Chicago Artists Research Articles

Art for People's Sake: Artists and Community in Black Chicago, 1965-1975 by Rebecca Zorach

Art for People's Sake: Artists and Community in Black Chicago, 1965-1975 by Rebecca Zorach

Critical circles and regional reputations: the Chicago imagists and the politics of art world peripheries

Current research on artistic groups suggests the career benefits of being place-based. This article examines the Chicago Imagists—a group defined by local recognition in Chicago and limited national renown—to explain the limits of these benefits when actors’ interests within a local scene diverge. Studying critical discourse on the Imagists from the 1960s to 1980s, we explain how “critical circles,” tied to the interests of regional evaluators, mediate artistic reputations. During initial group formation, Chicago artists and critics shared the goal of developing a distinct local art. However, critics’ investment in defining the boundaries of a “Chicago” style to further their careers ultimately diverged from Imagists’ investment in mastering a broader “American” style to further theirs. Chicago critics’ ensuing debates about the parochial limits of the label—and New York critics’ framing of Imagist work as provincial—further came to organize the very regionalism Imagist artists hoped to evade. We argue that attending to the divergent interests in the cultural field within which collaborative circles operate expands understanding of how affordances of place shape artistic careers. This study has further implications for theorizing the interplay of impression management and strong program perspectives on cultural wealth.

O for a Muse of Fire

Essay| April 01 1996 O for a Muse of Fire: The Iconoclasm of Jonathan Williams and the Jargon Society Tom Patterson Tom Patterson Tom Patterson writes about contemporary art and other subjects from Winston-Salem, NC, and also works as an independent curator. He is the author of several books, including Reclamation Transformation: Three Self-Taught Chicago Artists (1994) and Not By Luck Self-Taught Artists in the American South (1993). Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1996) 23 (5): 8–12. https://doi.org/10.1525/aft.1996.23.5.8 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Tom Patterson; O for a Muse of Fire: The Iconoclasm of Jonathan Williams and the Jargon Society. Afterimage 1 April 1996; 23 (5): 8–12. doi: https://doi.org/10.1525/aft.1996.23.5.8 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search This content is only available via PDF. © 1996 by The Regents of the University of California1996 Article PDF first page preview Close Modal You do not currently have access to this content.

Leon Forrest, the AACM and The Legacy of the Chicago Renaissance

and high art traditions of European and African American culture. Like Gwendolyn Brooks whose life and work represent crucial links between the Chicago Renaissance and the generation of black Chicago artists who began working in the 1960s and 1970s Forrest and contemporaries such as Clarence Major draw much of their power from the juxtaposition of European American modernist and African American musical traditions.

Image Processing in Chicago Video Art, 1970-1980

T e significant role that Chicago artists played in the early development of video art has never been adequately documented. Many factors have contributed to the paucity of critical andjournalistic coverage, ranging from the lack of state-of-art technology reporting in Chicago to the indifference artists from this region have toward selfpromotion. Because these artists were able to find immediate institutional or commercial support for their experimentation with video synthesis and computer graphics, they have been relatively free from pressures to publicize themselves or market their work in conventional art contexts.

Stayin’ alive, by Alex Sweetman

Review| February 01 1979 Stayin’ alive, by Alex Sweetman Survivors by Alex SweetmanChicago Books/$10.00 (sb) Buzz Spector Buzz Spector Buzz Spector is the editor of White Walls, a Chicago artists and writers publication. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (1979) 6 (7): 16–17. https://doi.org/10.1525/aft.1979.6.7.16a Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Buzz Spector; Stayin’ alive, by Alex Sweetman. Afterimage 1 February 1979; 6 (7): 16–17. doi: https://doi.org/10.1525/aft.1979.6.7.16a Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentAfterimage Search This content is only available via PDF. © 1979 by The Regents of the University of California1979 Article PDF first page preview Close Modal You do not currently have access to this content.

Twenty-Third Annual Exhibition of Chicago Artists

Twenty-Third Annual Exhibition of Chicago Artists

Chicago Artists' Twenty-Second Annual Exhibition

Chicago Artists' Twenty-Second Annual Exhibition

Chicago Artists' Exhibition

Chicago Artists' Exhibition

Work of the Chicago Artists

Work of the Chicago Artists

Work of Chicago Artists

Work of Chicago Artists

Work of Chicago Artists

Work of Chicago Artists

The Chicago Artists' Exhibition

The Chicago Artists' Exhibition