What’s New

A Steadfast seasonal favorite

It begins festively enough with a giant advent calendar revealing hints of the story to come. Some symbols are cheering, like wreaths and a violin. But others are mysterious—why a giant fish and a wheelbarrow? 

In The Steadfast Tin Soldier, created and directed by Mary Zimmerman (from the story by Hans Christian Andersen), we soon see all of these symbols appear in the plot through the ancient art form of pantomime. The immensely entertaining cast of five players and four very interactive musicians tells a big story (with the help of some astounding puppets from the Chicago Puppet Studio). The tale is fraught with devilish clowns, stern adults, and naughty bullies who try to thwart the imagination of one toddler (played by a giant puppet) during his playtime. More importantly, the action follows his favorite tin soldier, who is earnest, brave, and disabled. The soldier wishes only to be with his true love, a paper ballerina in the nearby dollhouse. 

The Steadfast Tin Soldier Through 1/8: Tue 1:30 and 7 PM, Wed 7 PM, Thu 1:30 and 7 PM, Fri 7 PM, Sat 1:30 and 7 PM, Sun 1 and 6 PM; Fri 11/25 1:30 and 7 PM, Wed 11/30 6:30 PM only, Tue 12/13 7 PM only, Sat 1/7 2 and 7 PM, no performances Thu 11/24, Tue 11/29, 12/6, and 1/3, and Sun 12/25; audio description and touch tour Sun 12/11 1 PM and Fri Jan 6 7 PM, sensory friendly performance Thu Jan 5 1:30 PM; Lookingglass Theatre, 821 N. Michigan, lookingglasstheatre.org, $65-$75

Like any great adventure/romance, the obstacles are many, and highly improbable, making space for hilarity. The cast is seasoned to perfection (standout performance by Adeoye playing the Tin Soldier), and the orchestra adds such a festive mood to the show that you might want to bring along multiple generations to wonder at this charming holiday-inspired gem.

As in most Andersen fairy tales, there is a glum little sliver of realism peeking through the magic, perhaps to prepare children for some of life’s crueler plot twists. This production did not shy away from that, but serves it up on such a pretty platter, going so far as to add a particularly moving musical number at the end, that the audience can find the courage to leave the warm world of candlelight, fairy tales, and orchestra pit for the bluster and freeze of winter, feeling all the stronger for it.


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

A Steadfast seasonal favorite Read More »

Daring to win

Helen Shiller insists that the story of Uptown is not unique. After more than 50 years living in the neighborhood, it’s hard to disagree with her. In many ways, the most pressing concerns that Shiller first identified when she moved to the neighborhood in 1972 still haunt the wider city, and America as a whole: conflicts with police, a lack of adequate housing, and a deep-seated disconnect between the desires of working-class people and the politicians who represent them. In many cases, they’ve worsened.

But the story of Uptown is irreducible, and among Chicago neighborhoods, its history stands apart in many ways. Where gentrification crept north along the lake from the Gold Coast through Lincoln Park and Lakeview, Uptown’s lakefront today remains dotted by affordable high-rise apartments: buildings that could have easily become market-rate but didn’t, thanks to community organizing. Elsewhere in the neighborhood, countless institutions and even single apartment buildings testify to many different populations who fought hard to stay in place. 

Their identities are many: poor white families who migrated from abandoned Appalachian coal towns; Native Americans shoved in droves to cities due to federal resettlement legislation; scores of Southeast Asian families, displaced by American militarism in countries like Vietnam and Cambodia; people displaced from shuttered psychiatric clinics. There are countless others. No matter their specific identities, a common thread has united many who have called Uptown home: hardship. 

 Shiller first arrived in the community in 1972, called to move to the city from Racine, Wisconsin, by the Intercommunal Survival Committee (ISC), a cadre of about two dozen young, white organizers working under the guidance of the Black Panther Party (BPP). For the next 15 years, Shiller was a lively, committed community organizer who focused on the basic survival needs of the neighborhood’s most destitute residents. She lost a closely contested run for alderman in 1979. Eight years later, Harold Washington called upon Shiller to run again; she won, helping tip the balance of the City Council in Washington’s favor during his second term. Shiller remained in office for six terms before finally retiring in 2011.

Now, with the release of Daring to Struggle, Daring to Win: Five Decades of Resistance in Chicago’s Uptown Community (the title drawn from Illinois BPP chairman Fred Hampton’s call to action), Shiller looks back on her decades in service to Uptown, Chicago, and beyond. Shiller’s fundamental goal for the 46th Ward was to encourage development without displacing the ward’s low-income residents. Much of that approach has been swept aside under the past 12 years of Alderperson James Cappleman, who was a vehement Shiller critic for years before he took office.  

With Cappleman’s retirement ensuring that the ward will once more change hands, the question remains: will Cappleman’s pro-development approach, typified in the ongoing struggle around Weiss Hospital, endure? Or will progressive challengers reanimate the spirit of community activism that propelled Shiller’s work in Uptown? 

By the time Shiller won her aldermanic campaign in 1987, Chicago’s progressives were increasingly optimistic. After the narrow, bruising, racist vitriol that he faced in his 1983 election, followed by three years of “Council Wars” in which white, machine Democrats blocked much of his legislation, Mayor Harold Washington entered his reelection campaign that year on surer footing, boosted by a court-mandated ward remapping in 1986 that enabled the election of Hispanic progressives such as Jesús “Chuy” García and Luis Gutiérrez.

Daring to Struggle, Daring to Win: Five Decades of Resistance in Chicago’s Uptown Community. Haymarket Books, 11/2022

Following those elections, which drew the deadlocked council into a draw between its dueling factions, Washington called upon Shiller to run for office. Their twin victories in 1987 heralded a new opportunity to advance the issues that mattered to them both. Many of those issues had been what drove Shiller to move to Chicago in the first place.

But the electoral victories of Washington and his allies did not come out of thin air. It took more than a decade’s worth of patient, often violent struggle to create the necessary conditions for these victories, rooted in the Sisyphean challenge of overcoming Chicago’s existing political machinery.

When Shiller first landed in Chicago with the ISC, Uptown was home to an eclectic mix of residents. The neighborhood was a site of deep trauma worsened by unscrupulous landlords who were prone to torch occupied apartments after years of leaving them neglected. Fires raged through the community during the 1970s, with one occurring an average of every three days, leaving residents to sudden, violent dispossession of homes that already threatened their well-being. 

Among the neighborhood’s downtrodden residents, the interrelated consequences of poverty and other kinds of marginalization resulted in poor health outcomes. This reality hit Shiller in the mid-70s. While she was selling copies of the BPP’s newspaper, she happened upon a woman who she’d attended college with in the 1960s. Released from a nursing home for the mentally ill, the woman was wandering the neighborhood streets, lacking any of the critical support she needed.

“There were so many people in Uptown that needed services that were just being completely denied, and they were all mixed up together,” Shiller says. “People treated them all the same way regardless, so that nobody was having their needs met, and everybody was being manipulated by the machine.”

Intercommunal Survival Committee members sell the Black Panther Party newspaper in Uptown in the 1970s. Mark PoKempner, courtesy Helen Shiller

Shiller’s work didn’t simply ensure that her ward residents received effective government services. Her stubborn refusal to go along with the budget process is case in point: as a lone dissenting vote against many of Daley’s yearly budgets, she demonstrated through practical action just how little democracy Chicago residents could expect. A 1996 Tribune profile of Shiller described her as the Council’s “nag, its irritant, its prophet,” and one of Daley’s housing advisors, Marilyn Katz, described Shiller as someone “unbending in a city where people bend.”

Year after year, the city’s budget was a central battleground for Shiller’s approach. And her stubbornness worked: by presenting detailed questions about city resources and expenditures to each department, and working closely with lower-level staffers who weren’t subject to dictates from the mayor’s office to shun her, Shiller wrung resources from the city that might not have otherwise flowed into the community.

“The last thing they wanted was me to say anything about them and use their name, either positively or negatively, in front of the City Council,” Shiller says. “That wasn’t the point. The point was to get it done, and to figure out the best way to get the attention of a policy maker who could implement what we wanted.”

Shiller described the work as “bureaucracy busting,” demystifying the political machinery for the disenfranchised and otherwise ensuring that all service requests were addressed within 48 hours, even those made by constituents who did not support her politically. Her office consistently posted resources such as affordable housing waitlists and food drives, continuing the survival-program approach she first embraced when she came to the neighborhood. In this work, she circumvented Mayor Daley’s opposition, even as she knew it could ultimately reflect positively on the city’s executive branch.

“‘I am going to provide services in my ward that otherwise people wouldn’t get,’” she remembers thinking. “‘Guess what: [Daley’s] gonna get as much acknowledgment for having done that as I am, but we’re gonna provide the best service office in the city, in spite of [him].’”

After years of persistent opposition, Shiller endorsed Daley during the 2003 campaign. That political calculus was multifaceted, driven in large part by the mayor offering significant concessions to Shiller in the 1999 and 2000 budgets. As she writes in the book, “Once I endorsed Daley in 2003, the administration treated me just as they treated all of the other aldermen by allowing for aldermanic prerogative, which is essentially local democracy at work.”

Having the mayor’s support proved critical with the development of Wilson Yard, Shiller’s final major project and to this day an emblem of her approach to “development without displacement.” Constructed at the site of a former CTA repair station just south of the Wilson Red Line station that burned down in 1996, the five-acre plot became a fertile source of democratic planning within the neighborhood, initiating a decade-plus process to reimagine the site.

Planning began in July 1998 with a gathering of 250 ward residents at Truman College. It set the model for all future meetings, ensuring that residents of different backgrounds would have to talk with neighbors about competing visions for the project, building up different options that were detailed through hundreds of interviews and thousands of completed surveys. A referendum in the 1999 city elections in 11 neighborhood precincts asked voters if local, state, and federal resources should protect affordable housing in the ward. With 76.5 percent in favor, it suggested the community was ready for an ambitious undertaking.

Wilson Yard is impressive: the project built 178 units of affordable senior and family-sized housing, available to residents making 15 to 60 percent of area median income. With many in the ward opposed to an all-housing approach, the project also included the creation of a multi-floor property with a Target and other ground-floor retail, as well as the opening of an Aldi across the street. Developed using a Tax Increment Financing (TIF) district, a tool that Shiller had previously criticized for funneling resources to well-heeled developers, the project also included new parks for nearby Stewart School and Arai Middle School. Taken together, it reflected the contradictions and hopeful outcomes of working within a broken system, extracting the greatest possible benefit for the most people despite its many flaws.

“Without aldermanic prerogative, we never would have gotten Wilson Yards or any of the affordable housing that I was able to preserve and create in the 46th Ward,” Shiller says. “You can be sure that everything else would have kept going and the market would have taken over.”

Shiller and Harold, 1987With Tim Evans in the 1989 Gay Pride ParadeMeeting Nelson Mandela in 1994

Wilson Yard was a high-water mark for Shiller’s time in office, a parting gift for a community that had changed dramatically since she was first elected. By 2007, Shiller saw the finish line in sight: two decades in office had taken its toll, and she resolved to run one final race before she retired.

“If you don’t eat and breathe this work, you can’t do a good job,” Shiller says. “The ward had changed, and there were still many of the people that were part of my base, but too much of my time was spent on things that were not that important to me.”

The 2007 race saw a challenger who in many ways was Shiller’s antithesis: James Cappleman. By the time he ran for office, he had already served as president of the Uptown Chicago Commission, founded in 1955 to enact urban renewal projects in the neighborhood, including the Truman College redevelopment. Already a vocal opponent of Wilson Yard, which he compared unfavorably to Cabrini-Green, Cappleman revealed a deep frustration with Shiller’s insistent support for the ward’s destitute. As one Chicagoist journalist wrote after a debate between the candidates, “Cappleman makes much of his credentials as a social worker, yet the human component of managing a population that is coping with both mental illness and poverty is strikingly missing from his proposals.”

Cappleman, who declined to be interviewed for this article, could not unseat Shiller in her final campaign for office, taking 47 percent of the vote as her sole challenger. But after defeating tax attorney and fellow Shiller critic Mary Anne “Molly” Phelan in a runoff in 2011, he began to push back against his predecessor’s legacy, encouraging a new approach to development in the ward. After 12 years, a working-class toehold in the community has slipped, driven by increasing rental prices and a surge of high-end development that took its most dramatic form with the creation of the Stewart School Lofts, which transformed a long-standing elementary school into luxury apartments, reflecting the sharp decline in families living nearby. 

Much of this speculation has targeted one of the community’s most common sources of housing affordability: single-room occupancies, or SROs. Uptown has long had some of the greatest concentrations of these properties in the city, allowing long-term residents to stay in place for just a few hundred dollars a month. But it lost more than half of its SROs from 2008 to 2018, according to the Tribune, and has lost even more since then, with the 160-unit Lorali and the Darlington Hotel among the latest conversions. 

As alderperson, Cappleman has had a testy relationship with affordable housing advocates and the precariously housed in his ward. To Marianne Lalonde, a climate scientist and current 46th Ward candidate who came within 25 votes of unseating Cappleman in the 2019 election, his attitude has coarsened neighborly relationships within the community, bolstering the white, upwardly mobile people being drawn to the neighborhood through luxury development that has targeted the area for decades.

“When you set that example from the top down, you’re giving other people permission to act that way,” Lalonde says. “You’re saying that it’s OK for you to be disrespectful to your neighbors, and to me, that’s completely inappropriate. Your neighbors are your neighbors, regardless of income level.”

Lalonde has firsthand experience with the toll of rising rents in the area: when new owners acquired the six-flat she called home in 2020, they spiked her rent by $625 a month, a 35 percent increase. While she had the resources to put a down payment on a condo a few blocks away, she said other neighbors were not so lucky, including a single mom forced to accept an $800 increase so that her daughter could finish her last year of elementary school.

“I wrote to the new management company, and I said, ‘Do you know what you’ve done? Do you know the level of impact they’ve had on our building?’” Lalonde says. 

Gentrification takes place block by block, with the market steadily placing increasing pressure on residents. But it also comes in high-profile actions that signal imagined future changes. These were most recently on display when protestors occupied a parking lot at Weiss Hospital that was slated to have a luxury apartment complex built on the site. While the ward’s zoning advisory committee briefly blocked the project from moving forward, Cappleman’s influence reversed their decision. In August, protesters staged an 11-day occupation of the soon-to-be-redeveloped parking lot, with existing unhoused Uptown residents joined by community organizers. Dubbed Rise Uptown, it joins a long lineage of battles to promote community stability, public health, and affordability in the neighborhood.

At the same time, evidence suggests that gentrification forces are inexorably transforming the core fabric of the area. The 2019 sale of the Bridgeview Bank building, which had offered low-cost office space to nonprofits that served neighborhood residents, to Cedar Street, responsible for numerous SRO conversions in the area, exemplified these trends. Service providers openly discussed moving their bases elsewhere, in recognition that many of the residents they’d served no longer lived in the surrounding area. Paul Siegel, who has organized in the neighborhood over the past half-century, says that it’s been “death by a thousand cuts, and the cuts are getting bigger,” provoking the fighting spirit that remains grounded within the community.

“The two most recent cases are particularly bad and kill two birds with one stone, not only further undermining residential imbalance but threatening a needed community hospital and likely driving human service organizations from the area,” Siegel says. “However, we are not passive victims of this protracted assault, and as a result of our many struggles, Uptown’s multiracial fighting community still exists.”

Regardless of next year’s election outcomes, Uptown will continue to be shaped by the competing forces of gentrification and community resistance. Even as decades of transformation have resulted in the displacement of thousands of working-class residents, the bonds that countless people have formed to one of Chicago’s most inclusive communities are not easily broken, even as their physical presence is often lost.

That’s one of the animating themes of Dis/Placements, an ongoing research project led by UIC professors Anna Guevarra and Gayatri Reddy. Serving as a people’s history of Uptown, the project encompasses reading lists, guided walking tours, timelines, photography, and more, showing the unique imprint that these few square miles have had on the lives of countless people. Guevarra says that she felt the spirit of Uptown captured in Dis/Placements permeated the Rise Uptown occupations, creating a fleeting space beyond ordinary possibilities.

“People gathered to tell stories, share histories, and their dreams and visions for a just world,” Guevarra said. “Uptown has always been a gathering place, a port of entry for displaced communities, immigrants, the working class, and Rise Uptown reminded us of that history.”

As Shiller’s legacy and Cappleman’s tenure have demonstrated, albeit in disparate ways, resident involvement in day-to-day political activity is critical, regardless of political leadership. For Marc Kaplan, who began organizing with Shiller in the 1970s and most recently worked on the Weiss Hospital campaign with Northside Action for Justice, it’s this dedicated cadre of organized residents that is most critical to Uptown’s sustained political identity, not the politics of its officeholders.

“As we learned with 24 years of Helen as alderperson, no matter who’s in office, if you don’t have strong organizations that are pushing people’s power outside of the electoral structure, there are real limitations, even in the best of circumstances, as to what you can get done,” Kaplan says.

The problems that the neighborhood still faces are hardly unique, as Shiller first grasped decades ago. Their continued presence in the daily fabric of the political battles that define our city and many others is a testament to the long-term vision required for deep social change. Mayor Washington warned others that the necessary transformations would not come quickly, saying, “It will take 20 years to have an impact on institutional racism and institutional corruption.” Though Washington was only able to hold power for a fraction of the time he wanted to make these long-lasting changes, that mindset nevertheless stayed with Shiller.

More than a decade after leaving office, Shiller is just as dedicated to the issues that animated her decades of organizing and public service (while also picking up welding as a hobby). Much of her effort after leaving office has been dedicated to supporting the Westside Justice Center, an umbrella group that has housed nonprofit organizations and social justice-oriented legal aid attorneys, founded by Shiller’s son, Brendan. To celebrate the 50th anniversary of the founding of the Illinois chapter of the Black Panther Party in 2017, Shiller opened up her archives to the Center, helping curate an exhibit that’s still up at the Center’s headquarters at California and Harrison. 

For a moment, it also appeared that Shiller would return to City Hall, this time as the City Council’s first-ever independent financial analyst. With years spent poring over the city budget every fall, she considered herself a natural fit for the position, which first appeared in Rahm Emanuel’s 2014 budget recommendations. But by April 2015, Shiller withdrew from consideration, after her appointment became a lightning rod within the Council. 

Ironically, while her role as alderman elevated Shiller to a uniquely powerful position within Uptown’s organizing milieu, it’s the behind-the-scenes work of tending to archives, now stored in several hundred boxes in a multiunit home she shares with her granddaughter, that has allowed the many stories of Uptown as an organized community to endure. Guevarra and Reddy both credit Shiller for the dedication required to keep these materials intact, and are working with Shiller to digitize issues of Keep Strong, a magazine the ISC published from 1975 to 1980. Shiller, in turn, credits the Dis/Placements projects for ensuring Uptown’s history lives on, allowing people to see the ongoing impact within the fabric of the community.

While many have criticized Chicago’s ward model for entrenching the power of localized machine leaders over city resources, Shiller argues that Chicago’s democratic structure is worth salvaging. Its problems, she insists, are driven by Democratic Party power brokers using its spoils to help their friends instead of the everyday residents of Chicago’s 50 wards. Rather than have a chief of staff, her chief of survival set the tone for how her ward office treated its responsibilities: recognizing the ward office’s unique ability to connect government to people’s needs, and getting resources into the hands of residents.

“What came first was making sure that people had some place that they could communicate their needs, which then also informed the things that I needed to impact on the floor of City Council,” Shiller says. “That was an example of taking a structure, which can be good or bad, and putting in revolutionary content.”

In an election season with a near-unprecedented number of vacant seats, and a loss of more than 200 years of legislative experience, concentrated among alderpeople who happily followed this model, Shiller hopes those running will find ways to serve their constituents on an intimate level. While in office, the work was known as “bureaucracy busting,” an outlook that still resonates as Chicago’s government struggles to serve large swathes of its residents. Another approach is rooted in her years as a community organizer, drawn from the Black Panthers: survival pending revolution, borne from an awareness that people’s lives hang in the balance.

A quote from some of her own writing that hangs in a simple frame in Shiller’s home says it all. “We could live respecting our own potential as human beings and work for ‘power to the people,’” it reads, “or we could live and die with the haunting knowledge that we were afraid to respect and believe in ourselves and each other.” 


The group rejected the mainstream gay rights movement and kept alive the spirit of radical LGBTQ+ activism.


Gentrifying Uptown may be ready for the return of Helen Shiller’s spirit.


Let’s hope voters in states from North Dakota to West Virginia appreciate senatorial independence from Trump.

Read More

Daring to win Read More »

Apartheid and Antigone

Exquisitely paced and intellectually explosive, The Island at Court Theatre is a profoundly moving work of art. From the first moment, this production (directed by Gabrielle Randle-Bent, Court’s associate artistic director) seizes the audience and thrusts them into the world of two political prisoners of apartheid and doesn’t let go, even long after the play (written by Athol Fugard, John Kani, and Winston Ntshona) has ended. The exceptionally talented Ronald L. Conner and Kai A. Ealy play Winston and John (roles originated in 1973 by Ntshona and Kani), two affable cellmates on Robben Island, the same island where Nelson Mandela was imprisoned before apartheid fell. The stage is set starkly in Yeaji Kim’s design; in the center, a giant stone slab implying a scale swings heavily from back to front, soberly reflecting the lack of nuance in law. The tableaux is encircled with amber sparkling sand, evoking images of a magical circle of protection: a sacred space where one’s fundamental humanity might be retained, even amidst the brutality of cruel captors.

The Island Through 12/4: Wed-Fri 7:30 PM, Sat-Sun 2 and 7:30 PM; no show Thu 11/24, audio description Sat 12/3 2 PM (touch tour 12:30 PM), open captions Sun 12/4 2 PM, ASL interpretation Sun 12/4 7:30 PM; Court Theatre, 5535 S. Ellis, 773-753-4472, courttheatre.org, $40.50-$82

Within this circle Winston and John toil in painfully repetitive hard labor, and make plans to perform Antigone for the other prisoners. As complications arise, the bonds of their friendship are tested, and the Antigone performance takes on deeper meaning. The men and the audience are spurred to interrogate difficult questions. Is fighting for justice worth your life? What meaning is there in life without freedom? These are the kinds of questions not easily answered with words, and Randle-Bent deftly leverages silence and humor to illuminate the darkness. The Island is a riveting, philosophically sophisticated play that is a must-see for fans of meaty theater. 


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Apartheid and Antigone Read More »

Listen to The Ben Joravsky ShowBen Joravskyon November 23, 2022 at 8:02 am

Reader senior writer Ben Joravsky riffs on the day’s stories with his celebrated humor, insight, and honesty, and interviews politicians, activists, journalists and other political know-it-alls. Presented by the Chicago Reader, the show is available by 4 p.m. Tuesdays through Fridays at chicagoreader.com/joravsky—or wherever you get your podcasts. Don’t miss Oh, What a Week!–the Friday feature in which Ben & producer Dennis (aka, Dr. D.) review the week’s top stories. Also, bonus interviews drop on Saturdays, Sundays, and Mondays. 

Chicago Reader podcasts are recorded on Shure microphones. Learn more at Shure.com.

With support from our sponsors

Chicago Reader senior writer Ben Joravsky discusses the day’s stories with his celebrated humor, insight, and honesty on The Ben Joravsky Show.


The Florida strategy

MAGA’s attempt to scare white voters into voting against Pritzker didn’t work so well, to put it mildly.


It worked!

Leasing CHA land to the Chicago Fire is part of a longstanding plan to gentrify the city.


MAGA flip-flops

Men from Blago to Bolduc are trying to sing a new song.

Read More

Listen to The Ben Joravsky ShowBen Joravskyon November 23, 2022 at 8:02 am Read More »

The MCA Store helps Chicagoans give the gift of art this holiday seasonChicago Readeron November 23, 2022 at 3:10 pm

The Museum of Contemporary Art is synonymous with joy and expression. But some people don’t realize that, along with being one of Chicago’s top cultural destinations for its expansive galleries, cutting-edge exhibits, and carefully curated events, it’s an excellent place to find the perfect gift for the creative spirits and art lovers in your life.

This holiday season, visit the MCA Store in person or online to check out their wide assortment of eye-popping fashions, gorgeous housewares, brain-twisting games, and stocking stuffers. Whatever your budget, we’ve got you covered, and there’s always a discount for MCA Members.

So make your list, check it twice, and take a look at our fantastic gift ideas for the naughty, the nice, and everyone in between. 

For the world explorer

Illustrated by Martí Guixé, this 3D globe highlights the parts of the world where Mother Nature reigns, including scarcely populated deserts and jungles, and freshwater lakes, and glaciers. Use the colorful pins to mark where you’ve been or to plan your next escape.

Retail: $42.00 

For the home entertainer

During his lifetime, Italian designer Alessandro Mendini was revered for his contributions to Italian, postmodern, radical design. These fanciful corkscrews are a “design self-portrait” of the master artist that will help you celebrate his legacy along with the holiday season. 

Retail: $65.00

For the artsy technophile

The Lumio Teno speaker fits in the palm of your hands and “breaks” in half to reveal a warm light and powerful speaker. Having won multiple awards for its functional and beautiful design, it may just be the most aesthetically pleasing piece of technology you could ever own.

Retail: $300.00

For the punctual (or those who aspire to be punctual)

SPGBK (pronounced “spring break”) is a Black-owned company based in Fayetteville, North Carolina, and each of their designs pays homage to a local school or community area. Made with stainless steel and soft silicone, and available in four bold, vibrant colors, these watches demand attention.

Retail: $79.99

For the MCA superfan

Do you think about art all day, every day? If so, you’re a lot like us! Let the world know what’s on your mind with an MCA “Art Everyday” hat. 

Retail: $39.00

Find these items and more at the MCA Store at 220 E. Chicago or online at mcachicagostore.org.

Read More

The MCA Store helps Chicagoans give the gift of art this holiday seasonChicago Readeron November 23, 2022 at 3:10 pm Read More »

For the first time in nearly 60 years, Instrument for La Monte Young sings againHannah Edgaron November 23, 2022 at 3:25 pm

David Skidmore couldn’t even begin to count the number of instruments he’s played. As a member of Grammy Award favorites Third Coast Percussion (most recently nominated for Perspectives, released earlier this year), Skidmore could plausibly play instruments from all six habitable continents for any given performance—plus the odd metal scrap, surgical tube, or squeaky toy. 

“I like to say that a percussion instrument is anything you ask a percussionist to play and they say yes,” he jokes.

But on November 15, at the Smart Museum of Art at the University of Chicago, even Skidmore clocked a first. Before an invite-only audience of professors, students, and staff, he played an instrument for the first time in decades. The last person reported to have used it was its dedicatee, the iconoclastic composer La Monte Young.

The unique object—a freestanding aluminum ball inside a narrow, open-face aluminum box, wired with contact microphones—was created for Young in 1966 by Walter De Maria, a conceptual artist and minimalist who became a leading exponent of the land art movement. (His Lightning Field, erected in 1977in Catron County, New Mexico, remains one of its most prominent exemplars.) In the intervening years, De Maria’s nine copies of Instrument for La Monte Young have become fêted works in his catalog, exclusively displayed as artworks. However, the copy currently on display as part of the Smart’s “Monochrome Multitudesexhibition, on loan from a private collection, is believed to be the only one Young actually played. 

“As these instruments are moving into museums or private collections, people are treating them as sculptures, which means nobody wants them to be touched, let alone played by a musician who is not an art handler,” says “Monochrome Multitudes”co-curator Christine Mehring, a professor at the University of Chicago’s art history and visual arts department. “I felt this was probably going to be one of the last opportunities to create a recording, for perpetuity, of what this instrument actually sounded like.” (Visitors to the exhibition can listen to Skidmore’s performance in its entirety.)

David Skidmore performing Walter De Maria’s Instrument for La Monte Young at the Smart Museum of Art. Credit: Claire Rich

The instrument was a clear fit with the exhibition’s focus on 20th- and 21st-century works engaging with monochrome literally, materially, and conceptually. And Mehring, who describes herself as a “huge Third Coast Percussion nerd-fan,” knew she wanted to have a member of the celebrated quartet involved in any recording. 

An accomplished percussionist and composer himself, De Maria was deeply embedded in the same 1960s musical avant-garde that produced Third Coast’s core repertoire. He dedicated an early sculpture to John Cage and performed with Young on multiple occasions, often alongside fellow minimalist Terry Riley. Later, De Maria played drums in The Druds, Andy Warhol’s short-lived band, and The Primitives, Lou Reed and John Cale’s precursor to the Velvet Underground. 

De Maria’s Instrument for La Monte Young is one of a series of works he created in the 1960s and 70s with moveable balls. He first began toying with the concept with Boxes for Meaningless Work (1961), which directs audiences to interact with an assemblage of balls and boxes while remaining “aware that what you are doing is meaningless.” But the Instrument shares most of its DNA with De Maria’s subsequent aluminum works: the triptych Channel Series: Triangle, Circle, Square (1972) and a controversial series he designed in evocative shapes: in a crucifix, in a Star of David, in a swastika

“There’s a moment in 60s sculpture when industrial metals—copper, aluminum, stainless steel—become an important minimalist vocabulary, which is monochrome, as well,” Mehring says.

By all accounts, including the composer’s own, Young didn’t commission Instrument for La Monte Young, despite its name: De Maria simply dropped it off at Young’s loft one day. (Young, now 87, did not respond to pre-performance queries from the Smart nor the Reader.)The fact that Young had no input in its design at least partly explains why it didn’t interest him much. 

“Although it looked very beautiful as a work of visual art, I found it very difficult to make it sound worthwhile,” Young said, recounting the experience after De Maria’s death in 2013. “It was nowhere near up to the level of the kind of sound I was interested in . . . Therefore, I never performed it in public.”

It’s practically a given that no recording exists of Young playing Instrument. Only in the past couple years has the composer authorized non-bootlegged, commercial releases of his music. However, Young experimented with it enough to develop a preferred performance technique: “I never allowed the ball to strike the ends of the instrument. This made a sound that was very static yet at times mesmerizing, like the wind.”

Skidmore heeded Young’s directive for his Smart Museum performance, nearly 60 years later. That said, it’s much harder than Young made it sound for the ball to avoid making contact with the sides of the Instrument. In fact, it’s just about impossible, says Skidmore and Mehring. Skidmore decided to embrace those moments of impact as part of the performance, albeit unintentional ones.

“There’s really only one way to play it, and only two sounds: the sound of [the ball] rolling back and forth, which is the desired sound, and the sound of it knocking against the sides, which is the less desired sound,” Skidmore says. 

True to the theme of “Monochrome Multitudes,” Instrument for La Monte Young wasn’t designed for acoustic variation. It has no differences in density along its length that would create a variation in pitch as the ball rolls, for example, and a felt layer on its underside acts as a buffer between the Instrument and whatever surface it’s set on. (Skidmore performed it standing, propped on a table; photos show Young playing cross-legged on the floor of his loft.) 

Therefore, the instrument sounds largely as you’d expect: like a heavy metal ball rolling along a dense, smooth surface, punctuated by muted clacks akin to the sound of a giant Newton’s cradle. When the ball rolls slowly, Young’s wind comparison is pretty spot on. When it picks up speed, the sound intensifies and hardens, like the sound of planing wood. 

The logistical parameters of the Smart’s performance and recording precluded exploring those limited sonic materials on a monumental, Youngian scale. So, to vary his 20-minute improvisation, Skidmore turned to electronics—always part of his practice but which became a full-blown “obsession” during the pandemic shutdown. When Third Coast’s gig calendar was swept blank, Skidmore busied himself collecting analog synthesizers and learning the finer points of music production. With the help of an arts technology specialist at the University of Chicago, Skidmore was able to boost the signal from the Instrument’s internal microphone system—left intact since its creation—with a pre-amp, then connect it to a Synthstrom Audible Deluge, an all-in-one synthesizer, sampler, and sequencer. 

“If Christine had reached out to me three years ago, I might have said, ‘You know, I’ll try it, but the performance will be short,’” Skidmore says. “As soon as she reached out to me, though, I knew that there would be this incredibly harmonically rich sound produced at a very quiet dynamic level that I could bring to life through electronics.”

Donning rubber gloves, Skidmore began his performance at the Smart by showcasing the Instrument’s naked, unprocessed sound, rolling the ball at varying speeds and lengths. He then began to loop the live audio in three layers, applying low-pass filters to each one by one. In other words, highlighting discrete frequencies within the recorded noises. Eventually, he stopped rocking the ball back and forth to shift to manipulate the sound further with reverb and delay. The output transitioned from retro boops and perky, woodblock-like pops to a lusher, teeming soundscape, some of the processed tones now sounding like the cries of frogs. 

Skidmore ended the performance as he began: The electronics fell away, gradually at first, then all at once. All that was left was the subtle, unassuming sound of this most misunderstood of instruments.

“After walking through the exhibit, it finally clicked for me. You’ve only got one sound, but there’s a whole world that lives inside that one sound,” Skidmore says. “There are infinite possibilities as to how an artist will react when they have just one color in their palate.”

“Monochrome Multitudes”Through 1/8/23: Tue-Sun 10 AM-5 PM, Smart Museum of Art, 5550 S. Greenwood, 773-702-0200, smartmuseum.uchicago.edu. Free admission.

related stories


Third Coast Percussion evolves along with the pandemic

Reba Cafarelli is managing director for Third Coast Percussion, working primarily in booking, marketing, and day-to-day operations. The ensemble is incorporated as a nonprofit, and it has a board of directors and three full-time employees in addition to its four members. In May 2022 Third Coast Percussion plans to release its next album, which will…


Eight hands make light work for Third Coast Percussion

Third Coast Percussion are already one of the best ensembles of their kind in the country—and their upcoming projects with Philip Glass and Devonté Hynes could make them the biggest.

Remembering a Dream

Tony Conrad, Early Minimalism Volume One (Table of the Elements)


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

For the first time in nearly 60 years, Instrument for La Monte Young sings againHannah Edgaron November 23, 2022 at 3:25 pm Read More »

Our bodies, but whose choice?Jack Helbigon November 23, 2022 at 3:45 pm

It was around 2010 that writer-actor-director Julie Proudfoot was sitting in a Starbucks at the IC station downtown, waiting for the South Shore line to take her home, when she became aware of two young couples sitting at an adjacent table. “And the males were not only saying sexist things to the young women,” Proudfoot recalls, “they were saying pointedly violent things to them. And the girls were laughing. And that was it. That’s when I said, ‘Wow, how have we gotten to this point?’” 

Proudfoot had noted for years that “a rollback of women’s rights that the far right has been working on for decades now was really starting to take its toll.” But this was the tipping point for her. “I knew I had to do something.”

And what she did was found Artemisia, a feminist theater now celebrating its 11th season. Named in honor of Artemisia Gentileschi, the until recently greatly overlooked feminist Baroque-era painter, the theater is “a 100% women led organization . . . committed to creating career-altering opportunities” for women.

The idea had been brewing for years, ever since she and her husband had moved to Chicago from LA in 2006. Tired of LA, the cost of living, and the crazy life, they were hoping for a fresh start in the midwest, but soon after Proudfoot started auditioning for roles, her excitement was dampened.  

Title Ten11/25-12/18: Thu-Sat 7:30 PM, Sun 2:30 PM, Theater Wit, 1229 W. Belmont, 773-975-8150, artemisiatheatre.org, $25-$44

“I was very surprised by, at that time, the lack of opportunities for women in Chicago. There was so much great theater that was not female focused. The idea of a fully complex leading female character and it being her journey and her world—I was not seeing that.” 

Artemisia was created to remedy that. And over the years, Artemisia has carved out a niche on the theater scene, producing plays and an annual Fall Festival of works on feminist themes.

Proudfoot’s current project is codirecting a play she began writing during the time we all sheltered in place two years ago. The play is called Title Ten, and it is Proudfoot’s take on the state of women’s rights and ways women’s bodies are controlled in America during and post-Roe v. Wade

Proudfoot first began thinking about the play that became Title Ten when she was hired in 2016 to research Donald Trump. “I read like 18 books about Donald Trump. So I learned way more than anyone would ever want to know about him. One of the things Trump did was use the right-to-life base as a way to really garner votes and momentum politically.”

Proudfoot continues explaining how once he was elected, he naturally began messing around with Title X to please his right-to-life voters. 

“Title X was started in the 1970s,” Proudfoot explains. “Its purpose really was to help lower-income women and families plan their families and get prenatal care. Title X funding required three things: When a woman went to be examined at a clinic that was funded by Title X and discovered she was pregnant, the clinic first—if she wanted to have the child—referred her for prenatal care. If she wanted to give the child up for adoption, they also had to refer her for legal and free adoptive services. And if she chose to exercise her right to have an abortion, they had to refer her to a clinic that performs a safe, legal abortion. Trump imposed a gag order. If you got Title X funding, you were no longer allowed to tell the woman that she had abortion as a choice.” 

“When I first read about this, I saw red. And I started to think about the way in which women’s rights are constantly on the chopping block. Whether we’re talking about safety in the workplace, equal pay for equal work, or the right to exercise your right to choose. So that’s what got me cooking on Title Ten.” 

Title Ten consists of the stories of eight characters, all women in some way touched by Title X. In the play, which spans two and a half decades, Proudfoot presents “very different women in very different places in their lives, in very different settings and environments who are making a decision or struggling to win an argument.”

“So we have Rachel,” Proudfoot continues, “in the Long Island Clinic, Long Island City Clinic in New York, of course, in ʼ78. We have Norma, who is part of Operation Rescue. [Right-wing activist Randall Terry’s anti-abortion campaign]. So she’s at an abortion clinic in Lafayette, Indiana, in ʼ88 as part of an Operation Rescue protest. “

Proudfoot interrupts herself, “I don’t want to give too much away, but there’s a setting of a gay woman in the early 2000s in Central Park, and we don’t know it at the beginning, but she’s meeting her daughter.

“But the first scene and last scene is anchored by the same character, Rachel, who at 17 in the beginning, is in a clinic in Long Island City to see if she’s pregnant, talking to herself in the room alone, trying to figure out what she’s going to do if she is pregnant. And the same woman comes back to us at the end as a mature woman and talks about the impact of the right to choose on her life.”

Proudfoot references Anna Deavere Smith’s plays (which include Twilight: Los Angeles and Fires in the Mirror, about the 1992 LA riots and the 1991 Crown Heights riot, respectively) as an influence, though unlike Smith, her play is not based on interviews with real people. They are, however, based on Proudfoot’s research—research that led her to read material by and about people at the opposite end of the political spectrum.

One of the characters in Title Ten, for example, is loosely based on a woman who served in Congress from Nebraska and is an active pro-life advocate. “The character is rallying her pro-life crowd,” Proudfoot explains, “but she’s coming at it from the opposite place of a Randall Terry, who came at it violently, almost, and criminally. She’s coming at it with Christian love. And she’s coming at it from, ‘We will rescue these poor women.’ Because the whole trauma story that the right to lifers like to tell is that, ‘Yes, well, you had an abortion, but now you’re traumatized by it, and you are a victim of your own choice.’” 

Proudfoot pauses a moment to reflect. “I thought about that a lot, and I thought about the sincerity of some of these young—especially these young women, who are the pro-life generation, and they really believe that they’re coming from a place of love. When you listen to them, when you watch them being interviewed, when you see how they dress and how they interact with each other, when you saw them weep with joy after Roe was overturned, you begin to understand how this is based on a fable—the idea that you can have a perfect world in which every fetus can be born into a happy, healthy family, right? And that no women will get sick and no women will die and no pregnancy will be complicated. This is a fable. This is a sentimental, ridiculous lie. 

“These young women have become the pro-life generation, and they’re talking about all these babies they’re going to save and all these innocent lives they’re going to save. And these are the same folks that don’t care about day care, childcare tax credits, school lunch programs, any of the things for mothers, any of the things that allow a woman, especially a single parent, a female single parent, or a male single parent for that matter, to raise a child effectively and lovingly and in a safe home.”

Every story Proudfoot tells serves her larger goal of portraying the struggle of being a woman in a world dominated by men, she said.

“The stories don’t all directly deal with abortion rights,” Proudfoot continues. “Some deal with the lack of equality in the workplace, which leads to, often, sexual harassment, sexual violence against women. But the play unifies around an overarching theme of where we are right now, of where we find ourselves in America. As a parent, as a person who loves and knows people, as a concerned citizen, you’re just looking at probably one of the worst, worst periods of my life for women’s rights and trans rights. It’s really shocking and horrifying, and the only way to deal with it is to move through the mess and start challenging and confronting the choices.”


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Our bodies, but whose choice?Jack Helbigon November 23, 2022 at 3:45 pm Read More »

East side flavorAlejandro Hernandezon November 23, 2022 at 3:59 pm

Pressure can burst pipes. It can fracture bones. It can cause even the coolest of heads to lose their grip on reality. Under extreme circumstances, pressure can also forge diamonds, and one of the city’s brightest hidden gems is east side representative Recoechi.

“Growing up on the east side, you had times where it was bad, you had times where it was good. I’m a product of my environment, but I chose to take the knowledge I got from the streets and do something differently with it,” he explains. “People where I’m from, we know about the robberies, we know about the killings, we know about all these things. Me choosing to express my story through music and inspire people going through it, that’s the most powerful thing. I could have chose to do spiteful things with my music, but I chose to uplift people instead.”

Recoechi was robbed at 15, and describes the experience as a turning point that made him more conscious of his actions and inspired him to find a way to lift himself and others out of that environment. He began writing raps and freestyling in high school but didn’t start making music seriously until he got into college, where he won multiple talent shows with his spoken-word poetry. Growing up in Stony Island Park during the rise of Chief Keef and growth of drill music into a global phenomenon, he says it wasn’t until he really listened to Kendrick Lamar and J. Cole that he realized he could still maintain his street persona while rapping about a positive message.

“I’m saying the things I took from the streets, the lessons that I embody, but I put them on wax in a different way. These are my experiences,” Recoechi says. “I did a poem one time and I saw the reactions of people just hearing my story. That’s when it really clicked for me. I used to rap about that drill shit, but then I switched it up and made it more personal.”

Listen to Recoechi’s music, and you’ll hear an assertive voice spitting stories of the streets with the utmost confidence, over grimy, bass-knocking production reminiscent of the east coast’s Griselda crew. Pay attention to his lyrics, and you’ll find that he touches on topics of spirituality, physical health and wellness, and self-mastery. 

Even without a full-length project under his belt, he’s managed to earn cosigns and production credits from the likes of C-Sick, Thelonious Martin, and Renzell, all of whom rank among the city’s most respected producers. Recoechi plans to soon unveil his debut project Flavaz, which he says will be a versatile display of his ability to create different songs for different moods. The album will be executively produced by Renzell Wav.

“It’s my first project ever, so this represents me coming out of growing into my sound, period. Renzell is a musical genius, and he played a strong role in developing my recording process,” he says. “Flavaz is me giving different types of flavors. That’s something me and him would say a lot when we was cooking up in the studio, ‘that shit flavorful,’ which turned into its own thing. It’s also a reference to me always being on my lil smoothie shit because I stay with a different flavor. That’s a real strong part of me because I wanna promote healthy eating.”

Music isn’t the only thing Recoechi is developing. He also helps run Eastside Collective (ESC), which C-Sick started last year as a clothing brand. After hearing Recoechi’s music for the first time, C-Sick got in touch with him, calling him a “breath of fresh air.” They developed a personal relationship, and after seeing Recoe’s dedication to his craft and discussing ways they can give back to the east side, C-Sick gave him the reins to run the organization on a more grassroots level.

“We work in collaboration with other people in the field of giving back to the community, like charities and things of that sort. That’s all I want for the east side because a lot of the park districts don’t have the sports like they used to when we were coming up . . . A lot of these baseball programs and basketball got cut down because of the lack of funding. It’s up to us to really give back . . . By linking up with more people that’s doing things in the community, you make it cool for everybody to do the same. This is what we really should be doing with these influences . . . The phrase from ESC is ‘there’s unity in community.’”

Recoechi is helping lead the charge with ESC’s first-ever seminar, inviting high school students with an interest in music production to learn directly from C-Sick and Renzell. At the end of the day, he’s a man who understands that community is bigger than him. In order for us to grow as individuals, we have to take what we learned through our personal trials and teach it back to the next generation so they can avoid the same mistakes and break generational curses. 

“I am a true believer that music is made through something divine. So my key goal with music is to gravitate people towards God, in a sense, or just go within themselves. Believe in the inner child and be as free as you want to be . . . People got this sense of this hardcore rap street guy for me, but it’s like people don’t know that I’m down to earth. I am just so serious about what I believe in. If you ever heard my music, I really spit my truth. Whether I’m singing on the hook or tapping into different grooves and sounds, I’m really tapping into that creative child, so stay connected to the inner child. This is what I try to get people into.”


Freddie Old Soul credits music with helping her heal and find God.


Poet and organizer JazStarr builds bridges on the page and in the community.


How parenthood and the 2020 uprisings impacted Tiara Déshané’s approach to music


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

East side flavorAlejandro Hernandezon November 23, 2022 at 3:59 pm Read More »

Kartemquin Films continues to growKathleen Sachson November 23, 2022 at 4:00 pm

“Kartemquin to me is like a giant tree in the middle of the documentary world,” says Amir George. “I want to just keep watering that tree and help it grow and expand.”

It’s a gray Chicago day when George—a local filmmaker and programmer who was recently appointed the new artistic director of Kartemquin Films—makes this verdurous proclamation at the offices of the storied nonprofit documentary film organization. Inside, however, is aflush with color, from the array of movie posters decorating the walls of the stairwell to the enviable assemblage of memorabilia that adorns the workplace. 

In the washroom, for example, there’s this framed quote from Britney Spears: “Sundance is weird. The movies are weird. You actually have to think about them when you watch them.” 

Less humorously but much more impressively, the six Emmy Awards that Kartemquin has won over the years are collected atop a shelf (to say nothing of the four Academy Award nominations their films have garnered), while Camera #1 peers out through French doors from an adjoining office. 

This was the camera used by the early Kartemquin filmmakers to shoot their very first films, like their founding endeavor Home for Life (1967), following two retirees in their first months at an old-age home; and Inquiring Nuns (1968), in which Kartemquin filmmakers Gordon Quinn and Jerry Temaner document two nuns who they conscript to go around Chicago asking people if they’re happy, à la Edgar Morin and Jean Rouch’s Chronicle of a Summer

Upon hearing George’s remark, Quinn points to a robust topiary dominating the interview tableau. 

“My parents sent us some plants for this building [in 1971],” he tells us, “and this is a remnant of that plant. It’s the same tree that’s been watered all these years.” 

Quinn founded Kartemquin in 1966 along with fellow University of Chicago graduates Stan Karter and Jerry Temaner (parts of each of their surnames make up the organization’s name), and until just recently, he served as its longtime artistic director. He has been the most consistently integral figure in its over 50-year history.

“We had this idea about how documentary film, particularly vérité documentary film, could play a role in democracy,” he says, referring to the mode of nonfiction filmmaking distinct for its unaffected and often low-budget qualities. “I think we had some naive ideas about holding a mirror up to society, and if you did that, people would change.”

Though it’s difficult to identify when a piece of art accomplishes that, Kartemquin has inarguably succeeded in the herculean task of reflecting society back on itself with such films as: Trick Bag (1974), in which community members from factory workers to those involved in gangs discuss various forms of oppression; Quinn and Jerry Blumenthal’s The Last Pullman Car (1983), about the closing of the Pullman-Standard Passenger Car Works in Chicago (the last factory in America to manufacture subway and railroad passenger cars) and the long fight by the United Steel Workers Local 1834 to try to prevent it; Steve James, Frederick Marx, and Peter Gilbert’s Hoop Dreams (1994), which centers on two Chicago-based high school students with aspirations of playing pro basketball (Roger Ebert called it “[t]he great American documentary”); and, most recently, films such as Bing Liu’s wildly successful Minding the Gap (2018) and Jiayan “Jenny” Shi’s true-crime adjacent breakout Finding Yingying (2020).

“I was about seven years old when my brother brought home Hoop Dreams,” George, a native Chicagoan, recounts of his earliest experience with the organization. “I was like, what, what is this? You know, you never saw just kids growing up in Chicago and a story about them as a film. That was something that really was inspiring. It’s a memory I haven’t forgotten.” 

A local entity in his own right, George is an accomplished filmmaker and co-curator of Black Radical Imagination, a now-dormant annual touring short film series. He has recently programmed for the Chicago International Film Festival and True/False, a documentary film festival based in Columbia, Missouri. As artistic director he will work closely with executive director Betsy Leonard, who joined Kartemquin in 2021 after 29 years at Heartland Alliance.

“The opportunity to work for Kartemquin—I just saw that as building on the work I’ve been doing throughout the years,” George says. “To be in a more advanced position to serve the overall community in Chicago as well as abroad.”

About the decision to hire George, Quinn explains, “We really wanted someone we felt was going to help transform us into what the next iteration of Kartemquin would be.” He expands on how crucial the ideas of change and progress are to the organization’s success: “We’re over 50 years old. Why did we survive? Because we didn’t keep doing the same thing. We changed enormously over the years, both in our vision and our mission, and how we made our money.”

One thing on everyone’s mind is how Kartemquin can help filmmakers sustain themselves through their practice. For example, “The other thing that there’s a lot of interest in, that we’re looking at now, is what’s the next step for people who come out of Diverse Voices?” says Quinn (who will stay on as a senior advisor, though going part-time at the beginning of the new year), referring to the Diverse Voices in Docs mentorship and development program. Founded in 2013 and organized in collaboration with the Community Film Workshop of Chicago, the program specifically serves documentary filmmakers of color. The evolution of that program (in which George previously participated as a mentor) is but one of the many things that he hopes to continue expanding upon in his new role.

Kartemquin Films1901 W. Wellingtonkartemquin.com

“It’s definitely an ongoing thought process as I learn more about Kartemquin and about the films that we’re currently working on,” says George. “Growth is what I’m interested in. Growth within the community and beyond to the places that Kartemquin hasn’t been yet. Inviting new audiences to experience Kartemquin, building those audiences, and creating spaces for people to have access to films, to have access to learning more about filmmaking, and to becoming better filmmakers.”


Wednesday, November 30, 2022 at the Museum of Contemporary Art

Read More

Kartemquin Films continues to growKathleen Sachson November 23, 2022 at 4:00 pm Read More »

Hard lessonsAnthony Ehlerson November 23, 2022 at 4:07 pm

It’s a common misconception that prisons are designed to rehabilitate people, and that we are getting educated, receiving therapy, and learning trades inside. People seem to think that recidivism occurs simply because people released from prison decide to throw all of that away and choose to commit new crimes. It’s just so far from the truth.

The Illinois Department of Corrections (IDOC) doesn’t “correct” anything. There is no such thing as rehabilitation here. Prisons in Illinois are nothing more than a waste management system: society views people in prison as trash and throws us away. Society’s attitude toward prisoners has led to increasingly harsh conditions and dehumanization techniques. 

Prisons go out of their way to dehumanize people. It starts with stripping us of our names. Within IDOC I am not Anthony Ehlers; I am B-60794. Your name doesn’t matter. If you get mail, they ask for your prison number. To get medicine, they ask for your prison number. If you leave your cell for any reason, they ask for your prison number! Unconsciously, you begin to think of yourself in terms of a prison number as well: once they take away your name, who are you?

When a person endures year after year of being degraded, hated, used, assaulted, and dehumanized, told they are garbage by society, is it any wonder they become depressed, antisocial, and angry?

IDOC offers no educational opportunities and does next to nothing to educate prisoners. I have been told repeatedly that because I have a natural life sentence, I’m not worth being educated. Education should be a basic human right, particularly in prison; it should be a mandatory part of one’s prison sentence.

It’s only recently that Northwestern’s Prison Education Program (NPEP) has provided an option for people imprisoned in Illinois. It’s through this program alone that I’ve been able to get a formal education while incarcerated. Spots are coveted and hard to come by: in their third cohort of students, 20 people were chosen out of some 400 applicants. And from what I’ve heard, IDOC told NPEP not to accept anyone with long sentences, because in the prison administrators’ eyes, those people aren’t worthy of education, either.  

Think about that. People being released from prison have been deliberately denied any education, yet they are expected to be rehabilitated. When these people get out, they need an education and job skills, because the vast majority will return to the community they came from. Without even an education, what are they to do? How will they live? 

Society should have a vested interest in their education and programming. If rehabilitation is truly IDOC’s goal, then education and job training should be a priority.

When people don’t have something positive to focus on in prison, like education, they find other, more negative ways to fill their time. You get an education in prison one way or another: if IDOC won’t provide it, other prisoners will. In prison, you can learn from others’ mistakes, or how to get away with things, or how to do things you’ve never done before. You can learn to hate, and to let your anger fester against the system. You can learn to hate society, which you learn hates you in return. 

In prison, mental health issues are exacerbated, and you must learn to deal with them alone, because you don’t have help. The prison population is disproportionately made up of Black and Brown people who have been subjected to racist systems all their lives. Nearly all prisoners have experienced trauma and both physical and sexual violence; many have been through the foster care system; many suffer from mental illness; some dull their pain with substance use. Prison has a messed-up culture and is filled with broken people.

The medical care we get in prison is disastrously subpar, and COVID-19 hit prisoners particularly hard. Here in Stateville more than 25 men died of COVID-19, and many had family and friends on the outside who also died or were hospitalized. That kind of worry and pain is difficult for anyone, but especially in a place like this. Imagine being locked in a cage far from people who need you, trying to make it through the death of your family or friends all alone. It’s a wonder some guys were able to hold on to their sanity at all.

Prisoners are at a higher risk for heart disease and other stress-related ailments because in an environment like this one, you must maintain constant situational awareness. Being sentenced to prison is punishment, but we are often subject to additional, extrajudicial punishment, because some staff feel it’s their duty to make prisoners’ lives miserable. 

Our mental state is always stressed, always on alert, not just from the threat of assault from other prisoners, but also from the staff who put obstacles in your way at every turn. During “shakedowns,” they take property—including school work and legal work, and letters and pictures from loved ones—destroy it, or throw it away. Sometimes during shakedowns they break an imprisoned person’s TV, radio, or tablet, severing their connection to the outside. Sometimes they place you in a cell with someone who is hostile or dangerous, and you either have to fight or voluntarily go to segregation (solitary).

Most guards believe their word is law. After all, who can you complain to? They often fabricate rules to deny your rights, and if you challenge them in any way, they will write you a disciplinary report. This allows them to take away the few privileges you do retain, like phone calls to loved ones, digital messaging, and access to the commissary. Every positive accomplishment you achieve in prison is accompanied by an intense struggle to overcome, circumvent, or blatantly break the arbitrary rules made up by staff. 

All the while you have to convince yourself daily that your life has value, even when the rest of the world tells you it doesn’t.

The prison itself is in a shocking state of disrepair. The cell houses are crumbling. Cracks run from the foundation to the roof. The cells are full of peeling lead-based paint and black mold. Many cells have plumbing that doesn’t work. The entire prison has had no hot water for five months, and we’re forced to take showers and wash our clothes in cold water. The water here is poisonous. We have very high levels of both copper and lead in our water. Both metals will make you very sick, and can lead to fatal cancers and other ailments. We’ve had previous bouts of Legionella bacteria here. We have rats, roaches, and birds in our cell houses and chow halls. How many people have to deal with birds shitting inside their homes, or in the places that they eat? How many have woken up because cockroaches are crawling on their face? 

These are the deplorable conditions we live in. 

Most of the people here do not have an education or a skill that will help them get jobs after they’re released. Many who are released from prison will walk out with untreated mental health problems and trauma, many of their issues having been made worse by prison time. After spending years in conditions like those I’ve described, they will walk out with nothing more than when they came in. How does that help or benefit society? 

People in prison have been marginalized by society in many different ways. In prison, we are taught that there is no way out, and that our marginalization is state-sanctioned. Society can’t expect people getting out of prison to do better, if society won’t do better by them. We all have to be responsible for what the state does in our name.

It’s time to realize that punishment helps no one. It’s time we began recycling people instead of throwing them away.


People in prison perform essential work, but the 13th Amendment prevents them from being treated with dignity.


Harsh penalties for gun crimes don’t make communities safer.


Stripping the right to abortion harms incarcerated women.

Read More

Hard lessonsAnthony Ehlerson November 23, 2022 at 4:07 pm Read More »