School of the Art Insititute of Chicago emerge Journal 20-21  School of the Art Insititute of Chicago emerge Journal 20-21  School of the Art Insititute of Chicago emerge Journal 20-21  School of the Art Insititute of Chicago emerge Journal 20-21
This is what we want to write for the theme. This is also known as wall text. The number of this text is around 200-500 words.

This is what we want to write for the theme. This is also known as wall text. The number of this text is around 200-500 words.
This is what we want to write for the theme. This is also known as wall text. The number of this text is around 200-500 words.

This is what we want to write for the theme. This is also known as wall text. The number of this text is around 200-500 words.













 alt_ /
Alt_ market is a functional art installation that transforms abandoned spaces into a communal free market where members of the community can give and take, thus creating a temporary communal shared economy.

We are artists, but our reach goes beyond artistic expression with ambiguity. We base our efforts on thorough research to make sure our projects—even at their most unorthodox—root art in the real and produce tangible, measurable impact.




Daniela Oliva and Sergio Zamora /
"Let us be plural."



When we read the open call and the questions that this issue wanted to engage with, the first thing that came to our minds was “let’s think in plural.” The meaning behind this question might be quite obvious, but we sometimes forget that everything is relative. In occupying different areas of the world, we experience life differently from one another. We all live different realities. That also means our dreams are different. And even though we might be striving for similar causes, there is not one single path that leads to achieving our goals.

Just like the world itself, the art world is facing various challenges. While issues such as unemployment for cultural workers or what should become of artists in a post-pandemic world are some of the most notorious, we think that this is an opportune moment to address issues related to art education and what should come next in the field, especially as it relates to accessibility, specifically in Mexico.


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"E.H. GOMBRICH
LA HISTORIA DEL ARTE"



 Riley J. Yaxley /
Death to the Imperial Museum


“It is not possible to decolonize the museum without decolonizing the world.”
-Ariella Aïsha Azoulay



“I am confident that the Guggenheim is stronger than ever before, and incredibly well-positioned to emerge successfully from the challenges presented by 2020,” said Nancy Spector, former artistic director and chief curator of the Guggenheim Foundation, in a public statement on October 8, 2020. Also in this statement, Spector announced her resignation after more than three decades at the famed art institution.1 She dodged accusations of racism from guest curator Chaédria LaBouvier—the first Black curator in the Guggenheim’s history—who organized the ground-breaking exhibition Basquiat’s ‘Defacement’: The Untold Story. LaBouvier challenged the Guggenheim in a Twitter thread that later went viral saying she had to constantly battle for her autonomy, proper credit, and acknowledgement from the Guggenheim when it came to her curation.2 Spector’s resignation came after an investigation led by independent law firm Kramer Levin found no evidence that LaBouvier was “subject to adverse treatment on the basis of her race.”3 Yet, LaBouvier did not participate in the investigation—which was initiated by the museum’s board of trustees—fearing retaliation after being threatened by a board member in May of 2019 who warned her “not to go up against the Guggenheim.”4



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 Simon Tatum /
As a person born and partially raised on Grand Cayman, a small island in the English-speaking Caribbean, I have grown interested in investigating ideas around identity politics and cultural exchange within my visual art practice. My interests have led me to focus on the topic of tourism and tourist advertisement strategies within my current graduate research. I have been dreaming about re-evaluating the visual tropes of tropical tourist destinations. I want to see representations of non-Western cultures (specifically Caribbean cultures) re-imagined through the exploration of symbolic materials and the new curation methods of twentieth century tropical souvenirs produced by Western countries.

The strategy for my recent research incorporates found objects, fragments, collected materials, images, and videos from my international travel to Western countries in conjunction with visual tropes from historical tourist products like advertisements and souvenirs. Moreover, I hope that my works will be collected by small art institutions within the Caribbean. I want the works to be inherited by future generations and seen as examples of critical evaluation towards Western countries and their relationship to my community (the global Caribbean).




 Erika Holum /