The New School: QTPOC Pathways

Join us for a panel discussion navigating the shift in the representation of Black gay/queer/trans/non-binary identities in Chicago from the 1980s to today.     In the 80s, the heat […]

All of Living is Risk | Opening Reception

  Join us for an opening reception to celebrate and kick off our fall/winter exhibitions alongside curators Rikki Byrd, and Gervais Marsh, with artist Cory Perry!          […]

Before I Let Go: Film Screening & Discussion

Join us for a special film screening hosted by filmmaker Cameron Granger, with guest filmmakers cai thomas and Bobby T. Luck.      We invite you to join us for […]

PACE Artist Catalyst: A Closing Celebration

Join us to celebrate PACE Artist Catalysts Cecil McDonald Jr. & Andrea Yarbrough.     Join us with artists Cecil McDonald Jr. & Andrea Yarbrough to celebrate their commissioned artworks […]

Telling Your Story: Grant Writing Workshop for Artists

Join us in a workshop with Lauren Woods for a partnership with ILA’s flagship program, G-to-G (Getting to Our Goals) Coaching Series.     ILA’s flagship program, G-to-G (Getting to […]

3831 Activation | Friendship Meditation: A Rehearsal

Join us for an evening of "rehearsal" with Anna Martine Whitehead and Damon Locks !   Presented with Chicago Architecture Biennale, during Chicago Exhibition Weekend.     Locks and Whitehead […]

Dr. Burroughs Legacy Day

Join us for a family friendly afternoon of celebrating and learning more about the legacy and art practice of Dr. Burroughs!   We're excited to share this day viewing specially […]

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.