The new Guida Family Creative Wing at the Hyde Park Art Center (HPAC) will open in fall 2015, thanks to a successful 75th Anniversary Campaign in 2014 and $750,000 gift from John, Julie and Angelina Guida. On Sunday, April 19, celebration of their groundbreaking will coincide with a reception with multiple exhibitions on view, including resident artist Susan Giles’ exhibition, “Scenic Overlook” and Nancy Lu Rosenheim’s “Swallow City.” Read the rest of this entry »
The John Simon Guggenheim Memorial Foundation (GMF) announced earlier this month that they have awarded 173 fellowships (two of which are joint fellowships) to diverse artists, scholars and scientists. In the foundation’s ninety-first competition for the United States and Canada, this year’s recipients were chosen from a pool of over 3,100 applicants. Among that talented group spanning over fifty-one disciplines with recipients ranging in age from twenty-nine to eighty-three is Sabina Ott, a Chicago-based painter and sculptor who is a professor of art at Columbia College Chicago. With the Guggenheim award, Ott intends to expound the scope upon her most recent work “here and there pink melon joy,” a site-oriented installation of paintings and sculptures completed in August of 2014 that was on display at the Chicago Cultural Center until January 2015. Read the rest of this entry »
We’re excited to have Alberto Aguilar’s “Crossing Boundaries” text as the eighth in our Visiting Artist column, a recurring feature in which Newcity invites an artist to produce a text in relation to their current art practice. Here Aguilar adds writing into an exploration that brings all aspects of his life into his residency at University of Chicago’s Arts Incubator.
One-thousand words are what I am allotted to write this so I will not waste one and use all. Words have the ability to get one from the top of the page to the bottom and if arranged just right communicate something clearly to the reader.
I am a Crossing Boundaries Resident Artist through the Arts Incubator and the Center for the Study of Race, Politics, and Culture. This began in January and will last for five months. When given this title I could not fully understand what it meant or what boundaries I should cross. Rather than be overtly political I decided I would simply fold all aspects of my life into this residency. During the five months all shows that I am in, my teaching, the visiting artist program that I coordinate, my travels, my family, my new dog, my interaction with others, my curatorial projects, my other residencies are my Crossing Boundaries residency. I figured that by making everything part of the residency some boundaries would inevitably be crossed. Even upon being given the opportunity to write this a few days ago I decided it too would be part of my residency. That every word I write here would be a product of it, proof that boundaries were crossed. In this case the boundary between you and I is being transgressed through the vehicle of this publication and my 1,000 words. Read the rest of this entry »
The Chicago Department of Cultural Affairs and Special Events (DCASE), an organization committed to bettering Chicago’s arts and culture, recently announced its full schedule for the inaugural Lake FX Summit + Expo, presented by Google and co-produced by CIMMfest and The Recording Academy Chicago Chapter, along with a host of sponsors. Geared toward artists, creative professionals and entrepreneurs, this free, four-day conference begins on April 16. It will include professional development panels, workshops, keynotes by industry leaders and a resource fair at the Chicago Cultural Center and various locations around the city. Read the rest of this entry »
The group show “Documentia,” which explores the drive to document from meditative to compulsory, feels right at home in SideCar, an old residential house that has been converted into exhibition space. The most remarkable work was not created by a trained artist but rather found by curator Erik Wenzel: digital photographs of still-frame prime-time television taken by amateur photographer Bertram Litoff. Displayed in simple clear sleeves in rows of three, many of the images focus on TV news personalities reminiscent of Robert Heinecken’s 1980s “Newswomen,” but Litoff’s inclusion of random animal scenes confuses any linear narrative for his hunting. Read the rest of this entry »
By Matt Morris
Seeing is not a solitary activity, and it’s not simple. Perception is first of all dependent on context, not only because the specificities of an experience are ascertained through contrast, but also due to the ways each of our unique acculturations informs how we see. Comprehending visual information then turns out to be a social activity, evidenced most clearly in the debates that arise when we don’t see things the same way. And of course, these turbulent discourses around what is perceived are at the expense of appreciating just how much goes unseen—through suppression, movement beyond our sensory faculties, or systemically strategic elisions in how the seen social is structured. This then is one of the often tacit but urgent responsibilities of visual culture and art: to pressure and interrogate the boundaries of perception, to render the invisible visible. Changing how we see is first perceptual but actually political work, and it’s being done across viral Internet memes, sharp-witted turns in how organizations understand multicultural diversity, and artistic research into invisibility. Read the rest of this entry »
A phone that only dials one number—(270)301-5797—may be useless to most people. But such a phone is at the heart of Video Game Art (VGA) Gallery’s one-day exhibition, “Weird Telephone, Only Dials One Number.” Curiosity may lure people to The Nightingale, the event’s host, this Saturday, March 21; visitors could also be drawn to the partnerships between several organizations sharing similar interests. Together, this collaboration can elicit discoveries, interactions and new experiences among attendees in The Nightingale’s interdisciplinary, mixed-use space. Read the rest of this entry »
“Extraordinary Effort, Spectacular Failure” declares its ethos with clarity and directness in advance of any art. There is no irony in this claim nor in the work, a diverse presentation of mixed media that represents the culmination of six artists’ recent Chicago Artists Coalition HATCH residencies. Curated by HATCH resident Erin Toale, the exhibition meditates on David Foster Wallace’s notion of the “anti-rebel,” an imagined figure whose earnest and dogged effort, Foster suggests, might be the much needed antidote to all that is too cool in today’s hip culture. Accordingly, the artists here are visibly struggling, not with the quest of “making it” but with questions of practice and identity, among many others. Read the rest of this entry »
After a dreary trek through Pilsen’s sludge-laden sidewalks, I’m happy to see Meg Duguid waving enthusiastically to me from inside the fogged windows of Slow. Paul, the gallery’s director, stands to her left and Yesterday, the gallery’s canine mascot, faithfully on her right.
On an evening just as dreary in 2005, Duguid entered a tiny bookshop in Brooklyn. Browsing for nothing but a way to kill some time between her side jobs and studies, she happened across a book that contained a screenplay James Agee wrote for Charlie Chaplin in 1947. Inspired and intrigued, she sent an unsolicited letter to the Agee foundation, requesting to bring to life the script that had—for whatever reason—remained unproduced. The foundation’s answer was no, and Duguid moved on.
Flashing forward in time and back to the Midwest, the backsides of fifteen stacked televisions rise to greet me as I enter Slow. Large blue and orange extension cords twist and tangle their way toward electrical outlets on either side of the gallery, powering the luminescent glow coming from the anterior of the electrical blockade. The piece is silent, save for a high-pitched drone coming from the circuitries. Read the rest of this entry »
The Joyce Foundation recently announced the four collaborative teams that are the recipients of the 2015 Joyce Awards, receiving an award in the sum of $50,000 each. The four partnerships are between artists of color and prominent arts and cultural organizations within the Great Lakes region in order to present new work specifically designed to engage with the communities where the projects will take root, while also serving as a model for the rest of the country.
This year’s awardees hail from boisterous art cities and include Helado Negro (moniker for musician and composer Roberto Carlos Lange) pairing with the St. Paul Chamber Orchestra’s Liquid Music Series from the Twin Cities, Jamaican-born artist Nari Ward and Detroit’s Power House Productions, Colombian-American actress and playwright Sandra Delgado in collaboration with Chicago’s Teatro Vista and interdisciplinary artist Sanford Biggers in partnership with the Museum of Contemporary Art Detroit (MOCAD). Read the rest of this entry »