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An Art Collector’s Conversation with Madeline Murphy Rabb

If you missed our talk with Madeline, please watch the video below.


In honor of Women’s History Month, Executive Director of SSCAC, Monique Brinkman-Hill will be in conversation with Madeline Murphy Rabb to discuss her career in art collecting, arts consulting, and cultural advocacy work here in Chicago and beyond. With over 50 years of experience, Madeline will share her accomplishments, as well as challenges navigating the art world.

Madeline Murphy Rabb has been actively participating in the art world for more than 50 years as a painter and printmaker, arts administrator, jewelry designer, art appraiser, art consultant, collector, curatorial activist and writer.

Madeline earned a Bachelor of Arts Degree in painting from the Maryland Institute College of Art in 1966 and a Master of Science Degree in printmaking from the Illinois Institute of Technology in 1975. In 1983, Madeline was appointed by Mayor Harold Washington the Executive Director of the Chicago Office of Fine Arts, Department of Cultural Affairs where she served under Mayors Eugene Sawyer and Richard M. Daley until 1991. She oversaw the Public Art Program and awarded CityArts grants to artists and arts organizations throughout the city.

In 1992 she created Murphy Rabb Inc. a business focused on advising collectors about building African American art collections for their offices and homes. Over the years she has opened her home for private tours of her collection to the Art Institute of Chicago, the Museum of Contemporary Art, the Southside Community Art Center and Art Expo. She has lent works from her collection to exhibitions at the Minneapolis Institute of Art, the Wadsworth Atheneum, The Studio Museum in Harlem, The Baltimore Museum of Art, Camden Art Center, London, Exhibitions USA, The Newark Museum of Art, The Museum of Contemporary Art, The Los Angeles Museum of Art, and the Indianapolis Museum of Art.

Some of her corporate clients include: Ariel Capital Management, Brown Capital Management, Channing Capital Management, Northern Trust Chicago South Financial Center, Cityfront Place, Northwestern Memorial Hospital, Harris Bank, personal and Trust, Evanston Hospital, Mercy Hospital, UBM Construction Management, the MacArthur Foundation, Draper and Kramer, the Chicago Park District, the University of Chicago, Department of History, Shorebank, the Parking Spot and Capri Capital Advisors.

She has served on the board of Arts Midwest, the Joseph Jefferson Committee, the Hyde Park Art Center, the Southside Community Art Center, the DuSable Museum, the Alumni Board of the Maryland Institute College of Art, the Museum of Contemporary Art Woman’s Board and Sculpture Chicago. For 21 years she served on the Board of Columbia College Chicago, and for more than 30 years has served on the Woman’s Board of the Art Institute of Chicago.


Works in EMERGENCE are diverse in their subject matter and media, but a few themes reappear throughout. Working in abstraction or in the traditionally peaceful genre of still life, artists like William Carter, Allen Stringfellow, and Jonathan Green express themes of interiority or sociability, history or modernity. Notably, Stringfellow and Ralph Arnold both experimented with media and materials and worked extensively in collage, which allowed them to combine abstract design, figurative imagery, and on occasion political ideas.

Viewers typically expect Black artists to focus on particular aspects of their social and political identities within their work. Where might those expectations come from? Still life, abstraction, and collage may express many different things about artists’ interior lives and their visual and social observation, whether connected to public manifestations of identity or not.

William Carter’s mid-century still life Untitled presents a group of vibrantly colored bottles that invite the viewer’s gaze, set against a similarly colorful background with floral elements like grapes and leaves. They give evidence of conviviality and might be interpreted as symbols of social gatherings, but they could also just be a collection of pleasing forms. We might put Carter’s still life in dialogue with that of Jonathan Green, who became close friends with Carter while living in Chicago. Green’s close-up view of an eloquently simple composition presents oranges, a pear, and a lemon in front of two vessels. Works like this piece call the viewer to examine the objects the artist chose to include, to consider how they interact with each other like bodies in space, and to reflect on their meaning within the traditional genre of still life painting.

Collage might suggest the piecing together of identity from different components that might not usually coexist, giving room for more expansive imaginations of meaning than a straightforward representational image might allow. It could also just be an inventive way of combining colors, shapes, and textures. Allen Stringfellow’s Untitled, a collage from 1962, brings familiar motifs from still life—fruit and flowers, desserts and glassware—together with imagery of artist’s models and performers. Layered with paint and tissue paper that frustrate the viewer’s attempt to get clarity on the subject matter, the bursts of form and colors hint at the splashy abstraction of Stringfellow’s untitled, textured painting made from house paint and particulate on cardboard. Here the artist tests commonly found materials to create new textures and plays with the creation of colors and finishes that diverge from “Western” academic painting methods.

In The Waiting, Arnold constructs a large collage from different paper components, lace, and paint. In the piece, elements of European and African art are placed in dialogue with one another, while some figures appear alone and isolated, others in large groups. Without giving easy answers, Arnold implies questions about social issues. Who is waiting, and for what? In his Love Sign II, which bears the words “Love is Universal,” Arnold asserts the equal validity of all types of romantic affection and love, utilizing collage to convey a more straightforward political message.