![\"\"](\"https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/1705/original/mccormick-maryabbott-1.jpg\")
The McCormick Gallery features both modern and contemporary art, focusing primarily on painting, works on paper and sculpture. We represent the estates of numerous mid-century American painters with an emphasis on Abstract Expressionism. The gallery also shows both established and emerging contemporary artists. Please call the gallery for exhibition information.
Image: Mary Abbott, Cry Still, oil on canvas, c. 1960, 71” x 76”
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Ben Tinsley “Thick as Thieves” is an event scheduled to take place from September 10 to October 30.
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Exhibition on display March 17-April 29, 2017
\r\n\r\nOpening reception: Friday, March 17, 5-7pm
\r\n\r\n![\"\"](\"https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/1706/original/mcormick-kylesurges-2.jpg\")
Please call gallery for reception information
\r\n","type":"Event","state":"published","slug":"perle-fine","created_at":"2018-10-22 20:40:49.368322","updated_at":"2018-10-22 20:40:49.368322","excerpt":null,"is_timeless":false,"organization_id":628,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'call':4B 'fine':2A 'galleri':5B 'inform':8B 'perl':1A 'pleas':3B 'recept':7B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669424/event_ics_1721669424316.ics","carousel":null,"category_name":"Exhibitions"},{"id":3877,"title":"Anna Kunz","starts_at":"2017-09-09 19:00:00","ends_at":"2017-11-04 20:00:00","body":"Exhibition on view: September 9- November 4, 2017
\r\n","type":"Event","state":"published","slug":"anna-kunz","created_at":"2018-10-22 20:41:33.841888","updated_at":"2018-10-22 20:41:33.841888","excerpt":null,"is_timeless":false,"organization_id":628,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2017':10B '4':9B '9':7B 'anna':1A 'exhibit':3B 'kunz':2A 'novemb':8B 'septemb':6B 'view':5B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669424/event_ics_1721669424364.ics","carousel":null,"category_name":"Exhibitions"},{"id":5074,"title":"McCormick Gallery at EXPO CHICAGO","starts_at":"2017-09-13 17:00:00","ends_at":"2017-09-17 18:00:00","body":"","type":"Event","state":"published","slug":"mccormick-gallery-at-expo-chicago","created_at":"2018-10-22 20:41:36.135819","updated_at":"2018-12-20 22:47:01.163721","excerpt":null,"is_timeless":false,"organization_id":628,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'chicago':5A 'expo':4A 'galleri':2A 'mccormick':1A","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669466/event_ics_1721669466093.ics","carousel":null,"category_name":"Art Fairs"},{"id":3878,"title":"John Sabraw","starts_at":"2017-11-11 19:00:00","ends_at":"2018-01-20 20:00:00","body":"Exhibition on view: November 11- January 20, 2018
\r\n","type":"Event","state":"published","slug":"john-sabraw","created_at":"2018-10-22 20:42:04.106132","updated_at":"2018-10-22 20:42:04.106132","excerpt":null,"is_timeless":false,"organization_id":628,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'11':7B '20':9B '2018':10B 'exhibit':3B 'januari':8B 'john':1A 'novemb':6B 'sabraw':2A 'view':5B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669424/event_ics_1721669424516.ics","carousel":null,"category_name":"Exhibitions"},{"id":5896,"title":"Janis Pozzi-Johnson: Born of Water","starts_at":"2018-04-07 17:00:00","ends_at":"2018-06-02 18:00:00","body":"Opening Reception: April 7, 4-7PM
\r\n","type":"Event","state":"published","slug":"janis-pozzi-johnson-born-of-water","created_at":"2018-10-22 20:42:43.356581","updated_at":"2018-10-22 20:42:43.356581","excerpt":null,"is_timeless":false,"organization_id":628,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-7':13B '4':12B '7':11B 'april':10B 'born':5A 'jani':1A 'johnson':4A 'open':8B 'pm':14B 'pozzi':3A 'pozzi-johnson':2A 'recept':9B 'water':7A","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669495/event_ics_1721669495634.ics","carousel":null,"category_name":"Exhibitions"},{"id":5897,"title":"Jan Matulka: Abstraction","starts_at":"2018-06-09 17:00:00","ends_at":"2018-07-28 18:00:00","body":"Image: Jan Matulka, Abstraction, Oil on cardboard, 23 3/4 × 30 1/2 in; 60.3 × 77.5 cm
\r\n","type":"Event","state":"published","slug":"jan-matulka-abstraction","created_at":"2018-10-22 20:43:10.417336","updated_at":"2018-10-22 21:08:04.930357","excerpt":null,"is_timeless":false,"organization_id":628,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1/2':14B '23':11B '3/4':12B '30':13B '60.3':16B '77.5':17B 'abstract':3A,7B 'cardboard':10B 'cm':18B 'imag':4B 'jan':1A,5B 'matulka':2A,6B 'oil':8B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668429/jz4jglqlhwnihc7fpiz4.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669496/event_ics_1721669495642.ics","carousel":null,"category_name":"Exhibitions"},{"id":6435,"title":"Vidvuds Zviedris: New Work","starts_at":"2018-09-15 16:00:00","ends_at":"2018-11-03 19:00:00","body":"Reception: Saturday, September 15, 4-7pm
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Image:
\r\nVidvuds Zviedris (b. 1976)
\r\nInto the Sun (detail), 2018
\r\nacrylic on canvas
\r\n44 x 35 inches
\r\nsigned, dated and titled verso
\r\n#11729
This show represents the curiosity, imagination and play of being a kid.
Two and a half years ago, my daughter Charlotte was born. I made the decision to quit my full-time job and stay at home with her. This not only gave me time to focus on my art, but it also let me closely observe my daughter as she grew.
It’s been fascinating to see the way a young person experiences the world for the first time. As she became a toddler, I watched her create and play and see her imagination come to life.
When I was creating this body of work, I felt like it was echoing Charlotte's free and growing spirit. I tried to absorb and harness the idea of fantasy, imagination, and wonder.
Image: Ben Tinsley, Night Owl, 2018.
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An exhibition of works by Michael Hedges
This is our fourth gallery show of Chicago based artist Michael Hedges since beginning representation in 2011. Mike is consistently one of our most sought after artists with paintings that exude a beautiful energy. In the past year he's had successful exhibitions in Santa Fe and Denver and we are happy to have him once again presented here at home.
Image: Michael Hedges, Pale Skies, 2019.
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Image: Pooja Pittie
Places Left Behind
acrylic and pumice on canvas, 2018
36 x 36 inches
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Melville Price was one of the youngest of the first generation Abstract Expressionist circle of painters working in New York after WWII. Though only in his late twenties he began exhibiting in 1948 in New York at Hugo, Bodely, Iolas and Egan galleries. In a 1949 showing at Peridot galleries Price was hailed for his breakthrough work titled the \"Maze Series.\" A complex interweaving of organic shapes, automatic in nature and sometimes resembling bones or body parts, the \"Maze\" paintings exuded a pulsating energy that brought him critical acclaim. He received rave reviews in Art Digest, New York Times and New York Tribune. Melville Price was on his way.
Melville Price grew up in a prosperous family in Kingston, New York where he had a studio in the family home from an early age. The Depression began to take a toll on the family business and the untimely death of his father in 1939 was a devastating blow from which Price never fully recovered. Unable to afford formal schooling, Price began studying informally at the Art Students League, the New School for Social Research and the National Academy of Design. Prior to his father's death Mel befriended the painter Joseph Stella who became his artistic guide and mentor, introducing him to the avant-garde styles of cubism and surrealism and encouraging the younger painter to experiment. Price also got a job with the WPA where he met the older generation of modern painters including Gorky, de Kooning, Pollock and Kline. Franz Kline, in particular, became a life-long friend and soul mate. Between 1946 and 48 his style moved away from a surrealist based work to a decentralized, all-over manner of painting which eventually became the \"Maze\" works. When the \"Club\" was started Price was invited to join and forged close relationships with other members of the New York School including Fritz Bultman, Giorgio Cavallon, Weldon Kees, Bradley Walker Tomlin, Robert Motherwell, Milton Resnick and Conrad Marca-Relli. In 1951 he was honored to be included in the 9th St. Show, the premier event of the Abstract Expressionist movement.
In spite of this success, as with most of his colleagues, money was scarce and Price supplemented his income working for the framemakers Benevi & Feist and the House of Heydenryck. Still, times were tough and in 1951 he and Kline accepted part-time jobs teaching in Philadelphia at the Museum School, commuting together a couple of days each week between the two cities. Price found that he liked teaching, enjoyed the paycheck and there was a thriving abstract art scene there that somewhat paralleled what was happening in New York. After the first year Kline gave up the job and Price moved full time to Philadelphia where he began exhibiting with Dubin and Hendler galleries. In 1955 he married one of his students, Barbara Gillette and the couple moved soon to the picturesque town of New Hope on the Delaware River. There Price began his next major cycle of paintings titled the \"New Hope Series.\" Though different in composition, these vibrant, muscular works were a logical extension of the successful \"Maze\" paintings and brought Price positive attention.
In 1958 he accepted a visiting teaching position (which would become a full time appointment) at the University of Alabama. Mel and Barbara spent twelve happy years in Tuscaloosa — known as the \"Yale of the South,\" it was an energetic, liberal bastion of creativity with a fabulous faculty and student body. In 1962, with a sabbatical from the University, Price began work on an ambitious project called the \"Black Warrior,\" a 9 x 16 foot canvas on which he completed in 1963. He followed the success of \"Black Warrior\" with a new series of large, mixed media assemblage canvases incorporating new elements of oil and collage with references to POP, Rauschenberg and Johns. These works, in turn, were pointing the painter in yet another exciting direction when he suddenly died of a massive heart attack in 1970. After his death Price was honored with retrospective exhibitions at the University of Alabama, the Speed Museum and the Corcoran Gallery. He is represented in numerous private and public collections including the Art Institute of Chicago, the Corcoran Museum of Art, the Los Angeles Museum County Museum of Art and the Milwaukee Art Museum. We have represented his estate for eighteen years.
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More information TBA
Image: Darrell Roberts
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More information TBA
Image: Gordon Powell
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","type":"Event","state":"published","slug":"a-rotating-selection-of-gallery-inventory","created_at":"2020-01-23 22:10:25.91059","updated_at":"2020-01-23 22:10:25.930252","excerpt":"","is_timeless":true,"organization_id":628,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'galleri':5A 'inventori':6A 'rotat':2A 'select':3A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668327/brzgfgjsitrc32x9nq5q.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669391/event_ics_1721669391525.ics","carousel":null,"category_name":"Exhibitions"},{"id":2986,"title":"Colleen Plumb: Thirty Times a Minute","starts_at":"2020-02-25 12:00:00","ends_at":"2020-03-14 17:00:00","body":"
Artist's Talk and Book Signing: February 28, 5-7pm
For the past ten years photographer Colleen Plumb has been laboring over this project, traveling the world and making videos of captive elephants and installing public projections of the video in unexpected and sometimes dangerous locales. Now, at last, her vision is realized with the publication of this gorgeous art book. Colleen will talk about the project, take questions and show a selection of prints. Please join us for a fun and informative evening.
Captive elephants exhibit what biologists refer to as stereotypy, which includes rhythmic rocking, head bobbing, stepping back and forth, and pacing. Colleen Plumb traveled to over seventy zoos in the US and Europe to film this behavior, and distilled her footage into a video that weaves together dozens of captive elephants, bearing the weight of an unnatural existence in their small enclosures. She has installed guerrilla public projections of the video in over 100 locations worldwide, constructing photographs of each projection. Thirty Times a Minute (the resting heart rate of an elephant) explores the way animals in captivity function as symbols of persistent colonial thinking, that a striving for human domination over nature has been normalized, and that consumption masks as curiosity. The presence of massive, intelligent, far-roaming, emotional animals such as elephants in urban zoos exemplifies contradiction and discordance, and public projections of their image onto urban walls and out-of-context surfaces adds to the layers of incongruity. Aware of the tremendous need to protect native habitat and its residents, this project contributes to the idea that sentient beings are not meant for spectacle or display.
Contributing writers: Marc Bekoff, Julia Cooke, Catherine Doyle, Hope Ferdowsian, M.D., Linda Hogan, Les O’Brien, Joyce Poole & Petter Granli, Steven M. Wise, and Mandy-Suzanne Wong
Published by Radius Books, 2020, Hardcover, 220 pages with 58 images
copies available at the gallery or on McCormickPress.com, $65 + shipping
Colleen Plumb’s work has been showcased in The Village Voice, New York Times Lens, VQR, LitHub, Artillery, Feature Shoot, and Time Lightbox. Her photographs are held in several permanent collections and have been widely exhibited, including the Portland Art Museum, Milwaukee Art Museum, Museum of Contemporary Photography and Blue Sky Oregon Center for Photographic Arts. Plumb’s first monograph, Animals Are Outside Today, was published by Radius Books in 2011. Plumb Lives in Chicago where she teaches in the Photography Department at Columbia College Chicago.
Image: Doc (Syracuse, New York) at Hornafjordur, Iceland, 2018 archival pigment print, 30 x 45 inches
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In conjunction with exhibition Colleen Plumb: Thirty Times a Minute
On Display February 25 - March 14
Image: Colleen Plumb, Drumbo (Vienna Austria) at Brooklyn Bridge, NYC, 2016.
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Let’s Talk About the Weather new paintings by John Santoro
Note: John will be welcoming small groups of visitors on the first day of the show, July 11, from 11-5. To see the show after that please make an appt. with the gallery.
Two years ago Chicago painter John Santoro began working on what was to have been his solo show in March. Then you-know-what happened...
\"When I conceived of this show two years ago, I was drawn to the duality in the phrase “Let's talk about the weather.” At the time, I thought of it as the simplest conservation starter and yet also a politically charged invitation to examine our impact on the Earth’s weather patterns. Now, the phrase also suggests to me a respite from the turmoil of the crucial current events that are re-shaping our country.
With these new paintings, I continue to draw inspiration from landscapes with a focus on the weather patterns that drive them. Thunder Snow, Polar Vortex and El Nino -- all intense forces of nature, not to mention cool band names -- continue to feed my imagination.\" – John Santoro, June 2020
Now we are so happy to finally launch this exhibition, though in a somewhat different manner in response to different times.
Image: John Santoro
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An exhibition of works by Anna Kunz.
Open house Saturday, September 12, 11-2 pm
View work here
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419507/kecsuftucdsur6ruv0at.jpg\")
Anna Kunz The Blue Magnitude is on view by appointment or during open hours on Fridays 10-noon.
We are pleased to be featuring this show during EXPO Chicago's Exhibition Weekend. This weekend is an online showcase of Chicago-based exhibitions, galleries and institutions.
Anna's show can always be viewed on our website or on Hookart from Friday 9/25 at 10am and continuing thru Sunday 9/27.
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32 page exhibition catalog available:
Order Catalog Here
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419507/peaslybqney3ufua7sva.jpg\")
From Tom McCormick:
Twenty years ago I had an opportunity to buy a couple of paintings by Janice Biala (1903-2000), an artist I greatly admired. I sold those works and have imagined doing a show since that time. Good things come to those who wait and last year Jason Andrew, who manages her estate, contacted me about doing an exhibition of her works from the 1950s and early '60s. I didn't even play hard to get. This was supposed to have happened last spring but got waylaid by the plague, so here we are in November and rarin' to go.
An important figure of historic scale, the painter known simply as Biala had a career that stretched over eight decades and was heralded from Paris to New York. On view are paintings defined by a decade where the artist expanded upon her established style inspired by School of Paris painters like Bonnard, Matisse and Braque, and broadened by the community of loft-living artists in downtown New York that included Willem de Kooning. Critic Michael Brenson aptly described her as “a blend of intimacy and exile.”
Janice Biala was born Schenehaia Tworkovsky in 1903 in a small village tucked alongside the River Biala in what is now southeast Poland. She immigrated to New York with her older brother Yakov in 1913. Yakov would later become the painter Jack Tworkov, a founding member of the New York School.
In the early 1920s, Biala hitchhiked her way to Provincetown, MA, to study with the painter Edwin Dickinson. As she established herself in New York, she changed her name at the suggestion of William Zorach from Janice Tworkov to simply Biala. On a fateful trip to Paris in 1930, she met and fell in love with the English Novelist Ford Madox Ford. Through Ford, Biala became enmeshed with many of the artists forging a new Modernism including the sculptor Constantin Brancusi, the painter Henri Matisse, and writer Gertude Stein. Biala began exhibiting her work in Paris as early as 1938 making her one of the earliest Americans in Paris. Upon Ford’s death in 1939, Biala returned to New York and established herself among a rising generation of artists defining themselves as the New York School.
“Biala chose subject matter over brute expression,” writes Jason Andrew, curator and director of the Estate of Janice Biala, in his essay accompanying the exhibition, “Her paintings derive from the time-honored triumvirate of still-life, landscape, and portraiture, and yet she approached these themes through an uncommon significance defined by a painterliness of gesture, color, and calculated rhythm.”
The exhibition features signature examples of Biala’s unique assimilation of the color and compositions defined by the School of Paris with the gestural expressionism associated with Abstract Expressionism. Many works are on view for the first time.
The work of Biala can be found in major museums world-wide including: The Art Institute of Chicago; The Carnegie Art Museum, Pittsburgh; Kemper Museum of Contemporary Art, Kansas City; Mint Museum of Art, Charlotte; Phillips Collection, Washington, D.C.; Princeton University Museum, Princeton; Smithsonian American Art Museum, Washington D.C.; and The Whitney Museum of American Art, New York among others. In Europe, her work can be found at Museé de Grenoble, Musée National d'Arts Moderne, Centre Pompidou, Paris, among others.
The exhibition is presented in collaboration with the Estate of Janice Biala, New York, and is accompanied by a fully illustrated catalogue with essay by Jason Andrew
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After much delay, I'm proud to present my latest solo show \"Mid-Century in 2020 Postponed\". This show was impacted due to Covid, hence the title, and had to be pushed back to March 2021. The influence for this body of work came to be from my wife and I looking for a house and discovering mid-century modern homes. Not only was I impressed by the architecture of the style and era, I became fascinated with items from this time period too. What I enjoy the most about these items from the 50's and 60's is how they distinctly different they look from items before or after them. These objects are encapsulated in an era of forward thinking and designs that are still beautiful today. Portraying this beauty is the objective of this group of work, not to mention the monumental amount of nostalgia.
Like shows in the past, it will be held at McCormick Gallery in Chicago. The opening day will be March 6th and run through April 24th. I will be at the gallery March 6th to meet guests, but by appointment only. There is a 10 person max at the gallery, so please contact me if you would like to stop by on the 6th. I will schedule a time for you to visit. Otherwise, Tom is in the gallery Tuesday-Thursday 10ish to 3ish and you can always see the show at anytime by scheduling with the gallery at gallery@thomasmccormick.com
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Saturday, April 24
3:30-6pm
Kyle will be keeping the gallery open
and taking visitors, masks required
view the show online here
Closing reception with the artist Saturday, June 26, 1–4pm
BEFORE
DURING
AFTER
New works by Janis Pozzi-Johnson
See below for gallery hours through June 26.
We have still not resumed regular gallery hours but are generally open Tuesday - Thursday from 10-5. Appointments are available by contacting the gallery or the artist: jpozzij@gmail.com.
All Covid safety precautions are in place.
Image: Eminence, 2021, oil on canvas, 48 x 36 inches
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If you are interested in partaking in OUTCRY email Whitney: whitbradshaw@gmail.com, be sure to put OUTCRY in the subject line. She will be organizing two Outcry Scream Sessions on July 21 and August 7 at the gallery. The resulting portraits will be added to future iterations of OUTCRY.
On view: July 15, 2021 - September 4, 2021
OUTCRY, January 20, 2018 – Present Artist Statement
In response to the rise of a predator to the highest office in the land, the long history of silencing of women and girls, and in an effort to continue to propel the #metoo movement forward, I make portraits of women screaming. Through this social practice project, I provide women space where they can practice speaking up and out for themselves. I also provide a space for them to be heard, supported, encouraged, and celebrated.
I invite groups of women who don't know one another to my studio for a gathering, effectively expanding our community while providing support for one another as we bravely let out feelings that have been silenced or dismissed in our culture. During each session, we talk about how our voices can save us and share self-defense strategies. The sessions are empowering, therapeutic, and fun!
It's important to me that a very diverse group of women is represented in the project. I do this, not only, to give voice to as many women as possible but also to ensure that when a woman views the project she can see someone like her in it. Likewise, when the larger audience views it they can see their mothers, daughters, sisters, nieces, etc. I hope the work empowers women who take part in Outcry as well as those who view it to speak up for themselves whenever they need to. Most importantly, I hope the work encourages all viewers to listen to, believe, support, care for, and, above all, respect women and girls.
I began this project on the night of the Women's March 2018. Since then I have photographed over 375 women letting it all out! When seen together these intimate representations of our individual power and expression become a monumental act of collective resistance.
This is the first time all portraits will be seen together
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Please join us for a discussion of the current exhibition, Nothing Gold Can Stay, with Pooja and Megha Ralapati, a Chicago based curator, writer and arts manager. Megha has written the essay for our just released exhibition catalog (see below). Megha and Pooja will be in conversation about the painter's career and approach to creating the beautiful works in the show.
Thursday, October 14, at 5:30 pm
RSVP required with Covid protocols.
Contact the gallery: 312-226-6800
gallery@thomasmccormick.com
Exhibition Catalog
24 pages, fully illustrated with essay by Megha Ralapati. Available at the gallery and on our website Publications Page.
Pooja has also just been honored with a commission by the Pritzker School of Molecular Engineering at the University of Chicago to commemorate their 10th anniversary.
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Southern Exposure: works from the Dusti Bongé estate, on view November 11-January 8.
Open Tuesday-Friday 10-5; Saturday by appointment; For appointments please schedule a day in advance. You can call 312.226.6800 or email gallery@thomasmccormick.com
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March 10, 2022 - April 30, 2022
Reception: Thursday, March 10, 4-6pm
OPENING SOON: Melanie Pankau When the Center Stands Still, opening March 10 and continuing thru April 30
Open Tuesday-Friday 10-5; Saturday by appointment; For appointments please schedule a day in advance. You can call us at 312.226.6800 or email gallery@thomasmccormick.com
About
My practice as a painter is guided by a process of meditation, and grows out of the reflection and contemplation within these quiet spaces. For nearly a decade, I have been studying a variety of meditation traditions and techniques, and integrating this parallel practice into my paintings. It is in a state of solitude and interiority where the geometric forms and diagrammatic structures in my work originate.
When the Center Stands Still is a suite of ten paintings that unfolded over a two year period. This body of work began with my daily meditation practice. I worked with three different techniques: mantras (a repeated Sanskrit phrase/sound), yoga nidra (a guided visual meditation), and kriyas (an active form of meditation that moves energy to specific points in the body). These meditations allowed me to enter a deep state of concentration and opened up a field or space for the images to emerge. Directly after meditation, I drew in my sketchbook—a type of automatic writing but in a visual form. The sketches became the foundational compositions for the paintings and mirror a contemplative state of being.
Specifically, this body of work conveys the unseen forces of the energetic fields of the body and subtle layers of consciousness. My intention is to visualize a contemplative consciousness by creating images that are positive, meditative, and mirror our inner and interconnected worlds.
Melanie Pankau
An Occurrence of Clarity, 2021, acrylic on panel, 26 x 22 inches, signed, dated and titled verso #12917
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Vidvuds Zviedris: New Works
May 5, 2022 - June 18, 2022
Open Tuesday-Friday 10-5; Saturday by appointment; For appointments please schedule a day in advance. You can call us at 312.226.6800 or email gallery@thomasmccormick.com
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Flight of Dreams – recent paintings by Michael Hedges
Opening for the artist on Thursday, Sept. 15 from 5-7 pm
Exhibition continues through October 29
\"When I start a painting the only thing I know is the size. I usually paint six to ten paintings at once which is probably due to my personality more than anything else. I can’t sit still and I seem to work best right in the middle of all the chaos. My practice as a painter is a balancing act. As I work up layer upon layer of paint my initial goal is to balance color, shape, and texture. Once I feel I’ve accomplished that, I then focus on one canvas at a time... working and reworking until it all comes together. Until I get it right.\" M.H.
Image: Michael Hedges, The Queen's Attic, 2022, oil on canvas, 54 x 62 inches
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An activist and environmentalist, Sabraw’s paintings, drawings and collaborative installations are produced in an eco-conscious manner, and he continually works toward a fully sustainable practice. He collaborates with scientists on many projects, and one of his current collaborations involves creating paint and paintings from iron oxide extracted in the process of remediating polluted streams. This sustainably sourced pigment is now for sale as a 3 tube set from Gamblin Artists Colors.
Sabraw is a Professor of Art at Ohio University where he chairs the Painting + Drawing and Digital Art + Technology programs and is Board Advisor at Scribble Art Workshop in New York. He has most recently been featured in TED, Smithsonian, New Scientist, London, Great Big Stories, Business Insider, and Time. The McCormick Gallery has represented Sabraw for 20+ years.
\"My abstract explorations focus on natural phenomena, the earth’s ecosystem as a whole, and our role within that. This understanding has led me to incorporate ever more sustainable practices in my studio, in my life, and when possible actively engaging the public on the matter.
In this body of work, painstaking painting methods are coaxed into interacting and amalgamating over durations of up to several months. The result is complex, luminous, mysterious paintings that strike a beautiful balance between controlled and organic processes.
These works primarily use water-based paints, dry pigments, and other media. Pigment manufacturers and types are chosen with permanency and sustainability in mind. This goal is more attainable now since I have been partnering with Ohio University engineer Dr. Guy Riefler to develop paints with pigments derived from toxic runoff from abandoned coal mines – acid mine drainage or AMD for short.\" - John Sabraw
Image: Hydro Chroma S1 4, acid mine pigments, acrylic on aluminum panel, 2022, 44 x 44 inches
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recent works by
KIM PIOTROWSKI
artist reception - March 23, from 5-7pm
continuing through May 6, 2023
This is our first solo exhibition of Kim Piotrowski's work — a Chicago based painter we have always admired. The paintings in this exhibition embrace the importance of joy in a time when society is flooded with a myriad of information 24/7. Whether social, political, environmental, or personal, the navigation required in contemporary life is exhausting. Painting affords Piotrowski the space to process the world and solidify her place within it. Through the manipulation of color, line, and space, she creates dynamic compositions that become defiant celebrations. Something beautiful and inexplicable happens by way of abstraction. Perhaps, it is simply the necessary reach for joy in weighted times.
During this exhibition the artist will be keeping open hours every Saturday from 11-2pm
Gallery hours are 10-5 Tuesday-Thursday
Friday 10-3
In 2020, as the Pandemic settled in upon us all, Janis Kanter decamped to her Sawyer, Michigan studio and began an ambitious project titled \"Stop the Noise.\" She created six large scale textile collage works reflecting on on the shared human experience of hope, loss and resilience.
(She also got her chickens.)
Follow Janis Kanter on Instagram @janisfromhp
www.janiskanterstudio.com
Image: Ride Together or Fall, 2020, textile collage, 75 x 76 inches. Collages priced at $2,500 each.
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Anna Kunz lives and works in Chicago where she was born and raised. She holds a BFA from the Art Institute of Chicago and an MFA from Northwestern University. She has been honored by numerous arts institutions including the Joan Mitchell Foundation, Anonymous Was a Woman, Louis Comfort Tiffany Foundation, National Museum of Women in the Arts, Artadia Chicago, Rema Hort-Mann Foundation, Monira Foundation and the Sharpe Walentas Foundation, NYC. Anna was just included in ART 50 2023, Chicago’s Artist’s Artists by New City Magazine.
The gallery will be publishing a small book on ROSY during the run of the exhibition, look for that. Please find more information about Kunz’s work in an interview organized by the Brooklyn Rail and an essay by Nell Andrew. The artist is @annakunzchicago on Instagram and her website is www.AnnaKunz.net
Image: Rosy Adjacencies Series (R), 2018-2023
oil on fabric, 13 x 11 inches
November 2, 2023 - December 15, 2023
Reception: Thursday, November 2, 5-7pm
My aim in “A Colorful Storm” is to explore the idea of transformation and change. I think this topic is especially prudent as we face global changes with climate and the warp speed of technological advances.
I start my paintings with layers and layers of thick paint - each layer of color telling its own story. As I scrap away those layers I find form, shape, and dynamic movement transforming the original layer into a completely new piece unrecognizable from where I started.
Most noticeable, throughout these works, are the scraped lines that form clear crisp paths over chaotic backgrounds. These paths take on an almost map-like quality that moves your eye around the piece - guiding you through it.
“A Colorful Storm” is dedicated to my beloved Grandmother, Mary Danforth Guy, who passed away while I was working on this show. Another touch point of change and transformation. Her effervescent spirit and love of the arts and design were hugely influential to me.
— Ben Tinsley
POOJA PITTIE
\"Only in Dark the Light\"
New Works
Opening March 21 from 5-7 pm
Continuing through May 10
VIEW THE EXHIBITION HERE
Pooja Pittie’s art practice has always and inextricably been interwoven with her disability and the inevitable decline of her physical powers. Her journey has evolved once again in the works for her next exhibition, Only in Dark the Light. This will be our third solo exhibition by Pittie since 2017.
Image: I Thought I'd Find You Here, acrylic on canvas, 2024, 54 x 54 inches
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FRIDAY, APRIL 12TH
FROM 5-8 PM
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Thursday, May 2, 5pm, no RSVP required
New York based artist and independent curator Melissa Joseph will engage artist Pooja Pittie about her exhibition Only in Dark the Light, showing at McCormick through May 10.
This is our third solo exhibition with Pooja Pittie, a wonderful marriage of paintings and had crafted (and mysterjously curious) knitted small objects. The show has received rave reviews.
Joseph, a regular contributor to BOMB magazine, has been exhibited in galleries and museums nationally and featured in outlets such as Hyperallergic, Artnet, Le Monde, CNN and Architectural Digest. This will be an informative and lively conversation between two.
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Please join us for our first exhibition at our new space for a solo exhibition of paintings by Chicago-based artist John Santoro.
The title of this show is inspired by the Joan Mitchell painting Mud Time painted in 1960 that I saw at SFMOMA at her retrospective 'Joan Mitchell' in 2021-22. Her title was derived from a Robert Frost poem written in 1934 where he describes both the effects of weather in April and his conflict between doing labor (in the case of the poem, chopping wood) and mankind's conflict between doing an activity (in my case painting) for pleasure or purpose of life, pay, or need, or simply put, the conflict between vocation and avocation. Forces of Nature furthers my inspiration with extreme weather both extraordinary in simple beauty or the dangerous, violent weather patterns that seem to erupt with consistency these days.
For more available works and a price list please email gallery@thomasmccormick.com or call 312.226.6800
Visit the show on our website at
www.thomasmccormick.com
Contemporary Curated is an art exhibition running from April 10 to May 23 at McCormick Gallery's new location at 2251 W. Grand Ave, Chicago, IL.
The exhibition features a curated selection of contemporary artists, including Gwen Yen Chiu, Michael Hedges, Anna Kunz, Melanie Pankau, Kim Piotrowski, Pooja Pittie, Gordon Powell, Janis Pozzi-Johnson, Sheri Rush, John Sabraw, John Santoro, Ben Tinsley, and Vidvuds Zviedris.
Artist talks will be held during EXPO weekend on Saturday, April 26, with Michael Hedges speaking at 11 AM and Janis Pozzi-Johnson at 2 PM.
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Visit solo exhibitions by Janis Pozzi-Johnson and Michael Hedges at the gallery during these extended hours.
A Personal Remembrance from Tom McCormick about the show:
In 1994 I was exhibiting in an art fair in San Francisco when a fellow named Barry McMullen strolled into my booth and asked if I knew of the artist Jan Matulka. Somewhat taken aback, (Matulka was not exactly a household name), I replied I did, but why was he asking? His brokerage firm, E.F. Hutton, represented a Matulka relative, Martha Van Loan, who owned the artist’s estate. Apparently, she was not happy with her current dealer in New York. Now, I didn’t know a ton about Matulka except he was a major Modernist figure in American art. You don’t have to call me twice for lunch so I said to Barry (my new best friend), please sit down and let’s chat. A year later he finally arranged for me to meet Mrs. Van Loan in Connecticut... and so began a thirty-year journey.
Over these past three decades the Van Loan family has entrusted us to promote Matulka and I hope we have met the challenge, with numerous gallery exhibitions, both in Chicago and elsewhere. In 2004 we organized a museum exhibition with the Montclair Art Museum in New Jersey: Jan Matulka – The Global Modernist. The exhibition of 60 paintings, drawings, watercolors and prints traveled for two years to six venues and we produced a major catalog with essays by Patterson Sims and Whitney Rugg. Additionally, we have published a number of other catalogs, often with the help of art historian Henry Adams, a most helpful Matulka booster writing extensively on the artist.
A prodigious worker, Matulka left a large estate and even after all this time we are still blessed with a good number of A+ examples from the early years of the Modernist movement. Many of the works here have been languishing in our storage for years and I have wanted to organize a show like this for a long time.
A Note on the New Mexico Works
In 1917 Matulka finished his studies at the National Academy of Design on a high note, winning the $1500 Joseph Pulitzer Traveling Scholarship. He wanted to use the windfall to visit Spain but passport issues kept him home so he went instead to New Mexico, which offered much the same landscape and primitive locales he sought in Spain. There, he received permission to visit and make live sketches at the Hopi Pueblo where he witnessed the Antelope Society’s annual Snake Dance, a sacred ceremony praying for rain. This resulted in many powerful works, both large (finished later in his studio) and 9 x 12 inch panels, painted on-site. The haunting and sometimes disturbing imagery of the Snake Clan dancers wielding live snakes and wearing their fantastic, Kachina inspired masks and costumes, continues to show up in his work over the next three decades.
Top image: Moulin Rouge
Conté crayon on paper, 1921
15 x 12 inches
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Image: Vidvuds Zviedris, July 54th, 2025, acrylic on canvas, 72 x 90 inches, signed, dated and titled verso, #14168
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The paintings in the exhibition center around the interlacing of repeated geometric patterns. Through the process of making, each shape is meticulously taped and layered with multiple colors creating a relief of lines and brush strokes on the surface of the panels. In their final stages, the woven iterative marks are sanded down to reveal the underlying patterns that sit just below the surface. The crux of this work centers around using the language of abstraction to counter a cultural narrative of separatism, destruction, and polarity. By creating non-hierarchical images, the paintings unveil lattice-like structures that symbolize our innate interconnectedness, reciprocity, and unity.
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She Loved the water... her father, Lt. Commander Henry Livermore Abbott, was a sailor, a decorated submarine captain in the First World War and a Naval advisor to the FDR administration during WWII.
As an introduction, I've written a little remembrance
The Last Time I Saw Mary…
In May of 2019 I traveled to the Long Island enclave of Southampton for my annual visit with Mary Abbott. I’d been making this pilgrimage for about 15 years, where I would visit with Mary in her tidy ranch house at 125 Corrigan Street. We would catch up on life, go to lunch, sit in her garden, have some wine and spend time mucking about in her studio. There, I would pick out paintings to send back to Chicago and unearth works on paper from her disarrayed flat file drawers. These were generally unsigned and I would sit her down, put a pencil in her hand and make her sign away. Mary didn’t have a commercial bone in her body and did not enjoy signing her work. She had horrible handwriting, was dyslexic and had a hard time fitting her name in the space provided. Very often works received her scribble only on the day they left her studio. Often I would be soundly reprimanded for forcing her to do this small but heinous task: \"Oh, just leave me alone!\"
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1780937417/slyalqkx56l62uzgd4uo.jpg\")
I Am a Sailor’s Daughter
watercolor on paper
9 x 12 inches
signed at lower right; signed and titled on frame backing board, estate stamped verso
#11580
Mary loved to paint watery watercolors of the ocean, sky, and clouds, often from a perch on the beach at Southampton.
On this visit I arrived to find Mary still in bed, which was not particularly unusual as she liked to lounge around but I was told she had been spending much more time there. Wanda, her housekeeper, was puttering about the kitchen and her Girl Friday, Mary Stubelek, arrived soon after. She began filling me in on Mary Abbott’s slowly declining health — she was 98 and had heart problems. But, she was perky and chatty, though there would be no lunch date on this visit. So I sat with her in the bedroom looking out the window at her lovely garden, listening to the birds scold an errant squirrel.
After a while Mary S, and I wandered away to talk privately about the fact that Mary A. was not going to live forever and we should put some thought into what comes next. We knew Mary had a will, prepared years before, but as far as we knew it had never really been completed or possibly even signed. She had no children and, really, no heirs. In 2007 Abbott had asked me to look into setting up some sort of trust or foundation that, after her death, could use the proceeds from her estate to support emerging women artists. It was a wonderful idea and I contacted Artadia, the non-profit grant-maker in New York, about partnering in such an endeavor. They were very interested and we organized a couple of meetings with attorneys and stakeholders in nearby Jamesport.
Mary was happy and excited about this and just as things began to gel I received a phone call from the lawyer in New York City who, years before, had written her original will. This fellow, who I’m not naming, came on like a rabid dog saying if I knew what was good for me I’d mind my own damn business and leave Mary Abbott’s affairs alone! Full stop!
Well… he scared the hell out of me, so we stopped. This was both disappointing and embarrassing, as I had to contact everyone and apologize for wasting their time. Worst of all, her will remained unresolved, as far as we knew, and we assumed that when she would eventually pass things would be a mess.
This visit lasted a few more days. Mary Stubelek and I worked on organizing her studio, sorting through piles of blank paper and unfinished drawings… investigating long ignored rolls of canvas, and generally trying to bring some order to her 98 years of life. We poked around an off-site storage unit but it was just too much to tackle. A few days later I said my goodbyes and left Corrigan Street, fairly certain I wouldn’t see Mary Abbott again. She died two months later on August 23, 2019.
Sure enough, what followed was a mess. Another attorney, and old friend of Mary’s, acted as her executor and I did not envy him the chore. He allowed me, working with Mary Stubelek, to continue representing the estate while he began sorting things out. I was well treated and appreciated the opportunity to keep working with Mary’s wonderful legacy. Eventually, in August of 2020, we were instructed to return everything we had on consignment in Chicago — I think there were about 70 canvases or so and many works on paper.
And suddenly, after 19 years, that was that.
Since then good things have continued to happen for Mary Lee Abbott. In 2021 we published a 120 page Abbott biography drawing on stories and photos from my nineteen year friendship and interviews with her many friends and colleagues. Her estate found a home with the Frederick R. Weisman Art Museum at the University of Minnesota, where Mary taught for a decade in the 1970s. Last year Schoelkopf Gallery presented a major Abbott exhibition in New York, To Draw Imagination, and interest in her work has continued to grow.
Over the past 25 years we have placed well over 400 Mary Abbott paintings, watercolors and drawings. We have a wide selection of small, watery watercolors such as these 4 x 6 inch works. All are signed or initialed and estate stamped.
To view more images of the exhibition
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Ben will be on hand to answer any questions about his current exhibition \"Thick as Thieves\" on view thru October 30.
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More information and events can be found HERE
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