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I almost didn’t hear the words because they were delivered like a deep sigh into the exhibition space. As the line was being digitally exhaled into the room, three generations of Hazels rounded the corner of the main gallery to see the other half of Making Our Space: Members of the Peoria Guild of Black Artists, an exhibition curated by Jessica Bingham at University Galleries at Illinois State University. The show brings together the work and words of Kevin J. Bradford, Krystopher Dudley Brown, Alexa Cary, Kameron Hoover, David L. Jennings, Chantell Marlow, Alexander Martin, Erick Minnis, Morgan Mullen, Hannah Offut, Brenda Pagan, Rose de Peoria, Kayla Thomas, and Quinton Thomas–all early and founding members of the group lovingly known as PGOBA.
These words got me thinking. Spending Juneteenth in this space with two people I love comprehensively and in the company of the subtle and resounding work of the Peoria Guild of Black Artists (PGOBA) was a gift. Watching my mother take on the role of interpreter for her favorite pieces and seeing my niece silently spinning a mental and visual response to the work she was experiencing was a gift. But, too, I was reminded of the gift I received about one month prior when I spent time with Alexander Martin (they/them), Erick Minnis (he/him), and Brenda Pagan (she/they) at the East Bluff Community Center in Peoria, Illinois. What was supposed to be one hour of questions turned into three, and in that time they each gave me new reasons to fall back in love with the city I was born and raised in. That was a gift.
[2] Two prints and one large photograph hang on the walls in the sales gallery of the South Side Community Art Center in August 2020. Tempestt Hazel stands at the photograph, pointing out different artists included in the photo “A Great Day in Bronzeville.” Still courtesy of On the Real Film.
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Poster Girls is a collection of new works by artist Rosemary Jane Cronin. Cronin’s work uses found objects relating to femininity and the female nude as a starting point, ranging from vintage playing cards, model cards, lipsticks and high heels to large bus-stop-sized posters deployed by the cosmetics and fashion industries. Exploring this world through carefully controlled chaos, materials are layered to subvert the male gaze and its commercial signifiers. Text is skewed, paint is spilled, roses are crushed and images torn. What was once expected doesn’t feel quite right, and instead we are left questioning the supposed innate sexuality of the female form, and how it has long been a commodity.
The open call for the next Graduate Studio Award will be made public this coming July – offering recent graduates a fantastic, free opportunity to develop their practice in a 200ft studio based within our artist-led cooperative in South East London. Towards the end of the period the awardee will be supported to mark the occasion showcasing a project, event or exhibition of their choosing in the Arthouse Gallery in 2019. Sign up to our mailing list and follow Arthouse social media to receive updates!
Rebecca Guez (b.1994, West Sussex, UK) is a recent graduate of Painting at Camberwell College of Arts (2016). Her recent group shows include ‘The Kiss or Poison Boyfriend or Jesus’ Blood’, Kingsgate Workshops, London and ‘Cha Cha Chaffinch’, Ridgeway Road, London. Rebecca’s first solo exhibition ‘Gardening’ took place at Thames Side Studios Gallery, July 2017, which exhibited her first largest scale work, a 9 metre long stretched canvas. (Large Garden Painting, 2017, Oil on canvas, 287 x 900cm). At Lewisham Arthouse, Rebecca is exhibiting new works from her studio. Rebecca Guez has exhibited in the UK and in Europe and is held in a number of private collections.
This is the third independent exhibition for a collection of emerging artists currently studying Fine Art at UCA Farnham following the success of Chrome at The Lacey Contemporary Gallery and No Ordinary Disruption at The Flying Dutchman.
The nine artists in this exhibition explore the idea of interventions within the gallery space. Their individual practices, through a variety of different languages and media, are very diverse, yet the artists search to reveal a dialogue, a connection and thread. The group are interested in the relationships between how their works create a visual discourse and how by placing their works within a common space the interventions of their works create yet another layer and language. These artists are searching for hidden dynamics that create new understandings, correlations and connections.
