68 Search Results for: EdVett�� Jones

My name is Tia Jones-Etu.

When I first met Tia Etu-Jones’ two years ago and saw her work I was impressed by her different choices of medium and themes which the resulting works explore. Not limiting herself to one medium and style has allowed her the freedom to create interactive sculptures, paintings, assemblages, murals and even fullyfunctioning marionettes. In her work it is not uncommon to see found objects, tree branches, twine, paint and other familiar materials used in a way that questions language, art history, memory, urban culture, nature and gender roles, among many other things. These themes and mediums weave together to create stories that allow viewers to dive into complex and self-determined interpretations while appreciating something aesthetically beautiful. Sixty sat down with the Chicago-based artist to learn more about how she got to this moment in her career. Tempestt Hazel: Tell us a bit about your self and your artwork. Tia Jones-Etu: My name is Tia Jones–Etu. I am a graduate of the School of the Art Institute of Chicago where I received my B.F.A. I have …

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 …

IMAGE: A black and white photo of AnnMarie Brown in conversation with three teaching artists from Circles & Ciphers. One of the artists points towards the others from out of the right frame of while AnnMarie and the two other artists look in their direction.

Restorative Lifestyle: A Conversation with AnnMarie Brown of Circles & Ciphers

Between August 22nd and 24th, several practitioners came together for Restorative Justice Summit 2018 to hold generative conversations about the meanings and shared narrative they locate within their work. One year into North Lawndale’s pilot of the Restorative Justice Community Community Court, we see these practices deployed in schools, correctional facilities, court systems, and community organizations throughout the city. All of these spaces hold their own internal relational dynamics which affect how restorative justice looks on the ground. In the Restorative Justice Community Court of North Lawndale, the practice looks like peace circles made available to non-violent defendants as an alternative to the harsh sentencing guidelines of Cook County Criminal Court. During their City Bureau Public Newsroom presentation,  Jenny Casas and Sarah Conway made clear that this is not a process designed to release the defendant from consequences or grant them full autonomy. Failing to keep the agreements made in the Community Court will mean a return to the Criminal Court. AnnMarie Brown of Circles & Ciphers prefers to view restorative justice through the lens of lifestyle and choice. This past May, Circles & Ciphers hosted a culminating event for the first session of …

People in attendance at open community event stand with arms raised participating in a community dance.

Just A Guy In A Suit: How Circles & Ciphers Resolves Conflict With Radical Hospitality

In the fall of 2017, I began attending Rogers Park Community Peace Circle as outreach for the Kola Nut Collaborative, a timebanking initiative where people trade skills and services using time as a currency. While I had participated in other spaces employing circle facilitation, the Community Peace Circle enriched my understanding of some basic rituals associated with circle keeping including lighting a candle, introducing talking pieces, and building shared values to be held during the circle. It would be several more months before I would realize the relationship between Circles & Ciphers and the Community Peace Circle as each entity re-formed and merged under a new mission statement. This mission explains that, “Circles & Ciphers is a hip-hop infused restorative justice organization led by and for young people impacted by violence. Through art-based peace circles, education, and direct action we collectively heal and work to bring about the abolition of the prison-industrial complex.” While the name struck me as familiar, I was unclear about Circles & Ciphers’ history, use of peace circle facilitation or desired outcomes for …

Inaccessibility as Material: an interview with Alison O’Daniel

Alison O’Daniel is a visual artist and filmmaker whose ongoing project The Tuba Thieves interweaves elements of sound composition, sculptural installation, performance, and film. Beginning in 2011, The Tuba Thieves has been screened and exhibited in numerous iterations, expanding and complicating the notion of a filmic whole. Using a film as a site through which to explore how continuity, equivalency, and legibility intersect O’Daniel’s work complicates the presumption of normativity inherent in traditional cinematic and narrative modes. Building a vocabulary of missing information, misunderstanding, and processual aesthetics, The Tuba Thieves asks us to rethink differing sensory experiences as a generative and imperative storytelling force.  The following is an excerpt from a longer conversation conducted over Google Meet between the artist, Christopher Robert Jones, and Liza Sylvestre. Google Meet was chosen after discussing various video conferencing platforms and their inadequate accessibility features.  Liza Sylvestre: How do you wake up? Alison O’Daniel: My dog wakes me up. She comes in and punches the bed. She is a deaf boxer and she wakes me up every day at …

FOLD/UNFOLD: Interview with Madeline Hampton

FOLD/UNFOLD: fashion designers and artists on dress, tactics, community, and power in zhegagoynak/zhigaagoong (Chicago) and beyond. When you first walk into fashion photographer Madeline Hampton’s apartment/studio, the number “27” painted on the entrance wall in chaotic white strokes doesn’t assert itself as separate from the overall industrial aesthetic of the space. It takes time to notice that this is a signal that Hampton, also known as “27,” lives and works here. It’s an uncanny and highly personal visual that feels appropriate for an artist who based a recent shoot around Yves Tumor’s feeling of licking an orchid.  Hampton makes cinematic fashion images that don’t so much attract you to double-tap, but instead compulse an ongoing encounter with the picture. Hampton’s power to interrupt the scroll culture of Instagram feels like a power coming from somewhere not quite here–an offering to feel otherwise through the medium of fashion photography. The colors hit somewhere in your jaw, the angles glimmer. It feels possible to be both here in the material body and moving in a dream dimension. …

Image: Ida Cuttler, wearing a red blazer over pink pajamas, sits with her hands on her knees center. On the ground around her, are red and blue balloons and red-white-and-blue beachballs. The beachballs have stars on the blue stripes. Photo courtesy of Brave Lux, Inc.

A Story – “Comfortable Shoes” at The Neo-Futurist Theater

Here: a story. When I was younger, as a chronic fidgeter, holes and gaps would creep into my clothes, always looking like a moth had found a cozy meal. Because of this, I became familiar with the fraying yarn, a piece of a piece of clothing that could not be separated, nor could it be its own item. I tugged at these threads, always wondering whether or not I could find the scarf’s spine or its guts or its nerve endings. We do, after all, understand where my skeleton is and where your skeleton is and if we had been inside the meat, then surely science must have been inside the sweater and understood those blueprints. Though, I never got too far: I stopped, knowing that I would have wound up shirtless midway through the day. Here: another. Ida Cuttler contributed to the infamous (and not at all that famous) Hot Blog Dogs, one of my favorite mid-2010s artifacts. I found the website inspiring; as a misanthropic, anxious bibliophile who wanted to be fun and …

for you. yes, you. – a response to “for you” by Ayanah Moor

you for this is just blacknessyou for this is just blacknessyou for this is just blackness G.L. – I don’t know that I can write his name here for fear of legal reprisal – haunts billboards from Chicago to Michigan (at least), his chin, the chiseled basin of his brickhead split open by bleached, saliva-polished teeth: sue the bastard who did this to you, we’ll make a buck, you’ll make a buck. On the CTA platform, I close my eyes, inhale and find my center in all the noise of rush hour while wind tunnels and pours dank air through the crowd. I do this for five minutes. I open my eyes. G.L.’s stupid face is waiting for me. I brought this up to my dad once, how unnerved I was by G.L.’s persistence, and he told me that a friend of his once called the number on the billboard, and that the office was not in Chicago but somewhere in Arizona. G.L.’s interstate visibility bothers me. Not because of him (though I harbor some …

Intimate Justice: Derrick Woods-Morrow

“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 Derrick Woods-Morrow in his studio about childhood romance, the inherent racism in photography, and how power operates in sex.  S. Nicole Lane: So let’s start with where you’re from. You’re from North Carolina, like me. Derrick Woods-Morrow: Yeah! I went home last summer and there was a confederate parade. It was pre-Trump. It was right before the election or something, and it was 8 men with rifles and confederate flags walking up and down the highway shouting and marching. I live on the North East Side, closer to Brown Summit, so closer to the country. It’s almost like I grew up with that. That didn’t scare me. Charlottesville, which is considered mostly progressive is sort of scarier in a way, but that behavior [in NC] was like, “Oh who are these idiots, they’re probably the cousins of someone I went …

The Silver Room That’s Gold: An Interview with Eric Williams, Pt. 2

This is the second part of an interview with The Silver Room owner Eric Williams, just in time for the 9th Annual Sound System Block Party. Did you catch part one? If not, check out ‘The Silver Room That’s Gold: An Interview with Eric Williams, Pt. 1’. Tempestt Hazel: What I think is so great about The Silver Room is that it allows for such diverse programming to happen in it. Having readings, exhibitions, music, clothing, etc. around those themes seems natural. Eric Williams: It is. And it’s not all me. A lot of times it comes from other people who understand that the space is available for a different kind of voice to be spoken. If they get what the space is they approach me [with an idea] and I say, “Yea, let’s do it.” That way, I’m not always depending on myself to come up with what’s next. TH: Roughly how many shows have you had here? EW: Maybe 20? Hebru Brantley, Krista Franklin and Tyrue ‘Slang’ Jones [have each] had a show …

Featured image: Chelsea Fiddyment performing at Unreal at Schubas. Chelsea stands at the front of the room, notebook in hand, speaking into a microphone while looking out at the audience. Behind Chelsea is a copper-colored wall, made of a grid of low-relief tiles; above that are several decorative beer cans on a ledge and a dark green section of wall. Chelsea wears a black cropped tee and red and gold sequined shorts. The backs of some audience members’ heads are fuzzy in the foreground. Photo by Joshua Clay Johnson.

Beyond the Page: Chelsea Fiddyment & Unreal

“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 Chelsea Fiddyment, the creator and emcee of Unreal — a fiction-focused, experimental open mic, now in its fourth year. In late June, I spoke with Chelsea about their reasons for starting Unreal, their own practice as a writer and performer, and the importance of creating welcoming spaces for experimentation. Check out Unreal on the third Tuesday of every month, in the upstairs space at Schubas (note: this space is accessible by elevator through the attached restaurant, Tied House; ask a Schubas manager for navigation support). Find Unreal @UnrealChi on Twitter and @UnrealChicago on Facebook, and Chelsea @whatthefidd on Twitter. This interview has been edited for length and clarity. Marya Spont-Lemus: Congratulations on a lovely third-anniversary show! Chelsea Fiddyment: Thank you so much! MSL: How are you feeling about that and how it went? What are you bringing out of it with you? CF: I’m absolutely ecstatic …

Movement Matters: J’Sun Howard

Movement Matters investigates work at the intersection of dance, performance, politics, policy and issues related to the body as the locus of these and related socio-cultural dialogues on race, gender, ability and more. For this installment, we sit down with movement artist, curator, poet and Queer Blq Futur narratologist J’Sun Howard to discuss the influences of geography, the role of joy in combating disillusionment and the importance of placekeeping and other practices in the life and work of Chicago’s black and brown artists.   Michael Workman: You don’t hail originally from Chicago, correct? J’Sun Howard: No, I’m originally from Chattanooga, TN. I came here in 2001 to go to school at Columbia College. Here, I started out on the West Side. Then to Lakeview, which was fun, crazy, and full of self-discovery. Uptown was chill and where I began to feel more grounded. I went back to Lakeview after that, and by twenty-three I was done with the bar/club scene. South West Side in the ‘hood, around the Homan Square area was next, I would …

Team

ADMINISTRATION Tempestt HazelExecutive Director, Co-foundertempestt.hazel@sixtyinchesfromcenter.orgBIO | Website | Writings Jennifer Patiño CervantesManager of Operations + Archiving / Poetry Editorjennifer.patino@sixtyinchesfromcenter.orgBIO | Website | Writings Kate Hadley ToftnessChicago Archives + Artists Project (CAAP) Directorkhtoftness@sixtyinchesfromcenter.orgBIO | CAAP Website EDITORIAL SENIOR EDITORSGreg RuffingSenior Editor BIO | Website | Writing Noor ShawafSenior EditorBIO | Writing Reuben WestmaasManaging EditorBIO | Writing ASSOCIATE EDITORSChristina NafzigerBIO | Website | Writing McKenzie BirminghamBIO Tim HoffBIO S. Nicole LaneBIO | Writing DIGITAL EDITORRyan Edmund ThielWebsite | Photography SENIOR WRITERS Notes: Each writer’s focus and expertise is listed, but they are not limited to those topics.Emily BreidenbachArts + Culture Archives, Art + DesignBIO | Writings Courtney GrahamLGBTQ+ Communities, Artists with DisabilitiesBIO | Writings Marya Spont-LemusInterdisciplinary Literary WorksBIO | Writings Sasha TyckoLGBTQ+ + POC Communities, Chicago NeighborhoodsBIO | Writings Nina WexelblattArt Book Reviews, Live + Performance Art, Chicago NeighborhoodsBIO | Writings SENIOR PHOTOGRAPHERSHannah SiegfriedWebsite Ryan EdmundWebsite FEATURE WRITERSIreashia BennettEliana BuenrostroAmanda DeeNoa/h FieldsAngelica FloresJessica Hammie (Regional, Champaign Urbana)Rachel L. Hausmann SchallKT HawbakerStella LeeAnnette LePiqueAlexander Martin (Regional, Peoria)Yasmin Zacaria MikhaielAnjali MisraChelsea RossMaya SimkinTamara Becerra ValdezJay Van Ort FEATURE PHOTOGRAPHERSIreashia BennettMark BlanchardJoshua JohnsonSarah JoyceKristie KahnsChelsea RossMichael SullivanEdvetté Wilson-Jones FEATURE ILLUSTRATORSJan BruggerKiki DupontJenny FrankGretchen HasseTesh Silver TRANSCRIBERSSara CortesNoah GeraciGloria GomezAmanda MeadLeslie RouserMarya …

Locating Your Practice in ‘African American Designers in Chicago: Art, Commerce and the Politics of Race,’ with D. Denenge Duyst-Akpem

A century’s legacy of Black designers working at the nexus of the quotidian, politics, history, and market capitalism is brought into focus through African American Designers in Chicago: Art, Commerce and the Politics of Race, on view at the Chicago Cultural Center until March 3, 2019. The show’s objects and design content show generations of Black designers fusing a shared past and visions of the future within their historical contexts. This chronicle highlights designers and artists producing in many mediums including Charles Dawson, Charles White, Jay Jackson, Zelda “Jackie” Ormes, Charles Harrison, LeRoy Winbush, William McBride, Sylvia (Laini) Abernathy, and Emmett McBain. Particular emphasis is given to how 20th century Black designers and artists in Chicago reframed the conception of the Black consumer within the market economy. By the same token, the concerns, aesthetics, pressures, and values of Chicago’s dynamic Black communities are embedded in each object. Dr. Margaret T. Burroughs expressed this responsiveness when discussing the origins of the South Side Community Arts Center, quoted in the exhibition materials: “As young black artists, we looked …

The Vessels that Marva Made: An Interview with Members of Sapphire & Crystals

“I am a strong woman; my strength as a Black woman pays homage to what I call the Sapphire Spirit. A woman who is sassy, jazzy, spiritual, brainy, the healer–she is Mother Earth in its grand splendor. I salute this spirit in all Black women everywhere. The recognition of my own Sapphire Spirit provided me with the knowledge I needed to speak. My name is Marva and I speak through my art, my voice extends all the way back to the first known human being who was a Black woman. Going forth, through my ancestors, I am creating new symbols and new directions, moving from my own individual voice to that of the collective voice. I now join with sixteen other African American Women Artists and form the Sapphire & Crystals group. As a collective we step forward to the world.” –Marva Lee Pitchford-Jolly In 1986 artists Marva Lee Pitchford-Jolly and Felicia Grant Preston started meeting in Pitchford-Jolly’s home to discuss how to continue supporting women artists after the group Mud Peoples Black Women’s Resource …

Meet the Envisioning Justice Residency Team

Envisioning Justice is a 19-month initiative presented by Illinois Humanities that looks into how Chicagoans and Chicago artists respond to the the impact of incarceration in local communities and how the arts and humanities are used to devise strategies for lessening this impact. As part of Envisioning Justice, a selected group of writers, photographers, activists, artists, and organizers are working with Sixty as residents to publish writing and photo documentation of the work happening at the cross-section of art and the criminal justice system across Chicago. Meet the residents: Ally Almore Photographer at Let Us Breathe Collective Website | She/Her Ally Almore is an artist and photographer born and raised in Chicago, IL. She grew up in a low-income immigrant family household in Pilsen that was always full of personality. A documenter for creatives from all walks of life, Ally is not afraid to saturate her images, because they usually accompany saturated narratives. The people she photographs are anything but bland and she believes that it’s her responsibility as a photographer to do them justice. She has always naturally been drawn to photography and the idea …

Image: Installation view of Terry Adkins: Resounding Lower East Gallery, Pulitzer Arts Foundation © 2020 The Estate of Terry Adkins / Artist Rights Society (ARS), New York Photograph by Alise O’Brien © Pulitzer Arts Foundation and Alise O’Brien Photography.

Resounding: Terry Adkins at the Pulitzer Arts Foundation

Terry Adkins (1953-2014) was a transdisciplinary artist who utilized sculpture, sound, video, performance, and printmaking strategies in combination with material, personal and historical research. Through a deep investment in the use of creative methodologies to investigate personal and historical narrative, Adkins developed an artistic framework that embraced complexity and contradiction in service of an expansive and generative model of identity, one that has continued to influence contemporary art discourse. Terry Adkins: Resounding, on view at the Pulitzer Arts Foundation in St. Louis, features over 60 objects that include career-spanning sculpture, print, and video work as well as items from Adkins’ personal collection of musical instruments, books, and ephemera. The exhibition marks some of the most significant moments in the artist’s career and provides new insight into how Adkins situated sound outside of a normative, hierarchical structure. Adkins developed the term ‘potential disclosure’ to describe the three-staged process that rooted his material practice. This process, consisting of (1) collection (2) gestation and (3) transformation1, was the technique through which Adkins synthesized his material and historical research. …

Eulogy: Jovan C. Speller at Aspect/Ratio Gallery

Featured image: Jovan C. Speller, “I sat there, Unafraid of the coming night.” Two wooden boards, split in the middle. Across the pair of them is an irregular black blob. On the right hand side, reflective wrinkles of light. In the bottom right hand corner, a seated figure with their back turned to us. Image by Avery Campbell. Courtesy of Aspect/Ratio Gallery. Imagine, you’re newly dead. You (the newly dead) have arrived from the world of the living by way of – you can’t quite recall: you remember a dark cloud branching out from the back of your head and you don’t know if it was spilled from your head or if it was being injected. You think you were seated when it happened, but who’s to say? You, the newly dead, are already beginning to lose conscious memories from your previous life. The experience of this makes you thirsty (or maybe you were just thirsty already, maybe you died from dehydration and your body remembers). In any case, you search for water. The underworld …

Inside & Outside of the Book: A Look at the Self-Reliance Library and School

In Chicago, as in many cities, a few degrees of separation can make a huge difference.  Ridgeland Avenue, an Oak Park thoroughfare, and Austin Blvd, an entry-way into the Austin neighborhood, are divided by Lake Street, which is lined with shops, Pete’s Fresh Market, and the yellowest building, I would estimate, in a ten-mile radius. I walk towards Compound Yellow, an independent, experimental arts space, and feel like an invited intruder. The mere brightness of the building forces you to engage with it, but as you draw closer, the tenderness of the flags waving above the structure and the suspended cloth circles hanging from the trees indicate a sense of careful living. The three buildings that comprise the compound have been united since 2016, the most noticeable one declaring itself as the Self-Reliance School & Self-Reliance Library, a collaboration between  Compound Yellow and Chicago arts publisher Temporary Services. The Self-Reliance Library is a reading and creating library, an installation consisting of over 80 books, as well as furniture and banners that take influence from ideas …

Who Are Your Teachers?: Dawoud Bey

I first met Dawoud Bey as a student at Columbia College Chicago. Somehow he was teaching a Photo I class alongside Cecil McDonald Jr.–such a powerful pair.  Even though I was an art history student and I didn’t need a photo class, I signed up as a way to spend time learning from two photographers I deeply admired. Since that class, Dawoud has been instrumental in my development as a curator, writer, and historian–influencing all aspects of my personal ethos and how I approach all of my practices. I’ve turned to him for advice countless times over the years and we’ve had impromptu catch-ups in coffee shops and on street corners in Hyde Park. I have looked to the perceptive and careful way that he talks about and practices his everything–image-making, writing, teaching, and life–as a guiding light and example for how to create and celebrate Black excellence while also remaining open to what can be discovered in the vastness of the world we’re living in, in addition to that Blackness. He’s taught me about the …

Arts Advocacy At Its Best & On the Wall: An Interview with Monique Meloche

Situated between Chicago’s Wicker Park and Ukrainian Village communities is Monique Meloche. The gallery’s on the wall program has become not only one of the freshest art windows in the area, but a conversation piece with which Meloche seeks to engage passersby. Here’s what Meloche had to say about the origins and future of this two-year old program, which seeks to not only encourage interest in the inner happenings of the gallery, but to also go beyond the walls and engage her community. Rehema Barber: Monique, so tell me about the on the wall program and how you came up with the idea. Monique Meloche: It just seems like so many times gallery’s push that front window up to the front of the window and just put the gallery’s name on that front wall and I felt like it was a missed opportunity, so I worked with the architect [of the space] and we figured out that if we pulled that wall back about three feet, there would be enough space for somebody to work …