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Bronzeville in Reel Time with South Side Home Movie Project

Join us for an afternoon of South Side home movies, featuring newly preserved films of Bronzeville from filmmaker Ramon Williams!



In partnership with South Side Home Movie Project, with support from the Gaylord and Dorothy Donnelly Foundation, SSCAC is thrilled to host a special screening showcasing select cinema reels of Ramon Williams. Ramon Williams, Black IBEW electrician and film hobbyist, was an early adopter of amateur filmmaking and invested in documenting the Bronzeville community in which he lived — filming major Bronzeville social and civic events between the 1940s and 1960s.


We’re honored to show a selection of these films during Black History Month, to highlight Ramon Williams’s commitment to documenting Black life on the South Side, and the lasting legacy of Black cinema’s power to visualize Black life in real time.



We’ll be joined by SSHMP Assistant Director, Saroop Singh (fka Justin Williams), Bronzeville Historical Society President Sherry Williams, and PhD student in Cinema and Media Studies at U Chicago, Avery LaFlamme for a live dialogue about Ramon’s cinema work and legacy in the Bronzeville community.


Donated to South Side Home Movie Project in 2020, the Ramon Williams Collection encompasses 302 film reels, their largest donation yet, representing never-before-seen visual records of Bronzeville authored by one of its few citizens with a movie camera! What was Black social life like during that time? How did Black folks present and fashion themselves? What were significant events that took place in the Bronzeville community? We hope you’ll join us to find out!


*Complimentary refreshments will be provided for attendees.


Works in EMERGENCE are diverse in their subject matter and media, but a few themes reappear throughout. Working in abstraction or in the traditionally peaceful genre of still life, artists like William Carter, Allen Stringfellow, and Jonathan Green express themes of interiority or sociability, history or modernity. Notably, Stringfellow and Ralph Arnold both experimented with media and materials and worked extensively in collage, which allowed them to combine abstract design, figurative imagery, and on occasion political ideas.

Viewers typically expect Black artists to focus on particular aspects of their social and political identities within their work. Where might those expectations come from? Still life, abstraction, and collage may express many different things about artists’ interior lives and their visual and social observation, whether connected to public manifestations of identity or not.

William Carter’s mid-century still life Untitled presents a group of vibrantly colored bottles that invite the viewer’s gaze, set against a similarly colorful background with floral elements like grapes and leaves. They give evidence of conviviality and might be interpreted as symbols of social gatherings, but they could also just be a collection of pleasing forms. We might put Carter’s still life in dialogue with that of Jonathan Green, who became close friends with Carter while living in Chicago. Green’s close-up view of an eloquently simple composition presents oranges, a pear, and a lemon in front of two vessels. Works like this piece call the viewer to examine the objects the artist chose to include, to consider how they interact with each other like bodies in space, and to reflect on their meaning within the traditional genre of still life painting.

Collage might suggest the piecing together of identity from different components that might not usually coexist, giving room for more expansive imaginations of meaning than a straightforward representational image might allow. It could also just be an inventive way of combining colors, shapes, and textures. Allen Stringfellow’s Untitled, a collage from 1962, brings familiar motifs from still life—fruit and flowers, desserts and glassware—together with imagery of artist’s models and performers. Layered with paint and tissue paper that frustrate the viewer’s attempt to get clarity on the subject matter, the bursts of form and colors hint at the splashy abstraction of Stringfellow’s untitled, textured painting made from house paint and particulate on cardboard. Here the artist tests commonly found materials to create new textures and plays with the creation of colors and finishes that diverge from “Western” academic painting methods.

In The Waiting, Arnold constructs a large collage from different paper components, lace, and paint. In the piece, elements of European and African art are placed in dialogue with one another, while some figures appear alone and isolated, others in large groups. Without giving easy answers, Arnold implies questions about social issues. Who is waiting, and for what? In his Love Sign II, which bears the words “Love is Universal,” Arnold asserts the equal validity of all types of romantic affection and love, utilizing collage to convey a more straightforward political message.