Kiley Brandt: ¿should i use the first person here?

I am adopted from Central America. Utilizing my privileged position, I am exploring my personal displacement of cultural identity as well as becoming overwhelmingly aware of the ways in which the current political power further demonizes and expulses immigrants into homelessness and poverty. My frustration is specifically aimed at both a larger political structure that favors the wealthy and the white, and a smaller personal issue with being and feeling other. This feeling of being other comes from navigating he nuances of being raised within a white culture but appearing in all respects Hispanic. Bridging the gap between these two pictures is a mistrust of Late Capitalism, which has made parts of the overgrown population less valuable in the maintaining of society. Examples of those exploited by this system include immigrants, children, refugees and the impoverished. The root of the misconceptions about American identity stems from effects of this capitalist movement and it’s constant omission and retelling of history that further tries to simplify a complex society. To have power in this system is to decide who does and does not belong.

My art is political. It is derived from a deep concern and need to be involved in the discussions that have preceded me. Feminist, phenomenological, and post-modern theory have influenced my work. The conceptual nature of my practice means that the majority of the pieces I produce span mediums such as video installations, legal forms, soundscapes and poetry. In my practice I try to maintain honesty and emotion while also seeking to disrupt comfort. I want my work to compel uncertainty in the space that people occupy, whether that is the gallery space or their own bodies. I feel urgency in the need to create in the wake of the 2016 election, which has displaced not only progressive policies but also human lives.

Artist’s website

ZW Buckley: Climate Changes! (Peoria)

Composer R. Murray Schafer believes that we should all try to hear the environment as music. More audaciously, he suggests that we should all take responsibility for its composition. This is the foundation of Acoustic Ecology, a discipline that attempts to understand the world around us not through what we see but instead through what we hear. It is at once both art form and conservation effort. It implies that there are changes that can’t be seen but, oh, they sure can be heard.

But what if this composition isn’t the cohesive brilliance of a symphony but instead hot, sweaty jazz? Everything that’s making sound around you is improvising — environmental bebop. It’s fast, it’s exciting, and we don’t always understand it. But, ask any good jazz musician, and they’ll tell you that half the fun is figuring out what’s being played. It’s about learning the changes - the way the harmony shifts from one place to the next. Once you understand that, the music opens up for you. So, maybe, we need to start there. We don’t often have names for the sounds around us; we just say “the sound of a helicopter” or “the sound of the river.” But, how can we understand something that has no name? And if we don’t understand the thousands of nameless sounds around us, do we really understand our environment? Instead, let’s think about that helicopter over your head, let’s think about the river that runs through your town, and let’s give their jazz a name. It’s active listening as music critique! It’s music critique as climate justice! So, from now on, the cow goes “Moo!”, the helicopter goes “Skabridash!”, and the river goes “Ropliga!”

Climate Changes! is a new series of site-specific installations by composer ZW Buckley that exists at the intersection of climate justice, soundscape composition, and community-engaged art.

Haley Funk and Dylan Pashke: Grey Area

Sunday, May 5 2019
3:00 - 5:00pm

Grey Area is a body of work that emphasizes the void, or lack thereof, ‘grey area’ within myself. After talking to a former professor, I realized that my life is captured in either black or white, there is no in between. That’s what sparked the idea for this series. These works encompass an array of subject matter such as my life experiences, the people I’ve come in contact with, and how this molds the world into meaningful interactions. My paintings utilize design elements and principles of art such as line, color, value, and repetition as I’ve found some of the most basic building blocks of art, to be the most inspiring. Line in my work conveys connectivity, causality, direction, movement, my content, and is an overall unifying element you’ll see throughout my work. All of my paintings, except for Progression of Greys like a Funeral of Sanity, which is made from hung slats of masonry board, are oil on stretched canvas.

My content thrives off of the frustration, beauty, and liberation of being a person with no ‘grey area’. It’s quite the paradox, really. Works such as Obsessive, Compulsive; Repetition; Recluse; with their counterparts; I am the Catapult; I am the String and the Hand; and I can Read Between the Lines, further solidify the message. We are meant to have grey area as human beings, so perhaps this is a bridge-way to begin my next series, Searching for my In Between. — Haley Funk

Haley Funk is a painter whose work envelopes an array of abstract and non-objective oil paintings, regarding themes such as self-reflection, mental illness, and prior life experiences. Haley started painting in high school after taking an art class on a whim. She quickly fell in love with the medium and began her higher education at Bradley University in Peoria, IL. Haley is currently earning her BFA with a concentration in Painting from Bradley University, as well as her BS in Psychology. She is a published poet as well as has received awards for her art through the Slane College of Communications and Fine Arts at Bradley University. Haley is currently wrapping up her internship for an alternative project space, Project 1612, located in Peoria, IL and looks to continue her education further on down the road with a Master of Fine Arts after completing her Master of Arts in Counseling. She seeks to incorporate her two passions, art and psychology, by creating work centered around the cause and effect relationship of our daily interactions, worldly views, mental health, and childhoods.

Artist’s website (Haley Funk)

Until recently I’ve had always thought that art needed all sorts of layers. Art always seemed to need many complex reasonings and explanations for the world’s unknown. That each impression on a canvas or layer of media needed more than a, “I did it, because I liked it”. Artists always seemed to have a comprehensive “why” to their art. It’s not until this show, where I figured out my “why” as an artist ... which is creating art that I am drawn to.

No complex reasonings, just creating work that I want to create.

As an artist, I have always been drawn to a minimalist aesthetic. I am drawn to portraiture, abstraction, pattern, repetition, typography, and interactions between both color and mediums.

In this show, I wanted to depict what I am drawn to as an artist, but overall I wanted to try something new. As a continuous learner of life, I always hope to explore and charge into unknown waters. For example, utilizing a polymer plate and metal type, on a printing press, is something I would have never imagined I would have had the opportunity to test out. — Dylan Pashke


Monday, March 25, 2019

TIME/SHARE, a film screening in collaboration with Chintia Kirana of Expose Art House, Adam Farcus, curator of Lease Agreement (Huntsville, TX), and Jessica Bingham with Alexander Martin of Project 1612 (Peoria, IL). This event is funded through Sixty Inches From Center with support from Illinois Humanities.

Each space has invited a filmmaker to be a part of the event. Screenings will take place on Monday, March 25th at 6 pm local time. Following the screenings will be a Q&A with the on-site curator, filmmaker, and audience. The Q&A will be offered as a live-stream through each respective spaces’ Facebook and Instagram feeds.

Project 1612 invited Josh Roach, a multidisciplinary artist/maker currently based out of Bloomington-Normal, Illinois. His practice is focused around the characters that he becomes through the wearing of hand-made costumes, and the subsequent actions that he performs with objects and other creatures in both constructed and real-world spaces. Recently, this has mostly been through either live performance or video work. Josh is currently pursuing his MFA degree in Sculpture & Expanded Media at Illinois State University. He received his undergraduate degree from the University of Manitoba in his hometown of Winnipeg, Canada.

Lease Agreement invited Liz Rodda, an Austin-based artist and Associate Professor in the School of Art & Design at Texas State University. Recently her work has been included in screenings and exhibitions at institutions such as Museo de Arte Moderno de Medellín, Colombia; the Museum of Contemporary Art, Miami, FL; Vox Populi, Philadelphia, PA; and the Anthology Film Archives, New York, NY. More info about this location here.

Expose Art Magazine invited C. DeWayne Cunningham, an artist, director, cinematographer and screenwriter from Beatrice, Alabama. He graduated with honors from both J.F. Shields High School & Alabama State University. C. DeWayne writes screenplays, treatments, directs & edits short films, commercials, promos, music videos & etc. through his production company Carolyn Jean's Son VISIONS. More info about this location here.

Curators and Locations:
Bingham and Martin of Project 1612 will be hosted by Jessica Stephenson of Lit on Fire Used Books, a local queer, woman-owned small business.

Farcus of Lease Agreement will be hosted by 12th Street Bar, where they regularly screen films for "12th Street Screening Series," a monthly curated, guest, and solo video program of moving-image art and short narrative cinema.

Kirana of Expose Art House will host her event at the Art House, a residency and artist-run alternative art space in Montgomery, Alabama.


Eric Anthony Berdis: Trot, Tiptoe and Gallop

Sunday, September 9, 2018
1:00 - 3:00 PM

In my work thrift store castoffs and loud sequined materials are reassembled as uniforms for a dystopian world. Familiar domestic object transforms to become horses to gallop on and ghosts that haunt me. Each object holds a peculiar function, none of which are to clothe the body or to cover uncomfortable truths. Through playful repetitive gestures, I interrogate these constructs with humorful drawings, saturated embellished sculptures and decontextualized language that are enacted apart of a performance. The slapdash construction of the fabricated object further suggest the association with youth and experimentation, but the cold, bare reality of these happenings foreclose any sense of innocence or nostalgia. The absurdity and pathos in my work is used to create new mythologies that explore idolatry and fandom while embracing everything perverse. —Eric Anthony Berdis

Derived from childhood fantasies Eric Anthony Berdis’ work explores the metamorphosis of becoming. Set among plush, embellished objects, and playful faux-fur sculptures, Berdis transforms into a nonviolent homophobia fighting superhero. Their non-violent performance practices seek to simulate the jarring experience of being stereotyped while simultaneously examining the ways we navigate towards and create safe spaces. Of course, the only non-violent way fight homophobia is no other than with a trusty hobbyhorse sidekick? Why not have 12 them? Why not a race?! Eric and Project 1612 invite you to join us in an afternoon of friendly hobbyhorse racing competition!

Eric Anthony Berdis is visual artist and curator, whose work explores masculinity, narrative, and subversion through live and video performance. Originally from Erie, Pennsylvania, Berdis received their BFA from Slippery Rock University in 2013 and is currently pursuing their MFA from Virginia Commonwealth University in the Fiber apart of the Craft & Material Studies department. An alum of the artist-run space and collective Little Berlin in Philadelphia, Eric is excited to be apart of the Project 1612 community for an afternoon of joyful hobbyhorse racing fun!

Artist’s website

Rachel Elizabeth Jones: The Great Peoria Talisman Trade

Friday, August 10, 2018
5:00 - 8:00 PM

The Great Peoria Talisman Trade is one iteration of an ongoing work that combines compulsive craft, archive, exchange, and questions of materiality and magic under late capitalism.

Visitors are invited to select and keep (or give away, or bury or burn) one of several hundred talispeople, small sculptural objects (Christmas tree ornament? Cat toy?) made from ordinary and often salvaged materials. Guests have the opportunity to create their own to offer in trade, either in advance or with materials on hand — but are under no obligation.

An archive featuring photocopies of every talisperson made by the artist will be on hand. A taliswoman is breadcrumb, intervention, invitation, souvenir — an object belonging to a network whose value, like the thing itself, is up for debate. —Rachel Elizabeth Jones

Artist’s website

Joey Knox: I Take The Weight From Your Hands

Friday, August 10, 2018
5:00 - 8:00 PM

I Take The Weight From Your Hands exists in a created space where Masculinity is merely a shield not an institution of strength. Grainy pictures of muscle cars and muscle boys blown up to a physically imposing scale shows the graphic breakdown of images--while glowing neon charges the space in saturated color that feels vivid and urgent. —Joey Knox

Imagined power and willful weakness
Soft and strong is our new goal
Built body as an imagined image
We release the burden as our new control

Artist’s website

Alex McKenzie: Carousel

Sunday, April 29, 2018
3:00 - 5:00 PM

A word repeated 100 times breaks down phonetically. As auditory perception changes, meaning is separated and a word as simple as “dog” can sound foreign. This semantic satiation acknowledges that repetition is not always sameness but can be understood as a form of change. Much of my practice focuses on this tension. Through the creation of sound pieces, screensavers, physical performances, and other media my work investigates the structures of repetition and change in memetic culture, information dissemination, and systems as a whole. —Alex McKenzie

Artist’s website

Mona Gazala: Given the Circumstances

Friday, March 2, 2018
5:00 - 7:00 PM

Given the Circumstances is about memory, place, and justice. It examines the aesthetics and politics of abandonment and gentrification through the remnants of Franklinton's Bellows School - an abandoned school building that is currently being gutted in anticipation of conversion into condominiums or some other new use. The struggle between preservation and progress - what is to be discarded and who decides? - is an analogy for how we perceive the people in marginalized and low-income communities.

Gazala is a resident of Franklinton, an inner-city neighborhood of Columbus, Ohio; and her home is just across the street from the Bellows School. Mona navigates her art with the aesthetic of an "urban archaeologist," assigning value to discarded items that others may consider of little worth. Her artworks often go the extra step and address social justice issues surrounding under-served communities and their overlooked human value, particularly as real estate speculation, gentrification, erasure, and displacement become growing concerns.

As an American-born artist of Palestinian descent, Gazala often draws on the mystique of ancient ruins and artifacts that were the normal environment of her parent's upbringing to make parallels with aged and decaying structures in modern American cities. Her Palestinian heritage also imbues her with a keen sense of spacial justice in issues of colonialism and displacement.

Artist’s website

Chintia Kirana: Through The Cracks

Saturday, November 11, 2017
2:00 - 6:00 PM

My formative years were surrounded by geographical and spiritual duality: East/West - Buddhist/Christian. These aspects of duality are evident in an ever-changing multi-cultural society. Specifically, they influence my interest in life and death, absence and presence. In my process, the act of art making is to generate possibilities and questions, because, naturally, things are uncertain. In this possibility, I can start seeing a renewal in ideas, concept, and emotion. In my practice, I explore the versatility of my media through drawing, painting, and installation. —Chintia Kirana

Chintia Kirana's award-winning works has been featured in solo and group exhibitions throughout the United States and abroad, in venues such as ISE Cultural Foundation (New York, USA), Zhou B. Art Center (Chicago, USA), National Art Gallery Dhaka (Dhaka, Bangladesh), Sienna Art Institute (Sienna, Italy), Gallery Aswara (Kuala Lumpur, Malaysia), and recently The Whitney Museum. Ms. Kirana is the founder, editor-in-chief for Expose Art Magazine.

Project 1612 will be participating in Peoria's 3rd Citywide Celebration of Women in the Arts in November. We have invited artist, curator, and editor of Expose Art Magazine, Chintia Kirana, to be the featured artist for this event. Chintia will have an exhibition at 1612 and give an artist talk about her experiences in the art world!

Exhibition dates: Saturday, November 11th and Sunday, November 12th from 2:00-6:00 pm
Artist Talk: Saturday, November 11th from 1:00-2:00 pm (Q&A to follow)

Artist’s website

Kaitlyn Christenson: Beneath the Tide

Sunday, October 15, 2017
12:00 - 2:00 PM

I’ve been around water all of my life. Whether it was a pool, lake, pond, or ocean. I think of the water as my second home. The water grew into a landscape that I could almost always recognize. Once smelling the air, hearing the seagulls, or watching the greenery fade into sand, I knew where I was. But as I grew, I realized that the home I once knew was changing. The home was getting smaller, didn’t smell the way it used to and began to houses foreign objects of a polymer plastic base that littered my once clean sand. But somehow I still was able to find a little piece of the water I once knew in that chaos. I began looking closer at the home. From the organisms living there to the frequent visitors. These macro images of various aquatic life are here to remind people that though our aquatic landscapes might have changed over time, one can always look closer and find a little familiarity up close and personal. Kaitlyn Christenson

Kaitlyn Christenson is a photographer currently based out of Peoria, IL. Creating landscapes and abstract forms out of common objects such as oysters allows her to constantly explore new textures and surfaces. This allows the viewer to see a side of nature that only the tiniest of creatures have the joy of viewing. Her work goes deeper into the thought of where these beings come from and how the landscape helps transform and shape the shells.

Kaitlyn in currently a senior BFA photography student attending Bradley University. She just finished a summer photography internship with SOCIAL Sparkling Wine where her work was regularly featured on their social media, as well as on their website. Her work can also be seen in the Water exhibition at the Peoria Public Library as well as in the MWSPE Student Volunteer exhibition at the Prairie Center of the Arts. She is a current student member of SPE.

The 3rd Terrain Biennial: Project 1612

Friday, October 6, 2017
5:00 PM 9:00 PM

TB - 1612.jpg

The Terrain Biennial is an international exhibition of site-specific art made for front yards, balconies, and porches. Centered in the historic village of Oak Park, IL, the 2017 Biennial will kick-off on Sunday, October 1st with a block party in Oak Park, IL and run until November 15th. Neighborhoods throughout Chicagoland will host performances, film screenings, and other events in conjunction with the festival. A map of all locations and the dates of the openings for each neighborhood will be posted to

Founded in October of 2011 by artist Sabina Ott and author John Paulett, Terrain Exhibitions and The Terrain Biennial repurposes private spaces such as front yards, porches, or windows, turning them into public spaces in order to foster dialogue between neighbors and provide opportunities for artists and viewers alike to experience new perspectives. The projects at the 3rd Terrain Biennial will range from sculptural installations to time-based performances to public interventions.

Project 1612 is participating in the 3rd Terrain Biennial and will be hosting a one-night event on Friday, October 6th from 5-9pm. This event will feature an installation in the front yard by Gina Hunt, which will remain installed for the duration of the biennial, a performance piece in the back yard by Connor Shields (artist’s new name is Dawn Robins), a sound installation in the garage by Ryan Paluczak, and an installation on the sun porch by Bryony Hussey.

Alix Anne Shaw: Of Our Labor

Sunday, September 17, 2017
3:00 PM 6:00 PM

I think of my work as a process of weirding space in order to challenge our predominant modes of encounter. I am interested in the our encounters with the natural environment and in the refuse of our industrial existence. The points at which we touch the natural world are among our most mudane and intimate; redeptive and damaging. I want to encourage closer consideration of the traces that remain.

As an artist, I variously vie for, invite, demand, and confront the attention of my viewer. I create small acts of lyricism that invite viewers to reconsider the objects we take for granted. Co-opting, disrupting, destabilizing, opposing, holding forth, building small fires of meaning and protest in the cracks—this is what I want my work to achieve. — Alix Anne Shaw

Alix Anne Shaw is a visual artist and poet. Her sculptures and installations have been exhibited at galleries including the Richard Gray Gallery in Chicago, AS220 Project Space in Providence, and Kriti Gallery in Varanasi, India. Her public works include Findings, a permanent installation in Milwaukee, WI. Shaw is also the author of two poetry collections. She currently lives in Chicago.

Artist’s website

Jake Vogds: Company Cuties

Sunday, August 27, 2017
3:00 - 6:00 PM


Multidisciplinary artist Jake Vogds fabricates conceptual, toy-like objects and paintings that speak to his practice as both a pop-singer and performance artist. With most of his vocal inspiration coming from black female artists, Vogds finds it essential to create physical works that call out and question the inherent appropriation laced within his voice. Microphones in object-drag as parrots sensualize this self-parody, using strategies of camp, humor, and accelerationism to dismantle systems of privilege within the pop- scene as well as the self. Stuffed-animal product-self-portraits mock and reveal the shape-shifting, mind- colonizing aspects of whiteness in hopes of trapping this trauma in surrealist riddles. On the surface, Vogds’ work smiles back at you like a room full of Muppets. However, each work is overwhelmed with a density of identity politics. During durational performance works, endless pop-vocal riffs fill the space as Vogds interacts with his toys and installations in full costume. This stream of non-sensical vocals becomes a language in which the artist speaks to himself and his objects in tongues, literally exhausting his own vocal chords as well as pop’s climactic hypnosis. Songs and Albums take on a more direct approach to critiquing youth culture, trend, and the pop-apparatus through lyrics, samplings, and live performances. When entering a space queered by a Vogds installation, one may watch as each piece tries to upstage one another with a wink and a grin.

Artist’s website

Ashley Jude Jonas: The Still Life (Curated by Ian Breidenbach)

Sunday, July 23, 2017
3:00 PM 6:00 PM


I think about my new works as exploded paintings, like fireworks that do not fade. But rather than celebrating a single day or event, the works are dedicated to the longevity of building a life. These works are about the relationship between movable objects, the space those objects inhabit and my perception of the fantastic, peculiar connectivity embedded within that relationship.

I have been moving towards these larger works for about a year. Working in the studio back and forth between painting and sculpture, I believe I am ultimately asking myself if one these ways of working is more true to my search for beauty and wonder in the spaces we construct for ourselves. While painting allows me power to make decisions without limitations concerning classical physics, the object-based works let me improvise and respond to their elements. My objective in these new works is to confuse real and perceived space by cutting, painting and arranging materials to construct both three-dimensional and two-dimensional space.

It’s important, to me, to put these works in the context of my life’s timeline thus far. I have thought of myself as being forever transient, moving from one place to another…until moving to Dayton three years ago. Since then, I have planted and cared for a garden, spent enormous amounts of important time at home with my husband, and connected to a community. And so it is no wonder that the works are larger, more generous, gratuitous in color, with more harmony between thing and place. —Ashley Jude Jonas

Artist’s website

For the last few years Ashley Jonas has been creating whimsical assemblages and still life paintings, culling together found objects and personal items from her collections. These still lifes are playfully abstract, colorful, surreal and intimate; portraits of her life as a collector of subtleties, lost objects and cast off baubles. These items are themselves portraits of the places Ashley has been; collected while bouncing between her father's utilitarian home on a beach in Key West, and her mother's lake house in Northern Michigan. They are items pulled from the ruins of Braddock, PA, from the trash in Syracuse, NY and Boulder, CO. They are souvenirs connecting her to the places she used to live. The items have a longevity, they don't die or decay, they don't just disappear, they require being thrown away.

Recently though, flowers have become another staple in these still lifes, all of which have been grown in her backyard in Dayton, OH, a place she has begun to think of as home. It is this introduction of the living that I find interesting. The flowers lack the permanence of the items. The flowers have a short lifespan, especially when cut. They wilt, they turn brown and fall away. They vary in their kind, and when asked how she chooses what type of flower will be in the work, she explains that she just uses whatever's growing. I don't feel like this is a dismissal, however. I believe that the flowers are just as important as the items, if not more. I believe them to be anchors to her current place, to her home, a connection she doesn't need to last forever, because she is still there. And whether she understands it or not, I believe the flowers to be a sign of staying put, of planting roots, of embracing the still life.

For Project 1612, Ashley Jonas and I will be working closely together to create an exhibition of her most recent work, which has seen her make the leap from representing her collection of objects in paint to creating three dimensional assemblages of the objects from the paintings. The end result in the space will be a life size still life painting as navigable installation. —Ian Breidenbach

Curator’s website

Angie Saiz: Jauria

Sunday, May 21, 2017
3:00 PM 6:00 PM


Angie Saiz (Chile, 1977) is a visual artist with production of works in painting, photography, public intervention, video installation and sound art. Her work develops aesthetic problems based on the biographical imagery and the intersection and crisis between new technologies and the concepts of time, limbo and ruin. She has exhibited in important spaces in Chile, such as MAC Museum of Contemporary Art, Museum of Visual Arts MAVI and Galería Metropolitana. She has also participated in samples outside the country in spaces such as YAKU Water Museum in Quito, Ecuador; Marta Traba Gallery in Sao Paulo, Brasil; Human Resources Gallery in Los Angeles C.A., USA, and others in México. In addition, she is curator, director and producer in projects of visual arts and carries out publishing work in related publications. Currently lives and works in Santiago de Chile, and carries out exhibition and management projects inside and outside her country.

Artist’s website

Adam Farcus: Protest Song

Sunday, May 14, 2017
3:00 PM 6:00 PM

In the dark times
Will there also be singing?
Yes, there will also be singing
About the dark times.

- Bertolt Brecht, 1939 (motto to the Svenborg Poems, aka The Exile Poems)

One election does not change who we are as a people. The America I know is clear-eyed and big-hearted―full of courage and ingenuity. Although politics can significantly affect our lives, our success has always been rooted in the willingness of our people to look out for one another and help each other through tough times. More than my Presidency, or any Presidency, it is the optimism and hard work of people like you that have changed our country for the better and that will continue to give us the strength we need to persevere.
— Barak Obama, January 9, 2017 (letter to Adam Farcus)

In December 2016, Adam Farcus wrote a letter to President Obama about fears surrounding the hatred and discrimination that was coming from Donald Trump, his campaign, and his followers. The letter ended with, “In writing to you I hoping to find guidance, meaning, or structure to aid in my ability to handle what is happening – and to turn it into something productive. Where should I start? How do I make sense of this? What can I do?”

Obama’s hopeful, human, and apparent form letter reply asks us to trust in people and persevere. This letter sets the tone for Protest Song. In this exhibition, visitors are invited to enact the score, Protest Song, and create protest songs with language generated through automatic writing by Adam Farcus while they were watching and listening to Donald Trump’s inauguration speech. Automatic writing is a Surrealist technique where the movement of the hand is separated from what they eyes see and the mind thinks, with the goal of tapping into subconscious thoughts and feelings.

The final automatic text is gibberish, which leads to songs that are as humorous and playful as they are critical and parodies of Trump’s own language. These are powerful tools that we can use to bring people together and disarm power. We use the prompt of Protest Song as a way to “help each other through tough times” by creating songs of parody, darkness, perseverance, and resistance.

Adam Farcus is a Jackson, Mississippi, based artist, curator, feminist, and teacher. They were born and raised in the rural town of Coal City, Illinois. Adam received their M.F.A. from the University of Illinois at Chicago, B.F.A. from Illinois State University, and A.A. from Joliet Junior College. Their work has been exhibited at numerous venues, including Box 13, Houston; Vox Populi, Philadelphia; the American University Museum, and A+D Gallery, Columbia College, Chicago. They have lectured on their work at The School of the Art Institute of Chicago and the Performance Studies International 16 conference, among many others. Adam curates for the nomadic alternative art space, Lease Agreement, and is the William R. Hollingsworth Fellow, in education, at the Mississippi Museum of Art.

Link to Protest Songs:
PDF version of Protest Song zine

Artist’s website