I could feel a great divide at the opening of “The Sahmat Collective: Art and Activism in India since 1989.”
by Meaghan Murphy •
Everything about the Washington Park Arts Incubator is new.
by Hannah Fullmer •
Susanne Ghez began working at the Renaissance Society on January 29, 1973, a date she can recall as easily as others know their birthdays. However, amid the celebrations toasting to a forty-year devotion to the Renaissance Society–a non-collecting contemporary art…
by Emily Holland •
Rockefeller Memorial Chapel provides an apt setting for Audrius V. Plioplys’s latest exhibition, “Cosmic Consciousness.”
by Sasha Tycko •
This past Thursday, a stylish woman in a fur vest and high-heeled boots escorted a man in sunglasses to the center of the small gallery space inside the UofC’s Logan Center.
by Mosum Shah •
Nate Marshall’s favorite word is “scruples,” because he likes the way it sounds. In moments of silence, he flails his hands to convey emotion.
by Lena Robledo •
The white, empty rooms and dark floors of Pilsen’s Plaines Project Gallery have been transformed into “Stretches Topless,” an artistic mediation on the toppling of Saddam Hussein’s statue in Iraq in 2003.
by Zachary Goldhammer •
On Gun Appreciation Day, I didn’t meet many people who wanted Chicago to look more like Texas. Instead, I ended up at an event in Hyde Park where residents had decided to make Chicago look more like Osaka.