Conceived with the vision to return Epiphany to a place for people to once again congregate, the shuttered historic Church of the Epiphany has been preserved and adapted into an iconic cultural hub ‘For the Good of Art, Entertainment and Events.
Thoughtfully designed, the exemplary 42,000 square foot campus boasts three distinct venues and a stunning array of amenities, including eight art galleries, a commercial and catering kitchen, cafe and bar, VIP suite and a collection of artistically appointed outdoor spaces: a charming quarter-acre courtyard, spacious terrace and stunning patio with lounge seating. Epiphany’s diverse and inclusive arts programming serves to unite artists, while bringing the community together at Chicago’s newest cultural destination for art, music, and entertainment.
For more information about art exhibitions and events, contact art@epiphanychi.com
Photo: Tom McDonald
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THE SACRISTY GALLERY
November 6, 2020 – January 10, 2021
In their exhibition Inter-Flux, artists Mayumi Lake and Holly Cahill explore the concepts of change and impermanence. Both artists embrace ambiguity in their work, creating objects that slide easily between abstraction, representation, fine art and craft. They examine how we use processes like sewing, painting and photography to make sense of an uncertain world, to give shape to the otherwise formless and to capture fleeting moments in our lives. In addition to examining the role of flux, the artists look at the impact that cultural and personal mythologies have on how we interpret the world.
Exhibition viewing appointments are FREE. We are open by appointment only starting November 6, 2020. To make an appointment during business hours or inquire about the artwork, please contact us at art@epiphanychi.com. To make a reservation to attend the private opening of this exhibition, click the button below.
As a Japanese immigrant who has been living in the U.S for over 20 years, Mayumi Lake makes objects that float between states: East and West, longing and hope, memories and oblivion and past and future. In Japan, an awareness of life’s temporary nature is called “Mono-No-Aware”. This acknowledgment of impermanence drives Lake to preserve the past, seeking to archive the forgotten and the obsolete. In her Unison series, Lake explores the ancient Japanese tradition of Housage (pronounced Housou-gae) flowers. In times of political chaos and upheaval, people filled sacred prayer sites with bright, boldly-colored flowers which they believed would calm their despair and bloom for them in the afterlife. Unison is an ongoing sculptural-photographic series that offers interpretations of these mythic and heavenly flowers. She constructs these blossoms using motifs taken from vintage kimonos. The use of the kimono goes beyond being just a reference to Lake’s Japanese heritage; it signifies a dying cultural tradition. Indeed, the works from Unison appear to float free from the gallery walls like dissipating clouds or fading memories.
Process and uncertainty are crucial to Holly Cahill’s practice, which she approaches as a puzzle that has many potential outcomes. By combining various methods of painting, fibers, sculpture, drawing, collage and print, she invites chance and repetition into her work as a way of loosening her grip on how it ultimately unfolds. She draws inspiration from the shared spaces we inhabit, as well as the traditions that we pass down from generation-to-generation such as quiltmaking. Rather than referencing any single place, Cahill’s sewn canvases, layered collages, and paintings featuring illuminated marks point to patterns drawn from both the natural and artificial worlds. The emergence of systems, and their eventual collapse, are central to Cahill’s art. In her Diagram series, patterns emerge from fields of color like road maps to nowhere before transforming into traces of light that fade away. Works from Study of Thorns grow out of the wall like vines seeking the sun, only to turn back onto themselves to become a thatch of abstract lines and watercolor brushstrokes.
One of Cahill’s favorite architectural forms is the portal, which is typically depicted as a device or door that enables the body to pass from one space to another. She is particularly interested in combining this idea of a threshold that can bend the rules of time and space with its counterpart in our everyday experience. Cahill believes that doing so creates a space for us to consider the possibilities of what lies beyond our comprehension while we remain connected to what we see in front of us.
Epiphany Center for the Arts is proud to celebrate the work of BUILD Chicago and Arts of Life, two Chicago non-profits that inspire growth and transformation through the power of art. This exhibition offers a diverse selection of artwork from their artists and also showcases the unique and important contributions these organizations make to the Chicago art community.
Exhibition viewing appointments are FREE. We are open by appointment only starting November 6, 2020. To make an appointment during business hours or inquire about the artwork, please contact us atart@epiphanychi.com. To make a reservation to attend the private opening of this exhibition, click the button below.
About BUILD Chicago
BUILD (Broader Urban Involvement & Leadership Development) is one of Chicago’s leading gang intervention, violence prevention and youth development organizations. Their mission is to engage at-risk youth in schools and on the streets to help them realize their potential and contribute to their communities. Since 1969, BUILD has helped thousands of young people transform their lives, and today reaches over 6,500 youth and families annually with caring adult mentors and a rich variety of experiences in the arts, athletics, college & career preparation, entrepreneurship, leadership development, technology and mental health programming.
The BUILD Arts Academy was launched in 2016 by Ric Miranda, a talented member of their gang intervention team whose art drove his own transformation. This program reflects the activist zeal of BUILD’s youth, amplifying their marginalized voices and celebrating the creativity, vision and leadership they have inside. BUILD believes that art has the unique ability to help young people process the complex emotions born from navigating life in their underrersourced and traumatized communities on the South and West Sides. Youth in these areas face the sustained trauma of community violence. BUILD fosters their understanding of the power of art to draw attention to inequities and other difficult truths and helps them discover and cultivate their voices, working with them to inspire one another and their communities to effect change.
About Arts of Life
Arts of Life advances the creative arts community by providing artists with intellectual and developmental disabilities a collective space to expand their practice and strengthen their leadership. Arts of Life is a 501(c)3 non-profit founded in January 2000 with a shared vision: to create a working, person-centric, artistic community while providing a work environment of equality in Chicago. Motivated by founding artist Veronica Cuculich, along with two co-directors, Arts of Life brought nine other individuals with developmental disabilities to create the organization they are today. Their shared vision grew from a passion for artistic expression and a need for an alternative system.
For artists at Arts of Life, a career in the visual arts is an opportunity for meaningful employment. Each artist has their own studio space and works independently from individualized project plans or receives 1:1 visual arts facilitation to increase their artistic skill set. Artists earn a monthly stipend for participation in the program with eligibility to receive bonuses based on personal annual art sales. Today, they have two professional art studios and represent over 60 artists with varying levels of physical and intellectual disabilities.
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In the Guild Room
Chicago-based artist Edo presents new paintings that explore interpretations of fantasy, both corporeal and spiritual. After a turbulent childhood in which he lived in eight different foster homes, Edo had a revelation that he is an artist, a realization that changed his life forever. His art became a gateway to personal freedom and a means to controlling his destiny. He understood that he could make his fantasies reality and choose his own path. Ever since, he has been on a quest to heal and inspire others through his work. Colorful, imaginative and futuristic, his intensely patterned paintings pay tribute to Afrofuturism and NYC’s East Village scene of the 1980s, while at the same time feeling fresh and unfamiliar.
About Edo
Edo, born Eddie Santana White, is a self-taught, multi-disciplinary artist, fashion, graphic and industrial designer from the South Side of Chicago. He attended Hyde Park Career Academy and Kennedy King College. He began his career as a designer working with top urban clothing brands, including Leaders 1354, Joe Fresh Goods, Treated Crew and Fat Tiger. Edo oversees a clothing line called Emperion and is the co-founder of the graphic design and screen-printing company Be Creative. His own brand is known as Infinite Inception - Infinite meaning forever or timeless,and inception, from his favorite movie of the same name.
White made his debut as a painter during Art Miami/Art Basel in 2018 as part of the Pigment International Miami Reveal, just one year after creating his first painting. His digital exhibition, Infinite State of Mind, was shown in Harlem in 2017, and he has been featured at the Baltimore Gallery in Detroit. He is currently expanding the Bronzeville space he co-owns called Escape Studios Chicago. His survey exhibition Memories Museum, appeared at the Logan Art Center at the University of Chicago in 2020. Edo has worked with After School Matters and the Walgreen’s “Expressions” arts program and has been featured on WTTW, ABC News, FOX32, Chicago Creatives, Champagne & Snark, and the Living with Sam Graham Show and presented his work at Google. His art has also been featured in corporate exhibitions for Hyatt International, LinkedIn and Twitter, and he was a featured artist for the Chicago Culture Ball and the Pancakes & Booze Show.
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Reserve your closing reception tickets here
Exhibition viewing appointments are FREE.
We are open by appointment only. To make an appointment or inquire about the artwork, please contact us at art@epiphanychi.com.
Due to COVID-19, our capacity is limited to 25 guests per time slot, so we ask that you sign up for a viewing time to help us ensure everyone's comfort and safety. Masks and temperature checks will be required for entry.
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In his solo exhibition Gargoyles and Escutcheons, Chicago artist David Richards offers an installation of uncanny wall sculptures that defy easy categorization and casual acquaintance. Mysterious yet familiar, these works exist in a slippery space between abstraction and representation. Both biological and synthetic, his playful reliefs bring to mind plant forms, faces or machines that have been disassembled or seem to be missing a piece.
It is this idea of absence, or of forms and systems that have broken down over time, that fascinates Richards. Often seeing his objects as characters with stories to tell, he uses his work to explore the concept of disability without delving into identity politics. From his point of view, everyone becomes disabled if they live long enough, so he imbues his sculptures with a sense of history, of loving wear and a life well-lived. The exhibition’s title, Gargoyles and Escutcheons, refers in part to his viewpoint that his creations are monsters which, although they may not fit our traditional ideas of beauty, are still powerful, stunning and capable of fascinating us.
Closing reception: April 30, 6 - 9 pm
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To pre-register for a free time slot to attend this reception, please click this link. Masks and temperature checks are required for entry:
Figure It Out: Eccentric Visions in Figurative Art brings together five artists from the Midwest who make distinctly idiosyncratic figurative work. Each of them presents a unique vision that feels both alien and familiar; one that is grounded in personal emotions but is also infused with popular culture, humor and shared experiences. They offer personal mythologies and introspective processes that are made accessible through a language of cartoon imagery, patterns and bright colors.
Justin Henry Miller’s paintings and drawings are influenced by his experiences growing up on a horse farm, where he witnessed the hyper-manipulation of nature for human use. He believes that what initially begins as harmless bio-mimicry typically devolves into dystopia. Cloning, transgenic breeding, surrogate mothering, surgical augmentation and food modification are just a handful of the processes that have sparked his imagination. He imagines that these experiments have gone awry and tries to create a world where the byproducts resist expiration. Miller’s biomorphic beings fluctuate between success and failure in their own world of desolation. However, his protagonists evoke a funniness or sadness that makes them relatable.
Alison McKenzie’s work explores personal emotion and feminist themes with a sense of humor and whimsy, using bright, playful color combinations. Utilizing her skills as a designer at a paper retailer, she creates collages of female figures set into lush landscapes. She loves the tactile, playful and graphic sense that paper lends to a piece and the saturated color it provides. She is interested in exploring the intersection of what is traditionally feminine in color, material, and theme, with what can be seen as aggressive, weird, surreal and “unladylike”. She creates scenes that are mysterious and provocative with a palette and craft technique that seems accessible and familiar.
The characters in A.J. Ainscough’s cartoony and psychedelic paintings serve as avatars for the artist himself. He uses them to reenact his experiences or to perform fictitious ones. His expressive works also explore the chaotic duality of good vs. evil that is within us all. His thick, painterly brushstrokes infuse his subjects with a distinct physicality and his characters display exaggerated, sometimes even grotesque, proportions as they drink, smoke, frolic and dream. We may not know their names or what they have been through, but it is easy to see ourselves in them.
Patrick Wilkins’ work is about finding humor in struggle. The cartoon imagery he uses simultaneously undermines and highlights the mental, emotional, and physical potshots that we are expected to endure every day. Despite this regular bombardment, it is not socially acceptable to show weaknesses as an adult in contemporary society. Wilkins reaches back to images of childhood, our last acceptable period of vulnerability, in an attempt to lend some humanity and humor to less than humane situations.
C.J. Pyle’s unique style of “knotted” mark-making, which he often applies to LP sleeves using a ballpoint pen, developed in his downtime as a touring drummer. Though he has said that his life makes it into his art, his drawings remain steadfastly imaginative and are guided more by intuition, exploration and process than by personal narrative. Self-taught, Pyle has developed an eccentric style that perpetually pushes creative boundaries, as well as a mysterious world that unfolds according to its own internal logic.
To attend the opening reception for this exhibition, please click to register and reserve your free spot. For more information and sales inquiries, please email art@epiphanychi.com.
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Chase Gallery at Epiphany Center for the Arts
April 16 - July 16
Opening reception, April 16, 6-9 PM
Click here to register
More info is available here.
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In his solo exhibition Gargoyles and Escutcheons, Chicago artist David Richards offers an installation of uncanny wall sculptures that defy easy categorization and casual acquaintance. Mysterious yet familiar, these works exist in a slippery space between abstraction and representation. Both biological and synthetic, his playful reliefs bring to mind plant forms, faces or machines that have been disassembled or seem to be missing a piece.
It is this idea of absence, or of forms and systems that have broken down over time, that fascinates Richards. Often seeing his objects as characters with stories to tell, he uses his work to explore the concept of disability without delving into identity politics. From his point of view, everyone becomes disabled if they live long enough, so he imbues his sculptures with a sense of history, of loving wear and a life well-lived. The exhibition’s title, Gargoyles and Escutcheons, refers in part to his viewpoint that his creations are monsters which, although they may not fit our traditional ideas of beauty, are still powerful, stunning and capable of fascinating us.
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In Payasadas, which runs through July 12 in The Guild Room, Juan Arango Palacios presents a new series of large-scale textile drawings that address the artist’s relationship to the Catholic church. These works critique religious archetypes and offer a personification of a queer narrative, exploring themes of fantasy, vulnerability, and performativity.
As a queer body that was raised in a post-colonial context in Colombia, Palacios’ identity was shaped in the shadows of North American normativity. The artist’s sense of self was further confounded by a series of migrations experienced as their family searched for work and a more prosperous future. Moving through various homophobic and misogynistic cultures in Louisiana and Texas, Palacios formed a disembodied identity that is not attached to any specific homeland and which has always been challenged by the general norm.
Palacios’ practice works towards addressing the lived experiences of ambulant queer identities that have been marginalized within a diasporic or migratory context. Through the fluid and boundless medium of paint, the artist has been able to represent memories, places, people and archetypes that they associate with the safety, survival and endurance of queer bodies in spaces that challenge their existence.
This exhibition will be viewable by appointment only. To book an appointment, or for sales inquiries, please email art@epiphanychi.com.
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Chicago: Home of House
The Catacombs at Epiphany Center for the Arts
Through July 17, 2021
Phase 2 Reception and Performances - June 12, 3:30 p.m. to 12:30 a.m.
https://epiphanychi.com/chicago-home-of-house/
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Running through July 25 in The Sacristy Gallery, Kenyan-born, Chicago-based artist Wangari Mathenge presents a collection of new drawings. Mathenge paints small groups of individuals in conversational sittings viewed from interesting perspectives, which provides insight into both the subject and circumstance. This intimate series of works on paper sees her father at times in familial settings – reading, draped across chairs or posing with a child. Mathenge’s confident, precise hand adds to the beauty of her portraits, creating images that are both personal and expansive.
To attend the May 21 opening reception for this exhibition, please click to register and reserve your free spot.
For more information and sales inquiries, please email art@epiphanychi.com.
All work courtesy of the artist and Roberts Projects, Los Angeles, CA
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Artist talk at 7 p.m.
Chase Gallery at Epiphany Center for the Arts
Click here to reserve your free reservation: https://www.etix.com/ticket/p/6629967/american-roulette-closing-reception-and-artist-walkthroughjuly-96-pmto-9-pm-chicago-chase-gallery?_ga=2.169254696.805632435.1625333386-1303842763.1620405567
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To attend the August 6 opening reception for this exhibition, please click to register and reserve your free spot. REGISTER HERE
Identity: Perspectives on Y(OUR)selves presents artwork created in Thresholds’ Art Therapy Program. The exhibition examines the topic of identity through the lens of creative expression. These artists all participated in art therapy sessions and were asked to consider how they fit into their created communities at the micro, mezzo and macro levels. They were also encouraged to explore how these communities themselves are formed.
Art Therapy is an integrative mental health profession that allows a vital and dynamic form of communication and self-expression through active art making within the therapeutic relationship. It encourages clients to build insights into their worlds through developing and sharing their own creative languages.
PLAN YOUR VISIT | ABOUT THE ARTISTS
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Identity: Perspectives on Y(OUR)selves is an extensive group exhibition of artwork created during the COVID-19 pandemic as part of Thresholds’ Creative Arts Therapy Program. The exhibition features a variety of media, including painting, sculpture, collage and photography, and runs until Sunday, September 12, 2021 in Epiphany’s Chase Gallery.
“We are thrilled to support Thresholds’ Creative Arts Therapy team, and showcase the important work they do with artists suffering from mental illness and substance use,” said Aaron Baker, Epiphany’s director of art & programming. “This beautiful exhibition explores the meaning of identity and community, as seen through the lens of the COVID-19 pandemic, and is a touching representation of the artists’ personal journeys during these unprecedented times.”
Thresholds’ Creative Arts Therapy Program provides innovative behavioral health care that promotes empowerment, well-being and full participation in community life through art therapy. Through a series of virtual workshops, art therapists asked the artists in this exhibition to explore the concept of personal identity and how they fit into their communities, and encouraged them to examine personal values, strengths, abilities and community sociograms. All of the work in Identity: Perspectives on Y(OUR)selves was created during the pandemic, which shaped the artists’ perspectives on belonging and community. In a similar way, each art therapist was asked to consider their role in the mental health field and the work they do with clients. The fiber tapestry included in this exhibition is a response from each art therapist, representing their own growth and resiliency during the past year and a half, through their own creative language.
“Art therapy is an integrative mental health field that allows a vital and dynamic form of community and self-expression through active art making. Our artists build insight through developing and sharing their creative work,” says Claire Slater, team leader of Thresholds’ Creative Arts Therapy Program. “We are thrilled to showcase their work in this exhibition, exploring the ways each artist has found connection and support in their Chicago communities.”
Artwork featured in Identity: Perspectives on Y(OUR)selves is available for purchase, with all proceeds directly supporting Thresholds and its artists. The exhibition is free and open to the public. To schedule a viewing or inquire about the artwork, please contact art@epiphanychi.com
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The Sacristy Gallery at Epiphany Center for the Arts
Take my Hand, Feel your Fantasy Slip Away is an exhibition that approaches the figure as a manifestation of vulnerability, sensibility, and human emotion, through the lens of a lived queer experience expressed by drawings on paper. The aim of these works is not to represent an actual person or figure, but to create an image that gives way into these three artists’ narratives of existence—a peek into an honest sense of pleasure, desire, sorrow, solace, gender, and most definitely a straying away from the mundane. By flaunting images of intense sexual pleasure, eroticism, bondage, alluring fantasy, leisure, gentle intimacy, and unapologetic selfness, these drawings achieve a sense of other-worldly-ness that elevates them into a realm seemingly unachievable, but eternally desirable. Featuring work by Vani Aguilar, Nia Danielle Lovemore Rutledge, and Nicholas Zepeda, Take my Hand, Feel your Fantasy Slip Awayseeks to create an exhilarating, yet mysterious mythology that investigates the emotional trauma and endurance of queer folks and their imagination.
This exhibition invites viewers to let go of their reality and enter an atmosphere where they can be seduced, a fantasy where they can share a space with powerful beings, and a private space where they can just feel. Presenting this series of wanderlusting adventures are the drawings themselves, for drawing as a medium allows for an intimate experience between the work and the viewer. Filled with mark-making and detail, this fundamental form of image-making creates a close bond between viewer and drawing. Up-close and personal, these drawings are to be carefully examined they are to be deliciously consumed.
Take my Hand, Feel your Fantasy Slip Away is curated by Juan Arango Palacios. Arango Palacios is an Artist and Designer born in Pereira, Colombia, who underwent a series of migrations in their youth that shaped their identity. They graduated from the School of the Art Institute of Chicago in 2020, and have found a safe-haven within the queer community in Chicago.
To attend the free opening reception for this exhibition on September 17, please click to register and reserve your spot:
For more information and sales inquiries, please email art@epiphanychi.com.
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Chicago Textile Week
Deep, Far, Home
CHASE GALLERY
September 18-25, 2021
Chicago Textile Week presents Deep, Far, Home, a group exhibition of textile and multimedia artists with ties to the city. These contemporary artists’ works explore crisscrossing themes of deep time, primordial chaos, cosmic distance and personal intimacy. Participating artists include Lucia Calderon Arrieta, Justin Chance, Diana Gabriel, Caroline Lee Liu, Olive Stefanski and Vanessa Viruet. Curated by John Harness, formerly of The Condo Association.
Currently, an in-person opening reception is scheduled for the evening of September 18th, 2021. Please check this website for scheduling changes that may occur due to the ongoing Covid-19 pandemic. To attend the reception for this exhibition, please click to register and reserve your free spot:
Presented in conjunction with Deep, Far, Home, dancer and artist Irene Hsiao will perform a new work inspired by the show on Friday, Sept. 24. Check back for details on how to pre-register for this performance. Additionally, samples of new upholstery designs by winners of the 2021 Chicago Textile Week Design Call will be on display throughout the exhibition.
About Chicago Textile Week
Chicago Textile Week seeks to connect textile workers and art enthusiasts across Chicago during a week of interrelated events. Check https://www.chicagotextileweek.com/ for related programming.
For more information and sales inquiries, please email art@epiphanychi.com.
(((In Rainbows))) All Things Are The Cosmic Flowering Of Emptiness
2020, by Caroline Lee Liu
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In On Feronia, Chicago-based painter Michelle Wasson presents a new body of work in The Guild Room. Wasson’s paintings offer a sensual refuge from reality. Created intuitively from memory and imagination, layers of color and light portray surreal cosmic travel, supernatural spaces and flashes of art history. The title of the exhibition, On Feronia, references the ancient Roman goddess of wildlife, fertility, health and abundance. In glowing scenes, vessels spring forth life and specters emerge, evoking Mother Nature’s power to create and destroy—and create again.
Register to attend the free opening reception for this exhibition:
For more information and sales inquiries, please email art@epiphanychi.com.
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Mezcal has been part of Mexican life, gastronomy and culture for centuries. The Spaniards called the agave plant “the tree of wonders”. Agave evolved in southern Mexico over six million years ago and Oaxaca is its center of diversity. Mezcal’s popularity exploded in recent years, transforming it from a local spirit to one that is known internationally. Patrons in New York, Los Angeles and everywhere in the world were now saying “with mezcal please”, and mezcal fever exploded, causing its demand to grow exponentially. As a result, people in Oaxaca began to produce more and more of it and a thriving international market was born. Every community and hill in the state was soon surrounded with agaves that were destined for mezcal.
There was, however, a downside to mezcal’s newfound fame. Once the agave plants are cut and distilled, there is an enormous surplus of leaves that are left to sit and dry until they are reabsorbed back into the soil. As production escalated, these leaves began to pose a significant problem for local communities. They created an imbalance in the equilibrium of their ecosystems, disturbing the soil and giving rise to insect infestation. The artists in this exhibition have responded to this crisis by creating works of art from this waste, turning these leaves into rugs, garments and other forms of art. They have learned to transform agave into fantastic pieces of design. They are participating in a virtuous cycle of turning a problem into an opportunity, of turning waste into beautiful, timeless objects. Agave! explores this transmutation.
There are a number of exciting events happening in conjunction with this exhibit. Click below to register for Mezcal Tastings, Exhibition Walkthroughs, Receptions and Lectures.
To schedule a viewing or for sales, please email art@epiphanychi.com.
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Join Alejandro de Ávila, the Founding Director of the Oaxaca Ethnobotanical Garden, for this lecture on the ethnobotany of the agave plant. This talk will accompany our exhibition, Agave!, which features artwork made from agave fibers.
Doors open at 5:30 p.m.
Epiphany's COVID-19 Policy:
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Register below to attend the free opening reception for Negatives on November 20 from 6 p.m. to 9 p.m.
To schedule a viewing appointment, or to inquire about sales, contact us at art@epiphanychi.com.
To attend this event, all guests must provide proof of COVID-19 vaccination, or a negative COVID-19 test result (taken within 48 hours).
Epiphany Center for Arts is proud to announce the debut of its new exhibition space dedicated to photography, Slemmons Gallery, with the launch of The Chicago Cluster Project, organized by the artist and educator Jan Tichy and spanning nine exhibitions through the end of 2022. The Chicago Cluster Project – historical cameras for contemporary art and education – revolves around a collection of over 300 hundred historical cameras collected by photography curator and educator Rod Slemmons. The display of objects from the collection is accompanied by contemporary photography exhibitions by local photographers and educators working with cameras from the collection. The series opens with the exhibition Negatives, which Tichy enlarged from Slemmons’ black and white materials exposed in one of the panoramic cameras in the collection. He then recontextualized them to reflect on larger aspects of Slemmons’ work – photography and education – the driving concepts behind The Chicago Cluster Project. The contemporary photography projects and the full camera archive are accessible online at www.thechicagocluster.organd on @thechicagocluster.
Photo courtesy of Epiphany Center for the Arts
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To attend the free November 20 opening reception of Tag, You’re It!, Curated and Fabricated by Kiff Slemmons, register below.
Tickets for the Opening Reception
To schedule a viewing appointment, please email art@epiphanychi.com.
About Kiff Slemmons
Kiff Slemmons is an American artist and metalsmith, most recognized for her work in jewelry, especially paper jewelry, done in collaboration with the Taller Arte Papel Oaxaca workshop in Mexico. Slemmons earned her B.A. in Art and French from the University of Iowa, which included a year of study at the Sorbonne in Paris. A self-taught metalsmith, she attended an eight week metalsmithing program in Japan through Parsons, The New School for Design in 1983. Her jewelry is in the collections of the Victoria and Albert Museum, The Metropolitan Museum of Art, The Museum of Arts and Design, and the Museum of Fine Arts in Boston. Slemmons currently lives in Chicago and became an artist-in-residence at Epiphany Center for the Arts in 2020.
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Since the beginning of time, tools have been used to connect to the divine or the unknown. Cultures have used masques as a means of expressing a characteristic or important quality in our human bodies, often for specific ceremonial purposes. EMANATE was a fire ritual that celebrated connection with the divine. Eight masques were created and consecrated for: spirit, earth, air, fire, water, duality, willpower and abundance. Once the masques were placed on the participants, they embodied these qualities through dance in a fire ritual held at Epiphany Center for the Arts on Saturday, October 23rd, 2021.
These masks are now on display in the Sacristy Gallery, which formerly served as the sacristy of the Church of the Epiphany. The sacristy was a place in the church where sacred books, objects, and ceremonial garments were kept, and where the priests could prepare and pray before a ceremony. In this exhibition, the masks of Emanate take on this history, imbuing the sacramental history of the space with their own connection to the spiritual and ritual.
Register below to attend the free reception for Emanate on December 3.
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JESSIE MOTT AND CHANTAL NADEAU
THE CATACOMBS
The collaborative team known as Like Queer Animals (LQA), composed of artist Jessie Mott and writer and queer scholar Chantal Nadeau, presents the exhibition We Hold Your Gaze.
Mott and Nadeau’s multidisciplinary practice mobilizes various forms of writing, visual art and performance, revealing an abiding interest in researching and reshaping material and cultural creature morphologies. Their gender and species-bending creatures desire to claim public spaces where non-conforming bodies have been historically excluded. The creatures, with their multiple sets of eyes, colorful hybrid bodies, and wild emotional scale, provide alternative ways to occupy and feel within public spaces.
LQA’s approach activates a queer archive of emotions in an effort to “collect feelings, store them, or save them” as a means to live and survive. Too often contained privately, these feelings find embodiment in their creatures.
This exhibition will include all new works including several works on paper, screen prints on fabric and audio.
For more information and sales inquiries, please email art@epiphanychi.com.
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Chicago-based artist, muralist, and sculptural fabricator Czr Prz is pleased to present Idol Hands, the latest group show of his own curation. Dedicated to craft, fabrication, and structure, this exhibition presents new and original works by fifteen artists from across the United States, each selected for their unique approach to 3D and material-based work. Idol Hands opens on December 17th at Epiphany Center for the Arts in Chicago’s West Loop neighborhood, and will remain on view through February 2022.
The varied and visually arresting array of artworks across this exhibition illustrate the infinite possibilities that await any artist brave enough to break beyond the picture plane. Though united by an undeniable urban contemporary edge, each artist supplies the show with hallmarks of their standalone practice. NYC-based Sarah Best harnesses delicately cut paper to render textures with startling realism while Detroit-based DENIAL crafts a catchy yet sharp anticonsumerist call to arms.
Prz's affinity for fabrication starts with his working-class, Caribbean-Latino upbringing in notoriously blue collar Chicago. Prz’s sculptural fabrication practice employs heavy machinery in homage to central values from his culturally vibrant childhood spent engaged with life, with work and craftsmanship, the integrity and art in it all.
Idol Hands takes its name from the Christian aphorism, “Idle hands are the devil’s playground,” refocusing the stale phrase towards our fingers’ profound ability to animate godforms. Whether hanging on the wall or freestanding, built from balloons or sewn neatly with needlework, every piece throughout Idol Hands honors a hands-on approach to artmaking. Its artists all hail from disparate circumstantial, geographic, and conceptual backgrounds. Their diverse artworks assess the question of craft through the eyes of professionals who’ve built entire creative practices with their own two hands.
FULL ARTIST LINEUP:
Sarah Best (NYC) DENIAL (Detroit/Canada)
Sea Of Doom (Philadelphia) Woes Martin (LA)
Ian Kuali’i (NM/Hawai’i) Balloonski\\ (LA)
Phybr (Detroit) Hank Von Hellion (Worcester, MA)
Czr Prz (Chicago) CLS (Denver)
Zeye (Chicago) Jb Snyder/Janel Garza (Phoenix)
Elloo (Chicago) Anthony Lewellen (Chicago)
Mr BBaby (LA)
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Barbara Ciurej & Lindsay Lochman
Still, Moving Moving, Still
Slemmons Gallery
January 28, 2022 to March 12, 2022
To schedule a viewing appointment, contact us at art@epiphanychi.com.
About the Exhibition
To look through a now-obsolete camera is to reflect upon human histories. Layering the view in time, we photographed the oak lined banks of the Milwaukee River with the Kodak BullsEye #2 camera. Retrofitting the camera to function created overlapping exposures and unpredictable intervals. Re-photographing the film negative with a hand-held iPhone in panorama mode formed undulations of wavering focus, distance and movement, evoking the ebb and flow of human mediation on the land and water.
About Barbara Ciurej and Lindsay Lochman
Photographic collaborators Barbara Ciurej and Lindsay Lochman examine the confluence of history, myth and popular culture to frame contemporary tales and critique the social landscape. Their interest in photography’s storytelling potential engages with the edge between the heroic and commonplace through a wide range of subject matter. They have been working together for over four decades, employing staged photography, studio constructions, documentary, alternative processes and artists’ books in their practice. Their work has been exhibited in the US and internationally and is in the collections of the Art Institute of Chicago, H2–Augsburg Center for Contemporary Art, Milwaukee Art Museum, Museum of Contemporary Photography, Walker Art Center, and Worcester Art Museum. Their artists’ books are in the collections of the Yale Center for British Art, Beinecke Rare Book & Manuscript Library, Hirsch Library at the Museum of Fine Arts Houston, Joan Flasch Artists Book Collection, and Bainbridge Island Arts Museum among others. They maintain studios in Milwaukee, Wisconsin and Chicago, Illinois.
Image: Barbara Ciurej and Lindsay Lochman, River 1, 2021
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The Sacristy Gallery
February 4, 2022 to March 19, 2022
With Chasing Light, Sheri Rush presents a new body of work that examines how the COVID-19 pandemic informed her process and helped to redefine her. Before the pandemic, her large-scale paintings were blurred by movement and transparent reflections, an analogy to how we run through life and experience nature through lenses and interfaces. In Chasing Light, the view snaps into place and responds to the stillness of being isolated in a headspace created by the pandemic, a space that allowed Rush to examine and process recent emotional and literal experiences.
About Sheri Rush
Sheri Rush is a Chicago-based painter whose practice includes photography and collage. Rush holds a BFA from Texas Christian University and an MFA from the University of Chicago. Recent exhibitions include the Rockford Art Museum, Ralph Arnold Gallery, The Art Center Highland Park, Arc Gallery, Hofheimer Gallery, Hyde Park Art Center and James Baird Gallery in Newfoundland. Recent awards include a fully-funded residency to the Pouch Cove Foundation in Newfoundland and a grant from the Illinois Art Council Agency to fund her solo show at the Evanston Art Center.
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Family Resemblance Panel Discussion #2: A Conversation with Chicago's Iconic Graffiti Writers
February 20, 6 p.m. to 8 p.m.
The Sanctuary
Attend a panel discussion with pioneer Chicago graffiti writers B-Boy B, Drastic, Pengo, Take2 and Warp. A second installment in our series of discussions connected to our upcoming exhibition, Family Resemblance: The Evolution of Chicago Style Graffiti, this conversation will focus on Chicago Style, it’s influence and how it differs from styles from other cities, states and around the globe. These artists will also explore historical breakthroughs and important milestones for Chicago Graffiti History.
Doors open at 5:00 p.m. Panel discussion starts at 6 p.m.
Epiphany's COVID-19 Policy:
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Reception: February 26 at 6 p.m.
https://epiphanychi.com/agave/
Agave!, which runs in Chase Gallery until April, is an expansive group exhibition that features artwork made from agave leaves that were discarded as part of the mezcal production in Oaxaca, the state in Mexico from which mezcal originates. Curated by Trine Ellitsgaard and Kiff Slemmons, the show features works by Jim Bassler, Frank Connet, Angela Damman, Trine Ellitsgaard, Maddalena Forcella, Mariana Grapain, Anne Hirondelle, Ana Hernandez, Fernando Laposse, Miki Nagamine, Huemac Olivares, Michael Olszewski, Adán Paredes, Eric Ramirez, Aaron Robinson, Jose Angel Santiago, Kiff Slemmons, Veronique Tesseraud, Francisco Toledo and Venus y Loco.
Mezcal has been part of Mexican life, gastronomy and culture for centuries. The Spaniards called the agave plant “the tree of wonders”. Agave evolved in southern Mexico over six million years ago and Oaxaca is its center of diversity. Mezcal’s popularity exploded in recent years, transforming it from a local spirit to one that is known internationally. Patrons in New York, Los Angeles and everywhere in the world were now saying “with mezcal please”, and mezcal fever exploded, causing its demand to grow exponentially. As a result, people in Oaxaca began to produce more and more of it and a thriving international market was born. Every community and hill in the state was soon surrounded with agaves that were destined for mezcal.
There was, however, a downside to mezcal’s newfound fame. Once the agave plants are cut and distilled, there is an enormous surplus of leaves that are left to sit and dry until they are reabsorbed back into the soil. As production escalated, these leaves began to pose a significant problem for local communities. They created an imbalance in the equilibrium of their ecosystems, disturbing the soil and giving rise to insect infestation. The artists in this exhibition have responded to this crisis by creating works of art from this waste, turning these leaves into rugs, garments and other forms of art. They have learned to transform agave into fantastic pieces of design. They are participating in a virtuous cycle of turning a problem into an opportunity, of turning waste into beautiful, timeless objects. Agave! explores this transmutation.
There are a number of exciting events happening in conjunction with this exhibit. Click below to register for Mezcal Tastings, Exhibition Walkthroughs, Receptions and Lectures.
To schedule a viewing or for sales, please email art@epiphanychi.com.
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Family Resemblance: The Evolution Of Chicago Style Graffiti
THE CATACOMBS
March 4, 2022 to May 7, 2022
Register For Panel Discussion (Free)
Family Resemblance Panel Discussion #2: A Conversation with Chicago's Iconic Graffiti Writers
February 20, 6 p.m. to 8 p.m.
REGISTER FOR OPENING RECEPTION (Free)
March 4, 2022 6:00 p.m.
Attend the opening reception of Family Resemblance: The Evolution of Chicago Syle Graffiti in The Catacombs. Family Resemblance is a group exhibition that explores the history of the Chicago graffiti style, brought to you by the writers who defined the movement.
COVID-19 Policy:
FAMILY RESEMBLANCE: THE EVOLUTION OF CHICAGO STYLE GRAFFITI is a group exhibition that explores the history of the Chicago graffiti style, brought to you by the writers who defined the movement. This extensive survey will take viewers through the evolution of Chicago graffiti, pay homage to its pioneers and illustrate how their innovations have had a global impact. Chicago’s golden age of graffiti started with a small group of writers; artists who have stayed true to their roots and are still working in the style today. The tradition that these artists developed is still practiced by a variety of writers in Chicago and other places throughout the USA. The exhibition will offer a special look at the influence of TRIXTER, follow the evolution of his style and present sketches that date back to the early-1980s. The remainder of the space will show the works of the earliest pioneers and biggest influences: PENGO, SLANG, ORKO, DRASTIC, B-BOY B, EAST, WARP, FESS and TAKE2. The exhibition will include photos, drawings, artifacts and canvases. FAMILY RESEMBLANCE: THE EVOLUTION OF CHICAGO STYLE GRAFFITI is brought to you by S.H.E. Gallery, in partnership with Epiphany, and is curated by Dulce M. Diaz, Michael Pawletki, Tyrone Whiteside and B-Boy B.
Attend our second panel discussion, A Conversation with Chicago’s Iconic Graffiti Writers, on February 20 at 6 p.m. Pioneers B-Boy B, Drastic, Pengo, Take2 and Warp will focus on Chicago Style, it’s influence, and how it differs from styles found in other cities, states and cultures around the globe. They will also explore historical breakthroughs and important milestones for Chicago Graffiti History. Register below for this free event, as well as the opening reception on March 4 at 6 p.m.
REGISTER FOR OPENING RECEPTION (Free)
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Agave! Mezcal Tasting and Gallery Walkthrough Featuring La Luna Mezcal
March 10th, 6:00 pm - 8:00 pm
Join Epiphany Center for the Arts and S.A.C.R.E.D. for an event that will appeal to mezcal, agave and art enthusiasts alike! La Luna Mezcal will be pouring samples of their mezcal in Chase Gallery in support of our expansive group exhibition Agave!, which features artwork made from agave fibers. Walkthroughs of the exhibition will take place during the tasting. Doors open at 5:45 p.m., the tasting is at 6 p.m.
Our COVID-19 Policy:
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The Guild Room
In Skin Tight, artist and musician C.J. Pyle presents a group of recent drawings that showcase his eccentric approach to figuration. Pyle’s work is resolutely imaginative. Beginning in childhood, he developed a unique visual style that involves layering ”knotted” mark making with ballpoint pens on found paper elements, often the insides of LP covers. With a pen, Pyle creates a dense metallic finish that imbues his acutely-rendered figures with an undeniable essence.
About C.J. Pyle
Born in Richmond, Indiana, in 1956, Christopher John Pyle was a compulsive sketcher from an early age. Early influences include the cartoonist Basil Wolverton and the Italian caricaturist Paolo Garretto, though his creativity really grew during his time in the music industry. From 1975, and over the next decade, Pyle was the drummer for the Indianapolis band The Late Show, playing up to 300 gigs per year. During downtime for sound checks, or while traveling, he would create ballpoint pen sketches, perfecting his trademark weave technique.
From the late 1980s, Pyle started drawing cover designs for an Indianapolis news weekly, catching the attention of clients such as Rolling Stone, Time, and Sports Illustrated. He also hand-illustratedalbum covers for Verve and Atlantic Records. Pyle has displayed his works in galleries and institutions throughout the United States, Europe, Australia and Japan.
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Mary King: Curious Home and Soap Is A Noun
The Sacristy Gallery
March 26, 2022 to April 30, 2022
RSVP to attend the free opening reception.
In Curious Home and Soap is a Noun, Chicago artist Mary King presents two new bodies of work. Curious Home consists of small sculptures that could be doll houses or buildings partially destroyed from a disaster, whether it be weather or war. Nothing is for sure here. These sculptures look cute but hint at danger. They are made of paper and polymer mediums. Watercolor pieces are painted separately, cut out and adhered. Sometimes papier mâché figures or small toys are displayed with the sculptures.
Soap is a Noun consists of small paintings that play with words: words that are both a noun and a verb or that can be read forwards and backwards. The paintings are hung unframed or mounted on corrugated plastic and displayed on a small shelf
With Curious Home and Soap is a Noun, King offers an antidote to the extreme and intense opinions and the mean tweets that are so popular in today’s culture. They add some levity to our situation and we don’t know quite where we stand.
Register below to attend the free reception for Curious Home and Soap Is A Noun on March 26 at 6 pm.
About Mary King
Mary King organizes her life around art: making, looking, reading, thinking, discussing. She believes in supporting other artists and that art makes the world a better place. King’s solo exhibitions in Chicago include Governors State University, The Center on Halsted, Woman Made Gallery, Artemesia, and The Hyde Park Art Center. Her most recent Chicago solo exhibition was at 65 Grand. She has also exhibited her work in 4 solo shows at Denise Bibro Fine Art in New York. The New York Times and The Chicago Tribune have reviewed her work. King had artist residencies at Kimmel Nelson Harding in Nebraska City, Nebraska, and at The Vermont Studio Center in Johnson, Vermont. She holds a BFA from The University of Chicago and a MA from Western Michigan University. Her studio is in Kenwood in Chicago.
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In Line, Shape, Form, Repeat, Juan Fernandez uses an 11” x 14” camera from the Slemmons Camera Archive as a bridge between traditional analog making and modern technology. This antique camera has witnessed many spectacles in its one-hundred year life span, and this project is an attempt to create something the camera has never seen.
The basic elements of design can connect and transcend multiple cultures and civilizations and are used to communicate the simplest or most complex of messages. Since the days of a single finger dragging along the dirt, the line or mark has been core to the concept of communication. A mark is a single movement that is intended to illustrate a thought, photographically speaking; here, the mark is used to build the exposure of light in certain areas of the image. Each exposure required the loading of different masks while light painting a wall with a flashlight. Another element was added by including a series of parallel lines that would serve as a rudimentary mark for certain compositions. The use of in-camera masks, long exposures, and multiple exposures created an unlimited field of possible compositions.
Ultimately, the results are a combination of modern technology, such as laser cut masks and 3D printed film holders, with the traditional techniques of the analog darkroom, the use of multiple exposure and painting with light. The binding ingredient was this choreographed process born from experimentation, creating a project that explores simple shapes and marks in a meaningful way.
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Epiphany's Resident Artist, Kiff Slemmons, will discuss her role in curating the expansive group exhibition Agave!, currently on view in Epiphany's Chase Gallery, and will explore the artists included in the show and showcase many of the works, while connecting her own expriences as a multidisciplinary artist who has worked extensively in Mexico and the U.S. Tuesday, March 29 at 6 p.m. (doors open at 5:45 p.m.)
Our COVID-19 Policy: All guests must provide proof of COVID-19 vaccination, or a negative COVID-19 test result (taken within 48 hours). All guests will receive a temperature check at the door. Masks are required for entry.
Epiphany's Resident Artist, Kiff Slemmons, will discuss her role in curating the expansive group exhibition Agave!, currently on view in Epiphany's Chase Gallery, and will explore the artists included in the show and showcase many of the works, while connecting her own expriences as a multidisciplinary artist who has worked extensively in Mexico and the U.S.
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Agave! Mezcal Tasting and Gallery Walkthrough Featuring Creyente Mezcal and 400 Conejos, Thursday, April 7, 6 p.m. to 8 p.m.
Join Epiphany Center for the Arts and S.A.C.R.E.D. for an event that will appeal to mezcal, agave and art enthusiasts alike! We will be puring samples of Creyente Mezcal and 400 Conejos Mezcal in support of our expansive group exhibition Agave!, which features artwork made from agave fibers. Walkthroughs of the exhibition will take place during the tasting. Doors open at 5:45 p.m., the tasting is at 6 p.m.
Thursday, April 7, 6 p.m. to 8 p.m.
Our COVID-19 Policy:
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The Guild Room
In Skin Tight, artist and musician C.J. Pyle presents a group of recent drawings that showcase his eccentric approach to figuration. Pyle’s work is resolutely imaginative. Beginning in childhood, he developed a unique visual style that involves layering ”knotted” mark making with ballpoint pens on found paper elements, often the insides of LP covers. With a pen, Pyle creates a dense metallic finish that imbues his acutely-rendered figures with an undeniable essence.
About C.J. Pyle
Born in Richmond, Indiana, in 1956, Christopher John Pyle was a compulsive sketcher from an early age. Early influences include the cartoonist Basil Wolverton and the Italian caricaturist Paolo Garretto, though his creativity really grew during his time in the music industry. From 1975, and over the next decade, Pyle was the drummer for the Indianapolis band The Late Show, playing up to 300 gigs per year. During downtime for sound checks, or while traveling, he would create ballpoint pen sketches, perfecting his trademark weave technique.
From the late 1980s, Pyle started drawing cover designs for an Indianapolis news weekly, catching the attention of clients such as Rolling Stone, Time, and Sports Illustrated. He also hand-illustratedalbum covers for Verve and Atlantic Records. Pyle has displayed his works in galleries and institutions throughout the United States, Europe, Australia and Japan.
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Agave! Closing Reception
April 9, 6 to 9 p.m.
Chase Gallery at Epiphany Center for the Arts
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In Unencountered Clouds, artists Jesse M Bell (Milwaukee) and Marc Benja (Chicago) present a collection of recent works that invite the viewer into their dream-like scenes. Both artists create narratives with playful similarities, sharing stories of identity, memory, and the vernacular. While their shared aesthetics invoke an overall sense of wonder, their candid and humorous works also provide a whimsical viewing experience where organic abstraction is infused with character and charm.
Register below to attend the free reception for Unencountered Clouds on May 13 at 6 pm.
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Unencountered Clouds
The Sacristy Gallery
May 13, 2022 to Jun 25, 2022
In Unencountered Clouds, artists Jesse M Bell (Milwaukee) and Marc Benja (Chicago) present a collection of recent works that invite the viewer into their dream-like scenes. Both artists create narratives with playful similarities, sharing stories of identity, memory, and the vernacular. While their shared aesthetics invoke an overall sense of wonder, their candid and humorous works also provide a whimsical viewing experience where organic abstraction is infused with character and charm.
Register below to attend the free reception for Unencountered Clouds on May 13 at 6 pm.
About the Artists
Jesse M Bell is a contemporary abstract painter based in Milwaukee, Wisconsin. In his practice, Bell works to explore both the foundational, as well as the more remote, aspects of painting, realizing the opportunities afforded by the historical while also contributing to the ever-evolving, hyper-current conversation of the medium. Focusing primarily on the abstraction and interaction of organic shapes in various painting mediums, he employs subjective markings and detached iconography to create what he refers to as “visual poems” or “speech-act objects”.
Marc Benja is an artist primarily working with paint and textiles/fiber. He is the owner/curator of Fluffy Crimes, a non-profit condo gallery in Chicago that features artists from around the world. He received his BA from Columbia College Chicago. His instructors, Louise LeBourgeois, Bob Thall and Ivan Brunetti, inspired him to make the leap into art fulltime in 2019 after being immersed in “Corporate America” for 25 years.
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Hip Hop Jam at Epiphany Center for the Arts
Saturday, May 14, 6pm – 1am
Breakdancing Live Competition
$10 pre-registration fee
Epiphany Center for the Arts- Epiphany Hall
at our hip hop jam on 5/14/22 for chance to win first, second or third place.
Please email your name and phone number to dulce37@sharinghisenergygallery.net with copy of your ticket receipt to complete registration and with any questions.
21+
Does not include entry fee.
Participation fees will be used towards winner’s earnings A.K.A. winners take pot!
Good Luck!
www.sharinghisenergygallery.net
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Those that wear the mask lose their human life and turn into the spirit represented by the mask; in this case, The Making Mask. The Making Mask represents supernatural beings, ancestral, fanciful or imagined figures. It masquerades, hiding identity while expressing one’s freedom of voice, emotions and opinions without judgment; The Making Mask celebrates the virtue in ambivalence, the if in creating.
The view camera, which I selected from the Rod Slemmons Camera Archive to create the works in The Making Mask, is more machine than an entity that offers its own set of mysteries. Unwieldy, bulky and awkward, the view camera encourages a return to play, chance and experimentation. Pure in its analog state, it forces the maker to shoot blind, released from the comfort of the assurance created by a digital mindset. Both apparatuses proved to be portals to other worlds, just outside our reach though firmly within reach in our collective imaginations.
Cecil McDonald, Jr.
Spring 2022
The Making Mask is part of an ongoing series of photography exhibitions in Slemmons Gallery in which contemporary photographers use antique cameras from the Rod Slemmons Camera Archive to create new bodies of work. This series is offered in partnership with The Chicago Cluster Project.
To register below to attend the free opening reception on May 20 at 6 p.m. For more information and sales inquiries, please email art@epiphanychi.com.
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In Veiled… Myriads of Saved Objects Stitched Between Layers of Tulle, Chicago-based multidisciplinary artist Ani Afshar presents a collection of new assemblages that combine fabric and mixed media in fresh and unexpected ways. Using layers of tulle as her ground, Afshar creates poetic stories on top of, or between, these shimmering blocks of color. Rooted as much in drawing as they are in textile art, her constructions are often highly pictorial in both appearance and connotation, featuring angular lines of thread and beads that spread out like tree branches or spiderwebs over found photographs and other collected mementos.
Afshar combines influences from Turkish textiles, as well as from the contemporary folk and ancient textile traditions of the Near East, with the hard lines of Modernist abstraction. Each of her works seems like a sensuous, three-dimensional embodiment of a sketchbook page that was left behind by a globe-trotting poet, or like a map of the human brain that is meant to show the webs of memories created by a life of love and loss. Both familiar and mysterious, Afshar’s art remains slippery in nature, sliding between categories easily and never staying in one place for very long.
Register below to attend the free reception of Veiled on May 20 at 6 p.m.
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The Sanctuary Gallery
Coinciding with the 2022 Chicago Blues Festival, Women of the Blues: A Coast to Coast Collection showcases photographs of women blues musicians both past and present. This exhibition is curated from the collection of Lynn Orman Weiss, the founder and curator of the Women of the Blues Foundation.
From the south side to the west side, the women of Chicago blues have been performing in clubs and recording in studios for decades. Across all genres spanning the traditional to the contemporary, the women of the blues have challenged the social, racial, and sexual status quo in the historically male-dominated landscape. The roots of the blues in Chicago are portrayed through the lenses of local and international photographers who have captured the boundless talents and influence of these women — this is the essence of Women of the Blues: A Coast to Coast Collection.
Women of the Blues: A Coast to Coast Collection, is curated by Lynn Orman Weiss in partnership with Epiphany Center for the Arts, and features many of the women artists performing during this year’s Chicago Blues Festival, including Carlise Guy, Brigitte Purdy, Win Noll and Legendary Mary Lane.
For more information or to schedule a viewing appointment, please email art@epiphanychi.com.
https://epiphanychi.com/women-of-the-blues-a-coast-to-coast-collection/
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Chase Gallery
Some Parts of Us, DePaul University’s BFA in Graphic Design Capstone Showcase features student work integrating emerging media and contemporary technologies, including typography, digital/interaction design, branding, illustration, motion graphics, package design, programming, and digital fabrication. The self-directed Capstone project represents the culmination of student studies focusing on DePaul’s Vincentian mission of service and social good, integrated through themes of design ethics, community, accessibility, futures-thinking, and DEI.
For more information or to schedule a viewing appointment, email us at art@epiphanychi.com.
https://epiphanychi.com/some-parts-of-us-depaul-university/
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In the exhibition AXKAUIA, Chicago-based artist FÁTIMA illuminates the Catacombs with portals of abundance.
The AXKAUIA series represents the physical, mental, and spiritual notions of abundance. The original iconography of this series is rooted in the cosmic patterns found in maize, which has been a symbol of growth, fertility and abundance for Mexico and indigenous cultures throughout the Americas.
In Nahuatl - a Native American language of the Uto-Aztecan family, Axkauia means to abound or of abundance.
What is abundance? What does it look like? What does it feel like? Abundance in joy, in health, in growth – for the self, for the whole. To create it we must shift the narrative from lack to growth and that begins in what we project on to the world through our minds.
These portals are created to give the viewers a moment to meditate upon the affirmation of abundance and thus bring it forth.
The intention is to prosper, together.
…
FÁTIMA is able to use these visual and linguistic references to maize as a tool to not only illuminate the room but also enlighten viewers. Connecting symbolism that honors her Mexican heritage with contemporary notions of culture, self and the spiritual, AXKAUIA invites you to take part in a world of abundance.
Register for the free opening reception of AXKAUIA on June 24 from 6 – 9pm at the link below. for more information or any sales inquiries, email us at art@epiphanychi.com.
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Bring Back the Extinct Northern White Rhino is Victoria Fuller’s tribute to a species of animal that is functionally extinct. The last male northern white rhinoceros, named Sudan, died in 2018. There are two females left. This installation features a realistic life-size replica of a rhino, 13’ x 5’.5” x 4,’ made of vinyl material with a hide of printed faux wrinkles and texture. It inflates and deflates repetitively on a 3 minutes cycle. When deflated, we are reminded that it is extinct; when inflated, it references the magnificence of the species when it was alive, as well as the attempt to bring it back through “artificial reproductive techniques” with frozen sperm and eggs implanted in a closely related subspecies. The inflation and deflation are also like inhaling and exhaling lungs, symbolizing the breath of life. Fuller created the project with a grant from the Chicago Department of Cultural Affairs (DCASE) to bring awareness to the extinction of animals in our lifetime.
The idea for making this artwork started with Fuller’s observation of the sad piles of deflated holiday lawn decorations that slump on people’s lawns when the air is taken out of them. Like those lawn decorations, rhinos and many other wild animals are treated like a commodity, with no value as living things beyond the price they can bring at market. Rhinoceroses are killed illegally by poachers for their horns, which are used in the Chinese medicine trade. Other species like the pangolin and bats are used for meat and also used in Chinese medicine. The loss of this animal is a cautionary tale. Human hunting of wild animals and encroachment on their habitats is causing their extinction, and we must do all we can to stop these magnificent creatures from going extinct.
Register below to attend the free reception for Bring Back the Northern White Rhino on July 1 at 6 pm.
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The newest exhibition taking place in Slemmons Gallery as part of The Chicago Cluster Project showcases the work of artist and gallerist Aron Gent. Shur Shot combines Gent’s experience as a professional printmaker with the project’s mission, to make historical cameras accessible by engagement with contemporary Chicago educators.
The Chicago Cluster Project revolves around old cameras, the devices that helped us capture the world before it was digitized. Unlike electronic and digital devices, the mechanical equipment has the ability to operate decades after it’s no longer in use. For this exhibition, Gent photographed cameras from The Rod Slemmons Camera Archive, and created surprising, contemporary interpretations of them using Epson ink on watercolor paper. Rod Slemmons’ cameras are portals, apertures to the past, with the ability, in the hands of artists and educators, to see into the future. The key to this lies in fostering education and creativity, something Gent has done for over 10 years in the Chicago community. As a whole, this collection serves as a window to analog photography approaches and processes, and provides an opportunity to slow down the flow of time, before the shutter stops everything.
Shur Shot is part of an ongoing series of photography exhibitions in Slemmons Gallery in which contemporary photographers use antique cameras from the Rod Slemmons Camera Archive to create new bodies of work. This series is offered in partnership with The Chicago Cluster Project.
Register below to attend the free opening reception on July 15 at 6 p.m.
For more information or to schedule a viewing appointment, please email art@epiphanychi.com.
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The Guild Room at Epiphany Center for the Arts
Abstract collides with Realism. The exhibition C + C = COLLISION presents a collaborative series between Cesar Conde and C.J. Hungerman.
With their own unique style, Cesar Conde, a realist painter, and C.J. Hungerman, an Abstract Modernist, decided to collaborate two years ago. Hungerman approached Conde about the Collision concept: a collaboration that would require complete, blind trust. Conde hands off his portraits for Hungerman to apply his expertise; he never knows what’s going to happen to his paintings. Every time a canvas is invaded by Hungerman’s high energy and explosive colors, it takes on another life that is delicious, exciting and explosive. “I never know what’s coming next. It’s like unwrapping a present and it never disappoints,” said Conde of their collaboration. “I tell C.J. who the person I’m painting is, what they are like, their character, their passion. C.J. interprets them with his own visual language. I feel that both disciplines just feed off of each other. I totally love it! I completely trust C.J.“
Hungerman, speaking on his perspective on the collaboration, said, “I have incredible satisfaction while creating artwork with Cesar. The icons and imagery I utilize construct the subconscious personality of the human portrayed in each painting. These works are an exciting new adventure which have reinvigorated our skills and desire to produce art. Combining our forms and techniques with the subject matter has led to a series of artworks that reveal each portrait’s visual description in a new, dynamic fashion.”
The vibrato of Cesar Conde’s portraiture guides the tone of the symbols C.J. Hungerman chooses and the forms he fashions. It is no small thing for an artist to hand over their work without knowing what it will look like when they receive it back; it is an exercise of trust and friendship. The flow of these works creates a surreal environment that engages the viewer’s imagination.
For more information and sales inquiries, please email art@epiphanychi.com. To register for the free opening reception on July 29, from 6 p.m. to 9 p.m., follow the “Register Here” link below:
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Soul is the active or essential part of being. The power of soul comes in many forms – be it visual, ritual or musical – and can reveal divine secrets and wisdom. It can transform our consciousness and lead to enlightenment.
Various cultures and religions interpret the soul differently. The Christian Bible perceives the “Soul” as having formed when God breathed life into the body, and believes that it grows and develops through time. A person does not have a soul, but becomes a soul. Buddhists believe that there is no permanent self or soul. Because there is no unchanging permanent essence or soul, Buddhists sometimes talk about energy being reborn, rather than as “souls.” Soul can also be interpreted in more fluid terms, such as the core nature or most important qualities of a person or thing. In connection with the artists’ works, these concepts are at the core of why they make art.
One of the purest connections someone can make with art is through the soul. There are moments when visual art can communicate a higher level of understanding to the viewer, and transcend the physical image. With Got Soul, Project Onward and [salonlb.] artists exhibit various forms of crafting stories: transforming brief moments into images and creating symbols that connect with people; understanding culture and embodying imagination. Author and poet Toba Beta stated, “Charisma is the fragrance of the soul.” Likewise, some of the artists’ sense of soul connects to the idea of charisma in soul- such as it pertains to celebrities and their impact, or how a person can inspire action.
Above all, the artists in Got Soul aim to give the viewer a connection to the immaterial self, or the intense feeling of being more than just the physical body.
Got Soul was co-curated by Project Onward Creative Director Robyn Jablonski and [salonlb.] Associate Director and Curator Scott Renfo, in partnership with Epiphany Center for the Arts. This exhibition features work from Project Onward artists Alfred Banks, Dijon Barrett, Julius Bautista, Ruby Bradford, Michael Bryant, C.M. Butterfly, Louis DeMarco, Luke Shemroske, Michael Smith, Hailee Tyner, David Holt, William Douglas and Sereno Wilson; and [salonlb.] artists Laura Collins, Paul Kenneth, Savannah Jubic, Parvin Peivandi and Bobbi Meier.
To RSVP for the free opening reception of Got Soul on Friday, August 19 from 6 p.m. to 9 p.m. register at the link below:
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The Sanctuary Hallway at Epiphany Center for the Arts
Self-proclaimed absurdist and artist Lewis Achenbach continues to visually improvise and document the music scene as he has done for the last 10 years, capturing the frequency in the room. He offers a rewarding and creative form of adulation and reverence, through the cross-pollination of the sonic arts and visual arts. He shares what he has discovered by working on this discipline through public performances that are both virtual and in-person, a process he has titled a Jazz Occurrence and which he considers an invitation into his artistic process.
Achenbach’s means of production are varied, ranging from the traditional to the digital, and including canvas that you can touch that is layered with paints you can smell; wood panel scribed with pastels, charcoal and carpenter’s chalk; and sketches of sound on paper. A painting created during a set is built using layers of music, employing both abstraction and representation; resulting in an experience that is like looking at the frames of an animated film, all at once. It is a document of time; a form of time travel, each brushstroke portending the next musical phrase. Absurd in concept, yet beautiful and revelatory in the act. Every artwork is a sketch for a singular body of work that tells The Sonic Story.
Register below to attend the free opening reception on August 13 at 6 p.m.
For more information or to schedule a viewing appointment, please email art@epiphanychi.com.
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Thresholds Art Therapy Program and CJ Hungerman in collaboration with Cesar Conde
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Epiphany Hall at Epiphany Center for the Arts
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Sacristy Gallery at Epiphany Center for the Arts
Thank You Goodbye showcases the work of five emerging Chicago-based artists: Micaela Felix, Darby Jack, Nadia Khan, Psymon and SEAH. These artists were selected for the opportunity to show their work together in the Sacristy Gallery from a juried open call. Offered to Columbia College Chicago Alumni from the past four years who graduated from the Art and Art History Department with a BA or BFA, the exhibition that was developed from this process spans painting, printmaking, sculpture and poetry.
Curated by Epiphany Center for the Arts, Thank You Goodbye encapsulates both the gratitude and farewells that often accompany the experience of transitioning from student to working artist and honors the work that lives in this time of in-between. The perspectives of young artists working in the early stages of their career are dynamic and singular, a preview into the next generation of creative voices. The imagery and materials used throughout this exhibition call attention to this fact, challenging the viewer to linger a little longer, and to appreciate the upheaval inherent in youth.
To RSVP for the free opening reception on Friday, September 2nd at 6 p.m. register at the link below:
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Slemmons Gallery at Epiphany Center for the Arts
The exhibition Double Run Eight features work artist Kioto Aoki created with several moving image cameras from the Rod Slemmons Camera Collection: a Bell & Howell Filmo series Double 8, Cine Kodak Model B and a Kodak enlarger. The double 8 camera runs 16mm film through one way, exposing one half of the frame. The roll is then flipped and run back through again, this time exposing the other half of the frame; the final processed film is split down the center as two images.
The work in this exhibition keeps the film in its original form at 16mm width. Projected into the corner of the room, the vertical line simultaneously divides and reinforces the encounter of the two lateral frames. The film itself accentuates and plays with these visual collisions and inversions.
The accompanying photographs are created by rephotographing the single frames of the 16mm work; these images present a different visual and temporal engagement, prompting us of the innate relationship between the still and the moving image. The analogue translation from negative to positive is now traceable, traversing the mediums of photography and cinema, through abstracted interpretations of the frame, motion and time.
Double Run Eight is part of an ongoing series of photography exhibitions in Slemmons Gallery in which contemporary photographers use antique cameras from the Rod Slemmons Camera Archive to create new bodies of work. This series is offered in partnership with The Chicago Cluster Project.
To RSVP for free the opening reception on September 9, 6 to 9pm in Slemmons Gallery, follow the link below:
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The Guild Room at Epiphany Center for the Arts
Blue Collar is an exploration of African Americans’ contributions to denim textiles, twill woven cotton dyed blue with indigo, produced in postcolonial America. Denim has become Amanda Christine Harth’s textile of choice due to its timelessness and the complex history of the iconic blue jean color. West Africa has a long historic tradition of harvesting indigo plants to produce the color; yet there are few archives holding garments, photos, tools and documents to support this important African contribution to indigo’s global and intercontinental history.
Connecting with people over the language of style and how others connect through garments has been a driving force behind Harth’s practice. Her work is a constant study on the history of textiles and garments in underserved communities impacting change on a global economy. As her craft evolved she became more focused on the individuals in the garments and their stories. Blue Collar will be the first iteration in a series of textile exhibitions created to showcase the individuals from marginalized communities and fashion subcultures that have shaped society.
This exhibition is a highlight of Chicago Textile Week, and features indigo-dyed textiles, repurposed denim garments and original quilts created by Amanda Christine Harth, as well as research Harth conducted during her artist residency at the School of the Art Institute of Chicago Homan Square.
To RSVP for the free opening reception of Blue Collar on September 23, 6 p.m. to 9 p.m. register at the link below:
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The Catacombs at Epiphany Center for the Arts
Register below to attend the closing reception on November 17 at 6 p.m.
Phantasmagoria is a solo exhibition of the work of Chicago-based artist Mikey Mosher. This exhibition features a variety of light-based installations as well as a number of hand-cut collages and lenticular prints. Throughout the 19th century, ‘phantasmagoria’ was a form of theatrical horror show involving early projection technology, often incorporating frightening imagery of spirits, skeletons, and demons. Because of the unfamiliarity with this technology, these shows often elicited dramatic responses from crowds, causing many viewers to think that they were witnessing spirits. Mosher positions the mediums of projection, stereography, and collage as a means for himself and his audience to reflect on the frightening realities underlying American society. The works also use this format to comment on the contemporary American relationship with technology and its intersection with labor, commodification, mass media, and spirituality.
Register below to attend the free opening reception on October 7 at 6 p.m.
For more information or to schedule a viewing appointment, please email art@epiphanychi.com.
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A Curated Sale by We Are MATERIAL Design Collective | Chase Gallery at Epiphany Center for the Arts
Friday, October 7 from 12 to 7 p.m. REGISTER HERE FOR 10/07/22
Saturday, October 8 from 12 to 5 p.m. REGISTER HERE FOR 10/08/22
Epiphany Center for the Arts is showcasing fashion on October 7-8 with Fall Encounter— Fashion at Epiphany. This pop-up event in Epiphany’s Chase Gallery is curated by we are MATERIAL, a five year old design collective founded by fashion designers Andrea Reynders and Anna Brown and metalsmith Gillion Carrara.
Fall Encounter— Fashion at Epiphany is a unique 2-day sale featuring 12 local independent designers of fashion, jewelry, and accessories: ALL WE REMEMBER, Andrea Reynders, Anna Brown, Beata Kania, Bird & Tale, Bruce Woods, Gillion Carrara, Jasper Drummond, Julia Gawron, Production Mode, Takara and The Checkroom.
Representing some of the best of Chicago fashion, these designers will show a mix of garments and accessories made in limited quantities through the artisanal process. All work exhibited will be available for purchase.
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The Sacristy at Epiphany Center for the Arts
I walk. I find the story in the walk. I consider the shape of the walk and how it shapes me, my thinking, my socialness. And then I map out the wilderness of that space, layering drawings, writing and ephemera gathered along the way. These are cartographic collages, yet the figure dominates. Who are these people who embody the mood of my walks? They are both rambler and scribe, seeker and storyteller. Feelings are worn on their exteriors. I am interested in how the act of mapping out the space of a walk embodies the particularities of perspective – visual, cultural and emotional. Describing a place tells us not only where but also who we are.
– Mary Jones, 2022
Register for the free October 21 opening reception of Whereabouts at the following link. For more information or any sales inquiries, email us at art@epiphanychi.com.
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Slemmons Gallery at Epiphany Center for the Arts
https://epiphanychi.com/jay-wolke-past-present-future/
Chase Gallery at Epiphany Center for the Arts | Opening Reception: REGISTER HERE
Making Space is a four-year project in which Photographer Mark Ballogg documented 164 artist studios in Chicago culminating in a book to be published in 2022. Each studio visit consisted of two hours of photography followed by an hour of recorded conversation with the artist. Before visiting each studio, Ballogg familiarized himself with each artist and their work through online research. Those insights along with ideas gleaned during the studio photography form the framework for each conversation. The studios are thus explored as a reflection of artists and their practices.
In November of 2018, Mark Ballogg visited the Lincoln Park studio of Sculptor Richard Hunt. Since 1971, Richard has worked on his sculpture and drawings in a former Chicago Transit Authority power substation. The scale and visual complexity of Richard’s studio overflowed with possibilities. That visit was the inspiration to create a series of images of the spaces artists use to conceive of and make their work. After fleshing out the idea and reviewing several existing photo books on artists’ studios, he realized the potential to create visually engaging images that uniquely expressed the scope, individuality, and function of artist’s spaces. The addition of artists quotes which will be included as excepts in the upcoming book helped create a more insightful and nuanced body of work.
In the process of creating Making Space, both the temperament of creative people and the character of the region where they work was revealed. A wide range of artists, in all aspects of gender, practice, and defining circumstances are included, and the conversations touch on all things Art; from the individual artists’ relationship with their studio and practice, to such questions as what is art and why make art. The result is a book with intermingling narratives illuminating the intersections of thoughts and structures, of stories and circumstances, and ambitions and their material realization.
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The Sanctuary Hallways at Epiphany Center for the Arts
An absolute millennial, Jordan Porter-Woodruff began to notice how the shift of celebrity has impacted the very people civilization has long respected and strove to protect: artists. During times of war and looting, artifacts are taken and looked upon as a valuable representation of a past time. However, the people that have created those pieces are either forgotten or looked over until long past their death. Porter-Woodruff’s desire for Portraits: An Intimate View is to ensure that this diminishment does not happen to artists that she truly appreciates and admires, particularly those she knows personally.
In 2019, Porter-Woodruff decided to start her blog, The Artists’ Feature. She took it upon herself to interview and photograph these artists, to create for them a cohesive artist profile that would not only show them at their happiest, but also at their most vulnerable point – to show them creating. Her blog site features artists such as Bisa Butler, Nick Cave, Norman Teague, Shani Crowe, as well as a number of other artists. The photographs in Portraits: An Intimate View are pulled directly from her work displayed on The Artists’ Feature.
Image: Jordan Porter-Woodruff, Nick Cave, 2022, 24\" x 36\"
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The Guild Room at Epiphany Center for the Arts
https://epiphanychi.com/czr-prz-even-so/
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The Catacombs at Epiphany Center for the Arts
Abraham’s latest series is inundated with Mickey-like characters and references. Why Mickey? It is a recognizable character that has frequently made appearances in Abraham’s work since the early 2000’s. The artist’s love of Pop Art and cartoons from the 1950’s and 1960’s plays a large role in the types of characters he creates. In his college years, Pop Art woke him up. The style was different from normal landscapes and portraits. It was revolutionary in its sudden impact and it broke Fine Art and commercial art boundaries, something that really resonated with the artist. The body of work in Being Mickey hearkens back to that memory, but with a more refined approach as his own creative process has matured. Abraham sees Mickey as a self-portrait, the evolution of himself. The artist’s art making process is through automatism, as defined by the Surrealist movement. It is rooted in pop culture and incorporates the characters that enter his mind within an environment that is sometimes surreal, sometimes uncomfortable. The faceless figures constantly reappear in Abraham’s work but always include elements that give them some individuality. When he paints, he completely lets go of his conscious self and allows his subconscious to take over. The paintings are all of his thoughts, dreams and nightmares put on display. Many of the Mickeys represent Jungian Archetypes and are transformed within various surreal environments. Being Mickey transports us into the artist’s mind, providing a glimpse into that subconscious process.
Being Mickey is a collaboration between Elephant Room Gallery and Epiphany Center for the Arts. To RSVP for free the opening reception on December 9th, 6 to 9 p.m. in the Catacombs, follow the link below:
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The Sacristy Gallery at Epiphany Center for the Arts
Anne Hughes sees each creative journey as an adventure in which she faces the unexpected. With every new work, she finds herself gravitating toward themes relating to nature, the cosmos, science and the vastness of what we know and what we do not know. Color, form and space evolve with abstracted, layered imagery, stimulating a variety of emotional and intellectual responses. Her work ponders the relationships of these elements and the effects they have on us, our perception and experience. By employing composition and space she implies there is more to consider, allowing the images to spill over the edges as a way of furthering this idea. She values exploration and searches for those moments when the parts unite into a wondrous whole; where the push and pull of positive and negative space interchange.
Hughes asks the questions: when will we project the future effects of our actions? What other levels of interconnections exist? And what are we leaving out? In Phenomena, ecosystems of all sorts abound. For every action there is a reaction- it might not be equal, but there is a consequence. With this exhibition, Hughes shares some of her wanderings through the mysteries of life and the magic of the creative experience.
Register below to attend the free opening reception of Phenomena on December 9 at 6 p.m. For more information or for sales inquiries, email us at art@epiphanychi.com.
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The Guild Room at Epiphany Center for the Arts
To RSVP for the free opening reception on Friday, March 3rd at 6 p.m. register at the link: REGISTER HERE
For the past thirty years, Gretchen Beck has been rendering imagery that reflects the vibrancy of Nigerien culture. She lived in Niger, West Africa for three years as a Peace Corps Volunteer and has returned to study the abstract aesthetic within Djarma and Fulani art forms. In these paintings, the colors, lines, and values mirror the rhythms, textures, and movement of daily life in Southwestern Niger. Dance and song are suggested as whimsical lines glide across grid-like swatches of bold colors. The title of the exhibition, Gan nda Donie Koy,translates in the Djarma language to “Leader of Dance and Song.” The videos included in this exhibition also reflect its title. In rhythmic ways, the Fulani women decorate their homesteads with identity disks. The hand-woven art forms symbolize the diverse members of Fulani communities and epitomize the region’s abstract aesthetic. Overall, Gan nda Donie Koy pays tribute to the exuberant and hard-working daily life of Fulani women. Proceeds from this exhibition will directly benefit the Fulani people in Niger, West Africa.
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In gather-seize, Michelle Stone embraces ambiguity, enigma and the shadow side of how an artist creates. Having grown up in a family of artists and freaks, these things feel familiar to Stone, and are concepts she revisits throughout her work. Stone has spent her art life creating paintings and sculptures that question the human condition about what all nature shares in common: growth, transformation, and decay.
This body of work is the extension of her own organic evolution over time. Focused on constructing photos and collages of random relationships that spoke to some part of her subconscious or intuitive experience, every image originates from pieces of her actual existence. By fusing content and structure, she attempts to invent an internal dialogue; and from this, one basic, personal story can emerge. Only after these pieces ascend from her memory and imagination does the painting process begin.
This exhibition will be on display in the Catacombs alongside the exhibition DOUBLE/FORCE.
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Explosive energy dominates the work of Sarah Krepp and Olivia Petrides. Krepp locates a powerful gesture in found materials, in blown-out tires which are gathered from highway debris. Blow-outs force the wires, embedded in the rubber, into writhing gesticulations of accumulated stress. Krepp explains that “with the use of blown-out retread tires, handwritten text of NPR, stitching, tar and lace, I aspire to set up an interplay between the brute force of the road and fragile domesticity – targeting the chaos, confusion and instability of our daily lives. Our ability and disability to understand the fractured world around us I set against the natural vigor and exuberance that we find in life itself. Part of this is aesthetic, part positive energy, part horror, danger, and death.”
Petrides also utilizes found materials– collaged fragments of daily news –to protest the inversion of truth and facts within current political dialogue. Her work explores partisan denial of social and environmental concerns which hinders meaningful negotiation. She states “my work in this exhibit protests the distortion of facts which promote the lies of the Trump administration. News is “spun.” “Truth” is contested. “Science” is mistrusted. “Climate change” is denied. These images are an exploration of the oppositional discourse of our time.”
In DOUBLE/FORCE, Petrides and Krepp both reference turbulent atmospheres and tangled social workings, thus posing questions about the relationship between human action and nature’s limitations.
Petrides’ work in this exhibition is supported by an Illinois Arts Council Special Projects Grant and by the Pollock-Krasner Foundation.
This exhibition is on display in the Catacombs alongside gather/seize.
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The title I Love America and America Loves Me is borrowed from German Artist Joseph Beuys’ famous 1974 performance in New York, but decisively altered. It’s the change from the word “like” to “love” which carries the sociopolitical differences between the two countries, their mentalities and Beuys’ German sensibility.
On January 9, 1974, Joseph Beuys, together with Klaus Staeck and Gerhard Steidl, traveled for the first time to America. This trip was a carefully planned performance that took place in airplanes, taxis, hotels, universities, and galleries, and was comprehensively documented in photographs and video. The tour began with a lecture at New York’s New School, visited by artists including Claes Oldenburg, Lil Picard, and Al Hansen; the next stop was Chicago, the site of an unexpected performance reenacting the death of John Dillinger.
On July 22, 1934, local and federal law-enforcement officers closed in on the Biograph Theater. When Bureau of Investigation agents moved to arrest Dillinger as he exited the theater, he tried to flee. He was shot in the back; the deadly shot was ruled justifiable homicide.
Beuys’ “Actions” are the quintessence of his teachings, having an almost ritual character. Extended time and constant repetition lend them the character of existential Passion plays grounded in his conviction that negative energy can be transformed into positive energy, at any point in time. This work in this exhibition is inspired by these actions, revisiting the site of John Dillinger’s death and Bueys’ performance.
I Love America and America Loves Me is part of an ongoing series of photography exhibitions in Slemmons Gallery in which contemporary photographers use antique cameras from the Rod Slemmons Camera Archive to create new bodies of work. This series is offered in partnership with The Chicago Cluster Project.
For more information or to schedule a viewing appointment, please email art@epiphanychi.com.
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With imagery revolving around workers in food service, retail, and factories, Spine. pays tribute to the working class. Most Americans belong to the working or middle class, and are the group that is most vulnerable to exploitation in the workplace. Celebrity worship culture and media coverage have caused many to aspire to unattainable ideals and be more inclined to ignore and silence the working class. Working-class people are the backbone of American life, and are interfaced with at every level in day-to-day interactions. This body of work by artist Julian Adon Alexander is an effort to humanize and show appreciation for these lines of work, coming from someone who has worked in these industries himself.
","type":"Event","state":"published","slug":"julian-adon-alexander-spine","created_at":"2023-02-13 20:50:44.189971","updated_at":"2023-04-21 17:45:48.080665","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":"2023-03-31 18:00:00","opening_ends_at":"2023-03-31 20:00:00","searchable":"'adon':2A,100B 'alexand':3A,101B 'american':24B,78B 'appreci':109B 'around':8B 'artist':98B 'aspir':55B 'backbon':76B 'belong':25B 'bodi':94B 'caus':52B 'celebr':45B 'class':22B,31B,69B,72B 'come':115B 'coverag':50B 'cultur':47B 'day':89B,91B 'day-to-day':88B 'effort':104B 'everi':85B 'exploit':41B 'factori':15B 'food':11B 'group':35B 'human':106B 'ideal':58B 'ignor':64B 'imageri':6B 'inclin':62B 'industri':123B 'interact':92B 'interfac':82B 'julian':1A,99B 'level':86B 'life':79B 'line':112B 'mani':53B 'media':49B 'middl':30B 'pay':17B 'peopl':73B 'retail':13B 'revolv':7B 'servic':12B 'show':108B 'silenc':66B 'someon':117B 'spine':4A,16B 'tribut':18B 'unattain':57B 'vulner':39B 'work':21B,28B,68B,71B,96B,114B,120B 'worker':9B 'working-class':70B 'workplac':44B 'worship':46B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668618/yvrr4oxafzv40hb6obus.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669663/event_ics_1721669663012.ics","carousel":null,"category_name":"Exhibitions"},{"id":11015,"title":"Reneé Baker | Une ligue d’un: Black Testament","starts_at":"2023-05-05 12:00:00","ends_at":"2023-06-03 12:00:00","body":"
In Une ligue d’un: Black Testament, composer, music director, and artist Renée Baker showcases a surrealist view of the possibilities of black artistry.
This exhibition Une ligue d’un, which translates to “a league of one,” includes large paintings on paper, sculptures, and an experimental film that create unexpected and dramatic entries into the audio-visual arena. Having created a system of visualizing and interpreting musical information and scores, a system she calls CCL (Cipher Conduit Linguistics), there is no distinguishable decision between her visual and audio worlds. This technique uses semantic concepts and gestures of composition to influence the perception of an image as not just an image, but as partner to the chosen score sounds.
Baker’s devotion to recontextualizing boundaries within her work also contains a twist of social détournement; as she addresses the often less than honest portrayal of people, especially the lives of African Americans in the 1900’s. Listening to and seeing new soundscapes gives the audience a different way to view “otherness,” enacting a form of social justice without overt protest, and presenting positive narratives of cultural life without changing a frame.
With her unique juxtaposition of styles, rhythms, and moods, new meanings arise in the listeners relationship with sound art. Reinterpreting, reevaluating, and reimagining the merging of images and sound brings another level of analysis and appreciation. Nothing is easily packaged. Subtle ruptures between imagery and sound achieves an edge of experimentation that drives the images towards a narrative not controlled by either the viewer or the creator. Her intent is to convince the viewer’s mind to marry the two elements and encourage a flow that at first glance appears mismatched; but that ultimately create a comfortable dissonance that allows the viewer to take their interpretation to a new “anywhere” without losing sight of the historical sources that interrogate what lies beneath.
RSVP for the opening reception on Friday, May 5th from 6 p.m. to 9 p.m. at the link below: REGISTER HERE
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The works on display by Joe Krueger are all for sale for the duration, the proceeds of which will be donated to Rebuilding Together. On his work and the title of the exhibition, Krueger states “These are the three words that define my work, my life, and my passion. As an artist, I like to test the limits and create unique pieces that complement a space. I have a passion for creating artworks that I believe make people smile and appreciate modern, textured, and one-of-a-kind masterpieces. My creations are not made in haste- a work takes weeks to months to customize to my vision.”
You can learn more about Rebuilding Together Metro Chicago by visiting their website at www.rebuildingtogether-chi.com.
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In Overflow, Gina Lee Robbins combines found and reclaimed materials to explore the elements of human experience that we can’t quite contain. Natural debris and spillover from the urban landscape reference our inability to maintain a firm grasp on all that we’d hoped to bear. This might include the perennial lost sock, a wardrobe malfunction, or grief bubbling up at a traffic light. On a deeper level, Lee Robbins is musing on who we are in relation to who we dreamed we’d become, who we present ourselves to be, and how we’re actually seen. Her focus is the confluence of propriety and social norms with the actual spillage that occurs in everyday life–the bits that dribble out and make us uncomfortable.
RSVP for the opening reception of Overflow on Friday, May 12 from 6 p.m. to 9 p.m. at the link below: REGISTER HERE
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Human imposition can be seen on every landscape, whether fabricated or merely observed in a relatively natural state. Sampson’s paintings capture that signature human mark by employing abstracted shapes, symbols, and even at times, bar codes, as stand-ins for humans. The bold colors, layered background, and shifting vantage points create a sense of movement across and into the spatial field, inviting the viewer to experience her painting as an event characterized by the unique complexities resulting from the human gaze.
Plastics will be an undeniable marker in the fossil record of humankind. Our species is dependent on the convenience plastic promises, and like it or not, this material is our most lasting legacy. Northup transforms this toxic material, rolling and slicing it into dimensional marks for making art that depicts abstracted glimpses of microscopic cell interactions or molecular-level contamination, a cross-section of interconnectedness, in an attempt to imagine how this man-made material is interacting with living systems at the deepest level.
RSVP for the opening reception of Traces of Us on Friday, May 12 from 6 p.m. to 9 p.m. at the link below: REGISTER HERE
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RSVP for the opening reception on Friday, May 26 from 6 to 9 p.m. at the link below: REGISTER HERE
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Myntti’s paintings are known for their bold, discordant colors and shapes. For decades she was focused on making figurative work, in dramatic and romantic images in paint and aquatint etchings. She also made hundreds of figurative aquatint etchings. In this early, figurative work she was able to describe things she couldn’t put into words. Some themes from these decades were “The Marriage” series, “The Family” series, and the “Women in Love” series, among other subjects that have long fascinated Myntti. The landscape as subject matter is a fairly recent departure for Myntti, occurring within the last 20 years.
Alaska is one recurring theme in her work, as she spent many years there and her children were born there. The Snake River in Idaho, where she went to University; Northern Minnesota, where they would spend summers; and Salt Lake City, where she grew up, are other landscapes that continue to inspire her work. The Chippewa Flowage in Northern Wisconsin is her newest motivation. She is at the moment taken with the work of Milton Avery and has sometimes accessed her work through this lens. As Myntti states “the goal of making maximal impact with minimal marks and discordant color is terrifying work.”
RSVP for the opening reception on Friday, June 2 from 6 p.m. to 9 p.m. at the link below: REGISTER HERE
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The Catacombs
DePaul University’s BFA in Graphic Design Capstone Showcase features student work integrating emerging media and contemporary technologies, including typography, digital/interaction design, branding, illustration, motion graphics, package design, programming, and digital fabrication. The self-directed Capstone project represents the culmination of student studies focusing on DePaul’s Vincentian mission of service and social good, integrated through themes of design ethics, community, accessibility, futures-thinking, and DEI.
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RSVP for the opening at the link below: REGISTER HERE
All Decked Out is a skate deck show curated by Zissou Tasseff-Elenkoff of All Star Press and Alejandro Mario Martell, presented in partnership between Epiphany Center for the Arts and All Star Press.
With a lineup of over 100 artists from all over the world, Zissou and Alejandro are endeavoring to highlight the spirit and versatility of art that takes place on the street; art that is not often in the limelight, but that dictates culture nonetheless.
Displayed in the beautifully atmospheric Catacombs, All Decked Out will feature some of the finest creatives from all over the city and more, blending together different aesthetics and mediums. The street has long since been the space where authentic art and the heart of a city take shape. What is more emblematic of this than a skate deck: a way to carry art with you at all times; or rather, a way for art to carry you. A deck is not something that is meant to stay nice and new, it’s meant to get scratched and beat up, emblazing more stories and memories on top of the original ones. A constantly evolving piece that lives alongside its owner. With this exhibition, we aim to highlight the living, transformative nature of art that’s meant to extend past gallery walls.
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THE HAPPINESS SHOW RECEPTION and AWARDS CEREMONY will be held on | Friday, July 14, 2023, 6:00–9:00 p.m. Award winners will be announced at 7:00 p.m.
The Chicago Alliance of Visual Artists (CAVA) is pleased to be exhibiting members’ art for the first time at the Epiphany Center for the Arts, a new vibrant art and performance center centrally located in Chicago. CAVA is a Chicago-area arts organization serving and run by artists over 50. Founded in 1988, CAVA promotes a platform for older artists to engage with peers, exhibit artwork, gain recognition, and explore creative connections in the wider community.
About the Happiness Show
For this summer exhibition, CAVA members have created original artwork that responds to the show theme of Happiness. “Our inspiration was to exhibit a thematic show in counterbalance to challenging times we have experienced, says the show organizer, Colette Wright Adams.
“Sometimes the smallest things make us happy. The smallest things can surprise, and delight, and fill us with wonder and joy. In the month that carries the celebration, for many, of Independence, liberty, and the pursuit of happiness, we asked our members to express what happiness means to them today, in the here and now.”
CAVA Artists are working right now through the spring on visual art responses to the Happiness theme, using a wide variety of media: painting, collage, drawing, sculpture, photography and printmaking work will all be included in the exhibition. The Epiphany Center draws a diverse audience to their concerts and performances, and CAVA artists are looking forward to the opportunity to make meaningful connections to a new audience of art lovers.
About the Chicago Alliance of Visual Artists
CAVA is a not-for-profit volunteer organization, founded in 1988, and committed to addressing the needs and concerns of artists aged 50 and older. CAVA promotes older artists and their work, creating community and fellowship through our annual exhibitions and educational events, including our salon events, workshops, member luncheon, annual symposium, and special themed exhibitions. We provide our 250-plus members throughout the greater Chicago area the opportunity to exhibit and sell their artwork in such notable venues as the Chicago Cultural Center, Evanston Art Center, Dank Haus German American Cultural Center, Bridgeport Art Center, Beverly Arts Center, the Haitian American Museum of Chicago, and the Leslie Wolfe Gallery in Old Town. CAVA members create art in a wide variety of media exploring an expansive array of topics, and covering a wealth of artistic and life experiences.
CAVA’s volunteer board members manage, publicize, produce, and coordinate our many activities. We rely on members, volunteers, and supporters to help with individual projects, generating new exhibition and event ideas, and to help reach out to other area arts organizations to realize partnership opportunities. For more information about CAVA,
visit us at https://www.wearecava.org/
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Chicago Sculpture International Gallery Open House: Artists in the House!
Taking place at Epiphany Center for the Arts
January 6, 2024, Noon – 3:00pm
Enter at Ashland Avenue entrance. REGISTRATION REQUIRED
REGISTER HERE: Gallery Open House: Artists in the House! Tickets | Chicago, IL | The Guild Room (etix.com)
http://tinyurl.com/Epiphany-Register
Art galleries offer a warm winter respite and Epiphany’s January Gallery Open House is a great opportunity to check out six extraordinary exhibits and meet the artists, whose collective works demonstrate exceptional technical skill through an expansive exploration of materials, media, and subject matter. For exhibit information, go to: epiphanychi.com/arts/
Chase Gallery – Last Look! (Closing 1/13)
Chicago Sculpture International juried member exhibit Elemental Impact takes interest in the parts that make up the whole, and how a single element can impact the world at large. Much like a single choice in material or form can change an entire piece, each of the sculptural works in this collective by 34 artists, change and impact the whole through their proximity.
CSI Elemental Impact exhibiting artists:
Brad Cahill | Nicholas D’Alessandro | Christine Forni | Michael F. Gallagher | Mirentxu Ganzarain | Set Gozo | Maki Hajikano | Ariana Hocking | Azadeh Hussaini | Kara Cobb Johnson | Stacee Kalmanovsky | Beth Kamhi | Larsa Kena | Eli Kessler | Seonyoung Lee | Connie Noyes | Julie Mars | Bill Mitchell | Stella Moon | Bryan Northup | Lisa Nelson Raabe | Jeanne Reilly | Gina Lee Robbins | Marci Rubin | Howard Russo | Stephanie Sailer | Olya Salimova | Dominic Sansone | Zelene Jiang Schlosberg | Yvette Kaiser Smith | Diane Tang | Roberta Ulrich-de Oliveira | Nancy VanKanegan | Yimei Zhu | Curated by Kaylee Fowler
Guild Room
Louise LeBourgeois & Karen Reimer: Boundless & Disorderly is a two-person exhibition that explores the horizon line of Lake Michigan, through LeBourgeois’s representational painting and Reimer’s naming and poetic language within her large-scale, hand-crafted quilts. Both scrutinize the horizon line, where water meets air, with the awareness that this ethereal edge doesn’t truly exist.
Sacristy Gallery
Elaine Miller: Wanderlust exhibit reflects on Miller’s lifelong desire to travel to the world’s most exotic places, contrasted with her paintings that exquisitely document a hyperlocal midwestern landscape. Her work aims to connect the viewer with the spiritual qualities of nature and our complex relationship with it.
Slemmons Gallery
Karen Gubitz: Materials Matter is a deep examination of the properties of natural materials, where Gubitz extracts their highest possible resiliency, while exploring surface potential, limitlessness, and pliability in her seemingly categorized collection of refined sculptural works.
Catacombs Gallery – Last Look! (Closing 1/13)
Gretchen Jankowski: Amplified Inking is a vast survey of materials exploring collaged prints layered in resin, as well as printmaking on a variety of fabrics, which Jankowski collages, embroiders, and quilts together to create large, voluminous, soft sculptural pieces. While most of the work is large scale, she incorporates delicately detailed elements that invite close inspection of abstract botanical patterns and otherworldly environments.
Yolanda Richards: Music to my Soul
Photography series aims to inform, celebrate, and expose the histories, legacy, and contributions of Chicago soul music. In partnership with Overflow After Dark Productions, the exhibit documents twelve Chicago musicians: six seasoned and with historic roots to Chicago’s Record Row, and six emerging artists who are creating a new era of soul music in the Windy City.
Sanctuary Hall Gallery – Sneak Peek! (Exhibit opens on January 18th)
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Artist Talk & Panel Discussion: 7:00pm
Sanctuary Hall Gallery: Yolanda Richards’s photography series Music to my Soul aims to inform, celebrate, and expose the histories, legacy, and contributions of Chicago soul music. The exhibit in partnership with Overflow After Dark Productions documents twelve Chicago musicians: Six seasoned and with historic roots to Chicago’s Record Row, and six emerging artists who are creating a new era of soul music in the Windy City. Musicians Mitty Collier, D.Lylez, and Alyshia Monique will participate in a panel discussion, sharing their experiences and creative journeys in Chicago's music scene, while discussing the ways the Chicago community can support them as artists. For more information, go to: www.epiphanychi.com
Photo Credit: Yolanda Richards
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Photo Credit: Epiphany Center for the Arts
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Photo credit: Project Onward. Artwork by Charles Buchanan.
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Photo Credit: Faith Humphrey Hill
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Photo Credit: Joe Gallo & Marilyn Artus
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Photo Credit: Andrew Boynton
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Photo Credit: Marten Katze
","type":"Event","state":"published","slug":"the-ruins","created_at":"2024-01-04 23:42:11.148256","updated_at":"2024-01-04 23:42:11.1547","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":"2024-02-02 18:00:00","opening_ends_at":"2024-02-02 21:00:00","searchable":"'altern':37B 'among':40B 'antiqu':27B 'art':50B 'artist':13B 'center':47B 'credit':61B 'deconstruct':16B 'design':35B 'didact':17B 'display':39B 'epiphani':46B 'exhibit':8B 'fragment':31B 'glass':12B,44B 'go':57B 'guild':3B,52B 'histor':51B 'iconographi':24B 'imageri':18B 'inform':56B 'katz':15B,63B 'marten':14B,62B 'narrat':38B 'new':33B 'origin':42B 'paint':34B 'photo':60B 'reassembl':30B 'room':4B,53B 'ruin':2A,10B 'saint':20B 'salvag':25B 'solo':7B 'stain':11B,43B 'symbol':21B 'window':28B 'www.epiphanychi.com':59B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668677/u4gflzzxp2lrv7vxlvtk.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669722/event_ics_1721669722192.ics","carousel":null,"category_name":"Exhibitions"},{"id":12013,"title":"Valentine Portrait Slam with Project Onward","starts_at":"2024-02-08 17:00:00","ends_at":"2024-02-08 20:00:00","body":"Guild Room: Get your portrait drawn from life (or from your favorite photo) by one of six incredible Project Onward artists. Grab a drink and your favorite person and cozy up for a custom, 45-minute portrait session. This is a great date night activity and portraits make a perfect Valentine’s Day gift! Portraits start at $40 for a single subject and $10 for each additional subject. Bring a photo of your furry friends and they can be included too! All proceeds support Project Onward and their artists. For more information, go to: www.epiphanychi.com
Photo Credit: Project Onward & Epiphany Center for the Arts
","type":"Event","state":"published","slug":"valentine-portrait-slam-with-project-onward","created_at":"2024-01-04 23:46:01.308683","updated_at":"2024-06-06 19:44:35.667716","excerpt":"","is_timeless":false,"organization_id":1047,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'10':70B '40':64B '45':41B 'activ':51B 'addit':73B 'art':110B 'artist':27B,95B 'bring':75B 'center':107B 'cozi':36B 'credit':103B 'custom':40B 'date':49B 'day':59B 'drawn':12B 'drink':30B 'epiphani':106B 'favorit':18B,33B 'friend':81B 'furri':80B 'get':9B 'gift':60B 'go':99B 'grab':28B 'great':48B 'guild':7B 'includ':86B 'incred':24B 'inform':98B 'life':14B 'make':54B 'minut':42B 'night':50B 'one':21B 'onward':6A,26B,92B,105B 'perfect':56B 'person':34B 'photo':19B,77B,102B 'portrait':2A,11B,43B,53B,61B 'proceed':89B 'project':5A,25B,91B,104B 'room':8B 'session':44B 'singl':67B 'six':23B 'slam':3A 'start':62B 'subject':68B,74B 'support':90B 'valentin':1A,57B 'www.epiphanychi.com':101B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668677/pv7krbs5slkgrb0ixopo.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669722/event_ics_1721669722360.ics","carousel":null,"category_name":"Markets / Sales"},{"id":12014,"title":"Intuit: Art After Work with Project Onward","starts_at":"2024-02-15 17:30:00","ends_at":"2024-02-15 19:00:00","body":"Chase Gallery: Join Intuit - The Center for Intuitive and Outsider Art for a hands-on artmaking workshop led by Project Onward artists at Epiphany Center for the Arts. Inspired by Project Onward’s “Saints and Sinners” exhibition, attendees will have the opportunity to make mixed media drawings with John Behnke, foil sculptures with Shandrewick Key, and collages with William Douglas. For more information, go to: www.epiphanychi.com
Photo Credit: Project Onward & Epiphany Center for the Arts
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Photo Credit: Epiphany Center for the Arts
","type":"Event","state":"published","slug":"third-thursday-gallery-tour-saints-sinners","created_at":"2024-01-05 19:27:16.059438","updated_at":"2024-01-05 19:27:16.066761","excerpt":"","is_timeless":false,"organization_id":1047,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'45':17B 'art':12B,26B,67B 'carpent':9B 'celebr':54B 'center':23B,64B 'collect':41B 'continu':31B 'credit':62B 'curat':40B 'debaucheri':48B 'decad':47B 'director':10B 'epiphani':22B,63B 'evoc':51B 'exhibit':43B 'februari':33B 'free':16B 'galleri':3A,27B,36B 'go':58B 'gras':29B 'guid':19B 'includ':38B 'inform':57B 'join':7B 'juli':8B 'lineup':37B 'mardi':28B 'merrymak':50B 'minut':18B 'photo':61B 'program':13B 'reverber':45B 'saint':5A 'season':30B 'sinner':6A 'third':1A 'thursday':2A 'tour':4A,20B 'www.epiphanychi.com':60B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668677/rc0jxllmh0rvmr6neusv.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669722/event_ics_1721669722404.ics","carousel":null,"category_name":"Tours"},{"id":12255,"title":"Special Preview | Light of Truth: Richard Hunt’s Monument to Ida B. Wells","starts_at":"2024-02-28 19:00:00","ends_at":"2024-02-28 20:30:00","body":"Epiphany Hall: A man known for making monuments and a monument himself among the world’s most creative icons, Chicago sculptor Richard Hunt completed more public sculptures than any other artist in the country. His sculptural works honor and memorialize some of Chicago’s most historically significant figures that will inspire generations, at a time when other monuments are being examined or dismantled for their injustice and falsehoods.
The Light of Truth: Richard Hunt's Monument for Ida B. Wells is a 60 minute documentary about the creation of The Ida B. Wells National Monument by renowned Chicago sculptor Richard Hunt honoring civil rights activist, journalist, and suffragist Ida B. Wells. The film weaves together Hunt’s life and fabrication of the monument with the story of Wells’ heroic fight for justice. The sculpture takes its name “The Light of Truth” from a quote by Ida B. Wells-Barnett, \"The way to right wrongs is to turn the light of truth upon them.” We learn what motivated her to become the woman who fought for truth and justice, leading the way and shining the light for the rest of us to follow. It was unveiled in 2021 by The Ida B. Wells Commemorative Art Committee.
A panel discussion facilitated by Chicago entertainment critic Rebecca Ford will follow the film, with the, with the filmmaker Rana Segal, producers Laurie Little and Vincent Singleton, Co-Chair of the Ida B. Wells Commemorative Art Committee Anthony Rogers, and Eric Stephenson, Richard Hunt’s Studio Manager and friend of 22 years.
The presentation is a “pay-what-you-can” program with proceeds supporting the completion of The Light of Truth documentary.
For more information, go to: www.epiphanychi.com
Photo Credit: Epiphany Center for the Arts
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For more information, go to: www.epiphanychi.com
Photo credit: Kimberly Leja-Atwood
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For more information, go to: www.epiphanychi.com
Photo Credit: Nancy Lu Rosenheim
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The selected works for Instrumental honors both well-known and local musical artist who inspire beyond their musical talents. The heart of the artist is the greatest instrument that naturally flows through their music. Music can conjure up our deepest emotions and shape our thoughts. It is a tool of human connection that is instrumental to shaping culture.
For more information, go to: www.epiphanychi.com
Photo Credit: Khleo Morris
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For more information, go to: www.epiphanychi.com
Photo Credit: Epiphany Center for the Arts
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In a society in which hands sign into law discriminatory policies, cause harm, and more, through this series Porter-Woodruff explores how hands also facilitate moments of gentleness and care. Inspired by Toni Morrison’s character Baby Suggs in Beloved, who while preaching to the formerly enslaved, encourages listeners to “Love your hands! Love them. Raise them up and kiss them. Touch others with them, pat them together, stroke them on your face 'cause they don't love that either.” Collectively, the photographs from the Working Hands series are a reminder of the power of our hands and their ability to create proud moments, while also recalling the darkness that they can produce. For more information, go to: www.epiphanychi.com
Photo Credit: Jordan Porter-Woodruff
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FRIDAY, APRIL 12TH
FROM 5-8 PM
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For exhibit information, go to: https://epiphanychi.com/arts/
Photo Credit: Epiphany Center for the Arts
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Photo Credit: Samuel Schwindt
","type":"Event","state":"published","slug":"samuel-schwindt-revealed-armor-leather-and-light","created_at":"2024-04-10 15:20:03.150511","updated_at":"2024-05-22 22:20:19.482977","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":"2024-05-31 18:00:00","opening_ends_at":"2024-05-31 21:00:00","searchable":"'archiv':12B,74B 'armor':4A,62B 'artist':92B 'bold':85B 'celebr':77B 'chicago':15B,36B 'communiti':47B 'credit':104B 'cruzalegui':60B 'curat':52B,55B 'disappear':31B 'discoveri':86B 'emphas':83B 'equal':51B 'exhibit':68B 'explor':25B 'fight':49B 'forgotten':28B 'galleri':9B 'go':100B 'human':79B 'impetus':89B 'inconclus':73B 'independ':54B 'inform':99B 'inspir':10B 'instal':22B 'leather':5A,63B 'lgbtq':46B,81B 'light':7A,65B,84B 'media':57B 'past':41B,94B 'person':82B 'photo':103B 'pia':59B 'present':96B 'produc':58B 'queer':37B 'rebuild':33B 'reconcil':93B 'recontextu':35B 'research':13B 'reveal':3A,61B 'samuel':1A,16B,105B 'schwindt':2A,17B,106B 'sculptur':24B 'seek':42B 'showcas':44B 'site':20B 'site-specif':19B 'slemmon':8B 'space':38B 'specif':21B 'stori':26B 'tale':71B 'untold':70B 'will':30B 'work':76B 'www.epiphanychi.com':102B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668765/kcaddugtjrqgygjptygi.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669756/event_ics_1721669756058.ics","carousel":null,"category_name":"Exhibitions"},{"id":12780,"title":"Marci Rubin: Majora & Minora","starts_at":"2024-05-31 12:00:00","ends_at":"2024-07-12 12:00:00","body":"Sacristy Gallery: Through her sculpture and installations, Marci Rubin investigates a state of transformation, both literally and metaphorically through process and materials, resulting in work that possesses visceral, tactile, and sensual qualities inherently associated with the human body. Reclaiming, abstracting, and manipulating discarded or donated clothing, Rubin questions and addresses the human body: structures & systems; proportions & scales; interiors & exteriors; and textures & colors. Her use of upcycled clothing examines expectations associated with the function of the materials while revealing an alternate understanding of the objects through their transformation. More specifically, Rubin’s process explores the orientations and identities of being a human body. Creating work elicited from the structures that compose the circulatory, digestive, endocrine, immune, integumentary, muscular, nervous, renal, reproductive, respiratory, and skeletal systems evoke questions regarding our humanity and mortality. The finished pieces unveil a dialogue that often generates debate about human rights and privileges, while touching on the status quo and deviation regarding personal bodily decisions. For more information, go to: www.epiphanychi.com
Photo credit: Marci Rubin
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Photo Credit: Aeron Maxwell
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Photo Credit: David Lee Csicsko
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For more information, go to: www.epiphanychi.com
Photo Credit: John Osler
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Photo Credit: Moises Salazar
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For exhibit information, go to: https://epiphanychi.com/arts/
For more information, go to: www.epiphanychi.com
Photo Credit: Epiphany Center for the Arts
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Join Julie Carpenter, Director of Art & Programming, for a free 45-minute guided tour of Epiphany’s art galleries. Come early for Golden Hour music, grab a beverage and a bite at the Café Bar and then explore new exhibits! For more information, go to: www.epiphanychi.com
The guided tour includes:
Guild Room | Aeron Maxwell: Chasing Visions in Hyperspace
Sacristy Gallery | Marci Rubin: Majora & Minora
Slemmons Gallery | Samuel Schwindt: Revealed Armor: Leather & Light
Catacombs Gallery | Moises Salazar Tlatenchi: In my Arms
Sanctuary Hall Gallery | John Osler: Detroit Jazz Portraits
Chase Gallery | David Lee Csicsko: Mr. Fancy Pants: A Celebration of LGBTQ+ Icons
TOUR CAPACITY: 30 – REGISTRATION REQUIRED
Join Julie Carpenter, Director of Art & Programming, for a free 45-minute guided tour of Epiphany’s art galleries. Come early for Golden Hour music, grab a beverage and a bite at the Café Bar and then get both a sneak peek and last look at exhibits! For more information, go to: www.epiphanychi.com
The guided tour includes:
Guild Room | Dwight White: RESET (Sneak peek – opens July 19)
Sacristy Gallery | Darin Latimer: Fix your Hearts or Die (Sneak peek – opens July 19)
Slemmons Gallery | Sara Peak Convery: Allegiance (Sneak peek – opens July 19)
Catacombs Gallery | Moises Salazar Tlatenchi: In my Arms (Last look – closes July 27)
Sanctuary Hall Gallery | John Osler: Detroit Jazz Portraits (Last look – closes July 27)
Chase Gallery | David Lee Csicsko: Mr. Fancy Pants: A Celebration of LGBTQ+ Icons (Last look – closes July 27)
Capacity: 30 – REGISTRATION REQUIRED
Join us in the Chase Gallery on Thursday, July 18, 2024 at 7:00 PM for an artist talk with David Lee Csicsko, who will discuss his current exhibit Mr. Fancy Pants: A Celebration of LGBTQ+ ICONS. The talk will include a walkthrough of this extraordinary retrospective that spans Csicsko’s 35+ year career and explores his personal growth as an internationally renowned artist and designer. The exhibit features images from his recent series of books, LGBTQ+ ICONS, FASHION ICONS, and new works of iconic artists. Also included are Csicsko's posters for the City of Chicago, and his Gay Games logo designs, selections from his famed Saints in the Garden series and designs for Chicago's LQBTQ+ service organizations. A Q&A will follow.
For more information, go to: www.epiphanychi.com
","type":"Event","state":"published","slug":"artist-talk-with-david-lee-csicsko-mr-fancy-pants-a-celebration-of-lgbtq-icons","created_at":"2024-06-21 23:29:07.885445","updated_at":"2024-06-21 23:29:07.891386","excerpt":"","is_timeless":false,"organization_id":1047,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'00':32B '18':28B '2024':29B '30':16B '35':70B '7':31B 'also':105B 'artist':1A,36B,82B,104B 'book':94B 'capac':15B 'career':72B 'celebr':11A,52B 'chase':23B 'chicago':115B,134B 'citi':113B 'csicsko':6A,41B,68B,108B 'current':46B 'david':4A,39B 'design':84B,121B,132B 'discuss':44B 'exhibit':47B,86B 'explor':74B 'extraordinari':64B 'fame':125B 'fanci':8A,49B 'fashion':97B 'featur':87B 'follow':143B 'galleri':24B 'game':119B 'garden':129B 'gay':118B 'go':147B 'growth':77B 'icon':14A,55B,96B,98B,103B 'imag':88B 'includ':59B,106B 'inform':146B 'intern':80B 'join':19B 'juli':27B 'lee':5A,40B 'lgbtq':13A,54B,95B 'logo':120B 'lqbtq':136B 'mr':7A,48B 'new':100B 'organ':138B 'pant':9A,50B 'person':76B 'pm':33B 'poster':110B 'q':140B 'recent':91B 'registr':17B 'renown':81B 'requir':18B 'retrospect':65B 'saint':126B 'select':122B 'seri':92B,130B 'servic':137B 'span':67B 'talk':2A,37B,57B 'thursday':26B 'us':20B 'walkthrough':61B 'work':101B 'www.epiphanychi.com':149B 'year':71B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668778/xirw3z7zyspz7wib7ezq.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669768/event_ics_1721669768250.ics","carousel":null,"category_name":"Talks"},{"id":12886,"title":"Darin Latimer: Fix your Hearts or Die (War on Every Corner)","starts_at":"2024-07-19 12:00:00","ends_at":"2024-08-31 12:00:00","body":"In collaboration with Elephant Room Gallery, Darin Latimer’s exhibit Fix your Hearts or Die (War on Every Corner) is comprised of all new abstract work that addresses the death of civility, empathy, kindness, and even common courtesy, with an aspiration towards what we might do about it. Or, whether we can do anything about it at all. For more information, go to: www.epiphanychi.com
Photo Credit: Elephant Room Gallery
","type":"Event","state":"published","slug":"darin-latimer-fix-your-hearts-or-die-war-on-every-corner","created_at":"2024-06-21 19:12:39.97322","updated_at":"2024-06-21 19:12:39.980377","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":"2024-07-19 18:00:00","opening_ends_at":"2024-07-19 21:00:00","searchable":"'abstract':36B 'address':39B 'anyth':65B 'aspir':52B 'civil':43B 'collabor':13B 'common':48B 'compris':32B 'corner':11A,30B 'courtesi':49B 'credit':77B 'darin':1A,18B 'death':41B 'die':7A,26B 'eleph':15B,78B 'empathi':44B 'even':47B 'everi':10A,29B 'exhibit':21B 'fix':3A,22B 'galleri':17B,80B 'go':73B 'heart':5A,24B 'inform':72B 'kind':45B 'latim':2A,19B 'might':56B 'new':35B 'photo':76B 'room':16B,79B 'toward':53B 'war':8A,27B 'whether':61B 'work':37B 'www.epiphanychi.com':75B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668778/wdaffloa7gcdonvrhbua.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669768/event_ics_1721669768265.ics","carousel":null,"category_name":"Exhibitions"},{"id":12887,"title":"Dwight White: RESET","starts_at":"2024-07-19 12:00:00","ends_at":"2024-09-07 12:00:00","body":"Dwight White’s exhibit RESET features artwork with narratives surrounding the concepts of selfhood and current ideas based on life in real time. The exhibit represents personal memories and stories that consider how life is constructed, altered, and reimagined. Themes of movement, sport and style will be presented to capture joy and beauty, as well as the trials and tribulations of the human experience. Imagery of self and others (people, places, objects) are painted to represent the navigation of cultural norms, messages and ideologies that lead to how one motivates self and defines their purpose. Curated by Curators Gone Rogue.
For more information, go to: www.epiphanychi.com
Photo Credit: Dwight White
","type":"Event","state":"published","slug":"dwight-white-reset","created_at":"2024-06-21 19:24:15.264294","updated_at":"2024-06-21 19:24:15.274433","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":"2024-07-19 18:00:00","opening_ends_at":"2024-07-19 21:00:00","searchable":"'alter':40B 'artwork':10B 'base':21B 'beauti':56B 'captur':53B 'concept':15B 'consid':35B 'construct':39B 'credit':111B 'cultur':83B 'curat':99B,101B 'current':19B 'defin':96B 'dwight':1A,4B,112B 'exhibit':7B,28B 'experi':67B 'featur':9B 'go':107B 'gone':102B 'human':66B 'idea':20B 'ideolog':87B 'imageri':68B 'inform':106B 'joy':54B 'lead':89B 'life':23B,37B 'memori':31B 'messag':85B 'motiv':93B 'movement':45B 'narrat':12B 'navig':81B 'norm':84B 'object':75B 'one':92B 'other':72B 'paint':77B 'peopl':73B 'person':30B 'photo':110B 'place':74B 'present':51B 'purpos':98B 'real':25B 'reimagin':42B 'repres':29B,79B 'reset':3A,8B 'rogu':103B 'self':70B,94B 'selfhood':17B 'sport':46B 'stori':33B 'style':48B 'surround':13B 'theme':43B 'time':26B 'trial':61B 'tribul':63B 'well':58B 'white':2A,5B,113B 'www.epiphanychi.com':109B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668778/mep56w7j8jc6m8tqujbr.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669768/event_ics_1721669768297.ics","carousel":null,"category_name":"Exhibitions"},{"id":12888,"title":"Sara Peak Convery: Allegiance","starts_at":"2024-07-19 12:00:00","ends_at":"2024-08-31 12:00:00","body":"Sara Peak Convery’s series of flag-inspired artwork reconstructs and repurposes flag parts to bring awareness to current social concerns and concepts addressing allegiance. The use of words in both her paintings and flag work lends powerful implications for social encouragement and guidance. For more information, go to: www.epiphanychi.com
Photo Credit: Sarah Peak Convery
","type":"Event","state":"published","slug":"sara-peak-convery-allegiance","created_at":"2024-06-21 19:26:03.518858","updated_at":"2024-06-21 19:26:25.047397","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":"2024-07-19 18:00:00","opening_ends_at":"2024-07-19 21:00:00","searchable":"'address':29B 'allegi':4A,30B 'artwork':14B 'awar':22B 'bring':21B 'concept':28B 'concern':26B 'converi':3A,7B,60B 'credit':57B 'current':24B 'encourag':47B 'flag':12B,18B,40B 'flag-inspir':11B 'go':53B 'guidanc':49B 'implic':44B 'inform':52B 'inspir':13B 'lend':42B 'paint':38B 'part':19B 'peak':2A,6B,59B 'photo':56B 'power':43B 'reconstruct':15B 'repurpos':17B 'sara':1A,5B 'sarah':58B 'seri':9B 'social':25B,46B 'use':32B 'word':34B 'work':41B 'www.epiphanychi.com':55B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668778/yvhxga4f09uar89t7uyd.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669768/event_ics_1721669768410.ics","carousel":null,"category_name":"Exhibitions"},{"id":12896,"title":"Closing Reception for David Lee Csicsko’s Exhibit MR. FANCY PANTS: A CELEBRATION OF LGBTQ+ ICONS","starts_at":"2024-07-26 18:00:00","ends_at":"2024-07-26 21:00:00","body":"Join us in the Chase Gallery on Thursday, July 26, 2024 from 6-9PM for the closing reception of David Lee Csicsko’s exhibit Mr. Fancy Pants: A Celebration of LGBTQ+ ICONS. The evening offers a last look at this extraordinary retrospective that spans Csicsko’s 35+ year career, highlighting work from his recent series of books, LGBTQ+ ICONS, FASHION ICONS, and new works of iconic artists. Also included are Csicsko's posters for the City of Chicago, and his Gay Games logo designs, selections from his famed Saints in the Garden series and designs for Chicago's LQBTQ+ service organizations. Csicsko’s playful, distinctive style and use of bold colors reflect his passion for being a visual participant in the cultural world that we live in. For more information, go to: www.epiphanychi.com
Cultural Communities: Chicago Writers and Beyond presents an in-depth exploration of influential writers who have significantly impacted their communities. This study is brought to life through Margot McMahon’s sculptural homage, which spotlights a diverse group of literary figures: Ernest Hemingway fostered a global community of adventurers; Gwendolyn Brooks nurtured aspiring poets; Richard Wright galvanized progressive intellectuals; Julie Otsuka illuminated the Japanese-American narrative; and Alice–Sylvia Shaw established the esteemed Ragdale artist enclave in Lake Forest, Illinois. These writers are united by a shared dedication to cultivating artistic collectives, which in turn have yielded profound works of literature with a focus on social justice. For more information, go to: www.epiphanychi.com
Photo Credit: Margot McMahon
RESIST!: A Visual History of Protest is an exhibition of original artwork by renowned Chicago artist Franklin McMahon (b. 1921 - d. 2012). As an artist-reporter, McMahon was front and center, documenting protest movements that changed America.
In 1955 McMahon covered the Emmett Till Trial for Life Magazine. The 1960’s began with McMahon drawing the construction of the Berlin Wall and continued with his art coverage of Dr. Martin Luther King’s peaceful protests, including the march from Montgomery to Selma across the Edmund Pettus Bridge and the Chicago Eight Conspiracy Trial.
Five decades of social change are documented in his brilliantly painted graphite-on-paper images through to 2008 when Senators Barack Obama and Hillary Clinton debated. In capturing historic events through art or major publications from the Chicago press to national publications, McMahon chronicled current events that nudged society in a more just direction.
For more information, go to: www.epiphanychi.com
Photo Credit: Margot McMahon
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Curated by Leila Wills, the exhibit captures the politics and programs of the Black Panther Party and is a testament to the chapter's enduring legacy. For more information, go to: www.epiphanychi.com
Photo Caption and Credit: (left) Founders of the Black Panther Party Bobby Seale and Huey Newton (right) Illinois Chapter co-founder and Deputy Minister of Defense Bobby Rush and Deputy Chairman Fred Hampton
Photo Credit: Black Panther Party Newspaper, Chicago History Museum, STM-037873701, Chicago Sun-Times
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Photo credit: Howard Simmons, (left) Chicago Mayor, Harold Washington; (right) Martin Luther King for Ebony Magazine, April 1970
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Drawing from her background in social work, the Chicago-based artist invites groups of womxn who are not previously acquainted with each other into her studio for “scream sessions,” where they can express emotions—ranging from rage to sorrow to laughter—in a brave and supportive environment designed to cultivate a spirit of feminist solidarity across different life experiences. The resulting photographic portraits challenge expectations around how womxn—and in particular, women’s anger—are portrayed in portraiture and mainstream culture. Together the intimate representations of womxn’s power and expression that Bradshaw captures, become a monumental act of collective resistance.
For more information, go to: www.epiphanychi.com
Photo credit (l): Joy, 2023 from the series OUTCRY
Photo credit (r): OUTCRY Installation View Atlanta Contemporary November 2022
Chicago artist Ginny Sykes created 100 Women: Collaborations Beyond the Veil to immortalize women of different ages, ethnicities, and backgrounds. Together, the banners form an alternative narrative to the historically patriarchal tradition of monuments within public arenas. Portrayed as both subject and object, as public art, the women stand in contrast to a long tradition of sculptural works designed to regulate women’s bodies in misogynist political and religious traditions. Instead of idealized marble busts that recall the misogyny of Classicism, these translucent tapestries move in the wind, and invite light to pass through the porous portraits of the statuesque women. For more information, go to: www.epiphanychi.com
Photo credit: Patrick Linehan
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Exhibited for the first time in Chicago at Epiphany Center for the Arts, Her Flag is positioned as a focal point for education about women’s suffrage and the history of voting rights. While the 19th Amendment states that no one be denied the vote based on sex, the right to vote for all women would not be afforded to Native American, Asian American, Latinx and African American women until much later. Her Flag reveals many pages left out of the history books. This project is about celebrating an important anniversary in history and motivates women to continue to actively participate in their democracy.
For more information, go to: www.epiphanychi.com
Photo Credit: Marilyn Artus
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Catacombs Gallery
Dedicated on June 7th, 2018, the Oracle of Bronzeville is the first sculpture of an African-American woman in a Chicago public park. Artist Margot McMahon created the bronze portrait of Pulitzer Prize winner and Illinois poet laureate Gwendolyn Brooks to educate about Brooks’s life and legacy. The artist talk also features a screening of filmmaker Rana Segal’s short documentary Gwendolyn Brooks: The Oracle of Bronzeville, shedding light on McMahon’s process and her three-year effort to complete the Gwendolyn Brooks monument.
This event is presented in conjunction with Margot McMahon’s exhibit Cultural Communities: Chicago Writers and Beyond. The exhibit runs from August 2 to September 13, 2024. For more information, go to: www.epiphanychi.com
Project partnerships include The Chicago Literary Hall of Fame, The Poetry Foundation, and the Chicago Park District. The artist talk and screening is presented in partnership with the Chicago Women’s History Center.
Photo Credit: Epiphany Center for the Arts
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Alex Velázquez Brightbill’s ETHNIC BODIES collage series explores ideas of beauty, colonialism, and sexual identity. Alex’s starting point is an observation by the Kenyan artist Wangechi Mutu that “the female carries the marks, language, and nuances of their culture more than the male. Anything that is desired or despised is constantly placed on the female body.” So, in this series the female figures show their inner thoughts portrayed in their physical world – a grotesque woman, a cat lady, sexual innuendos, playful absurd fetishes, the physical scarring of a culture, fashion and animalistic language combined with humor. Alex explores the conflicting perceptions of Latinx women based on assumptions from history and from current affairs.
For more information, go to: www.epiphanychi.com
Photo credit: Alex Velázquez Brightbill
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AUTOMATA is a body of work that explores the mind, body, and soul as it relates to the impending technological future, and what that means for human spirituality. How does spirituality move through a future where the human body is more machine than flesh? The goal in making and observing these works is that we can begin to discuss and process a future both incredibly near, and beyond our time - as a theoretical anthropology. The word automata means self-willed, self-driven or motivated - usually relating to machines, and it encapsulates the marching of time, the rate of technological advancement, and the indomitable human spirit as it adapts to its environment; on and on and on and on.
For more information, go to: www.epiphanychi.com
Photo Credit: October Sharify
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201 S. Ashland Avenue, Chicago 60607
Currently concentrating on portraits and figurative work sometimes combined with architectural elements, Tony Armendariz presents the subjects in his paintings in the classic realist tradition, either as portraits or in scenes of life. It is his intent to display their soul, or authentic self, which at times may not reveal itself immediately. Many times, the window opens and shows itself not only through the eyes but also through other features that emote the complete range of “expressions of life” that include the mouth, hands and body language. Often it may include clothing and objects from domestic life and work. The range of the narratives can be quiet and simple. Some are dramatic and profound. Latin Expressions presents paintings capturing subjects mostly from Armendariz’ travels to countries, including Cuba and Nicaragua. For more information, go to: www.epiphanychi.com
Photo credit: Tony Armendariz
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Unwrapping Lumpia: Deconstructing the Filipino American Identity is presented in true “Bayanihan Spirit” by Conde Art Project, Epiphany Center for the Arts, Likhaya, and Sinag Chicago Arts. Unwrapping Lumpia features the work of thirty-eight Filipino American artists in an exhibit that delves into the complexities of Filipino American identity and the experiences of individuals within this community. In celebration of Filipino American Heritage Month in October, the exhibit provides a platform for Filipino American artists to explore and express their personal journeys and reflections on identity. Through artistic expression, participants share their perspectives on what it means to be Filipino American, how their cultural heritage influences their lives, and how they navigate their identities in the diverse socio-political landscape of America. For more information, go to: www.epiphanychi.com
Cesar Conde - Curator
Photo credit: Aireen Arellano - Grief, Promise, Rebirth (2024)
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For more information go to: epiphanychi.com
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Chase Gallery
Stories y Deseos delves into a complex space between the stories we share openly and those we choose to keep hidden. This exhibition features vibrant oil paintings of various sizes as well as mixed media and digital installations. Together, these works encourage viewers to reflect on how different narratives expand.
For more information, go to: www.epiphanychi.com
Photo Credit: Janice Marin & Pia Cruzalegui
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An active painter and sculptor since the early eighties, Mossman's work has always involved the relationships inherent in elements and objects within a given space. Through his sculpture, Mossman’s geometric forms interact with architectural elements within a space and comment on the viewer’s relationship with the work, and existing elements such as soffits, baseboards, ceiling height, windows, and doors, among other features within a space. For this reason, the viewer never finds his sculpture placed at eye-level, where one would find a painting, and subsequently, ignores the rest of the room. Mossman’s paintings also pose this challenge, as elements within the work, such as color, perspective, and composition, work together to push the limits of a flat canvas. Painted tableaus derived from postcard images are paired with illusionistic space to create windows within the canvas.
In Mossman's PICTURES & FORMS exhibit, he has chosen a handful of two- and three-dimensional works that are perhaps his largest and most complex ever.
For more information, go to: www.epiphanychi.com
Photo credit: Scott Mossman
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For nearly twenty years, David Gista’s work has focused on books and libraries, creating paintings depicting various subjects within libraries or interacting with books. His exhibition explores our relationship with knowledge and information in a hyper-technological society, questioning whether books are merely objects and if libraries are becoming sanctuaries of a fading physical world.
Gista’s work often transforms books into shapes and colors reminiscent of pixels, highlighting the tension between the material and digital worlds. He uses traditional mediums like paint to emphasize this paradox. One notable technique involves drawing on paper with a torch flame, symbolizing both revelation and destruction, referencing historical book burnings and censorship.
Gista’s “burnt drawings” embody both ambivalence and ambiguity through themes that reflect on the intersection of nature and technology. He parallels nature and libraries as sanctuaries, all the while questioning whether technology will soon blur the boundaries between the natural world and a new frontier of augmented reality.
For more information, go to: www.epiphanychi.com
Photo Credit: David Gista
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With a penchant for color and contrast, Ortiz combines a variety of colors, patterns, and forms from multiple sources such as ethnographic patterns (Native American pottery and baskets, Islamic tiles, and Italian mosaics), architectural elements (antique vent/register covers, tin ceiling tiles, stained glass windows, wallpaper, and African printed textiles), and botanical forms (florals - orchids, succulents, and most recently focusing on the rose). His finished paintings reflect a collage-like process of overlapping layering, obliterating, and refinement of images with decidedly contemporary color choices.
Ortiz’s Watercolor Works at the Sacristy Gallery, Epiphany Center for the Arts, is the first exhibition to solely feature his watercolors.
For more information, go to: www.epiphanychi.com
Photo credit: Raúl Ortiz
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Since 2011, Holly Holmes has explored the tension between abstraction and representation. Her work resonates with the facts, readings, and translations of life’s elements, which she conveys through recurring themes, forms, textures, and colors. Travel, whether daily commutes or overseas trips, plays a crucial role in her art. Holmes meticulously chronicles her experiences, translating them into paintings and tufted rugs. She creates sketches on the go, using them in the studio alongside her memories and emotions to produce images that reflect direct observation and emotional resonance.
Holmes’ process involves constant examination and reexamination, which extends to her painting and color mixing with yarn. Recently, she has been creating paired tufted and painted works, allowing her to make creative decisions fluidly. While acrylic paint offers immediacy and ease of experimentation, working with yarn is more time-consuming, requiring careful blending and consideration. By alternating between these mediums, Holmes can test an idea in one place and realize and refine it in the other. These works are exhibited in conversation with each other and Holmes invites gallery visitors to share in their reverberations.
For more information, go to: www.epiphanychi.com
Photo credit: Holly Holmes
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The South Side of Chicago is a precarious environment to navigate. This was true in the 70’s and remains true today. For those kids that were left alone to explore the South Side neighborhoods, this body of work speaks directly to them. The adult world colliding with adolescent minds; the conversations, sights, sounds and smells that shaped lives and influenced decisions. Branton attacks both canvas and paper to explore these memories and feelings. Comedians deal with trauma through laughter, while Paul Branton tackles these internal demons with vivid colors, unwavering truth and bits of humor. These drawings and paintings create a dialogue for healing.
For more information, go to: www.epiphanychi.com
Photo credit: Paul Branton
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In his new electrifying series, Tom Eslinger dives deep into the colorful tapestry of human experience, drawing inspiration from a kaleidoscope of influences that span decades. Imagine the sensory overload of his childhood disco singles collection, the rebellious thrill of sneaking peeks at David Bowie and Sylvester's tantalizing late-night TV performances as a teen, and more recently, deep-diving in the vivid stories captured in the Gay New York of the 1970s and ‘80s Facebook Group.
Eslinger’s art pulses with the rhythms of songs, capturing the essence of sexual exploration, awkward one-night stands, visibility and sexual identity. The show, aptly titled Left To My Own Devices after a Pet Shop Boys song, embodies a cheeky, flirty spirit that resonates with authenticity and daring. The show’s title artwork provocatively asks, “Left to my own devices, I probably would…” —challenging viewers to contemplate the boundaries of desire and being a little bit bad. Whether you’re an art enthusiast, a music lover, or someone who relishes in the richness of visual narratives, Eslinger’s work invites you into a world that is as naughty as it is honest.
For more information, go to: www.epiphanychi.com
Photo credit: Tom Eslinger
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Pierce my arteries and watch my skin circumflex
Warp like a bow in the act of precision
Take until you cannot anymore
And contort the blame
This is no longer a response
No longer a response to the loss we have faced as a people
But steady strides to our collective peace
Tranquility granted by the green from our mother
Resistance spoken from the depths of brown
My skin isn’t seared it is graced
In partnership with your warmth
For more information, go to: www.epiphanychi.com
Photo credit: David Ese Gagoh
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Teasers, tormentors and scrims are types of curtains used in the theater. They define the space of the stage, and they shape the illusions we see there. Like the theatrical curtains of this title, the curtains represented in these paintings play multiple roles. They act as a figure, a ground, a backdrop, a partition, a lush symbol of authority, a decoration, a convincing illusion, a dissolving ghost image, a remnant of the past, and a surface onto which we project our associations. Likewise, the paintings themselves shift perceptually between space and flat surface, appearing and disappearing, revealing and concealing.
These works take Hans Holbein's 1533 painting The Ambassadors as a model through which to explore the uncertain nature of perception and the visual rhetoric of representation. The Ambassadors is a double portrait of two men sent as diplomats by King Francis I of France to King Henry VIII of England, probably in the hope of convincing Henry not to divorce and leave the Roman Catholic Church. Holbein's painting is a tour de force of Sixteenth Century Northern European realistic representation whose extraordinary attention to observable details suggests great faith in the truthfulness of sight, while the inclusion of a prominent and spatially ambiguous anamorphic image complicates the painting's visual illusion and injects a note of doubt into this statement of faith.
Carrelli’s paintings here are part of a larger series titled Profane Mimesis. They mimic and reinterpret their source, employing a combination of selective imitation and alteration of Holbein's painting to give form to the tensions between sight and vision: between what we see and what we believe it must mean. They are not religious paintings, and neither is Holbein’s. Indeed, the title Profane Mimesis might even suggest that the act of imitation is kind of desecration. However, these paintings do express a dialectic of faith and doubt in the power of images: a combination of love and mistrust of sight. Shown here, in what was once the sacristy of the Episcopal Church of the Epiphany, these paintings have the opportunity to echo and converse with this elegant and rhetorically seductive environment.
For more information, go to: www.epiphanychi.com
Photo credit: Steven Carrelli
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Since childhood, the flora of the natural world has delighted Ginny Krueger, and this serves as a springboard for her Transcendental Garden exhibit. The forms, color, and textures propose an invented world, and the physicality of materials lends to a multi-dimensional experience that engage the senses, while evoking the multifaceted layers of life.
Krueger’s works are partially or entirely created using the encaustic medium – wax, resin, and pigment in a molten form, applied to wood and further cured through fire. Working with fire is alchemical, fugitive, mesmerizing, and unpredictable, which Krueger views as a moment-by-moment adventure and a process that is infinite in fluidity and possibility. Her works are also treasure troves of fabric, ceramic, paper and other materials. With the encaustic medium serving as the grip, Krueger arranges the materials into fanciful amalgams, or unlikely gardens that that depart from the expected, and conveys something entirely new in depth and complexity.
The earth and its bounty have claim on Krueger. She is driven to make art that is elemental and evocative, where each painting is a medley, a melded place, where both the gritty and sublime combine. Each offering in the exhibit is an invitation into a transcendental world of beauty, whimsy, and mystery.
For more information, go to: www.epiphanychi.com
Photo credit: Ginny Krueger
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False Guides presents frozen moments from three interlocking stories of striving, deception, and perdition. John Behnke uses a rich mix of materials – colored pencils, alcohol markers, acrylics, oils, glaze, and glitter – layered to build scenes of hallucinogenic detail and vivid color. Behnke is known for his radiant, open skies, but scenes in False Guides play in a different register, taking us to realms of dust and shadow. In “The Wanderers” series, we follow a tribe of animated mannequins that populate an abandoned mall in Minnesota. They grope through the merchandise that remains in the ruins, seeking some semblance of an identity. Other works take us to different corners of Behnke’s re-imagined America – Texas and California. In both, cults fueled by promises of transcendence descend into orgies of self-destruction. “All these series are based on people being led in strange ways that warp an individual’s perspective and ultimately cause one’s demise,” the artist says.
For more information, go to: www.epiphanychi.com
Photo Credit: Project Onward
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201 S. Ashland Avenue, Chicago 60607
The word ‘thread’ is often used to represent continuity - of an idea, a theme, a life. The simple repetitive action of interlocking threads and joining pieces to create something that is handed down among generations, chronicles the continuum of life. For Louise Pappageorge, her proclaimed “obsessive relationship” with the making of cloth and lace structures blossomed in her childhood through skills she learned from her grandmother and mother. Pappageorge states: “The drawing of threads connects me across shared generational labors to the greater multigenerational consciousness of womankind, whose structures have preserved humanity through the creation of magnificent cloths.”
In Feral Laces and Off the Wall Doilies, Pappageorge’s works of found and newly created lace and crochet structures initiate a visual rebellion, as she investigates the realms of feminism through artistic exploration that dismantles preconceived boundaries while challenging the traditional demarcation between craft and fine art. In a gender-biased society, craft-based work often tied to women is dismissed as merely functional or decorative, while ‘fine art’ disproportionately celebrates creations by white male artists.
Combining lace, knitted, and crocheted materials with gleaming metal leaf and patinated finishes, Pappageorge’s artwork suggests fine sculptural works, as if created from cast metal. In their final form her sculpture departs from the ethereal and fragile nature of lace structures, delicately born from the hands of women throughout time. Instead, they become dynamic expressions of contradiction and embody the multifaceted nature of “women’s work” and artistic creation. With architecture as a backdrop, these fabrics break free from the constraints of tradition, turn feral and transcend conventional boundaries. Viewers are invited into an unfamiliar dimension where the intricacies of lace and crochet unfold, while straying from the stigma that often relegates utilitarian creations to the periphery. In this merger of materials, these undomesticated laces become seductive adorations of long held traditions and the labors of women over the millennia.
For more information, go to: www.epiphanychi.com
Photo credit: Louise Pappageorge
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201 S. Ashland Avenue, Chicago 60607
Through fantastical reimagining of scientific subjects, SYMBIOSIS examines what unites all living beings outside of strict hierarchies and binary definitions. For billions of years, life on earth has existed in a multiplicity of forms. Through both process and materials, Mats Dahlberg explores the interdependence of disparate organisms, the beauty and violence of nature and regeneration, and the lessons we can learn from it.
Contrary to the belief that Queer identities are a modern concept, humans have exhibited behaviors now attributed to queerness since ancient times. Nature, with its vast diversity, shows that restrictive definitions are based on fear, not truth. Queerness, Dahlberg states: “Is as deep as fungal mycelium networks, as powerful as the constant toil of tectonic movements, and as intricate as the dance of worker bees through the hive.”
Inspired by drag nightlife performance, Dahlberg uses bold colors, intricate designs, and avant-garde creations to defy fashion norms in their costume design. They blend fine art and traditional craft techniques, adorning doilies from their Great Grandmother with beads and rhinestones to honor those of marginalized genders who cultivated craft practices like embroidery and crochet. Their costume work challenges viewers to imagine life forms beyond the human self and explore the possibilities of the noncorporeal, trans body.
For more information, go to: www.epiphanychi.com
Photo credit: Mats Dahlberg
Epiphany Center for the Arts | Guild Room
201 S. Ashland Avenue, Chicago 60607
In a group exhibition focused on care, COME AS YOU ARE addresses how we care for ourselves and each other and asks: In what ways can the creative process be an act of healing for our communities and ourselves? What conversations can be created through collaborative making? Through this exhibition, artists utilize a diversity of fiber/textile media to illustrate their visions of collective care.
The participating artists originally connected through their intersecting community and artistic practices. There was a shared desire to “do more,” whether that meant exploring new media, participating in liberatory work, or simply having the time to hang out together. This exhibition is a point of reset. In the way it presented the artists an opportunity to re-examine their relationships with their mediums, viewers are invited to come as you are, reflect on one’s needs and “to-do” lists, and just be in the space together. Curated by Abby Linatoc Mendoza. Participating artists include Michael Baja Anderson, Abby Linatoc Mendoza, Ash Nañoz, Abbey Poniente Monsalud
For more information, go to: www.epiphanychi.com
Photo Credit: Epiphany Center for the Arts
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201 S. Ashland Avenue, Chicago 60607
After spending hours at the world’s largest wastewater treatment plant in Stickney, Illinois interviewing personnel, attending seminars and reading deeply, Lindsay Olson learned the science behind what engineers do to treat human wastewater. Returning to the studio, she used an assortment of elegant fibers, embroidery and stitching techniques to create richly colored textiles that help explain how water can be endlessly recycled if we care for it properly. Wastewater treatment has been the most successful public health initiative in the history of human beings and Olson’s Manufactured River brings awareness to its importance to the future of clean water.
Located subgrade in the undercroft of the historic former Church of the Epiphany, the brick and timbered Catacombs Gallery alludes to spaces where wastewater flows and atmospherically lends as a backdrop for the exhibit. Experientially for visitors, the exhibit will additionally present a choreographed sound installation composed by music engineer and producer Jon Smith, recorded in part, on site at the Stickney Water Reclamation Plant.
Olson extends her thanks project partner, Dick Lanyon, Retired Executive Director of the Metropolitan Water Reclamation District of Greater Chicago and to Tony Glymph, Consultant - Wastewater Microbiologist, retired Chief Microbiologist MWRD, plus a special thanks to the many professionals at the MWRD of Greater Chicago who spent time teaching her about the wastewater treatment process. And to Columbia College Chicago faculty development grant to support this project.
For more information, go to: www.epiphanychi.com
Photo credit: Lindsay Olson
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201 S. Ashland Avenue, Chicago 60607
Guardian Threads brings together the evocative works of Helen Geglio and Anders Zanichkowsky, highlighting deep themes of comfort, protection, and peace woven into their textiles to mark the passage of time.
A selection of work from Helen Geglio's various textile series delve into narratives of memory, motherhood, and resilience, using repurposed materials to craft intricate pieces that protect and honor life journeys and the stories of women. Her Amulet Bundles are meditations on motherhood. Worries and fears for our children are bundled up and tied, held tightly inside protective layers of cloth. Anxiety Shields ward off the circular thoughts of sleepless nights when the world seems on end. Geglio’s Wisdom Cloaks pay tribute to the accumulated knowledge, experience and maturity of women, while honoring the resilience and wisdom of women through the ages.
Anders Zanichkowsky's burial blankets offer a distinctive sense of comfort and peace. Long before they’re used as a burial shroud, these memento mori are meant to serve as a blanket, bedspread, wall hanging, altar piece, or shawl that gathers the essence of personal memories over time. The handwoven shrouds, crafted from natural fibers, then provide a gentle, protective cocoon that honors the departed while supporting eco-friendly burial practices. As these blankets transition from everyday use to their final, sacred purpose, they embody a seamless journey from life to death, offering profound solace and tranquility to both the living and the departed.
Together, within Epiphany Center for the Arts’ most intimate gallery, Geglio and Zanichkowsky’s works invite viewers to reflect on the comforting and protective qualities of textiles, the peace they bring both in life and death, and the enduring legacies woven into the fabric of our lives.
For more information, go to: www.epiphanychi.com
Photo credit: Epiphany Center for the Arts
Epiphany Center for the Arts | Chase Gallery
201 S. Ashland Avenue, Chicago 60607
QUALIA is an invitation for an amplified embodied sensory experience - the way it feels to “feel.” Quale (s)/ qualia(pl), defined as instance(s) of subjective conscious experience, presents a paradox: debated as something that does not exist, or conversely, be something of great neuroscientific significance. Katrin Schnabl views QUALIA as a sensory phenomenon, an inter-firing that naturally occurs without thought, yet possesses a visceral impact all its own.
Schnabl’s exhibit presents a series of sculptures and scrolls, SISTERS, along with several works from her PORTAL series, which resemble doorframes and scrolls swathed in a surface of sheer, colorful fabrics, curvilinearly stitched together, forming a dimensional unit.
EWNS (an acronym for East West North South) is a large format hanging tapestry, structured as a triptych. EWNS forms a continuous circle, split open, and experienced in three, 30-foot sections. Conjuring maps and migratory patterns over a spherical form, it is a meditation on the complementing function of our bodies’ halves: a side for fielding circular inputs, and a side for cardinal directions. Participatorily, it offers an embodied deliberation on what is embedded into many languages as the right and the left, highlighting distinctions between what is considered proper and lawful versus what is deemed less important or significant. As a visual journey across a landscape, the structure’s borders become an activation of color fields, a continuous series of neighboring contact points with varying resonances, direction, and dimension via line, texture, form, light, and movement.
Schnabl is interested in the experiential dimensions of her work. A commonality is its invitation for a somatic sensory reading; a sense-making through moving and exploring its dynamic and dimensional potential. Schnabl’s work invokes an impulse to “step inside,” as a way to process its information with the entire body, and she considers this as “yoU aRe A Work Of Art “– short URAWOA. Her offering leans into the trust the individual brings to their body as an extraordinary instrument, and Schnabl’s wish for that amplification.
For more information, go to: www.epiphanychi.com
Photo credit: James Prinz
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201 S. Ashland Avenue, Chicago 60607
Musical instruments can often be seen as objects of exquisite complexity and beauty. Aesthetically, they are beautiful objects in themselves, but it is when they are played that instruments become mesmerizing and transformative. Inspired by the vivid colors and playful motifs in Henri Matisse’s 1939 painting La Musique (The Music), Jonathan Franklin’s exhibition The Yellow Guitar pays homage to Matisse’s masterwork, while presenting a whimsical array of musical instruments and performers in perfect harmony with Epiphany Center for the Arts’ historic Sanctuary space and intimate music venue.
For Franklin, the guitar has always represented something accessible and romantic. Unlike a piano, the guitar is portable, and its six strings open to a world of acoustic and vocal possibilities. He credits Elvis Presley and the Beatles for sparking his first inclination to play the guitar. As a teenager, Franklin belonged to a group called The Insex, which was the best (and only) American rock band between Calcutta and Bangkok. Since those halcyon days from decades ago, his love for music in all its shapes and forms has never ebbed.
In this series of paintings, the characters showcase a variety of instruments, from guitars to drums, violins, and saxophones, among others. All that is left for the viewer is to imagine the music.
For more information, go to: www.epiphanychi.com
Photo credit: Jonathan Franklin
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201 S. Ashland Avenue, Chicago 60607
Coral reefs are an ancient microcosm with a changing diversity of phantasmagoric beauty. As a crucial building block of our planet that feeds twenty-five percent of sea life, the urgency to save coral from repeated bleaching episodes is becoming clear. The Ring of Fire and Coral Triangle, located in the Southern Pacific Ocean, shows why it matters.
Endorsed by UNESCO for ocean awareness during the United Nations Ocean Decade, Margot McMahon’s Ring of Fire: Friends, Reefs, and Bouncing Back exhibit brings attention to how human activities, such as burning fossil fuels, significantly contribute to climate change and rising sea temperatures, which severely impacts ocean life and marine biodiversity. United States’ weather patterns originate in the Southern Pacific Ocean. A warmer ocean slows currents causing west coast droughts, more volatile storms, and Midwest flooding.
On McMahon’s 2017 diving excursion to the Palauan reefs in the Ring of Fire with a childhood friend, they witnessed the largest recorded global bleaching event, impacting the Coral Triangle: a marine epicenter with the highest coral reef and fish diversity in the world. On a return trip in 2023, the two friends and environmental activists observed a revitalization of the coral reefs through a healthy reef bounce-back, made possible by reduced carbon emissions during the global Covid-19 lock-down, conservation efforts, and sustainable practices.
Over the seven years of reef recovery worldwide, McMahon painted her Ring of Fire series to show the symbiotic relationship between a vast variety of plants, animals, and minerals that form the most diverse ecosystem on earth. Her ocean landscapes also emulate prayer cloths to express a spiritual energy that conveys healing, while highlighting the biodiversity and stunning magnificence of the reefs. Through her technique mixte process, combining egg tempera and oil paints, McMahon’s coral reefs are luminous, as light penetrates and reflects through the layers, giving the paintings a depth and vibrancy that echo the resonance of the ocean.
Coral reef bleaching events are caused by environmental stressors that include increased water temperatures due to global warming and human pollution. These stressors disrupt the interdependent relationship between coral and algae, leading to the whitening or bleaching of corals. With the increase of carbon emissions since 2023, the world is currently experiencing its fourth global coral bleaching event, which NOAA (National Oceanic and Atmospheric Administration) announced in April 2024 and is ongoing. This event has affected coral reefs across all major ocean basins, including the Atlantic, Pacific, and Indian Oceans.
For more information, go to: www.epiphanychi.com
Photo Credit: Margot McMahon
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Laurie Buman’s series, Santos y Milagros (Saints & Miracles) | The Light Within the Darkness, is the culmination of over a decade of work. This collection explores social issues affecting the most vulnerable members of society. Through the lives of the Saints, Buman addresses contemporary concerns and shares the stories of these heroic women.
Each piece is layered with meaning beyond the obvious—every item and image carries its own history, coming together to form a larger narrative that transcends the physical. With these images, Buman seeks to inspire awareness, protection, and positive change in the world.
For more information, go to: www.epiphanychi.com
Photo credit: Epiphany Center for the Arts
","type":null,"state":"published","slug":"laurie-lebreton-insisting-and-maintaining","created_at":"2025-05-09 19:30:36.158","updated_at":"2025-05-09 19:30:36.158","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":"2025-05-16 18:00:00","opening_ends_at":"2025-05-16 21:00:00","searchable":"'address':57B 'affect':43B 'art':123B 'awar':103B 'beyond':74B 'buman':2A,16B,56B,99B 'carri':81B 'center':120B 'chang':107B 'collect':39B 'come':85B 'concern':59B 'contemporari':58B 'credit':118B 'culmin':31B 'dark':12A,28B 'decad':35B 'epiphani':119B 'everi':77B 'explor':40B 'form':88B 'galleri':14B 'go':114B 'heroic':66B 'histori':84B 'imag':80B,98B 'inform':113B 'inspir':102B 'issu':42B 'item':78B 'larger':90B 'lauri':1A,15B 'layer':71B 'light':9A,25B 'live':52B 'mean':73B 'member':47B 'milagro':5A,21B 'miracl':7A,23B 'narrat':91B 'obvious':76B 'photo':117B 'physic':95B 'piec':69B 'posit':106B 'protect':104B 'sacristi':13B 'saint':6A,22B,55B 'santo':3A,19B 'seek':100B 'seri':18B 'share':61B 'social':41B 'societi':49B 'stori':63B 'togeth':86B 'transcend':93B 'vulner':46B 'within':10A,26B 'women':67B 'work':37B 'world':110B 'www.epiphanychi.com':116B 'y':4A,20B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1746818965/zuqiu9duipggwztrrln1.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":20475,"title":"Laurie LeBreton: INSISTING AND MAINTAINING","starts_at":"2025-05-16 14:11:03.674","ends_at":"2025-07-05 14:11:03.674","body":"Slemmons Gallery
Artist Alok Vaid-Menon has said, “There’s something audacious and beautiful about insisting on maintaining your humor and delight.” For Laurie LeBreton, humor and delight are a direct result of her work as a fiber artist. She works primarily in handmade paper to convey these ideas, using her favorite properties of paper – the messy pleasure of making it, its ability to absorb color, and both its apparent fragility and veritable strength.
The paper tapestries in LeBreton’s exhibit INSISTING AND MAINTAINING are typical of her work in many ways. The simplicity and repetitiveness of their construction lead LeBreton to calm and peace. There’s an element of playfulness: She turns a series of flat objects into a three-dimensional structure. She uses this simple structure to comment on impermanence through various means of installation. She uses color to express joy.
Finally, through this work, LeBreton also honors traditional women’s crafts – quilt making, sewing, and weaving, with the intent to convey warmth and comfort, and to express love.
For more information, go to: www.epiphanychi.com
Photo credit: Epiphany Center for the Arts
","type":null,"state":"published","slug":"laurie-lebreton-insisting-and-maintaining","created_at":"2025-05-09 19:35:04.807","updated_at":"2025-05-09 19:35:04.807","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":"2025-05-16 18:00:00","opening_ends_at":"2025-05-16 21:00:00","searchable":"'abil':69B 'absorb':71B 'alok':9B 'also':156B 'appar':76B 'art':191B 'artist':8B,45B 'audaci':18B 'beauti':20B 'calm':109B 'center':188B 'color':72B,147B 'comfort':174B 'comment':137B 'construct':105B 'convey':53B,171B 'craft':161B 'credit':186B 'delight':28B,34B 'dimension':129B 'direct':37B 'element':115B 'epiphani':187B 'exhibit':87B 'express':149B,177B 'favorit':58B 'fiber':44B 'final':151B 'flat':123B 'fragil':77B 'galleri':7B 'go':182B 'handmad':50B 'honor':157B 'humor':26B,32B 'idea':55B 'imperman':139B 'inform':181B 'insist':3A,22B,88B 'instal':144B 'intent':169B 'joy':150B 'lauri':1A,30B 'lead':106B 'lebreton':2A,31B,85B,107B,155B 'love':178B 'maintain':5A,24B,90B 'make':66B,163B 'mani':97B 'mean':142B 'menon':12B 'messi':63B 'object':124B 'paper':51B,61B,82B 'peac':111B 'photo':185B 'play':117B 'pleasur':64B 'primarili':48B 'properti':59B 'quilt':162B 'repetit':102B 'result':38B 'said':14B 'seri':121B 'sew':164B 'simpl':134B 'simplic':100B 'slemmon':6B 'someth':17B 'strength':80B 'structur':130B,135B 'tapestri':83B 'three':128B 'three-dimension':127B 'tradit':158B 'turn':119B 'typic':92B 'use':56B,132B,146B 'vaid':11B 'vaid-menon':10B 'various':141B 'verit':79B 'warmth':172B 'way':98B 'weav':166B 'women':159B 'work':41B,47B,95B,154B 'www.epiphanychi.com':184B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1746819294/sr1gho1gt6h4gckdhogp.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":19032,"title":"Melissa Weber: Ode to Common Things","starts_at":"2025-05-22 00:00:00","ends_at":"2025-07-18 00:00:00","body":"Barcelona Room
Melissa Weber’s ODE TO COMMON THINGS invites viewers to reimagine the ordinary, by drawing inspiration from everyday objects. Weber references Chilean poet Pablo Neruda's collection of poems by the same title, in which he expressed profound affection and admiration for everyday objects, highlighting their intrinsic value and the roles they play in our lives.
Weber's sculptures transform familiar objects, such as brick remnants, rocks and cardboard packing materials into subjects of reflection, emphasizing their intrinsic beauty and the narratives they embody. Working primarily with clay, Weber explores the transformation from wet mass to fragile form through fire, creating ceramic arrangements, visual systems and topographies that engage with history and spatial relationships.
Situated within the undercroft of the historic former Church of the Epiphany, an 1885 Richardson Romanesque church, now a vibrant cultural hub—the exhibition integrates the building’s stone walls and wood beams as essential components of the artistic narrative. In this context, space itself becomes an object, engaging in dialogue with the sculptures and challenging traditional distinctions between subject and environment. In this setting, Weber explores how themes of transformation and the passage of time mirror the metamorphosis of raw materials into refined forms, encouraging deeper contemplation of material transformation and the ephemeral nature of perception. By elevating the mundane to the revered, ODE TO COMMON THINGS encourages a renewed appreciation for the simple elements of daily life, fostering a deeper connection between the observer and the often-overlooked details that shape our existence.
For more information, go to: www.epiphanychi.com
Photo credit: Melissa Weber
Catacombs Gallery
In her latest series of work, Marianne Lovink explores the dynamic relationship between sculptural form and its embellishment. She is fascinated by the visual language of mark making and the limitless expressive potential found in repetitive motifs, which has evolved over millennia. This investigation is deeply influenced by the interplay of positive and negative space, and the tension that arises when a motif both conforms to and resists the sculptural form. This tension engages the viewer and activates the eye, inviting further contemplation. While Lovink’s meticulous craftsmanship, restrained palette, and use of tactile materials remain a consistent element of her practice, she has recently expanded her use of color to provide further visual complexity and enrich the overall composition.
For more information, go to: www.epiphanychi.com
Photo credit: Marianne Lovink
Sanctuary Hall Gallery
Inspired by the universal language of music, George Tonyi’s exhibit TUNES IN ART is a visual symphony of rhythms, patterns, and colors that reflect his emotions, experiences, cultural beliefs and traditions. Through his art and music themes, Tonyi aims to transcend boundaries, inviting viewers to feel connected, while weaving together the diverse threads of human experience.
For more information, go to: www.epiphanychi.com
Photo credit: Epiphany Center for the Arts
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To drown-proof is to survive. It is a technique—a learned resilience—that allows one to stay afloat when rescue is uncertain. Taught by the community, it is not just a physical skill but a mindset, a method of endurance that depends on the ability to remain calm in unstable waters.
This exhibition explores the art of holding on and letting go, of adapting to unfamiliar territories, and the ways we sustain ourselves without stability. Drown-Proofing brings together artists from the SAIC community, including staff, graduate, and undergraduate students. The artists navigate shifting cultural, political, and personal landscapes, examining what it means to stay afloat amid adversity. Their works address survival tactics, resistance, and transformation, confronting systems of power that threaten to pull communities under.
How do we teach people to breathe when there is no air? How do we connect past and present, tradition and innovation, homeland and new ground? Through acts of creation, artists in this exhibition reclaim agency, revealing the struggles and triumphs of those who refuse to be submerged.
Drown-Proofing is not just about survival—it is about finding strength in the community, learning to adapt, and discovering new ways to rise. We create not only the means to stay afloat, but also the possibilities of a new way forward.
About the Curators
Emilia Herrera Charpentier, Soo Kim, René Morrell, Tzu Ying Cheng, and Katerina Garbarczyk are first-year graduate students from the School of the Art Institute of Chicago (SAIC) in the Art Administration and Policy and Dual program. They are emerging art administrators with multi-disciplinary art backgrounds, including painting, drawing, ceramics, photography, and art history. Drown-Proofing serves as their collective approach to building community in Chicago’s art scene.
About the Artists
This exhibition brings together a dynamic group of interdisciplinary artists from the School of the Art Institute of Chicago (SAIC), including undergraduate, graduate students, and faculty. Featuring work by Ahmad George, Cenìnye Harris, Christina Lee, Daun Suh, Emily Schroeder Willis, Heaven Hill, Isaiah Lee McDaniel, James Baroz, Liang Yu Huang, Nanako Wagley, Pedro Montilla, Pedro Trueba Ramírez, Ruby Bassford, Seunghee Lee, Shengjie Jiang, Vanessa Damilola Micaulay, and Winnie Weiyun Szu, the show spans a range of practices including ceramics, painting, drawing, photography, fiber, and performance. Each artist brings a unique perspective shaped by their diverse cultural and creative backgrounds, contributing to a rich, multifaceted exploration of contemporary art within the SAIC community
For more information, go to: www.epiphanychi.com
Photo credit: SAIC
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RSVP for the opening reception on Friday, August 1 from 6 p.m. to 9 p.m. at the link below: REGISTER HERE
Weaving Ambiguity is a solo exhibition by interdisciplinary artist Bethany Cordero, featuring sculptural works and drawings shaped through casting, welding, and weaving. Using materials like bronze, clay, steel, and fiber, the work explores transformation, time, and material presence. Each piece bears marks of change, tension, and repair. The exhibition invites reflection on shifting relationships between form and material, strength and fragility, permanence and loss.
RSVP for the opening reception on Friday, August 1st from 6 p.m. to 9 p.m. at the link below: REGISTER HERE
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Wunderkammer, meaning \"cabinet of curiosities,\" features a collection of works that evoke wonder and fascination, much like the eclectic curiosities of an early naturalist’s cabinet. Through a range of vivid imagery—spanning from hybrid flora and fauna to celestial bodies and deep-sea creatures—Robbins creates a luminous, abstract world filled with organic forms, dots, circles, and hieroglyphic-like marks. Her works span a diverse range of subjects, including cells, flowering botanicals, aquatic species, and constellations. All of these subjects are woven together in a dynamic circular format which echoes the shape of a cell, planet, or target.
Each painting in the Wunderkammer series offers a fresh perspective on the complexity and beauty of the natural world, while leaving space for personal interpretation and reflection. Robbins combines the tangible with the imagined, expanding our awareness of nature's wonders and encouraging a sense of magic that resides both in the observable and in the realm of the fantastical.
The exhibition promises to be a thought-provoking exploration of the unseen connections that bind humanity, nature, and the cosmos, offering visitors an opportunity to reflect on the diverse forms and mysteries that shape our universe.
Join us for the opening of Wunderkammer, and prepare to experience the world through a new, enchanted lens.
RSVP for the opening reception on Friday, August 1 from 6 p.m. to 9 p.m. at the link below: REGISTER HERE
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The exhibition is accompanied by the Teitelbaum Award which recognizes two outstanding contributions to the field. Lialia Kuchma, a Chicago artist living and working in Ukrainian Village, was awarded first place for her work titled, Ukraine War #4, which reflects upon her home-country’s struggle. Dance Doyle received second place for her work, Tempest, which breaks from the traditional rectangular format of the woven structure and materials as it contains various objects including necklaces, feathers, and other materials.
RSVP for the opening reception on Friday, August 1 from 6 p.m. to 9 p.m. at the link below: REGISTER HER
","type":null,"state":"published","slug":"american-tapestry-biennial-xv","created_at":"2025-07-29 22:21:13.455","updated_at":"2025-07-29 22:21:13.455","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":"2025-08-01 18:00:00","opening_ends_at":"2025-08-01 21:00:00","searchable":"'1':173B '1996':6B '4':122B '6':175B '9':178B 'accompani':88B 'across':37B 'also':65B 'american':1A,17B 'artist':35B,43B,55B,67B,105B 'ata':7B 'august':172B 'award':92B,113B 'best':25B 'biennial':3A,11B,19B 'break':142B 'chicago':104B 'contain':156B 'contemporari':27B 'contribut':97B 'core':73B 'countri':129B 'danc':132B 'definit':61B 'doyl':133B 'exhibit':13B,22B,51B,86B 'expand':70B 'explor':40B,80B 'feather':161B 'featur':32B 'field':100B 'first':114B 'format':147B 'friday':171B 'hand':29B 'hand-woven':28B 'highlight':23B 'home':128B 'home-countri':127B 'includ':52B,159B 'juri':12B,21B 'known':14B 'kuchma':102B 'lialia':101B 'link':182B 'live':106B 'mani':42B 'materi':153B,164B 'medium':47B,77B 'necklac':160B 'new':81B 'object':158B 'open':168B 'outstand':96B 'p.m':176B,179B 'place':115B,136B 'possibl':44B 'principl':74B 'process':84B 'receiv':134B 'recept':169B 'recogn':94B 'rectangular':146B 'reflect':124B 'regist':184B 'rsvp':165B 'second':135B 'sinc':5B 'sponsor':9B 'structur':151B 'struggl':131B 'tapestri':2A,18B,31B,63B 'techniqu':82B 'teitelbaum':91B 'tempest':140B 'titl':119B 'tradit':60B,145B 'two':95B 'u.s':39B 'ukrain':120B 'ukrainian':110B 'upon':71B,125B 'various':157B 'villag':111B 'war':121B 'whose':68B 'within':58B 'work':33B,48B,57B,69B,108B,118B,139B 'woven':30B,150B 'xv':4A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1753826984/jbutyiowhuvg8ibakunn.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":22096,"title":"The Future Voyagers Exhibit","starts_at":"2025-08-08 00:00:00","ends_at":"2025-09-06 00:00:00","body":"The outdoors should be for everyone—but history hasn't always shown it that way. Chicago Voyagers expands access to the outdoors for the youth and communities we serve. Through this exhibit, we hope to challenge and reimagine what exploration and adventure looks like, and who gets to be part of it.
The Future Voyagers Exhibit has commissioned Chicago-based minority artists to create stunning portraits of youth from Chicago Voyagers programs, depicted as modern-day explorers. Unlike familiar paintings throughout history, the explorers in our paintings will be as diverse as the communities we serve.
This unique event supports both community-based art and Chicago Voyagers' mission of empowering youth through access to the outdoors. Through the Future Voyagers Exhibit, we hope to raise awareness of that mission, as well as the broader societal issues around equitable access to safe outdoor spaces. Partner with us in creating change—on the gallery walls and beyond.
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September 19, 2025 - November 22, 2025
My 1.5-year-old son says only a handful of words- wow, momma, daddy, ball, truck, fraise, ciao. The week I committed to this exhibition at Epiphany, he added a new word: birthday.
Birthday is about how scary it is to begin. The first scream, first smile, first word, first step, first fall. The moment my son was born, I was certain I was dying. In the days and months that followed it still wasn’t clear as we existed in a new web of pain, euphoria, and wonder. It helps to have something to hug, something to hold you up, somewhere to rest.
A birthday is a celebration, a renewal, but also a reckoning. Sometimes counting up feels like counting down, and the beginning is also an ending. The work in this show is holding on and letting go. The subject matter appears familiar, a stuffed animal, a lifejacket, paintings of pillowcases. Materials in the show include silk, human hair, and hair salon foils. Having grown up in a hair salon, these objects and images anchor me to my own childhood, my own history of birthdays, and the experience of the passing of time. The week Birthday opens, my son will turn 2.
RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below:
About Margaret Crowley
Margaret Crowley (b. 1987, Ottawa, Illinois) is a Chicago-based artist. Recent solo shows include Hazard at University Galleries at Illinois State University, and Comb at Devening Projects in Chicago. Her work has been exhibited at Ditch Projects in Springfield, Oregon; Reva and David Logan Center for the Arts, University of Chicago; Chicago; Hyde Park Art Center, Chicago; Chicago Artists Coalition; Cue Foundation, New York City; and Área: Lugar de Proyectos, Caguas, Puerto Rico. Crowley has received the Jarislowsky Foundation’s Emerging Artist Award, which included a residency at the Banff Centre for Arts and Creativity in Banff, Canada. She has also been awarded multiple individual artist grants from the Illinois Arts Council and a residency at Ox-Bow School of Art and Artists. NewCity Chicago named her one of Chicago’s 10 Breakout Artists of 2023. Crowley is the co-director of Produce Model Gallery, Chicago. She received her M.F.A. from the University of Chicago, M.A. from Eastern Illinois University, and B.S. from Illinois State University.
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September 19, 2025 - November 22, 2025
Imperfect Players is a collection of ceramic vessels that can be performed as musical instruments and accompanied by drawings.
I worked at an auction house creating condition reports for fine and decorative art. These objects were valuable for their aesthetic, craft, and cultural histories. I often studied ceramic vases closely and under a black light to find the imperfections: cracks, chips, and many networks of hidden repair. They had their own material stories in the flaws of their production and accumulation of wear. These imperfections degraded their value, but also served as evidence of their authenticity.
I am a similar vessel. My human body has sustained physical and psychological changes and damage, and I hold that with me as I function day to day. Especially after giving birth to my child, I was very aware of dramatic shifts to my mind and body, and I struggled to perform as I once did. Imperfect Players is a response to that corporal rift. These forms are adorned with their own broken and fused pieces, just as I hold onto memories and my material body holds scars and strain of the past. Although broken, these vessels are also instruments that can be played to make musical sounds.
Imperfect Players celebrates imperfect and broken vessels that disrupt the idealized form, and still function as instruments in the world.
RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below:
Catacombs Gallery
September 19, 2025 - November 14, 2025
The Filipino American experience is a story of cultural fusion. With a heritage woven from Malay, Chinese, Spanish, American, and indigenous influences, Filipinos have cultivated a rich cultural tapestry. As immigrants, Filipino Americans have further diversified this vibrant heritage, creating a natural predisposition to adaptation and an appreciation of inter-cultural exchange. This has led to Filipino Americans often finding themselves at a crossroads, negotiating change while maintaining deep-rooted cultural connections. This experience provides fertile ground for artistic exploration.
Lumpia Fusion celebrates this fluid identity by encouraging bold experimentation and unexpected pairings. What new forms emerge when sound or movement intertwine with fabric? What groundbreaking creations can arise from a collaboration between a visual artist and a scientist? How can traditional techniques, such as wood carving, be reimagined through the lens of contemporary art? This exhibition celebrates the beauty that emerges from the fusion of minds and cultures, sparking meaningful conversations.
RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below:
Guild Room
September 19, 2025 - November 22, 2025
This series of paintings and drawings explores the enduring spirit of Pierrot—the iconic French character who embodies poetic vulnerability, theatrical grace, and quiet melancholy.
L'esprit de Pierrot (The Spirit of Pierrot) is not a character study—it is an atmosphere. The works evoke fragility, introspection, and the unspoken drama of being. Each piece exists in a suspended moment between stillness and performance, between reality and reverie. Through subtle gesture and deliberate restraint, the artwork creates an emotional atmosphere that transcends literal representation. The compositions become mirrors, inviting viewers to project their own inner theater onto each image.
With this exhibition, WERIEM invites viewers to pause within these contemplative spaces, to feel the weight of unspoken emotion, and to recognize the delicate ways in which beauty, loss, and imagination intertwine in our daily performance of being human.
RSVP for the opening reception on Friday, September 19th from 6 p.m. to 9 p.m. at the link below:
Chase Gallery
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What is new to you was once forgotten by me. The work on display is a representation of compartmentalizing ideas and memories with no distinct beginning or end.
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The Seychelles Islands, an archipelago of 115 islands scattered across the Indian Ocean, embody this paradox. In Moustache’s black and white photographs, the island emerges not as a place apart, but as a living communion of body and spirit, humanity and nature, self and divine. Each image becomes a quiet testament to the ways in which life here is interwoven with the elements — water, wind, light, and faith.
Within this constellation of islands, humanity is held tenderly by the microcosm of the islands themselves, a mirror reflecting the vast, interconnected universe beyond.
","type":null,"state":"published","slug":"natasha-moustache-every-man-is-an-island","created_at":"2026-01-21 22:30:11.734","updated_at":"2026-01-21 22:30:11.734","excerpt":"","is_timeless":true,"organization_id":1047,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'115':72B '1624':24B 'across':75B 'apart':53B,96B 'archipelago':70B 'artist':37B 'ask':44B 'becom':114B 'belong':55B 'beyond':158B 'black':85B 'bodi':103B 'communion':101B 'connect':63B 'constel':137B 'divin':111B 'donn':11B 'element':129B 'embodi':60B,79B 'emerg':91B 'entir':19B 'everi':3A,32B 'exist':49B 'faith':134B 'famous':12B 'held':142B 'human':30B,106B,140B 'idea':42B 'imag':113B 'indian':77B 'interconnect':156B 'interconnected':28B 'interwoven':126B 'inward':43B 'island':7A,18B,36B,68B,73B,90B,139B,149B 'john':10B 'life':123B 'light':132B 'live':100B 'man':4A,15B,33B 'mean':47B 'medit':25B 'metaphys':8B 'microcosm':146B 'mirror':152B 'moustach':2A,39B,83B 'natasha':1A,38B 'natur':108B 'ocean':78B 'paradox':81B 'photograph':88B 'place':58B,95B 'poet':9B 'quiet':116B 'reflect':153B 'scatter':74B 'self':109B 'seychell':67B 'solitud':61B 'spirit':105B 'tender':143B 'testament':117B 'turn':40B 'univers':157B 'vast':155B 'water':130B 'way':120B 'white':87B 'wind':131B 'within':51B,135B 'wrote':13B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1769034564/qwq3nfktvudqovalfmnr.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":26614,"title":"Shane-Jahi: Jackson Black Female Presence curated by Juelle Daley","starts_at":"2025-12-14 00:00:00","ends_at":"2026-02-14 00:00:00","body":"The image of the Black woman in Western Art is one riddled with stereotypes, racial mythologies, visions of servitude and sexual transgressions. In 1994, Harvard’s Dubois Institute began a research project which later birthed seven volumes on The Image of the Black in Western Art by Harvard’s scholar Henry Louis Gates and David Bindman. All volumes document in detail the fate of ‘black presence’ in European Art. This exhibition of abstract figurative paintings continue in the same vein but removes all references to European Art to focus squarely on the Black female model but not as a tool to reaffirm white superiority and Christian morals.Shane-Jahi Jackson, in Black Female Presence, evades providing an instructional manual for the viewer on how to interpret his paintings of Black women. His “no comment stance” is a deliberate one, resisting the impulse to qualify or explain the why of these paintings. Instead, he demands the same reaction to the sublime on seeing Botticelli’s Renaissance painting of the Birth of Venus. They, too, are beautiful.
The ensemble of works posits the idea that Black women should be a portal to the universal. He invites the viewer to leave their cliches, bias and judgement at the door.
Shane-Jahi celebrates these women.
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Though intended to seem like ‘old sayings’ all the texts are original. They are inspired by Emily Dickinson’s “Hope is a thing with feathers” and the Greek myth of Pandora, who opened a forbidden chest and allowed all the evils in the world to fly out. Panicked, she slammed the chest closed, shutting the gift of hope inside.
The themes of wings, flight and transcendence are continued in the images of birds and boats. Traditional iconography in Christian churches, such images are metaphors for faith and belief. Here again, tropes associated with lightness and beauty reveal their darker side as the birds (our stand-ins?) are sometimes in danger, or in anguish, and boats drift unmoored, without direction. But others float or fly past, unconcerned and unaware.
These works refer to the difficulty of maintaining hope, and the insistence that we keep trying anyway. They call to mind the pain of distress as well as the possibility of grace.
About Rebecca Keller
Rebecca Keller’s multidisciplinary career spans art-making across diverse media, research into language and history, and creative writing. She has received grants and honors from the National Endowment for the Arts, the Illinois Arts Council, a TEDx Talk, two Fulbright Awards, and an American Association of Museums International Fellowship.
Her artwork has been exhibited at the Museum of Contemporary Art, The Hyde Park Art Center, the Portland Art Museum, Jane Addams Hull-House Museum, the 4th International Waldkunst Biennial, Tartu Art Museum, Chesterwood Museum and Studio, the Tides Institute & Museum of Art, the Elmhurst Art Museum, Glessner House Museum, the Estonian National Art Museum, and the Universidade Federal de Pernambuco in Recife, among many other venues and projects across the U.S., China, Europe, and Brazil.
Her writing on art has been published by The Public Historian and the textbook Art and Public History (Rowman & Littlefield). She is the author of Excavating History: When Artists Take on Historic Sites (Stepsister Press), a book exploring her work in historic environments. Her essay “Mazes and Mirrors, Reflections and Play” was published by the Franz Hals Museum.
Keller also writes fiction. Two of her short stories have been nominated for the Pushcart Prize, and her debut novel, You Should Have Known, was released by Crooked Lane Books/Penguin Random House in 2023. Her fiction will also appear in the forthcoming anthology “20 Over 60” from Regal House Press.
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Today’s children grow up alongside intelligent machines while immersed in an endless, unfiltered digital stream. Their minds are trained to scroll and react, often at the expense of slower, tactile forms of play that once nurtured fine motor skills, independent thought, and imaginative problem-solving. Algorithmic feeds promise limitless information but leave little room for open-ended discovery, offering access without the depth of true exploration.
Artificial Intelligence sharpens this dilemma by performing acts of invention that once belonged to the developing mind. From generating pictures to completing stories, AI delivers finished creations that bypass the frustration—and growth—of making something from nothing. When creativity is outsourced to algorithms, children risk becoming consumers of novelty rather than creators of it, spectators to a simulation of imagination that demands nothing of their own.
Against this backdrop, The Children Play Games seeks to reclaim the essential terrain of imagination. Each photograph functions as a portal into a dreamlike, yet critical space where the physical and digital coexist without clear hierarchy. By inviting viewers to step into these constructed realities, the exhibition calls on society at large to consider how we might safeguard environments that sustain curiosity, protect the vital connection between mind and hand, and empower the next generation to shape worlds of their own making rather than surrender to those designed for them.
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Throughout the diversity of their explorations, these 11 artists, all cohort residents of Chicago Artists Coalition, remain in dialogue with one another. Each work brings its own context, the clear signature of its creator - a story crafted through the artist’s uniquely defined language. These pieces, while distinct, have common threads that link them one to another.
We see a vocabulary built on textures, colors, and shapes, layered with movement and light in the same way nouns, verbs and adjectives are traditionally woven together in prose. These combinations as envisioned by the artist craft their narrative, document their reality.
Language however, is an inherently social tool used to enhance relationships, for expression and connection. While the work is its own being, it asks the viewer to bring their own interpretation to the experience, linking themselves to the piece as well.
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\"Maureen Muldoon, Jae Green and Robinlee Garber offer exactly the kind of uplift these heavy times call for. Muldoon’s storytelling and Green’s poetry cut through the noise with clarity, humor, and heart, while Garber’s folksy‑meets‑torch sound wraps the room in warmth. Like a collective hug, they create a space where people can breathe, laugh, feel, and remember they’re not alone. You’ll leave with your heart feeling a little brighter.\" -Julie Carpenter, WMG Board of Directors
Step out of the cold and into candlelight. Winter Torch, presented by Woman Made Gallery, brings sisterhood to life through Robinlee Garber’s folksy torch songs and the stirring stories of Maureen Muldoon and Jae Green.
Curated by Julie Carpenter, we’ll also premiere a preview of WMG’s virtual exhibition, Quiet Piggy: We Cannot Be Silenced, alongside music, poetry, and shared voices, offering a chorus of resilience and connection.
Come sing along, feel the nostalgia, and help sustain Woman Made Gallery. Plus: a feminist pop-up art sale, with proceeds supporting WMG.
Find out more about the talent and the venue: Maureen Muldoon – Robinlee Garber – Jae Green – Epiphany Center for the Arts
Tickets: General Admission – $30.13 ($25 + $5.13 fees, including tax)
Age Requirement: Must be 21+ with a Valid ID
‘Service charges apply to ALL ticket purchases (online and box office)’ – Credit card only at door
Whether shooting from the vast wilds of Alaska, or the familiar Chicago alleys of her hometown, Alexa Viscius manages to create film portraits that feel like peering into a keyhole. Candid shots reveal coveted glimpses of beloved musicians: like New York Phenom Cameron Winter making adjustments to his musical arrangements backstage before his monumental solo performance at Hyde Park’s Rockefeller Church, or the sensational young Chicago band Horsegirl, running down a hill with a certain excitement and teenage-abandon of a group on the cusp of their breakout record, or a contemplative moment shared between longtime friends and prolific Chicago indie rockers Max Kakacek and Julien Elrich of Whitney, sitting in Kackek’s grandparent’s bedroom in Portman, Wisconsin. Many of her portraits, taken at her longtime studio in the historic Flatiron building in Wicker Park Chicago, retain that same sense of tenderness: A portrait of renowned New York musician, and frequent collaborator, Adrienne Linker of Big Thief, displays a sense of intimacy and trust. It’s a trust that has been earned through 20+ years of mastering her craft, allowing her subjects to open up, revealing themselves like flowers. From legendary Chicago DIY venues of yore, to international stages and all those quiet moments in between, she’s been there thru it all, with her finger on the shutter, capturing the music and the people that make it.
Alexa Viscius is a Chicago based photographer with a focus on music portraiture, working primarily on film. She received her BFA from the University of Illinois at Chicago in 2011. Her work has been featured in The New York Times, Paper magazine, W magazine, and other publications. She is a recipient of the Abbey Road Music Photography Award for the Editorial category in 2024.
In addition to her photography practice, Viscius is an award winning graphic designer and plays bass in the Chicago indie rock band Bnny. She lives in Chicago with her husband Adam and their son Arthur.
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Cinderella, Dracula, Raiders Logo, Scotch Tape Plaid, Newport cigarettes, Tupac Shakur; these are some of the source content(s) that generate an origin narrative for the painting practice of Ben Foch. It could appear to be a contemporary interpretation of a Pop Culture narrative in art, and in the sense that Foch is engaged in discovering and/or defining an avant-garde in the 21st century, it is. Yet, his work, now in its mid-career mature phase, finds its roots in the 1960’s and 70’s Conceptual practices of On Kawara, Roman Opalka and Olivier Mosset. The only difference being the veneer.
This exhibition is a meditation on and a celebration of life dedicated to making. It’s important to tell our stories; to ourselves, so we can know who we are, to each other, so we can know one another, and to share them with the world at large, so we can manifest our being through shared acknowledgements of time and space. Stories can be told in many ways. This exhibition is an accounting that reflects one artist through a curated look of their past in the present.
We are the stories we tell ourselves.
Ben Foch (b. 1977) is an artist based in Chicago. He grew up in Park Forest IL., attended The School of the Art Institute of Chicago (BFA 1995-2000), co-founded the artist-run exhibition space New Capital (2010-2017) and is represented by M. Leblanc. Recent solo exhibitions of Foch’s work include Proof Of Werq (2024) and Hood Ornament (2021) at M. LeBlanc in Chicago, IL, Haiku (2019) at Selenas Mountain in Brooklyn, NY, Full Grown (2018) at Efrain Lopez Gallery in Chicago, IL, and Of Human Bondage (2018) at Roots and Culture in Chicago, IL. Foch’s work has been recently included in group exhibitions such as The Highest Level of Listening (2025) curated by Olivia Swider at Gure, Chicago, IL., Miniotics (2025) curated by Trinity Bavaria and Gunner Dongieux at Weatherproof, Chicago, IL., Tricky Passage (2022) curated by Ben Gill at Rhona Hoffman in Chicago, IL, Ugly Feelings (2016) curated by Karolina Gnatowski at Side Car Gallery in Hammond, IN.
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In Shin’s ongoing series, Pas de Deux, Soo Shin constructs a buoyant vessel that floats in the Pacific Ocean while tethered to her body. Paper and pigmented wooden balls move freely within the structure, allowing ocean currents to register motion across the surface. Gesture emerges through sustained presence and shared agency between body, material, and environment, recorded as residue over time rather than intention.
Tim Stone’s works are formed through repeated return to a single drawing. By tracing and retracing his own marks over extended periods, he allows accumulation to alter the surface. Through accumulation, the surface slowly transforms: compression builds, sheen develops, and the drawing shifts toward another material state. Staying with the same gesture becomes a means of altering both surface and substance.
Placed together, these practices unfold as parallel acts of staying—where movement persists, time accumulates, and matter becomes the record of duration.
Soo Shin (b. Seoul, Korea) is an interdisciplinary artist based in Chicago. She received the Northern Trust Acquisition Award (Pennsylvania Academy of the Fine Arts) at Expo Chicago and has been awarded fellowships from the Loghaven Artist Residency (Knoxville, TN), the Djerassi Resident Artists Program (Woodside, CA), the Vilcek Foundation Fellowship at MacDowell, and the Illinois Arts Council Artists Grant. Her work has been exhibited at Block Museum (Evanston, IL), Ohio University (Athens, OH), PATRON Gallery (Chicago, IL), The Rivalry Projects (Buffalo, NY), The Luminary (St. Louis, MO), Goldfinch Gallery (Chicago, IL), Chicago Manual Style (Chicago, IL), LVL3 (Chicago, IL), and the Chicago Artists Coalition (Chicago, IL), among others. She has also completed residencies at the John Michael Kohler Arts Center (Sheboygan, WI) and Ox-Bow (Saugatuck, MI). Shin holds an MFA from the School of the Art Institute of Chicago, as well as both an MFA and a BFA from Ewha Womans University in Seoul, Korea.
Tim Stone was born in Park Ridge in 1973, where he grew up living with his family. Over the years, Stone has created an expansive and cohesive body of work across media, including graphite, watercolor, and acrylic. For the past few years he has focused primarily on grayscale drawings of loose grids in graphite, with titles that hint at personal inspirations. Focused and methodical in his practice, he maintains a diligent studio routine and steadfast artistic vision informed by concepts of abstraction. Stone’s process is driven by labor-intensive, repetitive mark-making that burnishes the graphite and slowly wears away the surface of the paper over time. He’s also an active member of the curatorial committee, assisting guest curators with exhibitions at Circle Contemporary featuring studio artists alongside artists from the broader contemporary art community.
Forget Me Not features 10 emerging and mid-career Chicago-based artists who showcase the city's burgeoning creative talent and diversity: Mikey Coleman, Stevie Connor, Rex Delafkaran, Bailey Ellens, Bianca Pastel, Alayna Pernell, Juan Molina Hernández, Kitty Rauth, Selma Suleiman, and Marlon Tobias, all of whom broadly reflect on themes of place, home, belonging, and community.
Curated by School of the Art Institute of Chicago (SAIC) Arts Administration and Policy graduate students Serena Fox, Isabelle (Izzy) Jaeggin, Tia Lowe, and Helena Rodriguez, in collaboration with Epiphany Center for the Arts, the exhibition presents a diverse range of artistic practices, including installation, photography, ceramics, and sculpture, with fiber, collage, and painting.
Throughout these works, “home” appears not as a fixed location, but as an evolving terrain defined by the act of remembering. Some of the featured artists render these ideas tangibly through their usage of objects, materiality, and the natural world. Others probe the emotional and psychological landscapes of nostalgia and childhood. Characterized by movement and diaspora, these artists draw on archival material, ancestral traditions, and cultural motifs, grounding their work in practices of preservation.
Forget Me Not highlights both the tension and interdependence between individualism and communal belonging. Together, these artists offer an assemblage of perspectives on how we ground ourselves in the world: through ritual, storytelling, connectivity, joy, and resistance. We invite viewers to consider the power of the collective and how, despite our differences, we all find ourselves here, together.
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Grounding becomes a means of navigating obscured histories and solidifying ourselves, our ancestors, and our communities to a place. tether me to the ground or let me float examines how we ground ourselves within our own histories and how we become informed and infused by the places we occupy.
The exhibition questions the complexity of home, the relationship between the environment and the body, and the fragility of temporalities. Molded and shaped by the landscapes that surround them, the artists in the exhibition explore the multifaceted, imperfect, and often difficult undertaking of building an ecology of belonging that radically imagines our relationships to the ongoing history of a place.
Unearthing and breaking down these relationships, the artists reflect on space in relation to memory, migration, community, and spirituality. They consider the tangible traces of our presence and the ephemeral quality of the personal and ancestral histories that both tether and release us from the places we pass through and remain in. Place and home become at once stark and ephemeral in these narratives, inviting the viewer to imagine how we locate and ground ourselves within these complexities.
Featured Artists:
Prerna, Colin Martinez, yétúndé ọlágbajú, Lars Shimabukuro, Ian Solomon, Shirin Towfiq
Curated by Gemma Kim
ACRE (Artists’ Cooperative Residency and Exhibitions) is an artist-run non-profit devoted to providing resources to emerging artists and nurturing a diverse community of cultural producers. ACRE’s programs support this generative community with materials, equipment, expertise, conscientiously produced food, and opportunities to exhibit and share work.
ACRE’s annual summer residency in rural Wisconsin brings together emerging artists to live and work in a communal setting. A corresponding year-long program of exhibitions and events based in Chicago creates ongoing opportunities for idea exchange, feedback and growth. Programs such as ACRE Projects, ACRE Kitchen, and ACRE TV, provide additional venues for collaboration and experimentation.
ACRE aims to be a leader at advancing new means of support for emerging artists at critical junctures in their careers. ACRE eschews focus on traditional institutional success, instead prioritizing the unique, individually-defined paths of artists.
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The collaboration merges through a heart-to-heart between handcrafted and industrial construction. Noël's use of richly colored paracord—knotted, braided, and tensioned—introduces a tactile softness and sculptural rhythm to the work. Her practice draws from the language of textiles and body adornment, reimagining traditional macramé within a contemporary design context. Chairs, tables, and lighting elements become vessels of texture and intimacy—each loop and knot a deliberate gesture toward intentional care and geometric complexity.
In parallel, Mat brings an eclectic material and cultural vocabulary drawn from cast forms, welded steel display systems, resin-infused prints, and 1990s pop-cultural motifs. Splicing structure with spirit, his practice grazes the edges of contemporary furniture’s conventions, guided by an irreverent yet lyrical sensibility. His surfaces feel both archival and futuristic—evoking suburban skate parks,color block fashion, Greco-Roman columns, and the visual clutter of mischievous, meaningful adolescence.
Together, their work percolates between design, sculpture, and play—producing objects that are performative, customizable, and unapologetically personal. Whether it’s a chair that functions like a stage prop or a lamp that behaves like a wearable artifact, Ringleader treats furniture as a site of experimentation: a place where memory, humor, tactility, and utility converge.
Noël Morical (American, b. 1989) lives and works in Chicago IL. She received her BFA from The School of the Art Institute of Chicago in 2011. Morical is a multidisciplinary artist interested in organizing color, coded experience, and craft techniques.
Mat Mancini (b. 1987, Philadelphia) lives and works in Chicago, IL. MFA The School of the Art Institute of Chicago, 2014. BFA Rutgers University, 2010. Recent shows include Peana Projects in MX, Little Berlin in PHL, HG INN, Julius Caesar, Paris London Hong Kong, and LVL3 in CHI.
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