A look into the architecture and urban planning of Chicago, New York, and Los Angeles in the 60s and 70s.
Navy Pier transforms into an indoor winter amusement park complete with a Ferris wheel, zip line, and ice-skating rink. $5
A solo exhibition of Gabriella Boros's work. Reception Sun 12/7, 2-5 PM.
An exhibition of self-published graphic novels, comics, and zines created by women. Reception Thu 10/23, 5-6:30 PM.
You've got to give credit to the folks at Chicago Shakespeare Theater: they take their mission seriously enough that they'll attempt even this miserable contrivance, only partly written by the Bard and extant only in a corrupt quarto that scholars suppose was pieced together from memory. The editors of the First Folio couldn't justify including Pericles in their collection, but CST is willing to give it a try. The story is reminiscent of The Winter's Tale in that it concerns a king who spends years separated from his wife and daughter. But where the estrangement in The Winter's Tale is caused by the king's reckless behavior, here it's just another damned thing that happens. Best known for musicals, director David H. Bell tries all kinds of tactics to make something silky of his sow's ear. Now it's a comedy with metatheatrical winks. Now it's a fantasia a la Mary Zimmerman. Now . . . dancing! Nothing works. And Bell is further hobbled by his poorly cast leading man, Ben Carlson, whose Pericles resembles an accountant in a jerkin. At least we've got Nan Cibula-Jenkins's sumptuous costumes and Scott Davis's cunning sets to look at. —Tony Adler $58
The November 10 cover of the New Yorker features a drawing by renowned cartoonist and Oak Park resident Chris Ware. It's an illustration of a health clinic at a Walmart-style big-box store: a clinician walks out of a door into the waiting area looking down at a clipboard he's holding; seated are mothers with children on their laps. Aside from superb color choice and hyperprecise lines, what stands out are the gestures: the children all reach out for one another while their mothers, looking askance, pull them away. A line of gallery text in the Art Institute's charming, maddeningly brief "The Comic Art and Architecture of Chris Ware" offers the best description I've read of what makes the artist's work so special: Ware, it says, has command of "a unique visual language engineered specifically for the way the human mind inherently processes pictures in sequence into something understood as narrative." Continue reading >>
Burned wood engravings by Amy Ventura. Reception Fri 12/26, 7-10 PM.
Work by Chicago Imagist Ed Flood (1944-1985). Reception Fri 12/12, 5-8 PM.
A collection of the artist's ceramics. Reception Fri 11/21, 6-8 PM.
Experimental videos from Orr Menirom. Reception Fri 12/12, 5-8 PM.
A solo exhibition featuring Rojas's geometric abstraction. Reception Sat 11/22, 4-7 PM.
Work and artifacts exploring racial and cultural identity.