The Jackson Junge Gallery is a remarkable contribution to the flourishing arts community of Wicker Park / Bucktown in Chicago. Co-owned by the talented Chicago artist Laura Lee Junge and her husband / partner Chris Jackson, this gallery serves as an exclusive local venue for Junge’s captivating paintings and other exquisite works of art.
Before the gallery’s opening in the fall of 2009, Junge’s artwork was only available for limited viewing at her studio, seasonal art fairs, and through distributors outside of Chicago. Since then, the gallery has introduced Chicagoans to a dynamic hometown talent who has gained significant international recognition from art lovers and critics alike. While the spotlight shines on Junge, the gallery also showcases a diverse selection of works by other contemporary artists from Chicago and beyond.
Throughout the year, guest artist exhibits are hosted, adding to the variety of art on display. Located on a bustling section of Milwaukee Ave. just north of Division St. and south of North Ave., the Jackson Junge Gallery draws a diverse clientele. From the avid art collector to the casual admirer, visitors delight in the comfortable ambiance and welcoming atmosphere found within its walls.
In an effort to make art accessible to a wider audience, the gallery offers exceptional quality giclee reproductions and prints for purchase, alongside original pieces. The use of sophisticated technology ensures the production of superior quality prints. Furthermore, all Junge giclees are created in-house at the Jackson Junge Gallery and are subject to the artist’s personal inspection.
The Jackson Junge Gallery also provides a comprehensive range of custom framing services on-site. With the guidance of skilled craftsman and gallery co-owner Chris Jackson, customers can find the perfect mount, protection, and frame for their art, photography, and other treasured possessions. At the Jackson Junge Gallery, our mission is to create a dynamic cultural hub that celebrates the diversity of artistic expression.
We believe that art is an essential part of the human experience, and we are committed to bringing the joy and inspiration of the arts to everyone who visits our gallery. Our goal is to provide an all-encompassing experience for our visitors, by combining all the services typically associated with an art gallery in an innovative and immersive way. From showcasing a wide range of contemporary art in various mediums to providing custom framing services, we strive to create a welcoming and engaging environment where visitors can connect with art on a personal level.
We are passionate about promoting emerging and established artists, and we take pride in featuring work that pushes the boundaries of traditional art forms. We believe that the arts are an essential part of any community, and we are committed to building lasting relationships with our collectors and artists to promote the growth and development of the arts community in Wicker Park / Bucktown and beyond.
At the Jackson Junge Gallery, accessibility is a core value. We believe that everyone should have the opportunity to experience the transformative power of art, regardless of their budget. That’s why we offer a wide range of price points and exceptional Giclee reproductions and prints in addition to original pieces. We see ourselves as a partner in the arts community, working collaboratively with artists to showcase their work and connect them with art enthusiasts and collectors who appreciate their unique vision. When visitors step into the Jackson Junge Gallery, we hope they feel inspired, engaged, and transported by the magic of the arts.
Image: Gallery view
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This expressive collection sheds light on interiors across Chicago and in doing so constructs a portrait of our shared lives. By omitting human subjects, the viewer is made to consider the influence of humanity on the mutual spaces we occupy. The essence of the architecture we exist within is imbued with the stories of each passing face, their light a refraction which reverberates through the ages, all the way back to the stars from which we all came. Haberer’s calling to begin a career as a painter was born of her desire to find connection and belonging within a contemporary world that felt disoriented in the wake of the pandemic. While quarantine caused a shift in all our interpersonal relationships, Haberer was uniquely impacted as a professional psychotherapist. Having to alter her practice to limit face-to-face interaction, she felt that those relationships which were so crucial to her personal and professional worlds were farther away than ever before. This feeling of distance caused her to consider ways that she could bring herself closer to the world around her. In doing so, only six years ago, she began to paint. Since that time, Haberer has taken to a range of subject matter, from landscapes to portraiture, but finds that interiors have a unique ability to tell stories. After gaining the confidence to take her practice out into urban environments beyond her own home, she felt called to paint places and objects which hold a depth of communal history. “I find home with people, that first was represented for me in my own living room,” she says of her previous work depicting interiors.
“I think as I started to look around more, I realized that home exists wherever we are.” LINGERING STARDUST is a continuation of Haberer’s unending goal to express our connected lives, zooming outward beyond the individual’s environment to include transient areas. Cafes, cultural centers, antique stores, and open houses are communal spaces which feel the activity of so many unique lives every day. The significance of these spaces as a connective force cannot be overlooked in an urban environment whose infrastructure is increasingly tailored to individualism. In divorcing these spaces from any of the people that would typically inhabit them, a mutual past emerges which ties together all their occupants across time. There is a feeling of quiet wisdom that resonates throughout architecture that has been a historical meeting place for generations.
In Haberer’s depiction of the Chicago Cultural Center, ELYSIAN LIGHT, this sentiment is expressed with great intricacy. The specificity of such ornate decorative architecture as the Preston Bradley Hall Tiffany Dome is not lost on her brush. She lovingly captures the mosaics which have adorned the walls since the Cultural Center’s opening to the public in 1897, originally as the first Chicago Public Library, with great detail. These subtleties cause her audience to consider the lives of those who spent their time building that architecture, and how many have experienced that handiwork during its 129-year lifespan. In the same stroke, the gentleness and warmth she introduces to the space allows the viewer to see a site softened by time, basking in the wonder of all who have travelled through. The reverence that Haberer’s audience feels while viewing these works is inherent in the subject matter she chooses to paint. She finds that soft light in combination with antique objects reveals an emotional quality that draws her toward painting these spaces.
“It [light] encircles everything inside the room. And all those things inside the room are symbols of lives lived. All the nooks and crannies are as complicated as the humans they represent.” This sentiment is evident in the piece WALLS TELL STORIES, a depiction of her childhood friend’s home as it is being shown for sale. While the light dancing on its centerpiece, a piano, feels representative of that family’s connection from father to young son through music, it also feels as if it is waiting for the arrival of a new tenant to build a different kind of sanctuary in the space, as many families had before them. This exercise in observing the intimate details that make a place feel like home is contrasted by its sister piece, TO LEAVE A PLACE, which also uses an apartment on the market as reference. With its heavily staged furniture and distant composition, the audience is made to feel as though the signifiers of home are packed up in boxes, while the surrounding walls remain steeped in the warm afterglow of loving memories. In Haberer’s eyes, the spaces and the objects in them are separable from each other, but inseparable from the influence that humans have on them. Since becoming a new mother, she empathizes with how generations of familial interaction are internalized by everyday domestic objects, even as they are separated from homes. The way that light refracts off rust, cracks, and weathered enamel is illustrated with just as much glory as intentional decoration.
“I couldn’t help but think of all the children bathed in those bathtubs and all of the mothers bathing those children in those bathtubs...” she says of painting NOSTLAGIA, whose subject is defunct bathroom fixtures found at Salvage One, an architectural salvage shop in West Town. “That experience of bathing your child is no different than it was 500 years ago, than it was 50,000 years ago.” Laura Haberer offers a similar treatment to the atmosphere of each piece in the LINGERING STARDUST collection. Through visually softening each space she depicts, dappling light across each interior, she diffuses those edges that form physical boundaries and highlights the intricacies of each space simultaneously. In doing so, she can show us a microcosm of the ever-evolving character of our world. “My understanding of human nature is that it is incredibly complex. Not black and white. The only universality to it is that everyone is complicated. What I’m trying to evoke is that nothing is concrete.” The softness expressed across Haberer’s body of work is a facet of that same philosophy, that despite the unique qualities of every individual, the separation between each of us is lesser than we often perceive. “Those lines are blurred if we let them be.”
LINGERING STARDUST will be on view at Jackson Junge Gallery from September 21st –November 1st 2026.
The gallery will be holding the exhibition’s opening reception on Friday, September 25th, from 6 pm - 9 pm, free and open to the public.
It is curated by Owner Chris Jackson, Gallery Director Kaitlyn Miller and Gallery Assistant Allison Freeman.
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Exhibition","starts_at":"2023-11-03 12:00:00","ends_at":"2024-01-07 12:00:00","body":"Jackson Junge Gallery is thrilled to announce the highly anticipated return of its renowned TEN by TEN exhibition for the second consecutive year. This open-submission extravaganza proudly features over 300 talented artists from the heart of Chicago, with an impressive display of more than 400 captivating works of art. Commencing on November 3, 2023, and running until January 7, 2024, this exceptional showcase is open to the public, with no admission fee required.
The TEN by TEN exhibition is a celebration of artistic ingenuity, challenging creators to express their unique vision within a confined 10″ x 10″ frame. Embracing this creative constraint, artists were encouraged to delve into their individual interests and styles, resulting in a breathtaking array of artwork reflecting diverse perspectives and mediums. The exhibition features an eclectic mix of paintings, stained glass, ceramics, photography, woodwork, and 3D-mixed media, captivating the senses and stirring the soul.
Among the standout exhibits is Kate Tully’s “Hotdog and Chips,” a vibrant mixed media sculpture encapsulating the essence of Chicago’s iconic culinary experience. Sydney Swisher’s evocative mixed media painting, “A Host To Your Feelings,” gracefully evokes wistful winter nights, while Tai Taeoalii’s poignant piece, “When We Lose Our Wings,” offers a profound reflection on the emotional journey of losing inspiration. Nikole Cooney’s intricately crafted sculpture, “A Whisper in the Wind,” masterfully captures the delicate balance of life in the forest, while Cynthia J. Lee’s mesmerizing creation, “Stories the Land Tells,” transports viewers into the captivating world of Montana’s geological history.
Furthermore, James Mesple’s profound painting, “Oak,” serves as a powerful reminder of the importance of environmental stewardship and the potential for positive change that small actions can bring. Czr Prz’s vibrant piece, “Dreamsicle,” offers a captivating exploration of the transitional state between consciousness and unconsciousness, guiding viewers on a mesmerizing journey through bold shapes and colors.
Notably, the exhibition also offers a sneak peek into the upcoming 2024 solo shows of esteemed artists including Laura Lee Junge, Anastasia Mak, Tai Taeoalii, Ellie Vergura, and Bumpy Wilson. These talented artists have contributed new and captivating pieces to the TEN by TEN exhibition, setting the stage for their anticipated solo showcases next year.
Curated by the visionary team led by Gallery Director Kaitlyn Miller, along with the expertise of Gallery Owner Chris Jackson and the invaluable contributions of Gallery Assistants Kristen Arcus, Marisa Taravella, and Madeline Kirmse, TEN by TEN promises an immersive and unforgettable experience for art enthusiasts of all kinds. The gallery invites the public to join the esteemed artists for the opening reception on Friday, November 3, from 6 pm to 10 pm.
Image: Adam Furlich
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The past four years, Mak has been gradually transitioning her style and subject matter, painting more landscapes, and adding natural elements to her cityscapes. This approach can be seen in \"Neon Chicago\", featuring Chicago’s iconic skyline contrasted by a vibrant leaf motif that fills the sky. The muted tones of the skyscrapers compliment the bold colors Mak uses in the sky and lake; tiny windows lit with neon lights draw your eye into the buildings themselves. While Mak has enjoyed painting cityscapes, the artworks in VIBRANT ECHOES primarily consist of her new focus, capturing the energy of the natural world. When speaking about this, Mak stated, “We are constantly surrounded by vibration and energy in a city or in nature. What ties the cityscapes and landscapes together is the vibrancy and dreamlike essence of the paintings.” She describes her style as expressionist, and painting landscapes allows for more improvisation and a different energetic flow throughout her creative process.
One of Mak’s passions is her love of travel. Hiking and camping all over the world is what has sustained her inspiration to paint. When it comes to painting a landscape, Mak insists that is better to have visited the place, in order to transmit the energy of the area into the canvas. While out on the trail, she often commits the visuals of a location to memory rather than taking the time to sketch on-site. This method seems to complement her expressionist style of painting, allowing for more emotion and memory to find its way into her artwork. Two pieces in the exhibition that capture this are \"Autumn Fields\" and \"Red Dancers\". Both pieces feel like the memory of a beautiful moment, with their vibrant colors and dramatic compositions giving you the feeling that you are on the trail with Mak, discovering a hidden place for the first time.
Chicago isn’t just known for its iconic skyline but the marsh and prairie around and within it. When it comes to natural areas in Chicago, Mak finds the beauty of Lake Michigan is hard to ignore; but also mentions Maggie Daley Garden, Lurie Gardens and Northerly Island as great places in our city to experience nature and recharge. Mak mentioned in an interview, “each painting in this exhibition tells its own story and each is intended to inspire wanderlust and memory. A handful of pieces are not identifiable places, but hopefully echo each other, even if they are different places.”
Moving forward this year Mak wants to spend more time in front of her easel after a busy 2023 in Chicago. She is looking forward to a few international trips which are sure to result in some stunning new works. Stay tuned!
VIBRANT ECHOES will run from January 16th to February 25th, 2024, and is curated by Gallery Owner Chris Jackson and Gallery Director Kaitlyn Miller. Join us for an opening reception at Jackson Junge Gallery Friday January 19th, 2024 6-9PM, free and open to the public.
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Image: Bryn Gleason, 2023, Acrylic & Water on Birchwood, 30\" x 24\" x 1 ¾\"
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Music has always been the conduit for Taeoalii’s artwork and is constantly playing in the background whenever he creates. Tai wanted to celebrate INTRINSIC with a series of immersive performances which will take place on Saturday, April 20th. Throughout the afternoon, Taeoalii will be live recording two episodes of his renown podcast, The DOD45 Show. The evening will feature DJ special guest Mr. Dibbs, an artist Taeoalii has admired since he was young. There will also be performances by The Chicago Poetry Ensemble and legendary Slam Papi, Marc Smith. Taeoalii’s Aunt Jeanne Howard, one of the founders of Chicago Slam Poetry, first exposed Tai to the Chicago art scene. April 20th will culminate in many full circle experiences for Taeoalii that he hopes to share.
INTRISIC is the result of years of introspection. While Taeoalii’s artwork usually feels chaotic, the uncertainty of the past four years led Taeoalii to search for comfort through drawing nostalgic, personal items. He found comfort in the simplification of his style as well, turning the conceptual twist that normally appears in his artwork into a literal twist. Symbolic everyday objects bend and swirl into distorted yet elegant representations of influence and values, inviting attendees to become immersed in Taeoalii’s life-influencing paths and passions.
This seemingly subconscious outpouring of his bi-racial Samoan/Dutch heritage reveals how growing up in a conservative white Salt Lake City neighborhood can lead to a destructive lifestyle. However, Taeoalii was luckily detoured by his discovery of creative arts. With SK8BOARD, Taeoalii illustrates an object which he credits to setting him in motion. Skateboarding was the first time he connected with people outside his neighborhood and finally found community. The artwork by Mike McGill on his first board inspired Taeoalii as he was beginning to develop his own art style.
The POWER DRILL, particularly poignant, not only speaks of his Samoan father, a skilled craftsman who died of Leukemia mid-construction of a family home on the island but speaks to Taeoalii’s dedication to build on his father’s legacy of painstaking work and attention to detail.
Auxiliary cords will run between the drawings in the installation and will plug into the centerpiece, aptly titled INTRINSIC, which is an amalgamation of the brain and heart. There is a symbiotic relationship between the two for Taeoalii; he personally cannot tell which leads him more. The connecting cords emphasize the relationship between all the distinct parts of the artist but will literally be cut when a work is collected as a symbol of Taeoalii giving a piece of himself.
INTRINSIC is a retrospective of Tai Taeoalii’s journey. Being on the road for 18 years, participating in 400+ Art Fairs, and meeting thousands of people, has shown Tai how connected we all are. He believes it is important to your mental health to check in with yourself often and look back on the things you’ve experienced. Taeoalii hopes INTRINSIC will encourage others to experience their own introspection. Jackson Junge Gallery and Tai Taeoalii invite viewers to engage with the installation during an immersive experience the afternoon and evening of Saturday, April 20th, which is free and open to the public.
INTRINSIC is an installation created by Tai Taeoalii – 26 pieces connected by auxiliary cords through which Taeoalii profoundly and honestly shares his experiences. The exhibition runs April 8th, 2024 – May 19th, 2024, and is curated by Chris Jackson, Kaitlyn Miller and Kristen Arcus.
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The Jackson Junge Gallery is excited to announce I AM AN AMATEUR ADULT, a solo exhibition featuring paintings by guest artist Bumpy Wilson. This exhibit features an array of new paintings that depict the value Bumpy finds in remaining childish yet loving the challenges of becoming a real adult. American society often fixates on being perfect and flawless, but this show celebrates the charm and authenticity found in being average. Embracing our averageness, inviting us to laugh at our flaws and applauding ourselves as we discover our purpose, this exhibition embraces the joy of being yourself, valuing the simple pleasures and giving your best effort in every aspect of life.
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Jackson Junge Gallery is pleased to present SEE OUTSIDE, INSIDE, a group exhibition featuring the work of Keri Albero, Laura Haberer, Laura Lee Junge, Deana Bada Maloney, CV Peterson, and Rebecca Zemans. This exhibition explores the relationship between the natural world and how humans interact with it. Through the pieces of these six artists, the viewer can connect with how we affect nature and how nature affects us.
The connection of nature in indoor spaces is beautifully shown in the work of Laura Haberer. Haberer’s collection of pieces for this exhibition showcases what can happen when indoor spaces remain untouched, and we allow nature to just be. Haberer creates landscapes with her painterly, impressionist style that creates an intimate scene for the viewer. Haberer explains, “Each piece in this collection touches on the truth that human life is, in fact, not at all separate from nature. We are nature. And so, it may feel as if nature is reclaiming but I wonder if that is true or if just another aspect of nature takes its turn.” The viewer can see this reclaiming of nature in pieces such as “Generations” and “Frondescent”, where indoor spaces grow trees and other greenery to begin transforming into a natural state. However, Haberer also shows how humans willingly interact with nature in her piece “Just A Taste,\" showing a dining room scene with vivid green plants throughout. Haberer states, “Despite our urban lives, we yearn to reconnect to organic nature. The farther we move from organic nature the more of it we seem to bring indoors.”
Also incorporating indoor and outdoor elements in their work is renowned artist and gallery owner Laura Lee Junge. In Junge’s latest pieces for this exhibition, she creates her familiar floral landscapes with a twist. Junge utilizes her surrealist vibrant style and pairs it with a more intimate indoor space. Through movement and line, Junge creates a seemingly indoor environment that intertwines with shapes and themes of the outside world. Junge describes, “It is as if the line between outside and inside does not exist and the wonderful imaginary world where both are combined is the playground for the floral imagery.”
The connection of human interference between nature and animals can be shown in the sculptural work of Deana Bada Maloney. Maloney connects human-made found objects with animals to explore the environment we are creating by our waste issue. Pieces in this collection include “I’m Taking This Personally”, which depicts a hyper-realistic, sitting wolverine reading a discarded comic book and “Getting Outta Here Might Take Some Thyme,” which shows a junco bird trapped upside down in a spice jar. Maloney states, “It’s humorous until the realization we are the ones that created this circumstance.”
Keri Albero also shows the connection of human-made objects and nature with her captivating decoupage chair piece titled, “Botanical Symphony in Decoupage: Chair Art”. Albero describes this piece as “exploring the intricate beauty of botanical fruits and gardens—inspired by lush, tropical fruit, flowers, and the vibrant aesthetics of Cuban and English garden vintage botanical illustrations.” This vintage chair is carefully crafted through a blend of vivid colors and detailed textures, creating an immersive and imaginative piece that also acts as a functional object.
In a more literal sense, Rebecca Zemans combines natural and non-natural elements in her work. In her piece titled, “Determination,” Zemans incorporates an air plant within an acrylic abstract painting. Zemans states, “This piece is a part of a larger series that explores plant life and acrylic (plastic) paint that depicts industrial structures made of natural resources. Deeply rooted in making connections between industry, technology and nature, my work investigates the relationships between the industrial complex, evolution, and the environment.” Seeing these natural objects outside of their typical context challenges the viewer to think how human actions have an impact on ourselves and the natural world.
Also using nature in a literal sense in their work is artist CV Peterson. CV combines science and art in their practice, with fungus being their medium of choice. In making these fungal sculptures, CV uses Ecovative Design’s fungal product, Mycofoam, a bio-alternative for Styrofoam. The unique nature of CV’s work comes from the lack of control they have while creating. In using a natural medium like fungus, the growing organism gains agency over what the piece will ultimately look like. In their series “No Quick Fix”, CV found inspiration from the research of waxworms. Waxworms have evolved to consume the plastics we use to make water bottles and plastic bags. Ideally, these worms would be the perfect solution to resolve our plastic waste problem. CV explains, “In the excitement of wanting to breed this worm to be a solution to our plastic problem it was nearly forgotten that waxworms’ favorite food is honeybee wax. Growing this worm’s population would be a detriment for the already dwindling honeybee community. A true catch-22.” CV creates topographical inspired designs in this series of fungal wall sculptures, with imagery of worm-like figures, honeycomb, and insect wings.
SEE OUTSIDE, INSIDE will begin at Jackson Junge Gallery on Tuesday, July 9th, with an opening reception on Friday, July 12th from 6:00 -10:00 p.m. This exhibition features the work of six local artists working in various mediums and is curated by Gallery Director Kaitlyn Miller and Gallery Assistant Marisa Taravella.
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Vergura","starts_at":"2024-08-23 12:00:00","ends_at":"2024-09-21 12:00:00","body":"Jackson Junge Gallery is proud to present ARDOR, a solo exhibition featuring sixteen paintings by Chicago artist Ellie Vergura. ARDOR is a celebration of Vergura’s emerging art career and her development of a distinct painting style that is already gaining popularity with collectors all around the world. Vergura is one of Jackson Junge Gallery’s newest in-house artists, represented by the gallery year-round.
This body of work began with one word - “ardor” - meaning to have a strong love and passion for something. Vergura uses the word to describe her feelings for Chicago upon moving here post-college. It also describes the feeling she gets when she visits a location that sparks admiration and artistic inspiration. Every piece in the exhibition represents a place that gave Vergura what she calls “that ardor moment”.
Vergura’s paintings focus on scenery and landmarks, as well as the people who visit them. Over the past few years, she has developed a style that at times leans realistic and representational, other times looser and more impressionistic. Preferring to use a light, neutral color palette that mirrors the colors and tones of the architecture she paints, she creates dreamy and timeless interpretations of each location. Dark figures float through these spaces in stark contrast to the soft scenery.
The painting that provided both the direction for this series and the name for the exhibition is “Ardor”, a painting that symbolizes Vergura’s love for her city, Chicago. While it does not feature any identifiable landmarks, anyone who has walked south on Michigan Avenue towards the Art Institute can tell that it has a distinctly Chicago feel to it. It shows a street lined with trees and buildings that fade into the distance. The main character of the scene has a grace and fashionable elegance to them- a nod to the work of one of Vergura’s greatest influences, her great grandmother. An accomplished fashion illustrator during the 1920’s and lifelong artist, Vergura’s great grandmother has provided a great deal of inspiration to Vergura in multiple areas of her life.
All the paintings in ARDOR feature a place Vergura has visited in person. As much as she would like to draw or paint on location, photography plays a significant role in helping her develop a piece. Vergura is fascinated by the variation in how different artists interpret the same landmark. “Buckingham Fountain” represents Chicago’s famous fountain which has been the subject of many artworks since it’s construction in 1927. In her words, “we all are seeing the same scene, but how are we depicting it?” In Vergura’s case, crafting a story about who would visit and what led them there helps create her own unique depiction.
In the case of her more abstract and dreamlike paintings, the focus is more on the figures in the foreground and how they are experiencing the scene. An example is “London, England” featuring St. Paul’s Cathedral, where the viewer will be able to appreciate her more impressionistic approach to her cityscapes. Vergura recently went on a trip to London and found the variation in architecture throughout the city reminded her of her home here in Chicago. Architecture plays a big role in Vergura’s work, providing her with a symmetrical focal point to anchor her compositions and a setting for her fashionable characters to explore. The balance between colors and tone that she finds in the architecture of certain cities contributes heavily to her painting style.
Vergura’s paintings are not just about scenery, but our relationship to it and how it makes us feel. Some pieces are more straightforward in showing us an experience; others leave it up to our imagination and past experiences to fill in the gaps. But each one conveys those feelings of ardor for a place or a moment in time, whether it be a location in our own city or one we travel to visit.
ARDOR, a solo exhibition featuring sixteen paintings by Ellie Vergura will be on display at Jackson Junge Gallery August 19th - September 22nd, 2024. Please join us for an opening reception on Friday, August 23rd, 6pm-9pm. The reception is free and open to the public.
ARDOR is curated by Gallery Director Kaitlyn Miller and Gallery Assistant Maddie Kirmse.
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Inspired by the art salons of 19th century Europe, the exhibition will be packed floor to ceiling with artwork, although with a spooky twist! Anything eerie, uncanny, surreal, mysterious, frightening, and straight up scary is welcome. The gallery hopes to provide people with a place to gather and escape from the actual terrors of current United States politics and have some spooky fun!
","type":"Event","state":"published","slug":"spooky-surreal-salon-group-exhibition","created_at":"2024-01-05 20:19:05.656731","updated_at":"2024-08-29 03:10:56.323577","excerpt":"","is_timeless":true,"organization_id":1233,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'19th':23B 'actual':68B 'although':36B 'anyth':41B 'art':20B 'artwork':35B 'ceil':33B 'centuri':24B 'current':71B 'delight':10B 'eeri':42B 'escap':65B 'europ':25B 'exhibit':4A,27B 'floor':31B 'frighten':46B 'fun':79B 'galleri':8B,54B 'gather':63B 'group':3A 'hold':12B 'hope':55B 'inspir':17B 'jackson':6B 'jung':7B 'mysteri':45B 'pack':30B 'peopl':58B 'place':61B 'polit':74B 'provid':57B 'salon':2A,16B,21B 'scari':50B 'spooki':14B,39B,78B 'state':73B 'straight':48B 'surreal':1A,15B,44B 'terror':69B 'twist':40B 'uncanni':43B 'unit':72B 'welcom':52B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1731088685/g6v7beumkqop14pkia00.jpg","calendar":null,"carousel":null,"category_name":"Exhibitions"},{"id":14900,"title":"Surreal Salon: Group Exhibition","starts_at":"2024-10-11 12:00:00","ends_at":"2024-10-11 12:00:00","body":"Jackson Junge Gallery is proud to present our 15th anniversary show SURREAL SALON, a group exhibition featuring the work of over 50 international artists. Surrealism aims to challenge reality by depicting the bizarre and surprising universes of the unconscious and dreams. In Surreal artwork, anything can happen.
Jackson Junge Gallery is celebrating its 15th year in operation, along with the achievement of being recognized as a Legacy Business in the neighborhood of Wicker Park Bucktown. The gallery opened October 24th, 2009 to showcase the Surreal artwork of Laura Lee Junge. Junge’s painting “Marion the 26th, Princess of Ascendancy” is a stunning example of her painting style, it depicts an enthroned woman emanating strength and confidence surrounded by the riches of her life. Junge says “Art is not just something to be viewed, it is something to be experienced.” Her works are a testament to this philosophy, drawing viewers in with their captivating movement and transporting them to a world of pure imagination and emotion. As co-owner and “in-house artist” at Jackson Junge Gallery, Junge’s own Surrealism has always inspired the other work on display. The gallery is now widely recognized as the best Surrealist Art Gallery in Chicago. SURREAL SALONis a true celebration of Jackson Junge’s 15-year history of showcasing Surreal artwork.
Along with bringing in many guest artists, most of whom are local to the Chicagoland area, SURREAL SALON heavily features the work of Jackson Junge Gallery’s in-house artists including Laura Lee Junge, Allan Teger, Autumn Justine Miller, Bruce Holwerda, Jason Brueck, Jack Valentine, James Mesplé, Kate Harrold,Richard Laurent, Tai Taeoalii, and Sam Arnold. In-house artist James Mesplé is no stranger to painting Surreal scenes. Mesplé describes his newest piece created for the exhibition, “Ravenswood Nocturne”, which depicts that “on Halloween night, music will float through the air. As we move closer to the end of the year, surreal visions linger in our Moon-dreams.”
In-house artist Allan Teger’s photographs “Grinder” and “Nest” confront the viewer with unusual combinations of elements – eggs and kitchen utensils. Teger explains that “as the elements are out of context, the meaning of each element is not clear. This requires the viewer to see each item afresh - and rethink the meaning assigned to the item.” Viewers can see another surprising combination in guest artist Magdalene Eisenberg’s “Kyle, Ready to Dance”. The artist creates a bizarre figure, mashing an amphibian head onto a leather-jacket-wearing-torso with one leg. Eisenberg says “Kyle is a dancer, one leg is all Kyle needs to twirl on the dance floor. Kyle represents all those strange and willing souls that dare to do and be despite any obstacle that the world has dealt them. Dance Kyle, dance and let the world see you.”
Many artists in the exhibition describe using Surrealism to depict their own life experiences and memories. Surrealism originated in the 20th century as a reaction to the traumas of war and disillusionment with society. In a time when our own world is particularly turbulent, it makes sense that a current trend for many artists is to return to the genre to process their emotions. In “Tunikas and His Wife”, Alisa Duda paints a Surreal portrait of her maternal Grandparents based on the story of their life: “Tunikas was a flawed man, so Duda’s mom, his daughter, cut him out of most family photographs. His wife was a sweet, loving woman, a mother of two, who had to hide her sadness behind her smile.” EKAH’s two works “The Big Sigh” and “Waiting for Umma” are both a part of an ongoing series called “Jogakbo Memories,” a collection of artist’s childhood memories set against a surreal backdrop. Jogakbo is a traditional style of Korean patchwork, created from remnants of fabrics. “What remains of my childhood memories spent in Korea are patched together, one piece at a time.” Elizabeth Waren’s “Tuxedo Malignant”illustrates a feline monstrous creature. Waren shares that her piece “is about something very specific: the overwhelming emotion of finding out your pet has a life-threatening medical issue. The illustrative art style along with the bright color scheme give it a surreal quality, akin to a nightmare.” Nathan Doty’s mixed media painting, “Out of Time”, crafts a strikingly visceral and surreal landscape. Inspired by the chilling experience of a near death plane crash, the artwork's rich, layered composition evokes the frightening and almost otherworldly sensations felt during the incident. Each component of the piece, whether it be the striking fabric swatches or the bold, textured layers and drawing—contributes to a narrative of fear and survival, creating a profound and immersive visual experience.
Inspired by the art salons of 19th century Europe, SURREAL SALON will be hung floor to ceiling with Surreal artwork as a true celebration of the genre. Salons have historically been a place for people to gather and discuss art, literature, philosophy, music, and politics. SURREAL SALON hopes to provide a similar space and a distraction from our unstable world.
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TEN by TEN is an exhibition for emerging and established artists in and around Chicago with the aim to inspire new work. With the subject matter left entirely up to the artists and the only constraints being size and the ability to hang from the wall on a wire, TEN by TEN offers collectors a slice of what is going on in many different arts scenes in Chicago.
Jackson Junge Gallery is proud to present its third-annual TEN by TENexhibition. TEN by TEN is an open-submission exhibition showcasing the work of 275 artists, most being local to the Chicagoland area. TEN by TEN is a yearly celebration of Chicago’s diverse arts community, as well as an opportunity for both emerging artists and seasoned creators to exhibit alongside one another. With each piece in TEN by TEN being a compact 10” x 10”, the show provides a sampling of each artist’s work and an opportunity for art lovers to discover new artists.
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The title DANGEROUSLY WHIMSICAL is inspired by the elements of both light and dark found in Harrold’s work. “I want to create a balance between what's dark and scary and what's exciting and joyful. The viewer will notice that when there is a scary or dark element to an image, the subject of the piece is never afraid,” she says. This can be seen in her piece “Wild Child”, where a young girl is unbothered by the dark forest and wild animals that surround her. They join her as she lets out a fearsome howl and embraces the great unknown. This spirit of adventure and fearlessness can be seen often in Harrold’s work.
The characters are the most important and inspirational element in Harrold’s collages. They manifest their own futures and realities, transporting you into a world seen through their eyes. In “Sweet Dreams” we experience the perspective of a woman who creates her own silver lining as she directs her house through a clouded sky toward the rising sun. She is accompanied by her animal companions, an orange cat and a flock of pigeons. We can only imagine what led her to this moment, but there is a feeling of hope and freedom to the piece.
Harrold’s newest collage, “Floaties,” reveals one of her greatest artistic inspirations- the endless imagination of children. The piece features a group of children facing great heights without a hint of fear as they play on a waterslide suspended in the sky. “Floaties” shows that the sky is quite literally the limit in the mind of a child, a perspective Harrold hopes her work will remind viewers to carry into their adult lives. “In some images I want viewers to feel nostalgic for their childhood and the freedom their hearts had before the seriousness of time and age took hold,” she says.
Harrold’s body of work today is a result of her education and background in traditional studio art and photography. After spending some time in professional digital editing and photo retouching, she utilized the Photoshop skills she had learned and began exploring the medium of digital collage. Now, when taking photographs, she does so with the intention of using specific elements as building blocks into a new world. “I love working with photography because, by tradition, it is meant to document reality. I, instead, create my own,” she says. The reality Harrold creates is one filled with floating buildings, friendly beasts, and fantastical adventures – meant to reflect the uncertainty of the real world. A world that she believes we all have the power to challenge: “We are all strong enough to live beyond our circumstances and achieve more than we are expected to. At the same time, we are a part of our environment and this universe. We need to live with it and protect it. Hopefully my work has the power to inspire all these things in some way or another.”
DANGEROUSLY WHIMSICAL is a challenge to all of us to connect with our inner child and face the world with an open and curious mind. By depicting people in impossible situations, Harrold hopes to convey that we have the strength and ability to achieve more than we may realize. She challenges us to face the unknown as fiercely as a child confronts a sea serpent while sailing the high seas in his pajamas.
Join us Friday, January 17th 6pm - 9pm for an opening reception, which is sponsored by Shake Shack. Food and refreshments will be provided and is free to the public.
The exhibition will be on view January 14th through February 23rd, 2025.DANGEROUSLY WHIMSICAL is curated by Gallery Director Kaitlyn Miller and Gallery Assistant Maddie Kirmse.
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Jackson Junge Gallery is excited to host their first ever mini exhibition, PINCH ME, I’M DREAMING, featuring the work of Chicago-based artist and educator Laura Williams (she/they). Williams’ brightly decorated ceramic pieces are hand-built using pinch & slab forming. Their forms explore narrative, process and play. PINCH ME, I’M DREAMING is an exhibition which celebrates creating. The process of pinching and forming clay, the meditative state we enter while we make, and the lifestyle that accompanies living creatively. The process of losing oneself in making feels like living in a dream.
Williams teaches ceramics locally at Lillstreet Art Center and Made Chicago, along with being a founder of the “Chicago Ceramics Crawl” a celebration of Chicago’s ceramic makers. They typically teach functional ceramics and have spent a lot of time making pieces for their community. But Williams challenged themselves to devote the new year to losing themselves in the process of creating. They wanted to explore different genres and make art just for themself. Reflecting on this time of creation, Willaims has said it’s been inspiring to move between pottery, drawing, and sculpture - “I can hide behind my pots, they feel safe. Drawing, on the other hand, feels more vulnerable! Sharing your inner monologue can be both validating and terrifying. It was helpful to stop thinking and start drawing. Low stakes, each line felt like a moment. If at the end the drawing was worth sharing, great and if not, great! It was play, just exploring what was on my mind at the time.” PINCH ME, I’M DREAMING will feature many new ceramic sculptures inspired by Williams’ drawings. For Williams, “the drawings were a great springboard, when I wasn’t sure what to make next, I could flip through my sketchbook and see what images would translate well as a three-dimensional piece and off we went!” Jackson Junge Gallery and Laura Williams can’t wait to share this inspiring body of work with their community!
Join us Saturday, February 15th, 5-8pm for an opening reception which will coincide with Jackson Junge Gallery’s Valentines Pop-up from 12-8pm. Enjoy a Local Artisan Market featuring Laura Williams’ ceramics, Nancy Iida of heARTstudio’s heart jewelry, and Sajani Neeraja’s handmade gifts along with tarot card readings by Melissa DeCarlo. Refreshments will be provided in the evening. Both events are free and open to the public. The exhibition will be on view February 11th through March 9th, 2025. PINCH ME, I’M DREAMING is curated by Gallery Director Kaitlyn Miller and Assistant Gallery Director Kristen Arcus.
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The artwork in THAT’S WHAT SHE SAID explores many different facets of womanhood. Representing both the soft, vulnerable side of femininity alongside the strong, protective side is Amber Ramos’ “Exposed and Armored”, an analog collage in which a woman form is half exposed, half covered in armor. While woman possess the unmeasurable capacity to be whatever they choose, unfortunately they are frequently hindered by societal expectations of their gender. With the constricted chest of a woman in “Caged”, Renee Kuharchuk paints a visual representation “of what anxiety feels like while inhabiting a female presenting body. The invisible limits that males place on our existence, presence, our voice. Women have all felt this anxiety, we’ve all experienced being held back or held down, out of our control.”
The recent election escalated many women’s anxiety. “They Keep Getting Away With It” by Nalei Taeoalii provides a young person’s perspective on the election. Taeoalii’s painting shows tangled RCA cables trapping vulnerable woman. The complex painting is a metaphor for the artist’s feelings of helplessness – “Growing up in the time of the Internet, I witnessed a lot of my favorite Celebrities eventually get accused of grooming or assault and then maintain some sort of following. Now, I am 18 years old and this Harris Vs. Trump election was the first I ever voted in. Watching a man convicted of rape win the presidential race felt like a confirmation of everything I’d ever felt. That the support and safety of women would never be prioritized over the success of a man.” Anitra Frazier conveys her own feelings towards the election in “…He Loves Me Not…” where she paints the hands of an African American woman plucking the petals off a daisy cloaked in the design of the American Flag. After witnessing the results of the presidential election, Frazier “was disappointed and angry, but not surprised. I felt that perhaps America was ready for a female and Black president, but misogyny and racism won.” Frazier’s painting represents her “fanciful desire for a society that doesn't exist.”
The 2024 election is not the first time that women have felt mistreated in politics. Faith Blackwell’s visually compelling piece “2 Feet Hi & Rising” celebrates the natural beauty of black hair while shedding light on the ongoing struggle against hair discrimination under the 2019 Crown Act. The photograph features a striking juxtaposition of the subject's hair against a black floral background. This contrast symbolizes the complex relationship between cultural identity, personal expression, and societal norms. Through this piece, Faith Blackwell invites viewers to “reflect on the significance of natural hair in the Black community and the importance of embracing one's cultural identity. The photograph serves as a powerful statement of empowerment and a call to action for equality and acceptance.” Laina Joy Moffitt’s “Tired Woman” was created after Roe v Wade was overturned in 2022. The piece depicts a woman wrapped in a blanket of open scars. The bright and outwardly feminine color patterns are distractions away from her displeased and exhausted expression. In the wake of the Supreme Court’s decision, Joy painted “Tired Woman” to say \"Women are not baby vessels. Women are not second-class anything. Women are tired of being told how to be.\"
Laura Haberer’s painting “She Didn’t Know That Nature Could Be Placed Upon Her Chest” is an intimate glimpse into the momentous moment a new mother meets her baby. The expressive gestures of the brush strokes combined with the warmth in tone envelops viewers in the emotions of the scene. While Haberer’s piece is undoubtably a beautiful celebration of motherhood, the artist also shares her complex feelings towards the intrusion of politics into the deeply personal decision to have children – “My husband and I struggled with fertility, and I nearly died of a septic miscarriage the year before having my son. It isn't lost on me that had that occurred during the current presidential administration or if I lived in a different state, I may not have survived and never had the chance to become a mother. My son wouldn't be here. When I reflect on all the ways in which men in suits have attempted to control women's reproduction, from the idea of restricting IVF to forcing women to bear children they don't desire to withholding life-saving healthcare, it's clear it isn't about reproduction at all, but about control. These men sit in their leather-bound chairs miles from the hospital rooms where babies are born or the bathrooms where women are racked with fear over an unwanted pregnancy. They do not pause to contemplate the emotional state of any woman on the precipice of a reproductive choice, yet they feel entitled to the decision. Words fail to describe the moment I met my son and the change to my very being that I experienced. But it was my choice. As it should be every woman's choice.”
While woman’s rights are threatened, many women are finding their voice. At first glance, Brie Hines’ “I Miss the Old You” looks like a bright, colorful painting of note-passing at a fanciful dinner, but it serves as a deeper allegory for the relationship changes Hines experienced on her journey of self-worth and discovery of her voice as a feminist. Hines says “with this transformation came a pattern of abandonment—people who once surrounded me drifted away when I no longer sought their validation. On a broader scale, women who embrace their individuality and confidence are often misunderstood, even resented, by those who once depended on their self-doubt. And now, we are watching this play out on a systemic level. As women reclaim their autonomy—over their bodies, their identities, their futures—there is a force desperately trying to push us back into silence.” An artist who refuses to be silent is Bryn Gleason whose photograph “NO.” shows a woman taking a knife to an egg positioned above her abdomen, a strong visual meant to empower. Gleason understands that “in a world flooded with prompts to be gentile, quiet, caring, and accommodating, merely uttering the work “No” takes practice. Strengthening that vocal muscle is an immense feat, one of significance even if it is only the first of many strenuous steps in ensuring the lines you draw are respected. What then do you do when your “No” is violated? When the boundary you set has been crossed and you find yourself being bent once again to satisfy someone else’s demand? This is when “No” becomes an action. “No” becomes a journey. “No” becomes destruction, loss, survival, and immeasurable grief. “No” should never be smothered by fear, if it is, then it is the most important “No” you will ever survive.”
Ultimately, the artworks in THAT’S WHAT SHE SAYS convey a similar message - that woman hold unmeasurable capacity to be whatever they choose. A series of nine small mixed media paintings of sparrows, Elena Nentcheva’s “Bridesmaids” references the tendency in eastern cultures to describe women using bird related terms. Nentcheva believes that while “some may find this to be an implication of weakness, I feel the comparison parallels the beautiful, free, loyal, untamed nature of being a woman”. Amber Penney’s “The Birdcage” is an abstract painting poetically depicting a bird freed from a cage. Penney says the cage serves as “a metaphor for the historical treatment of women, who have often been expected to conform to roles as caretakers and objects of beauty, discouraged from questioning societal norms. The bird, depicted outside the cage, symbolizes freedom, emphasizing that it was never intended to be confined.” While recent events may have women feeling trapped, we hope the community found among the artists of THAT’S WHAT SHE SAYS empowers women to seek freedom.
Existing as a woman is a wildly complex experience. When asking artists to provide a few words on their works, our gallery has never received such profound and thoughtfully expressed descriptions. It was difficult not to highlight every piece here, but you can find each artist’s statements alongside their piece on our website after February 24th: https://j2gallery.com/exhibitions.
THAT’S WHAT SHE SAID promises to be a thought-provoking exploration of womanhood. Join us at Jackson Junge Gallery to share this journey. An Opening Reception for THAT’S WHAT SHE SAID will be held Friday, February 28th, 2025 from 6pm-10pm and is free to the public. The exhibition runs February 24th – April 6th, 2025. It is curated by Owner & featured artist Laura Lee Junge, Gallery Director Kaitlyn Miller, and Assistant Gallery Director Kristen Arcus.
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present “The Wait We Carry,” a solo exhibition by Chicago photographer, Clifton Henri. This series features eight photographs representing the experience of being Black in America. So often Black Americans are told to “wait” for change. However, waiting holds “weight” and that weight is heavy. The weight and heaviness that Black people have been carrying for 100’s of years continue to pass on, essentially passing the weight/wait on to the next generation. “The Wait We Carry” is a collection that has now become Henri’s most well-known and vulnerable body of work to date.
“The Wait We Carry” is a series that began in 2020, a year of social unrest, racial inequities, national news stories of police brutality, and personal changes in Henri’s life; all during a worldwide pandemic. This was a time in Henri’s life and career where he felt it was time to get more vulnerable with his work, and create a series as a form of expression, representation, and activism. “The murder of George Floyd, the Black Lives Matter protests, the isolation of the pandemic – it was all so heavy. But I kept coming back to this idea of waiting. How we, as Black people have been told to wait for justice, for equality, for things to change. And then I started thinking about the weight of that waiting – how we carry it, how it gets passed down. That’s when I knew I had to create “The Wait We Carry.”
“The Wait We Carry” combines multiple elements of Henri’s existing photography style as well as new additions collectors have not seen in previous works. Each photograph in this series layers texture, color, and narrative to create an entirely new concept for this series. Behind the subject of each photograph shows a textured background, most of which came from locations in Chicago, New Orleans, Ghana, and Cuba. The subject matter is the center of each photograph; all of which are children, a very intentional detail. “I feel like our children take on the burden of the inequities in our society. We do our best to protect them as they trek through life but also pass on to them a heaviness a child shouldn’t have to wear.” Henri also incorporates color and typography to not only draw the viewer in, but to additionally nod towards his background and interest in graphic design. All these elements create a new style of photography for Henri, which helps emphasize the shift in the conceptual themes for this collection.
When creating the title piece for this series, Henri wanted to translate the heaviness most Black parents feel of passing on trauma and struggle to their children. “The Wait We Carry” shows a young boy looking tired and defeated while carrying a large duffle bag. Military symbolism in this piece conveys the burden passed down through generations. “War is a battle fought by those who didn’t start it. Our children walk into a world that’s already stacked against them, and we try to protect them, but we also pass on the knowledge of survival, the weight of history. The helmet in the piece is armor, but it’s also a reminder that these battles shouldn’t be theirs to fight. The duffle bag is both a literal and figurative weight – what we carry, what we inherit.”
Another piece in this series that conveys struggle and fight is “Heavy Weight Champ,” which depicts a young boy in boxing headgear. “Boxing is survival. It’s strategy, endurance, knowing when to hit, and when to take a hit. Being Black in America is the same. ‘Heavy Weight Champ’ is about the exhaustion of constant fighting. The headgear, the stance – it’s preparation, but it’s also fatigue.” The boy’s headgear shows the branding “Everlast”, a detail that takes a whole new meaning. “The word ‘Everlast’ hit me hard. Because the fight isn’t new. It’s everlasting. But we don’t have the luxury of sitting it out. We have to keep swinging, even when the gloves feel too heavy.”
Horrific news stories of police brutality and violence against Black people in America is not a new occurrence, but in recent years has been getting more attention and awareness due to the Black Lives Matter movement and social media. Henri took inspiration from some of these news stories to create pieces that touch on the alarming rate of violence against Black Americans and the real names and stories behind the victims involved. In his piece titled, \"Now I Lay,\" Henri memorializes Breonna Taylor, a 26-year-old medical worker who was killed by police in her home. \"Breonna Taylor was asleep in her own home. That fact alone is terrifying. When I created 'Now I Lay' I wanted to bridge the innocence of a bedtime prayer with the horror of her reality. Writing directly on the helmet was my way of making her memory inescapable. Breonna's murder is part of a cycle of sanctioned violence against Black women that this country often ignores. We can't let her name fade. We must say it over and over.\" Another piece in this series with a specific victim in mind is \"Point and Shoot,\" which touches on the murder of Trayvon Martin, a 17-year-old who was fatally shot in 2012. Trayvon Martin's life was taken due to racial profiling, a topic that Henri highlights in this piece. \"I wanted to make it plain - Black people are being targeted. The hoodie references Trayvon Martin, and the arrows point to the intentionality of this violence. America has demonstrated restraint when it wants to - there are mass shooters who walk away unharmed - but when the suspect is Black, it feels like there's no hesitation. The very act of being Black in public can be a death sentence.\"
Since its creation, \"The Wait We Carry\" has traveled across the country with Henri and received a variety of responses from viewers. Overall Henrireflects on the emotion that people feel when viewing this series. Tears are often a common response, but not always out of sadness and rather for being seen. He notices the response from parents and how this series relates to their feelings of parenthood. Children are also drawn to this series due to the bright colors and seeing themselves in the children subjects. Henri specifically points out the response from non-black parents and hearing how they talk to their children about the series. “Many parents create carefully crafted responses; some are bland and sugarcoated while others are much deeper.” Overall, emotion and feeling are something that Henri wants viewers to receive from this series. \"I want people to see themselves in these images. To feel the weight. To recognize the patience and resilience but also the frustration and fatigue. But more than anything, I want people to understand that we can't just wait. Change doesn't happen in stillness - it happens in movement, in action. We've been carrying this weight for centuries. It's time we start putting some of it down.\"
See Clifton Henri's award-winning series \"The Wait We Carry\" on view at Jackson Junge Gallery April 7th - May 11th, 2025. The gallery will be celebrating this exhibition's opening reception on Friday, April 25th, coinciding with EXPO Chicago Art After Hours from 6:00 pm to 9:00 pm. This exhibition is curated by Gallery Director Kaitlyn Miller and Gallery Assistant Marisa Taravella.
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Instead of seeing artistic practice as something to be put on hold, this work embraces a different path: integrating motherhood into creativity, and creativity into motherhood. Each piece in this exhibition is a collaboration between mother and child—an exercise in trust, play, and mutual discovery. Colors, brushstrokes, and composition emerge not from one singular vision, but from the give-and-take of shared creation. This exhibition is a testament to the idea that art doesn’t have to be sacrificed for motherhood—it can be transformed by it.
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TACTILE TERRAIN brings together artists whose work draws directly from the earth, composed of natural elements and inspired by organic textures and forms. The mediums represented are either found in nature or derived from natural materials. Imagination facilitated by the human hand spins these materials into works of art, a collaboration between artist and nature. The exhibition is filled with beautiful earth tones and varied textures, providing an experience that invites viewers to slow down and reconnect.
Local artist Pamela Penney exemplifies this connection with nature in her piece “Outside In”. Framed in a salvaged window, the work features twigs, seed pods, grasses, and flowers gathered on walks with her dogs. Her process of composing a piece begins out in the wild, where she curates and composes her finds before bringing the chosen pieces home and weaving them together with hand-spun yarns. Penney uses the terrain surrounding her as both inspiration and medium, resulting in work that feels as if it were grown, not made - nature woven through the artist’s hands.
Capturing that moment of inspiration in nature is Karen Remsen’s “Sylvan”. The mixed media painting replicates the immersive feeling of walking down a lush forest path. Remsen used thousands of strung beads to bring texture and shine to the leaves framing the painted subject, a portrait of a woman peeking through the leaves, as well as crushed green stone that you might imagine crunching under your feet as you walk. “Sylvan” represents the sensory experience of losing oneself in nature, and the magic of being fully in the moment.
Shelly Brucar’s fiber collage asks us to take advantage of the moments we have left. “While There is Still Time” focuses on the beauty of the life found within our coral reefs, while stressing the need to protect them from the devastating effects of climate change. The collage is bursting with color, in contrast to the bleached white corals lining our coasts. The piece is both beautiful and sobering, a reminder of what is at stake if we fail to protect our fragile ecosystems.
Chicago-based ceramicist Drew Reynolds brings movement into the gallery with interactive sculptures like “Nebulous”, a ceramic piece designed to rotate freely when engaged by the viewer. “Nebulous” is an undefined form intended to be viewed from any angle, rather than having a fixed orientation. The result is a sculpture that feels dynamic, alive, and ever-changing, while including the viewer in the process. His piece is joined by other organic, abstract sculptures in the exhibition, like Celia Greiner's wood sculpture “Cells”. Greiner’s stacked sculpture places just as much importance on the empty space within the forms as the forms themselves. The grain of maple wood adds a beautiful element of texture and line to the interiors of the piece, inviting the viewer to experience the space between them.
Kelly McKaig’s “The Sum and the Parts” pays homage to the tradition of stitching - one of the oldest textile arts. The piece is composed of corks sewn together with vintage cotton thread to create a curtain-like installation. McKaig places importance on the social aspect of stitching, saying, “For me, stitching is a companion activity. It’s something taught and practiced among the women in my family, taking place in and around the goings-on of everyday life. Indeed, it is an endeavor that brings and binds people together…” “The Sum and the Parts” emphasizes the communal and generational nature of textile work.
In TACTILE TERRAIN, Jackson Junge offers a group exhibition featuring artwork that takes us back to our roots and celebrates the oldest forms of making. Whether it be ceramics, textiles, wood or stone, each piece highlights the beauty and versatility of natural materials.
TACTILE TERRAIN will be on view at Jackson Junge Gallery May 12th – June 29th, 2025. The gallery will be holding the exhibition’s opening reception on Friday, May 16th, from 6 pm - 10 pm, free and open to the public. It is curated by Owner Chris Jackson, Gallery Director Kaitlyn Miller and Gallery Assistant Maddie Kirmse.
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Known for his mixed media work using found objects and raw materials, Igrez has created an incredible new collection for RURAL that focuses on capturing the spirit of a rural landscape.
The series of pieces featured in RURAL were created to invoke feelings of being immersed in the countryside, dwelling in a world where one is surrounded by both immense pastures and golden fields of grains. By adding natural elements to canvases of earth tones, Igrez attempts to recreate the beauty of pastoral poetry into physical form. RURAL provides a moment of peaceful reflection as it gives the viewer space to imagine themselves alone in the expansive, quiet world Igrez has created.
Join us Friday, June 6th, 6-9pm for an opening reception for RURAL which will coincide with Wicker Park Bucktown’s monthly art walk, First Fridays. Refreshments will be provided. The event is free and open to the public. The exhibition will be on view June 2nd through June 29th, 2025. RURAL is curated by Gallery Director Kaitlyn Miller and Gallery Assistant Maddie Kirmse.
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What is trending? The exhibition #TRENDING takes a lighthearted approach to the question. As many people turn to their screens, social media and social trends for a bit of escapism during rough times, Jackson Junge Gallery hopes to provide the same in a physical space. In “Jeep and Duck,” well known Bodyscapes photographer Allan Teger captures the inside joke between Jeep owners who leave rubber ducks on each other’s hoods. Zapiain’s “Irish (Trend) Setter” does a good job at acknowledging playful trends as well! Zapiain’s colorful painting of a fabulous dog with fashionable accessories plays with a pun on the word trendsetter. Zapiain describes the subject: “With their doggy bag in heel and their custom matching star doggles to boot, they're pawsitively iconic. Often imitated but never duplicated, K-9 out of 10 critics agree this pup isn't just a cliché but the genuine article.\" Zapiain’s work views trends playfully, and #TRENDING similarly hopes to have fun and laugh at our ideas of what’s trending.
It’d take some time to see all the pop culture references featured in the artwork of #TRENDING. To name a few - Peter Brourman’s portrait of the character Carmy from the currently airing tv show The Bear in “Yes, Chef,” Victoria Park’s painting of the redlight greenlight doll from December 2024’s Squid Game season 2 in “Squid Game”, Megan Nixon’s landscape transforming Chicago into The Emerald City from Wicked in “ When I Meet the Wizard”, and Audrey Jewell’s painting of a Charli XCX concert coming off Brat Summer in “Sweat Tour September 30th 2024 United Center”. Huy Nguyen’s “Bat” and “Bart” were also created in celebration of Brat Summer. Nguyen channels Brat energy through unexpected icons - Batman and Bart Simpson, who are fashionably decked out in trendy items like Labubu keychains, Trader Joe’s tote, 2000’s digital camera and long shorts with docs. Nguyen says while Batman is “traditionally a symbol of justice, here he’s moonlighting as a fashion icon, serving not only justice, but a look as well. This piece channels the exhilaration of late nights, bold looks, and dancing like no one’s watching. It’s about reclaiming power through self-expression and turning every sidewalk into a runway, even after dark.” Nguyen’s “Bart” reimagines Brat Summer as Bart summer, “channeling the spirit of the iconic Bart Simpson as a symbol of living in the moment. This piece captures the attitude of being unapologetically yourself, having fun for fun’s sake, and not taking life too seriously. It’s about the ones who are here for a good time, not necessarily a long time.”
Nothing trends on the internet quite like a cute animal. In the fall of 2024, the baby pygmy hippo Moo Deng took the world by storm from the Khao Kheow Open Zoo in Thailand. Sophie Levit’s bright painting “Bubble Bath Bliss” playfully depicts the adorable hippo at bath time. Levit says that “In a time of so much uncertainty and stress, sometimes all you can do is try and find the small things that make you smile and escape the horrors of the world, even if it’s just for a little bit. For many, that escape came from a small baby Pygmy hippo that quickly captured hearts all over the world with her cuteness and playful personality. Moo Deng or “bouncy pork” was a welcome escape and ray of sunshine in an incredibly cloudy time.” Yuliya Klochan’s beaded piece “Moo Deng and Pesto” also features Moo Deng alongside another baby animal sensation that appeared on the internet at the same time - Pesto the penguin at Sea Life Melbourne Aquarium in Australia, who rose to fame for weighing more as a chick than both his King penguin parents combined. Using 2,160 Miyuki Delica beads to craft images of the pair, Klochan “couldn't resist imagining them meeting. Moo Deng is tiny and sassy: Her body is made of iridescent gray and neon pink beads. Pesto is giant and resolute: His baby fuzz is a low-shine dark brown with matte beak and feet.” Kara Volle’s digital painting “The Child” also immortalizes Pesto the giant baby penguin, but it is Volle’s painting of a small anglerfish titled “Ascension” which may offer insight into why cute animals go viral beyond our desire for sweet distraction. In February of 2025, a little six-inch anglerfish from the deep sea mysteriously ascended to the surface off the coast of Spain. Volle recollects how “perplexing scientists, she took over the internet as different theories for her swim to the surface arose. Did she know her life was coming to an end and want to see the sun? Did a volcanic current push her upwards? We may never know, but this now famous fish has inspired many in her final journey.”
Our screens can provide much needed distraction, but too much screentime can also be overwhelming for the chronically online. Bridget Gallagher addresses this stress in “In This Economy?!” Gallagher’s silly painting is of a scared opossum clinging to a pole plastered with a sanity wanted poster, and it has an undeniable relatability. Gallagher empathizes “if opossums could talk, they'd probably have a Better Help-sponsored TikTok account dedicated to explaining the \"freeze\" stress response. This opossum, like her creator, is at her wit's end. It seems impossible to keep up with rapidly shifting pop culture trends, an increasingly absurd news cycle, and the laundry. She's not super qualified for \"fight\" or \"flight,\" so she'll keep holding on for dear life, hoping that someone has some sanity to spare. But that's tough to find in this economy.”
#TRENDING is sure to be a bit of fun escapism. An Opening Reception for #TRENDING will be held Friday, July 11th, from 6pm - 10pm and is free to the public. The exhibition will be on view at Jackson Junge Gallery July 1st – August 10th, 2025. It is curated by Owners Chris Jackson & Laura Lee Junge, Gallery Director Kaitlyn Miller, Assistant Gallery Director Kristen Arcus, and Gallery Assistant Marisa Taravella.
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Check out the newest collection of work by Laura Lee Junge coming to the gallery this August. This exhibition features a variety of work from Laura, creating an immersive and surreal experience that allows the viewer a deeper look into what inspires her.
Opening Reception Friday, August 15th, 6-9pm
Jackson Junge Gallery is excited to announce THREADS OF MEMORY, a solo exhibition featuring paintings by viral fine artist Sydney Swisher who specializes in oil on fabric paintings. In an era defined by technological acceleration, Swisher’s work explores the intersection of memory, materiality, and machine intelligence. By prompting generated images through the uploading of personal photos and descriptions of memories, she creates familiar yet digitally fabricated scenes that are then painted with oil onto thrifted fabric. The pieces serve as a collage of old & new, with the reference locations being a blend of real and falsified spaces. Her work brings digital recollection into physical form and navigates contemporary paradoxes.
While Sydney Swisher has amassed an incredible fan base online, with over 5 million likes on her videos and almost 600k followers across social media platforms, THREADS OF MEMORY is only the second physical solo exhibition of Swisher’s work. The reception she’s gotten online is more than she ever imagined. A self-taught painter from a small, rural town in southern Illinois, Swisher has found success as a corporate graphic designer. As a result of her career, Swisher is focused on how machine intelligence is coming into our digital space and warping the human narrative, which inspired her to explore generative AI as a tool in the creative process. AI is not the core of her work, but a part of it, used specifically to explore themes of memory, nostalgia, and the blurred line between real and imagined. Her goal is to create \"amalgamated\" places that don’t exist, but which speak to collective memory.
Swisher starts with a nostalgic memory or the feeling of a vaguely familiar place. She then gathers personal and found images from thrift stores, her own photography, or her family film photo collection. She feeds her references into AI (Midjourney) to generate blended visuals that feel like memories more than literal depictions. Swisher’s painting “If It Comes to You, It Means Something” gives a peek at a dated living room drenched in mauve, the view seemingly dissolving into a vintage floral-patterned piece of fabric. One of the most personally nostalgic scenes Swishers created, she remembers the painting “was inspired by the home I was raised in until the age of 4. Although this is not the exact living room, and I don't have a good image of the room, this is how I remember it through my childhood memories. I feel that the younger the memory, the more vividly I see the scene.” After generating an AI image from photos and memories, Swisher further refines it in Photoshop to create her reference. She includes these elements into her physical paintings, creating a hybrid of digital and traditional media. Swisher elegantly makes the transition from an intricate digital process to an intense art form requiring a high degree of technical skill, oil painting. Her painting “Nonviolent Misbehavior” highlights her skill with the medium, capturing subtle shifts in shadow as light bounces around a chandelier painted in oil.
Swisher also incorporates thrifted materials into her paintings to further bridge the digital and real. Adding physical objects like blankets, curtains, and crafts that once belonged to someone adds a further connection to a personal past, while creating a new collective narrative around the items. Swisher’s painting “When You and It Are Aligned” depicts a kitchen workspace warmly lit by a flood of sunshine streaming through a window. Swisher delicately sewed a cloth to sit on the table and lace into the window dressings of the painting to pay homage to the details of our cherished daily possessions. Reflecting on the evolution of this collection, Swisher said “I continued to try to make these pieces more sculptural, with sewn-in pieces ‘spilling out’ of the canvas. I would like to continue to challenge myself in this way to create memories that seem to be ‘reaching out’ into our current reality. Making this transition seamless is pretty difficult, but I appreciate the challenge and hope to continue to push the work in this direction.” Swisher’s “The Good of It” features an actual lampshade jutting out from the canvas where a familiar still life is painted of an armchair, side table and lamp.
Swisher’s work is a commentary on authorship and influence. While prompted by her own memories and images, she does appropriate fragments from strangers, blending them into new narratives. There is a parallel between AI and the natural artistic process - both involve borrowing, remixing, and reinterpreting pieces of existing work. Swisher believes “creativity has always been about taking fragments of your influences and fragments of the past and creating something that's a new story that's authentic and unique to you.” While AI can enhance creativity, Swisher thinks artists, unlike machines, add emotional depth and personal narratives to their work. Her goal is to create work that feels authentic, even if built from fragmented, artificial sources.
For Sydney, “this collection is an amalgamation of years of my interests through my life. It incorporated my love of crafting, photography, technology, painting, and mixed media.” While all the pieces Swisher created for THREADS OF MEMORY start at an attempt to re-create her own personal memory, she sees them as a tapestry woven together with threads of memory from many individuals. Scenes that are specific to no one, but evoke collective nostalgia and probe the evolving nature of human experience in the digital age. They allow us to step into a familiar time, to experience a sense of warmth and comfort that is often associated with home, to have a deeper appreciation for the complexity of our unique history, and to question our future direction in a world filled with fabricated images of the past.
THREADS OF MEMORY will be on view at Jackson Junge Gallery September 22nd – November 2nd, 2025. The gallery will be holding the exhibition’s opening reception on Friday, September 26th, from 6 pm - 9 pm. The event is free and open to the public. The exhibition is curated by Owner Chris Jackson, Gallery Director Kaitlyn Miller and Assistant Gallery Director Kristen Arcus.
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TEN by TEN is a yearly celebration of diversity and passion found within the Chicago arts community. With each piece being 10” x 10”, the result is a dazzling grid of artwork, in all styles and mediums. Being open submission, the exhibition is a chance for artists of all levels to contribute and gives an unfiltered look at what is going on today in the Chicago arts scene and beyond. Gallery Director, Kaitlyn Miller reflects, “After the first year of TEN by TEN, we recognized the need for an open submission exhibition. Finding your footing in the art world is not an easy task, it is competitive and often disheartening and our goal has always been to support emerging artists. We had such an overwhelming response to the first year, so we thought let’s expand and accept every artist that applies. The exhibit has grown and become a way for Jackson Junge Gallery to give back and celebrate Chicago’s incredible arts community.”
Featured in TEN by TEN are works by Jackson Junge’s in-house artists, whose work the gallery exhibits year-round. Featured artist, Laura Lee Junge, created an eye-catching mixed media painting, “Inward”. The painting is done in a 3D style seen in her solo exhibition “CUCKOO: I’M NOT CRAZY, YOU ARE”, earlier this year. This series explores elements of freedom, movement and time. The focus of “Inward” is handmade clay and metal dragonflies, a departure from Junge’s usual butterfly subjects in this series. The background has impressions of clock gears imprinted in thick acrylic paint, an element used in Junge’s mixed media collection. Kate Hoyer’s “Rainbow Kitty” is painted in her signature bold and colorful style, utilizing stripes and blocks of color to define the forms of her animal subjects. Autumn Justine Miller has gone with a less cuddly character for her humorous painting, “Duck Doctor”, which features a rubber ducky with a plague mask and a skull tattoo. Miller is known for her creepy-cute subjects, and this painting is no exception.
Stand-out pieces in TEN by TEN are often using unexpected materials. Jonathan Pruc’s shining piece “Too Much on My Mind” utilizes many colored mirrors to reflect light and draw the viewer in. The mirrored surface gives it a slightly different appearance and color with a change of position or lighting, giving a unique optical effect. Another notable piece this year is Josh Brickman’s “El Oh El”, a map of the Loop made entirely of Legos. Brickman’s piece is both playful and well executed; you could almost use it to navigate downtown!
Michael Bever’s painting also brings us to the El. His acrylic painting “Parked Under the El” finds the beauty in a rainy evening beneath the train tracks, focusing on the warm reflections of light from surrounding streetlamps. A car idles in the center of the painting, perhaps waiting for someone to hurry up so they can get home before the weather turns once again.
When viewed all together as one large wall of artwork, TEN by TEN becomes an installation representing a year of creation and exploration from hundreds of emerging and established artists. The exhibition is an opportunity for all these creatives to come together and celebrate the hard work and progress that they have made this year.
TEN by TEN will be on display November 3rd, 2025, through January 11th, 2026, at Jackson Junge Gallery. Join us in celebrating the wide range of work that Chicago’s artists have to offer!
TEN by TEN is curated by Gallery Owner Chris Jackson, Gallery Director Kaitlyn Miller, Assistant Gallery Director Kristen Arcus, Gallery Assistants Marisa Taravella and Madeline Kirmse and Gallery Intern Sadie Walden.
Jackson Junge Gallery is starting off their 2026 season with I’M FINE, a solo exhibition featuring 14 paintings by in-house artist, Sam Arnold. I’M FINE is an introspective art exhibition reflecting on the unique intersection of health and creative expression. The show is a documentation of Arnold’s health journey, exploring whether her artwork reflects the intensity of what she’s going through, or if she’s simply become really good at masking pain. Most people don’t realize Arnold’s work is deeply personal—they just see “happy paintings.” But each one is her way of escaping, of traveling when she physically can’t. I’M FINE offers a window into the evolving landscape of Arnolds’s internal and external world.
September 2024 presented a unique opportunity for Arnold. The prospect of starting a new pain management treatment inspired the artist to record her upcoming medical journey through painting. I’M FINE is a journal of Arnold’s year, each painting a monthly entry. The first, “September 2024”, pictures a bright blue and green coastal landscape, representative of Arnold’s optimism before starting a new treatment that her quality of life would improve. Unfortunately, Arnold would undergo an extremely adverse reaction and be forced to change her plans. Going from one treatment to another is no unfamiliar experience for someone with chronic illness. Arnold thus decided it was natural to continue documenting her experiences. “November 2024” saw experimentation with another failed treatment plan reflected in the month’s painting. A bold landscape with golden yellow fields speckled by green trees and a cool blue river running through. Intense pink lines break up the river, literal illustrations of pain running through Arnold’s body. Six months of surgery followed.
Sam Arnold would spend most of the past year focusing on both her physical and mental health while creating art about it - chronicling multiple procedures, surgeries, med changes, and weekly sessions with both a therapist and psychologist. Arnold wanted to work true to her changing feelings through the year. Every month she would put away her other paintings, so they didn’t influence each other. “February 2025” sees a stark evolution to an abstract style different from the more representational works of the previous 5 months, which becomes even more jarring in “March 2025”, a green painting streaked with aggressive yellow and red smears which Arnold explains as a manifestation of her anger this month towards her increasing medical issues. March is the only painting missing Arnold’s meticulous black outlining iconic to her work. Arnold shared how difficult it was not to return to the painting and “finish” it with her outline, but she resisted to stay true to March’s emotions.
Pain is a common theme for Sam Arnold living with chronic illness, and extensively represented in her work the past year. Grief is another type of pain that Arnold sadly portrays, experiencing the loss of two family members in January and July. Amongst all the vulnerability Arnold shows in I’M FINE, she’s described the paintings from these two months as being the most deeply personal. “January 2025” paints an aerial map of the broken bridge between Florida and Sanibel Island in intense shades of teal and navy. A devastating hurricane destroyed the bridge and Arnold’s family property on the island. The visual of the broken bridge represents Arnold’s inability to visit the place most cherished by her lost family member, keeping her from them, and symbolic of the pain of their passing.
Another unique aspect of I’M FINE is the participation of the artist’s therapist, who has agreed to write a few phrases describing the artist’s mental state after sessions from September 2024 to September 2025. Arnold has not seen these notes, but they will be revealed at the opening of her exhibition, which she has said is “terrifying and vulnerable, but also feels incredibly important.” I’M FINE has been an experiment to see if Arnold’s paintings reflect what she has going on, or if she has continued to mask her pain within her bright work. Arnold has found some pieces more outwardly reflective of her pain than usual, especially those with decaying figures like the decomposing Elmo plushie being overtaken by leaves in “December 2024” or the degraded baby doll in “June 2025”. However, other pieces still feel like they conceal Arnold’s pain such as the finale, “September 2025”. She imagined the last piece as being a joyful conclusion to a year of successful treatments, but instead Arnold frustratingly feels she is in the same place she was a year ago. So even if the colorful landscape of September does feel joyful, it is only because Arnold has returned to masking pain in her art. Creating I’M FINE may not have been as cathartic as Arnold hoped, in fact it was hard and uncomfortable, but she still believes that hard things are worth trying.
Arnold hopes that her artwork will contribute to the conversation on mental health. From her art, you may discover that you don’t always know what is going on in people’s lives. People may not outwardly admit to their feelings, even an honest person like Arnold unintentionally hides her pain in her upbeat demeanor. View her meaningful exhibition, I’M FINE, at Jackson Junge Gallery January 12th – March 1st, 2026. The gallery will be holding the exhibition’s opening reception on Friday, January 16th, from 6pm - 9pm, free and open to the public. It is curated by Owner Chris Jackson, Gallery Director Kaitlyn Miller and Assistant Gallery Director Kristen Arcus.
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This exhibition features the work of 24 artists who have set to create two pieces of art intended to be viewed as one piece, better known as a diptych. These diptychs in DUALITY each highlight the opposition or contrast between two concepts or two aspects of something - yin and yang, day and night, indoors and outdoors, light and dark - to name a few. DUALITY offers a variety of mediums and themes, creating a diverse viewing experience.
Artists took multiple approaches to DUALITY’s concept and theme. All opposing in some way, artists show this opposition in various principles including concept, style, medium, and color. Sabrina Katz’s “Serenity” shows the opposing styles that can be utilized to portray Lake Michigan. “One painting leans into the calm, steady horizon, while the other is a collage whose layered textures create the sense of endless movement within the water. Together they show how the same place can feel different from moment to moment or look different depending on the viewer,” states Katz. Bumpy Wilson also showcases opposing styles in his painting titled “Choice Beef II.” One painting in the diptych represents a minimal representation of a cow in a field, while the other shows the same image in a much looser abstract manner. Wilson expresses his interpretation of DUALITY stating, “Without duality, without polarity, there is no choice, there is no unique expression of self, and in essence, no self at all. This diptych provides a visual representation of how choices can define an artist and their style.”
Many diptychs in DUALITY explore conceptual opposition. Dan Gemkow’s photographs, “Watching | Watched” captures the moment of perception from two points of view. “Watching” shows a man outside looking straight on at the viewer, while “Watched” shows a woman looking out of a window, seemingly at the man. Gemkow states, “I applied an effect to the portrait of the female subject that inverted the highlights and shadows in the image to represent the distorted and abstracted way the male is seeing her. The male is printed normally without any added visual effects to show that the female is seeing him as he is and without any warped perception. I used these effects to symbolize a toxic personal relationship between the two subjects in the portraits.”
Julian Guyton explores opposing subjects in his diptych titled, “We the People No. 1 | We the People No. 2.” Guyton’s paintings represent his interpretation of what it means to be an American for those in power versus those who are not. In “We the People No. 1,” Guyton’s subject matters are meant to represent authority, including figures of a police officer and Uncle Sam. The phrase “together we stand, we the people” is shown in the piece, but questions who are these figures standing for? In “We the People No. 2,” Guyton shows a similar composition, this time showing three individuals representing black Americans. Guyton states, “The three characters in the piece are nods to my Blackness, taking an indirect approach while also inserting myself within the piece. The first figure, the bull, is an acknowledgment of my hometown (Chicago) while symbolizing the strength and resilience of the bull/black Americans. The second figure is just a business mogul; a creative that always strives for greater but is always problem solving and thinking. The last figure is the heart/spirt of black Americans. Moving through the world with unseen blessings to protect and cover our lives. Together we stand, we the people…”
Opposing color and tone is also demonstrated in DUALITY. Eugene Lee’s “Breath of Life | Death Gasp” captures ink drawings of abstracted lungs, but each piece shows an inversion of black and white. Lee states, “Together, the diptych uses visual opposition—light and dark, positive and negative space—to express the inseparable relationship between life and death. The lungs function as a unifying motif, reminding the viewer that every breath exists between these two extremes, and that vitality and mortality are not separate states, but mirrored halves of the same cycle.” Blake Adams shows opposition through color and black and white in his piece titled, “Wichita Day | Wichita Night.” Adams’ illustrative painting style represents the Wichita prairie - both identical aside from color and tone - creating a completely new, yet familiar, space.
With so many representations of what DUALITY means, viewers are sure to enjoy the range of work these artists have offered. This exhibition shows there is no limit to how we can create and interpret duality, which then encourages more thought and conversation. DUALITY will be on view at Jackson Junge GalleryMarch 2nd – April 19th, 2026, with an artist reception on Friday, March 6th from 6:00pm – 10:00pm.
This exhibition is curated by Owners Chris Jackson and Laura Junge, Gallery Director Kaitlyn Miller, and Gallery Assistant Marisa Taravella.
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View on Vertical Gallery's website
Vertical Gallery is very proud to present its 13-Year Anniversary Show, an all-star group exhibition commemorating 13 years at the vanguard of street art, pop surrealism, graffiti and beyond.
Vertical’s 13-Year Anniversary Show, on view from March 13 through April 19, marks the gallery’s return to Chicago, where its story began. All work will be displayed inside Jackson Junge Gallery, located in the city’s bustling Wicker Park neighborhood.
“This is our first show of 2026, and our first show back in Chicago since we changed our business model to online and special exhibitions,” says Vertical owner Patrick Hull. “I am excited to see everyone, and to celebrate our anniversary!”
Vertical’s 13-Year Anniversary artist roster brings together 13 longtime collector favorites and emerging talents from across the city, across the nation and across the globe, showcasing the consistency and diversity that have remained hallmarks of the gallery’s monthly programming efforts since its inception. The 13 artists are (in alphabetical order):
Each artist will display four original works sized at 12 x 12 in. (30 x 30 cm).
Vertical’s 13-Year Anniversary Show kicks off Friday, March 13 with an opening reception at Jackson Junge Gallery (1389 N. Milwaukee Ave.) from 5:00 to 9:00 p.m. For additional information, or to sign up to receive our collector preview, email sales@verticalgallery.com.
Image: Martin Whatson “Parachute\"
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Crystal Hartman. A staple in Jackson Junge's jewelry collection, Hartman's work showcases sculptural jewelry designs carved of sustainably-harvested beeswax ethically cast in fine metals.
Join us in welcoming Crystal and collect your own one-of-a-kind piece!
Join Jackson Junge Gallery in celebrating the past, present, and future of Benjye Troob’s remarkable career in FORMS & HORIZONS: A Retrospective.
Spanning more than four decades of drawing and painting, this retrospective highlights Benjye Troob's lifelong dedication to art. The exhibition brings together her select works from the late 1990s to today, offering visitors an intimate look at Benjye’s artistic evolution and her ever-shifting yet unmistakable vision. While her style continues to evolve, her art consistently captures both the vitality of the human form and the beauty of the natural world.
Free and open to the public.
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Giving queer and non-binary creators a platform to share their experiences through art, the gallery hopes to foster an inclusive space for marginalized voices.
Explore your own identity and challenge traditional notions of gender and sexuality with PRIDE!
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BODYSCAPES evolved from Teger’s study of psychology and interest in altered realities, subjective reality, and mystical consciousness. Teger’s interest in photography began in his youth when he became the school photographer for his high school and college. His photography pursuits were put on pause after he earned his PHD in psychology and began pursuing a career, eventually teaching at the University of Pennsylvania. Teger’s time in academic psychology left an impression on him artistically and spiritually. After shifting from teaching social psychology to the psychology of consciousness, he began looking for a way to explore his ideas in depth. He started hisBODYSCAPES series in 1976, focusing on the concepts of coexisting realities, the structure of our universe, and human perception. Teger eventually devoted himself full time to his art practice and over the 50 years since, he has experimented with different variations of his BODYSCAPES. Some of these include color, one-of-a-kind images, bodies covered in stockings, surreal BODYSCAPES, and most recently adding a sky into his scapes. THE SENSUAL LAND follows the evolution of Teger’s groundbreaking series.
In his BODYSCAPES, it is important to Teger that the realities he is photographing are truly real; no photo editing or darkroom tricks. He utilizes high quality miniatures to ensure that the scene is as convincing as possible. Each composition is created on the model’s body and a single exposure is made with Teger's camera. The audience plays an important role in finishing the piece- Teger sees their reaction as the completion of the artwork.
Most of the series is photographed in black and white, but early on there was some experimentation with color. Teger used a variety of colored lights to illuminate his subjects for different effects. A few of these images are included in the exhibition, including “Apple”, which shows a torso lit in red, with a hissing snake and apple balanced on the model’s stomach. While he enjoyed this process, he found that photographing in color did not offer the same illusion as black and white.
A unique portion of the exhibition is Teger’s stereopticons. A stereopticon is two side by side images slightly offset from one another, that when looked at through a specialized viewing piece, creates the illusion of a 3D image. The stereopticons provide a way for viewers to fully immerse themselves in a BODYSCAPE, becoming part of that reality while viewing the photograph.
THE SENSUAL LAND will also show a special, one-of-a-kind piece created in 1977, a year after the BODYSCAPES series began. Teger’s “Seven Views of Mt. Fuji” is comprised of seven photos mounted to a burlap scroll. It references Hokusai’s 36 views of Mt. Fuji and reimagines seven scenes from the famous series as BODYSCAPES. Originally part of an editioned set, it is the last of its kind.
THE SENSUAL LAND takes us on a trek through the landscape of Allan Teger’s mind and the many realities he has created for us over the last 50 years. The artistic process and development of the beloved BODYSCAPES series will be on full display alongside other notable work from the accomplished photographer, including Teger’s BODY STOCKING SCAPES, COLOR BODYSCAPES, and ZODIAC SERIES.
THE SENSUAL LAND will be on view at Jackson Junge Gallery July 6th – August 9th, 2026. The gallery will be holding the exhibition’s opening reception on Friday, July 10th, from 6 pm – 9 pm. It is free and open to the public. THE SENSUAL LAND is curated by Owner Chris Jackson and Gallery Director Kaitlyn Miller.
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Dark","starts_at":"2026-08-11 00:00:00","ends_at":"2026-09-27 00:00:00","body":"Jackson Junge Gallery is excited to present their third group exhibition of the year, AFTER DARK, featuring artwork that shines a light on nightlife in Chicago. The exhibition will feature the work of 28 artists local to the Chicagoland area. From the beginning of a big night out, to the eventful CTA ride home, AFTER DARK explores both the well-known and the hidden corners of Chicago after the sun has gone down.
Jackson Junge Gallery presents K-POP!, a mini exhibition featuring Chicago-based artist iri5 known for her unexpected mixed media artwork made from cassette tape. The exhibition will be on view from August 24th to September 20th, 2026. To celebrate the exhibition, a BTS fan event will be hosted in collaboration with The Purple Court on Saturday, August 29th, 2026, from 12-7pm. The exhibition will end with a closing reception from 5-8pm on Saturday, September 19, 2026. K-POP! is curated by Gallery Director Kaitlyn Miller and Assistant Gallery Director Kristen Arcus. The event will feature portraits of K-pop artists such as Jungkook, V, and Jimin from BTS, and Jenni from Black Pink, all created by iri5 using cassette tape on wood panel. Free admission to the exhibit and opening reception.
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