One of the jewels in the crown of Chicago’s most beloved museums and attractions is the iconic Art Institute of Chicago. On any day at the Art Institute, there’s pretty much always something to see for even the most skeptical and uninitiated of art-viewers, and this fall is no exception.
Carissa Rodriguez: Still from The Maid, 2018
Ending September 7, 2020
In addition to the presentation of New York-based artist Carissa Rodriguez’s film The Maid, this exhibition also features a film piece called The Girls, as well as the photographic work All the Best Memories Are Hers. According to the Art Institute website, these three works are “metaphors of creation, reproduction, and the passage of time.”
Malangatana: Mozambique Modern
Ending November 16, 2020
An exhibit which includes dozens of paintings, this “first solo exhibition of a modern African painter at the Art Institute” displays the singular style of Malangatana Ngwenya (known by most as simply Malangatana), highlighting his work from 1959 to 1975.
Noda Tetsuya: My Life in Print
Ending December 6, 2020
My Life in Print includes selections from a series of prints created by Japanese artist Nora Tetsuya— he began in the 60s and has yet to finish the series. The prints, which “are created through a unique and multilayered method” developed by Tetsuya, are over 500 in number.
Adornment: Jewelry of South Asia’s Nomadic Cultures
Ending January 9, 2021
This collection of “adornments” is more than just lost pairs of earrings and forgotten necklaces. The jewelry of nomadic tribes such as those that roamed Afghanistan, Pakistan, and India in the 19th and early-20th centuries held tremendous meaning in regards to “tribal affiliation, personal wealth, spiritual beliefs, and cultural heritage,” according to the Art Institute website. The pieces here also served a variety of practical functions related to health and wellness.
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Postcommodity: With Each Incentive
Ending September 7, 2020
Postcommodity is an arts collective comprising Cristóbal Martínez and Kade L. Twist, their project for the Art Institute is just the latest addition to a body of work whose content deals with issues of community destabilization and Indigenous cultural identity. The project, With Each Incentive, “reimagines the Bluhm Family Terrace as a stage for Chicago’s architectural future and contemplates how it might be transformed by the current way of Indigenous American refugees from Mexico and Central and South America.”
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Featured Image Credit: Art Institute Chicago
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