A solo exhibition by Hope Wang
Opening reception: March 3, 2-5pm

The Chinese American Museum of Chicago (CAMOC) will feature, artist Hope Wang, in its next installment of the collaborative Spotlight Series curated by Larry Lee of Molar Productions. In the exhibition, Step 1: rid the pomelo skin of bitterness, Wang’s profound observations and reflections connect deeply in the study of process and contrasts, and the resulting emotional capital conveyed through various mediums.

Founded in 2005, CAMOC is dedicated to the advancement in the appreciation of Chinese American culture and its contributions as an important part of the American fabric. It does this through exhibitions, education, and research to preserve the past, present, and future of Chinese Americans primarily in the Midwest. The Spotlight Series enters its third year, which focuses on the work and experiences of local, emerging, and mid-career artists of Chinese descent. The project aims to celebrate the divergent artistic visions and experiences of being Chinese in America and reflects upon our relationship to contemporary visual culture to a wider audience within our community.

ENGAGE Projects is excited to announce the opening of Crafting Pragmatics guest curated by Anna Cerniglia of Johalla Projects and featuring the work of Angela Finney, Noel Mercado and Hope Wang. This exhibition expands discourse around utilitarian practices, technology, material culture, and history of craft with modern outlooks.

Johalla Projects and ENGAGE are proud to feature Finney, Mercado and Wang in the exhibition Crafting Pragmatics, opening Saturday, January 13th, and remaining open through February 10, 2024.

Hope Wang + Keith Kaziak
On view Sept 14, 2023 - March 10, 2024
Meet the Artists Reception: Oct 20, 2023 at 6pm
Villa Terrace Decorative Arts Museum

Through weaving, metal casting, and meticulous foam carving, Supernova presents a romanticized view of a world constantly evolving around us, much like observing the magnificence of a bursting star in space. 

Artists Hope Wang and Keith Kaziak create installations to understand the decay of their physical environments and the social politics that influence them. Everyday symbols and objects, such as traffic barriers, an anvil, a slice of bread, and pink insulation foam, act as entry points into the humor and sorrow of human condition. The artists honor these objects by meditating on their intended usage, or what they conceal and replicate their likenesses with complex crafting techniques. Using industrial patterns and materials allows narratives of consumption, gentrification, and human labor to emerge, generating conversations around our current economic climate. 

Villa Terrace Art Museum is Milwaukee’s historic home for contemporary craft, material experimentation, and decorative arts. Supernova alters how we might examine the grandeur of the Villa in contrast to our brief human existence and shifting urban environment through playfulness, illusion, and high drama. 

Hope Wang will present as a Praxis and Practice—A Digital Weaving Conference speaker on her artistic journey of accessing institutional equipment outside of institutional spaces and how that has shaped the ethos around LMRM, her Chicago-based weaving studio. Through sharing community access to weaving tools that have been pervasively inaccessible to artists, LMRM focuses on filling the gap of resources for artists working outside of institutional support.

LMRM recently acquired a TC2 jacquard loom and plans to broaden public access to the tool through an open studio rental program. LMRM’s mission is to provide equipment and spaces that encourage artists to experiment and expand their research in the discourse of contemporary weaving. Reflecting on her own digital weaving practice and its relationship to a tool often associated with high efficiency and labour-intensive production, she will discuss the importance of slowness, community, and the intrinsic tensions between resources and equity in the creative sector.

On View: April 14 - June 1, 2023

Opening during MANA Contemporary’s EXPO Open House, fantásticolismo is a group show featuring works by Janhavi Khemka, Yae Jee Min, José Santiago Perez, Roderick Sawyer, Hope Wang, and Payton Harris-Woodard, curated by Cristobal Alday. For this exhibition, Alday thinks through the relationship between the visual arts and poetry by juxtaposing the artists’ works with written prose as a curatorial response.

Supported by Monira Foundation, Mana Contemporary, and Chuquimarca Projects.

"If architecture is the language of concrete and steel, then Soft Architecture needs a vocabulary of flesh, air, fabric and color. It’s about civic surface and natural history. It’s about social space, clothing, urban geography, visual art and the intersection of all these.” - Coach House Books Publishing wrote about Lisa Robertson’s essays, Occasional Works and Seven Walks from the Office of Soft Architecture

The Dodd Galleries are thrilled to announce the opening of Soft Architecture, an exhibition with artists Ashley Freeby, Jacob Goble, and Hope Wang, curated by Ciel Rodriguez.

Locations can often carry lingering memories or associated feelings. Can you recall a moment when an architectural place held space for you or supported you in some way? Perhaps an empty parking lot where you’ve collected yourself or braced yourself for the worst...a place where you felt comfortable enough to let yourself experience vulnerability, or safe enough to cry in public?

Soft Architecture is a group exhibition which investigates the ideas of architecture, time and space in relationship to trauma, loss and grief. All three artists move fluidly between mediums, working in soft materials such as quilting, weaving and fibers, as well as more rigid materials such as sculpture and artist’s books.

MORE INFO HERE

Opening Reception July 22, 6-9pm

Skylab Gallery presents the solo exhibition, “soft craters in the yard,” by Cincinnati-born, Chicago-based artist Hope Wang. Wang’s work treats the architectural landscape as a living document of visual language where building facades become eroded, redacted, and defaced. She translates images of architectural “scars” in factory lots, construction sites, and city commutes through handweaving and printmaking.

“soft craters in the yard” features a series of textiles that draw on empty parking lots and facades of industrial buildings. The American Midwest is populated with large expanses of warehouses and manufacturing facilities, some abandoned and some still home to low-wage, grueling operations. These works reference the expanse of corrugated metal that becomes the horizon sky, and the golden-hour light casting shadows against buildings when shifts end and labourers have gone home.

Wang captures the weightlessness of one’s own experience between the bustling energy of city-life and industrial work, as well as the melancholy and uncanny brilliance of an empty lot where one’s existence might register again. Employing the repetitive and tedious processes of handweaving and printmaking, her work reflects the delirious, dissociative nature of mundane manual labour. Paired with dream-like weavings of elusive shadows fluttering against industrial buildings, vivid depictions of asphalt give the works gravity as Wang draws viewers literally to the ground. For her, parking lots, roads, and sidewalks have become sites of loss and longing. With the posture of a neck craned downward, she refers to the scars of recurring traffic left in the asphalt as wounds, treating the structural environment as something flesh-like: of body, of ghosts.

Compelled by the same metaphor, Wang employs the process of letterpress-printing to translate her poetry into visual objects. Manufacturing spontaneity and imperfection on a machine often used to mass-produce printed texts, the metal type was meticulously set and printed and then “misprinted” as if letters were shaken and lost over multiple runs through the press. Wang explores palimpsests through the materialisation of language, ghosting of tire marks, and ever-changing industrial landscapes of labour.

The International Biennial Symposium and Exhibition on Textile Art "Scythia" is the only one prestigious international textile symposium and exhibition in Ukraine on European level, which includes artists, educational, fashion and cultural heritage groups and educational and professional workshops. It is Ludmila Egorova's and Andrew Schneider's private initiative, the first in Ukraine privately organized international art event, which is free from any kind of pressure. Artists will take part from 34 countries (Argentina, Australia, Austria, Belgium, Brazil, Chile, Croatia, Czech Republic, Denmark, Finland, France, Georgia, Germany, Great Britain, Hungary, India, Ireland, Israel, Italy, Japan, Lithuania, Mexico, the Netherlands, New Zealand, Norway, Poland, Romania, Slovakia, South Korea, Spain, Sweden, Turkey, Ukraine, USA.) They aim to show the diversity of textile art from all over the world and to share Ukrainian art with you!

boundary presents a solo show by Hope Wang, May 14-June 11, 2022.

Opening reception May 14, 6-9pm.

“Before there was a hill, there was a hole,” is a quote from an article about the Henry Palmisano park in Chicago’s Bridgeport neighbourhood. The article traces its history as a limestone quarry, where after 130 years of mining, the huge hole extended 380 feet below street level. From “trash to treasure,” the hole became a landfill for construction waste, before the dumping finally ended and this space began its new life as a fishing hole and beautiful wetland prairie park. It is one of Wang’s favourite places in the city, and she thinks fondly about the digging/filling/overflow/reuse of that space. Peripheral details and imperceptible histories about our built environment hold meaning and narrative. Within her own work, Wang considers the ways architectural spaces become artifacts of memory, and what happens to our memories when the physical artifacts disappear or change. Through manipulation of material surfaces and perception, her work suggests that meaning and memory are often in flux, and thus, often written over and over again.

Wang often references her photographs documenting sloppy traces of human activity around sites of urban industrial labour: boundary-making traffic objects as surrogate bodies, screenshots of Google Maps parking lots, and golden-hour light casting shadows against buildings and sidewalks. In her studio, Wang also practices digging and dumping material such as screenshots, grocery lists, poems, sketches, colour swatches; reiterating ideas spanning across years as content for her artwork. before there was a hill, there was a hole presents an interior look at the errant thoughts and preliminary lives of these scraps before they become “finished” objects. 

boundary is a contemporary visual arts project space founded in June, 2017 and located in a converted garage in Morgan Park on the south side of Chicago. The mission as a project space is to provide opportunities for Chicago-based, national and international artists to exhibit works in progress as well completed bodies of work. To schedule an appointment, please contact Susannah Papish, Director at 773/316-0562 or email boundarychicago@gmail.com.

FUTURE FAIR

May 4-7, 2022
Chelsea Industrial
535 W 28th St.
New York City

Over the moon! to be partnering with Elijah Wheat Showroom as their featured solo artist presentation at Future Fair during NYC Art Week May 4-7, 2022.

Future Fair's second in person edition of the exhibition will take place at Chelsea Industrial, located in the gallery district at 535 W 28th Street. The fair will host around 50 exhibitors in the ground floor venue. The fair, known for cross gallery collaboration, will continue to work with partnered exhibitors in shared exhibition spaces.

April 29 - June 12, 2022

The Latent Space presents Soft Tread, featuring work by Hope Wang and Micah Sweezie, who both meditate on manual labour, repetitive activity, and rituals of place-making. By meticulously re-crafting manufactured and industrial products, the two artists trace the imprint of human labour and reference broader realities of material histories. Together, they present artifacts of malleability, where taking the shape of another object often requires one to first bend into it.

On view March 18 - May 15, 2022
Opening Reception
Friday, March 18th 7-11PM

Virtual Artist Talk
Sunday, April 3rd, 12-1PM
Zoom Meeting: https://us02web.zoom.us/j/82249629354 Meeting ID: 822 4962 9354

Heaven Gallery presents pressed like a breath collapsing into a sigh​, a collection of work by Chicago-based artists Farnaz Khosh-Sirat and Hope Wang, who look to their built environments as spatial productions of memory, power, and desire. Drawing on constructed nostalgia to navigate the dissonance between loss and belonging, both artists employ architectural patterns to evoke intimate realities of place. 

By referencing hyper-specific architectural imagery and reconfiguring fragments of it, Khosh-Sirat and Wang produce “false” copies and traces of everyday life. These palimpsests take postures of longing that ​are not just decorative, but also serve primary functions as coded languages of their own. Khosh-Sirat utilises ​girih​, geometric patterns in Persian textiles and architecture, in her atmospheric sculptural installations. In an act devoted to mimicry that also reflects a desire for material to appear as something other than itself, Wang reproduces patterns from common construction materials into playful new forms. While Khosh-Sirat captures the stylized patterns of prayer rugs and meditates on the spiritual essence of space, Wang contends with the sloppy traces of human activity around industrial sites. By manipulating material to create ghostings of such contexts, Khosh-Sirat and Wang celebrate the essential qualities of their built environment that is simultaneously casual and critical.  

Both artists share a wonder for human presence within space, as well as how people record and recall memories. Khosh-Sirat and Wang maintain that these edifices are not legible as something solid, but as layers of a malleable, porous body. One that reflects, transmits, and absorbs the desires of those who exist within it.  

Mu Gallery presents a group show featuring; Marian Carow, Melon Fernsebner, Hope Wang, Beverly Rautenberg, Lindsey Claire Newman and Dan Gamble.

Opening Reception
Friday, January 21, 2022
6:00 PM - 10:00 PM

McHenry County College presents “The Vacant Plot of Sky,” a collection of Hope Wang’s digital weavings, prints, and poems that span several years of her explorations around loss, ghosting, and conditions of vacancy in the architectural landscape. Her work treats the architectural landscape as a malleable document of visual language where building facades become eroded, redacted, and defaced. She explores the thin spaces between physical occupancy and material manipulation of textile, print, and photography suggest that meaning and memory are often in flux, and thus, often written over and over again.

She will also be giving an artist lecture about the show through McHenry County College Art Department’s Visiting Artist Program. The exhibition reception will follow from 4-6pm.

VISITING ARTIST LECTURE : Hope Wang

Date: February 16
Time: 2:30 p.m.
Location: Luecht Auditorium - B170

https://mchenrycc.zoom.us/j/96284028071

Webinar ID: 962 8402 8071

Mu Gallery celebrates its grand opening in the heart of West Town, Chicago with an inaugural show, “Shape of Things.” The group show features work by Scott Mossman, Lindsey Claire Newman, Raul Ortiz, Yvette Kaiser Smith, Weiyang Gao, Dan Gamble and Hope Wang .

November 1, 2021 – January 21, 2022 The School of the Arts Contemporary Art Gallery at Indiana University Northwest presents "Material Perspectives," a group exhibition of textile artwork by Hope Wang, Cassie Tompkins, Envision Unlimited, and Monika Neuland Thomas.

Jordan Craig, Molly Haynes, Aaron McIntosh, John Paul Morabito, James Mullane, Aaron Storm, Stephanie Robison, & Hope Wang 

Friend of a Friend Gallery (FOAF) is excited to announce Phantom Haptics, our newest exhibition focusing on the physicality of contemporary textiles. As one of the oldest art forms in the memory of our species, textiles are specters of artistic, social, and cultural pasts. Phantom  Haptics looks to the future of textiles, asking what the art form has become at a time when their innately somatic qualities are estranged from our  hyper-digitized perceptions. The selected artists use textiles to either distance or ground themselves firmly within three modes of usage. Textiles  are first and foremost sensory objects that require a great deal of manual manipulation in their production and are activated through touch.  Textiles also function more metaphorically as connectors - works that are communally made and pay credence to a specific group, “touching”  many through existing singularity. Finally, textiles have increasingly been used in contemporary work to offset other physical mediums, blurring the  boundaries between ways of making and furthering multidimensional form.  

After the opening reception on October 16 from 7 -9 PM the exhibition will be on view by appointment through November 21, 2021. Email FOAF  to request your viewing spot and price sheet. 

Fluffy Crimes celebrates its first birthday September 2021 with a group exhibit of participating artists from all over the world. The show will include a large new group of zine/book-makers. The opening is Sept 25, from 3-8pm, at 2233 S. Throop Ave in Chicago. The show will run until Friday, October 15.

Rupture and Baby Blue Gallery proudly present Local Selection Vol. 1 Strawberry Moon. This is the first group exhibition curated by Roland Santana, artist and creator of the Rupture database. Hosted by Baby Blue Gallery and located inside MANA Contemporary, all artists included in this show are based in Chicago and identify as BIPOC. Rupture was created as a platform to discover talent and catalyze opportunities within the fine art sectors of the city through workshops, exhibitions and events. The first of Rupture exhibition’s is subtitled Strawberry Moon, a name used by the Algonquin, Ojibwe, Dakota, and Lakota peoples to mark the ripening of strawberries, and blooming flowers during the full moon in June. It is a time of great abundance for many.

The fifteen artists include: Malik Purvis, Hope Wang, Angel Harrold, Saúl Palos Rodriguez, Ashley King, Marcelo Eli, Salvador Dominguez, Eseosa Edebiri, Marina Ross, Astro, Roland Santana, Erol Harris, Yesenia Bello, Juan Neira and Leaf Silver. The work is a mix of disciplines that comes together harmoniously to bloom for the summer season.

Rupture is a growing database website that is open for submissions indefinitely. If you are a BIPOC artist in Chicago, submit your work via rupturechicago.com.

The Hunger Will Wake Us | Artist Talk & Virtual Reception
Sunday, June 6
1:00 – 2:00 p.m.
Zoom Meeting ID: 9199 0613 028

The Hunger Will Wake Us | Artist-Led Gallery Hours
Sunday, June 13
1:00 – 4:00 p.m.

This exhibition brings together new print work from Hope Wang and Farnaz Khosh-Sirat, who each explore the translational process of materializing digital animations and poetry text into print. Together they reflect on events of displacement through the metaphor of simultaneously losing and finding new meaning and new form via the act of translation.

Hope Wang uses printmaking, handweaving, painting, and photography to reimagine spatial association and visual perception. Wang references the architectural landscape as a malleable document of visual language where building facades become eroded, redacted, and defaced. Farnaz Khosh-Sirat is an Iranian light artist whose work employs digital tools to enhance human experiences of the sublime. Through the use of Persian architectural structures and patterns, Khosh-Sirat personifies human fragility in the contrasting positions between man and nature.

By reconfiguring fragments of hyper-specific architectural details, their works become “false” copies and traces of their constructed memories. These palimpsests’ postures of longing aren’t just decorative, but also serve as coded languages of their own.