From CPAC's blog @cultureforward
Public Art didn’t get there by accident. Except maybe the Free Stamp (kidding). Of the many things artists contribute to our community, public art may be one of the most visible and ever growing influences on our culture and landscape. Forming Cleveland provides a more in-depth illustration of these investments. On top of that, if you are interested in breaking into your own public art portfolio in Cleveland, we strongly advise you connect with LAND studio.
The following information is based on a LANDstudio workshop. The seminar was filled with info for artists interested in what might be an intimidating process of working with fabricators, permits and public officials; making it all a little less mystical. The day started with two Seattle-based public artists, Laura Haddad and Tom Drugan. Erin Guido and Vince Reddy continued with a great overview on the basics. The day ended with a live presentation by four brave and talented artists, who proposed a “hypothetical” public art project to be installed in Ohio City.
Public artists need to be able to take some tough and sometimes completely off the wall criticism. Regardless of any debate of the subjective nature of work, successful public art works have a few things in common and result some fantastic occurrences:
Public art can be organic, stemming from an artists’ relationship to a place, or it can be a public call from the percent for art program or other community project. It can be a project that cumulates over time, such as Morgana Run in Slavic Village. It can include all disciplines, incorporating performance or poetry. Some projects address social issues, bringing difficult topics to light in a safe and wide-open environment. But the best public art that resonates the deepest, is relevant to its exact location.
Use your studio art portfolio to break into the public art realm and spell out those connections for the panel reviewing your proposal. Know the differences, and consider things like safety, accessibility, ordinances and all the collaborators that will be involved in the proposed project. Also bird poop and Cleveland winters, lets be real.
Start small (maybe a $10,000 project) and build up confidence and reputation based on your other areas of expertise.
Passion shows through when you’re presenting a proposal, or anything really. Communicating your enthusiasm or personal connection to the place or the concept can go a long way with a panel, especially as a beginner. Pair it with your un-challenged technical skill and expertise for the complete package.
You’ll have to work in a lot of technical requirements while maintaining the integrity of the art. It’s a tough balance, but worth it in the end.
You’ll need patience and wherewithal. Making public art takes a long time from research to proposal to fabrication and installation; it can also be stopped to a halt or on hyper-speed at any moment depending on the commission.
Good collaboration could mean good things for your budget and your stress levels.
People (and not just kids) will probably want to climb on it. Plan for that.
The more projects you do, the easier it is to budget both time and money. There is no formula unfortunately, but make sure to adequately compensate yourself for time and labor in the artist fees line.
Sustainability—and particularly reuse of existing materials in the Cleveland area—is a growing trend.
Temporary art and event calls for public art and lighting are also a growing trend. It seems public art trends run parallel with both art trends and popular/political trends.
Don’t apply for everything. “Phoned in” proposals are obvious to a panel. Do what makes sense for you and your work.
You are doing this because you love it. Don’t lose sight of that.
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