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# Title Accession # Date Description Physical Location
1 Contact sheet: Multiples '92 & Back Talk rsga-ph-04042 April 25, 1992; March 6-April 11, 1992 Photographs of work created to be sold at "Multiples '92" April 25, 1992, an exhibition to benefit Randolph Street Gallery. Three...
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Photographs of work created to be sold at "Multiples '92" April 25, 1992, an exhibition to benefit Randolph Street Gallery. Three photographs of the installation of "Back Talk," an exhibition at the gallery, March 6-April 11, 1992.
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Box 5
2 Digital Revisions, March 21-22, 1992 (Pre-press) rsga_pst_00280pp March 21-22, 1992
3 Postales rsga-ph-01666 March 6-April 11, 1992 Installation of Munoz's "Postales" during the exhibition "Balk Talk" at Randolph Street Gallery, March 6-April 11, 1992. The mixed media...
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Installation of Munoz's "Postales" during the exhibition "Balk Talk" at Randolph Street Gallery, March 6-April 11, 1992. The mixed media installation consisted of 6 'scrolls' (1989, acrylic on canvas), 5 paintings (1989, acrylic on canvas) and 9 street signs (1989, metal). --[Source: Back Talk, March 6-April 11, 1992 (rsga_eph_00166)] "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
4 Eraser Chair rsga-ph-01662 1989 Photograph of Simmons's "Eraser Chair", 1989, wood chair and erasers. Photo Credit: Jody Zellen. The work was part of the exhibition ...
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Photograph of Simmons's "Eraser Chair", 1989, wood chair and erasers. Photo Credit: Jody Zellen. The work was part of the exhibition "Back Talk" at Randolph Street Gallery, March 6-April 11, 1992. --[Source: Back Talk, March 6-April 11, 1992 (rsga_eph_00166)] "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
5 Postales rsga-ph-01663 March 6-April 11, 1992 Installation of Munoz's "Postales" during the exhibition "Balk Talk" at Randolph Street Gallery, March 6-April 11, 1992. The mixed media...
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Installation of Munoz's "Postales" during the exhibition "Balk Talk" at Randolph Street Gallery, March 6-April 11, 1992. The mixed media installation consisted of 6 'scrolls' (1989, acrylic on canvas), 5 paintings (1989, acrylic on canvas) and 9 street signs (1989, metal). --[Source: Back Talk, March 6-April 11, 1992 (rsga_eph_00166)] "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
6 Postales rsga-ph-01665 1989 Detail from Munoz's installation "Postales" 1989, mixed media. The work was part of the exhibition "Back Talk" at Randolph Street Gallery...
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Detail from Munoz's installation "Postales" 1989, mixed media. The work was part of the exhibition "Back Talk" at Randolph Street Gallery, March 6-April 11, 1992. --[Source: Back Talk, March 6-April 11, 1992 (rsga_eph_00166)] "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
7 The Pope and Will Rogers rsga-ph-01669 1990 Detail of Keating's "The Pope and Will Rogers" 1990, framed obituaries and rope, 88.9x177.8 cm.The work was part of the exhibition "Back...
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Detail of Keating's "The Pope and Will Rogers" 1990, framed obituaries and rope, 88.9x177.8 cm.The work was part of the exhibition "Back Talk" at Randolph Street Gallery, March 6-April 11, 1992. --[Source: Back Talk, March 6-April 11, 1992 (rsga_eph_00166)] "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
8 Eraser Drawing rsga-ph-01671 March 6-April 11, 1992 One of Simmons's "Eraser Drawings" installed in the artist's studio. Two similar site specific installations were drawn with chalk,...
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One of Simmons's "Eraser Drawings" installed in the artist's studio. Two similar site specific installations were drawn with chalk, directly on the walls of Randolph Street Gallery. The work was for the exhibition "Back Talk," March 6-April 11, 1992. "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
9 Headshot rsga-ph-01660 1990 Photograph from Philip Soo's "Headshots", 1990, series of 6 black and white photographs, 25.4x20.3 cm.The work was part of the exhibition...
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Photograph from Philip Soo's "Headshots", 1990, series of 6 black and white photographs, 25.4x20.3 cm.The work was part of the exhibition "Back Talk" at Randolph Street Gallery, march 6-April 11, 1992. --[Source: Back Talk, March 6-April 11, 1992 (rsga_eph_00166)] "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
10 Eraser Drawing rsga-ph-01672 March 6-April 11, 1992 One of Simmons's "Eraser Drawings" installed in the artist's studio. Two similar site specific installations were drawn with chalk,...
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One of Simmons's "Eraser Drawings" installed in the artist's studio. Two similar site specific installations were drawn with chalk, directly on the walls of Randolph Street Gallery. The work was for the exhibition "Back Talk," March 6-April 11, 1992. "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
11 The Kiss rsga-ph-01670 1990 Detail of David Keating's "The Kiss" 1990, Cibachrome, mirror, frame, and Xerox, 137.2x71.1 cm.The work was part of the exhibition "Back...
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Detail of David Keating's "The Kiss" 1990, Cibachrome, mirror, frame, and Xerox, 137.2x71.1 cm.The work was part of the exhibition "Back Talk" at Randolph Street Gallery, march 6-April 11, 1992. --[Source: Back Talk, March 6-April 11, 1992 (rsga_eph_00166)] "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
12 The Pope and Will Rogers rsga-ph-01668 1990 Detail of Keating's "The Pope and Will Rogers" 1990, framed obituaries and rope, 88.9x177.8 cm.The work was part of the exhibition "Back...
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Detail of Keating's "The Pope and Will Rogers" 1990, framed obituaries and rope, 88.9x177.8 cm.The work was part of the exhibition "Back Talk" at Randolph Street Gallery, march 6-April 11, 1992. --[Source: Back Talk, March 6-April 11, 1992 (rsga_eph_00166)] "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
13 [Title unknown] rsga-ph-01667 March 6-April 11, 1992 Artist unknown, a photograph, of an installation.
Box 64
14 Eraser Chair rsga-ph-01683 March 6-April 11, 1992 Installation of Simmons' "Eraser Chair" during the exhibition "Balk Talk" at Randolph Street Gallery, March 6-April 11, 1992. "On the...
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Installation of Simmons' "Eraser Chair" during the exhibition "Balk Talk" at Randolph Street Gallery, March 6-April 11, 1992. "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions."
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Box 65, folder "unnamed."
15 Headshot rsga-ph-01661 1990 Photograph from Philip Soo's "Headshots", 1990, series of 6 black and white photographs, 25.4x20.3 cm.The work was part of the exhibition...
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Photograph from Philip Soo's "Headshots", 1990, series of 6 black and white photographs, 25.4x20.3 cm.The work was part of the exhibition "Back Talk" at Randolph Street Gallery, march 6-April 11, 1992. --[Source: Back Talk, March 6-April 11, 1992 (rsga_eph_00166)] "On the surface, 'Backtalk' is about difference: none of the artists included in the exhibition come form or work within the cultural mainstream. More critically, 'Backtalk' is about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions." --[Source: Event calendar -- March/April 1992]
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Box 64
16 Who Dis/Covers — Who Dis/Colors RSGA 273 1992 A video interview used in Esther Parade's installation project, "Who Dis/Covers -- Who Dis/Colors," as part of the exhibition, "Back Talk...
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A video interview used in Esther Parade's installation project, "Who Dis/Covers -- Who Dis/Colors," as part of the exhibition, "Back Talk," and the event, "Digital Revisions."<br> Esther Parada's "Who Dis/Covers -- Who Dis/Colors" is a site-specific project about the efforts of the National DeSable (sic) Memorial Society to reconstruct Chicago's first settler's cabin at the 1933 Century of Progress exposition.<br> This installation was a part of the exhibition, "Back Talk," held March 6-April 11, 1992. Curated by Doug Ischar, and organized by Joanne Cubbs, the exhibition was, on its surface, about difference: none of the artists included in the exhibition come from or work within the cultural mainstream. More critically, Backtalk was about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions. Through both the forcefulness of their responses and the complexity of their cultural placements, artists David Keating, Celia Muñoz, Esther Parada, Gary Simmons and Philip Soo spoke as empowered subjects.<br> Esther Parada's "Who Dis/Covers -- Who Dis/Colors" was also utilized in the March 21-22, 1992 event, "Digital Revisions." In this workshop, participants explored the connection of their personal and community histories to public or "official" histories. It was in part for individuals who wished to share their own experiences and observations in relation to Parada's project. –[Source: Event Calendar -- March/April 1992]
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17 Context Talk for Backtalk RSGA 259 February 6, 1992 Documentation of the March 6, 1992 Context Talk, presented as part of the Back Talk exhibition. <br>This discussion was a part of...
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Documentation of the March 6, 1992 Context Talk, presented as part of the Back Talk exhibition. <br>This discussion was a part of the exhibition, "Back Talk," held March 6-April 11, 1992. Curated by Doug Ischar, and organized by Joanne Cubbs, the exhibition was, on its surface, about difference: none of the artists included in the exhibition come from or work within the cultural mainstream. More critically, Backtalk was about how difference is embodied and animated in visual art through the appropriation and redefinition of majority signs, representational stereotypes, and aesthetic conventions. Through both the forcefulness of their responses and the complexity of their cultural placements, artists David Keating, Celia Muñoz, Esther Parada, Gary Simmons and Philip Soo spoke as empowered subjects. –[Source: Event Calendar -- March/April 1992]
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