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    An Exhibition Celebrates the Self-Taught Immigrant Artists Shaping Chicago

    Alfonso “Piloto” Nieves Ruiz, , born Querétaro
    Mexico, 1975, “In the name of progress,” (2017), mixed media, 69 5/8 x 26 x 24 inches. Photo by Photo by Lisa Lindvay
    . All images courtesy of Intuit Art Museum, shared with permission

    An Exhibition Celebrates the Self-Taught Immigrant Artists Shaping Chicago

    May 23, 2025

    ArtSocial Issues

    Grace Ebert

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    Built on the traditional homeland of the Sauk, Fox, and Potawatomi peoples, Chicago is a city of immigrants. Just 13 years after the city was incorporated in 1837, more than half of its residents were born overseas, having flocked to the region from across Europe and Asia alongside tens of thousands of others. Today, Chicago is home to 1.7 million immigrants, totaling 18 percent of the population.

    The inaugural exhibition at the newly renovated Intuit Art Museum celebrates this history by bringing together 22 artists with ties to the city. Comprised of 75 works across mediums, Catalyst: Im/migration and Self-Taught Art in Chicago highlights those who worked in the Midwest and established their practice outside the traditional art world models.

    Carlos Barberena, born Granada, Nicaragua, 1972, “Exodus” (2019), linocut on HW Rives paper, edition of 25, 24 x 19 inches

    Intuit is a longstanding champion of self-taught artists. Established in 1991, the museum has recognized the incredible creative contributions of those operating outside the mainstream due to economic, societal, or geographic reasons.

    One such artist is Henry Darger, who worked as a hospital custodian by day and produced an enormous collection of drawings, watercolor paintings, and cut paper works only discovered after his death. While Darger’s works now sell for prices in the high six figures, his story is unique. Historically, self-taught artists don’t often attain the critical or financial recognition of their traditionally trained peers.

    Catalyst comes at a particularly relevant moment in the U.S., as immigrants are under increasing threat. Spotlighting works with a wide array of topics and approaches, the exhibition creates a sort of contemporary tapestry of those shaping Chicago’s cultural landscape since the mid-20th century. The show intends to highlight “artists deserving of greater attention, while posing questions about access to the art world and how art comes to be defined and valued,” a statement says.

    Included are four impeccably detailed paintings by Drossos P. Skyllas (1912-1973), an Ottoman-born artist known for his enchanting hyperrealistic portraits. Charles Barbarena works with a similar devotion to precise mark-making in his portraiture. The Nicaraguan artist creates linocuts that frame instances of trauma and adversity with elaborate floral motifs, his depictions of people continually harnessing compassion and resistance.

    Drossos P. Skyllas, born Kalymnos, Ottoman Empire (now Greece), 1912-1976, “Greek Bishop” (c. 1967), oil on canvas, 65 x 41 1/2 inches

    Found object and mixed-media sculpture features prominently, too. The soaring miniature cathedral by Charles Warner, for example, interprets the sacred spaces of his childhood in Prussia through hand-carved wood and pastel paint. There’s also the figurative assemblage of Alfonso “Piloto” Nieves Ruiz, who sculpts a rendition of the Statue of Liberty. With a torso of unidentifiable hands caked in soil and detritus at her feet, Piloto’s “In the name of progress” complicates the symbol of freedom.

    Catalyst is on view through January 11, 2026.

    Charles Warner, born Prussia (now Poland), 1884-1964, “Cathedral III” (c. 1955) mixed media, 48 1/16 x 16 1/8 x 20 7/8 inches. Photo by Mark Widhalm

    Charles Warner, born Prussia (now Poland), 1884-1964, “Cathedral III” (c. 1955) mixed media, 48 1/16 x 16 1/8 x 20 7/8 inches. Photo by Mark Widhalm

    Photo by Lisa and Nick Albertson

    María Enríquez de Allen, American, born Allende, Mexico, 1907-1999, “Untitled (New life goat skull)” (1997), mixed media, 8 ¾ x 7 x 10 ½ inches. Photo by Lisa Lindvay

    Marion Perkins, American, born Marche, Arkansas, 1908-1961, “Untitled (Wire head)” (c. 1955), steel wire, 19 x 12 x 13 inches. Photo by Lisa Lindvay

    Bronislaw “Bruno” Sowa, American, born Lubomierz (Poland), 1915-1995, “Untitled” (1994), oil on board in carved pyrography frame with glass jewels, 33 x 24 x 1 1/4 inches. Photo by Lisa Lindvay

    Photo by Lisa and Nick Albertson

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    A Rippling Townhouse Facade by Alex Chinneck Takes a Seat in a London Square

    Photos by Charles Emerson. All images courtesy of Alex Chinneck Studio, shared with permission

    A Rippling Townhouse Facade by Alex Chinneck Takes a Seat in a London Square

    May 22, 2025

    ArtDesign

    Kate Mothes

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    It takes a real knack for design to make something as hefty and industrial as steel and bricks appear weightless or even playful. But British artist Alex Chinneck (previously) is no stranger to monumental projects that reimagine urban infrastructure and buildings into striking public installations.

    As part of London’s Clerkenwell Design Week, Chinneck unveiled “A week at the knees,” a new sculpture in Charterhouse Square that takes its cue from an iconic predecessor. The artist installed the “From the Knees of my Nose to the Belly of my Toes” in 2013 on a dilapidated townhouse in Margate, appearing as though the entire front of the building had simply slid right off. On view through June in London, his new work boasts a frame made from 320 meters of repurposed steel and 7,000 bricks.

    “A week at the knees” playfully anthropomorphizes a classic Georgian facade, with its lower two levels rippling over a pathway as if seated in the park with its knees up. London is famous for its green squares and gardens, and Chinneck’s work invites visitors to pass through a unique portal that calls upon the history of its surroundings, complete with downspout and lamps flanking the arched front door.

    Chinneck fabricated the sculpture in collaboration with numerous British companies to source and create bespoke steel beams, curving windows, and bricks. At five meters tall and weighing 12 tons, the piece mimics a life-size building while sporting a thickness of only 15 centimeters. The effect lends itself to the experience of a hefty, architectonic structure with a graceful, lightweight personality.

    Explore more on Chinneck’s website and Instagram.

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    Through Fairy Lights and Butterflies, Chiharu Shiota Tethers Presence and Absence

    “Metamorphosis of Consciousness” (2025), mixed media, dimensions variable. All images courtesy of Red Brick Art Museum

    Through Fairy Lights and Butterflies, Chiharu Shiota Tethers Presence and Absence

    May 22, 2025

    Art

    Grace Ebert

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    In one of the foundational texts of Taoism, Chinese philosopher Zhuang Zhou recalls a dream in which he was a butterfly, soaring through the sky with no recollection of his human form. Upon waking, though, he finds himself firmly in a bipedal body, prompting an important question: is he a butterfly dreaming he’s Zhuang Zhou or a man dreaming he’s a butterfly?

    This ancient story of transformation and the thin line between states of mind informs a dazzling new installation by Chiharu Shiota (previously). “Metamorphosis of Consciousness” suspends glimmering lights and faint butterfly wings above an iron-framed twin bed topped with a white blanket and pillow. Rejecting the strict separation between body and mind, Shiota references her belief in the spirit’s ability to endure long after one’s final breath. “While each time we slip into sleep, it is a rehearsal for death—a journey beyond the body,” she says.

    “Metamorphosis of Consciousness” (2025), mixed media, dimensions variable

    Exemplary of the artist’s interest in memory and knowledge, “Metamorphosis of Consciousness” is just one of the immersive works in the monumental exhibition Silent Emptiness at Red Brick Art Museum in Beijing.

    On view through August 31, the show revolves around Shiota’s ongoing explorations into the “presence in absence,” this time extending such inquiries into ideas of emptiness as it relates to Eastern philosophy and enlightenment.

    Included in the exhibtion is an antique Tibetan Buddhist doorway that anchors “Gateway to Silence,” an explosive installation that entwines the elaborately carved wood structure in a dense, criss-crossing labyrinth of string. Red thread, one of the artist’s favored materials, symbolizes relationships. And in this case, it’s an invitation to introspection and finding an awareness of the present moment.

    Metaphorically interlacing art, memory, and faith, Shiota very literally visualizes the intextricable web in which we’re all bound, regardless of geography or era. Pieces like “Echoes of Time” and “Rooted Memories” incorporate materials like soil and large stones, presenting the passage of time as cyclical and the past as always shaping the present.

    Detail of “Gateway to Silence” (2025), antique porch and red wool, dimensions variable

    Born in Osaka, the artist has lived in Berlin for much of her life, and Silent Emptiness also tethers her roots to more global experiences. Shiota likened her understanding of herself to the way salt molecules appear as crystals only after water evaporates. “I was not visible as an individual in Japan,” she says. “Whereas I did not know who I was, what I wanted to do, and what was necessary in the water, I feel that I became an individual and crystal, and understood those things for the first time by coming to Germany.”

    Another example of finding presence in absence, Shiota’s migration and experience of discovery provides an important touchstone for her thinking and practice. She adds, “Absence does not signify disappearance but rather an integration into a vaster universe, re-entering the flow of time and forming new connections with all things.” (via designboom)

    “Gateway to Silence” (2025, antique porch and red wool, dimensions variable

    Detail of “Gateway to Silence” (2025, antique porch and red wool, dimensions variable

    Detail of “Metamorphosis of Consciousness” (2025), mixed media, dimensions variable

    “Rooted Memories” (2025), red rope, boat, and earth, dimensions variable

    “Rooted Memories” (2025), red rope, boat, and earth, dimensions variable

    Detail of “Rooted Memories” (2025), red rope, boat, and earth, dimensions variable

    “Multiple Realities” (2025), mixed media, dimensions variable

    “Echoes of Time” (2025), black yarn and rock, dimensions variable

    “Echoes of Time” (2025), black yarn and rock, dimensions variable

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    A Unique Portfolio of Hilma af Klint’s Botanical Drawings Communes with Nature’s Spiritual Side

    “Woodrush, Viola, Golden Saxifrage, Field Horsetail, Marsh Marigold, Lesser Celandine, Sedge (Frylet, Violen, Gullpudran, Åkerfräknet, Kabelöken, Svalörten, Starrgräset)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, and ink on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 9/16 inches. All images courtesy of The Museum of Modern Art, New York, shared with permission

    A Unique Portfolio of Hilma af Klint’s Botanical Drawings Communes with Nature’s Spiritual Side

    May 21, 2025

    ArtHistoryNature

    Kate Mothes

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    With the Industrial Revolution in full swing at the turn of the 20th century, jobs and opportunities attracted people to burgeoning cities. New technologies were being developed at breakneck speed and discoveries within the natural sciences introduced people to invisible yet potent concepts like radio waves and X-rays.

    During this period of social transformation, philosophical or occult religious movements like Spiritualism and Helena Blavatsky’s Theosophy offered ways to not only connect within a like-minded community but to explore the afterlife—the so-called spirit world—and the very fabric of the universe.

    “Sunflower (Solrosen)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 3/4 × 10 9/16 inches

    For Hilma af Klint (1862–1944), like many who sought refuge and inspiration in these belief systems, a spiritual link to her surroundings united her with the natural world during “a period of massive change…as people from all levels of society were searching for something new to hold on to,” Johan af Klint and Hedvig Ersman wrote about the Swedish artist’s spiritual journey.

    Now on view at The Museum of Modern Art in New York, Hilma af Klint: What Stands Behind the Flowers highlights the institution’s recent acquisition of a phenomenal, 46-leaf portfolio called Nature Studies.

    During the spring and summer of 1919 and 1920, af Klint recorded Sweden’s seasonal flora, from lilies of the valley and sunflowers to violets and cherry blossoms. Beyond traditional botanical studies, the artist incorporates her characteristic abstractions and diagrams, surrounding each rendering with esoteric annotations and geometries.

    “One has to think of the realm of the nature spirits as the realm of thought; these entities hover around us, some like driving winds, others like soft summer breezes,” af Klint once said.

    “Lily of The Valley, Water Avens, Common Milkwort (Liljekonvaljen, Fårkummern, Jungfrulinet)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 5/8 inches

    Grids with unique color relationships or energetic spirals accompany renderings of field woodrush or marsh marigold, and tree specimens are paired with dotted checkerboards. “Through these forms, af Klint seeks to reveal, in her words, ‘what stands behind the flowers,’” the museum says, “reflecting her belief that studying nature uncovers truths about the human condition.”

    What Stands Behind the Flowers continues through September 27 and is accompanied by a catalogue that is slated for release on Tuesday. Find your copy on Bookshop, and plan your visit to MoMA on the museum’s website.

    “Yellow Star-of-Bethlehem, Lungwort, Coltsfoot, Nailwort, Pasqueflower (Vårlöken, Lungörten, Hästhoförten, Nagelörten, Backsippan)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, and ink on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 9/16 inches

    “Common Lime (Linden)” from the portfolio ‘Dornach Nature Studies’ (1919), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 5/8 inches

    “Tulip (Tulpanen)” from the portfolio ‘Dornach Nature Studies’ (1920), watercolor, pencil, ink, and metallic paint on paper from a portfolio of 46 drawings, sheet: 19 5/8 × 10 5/8 inches

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    Descend into ICA SF’s New Space for Masako Miki’s Otherworldly ‘Midnight March’

    Installation view of ‘Midnight March’ at ICA SF. Foreground: “Possessed Ancient Monolith Ghost” (2023), wool on XPS foam and walnut wood, 46 x 40 x 32 inches. Photo by Nicholas Lea Bruno. All images courtesy of the artist, ICA SF, and Jessica Silverman Gallery, shared with permission

    Descend into ICA SF’s New Space for Masako Miki’s Otherworldly ‘Midnight March’

    May 20, 2025

    Art

    Kate Mothes

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    Huddled together like birds of a feather or standing resolutely on their own, Masako Miki’s vibrant, playful sculptures come to life at the Institute of Contemporary Art San Francisco. Whether standing on spindly legs, seated on the ground, or suspended from the ceiling, there is a sense of movement and energy in the room, as if each characterful object could walk or roll away at the slightest provocation.

    Miki’s solo exhibition Midnight March is now open at ICA SF’s new exhibition space, The Cube, which activates a former bank building as a site for non-traditional exhibition presentations. The Japanese artist sets her mixed-media pieces, which incorporate materials like wool, bronze, wood, ink, and watercolor, into a darkened, starry interior in which each vibrant, cartoonish individual appears to glow.

    “Umbrella’s Whispers” (2025), wool on XPS foam, walnut wood, 48 1/2 x 14 x 14 inches. Photo by Nicholas Lea Bruno

    Largely abstract in their nebulous forms, felted textures, and colorful patterns, Miki’s sculptures often hint at a life force inside. A single eye peers from a blue shape in “Enchanting Pine Tree Reaching Clouds” or human-like legs extend to the floor in “Umbrella’s Whispers.” We begin to realize that we’re being observed as much as we are observing.

    “Midnight March helps us understand deeper aspects of Miki’s ‘othered’ figures and recognize difference as a positive force, even as we are unsettled by it,” says an exhibition statement.

    The indigo sky throughout the exhibition complements Miki’s two-dimensional works, which she calls Night Parades, welcoming visitors into an experiential context. The artist says, “I hope that my works generate the kind of curiosity and empathy that enables us to come together.”

    Midnight March continues through December 7 in San Francisco, and you can explore more on the artist’s website and Instagram.

    “Midnight March (Blue and Red Violet)” (2025), watercolor on paper, 44 5/8 x 63 1/2 x 2 inches. Photo by Phillip Maisel

    Foreground: “Watcher with Continuous Eyes” (2018), wool on XPS foam, 18 x 56 x 16 inches. Photo by Nicholas Lea Bruno

    “Enchanted Pine Tree Reaching Clouds” (2024), wool on XPS foam and walnut wood, 32 x 23 x 15 1/2 inches. Photo by Phillip Maisel

    “Fox Delivering Messages” (2025), patinated bronze, 15 x 11 1/2 x 5 inches. Edition of 4 plus 2 artist’s proofs. Photo by Nicholas Lea Bruno

    “Ancient Tree Witness” (2023), wool on XPS foam and walnut wood, 76 x 48 x 42 inches. Photo by Steve Ferrera

    “Awa-dancing Cat Leading the Crowds” (2025), patinated bronze, 15 1/2 x 13 x 7 inches. Edition of 4 plus 2 artist’s proofs. Photo by Nicholas Lea Bruno

    “Midnight March (Blue and Deep Gray)” (2025), watercolor on paper, 44 5/8 x 63 1/2 x 2 inches. Photo by Phillip Maisel

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    Ubiquitous Objects Transform into Ambient Soundscapes in Zimoun’s Installations

    All images courtesy of Zimoun, shared with permission

    Ubiquitous Objects Transform into Ambient Soundscapes in Zimoun’s Installations

    May 19, 2025

    Art

    Grace Ebert

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    Objects often regarded as fixtures of modern life—cardboard boxes, glass cups, and plastic jugs, to name a few—become generative materials in the soundscapes of Swiss artist Zimoun (previously). Connected to small, direct-current motors, wires and strings strung across installations of these unassuming items rattle and twirl to create continuous, ambient noise.

    Zimoun frequently references the tension between chaos and order in his works, particularly as it relates to the relationship between the individual elements and the larger composition. For a recent project for Rewire in The Hague, for example, the artist tethered piano strings to 24 polyethylene tanks in one room and to 36 water containers in another.

    While the basic construction was the same, the way the vibrating wires interacted with the vessels affected their timbre. “Each of the spaces sounds distinctly different, even though the same principle was applied throughout. Both deep, bass-like sounds and very varied, constantly changing overtones can emerge,” the artist says.

    Exploring the possibilities of such simple materials is at the core of many of Zimoun’s works, as he shifts our perspective on their uses and functionality. Appearing animate, each object becomes an instrument in its own right, as the kinetic, often frenetic, movement of the machines transforms a wood-slatted door or metal barrel into a sonic apparatus.

    It’s worth poking around Zimoun’s Vimeo to explore the breadth of the installations and their subtly varied sounds. The artist has several exhibitions planned for later this year and throughout 2026, so follow the latest on Instagram.

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  • 138 Shares124 Views

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    ‘Wonder Women’ Celebrates the Dazzling Figurative Work of Asian Diasporic Artists

    Dominique Fung, “Bone Holding Fan” (2021). All images courtesy of the artists and Rizzoli, shared with permission

    ‘Wonder Women’ Celebrates the Dazzling Figurative Work of Asian Diasporic Artists

    May 15, 2025

    ArtBooksSocial Issues

    Kate Mothes

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    In February 2020, curator and gallery director Kathy Huang met artist Dominique Fung—a month before the COVID-19 pandemic shut everything down. Their conversations, which continued throughout quarantine, served as an impetus for what would become Huang’s Wonder Women exhibitions at Jeffrey Deitch.

    During their chats, Huang and Fung lamented “the uptick in violence against Asian American communities, particularly against women and the elderly,” Huang says in the introduction to her forthcoming book, Wonder Women: Art of the Asian Diaspora.

    Mai Ta, “mirror image” (2022)

    The two also found it difficult to pinpoint when the last major exhibition had been staged that thoughtfully presented Asian artists, and neither could think of an instance where women and nonbinary artists had been the focus. Both of Huang’s exhibitions and her new book are the fruit of that desire to highlight the remarkable spectrum of figurative work being produced within the Asian diasporic community today.

    A response to racism against Asians exacerbated by the COVID-19 pandemic, Huang conceived of the shows that went on view in 2022 in New York and Los Angeles as a means to highlight the incredible, groundbreaking work made especially by women and nonbinary artists.

    Forthcoming from Rizzoli, Wonder Women shares a similar title to a poem by Genny Lim, which follows experiences of Asian women through the lens of a narrator who observes their everyday routines and considers how their lives relate to hers.

    Huang expands on this view in her approach to showcasing the work of forty artists, each represented through at least four pieces and a personal statement. These artists “subvert stereotypes and assert their identities in places where they have historically been marginalized,” Rizzoli says.

    Sally J. Han, “At Lupe’s” (2022)

    Artists like Sasha Gordon or Nadia Waheed explore identity through sometimes fantastical self-portraiture, while others highlight family, community, and colonial or patriarchal systems in the West. Some address Asian myths, legends, and visual culture, like Fung’s exploration of antique objects or Shyama Golden’s otherworldly scenes in which hybrid human-animals interact with nature or urban spaces.

    Wonder Women will be released on May 20. Order your copy from the Colossal Shop.

    Shyama Golden, “The Passage” (2022)

    Chelsea Ryoko Wong, “It’s Mah Jong Time!” (2022)

    Nadia Waheed, “Bolides/ 852” (2022)

    Cover featuring a painting by Sasha Gordon

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    Esaí Alfredo’s Oil Paintings Merge Mysterious Narratives with ‘Miami Vice’ Noir

    “Near the Military Base” (2025), oil on canvas, 72 x 96 feet. All images courtesy of the artist and Spinello Projects, shared with permission

    Esaí Alfredo’s Oil Paintings Merge Mysterious Narratives with ‘Miami Vice’ Noir

    May 15, 2025

    Art

    Kate Mothes

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    In an iconic 1979 episode of Saturday Night Live, Steve Martin and Bill Murray shuffle onstage dressed like tourists. Peering out beyond the camera—and thus behind us—they repeatedly ask, “What the hell is that?” Stoking our curiosity and never divulging what “that” really is, yet preventing us from ever seeing it either, the answer is left entirely to our imaginations. Beyond the duo’s characteristic absurdity, we’re enticed to consider the endless possibilities of the unknown, just out of frame.

    For Miami-based artist Esaí Alfredo, the confines of the cinematic screen and a sense of wonder play central roles in large-scale, enigmatic oil paintings. Male figures stand facing the distant horizon, observing dark plumes of smoke or, in some cases, events only they can see.

    “The Wait” (2025), oil on canvas, 50 x 72 inches

    Alfredo draws inspiration for his palette from Miami Vice, specifically the rich pastels and glowing contrasts evocative of the show’s stylized, 1980s New Wave aesthetics. Bright pink and teal complement the deep blacks of nighttime.

    “I allow myself to play with colors and lighting situations that appear surreal or impossible,” he tells Colossal, sharing that the choice of hues serve as tools for telling stories. He adds, “My biggest influences in terms of color have been old movies, science fiction, theater, and the cinematography of films by Steven Spielberg and Alfred Hitchcock.”

    Alfredo also likens his paintings to screenshots or freeze frames, as if plucked from an enigmatic, longer narrative. His sketchbook contains countless renderings, including drawings of settings and characters akin to storyboards for a movie.

    Once he translates a basic sketch into a color study, Alfredo translates the idea to photographic compositions involving real people and various objects. “Once I have all my reference photos ready, I compose an image on my iPad to see how the painting will turn out. The rest is painting,” he says, leaving enough room for the inevitable improvisation.

    “La Playa Lucia” (2025), oil on canvas, 10 x 20 inches

    A suite of new paintings titled STARLESS that Alfredo recently exhibited with Spinello Projects at EXPO CHICAGO are “snapshots of a larger story I’m still uncovering,” he says. Otherworldly magentas and teals envelop figures in a variety of natural landscapes, beneath a sky devoid of celestial objects. Instead, mysterious objects fall from above, and the characters react to the phenomena with wonder, fear, and confusion. “I love capturing those moments when we feel powerless and can only observe for a moment before taking action,” he says.

    Find more on Alfredo’s website and Instagram.

    “The Theme Park” (2025), oil on canvas, 72 x 96 inches

    “Moon” (2025), oil on canvas, 24 x 24 inches

    “The Everglades” (2025), oil on canvas, 72 x 96 inches

    “Antonio” (2025), oil on canvas, 40 x 60 inches

    Detail of “Near the Military Base”

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