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Watson & Parcell present: White Christmas concert

Sunday, December 16, 2018 - 7:00pm to 9:00pm

Partners in Show-Business Ethan Parcell and Alec Watson are proud to present:

"Watson & Parcell present: White Christmas"

Presenting: 
Alec Watson as "Watson" (piano)
Ethan Parcell as "Parcell" (drums)

Join us on Sunday, December 16th for a one time only instrumental re-imagining of the classic 1954 Irving Berlin movie-musical "White Christmas." Starring Bing Crosby and Rosemary Clooney, this holiday favorite has delighted audiences young and old for centuries. 

We will be performing the movie's soundtrack head-to-toe; not an intro untouched, not a dance-break deserted, not a tender ballad betrayed. 

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Entertainment duo Ethan Parcell and Alec Watson have been described as "the Fred Astaire and Ginger Rogers of musical comedy," "the Rogers & Hammerstein of popular American song," and "the Marx Brothers of live performance."
 

Refreshments provided 
$10 suggested donation

FUBU yoga

Saturday, December 15, 2018 - 2:00pm to 3:00pm

As apart of the Programming for Oh, Maker currently on Display at Heaven Gallery.

the way they pathologize our bodies, it can be hard to (re)member our flesh and bone are our home. "wellness" is rarely a site where we are in sight, yoga studios, even less so. this yoga practice is a gentle reminder to feel where tension and tenderness live in our breath and body with curiosity and care to a playlist curated with black folx in mind. this teacher knows no one can know this as deeply as you do because only you breathe your body. we will close with an optional meditation. all levels welcome to explore. please bring your own mat (and a spare if you have it, for someone who may not.) 75m
 

Free Event
Herbal tea provided by David's Tea

Exposure x Black Radical Imagination: Future Enclaves Film Screening

Saturday, December 15, 2018 - 6:00pm to 8:00pm
This partner film short program brings together selected works from Black Radical Imagination’s touring screening program with film works from local Chicago based artists. Curated in collaboration with EXPOSURE, this screening event bridges together Black media artists of the diaspora exploring notions of grief, memory, family, and home as re-imagined pathways to create new models of self-actualization and liberation pedagogies. 

The program will feature works by: Dana Washington , Ireashia MonétJENN NKIRU, Alima Lee, Amina Ross, Zakkiyyah Najeebah, and Ameila Umihire

Black Radical Imagination 2018 is a film showcase programmed by Jheanelle Brown and Darol Olu Kae and is originally co-founded by Erin Christovale and Amir George. Black Radical Imagination is an international touring program of experimental short films emphasizing new stories from within the African diaspora. The series builds on afrofuturist, afrosurrealist, and magical realist aesthetics to interrogate identity in the context of cinema. 

EXPOSURE: For Concerned Black Photographers is a collective of concerned Black photographers who wish to exchange ideas and photo methods. Co-founded by G’Jordan Williams and Zakkiyyah Najeebah, EXPOSURE is a growing community of photographic artists and film artists who center the diversity of the Black experience. EXPOSURE is rooted in expanding critical thought and dialogue concerning the ethics and practice of Black identified photographic and film artists. We believe that the stories of black identified communities should be told by folks of the Black Diaspora with not only integrity, but continuous experimentations in new forms of expression. 

Jheanelle Brown is a film curator, producer, and arts educator based in Los Angeles. Her curatorial practice is committed to honoring, expanding, and empowering Blackness in visual and filmic media. Her specific interests are oriented around experimental and non-fiction film and video, the relationship between musicality and cinema, political film and media, and West Indian film. She is currently co-curator for Black Radical Imagination and an associate programmer for Los Angeles Filmforum. 

Darol Olu Kae is a filmmaker, film curator, and archival researcher from and based in Los Angeles. His artistic and curatorial interests are committed to exploring the complexities and possibilities of a black film aesthetic while redistributing film & filmmaking resources to underrepresented people and communities. He is currently the program coordinator for The Underground Museum’s Future Filmmakers Speaker Series at Dorsey High School in South Central, Los Angeles and serves as curriculum developer/teaching artist for Centennial High School’s Film Program in the city of Compton, CA.

G'Jordan Williams is a photographer, library scientist, and lover of all things beautiful. Seeing art as language, they're compelled to use mediums to communicate with themselves and others, especially when creating work that is relevant to the Black Diaspora. Their work focuses on the sacredness of one’s own image, interrogation and validation of identity, surrealism, and the esoteric, all informed by high-powered perception and evolving social consciousness. 
Specifically, G'Jordan holds impassioned interest in the intent, conceptualization, and dissemination of the Black image in art; constantly questioning the path and standards of Black images popularized today. 

Zakkiyyah Najeebah is a Chicago based photographic artist, educator, and curator. She studied Art History and Black Studies at the University of Illinois at Chicago, which heavily informs her multidisciplinary practice. The aesthetic components and intersectional cultural advancements that are entirely unique to the black shared experience is a primary concern within her visual study and work.
Zakkiyyah uses photographic imagery to address the politics and aesthetic values of representation, inclusivity, black womanhood, family histories, and collective narratives. Often her work takes place in the realm of portraiture, documentation, image-making, programming, curating, and educating. She is currently building a catalog that articulates current and past social concerns regarding black visual language and is exploring new methods of visual presentation. 
 

FREE Event

image: Amina Ross, film still from "Numbers"

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Static Cling Artist Talk

Sunday, November 11, 2018 - 1:00pm

Artist Talk between Nico Gardner and Lauren Carter about their current exhibition Static Cling

 

Oh, Maker

Friday, December 7, 2018 - 7:00pm

Within the current social and political climate we’re found looking backward as a way to find answers for today's problems in America. “Oh, Maker” explores the work of 7 artists who through the act of re-appropriating materials are looking at that history of trauma on American Soil, the act of rebellion, as well the narrative of black women, and families. These artists are building on these conversations in their work. Using mix materials, visual language, and archives as a starting source to re-appropriate materials used to aid conversations about America today.

Artists: Kevin Demery, Andrea Coleman, Mark Allen Blanchard, Shanna Merola, Zakkiyyah Najeebah, Sadie Woods, Michael Curtis Asbil

Curated by Darryl DeAngelo Terrell

Exhibition runs December 7, 2018 - January 20, 2019

Spectrum of Touch

Friday, October 26, 2018 - 7:00pm to 11:00pm

A Text For My Friends Marisa and Alex
Written by Shai-Lee Horodi

My friends both use the word ‘relationship’ while talking about their works. That’s not to say that relationship is some theme or a sort of ‘aboutness’ that makes for a connection between their works to account for putting them side by side in the same exhibition. It is their relationship itself, them being a loving couple, that brought this exhibition to be. Hopefully this kind of connection could give account of no lesser strength then the symbolic/thematic commonality that is usually used to excuse the putting side by side of art works. Marissa and Alex put their bodies of work side by side and similarly put their bodies themselves side by side, sharing their apartment. 
Without submitting to the conventional abuse of theory for the explanation of art practice; that is a reversal that refers to theory as if it precedes practice; we might find thought emerging from the works in a way other then the awkward positioning of an artist as the translator of ideas to things. Both Alex and Marissa suggest a triangle of mutual dependence between thought, body and the other. Alex would possibly oppose this articulation and say I should replace the word ‘other’ with ‘another,’ so to imply the multiplicity of centers that he holds dear.
Thought and body are dependent on one another because a body without thought is no more then an object in the narrowest use of the term, and thought with no body remains an ideal that is forever outside experience. ‘Another’ separates the body from the whole, gives it its measures as a particular. It creates the inner, the self that could be alone and therefore could be together. The negotiated space of internal and external that allows for thought.
If one were to ask Alex’s drawings ‘how does thought flow?’, one might answer “in the form of a speech-bubble-eye-tit-cum-tear.” If another asks Marissa’s sculptures ‘where is the conversation about the body located?’, they might answer ‘there is a conversation about the body outside it and there is a conversation about the body inside it. But there is also a conversation OF the body, and of the language it does speak, we know very little. If we were fluent in that language we might ask something other than ‘what would you like to eat?’, ‘where would you like shit?’, where can you lay your head to rest?’.

Alex Bradley Cohen (b. 1989) lives and works in Chicago, IL. His work has been included in solo and two-person exhibitions at The Luggage Store, San Francisco, CA; Mana Contemporary, Chicago, IL; and Carrie Secrist Gallery, Chicago, IL, among others. Cohen has shown in group exhibitions at The Studio Museum of Harlem, New York, NY; The Art Institute of Chicago, Chicago, IL; Elmhurst Art Museum, Elmhurst, IL; Socrates Sculpture Park, Long Island City, NY; and The Craft and Folk Art Museum, Los Angeles, CA. He is a 2014 alumni of the Skowhegan School of Painting & Sculpture.

Chris Zain is an interdisciplinary artist with an insatiable curiosity in the boundary of the body in all of its physical and spiritual permutations. Her work circulates through the inability of the body to escape its edges, destined to be a self-contained sack of flesh holding mind, body and soul. Her work tethers memory to the body (as place). Containers for all sentience, our physical bodies are home to a history of touches. Her architectural references slump with gravity on shape and texture, harkening anti-form artworks. Through installation she play with the poetic and gestalt relationship of objects crafted in ceramics, fiber, paper, tar and more. These organic materials reveal the physical qualities of the body in all its mental and emotional states. Her work posits that re-activating sensorial awareness (to the body) simultaneously triggers a sense of empathy towards the fragility of being contained.

Zain received her BA in Art History and Journalism from Loyola University Chicago after completing her thesis on feminist co-operatives in the late 20th century. She received her BFA from the School of the Art Institute of Chicago where she embraced a post-medium studio practice. She has shown her work most recently at Chicago Artists Coalition, Roman Susan, For the Thundercloud Generation, Links Hall, the Luggage Store Gallery, and Brown University’s David Winton Bell Gallery. Zain is an art educator and has ardently pursued alternative educational spaces through participating in residencies at MassMoCa, Chicago Artists Coalition, Ox-bow School of Art and Anderson Ranch Art Center to name a few.

Static Cling

Friday, October 26, 2018 - 7:00pm to 11:00pm

In their second exhibition together, artists Nico Gardner and Lauren Carter continuously shift between the personal and the general, the specific and ambiguous, creating new work in conversation with each other. With a primary focus on desire, ritual, identity, and the expression of human need, Static Cling addresses the power and persuasive nature of mundane, domestic objects.

Ordinary household possessions become intertwined in a person’s daily life as symbolic evidence of a sense of selfhood and identity. These metaphors are employed in this exhibition to explore the universal relationship between people and objects. Gardner and Carter’s use of found or purchased items is a starting point to explore themes that ultimately result in an investigation of both material culture and making. Continuing their collaboration together, Gardner and Carter riff off of each other's frequencies to disrupt their respective practices. The artists ultimately create new works that highlight similarities in their decision making while embracing their respective differences.

NICO GARDNER (http://nicogardner.com/)
Nico Gardner is a Japanese-American interdisciplinary maker and critical thinker. He holds an MFA in Fiber + Material Studies from the School of the Art Institute of Chicago, a BA in Fine Arts, and a BA in Art History, both from Rice University in Houston, Texas. His work has been exhibited nationally and internationally and acquired by private collections. 

LAUREN CARTER (http://laurencarterart.com/)
Lauren Carter holds an MFA with Distinction from the University of New Mexico and a BFA from the University of Louisiana at Lafayette in Painting and Metalwork.
Primarily working in mixed media sculpture and installations, she often includes found objects and personal items that are synonymous with loss, vulnerability, and sentimentality. 
Carter is a native of south Louisiana and presently lives and works in Chicago, Illinois where she is a teaching artist at Marwen.

Artist Talk - not to scale

Sunday, October 7, 2018 - 1:00pm

Join artists Shir Ende and Matt Brett and curator Elizabeth Lalley for a walk-through of Shir and Matt’s two-person show “not to scale.” The artists will discuss their practices and also lead an impromptu exercise and experiment in choreography, inviting participants to engage in a walking session through and around Brett’s sculptural arrangement in the gallery.

Coffee provided by Starbucks

not to scale

Friday, September 14, 2018 - 7:00pm

The phrase not to scale implies an inaccurate representation of something with regards to proportion. It also suggests that the “thing” being represented has rational, accepted dimensions, typically “scaled” or understood in relation to the human figure. Together, Matt Brett and Shir Ende present sculptures, drawings, and videos that combine architectural language and a degree of speculative thinking to explore movement (of both body and eye) within modern space. Both artists look beyond familiar scales and surfaces, past hard edges and rigid grids, to expose constructed barriers that attempt to dictate or inhibit motion. 

“About a hundred years ago some artists were trying to imagine hypothetical invisible structures that drove life and informed experience. Surrealists. Now there are actual invisible forms that drive life and inform experience. These are my attempts to imagine those structures formally.”
---Matt Brett, notes from July 14, 2018

Manipulated by hand, Brett’s works prune and distort the notion of a grid into a commanding, tangible object, scaled in such a way that each form confronts the viewer with the presence of a figure. Each sculpture possesses the dual nature of being both an image that we apprehend as a primary form, like a cone or cylinder, and as a physical thing, a shape that we can peer through and into. The forms are also informational, their structures revealing the process of construction, much like a surface of a woven textile. And yet, even as they mark and delineate space, they do so without visually obstructing it, instead revealing the potential for movement inside the hard lines. 

“If movement can be materialized through repetition, continuity and simplicity, we can now consider ways to dematerialize architecture through the score. The score articulates the imagined and abstracts the real. It has the capacity to contain the ideology and potentiality of movement with architecture while making it more malleable and easy to manipulate.”
--Shir Ende, “Re-imagining architecture: how movement conditions the production of space,” 2018

Through drawing, sculpture, and video, Ende works to reduce the “bigness” of architecture, re-imaging built structures as intimately scaled, malleable forms. In doing so, Ende minimizes architecture’s imposition on the body and softens the authority of modern design. Each of Ende’s hand-drawn “scores” demonstrates the inherent tension between the straight lines of architectural order and the fluidity of bodies within. As she composes the scores and guides the pencil, Ende quietly insists on self-determined movement within modern space, where the body itself is a generative material. 

Matt Brett Matt Brett is an artist living and working in Chicago. His work has been exhibited in Chicago at; Gallery 400, Slow and Heaven Gallery, In Philadelphia at; High Tide, Little Berlin and Icebox, In New York at 136 w 22nd, in New Orleans at Parse, and in Richmond at Reference. He has attended residencies at ACRE and Skowhegan. He holds an MFA in studio arts from the University of Illinois at Chicago (2014) and a BFA in sculpture from Virginia Commonwealth University (2009). He is currently a lecturer for the City Colleges of Chicago.

Shir Ende is a Chicago-based artist. Ende received her BFA from the School of the Art Institute of Chicago and her MFA from the University of Illinois at Chicago. She has shown at Gallery 400, Terrain Biennial, South of the Tracks, Mana contemporary, Woman Made Gallery and was a Sponsored artist at High Concept Labs. She has screened videos at Nightingale, Comfort Station and Roman Susan. She currently teaches at the University of Illinois at Chicago.

Elizabeth Lalley is a Chicago-based writer, curator, and administrator. Lalley is the Curatorial and Design Associate at CNL Projects and the Assistant Director of Goldfinch, a commercial project space for contemporary visual practices. She received an MA in Museum & Exhibition Studies from the University of Illinois-Chicago, and holds a BA from the University of Michigan. Elizabeth has worked for the Chicago Artists Coalition, the Smithsonian Center for Folklife & Cultural Heritage, and the University of Michigan Department of English. She is also a Curatorial Fellow with ACRE (Artists’ Cooperative Residency and Exhibitions) and a contributor to Newcity and Chicago Artist Writers.

Performance and Talk will be held October 7th

Event of a Thread

Friday, September 14, 2018 - 7:00pm

“Tangential subjects come into view. The thoughts, however, can, I believe, be traced back to the event of a thread.” -Anni Albers, On Weaving

This exhibition brings together three artists whose nuanced and abiding interests in weaving, fiber, and textile arts evoke the multilinear progression of both thought and material that Albers describes. Melding traditional processes with experimental techniques, Jeffrey Grauel, Melissa Leandro, and Noël Morical create works that are not defined by clear beginnings or ends, but are instead filled with layered compositions that activate color, form, and surface—built thread by thread, knot by knot. “How can [one] know how this thing is done that has never been done before?” Albers asks in a gentle nudge to be adventurous, surprised, and sometimes mystified. These artists push their materials, gestures, and processes into conceptually rich realms and experimental pathways, trusting that one thread of a thought or process may lead in a new direction altogether. Grauel’s shagged rugs, their imagery sourced from decades-old latch hook kits, reveal multiple layers of fibers—rugs buried in rugs—like scents embedded in an old carpet over time. Here, craft kits from the past are adapted into works that are both richly tactile and sculptural, the original imagery obscured and altered into a strangely unfamiliar form. Layered processes likewise comprise Leandro’s vivid textiles which blend weaving, embroidery, adornments,domestic references, and synthetic elements. Each piece pulses with color and shifting shapes and lines, displaying a degree of chaos, as tensions between family history, tradition, and the formation of identity are combined through varied processes and materials. Weaving together the past and present, Morical utilizes the centuries-old technique of macramé to craft colorful hanging sculptures and wall-pieces that exist somewhere between domestic objects, like plant holders or garments, and alien life-forms. Held together through the tension of each tightly worked knot, the pieces seem to generate their own energy—as though filled with the potential to swell and burst apart at any moment.

Jeffrey Grauel is a Chicago-based sculptor influenced by 1970’s hobby crafts. Antiquated images persist. Ideas rendered useless by time remain as flawed foundations. In my work they become advertisements burned in plywood, beer can venetian blinds, rugs buried in rugs. Well-crafted things that are useful outside of an art context, but exceptionally more complex within. His work has been presented in parking lots, former mortuaries, museums, corporate lobbies, malls, abandoned lots, faculty offices, and the windows of Tiffany’s. As co-director at Slow (an artist run gallery and curatorial project) he directs an independent gallery in the bathroom (Loo), brew curated beers, give tours of artwork under hotel beds, and once carried an exhibition in a purse (Clutch Gallery) to the White House in Washington D.C. Grauel received his MFA from the School of the Art Institute of Chicago, IL; and BA from California State University, San Bernardino, CA.

Melissa Leandro (Miami, FL) is an artist who works between the media of drawing, painting, and textiles. She received her BFA and MFA from the School of the Art Institute of Chicago (SAIC). Leandro's woven and embroidered surfaces explore her composite cultural identity through means of intuitive mark-making. Reflecting on her past and present travels, she considers the impact of these environments on the fragmentation of identity and place. Leandro was awarded the Toby Devan Lewis Fellowship and EAGER Grant (Shapiro Center), both for her studio work at SAIC. Leandro has attended ACRE Residency (Wisconsin), Roger
Brown House Residency (Michigan), TextielLab (The Netherlands), and is a BOLT resident at Chicago Artists Coalition. She has exhibited throughout the US at the Chicago Cultural Center;
Efrain Lopez Gallery; Andrew Rafacz Gallery; Arts Incubator; University of Chicago; The Franklin; Gallery 400; Union League Club Chicago; Wright Museum of Art, Beloit, WI; N A W A, New York, NY; ArtSeen Gallery; Flagler Art Space, Miami FL; and internationally at the Central Museum of Textiles, Łódź, Poland. 

Noël Morical (American, b. 1989) lives and works in Chicago, IL. She received her B.F.A. from The School of the Art Institute of Chicago in 2011. Recent solo exhibitions include Skiptracing at Ace Hotel Chicago, High Swoon at Andrew Rafacz Gallery in Chicago and at the Fiberspace Gallery in Stockholm. Group and two-person exhibitions include SLOW Gallery, Chicago; Weinberg-Newton Gallery, Chicago; 99¢ Plus Gallery, Brooklyn; Athen B. Gallery, Oakland; Chicago Artist Coalition, Chicago; LVL3, Chicago.

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