ArtSlant - Openings & events en-us 40 - Mary and Leigh Block Museum of Art - October 1st 2:00 PM - 5:00 PM <p>Born in Hong Kong, educated in Vancouver and Paris, and later based in New York City, Tseng Kwong Chi (1950&ndash;1990) produced a large body of witty, playful, performance-based photography that both captured the pivotal downtown Manhattan art and club scenes of the 1980s and reflected the increasingly globalized movement of people across nations and continents. Tseng called himself an "inquisitive traveler, a witness of my time and an ambiguous ambassador." His works alternately function as witness to his life and community and as wry social commentary, raising critical questions about identity and culture.</p> <p><em>Tseng Kwong Chi: Performing for the Camera</em>, on view at Northwestern University Block Museum of Art from September 17 to December 11, 2016, is the first major solo museum exhibition of the photographer&rsquo;s works, which have long sparked the imaginations of younger artists. The exhibition features over 80 photographs including well-known works&mdash; such as Tseng&rsquo;s collaborations with Keith Haring and his <em>East Meets West</em> and <em>Expeditionary</em> series&mdash;as well as examples from the artist&rsquo;s archive that have rarely been shown. An opening celebration will be held on Saturday, October 1st, 2016.</p> Mon, 01 Aug 2016 20:59:45 +0000 Greg Gossel - Vertical Gallery - October 1st 6:00 PM - 10:00 PM <p>Vertical Gallery is proud to present &ldquo;The Color of Life&rdquo;, our second solo exhibition with Minneapolis-based artist Greg Gossel, featuring over 50 new original works. The exhibition will run from October 1 &ndash; 29, 2016 with an opening reception with the artist Saturday, October 1, 6-10pm.</p> <p>Continuing to explore his signature mixed-media pop aesthetic, Gossel debuts a new series of letter-based works and wood panel collages for &ldquo;The Color of Life&rdquo;. Pulp noir and silver age romance comics are juxtaposed with anonymous family photos, vintage dime store packaging, and children&rsquo;s coloring books; creating a fragmented visual memory of times gone by. These images are applied to wood panels with silkscreen ink, acrylic paint, and enamel; only to be physically cut apart and reconstructed in rhythmic geometric patterns referencing the works of Frank Stella and Jasper Johns. The end result is a new series of vibrant, heavily layered compositions that offer a window into the joys and sadness that make up the colors of life.</p> <p>About Greg Gossel: Gossel was born in 1982 in western Wisconsin, and currently resides in Minneapolis, MN. With a background in design, his work is an expressive interplay of many diverse words, images, and gestures. Gossel&rsquo;s multi-layered work illustrates a visual history of change and process that simultaneously features and condemns popular culture. His work has been exhibited throughout the U.S. and abroad, including Japan, London, San Francisco, New York, Los Angeles, Copenhagen, and Chicago. His commercial clients include American Express, Levi&rsquo;s, Burton Snowboards, Stussy, VICE Magazine, and Interscope Records.</p> <p>About Vertical Gallery: Vertical Gallery is committed to exhibiting and promoting urban, contemporary and street art. Established in 2013 in Chicago&rsquo;s Ukrainian Village neighborhood, the gallery focuses on work influenced by urban environments, street art, pop culture, graphic design and illustration. New monthly exhibits highlight local, national, and international artists with a mix of solo and group shows. You may view and purchase past and current work either in the gallery space or online. Vertical Gallery also consults on public art commissions, creating new collections, corporate collections, and secondary market artwork.</p> <p>Greg Gossel<br /> &ldquo;The Color of Life&rdquo;<br /> October 1 &ndash; 29, 2016<br /> Opening reception Saturday, October 1, 6-10pm<br /> Vertical Gallery, 1016 N Western Ave., Chicago</p> Wed, 21 Sep 2016 22:26:36 +0000 László Moholy-Nagy - The Art Institute of Chicago - October 2nd 10:30 AM - 5:00 PM <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Painting, photography, film, sculpture, advertising, product design, theater sets&mdash;L&aacute;szl&oacute; Moholy-Nagy (American, born Hungary, 1894&ndash;1946) did it all. <em>Future Present</em>, the first comprehensive retrospective of Moholy-Nagy&rsquo;s work in the United States in nearly 50 years, brings together 315 works to survey the career of a multimedia artist who was always ahead of his time. Moholy, as he was known, came to prominence as a professor at the Bauhaus art school in Germany (1923&ndash;28) and in 1937 founded the New Bauhaus in Chicago, a school that continues today as the Institute of Design at Illinois Institute of Technology. He remains the most internationally recognized visual artist ever to have resided in Chicago.</p> <p style="text-align: justify;">A pioneer of abstraction for the industrial age, Moholy insisted that art must be developed from the materials of one&rsquo;s time, in his case recorded sound, photography, film, and synthetic plastics. He demonstrated that in our era of reproducibility works of art gain fresh meaning with a change in size or even reorientation, reverse printing, or a shift in lighting. For Moholy, every citizen could be creative, and every viewer could educate his or her senses by studying effects of light, transparency, and motion in common materials of everyday modern life.</p> <p style="text-align: justify;"><em>
Future Present</em> presents a wide body of works ranging in date from 1920, when the artist moved to Germany, until his death in Chicago in 1946. One room shows 38 photomontages&mdash;nearly all known compositions in nearly every physical variant&mdash;brought together for the first time. Another presents three &ldquo;telephone paintings,&rdquo; a single abstract composition that Moholy ordered in three sizes from an enamel sign factory in 1923; this trio of industrial paintings has been separated for decades. All six of Moholy&rsquo;s iconic, plunging views from the Berlin Radio Tower are united in another room, while a multimedia installation, <em>Room of the Present</em>, which Moholy conceived in 1930 but could not finish, is brought to life as a room of its own.</p> <p style="text-align: justify;">

Special emphasis is given to Moholy&rsquo;s time in the United States, where his art moved from planar painterly abstractions to three-dimensional hybrids of painting and sculpture. Never have so many of the artist&rsquo;s late works in Plexiglas&mdash;wall-mounted, freestanding, and hanging in midair&mdash;been seen together. These works came from Moholy&rsquo;s teaching at the &ldquo;Chicago Bauhaus,&rdquo; which is also highlighted through a showing of student work as well as a &ldquo;teaching wall&rdquo; that frames Moholy&rsquo;s greatest pedagogical ideas. The show closes with Moholy&rsquo;s recorded voice and a projection of abstract color slides that the artist made in part by recording the scribble-like trace of headlights and taillights on Lake Shore Drive at night.</p> <p style="text-align: justify;"><strong>Organizers</strong><br /><em>Moholy-Nagy: Future Present</em> is organized by the Art Institute of Chicago; Solomon R. Guggenheim Museum, New York; and Los Angeles County Museum of Art, Los Angeles.<br /><br /><strong>Other Venues</strong><br /><a href="" target="_blank">Solomon R. Guggenheim Museum</a>: May 27&ndash;September 7, 2016<br />Los Angeles County Museum of Art: February 12&ndash;June 18, 2017</p> <p style="text-align: justify;"><strong>Catalogue</strong><br />Purchase <a href="" target="_blank"><em>Moholy-Nagy: Future Present</em></a> and experience the exhibition through its accompanying catalogue.&nbsp;All purchases support the many fine programs of the museum.</p> </div> </div> <div id="sponsors" class="field field-name-field-sponsors field-type-text-long field-label-above"> <h3 style="text-align: justify;">Sponsors</h3> <p style="text-align: justify;">Lead funding&nbsp;for the exhibition at the Art Institute of Chicago&nbsp;is generously provided by Caryn and King Harris, The Harris Family Foundation.<br /><br />Major support is provided by Helen and Sam Zell, Zell Family Foundation,&nbsp;and the Terra Foundation for American Art. <br /><br />The exhibition catalogue is made possible by the Earl and Brenda Shapiro Foundation. <br /><br />This project is supported in part by an award from the National Endowment for the Arts.<br /><br />Additional support&nbsp;for the exhibition at the Art Institute of Chicago is provided by the Terra Foundation for American Art on behalf of board member Charles Harper and by Emily Rauh Pulitzer.<br /><br />Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Kenneth Griffin, Robert M. and Diane v.S. Levy, Thomas and Margot Pritzker, Betsy Bergman&nbsp;Rosenfield&nbsp;and Andrew M.&nbsp;Rosenfield, the Earl and Brenda Shapiro Foundation, and the Woman&rsquo;s Board.</p> </div> Thu, 30 Jun 2016 16:29:17 +0000 - Mary and Leigh Block Museum of Art - October 5th 6:00 PM - 8:00 PM <p>Walter Kitundu is an artist and MacArthur Fellow whose practice ranges from building instruments to photographing wildlife. As part of Evanston&rsquo;s city-wide Big Draw, people of all ages are invited to join Kitundu in drawing a response to the Block Museum&rsquo;s exterior architecture and the view of Lake Michigan beyond.</p> <p>Free and open to the public.</p> <p><a href="" rel="nofollow"></a></p> <p>-----</p> <p>Walter Kitundu is a sound artist and instrument builder, photographer, performer, installation artist, and designer (print, web, environmental). He is the inventor of a family of Phonoharps, multi-stringed instruments made from record players that rely on the turntable&rsquo;s sensitivity to vibration. As an artist he has created hand-built record players powered by the wind and rain, fire and earthquakes, birds, light, and the force of ocean waves. He received a MacArthur Fellowship for his work in this field.</p> <p>He has received public art commissions, residencies, taught as a visiting professor, and lectured on topics from the creative process to bird behavior.</p> <p>Kitundu has performed and been in residence at art centers and science museums internationally. He has collaborated with the renowned Kronos Quartet, bassist Meshell Ndegeocello, the electronic music duo Matmos, and the legendary Marshall Allen - in venues from Carnegie Hall to a high school library in Egilstaadir, Iceland</p> Tue, 02 Aug 2016 19:50:45 +0000 Iké Udé - Museum of Contemporary Photography - October 20th 10:00 AM - 8:00 PM <div class="large-9 columns"> <p style="text-align: justify;">Starting in the early 1990s, Nollywood has quickly gained worldwide relevance as the world&rsquo;s second most prolific film industry (almost 2,000 titles released annually) ahead of Hollywood and behind Bollywood with revenues topping $600 million annually. Historically, film in Africa had a European sensibility with parochial scenes laboriously captured on expensive celluloid, owing to the colonial funders. Nollywood, in contrast is characterized by independent cheap and quick filmmaking, capitalizing on the falling prices of digital recording equipment and meeting the demands of a continent for authentic stories that reflect the reality on the ground. An entrepreneurial rags-to-riches story, its producers are private individuals getting little or no assistance from government who make and distribute film across the continent despite infrastructure deficiencies and barriers to trade.</p> <p style="text-align: justify;">In October 2014, artist Ik&eacute; Ud&eacute; returned to Lagos, Nigeria, after two decades away, and took photographs of 64 Nollywood personalities. Ud&eacute;&nbsp;captured an impressive cross section of the industry including renowned screen icon Genevieve Nnaji, veteran actor Richard Mofe-Damijo,&nbsp;established actor/director Stephanie Okereke, maverick filmmaker Kunle Afolayan, as well as the next generation of rising stars. The objective of this project is to celebrate these African celebrities in the timeless, classic, elegant style the artist is known for. Ud&eacute;&nbsp;has also created a grand group portrait of all 64 subjects,&nbsp;<em>The School of Nollywood</em>, inspired by Raphael&rsquo;s&nbsp;<em>The School of Athens,</em>&nbsp;1509.&nbsp;A publication featuring a forward by Henry Louis Gates, Jr. and an introduction by Chigozie Obioma will accompany the exhibition. Like&nbsp;<em>The School of Athens,&nbsp;<em>The School of Nollywood &nbsp;</em></em>measures &nbsp;16 ft 5 in x 25 ft 3 in&nbsp;&nbsp;(500 cm x 770 cm).</p> </div> Sun, 31 Jul 2016 13:19:31 +0000 Kemang Wa Lehulere - The Art Institute of Chicago - October 27th 10:30 AM - 8:00 PM <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">The focus series exhibition <em>In All My Wildest Dreams</em> is the first American museum show devoted to the work of Kemang Wa Lehulere (born Cape Town, 1984). Internationally recognized for his masterful conflation of personal and collective storytelling, Wa Lehulere reenacts what he calls &ldquo;deleted scenes&rdquo; from South African history, often animating individual narratives of exile or displacement through means that are ephemeral, found, and notational&mdash;chalk drawings on blackboard surfaces, intense but short-lived performances, salvaged wood from old school desks, sketchbook pages; letters written to friends, strangers, and public institutions&mdash;as if to suggest the gallery as a fantastical, crucially temporary classroom. &ldquo;History continually disappears,&rdquo; Wa Lehulere has said. &ldquo;It comes and goes. It is not something fixed; it is malleable. . . . It is the elasticity of history that excites me.&rdquo; At the same time, he describes his work as a &ldquo;protest against forgetting&rdquo;; history is constructed, and memory is fragile.&nbsp; <br /><br />Beginning with the title of his Art Institute exhibition, Wa Lehulere invokes not only the past and an imagined future but also a present in which dreams might materialize. New sculptures, paintings, a video, and a wall carving demonstrate the artist&rsquo;s evocative visual language through certain recurrent motifs&mdash;imagery of rehearsing, revising, and recovering, for instance, or signifiers of travel, transit, and mobility, such as used suitcases, tires, wooden crutches, and a trio of suspended &ldquo;paper planes.&rdquo; Nearly two dozen ceramic dogs suggest tourists&rsquo; tchotchkes and, more solemnly, household guardian figures. Hundreds of small drawings reveal the artist&rsquo;s working process.<br /><br />At the heart of this show is a vigorous performance work, <em>Echoes of Our Footsteps (A Reenactment of a Rehearsal)</em>, in which the artist appears repeatedly throughout museum hours during the opening weekend (October 28&ndash;30). For the remainder of the exhibition, the demarcated performance space, now empty but for a few abandoned props and a monitor playing documentation of the work on a loop, will continue to anchor the largest of the Abbott Galleries. Any artwork could be understood as the record of an artist&rsquo;s thought and activity, but for Wa Lehulere, questions of residue and memory, of physical presence and palpable absence, are instrumental&mdash;at once aesthetic and ethical&mdash;rather than merely incidental. <br /><br /><em>focus: Kemang Wa Lehulere&mdash;</em><em>In All My Wildest Dreams</em> is organized by the Art Institute of Chicago.</p> </div> </div> <div id="sponsors" class="field field-name-field-sponsors field-type-text-long field-label-above"> <h3 style="text-align: justify;">Sponsors</h3> <p style="text-align: justify;">Ongoing support for&nbsp;<em>focus</em>&nbsp;exhibitions is provided by the Alfred L. McDougal and Nancy Lauter McDougal Fund for Contemporary Art.</p> <p style="text-align: justify;">Additional support for <em>focus: Kemang Wa Lehulere&mdash;</em><em>In All My Wildest Dreams</em> is contributed by the Evening Associates&nbsp;and The Joyce Foundation.</p> <p style="text-align: justify;">Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Kenneth Griffin, Robert M. and Diane v.S. Levy, Thomas and Margot Pritzker,&nbsp;Betsy Bergman&nbsp;Rosenfield&nbsp;and Andrew M.&nbsp;Rosenfield,&nbsp;the Earl and Brenda Shapiro Foundation, and the Woman&rsquo;s Board.</p> </div> Thu, 30 Jun 2016 16:31:41 +0000 Diana Thater - Museum of Contemporary Art (MCA) - October 29th 10:00 AM - 5:00 PM <div class="body"> <div class="bg_white"> <p style="text-align: justify;"><em>Diana Thater: The Sympathetic Imagination</em> presents a series of immersive film and video installations that push the limit of these media to imagine animal experiences in natural habitats. In <em>Delphine</em> (1999), for example, LED lights activate the space, while projected film and video footage of dolphins from many angles simulate the animals&rsquo; underwater environment, including the ways they perceive it through sonar and sight. The intersection of film and video with installation practices in Thater&rsquo;s work, which often incorporates viewers&rsquo; bodies and even the projectors themselves, is one of the artist&rsquo;s major contributions to the field of contemporary art.</p> <p style="text-align: justify;">The colorful installations break out of the video rectangle&mdash;often falling somewhere between sculpture and architecture&mdash;to imagine fluid worlds of dolphins, dancing bees, and the animals that inhabit the irradiated explosion site at Chernobyl. The most comprehensive survey of the artist&rsquo;s work to date, the exhibition includes early work <em>Oo Fifi, Five Days in Claude Monet&rsquo;s Gardens</em> (1992), which breaks footage into the primary colors of video (RGB), as well as the recent work <em>Life is a Time-Based Medium</em> (2015), in which the architecture of the gallery converges with the Galtaji Temple in Jaipur, India, and is populated with monkeys.</p> <p style="text-align: justify;">Since the early 1990s, Diana Thater (American, b. 1962) has been a pioneer of film and video. Influenced by 1960s films that prioritized medium over narrative and content, she has forged meaningful connections between her subject matter and media to push the physical, optical, and conceptual boundaries of how moving images are experienced. Thater studied art history at New York University and received her MFA from the Art Center College of Design in Pasadena, California. Her work has been collected by major institutions across the United States.</p> <p style="text-align: justify;">This exhibition was organized by the Los Angeles County Museum of Art and cocurated by Lynne Cooke, Senior Curator of Special Projects in Modern Art at the National Gallery of Art, Washington, DC, and Christine Y. Kim, Associate Curator of Contemporary Art at LACMA. The Chicago presentation is coordinated by Michael Darling and Joey Orr and presented in the Griffin Galleries of Contemporary Art on the museum&rsquo;s fourth floor.</p> </div> </div> <div id="video_module_5771570013d8733495001468" class="modulor web_module video_module content has_width vimeo_id packer-element packer-compressed" style="margin-top: 0px; text-align: justify;" data-id="5771570013d8733495001468" data-width="1"> <div class="modulor container video_module"> <div class="modulor content video_module"> <h2 id="heading_5771570013d8733495001468" class="heading off_screen">Video</h2> <div class="section_content">&nbsp;</div> </div> </div> </div> <div class="vjs-volume-menu-button vjs-menu-button vjs-menu-button-inline vjs-control vjs-button vjs-volume-menu-button-horizontal vjs-vol-3" style="text-align: justify;">Mute</div> <div class="vjs-current-time vjs-time-control vjs-control" style="text-align: justify;"> <div class="vjs-current-time-display">Current Time 0:00</div> </div> <div class="vjs-progress-control vjs-control" style="text-align: justify;"> <div class="vjs-progress-holder vjs-slider vjs-slider-horizontal"> <div class="vjs-load-progress" style="width: 28.9549%;">Loaded: 0%</div> <div class="vjs-play-progress vjs-slider-bar" data-current-time="0:00">Progress: 0%</div> </div> </div> <div id="video_module_5771570013d8733495001468" class="modulor web_module video_module content has_width vimeo_id packer-element packer-compressed" style="margin-top: 0px; text-align: justify;" data-id="5771570013d8733495001468" data-width="1">&nbsp;</div> <div id="funders_module_56b13c389dbe504a56000353" class="modulor web_module funders_module content has_width packer-element packer-compressed" style="margin-top: 0px;" data-id="56b13c389dbe504a56000353" data-width="2"> <div class="modulor container funders_module"> <div class="modulor content funders_module"> <h2 id="heading_56b13c389dbe504a56000353" class="heading" style="text-align: justify;">Funding</h2> <div class="body"> <div class="bg_white"> <p style="text-align: justify;">Lead support for <em>Diana Thater: The Sympathetic Imagination</em> is provided by the Harris Family Foundation in memory of Bette and Neison Harris: Caryn and King Harris, Katherine Harris, Toni and Ron Paul, Pam and Joe Szokol, Linda and Bill Friend, and Stephanie and John Harris; and Donna Stone in honor of Howard Stone. Additional generous support is provided by David Zwirner, New York.</p> </div> </div> </div> </div> </div> Thu, 30 Jun 2016 17:33:34 +0000 Sadie Benning - Renaissance Society - November 19th 5:00 PM - 8:00 PM <div id="intro" class="intro text target"> <p style="text-align: justify;">As a young artist emerging in the early 1990s, Sadie Benning&rsquo;s DIY videos were celebrated for their distinctive graphic style and earnest treatment of sexuality, gender, and youth culture. Benning later began to incorporate painting into their practice, continuing to explore a way of thinking that challenges the fixed logic and hierarchies of art and life.</p> <p style="text-align: justify;">Recent works feature bold forms that playfully juxtapose shape and color to create jigsaw-like compositions that range from abstract patterns to symbolic figuration. These paintings revel in the confusion of categories: Is this work painting? Is it sculpture? Is it something else entirely? The materials are also hard to identify, lending the works an enticing ambiguity. At first glance, they look like leather, vinyl, or even ceramic.</p> <p style="text-align: justify;">This Renaissance Society exhibition features a new group of works by Benning that further develop the artist&rsquo;s unique approach to painting. The presentation is organized in partnership with Kunsthalle Basel, where it will open in 2017.</p> <p style="text-align: justify;">Curated by Solveig &Oslash;vsteb&oslash; and Elena Filipovic.</p> <p style="text-align: justify;">&nbsp;</p> <div class="information"> <div class="date"><strong>Nov 19, 2016, 5PM&ndash;8PM</strong></div> <div class="location">&nbsp;</div> </div> <div class="intro text"> <p>Join us to celebrate the opening of Sadie Benning&rsquo;s solo exhibition.</p> <p>Benning will discuss the exhibition with curator Solveig &Oslash;vsteb&oslash; in an artist talk at 6pm.</p> </div> </div> Sun, 31 Jul 2016 13:34:52 +0000 Basim Magdy - Museum of Contemporary Art (MCA) - December 10th 10:00 AM - 5:00 PM <p style="text-align: justify;"><span style="font-size: small;">Trained as a painter, artist Basim Magdy (Egyptian, b. 1977) began experimenting with colorful works on paper and canvas before moving into the realm of photography and cinema. In a process he dubs &ldquo;pickling,&rdquo; the artist applies household chemicals to analog film and photographic material. The results are sumptuous, spectral photographic visions of landscapes, presented as large-scale prints, slide projections, and film.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The MCA presents Magdy&rsquo;s first US museum survey, featuring rarely seen and new pieces. His works across media&mdash;which evoke a pop sensibility in contrast to their grim titles, such as<em>They Endorsed Collective Failure as the Dawn of a New Renaissance</em>&nbsp;and&nbsp;<em>The Bitterness of What Could Have Happened and What Ended Up Happening</em>&mdash;speak to our collective ambition for a utopian future and the inherent failure of this human aspiration. This presentation includes newly commissioned works for the MCA as well as a specially produced artist book.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is organized by the Deutsche Bank KunstHalle in Berlin as part of the Deutsche Bank Artist of the Year 2016. It is overseen at the Museum of Contemporary Art Chicago by Omar Kholeif, Manilow Senior Curator.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition is presented in the Bergman Family Gallery on the museum's second floor.</span></p> <h2 id="heading_56fef1a16607ab561f00005f" class="heading" style="text-align: justify;"><span style="font-size: small;">Funding</span></h2> <div class="body"> <p style="text-align: justify;"><span style="font-size: small;">Generous support for&nbsp;<em>Basim Magdy</em>&nbsp;is provided by the Harris Family Foundation in memory of Bette and Neison Harris: Caryn and King Harris, Katherine Harris, Toni and Ron Paul, Pam and Joe Szokol, Linda and Bill Friend, and Stephanie and John Harris; R. H. Defares; and the Margot and W. George Greig Ascendant Artist Fund.</span></p> </div> Mon, 05 Sep 2016 18:31:08 +0000 George C. Clark - Chicago Cultural Center - December 22nd 4:00 PM - 6:30 PM <p><span style="font-size: small;">The Chicago Cultural Center celebrates the work of a long-time local Vietnam Veteran and artist, George C. Clark,&nbsp;with a solo exhibition of several decades of portraitures in oil, acrylic, crayon, pencil, ink and watercolor.&nbsp;&nbsp;</span></p> <p>&nbsp;</p> <p><span style="font-size: small;"><span style="font-family: Calibri;">The exhibition will be on display from </span><strong>December 16, 2016 to February 10, 2017 in the Renaissance Court Gallery at the Chicago Cultural Center, 78 E. Washington St., Chicago, IL 60602.&nbsp;&nbsp; </strong></span></p> <p><span style="font-size: small;"><strong>Gallery viewing hours are Mon &ndash; Fri from 9:00 am &ndash; 4:30 pm; Saturdays from 9:00 am &ndash; 2:00 pm; and Sunday the gallery is closed.&nbsp;&nbsp;&nbsp; </strong></span></p> <p><span style="font-size: small;"><strong>All are welcome to a FREE Artist&rsquo;s Reception on Thursday, December 22, 2016 from 4:00 to 6:30 pm.&nbsp;&nbsp;&nbsp; </strong></span></p> <p><span style="font-size: small;">Clark&rsquo;s figure paintings, landscapes and graphics have been exhibited at the Art Institute of Chicago, the Milwaukee Art Museum, the Rockford Art Museum, the Fort Wayne Art Museum, the National Museum of the United States Air Force (Dayton, Ohio), the National Veterans Art Museum (Chicago), the Pritzker Military Museum &amp; Library (Chicago), the John H. Vanderpoel Art Museum (Chicago), Concordia University Chicago, Chicago State University, the Grunwald Gallery at Indiana University, the Kinsey Institute Gallery at Indiana University, Evanston Art Center, Beverly Arts Center (Chicago), Steppenwolf Theater (Chicago), the Illinois Railway Museum, the Thompson Center (formerly the State of Illinois Building in Chicago), the Union League Club of Chicago and many other institutional and commercial galleries.&nbsp; &nbsp;Work by Clark is in the permanent collections of the Illinois State Museums (2 pieces), the United States Air Force (17 pieces), the National Veterans Art Museum (6 pieces), the Vanderpoel Art Museum, the Kinsey Institute at Indiana University, the KPMG corporate headquarters in Chicago, McDonald's Corporation of Oak Brook, IL, Sandoz/Novartis AG of Switzerland (2 pieces), the Quaker Oats Company of Chicago, Rockford College, the Palette &amp; Chisel Academy of Fine Arts in Chicago, the Chicago State University Business School Hall of Fame (8 portraits), and the Sheraton Station Square Hotel in Pittsburgh (lobby mural).&nbsp; The many private collectors of his work are located mainly in the Midwest, but also in California, Texas, New York, Israel, Japan and England.</span></p> Mon, 26 Sep 2016 20:48:34 +0000