A conversation about the pleasures of dancing blind, ageism and starting as a dancer after the age of 40.
A deep dive into essential questions around “art-washing,” social practice, urban renewal, and the experience of Samantha Hill and Ed Woodham at Mill Hill.
An interview about their experience at Mill Hill and being asked to leave for questioning the ethics of the residency’s approach to social practice.
A look back on 32 years of work, play, ethos, and process with the former Associate Curator and Director of Education at the Renaissance Society.
A series of interviews that reveal how a creative life can transmute the impact and redefine the legacy of an experience within the Prison Industrial Complex.
A look into the latest series of publications out of Half Letter Press by Public Collectors.
Scrolling, swiping, and clicking are the only tactile skills required to engage with Institutional Garbage, a web-based exhibition produced by Sector 2337 and the Hyde Park Art Center. These actions, performed by a mouse, keyboard, or the tap of a finger, make a ritual out of interacting with exhibitions presented in the digital sphere. Co-curated by Caroline Picard and Lara Schoorl, Institutional Garbage conceptually tears down the institutional walls of the art world, from elite academic spaces to donor-run museums, to showcase “the administrative residue of imaginary public institutions.”  As the title insinuates, the show makes a point to draw attention to the seemingly imperfect “trash” of 41 artists, writers, and curators. Lara Schoorl, a recent graduate of the School of the Art Institute of Chicago and current publicity manager at Sector 2337, states that the exhibition aims to “elevate the connotation of trash,” attempting to understand it as a crucial component of the creative journey through the art world. Schoorl described in detail how this innovative rendition of a virtual exhibition initially “started …
An conversation with Chicago burlesque dancer and performance artist about coming out to her family, facing toxic masculinity in the nightclub scene, and performing the black body.
There are limits to how far artists can push works of art, but few test them as forcefully as Sadie Benning. Benning’s installation on view now at the University of Chicago’s Renaissance Society attempts to give viewers a Shared Eye on US politics and history, conjuring a kind of collective memory through the rhythmic sequencing of panels and our subjective interpretations of their interpolations. That aim might already be a mouthful, but Benning does not stop there. Taking leeway with what she calls the “complexities” of visual media, she wanders far afield into contemporary art’s hottest clichés. Cut up and reassembled from digital snapshots, found photos, trinkets, and painted segments, Benning’s panels collapse and expand media. As physical objects, they are neither here nor there, neither the one nor the other. Unfortunately, the artist takes the same postmodern tack to their subject matter, willing it to hover in the ether and float away at first sight. The operative word here might be “edgy.” Work that cannot be defined as belonging to any one medium is in …
An interview with the organizer of this New York-born, now Chicago based all-female dance party.
Closing out the year with a reflection on the mixed feelings of the art fair experience in comic form.
A conversation about hip-hop, Hairy Who, and his approach to tackling race and gender issues with David Leggett. Part two of a two-part series.
A list of art, performance, talks, and other events happening across Chicago.