The day after Thanksgiving is touted as the biggest shopping day of the year, but skip the mobs at the department stores this year. Instead, head to the National Museum of Mexican Art in Pilsen for a new take on holiday shopping. This Friday through Sunday, from 10am-5pm, visitors will have the chance to peruse shelves of authentic Mexican folk art, a perfect opportunity to find home decorations and gifts for family members and friends.

Mercado Navideño, translated as “Christmas market,” harkens to the street markets found in Germany and Austria in celebration of the holiday. While it will be held inside the museum’s confines rather than the thoroughfares of Pilsen, it nonetheless promises the same variety found in any Christkindlmarkt. Past Mercados Navideños have showcased colorful weavings and fabrics, delicately painted figurines, sturdy pieces of pottery, intricate carvings, gorgeous jewelry, and books on Mexican food and culture. This year promises a unique collection of goods crafted by regional artists in Mexico, guaranteeing a collection of offerings that will make an impression to gift buyers and recipients alike.

Entry to the museum and the market is free, and as an added bonus, members of the museum can receive 30% off on all purchases on Friday between 10am-12pm and 25% off on the other days and times. Even if holiday shopping is not high on your to-do list right now, a quick visit will still leave you with an inside look at a rich and diverse collection of crafts and wares. Plus, those still hungry for more Mexican art can stop by the museum and take a stroll through the museum’s current exhibition, especially Claro y Oscuro featuring Chicago artist Elsa Muñoz and closing the same day that the market opens.

In one visit, you can get a helping of beautiful things, burn some calories, avoid the crazy mobs, and find the gifts that will make your gift recipients the envy of every holiday party. What better way to start of the holiday shopping season and digest your Thanksgiving meal than to dive into Mercado Navideño?

National Museum of Mexican Art, 1852 W. 19th St. (312)738-1503. Free. nationalmuseumofmexicanart.org

There is an ivy colored brick building on 5638 S. Woodlawn Avenue in Hyde Park. Once a mansion in its glory days at the turn of the century, it has now been converted into a multi-purpose space for cultural and arts events. Inside, there are brightly colored walls and hardwood floors with a variety of resources, including a radio station, artist studios, and a community museum. Rechristened as the Southside Hub of Production (SHoP) and home to a collective of artists, educators, writers, film makers and beyond, the building recently held its grand opening at the beginning of October and has hosted a slew of events since. From film screenings to workshops, exhibitions of artwork to potluck dinners, SHoP caters to a variety of interests and to people of all ages.

Here’s a glimpse of upcoming events:

• Today (Thursday), from 8:00 to 10:00 pm, Origins, an art exhibition sponsored by Beats & Pieces, a community service organization run by University of Chicago students, will feature works, poems, and performances from students and artists from Chicago at large.
• David Drake, pottery maker and poet, will make his first visit to Chicago on Friday to discuss his art and his pieces, which are now found all over the country in museums and private collections.
• For those with a soft spot for cartoon figures and eastern European history, stop by at 6:30 on Saturday for an hour and a half of animated films created in the 1960s when the Berlin Wall still stood. Entitled Grafiky Soumraku: Eastern European Animated Films, this screening includes segments from different countries and different years.

Behind the scenes, SHoP is still developing some of its facilities and working hard to continue to bring a slew of interesting programs and events to the South Side community. To that end, SHoP is seeking yearlong sponsors to support its efforts to be a cornerstone of the art community and has launched an online Kickstarter campaign, lasting for the next twelve days to raise money. Even if you can’t make it to an event, you can still be a patron of the arts by helping SHoP reach its goal of $8000. In any case, no matter what you choose to do, there is plenty to see and do almost every day for anybody who has even a remote interest in the arts or beyond.

For a complete list of events and information about supporting SHoP, visit: http://southsidehub.org/

Courtesy of Gordito1869/Wikimedia Commons

Three days ago in our very own Chicago, a grand event took place. One that had been widely publicized, even garnering an event page on the prestigious Facebook. What am I talking about? Did Obama come to Hyde Park? Not exactly. I’m referring to Una Noche de Paella, at which Mexican Consul Eduardo Arnal Palomero indeed played chef for the day at the National Museum of Mexican Art (NMMA), cooking up some of his delicious paella.

Let’s first get down to the facts. A rice dish (in simplest terms), paella is traditional to the Valencia region of Spain, and generally contains vegetables, seasonings, seafood, meat, beans…and obviously rice. It is famous for being cooked in a large, round, shallow pan—an all-too important fact since the dish got its name from the Latin term patella meaning pan, although many Arabic-speaking nations take the credit, citing their own بقية (baqiyya), meaning leftovers (which they would essentially mix together in a Moorish dish similar to the paella), as paella’s real etymological ancestor.

To my own knowledge, Palomero has not won any prizes in paella-making. The official Guinness World Record holder for the world’s largest paella is still Juan Galbis, who made a dish that fed roughly 100,000 people back in 1992 (picture above). Galbis then broke his own record in 2001, that time feeding 110,000 people. It should be noted that this accomplishment was entirely self-proclaimed by Galbis on his website and not supervised by any Guinness specialists. Maybe Palomero was trying to bring the paella back to the global spotlight, perhaps even claim Galbis’ unrivaled title? It would make sense, seeing as the paella has lost its competitive charm over the years. It is commonly considered merely a delicious main course dish without any competitive appeal. Even hot dogs have a better competitive reputation than paella!

With NMMA’s emphasis on Palomero’s “delicious” paella, they could have also been trying to put out the message that not only can paella last as a competitive art, but it can also prosper in the sphere of subjective competitions, up there with Iron Chef and the UK’s National Chili Awards’ Amateur Sauce Contest. Or “delicious” paella, rather than “average” paella or just “paella,” was a better business move to get more people to attend. Who wants to pay $125 for “average” paella? You better be getting something “delicious”! Since the NMMA is “a first voice institution for the Mexican community,” perhaps this event was Mexico’s way of challenging Spain in claiming the better tasting dish. But Palomero simply could have wanted to spend some quality time with and befriend Chicago residents. As the saying has it, the way to someone’s mind is through their belly.

Uh-oh! Looks like Palomero has some competition, as professional chef Ayo makes what Top Chef host Padma Lakshmi calls “the best paella”:

I would have done some hardcore investigative journalism on this story, but how awkward would it have been to call the NMMA and say: “Hello. I would like to inquire as to why Mr. Eduardo Arnal Palomero has been invited to cook me and my friends his ‘delicious’ paella? What exactly are his qualifications to act as chef? And what makes his paella so ‘delicious’?” So I’ll leave it a mystery—plus, who doesn’t love a good mystery? Why was the Mexican Consul brought to cook his special paella? Was it simply an act of altruism?  Were there other intentions?  I guess we’ll never really know.

Courtesy of mlk.uchicago.edu

Some may think the beginning of November is too soon to start thinking about the upcoming holidays in December, let alone Martin Luther King Day, a whole two months away. UChicago begs to differ. In anticipation of the MLK Day Celebration, scheduled to be held at Rockefeller Chapel on January 12 (for those early planners out there), the University has created the Dream Wall

Last Monday, the Dream Wall made its first appearance on the Quad. Resembling a moveable chalkboard, it attracted plenty of visitors of all ages. After a few hours, the board was covered with Post-Its with handwritten sentiments. From now until December 7th, the Dream Wall will appear in various locations and offer the opportunity for anyone who is passing by to share an aspiration (or ten), from the goals and hopes for yourself or the world at large. As the Dream Wall makes its rounds, the accumulated notes will be collected and eventually displayed at the MLK Day Celebration.

Those who miss the Dream Wall on campus can still participate by submitting their dreams online through Twitter (#MLKDream) or on dream.uchicago.edu. If sending dreams via the internet is not quite your style, submissions will also be accepted by mail. All contributions sent in by December 23rd will be included in what will sure to be an exceptional display.

For more information about the Dream Wall and submissions, see http://mlk.uchicago.edu/page/voice-your-dream

Courtesy of America: Now and Here

The truck parked outside of the Smart Museum yesterday was not there to make a delivery – at least, not the kind of delivery one would expect.

“LOOK FOR THE MOMENT WHEN PRIDE BECOMES CONTEMPT,” and a quote attributed to H.G. Wells, “HUMAN HISTORY BECOMES MORE AND MORE A RACE BETWEEN EDUCATION AND CATASTROPHE,” read some of the statements printed along the length of the truck. The large, capitalized block letters boldly demanded the attention of the passerby.

The tractor-trailer is part of the touring art installation “America: Now and Here,” led by artist Eric Fischl. The culmination of this project is planned for fall 2012, when a convoy of six 18-wheelers will journey cross-country. The trucks will stop in eight yet-to-be-determined regions, linking together in each location to serve as a gallery and event space. Along with this mobile museum of art, the installation will include programs to involve the public in a mission of creating dialogue about America.

The current Chicago installment, featuring the tractor-trailer whose exterior was designed by artist Barbara Kruger, is a precursor to the 2012 road trip. The truck has been traveling through the city since November 4^th, and is spending its last day here today at the Hyde Park Art Center, on view from 8am till 9 pm.

The unadorned design of the text on the Kruger truck lets the statements themselves be the viewer’s focus. The back of the truck reads, “PLEASE KEEP YOUR DISTANCE;” while reminiscent of the standard safety warning on the back of trucks, it clearly invited further implications and interpretations. True to the installment’s mission, these statements provoke the viewer to think critically about what they mean in the context of America’s current state.

The truck delivers not commercial goods, but an innovative artistic vision coupled with a challenge to engage in discussions about the world in which we live.

For more information on America: Now and Here, visit www.americanowandhere.org

Courtesy of the Chicago Arts District

It’s Friday! Friday! Gotta get down on Friday. I realize I’ve just committed a cardinal sin of blogging because I’ve probably just alienated all of my readers by starting a post with Rebecca Black lyrics, but for those of you who are still reading this, hear me out. Miss Black may have made some mistakes in her time (namely deciding to make music) but we should all take her nasally words of wisdom to heart—when this Friday rolls around everyone should be partyin’, partyin’.

This weekend, the Chicago Arts District Neighborhood (previously named Pilsen East) will once again host its monthly 2nd Fridays Gallery Night. As the name suggests, on the 2^nd Friday of every month galleries and receptions open their doors to display unique artwork of all mediums, including paintings, sculptures, live performances, poetry and short story readings, and more. The event spreads across 30 locations around the Halsted and 18^th Street area and showcases the work of artists from Chicago neighborhoods and beyond. Plus entrance to all of the galleries, receptions, and performances is completely free.

The 2^nd Friday Gallery Night for November will be held this Friday the 11^th from 6-10pm. If you do find the time to visit the event you’ll have the opportunity to explore an array of studios including Mambo Marilyn’s, which features Haitian Art in the form of Vodu altars and beaded work; The Bad Grammar Theater Chicago where authors will read published work every half hour; and a gallery featuring the work of Brian Manci. Not only will this night highlight very unique and interesting artwork but there’s also a chance you could meet and talk with creators of some of your favorite pieces as many of the artists attend the event and remain in their galleries for the night.

Upon arriving in the neighborhood this weekend, make sure to stop at 1821 S. Halsted Street to pick up a map to help you find your way around the area and from one gallery to the next. Also if you’re looking for more information about the event and the other artists featured that night visit the Chicago Arts District website at http://www.chicagoartsdistrict.org.

Hannah Fullmer

I stared at the painting for nearly ten minutes. I didn’t move or blink; I just stared. I must have looked a bit ridiculous with my neck bent, head tilted far back so I could take in the whole painting at once, but I was entranced. A canvas, which stretched floor to ceiling, featured an intricate white skull, highlighted by neon yellow, blue and pink. The black light installed just above the canvas intensified the three hues. The painting was captivating, and, like most of the artwork in the 25th Annual Dia de los Muertos Exhibit at the National Museum of Mexican Art, it was hauntingly beautiful.

The exhibit collected Day of the Dead related artwork by artists from across the country and Mexico, featuring vibrant artwork in a variety of media: sculptures, paintings, needlework, and wall installations, to name a few. In one installation, twenty or thirty clay body bag tags hung from white ribbon of varying lengths, creating a cloud dripping to the floor.

Hannah Fullmer

Another portion of the exhibit included examples of altars created in the same manner as those erected for the real Day of the Dead holiday. These altars were produced by artists and commemorated local individuals and important other figures in the artists’ life that have passed away. Other facets of the exhibit include a community commemoration wall which allows museum-goers to post a small note on the wall remembering a loved one. Finally, visitors could also watch a demonstration on how sugar skulls are made. Afterwards, sugar skulls were available for purchase from the gift shop, with the option to have them personalized for a small wait.

Overall, the Day of the Dead exhibit was a beautiful and interesting sampling of Mexican artwork and more importantly Mexican character and culture. If you find that you have spare time on an upcoming November weekend, head to Pilsen and soak up some of the artwork this museum has to offer.

National Museum of Mexican Art, 1852 W. 19th St. Tuesday-Sunday, 10am-5pm. (312)738-1503. Free. nationalmuseumofmexicanart.org

“Art is creativity. It’s about touching other people,” espoused artist Luis DeLaTorre this past weekend during an open studio event at the Bridgeport Art Center.

The converted warehouse has rented studio space to artists, now numbering over forty individuals, for the past eleven years. The community of artists opened their doors to the public for an event held as part of the Chicago Artists Month.

DeLaTorre was engaged in a discussion about an artist’s purpose with fellow artist JB Daniel, who is based out of a studio in Pullman. This afternoon’s experience was quickly transcending my expectations of a mere gallery viewing. I felt like a spying child, overhearing a conversation not meant for my ears. I had seen De La Torre’s work on display for all to see, but was now taking part in his private lament of the commoditization of art.

The conversation was interrupted by DeLaTorre’s computer loudly proclaiming the hour, and he explained that these hourly reminders helped him stay on track while working in the studio.

Time-keeping computers, coffee makers, an exercise bike, a small dog, imposing music – all these were the incredibly human touches that leant poignancy to the crossing of each studio’s threshold. The spaces seemed almost too personal to admit visitors.

Yet this intimacy, once broached, greatly enriched interaction with the art displayed through the halls, in the main gallery, and in individual studios, by thrusting it into dialogue with the artists themselves.

An abstract work featuring the words “she is person” was a striking presence viewed sans any context in the space of Amanda Williams’ studio. However, the piece gained a distinctive complexity and powerfulness after Williams explained that the words were taken from a document signed by her great-grandmother, a freed slave, after whom Williams is named.

Williams spoke of drawing inspiration from this document’s call to establish that her great-grandmother existed through her signature. She pointed to a work-in-progress that used this signature, giving a glimpse of the artistic process that unfolded in this sunlit studio.

Around the corner, Lisa Limas voiced the comfort of knowing that people other than herself appreciated her art, as I purchased a beautiful necklace she had crafted. I was delighted to realize she had also created my favorite piece from the main gallery, an installation of a bird’s nest nestled in a wire basket, under which stood a beaten wooden sawhorse.  Her tale of discovering in the streets the three individual components that eventually found their homes in “Now commonplace and overlooked,” as the work was titled, made the finished piece more dear.

With each successive artist who welcomed me, and fellow visitors, into his or her studio, a window was opening into the different ways in which they expressed life through the mediums of their work. While art in itself may be a meaningful manner of touching others, glimpses into the worlds of the artists that create this art only enrich this form of communication.

The Bridgeport Art Center, 1200 W. 35^th St. See their website, bridgeportart.com, for information on any upcoming events, as well as a listing of artists’ studios

(Laura M. Browning/Chicagoist)

The good folks over at Chicagoist have started showcasing the many murals on the South Side. This week’s entry in their mural series is located at the Metra underpass at 56th Street and Stony Island. The mural, Childhood is Without Prejudice, features children of many races with their faces interlocked in Venn diagrams. William Walker, the artist, was one of the founders of the community art movement in the 1960s and painted many notable murals throughout Chicago, such as All of Mankind (1972) on the Strangers Home Missionary Church and the Wall of Respect (1967), now demolished.

The last mural showcased, Where We Come From… Where We’re Going (1992), also has an incredibly interesting story. Artist and UIC professor Olivia Gude, who has written a book about urban art in Chicago, stood outside the 56th and Lake Park Metra underpass and took down the stories of the passersby. She then painted their stories, omitting any names.

Childhood is Without Prejudice was restored last year, and the Chicago Public Art Group is behind many of the restorations that have taken place around the South Side. In addition to restoring historic public art, CPAG does quite a bit of work encouraging new artists, designing public art projects, and encouraging community development. They also have a handy map of all the public art around  the Chicago area.

One of the countless photos for sale: Patrolman Bill Edwards studies a map of Hyde Park, January 2, 1968 (Chicago Sun-Times)

A rummage sale is always a great way to make a few dollars while getting rid of all that clutter. The Chicago Sun-Times, which could certainly use a little extra cash, has decided to clean out its archives and put up thousands (yes, thousands) of original photographic prints up for sale on eBay. Starting at $9.99, the photos range from mundane to surreal, from humorous to beautiful.

During a graduate seminar at UIC in 2008, Joe Baldwin came up with an idea for a mobile garden attached to a CTA train that would travel around the city bringing a bit of green into all of our lives. On Saturday he announced on his website that the CTA has approved the project. No word yet on when the garden will appear. [via Hugh Bartling]

Courtesy of Golden Age

Golden Age, a Pilsen gallery and “concept shop” whose exhibitions we’ve covered before, is moving to the West Loop, according to an announcement posted on their website yesterday. In our October 2008 feature on galleries in West Pilsen, co-founder Marco Kane Braunschweiler spoke highly of the neighborhood around Golden Age. “Where there’s open storefronts [around here], those storefronts often turn into galleries,” he told us. “It seems likely that there’ll be a lot more art spaces.” Things are looking a bit different in Pilsen these days, with galleries moving out or closing right and left.

Golden Age’s last open day at its current location will be Sunday, January 24, and they expect to open at their new (undisclosed) location in the West Loop late next month.

South of Roosevelt “resides an art community that is often invisible to the mainstream,” writes Andre Guichard in the first post on his new blog, Fine Art South of Roosevelt Road. As an artist and the director of Gallery Guichard in Bronzeville, Guichard is a tireless promoter of art of the African diaspora, and the blog promises to continue this work by introducing readers to more than one hundred artists and collectors south of Roosevelt. It will also include updates about art events and exhibitions.

From the People's Atlas of Chicago project; AREA Chicago

A panel discussion on arts and activism in the Chicago, St. Louis, and Detroit will be held simultaneously from all three cities, linked via the internet this Thursday. In Chicago, Little Black Pearl in Kenwood is hosting the event. The event is part of the “Arts and Activism in the Midwest” series, which is part of the Chicago Calling Arts Festival, which is itself part of Chicago Artists Month. In Chicago, the panel is Lindsay Obermeyer, Carol Ng-He, Jennifer Karmin, Dan Godston, and at least one other artist. That may seem like a big panel already, but keep in mind St. Louis and Detroit also have four to five panelists each. It should be interesting to see how a 15-panelist, three-location discussion can take place without collapsing into chaos, let alone be productive. Still, they must know what they’re doing.

October 1, 7-9pm
Little Black Pearl
1060 East 47th Street