Arthur Green (born 1941) is one of the original Hairy Who members from Chicago, a group of students from the School of the Art Institute of Chicago who exhibited together in the 1960s and 1970s and turned to representational art with a slight surrealist touch. He was also a member of the University of Waterloo’s faculty for over 30 years. His painting style mixes pop-art motifs with surrealist tendencies, creating a contained tension between order and chaos, rationalism and irrationalism. His upbringing in Chicago and its vicinity surely influenced him, from the accessibility to masterpieces at the Art Institute of Chicago to the grand architecture of Louis Sullivan, but also advertisements from the 1940s and 1950s that oozed with undertones of sexuality. His paintings draw from American popular imagery but complicate them, often using the full spectrum of vibrant colors and combining trompe l'oeil effects to play with the viewer's sense of balance.
Green was born in Frankfort, Indiana. His father was a civil engineer who designed bridges; his mother crafted quilts and grew flowers. Green initially set out to be a car designer, though he switched gears to graphic design when he started at the School of the Art Institute of Chicago. However, during his first year he had trouble finding enough graphic design classes to take, so he switched his focus once again to painting. In 1965, he earned his Bachelor of Fine Arts.
Green first came to prominence in 1966, when he joined five other recent Art Institute graduates for the first of a series of group exhibitions called The Hairy Who at a series of shows at Chicago’s Hyde Park Art Center. The strange name reflected the trend in monikers for rock groups of the time. The other members of the group were James Falconer, Gladys Nilsson, Jim Nutt, Suellen Rocca, and Karl Wirsum. Their work was known for its coarseness and vulgarity. It stood in contrast to the sleek and urban work by Manhattan artists at the time, namely Andy Warhol and James Rosenquist.
Between 1966 and 1967 Green worked at various Chicago public schools teaching seventh grade art. Between 1967 and 1968 he worked at Chicago City College as an Instructor. Green taught basic design, interior design, and art history. The following year he moved to Kendall College of Art and Design, Evanston, Illinois to assume a position as the Chair of the Fine Arts Department. There he taught studio and art history courses. In 1969, Green married Natalie Novotny (also a graduate of the Art Institute of Chicago), whose Art Institute education in pattern and fabric design became a strong influence on his work. He also accepted a teaching position at the Nova Scotia College of Art and Design University as an Assistant Professor.
Finally, in 1975, he received a Canada Council bursary, which enabled him to teach painting and drawing at the University of British Columbia. In 1976, he moved to Stratford, Ontario to teach at the University of Waterloo. While at UW, he served two terms as Chair of the Fine Arts Department; 1988–1991 and 2000-2002. He has been living in Canada ever since with two children, Catherine and Nicholas.
In 2005, the Kitchener-Waterloo Art Gallery hosted Heavy Weather: Art Green Retrospective in collaboration with the University of Waterloo Art Gallery. This exhibition brought together 50 of Green’s pieces, loaned from the artist and several private and public collectors in the United States and Canada, as a comprehensive survey of his 40-year career. Gary Michael Dault created a soft cover book with the same Heavy Weather title. The book contains photographs of the 50 pieces, commentary, and resource images which had inspired Green.
In 2006, the University of Waterloo gave him emeritus status.
Art Green's style falls somewhere between surrealism and pop art, with hints of op art. Two of his major influences, both in the collection of the Art Institute of Chicago, are Rene Magritte and Giorgio de Chirico. He sought to capture the straightforwardness and mystery evoked in these surrealist's paintings. Sometimes, he even directly quoted them, using curtains and multi point perspectives to describe architectural elements. He also enjoyed the work of James Rosenquist, whose work was more about surface than substance; however, Green's objects appear to have a psychological rather than just a visual presence.
The imagery Green has used throughout his entire career, and continues to use to this day, is drawn from illustrated textbooks and advertising of the forties and fifties that touch on technological and roadside Americana, with overt themes of sexual symbolism. Imagery includes ice cream cones, bridges, incomplete bridges, mirrors, scissors, women's painted fingernails, passionate couples, tires, moons floating over water, puzzle pieces, silhouettes of a plane flying overhead, searchlights, tornados, women's nylon-covered legs, wood grain, leather cords, screws, cables, knots, zippers, tapes, stitches, Necker cubes, and other optical illusions. The paintings tend to have torn or stitched imagery that evokes the trompe l'oeil tradition; transparent and solid planes overlap, too, achieving a high level of spatial complexity. Though the illusory depth of his paintings is not all that deep, the viewer still finds himself looking at, into, and through his paintings.
Green's artwork is full of dichotomies. He has a keen interest in examining our relationship to reality, or, more specifically, the difference between looking and seeing and the rewards of the latter. He combines order and chaos, but every force is balanced and contained. This order calms the chaos in time; the viewer is rewarded for spending time with his canvases as hidden objects reveal themselves in an endless tension between rationalism and irrationalism.
Art Green's initial forays into art making closely resembled the Abstract Expressionist tradition, like most artists born around his time. However, he eventually stumbled upon a book on Giorgio de Chirico's metaphysical period and quickly changed his style. He suddenly became interested in the absurdity of every day life and betwixt by a dream world created in modern day advertising. His turn towards surrealism at this juncture made absolute sense.
Art Green was one of the original six members of the Hairy Who. This was a group of artists who studied together at the School of the Art Institute of Chicago and later exhibited together six times in the 1960s. Their first show was at the Hyde Park Art Center in Chicago in 1966; subsequently, they exhibited twice more at the Hyde Park Art Center, once at the San Francisco Art Institute, once at the Corcoran Art Gallery in Washington, D.C., and once at the Visual Arts Gallery in New York. Though their primary interest in exhibiting together stemmed from the fact that they were all friends and colleagues, there are stylistic similarities in their artwork. All of these artists' work have tendencies towards a cartoon style or pop art; there is a high degree of visual resolution in their drawings and paintings and a sense of horror vacui fills their canvases.
By the 1970s, Green had become increasingly interested in trompe l'oeil effects on his canvas. His paintings increasingly made use of a tape motif, which gave surface texture a pictorial representation; it's almost as if there is a picture within a picture in these paintings. An erotic nostalgia pervades his mixed up and overlapping still lifes, as he combines fragments of contemporary life into highly stylized and symmetric patterns. His paintings take on a prism-like appearance as he reinterpreted familiar images. Increasingly so, he turns away from the figure and focuses only on cropped views of fingernails and hands.
In the mid-1980s, Green was interested in the Necker Cube. He wrote, “I was intrigued by the possibilities of simultaneously representing all sides of a rotating cube. I incorporated tiling patterns of unfolded cubes along with the hypercube in my work.” His interest in illusion extended off of the canvas and actually began affecting the shape of the canvas itself by the 1980s. The canvases, too, appeared to be constructed from individual pieces of polished glass; his paintings became monuments to a secular campy artificiality. Nothing was quite as it seemed in these canvases, where Green was more interested in disrupting the narrative via a manipulation of both form - i.e. he uses shaped canvas - and content - i.e. the scenes within his paintings appear cropped, giving only sensuous and flickering views of a hidden tale.
Of his more recent work, Green wrote, “I have been trying to make layered paintings that take a long time to “see”. I want to encourage the viewer to be conscious of the (usually unconscious) process of the interpretation and construction of images in the mind.” He has continued making use of shaped canvas and a visual complexity of his handling of paint that closely resembles a kaleidoscope. To this day, he continues to use the same motifs of a flickering flame, wood paneling, ice cream cone, woman's fingernail, etc.
Absolute Purity, 1967, Tastee-Freeze series
Immoderate Abstention, 1969, Fire and scissors
Saturated Fat, 1971, Tastee-Freeze series
Blank Slate, 1978, oil on canvas. First painting of an extended series that involve images of mirrors.
Risky Business, 1980, a fire-and-fingernail totem with a layered and shaped canvases
Persons Unknown, 1985, layered and shaped canvases
Double Crosser, 1991, imagery is secured, wired, lashed, tied-off, taped, and fastened with screws
Circular Argument, 1994, layered and shaped canvases
Green’s paintings are in many public and private collections including:
Akron Art Museum, Ohio
Art Institute of Chicago
Brauer Museum of Art, Valparaiso University, Indiana
Canada Council Art Bank, Ottawa, Ontario
Dalhousie University Art Gallery, Halifax, Nova Scotia
David and Alfred Smart Museum of Art, University of Chicago
Kitchener-Waterloo Art Gallery, Kitchener, Ontario
Madison Museum of Contemporary Art, Wisconsin
Mary and Leigh Block Museum of Art, Northwestern University, Chicago
Medical Center, University of Illinois, Chicago
Miami Dade College Museum of Art and Design, Florida
Midwest Museum of American Art, Elkhart, Indiana
Museum Moderner Kunst, Vienna
Museum of Contemporary Art, Chicago
National Gallery of Art, Washington, D.C.
National Gallery of Canada, Ottawa, Ontario
New Orleans Museum of Art
Northern Illinois University Art Museum, Dekalb
Owens Art Gallery, Mt. Alison University, Sackville, New Brunswick
Pennsylvania Academy of the Fine Arts, Philadelphia
Rockford Art Museum, Illinois
Roger Brown Study Collection, School of the Art Institute of Chicago
Smithsonian American Art Museum, Washington, D.C.
University of Waterloo, Ontario
Vancouver Art Gallery
Yale University Art Gallery, New Haven, Connecticut
Since 1968, Green’s work has been the subject of over 25 solo exhibitions, including nine at Phyllis Kind Gallery (1974, 1976, 1978, 1979, 1980, 1981, 1983, 1986, Chicago and New York), three at Bau-Xi Gallery (1974, 1979, and 1983, Vancouver and Toronto), and one at Corbett vs. Dempsey (2011, Chicago). His work has also been featured in more than 120 group exhibitions, including Personal Torment–Human Response (1969, Whitney Museum of American Art); Who Chicago (1981, Camden Art Center, London); 12 Chicago Artists (National Collection of Fine Arts, Smithsonian Institution); and Chicago Imagists (2011, Madison Museum of Contemporary Art, Wisconsin). In 2005, the Kitchener-Waterloo Art Gallery, Ontario mounted Heavy Weather, the artist’s first career retrospective. In early 2009, the CUE Art Foundation, New York hosted a solo exhibition of Green’s work, curated by Jim Nutt.
1968
Art Green, Art Gallery, Kendall College, Evanston, Illinois, October
1973
Art Green, Owens Art Gallery, Mt. Alison University, Sackville, New Brunswick, March 31–April 21
Art Green, Burnaby Art Gallery, Burnaby, British Columbia, October 3–28
1974
Art Green, Phyllis Kind Gallery, Chicago, March
Art Green, Bau-Xi Gallery, Vancouver, May 6–18
1976
Art Green, Phyllis Kind Gallery, Chicago, January
1976-1977
Art Green, Phyllis Kind Gallery, New York, December 11, 1976–January 8, 1977
1978
Art Green, Phyllis Kind Gallery, Chicago, February 4–March
Art Green, Arts Center Gallery, University of Waterloo, Ontario, February 8–March 4
1979
Art Green, Gallery Stratford, Ontario, March 16–April 8
Art Green, Bau-Xi Gallery, Toronto, April 28–May 17
Art Green, Phyllis Kind Gallery, New York, May–June
1980
Art Green, Phyllis Kind Gallery, Chicago, March
1981-1982
Art Green, Phyllis Kind Gallery, Chicago, December 1981–January 1982
1983
Art Green, Phyllis Kind Gallery, Chicago, September–October
Art Green, Bau-Xi Gallery, Toronto, April 21–May 10
1986
Art Green, Phyllis Kind Gallery, Chicago, January–February
1991
Doors of Perception, Cambridge Public Library and Gallery, Ontario, October 10–November 10
1992
Art Green: Conflicts and Resolutions, Gallery Stratford, Ontario, September 11–October 25; McLaren Art Gallery, Barrie, Ontario, September 17–October 31
1999
Art Green, Fassbender Gallery, Chicago, July 16–September 3
2005
Heavy Weather: Art Green Retrospective, Kitchener- Waterloo Art Gallery, Kitchener, Ontario, September 11–November 20; University of Waterloo Art Gallery, Ontario, September 15–October 20
2008
Art Green: Indirect Objects, Stride Gallery, Calgary, Alberta, February 22–March 29
2009
Art Green, CUE Art Foundation, New York, February 5–March 28
2010
Art Green: Unlikely Stories, University of Waterloo Art Gallery, Ontario, September 16–October 30
2011-2012
Art Green: Tell Tale Signs, Corbett vs. Dempsey, Chicago, December 9, 2011–January 21, 2012
2013
Art Green: I Should Be Painting, Gallery Stratford, Ontario, October 14–March 6
Art Green: Certain Subjects, Garth Greenan Gallery, October 17–November 23
2017
Art Green: Full Nelson, Garth Greenan Gallery, New York, June 8–July 28
1965
Phalanx III, Illinois Institute of Technology, Chicago, November 4–December 17
Vegetable, Hyde Park Art Center, Chicago, November 14–December 18
1966
Mineral, Hyde Park Art Center, Chicago, January 11–February 19
The Hairy Who, Hyde Park Art Center, Chicago, February 25–April 9
1967
Hairy Who, Hyde Park Art Center, Chicago, February 24–March 24
70th Annual Chicago and Vicinity Exhibit, Art Institute of Chicago, March 3–April 2
1968
Six Chicago Artists, Northern Illinois University, DeKalb, January 5–February 24
The Hairy Who Drawing Show, School of Visual Arts, New York, February–March
Society for Contemporary Art Annual Exhibit, Art Institute of Chicago, April 16–May 19
Now! Hairy Who Makes You Smell Good, Hyde Park Art Center, Chicago, April 5–May 11; San Francisco Art Institute, May 3–29
Jordan Davies, Art Green, and Ray Siemenowski, Allan Frumkin Gallery, Chicago, October 6–31
1969
Chicago: Part II, Visual Arts Gallery, New York, February 14–March 14
Don Baum Says ‘Chicago Needs Famous Artists', Museum of Contemporary Art, Chicago, March 10–April 13
Hairy Who, Visual Arts Gallery, New York, February 14–March 14; Corcoran Gallery of Art, Washington, DC, April 15–May 17
Art Green, Bruce Parsons, and Michael Upton, Anna Leonowens Gallery, Nova Scotia College of Art and Design, Halifax, October 8–17
1969-1970
Human Concern/Personal Torment: The Grotesque in American Art, Whitney Museum of American Art, New York, October 14–November 30, 1969; Art Museum, University of California, Berkeley, January 20–March 1, 1970
1970
Surplus Slop from the Windy City, San Francisco Art Institute, April 16–May 16
Wake Up Yer Scalp with Chicago, Richard Feigen Gallery, New York, November
Cynthia Carlson, Art Green, and William Schwedler, Galerie Darthea Speyer, March 18–April 24
1971–1972
Lithographs from NSCAD, Canadian Centre in Paris, France, September 15, 1971–September 15, 1972
1972
Group Show, Phyllis Kind Gallery, Chicago, May–July
Scan, Vancouver Art Gallery, September 27–October 29
Chicago Artists, Kalamazoo Art Institute, Michigan, October
What They’re Up to in Chicago, Rodman Hall Arts Centre, St. Catherine, Ontario, December 1–13
1972–1973
What They're up to in Chicago, Rodman Hall Arts Centre, St. Catharine, December 1–13, 1972; Sackville, New Brunswick, Canada, 1973; Montreal, 1973; Fredericton, New Brunswick, Canada, 1973; Guelph, Ontario, 1973; Halifax, Nova Scotia, Canada, 1973; Burnaby, British Columbia, Canada, 1973; London Public Art Museum, 1973
1973
Pacific Vibrations, Vancouver Art Gallery, September 13–October 23
1973-1974
Extraordinary Realities, Whitney Museum of American Art, New York, October 16–December 2, 1973; Everson Museum of Art, Syracuse University, New York, January 15–February 18, 1974; Contemporary Arts Center, Cincinnati, March 8–April 27, 1974
1974
9 Out of 10: A Survey of Contemporary Canadian Art, Art Gallery of Hamilton, Ontario, November 8-December 8; Kitchener-Waterloo Art Gallery, Kitchener, Ontario, January 9-February 2; Gallery Stratford, Ontario, February 15–March 15
Art Green and Roger Brown, Pennsylvania Academy of Fine Arts, Philadelphia, January 16–February 24
The Anonymous Image, Renaissance Society, University of Chicago, May 7–June 8
1975
The Canadian Canvas, Musée d’Art Contemporain, Montreal, January 16–March 1976
Current Energies, Saidye Bronfman Centre, Montreal, February 24–March 21
Inaugural Exhibition, Alessandra Gallery, New York, October 4–28
The B.C. Provincial Collection, Provincial Museum, Victoria, British Columbia
1976
Hyde Park Art Center, 1939-1976, Hyde Park Art Center, Chicago, February 20-April 3
Old and New Works by Artists from the Phyllis Kind Gallery, Foster Gallery, University of Wisconsin, Eau Claire, Wisconsin, April 19–May 5
Olympic Exhibition, British Columbia Provincial Collection, Montreal, Quebec, Summer
Visions—Painting and Sculpture: Distinguished Alumni, 1945 to the Present, School of the Art Institute of Chicago, October 7-December 10
Pacific Coast Consciousness, Robert McLaughlin Arts Centre, Oshawa, Ontario, November 5–December 14
1977
San Francisco Art Institute Annual Exhibition, San Francisco Art Institute, June 5–August 28
Masterpieces of Recent Chicago Art, Cultural Center, Chicago Public Library, October 3–November 2
Chicago Artists, Ohio State University, Columbus
1977-1978
True Confections, Burnaby Art Gallery, Burnaby, British Columbia, November 27, 1977-January 8, 1978
1978
Eleven Chicago Painters, Art Gallery, Florida State University, Tallahassee, February 12–March 3
Chicago: The City and Its Artists, 1945-1978, Museum of Art, University of Michigan, Ann Arbor, March 17–April 23
Contemporary Chicago Painters, Art Gallery, University of Northern Iowa, Cedar Falls, April 2–March 3
Artforms, Kitchener-Waterloo Art Gallery, Kitchener, Ontario, June 1–July 2
Chicago-Detroit Exchange Show, Detroit Art Institute
1978–1979
Other Realities, Agnes Etherington Art Centre, Queen’s University, Kingston, Ontario, September 16–October 29, 1978; Canada House, London, January–February, 1979; Canadian Cultural Centre in Paris, March–April, 1979
Prizewinners Revisited, The Art Institute of Chicago, October 30, 1978–April 6, 1979
1979
Chicago Currents: The Koffler Foundation Collection, National Collection of Fine Arts, Smithsonian Institution, Washington, DC, June 8-August 13
1980
Some Recent Art from Chicago, Ackland Art Museum, University of North Carolina, Chapel Hill, February 2-March 9
50 Works of Art That Shouldn't Leave Madison, Madison Art Center, Wisconsin, June 6-July 9
Chicago Imagists, Audrey Strohl Gallery, Memphis, Tennessee
1980-1982
Who Chicago?: An Exhibition of Contemporary Imagists, Camden Art Center, London, December 10, 1980- January 25, 1981; Ceolfrith Gallery, Sunderland Art Centre, England, February 16-March 14, 1981; Third Eye Center, Glasgow, March 21-April 30, 1981; Scottish National Gallery of Modern Art, Edinburgh, May-June, 1981; Ulster Museum, Belfast, July- August, 1981
1982
Selections from the Dennis Adrian Collection, Museum of Contemporary Art, Chicago, January 30-March 14
Variations, Wellington County Museum and Archives, Elora, Ontario, August 6-September 6
Dialect ≠ Dialectic, Phyllis Kind Gallery, New York, October 13-November 6
Chicago Imagists, Kansas City Art Institute, Missouri; Saginaw Museum of Art, Michigan
1982–1983
New Directions: Contemporary American Art from the Commodities Corporation Collection, Fort Lauderdale Museum of Art; Oklahoma City Museum of Art; Santa Barbara Museum of Art; Grand Rapids Museum of Art; Madison Art Center, Montgomery, Alabama, December 9, 1982–March 13, 1983
1983
Kitchener-Stratford-Windsor Exchange, Kitchener-Waterloo Art Gallery, Ontario, February 10–March 27; Stratford; Windsor
Contemporary Chicago Images, Illinois Wesleyan University, Bloomington, Illinois
Barbara Rossi and Art Green, Phyllis Kind Gallery, Chicago, Illinois, December
1984
Indiana Influence, Fort Wayne Museum of Art, Indiana, April 8-June 24
Group du Jour, Phyllis Kind Gallery, New York, June–September
Alternative Spaces: A History in Chicago, Museum of Contemporary Art, Chicago, June 23-August 19
1985
Imagist Update, Phyllis Kind Gallery, Chicago, June–September
1986
The Imagist Tradition: Chicago in the 70s, Janet Fleisher Gallery, Philadelphia, May-June
1987
Made in USA: Art from the 50’s and 60’s, University Art Museum, University of California, Berkely, April 4–June 21; Nelson-Atkins Museum of Art, Kansas City; Virginia Museum of Fine Arts, Richmond
Art Against AIDS, Phyllis Kind Gallery, New York, June 4
Developing a Theme, Arts Center Gallery, University of Waterloo, Ontario, September 10-October 4
Drawings of the Chicago Imagists, Renaissance Society, University of Chicago, October 4-November 4
The Chicago Imagist Print: Ten Artists' Works, 1958-1987, David and Alfred Smart Museum of Art, University of Chicago, October 6-December 6
Of New Account, Bowling Green State University, Ohio, October 23–November 20
1988
Welcome Back: Works by Contemporary Artists from Indiana, The Gallery of the John Herron School of Art, Indianapolis, January 16–February 27
1989
Coming of Age, Madison Art Center, Wisconsin, September 9-November 12
1992
View from the Chesterfield, Kitchener-Waterloo Art Gallery, Kitchener, Ontario, February 13-March 29
1993
Personal Imagery: Chicago/New York, Phyllis Kind Gallery, New York, September 18-October 30
1994
Target Choice, World Tattoo Gallery, Chicago, October 10
1994-1995
Chicago Imagism: A 25-Year Survey, Davenport Museum of Art, Davenport, Iowa, December 3, 1994- February 12, 1995
1995
12 Chicago Artists: The Koffler Foundation Collection, National Museum of American Art, Washington, D.C., February 10–May 21
1995–1996
Art in Chicago: 1945–1995, Chicago Museum of Contemporary Art, November 14, 1995–March 23, 1996
1996
Second Sight: Printmaking in Chicago, The Leigh and Mary Block Gallery, Northwestern University, Evanston, Illinois, September 27–December 8
Don Baum Says: Chicago Has Famous Artists!, Hyde Park Art Center, Chicago, November 17–18
1999–2000
Jumpin’ Backflash, Northern Indiana Arts Association, Munster, Indiana, September 7–October 30, 1999; Chicago Cultural Center, January 22–April 2, 2000
2000
Chicago Loop: Imagist Art, 1949-1979, Whitney Museum of American Art at Champion, Stamford, Connecticut, September 15-December 6
2002
Made in Chicago: Circa 1970, Adam Baumgold Gallery, New York, October 17-November 30
2003
The Ganzfeld Unbound, Adam Baumgold Gallery, New York, March 27-May 3
Dualities: Contemporary Works from the Permanent Collection, Dalhousie Art Gallery, Halifax, Nova Scotia, May 23-July 6
2003–2004
A Passionate Perspective: Francis and June Speizer Collection of Art, Rockford Art Museum, Rockford, Illinois, November 7, 2003–January 18, 2004
2004
That 70’s Show: The Age of Pluralism in Chicago, The Center for Visual and Performing Art, Munster, Indiana, June 6–July 11
Smart Collecting: A Thirtieth Anniversary Celebration, David and Alfred Smart Museum of Art, University of Chicago, July 8-September 5
2006
Art in Chicago: Resisting Regionalism, Transforming Modernism, Pennsylvania Academy of the Fine Arts, Philadelphia, February 4-April 2
Fabulous, Dalhousie University Art Gallery, Halifax, Nova Scotia, March 10–April 30
Abstract Imagists, Corbett vs. Dempsey, Chicago, October 27-November 25
2007
Imagist Hits: Vol. 1, Corbett vs. Dempsey, Chicago, February 23-March 31
Artistes Américains des Années 70: Don Baum, Roger Brown, Art Green, Christina Ramberg, Llyn Foulkes, Galerie Darthea Speyer, Paris, June 7–October 13
This Place is Ours!, Pennsylvania Academy of the Fine Arts, Philadelphia, July 7-September 23
2007-2008
Hairy Who (and Some Others), Madison Museum of Contemporary Art, Wisconsin, October 13, 2007- January 6, 2008
2008
Essential Works III, Birch-Libralato Gallery, Toronto, January 12
Chicago Imagism: 1965–1985, Russell Bowman Art Advisory, Chicago, May 16–August 16
Hairy Who? Ha!, Art Institute of Chicago, October 7- November 3
2010-2011
Touch & Go: Ray Yoshida and His Spheres of Influence, Sullivan Galleries, School of the Art Institute of Chicago, November 13, 2010-Februrary 12, 2011
2011
Seeing Is a Kind of Thinking: A Jim Nutt Companion, Museum of Contemporary Art, Chicago, January 29-May 29
Painthing on the Möve: Chicago Imagists, 1966-1973, Thomas Dane Gallery, London, October 11- November 19
2011-2012
Chicago Imagists at the Madison Museum of Contemporary Art, Madison Museum of Contemporary Art, Wisconsin, September 11, 2011- January 15, 2012
2012
Afterimage, DePaul University Art Museum, Chicago, September 14–November 18
2012–2013
Rarely Seen: Contemporary Works on Paper, Art Institute of Chicago, July 28, 2012–January 13, 2013
2013
Chicago Imagists, Karma International, Zürich, October 13-November 2
2014
Full House, Garth Greenan Gallery, New York, July 21–August 22
2014–2015
What Nerve! Alternative Figures in American Art, 1960 to the Present, RISD Museum, Providence, Rhode Island, September 19, 2014–January 4, 2015; Matthew Marks Gallery, New York, July 8–August 14, 2015
2015–2016
Homegrown: The School of the Art Institute of Chicago in the Permanent Collection, The Art Institute of Chicago, October 17, 2015–February 14, 2016
2016
The Next Generation: Chicago Imagists from the Smart Collection, Smart Museum of Art, University of Chicago, February 11–June 12
Whoville: Highlights from the Beth Rudin DeWoody Collection, Peninsula Hotel, Chicago, September 7–October 23
2017
The Others: Selections from the Francis and June Speizer Collection, Rockford Art Museum, Illinois, February 1–May 29
1991, awarded the Distinguished Teacher Award at the University of Waterloo
1999, elected to Membership of the Royal Canadian Academy of Arts
2004, awarded the Waterloo Regional Arts Council Arts Award for Visual Art
