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GRAY is a globally recognized team of art professionals devoted to fostering the development of artists’ careers and to building outstanding art collections. For more than six decades GRAY has supported the visions of artists by bringing exhibitions and projects to audiences around the world, working with collectors and institutions to foster practices and preserve legacies.
Founded in Chicago in 1963 as Richard Gray Gallery and since 1997 also in New York City, the gallery, now under the leadership of Paul Gray and Valerie Carberry, continues to be recognized for the exceptional quality of its program and for the expert counsel it provides to private and museum clients worldwide.
Member of Art Dealers Association of America (ADAA)
Image: Installation view of Theaster Gates: OH, YOU’VE GOT TO COME BACK TO THE CITY at GRAY Chicago, 2025.
","location":"2044 W. Carroll Ave. Chicago, IL 60612","display_location":"2044 W. Carroll Ave. Chicago, IL 60612","slug":"gray","latitude":"41.887729","longitude":"-87.678677","contact":"","state":"published","created_at":"2017-02-21 16:43:33","updated_at":"2025-11-14 18:19:25.447","sub_district_id":"2","promoted_at":"2018-10-24T18:42:33.141Z","optional_sort_name":"","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1763142951/omu7lcvpfcxrqmlhamlu.jpg","paid":true},"sociable_links":[{"id":4049,"address":"https://www.instagram.com/richardgraygallery/","social_linkable_id":897,"social_linkable_type":"Organization","position":null,"kind":"Instagram","created_at":"2025-11-14 18:19:27.876","updated_at":"2025-11-14 18:19:27.876"}],"events":[{"id":34990,"title":"Jaume Plensa: Beyond Silence","starts_at":"2026-09-17 13:26:33.067","ends_at":"2026-12-19 16:30:00","body":"Jaume Plensa: Beyond Silence, opening at GRAY Chicago on September 17, marks the artist’s tenth solo exhibition with the gallery. Bringing together monumental carved-wood reliefs, dramatically vertical sculptures in cast iron and granite, and intimate bronze works, Beyond Silence examines two long-standing central tenets of his practice—scale and material. Unified thematically in their representation of the figure, the artist explores the possibility and continuity of our shared human experience.
At the center of the exhibition are two monumental relief sculptures in carved wood, Beyond Silence (Julia) and Beyond Silence (Maria), each measuring twenty-eight feet in length. The works engage directly with the architecture of the space, spanning the gallery much like the wooden trusses that define the interior. Their monumental scale transforms the human figure into an architectural presence, collapsing the distinction between sculpture and the built environment.
Installed alongside the reliefs are three sculptures from a new series, Clouds, each measuring seven feet in height. Combining cast iron with granite, the works bring together materials of contrasting texture and appearance. The industrial character of the cast iron is set against the smooth surface of granite, producing an unexpected sense of suspension and weightlessness.
The center of the exhibition holds bronze sculptures from the Twilight series, each approximately twenty inches high. The smaller scale of the bronzes shifts the encounter from the architectural to the personal, inviting a more intimate viewer experience.
The exhibition opens at GRAY Chicago with a public reception from 6-8 PM on September 17, 2026, and remains on view through December 19, 2026.
Installation view of Jaume Plensa: Beyond Silence, GRAY Chicago, 2026.
Exhibition on view: April 28-June 10, 2017
\r\nOpening reception: Friday, April 29, 6-8pm
\r\nLocation: 2044 W. Carroll Ave, Chicago
Richard Gray Gallery is proud to announce two coordinated exhibitions of work by the acclaimed American artist Jim Dine. In Chicago, Looking at the Present examines Dine’s recent large-scale paintings. In New York, Primary Objects presents work from a formative period in Dine’s practice, focusing on his mixed material paintings and sculptures from 1961 through 1965.
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\r\nA two volume exhibition catalogue will document both exhibitions and will feature contributions by Hamza Walker, LAXART Executive Director and former Director of Education and Associate Curator at the Renaissance Society, and Michael Rooks, Wieland Family Curator of Modern and Contemporary Art at the High Museum of Art.
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\r\nLOOKING AT THE PRESENT (CHICAGO)
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\r\nLooking at the Present will inaugurate Richard Gray Gallery’s new converted warehouse space at 2044 West Carroll Avenue. The exhibition opens with a public reception for the artist on Friday, April 28 from 6-8pm.
The exhibition reveals the development of new directions in Dine’s painting practice. Shedding the iconography of hearts, robes, and the Venus de Milo that has animated his visual language for decades, Dine’s recent work depicts elusive imagery that emerges and recedes in masses of layered, gestural marks. Some of the works, such as Coming from the Darkness, I Hear Your Laugh! (2016), step away from figurative depiction altogether, whereas others, like The Funny Pleasures of War (2015-16), bring in fragments of the human body or iconographic symbols like the skull. The silhouette of the artist’s head is a recurring icon in the paintings, a device that Dine uses to merge self-portraiture with his study of surface, texture and paint itself.
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\r\nIn most of these works, Dine has built up a heavy impasto surface. By mixing sand into the acrylic paint, he has developed a process in which he is continuously revising his own work. In the studio, Dine moves between building up layers of gritty paint and blasting them away with power sanders and other tools. The exhibition is made up of large-scale and multi-panel canvases. The largest, Errant Rays and Seeds Escaping (2015-16) measures nearly nineteen feet in width and loosely depicts bodies coalescing and fragmenting amid vividly pigmented impasto.
Richard Gray Gallery is pleased to announce two exhibitions of work by the Spanish artist Jaume Plensa. At Gray Warehouse, Secret Garden presents recent sculptures in wood, stainless steel, and bronze in conjunction with a new suite of drawings. The exhibition continues at Richard Gray Gallery’s Hancock space with a portrait series carved in alabaster, as well as a second exhibition of historical works titled One Thought Fills Immensity. Featuring works from 1989 to 2002, One Thought Fills Immensity offers a deeper view into the artist’s prolific career. The two exhibitions open with a public reception for the artist at Gray Warehouse on Thursday, September 14 from 6-8 pm. Secret Garden will be the second exhibition to take place at the gallery’s newly inaugurated space.
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Top Image: Installation of works by Jaume Plensa (b. 1955) currently on view at Gray Warehouse
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\r\n","type":"Event","state":"published","slug":"exhibition-walk-through-and-talk-jaume-plensa-and-brooke-kamin-rapaport","created_at":"2018-10-22 20:41:39.195785","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":897,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'10':40B '15':38B '30':41B 'brook':10A,26B 'curat':25B 'exhibit':1A,14B 'friday':36B 'gray':33B 'jaum':7A,22B 'kamin':11A,27B 'place':31B 'plensa':8A,23B 'q':19B 'rapaport':12A,28B 'septemb':37B 'take':30B 'talk':6A 'walk':3A,16B 'walk-through':2A,15B 'warehous':34B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669461931.ics","carousel":null,"category_name":"Talks"},{"id":5172,"title":"MUSICAL PERFORMANCE - Robert Nordling, Michael Hall + Megan Ihnen","starts_at":"2017-10-28 17:00:00","ends_at":"2017-10-28 18:00:00","body":"Richard Gray Gallery is pleased to present a live musical performance at Gray Warehouse, hosted by conductor Robert Nordling and performed by collaborating musicians Michael Hall and Megan Ihnen. On the recital program will be works by Bach, Vieuxtemps, Mara Gibson, Kee Yong Chong, Rob Deemer and others. The program will also include the Premiere performance of an Indonesian folk song setting for viola and harpsichord by Indonesian composer Fauzie Wiriadisastra. The performance will take place amidst the current exhibition Jaume Plensa: Secret Garden.
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\r\nConductor Robert Nordling, the concert’s host, serves as the Music Director of the Bandung Philharmonic Orchestra in Indonesia, the Baroque on Beaver Island Music Festival (Northern Michigan) and the Lake Forest Civic Orchestra (Chicago). Violist Michael Hall is an internationally recognized soloist. Professor of Viola at VanderCook College of Music in Chicago, Hall is also a board member of the American Viola Society, and Co-Artistic Director and Director of Education of the Bandung Philharmonic in Indonesia, and has over 50 compositions written for him. Megan Ihnen, a mezzo-soprano whose repertoire focuses on contemporary classical music, will perform Garret Schumann’s “Folio 1” for voice and viola. Ihnen holds degrees from Augustana University and the Peabody Institute of Johns Hopkins University.
On view at Gray Warehouse is Secret Garden, an exhibition of new work by Jaume Plensa. Expanding on his long-time study of portraiture, the exhibition presents new sculpture in wood, stainless steel, bronze, and alabaster, alongside a suite of works on paper.
\r\n\r\nJoin us at Gray Warehouse for this unique performance Saturday, October 28th from 5-6 PM, with a wine reception to take place prior to, at 4:30 PM. Jaume Plensa: Secret Garden closes November 11, 2017.
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This event is free, however, RSVPs are recommended. To RSVP, or for general inquiries, please contact Becky Daniel, bd@richardgraygallery.com.
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\r\n","type":"Event","state":"published","slug":"conversation-alex-katz-and-ann-goldstein","created_at":"2018-10-22 20:42:44.308752","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":897,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'alex':2A 'ann':5A 'art':8B 'auditorium':13B 'chicago':11B 'convers':1A 'goldstein':6A 'institut':9B 'katz':3A 'price':12B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668426/agfdus7qbietuzsssmkg.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669492/event_ics_1721669491793.ics","carousel":null,"category_name":"Talks"},{"id":5760,"title":"Alex Katz: Grass and Trees","starts_at":"2018-04-12 18:00:00","ends_at":"2018-06-08 20:00:00","body":"Click to read CGN's summer 2018 cover story about the artist's show at Richard Gray Gallery.
\r\n\r\nAlex Katz (American, b.1927) is one of the most recognized and widely-exhibited artists of his generation. Often associated with the Pop Art movement, Katz began exhibiting his work in 1954, and since that time he has produced a celebrated body of work that includes paintings, drawings, sculpture, and prints. His earliest work took inspiration from various aspects of mid-century American culture and society, including television, film, and advertising, and over the past five and a half decades he has established himself as a preeminent painter of modern life, whose distinctive portraits and lyrical landscapes bear a flattened surface and consistent economy of line. Utilizing characteristically wide brushstrokes, large swathes of color, and refined compositions, Katz created what art historian Robert Storr called "a new and distinctive type of realism in American art which combines aspects of both abstraction and representation."
\r\n\r\nSince the 1950s, Alex Katz's work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions around the world. His work can be found in nearly 100 public collections worldwide, including the Art Institute of Chicago; the Hirshhorn Museum and Sculpture Garden at the Smithsonian Institution, Washington, DC; the Metropolitan Museum of Art, New York; Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid; the Museum of Fine Arts, Boston; the Museum of Modern Art, New York; the National Gallery of Art, Washington, DC; the National Museum of American Art, Smithsonian Institute, Washington, DC; the Philadelphia Museum of Art; The Tate Gallery, London; and the Whitney Museum of American Art, New York, among many others.
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\r\n\r\nAlex Katz was approaching his 90th birthday when he began a new series of landscapes radically different from his earlier work. More loosely painted and expressively realized than any work to date, Grass and Trees debuts large-scale paintings which draw inspiration from three motifs – grasses, roads, and trees. Prompted by the immediacy of nature outside his studio in Maine, these landscapes, like vignettes, are swift, evocative, and specific. While the “Road” and “Trees” paintings veer toward his signature graphic style, Katz’s “Grass” compositions are freely gestural, offering an engulfing sense of space. As one example: Grass 5, depicts nothing more than sunspots and flecks of light on the grass yet measures a heroic 9 x 18 feet. As Yau notes in his catalogue essay, "… the size of these paintings is immersive. They recall Pollock’s panoramic drip paintings, which ignored the canvas’s physical edges and seemed to extend beyond the painting’s actual limits. You are not looking at a landscape; you are in it.”
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Time and More, Space and More… is the artist’s tenth solo exhibition with Richard Gray Gallery and first exhibition at Gray Warehouse.
Time and More, Space and More… presents Hockney’s recent video and camera-based works in tandem. Making its gallery debut at the center of the exhibition is Hockney’s multi-part video installation The Four Seasons, Woldgate Woods, 2010-2011, which was exhibited in 2017 at Centre Georges Pompidou and Tate Britain. The work is composed of four 9-channel video walls and arranged within the space like the cardinal directions of a compass rose. Depicting the same view down a tree-lined country road in Yorkshire, each wall distinctively captures one of the four seasons. The video installation conveys Hockney’s agility in multiplying time and perspectives - a skill he honed in the 1980s using polaroid photography.
As Arthur Kolat notes in his catalogue essay, “…Unlike the earlier photo collages which included a multitude of consecutive moments, The Four Seasons includes both consecutive time and simultaneous time.”
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419514/df926dpwrvtaos5k720f.jpg\")
Hockney uses the camera to produce impossible visual spaces - a theme which he has carried throughout his practice across a variety of media. Also a feature of the exhibition, Hockney’s photographic drawings strive to replicate the kaleidoscopic experience of seeing through a composite of vantage points. The four photo drawings on view offer a panoramic sense of time and space in their portrayal of the artist’s Los Angeles studio. As is the case with Hockney’s video works, these large-scale photo drawings came about through Hockney’s own innovations to photographic and technological processes.
Alongside the exhibition, Richard Gray Gallery will release a catalogue that chronicles Hockney’s interest in lens-based media, surveying works from the early 1980s to present day. The illustrated publication also includes a foreword by celebrated English video artist Tacita Dean and an essay by the Chicago-based writer and art historian Arthur Kolat.
Image: David Hockney and Jonathan Wilkinson, Inside It Opens Up As Well, 2018. Photographic drawing printed on 7 sheets of paper, mounted on 7 sheets of Dibond. © David Hockney. Photo credit: Richard Schmidt
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\r\n\r\nWine reception: 4:30 PM | Performance: 5-6 PM
\r\nGray Warehouse, 2044 West Carroll Avenue, Chicago
\r\nIn honor of David Hockney’s exhibition Time and More, Space and More..., Richard Gray Gallery presents a live musical performance by The Lincoln Trio, a Chicago-based ensemble made up of Desirée Ruhstrat, violin, David Cunliffe, cello, and Marta Aznavoorian, piano. Performing Las Cuatro Estaciones Porteñas (The Four Seasons of Buenos Aires) by Argentinian composer Astor Piazzolla, The Trio responds to David Hockney’s iconic multi-part video installation The Four Seasons, Woldgate Woods, 2010-2011.
\r\n
\r\nJoin us at Gray Warehouse for this special performance on Saturday, October 20, from 5-6 PM, with a wine reception at 4:30 PM.
\r\n
\r\n\r\n
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Richard Gray Gallery is pleased to announce Every Square Needs a Circle, a solo exhibition of new sculpture, film, installation, and neon work by Theaster Gates. The exhibition opens at Gray Warehouse with a reception for the artist on Thursday, April 4th, 2019, from 6-8 PM.
Every Square Needs a Circle marks a continuation of Gates’s long engagement with the work of American sociologist W.E.B. Du Bois, whose examination of genius and progress in Black America from Emancipation to the mid-20th century has been a source of inspiration for the artist. Placing his interest in poetics and the weighty history of objects, Gates debuts a multi-faceted installation that bridges the work of Du Bois with architectural excerpts from Chicago, expounding on the archives that hold and preserve records of Black intelligence.
Relating moments from art history to stories of quotidian labor, Every Square Needs a Circle is a rumination on materials, time and repetition. Gates elects a 1962 artwork by Agnes Martin titled Little Sister as a foundational moment for the exhibition. The small oil and ink painting on canvas—punctuated by hundreds of brass nails hammered onto a gridded composition—serves as the Modernist antecedent to Gates’s assertion that everyday processes are a means to soulful fulfillment. The grid becomes a metaphor for the city’s built environment, onto which Gates imposes the physical history of his native Chicago. Extending architectural elements and archival materials through works in film and neon, Gates puts forth a critique of the city that comments on Black economies and empire building. Gates explains, \"the work is not about a social mission. It is about sculpture and how things I believe in manifest through the material world.”
ABOUT THEASTER GATES
Theaster Gates (b.1973) was born and raised in Chicago, where he currently lives and works. Drawing from his earlier vocational pursuits in public service, urban planning and religious studies, Gates works to redeem spaces that have been left behind, centering his practice on the possibility of the “life within things.” Known for his recirculation of art-world capital, Gates’s recent artworks possess an intersectional relationship between space theory and land development, sculpture and performance, smartly upturning art values, land values and human values. In all aspects of his work, he contends with the notion of Black space as a formal exercise – one defined by collective desire, artistic agency and the tactics of a pragmatist.
With a celebrated stronghold in Chicago, Gates’s career has seen international recognition from his participation in the Whitney Biennial (2010), Documenta 13 (2012), and Venice Biennale (2015), to major museum exhibitions all over the world. Recent solo exhibitions include The Listening Room, Seattle Art Museum (2011–12); 13th Ballad, Museum of Contemporary Art, Chicago (2013; Soul Manufacturing Corporation: To Make the Thing that Makes the Things, Fabric Workshop and Museum, Philadelphia (2013); Processions, Hirshhorn Museum and Sculpture Garden, Washington, DC (2016); True Value, Fondazione Prada, Milan (2016); Black Archive, Kunsthaus Bregenz, Austria (2016); How to Build a House Museum, Art Gallery of Ontario, Toronto (2016); The Minor Arts, National Gallery of Art, Washington, DC (2017); Black Madonna,Kunstmuseum Basel (2018) and Sprengel Museum, Hannover, Germany (2018); The Black Image Corporation, Fondazione Prada, Milan (2018); and Amalgam, Palais de Tokyo, Paris, France (2019). Many of Gates's recent exhibitions, including Black Madonna and TheBlack Image Corporation, are a part of his ongoing engagement with the archives of Johnson Publishing Company.
Gates’s current academic affiliations include the University of Chicago, Chicago, Illinois; the Getty Research Institute, Los Angeles, California; and Colby College, Waterville, Maine. Gates has received numerous awards and distinctions, including the Nasher Prize (2018), the Kurt Schwitters Prize (2017), the American Academy of Arts & Sciences Award (2016), the Smithsonian American Ingenuity Award for Social Progress (2015), and the Hirshhorn Museum and Sculpture Garden trusteeship (2015). Public collections include Whitney Museum of American Art, New York; Museum of Modern Art, New York; Tate Modern, London; and Museum of Contemporary Art, Chicago.
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Grabner and Cahill will join Gates to discuss his exhibition in depth as it relates to his larger practice.
The panel will take place at Gray Warehouse on Wednesday, June 19th. The gallery talk begins at 6:00 PM, and will be followed by a short reception. This event is free and open to the public. RSVP is requested to rsvp@richardgraygallery.com. Seating is limited.
Every Square Needs a Circle presents new sculpture, installation, tar paintings, and neon work by Theaster Gates. Relating moments from art history to stories of quotidian labor, Every Square Needs a Circle is a rumination on materials, time and repetition. The exhibition also marks a continuation of Gates’s long engagement with the work of American sociologist W.E.B. Du Bois, whose examination of genius and progress in Black America from Emancipation to the mid-20th century has been a source of inspiration for the artist. Placing his interest in poetics and the history of objects, Gates’s multi-faceted installation bridges the work of Du Bois with architectural excerpts from Chicago, expounding on the archives that hold and preserve records of Black intelligence.
ABOUT MICHELLE GRABNER
Michelle Grabner is an artist, writer, and curator. She is the Crown Professor of Art at the School of the Art Institute of Chicago where she has taught since 1996. Grabner has also held teaching appointments at The University of Wisconsin-Madison, Cranbrook Academy of Art; Yale Norfolk; Milton Avery Graduate School of Arts at Bard College; Yale University School of Art; and Skowhegan School of Painting and Sculpture. Grabner co-curated the 2014 Whitney Biennial and the 2016 Portland Biennial, and was the Artistic Director for FRONT International, the 2018 Cleveland Triennial for Contemporary Art. Her writings hava been published in X-tra and Artforum, and in 2010, Grabner co-edited THE STUDIO READER with Mary Jane Jacob, which was published by the University of Chicago Press. Grabner’s work has been the subject of surveys at a number of institutions including The Indianapolis Museum of Art, MOCA Cleveland, Illinois State Galleries, and INOVA at University of Wisconsin Milwaukee. Grabner’s other projects include The Suburban, an art space which she co-founded alongside her husband and Brad Killam in 1999 in Oak Park, Illinois; and The Poor Farm in rural Waupaca County, Wisconsin, a space dedicated to annual historical and contemporary exhibitions, lectures, performances, publications, screenings, and alternative educational programs.
ABOUT ZACHARY CAHILL
Zachary Cahill is an American interdisciplinary artist based in Chicago and the Director of Fellowships and Programs at the University of Chicago's Gray Center for Arts and Inquiry. Cahill is also the founding editor-in chief of Portable Gray, the Gray Center' s biannual magazine.
Cahill received an MFA from the University of Chicago (2007) and a BFA from Cornell University (1995). His practice incorporates installation, painting, sculpture, séance performance, video, and artistic writings that examine the nature of propaganda, state power and its relation to the individual, religion, and a variety of forms of socio-political infrastructures. His work has been exhibited in numerous venues in the United States and Europe, and his writings have appeared in Afterall, Artforum, Critical Inquiry, Frieze, Mousseand other arts and academic publications. In 2018, he published his first novel, The Black Flame of Paradise,released by Mousse Publishing.
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Gray Warehouse, 2044 West Carroll Avenue, Chicago
Richard Gray Gallery is pleased to announce Endless Space, an exhibition examining the paintings and drawings of Leon Polk Smith (1906 - 1996). The exhibition opens at Gray Warehouse on Friday, September 13, 2019 with a public reception from 6-8 PM.
Leon Polk Smith: Endless Space features paintings from the artist’s iconic Correspondence and Constellation series which he produced over a nearly twenty-year span between the late 1950s and the 1970s. Characterized by their interactive multipart compositions, the canvases created during this time period have come to be known as the artist’s most signature works. Endless Space expresses Smith’s nimble and daring shift from rectilinear canvases to shaped supports, and from single-panel works to complex, polyptych installations. Fusing together bright colors at a curved edge, Smith’s compositions push the confines of the canvas. “I was fascinated by the interchange of the positive-negative aspect of [Mondrian’s] paintings with no background,” Smith described in a 1966 artist statement. “I was thrilled to think that if I could liberate this quality which he confined to the rectangle into a free form, that I would be able to express the endless space.”
As Smith’s large-scale paintings reveal an abundance of formal ingenuity, they also contain elements of personal narrative that demand further examination. Smith was born in 1906 to mixed, half-Cherokee parents near the territory of Chickasha one year before it was incorporated into the state of Oklahoma. The artist’s Native heritage and proximity to indigenous traditions provide a nuanced background for the role of space and color within his compositions. With this biographical context, Smith’s abstract expanses thereby reemerge as open roads, infinite plains, and vast skies — vestiges of his childhood landscape and rural upbringing, working on his family’s farm, and his work constructing highways. Offering an important frame of reference alongside Smith’s Native identity are his experiences living as a gay man in McCarthy era New York City. In the exhibition’s accompanying catalogue, injecting the predominant formal analysis of Smith’s work with queer theories of anthropomorphism, art historian Jonathan David Katz discusses the artist's painted forms as a coded representation of then-illegal homosexuality, a “redirection of the impersonality of geometry towards the chaos of desire.” Between these formal, social, and political readings, Smith’s works adamantly coalesce around one vital certainty — the notion of endless, polyvalent, and colorful space.
ABOUT LEON POLK SMITH
Leon Polk Smith (American, 1906 - 1996) was a painter heralded for his lifelong commitment to exploring color and shape through reductive geometric compositions and shaped canvases. Born on Native American lands, Smith grew up with his eight siblings in a farming community among American Indians of the Choctaw and Chickasaw tribes. Smith received his primary and college education in Oklahoma, and moved to New York City in 1936 to pursue a graduate degree in arts education at Columbia University Teachers College. In New York, he worked at the nascent Museum of Non-Objective Art (later the Guggenheim Museum) where he encountered the works of Modernists such as Piet Mondrian, Constantin Brancusi, and Jean Arp. Smith was immediately drawn to the ways in which Modernists harnessed geometry and space, concerns that would remain at the forefront of his practice throughout his life. From the mid 20th century onwards, Smith was predominantly seen within the category of geometric abstraction. But as abstract and minimalist painters of the time began to diverge from Modernism, Smith continued onwards, innovating the formal and rational elements of the Modernist tradition. From his first solo exhibition in New York City in 1941 until his death in 1996, Smith’s paintings exuded a buoyant optical tension—or what critic Roberta Smith would term a “slightly unhinged optimism”—that would come to be regarded as central to the foundation of the hard-edge movement.
Smith’s work has been the subject of solo exhibitions at several major institutions including the Rose Art Museum and San Francisco Museum of Modern Art (1968), Musee de Grenoble, France (1989), The Brooklyn Museum (1996), and the Munson-Williams-Proctor Arts Institute (2017). His work also resides in an array of important institutional collections including the Art Institute of Chicago, Albright-Knox Art Gallery, Brooklyn Museum, Cleveland Museum of Art, Crystal Bridges Museum of American Art, Dallas Museum of Art, Detroit Institute of Art, Hirshhorn Museum and Sculpture Garden, Los Angeles County Museum of Art, The Metropolitan Museum of Art, The Museum of Modern Art, The National Gallery of Art, and the Whitney Museum of American Art, among others.
The Leon Polk Smith Foundation was established by the artist and has been active since Smith's death in 1996. More information on Leon Polk Smith and his work can be found at the foundation’s website: www.leonpolksmithfoundation.org
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EXPO Art After Hours
Richard Gray Gallery is pleased to announce participation in EXPO Chicago’s Art After Hours and a live performance at Gray Warehouse by multi-hyphenate musician Majel Connery. Showcasing her breadth of talents as a vocalist, composer, producer, and former opera singer, Connery will be performing tracks from her recently released debut solo EPAnything Chartreuse. Inspired by Connery’s intense obsession with the color green,Anything Chartreuseis named after a line from her favorite children’s book, When the Sky Is Like Lace, by Elinor Lander Horwitz. Pulling from her roots in classical opera, Connery blends elements of other genres including electronic, contemporary pop, and indie rock to create her distinct musical sound and unique compositional style.
Connery’s performance will take place on Friday, September 20th at 8 PM amid the gallery’s current exhibition, Leon Polk Smith: Endless Space, a historical survey dedicated to the artist’s iconic multi-part paintings and drawings. Gray Warehouse will offer extended hours from 6-9 PM in collaboration with EXPO Chicago After Hours.Leon Polk Smith: Endless Spaceopens at the gallery on Friday, September 13th, and continues through Saturday, November 23.
RSVP is requested but not required, seating is limited. Please RSVP torsvp@richardgraygallery.com. For general inquiries about this event, please contact Sarah Sexton,ss@richardgraygallery.com.
ABOUT MAJEL CONNERY
Connery lives and works in Manhattan, New York, and Berkeley, California. Connery holds a Ph.D. from the University of Chicago and a composition degree from Princeton University. In addition to her academic accomplishments and range as a performer, Connery was also the co-founder and director of Chicago-based opera company Opera Cabal (2007-2018), a Mellon Postdoctoral Fellow at UC Berkeley (2013-15), a Mellon Visiting Artist at Wellesley (2017), and a Mohr Visiting Artist at Stanford University (2017-18).
RSVP is requested but not required, seating is limited. Please RSVP to rsvp@richardgraygallery.com. For inquiries about this event, please contact Sarah Sexton, ss@richardgraygallery.com.
Image: Majel Connery, Photo by Boris Harss
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GALLERY TALK | Panel Discussion for Leon Polk Smith: Endless Space
Gray Warehouse, Chicago
Saturday, September 21, 2019, 12 PM
Gray is pleased to present Jim Dine: The Botanical Drawings to inaugurate Gray Viewing Rooms.
Access Jim Dine's Botanical Drawings in an enhanced online viewing room experience presenting twelve works from the series, with accompanying text, quotes from the artist, photographs from the studio and more.
Jim Dine's Botanical Drawings extend from a tradition of botanical illustration that dates back to the Renaissance. The ongoing series endures not for the pursuit of representation but for how it offers a conduit for Dine, a master draftsman, to speak to artists over time.
Access this viewing room tomorrow by clicking here. For more updates, follow us on Instagram.
Image: Grass in this Valley, 2014
Charcoal, pastel and watercolor on paper
42 1/4 × 62 inches (107.3 × 157.5 cm)
$65,000 USD
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September 10 – October 31, 2020
Gray Warehouse, 2044 West Carroll Ave, Chicago
Gray is pleased to reopen to the public with DNA:Work and the Under:Conscious Drawings, the gallery’s first exhibition with McArthur Binion. Debuting eight paintings and seven drawings from the artist’s DNA:Work and Under:Conscious series, the exhibition will be on view beginning Thursday, September 10, at Gray Warehouse in Chicago.
McArthur Binion’s painting series DNA:Work is an index of time, labor and identity, repurposing the Minimalist grid to examine a deeply personal narrative. Using the scale of his own body, Binion builds compositions from vivid, geometric patterns demarcated by an oil-stick grid. Up close, each painting reveals a substrate of tightly collaged and rhythmically arranged reproductions of personal documents—pages from the artist’s phone book, his birth certificate and photographs of his childhood home in Macon, Mississippi. Binion’s pared-down combination of color and form compresses a breadth of influences—personal history, relationships, writing, and memory—all absorbed throughout a life dedicated to making. As art critic and poet John Yau describes, Binion’s DNA paintings are “deeper than autobiography … [his] formal mastery, his ability to wring so many possibilities out of his direct and straightforward labor, permeates the works with layers of meaning, beginning with his challenge to the idea that art could be objective and pure, that it could exist in a separate aesthetic realm untainted by life.”
In addition to the DNA:Work paintings, the exhibition debuts a suite of works on paper titled the Under:Conscious Drawings. Binion created the series in 2014 as a means of accessing the roots of his practice. Using graphite, charcoal, colored pencil and pen, Binion’s drawings are composed of evenly-distributed marks applied simultaneously with both hands. In a conversation with Binion, artist Torkwase Dyson expands on this physical and mental exertion. “[Binion’s drawings] convey a level of concentration that can only come from using everything [the] body is made of,” states Dyson. “[They] have an Agnes Martin level of concentration with a Cy Twombly kind of labor of mark-making.” In Binion’s own words, “I’m not discovering the under-conscious, I’m becoming it.”
Gray is pleased to release a special publication on the occasion of McArthur Binion's exhibition, DNA:Work and the Under:Conscious Drawings. The volume presents 40 color illustrations, including high-resolution details and images of the works in situ, as well as a transcribed conversation between McArthur Binion and New York-based artist Torkwase Dyson.
PURCHASE
We look forward to welcoming you back to the gallery during our regular hours, Wednesday through Saturday, 10 AM – 5 PM, beginning Thursday, September 10. To ensure the safety of our visitors and staff, face masks are required for entry and social-distancing guidelines will be in effect. Appointments are encouraged.
PLAN YOUR VISIT
Image: McArthur Binion, DNA:Work, 2020
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EXPO Chicago
EXHIBITION Weekend
September 25 – 27, 2020
Gray is pleased to participate in EXHIBITION Weekend, featuring recent work by Chicago artists McArthur Binion and Jim Lutes. All works presented on this digital platform are currently on view at our Gray Warehouse and Michigan Avenue galleries.
Enter here.
IN-PERSON VIEWINGS
Gray Warehouse is open Wednesday through Friday, 10 AM – 5 PM, and Saturday, 11AM – 5PM; and our Michigan Avenue gallery is open by appointment.
Face masks are required for entry and social-distancing guidelines will be in effect.
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Gray is pleased to present Nocturne, a solo exhibition of new sculpture by Jaume Plensa. Debuting nine of the artist’s latest works in stone, glass, steel, and bronze, Nocturne explores the artist’s range and mastery of sculptural portraiture. The exhibition opens at Gray Warehouse in Chicago on November 14, 2020 (by appointment only) and runs through January 9, 2021.
In Nocturne, a word evocative of the night, Plensa navigates the symbolic dichotomy between lightness and darkness. The artist presents his newest body of work in a gradient of material density, beginning with the most substantial sculptures crafted from black basalt and bronze, and concluding with light, ethereal figures in stainless steel and Murano glass. Contemplating the extraordinary challenges of the present day in these terms, Plensa maintains, “no matter how long the night, the morning always comes.” Whether embracing or opposing the intrinsic qualities of his materials, Plensa’s exhibition of sculptural portraits symbolizes the potential for hope to emerge from a place of total darkness.
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Hockney in Normandy
Jan 14 - March 19, 2021
Gray is pleased to present an online exhibition of new prints by David Hockney, created at his studio in Normandy. Rendering views of the studio's interior as well as scenes from the surrounding countryside, Hockney's recent iPad paintings and suite of landscape prints highlight Hockney’s singular sense of line and form and his longstanding commitment to exploring perspective as mediated by technology.
Explore Hockney in Normandy on Gray Viewing Rooms by clicking the link below.
Hockney in Normandy will open at Gray New York February 22.
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Gray is pleased to present Theaster Gates: How to Sell Hardware, the artist’s latest installation in Chicago and third solo exhibition at Gray.
How to Sell Hardware tells the story of Theaster Gates’s ongoing engagement with a family-owned True Value hardware store formerly located on Chicago’s South Side. Once a lively central space for local commerce, the True Value store shared in the growth and prosperity of a thriving community during the 1970s and 80s, filling its practical and social needs. The hardware store similarly mirrored the neighborhood’s downturns as business slowed in the 1990s with the emergence of big-box stores which drastically changed the needs and habits of the once-prosperous Chicago neighborhood. Gates, whose practice is deeply invested in the material preservation of neglected social and cultural histories, acquired the store and all of its merchandise in 2014 and has continued to engage with it ever since. Through Gates’s material and conceptual interpositions, How to Sell Hardware memorializes the history of a changing urban landscape.
Gates’s immersive installation at Gray Warehouse offers a repository and material testimony to a bygone era. Amassing and repurposing what physical inventory remained from the store, Gates encases volumes of densely packed material within dozens of stacked metal containers to form a fortifying rampart-like wall that bisects the gallery. A monumental construction, Gates’s weighty memorial nods to the history of modern architecture while exposing the aesthetic potential of utilitarian items to be fundamentally didactic, carrying with them the legacy of the everyday worker and shopkeeper even after the objects themselves become cast aside or obsolete.
“How to Sell Hardware functions as a kind of reconciliation between my relationship to art and the truth of the public sphere,” Gates described. “This exhibition examines my insistence that the world is not separated between high objects and low objects, but rather, that the artist has the capacity to determine the designation of each. Can a hardware store be considered a work of significance as a hardware store or only after transformation, reformation, dislocation or intervention? Are all works of art not merely a series of joined objects made from things that you find at a corner store?”
Theaster Gates: How to Sell Hardware is on view at Gray Warehouse, in Chicago from May 28 through July 31, 2021.
Gray Warehouse is open Tuesday through Saturday, 10 AM - 5 PM CT.
Explore the online viewing room by visiting the link below, or plan your in-person visit here. Walk-ins are welcome, appointments are encouraged. Enter Viewing Room
Documentary Premier
\"How to Sell Hardware\" with Introduction by Romi Crawford
Monday, July 26, 6 PM CDT
Gray Warehouse, Chicago
Gray is pleased to host the premiere of “How to Sell Hardware,\" an experimental documentary by Theaster Gates. Made in conjunction with his solo exhibition at Gray Warehouse, the film will be introduced by curator and scholar, Romi Crawford.
Gates’s documentary chronicles his engagement with the former True Value hardware store whose materials and history are at the center of his exhibition. Once a lively central space for local commerce, the True Value store shared in the growth and prosperity of a thriving community on Chicago’s South Side during the 1970s and 80s. As business slowed in the 1990s with the emergence of big-box stores, the needs and habits of the once-prosperous Chicago neighborhood drastically changed. Gates, whose practice is deeply invested in the material preservation of neglected social and cultural histories, acquired the store and all of its merchandise in 2014 and has continued to engage with it ever since. Gates’s film brings together footage from his past exhibitions and projects, such as those at Fondazione Prada, Milan and the Gray Center for Arts and Inquiry, University of Chicago, alongside interviews with hardware store owners.
The dialogue and screening will take place at Gray Warehouse on July 26. The introduction by Crawford will begin at 6:00 PM, followed by the screening of “How to Sell Hardware” at 6:30 PM. This event is free and open to the public. RSVP is required via EventBrite.
ABOUT ROMI CRAWFORD
Romi Crawford (PhD) is a cultural theorist and professor of Visual and Critical Studies at the School of the Art Institute of Chicago. Her research and writing explore areas of race and ethnicity as these relate to American visual culture (including art, film, and photography). She regularly writes on contemporary art and is co-author of The Wall of Respect: Public Art and Black Liberation in 1960s Chicago and editor of Fleeting Monuments for the Wall of Respect.
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Please join curator and professor Dieter Roelstraete in conversation with Theaster Gates on the occasion of Theaster Gates: How to Sell Hardware.
Gates and Roelstraete will discuss Gates’s current exhibition at Gray Warehouse and its relation to his broader practice.
The conversation will be followed by a dance party to close out the exhibition.
Register to attend the talk here
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How to Sell Hardware’s closing dance party from 8:00 - 10:00 PM will feature a set by DJ Madrid spinning industrial bossa nova vibes.
About this event: DJ Madrid is a curator of culture, ambience, and fun whose clients include: Oprah Winfrey, Jonathan Adler, PRADA, Ferrari, Louis Vuitton, Vogue, the Menil Collection and more.
This event celebrates the end run of Theaster Gates's How to Sell Hardware, closing July 31
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Gray Chicago, 2044 W Carroll Ave, Chicago
Gray is pleased to announce a live performance by Majel Connery + Sky Creature taking place on Saturday, September 25, from 6-8 PM at Gray Chicago. Connery, a New York-based vocalist, composer, producer, and former opera singer joins Matt Walsh (of The Forms) in their duo, Sky Creature.
The first half of the two-part show features Connery’s forthcoming solo EP, Childworld, a lush, electronic reimagination of childhood as enchantment and objective insanity, with Connery on vocals/synths and Walsh on guitar.
“By the standards of any functioning adult, being a kid is being crazy,” reflects Connery. “Music captures this so well: It’s terrifying, then it’s technicolor.”
The second half of the program features Connery’s New York City-based band, Sky Creature, a euphoric collision of post-punk, trance, and deconstructed opera, with Matt Walsh as primary songwriter. The resulting sound is a magical alchemy of opposites: weightless vocals set against a raging sea of manic guitars and driving beats. As Sky Creature, Walsh and Connery perform work from their forthcoming Bear Mountain EP and album, Inventions, for vocals, electric guitar, synths, and MPC.
Majel Connery is a multi-hyphenate musician, vocalist and composer making electro-art-dream-pop with repressed Classical influences. She holds a Ph.D. from the University of Chicago and a composition degree from Princeton University. Connery’s accomplishments include co-founding and directing Chicago-based opera company Opera Cabal (2007-2018), and holding positions as a Mellon Postdoctoral Fellow at UC Berkeley (2013-15), Mellon Visiting Artist at Wellesley (2017), and Mohr Visiting Artist at Stanford University (2016-17). She has released two albums on National Sawdust Tracks with Oracle Hysterical, two solo electronic EPs, and a digital record with Radiolab/WNYC.
To reserve tickets for this event, visit the Eventbrite page below.
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One of the most influential American artists of the last half-century and a leading figure of contemporary figurative painting, Alex Katz presents a new series of eleven large-scale portraits in a focused solo exhibition titled The White Coat. Alex Katz: The White Coat opens with a public reception on Friday, October 22, from 5-7 PM CDT, at Gray Warehouse (2044 West Carroll Avenue), and will remain on view through December 17, 2021.
Created between 2020 and 2021, Katz’s White Coat paintings are based on the likeness of Vivien Bittencourt, a photographer and filmmaker, and the artist’s daughter-in-law. Across these eleven portraits, Katz paints Vivien in a variety of dynamic compositions unified by a brilliant light blue ground color. With a discerning eye for color, form, and economy of line, Katz upholds the immediacy of portraiture while balancing the specific and abstract, intimate and remote, geometric and gestural.
Katz’s ongoing endeavor to capture fleeting moments in time manifests in this series as a sequence of snapshot-like images. In Vivien in White Coat 1-11, Katz choreographs each composition as if painted in rapid succession. Yet, despite their seriality, Vivien retains an air of mystery in each canvas, turning towards and away from the viewer in a state of perpetual motion. Writer and curator Jan Verwoert, in the text he authored for the accompanying publication, observes: “Vivien looks you in the eye and stands firmly. But still she will not stand for long. The folds and ripples in the white coat she wears give clues to the fact that she may prefer to stay in motion. As do the freely interlacing patterns of black lines on the blouse she put on under the coat. Vivien looks around, turns, and is on her way.”
To accompany the exhibition, Gray is pleased to release the forthcoming publication, Alex Katz: The White Coat. This in-depth volume features the essay, “Paint Somebody Like You Would Call Them By Name,” authored for the exhibition by renowned curator and writer Jan Verwoert. The catalogue additionally includes 33 color illustrations with detailed spreads, as well as the artist’s biography. Published by Gray, Alex Katz: The White Coat follows the related publications, Alex Katz: Grass and Trees and Alex Katz: Flowers.
Biography
Alex Katz (American, b.1927) is one of the most recognized and widely-exhibited artists of his generation. Often associated with the Pop Art movement, Katz began exhibiting his work in 1954, and since that time he has produced a celebrated body of work that includes paintings, drawings, sculpture, and prints. His earliest work took inspiration from various aspects of mid-century American culture and society, including television, film, and advertising, and over the past five and a half decades he has established himself as a preeminent painter of modern life, whose distinctive portraits and lyrical landscapes bear a flattened surface and consistent economy of line. Utilizing characteristically wide brushstrokes, large swathes of color, and refined compositions, Katz created what art historian Robert Storr called “a new and distinctive type of realism in American art which combines aspects of both abstraction and representation.”
Since the 1950s, Alex Katz’s work has been the subject of more than 200 solo exhibitions and nearly 500 group exhibitions around the world. His work can be found in nearly 100 public collections worldwide, including the Art Institute of Chicago; the Hirshhorn Museum and Sculpture Garden at the Smithsonian Institution, Washington, DC; the Metropolitan Museum of Art, New York; Centre Georges Pompidou, Paris; Museo Nacional Centro de Arte Reina Sofía, Madrid; the Museum of Fine Arts, Boston; the Museum of Modern Art, New York; the National Gallery of Art, Washington, DC; the National Museum of American Art, Smithsonian Institute, Washington, DC; the Philadelphia Museum of Art; The Tate Gallery, London; and the Whitney Museum of American Art, New York, among many others.
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American artist David Klamen debuts a recent series of twelve ceramic sculptures in the solo exhibition Life Trophies. Constructed over the last several years, Klamen’s Life Trophies are an accumulation of visual fragments, mementos, and experiences that bring material reality to personal or forgotten history. David Klamen: Life Trophies opens at GRAY Chicago (2044 West Carroll Avenue) on Thursday, May 5, with a public reception for the artist from 5–7 PM, and closes June 24, 2022.
Celebrated for his semiotically complex, hyperrealistic paintings, David Klamen first began his Life Trophies in 2016 as a series of experimental compositional sketches. Klamen’s sketches envisioned mound-like forms comprising an array of intertwined objects, culminating with one clearly discernible item at the top. “I initially conceived of them as a heap of elements that reference our buried history of experiences and memories,” explains Klamen. “At the top is an item that commemorates this present moment.” Identifying ceramic as the medium that would best express this concept, Klamen acquired a large collection of unused plaster molds from which to cast his amalgams. The molds encompass many varied forms, from whimsical animals and sentimental figurines to utilitarian household objects.
Embracing chance and improvisation—a departure from his careful and controlled painting process—Klamen selects the final molds for each sculpture without knowing their interior forms in advance. Using the slip-casting method, Klamen fills each mold with clay slip. After the clay dries and the molds are opened one by one, only then is Klamen able to see the cast object for the first time. “I go out of my way during much of the process to make sure that I don’t focus on what the forms are,” explains Klamen. “We don’t look inside of the molds until we open them up and discover whatever was recorded by the clay. They are a surprise to me from beginning to end.” While gravity assists in shaping the final construction, Klamen’s physical process entails stacking, compressing, throwing, or pounding the objects directly onto the mound’s vessel base.
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GRAY Chicago (2044 W. Carroll Ave.) | Sep 9 – Oct 27, 2022
GRAY New York (1018 Madison Ave.) | Nov 17 - Dec 23, 2022
Citing Black Geographies presents the work of fifteen artists whose practices examine “black space”—a term describing the topographies, zones, scenes, and structures that portend black cultural experience.
Curated by Romi Crawford, a cultural theorist and professor of visual and critical studies at the School of the Art Institute of Chicago, Citing Black Geographies parses dichotomous and elusive notions of black space. The group exhibition includes works by Amiri Baraka (LeRoi Jones), Dawoud Bey, McArthur Binion, the Black Arts Movement School Modality, Nick Cave, Coco Fusco, Theaster Gates, Rashid Johnson, Tony Lewis, the Staples Jr. Singers, Tavares Strachan, Jan Tichy, Jina Valentine, Carrie Mae Weems, and Amanda Williams.
Citing Black Geographies will be on view at GRAY Chicago (2044 W. Carroll Ave.) from September 9 through October 27, 2022, and GRAY New York (1018 Madison Ave.) from November 17 through December 23, 2022.
Beckoning recognition and awareness of “signal black landscapes”—a term Crawford uses to describe spaces that evoke black cultural experience—the exhibition is conceived as an open-ended index of historical, speculative, and emergent instantiations of black space.
“Space, some will say, is not intrinsically racially specific,” says Crawford. “And yet there are some locations and territories that read obviously and overtly as ‘black space’—zones that have some connectivity to black peoples’ lives, history, and culture. In this sense, black space is cultivated or fostered regularly and variously.”
With works ranging from painting, print, installation, and drawing to photography, sound, video, film, and performance, the exhibition examines periodic iterations of black space. Dawoud Bey’s photographic series Night Coming Tenderly, Black, for example, speaks to historical notions of black space, capturing seemingly innocuous sites obscured under the veil of night. Devoid of discernible architectural elements, the depicted spaces invoke the narrative of the Underground Railroad and the existence of freedom spaces that emerged following laborious journeys to the North.
Examining black space as a contemporary ideal, Rashid Johnson adopts an aspirational perspective in Black & Blue, a video in which he interprets the exclusive Long Island vacation destination of the Hamptons as black space and envisions the purported “good life” that has been rigorously gate-kept from black and brown communities. Using his family as the protagonists of the film, Johnson tessellates domestic scenes of affluence commonly associated with whiteness onto non-white figures.
Amanda Williams’s contribution to the exhibition, Tulip Project, questions and reinterprets redlining, one of the systematic physical constructs that has historically demarcated black space. Williams will plant red tulips along parcels of land on Chicago’s South Side to explore how social and political traditions create and transmit forms of belonging. Utilizing the ubiquitous flower, Williams redesignates spatial value in an act of remembrance of redlining policies that delineate black urban areas.
Additionally, Citing Black Geographies affirms black roots in the American South with a contemporary live recording by the Staples Jr. Singers, “When Do We Get Paid (In Full),” coproduced by Crawford and the record label, Luaka Bop.
Crawford positions Citing Black Geographies as an intentionally open-ended project. Reaffirming notions of black space while also challenging them, the exhibition externalizes black space as a concept as fictitious as it is aspirational, suggesting that it is not as clearly defined and fixed as it seems; that it is as liberatory as it is confining; and that it is sometimes not a physical space at all, but rather a pervasive and looming atmosphere.
PUBLICATION | To accompany the exhibition, GRAY is pleased to release an in-depth publication featuring an essay by curator Romi Crawford and detailed illustrations of the artworks in the exhibition.
ABOUT ROMI CRAWFORD | Romi Crawford, PhD, is a professor in the visual and critical studies and liberal arts departments at the School of the Art Institute in Chicago. Her research explores areas of race and ethnicity as they relate to American visual culture including art, film, and photography, as well as the logics of black artistic and aesthetic inheritance in the form of archives and intergenerational collaboration. Crawford is the editor of Fleeting Monuments for the Wall of Respect (Green Lantern Press, 2021); coeditor of The Wall of Respect: Public Art and Black Liberation in 1960s Chicago (Northwestern University Press, 2017); and the author of many essays including “Surface and Soul in the Work of Nick Cave,” in Nick Cave: Forothermore (DelMonico Books/Museum of Contemporary Art Chicago, 2022), and “Reading Between the Photographs: Serious Sociality in the Kamoinge Photographic Workshop,” in Working Together: Louis Draper and the Kamoinge Workshop (Duke University Press, 2020). She initiated and conceived the Black Arts Movement School Modality in 2021 and was previously curator and director of the education department at the Studio Museum in Harlem.
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NOTE: THIS EVENT TAKES PLACE at 53RD AND PRAIRIE AVE
Sat, Oct 15, 9 AM-4 PM CDT
53rd and Prairie Ave, Chicago
Join artist Amanda Williams for Redefining Redlining, a communal tulip-planting project activating a series of vacant lots on Chicago’s South Side. Produced in collaboration with The Emerald South Economic Development Collaborative, community residents, and volunteers, the event will take place on Saturday, October 15th, from 9 AM - 4 PM at 53rd and Prairie Ave, Chicago.
Redefining Redlining is an expression of Amanda Williams's interest in using color as a central lens to map and mark how race informs our built environment. With this project, Williams invites participants to plant 150,000 red tulips across four vacant lots on Chicago's South Side that were previously designated as “red” or “hazardous” by the 1940s Home Owners Loan Corporation. For the artist, the red tulip acts as a symbol for the latent human and spatial potential these geographies possess. When Williams's tulips bloom in spring of 2023, they will serve as a tangible visualization of the economic impact redlining has had on the undervaluing of Black neighborhoods across the United States.
As with many of Williams’s other projects, Redefining Redlining is a participatory work that is as much about the collaborative process as it is about its final completed form. The communal planting event brings participants together in a moment of joy and collective action. While connecting residents and neighbors, the project invites a discussion about redlining and its ongoing effects. Volunteers will also have the opportunity to take bulbs home to plant in their own spaces.
The tulip planting event for Redefining Redlining operates in tandem with Williams's recent work, Semper Augustus Chicagous, now on view at GRAY Chicago in the group exhibition, Citing Black Geographies. A component of Williams’s expansive and ongoing tulip-planting project, Semper Augustus Chicagous consists of dozens of gold leafed, cast cement tulip bulbs which physically delineate GRAY's entryway.
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The exhibition at GRAY Chicago (2044 West Carroll Avenue) will open with a public reception on Friday, November 4, 2022, from 5-7 PM CDT, and be on view November 4 – December 23, 2022.
20 Flowers and Some Bigger Pictures presents works created by Hockney in 2021, expanding on a series of iPad paintings in 2020 while quarantining at his studio and residence in Normandy, France. Inspired by his daily observations, Hockney devoted himself to the iPad, a medium of unique immediacy that allowed him to be prolific in his depictions of his home, the changing seasons, and surrounding countryside.
Of his iPad paintings, each gallery will present a series of editioned and signed inkjet prints including five landscapes, twenty floral still lifes, and a composite of three iPad paintings depicting a bouquet of gladioli. These works reveal the presence of Hockney’s hand as well as his deliberate technique for drafting larger-than-life compositions on the iPad. While Hockney’s flowers capture the fleeting stillness of his subjects, his immersive landscapes establish the vastness of his rural surroundings. Whether bound to a single moment in time or created from multiple planes of vision, Hockney’s distinctive sense of time and space draws from art historical examples ranging from the Bayeux Tapestry and seventeenth-century Chinese scrolls to the still lifes of Henri Matisse.
At the center of the exhibition, Hockney debuts his latest large-scale photographic drawing, 25th June 2022, Looking at the Flowers (Framed). “Most people thought the photograph was the ultimate depiction of reality, didn’t they?\" says Hockney. \"People thought, This is it, this is the end of it. Which it’s not. And I’m very certain it’s not, but not many people think the way I do.\"
Pictured: David Hockney, \"20th March 2021, Flowers, Glass Vase on a Table,\" iPad painting printed on paper. Edition of 50, 89 x 63.5 cm (35 x 25 Inches) © David Hockney
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GRAY at 60 draws together sixty historical and contemporary artists whose impactful works have been represented and exhibited since the gallery’s founding in 1963 by Richard Gray (1928–2018). The exhibition presents a group of artists who have used the surface, volume, and immediacy of paper to express their practices. The project pays homage to the gallery’s founder, who, with his wife, art historian Mary L. Gray built an expansive collection of masterworks spanning eight centuries of art history while honing in on a single medium—works on paper.
Reflecting on this history, GRAY at 60 makes space for Modernist, Abstract Expressionist, Pop, Contemporary, and other expansive practices to be shown together. As gallery Principal Valerie Carberry notes, “The artists featured in GRAY at 60 represent who we are now. Our long history of presenting major artists of the 20th century is also an ever-renewing history of art in our own time. For instance, when we showed de Kooning, he was a contemporary artist. The anniversary exhibition expresses our enthusiasm for supporting artists’ careers over time and for always building for the future.”
Featuring Magdalena Abakanowicz, McArthur Binion, Louise Bourgeois, Bethany Collins, Joseph Cornell, Willem de Kooning, Jim Dine, Jean Dubuffet, Torkwase Dyson, Helen Frankenthaler, Theaster Gates, Alberto Giacometti, Ewan Gibbs, Arshile Gorky, Philip Guston, Grace Hartigan, Mary Heilmann, Al Held, Eva Hesse, David Hockney, Rashid Johnson, Alex Katz, Ellsworth Kelly, David Klamen, Franz Kline, Lee Krasner, Yayoi Kusama, Claes Oldenburg, Ellen Lanyon, Fernand Léger, Tony Lewis, Roy Lichtenstein, Jim Lutes, Henri Matisse, Agnes Martin, Joan Miró, Henry Moore, Carrie Moyer, Elizabeth Murray, Alice Neel, Louise Nevelson, Barnett Newman, Pablo Picasso, Jaume Plensa, Jackson Pollock, Susan Rothenberg, Ed Ruscha, Richard Serra, Leon Polk Smith, Evelyn Statsinger, Saul Steinberg, John Stezaker, John Storrs, Bob Thompson, Cy Twombly, jina valentine... and others
Dates:
GRAY Chicago: January 26 - March 11, 2023
GRAY New York: March 31 - May 26, 2023
Image: Rashid Johnson, Untitled Anxious Red Drawing, 2022
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Wed - Thurs 10 AM - 5 PM
Fri 10 AM - 4 PM
Sat by appointment only
GRAY is pleased to present Forgotten Dreams, an exhibition of new sculpture by Spanish artist Jaume Plensa (b. 1955, Barcelona).
The exhibition is centered around the Universal Declaration of Human Rights (UDHR) text. Drafted by representatives from all regions of the world and adopted by the United Nations General Assembly in 1948, the UDHR is a milestone document in the history of human rights, proclaiming a common standard of fundamental political liberties to be universally protected for all people and all nations. Plensa describes the UDHR as “one of the most beautiful and emotional poems ever written. Its extraordinary poetic power interrogates us; each article like a hand knocking on the door to our hearts.”
At this moment, the principles outlined in the UDHR can feel like memories of a bygone era - forgotten dreams. The world is witnessing a tragic rise in autocratic and intolerant attitudes and regimes leading to a litany of human rights crises: provoking fratricidal wars and hunger, canceling women’s rights, fighting against religious and ethnic diversity, blocking immigrants flow, or denying climate change and deforestation.
Plensa wants us to consider the individual articles in the UDHR while confronting the poetry and beauty of the text itself. The central, monumental work in the exhibition is comprised of 21 cast aluminum doors inscribed with the UDHR text, with a second installation of 21 cast aluminum heads representing our collective humanity. Plensa’s sculptures illuminate human rights principles and invite us to open the doors toward tolerance and respect.
Forgotten Dreams opens at GRAY Chicago on April 7th, 2023
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GRAY is pleased to participate in Art After Hours this Friday, April 14, from 6-9 PM CDT, inviting visitors to experience Jaume Plensa: Forgotten Dreams during extended hours.
Celebrated for public sculpture that engages the human form, architecture, poetry, and language, Jaume Plensa debuts two large-scale installations and more in his tenth exhibition at GRAY. Forgotten Dreams is currently on view at GRAY Chicago (2044 West Carroll Avenue) through June 3, 2023.
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Alex Katz: Autumn is the artist’s tenth solo exhibition at GRAY and the first exhibition of large-scale landscapes since 2018. The exhibition follows his lauded career retrospective, Gathering, which opened at the Guggenheim Museum in New York in the fall of 2022. As Guggenheim curator Katherine Brinson described: “[One] might be surprised by the unbound rapture of the landscape paintings that have consumed much of the artist’s still-considerable energy in recent years. But [these works] are in fact the culmination of a lifelong artistic project that aspires to compress everything into ‘a single burst of energy… to paint it wide open.’”
Alex Katz has painted figures and landscapes in equal measure throughout his career. Expressed at great scale and in vivid color, the paintings exhibited in Autumn present enveloping compositions measuring as wide as fourteen feet. “I started to think about the environmental landscapes [as] being really an environment that wraps around you,” as Katz notes, “There is no narrative. You’re dealing with perception.”
Across eleven monumental canvases, Katz depicts the vibrant foliage, sweeping fields, and windblown trees of the changing season. Created between 2022 and 2023, Katz’s Autumn series relies on a bright fall palette, while other paintings in the exhibition, from the related series Field’s End and Tree Top, present quieter responses to the landscape in muted greens, yellows, and grays. The paintings are exhibited alongside a series of sixteen new portraits on paper. Each drawing possesses an economy of line and is titled after its sitter – Vivien, Niki, Levi, Isaac, Vincent, and others– in reference to the friends, family members, poets, dancers, and artists most central to the artist’s life.
Alex Katz: Autumn opens at GRAY Chicago (2044 West Carroll Avenue) with a public reception on Friday, September 8, from 5-7 PM CT, and will be on view through November 11, 2023. The exhibition will be accompanied by a fully illustrated catalogue featuring a new poem by Vincent Katz.
Image: Alex Katz, Autumn 10, 2023. Artwork © Alex Katz Studio / Artist Rights Society (ARS), New York.
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Chicago Exhibition Weekend (CXW) celebrates visual arts organizations across the city from September 29 through October 1. Presented by Gertie and EXPO Chicago, the weekend will bring together over 50 galleries, institutions, and artist-run spaces presenting unique programs in order to engage with everyone from seasoned collectors to those new to Chicago’s visual arts scene. CXW will also welcome the city’s next generation of talented business, civic, and philanthropic leaders to engage with gallerists, artists, and curators through community dinners, programming, and a closing celebration that aims to cultivate the relationships needed for the city’s arts scene to continue to thrive.
Installation view of Alex Katz: Autumn, 2023.
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Me and You commemorates a forty-year dialogue between the two artists, whose mutual admiration originated in the Black avant-garde of 1980s New York City. Absorbing visual, musical, and poetic influences throughout their careers, both artists pair visual clarity and formal rigor with deeply psychological and emotional content.
McArthur Binion’s new series of paintings, titled Handmadeness, delve fully into the lexicon of what Binion terms the under conscious: visual markers of his identity collaged in a repeating, interwoven grid. These images in the paintings’ ground layer span a range of sources, from the deeply personal and autobiographical to the public and political. From the former category, Binion uses facsimiles of his birth certificate and his address book, as well as photographs of himself, his hand, and of his father and mother.
Discernible segments from a musical score Binion commissioned by the Pulitzer-prize winning composer and saxophonist Henry Threadgill point to the critical role that music and improvisation have played in Binion’s work. Of the latter category is a detail from a photograph published in a 1930s newspaper of a lynching in Marion, Indiana, the dissemination of which confronted the nation with the reality of racial violence. Customary to his practice, Binion obscures the under conscious with washes of ink in novel color combinations and a lattice-like layer in paint stick, the artist’s chosen materials since the 1970s.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419599/diy5pzh5szspnuojj1qi.jpg\")
Me and You is the gallery’s second exhibition with McArthur Binion and the first show in Chicago to include the work of celebrated New York photographer Jules Allen. Allen studied photography under Jack Welpott, whose formalist leanings were rooted in the tradition of Ansel Adams and Edward Weston, and received a MS in clinical psychology to better understand the human subject. In 1978, Allen moved to New York, where he met Binion among a rich milieu of Black avant-garde musicians and artists. Allen pursued both studio and commercial work for clients including Def Jam Recordings, became a professor at Queensborough Community College, and participated in the Kamoinge Workshop, all as he honed his vision in photographing Black urban life.
Me and You surveys Allen’s gelatin silver prints from the 1980s to present, spanning bodies of work including Hats and Hat Nots, In Your Own Sweet Way, and Rhythmology. The photographs reference a lineage that includes Romare Bearden, Henri Cartier Bresson, Robert Frank, Beuford Smith, and Roy DeCarava, with whom Allen also studied. Allen’s keen sense of formal elements such as light, line, and tonality, are used in combination with personal insight and empathy to create a communal portrait across scenes like a street baptism in Harlem, a woman waiting for the subway, teenagers working out on the street, and a line of police behind a single, elderly protestor.
The exhibition is accompanied by a fully illustrated catalogue, with a dialogue between McArthur Binion and Jules Allen and an introduction by Dr. Thulani Davis.
__________
On the occasion of the exhibition McArthur Binion and Jules Allen: Me and You at GRAY, the artists converse about their shared history and friendship. In this lively dialogue, Binion and Allen discuss their visual and musical influences, meeting in what Binion calls \"the second-generation Black avant-garde\" of 1980s New York City, and the singular practice each artist developed through a life-long dedication to his respective medium.
Image: McArthur Binion, Handmadeness:one, 2023
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RSVP | Jazz Brunch in conjunction with the exhibition
McArthur Binion and Jules Allen: Me and You
Isaiah Collier and The Chosen Few | Expansions and Abstractions
Live Set: 12 – 1pm
“The abstract form evidenced a possibility.” - Jules Allen
GRAY is pleased to host Isaiah Collier and The Chosen Few in conjunction with the exhibition McArthur Binion and Jules Allen: Me and You. A love of improvisational jazz brought the two artists together, having been originally introduced to one another by the pioneering cornetist, composer, and conductor Lawrence Douglas “Butch” Morris, amid the rich milieu of what Binion terms the “Second-generation Black avant-garde” of 70s and 80s New York City. Listening to musicians such as Jerome Cooper, Sonny Rollins, Henry Threadgill, Cecil Taylor and Julius Hemphill, Binion and Allen were likewise innovating and improvising within their mediums of painting and photography, combining formal rigor with personal and emotional content in their work.
ABOUT ISAIAH COLLIER
Born and raised on Chicago’s South Side, Isaiah Collier has been surrounded by music his entire life. Developing early skills with the piano, saxophone, and his own voice, and with his family's encouragement, Isaiah began performing with his siblings in small clubs and lounges throughout Chicago. Collier credits the guidance of Julian Champion on the saxophone and other mentors for helping him develop his technique and knowledge of music history, a critical aspect of his sound and passion for music. Collier's sound and approach are drawn from the influences of master saxophonists including John Coltrane, Wayne Shorter, Gene Ammons, as well as his mentors Roscoe Mitchell and Ari Brown.
At the age of only 25, Collier has shared the stage both locally and internationally with musicians including Chance The Rapper, Lewis Nash, Waddada Leo Smith III, Antonio Hart, Junius Paul, James Carter, Rene Marie, Carl Allen, Paul Rogers, Bennie Maupin, Rudy Van Gelder, Angel Bat Dawid. He has played at venues and festivals from notable places such as The Jazz Showcase, Dizzy's Club Coca Cola, Lithuania Jazz Festival, The White House, Chicago Jazz Festival, New York Winter Jazz Festival, The Hyde Park Jazz Festivals, Sons D'hiver Festival (Paris), The Logan Center, Frankfurt Jazz Festival, Berlin Jazz Festival, The Harris Theatre, U.S Embassy in Paraguay, and many others. He is a former fellow of the prestigious Dave Brubeck Institute Stockton, CA.
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Evelyn Statsinger (1927-2016) worked across a range of media creating complex compositions that balance abstraction, representation, and fantasy. She was born in Brooklyn and relocated to Chicago in the 1940s to attend the School of the Art Institute. Her early drawings, characterized by their depiction of whimsical figures and intense, all-over patterns, drew the interest of luminary artists and museum curators including Mies Van Der Rohe, and Art Institute of Chicago curators Katharine Kuh and Carl Schniewind, and led to solo exhibitions at the Art Institute in 1952 and 1957. In her mature work, she relinquished readily identifiable forms such as the figure in favor of layered patterns abstracted from nature. On view in Chicago are photograms, drawings, and paintings that express her singular vision.
Gallery summer hours are Tuesday - Thursday, 10 AM - 5 PM, Friday 10 AM - 4 PM, and by appointment.
Evelyn Statsinger's work is currently on view in Four Chicago Artists: Theodore Halkin, Evelyn Statsinger, Barbara Rossi, and Christina Ramberg at the Art Institute of Chicago through August 26, 2024.
Image: Evelyn Statsinger, Shell Masks, 1975.
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Displayed in GRAY’s new West Gallery, works by Evelyn Statsinger from the 1940s to the 1980s present complex compositions that balance abstraction, representation, and fantasy. Statsinger (1927-2016) was born in Brooklyn and relocated to Chicago in the 1940s to attend the School of the Art Institute. Her early drawings, characterized by their depiction of whimsical figures and intense, all-over patterns, drew the interest of luminary artists and museum curators including Mies Van Der Rohe, and Art Institute of Chicago curators Katharine Kuh and Carl Schniewind, and led to solo exhibitions at the Art Institute in 1952 and 1957. In her mature work, she relinquished readily identifiable forms such as the figure in favor of layered patterns abstracted from nature. On view in Chicago are photograms, drawings, and paintings that express her singular vision.
In the main gallery, a curated installation of works include selections by Jules Allen, McArthur Binion, Jim Dine, Torkwase Dyson, Theaster Gates, Alex Katz, David Klamen, Jim Lutes, Jaume Plensa, Leon Polk Smith, and Bob Thompson.
For Chicago Exhibition Weekend, GRAY (2044 W Carroll Ave, Chicago) will be open Thursday, October 3, and Friday, October 4, from 10AM - 5 PM, and Saturday, October 6, from 11 AM - 5 PM.
Pictured: 1. Evelyn Statsinger, Shell Masks, 1975; 2-3. © The Statsinger Cohen Foundation.
GRAY is pleased to participate in Chicago Exhibition Weekend 2024, presented by Gertie, a cultural agency in Chicago, and EXPO CHICAGO, Chicago's international exposition of contemporary & modern art.
GRAY’s new West Gallery features Evelyn Statsinger’s work from the 1940s to the 1980s. Evelyn Statsinger (1927-2016) worked across a range of media creating complex compositions that balance abstraction, representation, and fantasy. On view are photograms, drawings, and paintings that express her singular vision.
In the main space, GRAY is pleased to present a curated selection of works by Jules Allen, McArthur Binion, Jim Dine, Torkwase Dyson, Theaster Gates, Alex Katz, David Klamen, Jim Lutes, Jaume Plensa, Leon Polk Smith, and Bob Thompson.
GRAY Chicago is open from Monday - Friday, 10 AM - 5 PM and Saturday, 11 AM - 5 PM.
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DOCUMENT and GRAY are excited to co-host Art & Tennis, an afternoon of mixed singles and doubles tennis on Sunday, October 6, from 1–4pm. Please bring your own racket, appropriate shoes and athletic gear. Tennis balls and cold water will be supplied.
RSVP here.
GRAY is pleased to announce Torkwase Dyson: Of Line and Memory. For the artist’s first solo exhibition with the gallery, Dyson debuts a pair of monumental sculptures, new paintings, and constructions in glass and wood. Of Line and Memory opens at GRAY Chicago with a public reception for the artist on November 8, 2024 and remains on view through January 25, 2025.
Torkwase Dyson works across the disciplines of painting, drawing, installation, and sculpture, distilling the spatial and affective residues of diasporic histories to envision new modes of environmental liberation. Dyson approaches her work spatially and architecturally, crafting the gallery environment to holistically shape the viewers’ experience. Through an improvisational process of mindful abstraction, which she calls “Black Compositional Thought,” Dyson seeks to create work that is fluid, abstract, poetic, and open to possibility.
GRAY is pleased to announce Apparitions, presenting the work of over twenty pioneering artists from across the last century whose interrogations of the human form and its fleeting presence have pushed boundaries of representation. Whether by dematerializing the body, imagining spirits, or making mirages, artists conjure a hallucinatory realm—a liminal space between what appears and what vanishes.
Exhibited artists include Magdalena Abakanowicz, Huma Bhabha, McArthur Binion, Roger Brown, Jean Dubuffet, Alberto Giacometti, Ewan Gibbs, Ann Hamilton, Reggie Burrows Hodges, Rashid Johnson, Alex Katz, David Klamen, Jim Lutes, Ana Mendieta, Sandra Mujinga, Trevor Paglen, Naudline Pierre, Jaume Plensa, Susan Rothenberg, Mira Schor, Evelyn Statsinger, John Storrs, Kara Walker, and Wilmer Wilson IV.
Apparitions will be on view at GRAY Chicago (2044 W. Carroll Ave.) from April 25 through June 27, 2025. The exhibition will open with a reception 6–8PM on Friday, April 25.
Image: Kara Walker, Ten Opaque Micro-regressions, 2023. Courtesy of the artist and Sikkema Malloy Jenkins, New York
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Celebrate the opening of Apparitions, featuring the work of more than twenty pioneering artists from across the last century who have interrogated a phantom presence. The exhibition includes works by Magdalena Abakanowicz, Huma Bhabha, McArthur Binion, Roger Brown, Jean Dubuffet, Alberto Giacometti, Ewan Gibbs, Reggie Burrows Hodges, Rashid Johnson, Alex Katz, David Klamen, Ana Mendieta, Trevor Paglen, Naudline Pierre, Jaume Plensa, Susan Rothenberg, Mira Schor, Evelyn Statsinger, John Storrs, Kara Walker, and Wilmer Wilson IV.
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Opening at GRAY’s Chicago gallery on July 11, 2025, White Lotus is a testament not only to Katz’s nonstop creative output, but also his status as one of the most groundbreaking American artists of the 20th and 21st centuries.
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The program will be held on Saturday, September 20th at 2PM at GRAY Chicago.
Installation view of Alex Katz: White Lotus at GRAY Chicago
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Oh, you’ve got to come back to the city, the place where you were born
Oh, you’ve got to come back to the city, the city of dreams
—Marvin Tate, “City Promenade”
OH, YOU’VE GOT TO COME BACK TO THE CITY is a solo exhibition by Theaster Gates. This is Gates’s fourth solo exhibition with GRAY.
In OH, YOU’VE GOT TO COME BACK TO THE CITY, Gates brings together a new series of tar paintings, sculpture, and installation to tell an allegory of the city in decay and the potential contained within its ruins. The exhibition’s title comes from a song by Chicago musician and poet Marvin Tate, in which the City, personified as a character, has cleaned up its act and attempts to lure its residents back from the suburbs.
Gates’s artistic practice has engaged and reframed the cultural and material history of Chicago as material for the studio. His new installation explores the possibilities that lie within the city’s unattended corners. From his stone repository, Gates has selected a family of marble, granite, scholars’ rocks, and concrete forms that anchor a grid-like installation evoking both the planning logic of cities and the quiet order of memorials. Ceramic works and everyday artifacts rest atop each stone, suggesting the remnants left behind by former inhabitants. Surrounding the sculptural installation is a new series of tar paintings that extend Gates’s patching and bonding strategies. Both sculptural and painterly, these works represent a new direction in the series.
In this body of work, Gates wrestles with the burden brought on by aging infrastructure to create new narratives that build on the rich metaphors embedded in his materials—as tools of resistance, signs of excess, and evidence of decline. Developed in conjunction with his exhibition Unto Thee, on view at the Smart Museum of Art through February 22, 2026, OH, YOU’VE GOT TO COME BACK TO THE CITY offers a profound reflection on Gate’s life as a craftsman, urban planner, and pedagogue.
ABOUT THEASTER GATES
Theaster Gates (b. 1973) currently lives and works in Chicago. Gates creates works that engage with space theory and land development, sculpture and performance. Drawing on his interest and training in urban planning and preservation, Gates redeems spaces that have been left behind. Known for his recirculation of art world capital, Gates’s practice focuses on the possibility of the “life within things.” His work contends with the notion of Black space as a formal exercise—one defined by collective desire, artistic agency, and the tactics of a pragmatist.
Gates has received numerous awards, including the Guggenheim Fellowship (2025), Crystal Award (2020), Nasher Prize (2018), Kurt Schwitters Prize (2017), American Academy of Arts & Sciences Award (2016), and the Smithsonian American Ingenuity Award for Social Progress (2015). His work can be found in public collections worldwide, including the Menil Collection, Houston, Texas; Brooklyn Museum of Art, New York; National Gallery of Canada, Ontario; Museum of Contemporary Art Chicago, Illinois; Tate Gallery, London, England; and the San Francisco Museum of Modern Art, California. Gates is a professor at the University of Chicago in the Department of Visual Arts and the Harris School of Public Policy.
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Featuring eleven paintings from the 1980s and 1990s, the exhibition reflects Brown’s clarity of vision as an artist both unafraid to face sociopolitical headwinds and unable to ignore ecological destruction.
The exhibition opens with a public reception from 5-7 PM on March 19 and remains on view through June 13.
Roger Brown: Weathervane will travel to GRAY New York for a presentation at the gallery’s Madison Avenue space opening on July 8.
Installation view of Roger Brown: Weathervane, GRAY Chicago, 2026. Artwork © The School of the Art Institute of Chicago and the Brown Family.
John Stezaker, the British artist known for his groundbreaking conceptual collage cycles, debuts a new body of work at GRAY Chicago this spring. Titled Raft, the exhibition features a series of uncanny landscapes that mend together two images from the artist’s archives to create a single composition. Sourced from nineteenth-century British books—ostensibly about world travel, but flaunting the geographic extent of the empire—Raftis a continuation of the radically incisive collage techniques Stezaker has been pursuing for nearly six decades.
The exhibition opens at GRAY Chicago on Saturday, March 28 with an artist walkthrough at 2:30 PM and a public reception from 3-5 PM.
","type":null,"state":"published","slug":"john-stezaker-raft","created_at":"2026-03-16 19:47:39.39","updated_at":"2026-03-16 19:47:39.39","excerpt":"","is_timeless":true,"organization_id":897,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-5':113B '2':104B '28':98B '3':112B '30':105B 'archiv':46B 'artist':8B,44B,101B 'bodi':19B 'book':58B 'british':7B,57B 'centuri':56B 'chicago':24B,94B 'collag':14B,79B 'composit':51B 'conceptu':13B 'continu':74B 'creat':48B 'cycl':15B 'debut':16B 'decad':88B 'empir':70B 'exhibit':30B,90B 'extent':67B 'featur':31B 'flaunt':64B 'geograph':66B 'gray':23B,93B 'groundbreak':12B 'imag':41B 'incis':78B 'john':1A,4B 'known':9B 'landscap':36B 'learn':115B 'march':97B 'mend':38B 'near':86B 'new':18B 'nineteenth':55B 'nineteenth-centuri':54B 'open':91B 'ostens':59B 'pm':106B,114B 'public':109B 'pursu':84B 'radic':77B 'raft':3A,28B,71B 'recept':110B 'saturday':96B 'seri':33B 'singl':50B 'six':87B 'sourc':52B 'spring':26B 'stezak':2A,5B,81B 'techniqu':80B 'titl':27B 'togeth':39B 'travel':62B 'two':40B 'uncanni':35B 'walkthrough':102B 'work':21B 'world':61B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1773690451/ykil4tiju9cna6d2x1md.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":31134,"title":"Cross-Gallery Walkthrough with GRAY and moniquemeloche","starts_at":"2026-05-16 14:00:00","ends_at":"2026-05-16 16:00:00","body":"Join GRAY and moniquemeloche galleries for a cross-gallery program connecting the exhibitions Roger Brown: Weathervane at GRAY and Cheryl Pope: ALL THERE IS at moniquemeloche.
The afternoon will begin at GRAY with a walkthrough of Roger Brown: Weathervane. Led by artist Cheryl Pope and GRAY Senior Director Anastasia Tinari, the tour will explore how Roger Brown’s distinctive visual language continues to resonate with contemporary artists.
Afterwards, the group will meet at moniquemeloche for a sit-down conversation between Ionit Behar, Marilyn and Larry Fields Curator at Museum of Contemporary Art Chicago, and Cheryl Pope around her new body of landscape works in ALL THERE IS.
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GRAY Chicago, West Gallery
Jul 10 - Aug 22, 2026
Once, when we were just sitting outside the house, we put all the lights off in the house to see the moonlight more clearly. The moon could then be seen to cast shadows of the trees on the grass, so with my backlit iPad I could draw it. This would have been virtually impossible without it.
— David Hockney
In the spring of 2020, David Hockney was inspired by the sight of an unusually large moon—a supermoon, occurring when the moon is closest to Earth. Recalling the moment, the artist reflected on the challenge of capturing the experience through photography, emphasizing drawing’s unique ability to convey the intensity of perception: “I was looking at the moon for quite a while, and when you do that, you see this halo around it that you don't see in photographs at all because it's too far. That's an example of the way lenses push things away. In a lens view, it would be disappointingly small... My niece said that she tried to photograph a big moon, and I said, 'Well, no, you have to draw it, like the sunrise. It can't be photographed because it is the source of light.'” 1
GRAY announces David Hockney: The Moon Room opening in the gallery’s Chicago location on July 10, 2026. The exhibition centers on a recently released series focused on the artist’s observations of the moon. Created in 2020 at his Normandy studio in France, Hockney used his iPad to make daily paintings of the surrounding landscape, working en plein air to capture the changing seasons as illuminated by moonlight. Hockney turned to the iPad for its immediacy and responsiveness, a medium that bridges the disciplines of painting and drawing while accommodating the spontaneity of working outdoors, especially in the dark. The exhibition will remain on view through August 22, 2026. This is Hockney’s sixteenth exhibition with GRAY.
Throughout his career, Hockney has consistently engaged with new technologies, particularly those designed for widespread use and accessibility. From his early experiments with Polaroid cameras, photocopiers, and fax machines to his pioneering use of digital tools such as the Macintosh computer and Photoshop, his practice has continually evolved alongside technological innovation. Since 2009, the iPhone and iPad have become central to his work, enabling an expansive body of digital drawings and paintings. Introduced in 2010, the iPad, in particular, afforded the artist greater scale and precision, while its playback function reveals the temporal unfolding of each composition, offering insight into the process of its making.
The Moon Room was first presented by Florence Calame-Levert in David Hockney: Normandism, presented from March 3 through September 22, 2024, at the Musée des Beaux-Arts de Rouen in Normandy, France.
ABOUT DAVID HOCKNEY
David Hockney (1937–2026, Bradford, West Yorkshire, UK) is considered one of the most influential and defining figures in contemporary art. His seven-decade career and prolific oeuvre is characterized by formal invention, an intellectual inquiry into the nature of depiction and perspective, and a sustained commitment to celebrating and portraying the world around him.
Image: DAVID HOCKNEY (1937–2026)
31st October 2020, No. 4, 2020
iPad painting printed on paper, mounted on Dibond
27 1⁄8 × 39 1⁄8 inches
68.9 × 99.4 cm
Edition of 15
All Images: © David Hockney. Courtesy GRAY Chicago/New York
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GRAY is pleased to announce IT’S ABOUT TIME: Counterproductive Conceptualisms in Chicago, an exhibition that traces the contours of a newly emerging conceptual art ethos among younger generations of Chicago-based or -trained artists.
Organized by DRAW, the curatorial duo composed of Dieter Roelstraete and Abigail Winograd, the exhibition brings together a group of artists who prefer taking their time, and who often use “time” itself as one of their subjects. Shaped to a discernible degree by the local legacies of artists like Iñigo Manglano-Ovalle and Pope.L, this distinctly contrarian strand of conceptualism in Chicago seeks to restore the social magic of both art and the artist’s life.
The artists include Alex Chitty, Shir Ende, Max Guy, Jinn Bronwen Lee, Dave Lloyd, Iñigo Manglano-Ovalle, Devin T. Mays, Pope.L, Nick Raffel, and Miao Wang.
While maintaining disparate practices, these artists share a spirit of studied nonchalance: what might be described as a “Midwestern” alternative to the demands of artistic production as a rat race.
IT'S ABOUT TIME will open on July 10 with a public reception from 3-8 PM, with artist activations. Remarks at 5pm.
Image: Iñigo Manglano Ovalle, Untitled sawhorse free of metaphor (after Bas Jan Ader), 2025.
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