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A revealing portrait of a vital Chicago institution.
This work examines Homer's artistic accomplishments. It focuses not only on his use of various media, but also on the suites of works on the same subject that reflect the artist's modern practice of thinking and working serially and thematically.
For decades now, the story of art in America has been dominated by New York. It gets the majority of attention, the stories of its schools and movements and masterpieces the stuff of pop culture legend. Chicago, on the other hand . . . well, people here just get on with the work of making art. Now that art is getting its due. Art in Chicago is a magisterial account of the long history of Chicago art, from the rupture of the Great Fire in 1871 to the present, Manierre Dawson, László Moholy-Nagy, and Ivan Albright to Chris Ware, Anne Wilson, and Theaster Gates. The first single-volume history of art and artists in Chicago, the book—in recognition of the complexity of the story it tells—doesn’t follow a single continuous trajectory. Rather, it presents an overlapping sequence of interrelated narratives that together tell a full and nuanced, yet wholly accessible history of visual art in the city. From the temptingly blank canvas left by the Fire, we loop back to the 1830s and on up through the 1860s, tracing the beginnings of the city’s institutional and professional art world and community. From there, we travel in chronological order through the decades to the present. Familiar developments—such as the founding of the Art Institute, the Armory Show, and the arrival of the Bauhaus—are given a fresh look, while less well-known aspects of the story, like the contributions of African American artists dating back to the 1860s or the long history of activist art, finally get suitable recognition. The six chapters, each written by an expert in the period, brilliantly mix narrative and image, weaving in oral histories from artists and critics reflecting on their work in the city, and setting new movements and key works in historical context. The final chapter, comprised of interviews and conversations with contemporary artists, brings the story up to the present, offering a look at the vibrant art being created in the city now and addressing ongoing debates about what it means to identify as—or resist identifying as—a Chicago artist today. The result is an unprecedentedly inclusive and rich tapestry, one that reveals Chicago art in all its variety and vigor—and one that will surprise and enlighten even the most dedicated fan of the city’s artistic heritage. Part of the Terra Foundation for American Art’s year-long Art Design Chicago initiative, which will bring major arts events to venues throughout Chicago in 2018, Art in Chicago is a landmark publication, a book that will be the standard account of Chicago art for decades to come. No art fan—regardless of their city—will want to miss it.
Named a Fall Pick by Boston Globe, ELLE, Library Journal and MyDomain An eerie debut collection featuring missing parents, unrequited love, and other uncomfortable moments A man hangs from the ceiling of an art gallery. A woman spells out messages to her sister using her own hair. Children deemed “bad” are stolen from their homes. In Hardly Children, Laura Adamczyk’s rich and eccentric debut collection, familiar worlds—bars, hotel rooms, cities that could very well be our own—hum with uncanny dread. The characters in Hardly Children are keyed up, on the verge, full of desire. They’re lost, they’re in love with someone they shouldn’t be, they’re denying uncomfortable truths using sex or humor. They are children waking up to the threats of adulthood, and adults living with childlike abandon. With command, caution, and subtle terror, Adamczyk shapes a world where death and the possibility of loss always emerge. Yet the shape of this loss is never fully revealed. Instead, it looms in the periphery of these stories, like an uncomfortable scene viewed out of the corner of one’s eye.