I Am An Arts Lover Magazine 2015 ARTS CONNECT PEOPLE

Page 1






Chief Designer


Minwoo Yeom

Executive Director


Sophia Ahn / Domingo Park

Yi Cao

Chief Editor

Contributing Writer

Yejin Kang

Yi Cao / Graciela Kahn / Sean Beauford

Project Manager / Editor

Angela Bomin Choi Assistant Project Manager / Editor

Kelson Hedderich

Contributing Editor

Hongbum Kim / Jihyun Cho / Ben Brueshoff Contributing Designer

Joohyun Kim

ARTS CONNECT PEOPLE is a magazine that is a part of the pro bono

arts consulting project “I AM AN ARTS LOVER� started in Pittsburgh, PA. The project consists of marketing consultancy and website development for the selected artists, producing souvenir T-shirts and badges for the project supporters, and creating a publication which came out as an informative magazine titled ARTS CONNECT PEOPLE. This publication aims to connect people through arts by introducing the selected 2014 artists, sharing interesting stories of arts managers, and talking about unique Pittsburgh arts scene.

www.iamanartslover.com MINGO & CO. is a business accelerator headquartered in Singapore

with offices in Seoul, Pittsburgh, and Minneapolis. The company was founded in 2014 with the purpose of helping globally-minded entrepreneurs to develop their ventures, execute winning strategies, and achieve their dreams
















Letter from the Chief Editor

Talents Worthy of Sharing

Bridges Connecting Arts to People





Jamie Fair, East End Performing Arts

What is Your Definition of Arts Management?





Laurel Mitchell, Photographer

Philanthropy and Neighborhoods - A Talk with Justin Laing, Senior Program Officer, The Heinz Endowment




About I AM AN ARTS LOVER - A Compilation of Arts Management: from Fundraising to Arts Consulting

Penny Mateer, Fiber Artist

Public Art and Communities - An Interview with Morton Brown, Public Art Manager, City of Pittsburgh



Tammy Ryan, Playwright

Education and Audiences - An Interview with Marilyn Russell, Curator of Education, Carnegie Museum of Art




Anybody Can Be an Arts Lover

What's Going On - Pittsburgh Arts - Arts Lover's Bookmark



The Art of Art Collecting - A Visit to Kristin Hughes's Home, Pittsburgh Local Arts Collector


66 Free-spirited, Arts-spirited - A Story from Sean Beauford, Creator, Manager, and Lover of the Arts

Magazine design by Minwoo Yeom The concept of 'connect' is expressed as a thin line that's woven into the entire magazine 'connecting' different sections and components. Designer Yeom tried to engage readers by clean and undistracted yet solid simplicity of the line design, along with the heart shaped characters representing each of three groups the I AM AN ARTS 'LOVER' is based upon.


discussion about the roles of arts managers led to the I AM AN ARTS LOVER project. The team started by drawing a diagram on a blank whiteboard of arts managers’ roles; it included all the relationships that exist in the art world: artists, arts lovers, and ourselves—arts managers. The diagram revealed what arts managers should do within these relationships. Sophia, the project leader, expressed her feeling that the clutches of an invisible being, powered by massive passion, had grabbed and roughly pulled the team. When she recovered consciousness, she found herself already moving ahead with the project. The blank whiteboard held tremendous power. The starting point for the magazine was the idea of finding a tangible medium that would connect all the relationships represented in the diagram—something visible to connect artists to arts lovers. It could take the form of a booklet that’s always around and within reach when arts lovers stretch their arms to pick it up. It would feature artworks that are accessible from daily life, whenever and wherever. If there were such a thing, I believed, artists’ thoughts and words could be delivered to arts lovers more easily, and that would facilitate the ignition of communication between them. René Magritte said, “To be a surrealist means barring from your mind all remembrance of what you have seen, and being always on the lookout for what has never been.” In order to start from a blank canvas, arts managers and designers who had recently graduated were the most appropriate and perfect combination. The process for creating this booklet was like untangling different skeins of yarn, arranging them by colors, and then sewing a fine seam in a designated order. It took longer than we expected, and the way we worked might have been inefficient since we started from a blank canvas. Each brought up separate threads in varied thicknesses and in a wide variety of different textures that didn’t match, and the needles to sew the threads were also different thicknesses and lengths. Nevertheless, we got something—something that is acquired during the process. We acknowledged each other’s different thoughts and levels of understanding; we experienced frustrations; and finally we met our expectations for the final product. It was all about how to communicate. It might have contributed to the team’s better understanding of artists and how to improve our communication with them and deliver content in a way that’s more accessible to arts lovers. Or it might have helped the team to discover how we present our own voices and our identities. Of course, this magazine that began with a blank canvas will not take the perfect form that each team member imagined in his or her mind at the outset. Yet if we get an opportunity to publish another one, we will again start with a blank canvas. It seems inefficient, but we enjoyed the process and the fruition that resulted from it. The product will be the accumulation of the experiences and skills of those who enjoyed the process. I also believe that the accumulation of our experiences and skills will ultimately be the origin for creativity.






Cheif Editor

Yejin received Master’s degree of Arts Management from Carnegie Mellon University and a B.A. in Communication and Public Administration from Yonsei University in Korea. Previously, she worked as a strategic marketer to oversee integrated marketing communication and public relations activities and to manage global strategy and regional practices. With the belief that arts should reach to the ordinary people, Yejin is passionate for expanding the arts audience base through interactive communication.

Angela Bomin Choi

Project Manager / Editor

With a Master's degree of Arts Management from Carnegie Mellon University and special training in private business sector, Angela aspires to become an arts manager who manages creative people and the originals of arts relating to the business world. Her professional interests include arts marketing and corporate sponsorship in the arts. She is a lover of photography and public art.

Kelson Hedderich


“I believe arts industry needs creative people who have an entrepreneurial mind and related business knowledge.”

Assistant Project Manager / Editor

Kelson has spent the majority of his professional experience building communities and their capacities to express a shared vision, whether through community meetings, radio shows, television or the internet. I AM AN ARTS LOVER is the next step, sharing with Pittsburgh the voices of its most creative residents through a published magazine that will showcase their talents.


“I hope more and more ordinary people get to experience emotional communication with art just as I did.”

“Bringing art to the community inspires the creative energies that define its place, and that’s what I hope to achieve.”

Minwoo Yeom

Cheif Designer

Minwoo wants to develop various planning skills through the exceptional observation as a designer. He believes everything has its own story, and it is designers' job to deliver the story through visualization. He eagers to be a creative director who can speak the value that sympathizes everyone and make them truely enjoy.

Graciela Kahn

Contributing Writer

Before moving to Pittsburgh Graciela worked as a project coordinator for exhibitions in Monterrey. She recently graduated from Carnegie Mellon Uinversity with a Master of Arts Management, where she concentrated in methodology and implementation practices for connecting artists and audiences with the right opportunities and resources.

Sean Beauford

“I enjoy getting to know the work of every artist I work with and being a facilitator between those artists and potential audience.”

Contributing Writer

Originally from Mansfield, Ohio, Sean is currently working as The Curator of Studio AM in Homestead, PA. He is an artist as well as an arts lover himself, working with various other artists including Baron Batch as their ambassador and putting people on dope art through art shows.

Yi Cao

“It was the first magazine I've ever designed. I want to listen to the heart of all the readers."

“It’s important to use the platform I have to expose as many people as possible to art, and to shine a light on every artist that deserves it.”

Contributing Writer / Photographer

With a simple pocket camera, Yi enjoys shooting photos for friends around, and learns new photography techniques only when she needs them. She absently catches ephemeral moments while walking, eating, working, and studying, wondering if it is lucky enough to encounter the eternity one day. She is currently serving as the Administrative Manager at the Carnegie Museum of Art in Pittsburgh.

“Art ties individuals in the community, which fosters creativity, diversity and sense of collective identity.”



PROLOGUE Sophia To the readers

To the readers

Over the last few months, the team has felt great deal of responsibility – to the team members, to the artists, and to the backers of the project as well as the potential readers. We tried our best to make it as authentic, resourceful, interesting, and engaging as possible. We are not only happy but proud of ourselves for coming thus far and have generated the actual outputs that were only a dream at the beginning.

Arts Connect People presents three different perspectives that make up the arts industry: artists, arts managers, and arts lovers. You will hear what the artists had to say, learn what arts managers wanted to share, and see how other arts lovers enjoy the arts. There are multiple approaches to reading this magazine; the most important thing is that it fuels your own thought process and helps you come to your own conclusions.

If you’ve picked up this magazine, that means you are already an arts lover. We sincerely hope that the reader of this magazine can get a chance to think about how the arts managers embrace the art of arts management, and can appreciate the artists’ inspiring and extraordinary stories.

This magazine talks about Arts Management. It asks: “What is Arts Management?” and “What are the roles of arts managers?” These are fundamental questions that I had when I began planning this magazine. I hope you see this magazine as the effort of finding the answers to those fundamental questions, and I hope this magazine can help you find your own answers.

Sophia, what does this magazine mean to you?

Angela, what does this magazine mean to you?

Transition. I don’t think I’ve ever felt this much pressure of decision making. It was great learning experience where I might have grown into a manager who can envision where the whole process is moving toward and when and how to determine and leave lingering thoughts behind. I appreciate so much for those who were involved with this project.

Opportunity. For me, working on this magazine has been full of great inspirations and opportunities: opportunities to try everything and expand to new areas from planning to design, to become more a part of the Pittsburgh arts scene, and to discover my artistic side. This experience translates into more confident to move toward my next career goals as a future arts manager.

Next stage

Next stage

Chicago. New York? We should grow and be ready for those bigger and more fast-paced cities. And then maybe Europe? : )




Another round in Pittsburgh? I would want to look into and talk about the Pittsburgh arts scene in a very different angle next time.





A compilation of arts management: from fundraising to arts consulting Fundraising, Exhibition Management, Human Resources, Arts Marketing, Operations, Project Management, Financial Analysis, Technology, and even Law... are only a few of the many courses required – in addition to finishing a Graduate Capstone Project - to earn a Master of Arts Management degree. Carnegie Mellon University’s Master of Arts Management (MAM) program teaches us to become “strategists” who understand the bigger picture of the arts industry. After graduating from Carnegie Mellon University, I posed the following question to myself: Did I become a true strategist and an arts manager who can analyze problems and develop strategies that foster the growth of the arts industry? We wanted to test what we could do with our knowledge and skills learned from these courses. We wanted to use them to do something we cared and were excited about. We wanted to challenge ourselves during this ‘grace period’ before moving on to the next phase of our careers. I AM AN ARTS LOVER allowed us to find and connect with artists seeking our services. It also allowed us to gain valuable insight on the interdependence of Arts Management with the larger practice of the arts field. We were able to utilize many aspects of Arts Management from planning to fundraising to arts consulting. We hoped that this project was a small step in bringing the sharing economy to the Pittsburgh arts community and ultimately to the world of Arts Management. I AM AN ARTS LOVER was started with this small (but big) hope.

Chapter 1


2014.06 6/26. Kickstarter project began!

6/26 – 7/20 Kickstarter projec 7/20. Project was fully funded with Kickstarter 7/20 – 8/12 Artist selection process 8/12. 5 artists were selected

9/1 - 1/12 Magazine design & content creation

9/24. Arts Lover badges arrived in the mail!

10/1 - 1/12 Artists website consulting

11/25. I AM AN ARTS LOVER website launch

12/9. T-shirts design was finalized! 1/13.

Artists website launch, ARTS CONNECT PEOPLE magazine publication




Chapter 2




The Kickstarter project has ended with the support from 133 arts lovers. The project was supported not only locally by Pittsburgher arts lovers but also nationally by ones from Los Angeles, New York, and Texas, as well as internationally by arts lovers from South Korea.

ARTS MANAGERS The project was started by 8 graduates of Heinz College, Carnegie Mellon University. Even though the members are from various backgrounds, from Arts Management to Public Policy, from Business Administration to Communications, they have one thing in common: they care about arts.

58 ARTISTS Total 58 local Pittsburgh artists have applied to the project. Through a careful and prudent process of evaluation, the team selected 4 local artists: a photographers, a fiber artist, a playwright, and a performing arts instructor.



$18K The project was fully funded through Kickstarter and raised $18K. Thanks to the supports from all the arts lovers who believe in our cause, we were able to exceed the goal of $17K and start this journey!


All these things happened within only 25 days!

Chapter 3

MARKETING IAAAL PROJECT, LET’S CONNECT Our efforts to connect the arts lovers with the communities include various online marketing activities. The team created and maintained the project website as well as social media accounts to better communicate with our arts lovers and spread the words out. www.iamanartslover.com @IamanArtsLover /Iamanartslover



Chapter 4

CONSULTING & ARTISTS SERVICE DELIVERABLE 1: Artists online portfolio and Marketing strategy The I AM AN ARTS LOVER team provides direct support in the artists’ online portfolios by developing and/or refining their website and providing marketing strategies that will help the artists better promote their artworks and get the word out about themselves.







Artists point out that marketing and promoting their artworks is one of the most significant challenges they face in addition to a chellenge of making a living. How then do they manage the time to plan, network, and sell their works, while trying to make a living and find a decent amount of time for actually creating artworks? What can we do, as arts managers, to help them? As an answer to those questions, the I AM AN ARTS LOVER project aims to contribute to the arts sector by providing marketing consulting services and other assistance for artists for free, which will allow them to save money and time otherwise would have been spent on marketing, and to advance their careers as artists. To do this, the I AM AN ARTS LOVER project is comprised of the following three parts: consulting, product development, and publication.

Chapter 5

Chapter 6



DELIVERABLE 2: I AM AN ARTS LOVER T-shirts and badges The team wants to express sincere thanks to the Kickstarter backers with the I AM AN ARTS LOVER T-shirts and badges the team designed. The products will be delivered to the backers and artists to celebrate the end results of the project.

DELIVERABLE 3: ARTS CONNECT PEOPLE Magazine The team publishes the Arts Connect People magazine which introduces the selected 2014 artists as well as their works, shares interesting stories and insights from the arts managers, and talks about how other arts lovers enjoy the arts in Pittsburgh.

Words by Angela Bomin choi Angela Bomin Choi is editor of ARTS CONNECT PEOPLE magazine as well as project manager and co-founder of the I AM AN ARTS LOVER project. She recently received her Master of Arts Management degree from Carnegie Mellon University.







The word search puzzle is created with the names of our 2014 artists, the magazine, and the I AM AN ARTS LOVER project. We found the hidden word "artist" in the puzzle. (Wondering who are the selected 2014 artists? Their stories can be found in this section!) * Designed by Minwoo Yeom



TALENTS WORTHY OF SHARING “Arts Connect People is about offering you a look at the many talents residing here, sometimes right next door.”


rts Connect People is about building community, bringing artists to your fingertips and offering you a look at the many talents residing here, sometimes right next door. This summer, Arts Connect People put out a call for applications from local artists who would like to receive more exposure, not only through the Arts Connect People magazine, but also with establishing their web presence and creating a platform for them to share their works and thoughts. Several factors went into the selection process for these artists. First and foremost, we wanted to select candidates based on the quality of their work. As you will see, each of these artists displays talent worthy of sharing. Secondly, we wanted these artists to be able to reach out to the community with their works and have an impact. The messages and values they espouse through their works offer something for everyone and will no doubt invite you to learn more and engage further. We would like to present four artist from across the Greater Pittsburgh area, each contributing their own brand of creative force to the community. Their talents and motivations are many, and they span such disciplines as performing arts education, photography and print, playwriting, and fiber arts. We hope that by offering you the opportunity to meet these artists, you will be encouraged to seek out more local arts and artists, picking up the mantle of “Arts Lover”. Pittsburgh is full of hidden gems, and every neighborhood has a scene that could use your support! P.S. - Be sure to check them out online and support their work!

KELSON HEDDERICH is assistant project manager of I AM AN ARTS LOVER, who received his MS in Public Policy Management from Carnegie Mellon University. He can be found at First Fridays on Penn Ave. and wandering through Phipps Conservatory in Pittsburgh.



The instruction provided through EEPA provides a safe environment in which students learn to “trust their instincts” and stretch themselves creatively.


· Bring together people of all backgrounds · Foster confidence in the abilities and ideas of the individual · Encourage the individual to take artistic risks and stretch themselves · Show the value of team work · Inspire emotional, intellectual, and artistic growth


Artist Statement It is the goal of East End Perfoming Arts to bring an appreciation and understanding of music and theatre to the children and adults of the Pittsburgh’s East End and nearby suburbs. By interacting with like-minded classmates, it is our hope that students, regardless of age, realize that participation in the arts can:

Photograph by Yi Cao



TALK WITH JAMIE FAIR One Sunday afternoon, we visited the Wilkins School in Regent Square to see Jamie in action as she taught her students to deliver their lines with conviction. She discussed the philosophy that she applies to East End Performing Arts.


y theme, or philosophy, is to always to bring out the strengths in the EEPA students, while at the same time making the process fun. I believe that people will find more meaningful growth if they know what their strengths are as well as what areas they can continue to work on. I want to take people where there are and help them get to the next step in their development, on artistic and personal levels. I know that not everyone will grow up to perform in Carnegie Hall, but ANYONE can grow up and buy a symphony subscription or join a church choir. The arts can stay with you for life, and influence other areas of your being. For instance, a parent told me that they were flattered that their daughter got so many compliments on the poise and self-assurance she displayed while giving a speech at her bat mitzvah. This mother then explained that she credited the young lady’s ease and confidence at the podium to her years in my musical theatre class, learning to introduce her work to an audience, to be mindful of her pacing, and the ability to project her voice. It really touched me not only to hear such kind words about the content of my classes, but to know that a parent so wholly realized that her daughter’s involvement in the performing arts had an impact on one of the biggest days of her young life.

About East End Performing Arts East End Performing Arts (EEPA) opened its doors four years ago, and in that time it has grown along with its students. What began as one 90 minute class each week and a handful of private music students has begun to develop into a training program that now encompasses classes in musical theater, improvisation, and acting for grades two through twelve. The private studio is filled with hard-working individuals, each pursuing their own unique goals under the guidance of owner and instructor Jamie Fair. EEPA came into existence almost by accident. Jamie was teaching the lone acting class at a dance studio, and felt that the student population that came just for acting was being under-served. Around the same time, Jamie was at a social event, and a colleague began telling about her side business as a salsa in-



structor, and that she rented space at a converted school in Regent Square. Jamie visited the Wilkins School Community Center on her colleague’s recommendation, and suddenly, starting her own businesses seemed like it was within her reach. She had a need that needed to be filled, and a place to call home. She hopes to see EEPA continue to grow to meet the needs and interests of its student population, and to begin to build bridges with the community at large. Recently, EEPA was contracted to hold several acting workshops for Brothers of the Scottish Rite at the Pittsburgh Masonic Center. A new eight week workshop for high school students began this fall, in part to help local students learn how to prepare for auditions for high school and community theater productions. She doesn’t know where the next growth spurt will take her, but she is enjoying the ride.







1, 2,3 EEPA Jr Musical Theatre, 2011-2014, The Wilkins School Community Center. 4 EEPA Improvisation, 2014, The Wilkins School Community Center. 5 EEPA students learning about elements of costume design, 2014, The Wilkins School Community Center. 6 Spring 2014 Presentation of Student Work, 2014, The Wilkins School Community Center. * Photo courtesy of the artist



Teen Theatre Workshop, November 2014, The Wilkins School Community Center. Photograph by Yi Cao

Eighth Grade Graduation for three students with EEPA since its inception, May 2014, Community Day School. Photo courtesy of the artist.



ABOUT `CREATIVE PROCESS` WHERE DO YOU GET YOUR INSPIRATION? Lots of places: from conversations with students about how their work at EEPA has helped them, from kind words or advice from friends and family, and in watching and studying great live performers. Passages from favorite books stay with me, too. Loudly singing along to GLEE soundtracks in the car once in a while doesn’t hurt, either. PLEASE TELL US MORE ABOUT YOUR CREATIVE SPACE. The Wilkins School has a large multi-purpose room on the bottom floor, like many old school buildings do. This “big room,” as they call it, has a stage and piano. It has been a great resource in learning how to fill a room with your voice as an actor and a singer. I teach private lessons out of my home, and sometimes hear my neighbors humming a tune that one of my students was working on, which always makes me chuckle.

THEME TALK `CONNECT` HOW DO YOU CONNECT YOUR ARTWORK TO PITTSBURGH? From a practical standpoint, I make sure students know about any Pittsburgh connections to their current projects, such as if the composer lived here, or an actor who made a role famous got their education at one of the local universities. DO YOU HAVE ANY CREATIVE PROCESS THAT IS RELATED TO THE THEME CONNECT? One challenge of being a musician or actor is that so much of our work must be done alone: memorizing lines, practicing a piece at the piano, or listening to a recording of your last voice lesson. In an attempt to promote a family atmosphere, I organize group outings to cultural events at least once a year. In group classes, I purposely try to avoid putting students who know each other outside of EEPA in the same scene, so that they are able to get to know an unfamiliar face, hear new ideas, and be exposed to a different work ethic. WHAT IS YOUR DEFINITION OF CONNECT? Finding common ground. Realizing that you are not alone in what you do. Belonging. HOW WOULD YOU USE THE WORD CONNECT IN A SENTENCE? The arts have the power to CONNECT people on a mental, emotional, and spiritual level. When a line from a play, or a phrase of music from a sonata resonates deep within you, it has the power to CONNECT you to yourself and the world around you in a deeper way than you ever imagined.

Let’s Connect www.EastEndPerformingArts.org Jamie@eastendperformingarts.org /EastEndPerformingArts /EastEndPerformingArts



Photograph by Randy Pearson

Artist Statement



My primary focus through photography has been the exploration and challenge of how we traditionally define the process of image making through the use of light and capture. I’ve come to find, through my own work and through the inspiration of other artists working in diverse mediums, that there is much more to be discovered through photography than what first meets the eye. My primary interest lies in deconstructing the aspects and expectations of photography and allowing the basics of the medium to reveal themselves in different formats. Through challenging the perception of the medium through exploring different output and installation techniques, the concept of "image as object" quickly becomes a driving force behind my approach to image making. Working with a diverse set of tools — scanners, editing software, old expired film, analog cameras, alternative printing and display practices and more — I have taken the ordinary and through thoughtful construction, hope to represent it to the world in a format we do not expect — one that makes us reconsider the everyday and what we know, believe, and hope for. My experiments with images lend themselves to ask for more interpretation by the viewer than normally expected. This effect and process is one that I enjoy and is integral to the life of any of my objects. Allowing and promoting the need for the audience to bring their own experiences and interpretations into the work integrates the viewer. This experience is a rewarding and unique one that helps to power all of my work.

TALK WITH LAUREL MITCHELL We caught up with Laurel one evening at the Carnegie Museum of Art. She brought us to a quiet corner of the museum where she told us a story of her on-going projects and the vision that drives them.


currently am balancing my time between three different projects. All three are rooted in photography, but each has it’s own very different application and life past that. One project is more traditional, the second starts with photographs but then branches into experimental printing, and the third only is a fusion between photography, installation and collaborative collecting. My first and most portable project is a simple photojournalistic approach to documenting forgotten or uncommon spaces throughout Western Pennsylvania. So far the main outlet for these images has been through social media and I anticipate these images playing a strong role on my website soon. As I have for years, I continue to simultaneously work on abstract photographs that are then further deconstructed through their printing and/ or installation. I also am continually working to explore my fascination with the act of collecting, deconstruction and installation art through an ongoing fortune cookie project that I embarked on during my time in Distillery 6. The differences in these projects allow me to always pursue a creative idea, no matter what I may be working on at the time. Because I so rarely have large chucks of time to solely dedicate to one project or idea, having several projects at once affords me the opportunity to always be working, brainstorming and experimenting. It also allows me to continually incorporate new ideas to the best project that is applicable at the time.

About Laurel Mitchell Laurel is an emerging artist, originally from Volant, PA. Graduating summa cum laude with a B.A. in Studio Art & Photography from Slippery Rock University, Laurel has exhibited work and placed in numerous regional juried exhibitions and also been showcased in three solo exhibitions in and around Pittsburgh -- Letting Go and Play of Light, and Running Colors. Laurel was also a member of Distillery 6 -- an 8-month long artist residency program through the Brew House Association on the South Side of Pittsburgh. Trained in traditional black and white photography, a large portion of her work is based upon experimental techniques with this method of image making. Professionally, Laurel is the Manager of Rights, Reproductions and Photographic



Services for Carnegie Museum of Art. In this role she is responsible for overseeing all photography content related to documenting the collection, exhibitions and events. She oversees a team of imaging staff and works closely with curatorial staff, editors and graphic designers. Through her experience as an artist, coupled with her professional experience of helping to produce publications and exhibition materials, Laurel’s work is continually fusing the two worlds of fiber art photography and commercial output production. She hopes to continue to explore alternative ways of bringing photography to new audiences through less conventional techniques. Additionally, she plans to produce photographic-based work for installations and socially integrated projects.






1 “Down From Here,” 2008, 120mm film printed as archival inkjet print, 22” x 22” 2 “Where Does Summer Go?,” 2011, Peel-apart Polaroid print as archival inkjet, 8” x 10” 3 “Send in the Clowns,” 2008, 35mm film printed as archival inkjet print, 22” x 22” 4 "Domestic Snapshot," 2008, Peel-apart Polaroid print as archival inkjet, 12” x 18” 5 “Renewal,” 2008, 120mm film as archival inkjet print, 8” x 20” * Photo courtesy of the artist.



Artist's office, 11/9/2014, Carnegie Museum of Art. Photograph by Bryan Conley.

Artist portrait, 10/7/2014, artist's residence. Photograph by Christine Rothgeb.



ABOUT `CREATIVE PROCESS` WHERE DO YOU GET YOUR INSPIRATION? I tend to take inspiration from a variety of sources, some of which are directly related to art and others are more unrelated upon initial examination. Other artists and designers play a huge role in influencing my work. Alternatively, I take great inspiration from nature, especially nautical settings. PLEASE TELL US MORE ABOUT YOUR CREATIVE SPACE. As I do not have a proper studio, my creative space is any place that is inspiring, a tabletop, a computer and where a camera is present. I shoot almost primarily outdoors and with all natural light. My editing space is contained to my computer and also to local printers that help me to develop and output my work.

THEME TALK `CONNECT` HOW DO YOU CONNECT YOUR ARTWORK TO PITTSBURGH? I like to think that my work connects to all audiences, both in and outside of Pittsburgh. When my images are derived from the city it is especially fun to watch an audience connect to my images and discover a familiar place or scene that is from their city shown in a way that they’ve never seen before. DO YOU HAVE ANY CREATIVE PROCESS THAT IS RELATED TO THE THEME CONNECT? I’ve always used art as a way to process ideas and topics that have great importance to me. Placing those related images in front of an audience is a way to reach out to someone else and see if they have a different way of relating to what I am expressing. Learning their views and seeing how that relates to mine is an eye opening experience that very much makes me feel connected to the viewer and hopefully offers the same reward in return. WHAT IS YOUR DEFINITION OF CONNECT? Connect is about that “ah hah” moment with another person, when a simple thing clicks and becomes tangible and real to them.

HOW WOULD YOU USE THE WORD CONNECT IN A SENTENCE? One of my biggest rewards as an artist is to see someone connect with my work. When a viewer finds their own narrative in my vision I feel that I have successfully connected to them.

Let’s Connect www.LaurelMitchell.net lbmit@hotmail.com /lbmit73



Photograph by Randy Pearson

Artist Statement



All of my work relates to the theme of connection in one form or another beginning with the feminine tradition of patchwork and quilt making. In essence to make a quilt you need to connect the three layers together with a quilting stitch. The very art form itself is a social activity which originated with quilting bees and developed into organized guilds where members connect to share information freely and work is admired in meetings and quilt shows. Drawing from this rich and shared history of creating a functional object intended to provide warmth and comfort, I use the medium as a platform to present ideas about current events. Because I choose fabric as my primary material I can establish an immediate connection through shared experience, we all need to wear clothes we all need to stay warm. By manipulating, pattern, color and texture using a universal material in an unexpected way I create a safe space in which to challenge long held beliefs and assumptions.

TALK WITH PENNY MATEER One chilly Wednesday evening in early November, we paid a visit to Penny’s home and studio, the 3rd floor of her house in Squirrel Hill. She invited us to see her space and listen to the stories of her latest inspirations.


continue to develop my ongoing Protest Series. This series grew out of my reaction to the Iraq War and prompted me to question what if anything did we learn in Vietnam? Are we making some of the same mistakes? How is history repeating itself? What did the 60's teach us? In the 1960's protest music was a very important motivator and the lyrics rang true. I am strongly influenced by the artwork and music of that time and began this series as a vehicle to merge the two art forms. The title of each piece is a protest song, sometimes verbatim sometimes a play on the title or lyric; for example All We Were Saying instead of Lennon's “all we are saying” (from Give Peace a Chance). I am about to begin #13 to be determined pending the outcome of the midterm election. In addition I continue to make newspaper collages as a way to interpret daily events. I began this practice after my father died when I struggled to spend any meaningful time in the studio. To jumpstart my creativity I decided I needed to work in a different way using a medium that did not involve stitching and was not as labor intensive. My daily routine begins with reading the newspaper. In the midst of political unrest and hardship there is also possibility and wonder to be found within the pages and I am always wowed by the photojournalism. So I began to think about what I could do with a newspaper to both call attention to its fantastic images and at the same time engage myself in a new process. My solution was to make small newspaper collages and slowly I started to embrace my work again. Much of my current work grows out of these collages.

About Penny Mateer Penny Mateer’s trajectory is somewhat serendipitous. She attended Hampshire College and primarily studied psychology but during that time was involved with a small theatrical production and fell in love with theater. After she graduated, she felt ill prepared to enter into clinical work at such a young age so she began to work backstage doing anything from properties to stage management at the Pittsburgh Public Theater. During that time, she produced Quilters and although she had learned to sew and embroider as a little girl, she made her First patchwork for the production. After a few years of theater and some Film work, Mateer decided to return to school and resume her studies in clinical psychology. She entered into the masters of social work program at the University of Pittsburgh, graduated with a MSW and was hired as the



clinical social worker for The Pittsburgh AIDS Center for Treatment. While there, she started to make quilts as gifts but thought of them as purely utilitarian. After some years, the epidemic began to take a personal toll so she left her position to her life goals and found herself drawn to quilting. She began to immerse herself in Fiber arts. It wasn’t until she made a quilt of the City of Pittsburgh for her father that she began to see the potential for quilt making as a way to address social issues and she hasn’t stopped since. Her role as a social worker with people with HIV/AIDS prepared her to confront uncomfortable attitudes and assumptions and compelled her to understand and translate her feelings through artistic expression. It informs all of her work as she was a dedicated advocate for her patients. Her strength in her art comes out of that experience.







1 “The 180 - Pound Gorilla in the Operating Room” NY Times 10/16/2013, 2014, Collage, Fine, 58" x 80" 2 (For God's Sake) We Go To Get More Power To The People #12 Protest Series, 2014, Quilt, 76" x 76" 3 "From a Nest of Rhythm Teaching the Young to Fly" NY Times 1/29/2014, 2014, Collage, Fine, 60" x 80" 4 "For New Urban Trend, Look Back 50 Years" NY Times 2/17/2014, 2014, Collage, Fine, 60" x 80" 5 "Pondering How Tales are Told" NY Times 4/3/2014, 2014, Collage, Fine, 80" x 60” 6 Everybody look what's goin down… #11 Protest Series, 2012, Mixed, 63" x 86" * Photo Courtesy of the artist. Photograph by Tom Fitzpatrick.



Artist's studio, 2014, artist's residence in Squirrel Hill. Photograph by Randy Pearson.

Artist training Knit the Bridge, 2013, The Spinning Plate Gallery. Photograph by Deborah Hosking.



ABOUT `CREATIVE PROCESS` WHERE DO YOU GET YOUR INSPIRATION? The majority of my work is driven by my reaction to our political climate and cultural and world events. Typically I am compelled to create work to call attention to an issue. I strive to produce the work in such a way as to encourage the viewer to think and if I am successful promote discussion. PLEASE TELL US MORE ABOUT YOUR CREATIVE SPACE. My colorful studio is on the third floor of our home and is packed to the rafters with fabric, notions, sewing machines, toys and all manner of materials some organized others not so much. Embroidery by family and friends adorn the walls and art books are nestled next to quilt technique and how-to books on the shelves. Center stage is the design wall hung from re-purposed x-ray curtain tracks salvaged from an old hospital. It swings open to reveal my fabric stash or closes for use as a design wall. It all fits together like a puzzle and is arranged to use the maximum of the space.

THEME TALK `CONNECT` HOW DO YOU CONNECT YOUR ARTWORK TO PITTSBURGH? As a Pittsburgher born and raised my artwork connects to this city in ways both deliberate and subconscious. Whether it is through the examination of my family history in my series Things We Found in our Parent’s House, or my depiction of downtown in a quilt or by honoring one of our iconic structures the Andy Warhol Bridge as co-director of the wondrous community made fiberart installation Knit the Bridge, the ‘burgh is ever present. But most importantly it is through the amazing connections I have made here in this city that I continue to grow and develop as both an artist and a person. DO YOU HAVE ANY CREATIVE PROCESS THAT IS RELATED TO THE THEME CONNECT? The very act of creating a collage directly relates to the shows theme. It begins with the response I have to photographs in the newspaper. It then moves to how I merge the selected images together to create a composition with visual impact. It culminates with how the collage either resonates with the viewer or at least has an impact. WHAT IS YOUR DEFINITION OF CONNECT? To connect is to operate as a catalyst which causes someone to focus attention upon a particular topic. Through the use of compelling images, colors and textures you can capture the viewers attention which can lead toward further consideration of the subject matter itself. HOW WOULD YOU USE THE WORD CONNECT IN A SENTENCE? My first experience as a co-chair for the Fiberarts Guild of Pittsburgh was for an exhibition entitled Making Connections – I have not stopped connecting with an amazing group of individuals since.

Let’s Connect www.PennyMateer.com penny@pennymateer.com /Fiberarts-Guild-of-Pittsburgh



In my work, I strive to make connections between local and global, personal and political, the interior dreams of a character against the backdrop of family as a metaphor for the larger world.


I also write plays rooted in my community. Lost Boy Found in Whole Foods is about a mother who meets a “lost boy” from Sudan and opens up her home and her life to help him. This play takes place in Pittsburgh and came directly out of my experience working with Sudanese refugees when they first arrived here and witnessing a revelatory moment between a Sudanese young man and a middle aged white woman in the Whole Foods in my neighborhood. The Music Lesson was inspired by musicians who fled the war in Sarajevo to make a new life in Pittsburgh and was born when a couple from Sarajevo moved next door and shared their stories of survival. Soldier’s Heart was triggered by meeting a young woman who left her kindergarten aged child to serve in the Middle East. My new play entitled Molly’s Hammer tries to connect many of these themes into a play about an ordinary woman, a wife and mother from Pittsburgh who made history when she took a hammer to the nosecone of a nuclear warhead.


Artist Statement A critic once described my work as “looking at history [and the world] through the microscopic lens of family.” While this is ostensibly true, I more specifically write about women, most often mothers facing pressures and conflicts in their personal lives and relationships as a result of larger global issues in which we all live now. In this broader context my work falls into two categories, one, in which war is a backdrop (Pig, The Boundary, The Music Lesson, In the Shape of A Woman, Lost Boy Found in Whole Foods), and second, plays that focus on the different stages of a woman’s experiences, (A Confluence of Dreaming, Dark Part of the Forest, Babies Blues, Lindsey’s Oyster). My characters are bewildered and terrified new mothers, middle aged wives veering off from their chosen life’s path or teenagers entwined in complex relationships with their mothers and each other.

Photograph by Yi Cao



TALK WITH TAMMY RYAN In early November, we visited the 3rd floor of Tammy’s home in Shadyside, a cozy office where she brings her stories to life. She told us about her most recent work, Molly’s Hammer.


n 2013 I received an Investing in Pittsburgh Artists Region Grant from the Pittsburgh Foundation and Heinz Endowments to support the creation of a new work entitled Molly’s Hammer. My play Molly’s Hammer is an adaptation of the book Hammer of Justice by Liane Ellison Norman about local peace activist and co-founder of the Thomas Merton Center, Molly Rush. In 1980 Molly as part of the Plowshares 8 went into a G.E. plant in King of Prussia, PA and damaged the nosecones for two nuclear warheads, poured blood on documents in protest of weapons of mass destruction, was arrested and went to trial. She committed this act of civil disobedience as an ordinary housewife and the mother of six children because she felt that the world was on the brink of nuclear annihilation and that her actions in King of Prussia would call attention to the imminent danger she believed the world was facing. She was willing to go to prison for her beliefs despite the initial objections of her husband and family, and community. In re-telling Molly Rush’s story in my play, I revisit many recurring themes in my work, how does a woman move from within a marriage to taking action in the larger world, what is she prepared to do to keep her children safe, how does a woman communicate her passions to people who can’t hear her story? What are our obligations not just as women, but as human beings to have agency in the world? One of my first plays that I began while still a grad student at Carnegie Mellon University was In the Shape of A Woman, a play about Joan of Arc. Molly Rush is not a Saint and neither perhaps was Joan, but she understood, like Joan did that the status quo, the law, depends on our obedience to it. No matter how we feel about the injustice and atrocities in our world, the only thing that matters is what we do to change them.

About Tammy Ryan Tammy Ryan's plays have been performed across the United States at such theaters as The Alliance Theater Company, Florida Stage, Marin Theater, Dallas Children’s Theater, The Dorset Theater Festival, Stamford Theater Works and 29th Street Rep among others. In 2012 she won the Francesca Primus Prize from the American Theater Critics Association for her play Lost Boy Found in Whole Foods, which was developed at the New Harmony Project in 2009 featured at the National New Play Network's National Showcase of New Plays and premiered at Premiere Stages and Playwrights Theater of New Jersey in 2010. Soldier’s Heart, her play about sexual assault in the military premiered at The Rep at the Pittsburgh Playhouse last season and received its New Jersey premiere this past summer at Premiere Stages. Tar Beach, named a finalist for the Terrence McNally Playwriting Award, The Source Theater Festival and a Jane Chambers Playwriting Award honoree was included in the 2014 edition of The List compiled by The Kilroys as “one of the most excellent new plays by female-identified authors of last year” and will have its world premiere at Luna Stage in April 2015.



Ryan has received fellowships from Hambidge Center, Virginia Center for the Creative Arts and the Sewanee Writers Conference and her work has been developed at the New Harmony Project and The Lark. She has twice won the National Playwriting for Youth Bonderman Award. Other honors include the American Alliance of Theater in Education’s Distinguished Play Award and the Pittsburgh Cultural Trust’s Creative Achievement Award as an Emerging Artist (now the Carol Brown Award). Last year she received an Investing in Pittsburgh Artists Region Grant from the Pittsburgh Foundation and Heinz Endowments to support the creation of a new work: Molly’s Hammer an adaption of the book Hammer of Justice about peace activist Molly Rush. She is also currently at work on the libretto for A New Kind of Fallout in collaboration with composer Gilda Lyons, commissioned by Opera Theater of Pittsburgh scheduled for production in Summerfest 2015. Ryan’s plays are published by Dramatists Play Service, Broadway Play Publishing, Inc. Dramatic Publishing Company and Playscripts. She is a member of the Dramatists Guild of America.







1 "Lost Boy Found In Whole Foods," 2011, Production poster. Courtesy of Pittsburgh Playhouse. 2 “Lost Boy Found in Whole Foods,” 2011, Production photo. Courtesy of Pittsburgh Playhouse. Photograph by Drew Yenchak. 3 "Soldier's Hear," 2014, Production poster. Courtesy of Premiere Stages. Logo design by Chris Holden. Photographer by Mike Peters. 4 “Soldier’s Heart,” 2014, Production photo. Courtesy of Premiere Stages. Photograph by Mike Peters. 5 "Confluence of Dreaming," 2010, Production poster. Courtesy of Pittsburgh Playhouse. Photograph by Drew Yenchak. 6 “Confluence of Dreaming,” 2010, Production photo. Courtesy of Pittsburgh Playhouse. Photograph by Drew Yenchak.



Artist's studio, 11/5/2014, artist's residence in Shadyside. Photograph by Yi Cao.

Artist portrait, 11/5/2014, artist's residence in Shadyside. Photograph by Yi Cao.



ABOUT `CREATIVE PROCESS` WHERE DO YOU GET YOUR INSPIRATION? Ideas are a dime a dozen. I never have a problem with inspiration. Just waking up in the morning and getting through the day presents all of us will a thousand and more stories. The challenge for the writer is the problem of selection and, of course, time. There is a que of potential plays wrapping around my life waiting their turns to be told. I know I won’t get to all of them, so I try to focus on telling the one first in line. Then the next one.

PLEASE TELL US MORE ABOUT YOUR CREATIVE SPACE. Virginia Woolf’s famous quote that a woman must have a room of her own in order to write has become a cliché though it is no less true. One of my first tasks in becoming a writer was to learn how carve out the space and time in my life to write. I’m lucky that these days I do have a room of my own, tucked up on the third floor of my old house. It is not always ideal -it is drafty in the winter and hot in the summer -- but it does have a door, which when closed only the bravest child or husband will dare to knock on – and only if they have a good reason.

THEME TALK `CONNECT` HOW DO YOU CONNECT YOUR ARTWORK TO PITTSBURGH? I sometimes feel like I’m an exile from the place I originally came from (Queens, New York.) But my children are native Pittsburghers and so are my plays. Many of my plays take place in Pittsburgh, all of them have been written here. WHAT IS YOUR DEFINITION OF CONNECT? I see theater as a desire for connection. A play begins in conflict and characters struggle to move through patterns of change to find a connection with each other or within themselves and when they do that moment is often sublime. The audience has been taken on a journey to arrive here at the promised end, and when they connect with what’s happening onstage, often no words are necessary.

Let’s Connect

www.TammyRyan.net TammyRyanPlays@gmail.com








The word cloud is created from answers from 19 arts professionals to the question “What is your definition of Arts Management?� It shows which words arts professionals associate with and how strongly they associate with Arts Management; impact, passion, opportunities, connect, artists, audiences, makers, and more. (Wondering what their answers were? They can be found in the next page!)



BRIDGES CONNECTING ARTS TO PEOPLE “The core of the arts managers’ role is to help people experience a wide variety of arts, and to help artists communicate with the public through their works.”


rts Connect People. This theme reflects our belief that arts connect creators with enthusiasts stronger than any other communication channels. More importantly, however, this concept is our answer to the fundamental consideration of the role of arts managers. The growth of the arts industry greatly aroused an interest in Arts Management, as a large portion of the value in the industry is created from the management of such needs as marketing, finance, human resources, and insurance. This magazine is asking you to examine such fundamental questions as “What is Arts Management?” “What do arts managers do?” and “What are arts managers bringing to the art industry?” The core of the arts managers’ role is to help people experience a wide variety of arts, and to help artists communicate with the public through their works. In this sense, we – arts managers – are bridges connecting arts to people and to the community. The effort of writing and editing this section ‘We want to SHARE’ helped me find an answer to the long-held question I had: what is the definition of Arts Management? How would arts managers define their roles and responsibilities? We asked for some personal input from 19 arts managers around the city and the country to inspire you to rethink not just what arts managers do, but how and why. If you crave more inspiration, we are also sharing an interview series with three arts managers responsible for shaping the future of the Pittsburgh arts scene. They shared their insights on the roles and responsibilities of arts managers from various sides of art industry: arts organizations, government, and foundations. I hope this section can open a dialogue in your community about arts managers and what they really contribute to the arts industry.

ANGELA BOMIN CHOI is Project manager and editor of Arts Connect People Magazine as well as project manager of I AM AN ARTS LOVER, who recently received her Master of Arts Management degree from Carnegie Mellon University.




Noticeably, the term “Arts Management” or “Arts Manager” was repeatedly used throughout this magazine. Why are we talking about Arts Management? What is Arts Management and what does that even mean? This September, I started asking arts professionals – locally as well as nationwide – the following long-held question: what is your definition of Arts Management? I was amazed as I found out how many different ways Arts Management can be defined depending on the person, their perspective, and their background. Now, it is your turn. I want this collection of answers and perspectives of the arts professionals to be inspirations for you to answer yours. There are a million other ways to define Arts Management, so as you read through their insights I want you to think about and answer the same question that I asked them asked them: How would you define Arts Management?





Director, Master of Arts Management Program at Carnegie Mellon University

President and CEO, Pittsburgh Cultural Trust





Arts Management is combining creative passion with a practical purpose

An arts manager helps to enable artists and their work to be experienced by people



Dean, College of Fiber arts at Carnegie Mellon University

Executive Director, Pittsburgh Ballet Theatre





Arts Management is providing a supportive environment and nurturing opportunities for artists to explore and develop their inspirations, and facilitating the engagement of those artists and their works with eager, well-prepared audiences, ultimately expanding the impact of arts and culture in our society

Arts Management through its myriad functions ultimately provides the currency to connect the products of poetic human expression to the arenas of business and markets.



Artistic Director, Quantum Theatre

Executive Director, Contemporary Craft





Arts management provides the structure to serve the artist(s) and so enables their work.

Arts Management is theory and passion seasoned by experience to achieve leadership that ensures best use of resources for impact, innovation, and sustainability.






Curator of Education, Carnegie Museum of Art

Executive Director, Attack Theatre





Arts Management is the process of designing and implementing opportunities for audiences to have meaningful experiences with original art



Public Art Manager, Department of City Planning of City of Pittsburgh

Curator / Visiting Lecturer, University Art Gallery at University of Pittsburgh


Arts management, for me, is one part conservator, one part curator, one part legislator, and two parts community planner



Arts Management is about helping people to connect to art



Adjunct Professor, Master of Arts Management Program at Carnegie Mellon University

Research & Policy Director, Greater Pittsburgh Arts Council





Managing the arts is about supporting and enabling the vision of the artist and interpreting and promoting that vision for the public and the patron while insuring the fiscal health and community relevance of the organization


Arts Management is providing makers the time, space, and support to excel at creation

Arts management is the artful, data-informed application of programmatic, financial, operational, and advocacy principles and strategies that effectively and equitably advance continuous improvement in the work of creative, interpretive, and teaching artists that engages multiple, diverse participants and in turn serves as civic and economic assets for our communities




Attorney at Law / Shareh older, Buchanan Ingersoll & Rooney PC

Educational Programs Manager, Office of Public Art


Arts Management is understanding the “business of art� while retaining a passion for the art

ANDREW BAE Founder & CEO, Andrew Bae Gallery www.andrewbaegallery.com

www.pittsburghartscouncil. org/public-art

Arts Management is the production and maintenance of environments in which creativity can flourish

J. DENNIS RICH Chair Emeritus, Arts, Entertainment, and Media Management at Columbia College Chicago www.colum.edu @ColumbiaChi

Nurturing art embraces environment for creativity thus consequently enlightens humanity

Arts managers make the work of the artist possible



Senior Program Officer, The Heinz Endowment

Principal, WolfBrown




Arts management is about leading organizations, making sure they are sustainable, making sure they are either growing or not shrinking, raising money, and managing people

EILEEN MEDDIS Consultant, Human Resources Solutions

An arts manager spends half her time convincing other people that her best ideas are theirs, and the rest of her time thanking them

Interview & Words by Angela Bomin Choi ANGELA BOMIN CHOI is editor of Arts Connect People Magazine. She defines Arts Management as follow: Arts Management is enriching the community by connecting art, artists, and audiences.

Arts Managers are compassionate collaborators.




PHILANTHROPY AND NEIGHBORHOODS An Interview with Justin D. Laing, Senior Program Officer, the Heinz Endowments

Justin is a Senior Program Officer of Arts and Culture at the Heinz Endowments in Pittsburgh, PA. We sat down together one Monday morning to talk about arts, social justice, and community engagement in philanthropy.

Working in Philanthropy Kahn: Can you tell me a little bit about your job, what do you do every day?

manage any people, and our organization doesn’t create art.

Laing: I do a lot of different things every day. I do a good amount of work focused on bringing more of our money into arts experiences for youths in African American neighborhoods, slash distressed neighborhoods. I work with organizations like the one I came from that are under $250,000 annual budgets. Our organization was a little bit bigger than that, but was in that space. I also do work focused on African American men and boys, and some with the big organizations as well - so it's a range of different kinds of work.

Kahn: What's the biggest challenge of working in a foundation?

Kahn: Would you describe yourself as an arts manager? Laing: I wouldn't say I am an arts manager. I used to be. I used to call myself and "artstrator", so I was both a practicing artist myself and I also managed the company. And now I wouldn't say I'm an arts administrator, I would say I'm in the administration sector of the arts, not part of the arts world. Being a Program Officer is not arts management in the same way. Kahn: What’s the main difference? Laing: I think arts management is about leading organizations, making sure they are sustainable, making sure they are either growing or at least not shrinking, raising money, managing people, all those things. I did that in my prior work, but this job doesn't require any money raising, I don't


About Funders


Laing: There's lot of challenges, but a significant one is building trusting working relationships when there are significant power disparities in that relationship. That’s a challenge I am trying to work on now by looking for different kinds of models that other colleagues are using, such as a collective decision making model used by a group called the Edge Fund in England and taking more suggestions from grantees on such issues as reporting on their prior grants.

Kahn: What do you think are the main differences of working as an arts funder in a foundation as opposed to in a government agency or a corporate setting? Laing: Working in private philanthropy we often have more flexibility than one might working in the public sector as we are not held to same kinds of expectations that one must meet working for the government. Also, with so many cuts to state budgets, depending on the size of one’s foundation there can be more resources. Kahn: How do you set priorities in a foundation, if not by these legal terms or external forces? Laing: We pose strategies to our board and these strategies are built on the larger ideas of the organization, if approved these strategies than set our prioroites. Much of our work these days is based on offering strategies to our board that reflecs our conversation with the field.

“Arts management is about leading organizations, making sure they are sustainable, making sure they are either growing or not shrinking, raising money, managing people, all those things.”

Collaboration and Community Engagement

Neighborhoods and Values

Kahn: How often do you collaborate with peers at other foundations? Not necessarily to develop programs, but to share knowledge and best practices.

Kahn: I know you work a lot on social justice, how is working for social justice in the arts different to working on, for example, there's a lot of foundation work on environmental things, or science. What's something specific to the arts?

Laing: Quite a bit actually, I'm on the board of Grantmakers in the Arts and I partner with colleagues at Heinz and in the local community so I learn a lot from collaboration actually. Kahn: Can you cite something that you learned through that process? Laing: Yeah. This past weekend I was at the Facing Race Conference, and when I first went to Grantmakers in the Arts, seven years ago, they had a pre-conference on social justice, and they had presenters who are related to the racial justice work in philanthropy. That session influenced my thinking a lot, and I have done a lot of things following their suggestions. In the Arts and Social Justice Working Group there's a critique of philanthropy that it's not sufficiently transparent and that the power differential between the foundation and the grantees is so great that it causes problems. Being around that conversation has influenced my thinking to be more flexible and open to ideas from the colleagues who are actually carrying out the work on the ground. Kahn: Has that reflected on the grant guidelines themselves? Laing: There is a process we are working on now called the Transformative Arts Process that we started in November 2012 with more than 20 community members, and that involved asking the question of how can the arts be transformative in distressed neighborhoods. The answers they came up with had a good amount of influence on what we did. We made grants differently, brought different voices to our board, provided data to the community on our prior grantmaking and I know I learned a great deal from the process.

Laing: I am not sure how's it different, but I do have an idea of how it relates to these others issues. This past weekend at this conference [Facing Race] the Interaction Institute for Social Change gave this great presentation on systems thinking. In the model they presented we have an event, and below the event we have a pattern, and below the pattern we have the institutions and structures that created the pattern, and below that we have mental models upon which the institution sit and at the bottom of all of this there are institutional and cultural values. And so what we typically focus on is an event, but behind that event there is so much else going on, and if we want to think about the role of arts and culture in larger social justice work one way to do that is to think of the role of the arts in representing and shaping cultural values and then how these values eventually turn into events. Taking this to the non profit arts community, we can see from a funding perspective how there are certain values re: what kind of culture should be the significant culture, the defining culture of our urban centers, so obviously the ques­tion of how values turn into arts grantmak­i ng priorities is a SJ question and I think that question is being raised in communities and its trending up among grantmakers as well. Kahn: Do you see public art in neighborhoods as one of the tools you can use to achieve this? Laing: I do. I think we still have a lot of discussion about what's the difference between 24/7 visible art, and public art. So because you can see the piece of art all the time, does it make it, by nature, public? Was it created with public input? Did the public have choices? So if I'm an artist and I place work in a community, it’s visible, but I don't know if there should be a higher standard to what is called public.

Kahn: I guess it becomes more important when you're talking about public space. Do you think the community should be more involved in this process? Laing: I don’t think it’s about simply saying, "What do you want?" Because if communities don't have much experience, then they don't have a choice. I have heard of some processes where arts leaders ask communities, "What kind of things move you?" And then say, oh you might like this artist, or this artist, or this artist. And give them choices. That feels right to me. Kahn: So, is that the way your work functions? You see a need in the community, you find the organizations that are addressing that need, and then you fund them? Laing: Well, I come with a certain set of biases but hopefully our work is supporting a range of arts voices so that an increased number of people in the community are able to find artists that reflect their interests and ideas, while also being introduced to others that might have otherwise escaped their attention.

“If we really want to affect people’s culture, you have to do it where they spend the most time, which is in their home… So we should put more emphasis on neighborhoods.”

Interviewee & Interviewer JUSTIN LAING is a Senior Program Officer of Arts and Culture at the Heinz Endowments in Pittsburgh, PA.

GRACIELA KAHN recently graduated from Carnegie Mellon with a Master of Arts Management. Before moving to Pittsburgh, she worked as a project coordinator for exhibitions in Monterrey.




PUBLIC ART AND COMMUNITIES An interview with Morton Brown, Public Art Manager, City of Pittsburgh

Public art is connected to people’s everyday lives. Public art can be found on streets that you pass every day, in a park you stroll through every week, outside the library you visit every month, and yes, even outside PNC Park where you cheer every season. Public Art Manager, Morton Brown is one of the arts administrators responsible for identifying and promoting public art opportunities in Pittsburgh. A selection of questions was posed to him by his former intern, Angela Choi. He shares his insights on Arts Management and his vision on the City’s public art collection. He emphasizes that commissioning or locating public artworks is all about context; the community is the most important factor that should be considered. MORTON BROWN is Pittsburgh’s Public Art Manager and also a staffer for the City’s Art Commission. Originally from Arkansas, Morton worked as a mural artist with the City of Philadelphia Mural Arts Program, while completing his Master of Fiber arts in painting. After moving to Pittsburgh, he also worked with the Sprout Public Art Program and Pittsburgh Citiparks. Currently, as the Public Art Manager, he identifies public art opportunities and maintains the City’s public art collection.

ARTS MANAGEMENT How would you defiber arts Management? Arts management, for me, is one part conservator, one part curator, one part legislator, and two parts community planner. What is the most important quality to have as an arts manager? Patience. Perseverance. Arts management, be it within public or private sector, is never about quick fixes but rather about due processes in government and community engagement—as a best practice What is the most important role of arts managers in the arts industry? For me, it is in the maintenance for existing artworks and the planning and implementation of new works and programs. Planning and ensuring equitable distribution of new artworks among underserved communities is also both key and challenging. Moving toward more temporary artworks and programs is our current vision and practice, because this would allow more artists and opportunity, and more neighborhoods the benefit of art and social engagement that sometimes is not present with static, permanent pieces of art.



Artist designed pedestrian bridge that connects two neighborhoods Sheila Klein, “Shady Liberty,” 2014. Photo courtesy of the City of Pittsburgh

THEME TALK: ARTS CONNECT PEOPLE What kinds of programming does Department of City Planning provide to CONNECT people with arts/artists? We are engaging in temporary art programs currently, in order to facilitate more bold and interactive/social engagement-type pieces and also removing the somewhat burdensome problem of maintenance. We’ve begun a pilot, three year temporary public art program in Market Square (one artist in each of the three years) which we hope to maintain while also replicating this model and process within select underserved communities within our 90 neighborhoods in the near future and on an ongoing basis. What is your role as Public Art Manager in CONNECTing people with arts/artists? Any and all public art projects on City property, and those that are offered/commissioned by the City will always engage residents in the selection and implementation of artists and artworks for those opportunities. Additionally, our nonprofit partner, the Office

Market Square Public Art Program KMA, “Congregation,” 2014. * Photo courtesy of Jen Saffron.

of Public Art/Greater Pittsburgh Arts Council provides walking tours, educational workshops, and an online artist registry in which the City utilizes for recommendations of artists to developers and educational and tourism purposes. This public/private partner-

ship with OPA/GPAC has served the City well over the years, and is expected to remain for years to come.

“Planning and ensuring equitable distribution of new artworks among underserved communities is both key and challenging.”

Interview by Angela Bomin Choi

Public Art Bike Tour of Pittsburgh’s Northside Ned Smyth, “Mythic Source and Piazza Lavoro,” 1984. Photo courtesy of Office of Public Art.

ANGELA BOMIN CHOI is editor of Arts Connect People magazine. While earning her Master of Arts Management at the Carnegie Mellon University, Angela interned with the City of Pittsburgh in Public Art, where she helped Morton to prepare for monthly Art Commission meetings and also documented the City’s public art collection.




EDUCATION AND AUDIENCES An interview with Marilyn Russell, Curator of Education, Carnegie Museum of Art

When speaking of Arts Connect People, what could not be missed is the impact of arts museums in community. I am very pleased to have the opportunity to interview Marilyn Russell, the Curator of Education at the Carnegie Museum of Art, who has been methodically and passionately leading a team of museum educators to strengthen the public dimension of the museum as a valued community resource for everyone. MARILYN RUSSELL is the Curator of Education at the Carnegie Museum of Art. A member of Carnegie Museum of Art’s senior leadership team, she is responsible for developing the museum’s philosophy and strategies for audience engagement and interpretation of the collection and exhibitions investigating how art and art museums remain relevant century life. In her capacity as curator of education, she leads a team of museum in 21st educators and teaching artists to design and present innovative classes, tours, and workshops for the museum’s audiences, collaborates with colleagues on dynamic content for the museum’s app, on innovative experiences for casual gallery visitors, and on a variety of participatory and social learning experiences.

ARTS MANAGEMENT How would you define Arts Management? The process of designing and implementing opportunities for audiences to have meaningful experiences with original art. What is the most important quality to have as an arts manager? Arts managers must have an authentic understanding and passion for the art form he or she works with and must continue to stay in touch with the art and artists. He/ she must have a belief in its importance that emerges out of the meaning the art has for the manager personally. The art must be important to the manager in order for the manager to be effective in creating opportunities for others to have meaningful experiences. Like any manager, arts managers must have vision, openness to the perspectives of others, ability to collect and analyze information, opinions, and data and the ability to make decisions according to his or her best judgment in a timely fashion. All managers must bring out the best in others. This requires providing clear vision and guidance and essential resources to those he/she supervises and giving them sufficient independence to do their jobs; providing constructive feedback and reinforcement, encouraging a little risk taking, celebrating successes and working together to move forward from failures. Timeliness but also patience, top notch communication skills, ability to perfectly gauge the



Family Day Kids Activities. January 2014. Photo courtesy of Carnegie Museum of Art.

difference between being rigid and being a push-over; the ability to recognize talent and nurture it, ability to get along with others. Some financial skills, healthy dose of realism, flexibility are also important. What is the most important role of arts managers in the arts industry? It is critically important that arts managers be effective advocates for the importance of art in the lives of all humans, for seeing art as a way to explore what it means to be human in every day contexts. I feel the art

world has not been very good at this over time. Too many Americans continue to see art as a luxury (or an “extra” as it is often described in school curriculum) rather than an essential way of exploring, questioning, and making sense of our world. Many consider art to be for an elitist segment of society. Arts managers should do more to counter these misconceptions.

THEME TALK: ARTS CONNECT PEOPLE What kinds of programming does Department of City Planning provide to CONNECT people with arts/artists?

Cultural Club Program David Hartt, May 16, 2014. * Photo courtesy of Carnegie Museum of Art.

Carnegie Museum of Art’s programming is extensive and wide ranging. Programming defines the exhibitions we present, what we collect and how we organize and install it in our galleries, as well as the specific experiences with the art that we offer. Those specific experiences range from gallery resources such as label texts and interactive, touchable resources that provide context for materials and processes; commentary in the form of our digital app, gallery tours, and drop-in activities. Opportunities for visitors to register insights and opinions in our galleries. We also offer presentations by artists and other experts designed to encourage discourse about the content, techniques, and issues embodied in works of art; opportunities to deepen one’s engagement with the creative process in the form of art classes for children and workshops with exhibiting artists for adults; opportunities for school students and teachers to enhance their learning skills as well as deepen their understanding of specific topics and cultures, ways for parents and kids to make sense of the world together. We are committed to working on ways for those unlikely to visit the museum to begin to see its potential relevance to their lives.

What is your role as Public Art Manager in CONNECTing people with arts/artists?

Adult Workshop Series The Sandbox Building A Photobook, July 27, 2014. * Photo courtesy of Carnegie Museum of Art

“It is important that arts managers be effective advocates for the importance of art in the lives of all humans, for seeing art as a way to explore what it means to be human in every day contexts.”

My role as curator of education is to collaborate with all departments of the museum and to lead a team of very creative and passionate people in achieving the mission of the Museum of Art, which is to enrich lives through experiences with art. I work to extend the resources of the Museum of Art (including its objects, ideas, and experiences) as effectively as possible into the region and to create a relevant, innovative, meaningful, and achievable vision for the public dimension of the Museum. I encourage innovation and forward thinking while strengthening the role of the Museum and its long term viability as a valued community resource.

Interview by Yi Cao YI CAO is photographer and contributing writer of Arts Connect People magazine, who is currently serving as the Administrative Manager at the Carnegie Museum of Art. Take a glance at a selection of her work: http://sallyyyllas.tumblr.com








The visual is one of the final designs of I AM AN ARTS LOVER T-shirts, which implies the theme of this magazine "Arts Connect People." It is composed of the icons representing various art forms, the letters saying "I am an arts lover," and the lines connecting those components. Designed by Boyoun Choi.



ANYBODY CAN BE AN ARTS LOVER “Being an arts lover is about stylizing the way you choose to experience the world, what you choose to take in, and what you choose to give back.”


hen entering someone’s home I immediately and almost unconsciously begin looking for queues that might tell me more about who they are, perhaps the first being that I scan the walls. Whatever is adorning their mantle, hung up in the hallway, or even magnetized to the fridge opens a window into that person’s life and reveals much more than they might otherwise let on. I ask, how did it come to be that this piece and that person were paired? Did they create it? How long have these two been together? Arts are a means of self-expression, be it from the creator’s point of view or the consumer’s. Try asking someone for the story behind a piece of theirs and see what happens. What leads a person to collect art, much less love it? The answers are all personal, all subjective, and often involve a moment of inspiration. Thinking through my own experience, I realize that my collection (currently four pieces strong) isn’t entirely my own, but rather a mix of findings and a hand-me-down that I’ve come to love through years of exposure to the collective habits of my parents. Through a haphazard process of acquisition and moments of “this was meant to be”, the walls are now adorned with an unfocused medley of subjects and colors. Time and further effort could bring this unruly ensemble under control, but for now it’s just how I want it to be. Art can be catharsis, inspiration, or anything that invites an emotional response. Its creation, perhaps shaping clay on a potting wheel or finger-picking a guitar, directs our energies in compelling ways that in time and with practice draw the attention of others. Art brings satisfaction at any skill level, but there is excellence to be had in it: the honing of your craft and the pursuit of that ability to express yourself as precisely as you mean to. Inviting others to experience that refinement, eliciting their own forms of understanding you, can itself be as rewarding as the creative experience. Certainly you have daydreamed of taking a bow before a standing ovation or having someone purchase a piece you created? Essentially, anybody can be an arts lover, whether they choose to show it or not. All that matters is that they consume art and take from it some form of personal satisfaction and personal meaning. So much of what makes art sought after is the personal enabling of expression. Participation in the arts can come from any direction: writing music, supporting your local theatre, strolling through gardens or a museum, or walking Penn Avenue on First Fridays. Being an arts lover is about stylizing the way you choose to experience the world, what you choose to take in and what you choose to give back. The following pages glimpse into two worlds: one of an arts collector and another of a creator, manager, and lover of the arts. Explore what inspires them, what drives them to continue on, and how they began their journeys. KELSON HEDDERICH is assistant project manager of I AM AN ARTS LOVER, who received his MS in Public Policy Management from Carnegie Mellon University. He can be found at First Fridays on Penn Ave. and wandering through Phipps Conservatory.




THE ART OF ART COLLECTING A Visit to Kristin Hughes's Home, Pittsburgh Local Arts Collector

After deciding to interview an arts collector for Arts Connect People, much time was spent figuring out how to find the right collector willing to share their story. As luck would have it, the opportunity presented itself (rather serendipitously) at the home of a neighbor and new acquaintance, Kristin Hughes, who was hosting a meeting to coordinate volunteers for a new community-space project on the block.

Hedderich: Thank you for taking the time to share your home and thoughts with us. Could you tell us a bit about yourself?

Hedderich: You know, our meeting was just happenstance, which is lucky for me! When I walked in here the first thing I noticed was the art. I grew up in a house where art was all over the walls, so I’m always on the lookout and I thought “Oh, wow, this is a nice collection”. So I’d like to know, what got you into art collecting and do you have your first piece here? Do you keep it with you?

of the collection is this house. It is designed by a well-known local architect by the name of Gerard Damiani who is at the School of Architecture at CMU. Gerard has a beautiful way of thinking about space and materials. The project is about constraints; utilize simple inexpensive materials to create an appealing space. The dimensions of this house are twenty by forty feet. Once you divide that in half, you’ve got two perfect squares and right there you have an incredible design problem in front of you to manipulate. I am not sure many people would consider architecture as art, but I feel this house is a really beautiful piece of art. My experience working with Gerard, made me think carefully about “what” to put in the house.

Hughes: I had not ever considered myself an art collector, so when you asked me to do this interview I thought “huh, interesting”. I’ve never thought about the objects and images in my house as a collection. Most of the art on my walls has been given to me from people I admire or small things that I discovered on my travels. I have also purchased a few paintings over the years. I would say the largest, most expensive part

I work with an incredible faculty, people who I deeply admire and respect what they do, so the second piece added to the collection was the dining room table. It’s designed by Tom Merriman a Professor at the School of Design. I worked on it with him when I first moved to Pittsburgh and was in the process of buying this house. Tom is a true craftsman, who loves handling and working with wood. This table is made up of three

Hughes: Sure, I am an Associate Professor at Carnegie Mellon School of Design and a practicing designer.


different types of wood Cherry, Mahogany and Douglas Fur. There are no fancy finishes, it’s all hand polished with beeswax. The table acts as an anchor for the house. It balances the aesthetic of the structure, while creating this sense of place in the house. I would say the third piece in the collection is the painting behind me, which was done by Mario Munzo, who was a graduate student in the School of Art, and he had a whole series of these pieces, I think there were six panels, and this is the middle of the panel. He is from Puerto Rico and had had a lot of issues with his dad, but there were also these big hurricanes that were happening in Puerto Rico during the time of his thesis, and so the piece is about that kind of inner turmoil and the turmoil that happens when a natural disaster strikes. I fell in love with the quality of his line, the voice and story in the pieces. I guess you could say a lot of the pieces in my house have a story connected to them.





3 1.1~1.3 House Interior, 2014. Photo Courtesy of Kristin Hughes 2 Tom Merriman, Dining Room Table. Photograph by Angela Choi 3 Mario Marzan, Too Far Gone no. 3 & Too Far Gone no. 4 (2007). Photography by Yi Cao



The sketches on the wall on that side were done by one of my instructors from Basil Switzerland, Dorothea Hofmann. Dorothea is the wife of Armin Hofmann a very wellknown graphic designer from Switzerland. I was able to spend six weeks drawing with her in Switzerland and then she gave all of her students these prints at the end of all of it. The nine drawings hold a lot of very special memories for me. And then, the painting on the wall here is, “on loan” (I’ve had it for a long time). Given to from Mark Mentzer, a dear friend and colleague. His paintings tell the story of Pittsburgh. If you look carefully, you will find stories inside of stories inside of stories. His work, his teaching and his passion for engaging with the world, reminds me to always be a keen observer of life. There are a couple more, I can take you upstairs, I have a piece of Dylan Vitone’s [an Assistant Professor at the School of Design] which he exchanged for a sofa (laughs) I think I got the better deal. Hedderich: Would you mind if I saw them? Hughes: Sure! This painting here, done by Andreas Bailey, one of my dear friends’ husbands (in grad school) … I love his work. I feel very lucky that I have it because I think now he’s gone on to do some pretty remarkable things in the art world. Hedderich: It is beautiful. Hughes: It is probably the first painting that I ever bought, when I was living in Richmond, Virginia. Hedderich: How long would you say you’ve been working on your collection? Hughes: Um, maybe 20 years? (pointing) Dylan Vitone’s here. This is from a series about Boston. I moved here from Boston so when I saw this I had an immediate connection to it. He’s a dynamic storyteller so



you’re seeing the girl [in the photo] here and then she’s here and here and then back here again. His ability to thread photos together is remarkable. (Moving towards some ceramics on an inset shelf) I have some of David MacDonald’s pieces, a well-known ceramicist and one of my teachers out of Syracuse University. This year I was finally able to purchase a collect a couple of his pieces. The other stuff [on the shelf] has been collected during my travels and don’t have great deal of value but they hold a lot of meaning to me. People have told me that everything I bought in Asia (and probably over-paid for) is not real (laughs). None of it is worth much but I love my Buddha heads. Next to the Buddha heads are a couple small, framed etchings taken out of the house I grew up in. Hedderich: Have you found that in the time that you’ve been collecting, your tastes have changed or that you’ve gravitated towards any sort of art form or media? Hughes: Having gone back to school for design, my desire to collect more modern art or modern pieces of furniture has definitely increased. This was a piece (Eames lounge chair) was given to me by Craig Vogel [Professor at University of Cincinnati]. Craig and I used to teach together. When he moved onto Cincinnati and gave it to me when he left. After class we’d debrief and I’d sit in that chair and so again, it holds a lot of meaning. It’s also a pretty significant piece of design history. Hedderich: Have you, or rather how did you come to arrange these [pieces] in your house? Was there a methodical process or did it happen organically? Hughes: When purchased my house, I didn’t have a lot of stuff… I’m not a big “stuff” person. The walls remain empty until there’s something to fill them. And I’m not a big believer of trying to fill every wall to make it feel filled.

Hedderich: Have you planned the future of your collection? Or, are the pieces you collect [including from friends] from a moment of inspiration where you say “I’ve gotta have that”? Hughes: I would say the Andreas piece and Mario’s were like “I just have to have that piece.” I wish I could have the other four pieces that went with it [Mario’s]. I really want to find where he is, contact him, and see if he still has them because they’d be beautiful in the rest of the house. You know, (pointing) that wall was really empty and Mark came in one day and said “why don’t you hang one of my paintings on that wall?” and I thought “I’d be so honored!” That was 10 years ago. He hasn’t asked for it back, but I’m guessing at some point he will. I had Dylan’s photograph for a long time. I just couldn’t afford to frame it. And I have a couple of other pieces that were given to me by my best friend that are from a designer who does letterpress work. When I frame those they’ll be spectacular. I think when you are deciding to buy art, take the time to find things that add meaning and memories to your life. Hedderich: Thank you. Hughes: You’re welcome!

Interviewee & Interviewer KRISTIN HUGHES is an Associate Professor at Carnegie Mellon School of Design. Her work as both a professor and practicing designer blends multiple disciplines spanning public policy, education, psychology, and design to address complex social problems. KELSON HEDDERICH is Assistant project manager of I AM AN ARTS LOVER. He can be found at First Fridays on Penn Ave. and wandering through Phipps Conservatory.








4 Dorothea Hofmann, Gestural Figure Studies 1 through 9 (1995). Photograph by Yi Cao 5 Mark Mentzer, Yellow Ochre (on-going). Photograph by Angela Choi 6 Andreas Bailey, Lost Boy with Horse (1996). Photograph by Yi Cao 7 Dylan Vitone, South Boston (no date) . Courtesy of Dylan Vitone 8 David MacDonald, no name (2013) and figures from African street market . Photograph by Yi Cao 9 Heads from Cambodian street market & stones from the Maine coastline. Photograph by Yi Cao 10 Eames Chair: 1956. Photograph by Angela Choi




FREE-SPIRITED, ARTS-SPIRITED A story from Sean Beauford, a creator, manager, and lover of the arts

Sean shows up everywhere as an artist, a curator, a teacher, a helper, and a supporter, if ARTS is happening in Pittsburgh My name is Sean Beauford, I’m The Curator. My job is basically to put people on to dope art, which I do often through art shows. I work in Homestead, at Studio AM, where there’s an abundance of dope art, which makes that side of my job kind of easy. Baron Batch, the artist I work with is a one-man factory, constantly creating new art for me to play with. I’ve worked with a bunch of other artists, too. It’s important to use the platform I have to expose as many people as possible to art, and to shine a light on every artist that deserves it. To do this, I must be immersed in the culture and really live it, and be one with the creative community. I live with the artists, I’m their ambassador. That’s what separates me from the people who merely pick art to hang in galleries and museums. I’m curating culture.

Studio AM, 2014. Photograph by Jared Wickerham.

Studio AM The thing that makes Studio AM work is teamwork, and each of us being willing to do whatever it takes with no ego, to accomplish a goal. Here we are painting the storefront together, as a team. Left to right: The Hype, Jim Klocek; The Artist, Baron Batch; The Builder, John Malecki; and me, The Curator. Sean portrait. Photograph by Jared Wickerham.



Mayor Peduto at Studio AM, 2014. Photograph by Sean Beauford

Mayor Peduto The mayor of Pittsburgh, Bill Peduto, was visiting the studio one day and started painting, which happens frequently with visitors. A super talented artist by the name of LinShuttr (also in the pic) was in town visiting that week, and he’s the one who sketched out the bridge, while Baron helped Bill Peduto with technique.

“Know News is Good News,” Most Wanted Fiber art, 2014. Photograph by Tara Coleman.

Know News is Good News I like exhibitions that visitors can interact with. Here I am being a big kid, playing around in D.S. Kinsel’s solo show at Most Wanted Fiber arts in Garfield.

Taking Stock A couple of really cool artists, Two Girls Working, featured me in their Taking Stock exhibit at Space gallery. I, along with several other men were asked on video, the question ‘what do you do that makes you feel valuable?’ It was cool to actually be featured in an exhibition for once.

“Taking Stock,” Space Gallery, 2014. Photo courtesy of Sean Beauford.



Interioractive When I do art shows, I want them to be an experience, and I want people to be involved. This show at Wood Street Galleries was a group show in which every piece had an interactive element. Here’s a piece made with tape, started by artist, Patrick Schmidt, and finished by everyone who attended.

“Interioractive,” Wood Street Galleries, 2014. Photograph by Gerri Peter Viloria.

Art of the City This was my first art show ever. It was a one-night exhibition on the 2nd floor of Wood Street Galleries and featured 12 local artists, which was a first for the gallery, who is known to feature installations from mostly international artists. It was also the first time a lot of people had been in the space. This was one of those times where cultures collided in a good way, and I’m proud to have played a part.

“Art of the City,” Wood Street Galleries, 2014. Photograph by Chancelor Humphrey.



For Your Eyes Only Gala Here I am at the historic private social club, The Duquesne Club, at a black tie auction for the Pittsburgh Symphony Orchestra, where Baron Batch was live painting a piece to be sold. Even though I wore a black tie, it was important that I remain true to myself, and represent my culture, so I wore a camo blazer and Air Jordans with no laces.

For Your Eyes Only Gala,” The Duquesne Club, 2014. Photograph by JMY JAM.

Sean and Baron at Dream Center, 2014. Photo courtesy of Sean Beauford..

Dream Center Baron and I in Lubbock, Texas, after Baron just gave lessons on painting and life to 11 wonderful children. This is something we try to do as much as possible at Studio AM.



“Big Art Giveaway,” Point State Park, 2014. Photograph by Jacob Finch.

Big Art Giveaway

We wanted to do the biggest spontaneous art giveaway ever. Baron got the work ready and we went to The Point, tweeted our location and every supporter that showed up got a free painting on unstretched canvas. It was epic!

“The Truth in the Room,” The Union Hall, 2014. Photograph by Cody Baker.

The Truth in the Room

This was the first full art show Baron and I collaborated on. Behind us is Baron’s signature elephant, which was a focal point of the show. Shout out to Bobby and Dr. Drew for letting us go crazy and paint on the walls of Bar Marco’s upstairs gallery, The Union Hall. We had a great opening night, selling half of the show!

“I live with the artists, I’m their ambassador... I’m curating culture.”

Written by Sean Beauford SEAN BEAUFORD is curator of Studio AM in Homestead, PA. Originally from Mansfield, Ohio, he is an artist as well as an arts lover himself, working with various other artists including Baron Batch.



WHAT’S GOING ON Pittsburgh Arts / Visual arts





2 STORYTELLER The Photographs of Duane Michals

October 30, 2014 – February 1, 2015 | Frick Art & Historical Center Charles Courtney Curran

November 1, 2014 – February 16, 2015 | Carnegie Museum of Art Duane Michals

The exhibition is the first critical retrospective of American Impressionist painter, Charles Courtney Curran, celebrated for his iconic paintings of women.

A definitive retrospective of groundbreaking photographer Duane Michals. This exhibition is organized by Linda Benedict-Jones, curator of photography.









November 21, 2014 – February 1, 2015 | Pittsburgh Center for the Arts Women of Visions, Inc., Craftsmen's Guild of Pittsburgh, and Fiberarts Guild of Pittsburg

November 28 – January 25, 2015 | SPACE Gallery Guest Curated by Tom Sarver

Women of Visions, Inc. - Storytellers: Truth be Told! Craftsmen's Guild of Pittsburgh – Illusions Fiberarts Guild of Pittsburgh – Construct

Six artists from across the United States explore the nature of obsession. Participants include Jeremiah Johnson, Jason Lockyer, Nathan Margoni, Mary Ivy Martin, Becky Slemmons, and Laurie Trok.
















December 12, 2014 – January 18, 2015 | Future Tenant Christopher Boring

January 23 – April 5, 2015 | Wood Street Galleries Ivana Franke, Lauri Astala, Mirjana Vodopija, Bryndis Hronn Ragnarsdottir

Solo exhibition by Christopher Boring. In the upcoming exhibition, Boring chose rocks as subjects for their long life spans and their matching nature to the concept of legacy.

Artworks meditating arts reflective ability and absence of immediate self in various disciplines including installations, video projections, and ‘flicker’ objects.









Opening January 23, 2015 | Contemporary Craft

March 6 – June 7, 2015 | Pittsburgh Glass Center Jen Elek and Jeremy Bert

The biennial Bridge series showcases solo shows by mid-career artists to heighten public awareness of the powerful work being produced by contemporary craft artists in craft media.

Seattle-based artists Jen Elek and Jeremy Bert have collaborated to present a multi-media exhibition that challenges assumptions about how art can be experienced in a gallery setting.









WHAT’S GOING ON Pittsburgh Arts / Performing arts


1 3


1 POKÉMON Symphonic Evolutions


January 17, 2015 | Pittsburgh Symphony Orchestra Location: Heinz Hall

January 22 – February 22, 2015 | Pittsburgh Public Theater Location: O’Reilly Theater

Pokémon will take audiences of all ages on a powerful musical retrospective through the franchise's most memorable visuals and melodies, performed live by the Pittsburgh Symphony Orchestra!

This acclaimed musical, based on George Bernard Shaw's Pygmalion, is the story of Eliza Doolittle and her teacher Henry Higgins, as she transforms from a Cockney flower girl to the fairest lady of them all.








January 24, 27, 30; February 1, 2015 | Pittsburgh Opera Location: CAPA Theater

January 30 – February 22, 2015 | Quantum Theatre Location: Temple of Comedy, Q’s pop-up club

In one of Handel's most popular operas, Queen Rodelinda endures grief, terror, and political upheaval, but remains steadfastly loyal as she waits - and works - to bring her exiled husband home.

A charming play set as a stand-up comedy routine, Brahman/i is a compelling and hilarious 90-minutes examining identity, curiosity, courage, and the assigned roles in which we often find ourselves trapped.












5 8



February 5 – April 26, 2015 | Pittsburgh CLO Location: CLO Cabaret

February 6 – 15, 2015 | Pittsburgh Ballet Theatre Location: Benedum Center

Non-stop Comedy! This Tony Award®-winning swing in’ ‘60s farce features Bernard, a wannabe-Casanova, with Italian, German, and American fiancées, each a beautiful airline hostess with frequent “layovers.”

Pittsburgh Ballet Theatre gives a new full-length ballet its Pittsburgh premiere with Beauty and the Beast, an imaginative interpretation of the time-honored tale of inner beauty.









February 26, 28, 2015 | Attack Theatre Location: George R. White Studio, Pittsburgh Opera

April 23 – May 3, 2015 | Pittsburgh Musical Theater Location: Byham Theater

Between the lines, between shows and between us. This intimate performance features Peter Kope and Michele de la Reza with the company in an emotionally fueled journey of gesture and motion.

Join Peter Pan, Wendy, Michael, and John in the high-flying timeless Broadway musical that will whisk you away to a place where dreams are born and no one ever grows up.








WHAT’S GOING ON Arts lover's bookmark

1 Barry’s blog Barry's Blog is a service of the Western States Arts Federation (WESTAF). The opinions expressed here do not necessarily reflect the views of WESTAF. Barry Hessenius is the author of Barry’s blog. His is former Director of the California Arts Council; President of the California Assembly of Local Arts Agencies; Executive Director LINES Ballet. Barry is an author, consultant, and public speaker. blog.westaf.org


2 curate 1k Norah showcasing a weekly collection of online art totaling $1,000 or less and showing where to buy it. curate 1k is a project aims to gather together the best online art she can find and present it in an accessible, fun-to-follow format. Norah Guignon is Marketing Manager at Contemporary Craft in Pittsburgh, PA. She founded curate 1k in 2011, while working as a curator and a gallery manager in Boston, MA. curate1k.com



3 Hillombo Justin talking about some of what has, is, and could happen in Pittsburgh’s Hill District. The intention is that the blog will be a place to think out loud about how to connect the big issues of community self-determination, culture, and racism at the neighborhood level. Justin Laing the author of Hillombo blog. He is the Senior Program Officer of Arts and Culture at the Heinz Endowments. Justin also started a chapter of Nego Gato in the Hill District in Pittsburgh, PA. hillombo.org


4 AMT Lab A research center of Carnegie Mellon University's Master of Arts Management program, the Arts Management and Technology Laboratory (AMT Lab) serves as an exchange, a catalyst for innovative ideas, and a conduit for knowledge circulating at the intersection of arts, management and technology.







5 AAAE www.artsadministration.org




AAAE (Association of Arts Administration Educators) is an international organization incorporated as a nonprofit institution within the United States. Founded in 1975, its mission is to represent college and university graduate and undergraduate programs in arts administration.

6 International Arts Manager www.internationalartsmanager.com/




International Arts Manager is the only global magazine for performing arts professionals, featuring the latest in funding, artistic approaches, technological developments, and emerging talent. Published since 2004, the magazine brings news and views from some of the arts’ most innovative voices.

7 ENCATC www.encatc.org




ENCATC (European Network of Cultural Administration Training Centers) is the leading European network on Cultural Management and Cultural Policy education. Established in Warsaw in 1992, the network counts over 100 members in 40 countries across Europe and beyond.

8 Arts Management Network www.artsmanagement.net




International Arts Manager is a global network for professionals in the arts and the creative sector, providing its international network for arts and business. Started in 1996 as the first German online magazine for arts managers, the company now maintains two online platforms with together more than 40,000 users a month.




Sophia: You remember we talked about these cells sitting in the coffee house in Pitt. (Picture above) It was a pretty fierce discussion and we enjoyed the conversation, but I want to ask - did that question helped ourselves? What do you think is the meaning of asking that question of 'who are arts managers' to ourselves? I’m asking you that question - I had been asking that question to myself ever since I started my career in the field - because it seems very undefinable what these arts managers are perceived to do and to be, and it confused me for quite some time in searching for a good role model or becoming a solid figure of myself. I believe the meaning of asking this question to oneself as an arts manager is not necessarily to get an exact answer but to constantly contemplate and to grow into one.



Yejin: It was a huge turning point for me to see an array of all the people around arts. You called arts managers “Middle cells,” I remember. Before then, I was thinking that arts managers were at the arts side. In other words, I thought the arts world and the public were separated, and the arts managers were the spokespersons of the arts sector against the public side. However, the concept of “Middle cells” took me to another world where artists, arts managers, and the public are on the same side while connected each other, and the arts managers are at the intersection. Therefore, arts managers not only represent arts sector, but also speak for the public. The question itself helped a lot to answer my question: “What should I do to be an arts manager as a former communicator and marketer?” One of the answers to the question is “Listening to the public in order to build a relationship.” So, Sophia, what attributes and qualifications do you think are needed to be an arts manager?

Sophia: My answer to that has evolved. In the past, I probably would have tried to draw some kind of diagram with 4-5 key elements indicating versatility, flexibility, curiosity, and so on. Now I think that someone who pursues career in the arts management should, in addition to possessing the love and passion for arts, fully and precisely understand the nature of the field that’s particular to the environment and culture of the country you work whether it’s non-profit vs. for-profit in US or government subsidies in European or Asian countries. I have another question for you. Once I interviewed Dan Martin (Dean of MAM, at Carnegie Mellon) and, along the way of conversation, he said arts management is like 'calling.' I think that it implies how arts managers firmly believe in the power of arts, how it can cure, change, and enlighten many aspects of our lives. What I observe from being around with those arts managers is not only they do what they do because they care and believe in arts but it simply pleases them. Not merely but fairly for their own satisfaction and pleasure. Here’s my question; it's never one or the other, but calling vs. self-satisfaction or self-achievement I should say - what do you think?

Yejin: My interest is always in extending the exposure to the arts of ordinary people. It is because I was the person who experienced the power of arts, and regretted I couldn’t get exposed to the arts earlier. I remember the moment I observed myself communicating with artworks, and found the arts tranquilize my agony. I just wanted to spread ‘this good thing’ to the people close to me, the people who are in trouble, and the people who seek the answers to their lives. So, to answer your question, it might be a pleasance that leaded to my decision to enter the arts world and study arts management even though I was a totally non-arts person. But, now I think that working as an arts manager is a calling that not merely rest on my own pleasance but disseminate the good thing to others.

Sophia: Wow. You’re doing this to me. (Haha) Arts managers are catalysts who devotedly and constantly try to improve quality in people’s lives through arts. Yejin: What does arts mean in your career, in your life? Sophia: It is easier to speak on the meaning of arts in my life than in career. I used to say a piece of music is a painkiller and a piece of art is an impetus. When I started working as an arts manager, it became, well, work. Haha. I wouldn’t say the same thing about arts in my life now, but no matter what, I strongly believe that when we face difficulties, challenges, or emptiness in our lives, a lot of times the answer is...arts.

At this point, I’m curious of your definition of arts managers. Complete the sentence: “Arts managers are…”