SAIC Galleries
33 E Washington St.
Chicago, IL 60603
Tel 312-845-5910
Mon-Sat 11-6
The home of SAIC's gallery operations, including regular MFA and BFA exhibitions.
SITE of the School of the Art Institute of Chicago
SITE Columbus
280 S. Columbus Dr., Suite 113, Chicago, IL 60603
SITE Sharp
37 S Wabash Ave. Chicago, IL 60603
Gallery Hours
Monday—Friday: 11:00 a.m.–6:00 p.m. | Saturday: 11:00 a.m.–3:00 p.m.
Tel 312-899-5131
sugs@saic.edu
Professional exhibition spaces exclusively for students since 1994.
Visiting Artists Program
37 S. Wabash Ave, suite 1220
Chicago, IL 60603
Tel 312-899-5186
events@saic.edu
All events are FREE, non-ticketed, and open to the public.
Rubloff Auditorium
280 S. Columbus Dr.
Chicago, IL 60603
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Monday, November 13
\r\n6:00 p.m.
\r\n
\r\nThe Art Institute of Chicago
\r\nRubloff Auditorium
\r\n230 S. Columbus Dr.
\r\n
\r\nJoin us for the final lecture of the fall Visiting Artists Program. Stefan Sagmeister’s unconventional practice explores the subjects of our lives, like happiness or beauty, how they connect to design, and what that actually means to our everyday lives.
Tuesday, November 14, 4:15 p.m.
\r\n
\r\nThe LeRoy Neiman Center
\r\n37 S. Wabash Ave.
\r\n
\r\nJill Magid is a widely celebrated MIT alum now based in New York City. Her dynamic practice is deeply interrogative, forging intimate relationships within bureaucratic structures—flirting with, seducing, and subverting authority.
Note: this event takes place at 112 S Michigan Ave. in the MacLean Ballroom
\r\nFree admission and open to the public
First look: Thursday, November 16
\r\n5:00–8:00 p.m.
\r\n
\r\nFriday, November 17
\r\n11:00 a.m.–7:00 p.m.
\r\n
\r\nSaturday November 18
\r\n10:00 a.m.–5:00 p.m.
The Holiday Art Sale is your opportunity to purchase one-of-a-kind art, gifts, and decorations created by SAIC students. Browse work by more than 120 talented undergraduate and graduate students, including paintings, prints, drawings, jewelry, ceramics, sculptures, fashion accessories, and more. A majority of the proceeds go directly to the individual artists and designers.
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\r\n
\r\nGene Siskel Film Center
\r\n164 N. State St.
\r\n
\r\nJoin us for the final event of the fall Conversations at the Edge season. Mixing personal history and pop culture, New York-based artist Sondra Perry dissects power relations that shape Black identity and representation.
November 18–December 8
\r\n
\r\nReception: Saturday, November 18
\r\n12:00–6:00 p.m.
\r\n
\r\nSullivan Galleries
\r\n33 S. State St., 7th floor
\r\n
\r\nJoin us for the Fall Undergraduate Exhibition where more than 130 talented SAIC students completing undergraduate degrees this fall exhibit their innovative work.
On Misunderstandings between Religious Art Practices and Art History: Prof. James Elkins
No Idols: Prof. Thomas Crow
Chaired by Prof. Ben Quash
Ballroom, MacLean Center, School of the Art Institute of Chicago, 112 S. Michigan Ave
King’s College London and Duke University are pleased to announce an evening of discussion, ‘testing the temperature’ of the relationship between modern and contemporary visual art and Christian tradition today.
This exceptional programme brings together contributions from Professor James Elkins (School of the Art Institute of Chicago) and Professor Thomas Crow (New York University), chaired by Professor Ben Quash (King’s College London). The event is free and open to all. No registration or tickets are required and seating will be first come, first served on the evening.
James Elkins: On Misunderstandings between Religious Art Practices and Art History
This is a report on the distance between avowedly religious art (as it is practised and taught in art schools, academies, and theological unions) and the disciplines of art history, art criticism, art theory, and studio pedagogy. It has been said that the ongoing lack of communication between openly religious art practice and disciplines such as art history is a matter of modernism’s distance from faith, or of scholarship’s distance from advocacy; James Elkins proposes that one of the most fruitful ways of thinking about it is as a matter of the forms of conversation that take place in conferences, lectures, and other venues. In particular the distance between religious values and historical values can be seen as a question of the relative places of empathy, biography, and community.
Thomas Crow: No Idols
The theme of this talk will be the generally inverse relationship between grandiosity in a work of art and its intrinsic theological import, the latter term being understood apart from visualizing points of doctrine or events of sacred import. From miracle-working ‘true images’ to the hyper-valuation placed on museum masterpieces severed from their original religious contexts, art is continually susceptible to the idolatrous regard that invests inert matter with living properties. To approach the sacred, an artist aware of this trap must defeat the normal enticements of idolatry, whether of self-righteous display or aesthetic delectation, while providing some compensating richness of experience. Thomas Crow encountered his own point of departure toward this insight in the shape of one painting, the White Tablecloth by J.B.S. Chardin, housed in the Chicago Art Institute.
Theology, Modernity, and the Visual Arts project
This free, public event is part of a four-year research project on the topic of Theology, Modernity, and the Visual Arts, led by Professor Ben Quash at King’s College London, in collaboration with Duke University, and generously sponsored by the McDonald Agape Foundation.[i] Its purpose is to enquire into a theological reading of modernity in the company of visual artists, asking how the visual arts can help us to understand the theological (or even anti-theological) currents of modernity more deeply. Theology, Modernity, and the Visual Arts is part of a larger enterprise (Theology, Modernity, and the Arts) established by Duke Initiatives in Theology and the Arts, which is undertaking research in three main areas: music, the visual arts, and literature.
The programme for Theology, Modernity, and the Visual Arts consists of a series of academic symposia hosted by major international art galleries in the UK, USA, and Europe. It began in 2018 at the Royal Academy of Arts, London and will move to Berlin in 2020. Attended by a core group of international scholars in theology and art history, these meetings provide an opportunity for a sustained discussion of how the visual arts can help in interpreting the theological dimensions of modernity, and how theology can reflect on and inform interpretations of modernity in and through the visual arts.
The group is exploring what theology can learn from the insights and suggestions of modern and contemporary art, even when that art seems deliberately to provoke or repel. Given the abiding power of Christian motifs, ideas, and styles in a host of modern works that superficially look un- or anti-Christian, the group is also considering these indications that visual art and Christian tradition have not become complete strangers, and asking how contemporary viewers (Christian and non-Christian) interact with historical Christian art, and how modern sensibilities affect our viewing of earlier Christian artworks and artistic traditions.
The symposia are accompanied by public events with high-profile artists, theologians, and critics. These are opportunities to reflect on the visual arts as an arena in which some of the deepest questions of life and death, meaning and purpose, continue to be raised, and on the relationship of visual art with Christianity, both as cultural heritage and as contemporary lived faith.
Image: Jean Baptiste Siméon Chardin, The White Tablecloth (1731-2). Oil on canvas. Art Institute of Chicago
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31st Annual Holiday Art Sale
Millenium Park, Chase Promenade North [View Map Here]
November 22-24, 2019
Friday, November 22 and Saturday, November 23: 11am-7pm
Sunday, November 24: 11am-5pm
Free admission
Open to the public
Stop by to shop artwork created by more than 120 talented undergraduate and graduate students. Purchase one-of-a-kind gifts, including paintings, prints, drawings, jewelry, ceramics, sculptures, and more. All proceeds go directly to the individual student artists and designers.
The Holiday Art Sale application for current, eligible students is now closed. Please check back in mid-February 2020 for more information about applying for the Spring Art Sale. For more information about SAIC's art sales, contact Campus Life at 312.629.6880 or visit us in the LeRoy Neiman Center, Sharp Building, 37 South Wabash Avenue, room 201.
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On November 3, the School of the Art Institute of Chicago (SAIC) will host the second of a three-part series of virtual discussions aiming to identify ways of making the art and design world more inclusive and equitable. This discussion, part of Toward an Anti-Racist Art Ecosystem, will shift the dialogue from a local to a national perspective, and will feature a panel of nationally-renowned experts Brendan Fernandes (artist), Allison Glenn (senior curator and director of public art at Contemporary Arts Museum Houston), Nancy Marie Mithlo, PhD (professor, Department of Gender Studies, and core faculty member, American Indian Studies Interdepartmental Program, UCLA) and Deana Haggag (program officer in arts and culture at the Andrew W. Mellon Foundation), and will be moderated by SAIC Assistant Professor Sampada Aranke.
“These are precisely the kinds of conversations we should be having––ones generated by cultural leaders who work tirelessly to make sure art is at the center of advances for more egalitarian forms of community and society,” said Sampada Aranke, moderator of the discussion and assistant professor at the School of the Art Institute of Chicago. “Our goal with this conversation is to offer key and candid insights about the inner workings of institutional work, what kinds of practices inspire us, and where and how we source our energy to keep going, and I am so incredibly excited to be a part of this project.”
Following the first panel discussion that focused on Chicago’s history of segregation within the arts community, the second installment of Toward an Anti Racist Art Ecosystem will focus on the national impact of racism and segregation in the arts. The conversation will also explore bright spots in anti-racist work that can serve as guiding lights and how we can work together to remove barriers to entry for Black, Indigenous and people of color. The discussion will take place on Wednesday, November 3, from 6:00 p.m. to 7:45 p.m. CT.
This series of community dialogues is among the direct outgrowths of the work being done by SAIC’s Anti-Racism Committee, formed in the summer of 2020 to support and extend the work of the School’s existing diversity, equity, and inclusion (DEI) efforts and catalyze DEI and
anti-racist work throughout all areas of SAIC. The third installment of the series will convene international art and design leaders in the spring of 2022 to continue broadening the conversation.
Co-chaired by Interim Dean of Graduate Studies Delinda Collier and Director of Diversity, Equity, and Inclusion for Academic Affairs Jefferson Pinder, SAIC’s Anti-Racism Committee’s charge includes identifying and implementing initiatives that will bring meaningful change in the short term as well as establishing a comprehensive, long-range plan to substantially improve the School’s operations and the lived experience of all of its community members.
Toward an Anti-Racist Art Ecosystem conference series is free and open to the public. The series is generously supported by Hindman Auctions. Advance registration is required, and details can be found here.
About the Moderator and Panelists
Sampada Aranke, PhD (moderator) is an Assistant Professor in the Art History, Theory, Criticism department at SAIC. Her research interests include performance theories of embodiment, visual culture, and Black cultural and aesthetic theory. Her work has been published in e-flux, Artforum, Art Journal, ASAP/J, October, and Trans-Scripts: An Interdisciplinary Online Journal in the Humanities and Social Sciences at University of California, Irvine. She's currently working on her book manuscript entitled Death's Futurity: The Visual Life of Black Power.
Brendan Fernandes is an internationally recognized Canadian artist working at the intersection of dance and visual arts. Born in Nairobi, Kenya and currently based out of Chicago, Brendan’s projects address issues of race, queer culture, migration, protest, and other forms of collective movement. Always seeking to create new spaces and new forms of agency, and always rooted in collaboration and fostering solidarity.
Allison Glenn is a curator and writer deeply invested in working closely with artists to develop ideas, artworks, and exhibitions that respond to and transform our understanding of the world. Glenn is senior curator and director of public art at the Contemporary Arts Museum Houston. Recently, she received substantial critical and community praise for her curatorial work in the groundbreaking exhibition at the Speed Art Museum in Louisville, Kentucky titled Promise, Witness, Remembrance., an exhibition that reflected on the life of Breonna Taylor, centered on her portrait painted by Amy Sherald.
Deana Haggag is a program officer in arts and culture at the Andrew W. Mellon Foundation. Prior to joining the foundation in May 2021, she was the president and chief executive officer of United States Artists (USA), a national arts funding organization. Before joining USA, she was the executive director of The Contemporary, a nomadic and non-collecting art museum in Baltimore, for four years.
Nancy Marie Mithlo (Chiricahua Apache) is a professor of gender studies and core faculty with the American Indian Studies Interdepartmental program at the University of California, Los Angeles. Mithlo’s curatorial work has resulted in nine exhibits at the Venice Biennale. She has taught at the University of New Mexico, the Institute of American Indian Arts, Santa Fe Community College, Smith College, California Institute of the Arts, Occidental College, and the University of Wisconsin-Madison. Her 2020 book Knowing Native Arts was published by the University of Nebraska Press.
Full biographies and headshots are available here.
About the School of the Art Institute of Chicago
For more than 150 years, the School of the Art Institute of Chicago (SAIC) has been a leader in educating the world’s most influential artists, designers, and scholars. Located in downtown Chicago with a fine arts graduate program ranked number two in the nation by U.S. News and World Report, SAIC provides an interdisciplinary approach to art and design as well as world-class resources, including the Art Institute of Chicago museum, on-campus galleries, and state-of-the-art facilities. SAIC’s undergraduate, graduate, and post-baccalaureate students have the freedom to take risks and create the bold ideas that transform Chicago and the world—as seen through notable alumni and faculty such as Michelle Grabner, David Sedaris, Elizabeth Murray, Richard Hunt, Georgia O’Keeffe, Cynthia Rowley, Nick Cave, Jeff Koons, and LeRoy Neiman.
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