Project Description

Turnaround Arts students and staff celebrated the Afro-Caribbean diaspora in a mural. Painted on the school’s auditorium stage, “Diaspora Arts” will be used as a backdrop for a variety of events. Centered in the design are the images of the Ceiba tree and the seagrapes, both of which are found in countries across the Afro-Caribbean diaspora. They symbolize the ubiquitous living beauty that is found wherever we are. The artists used theatrical techniques of stage design and created a depth in layer by painting and contour-cutting plywood for some of the foreground seagrapes.

Project Description

This summer, a team of young women artists illuminated and celebrated the power of women of color within both the public and private spheres through a new mural in Crown Heights. Their mural, entitled “Passing Wisdom, Planting Seeds,” investigates and elevates perceptions of women of color's self-worth in order to challenge how racism and sexism impact contemporary culture. Inspired by the strength and community leadership of the mural site, Mama Dee's Community Garden, particular attention was given to the Afro-Caribbean women of Crown Heights. Through this process, the young artists owned their roles as leaders in building a more just and equitable world.
 
The mural team worked as part of the young women’s leadership development program, Voices Her’d, a part of the two-month long flagship summer youth employment program, the Summer Leadership Institute. In lessons facilitated by Co-Lead Artists Jazmine Hayes and Danielle McDonald, the young artists researched, designed, and fabricated the mural.
 
The composition is structured around two archetypical figures, an elder and a young woman. The elder woman, representing ancestral wisdom, looks upward at the younger woman, her hand stretched with an encouraging, supportive gesture. The young woman, modeled after one of the youth participants, continues the upward gaze, looking towards the future. Throughout the mural, symbols of figurative, architectural, spiritual, and natural importance to women of color gesture to the complexity of individual and communal identity: A Yoruba female deity holds hands with a 1960’s era civil rights protester. A boy wearing a crown referencing Labor Day Parade gazes thoughtfully at Ieshia Evans, who was recently featured in the viral protest image at Baton Rouge, following the shooting of Alton Sterling. By juxtaposing these many images, the mural tells the impressive story of women of color’s power, activism, and potential.  
 
Through the mural-making process, the young women have become ambassadors for positive social change. Youth artist Lydia-Rose Aigbedion (21) reflected on the impact of the mural on her participation in the mural-making process: “I have always considered myself an advocate for social justice. However, I was not as aware of women's issues in public spaces as I am with them in private spaces, such as in home or classroom settings. This mural has given me the confidence to project my thoughts to a wider, more public audience. It is my hope that this mural, and all the work that I put into this mural, will support social justice for years to come.”

Project Description

This summer, a team of young men of color created a mural encouraging and inspiring their peers to know their value and know their rights. With an approach centered on personal narratives and storytelling, the team challenged notions of identity to break cycles of inequity facing young men of color today. Their mural, entitled “The Fall of Oppression,” depicts young men of color impacted by internalized injustice as they realize their potential as empowered community leaders.
 
The youth mural team worked as part of the young men’s leadership development program, Making His’tory, a part of the two-month long flagship summer youth employment program, the Summer Leadership Institute. In lessons facilitated by Lead Artist Raúl Ayala and Assistant Artist Ashton Agbomenou, the young artists researched, designed, and fabricated the mural. This mural is the second Groundswell work featured at this location, the Bushwick Food Bazaar supermarket. “The Fall of Oppression” echoes the project created by last summers’ all-male team, entitled “I Just Want to Come Home,” addressing the complex relationship between police and young men of color.
 
Inspired by Diego Rivera’s mural, “Man at the Crossroads,” and its visual use of narrative, the artist team structured “The Fall of Oppression” in a two-part arc of transformation. On the left, the design confronts the drain of injustice on society. Figures in dull earth-tones have their faces covered with box-like masks, representing conformity and anonymity. These boxes are attached to oil pipes that metaphorically drain the natural resource of young men of color’s imagination from the community. At the center of the design, a young man of color has removed the box-like mask. He stands in realization of his own power. A winged skull hangs over him, representing life and the wisdom of ancestors. To his right, a community gathers to support one another’s liberation. Box-like masks are replaces with images of traditional African masks to show the strength of connecting with one’s heritage. A trio of figures hold a lantern emblazed with the slogan “Justice for all.”
 
“I had a huge change in mindset this summer,” said youth artist Kamal James (20). “Working with my peers/brothers this summer has been an invaluable experience. I learned to appreciate the difference I have with others and channel a better vibe into my daily activities. Painting ‘The Fall of Oppression’ helped me redirect my emotions of being a man of color into something more powerful and beautiful. Thanks to Groundswell, specifically the teaching artists Raúl and Ashton, I've learned to be more tolerant of others and uncomfortable situations. I carry a lighter bag now.”
 
Learn more about the mural by watching this video.

Project Description

In Harlem, a team of young artists engaged local elders through the creation of a mural that has transformed the entrance to the Saint Nicholas Houses Senior Citizens Center. Their mural, “Bridges,” brought together different generations to inspire new perspectives on technology, community engagement, and youth activism. This mural is the third and final community mural in a series created with the nonprofit Groundswell to recognize the rich history of the Saint Nicholas Houses.
 
The youth artists worked as part of Groundswell’s two-month long flagship summer youth employment program, the Summer Leadership Institute, presented in collaboration with the Saint Nicholas Tenant Association, New York City Council Member Ritchie Torres, and New York City Housing Authority (NYCHA). In lessons facilitated by Lead Artist Jose de Jesus Rodriguez and Assistant Artist Marina Perez-Wong, the young artists researched, designed, and fabricated the mural.
 
This mural is part of Groundswell’s larger “Public Art / Public Housing” Initiative, in which five developments identified from the Mayor’s Action Plan (MAP) for Neighborhood Safety, one in each of the five boroughs, have co-created three mural projects, for a total of 15 new public artworks throughout the city.
 
The design uses architectural elements of the exist wall—such as windows, vents, and staircases—to break-up the composition of the mural, and to introduce new narratives. From the team’s research phase, the youth artists found four common threads in the conversations they had with members of the community: technology, respect, recreational activities, and comfort zones. These keys words influenced their choice to center the mural on public communal spaces, such as parks and gardens. Both young and old are seen interacting in harmony and respect. Hands reach out for one another throughout the mural, to further emphasis connectivity between generations. Throughout the mural, children play games which have been played for decades, uniting the community of Saint Nicholas across time.
 
Through the mural-making process, the artist team became energized to become more involved in their communities. Youth artist Samantha Pierre-Paul (17) said, “I always knew there was a disconnect between the elderly and youth, but I didn't realize how big the gap was. I've become more connected with my own community. I speak to at least two elderly women regularly because I want to connect us better after finding out there was a separation. I'm more aware. This awareness makes me want to be a part of the community in a physical way, like showing up to community meetings, creating events, and so on.”
 
By using art as a tool for social change, Samantha and her fellow young artists will strengthen the bonds between different generations at Saint Nicholas Houses and will inspire future generations of leaders in Harlem.

Project Description

Groundswell, New York’s leading organization dedicated to community public art, the New York City Housing Authority (NYCHA), and New York City Council Public Housing Chair Ritchie Torres collaborated on a major one-year initiative entitled “Public Art / Public Housing.” The pieces were designed and installed by a total of 200 young adult NYCHA residents ages 16-24, in the transformation of vacant walls throughout public housing developments in all five boroughs. The tenant's association at each development guided the creation of three mural projects, for a total of 15 new public artworks throughout New York City.
 
The second mural painted Saint Nicholas Houses, “Pieces of Peace” is broken down into seven sections. Five of those sections serve as scenes directly dealing with alternatives or ways to prevent violence. After speaking to various residents, officers and youth participants, the artists group wanted to create an anti-violence mural to combat gang violence. During a community asset mapping exercise, most residents said they thought of Saint Nicholas Houses’ as a peaceful community. The top and bottom left of mural focus on behaviors inside and outside the home that promote a positive lifestyle. The center piece has three figures with bodies composed of rays emanating from the middle image of two hands embracing. Each face looks towards different directions, observing the surrounding scenes in the mural. Together, the figures represent unity within the community, a unity which will eradicate violent behavior. On the right, the top shows a young man mediating a dispute before it escalates, while the bottom is a peace rally from members of the community. Both these images are the most direct acknowledgements of dealing with violence. The top serves as an example of what the individual can do, while the bottom is an example of a community taking action and coming together to address the issue.

Project Description

Groundswell, New York’s leading organization dedicated to community public art, the New York City Housing Authority (NYCHA), and New York City Council Public Housing Chair Ritchie Torres collaborated on a major one-year initiative entitled “Public Art / Public Housing.” The pieces were designed and installed by a total of 200 young adult NYCHA residents ages 16-24, in the transformation of vacant walls throughout public housing developments in all five boroughs. The tenant's association at each development guided the creation of three mural projects, for a total of 15 new public artworks throughout New York City.
 
The first of three murals at Saint Nicholas Houses, "I Am Who We Are" was addresses the Saint Nicholas Houses residents’ concern for the public space within the neighborhood. Within the mural, the division between public and personal space is indistinct in order to highlight the fact that one’s personal life effects public life and vice versa. The mural serves as a reminder to the viewer that although parks exist outside their home, public space is equally important and should be treated with care and reverence. Flowers play an important role within the mural as a metaphor for the community. Each community member is like a petal that can only survive if the whole flower endures. In order to maintain a good quality of life, we must all respect the environment and public space. The mural is installed in a highly visible community gathering place.

Project Description

Through a new mural, youth artists engaged seniors at the Stapleton Houses in a public dialogue about the development's past and future as a site of hope, dreams, and community engagement. Their mural, entitled “Empowering the People, Transforming Our Home,” combines Staten Island landmarks with images of activism and resilience to build a lasting conversation about the Stapleton Houses' heritage, history, and legacy.
 
The youth artists worked as part of Groundswell’s two-month long flagship summer youth employment program, the Summer Leadership Institute, presented in collaboration with the Stapleton Resident Association, New York City Council Member Ritchie Torres, and New York City Housing Authority (NYCHA). In lessons facilitated by Lead Artist DonChristian Jones and Assistant Artist Lina Montoya, the young artists researched, designed, and fabricated the mural.
 
This mural is part of Groundswell’s larger “Public Art / Public Housing” Initiative, in which five developments identified from the Mayor’s Action Plan (MAP) for Neighborhood Safety, one in each of the five boroughs, have co-created three mural projects, for a total of 15 new public artworks throughout the city.
 
The mural design explores key Staten Island landmarks to illustrate the importance of building local community. In a field in front of the Verrazano Bridge, raised hands grow out of a garden of flowers. The hands grip onto the vines as a symbol of peace and anti-violence. Tree roots that spell out "Stapleton" support an above-ground train and a grandmother hangs laundry out to dry on a clothesline that spans the landscape, symbolizing nature and the community members as the infrastructure of the neighborhood.
 
“My biggest success on this site was finishing it,” said youth artist and Stapleton Houses resident Quinshawn Williams (19). “I worked hard to make something for my community with all my partners who made it very memorable every day. Every time I hear someone say they love it, it makes me feel so proud. Now when I pass it by I look back at all the fun I had creating this mural for my community.”

Project Description

Groundswell, New York’s leading organization dedicated to community public art, the New York City Housing Authority (NYCHA), and New York City Council Public Housing Chair Ritchie Torres collaborated on a major one-year initiative entitled “Public Art / Public Housing.” The pieces were designed and installed by a total of 200 young adult NYCHA residents ages 16-24, in the transformation of vacant walls throughout public housing developments in all five boroughs. The tenant's association at each development guided the creation of three mural projects, for a total of 15 new public artworks throughout New York City.
 
All of the images included in “The Foundation of Stapleton” (the second mural painted in Stapleton Houses) were a direct response to what the community representatives and students wanted to see. The community members view Stapleton Houses as a wonderful place to live and they want to see it grow and flourish. The youth artists depicted Stapleton as a bright and growing metropolis, built on the foundation of history, trust, love and respect for one another and their surroundings.
 
In the design, the community is shown in the form of a heart with different words on it like hope and empowerment. The community is held up by a turtle with the world on its shell as well as two elephants. The turtle and the elephants represent support and stability, as well as diversity and strength. Each elephant holds a delicate flower in its trunk that is being pollinated by a humming bird. This represents grace and nurturing. The heart is also held up by two mothers who are the back bone of the community and are the reason why it exists. The mothers represent youth development, tenant empowerment, and the importance of mothers to the community. From the heart grows the tree of life spreading its branches over the community. Finally, the community is represented by a series of single homes that rest on the heads of the elephants.   

Project Description

Groundswell, New York’s leading organization dedicated to community public art, the New York City Housing Authority (NYCHA), and New York City Council Public Housing Chair Ritchie Torres collaborated on a major one-year initiative entitled “Public Art / Public Housing.” The pieces were designed and installed by a total of 200 young adult NYCHA residents ages 16-24, in the transformation of vacant walls throughout public housing developments in all five boroughs. The tenant's association at each development guided the creation of three mural projects, for a total of 15 new public artworks throughout New York City.
 
The first mural at Stapleton Houses, “Stapleton: The Community As Home” is an homage to the history and current atmosphere at Stapleton Houses. The mural captures how the young artists, residents of Stapleton, value their home and express their creativity. The artist team sketched a vision for the future of Stapleton and its residents: vibrant, diverse, and strong. The mural displays themes of unity and strength through the implementation of the hand and muscular figure that occupy much of the mural. A motif of vines and flowers conveys growth and development. A tree holds the Stapleton community. “Stapleton: The Community As Home” captures the community’s pride and aspirations. 

Project Description

As part of a citywide initiative inspiring young NYCHA residents, an artist team inspired youth to become community leaders at the Tompkins Houses with a new mural that will give young people the inspiration, tools, and agency to accomplish anything. Painted on a handball court, the mural, entitled “Compass of Dreams,” illustrates two complementary scenes across the front and back of the handball wall. One side honors young people’s resilience to overcome challenges, and the other celebrates the power of play and imagination.
 
The youth artists worked as part of Groundswell’s two-month long flagship summer youth employment program, the Summer Leadership Institute, presented in collaboration with the Tompkins Houses Resident Association, Inc., New York City Council Member Ritchie Torres, and New York City Housing Authority (NYCHA). In lessons facilitated by Lead Artist Chris Soria and Assistant Artist Michaela Anaya, the young artists researched, designed, and fabricated the mural.
 
This mural is part of Groundswell’s larger “Public Art / Public Housing” Initiative, in which five developments identified from the Mayor’s Action Plan (MAP) for Neighborhood Safety, one in each of the five boroughs, have co-created three mural projects, for a total of 15 new public artworks throughout the city.
 
Given the unique architecture of a freestanding handball court, a viewer can engage with the mural from 360 degrees. On one side of the wall, a young girl and boy embrace. Between their arms, a ship is tossed roughly by a storm. The girl holds a compass, which opens up a bright “portal.” On the other side of the wall, the portal is mirrored to connect the different scenes. This opposite side of the wall depicts the same girl and boy at peace. They celebrate the power of imagination and play. As one youth artist described about the design, “Storms are commonly associated with violence and nowadays it seems as though violence is all we see. But at the end of the storm, there is a new beginning. This beginning is filled with the dreams and aspirations of our own youth, which will lead to a great and prosperous future, no matter how violent the storm.”
 
Youth artist Jason Wu (17) said, “This is my first job. Before I started working, I had my doubts because I didn't know what I was getting into. When we finally began to paint, I realized this was beneficial to the Tompkins community as it will inspire people to find success in their lives. It will brighten up the neighborhood, and I feel very proud to be a part of this mural.”

Learn more about the mural by watching this video.

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