Susan Aurinko

The show is literally “stacked up”—there’s very little airspace between one piece and the next, and because of the subject, it works. Created in every conceivable medium, Himmelfarb’s trucks fill the gallery space to the brim with his delight and enthusiasm.

Standing in front of any of Canadian photographer Paul Nicklen’s large-scale images in the current exhibition at Hilton Contemporary, one cannot help but be totally in awe.

The photographs of feminist and social activist photojournalist Bev Grant, active during the volatile years 1968-1972 provide a strong definition of the times and an extraordinary history lesson for the university’s students.

For ten years, D’Amato has turned his lens to the area around Midway Airport, diverse communities that live in the flight paths, the planes composing the soundtrack of their everyday lives.

Studying the work in this remarkable exhibition, it’s clear that Paula Modersohn-Becker found herself, certainly in her art, if not in her abbreviated life.

Burke & Atwell, Suffragists protest, 1916/Photo: Burke & Atwell

That the new exhibition at the Driehaus Museum is in such contrast to the actual Nickerson House housing the museum is totally fascinating.

Shur and Chirchirillo each in their own way chronicle the passage of time—Shur in years and lifetimes, Chirchirillo in transient seconds. Both photographers clearly know, and show, that time never stands still however much one might wish it to.

A quote from N.K. Jemisin’s 2015 book “The Fifth Season” opens this comprehensive and moving exhibition at the Art Institute of Chicago—“Let’s start with the end of the world, why don’t we?"

Realist painter David Kroll’s work transports us into a world of his own creation—as almost photoreal as these images appear to be, they are completely fabricated by the brushes of an accomplished painter.