"We don’t want luxury apartments," Shelton says. The only other time Shelton has been back to the factory since 2004 was a couple of years ago to advocate for affordable housing in the development. Today, with its original brickwork, soaring ceilings, stunning sunlight, and East River views it's not surprising that the site will soon be a 35-story residential and commercial “megaproject” in the now very desirable Williamsburg neighborhood. Of ongoing labor conflict with Domino Sugar Corporation that resulted in the longest strike in the history of New York City. Of friendships made with the diverse group of Polish, Italian, Caribbean immigrants and other African Americans who also worked at the refinery. Of a hazardous but well-paid union job that enabled Shelton to stop working three jobs, buy his first car, and move his family out of the Roosevelt Housing Projects and into a Bedford-Stuyvesant brownstone. Memories of working the dangerous kiln on a shop floor that regularly reached 140 degrees. And when he returned to the refinery in Williamsburg, Brooklyn, for only the second time since the factory closed in 2004, this time as a volunteer for Creative Time’s installation of Kara Walker’s “A Subtlety, Or the Marvelous Sugar Baby,” “I had tears in my eyes because it brings back the memories.” That was the number Robert Shelton punched into a clock at the Domino Sugar factory for 20 years. The authors with Robert Shelton at the exhibitĢ737-42.
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