![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419555/l5co6yetlmeftv3w8vbl.jpg\")
2026 marks the 25th anniversary of Madron Gallery. Madron’s scholarship driven programming creates exhibitions and publications that champion the work of significant, yet often lesser-known artists in the history of art.
With an interest in Jewish and Chicago artists, Madron’s inventory of 19th and 20th century paintings, drawings, sculptures, photographs, and prints—displayed en suite in our gallery alongside curated exhibitions of both historical and contemporary artists—illuminates artistic connections across decades.
Exhibition essays and publications from the in-house Madron Press are available online.
Free parking available.
Image: Installation view of \"Conversations in Abstraction\" at Madron Gallery Fall of 2025. Image courtesy of Madron Gallery.
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Art serves as both a reflection of culture and a catalyst actively shaping future thought. Artists communicate universal truths and authentic moments, creating work that transcends time, inspires audiences, and builds community. Individual objects can be powerful tools—gateways into unknown or forgotten narratives. Researching the provenance and cultural context of historical works involves exploring archives, libraries, exhibition catalogues, personal letters, newspaper articles, and oral histories. Madron Gallery works diligently to uncover these stories. Through our monthly newsletter, The Fine Art of [ ], we highlight 19th and 20th-century artists whose work remains as relevant today as the day it was created.
The Fine Art of [Madron Gallery] will begin with an opening reception held on October 15th in conjunction with the 5th annual Lincoln Park Art Night (participating venues include Leslie Wolfe Gallery/Old Town Arts Association, gallery 1871, Art City and, Art on Sedgwick). The reception is free and open to the public and will be held from 5:30 – 8:30 pm.
Madron is home to Madron Gallery, Madron Press, and the Skolnik family’s private art collection. The Skolnik family, the founders of Madron, is committed to supporting contemporary and Jewish artists, as well as acting as stewards of nineteenth and twentieth-century American art. Through scholarship-informed programming and exhibitions, Madron has carved out a unique place in Chicago’s artistic landscape, sparking dialogue about the ongoing significance of nineteenth and twentieth-century art in today’s world.
Exhibiting Artists: Aaron Bohrod (1907 – 1992), Karl A. Buehr (1866 – 1952), Theodore Earl Butler (1861 – 1936), Philip Evergood (1901 – 1973), Harriet Whitney Frishmuth (1880-1980), Todros Geller (1889–1949), William Glackens (1870 – 1938), Childe Hassam (1859 – 1935), Joseph Hirsch (1910 – 1981), Frederick D. Jones, Jr. (1913 – 1996), Jack Levine (1915–2010), Harriet Randall Lumis (1870–1953), Reginald Marsh (1898 – 1954), Jerome Myers (1867 – 1940), Lawton Parker (1868 – 1954), Jane Peterson (1876 –1965), Robert Philipp (1895 – 1981), Henry Ward Ranger ( 1858 – 1916), Robert Reid (1862- 1929), Harry Sternberg (1904 – 2001), Anthony Thieme (1888 – 1954), John Henry Twachtman (1853 – 1902), Bessie Potter Vonnoh (1872 – 1955), Robert Vonnoh (1858 – 1933), and James McNeill Whistler (1834 – 1903)
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Artists: Dusty Folwarczny - Terrence Karpowicz - Eric Stephenson
\r\nArtist Talk & Closing Party - Thursday, November 30, 2017 5:30 - 8:00pm
\r\nShow Extended Through December 31, 2017
Madron Gallery's exhibition Chicago Personal Mythologies includes works by three Chicago artists: Arthur Lerner, Seymour Rosofsky and Leo Segedin. All three artists offer vibrant yet complicated pieces that attempt to display one's personal mythologies. Madron's exhibition creates a world of fantasies and myths and presents three different perspectives on how humans interact with their surroundings and themselves.
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Madron Gallery's exhibition Chicago Personal Mythologies includes works by three Chicago artists: Arthur Lerner, Seymour Rosofsky and Leo Segedin. All three artists offer vibrant yet complicated pieces that attempt to display one's personal mythologies. Madron's exhibition creates a world of fantasies and myths and presents three different perspectives on how humans interact with their surroundings and themselves.
\r\n\r\n\r\n\r\n
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Come join Madron Gallery for an Artist Talk and Closing Party. The evening will include discussion by the artists regarding their creative process for the (R)evolution exhibit. We hope collectors, curators and the general public will gain a better understanding about each piece on exhibit and the artists in general.
\r\n\r\nFree Parking
\r\n\r\n\r\n\r\n
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Live Music, Cocktails, & Hors d'Oeuvres
Madron Gallery cordially invites you to attend our New Acquisitions Evening Reception.
The evening features Live Music, Cocktails, Hors d'Oeuvres and of course beautiful art! New paintings include works by Twachtman, Butler, Bohrod, Geller, Evergood and many others.
Image: William Schwartz
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An exhibition of new artwork by Jacqueline Kott-Wolle
Madron Gallery is pleased to announce Growing Up Jewish – Art & Storytelling, an exhibition of new paintings by local artist Jacqueline Kott-Wolle (Canadian-American, b.1969), on display October 28, 2019 through December 6, 2019. Artist Talk: Sunday November 3, 2019 at 12:30 PM.
In this exhibition, Kott-Wolle asks, “What does it mean to be Jewish for past, present, and future generations?” Through nostalgic paintings of four generations of her friends and family, Kott-Wolle explores her faith and heritage, curating images from cherished family scrapbooks that address her experience as a North American Jew born in the mid-20thcentury. Rituals and traditions that helped shape her identity are brought front and center in these works, paired with the artist’s own narration of the people and events represented.
Jacqueline Kott-Wolle was born and raised in Toronto, Canada. A trained social worker with an MSW specializing in Community Development and Social Planning, Kott-Wolle has dedicated the last ten years to her art practice, focusing on both landscapes and capturing precious family moments. In the last four years her work has been exhibited at The Art Center Highland Park, Deerpath Art Center, and North Shore Art League, and can be found in private collections in the Chicagoland area; Toronto, ON; Muskoka, ON; Milwaukee, WI; Boca Raton, FL; Nantucket, MA; Kiawah Island, SC; and Raanana, Israel.
Image: Jacqueline Kott-Wolle, The \"Jew Fro\", 2019, oil on canvas.
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An exhibition of new artwork by Jacqueline Kott-Wolle
Madron Gallery is pleased to announce Growing Up Jewish – Art & Storytelling, an exhibition of new paintings by local artist Jacqueline Kott-Wolle (Canadian-American, b.1969), on display October 28, 2019 through December 6, 2019. Artist Talk: Sunday November 3, 2019 at 12:30 PM.
In this exhibition, Kott-Wolle asks, “What does it mean to be Jewish for past, present, and future generations?” Through nostalgic paintings of four generations of her friends and family, Kott-Wolle explores her faith and heritage, curating images from cherished family scrapbooks that address her experience as a North American Jew born in the mid-20thcentury. Rituals and traditions that helped shape her identity are brought front and center in these works, paired with the artist’s own narration of the people and events represented.
Jacqueline Kott-Wolle was born and raised in Toronto, Canada. A trained social worker with an MSW specializing in Community Development and Social Planning, Kott-Wolle has dedicated the last ten years to her art practice, focusing on both landscapes and capturing precious family moments. In the last four years her work has been exhibited at The Art Center Highland Park, Deerpath Art Center, and North Shore Art League, and can be found in private collections in the Chicagoland area; Toronto, ON; Muskoka, ON; Milwaukee, WI; Boca Raton, FL; Nantucket, MA; Kiawah Island, SC; and Raanana, Israel.
Image: Jacqueline Kott-Wolle, Kot Textiles, 2019, oil on canvas.
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Madron Gallery presents Passion and Fantasy through the Photographic Lense, now on view through February 21, 2020. Three different generations of photographers – Stan Malinowski (b. 1936), Marc Hauser (1953 - 2019), and Nicholas Azzaro (b. 1982) — explore the 1980s, capturing fashion, travel, and human fantasies.
The 1980s was a decade with the mindset of more is more. It was an eclectic time, especially for fashion, featuring bold styles, colors, and accessories. After working as an in-house photographer for Playboy, Stan Malinowski captured the birth of the \"supermodel\", photographing models that defined the decade such as Andie MacDowell, Iman, Christie Brinkley, and Janice Dickinson. Using both color and black and white film, Malkinowski creates images of pure passion and fantasy with dramatic landscapes, wild life, big cities, color, and the female form.
Nicholas Azzaro, inspired by Malinowski’s work, captures a contemporary interpretation of 1980s fashion photography. Layered belts, chunky jewelry, tracksuits, spandex, miniskirts, high heels, and fur are on full display with dramatic lighting, mixed with monochromatic backdrops in the studio and abstract and bold street scenes. Azzaro’s photographs are a sweet valentine to the bold fashion of the 1980s.
At the age of 13, Marc Hauser received his first Brownie camera. Soon after, his natural talent was discovered, leading to an apprenticeship at Playboy magazine at the age of 14. Known for his black and white commercial photography of celebrities such as Patti Smith, John Mellencamp, and Michael Jordan, as well as his flamboyant personality and brazen self-promotion, Hauser’s nostalgic perspective of Cuban life in the 1980s explores a softer, quieter side of the photographer. Photographed during a time when US citizens were not allowed to visit Cuba, Hauser’s street photography with its sepia toned prints capture a forbidden culture and its people. Intimate in nature the photographs express a range of emotions including joy, romance, nostalgia, longing, comedy, and sadness.
Madron Gallery proudly offers an extensive inventory of American paintings, drawings, and prints from 1890–1940, as well as a collection of modern and contemporary art from local artists.
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Throughout the course of art history, artists have used their talents to reflect and comment on the values and events of the day. In Scrapbooking the Collection, the romance, idealism, soft palettes, and fleeting brushstrokes of American Impressionism are paired with the vibrant colors, bold lines, street scenes, and workaday people captured by Social Realists, Regionalists, and other artists under the Modernist umbrella.
Together these sixteen artworks highlight a small percentage of Madron’s collection, encompassing a 60-year span of landscapes and portraiture that shaped the American art canon.
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One of the earliest practitioners of Impressionism in America, Robert Vonnoh was a brilliant colorist, portraitist, and influential teacher; he is also an artist often overlooked. In 2010, Madron Gallery — in partnership with the Butler Institute of American Art, along with the assistance of multiple private collections — organized the retrospective Robert Vonnoh: American Impressionist. The exhibition highlighted Vonnoh’s dual modes of painting, landscape and portraiture, as well as his evolution as an Impressionist painter.
Ten years later Madron is taking another look at Vonnoh, this time focusing on his American landscapes created in and around the artist colony of Lyme, Connecticut, while also highlighting his French landscapes and the portraits that made him famous. Vonnoh’s canvases explore the calm poetry of rural summers and New England falls with raw, brilliant colors and broad strokes of the pallet knife. Moonlight and dusk are portrayed with the signature muted violets and lavenders of Impressionism, while vibrant pinks, reds, yellows, and oranges capture the beauty of sunlight reflected on foliage in the height of autumn.
Art historian Wendy Greenhouse, PhD discusses Vonnoh’s career and many of the paintings now on display at Madron in the 2010 catalog Robert Vonnoh: American Impressionist now available online from Madron Press and on Amazon.com. Read it to learn more about Vonnoh’s life, career, connection to Chicago, and his full exhibition history.
Social distancing guidelines and mask requirements are in place at Madron Gallery with in-person viewing appointments available online at www.madrongallery.com. Please call or email for evening or weekend appointments.
Madron Gallery features an extensive inventory that showcases the breadth and depth of art in the United States between 1890 and 1940, as well as a growing inventory of modern and contemporary artists. Through curated exhibitions, publications, and community collaboration, Madron spotlights the work of under-appreciated American artists.
Image credit: Robert Vonnoh (American, 1858-1933), Moonlit Landscape, Oil on canvas, 30 x 36 inches, c. 1920
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Casting Call: Women in Bronze from Art Nouveau to Art Deco explores bronze depictions of the female figure in the transitional period from just before to just after World War I. Sculptures by Paul Manship, Bessie Potter Vonnoh, Harriet Whitney Frishmuth, and more reveal the tensions between the two artistic movements — Art Nouveau a reaction to the Industrial Revolution, Art Deco to World War I — as sinuous, organic lines gave way to more streamlined forms.
On view from January 25 through March 26, 2021, these bronze statues were created by American artists who brought the influences of European, particularly French sculpture and design to America. Throughout history, bronze as an art form has fallen in and out of fashion. Political and industrial developments of the 19th and 20th centuries eventually lead to the popularity of bronze statuettes as domestic ornaments in parlors all across America.
Image info: Rhythm, Boris Lovet-Lorski (American, 1894 - 1973), Bronze, 8 x 17 x 6 inches, 1924
(image courtesy of Madron Gallery)
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The snow has melted, the days are longer, and you can feel the changing seasons in the air. Currently on view in the Blue Gallery – Spring and Weird People celebrates the rebirth and new beginnings that springtime promises, with lush landscapes of budding trees, riverbeds, and muddy fields alongside artistic interpretations of the human character by Ashcan, Contemporary, Impressionistic, Regionalist, and Social Realists artists.
Oscar Bluemner (1867 -1938)
Aaron Bohrod (1907 -1992)
Harriette Bowdoin (1880 – 1947)
Karl A. Buehr (1866 - 1952)
Theodore Earl Butler (1861-1936)
Robert Hartley Cameron (1909 – 1998)
Michel Ciry (1919 – 2018)
Dusty Folwarczny
Edmund Greacen (1877 -1949)
Paul Guiramand (1926 - 2008)
Terrence Karposwicz, b. 1948
Leon A. Kroll (1884 -1974)
Jack Levine (1915 -2010)
Harriet Randall Lumis (1870-1953)
Reginald Marsh (1898 – 1954)
Lawton Parker (1868 - 1954)
Louis Ritman (1889-1963)
Edgar Rupprecht (1889 - 1954)
William S. Schwartz (1896 - 1977)
Everett Shinn (1876 – 1953)
George Henry Smillie (1840 -1921)
Moses Soyer (1899 -1974)
Raphael Soyer (1899 -1987)
Eric Stephenson
Robert Vonnoh (1858-1933)
Chuck Walker (b. 1951)
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A dual exhibition of contemporary sculptures created by Chicago artists Dusty Folwarczny and Marshall Svendsen. This marks Folwarczny’s second exhibition and Svendsen’s first with Madron Gallery.
Balancing Act will be on view June 7 through August 13, 2021, with sculptures on display both in Madron Gallery and outside around the corner from the gallery, at 1750 N Kingsbury, Chicago, IL 60614. For details about the Artists’ Reception, please contact the gallery at info@madrongallery.com.
Exploration of materials, memories, and environments are common themes found throughout both Folwarczny and Svendsen’s work. Folwarczny creates experiments in physics — cylinder steel sculptures consisting of salvaged metal forms, welded together like pieces of a puzzle; the raw textured surface of metal and the aesthetic of rust are often on full display. Each finished piece is a test of Folwarczny’s hypothesis of how far she can push the limits of space, balance, and gravity.
Svendsen’s sculptures are his own unique visual language, created by combining found objects with the classic lost wax process of casting bronze. Twisted and broken industrial forms are visible through the smooth surface of the bronze metal, the organic form of the human figure — alongside fragments resembling pieces of preserved earth, bone, and rock — is meshed with a colder technological aesthetic. Each piece appears to be of another world, like characters in a story, or parts of a dream that can’t fully be remembered.
Dusty Folwarczny received her BFA in Sculpture from Truman State University. She has served as President of Chicago Sculpture International and on their Board of Directors since 2009 and is now an Emeritus member. Her work has been exhibited at Elmhurst Art Museum, IL, Art Chicago, EXPO Chicago, Willis Tower, Bridgeport Art Center, Krasl Art Center, MI, Ukrainian Institute of Modern Art, and numerous public art exhibitions. Her sculptures can be found in the permanent collections of the Village of Skokie, IL and the Sculpture Trails in Solsbeery, IN.
Marshall Svendsen received his BFA from the School of The Art Institute of Chicago in 2004, with an emphasis in sculpture, mold making and casting metal. In 2006, he founded True Form Productions, a fine art bronze foundry, and has cast bronze sculptures for artists including Rashid Johnson, Nick Cave, Preston Jackson, and Virginio Ferrari. Through True Form Productions Svendsen has produced memorial bronze statues for The Chicago Fire Department, and has worked with institutions such as The Field Museum, Lurie Children's Hospital of Chicago, The Illinois Historic Preservation Agency, and received a Proclamation from Illinois Governor Pat Quinn thanking him for his work restoring Abraham Lincoln’s Tomb in Springfield, IL. His work has been exhibited at Heaven Gallery, Chicago, IL, SOFA Chicago, Art Chicago, Purdue University, Cliff Dwellers Club, Chicago, IL, The Bridgeport Art Center, and The Evanston Art Center.
Madron Gallery is following current state and local Covid-19 guidelines. If you are fully vaccinated, masks in the gallery are not required. Appointments are available online atmadrongallery.com. Please call or email for evening or weekend appointments.
Madron Gallery’s collection includes an extensive inventory that showcases the breadth and depth of art in America between 1890 and 1940, especially Chicago and Jewish artists. Through curated exhibitions, publications, and community collaboration, Madron Gallery is dedicated to supporting the work of underappreciated American artists, connecting the themes, values, and subjects represented in the collection to artwork being created today.
Marshall Svendsen, Captains of Industry, cast bronze, 63 x 24 x 12 inches, 2019
Dusty Folwarcnzy, Scrape, salvaged steel & polymer, 80 x 48 x 50 inches, 2009
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Madron Gallery is thrilled to present William S. Schwartz: Color and Coloratura, an exhibition of paintings, drawings, and lithographs by artist William S. Schwartz (1896–1977). The show accompanies Madron Press’s book of the same title released earlier this year.
William S. Schwartz: Color and Coloratura will be on view September 20 through November 24, 2021. In response to recent changes in city and state COVID-19 guidelines, we’re offering exclusive tours for small groups (20 people or fewer) both during and outside our regular business hours. If you’re interested in scheduling a tour for yourself, please reach out to info@madrongallery.com. You can also schedule individual appointments by clicking the “Schedule Gallery Visit” button on our homepage, or by contacting the gallery at (312) 640-1302 / info@madrongallery.com.
On October 26th, Glencoe Public Library will be hosting a virtual author talk where we’ll be discussing William S. Schwartz: Color and Coloratura the book. Reservations may be made here. The book can be purchased at our online store or in person at the gallery.
William S. Schwartz: Color and Coloratura the book and exhibition represent theculmination of over ten years of research and collecting by Madron Gallery. The exhibition comprises artworks for sale and on loan from several private collections and organizations. Schwartz’s body of work spanned over five decades and often defied easy categorization. An opera-singing Jewish immigrant from Russia, William S. Schwartz became a linchpin in Chicago’s twentieth-century modern art scene. He arrived in the United States around 1912, fleeing the violence under the Pale of Settlement, and was mentored by Karl A. Buehr at the School of the Art Institute of Chicago. Schwartz forged a path blending and shifting between such disparate artistic modes as Fauvism, Futurism, and Surrealism as he built a prolific career from the tumultuous period just after WWI all the way through the early 1970s.
Known for his vibrant, saturated canvases and formal innovations in abstraction—particularly his synesthetic Symphonic Forms—Schwartz was dubbed “a musician in color” by his critics. He was a founding member of Around the Palette, a collective of Jewish artists, where he helped shape Chicago’s cultural conversation alongside heavyweights like Todros Geller, Anthony Angarola, and Aaron Bohrod. Schwartz was awarded numerous prizes by the Art Institute of Chicago and held his first one-man show there in 1935; he also exhibited nationally at places like The Metropolitan Museum of Art and The Pennsylvania Academy of Fine Arts.
Conversation surrounding early twentieth-century Midwestern art tends to be dominated by the Regionalist Triumvirate. As Schwartz was active in the same period, his name tends to be overshadowed, obscuring his significant influence in moving the needle of artistic progress in the Second City both within the Regionalist movement and beyond. Madron aims to preserve and celebrate the legacy of an artist who immortalized Chicago and its surroundings with his indelible style.
Madron Gallery’s extensive inventory of paintings, drawings, and prints showcases the breadth and depth of art in the United States between 1890 and 1940, especially Chicago and Jewish artists. Through curated exhibitions, publications, and community collaboration, Madron Gallery is dedicated to supporting the work of under-appreciated American artists, connecting the themes, values, and subjects represented in the collection to artwork being created today.
Top Image: William S. Schwartz (1896-1977), Symphonic Form from the Sea, oil on canvas, 36 x 40 inches, 1967
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What is the power of a line, of ink and graphite sinking into a piece of paper? The simple, gestural figure drawings created by modernist Abraham Walkowitz (American, b. Russia, 1878–1965) of the modern dancer Isadora Duncan (American, 1878–1927) answer this question many times over. A confident black line sweeps across the paper, creating the sensation of movement with its bends and curves, its variations in boldness and width. The line elongates and combines with others, forming a figure clad in a sheer tunic, head raised, arms and legs stretching across the wide expanse, challenging the borders of the page.
Madron Gallery’s Perpetual Motion explores the natural inclination of disparate artists and art forms to intertwine, inspire, and transform one another. Twelve of Walkowitz's original drawings are exhibited alongside a filmed 2016 performance of Varshavianka, a work Duncan choreographed in 1924. The piece was presented by the Department of Fine and Performing Arts at Loyola University Chicago; it was staged and coached by Jennifer Sprowl of Duncan Dance Chicago, who is both a professional dancer and Duncan historian. In keeping with the spirit of 2022 as the #YearofChicagoDance, Sprowl will give a live demonstration and talk on Duncan at Madron Gallery this June. The exact time and date are to be determined.
Abraham Walkowitz and Isadora Duncan were contemporaries, born in the same year and raised on opposite sides of the country. They met for the first time in 1906, in the Paris studio of Auguste Rodin (French, 1840–1917). They would meet again while Duncan was touring the United States in 1908, 1909, 1915, and 1916. It is estimated Walkowitz created over 5,000 drawings of Isadora Duncan throughout the course of his career, endeavoring to capture the essence of Duncan’s movement. Much like her own character, the gestures and rhythms of modern dance Duncan forged were a force of nature. Walkowitz said of Duncan, “She has no laws. She didn’t dance according to the rules. She created. Her body was music. It was a body electric.” Though the sheer volume of Walkowitz’s drawings speaks to an obsessive desire to preserve precisely the spirit of Duncan's motion, the end result feels as spontaneous as the subject herself.
Abraham Walkowitz was born in Siberia, Russia and emigrated to America in 1883. He studied at the National Academy of Design, NY and the Académie Julian in Paris. An early modernist painter known for abstract figurative works and cityscapes of New York, he exhibited in the 1913 Armory Show, was a member of Alfred Steiglitz’s inner circle, and regularly exhibited at 291 Gallery until its close in 1917. His artwork can be found in numerous museums and private collections, including The Whitney Museum, NY; The Museum of Modern Art, NY; The Metropolitan Museum, NY; The Jerome Robbins Dance Division, New York Public Library; The Brooklyn Museum, NY; The Phillips Collection, D.C.; and the Smithsonian American Art Museum.
Isadora Duncan was born in San Francisco, the youngest child in an artistic and unconventional family. Duncan’s travels began with a move to Chicago, then New York, before moving to London in 1898. There she began performing in the drawing rooms of the wealthy, taking inspiration from the Greek vases and bas-reliefs held in The British Museum. Duncan created a form of dance based on the organic motions and rhythms of the natural world, in contrast to the rigidity of ballet. Known as “The Mother of Modern Dance,” Duncan’s influence spread across America, Europe, and Russia where she toured and opened schools to teach young women her philosophy of dance. Duncan championed the notion of free-spiritedness coupled with the high ideals of ancient Greece: beauty, philosophy, and humanity. In addition to Walkowitz, Auguste Rodin, Gertrude Stein (American, 1874–1946), John Sloan (American, 1871–1951), and Edward Steichen (American, 1879–1973) are among the artists who created drawings, sculptures, poetry, and photography inspired by Duncan and her dance. Isadora Duncan died infamously in France while riding as a passenger in an open car – her long scarf got caught in the rear axle and broke her neck.
Founded in 2008, Duncan Dance Chicago fosters the education and appreciation of Isadora Duncan’s dance art technique through classes, performances, workshops, and community outreach. Artistic Director Jennifer Sprowl is also a founding member of the Isadora Duncan International Symposium, a teaching artist at the Joffrey Academy, and a faculty member at the Chicago Movement Collective. Sprowl was a principal dancer of the Isadora Duncan Dance Company in NYC and trained directly with Duncan dance luminaries Hortense Kooluris (1914–2007), Julia Levien (1911–2006), and Lori Belilove; all of whose education and training in the Duncan method can be traced back to Isadora Duncan. Sprowl and Duncan Dance Chicago performed in 2019 at the Isadora Duncan International Symposium, London, UK.
Madron Gallery’s inventory of paintings, drawings, sculptures, photographs, and prints showcases the breadth and depth of art in the United States from the late 19th century on. Known for its American Impressionist pieces, Madron also features an outstanding and constantly growing collection of modern and contemporary art, aiming to illuminate artistic connections across decades and centuries.
Image: Abraham Walkowitz (American, 1878-1965), Isadora Duncan, watercolor, pen, ink, and graphite on paper, 14 x 8 1/2 inches. Photograph courtesy of Madron Gallery.
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Madron Gallery is pleased to announce Duncan Dance Chicago at Madron Gallery, an artist talk and live demonstration on the life and work of Isadora Duncan, on Sunday June 12, 2022 at 2:00 PM. Jennifer Sprowl, Duncan historian, dancer, and Artistic Director of Duncan Dance Chicago, will talk about Isadora Duncan, her life, and her lasting impact on the world of dance. The program will also include a demonstrated sampling of the movement vocabulary that made Duncan world-renowned. Sprowl’s lecture is held in conjunction with the exhibition Perpetual Motion: Abraham Walkowitz Draws Isadora Duncan, now on view at Madron Gallery through June 24th, “See Chicago Dance’s” annual Chicago Dance Month, and what Chicago’s Department of Cultural Affairs and Special Events (DCASE) has designated the #YearofChicagoDance, which seeks to highlight Chicago’s dance community through a variety of citywide programming.
Perpetual Motion explores the natural inclination of disparate artists (Isadora Duncan, 1878-1927 and Abraham Walkowitz, 1878-1965) and art forms to intertwine, inspire, and transform one another. Abraham Walkowitz and Isadora Duncan were contemporaries, born in the same year and raised on opposite sides of the country. They met for the first time in 1906, in the Paris studio of Auguste Rodin (French, 1840–1917). They would meet again while Duncan was touring the United States in 1908, 1909, 1915, and 1916. It is estimated Walkowitz created over 5,000 drawings of Isadora Duncan throughout the course of his career, endeavoring to capture the essence of Duncan’s movement. Twelve of Walkowitz's original drawings are exhibited alongside a filmed 2016 performance of Varshavianka, a work Duncan choreographed in 1924. The piece was presented by the Department of Fine and Performing Arts at Loyola University Chicago; it was staged and coached by Jennifer Sprowl.
Founded in 2008, Duncan Dance Chicago fosters the education and appreciation of Isadora Duncan’s dance art technique through classes, performances, workshops, and community outreach. Artistic Director Jennifer Sprowl is also a founding member of the Isadora Duncan International Symposium, a teaching artist at the Joffrey Academy, and a faculty member at the Chicago Movement Collective. Sprowl was a principal dancer with the Isadora Duncan Dance Company in NYC and trained directly with Duncan dance luminaries Hortense Kooluris (1914–2007), Julia Levien (1911–2006), and Lori Belilove, all of whose education and training in the Duncan method can be traced back to Isadora Duncan herself. Sprowl and Duncan Dance Chicago performed in 2019 at the Isadora Duncan International Symposium, London, UK.
Madron Gallery’s inventory of paintings, drawings, sculptures, photographs, and prints showcases the breadth and depth of art in the United States from the late 19th century on. Known for its American Impressionist pieces, Madron also features an outstanding and constantly growing collection of modern and contemporary art, aiming to illuminate artistic connections across decades and centuries.
Images courtesy of Duncan Dance Chicago and Madron Gallery
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Madron Gallery presents Palette and Palate, an exhibition celebrating Chicago, its artists, and one of the city’s most unique and beloved artist-run spaces of the mid-twentieth century, Riccardo’s Restaurant and Gallery, once called the Montmartre of the Midwest. On view from September 6 through December 16, 2022, Palette and Palate features paintings depicting Chicago street scenes from the Madron collection alongside The Seven Lively Arts, a group of seven enormous paintings by seven Chicago artists commissioned by Ric Riccardo in 1947 to hang behind his palette-shaped bar at 437 N. Rush St. Each work depicts a different allegorical scene of an art form (Literature, Drama, Sculpture, Painting, Architecture, Dance, and Music); in Riccardo’s heyday, the paintings were considered by many to be the restaurant’s centerpiece. The exhibition is accompanied by Flash in the Pan, an essay by Alex Cornacchia exploring the restaurant-gallery combination that developed in Chicago in the late 1940’s as well as the oft-overlooked attributes that make Chicago galleries stand apart from other American gallery communities. On Saturday December 10th, Madron Gallery will host Phillip Koch and Sally Marschall of Film Police, as they present material from their upcoming PBS documentary film “Everybody Came to Ric’s: Chicago’s Golden Age 1934-1954”, about Ric Riccardo, his life, and Riccardo’s Restaurant and Gallery. Exhibiting artists include: Ivan Albright (1897-1983), Malvin Albright (1897-1983), Bernece Berkman-Hunter (1911-1988), Aaron Bohrod (1907-1992), Vincent D’Agostino (1898-1981), Todros Geller (1889-1949), Rachel V. Hartley (1884-1955), Ric Riccardo (1903-1954), Edgar Rupprecht (1889-1954), William S. Schwartz (1896 -1977), Robin Artine Smith (1903-1991), Ethel Spears (1902-1974), Ruth Van Sickle Ford (1897-1989), and Rudolph Weisenborn (1881-1974).
That Chicago suffers from an inferiority complex compared to New York City and Los Angeles is not heavily-contested within the art world. Despite Chicago’s vibrant, diverse, wide-ranging art scene, with its rich history of experimental artist-run spaces, decade after decade cultural critics have asked whether the city even has a style of art. Institutions like the Art Institute of Chicago long had a frustrating habit of showing mostly European and East Coast artists; it wasn’t until 1946 that they even dedicated a gallery exclusively to local artists. Enter Ric Riccardo (1903 -1954), an artist himself with a vested interest in giving new and homegrown talent a chance to be seen where other galleries and museums might not. The gallery at Riccardo’s was a Chicago creation, intended, at least in part, to showcase what Chicago art was and could be, and exactly what its artists were made of.
Riccardo opened the doors to his restaurant in 1933. A former WPA artist, he originally exhibited only his own work. But over the years his artist friends became regulars, both at his tables and up on his walls. Riccardo's Restaurant and Gallery soon had its own mission statement, curator, and monthly exhibitions, and it attracted all manner of people. As Tribune journalist Rick Kogan wrote in 1995, Riccardo’s was a “remarkable gathering place for artists, writers, journalists, opera singers and movie stars, admen, drunks, scalawags and bon vivants, real and would-be.’’
Always the entrepreneur Riccardo expanded his restaurant and exhibition space several times over, and in 1947 he commissioned six of his friends to each create a 96 x 48 inch oil painting, assigning each artist a different theme: Ivan Albright had Drama, Malvin Albright had Sculpture, Vincent D’Agostino had Painting, Aaron Bohrod had Architecture, William S. Schwartz had Music, Rudoph Weisenborn had Literature, and Riccado assigned himself toDance. For two decades after their 1948 unveiling, the paintings hung behind the bar at Riccardo’s. As Alson Smith wrote in his 1953 book Chicago’s Left Bank: “These murals are the pride of the restaurant.” By 1974, however, financial strife forced the Riccardo family to sell first the Ivan Albright, then the Aaron Bohrod, and finally the restaurant itself in 1975. The other five paintings remained behind the bar until 1995, when Riccardo’s closed its doors for good.
For a while the world lost track of the Lively Arts. In 2001 Mary Lackroitz Gray declared them missing in her Guide to Chicago Murals; critic Franz Schulze wrote in the book’s forward that they’d “simply disappeared.” It wasn’t until 2000 that anyone decided to do more than wonder where they’d gone. Seymour H. Persky (1922 -2015) — lawyer, real estate investor, preservationist, sometime patron of Riccardo’s, and noted collector of art arcana — made it his mission to track down the seven paintings. The search started in June of 2000 and involved lawyers, curators, and art experts. In 2002, Persky successfully reunited the Lively Arts.
Later that same year the paintings were displayed at the Union League Club’s Rendezvous Bar, where Persky was a member. The Seven Lively Arts would spend the decade traveling, exhibited in Art In Chicago: Resisting Regionalism, Transforming Modernism at the Pennsylvania Academy of the Fine Arts in 2007, and in Big Picture: A New View of Painting in Chicago at the Chicago History Museum in 2008. To this day, The Seymour H. Persky Trust are the caretakers of this unique piece of Chicago History.
Alex Cornacchia is a researcher and writer for Madron Gallery, and author of Madron Press’sWilliam S. Schwartz: Color and Coloratura. Alex’s articles, essays, and reviews have appeared in numerous publications, including The New Art Examiner, The Creativity Post, and Misadventures Magazine. Alex spent a year writing for a local Massachusetts newspaper, and currently works in publications at The Oriental Institute of the University of Chicago. Alex graduated from Vassar College with a BA in psychology and art history.
Phillip Koch and Sally Marschall are award-winning filmmakers. Koch’s and Marschall’s credits include “The American Flag: Two Centuries of Concord & Conflict,” a PBS national broadcast, and “Medusa Challenger,” an award-winning short in the permanent collection of the Museum of Modern Art in New York and the Library of Congress. Koch was awarded a Chicago area Emmy for “Medusa Challenger.” Phillip was a producer for CNN’s “Chicagoland,” (Silver Hugo 2014 Chicago Film Festival) executive produced by Robert Redford. A music video starring Chance the Rapper, “Angels Ft. Saba,” was nominated for an MTV VMA in 2016, currently has over 22 million views on YouTube, and was produced by Koch’s & Marschall’s company, Film Police. Feature films produced by Koch and Marschall include “Pink Nights” (1985), “Night of the Lawyers” (1995), “Betaville” (2001) and the Chicago filming of “Summer in Genoa” and “The Shock Doctrine” for British director Michael Winterbottom. Koch and Marschall have been featured in The New York Times Magazine, The Wall Street Journal, and The Los Angeles Times. Koch has written for Cinefantastique, Cimarron Review, Descant, Pro Video Review, and Trial Diplomacy Journalmagazines. Koch serves as a judge for the National Emmy Awards in the News and Documentary category, and has a B.A. from Washington University, St. Louis, Mo. Marschall has a B.A. From the University of Miami, Coral Gables, Florida. Both Koch and Marschall have participated in post-graduate work in film at Columbia College Chicago.
Madron Gallery’s inventory of paintings, drawings, sculptures, photographs, and prints showcases the breadth and depth of art in the United States from the late 19th century on. Known for its American Impressionist pieces, Madron also features an outstanding and constantly growing collection of modern and contemporary art, aiming to illuminate artistic connections across decades and centuries.
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Madron Gallery is excited to participate in Lincoln Park Art Night. Six unique art locations have banded together to celebrate their Lincoln Park neighborhood and promote a destination for art lovers that is too-frequently overlooked. FREE trolleys will circulate the neighborhood offering hop-on/hop-off service, for three hours on Thursday, October 20th from 5:30-8:30 PM. Registration is not required but requested to help with planning. Register today here. *Please note, masks and proof of covid vaccination and booster are required to enter Wrightwood 659. Trolley riders may start and stop at any of the six participating locations: Madron Gallery, Leslie Wolfe Gallery, Wrightwood 659*, DePaul Art Museum, Josh Moulton Fine Art Gallery, and gallery 1871.
At Madron Gallery we will be celebrating our fall exhibition Palette and Palate with a reception of cocktails, wine, and passed hors d'oeuvres.
Guests are also invited to visit Claridge House at 1244 N Dearborn for before or after event cocktails. Additional Information can be found here.
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An artist’s reception will be held on Saturday, April 1st, from 6-8PM at Madron Gallery.
Madron Gallery presents Working Memory, an exhibition of new work and the first solo gallery show for Erin Garrity-Duffey. Opening March 6 and running through June 16, 2023, Working Memory investigates the nexus of art, science, and the human condition.
Erin Garrity-Duffey’s art is consumed with the mechanics, formation, and deterioration of the human brain. Neuroscientific studies of memory loss, early childhood development, and trauma have produced a wave of discoveries in recent decades about how the mind functions and falls apart. This research — collected from science journals, newspapers, and magazines — has acted as inspiration and source material for Garrity-Duffey. Her drawings and paintings are reminiscent of magnified fluid pressed between glass slides, reflecting a longstanding practice of observing blood, scabs, and all manner of biological specimens under the microscope; biomorphic forms allude to the interior of the human body without directly portraying it. Working Memory consists of 16 paintings and 18 drawings by Garrity-Duffey.
Erin Garrity-Duffey is an artist and educator. She received a Bachelor of Fine Arts from the School of the Art Institute of Chicago in 2004 and a Master of [Education in Reading?] from Xavier University in 2011. Garrity-Duffey’s artwork has been exhibited at The Other Art Fair in Chicago and Dallas, Bridgeport Art Center in Chicago, and Illinois Art Education Association Exhibition, as well as at local Chicago businesses and online at Saatchi Art. Garity-Duffey’s work can be found in private collections in Illinois, Florida, Ohio, New Jersey, and Texas.
Madron Gallery showcases the breadth and depth of nineteenth and twentieth-century art in the United States with its diverse inventory of paintings, drawings, sculptures, photographs, and prints by less widely-recognized artists. While the gallery’s American Impressionist pieces initially put it on the map, Madron also features an outstanding and constantly evolving collection of modern and contemporary art, aiming to illuminate artistic connections across decades and centuries.
Madron Press, formally established in 2020, seeks to further scholarship around significant but oft-overlooked American artists. Robert Vonnoh: American Impressionist and William S. Schwartz: Color and Coloratura are both available for purchase online.
Image: Reconstructed, acrylic and oil on canvas, 48 x 60 inches, 2022
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An artist’s reception will be held on Saturday, April 1st, from 6-8PM at Madron Gallery.
Madron Gallery presents Working Memory, an exhibition of new work and the first solo gallery show for Erin Garrity-Duffey. Opening March 6 and running through June 16, 2023, Working Memory investigates the nexus of art, science, and the human condition.
Erin Garrity-Duffey’s art is consumed with the mechanics, formation, and deterioration of the human brain. Neuroscientific studies of memory loss, early childhood development, and trauma have produced a wave of discoveries in recent decades about how the mind functions and falls apart. This research — collected from science journals, newspapers, and magazines — has acted as inspiration and source material for Garrity-Duffey. Her drawings and paintings are reminiscent of magnified fluid pressed between glass slides, reflecting a longstanding practice of observing blood, scabs, and all manner of biological specimens under the microscope; biomorphic forms allude to the interior of the human body without directly portraying it. Working Memory consists of 16 paintings and 18 drawings by Garrity-Duffey.
Erin Garrity-Duffey is an artist and educator. She received a Bachelor of Fine Arts from the School of the Art Institute of Chicago in 2004 and a Master of [Education in Reading?] from Xavier University in 2011. Garrity-Duffey’s artwork has been exhibited at The Other Art Fair in Chicago and Dallas, Bridgeport Art Center in Chicago, and Illinois Art Education Association Exhibition, as well as at local Chicago businesses and online at Saatchi Art. Garity-Duffey’s work can be found in private collections in Illinois, Florida, Ohio, New Jersey, and Texas.
Madron Gallery showcases the breadth and depth of nineteenth and twentieth-century art in the United States with its diverse inventory of paintings, drawings, sculptures, photographs, and prints by less widely-recognized artists. While the gallery’s American Impressionist pieces initially put it on the map, Madron also features an outstanding and constantly evolving collection of modern and contemporary art, aiming to illuminate artistic connections across decades and centuries.
Madron Press, formally established in 2020, seeks to further scholarship around significant but oft-overlooked American artists. Robert Vonnoh: American Impressionist and William S. Schwartz: Color and Coloratura are both available for purchase online.
Image: Reconstructed, acrylic and oil on canvas, 48 x 60 inches, 2022
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In the late 1940s and early 1950s, Abstract Expressionism exerted a gravitational pull on artists across the United States. Some found the call irresistible; others doubled down on their more representative work. And then there was Milwaukee artist Joseph Friebert (1908–2002).
Like many of his Social Realist contemporaries, Friebert had spent the early years of his career capturing the loneliness, despair, and struggles of war and the Depression. But in that transformative period of the late 1940s, and at the urging of his wife, artist Betsy Ritz Friebert (1910–1963), he decided to try something new. In the decade and change to follow, Friebert developed a style that quietly tested the border between the figurative and the abstract, a style that would go on to win him international attention in the form of a coveted spot in the 1956 Venice Biennale alongside some of the most successful American artists of the time, including Jackson Pollock, Georgia O’Keeffe, and Willem De Kooning.
Friebert’s paintings from this period merge centuries-old techniques with a modern vision. His particular method of layering oils (or “indirect painting”), gleaned from studying the Old Masters, is applied to urban and natural forms so that they glow, fragment, and dissolve into fathomless depths. His palettes are somber and intricate: hues of brown and orange are infused and interwoven with striking notes of green, red, yellow, and blue. Though Friebert never embraced pure abstraction, there are many other kinds of innovation to be found in these rich, subtle works.
The journey of an artistic practice is messy yet beautiful, often a fusion of conflicting circumstances. Struggle, growth, failure, success, insecurity, confidence, criticism, praise, rejection, and recognition are experienced by every artist with the gift of a lengthy career. Friebert experienced all throughout his. During his lifetime he exhibited at The Metropolitan Museum of Art, The Whitney Museum of American Art, The Corcoran Art Gallery, D.C., The Art Institute of Chicago, The Walker Art Center, among others. Today his artwork can be found in over 44 museums across the country, as well as private collections nationally and abroad.
Image: Joseph Friebert (1908-2002), City Reflections, oil on masonite, 30 x 48 inches, n.d.
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Friebert became a full-time artist and educator at the age of thirty-eight, following his initial career as a pharmacist. He received a bachelor’s degree in art education from Milwaukee State Teachers College (now the University of Wisconsin-Milwaukee, or UW-M) and a master’s degree from the University of Wisconsin-Madison. From 1946 through 1974, Friebert served on the faculty of the art department at UW-M. During his lifetime, Friebert’s work was exhibited at the Art Institute of Chicago, Carnegie Museum, Corcoran Gallery of Art, Metropolitan Museum of Art, Walker Art Center, and Whitney Museum of American Art, among others. After his death, the Joseph and Betsy Ritz Friebert Family Art Partnership collaborated with the Kohler Foundation, which distributed 285 of Friebert’s paintings, drawings, and prints to museums throughout the East Coast and Midwest. Today, Friebert’s artwork can be found in forty-four North American museums, as well as in private collections in the United States and abroad.
Sue Taylor is an art historian, curator, and critic. She earned her B.A. in art history at Roosevelt University and her M.A. and Ph.D. at the University of Chicago. Taylor’s publications include numerous catalogue essays, as well as articles and reviews in American Art, American Craft, Art Journal, Art in America, ARTnews, ArtUS, Chicago Sun-Times, Dialogue, Fiberarts, New Art Examiner, Oregon ArtsWatch, and The Oregonian. She is the author of two monographs, Hans Bellmer: The Anatomy of Anxiety (MIT Press, 2000) and the award-winning Grant Wood’s Secrets (University of Delaware Press, 2020). Formerly Associate Dean in the College of the Arts and Professor of Art History at Portland State University, Taylor received the Kamelia Massih Outstanding Faculty Award before her appointment to emerita status in 2019.
Madron is home to Madron Gallery, Madron Press, and the Skolnik family’s private art collection. The Skolnik family, the founders of Madron, is committed to supporting Chicago-area artists, celebrating Jewish heritage, and acting as stewards of the legacy of American art. Through scholarship-informed programming and the en suite exhibition of artwork available for purchase alongside pieces from the family’s private collection, Madron has carved out a unique place in Chicago’s artistic landscape, sparking dialogue about the ongoing significance of nineteenth and twentieth-century art in today’s world and fostering a dynamic community for Chicago’s culture-makers, shapers, and appreciators.
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","type":"Event","state":"published","slug":"artist-reception-9d15a04e-40c8-4f49-9bb1-5f97a72c341d","created_at":"2023-08-21 21:25:06.729565","updated_at":"2023-08-31 17:11:58.291843","excerpt":"","is_timeless":true,"organization_id":943,"highlighted":false,"opening_starts_at":"2023-11-02 18:00:00","opening_ends_at":"2023-11-02 21:00:00","searchable":"'art':8B 'artist':1A 'conjunct':4B 'lincoln':6B 'night':9B 'park':7B 'recept':2A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668653/ucwyegdmf9gqhni50ixp.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669701/event_ics_1721669700706.ics","carousel":null,"category_name":"Exhibitions"},{"id":11784,"title":"Lincoln Park Art Night 2023","starts_at":"2023-11-02 17:30:00","ends_at":"2023-11-02 20:30:00","body":"Join us at Madron Gallery and fall in love with Joseph Friebert: The Experimental Years, then hop on one of our luxury mini buses to see all that historic Lincoln Park has to offer!
Featuring live jazz with the Chris Greene Trio, cocktails, and passed d'oeuvres.
Free parking available at Madron.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419591/xqbrfuqsyckvkbghvtzm.png\")
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Madron Gallery is pleased to announce our 2024 spring exhibition: System and Dialectics of Art. Opening March 4, 2024, and running through June 14, 2024, an artist reception will be held on Thursday, April 4, 2024, from 5:30–8:30 PM at Madron Gallery, which is open to the public. System and Dialectics of Art features work by fifteen contemporary artists all at various stages of their careers and lives, tackling a wide range of themes with different techniques and materials. The exhibition is inspired by a small, often-forgotten piece of art history: John D. Graham’s 1937 book System and Dialectics of Art. Written by an artist, for artists, System and Dialectics of Art is composed of 129 questions and answers surrounding the theory and practice of creating art. Madron has taken fifteen of these questions and paired each to an artist whose exhibited work provides one possible answer. There is no need for an artist statement. Every piece and paired question are in dialogue. Tune in to their conversations; come to your own conclusions.
Andrew Arkell is a Chicago-based architect and artist. Arkell received his Bachelor of Architecture from the University of Arkansas. He is a member of the American Institute of Architects and the National Watercolor Society. His watercolor paintings have been exhibited in galleries in Chicago, IL; New York, NY; San Pedro, CA; and Cincinnati, OH; as well as several art festivals.
Zach Balousek is a Chicago-based artist and a musician with a focus on creating interactive and musical sculptures. Balousek earned his BFA in ceramics and a minor in art history from Southern Illinois University in Edwardsville. He was a resident artist of Terra Incognito in Oak Park, IL, where he also served as resident coordinator and later taught adult classes. He has exhibited throughout the Midwest and has been the recipient of several juried awards.
Michael Banning is a Minneapolis-based artist and educator. He received his BFA from the University of Colorado, Boulder, and his MFA from Minneapolis College of Art and Design. Banning’s oil paintings and drawings of contemporary American urban, industrial, and domestic landscapes have been shown in solo exhibitions in Chicago, IL; Denver, CO; Minneapolis, MN; and New York, NY. Banning’s work has been included in group exhibitions at Chicago’s Harold Washington Library, the Minnesota Marine Art Museum, the Rockford Art Museum, the Kohler Arts Center, the South Bend Regional Museum of Art, the Fort Wayne Museum of Art, and Manifest Creative Research Gallery in Cincinnati, OH, among others.
Shel Howard Beugen is a Chicago-based artist. A graduate of the University of Minnesota (B.A., M.A.), Beugen also did post-graduate work at the School of the Art Institute of Chicago. His early work developed as an extension of his training as a floral designer, and he continues to explore visual and physical relationships through his paintings and constructions. His work has been exhibited at Muskegon Museum of Art, Chicago Cultural Center, Southern Ohio Museum, Lewis University, Evanston Art Center, Bridgeport Art Center, Beverly Art Center, and the North Shore Art League. His art is included in private collections in California, Florida, Michigan, Texas, and Illinois. He is a member of the Chicago Society of Artists, the Chicago Alliance of Visual Artists, and the North Shore Art League.
Jess Beyler is an artist based in Urbana, Illinois. Beyler studied art at Schiller International University in Strasbourg, France, earned a BFA in painting at the Maine College of Art & Design, and did her graduate work at the University of Iowa where she received both an M.A. and an MFA in painting and drawing. Because her studio practice is as physical as it is visual, she also studied with the Ram Island Dance Company of Portland, ME, and earned a second degree black belt from the Japan Karate Association in Chicago. Both disciplines inform her work. Beyler has exhibited in galleries across the country, including in Chicago, IL; New York; Portland, ME; Denver, CO; the Kansas City area; and Champaign-Urbana, IL.
Margie Criner is a Chicago-based artist and owner of Itty Bitty Mini Mart. Criner earned a B.S. in Textile Design from Michigan State University, East Lansing, and studied woodworking and furniture design with the Bauhaus Apprenticeship Institute, Forest Park, IL, and the Chicago School of Woodworking, Chicago, IL. Criner’s sculptures with miniature interiors have been exhibited in exhibitions in galleries and museums across the country.
Matthew Cortez is a Chicago-based artist, curator, poet, philosopher, and student of art history. Cortez is currently studying art history, theory, and criticism at the School of the Art Institute of Chicago (SAIC) and is the current Installation Director at SAIC’s SITE Galleries. Cortez has exhibited work at SAIC Galleries, Northwestern University, and Indiana University Northwest. In his role at SITE Galleries, he has curated three exhibitions on SAIC’s campus in downtown Chicago.
Kara Cobb Johnson is a Chicago-based artist, curator, and educator making conceptual pieces with a focus on creating harmony within a picture plane, installation space, or sculpture. Johnson received a B.A. from Northeastern Illinois University and studied at the University of Chicago Graham School of Continuing Liberal and Professional Studies. In July 2023, Johnson was awarded a Chicago Department of Cultural Affairs and Special Events Individual Artist Grant to create and curate new work for 2024.
Matt Kuhlman is an artist, writer, and journalist originally from Lawrence, KS, now based in Milwaukee, WI. Kuhlman received a BFA and a M.S. in journalism from the University of Kansas, as well as an MFA from the University of Wisconsin-Milwaukee. His interdisciplinary practice ranges from working in pencil and paper to creating fully immersive environments. His work has appeared in many exhibitions throughout the United States, and he hosted and produced the Studio Sessions podcast series for Big Red & Shiny from 2012 to 2014.
Ruben Lima is a self-taught, color-blind artist based in Chicago, IL. His studio practice of painting pulls inspiration from abstract expressionism and his life experiences. His work has been exhibited in Chicago and appears in several private collections.
MISU is a Chicago-based interdisciplinary artist. They operate in the belief that memory, as an active and vegetate liminal space, serves as an anchorage to reclaiming identity. They utilize self-portraiture and abstraction to document their limitless states of Self, identity, and the transformative experiences within their body, spanning from Black grrrlhood to the present. They explore emotionality through color, familiar motifs and the tactile nature of creating marks as new definitions of consciousness and materiality emerge in their work. MISU received a B.A. in studio art at Chicago State University and studied at the Art Institute of Chicago's Andrew W. Mellon Undergraduate Curatorial Summer Academy. MISU has exhibited at several galleries in cities such as Chicago, IL; Oshkosh, WI; and Acme, MI; as well as receiving numerous honorable mentions for their photography work.
Alison Mosher is a Chicago artist and current BFA student at Philadelphia’s Tyler School of Art and Architecture at Temple University, majoring in painting and drawing with a minor in art history. Her main interest is in oil painting, but she also works with cyanotype, beading, and fibers, often exploring how the different mediums can be combined. She draws a lot of inspiration from childhood photographs and the human figure to explore memory.
Kristen Phipps was born and raised in Wichita, KS, and lives and works in Chicago, IL. She received an MFA in painting from The Ohio State University, a BFA in painting from the Savannah College of Art and Design, and an A.A. from Cowley County Community College. Phipps has participated in several residencies and exhibited her work in several states and cities including Kansas, Ohio, Texas, Georgia, Washington, D.C., and Chicago, IL.
Joseph Royer is a Chicago-area multi-disciplinary artist, educator, and cultural worker who draws upon insights from topics such as signs and communication systems, art history, and cultural hybridity to create contemplative works which suggest identities, potentiality, and the socio-cultural realm. He earned his BFA in Studio Art from the Pennsylvania State University and his MFA in Painting and drawing from the School of the Art Institute of Chicago. His work has been exhibited at Fort Wayne Museum of Art, IN; Gallery Northwest, Indiana University Northwest, IN, Barat College, Lake Forest, IL; ARC Gallery, Chicago; DragonFly Gallery, Chicago; Zolla Lieberman Gallery, Chicago and Gallery Victor Armendariz, Chicago among other venues. The artist is currently in collaboration with the Friends of the Children Organization Chicago as teaching artist and also as board member for Dragonfly Gallery and Creative Spaces NFP in Chicago.
Bruce Thorn is a Chicago-based artist and critic. Thorn earned a BFA from the School of the Art Institute of Chicago, and an MFA from the University of Illinois Chicago. Thorn works primarily with oil paint, which offers the accuracy, transparency, and color luminescence that are so important to him. In 2016 he took up an active interest in writing essays and reviews about art, which have been published in Neoteric Art and the New Art Examiner from 2016-2019. Thorn is a 1994 recipient of a Pollock-Krasner award. His work is in the permanent collections of the Art Institute of Chicago, The Ukrainian Institute of Modern Art, the Roger Brown Study Collection, and the Flaten Art Museum in Northfield, MN.
Madron is home to Madron Gallery, Madron Press, and the Skolnik family’s private art collection. The Skolnik family, the founders of Madron, is committed to supporting Chicago artists, celebrating Jewish heritage, and acting as stewards of the legacy of American art. Through scholarship-informed programming and the en suite exhibition of artwork available for purchase alongside pieces from the private collection, Madron has carved out a unique place in Chicago’s artistic landscape, sparking dialogue about the ongoing significance of nineteenth and twentieth-century art in today’s world and fostering a dynamic community for Chicago’s culture-makers, shapers, and appreciators.
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'zolla':1429B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668755/zjcwvbjjkqo7tbnybdu1.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669746/event_ics_1721669745788.ics","carousel":null,"category_name":"Exhibitions"},{"id":12355,"title":"Artist Reception for System and Dialectics of Art","starts_at":"2024-04-04 17:30:00","ends_at":"2024-04-04 20:30:00","body":"Madron Gallery is pleased to announce our 2024 spring exhibition: System and Dialectics of Art. Opening March 4, 2024, and running through June 14, 2024, an artist reception will be held on Thursday, April 4, 2024, from 5:30–8:30 PM at Madron Gallery, which is open to the public. System and Dialectics of Art features work by fifteen contemporary artists all at various stages of their careers and lives, tackling a wide range of themes with different techniques and materials. The exhibition is inspired by a small, often-forgotten piece of art history: John D. Graham’s 1937 book System and Dialectics of Art. Written by an artist, for artists, System and Dialectics of Art is composed of 129 questions and answers surrounding the theory and practice of creating art. Madron has taken fifteen of these questions and paired each to an artist whose exhibited work provides one possible answer. There is no need for an artist statement. Every piece and paired question are in dialogue. Tune in to their conversations; come to your own conclusions.
Andrew Arkell is a Chicago-based architect and artist. Arkell received his Bachelor of Architecture from the University of Arkansas. He is a member of the American Institute of Architects and the National Watercolor Society. His watercolor paintings have been exhibited in galleries in Chicago, IL; New York, NY; San Pedro, CA; and Cincinnati, OH; as well as several art festivals.
Zach Balousek is a Chicago-based artist and a musician with a focus on creating interactive and musical sculptures. Balousek earned his BFA in ceramics and a minor in art history from Southern Illinois University in Edwardsville. He was a resident artist of Terra Incognito in Oak Park, IL, where he also served as resident coordinator and later taught adult classes. He has exhibited throughout the Midwest and has been the recipient of several juried awards.
Michael Banning is a Minneapolis-based artist and educator. He received his BFA from the University of Colorado, Boulder, and his MFA from Minneapolis College of Art and Design. Banning’s oil paintings and drawings of contemporary American urban, industrial, and domestic landscapes have been shown in solo exhibitions in Chicago, IL; Denver, CO; Minneapolis, MN; and New York, NY. Banning’s work has been included in group exhibitions at Chicago’s Harold Washington Library, the Minnesota Marine Art Museum, the Rockford Art Museum, the Kohler Arts Center, the South Bend Regional Museum of Art, the Fort Wayne Museum of Art, and Manifest Creative Research Gallery in Cincinnati, OH, among others.
Shel Howard Beugen is a Chicago-based artist. A graduate of the University of Minnesota (B.A., M.A.), Beugen also did post-graduate work at the School of the Art Institute of Chicago. His early work developed as an extension of his training as a floral designer, and he continues to explore visual and physical relationships through his paintings and constructions. His work has been exhibited at Muskegon Museum of Art, Chicago Cultural Center, Southern Ohio Museum, Lewis University, Evanston Art Center, Bridgeport Art Center, Beverly Art Center, and the North Shore Art League. His art is included in private collections in California, Florida, Michigan, Texas, and Illinois. He is a member of the Chicago Society of Artists, the Chicago Alliance of Visual Artists, and the North Shore Art League.
Jess Beyler is an artist based in Urbana, Illinois. Beyler studied art at Schiller International University in Strasbourg, France, earned a BFA in painting at the Maine College of Art & Design, and did her graduate work at the University of Iowa where she received both an M.A. and an MFA in painting and drawing. Because her studio practice is as physical as it is visual, she also studied with the Ram Island Dance Company of Portland, ME, and earned a second degree black belt from the Japan Karate Association in Chicago. Both disciplines inform her work. Beyler has exhibited in galleries across the country, including in Chicago, IL; New York; Portland, ME; Denver, CO; the Kansas City area; and Champaign-Urbana, IL.
Margie Criner is a Chicago-based artist and owner of Itty Bitty Mini Mart. Criner earned a B.S. in Textile Design from Michigan State University, East Lansing, and studied woodworking and furniture design with the Bauhaus Apprenticeship Institute, Forest Park, IL, and the Chicago School of Woodworking, Chicago, IL. Criner’s sculptures with miniature interiors have been exhibited in exhibitions in galleries and museums across the country.
Matthew Cortez is a Chicago-based artist, curator, poet, philosopher, and student of art history. Cortez is currently studying art history, theory, and criticism at the School of the Art Institute of Chicago (SAIC) and is the current Installation Director at SAIC’s SITE Galleries. Cortez has exhibited work at SAIC Galleries, Northwestern University, and Indiana University Northwest. In his role at SITE Galleries, he has curated three exhibitions on SAIC’s campus in downtown Chicago.
Kara Cobb Johnson is a Chicago-based artist, curator, and educator making conceptual pieces with a focus on creating harmony within a picture plane, installation space, or sculpture. Johnson received a B.A. from Northeastern Illinois University and studied at the University of Chicago Graham School of Continuing Liberal and Professional Studies. In July 2023, Johnson was awarded a Chicago Department of Cultural Affairs and Special Events Individual Artist Grant to create and curate new work for 2024.
Matt Kuhlman is an artist, writer, and journalist originally from Lawrence, KS, now based in Milwaukee, WI. Kuhlman received a BFA and a M.S. in journalism from the University of Kansas, as well as an MFA from the University of Wisconsin-Milwaukee. His interdisciplinary practice ranges from working in pencil and paper to creating fully immersive environments. His work has appeared in many exhibitions throughout the United States, and he hosted and produced the Studio Sessions podcast series for Big Red & Shiny from 2012 to 2014.
Ruben Lima is a self-taught, color-blind artist based in Chicago, IL. His studio practice of painting pulls inspiration from abstract expressionism and his life experiences. His work has been exhibited in Chicago and appears in several private collections.
MISU is a Chicago-based interdisciplinary artist. They operate in the belief that memory, as an active and vegetate liminal space, serves as an anchorage to reclaiming identity. They utilize self-portraiture and abstraction to document their limitless states of Self, identity, and the transformative experiences within their body, spanning from Black grrrlhood to the present. They explore emotionality through color, familiar motifs and the tactile nature of creating marks as new definitions of consciousness and materiality emerge in their work. MISU received a B.A. in studio art at Chicago State University and studied at the Art Institute of Chicago's Andrew W. Mellon Undergraduate Curatorial Summer Academy. MISU has exhibited at several galleries in cities such as Chicago, IL; Oshkosh, WI; and Acme, MI; as well as receiving numerous honorable mentions for their photography work.
Alison Mosher is a Chicago artist and current BFA student at Philadelphia’s Tyler School of Art and Architecture at Temple University, majoring in painting and drawing with a minor in art history. Her main interest is in oil painting, but she also works with cyanotype, beading, and fibers, often exploring how the different mediums can be combined. She draws a lot of inspiration from childhood photographs and the human figure to explore memory.
Kristen Phipps was born and raised in Wichita, KS, and lives and works in Chicago, IL. She received an MFA in painting from The Ohio State University, a BFA in painting from the Savannah College of Art and Design, and an A.A. from Cowley County Community College. Phipps has participated in several residencies and exhibited her work in several states and cities including Kansas, Ohio, Texas, Georgia, Washington, D.C., and Chicago, IL.
Joseph Royer is a Chicago-area multi-disciplinary artist, educator, and cultural worker who draws upon insights from topics such as signs and communication systems, art history, and cultural hybridity to create contemplative works which suggest identities, potentiality, and the socio-cultural realm. He earned his BFA in Studio Art from the Pennsylvania State University and his MFA in Painting and drawing from the School of the Art Institute of Chicago. His work has been exhibited at Fort Wayne Museum of Art, IN; Gallery Northwest, Indiana University Northwest, IN, Barat College, Lake Forest, IL; ARC Gallery, Chicago; DragonFly Gallery, Chicago; Zolla Lieberman Gallery, Chicago and Gallery Victor Armendariz, Chicago among other venues. The artist is currently in collaboration with the Friends of the Children Organization Chicago as teaching artist and also as board member for Dragonfly Gallery and Creative Spaces NFP in Chicago.
Bruce Thorn is a Chicago-based artist and critic. Thorn earned a BFA from the School of the Art Institute of Chicago, and an MFA from the University of Illinois Chicago. Thorn works primarily with oil paint, which offers the accuracy, transparency, and color luminescence that are so important to him. In 2016 he took up an active interest in writing essays and reviews about art, which have been published in Neoteric Art and the New Art Examiner from 2016-2019. Thorn is a 1994 recipient of a Pollock-Krasner award. His work is in the permanent collections of the Art Institute of Chicago, The Ukrainian Institute of Modern Art, the Roger Brown Study Collection, and the Flaten Art Museum in Northfield, MN.
Madron is home to Madron Gallery, Madron Press, and the Skolnik family’s private art collection. The Skolnik family, the founders of Madron, is committed to supporting Chicago artists, celebrating Jewish heritage, and acting as stewards of the legacy of American art. Through scholarship-informed programming and the en suite exhibition of artwork available for purchase alongside pieces from the private collection, Madron has carved out a unique place in Chicago’s artistic landscape, sparking dialogue about the ongoing significance of nineteenth and twentieth-century art in today’s world and fostering a dynamic community for Chicago’s culture-makers, shapers, and appreciators.
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'zolla':1432B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668755/dvxwp1diagjyp2qametk.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669746/event_ics_1721669745640.ics","carousel":null,"category_name":"Exhibitions"},{"id":13572,"title":"Berence Berkman-Hunter and Ethel Spears","starts_at":"2024-09-03 12:00:00","ends_at":"2024-11-22 12:00:00","body":"Madron Gallery is pleased to present Bernece Berkman-Hunter and Ethel Spears, an exhibition of two Depression Era artists whose work appears to be in a state of juxtaposition rather than a melding of the minds. The exhibition focuses on the time when both artists were living and working in Chicago (1930s and early 1940s) and is meant to be a starting off point for Madron Gallery into further research of this era. The twenty artworks exhibited include paintings and lithographs that are rarely seen publicly. Madron Gallery thanks the generosity of The Estate of Kathleen Blackshear and Ethel Spears, Illinois State Museum, The Koehnline Museum of Art, Clifford Law Offices, Charlie and Kim Hankins, and Bernard Friedman for loaning artwork towards the exhibition. Bernece Berkman-Hunter and Ethel Spears opens September 3rd and will run through November 22, 2024. A public reception will be held Thursday November 14, 2024, in conjunction with Lincoln Park Art Night.
At first glance, the pairing of Bernece Berkman-Hunter and Ethel Spears may raise more questions than answers. Bernece Berkman-Hunter (1911-1988) a political activist and social realist artist, combined the techniques of Cubism and Expressionism, creating vivid colors, broad lines, and angular forms to capture the struggles of life faced by laborers and immigrants. Ethel Spears (1903-1974), a humorist, often used watercolors, pastel palettes, and illustration to capture society at large, on the streets, at work, and in their homes. There is no evidence that suggest these two female artists knew each other, socialized in the same circle, or were aware of each other’s work. Yet for all their differences, Berkman-Hunter and Spears have more in common than the two known exhibitions where both their work was exhibited.
Born and raised in Chicago only eight years apart, Berkman-Hunter and Spears each first studied at The School of the Art Institute of Chicago, were employed by the Illinois Federal Art Project, had backgrounds in textiles, work consistently in graphic design and printmaking, continued their studies in New York City, and had romantic life partners that broke through social barriers. Today proof of their influence and humanity is scattered across American archives and libraries. Their names and works are referenced in oral histories, newspaper clippings, directories, exhibition catalogs, and historical publications.
Bernece Berkman-Hunter was born to an American mother and Russian immigrant father. Starting in 1927, Berkman-Hunter briefly studied at the School of the Art Institute of Chicago before running out of money. She continued her studies in the studio of Todros Geller (1889-1949), under whose guidance her Jewish and activist identities became more intertwined and apparent in her art. Berkman-Hunter exhibited publicly for the first time in 1934. She often exhibited with radical and Jewish artist groups in Chicago and was one of fourteen artists chosen to contribute a print to the Biro-Bidjan Portfolio (c. 1937-1938). Berkman -Hunter’s art was included in the American art exhibition at the 1939 New York World's Fair. During the 1940’s Berkman-Hunter studied with Stuart Davis (1892-1964) at The New School for Social Research in New York City. In 1945, Berkman-Hunter moved to New York City, where in 1946 she married Oscar Hunter, a black writer. They lived and worked in New York, running a successful wallpaper company together, Berk-Hunter Associates, until 1970, divorcing in 1976. Berkman-Hunter died penniless as a squatter in a studio in NYC. Today her artwork can be found in the collections of The Metropolitan Museum of Art, NY, Museum of Modern Art, NY, Whitney Museum of American Art, NY, The Smithsonian American Art Museum, Washington, D.C., National Gallery of Art, Washington D.C., The Art Institute of Chicago, IL, Seattle Museum of Art, WA, Baltimore Museum of Art, MD, Illinois State Museum, IL Krannart Art Museum, IL, Koehnline Art Museum, IL and several private collections.
Ethel Spears initially studied textile design at the School of the Art Institute of Chicago but upon graduating decided to do the entire SAIC program over again, this time in the painting department, under the guidance of John Norton (1876-1934). Spears recorded that her first solo exhibition was at the art school in 1923, at the age of 21. While studying under Norton, Spears was commissioned and finished two murals for the Tea Room at the Art Institute of Chicago. Around 1925, Spears traveled to Woodstock, New York, to take up studies with sculptor Alexander Archipenko (1887-1964), believing he could push her art in a more modern direction. After nine months in Woodstock, Spears moved to New York City where she lived, worked, studied, and exhibited her artwork. In 1929, Spears travelled to Paris to further her artistic exposure and education but had resettled in Chicago by 1930. In 1937, Spears was back at SAIC once more, though this time as an instructor of design and painting, as well as silk-screening and enamel (departments she herself established). Spears exhibited her work often in Chicago and New York, won awards from the Art Institute, and had work in collections of the Union League Club of Chicago and the University of Illinois. Sometime in the 1950s Spears fell ill, potentially the result of lead poisoning from working with enamels so extensively. She lived out her final years in Navasota, Texas, with her longtime partner and fellow artist, Kathleen Blackshear. Today her work can be found in The National Gallery of Art, Washington, D.C. The Art Institute of Chicago, IL, The Smart Museum of Art, IL, Illinois State Museum, as well as various educational and cultural institutions where her murals are displayed, and several private collections.
Madron is home to Madron Gallery, Madron Press, and the Skolnik family’s private art collection. The Skolnik family, the founders of Madron, is committed to supporting Chicago artists, celebrating Jewish heritage, and acting as stewards of the legacy of American art. Through scholarship-informed programming and the en suite exhibition of artwork available for purchase alongside pieces from the private collection, Madron has carved out a unique place in Chicago’s artistic landscape, sparking dialogue about the ongoing significance of nineteenth and twentieth-century art in today’s world and fostering a dynamic community for Chicago’s culture-makers, shapers, and appreciators.
Image: Ethel Spears (1903 - 1974), Railway Station, Beverly Hills, c. 1930, watercolor on paper, 11 1/2 x 17 inches. Image courtesy of Madron Gallery.
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Five unique art locations have banded together to celebrate their Lincoln Park neighborhood and promote a destination for art lovers that is too-frequently overlooked.
The event is FREE and open to all. Luxury sprinter vans will circulate the neighborhood offering hop-on/hop-off service for three hours on Thursday, November 14th from 5:30 - 8:30 PM. Riders may start and stop at any of the five participating locations.
Register today at BIT.LY/LPAN2024 (registration is not required but appreciated).
DePaul Art Museum On view: Edgar Miller: Anti-Modern, 1917–1967 and The Spaces We Call Home. Edgar Miller (1899–1993) arrived in Chicago in 1917, and over the next fifty years, established a successful career as a multi-hyphenate creative practitioner. He worked as an architect, artist, craftsperson, curator, designer, and illustrator during a particularly rich period that saw the ascendancy of modernism across the visual culture of the city. The Spaces We Call Home features six artists and designers based in or with strong ties to Chicago—Azadeh Gholizadeh, Kazuki Guzmán, Ania Jaworska (in collaboration with Zack Ostrowski), Roland Knowlden, Sharon and Guy, and Claudia Weber—whose work straddles, draws from, and complicates divisions between the fields of architecture, design, and fine art. Using a diverse array of materials, techniques, and traditions—from folk art to modernism and twenty-first century technology—these creative practitioners grapple with the complexities of placemaking across time and space, interrogating and reflecting on the layered socio-spatial histories of built environments. DePaul Art Museum enriches DePaul University’s commitments to innovation, diversity and education through the interdisciplinary lens of art.
gallery 1871 On view: Luminous Grace: Work by Bassmi Ibrahim and Jennifer Falck Linssen, an exhibition featuring a collection of mixed media paintings by Egyptian born artist Bassmi Ibrahim (1941-2019) alongside the katagami-inspired hand painted and hand carved paper and metal sculptures of Green Bay based artist Jennifer Falck Linssen. Born of introspection, meditation and contemplation of the natural world around us, the works in this show speak to the transience and radiant beauty of our external and internal worlds. gallery 1871 exhibits and sells work in a wide range of media with a focus on painting, mixed media, photography and sculpture.
Madron On view: Berenece Berkman-Hunter and Ethel Spears , an exhibition of two Depression Era artists whose work appears to be in a state of juxtaposition rather than a melding of the minds. Berkman-Hunter, a political activist and social realist artist, combined the techniques of Cubism and Expressionism, creating vivid colors, broad lines, and angular forms to capture the struggles of life faced by laborers and immigrants. Spears, a humorist, often used watercolors, pastel palettes, and illustration to capture society at large, on the streets, at work, and in their homes. Madron is home to Madron Gallery, Madron Press, and the Skolnik family’s private art collection, with the en suite exhibition of artwork available for purchase alongside pieces from the private collection.
Art on Sedgwick is exhibiting a new mural by Sam Kirk and an exhibit co-created and co-presented with community partners remembering William Walker’s murals All of Mankind: the Unity of the Human Race (painted 1972; whitewashed 2015). William Walker (1927 - 2011) is considered the founding father of the community mural movement. In 1967, as the organizer of the Wall of Respect -- a mural depicting images of significant black heroes on a two story shuttered tavern at 43rd Street and Langley -- he was the first to create accessible artworks in and for the community as a reflection of the people's aspirations and pride. This helped launch the public art movement in Chicago and is estimated to have inspired at least 1,500 community murals across the country. Art on Sedgwick provides an open and welcoming space for arts programming, belonging, and inspiration, drawing on Chicago’s diverse, world-class artist community to inspire a shared imagination for a vibrant and equitable neighborhood.
Leslie Wolfe Gallery On view: Night Shift, paintings by Ken Minami. Night Shift is a series of paintings exploring psychological states. Although the paintings suggest actual places, Minami has freely altered the architecture and mixed scenes of various cities. His art suggests emotion, and only vaguely references geographics. Ken Minami is a Chicago painter educated in the tradition of the 19th-Century Boston School. He paints still life and figurative works with the intention of faithfully rendering the visual world as it presents itself. These nighttime urban paintings are a departure from that practice. It’s a shift into painting a scene that exists only in his imagination. Leslie Wolfe Gallery is an exhibit space for emerging artists, students, instructors, and established artists.
Participating venues would like to thank Michael Garzel Graphic Design + Photography , Old Town Merchants & Residents Association, and Lincoln Park Chamber of Commerce for their partnership and support.
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Read all about it here, then drop by the gallery—the picture above only scratches the surface of how stunning these look in person.
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Artists’ Reception: Thursday March 27, 2025, 5:30-8:30
An exhibition exploring the combination and intersections of visual art and music. The act of creating is expansive and inclusive by nature. The word “artist” covers all forms of expression: painters, sculptors, actors, musicians, writers, dancers, comedians, and onwards. The individual artist rarely has one identity or skill set. This spring Madron explores the artistic combination of object maker and musician. Zach Balousek, Margie Criner, John T. Upchurch, and Lucie Van der Elst are four contemporary Chicago artists whose individual practices differ in material, technique, and methods of storytelling.
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— Wassily Kandinsky, Concerning the Spiritual in Art, 1912
Exhibiting Artists : Michelle Bolinger (b.1981), David Burlick (1882-1967), Marisol Cervantes ( b.1996), Gerald Coarding (1911-1986), Joseph Friebert (1908 – 2002), Mary Griffin (b.1986), John D. Graham (1881/86/88-1961), Stacie Maya Johnson (b. 1977), William S. Schwartz (1896-1977), Charles Green Shaw (1892-1974), and Bruce Thorn (b.1952).
Madron Gallery presents Conversations in Abstraction, a group exhibition that brings together contemporary and historical artists whose abstract paintings create a visual communication that transcends the barriers of time, geography, and theory. At its core, abstraction invites the viewer to peel back the layers of color, line, shape, and texture, discovering deeper meaning and connection—compositions designed to spark dialogue. The 23 paintings on display serve as markers that span more than a century of artistic creation. Over the past five years, Madron has been collecting artworks produced during the early exploration of abstraction in America. By exhibiting historical and contemporary artworks alongside each other, we not only examine how abstraction has developed over time but also explore how artworks created decades apart remain relevant to one another.
Image: Bruce Thorn (b. 1952), Flamingo, 2025, acrylic on linen, 54 x 144 inches.
Lincoln Park Art Night returns with gallery visits, new art openings and favorite art show closings. Visit multiple galleries and art centers on this one night. Trolleys, food, beverages and it's all FREE. Start anywhere at any time during the posted hours.
Participating galleries:
DePaul Art Museum
Gallery 1871
Leslie Wolfe Gallery
Madron Gallery
Registration requested for planning purposes but not required.
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","type":null,"state":"published","slug":"from-the-archives-works-on-paper","created_at":"2026-04-21 20:15:23.65","updated_at":"2026-04-21 20:15:23.65","excerpt":"","is_timeless":true,"organization_id":943,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'aaron':17B 'abraham':57B 'albright':10B 'anthoni':54B 'archiv':3A 'berkman':13B 'berkman-hunt':12B 'bernec':11B 'bluemner':16B 'bohrod':18B 'child':23B 'd':28B 'david':21B 'edna':37B 'everett':45B 'evergood':20B 'f':40B 'fredenth':22B 'frederick':27B 'georg':39B 'harri':52B 'hassam':24B 'hirsch':26B 'hunter':14B 'ivan':7B 'jack':49B 'john':47B 'jone':29B 'joseph':25B 'jr':30B 'jule':35B 'keijo':50B 'lawton':33B 'le':8B 'lorrain':9B 'marsh':32B 'oscar':15B 'paper':6A 'parker':34B 'pascin':36B 'philip':19B 'reginald':31B 'reindel':38B 'schultz':41B 'schwartz':44B 'shinn':46B 'sloan':48B 'steel':51B 'sternberg':53B 'thiem':55B 'walkowitz':58B 'william':42B 'work':4A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1776802508/buhwhdslingmtppt9wjy.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":30641,"title":"Tell Me What You See","starts_at":"2026-03-26 14:55:58.687","ends_at":"2026-06-12 14:55:58.688","body":"Exhibiting Artists: Jacob Futhey, Glen Gauthier, Kate Hendrickson, and Kara Cobb Johnson
Madron Gallery presents Tell Me What You See, a group exhibition featuring four contemporary Chicago artists; Jacob Futhey, Glen Gauthier, Kate Hendrickson, and Kara Cobb Johnson. On view March 26 through June 12, 2026, with an opening reception on Thursday, March 26th, 5:30 – 8:30 pm. The reception and exhibition are free and open to the public.
Paper: a flat plane of existence where boundaries are created by set dimensions defined by the physicality of the sheet; a reality where flat or irregular edges, hot or cold press, color, and weight are determining factors in not only the construction of an artwork, but also its presentation. In an age where artists are discovered by endless scrolling through social media, websites, online publications, and videos - the choice of paper - a physically often subtle support structure seems poignant. A quiet call to slow down, look closely -and explore the unknown. These four Chicago artists are creating artworks that challenge the viewer to look beyond the surface of the paper and discover the emotions that lie within their creations of photography, collage, and printmaking. Each artist has a dramatically different approach to their use of paper, but all four artistic practices are bound together by experimentation and multi-layered creative processes that reexamine each medium.
Jacob Futhey (b. 1983) has described his artwork as “quiet companions, portals for pause.” Abstracting a composition in camera, it is only after the image is printed does Futhey begin to transform a piece. Archival ink jet photographs act as the base of his mixed media artworks, with the artist often using paint, pastels, colored pencils, grommets, and other materials in his artistic process. Futhey has exhibited his work at Second Story Studio, Chicago, Storm Print Studio, Evanston, IL, and Filter Photo, Chicago, IL.
Glen Gauthier (b. 1965) uses a wide range of printed ephemera in creating mixed media collages that address both personal childhood memories and ideals, as well as universal truths. Gauthier’s visual aids that are reflective and often sourced from 1950s Americana, include images of architecture, automobiles, tools, scientific ledgers, and books. A graduate of the University of Louisiana at Lafayette, Gauthier has exhibited his work in Dallas, Texas, Los Angeles, CA, New York, NY, and Chicago, IL.
Kate Hendrickson (b. 1952) combines the art forms of drawing and photography, creating digital compositions by layering and editing hand drawn color pencil illustrations in Photoshop, resulting in giclée prints on archival cold-press paper. Henrickson holds an MFA from the University of Denver, and has taught at Barat College, Forest Park, IL and the School of the Art Institute of Chicago, Chicago, IL. Her work has been exhibited at the Heller Museum, New York, NY, SPAACES, Sarasota, FL, Bridgeport Art Center, Chicago, Chicago, IL, as well as in Print Fairs at the McNay Fine Art Museum, San Antonio, TX, the Minneapolis Institute of Art ,Minneapolis, MN, and the Cleveland Museum of Art, Cleveland, OH.
Kara Cobb Johnson (b. 1976) is a Chicago-based artist, curator, and educator. Dedicated to creating conceptual pieces, Johnson uses everyday objects in all forms of her artistic practice, including installations, sculpture, and printmaking. Experimenting with the process and properties of screen printing, Johnson’s new work on paper explores the materiality and use of a paper bag. Johnson received a BA from Northeastern Illinois University and studied at the University of Chicago –Graham School of Continuing Liberal and Professional Studies. In July 2023, Johnson was awarded a Chicago Department of Cultural Affairs and Special Events Individual Artist Grant to create, curate, and coalesce new work for 2024. This is Johnson’s second group exhibition at Madron.
Explore the Lincoln Park Art Community
October 15, 5-8pm at the following spaces:
Hop on and off the free buses to each gallery.
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