COVID UPDATE >
We invite you to visit us during our new public hours Wednesday – Saturday, 12 -4PM!

Shop
Donate

Dr. Yaoundé Olu

Dr. Yaoundé Olu (b.1945) is an artist, musician, educator, editorial cartoonist, illustrator, and indie comic publisher whose work has been exhibited at the Bridgeport Arts Center, the South Side Community Art Center, the Museum of Contemporary Art, the Smart Museum, the Evanston Art Center, and many other venues. After over 40 years, she still serves as the editorial cartoonist for the Chicago and Gary Crusader newspapers and in 2023 she was featured in the New York Times bestseller, It’s Life As I See It: Black Cartoonists in Chicago, 1940-1980, the catalogue that accompanied the MCA’s exhibition featuring her work. A member of Sapphire and Crystals, Dr. Olu opened her own alternative art space in South Shore called Osun (1968-1982), one of many creative spaces that inhabited 75th Street during that time. Though widely associated with Afrofuturism, Dr. Olu prefers the term “Retrofuturism,” noting that her work heavily emphasizes the past and the present, as well as the future. Uniquely using digital art as a medium, her work features a beautiful combination of technology and Afro-centric design elements to provide an alternate landscape where imagination reveals the vast possibilities that life holds, representing a light in an otherwise dark world.

 

Featured Artists

3831 S. Michigan Avenue

Phone: +1.773-373-1026

E-mail: info@sscartcenter.org

Quick Links

Subscribe to Our Newsletter

Get the latest news and updates from SSCAC.

Copyright © SSCAC South Side Art Center. All rights reserved | Website by That’s So Creative, LLC

MIXED MEDIA AND STILL LIFE

Works in EMERGENCE are diverse in their subject matter and media, but a few themes reappear throughout. Working in abstraction or in the traditionally peaceful genre of still life, artists like William Carter, Allen Stringfellow, and Jonathan Green express themes of interiority or sociability, history or modernity. Notably, Stringfellow and Ralph Arnold both experimented with media and materials and worked extensively in collage, which allowed them to combine abstract design, figurative imagery, and on occasion political ideas.

Viewers typically expect Black artists to focus on particular aspects of their social and political identities within their work. Where might those expectations come from? Still life, abstraction, and collage may express many different things about artists’ interior lives and their visual and social observation, whether connected to public manifestations of identity or not.

William Carter’s mid-century still life Untitled presents a group of vibrantly colored bottles that invite the viewer’s gaze, set against a similarly colorful background with floral elements like grapes and leaves. They give evidence of conviviality and might be interpreted as symbols of social gatherings, but they could also just be a collection of pleasing forms. We might put Carter’s still life in dialogue with that of Jonathan Green, who became close friends with Carter while living in Chicago. Green’s close-up view of an eloquently simple composition presents oranges, a pear, and a lemon in front of two vessels. Works like this piece call the viewer to examine the objects the artist chose to include, to consider how they interact with each other like bodies in space, and to reflect on their meaning within the traditional genre of still life painting.

Collage might suggest the piecing together of identity from different components that might not usually coexist, giving room for more expansive imaginations of meaning than a straightforward representational image might allow. It could also just be an inventive way of combining colors, shapes, and textures. Allen Stringfellow’s Untitled, a collage from 1962, brings familiar motifs from still life—fruit and flowers, desserts and glassware—together with imagery of artist’s models and performers. Layered with paint and tissue paper that frustrate the viewer’s attempt to get clarity on the subject matter, the bursts of form and colors hint at the splashy abstraction of Stringfellow’s untitled, textured painting made from house paint and particulate on cardboard. Here the artist tests commonly found materials to create new textures and plays with the creation of colors and finishes that diverge from “Western” academic painting methods.

In The Waiting, Arnold constructs a large collage from different paper components, lace, and paint. In the piece, elements of European and African art are placed in dialogue with one another, while some figures appear alone and isolated, others in large groups. Without giving easy answers, Arnold implies questions about social issues. Who is waiting, and for what? In his Love Sign II, which bears the words “Love is Universal,” Arnold asserts the equal validity of all types of romantic affection and love, utilizing collage to convey a more straightforward political message.