Where the Future Came From opens a three-month exhibition in the Glass Curtain Gallery exploring Chicago’s deep history of artist-run activities and contextualizes the role of feminism within that history. Throughout the run of the exhibition, scholars in residence will present different points of view on subjects related to the material in the show.
The symposium kicks off with a conversation bringing together Lynne Warren, Adjunct Curator, Museum of Contemporary Art Chicago, and Courtney Fink, Director, Common Field, to discuss feminism, the artist-run, and money. Followed by a day-long program featuring Estelle Carol of Chicago Women’s Graphics Collective, Arlene Turner-Crawford of Sapphire and Crystals, Mary Ellen Croteau of SisterSerpents, and Beate Minkovski of Woman Made Gallery, as well as a panel discussion with members of current feminist artist-run projects including panelistsGloria Talemantes of Mujeres Mutantes, Amina Ross and Jory Drew from F4F, Jennifer Sova from The Overlook Place, and Luz Magdaleno Flores and Daisy Yessenia Zamora Centeno from Brown and Proud Press, moderated byKate Hadley Toftness, Director, Chicago Archives + Artists Project.
This project is organized by Meg Duguid, Director of Exhibitions at Columbia College Chicago’s Department of Exhibitions, Performance, and Student Spaces and is part of Art Design Chicago, an initiative of the Terra Foundation for American Art exploring Chicago’s art and design legacy, with presenting partner The Richard H. Driehaus Foundation.
Keynote conversation is on November 1, 2018 at 5:30 pm. Exhibition opening and discussions on November 2, 9am–7 pm.
Where the Future Came From will be on view at the Glass Curtain Gallery in Chicago (1104 S. Wabash Ave, First Floor) November–February 15, 2019. For information, visit Colum.edu/future.
What would it look like if museums turned their billions toward positive good instead of questionable investments simply for profit?
Patricio Guzmán combines reflection on the past, observation of the present, and hope for the future into an expansive vision of all the ideas he’s explored in his work.
Artists reflect on histories of oppressive power structures in Brazil in this exhibition at the Visual Arts Center at the University of Texas at Austin.
So closely do Disney’s animators assimilate the sensibility of French design that on occasion their source material appears almost more Disney than Disney itself.
The Grand Avenue Billboard Project enables artists like Karen Fiorito to publicly express their political views.
The museum opens to the public on October 8 with a 24-hour kickoff and a rebooted California Biennial.
The report estimates that 6.7 million Indigenous objects and human remains continue to be held in Canadian institutions, most of which do not have formal repatriation policies.
Funding options at UB include full-tuition scholarships for MFA students, the Arthur A. Schomburg Fellowship Program, and additional opportunities for MA students.
The Association of Art Museum Directors announced a shift in its longstanding policy, which restricted the use of funds from sales of art to new acquisitions only.
Martín Mobarak may have broken Mexican law, but he burned the proof.
Your list of must-see, fun, insightful, and very Los Angeles art events this month, including the Maya Codex of Mexico at the Getty, Beatrice Wood, Trenton Doyle Hancock, and more.