TEDWomen 2018
Amanda Williams: Why I turned Chicago's abandoned homes into art
阿曼达·威廉姆斯: 我将芝加哥废弃房屋艺术化的原因
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在这篇强有力的视觉演讲中，阿曼达·威廉姆斯分享了她毕生对色彩复杂性的迷恋：从她对种族影响贷款的经历，到她对色彩理论的研究，再到她作为艺术家的工作。让我们与威廉姆斯一起前往芝加哥南部，探索“有色理论”，一个为期两年的艺术项目。在该项目中，她为即将被拆除的房屋涂上大胆的单色，并赋予了当地的意义——促进对话，使隐藏的东西可见。
Amanda Williams - Visual artist
Amanda Williams blurs the distinction between art and architecture through works that employ color as a way to draw attention to the political complexities of race, place and value in cities. Full bio
Amanda Williams blurs the distinction between art and architecture through works that employ color as a way to draw attention to the political complexities of race, place and value in cities. Full bio
Double-click the English transcript below to play the video.
我热爱色彩。
00:13
I really love color.
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我随时随地都在观察色彩。
00:17
I notice it everywhere and in everything.
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00:21
My family makes fun of me
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我的家人常常开我的玩笑，
因为我喜欢用名字晦涩的颜色，
00:23
because I like to use colors
with elusive-sounding names,
with elusive-sounding names,
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比如青瓷......
00:27
like celadon ...
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（笑声）
00:29
(Laughter)
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淡褐色......
00:30
ecru ...
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00:33
carmine.
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胭脂红。
00:36
Now, if you haven't noticed,
I am black, thank you --
I am black, thank you --
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如果你还没注意到，
我是黑人，是的——
我是黑人，是的——
（笑声）
00:40
(Laughter)
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而如果你像我一样
在一个种族分化严重的城市长大，
在一个种族分化严重的城市长大，
00:41
and when you grow up
in a segregated city as I have,
in a segregated city as I have,
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像是芝加哥，
00:43
like Chicago,
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你会清晰地意识到
肤色和种族是不可分割的。
肤色和种族是不可分割的。
00:44
you're conditioned to believe
that color and race can never be separate.
that color and race can never be separate.
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00:51
There's hardly a day that goes by
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人们不再关注你的肤色
几乎是不可能的。
00:53
that somebody is not
reminding you of your color.
reminding you of your color.
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00:58
Racism is my city's vivid hue.
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种族歧视是我家乡的鲜明特色。
01:03
Now, we can all agree that race
is a socially constructed phenomenon,
is a socially constructed phenomenon,
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大家都知道种族是一种社会现象，
但是日常生活中
人们常常忽视了这一点。
人们常常忽视了这一点。
01:09
but it's often hard to see it
in our everyday existence.
in our everyday existence.
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种族特色随处可见。
01:12
Its pervasiveness is everywhere.
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在我长大的社区，
01:15
The neighborhoods I grew up in
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充满了各种各样人文景观。
01:17
were filled with a kind of
culturally coded beauty.
culturally coded beauty.
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主要的商业区充满了
颜色鲜艳的招牌，
颜色鲜艳的招牌，
01:20
Major commercial corridors were lined
with brightly painted storefronts
with brightly painted storefronts
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来吸引黑人消费者。
01:25
that competed for black consumer dollars.
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街上充斥着各色商店的视觉混搭，
街角商铺，美容店，
街角商铺，美容店，
01:27
The visual mash-ups of corner stores
and beauty supply houses,
and beauty supply houses,
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还有货币兑换商店。
01:32
currency exchanges,
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在这些地方，我不经意间
掌握了一些基本原理，
掌握了一些基本原理，
01:34
are where I actually, inadvertently
learned the foundational principles
learned the foundational principles
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被称为色彩理论，
这是我后来才发现的。
这是我后来才发现的。
01:38
of something I would later
come to know is called color theory.
come to know is called color theory.
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01:44
I can remember being pretty intimidated
by this term in college --
by this term in college --
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我仍记得这个
让我受到惊吓的名字——
让我受到惊吓的名字——
色彩理论。
01:48
color theory.
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那些沉闷的白人大佬，
他们的论文，
他们的论文，
01:49
All these stuffy old white guys
with their treatises
with their treatises
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还有那些朦胧的术语，
01:52
and obscure terminologies.
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我掌握了每一组配色
以及相关的原理。
以及相关的原理。
01:56
I'd mastered each one of their
color palettes and associated principles.
color palettes and associated principles.
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02:02
Color theory essentially boils down
to the art and science
to the art and science
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色彩理论本质上可以归结于艺术与科学，
用颜色来体现布局以及空间。
02:06
of using color to form
compositions and spaces.
compositions and spaces.
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这并不复杂。
02:11
It's not so complicated.
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02:15
This was my bible in college.
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色彩原理就是我大学中的圣经。
02:19
Josef Albers posited a theory
about the color red,
about the color red,
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约瑟夫·阿尔伯斯提出了
一个关于红色的理论，
一个关于红色的理论，
它总是困扰着我。
02:24
and it always has stuck with me.
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他说可乐罐的标志性颜色是红色，
02:27
He argues that the iconic
color of a cola can is red,
color of a cola can is red,
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事实上，我们所有人
都认为它是红色的。
都认为它是红色的。
02:33
and that in fact
all of us can agree that it's red
all of us can agree that it's red
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但是我们每一个人所想的红色
02:36
but the kinds of reds that we imagine
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都是独一无二的。
02:38
are as varied as the number
of people in this room.
of people in this room.
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02:43
So imagine that.
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请想象一下。
我们从幼儿园就开始
接触基础的颜色——
接触基础的颜色——
02:44
This color that we've all been
taught since kindergarten is primary --
taught since kindergarten is primary --
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红，黄，蓝......
02:48
red, yellow, blue --
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它们其实并不基础，
02:50
in fact is not primary,
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它们可以被简化。
02:52
is not irreducible,
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事实上这些颜色是
相对主观而不是相对客观的。
相对主观而不是相对客观的。
02:54
is not objective but quite subjective.
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02:59
What?
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什么？
（笑声）
03:00
(Laughter)
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阿尔伯斯管这叫“相关的”。
03:02
Albers called this "relational."
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03:06
Relational.
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相关的。
03:08
And so it was the first time
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所以这是我第一次，
把我的社区视为一种关系环境。
03:09
that I was able to see my own neighborhood
as a relational context.
as a relational context.
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03:16
Each color is affected by its neighbor.
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社区影响着每一种颜色，
03:21
Each other is affected by its neighbor.
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影响着每一个人。
03:29
In the 1930s,
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上个世纪三十年代，
美国政府建立了
03:32
the United States government created
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联邦住宅管理局，
03:35
the Federal Housing Administration,
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他们画了一系列的地图，
03:37
which in turn created a series of maps
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03:41
which were using a color-coding system
to determine which neighborhoods
to determine which neighborhoods
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并使用色彩编码系统来决定
哪些人可以收到联邦住房贷款。
03:46
should and should not receive
federal housing loans.
federal housing loans.
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03:52
Their residential security map
was its own kind of color palette,
was its own kind of color palette,
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他们在住房安全地图上
所使用的配色十分独特，
所使用的配色十分独特，
与我在大学研究的所有配色相比，
03:56
and in fact was more influential
than all of those color palettes
than all of those color palettes
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这种配色实际上更具有影响力。
04:01
that I had been studying
in college combined.
in college combined.
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04:06
Banks would not lend to people
who lived in neighborhoods like mine.
who lived in neighborhoods like mine.
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银行不会给我们社区的人贷款。
我就住在D86区。
04:11
That's me in D86.
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04:14
Their cartographers
were literally coloring in these maps
were literally coloring in these maps
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我们在地图上的颜色
被标记为”危险“。
04:18
and labeling that color "hazardous."
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04:23
Red was the new black,
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红色成为黑人的新代表色，
黑人社区都被标记为了红色。
04:26
and black neighborhoods were colored.
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04:31
The problem persists today,
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这个问题至今仍存在，
特别是在丧失抵押品赎回权中尤为常见。
04:33
and we've seen it most recently
in the foreclosure crisis.
in the foreclosure crisis.
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04:37
In Chicago, this is best
symbolized by these Xs
symbolized by these Xs
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在芝加哥，
在房子的南面或者西面，
04:40
that are emblazoned
on the fronts of vacated houses
on the fronts of vacated houses
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这些空置的房屋上刻着“X”。
04:43
on the South and West Side.
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04:47
The reality is that someone else's
color palettes were determining
color palettes were determining
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这些人的配色决定了
我存在的意义。
04:52
my physical and artistic existence.
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04:57
Ridiculous.
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无稽之谈。
05:00
I decided that I'd create
my own color palette
my own color palette
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我决定要创造自己独特的颜色，
并与周围的人交流，
05:03
and speak to the people
who live where I do
who live where I do
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去改变用颜色定义我们的方式。
05:05
and alter the way
that color had been defined for us.
that color had been defined for us.
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05:09
It was a palette that I didn't
have to search far for
have to search far for
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这是一个我不用过多检索的调色板，
不需要过多的查找文献，
05:13
and look for in a treatise,
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因为我已经知道了。
05:14
because I already knew it.
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05:17
What kind of painter
emerges from this reality?
emerges from this reality?
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什么样的画家会从现实中诞生？
05:25
What color is urban?
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都市是什么颜色的？
05:29
What color is ghetto?
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贫民窟是什么颜色的？
05:32
What color is privilege?
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特权是什么颜色的？
05:35
What color is gang-related?
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帮派是什么颜色的？
05:38
What color is gentrification?
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贵族是什么颜色的？
05:41
What color is Freddie Gray?
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弗雷迪·格雷是什么颜色的？
（美籍非裔，因警察暴力去世）
（美籍非裔，因警察暴力去世）
05:45
What color is Mike Brown?
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迈克·布朗是什么颜色的？
（美籍非裔，被警方枪杀）
（美籍非裔，被警方枪杀）
05:49
Finally, I'd found a way
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最终，我找到了一种方法，
把我对颜色的种族化理解
05:52
to connect my racialized
understanding of color
understanding of color
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和我对颜色的理论认知联系起来。
05:56
with my theoretical
understanding of color.
understanding of color.
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05:59
And I gave birth to my third baby:
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所以我创造了第三个理论：
“有色理论”。
06:02
"Color(ed) Theory."
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（笑声）
06:03
(Laughter)
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06:06
"Color(ed) Theory"
was a two-year artistic project
was a two-year artistic project
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“有色理论”是一个
长达两年的艺术项目。
长达两年的艺术项目。
在这个项目中，我用自己的
调色板，用我独特的方式
调色板，用我独特的方式
06:09
in which I applied my own color palette
to my own neighborhoods
to my own neighborhoods
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来装饰社区。
06:14
in my own way.
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06:18
Now, if I walked down
79th Street right now
79th Street right now
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现在，如果行走在79街上，
询问50名路人
“比青色更绿一点的颜色叫什么”，
“比青色更绿一点的颜色叫什么”，
06:22
and I asked 50 people for the name
of the slightly greener shade of cyan,
of the slightly greener shade of cyan,
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06:30
they would look at me sideways.
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他们会很诧异地看着我。
（笑声）
06:31
(Laughter)
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但如果我说：
“超亮（护发素品牌）是什么颜色的？”
“超亮（护发素品牌）是什么颜色的？”
06:33
But if I say, "What color
is Ultra Sheen?" --
is Ultra Sheen?" --
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他们的脸上便会浮出笑容，
06:36
oh, a smile emerges,
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关于他们祖母浴室的故事也接踵而至。
06:38
stories about their
grandmother's bathroom ensue.
grandmother's bathroom ensue.
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06:42
I mean, who needs turquoise
when you have Ultra Sheen?
when you have Ultra Sheen?
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当你手头有这种护发素时，
谁会需要青绿色？
谁会需要青绿色？
谁会需要蓝绿色？
06:45
Who needs teal when you have Ultra Sheen?
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谁会需要群青，如果你有......
06:49
Who needs ultramarine when you have ...
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（观众）超亮。
06:53
(Audience) Ultra Sheen.
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（笑声）
06:55
(Laughter)
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这正是我独特的调色板。
06:57
This is exactly how I derived my palette.
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07:00
I would ask friends and family
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我会问我的朋友和家人，
以及那些和我背景相似的人，
07:03
and people with backgrounds
that were similar to mine
that were similar to mine
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问起他们的故事和回忆。
07:06
for those stories and memories.
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这些故事并不总是愉快的，
07:08
The stories weren't always happy
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但产品的颜色总比
产品本身更容易引起共鸣。
产品本身更容易引起共鸣。
07:10
but the colors always resonated
more than the product itself.
more than the product itself.
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07:16
I took those theories to the street.
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我对街道的配色使用了这套理论。
07:20
"Ultra Sheen."
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”超亮“，
"粉油保湿霜"。
07:22
"Pink Oil Moisturizer."
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07:26
If you're from Chicago,
"Harold's Chicken Shack."
"Harold's Chicken Shack."
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如果你来自芝加哥，
你应该知道“哈罗的鸡肉小吃”。
你应该知道“哈罗的鸡肉小吃”。
（笑声）
07:29
(Laughter)
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"货币兑换和安全通行证 "，
07:30
"Currency Exchange + Safe Passage."
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07:34
"Flamin' Red Hots."
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"火红的火种"，
07:37
"Loose Squares" ...
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"松散方格"，
07:40
and "Crown Royal Bag."
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以及"烈酒装饰袋" 。
（以上为讲者对这些建筑的命名）
（以上为讲者对这些建筑的命名）
07:46
I painted soon-to-be-demolished homes
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我给许多将要
被拆除的房子上了色，
被拆除的房子上了色，
那些房子在一个
充满非议的地区——恩格尔伍德。
充满非议的地区——恩格尔伍德。
07:49
in a much-maligned area called Englewood.
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07:54
We'd gather up as much paint
as I could fit in my trunk,
as I could fit in my trunk,
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我们会尽可能在我的卡车上装满油漆，
我会叫上我最信任的艺术伙伴，
07:57
I'd call my most trusted art homies,
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我的丈夫总会在身边支持我，
07:59
my amazing husband always by my side,
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然后我们会把建筑外的每一寸
都涂上同一种颜色。
都涂上同一种颜色。
08:02
and we'd paint every inch of the exteriors
in monochromatic fashion.
in monochromatic fashion.
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08:08
I wanted to understand scale
in a way that I hadn't before.
in a way that I hadn't before.
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我想用一种新的方法去理解比例。
我想在最大的画布上上色......
08:12
I wanted to apply the colors
to the biggest canvas I could imagine ...
to the biggest canvas I could imagine ...
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在房子上上色。
08:17
houses.
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我在熟悉的街道上来回踱量，
08:18
So I'd obsessively drive up and down
familiar streets that I'd grown up on,
familiar streets that I'd grown up on,
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在城市信息查询处检查
08:23
I'd cross-reference these houses
with the city's data portal
with the city's data portal
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哪些建筑物将被摧毁——
08:27
to make sure that they'd been
tagged for demolition --
tagged for demolition --
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或已无法修复，或者是死者的故居。
08:29
unsalvageable, left for dead.
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08:34
I really wanted to understand
what it meant to just let color rule,
what it meant to just let color rule,
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我十分想理解被颜色主宰的感觉，
相信直觉，
08:39
to trust my instincts,
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停止请求许可。
08:40
to stop asking for permission.
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不询问城市管理员的意见，
08:43
No meetings with city officials,
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不需要社区认同，
08:45
no community buy-in,
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让颜色主宰一切。
08:47
just let color rule
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我想在城南绘制不同的图案。
08:50
in my desire to paint
different pictures about the South Side.
different pictures about the South Side.
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09:02
These houses sit in stark contrast
to their fully lined counterparts.
to their fully lined counterparts.
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这些房子和它们周围的房屋
形成了鲜明的对比。
形成了鲜明的对比。
09:10
We'd paint to make them stand out
like Monopoly pieces
like Monopoly pieces
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在这样的环境中，我们把它们画得像
大富翁的房子一样显眼。
09:16
in these environments.
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09:18
And we'd go on these early Sunday mornings
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我们常常在周日上午去，
一直到油漆用完或有人投诉。
09:21
and keep going until we ran out
of that paint or until someone complained.
of that paint or until someone complained.
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09:30
"Hey, did you paint that?"
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”嘿，你在给那个房屋上色吗？？
09:33
a driver asked as I was taking
this image one day.
this image one day.
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某一天我在拍这张图片的时候，
一个司机问我。
一个司机问我。
09:37
Me, nervously:
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我紧张地回答道：
“是的。”
09:39
"Yes?"
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09:41
His face changed.
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他的脸色瞬间变了。
“噢，我以为王子（Prince R. Nelson，
美国著名音乐家）要来了。”
美国著名音乐家）要来了。”
09:42
"Aw, I thought Prince was coming."
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（笑声）
09:45
(Laughter)
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他从小在这附近长大，
09:48
He had grown up on this block,
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你可以想象当他开车经过的时候，
09:50
and so you could imagine
when he drove past
when he drove past
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看到为数不多的老房子
在一夜之间神奇地改变了颜色，
在一夜之间神奇地改变了颜色，
09:52
and saw one of its last remaining houses
mysteriously change colors overnight,
mysteriously change colors overnight,
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这显然不是因为眼花了，
09:57
it was clearly not
a Crown Royal bag involved,
a Crown Royal bag involved,
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这可能是来自王子的秘密信号。
10:00
it was a secret beacon from Prince.
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（笑声）
10:03
(Laughter)
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10:07
And though that block
was almost all but erased,
was almost all but erased,
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尽管那个街区几乎要被拆掉了，
但王子仍可能会突然出现在
意想不到的地方，
意想不到的地方，
10:12
it was the idea that Prince
could pop up in unexpected places
could pop up in unexpected places
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在音乐产业和社会都认为
不再有价值的区域，
不再有价值的区域，
10:18
and give free concerts in areas
that the music industry and society
that the music industry and society
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举办免费音乐会，
10:22
had deemed were not valuable anymore.
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10:26
For him,
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对他而言，
10:29
the idea that just the image of this house
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仅仅是这座房子的图片
就足以吸引王子前来。
10:33
was enough to bring Prince there
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这意味着万事皆有可能。
10:36
meant that it was possible.
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在那一瞬间，
10:38
In that moment,
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埃格尔斯顿的一小部分
已经成为皇室的代名词。
已经成为皇室的代名词。
10:40
that little patch of Eggleston
had become synonymous with royalty.
had become synonymous with royalty.
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10:45
And for however briefly,
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简单来讲，
埃里克·班纳特的社区
已经恢复了价值。
已经恢复了价值。
10:47
Eric Bennett's neighborhood
had regained its value.
had regained its value.
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10:52
So we traded stories
despite being strangers
despite being strangers
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所以虽然我们是陌生人，
但是我们互相交换了故事，
但是我们互相交换了故事，
我们谈论了曾经念过的高中，
10:54
about which high school we'd gone to
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从小生长的地方，
10:57
and where we'd grown up,
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还有一家
10:59
and Mrs. So-and-so's candy store --
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在芝加哥南边的糖果店。
11:01
of being kids on the South Side.
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一旦我表示
11:04
And once I revealed
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这个项目和王子
一点关系都没有时，
一点关系都没有时，
11:05
that in fact this project had
absolutely nothing to do with Prince,
absolutely nothing to do with Prince,
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埃里克似乎是同意的，
11:09
Eric nodded in seeming agreement,
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但当我们分开的时候，
11:11
and as we parted ways and he drove off,
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他仍坚持，“王子还是有可能会来”。
11:14
he said, "But he could still come!"
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（笑声）
11:16
(Laughter)
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他声明了这个项目的所有权，
11:19
He had assumed
full ownership of this project
full ownership of this project
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并且不愿意放弃这个观点，
11:23
and was not willing to relinquish it,
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甚至对我这个创作者
也持有这个态度。
也持有这个态度。
11:25
even to me, its author.
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11:28
That, for me, was success.
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那对我而言就是成功的。
11:32
I wish I could tell you that this project
transformed the neighborhood
transformed the neighborhood
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我希望我可以告诉你们
这个项目改变了社区，
这个项目改变了社区，
用那些我们依赖的指数：
11:37
and all the indices
that we like to rely on:
that we like to rely on:
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新增工作岗位，犯罪率降低，
没有人酗酒——
没有人酗酒——
11:40
increased jobs,
reduced crime, no alcoholism --
reduced crime, no alcoholism --
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但事实上，它更灰暗。
11:46
but in fact it's more gray than that.
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11:49
"Color(ed) Theory"
catalyzed new conversations
catalyzed new conversations
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“有色理论”促进了
关于黑人的价值新的讨论。
11:52
about the value of blackness.
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11:56
"Color(ed) Theory" made unmistakably
visible the uncomfortable questions
visible the uncomfortable questions
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“有色理论”明确地指出
令人不适的问题，
令人不适的问题，
那些组织和政府必须问问自己的问题，
12:02
that institutions and governments
have to ask themselves
have to ask themselves
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他们为什么要这样做。
12:05
about why they do what they do.
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12:08
They ask equally difficult questions
of myself and my neighborhood counterparts
of myself and my neighborhood counterparts
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他们问我们难以回答的问题，
关于我们的价值体系，
12:13
about our value systems
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以及我们通往
集体组织的方式。
集体组织的方式。
12:16
and what our path
to collective agency needs to be.
to collective agency needs to be.
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12:21
Color gave me freedom in a way
that didn't wait for permission
that didn't wait for permission
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色彩给了我喘息的空间，
不需要得到许可，
不需要得到许可，
也不需要肯定和包容。
12:25
or affirmation or inclusion.
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12:29
Color was something that I could rule now.
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色彩是我可以自己主宰的东西。
12:34
One of the neighborhood members
and paint crew members said it best
and paint crew members said it best
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我的邻居兼上色伙伴
曾经说过一句很在理的话，
曾经说过一句很在理的话，
“这些行为没有改变我们的社区，
12:38
when he said, "This didn't
change the neighborhood,
change the neighborhood,
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它”——或多或少——“改变了
12:41
it changed people's perceptions about
what's possible for their neighborhood,"
what's possible for their neighborhood,"
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人们对我们的看法。“
12:45
in big and small ways.
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12:47
Passersby would ask me,
"Why are you painting that house
"Why are you painting that house
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路人可能会问我：
“为什么你要给这些房子上色呢？
“为什么你要给这些房子上色呢？
政府马上就要拆了它们。”
12:50
when you know the city's just going
to come and tear it down?"
to come and tear it down?"
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那时候，我往往没有答案，
12:53
At the time, I had no idea,
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我只知道我应该做些什么。
12:55
I just knew that I had to do something.
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我愿意付出一切
为了更好地理解
为了更好地理解
12:58
I would give anything to better
understand color as both a medium
understand color as both a medium
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作为一种媒介
和我定义社会的方式的颜色。
和我定义社会的方式的颜色。
13:03
and as an inescapable way
that I am identified in society.
that I am identified in society.
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13:08
If I have any hope
of making the world better,
of making the world better,
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如果我对美好的世界抱有希望，
我必须热爱和利用
这两种我理解的方式，
这两种我理解的方式，
13:12
I have to love and leverage
both of these ways that I'm understood,
both of these ways that I'm understood,
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那就是价值和色彩。
13:17
and therein lies the value and the hue.
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13:21
Thank you.
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谢谢。
（掌声）
13:22
(Applause and cheers)
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ABOUT THE SPEAKER
Amanda Williams - Visual artistAmanda Williams blurs the distinction between art and architecture through works that employ color as a way to draw attention to the political complexities of race, place and value in cities.
Why you should listen
The landscapes in which Amanda Williams operates are the visual residue of the invisible policies and forces that have misshapen most inner cities. Her installations, paintings, video and works on paper seek to inspire new ways of looking at the familiar -- and raise questions about the state of urban space in America in the process.
Williams has exhibited widely, including the 2018 Venice Architecture Biennale, a solo exhibition at the MCA Chicago, the Art Institute of Chicago and the Pulitzer Arts Foundation in St. Louis. She is a 2018 United States Artists Fellow, a Joan Mitchell Foundation Painters & Sculptors grantee, an Efroymson Family Arts Fellow, a Leadership Greater Chicago Fellow and a member of the multidisciplinary Museum Design team for the Obama Presidential Center. She is this year's Bill and Stephanie Sick Distinguished Visiting Professor at the School of the Art Institute Chicago and has previously served as a visiting assistant professor of architecture at Cornell University and Washington University in St. Louis. She lives and works on Chicago's south side.
Amanda Williams | Speaker | TED.com