Amanda Williams: Why I turned Chicago's abandoned homes into art | TED

30,780 views ・ 2019-03-20

TED


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00:13
I really love color.
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I notice it everywhere and in everything.
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My family makes fun of me
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because I like to use colors with elusive-sounding names,
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like celadon ...
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(Laughter)
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ecru ...
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carmine.
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Now, if you haven't noticed, I am black, thank you --
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(Laughter)
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and when you grow up in a segregated city as I have,
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like Chicago,
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you're conditioned to believe that color and race can never be separate.
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There's hardly a day that goes by
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that somebody is not reminding you of your color.
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Racism is my city's vivid hue.
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Now, we can all agree that race is a socially constructed phenomenon,
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but it's often hard to see it in our everyday existence.
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Its pervasiveness is everywhere.
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The neighborhoods I grew up in
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were filled with a kind of culturally coded beauty.
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Major commercial corridors were lined with brightly painted storefronts
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that competed for black consumer dollars.
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The visual mash-ups of corner stores and beauty supply houses,
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currency exchanges,
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are where I actually, inadvertently learned the foundational principles
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of something I would later come to know is called color theory.
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I can remember being pretty intimidated by this term in college --
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color theory.
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All these stuffy old white guys with their treatises
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and obscure terminologies.
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I'd mastered each one of their color palettes and associated principles.
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Color theory essentially boils down to the art and science
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of using color to form compositions and spaces.
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It's not so complicated.
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This was my bible in college.
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Josef Albers posited a theory about the color red,
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and it always has stuck with me.
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He argues that the iconic color of a cola can is red,
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and that in fact all of us can agree that it's red
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but the kinds of reds that we imagine
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are as varied as the number of people in this room.
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So imagine that.
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This color that we've all been taught since kindergarten is primary --
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red, yellow, blue --
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in fact is not primary,
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is not irreducible,
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is not objective but quite subjective.
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What?
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(Laughter)
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Albers called this "relational."
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Relational.
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And so it was the first time
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that I was able to see my own neighborhood as a relational context.
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Each color is affected by its neighbor.
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Each other is affected by its neighbor.
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In the 1930s,
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the United States government created
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the Federal Housing Administration,
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which in turn created a series of maps
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which were using a color-coding system to determine which neighborhoods
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should and should not receive federal housing loans.
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Their residential security map was its own kind of color palette,
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and in fact was more influential than all of those color palettes
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that I had been studying in college combined.
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Banks would not lend to people who lived in neighborhoods like mine.
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That's me in D86.
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Their cartographers were literally coloring in these maps
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and labeling that color "hazardous."
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Red was the new black,
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and black neighborhoods were colored.
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The problem persists today,
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and we've seen it most recently in the foreclosure crisis.
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In Chicago, this is best symbolized by these Xs
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that are emblazoned on the fronts of vacated houses
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on the South and West Side.
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The reality is that someone else's color palettes were determining
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my physical and artistic existence.
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Ridiculous.
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I decided that I'd create my own color palette
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and speak to the people who live where I do
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and alter the way that color had been defined for us.
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It was a palette that I didn't have to search far for
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and look for in a treatise,
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because I already knew it.
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What kind of painter emerges from this reality?
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What color is urban?
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What color is ghetto?
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What color is privilege?
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What color is gang-related?
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What color is gentrification?
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What color is Freddie Gray?
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What color is Mike Brown?
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Finally, I'd found a way
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to connect my racialized understanding of color
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with my theoretical understanding of color.
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And I gave birth to my third baby:
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"Color(ed) Theory."
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(Laughter)
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"Color(ed) Theory" was a two-year artistic project
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in which I applied my own color palette to my own neighborhoods
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in my own way.
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Now, if I walked down 79th Street right now
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and I asked 50 people for the name of the slightly greener shade of cyan,
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they would look at me sideways.
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(Laughter)
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But if I say, "What color is Ultra Sheen?" --
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oh, a smile emerges,
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stories about their grandmother's bathroom ensue.
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I mean, who needs turquoise when you have Ultra Sheen?
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Who needs teal when you have Ultra Sheen?
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Who needs ultramarine when you have ...
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(Audience) Ultra Sheen.
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(Laughter)
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This is exactly how I derived my palette.
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I would ask friends and family
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and people with backgrounds that were similar to mine
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for those stories and memories.
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The stories weren't always happy
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but the colors always resonated more than the product itself.
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I took those theories to the street.
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"Ultra Sheen."
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"Pink Oil Moisturizer."
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If you're from Chicago, "Harold's Chicken Shack."
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(Laughter)
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"Currency Exchange + Safe Passage."
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"Flamin' Red Hots."
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"Loose Squares" ...
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and "Crown Royal Bag."
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I painted soon-to-be-demolished homes
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in a much-maligned area called Englewood.
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We'd gather up as much paint as I could fit in my trunk,
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I'd call my most trusted art homies,
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my amazing husband always by my side,
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and we'd paint every inch of the exteriors in monochromatic fashion.
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I wanted to understand scale in a way that I hadn't before.
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I wanted to apply the colors to the biggest canvas I could imagine ...
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houses.
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So I'd obsessively drive up and down familiar streets that I'd grown up on,
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I'd cross-reference these houses with the city's data portal
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to make sure that they'd been tagged for demolition --
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unsalvageable, left for dead.
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I really wanted to understand what it meant to just let color rule,
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to trust my instincts,
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to stop asking for permission.
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No meetings with city officials,
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no community buy-in,
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just let color rule
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in my desire to paint different pictures about the South Side.
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These houses sit in stark contrast to their fully lined counterparts.
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We'd paint to make them stand out like Monopoly pieces
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in these environments.
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And we'd go on these early Sunday mornings
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and keep going until we ran out of that paint or until someone complained.
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"Hey, did you paint that?"
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a driver asked as I was taking this image one day.
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Me, nervously:
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"Yes?"
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His face changed.
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"Aw, I thought Prince was coming."
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(Laughter)
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He had grown up on this block,
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and so you could imagine when he drove past
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and saw one of its last remaining houses mysteriously change colors overnight,
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it was clearly not a Crown Royal bag involved,
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it was a secret beacon from Prince.
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(Laughter)
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And though that block was almost all but erased,
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it was the idea that Prince could pop up in unexpected places
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and give free concerts in areas that the music industry and society
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had deemed were not valuable anymore.
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For him,
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the idea that just the image of this house
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was enough to bring Prince there
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meant that it was possible.
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In that moment,
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that little patch of Eggleston had become synonymous with royalty.
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And for however briefly,
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Eric Bennett's neighborhood had regained its value.
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So we traded stories despite being strangers
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about which high school we'd gone to
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and where we'd grown up,
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and Mrs. So-and-so's candy store --
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of being kids on the South Side.
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And once I revealed
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that in fact this project had absolutely nothing to do with Prince,
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Eric nodded in seeming agreement,
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and as we parted ways and he drove off,
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he said, "But he could still come!"
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(Laughter)
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He had assumed full ownership of this project
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and was not willing to relinquish it,
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even to me, its author.
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That, for me, was success.
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I wish I could tell you that this project transformed the neighborhood
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and all the indices that we like to rely on:
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increased jobs, reduced crime, no alcoholism --
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but in fact it's more gray than that.
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"Color(ed) Theory" catalyzed new conversations
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about the value of blackness.
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"Color(ed) Theory" made unmistakably visible the uncomfortable questions
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that institutions and governments have to ask themselves
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about why they do what they do.
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They ask equally difficult questions of myself and my neighborhood counterparts
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about our value systems
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and what our path to collective agency needs to be.
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Color gave me freedom in a way that didn't wait for permission
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or affirmation or inclusion.
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Color was something that I could rule now.
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One of the neighborhood members and paint crew members said it best
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when he said, "This didn't change the neighborhood,
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it changed people's perceptions about what's possible for their neighborhood,"
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in big and small ways.
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Passersby would ask me, "Why are you painting that house
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when you know the city's just going to come and tear it down?"
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At the time, I had no idea,
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I just knew that I had to do something.
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I would give anything to better understand color as both a medium
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and as an inescapable way that I am identified in society.
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If I have any hope of making the world better,
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I have to love and leverage both of these ways that I'm understood,
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and therein lies the value and the hue.
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Thank you.
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(Applause and cheers)
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