The power of the drum is rooted in its ability to send messages. With the constant tempo of warriors' feet beating on the ground, it summons allies and beats back enemies with the same force. It can be used as an instrument of war or peace, a companion to dance and celebration. During the Revolutionary War, the drum played a vital role in conveying messages, persuading troops to fight, and boosting morale.
Still in its crate, the beauty and intricacy of this 18th-century clock are unmistakable. The clock's many components, from the clockworks to the music box mechanics, the woodworking, and delicately painted metal panels, showcase the craftsman that brought this piece to life in late 18th century England. And now, in the 21st century, a new team of skilled professionals came together to restore this clock's original integrity.
Carved wood, fabric wrapped and covered in thousands of meticulously placed seed beads, this chair's owner had one goal when she contacted The Center: "I wanted to make sure it was in its best condition!!" The owner, Lori, inherited the chair from her mother. It was in her mother's gallery in Palm Beach for many years and later was in her home. Before this, the chair's history is unknown; however, the construction and design are consistent with 20th-century Bamileke beaded art.
“Madonna della Strada Chapel at Loyola University Chicago received the donation of five relics from the Kerwin daughters whose parents Mary and Charles C. Kerwin have a long association with Loyola University and the Archdiocese of Chicago. The relics are from Saint Francis of Assisi, Saint Kateri Tekakwitha, Saint Frances Xavier Cabrini, Saint Clare of Assisi, and a piece of the True Cross of Christ. These items are special connections for the faithful of our community and serves as reminders of heroic people for whom we can model our lives on. The Kerwin daughters were extremely generous in that their donation included the conservation of the relics so that they can be viewed and prayed with by our community.”
This year the art world lost an artist whose name had become ubiquitous with the Chicago art scene: Karl Wirsum (1939 - 2021). A graduate of the School at The Art Institute of Chicago and a lifelong Chicagoan (a short teaching stint at Sacramento State University in the 1970's the only exception), Wirsum was a part of the Hairy Who group of Chicago artists in the mid 1960s. Truly, no collection of Chicago art is complete without a work by Wirsum.
The Center’s conservators have become familiar with Lewitt’s work after conserving dozens of paintings, works on paper, and sculptural works by the artist. Our most recent interaction with the artist’s work was the treatment of his piece, “1 2 3 4 5 (Vertical),” a painted aluminum sculpture with a steel base.
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