Helen Maureen Cooper is next level, existing on a plane that few even know exists, let alone try to reach. Aesthetically-speaking, with her curly red hair, colorful apparel, and long acrylic tips, she stands proud and stands out. Her look is part youthful, all referential, yet decidedly personal. It is a reflection of all that she knows and an indication that what she wants to know still exists, if she is willing to find it.
It is her tips that distinguish Cooper from the women around her both in the art world and in the world at large. Cooper wears acrylics with traditional Chicago artistry.
The rise of local markets coincides with the rise and re-emphasis of shopping local. What does it mean to shop local?
Frances stumbles onto the screen. And once she is there, it is hard to imagine her not there.
Upon entering the Museum of Contemporary Art Chicago’s Kovler Atrium, audiences will find rows of pews from University of Chicago’s Bond Chapel. The pews were removed in order to provide Muslim students a place to pray. Above the pews hangs a large-scale double-cross sculpture filled with household items such as umbrellas, dented cans for non-perishables, and wine glasses.