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Presented by Helen Lessick at the Annual Conference of the Visual Resources Association, April 3rd - April 6th, 2013, in Providence, Rhode Island. Session #2: Visual Resourcefulness and the Public Art Challenge ORGANIZER/MODERATOR: Helen Lessick, Web Resources for Art in Public PRESENTERS: Jack Becker, founder of Forecast Public Art and Public Art Review Rachel Cain, Public Art Archive, WESTAF (Western States Arts Federation) Elizabeth Keithline, Project Grants/Public Art Management, Rhode Island State Council on the Arts Abby Suckle, CultureNOW Visual resources are key to collections within and outside of the museum and academic worlds. Public art, art in public places, civic art and design, and artist-initiated projects all contribute to a growing national collection. This session will present the diverse approaches to organizing and presenting public art collections online and discuss the challenges of working with municipal and for-profit clients in the field based on policy, innovation, collaboration and context. This session will present challenges and opportunities for VRA members to engage the public art field locally and nationally, and build networks for catalogers and public art collection professionals across the nation. Wednesday April 3, 2013 1:35pm - 2:55pm
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Visual Resourcefulness and the Public Art Challenge
Helen Lessick, ModeratorVRA 31 Providence Rhode Island
April 3, 2013
Digital Public Art Collections Hidden in Plain Sight
Who Makes Art in Public?
• Cities, counties, states, federal government• Regional agencies, airports, transit authorities• Museums, non-profit programs, for-profit
businesses, academic classes and groups• Artists funded by grants, sales, crowd-sourced
or self-funded
Local pearls, national necklace
Why WRAP? Community
Public artists work across diverse disciplines
Public art has history
Public art is a local issue and a national discussion
Why WRAP? Visibility
Public Art professionals require current, accurate information
Public Art works are siloed
Audiences expect on-site information
Why WRAP? Accuracy
Public Art historians cite web sites
Art critics and bloggers use web resources
Public Art administration is taught with on-line resources and references
Why WRAP? Advocacy
Public Art is challenging
Public art is challenged by others
Advocates need access to success stories and lessons learned
WRAP LA: Pilot project75 Los Angeles basin works funded by artists, non-profits, grants and a church, without a percent for art program Simon Riordan, paid cataloger UCSD Art Library internal review Patricia Walsh, external review
Descriptive Catalog Discussions• Urban Displacement• Participatory Art• Food fight vs banquet• Material exchange
LA murals: Clockwise from top:Cache, Bicycling chicken murals Leo Limon, LA River CatzSelf Help Graphics, non-profit entry
Armory Center for the Arts PasadenaTemporary Banner Projects One Colorado + Armory NW
Left: Daniel Buren, A Colored Square in the Sky Right: Lorraine Cleary-Dale with students installing Watz Ur Sygn?
LA Temporary events, with/out permission Clockwise: Elysian Park Museum of Art, Tumbleweed Snowmen (at entry)Fallen Fruit (at Machine Project)Heidi Duckler, C’opera (at Los Angeles Police Academy)
Land overlays: clockwise: Michael Heizer, Suspended Mass , Bruce Nauman, untitledJoshua Callaghan: Almost Invisible Boxes, Helen Lessick, Soil Sample: Los Angeles
Clockwise from top: Arroyo Arts Collective: For the BirdsPerforming Public Space: Octupy LA JR: Makers of the City
Panelists
Elizabeth Keithline: Rhode Island State Council on the Arts, Public Art/Grants ProgramRachel Cain: Western States Art Federation, Public Art ArchiveJack Becker: Forecast Public Art + Public Art ReviewAbby Suckle: culturenow.org
Love Match
VRA + Local artEngage your local public artist and collections.We are always looking to partner.
