Pax,

We are experienced artists, but have also at some stage in our life been inexperienced artists. So from both points of view I think this is a restrictive idea because each project is totally different in terms of expenses, process, labor vs. materials, etc.  The more administrators try to make the artistic process formulaic, the more we as artists we find it restrictive.  

There is a learning process that needs to happen and actually never stops happening, even when one is an "experienced" artist.  (It is a culling process as well as to whether one is well-suited to this work) It is also part of the fun of being an artist.  Each project is new, has a new site, a new audience, a new set of parameters to think about, results in a new idea, a new process, a new final product.  This is the excitement of creativity.  

Also, the process that you outline is what all artists already do, except they don't have the budget already allocated to fabricator/artist prior to conceptualization.  The artist can do this work themselves by conceptualizing an idea and getting a fabricator's cost estimate.  If it's too high, then work with the fabricator to bring it in budget or back to the drawing table. 

It makes sense for an administrator to have a few names that they can provide if an artist needs a fabricator, structural engineer, installer, etc.  Many projects are much more complicated that just requiring a fabricator.  How could one possibly have a fixed budget allocation allow for all possibilities.  We have met with new local artists before and provided some practical mentoring, but they did all the legwork.

Diana

On Thu, Oct 24, 2019 at 4:08 PM Bloom, Roberta <rbloom@auroragov.org> wrote:

Pax,

 

I am intrigued by this idea, and we have also been exploring ways to maybe connect individual artists with fabricators for specific projects.

 

I do agree with Charles, that connecting an emerging artist, or artist new to the field with a fabricator, can be an important step, but it is not necessarily going to result in a successful project.  There are many other factors involved with successful project management and completion, and it is going to require oversite by the project manager.

 

As far as the Portlandia/Raymond Kaskey piece, that is a very complex story.  A great deal of work by many people went into creating a success story.  I lived in Portland at the time as a young artist and was part of that amazing experience when Portlandia finally arrived by barge after assembly in the shipyard, was transferred to a flatbed, transported up the street to her destination at the Portland Building, with crowds assembled to welcome her.  A very powerful and moving experience.

 

Roberta Bloom

 

Roberta Bloom, Public Art Coordinator

Department of Library and Cultural Services | City of Aurora

14949 E. Alameda Pkwy., Aurora, CO 80012

office 303.739.6747
City SealCore 4 cid:image002.jpg@01D3969F.FBA7A1F0
Facebook | Twitter | Instagram | Nextdoor | AuroraTV.org     

 

 

From: public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On Behalf Of Charles Bergen
Sent: Thursday, October 24, 2019 2:44 PM
To: public_art_network@americansforthearts.simplelists.com
Subject: Re: pre-qualified fabricators?

 

Pax,

 

I think this could be a great concept. 

 

It keeps your big projects for local artists

It means the inexperienced artist probably won’t loose money on a big project 

It means you have looked at the fabricator options before hand. 

 

The big question I have is will an artist who has never worked at such a large scale be successful in doing so?

 

When Ray Kaskey created Portlandia it was a huge success. This was his first sculpture at this scale. 

 

 

How do you ensure that your small artists are equally as successful?

 

Thanks 

 

 

Charles Bergen

202 546 2339

 


On Oct 24, 2019, at 3:19 PM, Pax <Pax@augustaarts.com> wrote:

Hello public art wizards,

 

For a relatively large, outdoor, gateway to the city, sculpture call (say 30’ in a given direction), we are contemplating the feasibility of having a pool of RFQ-vetted fabricators of various mediums expertise. 

80% of the budget would be for the fabrication, installation, insurance, permits, etc., and would be handled by the fabricator who is chosen for the project.  20% of the budget would be for an artist to submit an idea and work with the fabricator to turn into reality.  

In my mind, this allows our local artists with less experience doing big budget public art projects to get into the business, and learn the process, gain confidence for more big projects down the line.  It also would allow the artist ideas to be presented to the public for input, without the burden of having to rule out artists who are less experienced.

 

Has anyone followed this process or something similar?

 

What I’m dreaming up would follow this flow:

  • RFQ for fabricators to be pre-qualified by our City’s Procurement Department (this is a tax-funded project, so it is pretty much run by Procurement).
  • Publish list of pre-approved fabricators.
  • Call for artist ideas for sculptures, would include contact info for pre-approved fabricators who the artists could contact and confer with to see if their ideas are feasible.
  • Vetting of feasibility of artist submitted ideas by the fabricators.  (If fabricators say, “that cannot be done within the budget and would be hard to adjust it to fit into the budget” then we reject.)
  • Put all the feasible artist sketches up for public review, feedback.
  • Selection panel uses public input to select winning proposal.

 

Does this sound crazy, or maybe the start of a good idea, or maybe been done and perfected already elsewhere you idiot and this is the right way to do it…?

 

As always, I deeply appreciate the collective wisdom of the wizards!

 

Best,

Pax

 

<image003.png>

Pax Bobrow

Greater Augusta Arts Council

Project Manager

706.826.4702

www.augustaarts.com

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