Jesse Howard’s first solo exhibition at South Side Community Art Center explores the Black American community as more than a singular philosophical concept of a culture, but rather a more diversified community of multifaceted voices through a body of charcoal based works. Howard’s socially concerned work is informed by his own lived experiences growing up on Chicago’s west side and the collective societal challenges faced by Black Americans today.
“From the Center”is a retrospective of works created by Faheem Majeed over the past twenty years
Just Above My Wall, (To The Right), curated by Ciera Alyse McKissick, brings together Black collectors and SSCAC's permanent collection. Just Above My Wall, (To The Right), showcases Black […]
Artists and Models: A Tribute to the South Side Community Art Center July 10-August 29, 2021 Students from across Columbia College Chicago brought the South Side Community Art Center’s (SSCAC) […]
Whitfield Lovell: The Spell Suite An Initiative of Toward Common Cause SSCAC is beyond thrilled to be participate in this 19 institution collaborative exhibit and excited to showcase new […]
The Southside Community Art Center is proud to host a group exhibition that exclusively highlights Black women artists, and there’s never been a more pertinent time to do so. […]
THE UNDERWORLD: George Crump articulates a collective, yet intimate expression of his mind’s eye through a body of work that makes social statements regarding life experiences, both subjective and observational. In his most recent body of work, Crump situates […]
WE ARE HERE: Honoring Women in the Center's Collection, features artworks made by several women artists in the Center’s collection. This exhibition provides us an opportunity to think about […]
OPENING RECEPTION: APRIL 15, 6-8PM EMERGENCE: Intersections at the Center spotlights The South Side Community Art Center’s historical role in supporting a full spectrum of Black artists through […]
A three-person exhibition featuring new and recent works from Chicago-based artists Ajmal ‘Mas Man’ Millar, Lola Ayisha Ogbara, and R. Treshawn Williamson exploring homeplace through sculpture, self-imaging, & materialism. […]
SSCAC IS PROUD TO FEATURE ARTIST TIANNA BRACEY FOR A SOLO PRESENTATION OF RECENT WORKS. Tianna Bracey is an emerging artist employing portraiture as a vessel for connection. Her […]
9 Artists/ 9 Months/ 9 Perspectives features work by the collective, Dandelion Black Women Artists. OPENING RECEPTION RSVP HERE Nine Black women artists engaged in collaborative efforts to […]
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.
