Initially in our collaboration we focused on two things. First was how we worked together—establishing a baseline of communication and process. The second was on generating material—creating a palette in common.
As cities and communities make plans for economic development and poverty alleviation in the aftermath of the Great Recession, there is growing interest in how public and private investments in the arts and cultural initiatives can develop human capital, promote economic development, and create vibrant communities, especially in low-wealth areas.
TimeLine Theatre Company has a problem: more people want to see their productions than they can accommodate in their current venue. While no one's complaining, it raises a lot of serious questions. How does one continue to grow when space is limited?
Artists and curators spend a great deal of time obsessing over the various relationships between the artwork, the audience, and the artist. They mull over questions like: Does the exhibition enhance or diminish the meaning of the artwork?
How and why was Audience Architects conceived? Who does it reach?
Audience Architects (AA) is a dance service organization whose mission is to build new and broader audiences for Chicago-area dance
Founded in 2010, Harvest Chicago Contemporary Dance Festival is an annual weekend of performance that celebrates the work of practicing contemporary dance artists and companies. CAR Dance Researcher Meida McNeal spoke with producers Nicole Gifford and Melissa Mallinson about the origins of the festival
If you go the the theatre much in Chicago, there's a good chance you've experienced the compositions and sound designs of Chistopher Kriz. Sound designers are often unacknowledged in theatre reviews, but if you pay attention to the design credits, you'll see Christopher's name all over the place.
Jeremy Lemos has established himself as a genuine creative force in both music-making, concert sound and recording over the last decade and more. He speaks with CAR Music Researcher Bill MacKay about the importance of doing quality work, making connections naturally, finding your voice as an artist, and following your instincts in pursuing your art practice.
The short answer of why I started Anobium, an independent publishing venture, is because I was anxious. Anxiety is a predecessor to boredom, and I wasn't ready to give up so easily as that. It was the fall of 2010.
Studio visits. Most curators would agree that the opportunity to engage with artists in their studios is a core reason we do what we do. I tend to arrive at them after a long day at work—I am often tired, hungry, and thinking a little too much about getting home and catching up with the Real Housewives.
“Writing is, for the most part, laborious and slow. The mind travels faster than the pen; consequently, writing becomes a question of learning to take occasional wing shots, bringing down the bird of thought as it flashes by.
My motivation for creating Expressions From Englewood came in part from the late griot, singer, and entertainer Oscar Brown, Jr. In 1982, Mr. Brown looked at Chicago's Cabrini-Green Housing Development, stepped inside, and saw what very few people, if any, knew existed: true talent just waiting to be explored.
In 2011, the critically acclaimed Silk Road Theatre Project reinvented itself as Silk Road Rising, expanding its mission to include the production of online “video dramas” along with its live theater performances. Artistic Director Jamil Khoury discusses the new mission, the reasons for the change, and the challenges of rebranding a successful theater company.
Sid Yiddish has been involved in the arts in Chicago and elsewhere for decades and is truly a modern day renaissance man. His involvement extends from music and poetry to performance art and painting, from theatre to film and so on.
I once overheard an artist say, “I’m going to die if I don’t get a review!” Although art criticism is not normally the type of journalism that places lives on the line, it can sometimes feel like total failure if, after so much labor and effort, an exhibition goes entirely unacknowledged.
In the middle of November 2009, my friend Leslie Perrine called me and asked what I was doing the following weekend. She and three friends had reserved a table at the Milwaukee Zine Fest, but one of them had bailed. Would I be interested in the vacant spot?
Dance Films Kino is a three-week project that I am presenting as an artist in residence at Hyde Park Art Center,
from March 4th to 25th, 2012. Over three weeks, I will present 30 works
of dance on film, as well as more than a dozen live music and dance
performances and literary readings.
The words “audit” and “IRS” can strike terror in the hearts of many Americans, individuals and business owners alike. It’s hard not to have visions of a monstrous institution filled with agents dressed like characters in a Dick Tracy comic, waiting in rooms with interrogation lamps and you with your box of crumpled receipts.
Henry Godinez, Associate Professor at Northwestern University, Resident Artistic Associate at the Goodman Theatre, and co-founder of Teatro Vista, has successfully negotiated several artistic collaborations over the course of his career.
I have gotten into a lot of trouble with fellow artists for giving my work away: it demeans their own work’s financial value, lowers expectations of payment and creates a cultural attitude that artists should work for free. Unfortunately, these arguments are all too valid.
