Chicago

Anthony Braxton, Falling River Music (366a), 2004–, acrylic and ink on paper, 11 × 17". From “The Freedom Principle: Experiments in Art and Music, 1965 to Now.”

Anthony Braxton, Falling River Music (366a), 2004–, acrylic and ink on paper, 11 × 17". From “The Freedom Principle: Experiments in Art and Music, 1965 to Now.”

Chicago

“The Freedom Principle: Experiments in Art and Music, 1965 to Now”

Museum of Contemporary Art, Chicago (MCA Chicago)
220 East Chicago Avenue
July 11–November 22, 2015

Curated by Naomi Beckwith and Dieter Roelstraete

Black modernity, in its many splendors, is the focus of “The Freedom Principle.” The fifty-years-young Chicago music collective AACM (Association for the Advancement of Creative Musicians) grounds the exhibition in the rowdy and riotous 1960s jazz insurgency sparked by Ornette Coleman, Cecil Taylor, John Coltrane, and the AACM’s own world-renowned modernists: Muhal Richard Abrams, Anthony Braxton, Henry Threadgill, George Lewis, Wadada Leo Smith, and flagship group the Art Ensemble of Chicago. The AACM’s ethos of independence and intrepid exploration has infused the work of two subsequent generations of Afrocentric modernists and futurists. Sharing space with a plethora of artifacts, including original printed materials and photographs from the AACM archive, are works by renowned fellow travelers AfriCOBRA, as well as by more contemporary conceptualist-Maroon operatives such as Terry Adkins, Cauleen Smith, Renée Green, and Nick Cave.