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All photos:
CISA crew interview with Traz Juarez, Hector “ROOSTERONE” Marin and Omar “OMS” Marin, pictured with Martin Creed, Work No. 1351, 2012. MCA Chicago.
Photo: Armando Rene Silva

If you read our previous post about Keith Haring, back in 1989 Haring visited Chicago for the first time to collaborate on a massive mural project with CPS students, a project that was funded by the MCA. While he was in Chicago, he also took some time to hang out with Indiana graffiti artists that now make up the group known as CISA.

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What was only supposed to be a quick “hello” before three teens from Indiana attended the Chicago Art Expo turned into an unforgettable experience with Haring. This experience left them with priceless memories and an amazing Keith Haring private collection that no one has seen until now.

I sat down on a rainy Saturday afternoon at the MCA with members of CISA (only three of the five met Haring) to talk about and record their memories of meeting Haring as he worked on this mural project in Grant Park.

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Made-Up with Danny Volk

Posted June 25, 2015

Artist Danny Volk has a taste for the theatrical. He has lip-synched to himself singing Miley Cyrus while eating peanut butter, curated an exhibition of objects from past relationships, and organized performance events around the theme of loneliness. In his ongoing series, Made-Up with Danny Volk, he meets with other artists in their studios and discusses art and life while allowing them to do his makeup. We’ve compiled some of our favorites here; don’t miss a live discussion between Volk and Chicago Works artist Faheem Majeed this Saturday at 3 pm.

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Chad Kouri
Jazz Movement Study
Courtesy of the artist

Saxophone or graphic design?

That was a question artist Chad Kouri had to ask himself when deciding what type of career to pursue. Although, in the end, he chose art and design, music—and jazz in particular—has continued to be a very important aspect in his life. It’s something that informs his work and process as a working artist, which Kouri often describes as improvisational or intuitive, with a lot of trial and error; a lot of experimentation that may or may not work.

But jazz doesn’t just provide Kouri a method of working, it’s also inspiration for his series of works titled Jazz Movement Studies. This body of work began when Kouri first began exploring Chicago’s expansive community of lively free jazz, whose members can be seen at Tuesdays on the Terrace or in performances for The Freedom Principle. Coming from a more traditional jazz training, Kouri has explained: “this sub-genre confused me to say the least. In order to become more comfortable and intimate with these live performances, I started creating small intuitive and gestural drawings during a set, reacting to the physical movement of the performers as well as the sounds, riffs, pops, scratches, and anything else that came out of their instruments (or lack thereof).”

In his drawings you can see swirls and asterisks, zig-zags and figure-eights; marks that create a kind of vocabulary, often repeating within a piece or appearing in multiple works. It’s up to the viewer to assign meaning to these marks, decipher them, or simply enjoy a visual concert unfold. These marks usually become the only record of an experience that is likely unrecorded and improvised; an attempt to capture a fleeting experience—a challenge that Kouri enjoys rising to. There is, of course, artistic precedence for translating music, and especially jazz, into artwork. Kouri cites the bright colors, hard geometry, and abstraction of Stuart Davis (whose work you can see at the Art Institute of Chicago) as an influence on him artistically, and gravitated to it even before knowing there was a musical connection within the art. Josef Albers’s graphic, black-and-white album covers are another favorite of Kouri’s that combine music and visual art.

As an artist, Kouri strives to make his practice accessible to a public and hopes that his drawings will perhaps make free jazz music a little more accessible to everyone. As Kouri hopes for the viewer, “I’d like to think that people who wouldn’t be that excited about jazz music, [maybe what] I do could be an entry point into it.”

Catch Chad Kouri drawing at a Tuesdays on the Terrace or an MCA Stage performance over the course of The Freedom Principle, as he undertakes a special set of drawings for his Jazz Movement Studies related to the exhibition. And check out MCA DNA as we will be publishing his artwork on this blog regularly throughout the run of The Freedom Principle.

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Throwback Thursdays: AACM Posters

Posted June 18, 2015

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Kalaparusha And The Light, 1966. Courtesy Of Muhal Richard Abrams Photo: Nathan Keay, © MCA Chicago

A part of the upcoming exhibition The Freedom Principle, the posters from concerts and bands associated with the AACM bear the marks of use—from nail holes, folding, rain, and the handmade—pointing toward the impromptu nature of the shows, their practicality, as well as an interest in the visual arts.

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Photo: Peter McCullough © MCA Chicago

Dear All Chicago Artists,

You are all warmly invited to stand in a group portrait, rain or shine, on the steps of the MCA at 11:30 am on Saturday, June 20!

I want to ask impossible questions by attempting a photo like this: What does the Chicago art community look like? What kinds of communities make up this group? Who identifies as a Chicago artist? What can a group portrait tell us about artists in 2015? What might we learn from this image 10 years from now? How about 50?

With these in mind, I am thrilled to invite any and all of you to stand for a group portrait, rain or shine, on the steps of the MCA at 11:30 am on Saturday, June 20!

And for those artists who can’t come?

“All those absent giants of jazz, and others too numerous mention, are nonetheless felt somehow to be present—represented by musicians who played with them, and who inspired and were inspired by them. Like with any family reunion, its absent members are with us in spirit.”
—Ian Patterson, on those missing from the epic 1958 group portrait A Great Day in Harlem

I am inviting artists, if they choose, to bring a photo-of-a-face or head-cutout of someone who can’t make it to the photo shoot if they like. They would be asked to hold it right next to their head so as not to obstruct others:

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There is a charming precedent for this seen on the lower left:

Dada Group, circa 1922. From left to right, back row: Paul Chadourne, Tristan Tzara, Philippe Soupault, Serge Charchoune. Front row: Man Ray, Paul Éluard, Jacques Rigaut, Mme Soupault, Georges Ribemont-Dessaignes. Photo by Man Ray

Dada Group, c. 1922. 5 2/5 x 10 1/5 in. (13.7 x 26 cm). Centre Georges Pompidou, Paris (acquired in 1987). From left to right, back row: Paul Chadourne, Tristan Tzara, Philippe Soupault, Serge Charchoune. Front row: Man Ray, Paul Éluard, Jacques Rigaut, Mme Soupault, Georges Ribemont-Dessaignes. Photo: Man Ray

To honor this collective moment, I will submit the high-res image into the public domain for anyone to print, alter, and distribute as they see fit (as this seems to happen anyways in our image culture) . . . the image will live in the public where I think it belongs and we can watch it move around, mutate, and engage a greater audience (and multiple histories). Everyone is welcome to download, print, and hang the image as they see fit, publish it in a book, or make it part of their own creative project.

And last, a passage by Karl Oove Knausgaard I’ve been recently inspired by that I think resonates with the upcoming portrait:

The most powerful human forces are found in the meeting of the face and the gaze. Only there do we exist for one another. In the gaze of the other, we become, and in our own gaze others become. It is there, too, that we can be destroyed. Being unseen is devastating, and so is not seeing.

Best,
Jason

RSVP via the Facebook event or find more information about the event here, arrival and check-in is 11:30 am–12:30 pm with the photo shoot starting promptly at 12:30pm.

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Views from Our #Instameet

Posted June 11, 2015

Heidi Parkes (June winner)

Heidi Parkes.

Last month, we were honored when around 40 of Chicago’s committed Instagrammers joined us for an evening of photography at the museum. We were thrilled and inspired to see the museum through their eyes as they framed shots in creative ways, applying their art as skilled photographers to the art on view in the museum. Even the building through their lenses looked different. We’ve highlighted some of our favorite examples here, or you can see them all by checking #igMCA on Instagram.

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Following his curatorial research trips to Vienna, Antwerp, and Copenhagen, Dieter Roelstraete takes us on the second leg of his curatorial journey researching and preparing for Kerry James Marshall, with stops in Barcelona, Madrid, and London.

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A banner outside the Fundacio Antoni Tapies in Barcelona announces the Kerry James Marshall show within—this is the closing chapter of the European tour of Kerry James Marshall: Painting and Other Stuff. Named after a leading Catalan painter-sculptor, the foundation is one of Spain’s most important contemporary art spaces. And its outgoing director, Laurence Rassel, is in many ways the person who got the ball rolling behind this particular exhibition project—Kerry James Marshall: Painting and Other Stuff really started out with a hand-written letter to the artist posted by Rassel back in the spring of 2007.

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This glorious view of the Fundacio’s main space highlights Club Scene, a major new painting by Marshall that was finished just in time for the European exhibition tour. In front of it lies the giant-sized stamps that were at the heart of Mementos, Kerry’s exhibition held at the Renaissance Society in Chicago back in 1996—they now reside in a prominent private collection in Vancouver, Canada.

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Opposite Club Scene, we encountered Garden Party, a painting I first saw unfinished in Kerry’s studio during my maiden voyage to Chicago in 2011. Indeed, it holds the distinction of having been worked on longer than any other painting in the artist’s illustrious corpus. Frequent visitors to the Art Institute of Chicago, like ourselves, cannot help but see in it an artist’s homage to that museum’s iconic pointillist masterpiece, George Seurat’s La Grande Jatte.

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Occupying a third wall in the Fundacio’s main space, we found The Art of Hanging Pictures in yet another constellation. At the time of writing, it had been decided that this installation, which was included in Kerry’s show at the MCA in 2003, will not be on view in the MCA chapter of the 2016–17 survey show; it will be installed, however, in the exhibition’s iterations at both the Met in New York and LA MoCA.

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Unable to attend the opening of the Barcelona chapter of Kerry James Marshall: Painting and Other Stuff, we chose the second-best date to travel to Spain—a day in early October 2014 when the Fundacio hosted a conversation between the artist and Paul Gilroy, the London-based doyen of postcolonial studies and author, most notably of The Black Atlantic and the aptly titled There Ain’t No Black in the Union Jack. Clearly, Kerry’s work continues to inspire today’s most perceptive cultural critics.

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Madrid

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The Spanish leg of Kerry’s exhibition tour spanned two cities: Barcelona and Madrid—and in the latter, there was no better place to see Kerry’s work up close than in the stunning Palacio Velazquez, a satellite space of the capital’s Reina Sofia museum, which some would argue is the best contemporary art museum in the world—and who are we to disagree? Marshall and Velazquez—a long-overdue rendezvous.

 

 

Here are three different views, highlighting the spectacular architecture of the Palacio Velazquez, of two paintings that together make up a triptych first seen on this tour in Vienna (see our earlier post): an impressive welcome to this crystal palace in a sun-soaked city park.

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Chicago meets Madrid in more ways than one: this painting on view in Madrid, representing Kerry’s take on the mythical tale of the wishing well, belongs to Chicago-based artist Nick Cave. I remember first seeing it on the wall of Nick’s home in Chicago when I went to visit him with an invitation in hand to another exhibition at the MCA. Curating—it moves in mysterious ways.

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London

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A week after traveling to Barcelona and Madrid, we had the pleasure of attending the opening of Kerry’s debut at David Zwirner’s newly opened London gallery space in Mayfair. The exhibition was simply titled Look See—a reference to the artist’s enduring interest in the politics of looking and seeing, of being seen and looked at (or, more poignantly in the case of the black figure in western art: of not being seen, of being overlooked). This painting, Beauty Queen, was one of the show’s standout pieces and half an hour after taking this photograph, a Zwirner gallery attendant managed to snap a portrait of none other than Beyonce posing in front of her painted counterpart—a meeting of queens.

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Layers of fading posters announcing upcoming shows or standing as a kind of historical record of those that have come and gone provided the inspiration for what we’re calling the “gig poster” for The Freedom Principle. Inspired by the way these posters live and die in the public eye, we’ve covered parts of our facade with them to announce the upcoming exhibition, which opens July 11 with a free day of activities and music.

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Keren Cytter, Something Happened

Posted June 2, 2015

Prior to her exhibition at the MCA, Keren Cytter invited exhibition curator, Jacob Fabricius, director of the Kunsthal Charlottenborg, and Marilyn and Larry Fields Curator Naomi Beckwith, who coordinated the exhibition at the MCA, to read and review her scripts. Their work resulted in the exhibition’s catalogue, The Best and the Worst of Keren Cytter. So, over the next few months, we invite you to do the same. Just watch the video above, leave your rating and comments below, then check back for the next video to review soon!

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21Minus, May 17, 2014
Photo: Cooper Chambers-Hines, © MCA Chicago

In anticipation of 21Minus this Saturday, Mia Neumann, a first-year Teen Creative Agency member, reflects on her experience both designing the event and collaborating on her project.

I first heard about the Teen Creative Agency when my best friend, Gracee Wallach, told me she was proposing a project for an event called 21Minus. She was ecstatic about the opportunity to show her art, which was very powerful and personal, even though she did not consider herself a practicing artist. The guidance that she was given, along with the incredible platform the TCA provided, was unmatched.

Watching Gracee and the other artists that day inspired me; and my curiosity about the teens running the event led me to search for information about the program and how to join. I knew I needed to be a part of whatever had made something as magical as 21Minus happen and I couldn’t wait to learn more about it.

The day I was accepted into the Teen Creative Agency, now almost a year ago, was also the day I came up with a concept I wanted to explore and bring to the 21Minus festivities.

I was sitting in my room embroidering poetry into old T-shirts for a series I was working on called “Hanging Up My Dirty Laundry” and the idea of creating this same process for the masses came to mind.

I wanted to create a space where barriers are broken down between strangers, and where tensions can safely be released due to the anonymity and the openness of the experience. So, I proposed the idea of creating a therapeutic public art installation titled Dirty Laundry for 21Minus. In my series, this mechanism for sharing thoughts was really moving for me. By inviting the audience to “air out” their covert thoughts through a transcription of their baggage onto fabric, I hope to create an environment where the audience can appreciate each other, participate in a therapeutic process, and dissipate the stress that secrets can have on their conscience.

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21Minus, May 17, 2014. Photo: Gillian Fry, © MCA Chicago.

Dirty Laundry will be presented alongside 24 others works by young artists who answered the TCA’s call to collaborate for 21Minus. With the support of my fellow TCA members, we have worked to refine these ideas and I’m excited to see all of them brought to life on May 30, after seeing this intense process unfold. The passion that flows through the members of the TCA and the artists in preparation for this event could only mean that the final product will be unimaginable.

Working behind the scenes to create the event as a TCA member while also developing a project as a collaborator provides an interesting lens. As both a curator and a creator I am able to help shape the backbone of this remarkable coming together of young artists. At the same time, I am also discovering what it means to bring your ideas as an individual artist to a larger, group effort.

Besides the lifelong friendships I’ve formed with people I met only eight months ago, the opportunities and experiences I’ve gained from the Teen Creative Agency are truly unforgettable.

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Members of TCA. Photo: Mikayla Delson, © MCA Chicago

Come, be inspired, and see every artistic collaboration this Saturday, from 2–6 pm.

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