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THE UNDERWORLD: George Crump articulates a collective, yet intimate expression of his mind’s eye through a body of work that makes social statements regarding life experiences, both subjective and observational.  

In his most recent body of work, Crump situates his conceptions of “the underworld” by way of the psychological and social afterlives of oppression, with a tone of the spiritual, often positioning his figures between reality and surrealism. Crump applies the principles of discipline, understanding, and compassion to his work through his specific use of color, rich narrative approach, and form.  


“The source material of my work is the truth of my past and present life experiences”, Crump says.  


George Crump. I Don’t Know. Oil on canvas. 24″x 20″.


Themes of remembrance and the spirit of determination traverse the scope of Crump’s work as he’s concerned with aspects of universal notions of existentialism, affliction, redemption, and triumph. 

The exhibition opens for public viewing on January 14th and runs through March 26th. Please RSVP for our opening day here.  


George Crump is a Chicago-based native and visual artist.  He attended the School of the Art Institute of Chicago, and most recently held a solo exhibition at Faie African Art Gallery.  

George developed his focus on the sensual nature of art, aiming to evoke universality and honesty within his practice. So much so, his strong emotional connection to his paintings are open to a variety of rich interpretations that span a wide range of emotions and forms.   


RSVP for our timed viewing  HERE. 



How to visit The Center safely:

– Vaccine verification required for entry

– Beginning January 3, in accordance with City of Chicago policy, all visitors 5 and older will be required to show proof of full vaccination.

– Please bring either your vaccine card, a printed copy, or a digital photo of your card.

– Visitors 16 and older will need to provide identification that matches their vaccination record

– Masks will continue to be required by all visitors 2 and older while in the museum.

We continue to require all visitors, vaccinated or unvaccinated to wear masks that cover both your nose and mouth.


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.