Category Archives: CHICAGO

EXPO Chicago 2017, September 13-17. Sixth Annual International Exposition of Contemporary & Modern Art. (34 photos).

Expo Chicago/2017 is the 6th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall. It took place September 13-17, 2017. Expo Chicago/2017 presented 135 galleries representing 25 countries and 58 cities from around the world.

This post’s 34 photographs are of that event.

Expo Chicago 2017
Expo Chicago 2017.

Brian Calvin, Momentary Monument, 2017
Brian Calvin, Momentary Monument, 2017, acrylic on canvas, Anton Kern Gallery, New York. Expo Chicago 2017.

Expo Chicago 2017Admissions, Expo Chicago 2017.

Expo Chicago 2017
Information desk, Expo Chicago 2017.

Lara Schnitger, Suffragette City, 2015-2017.Lara Schnitger, Suffragette City, 2015-2017, Cotton, and linen, quilted and bleached, Anton Kern Gallery, New York. Expo Chicago 2017.

The War We Won, Roger Brown, 1991
The War We Won, Roger Brown, oil on canvas, 80 x 120 in., Kavi Gupta Gallery, Chicago. Expo Chicago 2017.

Doug Argue, Dream Song 12, 2017
Doug Argue, Dream Song 12, 2017, oil on paper, 40,x,60 in., Marc Straus, New York. Expo Chicago 2017.

CarrerasMugica Contemporary Art Gallery, Bilbao
CarrerasMugica Contemporary Art Gallery, Bilbao. Expo Chicago 2017.

Galerie Gmurzynska, Zurich, SwitzerlandGalerie Gmurzynska, Zurich, Switzerland, with booth design by Antonio Manfreda. Expo Chicago 2017.

Matthew Monahan, Hurricane Nickel, 2016 and Aquarius Gemini, 2016.
Matthew Monahan, Hurricane Nickel, 2016, and Aquarius Gemini, 2016, Anton Kern Gallery, New York. Expo Chicago 2017.

Anton Kern Gallery, New YorkAnton Kern Gallery, New York. Expo Chicago 2017.

Rita McBride, Halicarnassus and Pantheon 2.
Rita McBride, Halicarnassus, 2010, bronze and grey limestone, and Pantheon 2, bronze and markina marble, CarrerasMugica Contemporary Art Gallery, Bibao. Expo Chicago 2017.

Wardell Milan
Wardell Milan, The New Sun Will Warm our Proud and Naked Bodies, 2016, charcoal, oil, oil pastel, pastel, gesso, acrylic, color pencil, cut paper on paper, David Nolan Gallery, New York. Expo Chicago 2017.

Meleko Mokgosi
Meleko Mokgosi, Honor Fraser Gallery, Los Angeles. Expo Chicago 2017.

John SealJohn A. Seal, König Galerie, Berlin. Expo Chicago 2017.

Alan Stone Projects, New YorkAlfred Leslie, Oval Collage, 1959, Diana Moore, White Head, 1988  and Willem de Kooning, 1965, charcoal on paper, Alan Stone Projects, New York. Expo Chicago 2017.

Expo Chicago 2017Thinks I, To Myself. Expo Chicago 2017.

Expo Chicago 2017.
Expo Chicago 2017.

Expo Chicago 2017
Expo Chicago 2017.

Rhona Hoffman Gallery Expo Chicago 2017Jackie Saccoccio, Portrait (Bomba), 2017, and Faheem Majeed, Hopscotch I,  2011, and Pause, 2010, Rhona Hoffman Gallery Chicago. Expo Chicago 2017.

Expo Chicago 2017
Expo Chicago 2017.

Garth Greenan Gallery New York
Garth Greenan Gallery, New York. Expo Chicago 2017.

Iva Gueorguieva, Listen, 2017
Iva Gueorguieva, Listen, 2017, acrylic oil collage on canvas, Miles McEnery Gallery, New York. Expo Chicago 2017.

Hayal Pozanti
Hayal Pozanti, 70 (million m.p.h that the earth orbit around the sun), 2017, acrylic on canvas, 60 x 132 in., Jessica Silverman Gallery, San Francisco, California. Expo Chicago 2017.

Lavar Munroe, Instinctual, 2017
Lavar Munroe, Instinctual, 2017, acrylic on canvas, 48 x 42 in., Jenkins Johnson Gallery, San Francisco. Expo Chicago 2017.

Expo Chicago 2017
Expo Chicago 2017.

Peres Projects Berlin
Peres Projects Berlin. Expo Chicago 2017.

Ransome Stanley, Untitled, 2017
Ransome Stanley, Untitled, 2017, oil on canvas, 59 x 78 in., Gallery MOMO, South Africa. Expo Chicago 2017.

Expo Chicago 2017
Booth 839, Expo Chicago 2017.

Caroline WalkerCaroline Walker, Grimm Gallery Amsterdam New York. Expo Chicago 2017.

Expo Chicago 2017
Expo Chicago 2017.

Nicolas Africano
Nicolas Africano, Untitled, 2017, cast glass, Weinstein Gallery Minneapolis. Expo Chicago 2017.

Paul Kasmin Gallery New YorkPaul Kasmin Gallery New York. Expo Chicago 2017.

Miro 1925Artist’s Signature (Miró). Expo Chicago 2017.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

Henry Moore, Large Interior Form, 1982. Art Institute of Chicago.

ART OUT OF DOORS. Photographs ©John P. Walsh.

Henry Moore, Large Interior Form, 1982. North Stanley McCormick Memorial Court, Art Institute of Chicago.
Henry Moore, Large Interior Form, 1982. North Stanley McCormick Memorial Court, Art Institute of Chicago. November 5, 2017.

Large Interior Form (1982) by Henry Moore (British, 1898-1986).

“Henry Moore’s towering 16-foot sculpture Large Interior Form is among his more mature works, made when the artist was concerned with the construction of three-dimensional space, internal forms within solid volumes, and placing his work in a natural setting. Early in his career, Moore worked primarily in stone but shifted to modeling and bronze casting once these formal concerns took hold. Large Interior Form plays with mass and void, gravity and growth…and juxtaposes its natural-looking shape with its man-formed substance.” (see http://www.artic.edu/north-stanley-mccormick-memorial-court – retrieved July 9, 2018).

Ray Kroc’s very first McDonald’s franchise restaurant started in 1955 in Des Plaines, Illinois, is slated to meet the wrecking ball.

First McDonald's franchise restaurant, 1955, May 2018.

McDonald’s very first franchise restaurant on its original site, 1955 (replica, 1985) is slated to be razed by McDonald’s Corporation immediately. — John P. Walsh, May 6, 2018.

By John P. Walsh

A closed-down weather-beaten replica of the very first McDonald’s franchise restaurant started by Ray Kroc (1902-1984) on April 15, 1955 standing on its original site in Des Plaines, Illinois, is slated to be demolished by McDonald’s Corporation with its land donated or possibly sold.

It was not long ago that McDonald’s touted that approximately one in every eight American workers had been employed by the company (Source: McDonald’s estimate in 1996) and that even today McDonald’s hires around 1 million workers in the U.S. every year. By 1961 there were 230 McDonald’s franchises in the United States. In 2017 there was 37, 241 McDonald’s restaurants worldwide. Not only historians and historic preservationists decry the imminent demolition of the first McDonald’s restaurant in Des Plaines, Illinois, just west of Chicago, but others impressed by its direct significance to the growth and impact to U.S. labor history as well as the American restaurant industry and American automotive culture in the post-World War II era. Further, McDonald’s restaurants today reach into 121 other countries around the world influencing and being influenced by global cuisine. That all of this cultural and business import was born on a now-threatened patch of land on Lee Street in Des Plaines, Illinois, is impressive.

It appears that if and when McDonald’s follows through on its November 2017 decision to raze the building and give up the site, this originally-designed McDonald’s restaurant on Ray Kroc’s original site in Des Plaines will be forever lost. The story of how that planned demolition of this unique piece of Americana came to be began 35 years ago. It was on March 3, 1984 that after 29 years of continual operation the original franchise restaurant on the original site was permanently closed and demolished. Founder and former McDonald’s Corporation chairman Ray Kroc had died less than six weeks before in January 1984 at 81 years old in San Diego, California.

The McDonald’s restaurant brand opened its first burger bar called McDonald’s Bar-B-Q in California in 1940 – and, by 1953, brothers Maurice and Richard McDonald started a small franchise business in Phoenix, Arizona and Downey, California. Today’s nationwide and global franchise empire that serves 75 burgers every second (Source: McDonald’s Operations and Training Manual) began when Oak Park, Illinois-born Ray Kroc, a paper-cup-turned-milkshake-machine salesman, convinced the McDonald brothers to let him franchise their business nationwide. Kroc offered to manage the franchises in the U.S., excepting the brothers’ first franchises in Arizona and California, and the pair were to receive a tiny percentage of gross sales nationwide in return.

Kroc’s first walk-up franchise McDonald’s restaurant at the “Five Corners” intersection in Des Plaines, Illinois, served an assembly-line format menu of hamburgers, cheeseburgers, french fries and a selection of drinks. In 1955, he founded McDonald’s System, Inc., a predecessor of the McDonald’s Corporation, and six years later bought the exclusive rights to the McDonald’s name and operating system. By 1961, Ray Kroc’s vision had clearly paid off for the now 59-year-old former paper cup salesman. That same year, Kroc bought out the McDonald brothers for $2.7 million and launched his strict training program, later called “Hamburger University, ” in nearby Elk Grove Village, Illinois, at another of his 230 new McDonald’s restaurants. Ray Kroc’s original vision was that there should be 1,000 McDonald’s restaurants in the United States. When Kroc died in January 1984, his goal had been exceeded six fold — there were 6,000 McDonald’s restaurants in the U.S. and internationally in 1980.

The Des Plaines suburban location of Ray Kroc’s very first McDonald’s franchise retains its relatively humble setting even as the McDonald’s Corporation it spawned earns $27 billion in annual sales making it the 90th-largest economy in the world (Source: SEC). Kroc, the milkshake machine salesman who convinced the McDonald brothers to let him franchise their fast-food operation nationwide, saw his original McDonald’s franchise at 400 Lee St. in Des Plaines open for business until, shortly after his death, it closed on Saturday, March 3, 1984.

47-ray-kroc-quotes

Ray Kroc (1902-1984) with his highly successful McDonald’s franchise restaurant. The franchise started in Des Plaines, Illinois, in 1955 has had a significant impact on U.S labor history as well as the American restaurant industry and automotive culture in the post-World War II era. 

In 1984 there were no plans to preserve the site – its golden arches and road sign had been carted away –  but a public outcry prompted McDonald’s in 1985 to return the restaurant’s restored original sign designed by Andrew Bork and Joe Sicuro of Laco Signs of Libertyville, Illinois, and dedicate a restaurant replica that still exists today on the original site though it is now slated for demolition. The historic red neon-lettered sign turned on for the opening of Kroc’s first store on April 15, 1955 – there is one similar to it preserved in The Henry Ford museum in Dearborn, Michigan dating from 1960 – proclaimed “McDonald’s Hamburgers” and “We Have Sold Over 1 Million” and, intersecting with an iconic golden arch displayed a neon-animated “Speedee” chef, the fast food chain’s original mascot. (The clown figure of Ronald McDonald first appeared in 1963).

Newspaper advertisement

Newspaper advertisement announcing the opening of Ray Kroc’s first McDonald’s in Des Plaines, Illinois. It featured the franchise’s first mascot, Speedee who was significant to the assembly- line format menu and prevailing automotive culture.

Ray Kroc_s first McDonald_s restaurant in Des Plaines, Illinois April 15, 1955.

Ray Kroc’s first McDonald’s restaurant in Des Plaines, Illinois on April 15, 1955.

McDonald's first franchise Des Plaines IL.

The replica of McDonald’s first franchise restaurant is missing its golden arches, “McDonald’s” sign over the entrance, and original 1955 Speedee neon lettered sign. In January 2018 they were dismantled and removed by McDonald’s to an undisclosed location out of public view – John P. Walsh, May 6, 2018.

The day after the original restaurant closed –  Sunday, March 4, 1984 – a McDonald’s restaurant franchise moved across the street into a state-of-the-art new building on a site that once accommodated a Howard Johnson’s and, after that, a Ground Round. The full-service McDonald’s in Des Plaines, Illinois, today continues to operate out of that 1984 building. It may confuse the visitor which exactly is the original site of the first McDonald’s as the newer 1984 building not on the first site displays inside a high-relief metal sign that reads: “The national chain of McDonald’s was born on this spot with the opening of this restaurant.” Though undated, it is signed by Ray Kroc which points to it being brought over from the original restaurant when it was closed. At the replica restaurant on the original site two metal plaques (dated April 15, 1985) properly proclaim: “Ray A. Kroc, founder of McDonald’s Corporation, opened his first McDonald’s franchise (the ninth McDonald’s drive-in in the U.S.) on this site, April 15, 1955.”

A few months after the first franchise restaurant was closed and demolished in 1984, the parcel of land on which it sat – it had only always been leased since 1955 – was purchased by McDonald’s at the same time they announced plans for the replica landmark restaurant.

The original architectural plans by architect Robert Stauber from the mid1950’s were lost, so 1980’s planners applied architectural drawings of McDonald’s restaurants built in the late 1950’s for the replica. Its kitchen included refurbished equipment brought out of storage, including the restaurant’s original six-foot grill. It also displayed one of Ray Kroc’s original multimixers like the ones he sold to Maurice and Richard McDonald that started a fast-food partnership in the 1950’s which by the mid-1960’s inspired many well-known copy cats of McDonald’s model, including Burger King, Burger Chef, Arbys, KFC, and Hardee’s.

Soda_fountain_Multimixer_5-head_malt machine_mfgd_by Sterling_Multiproducts (1)

Soda fountain multimixer.

The original restaurant had been remodeled several times during its almost 30 years of operation but never had much in the way of indoor seating or a drive-through. It did feature a basement and furnace built for Chicago’s four seasons and was used by the replica museum to exhibit items. The McDonald’s Museum was open for tours until September 2008 when the site experienced record-setting flooding from the nearby Des Plaines River. In April 2013 another record flood in Des Plaines submerged the McDonald’s Museum and produced serious speculation that the site would be moved or permanently closed.

Aerial 2013 Des Plaines

An aerial view during the April 2013 Des Plaines River flood shows the replica first McDonald’s franchise restaurant (right) with its original Speedee neon sign that was first lit on April 15, 1955 — Chris Walker, Chicago Tribune, April 19, 2013

In mid-July 2017, only four years since the last significant flood, the area experienced its worst flooding on record. In November 2017 McDonald’s announced it would raze the replica restaurant structure and by May 2018 the site had had its utilities disconnected and its golden arches, Speedee sign, and main entrance McDonald’s sign dismantled and removed. These historically valuable items were taken by McDonald’s out of public view to an undisclosed location. Once again, and this time more seriously it appears, the prospect of pleas by Des Plaines municipal authorities, historic preservationists, social media and others for McDonald’s Corporation to preserve the site intact is murky at best.

first night Des Plaines

The original Des Plaines McDonald’s restaurant (pictured here in 1955) was demolished in 1984. A replica restaurant built in 1985 was based on architectural plans of later McDonald’s restaurants. The historic site is awaiting demolition announced by McDonald’s in late 2017.  

Notes:

number of franchises in U.S. 1961 – http://sterlingmulti.com/multimixer_history.html# – retrieved May 8, 2018

number of restaurants 2017- https://www.statista.com/statistics/219454/mcdonalds-restaurants-worldwide/ -retrieved May 8, 2018.

121 countries – https://en.wikipedia.org/wiki/List_of_countries_with_McDonald%27s_restaurants – retrieved May 8, 2018.

McDonald’s System, Inc; McDonald brothers for $2.7 million; Hamburger University; Kroc’s 1,000 restaurant vision – https://www.mcdonalds.com/us/en-us/about-us/our-history.html – retrieved May 8, 2018.

6,000 McDonald’s restaurants by 1980- https://en.wikipedia.org/wiki/History_of_McDonald%27s#1980s – retrieved May 8, 2018

original architectural plans lost – http://www.dailyherald.com/news/20171120/mcdonalds-plans-to-tear-down-des-plaines-replica-retrieved May 6, 2018.

2008 Des Plaines River flood- http://articles.chicagotribune.com/2013-04-18/news/chi-des-plaines-roads-flooded-after-storm-20130418_1_des-plaines-river-big-bend-lake-water-levels- retrieved May 8, 2018.

2013 Des Plaines River flood – https://patch.com/illinois/desplaines/bp–des-plaines-river-flood-information-03bfa82b– retrieved May 8, 2018.

2017 Des Plaines River flood

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

 

 

Chicago Harbor Lighthouse (1893).

Chicago Harbor Lighthouse, September 14 2017.

Chicago Harbor Lighthouse, Chicago, Illinois.

Known as the “Chicago Light,” the Chicago Harbor Lighthouse is an active automated lighthouse that stands to the north of the Chicago Harbor main entrance about one-half mile beyond the end of Navy Pier. This Lighthouse played a significant role in the development of Chicago and remains an active aid to nautical navigation. For more than a century the U.S. Coast Guard staffed this vital lighthouse at the breakwater outside the Chicago Harbor Lock that separates the mouth of the Chicago River from Lake Michigan. The lock, built in the mid-1930’s, is operated by the U.S. Army Corps of Engineers and is one of two entrances into the Illinois Waterway system at the Great Lakes. That system provides a commercial and recreational shipping connection to the Gulf of Mexico by way of the Illinois and Mississippi rivers. The Chicago Light starts (or ends) that adventure as it sits in the outer harbor that was constructed in 1880. Through the breakwaters the main entrance into Chicago Harbor is 580 feet wide. The Chicago Light’s conical tower dates from 1893. Twenty-five years later the base building (a fog-signal room and boathouse) was constructed and the tower was reconstructed. The architect is not identified. It was designated a Chicago Landmark on April 9, 2003. The Chicago Harbor Lighthouse is the only surviving lighthouse in Chicago and one of only two remaining examples in Illinois.

SOURCES:

The Chicago River: an illustrated history and guide to the river and its waterways, David M. Solzman, Wild Onion Books, Chicago, 1998, pp.126-128.

Chicago Landmarks Map [Brochure], City of Chicago, 2006.

https://web.archive.org/web/20070410173708/http://www.ci.chi.il.us/Landmarks/C/ChicagoHarborLighthouse.html – retrieved December 2, 2017.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by any means, electronic or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

EXPO Chicago 2016, 22-25 September. Fifth International Exposition of Contemporary & Modern Art. (43 Photos).

Photographs and text by John P. Walsh.

Expo Chicago/2016 is the 5th annual exhibition of international contemporary and modern art held in Chicago at Navy Pier’s Festival Hall. It took place from September 22-25, 2016. Expo Chicago/2016 presents 145 galleries representing 22 countries and 53 cities from around the world.

This post’s photographs are of that event.

Jeff Koons' 17th Art Car.

Jeff Koons, BMW M3 GT2, Expo Chicago/2016.

Alfredo Jaar, Be Afraid of the Enormity of the Possible, 2015 neon edition GALERIE THOMAS SCHULTE DSC_0742 (1)

Alfredo Jaar, Be Afraid of the Enormity of the Possible, 2015, neon, edition 3/3 + 3AP, Galerie Thomas Schulte, Berlin, Germany. Expo Chicago/2016.

At Dittrich & Schlechtriem, Berlin (resized).

At Dittrich & Schlechtriem, Berlin, Germany includes artwork by Klaus Jörres and Julian Charrière. Expo Chicago/2016.

At Cernuda Arte Coral Gables FL. (resize)

At Cernuda Arte Coral Gables, FL. Manuel Mendive (foreground) Este Lugar Sagrado/This Sacred Place, 2009, acrylic on canvas. Expo Chicago/2016.

Art+Language Made in Zurich 1965-1972, London.

Paintings I, Art+Language, Made in Zurich 1965-1972, London. Expo Chicago/2016.

Michael Baldwin and Mel Ramsden.
The Art + Language group’s Michael Baldwin and Mel Ramsden in Chicago. Founded in the mid1960s in the United Kingdom by Terry Atkinson (b. 1939), David Bainbridge (b. 1941), Michael Baldwin (b. 1945) and Harold Hurrell (b. 1940), artist Mel Ramsden joined in 1970. Throughout the 1970s Art + Language dealt with questions about art production and attempted a shift from conventional forms of art, such as painting and sculpture, to theoretically linguistic (text)-based artwork. Art + Language remains active today in several collaborative projects. 
At Galerie Thomas Schulte (resize).

Jonathan Lasker, The Handicapper’s Faith, 2011, Galerie Thomas Schulte, Berlin, Germany. Expo Chicago/2016.

Gallery MOMO, South Africa (resize).

At Gallery MOMO Cape Town/Johannesburg, South Africa. Artwork by Mary Sibande. Expo Chicago/2016.

Dialogues.

Dialogues programs. Expo Chicago/2016.

Andrew Moore, Mirador, Gibara, Cuba, 2008Andrew Moore, Mirador, Gibara, Cuba, 2008, 46 x 58 inch archival pigment print, Yancey Richardson Gallery, New York. 

Margot Bergman, Agnes, 2016.

Margot Bergman, Agnes, acrylic on canvas, 2016, Corbett vs. Dempsey. Expo Chicago/2016.

Shannon Finley, Googol, 2015.

Shannon Finley, Googol, 2015, acrylic on linen, 4 panels 95 x 189 in., Carrie Secrist Gallery, Chicago. Expo Chicago/2016.

#12 FINAL COPY FUB BURST DSC_0867

Euan Uglow, Sue Wearing a Blue Swimming Cap, 1978/80, oil on canvas 19.5 x 27.5 in., Browse & Darby London. Expo Chicago/2016.

Deborah Butterfield, Hala, 2016.

Deborah Butterfield, Hala, 2016, cast bronze with patina, Zolla Lieberman Gallery Inc., Chicago. Expo Chicago/2016.

at Álvaro Alcázar Gallery, Madrid (resize).

At Álvaro Alcázar Gallery, Madrid. Art of Juan Garaizabal. Expo Chicago/2016.

April Martin, The Sun had not yet Risen, 2016.

April Martin, The Sun had not yet Risen, 2016, copper, thread, glass, vinegar, The School of the Art Institute of Chicago. Expo Chicago/2016.

Hermann Nitsch, Schüttbild (Shaped Image), 2013.

Hermann Nitsch, Schüttbild (Shaped Image), 2013, Acrylic on Canvas, Marc Straus Gallery, New York City.

Dialogue with Miguel Aguilar and Chris Silva.

Dialogue with Miguel Aguilar and Chris Silva, Conversation Pieces. Expo Chicago/2016.

Pace Gallery, New York City. (resize)

At Pace Gallery, New York City. Expo Chicago/2016.

Louise Bourgeois, Girl with hair, 2007. (resize)

Louise Bourgeois, Girl with hair, 2007, archival dye on silk, edition of 12, Carolina Nitsch, New York City. Expo Chicago/2016.

Carolina Nitsch labels.

Labels, Carolina Nitsch, New York. Expo Chicago/2016.

Genieve Figgis, Half Gallery, NYC (resize)

Genieve Figgis, Half Gallery, New York City. Genieve Figgis is an artist from Ireland who began her artistic career on social media. Expo Chicago/2016.

Buddha's tight ringlet curls by Qi Yu.

Buddha’s tight ringlet curls by Qi Yu. Ceramic cinnabar mineral mounted on canvas. Expo Chicago/2016.

Qi Yu, Beijing, China.

Artist Qi Yu of Redbrick Art Museum, Beijing, China.

North Cafe.

Coffee break, North Cafe. Expo Chicago/2016.

Art Catalogs. (resize).

Art Catalogs. Expo Chicago/2016.

Amy Sherald, Monique Meloche Gallery.

Amy Sherald, Listen, you a wonder. you a city of a woman. you got a geography of your own., 54 x 43 in., oil on canvas, 2016, Monique Meloche Gallery, Chicago. Sherald’s painting title quotes American poet Lucille Clifton (1936-2010) – “listen, you a wonder. you a city of a woman. you got a geography of your own. listen, somebody need a map to understand you. somebody need directions to move around you. listen, woman, you not a noplace anonymous girl; mister with his hands on you he got his hands on some damn body!” Expo Chicago/2016.

Sandro Miller, American Bikers 1990-1995.

Sandro Miller, American Bikers 1990-1995, Catherine Edleman Gallery, Chicago. Expo Chicago/2016.

Bettina Pousttchi, Rotunda, 2016.

Bettina Pousttchi, Rotunda, 2016, photographic print on textile, 25′ diameter, Buchmann Galerie, Berlin/Lugano. Expo Chicago/2016.

Raffi Kalenderian, Sekula Benner Street, 2016.

Raffi Kalenderian, Sekula Benner Street, 2016, oil on canvas, Buchmann Galerie Berlin/Lugano. Expo Chicago/2016.

Kate Werble  Ernesto Burgos (resize).

Artwork of Ernesto Burgos, Kate Werble Gallery, New York City. Expo Chicago/2016.

Sims Reed Gallery London (resize)

At Sims Reed Gallery London. Expo Chicago/2016.

Ann Agee, Negishi Heights 1957, 2015, (resize)

Ann Agee, Negishi Heights 1957, 2015, acrylic on Thai Mulberry paper, P.P.O.W. Gallery, New York City. Expo Chicago/2016.

At the Expo.

At the Expo. Expo Chicago/2016.

Artistic performance. (resize)

Artistic performance outside Zwirner Gallery, New York City. Behind: Raymond Pettibon, No Title (Manhattan rising, advancing—), 2010, ink and acrylic on paper, 59 x 118 inches. Expo Chicago/2016.

Mel Bochner and Aloyson Shotz.

Mel Bochner, Blah Blah Blah, 2016 and Aloyson Shotz, Flow Fold #3, 2015, Carolina Nitsch Gallery, New York City. Expo Chicago/2016.

Alicja Kwade, Hypotheisches  Gebilde, 2016 (resize)

Alicja Kwade, Hypotheisches Gebilde, 2016, König Galerie Berlin, Germany. Expo Chicago/2016.

Bernar Venet, Indeterminate Line, 2013.

Bernar Venet, Indeterminate Line, 2013, rolled steel, 75 1/2 × 80 × 62 in. Paul Kasmin Gallery, New York City. Expo Chicago/2016.

Richard Norton Gallery (resize)

Richard Norton Gallery.

Jannis Varelas, New Flags for a new country, (resize)

Jannis Varelas, New Flags for a New Country, The Breeder, Athens, Greece. Expo Chicago/2016.

#40 resize 65 65 35 35 FINAL NEWEST FSB 6.25.17 FNB KG DSC_0488

Rodney McMillian, Carpet Painting (Bedroom and TV Room), 2012, carpet and ink, Maccarone, New York City. Expo Chicago/2016.

Lucia Gonzalez Botello, Portrait #3, 2015 (resize)

Lucia Gonzalez Botello, Portrait #3, 2015, oil on canvas, The School of the Art Institute of Chicago. Expo Chicago/2016.

Expo's end.

End of the day. Expo Chicago/2016.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

 

The works of David Adler (1882-1949), Chicago architect.

adler-001fixed

David Adler, architect (1882-1949).

By John P. Walsh

David Adler (January 3, 1882 – September 27, 1949) was an American architect who made major contributions in domestic architecture for mostly affluent clients in and around Chicago. Different than German-American modernist architect Mies van der Rohe (1886-1969) who also practiced in Chicago around the same time, David Adler’s important work drew from the past for his architectural idioms.What are these artistic arrows in Adler’s quiver and what makes his work interesting and valuable today?

A great amount of his domestic buildings are still standing and mainly intact for the viewer to see and experience today. Only seven of his architectural projects have been demolished. These monuments of a gilded age attract one’s attention by their powerful presence based on their typical enormity, ornate details, and tasteful grace rooted in the classic European style. Gigantic skylights, curved staircases, ornate fanlight windows, columns, working fountains, and many other features, characterize Adler’s homes for his clients.

Based on his commissioned projects, David’s Adler’s architectural career spanned from 1911 following his return from studying in Europe (after an undergraduate career at Princeton University) until the year of his death in 1949. In 1913 he was designing and building outside of the Chicago area—specifically, a chapel and iron gates at Greenwood Cemetery in Galena, Illinois. After 1915, he was doing out-of-state projects such as the Berney house and garage in Fort Worth, Texas and the Dillingham house in Honolulu, Hawaii. Adler’s grandiose floor plans made their appearance at start of his career in 1911 and continued over 38 years in more than 200 major works, several of which he returned to in later years and updated.

His work includes mostly houses, whether complete or in alterations and additions, but also apartments, townhouses, gates and terraces, outbuildings and dependencies, clubhouses, locker rooms, bathhouses, swimming pools, cottages, commercial buildings, boardrooms, lodges, prefabricated houses, houseboats, and in 1924, a dining car for the Atchison, Topeka and Santa Fe Railroad. In the late 1940s, Adler turned to designing an altar and headstones for the social elite.

Adler planned and built in locations throughout the United States as well as internationally including Fort Worth, Texas; Wisconsin; Minnesota; Massachusetts; New York City and State; Connecticut; Colorado; Georgia; California; Florida; the aforesaid Honolulu, Hawaii; Louisiana; Virginia; New Mexico; British Columbia; and London, England. But the vast majority of his commissions—whether he planned and built them or only planned them—are found in the American Midwest, especially in Illinois, and particularly in and around Chicago. While some Adler commissions were also planned but not constructed, only a handful of buildings have been so far razed. This translates for today’s viewer into a near complete body of  Adler’s architectural work to be appreciated (although most remain in private hands).

As streamlined, monumental and functional modernist architecture made its appearance in the late nineteenth century based in part on the stylistic language of industrialization, the wealth generated in that prosperous machine age became concentrated in the hands of individuals and their families who, having begun the perennial pilgrimage of American tourists to Europe, desired to live in private residences that evoked the palatial surroundings of historical nobility.3 David Adler’s “traditionalist” work in the first half of the twentieth century was part of, and built on, the great American tradition of architects who relied on European antecedents but adapted them to contemporary American taste. Additionally, Adler’s years in Europe between 1908 and 1911, especially in France, and his return to Chicago which like other cities in the United States after 1890 experienced a Beaux-Arts (academic neoclassical) renaissance, led him to embrace traditional architectural systems and rules for his clients throughout his career.

Throughout the 1910s and 1920s Adler’s architectural practice— surprisingly he was not a licensed architect although he received an honorary license in his mid-career—encountered socioeconomic conditions in Chicago and elsewhere that benefited his early and later design success. Proliferation of his traditional work is more remarkable when viewed in the context of the modernist architectural achievements which were materializing on the landscape in the United States and Europe in those same years he practiced.By the end of his life Adler expressed regret that the lengthy era of the “great house” was over and he was, after the Great Depression in the 1930s, having to adapt to designing smaller-scaled projects. When Adler died unexpectedly at 67 years old in 1949, he left new commissions on the drafting table. His memorial service was held in The Art Institute of Chicago where Adler had been a board member for almost twenty five years and he was buried in Chicago’s Graceland Cemetery.

NOTES

  1. The Country Houses of David Adler, Stephan M. Salny, Introduction by Franz Schulze, W.W. Norton & Company, New York and London, 2001. p. 9.
  2. Ibid., pp.193- 203.
  3. Ibid., p. 10; see We’ll Always Have Paris, American Tourists in France since 1930, Harvey Levenstein, The University of Chicago Press, 2004.
  4. Country houses, p.11.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.

Charter Club, Princeton, New Jersey, 1903. Razed in 1913.

David Adler 1905 Charter Club.

Adler’s sketch in 1905 for Princeton’s Charter Club.

David Adler Charter Club

The Charter Club based on Adler’s design. One of Princeton’s undergraduate eating clubs.

David Adler.

Charter Club, symmetrical Georgian Revival design. The entrance portico was supported by four Doric columns that partly masked a balcony on the second story. Strong dental molding crowd the tops of the second-floor windows, while a row of five identical dormers gave the structure a top-heavy look. A covered porch extended to the east, supported by Doric columns. As a cost-saving measure, the entire structure was built of wood. It was replaced in 1913.

Mrs. and Mrs. Charles A. Stonehill, Glencoe, Illinois, 1911. Louis XIII style. Alterations, 1930. Razed, 1960s.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

David Adler, Mr/s. Charles A Stonehill, Glencoe, Illinois, 1911. View of house from Lake Michigan.

David Adler as a young man.

David Adler as a young man.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

David Adler, Mr/s. Charles A Stonehill, Glencoe, Illinois, 1911. Terrace façade.

David Adler Charles A Stonehill, 1911. RAZED 1960's. DINING ROOM.

David Adler, Mr/s. Charles A. Stonehill, Glencoe, Illinois, 1911. Dining Room. English walnut paneling with hand-carved walnut table and high back upholstered chairs.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

Original entrance to Stonehill Mansion on Sheridan Road in Glencoe, Illinois. It sat on more than 19 acres on Lake Michigan. In 2016 North Shore Congregation Israel Temple is on the site.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

David Adler, Mr/s. Charles A Stonehill, Glencoe, Illinois, 1911. RAZED in the 1960s.

David Adler Charles A Stonehill, 1911. RAZED 1960's. ENTRANCE.

David Adler, Stonehill (called Pierremont), Entrance Hall. The Stonehill family lived at the estate until the Crash of 1929.

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The Château de Balleroy is a seventeenth-century château in Balleroy, Normandy.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

One of two stone rams at the entrance to courtyard at Stonehill mansion. Landscape architect Jens Jensen (1860-1951) designed several gardens at the mansion.

David Adler Charles A Stonehill, 1911. RAZED 1960's. MUSIC ROOM.

David Adler, Mr/s. Charles A. Stonehill, Glencoe, Illinois, 1911. Music Room. Louis XVI paneling and parquet-de-Versailles flooring with Louis XV furnishings.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

Members of the Household Staff at the Charles A. Stonehill Estate. The mansion was demolished in the 1960s.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

Garden trellis at the Charles A. Stonehill estate in Glencoe, Illinois.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

Inspired by the Chateau de Balleroy in northern France, Charles A. Stonehill commissioned his son-in-law David Adler to design and build this Louis-XIII style building. Set high on the bluff overlooking Lake Michigan, this home was a popular weekend destination by many of Chicago’s elite in the 1910s.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

Members of the staff of The Charles A. Stonehill Estate on the beach.

David Adler Charles A Stonehill, 1911. RAZED 1960's.

David Adler, Mr/s. Charles A. Stonehill, Glencoe, Illinois, 1911. Drawing Room. Tuscan pilasters. Unique octagonal-shaped coffered ceiling.

Mrs. and Mrs. Ralph H. Poole, Lake Bluff, Illinois, 1912. Louis-XV style. Stands. 

Mr/s. Ralph H. POOLE, Lake Bluff, Illinois, 1912, STANDING.

Mr/s. Ralph H. POOLE, Lake Bluff, IL, 1912. Adler was influenced by François Mansart (1598-1666) for this early commissioned project..

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POOLE (Lake Bluff, IL), 1912. Floor plan. Adler placed the five main rooms along the rear of the house with the living room as the central gathering point.

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POOLE (Lake Bluff, IL), 1912. Adler’s interior is based on the Hôtel Biron in Paris (today’s Musée Rodin).

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POOLE (Lake Bluff, IL), 1912. Living room to music and dining rooms.

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POOLE (Lake Bluff, IL), 1912. Dining room.

Mrs. and Mrs. Charles B. Pike, 955 Lake Road, Lake Forest, Illinois. Built in 1916 in the Italian Villa style. Building stands. 

The house at 955 Lake Road in Lake Forest, Illinois, sits on Lake Michigan and is designed in the Italian villa style. Built in 1916 for Charles and Frances Pike, the 21-room house possesses one of Adler’s most successful outdoor spaces – the entrance Courtyard. Creating paths using paving beach stones with embedded designs, this outdoor garden was encapsulated on four sides by the back wall of the house (the main entrance which faces the road) as well the Kitchen, classically-proportioned Entrance Loggia and fifty-foot-long Gallery. The Courtyard was further integrated with the interior space where one enters the house’s main rooms from the Entrance Loggia into the Vestibule (with Adler’s masterful treatment of pediments and coffered ceiling) or by way of one of three sets of French doors with pilaster-supported archways into the vaulted Gallery.

In addition to the Vestibule and Gallery with its airy fifteen foot-tall ceilings, the interior first-floor plan of the Pike house contained the Living Room, Dining Room and East Loggia. Each of these main rooms was oriented to the balustraded landings of two staircases which led to an expansive sunken garden and towards Lake Michigan.  The second floor of the Pike house contained bedrooms.

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D. Adler. Pike House. Lake Forest, Illinois. 1916. Entrance Facade.

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D. Adler. Pike House. Lake Forest. 1916. Entrance Loggia.

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D. Adler. Pike House. Lake Forest. 1916. Entrance Loggia, another view.

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D. Adler. Pike House. Lake Forest. 1916. Courtyard.

courtyard

D. Adler. Pike House. Lake Forest. 1916. Courtyard with view of his design of the pavement using beach stones creating an interplay of color, texture, and shape.

vestibule

D. Adler. Pike House. Lake Forest. 1916. Vestibule. From the Entrance Loggia one enters the house’s main rooms into this Vestibule with Adler’s masterful treatment of pediments and coffered ceiling.

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D. Adler. Pike House. Lake Forest. 1916. Gallery.

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D. Adler. Pike House. Lake Forest. 1916. Living Room (or Library). The black stone fireplace mantel was the focal point of the room.

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D. Adler. Pike House. Lake Forest. 1916. Living Room (or Library) in recent times.

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D. Adler. Pike House. Lake Forest. 1916. Dining Room. The same size as the as the Living Room, the black terrazzo floor was consistent on the first floor, but Adler achieved greater intimacy with the beamed ceiling.

d-adler-pike-house-lake-forest-1916-dr-2

D. Adler. Pike House. Lake Forest. 1916. Dining Room today.

d-adler-pike-house-lake-forest-1916-garden-facade

D. Adler. Pike House. Lake Forest. 1916. Garden/Main Facade. The house was inspired by Charles A. Platt’s Villa Turicum from 1908, but Adler turned the Pike house’s orientation to the Lake and away from the road.

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D. Adler. Pike House. Lake Forest. 1916. Sunken Garden. Looking toward Lake Michigan.

main-facade

D. Adler. Pike House. Lake Forest. 1916. Garden/Main Facade today.

Mrs. and Mrs. Alfred E. Hamill, Lake Forest, Illinois. Built by Henry Dangler in 1914 in the Italian style and renovated by David Adler in 1917. Building stands. 

hamill 1

When Adler became involved in the project, the Hamill House added two bronze centaurs on pedestals at the foot of the driveway introducing its new brick and limestone forecourt. A more dramatic change was the installation of the false parapet that heightened the house and hid its tiled roof.

hamill 2

Adler added the library to the west wing with steps going down to it from the living room. Warm and inviting the library had tall walnut bookcases and a hemispherical niche. One door opened to a staircase leading to Hamill’s second-floor bedroom. The fireplace was detailed in black marble and limestone with a pediment mantel. Over time Adler directed interior changes that included a breakfast room and music room.

hamill 4

Into the 1920’s Hamill — an investment banker and the man who introduced Adler to involvement with the Museum of The Art Institute of Chicago — continued to make grandiose changes to his house. Some included adding a tower building and garage and servants’ quarters in the same Italian design as the main house. The tower stood almost seventy-five feet tall and  included Alfred Hamill’s study.

hamill 5

Alfred Hamill’s study in the Italian-style tower by David Adler in the 1920’s is reminiscent of Napoleon’s tented study at Malmaison in France.

hamill 3

Another of Hamill’s improvements in the 1920’s was a Palladian-designed Garden Pavilion with limestone open summerhouse and cylindrical posts encircled by stairs leading to a deck. Today the Hamill House as well as its tower and garden pavilion stand, but are separate properties.

Part 3 Rev. Dr. Martin Luther King, Jr., and the Chicago Freedom Movement: the Marches of Summer 1966.

August 5, 2016 – by John P. Walsh.

Released on July 4, 1966 The Lovin’ Spoonful’s “Summer in the City” reached number one on the Billboard Hot 100 in August 1966 and stayed there for three consecutive weeks.1 “Hot town, summer in the city, back of my neck getting dirty and gritty, been down, isn’t it a pity, doesn’t seem to be a shadow in the city. All around, people looking half dead, walking on the sidewalk, hotter than a match head…” In Chicago in 1966 Dr. King promised a summer of nonviolence but that didn’t stop a white Chicago policeman from shooting and killing a 21-year-old Puerto Rican on June 10, 1966 and sparking a riot of the victim’s neighbors who looted stores, torched squad cars and assaulted firefighters called out to quell the blazes. A month earlier Stokely Carmichael, elected by a razor-thin margin over John Lewis to lead the Student Nonviolent Coordinating Committee, pronounced a new Black Power movement that ended that organization’s interracial efforts. While the Chicago Freedom Movement remained staunchly interracial King warned Daley on July 9, 1966 that the mayor’s aloofness towards fundamental improvements for African-Americans in Chicago could lead to more radical black groups making their own demands. Since black Chicagoans were, despite a fair housing ordinance, mostly restricted to the ghetto where landlords charged higher rents to a captive market, King’s allies believed open access to Chicago’s real estate market was necessary to tackle larger problems of slums, unemployment, and underprivileged schools.

Chicago,Illinois summer 1966.(AP Photo)
Chicago, Illinois, summer 1966. (AP Photo)
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Mayor Richard J. Daley views the Chicago skyline in 1966 from atop the new Daley Center. Daley was focused on downtown development in the mid-1960’s and viewed King largely as an outsider with his own political agenda who simplified complex urban social problems for which Chicago was not completely at fault.
Stokely-Carmichael2
Martin Luther King Jr., with Stokely Carmichael in Mississippi in 1966. Although King saw Carmichael as a most promising young leader, in May 1966 Carmichael declared a new Black Power movement that ended the Student Nonviolent Coordinating Committee’s interracial efforts. The Chicago Freedom Movement to which King was attached stayed staunchly interracial.
Dr. King exits the tenement apartment at 1550 S. Hamlin on Chicago's West Side where his family stayed in 1966
Dr. King exits the tenement apartment at 1550 S. Hamlin on Chicago’s West Side where his family stayed during the Chicago Freedom Movement in 1966. American Friends Service Committee found that white and black families paid about the same in monthly rent but whites earned half as much more as what blacks earned. They found that for the same money blacks on average lived in about 15% less space (3.35 to 3.95 rooms). King looked to solve these and other socioeconomic discrepancies in his 1966 Chicago sojourn.

Mathias “Paddy” Bauler who in 1955 famously quipped that “Chicago ain’t ready for a reform mayor”2 was still an active Northside Chicago alderman in 1966. To some Chicagoans, Bauler’s colorful quip should have been Mayor Daley’s prevailing opinion towards open housing. Yet in July and August 1966 King’s street marches into the white-only neighborhoods of Gage Park, Marquette Park and Chicago Lawn3 were intended to showcase the Chicago Freedom Movement’s reform message of open housing. Following a rally at Soldier Field on Sunday, July 10, 1966 where King spoke to thousands of supporters – including these words, “we will no longer sit idly by in agonizing deprivation and wait on others to provide our freedom,”4 – he led thousands on a march to City Hall. There King posted the Chicago Freedom Movement’s fourteen demands for a racially open city. The next day Daley met with King but this pair, who personally respected one another, floundered at an impasse. King was impatient for action but Daley was passive and noncommittal. Afterwards King made clear that these were 14 demands, not suggestions. From Daley’s viewpoint, King was a public relations disaster for Chicago because he was an outsider articulating simple solutions to complex and not always only local social problems. King indicated an inclination that it was time to march.

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Sunday, July 10, 1966, Martin Luther King Jr. delivers a 12-page speech at a rally for civil rights at Soldier Field in Chicago that drew tens of thousands of supporters of open housing, better education and increased employment opportunities for the city’s black community. Photo: the Sun-Times archives.
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The crowd and Dr. King at the Chicago Freedom Movement rally on Sunday, July 10, 1966, at Soldier Field. Photograph by Bernard Kleina.

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Following a rally for civil rights at Soldier Field in Chicago where Dr. King addressed the crowd on Sunday, July 10, 1966, thousands marched through downtown Chicago to City Hall.
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The march ended when the list of demands was nailed to the door of Chicago’s City Hall.
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King met with a passive and noncommittal Daley in City Hall on Monday, July 11, 1966 (this photo, March 24, 1966). The antagonists met infrequently in 1966 to address The Chicago Freedom Movement’s issues and each time King left with vague, piecemeal promises for change.

On July 14, 1966, three days after the Daley-King meeting, a drifter named Richard Speck tortured, raped, and murdered eight female student nurses from South Chicago Community Hospital on the south side of Chicago. Speck, born in an Illinois farm town in 1941, lived in Dallas for the last 15 years and, running from the law there, only arrived into Chicago in April 1966. In the pall of a July heatwave, the serial killer was on the loose in the city for three days – a police sketch plastered everywhere in newspapers and on TV – until he was arrested on July 17, 1966. These gruesome killings were called “The Crime of the Century” and added panic, gloom and a general fear to an already tense city.5 Two weeks later, on August 1, 1966, in Austin, Texas, Charles Whitman, shot 49 victims from the bell tower of the University of Texas, killing 17 – and brought the term “mass shooting” into the American popular discourse. These violent crimes precipitated ramped-up tension in Chicago and the nation in the hot summer of 1966. Already gripped by an escalating Vietnam War as well as a massive civil rights movement, women’s rights movement, youth counter-cultural movement, and even radical church reform in Vatican II, American society was swiftly and increasingly wrapped into a tight fist of revolutionary social change- and resistance to it only tended to exacerbate the possibility of what King called “social disaster.”

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Violent crimes of mass murderers Richard Speck in Chicago in midJuly 1966 and Charles Whitman in Texas in August 1966 worked to ramp-up tension people felt in Chicago during the long, hot summer of 1966.

Speck’s horrendous crimes came in the same week when Chicago police shot and killed two black Chicagoans, including a pregnant 14-year-old girl, during riots on the predominantly black West Side that Daley blamed on King. King denied any such connection and told Daley that if it wasn’t for the Chicago Freedom Movement’s preaching nonviolence those riots would have mushroomed into another Watts. To King’s way of thinking these disturbances among a swath of the city’s population should serve as the clarion call to Daley to act boldly on behalf of the black community and begin to enact the 14 demands brought to him to make Chicago a racially open city.6 Instead Daley’s response was to mobilize 4,000 members of the National Guard to restore law and order. In the wake of the violence – with police brutality blamed by the police on the rioters- another meeting between Daley and King took place where they agreed to establish a citizen’s advisory committee on police and community relations; that grassroots workers go door to door in riot-affected areas to advise calm; and a new investment to build more swimming pools in black areas. King was unimpressed with what he considered Daley’s lackadaisical approach and local media mocked the mayor’s feeble plan.

For his part, King started “walking,” that is, organizing marches into the city’s white neighborhoods next to black ones to highlight the need for open housing.  He also re-started talks with Chicago gang members to convince them to forsake violence and join his nonviolent racially integrated movement.7 Since Daley viewed Chicago as having more accomplishments than problems in the area of race relations and that, further, the Mayor publicly considered the outsider King to be a selfish agitator largely, many white residents of soon-to-be-marched-upon city neighborhoods assumed Daley would take their side. Yet Daley’s politics of law and order and incremental social change succeeded in alienating almost everyone, so that by the Chicago mayoral election in 1967 black voter support for Daley suddenly and, for the most part permanently, declined while white residents felt the fatal sting of  being “betrayed”by the city powers that be, since at this stage, Daley did not stop the marches from going forward.

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Marquette Park in early 2016. Photograph by author.

The Rev. Martin Luther King, center, and a Chicago building janitor, Robert DeBose, left, exchange words on the eviction of two families from the building. DeBose contended the families were evicted for not paying rent. He said many of the building's problems were caused by people who refused to keep it clean.
The Rev. Martin Luther King and Chicago building janitor Robert DeBose, left, discuss the eviction of families from the building. DeBose contended the families were evicted for not paying rent.

The first march was on Saturday, July 16, 1966 when a group of 120 demonstrators marched from Englewood into Marquette Park “for a picnic.” The next day, Sunday, July 17, 1966 about 200 marchers, taunted by neighborhood whites, held a prayer vigil outside a Gage Park church. Almost two weeks later, on Thursday, July 28, 1966, protesters began an all-night vigil at 63rd Street and Kedzie Avenue at a realty company that systematically discriminated against black buyers looking to move into Gage Park. The realtors had been reported to the Chicago Commission on Human Relations but nothing happened. White counter demonstrators appeared and with nightfall Chicago police struck a deal for the lawful open housing (or open occupancy) protesters to file into paddy wagons for safe escort back to the ghetto.

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Dr. King attended two marches in Marquette Park on August 5, 1966 and, shown here, South Deering on August 21, 1966.
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Movement leaders Al Raby (left), James Bevel (second from right) and Jesse Jackson (center) protest in front of the Chicago Real Estate Board in downtown Chicago.
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Chicago Lawn white hecklers during a Chicago Freedom Movement march in summer 1966.

On July 30, 1966 about 250 open housing protesters, furious about the recent night’s humiliation, looked to return to the same southwest side intersection. They were met by bottles and rocks thrown by whites so that the protesters retreated again east of Ashland Avenue into Englewood. When demonstrators marched out of Englewood again on July 31, 1966 more than 500 whites met them as the protesters crossed Ashland Avenue on 63rd Street. Armed with cherry bombs, rocks, bricks, and bottles, the surly mob grew to over 4,000 whites where they burned cars and injured around 50 open-occupancy protesters, including a first grade teacher hit by a projectile.

The Rev. Martin Luther King Jr. and the Rev. Jesse Jackson in Chicago. King holds a Chicago Daily News paper with a headline that reads "City Seeks To Cut Marches.
Rev. Martin Luther King Jr. and Rev. Jesse Jackson in Chicago. King holds a Chicago Daily News with a headline that reads “City Seeks To Cut Marches.”

On August 2, 1966, Daley met with white homeowner groups from the southwest side. In addition for calling for law and order from blacks and whites, the mayor acknowledged the open housing protesters had a legal right to march. Daley, through an intermediary, sent King modest housing improvement and integration proposals which King rejected and Daley implemented anyway. Next Daley to an embattled King local black aldermen who opposed the Chicago Freedom Movement but carried more substantial housing and employment offers from City Hall. The city government hoped that King who was known to be looking for a way out of Chicago with a tangible victory might accept a negotiated pact and call an end to the campaign. With these serious talks going on between Daley and King, the late summer marches for open housing continued under an increasingly vicious white backlash.

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Dr. Martin Luther King Jr. at Chicago’s City Hall on July 10, 1966.
A mob attacks a car during the Rev. Martin Luther King Jr.s Aug. 5, 1966march to Marquette Park shortly. Bernard Kleina
A white mob attacks a car during the Rev. Dr. Martin Luther King Jr’s August. 5, 1966 march to Marquette Park. Photo by Bernard Kleina.

On Friday, August 5, 1966, Al Raby and Mahalia Jackson led a group of about 500 open occupancy protesters into Marquette Park in south Chicago Lawn. A white mob of over 10,000 had gathered there and verbally abused the marchers and then turned physically violent. King, who up to this point had not participated in these marches, arrived and joined the march on the north side of the park. It was here, between Francisco and Mozart Streets south of Marquette Road that Martin Luther King was struck in the head behind the right ear by a baseball-sized rock and felled to one knee.

The open housing marchers, angry and disgusted, made their way the short distance out of the park and towards 63rd and Kedzie where King dodged a knife thrown at him. The crowd began to shout “Kill him!” as well as other racially charged epithets and about 2,500 whites now started throwing bottles, burned cars, smashed bus windows and clashed with police for the next five hours.

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King with (from left) Mahalia Jackson, Jesse Jackson, and Al Raby at the New Friendship Baptist Church at 848 W 71st St in Chicago —the staging point for the 3 and a half miles walk to Marquette Park —on August 4, 1966. Photo: Chicago Tribune. 
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March down Kedzie Avenue in the Marquette Park neighborhood of Chicago in 1966. Photo by Bernard Kleina.
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At August 5, 1966 Marquette Park march. Photo by Bernard Kleina.
King after being struck by a rock at the August 5 protest. PHOTO CHICAGO TRIBUNE
Rev. Martin Luther King Jr. falls after being struck by a rock from a taunting white mob in Marquette Park in Chicago on August 5, 1966. King would also dodge a knife hurled at him in the park. King soberly reacted by saying: “Oh, I’ve been hit so many times I’m immune to it.”
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Vandals overturn a car before the August 5 march in Marquette Park. Photograph by Jim Klepitsch.
Rev. Martin Luther King Jr. with supporters in Marquette Park shortly after someone hurled a rock or brick that hit him in the head. Bernard Kleina
Rev. Martin Luther King Jr. with supporters in Marquette Park shortly after someone hurled a rock that hit him in the head. Photo by Bernard Kleina.

Martin Luther King, Jr.’s comments on that day’s violence entered the annals of civil rights and American history and marks a failing grade for Chicago: “I’ve been in many demonstrations across the south, but I can say I have never seen – even in Mississippi and Alabama – mobs as hostile and hate-filled as I’ve seen in Chicago. I think the people from Mississippi ought to come to Chicago to learn how to hate.”9

A permanent memorial to Dr. King and the Chicago Freedom Movement was erected in Marquette Park on August 5, 2016 for the 50th anniversary of the Marquette Park marches. The MLK Living Memorial at 67th Street and Kedzie Avenue includes a bench to contemplate about 300 tiles created by Chicagoans of all ages representing their understanding of “Home” and representations of a diverse community who continue to work to advance Dr. King’s vision of peace and justice.

During a news conference in Chicago on Sept. 15, 1966, the Rev. Martin Luther King Jr, called the 10-point open housing agreement reached with Mayor Richard Daley and other civic, business and religious leaders "a one-round victory in a 15-round battle." King had named Chicago his first target in the North for racial equality the previous winter.
In Chicago on Sept. 15, 1966, the Rev. Martin Luther King Jr, characterized a open housing agreement reached with Mayor Richard Daley and civic, business and religious leaders “a one-round victory.” King had named Chicago his first target in the North for racial equality the in January 1966.

NOTES:

  1. The Lovin’ Spoonful – Hot 100″Billboard(Nielsen) 78 (33): 22. 1966-08-13.
  2. On Mathias “Paddy” Bauler – http://www.encyclopedia.chicagohistory.org/pages/527.html; Challenging the Daley Machine: A Chicago Alderman’s Memoir,  Leon M. Despres and Kenan Heise, Northwestern University Press, 2005, 3.
  3. In 1960 virtually no blacks – only 7 according to that year’s U.S. Census– lived among a white population of 100,000 in Gage Park/Chicago Lawn/Marquette Park areas – cited in American Pharoah: Mayor Richard J. Daley His Battle for Chicago and the Nation, Adam Cohen and Elizabeth Taylor, Little Brown and Company, New York, 2000, p. 392. Fifty years after the Marquette Park march in 2016, the surrounding neighborhood of Chicago Lawn is a very different place from the all-white enclave King encountered. Whites now account for just 4.5 percent of the neighborhood’s population, according to the U.S. Census Bureau. African-Americans make up 49 percent and Hispanics 45 percent –http://chicago.suntimes.com/news/mitchell-rev-martin-luther-king-still-bringing-us-together/- retrieved August 5, 2016.
  4. Soldier field rally quote- http://www.thekingcenter.org/archive/document/speech-chicago-freedom-movement-rally# – retrieved August 5, 2016.
  5. On Speck murders – see http://articles.chicagotribune.com/1986-07-06/features/8602180462_1_richard-speck-cab-driver-bags – (and following) retrieved August 5, 2016; See The Crime of the Century: Richard Speck and the  Murders that Shocked the Nation,” Dennis L. Breo and William J. Martin, 2016, Skyhorse Publishing.
  6. Results of West Side riots – American Pharoah, p. 389; Substance of 14 demands – Ibid., p. 385.
  7. Media mock Daley’s plan and King re-engages gang members– Ibid., 389-391.
  8. Black voter support declines – Black Politics in Chicago, William J. Grimshaw, Loyola University Presas, 1980, p. 25; whites feel “betrayed” – American Pharoah, p. 394.
  9. American Pharoah, p. 392-396 and http://sites.middlebury.edu/chicagofreedommovement/don-rose/ – retrieved August 5, 2016.

©John P. Walsh. All rights reserved. No part of this material may be reproduced or transmitted in any form or by an means, electronic  or mechanical, which includes but is not limited to facsimile transmission, photocopying, recording, rekeying, or using any information storage or retrieval system.”