Open Calls for Entry for 2019


Exhibition Dates: April 26-June 8, 2019

Artist Reception: May 17, 5:30-7:30pm

Call for Entry Deadline: March 22, 2019, 5:00pm

How is light defined in reference to art? There are many variables, from contrast of light and dark, to light sources. Artists manipulate the elements of light through shades of colors, overlapping, and shaping, creating the illusion of light. Moreover, the artist’s consciousness is the vehicle for bringing light into their art and their surroundings. In the dictionary, enlighten is defined as “to give intellectual or spiritual light to; instruct; impart knowledge to.” The Art Center Highland Park (TAC) is searching for art that reflects the many values of LIGHT both literally and spiritually.

Guest Juror: Bert Leveille (image above)
TACHP is proud to exhibit Bert Leveille’s “Streaming Reflections” in the Main Gallery. A contemporary Chicago area artist with a Harvard, Starline studio, she creates art and art installations exploring consciousness. Collaborations include Shawn Coyle who, inspired by Leveille’s imaginative large scale art and 15 foot tunnel, choreographed the dance “Tunnel”. A collaboration with Angela Swan and Cellmod on Sept 11, 2015 evolved into a moving tribute to 911. Leveille’s mediums include video, animation, LED colored changing lighting, materials and canvas, and acrylic paint. Each installation offers a unique experience for the artist and the art viewer.

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Exhibition Dates: June 14-August 3, 2019

Opening Reception: June 14, 5:30-7:30pm

Call for Entry Deadline: May 10, 2019, 5:00pm

The Art Center Highland Park (TACHP) is searching for work that breaks down the boundaries of inside and outside. As space can be defined by a physical separation, without or beyond an enclosure, we are searching for work that redefines the confines of what constitutes inside and outside. A physical wall, a border, or skin are forms that outline and delineate between inside and outside, acting as protection. Our skin protects us from germs, our homes protect us from weather.  However, when we think metaphysically or spiritually, how do we describe those separations? How can artists use their work to represent the ability to break down barriers, revealing what is both inside and outside, and blurring the delineations between them?  We are looking for and may accept indoor and/or outdoor sculptures in addition to work that pushes the limits of representations of the theme.

Guest jurors: Susan Smith Trees and Michelle Stone (images above) with a concurrent exhibition in the Main Gallery, Undercurrents.

Susan Smith Trees is a sculptor who has exhibited throughout the United States for the past 25 years.  She has created installations, wall reliefs and floor works in addition to pen and ink drawings. Her pieces are melted and stained with pigment, wrapped over rocks, marred with crevices and punctures and rolled and kneaded into limbs and organic figurations.  Her career has involved working in multiple materials including thermoplastic, polyurethene, cast bronze and resin. Manipulation of materials are her touchstone to experimentation and the unknown. Trees has won numerous awards including the Artists Program Grant from the Chicago Department of Cultural Affairs and commissions from the Open Lands Association of Lake Forest, IL.  She has been represented by Gallery H in Three Oaks, Michigan and her works have appeared in “Calculated Leap” by Teresa Devine, “Sculpture Invasion 2015 published by the Koehnline Museum of Art, and “Strong Exhibits for a February Spring” the Paul Klein Art Letter. She is affiliated with the International Sculpture Center, the Chicago Artists Coalition, Arts Alliance Illinois, Dialogue Chicago and Woman Made Gallery.  Her sculptures and drawings are included in private collections throughout the United States. She currently lives and works in Chicago, IL.

Michelle Stone is a veteran Chicago artist, best known for her constructed, impasto, painted, acrylic sculptures. Stone builds hybrid shapes hovering between figure and abstraction. Various sized forms crawl on walls, and floors, at times developing into elaborate installations and menageries. In addition to sculpture, she creates portraits, paintings, and drawings that explore relationships, evolving along a wide spectrum of the human condition.  Stone has shown widely, is affiliated with Ceres Gallery, NYC, Chicago Sculpture International, and Dialogue Chicago, has a studio in Chicago with Cornelia Building Artists, and lives in Chicago.

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IMPACT: Color-Black-White

Exhibition Dates: August 9-October 2, 2019

Opening Reception: August 29, 5:30-7:30pm

Call for Entry Deadline: July 5, 2019, 5:00pm

How do we measure the impact of Color or Black and White? TACHP will be filling our galleries with these concurrent themes in one exhibition, highlighting the dichotomies between color and black and white in terms of art. A bold sense of color can elicit a certain response, while a black and white photograph may take us to another time and place. TACHP is searching for work whose use of color or lack thereof directs the content of the work. Color technique represents tone, feelings and emotions while the power of the work is dependent on and derived from its use even when color is absent. We will be looking for work that pushes the theme literally and symbolically, from color theory to race, from form to intention.

Guest Juror: Rhonda K. Brown

Rhonda K. Brown has been living and creating art in Chicago since 1995. A native Clevelander, Brown hails from a family that opened the first for-profit African American gallery in the country, Malcolm Brown Gallery in Shaker Heights, Ohio in 1980. Growing up with art all around inspired her to complete a bachelor of fine arts with a double major in painting and drawing and art history from The Ohio State University. Thereafter, she interned at the Cleveland Museum of Art during its 75th Anniversary year and then completed her master’s degree in art history at the University of Wisconsin-Madison in 2005. Brown’s expressive colorful paintings confront the viewer. Her abstracted human form, palette, and expressive lines communicate solemnity and boldness equally. Brown’s work appears in private collections throughout the country and has been featured in Samella Lewis’s International Review of African American Art, Oprah at Home Magazine  exhibitions, and architectural interiors.

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