“Hanging on the railcars/Of this iron beast/Migrants go as cattle/To the slaughterhouse,” singer Eddie Ganz croons in “La Bestia,” a popular corrido ballad played on Central American radio. The song is meant to discourage people from migrating to the United States, which makes sense considering it was commissioned by U.S. Customs and Border Protection. This piece of contemporary propaganda is a perfect example of the subjects taken up by the work in “Northern Triangle,” a Threewalls-organized exhibition by the Texas-based Borderland Collective hosted at Rational Park. [Read more…]
The work of these Chicago-based artists may seem like an unlikely match for a two-person show, as Richard Rezac works mostly in sculpture and Dianna Frid is an interdisciplinary artist who focuses on process. Yet both take a minimalist approach to their pieces, with an eye toward surfaces and materials. [Read more…]
During my two years as a student at the University of Chicago, the Special Collections Research Center Gallery has consistently hosted erudite, engaging shows. The latest is no exception. “Envisioning South Asia” displays a broad swath of objects, images and books culled from the university’s special collections to trace out a dizzying journey from Mysore to Lhasa. Tilting at both breadth and depth, the exhibition also tackles themes of imperialism, self-representation and religiosity. It does so by combining rich visual artifacts with well researched and carefully argued wall text. [Read more…]
This isn’t another review of Theaster Gates’ Stony Island Arts Bank, part of his broader Rebuild Foundation. But what a lot more there is to say about his ambitious, inspiring and paradoxical project, part community center and part colonial outpost of the multinational avant-garde. This is only a review of the latest exhibition at the Arts Bank, “Intention to Know: The Thought Forms of Annie Besant.”
Poetry demands to be read aloud, to be experienced as a multi-sensory form. [Read more…]
Religion is often the apparent culprit in today’s war-torn world, so an exhibition with a spiritual undertone may seem unnerving. [Read more…]
By Allison Glenn
Can you talk a bit more about the Detroit you experienced as an adolescent and young adult, and how this Detroit may or may not have shifted?
I call the years of my youth the “Golden Era” of Detroit. Blackness was a norm. No matter where you went, we were the majority and as a result being black was a beautiful enjoyable experience. It was a sort of paradise that I yearn for now.
My parents were collectors of contemporary art. My life growing up was filled with trips to the DIA [Detroit Institute of Arts] for art classes and mystery walks. My father frequently took me to Cranbrook where they showed all the edgy contemporary work. He loved buying work from local Detroit artists; grad shows at the College for Creative Studies and emerging mid-career artists from the African diaspora. [Read more…]