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On July 9th, The Reva and David Logan Foundation (RDLF) celebrated the grand opening of Movement on Montrose (MoM), an event space and non-profit collective in the Albany Park neighborhood.

In addition to a large room for events, MoM has three dance studios that can be rented by organizations and community members. While the RDLF owns several buildings throughout Chicagoland, this is the first community building that will be operated by the Foundation, doing business as Movement on Montrose.

Friends and neighbors toured the space and networked before joining together in the event space for the ribbon cutting. Richard Logan, Board President of the RDLF, mentioned the importance of public meeting spaces for communities to gather in, and how the support of the community and local government is integral to the success of projects like MoM.

Alderwoman Rossana Rodriguez for the 33rd Ward spoke at the event as well, highlighting the need for more spaces in the community that are for the community. Alderwoman Rodriguez used to work as the Resident Director at Albany Park Theater Project (APTP), a grantee of the RDLF. At APTP, she became increasingly involved with the Albany Park neighborhood, helping to tell the stories of the working-class migrant families who reside there. She expressed that she’s happy to be involved in support of Movement on Montrose, which will also be for the benefit of the Albany Park community.

After the ribbon cutting, students from our partner Dance Avondale performed in one of the studios. It was an impressive and spirited performance. Dance Avondale provides high quality dance education for the community at subsidized tuition rates. They began classes at MoM on July 1st. Their summer classes will run through August 10th, and include options for early childhood, youth, and adults.

We are actively looking for partners to utilize the space. More details about dimensions and amenities can be found here. If you’d like a tour, please contact Lilly Torres, Operations Manager for Movement on Montrose, at Lilly(at)loganfdn(dot)org.

Jessie Mott is a Senior Program Officer at the Reva and David Logan Foundation, working with our Arts and Social Justice grantees. In addition, she manages our winter wear and school supplies distributions, as well as other special initiatives. Outside of her work with the Foundation, Jessie is an accomplished visual artist whose work spans an array of media, including drawing, painting, and collaborative projects. Her practice focuses on themes of identity and power by exposing unstable perceptions of the queer body. Jessie’s work has been exhibited widely, including in the International Film Festival Rotterdam and the Whitney Biennial.   

Communications Coordinator Sabrina Boggs interviewed Jessie at her studio to learn more about her career as an artist, her upcoming shows, and her philosophies on being an artist and artist care. 

When did you first get into art and decide to pursue it as a career?

Jessie: It started when I was young as an emotional outlet. I’m an only child and I spent a lot of time alone, so I would spend days drawing, making up creatures and naming them. Since early childhood, I have extremely vivid dreams and nightmares about animals—usually trying to save them in some capacity. Continuing into adulthood, it looks like stuffing half-dead ferrets with cigarette burns on their bodies in my coat in the subway; finding a thrashing two-headed unicorn abandoned for years in a university science lab dumpster; my body growing long hair, turning into a dog; giving birth to a hamster.

I went to NYU and majored in studio art. I loved the program but didn’t have much confidence. I didn’t think that I’d be able to support myself as an artist, so I always did other things in addition to my art making—fundraising, development, nonprofit work. I was living in New York City and cost of living was crazy, but I never stopped painting. I ended up making pet portraits for a living at one point.

It’s when I moved to Chicago that I started taking myself more seriously as an artist. I got an MFA from Northwestern, and that opened up a lot of doors, personally and professionally. I’m really grateful for that experience. 

What are the inspirations for your work today?

Jessie: My work examines sexuality, power and vulnerability inherent in the permeable boundaries of human/animal, corporeal/fantastical and gender categories.

These queer bodies with their otherworldly anatomies offer sites for projection, like some kind of abject fairy tale.  Tension is created by negotiating the contrast between interior worlds and the realities of external representation and exposure.  Queens, mentors, mothers—figures revered, feared, and desired, embody a complexity that invites viewers to locate themselves in the flux of what is ethereal and what is tangible.

Rarely deviating from a vertical format, the images may be read as portraits. The figures often appear isolated, located in a densely colored background of non-space. When shown together, the accumulation offers various levels of interpretation about the collective gaze. Multiple eyes disrupt a traditional narrative of seeing and being seen. Ambiguous bulges suggestive of breasts—are they nurturing, erotic, and/or suffocating lumps?

I’m constantly asking myself, what are the creatures doing, why are they doing this, why do I portray them this way, how do they need to transform? In my mind I always have a non-linear narrative. I want the work to be accessible and honest. I’m still learning what my work is about. 

Tell us more about your dual life outside of art.

Jessie: My passion for social justice work is intertwined with my artistic life. I have worked in a variety of community-based health settings, including Test Positive Aware Network (TPAN) for many years. My role mostly involved grant writing and other development related work, but I was also very interested in working in collaboration with people, doing direct service. I co-led an art group for people living with/vulnerable to HIV.  I have a passion for social justice and find a lot of meaning when I connect with people, so I decided to get a Master in Social Work, thinking I might become a mental health clinician. Soon, though, the program got me thinking more about macro-practice, working towards systemic change. I was curious about philanthropy, having been on the grant writing side for so long. I was learning about  power and money, how to move money to create power, and how much power you can have by burning down a system from within. 

Do you think that art needs to have meaning?

Jessie: Yes. Even if you try not to, your art will have meaning due to the choices you make, materials you choose, venue you choose to present… You can’t escape the context in which you’re working. Everyone has to go through a process. It can be so vulnerable to show your work. Here you are sitting with a painting for six months, just you and this work, and then all of a sudden it’s in the world and people can think and say whatever they want about it. And you don’t have any control over that. 

What outside influences are present in your art?

Jessie: As a child I used to pore over nature books and magazines. I was obsessed with animals, and I always had nature books about North American mammals and stuff like that. And if you look at all the pictures, there’s these kind of intense anatomical images. Everything’s out there! And it’s normal because it’s an animal body. But then when you paint it, people start asking, well why did you do that? 

I am inspired by artists like Louise Bourgeois, Maria Lassnig, Carol Rama, Karen Kilimnik, Nicole Eisenman. I definitely spent a lot of time in the Met and Art Institute of Chicago looking at small sculptures from Java in the 13^th century, old masters paintings, Goya and Rembrandt. 

In 2001 I took a painting class at NYU with this amazing artist/person Maureen Gallace, who was very much a nurturing figure in my life. I was supposed to have class the morning of 9/11/01 and got to campus (from Brooklyn) early that day. By the time I got to Union Square I saw the second tower fall. Once students went back to classes (I don’t even remember how long we were out of school), Maureen told us to make a painting about the period of time. I brought in a photo of a deer I’d seen on the beach that summer. I found her majestic yet vulnerable. With the sea behind her and her legs impossibly long. How does she even walk? How does she hold herself up with these legs, this body? 

Can you talk more about your upcoming solo exhibition at Goldfinch? 

Jessie: I called the show Pluto. I love the myth about Persephone, although it’s a terrible story. Pluto abducted Persephone and took her to the underworld, and for six months out of the year her mother Hera mourned for her, creating a barren winter. When her daughter came to the surface for the other 6 months, there was spring.

Pluto is usually considered to be a powerful male. In my re-interpretation, they are both, but mostly female. Pluto, in astrology, is about death and rebirth. That’s really central to the work—transformation, physically and spiritually.  

There are 12 new oil paintings in the show.

Where do you want to go from here?

Jessie: Collaboration has become a large part of my practice. Since 2009, I have made cartoons with the artist and writer Steve Reinke. I have an ongoing collaboration called “Like Queer Animals” with the writer and queer scholar Chantal Nadeau (our current exhibition at CAC runs 5/29-6/27). I also am collaborating with artist and musician Diane Christiansen (our current exhibition is in the Drawing Room of The Arts Club of Chicago running 5/13-September). Since 2020 I have been mailing drawings back and forth to Dutes Miller (our current show is up at Drawing Room Invitational at Lump Projects in Raleigh, NC).

Collaboration helps me loosen up, think differently, and use different materials. I like to keep things fresh and fun. I want to keep making work and showing it. That in itself is a gift. I want to grow my artist community. I have a really good group of friends who are really supportive. For me, it’s about community and always thinking, feeling, and making. 

Not that I’ve had a lot of commercial “success”, but because of the kind of work I make, I can sell things. I don’t want to be dependent and make a living off my art because I want to have creative freedom. Also, I adore my work at the Foundation—I find it really meaningful (while providing me the ability to survive!). 

I’m content with where I am. If you really are ambitious and think you have to have a show at this museum, or this gallery, or be represented by so and so… That can lead to a lot of disappointment and feelings of failure. You’re being susceptible to external validation to feel like you’re worth something. I try not to fall in those traps.

What do you realistically want to see change in the art world and philanthropy?

Jessie: Increased accessibility for artists who are not in the traditional pipelines, or connected to powerful institutions. More community building. Space for radical imagining and dreaming. Using less jargon when writing about art. Be real, be authentic. Why do you make your work? Where does it come from, why are you doing it? The luxury of time and space for artists to think about what they want their work to do in the world. More opportunities for artists to be artists: residencies that accommodate all bodies, family structures, childcare. Artists need to be paid for their labor, they need healthcare, they need to not be exploited. It would be a very sad world without artists. They need to be celebrated and compensated. I suggest reading the Threewalls Thriving Wage Report.

Can you talk more about what it costs to make art?

Jessie: Not only do you need space to create your work (depending on the kind of work you make), you have to pay for that on top of your rent, utilities, and the cost of materials (life in general). When I choose to make oil paintings, sometimes one tube of paint is $50 per tube. For canvases as well… hundreds of dollars. And I can actually sell my work because it is easily commodified, whereas artists working with conceptual, performance, moving image practices often have to rely on grants. Where is the time to do that? Also, art school debt!  And then if you end up getting a job where you’re paid well, sometimes you don’t have time to make your work, so you have to make choices. And especially so if you are helping to support others—family, caregiving, etc … Oh, and in a school or hospital setting when there are budget constraints, art is usually the thing that gets cut first. 

Do you have any advice for emerging artists, or artists who are balancing a full-time job and their practice?

Jessie: There are a lot of ways to look at it. I always chose the stability of having a full-time job because, even though I don’t have as much time to create, not having to worry about my next paycheck makes me more creative. Whereas, when you are cobbling together various gigs, you have some freedom with your time but you might be stressed about how to pay your rent, buy materials, or even enjoy yourself. 

You have to get really creative around how you structure your time: what’s for you, what’s for them, and how you protect your mind space. Have enough time to contemplate life, contemplate your work, relax, sleep, nurture yourself. You have to figure out what feels right for you, and what you’re willing to do. Do you need a separate space, can you work from your home? Do you need to get up earlier in the morning so you can meditate, write, read a book, or think about your work? I know I don’t do well in the nighttime because I’m too tired from the day. So I get up early, and that time is just for myself. 

I keep a sketchbook with me wherever I go. I write down my dreams. I write down and take pictures of things I find inspiring, and I look back at them a lot. I also keep a draft in my Gmail of the year, and anytime something significant happens, I write it down, and then look back to see what was important to me, and what came of the things I wrote down. That has helped me shape how I want to structure my future. 

I think a lot about how I would write my autobiography (not that I’m going to). What was my life about? What matters to me? At the end of the day, when you’ve had your last breath—what was important to you? What are your values? When you make and show your work, what makes you feel good or not good about that? Who is the work for? If your dream is to go to Switzerland and become a circus performer, what are the steps you realistically have to take to get there? Constantly ask yourself questions.

Visit Jessie’s summer exhibitions:

Pluto (solo show of new oil paintings)
Goldfinch
319 N. Albany Avenue, Chicago, IL 60612
Opening: Saturday, June 15, 2024, 2-5pm
Gallery Hours: Fridays and Saturdays from 12-4pm, when exhibitions are on view; and by appointment
Exhibition runs through July 27, 2024
info@goldfinch-gallery.com
 
Diane Christiansen and Jessie Mott: New Work (including a new animation!)
The Drawing Room at The Arts Club of Chicago
201 E Ontario St, Chicago, IL 60611
Opening: Monday, June 17, 2024, 5:30 – 7:30pm
Exhibition runs through September 2024
information@artsclubchicago.org

Fleurs de Macadam (curated by Vasia Rigou) by Like Queer Animals (Jessie Mott and Chantal Nadeau) with augmented reality by Victor Mateevitsi
Chicago Artists Coalition
2130 W. Fulton St., Chicago, IL 60612
Wed-Thu: 11AM-5PM | Fri-Sat: by advance appointment
Exhibition runs through June 27, 2024
contact@chicagoartistscoalition.org

This year, we restarted the annual Reva and David Logan Foundation ChiArts Art Competition. Previously, the competition was open only to students in photography. This year, we expanded to three categories: Creative Writing, Visual Arts, and Digital Photography.

ChiArts staff chose 6 semifinalists for each category, and the RDLF board members chose first, second, and third place winners. The RDLF board and staff were highly impressed by the skill and thoughtfulness of the entries. All semifinalists received a prize. The winners are as follows:

Creative Writing

First Place: “A Collection of Receipts and Notes” by Halle Grey

Excerpt:

Second Place: “Senior Book Project” by Kimberly Valle

Excerpt:

Third Place (tie): “Days at the Mall” by Marshall Harmon

Excerpt:

Angelica Lehr was a fun-loving girl. Yes, she did her work, paid attention in class, and got alright grades, but what she prioritized most was her enjoyment and leisure. Every day after school, she would head to the nearby mall, shopping until it was time to return (she went to a boarding school, thus there was a curfew). All the employees of her favorite stores and fast food restaurants knew her name, and almost all of them knew what times she would visit. First, Angelica would walk around, looking to see if there was anything new. There never seemed to be, but it didn’t hurt to check.

 After, she would visit her favorite shop, Primevére. She would look through the clothes, shoes, and perfumes, agonizing over what to buy. At times, she would even rope the employees into her troubles, to the chagrin of some. She usually didn’t have enough money to buy much (Primevére was an expensive shop and Angelica was but a poor little high school student), so it would take up to a few weeks for her to finally decide. She would never decide what to buy while within the store—it was always later, after a few nights of sitting in darkness, staring at her ceiling. 

Third Place (tie): “I Am Your Perfect Mexican Daughter” by Joc Rivera

Excerpt:

The stinging rays hit her long black hair tied in pigtails. Sweat drips down her forehead as she examines the mangos. 

“Oye, Esme, mira, estos ni sirven.”

“Aye, no mames, como que no?”  

Her eyes widen, “Que no digas eso,” looking at Esmeralda sternly, “tu sabes como ma se ponde, y los chingadasos que pa te va dar.”

“En verdard que no sabes como devertirte.” 

She much as she didn’t want to admit it, her older sister was right. Esmeralda always sneaks out of the house, comes home late, and manages to be a good student because she believes la uni is going to be her way out of poverty. At home, she is often seen arguing with her mother, first thing in the morning, all you hear is her mother yelling across the rancho for Esmeralda and her to get up, feed the animals, and work the fields. Esmeralda doesn’t like that very much, as she thinks it’s unfair that both of them are only called for, while their bother isn’t, and, Dios, is vocal about it. 

“Estrella, porque tu nunca le dices nada a ma de la forma que actua?” 

She stays silent for a minute, “No se, creo que es mejor para mi que me cuede en el rancho.”

Visual Arts

First Place: “Fetus” by Eion Magana

Second Place: “Drama in the Dollhouse” by Cora Mangual

Third Place: “Untitled” by Lily Martinez

Digital Photography

First Place: “Madre y Hijo” by Nico Drummond

Second Place: “El Arbol de Juventud” by Victoria Toledo

Third Place: “Atrapado” by Adrian Lopez

Congratulations to all the participants!

For Mental Health Awareness Month, The Reva and David Logan Foundation (RDLF) is highlighting 6 of our grantees for their work supporting mental health in their communities: 

Juvenile Protective Association (JPA)
Onward House
Sista Afya Community Care
Youth Crossroads
Impact Behavioral Health Partners
Communities in Schools of Chicago (CIS)

We asked leaders from each organization to answer 5 questions about mental health and what you can do during Mental Health Awareness Month. Responses were edited for length and clarity. 

1. What is the purpose of Mental Health Awareness Month? 

Camesha Jones, Executive Director at Sista Afya: It’s an opportunity for our community to learn more about mental health, increase advocacy and visibility of the experiences of people with mental health conditions, and to discuss solutions to meet the needs of our respective communities. 

Josephine DiCesare, Executive Director at Youth Crossroads: It’s a chance for people to increase their understanding of mental illness and resources available for help. It also is an opportunity to destigmatize mental illness.

Bartholomew St. John, Chief Innovation and Communications Officer at CIS: It helps center attention on an issue that is central to our organization’s everyday work with students and school communities. It brings issues such as the national youth mental health crisis to the forefront and incorporates calls to action that all can heed.

Patti Capouch, Executive Director at Impact: It highlights our mission to develop and champion opportunities for people with serious mental illness by providing comprehensive services in housing, employment, and clinical support so that each person can live as independently as possible.

Karim Escobar-Franklin, LSW, Mental Health Specialist at Onward House: It’s an opportunity for communities to educate themselves on Mental Health. It is not solely about mental health illnesses but also about taking care of yourself, learning the many ways that stress can be relieved, and learning that mental health starts from birth.

Karen Foley, Executive Director at JPA: It means lifting up hope! At JPA, we know that when people invest in their mental health and wellness, life improves in small and big ways. Dedicating an entire month to mental health is a wonderful way to improve individual lives and help our community feel and function better.

2. What are some ways an individual can participate in Mental Health Awareness Month? 

Sista Afya: Look up organizations to support, engage in mental wellness practices, and share information with your networks about mental wellness. 

Youth Crossroads: Attend events, volunteer at organizations that deal with mental health, or even just share information through social media.

CIS: Become certified in Youth Mental Health First Aid. Members of the public can visit cisofchicago.org/mhfa to learn about upcoming trainings that are offered for a nominal fee by our organization. 

JPA: In a world that can feel chaotic and often unjust, take a moment to pause and reflect on something beautiful–a person, place, or thing–and enjoy the sense of appreciation you feel. Then share the peace.

Onward House: Reflect on the last time you invested into your self-care. Reduce stress with calming music and aromatherapy, and read material on how to cope with life when things become overwhelming. 

Impact: Advocate for people living with a mental illness by holding space for mental health conversations. Storytelling is a powerful tool; it can be used to destigmatize mental illness and to put a face to Mental Health Awareness in May, and all year long. 

The field of community health is very rewarding, but it’s also challenging. The folks who do this work endure significant stress while supporting others. If you know a mental health worker, reach out to them and let them know that you appreciate the very important work that they do.

3. Do you have any tips for someone who wants to prioritize their mental health? 

Onward House:  Prioritizing your mental health can look many different ways, but the most general start is to initiate a self-care plan and establish boundaries to regain control of whatever is currently overwhelming. A routine and scheduled self-care is equally as important as getting the proper hours of sleep on a daily basis.

Sista Afya: Take small steps to integrate wellness into your day-to-day life. This may look like going to therapy, taking time for rest, and creating opportunities for social connection and support. Starting small is more sustainable and practical for people beginning their focus on mental wellness. 

Youth Crossroads: Take time for self-care. Say no when necessary. Let others know that you are prioritizing yourself and set boundaries.

Impact: Make time for your own mental health, by knowing when you need support from friends and family. Current events, social responsibilities, isolation, and technology can all affect someone’s mental health. Practice a mindful approach to self-care, and check in with yourself to see what may be affecting your mental health. Find your support system—identify a person or people in your life who you can count on when you need help. Learn healthy coping skills by determining what works for you—anything from painting to meditating to playing with a fidget toy can be a useful coping skill. 

JPA: Don’t be afraid to ask for help. The richest, most successful people I know have a trove of experts on speed dial. If you want help on your journey to prioritize your mental health, take the first step and make a call. If you’re feeling okay but want more of that feeling, be sure to be fully present for a few minutes in your life every day–you’ll notice a difference! 

CIS: It’s important to note that the range of options for people to prioritize their mental health is shaped by the state of their mental health. A person experiencing a mental health crisis, as an example, needs immediate help; turning to a self-care strategy in that type of situation would not be appropriate. In other cases, however, where a person is not in mental health crisis and seeking ways to invest in their mental health, self-care strategies like exercise, prioritizing sleep, and eating nutritious meals can be beneficial. 

4. If someone is seeking help, where would you recommend they find it? 

CIS: For people who are proactively seeking support in earlier stages of a developing mental health challenge, options could include talking to a primary care physician for initial guidance, exploring support via a mental health counselor/agency, or speaking with a school social worker or counselor. 

Onward House: I would talk to my primary physician and share my experiences. They are able to start the referral process. If there is an issue with having access to insurance, I would recommend visiting a facility that charges on a sliding scale.

Sista Afya: If someone is seeking help, I would recommend calling 988 or any local mental health hotlines to learn more about resources in your area or doing a web search (google is your friend) to find mental health services near you and resources.

Youth Crossroads: We encourage people to confide in someone they trust, whether it is a friend, teacher or parent.  School counselors are a great resource.  United Way has a 211 line people can call.  The most important thing to do is ask for help.

Impact: If someone is experiencing a mental health crisis, they can call or text 988 at any time for support from a trained crisis worker. This service is available nationwide. If an individual is eligible for our therapy, case management, or employment services, we encourage them to fill out our participant interest form: https://impactbehavioral.org/eligibility/.

JPA: JPA’s New Light clinics might be one place to try. You can also grab a copy of Psychology Today and find a therapist that seems like a good fit.  Don’t be afraid to ask a potential therapist how they approach treatment, or any other question on your mind. The relationship you build with your therapist is important.

5. What can we do to help destigmatize mental illness? 

CIS: People with lived experiences of mental health challenges can be very powerful messengers to help de-stigmatize the issue. It’s also important to reinforce the message of recovery in mental health conversations. We take this notion for granted when it comes to physical health – a person breaks their wrist or contracts mono, they’re naturally asking their doctor how long will it be until they’re better. Recovery is also a central concept in mental health, but it’s not always as easily recognized. The more we can make that parallel between physical and mental health, the more we can help destigmatize people’s views on mental illness. 

Impact: Our participants, and individuals living with mental illness, are courageous, resilient and creative. Our participants, however, are not alone. It is very likely that we all have experienced or encountered someone experiencing the symptoms of mental illness at multiple points in our lives. Furthermore, individuals living with a serious mental illness, either diagnosed or undiagnosed, live and work in communities everywhere. These individuals are indistinguishable from others because they are thriving members of those communities.

1 in 5 people is living with a diagnosable mental illness. The language that we use matters. Using people-first language is a step that anyone can take to remove stigma from mental illness. People-first language is a way of describing a person, not their disability, and emphasizes the person over their condition. When people have the opportunity to speak mindfully about mental health and mental illness, it can bring better awareness to the topic. 

JPA: Almost all of us will have hard times in life. One way we can help destigmatize mental illness is to gather up the courage to listen when people need to talk about hard things without jumping to judgement, trying to solve someone else’s problem, or offering superficial counsel. Just be there for the other person.

Youth Crossroads: Giving people a platform to share their own experiences is extremely important.  Others can see that mental illness can affect anyone – their family, friends, neighbors.  

Onward House: Many times, the solution is not just found in medications. At times it requires consistent care. Regardless of the diagnosis, stability is important. Mental illness is different for many people, and usually you would never know someone’s dealing with it unless they felt comfortable sharing. It’s important to be kind to others, because you never know what they are dealing with in life. 

Sista Afya: To destigmatize mental illness, we can normalize that mental health conditions can happen to anyone. Having challenges with your mental health is nothing to be ashamed of and it is a shared responsibility for all of us to support one another. Once you get the appropriate support, and you are consistent with care, you will see changes that improve your quality of life. 

___________________________

Each of these organizations approaches mental health from a unique direction, but there are key commonalities when thinking about mental health.

• Many of us will deal with mental health challenges during our lifetimes, and there are a variety of resources to support us when we are in need. Mental illness is curable or containable in most cases. We are all vulnerable.

• It is important, essential, that people who are suffering know how and where to find resources.

• The more we can destigmatize mental illness, the easier it will be for people to educate themselves and find help when they need it.

At the beginning of April, Sabrina Boggs interviewed Roman Susan’s Kristin and Nathan Abhalter Smith about their situation with Loyola University and their plans for the future. For more context, you can read their public letter to Loyola and news coverage on their website. This conversation been edited for length and clarity.

What is the current situation?

Kristin: We still have a lease until September 2025. We are the only people in the building with a lease that long. The other commercial tenants have been trying to get their leases extended, but they’ve been getting vague answers. We’ve heard they want to tear the building down. 

Nathan: We have 18 months left in the space. Yes, it may go away, but in that time, we want to celebrate what it is, help our neighbors so that they don’t fall through the cracks of development, and advocate to have public-facing cultural spaces for the neighborhood instead of eliminating them. 

Kristin: There are reasons why they want to tear this building down. But they should still respect the fact that they’re displacing residents and reducing naturally occurring affordable housing. They should have some responsibility to the whole city to add apartments, not take them away. And if we’re looking at all these public improvements that are happening [around Loyola], why not consider replacing it with another project like this that’s better and functional for everybody? That’s what we want. And it doesn’t even have to be us.

Nathan: If we’re not here, we still want this area to be interesting and engaging, not walled off and institutional. We’re trying to share that with them and see what they might be interested in, or what they’re already thinking. They’re moving at an institutional, sort of glacial pace. They’re thinking about 2050. But it feels a lot different if you live here and you get notice you can’t live here in two months. There’s a pretty big disconnect there, I would say. But there’s still an opportunity for this space to continue being a vibrant space for art.

Kristin: Yeah, as long as they can look beyond the conservative structure of business economy around what it means to be successful. We’ve had a couple of exchanges with them asking about what kind of investments they’re making in arts and culture. There’s a big gap between business economics and arts and culture economics. But there’s a lot of value that people can glean from experiences of culture, and it’s a journey to help everybody respect that what we’re doing is essential.

^{Two dirt lots surrounding the building, demolished years ago by Loyola. And a flyer titled “WHEN WILL LOYOLA STOP?” taped by an unknown passerby on one of Loyola’s signs.}

In an article by the Loyola Phoenix, Michael Loftsgaarden said this building is “probably not contributing to the university’s anchor mission.” Do you have any ideas about why that is or if it’s something that can change? 

Nathan: It seems like they’re pretty set on tearing this building down. But do they displace everything that’s here, or do they make plans in their development to replace and improve it with more assets? No one can hold them to that, they would just have to decide to do it. There’s no pressure besides their own words.

Kristin: I’m pretty surprised at how callous they sounded and how easily they were willing to say, “We’ve got our own plans, leave us alone.” They seem to tout their mission and their community involvement, and that’s why we want to say, here we are, we’re the community. Let’s have conversations, because we don’t feel like we’re being seen or heard or acknowledged in any of this. And if you are saying that this is your mission, then we’d like to hold you to that.

Nathan: It’s tricky because there’s such a disconnect between intention and the functionality of business. This is a small enough situation where you could approach people individually and be humane before sending non-renewal form letters and stressing people out about their basic needs, but that’s not the business playbook. They’re just doing what you do if you’re trying to clear a building. And that just doesn’t seem in line with their values. 

It did seem like some of the pushback was working, because the university later said they would be reaching out to tenants to help with the transition. Did that happen? 

Nathan: We did reach out to [Loyola] proactively about it, and they said they would take it under advisement. We have talked to some of the people in the building, and we learned that Loyola is approaching people individually, which equates to them treating people differently. 

Kristin: Yeah, it mostly depended on whether or not those people advocated for themselves.

Nathan: One of the things we asked Loyola to consider was offering affordable housing in the apartments they own. They set the rates, so they could definitely do that if they wanted to. Or, allow people to go month to month after their lease is up, as long as we’re here and the building exists. They’re not going to re-rent the apartment so why push people out? […] It puts all these people in a really vulnerable position. They’ve lived here for 10, 15, 20 years. The rent was cheap then and it’s still cheap. It isn’t cheap or even affordable for them anywhere else around here. It really is precarious. And in most situations, the business world just flattens these people. But this is a unique situation in which it’s an institution with a social justice mission. It’s not a huge pool of people, they certainly could accommodate them…

Sabrina: But do they care enough to do that?

Nathan: Yeah, exactly.

Can you elaborate on how the architecture of the space is unique and contributes to the uniqueness of your programming? 

Kristin: Because this building is wedge shaped, it’s on a sleepy street, and it doesn’t have large buildings blocking its sunlight, it’s able to be a beacon for the neighborhood. We keep our lights on at night whenever there’s an exhibit so people can see what’s inside, and we’ve heard feedback that people feel safe when they walk by here. This is mostly a pedestrian thoroughfare, so we might never meet many of the people who have an experience with this space. Or they might come in and say, “I’ve been walking by for 5 years. This is great, thank you for doing it.” A lot of our connections to the space have to do with how people move in the world. Because the neighborhood connects to the transit and the lake, and the people who live around the campus aren’t just students, and the students who do live around here share community at Archie’s Cafe… This area is representative of everybody who lives in Rogers Park. 

Nathan: I think it’s interesting how the streetscaping and public space interact here. It’s a really small space so it’s manageable for individual artists to completely take it over. It’s also very irregular, so it’s a challenge and opportunity for people to do things they wouldn’t do in an exhibition space. Because it’s always visible from the street, people outside of art circles interact with it, which is definitely my favorite part. It’s great when people travel across the city to go see something, and the Red Line being here facilitates that very well. But it’s really joyful when you’re out in the world and discover art in a public space. Artists respond to the opportunity all of that represents. It lets some people do things they wouldn’t do otherwise, and be less precious about things. It’s really wonderful once you get into the mindset of being responsive to where you are. 

This is a unique situation, which is what we’re trying to communicate to Loyola.  Respond to it, don’t just go by the book, because you could do better by using what’s already there. 

How has this shaped the way you’re thinking about scheduling programming this year and beyond?  

Kristin: We want to celebrate our time here and bring through as many artists as possible to help us do that. There’s a project coming up by Madeleine Aguilar that involves building structures and seating, both inside and outside the space. People will be able to activate them with performances and event-based programming. And we have a few exhibits that we’ve been planning for over a year now: sculpture and installation work involving family, grief, and architecture. We’re also trying to engage the community more, as well as tenants in the building. We’ve offered some artist stipends to people because we knew they would be moving out. We’re trying to figure out how to provide the best we can as neighbors.

Nathan:  We’re going to have at least one more round of proposals for the final year to see what people want to see. And since we have felt the precarity of this situation for quite a while, we do have four other programs that are not here. People definitely know us most for this space because it’s physically always here, but we’re setting up parallel tracks and doing things elsewhere too.

Kristin: That’s our growth model: instead of trying to find another space, or be bigger, we want to activate public space that already exists. Through the Chicago Park District, we have programming at Berger Park at least once a month. We also have a project called Navigations that’s in and about public space. It’s a commission-based project about storytelling through place. 

Nathan:  A lot of people naturally have been asking us if we’re going to get another storefront or gallery space. But what we’ve learned is how important and valuable it is to respond to the site you’re in. This program is this room. There’s no bridging it to another space. If we got another space, we would treat it similarly. It would be its own unique thing and it would develop through the ideas of people that come in the door.

Kristin: Right now, we’re trying to drive home the values of this space and we’re not willing to let it go quite yet, or to name what the next thing is. We have all these projects that build off this space, and remind people that their own agency in a space can be activated and celebrated artistically. The idea that this is an anomaly space can be applied to a lot of different ways of thinking about art and public life, and how we move through the world and express ourselves. 

We want to be here as long as we possibly can. We’ve always expected that something like this would happen, so when they were trying to get us to leave earlier and buy us out of our lease, we said no. When institutions try to move forward despite what the public wants, we’ll be the unreasonable ones who are like, “Nope. Leave us alone.” As artists with a voice, we can remind people to question what they’re being told. 

What can people do to continue supporting you?

Nathan: In this individual circumstance, a lot of the dialogue so far has happened in media, and that seems to be what the institution is responding to. When we first made the letter public, many people who live in the community and have some relationship with Loyola interacted with us and said, “This is not what anyone wants.” There are many times when a larger organization doesn’t represent the values of all the people below it. Just keep having the conversation, and advocate for the values that overlap in the community. Continue to provide opportunities for things to bubble up. 

Kristin: Don’t let the story fall away. Keep the attention on the goal, which is to continue to support art, artists, and the people who live in your community. And look out for one another. 

On February 29th, over 40 nonprofit leaders of color convened at Chicago Art Department in Pilsen for a kick-off celebration to share space, build community, and discuss what the future of the nonprofit world could look like. The Leaders of Color Collective is an initiative to provide executives and senior staff of color with a community, support, and access to resources in order to maximize personal potential and actualize their organizations’ missions.

This undertaking began after a series of RDLF grant assessment interviews with people of color that had recently been “promoted” to lead their organizations. What seemed clear was that although the individuals were talented and rightful holders of their new positions, their own boards, and in some cases retiring founders, were limiting their powers and exhibiting a less than welcoming and supportive backdrop to their new jobs. These new leaders of color were also regularly being met with distrust or unreasonable expectations by philanthropic organizations. 

Unfortunately, while these leaders were experiencing similar things, they didn’t have the opportunity to come together and speak about these issues as a group. This is when the RDLF Board and Staff decided they should step in as resource partner to assist in community building and advocacy.

Jamyle Cannon, RDLF board member and Executive Director of The Bloc, joined the initiative and was a great asset in evolving the mission and bringing folks together by leveraging his unique position in the nonprofit community. Jamyle’s network and connections helped to bring in a diverse group of leaders to this well-attended inaugural gathering.

At the event, Jamyle talked about how nonprofit leaders of color often feel like they’re pitted against each other as competitors, rather than celebrated as leaders of their communities. A group discussion highlighted how it felt to be in a room full of other leaders of color, what the participants wanted funders to know, and what they wanted other nonprofits to know.

There was a lot of passion and energy in the room from both young and seasoned leaders. Across the wide variety of different organizations, identities, and experiences, everyone agreed that the simple act of convening felt supportive and beneficial. “Pride”, “gratitude”, “comfort”, “worthiness”, and “curiosity” were words used to describe being in community with their peers.  

Leaders spoke about how philanthropic funding practices take away from the actual work, and how organizations are often forced to act with a “scarcity mindset”. They agreed that they don’t want to maintain the status quo, and that perhaps change could be possible when organizations act together. What it would mean to act together, and with what goals, is something that they hope to explore in future events.

Attendees have also shared that they don’t want this to be the only event. There were ideas circulating about meeting quarterly, doing round table and panel discussions, and creating shared resources. There have been enough convenings that felt like empty talk—the hope is that this initiative can bring a shared and continuing vision to fruition. 

While supported by the RDLF*, the Leaders of Color Collective is not restricted to current grantees and partners. It is open to all nonprofit leaders of color in the Chicago area. If you’re interested in learning more or participating in future events, please reach out to jessica(at)logafdn(dot)org.

*The whole Team at the RDLF made contributions to the success of this convening, but we make special mention of Jessica Jones-Lewis, Preeti Veerlapati, Sabrina Boggs and Mustafa Abdul Maboud.

In February, The Reva and David Logan Foundation (RDLF) team volunteered at the Cradles to Crayons (C2C) warehouse, otherwise known as The Giving Factory, to pack donated clothes for infants and children.

At the start of our shift, C2C volunteer leaders emphasized that Quality = Dignity, and instructed us on what that means when packing clothes. Every volunteer performs quality checks on donated clothing – if they wouldn’t gift it to their niece or nephew, then it gets set aside for textile recycling. No donation goes to waste. C2C is also conscientious about the content on clothing – any words or phrases about a family member are omitted from the packing pile, because it would be careless to assume a child’s family dynamics.

Members of our team split up into different stations with bins of shirts, pants, sweaters, and dresses. We curated and packed outfit combinations according to C2C’s instructions, with each set containing enough clothes for one week. Some team members took the style and aesthetic of each set very seriously, while others focused on efficiency – but everyone clearly enjoyed contributing to C2C’s mission. At the end of our two-hour shift, C2C reported that we, along with another set of volunteers, had packed enough clothing sets for 140 children.

The clothes packed by volunteers are distributed to children throughout the community through C2C’s network of service partners, which includes over 60 nonprofit organizations and churches in Chicago. In 2022, they reached 219,000 children.

Outside of volunteering, the RDLF has supported C2C since 2019 through general operating grants. We also provided emergency funding during the pandemic, when the needs of those they serve skyrocketed. In just the few years that we’ve partnered with them, they’ve set ambitious goals and doubled the amount of children they serve. This year, we will also partner with C2C for part of our Winter Wear Program in order to increase our impact on children in elementary schools.

Read more about volunteer shifts and sign up with C2C here.

On February 1st, our partner Dion’s Chicago Dream celebrated their one-millionth pound of delivered fresh produce with a surprise visit to one of their first participants.

Monica Thompson is a mom, accountant, Englewood resident, and one of the first neighbors who signed up for free fresh produce when Dion’s Chicago Dream began in 2020. When she came downstairs that morning, she thought she would just be receiving another delivery.

But in addition to the one-millionth pound of fresh produce, Thompson received a $10,000 check sponsored by Amazon, $1,000 for groceries at Save-A-Lot, a personalized Chicago Bulls jersey with a VIP ticket package, and swag bags from supporters of Dion’s Chicago Dream. 

Dion Dawson, Chief Dreamer, was joined by Mayor Johnson, Alderwoman Stephanie Coleman (16th), State Representative Sonya Harper (D-Chicago) and dozens of neighbors to present the awards. When Thompson heard what she would be receiving, she erupted in a cheer and happy tears. “I thank God for Dion’s Dream,” Thompson said.

She plans to use the $10,000 toward a down payment on a property so that she can rent to other neighbors in need.

Program Officer Lyle Allen and Administrator Paulina Plewa from the Foundation were present to cheer on this massive achievement. They were uplifted by the lively atmosphere of people chatting, re-connecting or meeting anew, and brainstorming new partnerships. It was “inspiring to experience and share this moment with friends and colleagues in solidarity,” Lyle wrote.

The Reva and David Logan Foundation has supported Dion’s Chicago Dream since 2021. Most recently, we invested in a 20,000 square-foot property in Englewood for the organization, which they are converting into a distribution center and community space. We are excited to continue supporting them as they fight food insecurity with their unique approach to community outreach.

Read Dion’s reflection on this recent milestone in his op-ed for Common Dreams: “How to Solve Food Insecurity? Treat Healthy Food as a Human Right.”

2023 was a fruitful year for The Reva and David Logan Foundation (RDLF). Our small and mighty team awarded over $9 million in grants to 83 organizations; donated almost $2 million in in-kind goods to 70 nonprofit partners; rescued almost 127,000 pounds of food from corporate partners and redistributed it all to those in need; and invested in two more properties to provide organizations with physical space, which was critical for their missions. (Read the complete details here.)

But it’s not all about us. Our grantees and partners are excelling at creating lasting change, and we are constantly inspired by the work they do. While we’d love to list every accomplishment and memorable moment, the following is a brief recap of the team’s highlights for 2023.

Arts

Our arts grantees are challenging prevalent norms throughout the nonprofit sector by prioritizing equitable wages and expanding access to the arts. South Chicago Dance Theater began providing health insurance for their dancers—something we hope becomes less rare for performing artists across the industry. Roman Susan Art Foundation and Red Line Service joined our grantee 3Arts in becoming W.A.G.E. certified. Chicago Dancemakers Forum piloted their DanceChance program, which provides the lowest barrier to entry for independent dancers to be paid for their creative process. And for the first time in their five-year history, OTV expanded their fellowship internationally in their mission to prioritize intersectional writers, directors, and producers from marginalized communities. 

In addition, we were pleased to see Deeply Rooted Dance Theater get their well-deserved flowers. When we met with their leadership in the spring of 2023, we knew that they deserved much more recognition than they had been getting in the years before. We invited them to apply for a five-year grant because we wanted to tangibly demonstrate our trust in them. By the end of 2023, they began providing health insurance and retirement plans to their employees, raised over $14 million toward their capital campaign, and received overwhelmingly positive recognition in the news (see Crain’s Chicago Business, Chicago Tribune, Chicago Reader for just a few examples). Their productions match up to their stellar leadership. Program Officer Jessica Jones-Lewis went to see their November performance and was deeply moved by the skill, expression, and storytelling of their pieces.

Social Justice

Within our social justice portfolio are a wide array of organizations providing direct service in areas such as housing, education, food security, community health, and more. When we meet with many of these grantees, their clients are often eager to give testimonies about how their lives have been changed for the better. In 2023, we saw our grantees’ impact reach even farther. Sista Afya was able to build administrative capacity with RDLF funding, which allowed them to provide mental health services to more women than ever before. Youth Crossroads was able to support an additional community counselor, allowing them to serve students outside of schools and their families. RDLF’s thought partnership played an important role for Global Garden Refugee Training Farm (GGRTF)–when Founder Linda Seyler retired, Program Officer Lyle Allen began weekly check-ins with new Executive Director Haley LeRand to provide guidance with her transition and GGRTF’s future.

We have also been excited about our organizing grantees, who have been working on the ground toward systemic change. Illinois Prison Project (IPP) launched The Hope Project, which in its first year has already resulted in the release of five clients. IPP also introduced a felony-murder reform bill in the Illinois House of Representatives. Kenwood Oakland Community Organization worked with seniors to establish a Bill of Rights surrounding decent living conditions and equitable treatment. Healing to Action hosted over 500 conversations with community members that raised awareness about gender-based violence, and engaged 120 people in pushing the school district to implement a sex-ed curriculum. We saw a few leaders recognized for this work and appointed to City task force and committee positions, including Karla Altmayer from Healing to Action and Jianan Shi from Raise Your Hand IL. 

Journalism

We were pleased to see many of our journalism grantees at the Investigative Reporting Program’s 2023 Logan Symposium. The panels stood out not only for highlighting outstanding work in investigative journalism, but also for urging those in attendance to do better when it comes to the treatment of sources and whistleblowers, and scrutinizing information that is provided by law enforcement. Our grantees participated on panels and networked outside of events, and some of those meetings led to deeper connections and shared projects. Rahsaan Thomas from Empowerment Avenue and Jesse Vasquez from Pollen Initiative, both formerly incarcerated individuals, shared a panel and tackled issues journalists face when covering prisons. Trevor Timm from Freedom of the Press Foundation spoke with Daniel Ellsberg and Reality Winner about challenges whistleblowers face in the United States. Post the symposium, several of our grantees are holding regular monthly meetings to share ideas and support.

Richard and Crystal Logan were also able to attend the 2023 Global Investigative Journalism Conference in Gothenburg, Sweden. They saw over 2000 journalists, and met with funders and interested parties to talk about achievements, challenges and plans for the future. Many of our worldwide grantees were present.

Program Officer Germán Castañeda attended the Double Exposure Film Festival and Symposium, where attendees gained insight into the often years-long process to make these films, about the dangers faced by some of the creators, and of the myriad of choices made that are often not considered by viewers.

Outside of symposiums, our grantees have been making waves in the world of investigative journalism this year. Organizations that we funded when they could still be considered “start-ups,” like El Tímpano and New York Focus, amassed huge success and connections with big funders. Several of our grantees won award after award for their critical reporting–for example, Reveal took home 3 National Edward R. Murrow Awards, which is a significant number compared to the organization’s size. Many of our grantees found innovative ways to reach a multi-media audience, such as how Investigate Midwest created a WhatsApp community for their audience of immigrants and farmworkers. And we saw direct impact from our grantees’ efforts, whether it was retaliation from the government (see: “Disclose journalist taken into custody“), or hundreds of community members coming together to support a cause (see: “Bristol raises £10k for Barton House residents in 48hrs“).

Physical Space

In 2023, we celebrated our grantees who opened or broke ground on new spaces. Impact Behavioral Health Partners’ Lanam Rapp building offers 16 individual units for people living with serious mental illness; The Boulevard’s rebuilt east wing restores capacity for their innovative health programming; and Sarah’s Circle soon-to-be third building will provide 28 apartments for women experiencing homelessness.

But for some organizations, the cost of renting or buying a physical space can strain budgets and stunt growth. The RDLF has purchased properties across the city as a direct and tangible investment into these organizations. In 2023, we saw several of our partners make great strides in enriching communities with the infrastructure we provided.

One unforgettable success: Port of Entry opened its doors in the summer to a raving audience. The RDLF purchased the building for Albany Park Theater Project’s production and toured the space while it was still under construction in May. The amount of creativity poured into each and every room was breathtaking, and the show itself was both heart-wrenching and inspiring. But what makes this investment even more meaningful is how it centers Albany Park. The production employed Albany Park youth and community members throughout the entirety of the production, and many of the since-graduated high school seniors are continuing to support Port of Entry as interns, staff, and performers. 

When we provided Onward Neighborhood House their second location in Belmont Cragin, a 30,000 square foot warehouse, it was because we saw them bursting at the seams trying to meet the needs of their neighborhood. While the building is not yet fully operational, they have wasted no time utilizing the space. In August they held the largest event in their 129-year history in the warehouse parking lot, providing fresh produce, clothes, health screenings, and much more. 

Meanwhile, Taskforce Prevention & Community Services is settling in to the new home we secured in Austin. We are excited to see them expand their medical and wellness services; a food program; and in particular The Vogue School, where LGBTQ youth can express themselves through dance while being engaged in affirming healthcare. It’s still a work in progress, but when the RDLF team visited them during a winter wear distribution, they were met with a whirlwind of evening activities and a trusting, loving community. 

In-Kind

2023 was a big year for our in-kind programs. Our Fresh Produce Program embraced 50+ regional farmers, sourcing 400,000+ pounds of produce that reached tens of thousands of individuals. Our Winter Wear Program provided $1.5 million worth of coats, boots, and other winter essentials to 47 different neighborhoods and thousands of individuals in need, including many new arrivals who have never seen a Chicago winter. And our Rescue & Redistribution Program blossomed into a full-fledged operation, allowing us to provide tons of food that would have otherwise gone to waste to nonprofit organizations and their communities. 

None of this would be possible, however, without our partners and volunteers. Whether it’s by connecting us with new organizations, holding distribution events, unloading donations, or making use of even the oddest goods we’ve received, our partners and volunteers are a huge component of our in-kind operations. No matter the weather or the task, they’ve demonstrated an immense dedication to supporting those in need. 

One notable superstar is community activist, René White. Working with René across all three of our in-kind programs has been an honor for the whole team. Her unwavering dedication, creative approaches, positivity, and generosity of spirit are an inspiration to everyone she meets. For decades she has been running pop-up distributions across the south side to provide fresh produce, clothes, and other necessities. In 2023 alone, the pop-ups René ran in partnership with the RDLF provided at least $200,000 worth in goods to the south side community.

Working with our partners and volunteers has been an inspiring experience for our staff. We gain new perspectives from all those working on the ground and we learn from each other the best ways to deliver the mission. This process has influenced not only our in-kind work but our grantmaking as well, as we think about our role in assisting our grantees to reach their fullest potential. 

We plan to do even better in 2024. We hope all our readers have a great year!

Each year, The Reva and David Logan Foundation aims to help our elders, families, neighbors facing unstable housing, students in temporary living situations, refugees, and other vulnerable folks to survive the cold of the Chicago winter with dignity with our Winter Wear program. Through the program, we provide nonprofit organizations throughout Chicagoland with winter gear to distribute to their communities. This year, the total request from partnering organizations was double our allotted budget, demonstrating an overwhelming need for this program.

Spearheaded by Senior Program Officer Jessie Mott, the RDLF staff remains passionately committed to this program each year, devoting significant time to organizing orders and shipments with our wholesale vendor partner Dollar Days as well as volunteering at distribution events. The true stars of the show are our many partners, who cumulatively reach thousands of people in need in the Chicagoland area through their distributions. 

From the events that our staff were able to attend this year, it was clear that our partners deeply love and respect the communities they serve. Events were full of warmth and excitement, and several distributions were paired with free meals and fresh food to share together. Those at the distributions got to take their time perusing all of the winter gear (coats, boots, thermals, gloves, hats, scarves and more), making sure they had the right fit for what is sure to be another bone-chilling winter season.

Quick Facts:

• Budget of $1.48 million

• 59 unique organizations

• 70 distribution locations

• 47 communities reached in the North, West, Central, and South sides of Chicago, as well as surrounding suburbs

Background

In the winter of 2017, RDLF provided funding for all 72 residents of North Side Housing and Supportive Services’ (NSHSS) emergency Uptown shelter, a grantee partner, to go shopping at a local store to try on and select their own pair of winter boots. 

In 2018, once Senior Program Officer Jessie Mott came on board, the RDLF began to devise a plan to scale up the winter weather offerings to include other grantee partners and products such as coats, hats, gloves, etc. Another partner of ours, Cradles to Crayons Chicago, introduced us to the wholesale vendors that provided their winter products. We researched them and sampled their warmest coats. 

We ultimately selected DollarDays as our vendor partner and have continued to work with them each year.

Since 2019, the RDLF has been designing and distributing survey “wish lists” to a growing list of partners that include current grantees, mutual aid groups, CPS schools, food pantries, and churches. 

With our growing team, the process has become more collaborative and refined. We are currently revising the survey to capture more of the information needed on the front end to allow for seamless accounting post-distribution. 

What was the catalyst for starting this program?

Jessie: It should go without saying that here we believe everyone deserves the right to be protected from the cold, have access to healthy food, and a safe place to live. While RDLF’s strategic grantmaking has its eye on systems change, we cannot ignore that thousands of our very own neighbors are unhoused, hungry, and struggling to stay warm during these brutal Chicago winters. The program began with a single grantee that operated a men’s shelter in Uptown, and now we have extended the program to the majority of our partners who work with unhoused children and adults as well as various other groups.

How has the need for this program evolved over the years?

Jessie: The need continues to grow exponentially. Of the 70,000 (conservatively speaking) unhoused people in Chicago coupled with the influx of recent migrants, we realize there is no way for us to solve the issue alone. We can, however, do our part by connecting with our trusted partners and their networks to reach some of the city’s most vulnerable people and provide them with brand new, attractive, warm clothing that don’t look like donations.

What are your goals for next year’s program?

Jessie: We hope to find other funders who can collaborate with us in the future, primarily through financial contribution, to expand the program. We have done extensive research and know how to reach some of the hardest to reach. With additional support, we can leverage our networks to provide warm clothing to thousands more. 

How can other people help?

Jessie: We’d love to talk to other foundation or corporations who’d like to learn more about our work and get involved. For instance, there could be opportunities to “sponsor” some of our winter program partners to ensure that their wish lists are fulfilled. We do our best to fulfill each order in its entirety, but unsurprisingly, the budget is exceeded very quickly.

From our Winter Wear 2023 partners: