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SUMMARY:Willem de Kooning Drawing
DESCRIPTION:Willem de Kooning (1904–1997) was one of the most celebrated and prolific draftsmen of the 20th century. \nWillem de Kooning Drawing is the first exhibition to examine the expansive drawing practice of this renowned American artist who immigrated to New York from the Netherlands at the age of 22. While many Art Institute visitors may be familiar with de Kooning’s monumental painting Excavation (1950)\, a cornerstone of our collection\, this exhibition marks the first solo presentation of the artist’s work at our museum since 1969. \nThis major gathering of works from across the globe reveals how the act of drawing was foundational to de Kooning’s entire artistic process and production—his paintings\, sculptures\, and printmaking\, as well as his drawings—and showcases the totality of his graphic production\, from his earliest existing works to his late calligraphic paintings. \nRigorously trained at the Academy of Visual Arts and Technical Sciences in Rotterdam\, de Kooning achieved a remarkable command of traditional drawing techniques while still in his teens. In 1926\, he stowed away on a freight ship bound for the United States to pursue his dream of becoming an illustrator. Eventually arriving in New York City\, de Kooning found work as a house painter\, freelance commercial artist\, and window display designer. At the same time\, he became immersed in the New York art world\, befriending artists such as Stuart Davis\, Arshile Gorky\, and John Graham and ultimately becoming a key figure of the movement that would be known as “Abstract Expressionism” or the “New York School” with such contemporaries as Jackson Pollock\, Lee Krasner\, Barnett Newman\, and Mark Rothko. \nAmbiguity would become a distinguishing feature of de Kooning’s practice\, as his work increasingly dissolved the boundaries between representation and abstraction\, male and female figures\, “high” and “low” art forms\, and\, in particular\, the disciplines of drawing and painting. He stated\, “I draw in paint\, and usually I don’t feel so much difference between drawing and painting.” Compelled to continually innovate and surprise even himself\, de Kooning began experimenting with unconventional drawing methods (such as working with his eyes closed)\, which opened up new directions for his art. He also often reused forms from his earlier artworks and adapted tools and techniques from his career as a commercial artist\, resulting in a body of work that is both self-referential and inventive. \nWillem de Kooning Drawing features more than 200 artworks from public and private collections around the world. The exhibition presents iconic works like the Art Institute’s Excavation and the Museum of Modern Art’s Woman I (1950–52)\, as well as significant and lesser-known drawings\, paintings\, sculptures\, and prints\, many of which have rarely—if ever—been seen by the public. \nThis landmark exhibition offers an unprecedented opportunity to experience the full scope of de Kooning’s drawing practice\, shedding light not only on its evolution over seven decades but also on the ways it redefined the possibilities of modern and contemporary art. \nWillem de Kooning Drawing is organized by the Art Institute of Chicago\, in collaboration with the Rijksmuseum\, Amsterdam\, and in consultation with The Willem de Kooning Foundation. The exhibition’s curatorial team includes the Art Institute of Chicago’s Kevin Salatino\, Chair and Anne Vogt Fuller and Marion Titus Searle Curator\, Prints and Drawings; Mel Becker Solomon\, associate research curator\, Prints and Drawings; and Charlotte Healy\, senior research associate\, Prints and Drawings\, with contributions from Margaret Holben Ellis\, exhibition paper conservator. \n \nTwo Women’s Torsos\, 1952\, Willem de Kooning. The Art Institute of Chicago\, John H. Wrenn Memorial Collection. © 2026 The Willem de Kooning Foundation / Artists Rights Society (ARS)\, New York
URL:https://thedrawingfoundation.org/event/willem-de-kooning-drawing/
LOCATION:Art Institute of Chicago\, 159 East Monroe Street\, Chicago\, IL\, IL 60603
CATEGORIES:Current,Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260131
DTEND;VALUE=DATE:20260602
DTSTAMP:20261013T031752Z
CREATED:20260113T230009Z
LAST-MODIFIED:20261013T031752Z
UID:10000158-1769817600-1780358399@thedrawingfoundation.org
SUMMARY:Carroll Dunham: Drawings\, 1974–2024
DESCRIPTION:Over the course of five decades\, Dunham has engaged in wide-ranging formal and thematic experimentation across various media\, yet his drawings represent a distinct\, interconnected body of work. \nDunham’s mature artistic career began in 1970s New York amid a scene dominated by Minimalist aesthetics. Using simple elements such as line\, shape\, and color\, he made a tremendous impact with work that nevertheless signaled a return to subject matter. In the intervening decades\, Dunham has continued to produce drawings that test\, and ultimately collapse\, the porous boundaries between abstraction and figuration: bodies shapeshift into buildings\, trees pose like models\, the cellular resembles the cosmic\, and internal organs or private parts are made very public. \nWorking in series\, Dunham methodically tests out every possible outcome of a drawing’s composition or content. This approach seems to spontaneously yield new imagery and ideas that link one body of work to the next. His influences are likewise wide-ranging—art history\, philosophy\, psychoanalysis\, and evolutionary science as well as science fiction and comic books—all of which inform his explorations of the tension between male and female\, nature and culture\, self and other. \nDunham foregrounds the development of his work by precisely dating each drawing. This practice is evidenced in the thousands of drawings he has organized into an archive\, from which this show is derived. \nDeveloped in conversation with the artist\, this comprehensive survey is the first museum presentation focused exclusively on Dunham’s drawings. Encompassing a 50-year period and featuring many drawings making their public debut\, it celebrates the medium central to Dunham’s expansive practice. \nCarroll Dunham: Drawings\, 1974–2024 is curated by Thea Liberty Nichols\, associate research curator\, Modern and Contemporary Art. \nSupport for Carroll Dunham: Drawings\, 1974–2024 is provided by an anonymous donor\, Joel Wachs\, and the Allan McNab Endowed Fund. \n \nImage credit: Untitled (4/22/93)\, 1993\, Carroll Dunham. Courtesy of the artist.
URL:https://thedrawingfoundation.org/event/carroll-dunham-drawings-1974-2024/
LOCATION:Art Institute of Chicago\, 159 East Monroe Street\, Chicago\, IL\, IL 60603
CATEGORIES:Exhibitions,Past
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BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20251030T180000
DTEND;TZID=America/Chicago:20251030T190000
DTSTAMP:20251208T031952Z
CREATED:20250929T161402Z
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UID:10000126-1761847200-1761850800@thedrawingfoundation.org
SUMMARY:Lecture: Dreams and Nightmares at the Fin de Siècle
DESCRIPTION:The last decade of the 19th century in Europe saw an explosion of evocative and disturbing works of art\, reflecting a cultural cynicism felt around rapid industrialization\, a perceived moral decline\, and the rural flight to urban centers. \nThese anxieties inspired Symbolist artists to draw on a dark and mysterious vocabulary of demons\, skeletons\, femmes fatales\, and the visual manifestation of inner dreams and nightmares. Strange Realities: The Symbolist Imagination explores this cultural landscape from many perspectives and geographies\, including France\, Belgium\, Norway\, and Germany. On the eve of Halloween\, join curator Jay A. Clarke to take a closer look at these psychologically intense and relevant works.  \nSupport for this program is provided by the Allan McNab Endowed Fund. \n \nImage: Jean Delville\, Medusa\, 1893. Regenstein Endowment Fund.
URL:https://thedrawingfoundation.org/event/lecture-dreams-and-nightmares-at-the-fin-de-siecle/
LOCATION:Art Institute of Chicago\, 159 East Monroe Street\, Chicago\, IL\, IL 60603
CATEGORIES:Events
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251004
DTEND;VALUE=DATE:20260106
DTSTAMP:20260812T031408Z
CREATED:20250929T160656Z
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UID:10000125-1759536000-1767657599@thedrawingfoundation.org
SUMMARY:Strange Realities: The Symbolist Imagination
DESCRIPTION:Symbolism is among the most complex art movements to define. Although it followed on the heels of Impressionism\, whose imagery was accessible and bright\, Symbolism’s dark and mysterious vocabulary is far less known. \n\n\n\nWhile Symbolist artists were aligned in their embrace of the creative imagination\, they used diverse styles and drew inspiration from the past\, the future\, and the interior self. Complicating the movement further was its lack of a single central hub; instead Symbolism was a loosely connected trend across Europe. \nSymbolism\, in fact\, began as a literary movement in France in the 1880s and later expanded to visual art in Belgium\, Germany\, Norway\, and elsewhere. Reacting against rationalism\, materialism\, and Impressionism’s focus on the external world\, Symbolist artists sought instead to represent the unseeable—ideas and emotions. These artists shared a general cynicism about the late 19th century’s moral decline\, technological advancements brought about by rapid industrialization\, and the rural flight to urban centers. \n\nIn response they made art that invented alternate realities. Some artists turned to the past\, transposing mythological and religious subjects onto the present moment; others turned to the future\, imagining anarchist or idyllic worlds; while still others sought meaning by examining and excavating the self. \nThis exhibition features works on paper by iconic Symbolist artists such as Norwegian Edvard Munch\, as well as lesser-known figures like the Austrian Emilie Mediz-Pelikan\, the Belgian Léon Spilliaert\, and the French Gustav Adolf Mossa. Drawn from the Art Institute of Chicago’s rich and historic collection of drawings and prints\, including the largest collection in America of the French Odilon Redon and Paul Gauguin\, this display features over 85 works that capture the beauty and strangeness of a mysterious generation of artists. \nStrange Realities: The Symbolist Imagination is curated by Jay A. Clarke\, Rothman Family Curator\, Prints and Drawings\, and Jamie Vaught-Karasek\, collection manager\, Photography and Media. \nSupport for Strange Realities: The Symbolist Imagination is provided by an anonymous donor and the Allan McNab Endowed Fund. \n \nImage: Jean Delville\, Medusa\, 1893. Regenstein Endowment Fund.
URL:https://thedrawingfoundation.org/event/strange-realities-the-symbolist-imagination/
LOCATION:Art Institute of Chicago\, 159 East Monroe Street\, Chicago\, IL\, IL 60603
CATEGORIES:Exhibitions,Past
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