Theaster Gates: How to revive a neighborhood: with imagination, beauty and art

143,402 views ・ 2015-03-26

TED


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