All posts filed under: Interviews

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 …

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 …

Image: Elliot stands under scaffolding along a brick building, with the street to the right. One hand holds onto a post on the scaffolding, and he's leaning out to the left towards the frame. Photo is in black and white. Photo by Ryan Edmund.

The Art of Adaptation: An Exit Interview with Elliot J. Reichert

In 2013, just days into his position as the Assistant Curator of the Mary and Leigh Block Museum of Art, Elliot J. Reichert was doing what curators often do. After being thrown into the installation process of a new exhibition, he was flexing his ability to fuel wildfires while demonstrating his resourcefulness in locating unusual materials at the very last minute in service of an artist’s vision. In this case, the artist was the late musician and sculptor Terry Adkins and the wildfires were the brand new works that had been sitting on the back shelf of Adkins’ mind for years that he now had the opportunity to bring to life. When Elliot took this role, the museum was preparing to mount Recital, a substantial solo exhibition of Adkins’ work which had traveled from the Tang Teaching Museum in Saratoga Springs, New York to Chicago. When Recital was being mounted, there was no way of knowing that this mid-career retrospective would, in fact, be a definitive moment in Adkins’ career and would also be marked …

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 …

A portrait of Tara Aisha Willis, the Associate Curator of Performance at the Museum of Contemporary Art Chicago. Tara is standing with elbows on a ledge, hands up toward her face and fingers intertwined. She stands in a space where there are plants and golden yellow lights hanging from the ceiling. Photo by Kristie Kahn.

Dance Manifold: A Conversation with Tara Aisha Willis

“…completely new yet familiar territory.” These words echoed after I revisited the accompanying publication for Relations, a performance that brought together pioneering artists Bebe Miller, Ishmael Houston-Jones, and Ralph Lemon on the MCA Stage in November 2018. In her introduction for the publication, curator Tara Aisha Willis offers a series of questions and propositions that draw from the historically-anchored yet generative tone set by Miller, Houston-Jones, and Lemon, while also honoring the shapeshifting and indefinable nature of Black dance and movement practices. When considered in full, Willis, too, is the “new yet familiar” manifested in many ways. As a returning Chicago native whose dance career has developed largely outside of the city, there’s a fresh familiarity to her perspective. The new is also visible through her role as a curator of performance and when considering the artists and projects she is bringing to the MCA Stage. Then, an additional familiarity is present within her work due to an awareness of historical context, a body of knowledge that is harnessed, in part, through her work as …

The Breathing Thing – An Interview With The Directors and Cast of “Parched”

Free Street’s offices and theater space are on the third floor of the Pulaski Park Center. It’s a labyrinth of a building, with staircases branching off, echoes from a linoleum gymnasium. Enough places to get lost. The office in which I meet director Katrina Dion and assistant director Xandra Starks has high ceilings and figures painted on the walls. Two couches and a coffee table. It’s comfy, unassuming. J: What was the impetus for this project? How did the content for this project get decided upon? Katrina: So every year, we do a ten month process with our youth ensemble. They range between thirteen and nineteen – this year it’s more between fourteen to eighteen. Every year we go to them with a question or an issue facing Chicago youth and they spend the next ten months in critical inquiry around that; doing interviews, doing research and then training, learning theater creation skills and then building that play. A couple years ago, we were trying to really think about the 2019-2020 seasons really deeply because …

Illustration by Tesh Silver.

Magic and Art: Celebrating the New Moon in Taurus

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

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 …

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. …

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 …

Fulfilling Fantasies: Contemporary Chicago Drag Works at Hokin Gallery

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 …

The Art of Styling: A Peek into Gilda’s

Between the hum of Anita Baker and the rustle of clothes hangers and metal is the personality of Gilda Norris. It’s snowing as I walk across the street from my apartment to Gilda’s shop on 55th street in Hyde Park. It’s a garden floor space—take a few steps down and you’re in a sea of clothing. It’s small and intimate, making it hard to not brush past fabrics, sequins, and buttons. In the summer months you can count on spotting Gilda standing on the steps of her shop. Leaning against her railing, she always looks effortlessly cool. Her stance itself is an advertisement to pop into the shop. But today we are on the other side of the beaches and drips of sweat of summer. We are shuddered indoors and grasping for any hint of Vitamin D. I quickly hustle inside of Gilda’s, a solace from the wetness of Chicago, the cocoon of clothing creating a sense of comfort and nostalgia.  This interview has been edited for length and clarity.  Gilda Norris: I was born and …

From the South Side to the South and Back: An Interview with Nichole Carter of Bright Star

Creating the right recipe of offerings for the families in your community isn’t an easy task, but that’s what Bright Star Community Outreach works to do everyday in Bronzeville. Providing everything from family service and parent education to workforce development, trauma counseling, and advocacy opportunities, Bright Star takes a holistic approach to their work and wraps their arms all the way around those who walk through their doors for support or service.  A born-and-raised Chicagoan, Bright Star’s Nichole Carter moved to Knoxville, Tennessee as a teenager, then, after acceptance into Spelman she moved to Atlanta. After graduation she spent time working in property management, specifically in mixed-income housing. Eventually, what she learned during her studies and work in the South would make its way to the South Side of Chicago through a position as the Director of Community Strategy and Development at Bright Star.   As the person at the helm of Bright Star’s community programs, she was the one who took a leadership role when Bright Star became one of seven community hubs for Envisioning Justice, a program initiated by Illinois Humanities …

Art + Love: On Collaboration, Practice, Space and Relationships

In 2012, Sixty writer Zachary Johnson challenged “the image of the lone artist toiling away in their studio” with Art + Love, a series of interviews that asked artists and their partners to share how they make art, love, and partnership work. Every couple years we continue to revisit the conversation with a new group of artists, writers, designers, educators, and curators whose love for one another helps to fuel their life and work within and outside of the studio, exhibition space, stage, or page. This year we’re hearing from interdisciplinary artists Ayanah Moor and Jamila Raegan, Houston-based artists Lovie Olivia and Preetika Rajgariah, artists Will Bishop and Grace Needlman, curator Jennifer Sova and musician Tiana Jimenez-Srisook, artist Andrés Lemus-Spont and writer Marya Spont-Lemus, and designer Dan Sullivan and artist Edra Soto.   

Art + Love: Ayanah Moor + Jamila Raegan

As part of our Art + Love series, interdisciplinary artists Ayanah Moor and Jamila Raegan reflect on the ways that their distinct practices influence one another and the ways in which their relationship influences the work they make. On where it all started: Jamila Raegan: Ayanah and I met a little haphazardly during a visit she made to Brooklyn in April 2014 with a mutual friend of ours. Funny enough, they were crashing with me at my home. I remember so vividly the moment Ayanah and I met. I was working and Ayanah and our dear friend Alisha were picking up keys. Ayanah would say–which is true–that we met in front of the Biggie Smalls mural at the corner of Fulton and South Portland Avenues. It was a rare experience. I remember every little detail–the sun on her face, her eyes were stars, her smile (her gorgeous smile), and her tattoos. A first sight kind of love, truly. Ayanah Moor: I used to live in Pittsburgh and during that time I became really close friends with …

Art + Love: Marya Spont-Lemus + Andrés Lemus-Spont

As part of our Art + Love series, Marya Spont-Lemus and Andrés Lemus-Spont reflect on their experiences collaborating with one another and the ways in which their relationship has and continues to influence their individual practices. On where it all started: Marya Spont-Lemus: We met at Maria’s in Bridgeport, at a goodbye party for my co-worker. Though I liked my co-worker very much, I was only planning to go for a polite 15 minutes, and then continue on home to get work done on a Friday night. Andrés Lemus-Spont: I was biking around and wanted to hang out with Marya’s co-worker, who was my friend from architecture school. At the party, I started talking only to my friend, but pretty soon I noticed Marya. At first I didn’t see her as much as sense her. She just had this beautiful glow that I’d never experienced. M: I actually remember that you arrived right at 6 o’clock, because that’s when I’d been planning to leave. But something told me to stay—I saw your glow, too. A: When …

Art + Love: Jennifer Sova + Tiana Jimenez-Srisook

As part of our Art + Love series, Jennifer Sova and Tiana Jimenez-Srisook reflect on the ways in which they share space, share ideas, and hold deep admiration for one another’s work. On where it all started: Jennifer Sova: We met in a class at Columbia College in 2016. The class was called Women in Art, Music, and Literature which we think is hilarious being that we are women in art and music. It seems like a modern-day queer romantic comedy. We became fast friends and fell in love quickly, too. The things that first bonded us; music, laughter, books, soaking up the small things, and general curiosity are still the things that we stay up too late talking about. Tiana Jimenez-Srisook: Jenn and I met in college–– a fact that we both find quite silly given the cliché. We were in the same women’s studies course and coincidentally sat next to each other only to spark up a seamless bout of quick witty banter and conversations about big ideas, art, culture, politics, literature, food, …