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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

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

5 PRELIMINARY TOOL KIT

APPENDIX A1. CASE STUDIES-COMPARATIVE TABLE

4.0 PRELIMINARY FINDINGS: 4.1 Barriers Identified 4.2 Opportunities Identified

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‘Couch Monster’ - Brian Jungen

4 PRELIMINARY FINDINGS 4.1 BARRIERS IDENTIFIED A cross-referencing of case studies and interview research was completed to identify barriers faced by artists new to the field of public art (referred to as Novice Artists in this report - see Chapter 2 for definition). Overall the experiences and barriers vary as the field of Public Art is not a clearly defined or regulated industry. Many people have discovered the industry and worked their way to becoming more involved and experienced through professions integral to the process. Artists, industrial designers, architects, landscape architects, curators, educators, constructors & fabricators, engineers, developers, and city builders are all involved in the process and there are many different approaches to participating in the design and production of public art. Our research identified six significant barriers to Novice Artists seeking to enter the field of public art. These six barriers fall broadly under three categories: The need for community/network support for artists pursuing public art including other artists as well as the range of professionals involved in the field, 4.1.1 Lack of Networks & Community - including personal and working relationships both to get opportunities and know the professionals who play a role in producing the work. Inclusive Mentorship

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4.1.2 Lack of support in translating concepts into reality - including issues like budgeting technical reviews, project administration, site installation, etc. The challenge of accessibility and how to navigate the procurement system including how to find opportunities, understand requirements, how to apply and comply with requirements, 4.1.3 Accessibility of the call for submissions including the feeling that they are too intimidating due to complexity, language, scale, budgets, and requirements like a portfolio. 4.1.4 Lack of low-budget, low-risk opportunities - (generally temporary art) that is not associated with a short-term festival where artists have the opportunity to learn and experiment in a low-risk atmosphere. The lack of knowledge regarding the professional practice related to Public Art and practical considerations related to public space. 4.1.5 Lack of Knowledge and preparation for ‘professional practice’ - related to Public Art

including replying to an RFP, translating ideas into production, contracts, timelines, legal considerations, copyright ownership, budgeting, insurance etc. to considerations in public spaces, process, opportunities, etc. 4.1.6 Lack of Knowledge – in understanding practical design considerations related to public space. Topics include safety (Public safety, climbability, head entrapment, Crime Prevention Through Environmental Design (CPTED), structural integrity, materials and the elements, installation (equipment, permits, logos, scale, etc.) 4.1.1 Lack of Networks & Community - including personal and working relationships both to get opportunities and know the professionals who play a role in producing the work. Professional and social networks are an integral part of advancing as an artist. Building a network is crucial for collaboration, opportunities, community engagement, accessing resources, and advocacy. It allows artists to connect with peers, professionals, and organizations, which in turn constitute a support system. Networks provide exposure to new opportunities, grants, and commissions, expanding visibility and advancing artistic careers.

Engaging with communities through connections helps create meaningful artwork and collaborations. Working networks also offer access to fabricators, structural engineers, lawyers, and other specialists who are necessary when working at the scale of public art. Case study research demonstrated that programming to address these needs through networking and access to other artists, arts professionals and organizations is needed. Examples include programming and community specific to immigrant artists new to New York and the New York cultural world, emphasizing peer-to-peer support. Networking as solidarity across a marginalized group and shared experiences was the focus of the Mentoring Artists for Women’s Art program. And networking as access to business communities through the V&A Waterfront Artist Alliance. As part of the Wood Buffalo Public Art Plan, the Arts Council Wood Buffalo Survey was conducted in 2016 by Hill Strategies. The top needs identified for non-professional artists were arts instruction or training (selected by 63% of non-professional artists), networking (53%), and finding or strengthening a community of artists (51%). Our interview research with artists demonstrated that when artists worked in community they were able to learn by working with others in their networks and also collectively create their own opportunities to be able to experiment in the public realm. Inclusive Mentorship

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4.1.2 Lack of support in translating concepts into reality - including issues like budgeting technical reviews, project administration, site installation, etc. There is no one way to participate in producing public art. Often, as part of a competitive procurement process, calls for submission list requirements and what an artist is responsible for, but do not elaborate on how to achieve them. As part of submissions, artists are required to propose a piece that is reasonable for the proposed material, budget, and time frame (to name a few). Artists new to the process without any experience (novice artists) do not know how to approach these submissions and know if their concept can be translated to reality. Municipalities and developers spending significant dollars on public art look to find artists experienced in producing public art. Therefore it is difficult for an inexperienced artist to break into the field of public art and begin to learn how to translate their art practice from the gallery to the public realm. Research shows that an artist new to public art will flourish when they have continued guidance through the entire process of concept, design, fabrication and installation such as when an art consultant or organization can provide ongoing support and connections to the appropriate expert. There are examples where a program or Business Improvement Area (BIA) takes on responsibility or provides

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assistance for one or more aspects of the process, such as obtaining insurance, permits, and managing the site setup and installation equipment, which allows the artist to focus on aspects of the project where they are more comfortable and learning while receiving assistance where they lack experience, such as the technical fabrication or structural engineering requirements. In our case study research, many programs had identified the need, and provided opportunities to connect with business and industry, partnering artists with an existing network of businesses, residencies with practical experience and tailored support while being encouraged to experiment, and to provide opportunities to participate in temporary art. There is generally a lack of transparency in the process for various public art opportunities. While municipal public art plans outline the clear steps for developers to procure art as part of Community Benefit Agreements with the municipality, there are no clear outlines or support for artists looking to realize public artwork. Often artists are left with the burden of responsibility for things that the developer or organization has ease of access to (design professionals, contractors, etc.) and perhaps the entity procuring the artwork could provide these services as part of the agreement.

Open calls for public artworks vary in accessibility due to factors such as complexity, language, scale, budgets, and portfolio requirements. They can take the form of a onestage or two-stage open call. 4.1.3 Accessibility of the call for submissions including the feeling that they are too intimidating due to complexity, language, scale, budgets, and requirements like a portfolio. One-Stage Open Call: In a one-stage open call, the entire selection process occurs in a single step. Artists are invited to submit their proposals, which typically include their artwork concepts, previous work examples, and supporting materials. A panel of judges or selection committee then evaluates these submissions and chooses the winning proposal directly from the initial submissions. Two-Stage Open Call: In a two-stage open call, the selection process occurs in two distinct phases: -a. Stage One: Request for Qualifications (RFQ) Artists are initially invited to submit their qualifications, which typically include their artistic background, portfolio, and relevant experience. From these submissions, a shortlist of qualified artists is created.

-b.Stage Two: Request for Proposals (RFP) Shortlisted artists from the first stage are then invited to submit detailed proposals for the specific public art project. These proposals may include comprehensive sketches, plans, and more detailed descriptions of their artistic vision. The intimidating nature of some of these open calls is affirmed by several of the emerging artists interviewed. An answer to, “do you apply to the public art call for submissions?” “Often not, I don’t know what the jurying procedure is? Who are the people that get filtered out and why? Even if I have a proposal. Not too many developers or art consultants are ‘friendly’ to first timers. I let the other calls for public art go because I assume they are looking for someone with a mature skill set.” Further to the overall lack of transparency around the process mentioned earlier, there is also a lack of understanding for artists new to public art of ‘the system itself’ including how to find opportunities, how to apply, and how to get funding. The process of procuring public art in the GTAH and Canada in general is complex. The calls/application process is geared towards a non-art industry (firms, corporations, consultants, urban designers) and are significantly complex in relationship to the arts sector and opportunities artists would normally apply to.

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The list of requirements, documentation and technical/ legal language can be challenging and unwelcoming and even artists who are emerging, mid-career and established don’t apply to these opportunities . In addition, cultural differences and bias exacerbate this barrier and are encountered by Indigenous communities, immigrants and those unfamiliar with the public art process in Canada. Public art mimics the colonial institutions of access and the cumbersome public art procurement process is not welcoming nor is a level playing field. In the arts sector government granting bodies are streamlining applications and providing assistance in applying for grants especially to reach under-represented communities. To understand a variety of ways and approaches to public art, our research extended to national and international case studies and interviews, with the intention of learning from different cultural attitudes and approaches to public art and how artists new to the field might find opportunities to participate. An artist who we interviewed brought administrative and project management skills from another profession to her art career. In completing public art she also plays the role of the project coordinator. When playing this role she noticed that other artists new to public art had challenges in understanding contracts (language, signing digital format), and not knowing what questions to ask or what information is missing from a contract regarding for e.g. clarity on roles and responsibilities. Inclusive Mentorship

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4.1.4 Lack of low-budget, low-risk opportunities (generally temporary art) that is not associated with a short-term festival where artists have the opportunity to learn and experiment in a low-risk atmosphere. Public art is often defined as “work in any medium that has been produced by an artist, installed in a public or publiclyaccessible space.” This includes permanent and temporary pieces. But being in the “public space” has some very clear implications that range from consideration about public safety, and material resistance to natural elements (wind, sun, rain, etc.) to scale, site responsiveness, community context, and many others. Even bi-dimensional pieces such as murals and road paintings, digital pieces in storefronts, which are generally considered low-risk, need to deal with scale and equipment to deal with the large format, ensure compliance to City By-laws and regulations, minimize foot traffic and fence installation area, etc. Three-dimensional work requirements are even more complex and require more knowledge and experience. Low risk, low budget opportunities are key for new artists to learn how to operate in the public realm. ‘Learning by doing’ in a controlled environment, taking calculated risks, building confidence and relationships that gradually scale the work.

Festivals, art fairs, and other cultural events tend to be great places for temporary art and lots of public participation, including collectors, gallerists and curators. But they aren’t low risk. They are time sensitive, offer little technical support and want to create a big impact, so they have little tolerance for error. Besides, to guarantee a good result, they tend to be portfolio based. These opportunities lend themselves better to emerging artists, artists with some experience and a modest portfolio. Novice artists need the opportunities to slowly build their portfolio and their confidence progressively. They need low-risk, recurrent opportunities aligned with support so they can properly develop their skills and build a portfolio with their experience. In addition, these opportunities need a bit of tolerance in both budgets and in the conditions, to account for inexperience or errors. Programs that offer this type of opportunity push new artists to new limits, increasing their learning, building relationships, empowering them to go further but controlling the risk of doing so. 4.1.5 Lack of Knowledge and preparation for ‘professional practice’ - related to Public Art including replying to an RFP, translating ideas into production, contracts, timelines, legal considerations, copyright ownership, budgeting, insurance etc. to considerations in public spaces, process, opportunities, etc.

Post-secondary education programs, at least to the early 2000s, did not include in their curriculum the practicalities related with accessing opportunities to create public art (Professional Practice). Activities that range from how to properly reply to open calls, RFP or EOI, etc. to how to turn ideas into reality (create construction drawings, select appropriate materials, acquire permits, review contracts, evaluate timelines, etc.). In doing so they are skipping a big part of what becoming a public artist means in practice, and creating a barrier that is hard to overcome, as the process is complex and there are many ways of navigating it. As a consequence, many artists either remain confined to a studio / gallery practice or attempt public art by trial and error, directly or indirectly, going through a long, cumbersome and many times frustrating learning process. In many cases discouraging potential new generations of public artists. The lack of public art programming in artist higher education is changing, however some artists may not have been interested in pursuing public art at the time of their schooling and will need to find other ways to learn. Cultural Difference and personality play a role in the way this barrier affects artist’s careers. In countries like Canada where there is a public art process, artists need to learn how to navigate the system and / or find opportunities within the system’s structures. Inclusive Mentorship

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Alternatives such as mentorship programs, bootcamps and other training opportunities can fill this gap. Networks, or community ties can also allow an outgoing and proactive artist to create opportunities for themselves that allow progressive growth and experience, within the constraints of the rules and regulations, the institutions and the social infrastructure. In counties where there is no system, the lack of a standard method becomes a barrier in itself. Nevertheless in these types of countries people rely more on ‘relational networks’ than in institutions. Ergo, they are accustomed to finding opportunities in unusual places, are prone to collaboration and partnership and resourceful. Public Art Boot Camp Seattle, US 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. It is open to local artists who have not received a temporary or permanent public art commission over $5,000. Visual artists who are interested in the public art realm but have never done work in the field before, artists who are ready to translate their exhibition experience to the public art realm.

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‘El Castillo de los Ladrillos Rotos’, una exposición de guadalajara90210 + Reurbano , Mexico City, Mexico This program consists of somewhat spontaneous interventions within unfinished building sites (owned by developer Reurbano and offered as part of their collaboration with a contemporary art group). It is not a formal mentorship, but an ‘experimental’ setting that includes interactions between suppliers/fabricators and artists, between architects and artists, key to the success of the project. 4.1.6 Lack of Knowledge – in understanding practical design considerations related to public space. Topics include safety (Public safety, climabilty, head entrapment, Crime Prevention Through Environmental Design (CPTED), structural integrity, materials and the elements, installation (equipment, permits, logos, scale, etc.) Designing artwork for the public realm requires specific considerations. Public safety and liability of property owners and cities is a concern that needs to be addressed in the design of a piece. This includes considering if a piece is climbable or if there is risk of ‘head entrapment’. Guidance for these concerns are found in building codes that provide for example minimum dimensions for gaps in outdoor railings and screens and/or through other

outdoor elements and artworks. The material itself should be structurally designed for outdoor conditions that take into consideration forces of people, wind, snow, etc. The natural elements of the outdoors also have an impact on the durability of an artwork and need to be constructed of and finished in strong materials, with dull edges if the work is accessible to people. In order to install a completed work in the public realm there are requirements to obtain permits, and manage construction in a public place. In addition, design considerations that may be new to a novice artist include working at a substantially larger scale, understanding how to respond to a particular site and how the community context can play a role. This includes the history of a site, the people that have lived and existed in that area over time. Often public art requires engaging with the community either during the design process or afterwards. Levels of public engagement vary from case to case and can contribute to the success of a piece and also the ownership that a community takes on of a piece. Crime Prevention Through Environmental Design (CPTED) is another tool that design professionals of public space employ in their work. CEPTED principles are built on the idea that through design one can eliminate or reduce criminal behaviour. These strategies can be useful to consider when creating public art but are not typically known to artists.

Those installing the artwork require to be insured, with the proper training and certifications. As public art is often installed in newly developed public and privately owned public spaces they are often tied to construction of a building or public space that have design and construction schedules that require preparation, adhering to a schedule, and understanding that unforeseen weather conditions and site constraints play a role and can be challenging to manage without some knowledge of the construction management process. Many artists experienced learning through trial and error with first time opportunities and experienced challenges around dealing with time crunches due to weather changes and resulting behaviour of materials, needing to learn how to be adaptable to these circumstances and figure out how to problem solve while under the pressure of being responsible to deliver the project that they had described to the client and set out to do. Case study research such as the Seoul Museum Public Art Committee noted ‘disparity between the general expectations of public art and the imagination of participating artists.’ The Seattle Public Art Boot Camp program focuses on equipping artists to translate their work to the public realm, including workshops on practical

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4.2 OPPORTUNITIES IDENTIFIED considerations while the Raleigh Public Art Mentorship Program provides the opportunity for emerging artists to work with a seasoned artist on a large-scale public art project and learn about practical considerations. The Steps: CreateSpace Public Art Residency in Toronto is designed for artist capacity building including practical experience with support.

Opportunities are addressed under the same categories identified in 4.1 Barriers Identified, as they can be turned into opportunities. In some cases, opportunities may address more than one of these categories. 4.2.1 – Creating community and working networks. 4.2.1.1– Re-connecting with your background: Join forces with people, organisations and institutions from your own cultural background. Socio-Cultural Organizations: Cities, town and villages usually have socio-cultural organizations, some of which are specific to people of certain countries and regions of origin. Approaching them and working together can create opportunities for artist simply by becoming a ‘representative’ or an ‘ambassador’ of that culture or place. They can help you connect with like-minded people and provide information that lead to opportunities.

The Little Portugal BIA with the official support of Portuguese Embassy, partnering with Café Pessoa – Cultural Strategies, based in Lisbon, invited the artist Bordalo II to take over another Dundas’ West corner. (West of Lisgar)

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City Councillors, Embassies and other government agencies: can help represent you as an artist, and if needs be, make the connection between the country of origin and host country. Both have cultural services that help promote and disseminate cultural heritage and activities within their communities or areas of impact. Registering to get their updates, and actively reaching out to program directors can lead to opportunities. The Goethe-Institut, a German language and cultural organization, is an example of this.

The work created by Leeroy New at the Bentway; and Vhils and Bordalo at Little Portugal BIA area, are examples of coordinated effort between local and international associations, consulates, cultural associations, city councillors, etc. 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. The V&A Waterfront Artist Alliance is designed to give 10 incubatees practical experience, and skills across five creative disciplines (fine art, video/ photography, film, illustration, and design).This disciplines coincide with the existing businesses in the area to which there are paired with, through the Artist Alliance. The program puts African cultural identity at the forefront and focuses on practical aspects and business skills that may lead to income generation.

4.2.1.2– Working ‘collectively’ instead of ‘collaboratively’ There are opportunities that arise from working with others. For example, opportunities to increase your knowledge, increase your networks, opportunities to participate in a variety of events, or all of the above mentioned. Even artist who prefer to work alone, can benefit from knowing other people, exchange ideas, materials, techniques, resources, etc. One alternative to get the best of both worlds is to work ‘collectively’ instead of collaboratively. This means working in a group (of artist or different professionals) with the same concept / idea /objective, but each artist developing it in their own way, and generating their own outcome in their own style. Uneven, unreciprocated or extractive working relationships known issue in the creative fields, so we have explored different types of collective work as a means of addressing this imbalance. Artist Collectives such as ManifestAR use this system, allowing bigger impact with individual interventions on one theme or concept, delivered at the same time. Group shows, can also help. If artist consciously take the opportunity to converse with other artists, ask them about their process, their sources (manufacturer, material providers, etc.) and their experiences, it is a great opportunity to learn collectively while working independently.

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4.2.2 – Accessibility-Helping artists access opportunities and comply with requirements in call for submission. 4.2.2.1– Temporary: Low risk, low budget Temporary Art offers opportunities to test creating art for the public realm. Generally operating with less complexity, more manageable requirements and budgets per piece, these opportunities tend to be appropriate for artists from a wider demographic and at all career levels. Due to the short-term nature of the artwork there tends to be more flexibility to accept experimentation, testing of new ideas and even room for mistakes as exposure and risk for all involved (artist and those procuring the work) is a lower than for a permanent piece. Festivals, pilot projects, underutilized spaces (empty storefronts, construction sites, park), temporary presentation centres, empty walls, gardens, etc. can become places for leaning and experimentation for artists, particularly novices. 4.2.2.2– Keep it simple and provide support These two factors seem to invite and propel the development of artist at any stage of their career but particularly at early stages. They invite a larger demographic to participate with the comfort of having support from conception to implementation. These include technical review (structure, materiality), site constrains (size,

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clearances, liabilities), frequent check up pints (to discuss the development of the piece), installation / site team, and funding, among other things. This not only promises good results but also empowers artist, challenge them to learn and take risk, grow, change scales, work with different trades, etc. but under a controlled environment. The Bentway, uses a model that offers temporary opportunities with a variety of formats that suit artists at various stages of their career. ‘All art at the Bentway is temporary (5yr is the maximun) but generally exhibited for 2 months up to 1-2 years. Their model is based on a full support package that includes curatorship, management and coordination of the project, production (in conjunction with the artists), ground support (facilities team), strategic partnerships (to align with programing), funding, promotion, etc. and a varieties of budgets to suit the pieces size and types. ‘Windrose’ (Downsview Park) is a good example in which the format lends itself for novices. Defined as “a structure that hosts a changing series of dynamic installations”, it consists of a 32 square arches arranged a radial shape, which artists can intervene with their art (attaching it to the structure in a variety of ways). The submissions are reviewed based on merit and then go through ‘technical review’ (engineers basic review) as well as the client management

team’s review (which check for climbability, insurance, tripping hazard, etc). Providing recommendations and support to the selected artist. The arches take care of significant structural and installation concerns and provide a base or framework to start with. This base, in addition to the support makes it ideal for artists with little experience to learn, take risks, scale their work, etc. ‘El Castillo de los Ladrillos Rotos’ in Mexico City, is a collaboration between a local gallery (Guadalajara90210) and a local developer (Reurbano) which allows artists to, temporarily, use under-utilized spaces of a construction site, before new construction starts. A low budget, low risk opportunity that ends in a collective exhibition that happens at the same time that Zonamaco (Mexico contemporary art fair). In addition although a formal mentorship, it includes interactions between suppliers/fabricators, trades and artists, between architects and artists ,etc. a key source of learning and support. 4.2.2.3– Be proactive: use what you have Opportunities are hard to find, especially in the beginning. Even artists that know the system, need to have a thick skin to deal with the amount of rejection they get from applications to public work. Many however defy the odds and create their own opportunities and look to work with what they have as opposed to what they don’t. Being

proactive, they work collaboratively (with friends, building temporary partnerships) and look at the resources they have at hand such as public spaces, publicly accessible spaces (university campuses, their own private gardens, a friend’s business space, etc.), and other resources available to make things happen. By ‘Creating’ the opportunity and not waiting for it an artist gains some exposure and builds a portfolio that can later be used for more formal applications. Some artists create a business model to generate opportunities and connect with people in the field. A Toronto based artist started by creating the idea of a Sculpture Garden, just to get into Public Art. She ‘represented’ and invited other artist to participate, went to trade shows, art fairs, etc. In this way creating exposure, interest in hers and other artists works and getting to know, how things work buy doing it from beginning to end, one step at the time. Other artists have started to work in public art by working collectively with friends on their university campuses, or by having exhibits in their neighbourhoods, on the walls of a friend’s business, etc. Through these creative ways of being seen, artists become acquainted with the skills necessary to operate in practice.

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4.2.3 - Knowledge - opportunities for learning and sharing knowledge about the professional practice of Public Art, including practical considerations related to working in public space. 4.2.3.1– Keep learning and sharing knowledge. While not all artists have had the opportunity to participate in ‘professional practice’ learning in the higher education setting, continuing to build foundational knowledge of public art practice can make a big difference in an artist’s career. While they may be varied, opportunities to continue to gain knowledge through various organizations, lectures and seminars do exist. It is important to stay connected to your local arts organization and other sites that advertise these opportunities. From Workshops about the public art process (partial or total) to taking a professional practice course (in post-secondary institutions) to a variety of mentorship opportunities including mentorship as a mock public art project case study, a mentee ‘shadowing’ a mentor artist full or partial process, or an artist mentor who teaches a mentee the practical aspects of the trade. 4.2.3.2– Partnerships Partnerships offer an incredible variety of opportunities, that bring mutual benefits. Partnerships between artist and art organizations, between artists (i.e experienced-novice), between artist(s) and fabricators, etc. All of which allow

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to share knowledge, abilities, responsibilities and provide support as well as, in some cases, learning by doing. At the same time getting larger exposure by combining social media outlets, other media resources, and accessing combined audiences. Public Art Management (PAM) art consultants work with novice artists through a ‘bootcamp’ format that trains artists in the whole process of public art in Toronto. From making their resume, to properly responding to an RFP, all the way to implementation, they prepare, selected artists, to address the issues and become familiar with every step of the process. Other art consultants offer similar options, sometimes available within the call for submissions. They may be in the form of a mentorship with a more experienced artist , with the art consultant or with the whole team. Seoul is Museum (Seoul, Korea) is a conference, a public private collaboration, that brings together academics and practitioners for focused topics in public art planning in Seoul. Open to everyone, not only people in the sectors, it encourages citizen participation, and it is geared towards peer-to-peer learning. Most of these talks and projects include some aspect of technology and communication design, as well as integrating citizen participation and interactivity.

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5.0 PRELIMINARY TOOL KIT:

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Bobber Plaza - Douglas Coupland

5 PRELIMINARY TOOL KIT FOR NOVICE ARTISTS Based on our research findings, followed by identification of barriers and opportunities, we have drafted a preliminary tool kit. This tool kit is a work in progress with plans to add information and resources for both, artists and those providing public art opportunities. 1 Create Community There are opportunities that arise from working with others. Creating a community, personal and professional , can help to increase your knowledge, your networks and your opportunities to participate in a variety of events. -Reach out to organizations from your cultural background, or join the mailing list. These places help you connect with like minded people that share certain qualities with you, such as birthplace, traditions, practices, etc. free of cost. This can include embassies, consulates, your municipality and cultural organizations. -Reach out to your Local Arts Organization, or join the mailing list. they often can share resources specific to art, and keep you in the know, while providing opportunities to connect with both people and other organizations.

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-Reach out to your Business Improvement Area (BIA)or equivalent, or join the mailing list. Although BIAs focus on business, they understand the value of art in urban spaces, and their effect in humanizing them. Public spaces with art invite people to participate, and to linger in them, and consequently helping the surrounding businesses to flourish. So they often fund and promote local artists. - Participate in a workshop, course, or mentorship opportunity to get acquainted with the public art process and the people that are involved. They exist within post-secondary educational institutions, cultural organizations, or as private initiatives, and associated with public art consultants and the projects they manage. - Volunteering is a great way to get to know people, get involved in your area of interest, also a great chance to demonstrate your capabilities. Although these are generally ‘unpaid’ opportunities, they are a way of testing the ground and connecting with people in your area, building your network, improving your knowledge and may lead to opportunities. Volunteer at a Gallery, Museum, local art organization, BIA, or art spaces, etc.

-Join an art collective which is a group of artists (or artists with other art related professionals) with similar interests, working together. The groups vary greatly and they can be united by shared ideologies, aesthetics and/or beliefs. Not only help you share ideas, critical thinking, but also practical needs such as purchasing materials, sharing equipment,sharing space, etc. In this way also sharing the cost, risks, work load, etc. -Attend gallery or museum openings. This is an easy and pleasurable way of getting to know people with similar interests, and getting to know the work of others and their supporters. 2 Find or Create Opportunities In the early stages of your career, both finding and creating opportunities can be a challenge, but artists that are proactive, can get better results faster. -Use your community to seek out opportunities together. Joining forces can maximize your resources and provide you with the support you need. -Create your own opportunities! be creative and resourceful, use your skills to self procure opportunities (individually or in a group) and create your portfolio. Artists often find opportunities in unusual places, that is part of being creative. Look for the resources you have,

not the ones you don’t, and document it all! -Do temporary work, in public or publicly accessible spaces, or in the landscape. (murals, land art, ecofriendly frescos, etc) -Work with material surplus or materials that are readily available. Many artists work with natural materials (soil, flowers, plants, stones) or surplus (garbage, left overs from construction sites, lest overs from other artist installations, etc). -Find underutilized or unusual spaces that are fitting to place your work such as your local hairdresser or your friend’s publicly visible garden. Explore your neighbourhood for spaces you can use for a limited time such as asking the owner of your local shop if you can paint the exterior wall. Try creating a digital presence online with a blog on public art. 3 Build Knowledge Building knowledge, either conceptual or practical, takes time, but it is essential for the success of your career. To build practical knowledge, it is necessary to understand every step of the process, from understanding calls for submissions, and budgets, all the way to implementation and closing procedures.

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Please notice these procedures are site specific, so they are adapted to the culture and change from place. -Attend information Sessions: Pay attention to calls for submission that have an information session (virtual or in-person). Often you can request clarifications and ask specific questions. Read the call before the session and ask any questions you have. -Go to artist lectures: This is an opportunity to learn about both conceptual and practical aspects of public art. -Look for mentorship options: Some calls for submission offer options for a mentorship that is separate from the main public art commission. Often their are separate calls to apply to these mentorships and this is a great way to learn. -Work with a gallery: experienced artist or fabricator to gain knowledge. Learning by doing is one of the best ways of learning. Galleries can help to learn all admin procedures, while more experienced artists and fabricators can help with more practical aspects of art making.

Inclusive Mentorship

SUMO Project + ZWARTstudio

-Take a course on professional practice: Although a recent addition, educational institutions offer courses on professional practice or specific aspects of it, such as creating a budgets, how to reply to RFP, RFQ, how to work with a specific material, etc. -Read about the process: Although there might not be books specific for the place you are working on, there are always similarities or things to learn.If you are in North America, The Artist’s Guide to Public Art: How to Find and Win Commissions by Lynn Basa is one of them. Although tailored for the USA, it helps greatly to describe every step of the process and what to watch for.

Inclusive Mentorship

SUMO Project + ZWARTstudio

APPENDIX:

A1. CASE STUDIES-COMPARATIVE TABLE

Inclusive Mentorship

SUMO Project + ZWARTstudio

A.1-CASE STUDIES // COMPARATIVE TABLE Case Study Wood Buffalo Public Art Plan Wood Buffalo, Alberta

Seoul is Museum Seoul, Korea

Image

Definition of mentorship/learning opportunity

Project/Program Type

Mentorship details - funding and duration

Needs identified

Needs addressed

Examples of projects

Initiatives/Events

"An artist mentorship is an opportunity for an Strategic: public art plan emerging artist to work with an established artist on a project relevant to their area of work and interest."

No specific mentorship details given, but the plan states that mentorships according to their guidelines would follow the definition of short term being 2-4 years

No fine arts or visual post-secondary program in Wood Buffalo, There is a focus in this specific region on indigenous culture PUBLIC WORK | An urban design and landscape architecture Make it Public 2016 public art workshop covering so artistic training is often informal/Connecting with business (Cree, Dene, Metis), the natural landscape, and the link studio, https://publicwork.ca/projects/weatherbasic steps of creating public art proposals, and industry/Help with applying for grants and funding/Finding between urban and rural places. It is worth noting that most catcher?category=all selection process, working with fabricators. or strengthening a community of artists/Marketing advice or mentorship initiatives appear to focus on simpler public art After past missteps, Fort McMurray unveils latest public artwork Take your artwork to the streets!, expertiseArts instruction or training/Networking projects such as murals and painted public benches. On the | CBC News, https://www.rmwb.ca/en/news/take-your-artworkother hand, associated projects such as The Weather https://www.cbc.ca/news/canada/edmonton/reflections-on-the- to-the-streets.aspx Catcher, which was eventually taken down, show the pitfalls river-fort-mcumurray-public-art-1.4852904 of insufficient community consultations and inclusion. Photos - Public Art Benches in Alberta, https://participate.rmwb.ca/public-artconnection/widgets/114119/photos/25621

Learning is conducted peer-to-peer. The conference brings together academics and practitioners for focused topics in public art planning in Seoul.

N/A

Lack of consistent direction and principles of public art projects Most of these talks and projects include some aspect of Reborn into Hongje Yuyeon | KoreabyMe, (this led to a Public Art Committee)Cohesive framework for technology and communication design, as well as integrating https://koreabyme.com/reborn-into-hongje-yuyeon/ philosophy and principles of public art for Seoul/Need for citizen participation and interactivity. These initiatives aim to Seoullo Media Canvas, https://english.visitseoul.net/walkingpreliminary research, planning, competition design stages foster more consistent direction and cohesion between tour/Seoullo-Media-Canvas_/31319 public art projects across the city. Seoullo7017 "YOONSEUL: MANRIDONG REFLECTING SEOUL",https://ziznib.blogspot.com/2017/08/seoullo7017yoonseul.html Permanent

Strategic: public art plan and conference

http://seoulurbanart.com/

Immigrant Artist Mentoring Program New York, New York

NYFA’s Immigrant Artist Mentoring Program (IAP Focused on networking Mentorship) pairs immigrant artists with artist opportunties & building mentors who provide one-on-one support for community 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.

No payment, fees, or stipends/Formal program is 4 Need for community with opportunities to connect with other months long (IE December introduction and April final immigrant artists/Access to other artists, arts professionals, celebration)/Friendships and informal gatherings are and organizations/Time and opportunity to focus on creative intended to last longer than the 4 month period practice, gain support and exposure for work, while upholding distinct identities

Network and community building focused on immigrant artists new to New York and the barriers specific to this group of artists. Appears to have resulted in some collaborative exhibitions and performance pieces between artist/mentor groups.

Mentoring Artists for Women's Art Winnipeg, Canada

Mentoring Artists for Women’s Art presents Focused on networking visual arts education, theory and criticism from opportunties & building an intersectional feminist perspective. The artist- community run centre was founded in 1984, 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” (mandate). 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.

Range in duration from 2-12 months, sometimes Mandate: Mentoring Artists for Women's Art encourages and focussing on a specific media or theme, and often supports the intellectual and creative development of women culminating in an exhibition/Membership costs just in the visual arts by providing an ongoing forum for education $30 for regular membership, and $15 for students or and critical dialogue. Vision: All people in the visual arts have the underemployed. Membership grants access to full access to opportunities and achieve equal representation. seasonal mentorship programs, as well as other Mission: MAWA empowers women, non-binary, trans and 2resources/For one particular mentorship example Spirit woman-identifying people in the visual arts, and fosters mentees have to pay $75 but mentors are paid $600. their practices and professional development by providing In order to apply, you must reach out to the person diverse programming within a supportive community. you would like to work with and get a written commitment from them to meet with you for 6 hours over a period of 4 months.

Mentorship program catered specifically to women and ..:: liz garlicki :: Art Building Community women-identifying in Winnipeg. Requires a modest ::..,https://mawa.ca/artbuildingcommunity/garlicki/index.html membership fee, which grants access to mentorship ..:: Art Building Community programs, exchanges, workshops, and other events. The ::..,https://mawa.ca/artbuildingcommunity/ specific One-on-One Mentorship program for MAWA in 2023 Mix of permanent + temporary is quite self-directed (mentees reach out to the prospective mentor and get written confirmation); the mentors have produced some public art themselves - haven't found much work by the mentees.

MAWA also undertakes ambitious projects of national significance, such as: the 2014 symposium “Who Counts? A Feminist Art Throwdown”; the 2017 book Desire Change about feminist art in Canada (the first of its kind), co-published with McGill-Queen's University Press; and, the 2019 publication of Resilience: 50 Indigenous Art Cards and Teaching Guide, distributed free to every public school in Winnipeg to help teachers integrate Indigenous history and knowledge in classrooms from K-12, in all subject areas, through visual art.

There is an existing network of businesses that can https://www.youtube.com/watch?v=T4Bpx_sw8A8 collaborate and market artists. The initiative also puts African cultural identity at the forefront. The mentors (and presumably graduating artists to come) come from mainly design-oriented and functional artistic practices like fashion, branding, photography - so public art here is more commercial in essence.

Joy From Africa 2022 - Where possibilities take flight, https://www.waterfront.co.za/joyfromafrica/

V&A Waterfront Artist Alliance Capetown, South Africa

Public Art Boot Camp Seattle, US

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. It’s a symbiotic relationship in which emerging artists receive mentoring from creative industry leaders based at the Waterfront. They also have access to the Waterfront business community, which in turn will have access to fresh young creative talent.

Combination of networking No payment, fees, or stipends/2-month incubation and outcome focused: programme (IE 1 September to 31 October 2021) PERMANENT WORK IN FIELDS OF DESIGN, FASHION, MARKETABLE OBJECTS

Seattle's Public Art Boot Camp is a cohort model Outcome focused: program and training that includes presentations TEMPORARY WORK AND by working artists, mentor sessions with public PROCESS art administrators, handouts, and an opportunity for a temporary public art project as a Public Art Boot Camp selected artist.

Space and opportunities for young artists to freely explore their artistic perspectives/Guidance, knowledge sharing, and mentor support/Marketable skills and sustainable careers/A creative community that can amplify young artist voices and foster passion

$8,600 - max amount paid to selected artists, Racial equity - centering artists of color and providing including a $7,000 temporary art commission budget, information and experience which gives access to public art and a $200 stipend for each workshop attended (up realm/Culturally relevant art resonating with local to $1,600)/12 artists were selected for the 2022-23 population/Artists ready to translate studio art experiences to cohort/11 month period of trainings and workshops the public realm that will culminate in temporary art projects (IE installation August 2023)

Programs | In/Between: An Annual Immigrant Artist Exhibition, https://newyorklivearts.org/programs/ford-foundation-livegallery/in-between/ Supporting immigrant artists and building a network of support, https://www.americansforthearts.org/2019/11/20/supportingimmigrant-artists-and-building-a-network-of-support

The program focuses on equipping artists to translate their Public Artwork: Namaste, Emerging Public Artists Roster program (2003) work to the public realm. There is also a focus on cultural https://kamlakakaria.wordpress.com/public-artwork-namaste/ diversity and artists of colour. Sculptor Kamla Kakaria who is Gallery View: Seattle Office of Arts & Culture: Public Art in the bootcamp is "working on making an installation to Boot Camp 2022 - 2023, attach to a fence... researching materials in this way is new https://seattlearts.submittable.com/gallery/408e1d84-2dff-4fe3for me and pretty exciting." aecf-44e3ee027c61%C2%A0%C2%A0 Temporary? Sculptor Kamla Kakaria embraces the natural impact her Indian ethnicity has on her work as an artist - International Examiner, https://iexaminer.org/sculptor-kamla-kakaria-embraces-thenatural-impact-her-indian-ethnicity-has-on-her-work-as-anartist/

Raleigh Public Art Mentorship Program Raleigh, North Carolina

Raleigh Public Art Mentorship Program

Outcome focused: TEMPORARY WORK AND PROCESS

$5,000 - fee paid to successful mentees for assisting a Additions to mentee's work and portfolio/Regional talent for a professional public artist/Up to 10 artists may be more robust public art ecosystem selected for a mentee-artist pool lasting 2 years (being included in the pool does not guarantee being matched with a project but could lead to other temporary public art opportunities)

There are 10 mentees/alumni from 2021-2022 listed on the Mix of permanent + temporary website from a range of cultural backgrounds and artistic Public Art Active Projects, media (one is an actual design builder). Of these artists, https://raleighnc.gov/arts/services/public-art/public-art-activesome like Nyssa Collins seem to have been successful with projects sculptural public arts commissions from partners in North Plaza & Play Public Art at Dorothea Dix Park, Carolina. The partnership between these mentees and https://raleighnc.gov/arts/raleigh-arts/plaza-play-public-artseasoned public artists is not well documented. It is worth dorothea-dix-park noting that Raleigh already has multiple open public art calls public art - Nyssa Collins, https://www.nyssacollins.com/publiclisted on their website aside from the mentorship itself. art

Forecast: Mentorships for Audacious Minds Berlin, Germany

For each edition, Forecast selects six mentors Outcome focused: 6000 EU - artist fee for artists presenting projects at Artists used as a brand by sponsors and cultural Focused on one-to-one mentorships, and developing an The Work-Stay: Kumasi - Forecast, https://forecastfrom various disciplines who offer selected TEMPORARY AND Forecast Festival/8000 EU - production budget for institutionsresulting in alienation/Freedom of arts contested by independent infrastructure that goes against artists platform.com/workstay-jonathan-reus/ participants their expertise in specifying and PERMANENT WORK, ONE-ON- artists presenting projects at Forecast Festival/2000 having to continually adapt styles to trends/Protecting creative commercializing or quite frankly selling out, Forecast is realizing their project ideas. Each edition of ONE RELATIONSHIP EU - combined artist and production fee for artists process from market pressure/Each artist has their own heavily directed by the specific mentor and their practice Forecast is different; the selected mentors participating at the Forecast Forum/Forecast grants personal wishes and needsSolidarity and productive mentees will choose to apply precisely for this mentor's impact the nature and content of every iteration. accommodation and travel costs, and provide cooperation between artistsHistoric need for mentorships - a focused direction. Forecast seems successful in the sense of They define the type of applications submitted, technical presentation support/Each mentor selects 3 family member, teacher, or colleague offering advice, procuring many sponsors (mainly cultural within Germany) and play an instrumental role in developing their nominees each to workshop with the mentor and experiences, and access to networks and presenting work to the public at regularly programmed mentees’ ideas from proposal to production. The present ideas at the Forecast Forum. At the Forum's events and festivals. The annual publication is also mentoring process offers a space in which both conclusion, each mentor chooses one mentee./The 6 beautifully organized and produced. Relationships between parties can experiment, exchange, and push their final mentees receive extended mentoring in a workmentors and mentees as well as their reflections are well concepts in new directions. stay (an intensive exchange lasting up to 2 weeks) documented. culminating in the final public presentation at Forecast Festival

Forecast Festival, Edition 5 - Forecast, https://forecast-platform.com/forecast-festivaledition-5/ Forecast Festival 2022 - Forecast, https://forecastplatform.com/forecast-festival-2022/

steps - CreateSpace Public Art Residency Toronto, Ontario

The CreateSpace Public Art Residency is a Outcome focused: national public art program designed in TEMPORARY WORK collaboration with advisors from 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.

Public art should reflect the diverse identities and perspectives Referred to this program by a past mentee who had a Commuting and Other Lonely Thoughts | STEPS Public Art, of the communities that host it, and the CreateSpace Public Art positive experience, which is a testament to its success - the https://stepspublicart.org/project/2021-createspace-yasmeenResidency is designed for artist capacity building and outcome of her work particularly was a temporary, wordnematt-alla-commuting-other-lonely-thoughts/ community collaboration to foster more equitable public based intervention on public transit. The roster of past I Am Lucie, I Am Thornton | STEPS Public Art, spaces. Visual artist capacity building: Skills, relationships and artists-in-residence, as well as their work, reflect the diverse https://stepspublicart.org/project/i-am-lucie-i-am-thorntonpractical experiences needed in the field of public art. Skills: identities and perspectives outlined in the mandate. The charmaine-lurch-createspace/ virtual workshops, artist talks and studio visits for greater stipend provided is sufficient for the scope of mostly understanding of the public art process through the lens of temporary artwork created as the outcome of the residency. Community, Identity, Accessibility, and Land, including: It would be interesting to know how much of demystifying demystifying public art RFPs, exploring fabrication and public art RFPs and exploring fabrication has gone on to approaches to public engagement. Relationships: opportunities inform and equip artists for public art projects - this program to connect with public art practitioners from across the has been active only since 2020. STEPS says that they country, cultivating professional networks in various sectors sometimes reach out to past artists for their own future and industries. open calls and commissions.

From Weeds We Grow | STEPS Public Art, https://stepspublicart.org/project/from-weeds-wegrow-multimedia-community-engaged-public-artinstallations-rowntree-mills-park/

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

Not a formal mentorship but included interactions between suppliers/fabricators and artists, between architects and artists. Communication with the trades is key.

Underused, transient buildings and construction sites can be sites of artistic interventionsMore interdisciplinary collaborations between developers, architects, and contemporary artists

El Castillo de los Ladrillos Rotos, una exposición de guadalajara90210; Reurbano, https://www.archdaily.cl/cl/925557/el-castillo-delos-ladrillos-rotos-una-exposicion-deguadalajara90210-plusreurbano?ad_medium=gallery Pabellón de las escaleras: un parque escultórico artesanal en la Ciudad de México, https://www.archdaily.mx/mx/912483/pabellonde-las-escaleras-un-parque-escultorico-artesanalen-la-ciudad-de-mexico

$1000 stipend - to support their participation, as well as have the opportunity to request additional accessibility, production, documentation and engagement resources./2021 residency was 10 months (March - December)/10 artists-in-residence are selected each year

Site/Context/Community N/A focus: Mexico City Public art in Mexico City reflects the city's complex identity, social issues, and cultural traditions. These artworks often address themes like historical events, indigenous cultures, political activism, and social inequality.

A digital gallery called MakeRoom is trying to Site/Context/Community even the playing ground for emerging artists focus: Toronto, particularly (particularly for members of BIPOC communities BIPOC groups with limited resources) by projecting their work onto public spaces at night.

Works projected on participating windows from 8pm - Transparency and traceability - the open call process and 4am/No payment, fees, or stipends payment to artists made publicGatekeepingBIPOC and Emerging artists' audience reach, accessing resources typically not made available

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.

5-week Youth Street Art Mentorship facilitated in partnership with ArtStarts/Youth hired from Alexandra Park in a pilot youth mentorship project. After receiving the support of ArtStarts and the City of Toronto’s Graffiti Transformation Project, Whippersnapper began recruiting local participants (payment details unknown)/The 3rd week was led by Urban Trash Art

Artscape Incubator for Ukrainian Creatives/Toronto, Canada

The Incubator for Ukrainian Creatives is a Site/Context/Community No payment, fees, or stipends/4-month training program designed to support professional artists focus: Toronto, particularly program at 4-5 hours a week of time and designers from Ukraine who have sought Ukrainian refugee newcomers investment/Participants receive Launchpad refuge in Canada due to the invasion (or/and in need of transitioning to membership for 1 year through the CUAET program). The program aims employability to provide these newcomer creatives with 4month in-depth Creative Entrepreneurship training to enhance their career sustainability and employability in Canada.

MakeRoom Curatorial Agency Toronto, Ontario

Site/Context/Community focus: Brazil vs Kensington Market Public art in Brazil often addresses social and environmental issues, inequality, and political activism. Toronto's eclectic neighbourhoods are renowned for their vibrant street art scene.

This recurring partnership between a developer (Reurbano) [see next column] and an unconventional contemporary art gallery (guadalajara90210) 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 was important. The works were temporary and designed to be subsumed with the next phase of the building. Born during COVID so the initial focus on projections and late-night use of space and storefronts was a smart move. Goal of prioritizing BIPOC and emerging artists has been met, looking at the roster of artists.

Waste management problem, particularly starting in Brazil Interesting cross-continental collaboration involving a minimal recycling and sustainable trash separation/Material Brazilian public art duo and Toronto's Whippersnapper costs for artwork/Engaging local youth in Alexandra Park Gallery, which resulted in a youth street art mentorship (largely public housing neighbourhood near Kensington program on site near Kensington Market in Toronto. Note: Market)/Toronto’s Graffiti Management Plan is responsible for to date, Whippersnapper Gallery is one of the few artist run managing graffiti vandalism in the public realm while centres in Toronto that have been successful in obtaining supporting street art public operational funding.

Lack of support for large influxes of refugee newcomers particularly in transitioning into employment in the arts and culture sector. Leverages studio and creative spaces at Artscape Daniels Launchpad, as well as opportunity for exposure at the Launchpad Holiday Market.

Creative entrepreneurship training program covering diverse subjects like Portfolio Development, Project and Business Planning, Accounting and Finance for Arts, Marketing, Grant Writing, and Presenting Artworks and more/Networking and community-building opportunities to connect with fellow creatives and industry professionals/Mentorship and guidance on understanding the Canadian creative sector and arts management practices

BigArtTO at Scarborough Town Centre | ArtworxTO, https://www.artworxto.ca/event/bigartto-stc Temporary The Space Project by MakeRoom, https://space.makeroom.me/

"Whippersnapper Gallery’s summer program “Take Me with You: R.R.R.R.R: Trash Art and Music Festival, Art of the Lost and Found,” a series of events and installations https://www.wavelengthmusic.ca/r-r-r-r-r-trashthat subvert conventional notions of value and teach a little art-and-music-festival/ lesson about repurposing along the way. ... The third week of the Take Me With You: Street Art Mentorship, project involved public sculpture-making with Urban Trash Art, a https://neighbourhoodarts.wordpress.com/2011/0 collective from Sao Paulo that works exclusively in trash 8/09/takemewithyou/ materials. Together, the group refurbished an underused neighbourhood structure into a colourful and whimsical playground for kids in the Atkinson Housing Co-op."

https://www.artscape.ca/ukrainian-creativesspringboard/#rehearsal

SUMO Project

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ZWARTstudio

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2023 // Toronto 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.