This week: After an inexcusably self-indulgent, alcohol fueled intro where Duncan, Richard, Dana and Emily and Nick from ACRE join us, we get on to an excellent interview. Part three of our St. Louis series recorded at the Contemporary Art Museum-St. Louis. This time we talk to Juan William Chavez and Kiersten Torrez about the Northside Workshop, bees, social practice, and record an advert for penicillin.
Northside Workshop (NSW)
Northside Workshop (NSW) is a non-profit art space dedicated to addressing cultural and community issues in North Saint Louis. Our programming focuses on incorporating socially engaged art and education with the goal of fostering social progress in North Saint Louis communities.
In 2010, a collaboration with the Old North Saint Louis Restoration Group, the Kranzberg Arts Foundation and artist/cultural activist Juan William Chavez began an intervention to regenerate a historic North Saint Louis brick building in danger of being destroyed. Two years in the making, this building is now transformed into a dynamic community art space.
Juan William Chavez
Founder and Director
Juan William Chavez (born in Lima, Peru) is an artist and cultural activist whose studio practice focuses on the potential of space by developing creative initiatives that address community and cultural issues. His projects include Urban Expression for the Pulitzer Foundation for the Arts, the Northside Workshop and the Pruitt-Igoe Bee Sanctuary. His awards include the Art Matters Grant, the Missouri Arts Award and the Graham Foundation for Advanced Studies in the Fine Arts. In 2012, Chavez received a John Simon Guggenheim Memorial Foundation Fellowship.
Director of Programming & Sustainability
Kiersten Torrez is an arts organizer focused on innovative sustainable practices. She has aided in developing community-based projects such as Beautification of Vacant Space, the Pruitt-Igoe Bee Sanctuary and Team Cookbook (creative workshops designed to community build through the sharing of recipes and stories in Old North Saint Louis). Torrez is currently planning a Year of Listening, a series of socially engaged events focused on co–generating programs to address the physical and social dimensions of the Old North Saint Louis neighborhood.
The ghost of Pruitt-Igoe looms large in St. Louis. The 33-building public housing complex, designed by Minoru Yamasaki (who was also the architect of the World Trade Center) and completed in 1954, has long fascinated architectural historians and enthusiasts alike. Designed in accordance with Le Corbusier’s utopian “Towers in the Park” vision, its demolition began less than twenty years later in 1972 as the site fell prey to dried-up funding, mismanagement, and subsequent decrepitude and crime. According to architectural theorist Charles Jencks writing in 1977, the notorious demise of Pruitt-Igoe, captured on film and televised widely at the time, marked the day that “modern architecture died.” Today, the site exists as a giant scar in the St. Louis landscape, fifty-seven acres of urban forest just north of downtown. It is an emotional scar too, a reminder of how modernist ideals and public policy failed not only the individuals and families who lived in the towers but also, to some degree, the city at large. In fact, the decline of Pruitt-Igoe coincided with the exodus to the burgeoning St. Louis suburbs that began in the 1960s; today, 89% of the metropolitan population of 2.8 million lives outside the city limits (compared with roughly 75% in 1972), according to the U.S. Census Bureau.
I think about Pruitt-Igoe a lot because I live in its aftermath. I see it in the blocks of boarded-up houses on Jefferson Avenue that I pass every day on the way to and from work. Similar houses can be found all over the city, a side effect of a population (and a tax base) that continues to decline forty years later. I also think about Pruitt-Igoe when I’m at work at the Contemporary Art Museum in the neighborhood of Grand Center. An established cultural district, Grand Center nonetheless still faces lingering assumptions that it is a rough part of town, situated as it is near the Delmar Divide that bisects the north and south sides of the city — the north side being home, not coincidentally, to the large footprint called Pruitt-Igoe.
The story of Pruitt-Igoe is by now well known and documented so I won’t go into detail here (and recommend the terrific 2011 documentary The Pruitt-Igoe Myth for that). What I’m interested in is the force field-like appeal of the complex, particularly images of its punctum-style demolition, for contemporary artists. Through video and installation to social practice, a number of artists are continually circling back to Pruitt-Igoe for inspiration. Using a small cross-section of familiar artworks as case studies, I’ll explore what it is about the site that offers such rich fodder for art practice today.
French artist Cyprien Gaillard’s Pruitt-Igoe Falls (2009) is perhaps the best-known example. This silent seven-minute video depicts fixed-frame footage of the 2008 demolition of a building in the Sighthill housing project in Glasgow, Scotland. Halfway through the video, the image morphs into a shot of Niagara Falls at night as seen from the American side. In the piece, Pruitt-Igoe is relegated to an allusion as well as a sobering precedent for the shortcomings of contemporary public housing. The name also serves a semantic purpose, offering a way to connect the image of Pruitt-Igoe’s collapse—and, by extension, the collapse of High Modernism—to other spectacles, such as Niagara Falls and the recent phenomenon of ruin porn (i.e. anything about Detroit). Though barely perceptible in Gaillard’s footage, the tiny figures in the foreground of the Sighthill frame reinforce this notion, their camera flashes punctuating the image as they snap photographs of the crumbling building. Gaillard’s video thus reenacts Pruitt-Igoe’s unforgettable demise in a highly cynical fashion, trapping it in the endless cycle of the loop, where it can be repeatedly gawked at for sheer entertainment.
Pruitt-Igoe has also surfaced in several of Michael Rakowitz’s artworks, such as his recent room-sized installation at dOCUMENTA(13) titled What Dust Will Rise? (2012) and, most extensively, in Dull Roar (2005). The latter recasts the towers as inflatable pop-ups, akin to a commercial blow-up mattress you might have in your own home. In the installation, they are surrounded by a 360-degree wooden viewing platform that allows the viewer to fully circumnavigate the balloon-like buildings as they continually inflate and deflate on a timed cycle. Rakowitz, like Gaillard, captures the image of Pruitt-Igoe’s destruction in a simulated mise en abyme that points to the implicit spectacle of that moment. Interested in the idea that parts of the rubble were allegedly used to construct new mansions in the nearby suburb of Ladue (which, according to Rakowitz, was the most expensive neighborhood in the U.S. at the time Pruitt-Igoe fell), he also made several related drawings depicting these mansions propped atop the rubble. The inflatable aspect of his project is particularly acrid and pithy, reducing the complexities of the story to an amusing one-liner. Nonetheless, Rakowitz unflinchingly gets to the point, demonstrating how the destruction of Pruitt-Igoe was but one symptom in a larger enactment of domestic housing policy designed to exclude poor, non-white citizens from the American dream.
While these two projects pinpoint the demolition of the buildings as the penultimate moment, Juan William Chavez is interested in everything that happens after — the potential of Pruitt-Igoe now. For several years, Chavez, who was born in Lima, Peru, but grew up and currently lives in St. Louis, has been making a series of artworks about the physical site where the complex once stood. Together these comprise what he calls a “living proposal” in an attempt to better understand what Pruitt-Igoe might mean today. After first setting foot on the grounds in 2010, he took a series of photographs and made a film about what he saw – dense vegetation and a healthy bee sanctuary. The bees have become key players in his inquiry; as he explains it, the former Pruitt-Igoe complex has been replaced by an indigenous insect community that can actually thrive on the site. Along with his partner, Kiersten Torrez, he opened a space near Pruitt-Igoe called the Northside Workshop. They have taken up beekeeping and planted an edible garden, and they work with local students, artists, and community organizers to create programming that explores the active potential of the Pruitt-Igoe footprint. Chavez’s work on Pruitt-Igoe brings additional dimensions of the story into relief. Through his efforts, I’ve been introduced to other stakeholders who are similarly committed to the site’s rehabilitation, such as St. Louis architectural historian Michael Allen and former Pruitt-Igoe resident and journalist Sylvester Brown, who launched an after-school project for at-risk high school students to grow local sweet potatoes and market their product. (The actual land is not completely up for grabs, however. Local developer Paul McKee purchased a two-year option on the site that expires next year.) Chavez’s work is therefore symbolic but also pragmatic, aimed at building awareness and galvanizing community action to transform the Pruitt-Igoe grounds into a dynamic and truly democratic public space.
I asked Juan about Pruitt-Igoe’s appeal to contemporary artists and he reminded me of the scene in Godfrey Reggio’s 1982 film Koyaanisqatsi featuring images of the complex immediately before and during the actual demolition. The film traces the outline of the decaying buildings both inside and out. By this point, the complex is little more than a ghost town and Philip Glass’s haunting score turns it into something out of a horror movie. Juan describes this image of a crumbling Pruitt-Igoe as an “epic moment” analogous to moments in early cinema in which we experience time directly, as in the Lumière Brothers’ Arrival of a Train at La Ciotat (1895) or Thomas Edison’s Electrocuting an Elephant (1903). It is also evocative of something more contemporarily mediated on a global scale, like the fall of the Berlin Wall in 1989. This visual register of Pruitt-Igoe’s demise, coupled with Charles Jencks’s aforementioned comment about its implication in the death of architectural modernism, imbue it with a mythic pathos that still holds sway today. So what, then, can artists like Gaillard, Rakowitz, and Chavez communicate to us about Pruitt-Igoe? A sober memory? A case of what not to do? Pruitt-Igoe is all of these things. It may be a graveyard but it is also a garden. And perhaps art can sustain it in ways that housing and economic policies couldn’t.