Become an Artist Friend of ARC Gallery.
Be seen. Be found.

ARC Gallery is now extending the opportunity to be posted on and linked from our website to fellow artists, men as well as women.

This is a great way for prospective art lovers and buyers to find you. Show them what new works you have to offer. Let them view your website.

Go to the Artist Friend page on this website to see where you will be listed.

To sign up as an Artist Friend of ARC fill out the form on this page and donate $50. We will know it is for the Artist Registry page because you will also email a photo of your work sized 189pixels wide by 289pixels long to info@arcgallery.org. If this is difficult for you, just send us a vertical image, and we will resize it for you. Please include in your email a link to your website.  If you prefer to pay by check, mail us a check for $50 and include on it that it is for our Artists’ Registry.

Each listing will be up for a year with the ability to be renewed.

On April 1, 2012 ARC moved to Bucktown.  Our new home is at 2156 N. Damen.  Please donate to help this 40-year old Chicago non-profit institution continue to be strong.

Donate now.

Show ran from 5/1/2013 to 5/25/2013

Opening Reception on Saturday, May 4  4-7pm

 Time and Remembering, mixed media

Pamela Hobbs is a fine-art photographer whose work explores feminine identity and the passage of time. Photographing miniature dolls, plaster figures and collected objects, Hobbs creates a surreal and enigmatic sensibility in these toned and hand-colored black and white pieces.

The current exhibit includes Time and Remembering, a series of eleven mixed media works in handmade shadowbox frames as well as several pieces from an earlier series entitled, “Dearly Departed.”

The imagery is presented through sepia-toned and hand-colored photographs housed in rustic pine enclosures. Antique wooden chambers and curio cases hold dried flowers, broken eggs and forgotten dolls. Patterned papers, lacy textures and children’s playing cards quilt the shadowbox interiors. These trunk-like boxes resonate memory, loss and time slipping away.

“Dearly Departed” (2007), a series of sepia-toned photographs, explores death and mortality. Women pictured in twilight landscapes disappear into uncertain futures. Images of statuesque women remain obscured in cocoon-like enclosures with dried flowers and discarded nests.

Show ran from 5/1/2013 to 5/25/2013

Opening Reception on Saturday, May 4 from 4-7pm

decolonizing: the mind, installation

As a critic of cultural bias at its academic front, JC Lenochan continues his series of installations as investigations of epistemological fatalism in pedagogical practice in decolonizing: the mind.  Deconstructing objects and drawings, reconfiguring ideology and class stratification as a public challenge to the viewer’s sense of re-thinking visual language as a means of cultural transformation, establishes the core of these issues and concerns. As a formidable conceptual practice Lenochan establishes a multi-media environment involving 2d and 3d forms as well as a video performance/lecture, predicated on the social implications and repercussions of being mis-educated in our class room experience that juxtaposes humor and vitality with a crucial sense of history, literature and contemporary process. Lenochan is in constant reflection of the necessity of a post-colonial dialogue on manipulating perspective of the dominant ideology, personal ethnological hybridity, perceptions of otherness and whiteness as a fabrication.

This installation is made possible by a 2013 grant from the Puffin Foundation New York, New York

Show ran from 5/1/2013 to 5/25/2013

Opening Reception on Saturday, May 4 from 4-7pm

 Almost Out The Door: Stories of Adolescence, photography

Margaret Wright creates this series of contemporary portraits, Almost Out The Door: Stories of Adolescence, to document and explore the intersection in an adolescent’s life between the world of their friends and the world of their families.

She collaborates with six adolescents to photograph them as they gather together in public and private places, with their intimate friends, family members, teachers and classmates. These photographs represent moments of exchange between individuals and groups – how these people have created privacy or intimacy with their bodies and their gazes and the complex narrative that evolved over time as they connected and disconnected with each other.

Wright’s technical choices in constructing these images act as metaphors, which suggest the unique framing of a real moment in time. Her manipulation of the picture making process and the picture plane – the changing point of focus, the shifting position, and the use of scale, distortion, ellipses and repetition – amplify the events that are going on in the scene just as we exaggerate and diminish events while they occur and, later, as we recreate them as narrative in our minds. Moreover, the individual frame seams within the larger constructed image, and their varying styles, are visual metaphors for the exchanges between individuals represented in the photograph. The elongated or extended form of these pictures provides a formal device for describing unfolding dramas that occur as time passes and for compressing the passage of time in a still image.