All posts tagged: video

Mourning Racial Categories: Let Our Loss Be Heard

Featured image: A film still from Let Our Loss Be Heard. Lavette Patterson plays Margaret Garner and Hannah Duvall plays Mary Garner. Margaret Garner sits in a blue dress while looking towards the audience with her hand on her daughter, Mary. Mary wears a white dress and lays down on the stage. The background is completely dark. Courtesy of Mourning the Creation of Racial Categories Project. Content Warning: racialized violence and sensitive language. Mourning Racial Categories is a four-part series discussing four films that have been created as part of the Mourning the Creation of Racial Categories Project. This project engages the visual and performing arts to tell the stories of how people in the United States were divided into a handful of unequally valued racial categories, such as Asian, Black, and White. MCRC offers a language for the trauma suffered by our country, communities, and relationships caused by the formation of these categories. The Mourning the Creation of Racial Categories Project (MCRC) was started by Joan Ferrante, professor of sociology at Northern Kentucky University. …

Jeffrey Michael Austin in their home studio performing A Place You Can Go. They are playing a keyboard and seated in front of three windows which are illuminating the room with natural light. The space around Jeffrey is filled with different types of houseplants.

A Place You Can Go, an at-home performance by Jeffrey Michael Austin

Featured image: Jeffrey Michael Austin in their home studio performing A Place You Can Go. They are playing a keyboard and seated in front of three windows, which are illuminating the room with natural light. The space around Jeffrey is filled with different types of houseplants. Jeffrey Michael Austin is an artist, musician, and maker living in Pilsen, Chicago. As a musician, they compose, perform, and produce for Growing Concerns Poetry Collective (in collaboration with McKenzie Chinn and Mykele Deville), Daisy Days (in collaboration with EJ Hill), and under the solo moniker Young Elder. Their at-home performance, A Place You Can Go, was performed and recorded during the summer of 2021. Alongside this featured performance, we asked Jeffrey a few questions about its creation. Jeffrey Michael AustinCancer Sun / Cancer Moon / Leo AscendantResidence: Pilsen, Chicago Sixty Inches From Center: Is there a story, path, or journey that you were thinking about while creating your at-home performance, A Place You Can Go? Jeffrey Michael Austin: Much of the process of producing this video felt like …

Review: November at Beeler Gallery, Columbus College of Art & Design

This is a disclaimer for the review since I am driving some of my methodologies in my writing from the White Pube’s Gabrielle de la Puente and Zarina Muhammad’s practice of expanding what it means to be an art critic and the ways we interact with art. If you have not read any critiques by the white pube – I highly suggest to (because the reviews are great) and also the way I will be writing breaks away from the traditional model of the “art critic”. This way of writing centers the emotionality of art, the problematic issues inherent in the art world, and the theoretical hopes and violences that are used against and for the nature of art. * * * Emojis:  /5 To write this review, I have to get something off my chest. I’ve had this feeling for a while now as it relates to art, institutions, and community. This feeling isn’t singular either – I think lots of people feel this way. It’s the same feeling that brings you here, dear …

My First Chicago Film: Bri Clearly

Chicago has long been a place for indie creators to get together and make something beautiful. The filmmaking community in the city is one filled with ideas galore and the determination to make it happen. Throughout the years, we’ve seen many writers, directors, and producers start and grow their careers here, always recognizing Chicago in the process, even if they move to the coasts to pursue entertainment.  Chicago Made Shorts, a new platform hosted on Instagram TV, provides a hub for said filmmakers, simply looking for a place for their work to get seen. Imani Davis, Founder and Creative Director of Chicago Made Shorts, is deeply curious about how people make their way through the film scene in Chicago and get that first short film made. What was the impact of that first project made here? Who was involved? Why Chicago? In this series, Imani dives deep into these questions as well as the stories and beginnings of five different Chicago-based filmmakers. Through these interviews, she’ll make her way through topics such as making your way …

Two poster designs by screen printer Jay Ryan. The poster on the left contains two bears on bicycles holding tacos. The poster on the right says "I will hug you in the future."

Chicago Archives Dive: Chicago Music Posters with Jay Ryan

Chicago is home to a long tradition of printmaking. In this video, Jay Ryan, the artist behind Chicagoland’s print studio The Bird Machine, talks about his experiences learning his craft at Screwball Press, another print studio in Chicago celebrated for its innovative production of rock music posters since the early 1990s. This video was produced by artist Ryan Edmund Thiel of Sixty Inches from Center, in collaboration with Chicago Collections Consortium and Art Design Chicago Now.

Image: Video still from Hương Ngô's, In the Shadow of the Future, 2014-19. Still shows someone dressed up in a cosmonaut outfit standing in the foreground next to a large white geometric structure. In the background is a building with plants dangling out the windows, with architecture in a similar triangular style as the white structure as well as Hương's central installation. It is a sunny day out in the photo. Image courtesy of the artist.

In the Shadow of the Future: Interview with Hương Ngô

The colorful folded paper triangle takeaways prepared by Hương Ngô’s for her current exhibition “In the Shadow of the Future” open up to describe a narrative about Vietnamese fighter pilot Phạm Tuân heading to space under a Soviet program in 1979, the same year that thousands of people fled persecution in Vietnam to resettle in a suburb of Paris. Hương brings these two migration stories together under the same roof, connecting their journeys after 40 years of separation. In the center of the room at 4th Ward Project Space, is a bright architectural installation made of collided triangular forms. Some have windows, and others are closed off in their own corners and have gardens of greenery. Two video screens protrude from the top of the piece, tilted up to the sky, and another is ingrained into the building itself, posited inches from the ground. On the wall of the gallery is a newspaper article cast in concrete from the New York Times regarding Phạm’s mission with the text slightly deteriorated. The environment construed by Hương …

Little Village Through A Looking Glass: An Interview with Media Instructor Mario Contreras

As part of Chicago’s Envisioning Justice project to address community concerns around criminal justice through arts education, Open Center for the Arts in Little Village worked with teaching artists to bring specialized courses focused on immigration, incarceration, and political organizing to their students. Filmmaker and media instructor Jesús Mario Contreras was one such educator, teaching a series of filmmaking classes to youth and young adults from the neighborhood. He shared with me about his particular teaching philosophies of art as cultural communication, youth allyship, and the importance of self-reflection. Anjali Misra: How did you become involved with Open Center? Mario Contreras: Pepe Vargas from The Chicago Latino Film Festival recommended a friend of mine for  the job of instructor. Arlen Parsa, director of The Way to Andina, thought I’d enjoy the opportunity. AM: Can you describe your work with Open Center? What was day-to-day teaching like, and what were some highlights (best personal moments with students, staff, community members, etc.)? MC: I was one of many instructors that Open Center students worked with over the …

If You Want to Watch, You Can Watch: A Conversation with Multimedia Artist Heather Raquel Phillips

In Heather Raquel Phillips’ videos we are so very close. But we rarely get the full picture. Instead, we sense our way. We feel what we are meant to know, despite, or because of, the ambiguity. It is familiar, yet private. We cannot, would not, transpose ourselves onto or into another’s moment. But we watch, transfixed, sometimes trapped up close, sometimes lingering, our desires holding us rapt. Eyes closed, a grimace, then a small smile, as someone takes an electric clipper to another’s head and shaves it clean. Eyes closed, relaxed, stroking hair to the lull of R&B. The gentle touch of a manicured hand against the neck, the other confidently guiding the razor along the scalp. They bend forward as the razor tickles the nape, moving with the grain of their body in response to another’s structured guidance. Tongues ecstatically licking lips, devouring in anticipatory delight. Bodies gleeful with expectation, awaiting their punishment. Phillips, a mixed race artist living and working in Philadelphia, explores the intersections of race, class, gender & sexuality through the …

Featured image: Maggie Robinson and Allison Sokolowski performing in “I Am” at the Chicago Danztheatre Auditorium, as part of the Body Passages culminating event. Maggie balances with one foot, knee, and hand on the floor, as Allison stands on Maggie’s lower back. The performers hold each other’s left hands and look at each other. Both are barefoot and wear white t-shirts and jeans. Behind them is a well-lit stage, with a string of colorful paper suspended across it. Still from a video by John Borowski.

Body Passages: Culminating Collaborations

This is the fourth and final article in a series about Body Passages, a partnership between Chicago Danztheatre Ensemble and The Chicago Poetry Center (the first, second, and third pieces can be found here). These articles provide brief looks into a 10-month, interdisciplinary creative process between Body Passages poets and dancers, documenting and reflecting on aspects of that process as it happens. Launched in 2017, Body Passages is an artist residency and performance series curated and produced by Sara Maslanka (Artistic Director of Chicago Danztheatre Ensemble) and Natasha Mijares (Reading Series Curator of The Chicago Poetry Center; Natasha also writes for Sixty). Trigger warning: The performance “Blood Memory,” discussed below, contains references to sexual assault, including in childhood. During a culminating event featuring groups’ final performances, the Body Passages artists offered the audience sugar cereal, sparkling cider, and glowsticks; invited us to dance with them and record ourselves reading their poetic curations; and asked us to travel back in time with them to New Year’s Eve 1998. Especially appropriate given Body Passages’ collaborative focus and …

Installation View: Up is Down at the Block Museum

This fall, Art Design Chicago is illuminating the legacy of art and design that’s embedded in Chicago’s history and culture through a full calendar of exhibitions, events, and other programs across the city. As editorial partners in this effort, we’re working with them to to elevate the stories of Chicago’s lesser-known artists, designers, and creators, past and present, through comics, essays, interviews, podcasts, and videos. For the videos we’ve teamed up with On The Real Film to present short profiles that highlight the exhibitions, projects, and people who are showcasing these legacies in various ways. The third video in this series, “Installation View: Up is Down” takes a behind-the-scenes look at the installation process for The Block Museum’s exhibition Up is Down: Mid-century Experiments in Advertising and Film at the Goldsholl Studio. Co-curators Amy Beste and Corinne Granof discuss the legacy and impact of the Goldsholl Studio on design and advertising, and provide insight into the curating process for a multimedia show that includes a wide variety of mediums and formats. The Block Museum’s Dan Silverstein elaborates …

Chicago Archives + Artists Project: Artist Profile on Ivan LOZANO

The Chicago Archives + Artists Project (CA+AP) is an initiative that highlights Chicago archives and special collections that give space to voices on the margins of history. Led by Chicago-based writers and artists, the project explores archives across the city via online features, a series of public programs and new commissioned artwork by Chicago artists. For 2018, the Gaylord and Dorothy Donnelley Foundation has funded a series of pilot projects pairing three artists with three archives around the city: Media Burn + Ivan LOZANO, the Leather Archives & Museum + Aay Preston-Myint, and the Newberry Library’s Chicago Protest Collection + H. Melt. This series of articles will profile these featured archives and artists over the course of their collaboration, exploring the vital role of the archive in preserving and interpreting the stories of our city as well as the ways in which they can be a resource for creatives in the community.  In this segment, I sit down with Ivan LOZANO in his studio to discuss his experience working with Media Burn Archive, the work he has been creating influenced by …

Glorimar Sanchez on Puerto Rico, Film, and Disseminating Information

Glorimar Marrero Sánchez is a self-taught, multi-disciplinary artist-director-photographer-screenwriter based in Puerto Rico. She was selected as one of the two artists in the three-month Puerto Rican Disaster Relief Residency at the University of Chicago. The residency was launched to support academics, researchers, and artists who have been severely affected or displaced by Hurricanes Irma and Maria. The program, which is a collaboration between The Center for the Study of Race, Politics, and Culture, Office of Admissions, Campus and Student Life, UChicago Arts, UChicagoGRAD, The Graham School, and the Office of the Provost, provides housing, transportation, stipends, and resources.  The following interview has been edited for clarity and length.  S. Nicole Lane: Can you begin with your background in film and photography, and where you’re from? Glorimar Marrero Sánchez: I’m from the town of Barranquitas. It is in the mountains of Puerto Rico. I am a result of the public educational system of Puerto Rico. Then I went to University of Puerto Rico. I did a BA in art, concentration in sociology, in the Mayagüez campus. After that, I got a …

Archivist Dan Erdma plugs a wire into equipment at Media Burn. He is surrounded by various equipment used for digitizing and playing different video formats. Photo by William Camargo.

Chicago Archives + Artists Project: Media Burn

The Chicago Archives + Artists Project (CA+AP) is an initiative that highlights Chicago archives and special collections that give space to voices on the margins of history. Led by Chicago-based writers and artists, the project explores archives across the city via online features, a series of public programs and new commissioned artwork by Chicago artists. For 2018, the Gaylord and Dorothy Donnelley Foundation has funded a series of pilot projects pairing three artists with three archives around the city: Media Burn + Ivan Lozano, the Leather Archives & Museum + Aay Preston-Myint, and the Newberry Library’s Chicago Protest Collection + H. Melt. This series of articles will profile these featured archives and artists over the course of their collaboration, exploring the vital role of the archive in preserving and interpreting the stories of our city as well as the ways in which they can be a resource for creatives in the community. The CA+AP Festival will take place at Read/Write Library on July 13-14. This interview has been edited for length. Click here to read the full, unabridged interview. Media Burn Archive, …

Home to Self: An Interview with Preetika Rajgariah

When talking to artist Preetika Rajgariah about how she arrived at her most recent body of work, I was struck by how a lexicon of movement naturally developed. She spoke about the strategies her family used to recreate the feel, warmth, and comfort of a home that was thousands of miles and oceans away after they settled in the city of Houston. She talked about how travel and relocation punctuated significant shifts in her work. She told me how one of her most commercially successful bodies of work addresses concepts of migration and accumulation but also whispers to how, aesthetically, macro perspectives mimic the micro and cellular. But while motion might be one of the most immediately legible themes that one can draw out of her work, it is stillness that has actually allowed her practice to move forward in substantial and  illuminating ways. Having discernment around what advice, suggestions, constructive criticisms are valid and useful and which ones counter her progression has allowed her work to bloom in ways that disrupt her original understandings of …

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 …

Intimate Justice: Jeanne Donegan

“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 Jeanne Donegan in her warm apartment over wine and chocolate about pleasure as a spectrum, the mouth as a vagina, and the importance of desire.  This interview has been edited for length and clarity. S. Nicole Lane: I stumbled upon your work and it was the video piece—I think it’s called “Sink,”—when I first moved to Chicago, so a few years ago, I guess. Jeanne Donegan: Oh, cool. SNL: And then somebody emailed me—a colleague from Sixty [Greg]—and they were like, “Hey, you should look at this artist for your column?” And I freaked out when I saw that “Sink” video because I was like, “Oh my god!” I loved this person’s work and so I’m glad it’s made it full circle.  JD: Yeah. That’s so cool. It’s always so cool to hear when people are talking about me behind my …

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

“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 …

Intimate Justice: GLAMHAG

“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 GLAMHAG (née Molly Hewitt) in the Pilsen neighborhood about compulsions, empowerment through a chosen identity, and queer sexual narratives.  S. Nicole Lane: What does performance mean to you? Are you always in character? Who are you right now? GLAMHAG: I guess I’ve always been compelled to perform in my work, whether that’s live performance or in my video work. I think it’s really a compulsion. I do feel that with the kind work I’m making, communicating with my body when it’s so much about my body—other bodies—and sexuality, using my body makes the most sense. I do definitely have a compulsion to perform. And then I also do things that come along with a lot of other performers too, I definitely have exhibitionist tendencies. I like attention. SNL: Where are you from originally? GH: I’m from England originally, I was born in London. …

Body Talk: “Beyond Measure: Daniel Cerrejón and Carolyn Lazard” at Tiger Strikes Asteroid

In the video Crip Time (2017) by Philadelphia-based artist Carolyn Lazard, we watch two hands dole out units of medicine, one by one, into the expectant slots of a weekly dosage organizer. The methodical preparation plays out as a choreography of repetition and accumulation, a rhythmic tapping of pill on plastic. The pills themselves—studies in color and form as well as chemistry—become small ritual objects for marking time in a sick body. Abstracted from the suffering that necessitates them, these are pharmaceutical gemstones made from science we can’t access for purposes we aren’t told. The video marks the beginning of Beyond Measure, curated by Charlotte Ickes and Jared Quinton at Tiger Strikes Asteroid. The show pairs Lazard, whose personal experience with Crohn’s disease has shaped how they make visible the procedures and power dynamics structuring a life with chronic illness, with Daniel Cerrejón, who takes on the ways we try to demystify the condition of having a body among other bodies. At a time when dominant cultural narratives rely on the supposed immateriality of information …

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 …

Adrienne Ciskey: Invisible Illnesses and the Power of Play

If you suffer with a chronic illness, specifically one that others cannot see, the anxiety of  whether or not others take your pain seriously, on top of the endless physical battle with your own body, is very real. There is a hierarchy of illness in our culture based on assumptions of “seriousness” that is rarely acknowledged or discussed. A social judgment of validity is made about an illness, and if you are a woman suffering from an illness that is not only invisible but also widely unknown then the legitimacy of your pain dissipates quicker than the “no” you hear from the doctor when you ask if there is any known cure for your pain. Living with hypoglycemia and hyperthyroidism, I am no stranger to the slight eye rolls when I vocalize my symptoms and  I often find myself suppressing my needs, emotional and otherwise,  for the sake of avoiding skeptical responses from others. The question I ask myself time and time again is: How can others recognize something like an invisible illness? This question …

Erica Mei Gamble outside Harold Washington Library

Communal Sound Space

Erica Mei Gamble is a musician, storyteller, and children’s librarian at the Chicago Public Library. These roles converge in her ongoing project Communal Sound Space, an ever-expanding collection of video footage of DIY music and performance in Chicago. Since the launch of its online presence in August 2017, the archive makes public hundreds of videos documenting nearly a decade of performances in DIY spaces and small galleries around the city. The project amounts to a deeply personal history of Chicago music. Erica has filmed each performance herself, setting up shop at a good angle. Watching her record has become part of the fabric of going to a certain type of show: intimate, experimental, and for the most part, ephemeral. Thanks to Erica, that last bit is changing. Anyone curious about what goes on after hours in the darkened spaces of Chicago can now experience—or pause, rewind, and relive—a slice of it from anywhere in the world. I caught up with Erica about her project—creating safe spaces for expression, the impulse to document, maintaining an archive …

Geoffrey Todd Smith and Josh Mannis at Western Exhibitions

Western Exhibitions opened two corresponding exhibits this month– Looker, a collection of Geoffrey Todd Smith’s intricate geometric paintings, and Fashion, a hypnotic video installation by Josh Mannis. Smith painstakingly works acrylic, gouache, and ink into colorful optical candy reminiscent of spirograph drawings and beadwork. Whimsical titles like Indecent Docent and The Flirtation Station provide the abstract works with an extra layer of intrigue. Some of the works sport neutral color schemes like cream and camel flirting with repetitions of black. The more color-saturated pieces are seldom consistently bright, but instead feature unexpected accents of subdued shades. The most captivating are the compositions with meticulous gel pen linework over  elliptical patterns, like the red-and-purple-schemed Gentlemen Crawler (Detail shown above. Image courtesy of Western Exhibitions).   Josh Mannis’s Fashion inhabits the second exhibit space deeper within the gallery. The domineering work features a dancer in a tracksuit and an altered Bob Gates mask cutting loose with no holds barred to catchy, scratchy house music. His plethora of party-appropriate dance skills is multiplied and layered in bouts of …

People Don’t Like to Read Art || [and they’re missing out]

Honestly, people don’t like to read in general. Art, specifically? From Jenny Holzer’s aphorisms projected throughout New York City to Kay Rosen’s recent Go Do Good installations in Chicago’s Loop, text-based art tends to grab viewers’ attention due to its relatively brazen nature. Contemporary art that is purely image-based is often met with objections of “I don’t get it,” or “Well, maybe the artist statement will explain this.” For those in search of a quick answer, text can provide that instant gratification. The written word, however, doesn’t always make things simpler, as Western Exhibitions’ latest show illustrates. With pieces that extend beyond the short phrases pervasive in contemporary art—guests are invited to peruse full-length novels, among other items—People Don’t Like to Read Art stretches the function of the gallery space and explores ways in which one can establish a more intimate connection with art. After attending the exhibition’s opening reception on July 9, I spoke with gallery director Scott Speh about the show and asked the artists for further insight into their works. People Don’t Like to …