Sarah, here are a few very cursory thoughts:

Each project will have different goals so criteria can’t always be the same – though basics such as project feasibility, durability, reasonable budget, safety and maintenance considerations are standard. This said, these are also things that generally can be negotiated with and artist or given to the artist as parameters. For example, if I think an artist is biting off more than they can chew, I encourage them to strip their project down and scale it for feasibility. Conversely, if they are charging more than 25% of the budget for their design fee/soft costs I want to know why and they need to justify it.

We’ve started asking applicants what “artistic excellence” means to them. For many young artists and artists from underrepresented groups, artistic excellence goes far beyond the art images or the talent but to the meaning, message, symbolism, justice and community involvement.

I have certainly hired less experienced artists because they expressed the most passion –and have done so with great success. Supporting young artists or artists from typically underrepresented groups can require more time – but can certainly be done and is very rewarding. I’ve provided artists with mentors, info on products or technical specs, coaching on how to handle controversies, how to deal with the press, how to document their work etc.

I do strongly believe that all our projects should intentionally address equity and inclusivity in some way. It’s important to always ask “How can this project represent, involve or elevate a typically underrepresented person or group and/or highlight histories of injustice and inequality and/or put forward a vision of a more equal and inclusive future?”

I recently suggested to a (white & male) artist that he incorporate other languages (a language spoken in our community) and encouraged him to involve some student groups (at a diverse school) in some way – either while developing the concept or installing the art.

There are myriad of creative ways to make projects more equitable and inclusive and I think it’s important to push any artist who may not think this way already, to consider these issues.

We a put a lot of time into personally inviting underrepresented  artists to apply and giving them help as they need it –such as translation services or group training on how to apply for public art jobs. You can also create a program that specifically gives underrepresented artists a chance. Maybe some of your traffic boxes, for example.

Lastly, I think there is something to be said for a criteria called the “gut check.” Does this artist or this proposal meet the gut check? Is it something we can fully support without hesitation?

Just a few very basic thoughts.

Best of luck!

Beth Tobey

Arts Program Manager

City of Santa Cruz Economic Development Office

(831) 420-5154 | btobey@cityofsantacruz.com
www.SantaCruzCityArts.com

From: public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On Behalf Of Sarah Blankenship
Sent: Monday, May 14, 2018 9:25 AM
To: public_art_network@americansforthearts.simplelists.com
Subject: Grading Method for Sculpture Call for Art?

Hello,

I’m new to this Arts & Culture position in Georgetown, Texas.

We have a sculpture tour call for artists that we will be sending out soon.  We have done this for several years but only started having our Arts & Culture Board grade it last year.  The board found it difficult to simply rank the sculpture with a 1-9 score last year.  Do you have a grading matrix, or example of how you grade the sculpture that you could send me?  We are also wondering how to address encouraging diversity in terms of grading—should it be a consideration or not in the grading process—diversity in age, race, culture, etc.

Thanks for any input on this!

Sarah

Sarah J. Blankenship | Arts & Culture Coordinator

City of Georgetown, Texas | 512-930-8471

Georgetown Arts & Culture

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