Larry Redmond: My name is Larry Redmond. My nom de plume is Obi. So when people see the exhibit at the gallery people will see a little O-B-I on each of them, which would be me.
Under the current administration, national parks face massive budget cuts. Protected U.S. monuments are shrinking, and as the budget for national parks decreases, admission costs are rising. Next year, entry to parks like Yosemite could cost as much as admission to Six Flags.
Afifty-five-inch flat-screen TV framed Abdul Alkalimat, Romi Crawford, and Rebecca Zorach, the three editors behind The Wall of Respect: Public Art and Liberation in 1960s Chicago. It stuck out—not because of its sheer size, but because it was a backdrop providing a constant reminder of the event’s purpose: the importance of visibility.
DADS—the Digital Art Demo Space, a DIY new media space in Bridgeport—is one large room that takes the form of whatever exhibition is being shown. Old TVs playing glitched-out videos are placed on Roman columns. There’s a virtual reality game being played next to a hot tub. That’s right—DADS has a hot tub with an eight-bit style painting of Mt. Fuji behind it. In the far back of the room, past the bar, two more video games are set up on TVs and projectors. All the while, a live DJ curates the mood. As the space approaches its third year, I sat down with Thorne Brandt and Bobbie Carr, two of three organizers that live at DADS, to talk about the challenges and rewards of running their DIY space.
When I visited La Catrina Café last Saturday night, my view of the commotion inside was at first restricted by the lines of condensation on a large window. I stepped closer to inspect the crowd: books held to their chests, they shuffled eagerly around a busy table. As they came and went, I caught a glimpse of one small figure, bent over slightly, signing a copy of his book. It was Japanese photographer Akito Tsuda. He looked up at and I noticed his smile, one that encompassed the entirety of his face. I entered the venue, and Latin music wrapped around me, ushering me inside to a gracious assembly of Pilsen locals.
Chicago is one of the cultural powerhouses of the world,” muses Mark Kelly, the newly appointed Commissioner of the Department of Cultural Affairs and Special Events. “We have thousands of great artists and so we need to support our artists, we need to value our artists and then…they can…make our city a better place by bringing their art onto the streets.” Kelly is referring to the 50×50 Neighborhood Project, a Year of Public Art initiative announced by Mayor Rahm Emanuel in late 2016 to install public art in every ward in Chicago in 2017.
Gloria “Gloe” Talamantes is a graffiti educator, artist, Chicago native, and founder of the Brown Wall Project. Gloe created this public art initiative in Little Village in 2006 to beautify the city by painting on walls that the city has buffed—the practice of painting over walls with brown paint to remove graffiti. The Weekly sat down with Gloe to talk public art, erasure, and community engagement.
Between Pilsen and Bridgeport, between the Eleanor Boathouse’s spiked rooftops and the factories lining Bubbly Creek, sits the Floating Museum’s latest project, a barge that aims to carry collaborative, site-specific art along the Chicago River. The soft rumble of nearby traffic and the shouts of high school rowing coaches fill the humid August air.
By 9pm, the tent set up in the Logan Center for the Arts at the University of Chicago’s central courtyard was jostling with people. Outside it drizzled miserably, as it had all day, although this did nothing to deter the crowd. Emily Hooper Lansana, the Logan Center’s associate director of community arts engagement, must have been right when she introduced the next act as “magnetic.” A slice of Chicago was packed into that tent, ready to give some of their own a proper homecoming. After all, it’s a rare feat that the South Side-born and raised members of the Hypnotic Brass Ensemble—all of them children of the jazz legend Phil Cohran, and on the road to becoming legends in their own right—return to play a free set for their native city.
Over four years after the school closed, on Saturday afternoon, October 7, the Overton Elementary building temporarily reopened to the public for Opening Closings: Reactivating Closed Chicago Public Schools.