Stacey Williams-Ng: Finding Opportunities for Local Artists

Stacey Williams-Ng is a mural artist who has found her calling as an organizer. When asked why she is inspired to bring street art to the buildings of Milwaukee, her response was simply, “the empty walls.” Originally from Memphis, Williams-Ng moved to Milwaukee and saw a blank canvas waiting to be filled with color. Her background in illustration and chalk art led her to painting murals, but her life changed when Tim Decker, an animation lecturer at the UW-Milwaukee Peck School of the Arts suggested they convert a dirty alley into an art festival. That alley is now Black Cat Alley.

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The transformation of Black Cat Alley was an important change in Williams-Ng’s life because it allowed her to do more than create art; she was able to provide opportunities for other artists. In the two years it took to bring Black Cat Alley to life, she learned the intricacies of fundraising, legal paperwork, marketing and everything in between. “The biggest thing I’ve learned is that I like helping other artists better than I like painting the murals myself,” she says. “I feel like if I stop and paint one wall, it’s a waste of my time. I could do so much more work to help the other artists.” The hype that followed Black Cat Alley opened doors for her to develop more street art throughout the city.

Williams-Ng’s next venture came in 2017 when she was approached by the Kinnickinnic Avenue BID to decorate Kinnickinnic Avenue with five murals. Painted by female artists from Bay View, the murals start at Café Lulu and go as far south as Sprocket Café. With this project, Williams-Ng founded her company, Wallpapered City, and her new career was officially born as an organizer for street art.

Since the Bay View mural project, Williams-Ng and her new company have only gained momentum and they have big plans for the future.  She is currently working with the Wauwatosa neighborhood to adorn the walls of North Avenue. Her goal is to connect the city with murals along North Avenue from Wauwatosa to Black Cat Alley on the East Side by 2021. “Public art, and murals in particular, bring communities together and create conversations,” explains Williams-Ng. She envisions completing this project neighborhood by neighborhood, allowing each one to tell their unique story and history through art. Eventually, those stories will build a bridge across Milwaukee, helping Milwaukeeans discover their affinity.

One thing Williams-Ng stresses is that street art does so much more than beautify a wall, “it gets people talking.” In the case of Black Cat Alley, it reinvigorated the area, brought in new business and became a destination for portraits. “I want to help elevate the discussion and help people realize that what [mural artists] are doing is going to have a much greater impact.” Street art represents culture, it opens conversation and it brings life to a colorless space.

Learn more at wallpapered.city

Portia Cobb, Mentoring the Next Generation of Storytellers

Portia Cobb has always seen the world as a series of stories, and through art she has made a point to tell the stories of the people in her community.

Raised in California, Cobb started her professional career in radio, where she learned the art of storytelling using music and audio. Eventually, she transitioned into video when she started thinking about attending graduate school. Driven to talk about the struggles of homelessness and what it meant to be black, Cobb would continue to use video as her chosen medium to talk about experiences close to her.

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While pursuing the theme of the African diaspora in her work, she flew to Burkina Faso in West Africa to attend a prominent film festival focusing on the topic. It was on that trip in 1991 where she met a UW-Milwaukee professor, who recruited her to teach at the college and lead UWM’s Community Media Project (CMP). Cobb never expected to be a teacher, nor did she expect to live in Milwaukee, but all of the unexpected happened in 1992. She found herself in a new city helping young people tell their stories with a video camera.

The CMP was started in 1985 as UWM’s effort to provide artistic programming to underserved groups around the city. “The CMP existed as a way to empower—to tell the stories of those we weren’t seeing,” explains Cobb. She would partner with community organizations such as the Boys and Girls Club and the Midtown Neighborhood Association to find participants in the program. In addition to learning the mechanics of a camera, the students would have the opportunity to meet prominent video artists brought in from around the country.

Cobb would constantly be changing her programming to fit the needs of the students. After first getting to know the students, Cobb often realized they were already activists with goals for changing the narrative. She simply gave them the tools they needed to amplify their voices. “They already had stories. All we did was bring the equipment,” she says.

The CMP still exists today, but it doesn’t have the funding and influence it once did. In its prime in the late 1990s, Cobb would bridge the gap between Milwaukee’s Central City and the East Side by bringing students to the college or by going into their neighborhoods. Now, however, the CMP functions as a mentoring program for anyone that reaches out.

The CMP created ripple effects throughout the Milwaukee community, being one of the first programs to regularly show films by artists of color. They would focus on themes about the black community and the African diaspora. Cobb sees the program’s influence in organizations like Black Lens, an organization that has been bringing films by African American artists to the Milwaukee Film Festival. Directing the CMP since living in Milwaukee has allowed Cobb to view the city through the lens of the people she’s worked with. As Cobb reminisced about these experiences, she flashed a broad smile and reflected on how much her students have inspired her.

Learn more at uwm.edu/arts/film/documentary-media