Public Art Program

Public Art Resources

Tuesday, October 24, 2006
6:00–7:30 p.m., Downtown Library

Sherri Warner Hunter
SWH Art Studio Inc.
3375 Fairfield Pike
Bell Buckle, TN 37020
(931) 389-9649
sherriartstudio@aol.com
www.sherriwarnerhunter.com

What makes an artist a public artist?

• De-mystify the process.
  No one starts their art making career as a public artist. It comes as a choice one makes as their artistic skills and philosophy of art matures. It isn’t restricted by age, sex or medium. In fact, public artists don’t necessarily fabricate their own work which makes the medium or materials experience less relevant.

• Does the idea of responding to a site and the user community appeal to you?
  As a public artist, you must be interested in responding to the end users – also referred to as community, client or stakeholders (the people who ultimately will have some interest in the artwork due to location, content, cost, etc).

  Most public art selections are done through a competition while a small percentage are selected through committee nomination or invitation. Regardless of the method, being able to present yourself becomes an important component to securing the project. This is a combination of being able to present your assets through good communication skills as well as a little salesmanship.

  For me, two of the most important skills of being a public artist are being able to hear and see – simple enough but very important. Hear what is being asked and see the requirements or needs of the project. Expand your vision as you exercise creative problem solving for the project at hand.

  In addition to your creative ideas, there’s also the consideration of the site. In all instances I can think of, making a piece site-specific is critical to being considered in the final selection. Site consideration can include geography, architecture, historical background as well as proposed use for the overall site. A commissioning agency doesn’t want to feel that it is being presented with a solution/proposal that lacks a real connection to their project.

• Public art vs. art in public places.
  If you don’t enjoy creating work that relates to a specific site or if you don’t like working with a variety of people, being a public artist may not be for you. You may, in fact, be an artist who wants to do your own work, have someone buy it and put it in a place for the public to see. That can be very exciting too but it’s a very different activity than being a public artist. It’s not that one is better than the other. In fact the end artwork might look very similar.

  It’s just that at some point you may want to examine how you would prefer having your work placed in the public eye.

  Tonight I’m going to be talking about the process of being a public artist.

Where to find opportunities:

• Networking.
  Networking through professional organizations is a good way to hear about opportunities. Consider joining an art organization. Most regional, state and national membership organizations provide listings of opportunities, including commissions. (Regionally: The Association of Visual Artists (AVA) based in Chattanooga and the Tennessee Association of Craft Artists (TACA) an independent statewide non-profit organization. Nationally: PAN – Public Art Network, a program of the Americans for the Arts.)

• Online services.
  There are also subscription services in the form of publications and online services.

• MNAC Services.
  The Metro Nashville Arts Commission has an active slide registry online and participants of that free service are also emailed regional opportunities. (Teri McElhaney Alea has the forms and would be glad to speak with you about joining later this evening.)

  Many state and metropolitan art commissions have slide registries or mailing lists for artists who have contacted them. You don’t need to live in that area to be included although certain opportunities may have a residency requirement as part of the criteria.

How to assess a call-to-artists:

• The difference between an RFP and RFQ.
  An RFP is a Request for Proposals and an RFQ is a Request for Qualifications.

  Either document is going to be your road map to understanding what to submit but just as important, it will supply you with the information needed in deciding if you even want to apply.

Key points for determining if you want to apply:

It’s not practical to apply for every project that you hear about. For one thing, it’s too time consuming and expensive. After thoroughly reading the prospectus, get out a pad of paper and your calendar and come up with some pros and cons to decide if this is a call-to-artists that really warrants your resources: time and money.

• Consider the site, project goals, and primary users of the space.
  Do you have an affinity to the space? Is there something about the site that interests you? Do you have an idea that you feel would be suited for that specific environment? After reading the project goals, does it resonate with you? Are you interested in the primary users; how they will interact with the artwork or how it will function?

• What inspires you about the project?
  It could be the agency that is sponsoring the commission. It could be the raw challenge. The site. The community. It could be the budget, but that shouldn’t be the only reason.

• Who is proposing the project and who might apply?
  It’s always good to consider who has offered the call-to-artists. Since it is a human world out there, are there some possible factors to consider that aren’t clearly stated in the prospectus?

  Who are you likely to be competing against? Is it a national call-to-artists or is it a regional call? Have they expressed interest in a specific medium?

• Review the budget and what amount of time may be required, factoring in travel and other expenses.
  Sometimes a stated budget looks like a lot of money at first glance. When you’re making your initial decision to apply, you don’t need to do a line item budget but rather consider the variety of costs that will be involved with estimates of time and money.

  There are a few different factors to consider as a public artist. In addition to the construction of the piece, there’s usually more travel time or client interface required. As a public piece, it may even be necessary to work with additional professionals like engineers or specific fabricators.

• Look at project completion date and determine if it’s realistic for you.
  I’ve briefly considered several prospectuses that I thought had my name on them, but realistically, when factoring in other commitments in my studio, it just wasn’t realistic to invest the time on the proposal process knowing that if I should receive the project, it would put a serious strain on my studio production.

  A timeline should be part of the call-to-artist and if it’s not, it should be one of the first questions you ask before you start putting your packet together.

• List what makes your submission strong and find ways to emphasize that.

• Determine if including other team members will strengthen your submission.
  Do you need an engineering firm, a fabricator, a local liaison? A well-formed team can help inspire confidence in a selection committee to choose a newcomer to the public art forum.

Proposal writing and presentation: Landing a public art commission.

• Commit to submit, it’s a job in itself!
  You already know that based on the information we just covered! And that was just to decide if you’re going to submit. Once you’ve decided, now you have to do the work to put together your packet. Go back to your road map – the prospectus.

• Organize into parts and create a completion timeline.
  List everything that you’re going to have to put together to submit an application. This will be listed in the prospectus under a heading like “Response Format.” This will tell you everything you will need, how it should look and how many copies will be needed. Make yourself a check list, estimate how long it will take you to complete each section and get started.

• Components to keep on hand: resume, reference list, information for each image.
  There are certain art tools that are often needed at a short notice. For this reason, it is extremely helpful to have them accessible at all times.

  1. Resume. It’s great to have a complete resume on file but realistically, you’ll need a different format for different opportunities. If you’re applying for a teaching position, you’d want to list your “Teaching Experience” list first. If you’re applying for gallery representation, you would want to list your “Exhibitions” first. And when you’re applying for a public art commission, you want to list any previous projects or related experience first.

     Most prospectuses will limit the number of pages to four (4). I recommend that you limit resumes to four (4) pages for all initial contact purposes.

  2. Reference List. Like the Resume, References need to be purpose specific. Public art applications will usually call for a list of three references with whom you’ve worked on a public art project, who can describe your participation.

     Ideally, as you complete various projects you will ask the person(s) with whom you worked if you could use them in the future as a reference. Get their name, title, address, e-mail and current daytime telephone number for your files. When it comes time to actually list that person as a reference, contact them to tell them you are using them as a reference and let them know the basics of the project. That way, when they are contacted, they will have a heads up and won’t be caught in an awkward situation of trying to figure out why they are being called. This is a good way to work with references in any situation.

  3. Image Information. Admittedly, for years I kept scratchy notes on each piece I’ve made. Slide labels, when I made them, provided the most reliable information when creating a slide list. More recently, I’ve created a form that helps me keep a history of each piece and even as I was preparing my information for this presentation, I realized it can still be improved. With my current form, I have this information at my finger tips in a notebook so compiling the image list is not as challenging as it once was.

     You will be asked for an “annotated image list.” The information most often asked for is:

     • Artist name
     • Title of artwork or project
     • Date of artwork or project completion
     • Medium(s)
     • Dimensions (H x W x D)
     • Location, if permanently sited
     • Project Budget
     • Project Description
     • Client

     This is a separate sheet from the images themselves. This information should not be included on the images.

     The annotated image list will correspond to the numbers on your images. How those numbers are on your images will be specified in the prospectus.

  NOTE: All of the pieces of paper you submit in your packet should have your name on them. Your full contact information should be on the cover letter/letter of intent, your resume and the first page of the image list. Multiple pages of any document should have at least your last name, the document name (i.e. resume) and the page number. The more packets submitted, the more pages, and you want to make sure that yours stay together.

• Budget.
  Review the budget for the project relative to your time, design development, materials, travel, fabrication, overhead expenses, insurance, and other expenses.

  Consider the following categories when trying to create a budget.

  • Design development.
  • Materials.
  • Fabrication.
  • Professional services (i.e. Engineer)
  • Installation.
  • Travel.
  • Insurance.
  • Artist Fee.
  • Contingency.

  Overhead expenses are often the most over looked expenses (next to design time). When compiling your overhead expense remember to include the following. Add others as it relates to your situation.

  • Rent/mortgage of studio space
  • Rent/mortgage of office space
  • Utilities
  • Office supplies
  • Telephone
  • Insurance

  Overhead isn’t used as a line item in your proposal budget but is factored into your budget development.

  Break project into stages to help estimate your time and materials. At the initial proposal stage, you are not pricing out every nut and bolt. You are roughing out figures based on initial research, past experience and time estimates.

• Cover Letter.
  While several of your art tools can be worked on at regular intervals to be updated and ready when needed, your cover letter or letter of intent should be written specifically for the project at hand. You might have a format that you use as a guide but don’t make the mistake of sending a generic letter with each proposal and think that it will capture the imagination of a selection committee.

  As a rule, keep the format clean, straight forward, and free of graphics or photographs. Include all your contact information or print on a professional looking letterhead.

  • The cover letter is the first impression a selection panelist will have of you.

  • Consider working with a writer or editor for your letter.

    At the very least, have someone whose opinion you value read over the letter and give their suggestions. (I always have my husband proof read my letters.)

  • Proposal cover letter components (see RFQ for guidance).

    Back to the roadmap! The RFQ for the East Bank Greenway project specifically asked for “A brief, one-page printed letter of interest addressing selection criteria and highlighting particular qualifications for the position and perceptions about the project.”

    The RFQ stated the goals of the project, including focusing attention on the Cumberland River and its east and west banks, define the area, engage pedestrian and vehicular viewers, both day and night. It also provided history of the site, talked about the current environment and stated the eligibility to apply as well as the selection criteria. It’s all there!

    You want to read what is in the prospectus and write using the language that has been given to you. The prospectus has been developed to aide you in understanding what they are looking for.

  • Sell yourself, according to the stated criteria and project goals.

  • Consider the site and show an understanding of project goals without being too project specific.

    This is not the time to lay out your design. It is a good time to draw parallels with other work you have done or conceptual ideas you have represented in your images.

  One more note – make sure you are correctly referencing the project you are apply for at the beginning of your cover letter

• Complete your packet before deadline, let sit, review again before submitting.
  There’s something to be said for fresh eyes. It really helps to come back to the information to make sure you have represented yourself the best you can and the way you intended

Images.

• Electronic or slide? Some submissions require one or the other.
  We’re caught in a media transition and just have to work with it. As time goes on the digital image is going to be called for more and more. This past year both the Metro Arts Commission and the Tennessee Arts Commission have moved to using digital images and/or digital application for submitting proposals.

  Whatever the application asks for, that is what they want. In fact, if you don’t provide the information request exactly as it is asked for, your application will probably not even be reviewed; essentially rejected sight unseen.

• What to submit, what order, how many, include detail shots or not.
  Naturally, you’ll want to use your best images. Unfortunately, you may not have good images of your best pieces. Fortunately with digitals you can make some improvements. Think about the flow of imagery. You’ll want to be sure to start with a strong image and end with strong images. That will start you out with a good strong first impression and end with an image that will stay in the selection committee’s mind.

  How many images to send will be stated in the RFQ. If you send more than asked for, they will probably take the first slides to the limit requested. Depending on how you arranged your slides that may not work in your best interest. More is not better.

  If a detail image provides more information that is related to the project, include it. Often time surfaces can only be appreciated in a detail shot, but with the limited number, don’t get too carried away.

  If you’re an artist who hasn’t completed many public artworks, it would be advantageous to include some concept drawings or models of possible projects. Images don’t necessarily have to be of large scale permanent works. You might include a temporary installation that was for a festival or event that demonstrates an affinity to public use/participation, scale, and working within a budget. In many cases, your personal studio work will demonstrate a connection with public art through medium, content, or purpose. If not, you need to provide the selection committee with images that will help them make a leap of faith.

  On a personal note, I made a very conscious choice to pursue public art. Prior to that I had concentrated on gallery pieces that were suited for interiors but I wanted to work larger and have my work installed outside. I’d already contacted my professor from undergraduate school to get information on working in concrete when in 1991 I was selected to do an exhibit at the Tennessee Art Commission Gallery; this was when they were located in the Rachael Jackson building and the gallery entrance had a standard 36" wide door. I decided to use that opportunity to create a piece that would demonstrate my ability to create large scale sculptures. It was the first time I built a scale model. I wanted to insure that the piece could fit inside the gallery.

  The moving men I hired to move that piece were sure it wouldn’t fit when they arrived on site, but following my guidance, it fit through the doors as designed.

  They were so impressed that they stayed until the piece was fully assembled.

  My main purpose in making that piece was to get a slide of a large scale sculpture to include in future presentations to demonstrate that I could do large scale work. It was a personal challenge as well as an investment in time and money to get where I wanted to go with my art making.

  If you are just entering the field of public art, help minimize the leap that the selection committee needs to make to select you as a semi-finalist. Provide them with provocative ideas and images that will give them confidence to select you form a field of more experienced public artists.

Understanding the Selection Process.

First, you should understand that the selection committee will be made up of a diverse group of individuals who are volunteering their time to participate in the process. This is not an easy task. Consider if a call-to-artists brings a response of 150 artists, each submitting 20 images. That’s 3000 images. Multiple viewings, discussions and rating forms are used to narrow the choice to smaller groups, with the process repeated through each cycle.

• On what criteria will proposals be rated / judged?
  Again, the prospectus should include some listing of the criteria. Basic considerations are:

  1. Artistic merit: Demonstrated in your images. Create the best quality images of the best work you have.
  2. Broad experience: Gathered from your cover letter, the annotated slide list, and your resume.
  3. Experience specific to the project: Again, your cover letter, images, and annotated slide list.
  4. Interest and understanding: of the project as expressed in your cover letter.
  5. Reference: These are usually checked once the field has been narrowed down.

• Voting committee: non-art persons vs. art persons and their different perspectives.
  The members should represent the community, stakeholders, the art community, and the sponsoring agency; a cross section of individuals that represent the needs and/or desires of the community. Some will be voting members and others are there to administer the process and make sure that it proceeds efficiently, keeping the process on track to meet the goals of the prospectus.

  Having been at the table, it creates an interesting discussion that includes the artistic, educational, practical and emotional aspects of the images being viewed and the information provided. All sides are heard with equal attention. Having the art community involved helps to educate the committee at large on some of the intrinsic values of the work while providing cultural context for the work, medium or processes.

  Having non-art persons on the committee is a good way to meter how concepts are viewed by the public at large and how to address the concerns in the community where the piece will be located. Public art works best when the community feels that they have had a part in the selection and when the selected piece becomes a focal point of and for conversation, gathering and pride.

• Consider how your proposal can best affect each point of view.
  How user-friendly is your installation going to be to the people that pass by your proposed artwork? Will it cause them to think? Will it enlighten them? Will it make them smile? Or will it function as a lighting rod for discussion and debate?

Congratulations, you’re a semi finalist!

Generally, the call-to-artist will result in a short list of semi-finalists. At this point, your presentation format changes; you will be giving your presentation in person, to the selection committee. This is the time to develop your ideas into a format that you are comfortable with and will best communicate your project proposal. In most selection processes an honorarium/commission is paid to the artist for related traveling and design development.

• Organizing your presentation: visual concepts.
  There are many different ways to present your ideas. Your choice may be based on time, money and experience. This may be another instance in which you would like the assistance of a professional.

  Some of your options are:

  • Drawings and schematics.
  • Digitally enhanced photography.
  • Digitally produced video loops.
  • Scale models.
  • PowerPoint presentation.
  • Slide show.
  • A combination of any of the above.

  When showing your images, don’t show all of the same images you submitted for the original call-to-artists. Try to include some new work, if available. If you have a model, have it photographed, highlighting views that the community will encounter from a different direction. It’s helpful for the committee to see your concept large on a screen in addition to a scale model.

• Budget and timeline.
  Now is the time to re-examine your initial budget and timeline. Firm up figures by checking on supply costs, professional rates, and overhead, still with the intent of using generalized figures. Exact pricing should be covered by your ‘Contingency’ amount. In the construction industry, that figure is generally 10%. If you are more concerned about coming within budget you could make that figure slightly higher; more confident, slightly lower.

  Also re-examine the projects you currently have scheduled so you can provide an accurate installation projection.

• Selling your skills and the qualities of the artwork.
  If you are not comfortable talking in front of people, make an effort to practice. No one is born a public speaker.

  Make lists of your skills, as related to the project, and the qualities of the artwork. After selecting your images, use your lists to make notes of what you would like to say about the images.

  Rehearse what you want to say. You might start by talking in front of a mirror, and then in front of some willing listeners. Practice making eye contact and moving your conversational focus around the room.

  Another hint (that might seem a bit silly but helps) is the day of your presentation, wear something that is comfortable and makes you feel good.

  If there is a technical glitch or you loose your place, take a deep breath and a moment to regroup. You will have been given an allotted amount of time and you should feel comfortable using it to your best advantage.

  Remember, the Selection Committee is interested in hearing what you have to say. That is why they selected you to come back; to learn more about the way you think and what you’ve come up with as your creative solution.

• Educating the committee on the materials, process, and maintenance.
  Demonstrate that you know your materials or provide information on the fabricator or other professionals who will assist you in producing a successful public artwork.

  Consider providing some images that show your process, particularly if it is out of the ordinary.

  Offer information about maintenance as part of your presentation, because that will be on the mind of the selection committee members.

Conclusion

Are you ready to work the process? Submitting a proposal for a public art commission is a job in itself. It takes a different mind set than working in the studio but the experience of working with a community to create an artwork larger than you could realize with your own resources and watching how the public responds and interacts with your public artwork provides a wealth of rewards.

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