Art is History of People
![Anna Huntington](https://blog.artsusa.org/artsblog/wp-content/uploads/2015/03/Anna-Huntington_ArtsRC-Staff-Photo-150x150.jpg)
Anna Huntington
Confession #1: I had to Google “cognitive development” before I started writing this. I’m an arts administrator, after all, not an educator.
Participants will learn the basic "nuts and bolts" of the field of public art. The 90-minute webinar will cover some of the unique skills required for art-making in the public realm including an overview of public art and the public realm, project examples, programs, funding, implementation and resources for further study. Two case studies will be presented which explore the experiences of two artists who have transitioned from the studio/gallery to the public realm.
Wave Hill Director of Arts and Senior Curator Jennifer McGregor presents 50/50: Important, Impressive, Influential, Personally Pivotal Public Art of the Last 50 Years, a retrospective look at the field of 50 public art over the last 50 years. She first delivered this talk at the Americans for the Arts 2010 Half-Century Summit in Baltimore, Maryland in June, 2010.
Unlike traditional studio materials, public art requires that one look at maintenance, durability, and presentation in a new light. Materials research often requires looking at infrastructure rather than museum work and speaking with contractors rather than other artists. The cost of these materials can be shocking to artists who've traditionally worked with studio materials. In this workshop, we'll cover strategies for working with materials and budgets on the public art scale.
Working in the studio allows an artist to create his/her own schedule, budget, and system for creation. Once an artist moves into the highly collaborative field of public art, huge changes are introduced. In this workshop we will cover how to work with other professionals, where to find help when needed, and the roles of each professional/ stakeholder as a project moves forward.
In this workshop, artists will be given the necessary tools to make the leap from working in the isolation of the studio to working in a collaborative, large scale setting. The intent is to give artists the confidence and knowledge needed to move their career into public art.
Anna Huntington
Confession #1: I had to Google “cognitive development” before I started writing this. I’m an arts administrator, after all, not an educator.
Penny Balkin Bach
Jeff Poulin
James Rooney
Alex Parkinson
Todd Eric Hawkins
What a great week filled with aspirations and reflections from emerging leaders in the public art field!
Thank you to all of our bloggers who made this salon a success by sharing their thoughts and inspiration for their thoughts and inspirations on their careers and the future of the public art field.
Felipe Sanchez
It was about six years ago, in 2007, sitting in my small Hong Kong apartment, that I put down ideas for a work practice that would use public art and modern culture as means of developing community and habitat. A practice where the arts would be used not just as an aesthetic to beautify or to activate space, but as productions of communality with the residents of a place and through a process that would open a space for community members to develop and connect.
Jennifer Lantzas
Jennifer Leiu
Stephanie Sherman
Barrie Cline
Cameron Russell