By Nicole King
The Baltimore Art + Justice Project is focused on strengthening art and design-based collaborations to improve the lives of city residents. The strength of the project lies in its grounding in place, the city of Baltimore, while also creating a space for connections and community to grow. Arts districts are important social and economic engines for cities; however, for social justice to be truly achieved, the project needs to reach the overlooked areas of the city where art and justice may seem in short supply. The reality is that we simply need new tools and a new vision to better learn to see the connections that arts can provide in urban areas. We need a road map.
The method of the Baltimore Art + Justice Project includes creating such a road map in connection with Animating Democracy’s Mapping Initiative. This project has the potential to make the hidden visible and connect various resources for a more dynamic and lasting impact on Baltimore’s cultural landscape. At the December 2, 2011 Bmore Historic conference at the Maryland Historical Society, I attended a session on Spatial/Digital Humanities where mapping initiatives in the Baltimore region were discussed. One central question of the session was: Why mapping? What is so alluring about this tool at this specific moment?
People love maps. Maps help us navigate our day-to-day lives and enable us to see relationships and patterns. Moving beyond the practical aspects, exploring maps give us a new perspective on seeing place and our connections to it. Maps can be framed as an art form as well as a practical tool. Maps provide a context for understanding places and help to make social and political boundaries as well as geographic ones visible. However, as anyone who has worked with maps (in the form of artifacts, digital representations, or data visualizations) knows, maps only tell part of the story, and sometimes they even lie. Therefore, people (artists, historians, designers, preservationists, archivists, and the general public) need to fill in the blanks and provide the deeper context and connections. To achieve these connections with the Baltimore Art + Justice Project, the aspect of data collection is supplemented by community engagement on the ground. This project provides a tool for envisioning a more connected and just city, but it needs you to engage in dialogue, outreach, discussion, storytelling, and other interactive activities.
Maps are flat until people interact with them. Data is just numbers until connections, patterns, or ideas emerge. There are various mapping projects in urban areas that have directly intervened in the lives and spatial stories of the people and places that make cities work. The City of Memory map designed by City Lore in New York City provides the ability for users to add to the collection of stories. Digital Harlem: Mapping Race and Place in the 1920s allows the past of a specific neighborhood to come alive. Cleveland Historical is a free app that puts history and culture right at your fingertips. Working with the Cleveland Historical format, Baltimore Heritage, the city’s nonprofit historic and architectural preservation organization, recently developed Explore Baltimore Heritage, a website and smartphone application for both iPhone and Android devices featuring a map of historic neighborhoods and buildings from across the city.
My area of expertise is in place-based urban history and culture. However, I see history, culture, art, and community as essential tools for developing better and more just cities. Often, the places we never really see are the very ones that offer new perspectives on our culture and our shared history. The Baltimore Art + Justice project uses a web-based mapping resource to provide artists, designers, arts organizations, community-based organizations, advocates, and funders a tool for advancing social justice in Baltimore. All city residents from all walks of life need to make the connections and make this project come alive.
Maps matter when people use them.
Rini Templeton (1935 – 1986) was a prolific sculptor, graphic artist and activist who dedicated her life to progressive, grassroots struggles in Mexico, Cuba and the US. She described her graphic work as “xerox art,” meaning anyone could freely photocopy her drawings to put on flyers, pamphlets, banners, picket signs, T-shirts, anything to support freedom and justice.
The web library of Templeton’s art is a 600 image-deep collection of women, workers, protestors, children and celebrations, all still freely available for use toward a just cause.
Toni Morrison and Bob Dylan have been named as two of 13 recipients of the Presidential Medal of Freedom. In a statement from the White House last Thursday, President Obama said, “These extraordinary honorees come from different backgrounds and different walks of life, but each of them has made a lasting contribution to the life of our Nation. They’ve challenged us, they’ve inspired us, and they’ve made the world a better place. I look forward to recognizing them with this award.” The honorees will be awarded and celebrated in a White House ceremony in the late spring.
Morrison’s 1993 Nobel Prize for Literature marked the first time an African American woman received the award. In her address to the Rutgers class of 2011, she said, “I know that happiness has been the real, if covert, goal of your labors here. I know that it informs your choice of companions, the profession you will enter, but I urge you, please don’t settle for happiness. It’s not good enough. Of course, you deserve it. But if that is all you have in mind—happiness—I want to suggest to you that personal success devoid of meaningfulness, free of a steady commitment to social justice, that’s more than a barren life, it is a trivial one. It’s looking good instead of doing good.”
In praising Dylan’s five decades of music, the White House noted his “considerable influence on the civil rights movement of the 1960s,” and highlighted his 11 Grammys, including a lifetime achievement award and his 2009 National Medal of Arts.
Earlier this year, Julio Salgado’s immigrant rights artwork appeared on my Tumblr feed and I’ve made it a priority to follow this activist’s online presence. His “I am UndocuQueer!” art project unflinchingly addresses the intersections of ethnicity and sexual orientation and also elevates the public activism of undocumented immigrants.
In an interview with Multi-American, Salgado speaks frankly about “coming out” as both an undocumented immigrant and a queer man. When asked about his art’s prominence in the DREAM Act movement and his artistic depictions of queer immigrant youth, he said, “If there’s a queer aspect to my artwork is not accidental. I do it on purpose. I want other folks to know that when you’re for social justice, it has to be across the board.”
The Baltimore Art + Justice Project
What’s the Word? Click to read!
- Artists Within Spotlight: Y-LLEAD – Healing the Self to Heal the Community
- Artists Within Spotlight: Single Carrot Theatre Arts Integration in an Uprising
- Baltimore Uprising Art Archive Series 4: North and Penn Visual Artists and More
- Baltimore Uprising Art Archive: Series 3 – Youth Voices
- Baltimore Uprising Art Archive: Series 2
- July 2015
- June 2015
- May 2015
- April 2015
- February 2015
- January 2015
- November 2014
- September 2014
- August 2014
- July 2014
- June 2014
- May 2014
- April 2014
- March 2014
- February 2014
- January 2014
- December 2013
- November 2013
- October 2013
- September 2013
- August 2013
- July 2013
- June 2013
- May 2013
- April 2013
- March 2013
- February 2013
- January 2013
- December 2012
- November 2012
- October 2012
- September 2012
- August 2012
- July 2012
- June 2012
- May 2012
- April 2012
- February 2012