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Home Explore Newcity Chicago March 2019

Newcity Chicago March 2019

Published by Newcity, 2019-02-27 12:15:57

Description: Newcity's March Issue features the Design 50: our annual celebration of Chicago's design doers, who make our world work when it does. Design editor Vasia Rigou interviews Michelle Boone, Chief Program and Civic Engagement Officer at Navy Pier and our Designer of the Moment. Mark Guarino reports on the troubled state of the Old Town School of Folk Music. Also: Dawoud Bey at the Art Institute, "lost" restaurants, Harmony Korine as a listicle, a rising star in storefront opera, and much more!


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February 7–May 4, 2019 Graham Foundation Madlener House, 4 W Burton Place Arakawa and Madeline Gins: Eternal Gradient traces Free Admission to the Exhibition the emergence of architecture as a wellspring of Gallery and Bookshop Hours: creativity and theoretical exploration for the artist Wednesday to Saturday, 11am–6pm Arakawa (1936–2010) and poet and philosopher Madeline Gins (1941–2014). This exhibition originated at the Arthur Ross Architecture Gallery at Columbia GSAPP and is made possible, in part, by the Estate of Madeline Gins and through a partnership with the Reversible Destiny Foundation. Image: View of Arakawa and Madeline Gins: Eternal Gradient. Graham Foundation, 2019. Exhibition design: Norman Kelley. Photo: Nathan Keay

MARCH 2019 CONTENTS ARTS & CULTURE Folk and Blues Art The Tribulations of On Dawoud Bey’s career and recent work The Old Town School 44 8 Dance Des gn Leader Red Clay goes “Glocal” of the Moment 50 Michelle Boone leads a Des gn revitalization of Navy Pier A conversation with Chicago Architecture Biennial 20 artistic director Yesomi Umolu 52 Des gn 50 D n ng & Dr nk ng Here are the fifty design doers who make our world work Remembrance of Restaurants Past when it does. 54 Plus, a Hall of Fame. 23 F lm Two Decades of Harmony Korine MARCH 56 Lt Scott Turow is still playing with imaginary friends 59 Mus c Teenage Fanclub, then, now and next 61 Stage Alexandra Enyart talks transitioning and the future of opera 64 L fe s Beaut ful Teen Dream: Slice of Life 66 Newcity 3

Newcity MARCH LETTER FROM THE EDITOR I am writing this in Chicago on a mid-February Sunday morning, just hours after returning from Berlin, where I've spent most of the first half of this month for the world premiere of our film \"Knives and Skin,\" where we enjoyed a fantastic run of sold-out screenings and press raves. Even in the digital age where the Chicago newspapers are a click away, it's fascinating to see how your perspective shifts when you view your country, and your city, from a distance. The hurricane of news at home reaches you more like the light rains of a receding storm 4,399 miles away. Still, you are constantly reminded of home by things like Chicagoan Helmut Jahn's magnificent Sony Center in Potsdamer Platz, with its echoes of our own Thompson Center, which made the news again while I was in Berlin, another iconic Chicago creation that our political leaders would so easily leave to the potentially destructive forces of unbridled development. Perhaps the Sony Center, with its vibrant mix of entertainment venues, restaurants, public spaces and corporate offices, might instead serve as a model for a revitalized and restored Thompson Center, one that celebrates the building's distinguished grandeur rather than destroying it. You are reminded of home by visiting the heart-rending Memorial to the Murdered Jews of Europe on the same day that President Trump decrees a national emergency so that he can build his American Wall of Racial Hatred. The sadness, guilt and unforgivable aura of the Nazi atrocities forever haunt Berlin; Germans are quick to point out that Trump's offenses are not comparable. But then they also point out the similarities to the onset of Hitler's barbarism, at a time when it might have been stopped. I bookended my trip by reading a New Yorker article on the plane about Hitler, one that pointed out how, in his early years in power, he used America's racist past and then-present to help justify his actions on the world stage. And on the return flight, watching Spike Lee's \"BlacKkKlansman,\" the footage of 2017's Charlottesville white supremacist rally and its tragic events moved me to tears. You are reminded of home by visiting a German relative, Hartmut, who says that four years ago, a German poll found America to be its people's most trusted foreign nation, and the same poll now, put America at the very bottom of the list, perceived as a greater threat to peace than Russia, than North Korea. You are reminded of home by climbing to the top of the Berlin Victory Column, a stunning monument in the heart of the Tiergarten park, where angels gathered in \"Wings of Desire\" and which was the site of then-presidential-candidate Barack Obama's 2008 speech that drew hundreds of thousands to see and hear him, when his ascent in a nation that once would have enslaved him perhaps also gave a measure of hope to a Germany forever grappling with its own demons. You are reminded of home when you discover that Chicago no longer evokes Capone to foreigners but rather Obama—in the best possible way. BRIAN HIEGGELKE 4

REMBRANDT PORTRAITS OPENS MARCH 3 Rembrandt Harmenszoon van Rijn. Self-Portrait (detail), about 1636–38. The Norton Simon Foundation, Pasadena, California.

CONTRIBUTORS ANNE K. REAM (“Has the Fan Club ON THE COVER Just Begun?”) is the founder of The Voices Michelle Boone in Navy Pier’s Crystal Gardens VASIA RIGOU (“Design Leader of the and Faces Project, an award-winning Photo: Nathan Keay Moment,” editor, “Design 50”) is Newcity’s storytelling initiative, as well as the author Cover Design: Dan Streeting design editor. A native of Greece, Vasia of “Lived Through This,” her memoir of a spends time traveling across Europe multi-country journey spent listening to Vol. 34, No. 1389 and beyond to add to her unique global the stories of gender-based violence perspective on our city. survivors.  As a contributor to Newcity PUBLISHERS Music, her most recent piece was “Power Brian & Jan Hieggelke NATHAN KEAY (Photos, “Design Chords: A Conversation with Women in Associate Publisher Mike Hartnett Leader of the Moment” and “Design 50”) Chicago Music.” is a Chicago-based photographer with EDITORIAL an a inity of subjects both animate R. CLIFTON SPARGO (“Has the Fan Editor Brian Hieggelke and inanimate. Club Just Begun?”) is the author of the Managing Editor Jan Hieggelke novel “Beautiful Fools,” award-winning Art Editor Elliot Reichert MARK GUARINO (“Folk and Blues”) short fiction, and music criticism in Dance Editor Sharon Hoyer is a journalist who covers national news venues such as the Hu ington Post, Design Editor Vasia Rigou and culture out of Chicago for the The Cambridge Companion to Bob Dining and Drinking Editor Washington Post. For six years he served Dylan, and The Yale Review. He has David Hammond as the Midwest bureau chief for The previously written for Newcity on bands Film Editor Ray Pride Christian Science Monitor. His work has such as Violent  Femmes, Dead Boys Lit Editor Toni Nealie also appeared in The Guardian, Al-Jazeera and Arctic Monkeys. Music Editor Robert Rodi America, Crain's, The Chicago Tribune, Agence France-Presse, among other DAN STREETING and BILLY WERCH eater Editor Kevin Greene outlets. His first book, a history of country are the designers who made this issue of Contributing Writers Isa Giallorenzo, and folk music in Chicago, is forthcoming Newcity. Dan is a designer, illustrator and Aaron Hunt, Alex Huntsberger, Hugh Iglarsh, from the University of Chicago Press. educator based in the Chicago area but Chris Miller, Dennis Polkow, Loy Webb, originally from Detroit. Billy is a Chicago Michael Workman designer with one leg in publishing and one in the music business. ART & DESIGN Senior Designers MJ Hieggelke, Newcity MARCH BIG/-driven/Visualized Fletcher Martin, Dan Streeting , Billy Werch Designers Jim Maciukenas, Stephanie Plenner March 28–May 17, 2019 MARKETING NIU ART MUSEUM Marketing Manager Todd Hieggelke First Floor, West End, Altgeld Hall, DeKalb OPERATIONS General Manager Jan Hieggelke 6 Distribution Coordinator Matt Russell Distribution Nick Bachmann, Adam Desantis, Preston Klik, Quinn Nicholson 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.

High Drama in Union Pier: New Paintings by Mike Hedges Pale Skies, 2019 oil on canvas March 16 – April 22; opening 3/16 from 5-7 72 x 58 inches McCormick Gallery, 835 W. Washington Blvd., Chicago 312-226-6800,

8 Newcity MARCH 2019

by Mark Guarino stood in front of an audience in Michi- failures, which recently resulted in the for- MARCH 2019 Newcity gan last July and spoke franklyabout the mation of a union with the Illinois Feder- Old Town School of Folk Music in Chicago, ation of Teachers (IFT). There’s also a gap- where he served as executive director. ing budget deficit—nearly $1 million by the end of August, according to board min- Graves shared insights he had not yet utes. Worse yet is the reality that enroll- made public back home: that the deputy ment in group and individual classes, director he hired in April was being per- which make up the bulk of the school’s sonally groomed as his successor, that his revenue, is plummeting. In 2017, the retirement was imminent, that he was school reported a loss of $729,352. “embarrassed” that the Old Town School was “pretty much made up of white folks” Things worsened after Graves’ address. In and that the “organization is part of that September, the school’s board announced systemic racism.” it was selling the school’s historic building at 909 West Armitage in Lincoln Park, ig- What Graves, who stepped down in Jan- niting public rallies, town halls and an on- uary, didn’t reveal that day was that, met- line petition that got ten-thousand signa- aphorically, the Old Town School was on tures. The board’s stated reason: to seed fire, the flames of which still burn today. a $10 million endowment. In an interview To begin with, there is a faculty revolt over with Newcity, Graves said the sale was charges of unfair wages and leadership designed “to keep ourselves out of debt.” In November, he sent his staff a letter an- nouncing buyouts and suggesting layoffs were imminent. 9

Newcity MARCH 2019 The school’s economic crisis, detractors say, the mid-1960s. The school groomed a new delayed, accounts payable controls were non- is largely of its own making, due to a decade generation of singer-songwriters into the existent, and the numbers floated to the board of mismanagement, lost opportunities, mis- 1970s, including John Prine, who took les- every quarter were questionable. guided priorities and poorly timed decisions. sons at the Armitage building, the first home For its part, the school argues that enrollment owned by the school. The school became a “A lot of it is incompetence matched with in- is down because guitar playing is out of fash- focal point for musicians in Chicago and for experience,” they conclude. ion and because YouTube videos and School those passing through, and developed na- of Rock have crowded the marketplace. tional prominence for its teaching practices Another former administrator says financial and booming music community. “Here’s one data “was unnecessarily opaque” when it In any case, the Old Town School is slammed New Yorker who is damned envious… We was shared. Analysis of enrollment trends with the worst public-relations crisis in its can learn from you!” Pete Seeger wrote in according to revenue was unavailable to de- sixty-one-year history—a crisis that threat- 1980 in an open letter in Come For to Sing, partment heads. This practice made budget- ens the bankable goodwill the school has the monthly magazine the school funded to ing each term difficult, because it was im- enjoyed for decades. These events have cover the scene from 1975 to 1987. possible to know “what [class] was most swirled over the past year to create a cyclone profitable and what was least profitable.” that will either uproot the school’s longevity, By the 1990s, the school recast its image by or make it a very different organization. programming ethnic dance and music from The board’s decision to break ground for all around the world, such as flamenco, Sen- the new building was portrayed as similarly is based on interviews with more than two egalese drumming and jazz, all taught by reckless. dozen people intimately involved in the preeminent musicians in the city who were school since Graves was hired in 2007. scouted to build the faculty. Over these years, “They bought [the land] because they were They include both current and former admin- weekly enrollment jumped from 200 to cash rich—that’s the bottom line. They were istrators and teachers. Many spoke on the 4,000 students. “We rewrote the mission to doing so well generating cash from opera- condition of anonymity, either because they define folk music as a traditional music of tions, so they were sitting on all this cash,” weren’t authorized to speak to reporters or the world. And therefore our programming says a former administrator who was present because they fear retaliation. In some cases, reflected that,” says former program director during that time. “They had no grand vision for the personal pronoun “they” is used to pro- Michael Miles. In 1998 the school moved into what they were doing with all these properties.” tect the gender identity of the source. the 40,000-square-foot former Hild Library, an art deco building from 1929. Nearly $10 Graves took over as executive director in To understand where things are requires a million in renovations turned the stacks into 2007, the same year the board voted to move brief history lesson. The Old Town School of a 425-capacity auditorium. Joni Mitchell per- forward with a $13.5 million campaign to Folk Music opened December 1, 1957, in a formed opening weekend. Eight years later, raise the new building. rental space at 333 West North, a former the school purchased a bakery across the bank building. It was the height of the folk street for $2 million, razed it, and in 2011 Then came the crash. The Great Recession revival, when middle-class Chicagoans were broke ground on a third facility, spanning that hit in 2008 snapped corporate check- discovering the music of Appalachia, the 27,000 square feet. It helped that, thanks at books shut. The capital campaign was de- Smoky Mountains and the Mississippi Delta, least in part to the success of Wilco and layed, according to a person directly in- as well as timeless songs from around the Bloodshot Records, Chicago was then volved with the fundraising effort. “The world. Frank Hamilton, the school’s first gui- ground zero in the nation for alternative potential big donors weren’t willing to make tar teacher, established a teaching method country. The Grammy-winning success of that level of commitment at that point be- he learned as a teenager from folklorist Bess the “O Brother, Where Art Thou?” soundtrack cause everyone was waiting to see what Lomax Hawes, daughter to song collector also launched a wave of interest in stringed would happen.” John A. Lomax and sister to ethnomusicolo- instruments and old songs. The school was gist Alan Lomax. Instead of the traditional flush with money, had steadily rising enroll- By 2011, when construction started, the conservancy approach, Lomax Hawes ment, community goodwill and a staff which school hadn’t raised enough to cover total taught songs, not notes, and within groups was passionate about building upon it all for costs, which were later adjusted upward to rather than to individuals. The idea was that future generations. $17 million, according to school reports. The folk music was as much of a social expres- school anticipated enrollment to keep climb- sion that would better communities as it was And that is where the story really begins. ing. That year, Graves told the Tribune he a discipline. If people sang and played music planned to increase the number of classes together, they would connect in ways that Administrators from the time characterize to 900 from 700 and add at least a hundred would intuitively make communities stronger. the spirit of that first decade in Lincoln teacher jobs to the payroll, but, in fact, en- Square like that of a modern tech start-up. rollment had started to tumble. “There was musical elitism in the academic “There was a very entrepreneurial feel that community back then,” said Hamilton. “You we were creating something from scratch. By the time the new building opened its could study there, but the teacher would tell We wanted to push the school to grow from doors in 2012, total enrollment should have you you’ll never be as good as Bach or Bee- many corners,” says one former administra- shot up in subsequent years because of the thoven. The best you can do when you finish tor. The staff was small but nimble, and em- added classroom capacity. Instead, the op- your degree is to go teach someplace. My ployees wore different hats. But the casual posite happened. Enrollment that year was motto is, music is not an exclusive club.” nature of the operation also translated, at 17,325 students, making up 35,805 registra- times, to sloppiness. One former administra- tions; by 2017, enrollment fell thirteen per- Because of the Old Town School, folk music tor who worked closely with the budget says cent to 15,000 students, with registrations didn’t die in Chicago as it did elsewhere by they were shocked to discover the school dropping nearly thirty percent to 25,300, ac- didn’t practice basic financial controls. “[The cording to school reports. Net income ended school] had never had a CPA for long stretch- up in the red—dropping from a positive $2 es of time. That meant budgets were often million in 2011 to a loss of $729,352 in 2017. 10

Photo: Joe Mazza/Brave Lux Student tuition makes up the majority of No one interviewed for this story blames the guitar strum in the auditorium and a mando- school revenue, more than grants, concerts economic downturn of the school on the ad- lin jam in the hallway. Also gone were peri- and other sales. Having a third of the school’s ministration. Their shortcoming, most say, odic tribute shows and Six-String Social, a revenue stream cut by thirty percent, and its was resistance to creative risk-taking or re- weekly community gathering at the Armit- cashflow plunging toward red, inevitably imagining how to use the existing facilities age building that featured guest speakers, meant a shake-up. and brand to establish new revenue. Instead, panel discussions, performers and group years of inertia would plunge the school to- singing and playing every Friday night. In remarks to the faculty in November 2012, ward insolvency. Graves admitted that the administration To the staff, cuts like these were the first in- wrongly assumed the building’s grand open- “What was within their control was the abili- dication that Graves didn’t understand how ing “would generate a substantial bounce in ty to react to the situation quickly and with central community interaction was to the enrollment.” Instead, the growth rate was great focus,” says the former administrator. school and its traditions. “He took the joy out only two or three percent. “This miscalcula- “There were remedies that could have been of it,” says a current administrator. A former tion—for which I take full responsibility—has activated that were resisted.” administrator laments the lost marketing po- a ripple effect through the budget,” he said. tential: “It was the best marketing we had, because it was fully rooted in our past and Making the squeeze tighter was the new took charge, he made incremental cuts in our mission.” MARCH 2019 Newcity debt. Monthly payments began that year on that administrators and faculty alike say $10 million in tax-exempt bonds that the were demoralizing. He “inadvertently jeop- Graves characterized the programs as “loss school had borrowed. “The assumptions ardized the collegial community by dispers- leaders.” First Fridays, he said, “wasn’t worth were that we’d save significantly by moving ing the concentrated community energy,” continuing to provide a fairly small group of when contractors were hungry and money says one former administrator. Graves, on teachers with a paid monthly party.” was cheap—and that we’d successfully raise the other hand, was new both to the school the rest of the capital funds faster than the and to Chicago. To him, cuts were cuts. But more troubling to those on staff was how interest payments on the bonds could eat Graves, facing falling revenues and enroll- up all the savings,” Graves said. He forecast Gone were longstanding popular programs ment, appeared disinterested, or unable, to that if the school paid off the bonds by late like First Fridays, a monthly open house that get the school a comprehensive and profes- 2014, “it will have been a good bet. If not, might feature a square-dance band in one sional marketing plan that would go beyond we’ll end up spending more.” The school room, children’s music in another, a group print ads and email campaigns to harness the paid the last of its construction bonds for the power of data analytics to help the organiza- new building in December 2015. tion target their messaging on an array of dig- 11

ital platforms. Unlike Second City or Steppen- Wilco ensemble. The evening thrust the rector of digital innovation at Northwestern wolf, which use their storied histories to school into the headlines, earned national University’s Medill School, he suggested to generate revenue and build inventive pro- media attention, and raked in proceeds from Graves that the school participate in a spe- gramming, the Old Town School largely dis- 4,000 tickets. cial program run by Medill’s integrated mar- missed its origin story once Graves took over. keting and communications program that For most successful arts organizations, any lets graduate students perform deep analyt- The school’s archive—rarely seen photo- major event, particularly an anniversary, is ic dives into company data to produce com- graphs, memorabilia and archival record- an entryway to raise funds. Yet when the prehensive digital marketing strategies. Had ings—could be revenue sources through school turned sixty in 2017, the date came it done so, the Old Town School would have exhibitions, merchandise and media oppor- and went. Graves said he “hemmed and joined the ranks of companies like Nord- tunities, as well as provide source material hawed about it for a long time” but ultimate- strom and Allstate that have taken advan- for larger marketing efforts. Bob Medich, the ly concluded the anniversary wasn’t enough tage of the program. school’s marketing director since the of a milestone to warrant a splash. He added mid-nineties, was involved in digitizing vault that recent competition from venues like City “I thought it would be very inexpensive to do recordings. He struck a deal with Bloodshot Winery make it “a lot harder to assemble an and a better way to do marketing strategy,” Records to produce a series of five “Old all-star cast” like the fiftieth event. “If we ask says Gordon. “You get professional-caliber Town School of Folk Music Songbook” CDs. them to play four songs at a big benefit at a consulting work for a very modest price.” Rob Miller, Bloodshot’s co-founder, said the fraction of the fee they can be getting at mul- CDs—featuring unreleased recordings from tiple other venues in town, it’s not quite as Graves said no. He said he had just hired Old Town ranging from Andrew Bird to Steve appealing,” he said. Simple Truth, a small branding agency Goodman—were successful, garnering re- downtown. “I wouldn’t want to engage too views from all around the world and yielding Colleen Miller, the school’s talent buyer for many cooks in our marketing kitchen,” he significant and steady revenue for the Old seven years, who produced the Auditorium said. “It might cause chaos.” Town School to this day. “It was the most show, rejects that claim. She says artists successful marketing project the school had agreed to play the anniversary for “a pit- Internal documents provide a snapshot into ever done,” Medich said. tance” because of the school’s reputation what marketing ideas the school was con- and the relationships she built over the sidering. One document from October 2017 But Graves fired Medich months after he ar- years. In the end, the school netted $600,500 shows the school’s top administrators rived in Chicago and future editions were for the fiftieth anniversary concert and sketching out marketing initiatives it wanted shelved. Miller said after Medich left he all related activities. Another event Miller completed by the end of first quarter 2018. pitched Graves for Bloodshot to release live produced during her tenure, a tribute in They include a rebranding to remove “of Folk concert recordings from its archives dating 1997 to Old Town School alum Steve Good- Newcity MARCH 2019 all the way back to the school’s earliest days. man, which featured Prine, Lyle Lovett, Em- The reissue market was booming then, mylou Harris and Jackson Browne, brought owing to labels like Chicago’s Numero Group, in $350,000. Omnivore Recordings and Jack White’s Third Man Records. These companies were re- “Yes, the market has changed” for producing leasing archival recordings by everyone from benefits, says Miller, who left in 2011 to join Syl Johnson to Charley Patton. In the Old the launch of City Winery. “But that doesn’t Town deal, Bloodshot proposed covering all mean you don’t come up with something. manufacturing costs and giving the school You do something deluxe in a big theater be- the majority share of revenue, making it a win- cause you say, ‘How many other large orga- win as a profit-maker and marketing tool. nizations like us have survived sixty years?’ Of course it’s a milestone.” But Graves rejected that, too. “Between the ‘Songbook’ series, the well of goodwill accu- Faculty members say they couldn’t under- mulated over the decades with touring art- stand why the school was withdrawing from ists and the treasure trove of recordings in the world and was stubbornly resistant to their vaults, [the Old Town School] could new ways of promotion. Graves decided to have been the Smithsonian Folkways of the stop printing the school’s course catalog in Midwest,” Miller wrote via email. 2009 and in a meeting told faculty they would have to play a bigger role in promot- School success stories were also ignored. ing their own classes and couldn’t rely on When other organizations commonly ring the school to do it for them. That compound- heavy bells whenever former alumni win ed the feeling that the faculty was on its own. Grammys or get nominated into the Rock & Roll Hall of Fame, the Old Town School is Eventually, the wider community took notice. often silent. Rich Gordon, a student since 2001, says he was discouraged at how hapless the school The school seemed to understand its influ- appeared to be at expanding its outreach. All ence when it reached its fifty-year milestone he saw the school doing to rally revenue in 2007. It threw a successful benefit at the were programming cuts and tuition hikes. He Auditorium Theatre that featured faculty, says both “have disproportional effects on friends and alumni like Jeff Tweedy, Bela young and poor people and people like me Fleck and Abigail Washington, Roger Mc- who want to take more than one class.” Guinn, and even students from the school’s Since Gordon also happened to be the di- 12

Music” from the school’s name, producing 2012 town hall, according to Chris Walz, volved in activities that strengthened their video samples of classes for the online cat- a full-time faculty member since 1996. “If commitment to the school. According to alog, testing satellite locations in the West you’re interested in transparency and calling most accounts, the hires Graves picked were Loop or Pilsen that would focus on hip-hop people together to have substantial dialogue rarely seen outside office hours. production, African drumming, guitar and that’s what you do,” Walz says. “But to have urban dance, and promoting two new pro- the years go on like that is indicative to not “It surprised me how much antagonism was grams: “Hip Hop/Music Production” and having that desire.” there,” says one former top administrator. “The Music Industry.” By 2019, the school said Program managers—staff members charged it wanted new classes “in a variety of formats” The communication hole swallowed staff with programming according to their respec- that might incorporate a performance by a morale, which hit “rock bottom,” according tive discipline—no longer felt empowered to “visiting hot shot teacher” or others “taught to one former administrator. make decisions, which sparked distrust by visiting celebrities when possible.” Other among teachers. Making things worse was classes might focus on “the social side of All accounts during this time circle back to a culture that favored male staffers for pro- music making, preferably in partnership with complaints that Graves unnecessarily divid- motions and respect. “Men would value the local microbreweries or distilleries.” ed his staff. The all-in-it-together camarade- opinion of men more than they would rie that drove the launch of the Lincoln women, where they were either discounted None of those ideas became reality. Kish Square campus nearly twenty years before or ignored or given a polite acknowledge- Khemani, Old Town School’s board presi- was gone. What replaced it was a top-down ment,” says an administrator. In some cases, dent, agrees that, “in some cases the school corporate structure driven by secrecy and experienced women staffers resigned or has not been quick to adapt to change in petty alliances. “We thought we were build- were fired after watching men revolve into terms of programming and digital marketing.” ing something big and were willing to sacri- top positions. An attorney specializing in fice for it. He undermined our very strong labor law told one exiled female staffer she “But I think it is unfair to put all that on Bau,” love for the school,” says one former admin- had a solid grievance to take the school to he adds. istrator. Many suggested that Graves picked court. She declined. “I didn’t want to be the favorites among top administrators. one suing the Old Town School of Folk August, when Graves met with teachers Music,” she says. to discuss compensation issues, the last Information stopped flowing from the top. faculty meeting had been a November Graves pushed out long-standing staffers Graves says he has just recently learned of from the earlier regime. When the Lincoln the grievances. In an interview, he says he Square campus opened, the staff took class- never felt his relationship with the faculty and es, attended concerts and was typically in- staff had “been anything but very collegial.” MARCH 2019 Newcity 13

Newcity MARCH 2019 “Obviously there were some cues I was miss- ries and staffing trends, reports that organi- the building and folded. One of the chief ing,” Graves says. “It distresses me enor- zations earning between $10 million to $20 problems, according to Young, was main- mously and it obviously passed below my million in the greater New York City area pay taining a mortgage while trying to fill a the- radar as long as I’ve been here.” their executive directors between $180,000 ater for performances by largely unknown and $210,000 on average. With the Old Town artists. Graves “is more comfortable as a The tension was greatest among the teach- School’s annual revenues averaging about presenter. That’s clearly more his strong ing faculty, who were beginning to feel muz- $12 million, there is no organization that is suit than maintaining real estate,” Young zled. This was particularly jarring since the directly comparable in the Chicago market, says. Ticket sales from the esoteric pro- Old Town School model was largely a col- where non-profit salaries run lower than in gramming couldn’t cover costs for years. lective one. Teachers served as the public New York. But there are close comparisons: “It’s just a lot of work and you wind up spread faces of the school, and they were the ones Kathryn Lipuma, executive director of Writ- too thin.” who formed bonds with students over years. ers Theater (revenues $8.4 million in 2016) earned an annual salary of $158,110 in 2016, According to reporting by the Portland Phoe- Yet tuition increases didn’t translate to in- for example. nix and by the Center’s tax documents, the creased compensation. Teachers remained organization spent more than it was earning at-will employees. And stinging even more Enduring a pay freeze while being asked to during its final years. Between 2002 and were pay freezes that Graves put in place in take on more work especially angered staff- 2004, spending increased twelve percent 2008 and 2013. Although 200 or so teachers ers earning the least. “Here’s a man standing and the Center ran continual deficits. By have classes spanning the year’s six sessions, onstage making speeches where he literally 2004, the Center’s operating deficit totaled only about thirty are considered full-time. says we have to tighten our belts to people $188,390. “Frank’s Faculty,” named after Hamilton, es- who are making minimum wage,” says Sarah tablished those teachers as salaried employ- Furniss, a former front desk manager. “That’s Graves told the Phoenix that shrinking gov- ees, but in 2008 they reverted back to hourly not the Old Town School I signed up for.” ernment grants contributed to the shortfall. workers. In order to maintain their health ben- Speaking to Newcity, he says he left believ- efits each session, teachers have to have at Graves’ background gave him value to ing “the organization was in good hands and least eighteen teaching hours. The new hour- justify an escalating salary? Or, perhaps it was going to continue to thrive.” ly structure tied their pay and health care di- the more important question to ask: What rectly to student enrollment. The result? The about that background made him an obvious He blamed his replacement for the Center school’s most active teachers were now lock for the job in the first place? shutting its doors: “The board hired some- forced to exist “session by session,” says Walz. one else and unfortunately, they made a bad The fear of “having your insurance being Before arriving in Chicago, James Willis hire. It broke my heart to see it fall apart.” taken away became something you have to Graves, whose childhood nickname is “Bau,” think about every two months.” served as a big fish in a very small pond— Lisa DiFranza, who replaced Graves for less Portland, Maine, population around 60,000. than a year until the Center shut its doors, “There aren’t any guarantees. The teachers In 1987, he and wife Phyllis O’Neill co-found- told The Bollard, a local arts monthly, that know that it’s a numbers game,” says Walz. ed Portland Performing Arts, a presenting “past debt accrued under the leadership” of “If the teachers feel like there’s strong mar- organization that brought ethnic music to Graves and O’Neill “contributed to the Cen- keting and promotion behind us, we’d be town. The organization floated around until ter’s ongoing financial burden.” much more willing to accept that, because 1997 when it moved into a small building it we’d feel like everybody has given it their bought for $65,000, according to reporting After Portland, Graves and O’Neill moved to best shot. But we’re not feeling that as by the Portland Press-Herald. Renovation Roanoke, Virginia, where Graves headed the strongly as we did in the past.” cost an extra $800,000. Once finished, the Jefferson Center, an organization that pres- capacity of the rebranded Center for Cultur- ents music in a former high-school auditori- The compensation issue became particular- al Exchange was 220 seats. um. There he faced an organization with a ly galling to faculty when they learned that far bigger annual budget: $1.8 million in Graves, while implementing budget cuts, pay Tax documents show that Graves and O’Neill 2006. That May, he told The Roanoke Times freezes, layoffs, and in December, buyouts, were the only full-time employees. They that the Center faced a $400,000 shortfall. was on track to becoming the Old Town were a good match. Jay Young, a Portland He managed to shore up most of that money School’s highest-ever earner. attorney who served as the center’s board by end of the year. president, says Graves dealt with the pro- According to the school’s financials, Graves gramming while O’Neill handled the books. But that job lasted fourteen months. The fol- earned $149,406 in 2008, his first full year “She was focused on the budgets and fund- lowing March he told locals he couldn’t pass of employment. By 2017, his salary increased ing. He was freer to focus more on artistic up a new opportunity in Chicago. It was, he nearly seventy percent to $253,554. Leslie stuff, which seemed to be his strong suit,” said, “a plum job.” Lenkowsky, a professor of philanthropy and Young said in a telephone interview. public affairs at Indiana University in Bloom- It is easy to see why the Old Town School ington, says that determining executive sal- Graves wowed local audiences because he represented fruit on the vine. Graves had aries is not an exact science. While non-prof- brought in programming from distant never shown tangible success growing an it boards dictate compensation, “they also shores they might otherwise never hear. But arts organization the size and scope of Old need to assess not only what value the per- the good times didn’t last because the Cen- Town, had never run a school, had never son brings to the organization, but also what ter could never get ahead of building costs. managed a staff of more than a few people, similar organizations are paying their exec- In December 2005, Graves and O’Neill re- had no experience overseeing a faculty in utive directors.” signed. The next year, the organization sold the hundreds and a student body in the thousands, had never overseen a budget of A 2016-2017 study by the PNP Staffing Group, more than $2 million, had never grown an a recruiting firm that tracks non-profit sala- endowment, and had never worked in any 14

of those capacities in a market as sophisti- cated and complex as the third largest city in the United States. These shortcomings have been raised in re- cent months in an effort to examine the fac- tors that led to the school’s chaotic state. How did Graves get into the running for the job when clearly there are arts-management professionals, in Chicago and beyond, who had longer résumés showing more positive results, or who have at least had experience that corresponds to the dynamics of running a community-based school? Some have offered one clue: He brought his guitar. People who were involved in the process, either on a committee that interviewed Graves or who met him during the hiring courtship, say Graves was impressive be- cause the faculty saw their reflection in him. After all, he is a multi-instrumentalist with a master’s degree in ethnomusicology from Tufts University in Boston. He distributed copies of “Cultural Democracy,” his 2005 book published by the University of Illinois Press, and during a meet-and-greet he ar- rived with his guitar to jam. The charm offensive was successful. Graves Faculty, it became clear that none of that him meant working with people different MARCH 2019 Newcity talked about growth and diversity, two is- mattered for one reason: “She was a woman than those he sees every day. sues the faculty supported. “There was a and the guitar culture at the Old Town sense that he seemed to get the place in a School is a boy’s club. So no one was as im- “We have to recruit a new core of teaching way that we were hoping that an executive pressed as they were with Bau Graves whip- artists who live in their communities, under- director would,” says Walz. “There was a ping out the guitar.” stand what their aesthetic interests are and grassroots movement amongst the teachers cater to those desires,” he said. “And we have to get the message to the folks on the hiring There was slight awareness of his history in to make those program costs free or very committee that we liked him and that we Portland, but it amounted to “a quiet whis- low cost so there are few barriers for people wanted him there.” pering of what happened there,” says one to be involved.” former administrator. Walz admitted that in- But several women interviewed for this arti- stead of looking at Graves’ qualification as In Portland, Graves had created programs cle say they sensed immediately Graves was an arts administrator, they chose to focus for the large African refugee community a wrong fit. solely on “the man and what he was saying there. Between 2001 and 2003, the events— and how he was relating to the school and from a fashion show to a festival to a play— Some observed that during a meet-and-greet all of us.” tried to bring dialogue to groups that were with staff, Graves didn’t seem interested in often in conflict with one another by making asking questions, but brought the focus to “I don’t know if any of us were thinking we them key stakeholders in the activities them- himself. That turned off some of the women, should go on the Internet and see what we selves. While it successfully introduced Af- who wrote letters to the board saying they could find,” he said. “We also trusted the rican culture to the majority-white locals, the recommended Gail Kalver, another candidate, folks who were in the decision-making roles events largely failed because the Center who seemed far more qualified. By 2007, to make the right decision.” found that the African groups mainly sus- Kalver had been executive director of Hub- tained those disagreements in the United bard Street Dance Chicago for twenty-three of Frank’s Faculty did not anticipate when States and didn’t want to associate with one years, and before that served as an associate they endorsed Graves was how much he another, onstage or off. “Bau had hoped to manager at the Ravinia Festival for seven was interested in disconnecting the have a civil exchange between spokesper- years. She, too, was a musician, with a mas- school from its past, which didn’t just sons of different factions, but by accident he ter’s degree from Roosevelt University. mean pruning and replacing staff. Instead, may have created more friction than reduc- following ideas he articulated in his book, ing friction,” says Jay Young, the board pres- “She had her chops running a large non-prof- Graves became interested in experimenting ident. “I don’t fault him for trying to do it. It it organization that was also a world-re- with cultural programming in marginalized doesn’t always work.” nowned dance company, had connections neighborhoods—a noble ambition, that to within the Chicago community, and knew In Chicago, Graves resurrected those ideas how to fundraise,” says one former adminis- in Englewood, a South Side neighborhood trator. But within discussions among Frank’s besieged by gun violence that became 15

Newcity MARCH 2019 a focus of Mayor Rahm Emanuel. Graves Yet those interviewed who worked closely Graves says that since “Music Moves” started sought to establish relationships with with the Old Town School’s outreach efforts, three years ago, it has primarily served be- partners on the ground to create program- say that Graves was laser-focused only on tween eighty and a hundred kids over the ming that people in the neighborhood would “Music Moves,” the Englewood program de- school year, and 300 children once a week in find valuable. signed much like his African outreach in the summer months. “That’s a lot smaller than Portland—to encourage dialogue through the students we are dealing with at CPS,” he “If a piece of the legacy I leave at Old Town cultural programming that originates from admits. “But the program is just three years School is continuing to be active in seeking within the community rather than projected old and it’s continuing to expand.” By com- out and working with constituencies that are from the outside. Graves admits that he ap- parison, the CPS program reaches 4,000 not a bunch of white guys playing the banjo, proaches “Music Moves” as an ethnomusi- schoolchildren a year. For any other non-prof- but African-Americans and Asian-Americans— cologist: working with researchers from it, that would be considered a success. different communities that we’re just never UIC, the program created a “simple emo- going to serve in Lincoln Square,” he said, tional evaluation protocol” that children fill “But it isn’t Bau Graves’ invention,” an insider “then I’m proud of having made us do that.” out so the school can “gauge what kind of says. “School kids are not as sexy as guns.” impact [the programming has] on the emo- Former administrators say that when Graves tional lives of the participants.” So far, the interviewed for his job, he talked about uses phrases like “white guys playing the program has included hip-hop poetry the importance of diversity within the banjo” or throws around highly charged events, African drumming classes and in school’s ranks. “Everybody agreed with phrases like “systemic racism” to describe a September 2018 presented “Quantum En- that,” says Walz. school composed of a teaching faculty that glewood,” a ninety-minute concert by En- is largely liberal and committed to diversity glewood-based composer Ernest Dawkins Achieving those goals has been more of a issues, he may not understand how his and Rahul Sharma. challenge. Internal documents and public words ring as offensive to the people he was statements by Graves reveal a genuine con- hired to lead. Those close to outreach efforts say that cern that the faculty is older and mostly Graves poured all his energy into a program white. But how those concerns were articu- “How can you talk about healing a commu- that he started at the expense of marginal- lated, and plans to right perceived wrongs, nity with the arts when you have such a dis- izing the ones that existed before his arrival. not only contribute to the discord within dain for the community you are a part of?” In remarks to the board last May, Graves school ranks, but have the potential to put one recently departed administrator asks. championed “Music Moves” as “important the school in legal jeopardy. and groundbreaking work supported by sev- But Graves also seems to dismiss another eral foundations and philanthropists seek- An internal document from 2017 outlines fu- obvious reality: that the Old Town School ing for innovative solutions to urban chal- ture goals and stresses that the school “re- has already been doing the work he de- lenges and strife. It holds a great deal of quires younger teachers to remain compet- scribes for many years. promise for our school community as it con- itive.” Ways to groom younger teachers tinues to expand.” mostly involve edging older ones out. “Ag- Since its first year of operation, the Old Town gressive hiring of new, younger faculty to School made outreach to marginalized com- The CPS program was mentioned once. “Our teach all the new curriculum… and to replace munities in Chicago a core part of its mission. CPS outreach programs are running annual retiring teachers” is one solution, while a Benefit concerts and fund drives were com- deficits… fiscal responsibility demands that “careful and conscious assignment of our mon at its first two locations. For students these facets of our operation either adapt very best, most charismatic teachers” for in- who couldn’t buy their own instruments, the themselves to change within existing frames, troductory classes is another. A third idea school gave them away or rented them at bar- substantially shift focus to eliminate continu- involves “across the board faculty evalua- gain prices. The school also conducted class- ing deficit spending, or suspend operations.” tions that can help education managers to es inside Chicago schools and hospitals. make informed” class assignments. Co-founder Win Stracke created “Project This incensed those who interpreted Graves’ Outreach” 1969, a scholarship program for comments as, yet again, denigrating anoth- Graves told an audience in Michigan that he schoolchildren from nearby housing projects. er hallmark of the school. “Over the last cou- was recently woke to disparities of color The school also gave free lessons to children ple of years, the citywide cultural and urban within major arts organizations in Chicago. in Uptown, a neighborhood stricken by pov- planning movements have focused on En- He credits joining Enrich Chicago, an orga- erty and populated substantially by Native glewood,” one says. “Bau was personally nization that aims to make the boards and Americans and Appalachian transplants. In driven and also wanted to capitalize on that staffs of local organizations more diverse. 1965, co-founder Dawn Greening said the momentum. He really isn’t interested in run- purpose was to make the music of their home ning a folk school anymore.” “I looked at my organization and it’s embar- region a point of pride: “We should let people rassing that we are in this city that is so ex- know that the culture they bring to the city is They add that, in the non-profit world, out- traordinarily diverse and cosmopolitan, and truly worthwhile, and encourage them to rec- reach programs are expected to run deficits. yet we’re pretty much made up of white ognize their own traditions.” His intention in using that word, some claim, folks,” he said. “One of the problems at Old is to gain support for programming that Town School is that people get to work there The sentiment is one that has powered pro- started under him, which they worry could and they like it and so they stay. And they grams that continue to today. The Old Town mean redirecting more than $130,000 in stay and they stay,” he said, according to a School serves 4,000 children in about twen- grant money—the amount the Polk Bros. recording posted online by C3—an organi- ty-six CPS and other schools like Rush Day Foundation pays every two years to support zation that describes itself as “West Michi- School, which serves students with special the CPS program—to “Music Moves.” gan’s inclusive spiritual connection” located needs, throughout the year and throughout the city, including Englewood. The program In terms of children served, the disparity be- has been running for decades. tween the initiatives is stark. 16

in Grand Haven, where Graves was a guest “What he said was incredibly foolish, because group for both students and faculty to press MARCH 2019 Newcity speaker in July. it’s direct evidence of intentional race dis- for change. crimination,” he said. “The other thing that “So every time a position does open up… I’ve is insulting in the statement is that it shows “I’ll admit [the reaction] was more than we always had this agonizing decision of, ‘Well, a gross misunderstanding of how you had anticipated,” says Kish Khemani, the do I give this job to this person who has done change your organizational culture and how board president who works as a manage- great work for fifteen years at Old Town you go about making a meaningful commit- ment consultant. “As fiduciaries we want the School and really deserves the promotion? ment to diversity. He didn’t talk about affirm- administration to close deficits. It’s up to the Or do I find a candidate from the Latin-Amer- ing steps to identify and seeking out quali- administration on how to close them.” ican or African-American community to fied minority candidates. Even when he’s come in and fill that slot?’ trying to show his commitment to diversity, If the Old Town School does move forward he comes across as insulting.” with the Armitage sale, it could be making a “For the first few years I did agonize over blunder far worse than bad messaging, says those decisions,” he continued. “But since In an interview, Graves strikes a softer tone. Peggy Asseo, a former Old Town School I’ve been in Enrich… I have not agonized over He says the Enrich experience directed him board member who is the director of plan- those decisions. I said, ‘Well, we’re living in to the necessity “of stepping out very delib- ning and major gifts at the Rotary Founda- a situation where there is systemic racism. erately” to hire minorities. Yet among the tion in Evanston. The negative publicity And my organization is part of that systemic roughly dozen staffers Graves directly hired threatens fundraising, namely from baby racism. And the only way we’ll get over it is since 2007, only Phillips and education di- boomers, the last generation left with thick to deliberately take steps to give away some rector Kim Davis are minorities. “It feels like pocketbooks, who also happen to be at a of the power we hold, and that means every an excruciating, slow process,” he says. stage in their life where they are determining time there is an opportunity to bring in a per- legacy giving. son of color onto our staff, onto our board, School of Folk Music is a song, we are onto our teaching faculty, that’s what I’m now at the bridge. Whether or not the “It’s very obvious that [the school] didn’t do going to do.’” school can regain its former harmony de- their homework in terms of talking to their pends on what happens next. constituency,” she says. “If they had, they His one success, he said, is the creation of would have perhaps realized that what they the new position of deputy director and in Everything that transpired over the last de- were doing was putting at risk the one asset April awarding it to Rashida Phillips, a former cade reached a boiling point in late October, that really ties them to a potential donor base.” director of education at the Chicago Human- with the announcement that the school was ities Festival, who is black. Graves said in selling Armitage. How the school chose to Asseo, who oversees large gift campaigns creating the position he told the board of di- break the news, through a brief Facebook for Rotary, says an endowment campaign is rectors: “I’m not going to hire another white post, once again echoed the communication “admirable and a good direction to go,” but guy.” (The school declined to reveal the sal- and transparency failures of its past. The selling Armitage immediately disconnects ary of the new position.) school did not provide a feasibility study to the school from those donors who have es- show it had done its homework nor any kind tablished the closest bonds with the school. Staffers say Graves’ blunt language around of plan that outlined a path forward. “Selling a core asset that by all logic would race made them uncomfortable, not only be the cornerstone of a fundraising cam- because the context is unnecessarily “For no one to manage that message better— paign to help build an endowment is an odd antagonistic, but because they worry the and then to put out a call to ask for volun- way to go about it. As a fundraising profes- school will get sued. “He flat-out said in teers to resign? They are making a situation sional, I can’t figure out where this is coming a meeting he was going to hire a person much worse,” says Colleen Miller. from. It doesn’t make sense.” of color. I kept thinking, ‘Don’t announce it because it’s technically illegal!’ We The Armitage announcement was a shock Because Armitage is located within a land- couldn’t believe he said it out loud,” says a to teachers, who said they were neither marked historic district, it cannot be demol- current administrator. given advance warning nor specifics about ished, but everything except its exterior what that means for the school or their jobs. façade can be manipulated, says Vince Mi- According to another administrator, Graves Internally, the board chose to keep the Ar- chael, a historic preservationist who served “publicly said several times… that, because mitage sale a secret. Even the timing felt as one of the city’s expert witnesses in de- of his commitment to equity, he would only cruel: the announcement came two weeks termining the building’s landmarked status. consider candidates of color for that position. after the school held a party, filled with According to Michael, selling Armitage Stating openly you are selecting a leader be- music and singing, to celebrate the location’s would also turn off millennials who represent cause of their race feels weird, even though fiftieth anniversary. a generation that is “more interested in au- as a person with progressive thoughts I ab- thenticity of place,” akin to the dive for de- solutely feel there should be more people of More than ten-thousand people signed signer distilleries. Because of its long and color in every organization. But he seemed an online petition demanding the school colorful history, Armitage is poised to serve more concerned about what it looked like keep the Armitage building open, as well those trends, which is why many organiza- than what it actually meant.” as take multiple actions including hiring tions save or repurpose historic assets to administrators “who understand how to op- confirm their heritage. Chicago attorney Michael Persoon, whose erate a non-profit business in the twen- practice specializes in employment and ty-first century.” An organization, Save Old “When you sell off your cultural patrimony to labor law, confirmed that Graves’ com- Town School, emerged from the petition save your bottom line, what are you saving?” ments involving age and race would be con- and now actively serves as an advocacy Michael asks. “Then it’s just money, but sidered illegal according to code estab- you’ve lost a place that provides identity lished by the U.S. Equal Employment based on the past and inspiration based on Opportunity Commission. the future.” 17

In past years, Lincoln Park moth- come up. Lindsay Weinberg, a 501(c)(3), we get audited every That would make the next exec- er Becca Richards enrolled her teaching artist at the school, calls year and our auditors are legally utive director the first in the Old kids in classes while donating the secrecy “a complete betrayal.” bound to inform us of any viola- Town School’s sixty-one-year generously. That will stop should tions we might have in regard history who did not come from a the school move forward with “We’d been really operating in to compensation.” traditional nationwide search, shuttering Armitage, she says. good faith,” Weinberg says. but was appointed to the role be- “They let the community know “We’d been really surprised with Khemani takes a more conciliato- hind closed doors. without giving any information. the positive response we’d got- ry tone. Besides slowing down It’s still not clear about why or if ten from board and administra- the Armitage sale until March, he She will also be the first top ad- there could be other options.” tion and their offers to work with wants working groups compris- ministrator not vetted by the us were very encouraging. ing faculty, administrators, board same faculty and student body In January, the teachers voted members and students “to bring the school is now promising overwhelmingly in favor of form- Now it feels totally severed. The ideas together to solve problems greater transparency. ing a union with the IFT. The trust has been breached. And all as constructively as possible.” union has been officially certified of those promises feel hollow.” The groups will address enroll- When notified of Graves’ re- by the National Labor Relations ment, communication and alter- marks, Walz says “that’s not any- Board and will soon begin collec- Graves defends never mentioning natives, if any, to selling the Armit- thing we discussed. We expect if tive bargaining toward a contract Armitage because it wasn’t on the age building. we were to have a new executive with the school. The union grew agenda: “At their request, the task director we would have a nation- from the Old Town Teachers Or- force was restricted to compen- “We completely understand the al search. So if there is some sort ganization (OTTO), a collective sation issues.” He characterized feelings of the faculty and we re- of succession plan, this is the ab- that formed in November 2017 to even the necessity of the task gret how they found out [about the solute first I’ve heard of it.” address compensation. By March, force as “kind of foolish,” because Armitage sale] and how it hit them,” the school agreed to participate had the faculty talked with him he says. “We also see the way As expected, Graves finally retired in a task force comprised of three directly, he says, he would have through it is through direct dia- in January, and the school quickly administrators, three board mem- explained that the school was not logue, and that’s what we’re hope- named Phillips as interim director. bers, and six teachers that held a in violation of federal labor law. “It ful for and have started. Maybe I’m series of meetings through Au- was too bad they wouldn’t come overly optimistic but I see this as Phillips was not available at gust. In none of those meetings and talk to me, because if they a moment we come out stronger.” press time in early February, be- did the sale of Armitage ever had I could have told them as a cause she was on a MacArthur Foundation-funded trip to Johan- Newcity MARCH 2019 Armitage sale still on the nesburg, South Africa—a “Music table, the faculty without a Moves” initiative involving Engle- union contract and the school wood musicians. nearing a million-dollar defi- cit by the end of last summer, In mid-February, the school this year may be the school’s named board member Jim New- most turbulent yet. A problem- comb as CEO, a temporary posi- atic succession process may tion. Phillips was named to the make things worse. new role of senior director, com- munity ventures, which puts her Graves, sixty-six, announced in in charge of all outreach pro- July the creation of a new posi- grams. A national search to name tion, deputy director, intending an executive director continues, that the person who filled it but a spokesperson says the would be his successor. “Retire- board “is still undecided on the ment is looming at some point. timeline.” The spokesperson I’d like to hire a deputy director added that the board is “taking and work with them and training this process very seriously… to them so they know all the ins establish what we need for the and outs and let them know next phase of leadership.” where all the bodies are buried. And I’m not going to hire anoth- The next phase will determine er white guy. This organization whether or not the Old Town has had five executive directors School of Folk Music will recon- and they were all white men and nect with the values that made it we’re not going to have that,” he endure for decades, long past says he told the board. momentary trends in music- making and technology. What “We did a search and we found has transpired over the last few a fabulously talented Afri- years will likely go down as a can-American woman who is cautionary lesson for any arts or- now my deputy director and I ganization fortunate enough to look forward to turning the survive this long. Time will tell if school over to her whenever it the Old Town School will be one happens,” he says of Phillips. of those organizations listening to its own story. 18

UPCOMING PROGRAMS INCLUDE: Green Line Performing Arts Center, the latest addition to the Arts Block, is a vital new First Monday Jazz Presents theater venue and rehearsal space to support Year of Women in Jazz: Dee Alexander the arts across Chicago’s South Side, and Mon Mar 4 | 7-9pm | Free In honor of Women’s History Month, the Year serves as a platform for artistic expression of Women in Jazz launches on March 4 with a and public gatherings, contributing to powerhouse performance by one of Chicago’s most legendary vocalists: Dee Alexander. the cultural and economic vibrancy of the Washington Park neighborhood. GreenLight Series: South Side Story Time Every 4th Sunday of the Month | 10-11am | Free 329 E Garfield Blvd. Bring your kids to listen, learn, sing, dance, and Chicago, IL 60637 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. One Earth Film Festival: RiverBlue Screening Thu March 7 | 7-9pm | Free Following international river conservationist, Mark Angelo, “RiverBlue” spans the globe to infiltrate one of the world’s most pollutive industries, fashion. Narrated by actor and clean water advocate Jason Priestley, this groundbreaking documentary examines the destruction of our rivers, the effects on humanity, and the solutions inspiring hope for a sustainable future. Follow Arts + Public Life on Facebook for more event details and a full list of all upcoming performances.


MichelleBoonewas appointed to the an you talk about the Navy Pier’s ACE (Art, Culture mportance of publ c space and Engagement) Team (L to R): newly created role of chief program and civic as a place of opportun ty for engagement officer of Navy Pier in August local art sts and creat ves Marilyn Cosby, Administration Coordinator, 2016. A lot has changed since then. Seeing pub- Daniel Crane, Program Coordinator, lic space as a place of opportunity for local art- Chicago is one of the most exciting Dylan Hankey, Program Coordinator, ists and creatives, Boone focused on developing cities in the world because of its Michelle Boone, Chief Program programs that support Chicago’s vibrant arts many dynamic public spaces that & Civic Engagement O icer, and culture scene, partnered with local cultur- populate the city—the parks, water- al, educational and community-based organi- fronts (lake and river), trails (elevated Erika Taylor, Director of Production & Operations, zations and creative industries, striving to el- and ground) and even how we use Roselle Allen, Production Manager evate the overall Navy Pier experience. Her unexpected sites, such as underpass- latest project? Turning Navy Pier into a beach es or vacant lots. Artists and commu- a funhouse-by-the-lake for MARCH in the middle of the harsh Chicago winter with nities have been extremely creative fam l es w th k ds, a b annual the help of Brooklyn-based Snarkitecture and and imaginative in how public spaces dest nat on for the art crowd Newcity EXPO Chicago, bringing the traveling immer- are activated and animated for cre- dur ng EXPO HI A O or SOFA, sive installation, The Beach, for two weeks in ative use. Navy Pier is more than a Navy P er takes many d fferent January. Boone talks to Newcity Design Editor hundred years old and it’s always forms What parameters d d Vasia Rigou about the demanding job to turn been a space for creative expres- you have to cons der when the Pier’s Centennial Plan vision into reality as sion—from dances to water acrobats, undertak ng a make-over to well as finding new ways to uphold the land- outdoor public art installations to in- w n over locals, nat onal and mark’s mission as the “People’s Pier” by creating door visual art exhibitions, live music nternat onal v s tors al ke and offering dynamic experiences to the public performances and, of course, the unparalleled anywhere else in the city—or the birthplace of Chicago’s outdoor fes- Navy Pier is the People’s Pier and world. If Navy Pier is going to become cool, tival scene. It’s in Chicago’s DNA to that’s always front-of-mind as we she’s going to be the one to make it so. have public spaces available to art- curate and present meaningful cre- ists—with or without permission! ative experiences for our guests. Programming public space brings With such a long history, the Pier communities together to have a means a lot of di erent things to a shared, collective experience through lot of di erent people. Sure, it might art, whether in a park watching a be a “must-do” for tourists, but it’s Shakespeare production, painting a also important that the Pier has rel- mural together or attending a neigh- evance for Chicagoans. We want to borhood music festival. provide opportunities for unique cul- tural experiences by the lake. It’s one One of the most v s ted tour st of the most beautiful settings in the attract ons for out-of-towners, city, and for guests to be able to also have an art experience at the same 21

time is magical. The works we present are was built. Navy Pier’s Centennial Plan is that come back consistently with lawn chairs often ambitious, but always accessible. We about the next hundred years—how can the and picnic baskets—the regulars! People are try to present things here that can’t, or hav- space better serve its citizens? How do we looking for the programming schedule and en’t, been done anywhere else in Chicago. truly make the Pier the People’s Pier? One making their plans accordingly. It’s working. For example, it was shocking to me that the thought was to expand public programming. artist Nick Cave—globally celebrated and The Pier did an extensive engagement pro- What do you see as Navy P er’s key lauded—had not had any of his performative cess, led by Dickerson Global Advisors, ask- changes s nce your appo ntment n works seen in Chicago. Navy Pier was the ing cultural leaders in Chicago and across th s pos t on and what are your plans first presenter of his wonderful performance the country about best practices and models for the future piece, “Heard” and “Up Right,” and it was of truly engaging public programs in public the first time Chicagoans got to see his spaces. It provided a great foundation that The vibe is just so di erent now. The physi- Soundsuits come to life. Nick is an artist with was built on actual insights and expertise of cal transformation of the Pier—more green local, national and international appeal, so local programmers and artists on how best space, cleaner sight lines to the lakefront, it was extremely rewarding to provide a plat- to activate the Pier with programs. At the modern and contemporary upgrades to the form that could engage all those audienc- heart of it is collaboration, and it’s proven to interiors—has changed the guest experi- es—including Chicagoans—in one space. be the basis for all our programs. ence. I’ve been here less than three years and I can see and feel it, but for others who Turn ng Navy P er nto a cultural When do you get a sense of ach evement have lived through some of the other itera- awaken ng has been a personal tions, it just must be astonishing. It’s not the challenge for you an you talk about When I walk around the Pier or when I am at same Pier. If you haven’t been here in the your v s on and how t has evolved a performance and I hear people say, “Wow, past five years, you just don’t know. So, the I had no idea this was here!” “When did they biggest change I’d like to see is public per- Well, it’s not my vision, but the vision of the start doing this?” or to hear how much artists ception about Navy Pier. Pier’s Centennial Plan. I suppose it goes even love performing at our new stages in Polk further back to the vision that famed architect Bros Park—is when I feel a sense of achieve- Looking ahead, we plan to improve and ex- Daniel Burnham had for the Pier in the early ment. It’s absolutely gorgeous to have the pand on the programming we’ve introduced lake at your back and the majestic skyline in over the past couple of years, and continue s. Creating a series of lakefront piers was front of you while listening to a jazz perfor- to find new ways to uphold our mission as part of Burnham’s plan for Chicago—to cre- mance or watching a movie outdoors. And of the People’s Pier by creating and o ering dy- ate spaces for citizens to enjoy the lakefront course, you see the reward in the faces of the namic experiences to the public unparalleled and have a space for respite and relaxation audiences. But the best marker are the folks to anywhere else in the city—or the world. along the shores. This was the only one that Newcity MARCH 2019 22

MARCH 2019 Newcity 23

Newcity MARCH 2019 Since the Great Fire paved the way for a city center to adapt a new grid street layout to today, Chicago is constantly growing and changing shape. And powerful design has been a driving force in its success—whether by juxtaposing the old with the new, between towering skyscrapers, a collection of buildings designed by pioneers of modern architecture such as Ludwig Mies van der Rohe and Frank Lloyd Wright, and the city’s signature, beautifully aging red brick that stretches across neighborhoods; or by the emergence of the city's growing tech and innovation culture that has placed us among the hottest startup centers. Not to mention setting the bar high for progressive urban living by immersing locals and out-of-towners in a world of art and design, by celebrating conceptual fashion creations or by building world-renowned brands and fascinating one-of-a-kind interior spaces. ¶ Design has come to include all as- pects of our lives: from the clothes we wear, to the products we consume, to the spaces we inhabit, to the brands we love. We devour it yet we rarely stop to think about the people who make it happen. Those behind the scenes, who drive the creation of form, function and beauty. ¶ We honor them with this year’s Design 50 list. ¶ Considering leadership, influence and vision as its principal measures, here’s those who lead Chicago’s design ecosystem into steady, collaborative growth, those who make a splash putting the city in the national and international spotlight and those, whose up-and-coming nature doesn’t com- promise their big ventures, visions and ideas. ¶ Here’s Design 50 2019 and, for the first time, the Newcity Design Hall of Fame—the cornerstones of Chicago design scene who’ve already made this list year in and year out, and without whom it could not stand. (Vasia Rigou) DESIGN 50 2019 IS WRITTEN BY VASIA RIGOU A L O N G W I T H N I C H O L A S C E C C H I, N A N C Y C H E N, L E A H G A L L A N T, DUSTIN LOWMAN, KRISANN REHBEIN, YETTA STARR, CAT STRAIN, KAYCIE SURRELL, TANNER WOODFORD AND MICHAEL WORKMAN. ALL PHOTOS BY NATHAN KEAY WITH PHOTO ASSISTANCE BY LIZZIE COOK. SHOT ON LOCATION AT NAVY PIER’S CRYSTAL GARDENS. 24

14. CHERYL DURST 2. HOWARD TULLMAN 1, Virgil Abloh ruptive innovation,” working with IIT stu- 3, Todd Palmer dents on innovative ideas in tech is an ideal and Rachel Kaplan FOUNDER, OFF-WHITE AND MEN'S fit. “IIT has hundreds of graduates each year ARTISTIC DIRECTOR, LOUIS VUITTON who are the first in their families to go to EXECUTIVE DIRECTOR college, and unlike grads from other schools AND DEPUTY DIRECTOR, CHICAGO Homegrown Virgil Abloh is a fashion they are very interested in staying and work- designer. He’s a DJ and a music producer. ing in Chicago, not [leaving for] the West ARCHITECTURE BIENNIAL He’s the artistic director of Louis Vuitton's Coast,” Tullman says. “This represents a menswear collection since March 2018. And huge opportunity for tech companies and “Who gets included in the conversations of course, he’s the founder and CEO of the startups in the city, since it’s a key resource that shape the future of architecture in Chi- Milan-based label Off-White, the first luxury right in our own backyard.” cago is a critical concern of all of us at the fashion brand designed and owned by an Biennial,” says Chicago Architecture Bien- African American. He’s also the reason for nial executive director Todd Palmer, who, the most anticipated MCA exhibition of the year, “Figures of Speech,” which offers an 4. BLAIR KAMIN intense multimedia experience where visual art meets music, fashion design, graphic design and architecture and spans his entire career. One thing is for certain: Abloh’s bound to leave everyone impatiently wait- ing for what he does next. 2, Howard Tullman MARCH 2019 Newcity EXECUTIVE DIRECTOR, KAPLAN INSTITUTE It started with a computer course Howard Tullman took at the Ed Kaplan Family Insti- tute for Innovation and Tech Entrepreneur- ship, known then as the Illinois Institute of Technology, in 1963 while he was still in high school. Now Howard Tullman has come home as the Kaplan Institute’s exec- utive director. Known for his style of “dis- 25

22. MICHAEL WOOD & LYNN OSMOND 3. TODD PALMER alongside deputy director, Rachel Kaplan, been a leading voice of pushing the devel- great design. Living proof is the private leads the largest architecture and design opers of Lincoln Yards to improve on the home that Tadao Ando designed for him exhibition in North America toward its third design character of their epic plans. Kamin that sits in Chicago’s Lincoln Park neigh- edition. “As we endeavor to use this as a has won over thirty awards, including the borhood right next to the exhibition civic platform, we feel responsible to open Pulitzer Prize in 1999 for a series about space—a space that combines steel, up and diversify who's at the table,” he says. Chicago's lakefront. exposed brickwork with sleek concrete “So we're including the broad yet distinct surfaces and is dedicated to architecture publics that visit the Cultural Center and 5, Fred Eychaner and socially engaged work. One of the most our neighborhood sites. We're including powerful Chicagoans, Eychaner, is famously school kids, plus those who connect to so PRESIDENT, ALPHAWOOD FOUNDATION media-shy, but his donations, quietly sup- many allied interests from art to environ- porting arts organizations, architecture mentalism to preservation and community Fred Eychaner, media entrepreneur and preservation, AIDS/HIV research and treat- advocacy. As these civic dialogues become philanthropist, president of the Alphawood ment, domestic violence, gay rights advo- both more inclusive and expansive, the Foundation and one of the Wrightwood 659 cacy groups and the LGBT community at subject we're talking about—the future of gallery founders, has always had an eye for large, have made waves for years. architecture as something shared between Chicago and the wider world—can't help 6. ALBERTO VÉLEZ but be transformed into something more Newcity MARCH 2019 impactful to us all.” 4, Blair Kamin ARCHITECTURE CRITIC, CHICAGO TRIBUNE Two words encircle Blair Kamin’s twen- ty-seven-year career as architecture critic at the Chicago Tribune—problems and promise. “Part of the role of a critic is not just to evaluate what’s there, but also to expand people’s visions of what could be,” Kamin says. This duality is crucial to sus- taining dialogue in a city that treasures, but also interrogates, its architecture. His work confronts a broader context, discov- ers new ideas, and even demands systems that are accessible physically as well as socioeconomically. Recently, Kamin has 26

6, Holly Hunt, AIA Chicago and recently 7. C A R O L R O S S B A R N E Y Neil Zuleta, Alberto Vélez declared by Metropolis maga- zine as Chicago’s “new Daniel FOUNDER-CEO; Burnham,” Carol Ross Barney SENIOR INTERIOR ARCHITECT; reigns as the undisputed cham- DESIGN DIRECTOR, HOLLY HUNT pion of Chicago’s civic sphere. From CTA stations to parking Splitting her time between Chicago and infrastructure at O’Hare to Aspen, Holly Hunt continues her program the 606, she’s elevated the for world domination, following relentless architecture of the public realm expansion from the company’s first show- and improved the daily lives room in the Merchandise Mart. Selling the of Chicagoans. And of course, studio in 2014 to Knoll, Inc., under which her envisioning and designing Hunt’s company still thrives as an inde- the Chicago Riverwalk has pendent entity and where she continues been transformative. as CEO, she opened her first European showroom in London’s upscale Mayfair 8, John Vinci that same year, adding to her already-open locales in New York and Miami. Acquisi- VICE PRESIDENT, tions and collaborations included Christian VINCI HAMP ARCHITECTS Astuguevieille and the 2016 takeover of the Classic Collection from Vladimir Our buildings need heroes like Kagan’s Design Group. John Vinci. A lifelong Chicagoan, Vinci has restored significant 7, Carol Ross Barney buildings and spaces including the Glessner house by H. H. DESIGN PRINCIPAL, Richardson, the Frank Lloyd ROSS BARNEY ARCHITECTS Wright Home and Studio, the Sullivan Center (formerly the Hailed as the “People’s Architect,” earning Carson, Pirie, Scott and Com- a Lifetime Achievement Award from the Calling All Creative MARCH 2019 Newcity Thinkers and Makers Adult Continuing Education courses for new and experienced artists and designers. Flex your creativity and connect to a new community at a world-class institution. Register Now Art, design, and writing courses for adults, teens, and kids. SAIC CONTINUING STUDIES | | [email protected] | 312-629-6170 27

pany Building) by Louis Sullivan and the 13. FELICIA FERRONE ered unflattering, she called the customer Monadnock Building by John Wellborn Root. and convinced her to cancel the sale. Ikram A fervor to save the city’s historic fabric Hobson, Linda Johnson Rice and Michelle recounted her experience dressing Michelle informs his work. Whether collaborating with Obama), for her larger-than-life persona, Obama to Vogue in 2016: she said that while fellow preservation enthusiast Eric Nord- and for her honesty in fashion matters, she’s deeply proud of her work with the strom, advocating an alternative site for the whether positive or negative. Her success First Lady, it would have been gratifying proposed Obama Presidential Center, or depends on seemingly infallible taste, which regardless of the title. “To me, it's a privilege perfecting detailed drawings of Louis Sullivan sometimes stretches to unorthodox lengths: to be able to dress the women who trust and and Dankmar Adler’s demolished Gar- upon learning that one customer had pur- me to help them represent themselves every rick Theater, Vinci remains steadfast. He chased an $8,000 dress that Ikram consid- day,” she said. “That is a huge honor.” believes that to value Chicago’s built envi- Named to the Best of Fashion 500 every ronment, it’s about “Education, education, 12. RICHARD WRIGHT year since 2013, Ikram is unquestionably a education. We need people to know why legend in her own time. these buildings are important—to have a ‘propaganda of preservation’ so it is in the 10, Michelle Boone psyche of the general public.” In an era when Chicago is pummeling its historic building CHIEF PROGRAM AND CIVIC stock at an alarming rate, we need his voice. ENGAGEMENT OFFICER, NAVY PIER Michelle Boone was appointed to the newly 9, Ikram Goldman created role of chief program and civic engagement officer of Navy Pier in August FOUNDER, ikram 2016. Seeing public space as a place of opportunity for local artists and creatives, Ikram Goldman’s mother would line her and Boone focused on developing programs her eight siblings up for inspections as she that support Chicago's vibrant arts and was growing up. No detail was left unscru- culture scene, partnered up with cultural, tinized. This emphasis on appearance would educational and community-based organi- form the root of Ikram’s own appetite for zations and creative industries, striving to fashion, whose development culminated in elevate the overall Navy Pier experience. the internationally renowned store Ikram, Her latest project? Turning Navy Pier into in River North. Since opening in 2011, the a beach in the middle of the harsh Chicago store has risen to global prominence, men- winter with the help of Brooklyn-based tioned alongside Paris’ Colette and Milan’s Snarkitecture and EXPO Chicago, by bring- 10 Corso Como as one of the world’s fore- ing the traveling immersive installation The most fashion outlets. The store is synony- Beach in for two weeks in January. Rumors mous with Ikram herself, who is known for are that if Navy Pier is ever to become cool, her high-status clients (including Mellody she’s going to make it happen! Newcity MARCH 2019 28

11. TANNER WOODFORD 28. DAVID GARDNER 41. SKY CUBACUB 11, Tanner Woodford driving a Toyota minivan buying at flea in the city have a much larger international MARCH 2019 Newcity markets and thrift stores across the coun- profile than local one. The design scene is FOUNDER-EXECUTIVE DIRECTOR, try. From there, it was a matter of time until very much about pushing the boundaries DESIGN MUSEUM OF CHICAGO he got beaten by the auction bug. The most of avant-garde design rather than pursuing important part: as he continues to evolve strictly commercial goals. My vision is to Tanner Woodford believes that “rising tides and push creative boundaries in the continue to be free of commercial con- lift all ships.” A newly minted father who ever-shifting design world, Wright still feels straints and do work that resonates inter- has turned to painting to release creative the same thrill to this day. nationally, pushing boundaries of what energy, Woodford eagerly looks toward design can be when integrated into our the future with plans for a show with Chi- 13, Felicia Ferrone daily lives as functional, artful objects. Those cago Public School kids at the museum in of us here are continuing to support and April. A big fan of taking calculated risks PRINCIPAL, fferrone Design push each other to the very top levels of and learning through process, Woodford design, some of the highest coming out of is an advocate for generating art and “I feel that Chicago is about ‘destination’ and the United States. I hope to continue to design that communicates with the public. worldwide reputation,” says Felicia Ferrone, create work that fully explores and expresses “Design happens to us,” says Woodford. principal of fferrone design, who spearheads new ways of thinking of objects that we His practice is not simply design, it is about an international multidisciplinary design interact with daily in our domestic lives and generating free and open spaces that take practice offering interior architecture, exhibit that they continue to resonate universally.” care of our neighbors. design, furniture, package design and home accessories. “When you consider the Chi- 14, Cheryl Durst 12, Richard Wright cago food scene, the most highly ranked restaurants nationally and worldwide are EVP-CEO, INTERNATIONAL INTERIOR OWNER, WRIGHT AUCTION scattered about the city as destination loca- DESIGN ASSOCIATION (IIDA) tions and I feel this parallels the design Headquartered in an elegant 40,000- scene as well. The unhindered creativity, As executive vice president and CEO of the square-foot building in the West Loop, with which is pushing the boundaries of modern IIDA, Cheryl Durst flourishes in a field that a second, newer location on Madison Ave- design you see across design and food here tackles major social issues such as school nue in New York City, Richard Wright has in Chicago,” she says. “ We are all working safety, urban decay and poverty. “Design handled more than 40,000 lots of twenti- independently and less dependent on a as a social and purposeful pursuit is critical eth- and twenty-first-century design since local movement or area to define our cre- to how we function as a society,” she says. its founding in 2000. Wright created a ativity. I also feel that many of us working “It can improve, enhance and support the world-class auction house after years of 29

Biennial in 2014 and also teaches art history at the School of the Art Institute of Chicago and University of Illinois Chicago, Zoë Ryan seems to do it all. Exploring the impact of architecture and design on society, she pays attention to the exchange of creative ideas, as well as the diverse histories that define the present and shape the future. Her vision for the future? “Looking forward, we see our role at the Art Institute of Chicago as encouraging an interdisciplinary space, both locally and globally, for conversations across the worlds of architecture and design, fields that have always been a force in this city and which continue to play an essential role in contributing to our built environment.” human condition.” Under her leadership, 16. ZOË RYAN 17, Betsy Ziegler IIDA demonstrates that diversity, equity and inclusion are critical to a well-lived life and 16, Zoë Ryan CEO, 1871 meaningful corporate citizenship. Her work has a profound impact on the organization’s JOHN H. BRYAN CHAIR AND The first female CEO of 1871, Chicago’s dig- 15,000-plus members, as well as the larger CURATOR OF ARCHITECTURE ital startup incubator ranked among the top field of design. in the world, is here to stay. Formerly chief AND DESIGN, DEPARTMENT innovation officer at the Kellogg School of 15, Christopher Jobson OF ARCHITECTURE AND DESIGN, Management at Northwestern, Ziegler, who THE ART INSTITUTE OF CHICAGO took the reins from Howard Tullman, dreams FOUNDER, EDITOR-IN-CHIEF, of a future where talent meets opportunity COLOSSAL A design curator and author, the John H. in a place that fosters creative collaboration, Bryan curator of Architecture and Design within which companies can make truly Converting a personal art and design blog and chair of the Department of Architecture innovative ideas a reality. into a full-time job, Christopher Jobson built and Design at the Art Institute of Chicago, Colossal from the ground up. Starting by who curated the second Istanbul Design 18, Amy Zinck, cataloguing the work of established and Jennifer Siegenthaler emerging artists across disciplines, Colos- sal now features a wide range of topics and Eva Silverman spanning visual art, architecture and design, photography and illustration. Colossal also EXECUTIVE VICE PRESIDENT explores the blurred lines between art and AND PROGRAM DIRECTORS, science, and for its efforts, ended up with TERRA FOUNDATION a Utne Media Award for arts coverage, a Webby Award nomination and awards and A groundswell of design awareness has accolades including recognition from orga- come to town, courtesy of Art Design Chi- nizations such as the National Endowment cago and the Terra Foundation team that for the Arts, TED and the PBS series Art21. produced it. “The Terra Foundation mobi- The greatest compliment may have been lized the cultural community to examine the description as the \"Tate Modern of the Chicago’s remarkable history as a major Internet\" by Fast Company. American design center through the foun- 19. MATTHEW HOFFMAN Newcity MARCH 2019 30

18. EVA SILVERMAN, AMY ZINCK JENNIFER SIEGENTHALER dation’s citywide initiative Art Design Chi- 19, Matthew Hoffman Chicago to the world. Sarah, who remains MARCH 2019 Newcity cago,” writes Amy Zinck, executive vice on the board, says the Biennial has president, Jennifer Siegenthaler, program ARTIST, DESIGNER AND FOUNDER, exceeded its founders’ expectations: “With director for education grants and initiatives YOU ARE BEAUTIFUL HEADQUARTERS each iteration, it is becoming more of an (overseeing ADC), and Eva Silverman, proj- institution, more of a presence and an ect director of Art Design Chicago, in a Matthew Hoffman’s art has made it all the opportunity to support challenging work.” group correspondence. “The initiative way to Antarctica—stuck to a stuffed pen- What’s next? As part of a continued collab- deepened awareness and understanding guin placed next to a live equivalent. Creator oration with DCASE and other cultural of lesser-known aspects of the city’s design of “You Are Beautiful,” those silver stickers institutions, Herda is working on the launch legacy. The ways in which Chicago’s cre- in bathrooms across the country, Hoffman of a Chicago Arts District. atives shaped the look and feel of American wanted to make something that was simply daily life—through their mass-produced good. Disappointed in modern marketing 21, Dave Mason streamlined products and conveyances; schemes, he created the stickers, which pioneering graphic designs in advertising blew up into a worldwide phenomenon. FOUNDING PARTNER, MULTIPLE, INC. and film; inventive typefaces; culture-shift- Looking for ways to spread the love, Hoff- ing publications; and so much more—were man opened up the You Are Beautiful Head- Dave Mason is passionate about design revealed through scores of Art Design quarters in Avondale. The building is part and how it permeates our daily lives. A Chicago exhibitions and public programs shop, part studio and open to the public. founding partner of the graphic communi- at cultural institutions across the city and cation firm Multiple, Inc., Mason has spent beyond in 2018, along with new publica- 20, Sarah Herda his professional life creating brand experi- tions and documentaries that are lasting ences for a wide-ranging portfolio of clients. resources for future projects.” And what DIRECTOR, GRAHAM FOUNDATION He’s as multifaceted as his client roster, do they envision the future efforts might incubating ventures like the Cusp Confer- entail? “We hope that by better under- Rooted in a Chicago-based institution, ence, a Chicago-based meeting that has standing the influential work of local Sarah Herda places the city at the nexus celebrated the cross-pollination of ideas for designers of the past (as a result of Art of a global conversation about architecture more than a decade. With collaborators, Design Chicago), contemporary practi- and design. As a founding co-curator of the Mason's most ambitious project is Power- tioners will take inspiration from and build Chicago Architecture Biennial, Herda used Player, described as a “sports feedback on the Chicago traditions of innovation, encyclopedic knowledge of contemporary platform” a data-driven tool designed to modernization and democratization of design to launch the event. Now in its third measure youth athletes’ sports practice. design going forward.” version and rooted more deeply in Chicago’s “Too much emphasis is put on winning and communities, the event has evolved to bring 31

32. ELIZABETH KELLEY 21. DAVE MASON 23, Bonnie McDonald imately two out of five of these requests and Lisa DiChiera pertain to landmarks in Chicago. Preserva- losing at the game,” he says. Mason feels tion e orts operate on multiple levels: res- there’s value in providing metrics on the PRESIDENT-CEO AND DIRECTOR cuing specific buildings from demolition behavioral nuances of the practice process OF ADVOCACY, LANDMARKS ILLINOIS (such as the Harley Clark Mansion in Evan- as an integral component of the game. Pow- ston); concentrating attention and resources erPlayer is steaming ahead with investors Bonnie McDonald and Lisa DiChiera lead on neighborhoods (recently, Bronzeville); and early coach-leadership support across a team at Landmarks Illinois that receives and advocacy for legislative incentives for the United States, Canada and Europe. over 5,000 requests each year from Illinois preservation and adaptive reuse, like the residents who hope to protect the built state’s historic tax credit. 22, Lynn Osmond environment in their communities. Approx- and Michael Wood 23. LISA DICHIERA AND BONNIE MCDONALD PRESIDENT-CEO AND SENIOR DIRECTOR Newcity MARCH 2019 OF PROGRAM STRATEGY, CHICAGO ARCHITECTURE CENTER The Chicago Architecture Center, which began in 1955 as the Chicago Architecture Foundation, has been headed by Lynn Osmond since 1996, o ering guided tours of the city with memorable docents and the only real, true, best Architecture River Cruise. Iin 2010, Osmond hired Michael Wood as director of program strategy  and they, along with their team at CAC, have expanded programming for both the public and pro- fessionals through exhibitions, competitions and public engagement in architectural and urban thinking. This dynamic growth cul- minated in their relocation into an Adrian Smith + Gordon Gill-designed space in Mies van der Rohe’s 111 East Wacker Drive, along with a premiere exhibition of designs for the new O’Hare Terminal. 32

From music to film: you want to be here. Join us for our 2018-2019 visual and performing arts season! 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. Most of our programs are FREE. Logan Center Photo: Hypnotic Brass. 773.702.ARTS for the Arts 915 E 60th St uchicagoarts loganUChicago

229.9. E R I C W I L L I A M S ticing faculty have forged deep partnerships with institutions and cultural events to immerse students in possibilities. 26, Jason Fried CO-FOUNDER-CEO, BASECAMP Thanks to Jason Fried and co-author David Heinemeier Hansson, you have the perfect gift for your boss. “It Doesn’t Have To Be Crazy At Work” is a book on why shorter hours make for happier and more produc- tive employees. At Basecamp, an online task and project management system, employees are gently discouraged from working more than forty hours a week. Fried is living proof that the approach pays off. 24, Greg Lunceford 25, Robert Somol 27, Bill Fienup CURATOR OF EXHIBITIONS, DIRECTOR, SCHOOL OF ARCHITECTURE, CO-FOUNDER AND DIRECTOR CHICAGO DEPARTMENT OF CULTURAL UIC CHICAGO OF INNOVATION SERVICES, mHUB AFFAIRS AND SPECIAL EVENTS Robert Somol has fully embraced the archi- “Five years ago when we set out to build tecture profession’s diversity of practice in mHUB, my vision was to retain the talent Greg Lunceford, curator of exhibitions at the UIC Chicago’s programming since 2007. and bright minds that were leaving the the Chicago Department of Cultural Affairs Somol, an accomplished author, design Midwest,” says co-founder Bill Fienup, a and Special Events, deserves a public ser- critic and theorist, puts education experi- mechanical engineer, product developer vice medal for his long-standing efforts to ence in the spotlight so students attain the and serial entrepreneur. “We've done a great place Chicago visual culture front and cen- skills and mindset to tackle the unscripted job creating the conditions for product ter. “Design, at its core, is a solution-based future of architectural practice. Under innovation to thrive. We have given our concept. One which patiently listens for Somol’s leadership, the institution and prac- community access to an ecosystem with answers and delivers ideas,” Lunceford says. all the equipment, mentorship, talent, man- “That offering has many choices, be it pub- ufacturing connections and resources lic art, community-based activations, formal teams need to be successful in launching exhibitions, performance or even procession. new companies,” he says, describing Chi- The concept will show you the best avenue cago’s first innovation center focused on for impact. To be honest, I’m not sure how physical product development and manu- my work contributes to the design scene, facturing. His vision? Chicago becoming it’s not my focus. I’m concerned with where the epicenter of product innovation for the we’ll be in a few years and how will my work United States and attracting thought lead- be timely and engaging to future questions.” ers from around the country to join our Among those future questions, Lunceford highlights archives as a turning point, and 2 7. B I L L F I E N U P points to the current Goat Island Archive Newcity MARCH 2019 exhibit as a prime example. Archives “are living testaments eager to teach and inspire. This particular exhibition has been devised to replicate the generative and pedagogic processes of Goat Island while reflecting upon the extent of the company’s influences. We’ve spent the better part of two years focusing on how to present, and in fact extend, this particular archive. This inter- national project will combine display, per- formance, collaboration and convening.” 34

collaborative culture, where ideas are community event to celebrate cultural diver- 30. ABIGAIL shared and built upon to invent life-chang- sity through expression, music and art, that GLAUM-LATHBURY ing products and technologies. has become an institution in the Hyde Park neighborhood as well as Chicago at-large. Make America Great Again hats and pussy 28, David Gardner hats as examples of how we wear politics 30, Abigail Glaum-Lathbury on our sleeves—or our heads. After running FOUNDER, COLORJAR, THE BIG JUMP her own collection of ready-to-wear wom- FASHION DESIGNER en’s clothing for ten years, Glaum-Lathbury “The power of great brand design will trans- embarked on the nascent field of critical form Chicago,” says David Gardner, founder “Clothing can be a vehicle for different fashion, which treats clothing design of brand consulting and design firm Color- conversations. It’s something that we all not as a commercial practice, but as a form jar, which specializes in revitalizing brands participate in every single day,” says of social commentary. A political but play- at key moments of change in order to drive designer Abigail Glaum-Lathbury, citing ful angle runs through her work, which more effective business results. “As Color- ranges from open-source patterns to Jar reinvents iconic Chicago brands, they 31. ZURICH ESPOSITO democratized jumpsuits. Her next series each add fuel to the city becoming its best,” AND JOAN POMARANC uses fashion to explore copyright and trade- he says. “We see ourselves as part of a mark law. Its name? The Genuine Unautho- larger creative community of brand, design rized Clothing Clone Institute, or Project and art professionals who work to shape G.U.C.C.I. for short. the city we love.” Gardner, who was a pro basketball player before he founded, from 31, Zurich Esposito his bedroom, the company that has grown and Joan Pomaranc into one of Chicago’s top-rated branding firms, is about keeping busy. His latest ven- EXECUTIVE VICE PRESIDENT ture: The Big Jump—a podcast about human AND PROGRAM DIRECTOR, AIA CHICAGO reinvention where, as he explains it, he sits At the head of Chicago’s chapter of the down with pro athletes to discuss how American Institute of Architects, Zurich they’ve leveraged their athletic minds for Esposito and program director Joan Poma- success beyond sports. ranc have transformed a once-moribund chapter of the professional organization. 29, Eric Williams Through Esposito’s guidance and Poma- ranc’s dedication and force of will, the Chi- OWNER, SILVER ROOM cago AIA, backed by an exceptional staff, is now one of the most vibrant chapters At the intersection of art, culture, and com- nationwide, as well as a strong civic advo- munity, Eric Williams has striven to make a cate for the quality of urban space in Chi- difference for twenty years, whether at his cago. Through special programming— Silver Room boutique—where handpicked including the AIA national convention in artwork, one-of-a-kind clothing, whimsical jewelry, accessories and home goods, and even a carefully curated selection of music peacefully coexist—or organizing the annual Silver Room Sound System Block Party, a MARCH 2019 Newcity 35

gallery located within the Chicago Pedway. 2019 will be a year of uninterrupted pro- gramming for Space p11, which Solomon hopes will help establish the Pedway as a prominent site of cultural intersection. Of his broad-scale mission, Solomon says, “The challenges that the world faces are larger than the impact a professional prac- tice tends to make when it stays in its lane. I need to encourage [students] to find new paths, to see challenges more holistically, to communicate more horizontally with others in order to tackle them.” 33. JONATHAN SOLOMON Department of Architecture, Interior Archi- 34, Marcia Lausen tecture and Designed Objects (AIADO) in 2014 and continued partnership with the 2015, Jonathan Solomon made clear that DIRECTOR, UIC SCHOOL OF DESIGN, Chicago Architecture Biennial —and design his overarching goal was “to encourage FOUNDER CHICAGO OFFICE competitions, exhibitions, talks and civic designers to take an activist approach in OF STUDIO/LAB education, Esposito and Pomaranc educate, culture broadly, to demonstrate the rele- showcase and empower the design profes- vance and necessity of design in areas such As Director of the UIC School of Design, sionals of Chicago. as finance, politics [and] ecology.” A Chi- Marcia Lausen, who also founded the Chi- cago native, Solomon has long borne wit- cago office of Studio/lab, sees her design 32, Elizabeth Kelley ness to a shift in Chicago’s narrative, from practice in the context of an academic a city fixated on limitless progress to a city anchored in a public research university. PUBLIC ART ADMINISTRATOR, addressing more elusive problems like “The UIC School of Design graduates sixty- CHICAGO TRANSIT AUTHORITY depopulation, decentralization and re-en- to-eighty future designers and design lead- gagement with the natural world. Solomon ers each year. Chicago is one of the world's To see fresh, dynamic public art in Chicago, has invited creative leaders like Amanda great cities, and most of our graduates stay look no further than your local CTA station. Williams, whose boundary-blurring archi- here to build their practices,” Lausen says. Elizabeth Kelley, who worked for the city of tectural work investigates color, race and “Over the past two decades, the field of Chicago for fourteen years before signing space in Chicago, and activism-minded design has expanded dramatically.. There on to manage public art for the Chicago practitioners such as Eyal Weizman, an is growing awareness for the role design Transit Authority in 2012, says that the city architect who uses the tools of design for can play in the strategic realm of many other is experiencing an era of vigorous support forensic analysis. Solomon also co-directs disciplines and design professionals are for public art. “Artists have always been the newly established Space p11, an art increasingly in demand to act as catalysts problem solvers,” says Kelley, and artists for change and to serve as leaders in team- and public art are recognized as being more based interdisciplinary exchange.” That having more impact than ever. “Across the approach comes with boundaries for Lau- city, we’re experiencing an all-time high of sen. “The power and popularity of design commitment, investment and activity in thinking should not be dismissed, but it is public art.” Current CTA project highlights not design,” she says. “I am committed to for Kelley include installations at the reno- pedagogical values that are grounded in vated Green Line Garfield station, with critical analysis but also in disciplinary site-specific and multimedia artworks designed by Nick Cave, and the rebuilt Red 34. MARCIA LAUSEN Line 95th Street Station, which will feature Newcity MARCH 2019 a combination of visual art, a functional radio booth and programming envisioned by Theaster Gates. 33, Jonathan Solomon DIRECTOR, DEPARTMENT OF ARCHITECTURE, INTERIOR ARCHITECTURE AND DESIGNED OBJECTS, SAIC Upon his appointment as director of the School of the Art Institute of Chicago’s 36

expertise and aesthetic sophistication. My These folks, or the roles they inhabit, are so well-established and work is to attract and cultivate a faculty, foundational to the design world of Chicago that they are always each engaged in a uniquely relevant form near the top of the list. of design, that collectively represents cur- rent and emerging forms of design practice.” Dirk Denison Iker Gil FOUNDER, 35, Celeste Adams DIRK DENISON ARCHITECTS DIRECTOR, MAS STUDIO PRESIDENT-CEO, Dawn Hancock Scott Wilson FRANK LLOYD WRIGHT TRUST FIREBELLY DESIGN FOUNDER-PRINCIPAL DESIGNER, “The presence of a Frank Lloyd Wright house Helmut Jahn MINIMAL can be a uniting and energizing focus of neighborhood volunteerism and pride,” says CEO-DIRECTOR OF DESIGN JAHN Theaster Gates Celeste Adams, president and CEO of the Frank Lloyd Wright Trust. Adams has carried Jason Pickleman FOUNDER-EXECUTIVE DIRECTOR, this spirit forward since 2010 through the OWNER, JNL GRAPHIC DESIGN REBUILD FOUNDATION Trust’s mission of engaging, educating and inspiring through the interpretation of John Ronan Nick Cave Wright’s design legacy. “Eventually, I think Chicago will be the most beautiful great JOHN RONAN ARCHITECTS DESIGNER AND FASHION CHAIR city left in the world,” Wright predicted. With PROFESSOR, FASHION DESIGN, Adams, his vision is in good hands. Kara Mann SCHOOL OF THE ART INSTITUTE OF CHICAGO 36, Carrie Norman FOUNDER-CREATIVE DIRECTOR, and Thomas Kelley KARA MANN DESIGN Cody Hudson FOUNDERS, NORMAN KELLEY, LLC Alisa Wolfson CREATIVE DIRECTOR, EVP-HEAD OF DESIGN, STRUGGLE INC. Carrie Norman and Thomas Kelley’s teach- LEO BURNETT ing experience informs their provocative, Jeanne Gang intellectually driven designs. For the inau- gural Chicago Architecture Biennial, the FOUNDING PRINCIPAL, partners introduced extreme scale to an STUDIO GANG urban audience when they created six- ty-five reflective façade windows for the Rick Valicenti city’s Cultural Center, paying homage to historical architectural details. The expres- FOUNDING DESIGN DIRECTOR, sive graphic motifs invited visitors from THIRST their streetscape view. Inside, individual portals framed city views in a deliberate, MARCH 2019 Newcity intimate way. Norman Kelley's authentic work has attracted institutions, including the Graham Foundation for Advanced Studies in the Arts. 37, Anna Cerniglia DIRECTOR, JOHALLA PROJECTS “My vision is to create more artistic collab- orations that give artists more platforms to live, exhibit and perform in,” says founder and director of Johalla Projects Anna Cerniglia, who is also a freelance producer and a lecturer at the School of the Art Insti- tute of Chicago. “Johalla’s mission is to honor the integrity of artist's work while also celebrating the diverse ways they can engage with the city and audiences,” she says. Cerniglia spends her time tirelessly working on converting unconventional spaces into alternative venues for exhibiting art throughout the city—from a storefront, to a party venue, to the streets, to a mall. The only thing bigger than her love for art 37

with the Freeman School of Business at Tulane University to develop an innovative Masters program focused on “Entrepre- neurial Hospitality” that is dedicated to preparing graduate students for the future of hospitality in business. When he’s not working you can find him at his Fulton Market District gallery and event space, Morgan’s on Fulton, where you can talk art—Geier is a sculptor and a lifelong arts benefactor—or cars and motorcycles at his newly founded Morgan Street Motor Club, which convenes every third Sunday of the summer months. 3 7. A N N A C E R N I G L I A ence into Ol’Style, a business consultancy 39, Chris Eichenseer practice existing within the real estate, is her love for the city:  Cerniglia has offered retail and hospitality industries. There, he FOUNDER-CREATIVE DIRECTOR, creative consulting and has produced large- works hand-in-hand with property devel- SOMEODDPILOT scale installations for festivals—including opers, owners, restaurateurs and global Pitchfork and Lollapalooza—as well as a retail brands to assist with all components “There are so many odd facets to reality, to wide range of pop-up public programming, of the process, including: project manage- time, to the universe—there must be some spanning lectures and talks, murals, exhi- ment, owner representation, site evalua- odd pilot flying the plane and taking us all bitions, immersive installations, events at tions, planning and programming, ideation, on this ride,” says Chris Eichenseer, founder a local and national level for over a decade, product design, brand positioning and of the Wicker Park design studio and visual “I really love Chicago,” she says. “I am excited development, fabrication, manufacturing, communication agency that started as an to see the city's recent economic and cre- budget, bidding and general construction indie record label twenty years ago. Still ative growth because it makes room for oversight. His latest venture? Collaborating curious about art and design, branding, companies and individuals to support mean- product development, the power of the ingful art acquisitions and creative projects experience, and most importantly, life itself, that enhance it.” Eichenseer works in between aspects of culture. The latest, bringing to life “Space 38, James Geier Becomes You,” their first capsule collection that launched as an apparel line, a photo FOUNDER-PRESIDENT, book, an art exhibit and a film—with one 555 INTERNATIONAL, burning desire: to make the world a more FOUNDER, OL'STYLE CONSULTING 38. JAMES GEIER The man behind 555 International, an Newcity MARCH 2019 award-winning global interior design, development and fabrication firm based on the South Side of Chicago, which under- takes projects worldwide designing and manufacturing custom wood, metal, light- ing, signage and feature products, is more impressive than the work itself. With a fine arts degree, alongside industrial engineer- ing and business administration education complemented by thirty-plus years expe- rience, and behind some of the most elab- orate interiors in town including the Soho House fifth-floor bar, the creative and eclectic Girl and The Goat, the Goose Island Brewhouse, the Madhouse Team- store for the Chicago Bulls and the Black- hawks, and many others, Geier will get the job done with his signature roll-up-your- sleeves attitude and “cool heads prevail” philosophy. A fierce supporter of the local community, he brings his real-life experi- 38

inspiring place for everyone. \"Someoddpi- lot started in the late nineties in Chicago, and I want to see that level of community realized anew,” he says. “I’m talking about places to go, shows to see, art and music to make, forget your phone and your iLife, and actually BE with the people who care about what’s going on, who want to see more, play more, talk more and freak out together more. That’s what Public Works is, that’s where we are hoping to take it, that’s what Someoddpilot can do—bring people together in a real way.\" 40, Jenna Blazevich 39. CHRIS EICHENSEER who are queer, trans, disabled, fat/plus-size folx and people of color to feel like they have FOUNDER-DESIGNER, VICHCRAFT 41, Sky Cubacub a future that is celebratory of our existence,” Cubacub says. “I want all spaces and scenes A feminist lettering shop, an activism-driven FOUNDER, REBIRTH GARMENTS to recognize the importance of accessibil- design studio, a collaborative workshop ity and that if a space is accessible, more space, a social media sensation—Vichcraft “My vision of the future is always for it to be than the ADA requires it to be, everyone’s is the brainchild of independent graphic more accessible to disabled folx including experience will be improved. I hope my work designer and artist Jenna Blazevich. Blazev- people with physical disabilities, mental helps shift attitudes and promotes radical ich is taking over the Chicago design scene illness, neurodivergent, intellectual/ devel- visibility for everyone that society has one meticulously stitched slogan at a time. opmental disabilities and beyond,” says Sky shunned.” Spreading her psychedelic aes- Blazevich collaborates with small busi- Cubacub, who founded Rebirth Garments, thetic via fully customizable fluorescent-col- nesses and world-renowned brands alike, a brightly colored line of clothing, lingerie ored spandex fabrics, sheer negligee tops, sets up pop-up shops at local craft fairs and accessories to fill a void in fashion “for metallic catsuits, add-on mermaid tails or and markets and throws chain-stitching people on the full spectrum of gender, size elaborate scalemaille headpieces, Cuba- events dragging her eighty-year-old Cornely and ability.” “I want people, especially youth cub’s super-inclusive and disability-specific machine around the city. And it’s worth it clothing makes sure to convey an electric because by now you probably already own energy that is impossible to ignore. a piece of her work: a tote bag, a mug, a bandana or a denim jacket with her signa- ture slogan “Girls to the Front” stitched on the back. 40. JENNA BLAZEVICH 42, Benjamin Edgar Gott MARCH 2019 Newcity DESIGNER AND FOUNDER, BOXED WATER, THE OBJECT COMPANY, THE BRILLIANCE Boxed Water is better. Benjamin Edgar Gott should know. Starting with the idea of cre- ating a bottled-water brand that is kinder to the environment, Gott realized that water should not be bottled at all, but boxed instead. His eco-friendly packaging idea took the form of 250ml and 500ml cartons, and was suddenly everywhere. The maker and design entrepreneur has kept busy with his Object Company, th-oughts, and The Brilliance spanning design objects, apparel design and writing. Gott makes sure he remains radically creative. His vision? “No longer the concern of the ‘second’ city, and instead producing work that is specifically ‘Chicago’ and a reflection of our sensibilities without comparison to other metros,” he says. “I'm interested in increasing accessi- 39

bility to contribute to the context of what this city is. I have no concern what some- one's pedigree is, background, etcetera. I'd love to continue to flatten the playing field so that the best rises to the top.” 43, Otis D. Gibson and Heather Knapp CHIEF CREATIVE OFFICER AND PRESIDENT, GERTRUDE “Five years ago, fourteen-year-old GER- TRUDE relocated our headquarters to Pilsen to better align the agency’s foundation in fostering a culture of creativity, global inno- vation and brand development with what we view as one of Chicago’s most dynamic, creative and inspiring communities vital for the city’s creative future,” says GERTRUDE founder and chief creative officer Otis D. Gibson, who, together with the company’s president Heather Knapp, strive to be dif- ferent than your average agency—from consumer co-creation, incubation, and 43. HEATHER KNAPP activation of brands, as well as serve as the AND OTIS D. GIBSON agency’s new headquarters along with its two divisions OZ MFG. CO and RAYE. Gib- 44, Emmanuel Pratt son says, “GERTRUDE is creating a concept with the agency’s own mark of design CO-FOUNDER-EXECUTIVE DIRECTOR, craftsmanship, imagination, and branding SWEET WATER FOUNDATION that will see closer collaboration between our clients, consumers, and a wide array of Self-described artist and social practitioner disciplines across the Chicago creative Emmanuel Pratt tells the story of the Sweet community within a modern, premium, mer- Water Foundation, a mash-up of urban curial working environment that perfectly agriculture, art, education and think-do lab, aligns with Pilsen’s reputation as a for- like a proud parent with boundless energy. ward-looking hub for the city’s creativity He describes the Perry Ave Commons and culture.” neighborhood garden hub he helped craft as “regenerative placemaking” and the soul of the organization, transforming vacant urban lots into productive assets. “We oper- ate between the public and private sector,” 45. ANDREA REYNDERS, ANNA BROWN, GILLION CARRARA Newcity MARCH 2019 42. BENJAMIN EDGAR GOTT concept to design to execution. Working with high-end clientele that include global companies such as Absolut Vodka, Adidas, Coca-Cola, Diageo, Disney and Google, GERTRUDE always meant to be a global agency and has expanded to offices in Lon- don and New York. But when it comes to design and fabrication, collaboration on a hands-on level with artists and craftsmen within the local community is key. GER- TRUDE remains proudly Chicago-based. Taking it a step further, they are developing a 35,000-square-foot, seven-city-lot prop- erty in the heart of the neighborhood that will be a hub dedicated to the development, 40

he says. Pratt’s ability to coalesce creative interventions with public exhibition in “We The Publics,” a collaboration with Dan Porelli and “Radical [Re] Constructions,” broadens the conversation about connec- tivity with nature and the impact of com- munity-conscience economic development. 45, Andrea Reynders, 48. CALEB VANDEN BOOM, 46, Maria Pinto Anna Brown, MAX TEMKIN AND SARAH GARDNER CREATIVE DIRECTOR-FOUNDER M2057 Gillion Carrara made a conscious decision to form a col- lective out of a mutual respect for one A favorite of former First Lady Michelle FOUNDERS, another, and a respect for the work we do,\" Obama, Mick Jagger and Oprah Winfrey, WE ARE MATERIAL says Reynders. \"We all work independently Maria Pinto is not afraid to start over. After but when joining forces we feel we have closing her brick and mortar store in 2010, The we are MATERIAL manifesto is to rede- formed a new strength going forward.\" her label M2057 was fully backed by crowd- fine artisanal tradition by intersecting with funding. Her work sits at the crosshairs of contemporary silhouettes. Their goal is minimalist design and contemporary prac- create meaningful experiences through ticality. Named for the year she will turn 100, design practice, collection design and mate- M2057 is focused on low-maintenance, rial sourcing. Andrea Reynders, professor high-function clothing that looks amazing emeritus of the School of the Art Institute but can also be thrown into the wash. Fashion Design Department and design director of the Chicago Fashion Incubator at Macy's, joined forces with founding direc- tor of the School of the Art Institute Fashion Resource Center and faculty member Gillion Carrara, as well as Anna Brown, whose designs are informed by historical mens- wear and workwear, twentieth-century art and design, and the built environment’s interaction with nature. \"Unlike a family where you do not get to choose who you belong to, we as colleagues and friends 47. K Y L A E M B R E Y AND SARAH AZZOUZI 47, Sarah Azzouzi MARCH 2019 Newcity and Kyla Embrey FOUNDERS, LOST GIRLS VINTAGE Lost Girls Vintage is Sarah Azzouzi and Kyla Embrey—and Winnie, their hand- painted 1976 camper van that started it all. True to the Peter Pan reference they were named after, they see fashion as a nev- er-ending adventure: From in-town pop-ups to cruising with style across the country, and from a mobile vintage store, to a brick- and-mortar home inside Humboldt Park’s Humboldt House and to another soon to open in Pilsen. “Lost Girls Vintage is more than just a vintage clothing business—it's a mindset,” they say. “We want to lead the way in creating unique retail experiences that are both fun and meaningful, where you don’t have to choose between style and values. We see our scene at the inter- 41

she finds the perfect cowskin rug, taxidermy or mid-century-modern piece scavenged from flea markets and thrift stores around the country. “I believe the creative com- munity will find more support and com- munication internally than ever before,” she says. “I envision that we will all share contacts and outlets, embrace each other and help each other reach our goals and maximum potential. We will all rise and prove that, once again, Chicago is a city filled with amazing creatives and that we all work together to help the city thrive and produce great entrepreneurs.” section of good design, sustainability, 49. NICOLE ALEXANDER 50, Sarah Burrows accessibility and fair labor practices. Small and Nick Behr businesses can have big impacts!” and café; Solo salon; and Dustin Drank- iewicz’s cocktail bar, The Pink Squirrel— FOUNDERS, MODERN SPROUT 48, Max Temkin, Siren Betty founder and principal designer Sarah Gardner Nicole Alexander pays attention to detail, “Our mission is simple,” say Sarah Burrows and Caleb Vanden Boom carefully listening and anticipating her cli- and Nick Behr, founders of Modern Sprout, ents’ needs, leaving no stone unturned until “uncomplicate indoor gardening.” Bringing GRAPHIC DESIGN TEAM, the benefits of hydroponic growing to your CARDS AGAINST HUMANITY home, the husband-and-wife team, who began gardening in their small Chicago It was December 2010, when Max Temkin apartment, is determined to turn all homes and seven friends launched a Kickstarter into green ones, providing sustainable project to print a card game they had been solutions for all—whether with cilantro, working on for years. Cards Against Human- cherry tomatoes or Asian herbs. Their ity, a self-proclaimed “party game for hor- design is sleek, too: Colored Mason jars, rible people,” has since been crowned the ceramic tumblers, black glass vases, king of party games, and Temkin has wooden planters and misters of brass make become an important figure in the Chicago sure plant life looks more like a design design scene, tirelessly working alongside object carefully matched to home design. his design team, Sarah Gardner and Caleb Just add water. Vanden Boom, to bring contagious laughter to the masses. 50. NICK BEHR AND SARAH BURROWS 49, Nicole Alexander Newcity MARCH 2019 FOUNDER-PRINCIPAL DESIGNER, SIREN BETTY Leading the all-women team behind some of the most Instagram-worthy places in town—The Press Room, discreetly located in the basement of The Publishing House, the eleven-room West Loop bed-and- breakfast; Quiote Mexican restaurant and lounge; pHlour all-natural bakery 42

Don’t Rest on Your Laurel and Hardy: & CultureHarmonyKorine’s1997“Gummo” The Films of Harmony Korine rtsMusic Box Theatre, March 15-March 21

Art Newcity MARCH 2019The Philanthropist Dawoud Bey, \"Untitled #1 (Picket Fence and Farmhouse),\" from the series \"Night Coming Tenderly,and the Black,\" 2017. Rennie Collection, Vancouver.Photographer On Dawoud Bey’s Career and Recent Work By Elliot Reichart At a time when chaos is the world order cathedral of St. John the Evangelist, complet- beginning with his seminal “Harlem, U.S.A.” and nothing is normal save for the shattering portraits, which establish the photographer's of norms, a record-breaking real estate ed in 1852 and since then the seat of the transaction early this year went relatively central concern: the representation of black unnoticed: $238 million paid for a penthouse Roman Catholic Diocese of Cleveland. In overlooking New York’s Central Park, the most Americans as they are and as they see expensive residential sale in American history Chicago, the works get their due in the best to date. The buyer, hedge-fund owner photography gallery in the city, a contemporary themselves. As Bey says, “I began to make Kenneth C. Griffin, has spent an estimated cathedral to our secular icons with filtered light photographs that had more to do with what I $700 million in all on homes and much more streaming in through glass walls and vaulted was seeing and experiencing in Harlem, and on contemporary art, $500 million alone on a what the people I was photographing in de Kooning and a Pollock in 2016, the largest ceilings. But to appreciate the magnitude of private art sale in history at the time, and a this new series and how dramatic a departure Harlem were offering me rather than some reassuring ripple in a downturned art market. preconceived notion about how I could put a Kindly, Griffin lent both paintings to be it represents for Bey, it’s imperative to look displayed for a stint in the Art Institute of back on his career of forty years, each chapter positive visual spin on the black experience.” Chicago’s Modern Wing, which Griffin himself a groundbreaking development in the practice From the beginning, photography for Bey was put $19 million toward building in 2009, a reciprocal process, a “civic act” or a earning his name on the breathtaking atrium and history of contemporary photography. that vaults over the museum’s expansive “philosophy of negotiation,” writes Harvard art collection of modern and contemporary art. Fortunately, that task has been made historian Sarah Lewis in her introduction. This Now on display in a first-floor gallery in Griffin’s Modern Wing is a body of stunning new work substantially more fathomable by the recent tenet carries through demonstrably in his by America’s preeminent photographer Dawoud Bey, its first museum showing since release of “Dawoud Bey: Seeing Deeply,” a Polaroid street photos—Type 55, which peel the artist made the photographs last summer for Cleveland’s inaugural FRONT Triennial. voluminous monograph with all the luxurious apart into a positive and a negative, the former There, the work was displayed in a church, the a gift to his subject and the later kept for Bey’s detail of a Phaidon-style tome and all the enlargements—and his subsequent large-for- scholarly heft of a catalogue raisonné. mat color Polaroid portraits. These have Published by The University of Texas Press, the book combines brief scholarly essays by always been my favorite, both for their rich colors and the varied focal distances—each artist and photo-historian Deborah Willis, subject composed as more than a sum of their poetic musings by Hilton Als, reflections by Bey himself, and contributions by others, each parts. For Bey, the move from the streets to considering a chapter in the work of the artist the studio constituted not a departure from his and followed by gorgeous, full-page reproduc- central concern, but a deepening of his work tions of selected images. Chronologically, the in the dynamics of mutual subjectivity, seeing and being seen. reader is swept through Bey’s life’s work, 44

Sara Cwynar Image Model Muse March 8–July 21, 2019 Sara Cwynar, Tracy (Cezanne), 2017. Dye sublimation print. Courtesy of the artist, Cooper Cole, Toronto, Foxy Production, New York. © Sara Cwynar

Newcity MARCH 2019 Whit Forrester, \"Sainted Tree, Ireland,\" 2016, archival inkjet print To that end, in 2001 Bey embarked on “The photographer Roy DeCarava and poet and gold leaf. Chicago Project,” the start of a series of works Langston Hughes—in “Dream Variations” called “Class Pictures,” in which he connected Hughes writes “Night coming tenderly / Black ART TOP 5 art institutions and high schools in America like me”—but here, too, is a reflection of through residencies that culminated in portraits American landscape photographer Ansel 1 Farewell to Schneider of students and recorded conversations about Adams. Unlike Adams, who captured soaring Gallery. Schneider Gallery. their sense of self and how they imagine images of the West through the white eyes of A final sale and reception on others perceive them. In these works, Manifest Destiny, Bey finds the dark and March 8th will mark the end reproduced in the book with excerpts from the secluded spaces that sheltered enslaved blacks of more than three decades students' conversations, photography joins and protected them from this very same white of showing photography in with the spoken word to convey the complexi- impulse to master. Bey subverts the academic River North. ty of representation as a visual and emotional hierarchy of genres, the pecking order of conversation with others and with oneself. picture-making that proclaims the historic 2 Yinka Shonibare CBE. From here, Bey firms up the conceptual human subject most worthy of a grand tableau. Driehaus Museum. structure of his later work. ”Strangers/ Having worked for decades to place black Inaugurating a new series of Community” and “The Birmingham Project” people on the historic scale once reserved for contemporary exhibitions, the each operate in a logic of pairs. The former whites, Bey turns to black history and black Driehaus Museum brings the brought together two strangers from a single landscapes to do the same. work of a famed British artist community for a double portrait, capturing a to an all-too-apt setting of a fleeting moment conjured by the photographer. Bey had, in fact, begun photographing Gilded Age mansion. The latter, a somber meditation on the 1963 landscape and architecture a few years before terrorist bombing of the Sixteenth Baptist this most recent project. In 2016, he returned 3 Laurie Simmons. Church in Birmingham, pairs portraits of young to New York for “Harlem Redux,” a series that Museum of Contemporary black people from Birmingham with communi- captured the rapidly changing urban landscape Art. Do not miss this major ty elders. The youths are the age of the four that upper Manhattan had become. These retrospective of a pioneering girls who were murdered in the blast, the color photographs confound the gaze with feminist photographer. adults are the age they would have attained if shallow focal distances and busy compositions. they had not been subjected to such Peering through the plywood peepholes and 4 Existing Work: Claire unfathomable hatred and violence. Bey took orange plastic netting of construction sites, Ashley. Corner Gallery. the portraits individually, only matching them Bey appears to search for a Harlem that has A new series of window after all the photographs were made. Leigh all but disappeared. Businessmen pass by the work kicks off with a colorful  Raiford has written insightfully on this project: shuttered Lenox Lounge, a blood-red graffito installation by a Chicago “Together the sitters for ‘The Birmingham drips over a rendering of a coming high-rise, favorite. Project’ are simultaneously surrogates, white people wait to be seated outside a mourners, witnesses, community, and agents sunny restaurant patio. A blunt reading would 5 Sub(Urban). Hyde Park of their own narratives. These subjects, then, call it a record of gentrification, but Bey’s Art Center. HPAC's are not symbols but flesh and bone.” I would myopic technique and uncharacteristic eighty-year anniversary calls add that together ”Strangers/Community” and vignetting convey the personal sensation of for a reflection on the changing “The Birmingham Project” constitute an disorientation he must have felt in seeing role of the art center in the important development in Bey’s photographic Harlem in the year that America elected its neighborhood. practice, foregrounding the artist’s agency not property-developer president. only as an image-maker but as an author of 46 encounters and a historian. In this move, the Kenneth Griffin’s Manhattan penthouse was still reciprocity of Bey’s practice is not diminished being developed when he purchased it. but begins to encompass larger interlocutors: Construction was underway after the mid- human experience and history itself. dle-class tenants of the prior twenty-story, rent-controlled building were evicted and the Enter “Night Coming Tenderly, Black.” Bey’s structure was demolished in 2013. Almost exhibition at the Art Institute marks his return to exactly a year before the New York purchase, gelatin silver prints and a shift in his gaze from Griffin paid $59 million for the top four floors of human portraits to the landscape around then unfinished No. 9 Walton complex in northern Ohio, a waystation for enslaved African Chicago, another record broken. Neither of Americans traveling along the Underground these neighborhoods—Columbus Circle or the Railroad toward freedom in Canada. He Gold Coast—could be said to be gentrifying, photographs woods, a marsh, humble rural but perhaps they are re-entrenching what is homes with picket fences, and the vast already a yawning chasm between the wealthy expanse of Lake Erie under the Midwestern sky. and the rest of us. With another $60 million The rolling wave seems to gesture backward, penthouse in Miami and a $122 million mansion and I am reminded of the Door of No Return on in London, it is likely that Griffin won’t spend Gorée Island, where it is said the captured much time in his New York pied-à-terre. But on Africans passed through into the Atlantic on a clear day when he is there, I hope he looks their way to slavery in the Americas. Gelatin north from his penthouse balcony, across silver prints are developed in salty fluids; the Central Park and all across Manhattan, to see sheer magnitude of these prints must have Harlem as it never was before. required a small ocean of silver halides to manifest their sweeping tonal range from Dawoud Bey's \"Night Coming Tenderly, Black\" deepest black to faintest gray. Ironically, it is shows through April 14 at the Art Institute of precisely the reflective character of the gelatin Chicago, 111 South Michigan. \"Dawoud Bey: silver printing that can produce such legibly Seeing Deeply\" was published in September subtle gradations of darkness. Bey cites 2018 by The University of Texas Press.

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 Robert Heinecken January 29–May 19, 2019 Mr. President... Mr. President... AAdllmariesswioenlciosmalew. ays free. 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

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 Through August 25 Purchased Lives: The American Slave Trade Through March 2019 Garden Project: Jenny Kendler and from 1808 to 1865 Brian Kirkbride – The Playhead of Dawn Opening September 22 Memory Unearthed: The Lodz Ghetto THE BLOCK MUSEUM OF ART Photographs of Henryk Ross Through October 27 Activists and Icons: The Photographs At Northwestern University 40 Arts Circle Drive, Evanston, IL of Steve Schapiro 847 491 4000 [email protected] / LOGAN CENTER EXHIBITIONS Tues, Sat–Sun 10-5, Wed–Fri 10-8, Mon closed January 26–July 21 Caravans of Gold, Fragments in Time: Art, Culture, At the Reva and David Logan Center for the Arts 915 E. 60th Street, Chicago, IL 60637 and Exchange across Medieval Saharan Africa 773 702 2787 January 26–April 14 Isaac Julien: The Leopard (Western Union [email protected] / Tues–Sat 9-9, Sun 11-9, Mon closed Small Boats) February 1–March 17 Karthik Pandian & Andros Zins-Browne: Atlas Unlimited (Acts V–VI) 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–Sat 11-5:30 Tues–Sat 11-6 March 1–April 27 New Paintings by Amy Laskin: COME AS YOU ARE February 2–March 30 Maia Cruz Palileo: All The While I Thought DEPAUL ART MUSEUM You Had Received This At DePaul University MUSEUM OF CONTEMPORARY 935 W. Fullerton Avenue PHOTOGRAPHY 773 325 7506 [email protected] / At Columbia College Chicago Mon–Tues closed, Wed–Thurs 11-7, Fri–Sun 11-5 600 S. Michigan Avenue January 17–March 31 Karolina Gnatowski: Some Kind of Duty 312 663 5554 January 17–March 31 Betsy Odom: Butchcraft [email protected] / Mon–Wed 10-5, Thurs 10-8, Fri–Sat 10-5, Sun 12-5 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 Gray Warehouse: 2044 W. Carroll Avenue 773 795 2329 By appointment only – contact gallery for information [email protected] / 312 642 8877 Mon–Fri 10-5 [email protected] / Through April 5 Kleine Welt: Paul Klee + Zachary Cahill, April–July Theaster Gates: Every Square Needs a Circle R. H. Quaytman, David Schutter (Gray Warehouse) 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 March 1–April 13 Robert Heinecken: Mr. President... Mr. President... [email protected] / Mon–Sat 10-5 March 15–April 5 61 at 61, Rock & Roll Photography by Michael G. Bush March 15–April 5 Out of Nowhere, presented by Defibrillator Gallery March 15–April 12 Jasper Goodrich: Boat, presented by 062 Gallery

Dance Newcity MARCH 2019 Lindsay Renea Benton/ Photo: Shoccara Marcus A Glocal Celebration how African derived dance forms fit within the concert dance world, and who address the Red Clay Dance Company presents La Femme Dance Festival issues of identifying as a black, African or at the Green Line Performing Arts Center Afrodiasporic woman in their choreography. By Alyssa Motter Sanders-Ward expresses how the festival serves as an extension of RCDC’s mission Self-proclaimed movement “artivist” and Since the onset of her company’s tenth-anni- and uniquely fits within the company’s tenth Chicago-native Vershawn Sanders-Ward has versary season in 2019, Sanders-Ward, as anniversary season. “The festival very much affected the Chicago area dance community well as fellow curators Lela Aisha Jones, connects with our mission as a company,” in meaningful ways for the past decade founder of Philadelphia’s FlyGround, and she says. “We talk about cultural and through her Red Clay Dance Company Aaliyah Christina, founder of Chicago’s socioeconomic imbalances. We see the (RCDC). As the Afro-contemporary compa- Catalyst Movmnt, has been preparing for the limited opportunities presented for not only ny’s founder and artistic director, Sand- third edition of La Femme Dance Festival at female choreographers, but specifically ers-Ward aims to spur “glocal” change and the newly established Green Line Performing female choreographers of color, so we see foster cultural and socioeconomic equity Arts Center. Open to women artists from this festival as a platform to counter those through the performance, creation and teach- around the world, the biennial festival imbalances and work toward equity in dance ing of dances from the African Diaspora. celebrates dancemakers whose work is presentation. The whole anniversary season Even though her choreography has taken her grounded in African and African Diasporic has been about celebrating resilience, and to international locales. from Toronto to forms, and provides presentation and being able to continue to grow, prosper and Senegal to the Dance Transmissions Festival professional development opportunities for this survive in our current climate and to hold on in Kampala, Uganda, Sanders-Ward remains historically underrepresented group in concert to and maintain our humanity in that process. dedicated to using global perspectives to dance. This year’s curators specifically sought I think as a company we’ve always realized foster dance in Chicago. artists who are exploring ways to expand on that we’re stronger together. It’s not just about the work that Red Clay creates. Collaboration and partnership have allowed 50

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