Monday, October 27, 2008

lecture invite

i'm giving a lecture about my work tomorrow at the school of the art institute of chicago at 430pm. those outside the saic community are welcome, but i need an rsvp tomorrow by 4pm...just text me at 312.953.2885 so i can give your name to security.

280 s. columbus entrance
room 215

Sunday, October 26, 2008

Harold Arts residency week of programming starts tomorrow!

This year, the Harold Arts residency week of programming is called Harvest, a week-long showcase of art works and musical efforts of 2008 Harold Arts Residents.

October 27th - November 1st

quick glimpse of this upcoming week:
MON 10/27: improvisational music @ Elastic
WED 10/29: electronic music @ Sonotheque
THURS 10/30: You Rule Me @ Heaven Gallery
FRI 10/31: I Know What You Did Last Summer @ The Co-Prosperity Sphere
SAT 11/1: screenings and performances @ Heaven Gallery

See below for a detailed schedule of events.
What is Harold???

At the Harold Arts Residency artists and musicians collaborate on new projects and build upon their own bodies of work. Harvest unites the efforts of our 2008 residents through exhibitions and concerts. Harvest also marks the release of our third compilation album aptly titled Harold 2008 and the debut of HARQ, our new quarterly publication.
more information @

details of Harvest programming for this week below:

Monday, October 27th
9pm, donation
Elastic Arts Foundation
2830 N. Milwaukee Ave, 2nd floor

Musical Performances by:
Brinsk (
Adam Dotson euphonium Aryeh Kobrinsky bass Jason Nazary drums
Evan Smith tenor saxophone Jacob Wick trumpet


tristan perich (1-bit electronics)

Wednesday, October 29th
9pm, $7
1444 W. Chicago Ave

Lesley Flanigan (
TV Pow (
Tristan Perich (

kellyallen2 by harold arts.
Kelly Allen Penguin Totem

Thursday, October 30th

You Rule Me closing
Heaven Gallery
1550 N. Milwaukee Ave

Performances by:
Margaret Taylor
Doug Rosenberg
Tristan Perich and Ben Boye
Melissa Damasauskas

Art work by:
Kelly Allen
Lucas Blair
Scott Cowan
Melissa Damasauskas
Christa Donner
Rob Duarte
Grant Ernhart
Maggie Haas
Michael Hunter
Katy Keefe and Frank Van Duerm
Thomas Macker
Todd Mattei
Mollie McKinley
Tristan Perich and Kunal Gupta
Montgomery Perry Smith
Robert Snowden
Margaret Taylor
Andreas Warisz
Sarah Beth Woods
Nicholas Wylie

photograph by Scott Cowan

Friday, October 31st

I know What You Did Last Summer: The 2008 Residency Show opening
6pm-6am, $6
Co-Prosperity Sphere
3219-21 S. Morgan St
Saturdays 12-5 or by appointment (

Performances by:

Slow Horse (
Arctic Circle (
Lesley Flanigan (

Featuring new works by:

Kelly Allen
Melina Ausikaitis
Scott Cowan
Melissa Damasauskas
Ben Driggs
Rob Duarte
Natalia Duncan
Grant Ernhart
Gabriel Garcia
Aron Gent
Regan Golden-McNerney
Allison Grant
Maggie Haas
Michael Hunter
Katy Keefe
Jason Lazarus
Jeremy Lundquist
Thomas Macker
Mollie McKinley
Brian McNearney
David Moré
Adam Oestreicher
Tristan Perich
Lucas Blair
Montgomery Perry Smith
Greg Stimac
Margaret Taylor
Frank Van Duerm
Leslie Vega
Jacob Wick
Sarah Beth Woods

costume contest with celebrity judges
haunted labrynth

newspaper by harold arts.
photograph by Alison Grant

Saturday, November 1st
7pm, donation
Heaven Gallery
1550 N. Milwaukee Ave

Video works and performances by:

Ben Driggs
Thomas Macker and Natalia Duncan
Marc Riordan
Frank Van Duerm
Nicholas Wylie

Thank you for your continued support. Hope to see you there!

Tuesday, October 21, 2008


the meaning of life is that it ends



Saturday, October 18, 2008

will steacy

Will Steacy in hopes to raise money to fund an apartment move is offering a special Limited Edition print sale on his blog


Will is being forced out of his apartment due to a $600 a month rent hike which he can not afford and he needs your support. The prints are ridiculously cheap and have been selling quickly but there are prints still available in all the editions, so dont pass up on a great opportunity.

Monday, October 13, 2008

on the road

Review: Off the Beaten Road/A+D Gallery


In this Kerouac-inspired show, artists respond to, and push the boundaries of, the travel narrative. In a cohesive mix of audio, photography, video and paintings, several artists offer their interpretations of Jack Kerouac’s influential work, “On The Road.” The original manuscript, a 120-foot typewritten scroll, can be viewed at Columbia College. Photographers Greg Stimac and Jason Lazarus provide immediate accessibility with their work, taking direct influence from the novel. Stimac’s series “Bottle of Piss” represents Kerouac’s method of relieving himself while traveling. Stimac, a photographer who takes to the road to complete portraits of Americana, states, “My car at times becomes my studio.” Similarly, Lazarus’ “Dead Bug” presents the visual through a windshield that any traveler can identify with. The mixed-media art provided by Jeff Gabel, Dylan Strzynski, and Diana Guerrero-Macia offer a less direct connection to the novel, but tie in major themes of narrative and the process of journey. Strzynski’s mixed-media paintings are full of detail and color. Gabel’s series of sketches are rough, but designed as self-contained narratives that read like diary entries. Guerrero-Macia’s use of found objects creates a new perspective on the expendable. Selections from The Third Coast International Audio Festival thoroughly round out the exhibit with narratives that are beautifully produced, episodic, intriguing and, at times, funny. The recorded conversations, titled “Julie and the Amtrak God” remind the listener that a journey can be personal, but also accessible. Kerouac would be proud. (Shama Dardai)

Off The Beaten Road shows at A + D Gallery, 619 S. Wabash, through November 8.


big thanks to shane who came in and spoke to my sequence, series, and structure class at SAIC...his work is distinctive, romantic, performative, and some pieces even make me swoon.

also, great quote from a christian boltanski video interview we watched today:

'we experience two when we die, and one when someone picks up our picture and doesn't know who we are'

Saturday, October 11, 2008

The Human Animal Project

artist/curator friend from Harold Residency, Paul Roux (.com), opened his curated show recently...I have 4 pieces in the show on the political side...the oprah memorial pic, vicks apology note, beautiful mogadishu, and the messaged palestinian wall...more below:

The Human Animal Project

A Group Exhibition of 2-D and Time-Based Works Curated by Paul Roux

October 7 - November 4, 2008
BOSTON (September 22, 2008) — Simmons College presents "The Human Animal Project," a group show of 2-D and time-based works by 14 artists from New England, New York, Chicago and South Africa, Oct. 7-Nov. 4, at the Simmons College Trustman Art Gallery, fourth floor, Main College Building, 300 The Fenway, in Boston.

There will be a reception featuring performances by Dera Leighton Collier and Alice Vogler on Thursday, Oct. 9, from 5:00-6:30 p.m. The exhibit and reception are free and open to the public.

Paul Roux was invited to curate this exhibition for the Trustman Art Gallery after Gallery Director Barbara O'Brien viewed "Mediating the Mediated Gaze," an exhibition that Roux curated and presented at the Museum of Fine Arts, Boston in 2007.

"Creating a group exhibition is a special challenge for a curator. I admired the range of images and ideas that Paul could pull together under a large theme. He brings to Simmons College a different cultural and aesthetic viewpoint than my own, which can only enrich the dialogue on our campus. Connecting the arts to the world of larger ideas is a goal that both Paul and I have in common and it suits perfectly the Simmons community," said O'Brien.

Roux received a B.A. from the University of Cape Town, South Africa, and completed studies in painting and video production at the School of the Museum of Fine Arts, Boston in 2007. Both paintings and video works including "An Apology to the Animal World," by Roux will be included in "The Human Animal Project."

Artists featured in "The Human Animal Project" include Brian Burkhardt, Boston; Dera Leighton Collier, Los Angeles; Araminta De Clermont, South Africa; Jesse Jagtiani, Boston; Faith Johnson, Boston; Hiroko Kikuchi, Boston; Jason Lazarus, Chicago; Cathy McLaurin, Lawrence, MA; Paul Roux, Los Angeles and South Africa; Ruth Sacks and Mary Scherer, Chicago; Alice Vogler, Boston; Amy Wilson, New Jersey; and Nicholas Wylie, Chicago.

Thursday, October 09, 2008

upcoming show

i will have 'Inside Cabrini Green (before razing)' in this show that opens next week...

wtf is happening???!!!

NEW YORK - In a sign of the times, the National Debt Clock in New York City has run out of digits to record the growing figure.

As a short-term fix, the digital dollar sign on the billboard-style clock near Times Square has been switched to a figure — the "1" in $10 trillion. It's marking the federal government's current debt at about $10.2 trillion.

The Durst Organization says it plans to update the sign next year by adding two digits. That will make it capable of tracking debt up to a quadrillion dollars.

The late Manhattan real estate developer Seymour Durst put the sign up in 1989 to call attention to what was then a $2.7 trillion debt.

Tuesday, October 07, 2008

'Black is Black ain't" show at mentioned in artforum

AS EVER IN CHICAGO, there is no dearth of tragedy where racial politics are concerned: ongoing revelations about city hall’s involvement in covering up police torture of black suspects; a recent 18 percent increase in the homicide rate that disproportionately affects black youth; and the threat of further black disenfranchisement for the sake of the 2016 Olympic bid. For the past several months, however, conversations about race in the Black Metropolis, as elsewhere in the United States, have turned to Democratic presidential nominee Barack Obama. He too is a marked man, at once targeted for castration by Jesse Jackson and hailed by Ted Kennedy as a leader of messianic proportions. As I write, it seems inevitable that in the weeks to come, the hopes, epithets, and ire heaped upon him—be it in “celebrity” commercials or on “satirical” magazine covers—will only increase. Because for all of Obama’s best efforts to be reasonable, the schizoid discourse around his candidacy gives further legs to an old adage of Frantz Fanon’s: When blacks walk through the door, Reason walks out. (And, we might add, the palpable phantasms of race, sex, and violence that are the legacy of slavery swoop in to take its place.) For some folks, the responses to the Illinois senator’s exceptional rise have underscored the continuing grip of antiblack sentiment on the organizing structures of American life. For others, his nomination sums up a shift, however provisional and symbolic, in previously held attitudes toward race within the culture at large.

As New York Times critic Holland Cotter argued this past March in a reflection on the past few decades of African-American art seen through the lens of Obama’s “color-blind, or color-embracing” dream, the art world is also of several minds. Race has become a productive if persistently problematic subject for artists of various inclinations, raising questions that come thick and fast. What does blackness mean now, in the wake of multiculturalism? Are there particular formal vocabularies and stylistic antecedents that currently matter to its articulation in the visual field? Is it possible to make sense of the radically divergent discourses of race evoked by, say, Martin Puryear’s recent retrospective at the Museum of Modern Art in New York and the concurrent run of the late artist Jason Rhoades’s final installation, Black Pussy, 2006, at David Zwirner’s Chelsea gallery? Given the exhibition spaces from Watts to Warsaw that make some claim on, or at least some use of, black visual culture, how might we begin to analyze the competing investments that currently inform the imaging of blackness on either side of the color line? What is the critical purchase of any racial signifier in an age when a white politician from Tennessee spearheads a congressional apology for slavery and when Bill Cosby has made it clear that for many class has trumped race as the prime site of social schism?

A much-needed map of this uncertain terrain was on view this past summer right in Obama’s backyard. Borrowing its title from the famous sermon in the prologue to Ralph Ellison’s 1952 novel, Invisible Man, the exhibition “Black Is, Black Ain’t”—elegantly mounted at the Renaissance Society at the University of Chicago, and traveling to the Museum of Contemporary Art in Detroit next spring and to the H&R Block Artspace at the Kansas City Art Institute, Missouri, in the summer of 2009—is intended to survey, in the words of curator Hamza Walker, “a moment in which race is retained yet is simultaneously rejected.” To trace the contours of that moment, Walker called upon a multi-racial roster of twenty-seven artists, whose individual contributions are by turns sly, disturbing, melancholic, and humorous, sometimes all at once. They range from Andres Serrano’s Woman with Infant of 1996, a photograph that signifies on the role of black women in the nourishment of white children, to Sze Lin Pang’s Fétichito of 2006, a dark, lumpy mass decked out with charms, peacock feathers, and Afro picks for extra talismanic punch. The different histories of blackness and relations of power summoned up in each instance make clear that the works gathered in “Black Is, Black Ain’t” resist any singular program, thereby affirming the willingness of contemporary practitioners to imagine how what Fanon called “the fact of blackness” might open onto a wild array of aesthetic conceits. It was fitting, then, that in Chicago Glenn Ligon’s 2005 neon sculpture Warm Broad Glow graced the entrance to the gallery, for in its rendition of the words NEGRO SUNSHINE—culled from Gertrude Stein’s 1909 novella Melanctha—the work models a wry attitude toward the historicity of blackness as well as a complex imbrication of artistic discourse, racial politics, and cultural memory that “Black Is, Black Ain’t” makes its own.

Such an ambition for art is, of course, at least as old as Ellison’s text, though in this case we need not go back so far: The earliest work in the exhibition, a video of Shannon Jackson’s autocritical performance White Noises, 1993, gives us a clear date of departure. Not unlike several exhibitions from that moment which took up related thematics, such as “Black Male: Representations of Masculinity in Contemporary American Art” in New York in 1994, at the Whitney, and “Mirage: Enigmas of Race, Difference, and Desire” at the Institute of Contemporary Arts and Iniva in London in 1995, “Black Is, Black Ain’t” takes the ambivalent play of the sign as central to the visual articulation of race, perhaps the most intransigent of social constructions. In the “post-black” present, the game seems to have loosened up: For artists today, blackness is not only globally commodified and affectively charged, but also an always already deconstructed and culturally networked cipher, providing the basis for a lingua franca that anyone can mobilize, whether to “capsiz[e] the niggerati” (as in the title of Deborah Grant’s witty collages on view here) or “to think things you don’t want to” about black men, which, in a sense, is precisely what happens in Joanna Rytel’s thus-titled 2005 video, whose Swedish narrator appears caught up in the web of fantasies that structures her interracial relations.

The shifts within artistic discourse that have recently taken place are made clearer by comparing “Black Is, Black Ain’t” with two older works that were crucial to the 1990s redefinition of black identity and that took Ellison’s same words for their titles: Marlon Riggs’s semiautobiographical 1995 film and Isaac Julien’s 1992 essay, subtitled “Notes on De-Essentializing Black Identities.” Both works invoked the eponymous phrase to debunk stereotypes of black masculinity, to pointedly critique the homophobia of contemporary popular culture, and to carve out an expansive terrain for the imagining of queer African diasporic subjectivities. In Riggs’s film, embracing the diversity within blackness is cast as the only way to forward “our progress as a people.” In Walker’s exhibition, there is no such heartfelt sentiment, less faith in a communitarian ethos, and little overt figuration of queer subjectivity—though illicit difference still matters: Indeed, it seems to be taken for granted, or taken in another direction. Consider the kind of desiring gaze directed at a seated and retro-clad woman in Mickalene Thomas’s 2007 photograph Lovely Six Foota or the variations evident between thirteen street artists’ renderings of one woman in Virginia Nimarkoh’s Nubian Queen, 1999.

Click to enlarge

Mickalene Thomas, Lovely Six Foota, 2007, color photograph, 65 1⁄4 x 67 1⁄4".

Nimarkoh’s artistic strategy—the accumulation of images in order to emphasize the differential visual production of a single black subject—is also one of Walker’s key curatorial moves, perhaps most strikingly in the juxtaposition of two photographs centered around Emmett Till, a fourteen-year-old black Chicagoan on summer vacation in Mississippi who was brutally murdered by white racists in 1955, ostensibly for whistling at a white woman. The criminal investigation of this notorious case has sputtered along for a half century, but the photographs of Till’s disfigured body that circulated in Jet magazine not only spurred on the civil rights movement but also supplied a lasting image of racial violence in all of its caprice and ubiquity that has been internalized by countless black boys born after his death. In Till, 2004, Demetrius Oliver—black—at once reenacts and exorcises that image by capturing his own face slathered with chocolate frosting. Jason Lazarus—white—seems to say it all in the title of his photograph: Standing at the Grave of Emmett Till, Day of Exhumation, June 1, 2005 (Alsip, IL).

This pairing would appear—despite calls by some thinkers for African-American politics to move beyond black and white—to assert the relevance of the binary that continues to structure the racial imaginary. While the formal and affective differences that separate Lazarus’s work from Oliver’s might be partially attributed to the artists’ respective identities, in working through Till’s legacy, they each underline the ongoing necessity of artistic attempts to find a language capable of describing individual investments that acknowledge—without capitulating to—a racial endgame. This concern is particularly prominent in the exhibition’s video program, which models a host of possibilities for engagement. You might give in to what Rosalind Krauss long ago called video’s “aesthetics of narcissism,” repetitively confessing your white straight male obsession with “what a black man feels like,” as in Thomas Johnson’s 2004 piece of that name. You might follow Elizabeth Axtman’s lead in American Classics, 2005, performing a hilarious “re-speaking” of the words Hollywood cinema has put into the mouths of its “tragic mulattoes.” Or you could try Dave McKenzie’s tack, in Babel, 2000, using sign language to communicate your attempt at communicating, with a microphone in your mouth and (in the version on display here) its cord snaking around your throat.

For these practitioners, the issue is less, What does it mean to be black? and more, What can I make out of blackness? As their works attest, in “Black Is, Black Ain’t” the logic of race and the terms of recent artistic production are mutually undone, recasting the look of blackness, if not its enduring political, cultural, and ontological coordinates. The transatlantic slave trade, the commodification of black bodies, the persistence of racial stereotypes, the loss and failure of black leadership, the collapse of public housing: All of these topoi are figured here, in compelling works by Edgar Arceneaux, Terry Adkins, Paul D’Amato, Todd Gray, David Levinthal, Jerome Mosley, Carl Pope, Robert A. Pruitt, Randy Regier, Daniel Roth, and Hank Willis Thomas. Other realities that also matter to the evolving contours of race in America—music as a site of resistance, the black presence within suburban milieus, and the growing visibility of African immigrant populations, for example—have a more muted presence in the exhibition. This no doubt speaks to the near impossibility of canvassing the long reach of blackness, yet it also clarifies the thrust of the exhibition’s brilliantly orchestrated sight lines, such as the juxtaposition of Rodney McMillian’s sculpture Chair, 2003, and Jonathan Calm’s 2008 photographs of apartment buildings reflected in pools of water, which created a rhyming of the run-down and runoff that left race somewhere up in the air between them. As Walker’s loosely defined organizing categories—disfiguration, whiteness, stereotype, class, gendered performance, soul, history—indicate, “Black Is, Black Ain’t” brings forward those sites of institutional and ideological formation that are most reiterated, most legible, and thus, paradoxically, most readily made over into varied aesthetic forms that hold out the possibility that we might, to quote another Ellison text, “change the joke and slip the yoke.”

Numerous works in the exhibition pursue this time-tested strategy, though perhaps none more trenchantly than those of William Pope.L, who is represented by a set of eight flour-cone sculptures and twenty of his Skin Set Drawings, 2003–2006, which parody the tautology of racial reasoning with phrases such as BLACK PEOPLE ARE CROSSOVER. Most mesmerizing is his twelve-minute video titled A Negro Sleeps Beneath the Susquehanna (son version), 1998–2008. Playing the part of the eponymous Negro, Pope.L sits on a stool near a riverbank, his face immersed in a flour-covered table before he raises his head and begins to speak. It appears he has been having trouble sleeping. “I wish I could—dream stuff,” he goes on to remark, “like that guy—what’s his name? Martin— Luther—King . . . Fisher! I wish I could love something that much—I wish I could love something—But all I got—is the crawfish and the minnow. I wish I could love something that much, but—I’m too black—too naked.” After concluding his pronouncement, he throws a cracked mirror on his back and wanders into the river, presumably in a renewed attempt to sleep—a gesture that brings to mind another line from Ellison’s prologue to Invisible Man: “A hibernation is a covert preparation for a more overt action.”

Like Pope.L’s video piece, “Black Is, Black Ain’t” plumbs the possibilities for thinking with rather than beyond race—its figures, tropes, and trademark forms—possibilities that all too rarely emerge in the realm of politics proper. For if only as a free-floating trace unmoored from individual subjects, an index of the economies that continue to conflate persons and things, or the corroded linchpin of a modern metaphysics, blackness continues to tell us something about what T. J. Clark has termed the “true structure of dream-visualization” as well as the forms of despotism on which it relies—not to mention the terms in which it might be contested. Walker’s deft curating encourages us to wonder what we might make of blackness if we took it to be a social formation given over to the marginal, the object, the fugitive, or the socially dead. What would it mean to imagine a utopian future other than a postracial one? The challenge, here as elsewhere, remains how to hold on to what cultural historian Robin D. G. Kelley calls “freedom dreams,” which allow us to rethink the world from blackness up. For the time being, it seems that Obama is the closest we will get—and change, no matter how much you believe in it, is obviously worthwhile given the current regime—but he should not prevent us from having other dreams or even from making the most of a fitful sleep.

Huey Copeland is an assistant professor of art history at Northwestern University in Evanston, Il.
— Huey Copeland

Monday, October 06, 2008

Harold and Brieanne present

You Rule Me: a show of power

Heaven Gallery
1550 North Milwaukee, 2nd floor
Chicago Illinois 60622

Opening October 10th 7-10pm
Gallery talk Oct. 10th by Brieanne Hauger, 6pm
Closing October 30th 7-10pm
Performances Oct. 30th by Margaret Taylor and Doug Rosenberg

Who's in charge here?

That's the question I keep asking myself, and the question that spawned this exhibition. It seems extra timely now, as Congress is debating an economic bailout plan and the nation decides who should be our next leader.

The exhibition offers work that considers questions of authority and power. Initially inspired by the military operations of various factions of bugs residing on the Jeffers Tree Farm, the participating artists responded to my inquiry about their relationships to ruling powers, be they small intimate ones or larger hegemonic ones. The results are varied and textured—Christa Donner responded with drawings focusing on the body and health; Mollie McKinley's response involves a dialog with the supernatural; Tristan Perich and Kunal Gupta's Jelly project offers an alternative strategy to the way we interact with the web; Andreas Warisz's video installation centering around a Chicago Housing project is a rich exploration of the ways information can be disseminated; Melissa Damasauskas offers us a glimpse into a list that rules her; Todd Mattei's photos posit a need for a new deity. Also featuring: drawings by Kelly Allen, Nicholas Wylie, Sarah Beth Woods; photos by Grant Ernhart, Thomas Macker, Lucas Blair; sculpture by Michael Hunter, Scott Cowan, Montgomery Perry Smith and more.

There are rumblings that there might be a piano duel at the closing reception, as well as a performance by Margaret Taylor and music by Doug Rosenberg.

Don't miss it.

Organized by Brieanne Hauger with assistance from Harold Arts.

Work by:

Kelly Allen
Lucas Blair
Scott Cowan
Melissa Damasauskas
Christa Donner
Rob Duarte
Grant Ernhart
Maggie Haas
Michael Hunter
Katy Keefe and Frank Van Duerm
Thomas Macker
Todd Mattei
Mollie McKinley
Tristan Perich and Kunal Gupta
Montgomery Perry Smith
Robert Snowden
Margaret Taylor
Andreas Warisz
Sarah Beth Woods
Nicholas Wylie

Sunday, October 05, 2008

first peek of a new piece from the summer...

"The top of Anne Frank's chestnut tree, Amsterdam 2008" 50x60

here are some excerpts from the diary of Anne Frank where she mentions this tree, the top of which was her only connection to the outside world...

"Our chestnut tree is in full blossom. It is covered with leaves and is even more beautiful than last year..." - Anne Frank, 13 May 1944

"….from my favourite spot on the floor I look up at the blue sky and the bare chestnut tree on whose branches little raindrops shine, appearing like silver, and at the seagulls and other birds as they glide on the wind….as long as this exists, I thought, and I may live to see it, this sunshine, the cloudless sky, while this lasts I cannot be unhappy…." Anne Frank 23.2.44

'The two of us,' she wrote on Feb 23, 1944, referring to Peter and herself, 'looked out at the blue sky, the bare chestnut tree glistening with dew, the seagulls and other birds glinting with silver as they swooped through the air, and we were so moved and entranced that we couldn't speak.'

Thursday, October 02, 2008

this friday

above: on the road scroll

Event date: Friday Oct 3rd, 2008

Opening reception for Off the Beaten Road
5-8pm, with live drawing/ installation by NYC based Jeff Gabel

Off the Beaten Road
Curated by Julianna Cuevas and Megan Ross

Off the Beaten Road presents a 21st Century examination of the themes of
Jack Kerouac's seminal novel, "On the Road." Through sound, installation,
performance, video and fine art, Off the Beaten Road will take the
audience on a journey through stories both personal and public, mundane
and sublime. Artists include Jeff Gabel, Diana Guerrero-Macia, Industry
of the Ordinary, Jason Lazarus, Greg Stimac, Dylan Strzynski, and
selections from Third Coast International Audio Festival.

This exhibition is a part of the Columbia College Chicago wide
celebration of the Beats, featuring the original scroll of "On the Road"

A+D Gallery
619 S. Wabash
Chicago, IL 60605

October 16, 5:30 - 8 pm:
Talk the Walk, a curatorial tour of Columbia College Chicago's gallery spaces. In conjunction with Chicago Artists Month. Featuring Diana Guerrero-Macia, Greg Stimac, and Jason Lazarus.