Officer Donald Givens and Chief Steven Jones respond to “Black Lives Matter” (Facebook) Edwards, David. “Conservatives fall in love with Texas cop who said Black Lives Matter is a hate group ‘no different than KKK’.” Raw Source, 13 August, 2015, http://2d0yaz2jiom3c6vy7e7e5svk.wpengine.netdna-cdn.com/wp-content/uploads/2015/08/22314_907469009319472_5086849209661125782_n-800×430.jpg
Out stretched hand dominating a picture conveys a menacing message .
Two policeman, one black and one white with messages hand painted on their palm. The palms are facing the viewer. On each hand is the message “His Life Matters” with an arrow pointing to the other (black police officer arrow to the white officer and vice-versa). Both policeman have a stern expression with their eyes slightly turned towards their individual hand. Their outstretched hands towards the camera partially block their face but the blocking is small and proportionally equal in terms of how much face the hand actually block on each policeman. The hands dominate the picture with most of the frame top to bottom and maybe 50% of the frame side to side. The policemen are standing together in front of blue lockers. Light is brighter on the lockers towards the middle of the screen.
Larry Walker Painting “Passing M,9 and Other Wall Spirits”
We have presently an exhibition in the GSU Art Museum a collection of cultural artifacts in the form of original paintings by a member of the GSU community. On display are works of art by Georgia State University, Director Art and Design Emeritus, Larry Walker. (Professor Walker was a Professor of Art for 17 years at GSU and served as Director of Art and Design at GSU for the last 11 years.) (Kessenich). The exhibition is centered on Professor Walker’s theme of “Wall Spirits” shown in the painting above titled “Passing M,9 and Other Wall Spirits”. The painting dated 2009 is mixed materials and collage and features a spirit like silhouette passing a wall collage.
Larry Walker in studio. Photo credit: Carolyn Richardson, PR & Marketing Communications, Georgia State University, Atlanta, GA 2013/2014.
Professor Walker is an accomplished artist with his works in collections of major American art museums including: High Museum in Atlanta, The Los Angeles County Museum, the Philadelphia Museum of Art, the Museum of
Contemporary Art of Georgia and The Studio Museum in Harlem. (Emerson). In June of 2016 Professor Walker was honored by the presentation of the Nexus Award presented by the Atlanta Contemporary Arts Center (ACAC) http:// https://atlantacontemporary.org/. The Nexus award is presented annually by the ACAC to the single individual or group “who are instrumental in making Atlanta an exceptionally vibrant arts community”. (Kessenich). Daniel Fuller, Curator at ACAC says “there are very, very few people that have meant more to the Atlanta art scene than Larry… He is an Atlanta treasure”. (Kessenich)
While everyone is encouraged to see the exhibition in person, enclosed is a video that I made to give a “taste” of the exhibition. (Please forgive the “nonprofessional” camera work).
Kessenich, Veronica. “Atlanta Contemporary Announces Larry Walker as the 2016 Nexus Award Recipient.” Atlanta Contemporary Press Release, 23 June, 2016, Web accessed 25 August, 2016 https://atlantacontemporary.org/press/atlanta-contemporary-announces-larry-walker-as-the-2016-nexus-award-recipient
Reading summary: Architectural Exclusion: Discrimination and Segregation Through Physical Design of the Built Environment.
Active promotion of zoning restrictions
This article written by Sarah Schindler, Associate Professor of Law, University of Maine, and published in the April 2015 Yale Law Journal contends that we presently have laws and regulations which prevent exclusion and discrimination in employment and housing, etc., but architectural designs are not presently adequately addressed by law or regulation.
Schindler acknowledges that the question of architectural decisions resulting in discrimination has been researched in the fields of planning and urban design, but asserts that legal scholars have focused on architectural regulation mainly through laws such as restrictions on zoning laws (above photo) and restrictive covenants. (Section 1, A) (Architecture regulation is broadly defined “to encompass civil engineering, city planning, urban design and transit routing”) (Introduction). Focusing primarily on laws misses opportunities to reduce discrimination caused by architectural regulation, because architectural regulation “…is unseen: it allows government to shape our actions without our perceiving that our experience has been deliberately shaped (introduction). The article argues that “regulation through architecture is just as powerful as law and is less visible to courts, legislatures and potential plaintiffs (Section I, B).
An example of how the law community is overlooking architectural discrimination is the reference to a land-use law casebook with a chapter “Discriminatory land use controls”. The chapter addressed discrimination tools of racially restricted covenants and exclusionary zoning. However, the chapter makes no mention of the discrimination caused by exclusion based on features of the built environment. (Section I, B ( (Example of built environment, a subset of architectural regulation, include: absence of sidewalks, bike pathways, one way streets, exits from highways diverting, traffic from more affluent neighborhoods and is a subset of the term Architecture regulation). (Section 1, B)
Architectural regulation dealing with the built environment is deemed to flawed as “… built environment does not fit with the definition of ‘regulation’ … it is not a rule promulgated by an administrative body after a notice-and-comment period.” (Section 1, A). As such, architectural regulation is not subject to the rigorous debate generally associated with formation of a law and not a specific regulation subject to public comment and scrutiny that formal regulations e.g. zoning regulation.
Robert Moses Bridge Designed to Restrict Buses and Trucks
Built environment decisions can be deliberately restrictive. One example is Robert Moses’s design of bridges in New York State. The bridges were designed (some argue deliberately) so that were low enough to prevent buses access to public parks and suburban communities. “One consequence was to limit access of racial minorities and low-income groups” who often used public transit… to Jones Beach, Moses’s widely acclaimed public park.” (II. A) Moses also vetoed the extension of the Long Island Railroad to Jones Beach for the same reason of limiting access.
Another example of overt architecture regulation with the intent to restrict is resistance to expansion of public transportation. “…wealthy white residents of suburban Atlanta, San Francisco, and Washington, D.C. have organized to oppose the location transit stops in their communities… because transit would enable people who live in poorer areas of the cities to easily access the wealthier areas.” (Section 2, B).
Politics come into play because the officials who make these decisions answer to their constituents. Schindler introduced “Fischel’s Homevoter Hypothesis” (William A. Fischel) “… homeowners are more likely than renters to vote and more likely to vote in ways that will protect their property investment…” (Section 1, B). In the case of public transit resistance, Fischel’s Homevoter hypothesis “empowers” local officials to make architectural decisions that are clearly discriminatory towards another group.
Another not so obvious example of architectural regulation decisions that are discriminatory is Elise C. Boddie’s argument that places have racial identities base on their history of or reputation for exclusion. As such “… the meaning of a place can allow those in charge, such as police officers, to determine who belongs in that place and who does not…” (Section 1, B). Getting back to Schindler’s theme of law not addressing architectural regulations, Boodie points out “law overlooks the racial identifiability of spaces….” (Section 1, B)
In conclusion, I offer my own observation that the public is aware that architectural regulation decisions are commonplace. The widely heard phrases “from the wrong side of the tracks” or, “zip code determines one’s destiny” are recognition that this concept is known an accepted. The elaboration by Schindler adds much detail and explanatory commentary to raise this issue more forcibly.
Castleberry Hill is an Atlanta in-town neighborhood just south of Philips Arena/CNN. The actual neighborhood is larger than the area discussed in this post. Castleberry Hill is the area marked in brown on the map. The area covered in this post is the “business area” down Walker St and back up Peters Street.
Castleberry Hill is a neighborhood of a few small businesses (a law firm, hair stylists and boutique clothes); and art galleries, and loft style and brick condos. No malls, no McDonalds (or other franchise fast food places), no manicured green lawns, no “McMansions with 2 or 3 car garages, no chain retail stores, no supermarkets. In short this is not suburbia. It also is not “trendy” as defined as inside the 285 perimeter by the BMW crowd.
On first glance Castleberry Hill is a gritty place with boarded up, dilapidated buildings. The “business center” has few businesses. The Peters Street Mission gives concern as to the type of neighbors one may run into. For example, a sign on the mission door…NO ADMISSION after 7:00 p.m. UNLESS: 1) You come from the hospital with verification; 2) You just came into town and have a ticket stub verifying travel; 3) You are caught by the police and they request our help).
Not so friendly neighborhood sign
There are indications that crime is an issue. Threatening signage such as the proliferation of signs that say “NO GUNS, KNIVES, OR OTHER CONCEALED OR UNCONCEALED WEAPONS…” or, the menacing sign to the left do not convey a “friendly” feeling.
Then why do people choose to live in Castleberry Hill? One obvious reason is the proximity to downtown Atlanta provides a minimal commute. (The MARTA Garnett station, which is one station past Five Points is close). An interview with a recent arrival to Castleberry, Cecilia, who with her husband moved to Castleberry Hill six months ago from France provides some incite. (See below video) As can be heard on the video Cecilia sites: location; they found a “nice place to live”; “lots of art exhibitions”; and the area is “more dynamic”. In the video she does talk about crime and says that “for me I have not had a problem but for a women at night, she must be more attentive”.
Loft units between Market and Peters StreetBrick condos on Peters Street
Just a short walk from the abandoned and boarded up buildings there are comfortable looking loft and brick apartment/condo buildings. These apartments/condos are middle class priced. For example, 2 bed, 2 bath 1300 sq ft condos are listed at $225,000 to $300,000. Some 1 bedroom units are listed under $200,000. There are no high-rise condo or other style buildings in Castleberry Hill.
In a later video (see below) Cecilia also commented on some concerns about living in Castleberry Hill. “The walls are not perfect” (in some of the construction); “the lights on the street at night are not so bright”; “buildings are old when you go down Walker Street”; “you need to pay attention at night (commenting on crime); and while she has had no bad experience herself, “some people do talk about crime problem”.
In summary, Castleberry Hill is not for everyone. My wife and I have been to Castleberry Hill at night several times for art openings and it was a fun exciting feeling. However, in the bright daylight you do see the “warts” and “drawbacks.” A very unscientific, subjective view is that Castleberry Hill has coarsened since we last saw it (or maybe it is just seeing in the day when nothing is going on). However, I still find a strong appeal in the “Urban Chic” vibe that Castleberry Hill projects. If I were young, and single, I would put Castleberry Hill on my list of top places to consider to live in metro Atlanta. I never would consider suburban living due to its commute; and, the loft or brick style condos of Castleberry Hill have more living appeal than the steel and glass high rises you find elsewhere in the city. The clincher, however, is that in a neighborhood where you see posters for offbeat characters like “King Yoshi” or “Minette Magnifigue”, must be a fun place to live. Cecilia is right “more dynamic” is better.
Castleberry Hill is a neighborhood just south of the new football stadium being built and CNN center in downtown Atlanta. This blog focuses on a part of Castleberry Hill down Walker St to the junction with Peters St and then back up Peters St which is the “business” section with art galleries, shops and loft style housing.
When first entering Castleberry Hill on Walker Street, one is greeted by a huge wall painting sign announcing Castleberry Hill. The sign includes a continuous painting that also states “In memory of Herman J Russell” and includes his portrait on the right. Herman J Russell was a prominent Atlanta black real estate developer and businessman who died in 2014.
Short ways down Walker St is a dilapidated, small building with the sign “Amish Handmade Outdoor Furniture”. Contrary to the condition of the building the sign looked new but as the building is blocked with chains saying no parking or entry, it appears that this store is out of business. However, according to the active website given on the sign the furniture is made from recycled plastic by Amish in Ohio and, that the Castleberry Hill location is their showroom. Their furniture can also be bought at a weekend market in Jonesboro. The exterior of the building is rundown and not the typical look of a showroom.
Hillary Clinton’s Atlanta HQ and workplace on Walker Street is easily identified with a banner signage “Stronger Together”. The banner looks homemade. A longtime resident of 12 years to Castleberry Hill states that Castleberry Hill is largely comprised of black, white, younger, unmarried residents who tend to support Democrats (the resident’s view) This long time resident adds that Castleberry is getting better because “more people have moved in”.
On the left one of the “street art” that Castleberry Hill has throughout the neighborhood. This particular “street art” was smaller than others and was painted on a grungy wall. The message is a little obscure. The message is hard to read but apparently is a snail saying “Suy4 says buy land.”
Signs are posted on many walls and windows. The signs to the left is posted on a badly weathered and water damaged, wooden panel on a boarded up building. The window on the right shows an array of advertisements covering more than half of the window panes. Stickers are also affixed to the poles on the front.
On the Baptist mission on Peters Street are signs on the door that give the hours of admission, how to provide contributions and, under what conditions someone would be admitted.The Sign over the top of the entrance reads “Jesus Saves”. All the signage is old and battered.
Yoshicrew420 from video
The sign to the right on a window is an advertisement for a rapper “King Yoshi” (see left screen shot from a video posted on Facebook page LOVEYOSHICREWENT given on sign . “King Yoshi” recently performed at “The Athlete’s Foot Bday Bash” in Atlanta. This was an unusual performance — Music?, Rap? Art? This performance by “King Yoshi” can be see on youtube. Reference to “King Yoshi” is included in this blog to get a sense of Castleberry Hill resident’s interests.
Sign on the left is in a window and states vote NO in November election on SR 287. SR 287 is a bill to allow the Georgia General Assembly to take over “failing” schools. The sign is from AFT Atlanta Federation of Teachers who apparently are against the state taking over Atlanta schools which the state deem failing.
The sign to the right “BE GOOD TO OUR ‘HOOD, please KEEP CASTLEBERRY CLEAN” is askew and in a derelict, apparently abandoned building.
“Art Stroll” is a monthly tour of galleries in Castleberry Hill. The sign is old and battered.
The sign to the right is in a studio like building and is for “Minette Magnifigue”. The sign states that “Minette Magnifigue” is Creative Loafing 2013 Reader chose for “Best Burlesque Troupe”.The Troupe “Minette Magnifigue” does not appear to be based in Castleberry Hill but the sign shows the interest of residents of Castleberry Hill.
Several buildings have this sign “NO GUNS, KNIVES, OR OTHER CONCEALED ON NONCONCEALED WEAPONS”. Other references to possible crime include a sign “WE DON’T DIAL 911” with a photo of a pistol pointing at viewer.
Sign outside a nightclub give clear dress code as to what is not allowed. On the list are white T-shirts, sagging pants, and bandannas (spelled wrong on the sign). The sign also states that the club reserves the right to refuse service.
A recent phenomenon is the filming of Hollywood and TV movies in the neighborhood. This is seen with the sign in a window “Films = GA Jobs” (sign not depicted)..
No Mas Hacienda Cantina is a multi-level Mexican bar and restaurant with splashy Mexican theme decorations. Within the complex there is a shop selling Mexican house decorations. There is also an extensive set up outside for parties and dinners. The sign to the left is at entrance steps to the main dining rooms and Mexican merchandise shop.
Interesting discussion yesterday in Mrs. A’s 10:00 English class. Discussion centered on my fellow classmates reactions to an article in the April 2015 edition of The Yale Law Journal. The author of the article, Sarah Schindler is an associate Professor of Law, University of Maine Law School.
The article contends that we presently have laws and regulations which prevent exclusion and discrimination in employment and housing, etc., but architectural designs and related building, roads and other physical infrastructure are not presently addressed by law or regulation. Numerous examples were given by Professor Schindler of how architecture can be restrictive. For example, making bridges lower so that buses cannot use specific roads to get to suburban park areas. Mentioned in the article was how public transit can be discriminatory in placement of stops, where they do not go, etc. This prompted a class discussion on Atlanta’s MARTA rail system. MARTA’s non presence in Cobb County, an adjacent northern suburb to Atlanta is detrimental to inner city residents. For example, the Atlanta Braves baseball team’s decision to move to a new stadium in Cobb County next year impacts present MARTA dependent inner city workers. Employees at the present Braves baseball stadium, who depend on MARTA, will not be able to work at the new stadium due to MARTA’s absence. Also in town Atlanta Braves fans who depend on MARTA to see games will be impacted. Wouldn’t you think restricting access for existing paying customers would be a concern of Atlanta Braves Management? Maybe the thinking is that more of the wealthier Northern suburbs will attend to offset the loss of existing in town fans, as the Northern suburb attendees will be free of the need to go “downtown”.
In preparing for the class discussion I found an article that reported seeing many bumper stickers in Cobb County during the last voter election to fund MARTA. The sticker read “Share Atlanta Crime – Support MARTA”. To me this indicated Cobb County residents historical resistance to MARTA is not totally driven alone by a modest increase to their sales tax.
I welcome my fellow classmate’s comments. In yesterday’s class one point of view was that this whole concept of architectural discrimination is overblown and people are just looking to find things to bring up. Not the words of my classmate, but I interpreted this as “political correctness gone a muck”. Um, where else these days have we heard similar sentiments?
