'Under the Knife' by Krista Franklin now available by Candor Arts

utk.jpg

Recently released in a handbound edition of 500 and a Special Edition of 25, Under the Knife by Krista Franklin is now available for purchase!

ON UNDER THE KNIFE:

Part memoir, part treatise, part collage and experiment, Krista Franklin’s Under the Knife is an excavation; a dig at the sites of the construction and demolition of the poet/artist’s selves.

Franklin plays fast and loose with fact at the crossroads of the history of her maternal line and her own in a ruptured conversation about inheritance and the generational traumas that blossom in the body. Under the Knife hiccups, cross-fades and stops midsentence as Franklin cuts through the illusion of memory, the pathologies of history, and the stories we tell ourselves about ourselves.

ABOUT THE AUTHOR:

Krista Franklin is a writer and visual artist whose work has appeared in PoetryThe OffingBlack CameraCopper NickelCallalooBOMB MagazineEncyclopediaVol. F-K and L-Z, and the anthologies The End of Chiraq: A Literary MixtapeThe BreakBeat Poets: New American Poetry in the Age of Hip-Hop and Gathering Ground. Her chapbook of poems, Study of Love & Black Body, was published by Willow Books in 2012.

Franklin is a frequent collaborator with fellow artists, most notably contributing her writing to performances, prints, audio recordings and film voiceovers for the projects of Cauleen Smith; the text of Ayanah Moor’s hand-painted signs for the performance “Untitled (OFFERINGS)”; and poetry for Erin Christovale and Amir George’s catalog Black Radical Imagination (Dominica). Her work is often linked with the cultural movements Afrofuturism and AfroSurrealism, and she was mentioned in Chicago magazine’s “The Next Generation of Chicago Afrofuturism.”

Her work has exhibited at Rootwork Gallery, Produce Model, The Obama Foundation Summit, The Studio Museum in Harlem, Chicago Cultural Center, The Cornell Fine Arts Museum, The Columbia Museum of Art, National Museum of Mexican Art, and featured on 20th Century Fox’s Empire. She is a Cave Canem fellow who holds an MFA in Interdisciplinary Arts from Columbia College Chicago, and currently teaches Writing at the School of the Art Institute of Chicago.

Under the Knife
125.00

BY Krista Franklin

PUBLISHED BY CANDOR ARTS

Released: December 1, 2018.

[Please note that this book is entirely constructed by hand — during times of high order volume, your book’s ship date may be delayed.]

ISBN: 978-0-9968161-8-2

First Edition of 500.

8.5" x 11" x 2-1/8", 280 pages.

French-link handbound bookblocks coptic-stitched to clothbound hardcover colophon. Paper wrap cover foil stamped on front and spine. Printed on 5 different papers with Indigo 12000, RISO RZ 390U, and Letterpress.

Design by Matt Austin, April Sheridan, Aay Preston-Myint, and Hannah Batsel.

Letterpress by April Sheridan.

Handbinding, RISO printing, Foil stamping and casework by Candor Arts.

A Special Edition of this book comes in a custom clamshell box with an archival print of the artist’s work. Available here in an edition of 25.

Quantity:
Add To Cart
Under the Knife [Special Edition]
1,800.00
Quantity:
Add To Cart

Featured Project: Reap the Whirlwind by Hương Ngô by Candor Arts

 

Reap the Whirlwind

by Hương Ngô

 

huong_001.jpg

We recently got the opportunity to work with Hương Ngô on an edition of clamshell boxes encasing five volumes of books, each page printed and silkscreened, then handbound, and each cover blind debossed.

This edition of 8 was made in collaboration with Ty Deal of Delicious Design League, who silkscreened every page with thermochromic ink.


Reap the Whirlwind

This artist book serves as the anchor of the exhibition, Reap the Whirlwind, the solo exhibition of artist Hương Ngô just recently on view at Aspect/Ratio. The book is a collection of five handmade volumes with text excerpts from congaï novels that each narrate a different version of the logistical, ethical, and political aspects of the concubine system often practiced between Indochinese women and French men during the colonial period. Though appealing to a pulp fiction readership, each book offers a portrait of a character who is politicized against oppressive forces through her congaïship. Ngô has overprinted the collection with thermochromic ink, preventing the viewer from reading the text until it is touched and implicating them in this matrix of intimacies.

Hương Ngô

Hương Ngô is an interdisciplinary artist whose conceptual practice connects the personal and the political, giving material form to histories which have been rendered invisible and interrogating the ideological origins of their erasure. Having grown up as a refugee in the American South, Ngô creates work that reframes the hybrid, the imperfect, and the non-fluent as sites of survival and knowledge. She is a graduate of the University of North Carolina at Chapel Hill (BFA Fine Arts, 2001), School of the Art Institute of Chicago (MFA Art & Technology, 2004), and was a studio fellow at the Whitney Independent Study Program (2012). She was recently awarded the Fulbright U.S. Scholar Grant in Vietnam (2016) for her research, begun at the Archives Nationales d’Outre-Mer in France and recently presented at DePaul Art Museum (2017), that examines the colonial history of surveillance in Vietnam and the anti-colonial strategies of resistance vis-à-vis the activities of female organizers and liaisons.

Her work, which has been described as “deftly and defiantly decolonial” by New City and “what intersectional feminist art looks like” by the Chicago Tribune, has been exhibited at the MoMA (2018), MCA Chicago (2004, 2016, 2017), Para Site HK (2017), Nhà Sàn Collective (2016), the Queens Museum (2014), The Kitchen (2011, 2014), and the New Museum (2012) among others. She has been awarded the DCASE Individual Artist Program Grant (2017, 2018), the Illinois Arts Council (2018), Chicago Artists Coalition BOLT residency (2016-17), Rhizome Commission (2011), and has been in residency through the Camargo Foundation Core Program (2018), LATITUDE Chicago (2015), and SOMA Mexico (2014). She has taught at the MoMA, Pratt Institute, and Parsons The New School for Design and is currently Assistant Professor in Contemporary Practices at the School of the Art Institute of Chicago. 


Learn more about Hương Ngô: huongngo.com

Announcing: 'Cultura y Communidad' by Slow&Low: Chicago Lowrider Festival by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of Cultura y Communidad, a book compiled by co-founders Lauren M. Pacheco and Peter Kepha with co-organizer Edward 'Magic' Calderon of Slow&Low: Chicago Lowrider Festival

This book has been rescheduled for a Spring 2019 release

It will be produced in a hardcover clothbound edition of 200 copies. 

Peter Kepha and Lauren Pacheco, co-founders of  Slow&Low: Chicago Lowrider Festival

Peter Kepha and Lauren Pacheco, co-founders of Slow&Low: Chicago Lowrider Festival

ON Cultura y Communidad:

This publication is concerned with documenting the existence of a Midwestern Lowrider culture, stories and histories.  In partnership with Candor Arts, a retrospective monograph as presented by the Pilsen-based Slow&Low: Chicago Lowrider Festival that celebrates both identity and objects through visual and physical representations in order to forward the argument that the expression of identity is the telos of Lowrider art and culture.

The festival's co-founders Peter Kepha and Lauren M. Pacheco, along with a team of collaborative creatives and academics—Edward ‘Magic’ Calderon, Max Herman, Matt Austin, Dr. Ben Chappell—were 2018 Propeller Fund recipients.  Propeller Fund is jointly administered by Gallery 400 and Threewalls and funded through the generosity of the Andy Warhol Foundation for the Visual Arts.

In 2018, Lauren M. Pacheco received a research grant awarded by the National Association of Latino Arts and Cultures (NALAC) in support of documenting and celebrating collective creative practices and the artistic expression evident in Lowrider community and culture.  

In partnership with BOOMBOX, Chicago's first shipping container pop-up shops developed, designed and built by a woman owned team, Slow&Low will curate a week-long pop-up showcasing art and vintage objects as well as other curiosities from August 20th - August 27th at 725 West Randolph Street (corner Randolph and Halsted). This site is presented by Related Midwest, EQUINOX and LatentDesign. 

Pre-orders for this book will be available at this year's festival. 

Photo © Nick Lipton, from  Cultura y Communidad

Photo © Nick Lipton, from Cultura y Communidad

ABOUT Slow&Low: Chicago Lowrider Festival:

Slow&Low is a curated one-day outdoor street-based festival celebrating Lowrider culture—master craftsmen, innovative mechanics, custom pinstripers, muralists and other enthusiasts who contribute to the overall visual aesthetics of a thriving Midwestern sub-culture. Not to be confused with an auto show, this community-cultural event presents and explores notions of car culture as an authentic form of folk art in the public sphere—a way of celebrating beauty, self-expression and worth.

In 2017, over 5,000 people, young and old, walked a street filled with vintage and stylized automobiles and bicycles, danced to local deejay talent spinning hip hop, house, rockabilly and soul, and watched as cars hopped and cruised and were entertained by mariachis, folkloric dancers and a marching band.

Slow&Low: Chicago Lowrider Festival is co-founded by siblings—Peter Kepha and Lauren M. Pacheco. Both are third-generation Mexican-Americans born and raised in Brighton Park, a community on Chicago’s southwest side and proud Chicago Public School graduates. Their history runs deep in Chicago's communities having parents hailing from Pilsen and LeClaire Courts public housing in Archer Heights. 

Photo © Nick Lipton, from  Cultura y Communidad

Photo © Nick Lipton, from Cultura y Communidad


Celebrating Two Years of Books and a New Studio! by Candor Arts

We are excited to share the work made over the past two years of collaborations and welcome you to spend time with them, us, and celebrate a little bit!

Candor Arts is indeed growing older and a little bigger, as we have recently moved into a new studio! We will continue to provide our same publishing and production services at our new storefront address: 3306 W North Avenue, Chicago, IL 60647. 

Additionally, we are now able to offer regular open hours for you to come hang out with all of our past projects (as well as our inspiration library) every first Saturday of the month between 12 PM and 4 PM.

JOIN US FOR OUR ANNIVERSARY AND HOUSEWARMING PARTY!

SUNDAY, JULY 29TH, 2018

2 PM TO 8 PM

RSVP on Facebook

There will be snacks, drinks, and books. 

Announcing: 'Under the Knife' by Krista Franklin by Candor Arts

Candor Arts is thrilled to announce the forthcoming release of Under the Knife, a book authored by Chicago-based poet and artist Krista Franklin.

Due to release in Fall of 2018, this book will be produced in an edition of 500 copies.

Krista Franklin   in Martinique , photo ©  Alexandria Eregbu

Krista Franklin in Martinique, photo © Alexandria Eregbu

ON Under the Knife:

Part memoir, part treatise, part collage and experiment, Krista Franklin’s Under the Knife is an excavation; a dig at the sites of the construction and demolition of the poet/artist’s selves.

Franklin plays fast and loose with fact at the crossroads of the history of her maternal line and her own in a ruptured conversation about inheritance and the generational traumas that blossom in the body. Under the Knife hiccups, cross-fades and stops midsentence as Franklin cuts through the illusion of memory, the pathologies of history, and the stories we tell ourselves about ourselves.

© Krista Franklin, from  Under the Knife

© Krista Franklin, from Under the Knife

ABOUT The Author:

Krista Franklin is a writer and visual artist whose work has appeared in Poetry, The Offing, Black Camera, Copper Nickel, Callaloo, BOMB Magazine, Encyclopedia, Vol. F-K and L-Z, and the anthologies The End of Chiraq: A Literary Mixtape, The BreakBeat Poets: New American Poetry in the Age of Hip-Hop and Gathering Ground. Her chapbook of poems, Study of Love & Black Body, was published by Willow Books in 2012.

Franklin is a frequent collaborator with fellow artists, most notably contributing her writing to performances, prints, audio recordings and film voiceovers for the projects of Cauleen Smith; the text of Ayanah Moor’s hand-painted signs for the performance “Untitled (OFFERINGS)”; and poetry for Erin Christovale and Amir George’s catalog Black Radical Imagination (Dominica). Her work is often linked with the cultural movements Afrofuturism and AfroSurrealism, and she was mentioned in Chicago magazine’s “The Next Generation of Chicago Afrofuturism.”

Her work has exhibited at Rootwork Gallery, Produce Model, The Obama Foundation Summit, The Studio Museum in Harlem, Chicago Cultural Center, The Cornell Fine Arts Museum, The Columbia Museum of Art, National Museum of Mexican Art, and featured on 20th Century Fox’s Empire. She is a Cave Canem fellow who holds an MFA in Interdisciplinary Arts from Columbia College Chicago, and currently teaches Writing at the School of the Art Institute of Chicago.

© Krista Franklin, from Under the Knife


Recently in the studio: Barbara Jones-Hogu: RESIST, RELATE, UNITE with the DePaul Art Museum by Candor Arts

We recently had the privileged opportunity to work with Julie Rodrigues-Widholm and Mia Lopez of the DePaul Art Museum on the institution's most recent monograph Barbara Jones-Hogu: RESIST, RELATE, UNITE

Barbara Jones-Hogu was a central figure of the Black Arts Movement and a founding member of the African Commune of Bad Relevant Artists (AfriCOBRA). Throughout her career she worked in painting, printmaking, film, education, and has contributed to major projects including Chicago’s Wall of Respect mural. This was her first solo museum exhibition featuring works on paper including woodcuts, etchings, lithographs, and screenprints.

On the occasion of the exhibition Barbara Jones-Hogu: Resist, Relate, Unite, the museum published the first monograph on the artist’s work. The publication features texts by art historian Rebecca Zorach, Tate Modern Curator of International Art Zoe Whitley, and artist Faheem Majeed.

This book was published in an edition of 500. 

We designed and produced this publication with a heavy focus on honoring Barbara Jones-Hogu's skillful work and dedication to the medium of screenprinting.

In collaboration with Delicious Design League, the cover fabric was silkscreened with two colors, foil stamped once, and wrapped by hand in our studio. Lowitz and Sons printed the interior of the book and smythe-sewed the book blocks. All foil stamping and casebinding were done by hand in our studio. 

We recently co-published a small special edition with the DePaul Art Museum of 10 copies available in a blind-debossed custom clamshell box. It is now available in our shop. 

It is now available for purchase through our online shop:

Announcing: 'T by Trace' by Teens Re-Imagining Art, Community & Environment by Candor Arts

Candor Arts is thrilled to announce the release of T by TRACE, an art/cookbook authored collaboratively by participants in the TRACE (Teens Re-Imagining Art, Community & Environment) program at Hamilton Park in Chicago’s Englewood community. 

This book has been rescheduled for a Spring 2019 release

It will be produced in a handmade edition of 75 copies designed by the teens of the TRACE program, produced by Candor Arts.

Image:  TRACE Teens working on book design at Candor Arts.

Image: TRACE Teens working on book design at Candor Arts.

ABOUT T By TRACE:

Exploring the culinary and agrarian traditions embedded in Chicago’s southside, T by TRACE combines the family narratives of southside youth with profiles of Englewood gardeners, growers and environmental activists as a form of creative ethnography disrupting contemporary narratives of Chicago’s Black communities as inherently violent, disconnected and unresourced.

Notes on the above images: Graphic design image created by Dartony "Tiny" Wright in collaboration with artist Leah Gipson, a visiting artist for TRACE. The context of the design (according to Tiny) represents community bonding and ideas around food sustainability. 

The photo collages were made using the teens' family photographs to enforce the importance of family histories/narratives and shared identities. 

ABOUT TRACE: 

TRACE (Teens Re-Imagining Art, Community & Environment) is a civic leadership and community curatorial job training program of the Chicago Park District headquartered at Hamilton Park Cultural Center in the Englewood community.  Using the practice of Creative Activism, TRACE shows teens how to leverage the arts to engage, inspire and persist for positive change within ourselves and our communities.

During the spring of 2018, ten TRACE interns worked with teaching artists Concitta Cavin and Zakkiyyah Najeebah to conceptualize, research, produce and design what they envision as a celebration of the ways food and our relationship with the land has been and can be a balm for we descendants of The Great Migration searching for resiliency within the urban landscape.

As an extension of the teens exploration of environmental activism and food, TRACE also invited guest artist Leah Gipson to guide a textile workshop in which teens were encouraged to use designs and patterns as a means to communicate ideas that enforce their definitions of imagination, community, and shared identities. Exercising the importance of shared narratives and family, several of our teens submitted family photographs to activate questions regarding the Black family photo archive, informal archiving practices, and the overall concept of “family”.

 
CPD-Stacked-Logotype---Black.png
Trace Logo-03-BLK-NEW.png

Follow TRACE on Instagram: @teensreimaginin

 

Recently In the Studio: Green Zones with Jenny Kendler by Candor Arts

Recently, we've had the pleasure of working in collaboration with artist Jenny Kendler and The Natural Resources Defense Council (NRDC) on GREEN ZONES, a multi-faceted community project headed by Jenny Kendler aimed to share and protect the unique tropical dry forests found in Nosara, Costa Rica. The NRDC is an organization that works to safeguard the earth - its people, its plants and animals, and the natural systems on which all life depends.

Jenny Kendler on GREEN ZONES

As Artist in Residence with non-profit NRDC, I was asked to create a project inspired by this unique ecosystem. Generously supported by the Pacific Foundation, two research trips in the rainy season of 2015 and dry season of 2016 immersed me in this region’s globally rare tropical dry forests. Unlike the vanished jungles of nearby towns, these forests which are known colloquially as the Zonas Verdes or Green Zones, had been spared through lucky circumstance. Without the federal protection provided to the nearby Ostional Wildlife Reserve, a diligent community group called the Nosara Civic Association, has managed to defend these lands—and the old-growth trees and multitude of species they contain—from the pressures of development for 40 years.
To encourage more people to intimately experience these special forests, as a way to create understanding and care, myself and my collaborators organized a series of free walks led by mindfulness professionals and conservation biologists. During these walks, community members were asked to make a photograph—using their camera to re-sensitize rather than dull their vision. Alongside a poem written for the book by Dave Snyder, the community’s photographs were compiled into this handmade artist book, entitled GREEN ZONES: Moments of Wonder in the Forests of Nosara, co-designed and published by Matt Austin of Candor Arts.
Created in accordance with the underlying ethos of the project, these bilingual books were printed with an eco-friendly inking process on 100% post-consumer recycled paper, include hand debossed, foil-stamped and letterpressed elements—and were handbound in the Candor Arts studio in Chicago.

The book exists in 3 editions: a softcover, hardcover and clamshell collector's edition. 

Profits from the book support the Nosara Civic Association’s work to protect the Green Zones into the future for humans and non-humans alike.

The first edition of this book was produced in a paperback edition of 250 copies that were delivered to the Nosara Civic Association, the sales of which went entirely to supporting their efforts. 

4 x 7.25 x .5 in. - 160 pages


We also produced in hardcover edition of 50 copies that include letterpressed bookmarks printed by April Sheridan and translucent holographic foil stamped covers. This edition is available in our shop, half of the proceeds help support the Nosara Civic Association. 


Lastly, we produced a special collector's edition of 5 custom clamshell boxes that fit the hardcover artist book, a letterpressed card printed by April Sheridan, and a unique sculptural eyeglass piece by Jenny Kendler. This special edition is available in our shop, and half of the proceeds help support the Nosara Civic Association. 


Pre-Order: falling is the one thing i by Korde Arrington Tuttle by Candor Arts

falling is the one thing i by Korde Arrington Tuttle is now available for pre-order!

Please join us for the NYC private release event on the evening of May 31. 

To receive event details, please RSVP your party to info@candorarts.com

 

ON FALLING IS THE ONE THING I:

Placing haiku and photography in conversation with one another, falling is the one thing i is a cumulative, seventeen-syllable exercise in surrender; an active practice of yielding to physical, emotional, and psychological environments. Spanning 2015-2017, it is comprised of poems and images, ranging in subject from the follies of institutional oppression to love in the afterlife, through a black, queer intersectional lens. This collection is an intimate inquiry into the body, dreamscapes, and the aesthetic force of sidewalk stains.

ABOUT THE AUTHOR:

Korde Arrington Tuttle is a multi-disciplinary artist hailing from Charlotte, NC. With a primary focus in theatre and performance, his work has been developed and seen at the Obie Award-winning The Fire This Time Festival, The 24-Hour Plays: Nationals, the Obie Award-winning Harlem 9’s 48 Hours… in Harlem at The National Black Theatre, HomeBase Theatre Collective, The Movement Theater Company, Active Culture at JACK, The Each-Other Project, OnQ Productions, The New School’s 2015 AfroFuturism Conference, and The Tenth Magazine, in collaboration with the Leslie-Lohman Museum of Gay and Lesbian Art. Korde is a proud recipient of the Steinberg Playwriting Fellowship, and was selected a finalist for both the 2017 Alliance/Kendeda National Graduate Playwriting Contest and City Theatre National Award for Short Playwriting Contest. In 2016, his play clarity won the 41st Annual Samuel French Off-Off Broadway Festival, and will appear in Samuel French’s successive anthology. Korde’s plays + poetry have also been published by Harlem 9’s 48 Hours… in Harlem, The Fire This Time Festival, and The Tenth Magazine. Korde is a Middle Voice Theatre Company member at Rattlestick Playwright’s Theater and received his MFA in Playwriting at The New School.

LEARN MORE ABOUT KORDE AT HTTP://HEYKORDE.TUMBLR.COM/ 

FOLLOW HIS WORK ON INSTAGRAM VIA @HEYKORDE.


Announcing 'narrow distances' by Ka-Man Tse by Candor Arts

Candor Arts is thrilled to announce the release of narrow distances, a book of photographs by Brooklyn-based visual artist Ka-Man Tse. This monograph is due to release in July of 2018. 

Ka-ManTse_photographer_portrait_bio_medium.jpg

On Narrow Distances

My image-making begins from that tension between longing and belonging, place and placelessness. In narrow distances I am asking questions of home, identity, community, and subject-hood. What does it mean to look, who has the right to look, what does it mean to be seen? My photographs address a desire to negotiate multiple and diasporic identities and are made within the intersection of Asian and Pacific Islander (API) and LGBTQ communities, and made through a queer lens.

The photographs aim to establish a sense of possibility in the context of a contingent, post-colonial, pre-2047 Hong Kong in constant flux and transition. The book opens with images from the decommissioned airport, Kai Tak, and from those pictures, emerge the portraits.  Possibilities start with small gestures, clear or coded. The project places the protagonists within and against the landscape. The portraits center those who are often marginalized and invisibilized, taking care of Hong Kong, each other and their own communities they have built, occupying and queering space, time, and gesture. In the contested and contingent spaces in the home, in the public realm, occupying a space and a conversation is an act. My images take place in this potentiality of the in-between and the everyday. They are made out of a need to occupy the landscape, space, and frame; to establish a sense of personal space and agency where it is often contested and eroded, even within the spaces of the in-between, and of contingency, subtraction and redevelopment, a city is in transition; a body and one’s identity is in transition. Who can claim ownership, who can love or belong; who retains a memory, what does a future look like and who does it include?  Is an interregnum possible?

My process involves re-imagining, revisiting, collaboration and long-engagement. The portraits are made through conversations and interviews around personal histories, identity and place, visibility and community. Using mostly a view camera (with two sides per film holder), my photographs propose B-sides: queer narratives and obsessions. The images are built. In a culture and economic system where speed and efficiency are valued above all else, I deploy a 4x5 camera so we can be deliberate, breathe together, slow time together. I recast this world to see it re-imagined, with my protagonists, and kinfolk: both inherited and created.

Image © Ka-Man Tse from  narrow distances

Image © Ka-Man Tse from narrow distances

About Ka-Man Tse

Ka-Man Tse (b. Kowloon, Hong Kong) is a photographer, video artist and educator. She received an MFA from Yale University, and a BA from Bard College.  She has exhibited her work at the Lianzhou Foto Festival in Guangdong, China; Para Site in Hong Kong, the 2016 Hong Kong Contemporary Film Festival, and Videotage's Both Sides Now III – Final Frontiers in Hong Kong, Taipei, Shanghai, and the United Kingdom. U.S. shows include the Museum of Chinese in America in New York, NY, the Bronx Museum of the Arts; the Palm Springs Art Museum, Cornell University, Capricious Gallery, the Philadelphia Photo Arts Center, and the Eighth Veil in Los Angeles. She has mounted solo shows at Lumenvisum in Hong Kong, the Silver Eye Center for Photography in Pittsburgh, PA and the New York Public Library, Mulberry Street Branch. She was a SPARC Artist-in-Residence through the New York City Department of Cultural Affairs, and completed the Artist in the Marketplace Program through the Bronx Museum of Arts. She is the recipient of the 2014-2015 Robert Giard Fellowship, and a 2017-2018 Research Award from Yale University Fund for Lesbian and Gay Studies. Her photographs have appeared in Monocole, Papersafe Magazine, Newspaper, GR-09022017 published by Skreid in Oslo, Norway, The New York Times, The New Yorker, Capricious Magazine, O Magazine, Performa 07: Everywhere and All at Once, Salon, Huffington Post, Slate, Hyphen Magazine, Time Out New York, Time Out Hong Kong, and Ming Pao. Her work is currently on view in the group exhibition Queering Space at Alfred University. This spring her work be included in the forthcoming WMA Masters Exhibition, Transition, in Hong Kong. She is co-curating Daybreak: New Affirmations in Queer Photography at the Leslie-Lohman Museum with Matt Jensen, opening in June 2018. She currently teaches at Yale University and at Parsons School of Design.


Learn more about Ka-Man Tse

April 13 — Chicago reception for 'Anthology 2014-2016' by Tony Lewis by Candor Arts

Candor Arts is thrilled to announce the release of Anthology 2014-2016, a publication of poetry by Tony Lewis.

Please join us for a cocktail reception to celebrate the release of this publication:

April 13, 7-11 pm — 3217 S Archer Ave, Chicago, IL 60608

Tony2.jpeg

On Anthology 2014-2016

Anthology 2014-2016 is a collection of thirty-four poems written by Tony Lewis between 2014 and 2016, and was produced on the occasion of an exhibition Anthology 2014-2016, a corresponding group of thirty-four collages at the Hirshhorn Museum and Sculpture Garden in Washington, D.C. in the Spring of 2018. It also marks the conceptual completion of the collages that are themselves a collection of smaller text drawings culled from the pages of Calvin and Hobbes, a comic strip by Bill Watterson. Each collage was part of the writing process, and represents a tangible commitment to the words that make each poem. The publication is the liberation of original writing, and a personal commitment to understanding the relationship between drawing, collage, and writing.

Maybe.JPG

Anthology 2014-2016 is a 7"x9" softcover book of 40 pages staple-bound with risograph white ink covers. The edition of 500 comes in three color combinations. 

15.00
Color:
Quantity:
Add To Cart

About Tony Lewis

Tony Lewis (1986, L.A.), currently lives and works in Chicago. Solo exhibitions of his work have been recently held at the Shane Campbell Gallery, Chicago; Massimo de Carlo, London; Blum and Poe, Los Angeles; Museo Marino Marini, Florence; and Museum of Contemporary Art Cleveland. He has participated in recent group exhibitions at Boston University Art Galleries; Aspen Art Museum; HOME Manchester, UK; LAXART, Los Angeles; Studio Museum Harlem, New York, and Bowdoin College Museum of Art in Maine. He is the recipient of the 2017-2018 Ruth Ann and Nathan Perlmutter Artist-in-Residence Award at the Rose Art Museum at Brandeis University, where his work is on view in a site-specific project through June 2018, and his work is currently on view in the solo exhibition Anthology 2014-2016 at the Hirshhorn Museum and Sculpture Garden, Washington, DC.


Learn more about Tony Lewis

Featured Project: Pliant History by Barbara Ciurej and Lindsay Lochman by Candor Arts

 

Pliant History

by Barbara Ciurej and Lindsay Lochman

 

DSCF8445.jpg

We recently got the opportunity to work with Barbara Ciurej and Lindsay Lochman on a small handmade book edition of their work Pliant History, and wanted to talk more with them about this beautiful project.  

This edition of 10 includes interwoven vellum inkjet-printed sheets laid atop Piezo-printed portraits. The covers and spines are blind-debossed into an eggplant silk fabric. 

What was the origin or initial vision of the work?

Our culture is awash in the glorification of youth, but lacking in a visual vocabulary to express the power and inevitability of transformation over a lifetime. This became abundantly clear to us as we entered the invisible world of middle age.

In our practice, we reference art history, reanimating mythology and imagery to interpret the present. From 2001-08, during artist residencies at Ragdale Foundation, we began photographing older women, drawing from the art historical canon. We explored strategies which would infused authority and divinity back into depictions of aging. We focused on seismic shifts in art history — from early fertility figures, to ancient Greece and Rome, into the Renaissance — pivotal times when beliefs systems clashed and conjoined producing new ideas. We mined these moments to produce an extended body of work called All Things Are Always Changing.

What became the book Pliant History, was a segment of that work initially titled Dialogues with Michelangelo. We considered how power is structured by pairing images of Michelangelo’s sibyls and prophets from the Sistine Chapel ceiling with contemporary portraits of women “assuming the pose.” In contrast to these seers and storytellers who served to justify authority in the Renaissance, our figures present embodied knowledge without the signifiers of books and beards, robes and thrones. Juxtaposing contemporary and historic representation as a means to access the past, we evoke the fluid and dynamic nature of power.

Describe a little about your practice and how this piece fits into your work overall.

We have been collaborating on projects for over three decades using photography to address the confluence of history, myth and popular culture. We share the conceptual and the practical aspects of creating work. Projects are often long-term, revisiting the initial work, then creating new iterations.

Working on projects through time is like attending the same opera over a span of many years. You identify with the characters differently, seeing nuances and connections initially missed, finding deeper meaning.

Can you talk a bit about the design and how you came to deciding how this piece should exist?

We originally exhibited prints side by side, but the layering of histories, one upon the next, suggested contingent relationships rather than oppositional ones. The idea of printing Michelangelo’s images on fragile, semi-transparent vellums and overlaying them onto our images literally allowed the viewer to look through history. The concept of turning a page on history was metaphorically rich, making clear a book was the most appropriate form for this idea. The interplay of vellum image and underlying image was thrilling, suggesting temporality, hybridity, transformation, and evolution.  

We made a quick mockup with prints and vellum overlays and thus began a journey that took 4 more years and many meanderings.

Numerous dummy books with variations on binding a book with vellum interleaves were constructed. We researched and consulted with printers, bookmakers and publishers. After extensive testing, we chose paper, print method, text, design and layout to suggest the collision of Renaissance-era books with the present. Page size was determined by the ratios underpinning early illuminated manuscripts. Prints were made with carbon piezography inks on cotton rag paper to evoke the opulent materiality of Renaissance books and the sumptuous renderings Michelangelo’s paintings. Digitally simulated marbled endpapers line the cloth cover. An excerpt from Ovid’s Metamorphoses describing the certainty of change was added; a visual poem interspersed to alter page rhythm. The effect we wanted was a contemporary manuscript of change.

Finally, we landed at Candor Arts where every obstacle hindering completion was met with thoughtful suggestions, patience, and skill, making the book a thing of beauty.

We envision the 10 copies of the book in special collections as inter-history dialogue with emancipatory potential.

What is your next project?

An inadvertent swipe with the eraser tool in Photoshop led to a surprising iteration of this work. Now we are digitally collaging our images into Michelangelo’s figures, as we imagine a musical accompaniment.

Then we’ll be moving on to a cookbook, a critique of capitalism and the design of a fragrance.


Learn more about Barbara and Lindsay's work at:

http://www.ciurejlochmanphoto.com/

Candor Trust: Issue One | Victor Yañez-Lazcano by Candor Arts

We are thrilled to announce our first issue of the Candor Trust Editions:

today I thought of you (a songbook)

by Victor Yañez-Lazcano

DSCF7406.png

We invited Victor to have some fun and create anything he wanted in an afternoon of creative thinking/art-making, with the understanding that we could then translate his concepts into an editioned work that would be sent out to six long-time supporters of Candor Arts.

trust.png

Intended to be listened to over the course of 16 days, he put together a gift for these six people: a songbook of 16 videos, beginning with this one introducing the project below:

In an included letter written to the recipient, Victor writes:

This first gift idea, today I thought of you (a songbook), came to mind shortly after my Fall quarter studies ended at Stanford, where I am currently pursuing my MFA in studio arts. Over the last year and a half a good majority of my artwork has taken up sound as an integral component of my practice. As such, for this piece I thought it would be wonderful to create a sound book that asked you, the listener, to shift the way in which actively and intentionally engage with a book. Furthermore, given the its length in “pages,” I thought I would push against the desire to rush through and encourage to you pace yourself in your “reading” of this book. As you navigate through this seemingly silent book, I’d like to invite you to simply “read” along once per day at whatever time of day you’d like. But just one card per day, until the book has come to an end. Of course, whatever pace you decide to choose is totally fine with me. I’ll never really know and I’m okay with that. 

The piece is a small clamshell box, foil stamped on the cover with today I thought of you written in Victor's handwriting. Inside are two matching trays that hold a sewn booklet containing Victor's letter to the recipient and 16 cards with video links on them (a songbook), both of which are designed with a traditional loteria pattern. The blues were chosen to stay consistent with Victor's ongoing work: The Sky is Falling.

There are six in existence, available only through the Candor Trust Editions program. 

Candor Trust Editions is a unique special edition subscription program created to:

1. Express gratitude for those supporting our work with generous financial contributions.
2. Strengthen our internal efforts by dedicating this project's funds to supporting our staff.

Each Candor Trust contributor receives surprise shipments of unique special editions

several times throughout the year, at a frequency based on their subscription choice.


Learn More about Victor Yañez-Lazcano

Learn more about Candor Trust Editions

Subscribe to the Candor Trust Editions program

'In the Company of Black' Pre-order Sale Ending Soon by Candor Arts

Second Edition proof of  In the Company of Black  by Cecil McDonald, Jr. 

Second Edition proof of In the Company of Black by Cecil McDonald, Jr. 

The second edition of In the Company of Black by Cecil McDonald Jr. will debut at the end of this month. We want to announce that this is the last week that we will be offering our discounted pre-order price for this book. After February 14, the book will be $75. 

Here are some photographs that help capture the process of how we produce editions like this one:

Photographs and text are printed on a HP Indigo press (soy-based ink prints) and then smythe-sewn and glued by in Rockford, IL. 

Photographs and text are printed on a HP Indigo press (soy-based ink prints) and then smythe-sewn and glued by in Rockford, IL. 

Paper is very important to us, and these stocks are appropriately warm and gorgeous, well-fitting for Cecil McDonald, Jr.'s photographs, avery r. young's poems, and Tempestt Hazel's essay Adorning the Lost & Found

We work with Ty Deal at Delicious Design Co. to silkscreen the covers and match the ink color exactly to the interior yellow pages. 

We work with Ty Deal at Delicious Design Co. to silkscreen the covers and match the ink color exactly to the interior yellow pages. 

After the covers are inked, all casework and foil stamping is done in-house at Candor Arts. 

In the Company of Black [Second Edition]
75.00

BY CECIL MCDONALD, JR. 

Foreword by Tempestt Hazel

Poems by avery r. young

PUBLISHED BY CANDOR ARTS

ISBN 978-0-9968161-2-0

Released in February 2018.

9" x 11.75" x .625", 144 pages, photographs and text printed on a HP Indigo press (digital offset oil-based ink prints).*

Fabric covers, silkscreened by Delicious Design League, foil stamped spine. 

Printed and smythe sewn in Rockford, IL. 

Cased and foil stamped at Candor Arts.

 

A small amount of copies remain in the handmade artist book first edition. Purchase here

Quantity:
Add To Cart

Black History Month Reading Recommendations by Candor Arts

480434507_1280x720_1485200358.jpg

In the spirit of Black History Month we want to share some books we found in our reading residency applications that celebrate African American culture. We hope you put one or a few of these titles that explore important histories and ideas on blackness on your reading list. 

 

Nobody Knows My Name by James Baldwin

Told with Baldwin's characteristically unflinching honesty, this collection of illuminating, deeply felt essays examines topics ranging from race relations in the United States to the role of the writer in society.

Belonging: A Culture of Place by Bell Hooks

What does it mean to call a place home? Who is allowed to become a member of a community? When can we say that we truly belong? These are some of the questions of place and belonging that renowned cultural critic bell hooks examines. Traversing past and present, Belonging charts a cyclical journey in which Hooks moves from place to place, from country to city and back again, only to end where she began--her old Kentucky home.

In the Wake: On Blackness and Being by Christina Sharpe

Christina Sharpe interrogates literary, visual, cinematic, and quotidian representations of Black life that comprise what she calls the "orthography of the wake." Sharpe illustrates how Black lives are swept up and animated by the afterlives of slavery, and she delineates what survives despite such insistent violence and negation. Formulating the wake and "wake work" as sites of artistic production, resistance, consciousness, and possibility for living in diaspora, In the Wake offers a way forward.

Speculative Blackness: The Future of Race in Science Fiction by André M. Carrington

André M. Carrington analyzes the highly racialized genre of speculative fiction—including science fiction, fantasy, and utopian works, along with their fan cultures—to illustrate the relationship between genre conventions in media and the meanings ascribed to blackness in the popular imagination.

Freedom in Congo Square by Carole Boston Weatherford

This poetic, nonfiction story about a little-known piece of African American history captures a human’s capacity to find hope and joy in difficult circumstances and demonstrates how New Orleans' Congo Square was truly freedom’s heart.

Three Days Before the Shooting by Ralph Ellison

Set in the frame of a deathbed vigil, the story is a gripping saga centered on the assassination of a controversial, race-baiting U.S. senator who’s being tended to by an elderly black jazz musician turned preacher. Presented in their unexpurgated, provisional state, the narrative sequences brim with humor and tension, composed in Ellison’s magical jazz-inspired prose style. 

Private Lives, Proper Relations: Regulating Black Intimacy by Candice M. JenkinS

This book begins with the question of why contemporary African American literature, particularly that produced by black women, is continually concerned with issues of respectability and propriety. Jenkins argues that this preoccupation has its origins in recurrent ideologies about African American sexuality, and that it expresses a fundamental aspect of the racial self—an often unarticulated link between the intimate and the political in black culture.

Black Sexual Politics by Patricia Hill Collins

Drawing on vivid images of hypersexual blacks and the sociological theses of strong black women and weak black men, Collins explores an astonishing range of ideas and images through history, sociology, and popular culture. Rather than debate the dominance of race versus sex in the history of social injustice to black men and women, Collins offers a theory of "intersectionality," viewing race, gender, and sexuality together.

Dark Matter: A Century of Speculative Fiction from the African Diaspora edited by Sheree Thomas

This volume introduces black science fiction, fantasy, and speculative fiction writers to the generations of readers who have not had the chance to explore the scope and diversity among African-American writers.

Featured Project: Anthropoembryos by Patricia Rose by Candor Arts

 

Anthropoembryos

by Patricia Rose
 

(Lauren Beck, Hannah Givler, Laura Robbins Maidens,

Danielle Rosen, Casey Smallwood, Danny Volk)

DSCF8143.jpg

We recently got the opportunity to work with Danielle Rosen of Patricia Rose on a specialty clamshell box for their work ANTHROPOEMBRYOS, and wanted to talk more with her about this beautiful project.  

This piece for ANTHROPOEMBRYOS is a 14x18x2" clamshell box with a reflective blue-metallic Japanese fabric, and a blind-debossed title on the front. The two fitted trays hold five mounted archival pigment prints and a letterpress booklet produced by April Sheridan. 

What was the origin or initial vision of the work?

The project started as a conversation with Danny Volk about Lee Edelman’s book No Future: Queer Theory and the Death Drive.  Danny asked several cis-gendered female friends to respond to the question: Why would an artist want to have a baby today?  Danny invited each of us to collaborate on a show called The Baby Gap at the Outhaus in Urbana. Using the retail environment of The Baby Gap as a context, we explored our varied personal views on human procreation.  Hannah made a cash wrap, Laura made a playlist,  Casey made banners, I made a scent, and Danny was the model.  Lauren was later invited to contribute to the text because I felt that we needed the perspective of an artist friend who does have a baby.  All of the collaborators produced a piece of writing in response to the project prompt to be woven into a Baby Gap lookbook for the seasonal collection: ANTHROPOEMBRYOS.

In early discussions of the show, Danny brought up his collection of old underwear stained with pre-cum.  Somehow, Danny wanted to incorporate these into The Baby Gap exhibition.  After several discussions, Danny’s underwear became the ANTHROPOEMBRYOS collection.  It seemed important that the underwear were represented as conceptual images rather than as physical products in The Baby Gap exhibition.  So the lookbook format really arose out of a conversation around fashion, waste, absence, reproduction, desire, and queerness inspired by Danny’s soiled underwear.  

Fashion designers like Yohji Yamamoto often include inspirational notes within their lookbooks, so we introduced several references for the collection into the text.  We referenced the movie Alien and other sci-fi films to think through surrogacy and attachment.  Plastic surgery, labiaplasty, fruits, and the yummy mummy operated as molting figures within the text.  And the title came about when thinking about the inherent anthropocentrism of concerns over the propagation of the human-animal. Through the ANTHROPOEMBRYOS lookbook our personal experiences were interpolated with theoretical and cultural references to reproduction, sexuality, domestication, and agency.

After the show was over, I felt that the lookbook needed a more permanent and formal structure. So, I approached Matt at Candor Arts to help pull everything together.  And here we are!  

Describe a little about your practice and how this piece fits into your work overall.

In my practice, I’ve always obsessed over the question of the animal—what animals are, how human-animals relate to each other and other species, and how animality is represented in various cultural contexts.  Reproduction as a metaphor for breeding and art processes like casting or photography has been an interest of mine over the past several years.  Many animals spend an enormous amount of energy trying desperately to reproduce.  With that in mind, problematizing what it means for a human-animal to resist a biological imperative like reproduction is very relevant to the concerns of my practice.  The fashion system as a site for gendered expressions, mating displays, and molting processes are also concepts that I’ve been exploring in my work for a while.  So when Danny started talking about this project, I was very engaged with the lines of inquiry.  Danny is a great collaborator who is always driving conversations forward and that also made it a fun project to take on.

Patricia Rose is a performative platform that I’ve used within my practice since 2011.  Over the years, Rose has become a site for collaborative authorship where various human-animals intersect and are invited to perform as one polyvocal entity.  With this project, I like to think of Rose as a non-binary Mother, not unlike a SCOBY.  With ANTHROPOEMBRYOS, Rose is the fictional designer who is pulling various entities into relation to a produce a new being: a conceptual queer  fashion collection.

DSCF8141.jpg

Can you talk a bit about the design and how you came to deciding how this piece should exist?

When working on the design for ANTHROPOEMBRYOS, I felt that photos of the collection should be separate from the text.  The photos function as conceptual product shots and the text walks viewers through Rose’s poetic framework for the collection.  That is why they are placed in separate compartments within the book box.  

Having a letterpress book was important me to because it seemed vital to have physical impressions on the page to add sensuality to the reading of the work. Creating a book that viewers will physically touch is an act of intimacy.  Through the process of touch, viewers may further soil the work unless they wear protective gloves.  I make no stipulations about how the work should be handled.

It is not typical to make just one letterpress book.  This was intentional for this project—the object is an individual.  Of course, all of this is wrapped up in fetishism.  And if this book finds a home in a library, anyone who wants to see it will have to go to that specific context.  Like when I want to see Francis Bacon’s Figure with Meat, I have to go to the Art Institute of Chicago to see it.  So the library that the book belongs to should have a collection that relates to the content of the work.  This would allow opportunities for intertextual reading and research.  Finding a library for ANTHROPOEMBRYOS is the next step in its actualization.

What is your next project?

A long term Patrica Rose project called HELIANTHEAE, SCALESIA. is in the works.  We are using sunflowers as both poetic figures and political metaphors to meditate on the life of autotrophs.  For the final text we are specifically looking at Scalesia, endemic to the Galapagos Islands. This project is exciting to think about in contrast to the form of ANTHROPOEMBRYOS because I plan to make editions that function like an ecology; each book will live in a different habitat or site but still play with thematics of polvocality, multiplicity, and singularity.  HELIANTHEAE, SCALESIA. is a long term collaboration with a very thoughtful group of artists: Carris Adams, Autumn Elizabeth Clark, Maggie Crowley, Hale Ekinci, Catherine Feliz, Ingrid Lee, Natasha Mijares, Luan Sherman, Jen Smoose, and Falak Vasa.  It is really exciting to be in the process of pulling the writing together and I look forward to building the edition soon!


Many thanks to all of the incredible artists who helped to produce ANTHROPOEMBRYOS including Matt Austin, April Sheridan, Lauren Beck, Hannah Givler, Laura Robbins Maidens, Casey Smallwood, and of course, Danny Volk!  

Learn more about Danielle's work at:

https://www.danielle-rosen.com/

Winner of the 2018 Reading Residency by Candor Arts

We are very excited to announce the winner of our second annual Reading Residency: 

Noel Quiñones

Noel Quiñones ,  2018 Reading Residency Winner

Noel Quiñones, 2018 Reading Residency Winner

Noel Quiñones is a New York based AfroBoricua writer, educator, and community organizer from the Bronx. He has received fellowships from Poets House, CantoMundo, and the Watering Hole, and his work is forthcoming or published in the Latin American Review, LIT HUB, Pilgrimage Press & in the Best of Kweli Journal Anthology and ¡Manteca! An Anthology of Afro-Latin@ Poets. Noel is the founder of Project X, a Bronx based arts organization, and was most recently named one of New York State's 40 Under 40 Rising Latino Stars. He is currently the Associate Director of Service Learning & Civic Engagement at the Brooklyn Friends School.

on working toward social progress, Noel writes:

As a middle class Puerto Rican born and raised in the Bronx, I was often told social progress was something you needed to wait for. My parents progressed as individuals but social progress on a grander scale was something left to those with significant social, political, and financial power. Yet this was always where we disagreed. As an educator, writer, performer, and community organizer I have taken it upon myself to effectuate the social progress I wish to see in the world, not just for myself but for my people. For the past nine years I have dedicated myself to the belief that art, community, and education are inseparable. Through various roles as an English Literature teacher, Youth Development Coordinator, Restorative Justice practitioner, and now an Associate Director of Service Learning & Civic Engagement at the Brooklyn Friends School, I have continued to employ artistic exploration and community engagement inside and outside of the classroom.  

As a high school administrator I coordinate various opportunities for my students to engage in community initiatives they are passionate about from organizing workshops on Colorism to marching for Black Lives Matter to attending conferences on Women's Empowerment. In an effort to practice what I teach in my Social Justice class I have been visiting various New York City schools to teach my workshop "Beyond the Black/White Binary: The Inner Ethnic Conflict of Latinidad", seeking to explore the challenges that face Latinx people as well as the false narratives they carry in 21st century America. Most recently I began organizing a Puerto Rico Solidarity Immersion Experience to bring 15 of my students to the island to connect with local community organizers in learning about the history of the island and how we can help as people from the mainland. 

As a writer and performer I believe in creating mirrors for my people, sharing poems and stories about growing up as a Latino. I have been blessed to go on tour the past two years, featuring at numerous colleges, universities, and K-12 schools across the country in addition to various cultural art spaces, non-profit organizations, and conferences, having been the Keynote Speaker at the first NYC Latinx Youth Conference, 2017.

Finally, I became a community organizer once I grew tired of the lack of space dedicated to showcasing and empowering Latinx voices. After I was told a New York City slam team could never have more than one Latino I brought together a group of Bronx, Latinx artists and organizers to prove the city wrong. In October, 2017 I founded Project X, a Bronx based arts organization providing the borough with bi-monthly community programming including the Bronx's own Slam Series to produce its first all Latinx Slam Team. I am happy to say that Project X has grown even larger in its second year offering healing workshops, food justice seminars, and Hurricane Relief fundraisers to support our people.

Noel will be organizing a Benefit Reading for Puerto Rico with Willie Perdomo this Saturday, January 20th at the Bronx Museum of the Arts / South Wing Lower Gallery. 

PoetsForPuertoRicoBxMAFinal 01.jpg

All proceeds will be sent to Para La Naturaleza by #PoetsForPuertoRico, an organization that protects lands of high ecological value.

RSVP this to event through Eventbrite.

 

THE 2018 READING RESIDENCY

Winner: 

Noel Quiñones 

Noel will receive an accommodating residency on a weekend of his choosing, a $300 stipend for reading material + food, and a STILL LEARNING tote including a Candor Arts publication and handmade product of his choice.

 

Honorable Mentions:

These applicants tied for second place and will receive a gifted book of their choosing.

Johnnie Jae Morris

Johnnie Jae Morris, known as the Brown Ball of Fury, is a profoundly driven and unstoppable Indigenerd from the Otoe-Missouria and Choctaw tribes of Oklahoma. She is a writer, speaker, technologist, advocate, community builder and entrepreneur that loves empowering others to follow their passions and create for healing and positive change in the world. She is the founder of A Tribe Called Geek, co-founding board member of Not Your Mascots and LiveIndigenousOK; co-chair for the March for Racial Justice and member of the Women Warriors Work Collective.

Johnnie Jae will soon be reading:

Love Medicine

by Louise Erdrich

 

Anaïs duplan

Anaïs Duplan is a poet who has written a full-length collection Take This Stallion (Brooklyn Arts Press, 2016) and a chapbook Mount Carmel & the Blood of Parnassus (Monster House Press, 2017). They are also a joint Public Programs Fellow at the Museum of Modern Art (MoMA) and the Studio Museum in Harlem.

Anaïs will soon be reading:

Afrofuturism and Black Sound Studies: Culture, Technology, and Things to Come

by Erik Steinskog

 

jean cho

Jean Cho is a Chicago based queer artist whose work critically examines the limitations and alternative possibilities of the romantic vocabulary & language. Their work is currently developing in the forms of video, rhino renderings, and non-romantic letters of correspondence.

Jean will soon be reading:

The AIDS Crisis Is Ridiculous and Other Writings, 1986-2003

by Gregg Bordowitz


we would like to offer our Sincerest thanks

this year's thoughtful and generous Panel of Jurors:

 

KENDRA CURRY-KHANNA (Chicago, IL) — Executive Director at 826CHI

SAM BAILEY (Chicago, IL / Los Angeles, CA) — Director, Writer, and Digital Art Director of VAM Studio

LAUB (Los Angeles, CA) — Artist

TOBY CAUSBY (Chicago, IL) — Learning & Development Consultant

KATIE CHUNG (Chicago, IL) — Artist

TERESA CARLESIMO (Kingston, Ontario) — artist, writer, scholar

JEFFREY MICHAEL AUSTIN (Chicago, IL) — Artist and musician

ORIANA KOREN (Los Angeles, CA) — Photographer-Writer

IRIS YIREI HU (Los Angeles, CA) — Artist

LA KEISHA LEEK (Brooklyn, NY) — independent exhibition organizer and writer; Manager, Kenan Project at The Metropolitan Museum of Art, creator of How to Make A Hood (Candor Arts, August 2015)

CECIL MCDONALD, JR. (Chicago, IL) — Artist and educator, author of In the Company of Black (Candor Arts, April 2017)

SUZAN GELDHOFF, MA (Rotterdam, Netherlands) — visual arts professional specialized in photography

VIVIAN SMING (San Francisco, CA) — Artist, Writer, Editor in Chief of Art Practical, Founding Editor of Nonsensical, Founder & Publisher of Sming Sming Books

CONOR DOWDLE (Minneapolis, MN) — Artist, and Co-Director of Yeah Maybe 

KATE BOWEN (Chicago, IL) — Artist, Organizer, Director of ACRE Projects and Video Programming Coordinator at the Museum of Contemporary Photography

A-LAN HOLT (Bay Area, CA) — Playwright, Filmmaker, Associate Director at IDA Stanford, author of Moonwork (Candor Arts, June 2016)

CHINWE OKONA (Los Angeles, CA) — Artist, Writer, Creator of PALMSS Mag

MELANIE TERESA BOHRER (Munich, Germany / Chicago, IL) — Artist

ERIN HOYT (Chicago, IL) — Director of Operations at Filter Photo

CHRISTIAN ORTIZ (Chicago, IL) — Artist, educator, and Senior Manager of Studio Programs at Marwen

LAUREN M. PACHECO (Chicago, IL / Gary, IN) — Arts Administrator, Community Organizer, and Co-Founder of Chicago Lowrider Festival and Chicago Urban Art Society

MATTHEW ANDERSON (Los Angeles, CA) — Artist and Filmmaker, creator of Deviant Proposals: an anti-binary journal (Candor Arts, April 2018)

SARA J. WINSTON (Peekskill, NY) — Artist, author of A Lick and a Promise (Candor Arts, September 2017)

DAVID BELL (Los Angeles, CA) — Artist and Director of Visitor Welcome Center, author of Bye Bye Broadway (Candor Arts, August 2016)


2018 Reading Residency Book Recommendations by Candor Arts

Tomorrow we will be announcing our 2018 Reading Resident. We are beyond thrilled to say that the applications more than doubled this year! 

Take a look at the map above, the markers indicate where applications were submitted from! We are so impressed with the response this year and want to give a big thank you to everyone who took interest, contributed and spread the word. We enjoyed reading about everyone and the outstanding work you do for your communities. It is incredibly difficult to choose one resident this year due to such strong applications. We admire what you do and wish we could reward you all. The least we could do is share a few books that were mentioned by these amazing applicants.

If you don't know what to read next, check out these titles:

  1. Afrofuturism and Black Sound Studies: Culture, Technology, and Things to Come by Erik Steinskog
  2. Love Medicine by Louise Erdrich
  3. Justice for Kids: Keeping Kids Out of the Juvenile Justice System edited by Nancy E. Dowd
  4. Economics and Youth Violence: Crime, Disadvantage, and Community edited by Richard Rosenfeld, Mark Edberg, Xiangming Fang, and Curtis S. Florence
  5. The Social Practice that is Race by Dan S. Wang & Anthony Romero
  6. Food, Feminisms, Rhetorics, an Anthology edited by Melissa A. Goldthwaite
  7. Light in the Dark/Luz en Lo Oscuro: Rewriting Identity, Spirituality, Reality by Gloria E. Anzaldúa
  8. The Story of Black by John F. Harvey
  9. Who's Afraid of Post-Blackness? : What It Means to Be Black Now by Touré
  10. Social Darwinism in American Thought by Richard Hofstadter
  11. Coming Apart: The State of White America, 1960-2010 by Charles A. Murray
  12. Cruising Utopia: The Then and There of Queer Futurity by José Esteban Muñoz
  13. The Land We Are: Artists and Writers Unsettle the Politics of Reconciliation edited by Gabrielle Hill and Sophie McCall
  14. Root Shock: How Tearing Up City Neighborhoods Hurts America, And What We Can Do About It by Dr. Mindy Fullilove
  15. Seeing Power: Art and Activism in the Twenty-first Century by Nato Thompson

Look out tomorrow for the announcement

of our 2018 Reading ResidenT!

Announcing 'I Saw the Sun' by Maren Celest by Candor Arts

Candor Arts is very excited to announce the forthcoming publication and vinyl LP of I Saw the Sun by Maren Celest, due to release in late Spring 2018. 

Screen Shot 2017-12-28 at 1.26.06 PM.png

On I Saw the Sun

I Saw the Sun is an invitation to explore a sure-footedness that is paradoxically rooted in the recognition of the precariousness of life. It looks to distill empathy, awe, urgency and gratitude from the wild desires, fears, and limited time we share together.

This book and album are meant to perform publicly a private confrontation and catharsis of fear, sometimes powerfully, sometimes on its hands and knees—in hope of seeing seductive mystery in the unknown, and to turn fear into a tool.

The words offered have been carefully shaped like knives—sharpened by humor and tempered by the urgency of mortality, with the sharpest ones brought to you in a soft melodic sheath… tools not for violence, but to cut away disillusionment and the unnecessary.

On days one needs to cut loose, it hopes to be a book of pocket knives. And, in a more substantial moment,  “A long curved blade in the hand of a sweetheart”.

...Or, at least, a good swift kick in the butt from a friend that wants to see you be true.

Screen Shot 2017-12-28 at 1.31.53 PM.png

About Maren Celest

Maren Celest, direct result of a moment of passion on February 2nd, 1987. Born October 29, night 'fore devil's night. That may or may not mean a thing. She is a storyteller that employs a broad skill set; vocal work, musical composition, all kinds of visual design, and writing. She has shown her photography and short films internationally, and collaborates with many amazing musicians in Chicago to create visuals on their behalf. She performs live digital foley (sound effects), vocals, narration and some instrumentation for Manual Cinema, a performance collective, design studio, and film/video production company that combines handmade shadow puppetry, cinematic techniques, and innovative sound and music to create immersive visual stories for stage and screen. She created and runs Law of Ice, a vintage shop focused on gender-neutral clothing. She has previously released two albums and an EP with the band PhotographersI Saw the Sun will be her first official LP and vinyl record as a solo songwriter/composer, though her tracks have had lovely collaboration added by some of her favorite musicians.


Learn more about Maren Celest

Follow Maren on Facebook + Instagram 

Pre-Order: 'In the Company of Black' [Second Edition] by Candor Arts

The second edition of In the Company of Black by Cecil McDonald, Jr. is now available for Pre-Order!

This book will release in February 2018, which will be the same time all pre-orders will ship. 

In the Company of Black [Second Edition]
75.00
Quantity:
Add To Cart

This book is currently available at a reduced price of $65 until the coming release in early February 2018, at which point it will be $75.

In the Company of Black by Cecil McDonald, Jr. 

In the Company of Black was first released in April 2017 in an edition of 100 handmade signed copies. The book was supported by a release at Filter Photo and a conversation between Cecil McDonald, Jr. and Dawoud Bey—Photographing Black Lifeput on by the Chicago Humanities Festival at the Art Institute of Chicago.

The first edition of In the Company of Black has been collected by institutions such as the Metropolitan Museum of Art, the Art Institute of Chicago's Ryerson and Burnham Libraries, Yale University's Robert B. Haas Family Arts Library, the Walker Art Center, Trinity Christian College, the Museum of Contemporary Photography, the National Arts Library in London, the University of Chicago Special Collections Library, Brown University, the Columbia College Chicago Library, the Joan Flasch Artist Books Library, the University of Iowa, Illinois State University Milner Library,  George Washington University, Pier 24 Photography Museum, Ohio University, among other private collections.

The book has been recognized by the Aperture Foundation and ParisPhoto in being shortlisted in the top 35 of roughly 1000 entries for the 2017 PhotoBook Awards and will be traveling on exhibition around the world until the end of October 2018. 

There are still a few copies remaining in the handmade artist book first edition of 100 signed and numbered books:

Additional details about the forthcoming Second Edition:

Please note that these images are of a pre-order proof copy of the book — the final design will be slightly different in appearance (thinner, slightly smaller in size — spec details below)

ISBN 978-0-9968161-2-0

Pre-Order price of $65 — will ship in February 2018.

Book will be available for $75 retail after February release. 

9" x 11.75" x .5", 144 pages, photographs and text printed on a HP Indigo press. 100T and 80T papers.

Fabric covers, silkscreened by Delicious Design League, foil stamped spine. 

Printed and smythe sewn in Rockford, IL. 

Cased and foil stamped at Candor Arts.

About In the Company of Black:

In the Company of Black is a book of photographs by multi-disciplinary artist Cecil McDonald Jr. For the past seven years, McDonald has developed a body of work focused on what he describes as “extraordinarily ordinary” people: educators, artists, administrators, business owners, teachers, and students, “I’m bringing together images of Black people who represent everyday folks.” Complemented with an essay by Tempestt Hazel and poems by avery r. young, McDonald’s In the Company of Black addresses and responds to the vast inaccuracies of Black humanity depicted within American society.

“When it comes to Black people, America is fascinated with extreme poles: either showing victims of violence, pain, and poverty (Black misery) or famous athletes and entertainers, and icons of popular culture (Black exceptionalism). This false dichotomy denies Black people the individuality and full spectrum of humanity that is so readily offered to the white population in this country. The photographs that I’ve been making ask the question: where are the people who make up the space in between? Here they are, they are important, they must be seen!” — Cecil McDonald, Jr. on In the Company of Black. 

Cecil McDonald Jr. uses photography, video, and text to explore the intersections of masculinity, familial relations, and the artistic and intellectual pursuits of Black culture. McDonald studied fashion, house music, and dance club culture before receiving an MFA in Photography at Columbia College Chicago, where he currently serves as an adjunct professor and a teaching artist at the Center for Community Arts Partnerships. His work has been exhibited both nationally and internationally, with works in the permanent collection of The Cleveland Museum of Art, Chicago Bank of America LaSalle Collection, and the Harris Bank Collection. He was awarded the: Joyce Foundation Midwest Voices & Visions Award, the Artadia Award, The Swiss Benevolent Society, Lucerne, Switzerland, Residency and the 3Arts Teaching Artist Award. McDonald participated in Light Work’s Artist-in-Residence program in July 2013. Most recently, McDonald completed the DCASE residency where he began work on his most recent body of work Cuts and Beats, a project that montages performance photography from the floors of dance festivals and nightclubs with late 19th-century imagery from stage and theater advertisements, sheet music covers, and celebrity portraiture.