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Home Explore Newcity Chicago February 2019

Newcity Chicago February 2019

Published by Newcity, 2019-02-01 12:42:08

Description: In honor of the publication's thirty-third anniversary and this month's mayoral election, Newcity polled a variety of visionaries about their one big, bold idea for the future of Chicago. From a renaissance on the South and West sides to instituting a four day work week, this issue has plenty of fresh ideas for whoever ends up running the city. Also: 100 Years of Bauhaus, going to the beach in February, vegan tasting menus, what's in store during the Year of Chicago Theatre, and much much more!

Newcity's February issue celebrates our anniversary with three stories centered on the future: an exit interview with serial entrepreneur Howard Tullman, who was instrumental of 1871 and its place in the local tech ecosystem, a firsthand look at everything learned about filmmaking in the production of our first feature film, Signature Move, and a feature on Cure Violence Chicago and other organizations looking to treat gun violence as a public health issue.


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Arakawa & Madeline Gins Eternal Gradient February 7–April 27, 2019 Arakawa and Madeline Gins: Eternal Gradient traces the Graham Foundation emergence of architecture as a wellspring of creativity and Madlener House, 4 W Burton Place, Chicago theoretical exploration for the artist Arakawa (1936-2010) and poet and philosopher Madeline Gins (1941-2014). Originated at the Arthur Ross Architecture Gallery at Columbia GSAPP, this exhibition is made possible in part by the Estate of Madeline Gins, and through a partnership with the Reversible Destiny Foundation. Image: Arakawa and Madeline Gins, “Drawing for ‘Container of Perceiving,’” 1984. Acrylic, watercolor and graphite on paper. 42 1/2 x 72 3/4 in. Photo by Nicholas Knight. © 2018 Estate of Madeline Gins. Reproduced with permission of the Estate of Madeline Gins.


LETTER FROM THE EDITOR overing the kind of mayoral election that Chicago faces right now presents a particular challenge for a publication like ours. The almost last-minute nature of the campaign season—as I write, petition challenges are still taking place barely a month before the polls open—combined with the swollen field of more than a dozen candidates would force either an undertaking of a scope that exceeds our resources (in-depth profiles or interviews with all of them) or lead us to a superficial skim of the same issues everyone else is writing about. So we decided to focus on ideas, not people, in learning and do everything better. So this past what has become our tradition of thinking year, we produced two feature films, Jennifer about the future of the city in our anniversary Reeder’s “Knives and Skin,” which shot in July/ issue. This time it’s our thirty-third, so we asked August, and Hugh Schulze’s “Dreaming Grand thirty-three thought leaders in Chicago to share Avenue,” which shot in September/October. In one big idea. The kind of ideas, collectively, that many ways, we did do many things better, but we hope our new mayor will pay attention to. in others we were humbled. Note to self: if you And if you’re wondering what we did when we are going to make two movies back to back, were last in this position (back in the 2011 put a few months between them. “Dreaming” is election when Richard M. Daley decided not to currently being edited, but “Knives and Skin” is run for reelection), I wrote my own manifesto finished and will have its world premiere this for the city, “If I Were Mayor.” I’m not sure Rahm month on February 9 at Berlinale, one of the ever read it, but he did do quite a few of the top film festivals in the world. We’ll keep you things I suggested. So here’s to hoping. posted on its domestic premiere plans, but meanwhile, we’d love to see you in Berlin. It’s In our anniversary issue last year I wrote a long no colder than Chicago in February, right? story about our experiences making our first feature film, “Signature Move.” (It’s streaming BRIAN HIEGGELKE now if you have not seen it.) As you might recall, I described a process that was both encouraging and a steep learning curve. It left us ready to do it again, with a desire to take our

UPCOMING PROGRAMS INCLUDE: 329 E Garfield Blvd. Chicago, IL 60637 First Monday Jazz Series: Crosswind Mon Feb 4 | 7-9pm First Monday Jazz is a free monthly event showcasing local Chicago jazz artists. GreenLight Series: South Side Story Time Every 4th Sunday of the Month | 10-11am Bring your kids to listen, learn, sing, dance, and interact! South Side Story Time is a monthly gathering that curates readings for its young attendees along with the chance for their parents to socialize. Open to all ages but geared towards 0 - 6. Sistergirls and Freedom Fighters: Stories in Celebration of Women’s Power and Grace Wed Feb 20 | 7-8:30pm Join us for an evening of storytelling featuring the dynamic duo, In the Spirit: Zahra Baker and Emily Hooper Lansana. This performance will highlight a range of stories that demonstrate women’s creative and political genius from folk heroines to Nobel Peace Prize winners we continue to find ways to triumph even amidst chaos and challenge. Follow Arts + Public Life on Facebook for more event details and a full list of all upcoming performances.

cONTRIBUTORS NANCY CHEN (“One Hundred Years ON THE COVER of Bauhaus”) is an arts organizer and Cover Design: Fletcher Martin DAN STREETING (Designer,“The a freelance arts and culture writer from Chicago of Tomorrow” feature) is a Philadelphia. She recently moved to Vol. 34, No. 1388 designer, illustrator and educator based Chicago, working on an MA in the in the Chicago area. Originally hailing Humanities at the University of Chicago. PUBLISHERS from Detroit, Dan earned his MFA at the Brian & Jan Hieggelke esteemed Cranbrook Academy of Art. SETH BOUSTEAD (“Discovery”) is Associate Publisher Mike Hartnett FLETCHER MARTIN (Designer, cover, a composer, host of “Relevant Tones” “The Chicago of Tomorrow” feature) on WFMT, founder/executive director EDITORIAL is the creative director and partner in of Access Contemporary Music, and Editor Brian Hieggelke the branding and digital firm a5. creator of the Thirsty Ear Festival and Managing Editor Jan Hieggelke the Sound of Silent Music Festival. Art Editor Elliot Reichert Dance Editor Sharon Hoyer AMANDA FINN (“What’s In a Year”) Design Editor Vasia Rigou is an “explorer, writer, actor, car karaoke Dining and Drinking Editor buff, lover of the arts, philanthropist David Hammond and connoisseur of quote tattoos.” She Film Editor Ray Pride is also a freelance writer and the Illinois Lit Editor Toni Nealie editor and venue relations coordinator Music Editor Robert Rodi for Footlights. Theater Editor Kevin Greene Contributing Writers Isa Giallorenzo, BEN KAYE (“What’s In a Year”) is Aaron Hunt, Alex Huntsberger, Hugh Iglarsh, an actor, director, “theatre maker and Chris Miller, Dennis Polkow, Loy Webb, cultural critic.” He also works as the Michael Workman Audience Services Manager for Emerald City Theatre. ART & DESIGN Senior Designers MJ Hieggelke, Newcity FEBRUARY 2019 Did you miss Fletcher Martin, Dan Streeting , Billy Werch Newcity’s Designers Jim Maciukenas, Stephanie Plenner annual Best of Chicago MARKETING issue? Marketing Manager Todd Hieggelke Since 1993, Newcity’s OPERATIONS Best of Chicago has been General Manager Jan Hieggelke the publishing event Distribution Coordinator Matt Russell of the year, with hundreds and hundreds Distribution Nick Bachmann, of entries o ering our writers’ insight in a way that expands Adam Desantis, Preston Klik, the imagination of what the city is and can be. Quinn Nicholson Get your copy of this, or other back issues of Newcity, at One copy of current issue free at select locations. Additional copies, including back issues up to one year, may be ordered at Copyright 2019, New City Communications, Inc. All Rights Reserved. Newcity assumes no responsibility to return unsolicited editorial or graphic material. All rights in letters and unsolicited editorial or graphic material will be treated as unconditionally assigned for publication and copyright purposes and subject to comment editorially. Nothing may be reprinted in whole or in part without written permission from the publisher. Newcity is published by Newcity Communications, Inc. 47 West Polk, Suite 100-223, Chicago, IL 60605 Visit for advertising and editorial information. 6

applicable to all creative work. Simultaneously, the art created ge-Wortmann put it in her beautifully illustrated 1993 book, by the Bauhäusler (the artists affiliated with the institution) “Women’s Work: Textile Art from the Bauhaus,” “Like women, continues to speak for itself—exuding idealism and exuberance, textiles have traditionally been cast in the supportive role: one forever representing the confluence of creative energy at the notices the chair, but not its cover.” school. The high concentration of excellence across media suggests the magnetism of the school in attracting great tal- Gunta Stölzl, who entered the school in 1920 when she was ent and bringing out the best from the talents it had gathered. twenty-three years old, gradually took over management of the weaving workshop and became the school’s only female The phrase bauhaus combines the German words bau (from master in 1928. Throughout its run, the school struggled to bauen, to build) with haus (house). In the first sentence of his become commercially sustainable, as it attempted to market “Bauhaus Manifesto and Program,” archi- its avant-garde artistic tect Walter Gropius, the founder of the products and appeal to school, wrote, “The ultimate aim of all Let us then create a new public tastes that were hes- visual arts is the complete building!” The “ guild of craftsmen with- itant to evolve. Under Stöl- brief and spirited manifesto insisted that zl’s direction, with assis- the arts had become unproductive and out the class distinc- tance from fellow women deficient, existing in isolation from every- tions that raise an arro- weavers Anni Albers, Otti day life. The way to rescue and revitalize gant barrier between Berger and Benita Otte, the art was for artists to dedicate themselves weaving workshop became to thorough training in the crafts—ac- the longest-running Bau- quired in workshops and in both experi- craftsman and artist! haus department and one mental and practical sites—so that stu- of its most commercially dents to masters alike could engage in Together let us desire, successful. artistic production through various dis- conceive, and create the Among the other Bauhaus ciplines including carpentry, woodwork- ing, metalworking, painting, printing and new structure of the fu- women who are less prom- advertising, and weaving. A course in ar- inently remembered and chitecture was not offered until 1927, but ture, which will embrace celebrated than their male architecture would later become a major architecture and sculp- counterparts are Alma Sied- focus when Ludwig Mies van der Rohe ture and painting in one hoff-Buscher, a toymaker took over as its third director. who created the Bauspiel building kit that encouraged All Bauhaus students spent their first unity and which will free and experimental play. year of study receiving basic training in one day rise toward Siedhoff-Buscher was killed the Vorkurs—a preliminary course that heaven from the hands in an air raid in Buchschlag focused on experimentation with color, near Frankfurt in September shape and materials. By initiating stu- 1944. Marianne Brandt, a dents through experimentation and play, of a million workers like metalworker, designed icon- the Bauhaus set its pedagogy apart from ic globe lamps and a geo- traditional academies of art, where stu- the crystal symbol of a metric teapot that remains dents spent a great deal of time copying new faith. one of Bauhaus’ most fa- from models. Gropius recruited re- mous objects. Brandt taught nowned artists to teach as “form masters” applied art and design in in the preliminary course, including Jo- Berlin and Dresden until hannes Itten, László Moholy-Nagy and Josef Albers, each of whom approached ” 1954, then continued to pro- duce paintings, weavings the course differently, in accordance with and sculptures for the rest of his own interests and expertise. WALTER GROPIUS her life in Chemnitz. Anni Al- Following the Vorkurs, students went on Bauhaus Manifesto and bers and Marli Ehrman both Program (1919) emigrated to the United to specialize in discipline-focused work- States to teach textile de- shops with “work masters,” based on sign in Black Mountain, their skills and interests. It is worth noting that while the school North Carolina and in Chicago, respectively, and passed their admitted both men and women (and in fact, more women ap- expertise on to a new generation of American weavers. plied than men in 1919), many of the female students who at- tended the Bauhaus were discouraged from specializing in the Equality of the sexes was among Bauhaus’ incompletely real- “heavier” trades of wood and metal working, and later architec- ized ideals, but from its beginnings the founders of the school ture. Instead, they were funneled into either the weaving or ce- always envisioned a working community of artists and close- ramics workshops that were regarded as more appropriate knit relationships between students and masters. Among the women’s work. This was a reflection of director Gropius’ view principles from the founding manifesto was “Encouragement that men were more capable of creative work in three dimen- of friendly relations between masters and students outside of sions, while women were best left to two. As Sigrid Welt- work,” which was implemented in social events such as plays, 9

O. Z. Hanish, David lectures, poetry readings, music per- Ammann, Masdasnan— formances, and some legendary Bau- Breathing Lessons, haus costume parties. Another prin- 1919. / Photo: A. Körner, ciple: “Mutual planning of extensive, bildhübsche Fotografie, Utopian structural designs” for build- Institut für Auslands- ings, aimed at the future. The dynam- beziehungen ic school community of shared cre- ative labor and leisure was itself an implementation of the utopian, fu- ture-oriented vision of design for a better life. From 1919 to 1933, the school moved from Weimar, to Dessau, to a campus designed by Walter Gropius as an embodiment of the school’s values, and finally to Berlin. By the time Mies van der Rohe took over as director in the early 1930s, political pressure was mounting from the National Socialist party, which regarded the Bauhaus with suspicion, con- sidering it a hotbed of degenerate and “un-German” art. The Gestapo, under the orders of the newly elected Nazi govern- ment, raided the school looking for anti-Na- zi propaganda and other incriminating ev- idence of unsuitable political affiliations. The school was closed on April 11, 1933. Mies received a letter from the Gestapo saying he could reopen the school if the curriculum was rewritten and if some of the more left-wing faculty were replaced with “individuals who guarantee to support the principles of the National Socialist ideolo- gy.” Though Mies never condemned Nazi politics outright, a silence which disap- pointed many of his colleagues, he was not interested in complying with these terms. The Bauhaus was permanently closed. Firma Rasch, Booklet with twelve Bauhaus wallpaper patterns, designed by Bauhaus students, 1932. / Photo: A. Körner, bildhübsche Fotografie, Institut für Auslandsbeziehungen Bauhaus Dessau, Advertising brochure / order card for the journal “bauhaus, all the circles of the cultural world,” folder, 1927. / Photo: A. Körner, bildhübsche Fotografie, Institut für Auslandsbeziehungen 10

The design program directed by Moholy and the architecture program directed by Mies shared the same roof at one point— inside S. R. Crown Hall, the centerpiece of the Illinois Institute of Technology (IIT) main campus in Bronzeville, on the other side of the expressway from the White Sox stadium. Out of the twenty buildings Mies designed for IIT’s main campus—which II is still called the Mies campus—and out of all his designs that were built around the world, Crown Hall was the architect’s all-time personal favorite. With glass as its skin and steel col- umns and girders as its bones, Crown Hall is a pure expression of Mies’ vision for “skin and bones” architecture, exemplifying a modern building whose structure is transparent and stripped of all ornamentation. After Crown Hall was completed in 1951, “Mies put us [the de- sign program] in the basement,” says Jeffery Mau, an alumnus of the Institute of Design who works as an experience design consultant and now teaches at ID as an adjunct faculty mem- ber. “Moholy and Mies did not get along and they did not work together. Moholy was interested in connecting art and design with the senses, and showing students multiple ways to see the A fter the school shut its doors, many Bauhäusler emigrated from Ger- many all over the world where they continued to disseminate Bauhaus princi- ples and creative practice. In the ensuing Bauhaus diaspora, two major emigrés land- ed in Chicago: László Moholy-Nagy and Mies van der Rohe. Moholy was among the renowned artists invited to Chicago by Wal- ter Paepcke. Paepcke, a Chicago industrial- ist who started the Container Corporation of America, got the idea from his wife to commission artists to create innovative ad- vertising campaigns. Some of these ex- traordinary CCA-commissioned ads were exhibited at the Art Institute in April 1945, in a show called “Modern Art in Advertising.” The Hungarian-born Moholy was a versa- world, while Mies was dedicated to creating a new language of tile multimedia artist, proficient in painting, photography, film, sculpture, advertising, architecture as art, insisting ‘there is (only) my way to see the product design and stage design. Maggie Taft, co-editor of “Art in Chicago: A History from the Fire to Now,” world.’” Moholy is remembered as the more generous teacher, who is teaching a seminar on Bauhaus at the University of Chi- cago this spring, explained Chicago’s appeal to Moholy: “Chi- more nurturing of individual talents. In recent years, he has been cago had a nascent design scene, compared to London [where Moholy had lived between 1935 to 1937], where the scene was in the spotlight as the subject of already well-established. When he came to Chicago in 1937, Moholy saw the opportunity to carry on the ideas that were in- major retrospective exhibitions at terrupted by the war in Germany.” the Art Institute of Chicago, the In 1937, László Moholy-Nagy founded the New Bauhaus in Chi- cago, a design program that continues today as the Institute of Guggenheim Museum and the Los Design at the Illinois Institute of Technology. In the same year, Mies van der Rohe arrived in Chicago to direct the architecture Angeles County Museum of Art program that would be housed within the same institution. Mies had been prominently featured in an exhibition at New York’s (LACMA). Moholy is also the sub- Marianne Ahlfeld- Museum of Modern Art in 1932; subsequently he received nu- ject of a forthcoming documentary, Heymann (attributed), merous offers of work from wealthy Americans. “The New Bauhaus,” directed by exercise from the class Alysa Nahmias and produced by “pictorial form theory” Opendox, which highlights his piv- by Paul Klee, 1923–24, otal role in bringing the Bauhaus to drawings. / Photo: Chicago and his wide-ranging in- fluence on American design. A. Körner, bildhübsche Fotografie, Institut für Auslandsbeziehungen 11

Oskar Schlemmer, The New Bauhaus be- Seated figure, Figure “S,” came the Institute of based on a preliminary Design (ID), eventually drawing of 1921, 1923, moving out of the base- dry-point. / Photo: A. Körner, bildhübsche ment, and more recent- Fotografie, Institut für ly, into a new building Auslandsbeziehungen called the Kaplan Insti- tute—the first newly de- signed building on the Mies campus in four de- cades. Eighty years since the first iteration founded by Moholy, ID retains the Bauhaus tra- dition of the foundation year. “Bauhaus has al- ways been focused on creating the future. Here, we are obsessed with creating the future. We look to identify opportu- nities for creating new solutions.” Mau likened ID to a business school for designers. “We lean to- ward a more business-focused viewpoint, creat- ing new offerings for companies and organiza- tions. We use a vocabulary of methodologies, wanting to introduce rigor to a world that is tra- ditionally creative and subjective.” Meanwhile, the architecture program continues to live inside Crown Hall. On a day in mid-De- cember, after the autumn semester has ended, both floors of Crown Hall are almost deserted but the tangible evidence of the semester’s la- bors cover tables and walls. It looks like dozens of students were just working on sketches, build- ing maquettes and sculptural forms and have just stepped away for a much-needed break. The main floor of Crown Hall has a completely open 120 by 200-foot floor plan. There are no support columns but the interior is divided by free-standing partitions demarcating office spaces. The radical transparency of the exterior façade—almost entirely glass—has the effect of accentuating the opacity of the partitions. The building invites you into an environment defined by transparency and light, so that when you come face to face with solid walls, it can’t help but remind you that not everything can lay out in the open. Mies’ buildings in Chicago include IIT’s campus, the School of Josef Hartwig (game design), the Social Service Administration at University of Chicago, the Joost Schmidt (packaging twin apartment towers at 860-880 Lake Shore Drive, and the typography), The Bauhaus, Federal Center downtown. The latter was Mies’ second-favor- ite creation; the clean lines and symmetry of the modernist set, model XVI, 1924, maple design symbolized a victory in his lifelong battle against dis- © VG Bild-Kunst, Bonn 2018. order. Beyond the buildings he personally designed, the “less / Photo: A. Körner, bildhübsche is more” Miesian aesthetic of glass and steel—the essential form of the modern skyscraper—became ubiquitous in the Fotografie, Institut für skyline of Chicago and countless other cities. Auslandsbeziehungen 12

years, the Elmhurst Art Museum (EAM) Umbo (Otto Umbehr), has undertaken restorations to pre- “Slippers” 1926 © serve the house and to restore it to the VG Bild-Kunst, original layout intended by Mies. Bonn 2018. / Photo: A. Körner, bildhübsche Fotografie, Institut für The museum is among a couple dozen Auslandsbeziehungen III Chicago arts organizations and educa- T o experience Mies’ tional institutions that will celebrate the vision on a more intimate scale, one Bauhaus centenary this spring and will can look to the Western suburb of Elmhurst, which serve as the only U.S. venue for “The is home to the McCormick House, one of only three single-family homes that were built Whole World a Bauhaus,” an exhibition from the architect’s designs for prefabricated housing in the United States. Prefab houses were meant to address the hous- touring internationally from Buenos ing shortage in the postwar era, but the materials dictated by Mies’ design resulted in a house that cost nearly twice as much Aires to Mexico City to Elmhurst and to build as the average home in the 1950s. After three families had lived there (including one former mayor culminating in Germany in late 2019. of Elmhurst), the Elmhurst Fine Arts and Civic Center Founda- tion purchased McCormick House in 1991. Two years later the John McKinnon, Elmhurst Art Museum’s executive director, says house was transported on a flatbed truck from its original loca- tion to become part of the new museum’s campus. In recent the exhibition connects Chicago to the international Bauhaus 100 celebrations, and provides an exploration of “the lasting legacy Mies left as the final Bauhaus director, before complete- ly transforming modern ar- chitecture from a home base of Chicago.” “The whole world a Bau- haus” was a phrase used by alumnus Fritz Kuhr, a self-described “eternal learner” who studied with Paul Klee and Wassily Kandinsky before going on to teach drawing and painting at the Bauhaus. The exhibition is divided into sections that examine themes of work and life at the Bauhaus, including “Art, Crafts and Technolo- gy,” “Community,” “Radi- cal Pedagogy” and “Ex- periment” and includes a selection of art and design pieces as well as varied documentation of life at the Bauhaus. Many exhibitions of Bau- haus works have been or- ganized in recent decades and will continue to be presented during and after the centenary celebration in order to offer an exhilarating and partial view of the unprec- edented spirit of the school, and the reasons for its potent and continuing influence on art, design and pedagogy. “There was always lively debate and controversy concerning the purpose and significance of the Bauhaus at the Bauhaus itself, and also outside, and this continues to this day,” curator Boris Friede- wald writes in his preface to “The Whole World.” In Chicago, Bauhaus’ emigrants initiated a new generation of American designers and architects; its practitioners transformed domes- tic interiors and shaped the grandeur of the skyline; and its founding principles continue to inspire the creation of work across many disciplines. 13

Wallpaper factory Jan Bartoszek, the artistic Emil Rasch, bauhaus- director of Hedwig Danc- behangsels, dutch es (a Chicago-based Advertisement, . company she founded / Photo: A. Körner, bildhübsche Foto- thirty-three years ago) grafie, Institut für was inspired to create a Auslandsbeziehungen new dance piece after she was given a book about Bauhaus’ elemen- tal design precepts. Pre- miering in November , “Futura” was a col- laborative project that involved Torsten Blume, a choreographer based in Dessau, Je ery Mau from IIT’s Institute of Design, Jason White of Le- viathan (a creative agency specializing in digital experience design), and ID graduate students. “The Bauhaus ideas still matter because they are rooted in spatial concepts and geometries that are so basic and universal that they are open to infinite possibilities,” says Bartoszek. “As tech- nology and times change, these concepts are re-interpreted and applied to the present moment with new tools and perspectives. The Bauhaus had a forward-looking approach to design with the fundamental belief that great design could impact daily life in positive ways.” Mau, whose design work is mostly based in the Bauhaus is making a robust entrance into its second century. digital realm, says the spirit of Bauhaus continues “The Bauhaus existed for a short span of time but the potentials to be relevant today “because it’s an idea of how intrinsic in its principles have only begun to be realized. The to wrestle with craft and technology. Bauhaus is sources of design remain forever full of changing possibilities,” an idea rather than any specific discipline; an idea Bauhaus alumnus Herbert Bayer said,” The Bauhaus is dead. of creating the future. Bauhaus embraced a mod- Long live the Bauhaus.” ernized world, and the idea of people working with technology.” Technology evolves, but the view of the artist as a designer of systems and the role of de- sign to address problems and proactively shape the future is here to stay. “Moholy would have loved today’s world with new forms of media and experiences, as it is a continuation of his passion for experimentation with how people experience the world where technology and craft work in tandem.” “The Whole World a Bauhaus” is on view at the Elmhurst Art Museum from February through April , . More “Bauhaus ”-related events and exhibitions will be happening around the city through Spring including at the Smart Museum of Art, the Art Institute of Chicago. Hannes Meyer, (editor), “study at the bauhaus!” bauhaus, journal for design, / , . / Photo: A. Körner, bildhübsche Fotografie, Institut für Auslandsbeziehungen 14

From music to film: you want to be here. Join us for our 2018-2019 visual and performing arts season! Most events are FREE. The Logan Center at the University of Chicago is a multidisciplinary home for artistic practice. Connect with the Logan Center for concerts, exhibitions, performances, family programs, and more from world class, emerging, local, student, and international artists. Logan Center 773.702.ARTS for the Arts 915 E 60th St loganUChicago Photo: Hypnotic Brass.

33 ith more candidates for Chica- go mayor in the February 26 primary than players on a foot- ball team, we’re all being bom- barded with “issues,” with “priorities,” with “policies” and “plans.” But you have to comb through a lot of rhetoric, platitudes and, well, similarities to find even a few of the big bold revolutionary ideas that the city sorely needs right now. So we thought we’d help the next mayor out. We asked a select handful of Chicago visionaries to share one big bold idea for a future city. 16

laura calvert on anna cerniglia a flourishing on boosting local food system small business growth Director, Advocates for Urban Agriculture Our vision for 2019, for the future of Chicago, and for all cities, is a truly equitable, local food system—a flourishing food system where urban agriculture is an integral part of community econom- ic development, food security, environmental sustainability and overall quality of life for all. One where leaders and residents alike understand and reap the benefits from our local food system, where Founder and director, Johalla Projects our air, water and soil are safe and nourished. Where we again I envision a Chicago where smaller business owners led by women, cultivate forty percent of our own fresh produce people of color, minorities and LGBTQ are given the ability for in home gardens, public spaces and formerly va- their full potential to shine through. To achieve this, we need bud- cant lots, as Chicagoans did during the peak of get allocation changed and smaller businesses given chances to bid the Victory Garden movement in the twentieth and participate so that great talent and ideas are not overshadowed century. Where education, job training, and opportunity in by larger, more accomplished businesses. I am an advocate for supporting our local food system make space for all Chicagoans change, working toward a more creative future for Chicago, and I to thrive. We hope to see support of innovation and integrity in know that we have the platforms. We just need to shine younger our food system, where there is equitable water and land access curators and creatives more. with community ownership of food production. We envision shayna connelly urban food sovereignty as a basic right and part of the solution on community to climate change interruptions in our food supply, and a Chica- resources for go where we can trust each other art making enough to feed each other well— where we can feel the full impact of restorative justice of land, home and community. Filmmaker and associate professor, Cinema Production, DePaul University All-access community maker spaces: A future that includes a strong, integrated community is essential to con- veying what Chicago can be and become. One of the most effective ways to bring people from different de- mographics together is through art. Creating public events, physical maker-spaces and tools and resources for art-making designed to bring together people of radically different backgrounds to meet and collaborate would expand how we think about people who are different from us, by age, race, gender, religion. In these spaces people could swap knowledge, gain experience and form relationships through mentorship by engaging in activities that are, at heart, fun. They would be safe spaces for peo- ple to connect over shared activities. When we focus on collabo- aymar jean ration and process, we are in the moment and see people fully. What christian a world that would be! on a south Founder, Open Television and assistant professor, and west side Communication Studies, Northwestern University renaissance Chicago’s South and West Sides have a long history of incubating some of the city’s most well-known artists, across all forms, but the city spends more money policing these neighborhoods than investing in schools, infrastructure and organizations promoting community health. Imagine if we invested in the South and West Sides, and used the arts to help spread the wealth. Chicago’s renaissance in film, television, art, theater and music would be incomplete, and not as powerful, if it doesn’t involve the full city. As foundations take more land in the south, my dream is they also bring resources to the folks who already live here. I imagine TV shows representing revitalized black and brown neighborhoods, with writers and creators paid to tell those stories, showing the world how to build an equitable, vibrant, progressive city. 17

jim duignan on ken dunn honoring the on preserving instinct of chicago as an children open-air arket Founder, Stockyard Institute and associate professor, College of Education, DePaul University My singular hope for our city’s future is that we attend to our chil- dren, and to covet the idea that somewhere between their mortal- ity and their play spaces, there is a function of policy. I hope the city can come together to provide them Founder and president of Resource Center, a sustainability non-profit security, freed from the consequenc- Let’s build a new city starting with the potential strength of our species: that of caring for each es of being young. Another hope is other and recognizing that a good life for all can be achieved by embracing diversity, listening to to keep the steady release of their people who have seen things we have not. The open-air market of our cities has imaginations at the forefront—to let this diversity, producing the best in food, music, ideas and practices. them dream of a future inside our We each can bring to the commons what we produce and take away city—and to ensure aspects of being what we need. Instead, our cities have become examples of how not to use asphalt, concrete, young, like walking to school, or glass, steel and power. We all accept, for instance, that we can periodically fill potholes in the staying in their homes, being with street, even though the asphalt trade knows techniques that repair permanently. We accept and their families, or remaining in our seek to expand the police force and its power, but we need mediators and makers of the peace in country are protected. The city how we select and train them. Every decision our mayor makes will affect our quality of life in would pivot with enormous support the future. Even more determinant of our future is whether we as citizens employ best practices if policy and our collective, commu- in our every choice. nity conversations revolved around our children. We would feel better kavi gupta about the city, as our concerns are mostly personal. The answers on art making to a better world lie with our children, if we stop interfering with their honest instincts of what soars. There is another hope: that the world we stop educating their creativity away from them and seek their a better place counsel in ways that tell us more about our difficulties to maintain a vision for the city without them. Owner and director, Kavi Gupta Gallery I would love to see the Chicago art world work to- michelle grabner gether to help the city have a recurring, citywide on building moment that is all about arts and culture. It could collaborative democracy be something like the Triennial that debuted in Cleveland last year, or something like expanding EXPO into more of an overall Art Week. Individu- al artists and small arts organizations are the life- blood of Chicago arts and culture. A focused, collaborative, recur- ring event that is citywide in its scope, with all parties working Artist, writer and curator together and in collaboration, would help highlight the diverse I dare to think that Chicago can embrace the values and structures energy and enthusiasm of Chicago arts. It would attract art tour- that comprise a truly collaborative democracy where its politics ism from all over the world, just as events like Miami Art Week can become “visible, equal, contestable and legitimate.” For this to and the Venice Biennale do. Can Chicago museums and galleries happen, policymakers and institutional officials need to re-sym- and schools and artists and politicians actually work together and bolize the places of power so that they broadcast and compel the coordinate shows, talks and collateral activities to create this kind obligations of citizenship well beyond a network of elected politi- of a citywide arts experience? If so, it would provide a focus for all cal actors and economic stakeholders. of us throughout the year to plan for, to dream about, to work to- gether on, and to share with the rest of the world. 18

nathan kipnis on nance a sustainable klehm on chicago consciousness Founder and principal, Kipnis Architecture + Planning Chicago needs to go all-in on sustainable and resilient design for all aspects of the city and at all scales—for buildings, transporta- tion, industry and food services. In particular, we need to de- carbonize our building stock as soon as possible, absolutely no later than by . New buildings need Founder and director of operations, Social Ecologies to be carbon-neutral or better, and at every opportunity for reno- I’m interested in consciousness and barriers to it. We have it in us vation work to existing buildings they, too, need to hit that goal. and in our communities but we’re not unlocking it. Sustainability Chicago is fortunate that we don’t have as many climate-change is underselling human potential. challenges as other regions of the country. However, we do need I think it’s a low bar. I’m deeply to incorporate resilient solutions into the design of buildings to be in love with this world. I’m in able to handle the future challenges of a changing global environ- grief and in fury and it can teach ment. This is what will make Chicago viable into the future. me a lot.” barbara Artist and founder, Creative Chicago Reuse Exchange koenen Chicago must become a leader in creativity and environmental on reuse as stewardship—beyond green roofs and bike lanes. Eighty percent of a core principle our public school students live below the poverty level and teachers pay thousands of dollars out-of-pocket for basic classroom supplies. Meanwhile, businesses dispose of millions of dollars of surplus ma- terials, supplies and equipment because there isn’t an easy alternative system in place. Chicago must make reuse a core principle and in- tegral part of our civic infrastructure, and creative reuse of people, places and things must be our passion! If good artists copy and great artists steal, here are some best practices to rip off: New York City’s award-winning Materials for the Arts, which has redistributed surplus to teachers and nonprofits for thirty-plus years; the U.K.’s Warp It, which facilitates sharing and reuse within and between municipalities and other insti- tutions; Glen Ellyn’s SCARCE, which redistributes textbooks for free, including to 1,300 CPS teachers last year; and The Neighborhood Foun- dation (TNF), which uses artistic board-up to save buildings and preserve neighborhoods across the country. Though based in Chicago, TNF rarely works here because the city prefers to tear vacant buildings down, just like we prefer to throw stuff out—it’s much easier! But we are better than that. “Old ideas can sometimes use new buildings,” visionary urbanist Jane Jacobs said, but “New ideas must use old buildings.” Trash is just a failure of imagination, so this can be Chicago’s prescription for creativity. Co-founder and co-owner, The Alinea Group, and founder nick and CEO of Tock, Inc., a reservations/CRM system for restaurants kokonas on crossing Chicago is a divided city—by neighborhood and, yes, by race. The greatest opportunity the divides we have as a city is to promote the ease of movement and interaction across the divides. Within fifteen years, the Loop should be entirely self-driving, with individual-level public vehicles and a pedestrian-energy zone. From the city center, improved public transportation to every neighborhood will speed transport times to less-engaged neighborhoods. Development incentive programs should focus on terminus points, with extra incentives for citizens who live and work within the ward. Every neighborhood should have enterprise goals to directly benefit its citizens. Chicago was a city of firsts. Building back from a monumental fire, our predecessors were forced to take risks. The first skyscrapers, the railroads, the Columbian Exposition, and the futures exchanges were a cry to the country that Chicago was the city where positive risk-takers were welcomed. That spirit feels gone, mired in bureaucracy and ennui. It’s time to think big and radical again. 19

bill kurtis and donna la pietra on sustainable sanctuaries TV journalists and environmentalists bing liu on ways young Chicago needs to think back as it looks to insuring its future. In this case, back to its deepest roots. As prairie land—part of the great people can move grasslands that swept from the Oklahoma border to the northern across lines edge of Illinois. The tall grass prairie. of segregation The seeds of our possible solution to the coming ravages of climate change are, paradoxically, in those deep roots, that take in carbon dioxide and sequester it there as far as ten feet below the surface. When prairies are left undisturbed, as they are meant to be, carbon is stored in the soil. Their store Director, “Minding the Gap,” segment director of carbon is second only to the oceans. If Chicago takes the lead in “America To Me,” cinematographer and editor creating sustainable sanctuaries and encourages its future gener- I’ve been thinking about ways in which young people can move ations to see the many possible productive uses of prairie plants, across lines of segregation in this city in ways that are regenerative deep roots can indeed save the planet. and low-cost. I discovered this unintentionally when the city I grew up in, Rockford, which is also deeply segregated, got a public skate- park when I was in high school and I saw young people from all over the city gather and interact and mingle for the price of a bus vincent card or giving a friend gas money. I’ve seen the grassroots efforts that got manglardi on skateparks in Logan Square, Little Village, and Grant Park built, but don’t collaboration know of any skateparks in predominantly African-American neighborhoods as respect like Englewood or Austin. I would love to see a public skatepark built in Austin or Englewood. Operations manager, Congruent Space dario maestripieri Fizzing with enthusiasm about the intersection of youth design, on a city fashion, art and music showcased at concept store Congruent Space, of cultural operations manager Vincent Manglardi envisages an equivalent destiny of New York fashion week for Chicago. “We have so much talent here.” He imagines a future city where we have more respect for each other. “You see a lot of hate and unequal opportunity—it’s a dog-eat-dog world,” but he feels that the alternative—collaboration, peace and justice—bring out the best. Galvanizing fashion and music talent offers endless possi- Professor, comparative human development, bility for young Chicago, he says. University of Chicago (As told to Toni Nealie) New York and Los Angeles, step aside. Enter the new capital of culture of the US. When I look into the crystal ball, I see art gal- leries popping up everywhere in the Chicago Loop. I see the Art Institute giving birth to beautiful progeny, at least three of them, opulent and dazzling like their parent, scattered north, south and west of Millennium Park. I see music and theater in the Windy City claiming the primacy in the country they have always deserved. I see co ee shops swarming with novelists and poets to rival Vienna and Berlin in the pre-World War II era. I see the Hollywood sign being moved to North Avenue Beach, and movie stars leaving their half-burned villas in Malibu to move into the shiny mansions of Winnetka. And I see palm trees everywhere, the winter snow only a fading memory of the distant past. 20

dipika faisal mukherjee mohyuddin on providing for people in need on a city of empathetic connection Writer, artist, educator and the author Writer and sociolinguist of “The Displaced Children of Displaced Children” Writer Dipika Mukherjee envisages an end to My vision for Chicago is that we become a city whose people are more deep- homelessness. “What hits me walking around ly and more empathetically connected to one another, a city where we are the city is seeing people sleeping in doorways, genuinely invested in the comfort, safety, well-being, education, opportunity cold and miserable, especially older women, hud- and dignity of others. As a teacher and writer, I believe we can move closer to dled in crevices between buildings.“ She com- this vision by finding ways of exchanging our stories, of listening more gen- pares it to the Ursula K. Le Guin story “The Ones erously to one another, and to then find more common ground by imagining Who Walk Away from Omelas,” about a bright ourselves in others’ lives. If we can see ourselves in others and also see them city where the townsfolk appear happy, but their in us, then I believe we can work together toward a shared sense of peace, Utopian state is built on a miserable secret: an partnership and possibility. unhappy child. Mukherjee, author of “Shambala eugene Junction,” “Ode to Broken Things” and “Rules of sun park Desire,” resides in the South Loop and has lived on the four-day life as a global nomad, so she has a wide view of how communities take care workweek of their populations. “This city and country are so rich, yet we can’t seem to provide for people in need.” Other cities where she has lived, such as Amster- dam, Singapore, Wellington and Shanghai, manage to do a better job. She hopes Chicago will do the same. (As told to Toni Nealie) Executive director, cheryl munoz Full Spectrum Features As the child of immigrants, I grew on up in a family that embraced a nourishing masochistic work ethic. My par- the rebirth ents are in their seventies and still of the commons work from 6am to 6pm, Monday through Saturday, in a hot dry cleaners. My parents still use “struggle” and “sacrifice” and “suffer- ing” as terms to describe their day-to-day work. Elon Musk, an- other sort of successful immigrant story, recently said that it takes an eighty-to-hundred-hour workweek for employees to make a Executive director, Sugar Beet Schoolhouse real impact. “Nobody ever changed the world on forty hours a week,” While Chicago is no longer Carl Sandburg’s “City of Big Shoulders,” he joked. Widespread adoption of a four-day work- our great city is poised to become a city of coop- week would lead to a happier, healthier, and erators, social entrepreneurs and community more productive Chicago. This would not be a matter of builders. Chicago is home to food co-ops that range from the sacrificing productivity in favor of recreation. This is a vision of well-established like The Dill Pickle Food Co-op in Logan Square actually increasing productivity by giving people enough time to to Chicago Market which will make its home in the Uptown neigh- enjoy their lives outside of work. With all the advances in commu- borhood, all in response to a growing desire for localized power nication and workplace productivity technology, we have the tools over food systems. Is there a leader among us that is willing to kick to “work smarter, not harder.” Why is modern work structured as the doors wide open for the movers and shakers in Chicago so that if we are all factory workers on an assembly line? The four-day, or they can usher in a new era of thriving independent businesses and even three-day workweek is not an entirely new idea, and individ- facilitate the rebirth of the commons? ual companies have already experimented with it. But no city or state has been bold enough to adopt it at the policy level. Chicago could be a leader in driving this change. 21

angelique spencer power parsons on a racially on art that equitable heart thinks locally before going President, Field Foundation of Illinois globally Can we reboot Chicago with an upgraded, now racially equitable heart? In the wake of the flimsy sentences handed down to Van Dyke and the other officers involved in the Laquan McDonald killing and cover-up, there is no Filmmaker and associate professor, denying that the systems in this city are not designed for people of color. And Radio/Television/Film, Northwestern University I’m not suggesting all white people are racists or that poor white people aren’t In four words? STAY SMALL. GO LOCAL. My big idea is incredibly marginalized and abandoned as well. I’m saying concepts of “race” we need to build our backyard for storytellers and filmmak- and realities of racism have done a number on everyone—people of color too. ers and connect with audiences here and now. The striving Each and every one of us has gotten the message about America’s caste system. for national prominence won’t be achieved if we don’t really We have all internalized racism. And while I believe we all need to do active buckle down to support each other in a scene that can sup- work to erase what’s been coded into our veins, my main concern is about the port art and locally-based industry. The money has disap- racism that powers our institutions and is wired firmly into our systems. At peared for the old, national models that supported regional this point no one of any race can deny that our housing policies and educa- filmmaking. We have to build with what we have, to give tion/health/financial/criminal justice systems across the board impact people the local money people something real to spend it on, which of color negatively. will then be worth risking at the national level. We need Let’s start with collectively acknowledging our city’s default operating system more locally nurtured Jennifer Reeders, basically. Chasing is racism. And now instead of freezing into stasis—let’s use this fact as a muse the odds of making a killing at Sundance, SXSW, Tribeca, and enthusiastically begin again. then hoping for national and international distribution, is a mug’s game. And the relentless obsession with it contributes Thinking of shutting down schools? Let’s examine the choice with a historic to the shoddy work and perverse incentives that hold back lens on racial inequity, then decide. Bringing a new headquarters the abundant scene we already have and are capable of ex- to town? Let’s ask how they will employ and pay thriving panding and maybe even sustaining. wages to African Latinx Asian Arab and Native American (ALAANA) individuals in our city first. Losing many of our black and brown communities to the suburbs and other states? How do we ensure our housing and economic policies pri- gordon quinn oritize stemming gentrifying-powered displacement while upping on a fresh quality of life for black and brown residents? fight for equity in education We can rethink with abandon a new Chicago. Collectively hack, intervene, redesign these faulty systems. Bring our best system en- gineers and design thinkers, our community organizers and artists, our journalists and storytellers. We can then voraciously architect a city that runs on the electric- Artistic director and founding member, Kartemquin Films ity of shared benefit; the crackle of genuine symbiosis. Once we redesign the systems? It’s all soothing blue stripes and dazzling The thing that’s been on my mind the most since we completed red stars. “’63 Boycott” [about the 250,000-strong 1963 student strike against Chicago Public Schools] is the whole question of the racial divi- sions in Chicago and the issues around schools and police. When I think about the future, on the one hand, Chicago has enormous problems, and what you see in the film is that so much has not changed in over fifty years. On the other hand, Chicago is uniquely poised to confront these deep-seated problems as we go forward. There’s so much community organizing and activity as hopeful signs. Many people in Chicago are finally committed to facing up to the issues. The huge teachers’ strike was significant. On a more micro level, what happened around the NTA school [National Teachers Academy in the South Loop]: it was a school the CPS was going to close, but parents rose up and fought back and they won. When you look at what the student and teachers are doing in our series, “America to Me,” you can also see the kind of nuanced and complicated approach that people are taking to fight for equity in education. 22

anne k. ream Activist and founder, on an The Voices and Faces Project exploitation- free city Let’s make Chicago a sexual violence and exploitation-free city by 2025. We all know, thanks to Time’s Up and #MeToo, that sexual vio- lence, harassment and exploitation are global public health and human rights issues. But what is global is invariably local, and nowhere is that truer than in Chicago. This is, after all, the city where reports of sexual assault in the Chicago Public School system are so commonplace, and so poorly handled, that in late 2018 CPS was compelled to open a special office to address the crisis. Where singer R. Kelly has for over two decades evaded criminal and, until recently, social accountability for allegedly sexually violating dozens of women and girls (most of them black). And where the Archdiocese of Chicago, alongside the broader Illinois Catholic Church, with- held the names of over 500 priests credibly accused of sexual abuse, leaving a trail of devastation in its wake. It’s sad and shameful that the Second City is so spectacularly failing to protect its citizens from gender-based vio- lence. To change this, Chicago needs to create stronger systems of accountability for not only individuals who rape and abuse, but the institutions that allow perpetrators to violate with impunity. It needs to invest in educating teachers, police officers, first responders and commu- nity leaders on how to recognize—and respond to—sexual violence. It needs to increase support for the city’s shelters and rape crisis centers, where demand for services is at an all-time high. And Chi- cago, with its focus on social entrepreneurial solutions, should ines sommer pledge to be the first U.S. city to call on its private sector allies— on a dose here’s looking at you, Chicago advertising community—to develop of direct a city-wide public education campaign that makes clear that “not raping” is not enough. If you see something and do nothing—or democracy choose not to see—you, too, are complicit. edra soto Documentary director-producer-cinematographer and associate on a director, Documentary Media, Northwestern University professional distance in the Chicago has been governed by elected officials in the mold of Al- educational derman Burke for so long that it’s hard to imagine what the city system might look like if we gave community members true power over planning decisions in their neighborhoods. Not just “input,” or the kind of community meeting that happens after backroom deals have been struck, but true, participatory democracy that would spell the end of cushy zoning deals where aldermen get campaign Interdisciplinary artist and co-director donations from developers, which goes hand-in-hand with gen- of the outdoor project space THE FRANKLIN trification. This could end the misuse of TIFs and could have pre- The three-day-weekend law becomes mandatory for vented the closing of fifty public schools. About ten Chicago wards already the education system. Self-care is understood as a ne- have relatively small participatory budgeting processes that are used with al- cessity and not a luxury. Establishing “professional dis- dermanic menu money or, in one case, with portions of a TIF budget. Resi- tance” between the workplace and the personal space dents generate proposals for neighborhood projects, which get vetted, and becomes necessary to reform the educational system. then the ward gets to vote. Let’s scale this up and apply similar participatory Decreasing stress, positive work environment and the methods to other budgets as well as neighborhood-specific planning and de- reduction of social misconduct as some of the expected velopment. Instead of delegating all decision-making power to elected officials outcomes. Teacher’s instruction time per day will not every four years, why not develop an ongoing and more collaborative process exceed seven hours. that brings residents, public officials and city agencies together? Chicagoans often shrug off complaints about corruption and the Mayor’s ex- traordinary power because that’s been the “Chicago way.” It’s time to shed our cynical, passive attitude and update local government for the twenty-first century. 23

elissa tenny on the importance of the citizen artist President, School of the Art Institute of Chicago tim tuten on “black girl Artists have a critical role to play in our shared society and are eager magic / green to bring their talent to bear. At SAIC, we call that being a citizen new deal” artist, which isn’t a designation of nationality but a recognition that art and design have the power to make our shared society bet- Owner, The Hideout Chicago ter. I would love to see the city embrace citizen artists and designers more fully in governmental agencies during decision-making mo- I was asked to provide “one big bold idea” in a hundred words. Those ments when their uncanny talent for creative problem-solving, non- who know me will find this impossible. I believe in small business verbal communication, ability to interrogate and reimagine systems, and big government. As the co-owner of an independent music and conceptual rigor throughout all facets of making can have the club, I believe that art, music and culture should be everywhere. most impact. This isn’t necessarily a new idea. Pioneering perfor- As a Chicago Public School teacher and proud CTU member, I be- mance artist Mierle Laderman Ukeles has been in residence with lieve that our priority must be to create a healthy and safe physical the New York City Department of Sanitation since 1977. Locally, and inspiring environment for our children. Luckily, Chicago is SAIC faculty member Frances Whitehead was the lead artist on experiencing a golden era of phenomenal women artists, activists the 606 trail and park, and Andres Hernandez has worked with and administrators who can make my vision of Chicago a beauti- civic organizations like CPS and the Park District. A more ambi- ful reality. tious embedded-artists program that actively seeks and compen- sates art and design talent—particularly from those already rooted I’ll call my big, bold idea for the city “Black Girl Magic / Green to the neighborhoods benefitting from each initiative—would bring New Deal!” unprecedented innovation to Chicago. rebecca Thank you Jamila Woods! unger, md - First read everything by Eve Ewing; - Then support Lori Lightfoot’s education agenda; on kindness - Add Amara Enyia and Toni Preckwinkle to it; chicago - Then support Alexandria Ocasio-Cortez’s Green New Deal, and make every inch of land in Chicago a garden, truly Associate professor of Pediatrics, Northwestern urbs in horto; Children’s Practice and Feinberg School of Medicine, Northwestern University - And support Janice Jackson who is doing great things at CPS, including the “Eat What You Grow” program. Caring for each other in the city of Chicago should be a priority. Promoting kindness is an old and bold idea. There is a reason why the Golden Rule, which dates back to Confucius’ era (550 BC), has been around a long time. Infants and young children have an in- nate tendency toward being kind. As children get older, their instincts to be kind are influenced by learned behaviors and their experiences. Family role modeling and community experiences can promote this instinct to be kind. A citywide Kindness Chicago Project could make the world a safer and better place. Children need kindness role models. Teens need to mentor and be mentored. Parents need guidance and support. Elderly need to feel relevant and can offer decades of knowledge and experience. Putting this all together in a project to bridge multigenerational connections and promote programming about kindness is a win-win situation. The components of this Kindness Project would include developing multi- generational projects about being kind to yourself, your neighbor, your community, your city and your earth. Kindness is contagious so let’s help each other spread it around. 24

howard erick tullman williams on the future on of mobility redefining infrastructure Executive director, Ed Kaplan Family Institute for Innovation and Tech Entrepreneurship at IIT and former CEO, Chicago becomes the first city to bar all cars from an eight-square- block area in the Loop and all last-mile travel would be via a con- tinuing 24/7 stream of autonomous electronic shuttles and other Chef and owner at Virtue enclosed people-movers. Truck deliveries would be before 6am and TIF (Tax-Incentive Financing) is all about redevelopment of, for after 1pm. instance, infrastructure. We need to redefine what infrastructure is; it’s not just buildings and roads, it’s people, it’s communities. We should use subsidies to develop communities, as well as the people in those communities. Many chefs embrace the idea of teaching young people to be chefs. We do that at Virtue. Most chefs, however, train the young on their own dollar. It would have more impact if resources were provided, and if chefs had a way to access those resources, to develop people and the community. It could be something like TIF. Our current mayor worked in restaurants (that’s how he lost part of his finger, cleaning a slicer), and celebrates development of the city’s food and beverage industry. I believe the next mayor will do that, too, because restaurants are the fastest-growing business sector in Chicago, but we have yet to explore how that sector can speak to underserved and under-skilled communities. My vision is that we have more resources to fa- cilitate and train young men and women to live up to their potential. tanner woodford on providing shelter for all richard wright Founder, Design Museum of Chicago Let’s solve homelessness. on the power Last year, the CIty of Chicago identified 5,657 sheltered and unsheltered home- of the arts less people. This number is staggering, unfair, cruel and immoral. A home is more than a place to sleep. It is where you take a hot shower after a long day in the blistering cold wind. It is a place to fall in love with your family, over and over and over again. It is a place to prepare for a job interview, to iron Founder, Wright Auction House your clothes and practice your answers. And yes, it is also a place to rest your head and dream big dreams. Chicago has to grow on its strength and truly be the city that works for Solving homelessness is easier than you might all of our residents. Diversity is think. All you have to do is give people homes, Chicago’s greatness. Arts and cul- no strings attached. In fact, it is far cheaper and more ef- ture can bridge the isolation of our communities and express the ficient to provide housing than it is to treat homeless people with- hopes, dreams and aspirations of everyone. From Little Black Pearl in existing health and law enforcement systems. to the Art Institute, investments in the arts can inspire and im- Here’s the kicker: In 2016, we tried to do this in Chicago, with the prove our most important resource—us. city providing permanent housing for a sample of seventy-five of our chronically homeless. One year later, seventy-three of those people were still off the streets. We can design the future we want to live in. It is up to us. 25

Robert Heinecken Mr. President... Mr. President... MARCH 1–APRIL 13, 2019 1711 WEST CHICAGO AVENUE CHICAGO ILLINOIS 60622 WWW. R HOF F MAN G A L L E RY.C O M It’s time to register for Spring programs with the Chicago Park District! Online registration begins: Monday, February 25 at 9AM for parks WEST of California Ave. (2800 W.) Tuesday, February 26 at 9AM for parks EAST of California Ave. (2800 W.) In-Person registration begins: Saturday, March 2 for most parks. Some parks begin Monday, March 4 Activities start the week of April 1 for most programs. Please note: registration dates vary for gymnastics centers as well as Morgan Park Sports Center & McFetridge Sports Center. For more information visit: MAYOR RAHM EMANUEL STAY CON NECTE D. Chicago Park District Board of Commissioners Michael P. Kelly, General Superintendent & CEO

Ingri Fiksdal: STATE / Photo: Anders LindénIngri Fiksdal performs “STATE” (Feb 7-10) and “Diorama\" (Feb 11-13) rts & CultureCo-presented with the Museum of Contemporary Art Chicago and the School of the Art Institute of Chicago


Art Patricia Nguyen performs at Links Hall, ECLIPSING 2018 A Leap Into Darkness An Interview with Amina Ross on the Second Eclipsing Performance Festival By Kerry Cardoza Now in its second year, Eclipsing is a What was the catalyst for Eclipsing? that’s one route toward liberation. I was seeing FEBRUARY 2019 Newcity collaborative, multimedia festival for artists I made a piece of video work—I’m an artist artists who were exploring things beyond inspired by self-defined interpretations of myself—so I tried to perform an eclipse. I was visibility—what is it if I work in the dark space, if darkness. Its 2019 iteration, “Eclipsing: Death & inspired by the definition of eclipse. I’m always I work in a space where my body is not exactly Transformation,” aims to create space “for in awe of the stars and planets around me. legible. I was seeing this in arts administrative LGBTQIA+ artists and performers, namely trans, Their movements are really inspiring, as practices, also in video work and sound work gender non-conforming & queer people of color, someone who’s interested in movement and and performance. I saw a lot of overlap in my to cross boundaries between mediums, and to the world. But then looking to what the word work and the work of my peers, so I wanted to mobilize and harness darkness’ metaphorical eclipse, specifically what “to eclipse” means in hold space for all of these works to be in and metaphysical qualities, creating space for the English language, to eclipse something or conversation with one another. reckoning and collective healing.” Newcity someone means to reduce them of their status spoke with festival curator and organizer Amina or power. What’s embedded in that definition is I understand the programming has Ross about this year’s programming, which to cast something into a space of darkness and expanded since last year. What are some runs through February 4, converging around to strip it of its power. In that one word, we find of the changes or additions? 2019's first lunar eclipse. a lot of our assumptions about what it means to At the heart of the festival are the performances be dark, what it means to be in darkness or of at Links Hall. It’s a four-day performance festival. What is Eclipsing? darkness. Specifically in the English language, I One thing that I really tried to do with this year’s Eclipsing is a multimedia, multi-platform festival would say in dominant culture, it’s to be cast festival is to have the artists who are part of the that holds space for artists of color, specifically out of power, cast out of sight, and to be cast performance festival have different iterations of queer artists of color, to explore darkness in its out of importance. their work in other elements of the festival. I many forms. That darkness functions as a wanted to make some more parts of the artists’ prompt and as a lens for artists to explore I asked myself, “How can I perform this mind and headspace visible and transparent to topics that range from trauma to issues around definition?” I created a video performance, and I the audience. I am even reluctant to use the identity to metaphysical concepts. A big aim for was seeing artists who I felt were also using word audience because I really want it to feel me in the festival is allowing darkness to be darkness and nighttime and space beyond more like a community, that you can sort of freed from a binary, negative interpretation, visibility as praxis, and unpacking that. We’ve all travel through these many events and that oftentimes seen in opposition to light. So really probably heard the idea of giving visibility layers will be revealed to you over time. So you allowing for deep dives into what could toward a cause or toward a marginalized group may not get a full snapshot of the festival by darkness be beyond just solely a negative thing. of people, this idea that if we’re more seen then attending one day of the performances. You’ll 29

Newcity FEBRUARY 2019 Bruce Nauman, \"Life, Death, Love, Hate, Pleasure, Pain\" 1983, get something rich and have a meaningful expe- already creating a list of artists who I saw in Collection Museum of Contemporary Art Chicago, Gerald S. rience. But I think if you’re able to attend direct conversation with artists from last year. Elliott Collection, 1995.74 © 2018 Bruce Nauman / Artists Rights multiple parts, you really get the sort of richness Some of those folks, like Rashayla Marie Brown, Society (ARS), New York /Photo: Nathan Keay, © MCA Chicago. of things. Ashon Crawley, J’Sun Howard, Ariel Zetina, they were people whose work I had encoun- ART TOP 5 Through my collaboration with Central Air tered and was really excited to bring into a Radio, with Jared Brown, who was part of the larger conversation with artists from last year, to 1 Prisoner of Love. festival last year, we’re doing a series of expand upon some of these themes. Then from Museum of Contemporary interviews and experimental sound mixes that there, I’m always really curious about artists Art. Human experience in all will be on the radio. Artists who are part of the who in many ways I consider my peers. And its glory and evil is probed in Links Hall festival will have segments on there, people throughout the festival would recom- a major collection show. so you can hear more about their practice, mend people to me and look up their work. I’d hear more about what they’re thinking about. make meetings with the artists to talk through 2 Bouguereau & It’s also functioning not only on air but also as what the festival was, what my work is, what America . Milwaukee Art part of an archive online, so people can their work is, and if it feels in alignment with Museum. Indulge in the guilty access it after the festival. where they’re at in their practice right now. pleasure of one of America's Through that I developed relationships with favorite French painters. We have opening and closing receptions that Susana Pilar Delahante Matienzo, who’s a are clearly participatory. The opening reception Cuba-based artist. I met her while she was in 3 2.7°. Carrie Secrist is structured as a hybrid ritual and workshop. Chicago. We went to lunch, I talked to her Gallery. A group show Informed by the themes of the festival and ways about the festival. It seemed like a great fit. It’s revolving around the that people can participate, and talk with one really talking about the festival with others and earth's thermal limits. another, and learn a little bit, from self-care to seeing whose practice is in alignment. self-inquiry, practices that people can take with 4 Thessia Machado. them throughout the festival and beyond the I saw that you have a twelve-hour Arts Club of Chicago. space. The closing is also a space to hold screening at the Nightingale, are people An immersive sound conversation and reflection that can be used intended to come and go? installation fills the Arts again to sum up your time in the festival, but Yes, yes, yes. I’m really excited about that one. Club's unique architectural also plant some seeds of things for you to take Yes, it’s intended for people to come and go. footprint. after the festival. That project at the Nightingale is also really exciting to me because it’s fully curated by 5 Solidary & Solitary: Then at the MCA, there are two events Joelle Mercedes and Jory Drew. I’m working The Joyner/Giuffrida happening as part of their “In Progress” series. with them in the way that I work with artists, Collection. Smart Museum Artists who are performing in the Links Hall where oftentimes I’m here to provide support, of Art. The history of portion are going to be showing different here’s the conceptual framework I’m working African-American abstraction in-progress artworks. At the end, rather than with, I feel like your work intersects, what do from the midcentury to the having a Q&A, the artists ask the audience you want to do and let’s make it happen. Both present, including three new questions about what their experience of the Joelle and Jory, who are practicing artists commissions by Chicago work was like. themselves, have a deep, deep passion for artists. moving image. So they’re doing sort of an I’m excited to have people feel like they can all-day-long performative lecture and reading 30 contribute their voice and ask questions. I really interspersed with YouTube videos and like to change traditional—I mean I’m hesitant full-length movies. Jory did something slightly to use the word traditional—like the sort of similar to this format at Filmfront, and it was Western theatrical history of performance, awesome. It was all on sort of the political which is like stage and seats. I want people to implications of horror, and looking at the way a be able to talk to each other, to feel like you can lot of our society’s fears and ideals manifest in meet someone at this festival and collaborate horror movies. I was super inspired and with them. That’s my goal, to authentically excited by that, so I’m thinking that this will connect people to one another. look somewhat similar but also wildly different from that. Just allowing a bunch of different What was the curation process like? mediums and platforms related to moving I move intuitively in that I am always researching. image to converge in one space. I’m really In terms of concept, it overlaps in my own excited about that. interest in light and dark and video and sound work, and also the politics of language. I’m And then another piece that I’m really excited always looking at artwork and music and about, too—I mean, I’m excited about the articles that are related to the concept, and then whole thing—but Xitlalli Sixta Tarin is debuting a from that space of constantly being immersed new work at Filmfront called “Best of Both in the material, I move and make decisions. It’s Worlds.” It’s a video that she’s been working on informal but it’s definitely a little intuitive. I’ve that’s about the projections of desire on bodies embraced that as a part of the practice. of trans women sex workers and reclaiming the body through this indigenous folklore. It’s sort of In terms of choosing artists, I had a few people projecting herself into this fantasy space where who really popped into my head as I was her desires are allowed a space to manifest, moving through the festival last year. With the and transforming the gaze in that way. I’m really first iteration of Eclipsing, I didn’t necessarily excited about that one. It’s brand new, so I have a plan to do it again. It was potentially haven’t seen that one—no one’s seen it. going to be a one-off. But as I was moving through and watching work I was like, “Oh, this Eclipsing continues through February 4 at Links other artists’ work feels in conversation with this, Hall, 3111 North Western, with additional and they’re not a part of the festival.” So I was programs in other spaces.

Logan Center Gallery • Reva and David Logan Center for the Arts • 915 E 60th St Chicago IL 60637 Karthik Pandian & February 1 Andros Zins-Browne — ATLAS UNLIMITED The Joyner/Giuffrida Collection ACTS V–VI March 17 Presented by The Helis Foundation KLEINE January 29–May 19, 2019 WELT AAdllmariesswioenlciosmalew. ays free. Paul Klee + Zachary Cahill TThhesesiassia 23 January– R. H. Quaytman MMaachcadohado 27 April, 2019 David Schutter Toward the Performance: April 26 January 17–April 5 Unsound 31 FEBRUARY 2019 Newcity

EXHIBITIONS THE ARTS CLUB OF CHICAGO ILLINOIS HOLOCAUST MUSEUM 201 East Ontario Street 9603 Woods Drive, Skokie, IL 312 787 3997 847 967 4800 [email protected] / [email protected] / Tues–Fri 11-6, Sat 11-3 Mon–Wed 10-5, Thurs 10-8, Fri–Sun 10-5 January 23–April 27 Thessia Machado: Toward the Unsound Opening February 10 Purchased Lives: The American Slave Trade Through March 2019 Garden Project: Jenny Kendler and from 1808 to 1865 Brian Kirkbride – The Playhead of Dawn Through October 27 Activists and Icons: The Photographs of Steve Schapiro THE BLOCK MUSEUM OF ART LOGAN CENTER EXHIBITIONS At Northwestern University At the Reva and David Logan Center for the Arts 40 Arts Circle Drive, Evanston, IL 915 E. 60th Street, Chicago, IL 60637 847 491 4000 773 702 2787 [email protected] / [email protected] / Tues, Sat–Sun 10-5, Wed–Fri 10-8, Mon closed Tues–Sat 9-9, Sun 11-9, Mon closed January 26–July 21 Caravans of Gold, Fragments in Time: Art, Culture, February 1–March 17 Karthik Pandian & Andros Zins-Browne: and Exchange across Medieval Saharan Africa Atlas Unlimited (Acts V–VI) January 26–April 14 Isaac Julien: The Leopard (Western Union Small Boats) CARL HAMMER GALLERY MONIQUE MELOCHE GALLERY 740 N. Wells Street 451 N. Paulina Street 312 266 8512 312 243 2129 [email protected] / [email protected] / Tues–Fri 11-6, Sat 11-5 Tues–Sat 11-6 January 11–March 2 Something always lies beyond a wall . . . February 2–March 30 Maia Cruz Palileo: All The While I Thought A gallery artists group show You Had Received This DEPAUL ART MUSEUM MUSEUM OF CONTEMPORARY PHOTOGRAPHY At DePaul University 935 W. Fullerton Avenue At Columbia College Chicago 773 325 7506 600 S. Michigan Avenue [email protected] / 312 663 5554 [email protected] / Mon–Tues closed, Wed–Thurs 11-7, Fri–Sun 11-5 Mon–Wed 10-5, Thurs 10-8, Fri–Sat 10-5, Sun 12-5 January 17–March 31 Karolina Gnatowski: Some Kind of Duty January 17–March 31 Betsy Odom: Butchcraft January 24–March 31 Stateless: Views of Global Migration

THE NEUBAUER COLLEGIUM RICHARD GRAY GALLERY FOR CULTURE AND SOCIETY Richard Gray Gallery, Hancock: 875 N. Michigan Avenue, 38th Floor At the University of Chicago Mon–Fri 10-5:30, Sat by appointment 5701 South Woodlawn Avenue 773 795 2329 Gray Warehouse: 2044 W. Carroll Avenue [email protected] / By appointment only – contact gallery for information Mon–Fri 10-5 312 642 8877 Through April 5 Kleine Welt: Paul Klee + Zachary Cahill, [email protected] / R. H. Quaytman, David Schutter Please contact gallery for information POETRY FOUNDATION SCHINGOETHE CENTER 61 W. Superior Street of Aurora University 312 787 7070 1315 Prairie Street, Aurora, IL [email protected] / 630 844 7843 Mon–Fri 11-4 [email protected] / February 7–April 25 The Lushness of Print: Samiya Bashir Mon, Wed–Fri 10-4, Tues 10-7 January 31–April 26 BECOMING: Transformations in American & Letra Chueca Press May 10–August 22 Yoko Ono: Poetry, Painting, Music, Indian Art, The Schingoethe Contemporary Collection January 31–April 26 Stitches of the Soul / Las Puntadas del Alma: Objects, Events, and Wish Trees Story Quilts from the National Museum of Mexican Art THE RENAISSANCE SOCIETY SMART MUSEUM OF ART At the University of Chicago 5811 S. Ellis Ave., Cobb Hall, 4th Floor At the University of Chicago 773 702 8670 5550 S. Greenwood Avenue [email protected] / 773 702 0200 Tues–Wed, Fri 10-5, Thurs 10-8, Sat–Sun 12-5 [email protected] / February 9–April 7 David Maljković: Also on View Tues–Wed 10-5, Thurs 10-8, Fri–Sun 10-5 January 29–May 19 Solidary & Solitary: The Joyner/Giuffrida Collection RHONA HOFFMAN GALLERY January 29–May 19 Smart to the Core: Embodying the Self 1711 W. Chicago Avenue ZHOU B ART CENTER 312 455 1990 [email protected] / 1029 W. 35th Street Tues–Fri 10-5:30, Sat 11-5:30 773 523 0200 January 11–February 23 Signs and Systems: Lawrence Kenny, [email protected] / Mon–Sat 10-5 Allan McCollum, Matt Mullican, and Caroline Van Damme. January 14–February 8 Painting with Fire by FUSEDChicago Curated by Anne Rorimer February 10, 6-9pm IN>TIME Performance Festival, March 1–April 13 Robert Heinecken: Mr. President... Mr. President... “I PUT THIS MOMENT HERE.” by Defibrillator Gallery February 15–March 9 Illinois High School Art Exhibition February 15–March 2 Closed Afar, Curated by Marcela Torres, Presented by 062 Gallery & Defibrillator Gallery

Dance DANCE TOP 5 Newcity FEBRUARY 2019Rising Up 1Hair & Other Stories. Marcela Torres wide by Jesse MeredithPower OUCH! Festival Explores Violence The Dance Center Columbia and the Individual Experience College.Urban Bush Women return with an evening-length By Sharon Hoyer performance incorporating music, storytelling, humor and dance Performing artists Aurora Tabar and ourselves even in the process of feeling to address issues of race and Carole McCurdy have been thinking a lot disempowered.” identity through the theme of about violence lately, which may come as no African American women’s hair. surprise. “It’s a fucked-up time,” Tabar muses Enter “Power OUCH!,” a four-day performance February 28-March 2 over coffee on a drizzly January day. “I don’t festival running February 14-17 at Links Hall. think it’s necessarily a more fucked-up time, in The festival, curated by Tabar and McCurdy, 2 STATE and Diorama. some ways, than any other time. But there’s a features short work by five dance, movement, MCA Stage and Cloud lot of conversation about systems of oppres- installation and body-based artists exploring Gate in Millennium Park. sion; the MeToo movement is huge [as are] themes of violence. Tabar and McCurdy Choreographer Ingri Fiksdal, conversations about perceptions of women, originally intended to include bits of their own director Jonas Corell Petersen, the objectification of women and how we’re all work—attendees of Elevate Chicago Dance at noise metal artist Lasse Marhaug complicit in that experience. There’s a lot of the Cultural Center back in October would and avant-fashion designer reflection on what’s being done to us, but also recall hugging, punching, tackling and batting Henrik Vibskov collaborate on on our role and responsibility in how we should about McCurdy’s installation of ten or so two performances. February respond. I’m personally really interested in how Weeble-like, inflatable, floor-standing punching 7-13 we organize around that, taking a more bags wrapped in crochet, which occupied a positive response of how we can arm good 600 square feet of the first floor, a project 3 Power Ouch! Links Hall. ourselves against oppression. Things in our she says was inspired by Tabar’s performance Ten dance and movement political environment can be depressing if we at her own wedding in which she was artists, over the course of let them be, or we can mobilize and empower force-fed pie while reading aloud instructions four nights, explore violence, resistance and empowerment against oppression through dance, performance art and installation. February 14-17 4 Anna Karenina. Auditorium Theatre. The Joffrey Ballet premieres Yuri Possokhov’s rendition of the ill-fated love story, featuring a first-time collaboration with The Australian Ballet. February 13-24 5 Getting Old Sucks. Ebenezer Lutheran Church. Chicago Danztheatre Ensemble looks at the highs and lows of the human life cycle, from childhood games to pricing a coffin. February 22-March 3 34

on how to be a good wife from a 1950s Photos: Kelly Strayhorn Theater/ArtLikeUs lifestyle magazine—until they realized the work of coordinating a festival alone would be plenty ANANYA DANCE THEATRE to take on. February 14-16, 2019 “We decided to look out in the community to 7:30 p.m. artists working on this theme,” Tabar says. “For some it’s literal, for some it’s more thematic.” TICKETS $30 REGULAR / $24 SENIORS / $10 STUDENTS Performers include Marcela Torres, a recent graduate of the School of the Art Institute, and a Latinx artist who grew up Mormon. Her Photo: Hayim Heron piece, entitled “Agentic Mode: Abbreviated History,” is a forty-five-minute excerpt of an URBAN BUSH WOMEN FEBRUARY 2019 Newcity hour-plus performance and installation using a punching bag Torres stuffed with peppers and HAIR & OTHER STORIES spices. “It’s about this thing that happens to February 28–March 2, 2019 people during times of war and the psycholog- 7:30 p.m. ical justification of heinous acts you wouldn’t necessarily do in your everyday life but happen TICKETS in times of war because of the intensity of the $30 REGULAR / $24 SENIORS / $10 STUDENTS experience,” Tabar says. Holly Arsenault, also a recent SAIC grad, brings “Punch Piece 11,” an oil-based sculptural installation that they will mutilate over the course of their performance on day four. Cat Mahari pulls from Taiji and hip-hop aesthetics and the experience of the African diaspora in the solo mixtape series “Violent/ Break: Vol II.” Mahari’s piece includes other performers, a large set and an original soundtrack. Carly Broutman presents a short solo work, “Rotten Tomatoes,” an experiment in the line between self-abuse and persever- ance in which she repetitively throws herself forcefully to the ground. New York-based artists Eryka Dellenbach and Nola Sporn Smith join Chicago artist Hanna Elliot in “Make the Brutal Tender,” an exploration of tenderness, aggression feminine brutality and trauma. “Eryka recently did workshops in Chicago by the same name, which I took,” Tabar says. “There was a lot of holding and carrying, feeling the weight of another, tenderness but also the effort in supporting someone else.” Choreographer Rob Welcher brings “Sword Fights and Other Things to Do with Your Manhood,” a new piece created for the festival, a collaboration with Jeff Hancock and Joseph Hutto, who appeared in Welcher’s recent piece at Links on the AIDS crisis. Welcher’s piece looks at cultural norms of masculinity in the United States and how it affects gay men; how gentle or intimate, as opposed to aggressive, violent touch between men is perceived. “We’re interested in different people’s experi- ences and how violence plays a role in their lives,” Tabar says. “Systems of oppression, but also how we can use violence as a tool to counteract these experiences. How we can move beyond violence and advocate for what’s next? We’re not hopeless or helpless; we can rise up, even if we’re just making work and feeling our own bodies in that process.” At Links Hall, 3111 North Western, Thurs- day-Sunday, February 14-17 at 7pm. $15 general admission, $12 students. Tickets at 35

Design Newcity FEBRUARY 2019How to Have a Beach Day This Winter The Beach, Noah Kalina/Photo: Snarkitecture Snarkitecture's The Beach Chicago Opens in Navy Pier By Vasia Rigou One vast open space. One million version—partly because of Snarkitecture’s Navy Pier chief program and civic engage- translucent balls. “As far as inspiration, we clean, bright white aesthetic. “Everything is ment officer, Michelle T. Boone, agrees: “We look to the actual beach experience,” says monochromatic, and while there’s no water or think Chicago—and specifically Navy Pier—is Benjamin Porto of New York-based collabora- sand, there are visual cues that recall specific a great fit for this installation, given that the tive design practice, Snarkitecture, who along elements of the beach, from the lifeguard city is known for its many beaches and iconic with partners, Alex Mustonen and Daniel uniforms, to visitor rules or the furniture,” says lakefront. And what better setting for The Arsham, brings the quintessential summer Porto. “I was born and raised in Chicago, so Beach Chicago than on the water, surround- experience to a city known for harsh winters. bringing The Beach to this city is already ed by 360-degree views of Lake Michigan Transforming Navy Pier’s Aon Grand Ballroom pretty exciting. However, having the opportu- from the Pier’s historic Aon Grand Ballroom?” into a massive beach-themed ball pit for two nity to stage the project inside Navy Pier is she says. “We felt that the contrast between weeks this winter, The Beach Chicago is a especially great—it is such an iconic site in the contemporary look of the installation and fully interactive and definitely Instagram-wor- Chicago, and the unique interior architecture the historical background of the space is thy experience: Imagine more than a million definitely contributes to the overall aesthetic especially interesting as the Aon Grand antimicrobial and recyclable plastic balls of the project,” he adds: “A trip to the beach Ballroom is an accredited landmark, originally creating a perfect version of the sea, is a pretty universal experience and I’ve designed by architect Charles Sumner Frost complete with a shoreline of sunbeds, found  that guests at each location of The and constructed in 1916 as part of Navy umbrellas, lifeguard chairs and a snack bar Beach relate their experience to an actual Pier’s original structure. We look forward to for all your beach-day needs. beach that is familiar to them. With that in bringing modern-day elements into this mind, it will be interesting to see how this century-old venue!” Bringing the outside in, the installation plays out in the Midwest, specifically Chicago, effectively reimagines the sensation of a day where the connection to lake culture is so But bringing The Beach to life didn't come at the beach while providing a very different strong.” without its set of challenges: one was the 36

The Beach, Noah Kalina/Photo: Snarkitecture DESIGN TOP 5 one-million recyclable plastic spheres: “Boxes photo ops, high-quality, thought-provoking, 1 The Beach. Navy Pier. FEBRUARY 2019 Newcity and boxes were loaded onto shipping somehow transformative art environments, Filled with more than a containers and have traveled across the highly interactive architectural playground million recyclable antimicrobial oceans—all the way from Sydney!—to get can certainly give visitors more than an plastic balls, the Navy Pier here, and it will require lots of time and hands opportunity to experience the Navy Pier ballroom looks a lot like a day at to empty them all in time for the opening,” space like never before: It could inspire the beach. Through February 3 Boone says. “But it will also be a fun and contemplation about architecture at-large. So exciting process that will ultimately result in a it’s only natural that Snarkitecture hopes that 2 Keep Moving: Designing truly unique experience for Chicago in the visitors will feel compelled to interact with the Chicago’s Bicycle wintertime—we hope our guests are able to work in exciting creative ways, beyond Culture. Design Museum of feel a sense of escape from the winter curating their outfits to seamlessly become a Chicago. From the city’s weather and a creative outlet through this part of the experience and directing the contribution to the early installation.” After making its debut in perfect social media photo. “For us, it’s about popularity of bicycles in America, Washington D.C. in 2015, as well as various designing environments or experiences that as the nation’s center for bicycle national and international stops—Tampa, are most rewarding for visitors who take the manufacturing to its significance Sydney, Paris and Bangkok—the installation time to engage in a very tactile and direct to the growing contemporary comes to Navy Pier in alignment with EXPO way,” Porto says. environmental movement. Chicago, which provided a sneak-peek and Through March 3 endless selfie opportunities when they invited Snarkitecture takes its name from Lewis last year’s art fair visitors to jump into a Carroll’s \"The Hunting of The Snark,\" a poem 3 Indie Wed. Ravenswood ball-filled bathtub. But this is the first time it that describes the “impossible voyage of an Event Center. The longest will be taking place in the middle of the winter. improbable crew to find an inconceivable running independent wedding Porto is intrigued: “As far as Midwest winters, creature.” Similarly, in its search for their own show in the United States brings we’ve never staged The Beach when it was version of the unknown, as they put it, the together creative small business cold outdoors—I think the installation will studio’s interdisciplinary practice spans owners from across the country definitely offer an escape for those wanting to large-scale projects, installations and objects to enhance your wedding avoid the frigid temperatures outside.\" with a conceptual approach that’s centered planning experience. on the importance of experience: Creating February 2, 10am–4pm Besides its playful approach to public art and unexpected and memorable moments that design that provides a fun-time activity for invite people to explore and engage with their 4 African American people of all ages—whether they choose to surroundings. “Sure, people will document Designers in Chicago: pretend-swim in an ocean of plastic balls, their experience inside the installation—this is Art, Commerce and the pretend-sunbathe on a lounge chair, especially true with a project like The Beach,” Politics of Race. Chicago pretend-play in the sand or simply enjoy a Porto says, “but we want them to have a Cultural Center. An exploration cold beverage while people-watching—The meaningful physical experience while they're of Chicago’s art and design Beach works on multiple levels. As the there... Be present!” legacy through a wide range experience has emerged as among the of media showcases how defining fads of our generation—from The Beach Chicago, Aon Grand Ballroom, African-American designers immersive exhibitions, to Instagram-friendly Navy Pier,, January 19-February and artists remade the image museums—aiming to offer, more than just 3, free. of the black consumer. Through March 3 5 Pancakes and Booze. Reggies Chicago. Underground pop-up art show and shopping experience features local artists, designers, small business owners and all-around creatives while bands and local DJs perform live and hundreds of freshly baked pancakes are flipped into the night. February 15-16, 8pm-2am 37

&DiDnirningking Pumpkin/Photo: David Hammond and flavor. While it did sear like meat, it also tasted nothing like it,” he says. “While working on making some vegetable leathers, we found out that vegetables that go through excessive dehydration have the strength of a plastic rain coat. After working on the recipe for a while, we found the pleasant and tasty texture we were looking for. But the first test run was concerning.” At Munch, a vegetarian and vegan restaurant in Oak Park, we had a “pulled pork” sand- wich a few years ago made of jackfruit. It didn’t taste like pork, so we asked the owner, Robin O’Hara, why she even bothered to call a non-meat dish “pulled pork.” Why not appreciate the vegetable for what it is and call it what it is, rather than suggest it might approximate the flavor and texture of meat? O’Hara responded reasonably that she wanted “to give customers an idea of what it’s going to taste like.” This is a standard strategy for those who offer vegetarian alternatives to meat, including Tofurky, Soysage and “vegetarian bacon.” Fun With Vegetables Kerney, however, isn’t trying to approximate a meaty texture “as much as heartiness and Brass Heart and the Challenges of the Vegan Tasting Menu soulfulness. Making the vegan menu required me to think differently, because I didn’t want By David Hammond substitutes, I didn’t want the vegan version trying to be meat. If a vegan wanted meat, they would eat meat. A vegan diner is looking for an interesting and fun new way to see their favorite vegetables. Much of current vegan food is trying to trick people into thinking they’re eating meat. We sought to serve them vegetables, in a fun way, not in a way that was like something they had seen before.” Newcity FEBRUARY 2019 The food at vegetarian restaurants was a plate was difficult, because there’s only so We had the vegan and the omnivore menu, once drab and brown, with lots of grains and much manipulation you can do before you end side-by-side at a recent dinner at Brass Heart. cheese, a clearly non-vegetable product, but up with something that requires a hydrocolloid For the first course, called Pumpkin, the vegan more importantly, at least to the chefs who put to hold it together. menu version was more pleasing than the the plates together, non-meat. omnivore menu version, which contains animal “It all requires a much more delicate hand, and products. Pumpkin is a pumpkin panna cotta, For a vegan menu, being non-meat is not much more thought, because all the flavors made with the squash, coconut milk, maple enough. Nothing on the menu can be of you use are harder to convey. You find yourself syrup and gar, topped with a pumpkin chip of animal origin. And that’s the kind of vegan sorting out where you will be getting fat from. whole wheat flour and aquafaba (the juice of menu Brass Heart has presented since Simply throwing olive oil on everything is a bit fava beans) and a gel of maple syrup, vinegar opening late last year in Uptown. We asked redundant. We get much of our fat from root and agar agar. The vegan version was topped Chef Matt Kerney, formerly of Michelin-starred vegetables with high fat content.” with finger limes, which look like the caviar Longman & Eagle, about the challenges of used on the omnivore version. In this case, the preparing an all-vegan menu. You have to imagine that developing a vegan caviar, though delicious, seemed to overwhelm menu would involve a lot of trial-and-error… the other, more laidback flavors. The finger “The hardest part of the vegan menu was maybe mostly a lot of error. “We definitely had limes, on the other hand, provided a pleasingly definitely trying to create a cohesive menu that some big blunders that we still laugh about to astringent accent to the sweetness. First wasn’t stacked with hydrocolloids [thickening this day. We tried to work with a dehydrated round was a vegan victory. agents like starch, guar gum and pectin],” watermelon, which ended up coming out Kerney says, “and I didn’t want to do a menu texturally like meat. While at first, we were We had the wine pairings with both menus with meat substitutes, like seitan and tofu. excited, upon tasting the dehydrated and it was surprising that for some courses, But making sure to just not put vegetables on watermelon we were horrified by the texture the same wine was served for both 38

Chef Matt Kerney/Photo: Jesse Lirola DINING & DRINKING TOP 5 menus. “Our vegan menu is paired with the idea that vegans probably never get to FEBRUARY 2019 Newcity same approach as our omnivore menu,” experience classic French technique because 1 Quiote Two-Year sommelier Sarah Traynor says. “There are of the emphasis on butter and animal product. Anniversary Dinner. Quiote. flavor profiles that are classic pairings, such Vegans constantly can eat a lot of Indian and Executive chef Ross Henke and as sweet with spice or acid with fat. You different ethnic cuisines that are classically mezcal maven Jay Schroeder don’t, however, necessarily need a more vegan or vegetarian, but trying to serve them a host five outstanding Chicago aggressive wine with a meat. Wine pairings known cuisine that typically shuns their ideals chefs, presenting ten courses to that are successful—truly harmonious seemed like a challenge.” celebrate the second annum of pairings—enhance the entirety of a dish. This the innovative and acclaimed is why there can be crossover from the vegan It was a challenge that worked well: the Mexican restaurant. February 2 to omnivore pairings. Our chefs have broth for the Gatherer’s Stew was a favorite designed the courses to leave our guests of the evening. 2 Sushi Class. Filini with a feeling of a shared experience.” Restaurant. If one of your The last course for the vegan menu was celery New Year resolutions was to A personal favorite of the evening was The root, potato and truffle. For the omnivore eat healthier, you could learn Gatherer’s Stew, which Kerney explains is a menu, it was Kobe beef. Our diner who how to make sushi. At this play on the Hunter’s Stew, and contains “all ordered the vegan menu reached across the event, you’ll learn how to make the things you would find in a base of boeuf table for the beef, and the one with the three different maki, and each bourguignon. The base is a heavily roasted omnivore menu swiftly snatched the vegeta- will be paired with a sake. vegetable stock fortified with mushroom. We bles. Brilliant conclusion: most of us probably February 4 caramelize vegetables very hard in the pan prefer to eat vegetables AND meat. with tomato paste and flour, then we deglaze 3 Celebration of Marriage with red wine and add mushroom stock and Brass Heart is not the first fine-dining Night. Geja’s. As part of a more mushroom trimmings. We cook it for one restaurant to serve a vegan menu, but at $85, nine-day Valentine’s Festival, hour and then pass it through a fine chinois Brass Heart’s vegan menu may be the get a percentage point off your [sieve]. I’d say the dish that best exemplifies highest-value vegan menu around. bill for each year you’ve been the ideals of what we are shooting for is the married: ten years of wedded Gatherer’s Stew. I have a deep love for classic Brass Heart, 4662 North Broadway, (773) bliss gets you ten percent off. French cuisine, and I thought hard about the 564-9680, Enjoy your hot cheese and wine, you lovebirds. February 11 4 Operation Bang & Burn: Chicago Anti-Valentines Day Party. SafeHouse Chicago. Been burned in love? Bring a memento of your ex and fling it into a fiery inferno—you’ll win a chance to take home a $100 bar tab, as well as that satisfying feeling of vengeance. February 14 5 Milktooth Takeover. Dove’s Luncheonette. Indianapolis’ acclaimed Milktooth takes over Wicker Park’s Tex-Mex diner with over-the-edge comfort food like breakfast miso soup, yucca latkes and seared tuna in Texas toast. February 18 39

Film Ghost Light Touching the Dream By Ray Pride Newcity FEBRUARY 2019 What’s the saying, you can never step decades of them—are usually less clear than mechanics, the inner-thingamajigs of projector “In Much Wisdom There Is Much Grief”: Frame frominto the same stream twice?memories of the room where they were shown,systems. The lore and texture and certainly, “Andrei Rublev,” Siskel Film Center/Photo: Ray Pridea weathered curtain; an odd doorway; thescent, of celluloid emulsion. Concrete details, Recent movie outings, both fantastic and sense of the room with the lights down and fragrant evocation. Physical sensations, all. unpardonable, prompted long (if simple) the movie reflected over faces and figures thoughts on the contrast between how and irregular surfaces. It’s a stern contrast To recline, divine, into that bright dream, nowadays feature films are consumed, with “content” “consumed” via streaming, asleep within, between the every-ten-minute received, remembered, forgotten. the packet of pixels pushed along the internet circle-punched reel change reminders in the from an AWS server leased by Netflix or Hulu upper left corner. There’s a recurrent, iconic image from the or whomever. first century of feature exhibition, in film Not so much nostalgia for lost things as for noir-styled black-and-white, of a carbon The movie is a memory, but it’s a dream the things that surround: The memories a arc beam of brightest light high above and a space in a place at a moment in time. matrix, like a real-life deluxe Criterion edition, moviegoers’ heads, cigarette smoke coiled The algorithm-driven thicket of menus on a but comprised of experiences with the viewing in dance, frozen in the frame, an image that streaming service? of that particular motion picture. contains both the evanescence of light and the corporeality of smoke. Stories are stories and storytelling is storytell- Are such sights necessarily site-specific? Are ing, filmmakers who are recent beneficiaries “movies” not movies without tangibility, without The light that’s not the sky above but dream of streaming service largess take pains to so much as a DVD case with diffident art and to come: the 1920s-crafted ceiling of the remind. But wasn’t it a time, when the a small silver disk to slide into a tray? Did all Music Box captures that, too, like a Greek presentation of a motion picture flourished these bits of scuff and touch and slide and or Balkan or any Mediterranean open-air with ephemera? Lurid movie posters. Earnest, whir enhance the experience? Or is that weave theater under the stars: one dream scenario bright lights under sad, tilting marquees. actually the experience entire? yoked to another. Stale but buttery popcorn. That one man with two Treasure Island sacks, laughing so A list I made of theaters and experiences in Most movies I’ve seen projected in a cinema, generously but never at the right time. The college film society days and nights in Chicago whether remembered clearly or perhaps, as click-clacketing of sprockets and gears from dollar houses and calendar houses became a often, imperfectly—and there are a couple of 16mm projectors, the mysterium of the chart and then a cork board, then two, and 40

now an outline for a future narrative within Reviews FILM TOP 5 narratives far longer than this pair of pages. 1 Fireworks. Chicago Film Some nest and nestle and brush up against Rendezvous in Chicago Society at NEIU. Takeshi each other, and others stand, stark and bold. Chicago filmmaker Michael Glover Smith’s Kitano’s haunting, gorgeous A 70mm print of Terrence Malick’s golden- third feature is a brief, four-part portmanteau elegy to art and conjugal love hour-borne “Days of Heaven” in Lincoln comedy of modest cinematic awareness is also a brilliant action painting Park, dusk, July 30, 1989, presented by and assured quietude, set in modern-day of the wages of extravagant James Bond and Randolph Street Gallery. Chicago, with the first three segments violence. February 13 The amber apex of Nestor Almendros and marking the stages of relationships: beginning, Haskell Wexler’s cinematography as Chicago middle and end. (Smith appears in the 2018 2 Police Story & Police summer blue fell upon the Lake and night fell Film 50.) The ambition of “Rendezvous in Story 2. Music Box. and the movie played and ended with the Chicago” falls somewhere between the Jackie Chan’s greatest, most singular moment when Linda Manz muses, squirrelly hush and face-level modesty of Éric dynamic, most gratifying action “Maybe she’d meet up with a character. I was Rohmer and the spiky, quietly antic trickery of marvels are restored and hoping things would work out for her. She Arnaud Desplechin. A secondary virtue is utter catapulted onto the big screen was a good friend of mine” as a lattice, a disinterest in but the briefest of backstory: once more. February 1-7 ladder of railway tracks extended upward to sharp sketches that work with casting via the vanishing point, the frame, the sky, Lake typage, drawing out archetypal situations, 3 The Image Book. Michigan lakefront ever northward. Imagine in each scenario, ambling forward without Siskel. The newest work seeing that movie opening day at the Brotman a need to stop except to occasionally pet a from eighty-eight-year-old & Sherman Carnegie Theatre on Rush Street, Shih Tzu. The fourth segment comes after Jean-Luc Godard dips into the no clue what would issue through a pristine the brief credits, a quick bit that, after the sizzling trickbag of his century 70mm print: an experience surely akin to dance-driven third part, ends the film with a of cinema. February 1-21 seeing it at Ebertfest with Haskell Wexler surge of passion so brief it hardly earns status presenting the movie many years later. as a shot, but is so iconic it instantly brands 4 The Wild Pear Tree. the eye and the brain. A Chicago punchline, Siskel. Turkish master Nuri Bilge Ceylan’s latest survey A story is a story is a story but a movie can in extremis. With Kevin Wehby, Clare Cooney, of landscape and the human be cinema. (Nostalgia taps urgently at one Matthew Sherbach, Rashaad Hall, Nina soul tops out at a teeming shoulder, now the other.) Ganet, Shane Simmons and Haydée Politoff three hours and eight minutes, (the lead and cowriter of Rohmer’s “La but it’s worth every lingering, poignant breath and breeze. A story about a memory of a movie and a Collectionneuse”; “Love in the Afternoon”). disaster that didn’t become a tragedy, and 69m. (Ray Pride) February 22-28 a Blu-ray: When I was small, in Kentucky, “Rendezvous in Chicago” opens Friday, 5 Play It As it Lays. I was regularly dispatched to chaperone February 8 at Siskel. Chicago Film Society double-dates that my seventeen-year-old at NEIU. Frank Perry’s 1970 adaptation of Joan Didion’s aunt and her best friend would go on, to Fireworks early sketch of Angeleno the Corner Sundry or Blue’s Café, or the Less is moral: “Fireworks” (Hana-bi, 1997), anomie, starring Tuesday Weld Broadview or the Webster Drive-in. I held a Takeshi Kitano’s transcendent wallop of a and Anthony Perkins, not memory from childhood of a single image of cop movie, is one of my all-time favorites. available on video or streaming, a well-known comedy actress. I remember The maverick Japanese master filmmaker’s is shown on a 35mm print from her climbing in or out of a bedroom window, haunting, gorgeous pluperfectly balanced Universal Studios. February 6 a Jerry Lewis-wide comic expression on her elegy to art and conjugal love is also a brilliant face. That image rested in memory because action painting of the wages of extravagant on that night, a tornado rumbled through violence. (And absurdly, brutally funny, as the nearby cornfields and suddenly upon the well.) Cop, yakuza, wanderer: Takeshi Kitano Webster, where the projected image dueled plays only one role in the films in which he with the pressure growing in my ears and serves as writer, director, painter, producer among those in the twenty or so other cars and sometimes editor, and that is the most and the top of the concession stand blew and imperturbable man on earth. Even before the not-so-tall screen arced lazily for only an the motorcycle accident that creased his instant and suddenly backwards onto the face several years ago, turning a thin smile verge, the brilliant projector light splayed into a classic smirk, Kitano was the “cool- across 109 to the WW II cannon in front of est”—combine “Point Blank” actor Lee Marvin the American Legion Post. All around, things with its director John Boorman—and you tumbled and spun and then it was done. get some idea of his persona before and A few weeks ago, I got the Blu-ray of that behind the camera, improvidently mingling FEBRUARY 2019 Newcity movie and image-scanned in search of the stoicism, lyrical imagery and sudden violence. hard false memory from the intensity of being Kitano has a rare gift for telling, eccentric within the locomotive and atom bomb of the transitions and framings that are essential small but serious funnel cloud and my thumb cinematic poetry. Can you live a standoff? slipped and the image paused and unholy- That question seems implicit in every late holy-shit, her face in that wide-eyed comic Kitano picture, and his characters are caught rictus of feigned surprise, flat and still and at the moment it all begins to teeter: a life’s precisely as my nine-year-old retina had balance, a meditative practice, all blown to etched it. I stared a good long while, then smithereens by a careless act or careless put the disc back in its case. word. 103m. (Ray Pride) What’s the REM lyric, “That’s cinnamon, “Fireworks” will be shown in 35mm at Chicago that’s Hollywood”? Seems now the cinna- Film Society at NEIU, February 13. Short: mon’s in the remembering. Kenneth Anger’s “Fireworks” (1947). 41

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LIT TOP 5 Lit Jill Pollack 1 Tarfia Faizullah. Poetry Barry Benson Foundation. One of Harvard Law School’s “Fifty Women Wordsmithing Inspiring Change” and author of “Registers of Illuminated Learning Craft and Community at StoryStudio Villages” and “Seam,” Tarfia Faizullah reads in the Poetry Off By Toni Nealie the Shelf series. February 5 An airy loft in North Ravenswood you’re a part of the family and starting a FEBRUARY 2019 Newcity 2 “That Thin, Wild buzzes with lively discussion about novels, writing group or standing up on stage to Mercury Sound.” stories, speculative fiction, poetry and all read your latest first-person essay. At American Writers Museum. things writerly. Aspiring writers, novice and StoryStudio, you find your way to building Music writer Daryl Sanders experienced, gather to learn craft from a writer’s life in the way that suits you best. discusses his book about Bob acclaimed authors at StoryStudio Chicago. Dylan’s “Blonde on Blonde” Going from strength to strength under the It must be rewarding to see your album, in conjunction with guidance of executive director Barry Benson, teachers and participants getting the museum exhibition “Bob artistic director Rebecca Makkai (shortlisted accolades, for example, Rebecca Dylan: Electric.” February 21 for the National Book Award for “The Great Makkai being shortlisted for the Believers”) and founder Jill Pollack, StoryStu- National Book Award. What are your 3 Daisy Johnson. dio recently hosted a Writers Festival; a panel success stories? Women and Children discussion about thriving as a Chicago writer Jill: We’ve had so many wonderful successes. First. “Everything Under” was in partnership with Columbia College Chicago Our instructors really are teaching artists— nominated for the 2018 Man and also acquired the Chicago Review of producing work while teaching others. Booker Prize. Daisy Johnson Books. The Studio is organizing its inaugural Our students, too, have gotten book deals, will be in conversation with Young Adult Festival, co-hosted with The agents and acceptance into M.F.A programs. Laura Adamczyk. February 1 Book Cellar, as well as a lineup of studio and Along with Rebecca Makkai, three of our online classes. I asked Jill Pollack and Barry instructors released second novels. Our 4 Maryse Meijer. Seminary Benson about StoryStudio’s success. biggest successes are those folks who first Co-op. Author of “Heart- came to the studio to learn to write and are breaker” and “Northwood” There are other writing programs in now on our faculty or board of directors. Maryse Meijer reads from and Chicago. What gap do you fill? That’s what makes StoryStudio different: signs her new collection of Jill: We’re more than a writing program. you don’t just come here for a class, you stories “Rag.” February 22 We’re a whole community. When I started come here to grow as a writer and grow the studio, there was nowhere in Chicago your writer network. 5 Do Not Submit. to be with other writers in a literary setting. Neigh-borhood locations. At StoryStudio, you can start with a class Barry: It is rewarding, but not at all surprising. A long-running personal story- or by just hanging out at an open house or People who come to us are dedicated, and telling open mic series organized free-writing session. Before you know it, they’re reasonably disciplined and ready to by Scott Whitehair, held across the Chicago area including Englewood, Hyde Park, Evanston, Oak Park, Old Town and Andersonville. February 4-28 43

make things happen by the time they arrive. as a nonprofit organization. Our 2019 They get to know classmates and others in roster of events now includes co-present- the extended StoryStudio community and ing the Chicago YA Book Festival on April feel supported—willing to take risks with their 6, with the Book Cellar. We’re having a blast inviting authors and dreaming up work and to push themselves further. creative types of programming for it. Why did you decide to take on Chicago What are the strengths of the different Review of Books? classes you offer? Do you lean more Jill: People want to write because they have to fiction? Chicago is making a mark a story to tell. And once you write that story, in poetry—are you finding much you want people to read it. Providing an interest from your participants? opportunity to learn how the publishing side Jill: We do it all. We work hard at providing of the business helps fill a knowledge gap. And of course, it means we can be cheerlead- a range of fiction and nonfiction courses and getting that mix right is a real ers in town for Chicago’s amazing writers. challenge. The genre you write in matters You had your first writers’ festival less than just writing well. A romance or last year. Who attended? What were sci fi novel aren’t good or bad because the highlights? they are part of a genre. They’re good or Barry: There were 160 attendees, filling the bad because the storytelling is good or Center on Halsted where the two-day bad. Poetry has always been important, conference was held. We covered all ends of and Chicago has always been important to poetry and visa versa. Our poetry the demographic continuum in terms of age classes often feel like they are “under the range and backgrounds. This first festival was attended mostly by Chicagoans and we wire” and we realize the secret to the success of these programs will lie in anticipate that to change over time as we elevate the event’s reputation. I heard people creative partnerships with poetry groups. leaving one of the sessions and gasping “Wow!” What was your original vision and how For me, the strongest memories were at the Black has had a Forrest Gump-like existence. human level—seeing people connect their art is it changing? What do you see in Where Gump “fell” into historical events, the the future? author has always had an active, driven life. and passion with the practical opportunities He was involved in many of the major events we brought to them. I can’t tell you how many Jill: In 2003, I wrote my first business plan of the twentieth and twenty-first centuries. attendees were asked by agents to submit for the studio and it does a good job of He was a child of the First Great Migration, experienced Chicago’s great Jazz Age of the manuscripts. And I will never forget seeing one describing what we’ve become. But I have 1920s and 1930s, fought in World War II, to say, in the past year since we made the helped liberate the camp at Buchenwald (that woman leaving her agent pitch session and transformed his life), was blacklisted during decision to become a nonprofit, I’ve been the McCarthy era, was a key figure in the pausing outside the door to steady herself. Civil Rights movement and advised Dr. Martin floored by the reception from other arts Luther King Jr. and Harold Washington. I dashed over to make sure she was okay, And the famous individuals that he has person- and she responded by closing her eyes for a institutions, social justice organizations, and ally known? He took tap lessons with Bill others who want to be a part of some-thing “Bojangles” Robinson, went to high school second and saying, “My heart is so full right with Nat King Cole Jr., organized with A. Philip bigger. To know that StoryStudio can play a Randolph, studied with John Gibbs St. Clair now. I never believed this could happen.” Drake and advised President Barack Obama. significant role in making that happen is what Black reflects upon these experiences within “Sacred Ground” but does not make the book What can participants expect in I consider to be our greatest achievement. all about him—he centers it on the black Chicago community that nurtured, grounded your workshops? In recent years, it’s become clear to me that and supported him. Jill: All of our classes and workshops are a being able to tell your story is absolutely Two things make this volume stand out. One is that “Sacred Ground” is a personal little different, but what’s the same across vital to making your voice heard. journey. Black discusses two times in his life when he experienced great depression— all of our programs is our teaching philosophy. his sense of hopelessness during World War II and the loss of his son Timuel Kerrigan Black We want to teach the craft of writing and the Review in 1993. This emotional history makes it a rules of storytelling so you use your craft to unique, highly relatable read. Second, Black is clearly not stuck in the past. He discusses break those rules and find your own voice. both the Black Lives Matter and Me Too move- ments and sees them as positive foreshadow- Most of our workshops include craft talks, Treasuring History: “Sacred Ground” ing for the future. “Sacred Ground” is a must-read for any citizen of Chicago who reading like a writer, lots of facilitated by Timuel Black wants to understand the racial and political dynamics of our city. (Gerald Butters) workshopping (giving and getting useful Over the past century in the city of Chicago, “Sacred Ground: The Chicago Streets of feedback) and, of course, writing. there have been a few—less than a handful— Timuel Black” by Timuel D. Black Jr., as told Who are some of your partners in of individuals who could be considered to Susan Klonsky, edited by Bart Schultz. Chicago and what are you doing? “human treasures.” Studs Terkel was one Barry: We love partnering with institutions of them. Undoubtedly, Timuel D. Black, Jr., like colleges and universities since our both the subject and the author of this book programs often complement theirs and the is another. Black, a political activist, educator, advisor, mentor to countless youth, would-be relationships bring to light new opportunities politician, labor organizer and city administra- for students and our writers. We like the idea tor, has long been in the maelstrom of urban Newcity FEBRUARY 2019 of keeping our classes at the studio where it’s change. Dr. Black has recently become a a casual and comfortable environment, but centenarian, turning one-hundred on we’re having fun with off-site events in larger December 7, 2018. In “Sacred Ground: spaces like Columbia College where we The Chicago Streets of Timuel Black,” he recently collaborated for a panel presentation reflects upon his life and his community called “Don’t Move to Brooklyn,” all about on the South Side of Chicago. This highly what Chicago offers its writers. personal recollection is conversational in style. Perhaps one has to have met Black We’re looking at library partnerships, commu- to understand that this book is an embodi- nity centers—even social service agencies. ment of his character—frank, warm, witty, These are places we can work closely with open and eternally optimistic. 44

L to R: Gerald Rizzer, Eleanor Bartsch Music Discovery An Aural Road Trip with Chicago Ensemble By Seth Boustead Many years ago I went to a concert at of things; physically exploring the country, Night” sounded so great on my new speakers FEBRUARY 2019 Newcity the former Three Arts Club to hear a piece encountering the cultures that make up this that I kept on driving until I got to Arkansas, called “From Frankenstein” by my colleague country, learning of the personal journeys of where I spent two days hiking in the National Stefan Weisman. The concert was held by the the millions who have left, and continue to Forest in Hot Springs. Chicago Ensemble and Stefan’s piece was on leave their homes to seek a better life here, the bill because it had been selected for their and reflecting on the power that the word I even loved the road trips that were borderline “Discover America” program. “America” has had for so many people around disastrous, like the time a couple of friends the world, almost since the beginning. and I drove to Texas and my car broke down The evening was an inspiration for me. The and we had to hunker down in a cheap motel music was great, but I was also inspired by Or if you’re like me, when you hear “Discover in Odessa for two days, until we could sell the the ambitious mission of actively seeking out America” you think immediately of a long and car for scrap to buy bus tickets back home. new music by little-known American compos- glorious road trip. I’m an inveterate road- ers. The idea of receiving several hundred tripper and have at one time or another driven At nearly thirty hours, that remains the longest musical scores in the mail and poring through through nearly every state in the continental bus trip I’ve ever taken. I passed the time one-by-one, looking for a gem to bring to life United States. with a 900-page book of Dostoyevsky short in a concert, is magical. stories and finally got off the bus in Columbia, It began when I was sixteen and I turned Missouri, wild-eyed from lack of sleep and There’s something magical about the program’s a short drive to the Lake of the Ozarks into a newly awakened to the darkness lurking in the name as well. Discover America conjures a lot spontaneous road trip. Rush’s album “Fly by human soul. 45

But a lot has changed since motel room and thought hard the unofficial national anthem, MUSIC TOP 5 that “Discover America” concert about this bizarre encounter. and there are thousands of in 2004. Last year I drove to variations on dozens of versions 1 Bobby McFerrin. Missouri to visit family and Mind you, road trips and our of the song, which is said to be City Winery. McFerrin’s stopped in Fort Leonard Wood growing cultural divide are not more than six centuries old. vocal virtuosity is still a at what Yelp told me was a what the Chicago Ensemble’s jaw-dropping wonder. brewpub, but which turned pianist and artistic director Matthew Browne’s “On the He and his a cappella out to be a bar called Warheadz Gerald Rizzer had in mind when Immortality of a Crab” is ensemble Voicestra run in a strip mall with a gravel he created “Discover America.” inspired by a Spanish concept a gamut of groove in parking lot. The Chicago Ensemble began meaning “to let one’s mind wan- “Circlesongs,” including life as a more or less traditional der or daydream.” Luzia von call-and-response with the The bar still allowed smoking classical music ensemble, and Wyl is a Swiss-born composer audience. February 22-23 and the air was thick with it. But Rizzer developed a passion for who effectively blends elements there were pool tables and they programming and discovering of jazz with American minimal- 2 Beirut. Riviera Theatre. were showing NBA games on American works over time. ism and other contemporary The idiosyncratic urban TV, so I was seriously thinking classical idioms in her “Autumn.” folk band (formerly the solo of staying despite the smoke Nonetheless, we live in a project of singer-songwriter when the owner of the bar polarized era, and my recent Alexander Timofeev is a Zach Condon) promotes its came over and asked what I Missouri experience is hardly Philadelphia composer whose Italian-influenced album, thought I was doing. I told him unique. So I read about the work for clarinet and piano, “Gallipoli.” February 22 I was thinking about having a Chicago Ensemble’s upcoming “Phoenix,” represents the “fiery beer and he basically told me to “Discover America” concert with yet sensitive beauty of the 3 Robbie Fulks and hit the road, I wasn’t welcome. great interest. Once again, Rizzer mythical Phoenix dying in Linda Gail Lewis. Somehow he’d sussed me out has selected a fascinating group its own sacred fire.” And Lincoln Hall. The Chicago folk as a liberal elitist, despite the fact of pieces from a broad range Chicagoan Roger Zare’s icon joins Jerry Lee Lewis’ that I grew up only a hundred of composers born in, or with “Telescopic Variations” is a powerhouse little sister, with miles or so from there and am strong ties to, America, with the musical representation of the whom he recorded last year’s fluent in the local idiom. range that that word can imply. “telescoping” of an antenna, critically acclaimed “Wild! umbrella or—yes—telescope. Wild! Wild!” February 23 I walked out to the parking lot, Joyce Wai-Chung Tang’s shoes crunching on the gravel, “Reflections on Arirang” makes Each of the pieces in this 4 Tcheka. Old Town half wondering if some guys use of fragments of folk tunes concert was selected for its School of Folk Music. from the bar were going to as rhythmic, melodic and musical excellence and The latest Cape Verdean follow me out and kick the shit harmonic basis. “Arirang” is a demonstrated compositional singer to hit the spotlight has out of me, and drove back to my Korean folk song, considered craft, not out of a desire to paint a smooth, summer-soaked voice that defrosts even the MEET THE AUTHOR FREE a contemporary portrait most frigidly February mood. of the nation, and it’s not Daniel PRESENTATION like the composers are February 13 Kay Hertz concerned with this either. But it’s hard not 5 Lula Wiles. The will speak on his to be inspired by the Hideout. The Boston- new book The sheer range of works based Americana trio deliver Battle of Lincoln and composers in the an homage to the Carter Park: Urban Renewal “Discover America” canon Family and their own elegant and Gentrification and to equate it with playing and bewitching in Chicago a variety of cultures harmonies. February 26 and experiences. The book tells the intriguing tale of conflict I’m positive I could have between longtime residents found shared ground with that gave the area its the owner of Warheadz unique characteristics if we had tried harder. and newly arrived young I mean, we obviously professionals renovating share a passion for homes, and developers basketball, beer and using Chicago-style clout billiards, and that’s not to get what they want. nothing. It’s true that I hate using the letter “z” to Newcity FEBRUARY 2019 6:15 pm Registration is required end plural words but, as for this free event. with much else I suspect, Thursday, February 21 email [email protected] we could just not talk 333 S Wabash Ave #2700 or call 312 362-9302. about it. The key to unity it seems is knowing what Remember, Income Tax Appreciation Day is April 1. not to talk about. With “Discover America” there’s no need to talk, just listen. We could use more of that. Henry George School February 2, 4PM at PO Box A3603, Chicago, IL 60690 PianoForte, 1335 South Michigan (773)558-3448. $30 ($10 for students) 46

Arts + spirit in the magnificent settings of our Chapels’ resonant spaces EARLY MUSIC ENSEMBLE EVENSOUNDS: AN AMERICAN SHABBAT RACHMANINOFF VESPERS SUNDAY FEBRUARY 3 | 3 PM FRIDAY MARCH 8 | 8 PM BOND CHAPEL THURSDAY FEBRUARY 21 | 7:30 PM ROCKEFELLER CHAPEL ROCKEFELLER CHAPEL In its first concert of the season under its new A musical Shabbat service, honoring the fact that director Craig Trompeter, the University’s Early The Rockefeller Chapel Choir sings Rachmaninoff’s since the first Jewish immigrants arrived in New Music Ensemble presents works from the time of mystical Vespers in a concert featuring this single Amsterdam in 1654, America has provided a unique Queen Elizabeth I, including compositions by William work. Directed by James Kallembach. Free. home for Jewish cultural and spiritual innovation. Byrd, Thomas Weelkes, and Anthony Holbourne. This service celebrates the music of American Free. Presented by the Department of Music. Jewish composers, from nineteenth century classics to today’s newest pieces. Free. Full details at   |  Rockefeller Memorial Chapel   |  5850 S. Woodlawn Ave., Chicago IL 60637  |  773.702.2667 COMMIT TO 12 MONTH UNRESERVED MEMBERSHIP UPON APPROVAL AND GET 2 MONTHS FREE. (A $500 VALUE) FOR MORE INFO EMAIL [email protected] OR CALL (312) 300-7996

Stage What’s in a Year A Look Ahead at the “Year of Chicago Theatre” By Amanda Finn and Ben Kaye Promotional image courtesy of League of Chicago Theatres Newcity FEBRUARY 2019 “To truly fall in love with Chicago, you noble mission for our fair city: Every single slogan to carry Chicago’s theater brand from must go to our theaters. This is where the Chicagoan will see a show in 2019. 2019 onwards: “Chicago theatre is the fearless city bares its fearless soul.” soul of Chicago.” This is the passionate testament from Mark Kelly, commissioner of the Department commissioner Kelly as well as Deb Clapp— There are committees at work under the of Cultural Affairs and Special Events (DCASE) executive director of the League of Chicago umbrella of this initiative cooking up program- said that back in September 2018, when Theatres—and it’s something that many a ming and further opportunities for growth and 2019 was officially announced as the Year of Chicago theater-maker would be thrilled expansion of the “Chicago theatre brand.” Chicago Theatre. This follows two previously to see come to fruition. At its core, the Year Much of the programming and early marketing successful “Year of” initiatives in Chicago of Chicago Theatre is an opportunity for the initiatives (those which have been announced, under the leadership of commissioner Kelly: Chicago theater community to mount the at least) will be based in the Loop, with major 2017’s Year of Public Art and 2018’s Year of strongest branding campaign in decades. advertising and promotional appearances Creative Youth. In partnership with the League In a city that boasts one of the most vibrant, popping up at the Chicago Cultural Center, of Chicago Theatres and with the help of expansive theater scenes in the country (the Millennium Park and McCormick Place, marketing and advertising agencies including League regularly places the total number of including an expanded presence for Hot Tix, FCB Chicago and Choose Chicago, the Year Chicago’s theaters at over 200), marketing the League’s prominent theater discount arm. of Chicago Theatre has an ambitious and agency FCB Chicago has crafted the official All of these programs will be in service of 48

infiltrating the theater scene into storefronts that make up such a wide STAGE TOP 5 the local consciousness and letting swath of the theatrical population. out-of-towners know that a visit to 1 Fulfillment Center. A Red Orchid Chicago isn’t complete without Despite optimism that the year will Theatre. Four lonely lives come seeing a piece of theater. bring more audiences, there is a together in the search for fulfillment in widely shared concern that the this raw, surprising and funny Chicago Of course, one of the biggest storefronts won’t see the same premiere directed by Jess McLeod concerns is of the natural hierarchy degree of impact as larger venues and written by Abe Koogler. Opens of Chicago’s theater scenes overshad- in the city. Coe and fellow The New February 9 owing smaller theaters that just don’t Colony co-artistic director Stephanie have the resources to fit into an Shum agree that storefront theater 2 The Total Bent. Haven Theatre initiative like this. Most Chicagoans as a brand can be a challenging sell in association with About Face will have heard of or seen the names to the tourism industry. Theatre. Directed by Jeff Award-winner Steppenwolf, Goodman, Chicago Lili-Anne Brown, this funny, fiery, Shakespeare Theater and Broadway For Megan Carney, artistic director one-of-a-kind show is about the in Chicago. But can we be certain of About Face Theatre, any lasting passions that divide a father and son that this initiative will be able to impacts of the year would be found in its as they make their music and make highlight the storefronts and itinerant ability to create a blueprint of Chicago’s their choice between salvation and companies that provide the lifeblood theaters for potential audiences. selling out. Opens February 12 of our cultural landscape? “A lasting impact would be to create 3 Ma Rainey’s Black Bottom. While still honoring the work of these pathways for more people to attend Writers Theatre. Inspired by the larger, nationally renowned houses, theater: put theaters on the map, real-life Gertrude “Ma” Rainey, this Kelly remains assured. “If you don’t break down barriers to checking out groundbreaking work—directed by check out the storefronts, you’re not a show, reveal the work behind the Ron OJ Parson—is the only one of seeing Chicago theater,” he says. scenes,” she explains. American icon August Wilson’s plays to Specific plans are under wraps, but be set in Chicago. Opens February 13 Kelly and Clapp are working to make Elise Marie Davis, artistic director sure neighborhoods across the city of Broken Nose Theatre, hopes 4 The Abuelas. Teatro Vista. receive ample support to promote that audiences who find their work In a companion piece to “The their theatrical communities, while because of the Year will stick around Madres,” playwright Stephanie Alison also connecting with local businesses after 2019 and continue supporting Walker explores the heart’s capacity for to promote theaters in their neighbor- the space. She also hopes that forgiveness, even in the face of the hood and changing the way we the initiative will reach beyond the harshest betrayal. Directed by Teatro think about arts advocacy on a large venues. Vista artistic director Ricardo Gutierrez. citywide level. “When I think of the theater that truly Opens February 15 On the horizon, a big question lingers: makes Chicago unique, I think of the Where will we go from here? Both storefront scene,” says Davis. “We are 5 Mike Pence Sex Dream. First Kelly and Clapp are hopeful that not a mighty group of artists who put our Floor Theater. From the recent only will theater attendance improve heart and soul and blood and sweat past to our imminent dystopia, this in the wake of the Year of Chicago and tears into making theater at our world premiere from Dan Giles is a Theatre and continue to improve over level in exchange for stipends. I really, romantic travesty exploring the depths the next few years, but that the truly hope that this initiative brings all to which one man’s self-loathing demographics of those attending live theater in town to the forefront.” can drag him. Directed by First Floor theater will shift to better represent artistic director Hutch Pimentel. our city, especially reaching neighbor- Davis hopes that the initiative will drive hoods in the South and West Sides audiences between venues and ignite Opens February 20 that are rarely included in conversa- a love of theater in those who might tions about arts access. not have experienced it before. Storefronts Respond “Elevate the storefront community to No one knows, really, what the Year the attention of an audience that of Chicago Theatre will bring. For the might not even know we exist,” she storefronts, it’s business as usual, with continues. “To further cross-pollinate audiences between the storefronts the hope that the year will shed light on the work done by Chicago’s vast, and larger houses in town, so that someone who might currently only one-of-a-kind storefront community. subscribe to the biggest of Equity “Chicago’s storefront is simply theaters begins to patronize the incomparable,” says Fin Coe, smallest of companies. But maybe FEBRUARY 2019 Newcity co-artistic director of The New Colony. even more importantly, I want to see entirely new faces in the theater, “It’s both vibrantly competitive and folks who have never seen a play or cooperative, as companies jostle musical who, because of this initiative, for audiences but have to work decided to give it a shot. The theater together or perish. Neighborhoods will survive as an art form if we can have their own theaters that they continue to convert first-time audience can be immensely proud of and see members into regular theatergoers. themselves reflected in.” For visitors and Chicagoans alike, to truly embrace And, if it is successful, this initiative Chicago theater as “baring its fearless has the power to reach those people and get them into a seat.” soul” they must acknowledge the 49

Newcity FEBRUARY 2019 Life is BeautifulBy David Alvarado 50

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