March 8 - April 28, 2013  |  Reception Friday, March 8, 6-9pm


Participating Artists: 

Terry Adkins, Blanche Bruce, Cecil McDonald, Jr., Alexandria Eregbu, Nyeema Morgan, Abbéy Odunlami, Kamau Patton, Cauleen Smith

Curated by Allison Glenn

Feedback is comprised of artwork, programs, and a public dinner that engage with the concept of “feedback” as a mechanism for collaboration and exchange. The exhibition begins in the first floor exhibition space and reverberates into the Washington Park community in the form of public art and performance. 

The first echo is Cauleen Smith’s Park Interiors: 17 Possible Directions, silkscreened wallpaper that she will adhere the exterior of buildings from 118-132 E. Garfield Boulevard.  Smith will realize an iteration of this project in the interior of the Incubator gallery space and concurrently at the Hyde Park Art Center. 

Another vibration occurs with the work of Abbéy Odunlami. With Situation #5, Odunlami orchestrates a public potluck that will invite passersby to sit down and engage in a shared experience of eating.

Nyeema Morgan will present a selection from Forty-Seven Easy Poundcakes Like grandma Used To Make, which are a series of drawings of “easy poundcake recipes” that were created through a formulaic mapping of forty-seven different recipes the artist sourced online. 

Cecil McDonald, Jr.’s Black Bottom Boulevard is a series of pop-up dance parties will be staged in the interior of the gallery space. McDonald will invite a dancer to perform for approximately 30 minutes for a crowd that will assemble on the sidewalk but will not be allowed access into the gallery space. The expectation is that visitors and passerby will be surprised, entertained, and ultimately inspired by the spectacle of moving bodies in the public square. The viewing situation will be compounded by McDonald’s documentation of the event and supported with a song that viewers can access with a cell phone. 

Alexandria Eregbu's Ironing Out the Kinks is a durational endurance performance that complicates the relationship between the Black female figure and the patriarchal gaze. The piece examines this relationship through the constructed lens of ideal beauty, domesticity, and Black hair identity. The phrase “ironing out the kinks” literally refers to the performer’s gestures: hot ironing her own curly locks, and metaphorically redirects the audience’s attention to an introspective critique of gender, race, and identity roles within American culture.

Under the auspices of the Lone Wolf Recital Corps and at the behest of the Sacred Order of Twilight Brothers, Terry Adkins, Kamau Patton, and Blanche Bruce engage in an offering of Amun (Unseen Legends), an immersive improvisational experience in sound and light. In an orchestrated collision of electronics, percussion, woodwinds and color projection, the artists will explore passages through mercurial windows of appearance and invisibility.

Program Schedule

Lone Wolf Recital Corps 
Amun (Unseen Legends)

Saturday, March 2, 7 pm–9:30 pm

Alexandria Eregbu
Ironing Out the Kinks

Friday, March 8, 5 pm–5:30 pm

Abbéy Odunlami
Situation #5

Friday, April 12, 5 pm–9 pm

Cecil McDonald, Jr. 
Black Bottom Boulevard

Friday, April 26, 12:30 pm–1 pm

Artist Bios

Terry Adkins is an interdisciplinary artist, musician and cultu- ral practitioner engaged in an ongoing quest to reinsert the legacies of unheralded immortal figures to their rightful place within the panorama of history. Under the auspices of the Lone Wolf Recital Corps, he stages emblematic installation- based experiences that utilize a variety ofreal time and static media. Adkins has exhibited and performed widely since 1982: The 2012 Paris Triennale, New Museum New York, American Academy in Rome, Menil Collection Houston, ICA London, Arti et Amicitiae Amsterdam, Whitney Museum of American Art, Studio Museum in Harlem, Rote Fabrik Zurich, ICA Philadelphia, Brooklyn Museum of Art, MOMA PS1, New World Symphony Miami and Sculpture Center New York, among others. He is a recipient of the Jacob H. Lazarus Rome Prize, and Fellowships from USA Artists (James Baldwin Fellow), The Joan Mitchell Foundation, The National Endowment for the Arts and the New York Foundation for the Arts. Adkins is a Professor of Fine Arts in the School of Design at the University of Pennsylvania. 

Abbéy Odunlami is a Nigerian-American filmmaker and cultural worker, living and working in Chicago, Detroit & Switzerland. He did his undergraduate work at Eastern Michigan University in Electronic Media & Film Studies w/ a minor in Theatre Comprehension. In the past few years he's focused on cultural production and worked as a curator, and in programming, coordinating and management for Sundance, Telluride film festival, Doha-Tribeca International film festival, and the Chicago International film festival. He's currently perusing two Masters degrees at the School of the Art Institute Chicago in Art Education and the European Graduate School in Saas-Fee, Switzerland in Conflict Transformation & Peacebuilding. His current trend as a maker is to focus on creating livable "situations" as a means of producing ephemeral material that's exhibit-able.  

Blanche Bruce is a Washington, DC-based interdisciplinary ar- tist, playwright, essayist and musician. A vigilant torchbearer of the 1960s avant-garde and of the anonymous tradition, he shuns the infamy of singular authorship in favor of visitant collabo- rative experiences. These events often involve happening constellations of sound, performance, video, photography, sculpture, and language. In addition to members of the Sacred Order of Twilight Brothers, his league of international associates includes Steffani Jemison, George Lewis, Aldert Mantje of Maat, Jemeel Moondoc, Luca Nostri, Lorna Simpson, Wael Shawky, and Carrie Mae Weems, among others.

Alexandria Eregbu is a Chicago-based artist working in performan- ce and fiber material practices. Her work investi- gates social identity through exploration of the body, specifically the motif of hypervisibility as it relates to the Black female figure. Eregbu is interested in the intersection between invisibility and visibility, and she works to re-present and problematize tropes of identity that intertwine themselves in and out of the history of repre- sentation. She often highlights the spectacle and spectacular stereotypes and traits that exist amongst Black female personas. Using public performance as a strategic mode for making and her body as a primary source for material, she interrogates the discourse of visual literacy and popular representation.

Cecil McDonald Jr. was born on the South side of Chicago where an appreciation of fashion and music were encouraged by a creative mother and later by a burgeoning DJ culture, House music and the dance club scene. It was these influences that led McDonald to study fashion and merchandising at Columbia College Chicago where he received a Bachelor of Arts degree. In his last year of study he discovered the camera and its creative capabilities and capacity to expand his artistic vision. He continued his studies at Columbia College and received a Master of Fine Arts in Photography in 2006. McDonald is a 2013 Artist-in-Residence at the Arts Incubator in Washington Park.

Nyeema Morgan received her BFA from the Cooper Union School of Art, (NY) in 2000, and MFA from the California College of the Arts in San Francisco, California. She attended the Skowhegan School of Painting and Sculpture and has been a resident artist of Abrons Art Center's AIRspace program and Aljira: A Center for Contemporary Art's Emerge 10 program. Her work has been exhibited at Art in General, New York; Galerie Jeanroch Dard, Paris; Romer Young Gallery, San Francisco; Abrons Art Center, New York; Aljira: A Center for Contemporary Art, Newark, NJ; Artspace, New Haven, CT, Bracknell Gallery/ South Hill Park Arts Centre, Bracknell, UK and included in the 2012 New York Photo Festival. 

Kamau Patton is an interdisciplinary artist based in New York. His work issues from an ongoing involvement with the generative intersection of sound, light and electronics. Patton has exhibited his work in solo exhibitions at the Yerba Buena Center for the Arts, Queens Nails Annex in San Francisco, Machine Project in Los Angeles and Tilton Gallery in New York. He has worked collaboratively on artists’ projects at MoMA in New York and the Los Angeles County Museum of Art. Patton was a 2010-11 artist-in-residence at The Studio Museum in Harlem. His work was shown at the San Fran- cisco Museum of Modern Art in the fall of 2011 as part of the 2010 SECA Art Award exhibition and in 2012 as part of the Pacific Standard Time Performance and Public Art Festival. He received his MFA from Stanford University in 2007 and is a graduate of the University of Pennsylvania with a degree in Sociology.

Cauleen Smith is a filmmaker whose work reflects upon the everyday possibilities of the black imagination. Smith received a BA from San Francisco State University and a MFA from UCLA’s School of Theater-Television-Film.  A prominent voice in Chicago’s artist landscape, Smith presented simultaneous exhibitions at the Museum of Contemporary Art Chicago and threewalls in 2012. She has received grants from the Film Arts Foundation, Rockefeller Foundation, and Creative Capital. Recent awards include “Outstanding Artists” by the National Alliance for Media Arts and Culture and “Someone to Watch Award” from the Independent Spirit Awards. Her art works have been exhibited at The Kitchen, Yerba Buena Center for the Arts, LA County Museum of Art, Museum of Contemporary Art Los Angeles, Nelson Atkins Museum of Art, as well as international and domestic festivals. She was an resident artist at the Black Metropolis Research Consortium and the Experimental Sound Studio and was on faculty at the Skowhegan School of Painting and Sculpture.  Currently, Smith is a visiting artist at the School of the Art Institute of Chicago and an Arts + Public Life/Center for the Study of Race, Politics and Culture Artist-in-Residence at the University of Chicago.







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