Expo_Chicago_Guide_2016

22–25 SEPTEMBER 2016 | NAVY PIER NEW CITY OFFICIAL GUIDE EXPO ART WEEK

ARE YOU MODERN? MOHOLY-NAGY PHOTOGRAPHY PAINTING DESIGN FILM Opens October 2 This exhibition is organized by the Art Institute of Chicago, the Solomon R. Guggenheim Foundation, and the Los Angeles County Museum of Art. Lead funding for the exhibition at the Art Institute of Chicago is generously provided by Caryn and King Harris, The Harris Family Foundation. Major support is provided by Helen and Sam Zell, Zell Family Foundation, and the Terra Foundation for American Art. The exhibition catalogue is made possible by the Earl and Brenda Shapiro Foundation. This project is supported in part by an award from the National Endowment for the Arts. Additional support 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. Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Neil Bluhm and the Bluhm Family Charitable Foundation, Kenneth Griffin, Robert M. and Diane v.S. Levy, Thomas and Margot Pritzker, Anne and Chris Reyes, Betsy Bergman Rosenfield and Andrew M. Rosenfield, the Earl and Brenda Shapiro Foundation, and the Woman’s Board. László Moholy-Nagy. A 19 (detail), 1927. Hattula Moholy-Nagy, Ann Arbor, Michigan. © 2016 Hattula Moholy-Nagy/VG Bild-Kunst, Bonn/Artists Rights Society (ARS), New York.

from the director/////////////////////////////////////////////////////////////////////////////////////////////////////////Join us in welcoming the 145 leading international art galleries from 22 countries and 53 cities participating in the 2016 EXPO CHICAGO this September. EXPO CHICAGO (September 22–25) at Navy Pier is proud inaugural artist billboard program called OVERRIDE, done in EXPOCHGO | | 2016to be a part of a long list of great exhibitions, performance, partnership with the City of Chicago’s Department of Culturalart installations and events opening this fall art season, all Affairs and Special Events (DCASE).showcasing the depth and cultural diversity that our greatcity offers. With the exposition as the centerpiece, we join the We acknowledge the extraordinary support of ourcity’s cultural institutions and organizations to highlight the presenting sponsor, Northern Trust; Mayor Rahm Emanuel,unique programming and special events offered throughout City of Chicago; Past Commissioner Michelle Boone, newChicago for EXPO ART WEEK, a citywide celebration of arts Commissioner Mark Kelly and the staff of the City of Chicago’sand culture. Department of Cultural Affairs and Special Events (DCASE); Michael P. Kelly and staff of the Chicago Park District; the We are honored to be partnering again with over seventy leadership of Choose Chicago; the Navy Pier Inc. board andcultural organizations to highlight the astonishing number of staff; and the unwavering support of our civic committee,museum exhibitions, gallery openings, special events, public artists, galleries, business and cultural leaders who shape ourart projects, music, theater, and dance performances, and great city.extraordinary dining experiences happening during the weekof September 19–25, 2016. In addition to the EXPO ART WEEK listings contained within this Official Guide, the editorial content features At EXPO CHICAGO, you can attend over twenty contributions by Newcity’s writers./Dialogues panels, bringing leading artists and professionalstogether for provocative and insightful discourse; experience We look forward to seeing you at EXPO CHICAGO, andIN/SITU, our curated section of large scale artist installations at the many public events and openings featured in thiscurated by Diana Nawi, Associate Curator at the Pérez Art comprehensive guide.Museum, Miami; and explore EXPO VIDEO, the insightfulprogram of over 15 artist videos curated by Daria de Beauvais, Curator at the Palais de Tokyo in Paris. Outside of the fair, Onward,don’t miss IN/SITU Outside—sculptures placed in partnershipwith the Chicago Park District, and when travelling on our 3expressways, look up to see over 15 artists participating in our Tony Karman President | Director

Shanghai Jingju Theatre CompanyHamlet(The Revenge of Prince Zi Dan)CHICAGO DEBUTSept 28 + 29, 2016 / 7:30PMLead Corporate Sponsor EXPO CHICAGO readers use code Gen40 for 40% off tickets!Danish Dance TheatreBlack DiamondCHICAGO DEBUTOct 21 + 22, 2016 / 7:30PMChauncey and Marion D. UseMcCormick Family FcoounddaetioGn, en40 for 40% off tickets. Abby McCormick O’Neil and D. Carroll Joynes, Opening Night Presenting Sponsor John and Caroline Ballantine, Closing Night Presenting Sponsor 312.334.7777 | HarrisTheaterChicago.org 205 East Randolph DriveSeason Sponsor Official Airline of the Harris Theater

interview/////////////////////////////////////////////////////////////////////////////////////////////////////////Where Context Really CountsSarah Herda and José Esparza Chong Cuy in Conversationabout Curating Architecture in ChicagoWhen José Esparza Chong Cuy arrived in Chicago this spring AKT: So the moment of meeting doing everything you can toas the MCA’s new Pamela Alper Associate Curator, he found an actually happened sometime after produce an artist or architect’sold friend and colleague in the Graham Foundation’s Director Sarah left? project in the way that they want.Sarah Herda. The two of them recently sat down with Newcity’s I firmly believe that exhibitionsAnastasia Karpova Tinari to discuss the challenges and JECC: Yes, it was probably a benefit are one of the most important sitespleasures of working at the intersection of art and architecture, or something. I think the twenty- for architecture. One needs to takehow both cut their teeth at New York’s Storefront, and some fifth anniversary in 2008. I had just risks in making exhibitions the moved to New York, and I was very same way you would in developing young, twenty-one. an architectural practice.lesser known Chicago “passengers.” SH: [Laughs] Yes, we were both so JECC: Also, we learned to think young, I was twenty-three when I that you can do anything. At a started, so we share that—we both bigger institution you might comeAKT: Let’s start with how you met. actually producing the work, to became adults at Storefront. to restrictions, but you can always communicating it to audiences. find ways around it.JECC: We met through Storefront JECC: [Laughs] Well, I’m not sure Ifor Art and Architecture, although SH: Storefront is also one of the can say I became an adult. AKT: Last year Rhona Hoffmanwe didn’t really work together. few programs devoted to the Gallery, where I work, hosted JamesIt was just after Sarah left, and intersection between art and AKT: José, you were most recently Wines, who expresses a nostalgiaJoseph Grima had done one show architecture. It’s a testing site, and at Mexico City’s Museo Jumex, and for that foundational moment[Grima followed Sarah as Director it has an incredible legacy of artists Sarah you’ve been at the Graham in the 1970s when land art andand more recently co-directed the and designers who have done since 2006. How did each of you people like Gordon Matta-Clark orChicago Architecture Biennial]. I projects there. I probably made adjust to bigger institutions? Acconci really broke down barrierswalked in and said, “Can I intern forty exhibitions, but you know, I in the disciplines. Do you think thathere?” Even though we did not was the director and also shoveling SH: What I say about being forged spirit is still alive in the intersectionoverlap, that small institution snow. Sometimes I was the only by fire is really true. Working at between art and architecture?provides close ties and so many person in those early days, so you such a small institution shapedshared experiences, which was can imagine it became a tight, close a sensibility for me about the aSlHw:aAysblsoooluktienlgy.aAt racrht iatnecdtsaratriests areprobably much rougher for Sarah community. significance of taking risks andsince she was really the first one totake it on.SH: [Laughs] Well, I took over from View of “Judy Ledgerwood: Chromatic Patterns for the Graham Foundation,” 2014,the founders, Kyong Park, and the Graham Foundation, Chicago. /Photo: Thomas Rossiterartist Shirin Neshat, who was a longtime co-director. They had beenthere sixteen years and I was therefor about eight. Storefront is reallyforged by fire, making exhibitionsand producing projects in the mostextreme conditions. It literallyopens with an incredible façadeproject by Steven Holl and VitoAcconci. It’s an important piece ofexperimental architecture in itselfthat is completely open air, whichin Mexico might be great, but inNew York City it’s a little tough.JECC: It’s extremely cold during EXPOCHGO | | 20165the winter and extremely hot inthe summer—it’s experimentalarchitecture you have to deal with.And it’s also extreme conditionsin terms of the budget, the wayyou produce exhibitions. It’s a veryDIY space, for better or worse,but working there, you do reallysee all the steps of making anexhibition, from inviting the artist,

interview ///////////////////////////////////////////////////////////////////////////////////////////////////////// looking at architecture. I say quite often that important ideas about architecture don’t always come from architects. Storefront was born out of the alternative art space movement in New York, founded in 1982 by a practicing architect who also worked as an artist. The Graham was founded in 1956 on that same principal of art and architecture, with which people might not be as familiar. Ernest Graham wanted to start a beaux arts school with architecture right alongside sculpture and painting. JECC: Many of the artists I’m interested in curators with a background in architecture. José Esparza Chong Cuy and Sarah Herda, Summer 2016 have a background in architecture, from Juan Pablo León de la Barra and Felipe Gonzalez are O’Gorman to Gonzalo Fonseca, Juan Downey people who I’ve worked with closely. and social environment around the making. to Alfredo Jaar, Gordon Matta-Clark to Pedro Studying architecture provides perspective That is something I learned through studying Reyes. I would dare to say that architecture not only of objects, but also places and spaces. architecture, and also surrounding myself with programs were a common alternative to the Context is very important for me when architects, because they are always thinking formal Bellas Artes training for many artists in putting together an exhibition: the political about context. Latin America. The idea that architecture as a AKT: Do you think the practicality of getting a discipline is one that only makes buildings has building built today has restricted the creativity been challenged for decades. of architects today? Are the creative ideas AKT: And at its root, architecture is about mostly manifest in exhibitions? organizing space, which can also be applied to a curatorial practice. How has studying architecture influenced your work as a curator? JECC: Curatorial practice is very spatial. You inhabit an exhibition and walk through very much as you would a domestic space, and that certainly informs my work. There are also SH: Depends on where you are. When we were doing studio visits for the Chicago Architecture Biennial in Mexico City, I found a huge difference between what you’re doing as a young architect in the U.S. and abroad. In Mexico, if you’re a young architect, you are building. In the United States most experimental ideas develop in schools, because that is the support system. There are lessons to be learned between Mexico City and Chicago, and now I’m thinking more about creating opportunities for young architects. Also in the biennial, we had an international survey in which you could see opportunities for experimentation play out across the world—in Asia, Africa and even in Los Angeles, there is experimentation on a domestic scale. AKT: Architecture has a heavy presence in Chicago, as the biennial emphasized. At Rhona Hoffman Gallery, I see how architecture seeps into how artists see the world, specifically Julia Fish, Judy Ledgerwood, Richard Rezac, Michael Rakowitz, and others. Have you noticed?EXPOCHGO | | 2016 JECC: Absolutely, it was one of the reasons I came to Chicago. From the World’s Fair to the Graham Foundation, the architectural history is 6 something I want to continue exploring. There has also been a fascinating history of people who passed through Chicago. AKT: Right, at Museo Jumex, you launched the exhibition series “Passengers,” focusing on international artistic figures who passed through Mexico during the twentieth century.

JECC: Yes, the “Passengers” series focused onartists who passed through Mexico and left animprint. That is a shared history with Chicago,a third coast or middle point between New Yorkand Los Angeles that many people pass through.I’m studying at the moment György Kepes, aHungarian who came with Moholy-Nagy tostart the New Bauhaus. This important Bauhaushistory of Chicago is told mainly throughMoholy-Nagy, but I’m interested in this sidecharacter. Kepes went on to Boston to found theCenter for Advanced Visual Studies at MIT.SH: And the Graham gives him a grant to startthis center…JECC: …during the Graham’s first year.SH: The history of Chicago surrounds us, yetthere’s a vibrant contemporary community ofpeople who work in the discipline of, but engageideas of architecture head on. The MichaelRakowitz exhibition, which we collaborated onwith Rhona Hoffman Gallery, takes you intothis significant, dark social-historical narrativethrough architectural ornamentation. Or JudyLedgerwood, who did a full-on installation atthe Graham Foundation, where the paintingbecomes the environment.AKT: José mentioned “secondary figures” inChicago’s history. Sarah, tell me about figuresyou’ve elucidated at the Graham?SH: One of the projects that came out ofdigging through the archives at the Grahamis the exhibition on Anne Tyng, who workedwith Louis Kahn and was a true pioneer inadvanced geometry. Her work was completelyunknown to me, and I started to understandher relationship to projects in Kahn’s office; thefamous theoretical tower attributed to Kahnwas a project Tyng brought in. We had anunpublished manuscript, and I started talkingto this incredible late historian Detlef Mertins,who then brought in Anne, then in her ninetiesand living in Philadelphia. Those conversationsled to the exhibition at the ICA in Philly andthe Graham. The world wasn’t ready for herideas, and that transcript sat in the drawerfor some thirty or forty years. At the time ofthe exhibition, there was a lot in the air andmany young architects working in the realm ofadvanced geometry. Getting to expose Tyng’swork while she was alive was an incredibleexperience.Also one of the first projects I funded at theGraham was Alena Williams’ exhibition onNancy Holt. We had that exhibition while Nancywas alive and very active, and then that’s how Imet Barbara Kasten, with whom we ended updoing an exhibition. An interesting web of ideasreveals itself as you work over time.JaEdCmCir:eIahbaovuet been thinking that is what I most Sarah: she takes on projectsthat are underdogs and makes them real. Youmake them exist and become permanent, likeStorefront, like the Graham Foundation, andnow the Architecture Biennial, which is hereto stay. It’s out of your passion. We both startedat this tiny institution in New York that wouldhave disappeared if someone like Sarah hadn’ttaken it on. She makes them relevant, and re-energizes them.

Josiah McElheny with John Vinci, Dress rehearsal for “The Club for Modern Fashions,” 2013

100 years of contemporary art/////////////////////////////////////////////////////////////////////////////////////////////////////////A Timeless DedicationThe Arts Club on its Centennial to the New by Kerry Cardoza“Ten or twenty years from now, Mileaf has been at the helm of thesome of these students will be Arts Club since 2012. A majoreating crow,” one of the Armory focus of her tenure has beenShow’s organizers declared about on expanding the institution’sthe young artists who protested presence in the community. Thethe now-legendary 1913 exhibition Arts Club has always maintainedof avant-garde art. Students from a private membership, whichthe School of the Art Institute of includes access to the permanentChicago were so scandalized by collection and to its vastHenri Matisse’s work in particular programming, but exhibitions arethat they burned copies of his free and open to the public duringcolorful, abstract paintings and gallery hours and public events. Asstaged a mock trial in which part of the centennial celebration,they found him guilty of “total the permanent collection willdegeneracy of color” and “general be on view to the public startingesthetic [sic] aberration,” among September 20. “At the same timeother art crimes. we’re celebrating the centennial among our members, we’re alsoDrawing on the energy of that using it as an opportunity to bringlively debate, The Arts Club of the Arts Club to the city,” MileafChicago was founded in 1916 to says.“encourage higher standards ofart” and “to promote the mutual While the size of the Club’sacquaintance of art lovers and art permanent collection mayworkers.” One-hundred years later, be modest, the artworks that Architect Marshall Brown speaks at the Arts Club, Spring 2016The Arts Club is still committed tocomprise it are not. The most was pivotal for the artist’s career, been housed—The Arts Club hasthese ideals. For its 2016-17 year, itnotable work is Picasso’s “Head ofall the more so because it was lived in eight spaces, including itsis celebrating its longevity througha Woman,” acquired by the Club organized by none other than gallery space at The Art Institutea series of centennial events, from its 1923 exhibition, “Originalincluding a birthday celebration Drawings by Pablo Picasso.”the weekend of October 21-22. The show was Picasso’s first soloOpen to the public, the fête willexhibition in the United States.include a new commissioned It was installed by The Arts Clubwork from the Pulitzer Prize- at the Art Institute, which hostedwinning composer David Lang, exhibitions by The Arts Club fromto be performed throughout the 1922-27. The Club also has worksbuilding by the music ensemble by Henri Matisse, Joan Miró andEighth Blackbird, whose yearlong Isamu Noguchi, in addition toresidency at the MCA culminated more recent acquisitions fromin July. Yayoi Kusama, Paul Thek and Alex“The core mission hasn’t changed Katz. The Club gave one of itsin the past one-hundred years,” most valuable pieces, Constantinsays executive director Janine Brancusi’s “Golden Bird,” to theMileaf. “We were founded to Art Institute in a partial sale andmake a place for the exhibition donation in 1990. This helpedof modernist, contemporary art. finance its current space, which is also the first location owned by the9There was an education-awarenessclub. Interestingly, “Golden Bird” was acquired by The Arts Clubmission from the beginning that from an exhibition they stagedthe city of Chicago needed to seeof Brancusi’s work in 1927 at thethings and to be offered those Art Institute. The show, Brancusi’schallenging works…That really first noncommercial exhibition,remains at the heart of what wedo.” Marcel Duchamp, whose legendary and its current home at 201 East “Fountain,” a urinal displayed on Ontario Street. The first such event its side, upset the 1913 Armory re-installed a 1917 exhibition of Show and set the stage for modern Frank Lloyd Wright’s collection and contemporary art as we know of Japanese prints and offered it. Duchamp actually brokered the his restaged lecture titled “The “Golden Bird” sale for Brancusi. Print and the Renaissance.” The Arts Club purchased it for Another event brings to life the $1,200. In 1990, they sold it for $12 series of correspondence between million. Alexander Calder and former club president Rue Shaw that resulted It’s hard to talk about The in the artist’s commissioned EXPOCHGO | | 2016 Arts Club without getting mobile, “Red Petals.” The sculpture caught up in these tales from is permanently installed on the its long history, which speaks first floor of the club, positioned to its significance, not only for near a famous staircase designed Chicago, but for the history of by Mies van der Rohe that was modern and contemporary art. salvaged from a previous Arts Club For its anniversary, the club is location. paying homage to some of these major events through a series The Mies staircase, an architectural of reenactments, all open to the icon in its own right, served as public. The events are taking inspiration for the Chicago-based place at locations throughout artists of Luftwerk, who are the city where the institution has creating a site-specific installation

///////////////////////////////////////////////////////////////////////////////////////////////////////// for the centennial. The piece, kind and has a gentle demeanor, titled “Corner of a Square,” will but she’s also a trailblazer and a be on view outside in the club’s real heavy hitter when it comes garden. Luftwerk was already to Arts Club artwork,” Peterson quite familiar with Mies’ work; in says. His large-scale installation, 2014 they had an installation at “The Oasis,” was on display last the Farnsworth House. winter as part of a new initiative to commission outdoor works The staircase, made of steel and visible to passers-by on the street. travertine marble, comprises three As he noted, the Chicago winter is levels of steps. “We’re really riffing likely “the worst possible time to off the ninety-degree angle,” says have an outdoor art experience,” Petra Bachmaier, who, with Sean but he viewed the challenge Gallero, makes up Luftwerk. as an asset, creating a colorful The light-based work will be on sculpture that channeled the idea all day, but viewers will have to of a beach. “To take a chance on visit in the evening to get the full an artist who’s less well-known effect. “During the day it’s going is really important,” Peterson to be static,” she says. “Once the says. He thinks it shows Mileaf evening sets, it’s going to be really is constantly looking for the best dynamic.” talent, both locally and around The Chicago design duo the world. “They are ensuring Sonnenzimmer also took Chicago be that place to get to inspiration from the collection see that art,” he says, an idea that for their centennial contribution. embodies the same mission the Artists Nick Butcher and Nadine club had when it was founded. Janine Mileaf/ Photo: Joe Mazza/Brave Lux Nakanishi are creating a graphic timeline of the club’s history Claire Pentecost and Marshall perform—all are former club Mileaf says. “Now we’re part of a through six screen prints, each Brown, both Chicago artists, have presidents who were tireless in very complex city with all kinds focusing on a particular era. also exhibited outside at The Arts their efforts. of institutions—from garage-run Nakanishi explains that they Club. “Many things have happened galleries in people’s homes to the took particular interest in the The Arts Club has a strong history in one-hundred years in the art Art Institute and the MCA and a theories on art of Gertrude of female leadership, which Mileaf world,” Goldenberg says. And yet lot of not-for-profits in between.” Stein, the esteemed writer who and current president Helyn the institution’s role in the city is While The Arts Club maintains lectured at The Arts Club in Goldenberg are committed to largely the same as in 1916, she its effort “to expand the artistic 1934. Both pieces will open at a continuing. Many of the club’s thinks. “What probably has not horizons” of the public, not every centennial event on September most significant moments are changed and will never change is exhibit reflects its avant-garde 20, coinciding with EXPO ART thanks to the work of such our dedication to the new, to what past. “Artists that are invited to WEEK. enterprising women, who worked is happening today, things we exhibit have an excited response, Mileaf, whose role includes being as volunteers to ensure that don’t understand, things we need to be a part of that continuum,” the Arts Club’s chief curator, Chicago played a vital role in the to be introduced to, things that she notes. “By doing their own invited both of these groups to world of contemporary art. Rue need to be discussed and talked work they are part of that history.” participate in the centennial. Erik Winterbotham Carpenter was the about.” Mileaf is amazed that the club’s Peterson, a Chicago-based public first at the club to be in contact Mileaf tends to agree, even founders were “able to pinpoint artist and curator who exhibited with Picasso; Elizabeth “Bobsy” though the art scene in the city something that was needed” and one of the first pieces in the club’s Goodspeed brought Gertrude has gone through metamorphoses that the institution has managed outdoor garden area, lauded Stein and Alice B. Toklas to of which the founders could never to stay true to that goal for a Mileaf ’s curatorial work and the the club; Rue Winterbotham have dreamed. “I think when we century. “These radical artists are effort she makes to discover new Shaw commissioned Calder’s started we were the only people right. They represent a search for artists. “As a person she’s very “Red Petals” and invited a showing contemporary art,” new beauty,” the critic Harriet then-unknown John Cage to Monroe wrote of the Armory Show in the Sunday Tribune.EXPOCHGO | | 201610 “Rudzienko,” a two-channel film installation by Sharon Lockhart Lawrence Weiner installing “Five Figures of Structure” at the Arts Club, November 1987 that was on display through August, perfectly embodies this century-old sentiment that remains as timeless as ever. In the film, teenage girls from a group home in Poland express themselves openly to the artist represented through transcribed conversations and slow-moving interactions. “She stands on the sidelines of life, looking.” These words appear briefly on the screen, poignantly unabashed. “And only the tears streaming down my cheeks/Remind me of you.” Such truth and beauty in art will always be radical.

interview/////////////////////////////////////////////////////////////////////////////////////////////////////////great work works outa conversation with john corbett by Laura VolkeningJohn Corbett has been curating music John Corbett in front of a painting by Leon Goluband visual arts in Chicago since the late1980s. Following an appointment as thechair of exhibition studies at SAIC and along-running weekly series at the EmptyBottle, Corbett turned to curating withhis now longtime business partner, JimDempsey. In 2004, they established Corbettvs. Dempsey, a commercial gallery on thethird floor of the Dusty Groove building atthe edge of Ukrainian Village and WickerPark. Recently, Corbett sat down withNewcity contributor Laura Volkening toreflect on his unusual path to curating,his philosophy on “great work,” and howboth have influenced his approach to hisinvolvement with the selection committeeof EXPO CHICAGO 2016.Here we are at the Dusty Groove embarked on a weekly series at the about our own city’s history that we How did you and Jim Dempseybuilding, where your gallery sits Empty Bottle that pretty quickly didn’t understand, and we just tried start working together?above the record shop. Would you turned that into an annual festival. to answer them as best we could Well before the gallery, Jim and Imind sharing a little bit about We did that for ten years. In 2002, because it didn’t seem like anybody started curating things together andhow you got started, your interest the Berlin Jazz Festival invited me else was doing that. we were constantly looking for new to be the artistic director. It was a venues. At the time, I was chair of really exciting event, and they were exhibitions studies at SAIC and I very enthusiastic about bringing a ran a program called “Dark Nights.” lot of Chicago into the program. It was in between student shows, soin music, and how that all landed Did your affinity with music draw they would be a weekend long oryou here in this particular space you to your current space above sometimes longer. They were thecurating visual art? the Dusty Groove record shop? training wheels in terms of gettingA lot of my background is as a I had known Rick Wojcik, who my head around how you put ancurator and presenter of music. exhibition together. Jim and I hadI started in college working with started working together becausean organization that was putting he invited me to help him with atogether concerts of mostly jazz program he was doing at the Geneand improvised music. When I Siskel on Sun Ra. That was the firstcame back to Chicago in 1987, I time that we collaborated and weimmediately started working with really liked working together andSouthend Musicworks. I also did from there it just took off. After the Sun Ra program, we11a lot of independent curation of started doing exhibitions togetherevents leading up to the creation ofthe Empty Bottle, and I participatedin a big 1995 event that broughtEuropean musicians together withChicago musicians. Following that,in 1996, Ken Vandermark and I I started teaching at SAIC in 1988. runs Dusty Groove and owns I was invited by the chair of the the building, and when Jim and exhibition studies program there to I were thinking about a space we substitute for her while she was on asked him for some advice. Rick sabbatical. That was what pulled me offered his upstairs, which at first into really thinking about curation we thought was absurd. When we EXPOCHGO | | 2016 not from a time arts perspective, went to see it, we saw how amazing but from the perspective of putting and beautiful it is. We didn’t think things on walls and in space. I had we could make it work, but Rick also been a closeted art historian all encouraged us to figure it out, along. I can honestly say that Jim so we did. When we walked out Dempsey and I backed our way into front afterwards, Jim looked at me being a gallery. We set out instead and was like, “Do we have an art with a very real set of questions gallery?” And that was it.

HUBBARD STREET DANCE CHICAGO interview //////////////////////////////////hubbardstreetdance.com/subscribe 312-850-9744 in different places. After a while, we got a little tired of finding a new place to do it every time Season Sponsors Performing at Hubbard Street Dancer and instead decided to go into business together. Alice Klock, far right, and At first we thought we would be private dealersGlenn Edgerton, Artistic Director Ensemble in Imprint by so we wouldn’t have to have a space to make Lucas Crandall. Photo by public. And then we realized no, the curatorial Todd Rosenberg. process is what we liked doing, so why would we do all of that work only to sell things, if that’s not actually the part we want to emphasize? How do you balance those curatorial interests along with maintaining a sustainable business, one that looks both locally and internationally? For us, having a business comes out of being excited about the work and believing that our enthusiasm for it will be shared by others. It really comes out of having a coherent, if sometimes hard to articulate, sense of why it is we do what we do in terms of the curatorial program. We have a sincere belief in our work that makes sense to the people who are paying attention to it, including collectors from outside and within Chicago. I don’t see it as a compromise one way or another. With every show that we do, we work very hard to allow it to achieve the highest level of success that we can. A good example of this are the catalogs we’ve done for almost every show. They take a lot of effort, but we know they pay for themselves, even if it takes a little while. We thought, “Let’s have a little section for our books to be in people’s collections.” It’s always enjoyable to go over to someone’s house and see they have a little CvD part of their bookshelf, because it means that the things we’ve been doing will have a legacy. When we started out, the orientation of the gallery was very Chicago. A lot of what we were doing was answering our questions about the contemporary scene in Chicago. Around four years into the gallery’s existence, we began to really question how that would work long term. We realized that the best situation was to allow people to see the Chicago work that we were doing in the context of the best work we could imagine showing alongside it from anywhere. I go back to something that Ken Vandermark said once about what we did at the Empty Bottle, which was that it was very important to present on the same stage the highest-level musicians from around the world and musicians from Chicago who were also considered topnotch. We show some of the best-known painters in the world and on the same walls we’re putting things by people who might not be so well known, but might be longstanding members of the Chicago community or might be obscure figures that deserve to be better known, from Japan or wherever it might be. With regard to blending the Chicago and international arts scenes and letting the quality of the work speak for itself, how do you translate this into your involvement with the selection committee for EXPO CHICAGO? The amount of time is equivalent to the amount of time you might spend if you were on a grant-review panel or something similar. There are two sides to it: one is prep, and there is a modest amount of preparation, and then there is the amount of time and effort and especially the negotiations that go on in the

///////////////////////////////// WEIYI KONG, 3088, 2016, USED TOOTHBRUSHESprocess of reviewing the applicants. I take it EXAMINE BELIEFS.very seriously. Everybody who is applying has RADICALLY RETHINK THEM.a reason that they want to be there. We’re verylucky to have an amazing selection committee SCHOOL OF THE ART INSTITUTE OF CHICAGOthat represents an outstanding level of work, and GRADUATE PROGRAMSare all very sympathetic people. Art dealers geta very bad reputation, in some ways totally well SAIC encourages interdisciplinary, collaborative, andearned, for being hoity or as not always the most experimental investigation. In addition to our renownedcollaboratively minded people. Master of Fine Arts program, SAIC offers a number ofSo the process is more like a peer-review Master of Arts programs, a Master of Architecture,system, for which you are accountable and have Master of Design, and a Master of Science.to hold yourselves to a certain standard?Indeed. In my experience in this first year on RSVP GRADUATE SAIC DAYthe committee, people were almost unusually Sunday, October 2thoughtful and held the applicants to a very saic.edu/greventshigh standard, willing to discuss every nuanceof that in terms of what it would mean for any of NATIONAL GRADUATEthese galleries to be participants in this fair. The PORTFOLIO DAYadvantages and consequences of being admitted Saturday, November 5to the fair had really been talked through quitethoroughly and that was a really great process APPLY NOW FOR FALL 2017 AT SAIC.EDUfor me. I didn’t know what to expect and I wasreally happy. These are our colleagues—but this 312.629.6100 | 800.232.7242 | [email protected]’t like academic colleagues—these peopleare theoretically competitors in a commercialcontext. And yet, to me it even had a morecollegial feel than similar situations that I hadbeen in that were academic. But that’s what Ilike, and one of the things we’ve done historicallyat CvD. When Jim and I meet people who welike we immediately start thinking about whatcould we do together. It cuts against the kind ofterritoriality and defensiveness that can otherwisebe present.EXPO itself is also a very unique space, one thatcombines curatorial decisions at the level ofeach gallery with the overall curation of the fair.On the selection committee, we’re there tojudge the applicants and also to help suggestorganizations we think ought to be there whomight not be otherwise. Tony Karman and histeam are great and we admire and trust themto know the field and to bring in the people hethinks will make the best multilayered cake forus. It can be a matter of balancing young galleriesalong with established galleries. Fairs can getpretty routine, so we figure if we’re not interested,no one else will be interested. So we try to keepit from becoming routine, reinventing it everytime, so the people who come to them have someinteresting work to chew on.So the work itself really drives your approach atEXPO, like it does with your gallery?Definitely, it’s the same principle. Recently, Iworked on this film about the Chicago Imagiststhat Leslie Buchbinder made, called “HairyWho & The Chicago Imagists.” When I did theinterviews for the film, I spoke with Kerry JamesMarshall and he has this beautiful line; he says,you know, in the long run, great work will out,it always does. You can become cynical aboutthat, and you can become skeptical about itbecause we see time and again that great artistsget overlooked, but he is confident that that’s notgoing to be the case forever and that those peoplewill eventually be recognized. That’s the pointthat I take, that the most important thing is thequality of the work, the quality of the vision, theindependence and the sense of adventure that thework has. That’s what it’s all about for me.

interview/////////////////////////////////////////////////////////////////////////////////////////////////////////The Lab and Tricia Van Eck andthe Garden Eric May in Conversation about Chicago’s Grassroots Art Experiments by Kelly ReavesIn a historic and charmingly dilapidated mansion in Edgewater, the world and certainly making Chicago a more vibrant and interestingTricia Van Eck has been bringing creative people together since place. I think I approach needs and issues like holes or gaps. Where can we2011. In the beginning, she invited writers, art critics and artists fill? Who isn’t doing that show? 6018NORTH’s EXPO programming, forto discuss new ideas over dinners around a giant dining table example, always addresses EXPO, it’s always responding to that particularin her first-floor living room. The brainstorms that ensued have environment. We look for interactive art, audience-engaged art or art that’smushroomed into a sprawling, intermittent series of installations challenging—challenging, for example, what narrative painting might be asand performances that emphasize experimentation in art. After a category of art. Ultimately, we strive to open possibilities, so someone’s likeits street address, Van Eck calls this place 6018NORTH. “How the hell?” or “Is this art? And, if so, how?” We’re always looking for artists who are really taking risks and maybe don’t have the resources. I tryAbout five years earlier, Eric May was purchasing a hairpin to give them the confidence and the platform.storefront in Noble Square to fill a gap he saw in Chicago’s art EM: We’re mostly interested in practices that don’t fall squarely withinworld between up-and-coming, struggling art students and the market ideals. We’re here to support emerging voices but we’re also hereestablished, commercial gallery system. In its very name, Roots to support progressive practices that might have a harder time finding& Culture embodies the spirit of cultivating the supportive venues at more commercially driven spaces. We seek more conceptualconditions that artists need to grow their practices and thrive in projects that are, if not socially engaged, still addressing social themes. ButChicago. I still love beautiful paintings. It’s important for us to have a breadth and scope of what’s happening in the art world, but always with an eye on moreEM: I wanted to create an incubator space or a first step for artists who unconventional practices.were coming out of degree programs to have an opportunity that would TVE: Although I too am a sucker for pretty paintings, I prefer when theyhopefully lead to careers in Chicago, in order to make Chicago a more have social content in them. We’re living in a world that is in crisis in manysustainable place to launch a career and live. areas, so we cannot pretend we’re in a bubble. We have Iraqis across the street, Bosnians… people from all over. For instance, 6018North just had what was essentially a block party that closed up the whole street with thisTVE: At my dinners I was starting to really see the needs. And because Ihad worked with artists from all different fields, including performance,it really seemed like that was also a need, to bring dancers, musiciansto really be a space that could actually connect people from all differentdisciplines.EM: Chicago has a really strong tradition and scene in performing arts.TVE: The visual arts were kind of separate, although not so muchanymore. Anytime people collaborate or work together, things happenthat you couldn’t plan for. It enriches everything.EXPOCHGO | | 2016 Photo: Elyse SawkaEM: I also think it’s a great opportunity to crossover audiences. Withthe food events at Roots & Culture, we are connecting audiences thatmight not otherwise come to the space to see our exhibitions, who aremore interested in the culinary program. There’s always a dialogue. It’simportant to connect the dots, and I think that people who appreciateculture and humanities are generally a pretty open audience to other types table of food, a bouncy house, face painting, as well as performance art. Weof experiences. We’re all on board for the enterprise of engaging the public think of audience as such a broad category. A lot of what we strive for is toand civic life and enriching it with art. fight against individualism and self-interest and to really think about what is the community ethos and how to live responsibly within the community.14 TVE: That’s why I’m in Edgewater. I’m from Chicago; it’s extremely Artists get sucked into that “my work” mentality, but artists usually become segregated here, but my neighborhood is pretty diverse. It’s home to successful when a group of them—like the Impressionists, for example— people who have settled here from all over the world. When you think of become successful together rather than as individuals. I think that’s the real audience, a lot of times people think of peers, but who are we really talking strength behind Chicago. This city has a kindness and a willingness that you to? If it’s just MFA students you might as well just stay in school. Activists don’t see elsewhere in the arts.and performers have different ways of approaching the world. So yourwork can be much more dynamic according to who’s looking at it, their EM: We’ve been able to create a community of folks that want to give at theresponses, and then what happens in between. It opens all the possibilities level they can, so it’s kind of this “it takes a village” mentality. We’ve beenof making the work stronger. I too think altruistically about making able to survive, I think, just by being a warm, welcoming place.

TSENG/////////////////////////////////////////////////////////////////////////////////////////////////////////KWONGCHI Tseng Kwong Chi, East Meets West Manifesto, 1983. © Muna Tseng Dance Projects.Courtesy of Hamid Naficy Iranian Movie Posters Collection, Northwestern Library ArchivesCHOOSE A CLASSIC PACKAGE Eric Avery, Emerging Infectious Diseases (detail), 1999. © of the artist.OR CREATE YOUR OWN AND The Harold and Mimi SteinbergSAVE UP TO 25% Charitable TrustLondon’s The Guardian raves, “a bold, magnificent venture”from Artistic Director Baraba GainesTUG OF WAR: CIVIL STRIFEHENRY VI, PARTS 2+3 RICHARD IIIGary Griffin directs the Olivier Award–winnerKforIBNesGt NeCwHPlaAy iRn 2L01E5S IIIMarti Maraden directs The Bard’s wittysatire on young loveLOVE’S LABOR’S LOSTChicago Premiere, directed by Rachel Rockwell,based on the Oscar-winning filmSHAKESPEARE IN LOVE SUBSCRIBE TODAY for the best seats! 312.595.5600 • chicagoshakes.comMAJOR 2016/17 SEASON SUPPORTERS

This exhibition has been organized by the Flagler Museum, Palm Beach, Florida, with special thanks to Jean S. and Frederic A. Sharf. 40 East Erie, Chicago IL • 312-482-8933 • DriehausMuseum.org Admission is always free. All are welcome. smartmuseum.uchicago.eduTHERE WAS A WHOLE COLLECTION MADE BELONGING ROSE’S INCLINATIONPhotography from Lester and Betty Guttman Conversations with theSeptember 22 through December 30, 2016 Collection Jessica StockholderOpening reception: September 28, 7–8:30 pm Through July 2, 2017 Through July 2, 2017 ABOVE (left to right): Gustave Le Gray, Brig on the Water, 1856, Albumen print from wet collodion negative. Smart Museum of Art, The University of Chicago, Gift of the Estate of Lester and Betty Guttman, 2014.504. • Frank Lloyd Wright, Dining Table and Six Side Chairs, 1907–1910, Designed for the Frederick C. Robie Residence, Chicago. Smart Museum of Art, The University of Chicago, University Transfer, 1967.73-79. • Jessica Stockholder, Rose’s Inclination (partial installation view), 2015–2016. Courtesy of the artist, Mitchell-Innes & Nash Gallery, and Kavi Gupta Gallery.

22–25 SEPTEMBER 2016 | NAVY PIER Presenting SponsorOFFICIAL GUIDE Mayor’s Letter & Vernissage.........................18 Plan Your Visit...............................................19 Exhibitors and Special Exhibitions.................20 /Dialogues....................................................22 EXPO VIDEO.................................................24 IN/SITU..........................................................25 OVERRIDE and IN/SITU Outside...................26 EXPO Projects...............................................27 EXPO ART WEEK..........................................28expochicago.com

From the mayor EXPOCHGO | | 2016 /////////////////////////////////////////////////////// ////////////////////////////////////////////// Vernissage 2015 at Festival Hall Photo: Braxton Black Photography VERNISSAGE As Mayor, and on Thursday, September 22, 2016, 5:00–9:00pm behalf of the City of Chicago, I am Benefiting the Museum of pleased to offer Contemporary Art Chicago greetings to those participating in A French term for art openings, Vernissage, or and visiting the “varnishing day” evokes the energy and excitement fifth annual EXPO that surrounds the opening of EXPO CHICAGO. CHICAGO, The The MCA hosts Vernissage, the opening night International preview of EXPO CHICAGO at Festival Hall, Exposition Navy Pier. This extraordinary benefit, organized of Contemporary & Modern Art, by the MCA Women’s Board, is the city’s most September 22–25. anticipated art event of the year. Entering its fifth edition, EXPO CHICAGO presents artwork from Our city is honored to welcome 145 of the world’s 145 leading galleries around the world, including premier galleries from 22 countries and 53 cities around EXPOSURE—a section that affords younger the world along with leading international collectors, galleries the opportunity to participate in a major curators and visual arts experts. With Northern Trust international art fair. The exposition provides as the Presenting Sponsor, I am proud of what this critical opportunities for curators, collectors, and extraordinary event has become, and very excited for art patrons to survey the best in innovative and the occasion to showcase all that Chicago has to offer to emerging programs. the international arts community. I commend everyone working with EXPO CHICAGO for being at the forefront Proceeds from Vernissage raise significant of visual arts and the advancement of creativity. funds for the MCA Education Department, whose programs offer compelling opportunities As home to one of the country’s largest, oldest, and to explore, challenge, discuss, and reflect on most established arts communities, Chicago hosts many the MCA’s holdings and the larger world of exciting events highlighting a diverse array of artistic contemporary art and culture. mediums – music, dance, performance and literary arts – drawing people from near and far to delight in these Tickets and packages available at intriguing displays of talent. From our public art and architectural landmarks to our independent artists to mcachicago.org/Vernissage. our world-class museums and cultural centers, art truly enhances the quality of life for residents and visitors alike. EXPO CHICAGO has helped place Chicago back on the map as an international arts destination. I hope that those visiting our great city take time to experience some of the special places in Chicago. I invite you to sample our distinguished restaurants, take a stroll in our great public parks, and enjoy our iconic skyline and incredible lakefront during your stay. On behalf of the people of Chicago, please enjoy your visit to EXPO CHICAGO. Best wishes for an enjoyable event and much continued success.18 Rahm Emanuel Mayor, City of Chicago

///////////////////////////////////////////////////////////////////////////////////////////////////////////////////THE FIFTH INTERNATIONAL EXPOSITION OF CONTEMPORARY & MODERN ART22-25 SEPTEMBER 2016Each September, EXPO CHICAGO opens the fall Navy Pier Festival Hall, 600 E. Grand Ave. Upper Levelart season at historic Navy Pier. Now entering its Main entrance, lower level of Entrance 2.fifth edition, EXPO CHICAGO presents artworkfrom 145 leading galleries—including over EXPO CHICAGO Free Shuttle3,000 artists, representing 22 countries and 53cities from around the world. The exposition Friday–Saturday 11:00am–8:00pm;offers a dynamic roster of programming including Sunday 11:00am– 7:00pmpanel discussions with leading artists, curators, Shuttles will depart from Navy Pier, Entrance 2and collectors; uniquely curated site-specific (the lower level lobby of Festival Hall) and run fromprojects at Navy Pier and throughout Chicago; each the following stops every half hour:cutting edge film, video, and new media work;curator-led tours; and special exhibitions by West Loop River Northrenowned institutions. Art Institute MCAEXPOSITION HOURS SAIC EXPO CHGO Navy PierFriday | September 23 | 11:00am–-7:00pmSaturday | September 24 | 11:00am–-7:00pm Pick-up and Drop-off LocationsSunday | September 25 | 11:00am–-6:00pm Michigan Avenue | Museum ShuttleADMISSION • Museum of Contemporary Art Chicago$20 daily | $30 three-day pass | $15 groups of 10 or more (E. Chicago Ave. and Mies van der Rohe Way) • The Art Institute of ChicagoAdvance tickets at expochicago.com (Modern Wing Entrance on E. Monroe St.) • The Sullivan Galleries at the School of the 19EXPOCHGO | | 2016 Art Institute of Chicago (State St. and Monroe St.) River North Shuttle • Superior St. and Franklin St. West Loop Shuttle • Peoria St. and Washington Ave. • Fulton St. and Carpenter St.

2016 Exhibitors ///////////////////////////////////////////////////////////////////////////////////////////////////////// GALLERIES Kavi Gupta, Chicago Laurence Miller Gallery, New York Galería Álvaro Alcázar, Madrid Robert Miller Gallery, New York Ameringer | McEnery | Yohe, New York Hackett | Mill, San Francisco Leila Heller Gallery, New York, Dubai THE MISSION, Chicago Anglim Gilbert Gallery, San Francisco Richard Heller Gallery, Los Angeles Gallery MOMO, Johannesburg, Cape Peter Blake Gallery, Laguna Beach Galerie Ernst Hilger, Vienna Town Bortolami, New York Nancy Hoffman Gallery, New York Morgan Lehman Gallery, New York Borzo Gallery, Amsterdam Rhona Hoffman Gallery, Chicago Anne Mosseri-Marlio Galerie, Basel Rena Bransten Gallery, San Francisco HOSTLER BURROWS, New York Carolina Nitsch, New York The Breeder, Athens Edwynn Houk Gallery, New York, Zürich David Nolan Gallery, New York Browse & Darby, London Lyndsey Ingram, London Galerie Nordenhake, Berlin, Stockholm Buchmann Galerie, Berlin, Lugano Carpenters Workshop Gallery, London, Jablonka Maruani Mercier Gallery, Gallery Wendi Norris, San Francisco Paris, New York Brussels, Knokke Richard Norton Gallery, Chicago CarrerasMugica, Bilbao Jenkins Johnson Gallery, San Francisco, Claire Oliver Gallery, New York casati gallery, Chicago New York ONE AND J. Gallery, Seoul David Castillo Gallery, Miami Beach Paul Kasmin Gallery, New York P.P.O.W, New York Cernuda Arte, Coral Gables Kayne Griffin Corcoran, Los Angeles PACE, New York, London, Beijing, Hong James Cohan, New York Galerie Peter Kilchmann, Zürich Kong, Paris, Palo Alto Hezi Cohen Gallery, Tel Aviv Robert Koch Gallery, San Francisco Peres Projects, Berlin CONNERSMITH., Washington, DC KÖNIG GALERIE, Berlin Galerie Perrotin, New York, Paris, Hong Corbett vs. Dempsey, Chicago Alan Koppel Gallery, Chicago Kong, Seoul CRG Gallery, New York David Kordansky Gallery, Los Angeles POLÍGRAFA OBRA GRÀFICA, Barcelona Alan Cristea Gallery, London Pearl Lam Galleries, Hong Kong, Galeria Joan Prats, Barcelona Galerie Crone, Berlin, Vienna Shanghai, Singapore PROYECTOSMONCLOVA, Mexico City Crown Point Press, San Francisco Landfall Press, Inc., Santa Fe R & Company, New York Douglas Dawson, Chicago Galerie Lelong, Paris, New York ANDREW RAFACZ, Chicago Catherine Edelman Gallery, Chicago Jane Lombard Gallery, New York Yancey Richardson Gallery, New York Flowers Gallery, London, New York Diana Lowenstein Gallery, Miami rosenfeld porcini, London Forum Gallery, New York, Beverly Hills MACCARONE, New York, Los Angeles Diane Rosenstein Gallery, Los AngelesEXPOCHGO | | 2016 Matthew Marks Gallery, New York, Los Salon 94, New York Honor Fraser, Los Angeles Angeles Galerie Thomas Schulte, Berlin Geary Contemporary, New York Marlborough, New York, London, Eduardo Secci Contemporary, Florence,280 Graphicstudio, Tampa Madrid, Barcelona Pietrasanta Alexander Gray Associates, New York Richard Gray Gallery, Chicago, New York The Mayor Gallery, London Carrie Secrist Gallery, Chicago Christopher Grimes Gallery, Santa McCormick Gallery, Chicago Marc Selwyn Fine Art, Beverly Hills Monica Anthony Meier Fine Arts, San Francisco Lisa Sette Gallery, Phoenix GRIMM, Amsterdam moniquemeloche, Chicago William Shearburn Gallery, St. Louis nina menocal, Mexico City Jessica Silverman Gallery, San Francisco

2016 Exhibitors///////////////////////////////////////////////////////////////////////////////////////////////////////// Entering its fifth edition in 2016, EXPO CHICAGO presents artwork from 145 leading galleries, representing 22 countries and 53 cities from around the world.Sims Reed Gallery, London EXPOSURE Special ExhibitionsCarl Solway Gallery, CincinnatiSous Les Etoiles Gallery, New York 11R, New York Aperture Foundation, New YorkLouis Stern Fine Arts, West Hollywood Alden Projects™, New York Art+Culture Projects, New YorkAllan Stone Projects, New York ARCADE, London ART & LANGUAGE | jsvcPROJECTS,MARC STRAUS, New York ASHES/ASHES, Los AngelesHollis Taggart Galleries, New York Piero Atchugarry, Pueblo Garzón LondonTandem Press, Madison Luis De Jesus Los Angeles, Los Angeles Artadia, New YorkGalerie Tanit, Beirut, Munich DITTRICH & SCHLECHTRIEM, Berlin Art Capsulteam (gallery, inc.), New York, Los Anat Ebgi, Los Angeles Casa Maauad, Mexico City Edel Assanti, London Chicago Artists Coalition, Chicago Angeles half gallery, New York The Conservation Center, ChicagoGalerie Daniel Templon, Paris, Brussels The Hole, New York DePaul Art Museum, ChicagoPaul Thiebaud Gallery, San Francisco Horton Gallery, New York For FreedomsCristin Tierney Gallery, New York Charlie James Gallery, Los Angeles Human Rights WatchVallarino Fine Art, New York Kimmerich, Berlin Hyde Park Art Center, ChicagoSusanne Vielmetter Los Angeles Josh Lilley, London Natural Resources Defense Council Efrain Lopez Gallery, Chicago Projects, Los Angeles LUCE GALLERY, Torino (NRDC)Weinstein Gallery, Minneapolis MARSO, Mexico City Redbrick Art Museum, BeijingBryce Wolkowitz Gallery, New York MIER GALLERY, Los Angeles The Renaissance Society, ChicagoZolla/Lieberman Gallery, Chicago On Stellar Rays, New York SculptureCenter, New YorkPavel Zoubok Gallery, New York ROBERTO PARADISE, San Juan The School of the Art Institute ofDavid Zwirner, New York, London Romer Young Gallery, San Francisco VAN HORN, Düsseldorf Chicago, ChicagoEditions + Books WALDEN, Buenos Aires ShopColumbia, Chicago Kate Werble Gallery, New York Thoma Foundation, Chicago, Santa Fedevening projects + editions, Chicago yours mine & ours, New York Threewalls, ChicagoDOCUMENT, Chicago The University of Chicago, ChicagoPaul Kasmin Shop, New York University of Illinois at Chicago College EXPOCHGO | | 2016No Coast, Chicagoonly photography, Berlin of Architecture Design and the Arts,Other Criteria, New York, London ChicagoThe Pit, Los Angeles Whitechapel Gallery, LondonRENÉ SCHMITT, Westoverledingen Zuecca Project Space, VeniceSITE Santa Fe, Santa Fe 6018 North | 3Arts, Chicago 21

/DIALOGUES/////////////////////////////////////////////////////////////////////////////////////////////////////////EXPOCHGO | | 2016Friday, September 23 4:15–4:30pm 2015 /Dialogues, “Contemporary Art in Italy: Today,” (L to R) Diego Perrone, Letizia Ragaglia,Presentation by Our Literal Speed Alessandro Possati, and Stephanie Cristello11:30am–12:30pmTHE NEW GLOBAL ECONOMY: CONTEMPORARY 4:30–5:30pmART FROM AFRICA AND ITS DIASPORA IN THE KEYNOTE | ART & LANGUAGEMARKETPLACE Mel Ramsden and Michael Baldwin, ART & LANGUAGE;Mary Sibande, Artist, Kenneth Montague, Collector, and Yesomi Guillaume Désanges, Independent Curator; and Jill SilvermanUmolu, Curator | Logan Center Exhibitions. Moderated by Bomi van Coenegrachts, International Curator of the Philippe MéailleOdufunade, Founder of Dash & Rallo | First Global Art Advisory for Collection – Château de MontsoreauContemporary African Art 5:30–6:30pm1:00–2:00pm CONCEPTUALISM & ROCK AND ROLLDOCUMENTA 14 | LOOKING SOUTH Mel Ramsden and Michael Baldwin, ART & LANGUAGE.Artists Irena Haiduk, Claire Pentecost and Angelo Plessas. Moderated Moderated by Dominic Molon, Richard Brown Baker Curator ofby Dieter Roelstraete, Curator | Documenta 14 Contemporary Art at the RISD Museum2:30–3:00pmA HISTORY OF PERFORMANCE IN 20 MINUTESGuillaume Désanges, Curator and Art Critic with Frédéric Cherboeuf,PerformerART & LANGUAGE SYMPOSIUMFocusing on radical artists ART & LANGUAGE, and their importanceto the formation and legacy of conceptual art, members MelRamsden and Michael Baldwin will be joined by related scholars,curators, and art professionals on their work —featuring a series ofdiscussions and panels concerning their singular perspective on halfa century of art making.22 3:30–4:15pm Yesomi Umolu Bomi Odufunade CONCEPTUAL PARADISE Stefan Römer, Director of the film Conceptual Paradise; Philippe Courtesy Trumpie Photography Méaille, Collector and Founder of the Philippe Méaille Collection – Château de Montsoreau; Guillaume Désanges, Independent Curator; and Jill Silverman van Coenegrachts, International Curator of the Philippe Méaille Collection – Château de Montsoreau

/////////////////////////////////////////////////////////////////////////////////////////////////////////Installation view, ART & LANGUAGE at the Philippe Méaille Collection at Château de Montsoreau, Maine-et-Loire, 2016. Presented in partnership with the School of the Art Institute of Chicago (SAIC), /Dialogues offers panel discussions, conversations, and provocative artistic discourse.Saturday, September 24 5:30–6:30pm APERTURE LIVE: ON THE DIRECT GAZE11:30am–12:30pm Deana Lawson, Artist, and Franklin Sirmans, Director | Pérez ArtEXPO VIDEO | GHOST IN THE SCREEN Museum Miami. Moderated by Brendan Wattenberg, ManagingDaria de Beauvais, 2016 EXPO VIDEO Curator | Palais de Tokyo and Editor | Aperture Magazine. Presented in partnership with theand Stephanie Cristello, Director of Programming | EXPO CHICAGO Aperture Foundationand Editor-in-Chief of THE SEEN1:00–2:00pm Sunday, September 25HANS ULRICH OBRIST | IN CONVERSATION WITH 11:30am–12:30pm PUBLICATION AS EXHIBITIONJOSEPH GRIGELY Stefano Cernuschi, Mousse Publishing; Jens Hoffmann, The Exhibitionist; Helena Vilalta | Afterall; and Forrest Nash, ContemporaryPresented in partnership with Cultured Magazine MAGAZINE Art Daily. Moderated by Cay-Sophie Rabinowitz, Founding Director and Publisher | OSMOS. Presented in partnership with the Italian2:30–3:30pm Cultural InstituteMCA PRESENTS: KERRY JAMES MARSHALL | INCONVERSATION WITH SARAH THORNTON 1:00–2:00pmPresented in partnership with the Museum of Contemporary Art PABLO LEÓN DE LA BARRA | IN CONVERSATION Pablo León de la Barra, Independent CuratorChicago 2:30–3:30pm4:00–5:00pm CURATING IN PLACEPICTURING PUNK: THE LEGACY OF MARK MORRISROE Dan Handel, Curator of Design and Architecture | Israel Museum;Beatrix Ruf, Director | Stedelijk Museum Amsterdam and Jack Pierson, Aric Chen, Lead Curator for Design and Architecture | M+, Hong Kong, Zoë Ryan, Chair and John H. Bryan Curator of ArchitectureArtist. Moderated by Linda Yablonsky, Art Critic | Artforum and Design | Art Institute of Chicago; and James Zemaitis, Curator and Director of Museum Relations | R & Company. Moderated by Jonathan Solomon, Director of the Department of Architecture, 23EXPOCHGO | | 2016 Interior Architecture and Designed Objects | The School of the Art Sarah Thornton Institute of Chicago. Presented in partnership with the William Bronson and Grayce Slovet and Mitchell Lecture Series in Architecture, Interior Architecture and Designed Objects at the School of The Art Institute of Chicago and support from the Consulate General of Israel to the Midwest.Kerry James Marshall

///////////////////////////////////////////////////////////////////////////////////////////////////////// The EXPO VIDEO program highlights a selection of dynamic and cutting-edge film, video, and new media work by artists selected from 2016 Exhibitors. Mary Reid Kelley with Patrick Kelley Priapus Agonistes, (2013). Single channel HD video with sound, 15 minutes, 9 seconds. Edition 4 of 6 + 2AP. Curated by Daria de Beauvais | Palais de Tokyo The Yellow Wallpaper Daedalus Borrowing its title from a short story published by Charlotte Perkins To think is to enter the Labyrinth Gilman in 1892, the works included in The Yellow Wallpaper trace —Cornelius Castoriadis the narrative of a young woman’s descent into psychosis. The nineteenth century text, written in the form of a journal, is filled The human mind is a complex territory; a delicately assembled with mythological references and archetypal images, one being the architecture. For thousands of years, it has been compared to a descent into the underworld—namely into one’s own psyche. labyrinth—the works included in this section of EXPO VIDEO is dedicated to the figure of Daedalus in Greek mythology, the creator of the legendary labyrinth where the Minotaur was kept prisoner. Screening Room 1 (in order of appearance) Camille Henrot, Dying Living Woman (2005) | KÖNIG Screening Room 2 (in order of appearance) GALERIE, Berlin and kamel mennour, Paris Susan Hiller, Resounding (Infrared) (2013) | Lisson Gallery, Patty Chang, Falling at 1120 ft above sea level (2000) | London ASHES/ASHES, Los Angeles Michael Robinson, Mad Ladders, (2015) | Carrie Secrist Aïda Ruilova, Goner (2010) | Kayne Griffin Corcoran, Los Gallery, Chicago Angeles Mary Reid Kelley, Priapus Agonistes (2013) | Susanne Susan MacWilliam, Faint (1999) | CONNERSMITH., Vielmetter Los Angeles Projects, Los Angeles Washington DC Jesper Just, It Will All End in Tears (2006) | Galerie Perrotin, Station 1 Paris, New York, Hong Kong, SeoulEXPOCHGO | | 2016 Alex Bag, Untitled (Project for the Andy Warhol Museum) Station 3 (1996) | team (gallery, inc.), New York Miguel Angel Rios, Piedras Blancas (2014) | Gallery Wendi Anna Barham, Iris (2011) | ARCADE, London Norris, San Francisco Station 2 Anna Barham, Proteus (2010) | ARCADE, London24 Desiree Dolron, Uncertain, TX (2016) | GRIMM, Amsterdam Station 4 Laure Prouvost, Into All That Is Here (2015) | Galerie Nathalie Pierre Bismuth, Following The Right Hand of Sigmund Freud Obadia, Paris, Brussels and carlier | gebauer, Berlin (2009) | team (gallery, inc.), New York Brice Dellsperger, Body Double 23 (After the Black Dahlia) (1997) | team (gallery, inc.), New York

///////////////////////////////////////////////////////////////////////////////////////////////////////// Camille Henrot, Dying Living Woman The IN/SITU program provides exhibiting galleries the opportunity to showcase large-scale installations and site-specific works by leading artists during EXPO CHICAGO. As a core program, installed within the vast architecture and vaulted ceilings of Navy Pier’s iconic Festival Hall, the strength of the IN/SITU program is its ability to feature major suspended installations in addition to large scale work.Participating ArtistsSpencer Finch, Sky Over Coney Island(November 26, 2004, 12:47pm. SouthwestView Over the Cyclone) (2004) | RhonaHoffman Gallery, ChicagoVictoria Fu, Egg (2016), Infinity and Scoop(2015) | Honor Fraser, Los AngelesAmalie Jakobsen, Recursive Demarcation(2016) | Efrain Lopez Gallery, ChicagoShana Lutker, Attractive Fool series (2016)| Susanne Vielmetter Gallery Los AngelesProjects, Los AngelesJillian Mayer, Slumpies (2016) | DavidCastillo Gallery, MiamiRodney McMillian, Carpet Painting(Bedroom and TV Room) (2012) |MACCARONE, New York, Los AngelesJulio César Morales, Narco Headlines(2015) | Gallery Wendi Norris, San FranciscoBettina Pousttchi, Rotunda (2016) |Buchmann Galerie, Berlin, LuganoCarlos Rolón/Dzine, Nomadic Habitat(Hustleman) (2016) | moniquemeloche, PearlLam Galleries, and Salon 94and For FreedomsA Break in the Code Image: Victoria Fu, Egg, 2016. Inkjet print on vinyl. Dimensions variable. Courtesy of Honor Fraser.25Curated by Diana Nawi | Pérez Art Museum Miami EXPOCHGO | | 2016A Break in the Code makes visible the underlying structures that order and shape theworld around us. Bringing together works from a diverse range of practices—includingperformance, sculpture, and architecture—this program examines and intervenes into thecodes and forms used to demarcate our everyday life, by appropriating or interruptingcommon gestures and modes of communication, capitalizing on and redeploying systemsof power and exchange, and imbuing quotidian experiences with the poetic. The featuredartists subvert these systems through performance, appropriation, and unexpectedintimations of materials. Illuminating the strangeness of some of our most fundamentalstructures and objects—whether political, visual, technological, economic, or social—they reveal the constructed and mutable nature of the actual ‘programs’ that shape ourlives.

Public Art ///////////////////////////////////////////////////////////////////////////////////////////////////////// OVERRIDE | A Billboard Project is a cutting edge citywide public art initiative, presented by EXPO CHICAGO and the City of Chicago’s Department of Cultural Affairs and Special Events (DCASE). Displayed on the network of 28 digital billboards throughout Chicago’s City Digital Network (CDN), the citywide exhibition will run from August 29–September 25, 2016 to align with the fifth annual exposition. Sanford Biggers, Chesire (2016) courtesy of moniquemeloche Participating Artists Iñigo Manglano Ovalle, Christopher Grimes Gallery, Alex Bag, team (gallery, inc.), Santa Monica New York, Los Angeles Joyce Pensato, Corbett vs. Sanford Biggers, Dempsey, Chicago moniquemeloche, Chicago Angelo Plessas, The Breeder, Stephanie Brooks, Rhona Athens Hoffman Gallery, Chicago Cheryl Pope, moniquemeloche, Tammy Rae Carland, Jessica Chicago Silverman Gallery, San Francisco Bettina Pousttchi, Buchmann Gallery, Berlin, Lugano Rashid Johnson, For Freedoms Toiletpaper, Galerie Perrotin, Caitlin Keogh, Bortolami, New New York, Paris, Hong Kong, York Seoul Sterling Lawrence, Wendy White, ANDREW DOCUMENT, Chicago RAFACZ, Chicago and VAN HORN, Düsseldorf Vik Muniz, Rena Bransten Gallery, San Francisco Inaugurated in 2014, IN/SITU Outside provides the opportunity for EXPO CHICAGO Exhibitors to present temporary public art installations situated along the Lakefront and throughout Chicago neighborhoods, presented in partnership with the Chicago Park District (CPD) and Department of Cultural Affairs and Special Events (DCASE).EXPOCHGO | | 201626 Participating Artists Mark di Suvero Title: Destino Location: East of Lake Shore Drive at Afruz Amighi | Far from God (2014), Leila Heller Gallery 53rd Street Details: 2003; Steel Daniel Buren | Attrape-soleil (2013), Bortolami Mark di Suvero | Magma (2008) and Destino (2003), Paula Cooper Gallery Ewerdt Hilgemann | Habakuk (homage to Max Ernst) (2014), BORZO Gallery and The Mayor Gallery Chicago Park District Public Art Installations Herb Alpert | Spirit Totems (2010-2012), Courtesy of the Artist Wendell Castle | Big Red M (1971) and Yellow Arch (1971), R & Company Tom Friedman | Looking Up (2015), Luhring Augustine John Henry | Chevron (2007), Novak Construction Indira Johnson | 10,000 Ripples (2012), Courtesy of the Artist Mel Kendrick | Marker #1 and Marker #2 (2009), David Nolan Robert Lobe | Eastern Hophornbeam (1992) and Nature’s Clock (2006), Rhona Hoffman Gallery Joel Shapiro | Untitled (2002-2003), PACE Tony Tasset | Artists Monument (2014), Kavi Gupta Christopher Wool | Untitled (2013), Luhring Augustine

EXPO Projects///////////////////////////////////////////////////////////////////////////////////////////////////////// EXPO Projects features a curated selection of projects organized by EXPO CHICAGO at Navy Pier.The Son of Gigant (2003)  rights around the world, in partnership constructions. This selection belongs childhood in Nigeria. Onwa N’etilu OraMagdalena Abakanowicz with Rhona Hoffman Gallery inspired to the CryptoFuturism series, which references rebirth and renewal, each by the writing of Nobel laureate revisits the tenets of Italian Futuristism disk representing the roundness andMarlborough | New York, Kenzaburo Oe, Jaar’s piece highlights a century later to highlight resonances vibrancy of the ‘onwa,’ the term forLondon, Madrid, Barcelona the responsibility of each generation to between emerging Fascist tendencies ‘moon’ in Igbo.Magdalena Abakanowicz emerged learn from those who came before. today. van Lieshout couples the pursuit because the mountains were so highas an artist in a Poland devastated by 48 Portraits (Underexposed) (2012)  of progress with a longing for the (2016) World War II. The politically charged primitive past.but emotional work reminds us of Sabina Ottthe nature of the human condition, Samuel Levi Jones Imperial Courts (2015)  Hyde Park Art Center &its inherent impermanence rendered PATRON | Chicago Aspect/Ratio Gallery |immutable. Dana Lixenberg Chicago This series of portraits respond to GRIMM | Amsterdam the related issues of representationKimathi Donkor and exclusion raised by a Gerhard In the early 1990s, Dutch photographer Sabina Ott’s site-specific installation Richter installation from 1972—the Dana Lixenberg travelled to South acts as an alternative passage way Central Los Angeles on assignment within a passageway—a space toGallery MOMO | Cape Town, same year the encyclopedia set was published. Richter’s 48 portraits, for Vrij Nederland magazine toJohannesburg made for the German pavilion at the meander through and lose oneself in cover the riots that erupted in the wonderment. Smells, sounds, objectsKimathi Donkor is a British Venice Biennale, depicted icons of aftermath of the verdict in the Rodney and video surround the participant incontemporary artist who lives and Western culture from the nineteenth King trial. The potent combination an immersive artificial environment. of racial injustice, community Produced by Space Haus.works in London, UK. His work and twentieth centuries, each a white frustration, and one dimensionalre-imagines mythic and legendary male. Here, Jones includes images ofencounters across Africa and its 48 African-American cultural figures media coverage pushed her to start Yuansu Series II, #6-58, #6-71, #6-74,Diasporas, principally in painting, who did not appear in the edition. a project documenting life inside abut also through video, drawing, #6-81, #6-83 (2014-2015) assemblage and installation. Warp (2016) single housing project in Watts, named Imperial Courts. Ren RiHold It Up to the Light (2016) Anna Kunz Wall Grapheme 3 (2016)  Courtesy of the artist and Pearl Lam Galleries | HongCody Hudson McCormick Gallery | Chicago Matt Magee Kong, Shanghai, SingaporeANDREW RAFACZ | Chicago Anna Kunz is a Chicago-based painter that makes work that explores the THE MISSION | Chicago Ren Ri’s work is signified by theCody Hudson presents a new site- intersection of the formal aspects Wall Grapheme 3 continues a very special medium he uses:specific installation of wall painting of the media she uses, and the series of site specific wall paintings beeswax. Considered an unusual andand sculpture. Extending his uniquely qualities of the surrounding space. Magee began at Tamarind Institute difficult material to work with, Ri’sabstracted forms sourced from Often, painted and dyed fabrics in Albuquerque in May 2016. A understanding of bees’ psychologythe natural world and the human function like nets to capture and grapheme is the smallest semantically and nature assist him in his creativefigure, recently developed in his solo manipulate light and color. Her large distinguishing unit in written process. He works in collaborationexhibition Dreams Burn Down at scale painting process intertwines language—building on this idea, with insects to create his mesmerizingANDREW RAFACZ, Hudson presents performance, installation, sculpture, Magee creates his own encoded and sculptures. To manipulate naturalhis large scale ideas exclusively for the and architecture. sequenced vocabulary suspended processes, the artist must find aEXPO CHICAGO audience. within a grid relating to Agnes Martin’s balance cooperating with nature to Henri, Carl, and Mother Earth ‘On a clear day’ screenprint edition accomplish his artistic goals.Teach Us to Outgrow Madness (1995)  Constructivist (2015), and The from 1973. Beginning of Everything (2016)Alfredo Jaar Mr. Risky (2016)Human Rights Watch Atelier van Lieshout GRIMM | Amsterdam American Bikers (1990–95)  Adam Parker SmithPresented by Human Rights Watch Courtesy of the artist and(HRW), a leading international human Combining Surrealist and Minimalist Sandro Miller The Hole | New Yorkrights organization dedicated to forms in his sculpture, Van Lieshout Catherine Edelman Gallery |defending and promoting human examines the boundary between Chicago Consisting of a humanoid stack of art, architecture, and human The spring of 1990, artist Sandro Miller resinated mylar balloons—weightless attended a biker rally sponsored by a in appearance, but quite solid— the local Harley-Davidson dealership to sculpture’s illusion of buoyancy mimics raise money for children and young the dynamism of classical sculpture adults with severe disabilities. During that somehow makes marble look like the next five years, Miller attended striving human bodies, and perhaps biker rallies across America, and deflates that idea. photographed bikers from around the country—this series illuminates Colour Mixing Machine 1-6 (2016) a group of people who have so often Saya Woolfalk been categorized and demeaned by Daata Editions the American public. Work by Atelier van Lieshout EXPOCHGO | | 2016 Onwa N’etilu Ora (2013–2015)  Saya Woolfalk is a New York based artist who uses science fiction and Nnenna Okore fantasy to re-imagine the world in 27 Jenkins Johnson Gallery | multiple dimensions. With the multi- San Francisco, New York year projects No Place, The Empathics, and ChimaTEK, Woolfalk has created Nnenna Okore’s sculptures address the the world of the “Empathics,” a regeneration of forms, and use natural fictional race of women who are able materials, twisted into structures that to alter their genetic make-up and fuse mimick the intricacies of objects and with plants. Sound attribution to: The nature familiar to the artist from her Hathaway Family Plot.

EXPO ART WEEK ///////////////////////////////////////////////////////////////////////////////////////////////////////// Gallery Exhibitions September 19–25, 2016 ANDREW RAFACZ 835 W. Washington Blvd Museum exhibitions, gallery openings, andrewrafacz.com installations, public art projects, music, Samantha Bittman: Picture Structure theater, and dance performances Lauren Taylor: Standing on my knees Catherine Edelman 300 W. Superior St. edelmangallery.com Clarissa Bonet: City Space + Stray Light Corbett vs. Dempsey 1120 N. Ashland Ave. corbettvsdempsey.com Diane Simpson Concurrent Museum & Institution Exhibitions Jeff Perrone devening projects + editions 3039 W. Carroll Ave. dandevening.com The Arts Club of Chicago Hyde Park Art Center Contemplations: Dan Ramirez Alain Biltereyst: Not Just Because 201 E. Ontario St. 5020 S. Cornell Ave. Works from the Permanent Allison Wade: Know Better The Arts Club of Chicago at 100 Front & Center: 2016 Center Collection Art Institute of Chicago Program Final Exhibition Nuestras Historias: Stories Douglas Dawson Gallery 111 S. Michigan Ave. Ground Floor of Mexican Identity from the 224 S. Michigan Ave. #266 Abstract/Object Permanent Collection douglasdawson.com The New Contemporary Iceberg Projects STONE! 1,000,000 BC - AD 1940 7714 N. Sheridan Rd. Neubauer Collegium for Culture Design Episodes: The Modern Chair George Kuchar: Bocko and Society, University of DOCUMENT Chicago 845 W. Washington Street. Jacques Louis-David’s “Napoleon” 5701 S. Woodlawn Ave. documentspace.com Andrew Norman Wilson Juan Muñoz: Thirteen Laughing at Intuit: The Center for Intuitive Jakob Kolding each Other and Outsider Art Ragnar Kjartansson & The 756 N. Milwaukee Ave. National’s A Lot of Sorrow Post Black Folk Art in America The Renaissance Society at the Efrain Lopez Gallery University of Chicago 901 N Damen Ave. Chicago Artists Coalition Loyola Museum of Art 5811 S. Ellis Ave. 217 N. Carpenter St. 820 N. Michigan Ave. Ben Rivers efrainlopezgallery.com The Annual: An exhibition of new Marcella Hackbardt: True Amalie Jakobsen: PROOON Chicago art Confessionals Reva and David Logan Center for Power and Piety: Spanish Colonial the Arts Kavi Gupta Gallery Art Chicago Cultural Center 915 E. 60th St. 219 N. Elizabeth St. 78 E. Washington St. Mary and Leigh Block Museum Parsons & Charlesworth: of Art Larry Achiampong: OPEN SEASON kavigupta.com Spectacular Vernacular 40 Arts Cir Dr., Evanston, IL Paul Catanese: Visible From Space Keep the Shadow, Ere the The Richard H. Driehaus Museum McArthur Binion: Seasons Procession: the Art of Norman 40 E. Erie St. Roger Brown & Andy Warhol: Pop Artists, Subversive Politics With a Wink and a Nod: Cartoonists Lewis Substance Fade: Mourning during of the Gilded Age THE MISSION 1431 W. Chicago Ave. the AIDS Crisis themissionprojects.com Matt Magee: Materiality DePaul Art Museum Salaam Cinema! 50 Years of Iranian SMART Museum of Art 935 W. Fullerton Ave. Movie Posters 5550 S. Greenwood Ave. On Space and Place: Contemporary Tseng Kwong Chi: Performing for Conversations with the Collection: Allison Reimus: IN THE OFFICE Art from Chicago, Los Angeles, the Camera Belonging Mexico City and Vancouver Jessica Stockholder: Rose’s Bria: THE SUB-MSSION Museum of Contemporary Art Inclination Elmhurst Art Museum and Mies Chicago There was a Whole Collection moniquemeloche Van der Rohe’s McCormick House 220 E. Chicago Ave. Made: Photography from Lester and 2154 W. Division St. 150 S. Cottage Hill Ave., Elmhurst Above, Before & After Betty Guttman moniquemeloche.com Kate Levant: Which’s Ploying the Fans Birth Death Breath: An Inflatable Ascendant Artists: The Propeller Sullivan Galleries at the School of Nnenna Okore: When all is said and the Art Institute of Chicago done Opera by Diane Christiansen and Group 33 S. State St. #7 Jeanne Dunning BMO Harris Bank Chicago Works: BLOW UP: Inflatable Contemporary Andrew Yang Art Kerry James Marshall: Mastry New Work Rhona Hoffman Gallery Painting in Time: Part Two 118 N. Peoria St. #1A Elmhurst Artists’ Guild Presents, Ben MCA Screen: Camille Henrot rhoffmangallery.com Ukrainian Institute of Modern Art 40 Years: Part 1 Calvert: BenJamin’ Beckons Grains The Making of a Fugitive 2320 W. Chicago Ave. EXPOCHGO | | 2016 and Grooves Witness Gallery 400 Museum of Contemporary Dissecting Signifiers - An Artistic 400 S. Peoria St. Photography at Columbia College Approach to the Urban Landscape Carrie Secrist Gallery28 835 W. Washington Blvd. Our New System Christa Donner Chicago Reality Check: Directions in 600 S. Michigan Ave. Contemporary Art Since Ukrainian secristgallery.com Graham Foundation Petcoke: Tracing Dirty Energy Independence Shannon Finley 4 W. Burton Pl. Every Building in Baghdad: The National Museum of Mexican Art Vista Residencies Thomas McCormick Rifat Chadirji Archives at the Arab 1852 W. 19th St. 365 E. Upper Wacker Dr. 835 W. Washington Blvd. thomasmccormick.com Image Foundation #30 Día de los Muertos: Journey of The Art Collection at Vista Sales Works from the Estate of Fred Troller the Soul Gallery

CHICAGO / MIAMI A Culture ContinuumAll aspects of Art Law, including Celebrate The Arts Club of Chicago’s Centennial with a Public Open House featuring music and art • Artist/Dealer Relations from world-renowned performers on Saturday, • Authentication and Provenance Issues October 22, from noon - 5pm. Special guests include • Commissions and Public Installations Grammy Award-winning ensemble Eighth Blackbird, • Licensing and Brand Partnerships plus Derrick Adams, Mark Dion, Walid Raad, and • Fair Use, Infringement, and Other more! Join us. Litigation 201 East Ontario Street www.artsclubchicago.org Chicago, Illinois 60611 [email protected] www.bortzlawfirm.com 312.787.3997 @bortzlaw @artsclubchicagoConcrete Traffic Procession Drive-In Happeningto the University of Chicago FRI, OCT 14, 6–8PMFRI, SEP 30, 11AM–4PM UNIVERSITY OF CHICAGOMCA CHICAGO » ARTS CLUB OF CHICAGO CAMPUS NORTH PARKING GARAGE» UNIVERSITY OF CHICAGO CAMPUS 55TH ST AND ELLIS AVE Installation view of Wolf Vostell’s Concrete Traffic, January 1970. Courtesy of the Museum of Contemporary Art Chicago Library and Archives. Photo © MCA Chicago.

EXPO ART WEEK ////////////////////////////////////////////////////////////////////////////////////////////////////////// Tuesday, TAP presents: Museums in Davis, incorporating sketches and and get a glimpse into the life of a verses from his never-before-seen well-traveled designer. Portion of September 20 America: City to City sketchbooks. gallery sales will be donated to the Winnetka Community House from The Arts Palette | Address provided Double Diablerie upon purchase of ticket | 7:00– Screening: Conceptual Paradise September 21 thru September 28. John David Mooney Foundation | 8:30pm Gene Siskel Film Center, Art 114 W. Kinzie St. # 1 | 5:30–8:00pm, In support of The Floating Institute, 164 N. State St. | 8:00pm Thursday, Artist Talk at 7:00pm Museum, this lecture provides The film Conceptual Paradise September 22 An exhibition of large scale screen the underpinnings for a robust examines the debates that allowed conversation about “What is a the intellectual movement of prints, lithographs and etchings. Four limited edition bound artists Museum?”, covering Europe, Conceptual Art to emerge in the Filter Photo | Keynote Speaker: books, plus two unbound editions America and Chicago. Lecture takes late 1960s. An introduction by Joel-Peter Witkin by four renowned international place in the home of a Chicago Stefan Römer, Director of the film, Columbia College Chicago | 618 S. artists: Ian Howard and Arthur collector. To reserve your seat, go and followed by a brief discussion Michigan Ave. | 7:00pm Watson (Scotland) & Sotaro Ide and to: www.theartspalette.com. with Matthew Wittkovsky, Curator, Joel-Peter Witkin is renowned as the Department of Photography at the creator of elaborately constructed Hisashi Kurachi (Japan). Additional Art Institute of Chicago. *Presented and often erotically charged as part of the ART & LANGUAGE photographic tableaux exploring Wednesday,events include: Gallery walk with the Symposium. grand themes of religion, sex and artists: Wednesday, September 21, mortality with continual references September 212016 at 4:00pm Reception (artists to art history. will be present): Friday, September 23, from 6-9pm, Brunch with the Next Level BadAss | Miles Davis & IIT Architecture Dean’s Untitled presents: THE SILVER artists: Sunday, September 25, from Francine Turk Opening Night Lecture Series featuring Dutch FACTORY 9-11:30am. All events are free but Francine Turk | 2110 South Wabash photographer and filmmaker Untitled Supper Club | 111 W. Kinzie require RSVP to [email protected] | Press Preview and VIP Reception Erwin Olaf 6:00–7:00pm IIT College of Architecture | S. R. The Arts Club of Chicago at 100 Public Hours 7:00–10:00pm & Crown Hall, 3360 S. State St. | St. | Doors open at 8:00pm, Show The Arts Club of Chicago | 201 E. 10:00am–6:00pm on Thursday, Ontario St. | 6:00–8:00pm September 22 6:30pm starts at 9:00pm Celebrating the centennial A bold, genre-busting exhibition Erwin Olaf is a Dutch photographer Unbridled at Untitled presents “THE anniversary and featuring highlights featuring collaborate works created from the permanent collection and by fine artist Francine Turk, inspired and filmmaker whose art implicitly SILVER FACTORY” by Michelle special projects by Sonnenzimmer by the illustrated diaries and visualizes the unspoken, the and Luftwerk. intimate untold stories of Miles overlooked, that which typically L’amour featuring a night of performances paying homage to the resists easy documentation. His parties of the Silver Era inspired by work has been widely exhibited in group and solo exhibitions in Europe Warhol’s Factory. and North America. Art + Design Auction City-Wide Gallery Openings Larry Achiampong: OPEN SEASON Wright Auction House | 1440 W. Hubbard St. | 10:00am – 4:00pm – Opening Reception Monday – Friday; 12:00 – 4:00pm Logan Center Gallery | 915 E. 60th Art Friday St. | 6:00–8:00pm Saturday After September 23 Working across sound, video, Wright presents Art + Design at 6:00–9:00pm performance and installation, auction on September 29. The sale London-based artist Larry and exhibition features works of Various Locations Achiampong (b. 1984) explores all media representing some of the shifting notions of identity and most important moments of 20th belonging in our post-digital age. and 21st century art and design, including works by some of the Hours. Jakob Kolding most prominent figures of the Color Neubauer Collegium for Culture and Field and Abstract Expressionist Society, University of Chicago | 5701 movements. Exhibition runs from S. Woodlawn Ave. | 6:00–8:00pm September 22 until September 29. Friday,Jakob Kolding’s work revolves around the experience of life in the September 23contemporary built environment, Art After Hours encourages the public, as well as EXPO CHICAGO patrons and exhibitors to visit particularly the relationships and citywide art galleries, alternative spaces, and performance venues during extended hours. Art contradictions that emerge between After Hours exposes visitors to Chicago’s vibrant how architectural spaces are After Dark planned and how they are actively Art Institute of Chicago | 111 S. used. Michigan Ave. | 9:00pm–12:00am gallery scene, coinciding with evening openings See the Art Institute in a new light “Why Art Matters In Interiors” with After Dark, featuring live around the city, and the kick-off of the fall art with internationally renowned music, complimentary appetizers, season. designer Michael Del Piero art-making activities, and a cash Matthew Rachman Gallery | 1659 W. bar. Enjoy exclusive access to Chicago Ave. | 6:00-8:00pm contemporary masterpieces by30EXPOCHGO | | 2016For more on EXPO ART WEEK programming, Over the last decade, interior artists such as Andy Warhol, Roy please visit: designer Michael Del Piero has Lichtenstein, and Jasper Johns. ($35 meticulously carved her space Adult, $25 Member/Student, $15 expochicago.com. amongst the industry’s leaders with EXPO ART WEEK Ticket). with her sophisticated and traveled 22–25 aesthetic. Her timeless interiors are #InHonor Alumni-in-Residence SEPTEMBER 2016 consistently marked by dramatic Exhibition + Reception CHICAGO | NAVY PIER artwork layered with cool and C33 Gallery | 33 E. Congress Pkwy. | unusual objects. Hear first hand 6:00–9:00pm from Michael about how she sources Summer Alumni Residency and selects artwork for her interiors exhibition by Ervin A. Johnson.

///////////////////////////////////// PEGASUS & MERMAIDS Image detail: Our Lady of Guidance, Juan Pedro López, ca. 1762, oil on wood. Courtesy of the Colección Patricia Phelps de Cisneros.#InHonor is a series of portraits (photo-­based september 23–december 16mixed media) created to honor Blackness andspeaks to the racial violence and discrimination Ana Benaroya, Mmmermaids, 2016, gouache on canvascurrently occurring across America, particularly inthe form of police brutality. clay hicksonWasalu Jaco Show – Opening Reception Please join us Friday, September 23 at 6:00 pm for the openingEd Paschke Art Center | 5415 W. Higgins Ave. | of Pegasus & Mermaids, a group exhibition featuring work by6:00–9:00pm Poetry magazine cover artists depicting Pegasus and mermaidsThe Ed Paschke Art Center is pleased to present from poetry immemorial. Participating artists are Lise Hallerits inaugural solo exhibition with Chicago artist, Baggesen, Ana Benaroya, Alexander Cohen, Stephen Eichhorn,musician and poet Wasalu Jaco, popularly known Carson Ellis, Tony Fitzpatrick, Krista Franklin, Julia Goodman,by his stage name, Lupe Fiasco. Clay Hickson, Jenny Kendler, Kate McQuillen, Jessie Mott, Julie Murphy, Diana Sudyka, and Shoshanna Weinberger.Skillshot, The Collaborative Art of Pinball poetry foundation gallery • 61 west superior streetOpening ReceptionGlass Curtain Gallery | 1104 S. Wabash Ave. | Power & Piety:6:00–9:00pmChicago is the birthplace and world headquarters Spanish Colonial Artof pinball, Skillshot intends to capture the spiritand momentum of this dynamic art movement by Paintings and Decorative Arthighlighting the accomplishments of both industry On View August 20th –professionals and enthusiasts. Curated by Mark November 12thPorter. Free Tuesdays • LUC.edu/luma 820 N. Michigan Ave.stARTup Art Fair – Opening Night CelebrationstARTup Art Fair | MileNorth Hotel, 166 E. Superior The exhibition is drawn from the Colección Patricia Phelps deSt. | 7:00–10:00pm Cisneros and is co-organized by the Museum of Biblical Art,A jury-selected collection of independent artists— New York, and Art Services International, Alexandria, Virginia.currently working outside of the traditional gallerysystem—will convert three floors of Chicago’sMileNorth Hotel into a temporary marketplace.General Admission: September 23: Noon - 6:00 PM;Saturday, September 24: Noon - 9:00 PM; Sunday,September 25: Noon - 7:00 PM#30 Día de los Muertos: Journey of the Soul –Opening ReceptionNational Museum of Mexican Art | 1852 W. 19th St. |6:00–9:00pmThis year marks the 30th annual Day of the Deadexhibition at the National Museum of Mexican Artin the Pilsen community.Sullivan Galleries at the School of the ArtInstitute of ChicagoOpening Receptions | 33 S. State St. #7 | 6:00–9:00pmPainting in Time: Part Two explores the relationshipbetween time and contemporary painting. Theartists in this cross-generational internationalexhibition destabilize the idea of painting as a staticobject. Guest curated by Sarah Kate Wilson andorganized by Claire Ashley. New Work: Considersexploratory and critical modes of making andviewing through recent work by emerging artists.Exhibition on view starting September 17GAME ART VS. ART GAME – Opening ReceptionThe Arcade | 618 S. Michigan Ave., 2nd Floor |6:00–9:00pmOrganized by VGA Gallery, GAME ART VS. ARTGAME is a group exhibition of video games ofartistic significance, made by both experimentalgame designers and fine artists experimenting withgames.Purchasing Power: Chicago’s Relationship withConscious Consumerism – Opening ReceptionThe Hokin Project at Columbia College Chicago |623 S. Wabash Ave., First Floor | 6:00–9:00pmPurchasing Power: Chicago’s Relationship withConscious Consumerism addresses the realityof manufacturing, Chicago’s history on laborpractices, alternative brands, and how to takeaction.

EXPO ART WEEK ///////////////////////////////////////////////////////////////////////////////////////////////////////// Wabash Arts Corridor Mural Tour Xenophilia – Conversation and Screening: Lo Schermo dell’Arte | lens—in relationship to Chicago, Wabash Arts Corridor / Columbia Closing Cockails World Premiere of Luca Trevisani his Southern roots or California— College Chicago | 623 S. Wabash Eye on India | Fulton Street “Sudan” and Screening of Alfredo this conversation aims to draw (lobby) | 6:00pm Collective at Hubbard Street Lofts; Jaar “The Ashes of Pasolini” a connection between Brown Join curator Neysa Page-Lieberman 3rd floor, 1821 W. Hubbard St. | Gene Siskel Film Center | 164 N. and the broader world: politics, for a free guided tour of the 4:00–7:00pm State St. | 1:00pm popular culture, religion, and his internationally renowned Wabash Xenophilia is an exhibition featuring Lo Schermo dell’Arte Film Festival is contemporaries in the Pop Art Arts Corridor. This bustling hub a selection of recent work by an international project dedicated movement. Co-sponsored by Artsy. for public art in Chicago’s South current School of the Art Institute to explore, analyze and promote Loop neighborhood features over of Chicago students and recent the complex relations between Becoming 50 large-scale street art murals and graduates who have relocated from contemporary art and cinema LVL3 | 1542 N. Milwaukee Ave. | installations from a global roster of India to Chicago for the program, through films, videos, installations, 6:00–10:00pm artists. temporarily making a home here, workshop and training projects LVL3 presents Becoming, a building a new body of work, and and residencies for international two-person show featuring Chicago- Saturday, translating an existing practice for a artists. The festival will debut the based Ben Foch and Toronto-based Chicago public. Curated by Megha world-premiere screening of Luca Laurie Kang. Becoming pulls both September 24 Ralapati. Trevisani’s Sudan alongside a special these artist’s diverse approaches screening of Alfredo Jaar’s The to recontextualizing material and Maria Pinto: 25 Years On Radical Intimacy and Cultural Ashes of Pasolini followed by a Q meaning and looks at the space City Gallery in the Historic Water Tower | 806 N. Michigan Ave. | ReProduction: A Conversation & A with Director Silvia Lucchesi. between the beginning and end. 4:30–6:30pm Chicago-based fashion designer with Artist Christa Donner Presented in partnership with the Maria Pinto is celebrating her 25th year at the intersection Gallery 400 | 400 S. Peoria St. | Italian Cultural Institute. Spun of fashion and art with a retrospective of her work. 4:30pm: 1:00–3:00pm Stuart & Co. Gallery | 2250 W. Ohio Installation Tour, 5:00-6:30pm: Cocktails with Maria Pinto Chicago-based artist Christa Roger Brown: Pop Artist. Kathryn St. | 1:00–3:00pm Event is free but limited to 25 people. Reserve by e-mailing Donner builds on her virtuosic Andrews, Lisa Wainwright, and “Spun” looks to amplify the gallery’s [email protected]. body of drawings concerning the John Yau, moderated by Dan presence as object and witness by complexities of the human organism Nadel recreating the surface of the gallery by exploring collectivities and spaces Kavi Gupta | 835 W. Washington out of non-architectural materials, for new forms of human sociality. Blvd. | 12:00pm then flipping this “fake” gallery The exhibition extends into multiple Roger Brown (1941–1997, b. space by 180 degrees and rotating it formats for participation, including Hamilton, Alabama) is renowned for by 30 degrees. Here the ephemeral childcare-supported programming, using a pop aesthetic to investigate is made solid, and the culminating a gallery for thinking through and a range of socio-political issues. result is to experience the notion visualizing interiors of the human While Brown has previously been of what an exhibition is as a whole, body, and other public events. primarily viewed through a regional fresh and anew.EXPOCHGO | | 201632

/////////////////////////////////////////////////////////////////////////////////////////////////////////Sunday, A conversation with Northern Trust’sSeptember 25 Mac MacLellanDose Market Art plays a major role in all of our lives. If you’reMorgan | MFG 401 N. Morgan St. reading this, you likely agree. Whether you’re aChicago | 10:00am–4:00pm creator or an appreciator of it, you understandFall’s most exceptional chefs, that our lives are enriched by art. And that ismakers, artists and bakers serving why Northern Trust is honored to serve asup the season’s freshest flavors. Presenting Sponsor of EXPO CHICAGO. We aspire to bring art to our city and our clientsFilter Photo | Opening Reception in new and exciting ways. Over the past fiveFilter Space | 1821 W. Hubbard St., years, we have been proud to contribute to theSte 207 | 5:30–8:00pm transformation of EXPO CHICAGO as it hasOn the Shelf—the second grown into one of the must-see modern and contemporary art exhibitions in the world.photo book exhibition hosted For devoted art enthusiasts, an investment in art reflects not only their passion, but also representsby Filter Photo, curated by Kelli an integral part of their overall financial picture. As a collector, you’re likely to understand theConnell, artist and co-founder of significant capital allocated to purchasing, insuring and protecting your collections, but sometimesSKYLARK Editions, and Power seeing it in the larger framework of your financial goals isn’t readily apparent. That’s where Northernand Politics—a group exhibition Trust can help – making sure your passions and goals are reflected in your balance sheet.curated from an open call for work A new generation of collectors has begun to transform the art world, in no small part due to the wayby Barbara Tannenbaum, Curator the internet has opened up new channels for researching and purchasing art. While most collectorsof Photography, Cleveland Museum look to their art for a sense of identity, Millennials are taking it one step further and purchasingof Art. pieces that help define their reputation and personal brand. It’s something that will come to impact all of us as this next generation of collectors drives the art community to become increasingly tech-Ongoing Events savvy, interconnected and socially conscious. Just as these emerging art collectors are seeking out pieces that reflect their own unique journey, weEye on India truly believe no two clients are the same and require personalized planning to meet their distinctEye on India | Various Locations | financial needs. As a collector myself, I recognize that the value of my collection is based on muchSeptember 15–October 2 more than a dollar amount, and I’m sure you feel the same. As you enjoy the tremendous experienceExciting and unique theater, music, at EXPO CHICAGO, I encourage you to take a moment to really thinkfashion, visual art, and spoken word about your long-term goals for both your collection and broader wealth.events take place all over the citythroughout the course of the twoweek period.No Borders: Contemporary LatinAmerican CinemaGene Siskel Film Center of theSchool of the Art Institute of Chicago| 164 N. State St. | 10:30am–5:00pm| September 3–December 13No Borders: Contemporary LatinAmerican Cinema with weeklyTuesday lectures by Daniel R.Quiles, Assistant Professor of ArtHistory, Theory & Criticism atthe School of the Art Institute ofChicago. This series is slated includeAlfonso Cuarón’s Children of Menthe week of EXPO ART WEEK. $11/general admission; $7/students; $6/Film Center members.Filter Photo Festival Mac MacLellan | Executive Vice President – Wealth Management | Northern Trust Presenting Sponsor163 E. Walton Pl. | September 22–25Filter Photo Festival is a multiday Saturdays | September 8–November 8 European Art auction, and an Asian ongoing exhibition and partnershipcelebration of the photographicmedium that takes place every During a polarized and bewildering Works of Art auction. Previews for all with ZHOU B Art Center.autumn in Chicago. Festivalprogramming includes workshops, election season, Aram Han auctions will be open during EXPOlectures, artist talks, exhibitionreceptions, and much more. The Sifuentes’ project explores urgent CHICAGO. Additional information at Mary and Leigh Block Museummajority of events will take place atthe Festival’s hotel headquarters, questions about participation, www.lesliehindman.com. of ArtMillennium Knickerbocker Hotel,and evening activities will primarily exclusion, and citizenship in the 40 Arts Cir Dr., Evanston, IL | EXPOCHGO | | 2016take place at galleries and partnerinstitutions around the city. United States. Starry Night Encounter: Michiko September 17–December 11Official Unofficial Voting Station: Itatani Keep the Shadow, Ere the SubstanceVoting for all who legally can’tJane Addams Hull-House Museum Asian Works of Art Auction Linda Warren | 327 N. Aberdeen, Fade: Mourning during the AIDS 33| 800 S. Halsted St. | Tuesdays–Fridays 10:00am-4:00pm, Sundays Leslie Hindman Auctioneers | 1338 W. Ste.151. | 11:00am–5:00pm Tuesday– Crisis. Salaam Cinema! 50 Years of12:00–4:00pm. Closed Mondays and Lake St. | September 21–30 Saturday | September 9–October 22 Iranian Movie Posters. Tseng Kwong Leslie Hindman Auctioneers’ A solo show by one of Chicago’s Chi: Performing for the Camera. sale schedule during EXPO most prolific and esteemed painters, Join the Block for an opening CHICAGO includes a Modern and Michiko Itatani, showcases new celebration on October 1. Contemporary art auction, a Fine paintings from the last three years Prints auction, an American and and will be the first segment of an

EXPO ART WEEK Sponsors Presenting Sponsor Official Hotel Sponsor///////////////////////////////////// Partners Media Sponsors MAGAZINEBon Appétit presents Chicago Gourmet: Food Is Hotel PartnersArt!Millennium Park | September 23–25Featuring celebrity chef cooking demos, wineand cocktail seminars, and delicious food, wine,spirits, and beer tastings. In addition to some of theworld’s finest wines, this year’s exclusive Grand Cruincludes an all-star lineup of chefs. For times andtickets, visit chicagogourmet.org.Chakaia BookerMillennium Park | 201 E. Randolph St. | 6:00am–11:00pmInspired by a fusion of cultural and aestheticinfluences including texture, movement, softness,power and strength, Chakaia Booker will present sixrecent sculptures in Millennium Park. Open daily.Don’t Tread on Me: Sculpture by Chakaia BookerNathan Manilow Sculpture Park | 1 University Pkwy.,University Park, IL | 6:00am – 11:00pmThe Solo Exhibition Series at Nathan ManilowSculpture Park started in the year 2009. Theexhibition brings exceptional artwork by nationallyand internationally recognized artists to the park.Open daily until October 9.Process: Four Artists in ContextPavilion Antiques | 2055 N Damen Ave | 12:00 –6:00pm | September 15, 2016 - October 15, 2016Pavilion 20th C presents an intriguing group offour artists, where process is an underlying theme,linking concept and creation. This exhibitionincludes sculpture, painting, drawing and furniture,shown in Pavilion’s curated collection of French andItalian 20th century design.The Peninsula Chicago and Circa 1881 | Whoville— Selections from the Beth Rudin DeWoodyCollectionThe Peninsula Chicago | 108 E. Superior St.The Peninsula Chicago and Circa1881 presentWhoville, a special exhibition of highlights fromthe Beth Rudin DeWoody Collection, curated byLaura Dvorkin, installed throughout the publicareas of the hotel. Inside the hotel, works by artistswith Chicago connections will include NathanialMary Quinn, Theaster Gates, Tony Tasset, H.C.Wessermann, Art Green and Christina Ramberg.The Art Collection at Vista Sales GalleryVista Residencies | 365 E Upper Wacker Dr. |10:00am–6:00pm | May 20–September 27Jim Dine (Richard Gray gallery), Sheree Hovsepian,Judy Ledgerwood (Rhona Hoffman gallery), AngelOtero (Kavi Gupta), Danielle Tegeder (CarrieSecrist), and Molly Zuckerman Hartung (Corbettvs. Dempsey). In partnership with MagellanDevelopment Group and EXPO CHICAGO. CHICAGO LAKESHORE

Every Building in Baghdad:The Rifat Chadirji Archives at the Arab Image FoundationSeptember 15 – December 31, 2016Every Building in Baghdad: The Rifat Chadirji Archives at the Arab Image Foundation originated atthe Arthur Ross Architecture Gallery at Columbia University’s Graduate School of ArchitecturePlanning and Preservation and was curated by Mark Wasiuta, Adam Bandler, and Florencia Alvarez.Graham Foundation 4 W Burton Place, ChicagoFor Advanced Studies in the Fine Arts www.grahamfoundation.orgClockwise from top left: Rifat Chadirji, IRQ/314/154: Offices and stores, Tobacco Monopoly Administration, Baghdad, 1966; IRQ/338/151: Administration Offices, National Insurance Company, Mosul,1969; IRQ/315/186: Offices, Central Post, Telegraph and Telephone Administration, Baghdad, 1975; IRQ/314/153: Administration Offices, Federation of Industries, Baghdad, 1966; IRQ/331/026: E. AbboudBuilding, Baghdad, 1955. Courtesy of the Arab Image Foundation.

WHEREKERRY JAMES “MOST ARTISTS WANT TO MAKEMARSHALL: MASTRY HISTORY. MARSHALL WANTSCLOSING SEP 25 TO CHANGE IT.” —ARTNEWS FREE SHUTTLE FROM EXPO CHICAGO, SEP 23–25 MUSEUM OF MCACHICAGO.ORG CONTEMPORARY ART NOW#MCACHICAGO WHERE ART IS NOWKerry James Marshall, 7am Sunday Morning, 2003. Acrylic onISCHICAGO canvas banner. 120 x 216 in. Collection of the Museum of Contemporary Art Chicago, Joseph and Jory Shapiro Fund by exchange, 2003.16. Photo: Michal Raz-Russo, © MCA Chicago.