is provided by the Terra Foundation for American Art and DePaul University's Vincentian Endowment Fund.
DePaul Art Museum is located at 935 W. Fullerton Ave. on DePaul University’s Lincoln Park Campus. The museum is open 11 a.m. – 7 p.m. Wednesday and Thursday and 11 a.m. – 5 p.m. Friday, Saturday and Sunday. It’s closed Monday and Tuesday. Admission is free. Additional information is online or by calling 773-325-7506.
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Artists Le’Ana Asher and Chris Pappan are joined by DePaul students Angelina Alvarez and Salise Sepulveda from DePaul Native American & Indigenous Student Association (NAISA) to converse about displacement and the value of land acknowledgement. How should we acknowledge the peoples of this land on our campus? What is beyond land acknowledgements? How do we engage our community in this learning process? In what ways are land acknowledgments living documents and how to address that?
Organized by DePaul Art Museum, DePaul’s Latinx Cultural Center, Office of Institutional Diversity & Equity, and Division of Student Affairs.
Image: Chris Pappan, Dreaming of the Supper Break (Grease Fire!), 2020. Mixed media on ledger paper. Collection of DePaul Art Museum, 2020.06.
","type":"Event","state":"published","slug":"indigenous-peoples-day-celebration","created_at":"2023-10-12 14:47:51.504787","updated_at":"2023-10-12 14:47:51.534221","excerpt":"","is_timeless":false,"organization_id":221,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2020':112B '2020.06':123B 'acknowledg':39B,43B,56B,72B 'address':78B 'affair':99B 'alvarez':18B 'american':25B 'ana':7B 'angelina':17B 'art':83B,121B 'artist':5B 'asher':8B 'associ':28B 'beyond':54B 'break':109B 'campus':51B 'celebr':4A 'center':89B 'chris':10B,103B 'collect':118B 'communiti':62B 'convers':31B 'cultur':88B 'day':3A 'depaul':15B,23B,82B,85B,120B 'displac':33B 'divers':93B 'divis':96B 'document':74B 'dream':105B 'engag':60B 'equiti':94B 'fire':111B 'greas':110B 'imag':102B 'indigen':1A,26B 'institut':92B 'join':13B 'land':38B,48B,55B,71B 'latinx':87B 'le':6B 'learn':65B 'ledger':116B 'live':73B 'media':114B 'mix':113B 'museum':84B,122B 'naisa':29B 'nativ':24B 'offic':90B 'organ':80B 'paper':117B 'pappan':11B,104B 'peopl':2A,45B 'process':66B 'regist':100B 'salis':20B 'sepulveda':21B 'student':16B,27B,98B 'supper':108B 'valu':36B 'way':69B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668662/kt1eupaic4sktsd5y7wz.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669710/event_ics_1721669709478.ics","carousel":null,"category_name":"Talks"},{"id":11751,"title":"Lincoln Park Art Night 2023","starts_at":"2023-11-02 17:30:00","ends_at":"2023-11-02 20:30:00","body":"Lincoln Park Art Night is coming up for its second year in a row! Visit DPAM, Gallery 1871, Leslie Wolfe Gallery, and Madron Gallery all for FREE! Complementary trolley rides will take you to and from each location, with food and beverages offered at some. Start anywhere at any time during the posted hours. Registration is not required, but helpful!
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","type":"Event","state":"published","slug":"we-remember-who-were-so-we-can-find-the-other","created_at":"2023-11-08 20:13:08.766488","updated_at":"2024-06-06 19:43:49.184308","excerpt":"","is_timeless":false,"organization_id":221,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'659':63B 'art':57B 'ash':50B 'audienc':41B 'ava':20B 'avatar':87B 'bodi':81B 'brand':12B 'brand-new':11B 'brathwait':17B 'brathwaite-shirley':16B 'challeng':73B 'collabor':14B,60B 'construct':44B,85B 'context':69B 'daniell':15B 'depaul':56B 'explor':80B 'find':8A,35B 'game':71B 'host':53B 'human':52B 'live':65B 'museum':58B 'must':42B 'navig':43B 'new':13B,46B 'notion':75B 'passiv':77B 'perform':25B,66B 'polit':82B 'regist':88B 'rememb':2A,28B 'roleplay':24B 'shirley':18B 'spectatorship':78B 'stage':22B 'titl':26B 'use':67B 'wanbl':21B 'world':47B 'wrightwood':62B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668667/s4dxbj9m7czv6s57jwff.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669714/event_ics_1721669713986.ics","carousel":null,"category_name":"Performance"},{"id":11841,"title":"Drag Up: Karmaklubb* X DPAM in collaboration with Brendan Fernandes","starts_at":"2023-11-17 18:00:00","ends_at":"2023-11-17 20:00:00","body":"Please join us for a two-day celebration of queerness and the art of Drag and related expressions. In collaboration with Karmaklubb* and artist Brendan Fernades, this will be a weekend of international exchange anchored in the local Chicago scene.
Supported by the Office for Contemporary Art Norway and the Norway Ministry of Foreign Affairs. Presented in partnership with DePaul University's John T. Richhardson Library, Department of LGBTQ Studies, and the LGBTQIA+ Center.
Day 1: Screening & Panel Discussion
Friday, November 17, 6-8pm
Metamorphosis (2018; 25:23 min) by Marte Gunnufsen. Metamorphosis is filmed in Chicago at Berlin Nightclub, with drag artists Lucy Stoole and Benji Morino / Girlboifriend.
Queen! (2018; 4:19 min) by Marte Gunnufsen is named after the weekly drag event at smartbar in Chicago.
Queering the Museum — Preus (2022) by Karmaklubb* with Cassie Brødskive and Frida Marida presenting a raw response — touching, teasing, and perceiving the architecture of the Preus Museum in Horten, Norway.
Day 2: Draglesque/Burlesque show with Oslo and Chicago artists
Saturday, November 18, 5-7pm
Participants from Oslo, Norway: Tine Semb / Karmaklubb* + Mary Ann Skretteberg Andersen / Phoenix D'vine + Hani Assaf / Frida Marida + Jens Martin Hartvedt Arvesen / Cassie Brødskive + Carina Carlsen / Fifi von Tassel + Peter Ramthun / Eliza Fierce + Marte Gunnufsen
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The Image Pool explores works in DePaul Art Museum’s collection typically described as “folk,” “self-taught,” “outsider,” or “intuitive,” due to their creators’ seeming distance from the institutional sanctions of art schools, museums, galleries, and mainstream commercial success. Intentionally problematizing the insider/outsider distinction, this exhibition instead frames these works as exemplary of what it means to be a contemporary artist rather than an exception.
The six artists on view—Eugene Von Bruenchenhein, Mr. Imagination, Marva Lee Pitchford-Jolly, June Wayne, Derek Webster, Joseph Yoakum—do not neatly fit into pre-made categories. Some, such as Yoakum, took up drawing later in life and was soon championed by established artists for his imaginative landscapes depicting all the places to which the artist had supposedly traveled. Others, such as Von Bruenchenhein, produced thousands of works in various media over decades that failed to capture the attention of gallerists and collectors before his death. Wayne, by contrast, achieved recognition at an early age despite dropping out of high school to pursue art and would later become one of the most important American printmakers of the 20th century. All, however, asserted themselves as artists—culling aesthetic material from personal and imagined histories, the ambient culture, and the detritus of the modern world—in spite of the institutions and infrastructure that still to this day value pedigree, training, and financial success above all else.
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Responding to the architecture of the museum, Aparicio creates new site-specific works as well as remakes previous ones such as Childhood Memories, where the artist carves her own childhood rug into the wooden floor. Aparicio digs deep into ideas of memory, death, intimacy, and mourning. Born and raised in the woods just outside of Barcelona, Spain, she found solace in nature from a young age and cultivated a profound interest in life and death as inspired by the natural world around her. Working with nature's ephemera, including dandelions, rose petals, lettuce leaves, and taxidermied animals, among other materials, her practice is an extended death ritual which foregrounds a reverence for the deceased and discarded. Partly inspired by her own story as well as those of others, Aparicio's works present difficult topics and harsh realities but also offer healing through beautiful and minimal installations.
Selva Aparicio: In Memory Of is curated by Ionit Behar, Ph.D., Curator, and organized by DePaul Art Museum as part of the ongoing Learning Studio initiative. Thanks to DePaul students Zoë Hamilton and Bernardo Soares. Support for this exhibition is provided by The Women's Center at DePaul University.
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Image: Eugene Von Bruenchenhein. (American, 1910-1983). Untitled (No. 946), 1962. Pigment on cardboard. Collection of DePaul Art Museum, gift of Jean and Lewis Greenblatt, 2009.199
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Using a diverse array of materials, techniques and traditions — from folk art to modernism and 21st-century technology — these creative practitioners grapple with the complexities of placemaking across time and space. They interrogate and reflect on the layered socio-spatial histories of built environments. While most works included in the exhibition were not created in direct dialogue with Miller, many aspects of his legacy remain relevant, including a spirit of collaboration, a commitment to craftsmanship and a belief in the importance of function and public address of art.
The Edgar Miller: Anti-Modern, 1917–1967 and The Spaces We Call Home exhibitions are made possible through major support from the Terra Foundation for American Art as part of their 2024 Art Design Chicago initiative. “It promises to be an inspiring journey through the work of a true visionary whose contributions continue to resonate with creative practitioners today,” said de Lara.
DePaul Art Museum is located at 935 W. Fullerton Ave. on DePaul University’s Lincoln Park Campus. The museum is open 11 a.m. – 7 p.m. Wednesday and Thursday, and 11 a.m. – 5 p.m. Friday, Saturday and Sunday. Admission is free to everyone. Additional information is available online at https://artmuseum.depaul.edu/ or by calling 773-325-7506.
Edgar Miller (1899–1993) arrived in Chicago in 1917, and over the next fifty years, established a successful career as a multi-hyphenate creative practitioner. He worked as an architect, artist, craftsperson, curator, designer, and illustrator during a particularly rich period that saw the ascendancy of modernism across the visual culture of the city. Though aware of contemporary developments and debates, Miller’s tremendous body of work, which spanned multiple mediums, materials, and disciplines, speaks to an individual unconcerned with trends, labels, or what became the established tenets of modern art. While developing a signature style, he never embraced the aesthetics of geometric abstraction, “art for art’s sake,” subjective expressionism, or the machine age. He instead remained committed to figurative storytelling and representing the natural world, creating work that was intended to be experienced across the built environment. Miller’s work reflects a bricolage approach to making, often utilizing found or repurposed materials and drawing on a diverse range of cultural, contemporary, and often seemingly anachronistic influences. He also notably embraced a mode of making that was collaborative and collective rather than driven by the vision of a sole artistic “genius.”
Miller and his collaborators left an indelible mark on Chicago, and a significant number of his projects, including the so-called handmade homes and artist colonies in the Old Town and Lincoln Park neighborhoods, remain in situ across the city and its environs. Over the past century, however, these contributions have become hidden in plain sight, their significance largely forgotten. There is no centralized archive or repository for this history of Chicago, and the copious amount of work that Miller did not create for specific architectural projects has been dispersed. As a result, a comprehensive retrospective of Miller’s work and the role played by his collaborators is impossible. Too much is lost and uncertain—or still embedded in the urban fabric of the city and thus unable to be shown in the galleries of a museum. Edgar Miller: Anti-Modern, 1917–1967 offers instead a selection of what remains, of what is known: architectural fragments, parts of murals, proofs of book pages; sketches and photographs of projects realized and unrealized; intimate treasures of moments past; vestiges of printed matter; and bits of ephemera. Together these pieces present a story of an innovative, resourceful polymath but, perhaps more importantly, a fragmented yet richly textured counter cultural history of Chicago—one not defined by the less is more philosophy of modernism but still grounded in ingenuity and imagination.
Guest curated by Dr. Marin R. Sullivan, Edgar Miller: Anti-Modern, 1917–1967 is the most extensive solo presentation of Miller’s work to date and will feature approximately 85 fragments, artworks, graphics, and pieces of ephemera reflecting all facets of Miller’s career, including representative examples of his drawing, painting, sculpture, printmaking, illustration and graphic design, textiles, ceramics, jewelry, woodcarving, stained glass, interior design, and architectural projects. Because so much of Miller’s career was spent working collaboratively, the exhibition will also include pieces created by some of Miller’s colleagues and influential contemporaries, including Hester Miller Murray, Andrew Rebori, and Jesús Torres.
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Over the course of his career, Edgar Miller realized numerous private and public commissions across the United States, with the largest concentration in the Chicagoland area. Many of these projects, which include architectural structures, large scale sculptures and reliefs, murals, stained glass, and other ornamental elements, are still extant or in situ today. In conjunction with DePaul Art Museum’s exhibition Edgar Miller: Anti-Modern, 1917–1967, please join us for a series of short presentations highlighting Miller’s commissioned work in public settings. Panelists include: Marin R. Sullivan, Jenn Marshall, Craig Lee, and Eliot Taillon.
Stop by DePaul Art Museum (DPAM) anytime between 10:00 am – 1:00 pm for Family Day! The Museum is partnering with the Chicago Mosaic School (CMS) for a hands-on workshop led by CMS faculty. Participants create small mosaics inspired by Edgar Miller’s stained glass and design works featured in DPAM’s exhibition Edgar Miller: Anti-Modern, 1917-1967.
The Chicago Mosaic School is a non-profit organization dedicated to advancing the fine art of mosaics and providing educational opportunities for comprehensive study with an academic, materially oriented approach to Mosaic Art. They aim to increase awareness and appreciation for the ancient art form, and create an open and inclusive community for learning and sharing expertise, while developing the medium within a contemporary context.
This program is intended for all ages and is part of DPAM’s Learning Studio initiative with the Stockyard Institute. Please register.
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Born in Argentina and working in Mexico City over the last decade, Ana Gallardo's search as an artist and the vicissitudes of her private life have coexisted fully. She has dealt with different planes of violence as an artist and educator and is currently focusing on the violence of aging.
Please note: Gallardo's presentation and subsequent conversation with Behar will take place in Spanish, with a live English translation.
Image: Ana Gallardo, Estuio para la restauracion de un perfil, CA2M, Madrid, 2024.
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Join us in the at the DePaul Art Museum for an in-depth discussion with Northwestern University associate professor emeritus of art history Robert Linrothe on his in situ research of relics of the Himalayan region.
Thursday, February 6, 2025, 6pm
Join us for a guided tour with the artists featured in DePaul Art Museum’s current exhibition The Spaces We Call Home as they discuss their practices and processes, providing insight into the projects displayed. Presenters include Kazuki Guzmán, Ania Jaworska, Sharon and Guy, and Claudia Weber.
DePaul Art Museum announces the opening of its spring exhibition, “Christina Fernandez: Multiple Exposures.” This show surveys the work of Fernandez, a Los Angeles-based artist who from the late 1980s to the present has conducted a rich exploration of migration, labor, gender, and her Mexican American identity through photography. “Multiple Exposures” will open March 20 and run until Aug. 3 at the museum, located on DePaul University’s Lincoln Park Campus.
“DePaul Art Museum is pleased to bring the work of Christina Fernandez to Chicago audiences this spring as a continuation of our commitment to highlighting Latinx stories in our exhibitions and programs,” said Laura-Caroline de Lara, director of DPAM. “This exhibition grapples with themes that ring true in Chicago as well as LA. We hope that the conversations that spring out of the Chicago iteration of the show and its programming will create new geopolitical and cultural understandings for our university students and neighbors.”
Bringing together the artist’s most important bodies of work for the first time, Fernandez’s retrospective highlights the experiences of Mexican Americans, from border-spanning family histories to contemporary “lavanderías,” or laundromats. Fernandez also portrays the realities of being an artist, professor, and mother through series that acknowledge both the beauty and the instability of a creative life.
The exhibition’s title, “Multiple Exposures,” refers not only to a photographic technique but also to the artist’s revealing of that which is often hidden away, including fraught racial histories and the mistreatment of precarious communities. The exhibition evokes the artist’s self-exposure as a woman and the vulnerability of certain communities to exploitation and displacement. Whether staged or candid, Fernandez’s photographs record touch and mark-making, engaging the medium’s distinct ability to convey surfaces — the surfaces of bodies, architecture, and the images themselves.
“Christina Fernandez brilliantly weaves self-portraiture, family history, the built environment and broader Latinx narratives into her work,” said Ionit Behar, curator. “Her photography illuminates the rich complexities of Latinx identity and invites viewers to actively engage with the layers of her imagery.\"
Planned programs include an exhibition walkthrough with Fernandez, a family-oriented workshop on self-portraiture as part of DPAM’s Learning Studio ongoing Family Day series, a panel with local artists on Chicago Latinx photography and a podcast interview with the artist to be released in partnership with the Museum of Contemporary Photography at Columbia College Chicago.
The traveling exhibition is organized by UCR ARTS and curated by Joanna Szupinska, senior curator at the California Museum of Photography; Chon Noriega, distinguished professor of film, television, and digital media at UCLA, is the curatorial advisor. Behar organized the presentation of this exhibition at DPAM. This exhibition was made possible by grants from The Andy Warhol Foundation for the Visual Arts and the National Endowment for the Arts. DePaul Art Museum’s iteration of the exhibition and accompanying programs is generously supported by the Teiger Foundation and Vincentian Endowment Fund. An opening reception will be held on March 20 from 6 – 8 p.m.
Image credit: Christina Fernandez, \"Lavanderia #1,\" 2002. Archival pigment print. From the series Lavanderia. Courtesy Los Angeles County Museum of Art, Ralph M. Parsons Foundation.
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Christina Fernandez: Multiple Exposures will open March 20, 2025 at DePaul Art Museum and run until August 3, 2025. Planned programs include an exhibition walkthrough with Fernandez, an all ages workshop with artist Victoria Martinez as part of DPAM's Learning Studio programming, a panel with local artists on Chicago Latinx photography and a podcast interview with the artist to be released in partnership with the Museum of Contemporary Photography at Columbia College Chicago.
","type":null,"state":"published","slug":"exhibition-walkthrough-with-christina-fernandez","created_at":"2025-03-05 18:57:11.535","updated_at":"2025-03-05 18:57:11.535","excerpt":"","is_timeless":false,"organization_id":221,"highlighted":true,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1980s':16B '20':42B '2025':43B,53B '3':52B 'age':64B 'american':31B 'angel':8B 'angeles-bas':7B 'art':46B 'artist':10B,67B,82B,93B 'august':51B 'base':9B 'chicago':84B,108B 'christina':4A,11B,35B 'colleg':107B 'columbia':106B 'conduct':20B 'contemporari':103B 'depaul':45B 'dpam':73B 'exhibit':1A,58B 'explor':23B 'exposur':38B 'fernandez':5A,12B,36B,61B 'gender':27B 'ident':32B 'includ':56B 'interview':90B 'labor':26B 'latinx':85B 'learn':75B 'local':81B 'los':6B 'march':41B 'martinez':69B 'mexican':30B 'migrat':25B 'multipl':37B 'museum':47B,101B 'open':40B 'panel':79B 'part':71B 'partnership':98B 'photographi':34B,86B,104B 'plan':54B 'podcast':89B 'present':19B 'program':55B,77B 'releas':96B 'rich':22B 'run':49B 'studio':76B 'victoria':68B 'walkthrough':2A,59B 'workshop':65B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1741201012/nwa4bfkc2grzasd7dwbj.jpg","calendar":null,"carousel":false,"category_name":"Tours"},{"id":18431,"title":"Chicago Photography Student CompetitionLatinx","starts_at":"2025-05-01 17:00:00","ends_at":"2025-05-01 18:00:00","body":"In partnership with the Museum of Contemporary Photography at Columbia College Chicago (MoCP), DPAM presents the release of the episode with Christina Fernandez in Focal Point Podcast Series. Focal Point is a podcast exploring the artists, themes, and processes that define—and sometimes disrupt—the world of contemporary photography. Each episode engages an artist and their choice from the Museum of Contemporary Photography’s permanent collection. In this episode, Los Angeles-based Christina Fernandez joins MoCP's Executive Director Natasha Egan. Fernandez's exhibition Multiple Exposures is on view at DPAM from March 20-August 3, 2025.
","type":null,"state":"published","slug":"episode-release-of-christina-fernandez-in-focal-point-podcast","created_at":"2025-05-08 20:29:03.033","updated_at":"2025-05-08 20:29:03.033","excerpt":"","is_timeless":false,"organization_id":221,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'20':104B '2025':107B '3':106B 'angel':81B 'angeles-bas':80B 'artist':45B,63B 'august':105B 'base':82B 'chicago':21B 'choic':66B 'christina':4A,31B,83B 'collect':75B 'colleg':20B 'columbia':19B 'contemporari':16B,57B,71B 'defin':50B 'director':89B 'disrupt':53B 'dpam':23B,101B 'egan':91B 'engag':61B 'episod':1A,29B,60B,78B 'execut':88B 'exhibit':94B 'explor':43B 'exposur':96B 'fernandez':5A,32B,84B,92B 'focal':7A,34B,38B 'join':85B 'los':79B 'march':103B 'mocp':22B,86B 'multipl':95B 'museum':14B,69B 'natasha':90B 'partnership':11B 'perman':74B 'photographi':17B,58B,72B 'podcast':9A,36B,42B 'point':8A,35B,39B 'present':24B 'process':48B 'releas':2A,26B 'seri':37B 'sometim':52B 'theme':46B 'view':99B 'world':55B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1746736117/jrkelb9lswktt38odp7x.jpg","calendar":null,"carousel":false,"category_name":"Special Event or Closing Reception"},{"id":18904,"title":"Panel on Chicago Latinx Photography","starts_at":"2025-05-15 19:00:00","ends_at":"2025-05-15 20:00:00","body":"Join us for a conversation with artists Jonathan Michael Castillo, Teresita Carson, Juan Molina Hernandez, and Jonathan Vega, moderated by DPAM’s Curator Ionit Behar. Based in Chicago and exploring their Latinx identity, these artists tackle themes of immigration, displacement, belonging, grief, memory, and lineage.
In partnership with Gertie and Early Work with support from DePaul's Center for Latino Research and Latitude.
Image credits:
Juan Molina Hernández, para no desaparecer: doble filo I (not to disappear: double edge I) (detail), 2022. Found frames, found glass shards, archival inkjet print. Courtesy of the artist.
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Image credits:
Victoria Martinez, Batman incognito at the U.S. / Mexican border, 2019, Yale University School of Art.
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Curator and faculty member Lazú is recognized as a leading scholar of the Young Lords Organization and helped establish DePaul's Young Lords special collections archive as a destination of study on social movements.
The exhibition explores the origins of the movement, emphasizing the concept of counter-mapping as a means of activism and community empowerment. Counter-mapping is a mapmaking approach that challenges narratives upheld by traditional maps, representing elements of a place that may have been overlooked or intentionally erased.
The exhibition features archival materials, historical artifacts, photography, murals and prints, with works by Carlos Flores, Ricardo Levins Morales and John Pitman Weber. It also includes newly commissioned work by Sam Kirk and a central multimedia installation by Arif Smith with Rebel Betty, inviting visitors to engage with one of the most influential movements in Latinx civil rights history, rooted in the everyday struggles of a Chicago neighborhood.
\"Tengo Lincoln Park en mi corazón confronts the erasure of the spaces that gave rise to the Young Lords’ fight for justice,” said Lazú. “These works reclaim that ground, making visible the neighborhood that shaped the movement and insisting that its memory of struggle and community endures.\"
Image credit: A member of the Young Lords writes in chalk as a family looks on during a Puerto Rican heritage festival at the Armitage Methodist Church, 1969. ST-40001976-0057, Chicago Sun-Times collection, Chicago History Museum.
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Manglano-Ovalle’s solo exhibition at DePaul Art Museum presents site-specific works that are both familiar and opaque, encouraging viewers to confront ambiguity and engage in deeper contemplation. Our experiences are never predetermined; they exist at the intersection of the private and the public, the personal and the shared. However deeply felt, they are also open to examination. Manglano-Ovalle’s work calls us to inhabit the present moment fully, urging us to consider: How does the work draw us in, and how do we, in turn, respond to it—right here, right now?
Iñigo Manglano-Ovalle’s exhibition is curated by Ionit Behar, PhD, and organized by DePaul Art Museum.
Image credit: Iñigo Manglano-Ovalle, Untitled, 2023. Pine and graphite. Courtesy of the artist.
Witches are guardians of suppressed forms of knowledge; they channel ancestral wisdom and embodied practices that have long been dismissed or feared. Visionary agents of transformation, spiritual practitioners conjure alternative futures through acts of resistance, imagination, and care. Witches, Bitches: Witchcraft as Empowerment explores the rise of the occult, new spirituality, and magic in contemporary culture, and reads it as a symptom of undergoing social transformations. Featuring contemporary artists who challenge dominant systems of patriarchy and colonialism to reclaim power on their own terms, this exhibition situates the practice of witchcraft into the past, present, and future acknowledging it as a form of feminist and political empowerment, and a radical proposition for a fully decolonial way of being.
Witches, Bitches brings together works that engage with the iconography, stereotypes, and active practices of witchcraft to explore themes of spiritual power, collective energy, alternative cosmologies, and environmental consciousness. The exhibition features works spanning from the 1970s to the present by about thirty women-identifying international artists from different generations. Some of them self-identify with witchcraft or draw on practices of magic and spirituality, while others engage these themes through a critical and defiant lens. The exhibition will be accompanied by a robust public program including a talk series with public scholars and authors specializing in witchcraft, workshops in spell-casting with witchcraft practitioners, programming for families, performances, panel discussions with artists from different generations, and film screenings.
Witches, Bitches: Witchcraft as Empowerment is co-curated by Ionit Behar, PhD, DPAM Curator, and Magdalena Moskalewicz, PhD, Chief Curator and Associate Director for Curatorial Affairs, Sheldon Museum of Art, and organized by DePaul Art Museum. Support for this exhibition is provided by The Andy Warhol Foundation for Visual Arts.
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Image credit: Tirtzah Bassel, Four Sweepers of the Apocalypse, 2025. Oil on canvas. 72 x 96 in. Courtesy of the artist.
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About the Exhibition:
In A Want for Nothing, Iñigo Manglano-Ovalle (b. 1961) presents a new body of work that invites us to meditate on the role of art in society. His practice challenges traditional ideas of function and beauty by crafting objects that appear utilitarian but reveal unexpected meaning—or functionality—often tied to larger sociopolitical or environmental issues. With a deep commitment to the sensory and intellectual experience of the viewer, Manglano-Ovalle asks us to slow down and confront ambiguity, encouraging a contemplative encounter that blurs the boundary between personal and shared experience. This site-specific installation draws us into the present moment and poses a resonant question: How do we respond to the work, right here, right now?
About Let’s Talk About Art:
Let’s Talk About Art is part of Hyde Park Art Center’s Artful Aging programming, designed to nurture curiosity, creativity, and connection for adults aged 65+. Each session offers a welcoming space to explore art and ideas—together—with no prior experience required.
“I start with a line–anywhere. A desire to open the space to uncover the reality living deep within.”
-Barbara Nessim
Since the 1960s, Barbara Nessim (b. 1939) has developed a unique visual language in painting and drawing that challenges traditional gender norms. As one of the first women to gain prominence in the male-dominated world of commercial art and illustration, Nessim’s work confronts stereotypes about femininity and sexuality, while also celebrating the agency of women. In every facet of her work—whether as a visual artist, illustrator, designer, teacher, or archivist—Nessim’s practice is guided by an insatiable curiosity, driving her to continually explore new ideas, techniques, and mediums. A pioneer in computer art during the 1980s, Nessim has had an impact far beyond the art world, including fashion, advertising, and pop culture. By consistently challenging norms and pushing the boundaries of artistic expression, Nessim continues creating work that is as relevant and resonant today as it was when she first began her career.
Barbara Nessim’s solo exhibition at DePaul Art Museum—her first one in Chicago—includes paintings, drawings, computer art prints, a site specific installation, with special emphasis on the artist’s sketchbooks or her “forever books,” as she calls them, which have been instrumental to her creative process. “The books tell the story, they see it all, the good parts, the bad, and the ugly. Nothing escapes. Nothing edited. It’s the rule [...] It must have a beginning and an end, just as I live my life.”
Barbara Nessim: My Compass Is the Line is organized by DePaul Art Museum and curated by Ionit Behar, PhD.
Image: Barbara Nessim, Women with Mask, 1966. Photo by David Smith.
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This exhibition is Alice Tippit’s first museum solo presentation and is accompanied by a fully-illustrated catalog published by DePaul Art Museum, distributed by the University of Chicago Press, designed by Omnivore, with essays from Ionit Behar, Johanna Fateman, and Mary Simpson.
Alice Tippit: Rose Obsolete is organized by DePaul Art Museum and curated by Ionit Behar, PhD.
Image: ALICE TIPPIT, Fool, 2022, Oil on canvas, 13\" x 10\" x 1\"
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DPAM's student staff wishes to embrace change with an emphasis that artwork as a resource must always come first. Curated with input from DePaul students, staff, alumni, and the public, this exhibition aims to highlight the strength, interconnectedness, and resilience of Chicago's arts community. Whether you are an artist, a student, a teacher, or a visitor, there is something in this show for you.
Browse the full collection here.
For Chicago, With Chicago is organized by DePaul Art Museum and curated by the people, with the assistance of DPAM interns Seijii Robinson, Jessica Saunders, and Bernardo Soares, Arthur D. James Museum Studies Fellow Eden Nisam, and DPAM Delegates Madeline Dickerson, Dali Estrada, Kayla Hodge, Sabrina Kalmans, Eloise Lyons, Bridget Ryan, Reece Tao, Ben Wertz, and Erin Zeman. General support for DPAM is provided in part by the Department of Cultural Affairs and Special Events CityArts program and the Illinois Arts Council.
Image: Melissa Ann Pinney, \"JaKolbi D'Angelo Lard,\" 2019. Archival pigment print. Collection of DePaul Art Museum, Art Acquisition Endowment Fund, 2025.02.03
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