All posts tagged: public art

You Can Fly Higher: An Interview with Chicago-based Street Artist Sentrock

Published by Anjali Misra

Sentrock is the moniker of Chicago-based street artist Joseph Perez, who moved to the city from Phoenix, Arizona in 2012. Since then, Chicagoans have likely seen his signature murals of brown children in red bird masks adorning the walls of buildings all over the North, West, and South Sides. With public art now on display in multiple U.S. cities, Sentrock has still shown the most love for Chicago. His mural across the street from YolloCalli Arts Reach in Little Village in particular has become an important and inspiring fixture that the community members and the young artists who work at YolloCalli have come to admire. Sentrock may not create art to be inherently political, but that doesn’t mean his murals don’t deliver messages. Most of his public pieces contain slogans like “You Can Fly Higher,” “Stay Woke,” and “We Learned To Fly Without Wings” alongside the images of masked young people with black hair and brown skin. In Little Village, a largely Latinx immigrant neighborhood, residents get to see these hopeful messages paired with physical …

This is a photograph of three copies of the book “Brea,” against a light background. Two lie flat in the left side of the frame, front cover and spine visible, and the third is upright, with only the front cover showing. The front cover image is an ink illustration of a young boy in close-up, straight-on, showing his face, chest, and parts of his arms. He wears a long-sleeved shirt and his hands are flipped upside-down over his eyes to form goggles, of sorts, with each thumb and forefinger. Courtesy of the artist.

Beyond the Page: Carlos Matallana

Published by Marya Spont-Lemus

“Beyond the Page” digs into the process and practice of writers and artists who work at the intersection of literary arts and other fields. In March, I was honored to interview artist and educator Carlos Matallana about the development of his ongoing Manual of Violence project, the process of creating its fictional comic installment “Brea,” and how games, childhood, dreams, and more shape his work. Follow @tropipunk on Instagram and check out his presentation about “Brea” at the Hyde Park Art Center on Saturday, May 26, 2-4pm. This interview has been edited for length and clarity, and includes some spoilers about the book “Brea.” Marya Spont-Lemus: I guess I’d love to start by just hearing how long you’ve been making work in Chicago and what brought you here. Carlos Matallana: Well, I ended up in Chicago because I have old friends here in the city. But initially I moved from Bogotá to New York. I spent a couple of months, not even four months, in New York. I spent all my savings, and I tried …

Review: “Resilient Images” at the Hyde Park Art Center

Published by Maddie Kodat

Resilient Images confronts the viewer before one even walks through the gallery’s door. Look up slightly, and you will see Justine Pluvinage’s video installation Amazons facing out onto Cornell Avenue from the inside of the building, with its multiple panels of female subjects taking an epic, slow-motion stroll through both greenery and crumbling industrial architecture. If you’re walking with your head down through the bitter temperatures of a typical Chicago winter, you’re likely to miss this introduction entirely. For the artists, though, this might simply be indicative of the sort of resilience they are gesturing towards in their work. This exhibition is the result of a year-long artistic exchange between Hyde Park Art Center and the Centre Regionale de la Photographie Nord—Pas-de-Calais, featuring the artists Justine Pluvinage and David Schalliol. Both artists generated a site-specific work out of their respective residencies without further collaboration or dialogue with the other participant — Pluvinage travelled from France to Chicago to shoot her film, while Schalliol’s work was made in Hauts-de-France. Yet the pieces shown in Resilient Images …

Clown Soldier the Human Cannonball

Published by Nicolette Caldwell

Human Cannonball is whimsical, complex and endearingly hokey. Printmaker and street artist, “Clown Soldier” crosses traditional boundaries of formal and street community art, pushing forward the notion of what is “accepted” or coined “good art” and how those standards are set and practiced by artists, curators, art historians, enthusiasts, collectors, and all the other art players. During the interview, Clown Soldier mentions that a large inspiration for the work created comes from the ideology and execution of autonomous art practice–not from intentionally following standard styles or trends. Referencing two major art historical movements, Dada and Surrealism, it is an interesting way to draw inspiration from standard busting artists that have been “canonized” in our art tradition to create a fusion all his own. Working and living in New York, this is the first time this artist has shown a body of work in Chicago. Nicolette Caldwell: Where are you from? Clown Soldier: Originally? Or in my previous life? I really don’t know. NC: How did you get involved with making art for the street? Did …

The Chicago Street Art Show: Artists Goons & Don’t Fret

Published by Nicolette Caldwell

During the week of installation for The Chicago Street Art Show at The Chicago Urban Art Society I had the opportunity to speak with several participating artists including Don’t Fret and Goons. The closing reception for the show will take place this Friday, June 3rd.  If you are unable to make it to the reception, keep posted for future coverage including a video reflection consisting of interviews and footage from the show. Additionally featured this week is an interview with Joseph J. Depre, curator of The Chicago Street Art Show. Chicago Street Artist: Don’t Fret Nicolette Caldwell: What is your history with street art? Don’t Fret: I’ve been making art for as long as I can remember. I first got involved with graffiti in seventh grade. All the kids in my seventh grade class chose tag names from South Park characters and I was Pip. NC: That is really clever. So it started from when you were younger? DF: Yeah, I grew up in the city and I remember graffiti from a very young age. …

Hyde Park Public Art (5 of 5)

Published by Zachary Johnson

In a recent phone conversation, Olivia Gude of the Chicago Public Art Group (CPAG) expressed her opinion that when a site-specific piece of art needs repair, Americans take on an “either/or” mentality. The piece will either be restored or destroyed. In older areas of the world, a third alternative has been commonplace for centuries: adding something new to an older structure. Take the Basilica of St. Peter as an example. Begun by Michelangelo in the Renaissance, it was expanded and tweaked by other great architects as styles changed over time.  Recently, I have to admit I fell into the binary thinking that Gude has described. When reading the text next to The Spirit of Hyde Park mural at 57th Street and Lake Park Boulevard, I became confused.  “Restored and reinterpreted by CPAG,” it read. What did reinterpreted mean in the context of public art? Weren’t murals simply painted over or touched up over time? Taking in the wall, a mix of styles was evident. Bold, abstract patterns mingled with realistic depictions of students and protestors …

Hyde Park Public Art (2 of 5)

Published by Zachary Johnson

“Where are you coming from?” “Where are you going?” In 1991, Olivia Gude, an avid muralist, stood outside the 56th Street Metra station with a tape recorder asking these questions to people who passed by. As one might think, she came up with a wide variety of answers. “I’m coming from the comfortable middle class and I want to head to the upper class.” “I’m coming from Earth and going to heaven.” “I don’t know where I’m going. I’m lost.” With the responses, she created an oral history-based mural filled with other such quotations and wintry portraits of bundled up Chicagoans. She did so in partnership with the Chicago Public Art Group, with which she has now been working for twenty-five years. Gude recognized that art was “far from being this preserve that was separate from life, [but] intrinsically part of all of these issues about culture, about human possibility, about justice.” Her 56th street mural focuses on the former; namely, the culture of a neighborhood. Reading the quotations of the mural, I was fascinated …

On Chicago Street Art: Community

Published by Nicolette Caldwell

Part I: Chicago street artist Blutt talks about his work and experiences living as a street artist in Chicago. Blutt: The name I use for my artwork is Blutt. I live in Chicago and grew up around the Midwest and just kind of based on the stuff I grew up with like the music and skateboarding and graffiti and comic books. I do mostly nowadays stuff that is studio work paintings and drawings but I also have stickers and posters that I put up on the street. That stuff is mostly prints and reproductions that are pretty cheap and I can put them out there when I am out and about doing whatever. It seems to work pretty well when I can quickly throw stuff up and people see it and recognize it and tend to like it for the most part. Sometimes a few people tear it down but I like that too. When did you decide to start creating street art? Blutt: I kind of made a concerted effort to do that probably …