All posts tagged: Sixty Regional

Image: Damian Duffy sits at a table in a brewery and works at a laptop computer. In front of his computer are paperback copies of Octavia Butler’s “Parable of the Talents”, an advanced reader copy of his graphic novel adaptation of Butler’s “Parable of the Sower”, and an open notebook with sketches. An empty beer glass is set to the side. Photo by Jessica Hammie.

Writing Comics We Want to Read: An Interview with Damian Duffy

If you’ve been paying any attention to pop culture lately, you’ve noticed that we’ve become enamored of comics and graphic novels. Like most media, the authors and subjects have been predominantly white, and it’s hard to remember that there are other stories being told. As comics become more mainstream, there’s an opportunity to expand the genre to feature different voices through authorship, artistry, and subjecthood. The inherent collaborative nature of comics—artist working with author, most simply—makes it ripe for bringing like-minded individuals together to manifest a story not yet pictured. This summer, I had a beer with comics author and artist Damian Duffy. Duffy is an Eisner-award winner (that’s the prestigious award handed out by Comic Con International in San Diego), and a New York Times bestselling author. With artist John Jennings, Duffy is the co-author of “Black Comix” and “Black Comix Returns” and the adapter and author of “Kindred: A Graphic Novel Adaptation,” the first visualization of celebrated author Octavia Butler’s work. He’s also the adapter and author of the forthcoming graphic novel adaptations …

You Are Here: Mark Joshua Epstein

Allison Lacher and Jeff Robinson work collaboratively as artist-curators and organizers in Springfield, Illinois. For over seven years, they have developed contemporary arts programming at the University of Illinois Springfield Visual Arts Gallery, DEMO Project, and the Terrain Biennial at Enos Park. Lacher and Robinson reached out to seven creative and cultural purveyors whom they have worked with over their tenure in the capital city to reflect on their experience there — that is to say, “here.” The resulting texts together form “You are Here,” a new venture from the collaborative duo in partnership with Sixty Regional and made possible with support from Illinois Humanities. As is typical of their curatorial approach, Lacher and Robinson have extended freedom and latitude to each contributor, resulting in texts that take a variety of forms and offer wide-ranging glimpses into what it is like to work here in the flyover region of the United States, in the perceived rural Midwest, in Central Illinois, and, at the heart, here in Springfield. by Mark Joshua Epstein I usually live on …

You Are Here: Stephanie Graham

Allison Lacher and Jeff Robinson work collaboratively as artist-curators and organizers in Springfield, Illinois. For over seven years, they have developed contemporary arts programming at the University of Illinois Springfield Visual Arts Gallery, DEMO Project, and the Terrain Biennial at Enos Park. Lacher and Robinson reached out to seven creative and cultural purveyors whom they have worked with over their tenure in the capital city to reflect on their experience there — that is to say, “here.” The resulting texts together form “You are Here,” a new venture from the collaborative duo in partnership with Sixty Regional and made possible with support from Illinois Humanities. As is typical of their curatorial approach, Lacher and Robinson have extended freedom and latitude to each contributor, resulting in texts that take a variety of forms and offer wide-ranging glimpses into what it is like to work here in the flyover region of the United States, in the perceived rural Midwest, in Central Illinois, and, at the heart, here in Springfield. by Stephanie Graham Hello. My name is Stephanie …

You Are Here: Cass Davis

Allison Lacher and Jeff Robinson work collaboratively as artist-curators and organizers in Springfield, Illinois. For over seven years, they have developed contemporary arts programming at the University of Illinois Springfield Visual Arts Gallery, DEMO Project, and the Terrain Biennial at Enos Park. Lacher and Robinson reached out to seven creative and cultural purveyors whom they have worked with over their tenure in the capital city to reflect on their experience there — that is to say, “here.” The resulting texts together form “You are Here,” a new venture from the collaborative duo in partnership with Sixty Regional and made possible with support from Illinois Humanities. As is typical of their curatorial approach, Lacher and Robinson have extended freedom and latitude to each contributor, resulting in texts that take a variety of forms and offer wide-ranging glimpses into what it is like to work here in the flyover region of the United States, in the perceived rural Midwest, in Central Illinois, and, at the heart, here in Springfield. An Argument for Excavation by Cass Davis In …

Image: Installation view of Dustsceawung, 2016, curated by Adam Farcus. Artwork by Harold Mendez, Stephen Hendee, and Erin Washington. Photograph by Brytton Bjorngaard.

You Are Here: Adam Farcus

Allison Lacher and Jeff Robinson work collaboratively as artist-curators and organizers in Springfield, Illinois. For over seven years, they have developed contemporary arts programming at the University of Illinois Springfield Visual Arts Gallery, DEMO Project, and the Terrain Biennial at Enos Park. Lacher and Robinson reached out to seven creative and cultural purveyors whom they have worked with over their tenure in the capital city to reflect on their experience there — that is to say, “here.” The resulting texts together form “You are Here,” a new venture from the collaborative duo in partnership with Sixty Regional and made possible with support from Illinois Humanities. As is typical of their curatorial approach, Lacher and Robinson have extended freedom and latitude to each contributor, resulting in texts that take a variety of forms and offer wide-ranging glimpses into what it is like to work here in the flyover region of the United States, in the perceived rural Midwest, in Central Illinois, and, at the heart, here in Springfield. Auxetic Art Communityby Adam Farcus A cat’s skin, …

Image: Astrid Kaemmerling shown walking Enos Park being led by participant of the Enos Park Walking Laboratory (2017), Location: 5th Street and Union Street, Enos Park, IL. Photo by Danielle Wyckoff.

You Are Here: Astrid Kaemmerling

Allison Lacher and Jeff Robinson work collaboratively as artist-curators and organizers in Springfield, Illinois. For over seven years, they have developed contemporary arts programming at the University of Illinois Springfield Visual Arts Gallery, DEMO Project, and the Terrain Biennial at Enos Park. Lacher and Robinson reached out to seven creative and cultural purveyors whom they have worked with over their tenure in the capital city to reflect on their experience there — that is to say, “here.” The resulting texts together form “You are Here,” a new venture from the collaborative duo in partnership with Sixty Regional and made possible with support from Illinois Humanities. As is typical of their curatorial approach, Lacher and Robinson have extended freedom and latitude to each contributor, resulting in texts that take a variety of forms and offer wide-ranging glimpses into what it is like to work here in the flyover region of the United States, in the perceived rural Midwest, in Central Illinois, and, at the heart, here in Springfield. Walking Enos Park: Community and Urban (Re)development through …

Abundant & Diverse: An Overview of Visual Arts at Riverwest FemFest

Since 2015, Milwaukee’s Riverwest FemFest has become a popular and important festival within the city’s creative community, one that supports artists and musicians across multiple venues through concerts, performances, exhibitions, and workshops. As a platform for femme, gender non-conforming, non-binary, trans, POC, and womyn creators, FemFest acts as a fundraiser for various non-profits and donates all proceeds from the week-long event to local organizations that support womyn, LGBTQIA+ individuals, families, and marginalized groups in the city. The festival ran from May 26 – June 2 and this year, all proceeds were donated to Milwaukee Women’s Center, an organization that provides services to people who have been affected by domestic violence, addiction, mental health issues, homelessness, and poverty, and Diverse & Resilient, a non-profit organization that supports LGBTQ+ individuals through programs that encourage sexual health, build leadership skills and confidence, and provide anti-violence initiatives and support for substance abuse. Since its inception, FemFest has grown in size, concept, and location and now extends into neighborhoods beyond just the Riverwest community in Milwaukee, where it first got its …

#abovetheclouds: Studio Visit with Molly Markow

This is an excerpt from Sight Specific’s studio visit with artist Molly Markow. Presented through Sixty Regional. In her recent works, Markow skillfully balances scenes of sublime natural (or “natural”) beauty within the constraints of manufacture. These scenes–a white-sand beach with yawning palms, a fluorescent sunset bleeding across the horizon, a deep-green bed strewn with pillows of searing calendulas–provoke deeply-rooted physiological responses of the human subject in nature. But feelings of serenity, of tropical escape, or of wholistic unity (dasein, or being-in-the-world) are subverted by the infinite trappings of contemporary life: in Paradise (2018) the beach, printed on a Walmart shower curtain layered with a soft pink latex paint, is seen vaguely as rectangles where paint has not been applied, like disjointed pieces of an exploded puzzle. In Sun-baked (2019) the sunset, painted onto the plaster cast of the inside of a baking pan, is miniaturized to the size of a laptop that’s been rotated into portrait mode (Given the vitriol of online comments when an uploaded video is shot vertically instead of horizontally, imagine the response …

“Natural Wonder” at the Contemporary Art Center in Peoria

This review is part of our Sixty Regional project which partners with artists, writers, and artist-run spaces to highlight art happening throughout the Midwest and Illinois. Written by Jessica Bingham, artist, curator, and co-founder of Project 1612, this review examines “Natural Wonder”, a two-person exhibition by Bethany Carlson Coffin and Stephanie Sailer at the Contemporary Art Center in Peoria, Illinois. Distance, whether out of necessity or inability to be close, is the common thread within the works in the exhibition Natural Wonder currently at the Contemporary Art Center in Peoria, IL. As the elevator doors opened to reveal the exhibition, I felt instantly calm, yet curious. Curious about the strange forms living on the pristine white pedestals and lost within the intricate paintings and drawings that graced the walls of the gallery. The pieces spark a sense of wonder and yearning for answers about experiences we cannot possibly understand or completely fathom; they compliment each other—they are quiet, contemplative, and coexisting. The exhibition pairs together the delicate drawings and monochromatic paintings of Bethany Carlson Coffin and the supple mixed media sculptures of …

Sonic Space: Interview with Michael Junokas

This is an excerpt from Sight Specific’s interview with sound artist Michael Junokas. Presented through Sixty Regional. In partnership with pt.fwd, a new series of contemporary music and sonic arts performances featuring new work by local and regional artists in Bloomington-Normal, Illinois, Sight Specific will be publishing conversations between the featured artists and pt.fwd director Eddie Breitweiser. Michael Junokas will be performing on Saturday, February 9, 2019 at 8pm at the McLean County Arts Center. All pt.fwd performances are free and open to the public. Follow pt.fwd on Facebook and Instagram for more information, including upcoming performance dates. Eddie: For the pt.fwd performance in February, we wanted to have a conversation with you so that we could get more familiar with your work. Today we wanted to talk about three different areas: history, region, and fun. So first, historically speaking, can you place the work you’re going to be performing for us? We ask that because part of the charge that we put on our pt.fwd performers is for them to bring something new that they haven’t …

Risk/Play/Reap at Jan Brandt Gallery

This is an excerpt from Sight Specific’s review of  “Risk Play Reap”,  a collaborative exhibition by Allison Carr, Danell Dvorak, Monica Estabrook, and Amy Wolfe, which was installed at Jan Brandt Gallery in Bloomington, IL. Presented through Sixty Regional. Art making is usually thought of as a solitary activity, but what happens when that usually solitaire activity is opened up to the direct input of others? This show, consisting of the collaborations of four artists offers some experiential insight into that question. A statement accompanying the show in part explains the collaboration process: “Each artist began a piece, then passed it to another for further development. Additions, alterations, and reconfigurations continued, until the group agreed a piece was completed, whether through lengthy, multiple cycles, or two to three passes.” First of all, I noticed that when viewing the entirety of the show, the exchange of approaches within each piece had resulted in a variety of finished works that, at the same time, had a consistency of formal solutions. Layering, transparency, textural surfaces, juxtaposing of imagery, and often a sculptural …

Fever Dream: Allison Lacher at Monaco

I’m wearing my winter coat the day I visit Allison Lacher’s exhibition Full Sun (the sun being nowhere in sight), but just a week ago, the high reached 90 degrees in St. Louis. Without the undeterred peddling of all things pumpkin by every coffee shop in town, one could be forgiven for forgetting that it is, in fact, October. The brick facade of the gallery has been painted a dark gray, giving nothing away except that this corner of the city has been carved out for The Contemporary. But from within the neutral frame of Monaco, a warm glow is emanating. From the street, the interior space is inviting, with a peachy orange coat of paint and floors speckled with iridescent floral cutouts (over the course of a month, Lacher’s work has indeed served as an escape from both the cold and the heat). However, once inside, the comfort of room temperature begins to give way to a sense of hollow domesticity. Hung throughout the space are window panes, stretched over with bars of ribbon, …

Begin, Been, + From Within: A look inside Claire Ashley’s Sculptures

This article is part of the Sixty Regional project which partners with artists,  writers, and artist-run spaces to highlight art happening throughout the Midwest and Illinois. Written by Allison Walsh, an artist from Peoria, IL and in affiliation with Project 1612, this article is a first-hand account of what it is like to be in one of Claire Ashley’s inflatable performances. Sitting on the floor, cross-legged with a battery pack strapped across my chest, I looked up at the painted canvas floating around me. My mysterious surroundings brought me strange feelings—the safety of being inside of a womb, the playfulness of hide and seek, and the potential that I was discovering a new planet. I sat and waited inside the sculpture, seeing nothing of the outside world, but the occasional nebulous figure across the inflatable form. I slowly heard more and more people gather in the space. I could sense them look at me, but they couldn’t see past the opaque skin of the inflatable organism. None of the spectators knew I was sitting there, cross-legged in silence. …

A Sense of Place: Photographs by Ted Diamond at Ramp Arts

UNIFORM In his native environment, Homo economicus quietly assimilates with his surroundings. Luggage in tow, he haunts airports, office complexes, hotels, and other vestiges of global urbanity, donning the white-collar camouflage of ubiquity, anonymity, and one-dimensional conformity. In A Sense of Place, Ted Diamond conjures a caricature of Homo economicus and photographs him in scenes depicting travel and its human affects. Marking his personal transition into an artist with a teaching career, these photographs depict scenes from his ambivalent adoption of the capitalist in-group’s signs. In Diamond’s words, “These images have become a document of my life in that rolling laptop bag business culture and how it infused into my life no matter where I was.” But these images are no mere representations of jet-setting businessmen doing business; rather, Diamond extracts Homo economicus out of his natural environment and releases him into the real, human world. He scrambles the codes of global capitalism – rolling laptop bags, frumpy suits, exhausted gazes, and collective alienation – and deposits them into the irrational space that Homo economicus …

Inside Gertrude Abercrombie’s Mind – and Work

The dark gray-blue walls of the new exhibition at the Illinois State Museum of Chicago artist Gertrude Abercrombie’s work beckon the viewer to enter into the surreal rooms of her mind. With several standalone installations with painted furniture and a single pedestal with a column, doily, and cup Abercrombie actually used to paint the still life behind it, we are led even further into the depths of her mind. This exhibition not only gives us a look at work by Abercrombie in a variety of media from a variety of decades, but it also gives us a look at the woman behind the work. With pictures of her with friends like Sonny Rollins and Dizzy Gillespie, pictures of her in her own home with her cat and surrounded by her work. Gertrude Abercrombie liked to think of herself as the “Queen of Chicago”, and among her circle, she surely was; hosting weekend jam sessions, evenings of revelry, and all night parties as well as being a creative spirit making work that won awards at the …

Unplanned: Timothy Winkelman at Jan Brandt Gallery

I. GROUND CONTROL Timothy Winkelman’s digital video, Unplanned, immediately vexes the viewer with a question:  what, exactly, is unplanned about Unplanned? Due in no small part to its infinitesimal scope – the video doesn’t quite reach a full minute in length, and lingers on visual and musical subjects that could easily be overlooked – one could be forgiven for focusing less on immersing themself in the work’s content and more on the confluence of formal planning that underpins a video production. But upon repeated viewings, Winkelman’s camera lets something else appear: a subtle commentary on the desire to shape a space into a dwelling where one may Be in the World. The video never detaches its gaze from an urban scene: a modern building – perhaps an apartment complex – alongside a city street. We quickly see that this is a very built environment, quite the opposite of an “unplanned” setting. The city, particularly in its American grid form, constitutes perhaps the height of planning. Urbanity is the coordination of intent and execution, subjugation of nature and …

Boundary Layer at McLean County Arts Center

Just outside the threshold of the Armstrong Gallery, where most of the work in Boundary Layer is contained, two of Nancy Fewke’s photographs are set apart. To the left hangs an image of a jagged formation, its peak barely cresting above a darkened, hazy atmosphere. The lily pads that float in the lower corner are the only cue to scale—reducing an otherwise mountainous form into a submerged, rotting tree trunk. Such a trick of the eye is more mountain range than can be found in much of the Midwest horizon, which is why, for many years, Laura Primozic (whose sculptures serve as counterpoint to Fewkes’s images) set her sights well beyond the Illinois prairies she calls home, modelling her work instead on the changing glacial landscape. Only recently have her more immediate surroundings come back into focus. Fewkes’s vision has followed a similar trajectory. She says of their collaboration, “We were both very interested in ecological integrity…bringing awareness to some of the larger global issues that we might speak to on a microcosmic level—on a …

You Can’t Draw Permanent Lines on the Ground in a Floodplain

Iron the common element of earth in rocks and freightersSault Sainte Marie—big boats coal-black and iron-ore-red topped with what white castlework  The waters working together internationally Gulls playing both sides –Lorine Niedecker From the poem “Lake Superior,” 1967 For the last twelve years, my professional and personal life has been split between the Midwest/Great Lakes metropolis of Chicago and Champaign-Urbana in the center of the state. The train I take between these two homes—on a rail line celebrated in folk-singer Steve Goodman’s “City of New Orleans”—passes through terrain covered by large, uniform fields of corn and soybeans. Cylindrical grain storage bins periodically rise out of the flat horizon like rockets that got stuck in a perpetual countdown, never to blast off. There are many readymade images that someone like me projects onto these scenes. One of the strongest being the pastoral image of productive family farmers, feeding America with sweat and basic technology; a Grant Wood painting, in 3D living color. After a couple of years of inhabiting and moving through this territory, the surface of …

In Conversation with Terttu Uibopuu

“This is what making work should be like. You should be nervous and you should be a little bit scared. And you should feel kind of apprehensive and you should feel like you’re doing something kind of wrong. That’s the state I want to be in when I make my work. I don’t want to be comfortable. I don’t want to know what the hell I’m doing. I want to feel like I’m trying something new and scary and weird. Something not so polite and not comfortable for anybody.” – Terttu Uibopuu Estonian-American photographer Terttu Uibopuu moved to the United States in 2002. Born in 1984, in Soviet-occupied Estonia, Uibopuu lived much of her formative years during the fall of the Soviet Union. After receiving a photography award from the cigarette company Phillip Morris in 2001, she booked a one-way ticket to the United States. At the age of 17, Uibopuu found herself in a small city in northern Illinois where she began documenting her experiences and forging herself a career in photography. In this …

Hold Me: Erin Hayden at UIS Visual Arts Gallery

This review is part of our Sixty Regional initiative which partners with artists,  writers, and artist-run spaces to highlight art happening throughout the Midwest and  Illinois. Written by Juliet Johnson, a Champaign-Urbana-based artist, writer and curator, this review is cross-published with the growing Central Illinois platform Sight Specific.  A memorial card shows Abraham Lincoln and George Washington in embrace. Erin Hayden’s paintings in Hold Me are based on this card, made for Lincoln’s funeral. He gazes in adoration at Washington, who places a laurel on Lincoln’s head. The caption reads, “Apotheosis,” meaning “the elevation of someone to divine status, deification.” In all of Hayden’s paintings, this image is warped and built upon. In the gallery, one large painting is flanked by sixteen smaller works behind which the large marigold words, “Hold” and “Me” square off. Like previous work by Hayden, Hold Me contains kitsch, pixelated, and found imagery widely sourced and all on equal footing. We see emojis, iron-on patches, thick paint blobs, and other images more reminiscent of the dregs of a Google Image search. These culture …

The Contours of Absence: Marisa Boyd at Transpace Gallery

This review is part of our Sixty Regional project which partners with artists,  writers, and artist-run spaces to highlight art happening throughout the Midwest and  Illinois.  Beyond the obvious irony of walking into a room titled A Place That Doesn’t Exist, what’s inside possesses a relentless sincerity. Marisa Boyd’s highly abstract work has a presence that is quiet but insistent. Three framed drawings on paper, hung opposite the entryway, orient the exhibition at Transpace Gallery by capturing Boyd’s process in its most direct form. The scribblings and contours are done with a quick and intentional hand, as though drawn from observation. Appropriately titled Closed Eyes #1 and Closed Eyes #2, the drawings are created blindly, with Boyd referencing only the landscapes she sees behind her eyelids. The central drawing is overlaid with sheets of paper, which have been cut through with amorphous shapes. These cloud-like forms float throughout the space, cut from paper, gatorboard, plywood, canvas, carpet, and fabric. Yet to Say Something Important finds two of these forms mounted adjacent and elevated slightly from the wall, …