Standing among some quiet residential buildings on 23rd Street and tucked not far from Chinatown’s cluster of restaurants, bakeries, and grocery stores on Wentworth is the Chinese-American Museum of Chicago (CAMOC). Even with its doors flanked by two stone lions, hand-carved by artisans in China’s Fujian Province and donated to the museum by Chinese officials, CAMOC is pretty inconspicuous, and you might miss it if you aren’t looking for it. CAMOC is about as small as museums get, but contains much more than one might expect.
A crowd gathered in Daley plaza on August 15, 1967 to witness the unveiling of the “Chicago Picasso.” The installment was an unprecedented one—up until then, Chicago public sculptures had mostly taken the form of commemorative statues. The “Picasso” would signify a new direction for Chicago city art away from the commemorative style. Later installments like “Cloud Gate,” which are now entrenched parts of the downtown landscape, exemplified this artistic shift.
The weekly member meeting of the South Side Hackerspace (SSH) begins with a call to those in the room to “gather around the TV.” The TV in question is facedown on a table with its back wide open and its internal hardware exposed. It’s the electronic centerpiece of a table cluttered with wires and circuitry.
Cultura in Pilsen, a grassroots gallery and arts organization, is in transition. Displaced from its original space and unsure of where it will end up, the organization is now striving to continue being a gathering place for Pilsen artists and activists.
On Sunday, February 26, the airy interior of the Zhou B Art Center hummed with activity. Student artists mingled with peers, parents, and school staff in a showcase of the state’s best artwork by high school students. This was the general exhibition for the Illinois High School Art Exhibition (IHSAE), thrown every year at the Bridgeport gallery by an association of Illinois art teachers to recognize the state’s outstanding student artists.
Community-oriented galleries like those in the Hyde Park Art Center (HPAC) are founded on the idea that encounters with art can be educational. Now, with a new exhibition called “Public School,” the gallery is exploring the possibility that education itself—meaning pencil sharpeners, cubbies, and swing sets—might be an object of artistic interest.
In the absence of light, darkness prevails.”
The exhibit is called “50×50 Invitational / The Subject is Chicago: People, Places, Possibilities.” The words in the title tug on a range of thematic threads, leaving a viewer of the exhibit without a concrete summary of what they’re about to see. Visitors walk into the Chicago Cultural Center with only a vague conception of the works’ source—Chicago—and the unobtrusive guidance of a few posters hanging on the wall near the entrance. They include a colored map of the city divided into its fifty wards, along with the corresponding names of fifty artists or collaborative teams. Beyond that, the viewer is set free; there is little linear progression to the exhibit or organization in terms of theme within the space. Photographs of children on a street hang alongside collage-like paintings. There’s a video of schoolchildren singing “America the Beautiful,” a horn on a chair and a device that plays accompanying sound, and a red and gold rug that cohabitates peacefully with a neighboring series of lake photographs. This is not an exhibition that’s already been pieced together a certain way; its presentation asks us to be open-minded in our viewing and interpretation.
The alarms rings once at 7:30am, disrupting the morning quiet. Fifteen minutes and three alarms later, I turn it off. Then to shower, then to brush my teeth, to deodorize, to dress and pack up my knapsack for the day, and then to breakfast with the same two—sometimes four—people. Such is my morning routine.