Trunk Show | Sunday, October 26, 11am - 1pm
Palmer Square | W. Palmer Ct. between N. Kedzie and N. Sacramento
(@trunkshowtogo for exact coordinates)
If you’re interested in social meat-ia, check the hashtag #altrunko for some of the many excellent sandwiches we had during last month’s mobile opening. Eric May—he of Roots and Culture, of Hot Mess, of Ox-Bow, of Piranha Club—took us on a tour of some of his favorite southside sandwich inventors. A caravan of voracious art and food enthusiasts rode from Fat Johnnie’s to Pop’s to Super Sub to sample ample Mothers-in-law, Italian Beeves and Jims Shoe. Rumor has it that we’re still full.
This month, we’re staying still. Like so many matroyshka dolls of aesthetic support, Trunk Show is operating as part of Chicago Artist Month but also on our own. Chicago Detours has graciously included us as part of their Visual Scavenger Hunt Art Walk and Tour, which also includes stops at Comfort Station, Autotelic Studios and Azimuth Projects.
Kelly Lloyd’s work—in painting, sculpture, installation, publications and performance—often deals with speculative histories, pop culture, humor and the body—her body. Often inserting herself physically into the work—through the use of hair or a painting with her skin tone as read by the color scanner in a commercial paint store—Lloyd creates alluring and often deceptively personal situations that invite viewers in, to laugh and consider their own place in the world and in her world, only to quickly and trickily repel them.
Our sticker this month serves as an important reminder to her time scavenging and rebuilding at the beloved and idiosyncratic Elsewhere Living Museum and Artist Residency in Greensboro, North Carolina. The former thrift store teems with histories material and ephemeral. While Lloyd was an artist-in-residence at Elsewhere this summer, she organized and photographed the library and its numerous book inscriptions including the source for her piece for Trunk Show, itself found written in one of the museum’s many copies of Christianity and the Modern Man. Lloyd describes her interest in wanting to “use this opportunity to introduce a deeply private thought into a very public form.” That it is hand-scrawled, that it is a photograph of marginalia, that it is a public announcement, that it is sentimental while engaged in wordplay are things that prehaps would and prehaps do exist in the world of bumper stickers.
Year-long subscriptions are still available for the low, low price of $60 (only $50 if you opt to pick them up at openings instead of relying on the USPS). Please email us firstname.lastname@example.org to arrange a subscription.
Born and raised outside of Washington D.C., Kelly Lloyd earned her BA from Oberlin College where she double majored in Studio Art (with Honors) and African-American Studies and minored in Environmental Studies and is currently in her final year of a 3 year dual MA in Visual and Critical Studies and MFA in Painting & Drawing at SAIC. Lloyd has recently presented ”Man Artists on Television (and the Sentimental Drawings they Sexily Draw)” at the Midwest Pop Culture/American Culture Association Conference in Indianapolis and “Katie Sokoler, Your Construction Paper Tears Can’t Hide Your Yayoi Kusama Grade Neurotic Underbelly” for The Retro-Futurism of Cuteness panel at the 3rd Biennial Meeting of the BABEL Working Group, both of which were initially produced as proposal papers, which she presented at Harvard Film and Visual Studies’ Inaugural Graduate Conference In Medias Res. Recent and upcoming exhibitions include Retreat at Valerie Carberry Gallery and Richard Gray Gallery, Baudy at ADDS DONNA and Ground Floor, the Hyde Park Art Center’s biennial of recent MFA graduates.