Inclusive Mentorship-SUMO-ZWART-Research

Inclusive Mentorship: Integration of New Artists to Public Art

A tool kit to foster the new generation of public artists NOVEMBER 2023

A collaboration between SUMO Project and ZWARTstudio,funded by a Seed Grant from the Strategic Innovation Fund from the Canada Council for the Arts

SUMO Project

sumoproject.com admin@sumoproject.com

ZWARTstudio

karen@zwartstudio.com ----------------------dexd karen@dexd.ca dexd.ca

Acknowledgement The Inclusive Mentorship research is is funded by a Seed Grant from the Strategic Innovation Fund from the Canada Council for the Arts. We acknowledge and thank the council for their contribution

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TABLE OF CONTENTS 1 ABOUT THIS RESEARCH 1.1 Overview 1.2 Research Goals & Objectives 1.3 Process 1.4 Participants 1.5 Thanks 2 INTRODUCTION 2.1 Public Art Mentorship 2.2 Context – Important Definitions 3 RESEARCH 3.1 Case Studies 3.1.1 Programs Reviewed 3.1.2 Four Representative Case Studies 3.2 Interviews 3.3 Online Survey

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4 PRELIMINARY FINDINGS 4.1 Barriers Identified 4.2 Opportunities Identified

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5 PRELIMINARY TOOL KIT

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APPENDIX A1. CASE STUDIES-COMPARATIVE TABLE

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1.0 ABOUT THIS RESEARCH: 1.1 Overview 1.2 Research Goals & Objectives 1.3 Process 1.4 Participants 1.5 Thanks

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Garden of Future Follies - Hadley Howes

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1 ABOUT THIS RESEARCH 1.1 OVERVIEW Inclusive Mentorship: Integration of New Artists to Public Art is a collaboration between SUMO Project and ZWARTstudio, with the objective of developing a new mentorship prototype or toolkit to address barriers in the public art sector. Some of which we have identified through our work as members of the Toronto Public Art Commission (TPAC).

Artist as mentor, artist as mentee, the commissioning agent and the municipalities, all fear the risks and a possible unsuccessful outcome, that can result from lack of experience, ability, knowledge of the organizational structure, time commitment, cost control, etc.

Novices experience a variety of barriers that range from complex language, complex RFP, RFQ and other call for submission to contracts, copyrights, costing, etc. In addition, they also generally lack a portfolio and community and working connections (fabricators, galleries, art consultants, etc.). They have no knowledge of where to find opportunities, and there is little ‘formal education’ / training in this regard, etc.in sum, they lack the tools to begin

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There are also cultural differences. In Canada, a big number of people, including artists, come from different socio-geographical backgrounds that function in different ways. In their countries of origin, they use the ’benefits of informality’ to self-generate opportunities, but in Canada, the regulations do not allow many of this ‘guerilla’ interventions and the formal ‘system’ is hard to understand and navigate, becoming a barrier.

In this research phase have consulted the ‘arts community’ about their experiences in the field, obtaining a variety of perspectives to identify both, barriers, and opportunities resulting in the creation of a preliminary theoretical tool kit. A second applied reserach phase, will test this toolkit in practice using ‘pilot projects’, evaluating and refining tools that we hope can be widely used to create opportunities for artists new to Public Art. Ruth A Mora , BArch. MArch. OAA MFA LEEDap Design + Public Art Consultant I Principal SUMO Project admin@sumoproject.com sumoproject.com @sumo_project_in

Karen Zwart Hielema, OAA Public Art Consultant + Architect I Principal ZWARTstudio karen@zwartstudio.com ~~~~~~~~~~~~~~~~~~~ Creative Director dexd I Canada + United States Human Experience Design I Architecture I Art Integration I Wayfinding & Signage dexd.ca

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1.2 RESEARCH GOALS & OBJECTIVES

1.3 PROCESS

This research main objective is to foster the new generation of public artists by advancing an inclusive method (toolkit) of mentorship. Removing or reducing existing barriers in the system to increase participation and promoting fair conditions for everyone to participate.

This project has two (2) main phases: 1-Research Phase (Compiled in this document) 2-Applied Research (Next Phase)

In addition, it aims to:

1.3.1 Research Phase ( 4 moths) Our research consisted of case studies including local, national and international examples, interviews with representatives in the field of public art and a survey of artists.

-Build capacity and sharing knowledge by inviting participation from all sectors.

-Create partnerships by providing low risk opportunities and innovative business models between the public and private sector.

-Use the theoretical framework for its subsequent use in practice, using pre-established partnerships in the public and private sector.

-Contribute to strengthening the resilience of the art sector. Propelling creative practices and sectorial collaboration to developing skills and providing the framework necessary to succeed.

Case Studies: Research/info gathering on existing public art programs, mentorship programs including innovative applied methods, case studies, etc. with a focusing on determining specific barriers in the process and methods to participate in public art production as well as particular groups that experience them such as new immigrants, Indigenous peoples, and novice artists. This included about 15 programs, national and international (USA, Germany, Mexico, South Africa, etc.)

Interviews: We conducted a series of oneon-one interviews, about 25, with people in different areas in the field (artists, developers, art

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consultants, municipalities, Business Improvement Areas (BIA’s), fabricators, etc.). We used a series of questions to guide the conversation, and also allowed them to speak freely on their experiences.

Artist Survey: We developed and posted an online survey that was disseminated through contacts gained through interview process as well as common arts opportunities posting locations. Survey questions were developed through insight gained in precedent and interview research gathering.

use and distribution. In addition the findings have been collected in this document and are publically accessible in the project facebook page: (https://www.facebook.com/people/InclusiveMentorship-for-Public-Art/100092255897001/) and on Academia.com

From the 142 answers received, we drafted preliminary conclusions and identified barriers and opportunities which allowed us to develop a preliminary toolkit.

1.3.2 Analysis & Preliminary Conclusions Phase We organized and compared our case study research, interview responses and artist survey responses to draw conclusions on barriers in the system, and opportunities for promoting fair conditions for everyone to participate.

1..3.3 Toolkit Development and Sharing We developed a preliminary toolkit which has been shared with selected collaborators for their comments,

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Concrete Barriers Art Program -City of Toronto

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1.4 PARTICIPANTS 1.4.1 Team and Collaborators LEAD: Ruth A. Mora Izturriaga, Project Lead Ruth is the co-founder of SUMO project, a practice that focuses on the integration of Art, Architecture and Urban Design. Through it and as part of the Toronto Public Art Commission, she has worked with the public and private sectors, to engage local actors in the decisions that shape our city.

Karen Zwart Hielema, Project Lead Karen is a Public Art Consultant, Architect and collaborator on projects focused on the human experience of public space including public art, wayfinding, exhibitions, installations and with mentorship programming as part of a Public Art Plan. She is a member of the Toronto Public Art Commission.

COLLABORATORS: Bianca Weeko Martin, Research assistant Bianca is an Emerging Artist, writer and researcher, focused on drawing, city building, and public art. She is the author of the forthcoming book Architectural Guide Manila (DOM Publishers, Berlin)and has given inclusive workshops and seminars in Canada and the Philippines.

Bianca’s research is concerned with contemporary and historic forms of transcultural exchange, particularly within Southeast Asia and its diaspora.

David Anselmi, Collaborator, Developer - Senior Director, Real Estate for Canada Lands Company CLC Limited. Canada Lands is an arms, self-financing Crown Corporation owned by the Government of Canada which purchases federal properties at fair market value, then improves and sells these properties in order to optimize their financial and community value. Among its many across the country, Canada Lands Company has direct responsibility for the Real Estate development of the Downsview Lands, leveraging its extensive experience and proven track record in community building.

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Tonya Hart, Collaborator, Mid-Career Public Artist Tonya is a Canadian artist based in Toronto. Her art is inspired by light, energy, and magnetism to form a connection with the natural world. Nature and magnetism have manifest in a vast array of articulations in her artwork and continues to facilitate the conceptual nature of her work. Over the past decade, she has exhibited in New York, Venice, and Seoul; and created large-scale, light based sculpture installations in cities across Canada. Some past commissions include working with Daniels Corp., Informa Canada, National Capital Commission to create unique sculptures and light-art installations.

1.4 .2 Interviewees and Survey participants Tonya Hart / Artist David Anselmi / Developer (Public) Bianca Weeko Martin / Artist & Researcher Brad Golden / Public Art Consultant Anran Guo / Artist Lara Tarlo / City Planning / Municipality Karen Mills / Public Art Consultant Inclusive Mentorship

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Jane Farrow / Curator Brandon Vickerd / Artist AnaBela Taborada / BIA Chair Trent Baker / Fabricator Ilana Altman / Cultural Planner Anah Shabbar / Cultural Producer LeeRoy New / Artist Maria Kim / Artist Lee Petrie / Art Curator Melanie Fernandez / Arts Educator/Programmer Andrea Carson Barker / Art Writer and Supporter Tessa Shank / Artist Sharon Gaum-Kuchar / Art Curator, Municipality Heela Omarkhail / Developer, Social Impact (Private) Ryan Rice / Indigenous Art Curator 1.5 Thanks We thank all the people in the arts community including those listed above as well as survey participants that generously shared their time and knowledge with us.

Your contribution was essential to the understanding and development of this research.

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2.0 INTRODUCTION:

2.1 Public Art Mentorship 2.2 Context – Important Definitions

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The Water Guardians -Jennifer Marman and Daniel Borins

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2 INTRODUCTION 2.1 MENTORSHIP The Inclusive Mentorship research seeks to provide artists without experience in Public Art (Novice Artists) the opportunity to learn and participate in all stages of the process including the production of a public art piece, with the required support.

The need for support (conceptual, technical, legal, etc.) has been translating into a variety of mentorship opportunities and initiatives by municipalities, art consultants, institutions, experienced artists etc. But this is a relatively new idea.

It has become increasingly common for municipal public art programs to encourage public art plans from developers who enter into a community benefit agreement with the municipality to include a mentorship component as part of the plan. Other organizations and businesses see the value in mentoring artists and include this as part of their programming. Some art consultants have taken the lead into mentoring selected artists from inception to delivery, supporting them to strengthen their relationship and helping the artist succeed and grow with their work, which brings mutual benefits.

In general public art mentorships vary significantly as there is no one way to do this. The opportunity and experience varies greatly on the goals of the mentorship, funding for

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the mentorship, the discipline and experience of those managing the mentorship, etc. Research shows that mentorship in public art can be achieved in a number of ways: Types of Mentoring a) Artist-led one-on-one mentoring The artist mentor who has been commissioned to design and install a public artwork is paired with an artist seeking experience in public art. Mentor and mentee determine the focus of the relationship based on specific interests, theme, medium or abilities. Often for a portion of the process as it occurs over more than a year. b) Public art consultant-led mentoring of an artist.

As the consultant is involved in all stages of the process, this can provide a holistic vision of the process. Incorporating clear learning components about the Public Art process and some interaction with the artist, panels, fabricators, etc. Generally a stepping stone into creating the first piece. c) Mentoring to groups, An art consultant or artist works with organizations, institutions, companies,

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in the form of workshops, seminars, lectures and other individually designed programs. d) An organization, foundation or business led mentorship, Where art is procured, and specific supports are provided to the artists to assist them in realizing a piece. The support provided can range from supporting the artist through the entire process, providing support or responsibility for specific parts of the process (such as technical, site safety and permits, fabrication), or providing a controlledrisk environment to make the process and learning manageable and conducive to successful realization.

2.2 Context – Important Definitions Public Art The term public art refers to art, permanent or temporary, that is in the public realm (publicly or privately owned), and it’s publically accessible.

Professional artist (definition by the Canadian Arts Council.)

An artist who: -has specialized training in the artistic field (not necessarily in academic institutions)

-is recognized as a professional by his or her peers (artists working in the same artistic tradition) -is committed to devoting more time to artistic activity, if possible, financially -has a history of public presentation or publication.

Novice Artist For the purposes of this study, we consider a Novice Artist to be an artist who is new to the field of public art. The artist may be a recent graduate, or have had an existing artistic studio practice for some time, but are new to public art (having created small pieces or being interested in becoming involved in the field of public art).

Permanent Art Permanent public artworks are intended to stay in position for long periods – sometimes centuries. Common examples are sculpture, memorials, integrated architectural or landscape architectural work.

Temporary Art Temporary public art are artworks with predetermined life spans, generally from a few months to 5 years. Examples range from murals, projections, banners, to performances and installations in range of media.

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Public Realm In a city, it refers to any spaces and places that are publicly accessible, providing for physical or visual access to the general public, whether that be privately or publicly owned, such as streets, sidewalks, roads, parks, plazas, building facades, etc.

Public Space See Public Realm.

Public Art Consultant A public art consultant is a professional advisor regarding public artwork, its procurement, selection, siting, fabrication, and installation in the private or public sector.

Outside the Box Program by the City of Toronto - Various Atists & locations

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3.0 RESEARCH:

3.1 Case Studies 3.1.1 Programs Reviewed 3.1.2 Four Representative Case Studies 3.2 Interviews 3.3 Online Survey

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Dreaming - Jaume Plensa

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3 RESEARCH The research process is summarized in Section 1.3. This section contains a summary of our research findings through Case Studies, Interviews, and an Artist Survey.

3.1 CASE STUDIES A range of public art programs and mentorship programs were assessed in order to build precedent material for this research project. Some case studies were more explicitly built around the mentorship process, while others foregrounded the public art process; some case studies tackled both. At the end, we also took the liberty of extrapolating smaller groupings within the case studies based on whether their focus lay more in networking and community connection, the process and outcome or broader city- or region-wide public art plans.

In some cases, programs chose to address inclusivity in the arts for minority groups, honing in on a particular cultural group or underserved locality. We also aimed to represent a broad range of cities and countries outside of North America, believing this would provide greater insight and nuance since contexts for public art range so widely across the world.

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3.1.1 Programs Reviewed : Wood Buffalo Public Art Program – Alberta, Canada Wood Buffalo Public Art Plan is a comprehensive document outlining local strategies for public art. There is a focus in this specific region on indigenous culture (Cree, Dene, Metis), the natural landscape, and the link between urban and rural places. It is worth noting that most mentorship initiatives appear to focus on simpler public art projects such as murals and painted public benches. On the other hand, associated projects like The Weather Catcher, which was eventually taken down, show the pitfalls of insufficient community consultations and inclusion.

Seoul is Museum – Seoul, Korea Seoul is Museum is a public art program and annual conference focused on public art in the city of Seoul.

Most of these talks and projects include some aspect of technology and communication design, as well as integrating citizen participation and interactivity.

Although open to all registrants, knowledge exchange in this case is mostly done between curators, academics, and professionals in fine art and public art. These initiatives aim to foster more consistent direction and cohesion between public art projects across the city, which is already known internationally for successful public art.

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Immigrant Artist Mentoring Program – New York, USA NYFA’s Immigrant Artist Mentoring Program (IAP Mentorship) pairs immigrant artists with artist mentors who provide one-on-one support for their mentee, guiding them to achieve specific goals and providing them with broader access to the New York cultural world through an exchange of ideas, resources, and experiences. The mentoring program also fosters a community, providing opportunities to connect with other immigrant artists through group meetings, peer learning, and informal gatherings that include alumni from 2007 to the present, with the idea that this will lead to long term partnerships and opportunities to work together.

Mentoring Artists for Women’s Art – Winnipeg, Canada Mentoring Artists for Women’s Art presents visual arts education, theory and criticism from an intersectional feminist perspective. The artist-run centre was founded in 1984, with the mandate to “encourage and support the intellectual and creative development of women in the visual arts by providing an ongoing forum for education and critical dialogue” . Mentorship is the core activity of the organization, and a mentorship philosophy informs all aspects of MAWA. Mentorship shares knowledge, experience, networks and support, advancing individual careers and building a healthy, intergenerational arts community.

V&A Waterfront Artist Alliance – Cape Town, South Africa V&A Waterfront Artist Alliance is an initiative of the Victoria & Alfred Waterfront, “mixed-use neighbourhood and working harbour,” meaning that the mentorship program aims to leverage an existing network of businesses that can collaborate with artists and offer marketing and commercialization mentorship. Focusing on business development and income generation.

The initiative also puts African cultural and artistic identity at the forefront.

Through the mentorship and incubation programme the V&A Waterfront Artist Alliance wants to “bring creative young people, ideas and ingenuity together to get creative juices flowing.”

Public Art Boot Camp – Seattle, USA Seattle’s Public Art Boot Camp is a cohort model program and training that includes presentations by working artists, mentor sessions with public art administrators, handouts, and an opportunity for a temporary public art project as a Public Art Boot Camp selected artist. The Public Art Boot Camp focuses on equipping artists to translate their work from concept to reality to the public realm. There is also a focus on cultural diversity and artists of colour.

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Raleigh Public Art Mentorship Program – Raleigh, NC, USA The Raleigh Public Art Mentorship Program allows artists to work with public art administrators to refine their portfolio and application materials, learn about the public art process as well as fabrication methods and budgeting, engage with the community by hosting public meetings and gathering feedback from residents, and finally create a portfolio piece that can be used in future public art applications.

Forecast: Mentorships for Audacious Minds – Berlin, Germany Forecast selects six mentors from various disciplines who offer selected participants their expertise in specifying and realizing their project ideas, focusing on “conceptual support” and emphasizing “freedom from market forces.”

Each edition of Forecast is different; the selected mentors impact the nature and content of every iteration. They define the type of applications submitted, and play an instrumental role in developing their mentees’ ideas from proposal to production. The mentoring process offers a space in which both parties can experiment, exchange, and push their concepts in new directions.

coast to coast, to provide emerging Black, Indigenous (First Nations, Inuit and Métis) and racialized artists with the skills, relationships and practical experiences needed to build and advance community-engaged public art practices. The artists will “create unique and inspiring public artwork in their respective communities with the support of multidisciplinary artistic mentors, virtual workshops and peer mentorship.”

‘El Castillo de los Ladrillos Rotos’ (The Broken Bricks’ Castle), an exhibition by guadalajara90210 + Reurbano – Mexico City, Mexico This exhibition ‘El Castillo de los Ladrillos Rotos’, is a recurring partnership between a developer (Reurbano) and an unconventional contemporary art gallery

Steps: CreateSpace Public Art Residency – Toronto, Canada The CreateSpace Public Art Residency is a national public art program designed in collaboration with advisors from Downsview Wind Rose temporary Installations -’I am right HERE’

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(Guadalajara90210) which presents public art as the full use of a developer-owned building site awaiting demolition, from its space to materials.

Knowledge transfer between artists/designers and the trades is key here. Also, this “open doors” event coinciding with Mexico City’s popular international art fairs is key. The works are temporary, site specific, and designed to be subsumed with the next phase of the building.

MakeRoom Curatorial Agency – Toronto, ON, Canada MakeRoom is a digital gallery trying to even the playing ground for emerging artists (particularly for members of BIPOC communities with limited resources) by projecting their work onto public spaces at night.

Urban Trash Art, Whippersnapper Gallery – Sao Paolo, Brazil/Toronto, Canada Whippersnapper Gallery and ArtStarts partnered in summer of 2021 to facilitate a youth street art mentorship project.

Using recycled and found objects as their materials, youth worked alongside Brazilian professional artists Urban Trash Art to create artwork that challenged traditional notions of both trash and art.

Artscape Incubator for Ukrainian Creatives – Toronto, ON, Canada The Incubator for Ukrainian Creatives is a program designed to support professional artists and designers from Ukraine who have sought refuge in Canada.

Summary of Findings + Artist mentorship and opportunities can be achieved via partnerships, with people in the trade, even if just tangentially related with public art, such as developers, construction companies, Business Associations (BIA), etc. ( i.e partnership between developers, galleries and architects as in El Castillo del los Ladrillos Rotos, or other formal artist residency programs such as NYFA’s Immigrant Artist Mentoring Program) + In the Canadian context, particularly in cities with high percentage of immigration, there is opportunity in leveraging or strengthening networks through ‘cultural identity association,’ established between immigrant groups and their countries of origin (i.e Little Portugal BIA, Kapisanan Filipino, Artscape Incubator for Ukrainian Creatives) + Self-Initiated artist projects and opportunities are common, as artist tend to be resourceful and proactive. Generally benefiting from informal approaches, these projects can slowly build portfolio and visibility (i.e Leeroy News starting with street art, Raleigh alumna Nyssa Collins commitment to developing skill in sculptural works and relationships with local associations, etc.)

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3.1.2 Four Representative Case Studies

+ Novice artists lack either social or professional networks /communities, or both. This is a limitation to both, finding opportunities and or realizing them, and translating ideas into reality. This barrier can be overcome by providing an environment that is conducive to connecting with other artists, makers, art producers, etc. and people in the field ( i.e NYFA’s Immigrant Artist Mentoring Program)

Raleigh Public Art Mentorship Program – Raleigh, NC, USA

+ When compared with artist-run spaces, the art spaces and art studio spaces provided by organizations (i.e Artscapes) tend be too structured and formal in their operations, limiting the freedom to explore and create, to meet others and spontaneously learn, generating unexpected outcomes. A characteristic of informal and more casual environments.

Tessellate -Oliver Lewis

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Artists in the program: -Work with public art administrators to refine their portfolio and application materials.

-Learn how to take a public art project from brainstorming with the community all the way through the process to the installation of the final artwork.

-Learn how to research fabrication methods and fabricator selection.

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-Learn how to draft and manage budgets and obtain estimates from vendors.

-Help public artists engage with the community by hosting public meetings and gathering feedback from residents.

-Create a portfolio piece that can be used in future public art applications.

Galapagos Marine Iguana (Foraged Matter) - Nyssa Collins and Carson Whitmore

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There are 10 mentees/alumni listed on the website from a range of cultural backgrounds and artistic media, from painting to design build.

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Of these artists, there are individuals such as Nyssa Collins who have visibly been successful with sculptural public arts commissions from partners in North Carolina. Nyssa is exhibiting a mammoth sculpture constructed from compostable materials at the 2023

Uproar Festival of Public Art in Orange County, North Carolina, and was commissioned, as part of a team, to create a Galapagos Turtle permanent sculpture made of upcycled materials at the University of North Carolina Center for Galapagos Studies.

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The partnership between mentees and “seasoned public artists” during the duration of the mentorship program is not well documented. It is worth noting that Raleigh already has multiple open public art calls listed on their website aside from the mentorship program, proving that the city as a whole demonstrates a commitment to stimulating the local public art ecosystem.

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It appears that the Raleigh Public Art Mentorship Program only took place between 2021-2022 and was superseded (in 2022-2023) by SEEK Raleigh, which is “an experimental public art program. Projects should engage with the community in City of Raleigh parks, greenways, and/or community spaces.” Both programs are organized by Raleigh Arts. SEEK Raleigh resulted in an immersive temporary installation by Oliver Lewis for the summer of 2023.

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'El Castillo de los Ladrillos Rotos', una exposición de guadalajara90210 + Reurbano – Mexico City, Mexico

Aurélie Vandewynckele, Daphne Lyon, Chavis Marmol, Diego Castelán Avelino, Cristina Medellin, Alejandro Marra Mejía and Othiana Roffiel. Zamora 15 in Colonia Condesa is a complex of 6 Art Deco houses constructed between 1930 and 1935. The property is owned by and will be developed by Reurbano.

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Reurbano is a Mexico City based real estate developer that applies “urban recycling”, combining modern spaces with derelict buildings that they actively seek out and acquire. There are in-house architects within the company. Although Reurbano has been accused of gentrification practices, receiving bad press at a certain point because of a building it acquired which had preexisting tenants; they are active in the art and design communities and have engaged in novel collaborations such as this one, offering buildings that are in “standby” to host experimental events, conferences, and art exhibitions

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guadalajara90210 is a gallery dedicated to contemporary art with venues in Mexico City and Guadalajara (MX). It explores new exhibition formats through the organization of projects, with its main objective being to adapt to specific sites.

Founded in 2017, guadalajara90210 emerged from the desire to experiment and establish a strong dialogue with architecture. As an exhibition space, guadalajara90210 has four fundamental principles: valuing experimentation, generating collaborative dynamics, adapting to the social context and physical

Artist from ‘El Castillo de los Ladrillos Rotos’ -Reurbano+ Guadalajara90210

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This is a collective exhibition, where various artists intervene in a building that is in transition between demolition and construction. The exhibition concept has been staged twice in 2019, at Zamora 15 and Naranjo 96 in Mexico City. It seeks to “become a mobile gallery dedicated to contemporary art that explores new exhibition formats through the organization of projects with the main objective of adapting to specific sites.”

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The Zamora 15 iteration was curated by Alma Saladin,

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environment of each project, and considering exhibitions in symbiosis with the architecture of the specific place through specific museographies.

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This publication, authored by Bianca Weeko Martin* and Paola Tovar, and produced and published by Reurbano, details the informal context within which Reurbano worked as well as some other experimental public events they staged.

* see p. 18 for more info

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Immigrant Artist Mentoring Program – New York, USA

mentor groups. These collaborations have developed organically outside of the formal mentoring period •

Example of a collaborative exhibition: In | Between group showcase is an exhibition series co-curated by Yanira Castro and Martita Abril “assembling artists from the New York Foundation for the Art’s Immigrant Artist Mentoring Program.” To date, this has been staged at the New York Live Arts Lobby in 2019 and 2023, with the intention of being an annual event. Yanira Castro initiated the project in 2019 as part of her Live Feed residency at New York Live Arts. She is a Puerto Rican interdisciplinary artist living in Brooklyn, NY.

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With the goal of reflecting on the multiplicity of their experiences, identities, practices, politics, these artists also speak to what holds them in common: the experience of displacement and disorientation and the work of communicating/finding/forming community.

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Yanira Castro on the intention behind the exhibitions: “Most recently, I asked Martita what she thought artists in the IAP program would most benefit from. She talked passionately about having opportunities to show work to support their visas. I am working with New York Live Arts on my next project, so I asked them if they would be interested in partnering to support the IAP Artists, to provide the space. The response has been very positive, and I am thrilled to be working with Martita on this.”

Immigrant Artist Mentoring Program, in session – New York, USA

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The New York Foundation for the Arts received a two-year grant from the Ford Foundation in 2017 to support the expansion of its Immigrant Artist Mentoring Program. This would allow the program to connect 144 immigrant artists with mentors and strengthen immigrant artist communities in the cities of Detroit, Newark, Oakland, and San Antonio. The program has been funded by the Deutsche Bank since 2007.

The mentoring program, with its focus on network and community building, has resulted in some collaborative exhibitions and performance pieces between artist/ SUMO Project + ZWARTstudio

See Appendix A.1 Case Studies / Comparative Table

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3.2 INTERVIEWS We conducted 22 semi-structured one-to-one interviews, for which we provided common questions to guide the conversation as well as opportunity to comment freely in order to obtain feedback. These interviews included artists with varying levels of experience in public art, developers, public art consultants, BIA representatives, municipal art program representatives, fabricators, and arts professionals including directors, educators, and curators.

As our interviews progressed the topics fell under the same general headings. Below are some of our findings.

How did you become involved in Public Art? Many artists became interested in or started to produce public art as a way to ‘tap into a broader audience’ or ‘get out of the white cube’ gallery space. The communityfocussed aspect is also a desirable aspect of the work.

For some artists it was an intentional choice and others discovered and moved into the field through personal connections. Many artists made their own opportunities, often with one or more partners. Other professionals often discover the field through initial personal and professional experiences. For e.g. a fabrication studio representative, with an industrial design background assisted a mid/late career artist and they learned through trial and error.

Can you comment on experience and/or differences between working in municipalities, national or international work?

In general, the municipal and in many cases National public art programs that are mandated by government have a set structure and process for public art. These structures though, are geared towards professionals outside the artistic field (i.e architectural offices, corporations, consultants, urban designers who would not be competing for art-specific grants), making it hard to navigate for novice artist and even mid-career artists.

It was noted that in other countries, with fewer regulations around public art and public spaces, a ‘guerilla style’ (independent, make your own opportunity approach) allows a flexibility for creative opportunities to emerge outside of formal artistic institutions and mainstream art scenes. Under this environment artists made temporary art, accessible to the general public and deeply rooted in the local culture, traditions, and everyday life. Consequently increasing artist’s visibility, exposure and recognition, while increasing their learning, experience and portfolio.

In addition, due to limited resources, artists in these countries often exhibit a high degree of adaptability and innovation. They might repurpose materials or develop unique techniques to create their art, with what is available around them.( i. e LeeRoy’s work with garbage), often

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using these opportunities to gain international recognition and/ or foster collaborations with artists from other parts of the world.

Where do you get your information about the Public Art Process?

Artists often learn of opportunities through social media, from art-focused platforms such as Akimbo or CODAworx, or through other community or network connections, including networks associated with their country of origin (cultural associations, embassies, consulates, etc.). Artists with some public art experience also check municipal websites and more formal procurement platforms such as Biddingo and Merx, or receive direct invitations from the opportunities’ organizers with whom they have had previous contact and are familiar with their work already.

Others in the field refer to these platforms and networks.

What do you see as barriers for artists who are trying to make the leap from their art production to public art pieces?

There are barriers in every step of the process, particularly for novice artists. Artists with little to no experience often did not know where to start to find information, did not have connections to experts (installers, fabricators, material suppliers, etc. ) and/or how to respond to a call for submission including: navigating the system, finding the opportunities, putting together a budget,

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managing budgets, transferring the idea to constructive plans, engineering (technical considerations), fabrication, material knowledge, material legal restrictions and testing, installation, other legal requirements such as insurance, artist’s rights and royalties, etc. They felt that was a specific skill set that they did not develop during their studies that was needed to produce public art.

What would be helpful for you as an artist to be able to produce a piece of public art? - If you had the capacity to change something in the process, what do you think would open up the process to artists?

Although there was a whole range of comments here including ideas from a proposal writing workshop, exposure to fabricators, design professionals to ask questions, lectures from other artists to show their public art process, etc. The answers can be summarized as: the need for support. to translate their ideas into tangible public art pieces.

How do you feel about temporary art opportunities?

Temporary opportunities can open up flexibility in materials, be less pressure to produce something permanent or perfect, provide more freedom to experiment, be a more manageable commitment with a lower budget.

Temporary opportunities are less risky for both artists and commissioners of the artwork.

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3.3 ON LINE SURVEY Programs Providing Artist Support + The Bentway in Toronto, manages and coordinates each project with their production team, and although they do not produce drawings they keep working together with the artist during the process, providing key milestones, connecting them with a network of fabricators, advising on site consideration and lending a sort of ‘ground security and support on site’ through their facilities team. In this way, an artist with a creative conceptual idea, regardless of their experience level, can realize a public art piece for their portfolio. While learning to develop a piece from concept to reality, they also build their arts community and public art professional relationships for future projects. + XOXO Downsview’s Wind Rose: “a structure that hosts a changing series of dynamic installations”, also provides support for participating artists, selected on merit, through technical review (the engineers basic review) and the client’s management team which checks for climbability, insurance, tripping hazard, etc. In addition the ‘changing nature’, scale and long term plans of Downsview park are ‘liberating’, lending itself for experimentation and more expressive art, conducive of learning and the creation of community ties.

An online survey was developed exclusively to interrogate artists, in any stages of their career, about their experiences in public art. It was shared online in multiple platforms and newsletters using our ‘art networks’ to expand its reach. We got 142 responses during the 3 weeks it was life.

Below are some of our findings.

How long have you had an art studio practice?*

*based on 132 responses

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SUMO Project + ZWARTstudio

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Have you applied for the following? (check all that apply)*

Do you have a clear understanding of roles and responsibilities? (who is in charge of what, who pays for what, etc.)*

Open, 1 - stage competition

Open, 2 - stage competition (1-Expression of Interest with CV, 2-Shortlisted invitation for concept development) *based on 95 responses

*based on 132 responses

“Submissions that outline schedules, deliverables, fees, recognition. I prefer calls that offer remuneration for a conceptual pitch.”

“Call for Proposals are my preferred types of call for submissions. Although they do not pay the artist for their initial ideas, they do create opportunities for an artist to exercise their practice, as well as give the artist potential exposure to the clients and public art managers. Call for Proposals let artists know about the site, which can lead to interesting connections and artistic interpretations. They also allow artists to visually illustrate their artistic intentions of the site which could lower entrance barriers for new artists, as well as with artists who do not excel in written communication.”

“I like the two stage process as I feel it is a good way for folks to introduce their practice to the people issuing the call. There is also not a lot of unpaid labour since typically folks selected for stage 2 will get paid for their concept and a more in depth design submission.”

“RFQs are the WORST. EOI or RFPs better -- except they always say do not provide a concept at stage one.”

Inclusive Mentorship

SUMO Project + ZWARTstudio

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“I believe calls for Expressions of Interest (EOI) are barriers for some artists because they are generally based on past experience in large-scale installations. EOI also greatly favor artists with excellent written communication skills.

If a potential artist has an incredible idea for a public art installation but lacks experience, it is highly unlikely that they would move onto the next stage of the public art call. It would be empowering for the artist community to create a mentor/mentee public art program alongside traditional Calls for Proposals. In this scenario, the finalists would be based solely on their conceptual site interventions which would include preliminary illustrations, inspirations and written concepts. All finalists would also have access to a small pool of public art practitioners and fabricators across the country (via zoom or in person meetings) all who are helping to bring the selected artwork(s) to life.”

“If you haven’t already had a public art commission, you cannot apply for most Calls. If you do not have an MFA you will not get looked at (even if a professional working artist 15+ years, a just graduated-art student has more of a chance.) If you do not have an architectural firm or design team, you have no chance. And recently, if you do not fit the priority diversity group, you can not even apply for many public art calls. Developers often use the same artists repeatedly (see the many red metal angle sculptures around town). Additionally, it is great to have outreach/educational sessions to inform the public about the work, but proposals should not bend to turning the artist into a gov’t social worker -- creating workshops for “the community”, etc.”

“Absolutely, the materials for submission take time to produce and layout well. Often architecture firms have designers in house to make proposals appealing.

An individual artist needs to work extra hard to make a compelling concept and appealing design, in their own time, without specialized fields contributing. I have hired, begged, borrowed time, to have access to engineers to look over my plans so I have confidence in the proposed designs, for example.”

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SUMO Project + ZWARTstudio

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What percentage of your work is Public Art?*

If you have produced a piece of Public Art, what was the budget? (choose all applicable)*

Do you know how to prepare work-related material for the press, media and community, etc.?*

*based on 94 responses

What was the biggest challenge in completing the piece?

“Installation” “Finding suitable materials that would allow for the piece to be permanent.”

“Approval process and feedback from stakeholders” “Trying to work with all the players, developer, architect, fabricators, art consultants…” *based on 94 responses

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“Working with a committee BEYOND the curator. The curator was amazing...the politics were not. The mayor had no interest in acknowledging the commission. Covid was the excuse.”

What did you do to overcome this challeges?

“For the new responsibilities, I took it slow, I did one thing at a time, and broke the responsibilities up into small bits that didn’t seem as daunting. I also asked for help when I needed it. For timeline issues, I try to start early, and allow for extra time to complete the projects if I am creating my own timeline.”

“Dialogue! I have found myself spending more time than I’d like ‘educating’ some of the partners in a public art project to make it work. I’m happy to do this but it would be nice if those assigned to such a project come to it with a sensitivity to contemporary public art.”

“I’ve learned how to pre-empt challenges and problems by developing or vetting contracts that provide detailed breakdown or deliverables, fees schedule, roles and responsibilities, timelines etc.”

“An emergent process. Much consultation with subject-matter experts and locals. Trying to work as

site-responsively as possible without losing our voice.

Collaboration.”

“Prior to production I created a prototype to see how it weathered and if there were any weak points that could be corrected prior to full scale fabrication” “I worked with my father, a carpenter to come up with a better design. The installation team at ArtworxTO were very helpful as well.”

If you were to increase your knowledge about public art through peer-to-peer learning what would you prefer?

A mentorship experience with an art consultant Lectures - Artist ( their public art process) Lectures - Fabricator (process with artists) Apprenticeship with artist, shadowing an experienced artist Courses, Workshops

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Where do you get your information about how the public art process works? (select all that apply)* *based on 129 responses

University Education Internet research (articles & blogs) Publications (books and articles) Conferences, seminars, Connections with people in the field (curators, competition organizers, art consultants) Learning by doing (small or temporary art projects, apprenticeships, assisting work ) Word of Mouth By trial and error of being a full-time artist Practicing public artist In person studies and examination of public art Other artists Ask questions to whoever is behind the call posting I work for an advisory specializing in public art Books about public art process in US and Canada Through open calls Experience Art organizations and feedback from organizers Application process TAC’s Newcomer and Refugee Mentorship Grant

Inclusive Mentorship

SUMO Project + ZWARTstudio