In the 17th century, Kyoto, Osaka, and Edo (now Tokyo) were Japan’s thriving cities, complete with bustling entertainment districts where ukiyo, or the “floating world,” was born. People of all ranks shared in the enjoyment of the floating world’s attractions—brothels, kabuki theater, and seasonal festivities. Artists of the period captured this popular phenomena in ukiyo-e, or “pictures of the floating world.” Over the last 25 years, Roger Weston has assembled an outstanding collection of ukiyo-e paintings—masterpieces by the most famed artists of the day. This exhibition, the first public showing of his comprehensive ukiyo-e painting collection in the United States, showcases the sheer beauty of floating world painting and offers an exclusive view of the urban amusements of early modern Japan.

In contrast to ukiyo-e woodblock prints, which were created in multiples and consequently well circulated, ukiyo-e paintings were one-of-a-kind works commissioned from the same artists celebrated for their prints, including Katsushika Hokusai and Kitagawa Utamaro. Lavish and unique objects, the paintings were conceived in various forms—folding screens, hanging scrolls, handscrolls, and albums—and emphasize the makers’ talent and technical skill. Until recently, these compelling works were not often collected in large numbers outside of Japan, making the quality and range of the Weston Collection all the more extraordinary.

The Art Institute of Chicago presents the first major exhibition dedicated solely to the groundbreaking Hairy Who. This self-named, self-organized group of six artists—Jim Falconer, Art Green, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum—all came of age in Chicago, graduated from the School of the Art Institute, and began exhibiting at the Hyde Park Art Center in the late 1960s. In 1966–68, they organized a series of three exhibitions there with input and assistance from then-director Don Baum. In 1968–69, three subsequent shows were mounted across the United States—one at the San Francisco Art Institute, organized by Phil Linhares; one at the School of Visual Arts, New York, organized by Shirley Glaser; and one at the Corcoran Gallery at DuPont Center, Washington, DC, organized by Walter Hopps.

These gonzo displays of bright, bold, graphic work—made with unconventional media on novel supports—were full of personal symbolism which challenged prevailing notions of gender, sexuality, standards of beauty, and social mores. Transforming the landscape of art in Chicago, The Hairy Who’s distinct aesthetic brought the city immense national attention.

Presented on the 50th anniversary of their final Chicago show, The Art Institute’s major survey exhibition and publication feature key works as well as archival ephemera contextualizing the group’s creative process, working methods, and the social and political milieu in which they made their art.

Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603