The Great National Pizza Divide

by Sid Branca

I started writing a “Chicago Things To Do While In Chicago” post, which was, of course, going to include “eat some deep dish pizza.”

I’ve lived in Chicago since 2005, essentially my entire adult life, and I have in many ways become a proud Chicagoan. There are a few aspects of my personality, however, in which my New York upbringing will never truly leave me. One of these is the Great American Pizza Divide of NY Style vs. Deep Dish. But while I’m personally not a fan of deep dish—or rather, think of it as something that isn’t bad, but something that is different from what pizza is—I do think each person should decide for themselves. So I turned to my social network and asked for some recommendations, and people had so many opinions that it seemed worthy of its own post. Click “read more” below (if you’re reading on the main page) to see what my friends had to say about where to get deep dish in Chicago.

The Great National Pizza Divide

I started writing a “Chicago Things To Do While In Chicago” post, which was, of course, going to include “eat some deep dish pizza.” I’ve lived in Chicago since 2005, …

MFA Candidate, Interdisciplinary Arts & Media Sid Branca, sid@sidbranca.com
600 S. Michigan Ave. Chicago, IL 60605

Rashayla Marie Brown: On Her Intersectionality Critique Initiative

by La Keisha Leek

 

Photo Credit: Elizabeth Harper

Photo Credit: Elizabeth Harper

Rashayla Marie Brown is an interdisciplinary artist, writer and curator who also leads the Multicultural Affairs department at the School of the Art Institute in her role as Assistant Director. Her work, both as an artist and administrator, primarily negotiates race, sexuality, spirituality, politics, and popular culture in the formation of subversive narratives. She has been awarded numerous fellowships and grants, including the Anna Louise Raymond BFA Fellowship, Chicago Artist Coalition’s BOLT Residency, SAIC’s Archibald Motley Grant, and the Propeller Fund. She holds a BA in Sociology and African-American Studies from Yale University and a BFA in Photography and Video from the School of the Art Institute of Chicago.

La Keisha Leek: What is an Intersectionality Critique and where did the idea to create this at SAIC come from?

Rashayla Marie Brown: An Intersectionality Critique is a safe, open, and engaging environment for discussing art across disciplines, identities, and with students and alumni from several universities and departments. Students are encouraged to share works in progress and consider how cultural topics such as race, class, gender, and politics intersect with each other and are inseparable from art. The term “Intersectionality” is used in tribute to black feminist writers such as Kimberlé Crenshaw and Patricia Hill Collins who proposed how various categories of identity interact on multiple and simultaneous levels. By talking with students of differing disciplines and schools that they might never normally interact with, students learn to integrate concepts of inclusion and awareness into their broader educational experience and post-graduate lives.  I designed this program with social practice techniques of community outreach and collaboration to enhance the development of academic success and skills of cultural competency.

SAIC is an interdisciplinary school in that there are no majors; however, students still need formal outlets for having their work critiqued by those who may have additional knowledge in other fields outside the 2-3 departments where they focus their work. Opening the notion of diversity to interdisciplinary education fosters equity and inclusion of differing voices. I think it’s important for students to discover significant ideas such as critical race theory, feminism, and queer theory in practice and in dialogue on appropriation, collectivism, surrealism, and the like. Through this model of an educational social practice, students are invited to have productive conversations around identity and difference through a creative lens they have an interest in as artists and scholars.

 LL: Why do you feel that now was the right moment for this initiative to exist?

RMB: There is no prevailing method of critical arts engagement conducive to the building of inclusion and awareness of diversity issues. In the past few years, SAIC has implemented a diversity initiative, and through student forums I’ve found that even students who focus in several disciplines sometimes become siloed in their departments and seek alternative means to have their work critiqued and in consideration of both their identity and the work’s formal qualities. A design critique is different from a photography critique which is different from a painting critique, yet all these fields are intimately linked to each other, just as race, class and gender operate in tandem. The MFA students at our school get this type of critique during inter-departmental “Critique Weeks” at SAIC, but those environments are at times combative or non-productive for the artist because there is no sense of community or support. Also, the same students tend to gravitate towards diversity-themed courses, which leaves a large population of our students unexposed to them and the powerful ideas they put forth. I personally saw quite a bit of work produced by advanced level students that had clearly not considered how society functions in relation to art, so the need was there.

LL: Who have you engaged in the initiative so far?

RMB: I have engaged D. Denenge Akpem, Delinda Collier, Lisa Vinebaum, Daniel Tucker, Cheryl Pope, Maria Gaspar, and Nicole Marroquin, Theaster Gates and Hamza Walker. We are also looking for faculty and artists who work with gender, sexuality and faith to lead as well. We have had students from UIC, Columbia College, and even visitors from University of Iowa and RISD participate along with our students at SAIC from almost every department, from the first-year undergrad to the grad level.

Rashayla Maria Brown with Theaster Gates and Hamza Walker at Critique on the theme of Sustainability.

Rashayla Maria Brown with Theaster Gates and Hamza Walker at Critique on the theme of Sustainability.

 LL: What has been the response from those who have been a part of the Critiques in some capacity?

RMB: The most powerful response was that this was the first time some students have discussed work and felt like it was not a defense, but more like sharing in that they didn’t feel afraid to share some very heavy and in-progress ideas. They felt freer to explore and have a dialogue, because a sense of respect and collaboration was there. Also, they met people that they would have never encountered otherwise and made new connections that they hope will grow into artistic partnerships. Lastly, they learned about a topic that they were interested in but afraid to explore due to lack of knowledge or fear.

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LL: As a practicing artist why did you feel it was important to work within education?

RMB: When I started as an artist, I felt very alone and unsure that my type of art, the kind that critically engaged my identity and cultural theory, was valued and appreciated. That feeling often directly relates to one’s success – if you don’t have role models or peers to safely share ideas with, you might take much too long to explore and articulate your ideas. As a student at SAIC, I re-started the group Black at SAIC to fill this gap for myself. After participating in open critiques and shows with friends from this group, I realized that if it weren’t for them I probably would not have thrived the way I did. I wanted no one to have to go through that experience on their own, for them to know there is strength in community. The canonized art world is immensely segregated and tends to gravitate towards safe artworks that don’t challenge existing paradigms of power. Since art schools are where the art fair, the museum, and the gallery often go to look for new talent, I thought that real change could start in the realm of education and the art students themselves.

 LL: What exhibitions or programs going on during CAA would you recommend to conference attendees?

RMB: I would recommend seeing Strange Bedfellows at Columbia College’s A+D Gallery, The Ladydrawers Comics Collective at Uri-Eichen Gallery, Heidi Norton at Monique Meloche Gallery, SOFT DRUGS at DfbrL8r and the Chicago Artists Coalition’s current exhibit of works from their residency programs.

Rashayla Marie Brown: On Her Intersectionality Critique Initiative

  Rashayla Marie Brown is an interdisciplinary artist, writer and curator who also leads the Multicultural Affairs department at the School of the Art Institute in her role as Assistant …

BA Art History '14 La Keisha Leek, La.Leek@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605

On High: Design Cloud in the West Loop

by Matt Robinson

Where will you find an innovative design firm with it’s own gallery program and exhibition space during this week’s West Loop Gallery Walk? Look no further.

I recently had a privileged dialogue with Cloudster Jennifer Choi of Design Cloud where she clued me in to bigger picture at the Cloud. Keep up with this unique group of creatives, I have a suspicion that they may be on to something.

JennChoi-situational-e1380569814767

We use our offices as a case study illustrating an orchestrated experience or environment; through artwork, a community of creatives, and focused programming. Our continually evolving portfolio sets us apart.

On High: Design Cloud in the West Loop

Where will you find an innovative design firm with it’s own gallery program and exhibition space during this week’s West Loop Gallery Walk? Look no further. I recently had a …

Arts Management/ Art History Matt Robinson, matthew.robinson1@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605

Day One: As you arrive for the conference…

by Meg Santisi

A few quick things:

A quick coffee. the Intelligentsia @ Monadnock (Jackson & Dearborn) is relatively mellow if you still haven’t had a coffee yet. (See the MAP)

Not too, too crowded for a cup to go

@ 10:30am. Not too crowded for a cup to go…

A quick download.  I highly recommend downloading the CAA app to your smartphone. It allows you to save your own schedule, set alerts for when a session is starting, and generally navigate the Hilton a little more easily.

To download…

Day One: As you arrive for the conference…

A few quick things: A quick coffee. the Intelligentsia @ Monadnock (Jackson & Dearborn) is relatively mellow if you still haven’t had a coffee yet. (See the MAP) A quick download. …

BA Art History '13 Meg Santisi, megsantisi@gmail.com
600 S. Michigan Ave. Chicago, IL 60605

A Conversation with CAA Keynote Jessica Stockholder

by La Keisha Leek

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Day one of CAA is finally here! I am sure we are all somewhere between hunting down our first cup of coffee and making our way to the Hilton for our first sessions of the day. I am eager to attend several opening sessions this morning but am finding myself even more excited to hear from our keynote this evening.

Leading up to CAA I sat down with Jessica Stockholder, artist and Chair of the Department of Visual Arts at the University of Chicago. Attending my first CAA conference, I was interested to learn from Jessica about CAA and her life as an artist in academia.

La Keisha Leek: As a first time attendee at CAA what are some of the things that I should expect from the conference?

Jessica Stockholder: CAA is a way for people to say hello to each other, people who teach particularly in art history but also in studio art. It’s also a job fair and networking tool. I haven’t experienced a lot of the papers but that part is a real treat!

LL: As an emerging art historian, who sometimes thinks like an artist, so it’s really interesting for me to not only see art historians deliver papers but see how artists are talking about their work alongside the presentations of art historians.

JS: Definitely some of the panels and events bring art historians, artists and critics together so you get an overlapping way of thinking about things

LL: How long have you been in arts education and what made you decide that education was something that you wanted to pursue?

JS: I think I was 35 and I was showing in New York a little bit and somebody from the School of Visual Arts (SVA) said, “you would be a good teacher” during a studio visit. So, she offered me a job and I taught in the undergraduate department. And then David Shirey in the graduate program offered me a job. I had just had a baby and I said, “well maybe in a year”, and he said, “you have to do it now!”, so I took the job. I was doing a little teaching at SVA and New York University (NYU). Jack Risley who was a classmate of mine at Yale, offered me the first job I had teaching a course at NYU and then I was wanting to leave New York. Somebody called and told me there was a job at Yale so I applied for that job because I was looking for a way not to be in New York – I didn’t want to be there my whole life.  That was the first job I had that was a real job with a commitment to a place.

So I guess I didn’t decide I wanted to be an educator. I was and am an artist. Teaching is a more predictable way for an artist to earn money, but also its nice to have a foot in the education world and foot in the commercial world because the two encompass different sets of values and ways of thinking and talking. I took the Yale job when I turned 40. I think at that age if I hadn’t taken that job I would have gotten more set in my ways. I wouldn’t have needed to be looking at other people’s work as much and gotten more self-involved. Teaching is a really nice way to stay involved and see what younger people are doing, how the world is changing and what questions are being asked as time moves along. So, I really appreciate my students in that way and I learn a lot.

LL: That’s also something I learned for my instructors, which is that we teach them quite a bit. That makes me feel like I can do this and go in to education!

JS: It’s a nice place to explore things- whether you’re teaching or studenting!

LL: I agree! You’re giving the Keynote for CAA, are you excited?  Do you have anything special planned?

JS: I definitely have something planned. I’m excited! It’s an honor and also daunting. But I’m going to talk about being an artist in academia and what my experiences have been.

LL: Awesome, I can’t wait! One last questions- are there any exhibitions up during CAA that you would recommend to conference attendees?

JS: Dieter Roelstraete’s show at the MCA The Way of the Shovel.

A Conversation with CAA Keynote Jessica Stockholder

Day one of CAA is finally here! I am sure we are all somewhere between hunting down our first cup of coffee and making our way to the Hilton for our …

BA Art History '14 La Keisha Leek, La.Leek@loop.colum.edu
600 S. Michigan Ave. Chicago, IL 60605

////WARNING: SYSTEMS APPROACH///

by Sid Branca

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This week I had the pleasure of speaking with Jon Cates and Shane Mecklenburger about their CAA panel, Approaching Systems, sponsored by the New Media Caucus and taking place on Wednesday morning. (9:30 AM—12:00 PM, Hilton Chicago, 2nd Floor, International South, 720 South Michigan Avenue.) Check out the websiteCAA session page, & Facebook event for more.

I, along with my InterArts colleague Grayson Bagwell, got to ask them some questions about systems aesthetics and tomorrow’s panel, and I’ve compiled some highlights from their answers below. Click the “Read More” link below (if you’re viewing from the main page) to gain knowledge about things both invisible and visible.

////WARNING: SYSTEMS APPROACH///

This week I had the pleasure of speaking with Jon Cates and Shane Mecklenburger about their CAA panel, Approaching Systems, sponsored by the New Media Caucus and taking place on …

MFA Candidate, Interdisciplinary Arts & Media Sid Branca, sid@sidbranca.com
600 S. Michigan Ave. Chicago, IL 60605

CAA Day One: Here’s to game plans…

by Meg Santisi

It’s official. 2/12/14. The first day of CAA is upon us.

Imagining Day One. (Sketch by me)

Imagining Day One. (Sketch by me)

(Hopefully y’all aren’t crazy nervous…)

Some of you are presenting papers you’ve been working on for months (or longer).  Some of you are hoping to network. Some of you are celebrating a life’s work.  Some of you are first time attendees who have no idea what you’ve gotten yourself into. All incredibly humbling and exciting, right? (Plus we get to put on “art face”!!)

"Dieter"

(Art Face)

About Me and this project:

This is my first CAA conference. I’m an art historian and an artist interested in performance art, new media, film theory, and interdisciplinary practices. I’m on the lookout for interdisciplinary panels mixed with artists/historians/critics/laymen, anything touching on the performative, and artists talking about their own work.

I’ll be documenting my experience of CAA on this blog and on twitter @vortexechoes. I also highly recommend you read all my fellow bloggers.  We hope to cover all we can and help where needed.

CAA Day One: Here’s to game plans…

It’s official. 2/12/14. The first day of CAA is upon us. (Hopefully y’all aren’t crazy nervous…) Some of you are presenting papers you’ve been working on for months (or longer). …

BA Art History '13 Meg Santisi, megsantisi@gmail.com
600 S. Michigan Ave. Chicago, IL 60605

Social Paper: An Interview with Mel Potter

by Julynn Wilderson

What is the conversation between socially engaged community craft and gallery art? How can we understand these two seemingly conflicting forms in our current social and cultural landscapes? These are some of the questions that I am talking about with Mel Potter, co-curator of Social Paper and panelist for Friday’s “From Paper to Practice: Tactics and Publics in Socially Engaged Art”.

Mel Potter and Jessica Cochran, co-curators of Social Paper

Mel Potter and Jessica Cochran, co-curators of Social Paper

Social Paper: An Interview with Mel Potter

What is the conversation between socially engaged community craft and gallery art? How can we understand these two seemingly conflicting forms in our current social and cultural landscapes? These are …

Interdisciplinary Arts and Media First Year MFA Julynn Wilderson, wilderpedia@gmail.com
600 S. Michigan Ave. Chicago, IL 60605

Interview: Dr. Esra Akcan and Dr. Mary L. Roberts

by Conor Moynihan

One of the sessions I am eagerly anticipating is “Restructuring the Fields: The ‘Modern’ in ‘Islamic’ and the ‘Islamic in ‘Modern’ Art and Architecture”, which is chaired and organized by Dr. Esra Akcan, Associate Professor and the Director of Graduate Studies in the Art History Department at University of Illinois at Chicago, and Dr. Mary L. Roberts, John Schaeffer Associate Professor of British Art at University of Sydney.  Having personally developed a research interest in the contemporary art of Iran and Iraq, I am excited by the diverse topics of the papers covered.  Dr. Akcan and Dr. Roberts were kind enough to answer a few of my questions concerning their panel.  There session will be on Wednesday 2/14 from 2:30 to 5:00 in the Astoria Room, Hilton, 3rd Floor.  Here is our discussion:

Interview: Dr. Esra Akcan and Dr. Mary L. Roberts

One of the sessions I am eagerly anticipating is “Restructuring the Fields: The ‘Modern’ in ‘Islamic’ and the ‘Islamic in ‘Modern’ Art and Architecture”, which is chaired and organized by Dr. …

Conor Moynihan, conor.g.moynihan@gmail.com
600 S. Michigan Ave. Chicago, IL 60605

CAA: Where It’s Always 5:00

by Daniel Scott Parker

Poetry and gin are a good mix

CAA, the largest international art convention, hiring fair, and conglomerate of critical art forums kicks off tomorrow, and that means one thing.

DRINKS.

CAA: Where It’s Always 5:00

CAA, the largest international art convention, hiring fair, and conglomerate of critical art forums kicks off tomorrow, and that means one thing. DRINKS.

Daniel Scott Parker MFA Poetry Daniel Scott Parker, danielsparker@gmail.com
600 S. Michigan Ave. Chicago, IL 60605