Locks’ exhibition operates as a split composition: the back gallery leans into layered, exploratory collage rooted in his teaching experience with Prison + Neighborhood Arts/Education Project at Stateville Correctional Center, while the front gallery delivers sharper, declarative works built around text and figuration.
The conversation frames this as a kind of A-side / B-side logic, with one space functioning like improvisational jazz and the other like a stripped-down, urgent punk track. Locks pushes back on easy analogies, but embraces the underlying idea: that both bodies of work are driven by different modes of attention and response.
Welcome to this week’s TOP V from EXPO CHICAGO at Navy Pier. Also, don’t forget to check out this week’s TOP V for a selection of provocative programs around Chicago this weekend. 1. GEARY Booth 412 Work by: Ethan Greenbaum and Sun You 2. Bockley Gallery Booth...
1. Ceninye Harris: Configurations of the Mutable Self April 9, 6-9PM Caira Moreira Projects: 2147 S Lumber St 508b 2. Brooke Raven: TAILGATER April 10, 6-9PM crosswalk: 1856 N Richmond St 3. ASMA: Dramatic Dinosaur April 11, 2-5PM Prairie: 2055 W Cermak...
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Guests: Annette LePique, Curtis Anthony Bozif, Pia Singh, Gareth Kaye
Recorded with the support of Columbia College Chicago – Colum.edu
What happens when you gather a room full of critics in a moment when criticism itself feels both endangered and newly alive? In this long-awaited return to the Chicago Critics Roundtable, Duncan sits down with a new multi-hyphenate crew of writers, curators, artists, and exhibition-makers to unpack the shifting role of criticism in a fractured “art ecology.”
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working with found imagery, particularly Victorian-era topographical prints and film stills, and how his recent shift into landscape collage emerged during lockdown while living on the coast. What begins as a search for calm quickly mutates into something more unstable, even apocalyptic, mirroring broader cultural and political upheavals.
