The School of the Art Institute of Chicago’s MFA Show is the culminating presentation of MFA candidates and an opportunity for new and ambitious work to be presented to the public. For more than six months, graduating MFA candidates work with a team of three distinguished Guest Curators and twelve Graduate Curatorial Fellows to envision the exhibition. This invested approach allows for dialogue, process, and collaborative decision-making to guide the curatorial teams as they work together with more than 100 participating artists to bring the MFA Show to fruition over time.
Julie Green: The Last Supper
For fifteen years, ceramicist and painter Julie Green has painted images of death row inmates' last meal requests in cobalt blue mineral paint onto second-hand ceramic plates. She intends to continue making fifty plates per year until capital punishment is abolished. Curated by Elliot J. Reichert
In the storage and transmission of digital information, compression is the process of consolidating data by eliminating non-essential elements. In an critical essay of the same name, curator and writer Tim Griffin applies the concept of ‘compression’ to recent contemporary art. Griffin observes that much contemporary art enacts “a kind of loss even while seeming to present an aesthetic experience entirely intact and whole.” As a form of data, how does a work of art convey an idea while also compressing it? Curated by Elliot J. Reichert.
Steichen | Warhol: Picturing Fame
Steichen ǀ Warhol: Picturing Fame examines the photographic legacies of Edward Steichen and Andy Warhol, two artists who shaped the visions and imaginations of generations of Americans through their iconic images of celebrities, fashion, and popular culture. Curated by Elliot J. Reichert.
Marwa Arsanios: Falling is not Collapsing, Falling is Extending
Drawing a parallel between two distinct narratives inBbeirut’s recent history, Marwa Arsanios’s research looks at the aftermath of the neoliberal project that took shape at the beginning of the 1990s, in the years immediately following the end of the Lebanese Civil War. Starting from a situation that remains present in the recent visual and political memory during the garbage crisis that began in 2014, this exhibition addresses the threatening long-term transformations that are brought about the system of late capitalism, and the local reverberations of this system on Lebanon’s environmental and sociopolitical reality. Curated by Marie Muracciole.
Allan Sekula: Photography at Work
Photography at Work shows the work of the late american artist Allan Sekula, an influential photographer, writer, filmmaker, theorist and critic who died in 2013. sekula’s works have been a unique reference in debates and conversations about photography, art and politics for over 40 years. Curated by Marie Muracciole.
Hassan Khan: The Portrait is an Address
Although Hassan Khan has a long and profound relationship with Beirut (starting with Akram Zaatari’s transit visa project in 2001 running through several editions of homeworks) The Portrait is an Address is his first solo exhibition in any context in this city. Curated by Marie Muracciole.
Unravelled is a group exhibition that deals with embroidery in contemporary artistic practice. organized in collaboration with the Palestinian Museum and co-curated by Rachel Dedman and Marie Muracciole, it brings together a number of widely-acclaimed international and regional artists.
Wangechi Mutu: A Fantastic Journey
Wangechi Mutu: A Fantastic Journey is a comprehensive and innovative exhibition of works by the international artist Wangechi Mutu—her first survey in the United States. Spanning the mid-1990s to the present, the exhibition unites more than 50 pieces, from the artist’s most iconic collages to rarely seen early works and new creations.
Terry Adkins: Recital
Recital brings together a selection of work from the past 30 years by artist and musician Terry Adkins. Combining sculpture and live performance, Adkins has described his approach to art-making as being similar to that of a composer. His sculptures re-purpose and combine a range of materials, such as fiberglass propellers, wooden coat hangers, parachute fabric, and a variety of musical instruments in a process that the artist calls “potential disclosure,” which aims to reveal the dormant life in inanimate objects. Curated by Ian Berry.