The policy, the numbers game
Nobody said out loud that night, on February 23, that it was the last night of A.M. Frison’s residency at the Stony Island Arts Bank.
On the first floor of the Lacuna Artists Lofts, near the abstract floating reclaimed wood sculpture, past the neon Converse All-Stars wall hanging, around the eleven-foot-tall vintage cowhide couch-swing with USB port armrests, you enter a narrow room.
A stone’s throw away from Chicago’s downtown area, one might find oneself in this nondescript, inconspicuous neighborhood called Bridgeport. With its post-industrial sheen, one would never guess the historic significance it holds: thousands and thousands of immigrants started up their American dream right here. It was a start-up for throngs arriving from throughout Europe. Word spread that boundless opportunities and streets paved with gold would welcome you. Bridgeport was booted up to the thriving union stockyards and the central manufacturing district. Abundant back-breaking work was available for everyone hardy or foolish enough to partake in this new American way of life. Saloons on every corner took the edge off the drudgery. Newly built churches and schools catered to your ethnic origin, gave you community.