Tag Archives: Art Institute of Chicago


This week, the Art Institute of Chicago presents the second chapter of Anne Imhof‘s performance piece SEX, with a score by Imhof, Eliza Douglas, Billy Bultheel, and Amnesia Scanner‘s Ville Haimala.

In addition to Douglas and Bultheel, performers for this engagement include Jakob Eilinghoff, Sacha Eusebe, Josh Johnson, Enad Marouf, Stine Omar, Franziska Presche, Kizito Sango, and special guest Nomi Ruiz.

The installation exhibition of the work will remain up through the first week in July. Chapter three will be presented in 2020 at Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Turin.

ANNE IMHOF—SEX chapter two performance

Thursday, May 30, from 3:30 pm to 7 pm.

Friday, May 31, from 12:30 pm to 4 pm.

Saturday, June 1, from 12:30 pm to 4 pm.

Art Institute of Chicago

111 South Michigan Avenue, downtown Chicago.

From top: Anne ImhofSex rehearsal (3), photographs by Nadine Fraczkowski; performance view of the first chapter of Sex at Tate Modern, 2019 (2), photographs by Oliver Cowling; Billy Bultheel, Eliza Douglas, and Anne Imhof in the Tate Tanks space, photograph by Nicky J. Sims; Imhof. Images courtesy and © the artists, photographers, Galerie Buchholz, and the Tate.


Over fifty years of work by Martha Rosler—including her landmark photo-montages of the 1960s and ’70s, as well as Reading Hannah Arendt—is on view at the Jewish Museum for one more month.

In April, Rosler will give a talk at the Art Institute of Chicago.


Through March 3.

Jewish Museum

1109 Fifth Avenue (at 92nd Street), New York City.


Tuesday, April 16, at 6 pm.

Art Institute of Chicago

Rubloff Auditorium

230 South Columbus Drive, Chicago.

From top: Martha Rosler, Cleaning the Drapes and Red Stripe Kitchen, both from the House Beautiful: Bringing the War Home series (circa 1967–1972), photomontage; Martha RoslerCargo Cult (large detail), from the Body Beautiful, or Beauty Knows No Pain, series (circa 1966–1972), photomontage; Martha RoslerUntitled, Frankfurt (Main), 2004, C–print. Images © Martha Rosler and courtesy the artist, Mitchell-Innes & Nash, and the Jewish Museum, New York.


“Neither a movement nor a style, Hairy Who was simply the name six Chicago artists chose when they decided that the best way to find success as individuals was to join forces and exhibit together.

“In 1966, Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum—all recent graduates of the School of the Art Institute of Chicago—began mounting, as the Hairy Who, unconventional displays of bright, bold graphic work at the Hyde Park Art Center. Over a period of four years, they transformed the art landscape of Chicago, injecting their new and unique voices into the city’s rising national and international profile.”*

The first comprehensive Hairy Who exhibition is now on view at the Art Institute.

HAIRY WHO? 1966–1969*

Through January 6.

Art Institute, 111 South Michigan Avenue, Chicago.

From top:

Gladys Nilsson, The Trogens, 1967, Art Institute of Chicago, © Gladys Nilsson.

Art GreenConsider the Options, Examine the Facts, Apply the Logic (originally titled The Undeniable Logician), 1965, Smart Museum of Art, University of Chicago, © Art Green.

Dan Nadel, The Collected Hairy Who Publications, 1966–1969 (New York: Matthew Marks, 2015); image credit: Matthew Marks.

Below: Suellen RoccaBare Shouldered Beauty and the Pink Creature (detail), 1965, Art Institute of Chicago © Suellen Rocca.



As part of the 2017 Chicago Architectural Biennial, the Alphawood Foundation presents a lecture by Tadao Ando, who will talk about his work—past, present, and future.


TADAO ANDO, Monday, December 11, at 6:30 pm







“We dedicate this celebrated work this morning with the belief that what is strange to us today will be familiar tomorrow.” — Mayor Richard J. Daley of Chicago, on August 15, 1967, at the unveiling of the CHICAGO PICASSO.

Pablo Picasso’s first monumental sculpture in America—known simply as the CHICAGO PICASSO— designates the plaza in front of the Chicago Civic Center [now Daley Center] as a public gathering space. The sculpture stands 50 feet tall on a base of granite, and is constructed of the same Cor-Ten steel as the building behind it.

“In the 1960s, at the request of Skidmore, Owings & Merrill [SOM] senior partner William Hartmann, Picasso designed the site-specific sculpture to relate to the Civic Center. Hartmann envisioned the sculpture as an anchor for the center’s large granite plaza. Hartmann traveled to the artist’s home in southeastern France several times, presenting Picasso with photographs of Chicago and drawings of the projected 31-story Civic Center and adjoining plaza. Although Picasso had been sculpting for nearly 60 years, he had yet to create a large-scale civic sculpture.

“Picasso [who never visited the United States during his lifetime] spent over a year developing a maquette that he gifted to the Art Institute of Chicago. Working from the artist’s detailed guidelines, Hartmann supervised SOM’s team of structural engineers as they facilitated construction of the public artwork.” — SOM*

CHICAGO PICASSO, Daley Plaza, 50 West Washington Street, downtown Chicago.

* som.com/projects/picasso_sculpture

Top: August 1967 unveiling and dedication ceremony of Chicago Picasso, Civic Center plaza, Chicago.

Middle: Pablo Picasso, Chicago Picasso (1967). Image credit: Wiki.

Bottom left: Pablo Picasso. Bottom right: Maquette, 42 inches high. Image credits: SOM and the Art Institute of Chicago.

Mayor Richard J. Daley (closest to the sculpture) unveils the Picasso "with the belief that what is strange to us today will be familiar tomorrow." The sculpture celebrated art rather than civic achievement. (Tribune archive photo) ..OUTSIDE TRIBUNE CO.- NO MAGS, NO SALES, NO INTERNET, NO TV, CHICAGO OUT.. "Chicago Days" 00288152A 150 year images