All posts filed under: Artists

Perto de Lá < > Close to There: Candai Calmon and Anna Martine Whitehead in Conversation

Candai Calmon is a dance artist and educator based in Salvador, Brazil. Candai has obtained an artistic education in Brazil and Uruguay, with a concentration on contemporary dance and Afro-referential, decolonial, and feminist practices. She holds a Bachelor’s in Gender and Diversity Studies and a Master’s in Dance from the Universidade Federal da Bahia. In her current practice, she creates workshops and immersive artistic experiences based on dance and improvisation with Black women in the quilombos [1] of Bahia. Anna Martine Whitehead is a multidisciplinary artist and dancer based in Chicago. Their work and research address a Black, queer relationship to time, as well as the prison industrial complex and the experience of incarceration. Anna Martine Whitehead has held residencies at 3Arts, Headlands, High Concept Labs, and the Museum of Contemporary Art of Chicago. They have also written for a number of publications and lectured at the School of the Art Institute of Chicago. Candai Calmon and Anna Martine Whitehead are two dance artists working through Black, queer, and female experiences. Both are part of …

Perto de Lá <> Close to There: TANTO and Edra Soto in Conversation

Note: Portuguese sections of this interview are in bold, and the English sections are un-bolded. Daniel Sabóia, Patricia Almeida and Fabio Steque are the members of TANTO Criações Compartilhadas, a collective art and design practice in Salvador, Bahia, Brazil. The three artists have degrees in Architecture and Urban Planning at the Universidade Federal da Bahia. TANTO’s projects include installations and sculptural objects, designed spaces for creative action, and graphic design, often in collaboration with other artists, publishers and organizers. Daniel Sabóia, Patricia Almeida e Fabio Steque são os membros do TANTO Criações Compartilhadas, um coletivo de arte, design e arquitetura em Salvador, Bahia, Brasil. Os três artistas são graduados em arquitetura e urbanismo pela Universidade Federal da Bahia. Os projetos do TANTO incluem instalações e objetos esculturais, espaços projetados para ação criativa, e design gráfico, frequentemente em colaboração com outros artistas, publicações e organizadores. Edra Soto is a multidisciplinary artist, educator and curator born in Puerto Rico and based in Chicago. She works between social practice, immersive installations and architectural interventions, employing materials and practices …

The Southwest Nest / El Nido Suroeste: An Interview with Rolando Santoyo (English & Español)

Brighton Park, Back of the Yards, and McKinley Park are neighborhoods on the Southwest Side of Chicago that are bundled together so often that they are given a similar reputation and narrative by the media. It isn’t always a good one. Today these neighborhoods still face violence, poverty, and more recently, gentrification. I would like to challenge the idea that violence is the only thing these neighborhoods have to offer by shining a light on the creative minds that enrich them. In this series, “The Southwest Nest,” I hope to celebrate and recognize these artists and share with you their perspectives of the neighborhoods they either work in or call home. Back of the Yards is one neighborhood on the Southwest Side of Chicago that is often mentioned by the media in connection to violence. Many people forget that this same neighborhood inspired the muckraker Upton Sinclair to write his stomach-turning 1906 novel, “The Jungle.” Now, in 2019, a brilliant artist by the name of Rolando Santoyo has made his own tribute to the book …

Brotha El spinning at the Smart Museum in front of Charles Gaines' Numbers and Trees, Central Park, Series I, Tree #9, 2016. Photo by Cecil McDonald.

Sandbox Symphony: Interview with Brother El

As fellow South Side residents and former college classmates, I was happy to sit down with Brother El, or Lional Freeman, to talk about his growing annual event Sandbox Symphony IV on Chicago’s Oakwood Beach, held on Saturday, August 10. When we were both at Loyola University Chicago, we met and collaborated to create WLUW 88.7FM’s first and only hip hop radio show in the college station’s format—“The Hip Hop Project.” We often discuss the creative process in music and writing, but for this interview we wanted to talk about how this festival came about and the influence of his late mentor, the sculptor Milton Mizenburg.  Mizenburg may be familiar if you’ve seen a few YouTube clips like this Chicago Tribune piece from 2013 or seen a couple of stories in The Chicago Reader. Others may know his work from Mizenburg’s outdoor gallery cameo in Sam Trump’s 2016 video for “Brother” with Add-2. His legacy is manifest in the Oakland Museum of Contemporary Art on Chicago’s South Side featuring epic heads that nod to an …

Learning from Chicago Artists Coalition’s Equity Listening Sessions

**Disclaimer: The inclusion of race is not intended to be derogatory. Including the racial demographics in this story is a part of understanding who is involved and impacted by these discussions around racial equity. **  “It’s a challenge to get people to actually talk about racial equity. I don’t know if it’s because people in the room don’t know each other, there isn’t that level of trust, of knowing people and feeling comfortable that they will really speak openly what they feel or think,” Chicago Artists Coalition’s Executive Director Caroline Older reflects on the three Listening Sessions that took place across the city during the months of April and May this year.  The idea of becoming a more racially diverse, equitable, equal-opportunity employer with an evolved perspective and work culture continues to plague every organization to date. The U.S Equal Employment Opportunity Commission prevents organizations from discriminating based on race, color, religion, sex, national origin or disability, yet organizations– the arts included–struggle with diversity on their staff. When it comes to art, the problems can …

Feasts, Fasts, and Excavations: Interview with Devyn Mañibo

I recently had the opportunity to be fed by Devyn Mañibo at a performative four-course meal she hosted at Extase Gallery in collaboration with Marie Ségolène and Jake Collings called MARROW, a communion in excavation. I’ve wanted to talk to Devyn about the way she utilizes food and cooking for connection and dissection since coming across documentation of a feast she hosted as part of her ongoing project F(E)AST at Ground Level Platform/SAIC earlier this year. The photos featured vibrant green banana leaves as a table spread holding up brilliant citruses, mounds of white rice, and cross-hatched mangoes with guests using their hands to engage with the servings. The environment she built and served made people pay attention to their food, to examine each material in relation to others on the table by way of color, texture, flavor, or purpose. The first thing I noticed in the setting for MARROW was a flower in the centerpiece of the table. It  looked like a sunflower that swallowed an artichoke, sharp and demanding with many layers in …

Featured image: The cast of “KISS.” From left to right; director Monty Cole sits on the arm of an olive green couch, with his hands on his thighs facing us. He wears glasses and a blue checked shirt. Cassidy Slaughter-Mason stands in front of the couch arms at her side. She looks up and to the right. She wears a leopard print tank top and blue denim jeans. Her shadow grazes Salar Ardebili who sits on the couch staring out to the left. He wears a blue shirt and black pants. Arti Ishak sits behind him wearing a pink and brown floral dress, looking out to the left. There is a hanging lamp behind them, a door to their left, and a kitchen sink behind Ishak. Image courtesy of Austin D. Oie.

Review – “KISS” at Haven Theatre

[Spoilers for “KISS” below] “The cards spoke to a suspicion that many whose work is play can never be free of: that you can only flaunt your triviality for so long before punishment is due. A date has been selected, and on that day there will be a great culling…” – Helen Oyeyemi, “is your blood as red as this?” ~~~~~~~~~~~~~ The map is not the territory. This is where we must start because we must acknowledge that a play is not the story and a text is not an experience and that characters are not people and that words are not meaning. The map offers an idea of terrain, of forests and rivers, and creeks. From a map, you can discern a route and direction and make plans. When I was younger, I carried maps where my family went, charting courses across town through subways and over bridges. At the zoo, I tracked a path towards the birds of prey, making sure to pass the reptile house and always to avoid the picnic tables …

Image: Alejandro Jiménez-Flores, una noche maravillosa —a wonderful night, 2019, soft-pastels, flower petals dyes, and plaster on muslin, 9x11 in. Photo courtesy of Apparatus Projects.

Alejandro Jiménez-Flores: Always Touches on a Flower

Earlier this year, the two-person show Always Touches on a Flower at Apparatus Projects (February 17 – March 24, 2019) featured the work of Alejandro Jimenez-Flores and Cathy Hsiao. Enveloped in the themes of flowers and language, Jimenez-Flores’s work created an intimate and beautiful space at Apparatus Projects. Their work of soft floral transfers and paintings deal with themes of memory and plays with the language of flowers, both in Spanish and English. Pulling from personal memories, poetry, time traveling, and everyday experiences, Jimenez-Flores’s work is not to be missed.  This interview has been edited for length and clarity. Cecilia Kearney: Let’s start with some background, tell me a little bit about yourself.  Alejandro Jiménez-Flores: I’ve been an artist since high school. I mean, I always doodled and sketched growing up, but when I went to high school I took photography classes after school. And then I was an arts major. For undergrad, I went to UIC. I majored in Studio Arts (drawing and painting), but I was kind of all over the place–I was …

Beyond the Page: Miss Spoken’s Jasmine Davila and Rosamund Lannin

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. For this installment, I interviewed Jasmine Davila and Rosamund Lannin, co-producers and co-hosts of Miss Spoken — a live storytelling show and podcast featuring work by the female-identified, exploring a new theme each month. I spoke with Jasmine and Rosamund in late April about the show’s origins (and amazing themes), their own influences, and why creating spaces for women’s experiences is so important. Check out Miss Spoken at the Gallery Cabaret, the last Wednesday of every month at 7pm. Find @MissSpokenChicago on Facebook and @MissSpokenChi on Twitter. This interview has been edited for length and clarity. Marya Spont-Lemus: To begin, what is Miss Spoken and how did it come to be? Rosamund Lannin: Miss Spoken is lady live lit. It’s personal essays by the female-identified, which means cis-women, trans-women — anyone who identifies as a woman is eligible to participate. We have also had gender non-conforming people participate as well. “Lady live …

In Conversation with Cheryl Pope

I first encountered Chicago-based artist Cheryl Pope through her recent installation at Monique Meloche Gallery. I was immediately drawn to the intimacy in her work, combined with the texture of the wool that allowed a softness to the vulnerability of her interracial figures. Pope’s work encompasses many mediums including sculpture and performance. The underlying subjects in her work of identity with respect to race and gender stuck a chord in me. While our perception of ourselves is ever changing, there are certain characteristics that influence our identity. Pope excels at provoking the viewer to question their sense of identity.  Caira: How would you describe your practice? What are the key themes you are exploring in your work? Cheryl: [The] key themes in my work are elevating vulnerability, challenging positions and uses of power, and celebrating equality.  Caira: Your latest show at Monique Meloche explores the bodies of an interracial couple, along with that you present these forms in a sensual depiction. How does this body of work speak you your practice of identity and race. …

Black Monument Ensemble: Looking Back From Now

“Please join me in welcoming the Black Monument Ensemble.” The crowd roars with claps, whistles, loud whoops, and yelps. Applause melts behind wind chimes and bells as the band, singers, and dancers make their way to the stage. The audience quiets in anticipation. The voice of Damon Locks resounds in the room before his body appears. “Knowing what we know now, the mind searches for reconciliation…”  Stationed behind the singers, dancers, and drummers, he stands near his keyboard speaking into a telephone receiver attached to a soundboard. His voice reverberates throughout the space, bouncing against the drum sounds and vibrations as he recites his “Statement of Intent.” The drum intensifies and reaches a crescendo. “Some things never change–Black monuments!”, Locks yells. Angel Bat Dawid begins playing her clarinet. The choir begins.  I become transfixed by the electric synergy that emits from the band to the dancers, from the dancers to the singers, from the collective to the audience. The voices of Ruby Dee, Angela Davis, and Lena Horne coil around and reverberate within our ears. Suddenly …

Smiling Behind the Sun: An Interview with Joseph Dole

Libyans sometimes refer to being arrested and taken away without warning as being “taken behind the sun.” This interview series celebrates—through conversations with currently and formerly incarcerated artists—the ways in which an artistic, creative life can transmute the impact and redefine the legacy of an experience within the Prison Industrial Complex. Joseph Dole is an artist, writer, journalist, jailhouse lawyer, and government watchdog. Incarcerated since 1998, he spent nearly a decade of his life in complete isolation at the notorious Tamms Supermax Prison, before intense pressure led to its closure in 2012. Joe is currently serving life without parole and continues to fight his conviction pro se. He has recently uncovered evidence suppressed by the State. Joe has written numerous articles, essays, poems, and research papers. Two of his policy proposals were catalysts for Illinois legislation. He has won four PEN America Writing Awards for Prisoners, was selected by Eula Biss as the winner of the 2016 Columbia Journal Winter Contest, and has published two books. His artwork has been exhibited throughout the country and …

Smiling Behind the Sun: An Interview with Patrick Pursley

Libyans sometimes refer to being arrested and taken away without warning as being “taken behind the sun.” This interview series celebrates—through conversations with currently and formerly incarcerated artists—the ways in which an artistic, creative life can transmute the impact and redefine the legacy of an experience within the Prison Industrial Complex. In 1994, Patrick Pursley was convicted of a crime he didn’t commit, despite no eyewitness identification, confession, DNA, or fingerprint evidence. Patrick’s case was repeatedly rejected by wrongful conviction advocates, citing the fact that there was no legal recourse to force a re-evaluation of the one piece of evidence—ballistics—that the state had used to convict him. Instead of giving up, Patrick helped write and advocate for an amendment to the Illinois post-conviction forensic testing statute. The amendment passed in 2007, clearing the way for Patrick’s own exoneration—the first post-conviction exoneration based on ballistic testing in the nation.  In addition to being a legendary jailhouse lawyer, Patrick is an author and producer. We met up in Hyde Park to talk about his creative path, the …

Arranging, Abstracting, and Transforming at Experimental Sound Studio

Entering Without Within at Experimental Sound Studio (ESS) in Ravenswood, you encounter a variety of sculptural objects comprised of glazed ceramic, cuts of wood, and metal panels made by multidisciplinary artist Mie Kongo. The pieces, an amalgamation of these natural materials, are combined so carefully and intentionally as they emanate a calm confidence. One piece features an amoeba-like, white structure that exists on top of a tree log that’s been cleanly chopped on top and bottom. Two rectangle tiles grow out of the amoeba and a small metal panel cleanly sits atop all of this chaos.  Surrounding this visual experience is the subtle influx of sound that oscillates between somewhat recognizable and minimal industrial sounds to more complex abstractions, created by sound artist Norman Long. This sort of arranging, abstracting, and transforming lies at the heart of the exhibition, curated by Ruth Hodgkins, the current Bentson Archivist and Assistant Curator at the Walker Art Center in Minneapolis. Throughout the exhibition, both artists take inspiration from the world around them but choose to adjust, amend, and …

Time, bodies, and objects: An Interview with Guen Montgomery

Champaign-Urbana is home to a multitude of artists and creative people. The visual arts community in C-U is one that can, broadly speaking, be divided into three groups: local artists with no institutional affiliation; faculty, staff, and students at Parkland College; and faculty, staff, and students at the University of Illinois at Urbana-Champaign. As a whole, they generate a vibrant intellectual and creative energy not often found in other similarly sized cities. The University of Illinois at Urbana-Champaign’s School of Art + Design has nationally and internationally recognized faculty working in all media, but there aren’t very many opportunities to spend time with faculty artwork here in C-U. As faculty at a research-focused institution, they regularly have successes at the national and international levels. The combination of only a handful of exhibition spaces in C-U, and the university’s encouragement for non-local exhibitions and lectures, makes it common to know someone fairly well but have a very hazy sense of their creative work and research. I first met multimedia artist and UIUC Teaching Assistant Professor Guen …

The Law of Attraction: Katie Bell at University Galleries

A nexus of energy has coalesced in the corner of Illinois State’s University Galleries, pulling objects and people alike to its epicenter. Brooklyn-based artist, Katie Bell’s site-specific installation is a symphony of found materials. Planks of wood and sheets of foam board are layered on the walls over large swaths of pastel paint. A pillar leans like a toppled monument. A strip of rubber baseboard stretches over the concrete floor, drapes across the wall, and curls back onto the floor. A wooden rod pierces a stack of pink paper. Cuts of curved faux-marble seem to melt as though lifted from a surrealist’s canvas—a Kay Sage painting breaking through the picture plane. In her animated yet understated play of line and geometric form, Bell also seems to borrow compositional cues from the suprematists. And if the energetic compositions and muted color palette of Standing Arrangement are the embodiment of what Malevich championed as a “pure artistic feeling,” then it is one of dreamlike ecstasy. Laced throughout the room are moments of suspension, the climax just after …

Swarm To This Chicago Art Residency’s First Public Showcase

Swarm Artist Residency is not just a creative community—it is an apiary. Like a bee farm, Swarm pollinates individual artist practices and cultivates a one-of-a-kind community. Swarm started in 2015 with the intention of creating a safe, inclusive communal space to nurture underrepresented artists’ practices. Each July, Chicago artists and healing practitioners get out of the city to gather on a farm out of state for a low-cost or fully-sponsored residency. Artists nourish in each other’s co-presence in community workshops, shared meals, and healing circles. Away from the city’s noise, new ideas buzz.   Four years into the experiment, Swarm is putting on its first public exhibition in the city. Its showcase of current and former artists in residence is timed for the summer solstice: Friday, June 21, 7:30-10:30pm, at Logan Square’s FDC Studios. In addition to giving the public a chance to engage with Swarm’s art and communal energy away from the retreat space, the exhibition fundraiser will also help cover 2019 residency costs for accepted artists. I talked to two of Swarm’s Queen …

Framing the Body: A Critical Look at Witkin’s Photographic Legacy

“Brilliant and divisive,” those were the words Catherine Edelman, gallery owner and panel moderator, used to describe acclaimed photographer Joel-Peter Witkin. The latest exhibition at Catherine Edelman Gallery, Joel-Peter Witkin: From the Studio, features more than 25 photographs, 80 drawings, as well as sketchbooks and journals, darkroom tools and cameras, letters, and contact sheets. But it was Witkins mission, “to create photographs that show the beauty of marginalized people,” and how he executes that aim was the primary topic of discussion for the ‘Otherness & Beauty’ panel hosted by the gallery on June 1. The panel included painter, writer and disability activist Riva Lehrer, art therapist Deb DelSignore, and art historian Mark B. Pohlad. Witkin, an American artist based in Albuquerque, photographs his subjects in carefully crafted settings and utilizes manual darkroom techniques to produce surreal images. The subjects are often “intersex, post and pre-op individuals, and people born with physical abnormalities.” Lehrer makes artwork depicting similar marginalized people, with one very important difference—she is a portrait artist. Lehrer works collaboratively with her subjects to …

Abundant & Diverse: An Overview of Visual Arts at Riverwest FemFest

Since 2015, Milwaukee’s Riverwest FemFest has become a popular and important festival within the city’s creative community, one that supports artists and musicians across multiple venues through concerts, performances, exhibitions, and workshops. As a platform for femme, gender non-conforming, non-binary, trans, POC, and womyn creators, FemFest acts as a fundraiser for various non-profits and donates all proceeds from the week-long event to local organizations that support womyn, LGBTQIA+ individuals, families, and marginalized groups in the city. The festival ran from May 26 – June 2 and this year, all proceeds were donated to Milwaukee Women’s Center, an organization that provides services to people who have been affected by domestic violence, addiction, mental health issues, homelessness, and poverty, and Diverse & Resilient, a non-profit organization that supports LGBTQ+ individuals through programs that encourage sexual health, build leadership skills and confidence, and provide anti-violence initiatives and support for substance abuse. Since its inception, FemFest has grown in size, concept, and location and now extends into neighborhoods beyond just the Riverwest community in Milwaukee, where it first got its …

Beyond Representation: The Syndicate’s First Read Festival Shows up for Trans* and Non-Binary Artists

Developing a new play takes work—and not just from the playwright. In a cash-strapped world, one where the arts are under constant threat from budget cuts, it’s difficult to find solid companies investing in plays, especially new ones. And even more rare are the companies specifically focusing on plays by womxn, queer, and trans* artists. The Syndicate is this company, equipped with a mission to foster ethical processes and equity. Though originally founded in 2014 in New York, they split a producing home with Chicago and have a presence in five cities worldwide. Through grants, fellowships, and awards they’ve been able to sustain work that pays their artists and collaborators.   This summer, lead producers Ellenor Riley-Condit, Hal Cosentino, and Denise Yvette Serna are hosting First Read 2019, the 2nd annual new play festival uplifting the work of non-binary and trans* artists. After sifting through dozens of play submissions with a team of volunteer readers, they selected four plays that will receive readings in Chicago this June. Tickets to each play are pay-what-you-can and not …

Jose Santiago Perez: The Sites and Sounds of Memory and Belonging

In Anne Carson’s essay “The Gender of Sound” she writes “every sound we make is a bit of autobiography. It has a totally private interior yet its trajectory is public. A piece of inside projected to the outside.” Carson builds upon these thoughts to create a framework that examines the cultural considerations and consequences of our sounds: what do we listen to, what do we censor? In a sense, Carson’s schema develops an account of value–what sounds do we listen to, what sounds do we remember, what sounds form a life? Viewing artist Jose Santiago Perez’s show PASSIVITIES, currently up at the Humboldt Park based Ignition Project Space, brought Carson’s ideas of aural intimacy to mind by virtue of the work’s inextricable entanglement with memory and the performance of memory. Though Carson is not explicitly engaged with in the exhibition, Santiago Perez’s use of craft and repetition render each piece a memory palace; every work endowed with the ghostly remnants of what was said and never said. Santiago Perez is an artist invested in understanding …

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

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

“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

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 …

Composition and Improv: Interview with William Pearson

This is an excerpt from Sight Specific’s interview with sound artist William Pearson. Presented through Sixty Regional. In partnership with pt.fwd, a new series of contemporary music and sonic arts performances featuring new work by local and regional artists in Bloomington-Normal, Illinois, Sight Specific will be publishing conversations between the featured artists and pt.fwd director Eddie Breitweiser. William Pearson (Champaign-Urbana, IL) will be performing on Saturday, May 4, 2019 at 8pm at the McLean County Arts Center. All pt.fwd performances are free and open to the public. Follow pt.fwd on Facebook and Instagram for more information, including upcoming performance dates. Eddie: Part of the charge of pt.fwd is to find a diverse group of local and regional artists and musicians and to challenge them to bring something new to an open-minded audience. Would you mind speaking a bit about your background, your practice, and historically what we’re going to be hearing? What have you prepared for us and how does it both relate to your practice as a whole and indicate where you’re going next? Will:  Yeah. …

In Our Bodies, Together: Disability Art Showcase and Maker-Space

Creative, connecting, and celebratory—these were the intentions laid out for people at the start of the Disability Art Showcase and Maker-Space on April 16th. The event organizer, Bri Beck, a disability artist/advocate and art therapy graduate student from the School of the Art Institute of Chicago, hosted between sixty and seventy participants at Access Living, downtown Chicago’s main Center for Independent Living, for an evening of art-making and community-building.   Systemically divided groups of disabled people, veterans, scholars, art therapists, artists, activists, and more, were invited to utilize the arts “to share the varied story of disability and to bring together those that are disabled and those that work within this community to further grow and define a collective voice and community”—per Beck’s design. Image: Two people, one kneeling and one standing, work together on a colorful wall tapestry made of various fabric strips. Photo by Ryan Edmund. Guests contributed to a group tapestry, created disability pride buttons, wove fibers alongside someone new, participated in a #DisabledIAm photobooth, and engaged with artwork created by disabled artists …

Identity and Struggle: Interview with Sam Kirk

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 …

Smiling Behind the Sun: An Interview with Eric Blackmon

Sixteen By Eric Blackmon 15 years, 7 months, 4 weeks, 1 day, 16 hours, and 33 minutes to be exact. 5,724 dreadful days, 137,416 and a half hours, 8,244,993 miserable minutes. And I won’t forget a second of it. I missed 66 of my kid’s birthdays, 337 holidays, 16 vacations, 14 graduations, 11 funerals, First steps, first words, all of my 20s, half of my 30s, most of my life. I lost everything. Every dime I had, four appeals, friends, family, my fiancé, my relationship with my kids. At times I lost faith, Other times I lost hope, A few times I ever lost myself, But I survived. I survived the conditions. I survived the ornery, tyrannical officers; some wolfish, vulturous inmates. A stabbing, being jumped, two black eyes, two busted lips, one chipped tooth, a busted head, 6 stitches, 1 broken nose, 1 fractured arm, 1 concussion. The suffering, the pain, the loss. But I overcame. I endured. By never hearing, never seeing, never speaking, never caring, never feeling, never loving, never resting, never …

#abovetheclouds: Studio Visit with Molly Markow

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 …

Intimate Justice: Vesna Jovanovic

“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, we talked to Vesna Jovanovic via email about medical illustrations and the act of drawing.  S. Nicole Lane: I think I saw your work a few years ago actually (I think at the Museum of Surgical Science?), and recently stumbled upon it again thanks to the internet. I’ve been interested in your attention to bodily subjects. Can you discuss how your work relates to sex and anatomy and why those topics interest you? Vesna Jovanovic: My focus on bodily subjects developed slowly over time. Many years ago, at SAIC, I took an experimental drawing class with Barbara Rossi. She asked us to create something along the lines of a Rorschach test and then draw directly on top of the inkblot. I was working a day job in an R&D laboratory at the time, so my mind was saturated with lab equipment and glassware. …