All posts tagged: Chicago curators

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 …

Snapshot: Gather Series at Comfort Station

Snapshot is a Sixty column that takes a quick look at art history as it happens in Chicago. We send artists and organizers short and sweet questions to tell us about what they are doing right at this moment. We sent questions to Allen Moore, Nick Meryhew, and Rebecca Himelstein, the curatorial team behind the Gather series at Comfort Station. Gather is an experimental music series bringing musicians and performers from different scenes, backgrounds, practices, disciplines, and communities together for connection and artistic exchange. For information on their upcoming events, as well as past performances, visit them here.  Sixty Inches From Center: To start broadly, what were you envisioning when you started Gather? Can you give us some context for the title? GATHER: We wanted to represent Chicago’s highly active experimental music and performance community by creating a series that highlighted some different approaches to the artists’ chosen medium. For each bill we attempt to bring together artists who might not otherwise be presented side-by-side. We see this as a way of facilitating new audience and artist interactions …

Image Description: Image of a very dark room, three faint windows can be made out. White text on top of the image says "Black Out Dinners" with a small fork and knife graphic. Photo courtesy of 6018North.]

6018North’s Black Out Dinners with The Chicago Lighthouse

Black Out Dinners are not the dining-in-the-dark, date-night novelty you may have seen offered on Groupon. 6018North, an Edgewater nonprofit for experimental arts and culture, takes the experience far beyond a trendy meal. In partnership with The Chicago Lighthouse, Black Out Dinners are presented by fully or partially visually impaired servers who guide guests in the pitch-black setting. The first two courses of the delicious vegetarian meal (Giuseppe Catanzariti of Midnight Kitchen Projects was the chef, with Sonia Yoon, when I attended) are enjoyed at communal tables in the dark, with only minor bumps and air-grasps. Dessert is served back in the light, and includes a discussion with the servers and meeting your fellow table-mates.   As dinner guests, we were placing ourselves in the unknown, trusting someone for whom the dark is not unknown at all. This trust, the ability to lean on one another’s strengths, makes Black Out Dinners about far more than food. I had the chance to speak with Tricia Van Eck, Artistic Director at 6018North, as well as Elbert Ford, Job Placement Counselor …

Lynne Warren on the Contemporary Art World, Chicago, and the MCA

Lynne Warren, Curator at the Museum of Contemporary Art Chicago (MCA), is a true pioneer in the field of contemporary art. Her innovative and thoughtful approach to her work is demonstrated in the major shows she’s spearheaded for the museum, such as Dan Peterman: Plastic Economies in 2004; Alexander Calder: Form, Balance, and Joy in 2010, and Modern Cartoonist: The Art of Daniel Clowes in 2013, just to name a few, as well as the numerous essays and books she’s published. As Lynne transitions to adjunct status at the MCA, we caught up with her to delve deeper into her expansive achievements and unique path in the art world. Emily Breidenbach: Thank you so much for meeting with me. Let’s start out with a little bit about your background—where you grew up and things of that nature. Lynne Warren: Yes, my background, which is very much in the background at this point in my life, is a kind of interesting one. I was actually born on the East coast but my father moved the whole family, and I’m …

Institutional Garbage: Archiving the Emotions of Art Institutions

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.” [1] 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 …

Sadie Benning’s Shared Eye at Renaissance Society

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 …