During a career that spans more than thirty years, Faye HeavyShield has created drawings, sculptures, and installations in a variety of media that draw upon her family histories, traditional Kainai stories, language, and knowledge, as well as childhood experiences in the residential school system.

Our Mothers’ Gardens is a series uncovering repressed images of Black women held in photographic collections at the Art Institute of Chicago. The images often depict exploitation and violence towards Black women, whether overt or obscured.

Inspired by Wallace Herndon Smith and his dedication to painting, specifically to his practice of painting on location and outdoors throughout his career, the exhibition features the work of Sarah Lorentz, who taught The Sheldon’s first plein air classes this summer, and local artist Misato Pang.

This group exhibition of graduating Bachelor of Fine Arts students features works of Kailyn Hill, Sarah Loving and Eavan O’Neil from Southern Illinois University in Edwardsville, Webster University and University of Missouri.

Bill Steber is a photographer and artist from Tennessee. He has documented blues culture in the Mississippi Delta for over 20 years, chronicling the blues musicians, juke joints, churches, river baptisms, hoodoo practitioners, traditional farming methods, folk traditions and other significant traditions that gave birth to or influenced the blues.

This installation begins with the question, How does color operate? From the purely rational (systematic) to the intuitive and emotional (poetic), color occupies elusive territory. It is a perceptual phenomenon as much as a subjective experience. It fluctuates and is never static.

Douglas Dale uses contoured yarn to trace and mimic wood grain, allowing solid forms to seemingly dissolve into loose, flowing fiber. By building objects seemingly in mid-transition, Dale emphasizes both extremes of conflicting binaries and the information that is lost when constrained to a rigid taxonomy.

Carol Crouppen Schuchard’s photography draws from her experience working in collage, painting, fiber, and building renovation. A life-long collector, the artist assembles tableaus of found objects to be photographed, each with personal memories and connotations attached.

Patrick Earl Hammie’s I AM…THE NIGHT examines the television program Soul Train, and widely distributed 19th and early 20th century lynching photographs, to explore what has driven most of his work to date: Which narratives has he inherited? Which stories does he tell to create meaning for himself and inform meaning around others?

Fabricating Empire examines the relationship between the development of Central European folk costume and Austrian modern design, especially the textile department of the Wiener Werkstätte. The exhibition will feature several recent acquisitions, including four never-exhibited printed textiles, as well as loans of primarily early 20th-century folk dress from the St. Louis Public Library.

The Higgins Armory Collection at the Worcester Art Museum is the nation’s second largest collection of arms and armor, including more than 1,500 objects ranging from ancient Egypt to 19th-century Japan but with particular strengths in suits of steel armor from medieval and Renaissance Europe.

Amy Firestone Rosen: Dancing on the Ceiling is a site-specific installation representing a new evolution in Rosen’s practice. These works combine handcrafting and computer design, fiber objects and digital imagery. The exhibition demonstrates the great range of Rosen’s techniques and media, and the ways in which craft intersects with technology.

This exhibition explores and celebrates creativity, using as a foundation the work of acclaimed artist Tommy Simpson. Best known for his furniture, Simpson also uses invention and humor in many other media and formats, including textiles, ceramics, gouache, prints, poetry and prose. Simpson’s pieces do away with conventions, reimagine form and present the world from a fresh perspective.

Visions of Form and Space is a regional juried exhibition examining contemporary abstract art, emphasizing shape, and form and how they create spatial relationships. Artists showcased are working in a variety of mediums whose work achieve their effect by using shapes, forms, colors, and textures.

Visions of Form and Space is a regional juried exhibition examining contemporary abstract art, emphasizing shape, and form and how they create spatial relationships. Artists showcased are working in a variety of mediums whose work achieve their effect by using shapes, forms, colors, and textures.

Mandalas are vehicles for journeying to the center of one's being and bridging individual and collective consciousness. The Mandala Project: An Artist Collective features new works created in 2022 along with work created on August 14, 2021 during a live art event in the Cherokee Street Art District. Each artist started a new acrylic on canvas, then passed it along so artists can add to the work.

The collages in this body of work visually complicate what it means to look at a supposedly living- being on a screen. By appropriating internet imagery (both real and fabricated), this work pulls its source material from its subject, and critiques the online treatment of female-identifying people.

Emmy Lingscheit’s work explores the issues of environmental change and geopolitical upheaval. She examines the roles that humans occupy in the ecological world, and our complex relationships with the organisms with whom we co-exist. Lingscheit is influenced by dystopian fiction, climate disruption, irony, hope and the current alarming pace of species extinction planet wide.

For more than 30 years and on dozens of film sets, Jeff Bridges has been perfecting his own personal style of photography. For the first time throughout his career, this collection of Jeff Bridges’ photographs will be on exhibition in the Midwest.

Angela Shaffer has created a series of work based on collaborations with her young son. They reenact and imagine moments of tension or affection in the spaces in their home. The images depict Shaffer’s attempts to shape and mold her son into the person she thinks he should become. Riddled with anxiety for the future of her son, this body of work expresses her need to be a good mother.