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tic creation. The perspective of privilege blindly ignores the collateral damage of its privileged position. Gay’s art brings the viewer to the perception of the prey, as it were. Some of Gay’s paintings are poems, voicing the rage that results from continued victimization. Her “Boxed In” diptych shows black men who are pulled into themselves, surrounded by word collages. She also has portraits, presented on natural board to emphasize the natural quality of humanity. Gay’s collage painting “Father of Perpetual Help” has a satirical bite. She presents the man holding a child in the iconic mode usually accorded to Madonnas. Is this divine state somehow unthinkable? This image of divine man and child erupts into a cultural void. Can you see this? You can, because Gay does. Of other portraits, one called “Patriot” shows a standing black “buck” with target
zones indicated. Another, “Troy (Davis)” has his first name and portrait painted onto a collage of news stories about his case. One of the poem paintings depicts Trayvon Martin. The Zimmerman trial is ongoing. Gay’s work has gained wide recognition since last exhibit at the Bessie Smith. She has shown at the Hunter Museum, and has been chosen for a White House commission, among a number of other inclusions and honors. Gay’s work, relevantly engaged and stunningly evocative, brings balance to skewed social views.
Shanequa Gay: “The Fair Game Project”
Through August 30 Bessie Smith Cultural Center 200 E. MLK Blvd. (423) 266-8658 • bessiesmithcc.org
with housing costs, and one out of every four households are spending more than 50 percent of their income on housing. From this report came the proposed Affordable Housing Ordinance, a law that would mandate affordable housing units in new multi-unit residential developments built in the city. As far as I know, it’s the first time a group of citizens has worked together to create a full piece of legislation and propose it. The AHO was re-introduced to the new city council just this past week. CM: In August 2012, COA was awarded a $40,000 dollar grant by the Benwood Foundation. How has this grant been used to further the efforts of COA? PL: Since receiving the grant, we’ve worked to institute two programs to help grassroots individuals and organizations create the change they wish to see. The first program is the Justice School, which trains individuals in theory and practice of community organization. This year’s program will run in August. It’s entirely free and we only ask that students, upon leaving the program, lend their skills to future organizing efforts COA may encounter. The second is the SPARC Initiative. SPARC stands for “Sustaining People and Reclaiming Communities,” and the keyword here is “reclaim.” Instead of professional planners and politicians determining the future of individual communities, we work to deliver the tools of community planning directly into the hands of the people. I can think of no better example than our work with Lincoln Park. This community was told that a road was going to be built through their historic community park. City officials said the plans were set and couldn’t be stopped. SPARC changed this. They’ve won a promise from Mayor Andy Berke to be included in all conversations regarding their community and a promise that no road would be built through their park. Lincoln Park is now making plans for itself—plans that include a reunion and getting historic status for their park. CM: Where do you see COA in the future? PL: First you have to ask where Chattanooga is in the future. Chattanooga’s renaissance has not been equitable. Investment hasn’t been equitable. We may have more millionaires and luxury condos, but this renaissance has occurred in the midst of a 75.2 percent increase in poverty levels, according to the Brookings Institute. We have some communities with 23 percent unemployment rates, but some communities where the median family income exceeds $100,000 annually. This is not the Chattanooga I want to live in. But what this city becomes is up to us. This is what COA will be working on.
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chattanoogapulse.com • july 4-JULY 10, 2013 • The Pulse • 15