4750 N Sheridan Road has a 24/7 lobby with front desk services, and the building facilities are ADA accessible. 4750 is located at the intersection of the 81 Lawrence and 151 Sheridan bus lines. There is a Divvy bike-share hub on the Northeast corner of Sheridan and Lawrence, and metered parking is available on the surrounding streets. This location is 325 meters east of the Lawrence Red Line Station, which is currently closed for reconstruction.
Mutual Insurance Building
4750 N Sheridan Road, Chicago IL
Moving image works by Mark Alcazar Diaz, Kayla Anderson, Qais Assali and Jose Luis Benavides, Norman W. Long, Regina Martinez, Kristin McWharter, Curtis Miller, Zachary Nicol, Josh Rios, and others (forthcoming). Please set an appointment to visit our media room, or view the works online below.
Josh Rios
Other Instrumental Subjects (A Script in Stanzas)
Video, color, stereo
11 minutes 15 seconds
2020
Other Instrumental Subjects (A Script in Stanzas) was originally published for Quarantine Times, an expanded web-based project that provided support to artists by commissioning new works daily from March through June during the Coronavirus Pandemic of 2020. The video essay shot from a second story apartment window in Logan Square documents the early phases of the lock down by focusing on the limited movement of people, contemplating the transhistorical linkages between Foucault’s biopolitics and Chicago’s stay at home orders.
–– Josh Rios
Josh Rios is a founding member of Sonic Insurgency Research Group (SIRG) and faculty at the School of the Art Institute of Chicago where he teaches courses in social theory and research-based practice. As a media artist, writer, and educator his projects deal with the histories, presents, and futurities of Latinx and Chicanx subjects and transnational resistance to globalization and neocolonialism. Recent projects have been featured at the Institute of Contemporary Art (Portland), Locust Projects (Miami), and the Vincent Price Art Museum (Los Angeles). In 2021, Rios was a cohort member of the year-long residency program, Re:place, sponsored by Co-prosperity (Chicago). Recent publications include “What is Justice to the Dead? On Sabra Moore’s Reconstruction Project” in the exhibition catalog for Art for the Future: Artist Call and Central American Solidarities and “Sonic Legal Spaces: An Essay of Overdubs” in the journal openwork for Columbia University’s Academic Commons. Other projects include a series of ongoing conversations and autonomous study groups on sound and power sponsored by MARCH International: A Journal of Art and Strategy. Forthcoming publications include, “Mythic Sonic Beings in Social Space: An Experimental Symposium,” for the book, Situated Listening: Attending to the Unheard (Routledge, 2024).
For more on the work of Rios and SIRG, please visit s-i-r-g.net. Also recommended: The Wide-Ranging Importance of the First Nations Garden.
Qais Assali and Jose Luis Benavides
Monument to Santa Anna's Leg: Nice Legs
Video, color, stereo
10 minutes 35 seconds
2018
What are the parallels between Mexican and Palestinian history and how can we envision solidarity between Chicano and Palestinian people? In this work Palestinian artist Qais Assali and Latinx artist Jose Luis Benavides search for Santa Anna's missing leg in order to build a monument for the leg in Ramallah, Palestine as part of Qalandiya International 2018. The Mexican general Santa Anna not only lost his wooden leg to U.S. forces during the American invasion and occupation of Mexico in the Mexican-American War, but he also lost half of Mexico's territories to the U.S. at the end of that war in 1848. Sharing in the trauma of Mexico's stolen lands in 1848 and the 1948 Nakba in Palestine, the two artists film their strange journey to Springfield, IL (USA) where a military museum keeps guard of Santa Anna's wooden leg in its odd fortress as a macabre trophy of U.S. global imperialism.
Qais Assali is an interdisciplinary artist/designer born in Palestine in 1987 and raised in the UAE before returning to Palestine in 2000. Assali taught in Visual Communication at Al-Ummah University College, Jerusalem, Michigan State University, MI, and Vanderbilt University, TN. Recently, Assali joined the School of the Museum of Fine Arts' faculty at Tufts University, Boston, MA. Assali was a 2019-21 Core Fellow at the Museum of Fine Arts, Houston, TX. Assali’s work has been exhibited at Hauser & Wirth, NY; Middle East Institute, DC; Station Museum of Contemporary Art, TX; Stamps Gallery, University of Michigan, MI; Toronto Queer Film Festival 2021, Canada; SculptureCenter, NY; Chicago Cultural Center, IL, Glassell School of Arts, Museum of Fine Arts Houston, TX; Temporary Art Center (TAC), Netherlands; and Qalandiya International, Palestine. Assali is the recipient of Art Matters Foundation grant; Chicago Artists Coalition Spark Grant; Houston Arts Alliance Digital Grant; Andy Warhol Foundation for the Visual Arts - Idea Fund; SAIC New Artists’ Society Award; and Palest’In & Out Festival - Plastic Art Prize. Assali holds four degrees in visual arts from Palestine and the U.S, a BFA in Graphic Design from An-Najah National University 2009, and a BA in Contemporary Visual Art from the International Academy of Art Palestine 2017. Assali simultaneously completed an MFA from Bard College, NY 2019, and an MA in Art Education from the School of the Art Institute of Chicago, IL 2018. For more info, visit qaisassali.com.
Jose Luis Benavides is a Latinx and queer photographer, moving image maker, and assistant professor of digital media. Working primarily with a range of personal archives, his work explores issues relating to gender, sexuality, culture, and migration. His work has screened at Reeling: The Chicago LGBTQ+ International Film Festival, Onion City Experimental Film Festival, and Revolutions Per Minute Festival. His work has been screened globally, in Austria, Belgium, Hungary, Mexico, Palestine, Spain, Turkey, and the U.S. He was recently awarded a Best of Fest’ Spotlight Film at the 55th Humboldt International Film Festival. He was also commissioned to make video works by the Chicago Film Archives, Defy Film Festival, and Envisioning Justice: An Exhibition at The Sullivan Galleries. He recently held solo exhibitions at the International Museum of Surgical Science, Chicago Art Department, and the Engine for Art, Democracy, and Justice. And he has exhibited at the Gerber/Hart Library and Archives, Screen Share Video Gallery, and Terremoto - La Postal. As an experimental documentarian and video art programmer, he opens conversations, space, and time for diverse perspectives from feminist, queer, trans, and Latinx moving image makers for the virtual archive Sin Cinta Previa. For his artistic, curatorial, and scholarly work he has received grants from the City of Chicago's Department of Cultural Affairs and Special Events, Ignite Fund/3Arts, Hyde Park Arts Center’s Artists Run Chicago Fund & Terra Foundation - Art Design Chicago, Propeller Fund, a POWER Project, the Illinois Humanities, and the Service-Learning and Civic Engagement Consortium. For more info, visit joseluisbenavides.com.
Monument to Santa Anna's Leg was commissioned in 2018 for The Lasting Effect, Qalandiya International, “Solidarity”, Ramallah, Palestine. It took part of 'On Collaboration & Solidarity' (Jun 25 - 26, 2020), a conversation with lifelong human rights South African Activist Albie Sachs and Independent Curator Reem Fadda, hosted by Dar Jacir for Art and Research, Bethlehem.
Kristin McWharter
Surface Tension
Video, color, stereo
3 minutes
2023
Kristin McWharter (b. 1990) uses performance and play to interrogate the relationship between competition and intimacy. Her software installations and performative objects incorporate experimental technologies and playful interaction to produce performances that speculate upon alternative forms of social behavior. Her work has been exhibited at The Hammer Museum, Walt Disney Concert Hall, Bangkok Arts and Cultural Center, Ars Electronica, Museo Altillo Beni, and FILE Festival. McWharter received her MFA from UCLA in Design Media Arts and is currently an Assistant Professor in Art & Technology /Sound Practices at SAIC.
For more information and work, please visit kristinmcwharter.com. Also recommended: hands_VR.
Curtis Miller
a fence is a fence but the clouds move freely
16mm and 4K video
8 minutes 12 seconds
2023
a fence is a fence but the clouds move freely is a brief essay on the origin of four small towns in rural Kansas and Oklahoma, told through each town’s respective water tower. Tall tales, public memorials, and roadside signage present in a region shadowed with settler-colonialism, identity fictions, and the threat of severe weather.
Curtis Miller is an artist working across film, video, photography, and publication. His films have shown at the Centre for Contemporary Art – Glasgow, Alchemy Film and Moving Image Festival, EXiS, Chicago Underground Film Festival, Mimesis Documentary Festival, Antimatter [media art], and Renaissance TV - The Renaissance Society, among others. He currently lives and works in Chicago, IL.
For more information and work, please visit curtis-miller.com.
Oona Taper
This Train is Invisible until it Crashes
Video, color, stereo
4 minutes 31 seconds
2023
An animation inspired by train delay messages and their poetic potential. An examination of all the things that can go wrong: on the train, in the urban environment, and in our lives. All drawings done while riding the Chicago metro system.
Oona Taper is a Chicago-based artist creating films, installations and animations that are invested in the materiality of moving images to create tactile and embodied experiences for the viewer. Her work responds to current and historical events with whimsy and daydreams to contend with the constant mundane apocalypses of the modern world.
For more information and work, please visit oonataper.com.
Mark Alcazar Diaz
Silt
Video, color, stereo
91 minutes
2024
This video documents basketball courts scattered throughout the diverse landscapes of the Philippines. The courts depicted in the documentary serve as more than just playing grounds for the game itself; they are versatile and adaptive spaces for other sports activities and communal gatherings. The video also bears witness to the ravages of time and natural disasters. While some courts gleam with fresh paint, others bear the scars of years of use and the battering of nature's fury.
Mark Alcazar Diaz is an artist, curator, educator, and arts administrator. He works with various media, including video, drawing, and object making, to examine migration, memory of place, and natureculture. Related to his interest in exploring the pedagogy of sites and objects, Diaz facilitates workshops for teachers, artists, and non-artists to collaborate and explore the intersection of making and learning. He received a Master of Fine Arts from the University of Illinois Chicago.
For more information and work, please visit markalcazardiaz.com. Also recommended: Seam.
Kayla Anderson
Pilea Pepermioides (Precarity Fetishes and Aspirational Beings)
Video, color, stereo
10 minutes 36 seconds
2018
A video about a house plant, the police-state, and a protagonist whose desire to build a contained world for herself must inevitably be shattered. An experiment in world-building, each scene uses a different image-making tool: line animation, video, 3D modeling, and video game construction. The narrative employs different vantage points for talking about the world through a single plant, known for its ability to be propagated and shared. Voice: Sara Sukhun.
Kayla Anderson participates in the art world as an artist, a critical writer, a sometimes-curator, a precarious administrator, and a roaming educator. Their work often investigates the ways that culture and subjectivity shape, and are shaped by, technology. Growing up in San Antonio, Texas, where capitalism and disenfranchisement are more relentless than the sun, they value art as an arena for non-strategic modes of thinking, feeling, and communing with others.
For more information and work, please visit kayla-anderson.com. Also recommended: Stay With The Body.
Norman W. Long
vanvlissingen (afterburn)
Video, color, stereo
6 minutes 43 seconds
2017
This work is a part of Van Vlissingen Prairie (video album), which was a single channel video installation with projection and speaker placements featuring the sound ecology of Van Vlissingen Prairie within the South Deering community area on the South-Side of Chicago. South Deering is majority African-American and Latinx. Home to the Joseph H. Brown Iron and Steel Company in 1875 (to be known later as Wisconsin Steel). South Deering was a major industrial hub attracting Irish, Welsh, and English workers at first, followed by Swedes and Germans. After 1900, new settlers arrived from Eastern and Southern Europe. African Americans and Mexicans came following the civil-rights laws banning discrimination in housing and employment. When the mills began shutting down, the community fell into a deep economic depression with many families relocating to other states.
It was my response to a LOUDSPKR/Volume artist call for sounds of the recession in 2009 that started my interest in recording my neighborhood (South Deering/Jeffery Manor). The question of what is the sound of recession haunted me for a couple of days. Especially since I am one of many African Americans who had been hardest hit by this recession and lives on the South-Side of Chicago, which is predominately African American. The recording of my neighbors setting off firecrackers, roman candles, etc. in the rain is a response to the economic silencing a recession does to a community. I see/hear the fireworks as a celebration of existence more than a celebration of freedom, liberty and or patriotism.
My interest in Van Vlissingen Prairie or the Marian R. Byrnes Natural Area stemmed from a screening of a short documentary I saw while attending graduate school at Cornell University. This particular documentary was about Byrnes’ successful attempt to preserve local prairie land from being built on by the Chicago Transit Authority. The City of Chicago does plan on restoring the prairie and installing trails in the future.
My interest lies in the progression of the ecological restoration and maintenance of this space. My expectation, as the site is restored via soil remediation, walking paths created, removal of invasive plant species, and introduction of native species the soundscape will also change incrementally. There has been a controlled burn recently. Shortly after the burn I made audio recordings from contact microphones placed within the scorched earth. This is one of the examples of field recordings I have made for this video album. In some pieces I mixed field recordings with analog synthesizers weaving in and out of the post industrial noise coming from the adjacent rail yard, local residences and the local ecology of birds and singing insects. This soundtrack questions the notion of what a Black Community sounds like and what a community is. These videos challenge notions of landscape by bypassing the pictorial and the beautiful, defining landscape as a complex matrix of networks and systems. Some videos are glitched referring to the less than ideal landscapes and soundscape conditions and the layering and slippage of time. By challenging the traditional way of documenting and defining landscape we begin to listen to how soundscapes define our communities and who we are.
–– Norman W. Long
Norman W. Long's practice is informed by a diverse array of disciplines, including walking, listening, teaching, improvisation, performance, recording, and composition. This approach aims to engender dialogues with audiences on memory, place, ecology, race, culture, value, silence, and the imperceptible. Long's work is deeply influenced by the interdisciplinary practices and ideologies of 1970s artists, musicians, critics, and designers, particularly drawing from Rosalind Krauss' seminal article "Sculpture in the Expanded Field" and the theoretical framework of acoustic ecology developed by R. Murray Schafer.
The sonic landscapes in Long's oeuvre find inspiration in Black music genres such as house and techno, 'free jazz,' Great Black Music, Herbie Hancock's Mwandishi, Pauline Oliveros, King Tubby, Dub, as well as the experimental sounds of artists operating between and outside traditional genre boundaries. Long's strategies for improvisation and composition are informed by Samuel R. Delany's palimpsest text "Plague Journal" from the novel "Dhalgren" (Science Fiction) and "Atlantis: Three Tales" (Fiction), along with Mark Bradford's artistic process as observed in his 2011 survey at the Museum of Contemporary Art: Chicago, which emphasizes collecting, collaging, scraping, and pasting materials sourced from his community in Los Angeles.
Long earned an MFA from the San Francisco Art Institute in New Genres (2001) and a master's in Landscape Architecture from Cornell University (2008). His artistic practice has been showcased at various prestigious venues including Columbia College's Glass Curtain Gallery, Experimental Sound Studio, Kavi Gupta Gallery, Yale University's Center for Collaborative Arts & Media, The Renaissance Society, the 2022 High Zero Festival in Baltimore, MD, the Chicago Humanities Festival, the Chicago Cultural Center, and the 2021 Chicago Architecture Biennial. He has participated in residencies at EMS in Stockholm, Djerassi Foundation and Yucca Valley Material Lab in California, and AS220 in Providence, RI.
Long has been the recipient of a ThreeWalls RaDLab fellowship and commission for his works "Neighborhood Listening Garden" and "Re-Membering/Re-Presencing." He has performed and toured with Angel Bat Dawid and the Brothahood, and collaborated with a diverse range of artists including the Ali/Harris/Long/McKenna group, Spectralina, Todd Carter, John Daniel, Xris Espinoza, Carol Genetti, Damon Locks, Tatsuya Nakatani, Joe Namy, Cristal Sabbagh, and Sara Zalek. His compositions have been released on various labels, including Hausu Mountain, Reserve Matinee, LINE, Rural Situationism, and Room40, with his latest solo release, "Calumet in Dub," available on Blorpus Editions.
For more information and work, please visit normanwlong.bandcamp.com and normanwlong.wixsite.com.
Regina Martinez
sonogram for a ghost
HD video, color, stereo
8 minutes 36 seconds
2021
“Want to hear a song I made?” My mom called to share a tune in her head for days. She seemed pleased with her ears’ ability to find the notes on a small keyboard my brother had gifted her. Something to do during the pandemic. A perfectionist to her core, I have never known my mother to enjoy herself creatively. And in these simple notes, I hear her laugh and longing, her curiosity and pride. Sometimes we lose sight of each other. We do not always understand each other. May be sound is the feeling below the words.
–– Regina Martinez
Regina Martinez, also remembered as selective listening, experiences sound as records of our connections and departures. Her current experiments draw from an archive of infinitely personal recordings she relates to as soundmarks: her father's hands cleaning dried beans, drumline rehearsal after school, the flap of our clothes outside on the line, the creak of a gate to home. Each captured moment becomes its own instrument, its own layer of composition, and a washing and wringing out of memory meant to be overheard like a poem again and again. Her practice evolves through commissioned installations, dj sets, live performance and sound design for experimental film. Regina grew up in Saint Louis, Missouri where she was artistic director of the Pink House neighborhood art space for creative exchange with children and their families. She is co-creator of “the clothesline” monthly one-night audio-visual installation in St. Louis. More recently she was program manager for Threewalls in Chicago, and received an MA in Sound Arts & Industries from Northwestern University.
For more information and work, please visit selectivelistening.site.
Zachary Nicol
Afterimage
Video, color, stereo
10 minutes 33 seconds
2022
A choreography of camera, light, body, and editing techniques creates a dark, blurred, and saturated space at the edge of visibility to explore themes of capture and the violence of exposure inherent to the “frame." What forms and affects linger in blackness after the appearance and disappearance of light, image, and color?
Zachary Nicol is an artist and performer based in Chicago. Their performance and video work uses research in dance, movement, site, and image to unfold problems of representation and the performing body. Their work has been presented in Chicago at Blanc Gallery, Links Hall, Pivot Arts Festival, Trap Door Theatre, Co-Prosperity, Lumpen Radio, filmfront, OuterSpace, Compound Yellow, Krannert Center for Performing Arts (Urbana, IL), the National Museum of Romanian Literature (Bucharest), and S1 Gallery (Portland, OR). Nicol was a 2023 Chicago Dancemakers Forum Lab Artist, has been artist in residence with Ragdale Foundation, Annas Projects, ACRE, and Links Hall, and has received support from Villa Albertine and Chicago Artists Coalition. Nicol has performed and contributed to dance, film, and performance projects by artists including Anna Martine Whitehead, Courtney Mackedanz, Gabriel Chalfin-Piney, Adam Linder, Joe Namy, Mlondi Zondi, Alexandra Pirici, Kim Brandt, Ginger Krebs, Catherine Sullivan, and others.
For more information and work, please visit zacharynicol.info.