Joyce Owens: Artist On Art

Mickalene Thomas @ Columbia College

I met the artist, and fellow Yale graduate, Mickalene Thomas  at Columbia College Chicago.

Joyce Owens stealth photos, not wanting my flash to distract.

Dawoud Bey (above right), the photographer, has brought amazing, informative programs to the college for years, now. I was able to attend a Bearden Symposium a few years back and recently meet Deborah Willis, a MacArthur Fellow (who included my uncle Jack T. Franklin in her book on African American photographers),  and heard her and her son Hank.

I have been aware of Mickalene's work, of course. I saw examples of it at Art Chicago and was aware that Rhona Hoffman is her Chicago Gallery. And I had all kinds of ideas about Mickalene's work. It looked trashy, photography-based in a way I would tell my students is a no-no, and all that glitter and mix-mashed array of materials just freaked me out, to use a 70's term that fits her 1970' sensibility!!

Meet Qusuquzah (above). Mickalene Thomas accented this 2008 portrait of her with hundreds of rhinestones. "I'm always looking for strong, beautiful, and complex women to model for me," says Thomas. "Qusuquzah embodies the allure of glamour." Image from Unbeige Magazine.

She blew all my misgivings and criticisms out the window during her lecture. My friend Derrick Blakley called in the middle of writing this post. He and I talked a while and I eventually mentioned the lecture, and how my response to her work had changed! A veteran Chicago reporter, currently at CBS2 Chicago, he asked the reporter's question:

"Does it make the work better ?"

"Well yes", I answered, thinking "great question"!

He continued by asking how the back-story makes a difference. I have added my quick response here. Examples of how the passage of time plus changing points-of-view about art revised how the Impressionists, the Fauvists, Picasso's Les Demoiselles D'AVignon (below right) and other artists and art works were thought of by the majority at first, including critics and art collectors, and over time how the same works became iconic, making for blockbuster exhibitions, and winning top auction prices.

Well, I still think the hairy mass of glitter under the legs and arms of some of her images is off-putting, but that may be the point!

The woman is very successful. That alone is enough to admire her for, 'cause we all know that only a few rise to the top. It's not "talent".  Plenty of folks have that. It is based on trends, proximity to people who can help you, luck and clearly, hard work.  Mickalene discussed some of the surprising coincidences that occurred during her life relating to her going to Yale at the time she went, meeting master curator and fashion icon Thelma Golden and becoming a resident at the Studio Museum in Harlem after graduation from Yale.

Thomas has a compelling story. She is a lesbian who was estranged from her mother. 

Her mother has become her model and muse, the only person, according to Mickalene, who will pose fully nude for her. Thomas has the courage to work her stuff out in public through these canvases that include painting, photography and collage as her primary means of image-making. She has done installation and video.

Mickalene is a dark-skinned, nappy-haired, big thighed girl from New Jersey! 

Mickalene Thomas is a pretty woman

I wanted to cry when I heard her. I am tall, light skinned and kinky-haired, and always wanted the skinny-from-the-knees-to-the-crotch-no-touching-thighs the white girls had, I thought those thin thighs were a signifier of beauty, like straight hair and blue eyes.  Light, dark or medium most of us black women have felt inferior in America. Neither Ms. Thomas nor I saw ourselves as beautiful, and no one else said we were either, not that I knew of.

My mom and I were never estranged; she saved that for her three husbands. The other stuff is enough stuff. The other insecurities, many brought on simply because we are black is enough.  The pain felt by the sensitive girls like me and Mickalene is enough.

Thomas makes glaring, in your face pictures, co-opting and transforming historically famous images that artists such as Manet (a long line of other well-known artists produced similar images of white models), and Modigliani first made. It's a perfect choice. I hate that she had to react to racism and sexism at all! But I think Mickalene is making the perfect art in response to her life, and making a life that was not perfect, perfect. Hers is a body of work I respect.  I meant it when I told her I am proud of her!

21st Century: New Rules for Artists

Tom Lucas, Preston Jackson, collector Robert Derden, Joyce Owens, Barlow at our 2007opening, Nicole Gallery

No artists = No galleries!

Can you imagine? NO art on the walls. No sculptures on pedestals. No installation work or videos on display in an art gallery?

As a conceptual idea, OK. It could signify the death of art. Again! On various levels...suggesting various ideas...but that's not where I'm going with this. And even with much art being virtual, another possible implication that art (as we know it) is dead, I'm not going there, either.

ARC Gallery, my work on back wall.

Taking this out of the conceptual realm, I have noticed a dynamic between some artists and galleries that suggests there is a deep pathology that needs surgery, or at least, "meds" in order to stave off some sort of art gallery tragedy! As they close one after the other, now may be the time to think about what we can do to improve conditions and make them artist-friendly.

Artists have other choices, so I hope the galleries will listen up! Most artists I know do prefer to show in galleries, at least, sometimes!

I just don't get why some galleries persist in treating artists as if they are secondary and not the reason for a gallery's existence! Here is my partial list of the "how comes"  that artists (and galleries) can consider:

1. Why are artists made to quake in their boots when they approach some galleries?

2. Why don't all gallerists divulge the names of buyers to the artists?

3. Why don't all galleries consult with and/or respect the wishes of artists on how their work is displayed?

4. Why do some galleries discount from the artist's portion of the sale, too and not from the gallery commission?

5. Why do some galleries not publicize the exhibitions and promote artists they show?

6. Why do some galleries ask artists to pay for photography and publicity on top of the commissions?

7. Why are some galleries not run as other businesses are, keeping regular hours, etc.?

8. Why do some galleries delay paying their artists when work is sold? 

9. Why don't artists get paid interest on monies galleries have held back over 30 days?

We have established that anyone can open a gallery with no training in art or even business, so maybe we can address a couple of other questions:

1. Should galleries be rated on the care and handling of the art and artists they show ?

2. Should there be a system to rate galleries such as the Better Business Bureau or something like Angie's List or the equivalent of Rate Your Professor/teacher sites for college professors? Artists could then anonymously give galleries a thumbs up or down.  Services such as these would forewarn other artists if their brethren didn't get paid for sold work, were not treated well in general, had work damaged or stolen and other atrocities that have been reported in the press and shared word-of-mouth.

One game some galleries play is the same one that some mothers tell their children. If you miss one train (boyfriend/girlfriend) another one always comes along. Just wait. Galleries know that there will always be artists willing to put up with, and be grateful for, gallery exposure, so if one artist stomps out in anger and feeling mistreated, another artist is waiting to be next!

OH NO! Bad behaving artists?

This had to come up next! Difficult artists give gallerists and curators the blues. They should also be outed, although as we all know, difficult artists often get rewarded, not restrained. The "talent" is enough to make excuses for bad behavior and the audiences are mesmerized by behavior outside the so-called norm. That's why we fixate on these reality show folks and other train wrecks (don't want to get sued so I won't name names...) that we can't keep our eyes off...actors, politicians, golfers and others who misbehave mesmerize us!

Professionally run, artist-friendly galleries should be rewarded! And there are a lot of those; Parish Gallery in D.C. is one. Nicole Gallery in Chicago is one. Homewood Studios in Minneapolis is one, Woman Made Gallery in Chicago is one, and there are many others! I hear Packer Schopf is one and Ann Nathan, too. I know Robert Henry Adams, now closed, was one. June Kelly is one.

Collectors, you have the power to change this bad behavior as well. I know the artists tell people about the bad behavior. So supporting the "good" galleries to buy could help; artists look for representation at the good galleries and respectfully speak out when a gallery treats you or your work badly! Sometimes the ONLY education people running these places get is from their artists! 

So many guests at Richard Hunt's N'Namdi Gallery opening it was hard to see the art...

I wish I had a top ten artist-friendly galleries in every US city, if not globally. I found this post on Art business.com that explains the ideal gallery and artist/gallery relationship. If you're not getting this you may be getting the short end of the stick!

A Creative Space: Richard Hunt’s Studio

I, for a long time, have envied sculptors...they change space by shoving their stuff into it, affecting everything around it, sometimes for miles around!

Recently, I spent a morning with Richard Hunt, the internationally recognized sculptor with more public works than any other living artist. It’s a given that he just blows me away. His charming and unassuming personality and his handsome good looks are enough, but add to that his enormous creative abilities and long-tested productivity and you have a contemporary artist who is pretty much unmatched!

If envy, like Dante’s Inferno, has circles, visiting Hunt’s studio takes me deep into a covetous crater. His studio is jammed with tiny maquettes, informally arranged like a collection of rare crystal, intermixed with huge electric tools and small gadgets used to form and transform the metals, Hunt’s preferred medium. Some items I see are old hand tools that chew into and cut metal, and lots of cords attached to the tools trail the floor. There are modern laser cutters and various metal fasteners and clamps that I don’t have names for, plus curly metal shavings (that I wanted so badly to graph onto some of my own art!) left behind when the huge sheets of steel and aluminum are cut. The hunks of scrap metal and new metal create piles of inventory taller than my 5’10” frame and probably taller than my 3-story house. Various wires and wood pieces, books, magazines, newspapers, catalogs and clothes flow like a river and its tributaries throughout this space.

 

 

Hunt seems attracted to simple artifacts, the opposite of his own more texturally complex and curvy works, by American and African artists and spotted here and there in the studio and in his adjacent office. I see bolts to screw on the bases he is fabricating to stand his work on and metal rods, nails and whatnot.
The cornucopia of sculpture-making delights extends from the floor to the ceiling with tiny aisles for walking and niches for working. I don't know how many works-in-progress are in this colossal former Chicago Transit Authority terminal. Many larger scale works shine beautifully in the muted light. They look complete and ready to go to a gallery, home, museum or corporation. I’d certainly welcome them into my home. Walking through Richard Hunt’s studio is like walking through a diamond shop with all the jewels out for anyone to touch!

I arrived at his Lill Street studio (above from his website) at 7:15 am this day to chat and have breakfast with Richard at his neighborhood hangout the Salt and Pepper Diner. It’s within eyesight of his studio, a place where he doesn’t really need a menu and where he doesn’t really need to state his order. The waitress already knows, but checks to make sure he hasn’t changed his mind. When we returned to the studio, passing by his sculpture in Jonquil Park that was being retrofitted for wheelchair accessibility, I realized that Richard’s space exemplifies the aspirations of many artists: We really want to get every idea we think we have into a concrete, ready-to-be-shown, form. Many of us have terrific ideas all the time, but many of those gems remain in our heads only. Some of us grasp our creative concepts and run with them to produce something, but maybe not scores of somethings. Has Hunt been able to actually remember the idea he had in the shower, or on a walk in the park or at dinner in a fancy restaurant, long enough to turn it into art?

It seems to me he must. When I argued for the theme Artists at Work for Chicago Artists Month 2002 it was because I believe in what Richard Hunt lives, and I believe many other artists do, too: work. You work to make as much art as you can, for as many days as you can, for as many years as you can. Your natural creativity and the creativity you inevitably develop when you practice will show. Right now, I think the hardest job is mine, attempting to write about Richard Hunt’s glittering, magical space, holding treasures that easily compete with a gold mine, so that you can envision it.

Beauty aside, this is one studio that screams prolific. Richard Hunt states plainly, for anyone who looks, that he is the artist at work.

I first published this post here...where you will find interesting comments you might like to read and other blogs on artists' studios.

Artists' Stories Contribute to Bottom Lines

I have to Google "mall art" when I try to remember his name because I have a mental block about Thomas Kincaid and can only remember that he has galleries in malls and he had made so much money he was listed on the stock exchange, creating bucolic images of light houses and country cottages! I visited one of these mall galleries and I felt I had walked in on a cult of true believers. You may have seen stories about the people who buy tens and more of his works, even though they are not even all originals. Some only contain a few brush strokes of paint.

Nicole Smith, left, owner of Nicole Gallery with Wigan, center, and guests.

The latest guy who is attracting international attention makes microscopic art that fits on the head of a needle and must be seen through microscopes.

Fascinating and novel, Willard Wigan has a compelling back story about why he makes these tiny sculptures of the "The Incredible Hulk", "Wizard of Oz", "Snow White and the Seven Dwarfs", Rodin's "The Thinker", a golfer, a line of camels heading toward the pyramids, "Peter Pan", and "Elvis"!

I thought about artist-as-carnival-performer after seeing a bit of the movie Pollack recently.  See Jackson Pollack abusing his wife, who has devoted herself to promoting his genius. See him sleeping with Peggy Guggenheim because he was falling down drunk. See him being late for his own career and being generally disorderly except when it came to his craft. Then when  his genius emerges he dies prematurely in a drunken crash. But he, like Basquiat and Warhol, is as much performer and (literal and figurative) car wreck as master artist.

Nicole Gallery features Willard Wigan, Art in the Eye of a Needle, in Chicago at 230 West Huron until October 1. This guy makes microscopic sculptures. I think that is an original idea.

 

The other original part of this event is the $3.00 admission fee the gallery is charging to see the exhibition after the opening night, which was free. At first I thought, "this is crazy", but only for a second. Then I thought, it's about time people pay to see us visual artists. The galleries don't pay us, except if we sell something and they get 50% of that. If they do pay, you probably are such a a big name, your income is fairly secure anyway. I have been asked, so many times I can't count, to display art for free to gain exposure, or opportunities, that rarely come to fruition. Getting some bucks up front is a new idea, and I think it's not so bad. Wigan also gives a portion of the sales of work during the reception to charity, according to my invitation. 

What else can you buy for $3.00? You certainly can't buy a ticket to the circus!

If you missed the exhibition you can catch the free closing reception:

Wednesday, September 30th, 5pm - 8pm

Nicole Gallery, 230 W. Huron Chicago, IL 60654

Please rsvp by Sept. 29 to [email protected] with your full name and number of guests.

WHY MAKE ART?

_{^{I DON'T KNOW!}}

It's hard work, it's relentless work, it is financially draining, it robs you of friendships and other relationships, it is psychically wrenching, and often leaves you feeling totally naked and exposed and, it's addictive!

A little black girl growing up in Philadelphia, the youngest of three children, living with a twice-divorced mom and two siblings, 4 and 8 years older than I and the children of the previous marriage, I tried to understand the world around me.  I didn't know what it meant that I made pictures, I just did. Not on nice paper or in sketch books (no one purchased them for me), but in notebooks that were meant for other class work.  As time passed I took myself to the local playground where they offered some art. I even won a blue ribbon. No one in my house cared about this as long as I was not in  trouble. So I rolled along, being a "good  girl" but feeling I was also an  artist.

I am sharing a statement I wrote years ago because it struck me as pertinent, especially in these stressful times, to remember the choice we make in taking the title "artist" and in hopes that you will share your stories as well. 

Of course there are hundreds of books about the urge to be creative, but who can tell those stories best are those who live it. And as we know, there is not ONE WAY to be an  artist; artists are all different!

Think how much it might help a young kid or teenager or even a young adult to know that we all feel uncertain, we struggle everyday about whether what we do is worthwhile to ourselves, let alone anyone else! And that good results often take hard work. But hard work does not guarantee anything.

I would love for you to share your story so I can post it to my blog so please add your story to the comments. If you prefer, you can email me and I can put it on another post.

Here's mine:

As a little girl I just wanted to organize my mother's house. I desired beauty and did what I could to accomplish it. I would go into my mother's room and arrange the perfumes, makeup and jewelry that sat on her dresser. I dusted the perfumes and other items that were, then, set down using good spacing to show off their lovely forms and colors. In our living room, I would diligently fluff and carefully place the contrasting, brilliantly hued pillows that adorned my mother's golden couch - strategically. This couch sat before heavy red drapes and on a mid-value violet carpet. I wanted each of the pillows just so, the red one next to the green one and not the gold one. The ugly ones were hidden in the back. I opened the drapes a certain degree to allow in the right amount of light. My mother received the same scrutiny whenever possible.

I did all this by instinct with no supervision. A divorced parent of three, my mother worked as a city employee and as an opera singer! I am the youngest and was raised by committee. As I did not misbehave much, I was often left to my own devices. I made neat the garden's grass and trimmed the rose bushes. I swept the front steps and polished our silver plate. I moved the furniture (as much as I could) to achieve the balance I knew it needed.

My vow to become an artist was made to Linda Chambers, my best friend at the time, in her bedroom in Philadelphia when I was still in elementary school.

As an artist my quest remains organization and beauty. I think I have always had the need to understand the human soul. For me, a pictorial analysis is natural. The first major painting I made in college was in response to my grandmother's death. The toll taken on my mother and the grief thrust upon us all had to be transformed to a tangible existence. My grandmother's death was the impetus for the painting. I understood..., and I also understood that the work affected other people who had no connection with my grandmother. The loss was a universal experience.

The themes that I continue to investigate include death (loss), love, joy, trust and other human mysteries and relationships, how we work them out with each other and our environment.

I am also quite taken with human protective camouflage. I believe we wear many "faces" to help us cope with our lives. I think about our many masks (disguises) and through my work I am aware that the truth is just beneath the surface. I hope to help people think about that. I hope that visual articulation of these concepts will make a difference. I am compelled to do the work. My hope, aside from making credible, esthetically viable works is to gain insight and truth via the process.

This is a statement I no longer use. It was more for me than anyone else, I think. If you need help writing a statement here are two sources :

link one:  Molly  Gordon

Link two: at CAR, Chicago Artists Resource.

 

Above: "Imagined in Marble: Found Myself"

Top of page: "Imagined in Marble: Figure on Pointe"

 by Joyce Owens

Visual artists stepping out of our comfort level...

WE have to get comfortable with being uncomfortable.

For artists negotiating the route to international, national, local and even community exposure is all tough and it is not comfortable getting told "no" or "not yet" or "you are not ready".  Ask any artist.

In the new world order ...

 

Should artists expect an easier shake?

Should Chicago artists expect preferential treatment?

Above is photo of Chicago actor Harry Lennix with Pres.-elect Obama and his first lady Michelle at the N'Digo gala a couple of years ago. 

Can we expect a change from our new president who lives in the liberal Hyde Park neighborhood in Chicago, the same neighborhood where my Hyde Park Art Center talk took place on Nov.3. (I had to circumvent my usual route to the center because at a point, cop cars no longer allowed cars down 51st Street, keeping us away from the Obama home.) 

That was a change I didn't expect. But I turned right and just took another street, still making it to where I needed to go. Maybe we can't be prepared for change that is imposed on us, but we can learn to  ask for the change we want! 

Strategy may seem antithetical to creativity, but of course it is not.  We have to negotiate and maneuver,  struggle and prepare, and then we have to do more in order to make art, don't we? From the  process of producing a work to getting it shown, not to mention getting it into a collection of some sort takes a ton of work.  Most of us don't have assistants, publicists, managers or p.r. agencies, not to mention a dedicated gallery dealer. Most of us lug our work to exhibitions and art fairs.  We prep canvas or watercolor paper, go through all the steps for pulling an etching or linocut  and figure out where we might display the works. We set our price lists and write our bios and artists statements.

I think what sometimes stops me, when it comes to doing new tasks, is that I don't translate one way of working that I already know to the possibility of doing something else. For example, writing. I have always been a writer for my own satisfaction, and I love to read. I love books.

My Philadelphia home where I grew up, and later lived during holidays through my college years, always had books, periodicals and daily papers around. None of my family went to the Broad Street subway or the Chelten Avenue bus to go to school or work without something to read.

I don't know when I fell in love with words. I will read a passage and get stuck on a great sentence...turning it around in my head, savoring it like a rich dessert. I hate for the good books to end. I read through the terrible books to understand what in the world went wrong! For years I stayed away from novels but I am back. Finally read Audrey Niffenegger's "Time Traveler's Wife"  after winning the Ragdale. (She won one, too.)

I assume all my reading led to writing my own thoughts, just for my own consumption,  and as my way to think and figure out what I was doing. My mother told me I inherited my interest in writing from my grandmother, but my mother, Eloise Owens, wrote too, letters to the editors to the Philadelphia newspapers, letters to me when I was in college and probably to her friends and family.

In college I wrote in sketch books stating that I had no idea what I was doing or what an artist did, etc.  I anguished about my life, my relationships and my hopes that I would someday know who I was.

In recent years I  had a piece published about my uncle, Jack T. Franklin, on the Museum of the African Diaspora website because I really wanted his record to be clearer. After hearing his name in reference to a Smithsonian Museum exhibition mentioned on CBS Sunday morning I  Googled him and found misinformation. I wrote the website to try to get it corrected. They thanked me and didn't change anything.  So I took it upon myself to write a piece about him. The Museum of the African Diaspora in San Francisco came along at the  right time.

I did not stop to think I could not do that. Only when I saw the level of professionalism the other writers had was I humbled that my little narrative had been accepted.

Allan Edmunds brought up a great set up ideas in his comments on a recent post. That artists need to take advantage of international opportunities during the Obama administration.

I can tell you, he's right!  The only way to find out what will happen is to try.  Artists in  the 21st Century have so many advantages. For one, the Internet!

So if  there is something you don't do because it is out of your comfort level, let that  go, and Just Do It!

Barack Obama did!!!!!

The photo above of my mother, Eloise Owens,  is a proof shot by Uncle Jack T. Franklin. The painting is one I felt uncomfortable making, "Imagined in Marble: Figure with Hand", my on-going attempt at abstraction turned into a figure!  Below is a small group of these works. I saw the images in the veins in marble.

Chicago Printmakers Collaborative FREE

Chicago Printmakers Collaborative
Upcoming News & Events
  October 2008

The Art of Democracy

Part of a nation-wide series of printmaking exhibitions
organized by the New York Society of Etchers

continuing through November 1, 2008

The CPC's "The Art of Democracy" is part of a network of
exhibitions and events that are taking place in Chicago,
San Francisco, Seattle, St. Louis, New York, Atlanta,
and other cities across the U.S. The printmaking medium
has historically proven itself as a prime democratic
broadcaster of artistic and political vision.
Join us as we work to amplify the artistic
voices willing to speak out in these dangerous times.

Gallery hours are Wednesdays and Saturdays,
12-5 and by appointment

Exhibiting artists:                  
Alex Chitty
Misha Goro
Carrie Iverson
Deborah Maris Lader
Artemio Rodriguez                         
Shira Soskel
Megan Sterling
Kyra Termini   
with a special showing of posters made by Misha Goro's
students at the American Academy of Art.
Posters from print artists across the nation will also be on display.

for more info, also see www.artofdemocracy.org

Fall Classes at the Chicago Printmakers Collaborative
Are FULL! stay tuned for upcoming info on winter/spring offerings...

Educating the masses on the fine art of printmaking for over 19 years!

Also Available:
Private and Semi-private classes in
Screenprinting, Lithography, Etching, Relief, Monotype, and more!
Monthly PRESS TIME with key access for experienced, professional printmakers

email us at
[email protected]
or call 773-293-2070.

The CPC is located in Lincoln Square,
at 4642 N. Western Avenue., just across the street from
the Brown Line el stop, on the west side of the street,
between Wilson and Leland.

Check us out on the web:
www.chicagoprintmakers.com

"Say Hello to Yourself" (above) oil, drawing, photography on board
24 x 25 cm, by Deborah Maris Lader, Director of the Printmakers Collaborative

  To purchase please call the CPC at 773.293.2070. 

Preston Jackson, October 11 at Maison Rouge,Chicago

                          

 

Preston Jackson 

                                 Bronze Sculptures from the series

                                                       "Fresh from Julianne's Garden"

                                               Reception

                            Saturday October 11th 5pm - 10pm

 

Maison Rouge gallery - 2828 North Clark Street - Century Shopping Centre - Chicago Illinois 60657

P: 773.472.3421

E:  [email protected]      
W: www.maisonrouge.net

   
This  man is fabulous! Pleasevisit this exhibition and support this treasure who is a professor, a supporter of other artists and a genius painter and sculptor. He and his wife will be present at the reception.

Chicago Artists Month and BEYOND....postings

Artist Wesley Kimler, aka "The Shark," in conjunction with the other members of the Sharkpack, will begin presenting art exhibitions and events on a semi-regular basis within his vast studio space, which will also soon have a radical expansion. Thus it is now officially designated THE SHARKPIT.The first event is an "apero and Vernissage" (to use European words), that is an opening and display of smaller works by the EuroShark Mark Staff Brandl on THURSDAY OCTOBER 16 from 7:30 pm on (see below or here), presented as an addendum to his Krannert Art Museum installation. A preview of Kimler's huge recent paintings will also be visible. Infollowing months a complete exhibition of these works will occur. Stay tuned!

International artist Mark Staff  Brandl, a Chicago  native now living in Zurich, will be showing in Chicago and, downstate, at the University of Illinois. These are great opportunities to see his work inspired by   many ideas including comic books!

Try to fit one of these shows into your jam-packed month, OK?

From Mark:
An invitation, or two. SHARKPIT and KRANNERT ART MUSEUM.

I will be in the US in October and would love to see you — and show you work.

The dates and contact info: 
I will be in Chicago fromMonday October 13^th through morning of Friday October 17^th. There will be an OPENING (vernissage, apero)

THURSDAY OCTOBER 16 from 7:30 – 11:00 pm (or so)

 and a small SHOW of smaller works at the
SHARKPIT
Wesley Kimler's Studio
2046 W. Carroll
Chicago, IL USA 60612ark phone phone: 312 942-9078 

YOU ARE INVITED!

After that, I will be in Champaign, Illinois from Friday October 17^th through the morning of Saturday October 25^th, that day pm I will fly home to Zurich.
I will be installing a very large painting-installation in

KRANNERT ART MUSEUM
500 E. Peabody Dr.
Champaign, IL  61820

 

The opening for that show ("Out of Sequence") will be:

THURSDAY OCTOBER 23 from 6:00 – 8:00 pm
(Wherein I will also give a "gallery conversation")

 

YOU ARE INVITED!

(Please let me know if you want to reach Mark. I have some numbers, etc.)

Check back for more listings... 

(Please  come back for more listings)