Group show featuring autobiographical work by photographers who are also mothers. Reception Thu 4/24, 5-7 PM.
Work by the German artist, including paintings, photographs, and her trademark installations.
Collage and mixed-media work by Barbara Aubin; paintings and drawings by Guy Benson and Julia Haw; and multidisciplinary work by Thom Whalen. Reception Fri 4/25, 5-7 PM.
Work by local artists from the personal collection of Notre Dame professor Gilberto Cárdenas.
Group show in which artists represent personal data and experiences through photographs, paintings, installations, sculptures, and drawings.
A display of rare artifacts from when Chicago hosted the World's Fair in 1893.
A retrospective of work by the Czech-born French artist and photographer.
The third installment of the Chicago artist's ongoing USSA 2012 project.
A retrospective of work by the European photographer, painter, and museum curator.
Group show featuring multidisciplinary work inspired by the Mexican painter.
A retrospective of work by the postwar American artist. Collection provided by the Saul Steinberg Foundation.
A retrospective of work, including paintings, photographs, and drawings, by Belgian surrealist René Magritte.
Print work of endangered species commissioned by the Endangered Species Print Project.
A tricked-out Fiat is suspended from a wall in the Museum of Contemporary Art's atrium. "It's kind of a gravitational mindfuck," senior curator Dieter Roelstraete says of the piece, the entry point into "Metamorphology," the first major museum survey in the U.S. of the British conceptual artist Simon Starling, opening June 7. A stone's throw away at the Arts Club of Chicago, an associated Starling show, "Pictures for an Exhibition," debuts June 6. Starling's attention-grabbing auto is bound to appeal to any visitor whose appreciation for an artwork directly corresponds to how Instagrammable it is. But Flaga, 1972-2002 isn't merely a spectacle. As Magritte might say, "Ceci n'est pas une ordinary car." In 2002, Starling bought a ruby-red Fiat 126—that emblem of Italian industry—and drove it from Turin, where it was originally manufactured, to Cieszyn, Poland, where production is now based. There he replaced the hood, doors, and trunk with Polish-manufactured white parts, so that the red-and-white car he drove back to Turin resembled the Polish flag. Displayed like a painting in the museum, the custom ride is a statement on corporate globalization, commercialization, and how modes of production determine meaning. Continue reading >>