These all sound like great ideas and suggestions. I really like the fact that the commissioned artist has the opportunity to pick from a pre-approved roster.
And, also about occasionally carving out small projects for people on that roster.
Thanks for sharing!
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
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From: public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com]
On Behalf Of Fordham, Leslie
Sent: Friday, June 08, 2018 5:20 PM
To: public_art_network@americansforthearts.simplelists.com
Subject: RE: [BULK] Daily digest for public_art_network@americansforthearts.simplelists.com
In Broward County
Allied Artists are paid up to $10,000. The commissioned artist selects the Allied Artist from a pre-approved roster. There is an agreement or memo of understanding executed between the two artists.
I recommend that the project manager closely monitors the relationship to insure that it’s productive for both parties. One challenge is that the Allied Artist
often learns a lot about the art making side of the project and less about the business side of public art.
My personal preference is to occasionally carve out opportunities for pre-approved Allied Artists to compete for very small projects and work closely with a project
manager who helps them learn public art from start to finish.
With regards,
Leslie
Leslie Fordham, Administrator
Cultural Division, Public Art & Design Program
100 S. Andrews Avenue, 6th Floor
Fort Lauderdale, FL 33301
Office: (954)-357-7532
From: Public Art Network [mailto:nobody@simplelists.com]
Sent: Thursday, June 07, 2018 8:36 PM
To:
public_art_network@americansforthearts.simplelists.com
Subject: [BULK] Daily digest for
public_art_network@americansforthearts.simplelists.com
RE:
"fair use" in mural design by Sweney, Mike (ARTS)
(07 Jun 2018 00:05 UTC)
Reply
to list
Also, let’s acknowledge that illustrators and their publishers deserve the same consideration, respect, and protection that we would extend to any artist whose works were (potentially) appropriated. It’s not just important to ask
permission for legal butt-covering, it’s simply the right thing to do.
Best,
Mike
Michael Sweney, Program Manager
ArtsWA | Art in Public Places Program
Washington State Arts Commission
711 Capitol Way S., Suite 600 | PO Box 42675
Olympia, WA 98504-2675
360-586-2422
Apply now for our
2018 Public Artist Roster!
From:
public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On Behalf Of Sarah Odenkirk
Sent: Wednesday, June 06, 2018 4:01 PM
To: Nicole DeWald <ndewald@greenbeltmd.gov>;
public_art_network@americansforthearts.simplelists.com
Subject: Re: "fair use" in mural design
Just to add to everyone else’s wise advice:
You need to decide how much risk you’re willing to take. It is possible that no one would ever see the mural and complain. But it is also very likely that you could have complaints and/or objections. In that event, you would have
the option of immediately painting the mural out to avoid further conflict (assuming it's not been reproduced elsewhere and plaintiffs are willing to drop their objections) or fighting with whoever is complaining.
Without more information, it seems very unlikely that you would prevail on a fair use argument based on educational use. You might have an argument to be made based on parody or transformative use depending on the actual content
of the mural. Nevertheless, the bottom line is that you would have to be making these arguments within the context of a dispute and possibly even court . . . where I imagine you don’t really want to be! It would not be surprising at all to get objections
from publishers and/or copyright holders if not the authors/artists themselves and this immediately puts you in a defensive position. Not where you want to be . . . especially after paying for and installing the work!
Getting permission is always the best course of action in this sort of situation, even though you may have to change the work based on whether you can secure permission (and secure it for a reasonable licensing fee). Last important
point: if you ask permission and are denied but decide that you’ll use an image anyway, you open yourself up to liability for increased, punitive damages based on willful infringement.
Hope this is helpful!
Best,
Sarah
The Law Office of Sarah Conley Odenkirk
13263 Ventura Blvd., Suite 103
Studio City, CA 91604
Office/Fax: 818.789.3738
Cell: 310.990.9581
sarah@artlawlawyer.com
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On June 6, 2018 at 1:06:51 PM, Nicole DeWald (ndewald@greenbeltmd.gov) wrote:
Hello, colleagues. A local charter school -- not administered by the city -- has expressed interest in having a mural painted on the exterior of their building. Their initial design concept is to scale up an illustration from an
existing, copyrighted children’s book. I’d like to determine whether not this would likely constitute legal fair use, on the grounds of it being partial (a complete illustration, but only part of the book) and arguably educational. I suggested that their artist
might want to approach the Maryland Volunteer Lawyers for the Arts for guidance, and I’d welcome input from the list as well.
Thanks.
Nicole DeWald, Arts Supervisor
City of Greenbelt, Maryland
240-542-2057.
greenbeltmd.gov/arts
On Facebook: Greenbelt Recreation ARTS
On Instagram: greenbeltrecreationarts
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advice
on public art projects with mentorship component by
Chou, Mary (07 Jun 2018 17:24 UTC)
Reply to
list
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/
e-Newsletter I
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NOTICE: Please be mindful that all correspondence and documents submitted to the San Francisco Arts Commission are public records and, as such, are subject to the
Sunshine Ordinance and can be requested by the public. If this happens, all sensitive personal information, such as Social Security numbers and phone numbers, will be redacted.
RE:
advice on public art projects with mentorship component by
Flanagan, Marjorie (07 Jun 2018 17:51 UTC)
Reply
to list
Hello Mary,
Austin AIPP started LaunchPAD (Public Art Duo) last year. It pairs emerging LOCAL artists with currently commissioned, more seasoned artists on projects with budgets over $200K. It is meant to be a peer-to-peer relationship as
much as a mentorship, allowing for both emerging and established artists to gain MORE experience in the technical aspects of a large scale public art commission.
The LaunchPAD artists were selected by a 3-member panel consisting of the commissioned artist, our AIPP Panel liaison and our Arts Commission liaison.
The responsibilities are defined at the onset of the project after a kick-off meeting and discussion between both artists. The LP artist creates a work plan with several personal goals that have tasks associated with the project
in service to the commissioned artist. The work plan is a living document that can be tweaked as more or less work is needed during the process. So far it has fared better to have the LP artist create their work plan and have ownership in the tasks they
are completing—of course with oversite from a project manager and the commissioned artist. The LP artist is paid a flat fee of $15,000 + travel for a studio visit during fabrication.
Successes:
· Several artists have reported receiving commissions outside of Austin using the knowledge learned in the LP program.
· Both commissioned and LP artists have reported the benefits of having additional eyes and feedback on designs and presentations.
· LP artists are reporting vast knowledge received in the City permitting process.
Challenges:
Defining and balancing the responsibilities has been challenging. The program is a little amorphous which is both good and hard. It allows for the most possible growth from both artists but also sometimes can be confusing. I think
having clear expectations from the onset has been the best lesson learned so far. Making sure both parties understand this is not an intern relationship for busy work is helpful in guiding the overall. Having the project manager cc’d on all correspondence
is helpful too in guiding the parties as to what serves the LP artist’s goals as well as the project.
I’m sure I have more info I could give but those are the highlights! Good luck and please reach out if you would like to discuss further. The program has garnered a lot of interest from local artists as well as national public
art programs wanting information!
Marjorie
Marjorie Flanagan | Art in Public Places Project Manager
marjorie.flanagan@austintexas.gov
Cultural Arts Division | Economic Development Department
P.O. Box 1088, Austin, TX 78767
Direct: (512) 974-8706 | Main: (512) 974-7700
austincreates.com
|
facebook.com/AustinAIPP |
publicartist.org/AustinAIPP
From:
public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On Behalf Of Chou, Mary
Sent: Thursday, June 07, 2018 12:24 PM
To: public_art_network@americansforthearts.simplelists.com
Subject: advice on public art projects with mentorship component
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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NOTICE: Please be mindful that all correspondence and documents submitted to the San Francisco Arts Commission are public records and, as such, are subject to the
Sunshine Ordinance and can be requested by the public. If this happens, all sensitive personal information, such as Social Security numbers and phone numbers, will be redacted.
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Re:
advice on public art projects with mentorship component by
Coles-Dobay, Debby (07 Jun 2018 17:40 UTC)
Reply
to list
Mary,
There is a definite interest in this information. I posted a similar question on the list serve several months ago and received no responses.
Hopefully you will have some to share.
Thank you,
Debby Coles-Dobay, Public Arts Manager
City Manager's Office, Art in Public Places
City of Boynton Beach
100 E. Boynton Beach Blvd. | Boynton Beach, Florida 33435
o: 561-742-6026 | c: 561-632-7992
Coles-DobayD@bbfl.us | www.boynton-beach.org
| www.boyntonbeacharts.org
Facebook: Boynton Beach Art in Public Places
Twitter: @BoyntonArts
America's Gateway to the Gulfstream
Please be advised that Florida has a broad public records law and all correspondence to me via email may be subject to disclosure.Under Florida records law, email addresses are public records. Therefore, your e-mail communication and your e-mail address may
be subject to public disclosure.
Debby Coles‑DobayPublic Arts ManagerCity Manager's Office, Art in Public PlacesCity of Boynton Beach100 E. Boynton Beach Blvd.| Boynton Beach, Florida33435561-742-6026 | 561‑632‑7992Coles-DobayD@bbfl.us | http://www.boynton-beach.org/|http://www.boyntonbeacharts.org/America's Gateway to the GulfstreamPlease
be advised that Florida has a broad public records law and all correspondence to me via email may be subject to disclosure.Under Florida records law, email addresses are public records. Therefore, your e-mail communication and your e-mail address may be subject
to public disclosure.
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/
e-Newsletter I Twitter I Facebook I YouTube I Flickr
NOTICE: Please be mindful that all correspondence and documents submitted to the San Francisco Arts Commission are public records and, as such, are subject to the Sunshine
Ordinance and can be requested by the public. If this happens, all sensitive personal information, such as Social Security numbers and phone numbers, will be redacted.
To unsubscribe from this list please go to http://archives.simplelists.com
Re:
advice on public art projects with mentorship component by
Julia Muney Moore (07 Jun 2018 18:26 UTC)
Reply
to list
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/
e-Newsletter I
Twitter I
Facebook I
YouTube I Flickr
NOTICE: Please be mindful that all correspondence and documents submitted to the San Francisco Arts Commission are public records and, as such, are subject to the
Sunshine Ordinance and can be requested by the public. If this happens, all sensitive personal information, such as Social Security numbers and phone numbers, will be redacted.
To unsubscribe from this list please go to
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RE:
advice on public art projects with mentorship component by
Beth Tobey (07 Jun 2018 18:44 UTC)
Reply
to list
Are you paying the mentors anything?
Beth
From:
public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On Behalf Of Julia Muney Moore
Sent: Thursday, June 07, 2018 11:26 AM
To: public_art_network@americansforthearts.simplelists.com
Subject: Re: advice on public art projects with mentorship component
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/
e-Newsletter I
Twitter I
Facebook I
YouTube I Flickr
NOTICE: Please be mindful that all correspondence and documents submitted to the San Francisco Arts Commission are public records and, as such, are subject to the
Sunshine Ordinance and can be requested by the public. If this happens, all sensitive personal information, such as Social Security numbers and phone numbers, will be redacted.
To unsubscribe from this list please go to
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RE:
advice on public art projects with mentorship component by
Flanagan, Marjorie (07 Jun 2018 18:45 UTC)
Reply
to list
No, the commissioned artists are not paid an additional fee but they do receive “free” labor. The program is also written into the RFQ they apply for and into their contract.
Marjorie Flanagan | Art in Public Places Project Manager
marjorie.flanagan@austintexas.gov
Cultural Arts Division | Economic Development Department
P.O. Box 1088, Austin, TX 78767
Direct: (512) 974-8706 | Main: (512) 974-7700
austincreates.com
|
facebook.com/AustinAIPP |
publicartist.org/AustinAIPP
From:
public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On Behalf Of Beth Tobey
Sent: Thursday, June 07, 2018 1:44 PM
To: public_art_network@americansforthearts.simplelists.com
Subject: RE: advice on public art projects with mentorship component
Are you paying the mentors anything?
Beth
From:
public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On Behalf Of Julia Muney Moore
Sent: Thursday, June 07, 2018 11:26 AM
To: public_art_network@americansforthearts.simplelists.com
Subject: Re: advice on public art projects with mentorship component
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/
e-Newsletter I
Twitter I
Facebook I
YouTube I Flickr
NOTICE: Please be mindful that all correspondence and documents submitted to the San Francisco Arts Commission are public records and, as such, are subject to the
Sunshine Ordinance and can be requested by the public. If this happens, all sensitive personal information, such as Social Security numbers and phone numbers, will be redacted.
To unsubscribe from this list please go to
http://archives.simplelists.com
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Re:
advice on public art projects with mentorship component by
Julia Muney Moore (07 Jun 2018 18:47 UTC)
Reply
to list
We will likely increase their commission amount to cover the extra work of mentoring, and include the mentoring component in their commissioning agreement as part of their scope of work. Not all the artists commissioned
through the partnership will act as mentors—maybe only half of them.
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 2:44 PM, Beth Tobey <btobey@CITYOFSANTACRUZ.COM> wrote:
Are you paying the mentors anything?
Beth
From: public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On
Behalf Of Julia Muney Moore
Sent: Thursday, June 07, 2018 11:26 AM
To: public_art_network@americansforthearts.simplelists.com
Subject: Re: advice on public art projects with mentorship component
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/
e-Newsletter I Twitter I Facebook I YouTube I Flickr
NOTICE: Please be mindful that all correspondence and documents submitted to the San Francisco Arts Commission are public records and, as such, are subject to the Sunshine
Ordinance and can be requested by the public. If this happens, all sensitive personal information, such as Social Security numbers and phone numbers, will be redacted.
To unsubscribe from this list please go to http://archives.simplelists.com
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RE:
advice on public art projects with mentorship component by
Bloom, Roberta (07 Jun 2018 18:49 UTC)
Reply
to list
What about the mentees? Are they provided with a stipend? Do they pay (tuition) to be part of the program?
This conversation about how we cultivate new artists is a very interesting one.
Roberta
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
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From:
public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On Behalf Of Julia Muney Moore
Sent: Thursday, June 07, 2018 12:47 PM
To: public_art_network@americansforthearts.simplelists.com
Subject: Re: advice on public art projects with mentorship component
We will likely increase their commission amount to cover the extra work of mentoring, and include the mentoring component in their commissioning agreement as part of their scope of work. Not all the artists commissioned through
the partnership will act as mentors—maybe only half of them.
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 2:44 PM, Beth Tobey <btobey@CITYOFSANTACRUZ.COM> wrote:
Are you paying the mentors anything?
Beth
From: public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On
Behalf Of Julia Muney Moore
Sent: Thursday, June 07, 2018 11:26 AM
To: public_art_network@americansforthearts.simplelists.com
Subject: Re: advice on public art projects with mentorship component
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/
e-Newsletter I Twitter I Facebook I YouTube I Flickr
NOTICE: Please be mindful that all correspondence and documents submitted to the San Francisco Arts Commission are public records and, as such, are subject to the Sunshine
Ordinance and can be requested by the public. If this happens, all sensitive personal information, such as Social Security numbers and phone numbers, will be redacted.
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Re:
advice on public art projects with mentorship component by
Julia Muney Moore (07 Jun 2018 19:01 UTC)
Reply
to list
The mentees would get a stipend, yes, in our program.
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 2:49 PM, Bloom, Roberta <rbloom@auroragov.org> wrote:
What about the mentees? Are they provided with a stipend? Do they pay (tuition) to be part of the program?
This conversation about how we cultivate new artists is a very interesting one.
Roberta
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
<image001.png><image002.png> <image003.jpg>
Facebook | Twitter | Instagram | Nextdoor | AuroraTV.org
From: public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On
Behalf Of Julia Muney Moore
Sent: Thursday, June 07, 2018 12:47 PM
To: public_art_network@americansforthearts.simplelists.com
Subject: Re: advice on public art projects with mentorship component
We will likely increase their commission amount to cover the extra work of mentoring, and include the mentoring component in their commissioning agreement as part of their scope of work. Not all the artists commissioned
through the partnership will act as mentors—maybe only half of them.
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 2:44 PM, Beth Tobey <btobey@CITYOFSANTACRUZ.COM> wrote:
Are you paying the mentors anything?
Beth
From: public_art_network@americansforthearts.simplelists.com [mailto:public_art_network@americansforthearts.simplelists.com] On
Behalf Of Julia Muney Moore
Sent: Thursday, June 07, 2018 11:26 AM
To: public_art_network@americansforthearts.simplelists.com
Subject: Re: advice on public art projects with mentorship component
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/
e-Newsletter I Twitter I Facebook I YouTube I Flickr
NOTICE: Please be mindful that all correspondence and documents submitted to the San Francisco Arts Commission are public records and, as such, are subject to the Sunshine
Ordinance and can be requested by the public. If this happens, all sensitive personal information, such as Social Security numbers and phone numbers, will be redacted.
To unsubscribe from this list please go to http://archives.simplelists.com
To unsubscribe from this list please go to http://archives.simplelists.com
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To unsubscribe from this list please go to http://archives.simplelists.com
Public
artists in DC by Jimena Larson
(07 Jun 2018 21:02 UTC)
Reply to list
Hello Public Art Network,
Does anyone have a list of public artists based in the DC area?
Thanks!
Jimena Larson
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