Two long, drip-irrigated plant beds run parallel to the southernmost wall of KAM Isaiah Israel, a Reform synagogue that straddles the border between Hyde Park and Kenwood. Some sections of the two beds bear different varieties of kale and collard greens. Others are filled with what appear to be weeds but are actually a cover crop, storing up carbon and nitrogen in the soil for produce that will be planted in weeks to come.
The kitchen of St. Ailbe’s Catholic Church, located in Calumet Heights, was filled on the evening of April 5, with people and smells. It smelled good, like something frying.
A crowd gathered in Daley plaza on August 15, 1967 to witness the unveiling of the “Chicago Picasso.” The installment was an unprecedented one—up until then, Chicago public sculptures had mostly taken the form of commemorative statues. The “Picasso” would signify a new direction for Chicago city art away from the commemorative style. Later installments like “Cloud Gate,” which are now entrenched parts of the downtown landscape, exemplified this artistic shift.
In the absence of light, darkness prevails.”
The back room of Envision Unlimited’s Rose Center, in Back of the Yards, is piled to the proverbial ceiling with arts and crafts materials: boxes of old lace, a package of sequined hats, a children’s doll whose head had, at some point in its transport, become decapitated from its body. Sorting through it all is Monika Neuland, a social practice artist, educator, and consultant who works with agencies that provide services for those with physical and developmental disabilities. Envision Unlimited, the organization which owns the Rose Center, is one of these. The arts supplies are a donation that will help sustain the various arts programs that Neuland leads around the Chicago area, including the mask-making workshop taking place here in the Rose Center.