All posts filed under: Artists

Is There Golf in Heaven? Sarah Aziz and Adam Farcus in discussion on Jonah King’s exhibition How the West was Won

Jonah King’s solo exhibition, How the West was Won, at the Rockford Art Museum is curated by Jason Judd and Puchalska, as New Genres Art Space. Through video installations, sculptures, flags, a wall installation, and an overall aesthetic reminiscent of a history museum display, King uses golf as subject and metaphor to reveal intersections between colonialism, climate change, and oppression. Aziz and Farcus recorded and transcribed a conversation about King’s exhibition. The discussion has been edited by the authors for clarity. Adam Farcus: Why golf? I felt like Jonah King (he/they) picked golf because it’s about claiming space. Golf courses are places that are only for pleasure, not living or sustenance, and when the course isn’t used for pleasure you don’t do anything with it except pay for it to get taken care of. That, to me, feels like a perverse form of imperialism. Sarah Aziz: Yeah, and what I think the big distinction is, what you’ve described could be applied to parks or other spaces of recreation that are designed specifically for pleasure. But …

Review: Cristal Sabbagh: OOPS! POW! SURPRISE! at Glass Curtain Gallery

They say you die twice, once when your soul leaves the earthly world and again when someone utters your name for the last time. Gravestones, portraits, and hashtag campaigns all exist in an effort to ward off that final death. Employing her range of skills in traditional portraiture, performance, and ceramics, artist Cristal Sabbagh explores memorials, death, ancestral ties, and pop culture with her show OOPS! POW! SURPRISE! at Glass Curtain Gallery.  Upon entry to the main space, you’re greeted with three swirly, angelic memorial portraits: Justice for Iyanna Dior, Justice for Tony McDade, and Say Her Name Oluwatoyin Salau. Stylistically reminiscent of airbrushed T-shirts, each portrait depicts a person who was killed around or during the Black Lives Matter protests and unrest of 2020. Iyanna Dior was a trans woman, Tony McDade was a trans man, and Oluwatoyin Salau was a young woman and activist who was experiencing homelessness; all were marginalized people whose stories were swallowed up in a news cycle that was hyper-focused on the lost lives of Breonna Taylor and George …

Wash & Set: An Interview with LaNia Sproles and Ariana Vaeth

I was able to schedule an appointment to see Wash & Set at Hawthorn Contemporary on a sunny Tuesday morning. Entering the large, white-walled gallery was disorienting at first, as I haven’t been inside an art space since last March. Being isolated in a space designed for conversation felt chilly and brought attention to my body. Fortunately, I was in this hollow space with a collection of intimate works by LaNia Sproles and Ariana Vaeth. The uniformly desktop scale of the works exhibited invited me into vignettes of their lives. As I made my way through the gallery, I felt my shoulders relax and my attention moved from myself to scenes of celebration, leisure, and love. I met Sproles and Vaeth while studying at the Milwaukee Institute of Art & Design. Before this, Sproles was a student at High School of the Arts in Milwaukee, a school that allows students two hours per day to focus on art and hone their skills. Being that it had a more diverse student body than her previous school …

Seasonal and Sensual Cakes: A Conversation with Joey Pham of Flavor Supreme

Joey Pham is “the cake zaddy, tarot reader, and spiritual coach behind Flavor Supreme. Their different, but interconnected mediums are ways they have conversations around sustainability and spirituality.”  I was introduced to their baking in 2019, when a dear friend called me and told me to clear my calendar for a specific date, two months in the future, because she would be bringing over a butternut squash cake with orange curd, pepitas, thyme, and edible flowers made by Joey Pham. We centered a joyful afternoon around that amazing cake, and I loved the way that all of it felt like so much more than just cake as a treat. It was a date, an experience, and special occasion. The cake was so clearly full of love and intention.  I started following @flavorsupreme on Instagram and have been both educated and delighted by their work continually since. In this interview conducted over emails, Joey and I discuss their inspirations and approach, magical connections, values, and how they cultivate the perfect energy for creating. Gratitude to Joey for providing this window into their practice. …

Image: Marissa Macias faces the camera with her hands together towards her head. Three images of Marissa are arranged like a kaleidoscope on a silvery-blue background. Photo by Sarah Joyce.

FOLD/UNFOLD: Interview with Marissa Macias

FOLD/UNFOLD: fashion designers and artists on dress, tactics, community, and power in zhegagoynak/zhigaagoong (Chicago) and beyond. Marissa Macias is an interdisciplinary artist and fashion designer from Chicago. She received her BFA at The Milwaukee Institute of Art and Design, where she developed her signature practice of designing fashion collections based upon highly fleshed-out narrative storytelling. I’m drawn to Macias’ effortless blend of rigorous tailoring, workwear influences, and touches of spooky-yet-playful melodrama. There’s something feral in her pieces, but you could still wear them to the club or to sneak into a squat and start working on the wiring. Dealer’s choice. We’ve previously discussed her highly collaborative process and the ways in which the clothes she designs imagine what a future beyond capitalism could look like as a garment. I see Macias as a highly theoretical designer who makes clothes to withstand the rigors of the physical work it will take to build the new worlds we want. Macias’ newest collection is forthcoming from her brand, Petrichor.  I recently sat down with her in her Humboldt …

Featured Image: Stephen Signa-Aviles stands in his studio at the University of Illinois at Urbana-Champaign. He is wearing dark jeans and a dark, short-sleeved hooded sweatshirt, and a black face mask with a white graphic pattern. He looks up and into the camera. His studio space is narrow and cluttered. There are various works in progress, as well as shelving units with paints, books, and other materials. Photo courtesy of Stephen Signa-Aviles.

Working From Home: Four Art Students Reflect on Making in a Pandemic

During the summer of 2020, with COVID-19 cases rapidly rising, it became clear that higher education would have to look different in the near future. There was a lot of press coverage about how colleges and universities could, would, and should function during a global pandemic. How could it be safe to bring tens of thousands of people to one place, many of them living three or four to a space? How could students continue their education under these stressful conditions? What type of accommodations should be made to allow for those who want to return to campus to do so safely? What about fiscal solvency? A lot of conversations and articles about the reopening of college campuses were about economics, the ways a virtual or hybrid model could greatly alter or damage traditional ideals of higher education, and the exploitation of professorial labor (both tenured and nontenured). The University of Illinois system originally announced in mid-June that Fall 2020 would be a hybrid model of education, with in-person and online classes. This model was …

Review: 36° 15’ 43” N 29° 59’ 14” E at Goldfinch Gallery

Texture as memory, as language, as impression of thought and purpose; this is what is brought forth onto and within the imprints on the surface of objects made by SaraNoa Mark. Tactile and intricate, the artist’s mark making oftentimes reads like indecipherable words, while other times appears as imagery unfolding within the cracks of the surface, much like a relief. These carved and etched lines are akin to the marks made in drawing, which is at the heart of the artist’s practice. “Drawing is the lens through which I experience the world,” says Mark. “I view the earth, itself, as a drawing — continuously drafted by environmental and human gestures.”  Earthy and mineral-esque, Mark’s objects appear as solid as a rock and as precious as a relic. Manifesting their pieces from carved ceramic, clay, and stone, the artist has chosen a monochromatic palette that accentuates their mark making. With difference in color out of the way, the rich, lush texture is left bare for us to examine and search, so dense and palpable that I can almost physically …

Bodies Immersed installation overview

It’s On Us to Change Our Own Worlds: A Review of Bodies Immersed, at Roots & Culture

What feels particularly acute and tender in Bodies Immersed, the exhibition currently on view at Roots & Culture, is the urgency underlying the artists’ contemporary visions. While utopian ideals are not new in art and architecture, the work by Chicago-based artists Megan Diddie and Jacquelyn Carmen Guerrero in collaboration with ColectivoMultipolar (Sandra Oviedo) questions what it means to be vulnerably human in the Anthropocene—coexisting uneasily in late capitalism with other creatures, elements, and natural and unnatural forces as we navigate the Covid-19 pandemic and other compounding crises. This work imagines and documents intimate ways of being in sustainable communion with self, with others, and with natural and built environments. In so many ways, the work of Bodies Immersed asks and imagines how we might make life more livable.  im·merse/iˈmərs/verb 1. to dip or submerge in liquid The exhibition’s works (installations, photographs, videos, sound, and mixed media on paper) meet in water, dwelling in and through it. Each artist raises implicit questions about water rights, water circulation, sustainable water use, and ecologies—broadly conceived. Fluidity is thus …

The Door Ajar: A Conversation with Leah Ke Yi Zheng

My friendship with Leah Ke Yi Zheng (Instagram) started rather serendipitously. She was a stranger sitting next to me at a communal table inside Intelligentsia Coffee on East Randolph Street. I somehow initiated a conversation, and that was how we became friends, without knowing that we would soon both join the graduate program at the School of the Art Institute of Chicago; I would study art history and she, painting and drawing.  As a curator, I cherish a personal conversation with my artist friends in which we also chat about life––sometimes a bizarre dream from the night before or favorite foods from our hometowns. But in the grand scheme of things, art reflects our lives. Over the years, Leah has come to use Painting to pose a variety of formal and personal inquiries about objecthood, perception, and the nature of difference. Despite a transformation in styles and subjects, her paintings continue to mirror their maker’s personality: calm, contemplative, but uncompromising and fearless. Coinciding with Leah’s two-person show with David Hartt, Memory’s Great Vertigo at Paris …

Celeste Malvar Stewart fitting a model in her Columbus, Ohio atelier. Photo by Jake Holler.

Celeste Malvar-Stewart: Zero-Waste Haute Couture in Columbus, Ohio

Celeste Malvar-Stewart has been a pioneer of sustainable and ethical fashion for 25 years, creating zero-waste bespoke felted dresses made with alpaca and sheep fibers from her appointment-only Columbus studio. She knows the names and can recognize the fleece from each individual alpaca and sheep. When I made a felted scarf with her last year, she showed me how Sugar has tighter corkscrew curls, while Gandalf is looser and fluffier. Celeste works directly with local Ohio farmers to source her fibers and is proud to be part of a fashion revolution where it’s becoming a statement to re-wear pieces. Prices range from $800-$1,500 for one-of-a-kind cocktail dresses and up to a few thousand for wedding dresses.  “When there’s that value and connection with the animals and your dress, you’re so not going to throw it away,” she says. With a minimal carbon footprint and without relying on imported fabrics, she’s creating farm-to-dress fashion. With her atelier, Celeste is more of an artist than a designer in the traditional sense. Her dresses are seamless because she’s …

Featured image: (Mariano's mural) Color Me South Side, 2019 by Dorian Sylvain. A crowd of people stand in front of a colorful mural depicting several people. Photo by Chris Devins.

Dorian Sylvain: Muralist, Teaching Artist, Curator, and Community Planner

As a long term resident of South Side Chicago, Dorian Sylvain‘s artwork is no stranger to myself or others. I first met Dorian in 2015 at Mana Contemporary during the ChiArts visual arts senior thesis show. Five years later, I would reintroduce myself to Dorian and proceed with asking her if she needed an artist assistant. While I am still learning from Dorian, she has taught me much thus far and has even encouraged me to take on different mediums within my artwork. It is an immense pleasure to interview Dorian on her practice, career, and what’s next down the line. Alkebuluan Merriweather: Who is Dorian Sylvain today as opposed to 40 years ago? Dorian Sylvain: Today I am a more confident artist and certainly a more experienced artist. Through the years, I evolved my practice, relationships, and have expanded on the dreams of a young artist growing up on Chicago’s South Side. In my early 20’s I recognized my commitment to working as a teaching artist, receiving my first grant to operate a free arts …

Elinor Carucci, Red #3, 2015

Reproductive Agency—The Political Made Visual

January 22nd marked the 48th anniversary of the Roe v. Wade decision, but the debate around reproductive rights didn’t end there. Denying Title X family planning dollars to providers like Planned Parenthood and concerns over Justice Amy Coney Barrett’s appointment to the Supreme Court are just a few examples of how the fight continues. Engaging with and broadening the discussion of how fertility is politicized, Reproductive: Health, Fertility, Agency at the Museum of Contemporary Photography (MoCP) provides a comprehensive look at reproductive issues through art. Kudos to MoCP for tackling the issue broadly, focusing on the spectrum of experiences, not just birth control and abortion. The exhibition includes artworks addressing desire and sexuality, the heteronormative childbirth industry, and menopause. That said, the curatorial narrative is strongest in articulating the ways in which patriarchal systems affect reproductive freedoms. The largest gallery space is devoted to Laia Abril’s project On Abortion: And the Repercussions of Lack of Access, 2016. Her archive of images and text is based on years of research about the consequences of restricting access …

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Beyond the Page: Quenna Lené Barrett

“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 Quenna Lené Barrett — actor, educator, writer, director, activist, scholar, and lifelong Chicagoan. We spoke in late November about her ongoing project, “Re-Writing the Declaration,” and its recent production; how her many forms of work inform each other; and using applied theater as a tool for civic participation and Black liberation.  Follow Barrett @quennalene (Twitter, Instagram) and @quenna.lene (Facebook). This interview has been edited for length and clarity. Marya Spont-Lemus: After getting to experience aspects of Re-Writing the Declaration as a project over the last few years, it was extra exciting to see the production of it earlier this month. Now that a few weeks have passed, how are you feeling about it? Quenna Lené Barrett: Still feeling really good! I was directing two shows at once — Re-Writing the Declaration and another one, in this virtual format — and then had other projects come up. …

Black Narcissus: After Nereida Patricia’s cracked sidewalk fountain

“Who’s there?” Narcissus stops trepidatiously and slowly turns around to stare into the thick underbrush. Nothing moves among the stand of ferns and foxglove. The mountain nymph Echo hides behind a pine tree, pushing her back against the dimpled bark. Her heart thumps deafeningly in her ear and her arms tremble noticeably, but she softly repeats Narcissus’s question back to him: Who’s there? Narcissus’s eyes narrow and he listens intently for several minutes before deciding he only heard the ghost of his own voice, and continues his hike through the forest. Echo sighs and slumps away from the tree, peering slowly around the trunk. She waits until Narcissus is several yards ahead before following after him, trailing him like an elongated, late-afternoon shadow, and occasionally darting behind a tree or rock again whenever he suddenly pivots around—unnerved by his acute hunter’s instincts—and calls out again, “Who’s there?” Who’s there? They continue on in this way for several miles until suddenly, overcome by her urge to smell his ripe body odor, admire his doe-like eyelashes, stroke …

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. …

Kajahl Huntress In Oasis (Astride A Crocodile), 2020 oil on canvas 66 x 84 in. Courtesy of the artist and Monique Meloche Gallery, Chicago.

Fantasy of a Fantasy – A Review of Kajahl: “Royal Specter” at Monique Meloche

Monique Meloche’s exhibition Royal Specter, featuring work by the artist Kajahl, is in every aspect a museum-quality exhibition. I am not merely referencing the historically traditional and representational style of Kajahl’s paintings (that is to say, portraying a ‘likeness’ of the subject—and whose likeness is it? More on that later). I am also not just referencing the artist’s unbelievably skilled use of oil paint on canvas—materials that are, again, traditional. As Kajahl’s paint renders abundant silk folds, fine furs, and ornate gold, both the medium and style which together demonstrate a high level of skill, are historically deemed as having high value. However, when I say “museum quality,” it is not because of the undeniable attention to detail and quality of the work itself. Instead, it is because, upon gazing on the works, my mind ultimately and immediately places them within an art historical context. With each piece referencing so many elements of historical portraiture, Kajahl’s works are itching to disrupt the canon, demanding to reimagine the (absent) place of the Black figure in the …

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 …

Riva Lehrer: GOLEM GIRL and Pandemic Portraiture

“All portraits are fragments,” says Riva Lehrer, “it’s representing someone through a single moment in their life; so any portrait is an act of reassembly, you get these clues and you try to reassemble them into some view of the person.” In a way, this is what I was doing as I read Lehrer’s new book GOLEM GIRL: a memoir: scouring her words for insight into what makes her the person she is today.  ‘Author’ is just one of many hyphens in Lehrer’s well-established artistic career. She teaches at Northwestern University and she curates, but she is perhaps best known for her portraits of people “whose physical embodiment, sexuality, or gender identity have long been stigmatized.” As a Disabled artist herself, Lehrer has a unique ability to capture a person’s form in an honest and expressive way through her evocative works. I had the pleasure of speaking with her to discuss her background as well as current projects. Lehrer’s artistic talents are familial.  Courtney Graham: [In your memoir,] you talk about your mother, Carole, being …

Review: “Cito, Longe, Tarde” at Haynes Gallery

In Latin, Cito, Longe, Tarde, translates into “leave quickly, go far away, and come back slowly.” Influential medical figures Hippocrates and Galen first coined this phrase, which later influenced the public during the plague that took over Asia, Europe, and areas of Africa in the mid-1300s. Cited as the most devastating pandemic in history, the plague (also known as the Black Death), killed millions of people worldwide. The plague not only killed half of China’s population and a third of Europe, but it also brought on complete chaos within society. Panic, fear, and confusion led many folks to flee their homes and take on a more nomadic life, traveling from town to town, running from the plague before it devastated their hometown. In fact, this was the only advice medical professionals of the time offered. To flee and to not come back anytime soon. A means of running away was the option.  The eight works in the group show Cito, Longe, Tarde at Haynes, a new project space in Bridgeport, reflect on the current pandemic …

Image: "Suicide Squad," Arroyo Seco, Pasadena, CA, 1936/2019 by Barbara Diener.

Works Cited: ‘The Rocket’s Red Glare’ by Barbara Diener

It goes without saying that so much of the labor in an artist’s practice goes unseen, ranging from the countless hours of trial and error experimenting with a medium before getting it right, to the often mind-numbing planning and prep work when starting a new piece. However, there is yet another layer below the surface of this complex production that is inherent to the creative process: research. There is a collection of information, images, and archives that happens even before any pen is put to paper, feeding and informing an artist’s body of work. Works Cited asks artists to uncover this part of their practice with us, sharing research materials such as essays, playlists, online archives, and tips on how to navigate them. In the spirit of open access, this column also serves as a resource in and of itself, as each interview includes access to these materials in the form of either reading lists or sharable links. For this edition, I spoke with artist Barbara Diener about her most recent project The Rocket’s Red …

Image: Kristoffer McAfee stands outside the School of the Art Institute Columbus building, where the painting students spend most of their time. He says his experience at SAIC “gave me confidence in my work and direction.” Photo by Kristie Kahns.

A Path Turned Inside Out: A Conversation with Kristoffer McAfee

Through his use of bold color palettes, meticulous details, and iconic symbols, artist Kristoffer McAfee displays technical rigor while provoking questions about the allure of consumerism that permeates our lives. Kristoffer is a California-born, Chicago-raised artist and a graduate of the School of the Art Institute of Chicago, whose practice focuses on confronting political and social issues through intricate paintings and large-scale three-dimensional objects. His artistic voice and the intent of his work has surfaced in a myriad of ways: through life experiences, like growing up with the disparities and segregation within the southside of Chicago; by travelling the world, spending many years in Paris; by channeling the influence of other artists, like Andy Warhol or Jeff Koons; or through rigorous training, which he received at SAIC. But perhaps a less considered factor, and one that has impacted the development of Kristoffer’s path, is timing. He was skeptical of higher education and traditional art school, and only made the decision to enroll at SAIC once in his late twenties – a choice he acknowledges was …

AMFM and the Lifespan of Chicago Artist-Run Spaces

Chicago’s artist-run spaces are key players in the creative ecosystem. They stretch down all avenues in the city and beyond into the sprawling suburbs. Whether they are found in old storefronts, auto shops, backyards, or basements, some hold their space for decades while others reconstruct or retire.  Succumbing to the rise of rent and the heavy financial responsibilities that come with running an alternative venue can play a large role in the changing of spaces or changing of hands. Artist-run spaces go through fluctuations, especially those who persist for a few years. Some turn into non-profit gallery spaces, while others host a few pop-ups or begin satellite locations. Others simply shutter.  Deciding to close an artist-run space shouldn’t equate to failure. The conditions for closure—or change—are endless. The lifespans of DIY spaces don’t eradicate the work that was done. And often, the spaces simply exist in a new form. For Ciera McKissick of AMFM, that’s exactly what happened.  For over a decade, Ciera’s project—whose original form was a web magazine—has developed and transformed into various …

The Southwest Nest: An Interview with Gloria “Gloe” Talamantes

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. Gloria Talamantes, known by her artist name, “Gloe,” takes on many roles, from being an editor for The GATE newspaper to practicing her art in the streets of Chicago as a graffiti artist and muralist. It is very typical to have seen a mural of hers in Chicago. Her street art can be found in many areas in Chicago like Little Village, Back of …

El Nido Suroeste: Una entrevista con Gloria “Gloe” Talamantes

Brighton Park, Back of the Yards (o el Barrio de las Empacadoras), y McKinley Park son vecindarios en el lado Suroeste de Chicago que están agrupados con tanta frecuencia que la prensa les ha dado una reputación y narrativa similar. No siempre es buena. Hoy estos vecindarios todavía enfrentan la violencia, la pobreza, y más recientemente, la gentrificación. Con llamar la atención a las mentes creativas que enriquecen a estas comunidades, me gustaría desafiar la idea que la violencia es la única cosa que tienen que ofrecer. En esta serie, “El Nido Suroeste,” espero celebrar y reconocer a estos artistas y compartir con ustedes sus perspectivos sobre los barrios donde trabajan o viven. Gloria Talamantes, conocida por su nombre artístico, “Gloe,” asume varias posiciones, desde ser editora del periódico The GATE hasta practicar su arte en las calles de Chicago como artista de graffiti y muralista. Es muy típico haber visto uno de sus murales en Chicago. Su arte callejero se puede encontrar en varias áreas de Chicago como La Villita, el Barrio de las …

Disrupting the system with Emmy Lingscheit

Emmy Lingscheit is a visual artist and Associate Professor at the University of Illinois at Urbana-Champaign. Lingscheit’s work can broadly be characterized by attention to detail: in formal qualities such as color selection, choice of text, and the intricacies of mark-making, but also in the choice of subject matter. Her work addresses the human condition by looking at the systems we create to govern our lives, calling into question the ways in which social and cultural justices are not compatible with such systems. She interrogates these systems, particularly environmental ones, to understand how the ways we “otherize” the natural world is directly related to the ways we “otherize” people, marking both as exploitable and disposable. One strategy Lingscheit employs is drawing the viewer in with technical savvy and grace; her work is gorgeous. The repetition of marks and imagery hypnotize the viewer so much so that looking at her work is analogous to the ways in which we are swept up in these systems. Though there is a sense of wanting to spend more time …

Zoi Zoi are Bringing the Club to the Living Room

I used to spend my Saturday nights under the bask of the disco ball, twirling in an underground space, or drenched in sweat swigging my cocktail by the DJ booth. I’m a self-proclaimed club girl. Slipping into a latex dress and dancing until 6 A.M. seems foreign to me now, as it’s been over six months since I last left a club setting. No resident DJs, no covers, no fishnet tights. In the early days of the pandemic, I watched a lot of livestream DJ sessions. Dancing alone in my living room, my nerves would calm down. But after a while, even those virtual events fell short.  My last event was at The Post, a Washington Park spot, where we packed in tightly and moved together until the sun came up. It was a perfect “last party,” as a few days later the pandemic would shut everything down. I’ve been working from home ever since, my dancing shoes are tossed in a corner.  The club is such a huge part of my queer experience in …

Review: Windows to Our World

Walking up residential Kenmore Avenue, you might do a double-take when you pass 6018North and notice that the fence, yard, porch, and windows are adorned with banners, sculptures, and other objects. While the décor may seem unusual for a dilapidated mansion, it is on par for the artist-centered organization named after its address. Under normal circumstances, the house’s interior would be filled with art, but the stay-at-home order and city-wide protests prompted 6018North to create Windows to the World, an outdoor exhibition that promotes the organization’s social justice mission. Considering our current crises and noting that “the pandemic of America is racism,” the team of ALAANA (African, Latinx, Arab, Asian, Native-American) curators asked artists to consider:  How do we want to see the world when we get out? Who do we want to be individually and collectively? The works they selected address COVID-19, systemic injustice—or both—and raise questions with complex answers.     Artworks in the exhibition are made from everyday materials and often adopt commercial formats, such as neon signage and banners. Efrat Hakimi’s Time, depicting …