![\"\"](\"https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2901/original/larger.jpg\")
Zolla/Lieberman Gallery was established in 1976 by Roberta Lieberman and Robert Zolla within a then-desolate industrial neighborhood now known as the River North Gallery District. They transformed a vacant industrial space into a hub for contemporary art, laying the foundation for the thriving art community that the area is today.
Now located at 325 W Huron St, William Lieberman continues to uphold the legacy of quality and professionalism established since the gallery’s founding. Z/L represents a diverse range of artists and genres that offer a dynamic view of contemporary art in Chicago. They are dedicated to providing personal attention to both beginning and established collectors, as well as other art professionals.
Member Art Dealers Association of America (ADAA).
Installation View of Lora Fosberg: I Love it Here, Let's Leave; in Search of the Hill (photography by Ian Ace Photography)
","location":"325 W. Huron Chicago, IL 60654","display_location":"325 W. Huron, Chicago, IL 60654","slug":"zolla-lieberman-gallery","latitude":"41.894558","longitude":"-87.636606","contact":"William Lieberman; Brian Gillham ","state":"published","created_at":"2013-11-18 20:47:01","updated_at":"2025-11-05 20:11:58.317","sub_district_id":null,"promoted_at":"2018-10-26T21:25:03.734Z","optional_sort_name":"","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1762373474/cour1egkxzeuoav4h8pk.jpg","paid":true},"sociable_links":[{"id":3551,"address":"https://www.facebook.com/zollaliebermangallery","social_linkable_id":578,"social_linkable_type":"Organization","position":null,"kind":"Facebook","created_at":"2025-11-05 20:12:01.097","updated_at":"2025-11-05 20:12:01.097"},{"id":3552,"address":"https://www.instagram.com/zlgallery/","social_linkable_id":578,"social_linkable_type":"Organization","position":null,"kind":"Instagram","created_at":"2025-11-05 20:12:01.097","updated_at":"2025-11-05 20:12:01.097"}],"events":[{"id":34836,"title":"Neil Goodman: Rivers & Valleys","starts_at":"2026-09-04 16:00:00","ends_at":"2026-10-17 17:00:00","body":"Main / Office Galleries
Image: Neil Goodman - \"Untitled,\" 2021, unique cast bronze, 14 x 27½ x 10 in.
","type":null,"state":"published","slug":"neil-goodman","created_at":"2026-08-26 17:10:51.756","updated_at":"2026-08-26 17:10:51.756","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2026-09-04 16:00:00","opening_ends_at":"2026-09-04 19:00:00","searchable":"'10':20B '14':16B '2021':12B '27':18B 'bronz':15B 'cast':14B 'galleri':7B 'goodman':2A,10B 'imag':8B 'main':5B 'neil':1A,9B 'offic':6B 'river':3A 'uniqu':13B 'untitl':11B 'valley':4A 'x':17B,19B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1787511805/wwa0oepb9cbudewghyzh.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":34837,"title":"Igor and Marina: The Shadow Lives Where There is Light","starts_at":"2026-09-04 16:00:00","ends_at":"2026-10-17 17:00:00","body":"South Gallery
IGOR & MARINA
","type":null,"state":"published","slug":"igor-and-marina","created_at":"2026-09-08 16:43:47.209","updated_at":"2026-09-08 16:43:47.209","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2026-09-04 16:00:00","opening_ends_at":"2026-09-04 19:00:00","searchable":"'galleri':12B 'igor':1A,13B 'light':10A 'live':6A 'marina':3A,14B 'shadow':5A 'south':11B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1787512254/dnbh3q6dreesbkeggp9j.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":34863,"title":"David Kroll","starts_at":"2026-11-06 16:00:00","ends_at":"2026-12-23 17:00:00","body":"Opening reception: Friday, November 6th - 4pm to 7pm
Main / South Galleries
Opening reception: Friday, February 17, 5-8pm
\r\n\r\nExhibition on display February 17-March 25, 2017
\r\n\r\nLayer Cakes is a group exhibition featuring works by School of the Art Institute of Chicago (SAIC) alumni including Herman Agguire, Hyegyeong Choi, Lydia Maria Pfeffer, Celeste Rapone, Keith Tolch, Bryant Worley and Allison Zuckerman
\r\n","type":"Event","state":"published","slug":"layer-cakes","created_at":"2018-10-22 20:39:46.826145","updated_at":"2018-10-22 20:39:46.826145","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-8':9B '17':7B,15B '2017':18B '25':17B '5':8B 'agguir':39B 'allison':52B 'alumni':36B 'art':31B 'bryant':49B 'cake':2A,20B 'celest':45B 'chicago':34B 'choi':41B 'display':13B 'exhibit':11B,24B 'featur':25B 'februari':6B,14B 'friday':5B 'group':23B 'herman':38B 'hyegyeong':40B 'includ':37B 'institut':32B 'keith':47B 'layer':1A,19B 'lydia':42B 'march':16B 'maria':43B 'open':3B 'pfeffer':44B 'pm':10B 'rapon':46B 'recept':4B 'saic':35B 'school':28B 'tolch':48B 'work':26B 'worley':50B 'zuckerman':53B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669420/event_ics_1721669420446.ics","carousel":null,"category_name":"Exhibitions"},{"id":3733,"title":"Dennis Lee Mitchell: Smoke Theory","starts_at":"2017-04-07 17:00:00","ends_at":"2017-05-20 20:00:00","body":"","type":"Event","state":"published","slug":"dennis-lee-mitchell-smoke-theory","created_at":"2018-10-22 20:40:11.913197","updated_at":"2018-10-22 20:40:11.913197","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'denni':1A 'lee':2A 'mitchel':3A 'smoke':4A 'theori':5A","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669421/event_ics_1721669420634.ics","carousel":null,"category_name":"Exhibitions"},{"id":4527,"title":"Vera Klement: Pastel on Paper - 1982","starts_at":"2017-04-07 17:00:00","ends_at":"2017-05-20 20:00:00","body":"","type":"Event","state":"published","slug":"vera-klement-pastel-on-paper-1982","created_at":"2018-10-22 20:40:12.041047","updated_at":"2018-10-22 20:40:12.041047","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1982':6A 'klement':2A 'paper':5A 'pastel':3A 'vera':1A","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669445/event_ics_1721669444881.ics","carousel":null,"category_name":"Exhibitions"},{"id":3735,"title":"Like Your Work","starts_at":"2017-06-02 17:00:00","ends_at":"2017-06-30 20:00:00","body":"Like Your Work, a group exhibition curated by Erin Washington
\r\n\r\n“Like Your Work features artists who embody an absurdist dedication to form and craft, either through labor-intensive craft, an anxious patience, or mindful attention to materials and their manipulations."-Erin Washington
\r\n","type":"Event","state":"published","slug":"like-your-work","created_at":"2018-10-22 20:40:39.275354","updated_at":"2018-10-22 20:40:39.275354","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'absurdist':22B 'anxious':35B 'artist':18B 'attent':39B 'craft':27B,33B 'curat':10B 'dedic':23B 'either':28B 'embodi':20B 'erin':12B,45B 'exhibit':9B 'featur':17B 'form':25B 'group':8B 'intens':32B 'labor':31B 'labor-intens':30B 'like':1A,4B,14B 'manipul':44B 'materi':41B 'mind':38B 'patienc':36B 'washington':13B,46B 'work':3A,6B,16B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669420/event_ics_1721669420654.ics","carousel":null,"category_name":null},{"id":3736,"title":"Chicago and Indianapolis - What’s the Connection?","starts_at":"2017-07-14 17:00:00","ends_at":"2017-08-16 20:00:00","body":"A group exhibition curated by Christopher Slapak & Michael Robertson
\r\n\r\nAnila Quayyum Agha
\r\nRay Duffey
\r\nValerie Eickmeier
\r\nReagan Furqueron
\r\nMarc Jacobson
\r\nMelissa Parrott Quimby
\r\nWilliam Potter
\r\nAndrew Winship
Featuring the work of faculty members at the Herron School of Art and Design in Indianapolis. The Herron School was originally part of the John Herron Art Institute, established in 1902 by the Art Association of Indianapolis. In 1967, the school functions of the Herron Art Institute were transferred to Indiana University.
\r\n\r\nThis exhibition explores common themes and concerns of contemporary artists working in Chicago and Indianapolis.
\r\n\r\nChristopher Slapak and Michael Robertson were profiled in the summer issue of Chicago Gallery News. Read the interview here.
\r\n\r\nOpening reception Friday, July 14 as part of River North Art District Midsummer Art Walk
\r\n\r\nImage: Marc Jacobson, Dollar Store 2, 2017, oil on panel, 20" x 37.25"
\r\n","type":"Event","state":"published","slug":"chicago-and-indianapolis-what-s-the-connection","created_at":"2018-10-22 20:40:59.251568","updated_at":"2018-10-22 21:19:16.275827","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'14':125B '1902':65B '1967':73B '2':141B '20':146B '2017':142B '37.25':148B 'agha':19B 'andrew':33B 'anila':17B 'art':46B,61B,68B,80B,131B,134B 'artist':96B 'associ':69B 'chicago':1A,99B,114B 'christoph':13B,102B 'common':90B 'concern':93B 'connect':7A 'contemporari':95B 'curat':11B 'design':48B 'district':132B 'dollar':139B 'duffey':21B 'eickmeier':23B 'establish':63B 'exhibit':10B,88B 'explor':89B 'faculti':39B 'featur':35B 'friday':123B 'function':76B 'furqueron':25B 'galleri':115B 'group':9B 'herron':43B,52B,60B,79B 'imag':136B 'indiana':85B 'indianapoli':3A,50B,71B,101B 'institut':62B,81B 'interview':119B 'issu':112B 'jacobson':27B,138B 'john':59B 'juli':124B 'marc':26B,137B 'melissa':28B 'member':40B 'michael':15B,105B 'midsumm':133B 'news':116B 'north':130B 'oil':143B 'open':121B 'origin':55B 'panel':145B 'parrott':29B 'part':56B,127B 'potter':32B 'profil':108B 'quayyum':18B 'quimbi':30B 'ray':20B 'read':117B 'reagan':24B 'recept':122B 'river':129B 'robertson':16B,106B 'school':44B,53B,75B 'slapak':14B,103B 'store':140B 'summer':111B 'theme':91B 'transfer':83B 'univers':86B 'valeri':22B 'walk':135B 'william':31B 'winship':34B 'work':37B,97B 'x':147B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668357/no5mtzbel5h0utup57db.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669420/event_ics_1721669420643.ics","carousel":null,"category_name":"Exhibitions"},{"id":3738,"title":"Lisa Corinne Davis: No THERE there...","starts_at":"2017-09-08 22:00:00","ends_at":"2017-10-22 01:00:00","body":"","type":"Event","state":"published","slug":"lisa-corinne-davis-no-there-there","created_at":"2018-10-22 20:41:31.332316","updated_at":"2018-10-22 20:41:31.332316","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'corinn':2A 'davi':3A 'lisa':1A","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669420/event_ics_1721669420474.ics","carousel":null,"category_name":"Exhibitions"},{"id":3737,"title":"Phyllis Bramson: Opulent Flim Flam","starts_at":"2017-09-08 22:00:00","ends_at":"2017-10-22 01:00:00","body":"","type":"Event","state":"published","slug":"phyllis-bramson-opulent-flim-flam","created_at":"2018-10-22 20:41:30.26623","updated_at":"2018-10-22 20:41:30.26623","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'bramson':2A 'flam':5A 'flim':4A 'opul':3A 'phylli':1A","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669421/event_ics_1721669420640.ics","carousel":null,"category_name":"Exhibitions"},{"id":4994,"title":"Zolla/Lieberman Gallery at EXPO CHICAGO","starts_at":"2017-09-13 16:00:00","ends_at":"2017-09-17 17:00:00","body":"Zolla/Lieberman Gallery participates in EXPO CHICAGO (Booth #661), September 13-17, 2017 at Navy Pier.
\r\n","type":"Event","state":"published","slug":"zolla-lieberman-gallery-at-expo-chicago","created_at":"2018-10-22 20:41:36.024681","updated_at":"2018-12-20 22:47:01.163721","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'-17':16B '13':15B '2017':17B '661':13B 'booth':12B 'chicago':5A,11B 'expo':4A,10B 'galleri':2A,7B 'navi':19B 'particip':8B 'pier':20B 'septemb':14B 'zolla/lieberman':1A,6B","thumbnail":null,"calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669462/event_ics_1721669461869.ics","carousel":null,"category_name":"Art Fairs"},{"id":3739,"title":"David Kroll: Bouquets","starts_at":"2017-11-03 17:00:00","ends_at":"2017-12-21 20:00:00","body":"November 3 - December 21, 2017
\r\nopening reception: Friday, November 3rd - 5 to 8pm
Zolla/Lieberman Gallery is pleased to announce the opening of David Kroll - Bouquets. Kroll's paintings are of internal worlds. They are of private memories trapped, as if in amber, within a time of glowing solitude - a proto-Romanticist's recollection in a moment of tranquility. Within that solitary moment the hushed expectancy in Kroll's paintings settles over scale shifts in which fore-, mid- and background space mesh as a seamless whole. Each painting is the stage for the artist's deliberately conflated landscapes, still-lifes and naturalistic imagery. It is where a sense of the fragility of life, ever-present, is a recurring motif and in which the perpetual suggestion of mortality and evanescence predominates over the artist's naturalistic scenarios.
\r\n
\r\nKroll received his BFA from the San Francisco Art Institute (1980) and an MFA from the School of the Art Institute of Chicago (1986). He lived and painted for many years in Chicago, where he taught at the School of the Art Institute of Chicago, before moving to the Pacific Northwest in 2002. His work has been widely published and appears in numerous private and public collections.
Opening reception: Friday, January 5th - 5 to 8pm
\r\n\r\nZolla/Lieberman Gallery is pleased to announce the opening of Glenn Wexler - Illumination Unfolded: Works of the Urban Landscape. Wexler’s photograph-based installation analyzes the urban setting and the components that form it. His versatile work takes many forms (wallpaper, acrylic panel, light-box, site-specific installation) but all address the rapid development of metropolitan areas and the clash of cultures as a result.
\r\n\r\n\r\n\r\n
\r\n","type":"Event","state":"published","slug":"glenn-wexler-illumination-unfolded-works-of-the-urban-landscape","created_at":"2018-10-22 20:42:13.533389","updated_at":"2018-10-22 21:13:43.846055","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'5':15B '5th':14B '8pm':17B 'acryl':59B 'address':70B 'analyz':42B 'announc':23B 'area':76B 'base':40B 'box':63B 'clash':79B 'compon':48B 'cultur':81B 'develop':73B 'form':50B,57B 'friday':12B 'galleri':19B 'glenn':1A,27B 'illumin':3A,29B 'instal':41B,67B 'januari':13B 'landscap':9A,35B 'light':62B 'light-box':61B 'mani':56B 'metropolitan':75B 'open':10B,25B 'panel':60B 'photograph':39B 'photograph-bas':38B 'pleas':21B 'rapid':72B 'recept':11B 'result':84B 'set':45B 'site':65B 'site-specif':64B 'specif':66B 'take':55B 'unfold':4A,30B 'urban':8A,34B,44B 'versatil':53B 'wallpap':58B 'wexler':2A,28B,36B 'work':5A,31B,54B 'zolla/lieberman':18B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668413/rx7bfjh37xommi0lso3e.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669479/event_ics_1721669478842.ics","carousel":null,"category_name":"Exhibitions"},{"id":5451,"title":" In/scription: Survey of Recent SAIC Graduates","starts_at":"2018-01-05 20:00:00","ends_at":"2018-02-10 21:00:00","body":"Zolla/Lieberman Gallery is pleased to announce the opening of In/scription, a survey of recent graduates from the School of the Art Institute of Chicago.
\r\n\r\nBlake Aaseby
\r\nHerman Aguirre
\r\nHeesu Jeon
\r\nMaura O'Brien
\r\nElaine Rubenoff
\r\n
\r\nOpening reception: Friday, January 5, 5 to 8pm
*Photo Courtesy of Heesu Jeon
\r\n\r\n","type":"Event","state":"published","slug":"in-scription-survey-of-recent-saic-graduates","created_at":"2018-10-22 20:42:14.38812","updated_at":"2018-10-22 21:14:27.245443","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'5':46B,47B '8pm':49B 'aasebi':32B 'aguirr':34B 'announc':12B 'art':27B 'blake':31B 'brien':39B 'chicago':30B 'courtesi':51B 'elain':40B 'friday':44B 'galleri':8B 'graduat':6A,21B 'heesu':35B,53B 'herman':33B 'in/scription':1A,16B 'institut':28B 'januari':45B 'jeon':36B,54B 'maura':37B 'o':38B 'open':14B,42B 'photo':50B 'pleas':10B 'recent':4A,20B 'recept':43B 'rubenoff':41B 'saic':5A 'school':24B 'survey':2A,18B 'zolla/lieberman':7B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668413/sftreswha955wan8mif5.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669479/event_ics_1721669478834.ics","carousel":null,"category_name":"Exhibitions"},{"id":5698,"title":"Gregory Block: Doors of Perception","starts_at":"2018-02-23 18:00:00","ends_at":"2018-03-31 19:00:00","body":"Opening Reception: Friday, February 23, 5 - 8pm
\r\n\r\n","type":"Event","state":"published","slug":"gregory-block-doors-of-perception","created_at":"2018-10-22 20:42:28.46929","updated_at":"2018-10-22 21:11:05.33225","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'23':10B '5':11B '8pm':12B 'block':2A 'door':3A 'februari':9B 'friday':8B 'gregori':1A 'open':6B 'percept':5A 'recept':7B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668421/kmf6z0yu3llmr16kmlkg.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669487/event_ics_1721669487221.ics","carousel":null,"category_name":"Exhibitions"},{"id":5699,"title":"Peter Stephens: The Paris Years","starts_at":"2018-02-23 18:00:00","ends_at":"2018-03-31 19:00:00","body":"Opening Reception: Friday, February 23, 5 - 8pm
\r\n\r\n","type":"Event","state":"published","slug":"peter-stephens-the-paris-years","created_at":"2018-10-22 20:42:28.555486","updated_at":"2018-10-22 21:11:04.007517","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'23':10B '5':11B '8pm':12B 'februari':9B 'friday':8B 'open':6B 'pari':4A 'peter':1A 'recept':7B 'stephen':2A 'year':5A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668421/ijbduclvsnyttqtocqg4.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669487/event_ics_1721669487236.ics","carousel":null,"category_name":"Exhibitions"},{"id":5935,"title":"Dozier Bell – The Limits of Civilization","starts_at":"2018-04-13 17:00:00","ends_at":"2018-05-19 20:00:00","body":"Opening reception: Friday, April 13th - 5 to 8pm
\r\n\r\nZolla/Lieberman Gallery is pleased to announce the opening of Dozier Bell - The Limits of Civilization. The drawings and paintings of Dozier Bell are at once deep evocations of natural environments culled from memory and experience past, and reflections of a life of philosophical inquiry and keen observation that merge in her work as marvels of virtuosity and poignant imagery. Her work is a visual autobiography of a sort, one that recalls generations of a Maine family that worked the land, kept the wilderness at bay, planted tree farms, raised animals, and embraced the nearby sea.
\r\n\r\n","type":"Event","state":"published","slug":"dozier-bell-the-limits-of-civilization","created_at":"2018-10-22 20:42:46.246802","updated_at":"2018-10-22 21:09:39.863088","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'13th':11B '5':12B '8pm':14B 'anim':104B 'announc':20B 'april':10B 'autobiographi':79B 'bay':99B 'bell':2A,25B,36B 'civil':6A,29B 'cull':45B 'deep':40B 'dozier':1A,24B,35B 'draw':31B 'embrac':106B 'environ':44B 'evoc':41B 'experi':49B 'famili':90B 'farm':102B 'friday':9B 'galleri':16B 'generat':86B 'imageri':73B 'inquiri':58B 'keen':60B 'kept':95B 'land':94B 'life':55B 'limit':4A,27B 'main':89B 'marvel':68B 'memori':47B 'merg':63B 'natur':43B 'nearbi':108B 'observ':61B 'one':83B 'open':7B,22B 'paint':33B 'past':50B 'philosoph':57B 'plant':100B 'pleas':18B 'poignant':72B 'rais':103B 'recal':85B 'recept':8B 'reflect':52B 'sea':109B 'sort':82B 'tree':101B 'virtuos':70B 'visual':78B 'wilder':97B 'work':66B,75B,92B 'zolla/lieberman':15B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668429/isxycympfxet9690qzg5.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669496/event_ics_1721669495806.ics","carousel":null,"category_name":"Exhibitions"},{"id":5936,"title":"Eric Lebofsky - Do You Still Talk To Eric?","starts_at":"2018-04-13 17:00:00","ends_at":"2018-05-19 20:00:00","body":"Opening reception: Friday, April 13th - 5 to 8pm
\r\n\r\nZolla/Lieberman Gallery is pleased to announce the opening of Eric Lebofsky - Do You Still Talk To Eric?
\r\n
\r\nEric Lebofsky is a visual artist, composer, writer, and performer. Lebofsky's solo exhibitions include Sears Peyton Gallery in New York, Western Exhibitions and Zolla/Lieberman in Chicago, and Miller Block Gallery in Boston. He has been included in group shows at the Museum of Contemporary Art and Shane Campbell Gallery in Chicago, and at Gavin Brown's Enterprise and Adam Baumgold Gallery in New York. His artist books are in the collections of the Museum of Contemporary Art (Chicago) and the School of the Art Institute of Chicago. His album Metagami was released by Lens Records in 2007. Lebofsky received his BA from Columbia University in New York and his MFA from the School of the Art Institute of Chicago (SAIC). He works and teaches at SAIC.
\r\n\r\n
\r\n","type":"Event","state":"published","slug":"eric-lebofsky-do-you-still-talk-to-eric","created_at":"2018-10-22 20:42:46.040635","updated_at":"2018-10-22 21:09:39.405936","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'13th':13B '2007':131B '5':14B '8pm':16B 'adam':93B 'album':123B 'announc':22B 'april':12B 'art':79B,111B,118B,150B 'artist':39B,100B 'ba':135B 'baumgold':94B 'block':63B 'book':101B 'boston':66B 'brown':89B 'campbel':82B 'chicago':60B,85B,112B,121B,153B 'collect':105B 'columbia':137B 'compos':40B 'contemporari':78B,110B 'enterpris':91B 'eric':1A,8A,26B,33B,34B 'exhibit':47B,56B 'friday':11B 'galleri':18B,51B,64B,83B,95B 'gavin':88B 'group':72B 'includ':48B,70B 'institut':119B,151B 'lebofski':2A,27B,35B,44B,132B 'len':128B 'metagami':124B 'mfa':144B 'miller':62B 'museum':76B,108B 'new':53B,97B,140B 'open':9B,24B 'perform':43B 'peyton':50B 'pleas':20B 'receiv':133B 'recept':10B 'record':129B 'releas':126B 'saic':154B,160B 'school':115B,147B 'sear':49B 'shane':81B 'show':73B 'solo':46B 'still':5A,30B 'talk':6A,31B 'teach':158B 'univers':138B 'visual':38B 'western':55B 'work':156B 'writer':41B 'york':54B,98B,141B 'zolla/lieberman':17B,58B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668429/a8mns3oqvecxbquzbfqy.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669496/event_ics_1721669495718.ics","carousel":null,"category_name":"Exhibitions"},{"id":5934,"title":"John Fraser – Incident & Metaphor","starts_at":"2018-04-13 17:00:00","ends_at":"2018-05-19 20:00:00","body":"Opening reception: Friday, April 13th - 5 to 8pm
\r\n\r\nZolla/Lieberman Gallery is pleased to announce the opening of John Fraser - Incident & Metaphor. The mixed media constructions of John Fraser suggest and then traverse the sublime rupture of the ordinary, the sense of temporal dislocation and spatial tension, the negotiation of order and disorder, control and breakdown, within transformative experiences.
\r\n
\r\nJohn Fraser received a BA from Roosevelt University in Chicago, and a MFA from Northern Illinois University in DeKalb. His work has been awarded fellowships and grants from Arts Midwest / National Endowment for the Arts, and The Illinois Arts Council, and he has been an Artist in Residence at YADDO in Saratoga Springs, NY, at Illinois State University, twice at The Robert M. MacNamara Foundation in Westport Island, Maine, at The Bemis Center for Contemporary Arts in Omaha, Nebraska, and at Hafnarborg, The Hafnarfjordur Center of Culture and Fine Art, near Reykjavik, Iceland.
INSIGHTS II: An Art Exhibition of Creativity and The Bipolar Brain
\r\n\r\nAdmission is Free
\r\n\r\nFeaturing the work of artists who have Bipolar Disorder at the Zolla/Lieberman Gallery in Chicago. The purpose of the Exhibition is to raise awareness of Bipolar Disorder and the work of the Foundation, and to reduce the stigma associated with Bipolar Disorder by highlighting the creativity that can often accompany this illness.
\r\n\r\nTwenty works of art, including three pieces by Chicago-area artists, were selected by an independent jury of gallerists, art collectors and artists to be featured in INSIGHTS II. The selected works range from paintings to sculpture, from tapestry to jewelry, and are a powerful representation of the creative minds of very talented artists.
\r\n\r\nAlong with the juried art selections, INSIGHTS II will feature the work of three celebrity artists, including acclaimed glass artist Dale Chihuly, motion picture director Paul Dalio and renowned comedian Jonathan Winters, all of whom were impacted by Bipolar Disorder.
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\r\n","type":"Event","state":"published","slug":"the-ryan-licht-sang-bipolar-foundation-charity-exhibition","created_at":"2018-10-22 20:43:05.762349","updated_at":"2018-10-22 21:08:16.635064","excerpt":null,"is_timeless":false,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'acclaim':147B 'accompani':72B 'admiss':20B 'along':130B 'area':85B 'art':12B,78B,95B,134B 'artist':27B,86B,98B,129B,145B,149B 'associ':61B 'awar':46B 'bipolar':5A,18B,30B,48B,63B,168B 'brain':19B 'celebr':144B 'chariti':7A 'chicago':37B,84B 'chicago-area':83B 'chihuli':151B 'collector':96B 'comedian':159B 'creativ':15B,68B,124B 'dale':150B 'dalio':156B 'director':154B 'disord':31B,49B,64B,169B 'exhibit':8A,13B,42B 'featur':23B,101B,139B 'foundat':6A,55B 'free':22B 'galleri':35B 'gallerist':94B 'glass':148B 'highlight':66B 'ii':10B,104B,137B 'ill':74B 'impact':166B 'includ':79B,146B 'independ':91B 'insight':9B,103B,136B 'jewelri':116B 'jonathan':160B 'juri':92B,133B 'licht':3A 'mind':125B 'motion':152B 'often':71B 'paint':110B 'paul':155B 'pictur':153B 'piec':81B 'power':120B 'purpos':39B 'rais':45B 'rang':108B 'reduc':58B 'renown':158B 'represent':121B 'ryan':2A 'sang':4A 'sculptur':112B 'select':88B,106B,135B 'stigma':60B 'talent':128B 'tapestri':114B 'three':80B,143B 'twenti':75B 'winter':161B 'work':25B,52B,76B,107B,141B 'zolla/lieberman':34B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668438/vlb84kkhnsmnzwwjiz9k.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669504/event_ics_1721669504452.ics","carousel":null,"category_name":"Exhibitions"},{"id":5998,"title":"Zoom In: Recent Paintings by Xiaoze Xie","starts_at":"2018-06-08 17:00:00","ends_at":"2018-08-15 20:00:00","body":"
Zolla/Lieberman Gallery is pleased to announce the opening of Zoom In: Recent Paintings by Xiaoze Xie. For more than 20 years, Xiaoze Xie has painted folded edges of newspapers and front pages to preserve moments in history in a time of high-paced media and shortened news cycles. Fragmented imagery of civil war, protest and humanitarian crisis detail a mercurial political climate and urges us to dig deeper and investigate. His work draws attention to the suppression of information and varied degrees of transparency in a media landscape often rife with bias and misinformation.
\r\n\r\nFor his solo exhibition with the gallery since 2008, Xie presents a selection of recent paintings from The Silent Flow of Daily Life, Fragmentary Views and Both Sides Now, three related series that offer different perspectives on newspapers as a loaded subject to consider time, memory and history.
\r\n
\r\nXiaoze Xie received his Master of Fine Art degrees from the Central Academy of Arts & Design in Beijing and the University of North Texas. Xie has exhibited extensively in the US and internationally. He has had solo exhibitions at the Bates College Museum of Art in Maine (2012), Jordan Schnitzer Museum of Art at the University of Oregon (2011), Knoxville Museum of Art in Tennessee (2011), Modern Chinese Art Foundation in Gent Belgium (2007), Scottsdale Museum of Contemporary Art in Arizona (2000), among others. He has participated in numerous group exhibitions including Anren Biennale: Today's Yesterday in Sichuan (2017), The 3rd Nanjing International Art Festival in Nanjing (2016), The 1st Xinjiang International Arts Biennale in Urumqi (2014), Fragmentary Narratives at the Changsha City Museum (2015), and Shu: Reinventing Books in Contemporary Chinese Art at the China Institute Gallery in New York and Seattle Asian Art Museum (2006-08). Xie's work is in the permanent collection of such institutions as the Museum of Fine Arts Houston, the Scottsdale Museum of Contemporary Art, San Jose Museum of Art and the Oakland Museum of California. Xie received the Painters and Sculptors Grant from the Joan Mitchell Foundation (2013), Pollock-Krasner Foundation Grant (2003) and artist awards from Phoenix Art Museum (1999) and Dallas Museum of Art (1996). Xie is the Paul L. & Phyllis Wattis Professor of Art at Stanford University.
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\r\nXie's solo exhibition, Eyes On: Xiaoze Xie at the Denver Art Museum, is now on view through July 8, 2018.
Image:
\r\nXiaoze Xie
\r\nDecember 4, 2012, I.H.T.
\r\n2014
\r\noil and acyrlic on canvas
\r\n74" x 64"
\r\n
Artist statement: My own life experiences have always played a significant role in what influences the works that I create, because first and foremost the work must be a catharsis.
Wherever I go, whatever I do, I will always paint; I will always create.
This is my way of expressing, telling stories, and healing. Weaving in the storiesand energies of people I meet and drawing from the collective family, friends, and loved ones in my life, is also an important component of my practice.
“In Search of Ground” is about the concept of trying to keep one’s feet planted when everything in the world feels topsy-turvy. I’ve had a vision in my mind for quite some time now, of feeling like a kite that never seems to make its way back down: getting beaten and tattered; banging against a building or a tree; faded, stitched up, and patched; being tugged at by my strings; but never quite making it down to a safe and peaceful home. Sorting through the emotions of the intense and sudden shifts in stability that come with feeling so ungrounded, has been a constant and exhausting exercise.
And thus, “In Search of Ground” has emerged as a body of work that has given Rene solace through pain, strength through grief, and peace through turmoil. Rene says that each and every piece has been an absolute gift, in that it has allowed her a method...a time...a space, to process and let go.
In addition to Rene's paintings, this show will feature her India ink drawings and steel wire sculptures, with wood bases that have a story all their own, by renowned Chicago craftsman Ari Smejkal and Rene.
![\"\"](\"https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2900/original/larger-1.jpg\")
![\"\"](\"https://s3.amazonaws.com/chigal/rich/rich_files/rich_files/2899/original/larger-2.jpg\")
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Within layers of condensed mapping, Blake Aaseby balances a push and pull of painted planes, documented line-work, and recalled shapes in order to form convoluted re-tellings of past events. His work aims at creating maps to a landscape he finds is both fading and forming, one that rests between the past and present. Aaseby’s under-paintings are quickly lost to a thick layer of oil, only to be uncovered with a carved network of lines. Each mark begins to add and subtract, transforming the prior while simultaneously giving a foundation for the next. With his meticulous and futilely mapped paintings, Gather Round is a collection of stories from the mundane to the remarkable.
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Papel Picado is a Mexican Folk Art of cutting decorative paper into cut designs that are then displayed as brightly colored banners. Inspired by this historic practice, David Lozano fashions his Madera (wood) Picado series. In Lozano’s work, the cut design of Papel Picado is incomplete or altered and filled with European textile designs or “Americana” imagery. Juxtaposing cultural and historical references creates a surface where craft and cultural hierarchy exist on the same field, and interrupts perceptions of value and cultural inequality. With a celebratory color palette and detailed craft, Lozano plays with power of memory to fracture long-standing notions of identity.
","type":"Event","state":"published","slug":"david-lozano-madera-picado","created_at":"2018-12-11 22:40:16.669755","updated_at":"2018-12-11 22:40:16.726856","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'alter':53B 'americana':61B 'art':11B 'banner':26B 'bright':24B 'celebratori':91B 'color':25B,92B 'craft':72B,96B 'creat':68B 'cultur':64B,74B,87B 'cut':13B,17B,45B 'david':1A,32B 'decor':14B 'design':18B,46B,59B 'detail':95B 'display':22B 'european':57B 'exist':76B 'fashion':34B 'field':80B 'fill':55B 'folk':10B 'fractur':104B 'hierarchi':75B 'histor':30B,66B 'ident':110B 'imageri':62B 'incomplet':51B 'inequ':88B 'inspir':27B 'interrupt':82B 'juxtapos':63B 'long':106B 'long-stand':105B 'lozano':2A,33B,41B,97B 'madera':3A,36B 'memori':102B 'mexican':9B 'notion':108B 'palett':93B 'papel':5B,48B 'paper':15B 'percept':83B 'picado':4A,6B,38B,49B 'play':98B 'power':100B 'practic':31B 'refer':67B 'seri':39B 'stand':107B 'surfac':70B 'textil':58B 'valu':85B 'wood':37B 'work':43B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668225/skw1i7vyzsxgytptethe.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669263/event_ics_1721669262761.ics","carousel":null,"category_name":"Exhibitions"},{"id":237,"title":"John Fraser: Found in the Making","starts_at":"2018-11-02 12:00:00","ends_at":"2018-12-28 12:00:00","body":"
The mixed media constructions of John Fraser suggest and then traverse the sublime rupture of the ordinary, the sense of temporal dislocation and spatial tension, the negotiation of order and disorder, control and breakdown, within transformative experiences.
","type":"Event","state":"published","slug":"john-fraser-found-in-the-making","created_at":"2018-12-11 22:43:23.862383","updated_at":"2018-12-11 22:43:23.900475","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'breakdown':40B 'construct':10B 'control':38B 'disloc':28B 'disord':37B 'experi':43B 'found':3A 'fraser':2A,13B 'john':1A,12B 'make':6A 'media':9B 'mix':8B 'negoti':33B 'order':35B 'ordinari':23B 'ruptur':20B 'sens':25B 'spatial':30B 'sublim':19B 'suggest':14B 'tempor':27B 'tension':31B 'transform':42B 'travers':17B 'within':41B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668224/frjl3mwfugog5hmwpxe8.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669263/event_ics_1721669262783.ics","carousel":null,"category_name":"Exhibitions"},{"id":491,"title":"Rhonda Gates – Polychromiscape","starts_at":"2019-01-11 17:00:00","ends_at":"2019-02-09 17:00:00","body":"
Rhonda Gates
Polychromiscape
January 11 - February 9, 2019
Jeane Cohen
Organon I
opening reception: Friday, January 11, 5 - 8pm
Brian Driscoll – Ghost Trophies
January 11 - February 9, 2019
","type":"Event","state":"published","slug":"brian-driscoll-ghost-trophies","created_at":"2019-01-09 20:50:45.917101","updated_at":"2019-01-09 20:50:45.931434","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2019-01-11 17:00:00","opening_ends_at":"2019-01-11 20:00:00","searchable":"'11':10B '2019':13B '9':12B 'brian':1A,5B 'driscol':2A,6B 'februari':11B 'ghost':3A,7B 'januari':9B 'trophi':4A,8B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668233/uzr6zenwrokvkhpifsyb.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669271/event_ics_1721669270778.ics","carousel":null,"category_name":"Exhibitions"},{"id":488,"title":"Igor Kozlovsky & Marina Sharapova – Freedom of Illusions","starts_at":"2019-02-22 12:00:00","ends_at":"2019-03-23 12:00:00","body":"February 22–March 23, 2019
• Igor Kozlovsky & Marina Sharapova – Freedom of Illusions
We are artists, which is an excellent thing. We are married, also an excellent thing. We work together—not necessarily an excellent thing. What do we mean by this? Clearly, it isn’t that we don’t find inspiration in each other’s work or ideas. However, on a practical level, it is hard to avoid some problems. First of all, though we have been together for thirty years, whenever we work on a picture together, we spend most of our time arguing. Perhaps this isn’t all that surprising. Van Gogh and Gauguin tried to work together in Arles. They stood side-by-side, produced some wonderful work, and ultimately came to hate each other. Our task may even be harder. They weren’t married after all, and we don’t want to end of hating each other. Still, as we say, working together generally produces conflict rather than peace.
Why? Primarily, it is because we come to a canvas from different directions. Igor’s specialty is a subtle sense for color, a wonderful appreciation for the tactile nature of paint, canvas, and an intuitive feel for how to play with abstract images. Marina, on the other hand, possesses an excellent and subtle touch for realistic drawing and is capable of creating new images on the basis of the works of older artists, particularly those of the Italian and Dutch renaissance. We have been working towards our present level of cooperation for many years, first employing the techniques of realist art, then becoming interested in the achievements of abstraction, then those of the Russian avant-garde.
We were able to do this because in the Russian academic system within which we were educated, artists are rigorously taught the skills of the Old Masters. However, we are taught to use those skills to create paintings with a deep humanity about them, we are told to strive for beauty, but beauty with depth in order to create works that will stay with you for a long time.
We attempt to combine what might seem to be the uncombinable — the bold colors of contemporary artistic practice with the achievements of the Renaissance, to which we add some surrealist notes to give a new meaning to familiar images, placing them in unexpected frames, forcing the viewer to enter our invented world and to experience a new world of his or her own. Perhaps it might have been possible for one or the other of us to go through this entire creative path by ourselves.
Perhaps it might have been possible for one or the other of us to create synthetic paintings of this sort alone. However, for the moment, we need to make use of the separate talents and separate but related interests of each other. And each time we see the result of our collective work; we decide that the whole process, with all its aches and pains is worth it.
- translated By Andrew Wachtel
February 22–March 23, 2019
• Chuck Walker, NO OWL SERVICE
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Elaine Rubenoff
Oleander
Through the use of image, line and color, Rubenoff explores ideas of vulnerability, pain and pleasure. The representation of flowers is a reoccuring symbol in her paintings, utilizing their ability to illustrate history, ideals of beauty, vitality, mourning and loss. Her work exists in a tenuous space between the ubiquitous and the highly personal. The bold and unapologetic rendering of this subject acts as both a form of empowerment and an embrace of vulnerability. Her subject matter reflects the labor, the imagined tactility and sexuality of gardens. Rubenoff uses the romantic and enduring language of flowers to consider the history of these culturally weighted symbols and their underestimated potency.
Abstract renderings of flowers are painted directly onto raw canvas, infusing the pigment into the surface. The stained quality of Rubenoff’s paintings directly reference watercolor and fight their expected production in size and surface. Anemone, Lily of the valley, Daffodil, Pansies, Heliotrope are all a part of a melodic composition leading the eye towards an abstraction of flower parts blending together and alluding to the sexual process of cross pollination. The use of an easily deprecated medium brought to a large scale and stretching its limits becomes a statement of overcoming expectation.
Conceptually, Rubenoff’s method of painting runs parallel to the physicality of gardening. She is constantly adding/planting, subtracting/ pruning and building off pre existing relationships. Due to the nature of the watery medium she employs, it is necessary for her to paint on the floor, otherwise the pigment would roll off the canvas. She often kneels next to or stands above the paintings as she works, making her body an integral part of the production. Although she starts with a plan, Rubenoff is receptive to the possibility of the unanticipated within the development of each canvas, much like how a garden is affected by weather and the inevitability of time.
The medium of watercolor has greatly influenced Rubenoff’s work in that it contains a vast amount of historic and conceptual meaning. Throughout history watercolor has been looked at as a stereotypically feminine medium, characteristic of preliminary work/ studies but never realized as having the ability to stand up against the masculine power of oil paint. The process of utilizing these cultural tropes while embracing a historically craft-based medium creates within Rubenoff an awareness of her vulnerability. In turn, this situates her at a place where she can offer valid critique and ask meaningful questions.
Rubenoff speaks to the common prejudice that a fluid or soft thing such as watercolor can’t be powerful. In line with the characteristics of a flower, she generates paintings that are both soft and loud.
Rubenoff sees her use of flower iconography and the medium of watercolor as a direct embrace of femininity and feminism. To Rubenoff there is no dichotomy in sensitivity and power. The absorbent surface alludes to the notion of vulnerability, of being raw and subjected to judgment.
Rubenoff works with paintings of a large scale. Her typical canvas is 15’ long by 6’ high. The use of a large scale engages the viewer in a physical relationship with the painting, and provides an enhanced experience. Rubenoff sees this physical relationship of one’s body to her paintings as having a direct conversation with similar aspects in the minimalist canon of the 60’s and 70’s.
Elaine Rubenoff is an artist and educator based in Chicago, IL. She received her MFA in Painting and Drawing from the School of the Art Institute of Chicago (SAIC) and her BA in Studio Art from Framingham State University. She had her first solo exhibition in November of 2017 at Randy Alexander Gallery in Chicago and has participated in numerous group exhibitions since 2013. This past spring and summer Rubenoff received the Carrie Ellen Tuttle Fellowship Award for Painting, and she presented at the HFBK 250th Anniversary in Hamburg, Germany. She currently teaches with CAPE, the Chicago Arts Partnerships in Education Program.
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Whether in Chicago’s inner city or the towns of Mexico, the overabundance of violence becomes embedded in my community, here and across the border.
Through construction, deconstruction, and reconstruction, I rework juxtapositions to cope with these realities and expose my true self: afraid anxious, angry, unapologetic, insecure, honest, paranoid, and sympathetic. The accumulation of mirrored versions forced me to question my identity: Who am I? Where do I stand? Where do we stand? Am I next or someone I love? How many women? How many children? Why? At what cost? This in turn led to expression that went beyond the material understanding. Ultimately, my spiritual healing.
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Using graphite, charcoal, enamel and acrylic paint, my work on canvas explores a curiosity in the human connection to the land. Repetitive motions and the resulting transfer act as a tool to record not only the land, but the artist in space and time.
Touching and rubbing become central themes in each piece, documenting the sensual connection between body and places/objects. the body’s natural gestures and mechanics become part of the image as well as limitation for size and quality of mark making.
Later additions compound this physical field work with more abstract reactions to memories of the experience. Works live between locations and travel back and forth, along with objects, remnants, and artifacts from the creative experience. Each part interchangeable, but absolutely necessary in the experiential creation of the work.
Through this painting process I am granted a new perspective on these places and materials that I normally would have overlooked. I hope that these recordings can inspire others to look and find beauty as I have.
- Hunter Buck, 2019
Image:
Hunter Buck
Taughannock, 2019
drypoint etching / intaglio print
edition 1/6
18\" x 15\"
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\"I have long had the feeling that Butterfield could make one of her sculptures out of any material that you could give her - she is that masterful. When she makes them out of worn, stripped tree branches or driftwood , as she does in this exhibition, I am struck by the way the weathered wood evokes the environment in which it was found, Montana or Hawaii, for example, two places where she lives and works. It also suggests a post-human world, but not in any way that is overt or didactic. Rather, it is a perception that exists at the edge of comprehension, like a haunting dream.\"
- excerpt from Deborah Butterfield's Rescue Mission, by John Yau, 2019
![\"\"](\"https://gallery.mailchimp.com/b2b04f842b0918c879d49d6fd/images/eabc170a-2ce7-40c5-8943-aa3ca6b37278.jpg\")
Catalog Available
Within layers of condensed mapping, Blake Aaseby balances a push and pull of painted planes, documented line-work, and recalled shapes in order to form convoluted re-tellings of past events. His work aims at creating maps to a landscape he finds is both fading and forming, one that rests between the past and present. Aaseby’s under-paintings are quickly lost to a thick layer of oil, only to be uncovered with a carved network of lines. Each mark begins to add and subtract, transforming the prior while simultaneously giving a foundation for the next. With his meticulous and futilely mapped paintings, Gather Round is a collection of stories from the mundane to the remarkable.
Dennis Lee Mitchell spent his formative years exploring the outdoors. He was born in the rural town of Larned, Kansas where he connected with nature every day. His inherent inquisitiveness led him to pursue the sciences as he entered Kansas State University. However, similarly to the story of Peter Voulkos, Dennis was required to enroll in a studio art class to fulfill requirements for his major. From that day forward, ceramics became Mitchell’s passion.
The fluid quality of the material worked in his favor. He looked to nature for inspiration, but discovered, as many artists do, that it is fleeting. However, he was able to manifest his love of nature into tiny ceramic “particles” such as peeling bark on a birch log covered in lichen. His innovative techniques and precise application allowed him to execute the smallest of exquisite details in clay.
Ceramics can be a volatile medium. The constant change and unpredictability inspired Dennis to experiment with unconventional tools such as gas torches. An errant flame led to Dennis’ first “smoke drawing.” He realized the immediate visual impact. The torch familiarly responded like a ceramic glaze, often fickle and always unique. His passion for art-making revitalized as he explored a new visual language.
As Dennis continues to master drawing with smoke, his imagery evolves to further investigate the connection between artist, material and subject. The allure of his work is a familiar material taken beautifully out of context.
-Frank Paluch
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Artist Statement: I use images that are infused with lighthearted arbitrariness and amusing anecdotes about love and affection, in an often cold and hostile world. Mostly, I am making work that percolates forth life’s imperfections: that doesn’t take decorum all that seriously, refusing to separate matters of taste from larger questions about “good behavior.” The paintings are reactions to all sorts of sensuous events, from the casual encounter to highly formalized exchanges of lovemaking (and everything in between). Miniaturized schemes, which meander between love, desire, pleasure and tragedy; all channeled through seasonal changes. Burlesque-like and usually theatrical incidents, that allow for both empathy and “addled” folly, while projecting capricious irritability with comic bumps along the way.
The art writer Miranda McClintoc wrote: “Phyllis Bramson’s imaginative portrayals of stereotypical sexual relationships incorporate the passionate complexity of eastern mythology, the sexual innuendos of soap operas and sometimes the happy endings of cartoons.” The art writer/critic Jim Yood, claims that Chicago figuration always involves figures under some sort stress.
My “sources” remain those of Rococo and Chinoiserie of the 18th century as well as Chinese Pleasure Garden paintings and the French painters, Boucher and Fragonard. The paintings of Fragonard usually dealt with pastoral pleasures, (often hiding a secret) and immoral luxury that had elements of the political; caricatures showing the decadent frivolity of his time, when the peasant class was starving. An art historian described Fragonard’s figures as always blushing and sensuous and the landscapes in which the figures dallied, as having the same attributes.
The narratives in my paintings remain incomplete, never really telling a coherent story and thus resemble abstracted tropes concerning romantic folly and loss. They are used as a repository for feelings, which often collide and intermingle between the personal and at the same time, propose a story that doesn’t tell the ending. Paintings that wobble between private subjective values, social concerns and conceits, self subscribed metaphors, melancholic loss and cliché. It is the materiality, the philosophical as well as visual aspects of making a painting that that drives my work. The finished works become a site for sensuous discourse pushed into a precarious state that the viewer can get lost in. Frivolous appearing, albeit often over blown concoctions all intoxicatingly enveloped in my desire to project beauty.
Image:
Phyllis Bramson
The Good Keeper of All Living Things, 2017
collage/mixed media/oil on canvas
70\" × 60\"
","type":"Event","state":"published","slug":"lorraine-peltz-on-the-bright-side","created_at":"2019-08-13 15:49:55.206457","updated_at":"2019-09-03 16:03:06.045508","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2019-09-06 17:00:00","opening_ends_at":"2019-09-06 20:00:00","searchable":"'bright':5A 'lorrain':1A 'peltz':2A 'side':6A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668283/gwxamsvzegggrhpxxzxy.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669354/event_ics_1721669353817.ics","carousel":null,"category_name":"Exhibitions"},{"id":1225,"title":"The Ryan Licht Sang Bipolar Foundation Charity Exhibition, Insights III","starts_at":"2019-10-24 17:00:00","ends_at":"2019-10-26 17:00:00","body":"
The Ryan Licht Sang Bipolar Foundation’s 2019 INSIGHTS III Art Exhibition is a Juried Art Exhibition intended to be a window into the creative mind of artists with Bipolar Disorder. The purpose of the Exhibition is to raise awareness about Bipolar Disorder and the work of the Foundation, and to reduce the stigma associated with Bipolar Disorder.
The proceeds from the opening will be used to underwrite the Adolescent Depression Awareness Program from Johns Hopkins to be taught in Chicago's public and private high schools.
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- Linda Tesner (excerpt from David Kroll - Paintings, 2015)
Image: David Kroll, Flowers and Nests, 2017, oil on linen, 38” x 50”
Jay Strommen received his MFA degree in ceramics from The School of the Art Institute (2000). After his graduation he was a resident artist at The Shigaraki Ceramic Cultural in Japan from 2001 - 2002 and has been a teacher at Park West Ceramics and Lillstreet Art Center. His work has been featured throughout the United States in association with wood fired ceramics.
Jay Strommen is the founder of the Chicago Ceramic Center at the Bridgeport Art Center. He opened the center in October 2015.
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\"Anger and helplessness can be a great motivator. Due to the messiness in today’s society, I find it necessary to express my anger and helplessness in my art works. Examples of this messiness are companies that disregard the earth by manufacturing and producing harmful ingredients in our food chain; companies pushing drugs; the political maelstrom; greed everywhere and the biggie- violence. Violence is everywhere, especially high here in Chicago where I live. The above examples are some of the sources which motivate my work. For these particular works I chose to deal with violence. The rocks symbolize the earth and the bullet casings represent violence. The rocks may seem like an unusual object to represent violence but so is the absurdity of random killings. By making these works I’m expressing a need while hoping to make people aware of the insidious problem of violence by taking pro-active actions.\"
- VA de Pintor, 2020
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\"My new paintings continue to explore formal abstraction that also invites layered, allusive interpretations. Subjectively imagined objects, events and figures are alluded to by the interplay of organic and geometric compositions, atmospheric color, and illusionist shapes. Those allusions, often paradoxical, surprising and fleeting and unwilled — like dreams — occur to me as I paint and they lead my process. They are both personal and public in their mix of the odd and the familiar.
These abstract paintings are sometimes brooding, as in Swimmer with its suggestion of buoyant shapes carried by a dark current. Sometimes they are playful, as in Yankee Doodle, suggesting — to me — a dandy on horseback. Their allusiveness is ambiguous, that is, multiple, undirected, delinquent, but as paintings they are precise, subsuming the dreaminess of allusion in objective, self-sustained orderly abstraction.\"
- William Conger, 2020
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Open in the office gallery
Image: Michael Nakoneczny - 46 Crickets, 2018, mixed media construction, 13.75 x 8.75 x 7.5 in.
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- Blake Aaseby, 2020
Image: Blake Aaseby
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Image: René Romero Schuler
","type":"Event","state":"published","slug":"rene-romero-schuler","created_at":"2019-12-12 17:40:17.283872","updated_at":"2019-12-12 17:40:17.29516","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2020-02-28 17:00:00","opening_ends_at":"2020-02-28 20:00:00","searchable":"'imag':4B 'rené':1A,5B 'romero':2A,6B 'schuler':3A,7B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668321/tm9d1fvposvqzfhm3izp.gif","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669387/event_ics_1721669387677.ics","carousel":null,"category_name":"Exhibitions"},{"id":2638,"title":"John Fraser: Multiple Outcomes","starts_at":"2020-04-10 17:00:00","ends_at":"2020-08-20 17:00:00","body":"
Artist Statement: Mine, like countless others, is a meditative practice. It is challenging to be engaged in the work without it being influenced by the current events that presently invade our every moment. That is not to say that my work is not in response to these events, rather it is my way of negotiating my day-to-day in how much I want to direct my attention to those things, that are really temporary in nature, and instead focus on those things that have always governed my involvement.
My work, for over thirty-five years, has been concerned with things of a timeless and universal import. And these concerns have been manifested in various materials, and formal facture, via forms, shapes, suggestion, and restrained applications of process and intent.
As I have traveled, I have been arrested and affected by how other cultures address their built environment. While we at times would rather tear down and re-build, many cultures, perhaps out of respect, necessity and practicality, restore and reinforce what exists. The knowledge required to do so being taught and passed on over the course of time, is part of a value system and way of thinking that I keep in mind when in the studio.
Based on these observations, my collages and wall-bound and free-standing assemblages are additive (rather than subtractive) in their process of becoming. My intent is to produce objects of an artifactural and architectural nature, that recognize what may have survived and been restored, and moreover, are indicative of skill, function, purpose, and perhaps ritual.
Ultimately, my goal is to produce and offer to a potential viewer an object worthy of prolonged study and reflection. My desire is to provide this viewer an opportunity for a contemplative viewing experience...and for seeing.
- John Fraser, 2020
Image: John Fraser
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Please contact the gallery as our plans have changed in April 2020 due to shelter-in-place orders for COVID-19
You may still view images of work by this artist online
Read CGN's 2014 interview with Klement here
Group Exhibition featuring Self-Portraits by various artists
Image: Vera Klement
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FACE to FACE
an exhibition of self-portraits by more than 75 artists
Viewable from the street 24/7 or in person during gallery hours and by appt.
May - October, 2020
Virtual Showroom Available Here
Many of us recently have had to dive into the deep end to find a range of physical and emotional resources to deal with our new normal. Yet, some of us have always found the deep end to be our area of choice - your feet can’t touch the bottom, the water is always colder and it requires a measure of fearlessness, but there’s great joy in the jump, and the excursion can be delightful.
Lorraine Peltz’s paintings in The Deep End provide us with the rewards of wading in deeper. Her new work unabashedly confronts the sometimes conflicting ideas of beauty, pleasure, love, and loss, particularly in relation to women - as she has done for over her 30 year career as an artist. But in this case the work takes on new dimensions, including a no-holds-barred attitude toward paint and subject matter.
![\"\"](\"https://mcusercontent.com/b2b04f842b0918c879d49d6fd/_compresseds/fe9dfd84-8377-4082-a915-973df16c5832.jpg\")
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View Exhibition: SUZANNE ROSE - Blind Spot
We are pleased to announce the opening of the Chicago gallery season on Friday, September 11th from 4pm to 7pm with two exquisite exhibitions.
In order to ensure the protection of our guests against the spread of Covid-19, we will be implementing a series of safety measures.
We have added an additional opening reception on Saturday, September 12th from 1pm to 4pm in attempt to alleviate over-crowding. During these receptions, standard guidelines including a mandatory mask and limited occupancy of the gallery spaces will be strictly enforced by gallery staff.
In the South Gallery, Suzanne Rose presents her inaugural exhibition with Zolla/Lieberman Gallery by featuring a selection of 11 photographs from her on-going series, Blind Spot. Rose's photographs embrace her mid-western roots with thematic bodies of works of family, community, and the environs thereof – exploring memory and metaphor, purpose and place.
It has been said that nature and man are imperfect friends. Observations in the rural Midwest reveal a
quiet dignity within vignettes of an altered landscape. Examining this relationship through the pastiche
of first photography – with direct influences of Carleton Watkins and Timothy O'Sullivan – appropriating
the original style but the subject is re-imagined with the commonplace scenes invoking a sense of
grandeur, incongruously, in an unlamented song.
With a concerned eye to how symbolism shapes our thinking, interconnectedness is examined through
the theme of natural versus manufactured – physical versus cerebral. While in tandem asking the
question of the perception thereof: hidden or disregarded, unseeable or inconspicuous?
To thin the veil between artist and viewer, the titles are the GPS coordinates giving the exact location of
the site of the subject. This not only offers a deeper level of intimacy but, as Virginia Woolf implied in
her novel, To the Lighthouse, a place weaves into itself the happenings of the surroundings over time,
folding them into silence becoming forever present and pinned to that place. This delicate presence is
an imbued immortal rhythm that adds layers of temporal whispers to the work via modern mapping
technology.
Be it in any gap in the visual field, selective or unconscious, the age of Anthropocene is gently present in
the rural Midwest amongst these friends, and despite a relationship imperfectly paired – each is bound
to this land and each other, blindly or otherwise.
- Suzanne Rose, 2020
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We are pleased to announce the opening of the Chicago gallery season on Friday, September 11th from 4pm to 7pm with two exquisite exhibitions.
In order to ensure the protection of our guests against the spread of Covid-19, we will be implementing a series of safety measures.
We have added an additional opening reception on Saturday, September 12th from 1pm to 4pm in attempt to alleviate over-crowding. During these receptions, standard guidelines including a mandatory mask and limited occupancy of the gallery spaces will be strictly enforced by gallery staff.
In the main gallery, Igor Kozlovsky & Marina Sharapova's Midnight Sun is a continuation of their 35 year history as a husband-and-wife collaborative. Each lend their specific talents with blends of hyper-realist figuration and intricate elements of abstraction. The blend of era and style nod to the traditions of painting while re-contextualizing iconography of the past.
The title, Midnight Sun, echoes the name of one of three ballets from Russian Seasons by Sergei Diaghilev. This particular piece was staged in Paris, 1915 during World War I; a particularly difficult time in Europe. The production was noted for its colorfulness and optimism. In this exhibition we have tried to capture the spirit of Midnight Sun and it's uplifting hope for the return of sunshine and the triumph of beauty, spirituality and humanism in the face of difficult times.
This current suite of paintings continue our adherence to cultural heritage in combination with modern painting techniques by combining classic figuration with the decorative richness and bold texture of the backgrounds. We hope that this exhibition can leave with you a small piece of summer as we await the long winter months ahead.
- Igor & Marina, 2020
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In order to ensure the protection of our guests against the spread of Covid-19, we will be implementing a series of safety measures.
We have added an additional opening reception on Saturday, September 12th from 1pm to 4pm in attempt to alleviate over-crowding. During these receptions, standard guidelines including a mandatory mask and limited occupancy of the gallery spaces will be strictly enforced by gallery staff.
In the main gallery, Igor Kozlovsky & Marina Sharapova's Midnight Sun is a continuation of their 35 year history as a husband-and-wife collaborative. Each lend their specific talents with blends of hyper-realist figuration and intricate elements of abstraction. The blend of era and style nod to the traditions of painting while re-contextualizing iconography of the past.
The title, Midnight Sun, echoes the name of one of three ballets from Russian Seasons by Sergei Diaghilev. This particular piece was staged in Paris, 1915 during World War I; a particularly difficult time in Europe. The production was noted for its colorfulness and optimism. In this exhibition we have tried to capture the spirit of Midnight Sun and it's uplifting hope for the return of sunshine and the triumph of beauty, spirituality and humanism in the face of difficult times.
This current suite of paintings continue our adherence to cultural heritage in combination with modern painting techniques by combining classic figuration with the decorative richness and bold texture of the backgrounds. We hope that this exhibition can leave with you a small piece of summer as we await the long winter months ahead.
- Igor & Marina, 2020
Zolla / Lieberman Gallery is pleased to announce our participation in EXHIBITION Weekend brought to you by EXPO Chicago from September 25th - 27th. We will feature major works from our established roster of gallery artists. Be sure to check back daily as we will rotate inventory as necessary.
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My portraiture is a form of activism, though through techniques of intimacy, not agitprop. “Political” imagery, especially blatantly angry images, often reduce their subjects to cartoons. I employ metaphor and symbol to depict the private person; to bridge diverse identities; and to render the complicated truth of biography.
Much of my life’s work has been to make Disability Culture more visible to mainstream America. Towards that end, I’ve written Golem Girl: A Memoir. The book was published on October 6, 2020.
– Riva Lehrer, 2020
View Exhibition: RIVA LEHRER - Pandemic Portraiture
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All Dressed Up with Nowhere to Go is a series of watercolors I started at the beginning of the pandemic, during the first stay-at-home orders in New York City. Without having access to my studio and my principal method of oil paint, I began exploring themes of femininity through watercolor, a less workable medium. Instead building upon the canvas using multiple layers and creating an atmospheric haze of a bustling scene, I had to be exact with each brushstroke. Mistakes are much less forgiving with watercolor. The process of watercolor for me became a reflection of my current lifestyle, moving in a meticulous and careful manner.
However different the two processes are, themes of femininity and independence remain a central focus in this series. The subject women, seemingly unaffected by the chaotic world around them, are still able to exude their femininity and power.
- Carly Silverman 2020
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In Distillation of Space, Rhonda Gates’ paintings build on the legacy of landscape painting and human’s psychological distancing from the natural world. She utilizes architectural-based grids and geometric shapes to organize and present her subject matter – the poetry of air and light, flora and fauna – suggestive how people choose to be spectators, viewing nature at an arm’s length through windows and devices, instead of seeing themselves as integral participants in nature.
Gates’ exhibit invites you to explore personal connections to fleeting but everyday moments in nature. With vigorous brushwork and thick paint, the nuanced gradations engender a sensuous, tangible quality to space, distance and atmosphere. Graphite lead is incorporated to depict the presence of features that punctuate the atmospheric spaces while fleeting effects of light evolve within an architectural framework of geometric shapes.
The carefully constructed paintings present you with visual structures that reveal unexpected aspects of the landscape and provide a sense of mass to atmosphere. Subtle shifts in color, combined with the physical properties of paint, propitiate the tension between surface and space. Distillation of Space provides an intimate exposure and poignant experience to contemporary landscape painting.
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The Virus Lockdown Drawings were done away from my studio and in my house. I set up a small studio which took over our family room making it a big mess. I worked on these drawings from March 29th until June 13th. Collaging images from ads and articles from ARTFORUM (that I had never opened) was a jumping off point for these drawings. Using a portfolio of 16 x 13 inch drawing paper, there was a lot of collaging, gluing, use of watercolor, chalk, spray paint, and pencil.
What was of interest is I normally do not work in a sketchbook as I use spontaneous improvisation when I make my work. On a smaller scale, things became so much more direct than they do when I am painting in the studio. Have these drawings affected my work now that I am back in the studio…maybe a little! However, in many ways, don’t we all still feel like we are in lockdown?
- Phyllis Bramson, 2020
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featuring:
BASSIM AL SHAKER
JOHN BUCK
PATRICK DUEGAW
CALEB WEINTRAUB
opening reception(s):
Friday, January 29th - 4pm to 7pm
Saturday, January 30th - 1pm to 4pm
","type":"Event","state":"published","slug":"untameable-magic-allegories-of-nature-and-culture","created_at":"2021-01-28 22:44:53.922856","updated_at":"2021-01-28 22:44:53.972944","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":true,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'1pm':34B '2021':258B '29th':27B '30th':33B '4pm':28B,36B '7pm':30B 'abil':112B 'abl':253B 'address':114B 'al':14B,209B 'allegori':3A,199B,212B 'also':170B 'alter':60B,80B 'and/or':139B 'apparit':249B 'art':85B 'artist':92B,154B,190B 'bassim':13B,208B 'bent':96B 'bring':151B 'brought':241B 'buck':17B,220B 'buzz':256B 'caleb':20B,229B 'case':122B,181B,238B 'categor':163B 'celebr':102B 'certain':95B 'consist':39B 'cultur':7A 'defi':162B,172B,187B 'definit':103B 'detritus':235B 'distanc':177B 'dragon':124B 'driven':194B 'duegaw':19B,202B 'earthsea':54B 'east':224B 'enchant':148B 'encount':146B 'energi':63B,75B 'everi':237B 'exhibit':9B 'featur':12B 'figur':159B 'four':153B 'friday':25B 'function':127B 'graviti':188B 'hard':252B 'hercul':206B 'hidden':116B 'iraq':217B 'januari':26B,32B 'john':16B,219B 'k':49B 'labor':204B 'leguin':50B,100B 'like':88B 'logic':173B 'magic':2A,38B,57B,150B 'magician':70B,98B 'martial':221B 'name':44B,117B,255B 'natur':5A 'onlin':10B 'open':22B 'painter':134B 'patrick':18B,201B 'perform':78B 'personag':138B 'polit':211B 'power':108B 'project':191B 'rather':76B 'recept':23B 'reenchant':232B 'refer':90B 'resid':109B 'saturday':31B 'sculptor':136B 'sculptur':184B 'see':67B 'seem':147B,160B,169B 'set':141B,165B 'shaker':15B,210B 'sorcer':106B 'space':168B,175B 'spector':257B 'standstil':244B 'storytel':129B 'symbol':222B 'technolog':234B 'temper':73B 'thing':47B,119B 'think':55B 'though':131B 'togeth':152B 'torqu':167B 'true':43B 'type':61B 'untam':1A,149B 'ursula':48B,99B 'use':156B,196B 'view':8B 'vis':214B,216B 'vis-à-vi':213B 'visual':198B 'vivid':247B 'weintraub':21B,230B 'west':226B 'whose':137B,155B,166B 'wizard':52B 'à':215B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668490/ne61e3vdzjcspjnmhyxl.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669549/event_ics_1721669549610.ics","carousel":null,"category_name":"Exhibitions"},{"id":7590,"title":"Jeane Cohen: In the Walls of My House There Were Spirits","starts_at":"2021-03-26 16:00:00","ends_at":"2021-05-01 12:00:00","body":"“For magic consists in this, the true naming of a thing.”
― Ursula K. LeGuin, A Wizard of Earthsea
Think of magic as an altered type of energy. Then you can see that what magicians do is temper that energy rather than performing the alteration themselves. So, too, in art, where we like to refer to artists of a certain bent as “magicians.” Ursula LeGuin’s celebrated definition of the sorcerer’s power residing in the ability to address the hidden names of things (in that case, a dragon), is a function of storytelling. What, though, of the painter or sculptor whose personages, and/or the settings in which they are encountered, seem enchanted?
Untameable Magic brings together four artists whose use of the figure seems to defy categorization, in settings whose torqued spaces seem also to defy logics of space and distance or, in the case of the sculptures here, to defy gravity. The artistic projects here are driven by uses of visual allegories: for PATRICK DUEGAW, the labors of Hercules; forBASSIM AL SHAKER, political allegories vis-à-vis Iraq; for JOHN BUCK, martial symbols both East and West, and for CALEB WEINTRAUB, the reenchanting of technological detritus. In every case we are brought to a standstill by the vividness of apparitions we are hardly able to name.
― Buzz Spector, 2021
March 26 - May 8, 2021
Opening reception(s):
Friday, March 26th - 4pm to 7pm
Saturday, March 27th - 1pm to 4pm
Zolla/Lieberman Gallery is proud to present JEANE COHEN: In the Walls of My House There Were Spirits on view in our Main and South Galleries from March 26th through May 8th.
In this body of work, Cohen is wringing pathos into the paintings by drawing on experiences of disintegration, fear, a collapsed boundary between interior self and outer world, and feelings of futility. Addressing what can be framed as a personal or cultural threat of spiritual collapse, the paintings’ untethered fields imprint the churning, melting, bending, dislodging, and charred sensations of continuously renegotiating reality.
An unrelenting drive towards survival through meaning-making summons up atmospheric snags and clusters, ethereal ciphers, spirits and animals in the paintings. These fleeting apparitions stem from the desire for protector, guide, prophet, or ancestor. As ominous as they are comforting, these sensory conglomerates (such as a house, angel or abstract nugget) shapeshift across the pictorial space, morphing and retreating before the viewer’s eyes. Marks transform as they loosen their tether to an emblematic subject such as an angel or house, unfurling into gusts of diminishing matter.
Each painting acts as an arbiter between released voids and potent events. Strongholds are often solidly depicted, soaked in emotion or shelled into a rhythmic structure, before yielding to undermining ruptures, irritants, blankness and unrealized events. The impulsive process of painting through this friction begets paintings that are entrenched, holding themselves and their fragmented components together, whilst succumbing to fragility, being almost shattered, faded, or about to blow away. There is the possibility of origins at these discrepant junctures in the paintings, where fecundity may spring forth.
View Exhibition: JEANE COHEN - In the Walls of My House There Were Spirits
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March 26 - May 8, 2021
opening reception(s):
Friday, March 26th - 4pm to 7pm
Saturday, March 27th - 1pm to 4pm
VICTORIA ADAMS: Distancing features wide-open panoramic spaces and horizons with clear views of turbulent skies. Adams' interests include the universal human need to speculate on what lies behind a horizon—to be in one place and project the imagination into another, as yet unattainable, state of being that is beyond the horizon and into the “distance.\" Horizons and Distance are gateways to the “faraway”, both spatial and temporal, and they are a constant feature of western romantic landscape art.
Victoria Adams' paintings offer an ambiguous vision. They both celebrate the traditional romantic projection of the imagination into the “faraway” daydreamed future space and time, but they also pose questions about how we view our actual environments in a starkly different and warmer world.
View Exhibition: VICTORIA ADAMS - Distancing
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View Exhibition: JOSH GARBER - Amorous Terrain
Image: JOSH GARBER - Us, together, 2021, welded stainless steel screws and hex nuts, 30 x 20 x 21 in.
","type":"Event","state":"published","slug":"josh-garber-amorous-terrain","created_at":"2021-04-22 19:50:04.235015","updated_at":"2021-05-16 01:54:21.556773","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2021-05-21 16:00:00","opening_ends_at":"2021-05-21 19:00:00","searchable":"'20':103B '2021':93B '21':105B '30':101B 'amor':3A,7B,86B 'bar':66B 'becom':76B 'blend':29B 'blossom':67B 'bolt':62B 'cutan':30B 'element':19B 'energi':23B 'exhibit':83B 'explor':9B 'extens':79B 'fantast':73B 'framework':44B 'fundament':48B 'garber':2A,6B,85B,90B 'haptic':13B 'hardwar':58B 'hex':99B 'imag':88B 'industri':18B,38B,52B 'inert':17B 'intim':78B 'intric':24B 'josh':1A,5B,84B,89B 'landscap':37B 'larger':70B 'like':33B 'materi':39B 'medit':57B 'natur':11B,36B 'nut':61B,100B 'organiz':27B 'pattern':28B 'play':56B 'realm':71B 'reshap':46B 'screw':63B,97B 'seduct':10B 'self':26B 'self-organiz':25B 'sensual':22B 'skin':32B 'skin-lik':31B 'stainless':95B 'steel':65B,96B 'structur':34B 'surfac':14B 'terrain':4A,8B,74B,87B 'togeth':92B 'transfigur':40B 'transform':16B 'us':91B 'utilitarian':49B 'view':50B,82B 'weld':94B 'whimsic':43B 'x':102B,104B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668503/ycdg8rgeupjtgzlayxt4.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669563/event_ics_1721669562972.ics","carousel":null,"category_name":"Exhibitions"},{"id":7737,"title":"Dennis Lee Mitchell: Recorded Traces","starts_at":"2021-05-21 16:00:00","ends_at":"2021-07-17 12:00:00","body":"
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419527/qw6wupwy3zohruajngfk.gif\")
Opening reception(s):
Friday, May 21 from 4 to 7pm
Saturday, May 22 from 1 to 4pm
All the work I create is with smoke made by heating fuel and capturing the results on paper.
Colored smoke, when used alone or juxtaposed with the addition of traditional black smoke, can increase the emotive power present in
the work.
Smoke is highly ephemeral. To use smoke as a material of choice produces works that are clearly residing in the outer fringes of materiality, often rendering a fleeting moment at its core.
- Dennis Lee Mitchell, 2021
Friday, July 9, 2021 5-8pm
Join us Friday, July 9th from 5 to 8pm in the River North Gallery District for the Mid-Summer River North Gallery Walk. Tour the art galleries on a self-guided walk while meeting artists, curators, and gallery staff. Finish with cocktails and al fresco dining at River North's modern Greek restaurant Avli (https://avli.us/). The Mid-Summer River North Gallery Walk is free and open to the public. Shows continue through August. Pick up Gallery Walk Maps at Addington Gallery, next to Avli. 704 N Wells St, Chicago IL.
More info here
Participating Galleries:
Addington Gallery
Jean Albano Gallery
Gallery Victor Armendariz
Carl Hammer Gallery
Hilton | Asmus Contemporary
Vale Craft Gallery
Zg Gallery
Zolla/Lieberman Gallery
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View Exhibition: LORRAINE PELTZ - Summer Bounce
Opening receptions: Friday, July 23 | 5 - 7pm and Saturday, July 24 | 3 - 5pm
\"In Summer Bounce, Lorraine Peltz gives us flora at their most verdant, at the glorious peak of their most anticipated season. Floral imagery is not new to Peltz’s practice, though in this latest series, flowers are rendered in a style far more realistic than she has used in recent years. Peonies, daisies, violets and lotuses are centered in her canvases, articulated carefully yet painterly, harkening to the still-life paintings of the Dutch Golden Age. But, unlike the subjects of still-lifes, Peltz’s bouquets are not situated in a naturalistic environment or illusionistic space; her blooms sit atop geometric patterned fields. Defined in pictorial space in this way, Peltz’s flowers are not just images of flowers -- they are symbols.\"
- Robin Dluzen, 2021
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Opening reception(s):
Friday, August 13th - 5pm to 7pm / Saturday, August 14th - 1pm to 4pm
Friday, September 10th - 5pm to 7pm / Saturday, September 11th - 1pm to 4pm
\"Deborah Butterfield is unwavering in her choice of horses as subject matter. Her sculptures are marvelous in their evocation of what is essential to our experience of the animal whose history, so entwined with human culture, is also autonomous and of its own world. \"
- excerpt from Deborah Butterfield: The Horse in the horse by Buzz Spector, 2021
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Additional receptions:
Friday, September 10th - 5pm to 7pm
Saturday, September 11th - 1pm to 4pm
\"Deborah Butterfield is unwavering in her choice of horses as subject matter. Her sculptures are marvelous in their evocation of what is essential to our experience of the animal whose history, so entwined with human culture, is also autonomous and of its own world. \"
- excerpt from Deborah Butterfield: The Horse in the horse by Buzz Spector, 2021
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Additional reception:
Saturday, September 11th - 1pm to 4pm
\"Deborah Butterfield is unwavering in her choice of horses as subject matter. Her sculptures are marvelous in their evocation of what is essential to our experience of the animal whose history, so entwined with human culture, is also autonomous and of its own world. \"
- excerpt from Deborah Butterfield: The Horse in the horse by Buzz Spector, 2021
","type":"Event","state":"published","slug":"opening-reception-for-deborah-butterfield","created_at":"2021-08-13 17:19:07.013562","updated_at":"2024-06-06 19:44:35.667716","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2021-09-11 13:00:00","opening_ends_at":"2021-09-11 16:00:00","searchable":"'11th':10B '1pm':11B '2021':70B '4pm':13B 'addit':6B 'also':51B 'anim':42B 'autonom':52B 'butterfield':5A,15B,61B 'buzz':68B 'choic':20B 'cultur':49B 'deborah':4A,14B,60B 'entwin':46B 'essenti':36B 'evoc':32B 'excerpt':58B 'experi':39B 'histori':44B 'hors':22B,63B,66B 'human':48B 'marvel':29B 'matter':25B 'open':1A 'recept':2A,7B 'saturday':8B 'sculptur':27B 'septemb':9B 'spector':69B 'subject':24B 'unwav':17B 'whose':43B 'world':57B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668520/ay1xnfry9wjjvm2tkkde.gif","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669580/event_ics_1721669580000.ics","carousel":null,"category_name":"Gala / Benefit"},{"id":8185,"title":"Ryan Licht Sang Bipolar Foundation","starts_at":"2021-10-22 12:00:00","ends_at":"2021-10-24 12:00:00","body":"
The Ryan Licht Sang Bipolar Foundation will host INSIGHTS IV: An Art Exhibition of Creativity and The Bipolar Brain, featuring the work of artists who have Bipolar Disorder at the Zolla/Lieberman Gallery in Chicago beginning Friday, October 22 through Sunday, October 24. INSIGHTS IV is the fourth in a series of art exhibitions the Foundation has produced in Chicago and Palm Beach, Florida, but the first to exclusively feature artist self-portraits. The INSIGHTS exhibition series is intended to raise awareness of Bipolar Disorder and to reduce the stigma associated with this serious illness of the brain by highlighting the creativity that can often accompany this illness.
For INSIGHTS IV, the Foundation held a national juried art competition from December 2019 to March 2020 and received hundreds of submissions from artists across the country. Twenty works of art were selected by an independent jury of gallerists, art collectors and artists to be featured in INSIGHTS IV and to receive a grant from the Foundation. The selected works include paintings, photographs and sculpture and are a powerful representation of the creative minds of very talented artists. Two featured artists in INSIGHTS IV are from the Chicagoland area: Victoria Loeb, a grantee, and Kelly Mathews, a guest artist and past grantee.
Along with the juried art selections, INSIGHTS IV will feature the work of Ryan Licht Sang, the Foundation’s namesake and a talented outsider artist, who passed away at 24 from Bipolar Disorder.
The juried artwork in INSIGHTS IV, as well as those from the previous exhibitions, has been generously donated to the Foundation’s Permanent Exhibition Collection by the artists. Now comprised of more than 70 pieces, including paintings, photographs, sculpture, jewelry, ceramics and textiles, the Permanent Collection will be the basis of traveling exhibitions to give voice to artists with Bipolar Disorder and to reduce the stigma associated with it.
INSIGHTS IV: An Art Exhibition of Creativity and The Bipolar Brain will be held at the Zolla/Lieberman Gallery, located at 325 W. Huron Street, Chicago, Ill., 60654. Admission is free. Exhibition hours are as follows:
The Ryan Licht Sang Bipolar Foundation is a 501(c)(3) public charitable organization whose mission is to foster awareness, understanding and research for Early-Onset Bipolar Disorder, and through its “Quest For The Test™” initiative, to find an empirical biomarker test for Bipolar Disorder so that early detection in children and adolescents becomes a reality. More information is available at www.rlsbf.org.
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Music, the visual arts, and art history has always held sway in my development as a painter. Once again, they weave throughout my approach in exploring the picture plane and the potential role that substrate, in this case wooden panels, brings to form and content.
John Coltrane’s “sheets of sound,” with its blazing chordal arpeggios compressed into musical space and time, often described as Coltrane’s response to a connection with the cosmos and the spiritual, suggested to me new ways to look at a substrates (wood or canvas) potential for creating “sheets of space” through light and reflection. In this new work, layers of light and space, either imagined or posited visually, create the illusion of a compressed space that uses the sides of the substrate as well to push the idea even further.
Likewise, as regards the picture plane in some of the work of Paul Cezanne, art historian Carol Armstrong, in her book, Cezanne’s Gravity, suggests numerous connections to physics that informs her interpretation of some of Cezanne’s output. I found her insight and interpretations useful. Cezanne’s unusual and provocative play with the force of gravity compressed within his still-life with apples seemingly tumbling down from a table lend itself to what I see as an opportunity for a painterly interpretation of gravity using the physical substrate as a means of departure from the traditional approach to the frontal plane; the painting Cezanne’s Gravitas would be the case in point.
I chose the cosmos as the most appropriate context for my approach. It’s a subject that provides a suitable form for investigating the physics of space relative to painting’s picture plane. But it also opens doors for me to think in metaphorical terms that expand the subject further into the history of the cosmos itself; a response which gave rise to the graphite drawings in the exhibition; a metaphorical residue, so to speak, of my imagination; one that sees the role of a scribe in all my work.
- Dan Ramirez, 2021
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Opening reception(s):
Friday, November 5th - 4pm to 7pm
Saturday, November 6th - 1pm to 4pm
\"A Mexican American artist born and raised in Chicago, Herman Aguirre (b. 1992) is known for his paintings that take on subject matter ranging from memorials to lives lost due to gang violence, to intimate still-lifes of collected, personal objects. His newest body of work, Agua y Aceite, includes canvases of various sizes, many irregularly shaped, as well as preparatory ink drawings. To create his impasto, canvas surfaces, the artist 'works intuitively' with paint skins and oil and acrylic accumulations to build up the three-dimensionality, resulting in work that straddles the line between painting and sculpture.\"
- excerpt from Surface Tension by Nadiah Rivera Fellah, Associate Curator of Contemporary Art at the Cleveland Museum of Art
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Opening reception(s):
Friday, November 5th - 4pm to 7pm
Saturday, November 6th - 1pm to 4pm
","type":"Event","state":"published","slug":"opening-for-herman-aguirre","created_at":"2021-08-13 17:22:06.886509","updated_at":"2024-06-06 19:44:35.667716","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2021-11-06 13:00:00","opening_ends_at":"2021-11-06 16:00:00","searchable":"'1pm':17B '4pm':11B,19B '5th':10B '6th':16B '7pm':13B 'aguirr':4A 'friday':8B 'herman':3A 'novemb':9B,15B 'open':1A,5B 'recept':6B 'saturday':14B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668520/u3agedilcklbx22nugvg.gif","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669580/event_ics_1721669580109.ics","carousel":null,"category_name":"Gala / Benefit"},{"id":8839,"title":"You Have to Draw the Line Somewhere","starts_at":"2022-01-28 16:00:00","ends_at":"2022-03-05 17:00:00","body":"featuring:
PHYLLIS BRAMSON
CHRISTOPHER BROWN
ROGER BROWN
JOHN BUCK
LORA FOSBERG
JIM NUTT
ED PASCHKE
BUZZ SPECTOR
WAYNE THIEBAUD
GLENN WEXLER
January 28 - March 5, 2022
Opening reception(s):
Friday, January 28th - 4pm to 7pm
Saturday, January 29th - 1pm to 4pm
Opening reception(s): Friday, January 28th - 4pm to 7pm / Saturday, January 29th - 1pm to 4pm
Main / South Gallery – PATRICIA RIEGER / XAVIER TOUBES
\"This compact exhibition is a study in contrasts: Rieger and Toubes are a married couple with a thorough knowledge of one another’s creative process, but each makes an object-world precisely unlike the other’s: Rieger’s introverted figures, with their deceptively muted glazes and minimal gestures, entice the patient viewer. Toubes’ exuberant gestural objects, all at once vessel-like and figure-like, torque every-which-way and flash into our field of vision with a cascading profusion of colors. Rieger’s glowing figures stand (or sit) alone, even when they belong to a group, such as the silvery Little People in the Found. Conversation With a Bird series. Toubes’ objects—even those in the vase-like Abandon series—positively resist their own separateness, with indeterminate or sliding boundaries between the materials and the maker, between solid and liquid elements, between accident and premeditation: if you see Abandon 34 from one side, you may not recognize it when you approach it from another, even though it will be unmistakably different from Abandon 16 or Abandon 14.\"
- Excerpt from Patricia Rieger and Xavier Toubes: Cold Songs and Bichos by Mary Pardo, Associate Professor Emerita, Department of Art and Art History—University of North Carolina at Chapel Hill
View Exhibition: RIEGER / TOUBES
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419541/zmkwzmgj54rmj1ucmzz2.png\")
Also on view in the Office Gallery – DENNIS LEE MITCHELL
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Friday, January 28th - 4pm to 7pm / Saturday, January 29th - 1pm to 4pm
May 20 - August 6, 2022
Opening reception(s): Friday, May 20th - 4pm to 7pm / Saturday, May 21st - 1pm to 4pm
Office Gallery
SUZANNE ROSE
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Opening reception(s): Friday, May 20th - 4pm to 7pm / Saturday, May 21st - 1pm to 3pm
Main / South Gallery
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Open as part of Mid-Summer River North Gallery Walk
Friday, July 8, 2022, 5-8pm
Join us Friday, July 8 from 5 to 8pm in the River North Gallery District for the Mid-Summer River North Gallery Walk. Tour the art galleries on a self-guided walk while meeting artists, curators, and gallery staff. Finish with cocktails at any of the restaurants in the neighborhood. The Mid-Summer River North Gallery Walk is free and open to the public. Shows continue through August.
Participating Galleries include:
Addington Gallery
Carl Hammer Gallery
Gallery Victor Armendariz
Gruen Galleries
Hilton | Asmus Contemporary
Jean Albano Gallery
Rosenthal Fine Art
Vale Craft Gallery
ZG Gallery
Zolla/Lieberman Gallery
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","type":"Event","state":"published","slug":"cheonae-kim-mariposa-variations","created_at":"2022-09-08 20:09:24.424742","updated_at":"2022-09-08 20:09:24.430461","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'cheona':1A,7B 'exhibit':6B 'kim':2A,8B 'mariposa':3A,9B 'variat':4A,10B 'view':5B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668584/hknrsslqthpda4svq9wj.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669636/event_ics_1721669635980.ics","carousel":null,"category_name":"Exhibitions"},{"id":8677,"title":"Buzz Spector: Drawings Old & New","starts_at":"2022-09-09 16:00:00","ends_at":"2022-10-15 17:00:00","body":"
Buzz Spector is well-known for the art he has made with—and out of—books, and the range of his explorations into the connections among reading, memory, and history. So much of the appreciation of Spector’s work focuses on his use of print books that it is easy to forget that his artistic beginnings come from drawing. Even his signature gesture of tearing pages originates a full ten years before Spector first tore pages out of a printed book and called what was left sculpture. Spector used templates of torn paper in making his early drawings, and to the present moment identifies the torn papers in his art as a kind of edge-making in common with drawing.
This selection of old and new drawings includes work from the earliest years of Spector’s career, the square format graphite works, often including embellishments of colored pencil, that are usually connected to Spector’s association with Minimalist and Conceptual practices. Here another influence can be seen, that of Chicago Imagism. Spector was born and raised in Chicago and was acquainted with several of Imagism’s key figures in the 1970s, before he set aside figurative references (and title punning) to pursue his own artistic course.
The most recent drawings in this exhibit are derived from the U.S. flag. These studies of Stripes and Stars culminates in Spector’s Torn Flag 1, a drawing of the flag which he completed and then tore in half. Is this tearing meant to be understood as violent? It’s worth noting that the space between the torn halves of this artwork expand its overall width to that of the conventional proportions of a flag. Spector offers us something other than a damaged flag itself since what he has torn is a drawing, not a banner.
View Exhibition: BUZZ SPECTOR - Drawings Old & New
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View Exhibition: JAMIE ADAMS - Dollhouse
","type":"Event","state":"published","slug":"jamie-adams","created_at":"2021-12-17 04:58:04.206845","updated_at":"2022-09-08 20:07:45.689845","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2022-09-09 16:00:00","opening_ends_at":"2022-09-09 19:00:00","searchable":"'adam':2A,7B 'dollhous':3A,8B 'exhibit':5B 'jami':1A,6B 'view':4B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668533/i6hphbn1fcwb0qh86xh9.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669592/event_ics_1721669592550.ics","carousel":null,"category_name":"Exhibitions"},{"id":8679,"title":"John Fraser ","starts_at":"2022-09-09 16:00:00","ends_at":"2022-10-15 17:00:00","body":"
September 9 - October 15, 2022
opening reception(s):
Friday, September 9th - 4pm to 7pm / Saturday, September 10th - 1pm to 4pm
Office Gallery
JOHN FRASER
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Zolla / Lieberman Gallery is pleased to present the latest portrait from Riva Lehrer's ongoing exploration of cultural depictions of disability, Portrait of Rosemarie Garland-Thomson.
Join us for coffee and light refreshments on Saturday, October 22nd from 1 - 4:30pm. The artist will be present to discuss the portrait and read excerpts from her critically-acclaimed memoir, Golem Girl.
Please RSVP for the event to info@zollalieberman.com
About Riva Lehrer
Riva Lehrer is an artist, writer, and curator whose work focuses on issues of physical identity and the socially challenged body. She is best known for representations of people with impairments, and those whose sexuality or gender identity have long been stigmatized. A longtime faculty member of the School of the Art Institute of Chicago, Riva Lehrer is currently an instructor in medical humanities at Northwestern University.
About Rosemarie Garland-Thomson
Rosemarie Garland-Thomson is a disability justice and culture thought leader, bioethicist, teacher, and humanities scholar. Her 2016 editorial, Becoming Disabled, was the inaugural article in the ongoing weekly series in the New York Times about disability by people living with disabilities.
She is a professor of English and bioethics at Emory University, where she teaches disability studies, bioethics, American literature and culture, and feminist theory. Her work develops the field of critical disability studies in the health humanities to bring forward disability access, inclusion, and identity to a broad range of institutions and communities.
She is co-editor of About Us: Essays from the New York Times about Disability by People with Disabilities (forthcoming) and the author of Staring: How We Look and several other books. Her current project is Embracing Our Humanity: A Bioethics of Disability and Health.
Image: RIVA LEHRER - Portrait of Rosemarie Garland-Thomson, 2022, acrylic on panel, 48 x 24 in.
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\"I paint personal refuges in the form of still lives and imagined landscapes – places to visit for solace, meditation and sanctuary. I work intuitively to create a connection between the viewer and the power of place, the web of life, the idea of nature itself. My approach to still life allows me to work with a number of themes that have long interested me, and draw me in again and again. Thematically I am interested in the interaction between man – and manmade objects – and nature. In a painted still life these ideas collapse on each other – and raise many questions. Which is more beautiful – a rural landscape or a Chinese vase? Which is more alive, which is more still? Is the rendering of an egret or a mountainside on porcelain more or less profound than treatment of the same subject on canvas? Is a nest a bowl? Is a vase a broken egg? And isn’t all of nature anthropomorphized in the sense that, inescapably, man sees nature through man’s eyes?
I repeatedly place songbirds, koi, and reptiles in my compositions – delicate and fragile, yet purposeful and assured. A bird rests on a Rookwood vase. Koi swim powerfully in mid-air, above a blue and white ceramic bowl. An egret hesitates before striking a stoneware fish. Do these animals care as much as we do about the difference between human objects and the natural world? And what does any of this have to say about what nature is, or the beauty of nature itself?
Compositionally the still life allows me to explore contrast – the contrast between foreground and background, between light and dark, between circle and square, between motion and stillness. It also allows me to work liberally with color – the color of natural elements contrasted with manufactured objects.
For these reasons and more I have found the still life form, often incorporating landscape elements, to be a tremendously rich means of expressing my sense of the beautiful and for exploring contemporary topics and concerns that perplex, compel and fascinate me.\"
- David Kroll
January 13 - February 25, 2023
Opening reception: Friday, January 13th - 4pm to 7pm
“The lacunae of landscape painters today tackling the plight of nature wrought by what we now refer to as the Anthropocene is rather astonishing. Perhaps the medium of painting is just too sensual, too gorgeous to accommodate such scenes of dystopia. But like Alexi Rockman or Hernan Bas, Lora Fosberg has stepped up to create paintings whose formal beauty only serves to undergird the sharp, poignant commentary on nature's near demise. Fosberg, an artist known for cheeky image and text work addressing the foibles of human nature, has turned to painting trees, but these are trees with stories to tell and wisdom to impart. And these are trees whose stoic iconicity against rich resplendent surfaces, all interlaced with plucky captions, offer viewers a stunning visual and conceptual ride.”
– excerpt from Landscape Painting 2.0 by Lisa Wainwright
Image: LORA FOSBERG - A day without sunshine is like, you know, night, 2022, gouache / india ink / paper / black plaster / wax on panel, 72 x 48 in.
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Join ZLG Director, Brian Gillham, and Lora as they discuss the inspiration and process for her current exhibition, Smoke Show, which is now on view through February 25th.
Light refreshments will be served.
Information
What: Words of Art: dialogue with Lora Fosberg
When: Saturday, January 28th @ 2pm
Where: Zolla/Lieberman Gallery | 325 W Huron St, Chicago, IL 60654
Contact: Brian Gillham | info@zollalieberman.com | 312.944.1990
Derek Walter's ambitious new body of work, Earth & Ice, emanates from his ongoing concerns for the evolving global warming catastrophe combined with a poetic vision of our lithosphere. By wedging a combination of porcelain and stoneware clay bodies, he captures the natural forces of stratification, revealing the physical history of his works' creation while reminding us of the inevitable and unforeseen consequences of global change. Like a metaphoric boulder with no set position, his work echoes an unthamable timescale while highlighting our responsibliity for our earth's environmental trajectory.
Derek Walter graduated from California State University, Sacramento with a BA in Studio Art. He continued and earned a California Teaching Credential from Sonoma State University. After teaching in China for two years and Japan for an additional two years, he earned an MFA from the School of the Art Institute of Chicago. Since 2001, he has been an art professor at Indiana University Northwest. He lives and works in Chicago, IL and has exhibed internationlly for more than 20 years.
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Zolla/Lieberman Gallery is pleased to present SHAI AZOULAY, Me & Us opening on Thursday, March 16th. This will be Azoulay's second solo exhibition at ZLG.
”The paintings in Me & Us bring together an audience; groups of people who may or may not have a connection. There is someone watching, producing and evincing the desire and longing to belong.” – Shai Azoulay
Shai Azoulay (b. 1971) is an Israeli born painter that lives and works in Jerusalem. After his mandatory service in the Israel Defense Forces, Azoulay traveled to the Far East where he began his practice as a fine art painter. He returned to Jerusalem in the mid-1990's and began formal study at the Bezalel Academy of Arts and Design where he earned both his BFA and MFA and remains as faculty in the Fine Art Department. He has exhibited extensively both in Israel and internationally including Tel Aviv Museum of Art, Herzliya Museum of Contemporary Art, The Israel Museum in Jerusalem as well as solo and group exhibitions in Chicago, New York, London, Paris, Berlin and Rome. His works are included many public and private collections including The Israel Museum, The Tel Aviv Museum of Art, Ashdod Museum of Art, Bank Hapoalim, Israel Discount Bank, and Bank Leumi. Among the awards that he has received are the Legacy Heritage Fund Prize for Young Artists, Tel Aviv Museum of Art, Tel Aviv (2007), The Osnat Mozes Prize for Painting for a Young Artist, The Artists House, Jerusalem (2007), Creative Encouragement Award, Ministry of Culture and Sport (2011), Ministry of Culture Award (2018) and The Israeli Lottery 'Landau Prize' for Arts and Science (2020).
Shai Azoulay, Me & Us will be on view at Zolla/Lieberman Gallery from March 16–April 29, 2023.
Image: Shai Azoulay, Boat Man, 2022, oil on canvas, 47½ x 55 in.
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The landscapes serve as Gates' visual language to examine her experiences as an intrinsic participant in nature: Ephemeral qualities of light, the forces and energy of nature, and other elements interspersed within that experience. She then reduces her observations into simplified units, analyzing her human relationship to nature and the planet. Measured Ground provides an intimate exposure and poignant experience to contemporary landscape painting and serves as an entry point for internal restoration and contemplation.
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JAY STROMMEN
Day Zero, Colors and Clues
May 19 - June 30, 2023
opening reception: Friday, May 19th - 4 to 7pm
View Exhibition: Jay Strommen - Day Zero, Colors and Clues
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Main Gallery
IGOR & MARINA
Seven Promises
May 19 - June 30, 2023
opening reception: Friday, May 19th - 4 to 7pm
Zolla/Lieberman Gallery is pleased to present, Igor & Marina - Seven Promises, opening on Friday, May 19th.
\"The ideal form of everything we see exists without our eyes.
It is immortal – only that which we can see must die.
When light has gone, or sound has dulled do not complain or cry.
They haven't really disappeared; their mere reflections fly.\" - Rumi
The work of Russian-born husband-and-wife team Igor Kozlovsky and Marina Sharapova is characterized by a remarkable fusion of seemingly discordant elements: past and present, figurative and abstract, traditional and avant-garde. In images of striking beauty and depth, Renaissance-era figures float over backgrounds of cryptic text and pattern while areas of intricate, realistic detail coexist with expanses of layered color. Igor and Marina strive to “give new meaning to familiar images, placing them in unexpected frames.” Synthesizing the modes and motifs of various art historical periods into coherent, arresting images, they cause great distances of time and geography to collapse. The theme of fusion is not limited to the content of Igor and Marina's work—it is also integral to their art-making process. Each painting represents an extraordinary feat of collaboration between two artistic minds. The result is an entirely unique artistic landscape where tradition and innovation, old and new, real and fantastic, collide.
Image: IGOR & MARINA - Puzzle, 2019, oil on canvas, 68 x 76 in.
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Donna Bliss
James DeNoyer
Tracy Frein
Josh Garber
Matthew Girson
David Gista
Nicole Gordon
Steve Heyman
Meredith Kopelman
Callen McDonell
Robin Malpass
Herb Murrie
Katie Neece
Lynn Neuman
James Ostrander
Lorraine Peltz
Sandy Perlow
Ruth Poor
Shelley Rosenstein
Margaux Siegel
Zach Slesinger
Jay Strommen
Sebastian Thomas
Mandy Cano Villalobos
Zach Weber
Bex Wilkinson
South Gallery
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Main Gallery
As long ago as the 1990s Maria Tomasula's paintings incorporated motifs still present in her work including spaces closed off by hanging draperies or textured walls, and cultural artifacts often depicted in midair. What has evolved in her output is the deliberation she brings to rendering her apparitional arrays.
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Join ZLG Director, Brian Gillham, and our guests as we discuss a variety of topics including the inspiration and process for their current exhibitions, insight into their technical mastery, symbolism and allegory in painting, and much more.
Light refreshments will be served.
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Office gallery
Image: René Romero Schuler - \"Borgia\", 2023, oil on canvas, 30 x 24 in.
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","type":"Event","state":"published","slug":"carly-silverman-75331e07-e95c-4163-9fa2-2fd448923712","created_at":"2023-03-02 14:31:06.40805","updated_at":"2023-10-27 02:30:44.221824","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2023-11-10 16:00:00","opening_ends_at":"2023-11-10 19:00:00","searchable":"'galleri':4B 'glenn':1A 'main':3B 'wexler':2A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1721668622/yke7sgedkkm781ah6dvv.jpg","calendar":"https://res.cloudinary.com/dfafo598z/raw/upload/v1721669671/event_ics_1721669670754.ics","carousel":null,"category_name":"Exhibitions"},{"id":10743,"title":"David Lozano","starts_at":"2023-11-10 16:00:00","ends_at":"2023-12-23 17:00:00","body":"
South Gallery
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On Saturday, December 16th at 3pm, Zolla/Lieberman Gallery will present the latest edition of our Words of Art series featuring artist David Lozano. Join ZLG Director, Brian Gillham, and David as we discuss a variety of topics including the inspiration and process for his current exhibition The Backroom Show, his continued exploration into material and medium, his intrepid play with genre, and much more.
Light refreshments will be served.
What: Words of Art: in dialogue with David Lozano
When: Saturday, December 16th @ 3pm
Where: Zolla/Lieberman Gallery | 325 W Huron St, Chicago, IL 60654
Contact: Brian Gillham | 312-944-1990 | info@zollalieberman.com
Lozano is represented by Zolla/Lieberman Gallery in Chicago. He has participated in the Joan Mitchell Center artists residency in New Orleans, LA. He has received numerous grants including the Joan Mitchell Foundation Painters and Sculptors award and has been reviewed in publications such as the Chicago Tribune, Chicago Sun Times and the L.A. Times.
David Lozano's current exhibition, The Backroom Show, is currently on view at Zolla/Lieberman Gallery until December 23rd.
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As a portrait artist my inspiration is drawn solely from my subjects and their hidden emotional truths. To be able to capture those emotions, I model my work in black and white colored pencil on drafting film. I have created a process where I strip away the colored pencil from the surface to expose the hidden values and retain the textured surface. Drawing by subtraction. Working with a limited pallet allows me to concentrate on the forms, values and shadows. It helps expose the dark and often destructive emotional truths. Each subject is a compelling visual portrayal of the human spirit, determination and courage. Working on drafting film helps capture these hidden emotions while creating the depth and transparency that gives the illusion of distance in the subject’s features.
Image: Tracy Frein - \"Bazaar Dreams Hold Me Close\", 2023, colored pencil on Grafix drafting film, 13 x 20 in. (image) / 18 x 25 in. (frame)
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Image: Laurie Hogin - \"Untitled Habitat Diorama with Survivor Species (On a High Plateau)\", 2023, oil on linen canvas / artist-made frame, 49¾ x 35½ in. (frame)
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Yoonshin Park is a multimedia artist, curator, and educator working with sculptural papers, artist books, and installations. Her interest in the comprehensive process of papermaking and bookbinding caters her work to encompass various elements woven into complete objects.
“Yoonshin Park is a bookmaker, and it comes as no surprise that the blank page would hold a particular kind of significance for her. So when Park found herself in the midst of a paralyzing creative block, the page — that unmarred sheet, that metaphorical emptiness abounding with potential, that empty space waiting to absorb and record creative output as evidence of one's identity as an artist — was an ever-present specter. Park's Tiedseries is a product of that period in her life. However anxious she might have felt then, this practice instead embodies the assuaging of that frustration, the uphill climb towards re-establishing a creative rhythm. Catalyzing this return to making was the simple folding of paper. For Park, the repetition, the accumulation of rote handiwork, is its own kind of antidote to the discontent surrounding her lack of production. Via this self-soothing practice, the basis of Tied was formed.” - excerpt from Tied by Robin Dluzen
Image: Yoonshin Park, Handmade paper (hanji), ink, thread, fabric, 2021, 15” x 15” x .5”
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Join ZLG director, Brian Gillham, and featured artist, Yoonshin Park, for a deep dive into her current exhibition, In Lieu Of. They'll discuss her ongoing practice of sewing handmade papers into fabric, the allusion to waterscape in her work, the catharsis of repetition, her beginnings as an interdisciplinary artist, and much more.
Coffee, pastries, and light refreshments will be served.
Information
What: Words of Art: in dialogue with Yoonshin Park
When: Saturday, February 17th @ 2pm
Where: Zolla/Lieberman Gallery | 325 W Huron St, Chicago, IL 60654
Contact: Brian Gillham | 312-944-1990 | info@zollalieberman.com
South Gallery
William Conger is a Chicago-based, American painter and educator, known for a dynamic, subjective style of abstraction descended from Kandinsky.
William Conger's unique paintings represent an on-going investigation of abstraction that subtly fuses figural and landscape references to a vocabulary of irregular geometric forms. Conger's paintings are a process of linear and color discovery. He connects shapes by stringing them together along linear paths. The linear connections create a web of ambiguous positive or negative space, figure or ground. This enables him to modulate the shapes, add atmosphere, play with illogical light and allude to things in a suggestive way. By this means his work carries classical abstraction into a new visual territory.
Conger has shown at the Art Institute of Chicago, Museum of Contemporary Art, Chicago (MCA), the Krannert Art Museum, and Jonson Museum, and in numerous solo exhibitions in Chicago and beyond. His work has been discussed in national publications such as Artforum, Art in America, Arts Magazine, and ARTnews, He has been recognized by the Pollock-Krasner Foundation, City of Chicago Public Commissions, inclusion in the Smithsonian Archives of American Art, and purchases by public and private collections. In addition to his art career, Conger has taught and chaired art departments at DePaul University and Northwestern University, and written about art.
Image: William Conger - \"Aries\", 2022, oil on panel, 16 in. diameter
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Lora Fosberg is a Chicago-based artist whose work strives to represent the now, in whatever form it takes. Specializing in painting, printmaking, and sculpture, Fosberg’s work has been exhibited nationally and internationally.
Lora Fosberg’s work speaks to the power of form, the capacity of iconography to create a universal language that communicates the banalities and complexities of the human experience. Fosberg’s process is deeply anthropological, bound up in the intricacies and intimacies of human life—memories, emotions, our relationships with others and with nature. Disarming her viewers through familiar imagery and language in her work, often rendered in an accessible, animated manner, with a touch of cheeky humor, Fosberg affords them the space to regress to a particular memory, a moment of understanding, a conflict, an absence, a connection to another person, or to nature.
Image: Lora Fosberg - \"Isn't It Just Like The Present To Be Showing Up Like That\", 2024, gouache on paper, 22 x 28 in.
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Lorraine Peltz's paintings, photographs, and works on paper examine the ideas of memory, place, and identity – particularly in relation to women. Using imagery culled from both personal history and the contemporary moment she finds recognizable iconic objects imbued with potent metaphoric possibilities, and incorporates them in a range of painterly events. Peltz's images coalesce into exuberant fields of color that resonate with accumulated meanings and provide an expanse of visual pleasure.
Peltz was born in Brooklyn, NY and received her MFA from the University of Chicago and her BFA from the State University of New York at New Paltz. Peltz lives and works in Chicago where she teaches at the School of the Art Institute of Chicago. She was married to art critic, writer, and SAIC professor, James Yood, for 27 years, until his death in 2018. Her work is included in private and public collections around the country and abroad including the Rockford Art Museum, the Herbert Johnson Museum at Cornell University, the Elmhurst Art Museum, Incorniciarte Gallery in Verona, Italy and many more.
Image: Lorraine Peltz - \"Intoxicated Garden\", 2022, acrylic on canvas, 40 x 40 in.
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Dennis Lee Mitchell was born in Larned, Kansas, where he spent much of his childhood exploring the outdoors. He received his B.A. from Kansas State University and an M.F.A in ceramics from Arizona State University. He is the recipient of two National Endowment for the Arts Fellowships, a Pollock/Krasner Foundation Grant and a grant from the Illinois Arts Council. Mitchell participated in the Art in Embassy program, selected by the U.S. State Department to be a guest artist in Turkey. His work is held in numerous museums, private and public collections and he holds a Master of Fine Arts from Arizona State University.
Mitchell created the process of drawing with smoke by chance nearly a decade ago and shifted his focus from ceramics to explore this medium. By employing smoke as a drawing tool, delicately applying carbon soot to the surface of paper, the resulting works evoke natural forms where his imagery remains abstract, striking a balance between the representational and the ephemeral.
VIEW: Dennis Lee Mitchell - “Through An Open Flame”
Image: Dennis Lee Mitchell - \"Portugal Series 15\", 2024, smoke on paper, 41½ x 41½ in. (framed)
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Rhonda Gates spent her formative years between rural southwest Michigan and a small town in northwestern Missouri. She holds a Master of Science Degree in Education in Teaching Art and a Bachelor of Fine Arts Degree from Northwest Missouri State University, Maryville, MO. Her work has been exhibited throughout the US and is included in several important private and corporate collections including the Elmhurst Art Museum (IL) and Swedish American Regional Cancer Center (IL). Reviews have been published in publications including Art in America, Artnet, and the Chicago Tribune.
Gates' paintings strike a delicate balance between the suggestion of spatial depth and the flatness of surface. Simplified representations of natural forms serve as environmental cues, furthering the tension between surface and space. Her paintings begin as personal experiences in nature during which she focuses on the relationships between the formal elements within the scene. In her studio, she digs deeper into her observations and memories, and meditates on the experiences to isolate them visually into an inherent or implied geometric structure.
Images: Rhonda Gates - \"Road Cut: Almost There\", 2023, oil / graphite on panel, 16 x 16 in.
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Coffee, pastries, and light refreshments will be served.
Information
What: Words of Art: in conversation with Dennis Lee Mitchell & Rhonda Gates
When: Saturday, June 22nd @ 2pm
Where: Zolla/Lieberman Gallery | 325 W Huron St, Chicago, IL 60654
Contact: Brian Gillham | 312-944-1990 | info@zollalieberman.com
![\"Block](\"https://usercontent.flodesk.com/screenshots/29e624f7-6c77-4477-bf66-9969c4675f28/6671a55ab1d0adbd9b081f41/art-jolopLHctB-538167cc-4606-4ea7-a548-4b613698be97.png\")
Mitchell was born in Larned, Kansas, where he spent much of his childhood exploring the outdoors. He received his B.A. from Kansas State University and an M.F.A in ceramics from Arizona State University. He is the recipient of two National Endowment for the Arts Fellowships, a Pollock/Krasner Foundation Grant and a grant from the Illinois Arts Council. Mitchell participated in the Art in Embassy program, selected by the U.S. State Department to be a guest artist in Turkey. His work is held in numerous museums including the Utah Museum of Fine Arts, Daum Museum of Contemporary Art, the Clarke House Museum in Chicago, and others.
>Learn More: Dennis Lee Mitchell - Through An Open Flame
![](\"https://res.cloudinary.com/dfafo598z/image/upload/v1721419608/miyrydexlp5vziduau9b.png\")
Rhonda Gates spent her formative years between rural southwest Michigan and a small town in northwestern Missouri. She holds a Master of Science Degree in Education in Teaching Art and a Bachelor of Fine Arts Degree from Northwest Missouri State University, Maryville, MO. Her work has been exhibited throughout the US and is included in several important private and corporate collections including the Elmhurst Art Museum (IL) and Swedish American Regional Cancer Center (IL). Reviews have been published in publications including Art in America, Artnet, and the Chicago Tribune.
>Learn More: Rhonda Gates - land[e]scapes
Curated by Ruth L. Poor
Zolla/Lieberman Gallery is proud to present Veil, Drape, and Stitch, a group exhibition curated by Ruth L. Poor.
“The persisting relationship between textiles and our everyday lives is almost innumerable. From the worldly embrace of our clothing to the veiling of holy objects, uses range from the sacred to the profane. The work in this show represents physical, conceptual, and illusionary representations of fibers. Some artists have chosen the proliferation of patterns and repetition in cloth. Others have rummaged through perceived scraps and incorporated them through the treasure of quilt-making. Painted presentations range from dramatic draping like the grand weight of theater curtains to sheer, voluminous shrouds. Embroidery artists use stitching to tell time, embellish, or emphasize the piercing of woven structures. Our expansive range of use and relationship to cloth can be used to comfort, bind, and exalt (et al.) in the same ways the artists chosen for this exhibition have represented the life of textiles.” - Ruth L. Poor
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Ava Carney
William Conger
James DeNoyer
Rhonda Gates
Robin Malpass
Lynn Neuman Drake
Lorraine Peltz
Frank Paluch
Yoonshin Park
Oana Patran
Dan Ramirez
Shelley Rosenstein
Zack Sanyour
Madeline Schwartzman
Kay Smith
Buzz Spector
Jay Strommen
Derek Walter
Zachary Weber
Bex Wilkinson
Main / South Galleries | VIEW: Vera Klement - “After a Life”
Zolla/Lieberman Gallery proudly presents an exhibition celebrating the life and work of Vera Klement (1929 - 2023), one of Chicago's most distinguished figures in contemporary art. Vera Klement: After a Life spans decades of the artist's career featuring a curated selection of paintings and drawings that navigate her various artistic styles from abstract expressionism to figurative exploration.
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\"Much has been written—beautifully so—about Vera's paintings and works on paper, and the melding of techniques that make them so powerful. She painted what was ordinary with great precision. In her renderings of trees, landscapes and figures we see the influence of the European masters Vera admired. But, having grown up in the radius of the postwar New York art scene, Vera was also an “action painter,” a term coined by her close friend, New Yorker art critic Harold Rosenberg, to describe the technique most often associated with Jackson Pollock's dripping paint on a canvas spread on the floor.
Vera preferred to paint alone, so I rarely saw her work. But one of my favorite memories is of Vera in well worn, open-toed sandals almost dancing around a drawing she had placed on the ground, making it new, and new yet again, with each exuberant fling of her paintbrush. The splattered floors, the layers upon layers of color enveloping her workbench, the dozens of mixing bowls, each inches-thick with dried paint—all spoke to the sheer physicality of her creativity.\"
- excerpt from You Are Beyond: Remembering Vera Klement by Anne K. Ream
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Opening reception: Friday, September 6th - 4pm to 7pm
South / Office Galleries
The Quiet Is So Noisy
curated by LORA FOSBERG
September 6 – October 12, 2024
Opening reception: Friday, September 6th – 4pm to 7pm
Zolla/Lieberman Gallery is pleased to announce the opening of the Chicago gallery season with a solo exhibition featuring the work of renowned Chicago artist Riva Lehrer. The Monster Studio will be on view from September 6 to October 12, 2024.
For the show's six-week run, Lehrer will be performing a public portrait studio. She has invited a selection of distinguished collaborators, including:
Authors/performers/podcasters Stephen T. Asma and Brandy Schillace, Art critic Jill Casid, Sculptor Anna Campbell, Theorist Jeffrey Jerome Cohen.
Each collaborator will be asked to describe—and collaboratively draw—an image depicting their inner “monsterselves,” resulting in portraits created through deep conversation.
The Monster Studio is a public event. We actively encourage viewers to be part of the audience, to comment, ask questions, and witness these conversations. The portrait schedule will be posted soon, and the sessions will also be live-streamed.
For more information, see also Lehrer’s statement of purpose for this project.
“I believe that the true product of a portrait is not the object, but the exchanges between artist and collaborator. Intimacy is the very foundation of what we do. I am who I am because of the countless transformative conversations I have had in the studio.”
– Riva Lehrer
About the artist:
Riva Lehrer’s work is celebrated for its exploration into the marginalized and stigmatized body. Through a distinct blend of drawing, painting, collage, and sculpture, she challenges viewers to reconsider their assumptions about beauty and difference. She has become a leading voice in the formation of Disability Culture, and her contributions to art, literature, and activism have had a profound impact on the way we understand diversity.
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Join us on Saturday, September 28th at 2pm for Words of Art: Anne Harris in conversation with Riva Lehrer.
Artist, author, critic, and educator Anne Harris will lead a discussion with Riva Lehrer exploring the ambitions of her current exhibition, The Monster Studio. Harris and Lehrer will trade perspectives on a variety of topics that have informed Lehrer's work for more than 30 years, including embodiment, cultural depictions of disability, contemporary portraiture, art as activism, and much more.
Coffee, pastries, and light refreshments will be served.
Words of Art: Anne Harris in conversation with Riva Lehrer
Saturday, September 28th @ 2pm
Zolla/Lieberman Gallery | 325 W Huron St, Chicago, IL 60654
Contact Brian Gillham | 312-944-1990 | info@zollalieberman.com
Riva Lehrer is an artist, writer and curator who focuses on the socially challenged body. She is best known for representations of people whose physical embodiment, sexuality, or gender identity have long been stigmatized. Her work has been exhibited in venues including the Museum of Contemporary Art of Chicago, National Portrait Gallery of the Smithsonian, the Hirshhorn Museum, the Museum of Contemporary Art of San Diego, Yale University, the United Nations, the National Museum of Women in the Arts, the Arnot Museum, the DeCordova Museum, the Frye Museum and the Chicago Cultural Center.
Awards include the 2020 Ford Foundation Fellowship, 2017 3Arts MacDowell Fellowship, 2014 Carnegie Mellon Fellowship, 2006 Wynn Newhouse Foundation Grant, Illinois Arts Council Grants, and National Endowment for the Arts Grant.
Lehrer's memoir, Golem Girl (October 2020, One World/ Penguin Random House) won the 2020 Barbellion Prize for Literature and was a finalist for the National Book Critics Circle Award.
Lehrer was a longtime faculty member at the School of the Art Institute of Chicago and is currently an instructor in Medical Humanities at Northwestern University.
>Learn More: Riva Lehrer - The Monster Studio
An Art Exhibition featuring the work of artists with Bipolar Disorder to highlight the creativity that often accompanies this serious illness of the brain and to reduce the stigma associated with Bipolar Disorder through understanding and awareness.
This Exhibition, titled Insights VII, is a juried Retrospective of the Foundation's Insights II - VI Collections. The artworks were chosen by a jury of major art collectors, gallerists and artists. This Exhibition is the Best of the Best and will also feature works by a special guest artist and the Foundation's Artist-in-Residence, Kelly Mathews.
Image by artist Victoria Loeb
","type":"Event","state":"published","slug":"insights-vii","created_at":"2024-10-23 16:57:38.576291","updated_at":"2024-10-23 16:57:38.589865","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":true,"opening_starts_at":null,"opening_ends_at":null,"searchable":"'accompani':20B 'also':81B 'art':4B,66B 'artist':10B,70B,88B,94B,101B 'artist-in-resid':93B 'artwork':58B 'associ':32B 'awar':39B 'best':75B,78B 'bipolar':12B,34B 'brain':26B 'chosen':60B 'collect':56B 'collector':67B 'creativ':17B 'disord':13B,35B 'exhibit':5B,41B,72B 'featur':6B,82B 'foundat':51B,91B 'gallerist':68B 'guest':87B 'highlight':15B 'ii':54B 'ill':23B 'imag':99B 'insight':1A,43B,53B 'juri':47B,63B 'kelli':97B 'loeb':103B 'major':65B 'mathew':98B 'often':19B 'reduc':29B 'resid':96B 'retrospect':48B 'serious':22B 'special':86B 'stigma':31B 'titl':42B 'understand':37B 'vi':55B 'victoria':102B 'vii':2A,44B 'work':8B,83B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1731088757/vwjzy2gzfmjf5pkxkzjt.png","calendar":null,"carousel":null,"category_name":"Exhibitions"},{"id":12230,"title":"David Kroll: Distant Clouds","starts_at":"2024-11-08 16:00:00","ends_at":"2025-01-04 12:00:00","body":"For landscape painters, the stability of the land is eternal. Mountains hold still for the painter of outdoors and, while passing breezes may disturb deciduous foliage, it is only in the spring and autumnal transitions when leaves sprout or fall at noticeable pace. The weather, however, refuses to hold still, with its changes of light and air happening moment by moment. For Kroll, there is plenty of atmosphere beyond his tableaus, but no clear sense of the daylight hour.
Paradoxically, it seems, Kroll's latest suite of paintings and works on paper, “Distant Clouds,” is for the most part, emptied of landscape elements, and the light suffusing these works is of no particular time of day. What remains of nature, beyond this hummingbird or that bunch of grapes, is the sky, dappled with clouds.
– excerpt from David Kroll: Distant Clouds by Buzz Spector
VIEW: David Kroll - “Distant Clouds”
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January 31 - March 8, 2025
opening reception: Friday, January 31st - 4 to 7pm
Cry Loud and Spare Not takes its name and thematic inspiration from the Bible. In the 58th chapter of Isaiah, the prophet boldly calls out against societal injustices and the hypocrisy of empty rituals, urging people to pursue true righteousness, justice, and mercy. This collection offers an evocative retrospective of the last ten years of my 30-plus-year art practice, using this biblical foundation to draw parallels between the societal challenges of ancient times and the contemporary struggles we face today. Through this lens, these works reflect on the persistent uncertainty of our modern world, particularly the continued suffering and marginalization of Black people in America.
Through a range of media—including painting, sculpture, and mixed-media collage—the exhibition addresses the lived experiences of Black Americans. By referencing the themes of Isaiah 58, I aim to challenge viewers to confront the emptiness of performative faith and recognize the necessity of authentic, transformative action in the face of suffering. The works express a wide range of emotions: the raw pain of oppression, the joys of music and love, the burning desire for change, and the enduring hope for redemption.
Ultimately, Cry Loud and Spare Not is a call to action—not just a reflection on the past, but a vision for the future, where righteousness and justice are fully realized.
- Raymond Thomas, 2025
Thomas has been an active contributor to the arts community, serving on the boards and committees of esteemed Chicago institutions such as Little Black Pearl, the Black Harvest Film Festival, the Chicago International Film Festival's Black Perspectives Sidebar, the Chicago Public Art Group, and the South Side Community Art Center (SSCAC). From 2012 to 2014, he served as SSCAC's creative director and curator, organizing some of the center's most provocative and well-attended exhibitions in its 75-year history.
A three-time recipient of the City of Chicago's Individual Arts Program Creative Projects Grant (2014, 2015, and 2018), Thomas was also honored in 2015 with a commission by the Burnham Wildlife Corridor Curatorial Committee, the Chicago Park District, and The Field Museum. Alongside two other artists, he created Sankofa for the Earth, a public art installation on the Chicago lakefront, unveiled in 2016. In 2017, he received the Margaret Burroughs Arts Advocacy Award from SSCAC.
Currently, Thomas serves as creative director for the Jazz Institute of Chicago and as curator of the Walgreens Expressions Challenge, a traveling high school art competition held in Chicago and St. Louis.
","type":null,"state":"published","slug":"raymond-thomas-cry-loud-and-spare-not","created_at":"2025-01-27 17:44:02.389","updated_at":"2025-01-27 17:44:02.389","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2025-01-31 16:00:00","opening_ends_at":"2025-01-31 19:00:00","searchable":"'2012':299B '2014':301B,346B '2015':347B,355B '2016':394B '2017':396B '2018':349B '2025':11B,245B '30':76B '31':8B '31st':16B '4':17B '58':156B '58th':36B '75':326B '7pm':19B '8':10B 'action':176B,222B 'activ':250B 'address':143B 'advocaci':403B 'aim':158B 'alongsid':374B 'also':352B 'america':127B 'american':149B 'ancient':94B 'art':80B,254B,288B,295B,341B,386B,402B,431B 'artist':377B 'attend':322B 'authent':174B 'award':404B 'bibl':33B 'biblic':84B 'black':124B,148B,269B,272B,282B 'board':259B 'bold':42B 'burn':202B 'burnham':361B 'burrough':401B 'call':43B,220B 'center':296B,315B 'challeng':92B,160B,426B 'chang':205B 'chapter':37B 'chicago':264B,277B,286B,338B,367B,390B,418B,435B 'citi':336B 'collag':140B 'collect':64B 'commiss':358B 'committe':261B,365B 'communiti':255B,294B 'competit':432B 'confront':163B 'contemporari':98B 'continu':119B 'contributor':251B 'corridor':363B 'creat':379B 'creativ':307B,343B,411B 'cri':3A,20B,213B 'curat':310B,421B 'curatori':364B 'current':407B 'desir':203B 'director':308B,412B 'district':369B 'draw':87B 'earth':383B 'emot':189B 'empti':52B,165B 'endur':208B 'esteem':263B 'evoc':67B 'exhibit':142B,323B 'experi':146B 'express':184B,425B 'face':101B,179B 'faith':168B 'festiv':275B,280B 'field':372B 'film':274B,279B 'foundat':85B 'friday':14B 'fulli':241B 'futur':235B 'grant':345B 'group':289B 'harvest':273B 'held':433B 'high':429B 'histori':328B 'honor':353B 'hope':209B 'hypocrisi':50B 'includ':133B 'individu':340B 'injustic':47B 'inspir':30B 'instal':387B 'institut':265B,416B 'intern':278B 'isaiah':39B,155B 'januari':7B,15B 'jazz':415B 'joy':196B 'justic':60B,239B 'lakefront':391B 'last':71B 'len':105B 'littl':268B 'live':145B 'loud':4A,21B,214B 'loui':438B 'love':200B 'march':9B 'margaret':400B 'margin':122B 'media':132B,139B 'merci':62B 'mix':138B 'mixed-media':137B 'modern':115B 'museum':373B 'music':198B 'name':27B 'necess':172B 'offer':65B 'open':12B 'oppress':194B 'organ':311B 'pain':192B 'paint':134B 'parallel':88B 'park':368B 'particular':117B 'past':229B 'pearl':270B 'peopl':55B,125B 'perform':167B 'persist':111B 'perspect':283B 'plus':78B 'plus-year':77B 'practic':81B 'program':342B 'project':344B 'prophet':41B 'provoc':318B 'public':287B,385B 'pursu':57B 'rang':130B,187B 'raw':191B 'raymond':1A,243B 'realiz':242B 'receiv':398B 'recept':13B 'recipi':333B 'recogn':170B 'redempt':211B 'referenc':151B 'reflect':108B,226B 'retrospect':68B 'righteous':59B,237B 'ritual':53B 'sankofa':380B 'school':430B 'sculptur':135B 'serv':256B,303B,409B 'side':293B 'sidebar':284B 'societ':46B,91B 'south':292B 'spare':6A,23B,216B 'sscac':297B,305B,406B 'st':437B 'struggl':99B 'suffer':120B,181B 'take':25B 'ten':72B 'themat':29B 'theme':153B 'thoma':2A,244B,246B,350B,408B 'three':331B 'three-tim':330B 'time':95B,332B 'today':102B 'transform':175B 'travel':428B 'true':58B 'two':375B 'ultim':212B 'uncertainti':112B 'unveil':392B 'urg':54B 'use':82B 'viewer':161B 'vision':232B 'walgreen':424B 'well':321B 'well-attend':320B 'wide':186B 'wildlif':362B 'work':107B,183B 'world':116B 'year':73B,79B,327B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/f_auto,q_auto/v1737999838/ctrmqgk1brjldjwkjsci.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":17142,"title":"Purvis Young: Messenger of Salvation and Liberation","starts_at":"2025-01-31 16:00:00","ends_at":"2025-03-08 17:00:00","body":"January 31 - March 8, 2025
Opening reception: Friday, January 31st - 4 to 7pm
Zolla/Lieberman Gallery is proud to present Purvis Young: Messenger of Salvation and Liberation celebrating the vibrant work of self-taught artist Purvis Young. The exhibition will be on view from January 31st to March 8th, featuring the many aspects of Young's practice including large-scale paintings on found wood, works on paper, and various ephemera such as sketch books and small sculptures.
Purvis Young (1943–2010), often referred to as the \"Picasso of the Ghetto,\" emerged from the Overtown neighborhood of Miami, FL where his art transformed discarded materials into profound visual narratives of hope, struggle, and resilience. Known for his unique fusion of street art and fine art, Young's works feature recurring motifs such as angels, horses, and bustling cityscapes, serving as metaphors for freedom, community, and the human spirit.
Young's association with the Wall of Respect mural in Chicago marked a significant moment in his career, connecting his artistic voice to a broader movement celebrating Black culture and identity. The Wall of Respect, created in 1967 by the Organization of Black American Culture (OBAC), was a symbol of pride and activism, and Young's contribution to this iconic project further cemented his role as a storyteller for marginalized communities.
Working primarily with found materials like scrap wood, cardboard, and discarded canvases, Young used bold colors and repetitive motifs—such as angels, horses, and urban landscapes—to convey a sense of hope amid adversity. His work gained national and international recognition in the 1980s, earning spots in prestigious collections, including the Smithsonian American Art Museum and the Metropolitan Museum of Art.
Purvis Young's art remains a testament to the power of creativity to transcend circumstances and give voice to the marginalized, making him one of the most important figures in contemporary outsider art.
Eric Lebofsky is a visual artist, writer, and musician who lives in the suburbs of Chicago. Lebofsky received an undergraduate degree in visual art from Columbia University, and an MFA from the School of the Art Institute of Chicago. Previous solo and group exhibitions include Zolla / Lieberman Gallery, Chicago; Sears Peyton Gallery, New York and Los Angeles; The Museum of Contemporary Art, Chicago; Adam Baumgold Gallery, New York; Shane Campbell Gallery, Chicago; and Western Exhibitions, Chicago.
Image: Eric Lebofsky - \"Presence\", 2025, acrylic / colored pencil / graphite / pine / canvas, 20½ x 16½ in.
Zolla/Lieberman Gallery is pleased to present Behind Blue Eyes, a solo exhibition by artist René Romero Schuler. On view from April 4 to May 10, 2025, the exhibition showcases Schuler’s continued exploration of the abstract feminine form through painting and sculpture. An opening reception will be held on Friday, April 4, from 4:00 to 7:00 p.m.
Schuler is best known for her textured oil paintings, where feminine figures emerge from rich, tactile surfaces in monochromatic tones. Blending abstraction and figuration, her work examines themes of imperfection, interpretation, and intimacy while challenging societal expectations, particularly those placed on women.
The title Behind Blue Eyes nods to a defining moment in Schuler’s career—her first Chicago exhibition over two decades ago. Drawing inspiration from The Who’s song of the same name, the title encapsulates her ongoing investigation of identity beneath surface appearances. This theme resonates throughout her work, where indistinct yet expressive figures serve as enduring symbols of resilience and empowerment.
Featuring over 15 new paintings and sculptures, Behind Blue Eyes presents works that Schuler describes as more “curious and contemplative” than her earlier pieces. The exhibition also features a series of smaller circular paintings that emphasize the subtle, introspective quality of Schuler’s latest work.
About René Romero Schuler
René Romero Schuler is an American painter and sculptor who creates powerful images that speak to the complexities of the human condition and the spirit that connects all human beings.
Feminine figures are a constant in Schuler’s art, which she claims is equal parts self-portraiture and depictions of the range of emotions she has experienced. Her challenging childhood imbues her work with an appreciation for the universal yet essentially intimate struggles and triumphs of human existence. In her quest for a feeling of connection, Schuler speaks to global and societal issues that impact us all.
Schuler’s paintings and sculptures are purposely semi-abstract and textured, rendering them open to interpretation by the viewer. Their power lies in the layers of applied materials scraped, carved and incised by hand and the elusive quality of the figures – wholistically beautiful but symbolic of the scars and flaws that shape individuals.
Currently represented by galleries across the U.S., Canada and Europe, Schuler has had major exhibitions throughout the U.S., Europe and Asia, and has work included in the permanent collections of numerous museums and institutions.
Schuler’s art and selected essays and poetry are collected into published works: René Romero Schuler: Life and Works, 2013; René Romero Schuler, 2016 and René Romero Schuler, 2019, now available in its second edition. A fourth book, Ladies, was published in 2023.
Website: https://www.reneromeroschuler.com
Instagram: @reneromeroschuler
About Zolla/Lieberman Gallery
Zolla/Lieberman Gallery was established in 1976 by Roberta Lieberman and Robert Zolla within a then-desolate industrial neighborhood now known as the River North Gallery District. They transformed a vacant industrial space into a hub for contemporary art, laying the foundation for the thriving art community that the area is today.
Now located at 325 W Huron St, William Lieberman continues to uphold the legacy of quality and professionalism established since the gallery’s founding. Z/L represents a diverse range of artists and genres that offer a dynamic view of contemporary art in Chicago. They are dedicated to providing personal attention to both beginning and established collectors, as well as other art professionals.
Website: https://www.zollaliebermangallery.com
Instagram: @zlgallery
Image: René Romero Schuler, Leona, oil on canvas, 54 x 54 in
DEBORAH BUTTERFIELD
New Sculptures
May 30 - August 9, 2025
opening reception: Friday, May 30th - 4 to 7pm
Zolla/Lieberman Gallery is pleased to announce Deborah Butterfield: New Sculptures, a solo exhibition showcasing the latest work by the celebrated American sculptor known for her iconic interpretations of the horse. The show opens with a reception on Friday, May 30th, from 4:00 to 7:00pm, and continues through Saturday, August 9th, 2025.
For over forty years, Deborah Butterfield has devoted her practice to a singular subject—the horse—transforming discarded materials such as driftwood and reclaimed steel into powerful and poetic forms. Her sculptures, often cast in bronze, retain the detail and composition of the original materials, resulting in works that convey a refined physicality and commanding presence.
This new exhibition brings together a selection of recent sculptures that highlight Butterfield's ongoing investigation into balance, stillness, and gesture. Ranging from intimate studies to commanding full-scale figures, each piece conveys a thoughtful sense of character and emotion without relying on traditional realism. Instead, Butterfield builds her subjects through structure and silhouette, allowing material and negative space to suggest movement, weight, and spirit.
Butterfield's sculptures have been featured in prominent museums and institutions across the globe. Her work is included in the permanent collections of the Art Institute of Chicago, the Whitney Museum of American Art, the Hirshhorn Museum, and the Metropolitan Museum of Art, among many others.
VIEW: Deborah Butterfield - New Sculptures
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Friday July 11, 2025 - 5 to 8PM
Participating Galleries Include:
Addington Gallery on Wells
Gallery VICTOR on Superior
Carousel Fine Art on Superior
ZG Gallery on Superior
Hilton Contemporary on Wells
Zolla / Lieberman Gallery on Huron
Rosenthal Fine Art on Superior
Stephen Daiter Gallery on Franklin
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Audrey Niffenegger is a multifaceted American writer, visual artist, and academic whose work bridges storytelling, printmaking, and book arts. She studied visual art at the School of the Art Institute of Chicago and earned an MFA from Northwestern University’s Department of Art Theory and Practice in 1991.
Niffenegger’s artistic practice centers on handmade artist’s books and printmaking. Beginning in the early 1980s, she produced limited-edition works such as The Adventuress and The Three Incestuous Sisters, which combined original etchings with narrative text. These projects established her reputation in the book arts world and were later reproduced in trade editions, bringing her visual storytelling to a wider audience. She has also created graphic works like The Night Bookmobile and Raven Girl, which was adapted into a ballet by the Royal Opera House in London.
In 1994, she co-founded the Columbia College Chicago Center for Book and Paper Arts, fostering interdisciplinary approaches to print, paper, and bookmaking. Her prints, drawings, and artist’s books have been exhibited widely and are held in collections such as the Library of Congress, National Gallery of Art, British Library, and the Victoria and Albert Museum. In 2019, she founded Artist Book House, a nonprofit in Chicago dedicated to the creation, teaching, and celebration of book arts. Her imagery often explores themes of time, memory, mortality, and the uncanny, weaving together visual narrative and psychological depth.
Niffenegger continues to balance her parallel careers in visual art and fiction, creating work that merges image, narrative, and imagination into singular, multidisciplinary forms.
Image: Audrey Niffenegger - \"Befogged,\" 2025, oil on panel, 24 x 18 in. – image / 27½ x 21¾ in. – frame
Main / Office Galleries
Lora Fosberg is an American artist whose multidisciplinary practice spans painting, printmaking, drawing, and sculpture. She received her BFA from the University of Illinois at Urbana–Champaign and her MFA from the School of the Art Institute of Chicago in 1992.
Lora Fosberg’s work speaks to the power of form, the capacity of iconography to create a universal language that communicates the banalities and complexities of the human experience. Fosberg’s process is deeply anthropological, bound up in the intricacies and intimacies of human life—memories, emotions, our relationships with others and with nature. Disarming her viewers through familiar imagery and language in her work, often rendered in an accessible, animated manner, with a touch of cheeky humor, Fosberg affords them the space to regress to a particular memory, a moment of understanding, a conflict, an absence, a connection to another person, or to nature.
Her work has been featured in venues across the Midwest and West Coast including the South Bend Museum of Art, the Museum of Contemporary Art Chicago, the Hyde Park Art Center and international venues in Copenhagen and London.
Fosberg’s work is represented in the permanent collections of the Illinois State Museum, Eaton Corporation, and Kirkland & Ellis, as well as numerous private collections. She lives and works in Michigan City, Indiana.
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Together, we will talk about the themes that shape her work, including questions of mortality, spirituality, and imagination, and how she uses materials and intuition to create an environment where the natural and the supernatural meet. This is a chance to hear directly from Lora about how she moves from idea to finished piece, and how her vision of the romantic sublime continues to grow.
Coffee, pastries, and light refreshments will be served.
Contact: Brian Gillham | 312-944-1990 | info@zollalieberman.com
Lora Fosberg is an American artist whose multidisciplinary practice spans painting, printmaking, drawings, and sculpture. She received her BFA from the University of Illinois at Urbana Champaign and her MFA from the School of the Art Institute of Chicago. Her work has been featured in venues across the Midwest and West Coast including the South Bend Museum of Art, the Museum of Contemporary Art Chicago, the Hyde Park Art Center and international venues in Copenhagen and London. Fosberg's work is represented in the permanent collections of the Illinois State Museum, Eaton Corporation, and Kirkland & Ellis, as well as numerous private collections. She lives and works in Michigan City, Indiana.
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","type":null,"state":"published","slug":"sebastian-thomas","created_at":"2025-09-24 17:58:43.401","updated_at":"2025-09-24 17:58:43.401","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2025-11-07 16:00:00","opening_ends_at":"2025-11-07 19:00:00","searchable":"'galleri':5B 'main':3B 'offic':4B 'sebastian':1A 'thoma':2A","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1758736685/ok1ezywbos8zy5e9g8d9.png","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":24402,"title":"Buzz Spector: Recto | Verso","starts_at":"2025-11-07 10:41:42.219","ends_at":"2025-12-20 10:41:42.22","body":"Buzz Spector is an American artist, writer, and educator whose work explores the relationships between public history, individual memory, and perception. He is known for his sculptural and conceptual use of books as both subject and object, employing stacking, tearing, and reconfiguration to examine how meaning is shaped and transformed through the material presence of language.
Spector has presented solo exhibitions at the Art Institute of Chicago, Corcoran Gallery of Art in Washington DC, Huntington Museum of Art in West Virginia, Mattress Factory in Pittsburgh, Qian Juntao Museum in Jiaxing, China, Saint Louis Art Museum, and Rockford Art Museum in Illinois. His work is included in more than fifty museum collections worldwide.
In addition to his visual practice, Spector has written widely on contemporary art and culture for publications including Artforum, American Craft, Brooklyn Rail, and New Art Examiner. He is the author of The Book Maker's Desire and Buzz Words, and his experimental writing has appeared in journals such as Benzene, Cafe Solo, Posit, and River Styx.
He lives and works in the Hudson Valley of New York, continuing to shape contemporary dialogues around books, memory, and the visual language of text.
","type":null,"state":"published","slug":"buzz-spector-recto-verso","created_at":"2025-11-03 04:59:13.157","updated_at":"2025-11-03 04:59:13.157","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2025-11-07 16:00:00","opening_ends_at":"2025-11-07 19:00:00","searchable":"'addit':118B 'american':9B,136B 'appear':162B 'around':190B 'art':68B,75B,82B,98B,102B,129B,142B 'artforum':135B 'artist':10B 'author':147B 'benzen':167B 'book':36B,150B,191B 'brooklyn':138B 'buzz':1A,5B,155B 'cafe':168B 'chicago':71B 'china':95B 'collect':115B 'conceptu':33B 'contemporari':128B,188B 'continu':185B 'corcoran':72B 'craft':137B 'cultur':131B 'dc':78B 'desir':153B 'dialogu':189B 'educ':13B 'employ':42B 'examin':48B,143B 'exhibit':65B 'experiment':159B 'explor':16B 'factori':87B 'fifti':113B 'galleri':73B 'histori':21B 'hudson':180B 'huntington':79B 'illinoi':105B 'includ':109B,134B 'individu':22B 'institut':69B 'jiax':94B 'journal':164B 'juntao':91B 'known':28B 'languag':60B,196B 'live':175B 'loui':97B 'maker':151B 'materi':57B 'mattress':86B 'mean':50B 'memori':23B,192B 'museum':80B,92B,99B,103B,114B 'new':141B,183B 'object':41B 'percept':25B 'pittsburgh':89B 'posit':170B 'practic':122B 'presenc':58B 'present':63B 'public':20B,133B 'qian':90B 'rail':139B 'reconfigur':46B 'recto':3A 'relationship':18B 'river':172B 'rockford':101B 'saint':96B 'sculptur':31B 'shape':52B,187B 'solo':64B,169B 'spector':2A,6B,61B,123B 'stack':43B 'styx':173B 'subject':39B 'tear':44B 'text':198B 'transform':54B 'use':34B 'valley':181B 'verso':4A 'virginia':85B 'visual':121B,195B 'washington':77B 'west':84B 'whose':14B 'wide':126B 'word':156B 'work':15B,107B,177B 'worldwid':116B 'write':160B 'writer':11B 'written':125B 'york':184B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1762145938/o9ho7ddubb4rncgzlrhd.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":20317,"title":"Herman Aguirre: El Jardin","starts_at":"2026-02-20 16:00:00","ends_at":"2026-03-21 19:00:00","body":"Zolla/Lieberman Gallery is pleased to present El Jardin, a body of large scale paintings that emerge from the intimate pen and ink drawings first shown in Aguirre's recent exhibition El calor de las hojas. While the earlier drawings functioned as a space of reflection and discovery, the paintings extend those narratives into physical form, transforming quiet observation into architectural scale. Through layered paint and sculpted surfaces, Aguirre renders doors, walls, trees, and streets as sites marked by memory and absence.
The works confront the ongoing realities of violence affecting Chicago's inner city communities, drawing from what the artist has seen, witnessed, and carried from youth into adulthood. Figures often recede, leaving deserted rooms, empty streets, and fragile traces of human presence that hold grief and remembrance. In this way, the garden becomes both memorial and offering, honoring lives lost while insisting that they are not forgotten.
Image: Herman Aguirre, ¡Ni uno mas!, 2023, Oil and oil/acrylic skins on panel, 63\" x 98\" x 4.5\"
","type":null,"state":"published","slug":"hermann-aguirre","created_at":"2026-02-18 17:55:39.646","updated_at":"2026-02-18 17:55:39.646","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2026-02-20 16:00:00","opening_ends_at":"2026-02-20 19:00:00","searchable":"'2023':159B '4.5':170B '63':166B '98':168B 'absenc':85B 'adulthood':113B 'affect':94B 'aguirr':2A,31B,72B,155B 'architectur':64B 'artist':104B 'becom':138B 'bodi':14B 'calor':36B 'carri':109B 'chicago':95B 'citi':98B 'communiti':99B 'confront':88B 'de':37B 'desert':118B 'discoveri':51B 'door':74B 'draw':27B,43B,100B 'earlier':42B 'el':3A,11B,35B 'emerg':20B 'empti':120B 'exhibit':34B 'extend':54B 'figur':114B 'first':28B 'forgotten':152B 'form':59B 'fragil':123B 'function':44B 'galleri':6B 'garden':137B 'grief':130B 'herman':1A,154B 'hoja':39B 'hold':129B 'honor':143B 'human':126B 'imag':153B 'ink':26B 'inner':97B 'insist':147B 'intim':23B 'jardin':4A,12B 'larg':16B 'las':38B 'layer':67B 'leav':117B 'live':144B 'lost':145B 'mark':81B 'mas':158B 'memori':83B,140B 'narrat':56B 'ni':156B 'observ':62B 'offer':142B 'often':115B 'oil':160B 'oil/acrylic':162B 'ongo':90B 'paint':18B,53B,68B 'panel':165B 'pen':24B 'physic':58B 'pleas':8B 'presenc':127B 'present':10B 'quiet':61B 'realiti':91B 'reced':116B 'recent':33B 'reflect':49B 'remembr':132B 'render':73B 'room':119B 'scale':17B,65B 'sculpt':70B 'seen':106B 'shown':29B 'site':80B 'skin':163B 'space':47B 'street':78B,121B 'surfac':71B 'trace':124B 'transform':60B 'tree':76B 'uno':157B 'violenc':93B 'wall':75B 'way':135B 'wit':107B 'work':87B 'x':167B,169B 'youth':111B 'zolla/lieberman':5B","thumbnail":"https://res.cloudinary.com/dfafo598z/image/upload/v1753123694/yczvkyjmzssebzeem06i.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":27670,"title":"Rhonda Gates: Beneath Hyperion's Sky","starts_at":"2026-02-20 16:00:00","ends_at":"2026-03-21 17:00:00","body":"Zolla/Lieberman Gallery is pleased to present Rhonda Gates: Beneath Hyperion's Sky, a series of landscape paintings shaped by observation of atmosphere, weather, and terrain.
Drawing on the mythic figure of Hyperion, the Titan associated with heavenly light and cyclical time, the exhibition considers how illumination and temporal change structure both the natural world and human perception.
Working in layers, Gates builds her surfaces through repeated applications of color and line, translating direct observation of the Midwestern landscape into meditative compositions. Circles, grids, and linear progressions organize the canvas, mapping shifts in light, horizon, and seasonal change. These formal elements register the passage of time and the changing atmosphere, so that the landscape emerges not as a descriptive view but as an ordered system. Situated between abstraction and representation, her work invites reflection on ecology, memory, and shared experience, positioning landscape as a site of connection within a time of environmental and cultural uncertainty.
","type":null,"state":"published","slug":"beneath-hyperions-sky","created_at":"2026-02-18 18:38:35.784","updated_at":"2026-02-18 18:38:35.785","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2026-02-20 16:00:00","opening_ends_at":"2026-02-20 19:00:00","searchable":"'abstract':133B 'applic':73B 'associ':41B 'atmospher':28B,115B 'beneath':3A,15B 'build':68B 'canva':95B 'chang':55B,103B,114B 'circl':88B 'color':75B 'composit':87B 'connect':152B 'consid':50B 'cultur':159B 'cyclic':46B 'descript':124B 'direct':79B 'draw':32B 'ecolog':141B 'element':106B 'emerg':120B 'environment':157B 'exhibit':49B 'experi':145B 'figur':36B 'formal':105B 'galleri':8B 'gate':2A,14B,67B 'grid':89B 'heaven':43B 'horizon':100B 'human':62B 'hyperion':4A,16B,38B 'illumin':52B 'invit':138B 'landscap':22B,84B,119B,147B 'layer':66B 'light':44B,99B 'line':77B 'linear':91B 'map':96B 'medit':86B 'memori':142B 'midwestern':83B 'mythic':35B 'natur':59B 'observ':26B,80B 'order':129B 'organ':93B 'paint':23B 'passag':109B 'percept':63B 'pleas':10B 'posit':146B 'present':12B 'progress':92B 'reflect':139B 'regist':107B 'repeat':72B 'represent':135B 'rhonda':1A,13B 'season':102B 'seri':20B 'shape':24B 'share':144B 'shift':97B 'site':150B 'situat':131B 'sky':6A,18B 'structur':56B 'surfac':70B 'system':130B 'tempor':54B 'terrain':31B 'time':47B,111B,155B 'titan':40B 'translat':78B 'uncertainti':160B 'view':125B 'weather':29B 'within':153B 'work':64B,137B 'world':60B 'zolla/lieberman':7B","thumbnail":"http://res.cloudinary.com/dfafo598z/image/upload/v1771437540/gOC6xWmhF8LeBS0gyaC4FA0J5vS_wKqBo0xVJB5eoI8VLP8356GxQppveFhdAe-DQmjlRz1ix5ccb5H13H0UtiNmLog13NUN4rxazZs_Z7nC0_WebpBCi3qerM53qF120BFnwubPVlqyXCOIbhCR36R1eqB4aYcCmh0h-PDt6ME_qlnbsg.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":27669,"title":"Cecilia Beaven: Inflorescence","starts_at":"2026-02-20 16:00:00","ends_at":"2026-03-21 17:00:00","body":"Zolla/Lieberman Gallery is pleased to present Inflorescence, a new body of work that expands Cecilia Beaven's ongoing investigation of invented mythology within the ecological landscape of Chicago.
Drawing on visual references from the natural world and her upbringing in Mexico City, the exhibition introduces hybrid plant, animal, and human forms that operate as symbolic structures through which cultural identity is understood as adaptive and continually shaped by environment and experience. Working across painting, drawing, murals, and ceramics, Beaven constructs staged surreal environments that extend beyond the picture plane and emphasize the relationship between personal history and broader cultural narratives. Her multidisciplinary approach examines how stories are formed, revised, and circulated, offering a framework for reconsidering established representations of Mexican identity beyond folklore.
","type":null,"state":"published","slug":"inflorescence","created_at":"2026-02-18 18:46:31.722","updated_at":"2026-02-18 18:46:31.722","excerpt":"","is_timeless":true,"organization_id":578,"highlighted":false,"opening_starts_at":"2026-02-20 16:00:00","opening_ends_at":"2026-02-20 19:00:00","searchable":"'across':76B 'adapt':67B 'anim':51B 'approach':106B 'beaven':2A,19B,82B 'beyond':89B,125B 'bodi':13B 'broader':101B 'cecilia':1A,18B 'ceram':81B 'chicago':31B 'circul':114B 'citi':45B 'construct':83B 'continu':69B 'cultur':62B,102B 'draw':32B,78B 'ecolog':28B 'emphas':94B 'environ':72B,86B 'establish':120B 'examin':107B 'exhibit':47B 'expand':17B 'experi':74B 'extend':88B 'folklor':126B 'form':54B,111B 'framework':117B 'galleri':5B 'histori':99B 'human':53B 'hybrid':49B 'ident':63B,124B 'infloresc':3A,10B 'introduc':48B 'invent':24B 'investig':22B 'landscap':29B 'mexican':123B 'mexico':44B 'multidisciplinari':105B 'mural':79B 'mytholog':25B 'narrat':103B 'natur':38B 'new':12B 'offer':115B 'ongo':21B 'oper':56B 'paint':77B 'person':98B 'pictur':91B 'plane':92B 'plant':50B 'pleas':7B 'present':9B 'reconsid':119B 'refer':35B 'relationship':96B 'represent':121B 'revis':112B 'shape':70B 'stage':84B 'stori':109B 'structur':59B 'surreal':85B 'symbol':58B 'understood':65B 'upbring':42B 'visual':34B 'within':26B 'work':15B,75B 'world':39B 'zolla/lieberman':4B","thumbnail":"http://res.cloudinary.com/dfafo598z/image/upload/v1771437496/muMResCHjoxnbKmxWTUItBw9IJvmUm31Th1K2JTE6K5YwgPV_VfmuulPOF2NGS9Vyret1vnyOCwbsVDGt0X6ANVKWq3d8y5KPE2_MsbdsLnceUkAF9apos1PoiOHwJUYMuE_EfeK9-bP8SSw0CBEu9wh6WsbK_P2p8ISAN4mklk_vi9e1b.jpg","calendar":null,"carousel":false,"category_name":"Exhibitions"},{"id":30774,"title":"Golden Vision: Zolla/Lieberman Gallery Celebrates 50 Years","starts_at":"2026-05-01 00:00:00","ends_at":"2026-06-13 00:00:00","body":"Zolla/Lieberman Gallery is proud to announce Golden Vision: Zolla/Lieberman Gallery Celebrates 50 Years, a landmark anniversary exhibition honoring five decades of commitment to contemporary art, collecting, and the enduring relationship between artist, audience, and community. Featuring works by 150 artists spanning the gallery's history, the exhibition offers a sweeping reflection on a legacy that has helped define Chicago's cultural landscape.
Established through the leadership of Roberta Lieberman and Bob Zolla in 1976, the gallery was founded on the conviction that contemporary art should be publicly accessible and integral to the cultural life of the city. Over the decades, Zolla/Lieberman became one of Chicago's longest-running contemporary galleries and among the first to establish itself in Chicago's now-historic River North neighborhood, helping transform it into one of the country's most vibrant gallery districts.
Golden Vision traces ZLG's remarkable journey through a wide-ranging presentation of painting, sculpture, drawing, photography, and mixed media by artists whose work has shaped the gallery's identity from its earliest years to the present day. Historic figures and long-standing gallery relationships appear alongside emerging voices, creating a dynamic conversation across time.
Today, under the leadership of William Lieberman and Director Brian Gillham, the gallery continues to evolve while remaining rooted in the values that shaped its founding. As the gallery enters its next chapter, Golden Vision stands as both a celebration of what has been built and what is still to come.
Explore The Exhibition: Golden Vision
Read CGN's spring 2026 article about Zolla/Lieberman's 50th Anniversary here
Zolla/Lieberman Gallery is pleased to present Mont Blanc on Wood, an exhibition of new pen-and-ink drawings on jelutong panels by acclaimed American sculptor and printmaker John Buck. Best known for his carved wood sculptures and monumental woodblock prints, Buck has spent more than five decades exploring the intersections of history, popular culture, environmental stewardship, and contemporary life.
Mont Blanc on Wood marks a significant evolution in Buck's practice. Departing from the densely layered imagery of his sculptures and prints, these intimate drawings focus on singular landscapes inspired by the American West. Mountains, forests, waterfalls, and geological formations emerge through finely rendered pen work that transform familiar places into surreal environments. Rather than constructing expansive symbolic narratives, Buck distills each composition into a focused meditation on the enduring beauty of the natural world.
Buck's characteristic blend of observation, humor, and allegory are present throughout the exhibition. Drawn directly onto jelutong panels with a Montblanc pen, these works embrace a more immediate and personal approach while maintaining the meticulous craftsmanship that has defined his career. Environmental concerns surface throughout the series as landscapes become reflections on conservation and humanity's evolving relationship with the land.