How to revive a neighborhood: with imagination, beauty and art
-
0:02 - 0:05I'm a potter,
-
0:05 - 0:10which seems like a fairly humble vocation.
-
0:10 - 0:13I know a lot about pots.
-
0:13 - 0:16I've spent about 15 years making them.
-
0:16 - 0:19One of the things that really
excites me in my artistic practice -
0:19 - 0:22and being trained as a potter
-
0:22 - 0:28is that you very quickly learn
how to make great things out of nothing; -
0:28 - 0:34that I spent a lot of time at my wheel
with mounds of clay trying stuff; -
0:34 - 0:38and that the limitations
of my capacity, my ability, -
0:38 - 0:41was based on my hands and my imagination;
-
0:41 - 0:43that if I wanted to make
a really nice bowl -
0:43 - 0:45and I didn't know how to make a foot yet,
-
0:45 - 0:48I would have to learn how to make a foot;
-
0:48 - 0:52that that process of learning
has been very, very helpful to my life. -
0:53 - 0:55I feel like, as a potter,
-
0:55 - 0:59you also start to learn
how to shape the world. -
0:59 - 1:02There have been times
in my artistic capacity -
1:02 - 1:05that I wanted to reflect
-
1:05 - 1:08on other really important moments
-
1:08 - 1:12in the history of the U.S.,
the history of the world -
1:12 - 1:13where tough things happened,
-
1:13 - 1:16but how do you talk about tough ideas
-
1:16 - 1:20without separating people
from that content? -
1:20 - 1:26Could I use art like these old,
discontinued firehoses from Alabama, -
1:26 - 1:32to talk about the complexities of a moment
of civil rights in the '60s? -
1:32 - 1:37Is it possible to talk about my father
and I doing labor projects? -
1:37 - 1:41My dad was a roofer, construction guy,
he owned small businesses, -
1:41 - 1:46and at 80, he was ready to retire
and his tar kettle was my inheritance. -
1:48 - 1:52Now, a tar kettle doesn't sound
like much of an inheritance. It wasn't. -
1:52 - 1:56It was stinky and it took up
a lot of space in my studio, -
1:56 - 2:00but I asked my dad if he would be willing
to make some art with me, -
2:00 - 2:04if we could reimagine this kind
of nothing material -
2:04 - 2:06as something very special.
-
2:06 - 2:10And by elevating the material
and my dad's skill, -
2:10 - 2:15could we start to think about tar
just like clay, in a new way, -
2:16 - 2:20shaping it differently,
helping us to imagine what was possible? -
2:22 - 2:26After clay, I was then kind of turned on
to lots of different kinds of materials, -
2:26 - 2:29and my studio grew a lot
because I thought, well, -
2:29 - 2:33it's not really about the material,
it's about our capacity to shape things. -
2:33 - 2:36I became more and more interested in ideas
-
2:36 - 2:41and more and more things that
were happening just outside my studio. -
2:42 - 2:45Just to give you a little bit of context,
I live in Chicago. -
2:45 - 2:48I live on the South Side now.
I'm a West Sider. -
2:48 - 2:52For those of you who are not Chicagoans,
that won't mean anything, -
2:52 - 2:54but if I didn't mention
that I was a West Sider, -
2:54 - 2:58there would be a lot of people
in the city that would be very upset. -
2:58 - 3:01The neighborhood that I live in
is Grand Crossing. -
3:01 - 3:04It's a neighborhood
that has seen better days. -
3:05 - 3:09It is not a gated community by far.
-
3:09 - 3:12There is lots of abandonment
in my neighborhood, -
3:12 - 3:16and while I was kind of busy
making pots and busy making art -
3:16 - 3:18and having a good art career,
-
3:18 - 3:20there was all of this stuff
that was happening -
3:20 - 3:22just outside my studio.
-
3:22 - 3:26All of us know about
failing housing markets -
3:26 - 3:28and the challenges of blight,
-
3:28 - 3:31and I feel like we talk about it
with some of our cities more than others, -
3:31 - 3:34but I think a lot of our
U.S. cities and beyond -
3:34 - 3:36have the challenge of blight,
-
3:36 - 3:40abandoned buildings that people
no longer know what to do anything with. -
3:40 - 3:43And so I thought, is there a way
that I could start to think -
3:43 - 3:48about these buildings as an extension
or an expansion of my artistic practice? -
3:48 - 3:51And that if I was thinking
along with other creatives -- -
3:51 - 3:55architects, engineers,
real estate finance people -- -
3:55 - 3:58that us together might be able
to kind of think -
3:58 - 4:02in more complicated ways
about the reshaping of cities. -
4:03 - 4:05And so I bought a building.
-
4:05 - 4:07The building was really affordable.
-
4:07 - 4:09We tricked it out.
-
4:09 - 4:14We made it as beautiful as we could
to try to just get some activity happening -
4:14 - 4:16on my block.
-
4:16 - 4:18Once I bought the building
for about 18,000 dollars, -
4:18 - 4:20I didn't have any money left.
-
4:20 - 4:25So I started sweeping the building
as a kind of performance. -
4:26 - 4:28This is performance art,
and people would come over, -
4:28 - 4:30and I would start sweeping.
-
4:30 - 4:33Because the broom was free
and sweeping was free. -
4:33 - 4:35It worked out.
-
4:35 - 4:37(Laughter)
-
4:37 - 4:42But we would use the building, then,
to stage exhibitions, small dinners, -
4:42 - 4:46and we found that that building
on my block, Dorchester -- -
4:46 - 4:49we now referred to the block
as Dorchester projects -- -
4:49 - 4:53that in a way that building
became a kind of gathering site -
4:53 - 4:55for lots of different kinds of activity.
-
4:55 - 4:59We turned the building into
what we called now the Archive House. -
4:59 - 5:02The Archive House would do
all of these amazing things. -
5:02 - 5:06Very significant people
in the city and beyond -
5:06 - 5:08would find themselves
in the middle of the hood. -
5:08 - 5:11And that's when I felt like
-
5:11 - 5:14maybe there was a relationship
between my history with clay -
5:14 - 5:16and this new thing that was
starting to develop, -
5:16 - 5:19that we were slowly starting
-
5:19 - 5:22to reshape how people imagined
the South Side of the city. -
5:23 - 5:26One house turned into a few houses,
-
5:26 - 5:28and we always tried to suggest
-
5:28 - 5:32that not only is creating
a beautiful vessel important, -
5:32 - 5:36but the contents of what happens
in those buildings is also very important. -
5:36 - 5:39So we were not only thinking
about development, -
5:39 - 5:41but we were thinking about the program,
-
5:41 - 5:44thinking about the kind of connections
that could happen -
5:44 - 5:49between one house and another,
between one neighbor and another. -
5:50 - 5:53This building became what we call
the Listening House, -
5:53 - 5:56and it has a collection of discarded books
-
5:56 - 5:59from the Johnson Publishing Corporation,
-
5:59 - 6:03and other books from an old bookstore
that was going out of business. -
6:03 - 6:07I was actually just wanting to activate
these buildings as much as I could -
6:07 - 6:11with whatever and whoever would join me.
-
6:12 - 6:15In Chicago, there's
amazing building stock. -
6:15 - 6:19This building, which had been
the former crack house on the block, -
6:19 - 6:21and when the building became abandoned,
-
6:21 - 6:25it became a great opportunity to really
imagine what else could happen there. -
6:25 - 6:29So this space we converted into
what we call Black Cinema House. -
6:29 - 6:33Black Cinema House was an opportunity
in the hood to screen films -
6:33 - 6:38that were important and relevant
to the folk who lived around me, -
6:38 - 6:41that if we wanted to show
an old Melvin Van Peebles film, we could. -
6:41 - 6:44If we wanted to show "Car Wash," we could.
-
6:44 - 6:46That would be awesome.
-
6:46 - 6:49The building we soon outgrew,
-
6:49 - 6:51and we had to move to a larger space.
-
6:51 - 6:55Black Cinema House, which was made
from just a small piece of clay, -
6:55 - 7:03had to grow into a much larger
piece of clay, which is now my studio. -
7:03 - 7:07What I realized was that
for those of you who are zoning junkies, -
7:07 - 7:09that some of the things that I was doing
-
7:09 - 7:12in these buildings
that had been left behind, -
7:12 - 7:16they were not the uses by which
the buildings were built, -
7:16 - 7:18and that there are city policies that say,
-
7:18 - 7:21"Hey, a house that is residential
needs to stay residential." -
7:21 - 7:26But what do you do in neighborhoods when
ain't nobody interested in living there? -
7:26 - 7:30That the people who have
the means to leave have already left? -
7:30 - 7:32What do we do with
these abandoned buildings? -
7:32 - 7:36And so I was trying
to wake them up using culture. -
7:36 - 7:39We found that that
was so exciting for folk, -
7:39 - 7:43and people were so responsive to the work,
that we had to then find bigger buildings. -
7:43 - 7:45By the time we found bigger buildings,
-
7:45 - 7:50there was, in part, the resources
necessary to think about those things. -
7:50 - 7:54In this bank that we called the Arts Bank,
it was in pretty bad shape. -
7:54 - 7:57There was about six feet
of standing water. -
7:57 - 8:00It was a difficult project to finance,
-
8:00 - 8:02because banks weren't interested
in the neighborhood -
8:02 - 8:05because people weren't interested
in the neighborhood -
8:05 - 8:07because nothing had happened there.
-
8:07 - 8:11It was dirt. It was nothing.
It was nowhere. -
8:11 - 8:16And so we just started imagining,
what else could happen in this building? -
8:16 - 8:22(Applause)
-
8:22 - 8:25And so now that the rumor
of my block has spread, -
8:25 - 8:27and lots of people are starting to visit,
-
8:27 - 8:29we've found that the bank
can now be a center -
8:29 - 8:32for exhibition, archives,
music performance, -
8:32 - 8:35and that there are people
who are now interested -
8:35 - 8:38in being adjacent to those buildings
because we brought some heat, -
8:38 - 8:41that we kind of made a fire.
-
8:41 - 8:45One of the archives that we'll have there
is this Johnson Publishing Corporation. -
8:45 - 8:49We've also started to collect
memorabilia from American history, -
8:49 - 8:52from people who live
or have lived in that neighborhood. -
8:52 - 8:56Some of these images
are degraded images of black people, -
8:56 - 8:59kind of histories
of very challenging content, -
8:59 - 9:02and where better than a neighborhood
-
9:02 - 9:06with young people who are constantly
asking themselves about their identity -
9:06 - 9:08to talk about some of the complexities
-
9:08 - 9:10of race and class?
-
9:11 - 9:15In some ways, the bank represents a hub,
-
9:15 - 9:20that we're trying to create a pretty
hardcore node of cultural activity, -
9:20 - 9:23and that if we could start
to make multiple hubs -
9:23 - 9:26and connect some cool
green stuff around there, -
9:26 - 9:29that the buildings that we've
purchased and rehabbed, -
9:29 - 9:32which is now around 60 or 70 units,
-
9:32 - 9:37that if we could land
miniature Versailles on top of that, -
9:37 - 9:41and connect these buildings
by a beautiful greenbelt -- -
9:41 - 9:44(Applause) --
-
9:44 - 9:47that this place where people
never wanted to be -
9:47 - 9:50would become an important destination
-
9:50 - 9:52for folk from all over
the country and world. -
9:53 - 9:57In some ways, it feels
very much like I'm a potter, -
9:57 - 10:00that we tackle the things
that are at our wheel, -
10:00 - 10:02we try with the skill that we have
-
10:02 - 10:07to think about this next bowl
that I want to make. -
10:07 - 10:12And it went from a bowl to a singular
house to a block to a neighborhood -
10:12 - 10:15to a cultural district
to thinking about the city, -
10:15 - 10:19and at every point, there were things
that I didn't know that I had to learn. -
10:19 - 10:22I've never learned so much
about zoning law in my life. -
10:22 - 10:24I never thought I'd have to.
-
10:24 - 10:26But as a result of that, I'm finding
that there's not just room -
10:26 - 10:28for my own artistic practice,
-
10:28 - 10:31there's room for a lot of other
artistic practices. -
10:32 - 10:33So people started asking us,
-
10:33 - 10:36"Well, Theaster, how are you
going to go to scale?" -
10:36 - 10:38and, "What's your sustainability plan?"
-
10:38 - 10:43(Laughter) (Applause)
-
10:43 - 10:47And what I found was that
I couldn't export myself, -
10:47 - 10:50that what seems necessary
in cities like Akron, Ohio, -
10:50 - 10:53and Detroit, Michigan, and Gary, Indiana,
-
10:53 - 10:57is that there are people in those places
who already believe in those places, -
10:57 - 11:00that are already dying
to make those places beautiful, -
11:00 - 11:03and that often, those people
who are passionate about a place -
11:03 - 11:07are disconnected from the resources
necessary to make cool things happen, -
11:07 - 11:10or disconnected from
a contingency of people -
11:10 - 11:12that could help make things happen.
-
11:12 - 11:16So now, we're starting to give advice
around the country -
11:16 - 11:18on how to start with what you got,
-
11:18 - 11:21how to start with the things
that are in front of you, -
11:21 - 11:24how to make something out of nothing,
-
11:24 - 11:28how to reshape your world
at a wheel or at your block -
11:28 - 11:31or at the scale of the city.
-
11:31 - 11:32Thank you so much.
-
11:32 - 11:38(Applause)
-
11:40 - 11:43June Cohen: Thank you. So I think
many people watching this -
11:43 - 11:46will be asking themselves
the question you just raised at the end: -
11:46 - 11:49How can they do this in their own city?
-
11:49 - 11:50You can't export yourself.
-
11:50 - 11:54Give us a few pages out of your playbook
about what someone who is inspired -
11:54 - 11:57about their city can do
to take on projects like yours? -
11:57 - 12:00Theaster Gates: One of the things
I've found that's really important -
12:00 - 12:04is giving thought to not just
the kind of individual project, -
12:04 - 12:07like an old house,
-
12:07 - 12:10but what's the relationship
between an old house, -
12:10 - 12:13a local school, a small bodega,
-
12:13 - 12:16and is there some kind of synergy
between those things? -
12:16 - 12:18Can you get those folk talking?
-
12:18 - 12:23I've found that in cases
where neighborhoods have failed, -
12:23 - 12:25they still often have a pulse.
-
12:25 - 12:28How do you identify the pulse
in that place, the passionate people, -
12:28 - 12:31and then how do you get folk
who have been fighting, -
12:31 - 12:36slogging for 20 years, reenergized
about the place that they live? -
12:36 - 12:38And so someone has to do that work.
-
12:38 - 12:42If I were a traditional developer,
I would be talking about buildings alone, -
12:42 - 12:46and then putting
a "For Lease" sign in the window. -
12:46 - 12:49I think that you actually
have to curate more than that, -
12:49 - 12:52that there's a way in which
you have to be mindful about, -
12:52 - 12:55what are the businesses
that I want to grow here? -
12:55 - 12:57And then, are there people
who live in this place -
12:57 - 12:59who want to grow those businesses with me?
-
12:59 - 13:02Because I think it's not just
a cultural space or housing; -
13:02 - 13:05there has to be the recreation
of an economic core. -
13:05 - 13:09So thinking about those things
together feels right. -
13:09 - 13:12JC: It's hard to get people
to create the spark again -
13:12 - 13:14when people have been
slogging for 20 years. -
13:14 - 13:17Are there any methods you've found
that have helped break through? -
13:17 - 13:20TG: Yeah, I think that now
there are lots of examples -
13:20 - 13:22of folk who are doing amazing work,
-
13:22 - 13:26but those methods are sometimes like,
when the media is constantly saying -
13:26 - 13:29that only violent things
happen in a place, -
13:29 - 13:32then based on your skill set
and the particular context, -
13:32 - 13:36what are the things that you can do
in your neighborhood -
13:36 - 13:38to kind of fight some of that?
-
13:38 - 13:41So I've found that
if you're a theater person, -
13:41 - 13:43you have outdoor street theater festivals.
-
13:43 - 13:47In some cases, we don't have
the resources in certain neighborhoods -
13:47 - 13:50to do things that are
a certain kind of splashy, -
13:50 - 13:53but if we can then find ways
of making sure that people -
13:53 - 13:55who are local to a place,
-
13:55 - 13:59plus people who could be supportive
of the things that are happening locally, -
13:59 - 14:00when those people get together,
-
14:00 - 14:03I think really amazing things can happen.
-
14:03 - 14:04JC: So interesting.
-
14:04 - 14:06And how can you make sure
that the projects you're creating -
14:06 - 14:08are actually for the disadvantaged
-
14:08 - 14:12and not just for the sort of
vegetarian indie movie crowd -
14:12 - 14:14that might move in
to take advantage of them. -
14:14 - 14:19TG: Right on. So I think this is where
it starts to get into the thick weeds. -
14:19 - 14:22JC: Let's go there.
TG: Right now, Grand Crossing -
14:22 - 14:25is 99 percent black, or at least living,
-
14:25 - 14:28and we know that maybe
who owns property in a place -
14:28 - 14:31is different from who walks
the streets every day. -
14:31 - 14:34So it's reasonable to say
that Grand Crossing is already -
14:34 - 14:37in the process of being something
different than it is today. -
14:37 - 14:43But are there ways to think about
housing trusts or land trusts -
14:43 - 14:46or a mission-based development
-
14:46 - 14:48that starts to protect
some of the space that happens, -
14:48 - 14:53because when you have
7,500 empty lots in a city, -
14:53 - 14:55you want something to happen there,
-
14:55 - 14:59but you need entities that are not
just interested in the development piece, -
14:59 - 15:02but entities that are interested
in the stabilization piece, -
15:02 - 15:06and I feel like often the developer piece
is really motivated, -
15:06 - 15:09but the other work of a kind
of neighborhood consciousness, -
15:09 - 15:11that part doesn't live anymore.
-
15:11 - 15:16So how do you start to grow up
important watchdogs -
15:16 - 15:19that ensure that the resources
that are made available -
15:19 - 15:20to new folk that are coming in
-
15:20 - 15:23are also distributed to folk
who have lived in a place for a long time. -
15:23 - 15:26JC: That makes so much sense.
One more question: -
15:26 - 15:30You make such a compelling case for beauty
and the importance of beauty and the arts. -
15:30 - 15:33There would be others who would argue
that funds would be better spent -
15:33 - 15:36on basic services for the disadvantaged.
-
15:36 - 15:40How do you combat that viewpoint,
or come against it? -
15:40 - 15:43TG: I believe that beauty
is a basic service. -
15:43 - 15:49(Applause)
-
15:50 - 15:54Often what I have found is that
when there are resources -
15:54 - 15:58that have not been made available
to certain under-resourced cities -
15:58 - 16:00or neighborhoods or communities,
-
16:00 - 16:04that sometimes culture is the thing
that helps to ignite, -
16:04 - 16:07and that I can't do everything,
-
16:07 - 16:10but I think that there's a way in which
if you can start with culture -
16:10 - 16:13and get people kind of
reinvested in their place, -
16:13 - 16:18other kinds of adjacent
amenities start to grow, -
16:18 - 16:22and then people can make a demand
that's a poetic demand, -
16:22 - 16:27and the political demands that
are necessary to wake up our cities, -
16:27 - 16:29they also become very poetic.
-
16:29 - 16:31JC: It makes perfect sense to me.
-
16:31 - 16:33Theaster, thank you so much
for being here with us today. -
16:33 - 16:34Thank you. Theaster Gates.
-
16:34 - 16:39(Applause)
- Title:
- How to revive a neighborhood: with imagination, beauty and art
- Speaker:
- Theaster Gates
- Description:
-
Theaster Gates, a potter by training and a social activist by calling, wanted to do something about the sorry state of his neighborhood on the south side of Chicago. So he did, transforming abandoned buildings to create community hubs that connect and inspire those who still live there (and draw in those who don't). In this passionate talk, Gates describes his efforts to build a "miniature Versailles" in Chicago, and he shares his fervent belief that culture can be a catalyst for social transformation in any city, anywhere.
- Video Language:
- English
- Team:
- closed TED
- Project:
- TEDTalks
- Duration:
- 16:52
Helene Batt edited English subtitles for How to revive a neighborhood: with imagination, beauty and art | ||
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Morton Bast approved English subtitles for How to revive a neighborhood: with imagination, beauty and art | ||
Morton Bast edited English subtitles for How to revive a neighborhood: with imagination, beauty and art | ||
Morton Bast edited English subtitles for How to revive a neighborhood: with imagination, beauty and art | ||
Morton Bast edited English subtitles for How to revive a neighborhood: with imagination, beauty and art | ||
Madeleine Aronson edited English subtitles for How to revive a neighborhood: with imagination, beauty and art | ||
Madeleine Aronson edited English subtitles for How to revive a neighborhood: with imagination, beauty and art |