A guest lecture with curator Adrienne Edwards about her exhibition, Edges of Ailey, for the Whitney Museum of American Art. Edges of Ailey is the first large-scale museum exhibition to celebrate the life, dances, influences, and enduring legacy of visionary artist and choreographer, Alvin Ailey for the Whitney Museum of American Art.
This event is co-sponsored by Art, Theory, and Practice, Critical Dance Studies, and the Black Arts Consortium.
DATES & LOCATIONS,
Wednesday, April 23, 6:00pmat WIRTZ CENTER CHICAGO
ROOM 203
710 N LAKESHORE DR
CHICAGO, IL, 60611
Visiting Artist Talk: Aliza Shvarts
ATP welcomes artist and theorist, Aliza Shvarts, for a visiting artist talk.
DATES & LOCATIONS,
Wednesday, April 9, 4:30pmat FORUM ROOM
KRESGE HALL 1515
1880 CAMPUS DR
EVANSTON, IL 60208
Visiting Artist Talk: Laura Ortman
Laura Ortman creates across multiple platforms, including recorded albums, live performances, and filmic and artistic soundtracks. She has collaborated with artists such as Tony Conrad, Jock Soto, Raven Chacon, Nanobah Becker, Okkyung Lee, Martin Bisi, Jeffrey Gibson, Caroline Monnet, Tanya Lukin Linklater, Demian DinéYazhi, New Red Order, and In Defense of Memory. An inquisitive and exquisite violinist, Ortman is versed in Apache violin, piano, electric guitar, keyboards, and amplified violin, often sings through a megaphone, and is a producer of capacious field recordings. She has performed at The Whitney Museum of American Art, The Guggenheim, and The Museum of Modern Art in New York, the Musée d’Art Contemporain de Montréal, Artists Space, Venice Biennale, The Stone residency, The New Museum, imagineNATIVE Film + Media Arts Festival, The Toronto Biennial, and the Centre Pompidou, Paris, among countless established and DIY venues in the US, Canada, and Europe.
In 2008 Ortman founded the Coast Orchestra, an all-Native American orchestral ensemble that performed a live soundtrack to Edward Curtis’s film In the Land of the Head Hunters (1914), the first silent feature film to star an all-Native American cast.
Ortman is the recipient of the 2023 Institute of American Indian Arts Artist-In-Residence, 2022 Forge Project Fellowship, 2022 United States Artists Fellowship, 2022 Foundation for Contemporary Arts Grants to Artists, 2020 Jerome@Camargo Residency in Cassis, France, 2017 Jerome Foundation Composer and Sound Artist Fellowship, 2016 Art Matters Grant, 2016 Native Arts and Culture Foundation Fellowship, 2015 IAIA’s Museum of Contemporary Native Arts Social Engagement Residency, 2014-15 Rauschenberg Residency, and 2010 Artist-in-Residence at Issue Project Room. She was also a participating artist in the 2019 Whitney Biennial. Ortman lives in Brooklyn, New York.
DATES & LOCATIONS,
Thursday, March 6, 4:30pmat KRAUSE STUDIO
SWIFT HALL, ROOM 103
1920 CAMPUS DR
EVANSTON, IL 60208
VISITING ARTIST TALK: JORDAN ANN CRAIG
In partnership with the Block Museum of Art, ATP welcomes Jordan Ann Craig as part of the winter visiting artist series. In this exhibition keynote, Craig will be in conversation with poet m.s. RedCherries.
Craig is a Northern Cheyenne artist living and working in Pojoaque Valley, New Mexico. She grew up in the San Francisco Bay Area, and received her B.A. from Dartmouth College. In 2017, Jordan was awarded the H. Allen Brooks Traveling Fellowship as well as the Eric and Barbara Dobkin Fellowship at the School for Advanced Research SAR). In 2019, Jordan was awarded artist residencies at the Institute for American Indian Arts (IAIA) and the Roswell Artist-in-Residence (RAiR) Program. Her work is shown nationally and internationally. Currently, Jordan is painting in Northern New Mexico.
DATES & LOCATIONS,
Wednesday, February 26, 6:00pmat BLOCK MUSEUM
PICK LAUDATI AUDITORIUM
50 ARTS CIRCLE DRIVE
EVANSTON IL 60208
ATP is delighted to welcome Carmen Neely as part of the winter visiting artist series.
Neely (b. 1987 in Charlotte, North Carolina; lives and works in Chicago) trades in semantics. For Neely, the difference between two types of line is not so much a precious commitment to formal queries that lead nowhere outside of the canvas; rather these marks are an earnest stab at solving real problems in expressing one’s own history and the histories that are passed through us by the act of mark making.
Neely’s canvases are surfaces taut with conflict, line, color and language. The marks ricochet and collide off one another, their meanings always affected by their proximity to other gestures. In Neely’s paintings, memory, speech, and feeling are not necessarily linear or discrete expressions and experiences but are rather codependent on a series of contexts that produce, interrupt and re-form them over time.
Her paintings give a feeling of catharsis, bursting with colorful and calligraphic strokes on delicate and soft backgrounds. The tableaus propose the peace that comes through an ongoing process of renegotiation and reiteration. If each line holds expressions of identity, values, and memory passed through generations of family and friendships, Neely’s consistent modulation of gesture and color in her own vernacular suggest the mutability and evolution of these values over time and geography. The process is about intricacies of interpretation with the resulting works expressing a methodological approach to language that remains vulnerable to Neely’s own ongoing confrontation with selfhood.
Neely holds a Master’s in Fine Arts from the University of North Carolina at Greensboro and is included in the collections of The Milwaukee Art Museum, The University of North Carolina, and the Plattsburgh State Museum of Art. Neely is currently an adjunct professor at the School of the Art Institute of Chicago.
DATES & LOCATIONS,
Wednesday, January 22, 4:30pmat FORUM ROOM
KRESGE HALL ROOM 1515
1880 CAMPUS DRIVE
EVANSTON, IL 60208
