All posts filed under: Exhibitions

Illustration by Tesh Silver.

Magic and Art: Celebrating the New Moon in Taurus

Published by Emily Breidenbach

After a careful shuffle and posing a question out loud, the first card I pull is the Eight of Swords, showing sharp, dark purple criss-crossed sabers with the word “Interference” ominously written across the bottom. The second card I pull is the Prince of Swords, on it, a green tyrannical figure rides a chariot while holding the reins of three smaller figures, who are seemingly prisoners and propel the chariot forward. The Knight of Wands is next, featuring a figure in chainmail armor on a rearing horse in front of a glaring pyramid of flames. Upon first glance as a tarot novice, none of this is making me feel at ease. My card reader goes on to explain in depth what each card and its orientation in the spread could potentially mean for me, and I begin to understand that the iconography of each card may not be a literal representation of what’s going on in my life (much to my relief, as I was definitely concerned about the pyramid of flames in that last …

Image: Untitled, 2018. Graphite on paper, 30" X 40". Photo by Jasmine Clark. Image courtesy of the artist.

Seeing Signs: An Interview with Carris Adams

Published by Tara Betts

At least a year before the opening of her newest show, I met Carris Adams in her capacity as an arts administrator. Adams works as the General Manager of Chicago Art Department, an organization that provides space, support, and opportunities for artists. As the first Core Critical Writing Fellow at CAD, I got to see Adams regularly organize a stream of events and exhibits but all the fellows, myself included, also knew about Adams’ work as a visual artist. Her work has been exhibited in various spaces in Chicago, Texas, and New York, including The Studio Museum of Harlem. We took a moment to meet near CAD and her studio at La Catrina Café to talk about her upcoming show. Carris Adams’ solo exhibition Doubletalk is her first exhibition with Chicago’s Goldfinch Gallery. The exhibition will be on view from the opening reception on Saturday, May 11 until Saturday, June 22, and a conversation between Carris Adams and Jinn Bronwen-Lee will take place on June 8, 2 p.m. Adams’ drawings create pressures and textures with …

Intimate Justice: Andrew Bearnot

Published by S. Nicole Lane

“Intimate Justice” looks at the intersection of art and sex and how these actions intertwine to serve as a form of resistance, activism, and dialogue in the Chicago community. For this installment, I looked at Andrew Bearnot’s exhibition at the Leather Archives + Museum, “FRUITING BODIES” and had a Q+A interview in his Hyde Park apartment. There is no denying how special the Leather Archives + Museum is to the Chicago queer community. With vests, sex toys, photographs, and original artwork on display, queer history (though mostly male-orientated) is exhibited through kinks and specific sub-groups. Signifiers like patches, buttons, pins, and labels illustrate the profound LGBTQ community across the country. Small rooms, narrow hallways, and personal items make up the intimate space in Rogers Park. Andrew Bearnot’s exhibition FRUITING BODIES shares this same intimacy, as you must walk down a narrow staircase into a gallery that, although small, exhibits a wide range of objects. The exhibition includes works of glass and paper by Bearnot as well as objects chosen from the collections of Robert Gaylord, Jim …

Image: Video still from Hương Ngô's, In the Shadow of the Future, 2014-19. Still shows someone dressed up in a cosmonaut outfit standing in the foreground next to a large white geometric structure. In the background is a building with plants dangling out the windows, with architecture in a similar triangular style as the white structure as well as Hương's central installation. It is a sunny day out in the photo. Image courtesy of the artist.

In the Shadow of the Future: Interview with Hương Ngô

Published by Maya Simkin

The colorful folded paper triangle takeaways prepared by Hương Ngô’s for her current exhibition “In the Shadow of the Future” open up to describe a narrative about Vietnamese fighter pilot Phạm Tuân heading to space under a Soviet program in 1979, the same year that thousands of people fled persecution in Vietnam to resettle in a suburb of Paris. Hương brings these two migration stories together under the same roof, connecting their journeys after 40 years of separation. In the center of the room at 4th Ward Project Space, is a bright architectural installation made of collided triangular forms. Some have windows, and others are closed off in their own corners and have gardens of greenery. Two video screens protrude from the top of the piece, tilted up to the sky, and another is ingrained into the building itself, posited inches from the ground. On the wall of the gallery is a newspaper article cast in concrete from the New York Times regarding Phạm’s mission with the text slightly deteriorated. The environment construed by Hương …

When Art Meets Design: An Overview of the All-City High School Visual Arts Exhibition

Published by Ryan Edmund

Walking into the CPS All-City High School Visual Arts Exhibition, guests are greeted with an electrifying blue color on parallel zigzag walls, playful typography, and an array of artwork by high schoolers throughout Chicago. With every turn, there’s an attention-grabbing piece of art or something to interact with. The team at the Design Museum of Chicago has built its reputation around creating memorable and rewarding experiences, with this exhibition inviting the city’s young artists to reap the benefits of its thoughtful execution. DCASE has brought together the CPS Department of Visual Arts and the Design Museum of Chicago to organize two exhibitions: the All-City High School Visual Arts Exhibition and the All-City Elementary School Visual Arts Exhibition. The collaboration has sparked an overwhelming excitement over the possibilities within both organizations. “Everyone was so excited, it was like the roof was going to blow off the building,” exclaimed Tanner Woodford, Founder and Executive Director of the Design Museum. Having a show that was inclusive and representative of as many types of students as possible was at …

Identity and Struggle: Interview with Sam Kirk

Published by Tara Betts

In Sam Kirk’s shared Pilsen studio at the Chicago Art Department, there are desks and a couple of small colorful portraits on the wall. They serve as a sharp contrast to the white walls accustomed to a flurry of monthly exhibits. One of the walls is a high partition that nearly hides the small but clearly busy space. The heavy table in the center of the work studio holds a work in progress that reverberates with the bright color choices and the distinct, curved lines that are a signature of Kirk’s style. However, each segment is glass cut then soldered into place by the dark lines that Kirk might normally reinforce with a smaller brush dipped in black paint, if she were working solely on canvas. Kirk’s work with glass has not only recently become part of the permanent collection at the National Museum of Mexican Art, but has become an identifiable style that she shares in public murals, exhibits, commissioned work, and even enamel pins and greeting cards. Her upcoming show “The Alchemy of …

#abovetheclouds: Studio Visit with Molly Markow

Published by Sight Specific

This is an excerpt from Sight Specific’s studio visit with artist Molly Markow. Presented through Sixty Regional. In her recent works, Markow skillfully balances scenes of sublime natural (or “natural”) beauty within the constraints of manufacture. These scenes–a white-sand beach with yawning palms, a fluorescent sunset bleeding across the horizon, a deep-green bed strewn with pillows of searing calendulas–provoke deeply-rooted physiological responses of the human subject in nature. But feelings of serenity, of tropical escape, or of wholistic unity (dasein, or being-in-the-world) are subverted by the infinite trappings of contemporary life: in Paradise (2018) the beach, printed on a Walmart shower curtain layered with a soft pink latex paint, is seen vaguely as rectangles where paint has not been applied, like disjointed pieces of an exploded puzzle. In Sun-baked (2019) the sunset, painted onto the plaster cast of the inside of a baking pan, is miniaturized to the size of a laptop that’s been rotated into portrait mode (Given the vitriol of online comments when an uploaded video is shot vertically instead of horizontally, imagine the response …

Fulfilling Fantasies: Contemporary Chicago Drag Works at Hokin Gallery

Published by Christina Nafziger

Visual artist, performer, and curator Kelly Boner has appropriately given herself the title of ‘Bubblepop Electric Creative Powerhouse’ with her own aesthetic and drag influences stemming from eclectic sources ranging from Georgia O’Keefe to anime. Boner’s curatorial project and exhibition Fulfilled Fantasies: Contemporary Drag Works, currently at Hokin Gallery at Columbia College, features photography where the image-making process is a collaboration between the photographer and subject. With both the photographer’s eye and the creative vision of the performer forming the final photograph, together they create a cocktail of colorful illusion, flawless execution, and original looks that capture a personality and/or character fully. In this interview, Kelly Boner discusses the endless and diverse talent in Chicago’s drag scene, the importance of representing it in non-traditional spaces, and the ways in which gender can be “both a prison and a palace.” This interview has been edited for length and clarity. Christina Nafziger: Let’s begin with your own artistic practice. Can you tell me a bit about your practice as a performer and drag queen? What attracted you …

Piece of Mind: The Growth of a Supportive and Nurturing Arts Community

Published by Alexander Martin

When I first moved to the Midwest and began settling into my new home in Peoria, I was immediately captured by the growing art community. Being a part of academia for so long, I had not yet lived somewhere with an arts community that developed outside of a university or college. I attended my first First Friday in Peoria, a local event with gallery crawls, studio visits, and openings, meeting so many people pursuing their passion in this city. The variety of artists at various points in their career, doing so many different things, truly astounded me. There were local artisans creating wares and goods for the community, artists making a living off of their work by selling at fairs and local businesses, academics making their work and passing their knowledge on to their pupils, artists maintaining a studio practice and taking advantage of all of the space and resources in the community, and those who were new, attending their first events and figuring out their voice in the art-ecosystem. The variety of people working in such …

“Natural Wonder” at the Contemporary Art Center in Peoria

Published by Jessica Bingham

This review is part of our Sixty Regional project which partners with artists, writers, and artist-run spaces to highlight art happening throughout the Midwest and Illinois. Written by Jessica Bingham, artist, curator, and co-founder of Project 1612, this review examines “Natural Wonder”, a two-person exhibition by Bethany Carlson Coffin and Stephanie Sailer at the Contemporary Art Center in Peoria, Illinois. Distance, whether out of necessity or inability to be close, is the common thread within the works in the exhibition Natural Wonder currently at the Contemporary Art Center in Peoria, IL. As the elevator doors opened to reveal the exhibition, I felt instantly calm, yet curious. Curious about the strange forms living on the pristine white pedestals and lost within the intricate paintings and drawings that graced the walls of the gallery. The pieces spark a sense of wonder and yearning for answers about experiences we cannot possibly understand or completely fathom; they compliment each other—they are quiet, contemplative, and coexisting. The exhibition pairs together the delicate drawings and monochromatic paintings of Bethany Carlson Coffin and the supple mixed media sculptures of …

Teaching Classes Inside, Building Knowledge Outside: An Interview with Prison + Neighborhood Arts Project

Published by Jordan Sarti

The Illinois Department of Corrections is made up of 28 prisons that hold nearly 44,000 people. While the number of inmates has steadily increased since 2000, Illinois prisons followed a national trend in increasing sentence terms due to mandatory minimums and truth-in-sentencing laws. Alongside the trend towards longer sentencing, the 1994 Crime Bill Act eliminated low-income incarcerated people’s access to Pell Grants for higher education, dramatically decreasing the amount of educational programming in prisons. Amid instability and overcrowding, incarcerated people make art, get married, have children, and live entire lives that the outside world hears little about. Artist and instructor Sarah Ross taught Art History classes at Danville Correctional Center through a remaining community college program, where she met incarcerated artists, did critiques and put together shows for the outside. When she was asked to teach at Stateville Maximum Security Prison in 2011, that experience informed the values she brought in to her classes. Ross reached out to her networks to invite more people on as instructors to offer incarcerated people a range of educators and …

Locating Your Practice in ‘Todros Geller: Strange Worlds’ with Curator Susan Weininger

Published by Christina Nafziger

Todros Geller, (1889-1949), was a Jewish-American artist born in Ukraine, immigrating to Canada and later Chicago in 1906, where he studied at the Art Institute of Chicago. He became a prominent artist during his time, having a hand in many organizations in Chicago and working with such artists as Charles White. The exhibition Todros Geller: Strange Worlds showcases the diverse work—in style, subject matter, and medium—that Geller created throughout his lifetime; and is hosted at the Spertus Institute of Jewish Learning, an organization that began as the College of Jewish studies, where Todros Geller taught for many years. Many of the objects from the exhibition come from the institute’s extensive collection of Jewish art and historic, ritual objects, a collection that Todros Geller began. Co-curator of the exhibition Dr. Susan Weininger explains Geller’s interest in Jewish art, “One of the things that [Geller] pursued his whole life was the idea of a Jewish art museum. He knew that there was a history of Jewish art [and] he traveled to study that history.” Dr. Weininger and …

A Tender Offering: The Sculpture of Patricia Whalen Keck

Published by Alexander Martin

Foreign yet familiar. The sculptures of Patricia Whalen Keck stand still yet so full of emotion.  Their bronze forms, vulnerable and gentle, greet the viewer as they approach them. Keck’s work has a soft, soothing presence; tapping into something within all of us. Informed by the need to protect and give voice, traits common to all people, Keck’s work takes on a certain sentimentality, a quiet kindness, that embraces the viewer. She taps into the history of humanity, ideas and emotions universal. Keck considers herself a figurative artist. There is a acute attention to detail in her rendering of her forms that stems from her time spent with them. Time is a huge component of Keck’s work. The time spent creating each piece, the length of the lost wax casting process, gives Keck the time to pour herself into the work. She has said she has made work for the time spent on it. This can be felt by the viewer when interacting with the work. The time and emotion spent on the piece is …

Locating Your Practice in ‘African American Designers in Chicago: Art, Commerce and the Politics of Race,’ with D. Denenge Duyst-Akpem

Published by Noor Shawaf

A century’s legacy of Black designers working at the nexus of the quotidian, politics, history, and market capitalism is brought into focus through African American Designers in Chicago: Art, Commerce and the Politics of Race, on view at the Chicago Cultural Center until March 3, 2019. The show’s objects and design content show generations of Black designers fusing a shared past and visions of the future within their historical contexts. This chronicle highlights designers and artists producing in many mediums including Charles Dawson, Charles White, Jay Jackson, Zelda “Jackie” Ormes, Charles Harrison, LeRoy Winbush, William McBride, Sylvia (Laini) Abernathy, and Emmett McBain. Particular emphasis is given to how 20th century Black designers and artists in Chicago reframed the conception of the Black consumer within the market economy. By the same token, the concerns, aesthetics, pressures, and values of Chicago’s dynamic Black communities are embedded in each object. Dr. Margaret T. Burroughs expressed this responsiveness when discussing the origins of the South Side Community Arts Center, quoted in the exhibition materials: “As young black artists, we looked …

Whatever You Think I Am, I’m Not – Out of Easy Reach Review

Published by Kanyinsola Anifowoshe

“Art can make a difference because it pulls people up short. [Art] says, don’t accept things for their face value; you don’t have to go along with any of this; you can think for yourself” – Jeanette Winterson1 Ayanah Moor’s Good News makes me smile. It was the first thing I saw walking into the “Out of Easy Reach” exhibit at the DePaul Art Museum this summer. A grid of eight-by-three screen printed sheets of paper showing cream colored text set against a black background. The first reads, “Chicago: Chicago has a lot of professional Black women. But a lot of the women just don’t have their heads together. They try to be professional, but they forget that it takes a well-rounded life to be happy. – Danielle Thomas.” 23 more sheets list women’s candid remarks on the dating scene for women loving women in different cities across the U.S. Instantly there is a sense of a queer satire — taking the viewer’s knowledge (physical, visual, and sensual) of relationships and sex and gender, and transforming them. The …

The Vessels that Marva Made: An Interview with Members of Sapphire & Crystals

Published by Tempestt Hazel

“I am a strong woman; my strength as a Black woman pays homage to what I call the Sapphire Spirit. A woman who is sassy, jazzy, spiritual, brainy, the healer–she is Mother Earth in its grand splendor. I salute this spirit in all Black women everywhere. The recognition of my own Sapphire Spirit provided me with the knowledge I needed to speak. My name is Marva and I speak through my art, my voice extends all the way back to the first known human being who was a Black woman. Going forth, through my ancestors, I am creating new symbols and new directions, moving from my own individual voice to that of the collective voice. I now join with sixteen other African American Women Artists and form the Sapphire & Crystals group. As a collective we step forward to the world.” –Marva Lee Pitchford-Jolly In 1986 artists Marva Lee Pitchford-Jolly and Felicia Grant Preston started meeting in Pitchford-Jolly’s home to discuss how to continue supporting women artists after the group Mud Peoples Black Women’s Resource …

Risk/Play/Reap at Jan Brandt Gallery

Published by Sight Specific

This is an excerpt from Sight Specific’s review of  “Risk Play Reap”,  a collaborative exhibition by Allison Carr, Danell Dvorak, Monica Estabrook, and Amy Wolfe, which was installed at Jan Brandt Gallery in Bloomington, IL. Presented through Sixty Regional. Art making is usually thought of as a solitary activity, but what happens when that usually solitaire activity is opened up to the direct input of others? This show, consisting of the collaborations of four artists offers some experiential insight into that question. A statement accompanying the show in part explains the collaboration process: “Each artist began a piece, then passed it to another for further development. Additions, alterations, and reconfigurations continued, until the group agreed a piece was completed, whether through lengthy, multiple cycles, or two to three passes.” First of all, I noticed that when viewing the entirety of the show, the exchange of approaches within each piece had resulted in a variety of finished works that, at the same time, had a consistency of formal solutions. Layering, transparency, textural surfaces, juxtaposing of imagery, and often a sculptural …

‘The Artist as a Catalyst of Social Change?’ Part 3: Leah Gipson

Published by Greg Ruffing

As many contemporary artists, arts organizations, and other cultural laborers continue a decades-long trajectory of re-orienting their practices more deliberately towards and within the social world, forms and approaches have morphed through a collective re-imagining of the production, dissemination, and sociopolitical potential of art. These modes have sought to broaden access and participation in the arts, transform relationships between people, forge practices rooted just as much in ethics as in aesthetics, and other similar gestures toward aligning art with notions of social justice and reform. And yet amidst this grappling, a number of unresolved riddles remain regarding art’s place in daily life: What and who is art’s “community,” and what do we mean by “community”? What is art’s relationship to democracy? Can increased access to the arts also advance civic participation more broadly? What is the role of the artist in society? Can art and artists be catalysts for social change — and should they? Such issues and questions reverberate through the Jane Addams Hull-House Museum’s current exhibition Participatory Arts: Crafting Social Change, which explores …

MA Exhibition: The Midway Point

Published by Jessica Bingham

This review is part of our Sixty Regional project which partners with artists,  writers, and artist-run spaces to highlight art happening throughout the Midwest and Illinois. Written by Jessica Bingham, artist and co-founder of Project 1612, this review looks into the recent MA Exhibition at Heuser Art Center at Bradley University in Peoria, Illinois. Large windows scale the exterior walls of Bradley University’s Heuser Art Center, giving you a glimpse of the artworks that lie within. There is absolutely no way to drive past the building without taking a peek into the gallery. The artwork seems to glow from within, especially in the winter, and the MA Exhibition was no exception. Large-scale paintings by Jack Crouch fill the walls, the rich historical narratives from which they are derived interrupted with playful teddy bears and children’s toys, a window into the life of the painter. Natalie Zelman’s organic ceramic objects cover pedestals that sit lower to the floor, creating reflective landscapes. The back walls of the gallery are plastered with a large floor to ceiling installation of painted cardboard, …

‘The Artist as a Catalyst of Social Change?’ Part 2: Regin Igloria and North Branch Projects

Published by Greg Ruffing

As many contemporary artists, arts organizations, and other cultural laborers continue a decades-long trajectory of reorienting their practices more deliberately towards and within the social world, forms and approaches have morphed through a collective re-imagining of the production, dissemination, and sociopolitical potential of art. These modes have sought to broaden access and participation in the arts, transform relationships between people, forge practices rooted in ethics as much as in aesthetics, and other similar gestures toward aligning art with notions of social justice and reform. Yet amidst this grappling, a number of unresolved riddles remain regarding art’s place in daily life: who is art’s “community,” and what exactly do we mean by “community”? What is art’s relationship to democracy? Can increased access to the arts also advance civic participation more broadly? What is the role of the artist in society? Can art and artists be catalysts for social change — and should they? Such issues and questions reverberate through the Jane Addams Hull-House Museum’s current exhibition Participatory Arts: Crafting Social Change, which explores the influence that …

Reflections on Pictures from an Exposition at the Newberry Library

Published by S. Nicole Lane

Even 125 years later, we can’t stop thinking about the World’s Columbian Exposition, an extravaganza so large and dense that we continue to unpack its flaws and glorify its vastness. In 1893, Chicago introduced the world to collections of dancers, photographs, paintings, magazines, and yes, even a map made entirely of pickles. The fair influenced how we view and how we curate exhibitions today. It was a spectacle and its history is a labyrinth of stories and mystery, and even a bit of horror. The Newberry Library is looking at the visual aspects of the fair—exhibiting an extensive collection of ephemera and art—in Pictures From the Exposition: Visualizing the 1893 World’s Fair. The exhibition displays the way artwork influenced people from afar to visit Chicago, as well as those who were living the experience, and how these images served as a means of advertising as well as fine art. What’s always been so undeniably interesting to me as a Hyde Parker, living on the edges of where the famous fair was once held, is how …

‘The Artist as a Catalyst of Social Change?’ Part 1: Nicole Marroquin

Published by Greg Ruffing

As many contemporary artists, arts organizations, and other cultural laborers continue a decades-long trajectory of reorienting their practices more deliberately towards and within the social world, forms and approaches have morphed through a collective re-imagining of the production, dissemination, and sociopolitical potential of art. These modes have sought to broaden access and participation in the arts, transform relationships between people, forge practices rooted in ethics as much as in aesthetics, and other similar gestures toward aligning art with notions of social justice and reform. Yet amidst this grappling, a number of unresolved riddles remain regarding art’s place in daily life: who is art’s “community,” and what exactly do we mean by “community”? What is art’s relationship to democracy? Can increased access to the arts also advance civic participation more broadly? What is the role of the artist in society? Can art and artists be catalysts for social change — and should they? Such issues and questions reverberate through the Jane Addams Hull-House Museum’s current exhibition Participatory Arts: Crafting Social Change, which explores the influence that Addams …

Review: Static Cling @ Heaven Gallery

Published by S. Nicole Lane

It’s always been interesting, walking into Heaven Gallery and browsing the vintage shop connected to the space on the right hand side. Gold brooches, gaudy necklaces, and fur hats line the wall as the gallery’s cat wanders in to sprawl out on the floor. It’s a gallery I’ve frequented for the past five years. It’s comforting, it’s familiar. It’s no surprise then that two Chicago artists, Nico Gardner and Lauren Carter, decided to respond to Heaven’s unique space and the clothes that fill the empty areas. Nico and Lauren simultaneously nod their heads at the tables filled with the contents from your grandmother’s jewelry box, creating their own reimagining of these pieces through their artwork. Memory, nostalgia, and identity are influential in the collection of pieces inhabiting the gallery. When entering the room, visitors are greeted with a piece entitled Keepsake: two tiny, sculptural, found containers in the shape of rabbits resting on a wall shelf. Lauren adds in hair and nail clippings into her work as a reminder that these objects carry some weight—a human’s contact, a …

Art Against the Flow and a Semantic Ecotone

Published by Emily Breidenbach

As I walk into the gallery space, I’m greeted by vibrant and seemingly disparate groups of artworks. On one wall, there are bold, schematic line drawings of Chicago architecture. To my right are totem-like sculptures with intricate embellishments. Across the way is a collection of flat landscapes with skewed perspectives. This is Chicago Calling: Art Against the Flow, an exhibition on view at Intuit: The Center for Intuitive and Outsider Art as part of Art Design Chicago. Throughout the show, it seems that the curators Kenneth Burkhart and Lisa Stone refrain from hand-holding me through a chronological, step-by-step development of an artist or artistic movement. As I trace my way through the space, pausing at each work, I soon realize that the absence of a consistent, linear narrative may be the point. Intuit’s mission is to celebrate the power of outsider art, which they define on their website as “the works of artists who demonstrate little influence from the mainstream art world and who instead are motivated by their unique personal visions.” With this in …

Featured image: Udita Upadhyaya at the book release for “nevernotmusic,” at TriTriangle. The artist leans over a table, looking down as she writes in gold pen inside a copy of her book. Next to her is another copy, open to its centerfold, where gold thread is visible. The artist wears a light-colored, textured sweater. Photo by Caleb Neubauer.

Beyond the Page: Udita Upadhyaya’s “nevernotmusic” (the book)

Published by Marya Spont-Lemus

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. This interview is the third of three with interdisciplinary artist Udita Upadhyaya about “nevernotmusic” — a solo exhibition of scores activated by curated, collaborative performances — and her process of developing these scores into a book (the first and second interviews are online). After the book’s release in September, I met with Udita to reflect on the book, the process of creating it (and personalizing each copy), and the connection between music and grief in her work. Get a copy of the limited edition book by contacting Udita. Find @uditau on Twitter and Instagram. This interview has been edited for length and clarity.   Marya Spont-Lemus: How are you feeling about Saturday’s book release event? Udita Upadhyaya: I’m still processing, but I am feeling good. It was great to see the book in its final form. The book is really beautiful! I have not spent enough time with it yet, but …