Next year we will be adding a mentorship component to one of our mural partnerships.  Our initial thought is that we would run parallel processes to select the experienced artists and the newer artists, and we’d have to do a lot of groundwork to encourage newer artists to apply.  Then there’s the issue of making a match between the two artists, to make sure that it will be a good relationship.  Since they are all local artists (for this particular partnership), logistics are not really a major challenge for us. Re fee:  I am thinking about setting it based on an hourly rate for how many hours we expect the emerging artist to spend on the project.  Their fee is coming from a different pot of money than the fee for the commissioned artist.

We have a lot of experience mentoring emerging artists through a fellowship program that we have, so this would be essentially a more targeted version of a fellowship. At least that’s how we’re thinking of it.  We’ll see how it turns out.  Coincidentally, yesterday we just had our first artist meeting for the current year of this partnership, and since the group includes both experienced and less experienced artists—and artists with different kinds of experience—we had some initial conversations that were very exciting and confirmed to me that even without a formal program, some mentorship will be happening this year.  We encouraged them to consult each other during the process and I know they will.

Julia Muney Moore
Director of Public Art

Arts Council of Indianapolis
924 N. Pennsylvania St.
Indianapolis, IN  46204
o (317) 631-3301 x240
m (317) 332-8382
e jmoore@indyarts.org





On Jun 7, 2018, at 1:24 PM, Chou, Mary <mary.chou@sfgov.org> wrote:

Dear Public Art Colleagues,

 

I am interested in hearing from administrators who have managed - and artists who have participated in - public art projects that involve a mentorship component – pairing a more experienced artist in public art, with an artist(s) who is new to public art.

 

-          How were the artists (both experienced and emerging) selected and paired?

-          How were the responsibilities between the artists defined/structured? Was this set by the commissioning agency, or through conversation between the artists?  What was the breakdown of the artist fee?

-          What were some challenges (lessons learned) and successes from these projects?

 

Thanks in advance for your help!  And I will share out the information I collect with those who are interested – just let me know.

 

Best,

Mary

Mary Chou, Project Manager
Public Art Program
San Francisco Arts Commission
401 Van Ness Avenue, Suite 325
San Francisco, CA 94102
(p) 415-252-2233
www.sfartscommission.org/pubartcollection/

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