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DTSTART;VALUE=DATE:20220415
DTEND;VALUE=DATE:20220703
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SUMMARY:EMERGENCE: Intersections at The Center
DESCRIPTION:OPENING RECEPTION:   \nAPRIL 15\, 6-8PM   \n  \nEMERGENCE: Intersections at the Center spotlights The South Side Community Art Center’s historical role in supporting a full spectrum of Black artists through an intersectional viewpoint. The first exhibition of its kind at the South Side Community Art Center\, EMERGENCE positions the Center as an important anchor for Black LGBTQ artists who belonged to its community from its founding in 1940 to the 1980s. The exhibition features work addressing identity and community\, queer spaces and performance\, in collage\, painting\, sculpture\, photography\, and more. \n  \n \n\nRalph Arnold (1928–2006). Love Sign II. Mixed media\, 1995.  \nCollection of the South Side Community Art Center. \n\n  \nEMERGENCE emphasizes the middle decades of the twentieth century\, from the 1940s to the 1980s. For much of this time period\, sexual orientation was heavily policed\, both literally by the Chicago Police Department\, and in a variety of other ways through the imposition of norms by society and its institutions\, such as church\, family\, medical institutions\, and school. For this reason\, many of the artists in the exhibition\, especially in the early decades represented here\, were careful to exercise discretion in their life and work. Most did not publicly identify themselves as gay\, lesbian\, trans\, or bisexual. At the same time\, particularly in Bronzeville\, Chicago’s South Side Black community held spaces that were open to participants of differing sexual orientations and identities. Political movements on behalf of Gay Liberation were active throughout this period\, gaining strength in the 1970s and 80s.   \nEMERGENCE features work by Ralph Arnold\, Richmond Barthé\, Sylvester Britton\, William S. Carter\, Mikki Ferrill\, Jonathan Green\, Juarez Hawkins\, Berry Horton\, Patric McCoy\, Charles Sebree\, Allen Stringfellow\, and Ellis Wilson.\n\n\nCurated by LaMar Gayles Jr. & zakkiyyah najeebah dumas o’neal\n  \n \nJuarez Hawkins (1962–). Self-Portrait. Oil pastel and acrylic onmuseum board\, 1992. Collection of the artist. \n  \n\nEMERGENCE promo image courtesy: \nMikki Ferrill (1937–). Untitled (Portrait of Terry Readus). Gelatin silver print\, 1973. Collection of the South Side Community Art Center. Design by Aay Preston-Myint.  \n  \nEMERGENCE is supported by a major grant from the Re-envisioning Permanent Collections program of the Terra Foundation for American Art and by a partnership with Northwestern University’s Department of Art History.\n             
URL:https://sscartcenter.org/event/emergence-intersections-at-the-center/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220121
DTEND;VALUE=DATE:20220327
DTSTAMP:20220329T194709Z
CREATED:20220129T205845Z
LAST-MODIFIED:20220329T194709Z
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SUMMARY:WE ARE HERE: Honoring Women in the Center's Collection
DESCRIPTION:WE ARE HERE: Honoring Women in the Center’s Collection\, features artworks made by several women artists in the Center’s collection.\n  \nThis exhibition provides us an opportunity to think about the materiality of Black women’s art\, while also expanding biographical and visual information on Black women artists. The curatorial project permits the center an opportunity to reflect on impactful key women artists who have shaped and inspired persons in our institution and beyond. The exhibit will not feature the works of every woman artist in the collection\, instead it will focus on developing the biographical representations of several artists who are often obscured in favor of others\, while also highlighting artists very well documented in the canon of Black Art like Dr. Margaret Burroughs and Barbara Jones Hogu. \nCurated by SSCAC Archives and Collections Manager LaMar R. Gayles Jr \n\n  \nEXHIBITING ARTISTS\nMargaret Taylor Burroughs \nEspi Eph (Frazier) \nMadeline Haydon \nYasmin Sabu \n  \n  \nBIOGRAPHIES \n\nEspi Eph Espi (Eph) Frazier\, is an artist who is initially from the Chicago Area but relocated to the Baltimore area in 1993\, included here are a selection of her works from the Center’s collection ranging from wood graphics to a mixed media composition. In the 1980s Frazier created the wooden pieces featured here by partaking in a process of staining wood with ink drawn graphics and detailing those graphics by relief carving into the surfaces. A great deal of her work explores abstraction but some of it also explores representation of women figures especially Black women. \n  \nDr. Margaret Taylor Burroughs is an internationally known artist and educator who is heavily connected to the historical foundations of both the South Side Community Art Center and DuSable Museum of African American History. Burroughs is well known for her work in printmaking and poetry\, but was known to work in a plethora of media. Included here are several examples of her painting work coupled with a reproduction of possible prototype sketches she completed while in Mexico which might have served as inspiration for the two paintings. \n Yasmin Sabur is initially from Chicago and now works and lives out of California\, her work consists of a range of themes from the environment\, to visualizing how Black persons interact with their surroundings. In her exhibited piece titled Private Beach- Keep Out we see Sabur reference discrimination that occurred on Chicago beaches in the 20th century when Blacks weren’t allowed on many of the beaches in the city. Sabur renders the clearly Black figures in a popular expressionless monochromatic motif that is seen echoed throughout Black art in the 20th century which often is referencing issues or stigmas in private and or social life. \nMadeline Haydon Born in Chicago and later relocating to Hawaii\, exhibited in many spaces throughout her career\, including the South Side Community Art Center. Haydon defined herself as a realist working with a heightened awareness for color. This proclivity for color is exemplified in the oil painting still life included here in the exhibition which consists mainly of warm toned objects overlaid on top of a green background moving from warm to cold hues. \n  \nCOVID PROTOCOL \nHow to visit The Center safely: \n– Vaccine verification required for entry \n– Beginning January 3\, in accordance with City of Chicago policy\, all visitors 5 and older will be required to show proof of full vaccination. \n– Please bring either your vaccine card\, a printed copy\, or a digital photo of your card. \n– Visitors 16 and older will need to provide identification that matches their vaccination record \n– Masks will continue to be required by all visitors 2 and older while in the museum. \nWe continue to require all visitors\, vaccinated or unvaccinated to wear masks that cover both your nose and mouth. \n  \n*image courtesy: Madeline Haydon (American artist\, b. 1909) Still Life\, 1967 Oil on canvas 20 1/8 x 16″. Collection of South Side Community Art Center
URL:https://sscartcenter.org/event/we-are-here-women-in-the-centers-collection/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220114
DTEND;VALUE=DATE:20220327
DTSTAMP:20220329T193758Z
CREATED:20220112T210829Z
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SUMMARY:THE UNDERWORLD: George Crump
DESCRIPTION: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.   \nIn his most recent body of work\, Crump situates his conceptions of “the underworld” by way of the psychological and social afterlives of oppression\, with a tone of the spiritual\, often positioning his figures between reality and surrealism. Crump applies the principles of discipline\, understanding\, and compassion to his work through his specific use of color\, rich narrative approach\, and form.   \n  \n“The source material of my work is the truth of my past and present life experiences”\, Crump says.   \n  \n \nGeorge Crump. I Don’t Know. Oil on canvas. 24″x 20″. \n  \nThemes of remembrance and the spirit of determination traverse the scope of Crump’s work as he’s concerned with aspects of universal notions of existentialism\, affliction\, redemption\, and triumph.  \nThe exhibition opens for public viewing on January 14th and runs through March 26th. Please RSVP for our opening day here.   \n  \nGeorge Crump is a Chicago-based native and visual artist.  He attended the School of the Art Institute of Chicago\, and most recently held a solo exhibition at Faie African Art Gallery.   \nGeorge developed his focus on the sensual nature of art\, aiming to evoke universality and honesty within his practice. So much so\, his strong emotional connection to his paintings are open to a variety of rich interpretations that span a wide range of emotions and forms.    \n  \nRSVP for our timed viewing  HERE.  \n  \n  \nCOVID PROTOCOL\n\nHow to visit The Center safely:\n– Vaccine verification required for entry \n– Beginning January 3\, in accordance with City of Chicago policy\, all visitors 5 and older will be required to show proof of full vaccination. \n– Please bring either your vaccine card\, a printed copy\, or a digital photo of your card. \n– Visitors 16 and older will need to provide identification that matches their vaccination record \n– Masks will continue to be required by all visitors 2 and older while in the museum. \nWe continue to require all visitors\, vaccinated or unvaccinated to wear masks that cover both your nose and mouth. \n 
URL:https://sscartcenter.org/event/the-underworld-george-crump/
CATEGORIES:Exhibitions
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DTSTART;VALUE=DATE:20211008
DTEND;VALUE=DATE:20211224
DTSTAMP:20220129T210415Z
CREATED:20211002T173700Z
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SUMMARY:The Balm: Art for Black Women's Wellness
DESCRIPTION:  \nThe 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. \nThe Balm: Art for Black Women’s Wellness emerged as a collective artists’ action. Eight women who engage the time-honored tradition of using their artistic practice to give vision and form to our healing have contributed work across a variety of media and points of view. Themes emerged organically\, with works that stand in both testimony and conversation. Together\, they frame inquiry into the experiences of psychological fragmentation\, the sustaining value of breathwork\, cultural healing practices of the African Diaspora and healthcare disparities affecting maternal fetal outcomes. Themes of kinship and the restorative powers of the familiar\, coalesce around memory of home\, especially the south\, which weaves its way through many of the works presented and finds its way to us here in Chicago. The alchemy of this project—bringing together artists and communities around a subject that concerns us all—demonstrates the power of Black women’s creative ingenuity.  \nOrganized by visual artist and culture worker Kyrin Hobson\, the exhibition will showcase artists based in and outside of Chicago\, which include Hobson\, Alexandria Valentine\, Venise Keys\, Jasmine Best\, Brie Ortega\, Janelle Dunlap\, and Ashley January.  \nThe exhibition opens for public viewing October 8th\, in addition to an opening reception October 22nd\, 6-8pm. RSVP here \nLearn more about the participating artists below:  \n  \nJasmine Best \nJasmine Best is a true Southern Artist\, gathering narratives from her Carolinian family and childhood. The North Carolina based artist uses her personal memories and manipulations of her memories to create dialogues about the black female identity in the south and in predominantly white spaces. She holds a Bachelor of Fine Arts from University of North Carolina at Greensboro. Recently was awarded the Artwork Archive Art Business Grant. She works with tangible and traditional mediums combined with digital means of art making. Her work often depicts maternal figures\, each depicting the diversity and qualities that make up the black southern women in her life through several generations. \nJasminebest.com \n  \nJanelle Dunlap \nJanelle is a Charlotte\, NC and Chicago based social practice artist\, curator and creative consultant who works to generate intentional and transformational change through her practice. She has a ten year background as a nonprofit professional where she worked in several roles that continue to inform and fuel her creative roles. \nJanelle’s broad body of work ranges from micro museum exhibitions to performance art installations and continues to generate institutional and community based funding. Some of her previous funders include Art  Science Council\, the Knight Foundation\, The Institute for Museum and Library Services\, Z Smith Reynolds Foundation\, and the Sweet Water Foundation in Chicago\, IL. She is currently a 2020 recipient of the New Artist Society Scholarship through the Low- Residency MFA program at School of the Art Institute of Chicago and also a current student in the inaugural class of Social and Environmental Arts MFA program at Prescott College.  \nBeekeeping is a meditation on collective effort for survival. Through the use of abstraction\, I use the medium of encaustic paint to articulate what is incommunicable between myself and the bees. This co-species relationship seeks wisdom beyond the anthropocene and gains knowledge through observation\, care\, and engagement with the honeybee. The west African goddess Oxum\, is known for her healing powers that transmute pain into honey for her devotees. As one of Oxum’s totems\, the bee is a sacred symbol of the healing power  \n \nhttps://www.janelledunlap.com/ \n  \nAlexandria Valentine \nAlexandria Valentine (b. on the South Side of Chicago\, in 1996) uses archival practices\, writing\, collage\, photography and textiles to explore themes of Black latent thought\, ancestral landscapes\, and the Black Romantic. Informed by the legacy of her loved ones who lived in and traveled from the South during the Great Migration\, Valentine seeks to explore the past\, create pathways to the future and peer at the spaces in between.  \nAlexandria received a Master of Fine Arts in Fiction from Columbia University School of the Arts and a Bachelor of Fine Arts in Creative Writing from the School of the Art Institute of Chicago. They are the co-founder of North Star Memory Project\, a transmedia archive that prioritizes Black Chicago and Great Migration histories through counter-archive building.  \nMy art investigates the liminal spaces of Black women’s wellness–what happens when we cease to be well and the process of trying to make our way back to wellness. Being Black and woman means that there are many people and structures actively trying to limit our wellness\, my work explores the effects of that and the way we act upon those forces in return.  \nhttps://www.alexandriavalentine.net/ \n  \nAshley January  \nAshley focuses on contemporary portraiture informed by her maternal experience. Due to pregnancy complications that led to her son being born premature\, her new body of work addresses the crisis of the Black maternal mortality rate in America. This year Ashley has exhibited work with Dominique Gallery on Artsy\, and with SoLA Contemporary in LA in 2020. Her work has been exhibited in numerous venues including\, the Museum of Science and Industry\, Chicago\, IL; Viridian Artists Inc\, New York\, NY; Laguna Art Museum\, Laguna Beach\, CA; Pacific Art Foundation\, Newport Beach\, CA; and the Irvine Fine Arts Center\, Irvine\, CA. She was selected as a first-place award winner at the Woman Made Gallery’s Midwest Open in Chicago\, in 2018 and won the Beverly Bank Best of Show Award at the Beverly Arts Center’s juried competition in 2017.  \nAshley earned her MFA in Painting from Laguna College of Art and Design\, Laguna Beach\, CA and her BS in Communication with an Advertising concentration and Minor in Studio Art from Bradley University\, Peoria\, IL. She lives in Chicago with her husband\, son\, dog\, and works from her studio at Mana Contemporary. \nI address the growing crisis of the Black maternal mortality and morbidity rate in America through painting and multimedia. Black women are three to four times more likely to die from pregnancy-related complications than white women. Motherhood\, for Black women\, is not detached from the state of being “Black” in the United States. For us\, the decision to enter motherhood involves considerable risk\, personal identity\, healthcare disparities\, burden-bearing and survival. My first pregnancy abruptly ended with a traumatic delivery. I was diagnosed with preeclampsia at 32 weeks and 4 days. Two days later\, I delivered by emergency c-section. My baby boy was born prematurely with a low birth weight of 2 pounds and 13 ounces. Mothers who have suffered similar complications that lead to more adverse birth outcomes are considered to be a “near miss” meaning that they suffered severe maternal morbidity (SMM) in which Black women are disproportionately affected.   \nWhile uplifting Black mothers and children\, the images and sound narratives serve as a call to action for more awareness\, research\, and eradication of unnecessary maternal and infant death in the United States of America. \nhttps://ashleyjan.com/ \n  \nKyrin Hobson \nKyrin Hobson is a visual artist and independent arts professional dedicated to creating understanding and opportunity among diverse cultures. Her distinctive approach to art making and her commitment to building connections for institutions\, audiences and artists define a multifaceted career. Studio work and research interests engage Hobson’s role as a cultural signifier and pragmatic change agent. Hobson’s artistic practice includes narrative figurative painting\, portraiture\, drawing and mixed-media installations. Multi-layered works fuse autobiography with myth and care giving traditions of New Orleans\, Haiti and the Black Diaspora. Finding Guinen is a current body of work that interrogates the racial imaginary with regard to the wholeness and histories of women of African ancestry in the Americas. \nHobson is a 2023 MFA candidate at University of Chicago\, in addition she holds a Master of Arts degree in Arts Administration and Museum Studies from New York University and a Bachelor of Arts in Studio Art from UCLA. \nThese works are part of a series considering Black women’s health and wholeness through the lens of history. I use the body as a symbol of collective experience and hope for reconciliation. Fecundity Trick Card\, We Spoke of Vessels and No. Money Man. engage imagery of the  body and specifically the uterus to explore how we have maintained our wholeness during times when our reproduction has been hijacked and tied to commerce. Bearing witness to our physical legacies of fecundity\, commodification and survival is important in the here and now as we cope with threats to reproductive rights\, disparities in women’s healthcare and maternal fetal outcomes\, and the scourge of human trafficking. \nhttps://www.kyrinhobson.com/bio.html \n  \nVenise Keys  \nVenise Keys is a visual artist\, writer\, and educator raised on the South Side of Chicago\, Illinois. Venise’s art has been exhibited at Front Room Gallery in Brooklyn\, NY as well as the Museum Science and Industry\, Plus Gallery\, Woman Made Gallery\, and Intersect Chicago (formally known as SOFA: Sculpture\, Objects\, and Functional Art & Design Fair) in Chicago. \nShe has a Bachelors and Master’s degree in Painting with a Certificate in Women’s\, Gender\, and Sexuality Studies for her research on Black Feminist politics. She served as adjunct faculty of art for Illinois Central College\, Bradley University\, and has lectured at Dillard University on the role of the Black artist. This work is published in the scholarly journal\, Kalfou: Comparative and Relational Ethnic Studies. \nThis year\, Venise’s writing on art education has circulated to Norway\, and she is recently published in a New York arts and culture magazine\, Hyperallergic. Venise is currently a visual art teacher at Art In Motion Creative Arts School and is the program director for the Kappa Chapter of Gamma Xi Phi. \nThe visual aesthetics and rituals of my studio practice explore personal intersections of race\, gender\, sexuality\, age\, and class. I use painting\, drawing\, craftwork\, paper cutting\, and found objects to explore art history\, popular culture\, and my childhood memories. Common themes in my artwork are queerness\, generational trauma\, the Black Arts Movement\, intersectionality\, Black feminist theory\, rootwork spirituality\, identity politics\, and empowerment. \ntheartofvenisekeys \n  \nBrie Ortega  \nBrie Ortega is a photographer\, digital artist\, non-profit do-gooder\, and social worker interested in how art can draw attention to health issues and potential solutions\, particularly in Black communities. Her work is informed by navigating complex personal and familial health landscapes involving mental illness\, traumatic birth\, migration\, metabolic dysfunction\, breathing trouble\, abuse\, and neglect. Much of her life has been an experiment in healing from these contexts and reclaiming the health and happiness she believes is our birthright. While Brie has oscillated between California and Atlanta throughout her life\, her mother is originally from Chicago\, where Brie was last present as a toddler in foster care. Participating in The Balm represents a positive and poetic return to a familial place of origin. \nBrie is currently living as nomadically as possible after spending 11 years in Los Angeles\, where she was inspired to develop an art practice and also rebel against dominant notions of what it means to be an artist and to create in the social media era. It is important for her to use art as a tool for activism and therapy while disrupting the false dichotomy between artist and “non-artist.” \nThese portraits were created in 2019 as part of a small community effort with friends Krissy Leahy and Monique Hall called The Black Breath Project. In collaboration with members of the Los Angeles Black yoga and wellness community\, we developed a zine called Breathing While Black in which participants submitted portraits or had their portraits made by me while engaged in mindful breathing practice. The focus on breath was inspired by its importance as a taken-for-granted yet integral part of life; the way breath can be interrupted by anxiety\, respiratory illnesses\, and pollution; the attention to breath given by yoga and meditation practices; and Eric Garner’s immortal last words. Accompanying the portraits are “breath testimonials.” \nThe time during which I created these portraits is very meaningful. I was on a partial sabbatical and really pouring resources into my own health. For the first time\, I was managing depression and anxiety through nutrition and without medication. After a string of unhealthy relationships\, I was being extra intentional about seeking people out who treated me with kindness and respect. And\, of course\, this was shortly before COVID put the act of breathing front and center on the world stage. In many ways\, these portraits are an ode to that time of discovery. \n@mrbrie \n*top image credit: Alexandria Valentine. A Cosmic Anger\, A Cosmic Rage. Mixed media collage. 2021
URL:https://sscartcenter.org/event/the-balm-art-for-black-womens-wellness/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210717
DTEND;VALUE=DATE:20210926
DTSTAMP:20220129T211919Z
CREATED:20210709T181426Z
LAST-MODIFIED:20220129T211919Z
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SUMMARY:Whitfield Lovell: The Spell Suite | An Initiative of Toward Common Cause
DESCRIPTION:Whitfield Lovell: The Spell Suite\nAn Initiative of Toward Common Cause\n  \nSSCAC is beyond thrilled to be participate in this 19 institution collaborative exhibit and excited to showcase new works by Whitfield Lovell!\n\nToward Common Cause: Art\, Social Change\, and the MacArthur Fellows Program at 40 explores the extent to which certain resources—air\, land\, water\, and even culture—can be held in common. Raising questions about inclusion\, exclusion\, ownership\, and rights of access\, the exhibition considers art’s vital role in society as a call to vigilance\, a way to bear witness\, and a potential act of resistance. Presented on the 40th anniversary of the MacArthur Fellows Program\, Toward Common Cause deploys the Fellows Program as “intellectual commons” and features new and recontextualized work by 29 visual artists who have been named Fellows since the award program’s founding in 1981. \nMining vintage photographs of unknown people for much of his subject matter\, Whitfield Lovell (MacArthur Fellow\, 2007) aims to\, in his words\, “illuminate the humanity and richness” of ordinary African Americans who lived between the Emancipation Proclamation and the civil rights movement. Shown here are portraits from Lovell’s Spell Suite\, a series name that references a sequence of pieces in music or dance and conjures the mesmerizing quality of enchantment. Lucidly rendered and powerfully expressive\, these Black figures contradict the stereotypes of African Americans that have been perpetuated by mass media\, such as The Beulah Show recording that plays from Lovell’s installation of radios\, After an Afternoon. Together\, these works probe the effacement of cultural memory with sensuous tones that activate the legacy of those whose personal histories have been lost. \nWhitfield Lovell: The Spell Suite is a collaboration between the Smart Museum of Art at the University of Chicago and South Side Community Art Center. It is an initiative of Toward Common Cause: Art\, Social Change\, and the MacArthur Fellows Program at 40\, which is organized by the Smart Museum of Art in collaboration with exhibition\, programmatic\, and research partners across Chicago. Toward Common Cause is supported by the John D. and Catherine T. MacArthur Foundation and curated by Abigail Winograd\, MacArthur Fellows Program 40th Anniversary Exhibition Curator\, Smart Museum of Art at the University of Chicago.\nWhitfield Lovell’s artwork is also on view at the Stony Island Arts Bank from July 15 to December 19\, 2021. For more information\, please visit towardcommoncause.org.\n\nImage courtesy:\nWhitfield Lovell (b. 1959). “Spell no. 12 (Richesse Noire)\,” 2021\, Conte on paper with attached found object. © Whitfield Lovell. Courtesy of the artist and DC Moore Gallery\, New York
URL:https://sscartcenter.org/event/whitfield-lovell-the-spell-suite-an-initiative-of-toward-common-cause/
CATEGORIES:Events,Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210710
DTEND;VALUE=DATE:20210830
DTSTAMP:20220129T212123Z
CREATED:20210709T192938Z
LAST-MODIFIED:20220129T212123Z
UID:6371-1625875200-1630281599@sscartcenter.org
SUMMARY:Artists and Models: A Tribute to the South Side Community Art Center.
DESCRIPTION:Artists and Models: A Tribute to the South Side Community Art Center \nJuly 10-August 29\, 2021\n\nStudents from across Columbia College Chicago brought the South Side Community Art Center’s (SSCAC) administrative archives to life through a recent exhibition titled\, “Artists and Models: A Tribute to the South Side Community Art Center.” The exhibit was previously on display at C33 Gallery (33 Ida B. Wells Dr. first floor).\n\nThis student led exhibition celebrates the South Side Community Art Center’s pioneering role in promoting Black art and creativity in Chicago. This exhibition features documents from the Center’s archival records to trace aspects of the Center’s history from its first four decades. \nArtists and Models was curated by Charlotte Briskin\, Anastasia Murphy\, Justin Ridgel\, James Ross\, Matthew Walcott\, and Teanna White in Dr. Melanie Chambliss’s Fall 2020 course Black Artistry and the Archive. The exhibition was designed by Elsa Mae Brydalski\, Hannah Davila\, Bri Elliott\, Raegan Townsend\, and Joseph Trezek in Sarah Faust’s Spring 2021 Graphic Design course. \n\nSSCAC is proud to showcase this archive\, and we share our thanks to students who brought this to life! We hope you enjoy.
URL:https://sscartcenter.org/event/artists-and-models-a-tribute-to-the-south-side-community-art-center/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210501
DTEND;VALUE=DATE:20210701
DTSTAMP:20220129T212545Z
CREATED:20210428T204750Z
LAST-MODIFIED:20220129T212545Z
UID:6214-1619827200-1625097599@sscartcenter.org
SUMMARY:Just Above My Wall\, (To The Right)
DESCRIPTION:Just Above My Wall\, (To The Right)\, curated by Ciera Alyse McKissick\, brings together Black collectors and SSCAC’s permanent collection.\n  \nJust Above My Wall\, (To The Right)\, showcases Black contemporary artworks from 13 emerging and established Black art collectors from Chicago. During a time when Black artists and their work is in high demand\, McKissick chose to highlight Black collectors who are invested in the preservation of Black art\, much like the South Side Community Art Center’s mission and legacy. \nThis show encompasses parallelled histories between Black artists within the South Side Community Art Center’s collection\, Black artists of today\, and what Black art collectors are acquiring. \nDuring a time when Black artists and their work is in high demand\, McKissick chose to highlight Black collectors who are invested in the preservation of Black art\, much like the South Side Community Art Center’s mission and legacy. Collector\, Tracie Hall\, describes her collection as “living with the ancestors.”  \n“I think that it’s important for us to demystify art because for me\, the art that I live with charges my space. I think that our homes are almost like our safe harbor\, and for me art is very spiritually charged\,” Hall says. “I think that for Black people it’s important for us to really charge the space that we’re in\, because a lot of times our spaces are so contested\, our spaces are sometimes grabbed from us\, or we’re displaced — the simple act of collecting art\, or placing art in a place that you can see it\, and letting it envelop you\, is almost like resistance. I think that seeing art puts you in dialogue with something beyond yourself\,” she said.  \n  \n \nWork by Sylvester Britton from the South Side Community Art Center Permanent Collection. \nSelected works from the SSCAC collection include Bill Walker\, Ralph Arnold\, Sylvester Britton\, Yaounde Olu\, Hale Woodruff\, and Dorothy Higgenson-Carter among other works from the 20th century. Selected work from collectors include both emerging and established artists from the 21st century like\, Krista Franklin\, Hebru Brantley\, Brandon Breaux\, Alexandra Antoine\, Erin Mitchell\, and Lawrence Agyei to name a few.  \nFor the curator\, McKissick\, who is also one of the emerging collectors featured\, it was important to center the exhibition around collecting\, and use the Center’s collection as a catalyst.  \n“Oftentimes when you think of an art collector or you see an art collector\, the first thing you’re seeing is a rich white man or couple with money\, and if you’re seeing a black collector\, it’s someone famous like Jay-Z and Beyonce\, Diddy\, or Swizz Beats. While I am glad that celebrities are bringing the notion of owning art to the forefront\, I think it also creates a misconception that you need to be of a certain caliber to collect artwork\, or that it’s an unobtainable thing\,” McKissick says. “I ideated the show around the Center’s collection because the space itself was created in that same vein. A group of college art students created this space because they didn’t see spaces that looked like them or represented them. Their collection is a representation of the hard work of those artists\, and a sign that they were creating and existing\, and so is the work of the artists these collectors are representing today.  \n  \nCollectors Include: Patricia Andrews-Keenan\, Janelle Miller\, Stephanie Graham\, John Ellis\, Martha Wade\, Tracie Hall\, Drew Enstrumental\, Raub Welch\, Amanda Williams\, Ayanah Moor\, Alicia Goodwin\, Rob McKay\, and Ciera McKissick \nArtists Featured From Their Collection: Solomon Adufah\, Robert Pruitt/Thomas Lucas\, Alexandria Valentine\, SHENEQUA\, John  H. Blanton\, Lawrence Agyei\, Krista Franklin\, Adler Guerrier\, Max Sansing\, David Anthony Geary\, Alexandra Antoine\, Hebru Brantley\, Zephyr\, Brandon Breaux\, Paul S. Benjamin\, Leasho Johnson\, Erin Mitchell \n  \n*Image courtesy: Lawrence Agyei from the collection of John Ellis.
URL:https://sscartcenter.org/event/just-above-my-wall-to-the-right/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210116T120000
DTEND;TZID=UTC:20210327T150000
DTSTAMP:20220129T213754Z
CREATED:20210115T124704Z
LAST-MODIFIED:20220129T213754Z
UID:5363-1610798400-1616857200@sscartcenter.org
SUMMARY:Faheem Majeed - From the Center
DESCRIPTION:“From the Center”is a retrospective of works created by Faheem Majeed over the past twenty years. As a former executive director and curator(2005-2011) of the South Side Community Art Center(SSCAC)\, Majeed’s works are especially attuned to the history and legacy of the 80 year old arts institution. The SSCAC has been themuse fora number ofhis series of worksand has been the impetus for hiscontinual exploration and critique of culturally specific institutions. Please join the South Side Community Art Center as it welcomes home one of its native sons. \n 
URL:https://sscartcenter.org/event/faheem-majeed-from-the-center/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://sscartcenter.org/wp-content/uploads/2021/01/Faheem-Majeed-Poster-FTC-2021-1000px.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20201020T000000
DTEND;TZID=America/Chicago:20201231T235900
DTSTAMP:20210119T022311Z
CREATED:20210104T062130Z
LAST-MODIFIED:20210119T022311Z
UID:4970-1603152000-1609459140@sscartcenter.org
SUMMARY:Jesse Howard – The Spirit of Community
DESCRIPTION:October 2020-December 2020\nJesse 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.\nUtilizing charcoal\, watercolor\, and collage\, Howard’s figures are typically warped\, transcending time and space in their presentation\, yet very attuned to the social realities and hardships experienced by Black Americans in urban environments. With close attention\, Howard’s striking portrait drawings also reveal moments of glory\, honor\, and elevation.
URL:https://sscartcenter.org/event/jesse-howard-the-spirit-of-community/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://sscartcenter.org/wp-content/uploads/2020/12/Jesse-Howard.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200807
DTEND;VALUE=DATE:20200926
DTSTAMP:20210119T064040Z
CREATED:20210119T054850Z
LAST-MODIFIED:20210119T064040Z
UID:5545-1596758400-1601078399@sscartcenter.org
SUMMARY:Existing Between Line & Space
DESCRIPTION:
URL:https://sscartcenter.org/event/existing-between-line-space/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200301
DTEND;VALUE=DATE:20200401
DTSTAMP:20210119T064122Z
CREATED:20210119T054922Z
LAST-MODIFIED:20210119T064122Z
UID:5547-1583020800-1585699199@sscartcenter.org
SUMMARY:Cosmic Yoga: Smai-Tawi
DESCRIPTION:
URL:https://sscartcenter.org/event/cosmic-yoga-smai-tawi/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://sscartcenter.org/wp-content/uploads/2021/01/Cosmic-Yoga-Smai-Tawi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20200131T080000
DTEND;TZID=UTC:20200220T170000
DTSTAMP:20210504T031743Z
CREATED:20210104T071419Z
LAST-MODIFIED:20210504T031743Z
UID:5002-1580457600-1582218000@sscartcenter.org
SUMMARY:Resonance
DESCRIPTION:This group show featured art that evokes emotions of reflections and creativity. The show featured the work of Marcus Alleyne\, Keith Conner\, Ladipo Famodu\, Reynaldo Ferdinand\, Felicia Preston Grant\, Alvin Hawkins\, Zhana Johnson\, Raymond Mays\, Miguel\, Yaounde Olu\, Mary Qian\, Patricia Stewart\, Patrick Thompson\, and Krystal Grover Webb.
URL:https://sscartcenter.org/event/resonance/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://sscartcenter.org/wp-content/uploads/2020/12/Resonance-Flyer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191201
DTEND;VALUE=DATE:20200201
DTSTAMP:20210122T043302Z
CREATED:20210119T055159Z
LAST-MODIFIED:20210122T043302Z
UID:5553-1575158400-1580515199@sscartcenter.org
SUMMARY:Divine Presence!
DESCRIPTION:
URL:https://sscartcenter.org/event/divine-presence/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://sscartcenter.org/wp-content/uploads/2021/01/Divine-Presence.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20191201
DTEND;VALUE=DATE:20200301
DTSTAMP:20210119T125820Z
CREATED:20210119T055130Z
LAST-MODIFIED:20210119T125820Z
UID:5551-1575158400-1583020799@sscartcenter.org
SUMMARY:Conjuring Black Histories in Jewelry
DESCRIPTION:
URL:https://sscartcenter.org/event/conjuring-black-histories-in-jewelry/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://sscartcenter.org/wp-content/uploads/2021/01/Conjuring-Black-Histories-in-Jewelry.jpg
END:VEVENT
END:VCALENDAR