When Sean first reached out to us about a possible collaboration, they shared with us the inspiration they draw from the women of Gee's Bend, as well as their desire to highlight how public housing communities function as their own microcosms, separate from and often neglected by their larger communities. This dynamic is very present in the city of Hudson, and the public housing just a block over is often ignored by businesses and residents on wealthier Warren Street. MINNA is honored to host these works and proud to take part in a conversation about the problematic tension between these two spheres in our hometown.
Sean's pieces are handcrafted out of repurposed pallets, a 19th-century schoolhouse in Albany, and scraps from other woodworkers. The title holds a dual meaning, referencing the series' intent to support residents of the public housing through both the grant and through the creation and celebration of work that highlights its beauty. It also refers to the literal and metaphorical perspective shift involved in portraying the buildings from an aerial view.Each of the seven pieces is available for purchase at MINNA or online. (Two have already been sold.) The sale of the work will fund a grant to be awarded to a local artist or maker who lives in public housing in Hudson. The grant recipient will be chosen by a panel made up of Sean Desiree, Sara Berks of MINNA, artist Tschabalala Self, and a member of the Hudson Housing Authority. The deadline for submitting an application for the grant in January 15, 2020. The grant application can be found here.
COPYRIGHT 2019 CAROLE OSTERINK
It is ironic that you would use the word re-imagining to describe the demolition and reconstruction of this part of the city. If anything the end result shows a lack of imagination, creativity and foresight.
ReplyDeleteIt would be best to leave transformative projects such as this is the hands of creative people who actually have imagination, and not in the hands of politicians, bureaucrats and those with a transformative business interest. But I suppose back in 1969 the circumstances were different and it seemed like a great design.
You should know by now, SlowArt, that the irony was intentional.
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