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Milwaukee Art Museum
Life Captured in Line: 17th Century Dutch and Flemish Paintings through September 18, 2024 Print culture flourished in the North and South Netherlands during the 17th century as the region became the epicenter of printing and publishing in Europe. Artists such as Rembrandt van Rijn, Jan Van de Velde, and Cornelis de Visscher participated in the influx and exchange of ideas that the industry fostered and created prints in an expansive variety of genres, styles, and techniques. Featuring works drawn from the Museum’s collection, this exhibition builds on themes presented in Art, Life, Legacy: Northern European Paintings in the Collection of Isabel and Alfred Bader, highlighting subjects popular in printmaking at the time, including biblical scenes, landscape, and portraiture. image top right: Jan van de Velde II (Dutch, ca. 1593–1641), A Winter Landscape with Skaters on a Canal, from the series Landscapes, 1616. image right: Rembrandt van Rijn, Jan Lutma, Goldsmith, 1656. ALSO ON VIEW
50 Paintings through June 23, 2024 Beyond Heights: Skyscrapers and the Human Experience through September 8, 2024 |
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Art Institute of Chicago
Georgia O’Keeffe: “My New Yorks” through September 22, 2024
Famed for her images of flowers and Southwestern landscapes, Georgia O’Keeffe spent several years exploring the built environment of New York City with brush in hand. The artist first moved to the city’s newly built Shelton Hotel in 1924, then the tallest residential skyscraper in the world, and its soaring heights inspired a five-year period of energetic experimentation, across media and at a variety of scales, with subject matter, form, and perspective.
She created street-level compositions capturing the city’s monumental skyscrapers from below and suspended views looking down from her 30th-floor apartment. O’Keeffe called these works “my New Yorks” and through them investigated the dynamic potential of New York’s cityscape—the organic and the inorganic, the natural and the constructed. As she put it, “One can’t paint New York as it is, but rather as it is felt.”
This exhibition is the first to seriously examine O’Keeffe’s paintings, drawings, and pastels of urban landscapes, while also situating them in the diverse context of her other compositions of the 1920s and early 1930s.
Famed for her images of flowers and Southwestern landscapes, Georgia O’Keeffe spent several years exploring the built environment of New York City with brush in hand. The artist first moved to the city’s newly built Shelton Hotel in 1924, then the tallest residential skyscraper in the world, and its soaring heights inspired a five-year period of energetic experimentation, across media and at a variety of scales, with subject matter, form, and perspective.
She created street-level compositions capturing the city’s monumental skyscrapers from below and suspended views looking down from her 30th-floor apartment. O’Keeffe called these works “my New Yorks” and through them investigated the dynamic potential of New York’s cityscape—the organic and the inorganic, the natural and the constructed. As she put it, “One can’t paint New York as it is, but rather as it is felt.”
This exhibition is the first to seriously examine O’Keeffe’s paintings, drawings, and pastels of urban landscapes, while also situating them in the diverse context of her other compositions of the 1920s and early 1930s.
ALSO ON VIEW
Christina Ramberg: A Retrospective
through August 11, 2024
Four Chicago Artists: Theodore Halkin, Evelyn Statsinger, Barbara Rossi, and Christina Ramberg
through August 26, 2024
Threaded Visions: Contemporary Weavings from the Collection
through August 26, 2024
Christina Ramberg: A Retrospective
through August 11, 2024
Four Chicago Artists: Theodore Halkin, Evelyn Statsinger, Barbara Rossi, and Christina Ramberg
through August 26, 2024
Threaded Visions: Contemporary Weavings from the Collection
through August 26, 2024
Christine Ramberg. Parallel Manipulation, 1977. Gift of the Roberta A. Lewis Fund in memory of William and Polly Levey. © The estate of Christine Ramberg
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Theodore Halkin. Untitled, 1968. GIft of Daniel Halkin and Sylvia Halkin in memory of Theodore Halkin.
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James Bassler. A Weaving (detail), 2012. The Art Institute of Chicago, Christa C. Mayer Thurman Textile Endowment. © James Bassler.
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Saint Louis Art Museum
The Work of Art: Federal Art Projects, 1935-1945 to April 13, 2025
The Work of Art: The Federal Art Project, 1935–1943 presents a remarkable group of artworks that reflect the creative efforts of artists working under difficult circumstances. During the Great Depression, President Franklin D. Roosevelt’s New Deal initiated a series of nationwide support programs for the visual arts. The largest and most ambitious program, the Federal Art Project (FAP), put more than 10,000 artists to work. Their artworks, in turn, decorated municipal spaces, circulated through exhibitions, and were allocated to institutions across the country. In 1943 the Saint Louis Art Museum received 256 prints, drawings, watercolors, and paintings. Around half of those were intended for use at the People’s Art Center, the city’s first interracial community art center. This group included the first works by African American artists to enter the Museum’s collection.
This exhibition draws from the particular makeup of the FAP collection at SLAM to examine how art works to bridge communities near and far. From the vantage point of St. Louis, The Work of Art asks: who was supported as an artist? For which audiences and what purposes was art made? And what does it look like to picture a nation through the eyes of artists working across its breadth?
The FAP provided expanded opportunities for professional artists, students, and viewers alike. Through its display of work made by African American, Asian American, and female-identifying artists, this exhibition celebrates the fundamental idea of art being made by and for everyone.
image above:
The Work of Art: The Federal Art Project, 1935–1943 presents a remarkable group of artworks that reflect the creative efforts of artists working under difficult circumstances. During the Great Depression, President Franklin D. Roosevelt’s New Deal initiated a series of nationwide support programs for the visual arts. The largest and most ambitious program, the Federal Art Project (FAP), put more than 10,000 artists to work. Their artworks, in turn, decorated municipal spaces, circulated through exhibitions, and were allocated to institutions across the country. In 1943 the Saint Louis Art Museum received 256 prints, drawings, watercolors, and paintings. Around half of those were intended for use at the People’s Art Center, the city’s first interracial community art center. This group included the first works by African American artists to enter the Museum’s collection.
This exhibition draws from the particular makeup of the FAP collection at SLAM to examine how art works to bridge communities near and far. From the vantage point of St. Louis, The Work of Art asks: who was supported as an artist? For which audiences and what purposes was art made? And what does it look like to picture a nation through the eyes of artists working across its breadth?
The FAP provided expanded opportunities for professional artists, students, and viewers alike. Through its display of work made by African American, Asian American, and female-identifying artists, this exhibition celebrates the fundamental idea of art being made by and for everyone.
image above:
ALSO ON VIEW
Romare Beardon: Resonances through September 15, 2024
Concealed Layers: Uncovering Expressionist Paintings through August 4, 2024
Shimmering Silks: Traditional Japanese Textiles, 18th-19th Centuries through October 20, 2024
Romare Beardon: Resonances through September 15, 2024
Concealed Layers: Uncovering Expressionist Paintings through August 4, 2024
Shimmering Silks: Traditional Japanese Textiles, 18th-19th Centuries through October 20, 2024
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left: Romare Bearden, American, 1911–1988; Summertime (detail), 1967; collage on board; 56 x 44 inches; Saint Louis Art Museum, Museum Minority Artists Purchase Fund 22:1999; © 2024 Romare Bearden Foundation / Licensed by Artists Rights Society (ARS), New York
center: Ernst Ludwig Kirchner, German (active Switzerland), 1880–1938; Portrait of Gerti, dated 1907 [1910-11]; oil on canvas; 31 3/4 x 27 3/4 in. (80.6 x 70.5 cm); Saint Louis Art Museum, Given by Sam J. Levin and Audrey L. Levin 26:1992
right: Japanese; Hanging with Design of Dragon and Phoenix amidst Waves and Clouds, late 19th century; silk with silk embroidery and metallic-wrapped threads; overall: 72 1/2 x 52 1/4 inches, image: 61 x 39 3/8 inches; Saint Louis Art Museum, Gift of Mrs. Alexander B. Pierce 253:1951
center: Ernst Ludwig Kirchner, German (active Switzerland), 1880–1938; Portrait of Gerti, dated 1907 [1910-11]; oil on canvas; 31 3/4 x 27 3/4 in. (80.6 x 70.5 cm); Saint Louis Art Museum, Given by Sam J. Levin and Audrey L. Levin 26:1992
right: Japanese; Hanging with Design of Dragon and Phoenix amidst Waves and Clouds, late 19th century; silk with silk embroidery and metallic-wrapped threads; overall: 72 1/2 x 52 1/4 inches, image: 61 x 39 3/8 inches; Saint Louis Art Museum, Gift of Mrs. Alexander B. Pierce 253:1951
Illinois State Museum, Springfield, Illinois
NOIR IV: Landmarks through Labor Day Weekend 2024
The Illinois State Museum, in collaboration with Juneteenth, Inc., will present NOIR IV: Landmarks, an exhibition of artists representing Black art and culture curated by co-curators Alyssa Farmer and Austin Wells. The exhibition will be featured at the Dana-Thomas House State Historic Site from June 14th through Labor Day Weekend.
The Dana-Thomas House State Historic Site is located at 301 E Lawrence Ave, Springfield, IL 62703.
Wednesdays, 9:00 a.m. - Noon, Fridays, 5:00 - 7:00 p.m., Saturdays, 9:00 a.m. - Noon
The Illinois State Museum, in collaboration with Juneteenth, Inc., will present NOIR IV: Landmarks, an exhibition of artists representing Black art and culture curated by co-curators Alyssa Farmer and Austin Wells. The exhibition will be featured at the Dana-Thomas House State Historic Site from June 14th through Labor Day Weekend.
The Dana-Thomas House State Historic Site is located at 301 E Lawrence Ave, Springfield, IL 62703.
Wednesdays, 9:00 a.m. - Noon, Fridays, 5:00 - 7:00 p.m., Saturdays, 9:00 a.m. - Noon