I was recently invited to contribute an essay to a forthcoming publication on The Stockyard Institute’s (SI) 2010 exhibition “Nomadic Studio.” It was a treat to look back and think through their amazing show and its constellation of programming and events. It actually felt like stars had crossed when I met Jim Duignan, founder of SI, at one of Nomadic Studio’s many workshops– we got to talking, and the next thing I knew, I was reviewing the exhibition, and then curating work into it and organizing and moderating a panel discussion for it! Duignan’s enthusiasm is contagious, but his true strength lies in his ability to inspire. Hopefully the 499 words below capture some of that, and recount just a handful of the art and ideas Stockyard Institute has helped seed.
The Stockyard Institute (SI) is no stranger to life on the road. From its formation in Chicago’s Back of the Yards neighborhood in 1995 to its current perch amidst Lincoln Park’s leafy DePaul University campus, faculty member and SI founder Jim Duignan has made an artistic practice out of teaching, learning, making and giving things away for free. “Nomadic Studio,” organized by SI for DePaul Art Museum (in conjunction with the city’s year-long Studio Chicago initiative), sounds self-reflexive at first, but its true complexity lay in the fact that it was about both the why, and the how, of SI.
Duignan, along with Faiz Razi, Beth Wiedner, and a staggering number of additional collaborators too numerous to list– put together an audaciously elastic exhibition comprised of multiple, month-long thematic reincarnations. Featured works drifted across disciplines and blurred borders between singularity and replication, creativity and production, fine art and craft, and aesthetics and utilitarianism. It was cumulative, and expanded organically through the acquisition of new works over time. These works also talked to and cross-pollinated one another, shape shifting within each new context of the show’s constant fluctuations.
The handful of more traditional works in the exhibition confronted viewers with an exuberant pop sensibility and included large-scale painting, drawing, sculpture and a wall-sized mural. Some pieces were literally nomadic, given their mobility, such as the community garden housed within a canoe. Others were tools which required viewer participation to utilize, complete or deplete them, such as the low-watt radio station, the mobile book binding and screen printing stations, and the zine library.
Ultimately, SI managed to transform the galleries from a space into a place. This was done by literally replicating actual historic or existent Chicago places within the museum space, including the Rumpus Room’s basement recording studio, the Union Rock Yards’ stage, and A/V Aerie’s ballroom. It was also achieved by using the museum as a studio, as a place for experimentation, self-cannibalization and generative failure. Nomadic Studio was always humming– the palpable dynamism would have made most museums cringe with envy. Day and night, Duignan and his colleagues brought the outside in by hosting live musical performances, how-to workshops and open studios.
Beyond tangible artworks and transitory experiences, Nomadic Studio was also well documented. This led to the production of SITE, an online resource for educators that tracked the methodologies, development and implementation of the exhibition for future use and potential duplication. It also resulted in the text you’re reading in the publication you’re holding in your hand.
From the beginning, SI’s students have also been their teachers. Through a marriage of art and politics, they have acted transparently, embraced inclusivity, and stayed true to their belief that there’s plenty to go around. Above all, they appreciate a good spectacle, and this has been their trademark maneuver for reeling us in. The deal is sealed however, as soon as we realize that, through sheer force of will, they have the power to transform the ideal into the real.
All images courtesy of Stockyard Institute.
It is difficult then to delve into the past and exhume whole passages of injustice, especially when those passages operate inside of a system one believes to be good. In doing so, one must discuss the significance of trauma, peel back old wounds and attempt in some way to make peace. Or perhaps it isn’t about making peace at all. Perhaps it is instead about admitting and honoring discomfort, frustration and unhappiness, for while it is horrific to admit that there are cracks in the systems we employ, it is worse to gloss over or deny them. The Chicago Torture Justice Memorials Project (CTJM) addresses these issues directly, engaging a local history of police brutality to create a platform for public monuments and discourse.
Rather than cover up those horrific moments, CTJM seeks to uncover and air out the darker edges of our past and present, pulling them into focus with the help of survivors, artists, activists, community organizers and lawyers. Together, they invited proposals “for speculative ways to memorialize the torture cases,” in an attempt “to honor the individuals, families, and communities affected by torture, as well as address the obstruction of justice that has occurred in the aftermath.” That call was issued in 2011 and asked for anything from “from architecture to haiku, website to mural, community organization to performance, bronze plaque to large-scale memorial.”
“Opening the Black Box: The Charge is Torture” is features 70 of those proposed monuments at SAIC’s Sullivan Galleries. The exhibit is named after a particular torture device (the “black box”) that was used by Officer John Burge to coerce confessions from 1972-1991. Burge is responsible for as many as 200 incidents of torture, many of which involved electrical charges that shocked prisoners. Although legal routes had granted some success, many of the case advocates (lawyers, victims and activists alike) felt that the law was unable to offer adequate retribution. They turned to art. “Opening the Black Box: The Charge is Torture” is one aspect of that process. It is open until December 21st.
Complementing the theme of that exhibit, the Sullivan Galleries are hosting two additional shows: Laurie Jo Reynold’s Tamms Year Ten Campaign Office,where Reynold’s has effectively installed a working office from which to advocate for the closing of Tamms: a “supermax” prison on the southern tip of Illinois. It opened in 2008, intended as a site for “super shock” treatment that would not extend beyond a year. Now, something like 1/3 of Tamm’s prisoners have been there, non-stop for a decade.”[Inmates] live in long-term isolation—no phone calls, no communal activity, no contact visits. They are fed through a slot in the door. Prisoners at Tamms only leave their cell to shower or exercise which they are allowed to do, depending on their behavioral level, from zero to 7 times per week. Exercise is solitary, in a concrete pen.” Reynolds and her collaborators (including former inmates and inmate family members) also work to connect inmates to the outside world in some way — including, for instance, taking photographs of certain objects at the prisoners’ request. Requests include “the Masonic temple in DC”, “what’s left where the Robert Taylor Homes used to be”, ”a heartsick clown with a feather pen”, “my mom in front of a mansion with money and a Hummer”, “Michelle Obama planting vegetables in White House garden”, “any Muslim Mosque or Moorish Science Temple in Chicago or Mecca or Africa”, and “fallen autumn leaves (which we do not have access to in the “concrete box” which is deemed a yard here)”. During their residency at the Sullivan Galleries, Tamms Year Ten continues their regime of activism while planning additional public programs.
Tirtza Even’s Preview: An Assembly from Natural Life (work-in-progress), which describes itself as “a feature-length documentary produced by SAIC faculty Tirtza Even alongside the legal efforts of the Law Offices of Deborah LaBelle. The work challenges the inequities in the juvenile justice system by telling the stories of several individuals sentenced to die in prison since youth. The project’s goal is to depict the experiences of these youths who receive the most severe sentences available for convicted adults—a sentence of ‘natural life’ or life without parole—against the contexts of social bias, neglect, apprehension, and alienation.”
It’s a tremendous line up with much to think about and discover and there are a few additional events on the horizon well worth checking out.
Saturday November 17 Claire Pentecost will facilitate a conversation around Photo Requests from Solitary. Men housed at Tamms supermax prison were able to request a photograph of anything in the world, real or imagined, and members of the public realized the pictures. Men formerly housed in Tamms, the family members of current inmates, and other special guests will be on hand to view the photos and respond to the project.
Thursday November 29 Kevin Coval, Darby Tillis, Achy Obejas, Gary Younge, Quraysh Ali Lansana, Krista Franklin and others present I AM A MEMORY: Chicago Writers Against Torture. This evening of readings and performances is dedicated to the survivors, their families, and their communities who endured unspeakable acts of torture at the hands of the Chicago Police.
Saturday December 15 brings the final program. A Film Festival Against Torture presents a daylong screening of three powerful films about torture, featuring discussions with the filmmakers: Peter Kuttner, Cyndi Moran, and Eric Scholl; Jackie Rivet-River and John Lyons; Ines Somer and Kathy Berger.
Work by Sarah and Joseph Belknap.
Chicago Artists’ Coalition is located at 217 N. Carpenter St. Reception Friday, 6-9pm.
Work by Ryan Chorbagian, Hao Ni, and Patrick McGuan.
Heaven Gallery is located at 1550 N. Milwaukee Ave. 2nd Fl. Reception Friday, 7-11pm.
Work by Andrew Holmquist, David Brandon Geeting, and Jade Walker.
LVL3 is located at 1542 N. Milwaukee Ave, 3rd Fl. Reception Saturday, 6-10pm.
Work by Claire Ashley
Terrain Exhibitions is located at 704 Highland Ave. Oak Park. Reception Sunday 12-4pm.
Curated by Dayton Castleman and Matthew Dupont, with work by John Airo, Kristen Althoff, Anna & Meredith, Nick Black, Lisa Brosig, Stephanie Burke and Jeriah Hildewine, Jessica Calek and Dan Streeting, Abby Christensen, Melissa Damasauskas, Kaleb Dean, Aaron Delehanty, Jim Duignan, Ben Fain, Karl Gesch, Aron Gent, Ricki Hill, Gabe Hoare, David Hooker, Hubbard Street Dance Chicago, Anais Maljan, John Medina, Thomas Moreno, Heather Mullins, Jake Myers, Catie Olson, Haynes Riley, Blake Russell, Chris Santiago, Rana Siegel, Charles Smith, Bert Stabler, Basia Toczydlowska, Emily Van Hoff, Johanna Wawro, and Jen Zito.
Co-Prosperity Sphere is located at 3219 S. Morgan St. Reception Saturday 6-11pm.
*The author has work in this exhibition
Four solid years of shows! Not one effing week missed! Duncan and Richard have yet to have a Beat-It style knife fight! Yes it is show #208. What, might you ask, do we have in store for show 208? Well I’ll tell you!
This week we are pleased to have Jim Duignan from the Stockyard Institute to talk about “The Cafeteria Sessions” program with The Multicultural Arts High School. The show opens with the students’ audio pieces. Next Duncan and Richard talk to Jim about the project, the Stockyard Institute, how we dragged him away from celebrating his wedding anniversary, and more!
From the Stockyard Institute’s website:
The Cafeteria Sessions
A series of lunch time recordings and radio workshops with adolescents on socially engaged artistic practice, utopian education and the future of Chicago. The Cafeteria Sessions will go on throughout the spring at the Multicultural Arts High School with Jim Duignan (S.I.), Ayana Contrares (vocalo) and Lavie Raven (University of Hip Hop).
This series culminated in a live radiocast from the Multicultural Arts High School on May 21, 2009. Read more