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<DIV class=attachment_image_caption><SPAN class="attachment_image full_caption"><SPAN class=title>Kerry James Marshall: <EM>Untitled (Painter)</EM>, 2009Acrylic on PVC; 44 5/8 x 43 1/8 x 3 7/8 in. (113.4 x 109.5 x 9.8 cm).Collection Museum of Contemporary Art Chicago, gift of Katherine S. Schamberg by exchange, 2009.15© 2009 Kerry James Marshall</SPAN> <SPAN class=photo_credit>Photo: Nathan Keay, © MCA Chicago</SPAN></SPAN></DIV>
Kerry James Marshall: Untitled (Painter), 2009
Acrylic on PVC; 44 5/8 x 43 1/8 x 3 7/8 in. (113.4 x 109.5 x 9.8 cm).
Collection Museum of Contemporary Art Chicago, gift of Katherine S. Schamberg by exchange, 2009.15
© 2009 Kerry James Marshall

Photo: Nathan Keay, © MCA Chicago
Kerry James Marshall: Mastry
CHICAGO, UNITED STATES  •  Museum of Contemporary Art, Chicago  •  23 April - 25 September 2016
 

The MCA is honored to present a major museum survey of Kerry James Marshall (b. 1955), one of America’s greatest living artists. The exhibition focuses primarily on Marshall’s paintings made over the last 35 years, from his seminal inaugural statement Portrait of the Artist as a Shadow of His Former Self (1980) to his most recent explorations of African American history.

Born before the passage of the Civil Rights Act, in Birmingham, Alabama, and witness to the Watts riots in 1965, Marshall has long been an inspired and imaginative chronicler of the African American experience. Best known for his large-scale paintings featuring black figures, defiant assertions of blackness in a medium in which African Americans have long been “invisible men,” Marshall’s interrogation of art history covers a broad temporal swath stretching from the Renaissance to 20th-century American abstraction. He critically examines the Western canon through its most canonical forms: the historical tableau, landscape, and portraiture. His work also touches upon vernacular forms such as the muralist tradition and the comic book, as seen in his comics-inspired Rythm Mastr drawings (2000–present), in order to address and correct the “vacuum in the image bank”—in other words, to make the invisible visible.

Marshall studied in Los Angeles with acclaimed social realist painter Charles White and participated in the residency program at the Studio Museum in Harlem. He has received solo exhibitions throughout Europe and North America and his work has been included in such prestigious international exhibitions as the 1997 Whitney Biennial, the 2003 Venice Biennial, the 2009 Gwangju Biennial, two Documentas (1997 and 2007), and the 1999 Carnegie International. His paintings are in private collections and foundations as well as major public collections including the MCA’s.



Museum of Contemporary Art, Chicago Website


Contact:
Museum of Contemporary Art, Chicago
220 E Chicago Avenue
Chicago, IL 60611

Tel: (1) 312 280 26 60

Unidentified artist, active in South America. <EM>Saint Francis Xavier</EM>, 18th centuryCarl and Marilynn Thoma Collection.
Unidentified artist, active in South America. Saint Francis Xavier, 18th century
Carl and Marilynn Thoma Collection.
Doctrine and Devotion: Art of the Religious Orders in the Spanish Andes
CHICAGO, UNITED STATES  •  Art Institute of Chicago  •  19 March - 25 June 2016
 
 
Presenting 13 paintings by South American artists from the 17th through 19th century, this focused exhibition introduces visitors to images promoted by several Catholic orders at work in the Spanish Andes—the Dominicans, Franciscans, Mercedarians, and Jesuits—examining the politics of the distinct iconographies each group developed as they vied for devotees and dominion.

Francisco Pizarro arrived in Peru with a mandate from Charles V to impose Spanish law and order, as well as the Roman Catholic religion, upon the indigenous Inca society that he encountered. The enormous task of converting the indigenous peoples of Spain’s overseas territories to Christianity fell largely to missionaries from several religious orders rather than parish clergy. For a native population that had no written language tradition, the missionaries relied heavily on works of art to illustrate their sermons and lessons and help them gain converts.

In the wake of the Protestant Reformation, the Catholic church embraced the use of images both as pedagogical tools and instruments of devotion, and the religious orders in South America relied on them in similar ways—as didactic materials employed in the teaching of new converts, and in later years as a means of spreading devotions specific to their own interests. While their ultimate goals were the same, each religious order promoted images specific to their own histories, identities, and goals. This exhibition explores examples of the iconographies that were particular to each group.

Art Institute of Chicago Website


Contact: 111 S Michigan Avenue
Chicago, IL 60603

Tel: (1) 312 443 36 00

Vincent van Gogh: <EM>The Bedroom</EM>, 1889. Musée d’Orsay, Paris, sold to national museums under the Treaty of Peace with Japan, 1959.
Vincent van Gogh: The Bedroom, 1889. Musée d’Orsay, Paris, sold to national museums under the Treaty of Peace with Japan, 1959.
Van Gogh's Bedrooms
CHICAGO, UNITED STATES  •  Art Institute of Chicago  •  14 February - 10 May 2016
 
Vincent van Gogh’s bedroom in Arles held special significance for the artist, who created three distinct paintings of this intimate space from 1888 to 1889. This exhibition—presented only at the Art Institute of Chicago—brings together all three versions of The Bedroom for the first time in North America, offering a pioneering and in-depth study of their making and meaning to Van Gogh in his relentless quest for home.

Art Institute of Chicago Website


Contact:

Art Institute of Chicago
111 S Michigan Avenue
Chicago, IL 60603

 

 


Tel: (1) 312 443 36 00



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