SeattleNative wrote: ↑

Mar 09, 2023

The article says College Hill is the only neighborhood in the city with no park, but I can think of others off the top of my head - DeBaliviere Place and Lewis Place - that are similar to college Hill. No park in the small borders but proximity to nearby parks.

• 7:00PM: Tour along the Brickline Greenway to Jordan Weber’s Defensive Landscape installation at Memorial Plaza
• 7:00PM: 18andCounting solo performance
• 7:30PM: Tour of Steffani Jemison’s Sky Has No Roof with the artist at Union Station
• 7-9PM (on loop): Special preview of Jemison's sound installation in the St. Louis Wheel, made in collaboration with St. Louis storytellers and performers Jackie and Papa Wright
• 8:00PM: Damon Davis’s film premiere of The Boy in the Bottle
• 8:45PM: Second screening of The Boy in the Bottle
• 8:15PM: Moor Mother solo performance

Its first iteration, in 2019, was a hyperlocal concept: a triennial at storefront scale, bringing projects by St. Louis and national artists to parks, bakeries and taquerias on Cherokee Street, on the city’s south side.
This year it follows again a geographic method. But its footprint is much bigger, with 37 commissions along a six-mile axis. They range from monumental to barely-there.
Some are made to stay. Damon Davis, who earned notice for his art around the 2014 Ferguson protests, has built a tribute to Mill Creek Valley, the bustling hub of Black St. Louis that the city abruptly razed in 1959. It is a major public sculpture with eight pillars that embed names and memories of residents. They stand on the plaza of a new soccer stadium, with more pillars planned for other sites along a one-mile route. In long-neglected North St. Louis, the British Ghanaian architect David Adjaye is erecting a sculpture of rammed-earth walls in a pattern that recalls the symbology of Ghana’s Akan people on the grounds of the Griot Museum of Black History, a gift to this strapped community institution. And Jordan Weber, a regenerative land sculptor from Des Moines, is building a permanent rainwater garden for a community land trust.

Other projects are more abstract. A performance video by the choreographer Will Rawls, for instance, offers a mood map of the intersection of Jefferson Avenue, the thoroughfare that the show follows, and Interstate 44. It features the dancer Heather Himes Beal and screens in locations where it was filmed, including a library and a McDonald’s. (It’s also online.)

In a riverfront industrial zone, a sound-and-video work by the artist X (previously Santiago X) is projected after dark onto a bluff; it evokes how damming and channeling the Mississippi broke human connection to the river. A newspaper box in front of the city sewer agency holds a publication by Virgil B/G Taylor, a Berlin-based artist who has embarked on a kind of technical-poetic study of the sewer system, also yielding an Instagram chatbot.