Steve McQueen, Exodus, 1992–97, Super 8 film transferred to digital video, color, silent, 1 minute 5 seconds.


Steve McQueen

The Art Institute of Chicago
111 South Michigan Avenue
October 21–January 6

Curated by James Rondeau

An avowed formalist, Steve McQueen is also a child of Britain’s brand of early-1990s identity politics, which were a heady merger of race and postcolonialist discourse. While his recent leap from gallery to Cineplex is nothing short of remarkable, his feature films (Hunger [2008] and Shame [2011]) bear the same resolute visual sensibility and commitment to socio­political subjects that have characterized McQueen’s work from the beginning. For this survey, the artist-director has entered yet new territory with End Credits (part one), 2012—an almost eight-hour-long film showing each of the thousands of documents in Paul Robeson’s FBI file; this will accompany fourteen other works made by McQueen since 1992, including films and videos, a light box, projected slides, and his 2007–2009 project Queen and Country (for which he designed stamps in tribute to Iraq-war casualties), all of which will be considered in the catalogue raisonné published in conjunction with the show.