Monthly Archives: January 2016

EXPO Chicago 2014, Festival Hall, Navy Pier. International Exposition of Contemporary & Modern Art, September 18-21, 2014. (49 Photos).

Photographs ©John P. Walsh

Expo Chicago/2014 is the 3rd annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall on September 18 – 21, 2014. Photographs by John P. Walsh.

Rosalyn Drexler, Marilyn Pursued By Death, 1963, Fredericks & Freiser and Garth Greenan Gallery, New York City. This is based on a historical photograph of Marilyn as she was escaping the press.  

Christopher Le Brun (British, b. 1951), Friedman Benda, New York.

Michiko Itatani, Cosmic Kaleidoscope From the Pattern-Recognition 12 D 9, 2013, oil on canvas, 42 x 34 inches. Linda Warren Projects Chicago.

Matthew Woodward, Polk Street, 2014, mixed media on paper, 101 x 96 in., Linda Warren Projects Chicago.

Ramiro Gomez (American, b. 1986), American Gardeners, 2014, acrylic on canvas, 84 x 120 in., Charlie James Gallery, Los Angeles.

Jessica Stockholder (American, b. 1959), Once Upon A Time, 2014, plastic, paint, mirrors, stools, carpet, chain, cables, staircase, resin, cords, light, bowls, lamp shade. Kavi Gupta Gallery Chicago/Berlin.

Marieke McClendon, Clay Heads, ink on bristol board, ceramic, ShopColumbia Chicago.

Works by Gideon Rubin (b. Israel,1973, works in London). Oil on canvas/linen/wood, 2009-14, and gouache on cardboard, 2012-14, Galerie Karsten Greve AG St Moritz.

Expo Chicago 2014.

Nicholas Krushenick (1929-1999), Grill, 1977, Garth Greenan Gallery New York and Fredericks & Freiser New York.

Expo video/2014.

Gregory Scott, Van Gogh’s Bedroom, 2015, pigment print, oil on panel, HD video, Catherine Edelman Gallery, Chicago.

Antonio Murado, Gardens, 2014, oil on canvas. Galeria Àlvaro Alcázar, Madrid.

Three Walls Chicago.

Anne Lindberg, Parallel 42, 2014, Graphite and colored pencil on mat board, 59 x 34 in., Carrie Secrist Gallery Chicago.

Rene Portocarrero (1912-1985), Ornamental Figure in Brown Background, 1968, mixed media on paper laid down on board, 28 3/8 x 20 in., Cernuda Arte, Coral Gables, Florida.

Alan Reid (American, b. 1976), Lisa Cooley Gallery New York.

Matisse, Marlborough Gallery New York Madrid Monaco Barcelona.

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Yinka Shonibare (British-Nigerian, b. 1962), Ms. Utopia, 2013, mannequin, dutch wax cotton textile, fiberglass, wire, globe, and steel baseplate. BlainSouthern, London, Berlin.

Lynn Chadwick (1914-2003), Rad Lad IV, 1962, ed. 2 of 8; Beast XX, 1956, ed. 6 of 9; Boy and Girl III, 1959, ed. 2 of 9. Bronze. BlainSouthern.

Wesley 2014

John Wesley (American, b. 1928), Untitled, 2012 and Nicholas Krushenick (American,1929-1999), Wire Mill Road, 1972. Garth Greenan Gallery New York and Fredericks & Freiser New York.

Alex Katz, Ena and Roberto, 1988, oil on linen, 41 x 62 in., Richard Gray Gallery, Chicago.

Philip Pearlstein, Two Models with Four Geese Decoys, 1993, Watercolor on paper, Hill Gallery, Birmingham, Michigan.

Tony Oursler (American, b. 1957), Galerie Forsblom, Helsinki.

Aimé Mpane (b Kinshasa, 1968), Nude, wood and glue, 2008, Haines Gallery, San Francisco.

Peter Halley, Reign, 2013, acrylic, day-glo acrylic, roll-a-tex on canvas, 53 x 62 in., Galerie Forsblom, Helsinki.

Expo Chicago 2014.

Sandro Miller (b. 1958), Andy Warhol/Green Marilyn (1962), 2014, 29 x 29 in., Edelman Gallery, Chicago.

Leonardo Drew (American, b. 1961), Number 34S, 2014, 31 x 41 x 11 inches, wood, Anthony Meier Fine Arts, San Francisco.

Dayron González, Cernuda Arte, Coral Gables, Florida.

Michelangelo Pistoletto (b. 1933), Golden Buddha and Mirror, 2008, Hollis Taggart Galleries, New York.

Fernand Léger, Paysage Animé, 1937, oil on canvas, 35 7/8 x 23 1/4 in., Marlborough New York.

Jina Park, A Genius, 2000, acrylic on linen, One And J. Gallery, Seoul.

Tristian Koenig, Installation, Melbourne.

Expo Chicago 2014.

Minako Abe, Scene 29, 2011, oil on canvas, 35.8 x 92 in., Base Gallery, Tokyo.

Expo Chicago 2014.

David Hockney, Montcalm Pool, LA, 1980, oil on canvas, 12 x 16 in., Richard Gray Gallery Chicago.

The Flag Art Foundation, New York, curated by Shaquille O’Neal.

Mel Bochner, Money/Nothing, 2006, McCormick Gallery Chicago/Vallarino Fine Art New York.

Sanford Biggers, David Castillo Gallery, Miami, Florida.

Simon Edmondson, The Reader, oil on paper, 48 x 59.9 inches.

Expo Chicago 2014.

Manolo Valdés (Spanish, b. 1942, works New York City), Hojas II, 2014, Marlborough.

Manolo Valdés, Yvette, 2014, oil on burlap, Marlborough.

Mike Bouchet, Fuck It, 2013, Marlborough Chelsea, New York.

Jina Park, Automatic Door Follow Me, 2014

Jina Park, Automatic Door Follow Me, 2014, oil on canvas, 100 x 130 cm, One and J. Gallery, Seoul.

Manuel Mendive, La Energia del Bosque (The Energy of the Forest), acrylic and collage of wood with cowry shells, 2007. Cernuda Arte, Coral Gables, Florida.

Alfred Leslie, Afternoon Soaps, 1983, oil on canvas. Hill Gallery, Birmingham, MI.

EXPO Chicago 2013, Festival Hall, Navy Pier. International Exposition of Contemporary & Modern Art, September 19-22, 2013. (25 Photos).

Festival Hall, Navy Pier, Expo Chicago/2013.

Robert Natkin (American, 1930-2010), Untitled, 1957, McCormick Gallery Chicago & Vallarino Fine Art New York.

Hung Liu (American, Chinese b.1948), Da Fa Che II, 2013, mixed media, 82 x 82 in., Nancy Hoffman Gallery, NY.

Bruce Dorow (b. 1959), Black Shape Space, oil on canvas, 38 x 65 inches, 2012-2013. R.S. Johnson Fine Art, Chicago.

Aimé Mpane (Congo, born 1968), IC Cont Series, 2011-2013, acrylic and mixed media on wood panel, 12.5 x 12 x 2 in., Haines Gallery, San Francisco.

Patrick Strzelec, American sculptor. Garth Greenan Gallery, Chicago.

Jack Roth (1927-2004), Metafour II, acrylic on canvas, 57 x 54 inches, 1980, McCormick Gallery, Chicago and Vallarino Fine Art, New York.

Jonathan Boos, LLC, New York.

Jacob Lawrence (American, 1917-2000), The Lovers, gouache on paper, 21.5 x 30 in., signed & dated lower right. Jonathan Boos, LLC, New York.

Charles White (American, 1918-1979), Oh, Mary, Don’t You Weep, 1956, Graphite, pen, ink, on paper, 39 1/4 x 41 1/2 inches, Jonathan Boos, LLC.

50%.

Romare Bearden (American, 1911-1988), Manhattan Suite, 1975, collage and mixed media on board, 24 x 18 inches, Jonathan Boos, LLC.

50%

Haines Gallery, San Francisco.

William T. Kennedy, Warhol Holding Marilyn Acetate 1, executed 1964, 2010. This was made when Warhol wasn’t yet famous but at the center in a shift in the culture of the art world.

Larry Rivers (American, 1923-2002), Small Drugstore, 13.5.x.15.25 inches, oil on canvas mounted on board, 1959. Techniques of color-field painting, gestural abstraction, and calligraphy come together in a picture that is objective and abstract.

Die Galerie, Frankfurt am Main.

Expo Chicago 2013.

Long–Bin Chen (Taiwan, born 1964), Edvard Grieg, 28x29x15 inches. New York-based Long-Bin Chen transforms paper products into sculpture. Books are constructed so that parts (and often titles relevant to the subject) fit together seamlessly.

Michele Pred, Targeted, 2012, Vintage hat bag, birth control pills, 24x1x6 inches. Nancy Hoffman Gallery, New York. Michele Pred incorporates aspects of contemporary culture and politics in her art. The Berkeley, California, artist uses unconventional materials that serve as cultural artifacts for her conceptual approach.

Elizabeth Catlett (American, 1915-2012), Star Gazer, 1997, black marble, 14.5 x 32 x 11 in., signed. Jonathan Boos LLC. Catlett is known for depictions of African-American and Latin American working-class women using simple, solid shapes in wood, stone, bronze or clay.

Expo Chicago 2013.

Siebren Versteeg (American, b. 1971), Good Times_1081_2003_05_09, 2012, Algorithmically generated archive inkjet output to paper, tape. 92 x 56 inches, Rhona Hoffman Gallery, Chicago. The New York-based artist was educated at the SAIC and UIC. Mined digital content is presented as painterly abstractions or monitor displays.

R.S. Johnson Fine Art, Chicago. Top left: Fernand Léger (1881-1955), Mère et Enfant, 1949, gouache;  right: André Lhote (1885-1962), Les Acacias, 1959, oil on canvas.  

Tommie Smith at Expo Chicago 2013. Smith is an American former track and field athlete and American Football League wide receiver. On October 16, 1968, the 24-year-old Tommie Smith won the 200-meter sprint finals and gold medal in 19.83 seconds at the 1968 Summer Olympics in Mexico City. It was the first time the 20-second barrier was officially broken in competitive sports history. Atop the medal podium and with heads bowed, Smith’s Black Power salute with silver-medal-winner John Carlos protested racism and injustice against African-Americans in the United States. Smith’s raised fist as the national anthem played is seen as one of the most overtly political statements in the history of the modern Olympics and caused controversy. In Silent Gesture: The Autobiography of Tommie Smith (Temple University Press, 2008), Smith maintained that the gesture was not a “Black Power” salute solely but a “Human Rights” salute. In any event, Smith’s raised fist salute in 1968 became one of the most iconic moments in the Olympic games and the history of the Black Power movement.

Glenn Kaino, Bridge, 2013. A section of a 100-foot long construction that features 200 gold casts of Tommie Smith’s arm in a raised fist salute that occured in the 1968 Summer Olympics on the medal podium during the national anthem after Smith broke a sprinting record to take gold.

PARTS 1 and 2 – Martin Luther King, Jr. and the Chicago Freedom Movement in 1966: Coming to Chicago and the Start of the Campaign.

By John P. Walsh

Rev. Dr. Martin Luther King, Jr.

The first nonviolent civil rights campaign in the North led by the Southern Christian Leadership Conference (SCLC) started in Chicago, Illinois, on January 5, 1966—50 years ago this month.

The multi-pronged campaign was Rev. Dr. Martin Luther King Jr.’s first major effort outside the South and the first following the Civil Rights Act of 1964 and Voting Rights Act of 1965. King’s coming to Chicago was greatly influenced by the Watts riots in August 1965 where those deadly six days demonstrated to King and the nation the high cost in human lives and property associated with deep discontentment in the black community over isolating and chronic high unemployment, substandard housing, and inadequate schools.

King’s consideration to come to Chicago in 1966 was further energized by national issues activated by a local focus: in this case, King’s broad support for recent Federal complaints brought by the Chicago Coordinating Council of Community Organizations (CCCO) alleging segregation in the Chicago public schools. As there was a huge new Federal aid package for those public schools in the nation which desegregated by the start of the 1965-1966 school year, a charge of segregation in a state in the north and in the nation’s second largest city was unexpected, provocative, and dangerous to the natural progression of the status quo.

Led by former school teacher Albert Raby (on KIng’s left), the CCCO was a coalition of a number of disparate and sometimes contentious groups including the local branches of CORE, the Catholic Interracial Council, and the Urban League, among others. Here, King and Raby meet the Chicago press along with SCLC leader Bayard Rustin (on King’s right).

The status quo in Chicago, at least in terms of its politics, was embodied in one man: Mayor Richard J. Daley (1902-1976). King’s intention to come to Chicago instead of to another big northern city was that he figured to find in Mayor Daley a powerful ally to his civil rights movement. Already Daley vocalized agreement in principle with King’s message of open housing and racial justice, but King’s potential challenge to any aspect of the mayor’s absolute political power never gained Daley’s sympathy or recognition.

Many in Chicago’s local civil rights community, however, welcomed Dr. King’s presence in Chicago in 1966. Activists like Dick Gregory had marched on City Hall — and into Bridgeport to Daley’s home — dozens of times but to no avail in terms of tangible policy changes for blacks in a city where blacks constituted 25% of its population. Perhaps the efforts of Dr.King in Chicago could break the deadlock. 

The U.S. Commission on Civil Rights had recently labeled Chicago “the most residentially segregated city in the nation” but Daley chose to see it differently. There was no legal segregation in Chicago and Daley believed it was simply a “city of neighborhoods.” The 64-year-old Daley also felt that if government handouts were not downright un-American then, by 1965, big Federal programs should be administered at the local or city level and not from Washington.


Stevie Wonder’s single “Uptight (Everything’s Alright)” was released in late November 1965 and peaked at no. 3 on the Billboard Hot 100 in early 1966 and was no. 1 on the Billboard R&B Singles chart for 5 weeks. Co-written by 15-year-old Stevie Wonder, the song was a watershed for his career. It was one of three singles in the early-mid1960’s that peaked in the top 40 on both charts and “Uptight (Everything’s Alright)” also launched the next stage of Wonder’s recording career into the second half of the 1960’s.
1920’s flats in Bridgeport in 2015, the Chicago neighborhood of Mayor Richard J. Daley.
Chicago slums, 1950.

While Daley’s home rule views appealed to some Chicagoans, other Chicago neighborhoods stayed in flux. There had been a longstanding mistrust, for example, between poor West Side residents—most of whom were black and concentrated by the mid1960’s into a vast ghetto—and a largely white Chicago police and fire departments. In the summer of 1965 street riots in West Garfield Park effectively produced the integration of 40 of 132 firehouses where calls for integration had been resisted since the early 1950’s.

The City of Chicago’s contrariness to aspects of President Johnson’s Great Society carried into the office of Chicago’s Education chief Benjamin C. Willis. In October 1965 Willis defied federal mandates for the release of requested materials as well as blocked the use of new national achievement tests in city public schools. This led to Chicago being temporarily denied their part of the massive $1.3 billion federal aid to schools program.

President Lyndon B. Johnson (r.) meets with Chicago Mayor Richard J. Daley in the White House, April 21, 1966. Photograph by Yoichi Okamoto (1915-1985).

The overall Mayor Daley-President Johnson alliance was strong in late 1965 and the federal aid money called into question was restored within the week. Further, the federal official who had cited Daley’s public schools for contempt of Federal segregation mandates was demoted.

It was into this political hothouse that Dr. King decided to build a civil rights campaign for open housing, jobs, and educational opportunity for African-Americans which in October 1965 Daley announced he welcomed with open arms.

Meanwhile Daley was also mobilizing local black and other elected officials in Chicago to establish their own community action programs to co-opt or sideline any of King’s anticipated civil rights initiatives and efforts. This important time when Dr. King came to live and work in Chicago from January to August 1966 and its immediate legacy came to be called the “Chicago Freedom Movement.”


In January of 1966, Martin Luther King, Jr., arrives into the tenement apartment on the West Side to begin the Chicago Campaign. The nine-month campaign gave birth to bringing before the nation its widespread issues of poverty and racial injustice. As King mounted these steps into the cold, rundown set of rooms, he was equally walking into the complex politics, problems and hurdles associated with this big northern city whose Democratic mayor, Richard J. Daley, was known as “Boss.”

It was on Wednesday, January 26, 1966, that Martin Luther King, Jr. and Coretta Scott King installed themselves into a West Side apartment in a low-income Chicago neighborhood on the West Side.

At the outset the SCLC and their allies were political outsiders in Chicago and mainly sought an amenable agreement with the established political powers in a city embodied by 63-year-old Richard J. Daley, its mayor since 1955.

In the middle of the cold and brutal Chicago winter King humbly began his campaign by stating that he was looking to study the city’s social conditions.

King wanted to know which nonviolent campaign tactics—whether it was street marches, voter registration drives, rallies, fund raisers, or something else—would be effective to progress the objectives of job creation, open housing,  educational opportunity for African-Americans and, by summer of 1966, slum clean-up and a citizen’s review board for police brutality and misconduct.

Martin Luther King Jr. and wife Coretta Scott King after moving into an apartment at 1550 S. Hamlin Avenue in Chicago on January 26, 1966. King moved into the tenement apartment to highlight segregated housing conditions in Chicago and launch a campaign to end slums in the city. — Chicago Tribune, Feb. 24, 1966.
With furniture provided from local second-hand stores, Martin and Coretta Scott King are pictured on the first day in their Chicago Lawndale apartment on 1550 S. Hamlin Avenue. King’s first act in Chicago in January 1966 gained national media attention which helped to publicize the conditions of Chicago slum apartments. Photograph by John Tweedle.
Martin Luther King Jr. helps remove a window frame while renovating an apartment at 1321 S. Loman Ave., in Chicago in 1966. King moved into a West Side apartment to highlight housing segregation issues in Chicago. — Luigi Mendicino, Chicago Tribune, Feb. 24, 1966. he SCLC and CCCO together with the Westside Federation became extralegal ‘trustees’ of the building with the tenants paying their rent to the SCLC, which used the money to make repairs. Male tenants of the building were hired as laborers and paid King’s proposed new minimum wage, $2.00 per hour. (The minimum wage in 1966 was $1.25.) King told Betty Washington, a reporter for the Defender, that the experiment of taking over that building would give Movement leaders insight into “the kind of social planning that might reverse this trend of degradation of our nation’s cities and contribute to the kind of community awareness that will bring new life and new hope to the slums of this city.” Photograph by Luigi Mendicino, Chicago Tribune, February 24, 1966.
Coretta Scott King at the Homan Avenue tenement in Chicago in 1966 tenement her husband’s campaign had taken control of and worked to repair. It was about 5 minutes by car from the King home on Hamlin.

“Baby Scratch My Back” written and performed by “swamp blues” singer Slim Harpo (1924-1970) was a number one hit playing on the radio in 1966.

As King spoke about a “closed society” in Chicago, the elected political power structure out of the Mayor’s office maintained an omnipotent grip on city services as a vicious circle of poverty in some black neighborhoods was permitted to exist. It was complicated by the Mayor’s assertions that there “were no ghettos” in Chicago though Black citizens were de facto restricted to living in only certain of Daley’s “city of neighborhoods.”

King’s outsider status—which at first was understood as a mostly useful factor among Chicago’s civil rights activists—also worked to undermine King’s effectiveness in Chicago throughout 1966.

King and his circle were unfamiliar with Chicago’s vast size and complicated demographics. Also, perhaps unexpectedly, opposition to King’s efforts didn’t always fall cleanly along racial lines.

Whether coming from whites or Blacks, resentment to the Atlanta-based minister in Chicago usually always revolved around his being viewed as an interloper and potential power rival.

Dr. Joseph H. Jackson (1905-1990), president of the National Baptist Convention, U.S.A., Inc., and pastor of Olivet Baptist Church in Chicago was bitterly opposed to the Chicago Freedom Movement and made rancorous attacks against Dr. King while he was in Chicago. In 1963 Dr. Jackson was booed off the stage with Mayor Daley at an NAACP rally in Grant Park in 1963.

Support from Chicago Black ministers, a natural political base for King, was frequently blunted in 1966 by intimidating reminders from City Hall that this or that certain church would be having its building or fire code inspection coming up.  

Moreover, big cities across the nation, including Chicago, were looking to receive a huge influx of money out of Washington, D.C. including part of a new $2.3 billion anti-slum program (about 17 billion in 2015 dollars). This huge infusion of money to Chicago was part of programs marking President Lyndon B. Johnson’s “Great Society.”

King was politely pressured by city officals to forego what could only be seen as futile and time-wasting efforts of meetings and trash drives so to allow the Chicago mayor and his allies to get down to the serious work of eliminating city slums by, as Daley announced, no later than the end of 1967.

Daley’s home-court advantage and enormous financial support from the Democratic U.S. president and Congress gave Dr. King’s civil rights operation among the poor and dispossessed an appearance of superfluity, if not outright meddling.

Tactically, on every front, Daley tried to match King’s organizational efforts often by simply buying off King’s allies.

When King filled the International Amphitheatre on South Halsted Street with 12,000 Black celebrities and supporters on March 12, 1966 for a rally, Daley led 70,000 marchers and 350,000 spectators down State Street in the St. Patrick’s Day parade a few days later.

Mayor Richard Daley leading the St. Patrick’s Day Parade on State Street in 1963.

After the SCLC took a supra-legal action to seize a dilapidated tenement building, Daley limited his response which left King to deal with all the legal and public relations headaches.

King was not naïve about his own position. He did not want the Chicago Freedom Movement to become politicized. Daley had a mayoral primary in February 1967— he was running unopposed for a fourth four-year term. Some King allies in Chicago wanted an opposition candidate to coalesce around the Chicago Freedom Movement and run against the Boss mayor.

King refused the idea. Despite the political leeway, Daley worked continuously in 1966 to limit and even sideline King’s efforts in Chicago. King’s hope that the Irish-American big city northern mayor would risk or trade political power for King’s agenda of social justice and civil rights on behalf of the city’s African-Americans —historically a full third of the population —was mostly dashed in 1966.

Daley’s selective embraces of King never offset the mayor’s overall strategy to restrain the civil rights leader’s efficacy in Chicago. At the same time Daley did not want his restraint of King to impact or curb the broad voter support that the Daley administration had.

Civil rights leader Rev. Martin Luther King Jr. discusses fair housing with Gilbert Balin, of G. Balin Inc. real estate agents in Chicago. King and the Southern Christian Leadership Conference launched a campaign to end slums in the city, which would become known as the Chicago Freedom Movement. — Jack Mulcahy, Chicago Tribune, Nov. 3, 1966.

Regardless of Daley’s defensive efforts, King did not lose sight of his message of improved housing, education and economic development for African-Americans in Chicago. At this still early juncture of his time in Chicago, KIng carried on with his own civil rights campaign leaving any direct confrontation with Mayor Daley for the future.

One SCLC initiative that scored quick success was a project started in February 1966 headed by Rev. Jesse Jackson called Operation Breadbasket (later renamed Operation PUSH). Within months there were several hundred new Black hires in Chicago-area businesses by way of this action.

Rev. Jackson at an Operation Breadbasket event, May 9, 1970. Photo by Chris Holmes.
Beyond the Hamlin ‘trusteeship’ and Operation Breadbasket, King spent those first late winter and early spring months in Chicago getting to know the city and formulating a plan. He visited with black and white leaders including the powerful mayor, Richard M. Daley, and the leader of the Nation of Islam, Elijah Muhammad. He also worked to convert gang members to the philosophy of non-violence and met with a large variety of community groups. Here he walks with members of the East Garfield Park Community Organization. Photograph by John Tweedle.

King’s months-long presence in Chicago in 1966 could also be credited for prompting Mayor Daley to establish new city programs. Daley also hosted various “summits” with clergy, labor and business leaders with the agenda to combat poverty and racism in Chicago.

In August 1966, Daley, with the support of the Chicago Freedom Movement, accepted the departure of public schools Chief Benjamin Willis and the appointment of James F. Redmond, a racial progressive. Still, Daley considered only white men for the post and overlooked two qualified Black candidates.

One thing Dr. King considered a key effort to improve African-American lives in the ghetto was to transform gang members into nonviolent civil rights activists. When a gunfight at a SCLC meeting in May 1966 broke out between Blackstone Rangers and East Side Disciples that appeared to end King’s official initiative in this direction.  

Meanwhile, Richard J. Daley continued his downtown redevelopment. In March 1966 Daley announced a $200 million package for mass transit and made sure the Civic Federation — a good government watchdog group — was there to endorse it. In addition to Loop and North Michigan Avenue redevelopment Daley dedicated in May 1966 the Civic Center, soon to be graced by the iconic Picasso sculpture in 1967.

Now the long, hot days of a Chicago summer were at the doorstep. Many in the city wondered in 1966 to what extent Dr. King’s plans might add to the heat.

King’s apartment during 1966 in Chicago at 1550 South Hamlin Avenue was damaged during the riots that followed his assassination on April 4, 1968 and eventually demolished. The site was a vacant lot until the construction in 2011 of Dr. King Legacy Apartments designed by the architecture firm Johnson + Lee. the $18 million, 45-apartment complex also features commercial spaces along its 16th Street frontage, including the new home of the Fair Housing Exhibit Center.
Painted mural of the image of Dr. Martin Luther King, Jr. and his tenement apartment in Chicago’s North Lawndale by nationally-renowned Afro-Indian muralist, Paul Collins. It is the centerpiece of the Fair Housing Exhibit Center.

SOURCES: Martin Luther King, Jr. with profiles of Mohandas K. Gandhi and Nelson Mandela, Lori Meek Schuldt, World Book, Inc., 2007; American Pharaoh, Mayor Richard J. Daley: His Battle for Chicago and the Nation, Adam Cohen and Elizabeth Taylor, Little, Brown and Company, 2000; At Canaan’s Edge: America in the King Years 1965-68, Taylor Branch, Simon & Schuster, New York, 2006; Civil Rights Digital Library – http://crdl.usg.edu/events/watts_riots/?Welcome. On Tina Allen – http://chicagopublicart.blogspot.com/2013/09/dr-martin-luther-king-jr-bust.html. On the CCCO- – http://www.oxfordaasc.com/public/features/archive/0110/photo_essay.jsp?page=3. On Hamlin trusteeship  -http://www.oxfordaasc.com/public/features/archive/0110/photo_essay.jsp?page=6.

The next chapter of the campaign:

Reverend Dr. Martin Luther King, Jr. (1929-1968). (5 Quotes).

martin-luther-king-1965-selma-hero-fix-A

I came to see that so many people who supported, morally and even financially, what we were doing in Birmingham and Selma were really outraged against the extremist behavior of Bull Connor and Jim Clark toward Negroes rather than believing in genuine equality for Negroes. And I think this is what we’ve gotta see now, and this is what makes the struggle much more difficult. Rev. Dr. Martin Luther King, Jr. (1929-1968), “The Other America” speech, Stanford University, April 14, 1967.

We who engage in nonviolent direct action are not the creators of the tension. We merely bring to the surface the hidden tension that is already alive. Rev. Dr. Martin Luther King, Jr. (1929-1968), Letter From Birmingham Jail, 1963.

I have earnestly opposed violent tension, but there is a type of constructive, nonviolent tension which is necessary for growth. Rev. Dr. Martin Luther King, Jr. (1929-1968), Letter From Birmingham Jail, 1963.

I hope that the president didn’t mean to equate nonviolent demonstrations with a riot, and I think it is time for this country to see the distinction between the two…I think demonstrations must continue, but I think riots must end. Rev. Dr. Martin Luther King, Jr. (1929-1968), interview from Chicago with Meet The Press, August 21, 1966. Cited in The Eclipse of Equality: Arguing America on Meet the Press, Solon Simmons, Stanford University Press, 2013, p. 160-61.

I contend that we are not doing more harm than good in demonstrations, because I think demonstrations serve the purpose of bringing the issues out in the open. I have never felt that demonstrations could actually solve the problem. They dramatize the existence of certain social ills that could very easily be ignored if you did not have demonstrations. I think the initial reaction to demonstrations is always negative….Ultimately society must condemn the robber and not the robbed. It must protect the robbed, and this is where we are in these demonstrations, and I am still convinced that there is nothing more powerful to dramatize a social evil than the tramp, tramp of marching feet. Rev. Dr. Martin Luther King, Jr. (1929-1968), interview from Chicago with Richard Valeriani (NBC News), August 9, 1966. Cited in The Eclipse of Equality: Arguing America on Meet the Press, Solon Simmons, Stanford University Press, 2013, p. 161.