Thursday, September 10, 2026

Emerging Artists 2026

 

Organized by Iona Ellsworth and funded by Del and Ginger Hall, this is the first non-member competition the PNC has mounted since the Irving Shapiro memorial watercolor show juried by Richard Schmid in 1995.  (as you may recall, the judging was somewhat controversial since Schmid gave the grand prize to a piece he personally liked rather than one that exemplified Shapiro’s technical mastery.)

This project drew over three hundred entries from around the country - and some very good ones, too.

The Bridgeport Art Center has a year long program of shows for local emerging artists,  - and the Zhao B Center used to have them about a decade ago.  

What distinguishes this PNC show is the serious attitude throughout.   It’s not a showcase for the cleverness and technique that characterizes those other shows, yet neither does it focus on the dysfunction and identity defiance of the greater artworld.  It exemplifies the atelier aesthetic with solid drawing, somber but uplifting tone, and apparent effort.

Full catalog shown here

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Sonya Marek Zartman, Drunk Man’s Words, 38 x 30
First Prize


Spatially precise edges and carefully modulated tones.
with an overall elegance and nobility.  He’s studied Sargent, and it shows.



John Singer Sargent, Venetian Interior (1880), detail


Zartman is one of those exceptionally talented young painters who visit the PNC every decade or so. Some,  Mary and Andy, stay around, most move on.   The 
 narrative here makes no sense to me .  But he has a natural gift for organizing pictorial space in an elegant way.  

The greatest challenge for  artists  in our time (other than making a living ) is finding a narrative worthy of their abilities. It’s not a given like it was for  Rembrandt and Titian.






Robin Venter, Saint Sebastian, 24 x 18
Second Prize



Perugino, 1495

Why was the Martyrdom of St. Sebastian such a popular theme in Renaissance Italy? Perhaps popular is not the right word, since the general public had nothing to do with it. Only the wealthy could collect such things.

Is repressed homoeroticism the answer? It’s as if that fine young dude is swooning with contentment as he’s penetrated over and over by deadly arrows. And it’s so glowing, spacious, and uplifting.   Wouldn’t mind seeing as I wake up every day.

The Sebastian in this show is quite different.  It’s wonderfully painted, but makes me feel sorry for the poor dude who apparently was a rather dumpy woman before she had her breasts removed to transition to male. She’s been tied up, taken an arrow to the gut, and feeling rather put upon right now. Though as a martyr, he knows his cause is just.

Welcome to America’ s gender wars.  I hope it finds a like minded collector.




Eliza Hoffman, Wading, 24 x 18
Michael Harding Artist Choice

Conflating Sorolla with social realism.



Abigail Olson, 20 x 16

A serious, compelling self portrait.

Gravitas is really what distinguishes this show.
Goofy is fine - but serious can be better.


Sydney Harris, Self Portrait in Green, 16 x 13

And here’s another good self portrait,
with a notable composition and fine look of determination.




Cora Cherubini, Nobody’s Daughter, 14 x 11

Could be a saint.






R.R. Christensen, Boats in Taiwanese Bay, 16 x 20


All those triangles make for a really weird sense of space

Jackson Wrede, Troublemakers, 30 x 24


Nothing wrong with kittens,
but this one is not helping the elegant figure who holds it.

Mark Baral, Faithful, 16 x 20
Third Prize

A noble theme, just wish I could get more excited about it’s look.




Spencer Hearne, Holden , 11 x 9.75”


Certainly captures this model.


Gaby Nighan, Aquimia, 16 x 16”

A fine portrait shown online, bur that did not make it to Chicago.

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It takes a lot of time, effort, and money to make this kind of show,
and we my not see another for another 30 years.

But I do hope we can establish an endowment to make juried non-member shows a periodic event.






  

Monday, August 24, 2026

Chicago Pastel Painters




Nancie King Mertz



The grand prize winner at their annual show, and really, the only memorable piece in the show.

I would call it:

Standing up to the storms of life.




Monday, July 20, 2026

The 2026 petition of complaints

 

Like me, some of you may have been surprised by Stuart Fullerton’s  email of July 18.  It was a comprehensive response to many issues.  All night drinking party?  No more 24 hour access to the building?  When did all that happen?

I only got the petition yesterday, forwarded by someone who got it from Bodo Stolzenberger , currently running for the board. ,  and he endorses it.    

As you may know, we can no longer have effective quarterly meetings.  They used to be a membership forum for issues like these, but now few attend because all voting has already taken place. An Internet forum might replace it, but the Board has yet to establish one - and the office will not share members email addresses.  The only way left to communicate with everyone is through the post office which is slow, expensive, and time consuming. I have done that myself from time to time. 

So instead we get a poorly circulated  petition like this one - which only became important because Stuart chose to answer it.   Thank you, Stuart! Personally, I don't think anonymous screeds deserve attention, much less response. 

But here they are, anyway, side by side, in case you’re curious.


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I have been asked by The Friends of The Palette & Chisel, to forward this information to you regarding events, and policy's recently enacted, by the current board, at the Palette and Chisel.

 First and foremost, long time instructor, Larry Paulsen, (12+ years teaching, at the Palette), has had his five, weekly, continually well attended, revenue producing, classes taken away by the President and Board of Directors, the verbal reason given was a violation of a recently instituted building curfew. No formal documentation was presented by the board, nor was there an appeal process in place to contest the decision, this is in addition to Larry being removed, from his private studio in the Coach-House, also due to the curfew violation. We are asking you to please sign the circulating petition, to return all of Larry's teaching positions and use of his Coach-House studio, 

The Board has recently instituted a little known curfew, from 11:00 p.m.-7:00 a.m. seven days a week. Prior to this curfew the membership provided 24-hour access to building and studios. We are also aware that various groups rent the building and exit the building well in excess of 11:00 p.m. clearly violating the policy. Thus, by default, this policy appears to be disproportionally directed to the evening sessions, minimizing the amount of time monitors and instructors are available to communicate with members/non-members, students and guests, as well as clean up the studios in question and document their work. 

In addition to the six existing cameras, the board has added 10 new security cameras, two on the 2nd floor landing-main building, one in the basement, three additional courtyard cameras and 2 additional Coach House cameras. The cameras are recording video and audio and are being actively monitored by the board. No reason was given for the additional cameras and no events have occurred in recent years that would justify the expense or the need to actively monitor the video/audio of members and guests as they are moving through the building. 

In addition to the Jack Beckstrom's sculpture being removed. It has also been brought to our attention that what was voted on for the front garden renovation is not what was received. The initial plans called for trees along the Ruth Page West Wall, and numerous flowers and shrubs along the fence line and near the building facade. What was received can only be called two giant, gravel, kitty litter boxes. This process was also evident in the 3rd floor lighting project, which changed substantially from what was voted for. A membership approved plan should not be altered on a board member's whim. 

Please contact Executive Director, Bill Ewers, via email, to voice your displeasure with policy's being made by this current board, which are adversely affecting the integrity and culture of the Palette & Chisel. Please feel free to forward this information to any interested parties. We have included contact information for the Executive Director, President and Board,


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Board of Directors' Response to Petition 

  William Ewers Jul 18

It has come to the attention of the board of directors that a petition is being circulated concerning recent actions and policies at the P&C.

The board of directors is obligated to protect the P&C, its members, models, guests, and property. Providing a forum for live-model (often nude-model) artistic expression is fraught with potential for mischief, abuse, and exploitation. We respect and value our models, just as we respect and value our members, building, and grounds. The policies we have enacted are meant to safeguard the P&C and its reputation.

First, in 2023 we enacted, as a supplement to our sexual harassment policy, a code of conduct to regulate the interactions of instructors, employees, and monitors with our models. We concluded that certain kinds of behavior--particularly in the absence of a stated policy--put our organization and models at risk. This policy prohibits instructors, monitors, and employees at the P&C from dating or seeking to date the models. Given the nature of their work our models are in an obviously vulnerable position, and we will not permit anyone in a position of relative power, such as an instructor or monitor, to take advantage of that vulnerability. 

The second policy we enacted, in December of last year, was to establish business hours. This action was prompted by the behavior last fall of some members who held an all-night drinking session on the premises. Because this is not a reasonable or prudent use of the P&C, we established for the first time business hours: from 6 am to 11 pm, seven days a week. By any measure, these are generous hours that allow reasonable use of the property, including by those who attend evening classes and open studios. We are not aware of any other art academy that ha such permissive hours. And in fact, if members need to stay after hours to finish a project or get ready for a show, we are more than happy to accommodate them. But routinely hanging around the building into the small hours of the night, as some members were doing--and continued to do until quite recently--to no purpose, is not permitted. These business hours were emailed to the membership and posted in our buildings.

 The policy about business hours complements another regulation that we have long had in place: renting of private studios is for non-residential use only. The lease signed by all private studio renters states this clearly at the top of the first page, and use of a private studio for residential purposes will result in termination of the lease and eviction from the studio. We are not zoned o insured as a residential building and use of the property for that purpose poses immense risk for us and our members, legally, financially, and physically. We are not in the business of providing below-market apartments in Chicago's Gold Coast neighborhood. Studio renters agree to this prohibition, but we have found certain repeated, willful, violations of that rule. 

Regarding the security cameras. In preparation for high-profile exhibitions, we considered our existing security cameras. They were inadequate to cover the back door of the main building, th courtyard and coach house, and the second floor. To protect our permanent collection and Richard Schmid's work, to alleviate concerns that exhibitors have about the security of the building, and to deter criminal access to the property, we installed additional security cameras in April. These are in addition to cameras that have been in place in the main building for years. We concluded that additional security cameras would also help identify and alleviate the risk posed by reckless behavior on the property. Moreover, enhanced security is beneficial to the neighborhood and community that support us. 

Our policies have perhaps received inadequate publicity, despite being emailed and posted in the buildings. We will make additional efforts to bring these policies to everyone's attention. Rest assured, however, that where it has been warranted, these policies have been personally communicated to members--in some instances, repeatedly, where that member's conduct require it. Where the board has found violations of these policies and rules, they have been addressed after thoughtful consideration and discussion--and by a unanimous vote.

I know that some of you have been also asking for the reasons behind the dismissal of Larry Paulsen as an instructor. We do not discuss sensitive personnel or contractual matters in order to protect the interests of all parties involved. We appreciate Larry's contributions over the years. We are committed to providing a safe, respectful, and professional environment for everyone--models, instructors, members, guests, and staff.

Finally, I should say a word about the garden. The front garden had long been in deplorable shape. We have begun the job of restoring it, but the job is not finished. We have more to do ir establishing plantings in the garden and relieving the bareness of the plots of gravel. So the front would look better in time for the Schmid event, it was necessary to get started, and with Alisa Kannett's work on this project we were able to break ground and get the new garden off to a go start. I have confidence that in time the garden will flourish and the gravel will look less bare. Going forward, we have contracted with our gardener to provide monthly maintenance to ensure the garden thrives. The board is determined to safeguard and grow the P&C.

As always, I welcome your input. Stuart Fullerton President The Palette & Chisel Academy of Fine Arts


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The only issue that alarms me here is the dismissal of such a well respected and popular teacher.  But given that reputation, I’m sure that the board had plenty of evidence concerning violations of one or more of the policies enumerated by Stuart. There is legal risk in sharing that evidence with the rest of us. 

It was the board’s decision to make - they made it - time to move on.

Do these so called “Friends of the Palette” wish they had acted  less responsibly?

Boards tend to devolve into rubber stamps - so their actions should always open to question.  But those questions should be held to a high standard as well. Otherwise, they're just nuisance time wasters.  


Sunday, July 05, 2026

2026 SCULPTURE and DRAWING

 


Tor Muehl, Metamorphosis 


Is this the first conceptual art installation in our gallery?
Something to do with caterpillars, butterflies, and human remains.
Don’t ask.
(Turn on the small fan for the full effect)


Tony Bedolla


Alturo Aldama

A nice side by side comparison of two skilled draftsmen.



Benjamin Sullivan

BTW - here’s a rendering of an old person by a young British artist who attends a bit more to character, spirit, tone, formal strength, and  surrounding space.  That’s his reflection in the background.  He is an artist, not an illustrator.




Tom Zamiar 

Beautiful bare babes are always romping in Tom’s imagination.


Debra Balchen

She’s shown this before.. but that’s ok.
I like it.
Halfway between a dressed up doll and a Renaissance masterpiece.




Tim Leeming.

A strong, expressive portrait.
Doubt I could live with it, however.
The dude is a bit too intense.
Possibly homicidal.


Sondra Pfeffer

A fine, gentle portrait of her own youth
A spunky little kid.
I’m sure her grandchildren will love it.


Sunday, June 14, 2026

Summer Suite 2026

 


Bodo Stolzenberger


Bodo’s annual group show keeps getting better and better,

as do Bodo’s own gritty drawings. 

Things are getting under control.

Decades of daily practice is a good thing.


Paula Herrera


Paula is famous for cats and mythical figures,
but these realistic portraits surprised me,
so strong and sensitive



Especially this one of Nono,
with poem attached.
A soulful portrait of an unusual woman, who,
like Paula, comes from another part  of the world.





I do like cats….. but… is it possible to have too many?




Mary Klug


Mary Klug

I totally agree that robins are a serious problem when nesting in your hair.
A fine update on Edvard  Munch
who had far less reason to be screaming
(Mary showed the same piece last year, but that’s OK. I like it.)



Cindy Hilliard 

Cindy Hilliard, watercolor

A member new to Chicago.
Do we need someone to teach watercolor? 
She’s good,
and she draws a fine figure, too.

Mary Palmer, Chicago Transit Rider

Looks like this guy never gets off the train

Mark Huddle, Jacob Wrestling with the Angel

Was it really a steel cage match?

Mark Huddle

Urban rhythms.


Joan Stachnik , Herrerasaurus
(presumably, no relation to Paula)

drawing some of the world’s oldest models 
 at the Field Museum



Wednesday, June 03, 2026

Henning Ryden (1869 - 1939)

 




A very delicate low relief dated 1900.
Recalling the work of Augustus Saint-Gaudens (1848-1907)

Donated to the coach house by Stuart Fullerton.



painter, engraver, and sculptor, Henning Ryden was born in Blekinge, Sweden. He studied in Stockholm and Copenhagen before immigrating to America in 1891. He continued studies at the Art Institute of Chicago, in Paris, London, and Berlin. 

 He settled in Chicago where he worked in sculpture and painted landscapes and exhibited work in the Swedish-American art exhibitions and at the Panama-Pacific Exposition of 1915 in San Francisco.

Tuesday, March 10, 2026

Good Medal Show 2026

Val Yachik, After the Storm

Not a painting so.much as an eternal moment of experience 
with ontological implication.

Ker-plunk 

(Tree falling in forest)

My pick for the Gold Medal.





Misha Livshultz

Another very strong presence that seems to last forever.
Misha is one of those Jews who could have stayed in Egypt to make sculpture.


Erol  Jacobson
Don’t know why it rains wherever Erol goes.
But it was raining on Caillbotte as well.

Kuhn Hong

So many supposedly irrelevant details strenuously compete for attention.
But that’s how a sunny day on a big city street can feel.


 
Stuart Fullerton
Heroine of a melodramatic mystery



Stephanie Weidner

Another case of the gallery being more interesting than what’s on the wall.
The rear door is beckoning.



Andrew Conklin

The weirder Andy gets, the more I like him



Muriel Christensen

Uncomfortably squeezed between the more and less expressionistic.
It ended up winning the Gold Medal.


Don Di Sante

A sculptural head 
Might
that have done better as an enamel 
to perk up the surface


Roger Akers

Instantly recognizable 
club personality 
though usually seen fully clothed




Tom Zamiar

Instantly recognizable as Tom’s world


G
Gregory Mejia,  Original Sin

If it were album cover art, I’d buy the record.
(When I was 18)



Julie Sulzen, “No Parking Anytime”

Did not impress me enough to shoot it, but it impressed others enough to  win  the People’s Choice Award as well as an Honorable Mention.

The yellow fence does project itself well across a large room.