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Wrightwood 659 presents exhibitions on socially engaged art and architecture, on issues facing LGBTQ+ communities, and on Asian art and architecture. Located in Chicago’s Lincoln Park neighborhood in a building transformed by Pritzker Prize winner Tadao Ando, Wrightwood 659 encourages visitors to engage with pressing issues of our time in an intimate and beautiful space.
SPRING 2026 | April 17 – July 18, 2026
Dispossessions in the Americas
Martin Wong: Chinatown USA
FALL 2026 | September 25 – December 19, 2026
One with Eternity: Yayoi Kusama
Yuan Goang-Ming: Everyday War”
Join the e-news list at wrightwood659.org to receive updates on exhibitions and programs.
Admission to Wrightwood 659 is only available during the public showing of exhibitions. Advanced reservations are required and available exclusively at wrightwood659.org. Walk-up admission cannot be accommodated.
Image: Interior view of Wrightwood 659.Photography: © Jeff Goldberg/Esto, All Rights Reserved.
","location":"659 W. Wrightwood Chicago, IL 60614","display_location":"659 W. Wrightwood, Chicago, IL 60614","slug":"wrightwood-659","latitude":"41.928788","longitude":"-87.645048","contact":"","state":"published","created_at":"2017-10-10 18:00:49","updated_at":"2025-11-15 07:36:56.908","sub_district_id":"14","promoted_at":"2021-04-23T14:38:41.768Z","optional_sort_name":"","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1763192212/js6x99tpzcsi6tqiwvos.jpg","paid":true},"sociable_links":[{"id":4112,"address":"https://www.instagram.com/wrightwood659/","social_linkable_id":944,"social_linkable_type":"Organization","position":null,"kind":"Instagram","created_at":"2025-11-15 07:36:58.47","updated_at":"2025-11-15 07:36:58.47"}],"events":[{"id":34633,"title":"Inner Worlds: Visions from the Hirshhorn Collection","starts_at":"2026-09-25 00:00:00","ends_at":"2026-12-19 00:00:00","body":"Inner Worlds: Visions from the Hirshhorn Collection features the work of three trailblazing women artists who rose to international acclaim for their distinct approaches to perception and embodiment: Yayoi Kusama (b. 1929), Niki de Saint Phalle (1930–2002), and Mary Bauermeister (1934–2023). Born in Japan, France, and Germany, respectively, within five years from 1929 to 1934, all three artists rejected cultural archetypes traditionally imposed on women and made their way to New York by the early 1960s. These artists came of age in a period defined by economic instability and the rise of fascism. They lived through the devastation of the Second World War in their respective countries, leading them to engage with the fragments of buildings, culture and spirit left behind. Amid the destruction they constructed something new. By developing highly personal visual languages characterized by expansive proliferations of pattern and repetition, these artists contributed to the flourishing movements of the postwar avant-garde, including Neo-Dada, Abstract Expressionism, Fluxus and Pop art. Seen together, their artwork attests to the strength of a generation of female artists who achieved acclaim against great odds, forever altering the trajectory of twentieth-century art.
Inner Worlds: Visions from the Hirshhorn Collection is curated by Betsy Johnson, assistant curator at the Hirshhorn and presented by Halsted A&A Foundation at Wrightwood 659.
The focused exhibition presents two of Kusama’s Infinity Mirror Rooms—her first and one of her more recent—and the large sculpture Pumpkin (2016); three of Bauermeister’s intricate optical and stone-laden assemblages; and a large-scale mixed-media collage and works on paper by Saint Phalle. Together, these artworks illustrate how ways of artmaking can overlap and converge by exploring the possibilities of pattern and tapping into the latent expressiveness of repetition.
“The Hirshhorn is eager to deepen our relationship with Wrightwood 659 by loaning artworks from the national collection that have captivated audiences on the National Mall. These works expand global throughlines as they underline the importance of woman artists at the vanguard and the foresight of our foundational donor,” says Melissa Chiu, Director, Hirshhorn Museum and Sculpture Garden
This focused presentation features works drawn from the permanent collection of the Smithsonian’s Hirshhorn Museum and Sculpture Garden, the national museum of modern and contemporary art, in Washington, DC. Founded by an act of Congress and opened to the public in 1974, the Hirshhorn presents groundbreaking exhibitions and programs featuring the most important global art and artists of our time.
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– Yuan Goang-Ming
Widely recognized as a pioneer in Taiwan’s new media art scene, Yuan Goang-Ming is celebrated for his starkly poetic video and installation works reflecting the fragmented and surreal nature of contemporary life. Everyday War is based on the critically acclaimed exhibition the artist presented at the 60th Venice Biennale in 2024. At Wrightwood 659, the large, immersive installation will send an eerie soundscape throughout the galleries. Audio drawn from the artist’s previous works, including Prophecy (2014), will merge and collide. Glasses and dinnerware on a kinetic table will shake in response to an unseen threat while a home will be subjected to the unpredictably intrusive nature of war.
Yuan Goang-Ming: Everyday War is organized by Halsted A&A Foundation at Wrightwood 659, Chicago. It is adapted from the exhibition presented at the Taiwan Pavilion of the 60th Venice Biennale, curated by Abby Chen, Curator of Contemporary Art at the Asian Art Museum, San Francisco.
Bridging personal experience and universal themes, Yuan’s films evoke precarious everyday conditions, from the stillness of empty streets during Taiwan’s annual air raid drills to the chaotic aftermath of an explosion detonated in a living room. He transforms intimate domestic spaces into powerful metaphors for widespread instability, capturing the tenor of globally turbulent times we are all witnessing. In addition to the six works presented in Venice, a small drawing titled What Lies Beyond Us? has been added to this iteration of the exhibition. The sketch takes inspiration from a monochromatic historical photograph, dated 1951 and featuring U.S military officials witnessing a nuclear test explosion from Adirondack chairs.
“Yuan’s work speaks to the precise moment we’re living in,” says Curator Abby Chen. “His depiction of personal spaces as sites of both comfort and conflict resonates with audiences worldwide, particularly as we navigate increasingly unsettled times. At the same time, this exhibition is deeply personal, the manifestation of his experiences as a second-generation war refugee and a reinterpretation of the legacy of trauma as both a son and a father.”
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\r\n\r\nFree and open to the public.
\r\n\r\n
Alphawood Gallery has announced powerful programming and extended opening hours for the final weekend of its critically-acclaimed exhibition Then They Came for Me: Incarceration of Japanese Americans during WWII and the Demise of Civil Liberties which continues through November 19, 2017 only. The Alphawood Gallery, located in Chicago at2401 North Halsted Street, will remain open two hours later than its regularly scheduled time - until 8pm – on both Saturday and Sunday evenings, Nov. 18 & 19, to accommodate anticipated crowds and special evening programming. The exhibition and all related programs continue to be free and open to the public; please visit the Gallery website at www.alphawoodgallery.org for most current information.
\r\n\r\nSaturday, Nov. 18: Final weekend programming begins with an urgently necessary panel discussion, Hate Crimes: From Vincent Chin to the Present, on Saturday, Nov. 18, at 1pm. It has been 35 years since the murder of Vincent Chin, a Chinese American (mistakenly identified as Japanese) who was killed in Detroit in 1982 at the height of the Japan-bashing era of the 1970s and 80s. This case outraged and galvanized the Asian American community to mobilize, spurring greater political participation and a stronger sense of Asian American identity. Issues of racial animosity and xenophobia continue to resonate among many communities, not only since the events of 9/11, but also today. Featuring Serve2Unite’s Pardeep Kakela, renowned Asian American scholar and LGBTQ activist Helen Zia, who played an instrumental role in organizing around the Vincent Chin case, and a representative from the Black Lives Matter movement, this panel will be moderated by Dr. Ryan Masaaki Yokota (Japanese American Service Committee) and include a discussion of the legacy of Vincent Chin’s murder and how to organize to safeguard our civil and human rights. The program will begin with a performance by Woke Up Stand Up producer Arish Singh. *ASL interpretation provided.
\r\n\r\nTatsu Aoki’s MIYUMI Project Presents: And Then They Came for Us / Un-American Concert follows Saturday, Nov. 18, at 6pm. This concert celebrates the CD release of the MIYUMI Project’s music composed for the filmAnd Then They Came for Us, which is screened hourly in Alphawood Gallery’s 2nd floor theater. All attendees will receive a free CD (while supplies last). Founded by renowned composer and musician Tatsu Aoki, the MIYUMI Project is a laboratory of sound, where he explores the nexus of cultures: Asian and American, Japanese and African, past and present. Tatsu Aoki is a leading advocate for the Asian American community, as well as a prolific composer and performer of traditional and experimental music forms, a filmmaker and an educator. He has produced more than 30 experimental films and is one of the most in-demand performers of bass, shamisen and taiko, having contributed more than 90 recording projects and touring internationally during the last 25 years.
\r\n\r\nSunday, Nov. 19: Ho Etsu Taiko Concert and Closing Reception takes place Sunday, at 6pm.
\r\nHo Estu Taiko is a collective of musicians with a fresh take on the art of Japanese drumming. They push the envelope through collaborations with other taiko groups, musicians and culturally-focused performance artists, while always staying grounded in the rich tradition of kumi-daiko. Deep Chicago roots support their work with a variety of musical styles, from jazz to Latin and hip-hop.
\r\n
During the closing weekend, free guided tours of the exhibition will take place Saturday, Nov. 18, at 11:30am and 4pm, and Sunday, Nov. 19, at 1pm and 3pm. Due to anticipated crowds, advance reservation is required (CLICK HERE to reserve) and tours will depart from the front desk and last approximately one hour.
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Take a virtual visit to The Allure of Matter at Wrightwood 659 and see work by Shi Hui, Liu Jianhua, Zhu Jinshi, and others set against architect Tadao Ando’s soaring spaces and concrete forms. Explore the works and installations through a video tour led by co-curators Wu Hung and Orianna Cacchione and new interactive gallery maps on theallureofmatter.org.
Throughout summer 2020, the site will continue to be updated with digital content that builds upon the full exhibition, including an upcoming virtual tour of the Smart Museum, object chats, at-home activities, online programs, and behind-the-scenes videos and photos.
From gunpowder to human hair, and silk to cigarettes, the materiality of contemporary art from China will be on display in two iconic Chicago neighborhoods this winter. Organized by the Smart Museum of Art in Hyde Park along with Wrightwood 659 in Lincoln Park, The Allure of Matter: Material Art from China (extended through August 9, 2020) features 45 two- and three-dimensional works made from a range of unique and humble materials, like melted plastic, paper-thin porcelain, desiccated Coca-Cola ash, and 300,000 iron nails. The works, many monumental in scale, explore how conscious material choice has become a symbol of expression for a number of leading Chinese contemporary artists working over the last four decades. The artist roster includes Ai Weiwei, Cai Guo-Qiang, Xu Bing, Yin Xiuzhen, Song Dong, gu wenda, and Lin Tianmiao.
The Allure of Matter is the first exhibition partnership between the Smart Museum and Wrightwood 659. Too large for a single venue, the exhibition takes up the full gallery footprint of both institutions. It opens twenty years after the Smart Museum’s first contemporary Chinese art project with exhibition co-curator and University of Chicago professor Wu Hung.
“The Allure of Matter brings to the fore an incredible roster of artists who have developed intensely personal connections with unconventional materials. Taken together, the works introduce a broader framework for understanding global contemporary art, which I call 'Material Art' or caizhi yishu, where material—rather than image or style—is the paramount vehicle of aesthetic, political, and emotional expression,” said Wu Hung, Smart Museum Adjunct Curator, Harrie A. Vanderstappen Distinguished Service Professor of Art History, and Director of the Center for the Art of East Asia at the University of Chicago.
“Through their under-studied experimentations and often overlooked use of unconventional materials, the artists featured in The Allure of Matter have broken away from past art practices and styles. Their monumental works represent a multifaceted phenomenon that inspires us to ask big questions about our relationship to the everyday material world around us as well as the interrelationship between Chinese art and broader trends in contemporary art globally,” added Orianna Cacchione, exhibition co-curator and Smart Museum Curator of Global Contemporary Art.
“Thanks to an extraordinary partnership between Wrightwood 659 and the Smart Museum, the largest exhibition of Material Art ever mounted will be on view in Chicago. Alphawood Foundation is very proud to sponsor Wu Hung’s remarkable exhibition, The Allure of Matter, which presents an entirely new genre of fine art—Material Art—as practiced by the most prominent Chinese artists working today. Alphawood hopes this imaginative exhibition, which is presented across the city from south to north, will also provide an opportunity for all visitors to learn more about Chicago and its cultural treasures,” said Jim McDonough, Executive Director of Alphawood Foundation Chicago.
The Allure of Matter showcases 45 works which are complementary in form, material, and visual effect. It is divided into two unique halves at the Smart Museum (24 works by 16 artists) and Wrightwood 659 (21 works by 14 artists). To fully experience the exhibition, guests are encouraged to visit both locations. Notably, this presentation of The Allure of Matter expands upon the version debuted in spring 2019 at the Los Angeles County Museum of Art, with nine additional works being shown only in Chicago.
Artists
The Allure of Matter features work by Ai Weiwei, Cai Guo-Qiang, Chen Zhen, Gu Dexin, gu wenda, He Xiangyu, Hu Xiaoyuan, Huang Yong Ping, Jin Shan, Liang Shaoji, Lin Tianmiao, Liu Jianhua, Liu Wei, Ma Qiusha, Shi Hui, Song Dong, Sui Jianguo, Sun Yuan and Peng Yu, Wang Jin, Xu Bing, Yin Xiuzhen, Zhan Wang, Zhang Huan, Zhang Yu, and Zhu Jinshi.
Image: Xu Bing, 1st Class, 2011, Installation view at the Los Angeles County Museum of Art. Art © Xu Bing Studio. Photo © Museum Associates/LACMA.
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Architecture for the People","starts_at":"2020-09-09 12:00:00","ends_at":"2020-12-12 12:00:00","body":"
Balkrishna Doshi: Architecture for the People is the first international retrospective outside of Asia devoted to the work of Indian architect, urbanist, and 2018 Pritzker Prize laureate Balkrishna Doshi. Born in Pune, India, in 1927, Doshi—who was profoundly inspired by Le Corbusier and Louis Kahn—was a pioneer of modernist architecture in India. Yet he also developed a unique architectural vocabulary derived from his deep respect for Eastern culture, thereby humanizing modernism as he redefined Indian architecture. With over a half a century of practice, research, and teaching, he has been acclaimed for his visionary work in low-cost housing and city planning, as well as for his strong commitment to education. As the Pritzker Prize announcement stated, Doshi’s “work in architecture to affect humanity is deeply personal, responsive, and meaningful.”
With a focus on some 20 of Doshi’s most significant projects dating from 1958 to 2014, the exhibition demonstrates his lifelong dedication to architecture as a civic practice devoted to improving lives. Building types on view range from entire cities and townships to academic campuses, cultural institutions, private residences, interiors, and social and experimental housing. The exhibition includes several full-scale installations that bring to life the physical experience of Doshi’s buildings, as well as a wealth of material from the architect’s archive and studio, including drawings and models, artworks, sketches, films, photography, and more.
ADMISSION
Tickets are available online only. Walk-ins are not accommodated. For information on admission, visit wrightwood659.org.
COVID-19 RESPONSE
For the presentation of Balkrishna Doshi: Architecture for the People, Wrightwood 659 will adopt the universally recommended practices of required face masks and 6-foot social distancing. Among other precautions, public spaces will be sanitized regularly and hand sanitizer will be readily available. Admissions will be limited to ensure visitor and staff safety.
ORGANIZERS
The exhibition is a project of the Vitra Design Museum and the Wüstenrot Foundation in cooperation with the Vastu Shilpa Foundation.
CURATORS
The exhibition is curated by Khushnu Panthaki Hoof, Director, Vastu Shilpa Foundation, and Jolanthe Kugler, Curator, Vitra Design Museum.
PUBLICATION
The exhibition is accompanied by a catalogue (cited by The New York Times as one of the best art books of 2019), edited by Mateo Kries, Director, Vitra Design Museum; Khushnu Panthaki Hoof; and Jolanthe Kugler.
EXHIBITION TOUR
To date, the international exhibition tour comprises Vitra Design Museum, Weil am Rhein, Germany, March 30 – September 9, 2019; Architekturmuseum der TU, Munich, Germany, October 17, 2019 – January 20, 2020; Architekturzentrum, Vienna, Austria, May 29 – June 29, 2020; and Wrightwood 659, Chicago, Illinois, USA, September 9 – December 12, 2020.
FUNDING
The Wrightwood 659 showing of Balkrishna Doshi: Architecture for the People is made possible by the Alphawood Foundation Chicago.
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Pre-registration necessary by visiting https://wrightwood659.org/programs/
The pandemic, climate change and equity are global triggers shifting today’s experience of metropolitan living, while predicted mass global migrations loom in the future. In this period of uncertainty, how do we envision our tomorrow? Internationally renowned architects Balkrishna Doshi and Moshe Safdie will participate in a rare live virtual discussion to reconsider the question, ‘What makes a livable city?’ This program takes place nearly half a century after Doshi and Safdie worked together on the Habitat Bill of Rights. Written in 1976, the Bill of Rights was conceived as a response to increases in urbanization in developing countries and, in part, as a timely guide to developing equitable housing in a period of rapid industrialization. This dialogue between two architects who redefined the foundations of how one views livable cities will be moderated by Monica Chadha, Chicago LEED-certified architect, and principal & founder of Civic Projects Architecture.
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In collaboration with exclusive partner STIRworld.com, Architect Balkrishna Doshi and Architecture for the People curator and architect Khushnu Panthaki Hoof reflect on the Indian master’s decades-long career and the process of composing the first North American retrospective of his work. Prompted by architecture students and scholars, Doshi and Hoof will engage with questions related to mastery, mentorship and humanitarian design. The conversation is facilitated by Wrightwood 659 Curatorial Consultant Gina Pollara.
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Due to continued demand, we have extended the critically-acclaimed exhibition Yannis Tsarouchis: Dancing in Real Life for one week.
Wrightwood 659 is pleased to host the first U.S. exhibition devoted to the work of Yannis Tsarouchis (1910–1989), widely regarded as one of the greatest Greek painters of the 20th century. On view May 7–Aug 7, 2021, the exhibition will feature some 200 works, including paintings and works on paper from public and private collections in Greece and internationally. Together, these span the entire arc of the artist’s career, showing how he absorbed and transformed influences including Ancient Greek and Early Christian art; Byzantine mosaics, frescoes, and icon painting; Greek vernacular traditions: costume, ornament and shadow theater Karaghiozis; and also the new languages of modern art: Fauvism, Cubism, and Surrealism. During the military junta rule in Greece between 1967 and 1974, Tsarouchis worked in self-exile in Paris; in 1981 he established the Yannis Tsarouchis Foundation in Athens, which is to this day dedicated to the preservation and advancement of his work.
The exhibition is organized around several recurring subjects and structural devices present in Tsarouchis’s art: the exploration and staging of the Other Self in portraiture; the invention of new allegories; theater as a machine of image production; dance as an embodiment of realness; landscape as introspection; and difference and repetition.
Yannis Tsarouchis: Dancing in Real Life is curated by Androniki Gripari, Chair of the Yannis Tsarouchis Foundation in Athens, and Adam Szymczyk, former Artistic Director of Documenta 14 in Athens and Kassel (2013–2017). The exhibition is made possible by the Alphawood Foundation Chicago.
Tsarouchis
While today Tsarouchis remains relatively little-known outside of Greece, he is unanimously recognized in his native country as its most important painter of the twentieth century. Born in 1910 in the Greek port city of Piraeus and educated at the School of Fine Arts in Athens, he began painting at an early age and earned his living as a set and costume designer for the theater. In 1935 Tsarouchis went to Paris for the first time, where he encountered the work of Henri Matisse, Pablo Picasso, Max Ernst and other artists of the Avant-garde. In 1938, at the age of 28, he had his first solo exhibition in Athens. After serving in the Greek army on the Albanian front in the Second World War, he returned to painting and working in the theater, gaining an international reputation. During Greece’s military dictatorship (1967–1974), Tsarouchis went into exile in Paris to then return to Athens, where he lived until his death in 1989.
Hours of Operation
Fridays 12–7:30pm
Saturdays 10am–5:30pm
Tickets
Tickets for the exhibition are $15 and available online only at www.tickets.wrightwood659.org/events. Please note, admission is by advance ticket only and walk-ups are not permitted.
Admission to the exhibition is free when you include the purchase of the catalog with your online reservation.
Bundle ticket and catalog
COVID-19 Response
For the presentation of Yannis Tsarouchis: Dancing in Real Life, Wrightwood 659 will adopt the universally recommended practices of required face masks and appropriate social distancing. Among other precautions, we have installed a state-of-the-art air filtration system and will continue to regularly sanitize public spaces. Admissions will be limited to ensure visitor and staff safety.
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Thursday, September 9 at 11:30 a.m. CST
Please join us for a concluding virtual discussion that expands on questions raised in the critically acclaimed exhibition Yannis Tsarouchis: Dancing in Real Life. The presentations will feature the exhibition’s curators Niki Gripari, Chair of the Yannis Tsarouchis Foundation and Adam Szymczyk, former director of Documenta 14 with additional presentations by artist and architect Andreas Angelidakis, professor and architect from the University of Notre Dame Michael Lykoudis, and introductions by Michelangelo Sabatino, Professor of Architectural History in the College of Architecture at Illinois Institute of Technology.
Imagine Yannis Tsarouchis taking a leisurely walk up the meandering pathway leading to the Acropolis with a handful of his contemporaries in order to discuss the relationship between art, architecture, and landscape. Who might those contemporaries be? And what might be their shared points of interest? Together, this panel of experts assess the artistic fluidity of cultural producers at the turn of the 20th century and question if these once prominent collaborations from Tsarouchis’s time have dwindled.
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Join us Thursday September 23rd at 5:30 CST for a live-streamed virtual discussion to celebrate the opening of our fall exhibition, Romanticism to Ruin: Two Lost Works of Sullivan and Wright and the launch of the accompanying publication. The conversation opens with remarks by curator Jonathan Katz on Frank Lloyd Wright’s demolished Larkin Building, designed as an innovative workplace. The panel that follows will delve into the importance of Chicago’s lost Garrick Theatre —and the results of the quest and failure to save it– with curators John Vinci and Tim Samuelson and author Daniel Bluestone, all contributors to the publication, Reconstructing the Garrick: Adler and Sullivan’s Lost Masterpiece. Moderated by Wrightwood 659 Curatorial Consultant Gina Pollara.
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Due to overwhelming demand, we have extended Romanticism to Ruin: Two Lost Works of Sullivan and Wright a second time. Following our final three Saturdays this year (12/4, 12/11, and 12/18), we will reopen beginning Saturday, January 8 through Saturday, February 26. All tickets are on sale now. See the exhibition that Architectural Record calls a, \"paean to two of America’s most celebrated designers.\"
for the exhibition will be $15 and are available online only at www.tickets.wrightwood659.org/events.
Please note, admission is by advance ticket only. Walk-ups are not permitted.
Wrightwood 659 presents Romanticism to Ruin: Two Lost Works of Sullivan and Wright, a dual exhibition exploring two of these architects’ long-demolished masterpieces: Louis H. Sullivan’s innovative Garrick Theater, in Chicago, which stood for only sixty-nine years, and Frank Lloyd Wright’s unprecedented Larkin Building, in Buffalo, NY, which stood for just forty-four.
The exhibition comprises two distinct presentations—Reconstructing the Garrick: Adler & Sullivan’s Lost Masterpiece and Reimagining the Larkin: Frank Lloyd Wright’s Modern Icon—conjuring the essence of these two icons of modern American architecture. With 3D models and digital re-creations of the original edifices; salvaged architectural ornaments and artifacts; original furniture; historical documentation of the design, construction, and demise of the buildings; archival photographs taken by noted preservationist and photographer Richard Nickel; drawings, and historical ephemera, Romanticism to Ruin explores what made each building architecturally great and expressive of its era.
Curated by a Chicago-based team led by architect and historic preservationist John Vinci, with cultural historian emeritus Tim Samuelson, graphic artist Chris Ware, and Urban Remains founder Eric Nordstrom.
Curated by Jonathan D. Katz, Associate Professor of Practice, History of Art and Gender, Sexuality, and Women’s Studies, University of Pennsylvania, and former Director, Doctoral Program in Visual Studies, University at Buffalo (SUNY).
Romanticism to Ruin: Two Lost Works of Sullivan and Wright is made possible by Alphawood Foundation Chicago.
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419533/fcr73efu9gvpsroa7rj6.png\")
COVID-19 Response
For the presentation of Romanticism to Ruin: Two Lost Works by Sullivan and Wright, Wrightwood 659 will reduce gallery admission and capacity from pre-pandemic levels. Among other remedies and precautions, we have installed a state-of-the-art air filtration system and will continue to regularly sanitize public spaces. Out of an abundance of care for all, Wrightwood 659 plans to continue to require visitors and staff to wear masks while inside the building.
About Wrightwood 659
Wrightwood 659 is a private, non-collecting institution devoted to socially engaged art and to architecture. Located at 659 W. Wrightwood Avenue, in Chicago’s Lincoln Park neighborhood, the intimate space officially opened on October 10, 2018, and presents two public exhibitions annually. Wrightwood 659 was designed by Pritzker Prize-winning architect Tadao Ando, who transformed the interior of a 1920s building with his signature concrete forms and poetic treatment of natural light. For additional information: https://wrightwood659.org
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In keeping with its commitment to providing a platform for art that engages the critical issues of our time, Wrightwood 659 presents Shahidul Alam: We Shall Defy, an important exhibition of images and texts that illuminate the life and work of the renowned Bangladeshi photojournalist, teacher, writer, institution-builder, and activist Shahidul Alam, whose efforts on behalf of human rights have provoked both accolades and imprisonment.
Shahidul Alam: We Shall Defy is made possible by the Alphawood Foundation Chicago.
Shahidul Alam
Photographer, writer, and human rights activist Shahidul Alam has been a long-time campaigner for social justice and has also challenged the global dominance of white western media. Alam’s resistance has been through his art and his activism, but also through the institutions he has built. This has often led to confrontation with the powerful elite of his native Bangladesh. Over the last three decades, he has had a loaded gun pointed at his head and been stabbed. On 5th August 2018, after a critical interview on Al Jazeera, he was picked up by Bangladeshi security forces, blindfolded, handcuffed and tortured and eventually spent 107 days in incarceration. After a global campaign for his release by more than a dozen Nobel laureates and world personalities, he was released on bail but still faces up to 14 years of imprisonment if convicted. He continues to resist.
Exhibition Overview
We Shall Defy includes photographs by Alam and his community of artists and activists, as well as illustrations, verse, and more by three additional artists: Amal Akash, a singer-songwriter and visual and performance artist based in Dhaka; Alam’s niece Sofia Karim, an architect and visual artist in London; and New York-based filmmaker, writer, photographer, and installation artist Naeem Mohaiemen and the King Kortobbyo team. Together, their work explores the turbulent path that Alam and his team have navigated in their struggle to achieve justice and equity.
The primary focus of the exhibition is a series of 9 large banners that are inspired by an ancient form of Bangla art—Patachitara, cloth scrolls containing detailed depictions of mythical narratives. The banners in the exhibition are printed with photographs by Alam and 14 artists, thereby integrating the contemporary and ancient methods of storytelling while expanding on the turbulent experiences of the Bangladeshi people. Panels containing verse with illustrations by Amal Akash and texts by Alam bring context to each banner. Occupying about 80 feet of wall space, the banners will shed light on a variety of subjects, from migration, to sex workers (with an image of a former sex worker who used her savings to establish an orphanage for children of other sex workers), to the lives of indigenous people in the Chittagong Hill Tracts, the disappearance of indigenous leader Kalpana Chakma, effectuated by the Bangladesh military, and the photography-based institutions that Alam has created, among other topics.
Elsewhere in the exhibition, a 23-foot wall contains an illustration board with texts and sketches by Sofia Karim that represent Alam’s life in the Keraniganj jail, and a multi-media timeline by Naeem Mohaiemen and the King Kortobbyo team that elaborates on the history of photography as a tool for activism.
Also on View at Wrightwood 659
Running concurrently with Shahidul Alam: We Shall Defy, Wrightwood 659 presents Romanticism to Ruin: Two Lost Works of Sullivan and Wright, a dual exhibition that explores two of these architects’ long-demolished masterpieces: Louis H. Sullivan’s innovative Garrick Theatre here, which stood for only sixty-nine years, and Frank Lloyd Wright’s unprecedented Larkin Building, in Buffalo, NY, which stood for just forty-four.
Hours of Operation
Fridays, 12noon – 7:00pm
Saturdays, 10am – 5:00pm
Tickets
Tickets for the exhibition are $15 and available online only, through November 27, attickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
COVID-19 Response
For this exhibition, Wrightwood 659 will reduce gallery admission and capacity from pre-pandemic levels. Among other remedies and precautions, we will stagger guest entry times and will continue to regularly sanitize public spaces. Out of an abundance of care for all, Wrightwood 659 plans to continue to require visitors and staff to wear masks while inside the building.
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Moderated by Michelangelo Sabatino (IIT Professor of Architectural History and Cultural Heritage), panelists Bill Baker (Skidmore, Owings & Merrill structural engineering partner), Marko Pogacnik (IUAV University of Venice Professor of History of Architecture), and architecture and preservation legend John Vinci discuss the phenomenal structure of the Garrick Theatre and the legacy of Sullivan’s skyscrapers. Co-sponsor: IIT.
Virtual public programming is all free of charge; advance registration is required at https://wrightwood659.org/programs
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A virtual tour with Chicago cultural historian emeritus Tim Samuelson of five Sullivan buildings formerly located within three square blocks in downtown Chicago, produced by the Spirit of Space filmmaking collaborative. Broken into five one minute videos, these vignettes can be viewed in sucussion or used as a self-guided tour to reimagin a community of buildings which once surrounded the Garrick Theater and defined Chicago’s skyline.
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Join us on November 30th for a virtual program on the politics of labor, class, and culture in Chicago at the turn of the 20th century, which greatly influenced the design of the Garrick Theatre. Kirk Nickel, art scholar and contributor to the exhibition catalog Reconstructing the Garrick, will present brief remarks followed by a moderated discussion on the Garrick Theatre. Originally named The Schiller, in reference to the famous German poet and playwright Friedrich Schiller, the building stood as a structural embodiment of social and cultural ideals. Two academics will join the conversation– Tom Goyens, Associate Professor of History at Salisbury University, and Andrei Pop, Professor, Committee on Social Thought, Art History at the University of Chicago. Erected shortly after the Haymarket Riot which resulted in the conviction of five German immigrants, the theater was designed as an emblem of German heritage dedicated to the most innovative writers, composers, and artists across the Atlantic.
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Reliving Lost Works features a virtual dialogue between Razin Khan–the creator of the Garrick Theater and Larkin Administration Building visualizations–and Chicago architect Angela Demma. Together, they follow the evolution of Khan’s process of reviving demolished buildings and unrealized architectural projects through vivid 3-D renderings and animations. In his video of the Garrick Theater building for the Romanticism to Ruin exhibition, Khan worked closely with co-curator John Vinci and Demma to recreate the structure, theatre and architectural ornament depicting the building upon its completion in 1892. Reliving Lost Works dives into their process of not only excavating a historic Louis Sullivan building but recreating it through new methodologies.
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There’s more to the Arts and Crafts movement than meets the eye! Join Jonathan Katz, Curator of Reimagining the Larkin (part of the Romanticism to Ruin exhibition) and Associate Professor at University of Pennsylvania, as he offers us new insights into the aesthetics and principles of the American handmade movement shaped by the Larkin Soap Company and its pioneering salesman Elbert Hubbard.
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I Photograph to Imagine brings together two esteemed polymaths in a virtual conversation that reconsiders the purpose of documentary photography and the power structures of its distribution, as well as the propensity of the image to communicate what the world is and, as important, what it could be. How can photography be used to expose hidden truths by bearing witness?
Join us for this important discussion between Shahidul Alam, Bangladeshi activist, photographer, and subject of our current exhibition We Shall Defy; and Vijay Prashad, Indian historian, director of Tricontinental: Institute for Social Research and editor of Alam’s 2020 acclaimed publication The Tide Will Turn.
“As a photographer, I have tried to produce tangible visuals of a scene made intangible through the passage of time, through the deliberate loss of crucial evidence, through the layers of bureaucracy that have allowed silt to collect.” – Shahidul Alam
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In keeping with its commitment to providing a platform for art that engages the critical issues of our time, Wrightwood 659 presents We Shall Defy, an important exhibition of images and texts that illuminate the life and work of the renowned Bangladeshi photojournalist, teacher, writer, institution-builder, and activist Shahidul Alam, whose efforts on behalf of human rights have provoked both accolades and imprisonment.
We Shall Defy draws on a poem by indigenous writer Kabita Chakma in Pahari language, translated by Alam for an exhibit he had put together on the disappearance by the Bangladesh military of the indigenous leader Kalpana Chakma. To expand the poem’s narrative, Alam integrates the ancient form Bangla art, Patachitara (pictorial cloth scrolls), with photographs from just over 14 artists and activists. Through images and text by Alam, illustrations and shlok (verse) in Bangla by Amal Akash, sketched descriptions of Alam’s life in jail by Sofia Karim, and a timeline by the King Kortobbyo collective + Naeem Mohaiemen, the show maps out the turbulent path that Alam and his team have navigated in their struggle to attain social justice.
Support for this exhibition is provided by Alphawood Foundation Chicago.
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Wrightwood 659 presents Thai artist Rirkrit Tiravanija’s critically acclaimed artwork (who’s afraid of red, yellow, and green)(2010) from the collection of the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington, DC. Tiravanija is widely recognized for his practice of manifesting communities through simple acts rather than focusing attention on a single artwork. Tiravanija’s installation recasts Wrightwood 659’s second-floor gallery as a communal dining space where visitors are periodically offered Thai curries, while a large-scale mural—derived from photojournalistic imagery of protests—is drawn on the walls. Through Tiravanija’s signature communal food-based work, the artist challenges museumgoers’ expectations of performance, and underlines a larger interest in relationships among citizens and notions of government and liberty. Rirkrit Tiravanija: (who’s afraid of red, yellow, and green) is organized by the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC.
Hours of Operation
Fridays 12–7pm
Saturdays 10am–5pm
Tickets
Tickets for the exhibition will be $15 and available online only, beginning April 7, at https://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
COVID-19 Response
Wrightwood 659 requires all staff and guests to be fully vaccinated against COVID-19. Visitors will be required to show proof of vaccination and booster prior to admission to Wrightwood 659. Proof of vaccine and booster can be official vaccine card or a photo of the card, along with a matching photo ID. Any individual who does not meet these requirements will not be permitted to enter the building. Children who are ineligible for vaccination (0-4 years old) cannot be admitted to the building. Masks will continue to be required throughout the gallery. Read more about Wrightwood 659’s health and safety policy at https://wrightwood659.org/terms-and-conditions/health-safety/.
About Wrightwood 659
Wrightwood 659 is a private, non-collecting institution devoted to socially engaged art and to architecture. Located at 659 W. Wrightwood Avenue, in Chicago’s Lincoln Park neighborhood, the intimate space officially opened in late 2018 and presents two to three public exhibitions annually. Wrightwood 659 was designed by Pritzker Prize-winning architect Tadao Ando, who transformed a 1920s building with his signature concrete forms and poetic treatment of natural light. For additional information: https://wrightwood659.org
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Wrightwood 659 premieres a refined selection of Japanese paintings exhibited for the first time in the United States. These works expand on the common depiction of the urbane “modern girl” (modan gāru or moga). Moga captured the public imagination in 1920s Japan—prioritizing an independent lifestyle and challenging the traditional state-sanctioned ideal of the “good wife, wise mother.” However, the ideal role of women in Japanese society was not one-dimensional and continued to diversify during the 1930s. Moga: Modern Women & Daughters in 1930s Japan brings paintings of mothers and daughters back into the conversation about the moga, exhibiting them beside other more popular imagery of the “modern girl.” Drawn from a private collection, many of these works originated from the noted Meguro Gajōen, a massive entertainment complex that first opened in 1931, filled with paintings from the period—primarily of women. Both modern in appearance and traditional in values, these works from the walls of the Meguro Gajōen featured women and children effortlessly engaged in scenes from everyday life. Moga: Modern Women & Daughters in 1930s Japan looks to this collection as a nuanced exploration of feminine representation during a period of dramatic change.
Hours of Operation
Fridays 12–7pm
Saturdays 10am–5pm
Tickets
Tickets for the exhibition will be $15 and available online only, beginning April 7, at https://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
COVID-19 Response
Wrightwood 659 requires all staff and guests to be fully vaccinated against COVID-19. Visitors will be required to show proof of vaccination and booster prior to admission to Wrightwood 659. Proof of vaccine and booster can be official vaccine card or a photo of the card, along with a matching photo ID. Any individual who does not meet these requirements will not be permitted to enter the building. Children who are ineligible for vaccination (0-4 years old) cannot be admitted to the building. Masks will continue to be required throughout the gallery. Read more about Wrightwood 659’s health and safety policy at https://wrightwood659.org/terms-and-conditions/health-safety/.
About Wrightwood 659
Wrightwood 659 is a private, non-collecting institution devoted to socially engaged art and to architecture. Located at 659 W. Wrightwood Avenue, in Chicago’s Lincoln Park neighborhood, the intimate space officially opened in late 2018 and presents two to three public exhibitions annually. Wrightwood 659 was designed by Pritzker Prize-winning architect Tadao Ando, who transformed a 1920s building with his signature concrete forms and poetic treatment of natural light. For additional information: https://wrightwood659.org
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Wrightwood 659 continues its focus on architecture and socially relevant art with a reinstallation of American Framing, the U.S. entry in the Pavilion for the 17th International Architecture Exhibition - la Biennale di Venezia (2021). In addressing the theme of the Exhibition, “How Will We Live Together?”, the U.S. entry presented wood-framed construction, a building practice popularized in America in the 19th century, and still used in 90 percent of new homes today. This presentation includes a three-story installation in Wrightwood 659’s atrium—an abstraction of a wood-framed building through which visitors enter the exhibition—as well as scale models of historic buildings researched and designed by students at the University of Illinois Chicago School of Architecture. The exhibition also includes newly commissioned photographs from Daniel Shea and Chris Strong, as well as furniture produced in common lumber by Norman Kelley and Ania Jaworska.American Framing was made possible by the The Bureau of Educational and Cultural Affairs (ECA) of the U.S. Department of State and the University of Illinois, Chicago, and curated by architects and professors Paul Preissner and Paul Andersen. The Chicago presentation of American Framing is the first time that this project will be seen in the United States. American Framing is presented at Wrightwood 659 by Alphawood Exhibitions in cooperation with the University of Illinois, Chicago (UIC).
Hours of Operation
Fridays 12–7pm
Saturdays 10am–5pm
Tickets
Tickets for the exhibition will be $15 and available online only, beginning April 7, at https://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
COVID-19 Response
Wrightwood 659 requires all staff and guests to be fully vaccinated against COVID-19. Visitors will be required to show proof of vaccination and booster prior to admission to Wrightwood 659. Proof of vaccine and booster can be official vaccine card or a photo of the card, along with a matching photo ID. Any individual who does not meet these requirements will not be permitted to enter the building. Children who are ineligible for vaccination (0-4 years old) cannot be admitted to the building. Masks will continue to be required throughout the gallery. Read more about Wrightwood 659’s health and safety policy at https://wrightwood659.org/terms-and-conditions/health-safety/.
About Wrightwood 659
Wrightwood 659 is a private, non-collecting institution devoted to socially engaged art and to architecture. Located at 659 W. Wrightwood Avenue, in Chicago’s Lincoln Park neighborhood, the intimate space officially opened in late 2018 and presents two to three public exhibitions annually. Wrightwood 659 was designed by Pritzker Prize-winning architect Tadao Ando, who transformed a 1920s building with his signature concrete forms and poetic treatment of natural light. For additional information: https://wrightwood659.org
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Via Zoom
Join us for a virtual artist talk with American Framingphotographer Chris Strong, who will discuss the processes and stories behind his work for the exhibition. Strong is best known for his Emmy Award-winning work with now-famous Chicago band American Football. The iconic cover image of the band’s first record, a suburban home clad in white vinyl siding shot against an eerie blue-green sky, is emblematic of Strong’s formal sensibility and interest in middle-American architecture. For his American Framing photographs, Strong spent weeks with union workers and day laborers working on wood-framed homes to faithfully document the labor and techniques that underlie the creation of America’s suburbs.
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Virtual Talk via Zoom | REGISTER >
Join us Thursday June 30th for a virtual conversation with Carrie Norman and Thomas Kelley, architects and founders of the esteemed design collective Norman Kelley. In the exhibition American Framing, the collective remade a traditional Shaker dining chair using the material, detailing, and assembly techniques of softwood construction. In this virtual program, Norman and Kelley address their approach to reimagining early American furniture, such as the American Framing Shaker chair, through an egalitarian do-it-your-self approach to design and construction. Norman Kelley has worked with the Museum of Contemporary Art, the Noguchi Museum, and Volume Gallery, among others.
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Virtual Talk via Zoom | REGISTER >
Join us for a captivating virtual discussion unpacking the motif of Tokyo’s modern girl (moga) in the interwar period—a time of excitement and anxiety as Japanese citizens negotiated their relationship to modernity and globalization. The moderated conversation expands on our current exhibition Moga: Modern Women & Daughters in 1930s Japan, using a selection of paintings from the noted collection of the Meguro Gajoen entertainment complex to reflect popular tastes of the time.
Moderated by University of Chicago Associate Professor of Art History, East Asian Languages and Civilizations, Chelsea Foxwell, the program features panelists Minori Egashira (curatorial consultant), Alison Miller (author and scholar of Asian art), Chinghsin Wu(scholar of Japanese and Chinese art). In Picturing Tokyo's Modern Girl: Moga at the Meguro Gajoen, the panelists examine artistic depictions of the urbane modern girl, and how they transcend the national aesthetics of the era.
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Join us for a virtual artist talk with American Framingphotographer and sculptor Daniel Shea, as he reflects on the elasticity of photography as both a spatial and image-based form. Shea’s work in American Framing meditates on the mythical lifespan of lumber, tracing its origins from forest to construction site. Through an asymmetric installation and curved frames, Shea skillfully employs the pace and natural curiosity of the gallery visitor to engage them in intimate moments of rigorous looking, further directing their gaze onto abstracted and social aspects of construction work.
Shea is an acclaimed artist who was selected in 2018 as the winner of the twelfth Foam Paul Huf Award, an award for talented photographers under 35. He has exhibited widely from Andrew Rafacz Gallery in Chicago, to the Museo de Art Acarigua-Araure in Acarigua, Venezuela (2012), to the Asia Society, Beijing, China (2011).
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Please note, Wrightwood 659 will be closed December 23 - 31, 2022 and will reopen on January 6, 2023. Exhibitions will run through January 28, 2023.
The First Homosexuals: Global Depictions of a New Identity, 1869-1930 takes as its starting point the year 1869, when the word “homosexual” was first coined in Europe, inaugurating the idea of same-sex desire as the basis for a new identity category. On view will be more than 100 paintings, drawings, prints, photographs, and film clips—drawn from public and private collections around the globe and including a number of national treasures which have never before been allowed to travel outside their countries. This groundbreaking exhibition offers the first multi-medium survey of the very first self-consciously queer art, exploring what the “first homosexuals” understood themselves to be, how dominant culture, in turn, understood them, and how the codes of representation they employed offer us previously unknown glimpses into the social and cultural meanings of same-sex desire.
The First Homosexuals is being organized in two parts, due to COVID-related delays, with part one opening on October 1 with approximately 100 works, and on view only at Wrightwood 659. Three years from now, in 2025, 250 masterworks will be gathered at Wrightwood 659 for part two of The First Homosexuals in an exhibition which will travel internationally and be accompanied by a comprehensive catalogue.
The exhibition is being developed by a team of 23 international scholars led by art historian Jonathan D. Katz, Professor of Practice in the History of Art and Gender, Sexuality and Women’s Studies at the University of Pennsylvania, with associate curator Johnny Willis.
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Michiko Itatani: Celestial Stage celebrates the work of Chicago-based American artist Michiko Itatani (b. 1948, Osaka, Japan) who has grappled with the mysteries of the universe in her work throughout her prolific career. Professor Emeritus at the School of the Art Institute of Chicago, where she taught for 40 years, Itatani is represented in the permanent collections of public museums around the world, including the Art Institute of Chicago, Illinois; Barcelona Museum of Contemporary Art (MACBA), Spain; National Museum of Modern and Contemporary Art, Seoul, Korea; Olympic Museum, Lausanne, Switzerland; and the U.S. Embassy Brasilia, Brazil, among many others. With some 50 works, including paintings and drawings, Celestial Stage highlights Itatani’s prop-filled paintings—populated with invented devices that acknowledge the human desire to reach beyond one’s capacity to “know the unknown.” Her visual vocabulary includes particles, molecules, tesseracts, stars, planets, orbital rings, rockets, control panels, quantum computers, and black holes which mingle with helix staircases, libraries, globes, pianos, harps and chandeliers—symbols for the hallmarks of humanity and culture. Michiko Itatani: Celestial Stage deconstructs the artist’s paintings into the fundamental components which have occupied the entire span of her life’s work. Encompassing two floors, the survey includes a wide range of works, from paintings produced early in her practice to a selection of new work exhibited for the first time.
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Virtual via Zoom | REGISTER >
Join us for a rare opportunity to hear from Chicago-based painter, Michiko Itatani, who has spent the better half of a century crafting a visual language which captures humanity’s place suspended between the quantum and cosmic realms. In her lecture, Writing Without Words, Itatani connects the history and influences of her practice and pedagogy which have layered over time into a rich lexicon of personal codes. (more)
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Kongkee: Warring States Cyberpunk features the work of award-winning animation director and visual artist Kong Khong-chang, known as Kongkee. Part comic book, part motion picture, part meditation on history, the exhibition is presented through dazzling animated vignettes projected across walls and on screens. Kongkee: Warring States Cyberpunk traces the story of legendary Chinese poet Qu Yuan as his soul journeys from the ancient Chu Kingdom to an imagined 21st century Asia of cyborgs, electric rock, and romantic reunions. Ancient Chinese bronzes from the Warring States Period (c. 481-221 BCE) accompany Kongkee’s graphic artworks, referencing a time when China emerged from myth into history with the founding of the Qin dynasty, the first of Imperial China. Kongkee: Warring States Cyberpunk intertwines legend with an allegorical future where immortal life can be attained through technology. Born in Malaysia in 1977 and raised in Hong Kong, Kongkee lives and works in London. Kongkee: Warring States Cyberpunk is organized by the Asian Art Museum of San Francisco, where it debuted in November 2022, and curated by its head of contemporary art, Abby Chen.
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In the 1980s, Patric McCoy traveled around Chicago on his bike, always with his camera. From the lakefront to the Loop, McCoy found no shortage of Black men who wanted their picture taken. Over a ten-year period, he shot thousands of images at his subjects’ request. Patric McCoy: Take My Picture is a selection of some 50 black and white and color photographs from this rich document of 1980s Black gay Chicago. McCoy’s subjects are neither posed nor directed; each has agency over how he is seen, elevating the subject’s humanity, inverting and subverting the gaze. HIV/AIDS hit Black men especially hard. Thousands would die before the end of the decade, including many of McCoy’s friends, lovers—and subjects. Take My Picture can be seen as a marker of place, time, and memory. It is an altar to those lost. The exhibition is curated by Juarez Hawkins, artist, educator, and curator, who noted, “McCoy and his camera fulfilled an unspoken need for Black men to be seen. Seen by someone who did not objectify them as ‘Other’, but an insider who allowed them, to paraphrase Langston Hughes, to be their ‘beautiful black selves’.”
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“As journalists, we need to feel the heat, stand close to the fire, and risk being burnt. Take one step back, you become ineffective. The trick, therefore, is to get singed but not burnt.” – Shahidul Alam
Shahidul Alam: Singed But Not Burnt surveys the four-decade career of the renowned Bangladeshi photographer, writer, activist, and former Time magazine Person of the Year, as he documents the consequences of catastrophic weather, repressive regimes,and political upheaval in his home country. Through select projects and more than 80 searing photographs, Singed But Not Burnt showcases art, education, and institution building as forms of resistance. Using the photographic image, Alam illuminates discrepancies in everyday life, from early attempts to oppose military rule to autocratic rulers. At a time of rising autocracy, and with freedom of expression under threat worldwide, this exhibition sheds light on the resilience of those who continue to resist. Singed But Not Burnt draws on an exhibition currently touring in India which was first organized by curator and art writer Ina Puri. As an award-winning documentarian, she has chronicled the lives of India’s most distinguished art practitioners.
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Thursday, May 4, 2023
5:30 to 7 pm at Wrightwood 659
7 to 8:30 pm at Casati's Modern Italian
Visit Wrightwood 659, preview our three new exhibitions, tour the exhibition with Chicago photographer Patric McCoy, highlighted by his stories behind the work. Head to Casati’s and toast art and the artist with festive champagne and appetizers.
Tickets: $40 (all inclusive)
Learn more.
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On its fifth anniversary, Wrightwood 659 presents an intimate exhibition of drawings by the Pritzker Prize-winning architect of Wrightwood 659, Tadao Ando. Ando quickly sketched directly on the walls during the inaugural exhibition at Wrightwood 659, Ando and Le Corbusier: Masters of Architecture (October 12–December 15, 2018), and the drawings have been carefully preserved and framed. These hand-drawn sketches—all done in blue marker on painted sheetrock—have a spontaneous quality denoting an ephemerality, while their vibrancy expresses Ando’s creative generative process. The drawings represent some of Ando’s most important commissions, including his work on the island of Naoshima; the Pulitzer Arts Foundation in St. Louis, Missouri; the Modern Art Museum of Fort Worth; the Clark Art Institute in Williamstown, Massachusetts; and his iconic Church of the Light in Ibaraki, Osaka, Japan.
Tadao Ando: Spontaneous Sketches will open in conjunction with Difference Machines on October 13, 2023.
Photo of Tadao Ando by Mitch Canoff, 2018.
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Difference Machines: Technology and Identity in Contemporary Art addresses the complex relationship between the technologies we use and the identities we inhabit. The exhibition presents the work of seventeen contemporary artists who ask some of the most urgent questions we face today: How is technology changing the way we see ourselves, and each other? In what ways does it contribute to—or allow us to resist—prejudice and systemic forms of oppression? What role should it have in our lives and in our communities?
When the Web first emerged in the 1990s, many people imagined that it would allow us to escape our bodies. Some celebrated the idea that attributes like our race, ethnicity, gender, sexual orientation, and dis/ability would become irrelevant. Instead, the opposite became true: our offline and online selves have fused. We upload our identities when we put our real names in our Facebook profiles, post selfies to Instagram, or use hashtags like #BlackLivesMatter and #TransDayofVisibility to advocate for our communities.
While the internet allows us to express ourselves and connect with each other, there is also a darker side to digital technologies. Some governments and corporations are creating databases that surveil and monetize our identities, as well as biased algorithms that perpetuate discrimination in everything from education and healthcare to employment and the justice system. The forerunner of the computer was called a “difference engine,” as it was used to calculate the differences between numbers. Today, we are surrounded by “difference machines,” or computers that are used to encode the differences between us.
The artists in this exhibition explore our newly digitized identities by creatively adapting both familiar and emerging technologies. Their projects span the last three decades and range from software-based and internet art to animated videos, bioart experiments, online games, and 3-D printed sculptures. Many examine how digital systems contribute to the exclusion, erasure, and exploitation of marginalized people. Others emphasize how digital tools can be repurposed to tell more inclusive stories or imagine new ways of being. Dynamic and interactive, these projects transform the space of the museum into a laboratory for experimenting with our increasingly powerful “difference machines,” as we strive to invent a more equitable future.
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The Story Behind the Seat Covers
In the 1980s, Muscle System was the undisputed queer gym of San Francisco, so much so everyone called it Muscle Sisters. The abrasion, sweat, and heat of countless bodies over many years naturally imprinted itself on the gym’s leather seat covers. But now these men are dead, part of the relentless toll of AIDS that nearly wiped out an entire generation. In the late 1980s, Muscle Systems remodeled, and Goldstein collected the used leather seat covers, doing nothing to them save mounting them as relics. He named this series ofthree-dimensional works – comprised of leather, sweat, wood, copper, felt, and plexiglass – “Icarian,” after the brand of exercise equipment from which these covers were removed. One of the works to be shown, I/Incline (1993), was first displayed at the Alphawood Gallery pop-up in Lincoln Park as part of its popular Art AIDS America exhibition, also curated by Katz (with Rock Hushka), in 2016.
The artist
Daniel Goldstein is a San Francisco based artist originally from New York. For over 25 years, he has worked at the local and global level as an activist in the fight against HIV/AIDS. In addition to his “Icarian Series,” other works – such as his haunting “Medicine Men” of suspended figures in glass and bronze – were created out of his own experiences with the pandemic. In 2010, he was featured in the award-winning film “We Were Here,” and was commissioned to make three sculptures for the International AIDS Conference in Vienna. In 2011, “Invisible Man,” made of over 800 syringes and red crystals, was installed in the central archway of Grace Cathedral in San Francisco in honor of World AIDS Day. Permanent collections containing Goldstein’s work include The Art Institute of Chicago, The Fine Arts Museums of San Francisco, The Oakland Museum, The Berkeley Art Museum, and The Brooklyn Museum of Art. Goldstein speaks widely on his experiences as a long-term AIDS survivor and witness to an era.
Related Memorial program
The public is invited to reflect and memorialize lives lost to the AIDS epidemic at a special program entitled The Light of Memory taking place at Wrightwood 659 Friday, December 15, at 5:30pm. Exhibition curator Jonathan D. Katz – himself a longstanding member of the Muscle Systems gym from which Goldstein sourced the materials for his “Icarian Series” – will discuss Goldstein's work in the context of San Francisco in the 1980s. Attendees are encouraged to bring a text of 100 words or less on someone they wish to remember lost to AIDS. Participants will have the opportunity to read their text aloud and inscribe it in the memorial book accompanying the exhibition. Entry to The Light of Memory is complementary with the purchase of an exhibition ticket.
Please note: Exhibition tickets must be purchased online and in advance of your visit.
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Katz","starts_at":"2023-12-15 17:30:00","ends_at":"2023-12-15 19:00:00","body":"Join us at Wrightwood 659 to reflect and memorialize lives lost to the AIDS epidemic. This event is part of our World AIDS Day programming, which includes the exhibition Daniel Goldstein: The Marks We Leave Behind. We will be joined by Curator Jonathan D. Katz, who will discuss Goldstein's work in the context of San Francisco in the 1980s and was himself a longstanding member of the gym from which Goldstein sourced the materials for his work. Those who attend are encouraged to bring a text of 100 words or less on someone they wish to remember lost to AIDS. Participants will have the opportunity to read their text aloud and inscribe it in the memorial book accompanying the exhibition.
Please note: This program is complimentary with the purchase of an exhibition ticket.
Register Here | Cost is $15 and includes admission ticket to Wrightwood 659.
Featuring Tina Rivers Ryan, Hasan Elahi, and Sean Fader
Exhibition Viewing: 4-5:30 pm
Panel Discussion 5:30-7 pm
Admission complimentary with ticket purchase.
The growth of social media and online platforms has provided safe spaces for individuals from marginalized groups to find and build communities. Unfortunately, these virtual communities are not the utopias imagined when the web first emerged in the 1990s. Heightened visibility now exposes these individuals to harassment, cultural appropriation, and other forms of violence.
Curator Tina Rivers Ryan will moderate this discussion on the complex interplay between visibility and vulnerability in digital media with two of the artists featured in Difference Machines – Hasan Elahi and Sean Fader. Join us at Wrightwood 659 for a timely conversation on the paradox of exposure afforded by the internet.
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Friday, Jan. 26, 2024, at 5:30 pm.
Friday, Jan. 26, 2024
Exhibition Viewing: 4-5:30 pm
Panel Discussion 5:30-7 pm
Skawennati, an acclaimed net artist from Kahnawà:ke (Mohawk) Territory, presents My Life as an Avatar, expanding on “She Falls for Ages,” a movie made in the virtual reality program Second Life through the recording of avatars. Using digital tools to craft alternate worlds, Skawennati explores counter-modalities of the future, deconstructing Eurocentric frameworks and encouraging audiences to question their internalized notions of what comes next. My Life as an Avatar unpacks the possibilities of emerging technologies and how they can be used to rewrite indigenous presence in the cyber landscape.
Cost is $15 and includes admission ticket to Wrightwood 659.
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Join us in celebrating the release of About Face: Stonewall, Revolt, and New Queer Art, a catalog expanding on the 2019 exhibition of the same name featuring a unique survey of 350 artworks by a global and diverse array of LGBTQ+ artists from the last 50 years– many underrecognized and overlooked. The evening begins with a conversation among art historian and curator, Jonathan D. Katz, and artists María Elena González and Leonard Suryajaya on their works included in About Face and the state of queer art today.
Though the Stonewall Riots might now be shorthand for the start of the gay rights movement, so much of art and culture has been ‘queer’ since the beginning of time. In About Face, Jonathan D. Katz explores this concept head-on, curating a tapestry of works that connect historical threads and reveal how gender and sexual identity have been interwoven by artists contemporaneous with and since Stonewall. With more than 350 artworks by over 40 LGBTQ+ artists across nationalities and generations, and original texts by artists and scholars, About Face is as stunning as it is important.
Tuesday, March 12, 2024, 5:30 - 7:30 PM
Admission Complimentary
Registration Required - https://bit.ly/3v05sLY
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On May 3 Wrightwood 659 opens Chryssa & New York, the first museum exhibition in North America in more than four decades to focus on the Greek-born artist. Chryssa—who used only her first name professionally—became a leading figure of the New York art world in the 1950s and ’60s. Pathbreaking in its use of signage, text, and neon, her vastly underrecognized body of work bridges Pop, Conceptual, and Minimalist ideas of art making. This exhibition focuses on works from these decades through the early 1970s, bringing together Chryssa’s deeply formal concerns and critical interest in exploring the United States following World War II.
Following exhibitions at Dia Chelsea and the Menil Collection, Houston, the third installment of Chryssa & New York includes a small addition reflecting on Chryssa's dismantled and unfulfilled public sculptures in Chicago, featuring photographs, drawings, postcards, and elevations from the Art Institute of Chicago and Skidmore, Owings & Merrill (SOM) archives.
Co-organized by Dia Art Foundation and the Menil Collection, Houston, in collaboration with Alphawood Foundation, the critically acclaimed exhibition concludes its national tour at Wrightwood 659, from May 3 through July 27.
Chryssa exhibit a vivid reminder of all-but-forgotten Greek artist and her impact on 20th century American art.
Dia and the Menil’s exhibition is accompanied by the first major publication about Chryssa in more than thirty years.
Chryssa & New York is co-organized by Dia Art Foundation and the Menil Collection, Houston, in collaboration with Alphawood Foundation at Wrightwood 659, Chicago.
The exhibition is co-curated by Megan Holly Witko, External Curator, Dia Art Foundation, and Michelle White, Senior Curator, the Menil Collection, Houston.
Chryssa & New York is made possible by lead support from the Henry Luce Foundation.
The Dia presentation is made possible by major funding from Irene Panagopoulos and Stavros Niarchos Foundation. Significant support by the Brown Foundation, Inc. of Houston, and additional support by James L. Cahn and Jeremiah J. Collatz and D. Daskalopoulos Collection.
The publication is made possible by generous support from the Anthony E. Comninos Foundation, and additional support by Katherine Embiricos and Christos Papazis.
All exhibitions at Dia are made possible by the Economou Exhibition Fund.
Major funding for the Menil Collection presentation is provided by a gift in memory of Virginia P. Rorschach. Additional support comes from the City of Houston through Houston Arts Alliance.
Major support for the exhibition catalogue is provided by the Menil Collection Publishing Fund.
Image: The Gates to Times Square, 1964-66, Copyright estate of Chryssa, National Museum of Contemporary Art, Athens. Image courtesy of Buffalo AKG Art Museum. Photo: Bill Jacobson Studio, New York.
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Co-Curator Tour
Friday, May 3
2:00 pm
Co-curators Megan Holly Witko, External Curator, Dia Art Foundation, and Michelle White, Senior Curator, the Menil Collection, Houston join us for the opening celebration of Chryssa & New York. In their exhibition tour, Witko and White expand on their curatorial approach reflecting on Chryssa's relationship to abstraction and her critical contribution to late modernism.
Chryssa & New York Tour
Saturday, May 4
12:00 pm
Wrightwood 659 Assistant Curator Ashley Janke leads a general tour of the Chryssa & New York exhibition with a special focus on new additions to the Chicago iteration.
From her Newspaper series to The Gates to Times Square, Chryssa blurred the legibility of text and letters in a variety of media to extend the boundaries of language and highlight the possibilities of light, form, and mechanical processes. This panel discussion features esteemed curators and art historians including Christine Mehring, Mark Pascale, and Anne Rorimer, in what promises to be an important conversation deciphering Chryssa’s approach to textual abstraction and her desire to embody the machine.
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In their respective practices, Chryssa and Tadao Ando each articulate a fascination with the relationship between visibility and obscurity. Chryssa's relief sculptures and 'static light' theory resonate with Ando's architectural choreography of illumination and shadow, underscoring the importance of darkness, which he states \"kindles the brilliance of light.\" In this tour, Ashley Janke, Assistant Curator at Wrightwood 659, emphasizes the shared belief between artist and architect in the intrinsic power of light to define and transform space and form.
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In partnership with Skidmore, Owings & Merrill (SOM), Wrightwood 659 revives Chryssa’s largest sculpture through the stories of the SOM staff who engineered the six-story neon installation at 33 W. Monroe Street in Chicago. Join us for the premiere of a short, 10-minute documentary discussing Chryssa’s lost monumental work, followed by a moderated Q&A with SOM's Sonia Cook, David Fleener, and Richard F. Tomlinson II.
Come early (4:30 pm-6 pm) and view the Chryssa & New York exhibition. Admission is complimentary with ticket purchase.
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","type":"Event","state":"published","slug":"educator-gallery-talks","created_at":"2024-07-12 18:16:36.420993","updated_at":"2024-07-12 18:16:36.42764","excerpt":"","is_timeless":false,"organization_id":944,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'abstract':59B 'across':41B 'ancient':63B 'career':45B 'challeng':49B 'chryssa':10B,42B,56B 'citi':67B 'conserv':52B 'cyberpunk':66B 'depth':34B 'dialogu':61B 'educ':1A,27B 'enjoy':13B 'explor':54B 'galleri':2A,17B 'in-depth':32B 'inform':8B 'look':5B,35B 'neon':51B 'new':11B 'object':38B 'present':21B 'prolif':44B 'provid':30B 'rang':47B 'ruin':64B 'seri':15B 'specif':37B 'talent':24B 'talk':3A,18B,29B 'team':25B 'theme':40B 'ticket':4B 'topic':46B 'urban':58B 'written':19B 'york':12B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668780/sibxsdnz3vd2okhudrcv.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669771/event_ics_1721669770826.ics","carousel":null,"category_name":"Talks"},{"id":13119,"title":"Educator Gallery Talks","starts_at":"2024-07-19 15:00:00","ends_at":"2024-07-19 16:00:00","body":"Looking for more information on Chryssa & New York? Enjoy our series of gallery talks written and presented by our talented team of Educators. These talks provide an in-depth look into specific objects and themes across Chryssa’s prolific career. Topics range from challenges in neon conservation to explorations of Chryssa’s urban abstractions in dialogue with ancient ruins or cyberpunk cities.
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","type":"Event","state":"published","slug":"educator-gallery-talks-5568162f-587e-42d2-9827-e5d6df7e4425","created_at":"2024-07-12 18:20:17.738881","updated_at":"2024-07-12 18:20:17.745596","excerpt":"","is_timeless":false,"organization_id":944,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'abstract':59B 'across':41B 'ancient':63B 'career':45B 'challeng':49B 'chryssa':10B,42B,56B 'citi':67B 'conserv':52B 'cyberpunk':66B 'depth':34B 'dialogu':61B 'educ':1A,27B 'enjoy':13B 'explor':54B 'galleri':2A,17B 'in-depth':32B 'inform':8B 'look':5B,35B 'neon':51B 'new':11B 'object':38B 'present':21B 'prolif':44B 'provid':30B 'rang':47B 'ruin':64B 'seri':15B 'specif':37B 'talent':24B 'talk':3A,18B,29B 'team':25B 'theme':40B 'ticket':4B 'topic':46B 'urban':58B 'written':19B 'york':12B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668781/nnpf5hicxssdsqoohird.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669771/event_ics_1721669770736.ics","carousel":null,"category_name":"Talks"},{"id":12917,"title":"John Akomfrah: Four Nocturnes","starts_at":"2024-09-27 12:00:00","ends_at":"2025-02-15 12:00:00","body":"Wrightwood 659 hosts two installations by distinguished artist and filmmaker John Akomfrah whose work investigates memory, post-colonialism, temporality, and the experiences of migrant diasporas globally.Four Nocturnes is a three-screen video installation which explores the complex relationship between humanity’s destruction of the natural world and its self-destruction. Using Africa’s declining elephant populations as its narrative spine, Four Nocturnes is a meditation on mortality, loss, fragmented identity, mythology, and memory through poetic visuals that survey the landscape of African cultural heritage. Four Nocturnes was commissioned for the inaugural Ghana Pavilion at the 58th Venice Biennale in 2019. Also on view at Wrightwood 659 will be Toxic Cloud, an installation comprising hundreds of plastic jugs suspended overhead, capturing the sense of our polluted atmosphere.
Akomfrah (b. 1957) lives and works in London and is a founding member of the influential Black Audio Film Collective (1982–1998) and its offshoot, the film and television production company Smoking Dogs Films (1998–present). His work has been shown in museums and exhibitions around the world including The Museum of Modern Art, New York; the New Museum, New York; the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington, DC; Centre Pompidou, Paris; Serpentine Gallery, London; Tate Britain, London; Bildmuseet Umeå, Sweden; and the 56th Venice Biennale, among others. He has also been featured in many international film festivals, including Sundance Film Festival, Utah, US (2013 and 2011) and Toronto International Film Festival, Canada (2012). He was awarded the Artes Mundi Prize in 2017 and a Knighthood for services to the Arts in 2023. In 2024 Akomfrah presented a new body of work entitled Listening All Night to the Rain in the British Pavilion in Venice, commissioned by the British Council for the 60th Venice Biennale.
","type":"Event","state":"published","slug":"john-akomfrah-four-nocturnes","created_at":"2025-02-03 14:42:19.489","updated_at":"2025-02-03 14:42:19.489","excerpt":"","is_timeless":true,"organization_id":944,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1957':137B '1982':155B '1998':156B,169B '2011':243B '2012':250B '2013':241B '2017':259B '2019':108B '2023':269B '2024':271B '56th':220B '58th':104B '60th':299B '659':6B,114B 'africa':60B 'african':90B 'akomfrah':2A,16B,135B,272B 'also':109B,227B 'among':223B 'around':180B 'art':188B,255B,267B 'artist':12B 'atmospher':134B 'audio':152B 'award':253B 'b':136B 'biennal':106B,222B,301B 'bildmuseet':215B 'black':151B 'bodi':276B 'britain':213B 'british':288B,295B 'canada':249B 'captur':128B 'centr':206B 'cloud':118B 'collect':154B 'coloni':23B 'commiss':96B,292B 'compani':165B 'complex':44B 'compris':121B 'council':296B 'cultur':91B 'dc':205B 'declin':62B 'destruct':49B,58B 'diaspora':30B 'distinguish':11B 'dog':167B 'eleph':63B 'entitl':279B 'exhibit':179B 'experi':27B 'explor':42B 'featur':229B 'festiv':234B,238B,248B 'film':153B,161B,168B,233B,237B,247B 'filmmak':14B 'found':146B 'four':3A,32B,69B,93B 'fragment':77B 'galleri':210B 'garden':203B 'ghana':100B 'global':31B 'heritag':92B 'hirshhorn':199B 'host':7B 'human':47B 'hundr':122B 'ident':78B 'inaugur':99B 'includ':183B,235B 'influenti':150B 'instal':9B,40B,120B 'intern':232B,246B 'investig':19B 'john':1A,15B 'jug':125B 'knighthood':262B 'landscap':88B 'listen':280B 'live':138B 'london':142B,211B,214B 'loss':76B 'mani':231B 'medit':73B 'member':147B 'memori':20B,81B 'migrant':29B 'modern':187B 'mortal':75B 'mundi':256B 'museum':177B,185B,193B,200B 'mytholog':79B 'narrat':67B 'natur':52B 'new':189B,192B,194B,275B 'night':282B 'nocturn':4A,33B,70B,94B 'offshoot':159B 'other':224B 'overhead':127B 'pari':208B 'pavilion':101B,289B 'plastic':124B 'poetic':83B 'pollut':133B 'pompidou':207B 'popul':64B 'post':22B 'post-coloni':21B 'present':170B,273B 'prize':257B 'product':164B 'rain':285B 'relationship':45B 'screen':38B 'sculptur':202B 'self':57B 'self-destruct':56B 'sens':130B 'serpentin':209B 'servic':264B 'shown':175B 'smithsonian':197B 'smoke':166B 'spine':68B 'sundanc':236B 'survey':86B 'suspend':126B 'sweden':217B 'tate':212B 'televis':163B 'tempor':24B 'three':37B 'three-screen':36B 'toronto':245B 'toxic':117B 'two':8B 'umeå':216B 'us':240B 'use':59B 'utah':239B 'venic':105B,221B,291B,300B 'video':39B 'view':111B 'visual':84B 'washington':204B 'whose':17B 'work':18B,140B,172B,278B 'world':53B,182B 'wrightwood':5B,113B 'york':190B,195B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1738593731/gcyo5eyybxk7qc9zj6jo.png","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669768/event_ics_1721669768412.ics","carousel":false,"category_name":"Exhibitions"},{"id":12918,"title":"Reimagine: Himalayan Art Now","starts_at":"2024-11-08 12:00:00","ends_at":"2025-02-15 12:00:00","body":"Organized by the Rubin Museum of Art in New York on the occasion of its 20th anniversary, Reimagine: Himalayan Art Now presents close to three dozen contemporary artists from the Himalayas, Asia, and diaspora whose work is presented in dialogue with objects from the Rubin Museum’s permanent collection, inviting new ways of encountering traditional Himalayan art.
The exhibition features approximately 22 new commissions as well as recent work across mediums—including painting, sculpture, sound, video, and installation—that reimagine the forms, symbols, and narratives found within the living cultural heritage of Tibet, Nepal, Bhutan, and other Himalayan regions. The artists, many of whom are exhibiting in the United States for the first time, explore the continuum of the cultures that shape their identity, merging past with present into one space, and posing questions about the potential for transformation today.
Wrightwood 659 is open Fridays 12 noon-7 pm, and Saturdays 10 am-5 pm. Admission is $15 and is available online only at https://tickets.wrightwood659.org/events.
Please note, admission is by advance ticket only. Walk-ups are not permitted.
Founded in 2018, Wrightwood 659 is a private, non-collecting institution. Located at 659 W. Wrightwood Avenue, in Chicago’s Lincoln Park neighborhood, it was envisioned as a new kind of arts space devoted to presenting exhibitions on architecture and socially engaged art, including issues facing the LGBTQ+ community, and Asian art and architecture. Wrightwood 659 was designed by Pritzker Prize winner Tadao Ando, who transformed a 1920s building with his signature concrete forms and poetic treatment of natural light. Acclaimed as one of Chicago’s “hidden treasures,” Wrightwood 659 offers visitors a chance to engage with the pressing issues of our time in an intimate and beautiful space.
For additional information, please visit https://wrightwood659.org/
","type":"Event","state":"published","slug":"reimagine-himalayan-art-now","created_at":"2025-02-03 14:43:52.127","updated_at":"2025-02-03 14:43:52.127","excerpt":"","is_timeless":true,"organization_id":944,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-5':157B '-7':151B '/events':170B '10':155B '12':149B '15':161B '1920s':253B '2018':187B '20th':19B '22':65B '659':145B,189B,199B,241B,275B 'acclaim':266B 'across':73B 'addit':296B 'admiss':159B,173B 'advanc':176B 'ando':249B 'anniversari':20B 'approxim':64B 'architectur':224B,239B 'art':3A,10B,23B,60B,217B,228B,237B 'artist':31B,104B 'asia':35B 'asian':236B 'avail':164B 'avenu':202B 'beauti':293B 'bhutan':98B 'build':254B 'chanc':279B 'chicago':204B,270B 'close':26B 'collect':52B,195B 'commiss':67B 'communiti':234B 'concret':258B 'contemporari':30B 'continuum':120B 'cultur':93B,123B 'design':243B 'devot':219B 'dialogu':43B 'diaspora':37B 'dozen':29B 'encount':57B 'engag':227B,281B 'envis':211B 'exhibit':62B,109B,222B 'explor':118B 'face':231B 'featur':63B 'first':116B 'form':85B,259B 'found':89B,185B 'friday':148B 'heritag':94B 'hidden':272B 'himalaya':34B 'himalayan':2A,22B,59B,101B 'ident':127B 'includ':75B,229B 'inform':297B 'instal':81B 'institut':196B 'intim':291B 'invit':53B 'issu':230B,285B 'kind':215B 'lgbtq':233B 'light':265B 'lincoln':206B 'live':92B 'locat':197B 'mani':105B 'medium':74B 'merg':128B 'museum':8B,49B 'narrat':88B 'natur':264B 'neighborhood':208B 'nepal':97B 'new':12B,54B,66B,214B 'non':194B 'non-collect':193B 'noon':150B 'note':172B 'object':45B 'occas':16B 'offer':276B 'one':133B,268B 'onlin':165B 'open':147B 'organ':4B 'paint':76B 'park':207B 'past':129B 'perman':51B 'permit':184B 'pleas':171B,298B 'pm':152B,158B 'poetic':261B 'pose':136B 'potenti':140B 'present':25B,41B,131B,221B 'press':284B 'pritzker':245B 'privat':192B 'prize':246B 'question':137B 'recent':71B 'region':102B 'reimagin':1A,21B,83B 'rubin':7B,48B 'saturday':154B 'sculptur':77B 'shape':125B 'signatur':257B 'social':226B 'sound':78B 'space':134B,218B,294B 'state':113B 'symbol':86B 'tadao':248B 'three':28B 'tibet':96B 'ticket':177B 'tickets.wrightwood659.org':169B 'tickets.wrightwood659.org/events':168B 'time':117B,288B 'today':143B 'tradit':58B 'transform':142B,251B 'treasur':273B 'treatment':262B 'unit':112B 'up':181B 'video':79B 'visit':299B 'visitor':277B 'w':200B 'walk':180B 'walk-up':179B 'way':55B 'well':69B 'whose':38B 'winner':247B 'within':90B 'work':39B,72B 'wrightwood':144B,188B,201B,240B,274B 'wrightwood659.org':300B 'york':13B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1738593821/e2v3ntzkkyhnd4ufolkv.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":17016,"title":"Educator Talks","starts_at":"2025-01-18 13:00:00","ends_at":"2025-01-18 15:00:00","body":"In this latest series of in-gallery educator talks, Wrightwood 659’s highly trained educators serve as conversation partners, providing points of access to the two exhibitions through their knowledge and keen observations. Educators share their research and interpretations on specific objects and themes, ranging from the globalization of environmental racism to the impact of generational memory on cultural diasporas.
Tickets
Admission is $15 and is available online only at https://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
For additional information, please visit wrightwood659.org.
Lecture and Q&A at DePaul Art Museum at 935 W. Fullerton Ave.
Free
Each artist in Reimagine: Himalayan Art Now reflects, challenges, and furthers the living practices within the Himalayan region, but where do these traditions come from? What role do objects play in these traditional and ongoing practices? How do sacred objects, though beautiful, differ from art? On January 23rd, Robert Linrothe, Associate Professor Emeritus of the Department of Art History at Northwestern University and the first curator of the Rubin Museum of Himalayan Art, will share his in situ research on these traditional objects, analyzing the techniques used to make these relics, the rituals they connect to and the visual heritage imbued across generations. Join us this Thursday at the DePaul Art Museum from 6 PM to 7 PM for a lecture, followed by a Q&A.
About the speaker
Robert Linrothe is the Associate Professor Emeritus of the Department of Art History at Northwestern University and former curator at the Rubin Museum of Himalayan Art. He is a specialist in the Buddhist art of the Himalayas. He received a PhD in art history from the University of Chicago and, through his fieldwork, has concentrated on the premodern painting and sculpture of Ladakh and Zangskar (Northwest India) and the contemporary revival of monastic painting in Amdo (China, eastern cultural Tibet). In 2016–2017, Linrothe received a Senior Fellowship from the American Institute of Indian Studies to do fieldwork in eastern India on 8th to 13th-century sculpture in Bihar, West Bengal, and Odisha. Linrothe has published extensively including Visible Heritage: Essays on the Art and Architecture of Greater Ladakh, ed. Rob Linrothe and Heinrich Pöll; and Collecting Paradise: Buddhist Art of Kashmir and its Legacies (2015) and “‘Utterly False, Utterly Undeniable’: The Akaniṣṭha Shrine Murals of Takden Phuntsokling Monastery,” Archives of Asian Art (2017).
In this latest series of in-gallery educator talks, Wrightwood 659’s highly trained educators serve as conversation partners, providing points of access to the two exhibitions through their knowledge and keen observations. Educators share their research and interpretations on specific objects and themes, ranging from the globalization of environmental racism to the impact of generational memory on cultural diasporas.
Tickets
Admission is $15 and is available online only at https://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
For additional information, please visit wrightwood659.org.
In this latest series of in-gallery educator talks, Wrightwood 659’s highly trained educators serve as conversation partners, providing points of access to the two exhibitions through their knowledge and keen observations. Educators share their research and interpretations on specific objects and themes, ranging from the globalization of environmental racism to the impact of generational memory on cultural diasporas.
Tickets
Admission is $15 and is available online only at https://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
For additional information, please visit wrightwood659.org.
","type":null,"state":"published","slug":"educator-talks","created_at":"2025-01-29 05:44:06.185","updated_at":"2025-01-29 05:44:06.185","excerpt":"","is_timeless":false,"organization_id":944,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'/events':76B '15':67B '659':14B 'access':26B 'addit':92B 'admiss':65B,79B 'advanc':82B 'avail':70B 'convers':21B 'cultur':62B 'diaspora':63B 'educ':1A,11B,18B,37B 'environment':53B 'exhibit':30B 'galleri':10B 'generat':59B 'global':51B 'high':16B 'impact':57B 'in-galleri':8B 'inform':93B 'interpret':42B 'keen':35B 'knowledg':33B 'latest':5B 'memori':60B 'note':78B 'object':45B 'observ':36B 'onlin':71B 'partner':22B 'permit':90B 'pleas':77B,94B 'point':24B 'provid':23B 'racism':54B 'rang':48B 'research':40B 'seri':6B 'serv':19B 'share':38B 'specif':44B 'talk':2A,12B 'theme':47B 'ticket':64B,83B 'tickets.wrightwood659.org':75B 'tickets.wrightwood659.org/events':74B 'train':17B 'two':29B 'up':87B 'visit':95B 'walk':86B 'walk-up':85B 'wrightwood':13B 'wrightwood659.org':96B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1737144581/kz7yl0wixgvje71n7bjs.jpg","calendar":null,"carousel":false,"category_name":"Talks"},{"id":17020,"title":"Curator-led tour: Tadao Ando’s Wrightwood 659","starts_at":"2025-02-08 11:30:00","ends_at":"2025-02-08 12:30:00","body":"Behind the brick façade of a 1920s apartment building, lies an architectural masterpiece by the award-winning Japanese architect Tadao Ando. Wrightwood 659’s Assistant Curator Ashley Janke takes visitors on a journey through the soaring light-filled atrium, exposed masonry, and precision-built concrete walls whose smoothness resembles polished stone. Throughout her tour, Janke will convey the origins of the building and its transformation into one of Chicago’s hidden structural gems.
About the exhibitions
Reimagine: Himalayan Art Now features 28 contemporary artists from the Himalayas, Asia, and diaspora whose work is presented in dialogue with objects from the permanent collection of the Rubin Museum of Art. With 18 commissions as well as recent work across mediums—including painting, sculpture, sound, video, and installation—the exhibition reimagines the forms, symbols, and narratives found within the living cultural heritage of Tibet, Nepal, Bhutan, and other Himalayan regions. The contemporary works in the exhibition span a wide range of media, from painting and sculpture to sound, video, and installation. Paired with each contemporary work are traditional religious art objects, ranging from an intricate gilded figure of the Hindi sun bird Garuda to Buddhist prayer beads fashioned from a sheep bone, which have been drawn from the Rubin’s permanent collection of nearly 4,000 Himalayan art objects spanning more than a millennium. Reimagine: Himalayan Art Now is presented by Halsted A&A Foundation.
John Akomfrah: Four Nocturnes is an exhibition comprised of two installations by acclaimed Ghanian-British artist and filmmaker, Sir John Akomfrah. Mesmerizing and haunting, his works are characterized by their investigations into memory, post-colonialism, temporality, and aesthetics, often exploring the experiences of migrant diasporas globally. Four Nocturnes is an immersive three-channel, HD color video installation which explores the complex relationship between humanity’s destruction of the natural world and the destruction of mankind, using Africa’s declining elephant populations as its narrative spine. Toxic Cloud, an installation inspired by the filmmaker’s experience growing up next to a coal-fired power station in London, comprises over 1,000 plastic jugs suspended overhead, capturing the vast scale of the polluted atmosphere. Both works remind viewers of the losses brought about by environmental abuses and devastation. John Akomfrah: Four Nocturnesis presented by Alphawood Exhibitions.
About Wrightwood 659
Wrightwood 659 presents exhibitions on socially engaged art and architecture, on issues facing LGBTQ+ communities, and on Asian art and architecture. Located in Chicago’s Lincoln Park neighborhood in a building transformed by Pritzker Prize winner Tadao Ando, Wrightwood 659 encourages visitors to engage with pressing issues of our time in an intimate and beautiful space. For additional information, please visit wrightwood659.org.
Wrightwood 659 Hours of Operation
Saturdays 10 a.m.-5 p.m.
Tickets
Admission is $15 and is available online only at https://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
For additional information, please visit wrightwood659.org.
In this latest series of in-gallery educator talks, Wrightwood 659’s highly trained educators serve as conversation partners, providing points of access to the two exhibitions through their knowledge and keen observations. Educators share their research and interpretations on specific objects and themes, ranging from the globalization of environmental racism to the impact of generational memory on cultural diasporas.
Tickets
Admission is $15 and is available online only at https://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
For additional information, please visit wrightwood659.org.
","type":null,"state":"published","slug":"educator-talks","created_at":"2025-01-29 05:44:25.729","updated_at":"2025-01-29 05:44:25.729","excerpt":"","is_timeless":false,"organization_id":944,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'/events':76B '15':67B '659':14B 'access':26B 'addit':92B 'admiss':65B,79B 'advanc':82B 'avail':70B 'convers':21B 'cultur':62B 'diaspora':63B 'educ':1A,11B,18B,37B 'environment':53B 'exhibit':30B 'galleri':10B 'generat':59B 'global':51B 'high':16B 'impact':57B 'in-galleri':8B 'inform':93B 'interpret':42B 'keen':35B 'knowledg':33B 'latest':5B 'memori':60B 'note':78B 'object':45B 'observ':36B 'onlin':71B 'partner':22B 'permit':90B 'pleas':77B,94B 'point':24B 'provid':23B 'racism':54B 'rang':48B 'research':40B 'seri':6B 'serv':19B 'share':38B 'specif':44B 'talk':2A,12B 'theme':47B 'ticket':64B,83B 'tickets.wrightwood659.org':75B 'tickets.wrightwood659.org/events':74B 'train':17B 'two':29B 'up':87B 'visit':95B 'walk':86B 'walk-up':85B 'wrightwood':13B 'wrightwood659.org':96B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1737144775/y6k70uecvd42qafk3p8l.jpg","calendar":null,"carousel":false,"category_name":"Talks"},{"id":18566,"title":"The First Homosexuals: The Birth of a New Identity, 1869-1939","starts_at":"2025-05-02 00:00:00","ends_at":"2025-07-26 00:00:00","body":"The First Homosexuals: The Birth of a New Identity, 1869-1939, a major international loan exhibition which has been six years in the making, will be presented by Alphawood Exhibitions at Wrightwood 659 in Chicago, from Friday, May 2 to Saturday, July 26, 2025. The exhibition features more than 300 paintings, drawings, sculptures, prints, photographs, and films, many presented for the first time within the context of global queer and colonial inquiry. These range from well-known masterpieces to unexpected works by little-known or anonymous artists. Drawn from over 100 museums and private collections around the world, the exhibition takes as its starting point the year 1869—when the term “homosexual” is first coined and proceeds through the subsequent seven decades, amplified by a selection of earlier art, as context. An international team of 22 scholars led by art historian and curator Jonathan D. Katz and associate curator Johnny Willis organized The First Homosexuals project. Katz is Professor of Practice in the History of Art and Gender, Sexuality, and Women’s Studies at the University of Pennsylvania and a founding figure in Queer Studies in Art History. Willis is Curatorial Fellow at Wrightwood 659.
Says Chirag G. Badlani, Executive Director, Alphawood Foundation, “Alphawood has been committed to this project since its very conception. We are proud to have supported it at the scale it required through more than six years of global research, and are even more proud to support it now amidst a global wave of anti-LGBTQ actions. A little over two years ago, in the midst of the global pandemic, Wrightwood 659 offered a taste of The First Homosexuals’ approach and scope in a small presentation of the same name. The upcoming showing is the long-awaited and full version of The First Homosexuals and comes at a pivotal time.”
According to Professor Katz, “Before the coinage of the word ‘homosexual,’ same-sex desire marked something you did, not necessarily who you were. The First Homosexuals examines how, after this watershed moment, for the first time homosexuals were cleaved from the rest of the population and given an identity which turned on their sexuality. Art can tell this story uniquely well. While written narratives must necessarily use specialized words to describe ideas, visual imagery is more elastic, allowing for coincident layers of meaning.”
Among the Featured Artists
One hundred and twenty-five artists are represented in The First Homosexuals including such well-known artists as Berenice Abbott, Thomas Anshutz, Léon Bakst, George Bellows, Giovanni Boldini, Rosa Bonheur, Claude Cahun, Jean Cocteau, Honoré Daumier, F. Holland Day, Beauford Delaney, Charles Demuth, Duncan Grant, Marsden Hartley, Florence Henri, Harriet Hosmer, Katsushika Hokusai, Frederic Leighton, Lumière Brothers, Gustave Moreau, Glyn Philpot, John Singer Sargent, Egon Schiele, Pavel Tchelitchew, and Henri de Toulouse-Laurec.
Also represented are artists whose work is lesser-known in the United States and who deserve more scholarly and public notice. These include Jacques-Émile Blanche (France), Benjamín de la Calle (Colombia), Florence Carlyle (Canada), María Izquierdo (Mexico), Van Leo (Armenia/Egypt), Manuel Rodríguez Lozano (Mexico), Ladislav Mednyánszky (Slovakia/Hungary), Roberto Montenegro (Mexico), Gabriel Morcillo (Spain), Ismael Nery (Brazil), Daniel Stepanov (Russia), Lionel Wendt (Sri Lanka), Emilio Baz Viaud (Mexico), Florence Wyle (Canada), and Kristian Zahrtmann (Denmark).
Museum Lenders
Among the international museums which contributed to the exhibition are: Baltimore Museum of Art, MD; Fine Arts Museums of San Francisco, CA; Fukuoka Asian Art Museum, Japan; Kunsthaus Zürich, Switzerland; Musée d’Orsay, Paris; Museo de Arte de Lima, Peru; Museo Nacional de Bellas Artes, Santiago, Chile; Museum of Fine Arts, Boston, MA; National Gallery of Victoria, Melbourne, Australia; National Museum of Denmark, Copenhagen; Philadelphia Museum of Art, Pennsylvania; Pinacoteca de São Paulo, Brazil; Slovak National Gallery, Slovakia; Smithsonian American Art Museum, Washington, DC; Tate, London; The Courtauld Institute of Art, London; The Metropolitan Museum of Art, New York; Tokyo University of the Arts, Japan; and Victoria and Albert Museum, London; among others.
The Exhibition: Eight Sections
The First Homosexuals occupies all three floors of Wrightwood’s Tadao Ando-designed building. An establishing section, Before the Binary, begins at the top floor to illustrate how same-sex desire and different-sex desire were not always seen as distinct opposites before the late 19th century. The array of works here ranges from an oil painting (1835-1837) of Sac and Fox tribe dancers by George Catlin to an exquisite marble relief (1823-24) depicting the homoerotic story of Anacreon and Cupid by the Danish-Icelandic sculptor Bertel Thorvaldsen. Catlin’s painting chronicles an actual feast paying tribute to a Two-Spirit spiritual leader (then pejoratively called a “berdache”), a person born male who lived and performed duties as a woman. It is among a good number of objects in the show recording indigenous sexualities. Notable among these are a collection of erotic Japanese prints, including two by the masters Utamaro and Hokusai, which make absolutely no value distinction between homosexual and heterosexual acts.
On the floor below is Portraits, a large section devoted to artists and writers who openly explored and, in some cases, presented a homosexual identity. These works include Félix Vallotton’s magnificent 1907 portrait of Gertrude Stein; the only full-size portrait of Oscar Wilde painted in his lifetime; Florine Stettheimer’s fanciful self-portrait with a faun; and Thomas Eakin’s poignant oil sketch of his friend and lover, Walt Whitman, which seems to barely catch the poet as he fades into old age. Also in this section is Manuel Rodríguez Lozano’s self-portrait depicting himself in mourning following the death of his lover Abraham Ángel; as well as self-portraits by the Armenian-Egyptian photographer Van Leo subverting traditional gender norms. Of note is a rarely seen pastel sketch of the great artist Rosa Bonheur by her lover Anna Klumpke, a work on loan from the Bowdoin College Museum of Art.
On the same floor are paintings, sculptures, prints, photographs, and books conveying the amplitude and variety of relationships forged during the late 19th century and the early part of the 20th century. The section, entitled Relationships, includes boldly transgressive photographs by the Staten Island-based artist Alice Austen; a pair of playful Cubist-inflected paintings of young women dancing by the French painter Marie Laurencin; and a painting by the Norwegian-American painter Andreas Andersen which captures an intimate moment between his brother Hendrik and another man.
On the second floor, a subsequent section illustrates how shifts in language around same-sex love had surprising consequences. In Changing Bodies, Changing Definitions, the exhibition examines the evolution of the genre of the nude in relation to shifting conceptions of sexuality. While artists often depicted ambiguously gendered adolescents in the 19th century, the 20th century saw the rise of nude adult representations, including fantastically macho portraits of muscular men and women. For example, Romaine Brooks’ sleek, ethereal nude study of her lover Ida Rubenstein represents the dancer as ephebic and androgynous, while a later painting by the Polish artist Tamara de Lempicka’s emphasizes a female model’s maturity and muscularity.
Works of art harkening back to an idealized classical past are encountered in a section entitled History. A highlight here is a large-scale oil by Hans von Marèes, whose unusually fragile paintings seldom travel outside of Germany. His Five Men in a Landscape (c. 1900) suggests no specific historical period at all, but, rather, an ideal arcadian past. The Australian artist Rupert Bunny draws on a particular myth for Hercules in the Garden of Hesperides (1922) which centers around a brawny Hercules rearing back to slay a dragon.
Nearby, in Colonialism and Resistance, images in different media illustrate how European artists saw same-sex desire as a quality almost inherent in colonial territories. This section explores the homoeroticism of the Orientalist genre, wherein Europeans imagine the East as rife with forms of sexuality foreclosed in the West. Several works here help illustrate the European political tactic to characterize the Ottoman Empire as overrun with decadent homosexuals, and thus weak and easy to conquer. In turn, artists around the world resisted this colonial domination. The painting Nuestros dioses antiguos (Our ancient Gods) (1916) demonstrates how one artist, Saturnino Herrán of Mexico, did so by idealizing pre-colonial indigenous sexual relations. On this floor, the viewer will also encounter a number of objects by Harlem Renaissance artists and entertainers. These include a photograph by Carl van Vechten of Bessie Smith shouldering a carved head of a grinning Black minstrel, which encapsulates the latent racism in white America’s attitude towards African Americans as the ‘other.’ One of the masterworks of the period, Richmond Barthé’s signature sculpture of the Senegalese cabaret dancer Feral Benga, melds together classical European sculpture and new attempts to create a distinctly African American art and ethos.
Then to Performing, highlighting the way the world of entertainment showed the existence and joy of same-sex love, with Léon Bakst’s sensitive Portrait du danseur, Léonide Massine (1921), and a bronze bust by Lady Una Troubridge, partner to lesbian icon Radclyffe Hall, which portrays the sensational Russian ballet dancer Vaslav Nijinsky in L’après midi d‘un faune (c. 1913).
Beyond the Binary, the final exhibition section, represents one of the most extensive investigations of the mutuality of homosexual and trans identity in their earliest formations. Here are featured some 60 works, including the first self-conconsciously trans images in the history of art: the Danish artist Gerda Wegener’s depictions of her partner, Lili Elbe, who was assigned male at birth. Wegener shows Lili as she wished to be portrayed—louche, feminine, and seductive. This section also brings to the fore images from The Elisarion, an art-filled villa and grounds established on Lake Maggiore in Switzerland early in the last century, whose founder Elisàr von Kupffer helped promulgate Clarism, a new religion proposing the division of people by gender was a perversion of divine will. Eight paintings from The Elisarion, never before exhibited in the United States, have been conserved specifically for this exhibition. One even depicts the first same-sex wedding scene in the history of art.
Publication
The First Homosexuals: The Birth of a New Identity, 1869-1939 is accompanied by a fully illustrated catalogue published by Monacelli Press, a Phaidon imprint. Featured are 22 original and illuminating essays by leading experts in art and queer history, each focusing on one geographical region – from Japan to Australia to the Indigenous populations of South America. In addition to Katz and Willis, contributors include Juan Vincente Aliaga, Eduardo Carerra, Brian Curtain, Niharika Dinkar, André Dombrowski, Thadeus Dowad, Patrick Carland Echavarria, Esther Gabara, Pavel Golubev, Catherine Gonnard, Michael Hatt, Wenquing Kang, Tomasz Kitlinski, Tirza True Latimer, Paweł Leszkowicz, Peter McNeil, Ara H. Merjian, Douglas Pretsell, Joseph Shaikewitz, and Patrik Steorn. With 400 pages, 500 illustrations, $74.95. The catalogue officially publishes on July 23, but a limited quantity of early copies will be available for purchase online at https://wrightwood659.org/publications and at the museum beginning May 2, while supplies last.
Symposium: May 9 and 10, 2025
The First Homosexuals: The Birth of a New Identity, 1869-1939 is accompanied by a two-day scholarly symposium at the Alliance Française in Chicago on Friday, May 9, and Saturday, May 10. The symposium features many of the international scholars contributing to the exhibition catalogue, expounding on their regional explorations of the exhibition’s themes. Details to come. Please check https://wrightwood659.org/programs for updates.
Film Series: June 4, 11, 18 and 25, 2025
In conjunction with The First Homosexuals: The Birth of a New Identity, 1869-1939, Wrightwood 659 is participating in Facets Film Forum’s Film as a Cultural Bridge programming, part of its 50th Anniversary celebration. The weekly series will feature LGBTQ-related film screenings starting June 4, 2025, curated by Dr. Laura Horak, Professor of Film Studies at Carleton University and director of the Transgender Media Lab and Transgender Media Portal. Details to come. Please check https://wrightwood659.org/programs for updates.
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'émile':510B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1741637070/wtkqwcl99q2zmbuykyhd.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":20806,"title":"The First Homosexuals Film Series","starts_at":"2025-06-04 19:30:00","ends_at":"2025-06-04 21:30:00","body":"The First Homosexuals Film Series is an upcoming event starting next week, featuring a series of film screenings. The opening night is on Wednesday, June 4th, at FACETS 1517 W. Fullerton Ave., Chicago, IL, with a special reception, a curated selection of shorts, and an introduction from the program's curator, Laura Horak.
The event includes a program titled 'THROUGH THE KEYHOLE: SHORTS PROGRAM' with a reception at 7:30 pm and the shorts program at 8:00 pm. The series will showcase 14 short films, highlighting characters from the 20th century who contribute to queer history and discourse.
The event requires advance registration, with general admission priced at $15 and student admission at $5 with ID.
This night's culmination of films is sure to set you up for a night of comedy and excitement. Prepare to meet a variety of characters from the 20th century whose work contribute to queer history and discourse. You will meet individuals such as the rowdy cowgirl sent to an all-girls school played by celebrated lesbian comedian Fay Tincher, and the 20th century’s most famous muscleman. There will also be a sci-fi film where “men have become like women and women like men,” and more. You are in for a treat of masterpieces of early cinema!
14 short films.
Total running time: 119 min.
Additional screenings include 'LOVE AND SUFFERING' on June 11, 'GENDER BENDERS' on June 18, and 'GIRLS IN LOVE' on June 25, each featuring different films exploring themes of love, gender, and identity.
The First Homosexuals Film Series takes place in June 2025
Taking place at FACETS
1517 W. Fullerton Ave., Chicago, IL
$15 General Admission
$5 Student Admission + ID
Advance Registration Only
June 11, 6:00 pm
Experience the romantic pathos of love between men in two newly restored silent dramas.
The Wings (Sweden, 1916, 69 min.)
Different from the Others (Germany, 1919, 50 min.)
Total running time: 119 min.
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Taking place at FACETS
1517 W. Fullerton Ave., Chicago, IL
$15 General Admission
$5 Student Admission + ID
Advance Registration Only
June 18, 6:00 pm
These three hilarious comedies explore what happens when gender is not quite so solid as it seems.
• A Woman (U.S., Charlie Chaplin, 1915, 20min)
• I Don't Want to be a Man (Germany, Ernst Lubitsch, 1918, 45 min.)
• Madame Behave (U.S., Scott Sidney, 1925, 55 min.)
Total running time: 120 min.
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Taking place at FACETS
1517 W. Fullerton Ave., Chicago, IL
$15 General Admission
$5 Student Admission + ID
Advance Registration Only
June 25, 6:00 pm
• Young women fall for their beautiful mentors in two moving dramas.
• The Scent of Pheasant's Eye (Japan, 1935, 67 min)
• Girls in Uniform (Germany, Leotine Sagan, 1931, 87 min.)
Total running time: 154 min.
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Burton, who once described his work as “sculpture in love with furniture,” was a true American original. By the time of his death at the age of 50 from an AIDs-related illness, he had succeeded as sculptor, public artist, performance artist, social choreographer, art critic, and exhibition curator. This landmark exhibition spans that career, bringing together works from the 1960s to the ‘80s, including some 30 sculptures and more than 40 photographs, drawings, and ephemera. The exhibition is installed on Wrightwood 659’s third and fourth floors.
As the most comprehensive survey of the late artist’s work ever mounted in the United States, Scott Burton: Shape Shift is curated by Jess Wilcox, independent curator, and Heather A. Smith, Assistant Curator, Pulitzer Arts Foundation. It premiered last fall at the Pulitzer Arts Foundation, St. Louis, and is presented at Wrightwood 659 by Alphawood Exhibitions.
The Exhibition
Rather than progressing chronologically, the installation of Shape Shift responds to the architecture of Tadao Ando, as did the Pulitzer Arts Foundation’s presentation in 2024. The Pulitzer Prize winning architect designed both art spaces, the Pulitzer in 2001, and Wrightwood in 2018.
Among the highlights of the fourth floor are two groupings of chairs that illustrate Burton’s ideas about community. Placed in front of a curtain glass wall looking out to the street is a tableau of steel chairs—among them two curved chairs installed face-to-face and a solo minimalist take on the wire bistro chair. In another grouping, Wrightwood brings together a variety of Burton’s chairs for visitors to sit on.
On the third floor, the visitor encounters Two-Part Chair (1986/2002), a pair of granite polygon slabs balancing one atop the other for mutual support. Although highly abstract, when viewed in profile the sculpture loosely resembles two bodies in a sexual embrace.
On the same floor, the sculpture and performance element Bronze Chair (1972/75) is displayed next to a photograph showing it on a cobbled-stone street in New York City’s Soho neighborhood in the early ‘70s. Burton had found the Queen Anne-style armchair abandoned in an apartment, cast it in bronze, and put it outside on the street, where it sat enigmatically against a brick wall. At Wrightwood, this installation is echoed by the brick wall of Tadao Ando’s gallery.
Burton’s anthropomorphizing of furniture was linked to his study of proxemics, the inquiry into the relational systems and nonverbal cues inherent in social spaces. As he once said, “You could say that people are like furniture. They take different poses and suggest different genders.” In Shape Shift, this dictum is illuminated in an array of furniture forms, each conveying a distinct character and connotation through form, material, surface finish, scale, and stylistic lineage.
Demonstrating Burton’s radical, but elegant, formal inventions is Two-Part Chaise Lounge (1986-87), where a pair of V-shaped pieces of pink Rosa Baveno granite, setflush with each other, transform into stable seating. In an example of the expressiveness of finish, the visitor will find Spattered Table (1974-1977), a simple wooden table that Burton found, splattered with primary colors, and exhibited atop a large horizontal pedestal, transforming it into minimalist sculpture. As Burton intended, Wrightwood 659 will display the work so that visitors will be able to glimpse its white underbelly, which playfully contrasts with its Abstract Expressionist-inspired outer surfaces. Installed nearby is the diminutive Child’s Table and Chair(1978), which could be an example of a Bauhaus playroom set, were it not for its scale and red, blue, and yellow stretchers and splats.
Still another play on the formal possibilities of a vernacular form is seen in Onyx Table (1978-1981), a Parsons-style table so massive and heavy that it morphs from a piece of furniture into a work of art. At once opulent in its fine surface and luminosity and humorous in its mixed functionality, it anticipates the materiality and approach of Burton’s later public works.
A star of Shape Shift, the spectacularly extroverted Five-Part Storage Cubes (1982), dominates a landing leading from the third to fourth floor. The stack of large yellow, red, orange, blue, and green cubes will be displayed with one of its doors open.
The artist continually riffed off the American vernacular, seen here in homages to the Adirondack chair, including one fabricated in yellow Formica and others conceived as abstract experiments—like Aluminum Chair (1980-1981), where the shape echoes the Adirondack sloping form, but the chair is constructed from triangular aluminum plates punctured by large circular apertures.
Scott Burton: Shape Shift features an array of little- or never-before-seen video, photographs, Polaroids, a poster, notes, and sketches related to Burton’s proscenium performances. These include an oak table found and altered by Burton and repurposed as a performance prop; sketches that diagram movement and directions for performances; and Individual Behavior Tableaux (1980), the only known video of Burton’s performance oeuvre, which documents the artist’s last performance before he turned to furniture/object making full-time. Shot at the Berkeley Art Museum, the video captures the glacially slow enactment of a variety of gestures, poses, and behaviors. The poses stem not only from Burton’s study of nonverbal communication but also allude to the bodily cues that signal sexual availability within gay cruising culture.
Wall and case displays document Burton’s writings for Art in America magazine and other publications; seminal performances, including his early, site-specific installationFurniture Landscape (1970) at the University of Iowa where he brought pieces of furniture outdoors; the exhibition he organized of works by Brancusi at the Museum of Modern Art (MoMA) (1989); and his own sculpture, installed in MoMA’s sculpture garden (1989). The MoMA garden installation featured his Parallelogram chairs, two of which have been added to the Wrightwood showing.
Finally, a slideshow presents views of Burton’s many public art installations, including major works on the grounds of the Des Moines Art Center, Princeton University, the University of Houston, and the Waterfront Plaza at Battery Park City, in New York.
The Artist
Remembered as an artist, critic, and curator, Scott Burton was born in 1939 in Greensboro, Alabama, spent his formative years in Washington, DC, and received a BA degree from Columbia University (1962) and MFA from New York University (1963).
His critical writing appeared regularly in ARTnews and Art in America and in exhibition catalogues, including that for Harald Szeemann’s landmark post-minimalist exhibition, Live in Your Head: When Attitudes Become Form (1969 Kunsthalle Bern, Switzerland).
By the early 1970s, Burton was exhibiting in New York City, first with like-minded artists on the street, then in galleries and museums including the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, P.S. 1, and, in a solo exhibition, Artists Space. Throughout the 1970s and 1980s, Burton created an array of performances, furniture as sculpture, and public art environments inspired by his studies of body language, art history, and design. He also curated the inaugural exhibition in the Museum of Modern Art’s now-lauded Artist’s Choice series. Burton died of an AIDS-related illness in 1989.
His work is in dozens of collections, including the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Modern Art, National Gallery of Art, Philadelphia Museum of Art, Princeton University Art Museum, Solomon R. Guggenheim Museum, Tate, and the Walker Art Center. Almost all of the archival photographs, diagrams, drawings, and ephemera in the exhibition are on loan from the Museum of Modern Art (MoMA) Archives, which maintains the Scott Burton Papers, its largest single-artist holding.
Performances and Special Events
On October 24 and 25 at Wrightwood 659, the New York-based founder of the Center for Experimental Lectures, Gordon Hall, will present a performance meditating on the condition of waiting and Burton’s legacy. Public programs will also include a talk by art historian David J. Getsy, author of Queer Behavior: Scott Burton and Performance Art (University of Chicago Press, 2022). Getsy’s lecture will take place at the Art Institute of Chicago at 6pm on October 9. Getsy will co-lead a tour ofScott Burton: Shape Shift the following day with the exhibition’s curator Jess Wilcox. (Registration to come.)
Publication
Scott Burton: Shape Shift, the accompanying publication, is expected to serve as an essential source for scholars, artists, and others interested in the intentions and legacy of Scott Burton. The volume features essays by David J. Getsy and Jess Wilcox; writings by the artists Brendan Fernandes and Gordon Hall; contributions by Jeremy Johnston and Heather Alexis Smith; and a never-before-published excerpt from the transcript of a 1988 lecture by Burton.
The volume is co-published by the Pulitzer Arts Foundation and Alphawood Exhibitions and distributed by Yale University Press. Price $50.
Also on View at Wrightwood 659
The Joffrey + Ballet in the U.S. is a large-scale exhibition celebrating the rich history of The Joffrey Ballet and the life of Robert Joffrey. The exhibition premiered at The New York Public Library for the Performing Arts at Lincoln Center in 2024, marking the first major retrospective of the company. Drawing from the Joffrey archive, acquired by the Jerome Robbins Dance Division in 2017 as the Library’s largest acquisition in a decade, the exhibition offers an in-depth look at the Joffrey’s contributions to ballet in the U.S. Highlights include rare film from the original performance of the groundbreaking ballet Astarte and Anna Sokolow’s Opus 65, as well as costumes, props, pointe shoes, posters, correspondence, and other ephemera from the company and Robert Joffrey’s life. The Joffrey + Ballet in the U.S. is organized by The New York Public Library for the Performing Arts and curated by Dr. Julia Foulkes with assistance from Nicole Duffy. It is presented at Wrightwood 659 by Alphawood Exhibitions.
Ellen Altfest: Forever is a selection of 15 oil paintings by the American representational painter Ellen Altfest, known for her painstakingly labor-intensive canvases and her observation of things in the world often overlooked in art. From roughly tactile rocks, tangled branches, and tree bark, to the smoothness of houseplants, fabric, and men’s skin—she condenses everyday essences into expressions of absolute clarity and intensity. Her paintings are characterized by surprising pairings of subjects, unorthodox cropping, and, perhaps most notably, scrupulously rendered naturally occurring textures and intricate surface features. Working directly from observation without photographic sources or references, she often spends months—and sometimes more than a year—on a single painting. Ellen Altfest: Forever is organized by the Frist Art Museum, Nashville, Tennessee, where it premiered earlier this year, and is curated by Mark Scala, Chief Curator, Frist Art Museum. Ellen Altfest: Forever is presented at Wrightwood 659 by Halsted A&A Foundation.
About Wrightwood 659
Wrightwood 659 hosts exhibitions on socially engaged art and architecture, on issues facing LGBTQ+ communities, and on Asian art and architecture. Located in Chicago’s Lincoln Park neighborhood in a building transformed by Pritzker Prize winner Tadao Ando, Wrightwood 659 encourages visitors to engage with pressing issues of our time in an intimate and beautiful space. For additional information, please visitwrightwood659.org.
Hours of Operation and Tickets
Wrightwood 659 is open Thursdays 12 noon-7 pm; Fridays 12 noon-7 pm; Saturdays 10 am-5 pm. Tickets for the trio of exhibitions opening October 3 go on sale Thursday, September 4. Admission is $20 and is available online only athttps://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
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U.S.","starts_at":"2025-10-03 00:00:00","ends_at":"2025-12-20 00:00:00","body":"Scott Burton: Shape Shift, a critically acclaimed exhibition surveying the seminal—and subversive—art of Scott Burton (1939-1989), opens on Friday, October 3, 2025, at Wrightwood 659 in Chicago.
Burton, who once described his work as “sculpture in love with furniture,” was a true American original. By the time of his death at the age of 50 from an AIDs-related illness, he had succeeded as sculptor, public artist, performance artist, social choreographer, art critic, and exhibition curator. This landmark exhibition spans that career, bringing together works from the 1960s to the ‘80s, including some 30 sculptures and more than 40 photographs, drawings, and ephemera. The exhibition is installed on Wrightwood 659’s third and fourth floors.
As the most comprehensive survey of the late artist’s work ever mounted in the United States, Scott Burton: Shape Shift is curated by Jess Wilcox, independent curator, and Heather A. Smith, Assistant Curator, Pulitzer Arts Foundation. It premiered last fall at the Pulitzer Arts Foundation, St. Louis, and is presented at Wrightwood 659 by Alphawood Exhibitions.
The Exhibition
Rather than progressing chronologically, the installation of Shape Shift responds to the architecture of Tadao Ando, as did the Pulitzer Arts Foundation’s presentation in 2024. The Pulitzer Prize winning architect designed both art spaces, the Pulitzer in 2001, and Wrightwood in 2018.
Among the highlights of the fourth floor are two groupings of chairs that illustrate Burton’s ideas about community. Placed in front of a curtain glass wall looking out to the street is a tableau of steel chairs—among them two curved chairs installed face-to-face and a solo minimalist take on the wire bistro chair. In another grouping, Wrightwood brings together a variety of Burton’s chairs for visitors to sit on.
On the third floor, the visitor encounters Two-Part Chair (1986/2002), a pair of granite polygon slabs balancing one atop the other for mutual support. Although highly abstract, when viewed in profile the sculpture loosely resembles two bodies in a sexual embrace.
On the same floor, the sculpture and performance element Bronze Chair (1972/75) is displayed next to a photograph showing it on a cobbled-stone street in New York City’s Soho neighborhood in the early ‘70s. Burton had found the Queen Anne-style armchair abandoned in an apartment, cast it in bronze, and put it outside on the street, where it sat enigmatically against a brick wall. At Wrightwood, this installation is echoed by the brick wall of Tadao Ando’s gallery.
Burton’s anthropomorphizing of furniture was linked to his study of proxemics, the inquiry into the relational systems and nonverbal cues inherent in social spaces. As he once said, “You could say that people are like furniture. They take different poses and suggest different genders.” In Shape Shift, this dictum is illuminated in an array of furniture forms, each conveying a distinct character and connotation through form, material, surface finish, scale, and stylistic lineage.
Demonstrating Burton’s radical, but elegant, formal inventions is Two-Part Chaise Lounge (1986-87), where a pair of V-shaped pieces of pink Rosa Baveno granite, setflush with each other, transform into stable seating. In an example of the expressiveness of finish, the visitor will find Spattered Table (1974-1977), a simple wooden table that Burton found, splattered with primary colors, and exhibited atop a large horizontal pedestal, transforming it into minimalist sculpture. As Burton intended, Wrightwood 659 will display the work so that visitors will be able to glimpse its white underbelly, which playfully contrasts with its Abstract Expressionist-inspired outer surfaces. Installed nearby is the diminutive Child’s Table and Chair(1978), which could be an example of a Bauhaus playroom set, were it not for its scale and red, blue, and yellow stretchers and splats.
Still another play on the formal possibilities of a vernacular form is seen in Onyx Table (1978-1981), a Parsons-style table so massive and heavy that it morphs from a piece of furniture into a work of art. At once opulent in its fine surface and luminosity and humorous in its mixed functionality, it anticipates the materiality and approach of Burton’s later public works.
A star of Shape Shift, the spectacularly extroverted Five-Part Storage Cubes (1982), dominates a landing leading from the third to fourth floor. The stack of large yellow, red, orange, blue, and green cubes will be displayed with one of its doors open.
The artist continually riffed off the American vernacular, seen here in homages to the Adirondack chair, including one fabricated in yellow Formica and others conceived as abstract experiments—like Aluminum Chair (1980-1981), where the shape echoes the Adirondack sloping form, but the chair is constructed from triangular aluminum plates punctured by large circular apertures.
Scott Burton: Shape Shift features an array of little- or never-before-seen video, photographs, Polaroids, a poster, notes, and sketches related to Burton’s proscenium performances. These include an oak table found and altered by Burton and repurposed as a performance prop; sketches that diagram movement and directions for performances; and Individual Behavior Tableaux (1980), the only known video of Burton’s performance oeuvre, which documents the artist’s last performance before he turned to furniture/object making full-time. Shot at the Berkeley Art Museum, the video captures the glacially slow enactment of a variety of gestures, poses, and behaviors. The poses stem not only from Burton’s study of nonverbal communication but also allude to the bodily cues that signal sexual availability within gay cruising culture.
Wall and case displays document Burton’s writings for Art in America magazine and other publications; seminal performances, including his early, site-specific installationFurniture Landscape (1970) at the University of Iowa where he brought pieces of furniture outdoors; the exhibition he organized of works by Brancusi at the Museum of Modern Art (MoMA) (1989); and his own sculpture, installed in MoMA’s sculpture garden (1989). The MoMA garden installation featured his Parallelogram chairs, two of which have been added to the Wrightwood showing.
Finally, a slideshow presents views of Burton’s many public art installations, including major works on the grounds of the Des Moines Art Center, Princeton University, the University of Houston, and the Waterfront Plaza at Battery Park City, in New York.
The Artist
Remembered as an artist, critic, and curator, Scott Burton was born in 1939 in Greensboro, Alabama, spent his formative years in Washington, DC, and received a BA degree from Columbia University (1962) and MFA from New York University (1963).
His critical writing appeared regularly in ARTnews and Art in America and in exhibition catalogues, including that for Harald Szeemann’s landmark post-minimalist exhibition, Live in Your Head: When Attitudes Become Form (1969 Kunsthalle Bern, Switzerland).
By the early 1970s, Burton was exhibiting in New York City, first with like-minded artists on the street, then in galleries and museums including the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, P.S. 1, and, in a solo exhibition, Artists Space. Throughout the 1970s and 1980s, Burton created an array of performances, furniture as sculpture, and public art environments inspired by his studies of body language, art history, and design. He also curated the inaugural exhibition in the Museum of Modern Art’s now-lauded Artist’s Choice series. Burton died of an AIDS-related illness in 1989.
His work is in dozens of collections, including the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Modern Art, National Gallery of Art, Philadelphia Museum of Art, Princeton University Art Museum, Solomon R. Guggenheim Museum, Tate, and the Walker Art Center. Almost all of the archival photographs, diagrams, drawings, and ephemera in the exhibition are on loan from the Museum of Modern Art (MoMA) Archives, which maintains the Scott Burton Papers, its largest single-artist holding.
Performances and Special Events
On October 24 and 25 at Wrightwood 659, the New York-based founder of the Center for Experimental Lectures, Gordon Hall, will present a performance meditating on the condition of waiting and Burton’s legacy. Public programs will also include a talk by art historian David J. Getsy, author of Queer Behavior: Scott Burton and Performance Art (University of Chicago Press, 2022). Getsy’s lecture will take place at the Art Institute of Chicago at 6pm on October 9. Getsy will co-lead a tour ofScott Burton: Shape Shift the following day with the exhibition’s curator Jess Wilcox. (Registration to come.)
Publication
Scott Burton: Shape Shift, the accompanying publication, is expected to serve as an essential source for scholars, artists, and others interested in the intentions and legacy of Scott Burton. The volume features essays by David J. Getsy and Jess Wilcox; writings by the artists Brendan Fernandes and Gordon Hall; contributions by Jeremy Johnston and Heather Alexis Smith; and a never-before-published excerpt from the transcript of a 1988 lecture by Burton.
The volume is co-published by the Pulitzer Arts Foundation and Alphawood Exhibitions and distributed by Yale University Press. Price $50.
Also on View at Wrightwood 659
The Joffrey + Ballet in the U.S. is a large-scale exhibition celebrating the rich history of The Joffrey Ballet and the life of Robert Joffrey. The exhibition premiered at The New York Public Library for the Performing Arts at Lincoln Center in 2024, marking the first major retrospective of the company. Drawing from the Joffrey archive, acquired by the Jerome Robbins Dance Division in 2017 as the Library’s largest acquisition in a decade, the exhibition offers an in-depth look at the Joffrey’s contributions to ballet in the U.S. Highlights include rare film from the original performance of the groundbreaking ballet Astarte and Anna Sokolow’s Opus 65, as well as costumes, props, pointe shoes, posters, correspondence, and other ephemera from the company and Robert Joffrey’s life. The Joffrey + Ballet in the U.S. is organized by The New York Public Library for the Performing Arts and curated by Dr. Julia Foulkes with assistance from Nicole Duffy. It is presented at Wrightwood 659 by Alphawood Exhibitions.
Ellen Altfest: Forever is a selection of 15 oil paintings by the American representational painter Ellen Altfest, known for her painstakingly labor-intensive canvases and her observation of things in the world often overlooked in art. From roughly tactile rocks, tangled branches, and tree bark, to the smoothness of houseplants, fabric, and men’s skin—she condenses everyday essences into expressions of absolute clarity and intensity. Her paintings are characterized by surprising pairings of subjects, unorthodox cropping, and, perhaps most notably, scrupulously rendered naturally occurring textures and intricate surface features. Working directly from observation without photographic sources or references, she often spends months—and sometimes more than a year—on a single painting. Ellen Altfest: Forever is organized by the Frist Art Museum, Nashville, Tennessee, where it premiered earlier this year, and is curated by Mark Scala, Chief Curator, Frist Art Museum. Ellen Altfest: Forever is presented at Wrightwood 659 by Halsted A&A Foundation.
About Wrightwood 659
Wrightwood 659 hosts exhibitions on socially engaged art and architecture, on issues facing LGBTQ+ communities, and on Asian art and architecture. Located in Chicago’s Lincoln Park neighborhood in a building transformed by Pritzker Prize winner Tadao Ando, Wrightwood 659 encourages visitors to engage with pressing issues of our time in an intimate and beautiful space. For additional information, please visitwrightwood659.org.
Hours of Operation and Tickets
Wrightwood 659 is open Thursdays 12 noon-7 pm; Fridays 12 noon-7 pm; Saturdays 10 am-5 pm. Tickets for the trio of exhibitions opening October 3 go on sale Thursday, September 4. Admission is $20 and is available online only athttps://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
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00:00:00","ends_at":"2025-12-20 00:00:00","body":"Scott Burton: Shape Shift, a critically acclaimed exhibition surveying the seminal—and subversive—art of Scott Burton (1939-1989), opens on Friday, October 3, 2025, at Wrightwood 659 in Chicago.
Burton, who once described his work as “sculpture in love with furniture,” was a true American original. By the time of his death at the age of 50 from an AIDs-related illness, he had succeeded as sculptor, public artist, performance artist, social choreographer, art critic, and exhibition curator. This landmark exhibition spans that career, bringing together works from the 1960s to the ‘80s, including some 30 sculptures and more than 40 photographs, drawings, and ephemera. The exhibition is installed on Wrightwood 659’s third and fourth floors.
As the most comprehensive survey of the late artist’s work ever mounted in the United States, Scott Burton: Shape Shift is curated by Jess Wilcox, independent curator, and Heather A. Smith, Assistant Curator, Pulitzer Arts Foundation. It premiered last fall at the Pulitzer Arts Foundation, St. Louis, and is presented at Wrightwood 659 by Alphawood Exhibitions.
The Exhibition
Rather than progressing chronologically, the installation of Shape Shift responds to the architecture of Tadao Ando, as did the Pulitzer Arts Foundation’s presentation in 2024. The Pulitzer Prize winning architect designed both art spaces, the Pulitzer in 2001, and Wrightwood in 2018.
Among the highlights of the fourth floor are two groupings of chairs that illustrate Burton’s ideas about community. Placed in front of a curtain glass wall looking out to the street is a tableau of steel chairs—among them two curved chairs installed face-to-face and a solo minimalist take on the wire bistro chair. In another grouping, Wrightwood brings together a variety of Burton’s chairs for visitors to sit on.
On the third floor, the visitor encounters Two-Part Chair (1986/2002), a pair of granite polygon slabs balancing one atop the other for mutual support. Although highly abstract, when viewed in profile the sculpture loosely resembles two bodies in a sexual embrace.
On the same floor, the sculpture and performance element Bronze Chair (1972/75) is displayed next to a photograph showing it on a cobbled-stone street in New York City’s Soho neighborhood in the early ‘70s. Burton had found the Queen Anne-style armchair abandoned in an apartment, cast it in bronze, and put it outside on the street, where it sat enigmatically against a brick wall. At Wrightwood, this installation is echoed by the brick wall of Tadao Ando’s gallery.
Burton’s anthropomorphizing of furniture was linked to his study of proxemics, the inquiry into the relational systems and nonverbal cues inherent in social spaces. As he once said, “You could say that people are like furniture. They take different poses and suggest different genders.” In Shape Shift, this dictum is illuminated in an array of furniture forms, each conveying a distinct character and connotation through form, material, surface finish, scale, and stylistic lineage.
Demonstrating Burton’s radical, but elegant, formal inventions is Two-Part Chaise Lounge (1986-87), where a pair of V-shaped pieces of pink Rosa Baveno granite, set flush with each other, transform into stable seating. In an example of the expressiveness of finish, the visitor will find Spattered Table (1974-1977), a simple wooden table that Burton found, splattered with primary colors, and exhibited atop a large horizontal pedestal, transforming it into minimalist sculpture. As Burton intended, Wrightwood 659 will display the work so that visitors will be able to glimpse its white underbelly, which playfully contrasts with its Abstract Expressionist-inspired outer surfaces. Installed nearby is the diminutive Child’s Table and Chair(1978), which could be an example of a Bauhaus playroom set, were it not for its scale and red, blue, and yellow stretchers and splats.
Still another play on the formal possibilities of a vernacular form is seen in Onyx Table (1978-1981), a Parsons-style table so massive and heavy that it morphs from a piece of furniture into a work of art. At once opulent in its fine surface and luminosity and humorous in its mixed functionality, it anticipates the materiality and approach of Burton’s later public works.
A star of Shape Shift, the spectacularly extroverted Five-Part Storage Cubes (1982), dominates a landing leading from the third to fourth floor. The stack of large yellow, red, orange, blue, and green cubes will be displayed with one of its doors open.
The artist continually riffed off the American vernacular, seen here in homages to the Adirondack chair, including one fabricated in yellow Formica and others conceived as abstract experiments—like Aluminum Chair (1980-1981), where the shape echoes the Adirondack sloping form, but the chair is constructed from triangular aluminum plates punctured by large circular apertures.
Scott Burton: Shape Shift features an array of little- or never-before-seen video, photographs, Polaroids, a poster, notes, and sketches related to Burton’s proscenium performances. These include an oak table found and altered by Burton and repurposed as a performance prop; sketches that diagram movement and directions for performances; and Individual Behavior Tableaux (1980), the only known video of Burton’s performance oeuvre, which documents the artist’s last performance before he turned to furniture/object making full-time. Shot at the Berkeley Art Museum, the video captures the glacially slow enactment of a variety of gestures, poses, and behaviors. The poses stem not only from Burton’s study of nonverbal communication but also allude to the bodily cues that signal sexual availability within gay cruising culture.
Wall and case displays document Burton’s writings for Art in America magazine and other publications; seminal performances, including his early, site-specific installationFurniture Landscape (1970) at the University of Iowa where he brought pieces of furniture outdoors; the exhibition he organized of works by Brancusi at the Museum of Modern Art (MoMA) (1989); and his own sculpture, installed in MoMA’s sculpture garden (1989). The MoMA garden installation featured his Parallelogram chairs, two of which have been added to the Wrightwood showing.
Finally, a slideshow presents views of Burton’s many public art installations, including major works on the grounds of the Des Moines Art Center, Princeton University, the University of Houston, and the Waterfront Plaza at Battery Park City, in New York.
The Artist
Remembered as an artist, critic, and curator, Scott Burton was born in 1939 in Greensboro, Alabama, spent his formative years in Washington, DC, and received a BA degree from Columbia University (1962) and MFA from New York University (1963).
His critical writing appeared regularly in ARTnews and Art in America and in exhibition catalogues, including that for Harald Szeemann’s landmark post-minimalist exhibition, Live in Your Head: When Attitudes Become Form (1969 Kunsthalle Bern, Switzerland).
By the early 1970s, Burton was exhibiting in New York City, first with like-minded artists on the street, then in galleries and museums including the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, P.S. 1, and, in a solo exhibition, Artists Space. Throughout the 1970s and 1980s, Burton created an array of performances, furniture as sculpture, and public art environments inspired by his studies of body language, art history, and design. He also curated the inaugural exhibition in the Museum of Modern Art’s now-lauded Artist’s Choice series. Burton died of an AIDS-related illness in 1989.
His work is in dozens of collections, including the Art Institute of Chicago, Los Angeles County Museum of Art, Museum of Modern Art, National Gallery of Art, Philadelphia Museum of Art, Princeton University Art Museum, Solomon R. Guggenheim Museum, Tate, and the Walker Art Center. Almost all of the archival photographs, diagrams, drawings, and ephemera in the exhibition are on loan from the Museum of Modern Art (MoMA) Archives, which maintains the Scott Burton Papers, its largest single-artist holding.
Performances and Special Events
On October 24 and 25 at Wrightwood 659, the New York-based founder of the Center for Experimental Lectures, Gordon Hall, will present a performance meditating on the condition of waiting and Burton’s legacy. Public programs will also include a talk by art historian David J. Getsy, author of Queer Behavior: Scott Burton and Performance Art (University of Chicago Press, 2022). Getsy’s lecture will take place at the Art Institute of Chicago at 6pm on October 9. Getsy will co-lead a tour ofScott Burton: Shape Shift the following day with the exhibition’s curator Jess Wilcox. (Registration to come.)
Publication
Scott Burton: Shape Shift, the accompanying publication, is expected to serve as an essential source for scholars, artists, and others interested in the intentions and legacy of Scott Burton. The volume features essays by David J. Getsy and Jess Wilcox; writings by the artists Brendan Fernandes and Gordon Hall; contributions by Jeremy Johnston and Heather Alexis Smith; and a never-before-published excerpt from the transcript of a 1988 lecture by Burton.
The volume is co-published by the Pulitzer Arts Foundation and Alphawood Exhibitions and distributed by Yale University Press. Price $50.
Also on View at Wrightwood 659
The Joffrey + Ballet in the U.S. is a large-scale exhibition celebrating the rich history of The Joffrey Ballet and the life of Robert Joffrey. The exhibition premiered at The New York Public Library for the Performing Arts at Lincoln Center in 2024, marking the first major retrospective of the company. Drawing from the Joffrey archive, acquired by the Jerome Robbins Dance Division in 2017 as the Library’s largest acquisition in a decade, the exhibition offers an in-depth look at the Joffrey’s contributions to ballet in the U.S. Highlights include rare film from the original performance of the groundbreaking ballet Astarte and Anna Sokolow’s Opus 65, as well as costumes, props, pointe shoes, posters, correspondence, and other ephemera from the company and Robert Joffrey’s life. The Joffrey + Ballet in the U.S. is organized by The New York Public Library for the Performing Arts and curated by Dr. Julia Foulkes with assistance from Nicole Duffy. It is presented at Wrightwood 659 by Alphawood Exhibitions.
Ellen Altfest: Forever is a selection of 15 oil paintings by the American representational painter Ellen Altfest, known for her painstakingly labor-intensive canvases and her observation of things in the world often overlooked in art. From roughly tactile rocks, tangled branches, and tree bark, to the smoothness of houseplants, fabric, and men’s skin—she condenses everyday essences into expressions of absolute clarity and intensity. Her paintings are characterized by surprising pairings of subjects, unorthodox cropping, and, perhaps most notably, scrupulously rendered naturally occurring textures and intricate surface features. Working directly from observation without photographic sources or references, she often spends months—and sometimes more than a year—on a single painting. Ellen Altfest: Forever is organized by the Frist Art Museum, Nashville, Tennessee, where it premiered earlier this year, and is curated by Mark Scala, Chief Curator, Frist Art Museum. Ellen Altfest: Forever is presented at Wrightwood 659 by Halsted A&A Foundation.
About Wrightwood 659
Wrightwood 659 hosts exhibitions on socially engaged art and architecture, on issues facing LGBTQ+ communities, and on Asian art and architecture. Located in Chicago’s Lincoln Park neighborhood in a building transformed by Pritzker Prize winner Tadao Ando, Wrightwood 659 encourages visitors to engage with pressing issues of our time in an intimate and beautiful space. For additional information, please visitwrightwood659.org.
Hours of Operation and Tickets
Wrightwood 659 is open Thursdays 12 noon-7 pm; Fridays 12 noon-7 pm; Saturdays 10 am-5 pm. Tickets for the trio of exhibitions opening October 3 go on sale Thursday, September 4. Admission is $20 and is available online only athttps://tickets.wrightwood659.org/events. Please note, admission is by advance ticket only. Walk-ups are not permitted.
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11:00:00","ends_at":"2025-10-04 12:30:00","body":"Curator Tour:
Scott Burton: Shape Shift
Saturday, Oct. 4
11 am
Join Curator Jess Wilcox at Wrightwood 659 for a tour of the most comprehensive U.S. survey of Scott Burton.
Curator Tour:
The Joffrey + Ballet in the U.S.
Saturday, Oct. 4
2 pm
Curator Julia Foulkes shares her vision for the exhibition, weaving a detailed narrative through a selection of 200+ photographs, performance footage, and costumes.
Martin Wong: Chinatown USA traces the development of the work of the queer painter and poet, highlighting Wong’s connection with the art and culture of Asia, inparticular through his collecting of pre-modern Asian art and antiquities and his explorations of the Chinatowns of New York and San Francisco from 1970 through the 1990s. A large portion of the exhibition is devoted to his Chinatown paintings, which were the subject of a major exhibition titled Chinatown USA presented at P.P.O.W. Gallery in New York City and the San Francisco Art Institute in 1993. These works depict notable architecture such as the Chinese pagoda-style building at 241 Canal Street, iconic actor Bruce Lee and Peking opera performer Mei Lanfang, festivities like the Chinese New Year Parade, and street scenes. The exhibition also explores Wong’s interest in counterculture communities (such as Puerto Rican poets and graffiti artists) and language through his poetry and American Sign Language paintings. The latter are presented alongside a small selection of works by artists of the modern graffiti movement from Wong’s personal collection, which he donatedto the Museum of the City of New York in 1994. Wong died in 1999 at the age of 53 from an AIDS-related illness.
Martin Wong: Chinatown USA is accompanied by a fully illustrated catalogue published by Halsted A&A Foundation and Gregory R. Miller & Co. Edited by Yasufumi Nakamori, it includes six essays by leading scholars Solomon Adler, Lisa Hsiao Chen, Mark D. Johnson, Vivian Li, Margo Machida, and Lydia Yee.
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Dispossessions in the Americas features photographs, videos, installations, performances, sculptures, and paintings produced between 1960 and 2025. A selection of these artworks circulated in Latin American museums from 2021 to 2025 as part of the Dispossessions in the Americas project, a transdisciplinary research project, teaching initiative, and community engagement program led by the University of Pennsylvania with support from the Mellon Foundation. Organized around three constellations — Territory, Body, and Cultural Heritage — the exhibition explores the colonial legacies in the Americas as territories marked by dispossession (of land, culture, and language) and their continued effect on Indigenous, Afro-descendant, queer, and trans communities, while also fostering resistance and reimagined forms of belonging.
Featured artists include: Karina Aguilera Skvirsky, Colectivo Ayllu, Colectivo Tawna, Deborah Anzinger, Carlos Arias, Archivo de la Memoria Trans, Purita Pelayo, Felipe Baeza, Tania Bruguera, Saskia Calderón, Seba Calfuqueo, Javier Cardona Otero, Wilson Díaz, Frau Diamanda/Héctor Acuña, Augusto Falconi, Ani Ganzala, Frank Gaudlitz, Camilo Godoy, Regina José Galindo, Thomas Locke Hobbs, David Lozano, Cinthia Marcelle, Laryssa Machada, Carlos Martiel, Ana Mendieta, Joiri Minaya, Lulu Molinares, Lizette Nin, Kiván Quiñones, Madorilyn Crawford, Miguel Ángel Rojas, Deborah Thomas, Gihan Tubbeh, Javi Vargas Sotomayor, Antonio Wong Rengifo, Rember Yahuarcani, and Luis Fernando Zapata.
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Chinese American Museum of Chicago
238 W 23rd St, Chicago, IL 60616
May 21, 6 PM
Free
Join us at the Chinese American Museum of Chicago for Hallucinating Hieroglyphs: The Visual Languages of Martin Wong, an in-depth panel discussion moderated by Caroline K. Ng, Executive Director of CAMOC. Scholar and curator Vivian Li, poet and novelist Lisa Chen, and artist and curator Larry Lee will explore fascinating aspects of Wong's body of work, including his promiscuous relationship to language through hybridity and abstraction.
Language was a central component of the Chinese American painter and poet Martin Wong's work, from his first self-published book in 1968 until his death from HIV/AIDS in 1999. Across his poetry scripts, American Sign Language scrolls, paintings, and graffiti collection, Wong used language shaped by his family, friends, and the city around him—mutating letters into characters and mudra-like gestures.
This program is organized by Wrightwood 659 with the Chinese American Museum of Chicago.
A Closer Look at Martin Wong: Chinatown USA
Wrightwood 659
659 W Wrightwood Ave, Chicago, IL 60614
May 22, 1 PM
Free with Exhibition Ticket
Looking for more? On Friday, May 22, the day after the panel, stop by Wrightwood 659 and delve deeper into the complex and thrilling world of Martin Wong. The three panel speakers, Vivian Li, Lisa Hsiao Chen, and Larry Lee will meet guests in the gallery for an in-depth analysis of key works exploring Wong's varied use of language.