Faheem Majeed – From the Center

“From the Center”is a retrospective of works created by Faheem Majeed over the past twenty years

MLK Talk featuring Artist Stephanie Graham

Join a discussion with Stephanie Graham about her most recent special edition print for SSCAC in collaboration with Chicago Printers Guild, her own artistic visions of Black futures and freedom, and the ideas that ground her work.

Darryl Chappell Foundation, Artist Talk Series #4: John Simmons, Earlie Hudnall, Jr., and April Frazier

Image by Earlie Hudnall Jr., The Guardian, 1991, silver gelatin print, Collection of The Grace Museum, Museum Purchase with Funds from Alice and Bill Wright REGISTER HERE! Emmy-award winning cinematographer and photographer, John Simmons, ASC, and prolific photographer Earlie Hudnall, Jr., sit down with moderator and photographer April Frazier to share with a global audience […]

A Conversation with Artist Kyrin Hobson

If you missed our talk, please watch the video below.       Executive Director of SSCAC, Monique Brinkman-Hill in conversation with artist Kyrin Hobson to discuss her special edition print created in collaboration with our Chicago Printer's Guild Fundraiser, her multifaceted art practice, and how women and symbolism play a role in her work. […]

Artists At The Center: A Roundtable

Join the Hyde Park Art Center and South Side Community Art Center for a joint program in conjunction with both of our respective Faheem Majeed exhibitions: A roundtable discussion current living artists from different generations who have shown both at the Hyde Park Art Center and South Side Community Art Center during the 20th and […]

Just Above My Wall, (To The Right)

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 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, […]

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.