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PATRON is a contemporary art gallery in Chicago created by Julia Fischbach and Emanuel Aguilar in 2015. PATRON is founded on the defining characteristics of a patron of the arts: a person chosen, named or honored as a special guardian, protector or supporter. With this foundation set as a cornerstone, the gallery hopes to help open new avenues for audiences to engage with and find access to contemporary art.
Member Art Dealers Association of America (ADAA).
Image: Ian Vecchiotti
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Errantry is on view through October 31, 2026
PATRON presents our second solo exhibition, Errantry, with Chicago-based artist Lindsay Adams. Adams’s new body of work extends an exploration into the query at the root of her practice; Where can I go to wander? As she moves across her canvases with an intuitive choreography, delicate gestures evidence errant modes of being, and moving through the world. Errantry marks her first exhibition since the unveiling of her mural commission at the Obama Presidential Center.
The exhibition takes its title from Édouard Glissant's concept of errantry, articulated in his Poetics of Relation published in 1990, as a form of movement that resists the demand for a singular origin or stable identity. For Glissant, errantry is not aimlessness but a way of being, in relation to places, histories, people, and systems of knowledge that remain irreducible to one another. Adams's paintings similarly resist a fixed point of arrival. Forms appear to gather and float across their surfaces, creating environments that feel at once intimate and expansive.
Glissant's writing enters the exhibition directly through Untitled (Poetics of Relation, Glissant) #1 (2026) and Untitled (Poetics of Relation, Glissant) #2 (2026), large-scale works on paper with fervent gestures in ink, graphite, and charcoal on Yupo paper. These works establish a dialogue between her conceptual references and painterly language, where marks can function as fragments of something beyond the image.
The ascendent diptych, “Not being afraid of what I don’t know I unanxiously awaited the emergence” (2026), marks the threshold to Adams's exhibition. Swirls of green and pink juxtaposed against cutting blues and yellow dripping down the surface beckon the viewer into imagined realities. Adams's approach to the painted surface finds an important precedent in Helen Frankenthaler's radical rethinking of the relationship between color, gesture, and ground, which allowed paint to behave as both image and material. Likewise, Adams approaches the canvas as a permeable field through aqueous washes of pigment and thick applications oil stick, culminating in compositions that float through undetermined spaces.
Continuing her engagement with concepts of opacity and refusal, Adams builds each painting on a foundational ground of black paint. With each layer she mitigates the light and spatial perception available to the viewer, negotiating what is knowable and what is withheld. In Rhizome (2026), the subtlest green hues seem to glow from within deep tones of inky blue, articulating a state of suspension.
Throughout Errantry Adams constructs paintings that refuse to settle into a singular reading. Her works move through abstraction as one might move through an unfamiliar landscape without a map, but with an attentiveness to what emerges along the way. Her paintings evidence a commitment to openness and emphasize wayfinding over arrival.
PATRON is proud to announce Tannic Waters, our second solo exhibition with Claire Sherman.
Over the past two decades, Sherman’s conceptual approach to landscape painting has drawn upon researching, extensive hiking and photographing, and the development of a painterly language that shifts in and out of representation. Her emotive, intimate renderings of the natural world, of places filtered through her own psyche, shift from traditions of land ‘captured’ to an examination of nature as artifice that informs societal and personal narratives.
In 2023, Sherman began what would be a multi-year project revisiting the writings of American writer William Faulkner, whose rich literary descriptions of both real and fictional locations constructed a vibrantly nuanced depiction of the American South in the mid-20th century. Alluding to the mired political landscape of the 2020s, as well as the artist’s own navigation of personal grief, Sherman’s work abstracts the trees, underbrush, and foliage observed in her voyage through waters of uncertainty, resisting a clear path forward.
Borrowing its name from the leaves, peat, and minerals that give the region’s languid rivers and swamps a rusty, tea-hue, the exhibition premieres a group of new paintings created following Sherman’s visit to Faulkner’s estate, Rowan Oak, in Oxford, Mississippi and her subsequent visits throughout the swamplands of the South: along the coasts of Northern Florida, the Great Dismal Swamp in North Carolina, and Okefenokee Swamp in Georgia. Applying Faulkner’s construction of a place, through its shared history and present, Sherman’s paintings translate moments of landscape into spaces that slip, shift, or disintegrate. In works such as Vines (2026), the accumulation of branches and foliage appears as almost a natural barricade, alluding to Rebecca Solnit’s perception of landscape as the “battlefield of our time—not a scenery but as the space and systems we inhabit, a system our own lives depend on.”
Sherman’s Tree and Moss (2026) and Tree and Vines (2026) act as abstracted memories of her experience within the otherworldly swamps, psychological environments that are at once eerily haunting and spiritually reverent. Vines playfully ensnare tree trucks ascending from brackish waters and Spanish mosses, elegantly draped across tree branches, become veils that fragment their environs. Slipping between representation and ambiguity, Sherman’s paintings become archaeologies themselves, constructed locations that bear the strata of our own complex personal, environmental, and political histories.
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\r\nOpening reception: Saturday, January 28, 1-4pm
"... I look for a moment of silence. A moment where the object appears "natural" to itself. That's the best way I can describe what I do. I carve, arrange, carve, arrange, fit, cut, crack, etc... until its done."
\r\n
\r\nPATRON is proud to present our first solo exhibition with New York based artist Bryan Savitz. The exhibition titled for above a threshold will run from January 28 through March 21st, with an opening reception on Saturday the 28th from 1 to 4PM.
\r\n
\r\nThere is a highly detailed approach to the reverse engineering in Bryan Savitz practice, a system of disassembling and reconstructive decisions that result in subtle mosaics in the form of stone and wood sculpture. Savitz work is silent; the delicate stone forms are composed of a series of fragments all sourced from a single rock of alabaster, a collection of parts all balancing and functioning in a complex yet subtle reconstructed whole. While some of the fragments remain raw, others are molded and shaped through polishing, cracking, and carving. Seamless in their composition, the reveal to the sculptures’ structure is in the details.
\r\n
\r\nThe title of the exhibition for above a threshold, stems from an acknowledgement of the physical reality of the material and the gesture the work makes towards illusion. While the composite of the work is elusive, the process of its creation is not intended to be trickery. Matter shapes, matter changes, matter can be sculpted a new and through process of creative and informed ingenuity, divided matter can become whole again. Savitz’s process searches for a platform for the introspective, giving the act of cerebral performance a stage through the physical manipulation of material, presence is in what is made present.
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\r\nBRYAN SAVITZ (b. 1975) lives and works in South Orange, New Jersey. Savitz received an MFA from Hunter College in New York and a BFA from The School of Visual Arts New York. Savitz recently held a solo exhibition at David Peterson Gallery, Minneapolis, MN, titled Pianos Are Also Heavy.
Exhibition on display: January 28-March 18, 2017
\r\nOpening reception: Saturday, January 28, 1-4pm
PATRON is proud to present a solo project by Chicago based artist Bethany Collins, titled Material Fact. The exhibition will be on view from January 28, 2017, through March 21, 2017, with an opening reception on Saturday, January 28th, from 1 to 4PM.
\r\n
\r\n“…The deterioration marks the loss of a shared public reality, which is a state we’ve returned to…when we refuse to name a thing in one place, it morphs into another form in order to be recognized…the deliberate absence of coverage of violence against the civil rights movement appears as abrasions, tears, and removals…”
\r\n
\r\nPATRON is proud to present a solo project by Chicago based artist Bethany Collins, titled Material Fact. The exhibition will be on view from January 28, 2017, through March 21, 2017, with an opening reception on Saturday, January 28th, from 1 to 4PM.
\r\n
\r\nThere is a ruminative consideration for time in Bethany Collins’ work. Unquestionably time is an inexplicable force that drives our engagement and perception of progress. Upon reflection however, it is important to note that though time may pass, nothing entirely goes away. Collins’ practice looks at archives, exploring the juncture between language and object as record of racial and political historic account. Material Fact takes its name from the term’s definition in the Black’s Law Dictionary, stating that a material fact is “crucial to the interpretation of a phenomenon or a subject matter, or to the determination of an issue at hand, this is a specific type of validated event, item of information, or state of affairs”. This presentation is a contemplative look into a time we thought we’d left in the past but find ourselves adjusting to presently as a possible daunting future. The echoes of lessons, learned from the triumphs and efforts of the Civil Rights Movement, feel as though they are lingering fainter and fainter in the collective memory of the present.
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\r\nMaterial Fact brings together three new works. The Birmingham News, 1963, 2017, is a grouping of blind-embossed prints on newsprint of select front pages from The Birmingham News. The prints have undergone a series of multiple pressings, resulting in their final incarnation, a state of deteriorated fragmentation. Selected pages mark key moments in the 1963 Birmingham Campaign, a series of organized actions aimed at dismantling segregationist policies in one of the most racially divided cities in the US. While widely publicized by news outlets nationwide, violence against those involved in the Civil Rights Movement went largely unreported by the local Birmingham News, a conscious decision by the paper’s editorial board, ironically made out of fear of inciting violence. Select front-pages in Collins’ work showcase the alternative news items chosen as representative of the days’ events following several of the demonstrations. What is left in the archives is a blind eye towards the complete story of these days in history, a selective decision to focus on alternative events that leave the narrative incomplete.
\r\n
\r\nThe Encyclopedia Americana (U), 2017, is an altered volume from the 1963 Encyclopedia Americana and is opened to a passage covering the Twentieth Century. An image of an atomic blast bears the phrase –“ I have always doubted the utility of these conferences on disarmament”– etched onto the surface and into the pages beneath. The phrase comes from a series of contextual exemplary sentences found throughout the 1982 volume of the American Heritage Dictionary. The 1982 release of the American Heritage Dictionary saw the addition of 10,000 new words, many reflective of the social and political change of the time, with inclusions such as “acid rain”, “nuke”, and “body count”. This violent theme is carried over to the illustrative sentences within definitions of the most mundane and common words, painting a portrait of a time preoccupied with questions of right and wrong.
\r\n
\r\nFind, 1982, 2017, continues the engagement with the phrases and text pulled from the 1982 American Heritage Dictionary, but is composed of the shavings and dust resulting from the text’s repeated erasure. In each of the works, violence is embedded within language itself precisely because it is embedded in our shared history. A history it seems we are bound to repeat even now.
\r\n
\r\nBETHANY COLLINS (b. 1984 Montgomery, AL) lives and works in Chicago, IL. Collins received an MFA from Georgia State University in Atlanta Georgia, a BFA from the University of Alabama in Tuscaloosa, AL and attended the Glasgow School of Art, Capstone International in Glasgow, Scotland. Recent solo exhibitions include In Evidence, Van Every/ Smith Galleries, Davidson College, Davidson, North Carolina; The problem we all live with, Birmingham Museum of Art, Birmingham, AL; with the exception of the sky, Hudgens Center for the Arts, Duluth, Georgia, and Inquiry's End, Richard Gray Gallery, Chicago, IL. Her work is included in the public collections of the Birmingham Museum of Art, Birmingham, AL; High Museum of Art, Atlanta , GA; Montgomery Museum of Arts, Montgomery, AL; The Studio Museum in Harlem, New York, NY; Zuckerman Museum of Art at the Kennesaw Stats University, Kennesaw, GA; Pennsylvania Academy of Fine Arts, Montgomery, AL; and the Agnes Scott College, Decatur, GA.
Zona Maco, Mexico Arte Contemporaneo
February 8-12, 2017
Centro Banamex, Hall D, Av. Conscripto #311, Col. Lomas de Sotelo, Mexico D.F.
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\r\n\r\nMarch 2-5, 2017
\r\n\r\nSkylight Clarkson north, 572 Washington Street, New York, NY 10014
\r\n\r\nTop image: Ryosuke Kumakura, sweatshirt, 2016, oil on canvas, 12" x 16"
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\r\n
\r\nBethany Collins lives and works in Chicago, IL. Collins received an MFA from Georgia State University in Atlanta Georgia, a BA from the University of Alabama in Tuscaloosa, AL and attended the Glasgow School of Art, Capstone International in Glasgow, Scotland. Recent solo exhibitions include In Evidence, Van Every/ Smith Galleries, Davidson College, Davidson, North Carolina; The problem we all live with, Birmingham Museum of Art, Birmingham, AL; with the exception of the sky, Hudgens Center for the Arts, Duluth, Georgia, and Inquiry's End, Richard Gray Gallery, Chicago, IL. Her work is included in the public collections of the Birmingham Museum of Art, Birmingham, AL; High Museum of Art, Atlanta , GA; Montgomery Museum of Arts, Montgomery, AL; The Studio Museum in Harlem, New York, NY; Zuckerman Museum of Art at the Kennesaw Stats University, Kennesaw, GA; Pennsylvania Academy of Fine Arts, Montgomery, AL; and the Agnes Scott College, Decatur, GA
Deana Haggag is the President & CEO of United States Artists, a national arts funding organization based in Chicago, IL. Before joining USA in February 2017, she was the Executive Director of The Contemporary, a nomadic and non-collecting art museum in Baltimore, MD, for four years. In addition to her leadership roles, Deana lectures extensively, consults on various art initiatives, contributes to cultural publications, and has taught at institutions such as Towson University and Johns Hopkins University. She is on the Board of the Greater Baltimore Cultural Alliance and council of Common Field, and has served as a member of the Affiliates Board for the Museums and Society Program at Johns Hopkins University and StageOne/FANS Council at the Baltimore School for the Arts. She received her MFA in Curatorial Practice from the Maryland Institute College of Art and a BA from Rutgers University in Art History and Philosophy. She currently lives between Chicago and Baltimore.
\r\n\r\nFor more information about the event and the gallery, contact info@patrongallery.com.
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\r\n\r\nPATRON is proud to present our first solo exhibition with New York-based artist Ryosuke Kumarkura. The exhibition titled, Belongings will run from April 1st through May 7th, with an opening reception on Saturday the 1st from 4-7pm.
\r\n
\r\nCambridge Dictionary defines belongings as, "The things that you own, especially those that can be taken with you."
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\r\nRYOSUKE KUMAKURA (b. 1981 Niigata, Japan) lives and works in Brooklyn, NY. Kamakura received his MFA from the National Academy School of Fine Arts in New York in 2011 and a BFA from Tama Art University in 2004. Selected exhibitions include an upcoming solo exhibition at PATRON, Chicago IL, 2012 National Juried Exhibition, First Street Gallery, New York, NY; Sweet, Studio Place Arts, Barre VT; Art Rescue Team for Japan, Williamsburg Art and Historical Center; Gathering Hope: Charity Exhibition for Japan, The Japanese American Association of New York, New York, NY; We are One, Gallery61 (New York Institute of Technology), New York, NY; Charity Exhibition for Earthquake and Tsunami Victims in Japan, National Academy School of Fine Arts, New York NY.
Exhibition on view: May 13-July 8, 2017
\r\n\r\nOpening reception: Saturday, May 13, 4-7pm
\r\n\r\n
Exhibition on view: July 15-August 19, 2017
\r\n\r\nOpening reception: Saturday, July 15, 4-7pm
\r\n\r\nFeaturing work by Daniel G. Baird, Kadar Brock, Alex Chitty, Bethany Collins, Myra Greene, Mika Horibuchi, Ryosuke Kumakura, Samuel Levi Jones, Harold Mendez, Brittany Nelson, Bryan Savitz, Nick van Woert and Liat Yossifor
\r\n","type":"Event","state":"published","slug":"summer","created_at":"2018-10-22 20:41:02.117801","updated_at":"2018-10-22 20:41:02.117801","excerpt":null,"is_timeless":false,"organization_id":819,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-7':16B '15':6B,14B '19':8B '2017':9B '4':15B 'alex':26B 'august':7B 'baird':23B 'bethani':28B 'brittani':41B 'brock':25B 'bryan':43B 'chitti':27B 'collin':29B 'daniel':21B 'exhibit':2B 'featur':18B 'g':22B 'green':31B 'harold':39B 'horibuchi':33B 'jone':38B 'juli':5B,13B 'kadar':24B 'kumakura':35B 'levi':37B 'liat':49B 'mendez':40B 'mika':32B 'myra':30B 'nelson':42B 'nick':45B 'open':10B 'pm':17B 'recept':11B 'ryosuk':34B 'samuel':36B 'saturday':12B 'savitz':44B 'summer':1A 'van':46B 'view':4B 'woert':47B 'work':19B 'yossifor':50B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669441/event_ics_1721669441307.ics","carousel":null,"category_name":"Exhibitions"},{"id":4910,"title":"Lucas Simoas at EXPO CHICAGO","starts_at":"2017-09-13 17:00:00","ends_at":"2017-09-17 18:00:00","body":"PATRON is pleased to announce our participation in EXPO CHICAGO 2017, featuring new work by São Paulo artist, Lucas Simões in collaboration with Marso Gallery in Mexico City.
\r\n","type":"Event","state":"published","slug":"lucas-simoas-at-expo-chicago","created_at":"2018-10-22 20:41:36.289548","updated_at":"2018-12-20 22:47:01.163721","excerpt":null,"is_timeless":false,"organization_id":819,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2017':16B 'announc':10B 'artist':24B 'chicago':5A,15B 'citi':34B 'collabor':28B 'expo':4A,14B 'featur':17B 'galleri':31B 'luca':1A,25B 'marso':30B 'mexico':33B 'new':18B 'o':22B 'particip':12B 'patron':6B 'paulo':23B 'pleas':8B 'simoa':2A 'simõ':26B 'work':19B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669458/event_ics_1721669457940.ics","carousel":null,"category_name":"Art Fairs"},{"id":4907,"title":"Nick van Woert","starts_at":"2017-09-15 18:00:00","ends_at":"2017-11-30 21:00:00","body":"PATRON is pleased to annouce PATRON is proud to present our first solo exhibition with New York based artist Nick van Woert. The exhibition will open with a reception for the artist at 6–9pm on Friday, September 15, and will continue through November 30, 2017.
\r\n","type":"Event","state":"published","slug":"nick-van-woert","created_at":"2018-10-22 20:41:41.304936","updated_at":"2018-10-22 21:19:01.169209","excerpt":null,"is_timeless":false,"organization_id":819,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'15':42B '2017':49B '30':48B '6':37B '9pm':38B 'annouc':8B 'artist':22B,35B 'base':21B 'continu':45B 'exhibit':17B,27B 'first':15B 'friday':40B 'new':19B 'nick':1A,23B 'novemb':47B 'open':29B 'patron':4B,9B 'pleas':6B 'present':13B 'proud':11B 'recept':32B 'septemb':41B 'solo':16B 'van':2A,24B 'woert':3A,25B 'york':20B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668392/dveby8loefucwr6ulsgk.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669458/event_ics_1721669457981.ics","carousel":null,"category_name":"Exhibitions"},{"id":4916,"title":"Lucas Simões and Mika Horibuchi ","starts_at":"2017-12-14 17:00:00","ends_at":"2018-01-27 18:00:00","body":"Lucas Simões "Corpos de Prova" and Mika Horibuchi "Paintings of Watercolors,"
\r\n\r\nExhibitions on view: December 14, 2017 - Jan 27, 2018
\r\n\r\n","type":"Event","state":"published","slug":"lucas-simoes-and-mika-horibuchi","created_at":"2018-10-22 20:42:11.228483","updated_at":"2018-10-22 21:16:19.102737","excerpt":null,"is_timeless":false,"organization_id":819,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'14':22B '2017':23B '2018':26B '27':25B 'corpo':9B 'de':10B 'decemb':21B 'es':8B 'exhibit':18B 'horibuchi':5A,14B 'jan':24B 'luca':1A,6B 'mika':4A,13B 'paint':15B 'prova':11B 'sim':7B 'simõ':2A 'view':20B 'watercolor':17B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668392/tq4qenkvystk5rkg9pgb.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669458/event_ics_1721669458046.ics","carousel":null,"category_name":"Exhibitions"},{"id":5399,"title":"Jennie C. Jones: \"alternate takes\"","starts_at":"2018-02-03 21:00:00","ends_at":"2018-03-18 22:00:00","body":"...there is an intrinsic aspect of risk in the second take, in the attempts at shifting the creative moment slightly to the left, right, or dismantling the previous incarnation of the “thing,” the gesture, the attempt to convey... - Jennie C. Jones
\r\n\r\nPATRON is proud to present our first solo exhibition with New York based artist Jennie C. Jones titled alternate takes. The exhibition marks Jones' first solo exhibition in Chicago and will include a series of new paintings, sculptures and sound installation. The exhibition will open on Saturday, February 3rd, and run through March 18, 2018.
\r\n\r\n\r\n","type":"Event","state":"published","slug":"jennie-c-jones-alternate-takes","created_at":"2018-10-22 20:42:23.508648","updated_at":"2018-10-22 21:14:55.634294","excerpt":null,"is_timeless":false,"organization_id":819,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'18':100B '2018':101B '3rd':95B 'altern':4A,65B 'artist':60B 'aspect':10B 'attempt':19B,41B 'base':59B 'c':2A,45B,62B 'chicago':75B 'convey':43B 'creativ':23B 'dismantl':31B 'exhibit':55B,68B,73B,89B 'februari':94B 'first':53B,71B 'gestur':39B 'incarn':34B 'includ':78B 'instal':87B 'intrins':9B 'jenni':1A,44B,61B 'jone':3A,46B,63B,70B 'left':28B 'march':99B 'mark':69B 'moment':24B 'new':57B,82B 'open':91B 'paint':83B 'patron':47B 'present':51B 'previous':33B 'proud':49B 'right':29B 'risk':12B 'run':97B 'saturday':93B 'sculptur':84B 'second':15B 'seri':80B 'shift':21B 'slight':25B 'solo':54B,72B 'sound':86B 'take':5A,16B,66B 'thing':37B 'titl':64B 'york':58B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668409/awhwnuqxxaalahiwkal2.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669475/event_ics_1721669474677.ics","carousel":null,"category_name":"Exhibitions"},{"id":5400,"title":"Samuel Levi Jones","starts_at":"2018-03-24 17:00:00","ends_at":"2018-05-12 20:00:00","body":"Mar 24 – May 12, 2018
\r\n\r\n\r\n","type":"Event","state":"published","slug":"samuel-levi-jones","created_at":"2018-10-22 20:42:39.541284","updated_at":"2018-10-22 21:14:54.972788","excerpt":null,"is_timeless":false,"organization_id":819,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'12':7B '2018':8B '24':5B 'jone':3A 'levi':2A 'mar':4B 'may':6B 'samuel':1A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668409/bkhsnyi9qc1kb60dvsam.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669475/event_ics_1721669474752.ics","carousel":null,"category_name":"Exhibitions"},{"id":6008,"title":"Melanie Schiff : Lay Lie Lay","starts_at":"2018-05-18 17:00:00","ends_at":"2018-07-07 20:00:00","body":"Opening Reception: Friday, May 18, 2018, 5-8pm
\r\n
\r\nPATRON is proud to present our first solo exhibition with Los Angeles based artist Melanie Schiff titled Lay Lie Lay. The exhibition will open on Friday, May 18th, and run through July 7th, 2018.
Opening Reception: Friday, May 18, 2018, 5-8pm
\r\n
\r\nPATRON is proud to present pulling flavor from the dirt, a solo exhibition by Alex Chitty. The exhibition will open with a reception for the artist on Friday, May 18th, and run through July 7th, 2018.
Opening Reception: Saturday, July 14th from 5 - 8PM
\r\n\r\nAnd I love light. Perhaps you'll think it strange that an invisible man should need light, desire light, love light. But maybe it is exactly because I am invisible. Light confirms my reality, gives birth to my form... – Excerpt from "Invisible Man" by Ralph Ellison
\r\n\r\nPATRON is proud to present our first solo exhibition with Los Angeles based artist, Greg Breda. The exhibition titled, Hei will open with a reception for the artist on Saturday July 14th, from 5-8PM, and will continue through August 25, 2018.
\r\n\r\nGREG BREDA (b.1959, Los Angeles, CA) lives and works in Los Angeles California. In recent years, Breda's work has been included in several solo and group exhibitions including: Hei (2018) at PATRON, Chicago IL; Face To Face: Los Angeles Collects Portraiture (2017) at California African American Museum, Los Angeles, Ca; East + West: Studies On Paper By Francks Deceus & Greg Breda (2015) at Band Of Vices, Los Angeles, Ca; Hard: Politics, Religion, and Personal Preference (the private collection of CCH Pounder) (2014) at Advocate & Gochis Galleries, Los Angeles, Ca; A Collaboration with Tilford Art Group & Pounder Kone (2008) at Pounder Kone Art Space, Los Angeles; Seed (2006) at Tilford Art Group, Los Angeles, Ca and Ca and House Proud: The Artist Salon (2006) at Pounder Kone Art Space, Los Angeles, Ca.
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\r\n
\r\nFor this commission, Jones inserts two site-responsive audio collages into the Philip Johnson–designed Glass House (1949) and Sculpture Gallery (1970). In the Glass House, the artist’s durational intervention, titled revolutions per minute, employs a harmonious combination of solfeggio frequencies that encourages visitors to consider the aural environment of the transparent pavilion as well as underscores its reverberating cultural influence. In the Sculpture Gallery, the aforementioned sound carries over as an undertone and is transformed by a counterpoint of predominantly black sonic practices from the year 1970, including Alice Coltrane, Alvin Singleton, Milford Graves, and Yusfe Lateef. This work, titled Year of Construction: 1970, climbs into a crescendo of sound before spiraling back down to the soft tone at the start of the piece, sonically echoing the gallery’s interior patterning of light and winding staircases.
\r\n
\r\nTo complement the audio collages, Jones has created a series of new works on paper on view in the Painting Gallery (1965). She will also produce a limited edition 45 RPM vinyl record containing the sound works from both buildings. 45 RPM singles were first introduced in the same year that the Glass House was constructed.
\r\n\r\n
\r\n\r\n","type":"Event","state":"published","slug":"the-glass-house","created_at":"2018-10-22 20:43:48.061556","updated_at":"2018-10-22 21:05:55.866107","excerpt":null,"is_timeless":false,"organization_id":819,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1949':97B '1965':239B '1970':101B,168B,185B '45':247B,258B 'abstract':32B 'aforement':147B 'alic':170B 'allianc':64B 'also':242B 'alvin':172B 'american':41B 'among':67B 'approach':72B 'artist':24B,107B 'audio':15B,88B,221B 'aural':128B 'avant':47B 'avant-gard':46B 'back':194B 'black':162B 'bring':11B 'build':257B 'c':5B 'carri':149B 'climb':186B 'collag':16B,89B,222B 'coltran':171B 'combin':118B 'commiss':14B,81B 'complement':219B 'conceptu':77B 'consid':126B 'construct':184B,273B 'contain':251B 'correspond':52B 'counterpoint':159B 'creat':225B 'crescendo':189B 'cultur':53B,140B 'describ':70B 'design':94B 'durat':109B 'echo':207B 'edit':246B 'emerg':66B 'employ':115B 'encourag':123B 'engag':27B 'environ':129B 'extend':22B 'first':262B 'focus':43B 'frequenc':121B 'galleri':100B,145B,209B,238B 'gard':48B 'glass':2A,95B,104B,270B 'grave':175B 'harmoni':117B 'highlight':61B 'histori':39B 'hous':3A,96B,105B,271B 'includ':169B 'influenc':141B 'insert':83B 'interior':211B 'intervent':110B 'introduc':263B 'jenni':4B 'johnson':93B 'jone':6B,36B,69B,82B,223B 'lateef':178B 'light':214B 'limit':245B 'listen':74B 'milford':174B 'mine':38B 'minim':45B 'minut':10B,114B 'modern':42B 'music':49B 'new':229B 'newli':13B 'ongo':26B 'order':59B 'paint':237B 'paper':20B,232B 'pattern':212B 'pavilion':133B 'per':9B,113B 'philip':92B 'piec':205B 'polit':56B 'practic':78B,164B 'predomin':161B 'produc':243B 'record':250B 'respons':87B 'reverber':139B 'revolut':8B,112B 'rpm':7B,248B,259B 'sculptur':99B,144B 'seri':227B 'shift':57B 'singl':260B 'singleton':173B 'site':86B 'site-respons':85B 'social':54B 'soft':198B 'solfeggio':120B 'sonic':31B,163B,206B 'sound':148B,191B,253B 'spiral':193B 'staircas':217B 'start':202B 'throughout':33B 'titl':111B,181B 'togeth':12B 'tone':199B 'transform':156B 'transpar':132B 'two':84B 'underscor':137B 'underton':153B 'unlik':63B 'view':234B 'vinyl':249B 'visitor':124B 'visual':29B 'well':135B 'wind':216B 'work':18B,35B,180B,230B,254B 'year':167B,182B,267B 'yusf':177B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668458/aaqitwmwvt0jwsiwsoll.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669523/event_ics_1721669523142.ics","carousel":null,"category_name":"Exhibitions"},{"id":6475,"title":"Bethany Collins, Undersong","starts_at":"2018-09-15 17:00:00","ends_at":"2018-10-27 20:00:00","body":"
Undersong - n.
\r\n1. The burden of a song; the chorus; the refrain.
\r\n2. Accompanying strain; subordinate and underlying meaning; accompaniment; undertone.
\r\n
\r\nPATRON is proud to announce our second solo exhibition with Chicago based artist Bethany Collins titled “Undersong”. The exhibition will open on September 15th, with an opening reception for the artist from 5 to 8PM, and will continue through October 27, 2018.
\r\n
\r\n“Undersong” makes use of three texts—translations of The Odyssey; classified ads placed by former slaves searching for family; and patriotic hymns. The first format of Homer’s poem of nostos was passed down orally. “Lost Friends” ads were subsequently read aloud in church services to reach a broader audience. And patriotic hymns achieve national unity only through their collective voice. The vocalization of these texts becomes the undersong—the burden of the song; the chorus; the refrain—of an American landscape, one that feels intimately familiar, yet estranging.
Samira Yamin
Samira Yamin’s practice examines the construction of a nebulous Middle East as a site of perpetual war through an interrogation of contemporary war photography. Pulling pages directly from TIME Magazine, Yamin’s interventions draw out the invisible, internal structure of representation inherent in print media. Using beauty, symmetry, pattern and obsessive techniques to draw the viewer in, the work imbues source images with a sense of awe, wonder and curiosity not usually associated with the news magazine, otherwise a throwaway object.
Passing Obliquely From One Medium Into Another presents a new chapter in Yamin’s practice through a new body of work, Refractions, that exploits the phenomenon of light to bend, obstruct and illuminate the consumption of not only photojournalistic images, but what they purport to represent. Using TIME Magazine pages, Yamin’s new work explores the evolving representation of conflict in Syria since March 2011 as uprisings, government backlash, insurgency or proxy war by shifting accountability onto the viewer. Seen through optical glass carved using Dynamic Symmetry, a system of compositional rules for two-dimensional space, images that range from a portrait of Syrian president Bashar al-Assad lit on fire to migrants on a raft on the Aegean Sea, become a reversal of photography itself. While photography takes light, and suspends it into a static image, it is made dynamic again through Yamin’s intervention in our viewership — one can’t receive the entirety of the image from any single vantage point, can never grasp it as a static and singular gestalt the way information is assumed to be relayed and received, but must move about it, taking multiple positions to meet the image, and therefore its subject. What results is a spectral experience of a seemingly distorted image accessed through moments, the entirety of which can be achieved slowly, if at all, through an invested engagement with the events and individuals represented. With sustained viewing, patterns emerge throughout the works: hands reaching up or passing babies, faces cut and split across seams, poignant language and, especially, light, which is not only crucial to the making of these images – the flash of a camera or the light streaming through a window – but in constructing the narrative – deep, high contrast tones; ominous shadows; large, content-less, dark swathes – of a place in constant turmoil.In these works, light, image, information move obliquely, making the viewer as much a medium as the page or the glass through which they pass, and demanding that we cultivate a dynamic and devoted practice of viewership that enables actual seeing.
The second gallery presents a series of works from Yamin’s Geometries series, an ongoing body of work produced by mapping one system of knowledge production, sacred geometric patterns drawn from Islamic architecture, onto another, TIME Magazine articles about current wars in the Middle East. In Islam, sacred geometries are visual representations of the universe as a place of structure, but in this context also suggest an ornamental, read Orientalist, image of Islam and of the Islamic world. In other words, both the magazine and the patterns are at once systematic ways of organizing and knowing the world, as well as the gaze that mediates a view, and an understanding, of not only the war photography in question, but also the wars themselves.
PATRON is proud to present our first solo exhibition with Illinois based artist, Kay Hofmann The exhibition titled, pour toujours will open with a reception for the artist on January 26th, from 5-8PM, and will continue through March 9, 2019.
KAY HOFMANN (b. 1932, Green Bay WI) received her B.F.A at the Art Institute of Chicago, Chicago IL and studied with Ossip Zadkine at the Academia de Grande Chaumiere, Paris FR. Her work has been featured in exhibitions at the Art Institute of Chicago, Chicago IL; Lakeview Museum, Peoria, IL; Illinois State Museum, Springfield, IL; Foothill Art Center, Golden, CO; Raher-West Museum, Manitowoc, WI; Ballarmine College, Louisville, KY; Suburban Fine Arts Center, Highland Park, IL;Alverno College, Milwaukee WI; Peoria Art Guild, Peoria, IL; Chicago Public Library, Chicago IL; Illinois Institute of Art, Chicago IL; Peter Miller Gallery, Chicago IL; and Mindscape Gallery, Chicago IL. Her work is in the permanent collections of Michael Jordan Collection, Borg Warner Corporation, Hugh Hefner, Continental Hotel, Gonstead Medical Center, Mt. Horeb, WI, Arthur Answerson Associates, and Henry Marcus Collection among many other private and corporate collections.
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PATRON is proud to present our second solo exhibition with Chicago based artist, Daniel G. Baird. The exhibition titled, murmur will open with a reception for the artist on January 26th, from 5-8PM, and will continue through March 9, 2019.
DANIEL G. BAIRD (b. 1984, Edison NJ) lives and works in Chicago, IL. Baird earned his MFA from the University of Illinois, Chicago, in 2011. In recent years his selected solo exhibitions include: of the water (2018) at GRIMM Gallery, New York, NY; Field Station: Daniel G. Baird (2017) at Edythe Broad Art Museum, Michigan State University, MI; Thereof (2017) at Granite City Arts and Design District, St. Louis, MO; When (2016) at PATRON, Chicago, IL; Strata (2014) at Andrew Rafacz Gallery, Chicago; Has the World Already Been Made? x4 (2013) at Roots and Culture, Chicago; This New Ocean (2012) at Appendix Project Space, Portland, OR; Has the World Already Been Made? (2011) at Jan Van Eyck Academie, Maastricht, the Netherlands; and Russell Leng and Daniel G. Baird (2011) at Hungryman Gallery, Chicago. His work has also been included in numerous group exhibitions, including Local Comfort (2018), LVL3, Chicago IL; Classic Beauty: 21st-Century Artists on Ancient [Greek] Form (2018), Providence College Galleries, Providence RI; Bearable Lightness of Being (2017) at GRIMM, Amsterdam, NL; WheredoIendandyoubegin - On Secularity (2017), Göteborg International Biennial for Contemporary Art, Gothenberg, Sweden; HWBMx7 (2015) Harlan Levey Projects, Brussels; Habeas Corpus (2015) iMOCA, Indianapolis, IN; Real Things About Real Things (2015) at American Medium, New York; Has the World Already been Made? (2015) at Leeds University College of Art, Leeds, UK; GYRE: ALEX CHITTY AND DANIEL G. BAIRD (2015) at Land and Sea, Oakland; Ultra Deep-Field (2014) at Rockford Art Museum, Rockford, IL; There is a Screen (2014) at LVL3, Chicago, IL; Distant Images, Local Positions (2014) at the Elizabeth Foundation for the Arts, New York; and We Ghosts(2012) at Koh-iNoor, Copenhagen. Recently, Baird was Artist in Residence, Illinois State University, Normal, IL.
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PATRON is proud to announce our first solo presentation of Brooklyn based artist, Anna Plesset. The exhibition titled, Various Records will open with a reception for the artist on Saturday, March 23rd from 5-8PM and continue through May 4, 2019.
Using painting, drawing, sculpture, and other media, my work engages personal and shared histories to examine how knowledge, memory, and history are constructed and mediated. While research-based and conceptually driven, my work is grounded in traditional painting techniques. In particular, the history of trompe l’oeil painting influences me in its capacity to raise questions about our perception of culture and society through the illusionistic representation of quotidian objects. Drawing on this legacy through multiple lenses—whether focused on the absence of women from the art historical canon or the integration of trauma into everyday life—my work explores historical narratives complicated by erasure, translation, geography, and time.
My current project, 'Various Records,' utilizes a variety of approaches including video, trompe l’oeil painting, drawing, and sculpture to look at the physical and psychological relationships between war, trauma, suffering and everyday life through multiple records: a film my Jewish grandfather made while serving as an army psychiatrist during World War II, the record of my own journey retracing his path through Europe using the film as my guide, and the familiar narrative of World War II constructed by institutions, books, and other media.
All of my work is driven by my deep interest in overlooked or lesser-known narratives that exist within primary accounts of the past, and to which I have physical and psychological connections. The overlap between my research subjects and my own physical activities with respect to that research is where my work functions, offering a reconsideration of our perception of the past and its construction.
- Anna Plesset
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PATRON is proud to announce our second solo presentation of Atlanta based artist, Myra Greene.
The exhibition titled, Minor Chord will open with a reception for the artist on Saturday, May 11th from 5-8PM and continue through June 22, 2019.
Intermingled in the space, progressing from one to the next, three bodies of work speak about similar ideas and work on distinct expressive parts of the same notion. Yet, they start to feel dissonant, like a minor chord.
Maybe it is more like hearing a song that takes an unexpected turn halfway through. You have an expectation of the arrangement, but the audio shifts its own understanding on itself. It takes multiple listens to figure out why and how decisions were made. Were they unsatisfied with the structure? Did the old form do all it could? Was the new form explored to generate something unique that the old form could not? Can the new reference the past while pulling small movements forward?- Myra Greene
MYRA GREENE (b. 1975, New York City, NY) lives and works in Atlanta Georgia, where she is Vice Chair of Art & Visual Culture, Photography Program Director at Spelman College. She received her MFA from the University of New Mexico, and her BFA from Washington University. Recent solo and group exhibitions include exhibitions WAP: Myra Greene (forthcoming), Museum of Contemporary Art Georgia, Atlanta, GA, Glimmers Through Dark Matter (2019), PATRON, New York, NY; Measured In Moments (2018), The Safe House Museum, Greensboro, Alabama (off site exhibition for Atlanta Contemporary, Atlanta GA); Frieze (2018), at Corvi-Mora Gallery, London, UK and Undertones (2018) at Corvi-Mora Gallery, London, UK. Myra Greene’s work has been featured in nationally exhibitions in galleries and museums including The New York Public Library, Duke Center for Documentary Studies, Williams College Museum of Art, Spelman College Museum of Fine Art in Atlanta, Museum of the African Diaspora in San Francisco, and Sculpture Center in New York City. She is the recipient of several awards and grants, including Working Artist Project Fellowship, Museum of Contemporary Art of Georgia, Atlanta, GA, the Illinois Arts Council Photography Fellowship, Journal of Contemporary Photography Award, Academic Fellowship at The Photography Institute, and Curatorial Fellowship at MoMA. Her work is also part of multiple permanent collections, including JP Morgan and Chase, New York, NY, the Center for Photography at Woodstock, Light Work in Syracuse, New York, the Museum of Contemporary Photography in Chicago, Illinois, the Museum of Fine Arts in Houston, Texas, theNational Gallery of Art in Washington, D.C., the Nelson- Atkins Museum of Art in Kansas City, Missouri, the New York Public Library, and the Princeton University Art Museum.
Image: Myra Greene, Mixed #5, 2019.
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PATRON is proud to present our second solo exhibition with Richmond-based artist, Brittany Nelson. The exhibition titled -10,000 Light Years From Home will open with a reception for the artist on Saturday, June 29th from 5-8PM and continue through August 17, 2019.
The exhibition combines research from the science fiction author Alice Sheldon, who wrote under the pseudonym of James Tiptree Jr., and images from the Mars Opportunity Rover to discuss queer politics, science fiction, loneliness, and isolation.
A series of reflective holograms depict a hand-written manuscript by Alice Sheldon. Writing as Tiptree, she details her continual failed attempts at relationships with women. Sheldon remained closeted throughout her life, apart from her -fantasticalwritingthrough her alter-ego that described attractions to alien beings.
Installed alongside the holograms, images captured by the Mars Opportunity Rover depict the Martian landscape. The photographs show the lone rover looking back at her tracks as she roamed the planet for over 14 years of isolation and unscheduled missions. Created in the romantic, pictorialist-era process of Bromoil, the silver is removed and the image is slowly reconstructed with black ink by hand in an effort to touch the alien landscape.
On the occasion of the exhibition, Nelson's new artist book with be available:
Brittany Nelson: Out Of The Everywhere
Edited by Stefanie Hessler, Contributors: Lars Bang Larsen, Danielle Dean, Gordon Hall, Stefanie Hessler, Quinn Latimer and Gala Porras-Kim
Published and distributed by: Mouse Publishing, Milan–Italy
Copyright 2019
Image: Brittany Nelson, Olympia, 2019.
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Opening Reception: Saturday, September 14th from 5 - 8PM
PATRON is proud to present our second solo exhibition with Los Angeles-based artist, Harold Mendez.
Location: Chicago Athletic Assosciation
PATRON is proud to announce our participation in the first edition of the Chicago Invitational, presented by NADA. Our presentation will feature new works by artists, Alex Chitty and Anna Plesset.
Chicago Invitational, Presented by NADA
Chicago Athletic Association Hotel
12 South Michigan Avenue
September 18–21, 2019
VIP Preview by Invitation:
Wednesday, September 18, 10am–2pm
Open to the Public:
Wednesday, September 18, 2–7pm
Thursday, September 19, 11am–7pm
Friday, September 20, 11am–7pm
Saturday, September 21, 11am–7pm
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Open for Art After Hours, a citywide open gallery night inviting EXPO CHICAGO visitors and the Chicago community to experience the city's vibrant art scene during extended hours.
For details and participating galleries and art spaces, click here.
6:00–9:00pm | Citywide Locations
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More information here
PATRON Projects | New York is proud to present bury enchantment our second solo exhibition with New York-based artist Kadar Brock and his first solo presentation in New York since 2013. The exhibition will open with a reception for the artist on Thursday, November 7 and will continue through November 10, 2019.
“Spiritual growth in the New Age sense may well be characterized as an ongoing individual psychotherapy in which each of us is his/her own therapist, and unlimited freedom for creativity is the promised goal.”
-Wouter J. Hanegraaff, New Age Religion and Western Culture: Esotericism in the Mirror of Secular Thought
A commitment to ritual is at the center of Kadar Brock’s practice. Often working on multiple canvases at once, Brock creates dynamic, vibrant abstractions that are born from an arduous process of painting, scraping, priming, sanding, and painting again. It is a repeated action of creation and erasure, one that layers multiple compositions atop one another and embodies the physical, psychological, and pictorial records of their making.
bury enchantment, comprised of five large-scale paintings, is an immensely personal body of work. Retaining a commitment to his established process, Brock layers paintings about personal memory, family history, and iconographies of New Age religion, alongside representations of masculinities found in the characters of American and Japanese comic books and film.
For Brock, it is important that each layer of the work is rendered completely, paying homage to the imagery it considers before it is deconstructed. The original image functions as a symbolic entity, only at times peaking through the final surface of the work by way of color, shape, or shadow. In this sense, each painting is a memorial, full of ghostly referents. Yet, this assemblage is also an act of release, fusing multiple signifiers into one renewed object. The physical and emotional process of creation, often taking place over many years, enables a reverse archeology of the self and renders a delicate balance between body, memory, and psychology. The titles of the work, such as, the sacrifice, the struggler, the kiln of the first flame, the wanderer, reveal snippets of the content, naming the layers underneath, yet encouraging the viewer to take a slower, closer look.
In the fall of 2018, Brock traveled to Rains, Utah, a once vibrant mining town and the birthplace of John-Roger Hinkins, the leader of The Movement of Spiritual Inner Awareness. Raised in MSIA, Brock was interested in visiting Rains to better understand New Age religion and its impact on his upbringing and current philosophies. On this trip he hiked to the now ghost town, photographing the terrain and gathering materials connected to his family history. rains schoolhouse, rains schoolhouse and little standard, western tipple, are the result of this trip, depicting the landscape and it’s abandoned structures. In these works, however, Brock has shifted the ritual of his production, foregoing the layer of primer between each action. As such the content is distinctly legible, appearing almost as photographic double-exposures rendered in oil. Instead of burying the image, Brock has erected a monument in its memory.
KADAR BROCK (b. 1980, New York, NY) is a New York based artist who lives and works in Brooklyn, NY. Brock received his BFA from the Cooper Union School of Arts, NY in 2002.
Image: Kadar Brock, rains schoolhouse, rains schoolhouse, 2019, oil on canvas.
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PATRON is proud to launch our new location at 1612 W. Chicago Ave. with our first solo exhibition with Houston-based artist Jamal Cyrus titled, Manna and Braised Collards. This marks the artist’s first solo exhibition in Chicago and is followed later this year by a traveling solo exhibition at The Blaffer Museum of Art in Houston as well as his participation in Prospect 5 in New Orleans in October. Manna and Braised Collards will open to the public on April 24 and continue through May 29, 2021.
To make an appointment, please visit us on TOCK. Masks are required inside of the gallery at all times.
JAMAL CYRUS (b. 1973, Houston, TX) lives and works in Houston, TX. Cyrus received an MFA from University of Pennsylvania and a BFA from the University of Houston. Cyrus has won several awards, most recently the David C. Driskell Prize, awarded by the High Museum of Art, Atlanta, GA (2020); Joan Mitchell Foundation Painters & Sculptors Grant(2019); and BMW Art Journey. He has participated in numerous national and international exhibitions, including The End of My Beginning, Blaffer Art Museum, Houston, TX (2021); Slowed and Throwed: Records of the City Through Mutated Lenses, Contemporary Arts Museum, Houston (2020); Direct Message: Art, Language and Power, Museum of Contemporary Art, Chicago, IL (2019); Front International: Cleveland Triennial for Contemporary Art, Akron Art Museum, Akron, OH (2018); Jamal Cyrus x Jamire Williams: Boogaloo & The Midnite Hours, Lawndale Art Center, Houston, TX (2018); and The Freedom Principle: Experiments in Art and Music, 1965 – Now, Museum of Contemporary Art Chicago, Chicago, IL (2016).
Cyrus was also a member of the artist collective Otabenga Jones and Associates. As a member of the collective, he exhibited at the High Museum of Art, Atlanta; the Smithsonian National Museum of African American History and Culture, Washington, DC; the Menil Collection, Houston; and the 2006 Whitney Biennial.
His work is included in the public collections of The Menil Collection, Houston, TX; Blanton Museum of Art, Austin, TX; Museum of Contemporary Art Chicago, Chicago, IL; The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY; The Museum of Fine Arts Houston, Houston, TX; and The Rose Art Museum, Waltham, MA.
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OPENS SATURDAY, JUNE 5, 2021, 11AM - 6PM
What to do with such knowledge as photographs bring of faraway suffering?
-Susan Sontag
Regarding the Pain of Others
PATRON is proud to present our second solo exhibition with Los Angeles based artist Samira Yamin. The exhibition titled, All the Skies Over Syria, will open to the public on Saturday, June 5 and will continue through July 10, 2021.
To make an appointment, please visit us on TOCK. Masks are required inside of the gallery at all times.
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Further abstraction to the material of 'No color in the pages' is parallel to the mental distraction from awareness. The year 2020 may have proved a disruptor of the structures which block truth. Plunge deep without fear.
-Samuel Levi Jones
PATRON is proud to present our third solo exhibition with Indiana-based artist Samuel Levi Jones. The exhibition titled, No color in the pages, will open to the public on Saturday, June 5 and will continue through July 10, 2021.
Masks are required inside of the gallery at all times.
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Thursday, June 17
6pm CST / 4pm PST
Join us June 17 for a virtual presentation with Los Angeles-based artist Samira Yamin on the occasion of her exhibition All the Skies Over Syria, currently on view at PATRON Gallery through July 10.
In her second solo exhibition at PATRON, artist Samira Yamin presents All the Skies Over Syria, a meditative installation of a singular photographic work that was composed over the course of four years. This piece is part of a series of works comprising elements of TIME magazine coverage of Syria since the Arab Spring. Within a photojournalism context, pictorial tropes of war in the Middle East often depict grey skies above smoldering, barren landscapes. Here Yamin has accumulated every image depicting Syria or Syrians in TIME between 2011-2019 and transformed the material into a mosaic-like composition that appears to undulate. As an approach to reanimating or making “dynamic again” the still representations of an already vast and ephemeral subject like the sky, she aims to condense into a single image nearly a decade’s worth of representation. An aesthetic gesture that becomes a metaphor for untethering static and narrow representations of this region of the world.
![\"\"](\"https://mcusercontent.com/fe9966abed200e47655a01bab/_compresseds/af9d3caf-e718-fb7e-c02e-0c189c051d3f.jpg\")
In the exhibition, the viewer is invited to sit and ruminate on the circular, swirling, canonical form of abstraction that Yamin created with nearly surgical precision from thousands of tiny hand-cut triangles, which were derived from only the areas of sky in the magazine pages. It elicits a material poeticism when read as an accumulation of micro-histories liberated from their original context. Yamin’s practice is firmly situated in photography, with an interest in questioning the innate shortcomings of representation within the medium. For instance, the impetus to photograph something is already in and of itself a construction and mediation of the subject. Her early works using TIME magazine intervened by cutting patterns into the pages of the publication as a purposeful means to obstruct part of the image from the viewer, while embracing the tension between the reproducible and the handmade. The artist explains, “I’m distrustful of the notion of truth-telling. We are constantly narrating the world back to ourselves. Subjectivity is always the lens.” The hypnotic opticality of these earlier works as well as All the Skies Over Syria borrow patterns and sacred geometries from Islamic art traditions, which aim to articulate the infinite nature of the universe. By transforming the media images into their own type of constellation, Yamin slows down the reading of the image to perhaps suggest that one may find overlooked patterns.
As a counterpoint to the infinite, All the Skies Over Syria is one of the first works in which the artist has intentionally built the aging process into the conceptual tenets of the piece. The non-archival paper and ink of the TIME magazine pages will begin to turn blue over time and with exposure to the sun. This points to the 24-hour news cycle and the throw-away economy of TIME magazine. Yamin’s piece searches for an ethics imbedded in the materiality of images. She explains, “I don’t want to preserve an image of war. I want it to be of its time.”
To view the show book an appointment on Tock.
![\"\"](\"https://mcusercontent.com/fe9966abed200e47655a01bab/images/2f44f044-f8de-6e75-eda6-728e42c7bb74.jpeg\")
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Join us on Saturday, July 10 at Noon for a conversation between Samuel Levi Jones and Chicago-based artist Kellie Romany, on the occasion of Jones' current exhibition, No color on the pages. We will host the conversation in person at the Gallery and broadcast live via Zoom. Please RSVP via email [info@patrongallery.com] to reserve a seat at the Gallery (seating is limited) or register online to join via Zoom.
The conversation will be held on the final day of the exhibition. For more information and to make an appointment to see the exhibition in person, please visit us at PATRONGallery.com. No color on the pages will be on view through Saturday, July 10.
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PATRON is proud to present, Value Studies, our second solo exhibition with New York-based artist Anna Plesset. The exhibition will open to the public on Saturday, July 17 and will continue through August 28, 2021. While reservations on tock are encouraged, they are not required to visit the gallery.
“Representation of the world, like the world itself, is the work of men; they describe it from their own point of view, which they confuse with absolute truth.”
- Simone de Beauvoir, The Second Sex, 1949
\"I call these new paintings Value Studies because it's a play on a basic painting and drawing exercise while simultaneously referring to the content of my work; these paintings are meant to give value and visibility to the many women and works that have been largely omitted from the dominant narrative of the Hudson River School. The act of copying \"important\" paintings, another basic painting exercise, functioned historically as a learning tool and a way of paying homage. By copying the works of these women, and intentionally leaving my paintings in progress, I hope to make visible the act of historical recovery and acknowledge it as never finished.\"
– Anna Plesset, 2021
Image: Anna Plesset, Value Study 1: A View of the Catskill Mountain House / Copied from a picture by S. Cole copied from a picture by T. Cole / 1848, 2020
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OPENS SATURDAY, JULY 17, 2021, 4PM - 7PM
PATRON is proud to present, Proximity, our first solo exhibition with New Jersey-based artist Claire Sherman. The exhibition will open to the public on Saturday, July 17 and will continue through August 28, 2021. While reservations on tock are encouraged, they are not required to visit the gallery.
\"Amazing as it is from the rims, the commonest viewing points, you have not been in the Grand Canyon without the descent into its underworld. Postmodern academic criticism argues that the whole world is packaged for us, that nature is no exception, and we never see what is before us without an invisible frame courtesy of the mass media or even of great art and literature. There is truth in that, but at the height of postmodernism’s popularity, we were virtually forbidden to experience anything directly, emotionally, or kinetically. If we did so, we were accused of being “essentialists,” ignoring the imposed frames, falling for the propaganda. However, those who have immersed themselves in the stewardship of western lands refuse to forego lived experience and close scrutiny, adding more not less strata to the consideration of places like the Grand Canyon, which some now think is not 7 million, but 700 million years old.\"
- Lucy Lippard, Undermining
Image: Claire Sherman, Cave and Water, 2021
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The Phillips Collection presents Bethany Collins in conversation with Mollye Bendell
Tuesday, August 24, 2021
5-6pm CDT / 6-7pm EST
Virtual Presentation Registration Link
Bethany Collins (b. 1984) uses language to explore American history and the nuance of racial and national identities. Like Jacob Lawrence, she uses archival research to identify the language of song, spoken word, and coded messages that can uncover a range of American voices and expressions. Learn about Collins’s work, including her installation in Jacob Lawrence: The American Struggle. Collins will be in conversation with Mollye Bendell, artist and professor at the University of Maryland.
For her installation, Collins sourced different versions of the popular American patriotic anthem “My Country ‘Tis of Thee” and gathered song sheets for the artist book located in the chapel space. Between the 18th and 20th centuries, American songwriters rewrote the lyrics to the melody of “My Country ‘Tis of Thee” (also called “America”) in support of varying American causes, including revolution, temperance, suffrage, abolition, Native sovereignty, and slavery. Collins’s special edition artist book chronicles an idea of America through the history of one song’s varied verses. To create the hymnal, she bound 100 versions of the lyrics together chronologically and then burned away the musical notes with a laser. America: A Hymnal presents a national identity fraught with multiple meanings and contradictions. The versions of the hymn heard inside these walls express differing articulations of what it means to be American. What can the varied verses of this familiar tune tell us about the experiences of the Americans who wrote them?
The wallpaper in the installation is adorned with raised patterns of wildflowers found in the American South and variations of the rose, the national flower of the United States. Beginning in the 19th century, encyclopedias published floriography, flower/word associations, such as Georgia’s wild blue phlox for “Our souls are united,” Florida’s ash tree for “With me you are safe,” and the mulberry for “I shall not survive you.” In Meet me by moonlight, Collins expresses the connections her research revealed between this symbolic language of flowers and its historical usage during the Great Migration. In this 20th-century movement, half the country’s Black population left the rural southern United States for the urban Northeast, Midwest, and West. The population of this mass migration used flower phrases as a way to share covert messages of love, possession, and pain that were otherwise difficult to speak aloud.
Image: Bethany Collins. © 2020 Peabody Essex Museum. Photo by Bob Packert
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For his second solo exhibition with PATRON, Los Angeles based artist Greg Breda paints masterful portraits depicting revelatory moments for African American characters within 1970s cinema to more recent films. Rendering the figures in his paintings with lush brushstrokes on vellum, Breda’s compositions reference film stills that portray scenes of self-reflection and contemplation for the character. Still, the exhibition’s title, alludes to spiritual connotations of stillness, as well as the reality that society continues to grapple with and rehash the same issues.
GREG BREDA (b. 1959, Los Angeles, CA) lives and works in Los Angeles California. Recent solo and group exhibitions include Duro Olowu: Seeing Chicago (2020), Museum of Contemporary Art Chicago, Chicago IL; Punch (2019), curated by Nina Chanel Abney, Jeffery Deitch Gallery, Los Angeles, CA; Plumb Line: Charles White and the Contemporary (2019) at California African American Museum, Los Angeles, CA; Glimmers Through Dark Matter (2019) at PATRON, New York, NY; Hei (2018) at PATRON, Chicago IL; QUEEN: From the Collection of CCH Pounder (2018) at Xavier University Art Gallery,New Orleans, LA; Face To Face: Los Angeles Collects Portraiture (2017) at California African American Museum, Los Angeles, CA.; Hard: Politics, Religion, and Personal Preference (the private collection of CCH Pounder) (2014), Advocate & Gochis Galleries, Los Angeles, CA.; East + West; Studies On Paper By Francks Deceus & Greg Breda (2015) at Band Of Vices, Los Angeles, CA; A Collaboration with Tilford Art Group & Pounder Kone (2008) at Pounder Kone Art Space, Los Angeles, CA.; Seed (2006) at Tilford Art Group, Los Angeles, CA. and House Proud: The Artist Salon (2006) at Pounder Kone Art Space, Los Angeles, CA. His work is included in the public collections of the Columbus Museum of Art, Columbus, OH and the Studio Museum in Harlem, Harlem, NY.
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PATRON is proud to present their third solo exhibition with artist Bethany Collins. The exhibition titled, Cadence, opens to the public Saturday, March 5, and continues through April 16, 2022.
Cadence reveals the complicated histories embedded in the songs and narratives that echo from our collective past into the present. Collins’ language-driven, often multipanel works unveil the many translations, adaptations, and erasures present in the texts that shape our national identity. The exhibition’s title refers to the combination of chords that bring a section, movement, or entire piece of music to a close. Cadence focuses on three American songs: The Star-Spangled Banner, Dixie, and Auld Lang Syne. Each of these songs are contrafactum, a musical term referring to a song in which the melody is similar to another, but the lyrics have changed. This tactic of altering the lyrics of important songs has been historically used to serve different political agendas.
Amongst several new bodies of works, Collins presents an immersive sound installation inspired by polyphonic singing and Auld Lang Syne, a folk song traditionally sung at the stroke of midnight on New Year’s Eve. The audio piece consists of fifty-one versions of Auld Lang Syne sung simultaneously by five singers. It focuses on the version historically sung by British soldiers in the trenches during WWI. One can hear, We're here because we're here... functioning like a chorus, constantly, as the performer shifts. Even as the lyrics change, the melody remains constant, resulting in what the artist describes as a familiar chaos. Despite moments of rupture, there are a few moments of synchronicity in the piece, where only two voices sing, We're here, because we're here, because we're here... Eventually their voices struggle against one another and the same lyric sounds as futile as it does hopeful.
Also presented are large-scale charcoal, acrylic on panel paintings from Collins’ The Star-Spangled Banner series that incorporate excerpts from versions of our national anthem. Chalky white letters emerge from shadowy dark blue surfaces, highlighting lyrics like, “land of the brave,” “land of the free,” “land of the freed,” “land of the tyrant,” “land of the thief,” “land of the south,” and “land of the slave.” Many of the racially charged lyrics written in the original 1814 rendition of the song were intended to instill fear in enslaved African Americans, as to not be lured by the British offer of freedom for the War of 1812. Collins includes later rewrites from the Confederate and abolitionist parties, and intentionally focuses on versions of the anthem that describe the land itself. Collins re-presents the language of violence, reworking it into a constellation of concrete poetry against dark blue fields of color.
The Aeneid: 2017 / 2020 (2022) is a unique screenprint on deep blue handmade paper in the vein of the artist’s on-going Odyssey series. In this series, she enlarges pages of the same passage in The Odysseyacross different translations. She uses her own saliva and hand to erase all text except for a selected line, often pointing to a type of nationhood or homeland. Whereas The Odyssey series narrows in on the moment Odysseus returns home to discover it is an unfamiliar place, the Aeneid works compare translations of Aeneas lost at sea. Here, she highlights two translations of the same passage—one from 2017, “Violently we're blown off course and wander blindly through boiling waves,” and the other from 2020, “Off course, we flail, with nothing left to reckon by.” This work can be interpreted as a speculative narrative arc analogous to our national political climate, one that denotes a people lost at sea.
The Dixie of Our Union (2022) is a ten-part work on paper that references the iconic song Dixie, deemed the de facto anthem of the Confederacy. It reimagines Collins’ Dixie's Land (1859-2001), created in 2019-2020 while the artist was Practitioner-in-Residence at Davidson College. Each rendition is covered by charcoal drawings of tear gas deployed by police during protests following the murder of George Floyd. In this new work, Collins chooses to focus only on Union versions of the song. For the artist, this choice is an attempt to connect Dixie not just to the South, but to the rest of the nation. The Dixie of Our Union lays bare America's enduring history of racial injustice, violence and terror. She explains, “As for these American songs, the lyrics shifting are an attempt to describe who we are even in its most inherent contradictions, who we are at any given moment.”
PATRON is a contemporary art gallery in Chicago created by Julia Fischbach and Emanuel Aguilar in 2015. PATRON is founded on the defining characteristics of a patron of the arts: a person chosen, named or honored as a special guardian, protector or supporter. With this foundation set as a cornerstone, the gallery hopes to help open new avenues for audiences to engage with and find access to contemporary art.
With a combined experience of 38 years within the contemporary art industry between Fischbach and Aguilar, PATRON serves as a platform for the promotion and celebration of the values and stories that are important as patrons of the arts themselves. PATRON is proud to represent a family of artists that consists of a majority of women and an internationally diverse collective of voices from all walks of life. The gallery’s dedication to continuing to support and promote this diversity and reflection of our contemporary world is a priority in its position as a contemporary art gallery.
For their artists, PATRON strives to secure and develop institutional support through exhibitions and acquisitions. Recent museum exhibitions include Alex Chitty at the Museum of Contemporary Art; Bethany Collins at Frist Art Museum, Crystal Bridges Museum of American Art, Montgomery Museum of Fine Art, and the Speed Art Museum; Mika Horibuchi at the Richard H. Driehaus Museum; Jennie C. Jones at the Arts Club of Chicago, and the unveiling of her first major public sculpture as part of Ground/Work at The Clark Art Institute; Harold Mendez at The Logan Center for the Arts and ICA LA; and Caroline Kent at Museum of Contemporary Art, Chicago, among many others. Recent notable acquisitions include Greg Breda by the Columbus Museum of Art and the Studio Museum in Harlem; Bethany Collins by the Speed Art Museum, Van Every/Smith Galleries at Davidson College, the Peabody Essex Museum, and the Block Museum at Northwestern University; Caroline Kent by DePaul Art Museum; Myra Greene by the Block Museum at Northwestern University; Jennie C. Jones by the Perez Art Museum and The Morgan Library & Museum; Harold Mendez by the Whitney and the Minneapolis Institute of Art; Melanie Schiff by the Art Institute of Chicago; and Liat Yossifor by the Hammer Museum.
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Opens Saturday, March 5, 2022
Opening reception: March 5, 6 pm - 8 pm
PATRON is proud to present, We, Dandelions, our second solo exhibition with Chicago-based artist Soo Shin.
Soo Shin’s sculpture and installation-based practice emphasizes materials charged with their own poetry, such as brass, iron, cedar, and found feathers. Here Shin employs these materials often to render parts of the human body in uncertain states of transformation where the hint of a foot, leg, or forearm outline the absence of a full figure. It’s a language of objects described by their implied movements, gestures. Shin incorporates her own body in many of the casts. In this way, her work is a fragmentary self-portrait. However, this composite is not just of isolated elements of her own body, but also seeks to render the affect of a space, an experience, a personal memory. One that reaches towards a longing. Something akin to walking into the memory of a stranger.
We, Dandelions presents a new series of works that Shin created in 2021 during the Kohler Arts/Industry Residency. For the artist, dandelions become an apt metaphor for migrant peoples, figuratively pollinating a place, and at times relegated to the status of weeds. Shin, a first-generation South Korean immigrant, returns to the subject of the invisibility of immigrant labor. Within the exhibition, five brass torsos line the central axis of the floor of the gallery, punctuating the center like the connective vertebra of the spine. Each 180-pound cast presents the fingerprints of five migrant Asian female masseuses and their unique healing movements. Shin invited the masseuses to express their chosen gestures on clay bodies where the artist transformed the nimble work of their fingertips into sculptural monuments of what would otherwise be an invisible, felt labor.
Shin’s work consistently plays with conceptual and material references to permeance and impermanence, heaviness and lightness. Although many of her works are often created from heavy and enduring materials like iron and brass, there is always a nod to ephemerality. In A Breath to Memory (Lauren’s Feather), a cedar wood triangular shadow box is perched between the corner of two gallery walls. The piece invites the viewer to activate a found feather that rests in the box. By blowing through the hole located at the bottom of the box, the feather—collected by a dear friend of the artist while visiting her father’s grave—is reanimated in an attempt of remembrance.
Similarly connected to objects that allude to a sense of breath and transience, Here presents the partial outline of the artist’s feet rendered in iron and surrounded by brass casts of freeze-dried dandelions that she collected from around her studio in 2019. In a dream-like, nearly surrealist language, Shin’s work evokes references to Magritte’s The Red Model (1934), as well as the superstitions of wishfulness that accompany dandelions. Blowing the seeds off of a dandelion flower is a common act of hopeful intention, and also allows the flower to grow elsewhere. Here embodies the metaphor at the root of Shin’s practice: quiet moments, the perishable, and the invisible are transformed into intimate monuments.
The artist would like to thank the Illinois Arts Council for partially funding the production of this project.
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Soo Shin (b.1981 Seoul, South Korea) lives and works in Chicago, IL. She received a Master in Fine Arts from School of the Art Institute of Chicago, and a Master in Fine Arts and Bachelor of Fine Arts from the Ewha Woman’s University, Seoul, South Korea. Recent and upcoming solo exhibitions include We, Dandelions (2022), PATRON, Chicago, IL; The Body of A Dreamer(2021), PATRON, Chicago, IL; Paths Between Two Steps (2020), Goldfinch Gallery, Chicago, IL; and A Collection of Tears 2012-Present (2019), Bar 4000, Chicago, IL. Select group exhibitions include An Echo, She Is (2020), curated by Ruslana Litchzier, Chicago Manual Style, Chicago, IL; Four Flags (2020), Chicago Manual Style, Chicago, IL; Into the Future (2020), Julius Caesar, Chicago, IL; Something Blue (2020), LVL3, Chicago, IL; Between Land and Sky: Azadeh Gholizadeh, Luis Romero, and Soo Shin (2019), EVERYBODY, Chicago, IL; and The ANNUAL: Mixtapes for the Next Millennium (2018), curated by Jordan Martins, Chicago Artist Coalition, Chicago, IL. Shin has completed residences at the John Michael Kohler Arts Center; Massachusetts Museum of Contemporary Art, North Adams, MA; Vermont Studio Center; Art Farm, Marquette, NE; Ox-box, Saugatuck, MI; and Vilchek Foundation Fellowship, MacDowell Colony Artist Residency, Peterborough, NH.
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The exhibition titled The Set-Up opens to the public this Saturday April 30, 2022 and continues through May 28, 2022.
Nyeema Morgan’s practice is characterized by an interplay between text, image and object. Her work questions our systems of knowledge and information production: what stories have we been told? Who has done the telling? How have images and language been used to tell those stories? Inspired by recent political events, our angst-ridden culture and media, and the death of her mother in 2017, Morgan grapples with the subject of catharsis in narrative forms such as storytelling, history, and jokes. The exhibition features three bodies of work—horror horror, a print-based series begun in 2018; Like It Is, an on-going series of graphite drawings, and two new sculptures. In The Set-Up, Morgan re-presents iconography to critique the structures and devices that influence our social, political and historical ideologies.
NYEEMA MORGAN (b. Philadelphia, PA) lives and works in Chicago, IL. Morgan earned an MFA from the California College of the Arts in San Francisco CA, and a BFA from the Cooper Union School of Art in New York, NY.
Select solo and group exhibitions include The Scripts Found in a Bottle, Found in a Can, Found in a Discourse (Les Scripts Trouvés dans une Bouteille, Trouvés dan une Canette, Trouvés dans un Discours), The Green Gallery, Milwaukee, WI (forthcoming); Soft Power. Hard Margins. (2022), Grant Wahlquist Gallery, Portland, ME; Us We Them | Race Ethnicity Identity (2022), Worcester Museum of Art, Worcester, MA; There is a Woman in Every Color (2021), Bowdoin College Museum of Art, New Brunswick, ME; Nyeema Morgan (2021), Soft Power. Hard Margins. (2021), table, Chicago, IL; The Philadelphia Art Alliance at the University of the Arts, Philadelphia, PA; Downtown Train (2021), PS 122, New York, NY; THE STEM. THE FLOWER. THE ROOT. THE SEED. (2020), Boulder Museum of Contemporary Art, Boulder, CO; The Beginning of Everything: An Exhibition of Drawings(2020), Katherine Nash Gallery, University of Minnesota, Minneapolis, MN; Asian Smaisians and Other Abstract Racial Slurs (with Mike Cloud) (2019), Marlborough Gallery Viewing Room, New York, NY; Secondary Sources(2018), Tiger Strikes Asteroid, New York, NY; horror horror (2018), Grant Wahlquist Gallery, Portland, ME; The Intuitionists (2014), The Drawing Center, New York, NY; and Projet Gutenberg (2012), Galerie Jean Roch Dard, Paris, France.
Her work is included in the public collections of Bowdoin College Museum of Art, Brunswick, ME; The Menil Collection, Houston, TX (in collaboration with william cordova and Otabenga Jones & Associates); and Worcester Museum of Art, Worcester, MA.
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Update: To keep our audience safe, Saturday's program will now be hosted via Zoom. Join us virtually on Saturday, May 28 at 4:30 PM CST for Public Discourse, a conversation between artist couple Nyeema Morgan and Mike Cloud.
Register here or at the Zoom link below:
https://us02web.zoom.us/meeting/register/tZUvdOGspzkrE93rIXQgkzROi_6VegnZ8MTK
Nyeema Morgan and Mike Cloud are partners, peers and collaborators in both work and life. On the occasion of Morgan's solo exhibition at PATRON, The Set-Up, Morgan and Cloud sit down with one another to discuss their work and practices. Join us closing night for this in-person conversation at PATRON.
NYEEMA MORGAN (b. Philadelphia, PA) lives and works in Chicago, IL. Morgan earned an MFA from the California College of the Arts in San Francisco CA, and a BFA from the Cooper Union School of Art in New York, NY.
Select solo and group exhibitions include The Scripts Found in a Bottle, Found in a Can, Found in a Discourse (Les Scripts Trouvés dans une Bouteille, Trouvés dan une Canette, Trouvés dans un Discours), The Green Gallery, Milwaukee, WI (forthcoming); Soft Power. Hard Margins. (2022), Grant Wahlquist Gallery, Portland, ME; Us We Them | Race Ethnicity Identity(2022), Worcester Museum of Art, Worcester, MA; There is a Woman in Every Color (2021), Bowdoin College Museum of Art, New Brunswick, ME; Nyeema Morgan (2021), Soft Power. Hard Margins. (2021), table, Chicago, IL; The Philadelphia Art Alliance at the University of the Arts, Philadelphia, PA; Downtown Train (2021), PS 122, New York, NY; THE STEM. THE FLOWER. THE ROOT. THE SEED. (2020), Boulder Museum of Contemporary Art, Boulder, CO; The Beginning of Everything: An Exhibition of Drawings (2020), Katherine Nash Gallery, University of Minnesota, Minneapolis, MN; Asian Smaisians and Other Abstract Racial Slurs (with Mike Cloud) (2019), Marlborough Gallery Viewing Room, New York, NY; Secondary Sources(2018), Tiger Strikes Asteroid, New York, NY; horror horror (2018), Grant Wahlquist Gallery, Portland, ME; The Intuitionists(2014), The Drawing Center, New York, NY; and Projet Gutenberg (2012), Galerie Jean Roch Dard, Paris, France.
Her work is included in the public collections of Bowdoin College Museum of Art, Brunswick, ME; The Menil Collection, Houston, TX (in collaboration with william cordova and Otabenga Jones & Associates); and Worcester Museum of Art, Worcester, MA.
Installation view, The Set-Up, PATRON, Chicago, IL, April 30 - May 28, 2022, Photography: Evan Jenkins
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Jennie C. Jones: Nocturnes
To color my hearing, to strengthen my ear drum
To color my hearing, to stretch my drum into a hum
The predominance of the eye over ear.
The mind’s eye, the mind’s ear…
A generosity in a refusal.
And here we begin at night. Black is the abundance of color, the concentration of color, the dense vibration of everything all at once. For her second solo exhibition with PATRON, Jennie C. Jones’ exhibition Nocturnes presents paintings and works on paper that extend key tenets from her recent solo show at the Solomon R. Guggenheim Museum. Nocturnes is a term she employs both to refer to a music composition evocative of night (a notable example being Felix Mendelssohn’s Nocturne from A Midsummer Night’s Dream (1848)), as well as to the history of painting depicting landscapes at night, such as J.M.W Turner, Fishermen at Sea (1796), or Edwin Landseer, Scene from A Midsummer Night’s Dream. Titania and Bottom (1851).
Jennie C. Jones’ approach to painting combines the historic and aesthetic expressions of Minimalism and abstraction. Materials such as acoustic panels and architectural felt point to the capacity for painting to create aural environments. She layers and melds these materials often used for sound proofing recording studios and constructing instruments to not only become signifiers for sound, but also actively engage with and challenge the viewer. She asks them not only to look at a painting, but to listen to it. On approaching these works, even one’s breath as they near the surface of the composition becomes dampened, muted. Each swath of fiber operates like a confident brushstroke. She pares down color palettes to nearly monochromatic fields of seductive grays, moody blacks, subtly off-white tones replete with quiet pinks and taupe lavenders, and at times mercurial reds. Sharing a deep kinship with the formal “economy of means” imbued by the work of Agnes Martin, Jones’ work keys into the sentiment “the value of art is in the observer.” The restraint offered by minimalist conventions allows the work to become a mirror of self-perception.
Included in the exhibition is the diptych Nocturne 1 & 2 (2022) marking the artist’s return to using black in her paintings since 2021. Part one of the diptych layers grey architectural felt over a solid black acoustic panel which rests on the white surface of a painted stretched canvas. As one looks at the sides of the painting, there is a crevice between the layers of fibers where one of the surface sheets hangs over the other one below it. This creates a thin vertical shadow. Here now shadows behave like paint. Part two of the diptych operates similarly, but with a large central black acoustic panel functioning as the support for a register of grey felt that includes what the artist calls the “crescendo line,” a strip of diagonally oriented felt on the very top layer which demarcates movement within the picture plane. Both components of the diptych incorporate Jones’ signature “hums”—a term she uses to refer to the hot red edges of the canvas that she has painted to cast a warm crimson hue against the white wall behind it. Jones’ hums are a punctuation of hard-edge halos that signal to the viewer/listener that things are happening beyond the picture plane, beyond the ocular.
Frequently borrowing her visual metaphors from experimental structures in Jazz, the works demonstrate a building up of the surface of the canvas, an accumulation of acts, something akin to improvisation in music realized as an attitude of form. This surface tension is inching towards four dimensions. Each painting becoming a container for a series of edges. Visual instruments in between some sort of shadow play.
Untitled: Nocturne with Shifting Tone (2022) and Dawn Hum (2022) are Acoustic Panel Paintings that revisit moments found in earlier works like Emanating Hum (2016). In these works, gestural aspects push towards the foreground expressing opaque layers of grey and off-white acrylic paint on the surface of the canvas. Producing contrast against the solid visual character of the felt and panel portions of the composition, Jones’ broad, downward brushstroke stretches a single line from the top to the bottom of the work. This approach subtly highlights the warp and weft of the canvas. Her decision to reveal the layers of paint forms consonance with the slippage between panels and felt.
Phrasing to the Floor, Pedal Variation (2022) is an on-going series of vertically oriented, two panel pieces that meet between the wall and the floor. These works were first presented in her solo exhibition at the Arts Club of Chicago in 2020. Jones explains, “A phrase in music is more or less a sentence and for me phrasing to the floor means giving it your all, your breath, notes, energy until it becomes grounding…‘Phrasing to the floor’ is also a natural next step or gesture in terms of how I process the objecthood of painting.” Within the history of art, something fundamentally shifts when painting attempts to leave the wall, recalling Eva Hesse’s sculptural frame with an element that whips towards the viewer in Hang Up (1966). The canon of art history suggests that the objecthood of painting needed at some point to collapse the divide between artwork and viewer. Phrasing to the Floor posits the question: Is the wall supporting the objecthood of the painting, or is the painting supporting the “spacehood” of the wall? Within this vein, Jones further complicates this line of inquiry as it pertains to the predominance of viewing over listening.
If her “hums” tend to be punctuation marks, Sweeping Red Tone (all in the break) (2022) is the culmination of all hums. It is the first larger scale gestural red painting that she has made since 2016. The color red for Jones embodies multiple signifiers. Red here alludes to the colored light that turns on in a sound booth when recording begins. It signals silence. In the field of physics, red wavelengths are longer wavelengths, a longer distance between light and the eye. The wash of red paint on the right side of the work nods to sound waves as well as Abstract Expressionism. Strips of felt painted hot red rest on the sides of the canvas, activating a type of peripheral vision. The two pieces nearly touch but seem to emphasize the space between them. This “break” is an homage to Fred Moten’s text, In the Break: The Aesthetics of the Black Radical Tradition (2003). The refusal is in the restraint, in the break, in the moments where two edges don’t touch. When this happens in a musical composition, it holds the energy of the audience in suspense within the pause, within the shift between movements. Jennie C. Jones’ practice is thinking through the edges and breaks. Surfaces are building towards the viewer/listener, crescendos rising, nocturnes falling.
Kristin Korolowicz & PATRON Gallery
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PATRON is proud to present Heft, a three-person exhibition featuring works by Daniel G. Baird, Kaveri Raveri, and Dominique Knowles. Occupying all four galleries of PATRON, these paintings, sculptures, and installations stage a ceremonial procession of loss and becoming.
KAVERI RAINA (b.1990, New Delhi, India) received an MFA from the School of the Art Institute of Chicago a BFA from Maryland Institute College of Art and.
Select solo and group exhibitions include E/Merge: Art of the Indian Diaspora (2021), National Indo-American Museum, Lombard, IL; Partings, Swaying to the Moon (2020), PATRON Gallery, Chicago, IL; NO LACKS, ME AND MY SHADOW (2020), M+B Gallery, Los Angeles, CA; A Space for Monsters (2021), Twelve Gates Arts, Philadelphia, PA; Hildur Ásgeirsdóttir Jónsson and Kaveri Raina (2020), Abattoir Gallery, Cleveland, OH; Linger to Gaze (2019), Annarumma Gallery,Naples, Italy; Linger Still (2019), Assembly Room, New York, NY; Here or There (2019), Paolo Arao, Rata Projects, New York, NY; Sarah.Canright / Kaveri.Raina (2019), Permanent Collection/Co-Lab Projects, Austin, TX; spaceless (2019), Deli Gallery, Brooklyn, NY; Paint School (2019), Shandaken Projects, Klaus von Nichtssagend, New York, NY; garcia, raina, shore, tossin (2019) at Luhring Augustine, New York; Pleasure at a Distance (2018), Irvine Fine Arts Center, Irvine, CA.
Raina has received several fellowships and awards including the James Nelson Raymond Fellowship, the Ox-bow Residency Award, and the Skowhegan School of Painting & Sculpture Fellowship Award.
______________________________
DANIEL G. BAIRD (b. 1984, Edison NJ) lives and works in Chicago, IL. Baird earned his MFA from the University of Illinois, Chicago, in 2011. In recent years his selected solo exhibitions include: murmur (2019) at PATRON, Chicago IL; murmurings(2019) at Salón ACME, Mexico City, MX; of the water (2018) at GRIMM, New York, NY; Field Station: Daniel G. Baird (2017) at Edythe Broad Art Museum, Michigan State University, MI; Thereof (2017) at Granite City Arts and Design District, St. Louis, MO; When (2016) at PATRON, Chicago, IL; This New Ocean (2012) at Appendix Project Space, Portland, OR; and Has the World Already Been Made? (2011) at Jan Van Eyck Academie, Maastricht, the Netherlands. His work has also been included in numerous group exhibitions, including Cito, Longe, Tarde (2020), Haynes Art Projects, Chicago, IL; Local Comfort (2018), LVL3, Chicago IL; Classic Beauty: 21st-Century Artists on Ancient [Greek] Form (2018), Providence College Galleries, Providence RI; Singing Stones (2017), Curated by Katall Jaffrès, Palais de Tokyo, The Roundhouse at the Dusable Museum, Chicago, IL; Bearable Lightness of Being (2017) at GRIMM, Amsterdam, NL; HWBMx7 (2015) Harlan Levey Projects, Brussels; Habeas Corpus (2015) iMOCA, Indianapolis, IN; and Real Things About Real Things (2015) American Medium.
His work is included in the public collection of the Eli and Edythe Broad Art Museum at Michigan State University, East Lansing, MI. Recently, Baird received the Artist Fellowship Award: Illinois State Arts Council Agency and was an Artist in Residence at Illinois State University, Normal, IL.
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DOMINQUE KNOWLES (b. 1996, The Bahamas) is based in Chicago, IL and Paris, FR. He received both an MFA and BFA in Painting from The School of the Art Institute of Chicago.
Recent exhibitions and venues include The Solemn and Dignified Burial Befitting My Beloved for All Seasons, Chapter NY, New York, NY; White Columns, New York, NY; Misako and Rosen, Tokyo, JP; KINDL, Berlin, DE; Institut Findlandais, Helsinki, FI; Andrew Kreps Gallery, New York, NY; Vdrome, Milan, IT; Galerie Layr, Vienna, AT; Sperling, Munich, DE; Four Flags at Chicago Manuel Style, Chicago, IL; Soccer Club Club, Chicago, IL; The Green Gallery, Milwaukee, WI; The National Art Gallery of The Bahamas; Nassau, Bahamas; Popop Studios, Nassau, Bahamas; The Bahamas International Film Festival, Nassau, Bahamas; The Trinidad and Tobago Film Festival, Medulla Gallery, Port of Spain, Trinidad and Tobago, WI; 14°N 61°W, Martinique; Halle 14, Leipzig, DE; Elmhurst Art Museum, Elmhurst, IL; The Packing Plant, Nashville, TN; and Julius Caesar, Chicago, IL.
Knowles has participated in a residency at The Suburban in Milwaukee, WI. Knowles has been featured in publications such as Artforum, Frieze, Spike, The Chicago Tribune, Süddeutsche Zeitung, FAZ, Garage Magazine, Contemporary Art Daily, Art Viewer, Bad at Sports, Arc Magazine, Arts of the Working Class, Parnass, Kuba Paris, Blank Canvas, Das Kunstmagazin, The Seen Journal and The Poor Farm Press.
Image: DOMINIQUE KNOWLES, The Solemn and Dignified Burial Befitting My Beloved for All Seasons, 2022, Oil on linen | 46\" x 64 1/4\" / 116.8 x 163.2 cm
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PATRON is proud to present Space | Shadow | Script featuring new paintings within an immersive environment by Caroline Kent. Combining wall paintings, reliefs, and chromatic compositions, this exhibition transforms the gallery’s architecture into scenography.
Kent sources from the legacies of geometric abstraction to develop her own, ever-evolving, gestural language. In paintings, sculptures, and, at times, performance, Kent’s practice extends the traditions of abstraction. For the artist, abstraction—in its various forms—ignites new modes of meaning-making.
The artist imagines interior architectures as sites of encoded exchange. In her current treatment of the exhibition space, Kent incorporates floor plans of traditional Mexican homes with modernist influences and adaptations. She has painted large-scale details from these plans directly onto the walls, shifting our viewing perspective of architectural plans from an aerial to an alternate point of view. Kent draws a comparison between the architectural floor plan and a theatrical stage: both are sites for projecting imaginative speculation. The gallery visitor becomes both a spectator and an actor in the space of this exhibition.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419560/rgkosqvq7ykzrud5b9xb.jpg\")
Image: CAROLINE KENT. The small hours, 2022. Acrylic on Belgian linen | 63” x 63” / 160.02 cm x 160.02 cm
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7 pm - 9 pm
PATRON Gallery
1612 W Chicago Ave
Experimental Sound Studio, in partnership with Patron Gallery, co-presents the powerhouse trio of Fred Moten, Brandon López, and Gerald Cleaver. The performance and interview will be presented at Patron Gallery, and premiered online on ESS's YouTube.
OPTION is an ongoing music salon curated by Chicago musicians Andrew Clinkman, Tomeka Reid, and Ken Vandermark and presented by Experimental Sound Studio. Its programming explores contemporary perspectives on improvisation and composition in a 'salon' format, enabling local, national, and international artists to publicly discuss their practice and ideas as well as perform.
This event is rain or shine. Walk-ups welcome, reservations recommended.
To reserve click here : RESERVE
Over the last decade Kadar Brock’s practice has been engaged in an ongoing act of contemplative erasure. A self reflective process of recording imagery and eradicating it, continuously, over and over again, in an attempt to make sense of the fractured reality that is memory, formative experience, and the kaleidoscope of imagery our minds record as lived experience. In recent years, Brock has been diving into the history of a new age cult known as The Movement of Spiritual Inner Awareness (MSIA), and its founder John-Roger Hinkins, through research and pilgrimages to various sites throughout the country. This research and interest point deeper into Brock’s past, his upbringing within the cults’ teachings and its community, and his memories of this chapter of his life. While the work itself isn’t entirely about MSIA or its founder, John-Roger’s claim to be “The Mystical Traveler”, an all-knowing being that incarnates every generation to share its spiritual wisdom, does engage Brocks’ interest in how memory and identity are formed. How every layer of sediment in the composed bedrock of our identity is a chapter of information, mashed together; a totality made up of many collisions and revisions scattered through time.
KADAR BROCK (b. 1980, New York, NY) is a New York based artist who lives and works in Brooklyn, NY. Brock received his BFA from the Cooper Union School of Arts, NY in 2002.
Recent solo and two person exhibitions include the purple rose ashram of the new age (2022), PATRON, Chicago, IL; Belief in a Disenchanted World (2022), Mother Gallery, New York, NY; bury enchantment (2019), PATRON Projects | New York, New York, NY; summon artifact (2017), PATRON, Chicago IL; gifts ungiven (2016), Vigo Gallery, London, UK; Cast With Flashback Cast With Flashback (2015), Almine Rech, Brussels; Unburial Rites, (2015), Vigo Gallery, London, UK; scry 2 (2014), Gallery Diet, Miami, FL; and dredge (2013), The Hole, New York, NY. Selected group exhibitions include: From Confucius to Christ (2022), Yeh Art Gallery, St. John’s University, Jamaica, NY; SITE: Art and Architecture in the Digital Space (2020), Library Street Collective, Detroit, MI; In Pursuit of a Meaningful Mark (2020), Mindy Solomon Gallery, Miami, FL; PATRON (2019),NADA Miami, Miami, FL; VIGO Gallery (2019), Untitled, Miami, FL; 9999 (2018), The Fireplace Project, East Hampton, NY; Wall Space (2018), NY(G), Brooklyn, NY; 12 x 12, 2016 (2017), Black Ball Projects, Brooklyn, NY; Though You’ve Hit a Bump(2017), 315 Gallery, Brooklyn, NY; Cause The Grass Don’t Grow and The Sky Ain’t Blue (2016), Praz Delavallade, Paris, France; Theory of Forms (2015), PATRON, Chicago, IL; Space and Matter (2015), Sperone Westwater, New York, NY; New Vibrations (2015), Brand New Gallery, Milano, IT; Surface Tension (2015), Flag Foundation, New York, NY; Summertime(2015), Galerist, Istanbul, TR; Brand New Second Hand (2014), Vigo Gallery, London, UK; and The Example (2013), Bleecker Street Arts Club, New York, NY. Recently, Brock was an artist in residence at Palazzo Monti in Brescia, Italy and has an upcoming residency at CCA Andratx, Center for Contemporary Art in Mallorca Spain.
Image: Kadar Brock, bolshevik pete's, mutual tipple, you never heard, 2021, Oil on canvas
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With an unusually long, generative period of close looking and unhurried experimentation, she was able to develop the pieces presented here as a single, ongoing body of work.
Chitty has long engaged with aesthetic and material elements of the domestic, which she reflects on here as a site of gathering and conversing, of transmitting knowledge, of sharing pleasure and pain, and of cultivating the new. These activities play out slowly over time and across various scenes of everyday life, experiences that she suggests through strategies of repetition and iteration—stacks of bowls and pistachio shells; shelves, windows, grids, and slats; the flat circles of a drink trays and the dense orbs of fruits and nuts.
By refiguring the stuff of the household, from its wood and metal bones to bits of interior decor, Chitty initiates a quietly radical opening for imagining what else might be possible beyond the prescribed configurations of our physical existence.
— Anna Searle Jones
ALEX CHITTY (b. 1979, Miami, FL) is an interdisciplinary artist based in Chicago. Chitty received a Bachelor of Fine Arts from Smith College (MA) and a Master in Fine Arts from the School of the Art Institute of Chicago.
Recent exhibitions include: Figs break open of themselves (2022), PATRON, Chicago, IL; Both And (2021), Tiger Strikes Asteroid, Chicago, IL; State of the Art II (2020), Crystal Bridges Museum of American Art, Bentonville, AK; Becoming the Breeze: Alex Chitty with Alexander Calder (2019), Museum of Contemporary Art, Chicago, IL; pulling flavor from the dirt (2018), PATRON, Chicago, IL; After (the sun-drenched neutral that goes with everything) (2018), The Anderson Gallery, Virginia Commonwealth University, Richmond, VA; Living Architecture (2020), 6018 North, Chicago, ILThey bloom without you (2017), Elmhurst Art Museum, Elmhurst IL; Small Sculpture (2017), Corbett Vs. Dempsey, Chicago, IL; Stranger Things (2017), DePaul Art Museum, Chicago, IL; Objectifying the Photograph (2017), NIU Art Museum, DeKalb, IL; slight pitch (2016) at LUCE in Turin, Italy, the sun-drenched neutral that goes with everything (2016) at PATRON in Chicago, IL; Turning Spoons into Forks (2016) at Hyde Park Art Center in Chicago, IL; Alex Chitty and Chris Bradley (2015) at Shane Campbell Gallery in Chicago, IL; Orchid (2014) at ADDS DONNA in Chicago, IL; The Way They Wanted to Sleep (2013) at Andrew Rafacz Gallery in Chicago, IL; Alex Chitty: Recent Work (2013) at Corbett vs. Dempsey in Chicago, IL. Her work has also been in group exhibitions including: Theory of Forms (2015) at PATRON, Chicago, IL; Almost Ergonomic (2014) at Studio 424, Chicago, IL; Codification(2014) at LVL3, Chicago, IL; and Ella Hatchet (2013) at Roots and Culture, Chicago, IL.
Image: ALEX CHITTY, Beautiful and menacing and slightly out of my control, 2022, Cherry wood, cotton webbing, carved wooden bananas, melted plastic cups, and powder coated steel, 26 1/4\" x 24 1/2\" x 4\" | 67 x 62.2 x 10.1 cm
Alex Chitty has a pile of oranges, a juicer, a stack of cups, a table and some time.
You're invited to engage with the artist, her exhibition and enjoy some freshly squeezed orange juice this Saturday, January 14!
Figs break open of themselves will be on view through January 28, 2023.
ALEX CHITTY (b. 1979, Miami, FL) is an interdisciplinary artist based in Chicago. Chitty received a Bachelor of Fine Art from Smith College and a Master in Fine Arts from the School of the Art Institute of Chicago.
Drawing on ancient symbologies of the continuous cycles of death and rebirth, beginnings and endings, transitions and passageways, Life Against Itself is grounded in a series of new large-scale paintings by Los Angeles-based artist Liat Yossifor. The exhibition extends her trajectory of rich, textural oil paintings in which thick layers of impasto are built up to all but conceal glimmers of colored surfaces below. Geological in their weight and depth, Yossifor’s bodily forms hold motifs and figurative suggestions which appear and disappear through the paintings.
LIAT YOSSIFOR (b. 1974 Tel Aviv, Israel) lives and works in Los Angeles, CA. She received an MFA from the University of California in Irvine, CA and a BFA from San Francisco Art Institute, San Francisco, CA.
In 2023 Yossifor’s work will be presented in solo exhibitions at La Verne University’s Harris Art Gallery (accompanied by a publication of ekphrastic poems by Ed Schad) (April 2023) and Liat Yossifor with Hans Kaiser, The Wilhelm Morgner Museum, Soest, Germany (accompanied by a publication edited by Ludwig Seyfarth (September 2023). Additional select solo exhibitions include: Pre-Verbal Painting, The Contemporary Art Museum St. Louis, MO (2015); Expanding on an expansive subject, The Armory Center for the Arts, Pasadena, CA (2015); Time Turning Paint, Nichols Gallery, Broad Center, Pitzer College, Claremont, CA (2016); The Tender Among Us, Benton Museum of Art, Claremont, CA (2007); Double Life, Galerie Anita Beckers, Frankfurt, Germany (2016); Communicating Vessels, Miles McEnery Gallery, New York, NY (2021); Letters Apart, PATRON Gallery, Chicago (2021); No Second Chances in the Land of a Thousand Dances, Fox Jensen Gallery, Sydney, Australia (2020); and the gray feather a thrush lost, a VATMH fellow at 68 Projects, Berlin, Germany. (2022).
Group exhibitions include: Modulaciones, Museo de Arte de Sinaloa, Culiacán, Sinaloa, Mexico and at the Museo de Arte de Zapopan, Jalisco, Mexico (2018); B.A.T. State III: Women Artists in Conversation with El Nopal Press, Carolyn Campagna Contemporary Art Museum, Long Beach, CA (2019); 100 Years and Counting, Minnesota Museum of American Art, St. Paul, MN (2019); Stolen Gestures, Kunsthaus Nurnberg, Germany (2013); New Works, The Margulies Collection, Miami, FL (2015).
Yossifor was the recipient of Villa Aurora and Thomas Mann House Berlin Fellowship (2022) and was a guest of the Deutsche Börse Residency Program at the Frankfurter Kunstverein, Germany (2010). She was an artist-in-residence at the Rauschenberg residency in Captiva Island, Florida (2020). Select public collections include: Isabel and Agustin Coppel Collection (CIAC), Mexico City, Mexico; The Margulies Collection, Miami, FL; Minnesota Museum of American Art, St. Paul, MN; Los Angeles County Museum of Art (LACMA); and The Hammer Museum, Los Angeles, CA.
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PATRON is proud to announce the opening of Kept, Myra Greene’s third solo exhibition with the gallery. In her latest body of work, Greene extends her ongoing interest in portraiture by exploring the ways in which context and material enlivens the object.
For Kept, Greene mined a group of family and personal photographs belonging to her grandmother. Greene selected and reprinted a group of photo booth images from the collection using alternative materials and techniques she developed based on historic processes. Her artistic practice acts as an intervention upon each image, leading the viewer to reevaluate the photograph’s value and meaning as memory objects. For Greene, this work comprises a rich, living archive that allows a reconsideration and evaluation of the historical context of mid-twentieth century vernacular imagery of Black American life.
MYRA GREENE (b. 1975, New York City, NY) lives and works in Atlanta, GA. She received an MFA from the University of New Mexico, Albuquerque, NM and a BFA from Washington University in St. Louis, St. Louis, MO.
Select solo and group exhibitions include Reimagining Likeness and Landscape (2022), Penumbra Foundation, New York, NY; Silver Linings (2022), Spelman College Museum of Fine Art, Atlanta, GA; Myra Greene: Spectrum (2021), The Kentucky Museum of Art and Craft, Louisville, KY; South Arts 2021 (2021), 701 Center for Contemporary Art, Columbia, SC, Travels to: Harvey B. Gantt Center of African American Arts + Culture, Charlotte, NC, City Gallery at Waterfront Park, Charleston, SC, and University of Central Florida, Orlando, FL; Who Says, Who Shows, What Counts: Thinking about History with The Block’s Collection (2021), The Block Museum of Art, Evanston, IL; TONE (2020) Indianapolis Contemporary, Indianapolis, IN; Complementary (2020), Corvi-Mora, London, UK; Yesterday’s Tomorrow: Selections from the Rose Collection, 1933 - 2018 (2020), The Rose Museum, Brandeis University, Waltham, MA; Collective Identity A Selection of Photographic Portraits from the JPMorgan Chase Art Collection (2019), Paris Photo, Paris, FR; INTERVAL (2019), Museum of Contemporary Art Georgia, Atlanta, GA; Go Down Moses (2019), Museum of Contemporary Photography, Chicago IL ; I Sing the Body (2019), Transformer Station, Cleveland, OH; Minor Chord (2019), PATRON, Chicago IL; Glimmers Through Dark Matter (2019), PATRON Projects New York, New York, NY; and Undertones (2018), Corvi-Mora, London, UK.
Her work is included in the public collections of The Studio Museum in Harlem, New York, NY; The Rose Museum, Waltham, MA; J.P. Morgan Chase, New York, NY; Museum of Contemporary Photography, Chicago, Illinois; Museum of Fine Arts, Houston, Houston, TX; National Gallery of Art, Washington, D.C.; Bryn Mawr College, Bryn Mawr, PA; New York Public Library, New York, NY and several others.
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Showcase, the gallery’s third solo exhibition with Chicago-based artist Mika Horibuchi, for which the artist hosts a presentation of new painting and sculpture, is now on view at PATRON through May 27. Showcase extends two main tenets of Horibuchi’s practice— her Watercolors, meditatively rendered trompe-l’oeil oil paintings of photographs of watercolor paintings completed by her grandmother, and her “RD'' series, a series of gray paintings of “duck rabbit.” Appropriating an early illusionistic parlor trick, Horibuchi demonstrates that things are often not what they appear to be, but often how things can exist within a complexity of meanings and truths all true yet contradictory of each other.
In Showcase, Horibuchi samples presentational methods from community art centers, public school art shows, museum gift shops, and fine art galleries to analyze roles of authorship, ownership, and value through the persistent tropes of visual culture. Since 2017, Horibuchi has been participating in an exchange with her grandmother, who at the age of 83 took up watercolor painting, taking classes at a local community center in Hiroshima prefecture Japan in an attempt to develop a closer understanding of her granddaughter’s vocation. Learning to paint set into motion an epistolary exchange, with the elder Horibuchi sharing snapshots of her completed works with her granddaughter via mailed photographs of the final watercolors, images which the artist reproduced as thoughtfully framed oil paintings, and more recently, as re-reproductions–paintings of her paintings from 2017-2020.
Through a Russian doll-like system of ever reproducible images, Horibuchi embraces the historically intertwined systems of “fine art” with those of mass reproduction to the extend by which images of art replace the physical art object through commercial platforms (merchandise, postcards, souvenirs). Three sculptures – in the form of gift shop display cases encase an archive of Horbuchi’s own practice along with calendars, keychains–tchotchkes of the museum gift shop. Simultaneously, the proliferation of images of Horibuchi’s paintings into non-art reproductions allows their status to fall into a short circuit of translation, from home-made watercolor postcards, to snapshots, to paintings, back to images. Pulling back the curtain on the bedfellows of art and image, Horibuchi eschews the expectation of the artist to produce an artwork, instead presenting the viewer with an image of an artwork, toying with what not only constitutes the art object, but with the value systems that construct what is considered a successful, beautiful, important, or popular artwork. Here, the mimetic of production and reproduction is countered by the iconic duck-rabbit, a visual signifier that we are dealing in terms of illusion and how everything can be defined by what it appears to be.
MIKA HORIBUCHI (b. 1991 San Francisco, CA) lives and works in Chicago, IL. Horibuchi received her BFA from the School of the Art Institute in Chicago in 2013.
Select solo and two-person exhibitions include Showcase (2023), PATRON, Chicago, IL; Watercolors (2022), Bortolami Gallery, New York, NY; A Tale of Today: Nate Young and Mika Horibuchi (2020), The Driehaus Foundation, Chicago IL; Mika Horibuchi: Chicago Works (2018), Museum of Contemporary Art, Chicago IL; and Paintings of Watercolors (2017), PATRON, Chicago IL. Select group exhibitions include The Empathy Lab (2019), Jessica Silverman Gallery, San Fransisco, CA; In the Hot Seat (2019), KMAC Museum, Louisville, KY; The Map is Not the Territory (2019), Andrew Rafacz Gallery, Chicago IL; Una Vida Doméstica (2018), Salón ACME, Mexico City, Mexico; On Anxiety, Cleve Carney Art Gallery at the College of DuPage (2018), Glen Ellyn, IL; Good News (2018), Ralph Arnold Gallery at Loyola University, Chicago IL; 8: James Bouché, Andy Delany, Mika Horibuchi, Kara Joslyn, Francesco Lo Castro (2018), LVL3, Chicago, IL; This is a Pipe: Realism and the Found Object in Contemporary Art (2018), Shane Campbell Gallery, Chicago, IL; and Council: Mika Horibuchi, David Leggett, Orkideh Torabi, Erin Washington, Caleb Yono, Andrew Rafacz Gallery, Chicago, IL. She is also co-founder and co-director of 4th Ward Project Space in Chicago, IL.
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PATRON is proud to present Being and Becoming, the gallery’s second solo exhibition with Rockford-based sculptor Kay Hofmann.
In her 1932 quasi-autobiographical novel, Lorenzo in Taos, Mabel Dodge Luhan reflected:
“I could only tell in these pages how we all were then, that I had lived and through the time we passed together here and recorded it, and so this recollection is only of the painful days that brought about changes in us all and not of the change itself. It tells of the process of change, of the permutations of the spirit worked upon by spirit. It does not end happily with all of us united once more, chastened and disciplined, for life is not concerned with results, but only with Being and Becoming.”
Being and Becoming presents a series of sculptures Hofmann created during the past three years, many originating during the confines of the COVID-19 pandemic. Carved and finished entirely by hand, the works in the exhibition demonstrate Hofmann’s sensitive attunement to the natural physical properties of her stones. African Black Stone, Marble, and White and Pink Alabaster, stored in the artist’s garage for years or even decades, others identified from quarries in Italy and Zimbabwe, some remnants from her father, a memorial mason. Over a nearly seventy-year career (she graduated from the School of the Art Institute in 1955), Hofmann has forged a transformative relationship to her materials, finishing the surfaces in such a way where the same material appears to hold entirely different, complementary qualities. Evident is her study of modernism – the cubist figural sculptures of Jacques Lipchitz, or the organic approach of Barbara Hepworth yet for Hofmann, sculpture is manifestation of a reality, a futurity, not a memorialization of the past.
Markers of what was for many a period of solitude and reflection, the sculptures in Being and Becoming are a significant chapter in Hofmann’s mature practice. Her final series of small scale works, the female figures can be read as intimate alter-egos. Capturing the potentialities of freedom through dynamic, fluid movement, the work in the exhibition is foremost one of quiet existence. Qualities of listening, repose, attunement to oneself and the earth offer an act of grounding–vital to actual change, a permission to release into an active state of becoming.
Image: Thoughts of Yesterday
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PATRON is proud to announce pre-knowing / un-knowing, our first solo exhibition with Chicago-based artist Dianna Frid. Over the past three decades, Frid has developed a deeply materially rooted practice that explores the kindred spirits of text and textile.
Since 2010, Frid has been excising key phrases in the New York Times obituary columns. This ongoing series suggests how language continually folds back upon itself, ferreting new portals and forms for language and context. Incorporating embroidered text, graphite, and aluminum leaf, Frid builds upon a material language first introduced in her artist books from the 1990s. Expanding beyond the proverbial page, her works are inter-woven mosaics, building and layering material elements. Frid’s monumental work on canvas We Have No Word in English for This (2021) is rooted in text originally excerpted from cultural scholar Richard H. Hoggart’s 2014 obituary. Selected from a longer quote in which he defended the publication of D.H. Lawrence’s censored novel Lady Chatterley's Lover (1928), Frid replaces the subject of Hoggat’s statement with an ever-unraveling commentary on the act of translation. It opens a question: what is the “it” for which there is not word in English? For Frid, “text is not necessarily linguistic–even though we think of text as words.” She recalls her earliest exposure to textiles, viewing Mayan textiles in Mexico City museums as a child. Still largely indecipherable to the post- colonial viewer, the Mayan texts, taking the form of abstract pictographs painted onto fabric panels, exist also as amongst the earliest surviving “texts” in the Americas. Taking a cue from textile abstraction, Frid’s letters take the shape of symbols, they create patterns that are recognized before being legible as syntax. In Weave, Frid's eponymous text is encoded through layers of aluminum and syncopated in colored embroideries as if emerging from a spectral archaeological site. Frid’s “weavings” are not the result of the warp and weft, but use concealment and pattern to eludes and exceed language. Using materials more often associated with the literary arts, or works on paper, Frid skirts the categorization of textiles and unfolds the capabilities of graphite, aluminum leaf, and colored thread into a textural collage.
In this way, Frid suggests how text (not only as language) can exist materially–“what happens when you reduce language down to its essence, its material?” Evidence of the Material World #10, a site specific installation created from hand-drawn graphite membranes, applied directly to the gallery walls, suggests what can be considered a concentrate of the remains of the written word. By reducing language and text into graphite, the message is replaced with the pre-verbal, the organic, the material, the ineffable. For Frid, writing is not solely a communication to future generations but is itself a material to be “adapted as a movement towards intimations and glimmerings.” Where we expect to seek meanings and translations, Frid finds the open, the possible, the exciting, the precipice \"–Nothing is foreclosed.”
DIANNA FRID (b. Mexico City, Mexico) lives and works in Chicago, IL. Frid earned an MFA in Fiber and Material Studies and a BFA from the School of the Art Institute of Chicago.
Select solo and two-person exhibitions include Dianna Frid: Time is Textile, (2020) Alan Koppel Gallery, Chicago, IL; All Days Combined: Dianna Frid and Monika Müller, (2018) Alpineum Produzentengalerie, Lucerne, Switzerland; Hilo de Vías: Selected Artist’s Books, Illinois State University, Normal, IL; Dianna Frid and Richard Rezac, (2016) De Paul Art Museum, Chicago, IL; Matter and Subject Matter, (2015) Biblioteca Franscisco de Burgoa, Oaxaca, Mexico; Dianna Frid and Cecilia Vicuña : A Textile exhibition, (2015) The Poetry Foundation, Chicago, IL; Skylight and Spectra, (2010) neues kunstforum, Cologne, Germany; Dianna Frid and Allison Wade, Riverside Art Center, Riverside, IL; Dianna Frid (1999) Esso Gallery, New York, IL; Dianna Frid (1995) Artspeak Gallery, Vancouver, Canada.
Frid’s work has been included in multiple group exhibitions including; Tomorrow, and Tomorrow and Tomorrow, (2022) Design Museum of Chicago, Chicago, IL; LatinXAmerica (2021), De Paul Art Museum, Chicago, IL; Día de Muertos - A Time to Grieve & Remember, (2022) National Museum of Mexican Art, Chicago, IL; The Long Goodbye, (2020) Museum of Contemporary Art, Chicago, IL ; An Infinite and Omnivorous Sky, (2020) University Galleries of Illinois State University, Chicago, IL; Body Screen Meme, Des Lee Gallery, Washington University, Saint Louis, MO; Cross Currents/Intercambio Cultural, (2019) Smart Museum of Art, Chicago, IL; Inquiry 01: Jewish Artists Fellowship Exhibition (2018) Seprtus Institute, Chicago, IL; Present Standard (2016) Chicago Cultural Center, Chicago, IL; The Contained Narrative: Defining the Contemporary Artists Book (2015) Minnesota Center for Book Arts, Minneapolis, MN; Ink Paper Scissors (2013) Kimball Art Center, Park City, UT; Gravity Matters and Shadowy Folds (2010) dok251, Düsseldorf, Germany; National Projects: Fall 2005: Dianna Frid, Kira Lynn Harris, Mike Cloud, Jay Heikes, Joanna VanDerBeek (2005) MoMA PS1, Long Island City, NY; The Fact Show: Conceptual Art Today, Pittsburgh Center for the Arts, Pittsburgh, PA Anatomical Permutations (1999) Centro Nacional de las Artes, Mexico City, Mexico Labor of Love (1996) The New Museum of Contemporary Art, New York, NY.
Her work is included in the public collections of The Art Institute of Chicago, Chicago, IL; DePaul Art Museum, Chicago, IL; CU Art Museum, Boulder, CO; Joan Flasch Artist’s Book Collection, Chicago, IL; National Museum of Mexican Art, Chicago, IL; Bruce Peel Special Collections Library, University of Alberta, Edmonton, Canada as well as numerous private collections internationally.
Image: DIANNA FRID, We Have No Word in English For This, 2021, Canvas, aluminum, paper, paint, embroidery floss, 76\" x 60\" | 193 x 152.4 cm
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Luscofusco premiers a series of recent sculptural works with site-specific interventions into the gallery's architecture.
LUCAS SIMÕES (b. 1980, Catanduva, Brazil) currently lives and works in São Paulo, Brazil. He graduated from the Poyltechnic University of Milan, Milan, IT and received a bachelor’s degree in Architecture and Urbanism from PUC-Campinas, Campinas, BR.
Select solo exhibitions include Luscofusco (2023), PATRON, Chicago, IL; OTIUMmuitoOTIUM (2022), Casa Triângulo, São Paulo, Brazil; Repique (2021), public art project for Salão Luiz Sacilotto, Santo André, Brazil; Durmientes (2021), Galeria Pelaires, Palma de Mallorca, Spain; Drawing Tense (2021), Blouin|Division, Montreal, Canada; Awaiting Masses (2019), PATRON Projects | New York, New York, NY; Perpetual instability (2017) curated by Sofía Mariscal, Iniciativa Curatorial Marso, Mexico City, Mexico. Select group exhibitions include: Bodies of Desire (2021) curated by Tiago Abre Pinto, Montoro 12 Gallery, Brussels, Belgium; Acervo Rotativo (2021) curated by Laerte Ramos, Ofina Mário de Andrade, São Paulo, Brazil; Antologia de Arte e Arquitetura (2020) ,Galpão Fortes D’Aloia e Gabriel, São Paulo, Brazil; Experimentando Le Corbusier – Interpretações Contemporâneas do Modernismo (2019) curated by Pierre Colnet and Hadrien Lelong, Museu Oscar Niemeyer, Curitiba, Brazil; Building Material: Process And Form In Brazilian Art (2018), Hauser and Wirth Los Angeles, Los Angeles, CA.
His work is included in the public collections of Blanton Museum of Art, Austin, TX, Museu de Arte Contemporânea - USP, São Paulo, Brazil; Museu de Arte do Rio, Rio de Janeiro, Brazil; Co leção Itaú de Fotografia Brasileira, São Paulo, Brazil; Instituto Figueiredo Ferraz, Ribeirão Preto, Brazil.
Image: LUCAS SIMÕES, Megabyxos, 2023, Carbon steel and pigmented concrete, 71 1/2\" x 44\" x 6 1/2\" | 181.6 x 111.7 x 16.5 cm
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Songs of silence, yet bluebirds hum showcases Raina’s recent paintings as well as an immersive drawing installation. Drawing on an increasingly symbiotic relationship between the artist’s works on paper and her paintings, Raina’s images exist as flattened forms that appear to fly, fall, and settle across grids, and appear, apparition-like through clouds of graphite smoke. Emerging from the artist’s interest in multicultural modes of ceremony and memorialization, the paintings function as contemporary genre scenes, holding extended moments of silence in the aftermath of an obscured tragedy.
A postscript of Raina’s previous bodies of work, which foregrounded the whirling fury of the battle, Songs of silence, yet bluebirds hum furthers an ongoing narrative: a lead-in, a disaster, an aftermath. Raina follows the whirling, hovering battles of earlier paintings by holding space, letting the dust settle. Functioning as contemporary genre scenes, Raina provides us with only the grave but also the grave diggers. Suggestive figures arrest compositions of reaching, running limbs. Industrial masses grow upwards, backwards. Linear time or depth of field is replaced with bomb cyclones of uncertainty.
Songs of silence, yet bluebirds hum bears witness to what has, and what may again, occur. In these spaces, emotion is replaced with stasis, anger with a denial of grief, an acceptance of being in the eye of a storm that can, at any moment restart, accelerate, continue. Raina implicates us as witnesses to where past and future meet. As a witness there is an expectation–to recall. Once/if you act you’re no longer a witness but a victim, an accessory, an actor. Bearing witness is a solitary act, but also a communal one, rituals are created through a collective bearing witness to, and quiet, if emotive observance of the event, the aftermath of which colors the present.
Painting can be material evidence.
About Kaveri Raina
Kaveri Raina (b.1990, New Delhi, India) received an MFA from the School of the Art Institute of Chicago and a BFA from Maryland Institute College of Art. Select solo and group exhibitions include: A soft place to land (2023), Museum of Contemporary Art Cleveland, Cleveland, OH; Deep! Down! Inside! (2023), Hales Gallery, New York, NY; Kaveri Raina and Coral Saucedo Lomelí: What Do You Remember About the Earth (2023), Lighthouse Works, NY; image as a burden, death as a womb (2022), Chapter NY, New York, NY; Heft (2022), PATRON, Chicago, IL; E/Merge: Art of the Indian Diaspora (2021), National Indo-American Museum, Lombard, IL; Partings, Swaying to the Moon (2020), PATRON, Chicago, IL; NO LACKS, ME AND MY SHADOW (2020), M+B Gallery, Los Angeles, CA; A Space for Monsters (2021), Twelve Gates Arts, Philadelphia, PA; Hildur Ásgeirsdóttir Jónsson and Kaveri Raina (2020), Abattoir Gallery, Cleveland, OH; Linger to Gaze (2019), Annarumma Gallery, Naples, Italy; Linger Still (2019), Assembly Room, New York, NY; Here or There (2019), Paolo Arao, Rata Projects, New York, NY; Sarah.Canright / Kaveri.Raina (2019), Permanent Collection/Co-Lab Projects, Austin, TX; spaceless(2019), Deli Gallery, Brooklyn, NY; Paint School (2019), Shandaken Projects, Klaus von Nichtssagend, New York, NY; garcia, raina, shore, tossin (2019) at Luhring Augustine, New York; Pleasure at a Distance(2018), Irvine Fine Arts Center, Irvine, CA. Raina has received several fellowships and awards including the James Nelson Raymond Fellowship, the Ox-bow Residency Award, and the Skowhegan School of Painting & Sculpture Fellowship Award.
About PATRON
PATRON is a contemporary art gallery in Chicago created by Julia Fischbach and Emanuel Aguilar in 2015. PATRON is founded on the defining characteristics of a patron of the arts: a person chosen, named or honored as a special guardian, protector or supporter. With this foundation set as a cornerstone, the gallery hopes to help open new avenues for audiences to engage with and find access to contemporary art.
PATRON strives to secure and develop institutional support through exhibitions and acquisitions for their artists. Recent museum exhibitions include Alex Chitty at the Museum of Contemporary Art; Bethany Collins at Frist Art Museum, Crystal Bridges Museum of American Art, Montgomery Museum of Fine Art, and the Speed Art Museum; Mika Horibuchi at the Richard H. Driehaus Museum; Jennie C. Jones at the Arts Club of Chicago, and the unveiling of her first major public sculpture as part of Ground/Work at The Clark Art Institute; Harold Mendez at The Logan Center for the Arts and ICA LA; and Caroline Kent at Museum of Contemporary Art, Chicago, among many others. Recent notable acquisitions include Greg Breda by the Columbus Museum of Art, the Studio Museum in Harlem, and LACMA; Bethany Collins by the St. Louis Art Museum, Speed Art Museum, Van Every/Smith Galleries at Davidson College, the Peabody Essex Museum, and the Block Museum at Northwestern University; Caroline Kent by DePaul Art Museum; Myra Greene by the Block Museum at Northwestern University; Jennie C. Jones by the Perez Art Museum and The Morgan Library & Museum; Harold Mendez by the Whitney and the Minneapolis Institute of Art; Melanie Schiff by the Art Institute of Chicago; and Liat Yossifor by the Hammer Museum.
Image: Kaveri Raina, ....and still raging, treading through the desolate silence, 2023
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Drawing upon a selection of poetry and prose, including readings from Bahnu Kapil’s body of work, as well as contributions of original work by local South Asian poetry and dance artists.
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Dialogues features work by:
Alex Chitty with Richard Rezac, Diane Simpson, and Gordon Hall
Caroline Kent with Nate Young
Samuel Levi Jones with Amanda Williams
Soo Shin with Sungjae Lee and AiRos 頌恩 medill
Alice Tippit with Barbara Rossi
Dialogues is a series of projects that highlight the work of Chicago’s contemporary artists from the perspective of their colleagues and peers, celebrating and interrogating the ways in which generations of artists learn from and look to each other. Dialogues began as an invitation to five local artists, each of whom invited an artist, or artists with whom to exhibit.
Over the winter of 2023-2024, PATRON’s five discrete spaces become containers in which intimate visual and practice-driven conversations are hosted, suggesting ways by which material, image, and research can be rethought, shared, and expanded. Organically resulting from years of mutual respect, or suggestive of forays into new contexts, the dialogues generated offer a current perspective on the diverse landscape of contemporary practice within Chicago today. The exhibition unfolds as a series on one-to-one visual exchanges, visual metaphors for the foundational connections of the creators and makers that together shape the city, and region, today.
Image: Installation view of Dialogues at PATRON. Courtesy of the artists and PATRON, Chicago.
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Since 2020, Nelson has researched an extensive archive of letters between science fiction writer Alice B. Sheldon (under the male pseudonym; James Tiptree Jr.) and novelist Ursula Le Guin between 1971 and 1976. Their exchange held space for real-life para-fiction. While withholding her true gender identity, Tiptree’s flirtatious fantasies were received and reciprocated by Le Guin—Tiptree would eventually reveal her true gender identity to Le Guin in 1976, and subsequently see Le Guin as a confidant “Ursula, Ursula I am petrified. - - - will they take it as “deception”?
The exhibition opens with the persistent melody of everything but the signature is me (2023), an automaton typewriter, programmed by Nelson to perpetually dictate Tiptree’s excerpted term of endearment for Le Guin; “Starbear.” This coded evidence of Tiptree’s unrequited desire is extracted from their original context, scattered over the page in blue ink. The incessant transfer of the name by a non-human writer, suggests how Tiptree’s own use of a pseudonym functions as a metaphor. The letter, much like the format of science fiction, is a truth written in the present to apply to a future sense.
Nelson further collapses past, present, and future in her Solaris series, expansive gelatin silver prints developed from stills of Andrei Tarkovsky’s 1972 film. Solaris narrates the plight of Kelvin, a cosmonaut who is pulled into the waking nightmare that has befallen his space station comrades as time and psychological acuity become increasingly warped. Nelson took screenshots from the film and rephotographed them onto 35mmx film at high speeds, a process which accentuates the silver grain of the image. The textural, impressionistic prints, developed with one of the last remaining Fotar Enlargers from the 1950’s, position us within the film itself, vulnerable, gazing outward onto the swirling waters of a foreboding form of extraterrestrial life. Solaris’s swirling waters of the ocean planet, like the mist-moody landscapes of Romantic painters, suggest that the scene is not an image of an experienced reality, but an existential experience of loneliness and mortality.
Functioning as a coda, and bringing us to the present is I can’t make you love me, a single channel video, titled after Bonnie Raitt’s 1991 sentimental ballad. Edited from Nelson’s first-hand documentation during a research trip over the summer of 2023 at Hat Creek Radio Observatory in Northern California, the film tracks the artist’s own encounter with an isolated astronomical telescope array (Allen Telescope Array or ATA), technologies specifically designed for the Search for Extraterrestrial Intelligence (SETI). In the film, a presumed human subject sweeps spotlights across the open fields of the observatory, glimpses and fragments of the satellites appear as outlines in the dark as they themselves contemplatively yearn for the faintest glimmer of data to affirm their existence. Brittany Nelson: I can’t make you love me collapses and expands Nelson’s poetic parallels between Tiptree’s own closeted desire, the speculative space of scientific discovery, and the ongoing human quest to find, and communicate with, someone like us.
PATRON is proud to announce Errata, a group exhibition highlighting works by four artists, Keren Benbenisty, Nyeema Morgan, Samira Yamin, and Miao Wang. Borrowing an editorial term for collected corrections or clarifications for a previously published document, the exhibition considers how we build our identity from fragments of memory, images, and knowledge. Memory is always incomplete–our brains fill in gaps with fictional specifics, mis-remembering, torquing, partially erasing. Any attempt to revisit the past will be colored through the lenses of one’s current experience. Through experimental and material-based approaches to painting, photography, and drawing, the artists in the exhibition reinforce the power of recurrent images as constant, rich shapers of personal and social identity.
Nyeema Morgan’s Forty-Seven Easy Poundcakes Like grandma Use To Make (2007-2012) is a series of forty-seven digital drawings. Morgan searched the web for “easy poundcake recipes'' in the years after her own maternal grandmother’s passing. Finding 46 distinct, published recipes, Morgan assembled the typed instructions for each, starting with her grandmother’s–adding arrows and strike-throughs to indicate where each recipe diverged from the one previously listed. As a group, the works fracture apart from the definitive recipe. Intention, audience, and style are left to the wayside, the text divulges from their original use, and take on new potency.
Likewise taking familial ephemera as a point of departure are Samira Yamin’s Entrainment Exercises (2023), unique prints developed from a series of negatives the artist received of her paternal grandfather, who was training as a professional gymnast in Iran during the 1950s. Employing a self-developed, analog process by which water ripples over the images as they are being developed.Yamin’s shifts the subject of the images from the individuals pictured to her own psychological processing of these images.Yamin’s re-engagement with the images animates an otherwise untapped connection to her family’s past through this act of image making, that suggests a sense of play, which belies the separation forced by time, space, and migration.
Keren Benbenisty’s collages mimic the horticultural technique whereby cuttings taken from different plants are joined to create a hybrid species. Drawing on a personal slide archive of color photographs taken by her father, shortly after immigrating from Turkey to Israel in the 1960s, Tristeza (2021 - 2023) is the result of the artist’s single-minded attempt to cultivate a blue orange (oranges are historically a symbol of Israel nationhood). An industry historically heavily dependent on manual labor, including the artist’s own Moroccan-born grandmother, the fruit holds the intersection of personal and political. Titled after the plague that struck orange trees during 2020, and the word for “sadness” in Latin-based languages, Benbenisty’s futile attempt at growing a surreal blue fruit unpeels a confluence of past-present-future, the contradictions and failures of which are only made visible through their own erasure.
Wang’s jewel-like watercolor paintings extend the power of water, with a direct confrontation between the artist’s life in Chicago (where she has been based since 2011) and her native China. Developed from hundreds of layers of watercolor wash, Wang’s diptych, ________ (2023), offers a bodily score of her immediate surroundings in reaction to the deeply symbolic, and political, color red. Layered on a synthetic, waterproof paper, the liquid layers form an almost skin-like membrane, bearing the physical traces of its environment. In II (2023), Wang allows the wash of her black watercolor pigment to pool and fall, forming a pair of kindred spirits. Like Yamin, Wang embraces the soft power of water. Like waves on a shore, whose constant repetition shapes and erodes, constructing the shoreline, images–commercial, political, personal, mythological–wash over our beings, shaping formation of identity through repetition.
Morgan, Yamin, Benbenisty, and Wang consider the impulse to revise, to correct, to revisit. Their attempts at correction serve only to underscore the ambiguity of symbols, the delusions, and failures of myth, and the impossibility of revising history. Yet by re-engaging with the past, the artists in the exhibition return to elements of errata, and, through their own material processes, recombine them into active containers of presence.
PATRON is proud to present On turning ground, a two-person exhibition marking the gallery’s second presentation with Jamal Cyrus (b.1973, Houston, TX) and third with Harold Mendez (b.1977, Chicago, IL). The exhibition, combining new bodies of work in sculpture, drawing, textile, and sound, tracks the two artists’ own kindred interrogations into tracing cultural essences across boundaries, time, and language. Fluent in their attunement to cultural hybridity through cross-border and trans-Atlantic histories of migration and return, the artists’ works operate as vessels for communion with persistent, and recombinant past.
Image: Harold Mendez
Mundos, 2023
Porcelain, stoneware, terra-cotta, ashes, porcelain with cobalt and red iron wash, stoneware with cobalt wash, and stoneware with manganese wash.
Dimensions variable
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DURING EXPO CHICAGO, PLEASE JOIN US FOR ART AFTER HOURS
FRIDAY, APRIL 12TH
FROM 5-8 PM
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Amidst Relations takes as its foundation the matrix of female subjectivity within colonial structures. The roles of mother, maid, daughter, concubine, or slave become scrambled–obfuscated legacies of bodies historically unseen or erased. Selecting scenes from classic film, 19th century photographs, and prints, Maguire places emphasis on \"details,”, and \"acts” – fleeting moments where bodies touch, eyes lock, or physical proximity coalesces. Key here are scenes of intimacy–touch that contorts initial perceptions of the images through the imposition of another. Scale is used to focus, or attend to that which is present and that which is not–or at least not initially apparent.
For Maguire, abstraction, cropping, and scale extend an invitation to closely inspect the images, dwell within them, and evade a reliance on the \"frame\" of the initial source. “I think part of making drawings in this manner demands that people have to acknowledge these drawings are in fact only partial images, or question the veracity of the images.” Drawn onto found paper, notably the covers and frontispieces of The Faber Gallery of Oriental Art (originally published in 1948), the drawings testify to the realities of much larger social currents. Partial images depict partial histories when there are in fact no easy, or grand narratives. Together, the works form an ‘imperial braid' of intertwined symbols, engagements, and contacts that suggest the role of Anglo-Indian femme people in Colonial India, through their alienation or enfoldment into the colonial project.
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The exhibition features a series of new paintings on canvas which narrate five visual chronicles of genocide committed against the indigenous people of Mexico’s Huasteca region during the 16th century. The paintings depict various native plants–utilized for their curative properties in healing rituals. Appearing here only as images, Martinez draws on their power to heal a sick body, translating this type of healing from the biological to the landscape, across generations and chronologies. The stories tell of his ancestral homeland at the heart of a somber cultural landscape–a tragedy borne witness to by a set of painted ceramics. Adorned with traditional symbolic materials; crystals, obsidian, silver, and fabrics, each vessel draws inspiration from archaeological artifacts discovered in and around the Huastecan region of present-day Mexico, and stands in as the corporeal presence for the souls of his once enslaved ancestors.
Portraits of Martínez’s grandmother and paternal aunt emerge in two small paintings on copper. Their painted faces, embellished with Huastecan tattoos, extend this ancestral lineage of bodily inscriptions. For the Huastecan, the skin became a medium to hold memory. These portraits are Martínez’s most intimate language, images used as a touchstone to the spiritual plane. Three small-format paintings of stone sculptures explore Huastecan artistry and a ritual of qualitative transference in which the artist would anthropomorphize the stone by replicating their own body, and reciprocally take the qualities of the mineral into their body. Pinned and threaded through these intimate portraits are symbolic objects used in healing practices; crystals, cochineal dyed threads, necklaces whose properties are symbols of renewal.
The exhibition culminates in Martinez’s video piece documenting Nana Ade (Adela Cucue), a curandera trained in indigenous healing rituals. Rosi Huaroco and Giovanni Fabian, two witnesses of a 2012 attack on the Cherán community by militarized illegal loggers, recount their first encounters with the armed men. In a recurrent cycle of colonial displacement, the community of Cherán and their ancestral forests went unprotected by federal agencies. Instead, community members turned toward each other for protection against the criminal syndicate and to preserve the essence of their cultural heritage. Here, Nana Ade invokes sacred herbs and spirits to cleanse Rossi and Giovanni of pent up stores of trauma they’ve carried ever since their first encounter. By tapping into a collective imagination in which pre-colonial imagery traces from the past to the present, Las raíces conversan por debajo de la tierra exists as a site where the natural world, in communion with the ancestral spiritual plane, can be activated to heal.
PATRON is proud to present The Deep Element, our second solo exhibition with Chicago-based artist Alice Tippit. Tippit deftly uses color, image, and language in a looping game of “yes, and...” continually twisting what we do, don’t, and think we know. The Deep Element embraces the gallery space itself, with a single mural element that flows along the east side of the gallery, a watery frieze set at floor level. Her signature intimately-scaled paintings, collaged works on paper, and wooden wall sculptures—a recent expansion of her practice—share this environment.
Tippit’s works for the exhibition are steeped in thinking about the inadequacies of language when confronting our interior landscape. The complex psychological relationships we have with others—much less ourselves—are basically impenetrable without calling upon seemingly unrelated phenomena to describe the sensation. Emotions swell, they flood, they wash over the beach of the mind; figures of speech that allow us to allude to mental states that threaten to overwhelm us, but these are also clichés that have become nearly meaningless in their ability to capture our imagination. As far as Tippit is concerned, images serve us better, offering a flexibility to communicate where the poetics of language fail.
Sound (2022) begins the exhibition and sets its tone. A hammer hangs uselessly at the top of the picture frame, bent inward upon itself against a stormy field of grey. Throughout, Tippit carefully stages opposing concepts, toying all the while with our keen ability to sort out differences and conjure meaning out of scraps of information. Here, an antique lace collar can be a face, a flap, a sail. Elsewhere, bodies, rather parts of them, are deployed as stand-ins for moods. In Vast (2024) a single eye, reddened, glares; its relationship to other elements of the image suggest instead the mouth of a face in which the eyes have been replaced by the tears they once shed. References to vessels, both as container and as conveyance, proliferate. Whether these receptacles are adequate is one of many questions left unanswered. The lack of resolution in her work is intended to forestall the closure of meaning, such that we may linger a little longer and allow an unfolding of sorts. In the end, we may not come to any one conclusion, but, as in life, that may be for our betterment.
ALICE TIPPIT (b. 1975 Independence, KS) lives and works in Chicago, IL. Tippit received an MFA from The School of The Art Institute of Chicago in 2013 and a BFA from The School of The Art Institute of Chicago in 2009.
Select solo and two-person exhibitions include: Zero eroS (2023), Rodolphe Janssen, Belgium; Surely Any S is Welcome (2023), Nicelle Beauchene Gallery, New York, NY; Palsied Egg Thief (2021), Grice Bench, Los Angeles, CA; Pallid Carrier(2020), PATRON Gallery, Chicago, IL; Unspelt (2020), Nicelle Beauchene, New York, NY; Still Life with Volcano (2019), Grice Bench, Los Angeles, CA; Delicious Sister (2019), Kimmerich, Berlin, Germany; Long Red Moans (2018), Nicelle Beauchene Gallery, New York, NY; and Bad Form (2018), Paris London Hong Kong, Chicago, IL.
Select group exhibitions include: Moreover: 50 Paintings (2024), The Green Gallery, Milwaukee, WI; Dialogues (2023), PATRON, Chicago, IL; The Moon and I (2023), GRIMM, New York, NY; Basic Fit (2023), Office Baroque, Antwerp, Belgium; (m)ad-libs (2022), George Adams Gallery, New York, NY; Sarah Braman, Ellen Gronemeyer, Margherita Manzelli and Alice Tippit (in cooperation with Kimerich) (2022), Linn Luhn gallery, Düsseldorf, Germany; The Regional, Kemper Museum of Contemporary Art (2022), Kansas City, MO and Contemporary Arts Center (2021), Cincinnati, OH; Feelings are Facts (2021), Poker Flats, Williamstown, MA; After Daan Van Golden (2021), Parts Project, The Hague, NL; Won’t you be my neighbor (2020), Nathalie Karg Gallery, New York, NY; Four Flags (2020), Chicago Manual of Style, Chicago, IL; Noah’s Ark (2020), Nichelle Beauchene Gallery, New York, NY; Painting As Is (2020), Fosdick Nelson Gallery, Alfred University, Alfred, NY; Small Painting (2019), Corbett vs. Dempsey, Chicago, IL; Reductive Seduction (2019), Chart Gallery, New York, NY; and Common Forms (2019), PEANA, Monterey, MX.
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This exhibition brings together new glass sculptures, installations, and works on canvas exploring iteration, risk, temporality and collapse as tactics of Black refusal. The works in this exhibition feature the artist’s latest experimentations with repetition, conveyed through the reuse of materials: structural components of dismantled or collapsed spatial interventions reappear as tools of inscription, collage material, photographic ground or malleable suture. As a result, this iterative series collapses the established temporal boundaries of the art object and its process of creation. The complex interconnectedness of these works also serves as a disruptive metaphor for the ideological systems which undergird our social realm and reinforce systemic violence.
Also included in this exhibition are a new series of sculptures in which Weston, through fusing and slumping, inverts the material qualities of Mirropane, a surveillance glass made by the London-based glass manufacturer Pilkington. Once kiln-fired and manipulated, the once silvered, reflective surface of the panes crack and become opaque, allowing Weston’s text, etched into its surface, to evade legibility. This series deepens Weston’s exploration of the intersections of the material and ideological technologies of surveillance, Black interior life, and resistance through a literal blurring of the line between who is surveilled and who surveils, positionalities otherwise determined by light, surface, reflection and transparency.
Taken together, the works in this exhibition arise from a fault plane, an afterward, an entropy and threaten what it means to come again.
Charisse Pearlina Weston (b.1988, Houston, TX) lives and works in Harlem, NY. She received an MFA in Studio Art with Critical Theory emphasis, from the University of California, Irvine; a Masters of Science in Modern Art History, Curating and Criticism from the University of Edinburgh’s Edinburgh College of Art; and a BA in Art History at the University of North Texas. She is also an alumna of the Whitney Museum of American Art’s Independent Study Program.
Select solo exhibitions include: when darkness risks being the forever nocturnal light itself (2024), PATRON, Chicago, IL; of [a] tomorrow: lighter than air, stronger than whiskey, cheaper than dust, (2022), Queens Museum, Queens, NY; Plunge, Cry (2021), Curated by Ylinka Barotto, Moody Center for the Arts, Rice University, Houston, TX; Through: The Fold, The Shatter (2021), Recess, New York, NY; nine physical poems (7 of nine) (2020), Abrons Art Center, New York, NY; An Appeal, but, in Particular, Very Expressly, To (i sink) (2019), UC Irvine Art Galleries, Irvine, CA; Politics Surrounded (Medley) (2016), Southern Constellations, Elsewhere Museum, Greensboro, NC; The Red Book of Houston: A Compendium for the New Black Metropolis (2015), Curated by Ryan Dennis, Project Row Houses, Houston, TX; Travelin’ Man (2014), Project Row Houses, Houston, TX.
Select group exhibitions include: Reflections: Surface and Substance, Mary M. Torggler Fine Arts Center, Newport News, VA; Light of Winter (2024), Perrotin, New York, NY; Whitney Biennial: Even Better Than the Real Thing (2024), Whitney Museum of American Art, New York, NY; And Ever an Edge (2023), MOMA PS1, Long Island, NY; We is Future - Impulses for the Future (2023), Curated by Studio ADG, Museum of Folkwang, Essen, Germany; SEVEN, We Buy Gold (2023), Jack Shainman Gallery/Nicola Vassel Gallery, New York, NY; Color Effects (2023), Galerie LeLong, New York, NY; The Dissolution caus’d by Fire is in all Bodies (2022), Curated by Luba Drozd and Rachel Vera Steinberg, Smack Mellon, Brooklyn, NY; Black Melancholia (2022), Curated by Nana Adusei-Poku, Bard College, Hudson, NY; This Tender, Fragile Thing (2022), Jack Shainman Gallery, Kinderhook, NY.
Her work is included in the public collections of the Museum of Fine Arts, Houston, TX; The Corning Museum of Glass, Corning, NY. Selected awards include: Creative Capital Awardee (2024), Creative Capital Foundation, New York, NY; Hodder Fellowship (2023), Lewis Center for the Arts; Jerome Hill Artist Fellowship (2023), Jerome Foundation; Paul and Irene Hollister Fields of the Future Fellowship (2022), Bard Graduate College; Rakow Commission (2022), Corning Museum of Glass; Artist Grant (2021), Harpo Foundation; Burke Prize (2021), Museum of Art and Design; Research Grant (2021), Graham Foundation for Advanced Study in Fine Arts; Individual Artist Project Grant (2020), Joseph Robert Foundation; Painters and Sculptors Grant Nomination (2019), Joan Mitchell Foundation.
Image: Charisse Pearlina Weston, hallucinatory field (one), 2024, 53 1/2 x 37 x 20 | 135.9 x 94 x 50.8 cm
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PATRON is proud to announce No words attached, the gallery’s first solo exhibition with New York-based artist Nour Malas. Raw gestures of oil, pastel, graphite, and charcoal, Malas’s paintings and works on paper are journalistic impressions recording the fragile reality of daily life.
For Malas, who came of age during regional instability, existence is marked by the desire for a place to call home “...my work is completely entangled with the foundation of collapse and instability, the act of searching without necessarily finding anything.” Following her study of sculpture at the School of the Art Institute of Chicago, Malas has developed a unique non-textual language of which stretched linen, canvas, and paper are building blocks. Driven by a need to process her own experience, Malas’s habitual studio practice is driven by a constant revisiting, questioning and translating. Urgent physical reactions to the emotive and the mundanity of her own life, Malas’s works are the result of emotional and physical release.
No words attached represents a body of work developed over the course of two months earlier this year. Materially and emotionally resonant of that chapter of life, Malas’s organic material palette is that of daily life coffee grinds, skin, egg yolks, cigarettes, flowers. Intimate spaces, moments, or memories are turned over and recalled in order to be understood through the marks they inspire. Gestural lines conjuring two turned faces are repeated over three pastel on paper works, a response, or answer to a confrontation, and impasse, a non resolution. Two beds face each other in Certified Homewrecker receding into the linen material like a distant memory, or the germination of an emotion or moment which has been excavated and kneaded through an active, ongoing act of seeking.
NOUR MALAS (b. 1995, Cannes, France) lives and works in Brooklyn, NY. She received an MFA from the School of the Art Institute of Chicago, IL and a BFA from Goldsmiths University, London, UK.
Solo exhibitions include: No words attached (20204) PATRON, Chicago, IL Heavyweight (2023), Mae Lombardi Gallery, Chicago, IL; Running (2023), DIANA, New York, NY; Desperately Discontinuous Bodies (2019), Gonzo Unit, Thessaloniki, Greece.
Group exhibitions include: Daffodils Baptized in Butter (2024), The Arts Club, London, UK; Soft Focus (2024), Bradley Ertaskiran, Montreal, Canada; backbone عَـمُـود الفِـقْـرِي (2024), Carbon 12, Dubai, UAE; Nocturne (2024), Andrew Rafacz Gallery, Chicago, IL; Nice Work Forever (2023), Sulk Chicago, IL; four am: Monika Grabuschnigg & Nour Malas (2023), Carbon 12, Dubai, UAE; Nouvelle Vague (2023), LBF Contemporary, London, UK; Catnip Meow (2022), SAIC Galleries, Chicago, IL; Garage Sale 2.0 (2021), Terrain Exhibitions, Chicago, IL; I Know the End (2021), Perennial Space, Chicago, IL; Street Walk and Talk (2021), Chicago, IL; Thresholds (2018), Gonzo Unit, Thessaloniki, Greece; Feminisms x The Arab and Muslim Diaspora (2017), Protein Studios, London, UK; AWAN-Arab Women Artists Now (2017), Rich Mix, London, UK; In the Rawest Sense of the World (2013), Emirates Theatre Foyer, Dubai, UAE.
Nour Malas was the recipient of Elizabeth Greenshields Foundation Grant (2024).
Image: Nour Malas, All my plants are dying on me, 2024, Oil and graphite on canvas, 60 x 48 | 152.4 x 122 cm
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PATRON is proud to announce the other, our first solo exhibition with Chicago based artist Miao Wang (b. 1988). Wang’s materially committed practice honors a human, physical relationship to the passage, and reality of time. Working largely with materials that hold material connections to historical and contemporary Chinese aesthetic traditions, filtered through the Western monochromatic canon, Wang has developed a unique conceptual language of abstraction. In the other, Wang presents four distinct bodies of work, each representing the artist’s relationship, through repeated gesture, to notions of doubling, kindred beings, or, in her words, “an expression, and it's shadow.”
Wang’s delicate watercolor paintings are developed through the repetitive physical engagement with sheets of synthetic YUPO paper, water, and pigment. The layers upon layers of nearly translucent washes, capture minute shifts within the physical conditions and environment of the studio, traces of dust, light, temperature and humidity. Documents of the artist’s experience with it and on it, the surfaces’ abstract marks evidence the environmental and physical conditions that impact the creative process, in the way that our bodies bear the residue of our memories and emotions.
In the initial gallery, seven of Wang’s red watercolors form a serial grouping. Using layers of the same mixed pigment on mass-produced paper in predetermined sizes, subtle differences emerge across the paintings’ surfaces, calling attention to the minute details of individuality in each, such as the artist’s finger marks along the edges of the paintings, residue of her process. This communion of similarity and difference disperses in the next gallery, where Wang presents a complete grouping of diptychs– two paintings which are intended to be installed together–oppositionally across the gallery from each other. In producing these diptychs, Wang doubles her process, performing the same gesture twice. Each painting is unique, while echoing and negating the other’s uniqueness.
the other coalesces with a series of watercolor paintings formed initially by two pooled black watercolor dots. Through a gentle bending of the YUPO paper, each pool runs across the surface into fragmented limb-like markings. Wang’s forms here begin with two fingerprint-like spots which bleed into the otherworldly, and the tenuous, capital “I” of the self. The tension between the self and the other culminates in a pair of monolithic cyanotypes on drywall panels, developed in an outdoor environment by moonlight. Each surface reveals subtle differences of light, shadow, and atmosphere—distinct experiences within our shared cosmic time against the mass-produced world of language and architecture.
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Image: LINDSAY ADAMS
Untitled (The Site of Memory, Morrison #3), 2025
Ink, graphite, charcoal, pen, oil paint on paper
22 1/4\" x 30\"
Framed: 25 1/2\" x 33 1/4\" x 1 3/4\"
LA010
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Image: CAROLINE KENT
A cordial invitation to whimsy and mayhem, 2025
Acrylic on Belgian linen, ebonized walnut
30 3/8\" x 36 3/8\" x 2\"
CK151
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Visit Caroline Kent : The Sentimental Hand during these extended hours at PATRON.
","type":null,"state":"published","slug":"expo-art-after-hours-2025","created_at":"2025-04-23 20:59:25.182","updated_at":"2025-04-23 20:59:25.182","excerpt":"","is_timeless":true,"organization_id":819,"highlighted":false,"opening_starts_at":"2025-04-25 18:00:00","opening_ends_at":"2025-04-25 20:00:00","searchable":"'00':9B '00pm':11B '2025':5A '6':8B '8':10B 'art':2A 'carolin':13B 'expo':1A 'extend':6B,20B 'hand':17B 'hour':4A,7B,21B 'kent':14B 'patron':23B 'sentiment':16B 'visit':12B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1745441950/emd7qwggokiqrqzgi5ic.jpg","calendar":null,"carousel":false,"category_name":"Special Event or Closing Reception"},{"id":19011,"title":"Alex Chitty : Mine","starts_at":"2025-06-21 00:00:00","ends_at":"2025-08-16 00:00:00","body":"JUNE 21 - AUGUST 16, 2025
OPENING RECEPTION | Saturday, June 21, 5:00 – 7:30pm
The word ‘mine’ is both a declaration of ownership, and a verb that describes acts of excavation and extraction. Alex Chitty’s solo exhibition, Mine, is an assembly of new works situated within a former theater. Each artwork leans on borrowed histories, past lives, and accumulative actions, all toying with the notion of how ‘mine’ is, perhaps, an impossibility.
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ALEX CHITTY (b. 1979, Miami, FL) lives and works in Chicago. Chitty received a Bachelor of Fine Arts from Smith College with a combined major in fine art, biology and education. She received a Master of Fine Arts from the Printmedia department at the School of the Art Institute of Chicago.
Recent exhibitions include: Entirely opposite, with moments of overlap (2025) Abroms-Engel Institute for Visual Arts, Birmingham, AL; Dialogues (2023), PATRON, Chicago, IL; Bright day will turn to night, my love (2023), Tiny Table Gallery, Chicago, IL; Amuleto (2023), Mayfield, Forest Park, IL Figs break open of themselves (2022), PATRON, Chicago, IL; Both And (2021), Tiger Strikes Asteroid, Chicago, IL; State of the Art II (2020), Crystal Bridges Museum of American Art, Bentonville, AK; Becoming the Breeze: Alex Chitty with Alexander Calder (2019), Museum of Contemporary Art, Chicago, IL; In the Hot Seat, KMAC Museum (2019) Louisville KY; pulling flavor from the dirt (2018), PATRON, Chicago, IL; After (the sun-drenched neutral that goes with everything) (2018),The Anderson Gallery, Virginia Commonwealth University, Richmond, VA; Living Architecture (2020), 6018 North, Chicago, IL; They will bloom without you (2017), Elmhurst Art Museum, Elmhurst IL; Small Sculpture (2017), Corbett Vs. Dempsey, Chicago, IL; Stranger Things (2017), DePaul Art Museum, Chicago, IL; Objectifying the Photograph (2017), NIU Art Museum, DeKalb, IL; slight pitch (2016), LUCE Turin, Italy, the sun-drenched neutral that goes with everything (2016), PATRON Chicago, IL; Turning Spoons into Forks (2016), Hyde Park Art CenterChicago, IL; Theory of Forms (2015), PATRON, Chicago, IL; Orchid (2014), ADDS DONNA, Chicago, IL; Almost Ergonomic (2014), Studio 424, Chicago, IL; Codification (2014) LVL3, Chicago, IL; Alex Chitty: Recent Work (2013), Corbett vs. Dempsey, Chicago, IL and Ella Hatchet (2013) at Roots and Culture, Chicago, IL.
Chitty is the recipient of a Illinois Arts Council Agency Artist Fellowship Award (2022); DCASE Individual Arts Program Grant (2021); The Nancy Graves Grant for Visual Artists (2017); has been an artist in residence at Writing Space, Chicago (2023); Warburg Library, London (2019); Wright Auction House (2019); Fundación Casa Wabi; Oaxaca (2018); Bemis Center for Contemporary Art, Omaha (2017); Fountainhead Residency, Miami (2015); Cargo Space, Milwaukee (2014); Latitude, Chicago (2014), among others.
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","type":null,"state":"published","slug":"carmen-winant","created_at":"2025-06-18 16:46:56.552","updated_at":"2025-06-18 16:46:56.552","excerpt":"","is_timeless":true,"organization_id":819,"highlighted":false,"opening_starts_at":"2025-06-21 17:00:00","opening_ends_at":"2025-06-21 19:30:00","searchable":"'adopt':57B 'announc':10B 'artist':20B 'base':19B 'bring':26B 'carmen':1A,21B 'conceptu':16B 'educ':40B 'enact':66B 'exhibit':14B,55B 'genr':41B 'inquiri':52B 'instruct':36B 'intuit':64B 'live':5A,25B 'long':29B 'manual':3A,23B 'materi':49B 'mean':71B 'memori':62B 'patron':6B 'photo':18B 'photo-bas':17B 'pictur':37B 'practic':35B,44B,73B 'procedur':61B 'proud':8B 'repetit':60B 'second':12B 'site':47B 'solo':13B 'stand':30B 'strategi':58B,67B 'studio':43B 'tenant':31B 'throughout':53B 'togeth':27B 'transform':50B 'two':28B 'winant':2A,22B,33B,56B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1750265156/dpfrpsam6b7q3vxsupxg.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":22721,"title":"Bethany Collins : DUSK","starts_at":"2025-09-11 17:00:00","ends_at":"2025-10-25 17:00:00","body":"![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1758218380/iihmmoarz2hlrglhi4qs.jpg\")
PATRON is proud to present Dusk, our fourth solo exhibition with Chicago-based artist Bethany Collins. Continuing narratives and bodies of work included in her recent institutional presentations in the Prospect 6 Triennial New Orleans, as well as her solo exhibition At Sea at The Seattle Art Museum, Dusk brings together five bodies of work composed of paintings and drawings on paper along with sculpture.
Dusk, as a moment in time, is defined by an anticipated immersion into darkness. The loss of light is as pivotal to its encounter as the acceptance of its impending absence. Through the use of language, both written and visualized, Collins’s recent work reflects on the metaphoric potential of one story, to be our collective warning and guide. While dusk brings the night, we enter the darkness together.
Orchestrating the heart of the exhibition are three new paintings from Collins’s The Battle Hymn of the Republicseries. Arguably the most familiar early American contrafactum—a song in which the melody remains constant while the lyrics are rewritten over time—versions of The Battle Hymn of the Republic have been adapted in support of varying political causes, including revolution, temperance, suffrage, labor, secession, and abolition, articulating often contradictory versions of what it means to be American. Emerging from cloudy, gray- washed backgrounds, Collins’s gestural marks form fragments of lyrical excerpts from alternate versions of the war-time anthem. The phrases included are drawn from adaptations of the song which lean on floral references as universal symbols of grief, renewal, and peace. Bleeding down the paper and abstracted into gesture, Collins translates the intended unifying voices of the lyrics' symbology into illegible noise.
Dusk premieres a series of graphite drawings adapted from commercially available floral lithographs produced during the second half of the 19th century. Now housed in the Library of Congress, Collins considers these reproductions of bouquets and arrangements of roses as a persistent American symbol (the rose would be named a top contender for national flower in the 1920s, an honor formalized in 1986 by President Reagan). Shrouded in plumes of charcoal dust, these household images of beauty are, in Collins’s work, disturbed and muddled, reflecting the tempestuous nature of the time.
For three new bodies of work, Collins draws inspiration from Herman Melville's 1851 novel, Moby Dick; or, The Whale. Historian Nathaniel Philbrick refers to the novel as an \"American Bible,\" a literary exploration of loss, salvation and the dark consequences of an unrepentant spirit. Or, The Whale. Vol 1., 2024 -2025, is the first of a three volume portfolio that was created by Collins handwriting the entirety of the novel in iron gall ink onto onion skin paper. Ubiquitous from the late Middle Ages through the 19th century, iron gall ink was originally chosen precisely for its “outstanding permanence.”[1] Eventually, this lauded fixity shifted to an inherent vice as the ink’s chemical makeup produced an inevitable corrosion. The ink may eventually eat through the delicate paper, rendering Collins’s adaptation of the original language, like that in her subsequent drawings, largely illegible. Yet, the laborious gestural text remains a doggedly futile act of care and preservation.
Moby Dick, Vol. 1, 2 and 3 extend Collins’s Loss series, a body of work which began as a search for the language of endings through expressive and often romantic language. The exhibition includes three graphite drawings, each of which reproduces a single page from the original volumes of Melville's novel. Through a process of physically rubbing away, or erasing the majority of the reproduced language, Collins leaves only phrases that describe, in violent or post-apocalyptic terms, the sea. Ending the exhibition with a line from Melville’s final chapter recasts our attention from the end to the persistence of “the sea . . . which rolls on as it rolled five thousand years ago.” Functioning as memorials to a language, land, or reality lost, are three related “erasure” sculptures, created from the erosion of a blue eraser, reduced to nearly dust after the physical removal of language from a page. The sculptures offer a type of non-textual postscript. Each contains the essence of the story, when language itself has faded away.
Positioned on the threshold of uncertainty between past, present, and future, Dusk bears witness to the fleetingness of time as well as the permanence of attentive language and bond. Each shared expression—an epic tale, a national flower or an ever-changing anthem—is an attempt to weather the dark together.
[1] Schulze, Charissa, “Inherent Vice, Part 1.” Historical Society of Pennsylvania, 2014.
Image: Bethany Collins, In the whiteness of the lilies, 2024, Wax, pastel, and acrylic on paper, 40” x 60” | 101.6 x 152.4 cm
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Through a multidisciplinary practice spanning painting, sculpture, installation, printmaking, and video, Benjamin posits the sea and coastal zones as sites of a perennially entangled network of geology and culture. For Benjamin, who is originally from Jamaica, the ecology of the Caribbean becomes a site at which to examine the historical and current relationships between afro-diasporic people and the sea. Emergent from his work to capture his own experiences as an avid surfer and swimmer, Benjamin’s recent work incorporates the physical materials of coastal zones, alongside and in juxtaposition to the visual lexicon of stylized ephemera of tourism produced by an ongoing colonial, commercial economy. Long, Shore, Drift refers to the geological term longshore drift, a natural process that moves sediment along a coastline resulting from the waves’ repetitive actions. Within the context of the exhibition, the pattern becomes a metaphor for examining how coastlines evolve, a concept Barbadian poet Kamau Brathwaite’s refers to as tidalectics—a framework that conceives of Caribbean identity as cyclical and fluid, shaped not by fixed geography but by movement and exchange. Continually unfolding and falling back upon itself, Long, Shore, Drift offers a repetitive, rhythmic reminder of the series of extractions that continue to shape the world and our perception of it.
","type":null,"state":"published","slug":"simon-benjamin-long-shore-drift","created_at":"2025-11-24 21:07:41.775","updated_at":"2025-11-24 21:07:41.775","excerpt":"","is_timeless":true,"organization_id":819,"highlighted":true,"opening_starts_at":"2025-11-01 17:00:00","opening_ends_at":"2025-11-01 19:30:00","searchable":"'action':156B 'afro':80B 'afro-diaspor':79B 'along':148B 'alongsid':112B 'artist':22B 'avid':97B 'back':209B 'barbadian':175B 'base':21B 'becom':66B,165B 'benjamin':2A,24B,36B,55B,101B 'brathwait':178B 'captur':91B 'caribbean':65B,189B 'coastal':41B,110B 'coastlin':150B,171B 'coloni':129B 'commerci':130B 'conceiv':187B 'concept':174B 'context':159B 'continu':205B,226B 'cultur':53B 'current':76B 'cyclic':192B 'diaspor':81B 'drift':5A,13B,134B,141B,214B 'ecolog':62B 'economi':131B 'emerg':86B 'entangl':48B 'ephemera':122B 'evolv':172B 'examin':72B,169B 'exchang':204B 'exhibit':17B,162B 'experi':94B 'extract':224B 'fall':208B 'first':15B 'fix':198B 'fluid':194B 'framework':185B 'geographi':199B 'geolog':51B,138B 'histor':74B 'ident':190B 'incorpor':105B 'instal':32B 'jamaica':60B 'juxtaposit':115B 'kamau':177B 'lexicon':119B 'long':3A,11B,132B,212B 'longshor':140B 'materi':108B 'metaphor':167B 'move':146B 'movement':202B 'multidisciplinari':27B 'natur':143B 'network':49B 'new':19B 'offer':215B 'ongo':128B 'origin':58B 'paint':30B 'patron':6B 'pattern':164B 'peopl':82B 'percept':233B 'perenni':47B 'physic':107B 'poet':176B 'posit':37B 'practic':28B 'present':10B 'printmak':33B 'process':144B 'produc':125B 'proud':8B 'recent':103B 'refer':135B,180B 'relationship':77B 'remind':219B 'repetit':155B,217B 'result':151B 'rhythmic':218B 'sculptur':31B 'sea':39B,85B 'sediment':147B 'seri':222B 'shape':195B,228B 'shore':4A,12B,133B,213B 'simon':1A,23B 'site':44B,68B 'solo':16B 'span':29B 'styliz':121B 'surfer':98B 'swimmer':100B 'term':139B 'tidalect':183B 'tourism':124B 'unfold':206B 'upon':210B 'video':35B 'visual':118B 'wave':154B 'within':157B 'work':89B,104B 'world':230B 'york':20B 'zone':42B,111B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1764018455/d3vterua7iychuh0lh2h.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":26285,"title":"SIMON BENJAMIN In Conversation","starts_at":"2026-01-17 16:00:00","ends_at":"2026-01-17 18:00:00","body":"This is a free event open to the public.
Simon Benjamin is a Jamaican artist and filmmaker living in New York, whose work includes experiential installations, video, painting and sculpture.
Through research, oral history, and critical fabulation, he calls attention to the contradictions entangled in the enduring myths and images of the Caribbean as tropical paradise - a carefully constructed imaginary that replaced the harsh reality of the exploitative plantation. With the intention of moving beyond critique and pointing to systems and power - he creates open-ended poetic and lyrical moving images and objects, which bring together the immaterial and the tactile. Rethinking the relationship of margin to center in archival representation, vernacular materials, such as cornmeal and fish traps, become sculptural elements, embedding multiple temporalities and narratives.
Brooke Minto is Executive Director and CEO of the Columbus Museum of Art (CMA). With a career spanning over two decades, Minto has experience working for a range of museums and interdisciplinary arts organizations in the United States and abroad.
Before joining CMA, Minto served as the inaugural executive director of the Black Trustee Alliance for Art Museums (BTA). During her time with BTA, she grew the grant-funded pilot program into a robust nonprofit membership organization equipping Black trustees with the resources to bring meaningful and lasting change to their institutions. In 2023, Minto was recognized by the American Alliance for Museums (AAM) for her work advancing diversity, equity, accessibility, and inclusion (DEAI) in the museum field.
Leslie M. Wilson is Academic Curator and Director of Research Programs at the Art Institute of Chicago. Her research, teaching, and curatorial work focus on the history of photography, the arts of Africa and the African diaspora, modern and contemporary American art, and museum studies. She was a co-curator of David Goldblatt: No Ulterior Motive (Art Institute of Chicago, Fundación MAPFRE, and Yale University Art Gallery, 2023-2025), and the curator of The True America: Photographs by Ernest Cole for the Aperture Foundation (Minneapolis Institute of Art and MICA, 2025) and not all realisms: photography, Africa, and the long 1960s (Smart Museum of Art, 2023).
She has recently written for publications including Jamel Shabazz: Albums and the Brooklyn Museum of Art's Toward Joy: New Frameworks for American Art.
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On view from January 24 through March 7, 2026, the exhibition celebrates the collector/artist/gallery relationships which have been formative for the growth and prosperity of the gallery, and reflective of the strength and vibrancy of the Chicago arts community at large.
Uniting nearly one hundred key artworks acquired from PATRON over the past ten years, the exhibition is intended to acknowledge the growth of individual artist’s practices, and act as a time capsule of the exhibitions, projects, and conversations that marked the last decade. a person chosen, named, or honored… celebrates the individuals, and networks of Chicago that have shaped our history, our present, and our future.
","type":null,"state":"published","slug":"a-person-chosen-named-or-honored","created_at":"2026-02-09 21:04:36.585","updated_at":"2026-02-09 21:04:36.585","excerpt":"","is_timeless":true,"organization_id":819,"highlighted":false,"opening_starts_at":"2026-01-24 11:00:00","opening_ends_at":"2026-01-24 19:00:00","searchable":"'10th':12B '2026':46B '24':42B '7':45B 'acknowledg':98B 'acquir':85B 'act':107B 'anniversari':13B 'announc':18B 'art':75B 'artist':103B 'artwork':84B 'capsul':111B 'celebr':49B,129B 'chicago':74B,135B 'chosen':3A,24B,125B 'collector/artist/gallery':51B 'commemor':8B 'communiti':76B 'convers':117B 'decad':122B 'definit':34B 'dictionari':33B 'exhibit':21B,48B,94B,114B 'format':56B 'futur':145B 'galleri':64B 'group':20B 'growth':59B,100B 'histori':140B 'honor':6A,27B,128B 'hundr':82B 'individu':102B,131B 'intend':96B 'januari':41B 'key':83B 'larg':78B 'last':121B 'march':44B 'mark':119B 'name':4A,25B,126B 'near':80B 'network':133B 'one':81B 'past':90B 'patron':10B,37B,87B 'person':2A,23B,124B 'practic':105B 'present':142B 'project':115B 'prosper':61B 'proud':16B 'reflect':66B 'relationship':52B 'shape':138B 'strength':69B 'ten':91B 'time':110B 'titl':28B 'unit':79B 'vibranc':71B 'view':39B 'webster':31B 'year':92B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1770671056/itudfmnrb494rwurwi2w.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":28899,"title":"Nyeema Morgan: take my wife…PLEASE!","starts_at":"2026-03-20 00:00:00","ends_at":"2026-04-25 00:00:00","body":"PATRON is pleased to announce Nyeema Morgan’s take my wife…PLEASE!, the artist’s second exhibition with the gallery following 2022’s The Set-up. Across a body of work including sculptures, drawings, and print media, Morgan apprehends narrative structures as scaffolding for systems of power. take my wife…PLEASE! unfolds through inquisitive framing devices, mechanisms, and studies. With reflections and deflections, subtle set-ups, and alterations of the gallery space, Morgan’s works catalyze the inherent vulnerability and tension in our relationship with images, words, objects and architecture.
NYEEMA MORGAN (b. Philadelphia, PA) lives and works in Chicago, IL. Morgan earned an MFA from the California College of the Arts in San Francisco, CA, and a BFA from the Cooper Union School of Art in New York, NY and attended the Skowhegan School of Painting & Sculpture, Madison, ME.
Select solo and two-person presentations include: Mike Cloud & Nyeema Morgan: Story Structure, Pt. 2, Neubar Collegium for Culture & Society at University of Chicago, Chicago, IL (forthcoming); take my wife…PLEASE!, PATRON, Chicago, IL (forthcoming); The Set-Up (2022), PATRON, Chicago, IL; Soft Power. Hard Margins. (2022), Grant Wahlquist Gallery, Portland, ME; between friends (with Mary Simpson) (2022), David Peterson Gallery, Minneapolis, MN; Nyeema Morgan : Like it Is (2021), The Philadelphia Art Alliance at the University of the Arts, Philadelphia, PA; THE STEM. THE FLOWER. THE ROOT. THE SEED. (2020), Boulder Museum of Contemporary Art, Boulder, CO; Asian Smaisians and Other Abstract Racial Slurs (with Mike Cloud) (2019), Marlborough Gallery Viewing Room, New York, NY and horror horror (2018), Grant Wahlquist Gallery, Portland, ME.
Select group exhibitions include: Errata (2024), PATRON, Chicago, IL; Objects and Power (2024), Institute of Contemporary Art, Maine College of Art and Design, Portland, ME; Us We Them | Race Ethnicity Identity (2022), Worcester Museum of Art, Worcester, MA; Second Sight: The Paradox of Vision in Contemporary Art (2019), Bowdoin College Museum of Art, Brunswick, ME; Signal from Noise (2015), Hessel Museum of Art, Annandale-on-Hudson, NY; The Intuitionists (2014), The Drawing Center, New York, NY; and Project Gutenberg (2012), Galerie Jean Roch Dard, Paris, France.
Morgan is the recipient of the Foundation for Contemporary Arts Grant to Visual Artists (2026), Harpo Foundation Visual Artist Grant (2023),the Chicago Artadia Award (2023), a Joan Mitchell Painters & Sculptors Grant (2022, 2016) and an Art Matters Grant (2013). Her work is included in the public collections of The Walker Art Center, Minneapolis, MN, Bowdoin College Museum of Art, Brunswick, ME; The Menil Collection, Houston, TX (in collaboration with William Cordova and Otabenga Jones & Associates); and Worcester Museum of Art, Worcester, MA.
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\"…. I wanted to make something that brought me as close as possible to the horizon, to embody it in some way. I thought that to achieve this I’d have to orient my body horizontally, and float on the surface of the water, being both slightly submerged and in the open air. I’ve seen the horizon as a threshold between two states, whether between past and future, or the spatial experience of emerging from a subterranean space into the light. That point of convergence is the movement. To journey to the horizon is to anticipate death, and you need a vehicle for that.
It struck me once that there is a scar on every human body that remembers water. We were all, once, aquatic — and the navel is where that ruptured. This surreal object on us all.
On the western slope of a mountain in Jordan is a Byzantine church overlooking Jerusalem and the surrounding landscape. Fragments of a mosaic map cover the floor, covering its floor are fragments of a mosaic map charting landmarks and sacred events. One section of the map depicts two fish, facing one another. One swims downstream the Jordan River and the other, emerges, impossibly, from the Dead Sea.
It lodged in me. The mind has its own gravitational pulls — images, moments, exert their force from years back, bending the present toward them whether you cooperate or not. Trout do it with their whole bodies. We do it in memory, which is maybe the same thing.
It’s as though we’re all trying to get as far away from the place we’ve come from, like walking in a straight line around the globe only to meet ourselves exactly where we were…\"
–Daniel G. Baird
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Shaped memories of place, mood, architecture, and drawing on an intimate knowledge of art history, Garden of Prayer marks a considerable shift in Malas’s practice over the past year. Developed over the last five months, the work in the exhibition results from a perspective of turning inward, holding, honoring, and communing with personal history and familial lineages, as spaces in which possible realities may be lived. The result is a corpus of expansive landscapes of alternative states, transcendent yet accessible, outside shared human experiences of suffering, otherworldly, yet deeply familiar.
In L’âme de L’âme (2026), the first painting Malas completed of this body of work, celestial bursts of pigment unfurl in gestural swirls. Deep purples, blues, reds, and greens gather into a spiritual atmosphere recalling the spiritually evocative scenes of 16th century Italian painters such as Titian. Barely perceivable, spectral silhouettes appear and recede. The painting is a space of ascension, where earth meets spirit. The title, French for “soul of the soul,” also echoes the Arabic phrase Ruh al-Ruh, suggesting an innermost essence—something tender, sacred, and inseparable from love.
At the heart of Malas’s work is the spirit of her grandmother, who the artist attributes as being her spiritual guide. A continued embodiment of a childhood sense of nature, care, and safety, Malas’s ancestor personifies a space within the real world in which the artist, as a child, could retreat. In speaking to how she continues to communicate with her grandmother through dreams, Malas suggests how paintings can be portals into parallel, spiritual worlds. Conjuring new spaces with pigment, Malas is compelled to create sites of care, where imagination and magic can exist. In Sweetness and Light the artist’s grandmother, mother, and sister appear in turn as spectral figures or, as in the expansive landscape of Spiritual Wasteland, as memories, or personified emotions. A return to her roots as a sculptor, Malas’s world building unfolds into the gallery’s architecture through an installation of painted silk, Long Division (2026). Suspended six-foot panels of fabric envelop the viewer, undulating as one passes through the space. Embracing and enveloping the viewer, Long Division creates an impermeable space out of time, where we can, at least temporarily, be held.
Claiming “there is a sense of duty in painting a different picture,” Malas’s practice emerges from her own ineffable impulse to channel the emotional weight of existence. Considering how her own experience of revolution and war was in part channeled through the lives of family members, Malas’s practice relies on our ability to transport through time, and feel, viscerally alternative aspects of the same reality. This impulse transforms pigment into emotional, social residues, giving form to sites that exist on the other side of grief, in which we can escape and imagine a different present, and future.
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García employs subtle adaptations of natural materials to hone physical perception of human space. Through her sculptural and painting practice García shapes intimate encounters between material and the human body–manipulating and repurposing architectural and physical elements to challenge understandings of reality and solidity.
Raised in Medellín, García’s memories of an ever present threat of violence in an unstable socio-political terrain laid the conceptual ground for a visual language seeking to establish stability through material presence. García’s debut exhibition with PATRON centers a site-specific installation, an extension of Lineas, her large-scale sculptures, made from coils of metal wire, wrapped by hand in layer upon layer of felted black and white wool. Their soft, textile exterior belies their rigid, internal skeletal structure. Responding to the surrounding architecture, García unfurls and manipulates the form, catalyzing and releasing material tension against itself, allowing the line to cascade downward from a fixed point in the wall and organically weave through space. Her Lineas are both deliberation and liberation; at once drawings and sculptures that challenge the viewer to reconsider our own relationships to material, reality, and solidity.
Emerging from García’s attempt at capturing the physical nature of memory are her painting series, El dolor en la mirada, encaustic paintings of dreamlike landscapes and amorphous figures. Through a reverse layering of wax and pigment, boundless, abstract forms emerge and dissipate within the 24”x 28” surfaces. Light filtering through the top layers of translucent wax illuminate and imbue the paintings with mystical presence the artist likens to “souls.” García’s mist-like compositions reveal themselves the way the memory of a dream might be recalled, and explore our own perception with and relation to physical spaces, offering no stable point of reference in which to orient oneself.
By playing on the tensions between light and shadow, form and material, García examines our relationship to our physical surroundings and the ephemeral manifestations that offer evidence to presence.
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This exchange is introduced in the form of a salon-style installation of sketches, drawings, paintings, and ephemera from both artist’s studios. Constructed from a process of revisiting Bae’s archive, largely housed at Lewis’s studio for the past five years, the installation collapses time through references to both unrealized and realized future works, indirect to incomplete thoughts, sketches, and unfinished conversations. A partial visual representation of the artists’ diverse interests, the installation introduces shared cultural connections, including Bill Watterson’s Calvin and Hobbes comic strips, a childhood favorite of both Bae and Lewis, but also a material resonant in Lewis’s practice since 2013. Here, the dynamic impulse of the last comic strip catalyzes an active return to two practices, inspired by the artists’ shared, persistent attempts to grasp the gaps of understanding and connection created by time.
Time, as material and process appears in Bae’s 24-7, 365 (sketch) (2017), a series of paintings on used car tires. Originally part of a kinetic sculpture, 24-7, 365 (2014) in which a tire endlessly turns on a treadmill at a rate that would travel the world's circumference in a year. Installed on the wall, Bae’s tire series reveals his experimental, assemblage-based approach to painting, shaped through continual testing with nontraditional materials drawn from the American import industry. Car tires, laptop screens, and found paper transition from everyday remnants to painted surfaces, carrying the history of their use along with them.
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Artist Conversation
Saturday, August 8
3:00 pm
PATRON
1612 W Chicago Ave
Join us for an artist conversation with Rossella Farinotti, Italian art critic, curator and journalist, Laura Caroline de Lara, Director of the DePaul Art Museum, Gibran Villalobos, arts administrator, curator, and educator at the School of the Art Institute of Chicago (SAIC), Bosco Bae, Visiting Assistant Professor of Religion at Augustana College, and Tony Lewis, Chicago based multi-disciplinary artist.
This event is free and open to the public.
Let's Go Exploring! is now on view at PATRON through August 22, 2026.
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ARTIST CONVERSATION
Lindsay Adams, Claire Sherman, Michelle Grabner, and Galina Mardilovich
Thursday, October 8
6:00pm
PATRON
Join us for an in-depth conversation with Lindsay Adams and Claire Sherman in the context of their exhibitions, Errantry and Tannic Waters, on view at PATRON through October 31, 2026. The program is free and open to the public, no RSVP required.
Michelle Grabner is an artist, writer, and curator, and serves as the Crown Family Professor of Art at the School of the Art Institute of Chicago, where she has taught since 1996. Grabner is Chair of the Painting at Drawing Department at SAIC. She has also held teaching appointments at the University of Wisconsin–Madison, Cranbrook Academy of Art, Milton Avery Graduate School of Arts at Bard College, the Yale University School of Art, and the Skowhegan School of Painting and Sculpture.Grabner is the recipient of numerous honors, including a Guggenheim Fellowship, a National Academician in the National Academy of Design, a 2026 Mary Nohl Fellow, and a 2024 fellowship from the Wisconsin Academy of Sciences, Arts & Letters.In addition to her individual practice, Grabner collaborates with artist Brad Killam to run the artist-operated project spaces The Suburban (est. 1999) in Milwaukee, Wisconsin, and The Poor Farm (est. 2008) in Little Wolf, Wisconsin.
Galina Mardilovich is curator at the Smart Museum of Art at the University of Chicago. At the Smart, she has curated or co-curated numerous exhibitions including Theaster Gates: Unto Thee (fall 2025), Composing Color: Paintings by Alma Thomas from the Smithsonian American Art Museum (spring 2026), and the forthcoming Nina Chanel Abney: While Supplies Last (opening spring 2027). Prior to the Smart, Galina has held positions at the Whitney Museum of American Art, the Mead Art Museum at Amherst College, and the Metropolitan Museum of Art, among others. Galina specializes in the history of printmaking, the long nineteenth century, and art of the Russian empire. Her research has been published by Print Quarterly, Art History, and The Burlington Magazine, as well as in several edited volumes.
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