You have two choices:
You can click on the video above to hear photographer Abelardo Morell talk about his work, inspirations, and his parents' dancing skills.
Or you can visit the museum tomorrow to hear from the artist himself. In...
The early 1970s: a good time for America, or the greatest time for America? Yeah, not the best time for the global economy. And okay, airlines disasters were a regular news segment alongside weather and sports. But also, facelifts were...
On one level, this large painting of a nude was inspired by Picasso's second wife Jacqueline Roque. But it also belies a number of the artist's life-long thematic and stylistic interests. Over 40 years after Cubism's impetus, he continues...
MacArthur Fellow Kara Walker is perhaps best known for her large-scale cut-paper silhouettes exploring issues of race, gender, and power. These nearly life-size silhouettes often present stereotypical characters from the history of...
Japanese artist Tomoko Konoike brings the picture book to life with mimio-Odyssey, a video-projected artist's book that tells the story of a faceless quasi-human's journey through a surrealistic forest. Along the way, she encounters six-...
1 hour 7 min ago The Art Institute of Chicago COMING SOON—Whistler’s Mother: An American Icon Returns to Chicago
Painted in 1871, the portrait better known today as “Whistler’s Mother” was intended to demonstrate the artist’s recent focus on tonal harmonies over subject matter. It came to be lauded as an icon beloved by Americans but rarely seen in the United States.
Explore Whistler’s use of family members as subjects, his abstract treatment of conventional genres such as portraiture and landscape, and the art of his professional ambition, in this focused installation of approximately 25 objects.
OPENING MARCH 4—http://bit.ly/2l3ZCze
20 hours 34 min ago The Art Institute of Chicago NOW ON VIEW—In 1963 Melvin Edwards began Lynch Fragments, a series of welded steel assemblages made in response to the tumultuous social climate of the Civil Rights movement. The title of the series evokes the horrifying images of racist mob violence, yet Edwards’s works distill the subject into a powerful sculptural language, fusing modernist abstraction with a sense of personal and collective history.
Afrophoenix No. 1—one of the earliest objects from the series—exemplifies how the artist physically transformed found objects and brought them together in poetically suggestive, tension-filled compositions. Here the formal arrangement of steel elements evokes an equestrian bridle and bit. Chains, hammers, nails, spikes, and screws magnify the sculpture’s associative power, recalling implements of labor and torture. At the same time the title references the mythological phoenix—alluding to death, rebirth, and transformation.
See Afrophoenix No. 1 (1963) by Melvin Edwards in Gallery 289D.
1 day 59 min ago The Art Institute of Chicago CLOSING SOON—Modern Velvet: A Sense of Luxury in the Age of Industry
With their plush, inviting, and varied textures, the velvets featured in this exhibition showcase the diversity of modern velvet as well as the effects of industry on its production. As industrial innovations at the turn of the 19th century allowed for faster production and encouraged the use of less costly materials, designers and manufacturers of velvet sought to maintain its association with wealth, luxury, and splendor.
Learn how this elegant fabric has inspired designers for centuries, with a wide range of examples from the 19th century to present day—closing March 19.