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Since 1916, The Arts Club of Chicago has been a preeminent exhibitor of international art, a forum for established and emerging artists, and a celebrated venue for performers from around the world. For over 100 years, The Arts Club has opened its membership to artists and patrons of the arts, and its exhibitions to the public.
Image: Haegue Yang, artist. Photo: Michael Tropea
Exhibition Tour and Discussion with Curator Janine Mileaf and Artist Ann Toebbe: September 14, 6:00–7:00 pm. For more than six decades, Mernet Larsen has been painting. Her representational, yet idiosyncratic, compositions exist largely outside mainstream trends, drawing from 15th-century Italian painting, wide-ranging arts of Asia, media, art theories, and her own memories and photos. Larsen’s subjects range from cafes and cafeterias to bedrooms and meeting rooms, and they capture a sense of the mundane as they nod to pictorial antecedents. By merging various perspectival systems, Larsen generates figures that appear as geometric solids in disorienting contexts. The scenes lack horizons and they refuse to center a viewer. As the artist has written, “I want nonspecific viewpoints, a sense of vertigo, so that you are holding each situation in your mind almost as if you are wearing it.” As a result, her figures can be disproportionately large or small, flattened, or even upside down, allowing them to exist believably in space. Larsen has been the subject of more than 30 solo gallery and museum exhibitions. The current focused retrospective highlights many of her greatest works, emphasizing Larsen’s subjects from everyday life. It includes about 20 paintings made from 1986 to the present belonging to private and public collections, as well as a number of recent works that have yet to be exhibited. The exhibition is scheduled to run from September through December 2026. The exhibition is curated by Janine Mileaf, Executive Director and Chief Curator at The Arts Club of Chicago. Publication: To accompany the exhibition, a fully illustrated catalogue will be published with prose poems by award-winning novelist Lauren Groff and a scholarly essay by New York Times contributor Blake Gopnik.
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Larsen’s personages undertake the activities of life. They have meals, pursue hobbies, gather in malls, homes, or outdoors–but they simultaneously imply a passivity or lack of affect that is unsettling, while still familiar. The bored expressions—or at least poker faces—on many of the figures suggest an underlying critique of society, yet the paintings can also make one laugh out loud. This affect contributes to a stillness that elevates each figural gesture to something more monumental than the mundane activity it represents.
Larsen frequently uses abstract images as springboards for her compositions. Treating found motifs as Rorschachs (the famous psychological “inkblot test”), she draws out spatial structures and unconscious attitudes toward subject matter that would not have occurred to her otherwise. The zig- zag angles of the seamstress and client in Getting Measured, 1999, for example, derive from an architectural element in a 13th-century Japanese scroll that she inverted and reimagined. Larsen clarifies that her appropriation of such forms does not pretend to be an interpretation or alliance with the original. Instead, this is a kind of “reverse abstraction” in that Larsen gives recognizable meaning to a detail she has incorporated as pure shape. In more recent works like Cézanne’s House, 2023, she does make explicit reference to an earlier artist, but subverts his frameworks at the same time. Such works honor her fascination with Cézanne, for example, but remain deeply original. Across these various strategies, Larsen has invented constructs that reconsider the way daily life is perceived and depicted. Her desire is at once to defamiliarize and honor the ordinary.
Larsen has been the subject of more than 30 solo gallery and museum exhibitions. The current focused retrospective highlights many of her greatest works, emphasizing Larsen’s subjects from everyday life. It includes about 20 paintings made from 1986 to the present belonging to private and public collections, as well as a number of recent works that have yet to be exhibited. The exhibition is scheduled to run from September through December 2026. It will be accompanied by a fully illustrated catalogue with text by award-winning novelist Lauren Groff.
The exhibition is curated by Janine Mileaf, Executive Director & Chief Curator of The Arts Club of Chicago.
About the Artist
Mernet Larsen (b. 1940, Houghton, Michigan) has exhibited extensively since the late 1970s and has been the subject of over thirty solo exhibitions, including
Mernet Larsen: The Ordinary, Reoriented,
Akron Art Museum, 2019, and Mernet Larsen: Getting Measured, 1957-2017, Tampa Museum of Art, 2017. Her work is in numerous collections, including the Whitney Museum of American Art, New York, NY; the Los Angeles County Museum of Art, CA; the Carnegie Museum of Art, Pittsburgh, PA; the Museum of Fine Arts, Boston, MA; the Walker Art Center, Minneapolis, MN; the Alfond Collection of Contemporary Art, Cornell Fine Arts Museum, Rollins College, Winter Park, Florida; the Israel Museum, Jerusalem, Israel; and the Art Gallery of New South Wales, Sydney, Australia, the X Museum, Beijing, China, among others. Larsen received her BFA from the University of Florida, and her MFA from Indiana University. She lives and works between Tampa, Florida and Jackson Heights, New York.
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The annual Visual, Literary & Performing Artist fellowship, awarded to Barton in August of 2016, provides an emerging Chicago MFA graduate with a two-year membership to The Arts Club, as well as a stipend to use at Club events. This fellowship is part of a new initiative developed at our last board retreat to build relationships with young artists in the city. Barton is a 2016 graduate of the MFA program at the University of Chicago.
\r\n\r\nFree of Charge
\r\n\r\nRead an interview with Brit on our Blog
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\r\n\r\n
Edra Soto is a Chicago-based artist, educator, curator, and co-director of the artist-run outdoor project space THE FRANKLIN. Commissioned to build a piece for The Arts Club’s Winter Garden Project, Soto will be in conversation with art historian Daniel R. Quiles about her work. Expanding on her interest in architectural interventions (members may recall her work Manual Graft on the Mies staircase windows during last Fall’s open house), Soto brings us Screenhouse, a freestanding social structure influenced by traditional garden gazebo models and decorative patterns. Come toast the unveiling of Screenhouse and learn about the inspiration behind it.
\r\n\r\nThis event is free and open to the public.
\r\n\r\nReception 6 pm | Gallery Talk 6:30pm
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\r\n
\r\nFree and open to the public.
Exhibition on view: May 19-August 5, 2017
\r\n\r\nPublic opening reception: Friday, May 19, 6-7:30pm
\r\n\r\nThe Arts Club of Chicago is proud to present Bettina Pousttchi: Suspended Mies. Berlin-based artist Bettina Pousttchi is best known for her large-scale photographic interventions in public space, covering entire facades of buildings with images redolent with historical or architectural meaning. In her photography and sculpture she further explores the connections between systems of time and space from a transnational perspective.
\r\n\r\nFor her exhibition at the Arts Club of Chicago, the German-Iranian artist (born 1971, Mainz) has developed a new site-specific photo installation that responds to the work of architect Mies van der Rohe, who designed the famed “floating staircase” at The Arts Club. The installation is comprised of three parts that bring together Mies’s legacy in New York, London and Chicago. The first part, a large-scale photograph of the Seagram Building printed on textile, extends the length of the entire west gallery; the second part addresses Mansion House Square, Mies’s unbuilt project for London; the third is The Arts Club’s own physical space. Visitors to the gallery are met with a space that employs photography as an architectural element, thus redirecting the viewing experience.
\r\n\r\n![\"\"](\"https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/1946/original/unnamed.jpg\")
Join the Arts Club of Chicago as they present Amanda Williams: Uppity Negress as its next garden installation. Williams creates a site-specific installation for The Arts Club Garden Projects series in which she inserts a secondary fence that breaks away from the existing boundary, blurring the distinction between its function as barrier and container alike. Uppity Negress addresses the layered roles gender and race have played historically in black women’s ability to navigate their position in urban space.
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\r\nFascinated by the way the garden operates as a liminal space between public and private, Williams’s installation highlights concepts of authority and access–noting when each is granted or denied. Recent instances in contemporary culture have resurrected the term uppity to challenge the suggestion that black women have forgotten their place, or need reminding. By venturing “out of line,” the fence creates a disorienting space that calls into question the relationship between restraint and protection.
\r\n
\r\nWilliams is a visual artist who trained as an architect. A graduate of Cornell University, and a native of Chicago's Auburn Gresham neighborhood, she is interested in how combining art and architecture might help make all parts of cities thrive. Her work spans the fields of painting, installation, and photography, and reflects the cultural relationship between color, race, and space. In addition to her visual arts practice, which includes traditional paintings, cut paper maps, and public art, Amanda has served as an Adjunct Professor of Architecture at the Illinois Institute of Technology in Chicago and is currently a visiting faculty member at Washington University's Sam Fox School of Art and Design in St. Louis, Mo.
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\r\nAmanda Williams: Uppity Negress opens to the public on June 17 and will close on September 23, 2017.
The Arts Club is proud to present ICED BODIES: Ice Music for Chicago, both a performance and a sound installation featuring a cello made of ice. Created by artists Seth Parker Woods and Spencer Topel, ICED BODIES is an immersive experience with years of research and fabrication behind its manifestation at The Arts Club.
\r\n","type":"Event","state":"published","slug":"iced-bodies-ice-music-for-chicago","created_at":"2018-10-22 20:41:17.192806","updated_at":"2018-12-20 22:47:56.989267","excerpt":null,"is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'art':8B,60B 'artist':35B 'behind':55B 'bodi':2A,15B,44B 'ced':43B 'cello':29B 'chicago':6A,19B 'club':9B,61B 'creat':33B 'experi':48B 'fabric':54B 'featur':27B 'ice':1A,3A,14B,16B,32B 'immers':47B 'instal':26B 'made':30B 'manifest':57B 'music':4A,17B 'parker':37B 'perform':22B 'present':13B 'proud':11B 'research':52B 'seth':36B 'sound':25B 'spencer':40B 'topel':41B 'wood':38B 'year':50B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669461747.ics","carousel":null,"category_name":"Tours"},{"id":4942,"title":"Roman Ondak","starts_at":"2017-09-12 18:00:00","ends_at":"2017-12-09 19:30:00","body":"To celebrate the centennial of Marcel Duchamp’s Fountain, The Arts Club of Chicago welcomes an exhibition by acclaimed Slovak artist Roman Ondak. Known for a conceptual oeuvre that draws on both participatory and object-based processes, Ondak interrogates the peculiarities of daily life in a post-Soviet and increasingly global context. For The Arts Club, Ondak gathers four sculptural installations that have never been shown in the United States along with an ongoing series of paintings begun in the 1990s, most of which were produced expressly for this exhibition. Taken as an ensemble, this work deploys found materials to reflect on aspects of memory and place–indicating Ondak’s rather ambivalent stance toward the legacy of the readymade.
\r\n\r\nThe visual and conceptual centerpiece of the exhibition is Escape Circuit, 2014, an arrangement of 42 colorful, wooden and metal cages placed in a rough circle with interlocking passages. Ondak presents the cages as a hypothetical habitat, with the implication that an animal inhabitant could experience the illusion of freedom, but without ever leaving the loop determined by the architecture of his environment. Purchased in the markets of Mexico City where the work was first shown, these cages project cultural specificity with their weathered patina and potential for a not-so-subtle political metaphor. Ondak’s gestural intervention gives lie to the Duchampian assertion that found objects could be “indifferent” or somehow resist meaning.
\r\n","type":"Event","state":"published","slug":"roman-ondak","created_at":"2018-10-22 20:41:35.537575","updated_at":"2018-10-22 21:17:36.874366","excerpt":null,"is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1990s':85B '2014':135B '42':139B 'acclaim':21B 'along':75B 'ambival':116B 'anim':166B 'architectur':183B 'arrang':137B 'art':13B,59B 'artist':23B 'aspect':107B 'assert':228B 'base':39B 'begun':82B 'cage':144B,156B,201B 'celebr':4B 'centenni':6B 'centerpiec':128B 'chicago':16B 'circl':149B 'circuit':134B 'citi':193B 'club':14B,60B 'color':140B 'conceptu':29B,127B 'context':56B 'could':168B,232B 'cultur':203B 'daili':46B 'deploy':101B 'determin':180B 'draw':32B 'duchamp':9B 'duchampian':227B 'ensembl':98B 'environ':186B 'escap':133B 'ever':176B 'exhibit':19B,94B,131B 'experi':169B 'expressli':91B 'first':198B 'found':102B,230B 'fountain':11B 'four':63B 'freedom':173B 'gather':62B 'gestur':221B 'give':223B 'global':55B 'habitat':160B 'hypothet':159B 'illus':171B 'implic':163B 'increas':54B 'indic':112B 'indiffer':234B 'inhabit':167B 'instal':65B 'interlock':151B 'interrog':42B 'intervent':222B 'known':26B 'leav':177B 'legaci':120B 'lie':224B 'life':47B 'loop':179B 'marcel':8B 'market':190B 'materi':103B 'mean':238B 'memori':109B 'metal':143B 'metaphor':218B 'mexico':192B 'never':68B 'not-so-subtl':213B 'object':38B,231B 'object-bas':37B 'oeuvr':30B 'ondak':2A,25B,41B,61B,113B,153B,219B 'ongo':78B 'paint':81B 'participatori':35B 'passag':152B 'patina':208B 'peculiar':44B 'place':111B,145B 'polit':217B 'post':51B 'post-soviet':50B 'potenti':210B 'present':154B 'process':40B 'produc':90B 'project':202B 'purchas':187B 'rather':115B 'readymad':123B 'reflect':105B 'resist':237B 'roman':1A,24B 'rough':148B 'sculptur':64B 'seri':79B 'shown':70B,199B 'slovak':22B 'somehow':236B 'soviet':52B 'specif':204B 'stanc':117B 'state':74B 'subtl':216B 'taken':95B 'toward':118B 'unit':73B 'visual':125B 'weather':207B 'welcom':17B 'without':175B 'wooden':141B 'work':100B,196B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668392/wtqjqkk1kikjmqmjlb50.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669458/event_ics_1721669458009.ics","carousel":null,"category_name":"Exhibitions"},{"id":5436,"title":"Gallery Talk: Robert Burnier & Caroline Picard","starts_at":"2018-01-11 18:00:00","ends_at":"2018-01-11 20:30:00","body":"Robert Burnier’s "Of No Particular King", an enormous yellow tapestry hanging in The Arts Club’s garden since October, both highlights the color palette of the surrounding cityscape (construction trucks, yellow lines on the streets, caution signs, etc.) and critiques the implicit power structures within it. Burnier talks with fellow artist Caroline Picard about his creative intentions.
\r\n","type":"Event","state":"published","slug":"gallery-talk-robert-burnier-caroline-picard","created_at":"2018-10-22 20:42:16.253683","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'art':21B 'artist':58B 'burnier':4A,8B,54B 'carolin':5A,59B 'caution':43B 'cityscap':35B 'club':22B 'color':30B 'construct':36B 'creativ':63B 'critiqu':47B 'enorm':15B 'etc':45B 'fellow':57B 'galleri':1A 'garden':24B 'hang':18B 'highlight':28B 'implicit':49B 'intent':64B 'king':13B 'line':39B 'octob':26B 'palett':31B 'particular':12B 'picard':6A,60B 'power':50B 'robert':3A,7B 'sign':44B 'sinc':25B 'street':42B 'structur':51B 'surround':34B 'talk':2A,55B 'tapestri':17B 'truck':37B 'within':52B 'yellow':16B,38B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668413/vnu2pzrqcpdw7r6xqaaa.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669478/event_ics_1721669478523.ics","carousel":null,"category_name":"Talks"},{"id":5468,"title":"The Arts Club of Chicago: 88th Artist Member Exhibition","starts_at":"2018-01-19 18:00:00","ends_at":"2018-02-24 19:00:00","body":"The Arts Club of Chicago is pleased to announce that the 88th Exhibition of Professional Members will take place in January and February 2018. The first exhibition of artist members’ work took place in 1916, the same year that The Arts Club was established. This year’s exhibition will feature the work of The Arts Club’s visual artist members, and continues The Arts Club’s long-standing tradition of, and commitment to, furthering the arts. Included in this exhibition will be locally, nationally, and internationally esteemed artists, working in a wide variety of media and a breadth of historical influences.
\r\n\r\nThe Arts Club of Chicago was founded with the mission to expand the artistic horizons of a public interested in the arts and related activities, and maintains its public galleries, free of admission, to that purpose. Since its inception, and as a part of its mission, The Arts Club membership has included both professional artists and lay members. Throughout its history, The Arts Club has produced significant exhibitions of artists such as Pablo Picasso, Constantin Brancusi (installed by Marcel Duchamp), Jackson Pollock, Alexander Calder, Auguste Rodin, Peter Doig, John Baldessari, David Hockney, Sigmar Polke, Maya Lin, and Chris Ofili.
\r\n","type":"Event","state":"published","slug":"the-arts-club-of-chicago-88th-artist-member-exhibition","created_at":"2018-10-22 20:42:17.627466","updated_at":"2018-10-22 21:13:47.034357","excerpt":null,"is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1916':44B '2018':33B '88th':6A,21B 'activ':136B 'admiss':144B 'alexand':194B 'announc':18B 'art':2A,11B,50B,64B,73B,86B,113B,133B,159B,174B 'artist':7A,38B,68B,98B,125B,166B,181B 'august':196B 'baldessari':201B 'brancusi':187B 'breadth':108B 'calder':195B 'chicago':5A,14B,116B 'chris':209B 'club':3A,12B,51B,65B,74B,114B,160B,175B 'commit':82B 'constantin':186B 'continu':71B 'david':202B 'doig':199B 'duchamp':191B 'establish':53B 'esteem':97B 'exhibit':9A,22B,36B,57B,90B,179B 'expand':123B 'featur':59B 'februari':32B 'first':35B 'found':118B 'free':142B 'further':84B 'galleri':141B 'histor':110B 'histori':172B 'hockney':203B 'horizon':126B 'incept':150B 'includ':87B,163B 'influenc':111B 'instal':188B 'interest':130B 'intern':96B 'jackson':192B 'januari':30B 'john':200B 'lay':168B 'lin':207B 'local':93B 'long':77B 'long-stand':76B 'maintain':138B 'marcel':190B 'maya':206B 'media':105B 'member':8A,25B,39B,69B,169B 'membership':161B 'mission':121B,157B 'nation':94B 'ofili':210B 'pablo':184B 'part':154B 'peter':198B 'picasso':185B 'place':28B,42B 'pleas':16B 'polk':205B 'pollock':193B 'produc':177B 'profession':24B,165B 'public':129B,140B 'purpos':147B 'relat':135B 'rodin':197B 'sigmar':204B 'signific':178B 'sinc':148B 'stand':78B 'take':27B 'throughout':170B 'took':41B 'tradit':79B 'varieti':103B 'visual':67B 'wide':102B 'work':40B,61B,99B 'year':47B,55B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668413/jtqivfxbbggiqw44iblz.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669479/event_ics_1721669478838.ics","carousel":null,"category_name":"Exhibitions"},{"id":5470,"title":"Architecture & Sound Panel","starts_at":"2018-02-28 18:00:00","ends_at":"2018-02-28 20:00:00","body":"Panel Members: Architect Leigh Breslau, Artist D. Denenge Duyst-Akpem, and Musicologist Ryan Dohoney
\r\n\r\nHow does architectural design and engineering impact sound? And in turn, how does sound affect the space in which it is heard? And further still, how do artists and musicians think of architecture when they think of sound? Join an architect, a sound installation artist, and a musicologist for a discussion detailing the lineage of architecture as an inspiration for music and sound art (and vice versa), culminating with a site-specific interactive sound installation by D. Denenge Duyst-Akpem activating the gallery.
\r\n\r\nPanel 6:00 p.m. | Performance 7:00 p.m. This event is free and open to the public.
\r\n","type":"Event","state":"published","slug":"architecture-sound-panel","created_at":"2018-10-22 20:42:30.381555","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'00':106B,110B '6':105B '7':109B 'activ':101B 'affect':33B 'akpem':14B,100B 'architect':6B,59B 'architectur':1A,21B,51B,74B 'art':82B 'artist':9B,46B,63B 'breslau':8B 'culmin':86B 'd':10B,96B 'deneng':11B,97B 'design':22B 'detail':70B 'discuss':69B 'dohoney':18B 'duyst':13B,99B 'duyst-akpem':12B,98B 'engin':24B 'event':113B 'free':115B 'galleri':103B 'heard':40B 'impact':25B 'inspir':77B 'instal':62B,94B 'interact':92B 'join':57B 'leigh':7B 'lineag':72B 'member':5B 'music':79B 'musician':48B 'musicologist':16B,66B 'open':117B 'p.m':107B,111B 'panel':3A,4B,104B 'perform':108B 'public':120B 'ryan':17B 'site':90B 'site-specif':89B 'sound':2A,26B,32B,56B,61B,81B,93B 'space':35B 'specif':91B 'still':43B 'think':49B,54B 'turn':29B 'versa':85B 'vice':84B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668413/i6thruyrjvujisjrci8t.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669479/event_ics_1721669478835.ics","carousel":null,"category_name":"Talks"},{"id":5469,"title":"the needle, the haystack, the thread","starts_at":"2018-03-15 18:00:00","ends_at":"2018-05-31 19:00:00","body":"Opening Reception 6:00 PM
\r\nFree & open to the public
Stringing words together while working on this exhibition at the Arts Club of Chicago, ‘the needle, the haystack, the thread’ made a certain sense, made a certain space for Britta Marakatt-Labba and Lala Meredith-Vula and Aboubakar Fofana and the late Maria Lai.
\r\n\r\nIf these artists and the fruits of their labors cannot be easily summarized, thematized, named, tamed, or otherwise put in a proverbial drawer of available artistic or geographic or cultural criteria, their shared story is telling and wants to be told.
\r\n\r\nIt speaks of a free association that keeps the society of things and thoughts and animals and plants and minerals and materials together. Humans take part. Yet they are not necessarily the center. There is no center. There is rather an invitation to connect and consider what is sometimes called traditional work or farm work or craft work anew.
\r\n\r\nImagine between these artists, between their works, something like the red thread handed by Ariadne to Theseus to get him in and out of the Labyrinth.
\r\n\r\nTending to their integrated ways of working and living [grounded in distinct traditions, advancing techniques shared across continents, and resistant to the soul-draining transformations of their communities wrought by violent histories of division and conquest] becomes our common task, however temporarily.
\r\n\r\nSee it also as the seed of a sur-rural imaginary in an urban context.
\r\n\r\nGuest curated by Monika Szewczyk, formerly curator at documenta 14. Opening March 15, 2018. Features work by Maria Lai, Aboubakar Fofana, Lala Meredith-Vula, and Britta Marakatt-Labba.
\r\n\r\n\r\n\r\n
\r\n","type":"Event","state":"published","slug":"the-needle-the-haystack-the-thread","created_at":"2018-10-22 20:42:36.042807","updated_at":"2018-10-22 21:13:46.216313","excerpt":null,"is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'00':10B '14':257B '15':260B '2018':261B '6':9B 'aboubakar':56B,267B 'across':205B 'advanc':202B 'also':234B 'anew':162B 'anim':119B 'ariadn':177B 'art':27B 'artist':65B,88B,166B 'associ':109B 'avail':87B 'becom':226B 'britta':46B,274B 'call':153B 'cannot':72B 'center':136B,140B 'certain':39B,43B 'chicago':30B 'club':28B 'common':228B 'communiti':217B 'connect':147B 'conquest':225B 'consid':149B 'context':247B 'contin':206B 'craft':160B 'criteria':93B 'cultur':92B 'curat':249B,254B 'distinct':200B 'divis':223B 'documenta':256B 'drain':213B 'drawer':85B 'easili':74B 'exhibit':24B 'farm':157B 'featur':262B 'fofana':57B,268B 'former':253B 'free':12B,108B 'fruit':68B 'geograph':90B 'get':181B 'ground':198B 'guest':248B 'hand':175B 'haystack':4A,34B 'histori':221B 'howev':230B 'human':127B 'imagin':163B 'imaginari':243B 'integr':192B 'invit':145B 'keep':111B 'labba':49B,277B 'labor':71B 'labyrinth':188B 'lai':62B,266B 'lala':51B,269B 'late':60B 'like':171B 'live':197B 'made':37B,41B 'marakatt':48B,276B 'marakatt-labba':47B,275B 'march':259B 'maria':61B,265B 'materi':125B 'meredith':53B,271B 'meredith-vula':52B,270B 'miner':123B 'monika':251B 'name':77B 'necessarili':134B 'needl':2A,32B 'open':7B,13B,258B 'otherwis':80B 'part':129B 'plant':121B 'pm':11B 'proverbi':84B 'public':16B 'put':81B 'rather':143B 'recept':8B 'red':173B 'resist':208B 'rural':242B 'see':232B 'seed':237B 'sens':40B 'share':95B,204B 'societi':113B 'someth':170B 'sometim':152B 'soul':212B 'soul-drain':211B 'space':44B 'speak':105B 'stori':96B 'string':17B 'summar':75B 'sur':241B 'sur-rur':240B 'szewczyk':252B 'take':128B 'tame':78B 'task':229B 'techniqu':203B 'tell':98B 'temporarili':231B 'tend':189B 'themat':76B 'theseus':179B 'thing':115B 'thought':117B 'thread':6A,36B,174B 'togeth':19B,126B 'told':103B 'tradit':154B,201B 'transform':214B 'urban':246B 'violent':220B 'vula':54B,272B 'want':100B 'way':193B 'word':18B 'work':21B,155B,158B,161B,169B,195B,263B 'wrought':218B 'yet':130B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668413/huro2pizrljmjeusz2bt.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669479/event_ics_1721669478838.ics","carousel":null,"category_name":"Exhibitions"},{"id":6067,"title":"Richard Rezac: Glen Elder","starts_at":"2018-03-15 19:00:00","ends_at":"2018-07-01 20:00:00","body":"The Arts Club of Chicago is proud to present Richard Rezac’s site-specific installation Glen Elder as the most recent work in our Garden Project series.
\r\n\r\nIn Glen Elder, Rezac subtly eschews a trellis-like structure to disrupt the logic of a familiar form that cites both agricultural and sculptural practices. The structure, standing at 10-feet tall, is situated on a stone-like base in the center of the Garden, fanning out through additional posts and cast aluminum footings across the expanse of the Garden. The fundamental elements of the trellis reference Shaker-style fence construction; a model the artist first discovered while spending summers during his childhood and adolescence on his grandparent’s farm near Glen Elder, Kansas, inspiring the project’s title. Painted rails cross diagonally between the posts in an unfinished pattern that references Constantin Brancusi’s 1939 proposal for an Endless Column, a sculpture to proceed beyond sight lines into the sky on the shores of Lake Michigan. Together with the staggered posts, these rails provide an implied moiré effect. Altogether, the disparate references to delimiting and impossibly infinite forms imply an instability in the function of the fence itself, both that which encloses The Arts Club’s garden and Glen Elder as it demarcates sections of the space.
\r\n","type":"Event","state":"published","slug":"richard-rezac-glen-elder","created_at":"2018-10-22 20:42:36.313545","updated_at":"2018-10-22 21:08:37.297101","excerpt":null,"is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'10':63B '1939':151B 'across':89B 'addit':83B 'adolesc':120B 'agricultur':55B 'altogeth':185B 'aluminum':87B 'art':6B,210B 'artist':110B 'base':73B 'beyond':161B 'brancusi':149B 'cast':86B 'center':76B 'chicago':9B 'childhood':118B 'cite':53B 'club':7B,211B 'column':156B 'constantin':148B 'construct':106B 'cross':137B 'delimit':190B 'demarc':219B 'diagon':138B 'discov':112B 'dispar':187B 'disrupt':45B 'effect':184B 'elder':4A,22B,35B,128B,216B 'element':97B 'enclos':208B 'endless':155B 'eschew':38B 'expans':91B 'familiar':50B 'fan':80B 'farm':125B 'feet':64B 'fenc':105B,203B 'first':111B 'foot':88B 'form':51B,194B 'function':200B 'fundament':96B 'garden':30B,79B,94B,213B 'glen':3A,21B,34B,127B,215B 'grandpar':123B 'impli':182B,195B 'imposs':192B 'infinit':193B 'inspir':130B 'instabl':197B 'instal':20B 'kansa':129B 'lake':171B 'like':42B,72B 'line':163B 'logic':47B 'michigan':172B 'model':108B 'moir':183B 'near':126B 'paint':135B 'pattern':145B 'post':84B,141B,177B 'practic':58B 'present':13B 'proceed':160B 'project':31B,132B 'propos':152B 'proud':11B 'provid':180B 'rail':136B,179B 'recent':26B 'refer':101B,147B,188B 'rezac':2A,15B,36B 'richard':1A,14B 'sculptur':57B,158B 'section':220B 'seri':32B 'shaker':103B 'shaker-styl':102B 'shore':169B 'sight':162B 'site':18B 'site-specif':17B 'situat':67B 'sky':166B 'space':223B 'specif':19B 'spend':114B 'stagger':176B 'stand':61B 'stone':71B 'stone-lik':70B 'structur':43B,60B 'style':104B 'subt':37B 'summer':115B 'tall':65B 'titl':134B 'togeth':173B 'trelli':41B,100B 'trellis-lik':40B 'unfinish':144B 'work':27B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668434/fdoreahzpmhjgzvmc8xy.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669500/event_ics_1721669500473.ics","carousel":null,"category_name":"Exhibitions"},{"id":5471,"title":"A Home for Surrealism: Fantastic Painting in Midcentury Chicago","starts_at":"2018-06-07 18:00:00","ends_at":"2018-08-22 19:30:00","body":"A Home for Surrealism offers an in-depth exploration of a select group of painters who planted domestic roots for the surrealist idiom in the 1940s and 1950s. Working in and around Chicago, Gertrude Abercrombie, Dorothea Tanning, John Wilde, Julia Thecla, Harold Noecker, and Julio de Diego interpreted the European movement as something at once more personal and more accessible to its audience. Thematizing the interior while also reconceptualizing ideas of imagination and fantasy, these artists offer tableaus that emphasize the narrative capacities of self and home. While Chicago has long been acknowledged as an important center for the exhibition and collection of European surrealist painting, its own practitioners deserve more widespread recognition. Through their distinct motifs and styles, these artists made surrealism into something that was local to Chicago, even as it acknowledged its international foundations. Working with a team of scholars, The Arts Club, which was on the forefront of introducing surrealism in the 1920s and 30s, offers a focused and revelatory snapshot of Chicago surrealism.
\r\n\r\nA Home for Surrealism is part of Art Design Chicago, an exploration of Chicago’s art and design legacy, an initiative of the Terra Foundation for American Art with presenting partner The Richard H. Driehaus Foundation.
\r\n\r\nThis exhibition is sponsored by the Terra Foundation for American Art.
\r\n\r\nImage: Gertrude Abercrombie, Untitled (Lady with a Cat), 1960, Oil on board or canvas 8 x 10 in. (20.3 x 25.4 cm)
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\r\n\r\nThis program is free and open to the public. Please contact us at information@artsclubchicago.org or 312.787.3997 if you have any questions about accessibility in advance of the walk-through.
\r\n","type":"Event","state":"published","slug":"exhibition-walk-through-a-home-for-surrealism","created_at":"2018-10-22 20:43:14.557797","updated_at":"2018-12-20 22:47:56.989267","excerpt":null,"is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'312.787.3997':73B 'access':80B 'advanc':82B 'art':14B 'artist':53B 'background':34B 'came':39B 'chicago':41B 'club':15B 'contact':68B 'curat':17B 'director':11B 'european':37B 'execut':10B 'exhibit':1A,30B,57B 'featur':54B 'free':61B 'give':43B 'home':6A,20B 'information@artsclubchicago.org':71B 'insight':45B 'janin':23B 'join':9B 'live':48B 'mileaf':24B 'offer':33B 'open':63B 'pleas':67B 'practic':50B 'program':59B 'public':66B 'question':78B 'surreal':8A,22B,38B 'tour':27B 'us':69B 'walk':3A,86B 'walk-through':2A,85B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668438/mslj5xupfaehbmb7guty.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669505/event_ics_1721669504649.ics","carousel":null,"category_name":"Tours"},{"id":6330,"title":"Storytelling Series with Art Design Chicago: Janine Mileaf & Alexandria Eregbu","starts_at":"2018-07-22 11:00:00","ends_at":"2018-07-22 12:00:00","body":"\r\n\r\nIn conjunction with the Arts Club of Chicago’s Art Design Chicago exhibition, “A Home for Surrealism: Fantastic Painting in Midcentury Chicago,” on view through August 17, curator Janine Mileaf talks with artist Alexandria Eregbu about the tradition of Surrealism in Chicago and ways in which the characteristics of the genre – fantasy and imagination – are manifest in the work of artists today.
\r\n\r\nThis complimentary event will take place in the Drawing Room Library at 11:00AM with seating first come, first served.
\r\n\r\n\r\n\r\n
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Join Executive Director of The Arts Club and Curator of A Home for Surrealism: Fantastic Painting in Midcentury Chicago, Janine Mileaf, for a tour of the exhibition. She will offer background on how European Surrealism came to Chicago and give some insight into the lives and practices of the artists featured in the exhibition.
\r\n
\r\nThis program is free and open to the public, no reservations required. Please contact us at information@artsclubchicago.org or 312.787.3997 if you have any questions about accessibility in advance of the walk-through.
\r\n\r\n
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Please join us for an Opening Reception in celebration of Gaylen Gerber’s exhibition of works at The Arts Club of Chicago.
\r\n\r\nSeptember 20, 6–8pm. Free and open to the public.
\r\n\r\nThe Arts Club of Chicago is pleased to present the first survey of Gaylen Gerber’s Supports, an ongoing series in which the artist intervenes upon collected artifacts. Offering pause for reflection on a shared history, Gerber’s art is indebted to both the monochrome and the readymade. Supports features objects of diverse origin, each painted uniformly in institutional gray or white. Whether a mirror from the Kennedy winter White House, a Brazilian milagre, or a vintage coke bottle, each is undated and bears the title Support. Gerber’s attentive, almost “reverential” brushstrokes, as Roberta Smith has described them in the New York Times, render the objects visible in a new way.
\r\n\r\nFor his exhibition at The Arts Club of Chicago, Gerber places the works in the gallery to suggest a cohesive visual field, yet at the same time, he differentiates each object through the regularity of its painted surface. The resulting installation encourages recognition of a shared reality, even as it enables diverse emotional responses to individual Supports, ranging from delight to distress. Gerber acknowledges the undertakings of vast cultural traditions as well as their often beautiful, sometimes poignant limitations. The exhibition further addresses a larger question about how and why objects so often remain compelling. The survey elaborates on the decentralization of attention affirms the more inclusive aspects of the artist’s practice. The Supports emphasize the individual histories as well as reflect our perception of them in the present.
\r\n\r\nGaylen Gerber has exhibited widely including monographic and cooperative projects at Kunsthaus Bregenz, Austria; the Whitney Museum of American Art, New York; Museé d’Art Moderne Grand-Duc Jean, Luxembourg; The Art Institute of Chicago; Kunsthalle Bern, Switzerland; the Museum of Contemporary Art, Chicago; and The Renaissance Society at the University of Chicago.
\r\n
Image Credits: Gaylen Gerber, Support, n.d., oil paint on Goldwater campaign promotion (Barry’s View Mine Too), HRB Suppliers, Tucson, Arizona, Gold card, die-cut in the shape of horn-rim glasses with Republican elephant, 1964, 3 ¼ x 6 ½ x 5 1/8 inches (8.3 x 15.8 x 13 cm); Gaylen Gerber, Support, n.d., oil paint on milagre or ex-voto of a head with an abnormal growth, Sertão region, Brazil, terra-cotta, early 20th century, 4 ¾ x 3 ¼ x 3 ¼ inches (12.1 x 8.2 x 8.2 cm). Photographs courtesy of the artist and Tom Van Eynde
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\r\n
\r\nFor his exhibition at The Arts Club of Chicago, Gerber places the works in the gallery to suggest a cohesive visual field, yet at the same time, he differentiates each object through the regularity of its painted surface. The resulting installation encourages recognition of a shared reality, even as it enables diverse emotional responses to individual Supports, ranging from delight to distress. Gerber acknowledges the undertakings of vast cultural traditions as well as their often beautiful, sometimes poignant limitations. The exhibition further addresses a larger question about how and why objects so often remain compelling. The survey affirms the more inclusive aspects of the artist’s practice. The Supportsemphasize the individual histories as well as reflect our perception of them in the present.
\r\n
\r\nThe exhibition will be accompanied by a catalogue designed by JNL graphic design and published by The Arts Club of Chicago, including written contributions by Sanford Biggers, Kerstin Brätsch, Richard Hawkins, Park McArthur, Forrest Olivo, Puppies Puppies, Trevor Shimizu, and Christopher Williams.
\r\n
\r\nGaylen Gerber has exhibited widely including monographic and cooperative projects at Kunsthaus Bregenz, Austria; the Whitney Museum of American Art, New York; Museé d’Art Moderne Grand-Duc Jean, Luxembourg; The Art Institute of Chicago; Kunsthalle Bern, Switzerland; the Museum of Contemporary Art, Chicago; and The Renaissance Society at the University of Chicago.
ARTIST’S STATEMENT:
\r\n\r\nAs the longitudinal arc of dawn sweeps across the Earth each day, a wave of birdsong erupts in fields and forests—a reverberating chorus spanning continents. Dawn is a playhead made of light, which sounds our planet as one immense instrument.
\r\n\r\nBut no matter how early we may rise, we hear only fragments and snatches of this global song. No one has ever experienced the full complement of this avian orchestra.
\r\n\r\nBy intricately reworking a massive dataset of geo-tagged birdsong recorded by citizen-scientists for the Xeno-canto project, The Playhead of Dawn—a collaborative sound and software project by visual artist Jenny Kendler and sound artist/programmer Brian Kirkbride—allows us to experience this planetary chorus for the first time.
\r\n\r\nThe garden of The Arts Club of Chicago—located along the Mississippi Flyway, a crucial bird migration corridor—becomes the locus for this experience and a site to welcome birds passing through. Synchronized with Chicago’s own dawn, the twenty-four hour sound piece loops in time with the rotation of the Earth—inviting listeners to travel this sonic circuit. Visitors are also invited to take note of the schedule and return at a specific time to hear the birds of a meaningful region—remembering a special trip, hearing the birds of a loved one’s city, or reliving childhood memories of waking up in a far-off land.
\r\n\r\nBy evoking a planet knitted together by light, song and the diverse lifeways of over ten-thousand species of birds, The Playhead of Dawn reminds us of the interconnected nature of our vast ecosphere—suggesting the need for deeper attention to the impact of our own actions on this singing planet.
\r\n\r\n\r\n\r\n
Image: Digital mock-up from Playhead of Dawn by Brian Kirkbride & Jenny Kendler. Image courtesy of the artists.
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\r\n\r\n\r\n\r\n
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On the evening of September 26, 1960, candidates John F. Kennedy and Richard M. Nixon squared off in the first televised debate at CBS Studios in Chicago and changed the history of presidential campaigns.
\r\nFace the cameras yourself in this free all-ages reenactment of thatmoment: you are John F. Kennedy or Richard M. Nixon sharing your vision for the country with its voters. Between remarks from the candidates, you’ll hear commentary from artist Jesse Malmed, historian Walter Podrazik, journalist Laura Washington, and special guest former FCC Chairman Newton Minow that underscores the significance of this televisual, journalistic, and political moment.
Nixon Debates Kennedy 1960 is one of four participatory reenactments produced by Illinois Humanities as part of its celebration of the Illinois Bicentennial. These events explore key moments of political expression and participation in Illinois over the past 200 hundred years. Special thanks to Tim Dashnaw, Elliot Heilman, Kenneth Morrison, Cassie Tompkins, CAN TV, and Lumpen Radio.
\r\n\r\nABOUT ILLINOIS HUMANITIES
\r\nEstablished in 1974, Illinois Humanities is the state affi liate of the National Endowment for the Humanities and produces free programs and events, gives out grants, and offers educational opportunities to youth and adults all across Illinois. Its mission is to strengthen the social, political, and economic fabric of Illinois through constructive conversation and community engagement. For more information, visit ilhumanities.org.
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The New Bauhaus explores the lasting legacy of the influential Chicago design school and its founder, Laszlo Moholy-Nagy. We will screen exclusive footage from the film, slated to premiere worldwide in 2019, and engage in a conversation about the school's significance in Chicago and beyond. Cooper Hewitt Senior Curator Ellen Lupton moderates a panel featuring Alysa Nahmias, Moholy's daughter Hattula Moholy-Nagy, and art historian Maggie Taft.
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\r\n","type":"Event","state":"published","slug":"the-new-bauhaus-film-a-behind-the-scenes-look-and-conversation","created_at":"2018-10-22 20:44:38.405495","updated_at":"2018-12-20 22:48:03.449461","excerpt":null,"is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'2019':46B 'alysa':71B 'art':81B 'bauhaus':3A,15B 'behind':7A 'behind-the-scen':6A 'beyond':60B 'chicago':23B,58B 'convers':12A,51B 'cooper':61B 'curat':64B 'daughter':75B 'design':24B 'ellen':65B 'engag':48B 'exclus':36B 'explor':16B 'featur':70B 'film':4A,40B 'footag':37B 'founder':28B 'hattula':76B 'hewitt':62B 'historian':82B 'influenti':22B 'last':18B 'laszlo':29B 'legaci':19B 'look':10A 'lupton':66B 'maggi':83B 'moder':67B 'moholi':31B,73B,78B 'moholy-nagi':30B,77B 'nagi':32B,79B 'nahmia':72B 'new':2A,14B 'panel':69B 'premier':43B 'scene':9A 'school':25B,54B 'screen':35B 'senior':63B 'signific':56B 'slate':41B 'taft':84B 'worldwid':44B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668463/q8lfalydtwpt8wucztdt.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669527/event_ics_1721669527470.ics","carousel":null,"category_name":"Talks"},{"id":311,"title":"Thessia Machado: Toward the Unsound","starts_at":"2019-01-23 18:00:00","ends_at":"2019-04-27 17:00:00","body":"
Opening Reception: January 23rd | 6 - 9 pm
Performance Marathon: April 26th 3 - 9 pm feat. Thessia Machado, Viola Yip, Merche Blasco, and Pedro Lopes
CHICAGO, IL — The Arts Club of Chicago is pleased to present works by the New York-based sonic/visual artist Thessia Machado (b. 1967, Brazil). Her first solo institutional exhibition, entitledToward the Unsound, highlights Machado’s interest in the materiality of sound and the act of translation. The exhibition displays sculptural works about sound and sounding works as sculpture, including a room-scaled, self-playing electronic instrument and a 133-piece felt spectogram. It will culminate in an evening marathon of responsive, durational performances featuring four artists—Thessia Machado, Viola Yip, Merche Blasco, and Pedro Lopes—on April 26th.
As a composer and builder of instruments, Machado writes for electronic circuits while considering deeply the unbounded relationship between sound and its surroundings. Machado’s original training as a sculptor is evident in her attention to the construction of hand-made instruments, often comprised of found materials and circuits, whose wiring and components are displayed as functional artworks. Her work for The Arts Club moves between finding graphic form for auditory experience and allowing data to generate resonant tones.
Machado's practice is rooted in what she calls \"the sound of physics,\" where she mines electronic or unremarkable noise for \"poetic content\" and draws it out. Her work in Toward the Unsound reacts to the galleries at The Arts Club, both in its composition and conservation throughout the run of the exhibition. Works such as Transient Modes & Antinodes—shown for the first time in this exhibition—will subtly change over time, according to the impact that slight environmental shifts will have on the tuning of wall-mounted bass strings. ForContents: ACC, Machado has collected numerical “facts” about the Club and translated them into tonal frequencies that the audience encounters corporeally through headphones. Other works, such as River Reverbuse tactile materials to depict sound phenomena. Sounding and visual works are presented together in counterpoint, each contributing to, reflecting upon, and infiltrating the other.
A catalogue designed by Sonnenzimmer will be published on the occasion of the exhibition. It features an essay by curator Jenna Lyle in addition to a Sound Appendix featuring studio recordings of the works in the exhibition, as well as collateral recordings by Machado.
Thessia Machado (b. Brazil, 1968) lives and works in New York City. Machado’s installations and video pieces have been exhibited in New York, London, Philadelphia, Paris, Amsterdam, Dublin, Berlin, and Athens. She has been awarded residencies at Homesession, Barcelona; the NARS Foundation, NY; I-Park; MacDowell Colony; Yaddo; the Atlantic Center for the Arts; the Irish Museum of Modern Art; and the Vermont Studios Center. She is a recipient of fellowships from the New York Foundation for the Arts, The Experimental Television Center, The Bronx Museum, and the American Academy in Berlin. In 2017, she was a recipient of an Artists Grant from the Foundation for Contemporary Arts.
Image: Transient Modes & Antinodes, 2018. Cast cement, bass strings & tuning gears, DC motors, felt, Arduino microcontroller, custom circuit, wire. Variable dimensions. Each string module approx. 46 x 8 x 3 in.
","type":"Event","state":"published","slug":"thessia-machado-toward-the-unsound","created_at":"2018-12-20 18:54:17.419427","updated_at":"2018-12-28 21:42:09.366551","excerpt":"","is_timeless":true,"organization_id":190,"highlighted":false,"opening_starts_at":"2019-01-23 18:00:00","opening_ends_at":"2019-01-23 20:00:00","searchable":"'133':102B '1967':53B '1968':406B '2017':497B '2018':516B '23rd':9B '26th':16B,131B '3':17B,541B '46':537B '6':10B '8':539B '9':11B,18B 'academi':493B 'acc':305B 'accord':284B 'act':75B 'addit':381B 'allow':206B 'american':492B 'amsterdam':429B 'antinod':270B,515B 'appendix':385B 'approx':536B 'april':15B,130B 'arduino':526B 'art':33B,195B,251B,457B,463B,482B,511B 'artist':49B,119B,504B 'artwork':190B 'athen':433B 'atlant':453B 'attent':166B 'audienc':322B 'auditori':203B 'award':437B 'b':52B,404B 'barcelona':441B 'base':47B 'bass':301B,519B 'berlin':431B,495B 'blasco':26B,125B 'brazil':54B,405B 'bronx':488B 'builder':136B 'call':220B 'cast':517B 'catalogu':359B 'cement':518B 'center':454B,468B,486B 'chang':281B 'chicago':30B,36B 'circuit':143B,181B,529B 'citi':413B 'club':34B,196B,252B,313B 'collater':398B 'collect':308B 'coloni':450B 'compon':185B 'compos':134B 'composit':256B 'compris':176B 'conserv':258B 'consid':145B 'construct':169B 'contemporari':510B 'content':234B,304B 'contribut':350B 'corpor':324B 'counterpoint':348B 'culmin':108B 'curat':377B 'custom':528B 'data':207B 'dc':523B 'deepli':146B 'depict':337B 'design':360B 'dimens':532B 'display':80B,187B 'draw':236B 'dublin':430B 'durat':115B 'electron':98B,142B,228B 'encount':323B 'entitl':60B 'environment':290B 'essay':375B 'even':111B 'evid':163B 'exhibit':59B,79B,264B,278B,371B,394B,422B 'experi':204B 'experiment':484B 'fact':310B 'feat':20B 'featur':117B,373B,386B 'fellowship':474B 'felt':104B,525B 'find':199B 'first':56B,274B 'form':201B 'found':178B 'foundat':444B,479B,508B 'four':118B 'frequenc':319B 'function':189B 'galleri':248B 'gear':522B 'generat':209B 'grant':505B 'graphic':200B 'hand':172B 'hand-mad':171B 'headphon':326B 'highlight':64B 'homesess':440B 'i-park':446B 'il':31B 'imag':512B 'impact':287B 'includ':90B 'infiltr':355B 'instal':416B 'institut':58B 'instrument':99B,138B,174B 'interest':67B 'irish':459B 'januari':8B 'jenna':378B 'live':407B 'london':426B 'lope':29B,128B 'lyle':379B 'macdowel':449B 'machado':2A,22B,51B,65B,121B,139B,155B,212B,306B,401B,403B,414B 'made':173B 'marathon':14B,112B 'materi':70B,179B,335B 'merch':25B,124B 'microcontrol':527B 'mine':227B 'mode':269B,514B 'modern':462B 'modul':535B 'motor':524B 'mount':300B 'move':197B 'museum':460B,489B 'nar':443B 'new':44B,411B,424B,477B 'nois':231B 'numer':309B 'ny':445B 'occas':368B 'often':175B 'open':6B 'origin':157B 'pari':428B 'park':448B 'pedro':28B,127B 'perform':13B,116B 'phenomena':339B 'philadelphia':427B 'physic':224B 'piec':103B,419B 'play':97B 'pleas':38B 'pm':12B,19B 'poetic':233B 'practic':214B 'present':40B,345B 'publish':365B 'react':245B 'recept':7B 'recipi':472B,501B 'record':388B,399B 'reflect':352B 'relationship':149B 'resid':438B 'reson':210B 'respons':114B 'reverb':332B 'river':331B 'room':93B 'room-scal':92B 'root':216B 'run':261B 'scale':94B 'sculptor':161B 'sculptur':81B,89B 'self':96B 'self-play':95B 'shift':291B 'shown':271B 'slight':289B 'solo':57B 'sonic/visual':48B 'sonnenzimm':362B 'sound':72B,84B,86B,151B,222B,338B,340B,384B 'spectogram':105B 'string':302B,520B,534B 'studio':387B,467B 'subt':280B 'surround':154B 'tactil':334B 'televis':485B 'thessia':1A,21B,50B,120B,402B 'throughout':259B 'time':275B,283B 'togeth':346B 'tonal':318B 'tone':211B 'toward':3A,61B,242B 'train':158B 'transient':268B,513B 'translat':77B,315B 'tune':296B,521B 'unbound':148B 'unremark':230B 'unsound':5A,63B,244B 'upon':353B 'use':333B 'variabl':531B 'vermont':466B 'video':418B 'viola':23B,122B 'visual':342B 'wall':299B 'wall-mount':298B 'well':396B 'whose':182B 'wire':183B,530B 'work':41B,82B,87B,192B,240B,265B,328B,343B,391B,409B 'write':140B 'x':538B,540B 'yaddo':451B 'yip':24B,123B 'york':46B,412B,425B,478B 'york-bas':45B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668229/g0qtglczhu2oodpmz50w.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669267/event_ics_1721669266872.ics","carousel":null,"category_name":"Exhibitions"},{"id":368,"title":"Jeremiah Hulsebos-Spofford: Garden Gispoteca","starts_at":"2019-04-14 12:00:00","ends_at":"2019-06-22 17:00:00","body":"Jeremiah Hulsebos-Spofford brings to the Arts Club of Chicago garden a modern-day take on the classical “gipsoteca,” or cast room. Conceived as a method to give aspiring artists access to antique statuary, plaster copies were collected and housed in beaux-arts academies as a pedagogical tool. In the current context of digital imprinting and indexing techniques, Hulsebos-Spofford reconsiders the neoclassical copy and offers a garden of multiples gone slightly awry. The ubiquitous eighteenth-century garden folly Hercules replicates fragments of itself as a cancerous mutation, while other commercially-derived objects multiply in serial form. Reproduction emerges as a cypher of taste and value, signaling status and social relations. As the artist explains, “The works address the wayward tendency of the cast and copy in our contemporary moment—from digital copies to mass produced garden sculptures to mass shared and experienced cat content online. My works poetically gather up dispersed copies made for our glutinous world and focus them into singular objects.”
Jeremiah Hulsebos-Spofford is a visual artist and Assistant Professor of Sculpture at Indiana University Northwest. He is also the co-director and founder of the collective Floating Museum. His work has been shown at the American Academy of Arts and Letters, The UCSD Art Gallery, The Glass Curtain Gallery and The Hyde Park Art Center, among other spaces. He has held fellowships at the Sculpture Space, the MacDowell Colony, Vermont Studio Center, the Brown Foundation Program at the Dora Maar House, and the Skowhegan School of Sculpture and Painting. His work has been supported by grants from the Foundation for Contemporary Arts, the Harpo Foundation, the Propeller Fund, the Chauncey and Marion Deering McCormick Foundation, an Illinois Arts Council Fellowship and a Fulbright Fellowship in Sicily. Recent exhibitions and projects include a public project titled River Assembly on the Chicago River, an exhibition titled How to give life to a mountain at the DuSable Museum and a British Council Arts and Social Practice Fellowship.
This program is partially supported by a grant from the Illinois Arts Council Agency.
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Opening Reception:January 23rd | 6 - 9 pm
Performance Marathon: April 26th 3 - 9 pm feat. Thessia Machado, Viola Yip, Merche Blasco, and Pedro Lopes
CHICAGO, IL — The Arts Club of Chicago is pleased to present works by the New York-based sonic/visual artist Thessia Machado (b. 1967, Brazil). Her first solo institutional exhibition, entitledToward the Unsound, highlights Machado’s interest in the materiality of sound and the act of translation. The exhibition displays sculptural works about sound and sounding works as sculpture, including a room-scaled, self-playing electronic instrument and a 133-piece felt spectogram. It will culminate in an evening marathon of responsive, durational performances featuring four artists—Thessia Machado, Viola Yip, Merche Blasco, and Pedro Lopes—on April 26th.
As a composer and builder of instruments, Machado writes for electronic circuits while considering deeply the unbounded relationship between sound and its surroundings. Machado’s original training as a sculptor is evident in her attention to the construction of hand-made instruments, often comprised of found materials and circuits, whose wiring and components are displayed as functional artworks. Her work for The Arts Club moves between finding graphic form for auditory experience and allowing data to generate resonant tones.
Machado's practice is rooted in what she calls \"the sound of physics,\" where she mines electronic or unremarkable noise for \"poetic content\" and draws it out. Her work in Toward the Unsound reacts to the galleries at The Arts Club, both in its composition and conservation throughout the run of the exhibition. Works such as Transient Modes & Antinodes—shown for the first time in this exhibition—will subtly change over time, according to the impact that slight environmental shifts will have on the tuning of wall-mounted bass strings. ForContents: ACC, Machado has collected numerical “facts” about the Club and translated them into tonal frequencies that the audience encounters corporeally through headphones. Other works, such as River Reverbuse tactile materials to depict sound phenomena. Sounding and visual works are presented together in counterpoint, each contributing to, reflecting upon, and infiltrating the other.
A catalogue designed by Sonnenzimmer will be published on the occasion of the exhibition. It features an essay by curator Jenna Lyle in addition to a Sound Appendix featuring studio recordings of the works in the exhibition, as well as collateral recordings by Machado.
Thessia Machado (b. Brazil, 1968) lives and works in New York City. Machado’s installations and video pieces have been exhibited in New York, London, Philadelphia, Paris, Amsterdam, Dublin, Berlin, and Athens. She has been awarded residencies at Homesession, Barcelona; the NARS Foundation, NY; I-Park; MacDowell Colony; Yaddo; the Atlantic Center for the Arts; the Irish Museum of Modern Art; and the Vermont Studios Center. She is a recipient of fellowships from the New York Foundation for the Arts, The Experimental Television Center, The Bronx Museum, and the American Academy in Berlin. In 2017, she was a recipient of an Artists Grant from the Foundation for Contemporary Arts.
Image: Transient Modes & Antinodes, 2018. Cast cement, bass strings & tuning gears, DC motors, felt, Arduino microcontroller, custom circuit, wire. Variable dimensions. Each string module approx. 46 x 8 x 3 in.
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Public opening on May 22, 6–8pm
For her exhibition at The Arts Club of Chicago, artist Amy Sillman elaborates a trajectory of free-hanging, two-sided works on paper that play upon the physical and emotional demands of mark-making. With intermittently recognizable figural motifs on one side, Sillman layers pungent colors and fields of interest in restless proposals of form on the other. The serial images are installed like a rebus that treats the gallery as a unified entity. Responding in part to the intractability of our societal moment, Sillman’s figures seem to drag themselves through space–they age, succumb to gravity, leak fluids, and yet rebound in still one more frame ready to continue their enormous efforts. This weighted sense of time matches the durational aspect of Sillman’s painting practice, which relies upon repeated transformations, obliterations, and excavations.
Amy Sillman (born in 1955 in Detroit, MI) lives and works in New York City. Primarily a painter, but actively engaging with various side interests (such as animation, language, and printmaking), Sillman weaves together a formal and discursive language, one that both honors and questions painting’s history and language. Ultimately what interests her the most is transformation and change. With a slow process of building and destroying, and with humor, defiance, and an archeological sensibility, she digs toward formal transformation and the not-[quite]-known. Her work has been widely shown and collected at private and public institutions in the US and Europe, including MoMA, The Whitney Museum, The Drawing Center, The Brooklyn Museum, LA MoCA, Portikus in Frankfurt, Lenbachhaus and the Brandhorst Museum in Munich, the Moderna Museet in Stockholm, and The Tate Modern, London. She has been the recipient of numerous awards and fellowships, including a Guggenheim Fellowship in 2001 and, most recently a 2014 residency fellowship at The American Academy in Rome. Sillman’s traveling mid-career survey show and monograph one lump or two opened at the ICA Boston in 2013, curated by Helen Molesworth. Sillman’s most recent solo show, “Landline,” is on view at Camden Arts Centre in London until January 6, 2019. A group show organized by Hayward Touring, called “Hand Drawn Action Packed,” will also continue into 2019. A monograph is also planned for 2019, published by Lund Humphries Publishers, London, with a text by author/curator Valerie Smith. Sillman received a BFA from School of Visual Art, NY, in 1979 and an MFA from Bard College in 1995. She is represented in New York by Gladstone Gallery, and currently holds a Professorship at the Staedelschule in Frankfurt, Germany.
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Featuring new and recent painting, Amy Sillman: The Nervous System calls upon abstract and figurative motifs to address the material and emotional conditions of being human in fraught political times. A poignant quartet of new paintings, entitled Blues for Omar, will be on view for the first time. Sillman (b. Detroit, 1955) returns to the Midwest for her first exhibition in the city of Chicago, during a thrilling crescendo in her three decade long career. This exhibition will be on view until August 3rd.
Sillman will discuss the work the following evening (Thursday, May 23rd) at The Arts Club at 6 p.m. This event is free and open to all, but registration is required. Please click here if you would like to attend for more information.
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At 6 pm on July 17th, join Executive Director and Chief Curator Janine Mileaf in our galleries for an exhibition walk-through of Amy Sillman: The Nervous System. The exhibition, which runs through August 3rd, presents new paintings and works on paper by the New York-based artist.
RSVP Here
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In the dark, warm evenings when I would visit Jamaica, I remember overhearing my father from the porch. Sitting with men laughing, reasoning, arguing with one another, challenging and sharing one another’s beliefs, politicking; loudly. Under green lights, bamboo leaves gently stirring, low visibility, high aural stimulation, I listened on. They were often the same men who labored together during the day. There was a warmth to that space and I relate it now to creating a space that honors accessibility and how that is or is not visible.
Eliza Myrie images postcolonial & diasporic spaces—particularly of Jamaica around the artist’s family home—to question formal and conceptual devices that grant or obstruct access. Investigations into the elusive and sometimes contradictory conditions for intimacy and privacy take new shape in response to the Arts Club’s garden site. She asks, what can be cultivated in a garden? How do things grow inside of a fence? Myrie thus pronounces the dilemma of an art world space inviting the public to enter, even as its conventions and structures challenge the possibility of welcome. In garden/ruinate, Myrie intervenes directly upon The Arts Club’s infrastructure, dismantling and reimaging the garden fence as a gate, refitted with a rebar steel patterning of a Caribbean vernacular. It thereby echoes, if distantly, neighborhood porches and stoops that Myrie associates with the precarious right to assembly, as predicated on principles of colonial land ownership and disproportionately policed within black and diasporic communities. She therefore hopes to construct a site that might trouble the comfort of hospitality and luxury of leisure afforded to some through the work of so many more.
The installation will open a gate to The Arts Club of Chicago with its collateral programming series entitled Tie Up, to reference the idea that one might get side-tracked by lingering. These monthly public gatherings will include conversation, sound, and poetry, among other things, so feel free to drop by and hang out.
Eliza Myrie, b. 1981, New York. Myrie is a sculptor working in Chicago, IL. She received her MFA from Northwestern University and BA from Williams College and was a participant at The Skowhegan School. Myrie has been in residence at Yaddo, Bemis Center for Contemporary Art, The MacDowell Colony, and Arts + Public Life at The University of Chicago. Myrie is a lecturer at the School of the Art Institute of Chicago and is a co-founder of The Black Artists Retreat [B.A.R.]. She has received grants from The Propeller Fund and 3Arts. Exhibitions include Gallery 400, Chicago; Vox Populi, Philadelphia; Shane Campbell, Chicago; Roots and Culture, Chicago; Museum of Contemporary Art Chicago, Chicago; New Museum of Contemporary Art, New York; Hyde Park Arts Center, Chicago; Davidson Contemporary, New York.
Image: The Arts Club of Chicago website
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Free and Open to the Public
Public Program: Sound and Performance
Ekene Ijeoma’s Deconstructed Anthems
Artist Ekene Ijeoma’s Deconstructed Anthems is an ongoing series of music performances and installations in which a self-playing piano and/or musicians deconstruct “The Star-Spangled Banner,” repeating it multiple times, removing notes at the rate of mass incarceration in The United States, and ending in silence. Deconstructed Anthems will be presented as a player piano installed in The Arts Club’s gallery, performing multiple 45-minute data-driven deconstructions of a traditional arrangement of the national anthem by itself throughout the day and a live performance of a deconstruction of a jazz arrangement in collaboration with Chicago-based pianist and composer Alexis Lombre. Following Lombre’s performance, the player piano will continue performing throughout Saturday (from 11 am – 3 pm).
Ijeoma will discuss the work at 1 pm on Saturday.
Ekene is an artist and founder and director of the Poetic Justice group at MIT Media Lab. He creates artworks at the intersections of life experiences and data studies, poetic acts and analytic insights, and aesthetic quality and social efficacy. His artworks embody social issues and expose the systems affecting us as individuals. He engages with topics and mediums ranging from a website visualizing racial inequality in the design industry to a music performance/sound-reactive light installation sonifying mass incarceration.
Schedule:
Friday 11am – 6pm Performances by the player piano in Gallery at The Arts Club
Friday 6pm – Performance by Pianist Alexis Lombre
Saturday 11am – 3pm Performances by the player piano in Gallery
Saturday 1pm – Conversation with Ekene Ijeoma
Image: Katrina Barber
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The Arts Club of Chicago is pleased to announce an exhibition of work by Abraham Cruzvillegas, an artist of Mexican descent, whose expansive oeuvre foregrounds the current conditions of movement, survival, dwelling, and home. In The Ballad of Etc., opening at The Arts Club of Chicago on September 12th, Cruzvillegas highlights how collaborative, improvisational assemblages of found materials echo the experiences of the people whose lives they touch. He specifically points toward the deep and durable connections between Chicago and the indigenous people of his ancestral home Michoacán, a state in the West of Mexico. The exhibition is curated by Janine Mileaf, Executive Director and Chief Curator of The Arts Club of Chicago.
For more than thirty years, Cruzvillegas has refined a method of inquiry under the rubric of autoconstrucción, or self-construction. Autoconstrucción at once refers to the provisional building techniques that he knew as a child and the ongoing attempts of individuals to actualize themselves. In fabricating his sculpture, Cruzvillegas summons this capacity to make do–taking whatever is at hand and adding basic carpentry and construction methods to transform the gallery space.
The strategies of autoconstrucción specifically address the need to provide shelter for the dispossessed–in Mexico and in the United States–and the shame of failures in that regard. “Constructing a simple shack, a cardboard duplex of bed and ceiling, a plastic supermarket bag mattress, a hat made of garbage bags, all of these compose a beautiful and problematic aesthetic discussion about borders, intolerance, and society-splitting.” The current situation at the Mexican-American border brings untold urgency to Cruzvillegas’s long-held concerns. Cruzvillegas considers these aspects of the exhibition, although not readily visible, to be an opportunity for conceptual resonance.
The exhibition will take its form through an installation of several sculptures by Cruzvillegas sourced from materials native to Chicago and Michoacàn. The scavenged gatherings from Chicago–native plants, industrial scraps, lumber, décor–point toward both personal and institutional narratives, as well as the socio-political conditions of this nineteenth-century, post-industrial city. This collaboration not only draws out Cruzvillegas’s personal history, but it points toward the dependence of Chicago on the people of Michoacán, who were among the earliest Mexican immigrants to the area. Coming to work on the railroads and in agriculture and the steel industry, they forged an important pathway from south to north beginning in the earliest decades of the twentieth century.
Amid the foraged elements in this exhibition, Cruzvillegas will incorporate examples of the traditional Mexican lacquer technique known as maque. He commissioned the artisans Erandine and Irepani de Saint Phalle, also of Michoacán, to produce these elements. Cruzvillegas turned to maque to learn something of his indigenous heritage and to activate those relations. To further highlight the connection, he has engaged others with roots in Michoacán to work on the exhibition, including a native plant specialist and a Chicago-based carpenter.
Though Cruzvillegas wants such moves to be interpreted loosely, the decisions he made for the exhibition were quite deliberate. He consciously honors the resourcefulness and creativity of his extended family and ancestors while invoking the ongoing crisis around migration. In titling this exhibition The Ballad of Etc., Cruzvillegas gestures toward the possibility of respectful recognition of cultural interdependence and the need for structural change. He incorporates song both in the process of producing the exhibition and at the opening celebration in a poetic and healing manner.
Performance of original music based on the lyrics of Cruzvillegas by avant-garde jazz ensemble Restroy, including Chriss Danmann on bass, Avereeyal Ra on drums, and Mabel Kwan on keyboards: September 12 intermittently from 6:00-8:00 pm.
A beautifully illustrated brochure with bilingual essay by writer Gabriela Juaregui, designed and printed by Fata Morgana Press, will accompany the exhibition. Available on-site at no cost until supplies last.
The artist will be available for press interviews September 9-12. For more information and photography requests, contact curatorial assistant H. Daly Arnett at (312) 787-3997 or press@artsclubchicago.org.
###
Abraham Cruzvillegas (b. 1968) studied Pedagogy from 1986 to 1990 at UNAM (Universidad Nacional Autónoma de México) in Mexico City while simultaneously attending Gabriel Orozco’s workshop Taller de los viernes. In 2012, he was the 5th laureate of the Yanghyun Prize and in 2006 he received the Prix Altadis d' arts plastiques.
His most important projects and exhibitions include: Autorreconstrucción: Social Tissue, Kunsthaus Zürich, Switzerland (2018); Sensory Spaces 12: Abraham Cruzvillegas, Museum Boijmans Van Beuningen, Rotterdam, Netherlands (2017); The Water Trilogy 2: Autodefensión Microtonal Obrera Campesina Estudiantil Metabolista Descalza, Ginza Maison Hermès: Le Forum, Tokyo (2017); Autoconstriction approximante vibrante rétroflexe, Carré d'Art - musée d'art contemporain de Nîmes, France (2016); Empty Lot, Tate Modern, London (2015); Autodestrucción 7: Deshaciendo el nudo, Museo de Arte de Lima – MALI, Peru (2015); Abraham Cruzvillegas: Autoconstrucción, Museo Jumex, Mexico City and Museo Amparo, Puebla, Mexico (2014); Abraham Cruzvillegas: The Autoconstrucción Suites, Haus der Kunst, Munich, Germany (2014) and The Walker Art Center, Minneapolis, United States (2013); Self Builder’s Groove, Final Project for the Berliner Künstlerprogramm residency, Deutscher Akademischer Austauschdienst (DAAD), Berlin (2011); Autoconstrucción: The Film, REDCAT CalArts' downtown center for contemporary arts (2009); The Magnificent Seven: Abraham Cruzvillegas, CCA Wattis Institute for Contemporary Arts, San Francisco (2009); Autoconstrucción: The Soundtrack, CCA: Centre for Contemporary Arts, Glasgow, United Kingdom (2008), among others.
His work has also a part of the following biennials: 21st Biennale of Sydney, Australia (2018); X Bienal de Nicaragua - Fundación Ortíz Gurdián, Managua (2016); Sharjah Biennial 12, United Arab Emirates (2015); 12 Bienal de la Habana, Cuba (2015); 9th Shanghai Biennale, China (2012); dOCUMENTA (13), Kassel, Germany (2012); 12. İstanbul Bienali, Turkey (2011); 6th SeMA Biennale Mediacity Seoul, South Korea (2010); 10 Bienal de la Habana, Cuba (2009); 54th Venice Biennial (2003).
Abraham Cruzvillegas lives and works in Mexico City and Paris. He is represented by galería kurimanzutto in Mexico City, Thomas Dane Gallery in London, Regan Projects in Los Angeles, and Galerie Chantal Crousel in Paris.
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A bittersweet form of reparations, the sum was one part of a $1.2 billion settlement against the U.S. Department of Agriculture in the Pigford v. Glickman class action lawsuit. Colloquially known as The Black Farmers Settlement, the funds were distributed among approximately 13,000 African-American families with proven connections to farmers who were summarily dispossessed of land and farming opportunities from 1981–1996. Although it is not widely known, The Black Farmers Settlement is the largest civil rights settlement to date and has lead to several resulting class action lawsuits on behalf of other groups of farmers similarly discriminated against by the USDA in the distribution of farm loans and assistance.
At The Arts Club, Williams installs a black fabricated tractor as an homage to the strength, power, and labor of those families. The tractor is both a symbol and a monument, to Williams: it honors a very specific history of farmers who have experienced dispossession at the hands of the United States Department of Agriculture and its subsidiaries, while also signifying the broader struggle between America’s marginalized populations and their government, particularly in the fraught timelines of American labor and agricultural history. He combines this monument with graphic forms that refer more obliquely to site, theme, and history.
Throughout his oeuvre, Williams draws upon narratives that may expand otherwise flattened stories of struggle and invention in America. His sculptures and performances often begin in the archive, reconstructing lost narratives and refracting them through their contemporary cultural expressions.
Bernard Williams is a native of Chicago, Illinois. He holds a BFA degree from the University of Illinois at Champaign-Urbana and a Master of Fine Arts degree from Northwestern University in Evanston. He also studied at the Skowhegan School of Painting and Sculpture, Maine, 1987. Williams has been teaching art at the School of the Art Institute of Chicago since 1991.
Image: View of the exhibition
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The Arts Club of Chicago is pleased to announce that the 89th Exhibition of Professional Members will take place in January and February 2020. The first exhibition of artist members’ work took place in 1916, the same year that The Arts Club was established. This year’s exhibition will feature the work of The Arts Club’s visual artist members, and continues The Arts Club’s long-standing tradition of, and commitment to, furthering the arts. Included in this exhibition will be locally, nationally, and internationally esteemed artists, working in a wide variety of media and a breadth of historical influences.
The Arts Club of Chicago was founded with the mission to expand the artistic horizons of a public interested in the arts and related activities, and maintains its public galleries, free of admission, to that purpose. Since its inception, and as a part of its mission, The Arts Club membership has included both professional artists and lay members. Throughout its history, The Arts Club has produced significant exhibitions of artists such as Pablo Picasso, Constantin Brancusi (installed by Marcel Duchamp), Jackson Pollock, Alexander Calder, Auguste Rodin, Peter Doig, John Baldessari, David Hockney, Sigmar Polke, Maya Lin, and Chris Ofili.
The Arts Club of Chicago is located at 201 East Ontario Street, on the southeast corner of St. Clair and Ontario Streets. Exhibitions are free and open to the public. Gallery hours are Tuesday- Friday 11:00 am – 6:00 pm, and Saturday 11:00 am – 3:00 pm.
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Industry of the Ordinary (Adam Brooks and Mat Wilson) has been mediating the daily life of Chicago for over 16 years. Dedicated to an exploration and celebration of the customary, the everyday, and the usual, Brooks and Wilson use sculpture, text, photography, video, sound and performance to challenge pejorative notions of the ordinary and, in doing so, move beyond the quotidian.
At The Arts Club of Chicago, Industry of the Ordinary will spend a week intervening on the space in a variety of ways—subtly altering the trappings of the club rooms, feeding visitors edible historical artifacts, and performing with CSO cellist Katinka Kleijn in the gallery. Their residency, entitled Seven Days in March, celebrates and comments upon what is customary and usual at The Arts Club—that we might reevaluate our perception of normal vs. noteworthy.
Observe and engage with their interventions at the events below:
Saturday, March 7
INDUSTRY OF THE ORDINARY INVITES YOU TO EAT HISTORY
The Drawing Room | 12:00–2:00 pm
Permanent Collection Tour (including IOTO's interventions) | 1:00 –1:45 pm
Industry of the Ordinary will be serving a taste of The Arts Club's history while the monthly Permanent Collection tour will highlight their subtle interventions throughout the building. Free and open to all.
Tuesday March 10
INDUSTRY OF THE ORDINARY WITH KATINKA KLEIJN
IF YOU'VE GOT A BLACKLIST, I WANNA BE ON IT
Galleries | 6:00 pm – 8:00 pm
Industry of the Ordinary concludes their residency with this durational performance made in collaboration with Cellist Katinka Kleijn. Free and open to all.
Image: Jay Wolke
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The Drawing Room
Permanent Collection Tour (including IOTO's interventions) | 1:00 –1:45 pm
Industry of the Ordinary will be serving a taste of The Arts Club's history while the monthly Permanent Collection tour will highlight their subtle interventions throughout the building. Free and open to all.
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Galleries | 6:00 pm – 8:00 pm
Industry of the Ordinary concludes their residency with this durational performance made in collaboration with Cellist Katinka Kleijn. Free and open to all.
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View images of the installation online and learn more here.
Marissa Lee Benedict, Daniel de Paula, and David Rueter
This exhibition is an outdoor site-specific installation. It is always on view at the corner of St. Clair and Ontario Street.
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Register for the discussion via Zoom
On Friday July 10 at 12pm, tune in live to hear a conversation between Marissa Lee Benedict, David Rueter, and Daniel de Paula; the artists behind the newly-installed Arts Club Garden Project; with Executive Director Janine Mileaf.
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Join us on the evening of Thursday, September 17th as we celebrate the closing of Jennie C. Jones’ Constant Structure. We will culminate the exhibition with a series of mini gallery tours.
Space is limited, and entry will be time-ticketed. Sign up here for a short tour + self-guided exhibition viewing or reserve a 30 minute time slot to wander the exhibition on your own between 4:00 pm and 8:00pm.
Can’t make it to the gallery? Join for a live virtual tour at 6pm via Zoom. Register here.
Lingering at the intersection of music theory, painting, and sound, Jennie C. Jones presents a new body of work prompted by the concept of “constant structure”—a term borrowed from Modern jazz composition. It refers to a consecutive chord progression with different root notes that links disparate tones into a cohesive entity. Like the intervals of jazz then, Jones’s new acoustic panel paintings, works on paper, and site-specific gestures, hit moments of dissonance and harmony through serial repetition and variation. Jones has made her mark since the 1990s by bringing the specifics of African American music history to bear upon the legacy of geometric abstraction and minimalist form. The works included here depart from the characteristic muted gray palette of the last decade, and instead draw upon a range of hues made available by a specialty acoustic textile manufacturer. Working with a set of given materials and colors, Jones frees her forms to address poetic ideas about a personal version of Synesthesia—the melding of vision and hearing. Click here to learn more and view the exhibition online.
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Upkeep explores a notion of care that exists not in the catastrophic or exceptional signalled by the current pandemic, but rather in the ordinary that has moved into the foreground as we occupy our domestic spaces in unprecedented ways. As in the actions of those who maintain the living conditions of their care circle as habit, exhibited artists attend to the minor activities of upkeep—slight gestures, open questions, repetitive acts, distant memories, intimate approaches, and subtle refusals.
Following the thinking of writer Maggie Nelson, the exhibition approaches care as a complicated nexus of generosity and coercion. Historically linked to the feminine, caregiving—the conventional domain of mothers, nurses, nannies, sitters, teachers, aids, and daughters—has garnered scant social capital. The gendering of this paradigm supposes a feminized actor whose function it is to provide for others. Through it’s selections of artists and artworks, Upkeep attempts to acknowledge the elasticity of gender designations, as well as to recognize that identity does not necessarily align with function.
Upkeep overlaps in both time and topic with The Renaissance Society’s exhibition Nine Lives. Both group shows partake in the Feminist Art Coalition, a national initiative to generate cultural awareness of feminist thought, experience, and action. On Saturday, October 24 at 10am, The Arts Club and The Ren will bring together an artist from each exhibition for a virtual conversation about areas of convergence or departure: South African Bronwyn Katz and Paris-based Canadian Kapwani Kiwanga. Click here to register.
Image: Lily van der Stokker, Pulling out Hairs from the Drain, 2015. Acrylic on wood panel. 42.52h x 49.61w in. Courtesy of the artist and kaufmann repetto, Milan / New York
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The Arts Club’s fall exhibition, Upkeep: Everyday Strategies of Care, overlaps in topic and concerns with The Renaissance Society’s exhibition Nine Lives. Both group shows partake in the Feminist Art Coalition, a national initiative to explore the nuances of what feminisms might mean today (feministartcoalition.org). We bring together an artist from each exhibition to converse about areas of convergence or departure. Brooklyn-based photographer Elliott Jerome Brown, Jr. (whose work appears in Upkeep), and NY-based painter Aliza Nisenbaum (shown in Nine Lives) will touch on issues of intimacy, identity, narrative and community.
Click here to register via Zoom.
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With The Arts Club in hibernation during the cold winter months, three polymath artists explore the club’s rooms and think experimentally about how to perform in an empty institution. Musician/composer/improviser Angel Bat Dawid, dance-maker/performer/ lighting designer Jasmine Mendoza, and theatre writer/performer Kurt Chiang present their findings in an evening live stream.
Click here to tune in.
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Thursday, March 18, 6:30 pm film screening followed by interview
Watch celebrated artist and filmmaker Stanya Kahn’s newest release No Go Backs (2020, 33 mins.), shot on Super 16mm film with an original sound score and no dialogue. Then join her with The School of the Art Institute’s Director of Public Programs Amy Beste for a conversation centered on the themes of care that are explored in our current exhibition Upkeep. Kahn’s varied and experimental oeuvre brings emotion and wry humor to grand themes. No Go Backs follows two teenagers across the California landscape, as they seem to negotiate a life on their own in the wilderness. Proposing an alternative system of reliance, this poetic film questions the frameworks of caregiving and adolescence. Program co-sponsored by \"Conversations at the Edge,\" a program of the School of the Art Institute of Chicago's department of Film, Video, New Media, and Animation.
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The lush, overdetermined spaces in Hurvin Anderson’s new paintings reference touristic sites of simultaneous development and dereliction in Jamaica, his ancestral home. Departing from photographs taken during a visit in 2017, the paintings and drawings on view elaborate the artist’s process of abstraction, moving between motif and surface, landscape and color field. Anderson takes the title for this exhibition Anywhere but Nowhere from a song by K.C. White and suggests that the landscape he seeks in such travel is at once commonplace and elusive. Born in the United Kingdom as a member of the Jamaican diaspora, Anderson relates to the Caribbean as both insider and outsider, aware of the mythmaking that the idea of lost or future paradise generates, and of the irony of expansive development in the face of neglect.
In this new series of paintings, Anderson trains his eye on a section of wall from a seemingly insignificant building that is being overtaken by foliage. Working and reworking the composition in multiple sketches, transparencies and paintings, he invites introspection, as well as recognition of the destructive factors at work in such marked locations in the natural environment. For the exhibition at The Arts Club of Chicago, Anderson pairs this new work with earlier paintings from his acclaimed Barbershop series, for which he won a nomination for the Turner Prize in 2017; the two series share methodology as well as impulse. They unravel detail into mapped terrains of color, while pointing toward a search for Utopian spaces among diasporic communities in both urban and natural environments.
Hurvin Anderson (b. 1965, Birmingham, United Kingdom) lives and works in London. He studied at Wimbledon School of Art and Royal College of Art, London. Nominated for the Turner Prize in 2017, Anderson’s work has been shown in numerous solo and group exhibitions worldwide. Selected solo exhibitions include Foreign Body, Michael Werner Gallery, New York, USA (2016); Backdrop, Art Gallery of Ontario, Toronto, Canada (2016); Dub Versions, New Art Exchange, Nottingham, UK (2016); Backdrop, CAM, St.Louis, USA (2015); Reporting Back, IKON Gallery, Birmingham, UK (2013); Subtitles, Michael Werner Gallery, New York, USA (2011); and ART NOW: Hurvin Anderson, Tate Britain, London, UK (2009).
The exhibition was curated by Janine Mileaf, Executive Director and Chief Curator at The Arts Club of Chicago. A full-color brochure with essay by scholar Krista Thompson and designed and printed by Fata Morgana Press will be available gratis at the exhibition, or for sale via The Arts Club of Chicago website www.artsclubchicago.org .
Join us for an interview with the artist and cultural historian Michael Prokopow at noon on April, 22, 2021 via zoom. To register for the webinar, click here.
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Register Here
Cultural historian Michael Prokopow, who is preparing a monograph about Hurvin Anderson, joins the painter in a conversation that places Anderson’s current exhibition at The Arts Club in the context of his career. Along with recent landscapes, Anderson includes in this exhibition Flat Top, 2008, a classic painting from the barbershop series that brought him international attention. By bringing together these two series, Anderson contrasts interior and exterior Jamaican spaces, while defining a through line across his oeuvre in terms of structure, abstraction, and perception. Prokopow will draw on his deep knowledge of the artist to bring forth these and other threads in Anderson’s thinking and making.
Photo Credit: Sebastian Nevols
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Day by day, the book publishing industry contracts further into the “monopolistic singularity” of Penguin Random House.
Hollywood is too pandemic-battered to resist the superhero franchises’ deathgrip on funding.
And who even knows what’s going on with music any more: The “pop” commercial model has aerosolized into a million individual influencers, with managers and a handful of massive corporations just behind them catching money in butterfly nets.
Alex Shephard and Jo Livingstone have been colleagues as staff writers at The New Republic for a number of years, where their coverage of politics and the arts have frequently led them to the big business that funds entertainment in America, to report on its crisis moments. They’ll talk about the latest antitrust lawsuits brought against Amazon, the new wave of labor organizing in the entertainment industries, and trends in the literature, music, and film of consolidation.
→ Register for live webinar
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To celebrate the closing of the critically-acclaimed exhibition Hurvin Anderson: Anywhere but Nowhere, we are hosting a public gallery talk with Executive Director and Chief Curator Janine Mileaf. For the occasion, the garden project by Chicago Mobile Makers will house a pop-up pub that offers à la carte beverages and Jamaican patties from Caribbean American Baking Co. from 5:00–9:00 pm.
Gallery talk at 6:00 pm.
Pop-up bar in Mobile Makers Space* 5:00 - 9:00 pm
→ Register for Tours and Pop-up Bar
*Credit Card purchases only for drinks and Jamaican patties
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Free and Open to the Public
The 100 Novels Project is an ongoing performance performance piece in which artist Tim Youd retypes novels from beginning to end in locations that play a central role in the novels. From September 7 through 17th, in various spaces throughout The Arts Club, Youd will undertake Sherwood Anderson’s Winesburg, Ohio on a typewriter similar to that which Anderson used as he was writing. This most famous of his books was written while Anderson lived at the corner of what today is Wabash and Superior. After completing the retyping of Sherwood Anderson’s Winesburg, Ohio at the Arts Club, Youd will move to the Union Stockyard Gate to retype The Jungle, Upton Sinclair’s notorious novel about Chicago’s meat packing industry, on an Underwood Standard typewriter. Winesburg, Ohio and The Jungle will mark the 71st and 72nd retyped novels in Youd’s decade-long 100 Novels Project, and are the first two in Youd’s Chicago cycle. Be on the lookout for Youd in The Arts Club's garden and gallery during his 10-day residency.
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Design for Community Wellbeing with Chicago Mobile Makers
Program in The Drawing Room 11:00 am
Coffee & Pastries 11:00 am - 2:00 pm
With a goal to train and support future public interest architects, designers, and makers, Chicago Mobile Makers (CMM), through their 6-month Youth Design Leadership for Community Safety(YDL) program in collaboration with Studio Gang Architects and the Goldin Institute, leads teens in the Garfield Park area through an exploration of community-led planning and design projects. Focused on creating safe spaces, promoting community wellbeing, and increasing access to opportunity, youth participants are collaboratively designing a 3D art piece that will be fabricated and installed in the Garfield Park neighborhood. Join for a presentation and interactive conversation about the project featuring YDL participants, CMM facilitators, and collaborators from Studio Gang and Goldin Institute. Following the program, participants are invited to stay for refreshments and explore Chicago Mobile Makers’ Arts Club Garden Project Shape Makers.
Free and Open to the Public
→ Register here
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Register here to attend.
Hannah Levy’s precisely-rendered sculptures exist between the realms of danger and corporeality. Crafted of such evocative materials as steel and cast silicone, her forms at once evoke inanimate decor and sensual beings. In Hannah Levy: Surplus Tension, Levy departs from the specificities of the Arts Club’s Miesian aesthetic of shiny terrazzo, travertine cladding, or sumptuous silk and velvet drapery to reflect upon the underside of mid-century modern. She delves into the details of an architectural moment that is commonly held to be characterized by clean lines and white walls to find corsetlike leather ties around tubular metal chairs or mirror surfaces in black marble akin to reflecting pools. Levy further calls into question the gendering of that aesthetic by acknowledging the contributions of Mies’s longtime collaborator Lilly Reich, who early on used textile to inventively demarcate space as Mies did in his design for The Arts Club rooms. With hanging, pendulous works, grounded elements, and anthropomorphic details, Levy skirts the edges of risk to embody the gallery rooms from floor to ceiling.
Hannah Levy (b. 1991, New York, New York) lives and works in New York, New York. Recent solo exhibitions include the High Line, New York (2021); Casey Kaplan, New York (2020); Mother’s Tankstation, Dublin, Ireland (2018); Fourteen30 Contemporary, Portland, Oregon (2017); and White Flag Projects Library, St. Louis, Missouri (2016). Notable group exhibitions include Wege zur Welt – Hildebrand Collection, G2 Kunsthalle, Leipzig (2019); Campi Magnetici (Magnetic Fields), Gió Marconi, Milan, Italy (2019); The Artist is Present, Yuz Museum, Shanghai, China (2018); I See You, Savannah College of Art and Design Museum, Savannah, Georgia (2018); Being There, Louisiana Museum of Modern Art, Humlebæk, Denmark (2017); Past Skin, MoMA PS1, New York, New York (2017); and Things I Think I Want. Six Positions of Contemporary Art, Frankfurter Kunstverein, Frankfurt, Germany (2017).
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→ Register here to attend in person
Evening Concert: In-Person Program 6:00 pm
On the heels of their recent commission/premiere at the Library of Congress, musical duo Flutronix — flutists Nathalie Joachim and Allison Loggins Hull — premieres their new work Black Being at The Arts Club. Inspired by Jaki Green Shelton’s poem, this evening-length piece gives voice to the complexities of black feminism, exploring themes of strength, sacrifice, beauty, fear and survival. Black Being is co-commissioned by The Arts Club and the Cincinnati Symphony Orchestra.
The music of Flutronix has been hailed as “…a unique blend of classical music, hip-hop, electronic programming and soulful vocals reminiscent of neo-R&B stars like Erykah Badu.” - Tad Hendrickson, The Wall Street Journal
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Artist Hannah Levy in Conversation with Janine Mileaf
December 8
6:00 pm-7:30pm
This event is free and open to the Public.
With work that has caused reviewer's to \"shudder\" Hannah Levy comes to Chicago to discuss her current exhibition Surplus Tension with Executive Director and Chief Curator Janine Mileaf. Eaxquisite and intricately crafted, yet edgy and transgressive, Levy's sculpture exists between design and desire. In person attendees of the conversation will receive gratis copies of the newly available exhibition catalogue.
Please note: We now require proof of vaccination to enter The Arts Club. Visitors may check in by showing ID and an official COVID-19 Vaccination Record Card certifying that you have received a vaccination (photo of card or proof of vaccination is acceptable) or official documentation of a negative PCR test result from a test administered no more than 48 hours before the event in question. Thank you for your understanding as we continue to navigate Covid-19.
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The Arts Club of Chicago is pleased to present a project by its current Fellows Leah Ke Yi Zheng & Danny Bredar, running from January 11 – February 8, 2022. Revolving around their fictional gallery, Currency, and its director-construct, Wenzel Beckenbauer, their works inhabit the Drawing Room and various nooks and utility spaces of The Arts Club to insinuate questions: Can objects conjure a person? What is a person? Janus, or Tiresias, or…? The presence and absence of Wenzel crawls through the public and private sides of the institution’s building, marking its library, restrooms, kitchen, and other spaces with traces of an entity that oscillates between reality, objecthood, and virtual disintegration.
On Fridays from 4 - 6pm and Saturdays from 1 - 3pm from January 14 through February 5, Zheng and Bredar will hold regular office hours to discuss their work with visitors. Viewings outside of office hours may be accommodated by appointment.
Email information@artsclubchicago.org to schedule.
Image: Installation Photo by Guanyu Gary Xu
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6:00 pm (entire program will run approximately 45 minutes)
Hannah Levy’s exhibition in The Arts Club of Chicago’s gallery, Surplus Tension, both invites and rejects corporeal engagement. Levy’s sculptural forms allure a viewer with skin-textured materials and references to furniture while simultaneously (even flirtatiously) distancing spectators with cold metal, peaked talons, and a juxtaposition of references that are both playful and unsettling.
Responding to the exhibition’s sharp edges and soft insinuations, dance maker Courtney Mackedanz embodies an inquisitive movement interaction with the exhibition, joining Levy’s works in an artistic exploration of the relationship between the skin as a surface and the armatures of structure that lay beneath.
Taking the current surge in Covid-19 cases into account, this program will be hosted virtually on YouTube Live. Focused and formatted for video presentation, the work will be bookended with an introduction by Chicago Dancemakers Forum's former Executive Director, Ginger Farley, and a conversation about concept and process between with Mackedanz and Chicago dance thinkers Irene Hsaio (The Chicago Reader) and Alyssa Gregory (Host of The Process podcast).
To add to your experience for the evening, The Arts Club is happy to offer a to-go cocktail in partnership with cocktail-maker Miss Mya Pologies.
A Libertine's Travertine $25
Fords Gin
Tito’s Vodka
Lemon
Malort
Pear
Dirty Cherry Garnish
Leaning into the themes of Hannah Levy's artwork and exploring the gritty, tacky, garish underbelly of sleek modernist design, Cocktail-maker Miss Mya Pologies brings us A Libertine's Travertine. Evoking the swagger of James Bond with a gin and vodka martini, this drink slaps drinkers in the face with a shot of Malort--and a cherry on top to boot! Sip on this high class/base desire concoction at home while you steam Mackedanz's performance.
Each Cocktail Kit contains enough for 2 1/2 cocktails. Kits must be ordered by end of day on Tuesday, January 25th, and may be picked up at The Arts Club on Friday the 28th. Each cocktail kit contains enough for 2 1/2 cocktails.
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The Arts Club’s Artist Exhibition is a beloved tradition that brings great pride and prestige to the institution and its membership. Following an inaugural exhibition of paintings by John Singer Sargent, the second exhibition ever mounted at The Arts Club was of work by our members in the year of our founding, 1916. Although its structure has changed over the past 106 years, the goal of the Artist Exhibition remains the same: to celebrate and showcase the artistic efforts of our artist members across a range of media, styles, genres, and forms.
In an effort to keep the Artist Exhibition a current and dynamic representation of our members’ practices, participants were asked to submit work that was completed since March of 2020. All of the art in this exhibition was made, consequently, during the COVID-19 pandemic — an event that continues to test the perseverance of working artists. It is a remarkable accomplishment of the institution and its communities to have reached the 90th Artist Exhibition. We celebrate most sincerely our artist members’ capacity to thrive and to make new and exciting work in this challenging environment. The exhibition runs from February 10, 2022-March 10, 2022
","type":"Event","state":"published","slug":"90th-visual-artist-members-exhibition-opening","created_at":"2022-02-07 18:01:08.117751","updated_at":"2022-02-07 20:52:37.069828","excerpt":"","is_timeless":true,"organization_id":190,"highlighted":true,"opening_starts_at":"2022-02-10 18:00:00","opening_ends_at":"2022-02-10 21:00:00","searchable":"'-19':143B '10':200B,203B '106':69B '1916':60B '2020':129B '2022':201B,204B '90th':1A,171B 'accomplish':160B 'across':91B 'although':61B 'art':8B,46B,133B 'artist':3A,11B,75B,85B,89B,106B,155B,172B,179B 'ask':119B 'belov':15B 'bring':18B 'capac':181B 'celebr':81B,175B 'challeng':193B 'chang':65B 'club':9B,47B 'communiti':166B 'complet':125B 'consequ':139B 'continu':148B 'covid':142B 'current':109B 'dynam':111B 'effort':86B,102B 'environ':194B 'event':146B 'ever':42B 'excit':189B 'exhibit':5A,12B,32B,41B,76B,107B,136B,173B,196B 'februari':199B 'follow':29B 'form':99B 'found':59B 'genr':97B 'goal':72B 'great':19B 'inaugur':31B 'institut':25B,163B 'john':36B 'keep':104B 'made':138B 'make':186B 'march':127B,202B 'media':95B 'member':4A,53B,90B,115B,180B 'membership':28B 'mount':43B 'new':187B 'open':6A 'paint':34B 'pandem':144B 'particip':117B 'past':68B 'persever':152B 'practic':116B 'prestig':22B 'pride':20B 'rang':93B 'reach':169B 'remain':77B 'remark':159B 'represent':112B 'run':197B 'sargent':38B 'second':40B 'showcas':83B 'sinc':126B 'sincer':177B 'singer':37B 'structur':63B 'style':96B 'submit':121B 'test':150B 'thrive':183B 'tradit':16B 'visual':2A 'work':50B,122B,154B,190B 'year':56B,70B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668541/cl49ihj9qk5jmzvjuac1.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669601/event_ics_1721669601044.ics","carousel":null,"category_name":"Exhibitions"},{"id":9261,"title":"The Path Toward Racial Equity: Museums are Not Neutral","starts_at":"2022-03-30 12:15:00","ends_at":"2022-03-30 13:15:00","body":"
Is art ever “just art?” Is a cultural institution capable of remaining neutral (politically, aesthetically, or otherwise)?
With three museum professionals, we explore these questions and those posed by the global advocacy initiative Museums Are Not Neutral.* In this, the fourth program in The Club’s series on racial equity in the Arts, Board President Laura Washington speaks with LAXART Director Hamza Walker, Illinois State Museum Director Cinnamon Catlin-Legutko, and Executive Director of SPACES Cleveland Tizziana Baldenebro about navigating curation, collections, and politics at their respective institutions.
*Beginning in 2017, Museums Are Not Neutral is a global advocacy initiative to expose the myth of museum neutrality and demand ethics-based transformation across institutions. Read more here.
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In an installation at once humorous and grave, Artist Adrian Wong brings his ongoing engagement with the clown community to The Arts Club of Chicago’s garden. Large-scale, egg-shaped sculptures that feature clown facial designs will populate the space. These works derive from Wong’s in-depth conversations with practitioners of the clowning arts, and his recognition of the complex identities that these performers occupy.
The origin of this research was a chance encounter with John “Jay-Jay the Clown” Joseph, during the installation of Wong’s 2019 exhibition, Three-Legged Dog, at 4th Ward Project Space in Hyde Park. (Mr. Joseph was hired to provide his services as a professional children’s birthday entertainer.) At the time of their meeting, Joseph was the sitting president of the Midwest Clown Association (2018-2019) and would subsequently be elected for a term as president of the International Shrine Clown Association (2019-2020).
Through Jay-Jay, Wong was introduced to the clown community and was immediately struck by the intersectional identities of many of its participating members. For example, certain clown unions require co-membership in the Ancient Arabic Order of the Nobles of the Mystic Shrine (AAONMS), colloquially known as the Shriners. Many are also military veterans; work in public service; and self-report that their dedication to the art of clowning is a by-product of trauma experienced earlier in their lives. He also discovered that contemporary clowning has a deep relationship to counterculture and radical movements—for example the protest activities of the Situationists, the Yippies, the Insane Clown Posse / Juggalos—and subsequently, Wong has expanded his conversations to other noted clowns such as L.M. Bogad, Hilary Ramsden, and Zoe Young (founding members of the Clandestine Insurgent Rebel Clown Army—C.I.R.C.A.).
The present project seeks to engage this community for the purpose of examining the craft of clowning as a means of healing, self-preservation, and reinvention. The title, Oogenesis, describes the biological process of the development of life via an ovum—but metaphorically references the use of eggs, symbols of re-birth, as a traditional method to trademark clowns’ unique facial designs.
Adrian Wong was born in Chicago, Illinois in 1980. Originally trained in psychology (MA, Stanford 2003), he began making and exhibiting work in San Francisco while concurrently conducting research in developmental linguistics. He continued his post-graduate studies in sculpture (MFA, Yale 2005). Wong relocated his studio to Hong Kong in 2005, but recently returned to Chicago, where he is an Associate Professor at the School of the Art Institute of Chicago. His work has been exhibited at The Drawing Center (New York), Kuandu Museum (Taipei), Kunsthalle Wien, Kunstmuseum Bern, Kunstverein (Hamburg), Museum of Modern and Contemporary Art (Seoul), Palazzo Reale (Milan), Saatchi Gallery (London), and Witte de With Center for Contemporary Art (Rotterdam)—and can be found in public and private collections worldwide, including the 21c Collection (Chicago), DSL Foundation Collection (Paris), K11 Art Foundation (Shanghai), Kadist Foundation (San Francisco), M+ Museum (Hong Kong), Sifang Museum (Nanjing), and Uli Sigg Collection (Lucerne).
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The Arts Club of Chicago is thrilled to announce Kamrooz Aram: Privacy, An Exhibition, the artist’s debut solo exhibition in the Midwest. Presenting paintings and sculpture made specifically for this context as well as select collage work, Aram intersects modernism with the decorative. The canvases feature varying iterations, of an original, roughly botanical vocabulary, that reflect the so-called minor arts like tile, carpet, and ceramics. Aram, who was born in Iran in a time of revolution and immigrated to the United States in the 1980s, approaches entrenched ideals of purity with skepticism. In his abstract painting, he consciously reclaims the “orientalist” reading of the decorative nature of objects, motifs, and expressions traditionally associated with the East.
Opening Reception | April 5, 2022 | 6p-7:30p
Exhibition Walkthrough with Kamrooz | April 6 | 6p-7p
Register here to attend the exhibition tour
For more information, please click here.
Read the full press release
photo: Sebastian Bach
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Reception 6:00 pm | Concert 6:30 pm | Dessert Reception to Follow
Now in its final season together, multi-GRAMMY nominee Spektral Quartet unveils the Chicago premieres of the light that blurred the stars by Eliza Brown (composer) and My River Runs to Thee by Evan Premo (composer, bass), featuring soprano Mary Bonhag and the poetry of Susan Stewart and Emily Dickinson. Complimented by Claude Debussy’s enchanting String Quartet in G minor, this community-spirited experience traces the cyclic nature of existence…and the stories we tell in an attempt to find our bearing. Come to celebrate this iconic ensemble in one of their final performances!
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Celebrated for inserting live dancers in tutus and on pointe into unexpected contexts, performance artist and professor Brendan Fernandes (Northwestern University) converses with dance scholar/professor Lizzie Leopold (University of Chicago, Dance Studies Association) on the topic of the arabesque–a ballet position on one leg and both arms extended. Their conversation concludes our series of thematic lectures related to Kamrooz Aram: Privacy, An Exhibition now in the galleries. Fernandes continues to use and research the arabesque in his own practice. He will dig into the topic with Leopold, who draws upon her knowledge of the genres and
geographies of dance.
$10 per person remote viewing | Register Here
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1:00pm | Conversation to follow
Jean Carlos Claudio, who often performs as Claucho the Clown, is coming to The Arts Club!
Claudio is a Puerto Rican circus and theater performer who has collaborated with Emerald Scott Theatre, Midnight Circus, La Vuelta Ensemble and Urban Theater.
In conjunction with Adrian Wong’s Oogenesis, Claudio has created a solo performance for The Arts Club of Chicago that will be fun for the entire family. Stay after for a reception and conversation with Claudio!
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Public Opening September 14 from 5:30p-8p
Interview with the Artist at 6:00p
Free and open to all
\"Listen' N Home relates to a history, a memory, the music, or 'wordisms' that are derivative of cultural origins.\" - Suzanne Jackson
Through a selective representation of pivotal works from the past twenty years, as well as a newly made monumental installation, The Arts Club of Chicago is honored to announce the solo exhibition opening of Suzanne Jackson: Listen’ N Home. The exhibition presents Jackson’s turn to environmental abstraction, marking the territory and trajectory of her late-life breakthrough paintings.
For more information, please click here.
Suzanne Jackson has been making art professionally since the 1960s—first in Los Angeles, California, where she founded the artist-run space Gallery 32, and eventually in Savannah, Georgia, where she moved to teach in 1996. Her paths in painting included moments as a dancer on tour in South America and as a Yale School of Drama graduate, working as a scenic designer in national theaters. Jackson’s relocation to the south in the 1990s marked a shift in her visual idiom, which became more abstract, three-dimensional, and environmental. She worked intensively, yet in relative obscurity, during this period of her life in the building that remains to this day both her working and living space. The paintings and related drawings made in this era developed physical layers, warped surfaces, or projecting forms that incorporated materials of the studio and domestic life. Most recently, Jackson’s paintings have taken a radical turn by lifting the pigment and medium off the canvas substrate, as no artist has done before. These partially transparent works suspend color, light, material, and form in mid-air, literally removing painting from the constraints of the support. Through a selective representation of pivotal works from the past twenty-five years, as well as a newly made monumental installation, the exhibition at The Arts Club of Chicago presents Jackson’s turn to environmental abstraction, marking the territory and trajectory of her late-life breakthrough paintings.
Suzanne Jackson (b. 1944, St. Louis) lives and works in Savannah, Georgia. From 1969–1970 she ran Gallery 32 from her live/ work studio at 672 South Lafayette Park Place in Los Angeles. Recent solo and survey exhibitions include In Nature’s Way…, The Modern Institute, Glasgow (2022); You’ve Come A Long Way, Baby: The Sapphire Show, Ortuzar Projects, New York (2021); Off the Wall, Mnuchin Gallery, New York (2021); News!, Ortuzar Projects, New York (2019); Five Decades, Jepson Center/Telfair Museums, Savannah (2019); holding on to a sound, O-Town House, Los Angeles (2019); Life Model: Charles White and His Students, Los Angeles County Museum of Art (2019); West by Midwest, Museum of Contemporary Art, Chicago (2018–19); Soul of a Nation: Art in the Age of Black Power, Brooklyn Museum, New York and the M. H. de Young Memorial Museum, Fine Arts Museums of San Francisco (2018–20); Now Dig This! Art and Black Los Angeles 1960–1980, Hammer Museum, Los Angeles, MoMA PS1, New York, and Williams College Museum of Art, Williamstown, Massachusetts (2011–13); Gallery 32 & Its Circle, Laband Art Gallery, Loyola Marymount University, Los Angeles (2009). Her work is in the permanent collections of the Baltimore Museum of Art; the Art Institute of Chicago; The Museum of Modern Art, New York; and The San Francisco Museum of Modern Art, among others. She has been granted awards by Anonymous Was a Woman (2021), New York Foundation for the Arts (2021), and the Joan Mitchell Foundation (2019).
Image: Suzanne Jackson, Bilali’s Dream (detail), 2004
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Exhibition Opening for Suzanne Jackson: Listen' N Home
Public Opening September 14 from 5:30p-8p
Interview with the Artist at 6:00p
Free and open to all
\"Listen' N Home relates to a history, a memory, the music, or 'wordisms' that are derivative of cultural origins.\" - Suzanne Jackson
Through a selective representation of pivotal works from the past twenty years, as well as a newly made monumental installation, The Arts Club of Chicago is honored to announce the solo exhibition opening of Suzanne Jackson: Listen’ N Home. The exhibition presents Jackson’s turn to environmental abstraction, marking the territory and trajectory of her late-life breakthrough paintings.
For more information, please click here.
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Chosen as a must see in Artforum, The Waves May Break Here Still is a printed mural of a painting by the same title that celebrates the potential impermanence of the human built environment.
Image Credit: The Waves May Break Here Still, 2022. Photo: Michael Tropea
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Free remote viewing Register Here
A Free Virtual Lunchtime Lecture | Thursday, October 13 | 12:15 - 1:15pm
Arts Club Board President and Chicago Tribune Contributing Columnist Laura Washington leads a conversation exploring the field of arts education as we navigate the road to a more just and equitable cultural sphere. Washington is joined by Nicole Upton of Ingenuity, a nonprofit founded to increase arts education access, quality, and equity in CPS; Charlique Rolle of Congo Square Theatre, a company whose education work is deeply embedded in their theater-making and extends into school and community partnerships; and Jim Duignan of the Stockyard Institute, which brings together art, social activism, and experimental pedagogy with deep roots in Chicago communities and neighborhoods.
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6:00 pm Program | In-Person Program with Option to view remotely
In conjunction with an exhibition of works by painter Suzanne Jackson, an intergenerational group of artists have a conversation with the aim of exploring the latent potential of Black abstraction. More specifically, the conversation will examine the relation between abstraction and affect, how abstraction can teach us about the historical and political dimensions of existential longing, especially as it relates to Black subjectivity, and will probe the limits of the argument that at the hands of artists who happen to be Black, abstract idioms are inherently radical or liberatory.
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Born in Chicago in 1935, world-renowned sculptor Richard Hunt has singularly made the largest contribution to public art in the United States; over 150 public sculpture commissions grace prominent locations in 24 states and Washington, D.C. Hunt has held over 150 solo exhibitions and is represented in more than 100 public museums across the globe, from California to Maine, Detroit to Birmingham, and Vienna to Jerusalem. Learn more.
Caroline Kent is an American visual artist based in Chicago, best known for her large scale abstract works. Inspired by her own personal experiences and her cultural heritage, Kent creates paintings that explore the power and limitations of communication. Caroline was recently awarded The Joyce Alexander Wein Artist Prize by The Studio Museum in Harlem and currently has solo exhibition at the MCA as part of the series Chicago Works
Learn more
Robert Burnier lives and works in Chicago, IL. He received his MFA from the School of the Art Institute in 2016 and a BS in Computer Science from Shippensburg University of Pennsylvania in 1991. He has had recent solo exhibitions at Andrew Rafacz Gallery (Chicago, IL), blank Projects (Cape Town, South Africa), Massey Klein Gallery (New York, NY), David B. Smith Gallery (Denver, CO), and The Arts Club of Chicago (Chicago, IL). Burnier’s large-scale installation Black Tiberinus was on view on Chicago’s riverfront in 2019. He has exhibited at art fairs in New York, Miami, Chicago, London, Mexico City, Milan and Copenhagen. You can see his work at Andrew Rafacz in Chicago Learn more
Camille Bacon is a Chicago based writer who is crafting a \"sweet black writing life\" as inspired by the words of poet Nikky Finney and the infinite wisdom of the Black feminist tradition more broadly. Her work has been published in Frieze, Studio Magazine and Cultured Magazine, among other outlets. Prior to her position as manager of McArthur Binion's studio, she held positions at GRAY Gallery and the Studio Museum in Harlem.. Learn more
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Collage for the Arts Club is the fourth chapter in the Collages for Mies van der Rohe project in which the artist has been installing monumental photographs on the famed architect’s buildings. Following the McCormick House, The Esplanade Apartment, and S.R. Crown Hall, this is the first interior installation in the series. Evron’s photographic installation will intervene on the glass-boxed historic staircase of the Arts Club of Chicago. The steel and travertine marble staircase was designed by Mies in 1949-1951 for the Arts Club’s Rush St. location and was repositioned in 1998 by Architect John Vinci to its current location at 210 E. Ontario St. The image of the semi-transparent conch shell installed on the glass windows corresponds to the form of the enclosed staircase and echos the ancient past and geological history of its stone cladding. This project is based on speculative paper collages made by Mies van der Rohe in his American period, from the late 1930s and on. In these collages, Mies was experimenting and negotiating the relationships between landscape, artworks, and materials interacting on his minimalist architectural stage.
Assaf Evron is an artist and a photographer based in Chicago. His work investigates the nature of vision and the ways in which it reflects in socially constructed structures, where he applies photographic thinking in various two and three-dimensional media. Looking at moments along the histories of modernism Evron questions the construction of individual and collective identities, immigration (of people, ideas, images) and the representations of democracy.
His work has been exhibited in galleries and museums internationally as The Museum for Contemporary Art in Chicago, Crystal Bridges Museum for American Art and The Israel Museum in Jerusalem among others. Evron holds an MA from The Cohn Institute for the History and Philosophy of Science and Ideas at Tel-Aviv University as well as an MFA from the School of the Art Institute of Chicago (SAIC), where he currently teaches.
Percussionist Ian Antonio’s breadth of experience – concertizing across four continents with a wide variety of chamber ensembles, orchestras, experimental rock bands, avant-garde theatre companies, and as a soloist, conductor, and educator – has led him to develop a unique sound and approach to both performing and teaching.
Ian is a director of the Wet Ink Ensemble, a collective of composers and performers. Named 2018’s “Best Ensemble” by the New York Times, Wet Ink most frequently performs as a mixed-instrumentation octet of composer-performers that collaborate in a band-like fashion, writing, improvising, preparing, and touring pieces together over long stretches of time. This approach, honed over 20 years, has led to an incomparable body of work marked by a keenly developed performance practice, played in concert with ferocity, commitment, and expressivity. In demand at both domestic and international venues, Wet Ink’s performances “combine striking stylistic and aesthetic assurance with technical perfection.” (Dissonanz Switzerland)
Ian is also a member of the percussion ensemble Talujon. The group’s septet configuration allows Talujon to produce large-scale and oft-neglected percussive masterworks as well as new pieces written for the ensemble. Described by the New York Times as possessing an “edgy, unflagging energy”, the ensemble has been championing percussive music for well over two decades. Ian has performed with Talujon at the Metropolitan Museum of Art, Bang on a Can
Marathon, BAM Next Wave Festival, and elsewhere across the country. Ian is Assistant Professor of Percussion at the University of Michigan‘s School of Music, Theatre & Dance. He previously served on faculties of Purchase College, Stony Brook University, 92nd Street Y, Henry Street Settlement, and the New York City Department of Cultural Affairs.
Ben LaMar Gay is a composer and cornetist who moves sound, color, and space through folkloric filters to produce electro-acoustic collages. His unification of various styles is always in service of the narrative and never solely a display of technique. A Chicago native, Ben’s true technique is giving life to an idea while exploring and expanding on the term “Americana.”
By being active in Chicago’s experimental music scene and having spent a three-year residency in Brazil, Ben has collaborated with several influential figures in the world of music, including Joshua Abrams, the Association of the Advancement of Creative Musicians, Bixiga 70, Black Monks of Mississippi, Celso Fonseca, George Lewis, Nicole Mitchell, Jeff Parker, Theo Parrish, Mike Reed, Tomeka Reid, and Itibere Zwarg.
Ben received his Bachelor of Arts in Music Education from Northeastern Illinois University. He has served as a music instructor in Chicago Public Schools, a guest lecturer at the School of the Art Institute of Chicago, and a facilitator with the Chicago Park District’s Inferno Mobile Recording Studio for six years. The latter helped set the tone for a core philosophy that fuels his musicianship, a fundamental component of which explores the lineage of an idea passed from one generation to another. He aims for his work to have the same functionality as most folktales, which is to create variations on timeless themes to help people make sense of their existence and place in the world.
Since 1916, The Arts Club of Chicago has been a preeminent exhibitor of international art, a forum for established and emerging artists, and a celebrated venue for performers from around the world. For over 100 years, The Arts Club has opened its membership to artists and patrons of the arts, and its exhibitions to the public. At its inaugural meeting, the mission of the Club was defined as: “to encourage higher standards of art, maintain galleries for that purpose, and to promote the mutual acquaintance of art lovers and art workers.”
Please direct press inquiries and requests for images to David Merz at press@artsclubchicago.org or call 312-787-3997.
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Free and open to all
Collage for the Arts Club is the fourth chapter in the Collages for Mies van der Rohe project in which the artist has been installing monumental photographs on the famed architect’s buildings. Following the McCormick House, The Esplanade Apartment, and S.R. Crown Hall, this is the first interior installation in the series. Evron’s photographic installation will intervene on the glass-boxed historic staircase of the Arts Club of Chicago.
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Jessi Reaves: All possessive lusts dispelled
“I don’t want someone to have to tell you to sit, because it’s more about the encounter with the thing – wondering if you can sit. There’s a certain person who’s willing to test that boundary.\"- Jessi Reaves
Jessi Reaves combines iconic modernist design with an irreverent aesthetic in sculpture that toys with functionality. Reaves often begins with found furniture, which she dismantles, converts, remakes, enhances, pads, and embellishes in ways that still allow the suggestion of physical contact or use. By breaking things open, she proposes that they be examined visually and in terms of their purpose in life. The exhibition at The Arts Club of Chicago centers on the work Personal Heat, 2021, a deconstructed étagère with accompanying video that explores themes of renovation and rebellion.
For more information, please click here.
Read the full press release and view press kit here
Photo: A sample of the truth, 2022
Image courtesy of the artist and Bridget Donahue, NYC. Photographer credit: Gregory Carideo
The inaugural discussion welcomes Elizabeth Diller, Princeton University professor and founding partner of Diller Scofodio + Renfro, the firm behind New York’s High Line, The Shed, the renovation and expansion of MoMA, and the award-winning Rubenstein Forum at the University of Chicago.
Free and Open to all
Registration will open to the public on January 27th
Capacity is limited. Reserve early.
Stay tuned for more information on upcoming speakers in the series
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Free and Open to all | Register for In-Person | Register for Virtual
Please join us for a series of conversations with prominent architects, moderated by New York Magazine critic Justin Davidson. In tribute and thanks to the bequest of Don Powell, esteemed interior architect and dear member of The Arts Club, this series delves into knotty questions about the opportunities and challenges created by a post-pandemic, climate-challenged, and socially-conscious environment.
Second in the series, we welcome Anupama Kundoo. Her rigorous research and experimentation in new materiality for architecture is the result of questioning basic assumptions and construction habits that humanity has adopted during the long process of industrialization. Rather than focusing on shortage, she sought abundance through investing in human resources and human resourcefulness, such as ingenuity, time, skills, care and sense of community. The act of building produces knowledge just as the resulting knowledge produces buildings. Her acclaimed projects include the Wall House, Urban Eco-Community and the Townhall complex in Auroville, and Volontariat Homes for Homeless Children in Pondicherry.
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An intergenerational panel of art makers and thinkers come together to speak about process and materials. Art historian Kate Nesin moderates a conversation between artists Diane Simpson and Jessi Reaves (whose exhibition is currently on view at The Arts Club), both of whom incorporate furniture and design sources into their sculptural practices, exploring functionality, inherent formalism, and cultural reference.
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Architect Annabelle Selldorf in Conversation with Justin Davidson
In-person program with option to view remotely
Third in the Don Powell Distinguished Architect Series, we welcome Annabelle Selldorf. Principal and design lead of Selldorf Architects, Ms. Selldorf has overseen museum projects such as the expansion and enhancement of The Frick Collection in New York, the redesign of the Sainsbury Wing and public realm of the National Gallery London, the expansion of the Museum of Contemporary Art San Diego, and the revitalization of the Hirshhorn Museum with SOM, among others. With New York Magazine critic Justin Davidson, she delves into questions about the state of design of cultural spaces.
Free and Open to All
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Groundation, an installation by Chicago based, Jamaican artist Yasmin Spiro, utilizes the fence at the Arts Club of Chicago as a structure to build a semi-transparent weaving that is an homage to Jamaican wicker weaver and Rastafarian, Sylvester (also known as Bongo Silly) who created an immersive woven wicker environment in his home in St. Ann, Jamaica (1970’s -80’s) that also functioned as an important part of the local community. Originally called Lions Den, it was a gathering place for both locals and visitors, and as a Rasta, Sylvester viewed weaving as mediation and practice of communing with other planes of existence. The word ‘groundation’ in Rastafarianism is a term for a ceremony or gathering that is meant to express the connection of a culture to its roots and the connection of an individual to its tribe.
This work is an extension of Spiro’s interest in the creation of sacred spaces, particularly ones that utilize vernacular architecture and craft, removed from traditional religious uses. It ties into her own cultural experiences and is a tribute to this early artistic influence that explores the act of making as a spiritual practice—not connected to art in the western or traditional sense—and community activity, as other weavers joined in the process of creating this environment.
Architecture is intertwined with the history of weaving, with the grid pattern and intersection of structures reflecting the skeletons of buildings and more directly in vernacular architecture, literally using weaving as its main form. Using the architecture of the fence and the environment of the garden for the creation of this weaving, the project will be both an installation and performance as other weavers will be invited to add to the work during the time it is exhibited.
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Free and Open to All Register Here
The musicians of D-Composed are architects of creativity, honoring the legacy and brilliance of Black composers and changing the entire field of classical music on their terms. They come to The Arts Club with a concert of works spanning time and genres, ranging from classical to contemporary, from soul to jazz to pop – with pieces by Florence Price, Joseph Bologne, Tomeka Reid, Sam Cooke, and a few surprises here and there. Don’t miss this passionate, precise, and energetic ensemble lighting up the stage with a program that’s equal parts heart-rending and mind-bending.
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Public Program: Arts Club Garden Projects | In-person program
Free and open to all | Register Here
If you’ve never heard of liming, come to the garden to find out more. Groundation, by Chicago-based, Jamaican artist Yasmin Spiro, utilizes the fence at the Arts Club of Chicago as a structure to build a semi-transparent weaving. The installation serves as an homage to Jamaican wicker weaver and Rastafarian, Sylvester, who created an immersive woven wicker environment in his home in St. Ann, Jamaica that also functioned as a community gathering space. For this program, Spiro is joined by weaver Emily Winter and sound artist Ralph Darden for a collaborative performance and community opening event with drinks and snacks.
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Evening Public Program: Don Powell Distinguished Architect Series
Free and Open to All | In-person program with option to view remotely | In-Person Registration | Virtual Registration
For the final conversation in the Don Powell Distinguished Architect Series, we welcome Joshua Ramus. He is founding principal of REX, a New York-based architecture and design firm whose current projects include the Ronald O. Perelman Performing Arts Center at the World Trade Center and The Lindemann Performing Arts Center at Brown University (both nearing completion). Joshua was a founding partner of OMA New York in 2001 and remained its principal until he re-branded the firm as REX in 2006. In that time, he was partner-in-charge of all the firm’s projects, including the Guggenheim-Hermitage Museum in Las Vegas and the Seattle Central Library. Ramus talks with New York Magazine critic Justin Davidson about the opportunities and challenges created by a post-pandemic, climate-challenged, and socially conscious environment.
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Drawing from complex memories and an evolving sense of identity, Brenda Draney (b. 1976, member of Sawridge First Nation, Treaty 8) paints narrative canvases marked by economical brushstrokes and expanses of white space. In Drink from the river, her first solo exhibition in the United States, Draney portrays scenes of daily life, along with those of singular events, that she leaves open-ended or unspecified. The cumulative portrait that emerges references a collective self that encompasses not only her own experience but that of past generations and current community members. Recurring and recognizable motifs of specific figures, pieces of furniture, or architectural features, alongside more generalized joyful and traumatic encounters leave Draney’s oeuvre open to association and to individual connection.
Draney is Cree from Sawridge First Nation, situated by the town of Slave Lake, Alberta, Canada. Her practice is based on her experiences and the relationships formed between her current hometown of Edmonton and the northern community of Slave Lake, where she was raised.
At The Arts Club of Chicago, the exhibition is co-curated by Janine Mileaf, Executive Director and Chief Curator and Jacqueline Kok, Nancy McCain & Bill Morneau Curatorial Fellow at the Power Plant Contemporary Art Gallery, Toronto, Ontario. The exhibition originated at the Power Plant Contemporary Art Gallery.
Image: Strange Invitation (2020), oil on canvas
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The artist discusses her work with Arts Club Executive Director and Chief Curator Janine Mileaf.
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Rathin Barman lives and works in Kolkata, India. Barman completed both undergraduate and graduate degrees at Rabindra Bharati University, Kolkata; and has been exhibited in select solo exhibitions such as There is Now a Wall (2022), Dimensional Distortion (2020), Experimenter, Kolkata; and Home, and a Home, curated by Suman Gopinath, Singapore Biennale, Singapore (2016). Select group exhibitions include The 10th Asia Pacific Triennial of Contemporary Art (APT10); Queensland Art Gallery, Brisbane, Australia; and Deeper within its Silence, curated by Sumakshi Singh, Devi Art Foundation, New Delhi.
Janine Mileaf is executive director and chief curator at The Arts Club of Chicago. She is the author of Please Touch: Dada and Surrealist Objects After the Readymade (University Press of New England, 2010), and coeditor of A Home for Surrealism (University of Chicago Press, 2018) and The Arts Club of Chicago at 100 (University of Chicago Press, 2016).
This exhibition is supported by the Graham Foundation for Advanced Studies in the Fine Arts.
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Rathin Barman lives and works in Kolkata, India. Barman completed both undergraduate and graduate degrees at Rabindra Bharati University, Kolkata; and has been exhibited in select solo exhibitions such as There is Now a Wall (2022), Dimensional Distortion (2020), Experimenter, Kolkata; and Home, and a Home, curated by Suman Gopinath, Singapore Biennale, Singapore (2016). Select group exhibitions include The 10th Asia Pacific Triennial of Contemporary Art (APT10); Queensland Art Gallery, Brisbane, Australia; and Deeper within its Silence, curated by Sumakshi Singh, Devi Art Foundation, New Delhi.
This exhibition is supported by the Graham Foundation for Advanced Studies in the Fine Arts.
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Including concrete and brass wall reliefs and a newly commissioned room-scaled installation, Rathin Barman: Unsettled Structures considers the creative reuse by migrant populations of abandoned colonial mansions in the artist's home city of Kolkata, India. Barman will be in conversation with Priyanka Raja of Experimenter in Kolkata.
Artist talk and opening gallery reception are free and open to all.
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Public Program: Arts Club Garden Projects
In-person program with option to view remotely
Program 1:00 pm in The Drawing Room (refreshments provided)
Free and open to all
Yasmin Spiro’s installation and semi-transparent weaving, Groundation, currently on view in The Arts Club’s Garden, is an homage to Jamaican wicker weaver Sylvester Ivy, and explores the creation of sacred spaces, vernacular architecture, and craft. In conjunction with Chicago Exhibition Weekend, Spiro is joined by Neubauer Family Assistant Professor in Latin American Literature at the University of Chicago, Danielle Roper, to discuss the work, Jamaican and Caribbean visual culture, spiritualism, and the history embedded in creative practices.
","type":"Event","state":"published","slug":"yasmin-spiro-in-conversation-with-danielle-roper","created_at":"2023-09-28 19:52:34.208542","updated_at":"2023-09-28 19:52:34.214692","excerpt":"","is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'00':25B '1':24B 'american':93B 'architectur':74B 'art':10B,53B 'assist':89B 'caribbean':108B 'chicago':80B,99B 'club':11B,54B 'conjunct':78B 'convers':4A 'craft':76B 'creation':69B 'creativ':117B 'cultur':110B 'current':48B 'daniell':6A,100B 'discuss':103B 'draw':29B 'embed':115B 'exhibit':81B 'explor':67B 'famili':88B 'free':33B 'garden':12B,56B 'groundat':47B 'histori':114B 'homag':59B 'in-person':14B 'instal':41B 'ivi':65B 'jamaican':61B,106B 'join':85B 'latin':92B 'literatur':94B 'neubauer':87B 'open':35B 'option':19B 'person':16B 'pm':26B 'practic':118B 'professor':90B 'program':9B,17B,23B 'project':13B 'provid':32B 'public':8B 'refresh':31B 'remot':22B 'room':30B 'roper':7A,101B 'sacr':71B 'semi':44B 'semi-transpar':43B 'space':72B 'spiritu':111B 'spiro':2A,39B,83B 'sylvest':64B 'transpar':45B 'univers':97B 'vernacular':73B 'view':21B,50B 'visual':109B 'weav':46B 'weaver':63B 'weekend':82B 'wicker':62B 'work':105B 'yasmin':1A,38B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668662/aywfogkhmbf3sxcd24k0.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669709/event_ics_1721669709418.ics","carousel":null,"category_name":"Talks"},{"id":11694,"title":"Dr. Esther da Costa Meyer on the Architecture of Refugee Housing","starts_at":"2023-10-05 18:00:00","ends_at":"2023-10-05 19:00:00","body":"Evening Program: Alsdorf-Freehling Lecture/On the Exhibition
In-person program with option to view remotely
Free and open to all
Register below
Artist Rathin Barman’s work, currently on view at The Arts Club, evokes the palatial colonial villas in Kolkata, many now inhabited by migrants who have fled violence. This correlation between colonialism and asylum seekers is crucial, as most refugees trying to reach Europe hail from former colonies. Esther da Costa Meyer, Visiting Professor at the Yale University School of Architecture, will explore the architecture of refugee camps. Sometimes the size of cities, these camps, largely situated in the Global South, are run by humanitarian agencies and NGOs. Overwhelmed by the steep rise in numbers which will escalate sharply due to climate change, humanitarian aid often replicates neo-colonial practices. A small but determined group of architects has been designing shelter for refugees around the world, keenly aware that there can be no architectural solution without the participation of the refugees themselves, their knowledge, and their heritage. This program is presented in partnership with the Chicago Architecture Biennial.
Image: Za’atri camp in Jordan for Syrian refugees, 2013. U.S. Department of State.
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Celebrating 30 years since the Fluxus Festival at The Arts Club of Chicago and 60 (+1) years of the Fluxus movement, The Arts Club teams up with Chicago’s contemporary Fluxus practitioners to interpret historical scores. Curated by Chris Reeves, Hannah Higgins, and Simon Anderson, this evening of performance will feature:
Alberto Aguilar performing George Brecht’s Symphony No. 3 (1964)
Dorothy Carlos performing Charlotte Moorman's 4’1.499” for a String Player, abridged version of John Cage’s 26’1’.1499” based on notation by
Charlotte Moorman (1955/1965)
Jesse Malmed performing Dick Higgins' Glasslass (1970)
Josh Rios performing Mieko Shiomi's Spatial Poem No. 9 (1965-75)
Lauren Sudbrink performing Alison Knowles' Tone Poem (1965)
Suspended Culture Collective: Carissa Pinckney, Jordan Brown, Kezia Waters, sun Lynn Hunter performing Benjamin Patterson's Lemons (1961)
Graphic: Chris Reeves
If you would like to attend and don’t find yourself in a position to purchase a ticket, please email jlyle@artsclubchicago.org, and a ticket can be arranged for you.
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The diffuse sunlight (Earthlight) visible on the dim portion of the Moon has been twice reflected. Sun…Earth…Moon…and depending on whether observed from Earth’s Northern or Southern Hemisphere, there will be a fragile cast of light following or leading, waxing or waning a crescent moon…..starlight bouncing off our planet and softly caught on the Moon at sunset or sunrise.
The work at The Arts Club of Chicago is a sweep of suspended, levitating entanglements– not defying gravity but caught up in the physics of our planet. Each piece is an individually hand-drawn contour line using molten glass as the drawing material. The drawing requires a quick action to articulate. Time, gravity, temperature, physicality, and physics are deployed to register a line which was, seconds before, a viscous molten mass–not unlike the molten mass at the core of our planet.
To wrestle a shape into being requires only seconds to fashion, but each motion is one of resistance. That instance of drawing is consumed with an effort to defy expectations of a motion pre-indexed by memory and history– to not repeat a move, to resist reference to language, symbol, or culture, or to refuse to shape the known.
The sweep of gestures as a whole and the singular drawing wrangle with time on two separate points of measure: warm stellar light reflecting off of us and landing on our Moon, and the Moon’s dark side that we’re never able to see but know is there.
Photo: Christine Tarkowski
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The Arts Club’s Exhibition of Visual Artist Members is a beloved tradition that brings great pride and prestige to the institution and its membership. Following an inaugural exhibition of paintings by John Singer Sargent in 1916, the second exhibition ever mounted at The Arts Club was of work by our members. Although its structure has changed over the past 108 years, the goal of the exhibition remains the same: to celebrate and showcase the artistic efforts of our artist members across a range of media, styles, genres, and forms.
To continue The Arts Club’s tradition of showcasing a current and dynamic representation of our members’ practices, participants were asked to submit works completed after February of 2022.
It is a remarkable accomplishment of the institution and its communities to have reached the 91st Artist Exhibition. We celebrate most sincerely our artist members’ capacity to thrive and to make new and exciting work through challenging times in our city and the world at large.
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The publications Open Questions and Each One Another attack two core questions: how does one find “oneself” in art? And what do museums, universities, and art history have in common as tools and obstacles in that search? Celebrated curator Helen Molesworth joins esteemed art historian Rachel Haidu in a conversation that will unfold some of the ways that art presents new questions about pleasure, identity, and the reactions of the observer.
Free and Open to the Public, Registration: In-person & Virtual
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https://visit.mcachicago.org/events/talk-chotin-curatorial-practices-at-the-edge/
","type":"Event","state":"published","slug":"talk-chotin-curatorial-practices-at-the-edge","created_at":"2024-01-29 22:22:01.021751","updated_at":"2024-01-29 22:22:01.028291","excerpt":"","is_timeless":false,"organization_id":190,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-19':12B '/events/talk-chotin-curatorial-practices-at-the-edge/':19B '0':11B 'chotin':2A 'curatori':3A 'edg':7A 'inform':14B 'practic':4A 'rang':9B 'talk':1A 'ticket':8B 'visit.mcachicago.org':18B 'visit.mcachicago.org/events/talk-chotin-curatorial-practices-at-the-edge/':17B 'websit':16B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668747/szqymtzea5p00xxyaw6j.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669737/event_ics_1721669737161.ics","carousel":null,"category_name":"Talks"},{"id":12258,"title":"A Painterly Gifting: days of distribution","starts_at":"2024-02-28 12:00:00","ends_at":"2024-03-02 12:00:00","body":"Public Program: Visual Art | Free and Open to the Public
Gallery Hours (Wed – Fri, 11am – 6pm; Sat, 11am – 3pm)
Having painted for decades, artist Patrick Chamberlain now presents A Painterly Gifting: days of distribution, wherein he will joyfully give away upwards of 100 paintings from his studio. Over the course of 4 days, The Arts Club of Chicago will host the paintings, inviting interested parties to visit during gallery hours and claim one for their own. According to Mr. Chamberlain, “There is something about the architecture of The [Arts] Club that prompts reasoned generosity and I am honored. I believe that you will be pleased to be associated with these paintings. Or if not pleased, at least amused.”
Limit one painting per person per day.
Image: Patrick Chamberlain, Blue
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Major funding for the exhibition in Chicago was provided by the Zell Family Foundation and the Terra Foundation for American Art. This exhibition originated at Bowdoin College Museum of Art.
Image: Moons I, 1932, mixed media on board, by Mina Loy. 26 1/4 × 35 1/4 in. (66.68 × 89.54 cm). Private collection. Photography by Brad Stanton
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Luncheon 11:30 am | Program 12:15 pm
In a conversation moderated by Hauser & Wirth curator and critic Ingrid Schaffner, Ann Lauterbach (poet, essayist, Bard College) and Suzanne Zelazo (author, editor, critic, Brooklyn Rail) reflect on the literary and artistic legacies of Mina Loy, a retrospective of whose work is on exhibition in The Arts Club’s galleries. Join for a buffet luncheon and rich discussion via the registration link below.
$10 per person remote viewing
$25 per person on-site (includes lunch)
Image: Mina Loy, Devant le miroir, ca. 1905. Private collection. Photography by Jay York
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In conjunction with the exhibition Mina Loy: Strangeness Is Inevitable, The Arts Club of Chicago has invited Every house has a door to develop a new work in response to Loy’s expansive creative practice. Anchored by a reading of Loy’s prose ballet “Crystal Pantomime,” whose language projects fantastic tableaus in the imaginations of the audience as a collective dream, Every house builds a world around an oversized lamp-shade sculpture by artist Diane Simpson with wardrobe and objects by Max Guy, and enlists a company of intergenerational specialists to evoke a theater of the mind. Readers Leila Ashrafi, Daniel Borzutzky, Nakiyah T.M. Jordan, and Jenny Polus are joined in performance by Elise Cowin and Matthew Goulish.
Presented only twice, first at the The Arts Club of Chicago reprised one week later at the Jane Addams Hull-House Museum, each performance is site-responsive honoring the lineage of Chicago’s rich history of experimental performance.
“Crystal Pantomime,” used with permission of Roger Conover and the Beinecke Library at Yale; published in Stories and Essays of Mina Loy, Sara Crangle [Dalkey Archive, 2011]. This performance is commissioned by The Arts Club of Chicago and co-produced with Every house has a door and The Jane Addams Hull-House Museum. Every house would like to thank their individual donors for the generous support of this project.
$10 per person
If you would like to attend and don’t find yourself in a position to purchase a ticket, please email jlyle@artsclubchicago.org for a discount offer.
Register for both sites using the buttons below.
Image: Stephen Haweis, Mina Loy, ca. 1905. Gelatin silver print. Collection of Roger Conover. Graphic Design: Lucas Reif
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Shift in the Clouds refers to the moving patterns of light and shadow that the sun casts on the ground. As Baker has explained, “it is less about looking up and more about looking down or around.” Baker’s landscapes likewise generate a grounded perspective, emphasizing the connection between human beings and the earth.
The choice of materials in Baker’s paintings indicates a wide scope of reference, as well as a variety of image-making strategies. Astroturf, which she often uses as the primary support, solves formal problems of shape, color and adaptability, while referring to an artificial, commercial culture. Natural elements like buckskin, willow, buffalo hide, and parfleche, or dried and stretched hide, harken to the traditions of the Mandan and Hidatsa tribes, of which she is a member. These deeply inflected materials, which have ceremonial and storytelling functions in Native American culture, become evocative drawing implements in Baker’s hands.
Teresa Baker ((Mandan/Hidatsa) b. 1985 Watford City, ND) is an enrolled member of the Three Affiliated Tribes in Western, ND and currently lives and works in Los Angeles.
Baker has had recent solo exhibitions at de boer, Los Angeles, Scottsdale Museum of Contemporary Art, Scottsdale, AZ; Halsey McKay, East Hampton, NY; Pied-à-terre, San Francisco; and Interface Gallery, Oakland. Group exhibitions include Ballroom Marfa, Marfa, TX, The Nerman Museum of Contemporary Art, Kansas City, Yerba Buena Center for the Arts, San Francisco, CA; di Rosa, Napa, CA; Marin MoCA, Novato, CA, and Anthony Meier, Mill Valley, CA. Baker is a 2022 Joan Mitchell Fellow, a 2022 Artist-in-Residence at FOGO Island Arts in Newfoundland, and the recipient of the 2020 Native American Fellowship for Visual Artists at the Ucross Foundation. Baker was an Artist-in-Residence at MacDowell, and a Tournesol Award Artist-in-Residence at the Headlands Center for the Arts. The artist’s work was recently acquired by the Whitney Museum of American Art, New York, the Nerman Museum of Contemporary Art, KS, the Portland Museum of Art, Maine, the Forge Collection, NY, and The Tia Collection, Santa Fe. In 2023 Baker’s work was included in ‘Made in L.A. 2023: Acts of Living’ at the Hammer Museum, Los Angeles, CA.
Image: Teresa Baker, Field Notes, 2022. Willow, spray paint and yarn on artificial turf. Courtesy of the Artist & de boer Los Angeles | Antwerp. Photo. Jacob Phillip. © Teresa Baker
Free and open to all.
Continuing the series of conversations with prominent architects in tribute and thanks to the bequest of Don Powell, we welcome Vishaan Chakrabarti in conversation with New York Magazine critic Justin Davidson. Founder and Creative Director of Practice for Architecture and Urbanism (PAU), Chakrabarti (previously a principal at major architecture firms including SHoP Architects and Skidmore, Owings & Merrill) has over thirty years of experience authoring and implementing visionary urban architecture.
Current projects of note include the expansion of the I.M. Pei-designed Rock and Roll Hall of Fame in Cleveland, the planning and redevelopment strategy for 25 parcels in downtown Niagara Falls, and the conversion of the historic Domino Sugar Factory on Brooklyn’s waterfront into a contemporary office building. Chakrabarti is the author of the book A Country of Cities: A Manifesto for an Urban America and the upcoming The Architecture of Urbanity: Designing for Nature, Culture, and Joy.
Images: Courtesy of PAU Studio
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Haegue Yang: Flat Works includes 58 works from seven series: Hardware Store Collages, Lacquer Paintings, Non-Foldings, Trustworthies (abstractions made from security envelopes and other materials), Wallpapers, Edibles, and most recently, Mesmerizing Mesh (cut and folded paper collages based on varied, international shamanistic practices). These diverse investigations have accompanied Yang’s practice in three dimensions—including her iconic venetian blind installations and remarkable sonic sculptures with metallic bells—and have been presented in all of her major exhibitions. Until now, however, they have never been comprehensively explored on their own. Pointing to the cumulative impact of these two-dimensional works, this exhibition unearths through-lines across Yang’s many diverse projects. Formed around the key word “flat,” it provides a rich but rare insight into Yang’s conceptual map.
One of the most important artists working today, Yang is predominantly known as a sculptor and installation artist. Nonetheless, her two-dimensional investigations have been consistent and essential to her creative development. A fundamental recognition of these series is that “flatness” registers a collapse of the three-dimensional world as image. The aesthetics of these investigations range from minimalist and discrete to maximalist and engulfing.
Yang’s revelatory exploration of “flat” projects is still evolving—and the exhibition at The Arts Club of Chicago offers both landmark and recent materials that attest to this process. Yang hangs an excerpt from a room-scaled wallpaper on the vitrine surrounding The Arts Club of Chicago’s classic Mies van der Rohe staircase, while an elaborate wooden trellis is newly conceived to display collages from the Mesmerizing Mesh series with related archival research undertaken by the artist. Both the vitrine and the trellis show the evolving energy of Yang’s creative practice by compressing or exploding the space of the exhibition, which produces a sense of dimensional shift.
Haegue Yang: Flat Works was organized by Executive Director and Chief Curator Janine Mileaf and supported by gifts to the Arts Club Ambition Fund from the Smart Family Foundation and Individual Donors.
Opening: September 18, 2024 from 6:00 - 8:00 pm
Special Event: October 10, 2024 at 6:00 pm, Evening Concert
Celebrated musicians Chris Wild and Mabel Kwan will perform works for cello and piano by 20th-century Korean Composer Isang Yun (1917-1995) with a pre-concert lecture by musicologist Ryan Dohoney. Yang has been invested in Isang Yun for many years and a handout of her text work, titled A Chronology of Conflated Dispersion – Duras and Yun (2018) will accompany this musical event.
Publication: Haegue Yang: Flat Works
An accompanying fully-illustrated, 96-page hardcover catalog will be published by Skira. Essential to this publication is the pioneering and illuminating scholarship of Dr. Orianna Cacchione through her substantial essays and annotations to each of the seven categories of flat works. Designed by Chicago-based David Khan-Giordano, this publication delivers a long-awaited book-length investigation of the flat works. Major support is provided by Kukje Gallery, Seoul, with additional support from kurimanzutto, New York and Mexico City, and Galerie Barbara Wien, Berlin.
Image: Haegue Yang, Splashing Volcano Ash Gaze – Mesmerizing Mesh, Hanji on alu-dibond, framed. Courtesy of the artist. Photo: Studio Haegue Yang
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'yun':462B,481B,500B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1731088695/v7pa1dvjzhdh6v4seu9g.jpg","calendar":null,"carousel":null,"category_name":"Exhibitions"},{"id":18601,"title":"Latham Zearfoss:Third Space","starts_at":"2024-10-05 00:00:00","ends_at":"2025-04-29 00:00:00","body":"Free and Open to All | Register Here
Sensory Walking Tour of Streeterville 2:00 - 2:45
To open their Garden Project at The Arts Club, titled Third Space, artist Latham Zearfoss will host a tree giveaway and lead a short tour of neighborhood points of interest, highlighting the five senses. Stops along the route will invoke historical milestones, imagined futures, and invite an embodied presence. Before and after the walking tour, a few small oak tree seedlings donated by Chicago Botanic Garden (while they last) will be available for attendees to take home and plant outdoors. A representative from the Botanic Garden will be on hand to discuss best practices for care and planting of your oaks.
Access notes: The short tour from 2 - 2:45 pm will include walking or moving via wheelchair and engagement with a wide array of stimuli.
Entire event at The Arts Club lasts from 1 - 3 pm.
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Open to all | $10 per person | Register Here
Composer Isang Yun wrote music that feels rhapsodic, taut, and crystalline, at times. Arrested for composing songs in Korean during the Japanese colonial period and then kidnapped for suspected espionage in Germany in the 1960s, Yun underwent a great deal of political turbulence while simultaneously garnering great acclaim for his musical accomplishments, according to artist Haegue Yang, who holds him up as an inspiring influence. Join for a concert of Yun’s piano and cello music performed by Mabel Kwan and Chris Wild of Chicago’s Ensemble Dal Niente at 6pm, and come early for a pre-concert lecture at 5:30pm from Northwestern University professor and musicologist Ryan Dohoney to give context on ties between the artist (Yang) and the composer (Yun).
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In his first solo exhibition in Chicago, Los Angeles-based and Jamaican-born artist Cosmo Whyte situates the architectural archives of his late father as the structural ground for an intervention and interrogation into the spaces and forms of diasporic protest, spectacle, and witnessing. Presented by The Arts Club of Chicago, in The Mother’s Tongue, Pressed to the Grinding Stone the artist reformulates photojournalistic images onto materials ranging from drawings to hand-painted beaded curtains and steel framings of unrealized structures. In so doing, Whyte poetically asks “what makes a witness? And what does it mean to have become one?”
Cosmo Whyte received a BFA from Bennington College, a post-baccalaureate at Maryland Institute College of Art, and a MFA from University of Michigan. In 2020 he had solo exhibitions at MOCA Georgia and ICA San Diego. Whyte has exhibited in biennial exhibitions including Prospect.5 New Orleans (2022) 13th Havana Biennial, the Jamaica Biennial (2017), and the Atlanta Biennial (2016). His work has been included in exhibitions at Museum of Contemporary Art, Chicago, IL; The High Museum of Art, Atlanta, GA; The Drawing Center, New York, NY; The Somerset House, London, UK; Museum of Latin American Art, Los Angeles, CA; Atlanta Contemporary, Atlanta, GA; Centre Georges Pompidou, Paris, France; and the National Gallery of Jamaica, Kingston, Jamaica. His work is in public museum collections including the High Museum, Atlanta; Museum of Contemporary Art, Chicago, IL; International African American Museum, Charlotte, NC; Museum of Contemporary Art Georgia; National Gallery of Jamaica; and the Pérez Art Museum Miami. In 2022 he joined the UCLA School of the Arts and Architecture as an assistant professor. Whyte lives and works in Los Angeles, CA.
The exhibition was curated by Arts Club Executive Director and Chief Curator Janine Mileaf. A fully-illustrated catalog with essay by scholar Vera Grant will accompany the exhibition.
Since 1916, The Arts Club of Chicago has been a preeminent exhibitor of international art, a forum for established and emerging artists, and a celebrated venue for performers from around the world. For over 100 years, The Arts Club has opened its membership to artists and patrons of the arts, and its exhibitions to the public. At its inaugural meeting, the mission of the Club was defined as: “to encourage higher standards of art, maintain galleries for that purpose, and to promote the mutual acquaintance of art lovers and art workers.”
Please direct press inquiries and requests for images to David Merz at communications@artsclubchicago.org or call 312-787-3997.
Programming: A conversation between the artist and Jeremiah Matthew Davis will take place on March 8th at 2:00 pm. This event is part of Panafrica Weekend, a city-wide celebration.
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Join Angel Bat Dawid, acclaimed Chicago performer and former “Chicagoan of the Year in Jazz,” in a celebration of Cosmo Whyte’s exhibition in the Arts Club galleries. She and musical collaborator 9magicforever1 will incorporate voice, movement and multi-instrumental performance into a newly composed, artistically responsive work in the gallery. Whyte and Bat Dawid share a conceptual connection to ancestry and history, which makes for an apt pairing in this compelling and meditative evening. This event will in-person only.
Huguette Caland: Bribes de corps presents painted works by the Lebanese artist whose life and career traversed decades, continents, and media, defying both aesthetic and social conventions of her time and place. Bringing together a significant corpus of works that have rarely been seen together, the exhibition focuses on the body of work that Caland produced while living in Paris in the 1970s, the Bribes de corps [“Body Bits”] and constitutes the largest presentation of the series to date.
Caland’s own body and her preoccupations with its size and its pleasures motivated much of her work throughout this period, and this exhibition introduces the languages—sometimes joyful and sometimes pain-ridden—she cultivated in shape and color to speak of her experience alongside those of other bodies. The artist also played with what Western art history categorizes as the diametrically opposed poles of abstraction and figuration, rendering the distinction between color and line indiscernible, subject positions and parts indecipherable, and making normative or binaristic gendering unimaginable even as the body parts she painted often transform into landscapes or blend into the haze of color fields.
The work is contextualized in relationship to debates about gender and sexual norms in both France and Lebanon during the time. It concludes with a more recent painting from the artist’s late series of tapestry-like paintings, which bring her interest in the body and its surroundings to full force through a painterly idiom that borrows from the techniques and cultures of tatreez, or Palestinian embroidery. The exhibition also includes a selection of three embroidered dresses, which Caland designed and wore, and which consolidate the relationship between art and flesh in her practice.
The exhibition is made possible by the Smart Family Foundation through a grant to the Ambition Fund of The Arts Club of Chicago.
This exhibition is curated by Hannah Feldman, Keith L. and Katherine Sachs Associate Professor of Contemporary Art, University of Pennsylvania.
During the run of the exhibition, The Arts Club will host two public programs in the gallery:
Thursday June 5
Evening Public Program: Visual Art
Janine Mileaf gives an Exhibition Tour of Huguette Caland: Bribes de corps
Program 6:00 pm
20th-century painter Huguette Caland (1931–2019), whose paintings made in Paris in the 1970s are now on view in the gallery at The Arts Club of Chicago, is also the current subject of a grand-scale retrospective at the Reina Sofia in Madrid. Join Arts Club Executive Director and art historian Janine Mileaf for a guided tour of the exhibition at The Arts Club.
Free and Open to All. Limited Capacity. Register here.
Thursday July 31
Evening Public Program
Body Bits: poetry, prose and performance in the gallery
Program 6:00 pm
In celebration of the landmark exhibition, Huguette Caland: Bribes de corps, The Arts Club of Chicago collaborates with MAKE Literary Productions to co-curate an evening of readings on the theme “Body Bits,” a loose translation of the exhibition’s title. Text-oriented artists in a variety of genres will perform alongside Caland’s evocative body of work with their own ruminations on bits, bumps, lumps, and the occasional humps here and there.
Free and open to all. Register here.
Image: Self Portrait (Bribes de corps), 1973, oil on linen. Courtesy Huguette Caland Estate
Janine Mileaf gives an Exhibition Tour of Huguette Caland: Bribes de corps
20th-century painter Huguette Caland (1931–2019), whose paintings made in Paris in the 1970s are now on view in the gallery at The Arts Club of Chicago, is also the current subject of a grand-scale retrospective at the Reina Sofia in Madrid. Join Arts Club Executive Director and art historian Janine Mileaf for a guided tour of the exhibition at The Arts Club.
Free and Open to All. Limited Capacity. Register here.
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Free and open to all. Register here.
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In a larger sense, the exhibition considers exchanges of friendship and translations of language by referencing various geographies that the artist has occupied. Thereby, Ogunbiyi aspires to forge new connections. In Chicago, she plans to engage a variety of viewers through community programming, including the manufacture and distribution of a bespoke ice cream flavor, communal food practice, and the incorporation and recirculation of vintage furniture in the exhibition display.
For the first time, the Arts Club will concurrently feature a garden commission as part of the gallery exhibition. Taking the rough form of an abacus, Ogunbiyi’s installation on the western exterior wall is composed of cast grinding stones made of melted plumbing fixtures sourced in Nigeria. Through reference to the ancient mathematical tool, the abacus, the artist asks “Who counts?”—considering ‘counts’ as a verb and state of being. She invites all to enter the conversation.
The exhibition is curated by Janine Mileaf, Executive Director and Chief Curator at The Arts Club of Chicago. It is made possible by a grant from Conor O’Neil; specific programming is supported by the Goethe-Institut. A version of the exhibition, curated by Rebecca Lowery, will travel to the Wexner Center for the ArtsColumbus, Ohio, in 2026.
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SpaceShift Collective Garden Activation with Exhibition Ice Cream at The Arts Club of Chicago
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This event is co-presented with SHANGHAI SEMINARY.
Free and open to all.
In conjunction with artist Temitayo Ogunbiyi’s exhibition, indigenous scholar and practitioner Stephanie Morningstar speaks on themes related to her work and to Ogunbiyi’s. A storyteller connecting people, plants, and the land, Stephanie bridges Indigenous and Western paradigms, helping communities reclaim relationships with the natural world and each other.
Free and Open to the Public.
Photo: You will feel out of many one people, 2019. Varnished Japanese ink and acrylic on found fabric. 54 x 36 in (137.1 x 91.4 cm).
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To continue The Arts Club’s tradition of showcasing a current and dynamic representation of our members’ practices, participants are asked to submit works completed within the past two years. Some of the artists members are participating in this exhibition for the first time; others have participated for several decades.
It is a remarkable accomplishment to have reached the 92nd Artist Exhibition, the 91st of which featured a record-breaking 84 artist participants. We celebrate most sincerely our artist members’ capacity to thrive, make new and exciting work, and forge community through turbulent times.
Photo: Installation view, 91st Exhibition of Visual Artist Members, January 2024. Photo: Michael Tropea.
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The Arts Club of Chicago is thrilled to be partnering with At the World’s Edge, a spring festival forging new creative pathways between Aotearoa New Zealand, the UK and Chicago. Join us for Ængles, an evening of chamber music and the festival’s second program.The Old English word for the Germanic people who settled in Britain, Ængles is a playlist program exploring over 330 years of music from the UK and its close cultural connections.
Hear music from the 16th century to the present day, with iconic works by Samuel Coleridge-Taylor and Percy Grainger, a heart-wrenching piano Pavan by Tudor-era composer Thomas Tomkins, an Irish melody string quartet by late 19th century composer Frank Bridge, and works by living composers Huw Watkins and Eve de-Castro Robinson.
Sliding Scale Tickets available from $5 to $20.
For more information about this performance and the full AWE Chicago Festival 2026, visit awemusicfoundation.org/chicago-2026
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Opening Artist Talk | 6:00 – 7:00 pm
Artist Oren Pinhassi sculpts anthropomorphic forms at great scale that appeal to the senses and intellect at once. He brings to The Arts Club of Chicago a series of figural/architectural works that occupy the gallery in an encompassing configuration, aiming to trigger the physical engagements of desire and fragility. On a basic level, Pinhassi’s forms address viewers as beings. They stand erect, though full of bulbous protrusions and seductive orifices. Yet, they refuse to be fully explicit, instead, seeking to communicate in the manner of poetry. Pinhassi’s towering or sprawling creatures draw upon such ordinary materials as sand, stone, or vinyl. In a process he has named “erotic construction,” Pinhassi uses sensual appeal, rough texture, suggestive pose, and intimate detail to press against the confines of a restrictive society. He has further explained, “The cavities in my work—windows, holes—simultaneously reference the most intimate cavities of the body and, as recognizable architectural elements, become landscapes for this public exchange.” How do streetscapes or open windows suggest encounters or interpenetrations? What are the boundaries between one and another? Why do we fear contact? And where might mutual understanding be found?
New York-based artist Oren Pinhassi (b. 1985) creates sensuous sculptures and immersive installations that explore the reciprocal relationship between humans and the environments we create. His work investigates how architecture and objects shape our bodies, behaviors, and perceptions while simultaneously carrying traces of human presence, desire, and vulnerability. Pinhassi’s ongoing dialogue highlights how our designs, in turn, design us.
Working primarily with sand and plaster, Pinhassi is drawn to organic materials for their transformative potential and porous nature. His process of layering burlap, plaster, and sand over welded steel skeletons involves repeated tactile engagement, mirroring how environments carry the marks of human action—surfaces bearing traces of interaction, labor, care, and also the effects of erosion and destruction. His works challenge fixed ideas of private and public space and the roles we carry within them, envisioning construction as a tender world of hybrid forms where human and environment exist in constant co-creation.
The exhibition is curated by Janine Mileaf, Executive Director and Chief Curator at The Arts Club of Chicago.
Publication: To accompany the exhibition, the Arts Club of Chicago and Zolo Press, Mexico City, will copublish the artist’s first monograph with an essay by Alyce Mahon, Professor of Modern and Contemporary Art History and Fellow of Trinity College at the University of Cambridge, and support from Edel Assanti, London, Commonwealth and Council, Los Angeles, and Lehmann Maupin, New York
Photo: Truth Teller (detail), 2024. Steel, burlap, sand, polymer and rock. 93 x 30 x 24 in (236.2 x 76.2 x 60.9 cm). Photo by Elisabeth Bernstein. Courtesy of the artist and Lehmann Maupin Gallery.
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Through a material reconfiguration of the Mies van der Rohe stair and walls from The Arts Club building, the installation foregrounds aspects of architectural production often minimized or rendered invisible within dominant historical narratives. Originally produced for The Arts Club’s former location, the stair was salvaged from demolition and reinstalled in the institution’s current building, becoming an object in the collection.
Translating the stair into exposed rebar—a material typically embedded within built infrastructure and intentionally concealed—brings construction to the surface. The seemingly unfinished structure draws attention to manual labor carried out by immigrant workers who have sustained the U.S. building industry. Silicone casts taken from travertine slabs surrounding the staircase function as reversed impressions of the stone, revealing internal veining and voids as surface textures. Together, the rebar structure and silicone casts establish a dialogue between structure and body, visibility and concealment, and value and labor.
Reducing architecture to bone and skin, Carcasa (109 E. Ontario St.) approaches modernism as a system whose authority and visibility were produced through selective recognition. In doing so, it positions architecture as a cultural record of collective making shaped by social relations.
This project was curated by Executive Director and Chief Curator Janine Mileaf.
This site-specific installation involved production assistance by Dishan Rahman, and metal fabrication by Alejandro Castellanos, Ernesto Garcia, Jair Martínez, José Martinez, Ricardo Martínez, Danilo Medina, Ernesto Medina, Gonzalo Medina, Nelson Ramírez, Francisco Rivadeneyra, Heriberto Valdez, Daniel Valencia, Randi Vigueras, D5 Design and Metal Fabrication.
Special thanks goes to Gallery Manager Colby Starck and preparators Reggie Williamson, Xavier Hughes, and Adele Henning.
Carcasa (109 E. Ontario St.) (detail), Leticia Pardo. Photo by Fran Peñaflor.
Across forests and movements, there are already blueprints for how people get each other through hard times. Morningstar's lecture moves between Indigenous food and plant knowledge, stories of resistance, and the strange genius of the more-than-human world to ask what it means to stop waiting for a singular savior and start acting like we are responsible for one another. Skunk cabbage making its own heat under snow, hemlock reishi turning dead wood into medicine, ramps appearing only to those who know how to look, and the Haudenosaunee Dish with One Spoon treaty- a commitment to share land, ask consent, and leave enough for others- all become guides for friendship, collective care, and remembering those who have been lost. Alongside them stand human examples: women who braided seeds into their hair before crossing an ocean, grandmothers leading round dances in shopping malls, micro-communities that feed each other and hold each other through grief while refusing the colonial status quo.
This program is co-sponsored by Goethe Institute
Free and Open to the Public
Evening Public Program: Poetry
Reception 6:00 pm | Program 6:30 pm
At the beginning of 2026 Mayor Johnson, with DCASE, the Chicago Public Library, and the Poetry Foundation, announced Mayda Alexandra del Valle as Chicago’s Second Poet Laureate. A poet, performer, educator and interdisciplinary artist born and raised on the South Side of Chicago, Del Valle brings a multidisciplinary practice rooted in poetry, performance, music, movement and cultural history. She sits down with Poetry editor-in-chief and fellow author Adrian Matejka to discuss her practice and history and present a reading or two.
Sliding Scale Tickets available for on-site attendance from $5 to $20 per person
Complimentary remote viewing
Wine Reception 6:00pm | Program 6:30
Filmmaker and theater artist Derek Spencer imagines three would-be lovers paralyzed by their fantasies. Utilizing Oren Pinhassi’s sculptures in The Arts Club of Chicago’s gallery as inspiration, architecture, and scene-partner, Spencer’s film, 𝘈𝘯𝘥 𝘋𝘰 𝘍𝘰𝘳 𝘏𝘦𝘳 𝘞𝘩𝘢𝘵 𝘏𝘦 𝘞𝘰𝘶𝘭𝘥 𝘋𝘰 𝘍𝘰𝘳 𝘔𝘦, constructs a shape-shifting love-triangle without resolution. The newly-commissioned, site-specific work is presented as a three-channel triptych and accompanied by a collaboratively-devised vocal score. Before and after the screening, Spencer sits down with fellow filmmaker Sid Branca to discuss process and background. Join for a wine reception from 6:00 – 6:30pm before the program.
Sliding Scale Tickets available from $5 – 20 per person on-site (includes a drink ticket), complimentary remote viewing.
Cast & Crew:
Devised and Performed by Rahila Coats, Nic Eastlund, Zachary Nicol
Director of Photography - Eon Mora
Line Producer/Vocal Coach - Katie Mazzini
Gaffer - Maximilian Vanderwerf
First Assistant Camera -Taylor Brady