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Flash, Focus: A Camera Demo Workshop with Latitude Chicago.

Join us for a camera demo workshop to learn the basics of photography!

Latitude’s Executive Director Colleen Keihm and current Artist in Resident Anwulika Angibo will host a Camera Demo workshop here at the Southside Community Art Center in a special continuing partnership with Latitude Chicago.

Guests are invited to bring an analog or digital camera to the workshop to learn more about manual settings, lighting, and digital output methods like how to upload and change image size.



Anwulika Anigbo (b. Nigeria 1987) is a Chicago-based artist tracing the historical and somatic roots of everyday life as it is practiced within blackness through imagery and processes. Anwulika’s work chronicles and investigates self-determination, presence, knowledge production, and memory. Her work has been exhibited at The Czong Institute for Contemporary Art (South Korea), Chicago Artist Coalition (Chicago), EXPO Chicago with FOR FREEDOMS (Chicago) and the NXTHVN (New Haven). She was recently a 22-23 Fellow with the Economic Security Project, the 22-23 Artist in Residence at Chicago Athletic Association, a 21-22 Artist in Residence at the Chicago Artist Coalition, and a 2022 3Arts Ignite Fund Awardee.

Her work is included in the collection at 21c Museum, Ryan Lee Gallery, and various private collections.



Colleen Keihm is the Executive Director at Latitude, a Chicago digital lab with high-end printing and scanning equipment that operates an artist in residence program and organizes arts programming. She received her MFA at the University of Illinois at Chicago and a BS in Photography at Drexel University in Philadelphia. Her work has been exhibited in Chicago at Flatland, Roman Susan, Filter Photo, and Tiger Strikes Asteroid. She has been an artist in residence at Hatch Projects at the Chicago Artist Coalition, Institut fur alles Mogliche in Berlin, Germany, and currently at Writing Space.

In addition to her role at Latitude, she is an educator in the Photography Department at University of Illinois at Chicago.


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.