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

31,268 views ・ 2019-03-20

TED


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: Eunhye Baek
00:13
I really love color.
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μ €λŠ” μ •λ§λ‘œ 색을 μ‚¬λž‘ν•©λ‹ˆλ‹€.
00:17
I notice it everywhere and in everything.
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λͺ¨λ“  것과 λͺ¨λ“  κ³³μ—μ„œ 색을 보죠.
00:21
My family makes fun of me
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제 가쑱듀은 μ €λ₯Ό λ†€λ¦½λ‹ˆλ‹€.
00:23
because I like to use colors with elusive-sounding names,
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μ™œλƒλ©΄ μ €λŠ” μ•Œμ•„λ“£κΈ° νž˜λ“  μ΄λ¦„μœΌλ‘œ 색을 λΆ€λ₯΄λŠ” 것을 μ’‹μ•„ν•˜κ±°λ“ μš”.
00:27
like celadon ...
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예λ₯Ό λ“€μ–΄ μ²­μžμƒ‰μ΄λΌκ±°λ‚˜
00:29
(Laughter)
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(μ›ƒμŒ)
00:30
ecru ...
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엷은 κ°ˆμƒ‰
00:33
carmine.
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양홍색 κ°™μ΄μš”.
00:36
Now, if you haven't noticed, I am black, thank you --
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ν˜Ήμ‹œ λͺ¨λ₯΄μ…¨μ„ 뢄듀을 μœ„ν•΄, μ €λŠ” ν‘μΈμž…λ‹ˆλ‹€. κ³ λ§ˆμ›Œμš”.
00:40
(Laughter)
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(μ›ƒμŒ)
00:41
and when you grow up in a segregated city as I have,
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μ—¬λŸ¬λΆ„μ΄ μ œκ°€ μ‚¬λŠ” λ„μ‹œ μ‹œμΉ΄κ³ μ²˜λŸΌ
00:43
like Chicago,
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인쒅차별적인 λ„μ‹œμ—μ„œ μžλžλ‹€λ©΄
00:44
you're conditioned to believe that color and race can never be separate.
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색과 인쒅은 μ ˆλŒ€ 뢄리될 수 μ—†λ‹€κ³  믿을 수 밖에 없을 κ²λ‹ˆλ‹€.
00:51
There's hardly a day that goes by
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단 ν•˜λ£¨λΌλ„ λ‹€λ₯Έ μ‚¬λžŒλ“€μ΄ λ‹Ήμ‹ μ˜ 색깔을
00:53
that somebody is not reminding you of your color.
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μƒκΈ°μ‹œν‚€μ§€ μ•Šκ³  λ„˜μ–΄κ°€λŠ” 날이 없을 κ±°μ˜ˆμš”.
00:58
Racism is my city's vivid hue.
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인쒅차별은 제 λ„μ‹œμ˜ μ„ λͺ…ν•œ 색쑰 같은 것이죠.
01:03
Now, we can all agree that race is a socially constructed phenomenon,
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μš°λ¦¬λŠ” λͺ¨λ‘ μΈμ’…μ΄λž€ μ‚¬νšŒμ μœΌλ‘œ λ§Œλ“€μ–΄μ§„ ν˜„μƒμ΄λž€ 데 λ™μ˜ν•  κ²ƒμž…λ‹ˆλ‹€.
01:09
but it's often hard to see it in our everyday existence.
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ν•˜μ§€λ§Œ 일상적인 생쑴 μ†μ—μ„œ κ·Έ 사싀을 μ•ŒκΈ°λž€ μ–΄λ ΅μ£ .
01:12
Its pervasiveness is everywhere.
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인쒅차별은 λͺ¨λ“  κ³³μ—μ„œ λ„˜μ³λ‚˜λ‹ˆκΉŒμš”.
01:15
The neighborhoods I grew up in
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μ œκ°€ μžλž€ λ™λ„€λŠ” λ¬Έν™”μ μœΌλ‘œ μ½”λ“œν™” 된
01:17
were filled with a kind of culturally coded beauty.
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아름닀움이 λ„˜μ³λ‚¬μŠ΅λ‹ˆλ‹€.
01:20
Major commercial corridors were lined with brightly painted storefronts
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μ£Όμš” 상업 μ§€λŒ€μ—λŠ” 흑인 μ†ŒλΉ„μžλ“€μ˜ λˆμ„ μ–»κΈ° μœ„ν•΄ κ²½μŸν•˜λŠ”
01:25
that competed for black consumer dollars.
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밝게 μΉ ν•΄μ§„ κ°€κ²Œ 외관듀이 쀄지어 μžˆμ—ˆμ£ .
01:27
The visual mash-ups of corner stores and beauty supply houses,
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λͺ¨ν‰μ΄ κ°€κ²Œλ“€κ³Ό λ―Έμš©μš©ν’ˆμ λ“€
01:32
currency exchanges,
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ν™˜μ „μ†Œλ“€μ˜ μ‹œκ°μ  쑰합은
01:34
are where I actually, inadvertently learned the foundational principles
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μš°μ—°νžˆλ„ μ œκ°€ λ‚˜μ€‘μ— μ•Œκ²Œ 된
01:38
of something I would later come to know is called color theory.
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색채 이둠이라고 λΆˆλ¦¬λŠ” κ²ƒμ˜ κΈ°λ³Έ 원칙을 배운 κ³³μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
01:44
I can remember being pretty intimidated by this term in college --
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λŒ€ν•™κ΅μ—μ„œ 이 μš©μ–΄μ— κ½€ 겁을 λ¨Ήμ—ˆλ˜ 게 κΈ°μ–΅λ‚˜λ„€μš”.
01:48
color theory.
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색채 이둠.
01:49
All these stuffy old white guys with their treatises
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λ…Όλ¬Έκ³Ό λͺ¨ν˜Έν•œ μš©μ–΄λ“€λ‘œ 무μž₯ν•œ
01:52
and obscure terminologies.
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꽉 λ§‰νžˆκ³  λ‚˜μ΄λ“  백인 λ‚¨μžλ“€.
01:56
I'd mastered each one of their color palettes and associated principles.
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μ €λŠ” κ·Έλ“€ 각각의 색 νŒ”λ ˆνŠΈμ™€ μ—°μƒλ˜λŠ” 법칙듀을 μ΅ν˜”μŠ΅λ‹ˆλ‹€.
02:02
Color theory essentially boils down to the art and science
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색채 이둠은 본질적으둜 색을 μ΄μš©ν•˜μ—¬
02:06
of using color to form compositions and spaces.
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ꡬ쑰와 곡간을 ν˜•μ„±ν•˜λŠ” 예술이자 κ³Όν•™μž…λ‹ˆλ‹€.
02:11
It's not so complicated.
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그리 λ³΅μž‘ν•˜μ§€ μ•Šμ£ .
02:15
This was my bible in college.
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이 책은 λŒ€ν•™μ‹œμ ˆ 제 λ°”μ΄λΈ”μ΄μ—ˆμ–΄μš”.
02:19
Josef Albers posited a theory about the color red,
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μ‘°μ„Έν”„ μ•Œλ²„μŠ€λŠ” 빨간색에 λŒ€ν•œ 이둠을 λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€.
02:24
and it always has stuck with me.
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μ§€κΈˆλ„ μ €μ—κ²Œ μ™€λ‹ΏλŠ” 이둠이죠.
02:27
He argues that the iconic color of a cola can is red,
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κ·ΈλŠ” 콜라의 상징적인 색은 빨강이라고 ν–ˆμŠ΅λ‹ˆλ‹€.
02:33
and that in fact all of us can agree that it's red
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사싀 우리 λͺ¨λ‘κ°€ λΉ¨κ°•μ΄λΌλŠ” 데 λ™μ˜ν•  수 있겠죠.
02:36
but the kinds of reds that we imagine
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ν•˜μ§€λ§Œ μš°λ¦¬κ°€ μƒμƒν•˜λŠ” μ’…λ₯˜μ˜ 빨간색은
02:38
are as varied as the number of people in this room.
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이 곡간에 μžˆλŠ” μ‚¬λžŒλ“€μ˜ μˆ˜λ§ŒνΌμ΄λ‚˜ λ‹€μ–‘ν•  κ²ƒμž…λ‹ˆλ‹€.
02:43
So imagine that.
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μƒμƒν•΄λ³΄μ„Έμš”.
02:44
This color that we've all been taught since kindergarten is primary --
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μš°λ¦¬κ°€ μœ μΉ˜μ› μ‹œμ ˆλΆ€ν„° 배운 이 기본적인 μƒ‰λ“€μ„μš”.
02:48
red, yellow, blue --
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λΉ¨κ°•, λ…Έλž‘, νŒŒλž‘...
02:50
in fact is not primary,
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사싀, 이것은 기본적이지 μ•ŠμŠ΅λ‹ˆλ‹€.
02:52
is not irreducible,
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더 μͺΌκ°œμ§€ λͺ»ν•˜λŠ” 것도 μ•„λ‹ˆκ³ μš”.
02:54
is not objective but quite subjective.
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객관적이지도 μ•ŠμŠ΅λ‹ˆλ‹€ 였히렀 κ½€ 주관적인 κ²ƒμ΄μ§€μš”.
02:59
What?
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뭐라고?
03:00
(Laughter)
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(μ›ƒμŒ)
03:02
Albers called this "relational."
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μ•Œλ²„μŠ€λŠ” 이것을 "상관적인"이라고 λΆˆλ €μŠ΅λ‹ˆλ‹€.
03:06
Relational.
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상관적인 μ΄λΌκ³ μš”.
03:08
And so it was the first time
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κ·Έλž˜μ„œ 처음으둜
03:09
that I was able to see my own neighborhood as a relational context.
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제 동넀λ₯Ό 상관적인 λ§₯락으둜 바라볼 수 있게 λ˜μ—ˆμ£ .
03:16
Each color is affected by its neighbor.
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각각의 색은 λ°”λ‘œ κ·Έ μ΄μ›ƒμœΌλ‘œλΆ€ν„° 영ν–₯을 λ°›μŠ΅λ‹ˆλ‹€.
03:21
Each other is affected by its neighbor.
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각각의 μ‚¬λžŒλ“€μ€ λ°”λ‘œ κ·Έ μ΄μ›ƒμœΌλ‘œλΆ€ν„° 영ν–₯을 λ°›μŠ΅λ‹ˆλ‹€.
03:29
In the 1930s,
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1930λ…„
03:32
the United States government created
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λ―Έκ΅­ μ •λΆ€λŠ”
03:35
the Federal Housing Administration,
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μ—°λ°© 주택 관리청을 μ„€λ¦½ν–ˆμŠ΅λ‹ˆλ‹€.
03:37
which in turn created a series of maps
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그곳은 μ–΄λ–€ 동넀가 μ—°λ°© 주택 λŒ€μΆœμ„
03:41
which were using a color-coding system to determine which neighborhoods
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λ°›κ±°λ‚˜ λ°›μœΌλ©΄ μ•ˆλ μ§€λ₯Ό κ²°μ •ν•˜κΈ° μœ„ν•΄
03:46
should and should not receive federal housing loans.
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컬러 μ½”λ”© μ‹œμŠ€ν…œμ„ μ΄μš©ν•΄ 일련의 지도λ₯Ό λ§Œλ“€μ—ˆμ£ .
03:52
Their residential security map was its own kind of color palette,
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κ·Έ μ£Όκ±° λ³΄μ•ˆ μ§€λ„μ—λŠ” 자체적인 색채 νŒ”λ ˆνŠΈκ°€ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
03:56
and in fact was more influential than all of those color palettes
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μ œκ°€ λŒ€ν•™μ—μ„œ κ³΅λΆ€ν•œ 색채 νŒ”λ ˆνŠΈλ“€ 보닀
04:01
that I had been studying in college combined.
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훨씬 더 영ν–₯λ ₯이 큰 κ²ƒμ΄μ—ˆμ£ .
04:06
Banks would not lend to people who lived in neighborhoods like mine.
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은행은 제 동넀 같은 곳의 μ‚¬λžŒλ“€μ—κ²ŒλŠ” λŒ€μΆœν•΄μ£Όμ§€ μ•Šμ•˜μ–΄μš”.
04:11
That's me in D86.
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D86이 제 λ™λ„€μ˜ˆμš”.
04:14
Their cartographers were literally coloring in these maps
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μ§€λ„μ œμž‘μžλŠ” λ§κ·ΈλŒ€λ‘œ 지도λ₯Ό μƒ‰μΉ ν•˜κ³ 
04:18
and labeling that color "hazardous."
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κ·Έ 색을 'μœ„ν—˜ν•œ'이라고 ν‘œμ‹œν–ˆμŠ΅λ‹ˆλ‹€.
04:23
Red was the new black,
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빨강은 μƒˆλ‘œμš΄ κ²€μ •μ΄μ—ˆμ–΄μš”.
04:26
and black neighborhoods were colored.
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그리고 흑인 λ™λ„€λŠ” 색이 μΉ ν•΄μ‘Œμ£ .
04:31
The problem persists today,
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이런 λ¬Έμ œλŠ” μ§€κΈˆλ„ μœ νš¨ν•©λ‹ˆλ‹€.
04:33
and we've seen it most recently in the foreclosure crisis.
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μš°λ¦¬λŠ” 이런 λ¬Έμ œλ“€μ„ 졜근 금육 μœ„κΈ°μ—μ„œλ„ λ³΄μ•˜μ£ .
04:37
In Chicago, this is best symbolized by these Xs
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μ‹œμΉ΄κ³ μ—μ„œλŠ”, 남μͺ½κ³Ό μ„œμͺ½μ— μžˆλŠ” 빈 μ§‘λ“€μ˜
04:40
that are emblazoned on the fronts of vacated houses
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정면에 이런 Xν‘œμ‹œλ“€μ„ ν•΄μ„œ
04:43
on the South and West Side.
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ν‘œμ‹μ„ 상징화 ν•©λ‹ˆλ‹€.
04:47
The reality is that someone else's color palettes were determining
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λˆ„κ΅°κ°€κ°€ λ§Œλ“  색채 νŒ”λ ˆνŠΈλ‘œ
04:52
my physical and artistic existence.
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λ‚˜μ˜ 신체적 예술적 쑴재λ₯Ό κ²°μ •ν•œλ‹€λŠ” 것이 ν˜„μ‹€μž…λ‹ˆλ‹€.
04:57
Ridiculous.
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μ›ƒκΈ°λŠ” 일이죠.
05:00
I decided that I'd create my own color palette
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μ €λŠ” μ €λ§Œμ˜ 색채 νŒ”λ ˆνŠΈλ₯Ό λ§Œλ“€κΈ°λ‘œ ν–ˆμŠ΅λ‹ˆλ‹€.
05:03
and speak to the people who live where I do
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μ œκ°€ μ‚¬λŠ” 곳의 μ‚¬λžŒλ“€κ³Ό 이야기 λ‚˜λˆ„κ³ 
05:05
and alter the way that color had been defined for us.
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색이 우리λ₯Ό μ •μ˜ν•΄ 온 방식을 λ°”κΏ¨μŠ΅λ‹ˆλ‹€.
05:09
It was a palette that I didn't have to search far for
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그것은 μ œκ°€ μ°Ύμ•„ ν—€λ§€κ±°λ‚˜
05:13
and look for in a treatise,
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논문을 μ°Ύμ•„λ³Ό ν•„μš”κ°€ μ—†λŠ” νŒ”λ ˆνŠΈμ˜€μŠ΅λ‹ˆλ‹€.
05:14
because I already knew it.
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μ™œλƒλ©΄ 이미 μ•Œκ³  있던 κ²ƒμ΄μ—ˆκ±°λ“ μš”.
05:17
What kind of painter emerges from this reality?
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μ–΄λ–€ ν™”κ°€κ°€ ν˜„μ‹€λ‘œλΆ€ν„° λ²—μ–΄λ‚ κΉŒ?
05:25
What color is urban?
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μ–΄λ–€ 색이 λ„μ‹œμ μΈκ°€?
05:29
What color is ghetto?
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μŠ¬λŸΌκ°€λŠ” 무슨 색인가?
05:32
What color is privilege?
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μ–΄λ–€ 색이 νŠΉλ³„ν• κΉŒ?
05:35
What color is gang-related?
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μ–΄λ–€ 색이 갱단과 κ΄€λ ¨μžˆμ„κΉŒ?
05:38
What color is gentrification?
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μ  νŠΈλ¦¬ν”ΌμΌ€μ΄μ…˜μ€ 무슨 μƒ‰μΌκΉŒ?
05:41
What color is Freddie Gray?
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ν”„λ ˆλ”” κ·Έλ ˆμ΄λŠ” 무슨 μƒ‰μΌκΉŒ?
05:45
What color is Mike Brown?
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마이크 λΈŒλΌμš΄μ€ 무슨 μƒ‰μΌκΉŒ?
05:49
Finally, I'd found a way
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λ§ˆμΉ¨λ‚΄ μ €λŠ”
05:52
to connect my racialized understanding of color
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제 μΈμ’…μ£Όμ˜μ μΈ 색채에 λŒ€ν•œ 이해화
05:56
with my theoretical understanding of color.
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이둠적인 이해λ₯Ό μ—°κ²°ν•  방법을 μ°Ύμ•˜μŠ΅λ‹ˆλ‹€.
05:59
And I gave birth to my third baby:
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그리고 μ„Έ 번째 μžμ‹μ„ λ‚³μ•˜μ£ 
06:02
"Color(ed) Theory."
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"색채(ν™”λœ) 이둠"
06:03
(Laughter)
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(μ›ƒμŒ)
06:06
"Color(ed) Theory" was a two-year artistic project
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"색채(ν™”λœ) 이둠"은 2λ…„μ§œλ¦¬ 예술 ν”„λ‘œμ νŠΈμ˜€μŠ΅λ‹ˆλ‹€.
06:09
in which I applied my own color palette to my own neighborhoods
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제 동넀에 μ €μ˜ 색채 νŒ”λ ˆνŠΈλ₯Ό μ μš©ν•˜λŠ” κ²ƒμ΄μ—ˆμ£ .
06:14
in my own way.
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μ €λ§Œμ˜ λ°©μ‹μœΌλ‘œμš”.
06:18
Now, if I walked down 79th Street right now
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μ œκ°€ 79λ²ˆκ°€ 거리λ₯Ό κ±Έμ–΄κ°€λ©΄μ„œ
06:22
and I asked 50 people for the name of the slightly greener shade of cyan,
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50λͺ…μ—κ²Œ ν¬λ―Έν•œ μ΄ˆλ‘μƒ‰μ„ 띈 μ²­λ‘μƒ‰μ˜ 이름을 λ¬Όμ–΄λ΄…λ‹ˆλ‹€.
06:30
they would look at me sideways.
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그듀은 μ €λ₯Ό μ΄μƒν•˜κ²Œ 바라보겠죠.
06:31
(Laughter)
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(μ›ƒμŒ)
06:33
But if I say, "What color is Ultra Sheen?" --
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ν•˜μ§€λ§Œ λ§Œμ•½ "Ultra Sheen이 무슨 μƒ‰μΈκ°€μš”?"라고 물으면
06:36
oh, a smile emerges,
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였, λ―Έμ†Œκ°€ μ§€μ–΄μ§€λ©΄μ„œ
06:38
stories about their grandmother's bathroom ensue.
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ν• λ¨Έλ‹ˆμ˜ ν™”μž₯μ‹€ 같은 이야기가 μ΄μ–΄μ§‘λ‹ˆλ‹€.
06:42
I mean, who needs turquoise when you have Ultra Sheen?
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Ultra sheen이 μžˆλ‹€λ©΄ λˆ„κ°€ ν„°ν‚€μ˜₯색이 ν•„μš”ν•˜κ² μ–΄μš”?
06:45
Who needs teal when you have Ultra Sheen?
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Ultra Sheen이 μžˆλ‹€λ©΄ 청둝색이 ν•„μš”ν•˜κ² μ–΄μš”?
06:49
Who needs ultramarine when you have ...
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λˆ„κ°€ ꡰ청색이 ν•„μš”ν• κΉŒμš” λ§Œμ•½
06:53
(Audience) Ultra Sheen.
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Ultra Sheen이 μžˆλ‹€λ©΄μš”.
06:55
(Laughter)
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(μ›ƒμŒ)
06:57
This is exactly how I derived my palette.
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이게 λ°”λ‘œ μ €μ˜ νŒ”λ ˆνŠΈλ₯Ό λ§Œλ“€μ–΄ λ‚Έ λ°©λ²•μž…λ‹ˆλ‹€.
07:00
I would ask friends and family
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μ €λŠ” μΉœκ΅¬λ“€κ³Ό κ°€μ‘±λ“€ 그리고
07:03
and people with backgrounds that were similar to mine
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저와 같은 배경을 κ°€μ§€κ³  λΉ„μŠ·ν•œ 이야기와
07:06
for those stories and memories.
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기얡을 κ°€μ§„ μ‚¬λžŒλ“€μ—κ²Œ λ¬Όμ—ˆμŠ΅λ‹ˆλ‹€.
07:08
The stories weren't always happy
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κ·Έ 이야기듀이 항상 ν–‰λ³΅ν•˜μ§€λŠ” μ•Šμ•˜μ–΄μš”.
07:10
but the colors always resonated more than the product itself.
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ν•˜μ§€λ§Œ 색은 항상 κ·Έ μ œν’ˆ μ΄μƒμ˜ 것을 곡λͺ…ν•  수 있게 ν–ˆμ£ .
07:16
I took those theories to the street.
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μ €λŠ” 이 이둠을 κ°€μ§€κ³  거리둜 λ‚˜κ°”μŠ΅λ‹ˆλ‹€.
07:20
"Ultra Sheen."
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"울트라 μ‰°"
07:22
"Pink Oil Moisturizer."
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"핑크 였일 λͺ¨μ΄μŠ€μ³λΌμ΄μ €"
07:26
If you're from Chicago, "Harold's Chicken Shack."
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μ—¬λŸ¬λΆ„μ΄ μ‹œμΉ΄κ³  μ‚¬λžŒμ΄λΌλ©΄ μ•Œ, "ν•΄λ‘€λ“œμ˜ μΉ˜ν‚¨μ§‘".
07:29
(Laughter)
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(μ›ƒμŒ)
07:30
"Currency Exchange + Safe Passage."
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"ν™˜μ „μ†Œ + μ•ˆμ „ ν†΅ν–‰κΆŒ"
07:34
"Flamin' Red Hots."
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"λΆˆνƒ€λŠ” λ ˆλ“œ ν•«"
07:37
"Loose Squares" ...
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"루즈 μŠ€ν€˜μ–΄"(λ‹΄λ°°)
07:40
and "Crown Royal Bag."
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그리고 "크라운 λ‘œμ—΄ λ°±"
07:46
I painted soon-to-be-demolished homes
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μ €λŠ” μž‰κΈ€μš°λ“œλΌλŠ” μœ„ν—˜ 지역에 μžˆλŠ”
07:49
in a much-maligned area called Englewood.
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κ³§ 철거될 집듀을 μΉ ν–ˆμŠ΅λ‹ˆλ‹€.
07:54
We'd gather up as much paint as I could fit in my trunk,
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μš°λ¦¬λŠ” νŠΈλŸ­μ— 싀을 수 μžˆλŠ” μ΅œλŒ€ν•œ 페인트λ₯Ό λͺ¨μœΌκ³ 
07:57
I'd call my most trusted art homies,
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μ œκ°€ κ°€μž₯ μ‹ λ’°ν•˜λŠ” μ˜ˆμˆ κ°€ λ™λ£Œλ“€μ—κ²Œ 연락을 ν–ˆμ£ .
07:59
my amazing husband always by my side,
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제 ν›Œλ₯­ν•œ λ‚¨νŽΈμ΄ 항상 제 μ˜†μ— μžˆμ—ˆκ³ μš”.
08:02
and we'd paint every inch of the exteriors in monochromatic fashion.
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그리고 μš°λ¦¬λŠ” μ§‘ μ™Έκ΄€μ˜ λͺ¨λ“  뢀뢄을 λ‹¨μƒ‰μœΌλ‘œ μΉ ν–ˆμŠ΅λ‹ˆλ‹€.
08:08
I wanted to understand scale in a way that I hadn't before.
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μ €λŠ” 이전에 해보지 μ•Šμ€ λ°©μ‹μœΌλ‘œ μŠ€μΌ€μΌμ„ μ΄ν•΄ν•˜κ³  μ‹Άμ—ˆμŠ΅λ‹ˆλ‹€.
08:12
I wanted to apply the colors to the biggest canvas I could imagine ...
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μ œκ°€ 상상할 수 μžˆλŠ” κ°€μž₯ 큰 μΊ”λ²„μŠ€μ— 색을 μΉ ν•˜κ³  μ‹Άμ—ˆμ£ .
08:17
houses.
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λ°”λ‘œ μ§‘μ—μš”.
08:18
So I'd obsessively drive up and down familiar streets that I'd grown up on,
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κ·Έλž˜μ„œ μ €λŠ” λ―ΈμΉœλ“―μ΄ μ œκ°€ μžλž€ 거리λ₯Ό μ™”λ‹€κ°”λ‹€ ν•˜λ©°
08:23
I'd cross-reference these houses with the city's data portal
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λ„μ‹œ 데이터 포털과 이 집듀을 ꡐ차 κ²€μ¦ν–ˆμŠ΅λ‹ˆλ‹€.
08:27
to make sure that they'd been tagged for demolition --
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이 집듀이 μ² κ±°ν•˜κΈ°λ‘œ λ˜μ–΄ μžˆλŠ”μ§€,
08:29
unsalvageable, left for dead.
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ꡬ쑰될 수 μ—†λŠ”, 죽은 것인지 ν™•μΈν•˜κΈ° μœ„ν•΄μ„œμš”.
08:34
I really wanted to understand what it meant to just let color rule,
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μ €λŠ” κ·Έμ € 색이 μ§€λ°°ν•˜λ„λ‘ ν•˜λŠ” 것이 μ–΄λ–€ μ˜λ―ΈμΈμ§€ μ΄ν•΄ν•˜κ³  μ‹Άμ—ˆμŠ΅λ‹ˆλ‹€.
08:39
to trust my instincts,
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제 λ³ΈλŠ₯을 λ―Ώκ³ 
08:40
to stop asking for permission.
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ν—ˆκ°€λ₯Ό λ°›λŠ” 것은 κ·Έλ§Œλ‘κ³ 
08:43
No meetings with city officials,
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λ„μ‹œ 곡무원듀과 회의 없이
08:45
no community buy-in,
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μ§€μ—­λ‹¨μ²΄μ˜ 승인 없이
08:47
just let color rule
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κ·Έμ € 색이 μ§€λ°°ν•˜λ„λ‘
08:50
in my desire to paint different pictures about the South Side.
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남뢀 지역에 λ‹€λ₯Έ 그림을 κ΅¬μƒν•˜λ €λŠ” μ €μ˜ μš•λ§λ§Œμ„ κ°€μ§€κ³ μš”.
09:02
These houses sit in stark contrast to their fully lined counterparts.
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이 집듀은 λ°˜λŒ€μͺ½μ— λŠ˜μ–΄μ„  μ§‘λ“€κ³ΌλŠ” ν™•μ—°νžˆ λŒ€μ‘°λ˜μ—ˆμŠ΅λ‹ˆλ‹€.
09:10
We'd paint to make them stand out like Monopoly pieces
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우린 κ·Έ 집듀을 이런 ν™˜κ²½ μ†μ—μ„œ
09:16
in these environments.
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λͺ¨λ…Έν΄λ¦¬ 쑰각처럼 λ‹λ³΄μ΄κ²Œ μΉ ν–ˆμ£ .
09:18
And we'd go on these early Sunday mornings
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우린 μΌμš”μΌ 아침에 μ‹œμž‘ν•΄
09:21
and keep going until we ran out of that paint or until someone complained.
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νŽ˜μΈνŠΈκ°€ λ‹€ λ–¨μ–΄μ§€κ±°λ‚˜ λˆ„κ΅°κ°€ λΆˆν‰μ„ ν•  λ•ŒκΉŒμ§€ 계속 ν–ˆμŠ΅λ‹ˆλ‹€.
09:30
"Hey, did you paint that?"
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"이봐, μ €κ±° λ‹€ μΉ ν–ˆμ–΄μš”?"
09:33
a driver asked as I was taking this image one day.
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μ œκ°€ 이 사진듀을 찍고 μžˆμ„ λ•Œ μ–΄λ–€ μ‚¬λžŒμ΄ λ¬Όμ—ˆμ–΄μš”.
09:37
Me, nervously:
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μ €λŠ”, κΈ΄μž₯ν•˜λ©΄μ„œ
09:39
"Yes?"
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"λ„€?"
09:41
His face changed.
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그의 ν‘œμ •μ΄ λ³€ν–ˆμ–΄μš”.
09:42
"Aw, I thought Prince was coming."
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"였, ν”„λ¦°μŠ€(κ°€μˆ˜)κ°€ μ˜€λŠ” 쀄 μ•Œμ•˜λ„€μš”"
09:45
(Laughter)
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(μ›ƒμŒ)
09:48
He had grown up on this block,
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κ·ΈλŠ” 이 κ΅¬μ—­μ—μ„œ μžλž€ μ‚¬λžŒμ΄μ—ˆμ–΄μš”.
09:50
and so you could imagine when he drove past
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κ·ΈλŸ¬λ‹ˆκΉŒ μƒμƒν•΄λ³΄μ„Έμš” κ·Έκ°€ μš΄μ „ν•˜λ©΄μ„œ
09:52
and saw one of its last remaining houses mysteriously change colors overnight,
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λ‚¨μ•„μžˆλ˜ μ§‘ 쀑 ν•˜λ‚˜κ°€ λ°€μƒˆ μ‹ λΉ„λ‘­κ²Œλ„ 색이 바뀐 κ±Έ λ³Έκ±°μ£ .
09:57
it was clearly not a Crown Royal bag involved,
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λΆ„λͺ… "크라운 λ‘œμ—΄ λ°±"이 κ΄€λ ¨λœ 건 μ•„λ‹ν…Œκ³ 
10:00
it was a secret beacon from Prince.
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ν”„λ¦°μŠ€μ˜ λΉ„λ°€μŠ€λŸ¬μš΄ μ‹ ν˜ΈλΌκ³  μƒκ°ν•œ κ±°μ£ .
10:03
(Laughter)
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(μ›ƒμŒ)
10:07
And though that block was almost all but erased,
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비둝 κ·Έ ꡬ역이 거의 μ‚¬λΌμ Έκ°€λŠ” κ³³μ΄μ—ˆμ§€λ§Œ
10:12
it was the idea that Prince could pop up in unexpected places
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μ˜ˆμƒμΉ˜ λͺ»ν•œ κ³³μ—μ„œ ν”„λ¦°μŠ€κ°€ λ‚˜νƒ€λ‚˜
10:18
and give free concerts in areas that the music industry and society
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μŒμ•… μ‚°μ—…κ³Ό μ‚¬νšŒκ°€ 더이상 κ°€μΉ˜κ°€ μ—†λŠ”
10:22
had deemed were not valuable anymore.
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이 지역에 무료 μ½˜μ„œνŠΈλ₯Ό ν•΄ 쀄 κ±°λΌλŠ” 생각이 κ°€λŠ₯ν–ˆλ˜ κ±°μ£ .
10:26
For him,
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κ·Έμ—κ²ŒλŠ”,
10:29
the idea that just the image of this house
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단지 이 μ§‘μ˜ 이미지가
10:33
was enough to bring Prince there
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ν”„λ¦°μŠ€λ₯Ό λ°λ €μ˜€κΈ°μ— μΆ©λΆ„ν•  κ±°λΌλŠ” κ·Έ 생각이
10:36
meant that it was possible.
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κ·Έκ±Έ κ°€λŠ₯ν•˜κ²Œ ν•œ κ²λ‹ˆλ‹€.
10:38
In that moment,
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λ°”λ‘œ κ·Έ μˆœκ°„,
10:40
that little patch of Eggleston had become synonymous with royalty.
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μ΄κΈ€μŠ€ν„΄μ˜ 이 μž‘μ€ 뢀뢄이 λͺ…μ˜ˆλ‘œμ›€κ³Ό λ™μ˜μ–΄κ°€ 된 μˆœκ°„μ΄μ—ˆμ£ .
10:45
And for however briefly,
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그리고 μ•„μ£Ό μž κΉμ΄λ‚˜λ§ˆ
10:47
Eric Bennett's neighborhood had regained its value.
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에릭 λ² λ„·μ˜ 동넀가 κ·Έ κ°€μΉ˜λ₯Ό λ˜μ°Ύμ€ μˆœκ°„μ΄μš”.
10:52
So we traded stories despite being strangers
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κ·Έλž˜μ„œ λ‚―μ„  μ‚¬μ΄μ˜€μ§€λ§Œ 이야기λ₯Ό λ‚˜λˆ΄μ–΄μš”.
10:54
about which high school we'd gone to
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μ–΄λ–€ 고등학ꡐλ₯Ό λ‹€λ…”λŠ”μ§€
10:57
and where we'd grown up,
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μ–΄λ””μ„œ μžλžλŠ”μ§€
10:59
and Mrs. So-and-so's candy store --
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λˆ„κ΅¬μ˜ 과자 κ°€κ²Œλ₯Ό κ°”λŠ”μ§€
11:01
of being kids on the South Side.
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λ‚¨λΆ€μ§€μ—­μ˜ μ•„μ΄λ“€λ‘œμ„œμš”.
11:04
And once I revealed
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그리고 μ œκ°€ 이 ν”„λ‘œμ νŠΈκ°€
11:05
that in fact this project had absolutely nothing to do with Prince,
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ν”„λ¦°μŠ€μ™€ μ „ν˜€ 관련이 μ—†λ‹€λŠ” κ±Έ 밝히자
11:09
Eric nodded in seeming agreement,
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에릭이 μ•Œκ² λ‹€λŠ” 듯이 고개λ₯Ό λ„λ•μ˜€μ–΄μš”.
11:11
and as we parted ways and he drove off,
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그리고 각자 갈 길을 κ°€λ €λ˜ μ°°λ‚˜
11:14
he said, "But he could still come!"
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κ·Έκ°€ λ§ν–ˆμ£ , "κ·Έλž˜λ„ ν”„λ¦°μŠ€κ°€ 올 μˆ˜λ„ μžˆμž–μ•„μš”!"
11:16
(Laughter)
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(μ›ƒμŒ)
11:19
He had assumed full ownership of this project
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κ·ΈλŠ” 이 ν”„λ‘œμ νŠΈλ₯Ό λ§ˆμŒλŒ€λ‘œ μΆ”μ •ν•˜κ³ λŠ”
11:23
and was not willing to relinquish it,
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λ¬ΌλŸ¬μ„œμ§€λ₯Ό μ•Šμ•˜μ–΄μš”.
11:25
even to me, its author.
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μž‘κ°€μΈ μ €μ—κ²Œμ‘°μ°¨ 말이죠.
11:28
That, for me, was success.
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그게, μ €μ—κ²ŒλŠ” μ„±κ³΅μ΄μ—ˆμŠ΅λ‹ˆλ‹€.
11:32
I wish I could tell you that this project transformed the neighborhood
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이 ν”„λ‘œμ νŠΈκ°€ 동넀λ₯Ό 바꿔놨닀고 말할 수 μžˆλ‹€λ©΄ μ’‹μ•˜κ² λ„€μš”.
11:37
and all the indices that we like to rely on:
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μš°λ¦¬κ°€ μ‹ λ’°ν•˜λŠ” μ§€ν‘œλ“€μ„ κ°€μ§€κ³ μš”.
11:40
increased jobs, reduced crime, no alcoholism --
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μΌμžλ¦¬κ°€ λŠ˜μ–΄λ‚˜κ³ , 범죄가 쀄어듀고, μ•Œμ½œμ€‘λ…μžλ“€μ΄ 사라지고...
11:46
but in fact it's more gray than that.
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ν•˜μ§€λ§Œ 사싀은 그것보단 훨씬 νšŒμƒ‰μ΄μ—μš”.
11:49
"Color(ed) Theory" catalyzed new conversations
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"색채(ν™”λœ) 이둠"은 'κ²€μ •'의 κ°€μΉ˜μ— λŒ€ν•΄
11:52
about the value of blackness.
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μƒˆλ‘œμš΄ λŒ€ν™”λ₯Ό μ΄‰μ§„μ‹œμΌ°μŠ΅λ‹ˆλ‹€.
11:56
"Color(ed) Theory" made unmistakably visible the uncomfortable questions
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"색채(ν™”λœ) 이둠"은 κΈ°κ΄€κ³Ό μ •λΆ€κ°€ κ·Έλ“€ μžμ‹ μ—κ²Œ λ¬Όμ–΄μ•Όν•˜λŠ”
12:02
that institutions and governments have to ask themselves
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λΆˆνŽΈν•œ μ§ˆλ¬Έλ“€μ„ λͺ…λ°±ν•˜κ²Œ 보이도둝 λ§Œλ“€μ—ˆμ£ .
12:05
about why they do what they do.
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μ™œ 그듀이 κ·Έ 일을 ν•˜κ³  μžˆλŠ”μ§€μ— λŒ€ν•΄μ„œμš”.
12:08
They ask equally difficult questions of myself and my neighborhood counterparts
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그것은 제 μžμ‹ κ³Ό λ™λ„€μ˜ λ°˜λŒ€κΈ‰λΆ€μ— λ˜‘κ°™μ΄ μ–΄λ €μš΄ μ§ˆλ¬Έμ„ λ˜μ‘Œμ–΄μš”.
12:13
about our value systems
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우리의 κ°€μΉ˜ 체계에 λŒ€ν•΄μ„œ
12:16
and what our path to collective agency needs to be.
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그리고 μš°λ¦¬κ°€ ν•œ μ§‘λ‹¨μœΌλ‘œμ„œ μ–΄λ–€ 길둜 κ°€μ•Όν•˜λŠ”μ§€μ— λŒ€ν•΄μ„œμš”.
12:21
Color gave me freedom in a way that didn't wait for permission
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색은 μ €μ—κ²Œ μžμœ λ‘œμ›€μ„ μ£Όμ—ˆμŠ΅λ‹ˆλ‹€.
12:25
or affirmation or inclusion.
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ν—ˆλ½μ΄λ‚˜ ν™•μΈμ΄λ‚˜ 포섭을 기닀리지 μ•Šμ•„λ„ λ˜λŠ” λ°©μ‹μœΌλ‘œμš”.
12:29
Color was something that I could rule now.
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이제 색은 μ œκ°€ μ§€λ°°ν•  수 μžˆλŠ” μ–΄λ–€ κ²ƒμ΄μ—ˆμ–΄μš”.
12:34
One of the neighborhood members and paint crew members said it best
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이웃 μ£Όλ―Όλ“€κ³Ό 페인트 λ™λ£Œλ“€μ΄ 잘 ν‘œν˜„ν•΄μ£Όμ—ˆμŠ΅λ‹ˆλ‹€.
12:38
when he said, "This didn't change the neighborhood,
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"이건 동넀λ₯Ό λ°”κΎΈμ§€ μ•Šμ•˜μ–΄,
12:41
it changed people's perceptions about what's possible for their neighborhood,"
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μžμ‹ λ“€μ˜ 동넀가 κ°€μ§„ κ°€λŠ₯성에 λŒ€ν•΄ μ‚¬λžŒλ“€μ˜ 인식을 λ°”κΎΌ κ±°μ•Ό
12:45
in big and small ways.
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μž‘κ³  큰 λ°©μ‹μœΌλ‘œ 말이야"
12:47
Passersby would ask me, "Why are you painting that house
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μ§€λ‚˜κ°€λŠ” μ‚¬λžŒλ“€μ΄ μ΄λ ‡κ²Œ 묻겠죠.
12:50
when you know the city's just going to come and tear it down?"
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"μ–΄μ°¨ν”Ό μ² κ±°ν•΄ 버릴 집을 μ™œ μƒ‰μΉ ν•˜λŠ” κ±°μ£ ?"
12:53
At the time, I had no idea,
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κ·Έλ•Œ μ €λŠ” 아무 생각이 μ—†μ—ˆμ–΄μš”.
12:55
I just knew that I had to do something.
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단지 λ­”κ°€λ₯Ό ν•΄μ•Όν•œλ‹€λŠ” κ²ƒλ§Œ μ•Œμ•˜μ£ .
12:58
I would give anything to better understand color as both a medium
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μ €λŠ” 색채λ₯Ό μžμ‹ μ„ μ‚¬νšŒ μ†μ—μ„œ μ •μ²΄ν™”ν•˜λŠ” μˆ˜λ‹¨μ΄μž
13:03
and as an inescapable way that I am identified in society.
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ν”Όν•  수 μ—†λŠ” λ°©μ‹μœΌλ‘œ 더 λ‚˜μ€ 이해λ₯Ό ν•˜κΈ° μœ„ν•΄ 무엇이든 ν•  κ²ƒμž…λ‹ˆλ‹€.
13:08
If I have any hope of making the world better,
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세상을 더 λ‚˜μ€ 곳으둜 λ§Œλ“œλŠ” 희망을 κ°€μ§€κ³  μžˆλ‹€λ©΄
13:12
I have to love and leverage both of these ways that I'm understood,
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μ œκ°€ μ΄ν•΄λ˜λŠ” 이 방식을 μ‚¬λž‘ν•˜κ³  μ§€λ ›λŒ€λ‘œ μ‚Όμ•„μ•Όν•©λ‹ˆλ‹€.
13:17
and therein lies the value and the hue.
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그리고 κ·Έ κ°€μš΄λ°μ— κ°€μΉ˜μ™€ 색채가 μžˆμ„ κ²ƒμž…λ‹ˆλ‹€.
13:21
Thank you.
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κ°μ‚¬ν•©λ‹ˆλ‹€.
13:22
(Applause and cheers)
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(λ°•μˆ˜μ™€ ν™˜ν˜Έ)
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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