On View: September 3 - November 22, 2024
Reception: November 14, 2024 In conjunction with Lincoln Park Art Night (open to the public - more information coming soon)
At first glance, the pairing of Bernece Berkman-Hunter and Ethel Spears may raise more questions than answers. Two Depression Era artists whose work appears to be in a state of juxtaposition rather than a melding of the minds. Berkman-Hunter, a political activist and social realist artist, combined the techniques of Cubism and Expressionism, creating vivid colors, broad lines, and angular forms to capture the struggles of life faced by laborers and immigrants. Spears, a humorist, often used watercolors, pastel palettes, and illustration to capture society at large, on the streets, at work, and in their homes. There is no evidence that suggest these two artists knew each other, socialized in the same circle, or were aware of each other’s work. Yet for all these differences, Berkman-Hunter and Spears have more in common than the two exhibitions where both their work was exhibited.
Born and raised in Chicago only eight years apart, Berkman-Hunter and Spears first studied at The School of the Art Institute of Chicago, were employed by the Illinois Federal Art Project, had backgrounds in textiles, work consistently in graphic design and printmaking, continued their studies in New York City, and had romantic life partners that broke through social barriers. The exhibition concentrates on a time when both artists were working in Chicago (1930s and early 1940s) and is meant to be starting oP point for Madron Gallery into further research. Approximately 20 artworks have been committed to the exhibition, including paintings and lithographs from Madron Gallery, The Estate of Kathleen Blackshear and Ethel Spears, Illinois State Museum, the Koehnline Museum of Art, as well as three separate private collections. By pairing together these two artists, Madron Gallery explores the circular nature of history highlighted by Berkman-Hunter’s painting and lithographs of individuals and their struggles during the Depression, but also humanity at large with Spears’ eagle eye view and commentary of people interacting with each other.