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Description
Can public art really benefit the public? Can it create engaging and meaningful places for visitors and residents? Can intergenerational arts projects form new communities of understanding, interest, respect and affection?
“Absolutely,” says Olivia Gude, who teaches art education at the School for the Art Institute of Chicago and spoke in Des Moines on June 21 as part of the Tomorrow Plan Speaker Series. She discussed how public art projects can create vibrant public spaces and transform community life for all ages.
Read more: http://tomorrowplanspeakerseries.org/olivia-gude/
Help us caption & translate this video!
https://amara.org/v/C0suB/
A
My
name
is
Olivia
Goudie
and
when
I
talk
about
intertwining
practices
of
public
art
and
community
education.
Today
in
my
career,
I've
worked
as
our
teacher
as
a
teaching.
Artist
and
I've
worked
made
done.
Public
art
work,
so
I've
kind
of
worked
back
and
forth
between
the
idea
of
being
a
teacher
and
being
an
artist
and
I
found.
A
You
know
the
intersections
of
those,
and
so
that's
kind
of
what
I'll
be
talking
to
you
about
today,
including
I'll,
show
lots
of
pictures
of
some
of
the
things
that
happen
that
led
up
to
a
project
and
I'm
not
going
to
talk
about
each
one
of
those
slides,
I'll
just
be
kind
of
going
through,
because
what
we
know
is
21st
century
people.
We
can
read
image
in
like
a
second
or
less
right,
and
so
partly
some
of
my
talk.
A
Don't
try
that
I
won't
be
talking
about
every
slide
out
to
sometimes
just
feel
like
going
through
slides,
because
it's
sort
of
the
flow
of
how
we
learn
information
visually,
because
I
would
also
give
you
a
sense
of
what
happens
in
the
community
process
as
you're
doing
these
things
that
build
up
to
a
project.
So
one
of
the
things
that
I
really
want
to
begin
with.
Is
this
idea
and
by
the
way,
thank
you.
A
Creative
group,
good
I,
think
sharing
some
of
these
ideas
about
the
fact
that
the
places
we
inhabit
shape
us
like
what
does
it
mean
to
be
in
a
place
which
is
created
by
art
but
also
just
a
place
and
then,
of
course,
art
can
transform
places.
The
places
we
inhabit
shape
us,
but
I
think
what's
also
interesting
is
that
we
shape
the
places
we
inhabit.
So
there's
this
kind
of
flow
back
and
forth
between
this
idea.
We
carry
places
with
us.
A
So
in
some
ways
what
makes
us
strong
people
at
of
times
is
Kerry
wonderful
experiences
in
places
like
maybe
our
grandparents
home
you
know
in
us,
even
as
that
place
maybe
doesn't
exist
in
actuality.
You're
no
longer
owned
by
our
family,
it
still
becomes
part
of
who
we
are
so
I
I'm,
really
interested
in
that
idea
about
how
we
think
about
what
is
it
that
we
carry
with
us?
That
makes
us
who
we
are
so
this
is
a
piece
on
a
Chicago
public
school
and
it
has
the
question
so
as
to
children
into
the
school.
A
It's.
What
do
you
need
to
know
and,
as
you
can
see,
what's
kind
of
kind
of
perplexing
about
it?
It
looks
like
a
collage
which
is
made
out
of
letters
from
newspapers
and
magazines
which
it
is,
but
it's
done
in
the
permanent
medium
of
mosaic.
So
in
a
way,
what
are
the
things
we
really
like
about
this
piece
and
we've
done
a
number
of
I
think
we
I've
been
a
member
of
Chicago
public
art
group
for
many
years,
and
a
number
of
my
projects
are
through
them.
A
Yes
to
really
think
about
what
does
it
mean
to
add
high
quality
public
art
to
schools?
So
a
lot
of
the
or
you
know,
public
schools,
like
kind
of
beautiful
they'd,
have
a
stolen
car,
be
in
the
name
of
the
school,
but
then
it's
kind
of
plain
when
you
really
think
about
being
a
little
kid
walking
into
the
school
and
a
sort
of
looming,
and
so
we
started
one
of
the
things
we've
done.
A
A
lot
of
is:
do
entrances
to
schools,
it's
kind
of
an
interesting
way
of
retrofitting,
and
so
what's
interesting
about
that,
I
think
it
relates
to
the
concept
of
historic
preservation
that
sometimes
people
think.
Well.
No,
you
know
if
you,
if
something
is
good,
then
you
just
keep
it
exactly
the
way
it
is
I
mean
it's
a
very
American
idea,
I.
Think
in
Europe,
like
what
happened
is
there'd
be
these
buildings.
People
would
keep
adding
art
to
them
or
changing
them
in
interesting
ways.
A
Then
at
some
point
they
got
like
okay,
we're
not
going
to
change
that,
but
I
think
one
of
the
things
that
there's
a
lot
of
opportunities
for
in
the
States
is
thinking.
How
can
we
enhance
pre-existing
architecture
in
a
way
that
is
respectful?
So
this
is
an
example.
We're
talking
about
I
said
we
were.
We
had
another
conversation
earlier
today
where
these
this
was
your
windows.
A
There
are
ground-floor
windows
and
in
Chicago,
Public
Schools
that
a
lot
of
them
have
been
bricked
up
for
security
reasons,
and
so
in
this
case,
one
of
the
things
we
did
was
to
recreate
a
window
in
the
window,
one
kind
of
looking
out
into
space
and
the
other
looking
into
the
ancient
past
numbers
of
students
in
this
school
are
mexican-american
descent,
one
of
the
other.
So
what
we
actually
did
that
project?
A
We
did
a
couple
of
the
doorways
there's
actually
four
doorways
to
the
front
of
the
school
and
some
of
the
little
kids
I
was
doing
it
with
high
school
students
for
the
elementary
school
in
their
neighborhood
and
they're
like
how
could
we
don't
have
a
pretty
doorway?
You
know,
and
so,
a
couple
years
later
we
arranged
to
come
back
for
a
project
and
do
some
other
doorways.
A
So
in
this
case
you
know
it's
a
sort
of
loving
goddess
women
looking
down
on
the
children
as
they
enter,
and
here
you
just
gotta
see
a
lot
of
ten
people
like.
How
do
you
do
this?
You
fellow
mosaics,
we're
working
them
on
a
table,
cutting
glass
tile
and
then
we're
laying
it
out,
and
then
we
use
like
basically
something
like
clear
contact
paper
years
ago.
We
actually
use
contact
paper,
but
now
they
have
nonstick
contact
paper.
So
it's
no
good
for
what
prior
purposes.
A
So
it's
like
a
very
sticky
film
that
we
use
to
hold
it
together
and
then
it's
cut
apart
installed
in
pieces
and
then
so
we
will
see
some
other
pictures
of
some
of
that
kind
of
work.
So
this
is
a
project
called.
How
are
you
called
from
home,
which
was
actually
an
expression
in
southern
Illinois
and
it's
what
they
say
to
a
woman
when
you're
asking?
What
was
your
name,
your
maiden
name
before
you
know
you
married?
So
how
are
you
called
from
home
and
that
kind
of
became
the
the
title
of
this
piece?
A
So
this
piece
is
in
a
library,
it's
a
k-12
school,
it's
small
town,
Valmeyer,
il
Illinois,
and
it's
also
the
community
library.
So
I
worked
with
fourth
graders
middle
school
students,
high
school
students
and
community
adults
on
this
project,
and
that
was
you
know
through
the
design
and
also
the
making.
So
here
you
can
kind
of
see
a
busy
day
people
working
in
the
school
on
this
mural.
A
So
this
is
a
rural
community
by
the
way,
so
you
may
notice
that
there's
a
purple
tractor
here
so
when
we
were
deciding
about
making
this
tractor,
it
was
like
historic,
it's
based
on
the
historic
tractor,
but
people
would
be
getting
into
arguments
about
whether
to
have
a
green
tractor
or
a
red
tractor
blue
tractor
and
I
was
just
like.
That's
it.
A
No
more
discussion,
we're
having
a
purple
tractor,
so
I
think
this
is
a
great
example
of
Midwestern
surreal
or
something
because
people
would
walk
into
the
library
and
just
go
a
purple
tractor
like
crazier
than
a
melting
watch
right.
So
it's
kind
of
interesting
things,
but
this
Bureau
it's
in
the
town,
it's
in
the
floodplain
and
Mississippi
River,
and
so
one
of
the
things
that
the
mural
here
you
can
see
like
the
just
some.
A
A
The
fourth
graders
told
me
that
with
the
town
actually
had
a
major
flood
about
fifty
years,
like
1943
I,
think-
and
this
fourth
graders
told
me
that
the
people
put
the
furniture
on
the
roof
of
the
high
school,
which
was
the
biggest
most
solid
building
and
at
first
I
believed
them
because
I'm
like
really
gullible
but
then
I
was
like
wait
a
minute.
No,
if
there's
a
flood,
it
means
we've
been
a
lot
of
rain.
A
So
the
research
that
happened
as
part
of
this
work
was
that
there
were
still
three
people
in
town
who
should
have
graduated
that
year,
who
never
graduated.
So
at
the
graduation
ceremony
that
year,
they
were
finally
awarded
their
diplomas
on
stage,
so
it
was
kind
of
a
nice.
You
know
thing
that
happened
within
that.
So
this
is
a
room
neck
adjacent
to
the
library
where
people
would
be
bringing
in
like
photographs.
A
Artifacts
things
so
this
idea
of
like
having
this
sort
of
little
display
on
the
side
so
that
as
we're
designing
we're,
also
putting
all
these
things
out
that
people
are
seen,
and
then
you
know,
here's
like
so
the
mirror
all
I
see
it
goes
from
day
to
night.
It
also
goes
through
the
seasons.
This
woman
here
is
she's
a
teacher
in
the
school,
and
she
was
one
of
the
also
adult
painting,
volunteers
and
she's,
drawing
the
the
family
home
from
the
farm
of
her
husband
right
so
she's,
using
an
old
photograph
to
do
that.
A
So
both
of
the
details
in
this
mural
are
very
specific
and
you'll
see
the
mural
is
kind
of
painted
a
mix
of
styles
like
super
realistic,
they're,
more
folk
art
to
sort
of
accommodate
lots
of
people
working
on
it.
So
this
is
the
school
one
of
the
one-room
school
houses
that
actually
the
remnants
of
it
was
still
there
and
the
fourth
graders
painted
themselves
and
clothes
from
you
know,
kids
from
the
past
at
the
school.
A
This
one
is
actually
kind
of
funny
here.
If
you
look,
you
see
a
church
and
a
10-8
tavern,
and
basically
there
was
a
saying
there,
which
is
that
all
you
need
to
have
a
town
at
the
church
to
the
tavern.
So
that's,
why
that's
there-
and
this
is
like
some
of
the
kinds
of
things
just
like
artifact,
so
both
of
the
bureau
there's
a
lot
of
artifacts
like
that
duck
pot
is
actually.
This
was
an
area
of
Cahokia
Mounds.
Where
there
are
these.
You
know
ancient
Indian
peoples
who
really
had
disappeared
by
the
time.
A
A
So
the
sort
of
idea
that
I've
been
interested
in
a
lot
is
a
community
memory,
as
it
had
cruised
through
objects
as
a
skeleton
key,
because
one
of
the
things
people
talked
about
was
no
one
like
their
doors
and
if
they
did,
they
did
it
with
the
skeleton
key
just
so
he
didn't
blow
open.
You
know
so
this
idea
of
a
whole
different
era,
a
different
time
and
the
maeystown
wave.
You
know
when
you
live
in
a
small
enough
town
area.
Anybody
you
pass
on
the
road.
You
assume
you
know
them,
so
you
just
wave.
A
You
know
so
they're
talking
about
that
as
part
of
the
culture,
and
this
actually
is
a
picture
of
Jacob
Valmeyer.
Who
was
you
know
the
family
of
the
Vale
Meyers
of
the
tiny
town
name?
And
if
you
look
down-
and
actually
you
also
see
people
leaving
I
always
say,
one
of
the
issues
for
small
sounds
is
that
people
leave
and
how
hard
that
is.
But
if
you
look
down
at
the
bottom,
there
you'll
see
these
people
fighting,
and
this
was
a
really
interesting
thing.
As
part
of
the
stories
that
came
up.
A
This
is
a
German
town.
A
lot
of
the
sermons
were
preached
in
German,
in
both
the
Lutheran
and
in
the
Catholic
Church
for
many
years,
but
during
World
War
one
and
during
World
War.
Two.
There
were
problems
because
people
came
from
outside
the
area
and
were
threatening
to
these
German
immigrant
people.
A
Even
though
I
you
know
been
there
for
decades,
and
so
it
was
a
really
interesting
conversation
about
a
time
when
white
German
Americans
were
an
other
and
what
that
means
to
be
other
within
a
society
and
I
think
it
was
a
very
productive
conversation
didn't
to
be
a
big
part
of
the
mural
right.
But
it's
it's
there
to
provoke
conversation.
There
was
a
poster
produced
with
the
mural
like
a
line.
Drawing
that
then,
has
all
these
little
stories
about
how
this
came
about.
A
So
there
we
are
at
the
dedication
his
another
mural
or
something
you
may
have
seen
it's
not
too
far.
It's
in
Illinois,
it's
a
DeKalb
Illinois,
and
so
this
was
the
wall
that
they
had
asked
me
to
do.
That's
Zack
pool
house
pool
Paul
was
there
and
when
you
look
at
this
wall,
it's
kind
of
cool,
because
it's
the
first
building
in
downtown
now,
because
the
building
that
was
there
was
torn
down
and
then
there's
just
like
a
little
park.
A
But
what
do
you
notice
about
this
wall
in
terms
of
doing
the
mural
shutter
whistles
right?
Look
at
this.
You
do
a
mural,
you
know,
so
the
this
was
interesting
to
think
about
how
we
might
make
that
work
and
I
think.
Actually
what
we
did
was
pretty
cool,
something
you
can
kind
of
see
the
finished
mural.
One
of
the
things
that
happened
is
when
we
stripped
off
that
sign
and
we
go
back
Furman.
We
stripped
off
that
sign.
You
know
with
like
a
stripping
compound.
A
We
found
the
original
sign
that
was
on
the
building
when
it
was
a
newspaper
office,
and
so
we
kind
of
changed
the
design
of
the
mural
to
keep.
You
know,
part
of
that
there
in
the
mural
here
are
some
people
working
they're
working
on
like
drawing
corn
and
they're
working
on
figuring
out
patterns.
So
one
of
the
things
that
happens
is
is
that
you
have
your
design
phase,
but
then
you
also
kind
of
continue
to
do
certain
kinds
of
detail
design
while
you're
on
site.
A
Here's
a
day
when
we
were
looking
at
the
drawing
that
was
finished
and
thinking
about
some
various
color
combination
possibility
for
everybody
does
their
coloring.
So
we
get
the
murals
on
the
wall.
People
often
ask
that
so
we're
projecting
we're
building
a
scaffolding
up
on
you
know
on
the
you
know,
50
feet
away,
480
feet
away
and
then
we're
projecting
and
the
scaffold
the
the
projector
has
to
be
up
high,
or
else
the
image
would
be
distorted
right.
A
So
there's
a
projector
up,
high,
projecting
and
then
we're
using,
in
this
case,
scissors
listen
and
cherry
pickers
to
get
up
to
the
site.
This
is
actually
a
really
tall
wall.
It
was
50
feet.
You
know
when
I
first
knew
I
was
into
the
mural
I
was
in
Chicago
and
I.
You
know
it's
okay,
yeah!
Well,
you
know,
doesn't
such
and
then
I
Drive
out
to
the
cow,
but
I'm,
like
you
didn't
tell
me:
there's
a
three-story
building
with
14
foot
high
ceilings
on
each
floor,
but
it'd
be
really
great
right.
A
We
accommodated
that
so
one
of
the
things
that
happens
in
a
place
like
DeKalb
when
you're
doing
this
is
that
we
would
really
be
have
people
talk
about
us
like
on
the
radio
in
the
morning.
They'd
be
like.
Oh
you
know.
If
somebody
the
morning,
DJ
would
be
like
yeah
you're,
already
up
there
and
they're
painting
a
smile
on
anyone's
face,
or
you
know
things
like
that,
so
this
is
kind
of
fun
way
that
it
connects
into
the
community
culture.
A
Well,
what
happened
with
this
mural
when
I
was
working
on
designing
and
research
unit,
people
kept
giving
me
post
showed
me
postcards
like
old
postcards,
and
so
we
decided
to
have
that
become
the
motif
for
the
mural.
So
on
this
Bureau,
when
you
actually
look
at
it,
you'll
see
like
these
postcards,
but
down
towards
the
bottom.
You
can
see
with
it.
You
barely
see
there
it's
like
writing.
A
So
this
is
the
kind
of
writing
you
would
see
so
there's
a
way
of
seeing
the
mural
from
far
away
and
then
there's
a
way
of
finding
things
out.
So
this
is
about
an
old
post
office
that
actually
used
to
be
there
just
had
a
corner
and
was
torn
down.
It's
the
thing
where
Walgreens
was
going
around
the
country
buying
sites
and
tearing
them
down
right
in
the
heart
of
downtown
to
have
a
great
central
site
and
they
were
tearing
down.
You
know
really
significant
buildings.
A
This
is
the
Egyptian
theater,
it
was
built
and
it's
been
restored,
so
that
was
a
place.
There
was
part
of
the
history
that
the
old
post
office
torn
down
the
Egyptian,
the
theater
restored,
and
then
ltl
hall,
which
is
part
of
the
Northern
Illinois
University,
was
being
restored,
and
then
the
train
station
was
kind
of
abandoned
and
there's
this
question
about.
What's
gonna
happen
to
it,
and
so
you
can
see
there's
like
all
these
kind
of
questions
that
come
up
about
what
does
it
mean
to
preserve
and
what
does
it
mean
to
tear
things
down?
A
A
The
back
was
all
four
addresses
so
when
we
chose
the
postcards
a
lot
of
times,
we'd
find
multiple
versions
of
the
same
card
and
and
we
would
choose
it
for
one
that
we
had
without
had
a
cool,
interesting
message
on
it
and
in
this
case
it's
like
we'll
be
back
this
evening
and
instead
of
Friday
not
and
then,
where
I
sit
back
in
the
day
when
you
used
to.
But
the
interesting
thing
is
this
person
who
had
sent
that
card.
It
was
not
in
his
possession.
A
We
got
it
from
like
a
person
who
collected
old
cards,
he
had
actually
gone
to
Northern
Illinois
University
graduated
got
a
doctorate
taught.
There
was
a
professor
emeritus
there,
so
it
was
interesting
to
kind
of
look
at
this
cycle
of
the
relationship
of
people
to
small
towns,
especially
in
the
Chicago
area.
There's
a
lot
of
people
will
be
like
yeah
I
went
to
NIU,
so
it's
like
and
then
there's
also
people
like
I
grew
up
in
NIU
and
I
left.
A
You
know
so
part
of
the
meaning
of
this
mural
really
has
to
do
with
the
idea
of
small
towns
having
this
community
of
absence.
But
it's
still
a
community
people
who
feel
really
connected
either
because
they
grew
up
there
because
they,
they,
you
know,
went
to
school
there
during
formative
years,
and
so
we
really
were
looking
at
some
of
those
ideas.
A
The
central
figure
is
Annie
Glidden
and
she
was
a
actually
a
niece
of
one
of
the
barbed
wire
barons
who
you
know
who
who
basically
that's
why
the
Cal
was
there,
because
that's
where
barbed
wire
was
first
invented
and
produced,
and
so
at
one
point
it
was
a
fairly
economically
vital
place
and
the
niece
of
one
of
them
Annie
Glidden.
So
we
kind
of
figured
out
what
Annie
looked
like
and
then
she
stands
with
the
50-foot
tall
stalk
of
corn.
A
By
the
way,
this
is
where
the
first
Farm
Bureau
in
the
United
States
was
and
then
later
the
people
who
ran
that
Farm
Bureau
formed
DeKalb
egg,
I'm,
sure
you've
seen
the
flying
corn
right
and
so
the
50-foot
style
talk
of
stalk
of
corn.
Is
you
know
what
we
might
be
able
to
get
one
of
these
days
with
genetically
engineered
corn
and
Annie
stands
with
them
and
in
the
roots
of
the
corn?
Are
quotes
about
Annie,
Glidden
and
actually
this
is
on
Annie
Clinton
Road.
A
So
she's
like
this
famous
character
from
the
area-
and
this
said
she
was
one
of
the
first
people
ever
heard
of
who
went
to
AG
school.
You
know
like
wow
what
a
thing
she
didn't
contribute
a
lot
of
money,
but
she
contributed
her
time
and
ideas.
Some
people
thought
Annie
was
crazy,
but
I
think
she
just
did
what
she
wanted
to.
So
these
are
like
oral
history
interviews
with
people
who
actually
had
no
nanny
and
plus
they're,
quite
old
at
this
time
and
they're
written
in
the
roots
of
the
corn.
So
I
think
so.
A
Does
this
idea
about
a
certain
kind
of
Community,
Connection
and
folkloric
sayings,
as
this
is
all
sort
of
part
of
it?
And
again
you
know
the
corn
is
part
of
the
Midwestern
surrealism,
like
whoa,
a
giant
stalk
of
corn.
You
know
it
kind
of
lets
say
well.
We
could
knocked
over
by
that,
so
Danny
and
actually
what's
interesting,
is
so
we
kind
of
made
up
the
color
of
her
clothes
and
all
this
sort
of
stuff.
But
then
people
start
to
do
when
they're
doing
reenactments
of
things.
A
A
This
is
a
very
different
kind
of
mural.
It's
called
fellows
and
others
and
I
did
it
with
one
on
health
Chavez.
Who
actually
was
one
of
my
students
back
when
he
was
15
years
old
on
a
mural
project
and
now
he's
grown.
You
know
and
he's
working
as
a
cordis
with
me
on
this
project,
so
this
is
actually
on
a
place
called
fellowship
house,
which
is
a
community
center
and
I.
Just
also
just
thought
it
was
so
crazy.
Like
fellowship
house,
it
sounds
so
old
school.
You
know.
A
So
we
talked
about
this
idea
being
fellows
and
others
like.
How
do
you
decide
who's?
A
fellow
and
who's
an
other,
so
people
consider
a
fellow
one
of
us
time,
clean
and
considerate
and
they
consider
an
other
one
of
them,
unclean,
unclean
and
always
inconsiderate.
So
what
we're
sort
of
looking
at
is
how
we
construct
these
these
senses
of
us
and
them
within
social
discourse.
This
was
one
of
the
community
volunteer
days
like
they
have,
and
basically
all
these
people
from
I
forget
what
company
came
and
they
they
guess
of
the
wall.
A
A
This
was
a
mural,
as
someone
had
done
of
like
animals
and
stuff
and
and
I
always
use
this
slide
to
say
you
know,
I,
don't
go
in
somebody
else's
neighborhood
and
paint
throw
up
some
quick
and
then
expect
them
to
live
with
it.
You
know,
including
the
kids
themselves.
Some
of
the
kids
were
like
yeah
animals
on
our
mural,
though
they
think
we're
animals.
You
know
it.
Some
outside
group
that
came
in
and
so
I
think.
A
That's
really
interesting
to
think
about
here
again
are
some
sketches,
as
these
were
done,
I
think
by
the
middle
school
age,
kids,
thinking
about
how
we
might
use
it,
because
you
notice
I,
guess
I
just
have
this
karma.
You
know
if
it's
on
this
wall
a
lot
of
windows,
so
we
use
it.
We
handle
it
very
differently
actually
because
of
the
grid.
They've
got
a
modernist
grid
of
the
windows,
and
so
there's
like
the
finished
mural,
and
it's
got
just
like
lots
of
details
in
here.
A
You
can
kind
of
see
as
we're
going
through
the
summer
painting
it
and,
of
course
one
of
the
interesting
things
about
painting
murals
on
the
street
is
that
I've
had
people
say
to
me
many
times.
You
know
I,
look
at
paintings
differently
now,
because
I
see
how
a
painting
gets
developed,
how
it
gets.
Layered
and
I
had
never
done
that
before,
so
it
becomes
like
this
arts
education
in
the
community.
A
So
this
was,
there
had
been
some
incidents
like
racial
incidents
and
the
kids
at
this
Center
had
done
who
a
very
multiracial
group
had
done
like
demonstrations
like
pro
racial
equality
and
interconnection,
and
so
that's
a
picture
from
one
of
their
things,
and
you
know
we
took
we
looked
at
one
of
these.
We
did
it
made
it's
a
rule.
We
made
this
mural,
we
didn't
like
put
there
all
the
kids
in
this
housing
project.
A
They
were
Chinese,
kids,
white,
kids,
black
kids,
Mexican,
kids,
Twitter
eating
kids,
but
we
never
put
kids
together
and,
like
we're,
gonna
take
your
picture
and
do
you
represent
this?
We
took
pictures
of
kids
who
plate
who
were
known
as
groups
like
a
group
who
hung
together
all
the
time,
so
that
was
important
to
us
to
have
this,
be
you
know
about
that,
and
we
asked
this
question:
why
do
people
pick
a
person
to
pick
on?
A
Why
do
people
pick
a,
and
it
was
interesting
having
the
students
talk
about
this,
so
one
of
the
activities
that
we
did
was
at
one
point,
I
said
to
and
I
you
know,
did
this
with
adults
and
teenagers
and
kids,
but
I
I
said
well.
What
are
some
of
the
mean
things
that
you
heard
people
say
about
other
people?
A
Don't
don't
lesson
we're
not
gonna
say
who
the
other
people
are
was
gonna
say
you
know,
there's
all
these
things
like
they're
dirty
they
have
too
many
kids,
you
know
their
food,
you
know
just
stuff
like
that,
and
it
was
interesting
to
those
we
compiled
these
lists
and
thought
about
it.
One
of
the
things
you
hundred
middle
school-aged
kids
said
was.
This
is
like
the
kind
of
dumb
things
we
say
about
each
other
like,
and
it
made
me
really
think
about
the
pic
of
help.
A
But
not
all
racism
is
I
mean
we
know
it's
bad,
but
it's
also
banal
and
then
so
part
of
this
mural.
Then
students
did
these
studies.
You
know
these
people
and
those
people,
those
people
steal
to
get
money.
These
people
are
willing
to
work
hard.
Those
people
should
be
locked
up
forever.
These
people
just
need
a
second
chance,
and
so
those
became
these
building
blocks
of
racism
which
are
in
the
mural
and
they
get
put
through
this
conveyor
belt
and
they
get
projected
into
a
head.
So
what
we're
basically
looking
at
is
people?
A
Don't
really
look
at
people
a
lot
of
times
we're
looking
through
our
own
filters,
and
so
you're
saying
you
know
this
person's
a
fellow
this
person
to
another.
So
there's
a
lot
of
little
text
in
these,
so
I've
started
to
kind
of
do
things
that
are
like
mural
installations.
This
is
actually
the
front
of
a
public
housing
complex
and
one
of
the
clothes
people
treat
you
like
in
other
when
they
find
out.
You
live
in
public
housing
or
one
of
these
teenagers.
A
Talking
about
the
fact
that
the
police
said
to
them
go
back
where
you
belong,
you
know,
so
this
idea
of
how
the
and
I
have
to
say
I've
worked
with
urban
youth.
My
entire
life
when
I
was
during
this
project
I
would
be
in
tears
hearing
some
of
the
things
that
the
these
youth
were
saying
with
that
to
them.
In
places
you
know,
and
they
really
think
about,
how
do
we
sort
of
break
those
barriers,
including
and
I,
have
to
say
every
adult
I
know
who
worked
on
this
project?
A
But
also
this
was
a
boundary
of
like
gangs,
and
so
whatever
color
you
wore
had
to
do
with
whether
you
were
a
fellow
or
another.
So,
there's
a
lot
of
little
things
like
that
in
this
piece,
including,
if
you
see
like
the
people
with
little
suitcases,
this
neighborhood
Bridgepoint
in
Chicago
is
traditionally
an
entry-level
neighborhood
for
people
where
people
first,
you
know
first
moved
to
Chicago.
So
it's
been,
you
know
an
Irish
neighborhood,
a
Polish
neighborhood,
a
Latino
neighborhood,
it's
just
it
kind
of
continues
to
unfold
now,
China
becoming
also
a
Chinese
neighborhood.
A
So
we
look
at
this
idea
about
how
people
target
immigrants,
when
they
themselves
are
the
immigrants
a
few
generations
ago
does
another
kind
of
project.
This
is
Tanith
and
corning
Park.
You
know
this
coin
shows
up
a
lot
of
my
work,
which
is
interesting
because
you
know
I
live
in
Chicago
I'm
from
Missouri,
originally
and
I
guess
so.
I,
just
really
I'm
really
interested
in
throw
the
intersection
of
like
agriculture
and
growth
and
the
natural
world
with
like
urban
environments.
A
A
I
was
like,
but
luckily
the
group
I
belong
to
Chicago
public
art
group
had
ongoing
connections
with
this
group,
the
Gardeners
of
North
Lawndale,
and
these
are
senior
african-american
seniors
for
the
most
part,
the
people
who
were
mostly
born
in
the
south
and
then
have
lived
in
Chicago
for
decades
and
so
they're
really
invested
in
taking
vacant
lots
and
turning
them
into
gardens.
Now
at
first
I
thought.
Oh,
my
goodness,
this
is
terrible.
A
I
can't
even
see
the
gardens
if
I
want
to
work
with
these
people,
because
it's
the
middle
of
winter
and
I
have
to
have
this
design
done,
but
then
I
realized
as
I
started
meeting
with
all
these
people.
They
would
always
be
bringing
photographs,
so
I
thought.
Oh,
this
is
great
it's
better
than
if
I
saw
the
garden
myself
I'm,
seeing
the
garden
through
their
eyes.
This
is
what's
important
to
them,
and
so
this
is
like
the
and
I.
Basically
it's
usually.
A
This
is
their
motto
of
their
group,
but
it's
using
things
that
we
heard
people
say
one
thing:
I,
just
love
is
this
older
woman
said
talk
kindly
to
your
plants
is
this:
they
are
people,
we're
people
and
you're
like
well.
That's
a
good
thing
to
read
before
you're
getting
on
public
transportation.
You
know
jostling
with
others.
Can
we
flourish
together
or
this
idea
different
plants
need
different
nurturing?
What
does
that
mean
to
think
about
what
people
need?
So
here's
the
the
workshop
where
we
did
this
project.
A
It
was
a
seniors
and
teenagers
basically
and
then
some
other
adults,
mostly
seniors
and
teenagers,
and
you
can
see
some
of
the
detailed
mosaic
work.
One
of
the
things
we
do
is
we
teach
students
to
do
mosaic
work
and
they
learn
to
do
it
really
well
and
really
carefully
one
year
I
remember
we
were
working
on
it,
you
know
you
do
it
and
then,
if
it's
not
right,
it
has
to
be
fixed
and
I
always
tell
the
teenagers.
A
Like
look
everybody
on
the
project,
you
know
when
cities
fall
down
what
they
find
in
the
essence
of
the
mosaic
so
but
yeah
this.
This
could
be
here.
This
could
be
here
a
couple
centuries
from
now,
and
you
know
at
one
point
was
waiting
for
us
like.
Oh,
this
is
so
stressful.
They
mean
about
that.
I
could
have
worked
at
McDonald's
yeah,
but
then
the
students
really
get
into
it,
including
you
know,
as
we
do
these
different
pieces
and
we
kind
of
put
them
aside
until
we're
gonna.
A
A
We
go
back
and
fix
some
of
the
mosaic
work
before
we
install
it
because
over
a
period
of
a
couple
of
months
they
really
develop
a
lot
of
skill
and
a
lot
of
pride
in
that
so
kind
of
a
tribute
to
Pompeii
the
garbage
in
the
mosaic,
and
then
the
gardener's
thought
this
was
hilarious
because
we
made
a
dandelion
like
that.
We
celebrated
the
standard
line
when
they're
always
trying
to
get
rid
of
dandelions
and
one
of
the
texts
along
the
bottom
there
which
I
really
like
is
a
woman
of
Fame.
A
She
looked
at
this
vacant
lot
and
it
was
really
grown-up,
and
she
said
it
should
I
thought
they
were
weeds
and
then
I
saw
they
were
wildflowers.
So
we're
thinking
about
how
this
notion
of
transformation
is.
Is
internal
transfer
me
and
also
like
your
perceptions
of
something
can
change,
but
also
you
could
get
in
there
and
clean
up
the
vacant
lot
and
you
know
plant
things
and
make
things
happen,
including
planting.
A
You
know
wild
flowers,
so
part
of
my
work
that
in
the
last
few
years,
I
did
a
publication
for
Americans
for
the
Arts
called
intertwining
practices
of
public
art
and
art
education.
So
this
is
available
online.
By
the
way
you
can
just
google,
for
it,
it's
a
PDF
and
it's
actually
got
a
lot
of
really
useful
information
in
it.
A
A
I
mean
this
is
a
mural
in
a
school
in
Chicago,
1938
1940
in
the
outstanding
American
women
and
of
course
it's
just
a
beautiful
mural
and
one
of
the
things
I've
really
started
to
think
about
and
I'm
sure
you
have
some
beautiful
murals
in
schools
or
post
offices.
Here
in
Des
Moines,
when
I
first
started
teaching
the
young
teacher,
there
were
two
high
schools
in
the
district,
one
with
Blum
Township
High
School,
and
you
see
it's
like
this
Art
Deco
building
it.
You
know
it
had
like
WPA
statues
in
front
that
were
really
cool.
A
A
Why
was
there
a
time
when
we
assumed
that
school
should
be
beautiful
and
now
we
just
think
of
them
as
utilitarian
boxes?
So
you
know,
then
the
question
people
might
ask
well
why
public
art
in
schools?
Why
makes
schools
into
special
places?
Why
involve
youth
in
communities
in
place,
making
and
transforming
their
own
schools
and
I?
Think
it's
because
placemaking
is
a
form
of
meaning
making
and
we
make
meaning
in
our
lives
in
part
by
the
places
that
we
inhabit
by
the
things
that
we
see.
A
Another
interesting
support
for
that
is
that
the
the
five
years
ago
they
people
wrote
new
National
core
arts
standards
which
have
just
been
adopted
by
Illinois
amiright
Iowa
this
last
year,
and
so
in
the
visual
arts
standards.
There
is
a
standard
during
understanding
and
related
standards,
but
the
enduring
understanding
is
people
create
and
interact
with
objects,
places
and
design
that
Devine
define
shape,
enhance
and
empower
their
lives.
So
this
was
a
new
thing
for
visual
arts
standards.
A
People
had
never
talked
about
the
idea
of
place,
or
you
know
design
as
part
of
what
we
are
charges
as
visual
arts
teachers.
So
you
can
see
some
of
the
standards
associated
with
it
in
kindergarten,
students
are
create
art
that
represents
natural
and
constructed
environments
and
in
fifth
grade
it's
identified,
described
in
visually
document
places
are
objects
of
personal
significance.
Our
beginning,
High
School
collaboratively
develop
a
proposal
for
an
installation
artwork
or
space
design
that
transforms
the
perception
and
experience
of
a
particular
place.
So
it
invites
students
to
think
about
where
they
are.
A
What
does
it
look
like?
How
might
it
be
different
and
then
to
do
a
proposal?
You
know
they're,
not
gonna,
tell
our
teachers
you're
gonna
make
a
big
public
art
project,
but
you
know
the
interesting
thing:
if
people
start
designing,
proposals
is
just
as
a
way
of
taking
things
in
and
learning
about
space
almost
invariably
somehow
projects
start
to
happen,
because
once
imagination
is
at
least
people
are
like
yeah.
Let's
do
it.
We
can
do
some
version
of
this,
so
this
is
a
this.
A
Is
this
publication
and
there's
a
few
there's
a
lot
of
information
in
this
publication
that
really
talks
about
things
you
can
do
so.
For
example,
one
of
the
things
that
it
talks
about
would
be
consider
how
local
community
arts
organizations
might
part
with
school,
with
a
school
to
create
projects
and
after
school
or
summer
programming
to
enhance
the
school
environment.
A
So
you
gotta
think
some
of
the
the
this
whole
publication
has
a
lot
of
different
ideas
about
how
you
might
start
get
something
started,
or
here
develop
innovative
commissioning
processes,
including
requests
for
qualifications
or
requests
for
proposals
and
design
contracts
that
encourage
in-depth
community
involvement
in
arts,
education,
experiences
and
participatory
process
as
part
of
making
a
project.
So
what
are
the
five
benefit?
A
Really
interested
in
save
an
art
educator
is
to
think
of
youth
as
collaborators
as
researchers
as
designers,
for
youth
to
think
of
themselves
of
people
who
have
agency
in
their
communities
and
I
can
tell
you
you,
you
know,
like
I,
say
you're
standing
on
the
street,
doing
a
mural
project
with
kids
and
it
might
be,
kids
are
a
little
sketchy
and
their
behavior.
Sometimes
you
know,
but
when
adults
just
walk
by
and
go
great
job,
that's
really
good.
You
know
you
just
see
these
students
beaming
with
pride.
A
You
know,
and
it
makes
me
realize
how
much
like
youth
are.
Gonna
get
attention
one
way
or
another,
so
part
of
our
job
as
adults
is
to
figure
out.
How
do
we
give
youth
attention
so
there's
many
models
and
methods.
So
I've
just
shown
you
my
work
with
as
part
of
doing
the
research
for
the
Americans
for
the
eyes
publication
I
identified
some
other
people
who
do
really
interesting
public
art
with
youth,
but
I
just
want
to
sort
of
share
some
of
those
with
you.
This
is
an
example.
A
This
is
at
a
high
school
in
Chicago.
The
high
school
teacher,
of
course
she
was
very
well
aware
of
the
mosaic
community
arts
tradition
in
Chicago,
and
she
did
this
mosaic
over
a
period
of
a
couple
of
years
with
her
and
her
students
and
been
seeing
another
teacher,
and
it
includes
little
bits
of
broken
crockery
and
things.
The
students
is
about.
Oh
I
forget
from
23
different
countries
in
this
school,
and
so
then
they
brought
in
broken
things
so,
along
with
tiles
and
mirrors
and
glass.
A
You
know
like
what
that
that
does
to
a
person
or
here's
a
what
we
call
a
bricolage
made
out
of
all
these
different
kinds
of
things
in
action.
So
somebody
want
table
as
I
mentioned
before,
and
this
is
for
the
inner-city
Muslim
Action
Network,
and
so
you
can
see
it's
just
made
up
of
all
sorts
of
like
crazy
stuff,
including
mirrors,
so
the
mirrors
are
situated
within
the
design.
So
you
see
some
of
the
architecture
which
is
surrounding
the
place
so
really
nice
and
these.
A
If
you've
been
to
Chicago
in
recent
years,
you've
probably
seen
some
of
these
there
on
the
underpasses
of
Chicago
there
we
were
calling
again
brie
collage,
because
they're
made
out
of
different
kinds
of
things
like
cement,
castings
and
tiles
and
and
other
in
mirrors
and
things.
So
here
you
can
see
people
working
it's
a
big
community
project
as
a
youth
team.
A
But
then
you
know
community
volunteers
were
allowed
to
sign
up
they're
projecting
when
you
put
these
on,
you
put
them
on
directly
you
with
cement
and
fitting
things
into
the
wall
and
then
here's
an
example
of
some
of
the
different
kinds
of
this
close
to
Wrigley
Field.
That's
why
the
ball,
but
whenever
there's
a
whole
set
of
underpasses,
when
you
go
under
Lakeshore
Drive
to
go
to
the
beach
in
Chicago,
where
you
go
through
these
amazing
things,
I
think
they're
really
lovely
thing,
and
you
always
is
it's
so
frequent.
You
go
by
there.
A
You
see,
people
like
posing
for
pictures
in
front
of
them
and
including
like
wedding
groups,
will
go
and
pose
for
pictures
in
front
of
some
of
these.
So
they
become
this
real
community
landmark.
Oh
here's
something
outside
it
is
in
California
National,
City
California.
It
was
the
a
Avenue
watershed,
educational
wall.
So
it
was
a
wall
that
you
know
it
was
like
an
embankment
wall
and
then
it's
made
out
of
the
sort
of
all
sorts
of
kinds
of
things
like
tile,
handmade
tiles,
rocks,
etc
and
kind
of
really
beautiful,
texture
detail.
A
Here's
a
piece
in
San,
Juan,
Alex
Rubio,
does
ceramic
mosaics
and
what
they
do
is
the
drawing
and
then
they
roll
out
slabs
of
clay.
Then
they
cut
the
the
pieces
and
then
they
have
to
be
fired.
So
you
can
imagine
what
it
takes
to
keep
all
this
not
getting
mixed
up,
but
that
itself
may
I
do
that
in
a
smaller
way.
With
these
big
mosaics
that
we
cut
up,
it's
really
good
for
the
students.
They
have
to
really
think
through.
A
This
is
a
piece:
that's
a
person
named
Randy
Walker
who
works
in
Minneapolis
and
he
really
specializes
in
doing
these
frameworks.
So
in
this
piece
the
connection
gallery
there's
a
framework
and
then
the
students
through
art-
and
it's
like
sandwich-
it's
like
laminated,
and
so
it
lasts
for
a
couple
three
years
and
then
and
then
you
take
it
all
down,
and
you
do
a
new
installation
and
what's
kind
of
nice
is
it
as
it
starts
to
even
get
fight
ly
wet
on
the
inside
during
the
last
year.
It's
kind
of
beautiful.
A
You
know
it's
a
starts
to
deteriorate
and
do
different
things
see
and
then
here's
another
example
of
it
and
then
here's
one
that
he
did
that
involve
colored
rope.
So
there's
the
framework
and
it's
called
filling
the
void.
So
the
piece
you
know
and
again,
students,
just
you
do
whatever
they
want
like
I,
think
I'll
make
a
piece
from
here
to
here.
You
know,
so
they
really
get
to
like
think
about
what
they
do
and
then
see
how
that
all
adds
up
to
something.
This
is
by
Brett
cook
and
Wendy.
A
Ewald
Brett
is
a
well-known
spray-can
artist
and
wendyworld
is
a
photographer,
and
this
is
at
Amherst
Massachusetts
at
Amherst
College,
so
they
did
like
this
long
residency
there
and
it
was
based
on
portraits
and
then
also
on
creating
these
portraits
into
paintings.
So
this
is
like
Bret's
style
of
working,
so
one
of
the
things
I
think
is
useful
for
people
to
know
who
are
thinking
about
commissioning
artists
is
a
different
artists,
have
different
ways
of
working,
and
it's
really
useful
to
look
at
what
the
artists
do
and
think
Oh
would
that
work.
A
A
It's
not
a
permanent
piece,
it
lasted
about
I,
think
it
was
up
for
a
year
and
a
half
or
something
so
it's
people
just
got
to
walk
up
and
start
coloring
on
the
giant
things
with
oil,
pestle,
really
exciting
and
fun,
and
then
Brett
took
them
and
kind
of
position,
the
values
so
that
it
actually
worked
dimensionally,
and
then
you
can
sort
of
see
these
like
beautiful,
portraits
of
people
in
the
community.
You
know
with
texts
about
them
just
kind
of
really
exciting
and
interesting,
and
this
is
a
really
fun
thing.
A
This
is
a
and
fulson
and
she
runs
a
summer
program
called
school
of
the
poetic
city
and
what
she
does.
What
she
does
is
you
see,
there's
also
some
things
with
contemporary
art
and
children,
but
in
this
particular
piece,
what
they
do
is
they're
walking
around
in
downtown
Denver
and
they're.
Looking
for
where
there's
like
places
that
are
just
kind
of
like
ugly
and
abandon
and
not
taken
care
of,
and
so
then
they
take
photographs
of
them
and
then
the
kids
do
designs
and
they
say
you
know
what
that
shed
looks
awful.
A
This
is
what
it
should
look
like
and
they
do
proposals
for
what
it
should
look
like,
and
the
really
funny
thing
is
most
of
these
are
like
kind
of
abandoned
places.
Then
they
go
back
and
they
staple
the
proposals
to
the
place.
You
know
like
hey
people,
you
might
want
to
consider.
You
know
up
in
your
game,
so
I
sort
of
loved
that
idea
about
people
encountering
that.
So
this
is
a
last
project.
I'm
going
to
show
you
structure
is
space.
A
This
is
a
mosaic,
seeding
installation
that
I
did
with
community
residents,
elders,
adults,
teens
and
children
and
by
the
way,
you'll
notice.
This
is
kind
of
pattern
of
doing
a
lot
of
stuff,
with
adults
and
with
tea,
elders
and
teens.
They
think
they
have
time
on
their
hands
and
it's
really
exciting
to
see
the
interactions.
One
thing
I
don't
do
is
whether
it's
children
as
part
of
a
project
I,
usually
don't
have
the
children
be
part
of
the
work
when
the
elders
are
working.
A
What
we
found
is
sometimes
the
elders
are
just
worn
out
from
caring
for
young
children.
You
know
either
in
their
careers
or
in
their
work,
and
so
we
tend
to
make
that
more
of
an
optional
interaction
and
we
in
most
of
the
key
workshops,
are
scheduled
around
elders
and
adults
and
teens,
so
this
is
Hilliard
apartment.
So,
if
you
ever
been
in
Chicago,
many
of
you
know
Marina
towers,
so
this
was
designed
by
the
same
architect.
It's
a
public
housing,
and
this
is
a
like
Theater,
which
is
part
of
that
space.
A
So
here
you
can
see
it
now.
When
is
this
public
art
in
it
and
I'll
show
you
more
about
that?
What
we
found
out
was
that
people
didn't
use
the
amphitheater,
because
there
was
no
place
to
sit
if
you
didn't
want
to
sit
on
the
ground,
and
so
we
created
the
sort
of
overlay
of
pieces
to
put
into
the
amphitheater
they're
set
in
the
amphitheater
they're
not
attached,
because
this
is
historic,
you
know
historic
place.
So
where
are
we?
How
did
we
get
here?
Who
used
to
be
here?
Who
are
we?
A
These
are
the
kinds
of
questions
that
we
might
ask.
How
did
Hilliard
apartments
come
to
be
as
part
of
the
research
on
this
we're
talking
about
this
great
modernist,
architect,
Burton
Goldberg,
who
studied
at
the
Bauhaus?
How
he
saw
himself
is
like
and
not
like,
Mies
van
der
Rohe,
and
then
there's
also
this
idea
about
public
housing.
A
So
one
of
the
things
we
do
with
shape
with
and
investigations,
we
do
spatial
explorations.
We
tell
stories,
we
construct
histories,
we
do
archival
research,
we
identify
generative
themes,
what's
happening
in
the
community,
we
have
could
we
we
create
encounters
between
people
who
may
not
have
interacted
before,
but
actually
use
the
space.
We
share
disciplinary
frameworks
and
methods
of
investigation,
we
do
skill
building,
we
do
drawing
and
designing
together.
We
do
community
gatherings
and
we
do
envisioning
what
a
future
might
look
like.
So
in
this
case,.
A
The
idea
of
how
is
this,
how
has
this
place
been
shaped?
How
how
has
this
place
shaped
us?
So
this
is
Bertrand
Goldberg
and
he
this
is
a
quote
from
him,
both
in
the
use
space
in
the
form
of
space
I
discovered
that
behavior
can
be
influenced
by
the
shape
of
space,
so
I
love.
This
I
mean
Birkin.
Goldberg
was
like
visionary
architect,
and
he
said
about
like
his
his
designs
like
Hilliard,
it's
not
finished
until
the
people
inhabit
it
and
set
it
into
in
motion.
You
know
make
it
do
something.
A
So
here's
some
of
the
work
I
did
with
youth
there.
We
are
using
maps
of
the
ground
say
most
kids
have
never
done
anything
like
this.
You
know
it's
the
were
actually
going
around
the
public
housing
site
and
figuring
out
where
we
are
and
where
you
see
from
your
window,
be
through
the
activity.
This
is
the
senior
building
and
on
the
right,
is
the
floor
plans
of
the
family
buildings.
So
these
are
interesting
buildings.
They
don't
have
like
steel
structures,
it's
the
concrete
walls
that
form
the
different.
A
Flowerin
people
because
they
lived
in
the
petals
of
flowers,
so
you
can
kind
of
see
and
I
have
to
tell
you
working
in
that
we
had
our
studio
set
up
in
this
space,
really
an
amazing
space,
so
this
place
is
inhabited
by
families,
different
uterus
backgrounds
and
by
Chinese
seniors
and
by
African
American
seniors,
so
that
was
kind
of
an
interesting
mix.
So,
as
the
kids
are
going
around
like
here,
they're
learning
Tai
Chi
from
one
of
the
Chinese
seniors.
A
This
was
a
piece
about
people
say
they
talk
about
the
Hilliard,
Terrace
and
they'll
say
it
looks
like
corn
cobs,
you
know,
but
we
thought
you
know.
That's
the
and
the
kids
were
obsessive
about
that.
They
thought
it
was
like
insulting.
So
we
came
up
with
other
metaphors
that
we
might
use
to
describe
Hilliard
towers,
and
so
this
is
a
metaphorical
board,
so
it
needs
design
and
planning.
Here
we
are
thinking
about
this.
What
this
might
be
like?
A
This
is
the
whole
project
of
and,
of
course,
people
are
seeing
these
things
in
the
community
studio
you
can
drop
in
and
see
as
these
different
kind
of
plans
emerge
memory
spaces.
This
is
about
oral
history,
so
people
are
doing
memories
about
places
that
were
important
to
them
in
their
lives.
This
is
actually
the
seniors
did
pieces
of
about
just
like
kind
of
recollections
of
spaces
of
life,
and
this
one
person
was
a
the
guard
who
kept
monitored
kids
getting
on
and
off
the
school
buses.
A
lot
of
the
children
did
pieces
about
their
bedrooms.
A
Here,
though,
this
is
a
woman
doing
a
piece
about
where
she
used
to
live
when
she
had
a
cat
and
dog
who
she
had
to
give
up
when
she
came
to
live
in
senior
housing.
Oh,
this
is
just
a
funny
story.
On
the
other
side,
the
girl
telling
the
story
from
many.
You
know
that
she's
telling
the
story
from
like
60
years
ago
about
when
she
told
her
father,
she
could
rollerskate,
so
he
bought
her
skates
and
she
immediately
went
out
and
like
really
hurt
herself.
A
But
this
idea
about
sharing
stories
from
your
past
and,
of
course,
kids,
are
hearing
these.
Then
we
talked
about
discursive
space,
so
part
of
this
idea
of
telling
stories.
So
this
is
one
that
the
kids
did
don't
say:
ain't.
Oh,
your
mother
will
faint
your
sister
will
sigh.
Your
father
will
fall
in
a
bucket
of
paint.
It's
got
this
out
of
order,
but
basically
it's
a
thief.
African-American
kids
doing
this
really
funny
thing
talking
about.
A
They
know
you're,
not
supposed
to
say
eight
but
they're,
just
like
doing
it
and
then
they're
talking
about
the
the
way
they've
been
told
not
to
do
it.
So
it's
really
kind
of
interesting
other
warnings.
We
talk
about
what
are
warnings,
you've
gotten?
How
do
warnings
shape
the
discursive
space?
Don't
hit?
Don't
you
know
these
different
things
and
then
there
was
a
whole
one
that
had
to
do
with
like
safety
warnings
that
they
have
gotten
either
children
and
adults
doing
these.
This
is
pretty
funny.
Basically,
every
culture.
A
These
we
had
a
lot
of
African
American,
white
people
and
also
Chinese
people.
Every
culture
tell
us
kids,
don't
swallow
watermelon
seeds,
but
the
reason
is
different.
Like
some
people
say,
it'll
grow
out
of
your
mouth
or
it'll
grow
out
of
your
ear.
It'll
grow
out
of
different
things,
so
that
was
kind
of
really
amusing.
To
hear
this,
the
other
thing
is
like.
Actually,
this
is
an
interesting
one
in
culture,
it's
common
for
parents
to
say
don't
like
rice
in
your
bowl
for
every
grain
of
rice,
you
leave
your
future.
A
A
You
know
so
so
this
would
be
an
example
of
some
of
the
kinds
of
that
we
bail
that
work
was
in
a
show,
so
people
could
come
to
the
show
and
be
talking
about
this
getting
to
know
Hilliard.
So
we
shared
our
historical
research,
talked
about
how
you
can
learn
to
do
tile,
inviting
people
to
still
try
it,
and
this
is
like
a
lot
of
the
research
about.
How
did
this
come
to
be?
How
did
it
get
named?
It
was
gonna,
be
Adlai,
Stevenson
Center.
A
Instead,
it
was
named
after
Raymond
Hilliard,
who
was
a
chief
of
Social
Work
for
the
Chicago
area,
who
passed
away,
and
the
original
the
first
mayor
daily
named
that
after
Hilliard,
who
was
a
very
controversial
figure,
breaking
social
worker
unions
back
east.
So
the
plan
which
was
to
name
the
new
housing
for
Adlai
Stevenson,
to
show
this
idea
of
racial
and
national
blending
was
circumvented,
and
you
know
that
you
might
have
been
living
in
Adlai,
Stevenson,
International
Center,
but
instead
you're
living
in
the
Hilliard
apartments.
A
So
there
was
just
a
good
conversation
to
have
and
the
seniors
were
really
engaged
in
that
conversation,
so
building
skills.
So
we
start
with
paper
tiles.
When
I
do
this
kind
of
work,
so
people
can
think
about
the
geometry
of
it
and
then
start
teaching
cut
glass.
Cutting
the
little
kids
can't
do
glass.
You
have
to
be
at
least
like
14
to
be
able
to
start
doing,
and
so
here
you
can
see
some
of
these
practice.
Boards
and
Mary
was
really
good.
The
senior
was
really
good
at
cutting
circles.
A
We
called
her
circle
woman
and
we
did
all
these
circles
on
the
design
which
we
would
never
have
done,
except
Mary
was
so
good
at
it,
and
so
then
we
talked
about
what's
gonna
be
in
thee,
so
we
asked
ourselves
the
question:
what
happened
from
1963
to
66,
which
were
the
years
that
Hilliard
apartments
was
built,
what
changed
our
world
your
world,
the
USA
etc?
So
we
also
were
taking
fragments
of
Bertrand
groberg's,
writing
and
the
thing
about
his
writing
was
he
really
was
a
person
who
believed
in
the
possibility
of
modernism.
A
He
really
believed
that
modernism
could
contribute
to
a
better
world
and
I.
Think
I
mean
I.
Think
that
there's
truth
to
that.
On
the
other
hand,
if
you
sort
of
cynical
postmodern
times
you're
like
really
but
I,
think
this
we
kind
of
reclaim
not
in
a
naive
way,
but
in
a
sophisticated
way
that
belief
in
the
possibility
so
we've
got.
We
were
collecting
all
these
quotes
from
Goldberg.
We
were
talking
about
things
that
happened.
A
We
pick
them
as
I
say
this
all
happens
on
a
wall,
so
people
walking
in
and
out
can
see
it
and
then,
by
the
way
this.
So
this
is
where,
where
we
it's
funny,
how
you
can
do
things
as
an
ancient
art
form
right,
but
we
really
like
the
idea
of
concentric
circles.
We
could
never
have
done
all
this
perfect
concentric
circles
if
we
hadn't
had
this
digital
print
out
that
we
made.
So
it's
interesting
how
technology
intersects.
So
here
we
are
working
and
then
just
to
see
some
of
the
the
people
doing
different
things.
A
You
see
some
of
the
details.
Actually,
the
this
man
also
gave
us
a
dragon
to
put
into
the
piece.
Those
are
the
Hilliard
rabbits
when
we
were
doing
the
installation.
It
was
like
a
big
deal,
thinking
about
where
we're
gonna
position.
These
things
we
have
professional
tile,
setters
help
us
with
this,
but
we
also
have
this
whole
team
of
people.
Who've
worked
on
the
mosaic,
who
are
doing
this
very,
very
careful
work
of
removing
the
plastic,
and
you
know
grouting
on
the
mosaic,
and
then
people
start
coming
out
and
going
what's
this.
A
What's
this
about
so
you're
always
talking
and
thinking
about
it,
and
so
here's
some
of
the
pieces
that
we
did,
we
decide
BIRT
Goldberg
said
one
of
his
quotes.
We
haven't
yet
recognized-
and
this
is
a
picture
of
the
march
on
Washington,
a
really
important
thing
that
led
to
civil
rights
and
integration
in
public
housing.
Here
this
is
this
unfinished
statement.
It's
when
Johnson
signed
the
Immigration
and
Naturalization
Act
in
1963,
which
for
the
first
time,
took
racial
quotas
off
of
u.s.
A
immigration,
and
so
because
of
that
many
of
the
Chinese
people
who
are
here
who
were
seniors
now
were
able
to
immigrate
to
the
United
States
and
build
lives,
judge
what
our
idealism
has
produced.
The
space
race
happened
and
actually
people
said
we're
going
to
go
to
the
moon,
and
we
did
like
wow
this
one
here.
An
incomplete
process
with
an
urgent
need.
Headstart
got
started
during
these
years.
Right,
which
you
know
has
had
research
shows.
It's
had
so
many
benefits
for
young
people
and
by
the
way
these
are.
A
These
are
details
that
looks
like
solid
color
from
far
away,
but
when
you
get
up
close,
so
it
encourages
you
to
wander
around
and
look
at
these
and
then
this
one
other
quote:
we
can
build
whatever
we
think-
and
this
is
the
Medicare
started
in
those
years
right.
So
this
idea
that
we
can
build
what
we
can
think
I
think
it's
a
really
important
night
for
idea
for
us
to
think
about
when
we
think
about
envisioning,
tomorrow's
communities,
that
if
we
can
think
about
it,
we
can
actually
make
it
happen.