Friday, September 2, 2016 - 7:00pm to 11:00pm
Everything Must Go! Opens Septmber 2
Wicker Park says goodbye to its colorful history from the Lumpen Buddy days, to the Around the Coyote art fair and now the Double Door. Everything Must Go! reflects the selling of our neighborhood and with it our art and culture. This new wave of corporate colonization is being felt all over the city with Google’s tech boom in the West loop, displacing artists and galleries.
Historically Wicker Park was home to artists. By the late 70’s artists that were gentrified out of Old Town and Lincoln Park began settling there in large numbers. As more artists came they began to transform loft space into livable studios, storefronts became galleries, music venues, coffee shops, and bars. Roberto Lopez a native and long time superintendent of the Flat Iron Building said “Wicker Park wasn’t just a place, it was a state of mind.” At it’s peak was Around the Coyote that began in September of 1990, this art fair changed the cultural landscape by drawing tens of thousands of visitors--and hundreds of thousands of dollars--to the community. A victim of its own success, this new bohemia attracted economic investment. The neighborhood feared yuppies and "Lincoln Parkization." They recalled how the visual arts industry created a real estate boom on Manhattan's lower east side, that ended in the Tompkins Square anti-gentrification uprising of 1988. The community feared that Wicker Park’s unique ethnic and artistic diversity was at risk and that its growing popularity would lead to their displacement. “Anytime a community is discovered, the indigenous population is forced out and the new colonizers reap the benefits.” Theories of gentrification indicate that capital follows culture and identify artists as the main agents for gentrifying working class neighborhoods. Whatever pandered to the "commodification of the artist's lifestyle in the service of a real estate market" was fair game for protest wrote the Lumpen Times in the mid 90’s. Back then anti-gentrification groups and radical neighborhood activists printed flyers and used guerrilla tactics. They sabotaged businesses by gluing their doors shut, breaking windows, and spray painting “The Natives Are Restless” and "Gentrafux". Many people fought to keep the neighborhood but as time went on one by one they all left. The nail in the coffin came in 2012 when Wicker Park was featured by Forbes as one of the 5 hippest neighborhoods in the U.S.
Everything Must Go! speaks of the loss of authenticity and to a new era of political passiveness where people are carried by the wave. Over the past 15 years many artist and independent businesses have been priced out of Wicker Park. Heaven gallery that was established in 1998 in the Flat Iron building and in its current location for the past 16 years is one of the last stands that reflect the spirit of the old neighborhood.
Claire Molek and Heaven Gallery invite galleries and curators to rummage through works they have on hand, as a celebration of unique producers, and recalls the collective histories and togetherness of artist neighborhoods and street art fairs. Intersecting the boundaries between a clearance sale and an art fair, the exhibition further explores the magic of unknowable context, and what it means to encourage practice over product, or product over practice.
Galleries include Chicago Artists Coalition featuring work by Jaclyn Jacunski, Amina Ross, Sanaz Sohrabi, and curated by Teresa Silva; , The Franklin, featuring work by EC Brown, Jeremy Foy, Diana Gabriel, Jessica Harvey, Daniel Hojnacki, Kelly Reaves, James Jankowiak, Catie Olsen, Nicole Lane, Melissa Oresky, Victoria Martinez, Michael Rea, E. Aaron Ross, Luis Sahagun, Christopher Smith, Dan Sullivan and Edra Soto; Heaven Gallery, featuring work by Sarah and Joseph Belknap, Morgan Sims, Sarah Mosk, Annie Kielman, Soo Shin, Jessica Caponigro, Marissa Lee Benedict, Ilan Gutin, Lesley Jackson, and Arianna Petrich; , LVL3 featuring work from Allison Wade, Frances Roberts, Josh Reames, Paul Kenneth, Guy Conners, Matt Nichols, Marianne Wehr, Kate Bonner, Michael Rocco and Ruglio-Misurell; ,Woman Made Gallery, featuring work by Maira Egan, Juliet Eldred, Olivia Rogers, Renee Robbins, Tiffany Funk ,Sarai Redmond, Yevette Mayorga, Alessandra Hickman, Tonia Hughes, Michael Zhang, Lisa Vinebaum, Martha Morimoto, Vivian Le, Michelle Miller, and Annie Grossinger; ,Boyfriends Gallery featuring work by Kiam Marcelo Junio; ,Fernwey Gallery editioned prints and multiples and Co-Prosperity Sphere prints and books.
Curators include Claire Molek, featuring work by Ariel Baldwin, Banrei, Marcelo Eli, Julia Haw, Lindsey Liss, Stephanie Burke, Kira Scerbin, Lucy Ellerton, Steven Vainberg, and Xiao Tse Janice Bond, featuring work by David Anthony Geary, Una Delic, Sonja Henderseon, Zakkiyyah Naieebah, Martha Wade and Reisha.
Friday, July 15, 2016 - 7:00pm to 11:00pm
EXILE INSIDE OUT
Exile Inside Out is a group exhibition that brings together artists Soheila Azadi, Grace Cross, Sherwin Ovid, Soo Hyun Kim and Roni Packer to investigate the insurgent nature of the domestic sphere, which localizes the global. As immigrants to the United States we all inhabit the interstitial space between what is homely and what is (un-homely) uncanny. The home is an assumed incubator of gender roles, a space of security, and a site of insurrectionary praxis. The security that protects some citizens, is the same mechanism that misconstrues foreign bodies. Our show interrogates our permeable exilic existence governed by the insecurity of the benevolent nation-state. This show strives to bridge our space of belonging that breaches the borders of our twin homes both physically and ideologically.
The symbols and memories of the kitchen table, the families silverware, mother’s knitting, and the family photo-wall, make shifting recipes for artworks embedded in cross-spatial borders. From the ideological knitting with the slogan #madeiniran, that covers Azadi’s exercise balls, to Packer’s lush plate paintings that recreate her sister’s family meals cooked back in Israel; the artists in this show investigate the familiar in an unfamiliar guise. The material choices of each artist transgresses conventional artistic-material borders; like Ovid’s use of unruly, liquid resin and glue to create his poured paintings or Cross’s corporeal mixed-media, felted paintings, or Kim’s depiction of ephemeral dwelling material in his native Korean shanty town caught through the camera lens.
Ovid’s material curiosity is forged into visual composites of Trinidadian parlor interiors, delftware, and depression. His plethora of objects found in domestic spaces of leisure are painted as symbolic references of class and race. Trans-
Packer’s visceral paintings transport the viewer to a different location, into a space of nostalgia. Her reconstructed home meals, made of oil and panel, pivot the hyper local specificity of food to a public ingestion of longing. Packer’s work deals with the transmigration of images through the web, where locations and experiences can be shared in an instant. The substrate of paint and the charged content of exile cannot be separated because of their symbolic nature.
Exile Inside Out unearths the day to day living of the disenfranchised. The show grapples with physical and psychic struggle, with intimacy and desire for life between all of us, not settling for freedom even in the most private aspects of our lives. Kim’s visceral photographs document his mother’s makeshift home in Guryong Village, Korea, juxtaposed with photographs of his nuclear families urban Chicago living. His photographs collapse intimate moments of everyday life with the coarse urban milieu of city space, to emphasize the unspoken contradictions of places shaped by neo-liberal economic policy, and to reveal the private relationships of the home.
Azadi, a similarly displaced body, creates performative installations of potent social interactions, to investigate the separations embedded in Iranian and American society. She is a dedicated transnational feminist invested in granular political action that calls out gender and race inequality through interactive, spatial interventions that carve out space for dialogue.
The images throughout each artist’s practice, coalescing in the show, are talismans for a deep history, bringing transformative cultural wisdoms and materials that erode, uncover, excavate and perforate boundaries of the ‘homeland’. The foreigner lives within us: she is the hidden face of our identity, the space that wrecks our abode, the time in which understanding and affinity founder.
Friday, July 15, 2016 - 7:00pm to 11:00pm
Lesley Jackson and Matt Mancini
The city of Amarillo, also known as “The Yellow Rose of Texas,” was originally named after the wildflowers that grew in bounty along the countryside. The flowers flirted with the water in Amarillo Lake, turning the soil a cool yellow. Decades later, those open plains grew few and far between and a new nickname developed. Now known as “Bomb City,” Amarillo is home to the largest nuclear weapons assembly plant in the country.
A place romanticized in old country ballads, where all the cowboys longed to be, Amarillo is just like any other paradise, riddled with contradictions, unfulfilled promises, and much too hot to stand still.
Like a cowboy moving towards the sun, we too are profoundly restless, trying to escape wherever it is we find ourselves. We move around, never quite present, or we stay where we are and dream up what’s missing. We look to the past, back to the open plains, when the present seems too frightening.
So if paradise is eternally elsewhere, what are we supposed to do while we’re here?
Lesley Jackson is an artist living and working in Chicago. She graduated from The School of the Art Institute of Chicago with a BFA in 2013. Recently her work has been shown at Cornerstore Gallery, Born Nude Gallery (solo), and Nada New York with SPF15 Exhibitions. Forthcoming projects include a show at Efrain Lopez Gallery in December, and a solo exhibition with 4th Ward Projects in the Spring of 2017.
Matt Mancini was born in Philadelphia, PA. He currently lives and works in Chicago, IL. He recently completed his MFA from The School of the Art Institute of Chicago in 2014 and holds a BFA from Rutgers University. Forthcoming projects include a show at Julius Caesar. He has recently shown at Little Berlin in Philadelphia, Fernway Gallery, LVL3, Ballroom Projects, and Roots and Culture in Chicago.
Friday, June 24, 2016 - 7:00pm to Saturday, June 25, 2016 - 1:00am
Feeling nervous about the robot apocalypse? Is Ray Kurzweil's singularity nearer than we think?
Heaven Gallery celebrates 16 years with ROBOPOCALYPSE, the machine uprising party. Welcome to the future where the acceleration of technology causes an intelligence explosion, creating a new superintellengence that surpasses humans and Google robots take over the world.
The evening will feature a silent art auction and AI dance party, where you can dance your robotic fears away to the soulful beats of Ayana Contreras host/producer of Reclaimed Soul, on Vocalo.org (WBEZ), Jesse Andwich from Danny’s Nightmoves and Cordell Johnson & James Vincent (JV) Excursions House Music.
*Futuristic Attire Suggested*
Auction work by:
(Auction ends at 10pm)
Special thanks to Urban Belly, Big Star, Handlebar, Garfield's Beverage, Revolution Brewing, Perrier and Starbucks for donating to our event.
Friday, May 13, 2016 - 7:00pm to 11:00pm
Fanfare for the Times II New work by Lauren Edwards and Eric Watts
Opening Reception: May 13, 7-11PM
Fanfare for the Times
(a horn sounds)
"Narrators oversee - observe, approve, reject - a deja vu formed in new terms.
I, Narrator, having not seen the sun, the wind, the rain, nor the dust, am trying to embrace this way. The official looking thing, promising an exit (or an entrance) waves its sexy little body; just out of reach.
According to my calculations, the room I am looking for should be on the second floor. Walking the length of it and coming back, the corridor seems to have no way out. As I return to my point of departure, I set out again, this time slowing my pace, sticking close to the wall and following its scars with my fingers. This second attempt is no more successful than the first. However, since my first inspection, I noticed a door, covered with thick curtains, above which was written in crudely traced letters: Hello!"
In Fanfare for the Times, Lauren Edwards and Eric Watts use multiple sites of projection and architectural intervention to question distinctions between the real, the psychological, and the hypothetical.
LAUREN EDWARDS uses various strategies including installation, projection, and sculpture to create framing devices which question the relationships between experience, perception, and representation. She has exhibited in Chicago, Philadelphia, and New York. A recent recipient of the Provost Award for Graduate Research, Edwards will be attending the Institut für Alles Mögliche residency this summer in Berlin. She received her BS in Psychology from Northeastern University in 2004.
ERIC WATTS is a Chicago based artist working in moving image and installation. He received his MFA from the University of Chicago , and his BFA from The School of Visual Arts. In 2014 Watts was a resident artist for Winterjourney at The Banff Centre, Banff, AB and at The Klondike Institute of Art and Culture (KIAC) in Dawson, YT.
1550 North Milwaukee 2nd Floor, Chicago, IL 60622
Friday, January 29, 2016 - 7:00pm to 11:00pm
What is the Message
Works by: Deborah Boardman, Howard Fonda, Jackie Kazarian, Sabina Ott, Diane Christiansen, Ryan Richey, Jin Lee, Jeroen Nelemens, Ellen Rothenberg, Dianna Frid, Laurie Palmer, Paola Cabal, Jackie Kazarian, Wendy Mason, Edra Soto, Barbara Koenan and Dan Sullivan
Year-by-year, Boardman (1958 - 2015) recorded her experiences in drawings and journals, exploring the dimensions of the artist’s daily life and dream life through depictions of her studio, family, friends and introspective free writing. Painted blue text on the last page in her notebook dated August 2015 sums it up powerfully: “What is the message – How can I share it with others?”
A collective survey of the work of Deborah Boardman as chosen by other artists, this exhibition will consider her career through a selection of works specifically assembled for the Heaven Gallery spaces. Featuring her work alongside that of her friends and peers, It is an important first consideration of Boardman’s work to date, and through it, we can only begin to understand the genesis of her creativity over three decades.
The crux of the exhibition is that it locates her work within her broader milieu as she defined it prior to her passing. How does an artists’ work emerge from the social fabric that is an art community? Perhaps this constellation of works will reveal some ways that her artistic goals, values and ideas were punctuated and shaped by those in her orbit; and in turn we will begin to map the ways that she was a catalyst in the creative production of others. Through artwork, we will visualize a community.
In a career spanning nearly 30 years, artist Deborah Boardman developed bodies of work across painting and drawing, installation, writing, environmental sustainability projects and sound/video. An educator, she influenced hundreds of artists, some of whom became her collaborators. Through it all, she has become especially known for her singular approach to color and pattern as a vehicle for emotional content and narrative potential, as well a uniquely gestural approach to mark making and hand lettering. As critic Lori Waxman wrote, her recent work has grappled with the unseen and ineffable, articulating “what life looks like in that gracious limbo between life and death.”
Friday, December 11, 2015 - 7:00pm to 11:00pm
Work By: Assaf Evron, Robert Burnier, Sarah Mosk, Josue Pellot, Todd Mattei, Ron Ewert, Vae Lee, Christopher Ottinger, Sarah and Joseph Belknap, Kevin Buzzell and Jason Knight
Many towns in American have what is known as a “Dead Man’s Curve” —a fatal stretch of bent road. These perilous trajectories can also be wildly thrilling. “You won’t come back from Dead Man’s Curve,” warns the chorus of a 1960’s drag racing song by Jan and Dean. The saying “live fast and die young and leave a good looking corpse” became a part of pop culture through the film Knock at Any Door (1949). Similar expression can be found in the works of Nietzsche who believed in deliberately living dangerously and dying young.
No one embodied this archetype better than James Dean. A month after his infamous car crash his film Rebel Without a Cause opened to packed theaters. After only three films Dean became a symbol for rebellion and narcissism. Andy Warhol said it best: “He’s not our hero because he was perfect, but because he perfectly represented the damaged, but beautiful soul of his time.” In music this theme appears both in rock & roll and in hip hop. Rappers are immortalized for dying early and being gangster. Rockers, like Morison, Joplin, and Cobain, became part of the “27 Club” for the age they died at; mostly from drugs.
Risk taking and narcissism have become synonymous with the new YOLO (You Only Live Once) mentality. Climate change has produced apocalyptic pop and has fully revived the nihilistic “live fast, die young” mantra. The message is that we should party cause the world is going to end anyway. YOLO can be seen as a more hedonistic version of “carpe diem”, which is Latin for “pluck the day as it is ripe”. This philosophy goes back to ancient Greece where people never had the notion of a “human being”, but rather of “mortals and immortals”. If you dig deep enough you can find this mindset as early as 6th century B.C. in the teachings of Lao Tzu. “The flame that burns twice as bright burns half as long.”
60 years after James Dean’s death his crash site remains an altar littered with cigarettes, beers, and bras. Dead Man’s Curve is a metaphor for living in reckless abandon. This glamorized death show investigates what it means to live dangerously, to tempt fate, and to die beautiful.
Friday, October 23, 2015 - 7:00pm to 11:00pm
Everyone knows and everyone knows that everyone knows and everyone knows that everyone knows that everyone knows and so on.
Anaïs Daly executes an adept kind of continuity drift, one in which what we know and what we are given to know at the beginning is unclear at the end. In a series of mixed media paintings she provides the substrate for formal language, with meaning grounded in symbols drawn from the history of painting. Anaïs builds upon this base with an inquisitive structure that puts those foundational symbols together in a manner that causes their meaning to begin to unravel, making it difficult for each to contain its full sense and context. Anaïs picks apart syntax by pulling together a web of fragmented representations; the body, the land, the hand, the beast, the column. What is formally familiar in these works acts to obfuscate meaning, which has been manipulated by Anaïs in the process of developing a method for using language to do more than describe the world. Under her direction description is agile and compositions comprised of many parts confront the limitations of ever becoming a whole.
Andrew Barco begins with a misunderstanding, and moves forward from the site of the error without attempting to resolve what has been misunderstood. Drawing from common knowledge and operating as an authority through the use of academic voice, Barco takes advantage of the conceptual disorder instigated by a polysemantic relationship. From this point he constructs objects in response to a world defined by an unstable history and fortified by his misinterpretation. In this instance two mechanical objects that exemplify the word drone become one—a Predator Drone and a Hurdy-gurdy. The resultant machine is a drone that drones. Barco uses the structure of a Predator drone, the design and purpose of which is remote operation that allows distance between the user and the execution of actual violence. Inside this structure is the mechanism of a Hurdy-gurdy, an instrument that requires the expertise of a present operator to make an ancient sound. This object created from his misinterpretation gives an opportunity to consider the history and application of both objects on a new scale.
Anaïs Daly is an artist, mother and teacher living and working in Chicago. She is a recent recipient of a teaching fellowship at the University of Chicago, A 7 week residency at the Banff Centre and a residency at Acre, Chicago. Her work has or will appeared at Heaven, Chicago, IL, The Hills Esthetic Center, Chicago, IL, Banff Centre for the Arts, Banff, Canada, The Chicago Exposition 2014, The Logan Center for the Arts, Chicago, IL, Dova Temporary, Chicago, IL, Johalla Projects, Chicago, IL among other Chicago locations. Her work has also shown nationally in multiple venues in New York, Miami, Boston, and Atlanta.
Andrew Barco is an object, installation and performance maker based in Chicago, Illinois. His work is concerned with the often strange and improbable ways ideas and habits can be transmitted across cultural landscapes and through time. With an MFA in sculpture from the School of the Art Institute of Chicago, Andrew’s work uses craft and industrial histories, quirky and edgy relational gestures, and philosophical inquiry to create affective and thoughtful encounters. His work has been featured in group exhibitions in Durham NC, Baltimore MD, Hartford, CT, and Chicago, IL, New Orleans, LA. Solo exhibitions include: “Imminence: A Life” at Threewalls, in Chicago, IL (2014), “Oblique Negotiations” at the Fivesevendell Project Space in Boston, MA (2010) and “Passion for the Real” at West Village and “Sonnets to Orpheous” at Transom Gallery in Durham, NC (2007).
Kate Bowen is an artist, curator, and teacher living and working in Chicago. She is the Video Programming Coordinator at the Museum of Contemporary Photography and Exhibitions Director for ACRE. She is a lecturer at the Illinois Institute of Art and a Teaching Artist with Picture Me and After School Matters. She received her MFA in Photography from Columbia College Chicago in 2011.
ACRE (Artists’ Cooperative Residency and Exhibitions) is a volunteer-run non-profit based in Chicago devoted to employing various systems of support for emerging artists and to creating a generative community of cultural producers. ACRE investigates and institutes models designed to help artists develop, present, and discuss their practices by providing forums for idea exchange, interdisciplinary collaboration, and experimental projects.
Friday, September 11, 2015 - 7:00pm to 11:00pm
September 11 - October 18, 2015 Opening Reception: 7-11pm, Friday September 11th. "The sky above the port was the color of television tuned to a dead station." -William Gibson, first line of Neuromancer We never see the natural world exactly as it is; we see it as we hope it will be or fear it might be. Chrome Green features contemporary artists who engage with nature and explores how different minds experience and relate to their natural environment in an era of technological wonders and ecological anxiety. Chrome Green is curated by James Kao and Laura Mackin and features the following artists: Andrew Chuani-Ho Shawn Decker Pamela Feldman Howard Fonda Jo Hormuth Isabella Kendrick Lilly McElroy David Robbins Nathaniel Robinson Claire Sherman ANDREW CHUANI-HO’s color pencil drawings depict everyday scenes populated with anthropomorphized animals. A blue dog dressed in a No. 33 Knicks jersey, a disguised depiction of the artist, plays protagonist. Chuani-Ho uses this dog as self-portrait to portray human identity through a symbolic and animalistic lens. SHAWN DECKER's electro-acoustic audio installation recreates naturalistic sounds with electronic equipment. Speakers and metal rods vibrate with sounds that make visual a familiar, natural environment and immerse his audience in an illusion of peaceful nature—one that is both observed and felt. PAMELA FELDMAN produces natural dyes from plants and fixes the otherwise ephemeral, natural colorants to woolen yarn. Feldman weaves her colors together on a loom in her studio that overlooks her garden of dye plants. “For me,” Feldman says, “the art of making color and the process of weaving with those colors represent a record of my existence.” HOWARD FONDA's paintings explore the experience of nature with emotional intensity. In Fonda’s abstract paintings, clump-like arrangements of color suggest forest landscapes that hover at the edge of formlessness. In JO HORMUTH’s multi-panel color installations, each monochrome photograph represents a small section of a plant, distilling the natural color. Light refracting through face-mounted acrylic produces a gem-like glow. ISABELLA KENDRICK appropriates images of cows from cattle catalogs, where the vernacular photography captures each animal with precise uniformity. Kendrick composes groupings of these images in systematic sequences that suggest a framework of meaning and sense-making that liberates the cows from their context as commodity. LILLY MCELROY’s photographs and videos investigate our instinct to control. With a sense of playfulness, McElroy enacts fantasies of control over natural phenomenon. In Pushing Down a Sapling, a dual video, McElroy violently hurls herself at a tree until she and her inert opponent are both visibly damaged. DAVID ROBBINS produces videos that, unlike most television, put visuals ahead of story. In The County Line (2011/2015), Robbins animates musing conversations from a camping trip, in a video that blends recorded footage with images and text. Another series of videos appropriates the format of public service announcements to alert us to aspects of our constructed reality. These short and punchy videos question cultural precepts about the imagination, the garden, the avant garde, and the suburbs. Questions about the nature of knowledge and observation form a continuous undercurrent in NATHANIEL ROBINSON’s work. Repose (2015), a cast resin sculpture resembling an architectural model, depicts a simple building beside two piles of a granular substance, similar to dirt. The title alludes to the angle of repose theory, a method for calculating the shape a pile of granular material will assume depending on its density, surface area, and friction. The pile’s form is dictated by its nature. CLAIRE SHERMAN makes large-scale landscape paintings of unoccupied nature that express its sublime and fearsome beauty. Sherman’s Dirt paintings suggest claustrophobic views of a tumultuous natural world. The paintings’ weighty materiality and poverty of color evoke a sense of brooding dread.
Friday, June 26, 2015 - 7:00pm to 11:00pm
Document and Heaven Gallery are pleased to present Works on Floor, a group exhibition by artists Laura Letinsky, Nazafarin Lotfi and Suara Welitoff. The artworks in Works on Floor focus on themes of time, death, and the body, and its influence on sculptural and video based works. The term “Lay to rest” evokes a stoppage of that unknown time, a burying of an object, a thing eventually brought to a close. The works in the exhibition consist of handmade white porcelain urns (Letinksy), neutral paper-mache forms (Lofti) and looping black and white appropriated clips of vintage films (Welitoff). The absence of color in the exhibition heightens the sparse installation and lends itself to a fading or fleeting image that occurs over a duration. The title of the exhibition plays on the term “Works on Paper” usually referring to drawings, watercolors, prints, posters, or photographs which are generally seen as less significant works in relation to painting and sculpture. In metaphorically removing the wall and placing works on the gallery floor, can ceramic, paper, and film hold a relationship that normally is seen as very separate? The exhibition consists of six parallel 4’x8’ white wood panels laid directly on the floor of the gallery acting as blank frames for the works to lay and create minimal dioramas. The floor panels are split into two groups of three, half in the east gallery and half in the west gallery and run perpendicular to the diagonal wall that separates the two spaces. Taking works that are normally hung on a wall or propped up on a waist high pedestal and laying them to rest on the floor allows the wall works and pedestal works to lay, lean, and interact in a way that normally would be separated by the gallery space itself. Laura Letinsky (Canadian, b. 1962) received her BFA from the University of Manitoba, 1986, and her MFA from Yale University School of Art, 1991. Previous shows include the Getty Museum, Los Angeles; The Canadian Museum of Contemporary Photography; Ill Form and Void Full, Museum of Contemporary Art, Chicago; The Photographers Gallery, London; Laura Letinsky: Still Life, Denver Art Museum, CO; Museum of Modern Art, New York; and The Renaissance Society, Chicago. Collections include the Art Institute of Chicago; Hermes Collection, Paris, France; The Microsoft Art Collection, Seattle, WA; The AMon Carter Museum; The John Paul Getty Museum, Los Angeles; The Musee de Beaux-Arts, Montreal, QUE; The Museum of Fine Art, Houston, TX; and The San Francisco Museum of Modern Art. Letinsky is a Professor at the University of Chicago, Department of Visual Arts. Nazafarin Lotfi (Iranian, b. 1984) received her MFA from the School of the Art Institute of Chicago in 2011 and her BA from the University of Tehran in 2007. Lotfi’s work has been included in exhibitions nationally and internationally, including Italy, South Korea, Hungary, Germany, and Iran. Recent exhibitions include Poiesis at Fenrwey Gallery, Chicago, IL; White Light at Andrew Rafacz Gallery, Chicago, IL; Pattern Recognition at Ana Cristea Gallery, New York City, NY; and Not Safe for Work at DUVE Berlin, Berlin, Germany. Suara Welitoff (b. 1951, Jersey City, NY) lives and works in Cambridge, MA. Welitoff has shown work nationally at Barbara Krakow Gallery, Boston, Institute of Contemporary Art Boston, Tony Wight Gallery, Chicago, the De Cordova Sculpture Park and Museum, and the Museum of Fine Arts Boston. She has shown in group shows around the world in Milan, Frankfurt, Berlin, Los Angeles, and New York. She is a recipient of the Louis Comfort Tiffany Foundation Award, the Rappaport Prize, the Maud Morgan Prize and is in the Collection of the Boston Museum of Fine Arts, Worcester Art Museum and Deutsche Bank New York.