600 Central, Wilmette, February 2021. The house is dated to 1893.
Old Parsonage, 1872, Washington Street at Maple Avenue, Downers Grove, Illinois, February 2018.
Jason and Lucy Flanders House, 1841, 24044 Main Street, Plainfield, Illinois, August 11, 2013.
Plainfield was settled at the end of the 1820’s when James Walker constructed a sawmill on the DuPage River. The mill attracted settlers to the region and created Will County’s first permanent community. Located about halfway on the Chicago-Ottawa stagecoach line, Plainfield developed commercially, including a booming lumber trade. Jason and Lucy Flanders married in Lowell, Massachusetts, in 1833 (they were both 23 years old). Jason Flanders, born in Vermont, had worked in Boston, Massachusetts since 1830. Lucy Ann Clark Flanders was born in New Hampshire. The Flanders arrived into Will County in 1833 and after seven years of farming, moved to Plainfield in 1840. The Flanders had six children.
Built in 1841, Flanders House exhibits characteristics of both the Federal and Greek revival styles. This includes symmetrically arranged windows and a central entrance overlaid by a porch of the 1920’s. Also known as Mapleview Farm and Bragaw-Klomhaus House, The Flanders’ Place has had only a handful of owners in its 180-year history. There is no record of the house ever being used for any non-residential purpose though it may have served in a commercial capacity, perhaps serving travelers on the Dr. Temple Stage Line Chicago-Ottawa route.
The two-story, side gabled rectangular building is approximately 30 x 40 feet in dimension and with later additions. Jason Flanders built the house with hewn logs and sided it with walnut, its original siding hidden by later exterior finishes. The house was finished on the inside also with walnut. Walnut was abundant in the Plainfield area which may explain partly why the Flanders did not hesitate to whitewash the house exterior.
Jason Flanders was the town constable (Plainfield’s first) and at his death had amassed many hundreds of acres of land. The Flanders and their descendants retained control of the property until 1974. While it is recorded that Jason Flanders was a Methodist, his late-20th-century descendant sold the house to a Lutheran church for use as a parsonage. It was sold again in the early 1990s and restored to emulate its original appearance. Flanders House remains one the oldest extant houses in Plainfield, Illinois, today.
Venard/Kelly/Orwin House, 4540 Highland Avenue, Downers Grove, Illinois. Constructed in 1914, this American Foursquare with Craftsman influences maintains its original features.
The exterior has bevel siding on the first story and shingles on the second with dividing molding. The full width front porch has double and triple columns and a front door with oval glass. There is a bay window off the dining room with triple windows. The view is taken from the southeast on February 16, 2021.
5414 N. Sheridan Road, Chicago. Park Tower Condominium is on the lakefront next to north Lake Shore Drive and across from Foster Beach in Lincoln Park. Constructed in 1973 by Solomon, Cordwell, Buenz (SCB), a Chicago architectural firm founded in 1931, the tower was planned as the first of three towers in a triangular formation but the others did not materialize.
At 55 stories tall (513 feet high), Park Tower Condominium is one of the tallest structures in Chicago outside the downtown area. It is the tallest structure between downtown and Foster Beach. It is one of the largest all-residential buildings in the city. Originally built as luxury rental apartments, the building became condos in 1979. The photograph was taken on August 7, 2015 in Lincoln Park.
In the Edgewater neighborhood, Park Tower Condominium is one of three residential towers in Chicago with black Miesian windows and three rounded lobes. The others are Lake Point Tower (505 North Lake Shore Drive) and Harbor Point (155 North Harbor Drive).
The Mentor Building, 39 S. State Street (6 E. Monroe Street), 1906, Howard Van Doren Shaw (1869-1926).
A Mentor building has stood on this northeast corner of State and Monroe since 1873 when there was a 7-story building erected here.1
Shaw’s only skyscraper presents an unusual mixture of styles. There are windows grouped in horizontal bands between a four-level base of large showroom windows. The top is classically inspired and details are strong and idiosyncratic. The building retains the character of classical sources though used as large-scale motifs.2
Shaw’s 1906 building is 17 stories high with two basements on rock caissons.3
The photograph was taken on July 5, 2015.
1 Frank A. Randall, History of Development of Building Construction in Chicago, Second Edition, Revised and Expanded by John D. Randall, University of Illinois Press, Urbana and Chicago, 1999, p, 196.
2 Alice Sinkevitch, AIA Guide to Chicago, 2nd Edition, Harcourt, Inc., Orlando, 2004, p. 59.
CHEVY DEALERSHIP: A TRIBUTE TO ROUTE 66, 2007, 396 N. Chicago Street, Joliet, Illinois, by Marion Kryczka with the assistance of community members. Photograph by author.
Joliet, Illinois, a city of nearly 150,000 people about 45 miles southwest of downtown Chicago, is famous for many things not least of which is its appearance in the opening credits and scene of the classic 1980 comedy film, The Blues Brothers. Starring John Belushi as “Joliet” Jake Blues and and Dan Ackroyd as his brother, Elwood, there is a flyover of Joliet’s old steel mills in operation at night as well as the old limestone walls of Joliet Prison at dawn. The city of Joliet takes pride in this popular culture heritage, though those manufacturing mills are shuttered and the old Joliet Prison, only one mile away from Chevy Dealership: A Tribute to Route 66, closed in 2002.
Joliet set out in the early 1990s to celebrate and present its rich and diverse heritage by way of a city-wide public artwork initiative. Depicted in painted murals placed at strategic points throughout the city, it presented the various historic periods, people, and significant activities that preceded and followed Joliet’s establishment.
After many hundreds of years living on the undulating prairie with its deep rivers, Native American communities were met in 1673 by French-Canadian explorer Louis Jolliet (1645-1700)— and after which the city could have been later named—accompanied by French Jesuit Père Jacques Marquette (1637-1675). These European explorers paddled up the Des Plaines River on which the present-day Joliet straddles and camped just south of its downtown. By the nineteenth and twentieth centuries came a proliferation of canals, various industries, railroads, and quarries that saw the economic boom of this northern Illinois city surrounded by a broad geographical area of farms. In 1964, Joliet’s significance in the development of this part of the nation’s interior was officially recognized with the establishment of the Illinois & Michigan National Heritage Corridor designation.
In the early 1990s, Joliet started a public art mural project. Contemporary art murals were created throughout the city often on exterior building walls or under viaducts. Several of these early murals, after 30 years being constantly exposed to the harsh weather conditions in summer and winter, are today in varying need of restorative work. Whether as an individual mural or as part of a series, these public murals have looked to depict in contemporary art the diversity of Joliet life in more than five centuries of its history.
The 2007 acrylic mural called Chevy Dealership: A Tribute to Route 66 is the artists’ imagined depiction of a Chevrolet automobile showroom in Joliet, Illinois in the mid-1950s. Newer than other murals in the city, the mural is in remarkable physical condition as it sits in the direct western sun on an exterior wall along a high-trafficked downtown street corner. The 10-by-15-foot mural was created by a team of artists led by Marion Kryczka, a Chicago-based artist who was a longtime professor at The School of the Art Institute of Chicago. The artists who matured under Kryczka’s mentorship are today accomplished artists in their own right.
The mural is part of a series at the site. It is the larger of two murals displayed on west and south walls of a historic one story red-brick building at 396 N. Chicago Street in downtown Joliet, Illinois. The building had been the original showroom of Winston Chevrolet, a busy auto dealer in the mid-1930s and 1940s. In 1955 the dealership was acquired by Bill Jacobs, Sr. A vintage photograph from that time connected to the mural shows a bevy of new and used cars lined up and parked around the perimeter of the building apparently awaiting customers.
The acrylic mural of Bill Jacob’s dealership in the 1950s is imbued with cultural and historical significance. Bill Jacobs Chevrolet, which opened in 1955, stayed in the family until it was sold in 2015. The founder’s son, Bill Jacobs, Jr., bought the dealership from his father in 1978 at 23 years old. In 2010, Bill Jacobs, Jr., following a 7-year battle with cancer, passed away at 55 years old. Starting at this showroom building in 1955, Bill Jacobs Automotive Group had, by 2010, expanded to five Chicagoland dealerships. It employed almost 500 people and generated about $300 million in annual sales. Mrs. Jeanne Jacobs, the wife of Bill Jacobs, Sr., and Bill Jacobs, Jr.’s mother, passed away in October 2020. It was because of Jeanne Jacobs that her husband Bill Jacobs, a university professor, entered the car business. Jeanne Jacobs’ father owned a car dealership in Chicago where Bill Jacobs worked before he bought his own dealership in Joliet in 1955.
Since the 1970s, artist Marion Kryczka has had a career as an artist. Mr. Kryczka’s drawing is rooted in his foundation as a figurative artist and a lively technique which uses realism as a launching point to create familiar, beautiful, and meaningful scenes. For Chevy Dealership: A Tribute to Route 66, Krycka’s painting imagines a realistic American social scene which reflected Bill Jacobs Sr.’s business philosophy. Mr. Jacobs believed that business is about people and the mural’s showroom is filled with people who worked, lived and played in Joliet in the mid-1950’s. For a public mural like this one, community input was an important part of the process. There were group design sessions and meetings with city officials, with the city approving topics and contracting for the projects. For historic pieces, local residents sometimes posed.
The placing of Chevy Dealership: A Tribute to Route 66 in the mid20th century in the middle of the 1950’s helps express several important historical facets about the building, its car dealership, and the road (U.S. Route 66) that runs past it. In this art project are displayed many facets of Joliet’s rich heritage.
The mural is directly meaningful as a display of Joliet, Illinois, especially as it developed into a vibrant city where the Jacobs and many others put down roots. The mural also expresses the profound economic and cultural impact of the car industry in Joliet at that time reflecting national trends. Finally, it evokes the popularity of the legendary U.S. Route 66 which had opened in 1926 and followed a quilt of interconnected state and county roads for motor travel from Chicago, Illinois, through Illinois, Missouri, Oklahoma, Texas, New Mexico, Arizona, and all the way to Santa Monica, California in Los Angeles County. Chevy Dealership: A Tribute to Route 66 shows Joliet’s connection and contribution to this important larger national phenomenon.
The mid1950s for the Chevy dealership mural depicts that unique historical moment when old Route 66, just then 30 years old, was already on the threshold of major change. In the mural U.S. Route 66 was still in its hey-day—though, at the very same time, it was headed for a rapid and transformative decline. In 1956 the Federal Aid Highway Act was passed by the U.S. Congress and signed by President Eisenhower. It authorized $25 billion for the construction of over 40,000 miles of an Interstate Highway System. The bill was the largest public works project in American history—and quickly displaced U.S. Route 66 as a major throughway.
Jerry Peart (b. 1948, American), Wildflower, Sinnissippi Gardens, Rockford, Illinois, in July 2017. The 20-foot painted aluminum sculpture in a fountain setting stands near the entrance of the Nicholas Conservatory & Gardens along the Rock River. The Conservatory, which opened in October 2011, offers a main exhibition house, greenhouses, classrooms, a roof garden, a lagoon, walking trails, outdoor gardens, and more. Peart, a Chicago-based artist who has created over 35 large-scale public sculptures according to his website https://www.sedgwickstudiochicago.com/jerry-peart, created Wildflower in part because he was inspired by this place in the Midwest dedicated to all things clean and green.
Bob Mangold (b. 1930, American), Anemotive Kinetic, Sinnissippi Gardens, Rockford, Illinois, in July 2017. As a kinetic (movement) artist, Mangold’s sculptures explore concepts of space and motion. In 1962, Mangold began his Anemotive series of spherical, wind-propelled kinetic sculptures. As with this work, the anemotives are characterized by cup-like shapes mounted on arms which allow for motion.
Here, fabricated painted steel, 2012, by Ruth Aizuss Migdal. On the runway and poised for flight, the 14-foot-tall, bright red, dancing female figure stands in Chicago’s Lincoln Park Zoo next to the Chilean pink flamingos pond. May 2015.
Above: Clodion, The See-Saw, 1775, terracotta. Toledo Museum of Art (Toledo), November 2012.
Frédéric Bazille, Self-portrait, 1865-66. The Art Institute of Chicago (AIC), May 2015.
Heads, Female Diety; Bodhisattva; Buddha, stucco, Afghanistan/Pakistan, before 500 C.E. AIC, May 2015.
(From left) Gabriele Münter, Kirche von Reidhausen, 1908, oil on canvas board; G. Münter, Girl with Doll, 1908-09, oil on cardboard; August Macke, Geraniums Before Blue Mountain, 1911, oil on canvas. Milwaukee Art Museum, September 2015.
AIC, September 2015.
AIC, August 2015.
Bill Reid, Birth of the World, Museum of Anthropology, UBC, Vancouver, British Columbia, September 1993.
Mikazuki (male deity) Noh Mask, Japan, 16th century, cypress wood, colors, brass. AIC, August 2015.
Aristide Maillol, Enchained Action, bronze, 1905, AIC, August 2015.
AIC, May 2016.
Charles Collins, Still Life with Game, 1741. Private collection, May 2015.
European Decorative Arts, AIC, August 2015.
Roman Venus, Asia Minor, marble, c.165 CE., Toledo, November 2012.
Charles Ray, Young Man, 2012, Solid Stainless Steel, AIC, September 2015.
Michel Anguier, Amphitrite, marble, 1684. Toledo, November 2012.
James C. Timbrell, Carolan the Irish Bard, c. 1844, oil on canvas. Private collection.
The Dressing Table, William Glackens, c.1922, oil on canvas. Snite Museum of Art, Notre Dame, Indiana, September 2012.
From right: Kees van Dongen, Woman with Cat, 1908, and Quai, Venice, 1921; Gabriele Münter, Portrait Young Woman, 1909. Milwaukee Art Museum, September 2016.
Lorado Taft, Fountain of the Great Lakes, 1913. South Garden, AIC.
Henry Moore, Large Interior Form, bronze, 1982. North Garden, AIC.
Henry Moore’s 16-foot sculpture was made when the 84-year-old British artist was concerned with the construction of three-dimensional space, internal forms within solid volumes, and placing his work in a natural setting.
Moore had worked primarily in stone but as these formal concerns emerged, he shifted to modeling and bronze casting.
Large Interior Form explores mass and void as well as gravity and growth within a nature-inspired artist-created form.
Berthe Morisot, Woman in a Garden, 1882-83, AIC, September 2013.
Auguste Rodin (1840-1917), Adam, 1881. Bronze. AIC, May 2014.
Modern Wing, AIC, June 2014.
North Garden, AIC, November 2017.
WiFi hotspot, AIC, September 2015.
Edgar Degas, Spanish dance (c. 1883), Arabesque (c. 1885), Woman seated in an armchair, (c. 1901), cast in bronze later, AIC, May 2015.
Paris Street; A Rainy Day (“Rue de Paris, Temps de pluie”), 1877, Gustave Caillebotte, AIC, May 2015.
Alexander McKinlock Memorial Court, Triton Fountain, bronze, 1926, AIC, August 2015.
Swedish sculptor Carl Milles (1875-1955) studied in Paris from 1897 to 1904, working in the studio of Auguste Rodin (1840-1917). Yet Milles departed from the prevailing naturalism that dominated sculpture in the Belle Époque era, and embraced ideas and forms that reflected the artist’s independent spirit, his knowledge and appreciation of classical and Gothic sculpture, and his Nordic roots. Speaking of the fountain, Milles observed: “The great classicists knew that it was impossible to reproduce the appearance of flesh in marble, and they set themselves to create forms of pure beauty that would merely suggest and symbolize the living creature, and then to invest those forms with a meaning that mankind would feel intuitively to be universal and significant. This is what I have tried to do.”
African headdresses. The Art Institute of Chicago. September 2015.
The headdresses at the right and at the left are Gelede headdresses. The headdress in the center is perhaps a Gelde or Efe headdress. The headdress at left, made of wood, is the oldest of the three headdresses, made in Nigeria or Benin by the Yoruba community, in the late 19th/early 20th centuries.
Gelede headdresses often portray women as the headdresses in the center and at right do– one depicting a woman wearing a head tie and the other showing a woman with a plaited hairstyle. These were made in Nigeria by the Yoruba community in the first part of the 20th century.
The Gelede festival of the Yoruba community in western Africa is a public spectacle which uses colorful masks that combines art and ritual dance to educate, entertain and inspire worship. Gelede includes the celebration of “Mothers,” a grouping that includes female ancestors and deities as well as the elderly women of the community whose power and spiritual capacity in society is convoked. The Efe is a nighttime public performance held the day before the Gelede.
From left to right: Kramer Brothers Company (Dayton, Ohio), Settee, c. 1905/25; Cecilia Beaux (American, 1855-1942), Dorothea and Francesca, 1898, oil on canvas; Daniel Chester French (American, 1855- 1931), Truth, 1900, plaster. The Art Institute of Chicago. October 2014.
Fernand Harvey Lungren (American, 1857-1932), The Café, 1882/84, oil on canvas. The Art Institute of Chicago, September 2014.
The artist, born in Sweden, moved with his family to Toledo, Ohio, as a child. Lungren wanted to be an artist but his father objected, wanting him to be a mining engineer. For a brief time, in 1874, Lungren attended the University of Michigan at Ann Arbor to study his father’s preferred subject. But after two years, Lungren’s father still opposed to his being an artist, the younger Lungren rebelled and prevailed. In 1876 he was able to study under Thomas Eakins (1844-1916) at the Pennsylvania Academy in Philadelphia. In winter 1877 the 20-year-old Lungren moved to New York City. With his first illustration published in 1879, he worked as an illustrator for Scribner’s Monthly (renamed Century in 1881) as well as for Nicholas (a children’s magazine) and as a contributor until 1903. He later worked for Harper’s Bazaar, McCLure’s and The Outlook. Lungren’s illustrations included portraits, and social and street scenes.
In 1882 Lungren traveled to Paris via Antwerp. In a brief stay in Paris he studied informally at the Académie Julian, and viewed French Impressionist artworks. Lungren returned to New York City in 1883 and, soon afterwards, established a studio in Cincinnati, Ohio. In 1892 he visited Santa Fe, New Mexico for the first time and, in the following years painted artworks inspired by his contact with American Indian culture and the desert landscape. In 1899 he showed these American desert works at the American Art Galleries in New York and afterwards at the Royal Academy in London and the Walker Art Gallery in Liverpool.
When Lungren was in London he made pictures of street life and met several artists, including James Abbott McNeill Whistler (1834-1903). In late 1900 Lungren traveled to Egypt and returned to New York via London in the next year. Lungren had married Henrietta Whipple in 1898 and they moved to California in 1903, settling in Santa Barbara in 1906. Lungren lived and work in California—including several notable trips to Death Valley—until his death in 1932. Most of Lungren’s artwork, including hundreds of his paintings, were bestowed to what is today the University of California, Santa Barbara.
SOURCE: J.A. Berger, Fernand Lungren: A Biography, Santa Barbara, 1936.
from Frances Stark, Intimism, 2015.
Aristide Maillol, Nymph—Central Figure for the Three Graces, 1930, The Hirshhorn Museum and Sculpture Garden, Washington D.C. , March 2010. Acquired by the museum in 1966, photographs show that the statue stood in an open location by a garden pool at the museum. In 1991 following a whirlwind of euphoria associated with the successful completion of Operation Desert Storm, a victory celebration at the Mall in June of that year involved hovering military jets and helicopters. Their downdraft sent gravel footpath debris flying in the air that scratched and cracked several statues in the sculpture garden. Though none appeared to sustain damage beyond some repair, the Nymph—Central Figure for the Three Graces suffered the most damage as the nude female statue had pitted indentations on her backside. In 2010 when this photograph was taken, the sculpture was located in front of a protective garden wall. See- https://www.baltimoresun.com/news/bs-xpm-1991-06-12-1991163158-story.html
Aristide Maillol’s Nymph at the Hirshhorn Museum and Sculpture Garden in June 1975. Fair Use.
Expo Chicago/2018 is the 7th
annual exhibition of international contemporary and modern art held in
Chicago at Navy Pier’s Festival Hall. It took place September
27-30, 2018. Expo Chicago/2018 presented 135 galleries and exhibitors representing 27 countries
and 63 cities from around the world.This post’s 60 photographs are of that event.
Expo Chicago/2018 includes exhibitors four sections categorized to a specific aim: Exposure are galleries founded since 2010 featuring one or two artists; Profile are international galleries featuring solo or collective artists with focused installations, exhibitions and projects; Editions + Books highlight artist books, editions, prints, collectibles, photography, collage, drawing, etc.; Special Exhibitions” feature site specific work.
More Expo Chicago/2018 sections include: IN/SITU highlighting curated large-scale installations (a second, outside version features large-scale sculptures in various Chicago locations); EXPO VIDEO highlighting curated film, video and new media work; EXPO SOUND highlighting curated sound installations and projects.
Expo Chicago/2018 was held in Festival Hall on Navy Pier in Chicago. The annual event, held since 2012, is in its seventh year.
Expo Chicago/2018 attracts thousands of attendees to visit with hundreds of gallery owners and artists from all over the world.
Expo Chicago is a major modern and contemporary art event held each year to open the Fall art season. It is held nearby to downtown Chicago and the Magnificent Mile on historic Navy Pier which is one of Chicago’s most popular tourist magnets.
One of the information desks at Expo Chicago/2018.
Expo Chicago/2018 welcomed 135 international art galleries from 27 countries and 63 cities.
Georgia Scherman Projects, Toronto. Within the framework of the show’s sections, each booth showcases the artwork of their choosing .
The artwork of Marcus Jansen was featured at Casterline/ Goodman Gallery, Aspen, CO, Chicago, and Nantucket, MA.
Artist Gina Pellón (center) at Cerunda Arte, Coral Gables, FL.
Surrealist painter Fred Stonehouse, Night King, 2018, acrylic on canvas, Tory Folliard Gallery, Milwaukee, WI.
Richard Hughes, Hot Step, 2017, cast polyester resin and enamel paint, Anton Kern Gallery, New York.
Ridley Howard, Blue Dress, Blue Sky, 2016, acrylic on linen, Frederic Snitzer Gallery, Miami, FL.
Library Street Collective, Detroit, MI.
Artist Francesco Clemente, 2018, oil on canvas at Maruani Mercier Gallery, Brussels, Belgium.
Artwork of Larry Poons, Yares Art, New York, Palm Springs, Santa Fe.
Artwork of Austin White, 2018, Jenkins Johnson Gallery, San Francisco and New York.
SEA OF FLAGS, 2004, 2500 West Division Street, Chicago (Humboldt Park) by Gamaliel Ramirez (1949-2018) with the assistance of community members.
The mural entitled Sea of Flags depicts Fiesta Boricua (De Bandera a Bandera), an annual 3-day music and cultural event in the Humboldt Park neighborhood in Chicago. Attracting tens of thousands of visitors, the fiesta is held starting in late August or early September. In 2018 the Fiesta Boricua celebrated its 25th anniversary and offered 3 stages booked back to back with scores of musical and cultural performers specializing in the pulsating rhythms of Puerto Rican salsa, reggaeton, bomba, plena, and merengue music, and more.
Some of the famous people depicted in the mural Sea of Flags include Puerto Rican nationalist Lolita Lebrón (1919-2010), Nuyorican (“New York City/Puerto Rican”) poet and playwright Pedro Pietri (1944-2004) and, depicted as a bronze statue on the image’s left side, Don Pedro Albizu Campos (1891-1965), the leading figure in the Puerto Rican independence movement.
An abundance of Puerto Rican flags in the mural is intentional by the artist and his assistants. Since Spain ceded Puerto Rico to the United States in 1898 following the Spanish-American War — and ceded the Philippines and the island of Guam at the same time — Puerto Rico and the U.S. have had a complicated political relationship that is yet to be completely mutually resolved today.
Gamaliel Ramirez was born in the Bronx in New York in 1949. He spent most of his career in Chicago teaching and as a working artist. After 35 years in Chicago he retired to Santa Rita, San Juan, Puerto Rico. After Hurricane Maria in September 2017, Mr. Ramirez was hospitalized for many months and passed away on May 21, 2018. The artist of this colorful mural has left behind for us a legacy of paintings, other murals, photography and poetry.
One hour’s drive (about 40 miles) south of downtown Chicago– and 90 minutes drive from the University of Notre Dame near South Bend, Indiana, is The Shrine of Christ’s Passion. Within a 30-acre site whose landscaped rocks, hills, and trees envelop the visitor, the shrine is located on busy U.S. 41 at 10630 Wicker Avenue in St. John, Indiana. A pioneer town settled in 1837, St. John still sits among farm fields though there is increasingly more development only minutes from the Indiana-Illinois state line.
On the historic Wachter family farm, the level terrain is a perfect outdoor setting for an array of multi-media and interactive attractions. Most visitors, whether as individuals or in groups, come to the shrine to traverse the half-mile winding concrete pathway that contain over 40 life-sized bronze sculptures which dramatize the Passion of Jesus Christ in the Bible.
The visit to the shrine begins in the well-stocked gift shop and leads directly outdoors to the dramatization of Jesus at The Last Supper and into the Garden of Gethsemane where Jesus prays. This is followed by the 14 traditional Stations of the Cross. The visit ends at Jesus’s empty tomb and his appearance to Mary Magdalene. Finally there is the dramatic Ascension of the Risen Jesus into Heaven on Mount Olivet.
The shrine opened in 2011 and added its latest attraction– namely, a re-creation of the rock-filled path up Mount Sinai to where Moses has received the 10 Commandments –in 2017.
The Shrine of Christ’s Passion required a decade of planning and over $10 million dollars to build. Each setting or station for Christ’s passion has an orientation kiosk. Each features the well-known recorded voice of American television journalist Bill Kurtis. A push of a button has Mr. Kurtis’s voice over the kiosks’ speakers provide a clear and brief description in English of the sculptures’ scenes followed by a short meditation.
Along the broad concrete pathway the prayer trail is meditative and its easy progression from station to station lends itself to discovery. Formed hills, planted trees, bushes, and grasses as well as many large boulders, provide a complete landscape far from the outside world. The design creates a terrain that is self-contained and works to evoke the arid climate of the Holy Land where the last days of Christ can become vibrant today.
Upon exiting the gift shop with its walls and shelves of tempting religious articles and other items for purchase — all proceeds apparently go to the upkeep of the shrine– one steps into an outdoor pastoral setting which offers the immediate transition into the world of the Bible and following in the footsteps of Christ during his darkest moments. Visitors share the trail with others from around the nation and world. This is part of what makes each visit to the shrine unique and alive. Yet there is ample space and freedom to enjoy one’s own completely personal experience.
Whenever one may visit the shrine — it is open 361 days a year– the prayer trail has an atmosphere that is quiet and respectful. There is always a place to sit and drink in the sculpture art detailing the greatest story ever told. Among its flora, evocative rock and land formations, and realistically-rendered life-sized sculptures depicting Jesus Christ’s suffering –- one witnesses in a a new way Christ’s mission which triumphed over sin and death.
A large and impressive place, The Shrine of Christ’s Passion retains a human scale along with giving the visitor a sense of being serenely out in nature. Depending on how much time a visitor can spend, a visit to the shrine could possibly be accomplished in as little as 30 minutes though at least an hour should be allowed to see and begin to savor everything it has to offer.
In addition to the main prayer trail and gift shop, the shrine includes more attractions such as the Moses, Mount Sinai, and the 10 Commandments trail; The Sanctity of Life Shrine; and Our Lady of The New Millennium, a monumental three-story (34 feet) tall statue of the Virgin Mary constructed out of over 8,000 pounds of stainless steel.
The Shrine is operated by a non-denominational nonprofit, private foundation. Admission to all attractions at the shrine is free. The Shrine is open daily from 10:00 a.m. – 5:00 p.m., Thursdays until 8:00 p.m.The Prayer Trail is open year round, weather permitting.
Main Entrance on U.S. 41 at 10630 Wicker Avenue in St. John, Indiana, minutes from the Illinois-Indiana state line. Just 40 minutes from downtown Chicago, there is ample free parking and tour buses are welcome.
The Gift Shoppe.
The Last Supper Luke 22:19
“And he took bread, gave thanks and broke it, and gave it to them, saying, “This is my body given for you; do this in remembrance of me.”
Garden of Gethsemane Mark 14:34
soul is overwhelmed with sorrow to the point of death,” Jesus said to
them. “Stay here and keep watch.”
THE 14 STATIONS OF THE CROSS AT THE SHRINE OF CHRIST’S PASSION, ST. JOHN, INDIANA.
1. Jesus is condemned to death Matthew 27: 19-26
“Pilate had Jesus flogged, and handed him over to be crucified.”
2. Jesus carries His cross John 19:16-17
“Carrying his own cross, he went out to the place of the Skull (which in Aramaic is called Golgotha).”
3. Jesus falls for the first time Isaiah 53:1-3
“He was despised and rejected by mankind, a man of suffering, and familiar with pain. Like one from whom people hide their faces he was despised, and we held him in low esteem.”
4. Jesus meets His mother, Mary Lamentations 1:12
“Is it nothing to you, all you who pass by? Look around and see. Is any suffering like my suffering that was inflicted on me..?”
5. Simon of Cyrene helps Jesus carry the cross Luke 23:26
“They seized Simon from Cyrene, who was on his way in from the country, and put the cross on him and made him carry it behind Jesus.”
6. Veronica wipes the face of Jesus Psalm 17:15
“As for me, I will be vindicated and will see your face; when I awake, I will be satisfied with seeing your likeness.”
7. Jesus falls for the second time Isaiah 53:4-6
“Surely he took up our pain and bore our suffering, yet we considered him punished by God, stricken by him, and afflicted.”
8. Jesus meets the women of Jerusalem Luke 23:27-31
“A large number of people followed him, including women who mourned and wailed for him. 28 Jesus turned and said to them, “Daughters of Jerusalem, do not weep for me; weep for yourselves and for your children.”
9. Jesus falls for the third time Isaiah 53:10-11
“Yet it was the Lord’s will to crush him and cause him to suffer, and though the Lord makes his life an offering for sin, he will see his offspring and prolong his days, and the will of the Lord will prosper in his hand….”
10. Jesus is stripped of His clothes Matthew 27:27-31
“They stripped him and put a scarlet robe on him, and then twisted together a crown of thorns and set it on his head. They put a staff in his right hand. Then they knelt in front of him and mocked him.”
11. Jesus is nailed to the cross Luke 23:33-34
“When they came to the place called the Skull, they crucified him there, along with the criminals—one on his right, the other on his left.”
12. Jesus dies on the cross Luke 23:44-49
“Jesus called out with a loud voice, “Father, into your hands I commit my spirit.” When he had said this, he breathed his last.”
13. Jesus is taken down from the cross Mark 15:39
“When the centurion who stood facing him saw how Jesus breathed his last he said, ‘Truly this man was the Son of God!'”
14. Jesus is placed in the tomb Luke 23:50-53
“Going to Pilate, Joseph of Arimathea asked for Jesus’ body. Then he took it down, wrapped it in linen cloth and placed it in a tomb cut in the rock, one in which no one had yet been laid.”
Jesus Appears to Mary Magdalene John 20:16
“Jesus said to her, “Mary.” She turned
toward him and cried out in Aramaic, “Rabboni!”
Images from the Prayer Trail
The Ascension Acts of the Apostles 1:9
“…Jesus was taken up before their very eyes,
and a cloud hid him from their sight.”
Expo Chicago/2017 is the 6th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall. It took place September 13-17, 2017. Expo Chicago/2017 presented 135 galleries representing 25 countries and 58 cities from around the world.
This post’s 34 photographs are of that event.
Expo Chicago 2017.
Brian Calvin, Momentary Monument, 2017, acrylic on canvas, Anton Kern Gallery, New York. Expo Chicago 2017.
Admissions, Expo Chicago 2017.
Information desk, Expo Chicago 2017.
Lara Schnitger, Suffragette City, 2015-2017, Cotton, and linen, quilted and bleached, Anton Kern Gallery, New York. Expo Chicago 2017.
The War We Won, Roger Brown, oil on canvas, 80 x 120 in., Kavi Gupta Gallery, Chicago. Expo Chicago 2017.
Doug Argue, Dream Song 12, 2017, oil on paper, 40,x,60 in., Marc Straus, New York. Expo Chicago 2017.
CarrerasMugica Contemporary Art Gallery, Bilbao. Expo Chicago 2017.
Galerie Gmurzynska, Zurich, Switzerland, with booth design by Antonio Manfreda. Expo Chicago 2017. Germano Celant, theorist of the Arte Povera movement. From 2015 he was the artistic director of the Prada Foundation in Milan.
Matthew Monahan, Hurricane Nickel, 2016, and Aquarius Gemini, 2016, Anton Kern Gallery, New York. Expo Chicago 2017.
Anton Kern Gallery, New York. Expo Chicago 2017.
Rita McBride, Halicarnassus, 2010, bronze and grey limestone, and Pantheon 2, bronze and markina marble, CarrerasMugica Contemporary Art Gallery, Bibao. Expo Chicago 2017.
Wardell Milan, The New Sun Will Warm our Proud and Naked Bodies, 2016, charcoal, oil, oil pastel, pastel, gesso, acrylic, color pencil, cut paper on paper, David Nolan Gallery, New York. Expo Chicago 2017.
Meleko Mokgosi, Honor Fraser Gallery, Los Angeles. Expo Chicago 2017.
John A. Seal, König Galerie, Berlin. Expo Chicago 2017.
Alfred Leslie, Oval Collage, 1959, Diana Moore, White Head, 1988 and Willem de Kooning, 1965, charcoal on paper, Alan Stone Projects, New York. Expo Chicago 2017.
Thinks I, To Myself. Expo Chicago 2017.
Expo Chicago 2017.
Expo Chicago 2017.
Jackie Saccoccio, Portrait (Bomba), 2017, and Faheem Majeed, Hopscotch I, 2011, and Pause, 2010, Rhona Hoffman Gallery Chicago. Expo Chicago 2017.
Expo Chicago 2017.
Garth Greenan Gallery, New York. Expo Chicago 2017.
Iva Gueorguieva, Listen, 2017, acrylic oil collage on canvas, Miles McEnery Gallery, New York. Expo Chicago 2017.
Hayal Pozanti, 70 (million m.p.h that the earth orbit around the sun), 2017, acrylic on canvas, 60 x 132 in., Jessica Silverman Gallery, San Francisco, California. Expo Chicago 2017.
Lavar Munroe, Instinctual, 2017, acrylic on canvas, 48 x 42 in., Jenkins Johnson Gallery, San Francisco. Expo Chicago 2017.
Expo Chicago 2017.
Peres Projects Berlin. Expo Chicago 2017.
Ransome Stanley, Untitled, 2017, oil on canvas, 59 x 78 in., Gallery MOMO, South Africa. Expo Chicago 2017.
Booth 839, Expo Chicago 2017.
Caroline Walker, Grimm Gallery Amsterdam New York. Expo Chicago 2017.
Expo Chicago 2017.
Nicolas Africano, Untitled, 2017, cast glass, Weinstein Gallery Minneapolis. Expo Chicago 2017.