DOCSLIB.ORG

Now Showing 4-9, Sat 10-4

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Now Showing 4-9, Sat 10-4 26 CHICAGO READER | FEBRUARY 17, 2006 | SEC TION TWO Galleries & Museums Vespine 1907 S. Halsted. Cynthia Weiss, paintings and prints, through Sun 2/26. Fri Now Showing 4-9, Sat 10-4. 312-962-5850 Vonzweck 1626 N. Humboldt. Anthony Elms, drawings, through Thu 2/23 C . Thu 6-9. 773-208-7222 Walsh 118 N. Peoria. Group show of instal- Patching Things Up lations and photos addressing architecture and urbanity, through Sat 2/25. Tue-Sat 10:30-5:30. 312-829-3312 arol Ann Carter’s three-month stay in Nigeria in Linda Warren 1052 W. Fulton. “Hope,” 1984 was the first great influence on her art, she work by Elijah Burgher, Teena McClelland, C Nathaniel Robinson, and others, through says, but not in ways she’d expected. She already knew that her prints of geometrical designs uninten- Sat 2/18 C . E McClelland screens a film tionally resembled African textiles, and while in and Academy Records performs Fri 2/17, 6- Nigeria she visited a number of museums. But she 9 PM. Tue-Sat 11-5. 312-432-9500 was most entranced by the “street wanderers” of Lagos. “They traveled with their shelter,” she says, Western Exhibitions 1648 W. Kinzie, “sometimes under umbrellas, with piles of fabric. 2nd fl. Amy Hauber, sculpture and other They would wear rags that were fragments of tradi- work; Melissa Oresky, paintings; artists’ tional Nigerian textiles. I might see someone who had books by the NY collective Brooklyn, rigged a ladderlike structure on his head with some of through Sat 2/18 C . Fri-Sat noon-6. his belongings hanging from it, or someone who 312-307-4685 would carry a ladder with possessions on his neck. They were exquisite assemblages.” Observing the Woman Made 685 N. Milwaukee. Karen wanderers from the safety of a car, she began to ques- Hanmer, artist’s books and installation; tion the comparative orderliness of her art. When she Jody Magrady, photos; “Click Art,” returned to the States, she started tearing her prints photos by women; work by Nancy into pieces, dyeing them different colors, and stitch- Maguire; group mask show, through ing, gluing, and taping them together. Later she Thu 2/23 C . Wed-Fri noon-7, Sat-Sun worked with torn fabrics, collaging them in layers and noon-4. 312-738-0400 adding paint, marks, and objects. The street people of Nigeria still influence Carter’s Donald Young 933 W. Washington. Gary work. X’d Bundle—one of several mixed-media pieces Hill, video installations, through Fri 4/14. at G.R. N’Namdi, along with digital prints and a E Opens Fri 2/17, 5-7:30 PM. Tue-Fri 10- video—is what she calls a “bundle painting.” Behind 5:30, Sat 11-5:30. 312-455-0100 the distressed, stitched, painted, and collaged canvas, she says, “I placed notes, lists, photographs, objects— Zg 300 W. Superior. Beth Reitmeyer, things I’d collected but couldn’t throw away.” The paintings and an evolving installation, variety of her surfaces suggests long histories. The through Sat 3/11. Tue-Sat 10-5:30. 312- rough-looking, almost skinlike orange-tan canvas in 654-9900 Storage Unit #7 has many round holes in it colored black or red (showing through from a second canvas Zolla/Lieberman 325 W. Huron. Stephen underneath), fragments of handwriting, painted geo- DeStaebler, ceramic sculpture; Cheonae metrical shapes like those in construction barriers, Kim, paintings, through Sat 3/25. E Opens and a few small rectangles of filigreed lines. Chest List Fri 2/17, 5-7:30 PM. Tue-Fri 10-5:30, Sat 11- looks like a handbag with a 5:30. 312-944-1990 Carol Ann Carter ripped bottom; peeking out WHEN Through there and at the top are numer- Suburban Fri 3/3 ous handwritten pages— WHERE G.R. Carter’s old “to do” lists. College of DuPage Gahlberg Gallery N’Namdi, 110 N. After a decade of making McAninch Arts Center, Park & Fawell, Peoria work inspired by her visit to Glen Ellyn. Simulated archaeological dig INFO 312-563-9240 Nigeria, Carter made a second by the collective Simparch and psychia- important trip: to Scandinavia, trist Paul Cekan, through Sat 3/18. Mon- because she liked its design aesthetic and functional Thu 11-3 (also Thu 6-8), Sat 11-3. 630- furniture. “Having found my parallel in Africa, I went 942-2321 looking for my complement. I’m earthy, their culture is cool and lean and functional.” After the trip to FRED CAMPER Harrison Works 17 Harrison, Oak Park. Scandinavia she started using more muted colors, Work by Elizabeth Gaylord Schutt and even off-whites and flesh tones. Land Skin, which is Chest List Kevin Kintner, through Sat 4/15. E Opens less detailed and colorful than the other pieces here, Fri 2/17, 6-10 PM. Thu-Fri 1-6, Sat noon-6, has a filigreed pattern and tiny handbag painted on Sun noon-5. 708-308-4602 its stained and painted off-white surface. The work’s home damaged or unwanted objects—gifts from “psychologically violent trauma” at 19, she says, “I rec- many small punctured holes, she says, remind her of clients—and pieces he purchased cheaply. “I grew up ognize the universal need to heal, to connect broken Lake Forest College Sonnenschein “nipples and breasts and skin” because after she with these beautiful things,” Carter says. “Navajo rugs skin through touch and through tracks crossing the Gallery Durand Art Institute, 555 N. began Land Skin she photographed the scars of two and Asian-influenced English ceramics, carved landscape of skin.” Holes and burns mark the surface Sheridan, Lake Forest. Matthew Girson, friends following their breast-cancer surgeries. chests, figurines, statuary. I remember being seven of her work, and track and stitch marks reflect both paintings, Tue 2/21-Sun 4/2. E Opens Carter lives in Lawrence, where she teaches at the years old and being transfixed by a ginger jar from wounding and healing. The wish to heal also under- Tue 2/21, 7:30-9 PM. Daily 2:30-5. 847- University of Kansas. When she was growing up in China with a white flower pattern on a blue ground.” lies the way she assembles works out of many parts. 735-5194 Indianapolis, her dad had a delivery business for Arabesques and filigrees are part of her work today, “The fragments I use are reflective of how I felt about high-end design shops and would sometimes bring but other influences are less benign. Because of a myself. I need to mend them.” —Fred Camper Morava Studios 11 Harrison, Oak Park. Joe Barabe, photos, through Sun 3/12. E Opens Fri 2/17, 6-9 PM. Wed-Fri noon-7, Sat noon- 5, Sun 1-5. 773-622-0324 Polvo 1458 W. 18th. Ritual, installation Photographers, through Fri 3/10. Mon-Fri Harrigan, photos, through Fri 3/3. Fri 3/3. E Opens Fri 2/17, 6-10 PM. Mon 11- by Maria Gaspar; Edra Soto, DVD projec- 9-6. 312-341-6458 E Opens Fri 2/17, 7-10 PM. Sat 1-4. 708- 6. 312-285-4533 Northwestern Univ. Dittmar Gallery tion; “True Love,” collaborative work 337-4534 1999 Campus, Evanston. “Jazz on Canvas,” by Rachel Hewitt and Vanessa Sanchez, Rowland Contemporary 1118 W. Fulton. Three Walls 119 N. Peoria #2A. Work by paintings by Terry Dixon, through Sun 3/19. through Sat 2/25. Sat noon-5. 773- Kelly Kaczynski and Todd Matei, collaborative Three Seasons 648 W. Randolph. Work by Jaime Snyder, through Sat 2/25. Tue-Sat E Reception Thu 2/23, 6-8 PM. Daily 10-10. 344-1940 work, through Sat 3/11. Sat 11-5. 312-421-6275 Peter Gustav Lofstrom and Ender, through noon-6. 312-432-3972 847-491-2348 Portals 742 N. Wells. Jorge Simes, paint- Saint Xavier Univ. 3700 W. 103rd. Patrick ings and works on paper, through Wed 3/1. Miceli, installations of toys and fast-food Tue-Fri 10-5, Sat 11-5. 312-642-1066 packaging, through Mon 3/6. Mon-Fri 10-5, Sat 10-3. 773-298-3081 Prospectus 1210 W. 18th. Work by Ed Paschke, Roger Brown, and Harold Allen, Judy A. Saslow 300 W. Superior. Work by and others, through Fri 4/28. E Opens Fri Paul Duhem, Madge Gill, and others, from 2/17, 5-10 PM. Wed-Sun noon-5, Fri till 6. Jean Dubuffet’s art brut collection, through 312-733-6132 Sat 4/1. E Opens Fri 2/17, 5-8 PM. Tue-Sat 10-6. 312-943-0530 Printworks 311 W. Superior #105. Bruce Thayer, works on paper, through Sat 3/11. Schneider 230 W. Superior. Luis Gonzalez Tue-Sat 11-5. 312-664-9407 Palma, painted and collaged photos, through Sat 2/25. Tue-Fri 10:30-5, Sat 11-5. 312-988-4033 Reversible Eye 1103 N. California. “Winter Bike Art Show,” annual exhibit of “anti-car, Skestos Gabriele 212 N. Peoria. Melissa pro-bike” art, through Fri 2/24. Sat 1-5. McGill, photos and sculpture, through Sat 773-862-1232 3/11. Tue-Fri 11-6, Sat noon-5. 312-243-1112 Byron Roche 750 N. Franklin. Sandra Steelelife 4655 S. King, 2nd fl. “The Short Dawson, paintings, through Fri 2/24. Tue- List: African American Artists in Chicago,” Sat 11-6. 312-654-0144 group show, through Sun 3/5. E Opens Fri 2/17, 5:30-9 PM. Tue-Sat noon-7. 773-538-4773 Roosevelt Univ. Gage Gallery 18 S.
Load more

Recommended publications
  • Gaylen Gerber 20 September - 21 December Opening Reception: 20 September 2018 at 6 – 7:30 P.M
    Gaylen Gerber 20 September - 21 December Opening Reception: 20 September 2018 at 6 – 7:30 p.m. Gallery Talk with Forrest Nash: 21 September 2018 at 12:00 – 1:00 p.m. The Arts Club of Chicago is pleased to present the first survey of Gaylen Gerber’s Supports, an ongoing series in which the artist intervenes upon collected artifacts. Offering pause for reflection on a shared history, Gerber’s art is indebted to both the monochrome and the readymade. Supports features objects of diverse origin, each painted uniformly in institutional gray or white. Whether a mirror from the Kennedy winter White House, a Brazilian milagre, or a vintage coke bottle, each is undated and bears the title Support. Gerber’s attentive, almost “reverential” brushstrokes, as Roberta Smith has described them in the New York Times, render the objects visible in a new way. This survey elaborates on the decentralization of attention while it affirms the all-encompassing aspects of the artists’ practice. For his exhibition at The Arts Club of Chicago, Gerber places the works in the gallery to suggest a cohesive visual field, yet at the same time, he differentiates each object through the regularity of its painted surface. The resulting installation encourages recognition of a shared reality, even as it enables diverse emotional responses to individual Supports, ranging from delight to distress. Gerber acknowledges the undertakings of vast cultural traditions as well as their often beautiful, sometimes poignant limitations. The exhibition further addresses a larger question about how and why objects so often remain compelling. The survey affirms the more inclusive aspects of the artist’s practice.
    [Show full text]
  • Best Art Shows of 2013
    Best art shows of 2013 'Impressionism' at Art Institute best in show in a funky year December 13, 2013 By Claudine Ise, Special to the Tribune Phyllis Bramson, "Idle Hours" (2000). (Elmhurst Art Museum) When it came to Chicago's visual art exhibitions, 2013 was not a historic year. There were few if any truly ambitious new art works, nor did we see many museums experimenting with innovative exhibition forms. Instead, 2013 was a year where artists and art institutions alike were consumed with the subject of history itself. Is looking backward the only way to move forward? For now, the answer seems to be yes, so we'll follow suit. Below, in no particular order, are this year's highlights. 1. "Impressionism, Fashion and Modernity" at the Art Institute of http://articles.chicagotribune.com/2013-12-13/entertainment/chi-best-art-shows-2013-20131213_1_art- institute-arts-club-imagism Chicago, June 26-September 29: It was designed to be a wildly popular, world-touring blockbuster, and in that it succeeded, but this incisive look at figurative painting's relationship to Parisian fashion from the 1860s-1880s also drew on rock-solid scholarship and offered fresh perspectives on familiar Impressionist classics — not to mention close- up views of the chicly beribboned garments that inspired them. 2. "Africobra in Chicago," The South Side Community Art Center, the Reva and David Logan Center for the Arts, and The Dusable Museum of African American History, May 10 – September 29: Not only did this vibrant trio of exhibitions and related programs offer the most comprehensive survey yet of the aesthetics, culture, and political philosophy of AFRICOBRA (African Commune of Bad Relevant Artists), they provided a necessary corrective to the notion that Imagism and its offshoots were Chicago's only historically significant postwar art movements.
    [Show full text]
  • Art-Related Archival Materials in the Chicago Area
    ART-RELATED ARCHIVAL MATERIALS IN THE CHICAGO AREA Betty Blum Archives of American Art American Art-Portrait Gallery Building Smithsonian Institution 8th and G Streets, N.W. Washington, D.C. 20560 1991 TRUSTEES Chairman Emeritus Richard A. Manoogian Mrs. Otto L. Spaeth Mrs. Meyer P. Potamkin Mrs. Richard Roob President Mrs. John N. Rosekrans, Jr. Richard J. Schwartz Alan E. Schwartz A. Alfred Taubman Vice-Presidents John Wilmerding Mrs. Keith S. Wellin R. Frederick Woolworth Mrs. Robert F. Shapiro Max N. Berry HONORARY TRUSTEES Dr. Irving R. Burton Treasurer Howard W. Lipman Mrs. Abbott K. Schlain Russell Lynes Mrs. William L. Richards Secretary to the Board Mrs. Dana M. Raymond FOUNDING TRUSTEES Lawrence A. Fleischman honorary Officers Edgar P. Richardson (deceased) Mrs. Francis de Marneffe Mrs. Edsel B. Ford (deceased) Miss Julienne M. Michel EX-OFFICIO TRUSTEES Members Robert McCormick Adams Tom L. Freudenheim Charles Blitzer Marc J. Pachter Eli Broad Gerald E. Buck ARCHIVES STAFF Ms. Gabriella de Ferrari Gilbert S. Edelson Richard J. Wattenmaker, Director Mrs. Ahmet M. Ertegun Susan Hamilton, Deputy Director Mrs. Arthur A. Feder James B. Byers, Assistant Director for Miles Q. Fiterman Archival Programs Mrs. Daniel Fraad Elizabeth S. Kirwin, Southeast Regional Mrs. Eugenio Garza Laguera Collector Hugh Halff, Jr. Arthur J. Breton, Curator of Manuscripts John K. Howat Judith E. Throm, Reference Archivist Dr. Helen Jessup Robert F. Brown, New England Regional Mrs. Dwight M. Kendall Center Gilbert H. Kinney Judith A. Gustafson, Midwest
    [Show full text]
  • The Newberry Annual Report 2019–20
    The Newberry A nnua l Repor t 2019–20 30 Fall/Winter 2020 Letter from the Chair and the President Dear Friends and Supporters of the Newberry, The Newberry’s 133rd year began with sweeping changes in library leadership when Daniel Greene was appointed President and Librarian in August 2019. The year concluded in the midst of a global pandemic which mandated the closure of our building. As the Newberry staff adjusted to the abrupt change of working from home in mid-March, we quickly found innovative ways to continue engaging with our many audiences while making Chair of the Board of Trustees President and Librarian plans to safely reopen the building. The Newberry David C. Hilliard Daniel Greene responded both to the pandemic and to the civil unrest in Chicago and nationwide with creativity, energy, and dedication to advancing the library’s mission in a changed world. Our work at the Newberry relies on gathering people together to think deeply about the humanities. Our community—including readers, scholars, students, exhibition visitors, program attendees, volunteers, and donors—brings the library’s collection to life through research and collaboration. After in-person gatherings became impossible, we joined together in new ways, connecting with our community online. Our popular Adult Education Seminars, for example, offered a full array of classes over Zoom this summer, and our public programs also went online. In both cases, attendance skyrocketed, and we were able to significantly expand our geographic reach. With the Reading Rooms closed, library staff responded to more than 450 research questions over email while working from home.
    [Show full text]
  • Chicago Political Artана2014анаthe Newberry Library
    Chicago Political Art ­ 2014 ­ The Newberry Library Instructor: Daniel Tucker | [email protected] | 312­515­7364 Starting with the 1906 publication of The Jungle by Upton Sinclair (held in the Newberry in Case 4A 362 Special Collections 4th floor), this seminar will look at how Chicago was established as a site for artists to use their tools to advocate for social and political transformation. The intersection of arts and crafts with early social work at Hull House will be traced through the African­American and Latino community muralists of the 1960s and 70s. More recent events such as Sculpture Chicago’s 1993 outdoor expo Culture in Action will be explored alongside of more activist public art like Department of Space and Land Reclamation in 2001. This course will address many artists (Ellen Gates Starr, Upton Sinclair, John T. McCutcheon, The Dill Pickle Club, Gwendolyn Brooks) that draw from reproduced materials or selections from the Newberry Library Core, Special Collections, and online exhibitions. Additionally, the students will be exposed to ephemera and publications related to more recent (1960s­Present) artists drawn together in the instructor’s newly organized “Chicago Ephemera Archives” (never­the­same.org). Through a fellowship at the Gray Center for Arts and Inquiry at the University of Chicago, the Never The Same archive is being developed to document local political art since the 1960s. These materials will be made available to the students to provide hands­on connection with the source­material and printed matter related to these practices. The artists and events covered in this seminar tell the story of the city, as well as the evolution of different aesthetic and artistic strategies and social movements.
    [Show full text]
  • Folklife Today September 2019: Chicago Ethnic Arts Project
    Folklife Today September 2019: Chicago Ethnic Arts Project Announcer: From the Library of Congress in Washington DC John Fenn: Welcome to the Folklife Today podcast. I’m John Fenn, and I’m here with my colleague Stephen Winick. Steve Winick: Hello! John Fenn: We’re both folklorists at the American Folklife Center here at the Library of Congress. I’m the head of Research and Programs, and Steve is the Center’s writer and editor, as well as the creator of the Folklife Today blog. Steve Winick: And today, we’re joined by several guests from the AFC to talk about an online collection of ours, the Chicago Ethnic Arts Project collection. This was the first of AFC's historic field projects, and the collection was digitized and then made available on the Library of Congress’s website just about two years ago. And a lot has been going on with it since, so, we've asked some of our colleagues to help us talk about it. Our first guest is our coordinator of Processing, Ann Hoog. Hi Ann! Ann Hoog: Hello! John Fenn: Ann, you know the collection quite well since you were involved in getting it ready for public online access. Where do we start? Ann Hoog: Well, let me first say that I do know it fairly well, but it is such an immense resource that I am still learning new things about it! But a good place to start is with the type of collection that it is – meaning, how it came to be. As you can tell by its name, the Chicago Ethnic Arts Project collection, represents materials from a cultural research and documentation project, or survey, that was undertaken in 1977.
    [Show full text]
  • Oral History Transcript T-0229, Interview with William N. Eisendrath
    ORAL HISTORY T-0229 INTERVIEWEES: WILLIAM N. EISENDRATH, JR. INTERVIEWER: IRENE CORTINOVIS ARTISTS AND ART COLLECTORS PROJECT This transcript is a part of the Oral History Collection (S0829), available at The State Historical Society of Missouri. If you would like more information, please contact us at [email protected]. CORTINOVIS: Today is January 8, 1973. This is Irene Cortinovis from the University of Missouri Oral History Program. I have with me today Mr. William Eisendrath who has long worked in the art world both in St. Louis and in Chicago. Well, Bill, suppose we start out and I'm going to be writing down proper names on this folder as we go along and then I'll check with you after we're finished for the spellings. This is for the transcriber. I'd like to know, first about you as an individual. What your education for your work in art, in art museums was, well, just start for instance where you were born and what kind of influence your family had. EISENDRATH; I was born in Chicago. Do you want the date? CORTINOVIS: If you want. EISENDRATH: March 4, 1903, which makes me about 70. CORTINOVIS: I must say you look marvelous for 70. EISENDRATH: I became interested in art in my freshman year at Yale. It was solely an interest. I went abroad after my graduation from Yale and had a year's tour of Europe. CORTINOVIS: What kind of studies did you pursue at Yale, though? EISENDRATH: Almost all together English Literature, but in company with a number of friends I became interested in art.
    [Show full text]
  • EVENT GUIDE SPECIAL ADVERTISING SECTION: This Section Was Edited and Produced by the Chicago Architecture Foundation
    ARCHITECTUREFREE FESTIVAL This weekend, get FREE, behind-the-scenes access to 200 buildings across Chicago. openhousechicago.org EVENT GUIDE SPECIAL ADVERTISING SECTION: This section was edited and produced by the Chicago Architecture Foundation. 1 PRESENTED BY About the Chicago Architecture Foundation Five years ago, the Chicago to embark on a tour, workshops for Architecture Foundation (CAF) students, lectures for adults and decided to bring a city-wide festival of field trip groups gathered around architecture and design to Chicago— our 1,000-building scale model of the quintessential city of American Chicago. architecture. London originated the In addition to Open House Chicago, “Open House” concept more than 20 CAF is best known for our 85 different years ago, New York City had several Chicago-area tours, including the top- years under its belt and even Toronto ranked tour in the city: the Chicago produced a similar festival. By 2011, it Architecture Foundation River Cruise was Chicago’s time and Open House aboard Chicago’s First Lady Cruises. Chicago was born. Our 450 highly-trained volunteer CAF was founded in 1966. As a docents lead more than 6,000 walking, STS. VOLODYMYR & OLHA UKRAINIAN CATHOLIC CHURCH (P. 10) photo by Anne Evans nonprofit organization dedicated boat, bus and L train tours each year. to inspiring people to discover why CAF also offers exhibitions, public designed matters, CAF has grown programs and education activities Ten things to know about over the years to become a hub for for all ages. Open House Chicago learning about and participating in Learn more about CAF and our architecture and design.
    [Show full text]
  • M Noo the Ch Lu Eeting of On, Wedne Hicago Trib Ther King Someth The
    Board Book Meeting of the Board of Trustees of the Chicago Historical Society Noon, Wednesday, January 25, 2017, at the Chicago History Museum (Hyperlink to Table of Contents) The Chicago Tribune recommends the Chicago History Museum for Martin Luther King Day: “Probably the most thorough programming with something for all ages is at the Chicago History Museum.” We share Chicago’s stories, serving as a hub of scholarship and learning, inspiration and civic engagement. BOARD BOOK TABLE OF CONTENTS CHICAGO HISTORICAL SOCIETY BOARD OF TRUSTEES MEETINGS (Jump to links to each section) MEETING‐RELATED AND BACKGROUND MATERIALS TAB 1 AGENDA; CHAIR’S REPORT Also includes consent agenda materials, such as Minutes from the last Board of Trustees meeting, minutes from recent Executive Committee meeting(s), routine authorizations and motions TAB 2 PRESIDENT’S REPORT AND SPECIAL PRESENTATIONS TAB 3 AUDIT AND FINANCE INTERIM FINANCIALS FY 2017 SECOND QUARTER TAB 4 NOMINATING COMMITTEE Current list of Officers and Trustees (no new nominations this meeting) TAB 5 DEVELOPMENT COMMITTEE AND SUPPORT GROUPS Making History Committee, Guild, Costume Council TAB 6 INVESTMENT COMMITTEE TAB 7 VICE PRESIDENT’S REPORT Includes reports from Collections and Research Committee BACKGROUND FEATURES TAB 8 PRESIDENT’S BACKGROUND Activities, book recommendations, blogs, news from our Museum, Museums in the Park, and from the field TAB 9 BOARD SUPPORT Vademecum – Trustee guide to what’s coming up at the Museum, committee members, committee dates, news about Trustees, list of Board orientation materials (available upon request), and refresher item from orientation materials TAB 10 EXTRA CREDIT An important report on gun violence in Chicago We welcome two new Trustees to today’s meeting– Ronald G.
    [Show full text]
  • Final Report
    ____________________________________________________ National Digital Stewardship Residency | NDSR Art Final Report July 2019 Molly Szymanski Host: The Art Institute of Chicago ​ Project: Capturing the Museum Experience: Saving Electronic ​ Media in the Galleries ______________________________________________ Project Overview ________________________________________________________________ As the NDSR Art resident at The Art Institute of Chicago (AIC), my project was focused on building a digital archiving and preservation program through the case study of born-digital materials related to visitor experience at the museum. I was hosted by Ryerson and Burnham Libraries at AIC, which houses the Institutional Archive collection. Like many art museums with contemporary collections items, AIC had begun to build capacity and time-based media initiatives focused on preserving digital art items. Less widely addressed across museums and other cultural heritage institutions was the preservation of other complex art-information objects. These materials include audio tours, digital art labels, video presentations, and interactive touchscreens that enhance the gallery experience and contain valuable research, art documentation, and contextual information. The current institutional Digial Asset Management System (DAMS) does not ingest content that is not related directly to collection objects, and as a result these digital items were not being systematically collected, indexed, and preserved for long-term access. Therefore, the residency project was also focused on developing procedures for acquisition and ingest into a digital repository. During the first half of the residency, significant progress was made to understand and document the current institutional capacity for digital preservation and digital archiving. The project activities listed in this report have supported and provided valuable quantitative and qualitative context to this understanding.
    [Show full text]
  • 2017 Annual Report Table of Contents
    The Power of We. THE CHICAGO COMMUNITY TRUST 2017 ANNUAL REPORT TABLE OF CONTENTS In Appreciation: Terry Mazany . 2 Year in Review . 4 Our Stories: Philanthropy in Action . 8 In Memoriam . 20 Competitive Grants . 22 Grants from the Searle Funds at The Chicago Community Trust . 46 Searle Scholars . 47 Donor Advised Grants . 48 Designated Grants . 76 Matching Gifts . 77 Grants from Identity-Focused Funds . 78 Grants from Supporting Organizations . 80 Grants from Collaborative Funds . 84 Funds of The Chicago Community Trust and Affiliates . 87 Contributors to Funds at The Chicago Community Trust and Affiliates . 99 The 1915 Society . 108 Professional Advisory Committee and Young Professional Advisory Committee . 111 Financial Highlights . 112 Executive Committee . 116 Trustees Committee and Banks . 117 The Chicago Community Trust Staff . 118 Trust at a Glance . 122 The power to reach. The power to dream. The power to build, uplift and create. The power to move the immovable, to align our reality to the best of our ideals. That is the power of we. We know that change doesn’t happen in silos. From our beginning, The Chicago Community Trust has understood that more voices, more minds, more hearts are better than one. It is our collective actions, ideas and generosity that propel us forward together. We find strength in our differences, common ground in our unparalleled love for our region. We take courage knowing that any challenge we face, we face as one. We draw power from our shared purpose, power that renews and emboldens us on our journey – the world-changing power of we. Helene D.
    [Show full text]
  • EVENT GUIDE SPECIAL ADVERTISING SECTION: This Section Was Edited and Produced by the Chicago Architecture Foundation
    ARCHITECTUREFREE FESTIVAL This weekend, get FREE, behind-the-scenes access to 200+ buildings across Chicago. openhousechicago.org EVENT GUIDE SPECIAL ADVERTISING SECTION: This section was edited and produced by the Chicago Architecture Foundation. 2 PRESENTED BY ABOUT THE CHICAGO ARCHITECTURE FOUNDATION Six years ago, the Chicago Architecture Foundation (CAF) launched the first Open House Chicago. This free, citywide festival drew 23,000 people in its first year. By 2016, it grew to 100,000 attendees, making it one of the largest architecture events in the world. This year is our biggest yet, with more than 200 sites. OHC is just one of many CAF programs that inspire people to discover why design matters. Today, when you visit CAF at 224 S. Michigan Ave., you’ll find visitors embarking on tours, FIRST CHURCH OF DELIVERANCE, BRONZEVILLE (p. 15) camps for children, lectures for adults and field trip groups gathered around our 3D model of Chicago. TEN THINGS TO KNOW ABOUT In summer 2018, CAF will open the Chicago Architecture Center at CHICAGO ARCHITECTURE CENTER — OPEN HOUSE CHICAGO (OHC) COMING IN SUMMER 2018 111 E. Wacker Dr. This new location is situated above the dock for the 1. OHC is a FREE public festival with behind-the-scenes access Chicago Architecture Foundation River CAF’s 450 expert volunteer docents to 200+ buildings across Chicago—no tickets required. Cruise aboard Chicago’s First Lady will lead 85+ tours from the Center, Cruises—the city’s top-ranked tour. by boat, bus, L train and on foot for SPECIAL CHICAGO ARCHITECTURE FOUNDATION ADVERTISING SECTION | THURSDAY, OCTOBER 12, 2017 ADVERTISING SECTION | THURSDAY, SPECIAL CHICAGO ARCHITECTURE FOUNDATION 2.
    [Show full text]