2018-2019 Guest Lectures
shawné michaelain holloway
shawné michaelain holloway is a new media artist who uses sound, video, and performance to shape the rhetorics of technology and sexuality into tools for exposing structures of power. She has spoken and exhibited work internationally in spaces like The New Museum (NYC, NY), Sorbus Galleria (Helsinki, Fi), The Kitchen (NYC, NY) Institute of Contemporary Arts (London, UK), Museum of Contemporary Art Chicago (Chicago, IL). Currently, Holloway teaches in the New Arts Journalism department at the School of the Art Institute of Chicago.
Danny Giles is a Chicago-based artist who makes work that often brings together live performance, video, and sculpture to address the dilemmas of representing and performing identity and interrogate histories of oppression and creative resistance. Giles received his BFA from The School of the Art Institute of Chicago in 2011, MFA Northwestern in 2013, and attended the Skowhegan School of Painting and Sculpture in 2013. Giles’ work has been exhibited, performed and screened at the Luminary, St. Louis, Museum of Contemporary Art Chicago, El Museo Tamayo, Mexico City, and the Contemporary Arts Museum Houston. Giles is currently a 2019 BOLT Artist-in-Residence at the Chicago Artists Coalition (CAC). Giles is part-time faculty at the School of the Art Institute of Chicago and Academic Director of the Ox-Bow School of Art and Artists' Residency in Saugatuck, MI. In 2019 he served as in the Jacob Lawrence Legacy Resident at the Jacob Lawrence Gallery in Seattle, Washington.
Look for Me All Around You: Aporia and Diaspora
Marcus Garvey’s incantatory words to “Look for me all around you, look for me in the whirlwind” (1925) as he faced incarceration in Atlanta following the failure of the Black Star Line continue to resonate across the African diaspora almost a century later. Or do they? How do contemporary scholars and artists find path back towards Garveyites’s global and racial politics at this time of heightened anti-black sentiment, and how might historical discourse and artistic practice provide avenues for divesting from the hate?
Taking her upcoming eponymous curatorial platform for Sharjah Biennial 14 (March 2019) as a starting point, curator and scholar Claire Tancons brings Indian Ocean epistemologies to bear on a primarily Afro-Atlantic diasporic discourse while introducing ideas from a few of the biennial’s new commissioned projects. Together, these projects by artists such as Rose, Leo Asemota, Jace Clayton, Peter Friedl, Meshac Gaba, Isabel Lewis, Carlos Martiel, Mohau Modisakeng and Caecilia Tripp propose different tracks onto which to embark in the ever-political task of embodying blackness through enfleshment (through the body, movement, with the people) and materialism (from matter)—all the while attending to the global concerns of the cosmo-ecological, the techno-sensorial, and the museo-imaginal.
By bringing together a global outlook onto the cultural conditions and artistic manifestations generated by a concern with the African diaspora at large whose experience all too often functions as a litmus test for global developments to follow, Tancons proposes that processes of diasporisation are always already alternatively dispossessive and repossessive and, as such, reveal the aporetic dimension of the contemporary.
2017-2018 Visiting Lectures
Taylor Renee Aldridge
Taylor Renee Aldridge is a Detroit based writer and curator. In 2015 she co-founded ARTS.BLACK, a journal of art criticism from Black perspectives. Taylor is currently the assistant curator of contemporary art at the Detroit Institute of Arts. She has worked for the N’Namdi Center for Contemporary Art, the Ethelbert Cooper Gallery of African & African American Art, and The National Museum of American History (Smithsonian Institutions) as a Goldman Sachs Junior Fellow. Taylor is the 2016 recipient of The Andy Warhol Foundation Creative Capital Arts Writers Grant for Short Form Writing. She has written for Art21, ARTNews, ContemporaryAnd, Detroit MetroTimes, SFMoMA’s Open Space and Hyperallergic. Taylor earned a M.L.A from Harvard University with a concentration in Museum Studies and a B.A from Howard University with a concentration in Art History.
Sampada Aranke (PhD, Performance Studies) is an Assistant Professor in the Art History, Theory, Criticism Department at The School of the Art Institute, Chicago. Her research interests include performance theories of embodiment, visual culture, and black cultural and aesthetic theory. Her work has been published in e-flux, Artforum, Art Journal, Equid Novi: African Journalism Studies, andTrans-Scripts: An Interdisciplinary Online Journal in the Humanities and Social Sciences at UC Irvine. She has written catalogue essays for Sadie Barnette, Kambui Olujimi, and Zachary Fabri. She's currently working on her book manuscript entitled Death's Futurity: The Visual Culture of Death in Black Radical Politics.
In their Fall 2017 artist's talk, Liz Mputu discussed their practice of mobilizing video, interactive media, sculpture, and installation to examine questions of play, spirituality, and well/being within and beyond virtual space. Their multimedia and multiplatform practice rigorously engages questions of sex, gender, blackness, and queerness in ways that necessarily press against the privileging of whiteness that categories such as "internet art" and "feminist net art" can encompass, while also posing trenchant critiques of the mythos of the internet-as-utopia. Mputu's solo show, LVLZ Healing Center: IRL Application of Digi-Manifestation, was on view at Interstitial Gallery until October 28, 2017.