Having been at Lillstreet for about two months, I’ve seen a lot of changes, met a lot of people and observed a wide-range of creative interactions. Since my last entry, our student-member show has been installed and taken down, Lillstreet’s staff has gone to and from Michigan, bringing back some excellent furniture made by former Chicagoan Floyd Gompf and I had the chance to co-interview three Lillstreet artists for an upcoming project. Furthermore, with its latest show, Lillstreet made a vibrant addition to its gallery: “Graphic Noise”.
As an exemplary introduction to the Chicago Printer’s Guild, “Graphic Noise” showcases the work of local gig poster artists, exhibiting prints initially used to promote concerts at venues such as The Metro, Schuba’s and The Hideout. With posters of Chicago favorites, Wilco and Andrew Bird shown next to Swedish indie rockers, Peter Bjorn & John, German electronic legends, Kraftwerk and Seattle sludge outfit, Melvins, “Graphic Noise” takes on a sense of international flair, celebrating specific moments in Chicago’s live music scene, while representing a broad base of world-renowned acts.
With the Chicago printers putting forth a wide spectrum of styles, blending image and text in different ways and crafting individualized visuals for their respective musical artists, “Graphic Noise” becomes equally about the Aphex Twin, Dinosaur Jr. and Codeine as it does about Sonnenzimmer, Fugscreens Studio and Crosshair. Celebrating the musical, the visual and Chicago, “Graphic Noise” makes Lillstreet Gallery a harmonious venue.