Years ago, the artist and graffiti-writer Miguel Aguilar, also known as Kane-One, came to the School of the Art Institute of Chicago (SAIC) as an undergraduate with little classroom art training, but with experience in street art stretching back to age thirteen.
As part of an artistic initiative to bring more aesthetic life into the Burnham Wildlife Corridor, a series of “Gathering Spaces” were recently introduced into the long stretch of park. These five spaces— “Sankofa for the Earth,” “Sounding Bronzeville,” “Caracol,” “La Ronda Paraketa,” and “Set in Stone”—offer refuge for those who find themselves tired along their travels. An attractive getaway from the already serene landscape that envelops them, each Gathering Space has its own important backstory that connects to its creation, material, and neighborhood. Spread out between the three neighborhoods of Bronzeville, Chinatown, and Pilsen, the five Gathering Spaces were created by organizations located in their respective communities.
Traveling north on the Lakeshore Trail, you may have noticed that at around 33rd Street the manicured lawn of the surrounding grass shifts to prairie grasses and shrubs. This marks one of the borders of the Burnham Wildlife Corridor, one of the Chicago Park District’s designated natural areas.
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.