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The Art Institute of Chicago is one of the world’s largest, most comprehensive and most loved art museums. Home to the greatest Impressionist collection outside of Paris, the Art Institute also holds work by many of history’s greatest artists; highlights include Georges Seurat’s A Sunday on La Grande Jatte, Grant Wood’s American Gothic, Edward Hopper’s Nighthawks, Henri Matisse’s Bathers by a River, René Magritte’s Time Transfixed, Mary Cassatt’s The Child’s Bath, and many others.
The Art Institute of Chicago also offers visitors a unique collection of works by celebrated artists from Chicago, such as Harry Callahan, H.C. Westermann, Ed Paschke, Jim Nutt, Roger Brown, Leon Golub, Julia Fish, and others.
Highlighted Chicago architects include: Frank Lloyd Wright, Ludwig Mies van der Rohe, Jeanne Gang, Dirk Lohan, Bertrand Goldberg, among others.
Contemporary masterpieces are on view in the spectacular Modern Wing.
Travel the globe through galleries devoted to the art of ancient Greece, Japan, Africa, and the Americas. View the much loved miniature Thorne Rooms, and more.
Advance ticket purchase is required for the public. Members do not need tickets.
Image: Francis Picabia, Edtaonisl (Ecclesiastic), 1913. Gift of Mr. and Mrs. Armand Bartos. © 2020 Artists Rights Society (ARS), New York / ADAGP, Paris
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“It was a matter of getting out on a damn limb and sawing it off behind you.”
This memorable phrase is how Lee Miller—by turns a fashion model, magazine photographer, studio operator, Surrealist innovator, international adventurer, and battlefield correspondent—summed up her approach to life and creativity. Lee Miller: Fearless is the first comprehensive survey of her photographs in more than 25 years and gathers together the major episodes of her singular career.
Miller was born in Poughkeepsie, New York, in 1907. Intrepid from the first, she moved to Paris at barely 20 years old, simultaneously seeking work in front of and behind the camera. She pioneered Surrealist techniques and broached daring sexual subjects with a readiness that magnetized experimental artists and fashion editors alike. Miller excelled at portraiture as well and pictured a range of cultural figures in the 1930s, most of them personal friends, from Charlie Chaplin to Pablo Picasso.
By age 30 Miller had run commercial studios on both sides of the Atlantic; taken a star turn in art cinema and become an haute couture icon; and moving on from Paris to Cairo, influenced Egyptian modern art while reinvigorating her own work through travels in Egypt’s deserts.
Yet she undertook a challenge of an entirely different order during World War II, especially as a correspondent for Vogue accredited with the United States Army in 1944–45. The inhumanities Lee Miller witnessed in Europe, especially at the Buchenwald and Dachau concentration camps, brought out her courage and deeply contradictory emotions; the experience, which she chronicled in extensive written and photographic dispatches from the German front, also left her traumatized for a number of years.
Following the war, Miller remade herself once more, gaining renown in England as a chef and gardener, while quietly continuing to lead an artistic life through her final years. Lee Miller died in 1977 on the East Sussex farm she owned with her husband, artist Roland Penrose.
Lee Miller: Fearless is organized by the Art Institute of Chicago in collaboration with Tate Britain and Musée d’Art Moderne de Paris.
The exhibition is curated by Matthew S. Witkovsky, Richard and Ellen Sandor Chair and Curator, Photography and Media, and vice president for strategic art initiatives, the Art Institute of Chicago, and Hilary Floe, senior curator, Modern and Contemporary British Art, Tate Britain, with Saskia Flower, assistant curator, Modern and Contemporary British Art, Tate Britain, and Michal Goldschmidt, former assistant curator, Modern British Art, Tate Britain.
SPONSORS
Lead support is provided by the Harris Family Foundation in memory of Bette and Neison Harris.
Major support is provided by Barbara Bluhm-Kaul and Don Kaul, Suzette and Ally Bulley, Tara Hirshberg, and The Opatrny Family Foundation.
Additional support is contributed by Anne L. Kaplan.
Image: Self-Portrait with Headband (detail), about 1932
Lee Miller
Lee Miller Archives. © 2026 Lee Miller Archives, England. All rights reserved. www.leemiller.co.uk
Member previews: Sep 4–5, 2026
Sep 6, 2026–Jan 3, 2027
Uncompromising and fearless, Mary Cassatt (1844–1926) traversed a breathtaking artistic path.
After training in Philadelphia in the early 1860s, Cassatt traveled to Europe largely on her own to study with noted teachers and experience the continent’s traditional and modern art firsthand. In 1877 she made the daring decision to join the French Impressionists—the only American to exhibit with them. It was in the years following the eighth and final Impressionist group show in 1886 that Cassatt produced some of her most innovative—and now celebrated—compositions.
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Jill Mulleady paints by breathing new life into unseen histories.
Drawing from art-historical, cinematic, and literary sources, her memorable images can haunt the viewer long after encountering them. This exhibition—Mulleady’s first solo show at a major museum—brings together approximately 20 paintings by the artist.
Mulleady uses various methods including staining, and at times incorporating materials such as copper, to achieve fragile, luminous surfaces that feel impossibly thin yet visually deep, holding tension between flatness and depth. Not limited to canvas or linen, she employs a range of supports, including glass and velvet. The resultant works balance different degrees of transparency and opacity and can be looked at and, sometimes, seen through.
Mulleady’s paintings often depict scenes that are enigmatic and dangerous, showing figures at risk or under threat—from appetite, predation, or compulsion. While these ambiguous scenes may imply narratives, they likewise refuse tidy resolutions. Her imagery draws actively on painting lineages—allegory and the Baroque, Symbolist unease, the grotesque—recasting genres and canonical images for the present. In contrast to the purity and rationality of 20th-century modernism, Mulleady prioritizes a tradition in which chaos, instinct, and history drive art making.
As Mulleady has said, she works with existing languages in order to invent a new one, and her staged tableaux are particularly resonant within the Art Institute galleries, as they rhyme with many works in the collection that have informed the artist.
Jill Mulleady: The Passenger is curated by Giampaolo Bianconi, Dittmer Associate Curator, Modern and Contemporary Art.
Image:
Maldoror, 2025
Jill Mulleady
Courtesy of the artist and Gladstone. Photography by Nicolas Brasseur
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Beyond the literal translation of “teacher,” the term is used as a mark of respect for someone who has achieved a remarkable impact in a particular field. In González’s case, it acknowledges her roles as an artist, historian, curator, and mentor, whose importance transcends national boundaries and continues to resonate on a global scale.
Beatriz González: In Series and Full Color is the first retrospective dedicated to the drawings and prints of González, whose practice spanned more than six decades until her passing earlier this year. The exhibition explores her use of appropriation and repetition as both formal and conceptual strategies to reflect critically on the circulation of images, notions of taste, and her country’s recent history.
The exhibition begins in 1965 with a pivotal moment that reoriented the artist’s approach to mass media imagery. González encountered a photograph in a newspaper of a couple who had died by suicide and was drawn to the image’s printing distortions, caused by the fact that it had itself been reproduced from another newspaper. Fascinated by these effects, González painted her own interpretation of the portrait. With this work, The Suicides of Sisga, González began transgressing the languages and subject matter deemed appropriate within the fine arts context in Colombia. From that moment on, her “deliberately clumsy” compositions both revealed a command of drawing and printmaking techniques and signaled a rebellion against convention.
González went on to create a vast art-historical archive, reinterpreting canonical works of art, images from newspaper crime pages, commercial prints, and figures from popular culture. By the mid-1980s, the tone of her work shifted toward questioning presidents and military leaders, while also registering the often anonymous victims of political violence and climate disasters, as well as some of Colombia’s most tragic events. Her work challenges the fleeting cycle of images, opening a space for memory and collective grief.
In Series and Full Color brings together more than 80 works from across González’s career, including drawings, prints, sketches, sketchbooks, objects, and a selection of archival materials. The survey also marks the first time some of these works will be presented to the public.
The exhibition’s title is inspired by the Spanish expression “¡ahora en serie y a todo color!” (“now in series and full color!”)—originally used to promote the transition of a comic strip into an animated series with the advent of color television. The idiom evokes both the vibrancy of González’s palette and the continued urgency of her themes.
Beatriz González: In Series and Full Color is curated by is curated by Mark Pascale, Janet and Craig Duchossois Curator, Prints and Drawings, and Felipe Villada Ruiz, senior research associate, Prints and Drawings.
Image: Illustrated News (La actualidad ilustrada), 1973
Beatriz González
Speed is both a product of modern life and an agent of it. In the late 19th century and through the 20th, new technologies of mobility and transmission—trains, cars, airplanes, radio, film, television, to name only a few—increased the pace of life, collapsing distances between people and places and assaulting the senses. Intense new physical sensations and visual phenomena meant that speed could be experienced as either euphoric or terrifying; in our sightlines speed vibrates with a zoom, rush, blur, and crash. At the same time, the urge to document speed led to slow-motion or stop-motion, new visual conventions of freezing time.
\r\n\r\nGo, the second exhibition in the Art Institute’s Modern Series, explores how artists responded to different ways of experiencing and seeing the world in the accelerated modern age. The show offers a range of sensory encounters: slow down and consider how a photographer’s blur might correspond to the efficient contours of a streamlined chair. Does a spinning gear buzz in the same way as an optical pattern? Do swiftly scribbled gestures in paint and the fuzz of a staticky screen exist on the same continuum of hyper-stimulation? Where is the line between stop-motion and suspension, between capturing what the eye cannot see on its own and the illusion of stillness the experience of great speed can produce?
\r\n\r\nThrough paintings, sculpture, works on paper, photographs, designed objects, textiles, books, and films, Go reveals not only how speed has been celebrated but also how it has been managed and resisted. Thus, as a title, Go summons both the initiation of movement—a launch—and a kind of ongoingness.
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\r\nThe return of “Whistler’s Mother” to the Art Institute of Chicago is especially meaningful given the museum’s deep holdings of Whistler’s paintings, prints, and drawings. Championed by the museum during his lifetime, Whistler is one of the 19th-century artists whose work lies at the core of the Art Institute’s collection.
Presenting 13 paintings by South American artists from the 17th through 19th century, this focused exhibition introduces visitors to images promoted by several Catholic orders at work in the Spanish Andes—the Dominicans, Franciscans, Mercedarians, and Jesuits—examining the politics of the distinct iconographies each group developed as they vied for devotees and dominion.
\r\n
\r\nFrancisco Pizarro arrived in Peru with a mandate from Charles V to impose Spanish law and order, as well as the Roman Catholic religion, upon the indigenous Inca society that he encountered. The enormous task of converting the indigenous peoples of Spain’s overseas territories to Christianity fell largely to missionaries from several religious orders rather than parish clergy. For a native population that had no written language tradition, the missionaries relied heavily on works of art to illustrate their sermons and lessons and help them gain converts.
\r\n
\r\nIn the wake of the Protestant Reformation, the Catholic church embraced the use of images both as pedagogical tools and instruments of devotion, and the religious orders in South America relied on them in similar ways—as didactic materials employed in the teaching of new converts, and in later years as a means of spreading devotions specific to their own interests. While their ultimate goals were the same, each religious order promoted images specific to their own histories, identities, and goals. This exhibition explores examples of the iconographies that were particular to each group.
\r\n
As an architect, art dealer, and designer, Frank Lloyd Wright’s interest in Japan is well known. In 1893, his visits to Japan’s national pavilion at the Chicago World’s Columbian Exposition had a lasting effect on the young architect. He first went to Japan in 1905, and returned from the trip with a large selection of prints, many of which he intended to sell. Later, he resided in Japan while working on Tokyo’s Imperial Hotel, giving him the chance to deepen his appreciation of Japanese nature and culture as seen in woodblock prints. While he did not return to Japan after the hotel’s completion in 1922, he continued to collect and sell prints until his death in 1959.
\r\n\r\nFrank Lloyd Wright lent Japanese prints to the Art Institute consistently, but his most important exhibition was undoubtedly a large show of prints he mounted at the museum in 1908 with an installation of specially designed frames and furniture. For the first time in Chicago, visitors were treated to a staggering array of prints from a variety of artists and time periods. The majority of the works on view were lent by Frank Lloyd Wright himself.
\r\n\r\nClarence Buckingham, whose name graces the Japanese print gallery at the Art Institute, purchased several prints from Frank Lloyd Wright for his personal collection in 1911. For this sale, and throughout Buckingham's years as a collector, he sought the advice of fellow collector and art consultant Frederick Gookin. Following Buckingham's death, Gookin organized the Buckingham collection for accession by the Art Institute and held the position as curator of Japanese art until 1936.
\r\n\r\nThis exhibition comprises Japanese prints originally purchased from Frank Lloyd Wright, photos of the 1908 exhibition, as well as presentation drawings by Wright and his studio. Many of the drawings are by talented draftswoman Marion Mahoney Griffin and show the incorporation of elements found in Wright’s Japanese prints. In this collaborative exhibition, works drawn from the Department of Asian Art, Ryerson and Burnham Library, and the Department of Architecture and Design will be on view.
\r\n","type":"Event","state":"published","slug":"the-formation-of-the-japanese-print-collection-at-the-art-institute-of-chicago-frank-lloyd-wright-and-the-prairie-school","created_at":"2018-10-22 20:40:23.718117","updated_at":"2018-10-22 20:40:23.718117","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1893':39B '1905':68B '1908':172B,308B '1911':244B '1922':130B '1936':293B '1959':142B 'access':278B 'advic':259B 'appreci':106B 'architect':23B,61B 'architectur':363B 'array':194B 'art':10A,24B,151B,230B,264B,281B,291B,354B 'artist':201B 'asian':353B 'buckingham':220B,250B,269B,275B 'burnham':357B 'chanc':102B 'chicago':13A,49B,187B 'clarenc':219B 'collabor':345B 'collect':7A,134B,242B,276B 'collector':255B,262B 'columbian':52B 'complet':128B 'compris':296B 'consist':153B 'consult':265B 'continu':132B 'cultur':111B 'curat':288B 'dealer':25B 'death':140B,271B 'deepen':104B 'depart':351B,361B 'design':27B,178B,365B 'draftswoman':327B 'draw':314B,323B 'drawn':348B 'effect':57B 'element':336B 'exhibit':158B,295B,309B,346B 'exposit':53B 'fellow':261B 'first':63B,184B 'follow':268B 'format':2A 'found':337B 'frame':179B 'frank':14A,28B,143B,215B,236B,302B 'frederick':266B 'furnitur':181B 'galleri':227B 'give':99B 'gookin':267B,272B 'grace':223B 'griffin':330B 'held':284B 'hotel':98B,126B 'imperi':97B 'import':157B 'incorpor':334B 'instal':175B 'institut':11A,152B,231B,282B 'intend':84B 'interest':32B 'japan':34B,43B,66B,91B,123B 'japanes':5A,108B,147B,225B,290B,297B,341B 'known':37B 'larg':76B,162B 'last':56B 'later':87B 'lent':146B,213B 'librari':358B 'lloyd':15A,29B,144B,216B,237B,303B 'mahoney':329B 'major':206B 'mani':80B,320B 'marion':328B 'mount':167B 'museum':170B 'name':222B 'nation':45B 'natur':109B 'organ':273B 'origin':299B 'pavilion':46B 'period':204B 'person':241B 'photo':305B 'posit':286B 'prairi':19A 'present':313B 'print':6A,79B,116B,137B,148B,165B,196B,226B,234B,298B,342B 'purchas':232B,300B 'resid':89B 'return':70B,121B 'ryerson':355B 'sale':247B 'school':20A 'seen':113B 'select':77B 'sell':86B,136B 'sever':233B 'show':163B,332B 'sought':257B 'special':177B 'stagger':193B 'studio':319B 'talent':326B 'throughout':249B 'time':185B,203B 'tokyo':95B 'treat':190B 'trip':73B 'undoubt':160B 'varieti':199B 'view':211B,369B 'visit':41B 'visitor':188B 'well':36B,311B 'went':64B 'whose':221B 'woodblock':115B 'work':93B,209B,347B 'world':50B 'wright':16A,30B,145B,217B,238B,304B,316B,339B 'year':252B 'young':60B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669448/event_ics_1721669448348.ics","carousel":null,"category_name":"Exhibitions"},{"id":4610,"title":"Batik Textiles of Java","starts_at":"2017-05-01 15:00:00","ends_at":"2017-09-17 16:00:00","body":"The Indonesian island of Java is the principal source of the brilliant textiles known as batiks. The terms batik derives from the Malay word meaning to draw with a broken dot or line and refers to the wax-resist process by which patterns are imposed on fabric. Many countries, especially in Asia, produce wax-resist textiles, but the Javanese have developed the most sophisticated method for executing the process. A liquefied wax compound is literally drawn on the surface of the cloth in order to keep either the pattern itself or the background areas from taking the dye. Each color thus requires separate application, leading to a multi-step production.
\r\n","type":"Event","state":"published","slug":"batik-textiles-of-java","created_at":"2018-10-22 20:40:24.461715","updated_at":"2018-10-22 20:40:24.461715","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'applic':110B 'area':100B 'asia':57B 'background':99B 'batik':1A,20B,23B 'brilliant':16B 'broken':34B 'cloth':88B 'color':106B 'compound':79B 'countri':54B 'deriv':24B 'develop':67B 'dot':35B 'draw':31B 'drawn':82B 'dye':104B 'either':93B 'especi':55B 'execut':73B 'fabric':52B 'impos':50B 'indonesian':6B 'island':7B 'java':4A,9B 'javanes':65B 'keep':92B 'known':18B 'lead':111B 'line':37B 'liquefi':77B 'liter':81B 'malay':27B 'mani':53B 'mean':29B 'method':71B 'multi':115B 'multi-step':114B 'order':90B 'pattern':48B,95B 'princip':12B 'process':45B,75B 'produc':58B 'product':117B 'refer':39B 'requir':108B 'resist':44B,61B 'separ':109B 'sophist':70B 'sourc':13B 'step':116B 'surfac':85B 'take':102B 'term':22B 'textil':2A,17B,62B 'thus':107B 'wax':43B,60B,78B 'wax-resist':42B,59B 'word':28B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669448/event_ics_1721669448483.ics","carousel":null,"category_name":null},{"id":4616,"title":"Shakers and Movers: Selections from the Collection of Dr. Thomas and Jan Pavlovic","starts_at":"2017-05-01 15:00:00","ends_at":"2017-12-01 16:00:00","body":"For Shakers, work was a form of worship, and objects were expressions of their attempt to create heaven on earth. They employed unique techniques to build furniture that was like their faith: honest, simple, and humble. Featuring over 20 such objects generously loaned by collectors Thomas and Jan Pavlovic, this exhibition—the first of its kind at the Art Institute—shows the range of items made by the Shakers in the late 18th and 19th centuries. Presented within the chronology of the permanent collection galleries, the exhibition considers Shakers in the larger context of American furniture production, demonstrating the artistic exchange and innovation that defined the country’s early history.
\r\n\r\nShakers were well known for their austere and rigid lifestyle. Believers lived in separate men’s and women’s dormitories and practiced celibacy and communal ownership. Their worship, however, could be quite lively; the name Shaker derives from the frenzied, whirling dancing that took place at services. Following the arrival of the first Shakers from England in 1774, the group peaked in the mid-19th century, boasting more than 6,000 members from Maine to Kentucky. Though only one Shaker community survives today, the impact of Shakers on American culture has endured, particularly in art and design. The Pavlovics’ collection—passionately assembled over the last 40 years—exemplifies the virtuosic craftsmanship synonymous with this influential utopian religious community.
\r\n","type":"Event","state":"published","slug":"shakers-and-movers-selections-from-the-collection-of-dr-thomas-and-jan-pavlovic","created_at":"2018-10-22 20:40:23.249198","updated_at":"2018-10-22 20:40:23.249198","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'000':195B '1774':181B '18th':86B '19th':88B,189B '20':52B '40':230B '6':194B 'american':108B,213B 'arriv':173B 'art':72B,219B 'artist':113B 'assembl':226B 'attempt':28B 'auster':130B 'believ':134B 'boast':191B 'build':39B 'celibaci':146B 'centuri':89B,190B 'chronolog':93B 'collect':7A,97B,224B 'collector':58B 'communal':148B 'communiti':205B,242B 'consid':101B 'context':106B 'could':153B 'countri':120B 'craftsmanship':235B 'creat':30B 'cultur':214B 'danc':165B 'defin':118B 'demonstr':111B 'deriv':160B 'design':221B 'dormitori':143B 'dr':9A 'earli':122B 'earth':33B 'employ':35B 'endur':216B 'england':179B 'exchang':114B 'exemplifi':232B 'exhibit':64B,100B 'express':25B 'faith':45B 'featur':50B 'first':66B,176B 'follow':171B 'form':19B 'frenzi':163B 'furnitur':40B,109B 'galleri':98B 'generous':55B 'group':183B 'heaven':31B 'histori':123B 'honest':46B 'howev':152B 'humbl':49B 'impact':209B 'influenti':239B 'innov':116B 'institut':73B 'item':78B 'jan':12A,61B 'kentucki':200B 'kind':69B 'known':127B 'larger':105B 'last':229B 'late':85B 'lifestyl':133B 'like':43B 'live':135B,156B 'loan':56B 'made':79B 'main':198B 'member':196B 'men':138B 'mid':188B 'mid-19th':187B 'mover':3A 'name':158B 'object':23B,54B 'one':203B 'ownership':149B 'particular':217B 'passion':225B 'pavlov':13A,62B,223B 'peak':184B 'perman':96B 'place':168B 'practic':145B 'present':90B 'product':110B 'quit':155B 'rang':76B 'religi':241B 'rigid':132B 'select':4A 'separ':137B 'servic':170B 'shaker':1A,15B,82B,102B,124B,159B,177B,204B,211B 'show':74B 'simpl':47B 'surviv':206B 'synonym':236B 'techniqu':37B 'thoma':10A,59B 'though':201B 'today':207B 'took':167B 'uniqu':36B 'utopian':240B 'virtuos':234B 'well':126B 'whirl':164B 'within':91B 'women':141B 'work':16B 'worship':21B,151B 'year':231B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669448/event_ics_1721669448367.ics","carousel":null,"category_name":"Exhibitions"},{"id":4613,"title":"Fischli/Weiss: Snowman","starts_at":"2017-05-01 15:00:00","ends_at":"2017-10-22 16:00:00","body":"For more than 30 years, the Swiss artists Peter Fischli (born 1952) and David Weiss (1946–2012) have collaborated on a body of work that transforms the ordinary into something unconventional. Their first collaboration in Zurich in 1979 set the tone for their future works, consisting of a photographic series of doll-scaled scenes where sausages, salami, and other processed meats become the protagonists of various situations and settings, including a car accident, a rug store, and a fashion show. The projects that Fischli/Weiss have made since then are characterized by a quirky sense of humor, a love of poetry, and a fascination for the mundane. Executed in a variety of media, including unfired clay, polyurethane, photography, and video, their works are at once playful and challenging. The artists have unraveled ideas of dualism, dismantling distinctions between high and low art, labor and leisure, fiction and reality, kitsch and beauty, and the banal and the sublime, among others.
\r\n\r\nFischli/Weiss's installation on the Bluhm Family Terrace consists of a single snowman encased in a six-and-a-half-foot-high refrigerated vitrine. The sculpture, which is on view during Chicago's warmer months, creates a paradoxical situation that brings together the snowman—normally only able to exist during the coldest winter days—and the sun-filled terrace. This project is a version of Fischli/Weiss's 1990 Snowman (Schneeskulptur), a snowman outside of a thermic power station in Römerbrücke, Saarbrücken, Germany that utilizes the plant's energy to keep the snowman frozen year round. Fischli/Weiss's Snowman presents a combination of utter simplicity and technical complexity, aiming to confuse heirarchies and values by creating systems doomed to fail.
\r\n","type":"Event","state":"published","slug":"fischli-weiss-snowman","created_at":"2018-10-22 20:40:24.085815","updated_at":"2018-10-22 20:40:24.085815","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1946':18B '1952':14B '1979':40B '1990':231B '2012':19B '30':6B 'abl':209B 'accid':76B 'aim':274B 'among':160B 'art':144B 'artist':10B,132B 'banal':156B 'beauti':153B 'becom':65B 'bluhm':167B 'bodi':24B 'born':13B 'bring':203B 'car':75B 'challeng':130B 'character':93B 'chicago':194B 'cke':245B 'cken':247B 'clay':118B 'coldest':214B 'collabor':21B,36B 'combin':267B 'complex':273B 'confus':276B 'consist':48B,170B 'creat':198B,281B 'david':16B 'day':216B 'dismantl':138B 'distinct':139B 'doll':55B 'doll-scal':54B 'doom':283B 'dualism':137B 'encas':175B 'energi':254B 'execut':110B 'exist':211B 'fail':285B 'famili':168B 'fascin':106B 'fashion':82B 'fiction':148B 'fill':221B 'first':35B 'fisch':12B 'fischli/weiss':1A,87B,162B,229B,262B 'foot':183B 'frozen':259B 'futur':46B 'germani':248B 'half':182B 'heirarchi':277B 'high':141B,184B 'humor':99B 'idea':135B 'includ':73B,116B 'instal':164B 'keep':256B 'kitsch':151B 'labor':145B 'leisur':147B 'love':101B 'low':143B 'made':89B 'meat':64B 'media':115B 'merbr':244B 'month':197B 'mundan':109B 'normal':207B 'ordinari':30B 'other':161B 'outsid':236B 'paradox':200B 'peter':11B 'photograph':51B 'photographi':120B 'plant':252B 'play':128B 'poetri':103B 'polyurethan':119B 'power':240B 'present':265B 'process':63B 'project':85B,224B 'protagonist':67B 'quirki':96B 'r':243B 'realiti':150B 'refriger':185B 'round':261B 'rug':78B 'saarbr':246B 'salami':60B 'sausag':59B 'scale':56B 'scene':57B 'schneeskulptur':233B 'sculptur':188B 'sens':97B 'seri':52B 'set':41B,72B 'show':83B 'simplic':270B 'sinc':90B 'singl':173B 'situat':70B,201B 'six':179B 'six-and-a-half-foot-high':178B 'snowman':2A,174B,206B,232B,235B,258B,264B 'someth':32B 'station':241B 'store':79B 'sublim':159B 'sun':220B 'sun-fil':219B 'swiss':9B 'system':282B 'technic':272B 'terrac':169B,222B 'thermic':239B 'togeth':204B 'tone':43B 'transform':28B 'unconvent':33B 'unfir':117B 'unravel':134B 'util':250B 'utter':269B 'valu':279B 'varieti':113B 'various':69B 'version':227B 'video':122B 'view':192B 'vitrin':186B 'warmer':196B 'weiss':17B 'winter':215B 'work':26B,47B,124B 'year':7B,260B 'zurich':38B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669448/event_ics_1721669448495.ics","carousel":null,"category_name":null},{"id":4611,"title":"Zhang Peili: Record. Repeat.","starts_at":"2017-05-01 15:00:00","ends_at":"2017-07-09 16:00:00","body":"Considered the first Chinese artist to work in video, Zhang Peili (born 1957) is a pioneering figure in the history of contemporary art. Zhang's distinctive videos focus on the repetition of actions—breaking a mirror, reading, washing, looking out the window, and dancing—that are familiar yet rendered disorienting through Zhang's use of perspective, close-ups, and framing. Although the cumulative meaning of these routine actions seems elusive at first, his works often raise questions of power and subversion. Emerging from his critique of systems of representation and art making in his early paintings and conceptual artworks, his videos upset our understanding of the roles of art and entertainment in contemporary life. Writing in 1989, on the cusp of his transition to working exclusively in video, Zhang observed, "People never ask what in this world is not subject to constraints in some way (no one doubts the legitimacy of such constraints). Why is art an exception? Is art doomed to provide only entertainment?"
\r\n\r\nThis exhibition, the first major survey of his work in an American museum, traces the development of his practice from his earliest experiments with video in the late 1980s to new digital formats in the 2000s. His first video, 30x30 (1988), records Zhang repeatedly breaking and mending a mirror, confronting the viewer with a mundane yet nonsensical activity not regularly seen on television. Document on Hygiene No. 3 (1991), a new acquisition, anchors the exhibition. For the first time since 1991, this video of Zhang's prolonged washing of a chicken is displayed according to its original, spatial installation. A Scene in Black and White Unfolded Four Times (2007), a video installation that is responsive to the viewer, explores the juxtaposition of images and their relationship to the space occupied by the viewer. The exhibition continues in the Donna and Howard Stone Gallery for Film, Video, and New Media, where Zhang's remixed versions of Mao-era heroic film dramas are screened.
\r\n\r\nAccompanying the exhibition is a bilingual catalogue, the museum's first produced in English and Mandarin.
\r\n","type":"Event","state":"published","slug":"zhang-peili-record-repeat","created_at":"2018-10-22 20:40:22.999773","updated_at":"2018-10-22 20:40:22.999773","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1957':17B '1980s':199B '1988':211B '1989':122B '1991':239B,251B '2000s':206B '2007':279B '3':238B '30x30':210B 'accompani':334B 'accord':264B 'acquisit':242B 'action':37B,73B 'activ':228B 'although':66B 'american':182B 'anchor':243B 'art':27B,96B,114B,161B,165B 'artist':9B 'artwork':104B 'ask':138B 'bilingu':339B 'black':273B 'born':16B 'break':38B,215B 'catalogu':340B 'chicken':261B 'chines':8B 'close':62B 'close-up':61B 'conceptu':103B 'confront':220B 'consid':5B 'constraint':147B,158B 'contemporari':26B,118B 'continu':306B 'critiqu':90B 'cumul':68B 'cusp':125B 'danc':48B 'develop':186B 'digit':202B 'disori':54B 'display':263B 'distinct':30B 'document':234B 'donna':309B 'doom':166B 'doubt':153B 'drama':331B 'earli':100B 'earliest':192B 'elus':75B 'emerg':87B 'english':347B 'entertain':116B,170B 'era':328B 'except':163B 'exclus':131B 'exhibit':172B,245B,305B,336B 'experi':193B 'explor':289B 'familiar':51B 'figur':21B 'film':315B,330B 'first':7B,77B,174B,208B,248B,344B 'focus':32B 'format':203B 'four':277B 'frame':65B 'galleri':313B 'heroic':329B 'histori':24B 'howard':311B 'hygien':236B 'imag':293B 'instal':269B,282B 'juxtaposit':291B 'late':198B 'legitimaci':155B 'life':119B 'look':43B 'major':175B 'make':97B 'mandarin':349B 'mao':327B 'mao-era':326B 'mean':69B 'media':319B 'mend':217B 'mirror':40B,219B 'mundan':225B 'museum':183B,342B 'never':137B 'new':201B,241B,318B 'nonsens':227B 'observ':135B 'occupi':300B 'often':80B 'one':152B 'origin':267B 'paint':101B 'peili':2A,15B 'peopl':136B 'perspect':60B 'pioneer':20B 'power':84B 'practic':189B 'produc':345B 'prolong':257B 'provid':168B 'question':82B 'rais':81B 'read':41B 'record':3A,212B 'regular':230B 'relationship':296B 'remix':323B 'render':53B 'repeat':4A,214B 'repetit':35B 'represent':94B 'respons':285B 'role':112B 'routin':72B 'scene':271B 'screen':333B 'seem':74B 'seen':231B 'sinc':250B 'space':299B 'spatial':268B 'stone':312B 'subject':145B 'subvers':86B 'survey':176B 'system':92B 'televis':233B 'time':249B,278B 'trace':184B 'transit':128B 'understand':109B 'unfold':276B 'up':63B 'upset':107B 'use':58B 'version':324B 'video':13B,31B,106B,133B,195B,209B,253B,281B,316B 'viewer':222B,288B,303B 'wash':42B,258B 'way':150B 'white':275B 'window':46B 'work':11B,79B,130B,179B 'world':142B 'write':120B 'yet':52B,226B 'zhang':1A,14B,28B,56B,134B,213B,255B,321B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669448/event_ics_1721669448290.ics","carousel":null,"category_name":null},{"id":4608,"title":"Saints and Heroes: Art of Medieval and Renaissance Europe ","starts_at":"2017-05-09 15:00:00","ends_at":"2017-06-01 16:00:00","body":"Step back in time and immerse yourself in the spiritual, domestic, and chivalric worlds of the Middle Ages and Renaissance. This spring, the Art Institute unveils the new Deering Family Galleries of Medieval and Renaissance Art, Arms, and Armor, presenting nearly 700 objects from the museum’s rich holdings of art from 1200 to 1600: monumental altarpieces, exquisite jewelry, and the beloved arms and armor collection.
\r\n","type":"Event","state":"published","slug":"saints-and-heroes-art-of-medieval-and-renaissance-europe","created_at":"2018-10-22 20:40:30.307542","updated_at":"2018-10-22 20:40:30.307542","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1200':62B '1600':64B '700':51B 'age':27B 'altarpiec':66B 'arm':46B,72B 'armor':48B,74B 'art':4A,33B,45B,60B 'back':11B 'belov':71B 'chivalr':22B 'collect':75B 'deer':38B 'domest':20B 'europ':9A 'exquisit':67B 'famili':39B 'galleri':40B 'hero':3A 'hold':58B 'immers':15B 'institut':34B 'jewelri':68B 'mediev':6A,42B 'middl':26B 'monument':65B 'museum':55B 'near':50B 'new':37B 'object':52B 'present':49B 'renaiss':8A,29B,44B 'rich':57B 'saint':1A 'spiritu':19B 'spring':31B 'step':10B 'time':13B 'unveil':35B 'world':23B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669448/event_ics_1721669448501.ics","carousel":null,"category_name":null},{"id":4729,"title":"Robert Frank: Photos","starts_at":"2017-05-27 17:00:00","ends_at":"2017-08-20 18:00:00","body":"In 1961 with The Americans, the Art Institute of Chicago became the first museum to accord Robert Frank (American, born Switzerland 1924) a solo exhibition. The museum’s photography curator at the time, Hugh Edwards, purchased 30 photographs from this now-legendary series for the permanent collection, and in 2000, the artist generously gifted a further 38 photographs—works that were openly personal and very different from his chronicling of the state of the country in The Americans.
\r\n\r\nThis exhibition dedicated to Frank focuses on the museum's latest acquisition of the artist's work, his 2014 book, Partida. The works are surrounded by photographs chosen from the artist's gift to the museum in 2000. Meanwhile, a companion exhibition, The Photographer’s Curator, surveys the breadth of Edwards’s tenure at the Art Institute.
\r\n\r\nThe exhibition opened with a special pop-up presentation, conceived by the celebrated photographer and his longtime publisher, Gerhard Steidl. The two-week-only display included 29 photographs from Partida. A compact “full-career” retrospective surrounded it, featuring reproductions on newsprint banners tacked to the wall, films projected from portable video “beamers”, and books hung in midair across the gallery.
\r\n\r\nTop image: Robert Frank. Paolo Roversi, Mabou, 2005/14. Promised gift of Ralph and Nancy Segall. © Robert Frank, from the book Partida. Courtesy of Pace/MacGill Gallery, New York.
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\r\n\r\nIn this series of 57 drawings—each produced on 8½ × 12- inch graph paper in watercolor over graphite, occasionally elaborated with acrylic—the artist proposes a selection of books that is both personal, conveyed by the frequent inclusion of fingers or a thumb shown holding up a given book, and idiosyncratic. Harriet Tubman, C. L. R. James, and bell hooks find their place alongside Starfish, Sea Urchins, and Their Kin by Nelson Herwig. Together the drawings ask challenging questions: Have you read these books? Will you read these books? What will they mean to you? What do they mean to us now? Which titles might be missing?
\r\n\r\nAn artist whose primary discipline is film, Smith has incorporated various influences and references in her images—science fiction, the black diaspora, and the lyrical potential of landscape. She first garnered national recognition with her feature-length film Drylongso (1998), which she completed during her graduate training at UCLA’s film school. In 2010, Smith moved to Chicago, where her work has grown increasingly site-specific and engaged in social activism. She created the Solar Flare Arkestral Marching Band Project, which has organized flash-mob appearances of a marching band composed of youth groups from the city’s South Side. This and other recent works have explicitly invoked the legacy of pioneering composer and performer Sun Ra, whose music and elaborate self-defining mythology also propelled the broader artistic movement of Afrofuturism.
\r\n\r\nGrounded in a sober assessment of race relations and institutional power structures, Human_3.0 Reading List calls its viewers to prepare for social change through self-empowered education. In the final words of the manifesto accompanying the series, Smith exhorts her audience: “Love. Resist. Read on. Right on.”
\r\n\r\nTop image: Cauleen Smith. Wild Seed, from Human_3.0 Reading List, 2015. Promised gift of Helen and Sam Zell.
\r\n","type":"Event","state":"published","slug":"cauleen-smith-human-3-0-reading-list","created_at":"2018-10-22 20:40:38.5707","updated_at":"2018-10-22 21:19:44.383619","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'10':15B '100':29B '12':104B '1967':43B '1998':241B '2010':255B '2015':397B '3.0':4A,64B,350B,394B '50':20B '57':98B '8':103B 'accompani':373B 'acryl':115B 'activ':273B 'afrofutur':336B 'alongsid':157B 'also':329B 'american':41B 'anoth':46B 'appear':289B 'arkestr':279B 'artist':38B,117B,202B,333B 'ask':170B 'assess':341B 'audienc':379B 'band':281B,293B 'base':37B 'bell':152B 'best':16B,30B 'black':221B 'book':92B,122B,142B,177B,182B 'born':42B 'broader':332B 'c':147B 'call':353B 'canon':52B 'cauleen':1A,39B,388B 'challeng':171B 'chang':360B 'chicago':36B,259B 'chicago-bas':35B 'citi':300B 'collect':85B 'complet':244B 'compos':294B,316B 'conscious':86B 'convey':127B 'cover':93B 'creat':45B,275B 'defin':327B 'diaspora':222B 'dimens':72B 'disciplin':205B 'draw':61B,99B,169B 'drawn':89B 'drylongso':240B 'educ':365B 'elabor':113B,324B 'empow':364B 'engag':79B,270B 'exhort':377B 'explicit':310B 'featur':237B 'feature-length':236B 'fiction':219B 'film':207B,239B,252B 'final':368B 'find':154B 'finger':133B 'first':230B 'flare':278B 'flash':287B 'flash-mob':286B 'frequent':11B,130B 'garner':231B 'gift':399B 'given':141B 'graduat':247B 'graph':106B 'graphit':111B 'ground':337B 'group':297B 'grown':264B 'harriet':145B 'helen':401B 'herwig':166B 'hold':138B 'hook':153B 'human':3A,63B,349B,393B 'humanist':54B 'idea':82B 'idiosyncrat':144B 'imag':217B,387B 'inch':105B 'inclus':131B 'incorpor':210B 'increas':265B 'influenc':212B 'institut':346B 'invok':311B 'jame':150B 'kin':163B 'kind':47B 'l':148B 'landscap':228B 'legaci':313B 'length':238B 'list':6A,13B,49B,66B,352B,396B 'literaci':55B 'love':380B 'lyric':225B 'magazin':8B 'manifesto':372B 'manual':88B 'march':280B,292B 'mean':186B,192B 'might':198B 'miss':200B 'mob':288B 'move':257B 'movement':334B 'movi':31B 'music':322B 'mytholog':328B 'nation':232B 'nelson':165B 'new':17B,51B,71B 'newspap':7B 'occasion':112B 'offer':12B 'one':77B 'organ':285B 'paper':107B 'perform':318B 'person':126B 'pioneer':315B 'place':22B,156B 'potenti':226B 'power':347B 'prepar':357B 'present':56B 'primari':204B 'produc':101B 'project':68B,282B 'promis':398B 'propel':330B 'propos':118B 'question':172B 'r':149B 'ra':320B 'race':343B 'read':5A,65B,175B,180B,351B,382B,395B 'recent':307B 'recognit':233B 'refer':214B 'relat':344B 'render':90B 'repres':69B 'resist':381B 'restaur':18B 'right':384B 'sam':403B 'school':253B 'scienc':218B 'sea':159B 'see':24B 'seed':391B 'select':120B 'self':326B,363B 'self-defin':325B 'self-empow':362B 'seri':59B,96B,375B 'shown':137B 'side':303B 'site':267B 'site-specif':266B 'smith':2A,40B,74B,208B,256B,376B,389B 'sober':340B 'social':272B,359B 'solar':277B 'south':302B 'specif':268B 'starfish':158B 'structur':348B 'sun':319B 'thumb':136B 'time':34B 'titl':62B,197B 'togeth':167B 'top':21B,386B 'train':248B 'tubman':146B 'ucla':250B 'urchin':160B 'us':194B 'various':211B 'viewer':355B 'watercolor':109B 'websit':10B 'whose':203B,321B 'wild':390B 'word':369B 'work':76B,262B,308B 'world':27B 'youth':296B 'zell':404B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668388/kkpgagevuydmqpamtijc.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453969.ics","carousel":null,"category_name":"Exhibitions"},{"id":4710,"title":"Teen Workshop: Change the Frame—Photography Workshop","starts_at":"2017-06-10 11:00:00","ends_at":"2017-06-10 16:00:00","body":"Teen Workshop: Change the Frame—Photography Workshop
\r\n\r\nJune 10, 2017
\r\n11:00am–4:00pm
\r\nRyan Learning Center
\r\n$10 per member; $12 per nonmember; Registration required
Robert Frank has spent decades photographing scenes of everyday American life. See the world through his eyes in the exhibition Robert Frank: Photos. Then, learn a new photo technique and showcase your skills as you work with an artist to create photographic images of things that matter to you. Cameras will be provided but you are welcome to bring our own.
\r\n\r\nRegistration is required for this program.
\r\n\r\nTo learn more about teen programs, please visit our Teen Programs page or e-mail teens@artic.edu
\r\n","type":"Event","state":"published","slug":"teen-workshop-change-the-frame-photography-workshop","created_at":"2018-10-22 20:40:44.785828","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'00am':19B '00pm':21B '10':16B,25B '11':18B '12':28B '2017':17B '4':20B 'american':42B 'artist':71B 'bring':91B 'camera':82B 'center':24B 'chang':3A,10B 'creat':73B 'decad':37B 'e':114B 'e-mail':113B 'everyday':41B 'exhibit':52B 'eye':49B 'frame':5A,12B 'frank':34B,54B 'imag':75B 'june':15B 'learn':23B,57B,101B 'life':43B 'mail':115B 'matter':79B 'member':27B 'new':59B 'nonmemb':30B 'page':111B 'per':26B,29B 'photo':55B,60B 'photograph':38B,74B 'photographi':6A,13B 'pleas':106B 'program':99B,105B,110B 'provid':85B 'registr':31B,94B 'requir':32B,96B 'robert':33B,53B 'ryan':22B 'scene':39B 'see':44B 'showcas':63B 'skill':65B 'spent':36B 'techniqu':61B 'teen':1A,8B,104B,109B 'teens@artic.edu':116B 'thing':77B 'visit':107B 'welcom':89B 'work':68B 'workshop':2A,7A,9B,14B 'world':46B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669448/event_ics_1721669448440.ics","carousel":null,"category_name":"Youth / Families"},{"id":4676,"title":"Gauguin: Artist as Alchemist","starts_at":"2017-06-25 20:00:00","ends_at":"2017-09-10 21:00:00","body":"The Art Institute of Chicago presents a major exhibition of work by the French Post-Impressionist artist Paul Gauguin, highlighting his career not only as an accomplished painter but also as a sculptor, ceramicist, printmaker and decorator.
\r\n\r\nGauguin: Artist as Alchemist, organized by the Art Institute, Musée D'Orsay and Réunion des musées nationaux-Grand Palis (Rmn-GP) features more than 240 multimedia works, including the largest public presentation of the artist's ceramic work to date.
\r\n\r\nGauguin, best knowns for his paintings of Tahitian women, was itinerant; he was born in Paris, but he moved to Peru at a young age only to flee the country with his family after political tides shifted. Throughout his life he lived in Copenhagen, Brittany, Martinique and the French Polynesian islands, including Tahiti and Hiva-Oa.
\r\n\r\nHis paintings, which feature bold colors, stark contrasts and exaggerated proportions, will be presented alongside experiments in clay, stained glass and wood. A selection of ethnographic objects will aslo be on display. In partnering with the Musée D' Orsay and the Réunion des musées nationaux – Grand Palais, the Art Institute builds on their strong collection of Gauguin, which includes over 200 works on paper
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\r\n\r\nJoin us for drop-in art-making activities inspired by the Art Institute’s collection. Stop by the Family Room for location information.
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"art-making-in-the-galleries","created_at":"2018-10-22 20:40:51.724636","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'4':11B 'activ':21B 'art':1A,19B,25B 'art-mak':18B 'august':10B 'collect':28B 'drop':16B 'drop-in':15B 'famili':32B 'friday':6B 'galleri':5A 'inform':36B 'inspir':22B 'institut':26B 'join':12B 'locat':35B 'make':2A,20B 'registr':38B 'requir':39B 'room':33B 'saturday':8B 'stop':29B 'us':13B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669454034.ics","carousel":null,"category_name":"Youth / Families"},{"id":4572,"title":"Night Heist ","starts_at":"2017-06-30 19:00:00","ends_at":"2017-06-30 20:00:00","body":"Spend an evening after dark at the Art Institute of Chicago while supporting emerging artists with Evening Associates annual fundraiser.
\r\n\r\nTickets: $110-165
\r\n","type":"Event","state":"published","slug":"night-heist","created_at":"2018-10-22 20:40:52.028881","updated_at":"2018-12-20 22:47:01.163721","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-165':25B '110':24B 'annual':21B 'art':10B 'artist':17B 'associ':20B 'chicago':13B 'dark':7B 'emerg':16B 'even':5B,19B 'fundrais':22B 'heist':2A 'institut':11B 'night':1A 'spend':3B 'support':15B 'ticket':23B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669448/event_ics_1721669448473.ics","carousel":null,"category_name":"Art Fairs"},{"id":4788,"title":"Summer Open Studio","starts_at":"2017-07-01 11:00:00","ends_at":"2017-07-02 14:00:00","body":"Thursdays-Sundays in July
\r\n\r\nFind your inspiration in the work of Chicago-based artist Cauleen Smith. Learn about her interdisciplinary work with films, drawings, and books, and make something today!
\r\n","type":"Event","state":"published","slug":"summer-open-studio","created_at":"2018-10-22 20:40:52.201647","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':19B 'base':18B 'book':31B 'cauleen':20B 'chicago':17B 'chicago-bas':16B 'draw':29B 'film':28B 'find':9B 'inspir':11B 'interdisciplinari':25B 'juli':8B 'learn':22B 'make':33B 'open':2A 'smith':21B 'someth':34B 'studio':3A 'summer':1A 'sunday':6B 'thursday':5B 'thursdays-sunday':4B 'today':35B 'work':14B,26B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453872.ics","carousel":null,"category_name":"Youth / Families"},{"id":4803,"title":"Art and Science: The Art Museum as Laboratory","starts_at":"2017-07-02 21:00:00","ends_at":"2018-01-07 22:00:00","body":"Trott Family and McCormick Foundation Galleries
\r\n\r\nUsing your senses, reasoning, and imagining skills, explore the ways art and science intersect in an art museum through a series of hands-on interactives.
\r\n\r\nFree and no registration required.
\r\n","type":"Event","state":"published","slug":"art-and-science-the-art-museum-as-laboratory","created_at":"2018-10-22 20:40:53.658533","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'art':1A,5A,25B,31B 'explor':22B 'famili':10B 'foundat':13B 'free':41B 'galleri':14B 'hand':38B 'hands-on':37B 'imagin':20B 'interact':40B 'intersect':28B 'laboratori':8A 'mccormick':12B 'museum':6A,32B 'reason':18B 'registr':44B 'requir':45B 'scienc':3A,27B 'sens':17B 'seri':35B 'skill':21B 'trott':9B 'use':15B 'way':24B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453930.ics","carousel":null,"category_name":"Youth / Families"},{"id":4789,"title":"Summer Open Studio ","starts_at":"2017-07-06 11:00:00","ends_at":"2017-07-09 14:00:00","body":"Thursdays-Sundays in July
\r\n\r\nFind your inspiration in the work of Chicago-based artist Cauleen Smith. Learn about her interdisciplinary work with films, drawings, and books, and make something today!
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"summer-open-studio--2","created_at":"2018-10-22 20:40:54.326677","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':19B 'base':18B 'book':31B 'cauleen':20B 'chicago':17B 'chicago-bas':16B 'draw':29B 'film':28B 'find':9B 'inspir':11B 'interdisciplinari':25B 'juli':8B 'learn':22B 'make':33B 'open':2A 'registr':37B 'requir':38B 'smith':21B 'someth':34B 'studio':3A 'summer':1A 'sunday':6B 'thursday':5B 'thursdays-sunday':4B 'today':35B 'work':14B,26B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453924.ics","carousel":null,"category_name":"Youth / Families"},{"id":4711,"title":"Picture This Story Time ","starts_at":"2017-07-06 11:00:00","ends_at":"2017-07-06 11:30:00","body":"Free with museum admission
\r\n\r\nCelebrate some of your favorite children's picture books. Look and listen as you enjoy a story that relates to a work of art in the galleries.
\r\n\r\nMeet in Griffin Court of the Modern Wing.
\r\n\r\nFor more information about family programs, please call (312) 857-7161 or e-mail familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
\r\n\r\nThis program is designed for families with children ages 3 and under. This program cannot accept groups. To learn about group offerings, please call (312) 443-9362.
\r\n","type":"Event","state":"published","slug":"picture-this-story-time","created_at":"2018-10-22 20:40:54.201828","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-7161':54B '-9362':96B '3':79B '312':52B,94B '443':95B '857':53B 'accept':85B 'admiss':8B 'age':78B 'art':32B 'book':17B 'calendar':69B 'call':51B,93B 'cannot':84B 'celebr':9B 'children':14B,77B 'court':39B 'design':73B 'e':57B 'e-mail':56B 'enjoy':23B 'famili':48B,62B,67B,75B 'familyprograms@artic.edu':59B 'favorit':13B 'free':5B 'galleri':35B 'griffin':38B 'group':86B,90B 'inform':46B 'learn':88B 'listen':20B 'look':18B 'mail':58B 'meet':36B 'modern':42B 'museum':7B 'offer':91B 'pictur':1A,16B 'pleas':50B,64B,92B 'program':49B,63B,68B,71B,83B 'relat':27B 'stori':3A,25B 'time':4A 'upcom':61B 'visit':65B 'wing':43B 'work':30B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669449/event_ics_1721669448752.ics","carousel":null,"category_name":"Youth / Families"},{"id":4798,"title":"Art Making in the Galleries","starts_at":"2017-07-07 13:30:00","ends_at":"2017-07-08 15:30:00","body":"Fridays and Saturday through August 4.
\r\n\r\nJoin us for drop-in art-making activities inspired by the Art Institute’s collection. Stop by the Family Room for location information.
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"art-making-in-the-galleries--2","created_at":"2018-10-22 20:40:54.461099","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'4':11B 'activ':21B 'art':1A,19B,25B 'art-mak':18B 'august':10B 'collect':28B 'drop':16B 'drop-in':15B 'famili':32B 'friday':6B 'galleri':5A 'inform':36B 'inspir':22B 'institut':26B 'join':12B 'locat':35B 'make':2A,20B 'registr':38B 'requir':39B 'room':33B 'saturday':8B 'stop':29B 'us':13B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669454044.ics","carousel":null,"category_name":"Youth / Families"},{"id":4790,"title":"Summer Open Studio ","starts_at":"2017-07-13 11:00:00","ends_at":"2017-07-16 14:00:00","body":"Thursdays-Sundays in July
\r\n\r\nFind your inspiration in the work of Chicago-based artist Cauleen Smith. Learn about her interdisciplinary work with films, drawings, and books, and make something today!
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"summer-open-studio--3","created_at":"2018-10-22 20:40:58.31107","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':19B 'base':18B 'book':31B 'cauleen':20B 'chicago':17B 'chicago-bas':16B 'draw':29B 'film':28B 'find':9B 'inspir':11B 'interdisciplinari':25B 'juli':8B 'learn':22B 'make':33B 'open':2A 'registr':37B 'requir':38B 'smith':21B 'someth':34B 'studio':3A 'summer':1A 'sunday':6B 'thursday':5B 'thursdays-sunday':4B 'today':35B 'work':14B,26B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669454042.ics","carousel":null,"category_name":"Youth / Families"},{"id":4799,"title":"Art Making in the Galleries","starts_at":"2017-07-14 13:30:00","ends_at":"2017-07-15 15:30:00","body":"Fridays and Saturday through August 4.
\r\n\r\nJoin us for drop-in art-making activities inspired by the Art Institute’s collection. Stop by the Family Room for location information.
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"art-making-in-the-galleries--3","created_at":"2018-10-22 20:40:59.036051","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'4':11B 'activ':21B 'art':1A,19B,25B 'art-mak':18B 'august':10B 'collect':28B 'drop':16B 'drop-in':15B 'famili':32B 'friday':6B 'galleri':5A 'inform':36B 'inspir':22B 'institut':26B 'join':12B 'locat':35B 'make':2A,20B 'registr':38B 'requir':39B 'room':33B 'saturday':8B 'stop':29B 'us':13B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453880.ics","carousel":null,"category_name":"Youth / Families"},{"id":4791,"title":"Summer Open Studio ","starts_at":"2017-07-20 21:00:00","ends_at":"2017-07-23 22:00:00","body":"Thursdays-Sundays in July
\r\n\r\nFind your inspiration in the work of Chicago-based artist Cauleen Smith. Learn about her interdisciplinary work with films, drawings, and books, and make something today!
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"summer-open-studio--4","created_at":"2018-10-22 20:41:04.709669","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':19B 'base':18B 'book':31B 'cauleen':20B 'chicago':17B 'chicago-bas':16B 'draw':29B 'film':28B 'find':9B 'inspir':11B 'interdisciplinari':25B 'juli':8B 'learn':22B 'make':33B 'open':2A 'registr':37B 'requir':38B 'smith':21B 'someth':34B 'studio':3A 'summer':1A 'sunday':6B 'thursday':5B 'thursdays-sunday':4B 'today':35B 'work':14B,26B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669454036.ics","carousel":null,"category_name":"Youth / Families"},{"id":4800,"title":"Art Making in the Galleries","starts_at":"2017-07-21 21:00:00","ends_at":"2017-07-22 22:00:00","body":"Fridays and Saturday through August 4.
\r\n\r\nJoin us for drop-in art-making activities inspired by the Art Institute’s collection. Stop by the Family Room for location information.
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"art-making-in-the-galleries--4","created_at":"2018-10-22 20:41:06.36931","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'4':11B 'activ':21B 'art':1A,19B,25B 'art-mak':18B 'august':10B 'collect':28B 'drop':16B 'drop-in':15B 'famili':32B 'friday':6B 'galleri':5A 'inform':36B 'inspir':22B 'institut':26B 'join':12B 'locat':35B 'make':2A,20B 'registr':38B 'requir':39B 'room':33B 'saturday':8B 'stop':29B 'us':13B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453931.ics","carousel":null,"category_name":"Youth / Families"},{"id":4786,"title":"22nd Annual Kaleidoscope Family Day: Drawing Together","starts_at":"2017-07-22 10:30:00","ends_at":"2017-07-22 15:00:00","body":"Celebrate the power of art to draw people together on this day of discovery, creativity, and fun. Participate in collaborative art making with your family and with families from around the city. Explore two inspiring drawing exhibitions, featuring the work of Chicago artist Cauleen Smith and cartoonist Saul Steinberg. And release your creative energies in gallery experiences facilitated by museum educators and cultural partners. All Illinois families receive free museum admission on Kaleidoscope Family Day
\r\n","type":"Event","state":"published","slug":"22nd-annual-kaleidoscope-family-day-drawing-together--3","created_at":"2018-10-22 20:41:06.522263","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'22nd':1A 'admiss':78B 'annual':2A 'around':37B 'art':12B,28B 'artist':50B 'cartoonist':54B 'cauleen':51B 'celebr':8B 'chicago':49B 'citi':39B 'collabor':27B 'creativ':22B,60B 'cultur':70B 'day':5A,19B,82B 'discoveri':21B 'draw':6A,14B,43B 'educ':68B 'energi':61B 'exhibit':44B 'experi':64B 'explor':40B 'facilit':65B 'famili':4A,32B,35B,74B,81B 'featur':45B 'free':76B 'fun':24B 'galleri':63B 'illinoi':73B 'inspir':42B 'kaleidoscop':3A,80B 'make':29B 'museum':67B,77B 'particip':25B 'partner':71B 'peopl':15B 'power':10B 'receiv':75B 'releas':58B 'saul':55B 'smith':52B 'steinberg':56B 'togeth':7A,16B 'two':41B 'work':47B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669454029.ics","carousel":null,"category_name":"Youth / Families"},{"id":4792,"title":"Summer Open Studio ","starts_at":"2017-07-27 11:00:00","ends_at":"2017-07-30 14:00:00","body":"Thursdays-Sundays in July
\r\n\r\nFind your inspiration in the work of Chicago-based artist Cauleen Smith. Learn about her interdisciplinary work with films, drawings, and books, and make something today!
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"summer-open-studio--5","created_at":"2018-10-22 20:41:07.327039","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':19B 'base':18B 'book':31B 'cauleen':20B 'chicago':17B 'chicago-bas':16B 'draw':29B 'film':28B 'find':9B 'inspir':11B 'interdisciplinari':25B 'juli':8B 'learn':22B 'make':33B 'open':2A 'registr':37B 'requir':38B 'smith':21B 'someth':34B 'studio':3A 'summer':1A 'sunday':6B 'thursday':5B 'thursdays-sunday':4B 'today':35B 'work':14B,26B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453962.ics","carousel":null,"category_name":"Youth / Families"},{"id":4968,"title":" India Modern: The Paintings of M.F. Husain","starts_at":"2017-07-27 16:00:00","ends_at":"2018-03-04 17:00:00","body":"Exhibition on view: July 27-March 4, 2018
\r\n\r\nThis special installation—the centerpiece of the Art Institute of Chicago’s celebration of the 70th anniversary of India’s independence—presents eight large triptychs from the Indian Civilization series by M. F. Husain (1915–2011). Shown prominently across five of the museum’s Asian art galleries, India Modern: The Paintings of M. F. Husain marks the first time the series is being displayed in the United States.
\r\n\r\nIndia’s most important 20th-century artist, Maqbool Fida Husain was a vital force in the development of modern Indian art. In 2008 London-based Indian art collectors Usha and Lakshmi N. Mittal commissioned Husain to create a series celebrating India’s rich and diverse history and culture, from its earliest civilization of Mohenjo Daro to Mahatma Gandhi. At the time of the artist’s death in 2011, eight of the 32 triptychs had been completed; they were the last works of this modern master.
\r\n\r\nEach triptych of the series displays a different aspect of Indian culture. Hindu Triad, for example, shows the three principal gods of the Hindu pantheon in their aspects as creator, protector, and destroyer of the universe. In Language of Stone, Husain used the words of Nobel Prize–winning poet Rabindranath Tagore to pay tribute to India’s great sculptural heritage. Traditional Indian Festivals captures the joyousness and color as well as the continuity of traditions through festivals still celebrated across India. Tale of Three Cities is a journey from the subcontinent’s most ancient city, the holy Kashi or Varanasi, to the seat of the British Raj, Calcutta, and finally to the capital of modern India, New Delhi. This painting is particularly meaningful in its display at the Art Institute since it depicts Swami Vivekananda at the World Parliament of Religions in Chicago in 1893, which took place at the current site of the museum’s Fullerton Hall.
\r\n\r\nInterspersed among centuries of Indian sculpture on view in the Alsdorf Galleries, Husain’s paintings are presented in dialogue with and contextualized within the continuum of Indian art. The experience of these works is further enriched by interpretive elements and engaging programming throughout the run of the installation.
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\r\n\r\nIn 1959—after 30 years at the Art Institute—Hugh Edwards became the museum’s curator of photography, a position he held until his retirement in 1970. Edwards worked presciently to build the collection and to expand the museum’s long-standing yet fitful exhibitions program in photography, acquiring approximately 3,000 works and organizing nearly 80 exhibitions in just 12 years. As one of only a handful of American curators specializing in photography at that time, Edwards helped shape the field in Chicago and across the country.
\r\n\r\nEdwards focused on monographic presentations, juxtaposing “canonized” pictures with those by new practitioners. As he later put it, “I wanted people to look at as many kinds of photographs as possible and become able to identify the unique and excellent in any guise in which they might appear.” He was among the first to champion 19th-century photography, acquiring works by Julia Margaret Cameron, Roger Fenton, Alexander Gardner, William Henry Fox Talbot, and others. He also showcased accomplished 20th-century photographers such as Ansel Adams, Walker Evans, Lewis Hine, and W. Eugene Smith. But he especially delighted in nurturing emerging artists and giving a forum to new work. Demonstrating discerning early support, Edwards granted the first major museum exhibitions to Robert Frank, Danny Lyon, and Ray K. Metzker, acquiring their work and that of many others.
\r\n\r\nThe Photographer’s Curator tracks Edwards’s impact on the field, bringing together nearly 200 photographs by more than 70 artists whose works are held in the permanent collection. An accompanying website allows visitors to explore the museum’s history through never-before-seen archival materials and links to every one of Edwards’s exhibitions and acquisitions, his correspondence with artists and collectors, and excerpts from newly produced oral histories with prominent photographers. Together, the exhibition and online component demonstrate Edwards’s range and ability to position the Art Institute at the forefront of American art museums advocating for photography.
\r\n\r\nGalleries 1–4 and 10
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\r\n\r\nOver the last 25 years, Steve McQueen has earned a reputation as one of the most important and influential artists of his generation, making film and video installations designed for gallery-based presentation as well as feature films for cinematic release. Whether they emerge from a seemingly journalistic impulse or remain more abstract, shaped instead by allegory or metaphor, most of McQueen’s works exhibit a potent, at times oblique, political consciousness.
\r\n\r\nEnd Credits, Part 1, which debuted at the Art Institute’s internationally acclaimed 2012 exhibition Steve McQueen, evidences a definitive political engagement. Inspired by the life of the legendary African American singer and social crusader Paul Robeson (1898–1976), McQueen structured the piece to mimic the conclusion of every feature film: the rolling credits. Here, however, the backstory becomes the narrative itself. Beginning in the 1920s, Robeson pursued his lifelong artistic and intellectual activities, performing in concerts, plays, and films, and by the 1930s, he was traveling extensively throughout Europe and the United States, writing and speaking on social and political issues. When World War II broke out in Europe,
\r\n\r\nRobeson returned to the U.S. and joined the fight against fascism abroad and racism at home, becoming a national hero hailed by black and white Americans alike. Together with W. E. B. DuBois and Albert Einstein, Robeson organized the National Crusade to End Lynching in 1946. Blacklisted in the 1950s, he ended his social justice work, and his career as a performer was all but destroyed. FBI documents obtained by McQueen through the Freedom of Information Act reveal that United States surveillance agencies had begun investigating Robeson as early as 1941. This scrutiny continued throughout the rest of his life, with crippling effects. In poor health, he spent his final decade in seclusion in New York and Philadelphia.
\r\n\r\nIn End Credits, McQueen reproduces every document—thousands and thousands of pages—in Robeson’s recently declassified, although still heavily redacted, FBI files. The result is an exercise in duration: nearly 13 hours of “footage” combined with a 19-hour spoken-word soundtrack. The discrepancy between the visual and audio components creates a predictable but asymmetrical loop.
\r\n","type":"Event","state":"published","slug":"steve-mcqueen-end-credits","created_at":"2018-10-22 20:41:08.332316","updated_at":"2018-10-22 20:41:08.332316","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1':11B,89B '13':345B '1898':123B '19':352B '1920s':151B '1930s':169B '1941':286B '1946':241B '1950s':245B '1976':124B '2012':99B '2017':12B '25':16B '27':9B 'abroad':207B 'abstract':66B 'acclaim':98B 'act':272B 'activ':159B 'african':115B 'agenc':278B 'albert':230B 'alik':222B 'allegori':70B 'although':331B 'american':116B,221B 'art':94B 'artist':32B,156B 'asymmetr':370B 'audio':364B 'b':227B 'backstori':143B 'base':45B 'becom':144B,212B 'begin':148B 'begun':280B 'black':218B 'blacklist':242B 'broke':192B 'career':254B 'cinemat':53B 'combin':349B 'compon':365B 'concert':162B 'conclus':132B 'conscious':85B 'continu':289B 'creat':366B 'credit':4A,87B,139B,316B 'crippl':297B 'crusad':120B,236B 'debut':91B 'decad':306B 'declassifi':330B 'definit':105B 'design':41B 'destroy':261B 'discrep':359B 'document':263B,320B 'duboi':228B 'durat':343B 'e':226B 'earli':284B 'earn':21B 'effect':298B 'einstein':231B 'emerg':57B 'end':3A,86B,238B,247B,315B 'engag':107B 'europ':175B,195B 'everi':134B,319B 'evid':103B 'exercis':341B 'exhibit':5B,78B,100B 'extens':173B 'fascism':206B 'fbi':262B,335B 'featur':50B,135B 'fight':204B 'file':336B 'film':37B,51B,136B,165B 'final':305B 'footag':348B 'freedom':269B 'galleri':44B 'gallery-bas':43B 'generat':35B 'hail':216B 'health':301B 'heavili':333B 'hero':215B 'home':211B 'hour':346B,353B 'howev':141B 'ii':191B 'import':29B 'impuls':62B 'influenti':31B 'inform':271B 'inspir':108B 'instal':40B 'instead':68B 'institut':95B 'intellectu':158B 'intern':97B 'investig':281B 'issu':187B 'join':202B 'journalist':61B 'juli':8B 'justic':250B 'last':15B 'legendari':114B 'life':111B,295B 'lifelong':155B 'loop':371B 'lynch':239B 'make':36B 'mcqueen':2A,19B,75B,102B,125B,266B,317B 'metaphor':72B 'mimic':130B 'narrat':146B 'nation':214B,235B 'near':344B 'new':310B 'obliqu':83B 'obtain':264B 'octob':10B 'one':25B 'organ':233B 'page':325B 'part':88B 'paul':121B 'perform':160B,257B 'philadelphia':313B 'piec':128B 'play':163B 'polit':84B,106B,186B 'poor':300B 'potent':80B 'predict':368B 'present':46B 'pursu':153B 'racism':209B 'recent':329B 'redact':334B 'releas':54B 'remain':64B 'reproduc':318B 'reput':23B 'rest':292B 'result':338B 'return':197B 'reveal':273B 'robeson':122B,152B,196B,232B,282B,327B 'roll':138B 'scrutini':288B 'seclus':308B 'seem':60B 'shape':67B 'singer':117B 'social':119B,184B,249B 'soundtrack':357B 'speak':182B 'spent':303B 'spoken':355B 'spoken-word':354B 'state':179B,276B 'steve':1A,18B,101B 'still':332B 'structur':126B 'surveil':277B 'thousand':321B,323B 'throughout':174B,290B 'time':82B 'togeth':223B 'travel':172B 'u.s':200B 'unit':178B,275B 'video':39B 'view':7B 'visual':362B 'w':225B 'war':190B 'well':48B 'whether':55B 'white':220B 'word':356B 'work':77B,251B 'world':189B 'write':180B 'year':17B 'york':311B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669461795.ics","carousel":null,"category_name":"Exhibitions"},{"id":4966,"title":"Along the Lines: Selected Drawings by Saul Steinberg","starts_at":"2017-07-27 16:00:00","ends_at":"2017-10-29 17:00:00","body":"Exhibition on view: July 27-October 29, 2017
\r\n\r\nSaul Steinberg (American, born Romania, 1914–99) had one of the most remarkable and varied careers in postwar American art. While known for the drawings that graced the cover of the New Yorker for nearly six decades, he was equally acclaimed for the drawings, paintings, prints, collages, and sculptures he exhibited in galleries and museums throughout the world. Through these parallel careers—cartoonist and independent artist—Steinberg crafted a rich and ever-evolving idiom and, in the process, became celebrated the world over for giving graphic definition to the postwar age.
\r\n\r\nSteinberg defined drawing as “a way of reasoning on paper,” and he remained committed to the act of drawing in an era dominated by large-scale painting and sculpture. Throughout his long career, he used drawing to think about the semantics of art, reconfiguring stylistic signs into a new language suited to modern life. He was, as the title of one of his books puts it, the “inspector,” seeing through every false front, every pretense. Sometimes with affection, sometimes with irony, but always with virtuoso mastery, Steinberg peeled back the carefully wrought masks of 20th-century civilization.
\r\n\r\nHis heritage as a Romanian Jew—who experienced firsthand that country’s often virulent anti-Semitism as well as the rise of anti-Semitic laws in a previously cosmopolitan and tolerant Italy—pervaded his take on all things American. Naturally curious, Steinberg was especially interested in how Americans behaved, how they surrounded themselves with luxuries and participated in leisure activities, sometimes without much awareness of the suffering experienced around the world, or even in their own country. The banalities and ubiquities of American culture were frequent subjects of his drawings, themes in which he delighted and from which he kept ironic distance. His work also addressed philosophical questions, still lifes, Hollywood, and identity through masks.
\r\n\r\nFeaturing 54 drawings generously gifted by the Saul Steinberg Foundation in 2013, this exhibition offers a comprehensive survey of the artist’s diverse output. Whether created to stand on their own, for reproduction, or for commercial uses, the drawings in this show afford a new appreciation of Steinberg and his remarkably playful, inventive, and insightful art.
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\r\n\r\n“My work is my body; my body is my work,” Helena Almeida declared in 1969. Around this time the artist took a photograph of herself wearing a blank pink-toned canvas across her torso—at once a comical and a radical gesture, and one that marked a crucial turn in her practice. Almeida (Portuguese, born 1934) had studied painting in Lisbon in the mid-1950s but since 1969 has produced mainly black-and-white photographs of herself, sometimes painting or tinting them. These are never self-portraits, but the compositions always center on the artist’s body, always differently posed or contorted and almost always captured in the same corner of her studio. She tends to work in long, sometimes open-ended series, and in recent decades she has printed her photographs at full-body scale or larger. While Almeida still calls herself a painter rather than a photographer, she is at the same time also a kind of dancer, engaged in an ongoing, experimental choreography of everyday gestures and physical limits, exploring the seemingly endless malleability of the body.
\r\n\r\nAlmeida emerged in the context of the late 1960s and 1970s—at the advent of feminist and performance-oriented art, when many young, avant-garde practitioners explored the physicality of the artist’s body and art making as a literal record of actions taken in the studio. Indeed, since then she has figured as one of the most significant artists working in Portugal. The Art Institute’s exhibition is Almeida’s first solo show in the United States in more than a decade, and, rather than historicizing the artist’s practice, it emphasizes her work of the last two decades, including examples from several major photographic sequences since 2000. These are masterful series—the lyrical, humorous, poignant, and profound work of an artist who has by now used and reproduced her body for decades. Almeida’s recent photographs not only demonstrate the intimate knowledge the artist has gained by tracking her physical form over time but also remind us that we are all shape shifters—and that our bodies can be revealed to us anew with every considered action. As the exhibition’s title indicates, such work is never finished.
\r\n","type":"Event","state":"published","slug":"helena-almeida-work-is-never-finished","created_at":"2018-10-22 20:41:07.694888","updated_at":"2018-10-22 20:41:07.694888","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1934':71B '1950s':81B '1960s':209B '1969':29B,84B '1970s':211B '2000':311B '2017':14B '27':11B '4':13B 'across':47B 'action':245B,381B 'advent':214B 'almeida':2A,26B,68B,160B,201B,272B,337B 'almost':122B 'also':176B,359B 'alway':109B,116B,123B 'anew':377B 'around':30B 'art':221B,238B,267B 'artist':34B,113B,234B,262B,291B,325B,348B 'avant':226B 'avant-gard':225B 'black':89B 'black-and-whit':88B 'blank':42B 'bodi':19B,21B,115B,155B,200B,236B,334B,371B 'born':70B 'call':162B 'canva':46B 'captur':124B 'center':110B 'choreographi':186B 'comic':53B 'composit':108B 'consid':380B 'context':205B 'contort':120B 'corner':128B 'crucial':63B 'dancer':180B 'decad':146B,285B,302B,336B 'declar':27B 'demonstr':343B 'differ':117B 'emerg':202B 'emphas':295B 'end':141B 'endless':196B 'engag':181B 'everi':379B 'everyday':188B 'exampl':304B 'exhibit':7B,270B,384B 'experiment':185B 'explor':193B,229B 'feminist':216B 'figur':255B 'finish':6A,392B 'first':274B 'form':355B 'full':154B 'full-bodi':153B 'gain':350B 'gard':227B 'gestur':57B,189B 'helena':1A,25B 'historic':289B 'humor':318B 'includ':303B 'inde':250B 'indic':387B 'institut':268B 'intim':345B 'juli':10B 'kind':178B 'knowledg':346B 'larger':158B 'last':300B 'late':208B 'limit':192B 'lisbon':76B 'liter':242B 'long':137B 'lyric':317B 'main':87B 'major':307B 'make':239B 'malleabl':197B 'mani':223B 'mark':61B 'master':314B 'mid':80B 'mid-1950s':79B 'never':5A,102B,391B 'one':59B,257B 'ongo':184B 'open':140B 'open-end':139B 'orient':220B 'paint':74B,96B 'painter':165B 'perform':219B 'performance-ori':218B 'photograph':37B,92B,151B,169B,308B,340B 'physic':191B,231B,354B 'pink':44B 'pink-ton':43B 'poignant':319B 'portrait':105B 'portug':265B 'portugues':69B 'pose':118B 'practic':67B,293B 'practition':228B 'print':149B 'produc':86B 'profound':321B 'radic':56B 'rather':166B,287B 'recent':145B,339B 'record':243B 'remind':360B 'reproduc':332B 'reveal':374B 'scale':156B 'seem':195B 'self':104B 'self-portrait':103B 'septemb':12B 'sequenc':309B 'seri':142B,315B 'sever':306B 'shape':366B 'shifter':367B 'show':276B 'signific':261B 'sinc':83B,251B,310B 'solo':275B 'sometim':95B,138B 'state':280B 'still':161B 'studi':73B 'studio':131B,249B 'taken':246B 'tend':133B 'time':32B,175B,357B 'tint':98B 'titl':386B 'tone':45B 'took':35B 'torso':49B 'track':352B 'turn':64B 'two':301B 'unit':279B 'us':361B,376B 'use':330B 'view':9B 'wear':40B 'white':91B 'work':3A,16B,24B,135B,263B,297B,322B,389B 'young':224B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669461702.ics","carousel":null,"category_name":"Exhibitions"},{"id":4787,"title":"Break the Mold Pop-Up Night ","starts_at":"2017-07-27 17:00:00","ends_at":"2017-07-27 19:30:00","body":"Come for an evening of youth-led activities and social experiences in the galleries. Spark your imagination, challenge your assumptions, and indulge your senses as you collaboratively interpret works of art with artists, friends, and strangers.
\r\n","type":"Event","state":"published","slug":"break-the-mold-pop-up-night","created_at":"2018-10-22 20:41:09.016837","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'activ':16B 'art':39B 'artist':41B 'assumpt':28B 'break':1A 'challeng':26B 'collabor':35B 'come':8B 'even':11B 'experi':19B 'friend':42B 'galleri':22B 'imagin':25B 'indulg':30B 'interpret':36B 'led':15B 'mold':3A 'night':7A 'pop':5A 'pop-up':4A 'sens':32B 'social':18B 'spark':23B 'stranger':44B 'work':37B 'youth':14B 'youth-l':13B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453864.ics","carousel":null,"category_name":"Youth / Families"},{"id":4801,"title":"Art Making in the Galleries","starts_at":"2017-07-28 13:30:00","ends_at":"2017-07-29 03:30:00","body":"Fridays and Saturday through August 4.
\r\n\r\nJoin us for drop-in art-making activities inspired by the Art Institute’s collection. Stop by the Family Room for location information.
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"art-making-in-the-galleries--5","created_at":"2018-10-22 20:41:09.655369","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'4':11B 'activ':21B 'art':1A,19B,25B 'art-mak':18B 'august':10B 'collect':28B 'drop':16B 'drop-in':15B 'famili':32B 'friday':6B 'galleri':5A 'inform':36B 'inspir':22B 'institut':26B 'join':12B 'locat':35B 'make':2A,20B 'registr':38B 'requir':39B 'room':33B 'saturday':8B 'stop':29B 'us':13B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669454049.ics","carousel":null,"category_name":"Youth / Families"},{"id":4970,"title":"By the Light of the Moon: Nocturnal Japanese Prints","starts_at":"2017-07-29 16:00:00","ends_at":"2017-10-08 17:00:00","body":"Exhibition on view: July 29-October 8, 2017
\r\n\r\nOver the centuries, Japanese print designers have risen to the challenge of capturing the night in all its various moods. Whether presented as a boundary, a presence, or a frame of mind, the hours of darkness have provided a rich subject
\r\nfor the exploration of aesthetic ideas and artistic practice.
In the earliest prints featured in this exhibition, the darkness of the late evening serves as an almost theatrical backdrop where nighttime is a setting for action. In works by Okumura Masanobu (1686–1764) and Suzuki Harunobu (1725?–1770), the night is often rendered as a solid wall of black placed behind figures, lit only by the glow of lanterns or hovering fireflies. By the 19th century, the evening itself becomes the focus, defined not by the absence of the sun but by the presence of the moon and stars whose modest light seems to inspire a more philosophical approach. This is especially true in the prints of Utagawa Hiroshige (1797–1858), whose night skies, seemingly unlit, arch over scenic landscapes where townspeople and travelers are reduced in both size and stature, making them spectators as well as participants.
\r\n\r\nThis refinement of nocturnal perception is developed further in the 20th century, as artists explored the complexity of night shadows and the moon’s reflection on water. Perhaps no one created more haunting images in Japanese printmaking than Kawase Hasui (1883–1957), an artist obsessed with depicting the evening’s aura. In his hands, the faint light seems to emanate from the landscape, heightening the intensity of vision rather than diminishing it.
\r\n\r\nIn Hasui’s work and in all the nocturnal prints in this presentation—each drawn from the Art Institute’s permanent collection—the complexity of the dark is more clearly brought to light.
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\r\n\r\nCelebrate some of your favorite children's picture books. Look and listen as you enjoy a story that relates to a work of art in the galleries.
\r\n\r\nMeet in Griffin Court of the Modern Wing.
\r\n\r\nFor more information about family programs, please call (312) 857-7161 or e-mail familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
\r\n\r\nThis program is designed for families with children ages 3 and under. This program cannot accept groups. To learn about group offerings, please call (312) 443-9362.
\r\n","type":"Event","state":"published","slug":"picture-this-story-time--2","created_at":"2018-10-22 20:41:12.024534","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-7161':54B '-9362':96B '3':79B '312':52B,94B '443':95B '857':53B 'accept':85B 'admiss':8B 'age':78B 'art':32B 'book':17B 'calendar':69B 'call':51B,93B 'cannot':84B 'celebr':9B 'children':14B,77B 'court':39B 'design':73B 'e':57B 'e-mail':56B 'enjoy':23B 'famili':48B,62B,67B,75B 'familyprograms@artic.edu':59B 'favorit':13B 'free':5B 'galleri':35B 'griffin':38B 'group':86B,90B 'inform':46B 'learn':88B 'listen':20B 'look':18B 'mail':58B 'meet':36B 'modern':42B 'museum':7B 'offer':91B 'pictur':1A,16B 'pleas':50B,64B,92B 'program':49B,63B,68B,71B,83B 'relat':27B 'stori':3A,25B 'time':4A 'upcom':61B 'visit':65B 'wing':43B 'work':30B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669448/event_ics_1721669448469.ics","carousel":null,"category_name":"Youth / Families"},{"id":4793,"title":"Summer Open Studio ","starts_at":"2017-08-04 11:00:00","ends_at":"2017-08-06 02:00:00","body":"Fridays-Sundays in August
\r\n\r\nFind your inspiration in the work of Chicago-based artist Cauleen Smith. Learn about her interdisciplinary work with films, drawings, and books, and make something today!
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"summer-open-studio--6","created_at":"2018-10-22 20:41:12.511122","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':19B 'august':8B 'base':18B 'book':31B 'cauleen':20B 'chicago':17B 'chicago-bas':16B 'draw':29B 'film':28B 'find':9B 'friday':5B 'fridays-sunday':4B 'inspir':11B 'interdisciplinari':25B 'learn':22B 'make':33B 'open':2A 'registr':37B 'requir':38B 'smith':21B 'someth':34B 'studio':3A 'summer':1A 'sunday':6B 'today':35B 'work':14B,26B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453868.ics","carousel":null,"category_name":"Youth / Families"},{"id":4802,"title":"Art Making in the Galleries","starts_at":"2017-08-04 21:00:00","ends_at":"2017-08-04 22:00:00","body":"Fridays and Saturday through August 4.
\r\n\r\nJoin us for drop-in art-making activities inspired by the Art Institute’s collection. Stop by the Family Room for location information.
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"art-making-in-the-galleries--6","created_at":"2018-10-22 20:41:13.755484","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'4':11B 'activ':21B 'art':1A,19B,25B 'art-mak':18B 'august':10B 'collect':28B 'drop':16B 'drop-in':15B 'famili':32B 'friday':6B 'galleri':5A 'inform':36B 'inspir':22B 'institut':26B 'join':12B 'locat':35B 'make':2A,20B 'registr':38B 'requir':39B 'room':33B 'saturday':8B 'stop':29B 'us':13B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669454025.ics","carousel":null,"category_name":"Youth / Families"},{"id":4794,"title":"Summer Open Studio ","starts_at":"2017-08-11 21:00:00","ends_at":"2017-08-13 22:00:00","body":"Fridays-Sundays in August
\r\n\r\nFind your inspiration in the work of Chicago-based artist Cauleen Smith. Learn about her interdisciplinary work with films, drawings, and books, and make something today!
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"summer-open-studio--7","created_at":"2018-10-22 20:41:17.065575","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':19B 'august':8B 'base':18B 'book':31B 'cauleen':20B 'chicago':17B 'chicago-bas':16B 'draw':29B 'film':28B 'find':9B 'friday':5B 'fridays-sunday':4B 'inspir':11B 'interdisciplinari':25B 'learn':22B 'make':33B 'open':2A 'registr':37B 'requir':38B 'smith':21B 'someth':34B 'studio':3A 'summer':1A 'sunday':6B 'today':35B 'work':14B,26B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453970.ics","carousel":null,"category_name":"Youth / Families"},{"id":4795,"title":"Summer Open Studio ","starts_at":"2017-08-18 21:00:00","ends_at":"2017-08-20 22:00:00","body":"Fridays-Sundays in August
\r\n\r\nFind your inspiration in the work of Chicago-based artist Cauleen Smith. Learn about her interdisciplinary work with films, drawings, and books, and make something today!
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"summer-open-studio--8","created_at":"2018-10-22 20:41:19.097408","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':19B 'august':8B 'base':18B 'book':31B 'cauleen':20B 'chicago':17B 'chicago-bas':16B 'draw':29B 'film':28B 'find':9B 'friday':5B 'fridays-sunday':4B 'inspir':11B 'interdisciplinari':25B 'learn':22B 'make':33B 'open':2A 'registr':37B 'requir':38B 'smith':21B 'someth':34B 'studio':3A 'summer':1A 'sunday':6B 'today':35B 'work':14B,26B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453963.ics","carousel":null,"category_name":"Youth / Families"},{"id":4796,"title":"Summer Open Studio ","starts_at":"2017-08-25 21:00:00","ends_at":"2017-08-27 22:00:00","body":"Fridays-Sundays in August
\r\n\r\nFind your inspiration in the work of Chicago-based artist Cauleen Smith. Learn about her interdisciplinary work with films, drawings, and books, and make something today!
\r\n\r\nNo registration required.
\r\n","type":"Event","state":"published","slug":"summer-open-studio--9","created_at":"2018-10-22 20:41:20.813717","updated_at":"2018-12-20 22:47:49.898593","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':19B 'august':8B 'base':18B 'book':31B 'cauleen':20B 'chicago':17B 'chicago-bas':16B 'draw':29B 'film':28B 'find':9B 'friday':5B 'fridays-sunday':4B 'inspir':11B 'interdisciplinari':25B 'learn':22B 'make':33B 'open':2A 'registr':37B 'requir':38B 'smith':21B 'someth':34B 'studio':3A 'summer':1A 'sunday':6B 'today':35B 'work':14B,26B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669454/event_ics_1721669453975.ics","carousel":null,"category_name":"Youth / Families"},{"id":4971,"title":" Leigh Ledare: The Plot - Ruttenberg Contemporary Photography Series","starts_at":"2017-09-09 16:00:00","ends_at":"2017-12-31 17:00:00","body":"Exhibition on view: September 9- December 31, 2017
\r\n\r\nLeigh Ledare (American, born 1976) pushes social systems to lay bare their underlying structures. His projects, which often rely on the enactment of complex social situations, are fundamentally collaborative; agency and authorship in these situations depend on interpersonal negotiations with and before the camera.
\r\n\r\nRecently, Ledare adapted an experiential group psychology method developed by the Tavistock Institute as a means to explore these ideas. Enacted through a series of conversations among teams of participants and psychologists over the course of a multiday conference, this approach constructs a social “ecosystem” designed for the group’s self-analysis. The Tavistock method helps participants develop a set of tools for investigating individual authority and identity as they relate to factors
\r\nsuch as race, gender, sexuality, and socioeconomics. Ledare transforms the method with one key modification: the presence of the artist and cameras as observers and collaborators during the meetings. This intervention causes shifts in the established structures of authority as well as assumed boundaries among the participants and psychologists—and it calls attention, by analogy, to the power relations binding artist, subject, and viewer in the making and display of works of art.
At the center of this exhibition is The Task, a film directed by Ledare based on a three-day Tavistock conference he organized in Chicago—a project that involved recruiting 30 participants, securing the collaboration of 10 psychologists trained in the method, and directing a film crew. Complex patterns of stereotyping and other projections of identity emerge through the participants’ discussions; authority is questioned, assumed, and taken away; and viewers are implicated as the participants become aware of subjective forces that exist beyond the imposed boundaries of the Tavistock system. The Task is accompanied by a series of photographs and assemblages of found mass media images, which act as allegories to the film’s chapters. With Ledare at its core, the entire project presents a highly structured series of dialectical encounters between the private and public, the individual and the group, and experience and representation.
\r\n","type":"Event","state":"published","slug":"leigh-ledare-the-plot-ruttenberg-contemporary-photography-series","created_at":"2018-10-22 20:41:33.353586","updated_at":"2018-10-22 20:41:33.353586","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'10':245B '1976':21B '2017':16B '30':239B '31':15B '9':13B 'accompani':302B 'act':316B 'adapt':63B 'agenc':46B 'allegori':318B 'american':19B 'among':87B,179B 'analog':189B 'analysi':113B 'approach':101B 'art':207B 'artist':154B,195B 'assemblag':309B 'assum':177B,273B 'attent':187B 'author':127B,173B,270B 'authorship':48B 'awar':285B 'away':276B 'bare':27B 'base':222B 'becom':284B 'beyond':291B 'bind':194B 'born':20B 'boundari':178B,294B 'call':186B 'camera':60B,156B 'caus':166B 'center':210B 'chapter':323B 'chicago':233B 'collabor':45B,160B,243B 'complex':40B,256B 'confer':99B,229B 'construct':102B 'contemporari':6A 'convers':86B 'core':328B 'cours':95B 'crew':255B 'day':227B 'decemb':14B 'depend':52B 'design':106B 'develop':69B,119B 'dialect':338B 'direct':219B,252B 'discuss':269B 'display':203B 'ecosystem':105B 'emerg':265B 'enact':38B,81B 'encount':339B 'entir':330B 'establish':170B 'exhibit':9B,213B 'exist':290B 'experi':351B 'experienti':65B 'explor':78B 'factor':134B 'film':218B,254B,321B 'forc':288B 'found':311B 'fundament':44B 'gender':138B 'group':66B,109B,349B 'help':117B 'high':334B 'idea':80B 'ident':129B,264B 'imag':314B 'implic':280B 'impos':293B 'individu':126B,346B 'institut':73B 'interperson':54B 'intervent':165B 'investig':125B 'involv':237B 'key':148B 'lay':26B 'ledar':2A,18B,62B,142B,221B,325B 'leigh':1A,17B 'make':201B 'mass':312B 'mean':76B 'media':313B 'meet':163B 'method':68B,116B,145B,250B 'modif':149B 'multiday':98B 'negoti':55B 'observ':158B 'often':34B 'one':147B 'organ':231B 'particip':90B,118B,181B,240B,268B,283B 'pattern':257B 'photograph':307B 'photographi':7A 'plot':4A 'power':192B 'presenc':151B 'present':332B 'privat':342B 'project':32B,235B,262B,331B 'psycholog':67B 'psychologist':92B,183B,246B 'public':344B 'push':22B 'question':272B 'race':137B 'recent':61B 'recruit':238B 'relat':132B,193B 'reli':35B 'represent':353B 'ruttenberg':5A 'secur':241B 'self':112B 'self-analysi':111B 'septemb':12B 'seri':8A,84B,305B,336B 'set':121B 'sexual':139B 'shift':167B 'situat':42B,51B 'social':23B,41B,104B 'socioeconom':141B 'stereotyp':259B 'structur':30B,171B,335B 'subject':196B,287B 'system':24B,298B 'taken':275B 'task':216B,300B 'tavistock':72B,115B,228B,297B 'team':88B 'three':226B 'three-day':225B 'tool':123B 'train':247B 'transform':143B 'under':29B 'view':11B 'viewer':198B,278B 'well':175B 'work':205B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669461637.ics","carousel":null,"category_name":"Exhibitions"},{"id":4972,"title":" Color Studies","starts_at":"2017-09-12 16:00:00","ends_at":"2018-02-25 17:00:00","body":"Exhibition on view: September 12- February 25, 2018
\r\n\r\nColor has occupied intriguing, if at times understated roles, in the history of architecture and design. This installation mines the collection of the Art Institute to showcase important moments from this evolving narrative, from the Bauhaus and Swiss typography to postmodern architecture and contemporary graphic design.
\r\n\r\nThe Purist paintings of Swiss/French architect Le Corbusier are displayed alongside his famous books on the colors used in his modern houses. Joseph Albers’s books and portfolios introduce the rigorous laboratory of color theory at the Bauhaus, while important projects in the postmodern era by Krueck and Sexton and Helmut Jahn push the use of color to its spatial and experiential limits. Finally color is explored in digital design and as a tool for social and political criticism by architects and designers in our era of global media.
\r\n","type":"Event","state":"published","slug":"color-studies","created_at":"2018-10-22 20:41:35.410379","updated_at":"2018-10-22 20:41:35.410379","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'12':7B '2018':10B '25':9B 'alber':80B 'alongsid':67B 'architect':62B,137B 'architectur':24B,52B 'art':34B 'bauhaus':46B,94B 'book':70B,82B 'collect':31B 'color':1A,11B,73B,90B,113B,121B 'contemporari':54B 'corbusi':64B 'critic':135B 'design':26B,56B,126B,139B 'digit':125B 'display':66B 'era':101B,142B 'evolv':42B 'exhibit':3B 'experienti':118B 'explor':123B 'famous':69B 'februari':8B 'final':120B 'global':144B 'graphic':55B 'helmut':107B 'histori':22B 'hous':78B 'import':38B,96B 'instal':28B 'institut':35B 'intrigu':14B 'introduc':85B 'jahn':108B 'joseph':79B 'krueck':103B 'laboratori':88B 'le':63B 'limit':119B 'media':145B 'mine':29B 'modern':77B 'moment':39B 'narrat':43B 'occupi':13B 'paint':59B 'polit':134B 'portfolio':84B 'postmodern':51B,100B 'project':97B 'purist':58B 'push':109B 'rigor':87B 'role':19B 'septemb':6B 'sexton':105B 'showcas':37B 'social':132B 'spatial':116B 'studi':2A 'swiss':48B 'swiss/french':61B 'theori':91B 'time':17B 'tool':130B 'typographi':49B 'underst':18B 'use':74B,111B 'view':5B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669461840.ics","carousel":null,"category_name":"Exhibitions"},{"id":4973,"title":"Tarsila do Amaral: Inventing Modern Art in Brazil","starts_at":"2017-10-08 16:00:00","ends_at":"2018-01-27 17:00:00","body":"Exhibition on view: October 8-January 27, 2018
\r\n\r\nTarsila do Amaral (1886–1937) was a central figure in the development of Brazil’s modern art, and her influence reverberates throughout 20th- and 21st-century art. Although relatively little-known outside Latin America, her paintings and drawings reflect her ambitions to synthesize the currents of avant-garde art and create an original modern art for her home country. Tarsila do Amaral: Inventing Modern Art in Brazil, the first exhibition in North America devoted to the artist, focuses on her work in the 1920s, when she traveled between São Paulo and Paris, participating in the creative and social lives of both cities and forging her own unique artistic style.
\r\n\r\nThe exhibition begins in Paris with what Tarsila, as she is affectionately known in her home country, called her “military service in Cubism.” Her rich involvement with European modernism included associations with artists Fernand Léger and Constantin Brancusi, dealer Ambroise Vollard, and poet Blaise Cendrars. The presentation follows her trips to Rio de Janeiro and the colonial towns of Minas Gerais and charts her expanding and vital role in Brazil’s emerging modern art scene and with its community of artists and writers, including poets Oswald de Andrade and Mário de Andrade. It was during this period that Tarsila began combining the visual language of modernism with the subjects and palette of her homeland to produce a fresh and uniquely Brazilian modern art. The exhibition celebrates Tarsila’s most daring works and her role in the founding of Antropofagía—an art movement that promoted the idea of devouring, digesting, and transforming European and other artistic influences in order to make something entirely new. Tarsila’s contributions include the landmark 1928 canvasAbaporu, which was the inspiration for the Anthropophagous Manifesto and came to serve as an emblem for the movement.
\r\n\r\nFeaturing over 120 paintings, drawings, and historical documents related to the artist, Tarsila do Amaral: Inventing Modern Art in Brazil is a rare opportunity to experience the artist’s work, which is held mostly in Brazilian collections.
\r\n\r\n\r\n","type":"Event","state":"published","slug":"tarsila-do-amaral-inventing-modern-art-in-brazil","created_at":"2018-10-22 20:41:53.366857","updated_at":"2018-10-22 21:17:46.052821","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'120':324B '1886':20B '1920s':103B '1928':302B '1937':21B '2018':16B '20th':39B '21st':42B '21st-century':41B '27':15B '8':13B 'affection':141B 'although':45B 'amar':3A,19B,81B,336B 'ambit':59B 'ambrois':170B 'america':52B,92B 'andrad':218B,223B 'anthropophag':310B 'antropofag':270B 'art':6A,33B,44B,68B,74B,84B,204B,254B,273B,339B 'artist':96B,128B,162B,211B,287B,333B,349B 'associ':160B 'avant':66B 'avant-gard':65B 'began':231B 'begin':132B 'blais':174B 'brancusi':168B 'brazil':8A,30B,86B,200B,341B 'brazilian':252B,357B 'call':147B 'came':313B 'canvasabaporu':303B 'celebr':257B 'cendrar':175B 'central':24B 'centuri':43B 'chart':193B 'citi':122B 'collect':358B 'coloni':187B 'combin':232B 'communiti':209B 'constantin':167B 'contribut':298B 'countri':78B,146B 'creat':70B 'creativ':116B 'cubism':152B 'current':63B 'dare':261B 'de':183B,217B,222B 'dealer':169B 'develop':28B 'devot':93B 'devour':280B 'digest':281B 'document':329B 'draw':56B,326B 'emblem':318B 'emerg':202B 'entir':294B 'european':157B,284B 'exhibit':9B,89B,131B,256B 'expand':195B 'experi':347B 'featur':322B 'fernand':163B 'figur':25B 'first':88B 'focus':97B 'follow':178B 'forg':124B 'found':268B 'fresh':249B 'gard':67B 'ger':165B 'gerai':191B 'held':354B 'histor':328B 'home':77B,145B 'homeland':245B 'idea':278B 'includ':159B,214B,299B 'influenc':36B,288B 'inspir':307B 'invent':4A,82B,337B 'involv':155B 'janeiro':184B 'januari':14B 'known':49B,142B 'l':164B 'landmark':301B 'languag':235B 'latin':51B 'littl':48B 'little-known':47B 'live':119B 'm':220B 'make':292B 'manifesto':311B 'militari':149B 'mina':190B 'modern':5A,32B,73B,83B,158B,203B,237B,253B,338B 'most':355B 'movement':274B,321B 'new':295B 'north':91B 'o':109B 'octob':12B 'opportun':345B 'order':290B 'origin':72B 'oswald':216B 'outsid':50B 'paint':54B,325B 'palett':242B 'pari':112B,134B 'particip':113B 'paulo':110B 'period':228B 'poet':173B,215B 'present':177B 'produc':247B 'promot':276B 'rare':344B 'reflect':57B 'relat':46B,330B 'reverber':37B 'rich':154B 'rio':182B,221B 'role':198B,265B 'scene':205B 'serv':315B 'servic':150B 'social':118B 'someth':293B 'style':129B 'subject':240B 'synthes':61B 'tarsila':1A,17B,79B,137B,230B,258B,296B,334B 'throughout':38B 'town':188B 'transform':283B 'travel':106B 'trip':180B 'uniqu':127B,251B 'view':11B 'visual':234B 'vital':197B 'vollard':171B 'work':100B,262B,351B 'writer':213B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668397/tqm8k3zizz0lp4y7ucba.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669461796.ics","carousel":null,"category_name":"Exhibitions"},{"id":4974,"title":"Making Memories: Quilts as Souvenirs","starts_at":"2017-10-20 16:00:00","ends_at":"2018-03-18 17:00:00","body":"
Exhibition on view: October 20-March 18, 2018
\r\n\r\nThe quilts in this exhibition, whether they depict a particular event, remember the lives of individuals, or offer a fantastical escape, all speak to the “souvenir.” They can embody particular memories and serve as reminders of places, people, events, and ideas. These remarkable quilts—mainly from the United States but with examples from England, Ireland, and Mexico—invite the visitor to contemplate things remembered and forgotten, the careful construction of memory, as well as the objects made to keep those memories ever present.
\r\n\r\nAmong the exhibition’s many highlights is a pictorial quilt—The Settling of the West—that Mildred Jacobs Chappell completed in 1932. The orderly, picturesque, and peaceful vision that Chappell constructs offers a tidy narrative of Manifest Destiny and American progress, to the exclusion of the conflict and violence that proved central to westward expansion. This romantic image of a time, place, and series of events is mirrored in the composition’s simplified forms. In the inscription on the reverse, Chappell asserts, “My only regret is that I could not have lived one hundred years earlier to experience those stirring times, instead of only having made this quilt to commemorate them.”
\r\n\r\nThe 29 visually captivating and technically masterful quilts in this exhibition, all from the permanent collection and ranging from 1840 through 2001, tell stories that reward patient looking.
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\r\n\r\nDeeply engaged in art history, Andrew Lord (British, born 1950) uses traditional ceramic forms and techniques that reference 19th- and 20th-century painting and sculpture. “In the 1970s,” Lord recalls, “I looked at paintings in Amsterdam and Paris and discovered Gauguin’s ceramics, which seemed to have meaning in a way I’d not seen before in ceramics.” Like Gauguin, Lord straddles the boundaries of fine art and craft, abandoning the functionality and practicality of his objects in favor of conceptual pursuits. Through serial display and repetitive investigations of form, Lord transforms everyday objects into extraordinary expressions of light and shadow, volume and plasticity, surface and shape.
\r\n\r\nThis fall the Bluhm Family Terrace welcomes a new series of bronzes Lord conceived during a recent residency in Paris. Lord was struck by the title of a mural by Paul Baudouin in the Petit Palais, Les heures du jour et de la nuit (The Hours of the Day and of the Night), which described Lord’s own days of artistic searching without a clear destination. While in Paris, he collected images from 19th- and 20th-century painting—especially works by Picasso—that portray time passing and the fragility of the human condition: “To give these images plastic form, I passed them through each step of making that had come before, as if watching film stills through a sleepless night, until I took the most familiar form, the human figure, extracted it from its surrounding, connected it to the night, to time, to my sleeplessness, filtered through everything I made before.”
\r\n\r\nThe result is the Art Institute’s presentation Unslumbrous Night. This new body of work includes an array of 15 figures—such as a juggler, an acrobat, and a recumbent woman—alongside two forms that reference time: a candle and a moon. The poetic installation, which borrows its title from John Keats’s poem “Endymion,” unfolds on the terrace and continues into the museum’s Terzo Piano.
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\r\n\r\nThe October Revolution of 1917 changed the course of world history; it also turned Russia into a showcase filled with models. Every object and sphere of activity had to demonstrate how society could be remade according to revolutionary principles. It would take intensive experimentation and discussion to determine the shape of this unprecedented society. To be realized in any concrete way, communism had to be modeled and put on display.A rotating program of Soviet cartoons and documentaries is shown in a space that evokes an agit-prop train.
\r\n\r\nSoviet Art Put to the Test accordingly fills Regenstein Hall with ten model displays from the early Soviet era. Each of these sections, detailed below, holds rare works of art and features expert, life-size reconstructions of early Soviet display objects or spaces, commissioned especially for this exhibition.
\r\n\r\nBattleground: Posters from the Civil War years (1918–21) surround a “Lenin Wall” with three dozen works devoted to the first Soviet leader.
\r\nSchool: Rare works from Soviet art schools convey breakthroughs in abstraction. Many loans come from the storied Costakis art collection in Thessaloniki, Greece.
\r\nTheater: Model sets, props, and drawings bring to life classic Constructivist stagings that merged viewers and performers in a mass spectacle.
\r\nPress: A 14-foot multimedia kiosk built from a design by artist Gustav Klutsis and a suite of his original drawings anchor an extensive display of rare magazines and unique poster maquettes.
\r\nFactory: A 30-foot-long Workers’ Club designed by Aleksandr Rodchenko can be entered to see period books and magazines.
\r\nExhibition: A reconstructed 1926 exhibition room by El Lissitzky features paintings by artists included in the original exhibition, among them Piet Mondrian, Francis Picabia, and Lissitzky himself.
\r\nFestival: A period model for Stalin’s Palace of the Soviets joins photographs of mass sports events and commemorative gatherings.
\r\nCinema: A rotating program of Soviet cartoons and documentaries is shown in a space that evokes an agitprop train.
\r\nStorefront: Large picture windows showcase textiles, Constructivist advertisements, and Suprematist porcelain.
\r\nHome: Personal images of leading Soviet artists, porcelain figurines, and a painting by Socialist Realist Aleksandr Deineka populate a model interior also outfitted with furniture conceived for small or collective apartments.
These ten displays—containing nearly 550 works—come together in the largest exhibition of Soviet art to take place in the United States in 25 years. Visitors have the opportunity to explore the trajectory of early Soviet art in all its forms and consider what it tells us about socially minded art now.
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\r\n\r\nRodin was a master of visual communication. His powerfully expressive sculpted bodies speak to us directly through cleverly constructed gestures and poses and in the carefully rendered surfaces of his bronzes and marbles. Continually metamorphosing and reincarnating his figures through reassembly, fragmentation, and new contexts of display, he transformed, sometimes significantly, the stories they portrayed. Rodin’s extraordinary ability to use the human body to generate meaning is underlined in the exhibition by such famous works as The Hand of God, Eternal Springtime, The Prodigal Son, and Adam. Viewers also have the rare opportunity to see, side by side, two early marble representations of the biblical Eve: one from the Art Institute and one from a private collection.
\r\n\r\nIn addition to these stellar objects, the exhibition displays photographs, drawings, prints, and sculptures by the artist’s friends and contemporaries, such as Claude Monet and Henri Matisse. Lifelong friends, Rodin and Monet exchanged gifts of art, corresponded regularly, and even held a joint exhibition in 1889 at the Galerie Georges Petit in Paris. Early in his career, Matisse engaged with the work of Rodin, and his Serf is deeply indebted to the older master’s Walking Man. These two exceptional pieces, both from the Art Institute’s collection, are displayed together here for the first time.
\r\n","type":"Event","state":"published","slug":"rodin-sculptor-and-storyteller","created_at":"2018-10-22 20:42:06.254281","updated_at":"2018-10-22 21:16:36.365347","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1840':14B '1889':284B '1917':15B '1923':79B '20th':10B 'abil':112B,178B 'adam':207B 'addit':239B 'alfr':104B 'also':209B 'american':102B 'around':35B 'art':31B,76B,230B,274B,323B 'artist':20B,42B,95B,254B 'august':12B 'begin':7B 'biblic':225B 'bodi':131B,183B 'bring':114B 'bronz':115B,150B 'care':145B 'career':295B 'celebr':39B 'centenari':26B 'centuri':11B 'claud':261B 'clever':137B 'close':92B 'collect':55B,237B,326B 'communic':126B 'construct':138B 'contemporari':258B 'context':164B 'continu':153B 'correspond':275B 'death':29B 'deepli':307B 'devot':70B 'direct':135B 'display':166B,246B,328B 'draw':52B,97B,248B 'earli':220B,292B 'engag':297B 'etern':201B 'eve':226B 'even':278B 'except':83B,318B 'exchang':271B 'exhibit':66B,107B,191B,245B,282B 'explor':108B 'express':129B 'extraordinari':177B 'famous':19B,194B 'featur':80B 'figur':158B 'first':69B,333B 'fragment':161B 'friend':256B,267B 'galeri':287B 'generat':185B 'georg':288B 'gestur':139B 'gift':89B,272B 'god':200B 'hand':198B 'held':279B 'henri':264B 'histori':84B 'hold':64B 'human':182B 'includ':85B 'incompar':111B 'indebt':308B 'institut':32B,77B,231B,324B 'join':33B 'joint':281B 'life':44B,119B 'lifelong':266B 'man':315B 'marbl':152B,221B 'master':123B,312B 'matiss':265B,296B 'mean':186B 'metamorphos':154B 'monet':262B,270B 'museum':34B,61B 'new':163B 'object':243B 'older':311B 'one':227B,233B 'opportun':213B 'own':99B 'pari':291B 'peopl':91B 'petit':289B 'photograph':103B,247B 'piec':319B 'portray':174B 'pose':141B 'power':128B 'present':47B 'print':249B 'privat':54B,236B 'prodig':204B 'produc':87B 'rare':48B,212B 'reassembl':160B 'regular':276B 'reincarn':156B 'render':146B 'renown':41B 'represent':222B 'rich':63B 'rodin':1A,13B,109B,120B,175B,268B,302B 'sculpt':130B 'sculptor':2A,73B 'sculptur':50B,86B,251B 'see':215B 'seen':49B 'serf':305B 'side':216B,218B 'signific':170B 'sinc':78B 'sometim':169B 'son':205B 'speak':132B 'springtim':202B 'stellar':242B 'stieglitz':105B 'stone':117B 'stori':172B 'storytel':4A 'surfac':147B 'time':334B 'togeth':329B 'transform':168B 'two':219B,317B 'underlin':188B 'us':134B 'use':180B 'viewer':208B 'visual':125B 'walk':314B 'well':57B 'work':46B,81B,195B,300B 'world':23B,37B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668404/jv1ptnrxebfgmlg59utc.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669470/event_ics_1721669470323.ics","carousel":null,"category_name":"Exhibitions"},{"id":5601,"title":"The Medieval World at Our Fingertips: Manuscript Illuminations from the Collection of Sandra Hindman","starts_at":"2018-01-27 22:00:00","ends_at":"2018-05-28 23:00:00","body":"January 27, 2018–May 28, 2018
\r\nGalleries 204–204A
This exhibition of nearly 30 manuscript illuminations travels through 400 years of the Middle Ages and across numerous countries in western Europe. Although often tiny in scale, these exquisite fragments from choir books, books of hours, and religious narratives offer a fascinating microcosm of medieval Europe, a world that extended from the sacred context of the great Gothic cathedrals to the cosmopolitan culture of the sunlit Italian courts.
\r\n\r\nThis impressive and wide-ranging collection was assembled over a lifetime by Sandra Hindman. A noted medieval manuscript scholar and the founder of Les Enluminures, Hindman has generously given approximately one third of the exhibition’s illuminations to the Art Institute. The presentation celebrates her recent gift while also documenting her own journey as an innovative and imaginative teacher and student of the medieval book.
\r\n\r\nA richly illustrated book by Christopher de Hamel accompanies the exhibition. De Hamel, a renowned authority on illuminated manuscripts, uses the Hindman miniatures as a starting point for reflections on the world of the Middle Ages.
\r\n","type":"Event","state":"published","slug":"the-medieval-world-at-our-fingertips-manuscript-illuminations-from-the-collection-of-sandra-hindman","created_at":"2018-10-22 20:42:21.792017","updated_at":"2018-10-22 21:12:29.147221","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2018':17B,20B '204':22B '204a':23B '27':16B '28':19B '30':28B '400':33B 'accompani':166B 'across':40B 'age':38B,193B 'also':141B 'although':46B 'approxim':122B 'art':132B 'assembl':100B 'author':173B 'book':56B,57B,157B,161B 'cathedr':82B 'celebr':136B 'choir':55B 'christoph':163B 'collect':11A,98B 'context':77B 'cosmopolitan':85B 'countri':42B 'court':91B 'cultur':86B 'de':164B,169B 'document':142B 'enluminur':117B 'europ':45B,69B 'exhibit':25B,127B,168B 'exquisit':52B 'extend':73B 'fascin':65B 'fingertip':6A 'founder':114B 'fragment':53B 'galleri':21B 'generous':120B 'gift':139B 'given':121B 'gothic':81B 'great':80B 'hamel':165B,170B 'hindman':14A,106B,118B,179B 'hour':59B 'illumin':8A,30B,129B,175B 'illustr':160B 'imagin':150B 'impress':93B 'innov':148B 'institut':133B 'italian':90B 'januari':15B 'journey':145B 'les':116B 'lifetim':103B 'manuscript':7A,29B,110B,176B 'may':18B 'mediev':2A,68B,109B,156B 'microcosm':66B 'middl':37B,192B 'miniatur':180B 'narrat':62B 'near':27B 'note':108B 'numer':41B 'offer':63B 'often':47B 'one':123B 'point':184B 'present':135B 'rang':97B 'recent':138B 'reflect':186B 'religi':61B 'renown':172B 'rich':159B 'sacr':76B 'sandra':13A,105B 'scale':50B 'scholar':111B 'start':183B 'student':153B 'sunlit':89B 'teacher':151B 'third':124B 'tini':48B 'travel':31B 'use':177B 'western':44B 'wide':96B 'wide-rang':95B 'world':3A,71B,189B 'year':34B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668417/yeklqncl6omliaoxwosl.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669482/event_ics_1721669482509.ics","carousel":null,"category_name":"Exhibitions"},{"id":5636,"title":"Architect of Empires: Highlights from the Library of Pierre Fontaine","starts_at":"2018-01-30 19:00:00","ends_at":"2018-04-09 20:00:00","body":"Acquired by the Art Institute 1927, the Percier and Fontaine Collection spans the career of Pierre-Francois-Léonard Fontaine and encompasses his own published and unpublished works as well as architectural treatises of his predecessors and several of his successors. An architect, interior designer, and decorative artist, Fontaine and his partner, Charles Percier, are best remembered as the official architects for Napoleon. As such, Percier and Fontaine—usually referred to as a pair—were key proponents of the Empire style in France in the early 19th century.
\r\n
\r\nPercier and Fontaine helped craft the visual imagery and iconography that would define Napoleon’s reign, a project they pursued along with Vivant Denon, the director of the imperial museums, and the painter Jacques-Louis David. The Napoleonic regime had to navigate the thorny task of co-opting the symbols of the revolution while incorporating the traditional trappings of the French monarchy. The Empire style, with its mixture of aesthetic programs and influences, created a complex visual language that was well suited to the propaganda of the Napoleonic Empire. Empire style is ensconced under the larger category of Neoclassicism and can be characterized as an amalgam of Greek models (sometimes called Etruscan), imperial Roman imagery, Gothic elements, forms from the Italian and French Renaissances, and Egyptian motifs, the latter newly popular due to Napoleon’s Egyptian campaign.
Charles Percier and Pierre-François-Léonard Fontaine. Plate 19: Bed made for Mme. M in Paris from Recueil de décorations intérieures... Paris: Chez les Auteurs, 1812.
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\r\n\r\nBorn in Shanghai and trained at the Shanghai College of Arts and Crafts, Xu Longsen is regarded as one of the most creative artists of his generation in China. While his work includes oil paintings and sculptures, it is his large-scale landscape paintings—or shanshui—created with traditional tools and materials that have earned him international acclaim.
\r\n\r\nThe Chinese term shanshui is conventionally translated into English as landscape art, but this style of painting depicts not only a natural place but also an inner space where the artist can rest their heart and mind. Its birth can be traced to the 10th through 12th century, but some representational elements, such as mountains and forests, go back as far as the third and fourth centuries BC. The beauty of shanshui is imbued with both a certain mystic quality and regard for the role of the artist in society.
\r\n\r\nIn taking on this age-old style, Xu identifies himself with the grand tradition of Chinese painting and philosophy even as he revolutionizes them. His work is groundbreaking not only in its sheer size—many paintings are over 30 feet tall—but in its unique installation that combines traditional Chinese ink painting with contemporary public spaces. Throughout history, few other Chinese artists have attempted to create and display their works on such a monumental scale. Xu’s depictions of mountains and water as well as humankind’s spiritual home are awe-inspiring.
\r\n\r\nThis installation, Light of Heaven, was created specifically for the Art Institute’s galleries. It consists of a set of pillars painted with layers of ink wash along with a number of landscape paintings—all inspired by the mythological Mount Kunlun, home to many Chinese gods and goddesses.
\r\n\r\nXu Longsen. A Group of Landscape Ink Paintings and Pillars, 2016–17. The artist’s collection, Beijing.
\r\n\r\n","type":"Event","state":"published","slug":"xu-longsen-light-of-heaven","created_at":"2018-10-22 20:42:22.754248","updated_at":"2018-10-22 21:12:28.63332","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'108':7B '10th':116B '12th':118B '130':9B '134':11B '17':315B '2016':314B '30':201B '35':12B '9':8B 'acclaim':71B 'age':167B 'age-old':166B 'along':283B 'also':96B 'art':23B,83B,266B 'artist':36B,102B,159B,224B,317B 'attempt':226B 'awe':254B 'awe-inspir':253B 'back':130B 'bc':139B 'beauti':141B 'beij':320B 'birth':110B 'born':13B 'centuri':119B,138B 'certain':149B 'china':41B 'chines':73B,178B,212B,223B,300B 'collect':319B 'colleg':21B 'combin':210B 'consist':271B 'contemporari':216B 'convent':77B 'craft':25B 'creat':60B,228B,262B 'creativ':35B 'depict':89B,240B 'display':230B 'earn':68B 'element':123B 'english':80B 'even':182B 'far':132B 'feet':202B 'forest':128B 'fourth':137B 'galleri':6B,269B 'generat':39B 'go':129B 'god':301B 'goddess':303B 'grand':175B 'groundbreak':190B 'group':307B 'heart':106B 'heaven':5A,260B 'histori':220B 'home':251B,297B 'humankind':248B 'identifi':171B 'imbu':145B 'includ':45B 'ink':213B,281B,310B 'inner':98B 'inspir':255B,291B 'instal':208B,257B 'institut':267B 'intern':70B 'kunlun':296B 'landscap':56B,82B,288B,309B 'larg':54B 'large-scal':53B 'layer':279B 'light':3A,258B 'longsen':2A,27B,305B 'mani':197B,299B 'materi':65B 'mind':108B 'monument':236B 'mount':295B 'mountain':126B,242B 'mystic':150B 'mytholog':294B 'natur':93B 'number':286B 'oil':46B 'old':168B 'one':31B 'paint':47B,57B,88B,179B,198B,214B,277B,289B,311B 'philosophi':181B 'pillar':276B,313B 'place':94B 'public':217B 'qualiti':151B 'regard':29B,153B 'represent':122B 'rest':104B 'revolution':185B 'role':156B 'scale':55B,237B 'sculptur':49B 'set':274B 'shanghai':15B,20B 'shanshui':59B,75B,143B 'sheer':195B 'size':196B 'societi':161B 'space':99B,218B 'specif':263B 'spiritu':250B 'style':86B,169B 'take':163B 'tall':203B 'term':74B 'third':135B 'throughout':219B 'tool':63B 'trace':113B 'tradit':62B,176B,211B 'train':17B 'translat':78B 'uniqu':207B 'wash':282B 'water':244B 'well':246B 'work':44B,188B,232B 'xu':1A,26B,170B,238B,304B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668417/xljdyeihqlz9tjmgoo0u.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669482/event_ics_1721669482560.ics","carousel":null,"category_name":"Exhibitions"},{"id":5603,"title":"Philippe Parreno: Two Automatons for One Duet (My Room Is Another Fish Bowl, 1996–2016, and With a Rhythmic Instinction to Be Able to Travel beyond Existing Forces of Life, 2014)","starts_at":"2018-02-03 23:00:00","ends_at":"2018-04-15 00:00:00","body":"Gallery 188
\r\n\r\nArtist Philippe Parreno creates spaces that speculate on alternate worlds or states of being. He conceives his installations not as collections of images or sculptures but as stagelike, a mise-en-scène where a series of events unfold. My Room Is Another Fish Bowl consists of floating helium-filled fish shapes intended to redefine the relationship between subject and object: the experience of museum visitors is both equated and contrasted with that of the fish moving aimlessly within the gallery.
\r\n\r\nIn art and words, Parreno has frequently posed the question: is an exhibition a film without a camera? In this installation, the artist casts museumgoers to move within the gallery space among a specified number of floating objects delicately weighted to hang in the air at various heights. And still, the script is loose, and much is left to chance. The fish move with the gallery’s air currents, visitors enter and depart, and natural light from adjacent windows shifts continually based on time of day and weather conditions. The “film” lasts the length of the exhibition run, and no amount of time spent within the space could produce an identical view.
\r\n\r\nThis exhibition is made possible by the Stuart Family Fund.
\r\n\r\nPhilippe Parreno. My Room Is Another Fish Bowl, 2016. Installation view of IF THIS THEN ELSE, Gladstone Gallery, New York, March 5–April 16, 2016. Centennial Major Acquisitions Income, Alfred and May Tiefenbronner Memorial, Laura T. Magnuson Acquisition, Benjamin Argile Memorial, General Acquisitions Endowment, Maurice D. Galleher Endowment funds; Wirt D. Walker Trust. © Philippe Parreno. Courtesy Gladstone Gallery, New York and Brussels.
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\r\nGalleries 182–84
The ongoing drawing and embroidery series I strongly believe in our right to be frivolousby Mounira Al Solh (born 1978) collects histories and personal experiences that continue to emerge from the humanitarian and political crises in Syria and the Middle East.
\r\n\r\nBorn in Beirut to a Lebanese father and Syrian mother, Al Solh started the series in 2011, shortly after the civil uprising in Syria, and continues to the present-day Syrian civil war. The project documents deeply personal encounters and conversations between the artist and Syrian refugees as well as other people from the Middle East who were forcibly displaced to Lebanon, Europe, the United States, and other parts of the world. The oral histories of displaced individuals to which Al Solh bears witness are as much administrative accounts as personal ones: many of the portraits are drawn on yellow legal paper, a material index of the painstaking bureaucratic processes immigrants go through in order to obtain citizenship.
\r\n\r\nMounira Al Solh. I strongly believe in our right to be frivolous, 2012–ongoing. Courtesy of the artist and Sfeir-Semler Gallery, Beirut / Hamburg.
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\r\n\r\nChinese bronzes of the second and first millennia BC are some of the most distinctive achievements in the history of art. Exquisitely ornamented, these vessels were made to carry sacrificial offerings, to use in burial, or to commemorate family in public ceremonies. When they were found by emperors centuries later, these spiritually significant objects were seen as manifestations of a heavenly mandate on a ruler or dynasty and became prized items in imperial collections. This exhibition—the first to explore how these exquisite objects were collected and conceptualized throughout Chinese history—presents a rare opportunity to experience a large number of these works together in the United States.
\r\n\r\nUnlike Greek and Roman bronze sculptures of human and animal forms, most objects from Bronze Age China (about 2000–221 BC) were vessels for ritual use. Beginning with the Song dynasty (960–1279), emperors unearthed these symbolic works and began collecting them, considering them to be evidence of their own authority and legitimacy as rulers. Several 18th-century portraits of Emperor Quianlong include his bronze collection, demonstrating how ancient bronzes came to play a critical role in imperial ideology and self-fashioning. In addition to impressive collections, the royal fascination with bronzes led to the creation of numerous reproductions and the meticulous cataloguing of palace holdings. These catalogues are works of art themselves, featuring beautiful illustrations and detailed descriptions of each object.
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\r\n\r\nThe chair is the holy grail of objects for many designers, including Max Lamb (English, born 1980). He has created more than 400 seats, most of them produced in limited numbers due to the complexity of their manufacture and his interest in trying new things. Lamb’s uncompromising approach—and his embrace of materials precious and inexpensive, natural and synthetic—has changed very little since he graduated from London’s Royal College of Art in 2006. He has, for example, cast a stool from molten pewter on a beach in Cornwall, built a chair from quickly carved blocks of polystyrene foam in London, chopped down an entire ash tree in Yorkshire and divided it into 131 logs to sit on, and hauled giant chunks of marble from a quarry in Vermont, carving them into seating elements on site. The results are bespoke designs, each a unique take on a chair, stool, or bench.
\r\n\r\nBy focusing on seats—one element of Lamb’s practice—this exhibition illuminates his working methods and passion for research, inquiry, and experimentation. A selection of chairs and stools is accompanied by photographs, maquettes, tools, and videos that illustrate how they were made. Interested first and foremost in the exercise of making, Lamb is intent on learning through doing, creating work in series, mastering new techniques and gaining an understanding of specific materials. By drawing associations between individual pieces, he suggests that each is part of a larger whole and calls attention not only to his methods but also to his interest in playing with modernist traditions of form and function through shifts in scale, size, shape, and material. Lamb’s seats—the product of his own relentless interrogations—spur us to question the objects that define our daily lives and to examine their essential role in shaping how we behave and interact with the world.
\r\n\r\nMax Lamb: Exercises in Seating is the inaugural exhibition of the Franke/Herro Design Series, which highlights the work of important emerging talent.
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\r\n\r\nThis exhibition features the work of two such artists, Onchi Kōshirō (1891–1955) and Saitō Kiyoshi (1907–1997). Onchi, the main advocate of sōsaku hanga and one of the movement’s major artists, created prints that are decidedly Western oriented in style, with Vasily Kandinsky and Edvard Munch among his major influences. His portrait of poet and friend Hagiwara Sakutarō has been hailed as one of the most powerful prints produced by a 20th-century Japanese artist. The dark tones and wrinkled skin of its subject make for a disturbing image, in keeping with Hagiwara’s tendency toward depression brought on by war.
\r\n\r\nIn 1944, Saitō Kiyoshi joined Onchi’s prolific, avant-garde circle (called Ichimokukai), whose members cherished the woodblock’s potential for radical self-expression. Having begun his career as an oil painter, Saitō later embraced the technique of woodblock print making, finding inspiration for subject matter and style in the works of Odilon Redon, Paul Gauguin, and, like Onchi, Munch. In 1951, he stunned Japanese art circles when he was awarded first prize at the São Paulo Biennale.
\r\n\r\nModern Japanese Portraits presents nearly 30 groundbreaking works by Onchi, Saitō, and other artists of the movement. All of the portraits, including many rare editions, are drawn from the Art Institute’s major collection of 20th-century prints.
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\r\n\r\nIn 1960, photographer Sanlé Sory (born 1943) opened his studio, Volta Photo, at the center of Bobo-Dioulasso, the cultural capital of what was then Upper Volta. He specialized in portraits—of Fula villagers, elaborately dressed Malians, and other inhabitants of that vibrant cultural crossroads. A clever, youthful studio operator, Sory appealed to his sitters’ desires for signs of modernity and leisure, offering a few choice props such as a telephone and a motorbike and using painted backdrops of scenes associated with travel including a beach or an airplane.
\r\n\r\nhis immersive installation brings the complex culture of Upper Volta to life through more than 100 of Sory’s photographs from the 1960s; objects from Volta Photo such as its signature backdrop, studio lights, and several props; digitized music from the era; and 45-rpm records. A catalogue accompanies the exhibition.
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\r\n\r\nFeaturing a selection of 17th- through 20th-century works made in countries including Brazil, Finland, France, Japan, and the United States, the exhibition highlights the global nature of the Art Institute’s collection and invites visitors to consider how rhythm informs textile design. Channeling the hurried pace of modern life, Sonia Delaunay’s Jazz is composed of forms suggestive of musical notes and notations. Rendered in black, white, red, and gray, pointed angular forms abut smooth short curves, and the undulations punctuated by strong diagonals convey syncopated sensations indebted to music and dance popular in the 1920s. In contrast to the sharp visual rhythm of Delaunay’s design, the furoshiki, or gift-wrapping cloth, featured in the exhibition conveys a gentler sense of motion, presenting dancers in a receding, curved line emphasized by the fluidity of the performers’ limbs and costumes. These two dramatically different works, along with others in the exhibition, exemplify the various and complex ways in which textile designers and producers have communicated sound and movement through their work, using rhythm to connect artists and art forms.
\r\n\r\nTop image: Faith Ringgold. Bessie's Blues from the series American Collection Number 5, 1997. Robert Allerton Endowment.
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\r\n\r\nDrawn largely from the Art Institute’s collection, this exhibition highlights the work of artists who through their images and films captured the life of their own communities or those to which they were granted intimate access as outsiders. Featured among them is a network of photographers who focused on Chicago’s South Side during a period coinciding with the emergence of the city’s Black Arts Movement. Billy Abernathy, Darryl Cowherd, Bob Crawford, Roy Lewis, and Robert A. Sengstacke all produced work in connection with the revolutionary Bronzeville mural, the Wall of Respect (1967–71). Other projects, such as Mikki Ferrill’s decade-long documentation of an improvised South Side club, The Garage (1970/80), and two of Gordon Parks’s Life magazine assignments (1953 and 1963), likewise underscore the role played by Chicago as a national center of black culture and politics.
\r\n\r\nThese projects are complemented by works created in other neighborhoods that were undergoing significant transformation. For example, Danny Lyon’s 1965 series Uptown conveyed both the struggle and immense pride of residents living in an area where immigrants from central Appalachia had recently settled. In a similar manner, Luis Medina gained the trust of members of Hispanic street gangs while photographing their graffiti in areas surrounding Wrigley Field in the late 1970s. This rich history of street photography is complemented by the parallel emergence of filmmakers such as Tom Palazzolo and Kartemquin Films, who poetically captured the city’s changing landscape. Together, these works reveal Chicago’s character, lovely and ever so real.
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Top image: Gordon Parks. Untitled, Chicago, Illinois, 1963. Anonymous gift. © The Gordon Parks Foundation.
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Color and pattern are fundamental instruments in the work of Chicago-based artist Judy Ledgerwood (American, born 1959)—attributes she has been dynamically refining in her oversized canvases, installations, and ceramics since the 1980s.
\r\n\r\nFor over 30 years her work has been distinguished by a visual vocabulary comprising intentionally decorative motifs that, at times, extend well beyond the edge of the canvas, taking over entire walls or rooms. Ledgerwood derives the circles, quatrefoils, and seedlike forms that often populate her work from symbolic shapes associated with Paleolithic and Neolithic goddess cultures throughout Europe, though they also recall patterns used in fashion, design, and the decorative arts.
\r\n\r\n“My work challenges the authority of the grid by creating paintings that provoke an optical experience often characterized by afterimages, retinal fatigue, and other fugitive, ephemeral, and transient experiences that cannot be predicted, controlled, or legislated,” says Ledgerwood. Using intense colors, she organizes the forms within triangles and chevrons that the artist perceives as ciphers of feminine power.
\r\n\r\nThis spring Ledgerwood’s work occupies the Art Institute’s Bluhm Family Terrace, covering the vertical surfaces in a pink vinyl painted with her signature quatrefoil pattern in gold enamel paint. Central to the installation is the artist’s sustained interest in the relationship between pictorial space and the physical space that contains the work: in this case, the painting depends on the architecture for its structure while also directly challenging it. The pink background, installed in long, horizontal washes of color, gently sags in the center, appearing as if it were a textile pinned at the upper corners. These pink curves filled with floral motifs rebel against the terrace’s strict, vertical architectural elements, while the gold paint—reflective, drippy, and distinctly material—activates the otherwise neutral modernist space.
\r\n\r\nChromatic Patterns for the Art Institute of Chicago reaches beyond painting to alter the experience of the space. Indeed the experience itself is heavily mediated by the specific color that defines the space, informally referred to as “drunk tank pink,” which has a proven calming effect on those exposed to it. The profound physical, mental, and emotional effects of color are essential both to this particular installation and to Ledgerwood’s entire body of work.
\r\n\r\nTop image: Judy Ledgerwood. Chromatic Patterns for Chicago, 2011. Courtesy of the artist and Rhona Hoffman Gallery.
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\r\n\r\nChicago native Ivan Albright (1897–1983) remains one of the most provocative artists of the 20th century, a “master of the macabre” famous for his richly detailed paintings of ghoulish subjects. The 1928 painting, Flesh, announced the theme that obsessed the artist throughout his career: the decaying human body. Late in life, he continued urging himself to "make flesh more like flesh than ever has been made before; make flesh close, close, and closer, until you feel it.”
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\r\nA medical draftsman during World War I, Albright portrayed the body’s vulnerability—to age, disease, and death—in works that provoked outrage and admiration, such as Into the World There Came a Soul Called Ida (1929–30) and And Man Created God in His Own Image (1930). As one critic wrote in 1931, “There is a frightful fascination about [Albright’s paintings] that makes the beholder return to the scene of the torture.” Albright’s reputation as an inimitable painter of decaying flesh led to his commission to paint The Picture of Dorian Gray for a 1945 Hollywood film adaptation of Oscar Wilde’s novel. Given the opportunity to portray the decadent aristocrat “withered, wrinkled, and loathsome of visage,” as Wilde wrote, Albright pushed the depiction to the limits of good taste: the eyes bulge maniacally, and sores and pustules cover his leprous features. At the end of his life, Albright turned his pitiless gaze on himself in a haunting series of self-portraits, one of which he made in his hospital bed three days before he died.
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\r\nAs the largest repository of Albright works in the world, the Art Institute is proud to organize this exhibition showcasing one of Chicago's most uncompromising artists. In exploring the "way of all flesh," Albright challenged conventional notions of art and beauty, earning fame as well as notoriety. More than 30 works from the museum's collection present a focused retrospective of Albright's enduring masterpieces, which even today retain the power to shock, move, and fascinate.
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Galleries 182–84
\r\n\r\nCharles White (1918–1979) powerfully interpreted African American history, culture, and lives over the course of his four-decade career. A superbly gifted draftsman and printmaker as well as a talented mural and easel painter, he developed a distinctive and labor-intensive approach to art making and remained committed to a representational style at a time when the art world increasingly favored abstraction. His work magnified the power of the black figure through scale and form, communicating universal human themes while also focusing attention on the lives of African Americans and the struggle for equality. This exhibition—the first major retrospective of White’s work in more than 35 years—showcases an accomplished artist whose work continues to resonate amid today’s national dialogues about race, work, equality and history.
\r\n\r\nBorn in Chicago and educated at the School of the Art Institute, White was part of the city’s flourishing black artistic community of the 1930s. He was determined to employ art in the struggle for social change, declaring, “Paint is the only weapon I have with which to fight what I resent.” Influenced by Mexican muralists such as Diego Rivera, White completed several important mural commissions in the city, including one for a branch of the Chicago Public Library.
\r\n\r\nWhite married sculptor Elizabeth Catlett in 1941, and the couple soon settled in New York. Together they traveled to Mexico City, where White honed his printmaking skills as part of the printmaking collective known as the Taller de Gráfica Popular. In New York in the 1940s and early 1950s, White showed his work at the progressive ACA Gallery and was a prominent member of African American and leftist artist communities. White moved to Southern California in 1956, and his career flourished as he embraced drawing and printmaking more fully, pushing at the boundaries of his media while continuing to engage with civil rights and equality. Despite his rejection of the prevailing style of Abstract Expressionism and ongoing use of an expressive figuration, he found critical acclaim in the United States and abroad.
\r\n\r\nCharles White: A Retrospective unites a selection of White’s finest paintings, drawings, and prints, presenting the full breadth of his work and demonstrating his artistic development. The themes he explored—African American history and the fight for freedom, the nobility of black people, and the dignity of labor and human nature—reveal his talent and passion, and encourage viewers to consider current questions of history, politics, and identity in relation to the recent past.
\r\n\r\nCharles White: A Retrospective is organized by the Art Institute of Chicago and The Modern Museum of Art (MoMA), in collaboration with the Los Angeles County Museum of Art (LACMA). Following its debut at the Art Institute, the exhibition will be on view at MoMA October 7, 2018–January 13, 2019, and then travel to LACMA, where it will be on view February 17–June 9, 2019.
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Top image: Charles White. The Trenton Six, 1949. Amon Carter Museum of American Art, Fort Worth, TX. © The Charles White Archives Inc.
\r\n","type":"Event","state":"published","slug":"charles-white-a-retrospective","created_at":"2018-10-22 20:43:09.923176","updated_at":"2018-10-22 21:08:12.474161","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'13':477B '17':491B '182':6B '1918':10B '1930s':165B '1940s':266B '1941':226B '1949':502B '1950s':269B '1956':297B '1979':11B '2018':475B '2019':478B,494B '35':118B '7':474B '84':7B '9':493B 'abroad':352B 'abstract':72B,334B 'aca':277B 'acclaim':346B 'accomplish':122B 'african':14B,98B,285B,384B 'also':91B 'american':15B,99B,286B,385B,507B 'amid':129B 'amon':503B 'angel':452B 'approach':52B 'archiv':515B 'art':54B,68B,150B,171B,436B,445B,456B,463B,508B 'artist':123B,161B,289B,378B 'attent':93B 'black':80B,160B,395B 'born':140B 'boundari':313B 'branch':214B 'breadth':371B 'california':295B 'career':28B,300B 'carter':504B 'catlett':224B 'chang':177B 'charl':1A,8B,353B,428B,497B,513B 'chicago':142B,217B,439B 'citi':157B,209B,240B 'civil':322B 'collabor':448B 'collect':252B 'commiss':206B 'commit':58B 'communic':86B 'communiti':162B,290B 'complet':202B 'consid':414B 'continu':126B,318B 'counti':453B 'coupl':229B 'cours':22B 'critic':345B 'cultur':17B 'current':415B 'de':257B 'debut':460B 'decad':27B 'declar':178B 'demonstr':376B 'despit':326B 'determin':168B 'develop':45B,379B 'dialogu':133B 'diego':199B 'digniti':399B 'distinct':47B 'draftsman':32B 'draw':305B,365B 'earli':268B 'easel':42B 'educ':144B 'elizabeth':223B 'embrac':304B 'employ':170B 'encourag':411B 'engag':320B 'equal':104B,137B,325B 'exhibit':106B,466B 'explor':383B 'express':341B 'expression':335B 'favor':71B 'februari':490B 'fica':259B 'fight':189B,389B 'figur':81B,342B 'finest':363B 'first':108B 'flourish':159B,301B 'focus':92B 'follow':458B 'form':85B 'fort':509B 'found':344B 'four':26B 'four-decad':25B 'freedom':391B 'full':370B 'fulli':309B 'galleri':5B,278B 'gift':31B 'gr':258B 'histori':16B,139B,386B,418B 'hone':243B 'human':88B,403B 'ident':421B 'imag':496B 'import':204B 'inc':516B 'includ':210B 'increas':70B 'influenc':193B 'institut':151B,437B,464B 'intens':51B 'interpret':13B 'januari':476B 'june':492B 'known':253B 'labor':50B,401B 'labor-intens':49B 'lacma':457B,483B 'leftist':288B 'librari':219B 'live':19B,96B 'los':451B 'magnifi':75B 'major':109B 'make':55B 'marri':221B 'media':316B 'member':283B 'mexican':195B 'mexico':239B 'modern':442B 'moma':446B,472B 'move':292B 'mural':40B,205B 'muralist':196B 'museum':443B,454B,505B 'nation':132B 'natur':404B 'new':233B,262B 'nobil':393B 'octob':473B 'one':211B 'ongo':337B 'organ':433B 'paint':179B,364B 'painter':43B 'part':154B,248B 'passion':409B 'past':427B 'peopl':396B 'polit':419B 'popular':260B 'power':12B,77B 'present':368B 'prevail':331B 'print':367B 'printmak':34B,245B,251B,307B 'progress':276B 'promin':282B 'public':218B 'push':310B 'question':416B 'race':135B 'recent':426B 'reject':328B 'relat':423B 'remain':57B 'represent':61B 'resent':192B 'reson':128B 'retrospect':4A,110B,356B,431B 'reveal':405B 'right':323B 'rivera':200B 'scale':83B 'school':147B 'sculptor':222B 'select':359B 'settl':231B 'sever':203B 'show':271B 'showcas':120B 'six':501B 'skill':246B 'social':176B 'soon':230B 'southern':294B 'state':350B 'struggl':102B,174B 'style':62B,332B 'superbl':30B 'talent':39B,407B 'taller':256B 'theme':89B,381B 'time':65B 'today':130B 'togeth':235B 'top':495B 'travel':237B,481B 'trenton':500B 'tx':511B 'unit':349B,357B 'univers':87B 'use':338B 'view':470B,489B 'viewer':412B 'weapon':183B 'well':36B 'white':2A,9B,112B,152B,201B,220B,242B,270B,291B,354B,361B,429B,498B,514B 'whose':124B 'work':74B,114B,125B,136B,273B,374B 'world':69B 'worth':510B 'year':119B 'york':234B,263B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668438/nava4kkpic4gpxj47hup.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669504/event_ics_1721669504614.ics","carousel":null,"category_name":"Exhibitions"},{"id":6137,"title":"Georg Jensen: Scandinavian Design for Living","starts_at":"2018-06-22 20:00:00","ends_at":"2018-09-09 21:00:00","body":"Regenstein Hall
\r\n
In 1904, Danish silversmith Georg Jensen (1866–1935) founded one of the world’s most celebrated design companies: the eponymous Georg Jensen. After emerging during a fruitful period in Danish art and culture, Jensen’s practice in Copenhagen continued to evolve, contributing to the meteoric rise of Scandinavian design in the United States and around the world. This exhibition—the first major American presentation of Jensen silver tableware and products for the home—tells a sweeping story of the creation of a global identity for Danish design and the changing ideals for modern living across the 20th century.
\r\n\r\nFrom its earliest days, Georg Jensen gained a reputation for producing magnificent silver tableware—monumental serving dishes, inventive candelabra, and refined tea services—which were featured in exhibitions throughout Europe. In the decades that followed, a combination of gleaming sculptural forms and lush ornament established the company’s signature style. While remaining true to this unique aesthetic and the studio’s tradition of fine craftsmanship, Jensen’s talented designers, such as Johan Rohde and Sigvard Bernadotte, also created works that pushed the boundaries of modern style. This practice continued after Jensen’s death in 1935 and gained particular momentum after World War II. Close collaborations with now iconic designers Henning Koppel and Nanna Ditzel, as well as special commissions such as Verner Panton’s 1988 pop-inspired “Crash” Tray, ensured that design at Georg Jensen kept pace with transformations in contemporary life and material culture.
\r\n\r\nPresenting over 100 spectacular and rare works in silver, this exhibition celebrates the company’s vision for the Scandinavian home, with products ranging from the monumental to the everyday. Displayed alongside important Danish furniture pieces, works in silver are joined by inventive and accessible designs for flatware and serving dishes in wood, melamine, and stainless steel, highlighting Georg Jensen’s seminal, yet understudied, contribution to the history of the modern interior.
\r\n\r\n![\"\"](\"https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2807/original/jensen2.jpg\")
\r\n\r\n
Top image: Harald Nielsen. Pitcher, model 606, designed 1930, produced 1930–32. Promised gift from a private collection.
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\r\n
John Singer Sargent (1856–1925) was the most sought-after portraitist of his generation on both sides of the Atlantic, creating powerful, vibrant likenesses of his sitters. Best known for his portraits, Sargent nevertheless excelled in a variety of genres, including landscapes, watercolors, and murals. Born in Florence to American parents, he lived his life abroad, traveling the world in search of his subjects and working professionally for more than 50 years. A truly cosmopolitan artist, Sargent’s Chicago story has yet to be told. The first major exhibition of the painter’s work at the museum in over 30 years, John Singer Sargent and Chicago’s Gilded Age presents the full range of Sargent’s talents, tracing his Chicago connections while also illuminating the city’s vibrant art scene at the turn of the 20th century.
\r\n\r\nSargent first showed at the Art Institute—at the time located at Michigan Avenue and Van Buren Street—in 1890, the year Chicago officially became the nation’s “second city” in terms of population. Among his paintings on view was La Carmencita, a striking portrait of a Spanish dancer that is at once old and new—a tribute to Old Master painting that is also an Impressionist exploration of color and brushwork. The composition drew crowds of visitors to the museum, helping to put Chicago on the map as a recognized center for contemporary art and culture.
\r\n\r\nThis dramatic early showing was followed by many more Chicago exhibitions. Between 1888 and 1925, Sargent’s paintings were included in more than 20 public displays in the city, among them the Inter-State Industrial Exposition, the World’s Columbian Exposition, exhibitions at the Arts Club of Chicago, and the Art Institute’s American Annuals. The artist’s presence in Chicago owed much to local businessman Charles Deering, who built an important collection of his work over a lifetime of friendship. Other Art Institute supporters such as Martin A. Ryerson, Annie Swan Coburn, and Robert Allerton helped establish a Sargent legacy for the city.
\r\n\r\nFeaturing approximately 100 objects from the Art Institute’s collection, private collections, and public institutions, John Singer Sargent and Chicago’s Gilded Age examines Sargent’s impressive breadth of artistic accomplishment and the many connections between the artist, his patrons, his creative circle, and the city. In so doing, the exhibition opens up rich narratives about Chicago’s cultural ambitions, the development of a national art, and the interplay of traditionalism and modernism at the turn of the 20th century.
\r\n\r\n![\"\"](\"https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2808/original/sargent2.jpg\")
Top image: John Singer Sargent. The Loggia, Vizcaya, 1917. Anonymous loan.
\r\n","type":"Event","state":"published","slug":"john-singer-sargent-and-chicago-s-gilded-age","created_at":"2018-10-22 20:43:18.9297","updated_at":"2018-10-22 21:08:11.922469","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'100':353B '1856':14B '1888':258B '1890':168B '1917':439B '1925':15B,260B '20':269B '20th':147B,429B '30':111B '50':82B 'abroad':67B 'accomplish':381B 'age':8A,120B,373B 'allerton':342B 'also':134B,213B 'ambit':410B 'american':61B,300B 'among':183B,275B 'anni':337B 'annual':301B 'anonym':440B 'approxim':352B 'art':140B,154B,243B,291B,297B,329B,357B,416B 'artist':87B,303B,380B,388B 'atlant':31B 'avenu':162B 'becam':173B 'best':39B 'born':57B 'breadth':378B 'brushwork':220B 'built':316B 'buren':165B 'businessman':312B 'carmencita':190B 'center':240B 'centuri':148B,430B 'charl':313B 'chicago':5A,90B,117B,131B,171B,233B,255B,294B,307B,370B,407B 'circl':393B 'citi':137B,178B,274B,350B,396B 'club':292B 'coburn':339B 'collect':319B,360B,362B 'color':218B 'columbian':286B 'composit':222B 'connect':132B,385B 'contemporari':242B 'cosmopolitan':86B 'creat':32B 'creativ':392B 'crowd':224B 'cultur':245B,409B 'dancer':197B 'deer':314B 'develop':412B 'display':271B 'dramat':247B 'drew':223B 'earli':248B 'establish':344B 'examin':374B 'excel':46B 'exhibit':100B,256B,288B,401B 'explor':216B 'exposit':282B,287B 'featur':351B 'first':98B,150B 'florenc':59B 'follow':251B 'friendship':327B 'full':123B 'generat':25B 'genr':51B 'gild':7A,119B,372B 'hall':10B 'help':230B,343B 'illumin':135B 'imag':432B 'import':318B 'impress':377B 'impressionist':215B 'includ':52B,265B 'industri':281B 'institut':155B,298B,330B,358B,365B 'inter':279B 'inter-st':278B 'interplay':419B 'john':1A,11B,113B,366B,433B 'known':40B 'la':189B 'landscap':53B 'legaci':347B 'life':66B 'lifetim':325B 'like':35B 'live':64B 'loan':441B 'local':311B 'locat':159B 'loggia':437B 'major':99B 'mani':253B,384B 'map':236B 'martin':334B 'master':209B 'michigan':161B 'modern':423B 'much':309B 'mural':56B 'museum':108B,229B 'narrat':405B 'nation':175B,415B 'nevertheless':45B 'new':204B 'object':354B 'offici':172B 'old':202B,208B 'open':402B 'owe':308B 'paint':185B,210B,263B 'painter':103B 'parent':62B 'patron':390B 'popul':182B 'portrait':43B,193B 'portraitist':22B 'power':33B 'presenc':305B 'present':121B 'privat':361B 'profession':78B 'public':270B,364B 'put':232B 'rang':124B 'recogn':239B 'regenstein':9B 'rich':404B 'robert':341B 'ryerson':336B 'sargent':3A,13B,44B,88B,115B,126B,149B,261B,346B,368B,375B,435B 'scene':141B 'search':72B 'second':177B 'show':151B,249B 'side':28B 'singer':2A,12B,114B,367B,434B 'sitter':38B 'sought':20B 'sought-aft':19B 'spanish':196B 'state':280B 'stori':91B 'street':166B 'strike':192B 'subject':75B 'support':331B 'swan':338B 'talent':128B 'term':180B 'time':158B 'told':96B 'top':431B 'trace':129B 'tradit':421B 'travel':68B 'tribut':206B 'truli':85B 'turn':144B,426B 'van':164B 'varieti':49B 'vibrant':34B,139B 'view':187B 'visitor':226B 'vizcaya':438B 'watercolor':54B 'work':77B,105B,322B 'world':70B,284B 'year':83B,112B,170B 'yet':93B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668438/dfnu3cbmtw9sf2y0pypz.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669505/event_ics_1721669504655.ics","carousel":null,"category_name":"Exhibitions"},{"id":6139,"title":"The Yoshida Family: Three Generations of Japanese Print Artists","starts_at":"2018-07-07 20:00:00","ends_at":"2018-09-30 21:00:00","body":"Gallery 107
\r\n
The Yoshida family has remarkably produced three generations of woodblock print artists in Japan, many of whom have been central to the major Japanese print movements of the 20th century. The patriarch of the family, Yoshida Hiroshi (1876–1950), was one of the most prolific artists in the history of woodblock printing and produced nostalgic landscape images coveted by collectors in Japan and abroad. After his death in 1950, the Yoshida family artists embarked on a new path, adding abstraction and a multiplicity of foreign influences to their art.
\r\n\r\nWhile Hiroshi’s oldest son, Toshi, worked closely under his father’s tutelage, he struggled to maintain his own identity as an artist. Later in his career, he began to make prints that were stylistically very different from those of his father, including line-based portraits of women. Hiroshi’s youngest son, Hodaka, whose work underwent several radical shifts during his career, led the family into a new world of abstract prints. Having been instilled with a love for travel by his father, Hodaka conveyed his reactions to different locales in his artwork. In the late 1950s and early 1960s, he created energetic works inspired by his trips to Mexico. Fujio, Hodaka and Toshi’s mother, began exploring sensual abstracted floral themes in prints at the age of 62, while Hodaka’s wife, Chizuko, though trained as an abstract painter, joined the family tradition after marrying and began making prints. Ayomi, the current generation’s Yoshida, is the most conceptual of the family’s artists; her prints serve as records of the true focus of her work—the carving process.
\r\n\r\nThis exhibition presents works that were a gift from the family to the Art Institute in 2012 and commemorates the impressive career of Yoshida Chizuko, who passed away last year.
\r\n","type":"Event","state":"published","slug":"the-yoshida-family-three-generations-of-japanese-print-artists","created_at":"2018-10-22 20:43:22.758118","updated_at":"2018-10-22 21:08:11.658237","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'107':11B '1876':49B '1950':50B,80B '1950s':198B '1960s':201B '2012':298B '20th':40B '62':230B 'abroad':75B 'abstract':91B,172B,221B,240B 'ad':90B 'age':228B 'art':100B,295B 'artist':9A,23B,57B,84B,123B,266B 'artwork':194B 'away':309B 'ayomi':252B 'base':146B 'began':129B,218B,249B 'career':127B,163B,303B 'carv':280B 'central':31B 'centuri':41B 'chizuko':235B,306B 'close':108B 'collector':71B 'commemor':300B 'conceptu':261B 'convey':186B 'covet':69B 'creat':203B 'current':254B 'death':78B 'differ':137B,190B 'earli':200B 'embark':85B 'energet':204B 'exhibit':283B 'explor':219B 'famili':3A,14B,46B,83B,166B,244B,264B,292B 'father':111B,142B,184B 'floral':222B 'focus':275B 'foreign':96B 'fujio':212B 'galleri':10B 'generat':5A,19B,255B 'gift':289B 'hiroshi':48B,102B,150B 'histori':60B 'hodaka':154B,185B,213B,232B 'ident':120B 'imag':68B 'impress':302B 'includ':143B 'influenc':97B 'inspir':206B 'instil':176B 'institut':296B 'japan':25B,73B 'japanes':7A,35B 'join':242B 'landscap':67B 'last':310B 'late':197B 'later':124B 'led':164B 'line':145B 'line-bas':144B 'local':191B 'love':179B 'maintain':117B 'major':34B 'make':131B,250B 'mani':26B 'marri':247B 'mexico':211B 'mother':217B 'movement':37B 'multipl':94B 'new':88B,169B 'nostalg':66B 'oldest':104B 'one':52B 'painter':241B 'pass':308B 'path':89B 'patriarch':43B 'portrait':147B 'present':284B 'print':8A,22B,36B,63B,132B,173B,225B,251B,268B 'process':281B 'produc':17B,65B 'prolif':56B 'radic':159B 'reaction':188B 'record':271B 'remark':16B 'sensual':220B 'serv':269B 'sever':158B 'shift':160B 'son':105B,153B 'struggl':115B 'stylist':135B 'theme':223B 'though':236B 'three':4A,18B 'toshi':106B,215B 'tradit':245B 'train':237B 'travel':181B 'trip':209B 'true':274B 'tutelag':113B 'underw':157B 'whose':155B 'wife':234B 'women':149B 'woodblock':21B,62B 'work':107B,156B,205B,278B,285B 'world':170B 'year':311B 'yoshida':2A,13B,47B,82B,257B,305B 'youngest':152B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668438/epx359f3r598ed5uunca.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669504/event_ics_1721669504455.ics","carousel":null,"category_name":"Exhibitions"},{"id":1857,"title":"Ornamental Traditions: Jewelry from Bukhara","starts_at":"2018-07-13 12:00:00","ends_at":"2019-10-16 17:00:00","body":"Gallery 50
Located in present-day Uzbekistan, the Emirate of Bukhara (1785–1920) was an important center of Islamic religion and scholarship and a major oasis on the famous Silk Road that traversed Central Asia from ancient times. As such, it was highly diverse—home to the majority Uzbek and Tajik populations in addition to communities of Arabs, Jews, and Turkmens who played a role in the emirate’s vibrant trade. Over time, Bukhara developed its own iconic style of jewelry characterized by intricate blue enamelwork that mirrored the region’s blue-glazed, tiled architecture. Russia’s colonization of Bukhara in 1866 brought with it more advanced enameling techniques, allowing for increasingly complex designs.
In almost every context, the jewelry of Bukhara embodied great meaning and was rarely considered mere decoration. Large, ornate suits of jewelry were thought to protect the wearer from evil spirits, particularly during important events like weddings, and were the strongest assertion of a person’s power and wealth. Throughout Uzbekistan, such objects were designed to be worn as sets rather than exist as singular pieces.
![\"An](\"https://artic-web.imgix.net/9cd591e9-e253-4ee8-8a35-fb9f1d2a7f3f/225873_Neckband.jpg?rect=0%2C0%2C1500%2C2250&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=38&blur=30&sat=20\")
Some of the most magnificent examples of Uzbek jewelry come from the court of the last emir of Bukhara, Mohammed Alim Khan (1880–1944), where men and women dressed in embroidered silks, fine silver, and enameled jewels. Their jewelry served various functions, often simultaneously: indicating political status and wealth, signifying religious and spiritual practice, and marking important rites of passage or ethnic identity.
Ornamental Traditions: Jewelry from Bukhara brings together nearly 50 jeweled objects from the Central Asian region of Bukhara—promised gifts from the private collection of Barbara Levy Kipper and her late husband, David—and rare ikat and embroidered textiles from the Art Institute’s permanent collection. The jewelry and decorative objects presented in this exhibition offer an exceptional experience of a rich and vibrant artistic heritage rarely seen outside the former Soviet Union.
Top Image: Qur’an Carrying Case, 1890 or 1891. Bukhara, Uzbekistan. Promised gift of Barbara and David Kipper.
","type":"Event","state":"published","slug":"ornamental-traditions-jewelry-from-bukhara","created_at":"2019-08-24 20:01:14.585822","updated_at":"2019-08-24 20:01:15.327116","excerpt":"","is_timeless":true,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1785':18B '1866':109B '1880':228B '1890':348B '1891':350B '1920':19B '1944':229B '20th':193B '50':7B,277B 'addit':60B 'advanc':114B 'alim':226B 'allow':117B 'almost':123B 'ancient':43B 'arab':64B 'architectur':102B 'art':310B 'artist':333B 'asia':41B 'asian':283B 'assert':163B 'barbara':202B,294B,356B 'bird':190B 'blue':91B,99B 'blue-glaz':98B 'bring':274B 'brought':110B 'bukhara':5A,17B,80B,107B,129B,195B,224B,273B,286B,351B 'carri':346B 'case':347B 'center':23B 'central':40B,282B 'centuri':194B 'character':88B 'collect':292B,314B 'colon':105B 'come':215B 'communiti':62B 'complex':120B 'consid':136B 'context':125B 'court':218B 'david':204B,301B,358B 'day':12B 'decor':138B,318B 'design':121B,176B 'develop':81B 'divers':50B 'dress':234B 'earli':192B 'embodi':130B 'embroid':236B,306B 'emir':15B,74B,222B 'enamel':115B,241B 'enamelwork':92B 'ethnic':267B 'event':156B 'everi':124B 'evil':151B 'exampl':211B 'except':326B 'exhibit':323B 'exist':184B 'experi':327B 'famous':35B 'fine':238B 'former':339B 'function':247B 'galleri':6B 'gift':200B,288B,354B 'glaze':100B 'great':131B 'heritag':334B 'high':49B 'home':51B 'husband':300B 'icon':84B 'ident':268B 'ikat':304B 'imag':343B 'import':22B,155B,262B 'increas':119B 'indic':250B 'institut':311B 'intric':90B 'islam':25B 'jew':65B 'jewel':242B,278B 'jewelri':3A,87B,127B,143B,214B,244B,271B,316B 'khan':227B 'khorezm':197B 'kipper':205B,296B,359B 'larg':139B 'last':221B 'late':299B 'levi':295B 'like':157B 'locat':8B 'magnific':210B 'major':31B,54B 'mark':261B 'mean':132B 'men':231B 'mere':137B 'mirror':94B 'moham':225B 'near':276B 'neckband':188B 'oasi':32B 'object':174B,279B,319B 'offer':324B 'often':248B 'ornament':1A,269B 'ornat':140B 'outsid':337B 'particular':153B 'passag':265B 'pendant':191B 'perman':313B 'person':166B 'piec':187B 'play':69B 'polit':251B 'popul':58B 'power':168B 'practic':259B 'present':11B,320B 'present-day':10B 'privat':291B 'promis':199B,287B,353B 'protect':147B 'qur':344B 'rare':135B,303B,335B 'rather':182B 'region':96B,284B 'religi':256B 'religion':26B 'rich':330B 'rite':263B 'road':37B 'role':71B 'russia':103B 'scholarship':28B 'seen':336B 'serv':245B 'set':181B 'signifi':255B 'silk':36B,237B 'silver':239B 'simultan':249B 'singular':186B 'soviet':340B 'spirit':152B 'spiritu':258B 'status':252B 'strongest':162B 'style':85B 'suit':141B 'tajik':57B 'techniqu':116B 'textil':307B 'thought':145B 'throughout':171B 'tile':101B 'time':44B,79B 'togeth':275B 'top':342B 'trade':77B 'tradit':2A,270B 'travers':39B 'turkmen':67B 'union':341B 'uzbek':55B,213B 'uzbekistan':13B,172B,198B,352B 'various':246B 'vibrant':76B,332B 'wealth':170B,254B 'wearer':149B 'wed':158B 'women':233B 'worn':179B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668287/ucgetzau6ciijdszxuc9.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669358/event_ics_1721669358132.ics","carousel":null,"category_name":"Exhibitions"},{"id":5959,"title":"The Art Institute of Chicago Block Party","starts_at":"2018-07-21 10:30:00","ends_at":"2018-07-21 22:30:00","body":"
Saturday, July 21, 2018, 10:30 a.m.–10:30 p.m.
\r\nThroughout the museum
It's time to party at the Art Institute. On Saturday, July 21st, come to the Art Institute for a day of talks, performances and art making that fill the museum's galleries, gardens, library and public spaces. This 12-hour celebration led by artists, musicians and dancers from across Chicago includes programming for adults and kids of all ages.
\r\n\r\nThis daylong gathering highlights the deep and lasting contributions of Chicago's creative communities. Experience a progression of events activating the museum's galleries, libraries, study rooms, gardens, and public spaces, culminating in exciting music performances, all celebrating our city's rich history and bright future.
\r\n\r\n$10 museum admission for Illinois residents with advance purchase.
\r\n\r\n
\r\nA few highlights include (find the full list here):
\r\n
\r\n10:30 a.m.–1:30 p.m.
\r\nArt-Making: Drawn From Chicago: Make and Mail Postcards with Intuit
\r\nMake your own Joseph Yoakum-inspired postcard of Chicago's sites and mail it to someone special with Art Design Chicago partner Intuit: The Center for Intuitive and Outsider Art.
\r\n
\r\n11 a.m.
\r\nPerformance: Reading Charles White with The Lucky Trikes
\r\nWatch performance artists The Lucky Trikes celebrate a brand new children’s book about Chicago artist Charles White, taking place outside of the exhibition Charles White: A Retrospective. Recommended for families with young children.
\r\n
\r\n11 a.m., 1 p.m., 3 p.m.
\r\nGallery Tour: Tour the Block with Julia Bachrach
\r\nLearn about the fascinating history of the Art Institute and its outdoor museum setting in Chicago’s “Front Yard” with Julia Bachrach, author of The City in a Garden: A History of Chicago’s Parks.
\r\n
\r\n11:30 a.m., 1:30 p.m.
\r\nArt-Making: Send a Postcard from 1893
\r\nMake a collaged postcard inspired by the Ryerson Library's archives of maps, photographs, and memorabilia from Chicago's 1893 Columbian Exposition.
\r\n
\r\n3:30 p.m, 4 p.m.
\r\nGallery Talk: Never a Lovely So Real: Photography and Film in Chicago, 1950–1980
\r\nJoin exhibition curator Michal Raz-Russo in a discussion of Never a Lovely So Real: Photography and Film in Chicago, 1950–1980.
\r\n
\r\nSaturday will also be a fantastic opportunity to catch these exhibitions now on view at the Art Institute as part of Art Design Chicago: Flesh: Ivan Albright, Never a Lovely So Real: Photography and Film in Chicago, 1950–1980, and Charles White: A Retrospective.
Visit their page for more updates leading up to the event, including a schedule of programs and a link to pre-register.
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\r\n\r\nWebb has been in Chicago since mid-July, making multiple recordings every day with assistance from museum staff and two dedicated students from the School of the Art Institute of Chicago. He has reached out to all areas of Chicago and nearby suburbs, from Edgewater to Humboldt Park to South Shore. Webb anticipates collecting more than 70 recordings and has spent time so far with the Midwest Buddhist Temple, First Immanuel Lutheran Church, and the Beth Shalom B’nai Zaken Ethiopian Hebrew Congregation of Chicago, among other communities of faith. All recorded individuals are named in the exhibition, along with their communities or congregations, and all faith groups receive a copy of their own recording. Most important, all participants are invited to attend an opening discussion and public preview on the evening of Thursday, September 6.
\r\n\r\n\r\n\r\n
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Fullerton Hall *Free with museum admission, registration required
\r\n\r\nOn the occasion of her special exhibition, Judy Ledgerwood: Chromatic Patterns for the Art Institute of Chicago, Ledgerwood reflects on her work as an artist.
\r\n\r\nColor and pattern are fundamental instruments in the work of Chicago-based artist Judy Ledgerwood (American, born 1959)—attributes she has been dynamically refining in her oversized canvases, installations, and ceramics since the 1980s.
\r\n\r\nFor over 30 years her work has been distinguished by a visual vocabulary comprising intentionally decorative motifs that, at times, extend well beyond the edge of the canvas, taking over entire walls or rooms. Ledgerwood derives the circles, quatrefoils, and seedlike forms that often populate her work from symbolic shapes associated with Paleolithic and Neolithic goddess cultures throughout Europe, though they also recall patterns used in fashion, design, and the decorative arts.
\r\n\r\n“My work challenges the authority of the grid by creating paintings that provoke an optical experience often characterized by afterimages, retinal fatigue, and other fugitive, ephemeral, and transient experiences that cannot be predicted, controlled, or legislated,” says Ledgerwood. Using intense colors, she organizes the forms within triangles and chevrons that the artist perceives as ciphers of feminine power.
\r\n\r\n\r\n\r\n
\r\n","type":"Event","state":"published","slug":"artist-talk-judy-ledgerwood","created_at":"2018-10-22 20:44:08.325601","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1959':56B '1980s':72B '30':75B 'admiss':10B 'afterimag':164B 'also':134B 'american':54B 'art':26B,144B 'artist':1A,37B,51B,196B 'associ':123B 'attribut':57B 'author':149B 'base':50B 'beyond':95B 'born':55B 'cannot':175B 'canva':100B 'canvas':66B 'ceram':69B 'challeng':147B 'character':162B 'chevron':193B 'chicago':29B,49B 'chicago-bas':48B 'chromat':22B 'cipher':199B 'circl':110B 'color':38B,185B 'compris':86B 'control':178B 'creat':154B 'cultur':129B 'decor':88B,143B 'deriv':108B 'design':140B 'distinguish':81B 'dynam':61B 'edg':97B 'entir':103B 'ephemer':170B 'europ':131B 'exhibit':19B 'experi':160B,173B 'extend':93B 'fashion':139B 'fatigu':166B 'feminin':201B 'form':114B,189B 'free':7B 'fugit':169B 'fullerton':5B 'fundament':42B 'goddess':128B 'grid':152B 'hall':6B 'instal':67B 'institut':27B 'instrument':43B 'intens':184B 'intent':87B 'judi':3A,20B,52B 'ledgerwood':4A,21B,30B,53B,107B,182B 'legisl':180B 'motif':89B 'museum':9B 'neolith':127B 'occas':15B 'often':116B,161B 'optic':159B 'organ':187B 'overs':65B 'paint':155B 'paleolith':125B 'pattern':23B,40B,136B 'perceiv':197B 'popul':117B 'power':202B 'predict':177B 'provok':157B 'quatrefoil':111B 'recal':135B 'refin':62B 'reflect':31B 'registr':11B 'requir':12B 'retin':165B 'room':106B 'say':181B 'seedlik':113B 'shape':122B 'sinc':70B 'special':18B 'symbol':121B 'take':101B 'talk':2A 'though':132B 'throughout':130B 'time':92B 'transient':172B 'triangl':191B 'use':137B,183B 'visual':84B 'vocabulari':85B 'wall':104B 'well':94B 'within':190B 'work':34B,46B,78B,119B,146B 'year':76B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668458/hdwmb7nkfaslzunabo0u.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669523/event_ics_1721669523523.ics","carousel":null,"category_name":"Talks"},{"id":6468,"title":"Hairy Who? 1966–1969","starts_at":"2018-09-26 01:00:00","ends_at":"2019-01-06 17:00:00","body":"
Galleries 268, 271–73, and 124–27
Neither a movement nor a style, Hairy Who was simply the name six Chicago artists chose when they decided that the best way to find success as individuals was to join forces and exhibit together. As the Hairy Who, Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum—all recent graduates of the School of the Art Institute of Chicago—began mounting unconventional displays of bright, bold graphic work at the Hyde Park Art Center on the city’s South Side. Over a period of four years, they transformed the art landscape of Chicago, injecting their new and unique voices into the city’s rising national and international profile. The Art Institute is proud to organize this first-ever major survey exhibition dedicated solely to the groundbreaking exhibition group.
Like all Americans of their generation, the young Chicagoans of the Hairy Who came of age during a period of national upheaval that witnessed the escalation of the war in Vietnam, assassinations of political figures, student protests, a rising counterculture, tumultuous racial and gender relations, and the expansion of a capitalist consumer economy. Their work—vividly unbridled yet also formally refined—embodied irreverence and youthful fearlessness. Between 1966 and 1969, they staged six uninhibited and informal exhibitions—three in Chicago and one each in San Francisco, New York, and Washington, DC.
Although the Hairy Who chose to exhibit together, they were six individuals with their own personal, chiefly figurative vocabularies. They each radically manipulated source material collected from everyday life—including advertisements, comics, posters, and sales catalogs—with technical virtuosity. Their sense of humor embraced idiosyncrasy and spontaneity with wordplay, puns, and inside jokes that often belied the transgressiveness of their subject matter. Ambiguous, provocative, but also strategic, their work transmitted progressive ideas that challenged prevailing notions of gender and sexuality, social mores and standards of beauty, and nostalgia and obsolescence.
This comprehensive exhibition and accompanying publication—presented on the 50th anniversary of the group’s final Chicago show—features approximately 225 works assembled from public and private collections, together with key works drawn from the Art Institute’s collection, and includes large-scale paintings, sculpture, and works on paper as well as archival ephemera that contextualize the artists’ creative processes and working methods.
Images: from left: Jim Nutt. Wowidow, 1968. The Lacy Armour and Samuel and Blanche Koffler Acquisition funds; the Estate of Walter Aitken. © Jim Nutt.; Center: Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum. Hairy Who, 1966. The Art Institute of Chicago, gift of Gladys Nilsson and Jim Nutt; Right: Art Green. Consider the Options, Examine the Facts, Apply the Logic (originally titled The Undeniable Logician), 1965. Smart Museum of Art, University of Chicago, Anonymous Gift, 1996.60. © Art Green.
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This selection, featuring paintings from 2002 to 2018, is the first solo museum exhibition of Abts’s paintings in the United States in ten years. Many of the works will be on view for the first time in the U.S., and one new work will be shown for the first time anywhere. This mid-career survey includes shaped and cast canvases and features Abts’s signature idiosyncratic color palettes and dynamic sense of movement. It is presented by the Art Institute and the Serpentine Galleries, London, and is co-curated at the Art Institute by James Rondeau and Lekha Hileman Waitoller.
“Tomma Abts is authoritatively and innovatively expanding the scope of abstract painting,” says James Rondeau, President and Eloise W. Martin Director of the Art Institute of Chicago. “While seemingly indebted to historical models her work is utterly novel. Considered across several decades, the work beautifully comprises a self-contained universe of the artist’s own making. At the same time, Abts’s precise approach continues to exert serious influence on contemporary painting.”
The works feature formal connections that speak to the complexities of the artist’s process, elements from one painting may reappear in another, demonstrating a bridge from one painting to the next. Abts works with formal elements—arcs, circles, planes, polygons, and stripes—and interweaves them with highlights and shadows, converting two-dimensional canvases into complex illusory spaces. She does not make preparatory sketches but instead works intuitively directly on canvas. Abts’s acrylic and oil-canvas paintings, mostly all measured to the exact same dimensions (19.8 x 15 inches), involve complex, nonrepresentational shapes that are layered and woven throughout each piece. Abts titles her paintings by choosing names from a dictionary of first names from a particular region in Germany.
“Tomma Abts has found limitless possibilities for expanding her experiments in painting,” says Lekha Hileman Waitoller, co-curator of the exhibition. “Her work insistently challenges the boundaries of the medium by exploring the materiality of painting as is particularly evident in her shaped and cast canvases.”
Abts received the esteemed Turner Prize in 2006, and her work has been the subject of major solo exhibitions at the Aspen Art Museum (2014), the New Museum of Contemporary Art, New York; the Hammer Museum, Los Angeles (2008) and Kunsthalle Düsseldorf (2011). A catalogue, beautifully designed by Mevis & van Deursen in close collaboration with the artist, accompanies the exhibition. Essayists include James Rondeau, Kate Nesin, curator and art historian, and Juliane Rebentisch, Frankfurt-based professor of philosophy and aesthetics. Abts’s work is represented in public collections internationally including The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh, Pennsylvania; Hammer Museum, Los Angeles; The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Staatsgalerie Stuttgart; Tate Gallery, London; and the Walker Art Center, Minneapolis, Minnesota.
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This is the first in a series of collection-based exhibitions exploring connections between photography and other creative fields.
Aaron and Barbara Levine’s Washington, DC, home and all its contents form one great art library. The couple has spent thirty years collecting postwar and contemporary art. Objects small and large line the walls or perch on tables, shelves, and other areas. Many of these works belong to the history of conceptual art, in which thinking about the meanings of art is as important as the visual—retinal—sensations gained by looking.
Plentiful as they are, works of art in the Levine home are far outnumbered by books—some 7,000 at present. While many of these volumes are about artists and art, others are by artists and were made as works of art in their own right. Like many of the works on the Levines’ walls, nearly all their books also foreground photography—used to make the illustrations—and language. The Levines are particularly drawn to books conceived as portable sculpture, and they approach publications and works of art in a similar manner, as objects to study and learn from.
Image: Assaf Evron, The Levines' Home, 2018.
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Since 1982, the Art Institute has maintained a world-class facility devoted to the examination, analysis, preservation, and conservation of photographs, including a cold-storage vault dedicated to color photographs—the first of its kind in a fine art museum. This exhibition invites visitors to travel behind the scenes of our cutting-edge conservation lab, revealing the numerous steps taken to care for and preserve the collection, which comprises approximately 24,000 objects, from early daguerreotypes to present-day digital prints and time-based media. Visitors are able to discover how structural and aesthetic integrity is restored to damaged works through microphotographs that uncover characteristic features of papers, artificially aged samples that illustrate the effects of light on dyes, and side-by-side copies of the same image that show the inherent shortcomings of certain processes and the benefits of proper storage conditions.
Through a wide selection of works from the museum’s collection that showcase the technical history of photographic processes from the 19th century to the present, as well as the related conservation, preservation, and connoisseurship issues that attend them, this unique presentation affords the rare opportunity to look at the collection through a conservator’s eyes and see photographs anew.
Image: Courtesy of AIC
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Making its US premiere at the Art Institute of Chicago, Two Meetings and a Funeral considers the historical pivot from the socialist perspective of the 1973 Non-Aligned Movement meeting in Algeria to its ideological counterpoint, the emergence of a transnational Islamic perspective at the 1974 Organization of Islamic Cooperation meeting in Pakistan. The project is centered on Bangladesh’s hesitant, contradictory navigation of these two historic meetings and is set against the backdrop of its struggle for United Nations recognition.
Through archival film material; images of architectural specters in New York, Algiers, and Dhaka; and footage of conversations with key leaders that point to the contradictions within decolonization movements, the film conjures a visually dense memory of these two meetings. Focusing on Global South nations—spanning Asia, Africa, Latin America, and the Middle East—and the shift that some of these nations made from a socialist political perspective to one centered on Islamic ideals, the project considers the erosion of a unified Third World as a potential space for decolonization, liberation theology, and socialism.
Image: Installation view courtesy of the artist
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Accustomed to urban scenes and subjects, he focused on a very different landscape: thickets, a picket fence, an open field, and Lake Erie. Bey also returned to traditional black-and-white printing, and more particularly to gelatin silver prints, a process he had not used since the early 1990s. Through these choices Bey wanted to make a far greater shift: from pictures of the here and now to the vast, historical subject of the Underground Railroad, the network of secret routes and safe houses that aided enslaved African Americans on their path to freedom.
Bey also wished to pay homage to photographer Roy DeCarava (1919–2009) and poet Langston Hughes (1901–1967), who each addressed the African American experience in their work in part by foregrounding what DeCarava called “a world shaped by blackness.” DeCarava’s mastery of even the darkest tones gave Bey a model for depicting the twilight uncertainty that those fleeing slavery confronted as they traveled northward. Meanwhile, the closing couplet of Hughes’s short poem “Dream Variations”—“Night coming tenderly / Black like me.”—inspired the exhibition title. Bey has said that he wanted to hold darkness itself in a tender embrace.
The result is a series of 25 large-scale photographs, most of which are on view in this presentation—the first showing of Bey’s latest body of work in a museum. All the pictures were made around Cleveland and Hudson, Ohio, a final way station for those seeking freedom in Canada. The photographs show homes and patches of land that are rumored to have formed part of the invisible railroad “track,” leading those seeking freedom from one unfamiliar place to the next.
Bey chose a dense, vibrant selection of 19th- and 20th-century photographs from the Art Institute’s collection to hang directly outside the exhibition gallery, works that complement the exhibition by suggesting the range of ways that the American landscape has been represented in photographs and the place of African Americans within that physical and social landscape.
The series Night Coming Tenderly, Black was commissioned by FRONT International: Cleveland Triennial for Contemporary Art.
Image: Dawoud Bey, Untitled #25 (Lake Erie and Sky), 2017.
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The images of Lee Bontecou (American, born 1931) are unmistakably hers: black voids, cosmic orbs, floating serrated teeth, mutant flowers, and strange, hybrid forms. They reflect a post–World War II angst and existential fear brought on by the arms race and nuclear threat, coupled with awe at a technology capable of space travel. While best known for her wall reliefs that bridge the divide between painting and sculpture, Bontecou produced a series of important prints between 1962 and 1982 at Universal Limited Art Editions (ULAE), a workshop founded by Tatyana Grosman in West Islip, New York, in 1957. This exhibition is the first show devoted to Bontecou’s prints since 1975 and is drawn from the Art Institute’s complete edition and significant archive of her ULAE production.
The images of Lee Bontecou (American, born 1931) are unmistakably hers: black voids, cosmic orbs, floating serrated teeth, mutant flowers, and strange, hybrid forms. They reflect a post–World War II angst and existential fear brought on by the arms race and nuclear threat, coupled with awe at a technology capable of space travel. While best known for her wall reliefs that bridge the divide between painting and sculpture, Bontecou produced a series of important prints between 1962 and 1982 at Universal Limited Art Editions (ULAE), a workshop founded by Tatyana Grosman in West Islip, New York, in 1957. This exhibition is the first show devoted to Bontecou’s prints since 1975 and is drawn from the Art Institute’s complete edition and significant archive of her ULAE production.
In Bontecou’s prints, as in her early sculptures, the color black dominates. “Getting the black,” she said, “opened everything up.” The color, through its endless interpretability, evokes the mystery of the infinite and the terror of the unknown. Her powerful prints—mostly lithographs but some etchings—attend to all of the profound issues Bontecou addressed in her sculptures and drawings. In particular, many of the prints she produced at ULAE explore the black void at the heart of her early sculptures, a motif that runs through her entire career.
Into the Void: Prints of Lee Bontecou analyzes for the first time the totality of her prints as a reflection and an extension of her larger corpus, showing not only final states of her prints but also working proofs, variant states, finished and preparatory drawings, matrices (such as the copper etching plates used to print her works), and other ephemera that shed further light on her practice. Including over 100 objects, the exhibition explores the phenomena of process, repetition, and artistic obsession, and traces Bontecou’s voyage through a series of experiments and happy accidents toward the mystique of her final, definitive images.
Image: Lee Bontecou, Fifth Stone, 1964.
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Hamanishi’s earliest mezzotints, from the 1970s, depict models that he built in his studio. His images often feature forms that tie, twist, fold, or bind, such as steel rods bound with cloth, twigs tied with ropes, origami, and kimono. In his Division series, begun in the late 1980s and continued through 2002, these familiar forms are infused with color and complemented by abstract shapes.
This exhibition celebrates the 2013 gift of a large number of Hamanishi works from the Ninion and Sheldon Landy Collection, which made the Art Institute's collection of his prints the largest in the world. The exhibition also features artworks given by the Landys and Hamanishi himself as far back as 1985, when former curator Osamu Ueda first accepted a print by him into the collection and began the artist’s long relationship with the Art Institute.
Image: Hamanishi Katsunori
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The detail illustrated here is one of over 50 brightly colored figures neatly embroidered in orderly rows that decorate a dark indigo blue mantle, or cloak. Each figure holds a small feline whose striped legs identify it as the pampas cat, a powerful predator and protector of agricultural fields. The individual appears to channel otherworldly power, as streamers emerge from his mouth and down his back, suggesting that the figure embodies the supernatural forces believed to govern the natural world. Made by the Paracas, a southern coastal community that flourished in Peru from about 500 BC to AD 200, this type of figure appears throughout the Andes and across artistic media. For example, among the Nazca, a community that emerged following the decline of the Paracas, woven textiles and painted vessels depict similar imagery—individuals dressed in ornate costumes and wearing whiskered masks—that suggests otherworldly transformation and connection between the natural and supernatural.
This exhibition features over 60 textiles along with a small selection of ceramics from the museum’s collection that together explore the ways select Andean cultures developed distinct textile technologies and approaches to design. While emphasizing the unique aspects of each culture and highlighting Andean artistic diversity, the exhibition also invites comparisons across cultures and time periods. These objects speak to shared ideas concerning everyday life, the natural world, the supernatural realm, and the afterlife, demonstrating a unified visual language that spans the Andes region from its ancient past to modern communities.
Image: Mantle (detail), Paracas. South Coast; Peru, 100 BC.
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The new performance and installation by Cevdet Erek (born 1974, Istanbul), chiçiçiçichiciçi, takes its cue from daily life: how footsteps strike the pavement; how one’s fingers gently play a railing or a fence; or how beats, rhythms, and sonic patterns affect the movement of people on the street. Each sound is a percussive proposal and designates a different motion or relationship to the architectures and objects that are part of this everyday soundscape.
Erek’s practice as a musician, architect, and visual artist revolves around sound as a measure for space, time, and the world around us. Erek’s new work, chiçiçiçichiciçi, uses the gallery wall in the museum’s Griffin Court as instrument, soundtrack, and graphic notation. Conflating representation and performance, Erek adds various forms of visual and written language to the wall—all variations of the work’s onomatopoeic title—while the same wall is host to architectural elements that can be played as instruments. Erek’s own prerecorded sound permeates Griffin Court through a 18-channel sound installation, in order to suggest a pace, to impact how our bodies navigate space, and to designate a shifting proximity to architecture and sound.
chiçiçiçichiciçi is the first installment of Iterations, a series of new performance commissions.
The next installment of Iterations presents Cally Spooner’s DEAD TIME (a crime novel).
ABOUT ITERATIONS
Iterations is a series of new performance commissions that underline the wide range of artistic practices and attitudes in performance today. Over the course of three years (2019–2021), the series will present works by Alexandra Bachzetsis, Math Bass, Cevdet Erek, Ralph Lemon, Paulina Olowska, Cally Spooner, and Evelyn T. Wang.
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Erek’s practice as a musician, architect, and visual artist revolves around sound as a measure for space, time, and the world around us. Erek’s new work, chiçiçiçichiciçi, uses the gallery wall in the museum’s Griffin Court as instrument, soundtrack, and graphic notation. Conflating representation and performance, Erek adds various forms of visual and written language to the wall—all variations of the work’s onomatopoeic title—while the same wall is host to architectural elements that can be played as instruments. Erek’s own prerecorded sound permeates Griffin Court through a 18-channel sound installation, in order to suggest a pace, to impact how our bodies navigate space, and to designate a shifting proximity to architecture and sound.
chiçiçiçichiciçi is the first installment of Iterations, a series of new performance commissions. Erek opens the installation with a performance on February 28 at 6:00.
The next installment of Iterations presents Cally Spooner's DEAD TIME (a crime novel).
Image: Cevdet Erek, Sketch for chiçiçiçichiciçi, 2018
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The earliest of the paintings, Old Man with a Gold Chain (1631), is a bust-length painting of an elderly man. Rembrandt depicted this model so frequently that many assumed he was the artist’s father, though no evidence for this claim exists. The man is richly dressed in a sumptuous black velvet coat and feathered hat, sporting a gold-hoop pearl earring, as well as both a heavy gold chain and steel gorget around his neck. While these latter adornments were often used in Renaissance portraits to indicate actual military accomplishments, in Rembrandt’s painting they are mere theatrical props, which along with the dramatic lighting imply that we are to understand the work as a type of character study (called a tronie) rather than as a true portrait.
In his Self-Portrait of 1636–38 from the Norton Simon Museum, Rembrandt similarly portrayed himself in three-quarter profile, thoughtfully making eye contact with his audience from under a knitted brow. Although his likeness is faithful and familiar, his pose is affected, his left hand tucked into the breast of a costly and elaborate jacket. His attire once again harkens back to costumes from the previous century, a way to align his painting with Renaissance portraits intended to elevate the status of painters, who had long been regarded as craftspeople rather than as proper artists. His well-off and aristocratic appearance is aspirational in regard to his economic means as well: at the time Rembrandt was hovering on the brink of bankruptcy. Again, dramatic lighting underscores the artificiality of the work.
Portrait of a Boy, also visiting from the Norton Simon, has a similarly imaginative nature, showing a boy with a roughly sketched pet, perhaps a bird or monkey, on his left shoulder. His ornate garb—a plumed hat and lace-collared shirt—is again from an earlier period. And yet despite the theatrical costume and inclusion of the exotic pet, the portrait comes across as frank and honest. The boy, illuminated by a soft light that falls evenly across his face, engages us directly with his shining, round eyes. The portrait may be unfinished—affording a rare glimpse of the artist’s hand at work—but the boy’s expression is anything but incomplete.
Costuming plays less of a role in Young Woman at an Open Half-Door by Rembrandt and his workshop; instead it is the way in which the young woman interacts with the viewer that complicates the work. Paintings in which the subject greets the viewer at a shop or house door are not uncommon; indeed they date back to the Renaissance. However, in the Art Institute’s painting, the woman does not directly acknowledge us as a dear friend or valued customer but rather leans forward out of the door and, seemingly, out of the picture plane. Placing her hands firmly on the wooden ledge in front of her, she creates a physical barrier between herself and the viewer. At the same time, she looks askance, her face half-shrouded in darkness. While the image is a “portrait” of a young woman, it also gives the subject herself agency. She is clearly directing her gaze elsewhere, but to whom or to what?
Taken together these four paintings show Rembrandt’s brilliant skill as a painter, especially as a painter of people, as well as his deep knowledge of historical subjects and art history. His use of artifice and costumes not only celebrates a historical genre but also anticipates a future in which identity is something created by the artist, and humanity is expressed by everyday people.
Image: Rembrandt Harmenszoon van Rijn, Old Man with a Gold Chain, 1626-1636.
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'young':501B,522B,636B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668246/pa3bmvi8mpdh40eevvtd.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669282/event_ics_1721669282460.ics","carousel":null,"category_name":"Exhibitions"},{"id":1200,"title":"Christien Meindertsma: Everything Connects","starts_at":"2019-03-21 12:00:00","ends_at":"2019-10-20 17:00:00","body":"What can you do with an entire harvest of flax or 1,000 wool sweaters? The possibilities are endless and entwined.
Since graduating from the Eindhoven Design Academy, Christien Meindertsma has become known for her research-oriented work that explores the potential of raw materials and reveals processes that have become obsolete due to industrialization. Her prototypes, documentary videos, and finished objects highlight our relationship to the materials and products in the world around us and address concerns of environmental sustainability.
This exhibition showcases two of Meindertsma’s recent projects. For Flax Project (2012–present), she purchased a harvest of flax from a farmer in order to study methods of production from unprocessed material to final products. On display in this exhibition is each step involved in transforming raw flax into an entirely biodegradable chair, one that won Meindertsma the Dutch Design Award in 2016. The designer shifted her focus to a different production process for Fibre Market (2016–present), using fiber-sorting machines to scan and sort 1,000 wool sweaters based on their material content. The scanned results revealed frequent inaccuracies in the information provided on the sweaters’ labels, making evident the fact that common clothing is often made from a wider range of materials than indicated. After sorting, the sweaters were shredded and made into fibers that Meindertsma developed into a yarn and then a bespoke Donegal tweed. This recycled fabric can be used in many ways, including as an upholstery fabric for one of her biodegradable Flax Chairs—bringing Meindertsma’s design process full circle.
By exploring the often hidden lives of products within their social, political, and material contexts, Meindertsma invites us to reconsider the value of objects, especially the potential of undervalued resources such as flax and recycled wool. Her projects suggest that intelligent processes and design can play an important role in addressing the overconsumption of resources and prompting positive change.
Exhibitions are free with museum admission.
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A professor and director of the Low-Residency MFA program at the School of the Art Institute of Chicago, Bordowitz was an early participant in New York’s ACT UP (AIDS Coalition to Unleash Power), where he cofounded various video collectives, including Testing the Limits, an advocacy group within ACT UP, and DIVA (Damn Interfering Video Activists). While developing a visual language capable of communicating harm-reduction models to a broad public in his collaborative works, he made his own videos and television broadcasts, such as some aspect of a shared lifestyle (1986) and Fast Trip, Long Drop (1993), that juxtaposed performance documentation, archival footage, role play, and recordings of protest demonstrations, drawing influence from feminist conceptual art. In recent years Bordowitz has increasingly introduced poetry and performance as art events, exploring histories of televised stand-up comedy in works such as Only Idiots Smile (2017) and Some Styles of Masculinity (2017).
I Wanna Be Well—named after the 1977 Ramones song—marks the first comprehensive overview of the artist’s prodigious career, which spans three decades of production. Moving between multiple genres including video, art made for television, published poems, site-specific installation, live performance, and rare selections from the artist’s personal archive and library, the exhibition contemplates an expanded concept of portraiture as a mode of political and artistic address.
All videos in the exhibition have closed captioning.
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Connoisseurship is an avenue of art historical inquiry shared by scholars, collectors, and other specialists that relies on close examination to assess a work of art. When it comes to ukiyo-e, or pictures of the floating world, differences in color intensity, design, line definition, and condition among prints of the same design can provide valuable insight into a given print’s origin, authenticity, and quality. Often, assessing a print requires comparing it to another example of the same work to identify fading, repairs, or additional elements not present in other versions.
This exhibition brings together works by Hokusai, Utamaro, Sharaku, and other ukiyo-e printmakers to explore questions of connoisseurship, asking the viewer to closely compare multiple editions of the same design and observe the differences between them. Although The Great Wave was traditionally printed with a bright pink sky, surviving prints most often feature a sky of pale beige, the result of fading from light exposure. All three of the Art Institute’s Great Wave prints—one of which retains its pink color—are presented together in this exhibition. Each was made after the first state of the design, a fact evidenced in distinct ways, such as the broken lines of the title cartouche in the upper left corner, the most obvious sign that these prints were not made when the blocks were new and unworn.
While the earliest state of a print is considered to be the closest approximation of the artist’s original intent, later states, many of which were produced by a publisher rather than the artist, are not necessarily less aesthetically appealing or less valid. From time to time, blocks were recut to insert a different detail, modify text, or even add or remove a feature of nature, such as a cloud or a tree. The different shapes of light blue on the waves of one of the Great Wave prints, for example, are the result of a new block that was added later on. In other instances, a print may have deteriorated from fading, paper loss, and other ravages of time before being carefully repaired in ways only detectable when the work is compared to a print in pristine condition.
By identifying and closely examining differences in works of the same design, viewers can gain insight into the intricacies of the dating, authentication, repair, and commercial production of Japanese woodblock prints—and learn to draw their own informed conclusions.
Image: Katsushika Hokusai, Under the Wave off Kanagawa also known as The Great Wave, 1826-1836
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Revolutionary images with bold slogans were one tool this art collective used to advocate for social justice and pan-African solidarity.
The Medu Art Ensemble formed in the late 1970s in opposition to South Africa’s apartheid policy of racial segregation and violent injustice. Through graphic design and poster production, members forcefully articulated a call for radical change, advocating for decolonization or majority (nonwhite) rule in South Africa and in the neighboring countries of Angola, Mozambique, Namibia, and Zimbabwe. Medu, meaning “roots” in the Sepedi language, evolved organically and operated underground, as its name suggests. Persecuted by the South African Defense Force, Medu members lived and worked in exile just across the South African border in Gaborone, Botswana. Defying a ban on their existence, the Medu collective at its height numbered as many as 50 South African and international artists, musicians, and writers.
The People Shall Govern! is the first-ever exhibition on Medu in North America. Featured among its 130 objects are more than 60 posters by members of the ensemble and related makers, all recently acquired by the Art Institute of Chicago. Collaboratively executed and often printed in the hundreds, Medu’s offset lithograph and screen-printed posters combine sobering and revolutionary imagery with bold slogans that, in word and image, mobilized citizens to support causes in social and economic justice and encouraged pan-African solidarity.
Surviving examples of Medu posters that were smuggled into South Africa and mounted in public spaces are exceedingly rare, as they were regularly confiscated or torn down on sight. With this recent acquisition, the Art Institute is home to the most comprehensive holding of these vibrant works outside South Africa. Additional items, on loan for this exhibition from former Medu members and archival sources in South Africa and Chicago, make clear how the Medu spirit of oppositional creativity transformed the culture of resistance in southern Africa during the late 20th century.
Exhibitions are free with museum admission.
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Join staff from the Department of Conservation and Science, who will present exciting pop-up talks and demonstrations about a wide range of materials in the medieval galleries, including arms and armor, embroidery, sculpture, frames, ceramics, and paintings.
ONGOING ACTIVITIES
Materials Table
Drop in 5:30–7:30
Griffin Court
Look closely at the materials used to make medieval art with conservators and scientists.
Water-Gilding Demonstration
5:30-6:15 or 6:30–7:15
Ryan Learning Center, Studio B
Watch a demonstration of how paintings and frames were water gilded in the medieval world. The full demonstration will run twice during the evening: once from 5:30 to 6:15 and again from 6:30 to 7:15.
Response Station
Drop in 5:30-7:30
Gallery 235
Respond to the evening’s events by participating in this interactive station.
15-MINUTE GALLERY TALKS
All talks meet in the galleries designated below, located in the Deering Galleries of Medieval and Renaissance Art, Arms, and Armor.
5:30-5:45 Select one of the following talks to attend.
6:00-6:15 Select one of the following talks to attend.
6:30-6:45 Select one of the following talks to attend.
7:00-7:15 Select one of the following talks to attend.
Persons with disabilities who would like to request an accessibility accommodation for an Art Institute program are encouraged to send an email to access@artic.edu two weeks in advance of the program.
Image: Conservator Julie Simek works closely on the details of the museum’s Ayala Altarpiece.
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Khwezi Gule, director of the Johannesburg Art Gallery, discusses the legacy of the Medu Art Ensemble.
A collective of cultural workers formed in the late 1970s in South Africa and based in Botswana, the Medu Art Ensemble at its height comprised approximately 50 members working across artistic media, all united in their struggle against South Africa’s apartheid policy of racial discrimination. This program is presented in conjunction with the exhibition, The People Shall Govern! Medu Art Ensemble and the Anti-Apartheid Poster, which features posters made during the apartheid period that forcefully call for radical change, and reflect the complex social and political realities of that time.
Persons with disabilities who would like to request an accessibility accommodation for an Art Institute program are encouraged to send an email to access@artic.edu two weeks in advance of the program.
Image: Khwezi Gule
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From the pyramids to the Mona Lisa, photography has long helped make other works of art iconic. Few photographs, however, have become icons in their own right. A photograph is typically considered “iconic” on account of a famous subject or a momentous occasion. The works in this exhibition, by contrast, have achieved iconic status simply as pictures. The stories of how they became icons, however, are not so simple—in fact they are part of the complicated history of photography as a form of fine art.
Over the past four decades, Robin and Sandy Stuart have acquired an impressive number of these exemplary images, principally from the modernist period of roughly 1920–1970. During this period, many artistically ambitious photographers argued for honest or “straight” images—reality-based, sharply focused—and emphasized the craft of photographic printing. They worked to make art from ordinary subjects, such as a comb or a pepper; to picture brand-new creations, such as a massive dam or a skyscraper; or make viewers see familiar experiences, from sensual intimacy to working life, in new ways. As the variety of images on view make clear, the vocabulary of modern art photography quickly permeated work supposedly made at the margins of the art world—fashion, advertising, and photojournalism.
At the same time, in the mid-20th century, museums—including the Art Institute of Chicago—began collecting and mounting exhibitions of photography, and photographic books and magazines circulated on a vast scale. Scholars, curators, and editors—new voices of authority—proclaimed particular images as definitional to a history of photographic achievement, giving rise to a canon of art photographs that has held an outsize influence on photographers and admirers ever since. Featuring more than 30 photographs by such acclaimed artists as Berenice Abbott, Margaret Bourke-White, Brassaï, Walker Evans, Tina Modotti, Man Ray, Paul Strand, Edward Steichen, and Edward Weston, Iconic examines how that canon was formed and further reminds us that photography’s acceptance as an art was not a foregone conclusion, but was shaped by passionate individuals, interested institutions, and the reproductive capacity of photography itself.
This exhibition is made possible through the Black Dog Fund.
Image: Margaret Bourke-White, Gargoyle, Chrysler Building
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In honor of the 10th anniversary of the Art Institute’s Renzo Piano–designed Modern Wing, enjoy a docent-led tour of some of our favorite spaces in the building and selected artworks that call the Modern Wing home.
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Saturday, May 18
10:30am–3pm
FREE
Explore modes of movement through creative art making, storytelling, performance, and collaborative activities throughout the Ryan Learning Center and around the museum. Experience the recently reinstalled galleries of African art, and, in conversation with teens from the Art Institute’s Youth Programs, make collaborative creations.
This free family festival takes place in the Ryan Learning Center, located in the museum’s Modern Wing at 159 East Monroe Street.
Though admission to the festival is free, museum admission is required to enter the galleries. Don't forget that kids under 14 and Chicago teens under 18 always receive free admission to the Art Institute.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
To request an accessibility accommodation for an Art Institute program, please call (312) 443-3680 or send an email to access@artic.edu as far in advance as possible.
Please see the museum’s Accessibility page for more information.
Interactive Gallery, Ryan Learning Center
Step into a performance space, assemble a costume from abstract shapes, and invent ways to move inspired by sounds and designs.
The Interactive Gallery in the museum’s Ryan Learning Center is a place for creative play—a space where visitors of all ages are invited to experiment with artistic ideas, materials, and practices, and to respond creatively to the things they see, feel, and think about their experiences in the museum.
Visitors who have stepped into the Interactive Gallery over the last year will know that this space has hosted different types of participatory interactions. Drawing Room made space for people to engage with drawing as an interpretive act. Living Room encouraged visitors to contemplate and converse, inspired by the museum’s collection. Coloring Room was a celebration of hues and tones, engaging participants in hands-on explorations of color theory. This exhibition, Room to Move, is the first installation in the Ryan Learning Center that invites people to work together in movement-based creations.
The installation is inspired by performance art and connects to a number of notable happenings in the museum this year. One is Iterations, the Art Institute’s new series of contemporary performance commissions. Launched this past February, Iterations explores the range of practices in the world of performance art today. The series will continue over the next three years with artists activating various museum spaces, challenging both our understanding of those spaces and what a work of art can be.
This year also marks the 100th anniversary of the Bauhaus, the German art school founded by Walter Gropius. Bauhaus artists worked in a range of media and techniques—from painting and sculpture to textile design, graphic design, typography, architecture, and performance—and understood these different artistic disciplines as being equal and connected. Bauhaus performance artists often investigated the relationships between human movement, geometry, structure, and physical space.
While Room to Move connects to historical and contemporary performance practices, it is first and foremost a place for intergenerational creative play. You don’t need to know anything about performance art to enjoy dressing up and inventing new ways to move—but you may just discover how moving playful participation can be.
Image: A concept sketch by School of the Art Institute of Chicago undergraduate and exhibition design intern Juan Arango Palacios, who contributed to the development of the space’s design and interactive zones.
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In 1919, 39 posters came to the Art Institute of Chicago, courtesy of the Underground Electric Railways London. The posters, full of brilliant colors and innovative designs, were part of an effort to encourage Londoners to use this commercial transportation system: to visit the city’s cultural attractions, go shopping, attend sporting events, and even venture into the countryside—all by taking Underground trains and buses, of course. Installed outside Underground stations on public streets and on the front of buses that traversed the city, these posters formed a vibrant civic art presence—a public gallery available to all.
Over the next 20 years more posters arrived at the museum, coming at irregular intervals and eventually forming a collection of almost 350 artworks—an extraordinary sample from the golden age of this remarkable poster campaign, one that continues to this day. Until now, however, the story of how and why these posters came to Chicago has not been known. The architect of the poster campaign, from its inception in 1908 until 1939, was Frank Pick, an executive with London’s Underground. Pick’s enthusiasm for art education led him to commission poster designs from many young artists. Indeed, it is likely that the close relationship between the Art Institute of Chicago and the School of the Art Institute was one reason that Pick chose the museum as the eventual keeper of this poster archive.
This exhibition, the first at the museum to showcase this unique collection, begins with a chronological sampling of the posters. Thematic sections feature popular subjects, such as the zoo, museums, and Hampton Court, the royal palace southwest of London on the Thames, while focused displays are devoted to three of the greatest artists who worked for the Underground: Charles Paine, Frederick Herrick, and one of the most illustrious poster artists of the 20th century, Edward McKnight Kauffer, who studied briefly at the School of the Art Institute on his way to Europe.
Among the show’s highlights is Charles Paine’s clever take on King Henry the VIII, depicting him with large shears trimming the heads off his topiary queens in Hampton Court by Tram (1922). Others include Mary Koop’s Summer Sales(1925), which invites viewers to follow a riot of brightly colored umbrellas toward their shopping destination; a modernist depiction of time by Clive Gardiner from 1928 urging riders to buy a season Underground ticket; and Harold Sandys Williamson’s Cheap Tickets to Town, Shop between 10 and 4(1939), an almost surrealistic view of the London cityscape, its sky a sea of floating barrage balloons as protection from German bombs.
A century after the initial posters arrived at the museum, this exhibition features 100 posters—a celebration of the gift, Frank Pick’s inventive campaign, and the beautiful artworks it produced.
Image: Mary Koop, Summer Sales Quickly Reached, 1925
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The first Art Institute exhibition devoted exclusively to Édouard Manet in over 50 years focuses on the transformation of the artist’s style in his later years.
By the late 1870s, when this exhibition begins, Édouard Manet had become recognized as a painter of modern life. He had long looked to historical subjects and style for inspiration but in the 1870s grew more and more immersed in the now—eventually proposing a radical new alignment of modern art with fashionable femininity. While he continued to pursue highly finished, heroically scaled paintings intended for the Salon throughout these later years (a time also marked by health problems and limited mobility), he simultaneously approached smaller works more fluidly and spontaneously, taking up pastel and watercolor while unapologetically embracing beauty and visual pleasure.
This exhibition is the first to focus on this important period in the artist’s career, bringing together an impressive array of portraits of fashionable women—favorite actresses and models, bourgeois women of his acquaintance, and his wife—as well as intimate male friends. Among these are two striking paintings, one of the young model-actress Jeanne Demarsy and the other of his friend Méry Laurent. Called Jeanne (Spring) and Autumn (Méry Laurent), the pair comprises the only two completed works in a project to portray the seasons through paintings of stylishly attired women.
![\"A](\"https://artic-web.imgix.net/13d22e07-739f-4998-8b3f-2cad3d264331/gm_370041EX1_Original_press.jpg?rect=0%2C0%2C2060%2C3000&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=36&blur=30&sat=20\")
Autumn (Méry Laurent), 1881 or 1882
Édouard Manet. Musée des Beaux-Arts de Nancy, Nancy, France. Photo by P. Mignot.
Supplementing this display are the delicate and rarely seen letters Manet wrote to his friends, featuring exquisite illustrations of fruits and flowers; garden pictures, which themselves often feature elegantly attired women; and flower studies, consummate expressions of Manet’s favorite subjects at the end of his life. Punctuating the presentation are large-scale multifigure paintings, including In the Conservatory and Boating, both shown in the 1879 Salon, which focus attention on modern social and gender relations. Together these works showcase both Manet’s responsiveness to the moment and the continual flowering of his artistry.
Top Image: Édouard Manet, Jeanne (Spring), 1881
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McKinlock Court
Benjamin Patterson’s When Elephants Fight, It Is the Frogs That Suffer—A Sonic Graffiti, an immersive 24-channel sound installation, transforms the Art Institute of Chicago’s McKinlock Court into an acoustic frog pond with a symphony of croaks from eight frog species. These croaks, emanating from the bushes and fountain, are echoed by human imitations in English, German, and Greek—each language having its own onomatopoeia for the amphibian’s call. The playful animal chatter intermingles with human choruses intoning proverbs and political messages, including excerpts from texts by Martin Luther King Jr., Nelson Mandela, and former president Barack Obama, and passages from the Brothers Grimm fairytale The Frog King (1812) and Aristophanes’s ancient Greek comedy The Frogs (405 BC).
Patterson was a founder, and the sole African-American member, of Fluxus, an international collective formed in the 1960s that sought to blur the boundaries between art and life, artist and audience, and the visual and performing arts. This installation references Patterson’s signature 1962 performance piece Pond. In both works the artist expressed his admiration for frogs, which he found an apt stand-in for marginalized groups in society. The title of the work is derived from a Greek proverb of African origin that suggests that, in times of financial and political instability, it is the small creatures that are most affected.
When Elephants Fight, It Is the Frogs That Suffer—A Sonic Graffiti was originally commissioned for the exhibition documenta 14 (2017; Athens and Kassel) and was acquired by the Art Institute of Chicago in 2018. Prior to his death in 2016, Patterson provided a participatory score for the work, and in the spirit of Fluxus, institutions are prompted to become coproducers of the installation as they adapt the work to specific environmental contexts. Its exhibition in the museum’s McKinlock Court marks the first time the work has been realized in the United States.
This installation will remain on view as long as the weather permits.
Image: Benjamin Patterson, How Frogs Change the World, 2012
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Gallery 107
The array of prints featured in this exhibition emerged from the specific historical events initiated when a fleet commandeered by US Commodore Matthew C. Perry first landed in Japan in 1853. Perry’s arrival marked the beginning of a period of mutual curiosity between two cultures, and his mission was to open Japan to trade after more than 200 years of restrictive policies under the Tokugawa shoguns. The terms of the trade treaty were not finalized until 1858, at which time five Japanese ports—including Yokohama, the most active—were opened to the member nations: the United States, France, England, Russia, and the Netherlands. Surrounded on all sides by water, the modest foreign settlement at Yokohama was designed to both contain and protect the newcomers.
Prints known as Yokohama-e, or “pictures of Yokohama,” soon capitalized on the novelty of the people and goods coming into the busy international port. The Japanese public had a great appetite for news about the arrivals, and publishers enjoyed a much-needed boost to their businesses when they mass-produced commercial images of this fresh subject matter. However, Yokohama-e were often misrepresented as realistic or factual. While a few of the images take genuine, observed scenes as their source, the prints were often based on engravings in foreign newspapers. Japanese artists created convincing or amusing scenes of Western customs, dress, technology, and transport, and even American cities, often fictionalizing them in the process. The resulting prints found an eager audience among visitors from Europe and the United States as well as domestically.
Image: Utagawa Sadahide, An American Mercantile Building in Yokohama (Yokohama ijin shokan no zu), 1861
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Gallery 186
In Les Goddesses, filmed almost entirely in the artist’s New York apartment, Moyra Davey draws parallels between her familial experience and the family of 18th-century writer and feminist Mary Wollstonecraft.
Leafing through postcards, book pages, and her own photographs as she talks, Davey reflects on varied approaches to photography and film, such as planned versus unscripted recording of reality and the passage from private to public realms with a camera. Davey punctuates her narration with thoughts on writing as she simultaneously listens to and recites a script based on her 2011 essay, “The Wet and the Dry.”
The video’s coda reveals a development in Davey’s photographic practice informed by the filming process of Les Goddesses. The work closes with the artist venturing out and entering the New York City subway, where she focuses her camera on riders engaged in various forms of writing. Les Goddesses highlights the importance of chance in the artist’s work and the paradoxical nature of the creative process. Davey states: “Just when I’d been writing about the disappearance of the figure from my photographs, I found myself taking street pictures again, in the dim green lights of the Manhattan subway.”
Image: Still from Moyra Davey's Les Goddesses, 2011.
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Bluhm Family Terrace
Postcommodity is an arts collective made up of collaborators Cristóbal Martínez and Kade L. Twist, who aggressively tackle some of the most pressing issues of our day. Their site-specific installations, interventions, videos, and sound pieces aim to foster constructive dialogues around social, political, and economic processes that destabilize communities and geographies and to connect Indigenous narratives of cultural self-determination with the broader public sphere.
For their project at the Art Institute, titled With Each Incentive, Postcommodity reimagines the Bluhm Family Terrace as a stage for Chicago’s architectural future and contemplates how it might be transformed by the current wave of Indigenous American refugees from Mexico and Central and South America. The project is a symbolic gesture toward a desirable future that considers the culturally defined, kinship-centric architectural pragmatism often associated with Mexican and Central and South American cities, where a building is not an end but an ongoing process of growth or expansion. On the terrace, this takes the form of an ephemeral sculptural installation with columns of cinder block and steel rebar in various states of completion.
With Each Incentive references an Indigenous American worldview of continual emerging, becoming, and manifesting, rather than completion, finality, and wholeness. It is about making space—socially, culturally, and aesthetically—for refugees and for the intergenerational stewardship of family, culture, and community. This vision of a nimble approach to construction, of being prepared to add on and to build on, presents a new framing of the city’s historic skyline, inviting visitors to glimpse and further imagine Chicago’s Indigenous future.
Image: View of the Installation
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Purchase tickets HERE
Experience an evening inspired by Manet and Modern Beauty, the first Art Institute exhibition devoted exclusively to Édouard Manet in over 50 years.
DANCE to live performances by Astro Samurai and DJ sets by Sadie Woods.
SIP specialty cocktails and more from the open bar.*
TASTE complimentary appetizers.
EXPLORE the exhibition with private access and expert guides.
WIN a pair of Lollapalooza VIP tickets.**
PARTY into the night at the official after-party, Cerise Rooftop, with discounted drinks and music by DJ Will Galvan.
Attendees must be 21+. Only Evening Associates members attending the event have the chance to win Lollapalooza VIP tickets. Not an Evening Associates member yet? Join today.
Event co-chairs: Marta Kavchak and Todd Walton.
Check out our Spotify playlist for the event, curated by board member Ricardo Mondragon.
Follow the Evening Associates on Facebook for the latest news and other events.
@ArtInstitueEA #GardenPartyChi
Proceeds benefit the museum and your contribution is tax-deductible to the extent allowed by the law. All tickets are nonrefundable. Persons with disabilities who would like to request an accessibility accommodation for an Art Institute program are encouraged to send an email to access@artic.edu or call (312) 499-4111 as far in advance as possible.
* Limited to four per person in accordance with Illinois law.
**Evening Associates members, new or current, who purchase Evening Associates tickets to the Garden Party will be automatically entered to win two Lollapalooza VIP tickets. Must be in attendance to win. See the official drawing rules for more information.
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The Art Institute of Chicago commemorates the centenary of Bauhaus with an exhibition highlighting the output of the acclaimed German art school’s textile workshop and its impact on modern and contemporary American art.Weaving Beyond the Bauhaus, on view fromAugust 3, 2019 to February 16, 2020,features 50 works both on and off the loom by pioneering artists such as Anni Albers, Claire Zeisler, Lenore Tawney, Otti Berger, Gunta Stölzl, Else Regensteiner, Ethel Stein, and Sheila Hicks.
Emphasizing experimentation and the union of fine art and design, Bauhaus artists–or Bauhäusler–developed a curriculum pairing aesthetic form with utilitarian function. Many of the artists immigrated to the United States following the forced closure of the school in 1933, where they continued to teach in the spirit of the school’s theories.Weaving Beyond the Bauhaustraces the dynamic networks of teachers and students as they dispersed across the states—underscoring the reciprocal influences, shared vision, and spirit of experimentation that infused their work.
A number of the Bauhäusler found their way to Chicago, where they played prominent roles in education. The current Institute of Design at IIT, established under the name New Bauhaus in 1937 by László Moholy-Nagy, made the city a hub of innovation in art and design. Tawney, Zeisler, and Angelo Testa–whose furnishing fabrics are also on view–all studied at the school under master weaver Marli Ehrman. Art Institute Curator Katharine Kuh had long championed the Bauhäusler, having shown their work at Chicago’s first commercial gallery of modern art, established by Kuh in 1935. Still other textile artists were affiliated with the School of the Art Institute of Chicago, where Else Regensteiner was professor and later director of the weaving department from 1945 to 1971. Regensteiner would be instrumental in adapting the functional styles of the Bauhaus to cloth.
Weaving Beyond the Bauhauschannels the voices of the artists themselves, who tell their own stories through wall texts as well as original postcards, correspondence, and ephemera. Alongside Yale University and the experimental Black Mountain College, the Institute of Design became an incubator of experimentation in materials and form. The exhibition reflects the movement’s innovations, with their “playful productivity”—in the words of Albers—on full display. Together, the Bauhaus artists and their American compatriots pushed the envelope of woven structure, sometimes beyond the loom, challenging reductive notions about the role of weaving and textiles within the broader art world. Their material explorations spanned cellophane and modern metallic thread, glass ornaments, leather and plastics, beads, feathers, pieces of slate, and rubber bands, incorporating elements of painting and printmaking.
Assistant Curator of Textiles Erica Warren, who organized the exhibition, wants visitors to “experience the experimental spirit of the Bauhaus weaving workshop.” Warren explains, “The relationships and affiliations between artists are elucidated through the juxtaposition of works of art, which makes evident their shared approaches to design, materials, techniques, and forms. I hope the show will give visitors a view of the great sense of possibility that unites the works and that continues to resonate within the art world.”
Weaving Beyond the Bauhaustraces the profound impact of the German school’s weaving workshop on the landscape of contemporary American art, following artists for several generations as they collectively expanded conceptions of textiles.
Image: Designed by Sheila Hicks. Produced by V’SOSKE. Rug, c. 1965. The Art Institute of Chicago, gift of Sheila Hicks.
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Galleries 101, 108, and 109
Yang Yanping and her husband Zeng Shanqing belong to a generation of Chinese artists whose early careers were stifled by the Cultural Revolution of Mao Zedong. From 1949 through the late 1970s, the People’s Republic of China regulated the lives and work of its artists, limiting their expression and shutting out international influences. As these policies were loosened, Yang and Zeng were able to practice their art freely in China, winning acclaim before moving to the United States in 1986.
Yang developed a unique style in the early 1980s, rooted in traditional Chinese painting but indisputably modern. Originally trained as an architect, she worked in oils before adopting a more traditional Chinese media—ink on paper. Her signature style features a wiry ink line speckled with tiny dots, executed with pen rather than brush, depicting her favorite themes: lotuses and landscapes. Yang’s contrasting washes, often incandescent in hue, bleed into each other, dissolving these subjects into abstract nebulas of color.
![\"An](\"https://artic-web.imgix.net/a0d4cdb9-6e9b-49c5-a04b-6ecaf1925c9e/37_Control200796.jpg?rect=0%2C0%2C2400%2C1554&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=16&blur=30&sat=20\")
Zeng’s work has largely focused on figure and horse painting, more acceptable subjects in early revolutionary China. Nevertheless, the former professor at the Central Academy of Art suffered political criticism during the Cultural Revolution and endured several years of physical labor. Painted with a large, rapidly wielded brush, Zeng’s boldly polychromatic figures are expressions of dynamic and pent-up energy. Their contorted forms, sometimes in the fetal position, hint at the trauma of his earlier years.
Although celebrated in China in the early 1980s, the couple’s art has been largely neglected in the three decades since they emigrated to New York. This exhibition marks the first presentation of their work in a major United States art museum.
Image: Yang Yanping, Autumn Song, 2018
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Gallery 242
Although Impressionism is most closely associated with oil painting, during the late 19th century, Impressionist artists increasingly began to exhibit and market their prints and drawings as finished works of art. In fact, prints and drawings made up nearly half of the works in the eight Impressionist exhibitions held in Paris between 1874 and 1886. Pastels in particular became increasingly sought-after by collectors.
Pastel, a medium used to draw on paper or, less often, on canvas, is made by combining dry pigment with a sticky binder. Once artists have applied the pastel to the surface, they can either blend it, leave their markings visible, or layer different colors to create texture and tone. Pastel portraits had previously gained popularity in France and England in the 18th century, but fell out of fashion with critics when pastel was deemed too feminine; not only was it used by women artists, but it had a powdery consistency similar to women’s makeup. The Impressionists rejected this bias and instead embraced the medium’s ability to impart immediacy, boldness, and radiance.
This focused installation features pastels by four artists whose work was shown in the Impressionist exhibitions: Mary Cassatt, Edgar Degas, Eva Gonzalès, and Berthe Morisot. Their subjects range from scenes of modern life, such as ballet performers and a woman working in a hat shop, to depictions of intimate moments of bathing and women with children.
Image: Edgar Degas, Three Studies of a Dancer in Fourth Position, 1879/80
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Gallery 188
The museum offers two entrances: the doors to the original 1893 building are at 111 South Michigan Avenue and the 2009 Modern Wing can be entered at 159 East Monroe Street.
The Carolyn S. and Matthew Bucksbaum Gallery is located on the first floor of the museum’s Modern Wing. The gallery is 1,690 square feet, with a north-facing window and two exits.
SPONSORS
The Ruttenberg Contemporary Photography Series is generously supported by the David C. and Sarajean Ruttenberg Arts Foundation.
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Gallery 289
A pioneer and provocateur since the 1960s, Eleanor Antin slyly destabilizes the authority and objectivity of documents through a variety of media—photography, performance, video, and writing.
Her landmark early feminist work, CARVING: A Traditional Sculpture (1972)—part of the Art Institute’s collection—comprises a grid of 148 photographs that sequentially capture the artist’s journey to lose 10 pounds over a 37-day period. Antin’s deadpan, pseudo-scientific self-portraits mock the objectivity of Conceptual Art while alluding to the conceits of Classical sculpture, which claim that the ideal form lies within a block of stone, waiting to be freed by the artist.
Time’s Arrow marks the first time CARVING: A Traditional Sculpture is shown with CARVING: 45 Years Later (2017), an expansive reprisal of the original work through 500 photographs over four months. The pairing of the two works offers a meditation on aging and the passage of time. “It now took forever to lose a single pound,” Antin commented. “I believe that my older body was in a valiant and existential struggle to prevent its transformation into the skeleton beneath the protecting flesh … death.”
The CARVING works are joined by other self-portraits, The Eight Temptations (1972), also in the museum’s collection, as well as her recent self-portrait in a red cape, !!! (2017). Together these pieces offer reflection on aging, transformation, and the conception of the self.
Image: First day of 1972 performance, July 15, 1972, 8:43 a.m., 125.5 pounds
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Galleries 182–84—PLEASE NOTE: These galleries will not be accessible Wednesday, October 2, due to an event in the Modern Wing.
The work of Clara Porset, Lola Álvarez Bravo, Anni Albers, Ruth Asawa, Cynthia Sargent, and Sheila Hicks has never been shown together before. While some of these artists and designers knew one another and collaborated together, they are from different generations, and their individual work encompasses a range of media varying from furniture and interior design to sculpture, textiles, photography, and prints. They all, however, share one defining aspect: Mexico, a country in which they all lived or worked between the 1940s and 1970s. During this period they all realized projects that breached disciplinary boundaries and national divides.
Exhibitions are free with museum admission.
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A new installation of the museum’s collection of 20th- and 21st-century architecture and design works presents the two as an integrated, ever-changing, and multilayered experience.
This fall the Art Institute opens a new installation devoted to the museum’s seminal collection of architectural drawings and furniture, graphic, and industrial designs of the 20th and 21st centuries. This evolving Modern Wing display is the first of its kind in the United States, highlighting important acquisitions and presenting architecture and design as an integrated, ever-changing, and multilayered experience.
The practitioners represented in the Art Institute’s diverse collection showcase the many voices that have shaped the fields of architecture and design and continue to do so today. From Daniel H. Burnham, Marion Mahony Griffin, and Ludwig Mies van der Rohe to Armin Hofmann, Louis Kahn, and Lauretta Vinciarelli as well as contemporary practitioners such as Stan Allen, Irma Boom, Studio Gang, and Yuri Suzuki, works from our past, present, and future are organized chronologically by theme. Sections range from the history of ornament and Pop to contemporary moments in urbanism and speculative design. Delving into the development of the modern city, the effect of technological transformations, the impact of evolving health concerns, and the influence of global dynamics, the history of modern and contemporary architecture and design is presented as a living social and cultural process. A series of new, immersive videos further illuminate key issues and works from Chicago and the Midwest, across the nation, and around the world.
Taking our increasingly complex social, cultural, and political landscape into consideration, this display emphasizes the critical role architecture and design continues to play in identifying urgent issues and generating new thinking and problem solving. Its dynamic narratives highlight the impact of architecture and design thinking and practice on our lives, opening up a space for conversations with the general public, architecture and design enthusiasts, and experts in these fields alike.
Image: Bertrand Goldberg, Marina City, 1958-97
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Gallery 107
The idea was to invite the most prominent artists of the late 20th century to capture a single moment in the present.
The theme—100 views of Tokyo— was a subject that harks back to the great landscape print series of the 19th century by Utagawa Hiroshige and Katsushika Hokusai. The goal? To create a definitive statement, a message, for the future.
Created between 1989 and 1999, most of the prints in this series—conceived by members of the Japan Print Association—depict actual locations in the city such as the Shinjuku area, Tokyo Tower, Haneda airport, and sites such as Tokyo Bay, though a large number of works show completely imaginary places or abstract imagery. The array of methods used reads like an encyclopedia of printing techniques and includes woodblock printing, lithograph, mezzotint, and photo etching. Not only did this project celebrate the long careers of accomplished artists, it launched the careers of others.
This exhibition celebrates the recent acquisition of a complete set of prints in the series and features over 30 works, including Tokyo Rhapsody (above) by Toneyama Kojin (1921–1994), an artist fascinated by the arts of Mexico and Japanese folk arts. In this lithograph, a human figure rides a large wasp over Tokyo, whose buildings and monuments appear jumbled, as if reconfigured into a distorted collage. Is this part of the message to the future? Or is it meant more for the present?
Image: Exterior View of AIC
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Collecting the past while recording the present.
In the 1930s, as the United States was struggling through the Great Depression, a rising interest in early American vernacular arts—collectively referred to as folk art—converged with major documentary photographic projects. As artists, curators, collectors, and government administrators sought to define American culture as distinct from Europe, they identified in these two burgeoning fields a national culture they considered egalitarian, unpretentious, and self-made.
This exhibition is the first to connect these twin impulses to collect the past and record the present by examining the roots of documentary photography and folk art and revealing how the fields were shaped in the early 20th century. At the heart of the display are works that represent two massive governmental projects to document and catalogue everyday life in America. The first, the Works Progress Administration’s (WPA) Index of American Design, hired artists to reproduce in watercolor some 18,000 American decorative arts and crafts from the colonial period to the 1800s. At the same time, the Farm Security Administration (FSA) hired some of the country’s most talented photographers—including Walker Evans, Dorothea Lange, Russell Lee, and Arthur Rothstein—to document the plight of everyday Americans and the government’s role in assisting them, producing an indelible image bank of a nation in crisis.
These arts and objects of everyday people, places, and things inspired a new range of collectors—both individual and institutional—and the work entered the collections of museums and galleries at unprecedented rates. Looking for America examines the legacies of enthusiasts such as Bernard and Margaret Behrend and Elizabeth Vaughan, whose collecting activities led to the foundation of the Art Institute’s own folk art collection.
Alongside carvings, ceramics, furniture, and metalwork emblematic of those illustrated in the WPA Index of American Design, landmark photographs, including key works from Walker Evans’s American Photographs and Berenice Abbott’s Changing New York, reveal how photography began defining modern art. Drawn almost entirely from the museum’s permanent collection, the interdisciplinary display features over 100 works of photography, decorative arts, painting, sculpture, and textiles that are not only vibrant and dynamic examples of American ingenuity but emblematic of a modern—and distinct—American character and vitality.
Image: Walker Evans, Alabama Cotton Tenant Farmer's Wife, 1936.
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Galleries 124–27
Drawing, the most intimate and immediate form of artistic creation, reached one of its pinnacles in the Netherlands during the 17th century—a period commonly known as the Golden Age.
While the story of early modern Dutch and Flemish art typically focuses on the paintings created during the time, this exhibition constructs an alternative narrative, casting drawings not in supporting roles but as the main characters. Featuring works by Rembrandt van Rijn, Peter Paul Rubens, Hendrick Goltzius, Gerrit von Honthorst, Jacques de Gheyn II, and many others, the show traces the development of drawing in this period, exploring its many roles in artistic training, its preparatory function for works in other media, and its eventual emergence as a medium in its own right.
The 17th century brought remarkable change in to the northern and southern Netherlands, including political upheaval, religious schism, and scientific innovation. The reverberating effects of these events had a great impact on art—what kind of art was in demand, who could and did produce art, and where and how art was made. Most artists in 17th-century Netherlands chose their career through family connections, training with a relative who worked in an artistic trade, although there are significant exceptions to this trajectory—Rubens was the son of a lawyer and Rembrandt the son of a miller.
o become a respected artist, one needed to study under a successful and skilled master in a workshop or art academy. Abraham Bloemaert, Rubens, and Rembrandt supervised the three most important workshops of the period, overseeing the development of dozens, if not hundreds, of students. In these workshops, learning to draw was essential. Once an apprentice had mastered basic drawing skills by copying other works and drawing plaster casts or monuments, often traveling to Italy to do so, he progressed to creating drawings “from life.” The ability to accurately depict the human face and body was critical to an artist’s success and was especially important for those who aspired to create history paintings—the genre considered most prestigious because it relied on literary sources and often required portraying multiple figures in complex and dramatic scenes.
Rembrandt, more than other artists of this period, embraced life drawing. Most notably, he pioneered the collective study of the female nude—a commonplace practice today, but one that challenged the bounds of decency in the 17th century. Studying the live figure increasingly became standard practice in the Netherlands during this period, but it was generally restricted to drawing male models, since prevailing cultural norms made it difficult for artists to find women to pose for them, especially in the nude. Among the most celebrated of all Rembrandt’s drawings is a rare study of a female nude, which is featured in this exhibition. An emotive and striking work, it highlights the importance for artists of the period to learn to draw the female figure. This skill, despite its inherent challenges, was necessary to receive critical acclaim.
Although drawings in the 17th century served many purposes— as reference materials, studies for future paintings, preparatory designs for prints—they also emerged as independent works of art, bought, commissioned, and collected by wealthy merchants. This was due in part to the rise of a new genre of drawing: the landscape. Works depicting the natural world and countryside appealed to an increasingly affluent merchant class that lived in a dense urban environment. These city dwellers enthusiastically received highly finished landscape drawings and deemed them objects worthy of preservation and display.
Produced in a broad range of media, including chalk, ink, and watercolor, the drawings in this exhibition are captivating examples of artistic skill and imagination. Together they provide a new view of the creativity and working process of Netherlandish artists in the 17th century and reveal how drawings came to be the celebrated works of art we know them to be today.
Image: Peter Paul Rubens, A Sheet of Anatomical Studies, 1600/10.
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Gallery 186
From 1963 to 1968 Andy Warhol made hundreds of films, and these works are central to his radical reinvention of artistic media. The films ranged from black-and-white silent works to scripted, feature-length color productions that extended the idea of seriality he was exploring in his silkscreen paintings through their repeating frames and infinite reproducibility. A wide range of genres and practices—contemporary experimental film, classic Hollywood movies, documentary cinéma vérité, pornography, and avant-garde performance—inspired his multifaceted approach to filmmaking. The selection of films presented here in their original 16 mm format underscore the links between Warhol’s cinematic career and his groundbreaking work in other media.
Films are screened daily every hour on the hour, beginning at 11:00 a.m. See the schedule of films below.
Please note that the exhibition is closed November 18 to allow time to change the installation of screens.
Outer and Inner Space (1965)
16 mm film, black-and-white, sound; 33 min. at 24 fps in double-screen format
This rare two-screen film captures Warhol’s effervescent superstar Edie Sedgwick speaking to the camera amid a cacophony of sound as she is seated in front of a television monitor playing a prerecorded videotape of herself that was shot by Warhol on a prototype Norelco video system. The resulting work presents a quartet of highly mediated portraits of a chatty Edie—doubled in both video and celluloid images on each screen. The effect is consonant with Warhol’s celebrated serial portraits of Jacqueline Kennedy, Elizabeth Taylor, and Marilyn Monroe, as seen in the Andy Warhol—From A to B and Back Again.
![\"A](\"https://artic-web.imgix.net/1c811d30-6eaf-4f82-8b50-66848718745e/OuterandInnerSpace.jpg?rect=0%2C0%2C1991%2C1500&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=19&blur=30&sat=20\")
Still from Outer and Inner Space, 1965
Haircut no. 1 (1963)
16 mm film, black-and-white, silent; 27 min. at 16 fps
In 1963 Warhol made a trio of films focusing on the haircutting salon parties hosted by Billy Linich (known as Billy Name), the lighting designer of the Factory, Warhol’s studio. In this version, shot in choreographer James Waring’s loft, Linich styles the hair of Renaissance art scholar John Daley. Warhol renders Daley’s features in the luminous, dramatic chiaroscuro shadowing of his painterly predecessors. The six single-take rolls follow the barbering process, punctuated by provocative appearances by the dancer Freddie Herko. At the end Waring bids the audience good night.
![\"A](\"https://artic-web.imgix.net/null76ff6791-c81d-46f4-a2fd-cb4b51fe4d58/1997-4-50_pub_01.jpg?rect=0%2C0%2C3300%2C2446&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=19&blur=30&sat=20\")
Still from Haircut (no.1), 1963
Kiss (1963)
16 mm film, black-and-white, silent; 54 min. at 16 fps
The first Warhol film to be publicly screened, this episodic work consists of a dozen separate rolls assembled into a nearly feature-length film. Each segment, most often shot in close-up in a single take with a stationary camera, focuses on a couple—either gay or straight—kissing. Participants include New York socialites Jane Holzer and Philip van Rensselaer, visual artists Marisol and Mark Lancaster, and filmmakers Naomi Levine and Andrew Meyer. Kiss was Warhol’s most widely screened film in the 1960s and remains an iconic work.
![\"A](\"https://artic-web.imgix.net/067c55c9-fbf7-484d-90e5-9585f7a4395e/Kiss.jpg?rect=0%2C0%2C2728%2C2017&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=18&blur=30&sat=20\")
Still from Kiss, 1963
Tiger Morse (Reel 14 of ****) (1967)
16 mm film, color, sound; 34 min. at 24 fps
Filmed by Warhol in what appears to be the stock room of Joan “Tiger” Morse’s Upper East Side boutique Teeny Weeny, this impromptu portrait film captures the chatty fashion designer. Behind her oversized sunglasses and large cigarette holder, she discusses her mod aesthetic and gossips about New York’s social scene. Warhol responds by alternating the camera’s stare with disorienting strobe cuts that stop Morse mid-sentence and expansive camera movements that defy the tight space of the boutique. The film combines the intimacy of his celebrity portraits with the documentary cinéma vérité style of the era.
![\"A](\"https://artic-web.imgix.net/null4a39b00c-afa7-4c03-a0ac-f911e9e36191/1997-4-138_pub_01.jpg?rect=0%2C0%2C3835%2C2762&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=18&blur=30&sat=20\")
Still from Tiger Morse (Reel 14 of ****), 1967
All film stills: Andy Warhol. ©2019 The Andy Warhol Museum, Pittsburgh, PA, a museum of Carnegie Institute. All rights reserved.
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Member previews: Oct 17–19, 2019
From soup cans to celebrity portraits, electric chairs to album covers, the images of Andy Warhol are among the most recognized and celebrated the world over.
This major retrospective—the first to be organized by a US institution in 30 years—builds on the wealth of new research, scholarship, and perspectives that has emerged since Andy Warhol’s early death in 1987. More than 350 works offer a new view of the beloved and iconic American Pop artist, not only illuminating the breadth, depth, and interconnectedness of Warhol’s production across the entirety of his career but also highlighting the ways that Warhol anticipated the issues, effects, and pace of our current digital age.
Warhol gained fame in the 1960s for his Pop masterpieces, widely known and reproduced works that often eclipse his equally significant late work as well as his crucial beginnings in the commercial art world. This exhibition brings together all aspects and periods of his varied and prolific career and includes paintings, sculpture, drawings, prints, videos, archival and printed material, installation, films, and media works. By showcasing the full continuum of Warhol’s work, rather than focusing on a certain period, this presentation demonstrates that the artist didn’t slow down after surviving the assassination attempt that nearly took his life in 1968 but entered into a period of intense experimentation.
Warhol’s genius lay in his ability to identify cultural patterns and to deploy images not only as representations, but also as generative vehicles. Through repetition, distortion, camouflage, and the recycling of images—and his own unique persona—Warhol continues to challenge our faith in images and the value of cultural icons.
This exhibition was organized by the Whitney Museum of American Art, New York.
This exhibition requires a $7 special exhibition ticket, available in early fall 2019.
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One of the most provocative choreographers of our time, Alexandra Bachzetsis (born 1974, Swiss-Greek) draws from histories of art, music, cinema, popular culture and fashion, and projects them onto the body. Through this method of citation, Bachzetsis considers how our bodies are used and can be activated in today’s increasingly polarizing discussions around identity and body politics.
![\"\"](\"https://artic-web.imgix.net/null9062a58d-4f86-4bbe-bc2d-ec5f1590407b/GHOST_20_F_KK.jpg?rect=0%2C0%2C4724%2C5669&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=30&blur=30&sat=20\")
Photo by Mathilde Agius.
In her newly commissioned work Chasing a Ghost, which premieres at the Art Institute of Chicago, Bachzetsis continuously creates a double—a double body, a double sound, a double space, a double image. Challenging the choreographic archetype of the duet, Chasing a Ghost stages these doubles within a spectrum of violence and desire. Central to this duality is the notion of the uncanny: an estranging phenomenon in a seemingly ordinary context, but also a potential act of transgression as our repressed impulses and subconsciousness may at any time rupture into our reality.
![\"Distorted](\"https://artic-web.imgix.net/null88be87b9-5d0c-4818-820e-4a011d4cfc18/GHOST_01_F.jpg?rect=0%2C0%2C4724%2C3484&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=18&blur=30&sat=20\")
Photo by Mathilde Agius.
Chasing a Ghost encompasses a choreography for five dancers, including the artist herself, an original score performed live by two pianists, and a stage setting that shifts between movement and moving image. These elements are in constant relationship to each other, but the connections between them are intentionally disturbed. Bachzetsis transforms the duet into an unsettling image, the movement between two bodies a distressing and unexpected occurrence, a perpetual folie-à-deux that challenges how we look at ourselves and others.
Chasing a Ghost will be performed:
The University Club of Chicago, in collaboration with the Art Institute, will present an additional solo performance by Alexandra Bachzetsis on November 3 at 6:00 p.m., entitled Private: Wear a Mask When You Talk to Me. This one-time performance will be presented at the University Club’s iconic Cathedral Hall at 76 East Monroe St. location, one block from the Art Institute of Chicago. Reservations are required.
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Gallery 50
The wide range of vegetal, geometric, and animal motifs that tribal jewelers wrought into silver and gold reflects the diverse functions and varied origins of these artworks.
During the 19th and early 20th centuries, cattle-herding nomads from tribes as geographically and culturally diverse as the Ersari and Kuchi of Afghanistan, the Balti of Pakistan, and the Rabari and Ahir of India moved seasonally across Central and South Asia in search of fresh pastures. Although they carried few belongings, these travelers developed a material legacy of adornment practices embodied in the textiles and finely crafted jewelry they wore and bartered, practices that continued as they settled into modest villages over time.
![\"\"](\"https://artic-web.imgix.net/null19ab7cba-37c5-4cb2-8e92-9c6d18e88e1c/IM011226_web.jpg?rect=0%2C0%2C1280%2C1280&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=25&blur=30&sat=20\")
Pair of Geometric Snake Earrings (Pambadam), early 20th century
Velallar; Tamil Nadu, India. Promised gift of Barbara and David Kipper.
These adornments were made by artists of tremendous skill using a range of traditional techniques still practiced today, including sandcasting, lost-wax casting, stamping, engraving, enamel inlay, and the careful twisting and sodering of wire. In their original contexts, such objects served as expressions of tribal affiliation, personal wealth, spiritual beliefs, and cultural heritage. They functioned as capital and currency for men as well as women, protected skin from sunburn and insect bites, and stimulated vital pressure points, or marma, to enhance fertility and relieve pain.
![\"Pair](\"https://artic-web.imgix.net/null6bc91b72-d3ff-4f4f-a9b6-5bcccc910547/IM011241_web.jpg?rect=0%2C0%2C1280%2C1280&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=25&blur=30&sat=20\")
Pair of Temple Pendants (Muchley), late 19th/early 20th century
Katawaz Basin, Afghanistan. Promised gift of Barbara and David Kipper.
This focused exhibition, made up of promised works from the collection of Barbara and David Kipper, presents a sampling of these objects, from ornate headdresses to simple stud earrings, lending insight into their cultural legacy. In recent decades, loss of land due to population growth and industrialization has had significant impact on traditions of adornment. As rapid urbanization continues, preserving and understanding the diverse visual legacies of South Asia’s nomadic cultures remain urgent endeavors.
Exhibitions are free with museum admission.
Top Image: Bracelet (Tada) with Temple Tower (Shikara) Finial, early 20th century
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Gallery 11
The beloved decorating tradition is back, with several of the Thorne Rooms once again getting their seasonal trimmings. Among the most elaborate is the English Drawing Room of the Victorian Period, the only room with a Christmas tree. Now a ubiquitous feature of the season, the Christmas tree, or tannenbaum, was only brought to England from Germany in 1840 with the marriage of Prince Albert to Queen Victoria. The Thorne Room tree and accoutrements are based on a famous engraving of the royal couple and their children surrounding a trimmed and toy-bedecked tree, an image that would forever popularize this holiday fixture. Other ornamented rooms include:
Image: Mrs. James Ward Thorne, E-14: English Drawing Room of the Victorian Period, 1840–70 (detail), about 1937. Gift of Mrs. James Ward Thorne.
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How the Windy City put its own stamp on the Bauhaus aesthetic.
In 1933, when the Nazi regime closed down the German Bauhaus, the renowned school’s history of progressive design education seemingly ended, and with it, its innovative synthesis of art, craft, and technology. Yet by the late 1930s, as World War II loomed on the horizon, a number of the school’s notable designers and educators left Europe and found their way to Chicago, taking positions at the New Bauhaus, later the Institute of Design (ID) and the Illinois Institute of Technology (IIT). As leaders at these institutions, László Moholy-Nagy and Ludwig Mies van der Rohe not only introduced the Bauhaus’s avant-garde ideals to the American Midwest but set about translating them the region’s urban spaces, materials, and industries.
This exhibition, part of the worldwide celebration of the Bauhaus centenary this year, focuses on this period of translation when both instructors and students at the ID and IIT adapted design methods and aesthetics from Germany to the United States. Featuring works that range in scale from jewelry, photography, and textiles to furniture, monumental sculpture, and urban planning, the presentation includes pieces created by many instrumental teachers and talented students—including Ludwig Hilberseimer, Elsa Kula, Nathan Lerner, Emmett McBain, Art Sinsabaugh, and Angelo Testa—who shaped the 20th-century history of design and architecture at these schools.
Structured around key educational themes and workshops, such as light, materials, and shelter, the exhibition dynamically reflects on the nature of design teaching in the studio, in the city, and in spaces of production, highlighting the Bauhaus’s continuing legacy in Chicago and around the world.
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Gallery 203
After its widely popular debut in 2013, our spectacular 18th-century Neapolitan crèche returns once again this holiday season. One of the very few and finest examples of such a work outside of Naples, the crèche is an intricate Nativity scene that reflects the vitality and artisanship that the city is still known for. The Art Institute’s crèche features over 200 figures—including no less than 50 animals and 41 items of food and drink—all staged in a spectacular Baroque cabinet with a painted backdrop. Elaborate, complex, and wondrous, the Neapolitan crèche is a rare example of the genre and a once-in-a-lifetime acquisition for the Art Institute.
Sacred imagery reenacting the Nativity has its roots in fourth-century Rome but by the 13th and 14th centuries, in part due to its association with St. Francis of Assisi, such scenes had become a permanent feature of Neapolitan churches. During the 18th century, the period from which most of the figures of the Art Institute’s crèche date, these relatively simple tableaux underwent a transformation into highly dramatic and theatrical renderings. Traditional sacred elements of Nativity scenes—the Holy Family, wise men, angels, and shepherds—were combined with profane aspects not of Bethlehem but of contemporary Neapolitan life—rowdy tavern scenes and bustling street activities—in dazzling displays of artistic techniques. Churches, wealthy citizens, members of the nobility, and the royal family all competed to commission the most complex presentations of this popular art form from leading artists and artisans, the same people who were creating monumental sculptures and altars for churches and palaces. These artists rendered figures in oil-painted terracotta to achieve the most realistic expressions in crèches and constructed painstakingly detailed costumes of luxurious fabrics that mimicked the fashions of the time. The Art Institute’s crèche represents the pinnacle of this artistic practice, born of the centuries-old tradition of Nativity scenes yet bursting with the energy of 18th-century Neapolitan life.
Due to the fragility of the original silk costumes and exquisite embroidery, the Neapolitan crèche can only be on view for a few weeks every year. Don’t miss your chance to revel in Baroque artistry this season!
Image: Crèche. Mid-18th century. Naples. Restricted gifts of Mr. and Mrs. James N. Bay and Linda and Vincent Buonanno and Family; Eloise W. Martin Legacy Fund; restricted gifts of Ruth Ann Gillis and Michael McGuinnis and Mrs. Robert O. Levitt; Charles H. and Mary F. Worcester Collection Fund.
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Ryan Learning Center
Free with admission
Create dynamic 3-D paper constructions inspired by Bauhaus artists.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
","type":"Event","state":"published","slug":"open-studio-colorful-constructions","created_at":"2019-11-29 22:11:14.937777","updated_at":"2019-11-29 22:11:14.943912","excerpt":"","is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-7161':31B '3':13B '312':29B '857':30B 'admiss':10B 'artist':20B 'bauhaus':19B 'calendar':44B 'call':28B 'center':7B 'color':3A 'construct':4A,16B 'creat':11B 'd':14B 'dynam':12B 'email':33B 'famili':25B,37B,42B 'familyprograms@artic.edu':34B 'free':8B 'inform':23B 'inspir':17B 'learn':6B 'open':1A 'paper':15B 'pleas':27B,39B 'program':26B,38B,43B 'ryan':5B 'studio':2A 'upcom':36B 'visit':40B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668314/cgqizb0gyuwxx51fjyq8.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669383/event_ics_1721669383501.ics","carousel":null,"category_name":"Youth / Families"},{"id":2535,"title":"Open Studio: Colorful Constructions","starts_at":"2019-12-01 10:30:00","ends_at":"2019-12-01 14:00:00","body":"
Ryan Learning Center
Free with admission
Create dynamic 3-D paper constructions inspired by Bauhaus artists.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
","type":"Event","state":"published","slug":"open-studio-colorful-constructions-c6271582-a3ae-4438-87d4-0d6c1d8c633e","created_at":"2019-11-29 22:15:03.034966","updated_at":"2019-11-29 22:15:03.042085","excerpt":"","is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-7161':31B '3':13B '312':29B '857':30B 'admiss':10B 'artist':20B 'bauhaus':19B 'calendar':44B 'call':28B 'center':7B 'color':3A 'construct':4A,16B 'creat':11B 'd':14B 'dynam':12B 'email':33B 'famili':25B,37B,42B 'familyprograms@artic.edu':34B 'free':8B 'inform':23B 'inspir':17B 'learn':6B 'open':1A 'paper':15B 'pleas':27B,39B 'program':26B,38B,43B 'ryan':5B 'studio':2A 'upcom':36B 'visit':40B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668314/buc59cc3f1ytnm8jzqqa.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669384/event_ics_1721669383700.ics","carousel":null,"category_name":"Youth / Families"},{"id":2526,"title":"Picture This","starts_at":"2019-12-05 11:00:00","ends_at":"2019-12-05 11:30:00","body":"
Free with admission
Meet in Griffin Court
Designed especially for our youngest visitors and their caregivers, this program offers a chance for all to enjoy picture books that relate to works of art in the galleries.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
This program is designed for families with children ages 3 and under. This program cannot accept groups. To learn about group offerings, please call (312) 443-9362.
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Free with admission
Woman’s Board Grand Staircase
Local high school choirs fill the museum with songs of the season. Today’s performance features Hubbard High School.
Persons with disabilities who would like to request an accessibility accommodation for an Art Institute program are encouraged to send an email to access@artic.edu two weeks in advance of the program.
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Free with admission
Gallery 200
Frank Lloyd Wright believed that “space is the breath of art.” Explore positive and negative space in the galleries while responding to creative drawing exercises.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
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Fullerton Hall
Free, register here
Join Lindsay Mican Morgan, keeper of the Thorne Rooms, as she shares details about the process of getting these beloved rooms ready for the holiday season.
For additional member programs, please visit the member programs calendar.
Image: English Drawing Room of the Victorian Period, 1840–70 (detail), about 1937
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Chicago Stock Exchange Trading Room
Buy Tickets ($65 for family of 4) HERE
Create an edible dream home with your family while listening to classic holiday tunes and enjoying sweet and savory bites. Gingerbread kits, frosting, and decorating candies are included.
For more information, contact Abigail Flores at (312) 443-3755 or Aflore7@artic.edu.
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Ryan Learning Center
Free with admission
Play with color, pattern, and repetition as you take inspiration from Andy Warhol and other Pop artists.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
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Ryan Learning Center
Free with admission
Play with color, pattern, and repetition as you take inspiration from Andy Warhol and other Pop artists.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
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Ryan Learning Center
Free with admission
Play with color, pattern, and repetition as you take inspiration from Andy Warhol and other Pop artists.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
","type":"Event","state":"published","slug":"open-studio-pop-sensation-c9416d4a-de67-4860-8a12-589eec61cd84","created_at":"2019-11-29 22:09:30.797345","updated_at":"2019-11-29 22:09:30.810537","excerpt":"","is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-7161':38B '312':36B '857':37B 'admiss':10B 'andi':22B 'artist':27B 'calendar':51B 'call':35B 'center':7B 'color':13B 'email':40B 'famili':32B,44B,49B 'familyprograms@artic.edu':41B 'free':8B 'inform':30B 'inspir':20B 'learn':6B 'open':1A 'pattern':14B 'play':11B 'pleas':34B,46B 'pop':3A,26B 'program':33B,45B,50B 'repetit':16B 'ryan':5B 'sensat':4A 'studio':2A 'take':19B 'upcom':43B 'visit':47B 'warhol':23B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668314/slhueacsnj2wuzeizhvc.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669383/event_ics_1721669383607.ics","carousel":null,"category_name":"Youth / Families"},{"id":2533,"title":"Open Studio: Pop Sensation","starts_at":"2019-12-30 10:30:00","ends_at":"2019-12-30 14:00:00","body":"
Ryan Learning Center
Free with admission
Play with color, pattern, and repetition as you take inspiration from Andy Warhol and other Pop artists.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
","type":"Event","state":"published","slug":"open-studio-pop-sensation-22734051-b29b-41d1-860c-cb8dc9e18111","created_at":"2019-11-29 22:10:03.407144","updated_at":"2019-11-29 22:10:03.417561","excerpt":"","is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-7161':38B '312':36B '857':37B 'admiss':10B 'andi':22B 'artist':27B 'calendar':51B 'call':35B 'center':7B 'color':13B 'email':40B 'famili':32B,44B,49B 'familyprograms@artic.edu':41B 'free':8B 'inform':30B 'inspir':20B 'learn':6B 'open':1A 'pattern':14B 'play':11B 'pleas':34B,46B 'pop':3A,26B 'program':33B,45B,50B 'repetit':16B 'ryan':5B 'sensat':4A 'studio':2A 'take':19B 'upcom':43B 'visit':47B 'warhol':23B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668314/kl9xsojiitcvxealtxox.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669383/event_ics_1721669383598.ics","carousel":null,"category_name":"Youth / Families"},{"id":2539,"title":"King Day Festival: Tomorrow is Today","starts_at":"2020-01-20 10:30:00","ends_at":"2020-01-20 15:00:00","body":"
Celebrate the life and legacy of Dr. Martin Luther King Jr. and create a vision for the future guided by artists and activists at work today. Chicago-based sound and visual artist Damon Locks presents a music performance with his Black Monument Ensemble. Move Me Soul dancers present a movement workshop, and young artists from the award-winning Rebirth/Reborn Poetry Ensemble share powerful spoken word pieces. Families can add their own messages of hope for the future to silkscreened postcards from multidisciplinary artist William Estrada’s Mobile Street Art Cart.
To ensure the widest possible participation at this special event, activities in the Ryan Learning Center are free for all, and Illinois residents receive free museum admission on King Day.
For more information about family programs, please call (312) 857-7161 or email familyprograms@artic.edu. For upcoming family programs, please visit the family programs calendar.
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New York-based artist Carissa Rodriguez (American, born 1970) creates artworks that explore the material and social conditions of art’s reproduction and circulation.
This exhibition features Rodriguez’s film The Maid (2018), which takes its name from a 1913 short story by Swiss writer Robert Walser. The story traces a devoted caregiver’s 20-year journey in search of a young girl who got lost while in her care. Rodriguez’s film orbits around conceptual artist Sherrie Levine’s 1993 Newborn sculptures, a series of works that are themselves casts of sculptures by early 20th-century artist Constantin Brancusi. The film tracks six of Levine’s Newborns across the world through private residences, a museum storage facility, and an auction house, providing the viewer with a prolonged contemplation of their journey.
Also highlighted in the exhibition is a second video work, The Girls, filmed on a playground in Rodriguez’s Chinatown neighborhood in 1997 and recently edited to accompany The Maid. Shown alongside these video works is All the Best Memories Are Hers, a photographic portrait of embryos taken with an EmbryoScope, a hybrid instrument that is at once an incubator and a time-lapse camera. Metaphors of creation, reproduction, and the passage of time unite the three works in this exhibition, the artist’s first in Chicago.
Top image: Still from The Maid, 2018. Carissa Rodriguez. © Carissa Rodriguez. Courtesy of the artist and Karma International, Zurich/Los Angeles.
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One of America’s foremost art dealers, Richard Gray, along with his wife, the art historian Mary L. Gray, amassed over the course of nearly 50 years a remarkable collection of drawings representing 700 years of Western art.
Focusing on key periods and places—15th- to 18th-century Italy, 17th- to 20th-century France, 17th-century Holland, and 20th- and 21st-century America—the Grays sought out works of the highest quality, defined by beauty, visual power, and boldness of execution.
While the most celebrated names appear throughout their collection—Rubens, Boucher, Canaletto, Tiepolo, Seurat, Van Gogh, Degas, Cézanne, Picasso, Matisse, Pollock, de Kooning, and Hockney, among others—the Grays were less interested in celebrity than in greatness, and many of their exceptional drawings bear the names of lesser-known artists. With the addition of works by important Italian Renaissance artists such as Giorgio Vasari, Annibale Carracci, and Livio Orsi, or French artists Nicolas Poussin, Francois Lemoyne, or Charles le Brun, as well as many others less familiar to the public, the collection became a kind of stimulating stroll through a long and distinguished history of art making via one medium: drawing.
![\"A](\"https://www.artic.edu/iiif/2/5b512923-1877-a9d9-2331-e50384044128/full/200,/0/default.jpg)
Vasily Kandinsky
Although landscapes, still lifes, and the occasional abstraction are to be found in their collection, including Vassily Kandinsky’s vertiginous Untitled (about 1915) (see previous page), notably filled with recognizable images derived from the natural world, the Grays largely concentrated on one of the great subjects in Western art: the human figure—nude and clothed, still and active, seated, standing, running, reclining, orating, singing, at play and at work, alone and in groups. For the Grays, the endless and myriad attempts by artists across centuries to render the human form, and by doing so to comment upon the human condition, were of profound importance, indeed a kind of humanistic endeavor. This endeavor was that much more effective, the Grays believed, when expressed through the probing medium of drawing, the most immediate, exploratory, and intimate of art forms.
Exhibitions are free with museum admission.
Top Image: Giuseppe Porta, Bearded Man with his Right Arm Raised, 1562/64
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Free with admission
Celebrate the Lunar New Year with art making, music, games, an artist demonstration, and a performance about the traditional animals of the zodiac, as well as gallery talks in English and Mandarin. At 5:00 head to Millennium Park for a special lantern procession, and continue the celebration at Maggie Daley Park.
Please note that the artwork on this page may not be featured during the gallery talk.
Persons with disabilities who would like to request an accessibility accommodation for an Art Institute program are encouraged to send an email to access@artic.edu two weeks in advance of the program.
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The fourth and final installment in the collection-driven series that pairs photography with other creative domains, Material Meanings brings 30 outstanding works to Chicago for the first public showing of the private collection of Constance R. Caplan.
A resident of Baltimore, Caplan has been a keen student and steward of modern and contemporary art for more than 30 years, taking classes in art history and serving on and leading major museum boards—all in the service of art and the public trust. Her choices in 20th-century decorative arts, photography, and, above all, painting and sculpture, make an exquisite whole. Caplan is drawn to works with great presence, as she discusses in a conversation published in the accompanying exhibition catalogue; she is also moved by art that tells us something new about history and our perceptions of the world. Speaking admiringly of postwar European artists such as painter and sculptor Lucio Fontana and abstractionist Blinky Palermo, she confesses, “I just wanted to understand: what were they doing? They were dealing with materials that were on the streets, and I don’t think anybody thinks that what they did then was pretty. It wasn’t pretty. It was what they could find and what they were thinking about in the aftermath of war.”
![\"Green-blue](\"https://artic-web.imgix.net/nullff75a542-be96-45ef-bac7-e4c34175907e/TWOMBLY_a_web.jpg?rect=0%2C0%2C1280%2C893&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=17&blur=30&sat=20\")
Caplan herself practiced photography briefly and has collected the work of photographers interested, as she is, in the history of decorative or fine arts: Louise Lawler, Sherrie Levine, Christopher Williams, and others. She has researched and pursued works across a variety of historical periods and art forms, and the works on view in this presentation accordingly range from a Vienna Secession vase made around 1910 to an abstract photograph from 2012 by American artist Liz Deschenes.
![\"A](\"https://artic-web.imgix.net/nullcb13f405-1384-4141-a5f3-f1c2ae25121f/CS402.jpg?rect=0%2C0%2C1370%2C2000&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=36&blur=30&sat=20\")
Mirroring the spirit of learning that has driven Caplan’s collecting, the exhibition’s descriptive wall texts draw from the catalogue’s essays, many of which were written by students or faculty members of the School of the Art Institute of Chicago. This educational emphasis, along with an exceptional selection of objects, makes Material Meanings a singularly affecting and enriching encounter with modern and contemporary art.
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Note: Due to COVID-19 this exhibition has been extended through December 6, 2020
In the late 1960s, Japanese artist Noda Tetsuya began a series of prints that continues to this day, over 50 years later.
he prints, each titled Diary followed by a date, capture the large and small moments of the artist’s life, from the intimate and personal—his Israeli-born wife and their children and simple gifts from friends—to the public and far-reaching, such as young environmental activists in 1970s New York or the devastation that followed the March 11, 2011, earthquake and tsunami in Japan.
Each of these moments Noda depicts in prints are created through a unique and multilayered method he himself developed. He begins by selecting a photograph, taken on the day of the title, that he manipulates in various ways. First he adds drawn elements—such as lines or shading—and whites out other aspects of the image. The altered photo is then scanned in an old-fashioned mimeograph machine, a process that creates a stencil of the image. Next Noda takes a sheet of handmade Japanese paper which he uses for all of his prints and applies subtle color through traditional woodblock technique. Finally he silkscreens his manipulated photo over the top and adds his signature, his name along with an inked thumbprint. The resulting images feel both eerily familiar and hauntingly distant, seemingly capturing the impermanence of time and the faultiness of memory.
Today Noda’s Diary images number well over 500, and he has become renowned as one of the most innovative Japanese print artists working today. This exhibition—the largest presentation of the artist’s work in North America—brings together key works from across his career: recent acquisitions to the Art Institute’s collection as well as those lent by the artist and local collectors.
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Modern Wing
Explore the galleries and create a kaleidoscope of art at this family favorite program. Engage in fun activities and learn all about selected works as you visit five stops located across the museum’s galleries.
On your kaleidoscope experience, you might encounter:
Treasure Hunt sparks a love of art in the children and families that join us, reveals the best of the collection, and provides attendees with a new vocabulary to talk about art and creativity.
More information on pricing and start times will be added soon. For questions please contact the office of the Auxiliary Board (auxiliaryboard@artic.edu)
This event is hosted by the Auxiliary Board of the Art Institute of Chicago. @AuxiliaryboardoftheAIC
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Note: Due to COVID-19 this exhibition has been extended through October 19, 2020
This major exhibition charts the career of the artist known simply as El Greco. Over 55 works from across the world trace not only the development of his distinctive style but also the astounding ambition that drove him to relentlessly pursue success.
Born in Crete as Domenikos Theotokopoulos (1541–1614), El Greco trained in the traditional manner of Byzantine icon painting. He moved to Venice in 1567 to learn a new artistic approach, absorbing developments in Venetian Renaissance painting through the lens of artists such as Titian and Tintoretto. The works El Greco painted during his time in Venice, however, reveal both his embrace of and struggles to fully adapt to this manner of painting.
Following this transformative period, El Greco went to Rome, probably in an attempt to attract patronage within the papal circle. There his acceptance into the elevated circle of Cardinal Alessandro Farnese brought a close association with the painter Giulio Clovio and the erudite historian and collector Fulvio Orsini. El Greco’s portraits, allegories, and religious paintings between 1570 and 1577 reflect these relationships as well as his complicated engagement with Michelangelo and other artistic luminaries of the 16th century.
With no major commissions in Rome, El Greco moved on to Spain in 1577. He quickly earned a major commission for the altarpiece for the Church of Santo Domingo el Antiguo in Toledo, the result being the monumental The Assumption of the Virgin (1577/79). Of a scale and format that he had never previously attempted, The Assumption became a showpiece for the artist as he attempted to mold a new career for himself in Spain.
Despite this success, El Greco was unable to secure commissions from the powerful authorities of Toledo or from the most consequential of artistic patrons, King Philip II. He turned instead to carving out a private clientele, finding enthusiastic patronage among the local intelligentsia and developing a flourishing career as a portraitist. Alongside paintings of theologians, writers, and attorneys, he was commissioned to decorate a series of private altars and family chapels.
The exhibition brings the investigation of El Greco’s career full circle with one of his very last paintings, The Adoration of the Shepherds. This altarpiece was created for his own tomb in Santo Domingo el Antiguo. This was the same church that housed his first great altarpiece and the same city that the preacher and poet Hortensio Félix Paravicino said in his eulogy to the artist, “gave him his brushes.”
This exhibition is organized by the Art Institute of Chicago; the Réunion des musées nationaux-Grand Palais, Paris; and the Musée du Louvre.
","type":"Event","state":"published","slug":"el-greco-ambition-and-defiance","created_at":"2019-12-16 19:32:35.366911","updated_at":"2020-08-26 03:37:30.721608","excerpt":"","is_timeless":true,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-19':10B '1541':68B '1567':86B '1570':192B '1577':194B,227B '1577/79':257B '1614':69B '16th':212B '19':18B '2020':19B '55':35B 'absorb':93B 'accept':157B 'across':38B 'adapt':129B 'ador':380B 'alessandro':164B 'allegori':187B 'alongsid':340B 'also':51B 'altar':356B 'altarpiec':236B,385B,407B 'ambit':3A,54B 'among':328B 'antiguo':244B,396B 'approach':92B 'art':437B 'artist':28B,91B,103B,208B,276B,311B,426B 'associ':169B 'assumpt':253B,270B 'astound':53B 'attempt':147B,268B,279B 'attorney':346B 'attract':149B 'author':302B 'becam':271B 'born':62B 'bring':362B 'brought':166B 'brush':430B 'byzantin':78B 'cardin':163B 'career':25B,284B,336B,369B 'carv':320B 'centuri':213B 'chapel':359B 'chart':23B 'chicago':440B 'church':239B,401B 'circl':154B,161B,371B 'citi':411B 'clientel':324B 'close':168B 'clovio':174B 'collector':180B 'commiss':217B,233B,298B,349B 'complic':202B 'consequenti':309B 'covid':9B 'creat':387B 'crete':64B 'decor':351B 'defianc':5A 'des':443B 'despit':289B 'develop':45B,94B,333B 'distinct':48B 'domeniko':66B 'domingo':242B,394B 'drove':56B 'du':453B 'due':7B 'earn':230B 'el':1A,32B,70B,111B,139B,183B,220B,243B,292B,366B,395B 'elev':160B 'embrac':123B 'engag':203B 'enthusiast':326B 'erudit':177B 'eulog':423B 'exhibit':12B,22B,361B,432B 'extend':15B 'famili':358B 'farnes':165B 'find':325B 'first':405B 'flourish':335B 'follow':135B 'format':262B 'full':370B 'fulli':128B 'fulvio':181B 'félix':418B 'gave':427B 'giulio':173B 'grand':447B 'great':406B 'greco':2A,33B,71B,112B,140B,184B,221B,293B,367B 'historian':178B 'hortensio':417B 'hous':403B 'howev':119B 'icon':79B 'ii':315B 'instead':318B 'institut':438B 'intelligentsia':331B 'investig':364B 'king':313B 'known':29B 'last':377B 'learn':88B 'len':101B 'local':330B 'louvr':454B 'luminari':209B 'major':21B,216B,232B 'manner':76B,132B 'michelangelo':205B 'mold':281B 'monument':251B 'move':82B,222B 'musé':444B,452B 'nationaux':446B 'nationaux-grand':445B 'never':266B 'new':90B,283B 'note':6B 'octob':17B 'one':373B 'organ':434B 'orsini':182B 'paint':80B,98B,113B,134B,190B,341B,378B 'painter':172B 'palai':448B 'papal':153B 'paravicino':419B 'pari':449B 'patron':312B 'patronag':150B,327B 'period':138B 'philip':314B 'poet':416B 'portrait':186B 'portraitist':339B 'power':301B 'preacher':414B 'previous':267B 'privat':323B,355B 'probabl':144B 'pursu':60B 'quick':229B 'reflect':195B 'relationship':197B 'relentless':59B 'religi':189B 'renaiss':97B 'result':248B 'reveal':120B 'rome':143B,219B 'réunion':442B 'said':420B 'santo':241B,393B 'scale':260B 'secur':297B 'seri':353B 'shepherd':383B 'showpiec':273B 'simpli':30B 'spain':225B,288B 'struggl':126B 'style':49B 'success':61B,291B 'theologian':343B 'theotokopoulo':67B 'time':116B 'tintoretto':108B 'titian':106B 'toledo':246B,304B 'tomb':391B 'trace':41B 'tradit':75B 'train':72B 'transform':137B 'turn':317B 'unabl':295B 'venetian':96B 'venic':84B,118B 'virgin':256B 'well':199B 'went':141B 'within':151B 'work':36B,110B 'world':40B 'writer':344B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668321/w4t7ticxup22x7zctkw1.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669387/event_ics_1721669387599.ics","carousel":null,"category_name":"Exhibitions"},{"id":6776,"title":"Intimate Modernity","starts_at":"2020-03-14 12:00:00","ends_at":"2020-11-22 12:00:00","body":"
In the 1890s, a new generation of artists emerged who came of age after the height of Impressionism and pioneered a variety of different artistic styles. Unified primarily by their close personal friendships with each other, many of these artists became known as Intimists, named for their generally smaller-scale works and intimate subject matter. Unlike the Impressionists, who often portrayed landscapes, outdoor gardens, or city streets, the Intimists focused instead on interior scenes as a way to experiment with color, form, pattern, and atmosphere, populating their domestic spaces with relatives, friends, or employees.
The paintings, prints, and pastels in this focused installation were mostly intended for display in private spaces, where they would become a part of the viewer’s everyday life. The artists envisioned that by bringing innovative art into the home—a place typically reserved for “craft”—they would erode the distinctions between art and life and produce psychologically intimate, art-filled spaces for reflection.
Top image: The Red Room, Etretat, 1899 Félix Edouard Vallotton
","type":"Event","state":"published","slug":"intimate-modernity","created_at":"2020-08-26 22:39:03.563785","updated_at":"2020-08-26 22:39:03.572086","excerpt":"","is_timeless":true,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1890s':5B '1899':169B 'age':15B 'art':134B,150B,158B 'art-fil':157B 'artist':10B,27B,42B,128B 'atmospher':88B 'becam':43B 'becom':118B 'bring':132B 'came':13B 'citi':69B 'close':33B 'color':84B 'craft':143B 'differ':26B 'display':111B 'distinct':148B 'domest':91B 'edouard':171B 'emerg':11B 'employe':97B 'envis':129B 'erod':146B 'etretat':168B 'everyday':125B 'experi':82B 'fill':159B 'focus':73B,105B 'form':85B 'friend':95B 'friendship':35B 'félix':170B 'garden':67B 'general':50B 'generat':8B 'height':18B 'home':137B 'imag':164B 'impression':20B 'impressionist':61B 'innov':133B 'instal':106B 'instead':74B 'intend':109B 'interior':76B 'intim':1A,56B,156B 'intimist':46B,72B 'known':44B 'landscap':65B 'life':126B,152B 'mani':39B 'matter':58B 'modern':2A 'most':108B 'name':47B 'new':7B 'often':63B 'outdoor':66B 'paint':99B 'part':120B 'pastel':102B 'pattern':86B 'person':34B 'pioneer':22B 'place':139B 'popul':89B 'portray':64B 'primarili':30B 'print':100B 'privat':113B 'produc':154B 'psycholog':155B 'red':166B 'reflect':162B 'relat':94B 'reserv':141B 'room':167B 'scale':53B 'scene':77B 'smaller':52B 'smaller-scal':51B 'space':92B,114B,160B 'street':70B 'style':28B 'subject':57B 'top':163B 'typic':140B 'unifi':29B 'unlik':59B 'vallotton':172B 'varieti':24B 'viewer':123B 'way':80B 'work':54B 'would':117B,145B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668463/ygdk0agjn8ac750qkcp9.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669527/event_ics_1721669527397.ics","carousel":null,"category_name":"Exhibitions"},{"id":3767,"title":"Toulouse-Lautrec and the Celebrity Culture of Paris","starts_at":"2020-03-14 12:00:00","ends_at":"2021-06-06 12:00:00","body":"Welcome to Montmartre—an outlying Parisian neighborhood known for its cabarets and dance halls—where a flamboyant nightlife exploded in the late 19th century. Among the artists, performers, and ambitious entrepreneurs who called this bohemian quartier home was painter and printmaker Henri de Toulouse-Lautrec, who made a career depicting its most colorful personalities using the relatively new advertising medium of large-scale posters.
This focused installation of his works comprises posters, paintings, and painted objects. Dynamic and instantly recognizable, Lautrec’s images filled the streets of Paris and helped catapult his clients to fame. Through cutting-edge experiments in lithography, Lautrec emphasized the distinctive traits of singers and dancers such as Jane Avril, Aristide Bruant, and May Milton, as well as actors, writers, and cabaret owners, to distinguish them from their competition. Even as he helped make celebrities of others, Lautrec himself became a celebrity of sorts through the popularity of his posters and paintings, notable for their singular style and unconventional materials and techniques.
","type":"Event","state":"published","slug":"toulouse-lautrec-and-the-celebrity-culture-of-paris","created_at":"2020-08-26 14:40:48.814305","updated_at":"2021-05-14 17:35:41.40664","excerpt":"","is_timeless":true,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'19th':32B 'actor':135B 'advertis':69B 'ambiti':39B 'among':34B 'aristid':127B 'artist':36B 'avril':126B 'becam':156B 'bohemian':44B 'bruant':128B 'cabaret':20B,138B 'call':42B 'career':59B 'catapult':102B 'celebr':6A,151B,158B 'centuri':33B 'client':104B 'color':63B 'competit':145B 'compris':82B 'cultur':7A 'cut':109B 'cutting-edg':108B 'danc':22B 'dancer':122B 'de':52B 'depict':60B 'distinct':117B 'distinguish':141B 'dynam':88B 'edg':110B 'emphas':115B 'entrepreneur':40B 'even':146B 'experi':111B 'explod':28B 'fame':106B 'fill':95B 'flamboy':26B 'focus':77B 'hall':23B 'help':101B,149B 'henri':51B 'home':46B 'imag':94B 'instal':78B 'instant':90B 'jane':125B 'known':17B 'larg':73B 'large-scal':72B 'late':31B 'lautrec':3A,55B,92B,114B,154B 'lithographi':113B 'made':57B 'make':150B 'materi':176B 'may':130B 'medium':70B 'milton':131B 'montmartr':12B 'neighborhood':16B 'new':68B 'nightlif':27B 'notabl':169B 'object':87B 'other':153B 'out':14B 'owner':139B 'paint':84B,86B,168B 'painter':48B 'pari':9A,99B 'parisian':15B 'perform':37B 'person':64B 'popular':163B 'poster':75B,83B,166B 'printmak':50B 'quartier':45B 'recogniz':91B 'relat':67B 'scale':74B 'singer':120B 'singular':172B 'sort':160B 'street':97B 'style':173B 'techniqu':178B 'toulous':2A,54B 'toulouse-lautrec':1A,53B 'trait':118B 'unconvent':175B 'use':65B 'welcom':10B 'well':133B 'work':81B 'writer':136B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668357/qdwyfaw7zdztvvz3sve3.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669420/event_ics_1721669420584.ics","carousel":null,"category_name":"Exhibitions"},{"id":3766,"title":"Malangatana: Mozambique Modern","starts_at":"2020-07-30 12:00:00","ends_at":"2020-11-16 12:00:00","body":"
Painter, poet, and revered national hero Malangatana Ngwenya (1936–2011) eludes singular definition, and yet he was commonly known by a single name—Malangatana.
Born in Mozambique, this pioneer of modern African art developed his unique painting style early in his career, an aesthetic defined by a dense assembly of figures; phantasmagoric depictions of animals, humans, and supernatural creatures; and a palette of both bright and dark colors. His work embodies the new artistic vocabularies that arose in Mozambique in tandem with the struggle for a liberated nation, much as they did in other parts of the African continent.
Though largely self-taught, Malangatana took painting classes in the late 1950s at the Industrial School and the Art Club of Mozambique—the latter a center of artistic activity in the capital Maputo (then Lourenço Marques). In this period, he became active in the cultural milieus of Maputo and found his first teachers and sponsors in artists and architects João Ayres, Augusto Cabral, and Pancho Guedes. While his first paintings show traces of the European modernism he encountered in his art education and through his mentors, Malangatana quickly established his own aesthetic. Simultaneously he honed his distinctive allegorical approach to depicting daily life in Mozambique, mixing symbols and motifs culled from his experience of local craft, Christianity, and the folklore of the culture he belonged to, the Ronga.
![\"2013](\"https://artic-web.imgix.net/null98d56e8a-b3d4-4589-b605-d3a6429475dd/2013.37_press.jpg?rect=0%2C0%2C1594%2C3000&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=47&blur=30&sat=20\")
The changes in Mozambique’s political history during the 1960s and 1970s significantly impacted Malangatana’s life and work. A Portuguese colony until 1975, Mozambique was among the last African countries to gain independence from colonial rule. As the quest for liberation grew with the formation of the Front for the Liberation of Mozambique (FRELIMO) in 1962 and the armed resistance against the Portuguese in 1964, a strong anticolonial sentiment and a need for new artistic and cultural forms emerged. Malangatana had touched on social and political themes in earlier work, but from the mid-1960s through the 1970s he articulated them more explicitly, while always retaining an allegorical tendency in his approach.
![\"Im045510](\"https://artic-web.imgix.net/null6c86cce2-bb61-45f1-8f7b-bd8d57ecd564/IM045510-int_press.jpg?rect=0%2C0%2C2307%2C3000&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=33&blur=30&sat=20\")
This presentation is both the first survey of Malangatana’s early work since his death and the first solo exhibition of a modern African painter at the Art Institute. Bringing together over 40 key paintings and drawings, the exhibition highlights the years between 1959 and 1975 as a period in which Malangatana embarked on bold formal experiments and painted the rapidly changing world around him, inviting us to consider his development as an artist part and parcel with the emergence of modern African art.
![\"A](\"https://artic-web.imgix.net/null09361fb1-4c32-4f52-8505-5e70e10a521b/FountainofBloodCLEVELAND2012.67_press.jpg?rect=0%2C0%2C3000%2C2485&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=25&h=21&blur=30&sat=20\")
Top Image: The Witch Doctor, or The Purification of the Child (O feiticeiro, ou A purificação da criança), 1962, Malangatana Ngwenya. Oberlin College Libraries, Gift of Dr. and Mrs. Lloyd H. Ellis Jr. in memory of Eduardo Chivambo Mondlane (OC 1953)
","type":"Event","state":"published","slug":"malangatana-mozambique-modern","created_at":"2020-08-26 14:36:01.671757","updated_at":"2020-08-26 14:40:07.632454","excerpt":"","is_timeless":true,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1936':12B '1950s':115B '1953':266B,549B '1959':442B '1960s':277B,364B '1961':491B '1962':324B,527B '1963':240B '1964':333B '1965':391B '1970s':279B,367B '1975':291B,444B '2011':13B '2012.67':508B '2013.37':267B '40':431B 'activ':132B,145B 'aesthet':47B,195B 'african':35B,101B,297B,422B,481B 'allegor':201B,377B 'allen':243B 'alway':374B 'among':294B 'anim':58B 'anticoloni':336B 'approach':202B,381B 'architect':162B 'arm':327B 'aros':80B 'around':462B 'art':36B,122B,184B,245B,426B,482B,498B 'articul':369B 'artist':77B,131B,160B,343B,472B 'assembl':52B 'augusto':165B 'ayr':164B 'bebé':238B 'becam':144B 'belong':228B 'blood':486B 'bold':453B 'born':28B 'bright':68B 'bring':428B 'cabral':166B 'capit':135B 'career':45B 'castigo':388B 'center':129B 'chang':269B,460B 'child':236B,519B 'chivambo':263B,546B 'christian':220B 'class':111B 'cleveland':495B 'club':123B 'colleg':249B,531B 'coloni':289B,303B 'color':71B 'common':21B 'consid':467B 'contin':102B 'countri':298B 'craft':219B 'creatur':62B 'criança':526B 'cull':213B 'cultur':148B,226B,345B 'da':389B,525B 'daili':205B 'dark':70B 'de':387B,489B 'death':413B 'defin':48B 'definit':16B 'dens':51B 'depict':56B,204B 'develop':37B,469B 'distinct':200B 'doctor':513B 'dr':252B,501B,535B 'draw':435B 'earli':42B,409B 'earlier':357B 'eduardo':262B,545B 'educ':185B 'elli':257B,506B,540B 'elud':14B 'embark':451B 'embodi':74B 'emerg':347B,478B 'encount':181B 'establish':192B 'estat':394B 'european':178B 'exhibit':418B,437B 'experi':216B,455B 'explicit':372B 'feiticeiro':521B 'figur':54B 'first':155B,172B,404B,416B 'folklor':223B 'font':488B 'form':346B 'formal':454B 'format':313B 'found':153B 'fountain':484B 'frelimo':322B 'front':316B 'gain':300B 'gift':250B,499B,533B 'grew':310B 'gued':169B 'h':256B,505B,539B 'hero':9B 'highlight':438B 'histori':274B 'hone':198B 'human':59B 'imag':510B 'impact':281B 'independ':301B 'industri':118B 'institut':427B 'invit':464B 'joão':163B 'jr':258B,507B,541B 'key':432B 'known':22B 'larg':104B 'last':296B 'late':114B 'latter':127B 'liber':90B,309B,319B 'librari':532B 'life':206B,284B 'lloyd':255B,504B,538B 'local':218B 'lourenço':138B 'malangatana':1A,10B,27B,108B,190B,241B,282B,348B,392B,396B,407B,450B,492B,528B 'maputo':136B,151B 'marqu':139B 'memori':244B,260B,543B 'mentor':189B 'mid':363B 'mid-1960s':362B 'milieus':149B 'mix':209B 'modern':3A,34B,179B,421B,480B 'mondlan':264B,547B 'motif':212B 'mozambiqu':2A,30B,82B,125B,208B,271B,292B,321B 'mrs':254B,503B,537B 'much':92B 'museum':246B,496B 'name':26B 'nation':8B,91B 'need':340B 'new':76B,342B 'ngwenya':11B,242B,393B,398B,493B,529B 'o':237B,520B 'oberlin':248B,530B 'oc':265B,548B 'ou':522B 'paint':40B,110B,173B,433B,457B 'painter':4B,423B 'palett':65B 'pancho':168B 'parcel':475B 'part':98B,473B 'period':142B,447B 'phantasmagor':55B 'pide':382B,390B 'pioneer':32B 'poet':5B,233B 'poeta':239B 'polit':273B,354B 'portugues':288B,331B 'present':400B 'punish':384B 'purif':516B 'purificação':524B 'quest':307B 'quick':191B 'rapid':459B 'resist':328B 'retain':375B 'rever':7B 'ronga':231B 'room':385B 'rule':304B 'sala':386B 'sangu':490B 'school':119B 'self':106B 'self-taught':105B 'sentiment':337B 'show':174B 'signific':280B 'simultan':196B 'sinc':411B 'singl':25B 'singular':15B 'social':352B 'solo':417B 'sponsor':158B 'strong':335B 'struggl':87B 'style':41B 'supernatur':61B 'survey':405B 'symbol':210B 'tandem':84B 'taught':107B 'teacher':156B 'tendenc':378B 'theme':355B 'though':103B 'togeth':429B 'took':109B 'top':509B 'touch':350B 'trace':175B 'uniqu':39B 'us':465B 'valent':397B 'vocabulari':78B 'witch':512B 'work':73B,286B,358B,410B 'world':461B 'year':440B 'yet':18B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668357/jkku4j1wqofzpo5rxuxg.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669420/event_ics_1721669420608.ics","carousel":null,"category_name":"Exhibitions"},{"id":2675,"title":"Monet and Chicago","starts_at":"2020-09-05 12:00:00","ends_at":"2021-06-14 12:00:00","body":"
Update: The new dates for this exhibition are Sept 5, 2020–June 14, 2021
Claude Monet (1840–1926), often referred to as the “Father of Impressionism,” has long held a unique relationship with Chicago.
During his lifetime, Chicago was the American city that most aggressively acquired his work, with enthusiastic collectors like Bertha Honoré Palmer and Martin A. Ryerson leading the way. Indeed, Ryerson even made a special pilgrimage to visit Monet at his Giverny home in 1920 to acquire paintings by the artist. Private groups began to follow these individuals’ lead. In 1895, the Chicago Union League Club purchased Apple Trees in Blossom (1872) which was also shown at the Art Institute that year in the exhibition 20 Works by Claude Monet, the artist’s first solo show at a US museum. In 1903 the Art Institute became the first American museum to purchase one of Monet’s paintings, and today the museum’s 33 paintings and 13 drawings by the artist constitute the largest collection of works by the artist outside of Paris.
This exhibition is the first to explore Chicago’s pioneering connection to the great Impressionist artist. Among the more than 65 paintings—from the Art Institute’s exemplary holdings and esteemed Chicago-based collections—are beloved major works as well as rarely seen still lifes, figural scenes, seascapes, and landscapes. Spanning his long career, from early caricatures made at Le Havre to the last splendid canvases inspired by his garden and waterlily pond at Giverny, and informed by new technical findings, the presentation gives visitors a comprehensive view of Chicago’s ongoing relationship to the artist and a better understanding of his working methods.
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This program is presented as part of Artists on Artists, a public program series that highlights the creative process and creative communities. Through this series, leading artists, authors, musicians, and performers inspire new ways of understanding the museum’s collection while making connections to their own practice.
","type":"Event","state":"published","slug":"virtual-artist-talk-marilyn-nelson-on-bisa-butler","created_at":"2021-01-29 18:19:46.541295","updated_at":"2021-01-29 18:19:46.548856","excerpt":"","is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'artist':2A,25B,59B,61B,78B 'author':20B,27B,79B 'bisa':7A,14B 'black':39B 'butler':8A,15B 'celebr':17B 'collect':91B 'communiti':46B,73B 'connect':94B 'contemporari':36B 'convers':31B 'creativ':69B,72B 'exhibit':13B 'explor':33B 'famili':45B 'franklin':29B 'highlight':67B 'histor':34B 'inspir':83B 'join':23B 'krista':28B 'lead':77B 'life':40B 'make':93B 'marilyn':4A,21B 'museum':89B 'musician':80B 'narrat':37B 'nelson':5A,22B 'new':84B 'part':57B 'perform':82B 'poet':18B 'portrait':16B 'practic':98B 'present':55B 'process':70B 'program':53B,64B 'promis':49B 'public':63B 'respons':10B 'seri':65B,76B 'talk':3A 'theme':43B 'understand':87B 'virtual':1A 'visual':24B 'way':85B 'youth':51B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668490/ymyzpcd4vwt4kkckfjaw.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669550/event_ics_1721669549766.ics","carousel":null,"category_name":"Talks"},{"id":7378,"title":"Virtual Artist Talk: Miranda July on Mail Art","starts_at":"2021-03-25 18:30:00","ends_at":"2021-03-25 19:30:00","body":"
Featuring filmmaker, artist, and writer Miranda July, this program is presented in response to the work of Ray Johnson, an artist associated with Pop, Fluxus, and Conceptual art, and an early pioneer of mail art.
This program is presented as part of Artists on Artists, a public program series that highlights the creative process and creative communities. Through this series, leading artists, authors, musicians, and performers inspire new ways of understanding the museum’s collection while making connections to their own practice.
","type":"Event","state":"published","slug":"virtual-artist-talk-miranda-july-on-mail-art","created_at":"2021-01-29 18:21:16.722261","updated_at":"2021-01-29 18:21:16.734864","excerpt":"","is_timeless":false,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'art':8A,36B,43B 'artist':2A,11B,29B,51B,53B,70B 'associ':30B 'author':71B 'collect':83B 'communiti':65B 'conceptu':35B 'connect':86B 'creativ':61B,64B 'earli':39B 'featur':9B 'filmmak':10B 'fluxus':33B 'highlight':59B 'inspir':75B 'johnson':27B 'juli':5A,15B 'lead':69B 'mail':7A,42B 'make':85B 'miranda':4A,14B 'museum':81B 'musician':72B 'new':76B 'part':49B 'perform':74B 'pioneer':40B 'pop':32B 'practic':90B 'present':19B,47B 'process':62B 'program':17B,45B,56B 'public':55B 'ray':26B 'respons':21B 'seri':57B,68B 'talk':3A 'understand':79B 'virtual':1A 'way':77B 'work':24B 'writer':13B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668490/geecgqyyjlu7lm0ttsob.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669550/event_ics_1721669549797.ics","carousel":null,"category_name":"Talks"},{"id":7862,"title":"Joseph E. Yoakum: What I Saw","starts_at":"2021-06-12 12:00:00","ends_at":"2021-10-18 12:00:00","body":"In 1962 at the age of 71, Joseph E. Yoakum (1891–1972) reported having a dream that inspired him to draw. Thereafter the retired veteran began a daily practice and over the next 10 years produced some 2,000 works.
Yoakum was born into poverty, had very little schooling, and at an early age left home to join a circus. He wound up working with several circuses, traveling across the United States as well as abroad and becoming intimately familiar with the world’s various landscapes. These experiences would provide the foundational memories that fueled his deeply spiritual vision decades later.
When he began to put that vision to paper in his apartment on Chicago’s South Side in the early 1960s, Yoakum quickly developed a unique visual language, independent and distinct from other artists in the city, such as those involved in the flourishing Black Arts Movement or the up-and-coming Chicago Imagist group. His drawings—predominantly landscapes in ballpoint pen, colored pencil, pastel, and watercolor and inscribed with locations from all seven continents—reflect the scope of his national and international travels as well as his idiosyncratic and poetic vision of the natural world.
After Yoakum’s first exhibition in 1968, word spread through the local artist community. School of the Art Institute (SAIC) professor Whitney Halsted took a serious interest in his work, an interest that would lead to Halsted writing a foundational text about Yoakum’s drawings, and artists such as Karl Wirsum, Ray Yoshida, Jim Nutt, and Roger Brown—all SAIC graduates—began to collect Yoakum’s work, marveling at his instincts and creativity despite having no formal art training. His designs, forms, lines, and colors defied landscape traditions, yet they each possessed a power derived from the artist’s uncanny use of his distinctive graphic style.
This exhibition follows a shifting progression of Yoakum’s mountainous terrain, arid deserts, and majestic waterways, as well as a selection of his portraits of African American icons, testifying to the rich imagination of an exceptional American artist as well as to the remarkable circumstances that led to his lasting legacy.
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For more than a decade, Mimi Cherono Ng’ok has worked to understand how natural environments, botanical cultures, and human subjects coexist and evolve together. Working with an analog camera, she travels extensively across the tropical climates of the Global South constructing a visual archive of images that document her daily experiences and aid her in processing emotions and memories.
For her first solo museum exhibition in the United States, Cherono Ng’ok presents photographs and a film made across Africa, the Caribbean, and South America, all as part of an ongoing inquiry into the rich and diverse botanical cultures of the tropics. She tracked flowers and floral imagery across varied contexts—enshrouding the exterior of homes, emblazoned on bedspreads, encountered in nighttime flower markets—and a range of hidden associations. Some of the plants she pictures have been used as love potions or medicines, while others have been moved around the globe as part of histories of imperial or colonial expansion. Omitting frames, titles, or any indication of place allows Cherono Ng’ok to offer viewers an experience that is immediate, intimate, and vulnerable. To expose photographic prints in this way approximates the fragile and impermanent character of their depicted contents.
Cherono Ng’ok’s first film, which she produced in 2020, debuts in this exhibition. Shot on 16mm black-and-white reversal film, the work concentrates on a thicket of plantain trees the artist encountered in the coastal town of La Romana in the Dominican Republic. Lacking sound or storyline, the film is a meditation on mourning that reflects the artist’s own personal and profound experiences of familial loss, and the transitory nature of human and vegetal life more broadly. With stark effects of light and shadow, abrupt transitions and stationary perspective, the film shows fronds fluttering in response to gusty winds. The result is at once ethereal and mysteriously tranquil, capturing the sensitive outlook of an artist whose work is spurred by steady movement and all the introspection and memories that this entails.
","type":"Event","state":"published","slug":"mimi-cherono-ng-ok-closer-to-the-earth-closer-to-my-own-body","created_at":"2021-05-14 17:39:52.309085","updated_at":"2021-05-14 17:39:52.332602","excerpt":"","is_timeless":true,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'16mm':235B '2020':228B 'abrupt':307B 'across':49B,95B,125B 'africa':96B 'aid':69B 'allow':186B 'america':101B 'analog':44B 'approxim':208B 'archiv':60B 'around':166B 'artist':252B,279B,337B 'associ':146B 'bedspread':135B 'black':237B 'black-and-whit':236B 'bodi':13A 'botan':32B,114B 'broad':299B 'camera':45B 'captur':331B 'caribbean':98B 'charact':213B 'cherono':2A,22B,86B,187B,218B 'climat':52B 'closer':5A,9A 'coastal':256B 'coexist':37B 'coloni':176B 'concentr':244B 'construct':57B 'content':217B 'context':127B 'cultur':33B,115B 'daili':66B 'debut':229B 'decad':20B 'depict':216B 'detail':14B 'divers':113B 'document':64B 'dominican':263B 'earth':8A 'effect':302B 'emblazon':133B 'emot':73B 'encount':136B,253B 'enshroud':128B 'entail':353B 'environ':31B 'ether':327B 'evolv':39B 'exhibit':81B,232B 'expans':177B 'experi':67B,194B,285B 'expos':202B 'extens':48B 'exterior':130B 'famili':287B 'film':93B,223B,241B,270B,313B 'first':78B,222B 'floral':123B 'flower':121B,139B 'flutter':316B 'fragil':210B 'frame':179B 'frond':315B 'global':55B 'globe':168B 'gusti':320B 'hidden':145B 'histori':172B 'home':132B 'human':35B,294B 'imag':62B 'imageri':124B 'immedi':197B 'imperi':174B 'imperman':212B 'indic':183B 'inquiri':108B 'intim':198B 'introspect':348B 'la':259B 'lack':265B 'life':297B 'light':304B 'loss':288B 'love':157B 'made':94B 'market':140B 'medicin':160B 'medit':273B 'memori':75B,350B 'mimi':1A,21B 'mourn':275B 'move':165B 'movement':344B 'museum':80B 'mysteri':329B 'natur':30B,292B 'ng':3A,23B,87B,188B,219B 'nighttim':138B 'offer':191B 'ok':4A,24B,88B,189B,220B 'omit':178B 'ongo':107B 'other':162B 'outlook':334B 'part':104B,170B 'person':282B 'perspect':311B 'photograph':90B,203B 'pictur':152B 'place':185B 'plant':150B 'plantain':249B 'potion':158B 'present':89B 'print':204B 'process':72B 'produc':226B 'profound':284B 'rang':143B 'reflect':277B 'republ':264B 'respons':318B 'result':323B 'revers':240B 'rich':111B 'romana':260B 'sensit':333B 'shadow':306B 'shot':233B 'show':314B 'solo':79B 'sound':266B 'south':56B,100B 'spur':341B 'stark':301B 'state':85B 'stationari':310B 'steadi':343B 'storylin':268B 'subject':36B 'thicket':247B 'titl':180B 'togeth':40B 'town':257B 'track':120B 'tranquil':330B 'transit':308B 'transitori':291B 'travel':47B 'tree':250B 'tropic':51B,118B 'understand':28B 'unit':84B 'use':155B 'vari':126B 'veget':296B 'viewer':192B 'visual':59B 'vulner':200B 'way':207B 'white':239B 'whose':338B 'wind':321B 'work':26B,41B,243B,339B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668507/v7hwesd2al17xo1oxudg.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669567/event_ics_1721669567573.ics","carousel":null,"category_name":"Exhibitions"},{"id":3506,"title":"The Obama Portraits","starts_at":"2021-06-18 12:00:00","ends_at":"2021-08-15 12:00:00","body":"
Pictured: Barack Obama, 2018, Kehinde Wiley. National Portrait Gallery, Smithsonian Institution. The National Portrait Gallery is grateful to the following lead donors: Kate Capshaw and Steven Spielberg; Judith Kern and Kent Whealy; Tommie L. Pegues and Donald A. Capoccia. © 2018 Kehinde Wiley
The Obama Portraits exhibition has a virtual line. Join this line when you arrive at the museum by scanning the QR code posted on signs throughout the museum.
In summer 2021, the Art Institute of Chicago welcomes two acclaimed portraits to its galleries: Kehinde Wiley’s painting of President Barack Obama and Amy Sherald’s portrait of First Lady Michelle Obama.
On loan from the Smithsonian’s National Portrait Gallery, the Obama portraits come to Chicago for the first stop of a five-city tour. As the family’s longtime home, Chicago has a unique connection to the Obamas, as does the Art Institute. The First Lady recalls visiting frequently with her family when she was growing up on the South Side, and the museum was also the site of the couple’s first date.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419500/u7je2wlkayip93hdxgkw.jpg\")
Not only do the portraits feature history-making subjects but they were made by groundbreaking artists. Wiley and Sherald are the first African Americans to be commissioned by the National Portrait Gallery to create official portraits of a President or First Lady. Wiley placed a seated President Obama against a backdrop of flowers with special significance, including chrysanthemums, the official flower of Chicago. Sherald captured the First Lady against light-blue ground, sitting and gazing directly at the viewer.
The Art Institute is thrilled to provide our visitors—from Chicago and around the world—the opportunity to experience the power and beauty of these celebrated works in our galleries. After the Art Institute presentation, the portraits will travel on to the Brooklyn Museum, Los Angeles County Museum of Art, High Museum of Art, and the Museum of Fine Arts, Houston.
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Richard Hunt is the most prolific American public sculptor alive today, with more than 130 large-scale metal sculptures gracing public spaces from coast to coast. Join this legendary artist in a rare conversation with Ann Goldstein, deputy director and chair and curator of Modern and Contemporary Art, and Jordan Carter, associate curator of Modern and Contemporary Art, celebrating the exhibition Richard Hunt: Scholar’s Rock or Stone of Hope or Love of Bronze.
Top Image: Richard Hunt. Courtesy of The Art Institute Chicago.
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For more than 40 years, American artist Barbara Kruger has been a consistent, critical observer of the ways that images circulate through our culture.
![\"Bk](\"https://artic-web.imgix.net/nullnullnullfade8f5c-6080-4ba3-a043-89baa1dd04d1/BK_Forever1_press.jpg?rect=0%2C0%2C2376%2C1893&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=750&h=598&blur=1200&sat=20\")
Combining images with provocative text, Kruger uses direct address—along with humor, vigilance, and empathy—to expose and undermine the power dynamics of identity, desire, and consumerism. As shrinking attention spans collide with the voyeurism and narcissism that define contemporary life, her immersive installations and widely circulated pictures and words invite us to reconsider how we relate to one another.
![\"Bk](\"https://artic-web.imgix.net/nullnullnullnullnullnullnullnullnullnullnullnullnullfade8f5c-6080-4ba3-a043-89baa1dd04d1/BK_Truth_press.jpg?rect=0%2C0%2C3000%2C1834&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=750&h=459&blur=1200&sat=20\")
THINKING OF YOU. I MEAN ME. I MEAN YOU. encompasses the full breadth of her career—from early and rarely seen “pasteups” (works that use an analog technique for physically arranging a page’s contents with manual “cut and paste”) to digital productions of the last two decades. The presentation includes works on vinyl, site-specific installations, animations, and multichannel video installations.
The exhibition is not, however, a retrospective. Challenging notions of career building and a strict chronology, Kruger has reenvisioned the retrospective itself by rethinking, remaking, and replaying her work over the decades for the constantly moving present.
![\"Bk](\"https://artic-web.imgix.net/nullfade8f5c-6080-4ba3-a043-89baa1dd04d1/BK_ArtistRender_press.jpg?rect=0%2C0%2C3000%2C2000&auto=format&fm=jpg&q=1&fit=crop&crop=faces%2Cedges%2Centropy&w=750&h=500&blur=1200&sat=20\")
The exhibition at the Art Institute—collaboratively designed with the artist—interrogates the specific cultural context of our museum, as it transcends the traditional exhibition space and extends into the museum’s public spaces and the city beyond. Kruger’s work not only fills the entirety of the museum’s largest exhibition space, the 18,000 square-foot Regenstein Hall, but also occupies Griffin Court—an 8,000-square-foot atrium running the length of the Modern Wing—with new site-specific work. Kruger’s text and images address both the architecture and relational spaces throughout the museum—from the windows in the historic Michigan Avenue building and the Modern Wing to various public spaces, some of which will also feature an ambient soundscape. Kruger will additionally engage the surrounding cityscape, creating work for billboards, the Chicago Transit Authority, and Art on the Mart, among other locations and organizations.
This exhibition is organized by the Art Institute of Chicago, the Los Angeles County Museum of Art, and The Museum of Modern Art, New York.
Image: Oedipus (Elvis Presley #1), 1956–58, Ray Johnson. Promised gift of The William S. Wilson Collection of Ray Johnson
“New York’s most famous unknown artist”—this was the moniker given to Ray Johnson in 1965. More than 50 years later, he is equally remembered for his meticulous collages, his foundational role in the development of mail art, and his early proximity to movements such as Pop, Fluxus, and Conceptual Art. But what are we to make of this powerfully elusive figure?
This exhibition, Ray Johnson ℅, is guided by the belief that this fugitive and ever-evolving artist comes into view most clearly when seen against the backdrop of his collaborations. The featured works are drawn almost exclusively from the Art Institute’s recently acquired William S. Wilson Collection of Ray Johnson—the original archives of the international mail art network known as the New York Correspondence School (NYCS). Underscoring collaborative authorship as Johnson’s most consistent means of self-reinvention, this exhibition is the first to offer a comparative assessment of his significant interactions with friends and correspondents such as archivist Bill Wilson (1932–2016), publisher Dick Higgins (1938–1998), computer scientist Toby Spiselman (1934–2018), as well as artists Karl Wirsum (b. 1939), and Robert Warner (b. 1956).
Featuring radically experimental projects such as the open-ended mailer A Book About Death (1963–65), as well as the fictional “Robin Gallery,” and Johnson’s most iconoclastic performative endeavors, known as “Nothings,” Ray Johnson ℅ reexamines interdisciplinary bodies of work that have traditionally been seen as peripheral to his studio practice. Simultaneously, the exhibition offers a more historically nuanced lens on Johnson’s collages by re-animating his earliest cardboard constructions, or “moticos,” and presenting these hybrid objects on the wall and in the round, where they shift fluidly between fixed artworks, performance props, and pieces deeply connected to epistolary exchange.
The most exhaustive exhibition of the artist’s work in more than two decades, Ray Johnson ℅ is curated by Caitlin Haskell, Gary C. and Frances Comer Curator, Modern and Contemporary Art, with Jordan Carter, associate curator, Modern and Contemporary Art. It is presented exclusively at the Art Institute of Chicago and accompanied by a major scholarly catalogue designed by Irma Boom. A companion project, ℅ Tender Buttons,organized by Jennifer Cohen, assistant research curator, will be presented in tandem with the exhibition at the Art Institute.
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Emerging on the heels of late 60s political movements, a new form of alternative magazine amplified marginalized voices, redefining entrenched mainstream representations and forever changing the magazine industry. From the 70s through the mid-90s, American and British photo-driven publications such as The Face, i-D, Think Ink, and Out/Look became spaces for artistic experimentation that would in time reshape popular culture. Over 130 issues of those magazines, along with photographs and time-based media works by artists featured in their pages, are on view in Subscribe: Artists and Alternative Magazines, 1970-1995 from December 11, 2021 to May 2, 2022. The exhibition coincides with the Art Institute’s acquisition of rare issues of Blitz, i-D, The Face, Thing/Think Ink, and View (later Vue) that will be accessible to the public through the Ryerson Library Special Collections.
Pairing the high production standards of leading publications such as Vogueand Life with the element of collage in zines and the text/image provocations of underground newspapers, alternative magazines introduced a hybrid publishing model. They prized formal experimentation and a collaborative approach to making, simultaneously challenging mainstream definitions of culture and belonging and generating new affiliations across identities. Many artists and writers, including Hilton Als and Darryl Turner, Wolfgang Tillmans, Laurie Simmons, Liz Johnson Artur, and Lyle Ashton Harris, were drawn to alternative magazines as a generative space to work out ideas, and these publications became central to their aesthetic. In turn, artists such as Nan Goldin, Vaginal Davis, and Malcolm McLaren translated key ideas borrowed from magazine layouts into time-based media formats. Meanwhile, some makers founded their own publications. The Chicago-based Black and queer run publication Thing commissioned fashion stories alongside coverage of a broad range of cultural innovations, from the Black Arts Movement to punk and house music.
Subscribe brings together the alternative magazines that became a wellspring for cultural transformation: Think Ink (later Thing), Andy Warhol’s Interview, feminist zine Ben is Dead, Out/Look, BOMB, Vibe, Blitz, The Face, i-D, underground newspapers such as IT (International Times), View (later Vue), Rags, and others. Installed alongside these publications are works that reflect the cross pollination of influence and inspiration: Davis and Glenn Bevario’s One Man Ladies (1996), Johnson Artur’s Untitled (2016) video drawn from her Black Balloon Archive (1991), and—on view at the Art Institute for the first time in over a decade—Goldin’s slide-based work The Ballad of Sexual Dependency (1979/2001), which incorporates images from fashion shoots commissioned for View (later Vue) Magazine. “Found fashion” often served as an entry point to social spaces, from Rags’ “On the Street” section to i-D ’s “Straight Up” portraits, celebrating styles born on the street. Shown here, Jamel Shabazz’s photographs of Black and LatinX communities and Nicola Tyson’s images of a London gay and lesbian club demonstrate how artistic practices, including the practice of circulation, later evolved into photographic genres in magazines such as The Source and Blitz.
“Rather than attempt a complete survey, Subscribe focuses on particular moments of innovation,” noted visiting co-curator Solveig Nelson. “One important arc is how queer content and perspectives became central to magazines as art objects and as spaces. Another is the way that many artists pushed back against the limitations of magazines.” Visiting co-curator Michal Raz-Russo added, “These magazines fostered networks that were vitally important for rising artists at the time. By underscoring a collaborative approach, they were among the most innovative and groundbreaking spaces for discussions about art, culture, and politics.”
For over two decades, photo-driven alternative magazines, and the artists working within their pages, built a platform for the creative underground, centering communities no longer content with their outsider status. In doing so, they revolutionized print media.
Image: Cover of IT (International Times) magazine, March 9–23, 1972. Private collection. Cover of Thing: She Knows Who She Is magazine, Spring 1991 (no. 4). The Art Institute of Chicago, Ryerson and Burnham Libraries Special Collections, purchased with funds provided by Eric Ceputis and David Williams. © THING Magazine. Cover of The Face magazine, March 1985 (no. 59). The Art Institute of Chicago, Ryerson and Burnham Libraries Special Collections. Photography © Jamie Morgan. Cover of i-D magazine, September 1980 (no. 1). The Art Institute of Chicago, Ryerson and Burnham Libraries Special Collections. Cover of OUT/LOOK magazine, Summer 1992 (vol. 5, no. 1, issue 17). Art direction by Skylar Fein. Private collection. © E.G. Critchton and Jeffrey Escoffier, Founders, OUT/LOOK Magazine. Cover of View: A Fashion Magazine, April 1985 (Preview Issue). The Art Institute of Chicago, Ryerson and Burnham Libraries Special Collections. © Yolanda Cuomo.
Sponsors: Major support for Subscribe: Artists and Alternative Magazines, 1970 – 1995 is provided by the Zell Family Foundation.
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Dec 18, 2021–Jun 13, 2022
EXHIBITION | Galleries 57–9
Exhibitions are free with museum admission.
Beyond its aesthetic offerings, the home furnishings company had deep philosophical objectives: to elevate handmade objects over mass-produced goods and to bring art into the everyday.
Artist, designer, and writer William Morris (1838–1896) founded Morris & Co. 160 years ago, in 1861. The company quickly became regarded for the objects it designed and made for home interiors—handmade wallpapers, textiles, and furniture—and its style became synonymous with the British Arts and Crafts movement of the late 19th century. Morris was both an avid student of art history and devotee of the natural world, and his and his company’s works were characterized by a design vocabulary drawn from both European and Middle Eastern historical fabric designs and featured, and were titled after, flowers and plants.
Morris and his collaborators—which included his wife Jane Burden Morris, younger daughter May Morris, artisan and designer John Henry Dearle, as well as artists such as Edward Burne-Jones and Dante Gabriel Rosetti—considered themselves design reformers. They were on a mission to bring beauty back into the lives of their consumers through thoughtful design and production that foregrounded the agency of artisans and anti-industrial techniques. Accordingly, they experimented with dye recipes based on natural materials, revived hand-printing methods for fabrics and wallpapers, and reintroduced hand weaving for woven wool and silk textiles as well as pictorial tapestries.
Blackthorn, design 1892
Designed by John Henry Dearle, produced by Morris & Co., London, printed at Jeffrey & Co., London. Gift of Crab Tree Farm Foundation
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Gallery 50
Exhibitions are free with museum admission.
Experience over 3,000 years of arts from ancient Egypt in a dynamic new gallery.
The transformed space explores aspects of life and the afterlife in the Nile Valley with the first new installation of works from the museum’s historic collection of ancient Egyptian art in a quarter-century. Striking artifacts—displayed along one wall of the gallery in a series of innovative cases that promote viewing from multiple vantage points—provide insight into the beliefs and practices of this illustrious North African culture.
Recurring themes throughout this fresh presentation of the collection consider the impact of Egypt’s natural environment, including the Nile River, on its visual culture; reveal the processes of ancient Egyptian artists; and explore the centrality of gods and goddesses to life (and death) along the Nile. Arresting sculptures, such as the statue of Shebenhor, reveal how ancient Egyptians chose to present themselves so that they would be remembered for eternity, while funerary works—such as a gilded funerary mask—unveil practices for preparing for and protecting oneself in the afterlife.
Stela of Amenemhat and Hemet, Middle Kingdom, early Dynasty 12, about 1956–1877 BCE
Ancient Egyptian
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Gallery 188
Exhibitions are free with museum admission
About
Working nomadically between the Middle East, Europe, and North America, and currently based in Berlin, Basma al-Sharif—an artist and filmmaker of Palestinian heritage—explores cyclical political histories and conflicts.
In films and installations that move backward and forward in history, between place and nonplace, she confronts the legacy of colonialism and the experience of displacement with satire, doubt, and hope.
Al-Sharif’s newest work, Capital—comprising a two-channel video and a series of banners depicting architectural renderings of proposed urban spaces—references Italian White Telephone (Telefoni Bianchi) films of the 1930s and ’40s. Named for what was then a scarce status symbol, white telephone films upheld and promoted conservative and nationalistic notions of home, family, and religion. They were later understood as precursors to fascist propaganda films. Often set in foreign or even imaginary countries, the films featured Italian characters in lighthearted, escapist narratives and offered Hollywood-style glamour untouched by class or social conflict—a far cry from daily life in wartime Italy.
Capital was shot at various locations including the CityLife residential complex in Milan, the Nile riverfront in Cairo, residential neighborhoods in Alexandria, and construction sites of new cities—places where architectural histories are romanticized even as they are being erased. Through these sites, al-Sharif explores the desires that drive politicians, urban planners, and their imagined ideal residents as well as how the resulting designs, with their disregard for the historical failures of colonial architecture, seek to transform and control the cultural and political landscape. Together the film and installation hint at the limits of free speech and reveal how the legacies of fascism live on in the present.
Still from Capital, 2022
Basma Al-Sharif. Courtesy of the artist
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Artist Talk: Basma Al-Sharif
March 12, 2022 | 2:00–3:00
Fullerton Hall
Free, registration required
Hear from Basma Al-Sharif, an artist and filmmaker of Palestinian origin who developed her practice nomadically between the Middle East, Europe, and North America.
Al-Sharif will discuss her latest work, Capital—a film and site-specific installation created for the Ruttenberg Contemporary Photography Series that explores the rise of fascism through architecture. The talk will focus on the driving forces behind the construction of cities and urban planning, the use of satire to frame politics, and the impossibility of free speech.
Please note that this is an in-person event that takes place at the museum.
All visitors ages 5 and up are required to show proof of vaccination. Proof can include a physical vaccine card, a photocopy of the card, a digital record or app on your phone, or a printed record from a vaccine provider. Those 16 and over must also show a photo ID.
If you have any questions about virtual programming, please reach out to museum-programs@artic.edu.
For questions related to accessibility accommodations, please email access@artic.edu.
Still from Capital, 2021
Basma Al-Sharif. Courtesy of the artist
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Fullerton Hall
Free, registration required
Registration link available soon
Join artist Igshaan Adams in conversation with Hendrik Folkerts, curator of international contemporary art at the Moderna Museet, as they discuss the artist’s exhibition Desire Lines.
In his tapestries and textile installations, Adams shows us the gaps: information that is seemingly absent, intentionally overlooked, or rendered invisible in the spaces we inhabit individually and collectively. Folkerts talks with Adams about weaving, how the artist’s hometown in South Africa became a key source of inspiration for him, and his approach to space and the stories it holds.
Please note that this is an in-person event that takes place at the museum.
All visitors ages 5 and up are required to show proof of vaccination. Proof can include a physical vaccine card, a photocopy of the card, a digital record or app on your phone, or a printed record from a vaccine provider. Those 16 and over must also show a photo ID.
If you have any questions about programming, please reach out to museum-programs@artic.edu.
Closed captioning will be available for this program. For questions related to accessibility accommodations, please email access@artic.edu.
Igshaan Adams
Courtesy the artist. Photo: Mario Todeschini.
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Apr 23, 2022 | 11:00–2:00 and 3:00–5:00
EXHIBITION
Galleries 161 and 261
No event registration required. Performances will take place continuously during the hours listed
About
For Paulina Olowska (born 1976), painting and performance are closely entwined. Her performances function as subtext for her paintings, drawing out reciprocal relationships between scenography and movement, the still image and the moving body. With her newly commissioned work Naughty Nymphs in the Courtyard of the Favorites, the artist finds inspiration in the Art Institute’s galleries of American art, where Ellsworth Kelly’s The Chicago Panels (1989–99) surround an atrium housing Neoclassical sculptures—mythological and idealized manifestations of the nude female body. Investigating the sexual politics of space and building upon her long-term interest in images from fashion and advertising, Olowska critically engages with representations of the female body in this performance event.
Naughty Nymphs in the Courtyard of the Favorites centers on the particular aesthetic of the soft-core magazine Viva. Specifically developed for female readers, Viva emerged in the 1970s era of “porno chic,” when pornography entered the mainstream consciousness of America. The magazine’s hazy and seductive eroticism—reminiscent of the era’s French Emmanuelle films— combined provocative writing on male and female sexuality with fashion editorials and full-frontal male nudity. Olowska presents this performance in collaboration with five muses adopting the role of nymphs, whose whispers resonate among the marble surfaces of the courtyard turned harem; six transparent paintings by Olowska inspired by Viva; Kelly’s enormous, opaque panels; and the bodies moving between them.
Naughty Nymphs in the Courtyard of the Favorites is the fourth installment of Iterations, the Art Institute’s multiyear series of new performance commissions.
Paulina Olowska
Paulina Olowska was born in 1976 in Gdańsk, Poland, and lives and works in Rabka-Zdrój and Krakow, Poland. She has had solo-person exhibitions at Kunsthalle Basel; the Stedelijk Museum, Amsterdam; and the Zacheta National Gallery of Art, Warsaw. Olowska received the prestigious Aachen Art Prize in 2014, with an associated exhibition at the Ludwig Forum for International Art, Aachen, Germany. She has also staged performances at Tate Modern, the Carnegie International, and the Museum of Modern Art, New York. Olowska presented the ballet Slavic Goddesses—A Wreath of Ceremonies at The Kitchen, New York, in 2017 and Slavic Goddesses and the Ushers at the Museo del Novecento in Milan in 2018. Her work was featured in the 2017 National Gallery of Victoria Triennial in Melbourne and the 2018 Liverpool Biennial, as well as in group exhibitions at the Museum of Modern Art, Warsaw; mumok, Vienna; Hamburger Kunsthalle, Hamburg; Migros Museum für Gegenwartskunst, Zürich; and the New Museum, New York.
Lindsay Zae Summers
Born and raised in Washington, DC, Lindsay Zae Summers lived in Seattle from 2013 through 2018 and has been in Chicago and New York since 2018. A multidisciplinary artist, she uses movement at the core of her work, creating performance rooted in empathy building, innovating, exploring, dismantling, reclaiming, and collaborating. Summers holds a BFA in theater, and her acting credits span classical, contemporary, and commercial work.
Yana Verba
Yana Verba is a Ukrainian-Canadian painter who was born in Ukraine in 1983 and immigrated to Canada in 1999. She is a former fashion model who was represented internationally by Ford and Elite agencies from 2001 to 2008. Verba studied at the School of Visual Arts in New York and received a BFA in drawing and painting from OCAD University in Toronto in 2015. She grounds her art practice in a language of abstraction that uses rhythmic patterns, colors, and movement. Verba derives inspiration from Modernists of the early 20th century and currently is working on a series of paintings that echoes Soviet monumental art and Soviet Ukrainian mosaics. She has exhibited in Canada, the United States, and the Middle East. Verba has lived and worked in California since 2015.
Laura Morgan
Born in Ireland, Laura Morgan moved to England when she was six. A very tumultuous upbringing led her into the music and party scene where she discovered her love of creativity and a passion for exploring a new world beyond the one she was born into. She has worked as a greengrocer, cleaner, ticket salesperson, in-house model for Alexander McQueen, director, producer, photographer, musician, writer, costume designer on Hollywood movies and three of Madonna’s tours, stylist, collaborator, fashion model, and home builder. Morgan is the founder of WECAN creative workshops with at-risk kids.
Roxane Danset-Mahoney
Roxane Danset-Mahoney was born and raised in the Flanders region of France and started her career in 1999 in Paris in charge of press for Martin Margiela, then at Acne. She went on to be a fashion editor for Self Service magazine. Dasnset-Mahoney moved to New York in 2011 to marry a drummer, sculptor, and family man; there they raised three boys. In New York she also began to devote her professional attention to styling and fashion consulting and has done so ever since. Dasnset-Mahoney has collaborated on books, exhibitions, and magazine projects with artists such as Marina Abramović, K8 Hardy, Rachel Feinstein, Paulina Olowska, and Viviane Sassen.
Cristal Sabbagh
Cristal Sabbagh’s performance practice, rooted in improvisation and Butoh, walks a line between the everyday, the divine, the personal, and the political. In embodying transformational memories while simultaneously celebrating pop culture and the experimental, she challenges power structures and awakens viewers’ senses. Working both in a solo capacity and with collaborators, Sabbagh is equally attuned to individual perspectives and collective structures. In various configurations, these collaborators have regularly engaged in improvised performances, opening up new avenues for Sabbagh’s material and conceptual exploration. Sabbagh is an interdisciplinary artist and curator, who was recently granted a 3Arts Make a Wave award.
Audio Jack
Drawing upon a lifetime of passion and appreciation for music, art, and cinema, Audio Jack has provided a unique thoughtfulness to custom music and sound experiences since 2007. A native Chicagoan, Jack has performed in Los Angeles, New York City, Austin for SXSW, in Chicago’s Pride Parade, at the MCA, the Art Institute of Chicago, the Shedd Aquarium, the Field Museum, Navy Pier, as well as a multitude of entertainment venues and other special events.
Emmanuelle, 2020
Paulina Olowska
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Exhibitions are free with museum admission.
About the Exhbition
Over the course of a career that has spanned nearly six decades, Mel Bochner has been at the forefront of Conceptual Art, producing thought-provoking work in nearly every medium: drawing, painting, prints, photography, sculpture, books, and installations.
This exhibition is the first to use drawing as its principle organizing focus, foregrounding the importance of this body of work within the artist’s practice from its beginnings in the 1960s through the present. The show demonstrates Bochner’s pioneering role in redefining the traditional boundaries of drawing and illuminates the artist’s evolving ideas about seriality, temporality, and the slippage between word and image.
The exhibition includes nearly 90 works from all phases of his career—including several from the museum’s significant collection of Bochner’s earliest drawings—and explores the artist’s central themes of language, numbers, measurement, shape, and visual perception. Traditional drawing techniques (ink, pencil, pastel, chalk and charcoal on paper) join media as diverse as burnt matchsticks on paper, oil paint on newspaper, wall drawings in powder pigment, and, provocatively, stones arranged on the floor.
Bochner has remarked, “The materiality of a drawing is central to its meaning. Every medium reveals something but hides something else. A change of mediums can reveal what was hidden, permitting new thoughts to emerge.” He has always challenged any rigid definition of drawing, and his work has consistently expanded the field with the insistent question, “What isn’t a drawing?”
This exhibition celebrates that question.
Portrait of Eva Hesse, 1966
Mel Bochner. Collection of the artist. Image © Mel Bochner. Photo by Nicholas Knight
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Member previews: May 12–14, 2022
May 15–Sep 5, 2022
EXHIBITION | Regenstein Hall
Exhibitions are free with museum admission.
Paul Cezanne (French, 1839–1906) pursued a pair of questions throughout most of his life: Could a painter create artworks one sensation at a time? And, if so, would pictures made this way somehow be truer to life than those made by other means?
This groundbreaking retrospective sheds new light not only on how this pivotal artist created his works, but also why his art remains so vital today.
This exhibition is the first major retrospective of the artist’s work in the United States in more than 25 years and the first exhibition on Cezanne organized by the Art Institute of Chicago in more than 70 years. Planned in coordination with Tate Modern, the ambitious project explores Cezanne’s work across media and genres with 90 oil paintings, 40 watercolors and drawings, and two complete sketchbooks. This outstanding array encompasses the range of Cezanne’s signature subjects and series—little-known early allegorical paintings, Impressionist landscapes, paintings of Montagne Sainte Victoire, portraits, and bather scenes—and includes both well-known works and rarely seen compositions from public and private collections in North and South America, Europe, and Asia.
Still Life with Apples (detail), 1893–94
Paul Cezanne. The J. Paul Getty Museum, Los Angeles
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May 26–Oct 10, 2022
EXHIBITION | Gallery 283
Objects in Sculpture, the designer’s first solo exhibition in a major museum, presents a selection of key works that Muecke identifies as “open objects.” Harnessing precise, spare lines and evocative shapes, the objects eschew traditional design typologies and historical references. Each work rigorously questions the interdependence and possible synthesis of formal and material phenomena. The resulting objects are curious, enigmatic, but also familiar: a rock with holes; a faceted curvature of carbon fiber felt; a five-sided, open box made of steel; a textile volume with concave surfaces; a continuous, multitiered wooden zig-zag. Muecke insists that these ascetic objects—while meticulously crafted and deliberately devoid of details—are not minimal. Instead, he argues, the objects are “maximums,” each manifesting the limits of legibility and perception, memory and apprehension, and therefore have the capacity to generate new relationships between objects, bodies, and space.
Vertical Expander, 2012
Jonathan Muecke. Image courtesy Jonathan Muecke
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Fullerton Hall, Art Institute of Chicago | REGISTER
Join us for a rare in-person conversation with Thai artist Rirkrit Tiravanija and Betsy Johnson, Assistant Curator at the Hirshhorn Museum and Sculpture Garden in Washington, DC.
Tiravanija and Johnson will discuss Tiravanija’s installation (who’s afraid of red, yellow, and green). This immersive installation transforms Wrightwood 659’s second-floor gallery into a communal dining space where visitors are periodically offered Thai curries and encouraged to share a meal together. The installation includes a large-scale mural referencing protests against Thai government policies, and images of protest from DC and Chicago, concurrently drawn on the walls by local artists over the course of the exhibition.
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American designer Jonathan Muecke (born 1983) has, for more than a decade, investigated the relationship between form, material, and perception through a range of creative experiments. Whether working in steel, wood, textile, or composite materials, Muecke’s intent remains consistent: to produce objects that challenge our spatial expectations and habits, prompting us to experience our physical environments anew. For this conversation, Muecke joins Irene Sunwoo, John H. Bryan Chair and Curator of Architecture and Design, and Zoë Ryan, Daniel W. Dietrich, II Director of the Institute of Contemporary Art, University of Pennsylvania, to discuss his exhibition, Objects in Sculpture.
Free, registration required. Register here.
Image: Jonathan Muecke, Objects in Sculpture, Installation View, 2022, Courtesy of the Art Institute of Chicago
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The Art Institute of Chicago is pleased to announce David Hockney: The Arrival of Spring, Normandy, 2020 , an exhibition of new work by one of England’s most versatile and inventive artists of the postwar era. In this latest project, Hockney rendered the richness of the season from the bucolic surroundings of rural Normandy on his iPad. Organized in collaboration with the Royal Academy of Arts, London, David Hockney: The Arrival of Spring, Normandy, 2020is on view at the Art Institute of Chicago from August 20, 2022 through January 9, 2023 and explores Hockney’s innovative approach to “painting” across 116 works, including two animated videos.
Two years ago—at the beginning of the COVID-19 pandemic—David Hockney traveled to France with the express intention of capturing the emergence of spring. Working en plein air (in the open air), he spent his days scrutinizing and recording the subtle, daily changes in the plants and light as spring emerged and took hold with all its drama and glory. The plein air approach was particularly fitting for his endeavor due to Normandy’s associations with the origin of French Impressionism.
Hockney diverted from Impressionistic tradition by engaging in his long-held embrace of contemporary technology—he has used fax machines, laser photocopiers, photoshop, and other 20th- and 21st-century digital instruments throughout his six-decade career. David Hockney: The Arrival of Spring, Normandy, 2020 was produced entirely on an iPad. The artist first explored this format in 2010 after working on an iPhone for a year prior. An app was adapted to his requirements with custom brushes and shapes, “I feel like I’m painting,” Hockney remarked. His iPad works possess all the qualities of his paintings on canvas, with his gesture and hand clearly evident.
Robyn Farrell, associate curator, Modern and Contemporary Art remarks, “David Hockney: The Arrival of Spring, Normandy, 2020 simultaneously celebrates and charts the temporal and textural transformation of the natural world. This body of work is distinct in that it offers the visual splendors of the French countryside through studied observation and technological execution. As the only American venue for the exhibition, we are delighted to share this particular view of the world, during an historic period of time, from one of the most important British artists of the 20th century.”
This series of work coincided with the beginning of the coronavirus pandemic, when much of the world went into a state of lockdown. Hockney’s exploration offers a contrast to the isolation and loss many experienced during this same period. His paintings are a celebration of the joy of the natural world, which reminds us, as he does himself in one of his often-repeated phrases, to “love life.”
Image: David Hockney. No. 209, 17th April 2020. © David Hockney.
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Join artist Nancy Rubins and Ann Goldstein, deputy director and Dittmer Curator of Modern and Contemporary Art, as they discuss Our Fluid Metal Friend. Throughout her career, Nancy Rubins has amassed found everyday objects—mobile trailers, canoes, airplane parts, and playground equipment—into monumental sculptures.
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The Art Institute of Chicago is pleased to announce Bridget Riley Drawings: From the Artist’s Studio, the first and most extensive American museum exhibition dedicated exclusively to Riley’s drawings in over half a century. Organized in collaboration with the Hammer Museum and the Morgan Library & Museum, Bridget Riley Drawings: From the Artist’s Studio is on view at the Art Institute of Chicago from September 17, 2022 to January 16, 2023 and includes more than 90 sheets from Riley’s private collection, which have long been kept as part of her dynamic studio practice.
In her early student drawings made in the 1950s—many on view here for the first time—Riley looked to the human form and nature to establish the foundation for her investigation of pure abstraction. Starting in 1960 and up until today, the British artist has created abstract, geometric drawings that challenge optical sensations. These studies range from working drawings on graph paper to finished gouaches and serve to anticipate her paintings. The drawings, along with a small selection of paintings, reflect what Riley considers an essential part of her, and any, artistic practice. She has described the process of drawing “as though there is an eye at the end of my pencil, which tries, independently of my general-purpose eye, to penetrate a kind of obscuring veil or thickness.”
In the late 1960s Riley shifted from employing exclusively black, white, and gray circles, squares, and triangles to include color in her energetic horizontal and vertical compositions. Her aim was to investigate visual perception and light effects through the adjacent placement of hues. In her stripes, whether horizontal, vertical, diagonal, or curved, Riley uses color to guide our optical sensations. Line, in her words, is “the basis of what you might call a color vocabulary, as Seurat used the dot.” Beginning in the mid-1970s, Riley explored an expanded range of color for her stripes.
As noted by Jay A. Clarke, Rothman Family Curator, Prints and Drawings, “This exhibition allows the viewer to question the limits and possibilities of representation and abstraction, from studies of the human body to diagonal bands of color. I look forward to sharing with you this visual journey through drawings Riley made between the ages of 15 and 75—sheets she has chosen to share with us at 91.”
The exhibition is curated by Cynthia Burlingham, director of the Grunewald Center for the Graphic Arts and Deputy Director of Curatorial Affairs, Hammer Museum; Jay A. Clarke, Rothman Family Curator, Prints and Drawings, Art Institute of Chicago; and Rachel Federman, associate curator, Modern and Contemporary Drawings, Morgan Library and Museum. An accompanying catalogue reproduces all works in the exhibition and includes new essays by Clarke and Federman, as well as art historian and critic Thomas Crow.
Image: Bridget Riley. Red, Green, and Blue Twisted Curves, 1979. Collection of the artist
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The Art Institute is pleased to announce Lygia Pape: Tecelares, an exhibition that brings together nearly 100 rarely seen woodblock prints by Pape, some of which have not been shown publicly since the artist exhibited them from the 1950s through 1970s. The installation will be on view from February 11 through June 5, 2023.
Lygia Pape (1927–2004) was a key figure in the development of contemporary art in Brazil, dedicated to exploring new visual languages and multiple media, including painting, performance, printmaking, and sculpture. She produced one of her strongest core of works during the 1950s and 1960s and, along with her fellow Brazilian artists Hélio Oiticica and Lygia Clark, co-founded the Neo-Concrete movement which advocated for art whose forms were expressive, organic, and experiential.
Tecelares is an invented term, which loosely translates to “weavings,” and refers to the artist’s unique, handmade approach to printmaking as well as the influence of international Modernists, such as Josef Albers, who were exhibiting in Brazilian exhibitions more widely in the 1950s. These works, which are composed of overlapping geometric and linear elements, can suggest the clash of atomic particles, rudimentary city plans, or slides of microscopic specimens.
Mark Pascale, Janet and Craig Duchossois Curator of Prints and drawings at the Art Institute of Chicago notes, “The Art Institute is grateful to the Projeto Lygia Pape, for allowing our access to the archive of Pape’s extant Tecelares. The resulting selection of woodblock prints reveals a unique perspective about the artist’s working process, as well as her rapid and deep understanding of how to manipulate her limited choice of materials to produce one of the most radically inventive and exciting bodies of printed art of the second half of the 20th century.”
Although Pape’s woodblock prints are well known, they haven’t yet received a more focused approach and dedicated presentation until now. This exhibition and the accompanying publication explore these works in depth, situating them within Pape’s broader career, revealing new insights into her process, and examining the ways in which she used them to embody her core ideas about art: “My concern is always invention. I always want to invent a new language that’s different for me and for others, too… I want to discover new things. Because, to me, art is a way of knowing the world.”
Lygia Pape: Tecelares is organized by the Art Institute of Chicago and curated by Mark Pascale, Janet and Craig Duchossois Curator, Prints and Drawings. A fully illustrated catalogue accompanies the exhibition and features essays by Adele Nelson, Pascale, and María Cristina Rivera Ramos.
Sponsor
Major support for Lygia Pape: Tecelares is provided by The Diane & Bruce Halle Foundation.
Image
Lygia Pape. Tecelar (Weaving), 1958. Courtesy Projeto Lygia Pape
The Art Institute is pleased to announce Salvador Dalí: The Image Disappears,which explores the pivotal decade of the 1930s, when Salvador Dalí emerged as the inventor of his own personal brand of Surrealism. This installation of 50 paintings, sculptures, drawings, collages, along with a rich selection of books and ephemera—on view from February 18 through June 12, 2023—considers Dalí’s work in light of two defining, if contradictory, impulses: an immense desire for visibility and the urge to disappear.
The Art Institute first exhibited the work of Salvador Dalí in 1933, as the artist was emerging as a one-man artistic phenomenon with his own personal brand of Surrealism. The museum acquired a Dalí painting shortly thereafter, becoming one of the first cultural institutions anywhere in the world to do so. In the nearly 90 years since, the Art Institute’s unparalleled commitment to collecting Dalí has resulted in holdings of more than three dozen of his creations across mediums. But until now, the museum has never mounted an exhibition solely focused on Dali’s work.
Caitlin Haskell, Gary C. and Frances Comer Curator, Modern and Contemporary Art, and Director, Ray Johnson Collection and Research shares, \"The Art Institute was among the first museums to display Dali’s work, and for us it’s been a thrill to organize his first solo exhibition at the museum, building on icons we know well and setting them in context with pinnacle works from around the world.\"
Featuring icons of the Art Institute’s Surrealism collections alongside extremely rare loans from leading public and private collections in Europe and the US, the exhibition explores a series of “disappearing acts” undertaken by the artist at the height of his fame. Additionally, new technical analysis undertaken for this exhibition illuminates further hidden imagery within Dalí’s works that offer meditations on his wry and sophisticated approach to art making.
“Dalí trusted that the public would be receptive to his challenging and unusual imagery, and we hope that this exhibition will welcome visitors to see his signature motifs with fresh eyes,” remarks Jennifer Cohen, curator of provenance and research.
The exhibition is curated by Caitlin Haskell, Gary C. and Frances Comer Curator, Modern and Contemporary Art, and Director, Ray Johnson Collection and Research, and Jennifer Cohen, curator of provenance and research, Director’s Office.
Sponsors Major support for Salvador Dalí: The Image Disappears is provided by The Donnelly Family Foundation and Natasha Henner and Bala Ragothaman.
This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.
Image Salvador Dalí. Apparition of Face and Fruit Dish on a Beach, 1938. © Salvador Dalí, Fundació Gala-Salvador Dalí / Artists Rights Society (ARS), New York, 2022. Photo by Allen Phillips/Wadsworth Atheneum
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Fullerton Hall, 111 S. Michigan Ave.
Join artist Brendan Fernandes for an in-person lecture, followed by an audience Q&A at the Art Institute of Chicago for SAIC's Visiting Artists Program. Fernandes’s projects address issues of race, queer culture, migration, protest, and other forms of collective movement. Always looking to create new spaces and new forms of agency, Fernandes’s projects take on hybrid forms: part ballet, part queer dance party, and part political protest, always rooted in collaboration and fostering solidarity.
Image: Brendan Fernandes. Courtesy of the artist. Photography: Michael Salisbury
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Apr 2–Aug 1, 2022
Member preview: Apr 1, 2022
About
At the heart of Igshaan Adams’s expansive weaving practice lies a question that can be applied to the relationship we have with others as well as with ourselves: “How would you treat someone differently if you knew everything about them? Or nothing?”
In his tapestries and textile installations, Adams engages with the gaps—the information that is seemingly absent, overlooked, or rendered invisible in the spaces we inhabit individually and collectively. Through the beads, shells, glass, rope, wire, and found objects he uses to compose his weavings, Adams highlights the material aspects of lived spaces along with the personal stories held within them.
Al-Muhyee (“The Giver of Life”), 2020
Igshaan Adams. Courtesy of blank projects, Cape Town. © Igshaan Adams
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The Art Institute is pleased to announce Gio Swaby: Fresh Up, an exhibition that explores the intersections of Blackness and womanhood from the textile-based, multidisciplinary artist Gio Swaby. On view from April 8 through July 3, 2023 , this is Swaby’s first solo museum show and brings together seven of her series from 2017 through 2021, along with approximately 15 new works.
Having grown up in the Bahamas surrounded by the materials her seamstress mother used, Swaby chose to work in textiles—a medium traditionally associated with domesticity and femininity—as a means to imbue her works with both familiarity and labor-intensive care. From there, she upends tradition. Her often life-size portraits give a sense of monumentality to the techniques of embroidery and piecing, and she also presents the reverse side of her intricately rendered canvases so that the stitching process of her freehand style—the normally hidden knots and loose threads—is visible. While there’s a vulnerability to “showing the back,” Swaby embraces and elevates these imperfections.
Her embroidered portraits are anchored in the connections she forges with her subjects: each portrait begins with a photo shoot in which her sitters are captured in a moment of self-awareness and empowerment. Simultaneously individualized and representative—the subjects are not identified by name, and while the choices of fashion and accessories are the deliberate outcome of the artist/sitter collaboration, they also allow the viewer to see a reflection of themselves in a hairdo, a pose, a pair of fashionable shoes
The title of the show, Fresh Up, developed with the artist, is a Bahamian phrase often used as a way to compliment someone’s style or confident way of being. Swaby has remarked, “It holds a lot of positivity and joy. It also speaks to the tone of confidence and power that I want to create with these works. I love that it is a way to form connections through a simple phrase.”
Melinda Watt, chair and Christa C. Mayer Thurman Curator of Textiles notes, “Swaby’s work in textiles is firmly rooted in her own personal history and in a desire to make art that is approachable and accessible to a broad audience, but in particular to Black women and girls. She offers her viewers the possibility of seeing themselves reflected in her work, and of seeing themselves on art gallery and museum walls, where they are underrepresented. Swaby’s intention of creating more nuanced images of Black sitters who are empowered to be themselves, beautiful but not idealized, is a message that I and my colleagues are honored to share with our visitors.”
Gio Swaby: Fresh Up is organized by the Art Institute of Chicago and Museum of Fine Arts, St. Petersburg.
The exhibition is curated by Melinda Watt, chair and Christa C. Mayer Thurman Curator of Textiles, Art Institute of Chicago, and Katherine Pill, curator of contemporary art, Museum of Fine Arts, St. Petersburg. A fully illustrated catalogue, published by Rizzoli, accompanies the exhibition and includes an interview between the artist and Pulitzer Prize–winning writer Nikole Hannah-Jones, as well as essays by the curators and contributions from Swaby herself.
Press Event On the morning of April 14, 2023, the Art Institute will offer limited interviews with artist, Gio Swaby and curator, Melinda Watt. Please send an email to publicaffairs@artic.edu with your interest.
Sponsors Major funding for Gio Swaby: Fresh Up is provided by Nicholas Antoine and Wanji and Clive Walcott.
Image Gio Swaby. My Hands Are Clean 4, 2017. Courtesy of Claire Oliver and Ian Rubinstein. © Gio Swaby. Photo by Ian Rubinstein
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Lui Shou-Kwan 吕寿琨 (1919–1975) was one of the pioneers of the New Ink painting movement, which aimed to modernize traditional Chinese ink painting in Hong Kong in the 1950s–1970s.
Lui had extensive training in various traditional styles, including calligraphy and landscape painting, where the emphasis is on copying a master’s work. Moving to Hong Kong in 1948 when it was a British colony (which it remained until 1997), Lui also had exposure to Western modern art, including Abstract Expressionism. He came to believe that an artist should not merely copy an established style but should express themselves and develop their own unique approach to art.
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The artful display of flowers in Japanese culture known as ikebana (ike means “to arrange,” and bana or hana means “flowers”) likely originated with arrangements dedicated to Buddhist deities in temples, where the presentations sought to capture the beauty of paradise. Japan’s first formal school of flower arranging developed in the 15th century. At that time, ikebana was practiced by priests, the warrior class, and members of the imperial court according to a strict set of rules. But as other classes began to appreciate the art, tradition expanded to accommodate the less rigid styles they preferred.
Ikebana remains a prominent and disciplined manifestation of a larger focus on nature in Japanese culture. The practice emphasizes the lines formed by the placement of the leaves, branches, and twigs and, when successful, conveys a sense of harmony among the plants, their vessels, and their settings.
Image: Kamisaka Sekka, Hydrangeas, from the series “Worlds of Things (Momoyogusa)”, reprint, original made in 1909–1910
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Member previews: May 11–13, 2023
May 14–Sep 4, 2023
Between 1882 and 1890, five artists—Vincent van Gogh, along with Georges Seurat, Paul Signac, Emile Bernard, and Charles Angrand—flocked to villages on the fringes of Paris. Unlike the earlier Impressionists, who in the previous decade had spent significant time in suburban locations further from the city, this next generation of ambitious artists preferred the northwestern suburbs around Asnières. This area along the Seine River had long been a popular spot for recreation and relaxation but was becoming increasingly populated with coal, gas, and manufacturing facilities in the last decades of the 19th century. And while its industrial development was an unappealing aspect to many, these artists found in the changing physical and social landscape a fresh and rich source of creativity, as Van Gogh’s letter indicates.
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Though these drawings are little known and have seldom been exhibited, Kelly produced them in such prodigious numbers that the nearly 100 works in this exhibition represent, at most, a sixth of the total portraits he drew between 1941 and 2011.
Image: Hôtel Saint-Georges, Paris (Self-Portrait), 1948. Ellsworth Kelly. Collection of the Ellsworth Kelly Studio and Jack Shear. ©️ Ellsworth Kelly Foundation
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Born in Spain, Varo (María de los Remedios Varo Uranga) fled Europe in 1941 due to the growing dangers of World War II and emigrated permanently to Mexico City, where she worked amid a community of Mexican and European artists who drew inspiration from the culture and geography of Mexico. It was here that Varo developed her unique practice of juxtaposing Surrealist chance-based techniques with imagery from disciplines as wide-ranging as chivalric romance, ecology, geographic explorations, feminist critique, mysticism, psychology, and tarot.
Image: Hallazgo (Discovery), 1956. Remedios Varo. Private collection. © 2023 Remedios Varo, Artists Rights Society (ARS), New York / VEGAP, Madrid. Photo by Jamie M. Stukenberg, Stukenberg Photography
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Drawn primarily from the Art Institute’s collection, this exhibition charts Friedman’s remarkable mid-career transformation from a graphic designer to a multimedia creator whose neon-colored works defy traditional categories. His unconventional style led to diverse collaborations with some of the most prominent artists living in New York City in the early 1980s, including Jean-Michel Basquiat, Keith Haring, and Tseng Kwong Chi.
Friedman’s career began with training at two prestigious schools for modern design and typography in Europe. He then went on to teach graphic design at Yale University before building his early career in corporate branding for large companies like Citibank. Despite his success, by the late 1970s Friedman became disillusioned with corporate work and immersed himself in the artistic subculture of the East Village. This experience allowed him to explore the full range of his creativity, and begin creating the wild, mixed-media assemblages and customized furniture pieces that became the hallmark of his practice.
Friedman’s work blurs the boundaries between art and design, inspired by everyday debris from the streets of New York and diverse references to popular culture, including corporate logos and cartoon characters. Friedman employed found objects and vibrantly painted surfaces to create lyrical, yet irreverent compositions that explore themes ranging from ecological disaster to day dreams.
“He had an absurdist sensibility that oscillated between humor and tragedy,” said Alison Fisher, Harold and Margot Schiff Curator, Architecture and Design, “an attitude that allowed him to make space for radical optimism in a materialistic, media-driven world.”
During the late 1980s, Friedman became increasingly invested in work addressing the political and social issues of his time, including rapidly evolving technology, environmental pollution, and South African apartheid. The most iconic of these projects—his 1987 Art Against AIDS Poster—was created to help combat the AIDS crisis, a disease that had a devastating impact on Friedman’s artistic community in New York and claimed his own life in 1995.
Building on the Art Institute’s early acquisition of Friedman’s work in 1989, this exhibition represents a timely, wide-ranging examination of a major, yet underexplored figure in 20th century design whose unbridled practice speaks to stylistic and political directions in art and design today.
Dan Friedman: Stay Radical is curated by Alison Fisher, Harold and Margot Schiff Curator, Architecture and Design, with McKenzie Stupica, COSI Research Fellow in Architecture and Design.
Image: Dan Friedman. Tornado Fetish, 1985. The Art Institute of Chicago, gift of Ken Friedman 2020.
The Art Institute of Chicago is pleased to announce Among Friends and Rivals: Caravaggio in Rome, on view from September 8, 2023 through December 31, 2023. This intimate exhibition will include two rarely loaned Caravaggio paintings alongside works from the Art Institute’s collection by some of his closest friends and rivals from the 17th century Roman art scene.
With only seven Caravaggio paintings in collections in the United States, this is a rare opportunity to view the innovation and influence of Caravaggio’s work in person. Two of the paintings within this exhibition—The Cardsharps, on loan from the Kimbell Art Museum, and Martha and Mary Magdalene, on loan from the Detroit Institute of Arts—showcase Caravaggio’s ability to capture drama through gesture, light, and composition.
Born in Milan in 1571, Michelangelo Merisi da Caravaggio entered the art scene in Rome around 1592 and over a short career developed an original and captivating style that attracted eminent patrons and passionate followers including Giovanni Baglione, Bartolomeo Manfredi, and Francesca Buoneri.
“Caravaggio’s work invites slow looking to take in the deliberate details of the narratives within familiar scenes of drinking and gambling, or of saints and holy figures,” said Rebecca Long, Patrick G. and Shirley W. Ryan Curator, Painting and Sculpture of Europe. “He was a true storyteller whose paintings are most striking in person.”
Caravaggio’s legacy and influence are seen in the work of many other artists working in Rome. Three paintings from the Art Institute’s collection round out this focused exhibition including one by Caravaggio’s great rival, Baglione, and two of his closest associates and followers, Manfredi and Buoneri.
Among Friends and Rivals: Caravaggio in Rome is curated by Rebecca Long, Patrick G. and Shirley W. Ryan Curator, Painting and Sculpture of Europe.
Image: Michelangelo Merisi da Caravaggio. The Cardsharps, about 1595. Kimbell Art Museum, Fort Worth, Texas.
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The trailblazing French sculptor Camille Claudel (1864–1943) defied the social expectations of her time to pursue original and powerful explorations of the human form.
During that period, few women achieved celebrity in the field of sculpture, which, unlike painting or drawing, continued to be a largely male enterprise. Densely material, largely reliant on nude models, physically demanding, and bound up in male-dominated and politicized systems of state patronage, sculpture was not considered a polite art, and Claudel’s ambitions in that arena were transgressive. Her work prompted the critic Octave Mirbeau to famously exclaim, “We are in the presence of something unique, a revolt of nature: a woman genius.”
Image: The Implorer (large model), modeled about 1898–99, cast about 1905. Camille Claudel. Turner Carroll Gallery, Sante Fe
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This exhibition, centered on the artist’s works on paper, brings into focus Picasso’s life and art as it intersected with a network of artists, dealers, printers, family members, and lovers. The many women with whom he had passionate and sometimes volatile relationships inspired him and are frequently represented in his art, as are several friends and family members. A complex person, Picasso represented his subjects with both tenderness and aggression. Behind-the-scenes, the printers and dealers with whom Picasso collaborated helped him realize and bring attention to thousands of works. These partnerships, both professional and personal, allowed Picasso to gain international renown.
Image: Pablo Picasso, Weeping Woman I, July 1, 1937
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This first exhibition to focus on Italian sculptor Antonio Canova’s lesser-known but unforgettable work in clay reveals how the artist developed his ideas—from the first brilliant spark of imagination to his laboriously finished statues.
Renowned for marble statues that convey a sense of ideal beauty with remarkable lifelikeness, Antonio Canova (1757–1822) was the most celebrated European artist of his time. This exhibition focuses on a less-familiar aspect of his production: his clay sketches.
Often produced at a lightning pace to capture his ideas, these works are in many ways the antithesis of his exquisitely finished marble sculptures. Visceral, expressive, and impressionistic, their surfaces visibly bear the pressing and pinching of the artist’s fingers, along with the gouges and scrapes of his tools.
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Before 1950, women rarely played a part in the production of Japanese prints, which were largely commercial products. After World War II, however, women artists were drawn to the new sōsaku hanga (creative print) movement, whose adherents approached printmaking as a form of artistic expression.
In 1956 a small group of these female printmakers created Joryū Hanga Kyōkai, an association that exhibited together for about 10 years. Its members included Iwami Reika and Yoshida Chizuko, both of whom are well-known today and appear in this exhibition. Despite individual successes, like Iwami’s and Yoshida’s, the number of women printmakers in Japan is still a small fraction of the total artists who are active there.
Remarkably, the Yoshida family alone boasts three impactful female printmakers, and this display represents all of them. Yoshida Fujio began to explore sensual abstracted floral themes in prints in 1950 at the age of 62. Her daughter-in-law, Yoshida Chizuko, trained as an abstract painter, but she expanded her practice in 1953 after she married a printmaker. Yoshida Ayomi is the youngest and most conceptual artist of the three, and she views her prints primarily as records of her main focus: the carving process. This exhibition features many works that the family gave to the Art Institute between 2011 and 2019.
Image: Valley of Butterflies (Tanima no cho), 1979
Yoshida Chizuko
Gift of Chizuko, Takasuke, and Ayomi Yoshida
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Christina Ramberg (1946–1995) was an influential and beloved member of Chicago’s contemporary art scene.
While best known for her stylized paintings of fragmented female bodies, throughout her brief yet focused career, she vacillated between the depiction of various figural elements—hair, hands, torsos, and garments—while also creating equally rich, abstracted forms that emphasize structure and surface.
This retrospective—the first comprehensive exhibition devoted to Ramberg in almost 30 years—presents approximately 100 works from public and private collections, with several key pieces drawn from the Art Institute’s collection. From intimate early paintings focused on the pattern and form of women’s hairstyles and garments, to mature work featuring cropped female torsos in lingerie that contains and restrains, the exhibition presents her most iconic imagery while grappling with all phases and elements of Ramberg’s continually evolving career.
During the mid- to late 1970s, Ramberg pushed her boundary-blurring paintings into a new mode that straddled figuration and abstraction while still questioning idealized body types and gender presentation. These paintings are joined in the exhibition by the artist’s experimental quilts of the late 1980s, when her pioneering obsession with handicraft, garment construction, and domestic textiles led her to abandon painting and focus fully on quilt making. The show additionally includes her final body of work as she returned once again to painting, making dark geometric abstractions that still reveal traces of her lifelong fascination, the human torso.
The exhibition also recognizes that, in addition to her devotion to drawing, painting, printmaking, and quilting, Ramberg was a note-taker, slide-maker, collector, and diarist. Sketchbooks, 35mm slides, and dolls from Ramberg’s informal archive of ephemera offer a fuller understanding of the artist’s practice and how she digested an enormous breadth of source material to create her edgy yet empathetic body of work, or as she once put it, “[made] from my obsessions and ideas the strongest, most coherent visual statement possible.”
Christina Ramberg: A Retrospective is curated by Thea Liberty Nichols, associate research curator, Modern and Contemporary Art, and Mark Pascale, Janet and Craig Duchossois Curator, Prints and Drawings. A catalogue accompanies the presentation.
The exhibition is organized by the Art Institute of Chicago and will travel to the Hammer Museum, Los Angeles, October 12, 2024–January 5, 2025, and Philadelphia Museum of Art, February 8–June 1, 2025.
Image: Waiting Lady, 1972, Christina Ramberg. Collection of Anstiss and Ronald Krueck, Chicago. © The estate of Christina Ramberg. Photography by Jamie Stukenberg
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While this style is often associated with the Bauhaus, an influential German art school of the 1920s and early ‘30s, this exhibition—of nearly 100 works across four decades—explores this modernist aesthetic as it developed through exchanges among a broader set of artists from Germany, Japan, and the United States.
In 1920s Germany, the Bauhaus professors Walter Gropius and Johannes Itten claimed Japanese traditional architecture and ink painting as precursors to their work, especially the Edo period’s clean lines and stark contrasts between black and white. In the 1930s, certain Japanese artists, such as Ei-Q and Osamu Shiihara, in turn pursued and helped popularize experimental photography from the Bauhaus, including cameraless abstractions and photocollages. This dialogue soon expanded to the United States, where photographers like Nathan Lerner and Yasuhiro Ishimoto, alumni of Chicago’s New Bauhaus (later the Institute of Design), highlighted bold lines and decisive forms in the city’s architecture. Back in Japan, this visual language resurfaced after World War II, as seen in the abstract sculptural constructions and experimental stage sets photographed jointly by Shozo Kitadai and Kiyoji Otsuji.
This exhibition brings together exemplary objects from our collections of Photography and Media, Arts of Asia, Modern and Contemporary, and Prints and Drawings to trace this conversation that transcended national boundaries and identities and that, for many artists, offered refuge from racist and nationalist hostilities fomented in wartime. Their shared visual language was, and is, stateless.
Foreign Exchange: Photography between Chicago, Japan, and Germany, 1920–1960 is curated by Yechen Zhao, assistant curator, Photography and Media, with assistance from Stephanie Lee, Dangler Intern, Photography and Media.
Image: Chicago, 1926, Shoji Osato, Gift of Blumberg-Emmerich Family Trust
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She created street-level compositions capturing the city’s monumental skyscrapers from below and suspended views looking down from her 30th-floor apartment. O’Keeffe called these works “my New Yorks” and through them investigated the dynamic potential of New York’s cityscape—the organic and the inorganic, the natural and the constructed. As she put it, “One can’t paint New York as it is, but rather as it is felt.”
This exhibition is the first to seriously examine O’Keeffe’s paintings, drawings, and pastels of urban landscapes, while also situating them in the diverse context of her other compositions of the 1920s and early 1930s.
The presentation establishes these works not as outliers or anomalous to her practice, but rather as entirely integral to her modernist investigation in the 1920s—from her abstractions and still lifes at Lake George in upstate New York and beyond to her works upon arriving in the Southwest in 1929. O’Keeffe’s “New Yorks” are essential to understanding how she became the artist we know today.
Georgia O’Keeffe: “My New Yorks” is curated by the Art Institute’s Sarah Kelly Oehler, Field-McCormick Chair and Curator, Arts of the Americas, and vice president, Curatorial Strategy, and Annelise K. Madsen, Gilda and Henry Buchbinder Associate Curator, Arts of the Americas. The accompanying richly illustrated catalogue will feature a series of essays that presents new scholarship and viewpoints on this formative group of works.
Image: East River from the 30th Story of the Shelton Hotel, 1928, Georgia O’Keeffe. New Britain Museum of American Art, New Britain, Connecticut, Stephen B. Lawrence Fund, 1958.9
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Each of the works consisted of papier gommette, sticky colored paper used by French schoolchildren, cut into squares and arranged by chance in a 40-inch-wide grid formation. These collages are key early works in Kelly’s career, showing his experiments with chance, his constructive use of color, and the evolution of his impersonal aesthetic.
By the time he made these collages, Kelly was already in the process of developing the non-compositional strategies he would use throughout his career. The humble, commercially produced papier gommette allowed for a nearly infinite number of unexpected color combinations and an overall composition that was not determined by the artist himself. The breakthrough of the Spectrum Colors collages would lead to some of the artist’s most iconic and best known works, including the painting Spectrum Colors Arranged by Chance, made in the summer of 1953 and based on the collage Spectrum Colors Arranged by Chance VI. In 1953 Kelly also produced a ninth and final Spectrum Colorscollage.
This exhibition brings together, for the first time, the full series of Spectrum Colors collages along with the 1953 painting. By focusing on the importance of a single series to Kelly’s practice, this exhibition illuminates a pivotal chapter in the career of one of the 20th century’s defining artists.
Ellsworth Kelly: Spectrum Colors Arranged by Chance is curated by Caitlin Haskell, Gary C. and Frances Comer Curator, Modern and Contemporary Art, and Giampaolo Bianconi, associate curator, Modern and Contemporary Art.
Image: Spectrum Colors Arranged by Chance IV (detail), 1951, Ellsworth Kelly, Margaret Fisher Endowment. ©️ Ellsworth Kelly Foundation
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King Day: Creating a Hopeful Future
Ryan Learning Center
No registration required
Design a liberation flag, create an homage to your family, and sing along with performances by Miss Katie Sings. This day of educational and creative programming for all ages draws inspiration from the exhibition Project a Black Planet: The Art and Culture of Panafrica.
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Caillebotte was unique among his Impressionist peers. At a time when modernity was synonymous with fashionable young women and new forms of entertainment, he focused instead on a more intimate and individualized sphere: his family and friends, his fellow sportsmen, the bourgeois pedestrians strolling in his neighborhood, and the workers who came to his house or whom he observed in the street.
Despite being born into the wealth built by his father, Caillebotte resisted the idleness associated with the leisured class. He was not only an active member of the Impressionist group but also participated in several activities as a high-level amateur, including rowing, gardening, and sailing. In all of his pursuits, Caillebotte gave his all, taking on the role of leader, organizer, and sometimes financier; he also captured these passions in paint, whether documenting the toil of boating, the serenity of tending a plant, or the concentration of a card game.
Caillebotte was equally invested in his personal relationships, both familial and non-familial—and again these relationships, especially with the males he interacted with as son, brother, employer, colleague, and friend—are the focus of many of his artworks.
One sees in multiple paintings his two brothers and other family members as well as a wide circle of friends, often depicted in Caillebotte’s own home—in a favorite chair, by a recognizable window, or on an often-portrayed sofa. Most intimately, and most unusually for the time, Caillebotte also painted nude men in the privacy of their bath.
This exhibition, which opened at the Musée d’Orsay in Paris in October 2024, includes more than 120 works—paintings, works on paper, photographs, and other ephemera from throughout Caillebotte’s career. In addition to recognizable works like Floor Scrapers and the Art Institute’s Paris Street; Rainy Day, the show presents lesser-known but pivotal works like the Musée d’Orsay’s recent acquisition, Boating Party, and the Louvre Abu-Dhabi’s The Bezique Game, as well as many works from private collections that are rarely seen by American audiences.
Together, these works open a new window onto Caillebotte—as a complex figure with many interests, as an Impressionist who painted like no other Impressionist, and as an artist who captured his own, very distinct Paris.
Image: Gustave Caillebotte, Boating Party, about 1877–78. Musée d’Orsay, Paris, Purchased thanks to the exclusive patronage of LVMH, 2022, RF MO P 2022 5. Photo courtesy of GrandPalaisRmn (Musée d’Orsay) / Sophie Crépy
Read CGN's spring interview with Gloria Groom in the spring/summer 2025 magazine.
Drawn from the Art Institute’s collection, this exhibition focuses on Greek multidisciplinary artist Lucas Samaras’s innovative photographs, as well as sculptures and paintings recently gifted to the museum by the Samaras Estate. These works offer a glimpse into Samaras’s broader practice and invites us into his creative, engaged, and focused life.
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","type":null,"state":"published","slug":"carroll-dunham-drawings-19742024","created_at":"2026-01-28 22:11:53.373","updated_at":"2026-01-28 22:11:53.373","excerpt":"","is_timeless":true,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1974':4A '2024':5A 'abstract':52B 'artist':14B 'career':38B 'carrol':1A 'celebr':6B 'compris':19B 'draw':3A,20B 'dunham':2A,26B,46B 'everyth':54B 'exhibit':17B 'explor':48B 'fifti':10B 'fifty-year':9B 'figur':50B 'highlight':31B 'holist':34B 'invent':15B 'larg':18B 'look':35B 'never':21B 'outsid':24B 'period':12B 'remark':8B 'seen':23B 'show':40B 'strengthen':42B 'studio':29B 'understand':44B 'year':11B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1769638306/u6kohiyibguqbrrqirdj.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":26788,"title":"Korean National Treasures: 2,000 Years of Art","starts_at":"2026-03-07 00:00:00","ends_at":"2026-07-05 00:00:00","body":"From a 6th-century gilt bronze Buddhist sculpture to white porcelain and contemporary paintings of the late 20th century, the works of art in this exhibition demonstrate the artistic legacy produced on the Korean peninsula over millennia. Among the 140 artworks on view, 22 are officially recognized as National Treasures or Treasures by the Korean government.
","type":null,"state":"published","slug":"korean-national-treasures-2000-years-of-art","created_at":"2026-01-28 22:17:03.89","updated_at":"2026-01-28 22:17:03.89","excerpt":"","is_timeless":true,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'000':5A '140':49B '2':4A '20th':27B '22':53B '6th':12B '6th-century':11B 'among':47B 'art':8A,32B 'artist':38B 'artwork':50B 'bronz':15B 'buddhist':16B 'centuri':13B,28B 'contemporari':22B 'demonstr':36B 'exhibit':35B 'gilt':14B 'govern':65B 'korean':1A,43B,64B 'late':26B 'legaci':39B 'millennia':46B 'nation':2A,58B 'offici':55B 'paint':23B 'peninsula':44B 'porcelain':20B 'produc':40B 'recogn':56B 'sculptur':17B 'treasur':3A,59B,61B 'view':52B 'white':19B 'work':30B 'year':6A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1769638610/jpzebl9hbu3quznlrh4s.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":26787,"title":"Matisse’s Jazz: Rhythms in Color","starts_at":"2026-03-07 00:00:00","ends_at":"2026-06-01 00:00:00","body":"This exhibition marks the first time Matisse’s Jazzwill be shown in its entirety since the Art Institute acquired it in 1948. One of the most important artist books of the 20th century, Jazz joins more than 50 works from the museum’s renowned collection of paintings, sculpture, drawings, prints, illustrated books, and textiles to showcase Matisse’s commitment to continual innovation and the expressive power of color and line.
","type":null,"state":"published","slug":"matisses-jazz-rhythms-in-color","created_at":"2026-01-28 22:14:49.426","updated_at":"2026-01-28 22:14:49.426","excerpt":"","is_timeless":true,"organization_id":185,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1948':29B '20th':39B '50':45B 'acquir':26B 'art':24B 'artist':35B 'book':36B,59B 'centuri':40B 'collect':52B 'color':6A,75B 'commit':66B 'continu':68B 'draw':56B 'entireti':21B 'exhibit':8B 'express':72B 'first':11B 'illustr':58B 'import':34B 'innov':69B 'institut':25B 'jazz':3A,15B,41B 'join':42B 'line':77B 'mark':9B 'matiss':1A,13B,64B 'museum':49B 'one':30B 'paint':54B 'power':73B 'print':57B 'renown':51B 'rhythm':4A 'sculptur':55B 'showcas':63B 'shown':18B 'sinc':22B 'textil':61B 'time':12B 'work':46B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1769638475/afj1klu12julzpwhugyf.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":26789,"title":"Willem de Kooning Drawing","starts_at":"2026-06-14 00:00:00","ends_at":"2026-09-20 00:00:00","body":"Willem de Kooning Drawing is the first exhibition to explore the full scope of Willem de Kooning’s drawing practice and how it was foundational to his boundary-breaking artistic career. Featuring more than 200 artworks including rarely-seen drawings—alongside paintings, sculptures, and prints—this exhibition offers an unprecedented opportunity to experience the totality of his graphic production over seven decades and sheds light on his experimentation with materials, tools, and techniques.
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