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Egoyomi: Picture Calendars for the New Year
Dec 14, 2019–Feb 23, 2020
Gallery 107

Until 1873, the Japanese calendar was based on a lunar system.

Months were divided into dai no tsuki (long months) of 30 days and sho no tsuki (short months) of 29 days. Because the order of long and short months changed annually, artists subtly and skillfully incorporated the year’s sequence into the lush prints known as egoyomi.

Egoyomi flourished during the Meiwa era (1764–71), when the laws of the ruling shogunate dictated that only a handful of publishers were officially allowed to produce calendars for the public. Nevertheless, wealthy patrons often privately commissioned egoyomi and exchanged them with their peers. It has been argued that because these independent egoyomi were in defiance of the law, the calendar markings were hidden to obscure the purpose of the prints. To what extent the designs actually misled the authorities, however, is a matter of some debate.

This pair of egoyomi shows Chinese Emperor Wu of the Han dynasty (206 BC–AD 220) summoning a vision of his deceased consort in a column of smoke. Numbers on his robe—written in a stylized script—indicate the long months of the year. The short months are incorporated into the pattern of her sleeves.

While technically illegal, these private egoyomi prints and their patrons’ competition to have more elaborate and lavish designs gave rise to the development of printing with multiple colors, a watershed moment in the history of printing in Japan. The egoyomi of 1765 mark the first dated examples of such multicolored prints.

In anticipation of the New Year and an influx of new calendars to be filled, this exhibition brings together over 30 egoyomi, showcasing the genre’s beautiful scenes, cleverly incorporated calendar markings, and historic developments

Neapolitan Crèche
Nov 23, 2019–Jan 6, 2020
Gallery 203

Crèche. Mid-18th century. Naples. Restricted gifts of Mr. and Mrs. James N. Bay and Linda and Vincent Buonanno and Family; Eloise W. Martin Legacy Fund; restricted gifts of Ruth Ann Gillis and Michael McGuinnis and Mrs. Robert O. Levitt; Charles H. and Mary F. Worcester Collection Fund.

After its widely popular debut in 2013, our spectacular 18th-century Neapolitan crèche returns once again this holiday season. One of the very few and finest examples of such a work outside of Naples, the crèche is an intricate Nativity scene that reflects the vitality and artisanship that the city is still known for. The Art Institute’s crèche features over 200 figures—including no less than 50 animals and 41 items of food and drink—all staged in a spectacular Baroque cabinet with a painted backdrop. Elaborate, complex, and wondrous, the Neapolitan crèche is a rare example of the genre and a once-in-a-lifetime acquisition for the Art Institute.

Sacred imagery reenacting the Nativity has its roots in fourth-century Rome but by the 13th and 14th centuries, in part due to its association with St. Francis of Assisi, such scenes had become a permanent feature of Neapolitan churches. During the 18th century, the period from which most of the figures of the Art Institute’s crèche date, these relatively simple tableaux underwent a transformation into highly dramatic and theatrical renderings. Traditional sacred elements of Nativity scenes—the Holy Family, wise men, angels, and shepherds—were combined with profane aspects not of Bethlehem but of contemporary Neapolitan life—rowdy tavern scenes and bustling street activities—in dazzling displays of artistic techniques. Churches, wealthy citizens, members of the nobility, and the royal family all competed to commission the most complex presentations of this popular art form from leading artists and artisans, the same people who were creating monumental sculptures and altars for churches and palaces. These artists rendered figures in oil-painted terracotta to achieve the most realistic expressions in crèches and constructed painstakingly detailed costumes of luxurious fabrics that mimicked the fashions of the time. The Art Institute’s crèche represents the pinnacle of this artistic practice, born of the centuries-old tradition of Nativity scenes yet bursting with the energy of 18th-century Neapolitan life.

Due to the fragility of the original silk costumes and exquisite embroidery, the Neapolitan crèche can only be on view for a few weeks every year. Don’t miss your chance to revel in Baroque artistry this season!

Holiday Thorne Rooms
Nov 22, 2019–Jan 7, 2020

The beloved decorating tradition is back, with several of the Thorne Rooms once again getting their seasonal trimmings. Among the most elaborate is the English Drawing Room of the Victorian Period, the only room with a Christmas tree. Now a ubiquitous feature of the season, the Christmas tree, or tannenbaum, was only brought to England from Germany in 1840 with the marriage of Prince Albert to Queen Victoria. The Thorne Room tree and accoutrements are based on a famous engraving of the royal couple and their children surrounding a trimmed and toy-bedecked tree, an image that would forever popularize this holiday fixture. Other ornamented rooms include:

  • The English Great Hall of the Tudor period with a wassailing bowl, yule log, and an essential part of the costuming for that period’s singing and dancing revelers—a mummer’s mask
  • The Virginia Entrance Hall with mistletoe, wreath, and garland
  • The French Provincial Bedroom with shoes, or sabots, lined up before the fireplace, a crèche, and puzzle
  • The modern-era California Hallway with an Otto Natzler mid-century menorah and box with a dreidel
  • The New Orleans, New Mexico, and the Pennsylvania Dutch (German) rooms filled with regional treats of the season
  • The 1930s French Library with a tiny taste of Art Deco holiday glamour
  • The traditional Chinese interior filled with shadow puppets and instruments that would have been used to celebrate the Chinese New Year as well as other festive occasions
Bauhaus Chicago: Design in the City
Nov 23, 2019–Apr 26, 2020
Gallery 283

How the Windy City put its own stamp on the Bauhaus aesthetic.

In 1933, when the Nazi regime closed down the German Bauhaus, the renowned school’s history of progressive design education seemingly ended, and with it, its innovative synthesis of art, craft, and technology. Yet by the late 1930s, as World War II loomed on the horizon, a number of the school’s notable designers and educators left Europe and found their way to Chicago, taking positions at the New Bauhaus, later the Institute of Design (ID) and the Illinois Institute of Technology (IIT). As leaders at these institutions, László Moholy-Nagy and Ludwig Mies van der Rohe not only introduced the Bauhaus’s avant-garde ideals to the American Midwest but set about translating them the region’s urban spaces, materials, and industries.

This exhibition, part of the worldwide celebration of the Bauhaus centenary this year, focuses on this period of translation when both instructors and students at the ID and IIT adapted design methods and aesthetics from Germany to the United States. Featuring works that range in scale from jewelry, photography, and textiles to furniture, monumental sculpture, and urban planning, the presentation includes pieces created by many instrumental teachers and talented students—including Ludwig Hilberseimer, Elsa Kula, Nathan Lerner, Emmett McBain, Art Sinsabaugh, and Angelo Testa—who shaped the 20th-century history of design and architecture at these schools.

Structured around key educational themes and workshops, such as light, materials, and shelter, the exhibition dynamically reflects on the nature of design teaching in the studio, in the city, and in spaces of production, highlighting the Bauhaus’s continuing legacy in Chicago and around the world.

Adornment: Jewelry of South Asia’s Nomadic Cultures
Nov 2, 2019–Jan 9, 2021
Gallery 50

The wide range of vegetal, geometric, and animal motifs that tribal jewelers wrought into silver and gold reflects the diverse functions and varied origins of these artworks.
A substantial silver bracelet featuring a temple-shaped design at top and intricate detail work throughout.

During the 19th and early 20th centuries, cattle-herding nomads from tribes as geographically and culturally diverse as the Ersari and Kuchi of Afghanistan, the Balti of Pakistan, and the Rabari and Ahir of India moved seasonally across Central and South Asia in search of fresh pastures. Although they carried few belongings, these travelers developed a material legacy of adornment practices embodied in the textiles and finely crafted jewelry they wore and bartered, practices that continued as they settled into modest villages over time.

These adornments were made by artists of tremendous skill using a range of traditional techniques still practiced today, including sandcasting, lost-wax casting, stamping, engraving, enamel inlay, and the careful twisting and sodering of wire. In their original contexts, such objects served as expressions of tribal affiliation, personal wealth, spiritual beliefs, and cultural heritage. They functioned as capital and currency for men as well as women, protected skin from sunburn and insect bites, and stimulated vital pressure points, or marma, to enhance fertility and relieve pain.

This focused exhibition, made up of promised works from the collection of Barbara and David Kipper, presents a sampling of these objects, from ornate headdresses to simple stud earrings, lending insight into their cultural legacy. In recent decades, loss of land due to population growth and industrialization has had significant impact on traditions of adornment. As rapid urbanization continues, preserving and understanding the diverse visual legacies of South Asia’s nomadic cultures remain urgent endeavors.

From A to B and Back Again
Oct 20, 2019–Jan 26, 2020

This exhibition requires a $7 special exhibition ticket

A penetrating and panoramic look at an artist whose “15 minutes” endure

This major retrospective—the first to be organized by a US institution in 30 years—builds on the wealth of new research, scholarship, and perspectives that has emerged since Andy Warhol’s early death at age 58 in 1987. More than 400 works offer a new view of the beloved and iconic American Pop artist, not only illuminating the breadth, depth, and interconnectedness of Warhol’s production across the entirety of his career but also highlighting the ways that he anticipated the issues, effects, and pace of our current digital age.

Warhol gained fame in the 1960s for his Pop masterpieces, widely known and reproduced works that often eclipse his equally significant late work as well as his crucial beginnings in the commercial art world. This exhibition brings together all aspects and periods of his varied and prolific career and includes paintings, sculpture, drawings, prints, videos, archival and printed material, installation, films, and media works. By showcasing the full continuum of Warhol’s work, rather than focusing on a certain period, this presentation demonstrates that the artist didn’t slow down after surviving the assassination attempt that nearly took his life in 1968 but entered into a period of intense experimentation.

Warhol, with obvious self-deprecation, described his philosophy as spanning from A to B. As this exhibition decidedly proves, his thinking and artistic production ranged well beyond that, but his true genius lies in his ability to identify cultural patterns and to use repetition, distortion, and recycled images in a way that challenges our faith in images and questions the meaning of our cultural icons.

This exhibition was organized by the Whitney Museum of American Art, New York.

All images: Andy Warhol. © 2019 The Andy Warhol Foundation for the Visual Arts, Inc. / Artists Rights Society (ARS), New York.

Leadership support of Andy Warhol—From A to B and Back Again is provided by Kg Edit

Bank of America is the National Tour Sponsor.

Major support for the Chicago presentation has been made possible by Caryn and King Harris, The Harris Family Foundation.

The Auxiliary Board of the Art Institute of Chicago is the Lead Affiliate Sponsor.

Additional funding is contributed by the Shure Charitable Trust, Maureen and Edward Byron Smith Jr. Family Endowment Fund, Constance and David Coolidge, Robert J. Buford, Penelope and Robert Steiner, William and Robin Downe, Cairy and Thomas Brown, Margot Levin Schiff and the Harold Schiff Foundation, Vicki and Bill Hood, and Lauren G. Robishaw.

Members of the Exhibitions Trust provide annual leadership support for the museum’s operations, including exhibition development, conservation and collection care, and educational programming. The Exhibitions Trust includes an anonymous donor; Neil Bluhm and the Bluhm Family Charitable Foundation; Jay Franke and David Herro; Kenneth Griffin; Caryn and King Harris, The Harris Family Foundation; Karen Gray-Krehbiel and John Krehbiel, Jr.; Robert M. and Diane v.S. Levy; Ann and Samuel M. Mencoff; Sylvia Neil and Dan Fischel; Anne and Chris Reyes; Cari and Michael J. Sacks; and the Earl and Brenda Shapiro Foundation.

This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities.

Official Airline of the Art Institute of Chicago.
United 3p H C R 1

Additional support is provided by the Illinois Office of Tourism.

Cinema Reinvented: Four Films by Andy Warhol
Oct 20, 2019–Jan 26, 2020
Gallery 186

From 1963 to 1968 Andy Warhol made hundreds of films, and these works are central to his radical reinvention of artistic media. The films ranged from black-and-white silent works to scripted, feature-length color productions that extended the idea of seriality he was exploring in his silkscreen paintings through their repeating frames and infinite reproducibility. A wide range of genres and practices—contemporary experimental film, classic Hollywood movies, documentary cinéma vérité, pornography, and avant-garde performance—inspired his multifaceted approach to filmmaking. The selection of films presented here in their original 16 mm format underscore the links between Warhol’s cinematic career and his groundbreaking work in other media.

Films are screened daily every hour on the hour, beginning at 11:00 a.m. See the schedule of films below.

Please note that the exhibition is closed November 18 to allow time to change the installation of screens.

  • October 20–November 17, 2019
    Outer and Inner Space (1963)
    16 mm film, black-and-white, sound; 33 min. at 24 fps in double-screen format

    This rare two-screen film captures Warhol’s effervescent superstar Edie Sedgwick speaking to the camera amid a cacophony of sound as she is seated in front of a television monitor playing a prerecorded videotape of herself that was shot by Warhol on a prototype Norelco video system. The resulting work presents a quartet of highly mediated portraits of a chatty Edie—doubled in both video and celluloid images on each screen. The effect is consonant with Warhol’s celebrated serial portraits of Jacqueline Kennedy, Elizabeth Taylor, and Marilyn Monroe, as seen in the Andy Warhol—From A to B and Back Again.

  • November 19–December 8, 2019
    Haircut no. 1 (1963)
    16 mm film, black-and-white, silent; 27 min. at 16 fps
    In 1963 Warhol made a trio of films focusing on the haircutting salon parties hosted by Billy Linich (known as Billy Name), the lighting designer of the Factory, Warhol’s studio. In this version, shot in choreographer James Waring’s loft, Linich styles the hair of Renaissance art scholar John Daley. Warhol renders Daley’s features in the luminous, dramatic chiaroscuro shadowing of his painterly predecessors. The six single-take rolls follow the barbering process, punctuated by provocative appearances by the dancer Freddie Herko. At the end Waring bids the audience good night.

  • December 9, 2019–January 5, 2020
    Kiss (1963–64)
    16 mm film, black-and-white, silent; 54 min. at 16 fps
    The first Warhol film to be publicly screened, this episodic work consists of a dozen separate rolls assembled into a nearly feature-length film. Each segment, most often shot in close-up in a single take with a stationary camera, focuses on a couple—either gay or straight—kissing. Participants include New York socialites Jane Holzer and Philip van Rensselaer, visual artists Marisol and Mark Lancaster, and filmmakers Naomi Levine and Andrew Meyer. Kiss was Warhol’s most widely screened film in the 1960s and remains an iconic work.

  • January 6–26, 2020
    Tiger Morse (Reel 14 of ****) (1967)
    16 mm film, color, sound; 34 min. at 24 fps
    Filmed by Warhol in what appears to be the stock room of Joan “Tiger” Morse’s Upper East Side boutique Teeny Weeny, this impromptu portrait film captures the chatty fashion designer. Behind her oversized sunglasses and large cigarette holder, she discusses her mod aesthetic and gossips about New York’s social scene. Warhol responds by alternating the camera’s stare with disorienting strobe cuts that stop Morse mid-sentence and expansive camera movements that defy the tight space of the boutique. The film combines the intimacy of his celebrity portraits with the documentary cinéma vérité style of the era.
Rubens, Rembrandt, and Drawing in the Golden Age
Sep 28, 2019–Jan 5, 2020
Galleries 124–27

Drawing, the most intimate and immediate form of artistic creation, reached one of its pinnacles in the Netherlands during the 17th century—a period commonly known as the Golden Age.

While the story of early modern Dutch and Flemish art typically focuses on the paintings created during the time, this exhibition constructs an alternative narrative, casting drawings not in supporting roles but as the main characters. Featuring works by Rembrandt van Rijn, Peter Paul Rubens, Hendrick Goltzius, Gerrit von Honthorst, Jacques de Gheyn II, and many others, the show traces the development of drawing in this period, exploring its many roles in artistic training, its preparatory function for works in other media, and its eventual emergence as a medium in its own right.

The 17th century brought remarkable change in to the northern and southern Netherlands, including political upheaval, religious schism, and scientific innovation. The reverberating effects of these events had a great impact on art—what kind of art was in demand, who could and did produce art, and where and how art was made. Most artists in 17th-century Netherlands chose their career through family connections, training with a relative who worked in an artistic trade, although there are significant exceptions to this trajectory—Rubens was the son of a lawyer and Rembrandt the son of a miller.

To become a respected artist, one needed to study under a successful and skilled master in a workshop or art academy. Abraham Bloemaert, Rubens, and Rembrandt supervised the three most important workshops of the period, overseeing the development of dozens, if not hundreds, of students. In these workshops, learning to draw was essential. Once an apprentice had mastered basic drawing skills by copying other works and drawing plaster casts or monuments, often traveling to Italy to do so, he progressed to creating drawings “from life.” The ability to accurately depict the human face and body was critical to an artist’s success and was especially important for those who aspired to create history paintings—the genre considered most prestigious because it relied on literary sources and often required portraying multiple figures in complex and dramatic scenes.
A work made of pen and brown ink and brush and brown wash, with subtractive highlights (scraping) and touches of opaque white watercolor corrections, on ivory laid paper, laid down on cream laid card.

Rembrandt, more than other artists of this period, embraced life drawing. Most notably, he pioneered the collective study of the female nude—a commonplace practice today, but one that challenged the bounds of decency in the 17th century. Studying the live figure increasingly became standard practice in the Netherlands during this period, but it was generally restricted to drawing male models, since prevailing cultural norms made it difficult for artists to find women to pose for them, especially in the nude. Among the most celebrated of all Rembrandt’s drawings is a rare study of a female nude, which is featured in this exhibition. An emotive and striking work, it highlights the importance for artists of the period to learn to draw the female figure. This skill, despite its inherent challenges, was necessary to receive critical acclaim.

Although drawings in the 17th century served many purposes— as reference materials, studies for future paintings, preparatory designs for prints—they also emerged as independent works of art, bought, commissioned, and collected by wealthy merchants. This was due in part to the rise of a new genre of drawing: the landscape. Works depicting the natural world and countryside appealed to an increasingly affluent merchant class that lived in a dense urban environment. These city dwellers enthusiastically received highly finished landscape drawings and deemed them objects worthy of preservation and display.

Produced in a broad range of media, including chalk, ink, and watercolor, the drawings in this exhibition are captivating examples of artistic skill and imagination. Together they provide a new view of the creativity and working process of Netherlandish artists in the 17th century and reveal how drawings came to be the celebrated works of art we know them to be today.

PHOTOGRAPHY + FOLK ART: Looking for America in the 1930s
Sep 21, 2019–Jan 20, 2020
Galleries 1–4

Collecting the past while recording the present.

In the 1930s, as the United States was struggling through the Great Depression, a rising interest in early American vernacular arts—collectively referred to as folk art—converged with major documentary photographic projects. As artists, curators, collectors, and government administrators sought to define American culture as distinct from Europe, they identified in these two burgeoning fields a national culture they considered egalitarian, unpretentious, and self-made.

This exhibition is the first to connect these twin impulses to collect the past and record the present by examining the roots of documentary photography and folk art and revealing how the fields were shaped in the early 20th century. At the heart of the display are works that represent two massive governmental projects to document and catalogue everyday life in America. The first, the Works Progress Administration’s (WPA) Index of American Design, hired artists to reproduce in watercolor some 18,000 American decorative arts and crafts from the colonial period to the 1800s. At the same time, the Farm Security Administration (FSA) hired some of the country’s most talented photographers—including Walker Evans, Dorothea Lange, Russell Lee, and Arthur Rothstein—to document the plight of everyday Americans and the government’s role in assisting them, producing an indelible image bank of a nation in crisis.
Black and white photograph of women, lips pursed, against wood paneled wall.

These arts and objects of everyday people, places, and things inspired a new range of collectors—both individual and institutional—and the work entered the collections of museums and galleries at unprecedented rates. Looking for America examines the legacies of enthusiasts such as Bernard and Margaret Behrend and Elizabeth Vaughan, whose collecting activities led to the foundation of the Art Institute’s own folk art collection.

Alongside carvings, ceramics, furniture, and metalwork emblematic of those illustrated in the WPA Index of American Design, landmark photographs, including key works from Walker Evans’s American Photographs and Berenice Abbott’s Changing New York, reveal how photography began defining modern art. Drawn almost entirely from the museum’s permanent collection, the interdisciplinary display features over 100 works of photography, decorative arts, painting, sculpture, and textiles that are not only vibrant and dynamic examples of American ingenuity but emblematic of a modern—and distinct—American character and vitality.

Photography + Folk Art: Looking for America in the 1930s is supported by Vicki and Tom Horwich.

In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury
Sep 6, 2019–Jan 12, 2020

The transformative impact of a country on the work of six visionary artists and designers.

The work of Clara Porset, Lola Álvarez Bravo, Anni Albers, Ruth Asawa, Cynthia Sargent, and Sheila Hicks has never been shown together before. While some of these artists and designers knew one another and collaborated together, they are from different generations, and their individual work encompasses a range of media varying from furniture and interior design to sculpture, textiles, photography, and prints. They all, however, share one defining aspect: Mexico, a country in which they all lived or worked between the 1940s and 1970s. During this period they all realized projects that breached disciplinary boundaries and national divides.

“There is design in everything … in a cloud, in a wall, in a chair, in the sea, in the sand, in a pot.”
—Clara Porset, 1952

This exhibition is the first to explore Mexico’s impact on these visionary artists and designers. It takes its title from a quote by Clara Porset, a political exile from Cuba who became one of Mexico’s most prominent modern furniture designers. Influenced by Bauhaus ideas, she believed that design could reshape cities, elevate the quality of life, and solve large-scale social problems. This approach informed her 1952 exhibition Art in Daily Life, in whose catalogue she wrote, “There is design in everything … in a cloud, in a wall, in a chair, in the sea, in the sand, in a pot,” encouraging us to look at both the natural and machine world for inspiration and ideas.

Arriving in Mexico City in 1935, Porset started her design studio in the early 1940s. Inspired by the country’s climate, lifestyles, aesthetic and cultural traditions, and political progressivism following the end of the Mexican Revolution (roughly 1920), she conceived designs to be made from local materials and used both handmade and industrial manufacturing techniques.

Mexican artist Lola Álvarez Bravo, a close friend and collaborator of Porset, was one of few women photographers working in the country during this period. Her photographs are essential to understanding Porset’s no longer extant projects, and her dynamic photomontages, created by cutting and pasting together parts of different photographs to create new images, provide insights into Mexico’s richly layered social, political, and geographical landscape during the 1940s and 1950s.

Porset was also friends with German émigré Anni Albers. Encouraged to visit Mexico by Porset, she first traveled to the country in 1935 and made 13 subsequent trips. Mexico’s landscape and architecture became a vital source of inspiration and remained so throughout her career, providing an abstract visual language for her designs. The triangle motif, for instance, that she used repeatedly in textiles and screenprints was drawn from archaeological Zapotec sites such as Monte Albán.

Mexico also left a deep impression on Japanese American Ruth Asawa. In 1947, two years after taking a class with Porset at the Universidad Nacional Autónoma de México, she returned to the country and was drawn to the artistry in utilitarian looped-wire baskets that she encountered in Toluca. From then on, sculptures made with this wire technique became her primary practice.

American Cynthia Sargent moved to Mexico City from New York with her husband Wendell Riggs in 1951 and produced several popular lines of rugs in their weaving workshop. Porset championed Sargent’s work and included her fabric designs in her pivotal exhibition Art in Daily Life. Sargent and Riggs went on to co-found the Bazaar Sábado, an influential market for Mexican and expatriate art and craft that continues to this day.
A orange woven hanging has a darker cirled in the center and loosely finished ends at the top and bottom.

While American artist Sheila Hicks never met Porset, she was aware of Porset’s designs through her close friendship with architect Luis Barragán, who worked with both artists. After studying Latin American weaving traditions and traveling to South America, Hicks relocated to Mexico in the late 1950s and set up a workshop in Taxco el Viejo, where she collaborated with and learned from local weavers, while producing pieces that are resolutely her own.

The work of these independent-minded artists provides six divergent yet aligned models of creative practice that followed alternative routes and opened up new possibilities. Displayed together, their work makes the case for a continued evaluation of Mexico’s creative landscape and contributes to burgeoning discussions aimed at a more inclusive history of modern art and design.

Major funding for In a Cloud, in a Wall, in a Chair: Six Modernists in Mexico at Midcentury is provided by the Gordon and Carole Segal Exhibition Fund; the Walter and Karla Goldschmidt Foundation; Margot Levin Schiff and the Harold Schiff Foundation; and Barbara Bluhm-Kaul and Don Kaul.

Additional support is provided by Maria and William D. Smithburg; Kimberly M. Snyder; the George Lill Foundation Endowment; Nada Andric and James Goettsch; the Graham Foundation for Advanced Studies in the Fine Arts; Thomas E. Keim and Noelle C. Brock; the Butler-VanderLinden Family Fund; the Terra Foundation for American Art; The Danielson Foundation; and CNA.
CNA logo

Members of the Exhibitions Trust provide annual leadership support for the museum’s operations, including exhibition development, conservation and collection care, and educational programming. The Exhibitions Trust includes an anonymous donor; Neil Bluhm and the Bluhm Family Charitable Foundation; Jay Franke and David Herro; Kenneth Griffin; Caryn and King Harris, The Harris Family Foundation; Karen Gray-Krehbiel and John Krehbiel, Jr.; Robert M. and Diane v.S. Levy; Ann and Samuel M. Mencoff; Sylvia Neil and Dan Fischel; Anne and Chris Reyes; Cari and Michael J. Sacks; and the Earl and Brenda Shapiro Foundation.

The Impressionist Pastel
Aug 21, 2019–Feb 9, 2020
Gallery 242

Although Impressionism is most closely associated with oil painting, during the late 19th century, Impressionist artists increasingly began to exhibit and market their prints and drawings as finished works of art. In fact, prints and drawings made up nearly half of the works in the eight Impressionist exhibitions held in Paris between 1874 and 1886. Pastels in particular became increasingly sought-after by collectors.

Pastel, a medium used to draw on paper or, less often, on canvas, is made by combining dry pigment with a sticky binder. Once artists have applied the pastel to the surface, they can either blend it, leave their markings visible, or layer different colors to create texture and tone. Pastel portraits had previously gained popularity in France and England in the 18th century, but fell out of fashion with critics when pastel was deemed too feminine; not only was it used by women artists, but it had a powdery consistency similar to women’s makeup. The Impressionists rejected this bias and instead embraced the medium’s ability to impart immediacy, boldness, and radiance.

This focused installation features pastels by four artists whose work was shown in the Impressionist exhibitions: Mary Cassatt, Edgar Degas, Eva Gonzalès, and Berthe Morisot. Their subjects range from scenes of modern life, such as ballet performers and a woman working in a hat shop, to depictions of intimate moments of bathing and women with children.

Eleanor Antin: Time’s Arrow
Aug 24, 2019–Jan 5, 2020
Gallery 289

A pioneer and provocateur since the 1960s, Eleanor Antin slyly destabilizes the authority and objectivity of documents through a variety of media—photography, performance, video, and writing.
Four black-and-white photographs show a naked young woman from the front, back, and each side.

First day of 1972 performance, July 15, 1972, 8:43 a.m., 125.5 pounds

CARVING: A Traditional Sculpture (detail), 1972. Twentieth-Century Discretionary Fund

Her landmark early feminist work, CARVING: A Traditional Sculpture (1972)—part of the Art Institute’s collection—comprises a grid of 148 photographs that sequentially capture the artist’s journey to lose 10 pounds over a 37-day period. Antin’s deadpan, pseudo-scientific self-portraits mock the objectivity of Conceptual Art while alluding to the conceits of Classical sculpture, which claim that the ideal form lies within a block of stone, waiting to be freed by the artist.

Five black-and-white photographs show a naked older woman from the front, back, and each side.

First day of 2017 performance, March 17, 2017, 9:25 a.m., 130.6 pounds

CARVING: 45 Years Later (detail), 2017 © Eleanor Antin, courtesy of the artist and Ronald Feldman Gallery, New York

Time’s Arrow marks the first time CARVING: A Traditional Sculpture is shown with CARVING: 45 Years Later (2017), an expansive reprisal of the original work through 500 photographs over four months. The pairing of the two works offers a meditation on aging and the passage of time. “It now took forever to lose a single pound,” Antin commented. “I believe that my older body was in a valiant and existential struggle to prevent its transformation into the skeleton beneath the protecting flesh … death.”

The CARVING works are joined by other self-portraits, The Eight Temptations (1972), also in the museum’s collection, as well as her recent self-portrait in a red cape, !!! (2017). Together these pieces offer reflection on aging, transformation, and the conception of the self.

Sara Deraedt—Ruttenberg Contemporary Photography Series
Aug 24, 2019–Jan 5, 2020
Gallery 188

Artist’s notes
The museum offers two entrances: the doors to the original 1893 building are at 111 South Michigan Avenue and the 2009 Modern Wing can be entered at 159 East Monroe Street.

The Carolyn S. and Matthew Bucksbaum Gallery is located on the first floor of the museum’s Modern Wing. The gallery is 1,690 square feet, with a north-facing window and two exits.

The Ruttenberg Contemporary Photography Series is generously supported by the David C. and Sarajean Ruttenberg Arts Foundation.

Weaving beyond the Bauhaus
Aug 3, 2019–Feb 16, 2020
Galleries 57–59

Established in 1919, acclaimed German art school the Bauhaus was home to an innovative weaving workshop whose influence stretched across the Atlantic.

Like the larger institution, the weaving workshop embraced the principal of equality among artists and the arts alike. Although the realities of the Bauhaus never quite matched its utopian vision, the workshop nonetheless served as an effective incubator of aesthetic and pedagogical talent. In the decades following the school’s forced closure in 1933, the Bauhaus went on to have a wide-reaching impact on American art—due in part to the large number of affiliated artists who immigrated to the US, where they continued to practice and teach in the spirit of the school’s educational system and theories.
A work made of cotton, plain weave; painted with pigment and gold leaf; attached linen threads in grid pattern.

Presented on the centenary of this foundational organization, Weaving beyond the Bauhaus traces the diffusion of Bauhaus artists, or Bauhäusler, such as Anni Albers and Marli Ehrman, and their reciprocal relationships with fellow artists and students across America. Through their ties to arts education institutions, including Black Mountain College, the Institute of Design, the Illinois Institute of Technology, and Yale University, these artists shared their knowledge and experiences with contemporary and successive generations of artists, including Sheila Hicks, Else Regensteiner, Ethel Stein, Lenore Tawney, and Claire Zeisler, shaping the landscape of American art in the process.

Postcommodity: With Each Incentive
July 25, 2019–April 26, 2020

Postcommodity is an arts collective made up of collaborators Cristóbal Martínez and Kade L. Twist, who aggressively tackle some of the most pressing issues of our day. Their site-specific installations, interventions, videos, and sound pieces aim to foster constructive dialogues around social, political, and economic processes that destabilize communities and geographies and to connect Indigenous narratives of cultural self-determination with the broader public sphere.

For their project at the Art Institute, titled With Each Incentive, Postcommodity reimagines the Bluhm Family Terrace as a stage for Chicago’s architectural future and contemplates how it might be transformed by the current wave of Indigenous American refugees from Mexico and Central and South America. The project is a symbolic gesture toward a desirable future that considers the culturally defined, kinship-centric architectural pragmatism often associated with Mexican and Central and South American cities, where a building is not an end but an ongoing process of growth or expansion. On the terrace, this takes the form of an ephemeral sculptural installation with columns of cinder block and steel rebar in various states of completion.

With Each Incentive references an Indigenous American worldview of continual emerging, becoming, and manifesting, rather than completion, finality, and wholeness. It is about making space—socially, culturally, and aesthetically—for refugees and for the intergenerational stewardship of family, culture, and community. This vision of a nimble approach to construction, of being prepared to add on and to build on, presents a new framing of the city’s historic skyline, inviting visitors to glimpse and further imagine Chicago’s Indigenous future.

This exhibition is organized by the Art Institute of Chicago with major funding from the Bluhm Family Endowment Fund, which supports exhibitions of modern and contemporary sculpture.

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