Illinois

decade

1910s

1918

Charles White is born in Chicago.

1918

June Wayne is born in Chicago.

decade

1920s

1920

Anna Halprin is born Anna Schuman in Wilmette, Illinois.

decade

1930s

1920s–30s 1930

Throughout grade school and high school, Charles White wins scholarships to attend Saturday classes at the Art Institute of Chicago.

1932

Charles White joins the Arts and Crafts Guild in Chicago at age fourteen and begins participating in their exhibitions.

1936

Barbara Kasten is born in Chicago.

1936

Charles White wins a scholarship to attend the School of the Art Institute of Chicago (SAIC).

1938–41 1938

Charles White is an active participant in the South Side Community Art Center in Chicago, where he teaches classes and serves as chairman of the Artists’ Committee.

1939

Life drawing class taught by Charles White at the South Side Community Art Center in Chicago, c. 1938–41. Gelatin silver print; 21 × 25 cm. Holger Cahill papers, 1910–1993, bulk 1910–1960. Archives of American Art, Smithsonian Institution

1939–43 1939

Charles White paints murals in Chicago and New York as part of the Works Progress Administration.

1939

Judy Chicago is born Judy Cohen in Chicago and lives there for 18 years.

1939

Karl Wirsum is born in Chicago.

1939

Larry Bell is born in Chicago.

decade

1940s

1940

Gladys Nilsson is born in Chicago.

1942

Carlos Almaraz’s family moves to Chicago.

1943

David Hammons is born in Springfield, Illinois.

1943

Senga Nengudi is born Sue Irons in Chicago.

mid-1940s 1947

Karl Wirsum attends Saturday classes at the Art Institute of Chicago as a child.

1940s 1948

Judy Chicago attends classes at the Art Institute of Chicago as a child.

decade

1950s

early 1950s 1951

Gladys Nilsson receives a scholarship to attend junior school classes at the Art Institute of Chicago.

1954–58 1954

Gladys Nilsson attends Lake View High School in Chicago, where she minors in art.

1954

Stephen Prina is born in Galesburg, Illinois.

1950s 1955

Hal Fischer’s family moves to Highland Park, Illinois.

late 1950s 1956

Jim Nutt briefly attends college at the University of Kansas, then the University of Pennsylvania, then Washington University in St. Louis. He eventually settles on the School of the Art Institute of Chicago (SAIC), where he meets his future wife, Gladys Nilsson.

1956–63 1956

John Outterbridge moves to Chicago and becomes very involved with various South Side arts organizations, including singing in a choir at St. Anselm Catholic Church.

1956/57

John Outterbridge attends the American Academy of Art in Chicago.

1957

Judy Chicago moves to Los Angeles to attend UCLA.

1957

Karl Wirsum is awarded a full ride to the School of the Art Institute of Chicago (SAIC).

1958–62 1958

Gladys Nilsson and Jim Nutt meet at the School of the Art Institute of Chicago (SAIC), which they both attend.

decade

1960s

1961

Garo Antreasian, Untitled, 1961. Lithograph with embossing in violet and black on ivory wove paper; 30 × 22 2/10 in. (76 × 56.5 cm). Published by Tamarind Lithography Workshop. Collection Art Institute of Chicago, gift of Burt Kleiner 1963.1364
Photo: The Art Institute of Chicago/Art Resource, NY
June Wayne, Tenth Memory, 1961. Lithograph on paper; 30 × 22 2/10 in. (76.4 × 56.6 cm). Published by Tamarind Lithography Workshop, printed by Bohuslav Horak. Collection Art Institute of Chicago, gift of Burt Kleiner, 1963.1772
Photo: The Art Institute of Chicago/Art Resource, NY

1960s 1962

Judy Chicago knows Billy Al Bengston from her days as a student at UCLA.

1962

Judy Chicago earns her BA from UCLA.

1962–64 1962

Billy Al Bengston teaches for a year at UCLA when Judy Chicago is in graduate school. Bengston’s studio is the first Chicago ever visits, and she considers him the first real artist she’s met.

1963

John Outterbridge and his new wife, Beverly McKissick, leave Chicago for Los Angeles’s warmer weather and bigger art scene.

1964

Judy Chicago receives her MFA in painting and sculpture from UCLA.

mid-1960s 1964

Judy Chicago enrolls in auto body school to learn airbrushing techniques. She begins to make works inspired by the car culture of California, much like the finish fetish school that includes Billy Al Bengston.

1965

Five recent SAIC graduates including Gladys Nilsson, Jim Nutt, and Karl Wirsum coin the term Hairy Who while working on a title for their group exhibition at the Hyde Park Art Center. The name is in reference to Chicago radio station WFMT’s art critic Harry Bouras.

1960s 1965

José Antonio Aguirre visits Chicago as a child during a summer vacation.

mid-1960s 1965

Judy Chicago moves into an apartment next to Joe Goode’s on Western Avenue.

mid-1960s 1965

Judy Chicago watches Billy Al Bengston race motorcycles and hangs out with the “Ferus gang” at Barney’s Beanery, although she acknowledges the machismo of the crew.

mid-1960s 1965

Judy Chicago participates in the La Cienega gallery walks on Mondays.

mid-1960s 1965

Judy Chicago shows at the Rolf Nelson Gallery on La Cienega Boulevard.

mid-1960s 1965

Rolf Nelson calls her Judy Chicago because of her thick Chicago accent.

1965

Robert Cumming and William Wegman drive from Boston to Illinois in Cumming’s 1965 VW bus to attend graduate school at the University of Illinois at Urbana-Champaign.

1966

Bruce Nauman, Mold for a Modernized Slant Step,1966. Plaster; installed: 18 ¼ x 14 ½ x 13 3/8 in. (46.4 × 36.8 × 34 cm). Collection Museum of Contemporary Art Chicago, Gerald S. Elliott Collection, 1995.70.a–b. © 2018 Bruce Nauman/Artists Rights Society (ARS), New York
Photo: Nathan Keay, © MCA Chicago
Bruce Nauman, Self-Portrait as a Fountain (from the portfolio Eleven Color Photographs), 1966–67/1970/2007. Ink-jet print exhibition copy (originally chromogenic development print); image: 19 7/8 × 23 ¾ in. (50.9 × 60.3 cm). Collection Museum of Contemporary Art Chicago, Gerald S. Elliott Collection, 1994.11.k
Photo: Nathan Keay, © MCA Chicago

1967

Ed Ruscha, Mason Williams, and Patrick Blackwell, Royal Road Test, 1980. Offset printing; spiral bound with color card-stock. 3 copies: 9 9/16 × 6 ½ in (24.2 × 16.5 cm), 60 pp. Collection Museum of Contemporary Art Chicago, National Endowment for the Arts Purchase Grant and gift of the MCA Men’s Council, 2012.94. © Ed Ruscha
Photo: Nathan Keay, © MCA Chicago

1968

A black-and-white photograph of two men shaking hands is mounted to a light-colored piece of wood.
Ed Ruscha and Billy Al Bengston, Business Cards, 1968. Offset on paper with business card and gold-backed paper stapled on final page; punched and tied with leather cord with silver gelatin print and photo corners adhered to wood-grained Bristol board; 7 1/16 × 5 9/16 in. (18 × 14 cm). Collection Museum of Contemporary Art Chicago, gift of Robert L. Mollers, 2012.95. © Ed Ruscha and Billy Al Bengston
Photo: Nathan Keay, © MCA Chicago
Robert Cumming, Bill Wegman’s Screen Sculpture, Milwaukee, WI, 1968. Gelatin silver print; image: 9 3/5 × 7 3/5 in. (24.5 × 19.5 cm); paper: 10 × 7.8 in. (25.2 × 19.9 cm); mount: 20 × 16 in. (50.9 × 40.6 cm). Collection Art Institute of Chicago, gift of Arnold and Temmie Gilbert, 1984.1279
Photo: The Art Institute of Chicago/Art Resource, NY
Vija Celmins, Untitled (Ocean), 1968. Graphite on paper; sheet: 14 × 18.7 in. (35.5 × 47.5 cm). Collection Art Institute of Chicago, gift of Lannan Foundation, 1997.106
Photo: The Art Institute of Chicago/Art Resource, NY

1969

Ed Ruscha, Twentysix Gasoline Stations, 1969. Offset print on paper; perfect bound, softcover; 7 1/16 x 5 9/16 in. (18 x 14 cm). Collection Museum of Contemporary Art Chicago, National Endowment for the Arts Museum Purchase Grant and gift of the Men’s Council, 2012.84. © Ed Ruscha
Photo: Nathan Keay, © MCA Chicago

1969

Gladys Nilsson, Jim Nutt, and Karl Wirsum are included in the group exhibition Don Baum Says: "Chicago Needs Famous Artists" at the Museum of Contemporary Art Chicago.

1969

Jorge Pardo’s family immigrates to Chicago.

1969

Judy Chicago has a solo exhibition at the Pasadena Museum of Art.

1960s 1969

Judy Chicago lives in Pasadena, California, around the corner from Bruce Nauman’s studio.

1969

Judy Chicago creates Fresno State College Atmosphere.

decade

1970s

1970

Charles White, Wanted Poster Series #15 or Hasty B, 1970. Lithograph in brown on cream wove paper; 21 × 27 in. (53.5 × 68.7 cm). Published by Tamarind Lithography Workshop, printed by Edward Hamilton. Collection Art Institute of Chicago, Margaret Fisher Fund, 2017.286
Photo: The Art Institute of Chicago/Art Resource, NY
Jerry McMillan, Judy Chicago as a Boxer, to announce her name change and show at CalState Fullerton, 1970. Gelatin silver print; 10 × 10 in. (25.4 × 25.4 cm). Pictured, left to right: Jack Glenn, Judy Chicago, and Alona Hamilton-Cooke. Courtesy of Jerry McMillan and Craig Krull Gallery, Santa Monica

1970

Jerry McMillan photographs Judy Chicago for her ad in Artforum announcing her name change.

1970

Jim Nutt is included in the group exhibition Three Famous Artists from Chicago at the Candy Store Gallery.

1970

Judy Chicago changes her last name from Gerowitz (married name) to Chicago.

1970

Judy Chicago has a solo exhibition at California State University, Fullerton, which is run by Dextra Frankel. Chicago has a name-changing ceremony as part of the exhibition.

1970

Judy Chicago takes out an ad in Artforum to announce her Fullerton exhibition and her name change. Jerry McMillan takes the photograph, which features Chicago in a boxing ring sporting a sweatshirt with her new name, her friend’s girlfriend standing behind her, and gallerist Jack Glenn crouching in the corner like a boxing manager.

1970

Judy Chicago creates Campus White Atmosphere for California State University, Fullerton.

1970

Judy Chicago founds the Feminist Art Project, a collaborative educational experiment, at Fresno State College (now California State University, Fresno) along with 15 aspiring women artists known as the California Girls.

1970

Larry Bell is included in the Art Institute of Chicago’s 69th American Exhibit.

1970

Miriam Schapiro meets Judy Chicago and invites her to cofound the Feminist Art Program at CalArts.

1971

Jim Nutt, She Seams Up Set, 1971. Acrylic on paper; sheet: 7 ¾ × 7 in. (19.7 × 17.8 cm). Collection Museum of Contemporary Art Chicago, gift of Gerald S. Elliott, 1989.1
Photo: Nathan Keay, © MCA Chicago
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco
Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco
Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco
Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco
Judy Chicago, Sky Sun from the Flesh Gardens series (detail), 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco
Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco
Judy Chicago, Sky Sun from the Flesh Gardens series, 1971. Sprayed acrylic lacquer on acrylic; 96 × 96 in. (243.8 × 243.8 cm). Courtesy of the artist, Salon 94, New York, and Jessica Silverman Gallery, San Francisco
Photo: Jeff Elstone, courtesy of the artist, Salon 94, New York, and Jessica Silverman, San Francisco
Roy De Forest, The Dual Life of a Horse Girl, 1971. Acrylic and varnish on canvas; 64 × 63 7/8 in. (162.6 × 162.2 cm). Collection Museum of Contemporary Art Chicago, gift of Joseph and Jory Shapiro, 1992.59
Photo: Nathan Keay, © MCA Chicago

1971

Judy Chicago creates Pink Atmosphere for California State University, Fullerton.

1971

Judy Chicago leaves Fresno and accepts a teaching position at the newly formed CalArts. She cofounds the Feminist Art Program at CalArts with Miriam Schapiro, and many of the Fresno students follow her there.

1971

Judy Chicago begins working on Womanhouse with Feminist Art Program participants.

1971

Karl Wirsum moves to the West to escape the Chicago Imagists’ newfound fame. During this time he teaches at Sacramento State College.

1971–72 1971

Miriam Schapiro participates in the historic Womanhouse installation with Judy Chicago and 21 other women artists, many of whom are students at the Feminist Art Program. For her contribution, Schapiro and her assistant create The Dollhouse using old liquor crates to create a six-room house featuring a parlor, a kitchen, a movie star’s bedroom, a harem room, a nursery, and an artist’s studio with a male model made of stuffed fabric and a miniature version of Sixteen Windows on an easel.

1971

Terry Allen has a solo exhibition at the Museum of Contemporary Art Chicago.

1971

In a clip from the documentary Judy Chicago & the California Girls, Judy Chicago explains the importance of women determining their own identities.

1972

Cover of the Womanhouse exhibition catalogue, 1972. Pictured from left: Judy Chicago and Miriam Schapiro. California Institute of the Arts Institute Archives: Feminist Art Materials Collection
Gladys Nilsson, The Big Green Man, 1972. Acrylic on canvas; canvas: 84 7/8 × 72 7/8 in. (215.6 × 185.1 cm). Collection Museum of Contemporary Art Chicago, gift of Dr. and Mrs. Peter W. Broido, 1985.29. Courtesy of the artist and Garth Greenan Gallery, New York
Photo: Nathan Keay, © MCA Chicago

1972

Gladys Nilsson, Jim Nutt, and Karl Wirsum are included in the group exhibition Chicago Imagist Art at MCA Chicago.

1972

Judy Chicago is named a Tamarind Fellow.

1972

Judy Chicago and Miriam Schapiro host the first West Coast Women Artists’ Conference at CalArts.

1972

In January and February, Judy Chicago, Miriam Schapiro, and 21 other women artists, many from the Feminist Art Program, participate in Womanhouse, a collaborative art installation staged in an abandoned Hollywood mansion.

1972

Judy Chicago and Miriam Schapiro host the first West Coast Women Artists Conference at CalArts.

1973

Judy Chicago experiences a hostile environment at CalArts. She bands together with Sheila Levrant de Bretteville and Arlene Raven to leave CalArts and create the Feminist Studio Workshop, an alternative art education experience for women.

1973

Judy Chicago, Sheila Levrant de Bretteville, and Arlene Raven cofound the Women’s Building, which opens on November 28. They first rent the former Chouinard Art Institute building, located at 743 Grandview Avenue.

1974

Bruce Conner, 10/15/74, 1974. Ink on paper; sheet: 22 × 20 ¼ in. (55.9 × 51.4 cm). Collection Museum of Contemporary Art Chicago, gift of Baxter Travenol Laboratories, Inc., Deerfield, IL, 1983.25. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York
Photo: Nathan Keay, © MCA Chicago
Bruce Conner, 7/29/74, 1974. Ink on paper; sheet: 21 13/16 × 20 ¼ in. (55.4 × 51.4 cm). Collection Museum of Contemporary Art Chicago, gift of Baxter Travenol Laboratories, Inc., Deerfield, IL, 1983.23. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York
Photo: Nathan Keay, © MCA Chicago
Bruce Conner, 8/16/74, 1974. Ink on paper; sheet: 21 7/8 × 20 ¼ in. (55.6 × 51.4 cm). Collection Museum of Contemporary Art Chicago, gift of Baxter Travenol Laboratories, Inc., Deerfield, IL, 1983.24. © 2018 Conner Family Trust, San Francisco/Artists Rights Society (ARS), New York
Photo: Nathan Keay, © MCA Chicago

1974

Jim Nutt has a solo exhibition at the Museum of Contemporary Art Chicago.

1974

The Oakland Museum of California commissions A Butterfly for Oakland, one of Judy Chicago’s Atmosphere works.

1974

Stephen Prina earns his associate’s degree from Carl Sandburg College in Galesburg, Illinois.

1975

Barbara Kasten, Untitled 75/36 from the series Photogenic Painting, 1975. Cyanotype; 30 × 40 in. (76.2 × 101.6 cm). Collection Museum of Contemporary Art Chicago, gift of Mary and Earle Ludgin by exchange, 2011.44
Photo: Nathan Keay, © MCA Chicago

1975

Amanda Ross-Ho is born and raised in Chicago’s Edgewater neighborhood.

1976

Senga Nengudi, R.S.V.P. Fall 1976 (detail), 1976/2017. Nylon mesh, sand, and pins; 41 × 19 ½ x 2 ½ in. (104.1 × 49.5 × 6.4 cm). Collection Museum of Contemporary Art Chicago, gift of Irving Stenn, Bernard I. Lumpkin and Carmine D. Boccuzzi, and Jackson Tang in honor of Naomi Beckwith, 2017.17. © Senga Nengudi
Photo: Elisabeth Bernstein, courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York
Senga Nengudi, R.S.V.P. Fall 1976 (detail), 1976/2017. Nylon mesh, sand, and pins; 41 × 19 ½ x 2 ½ in. (104.1 × 49.5 × 6.4 cm). Collection Museum of Contemporary Art Chicago, gift of Irving Stenn, Bernard I. Lumpkin and Carmine D. Boccuzzi, and Jackson Tang in honor of Naomi Beckwith, 2017.17. © Senga Nengudi
Photo: Elisabeth Bernstein, courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York
Senga Nengudi, R.S.V.P. Fall 1976, 1976/2017. Nylon mesh, sand, and pins; 41 × 19 ½ x 2 ½ in. (104.1 × 49.5 × 6.4 cm). Collection Museum of Contemporary Art Chicago, gift of Irving Stenn, Bernard I. Lumpkin and Carmine D. Boccuzzi, and Jackson Tang in honor of Naomi Beckwith, 2017.17. © Senga Nengudi
Photo: Elisabeth Bernstein, courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York

1976

Gladys Nilsson and Jim Nutt move back to Chicago.

1977

José Antonio Aguirre enrolls in the American Conservatory of Music in Chicago.

1977

Melanie Schiff is born in Chicago.

1977

Stephen Prina earns his BFA from Northern Illinois University in DeKalb, Illinois.

1978

Karl Wirsum, Icabod Cranes His Neck in Plumb Thumb Bumper Tag, 1978. Airbrushed acrylic on canvas; canvas: 35 × 25 7/8 × ¾ in. (91.4 × 65.7 × 1.9 cm). Collection Museum of Contemporary Art Chicago, gift of The Robert A. Lewis Fund in honor of William and Polly Levey, 1982.9
Photo: Nathan Keay, © MCA Chicago

1978

After visiting the Art Institute of Chicago, José Antonio Aguirre changes his focus and enrolls in the School of the Art Institute of Chicago.

1979

William T. Wiley, Bad Balance, 1979. Acrylic, and ink and charcoal on canvas; 94 ½ × 130 ½ in. (240 × 331.5 cm). Collection Museum of Contemporary Art Chicago, gift from the Collection of Kay and Craig Tuber, 2012.15.a-b
Photo: Nathan Keay, © MCA Chicago

1979

Judy Chicago debuts The Dinner Party in March at the San Francisco Museum of Modern Art (SFMOMA) and travels to Chicago in December 1981.

decade

1980s

1980

Ed Ruscha, Mason Williams, and Patrick Blackwell, Royal Road Test, 1980. Offset printing; spiral bound with color card-stock. 3 copies: 9 9/16 × 6 ½ in (24.2 × 16.5 cm), 60 pp. Collection Museum of Contemporary Art Chicago, National Endowment for the Arts Purchase Grant and gift of the MCA Men’s Council, 2012.94. © Ed Ruscha
Photo: Nathan Keay, © MCA Chicago
Robert Cumming, Four Corrugated Boxes in One (from the portfolio Five Still Lifes), 1980. Internal dye diffusion transfer process print; 20 × 24 in. (50.8 × 61 cm). Collection Museum of Contemporary Art Chicago, gift of Mr. and Mrs. Myron J. Hokin, 1981.10.1
Photo: Nathan Keay, © MCA Chicago

1970s–90s 1980

José Antonio Aguirre creates several murals in Chicago, Los Angeles, and elsewhere.

1981

Terry Allen, Angel Whispers, 1981/82. Lithograph on paper, edition 7 of 30; 22 × 30 in. (55.9 × 76.2 cm). Collection Museum of Contemporary Art Chicago, gift of Jeanne Marienthal-Weislow, 1986.47
Photo: Nathan Keay, © MCA Chicago
William Wegman, Airedale Sitting, 1981. Internal dye diffusion transfer process print; 24 × 20 in. (61 × 50.8 cm). Collection Museum of Contemporary Art Chicago, gift of William J. Hokin, 1985.37
Photo: Nathan Keay, © MCA Chicago

1981

Karl Wirsum has a solo exhibition at the Museum of Contemporary Art Chicago titled Hare Toddy Kong Tamari: Selected Objects by Karl Wirsum.

1982–84 1982

Jorge Pardo attends the University of Illinois at Chicago with a major in biology but switches to art after taking classes recreationally.

1982

José Antonio Aguirre earns his BFA from the School of the Art Institute of Chicago.

1982

Judith Barry teaches a class about video and performance at the School of the Art Institute of Chicago (SAIC) and creates the video Space Invaders with SAIC students at the home of Laura Kipnis.

1983

Judithe Hernández, El Encuentro/The Encounter, 1983. Pastel on paper; paper: 30 × 39 ¾ in. National Museum of Mexican Art Permanent Collection, gift of Judithe Hernández in memory of Mr. and Mrs. Peter C. Hernández, 2011.5
Photo: Nathan Keay, © MCA Chicago

1985

Allen Ruppersberg, The Impossible Girl, 1985. Wood; three parts, part a: 20 ¾ in. (52.7 cm) length; 9 ½ in. (24.1 cm) diameter; part b: 61 ½ in. (156.2 cm) length; 9 ½ in. (24.1 cm) diameter; part c: 24 ¼ in. (62.2 cm) length; 14 ½ in. (36.8 cm) diameter. Collection Museum of Contemporary Art Chicago, gift of Hudson, 1997.11.a–c
Photo: Nathan Keay, © MCA Chicago

1985

José Antonio Aguirre creates the mural Nuestra Esencia, Nuestra Presencia … , RCOCC at the University of Illinois at Chicago.

1985

Judy Chicago’s Birth Project is exhibited at the Frederick S. Wight Gallery, UCLA.

1986

Ed Ruscha, Words Without Thoughts, 1986. Acrylic on canvas; 54 × 60 in. (137.2 × 152.4 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.49. © Ed Ruscha
Photo: Nathan Keay, © MCA Chicago
Jim Isermann, Flower Painting, 1986. Enamel on wood; 48 × 48 × 2 in. (121.9 × 121.9 × 5.1 cm). Collection Museum of Contemporary Art Chicago, gift of Hudson, 1997.5. © 1986 Jim Isermann
Photo: Nathan Keay, © MCA Chicago

1988

Stephen Prina, Exquisite Corpse: The Complete Paintings of Manet, No. 95 of 556, 1988–present. Ink wash on rag, barrier paper, and offset lithography on paper; overall dimensions variable. Collection Museum of Contemporary Art Chicago, gift of the William J. Hokin Family, 2014.14.a–b
Photo: Nathan Keay, © MCA Chicago

1989

Joe Goode, Cuquenan (Waterfall #4), 1989. Oil on board; 90 × 21 in. (228.6 × 50.8 cm). Collection Museum of Contemporary Art Chicago, restricted gift of Angela and Rudolf Rossmann, 1992.102
Photo © MCA Chicago

decade

1990s

1991

Jim Shaw, Untitled (2 Figures in Teargas) from the aestheticized disaster series, 1991. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.6
Photo: Nathan Keay, © MCA Chicago
Mike Kelley, Craft Morphology Flow Chart, 1991. Dolls and figures, gelatin silver prints, acrylic on paper, folding banquet tables, and folding card tables; overall dimensions variable. Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.41
Photo: Nathan Keay, © MCA Chicago

1991

Aaron Curry moves to Chicago.

1991

Rebecca Morris moves to Chicago and earns a Post-Baccalaureate Studio Certificate from the School of the Art Institute of Chicago (SAIC) in 1992.

1992

Jim Shaw, Untitled (Bikini H-Bomb Test) from the aesheticized disaster series, 1992. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.4
Photo: Nathan Keay, © MCA Chicago
Jim Shaw, Untitled (Tickertape Parade for Nixon & Eisenhower) from the aestheticized disaster series, 1992. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.12. Courtesy of the artist
Photo: Nathan Keay, © MCA Chicago
Jim Shaw, Untitled (Woodstock Garbage Heap) from the aestheticized disaster series, 1992. Graphite on paper; 16 ¾ × 13 5/8 in. (42.5 × 34.6 cm). Collection Museum of Contemporary Art Chicago, gift of Lannan Foundation, 1997.51.13
Photo: Nathan Keay, © MCA Chicago
Mary Kelly, Untitled, 1992. Graphite on paper; 42 × 34 in. (106.6 × 86.4 cm). Collection Museum of Contemporary Art Chicago, anonymous gift, 1997.113
Photo: Nathan Keay, © MCA Chicago

1993

Kori Newkirk earns his BFA from the School of the Art Institute of Chicago (SAIC).

1995

Bruce Nauman has a solo exhibition at the Museum of Contemporary Art Chicago titled Bruce Nauman: Elliott's Stones.

1996

Judy Chicago’s Birth Project is exhibited at the Museum of Contemporary Art, Los Angeles.

1996

Ten in One Gallery in Chicago organizes Rebecca Morris’s first solo exhibition.

1997

Jorge Pardo, Vince Robbins, 1997. Plastic, steel, lightbulb, and electric wire; overall dimensions variable; plastic shade: 20 in. diameter, 17 in. height. Collection Museum of Contemporary Art Chicago, restricted gift of Carlos and Rosa de la Cruz, 1998.29
Photo: James Isberner, © MCA Chicago

1998

Laura Owens, Untitled, 1998. Acrylic and oil on canvas; 168 × 132 in. (426.7 × 335.3 cm). Collection Museum of Contemporary Art Chicago, restricted gift of Andrea and Jim Gordon, 2000.4
Photo: Nathan Keay, © MCA Chicago

1998

Amanda Ross-Ho earns her BFA from the School of the Art Institute of Chicago (SAIC).

1999

Jessica Jackson Hutchins receives her MFA from the School of the Art Institute of Chicago.

1999

Jim Nutt has a solo exhibition at MCA Chicago titled Jim Nutt: Portraits.

1999

Sterling Ruby moves to Chicago to attend the School of the Art Institute of Chicago (SAIC), where he meets fellow student Aaron Curry.

decade

2000s

2000

Catherine Opie, Ron Athey seated smoking, 2000. Color Polaroid; framed: 107 ¼ × 43 ½ in. (272.4 × 110.5 cm). Collection Museum of Contemporary Art Chicago, gift of Gary Heiferman, Chip Tom and Michael W. Rabkin, C. Bradford Smith, and Donald L.Davis, in honor of the birth of Oliver Hill Opie; and gift in memory of John S. Baran, 2003.2
Photo: Michael David Rose, © MCA Chicago

2000

Sterling Ruby and Melanie Schiff become friends while students in Chicago.

2000

Rodney McMillian earns his Post-Baccalaureate from the School of the Art Institute of Chicago.

2000s 2000

Sterling Ruby first learns how to work with ceramics in Chicago at a “free form” ceramics class.

2000s 2000

Sterling Ruby works at the Video Data Bank, an organization cofounded by SAIC. In Ruby’s words: “I wasn’t exposed to a lot of video art until I started my employment as a secretary at the Video Data Bank. Prior to Chicago, I studied at a four-year foundation program in Pennsylvania where I did figure and still life drawing for eight hours a day. Needless to say, there was no video art in the curriculum. After being promoted from the VDB front desk, I learned how to edit and wound up dubbing endurance-based performance art for eight hours a day. I was holding the [Vito] Acconci, [Lynda] Benglis, and [Bruce] Nauman master tapes and it was a nice opportunity to learn the history of video art in parallel to watching the history of performance art.”

2002

Kori Newkirk, Suggett, 2002. Nickel-plated basketball hoops, pony beads, and synthetic hair; overall: 108 × 18 × 23 in. (274.3 × 45.7 × 58.4 cm). Collection Museum of Contemporary Art Chicago, gift of Howard and Donna Stone, 2013.27
Photo: Nathan Keay, © MCA Chicago

2002

2004

Catherine Opie, Fall, Winter, Spring, Summer (Lake Michigan), 2004–5. Chromogenic development prints; 4 prints, each: 49 ¼ × 39 ¼ in. (125.1 × 99.7 cm); framed: 51 × 41 × 2 in. (129.5 × 104.1 × 5.1 cm). Collection Museum of Contemporary Art Chicago, Joseph and Jory Shapiro Fund by exchange, 2006.1.a–d
Photo: Nathan Keay, © MCA Chicago
Rebecca Morris, Untitled (#04-04), 2004. Oil and spray paint on canvas; 82 5/8 × 73 ½ × 2 5/8 in. (209.8 × 186.7 × 6.8 cm). Collection Museum of Contemporary Art Chicago, gift of Burt Aaron in honor of Shane Campbell Gallery, 2005.3. © 2004 Rebecca Morris
Photo: Nathan Keay, © MCA Chicago

2004

Larry Bell, Judy Chicago, Douglas Huebler, and Bruce Nauman are included in the group exhibition A Minimal Future? Art as Object 1958–1968 at the Museum of Contemporary Art, Los Angeles.

2004

Sterling Ruby’s first solo exhibition, Interior Burnout, is at 1R Gallery in Chicago.

2006

Melanie Schiff, Spit Rainbow, 2006. Chromogenic development print; 29 × 39 ½ in. (73.7 × 100.3 cm). Collection Museum of Contemporary Art, restricted gift of Kay and Malcolm Kamin and Kay Torshen in honor of the MCA’s 40th Anniversary, 2007.34. © 2006 Melanie Schiff
Photo: Nathan Keay, © MCA Chicago

2007

Andrea Bowers, Nonviolent Civil Disobedience Drawing–Elvira Arellano in Sanctuary at Adalberto United Methodist Church in Chicago as Protest Against Deportation, 2007, 2007. Colored pencil on paper; 30 × 22 ¼ in. (76.2 × 56.52 cm). Hammer Museum. Los Angeles. Purchase
Image courtesy of the artist and Andrew Kreps Gallery, New York

2007

Judy Chicago, Mary Kelly, Lynn Hershman Leeson, Sheila Levrant de Bretteville, Senga Nengudi, Miriam Schapiro, and June Wayne are included in the traveling exhibition WACK! Art and the Feminist Revolution organized by the Museum of Contemporary Art, Los Angeles.

2009

Aaron Curry, Figure Drawing, 2009. Wood, spray paint, acrylic, colored pencil, paper, painter’s tape, and steel base; 122 × 38 × 39 in. (310 × 97 × 99 cm). Collection Museum of Contemporary Art Chicago, gift of Helen and Sam Zell, 2013.1
Photo: Nathan Keay, © MCA Chicago

decade

2010s

2010

Sterling Ruby, SP104, 2010. Spray paint on canvas; 125 × 185 in. (317.5 × 469.9 cm). Collection Museum of Contemporary Art Chicago, restricted gift of the Simkins Family, 2011.7
Photo: Robert Wedemeyer, courtesy of Sterling Ruby Studio

2011

Aaron Curry and Richard Hawkins, Trophy, brown, 2011. Acrylic on rubber mask with wire on board, and silkscreen on cardboard; installation: 144 × 132 × 3 in. (365.8 × 335.3 × 7.6 cm); collage: 37 × 26 ½ × 3 in. (94 × 67.3 × 7.6 cm). Collection Museum of Contemporary Art Chicago, gift of Mrs. E.A. Bergman by exchange, 2012.3
Photo: Nathan Keay, © MCA Chicago
Amanda Ross-Ho and Allen Ruppersberg, The Meaning of Plus and Minus, 2011. Mixed-media installation: green pedestal, fabricated binder sculpture, random-sequence digital slide show, and moving-image projection with audio (music); overall dimensions variable. Courtesy of the artists. © Al Ruppersberg and Amanda Ross-Ho
Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago
Amanda Ross-Ho and Allen Ruppersberg, The Meaning of Plus and Minus, 2011. Mixed-media installation: green pedestal, fabricated binder sculpture, random-sequence digital slide show, and moving-image projection with audio (music); overall dimensions variable. Courtesy of the artists. © Al Ruppersberg and Amanda Ross-Ho
Courtesy of the artists; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago
Amanda Ross-Ho and Allen Ruppersberg, The Meaning of Plus and Minus, 2011. Mixed-media installation: green pedestal, fabricated binder sculpture, random-sequence digital slide show, and moving-image projection with audio (music); overall dimensions variable. Courtesy of the artists. © Al Ruppersberg and Amanda Ross-Ho
Courtesy of the artists; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago

2011

Jim Nutt has a solo exhibition at MCA Chicago titled Jim Nutt: Coming Into Character. It is accompanied by Seeing Is a Kind of Thinking: A Jim Nutt Companion, which included works by Nutt, Aaron Curry, Mike Kelley, Bruce Nauman, Gladys Nilsson, and Karl Wirsum.

2011

Judithe Hernández has a solo exhibition of new work at the National Museum of Mexican Art in Chicago titled La Vida Sobre Papel. Hernández credits the president of the National Museum of Mexican Art with jumpstarting her artistic career again in Chicago.

2012

Rodney McMillian, Carpet Painting (Bedroom and TV Room), 2012. Carpet and ink; 272 × 166.5 × .5 in. (691 × 423 × 1.3 cm); installed dimensions variable. Collection Museum of Contemporary Art Chicago, gift of the Albert A. Robin Estate by exchange, 2017.1. Courtesy of the artist and Maccarone, New York
Photo: Jeffrey Sturges

2012

Aaron Curry and Sterling Ruby are included in the group exhibition Phantom Limb: Approaches to Painting Today at MCA Chicago.

2013

Amanda Ross-Ho, CRADLE OF FILTH (detail), 2013. Ink-jet print on nylon, foam, fusible interfacing, YKK zippers and sliders, cast urethane, various paints, schmuttz (dirt), acrylic paint, and nylon; 78 × 58 × 20 in. (198.1 × 147.3 × 50.8 cm). Private collection. © Amanda Ross-Ho. Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago
Amanda Ross-Ho, CRADLE OF FILTH (detail), 2013. Ink-jet print on nylon, foam, fusible interfacing, YKK zippers and sliders, cast urethane, various paints, schmuttz (dirt), acrylic paint, and nylon; 78 × 58 × 20 in. (198.1 × 147.3 × 50.8 cm). Private collection. © Amanda Ross-Ho. Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago
Amanda Ross-Ho, CRADLE OF FILTH, 2013. Ink-jet print on nylon, foam, fusible interfacing, YKK zippers and sliders, cast urethane, various paints, schmuttz (dirt), acrylic paint, and nylon; 78 × 58 × 20 in. (198.1 × 147.3 × 50.8 cm). Private collection. © Amanda Ross-Ho. Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago
Amanda Ross-Ho, CRADLE OF FILTH, 2013. Ink-jet print on nylon, foam, fusible interfacing, YKK zippers and sliders, cast urethane, various paints, schmuttz (dirt), acrylic paint, and nylon; 78 × 58 × 20 in. (198.1 × 147.3 × 50.8 cm). Private collection. © Amanda Ross-Ho. Courtesy of the artist; Mitchell-Innes & Nash, New York; and Shane Campbell Gallery, Chicago
Sterling Ruby, Basin Theology/The Poacher 2, 2013. Fired ceramic and glaze; 32 × 36 × 41 in. (81.3 × 91.4 × 104.1 cm). Collection Museum of Contemporary Art Chicago, restricted gift of the Simkins Family, 2014.30
Photo: Robert Wedemeyer, courtesy of Sterling Ruby Studio
Sterling Ruby, Basin Theology/The Poacher 2, 2013. Fired ceramic and glaze; 32 × 36 × 41 in. (81.3 × 91.4 × 104.1 cm). Collection Museum of Contemporary Art Chicago, restricted gift of the Simkins Family, 2014.30
Photo: Robert Wedemeyer, courtesy of Sterling Ruby Studio

2014

Judy Chicago has a solo exhibition at the Oakland Museum of California titled Judy Chicago: A Butterfly for Oakland.

2015

Aaron Curry, Gladys Nilsson, and Jim Nutt are included in the group exhibition Surrealism: The Conjured Life at MCA Chicago.

2017

Judy Chicago creates Be No More, a dry-ice installation, at the San Francisco Museum of Modern Art as part of their new building’s opening celebrations.

2017

In this 2017 video, Judy Chicago explains her dissatisfaction with the male-dominated arts education she received at UCLA and how it inspired her to develop the Feminist Art Program at Fresno State College and the Womanhouse project.

2018

Jim Nutt, Gladys Nilsson, and Karl Wirsum are included in the group exhibition Hairy Who? 1966–1969 at the Art Institute of Chicago.

2018

Judy Chicago’s Birth Project: Born Again travels to the Pasadena Museum of California Art.

Cover of the Womanhouse exhibition catalogue, 1972. Pictured from left: Judy Chicago and Miriam Schapiro. California Institute of the Arts Institute Archives: Feminist Art Materials Collection

West by Midwest

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Consciousness-Raising and Collaboration

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Senga Nengudi, Ceremony for Freeway Fets, 1978. Chromogenic development print; series of 11, each: 12 × 18 in. Edition of 5, aside from 1 artist’s proof. © Senga Nengudi. Courtesy of Lévy Gorvy Gallery, New York, and Thomas Erben Gallery, New York
Photo: Roderick “Quaku” Young

West by Midwest

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Studio Z’s Constellation

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