The BeltLine Project, Atlanta

Utilizing art as a driving force to develop pedestrian routes connecting inner- city neighborhoods while creating outdoor spaces for the arts

• Railroads in American cities often established very definite boundaries where social interaction was regulated by class, race, and commerce.

• A common saying; “From the wrong side of the tracks.”

• The BeltLine is a re-working of the railroad right of ways that defined Atlanta. Atlanta was a town purposely established in the early 1800’s at the crossing of several railroads being established to link cities in the south with the rest of the country.

• The BeltLine Project endeavors to reverse the original effect of the rail lines linking communities together with an encompassing network of parks containing connected walk / bike paths, entertainment “stages” and art venues for experimental as well as traditional works. The emphasis is on experimental, open access, and ethnic inclusiveness.

• The idea is that every year there is an open call for temporal works proposals. Artists are selected by a board of peers,established art professionals and community representatives. Funding is then provided to support these works.

• There is also a program to purchase and install more permeate works. These are funded through both public and private resources.

• The tradition of “common land” is addressed by inviting all community groups to take part in both developing and utilizing the BeltLine lands.

• The BeltLine actually penetrates the new divisional barrier if our freeway and Interstate system which was imposed over Atlanta in the 60’s and 70’s.

The Rail Road System in Atlanta

EARLY Railroad plan in Atlanta

Establishing neighborhood

boundaries based on social status and race

• The Belt Line Today

• Incorporating unused rail line properties

Abandoned Land / Graffiti Intervention• With the shrinking of commerce and travel by

rail being repaved by private cars and commercial trucking, many of the rail corridors through the city became abandoned in the 60’s.

• Though perceived to be abandoned, this extensive network of linear tracks of land had gradually become populated by the ever growing population of homeless people. A parallel society developed, mostly out of sight.

• Notice of “something going on” in that area became evident as large graffiti projects emerged, visible from the freeways and the rapid transit system that overlooked and crossed these lands. Though not nearly as visible, other “gorilla” artists began to use the sites for experimental projects.

• At its onset, the BeltLine recognized the proliferation of graffiti in Atlanta and immediately made efforts to include these underground artists in its first projects. The idea being that the most talented graffiti artist’s work is usually respected and “taggers” tend to leave their work alone. There has been some success with this approach and other art works have been generally respected. Gang tagging has been rigorously removed and perpetrators arrested while simutaniously showcasing major “graffiti” works.

Social Agenda

• Inclusiveness: The BeltLine has actively encouraged every ethnic, cultural, social, and educational group to participate. This is consistent with the idea that the BeltLine is a “connector.”

• Integration of experimental work in visual art, music, and dance.

• Focused on young and emerging artists while open to more established artist who wish to experiment in “out of gallery” opportunities.

• “Stealth” galleries: The BeltLine is creating certain areas where regular activities take place. Communities have began to expect work in their space and have taken a proprietary interest in requesting new work and protecting and maintaining existing work.

The Beltline Bridge

Georgia State UniversityDepartment of Three Dimensional StudiesGraduate Seminar Project

Mike Wsol Instructor / Group Leader

Woven Crape Myrtle

Crossover Movement Art

CYCLES, 2010David Landis

Stainless steel, 21'x 13'x 6'Located in Rose Circle park on the Atlanta Beltline. Commissioned by Trees Atlanta through a Blank Foundation Grant, and given to the City of Atlanta, GA (Beltline).

The sculpture is composed of swirling abstracted ginkgo leaves. The work references and connects the historic trees of the neighborhood with the community.

As it happened in most major cities, urban redevelopment (urban removal) by real estate developers followed colonization by artists looking for cheap studio/ residential space.

When the idea of redeveloping the rail corridors was put forth to the city, the city government saw this as more than a potential of raising the tax base and removing ”unsightly pourer neighborhoods,” but as an opportunity to address many social issues through the development of art and recreation with art as the flag bearer.