Public Art Conference Archive—2001

Study Session: Temporary Public Art Projects

Summary
Using some of their completed projects as case studies, Calhoun and Meehan will examine both the benefits and challenges associated with presenting temporary public art projects. They will address topics such as fundraising, artist selection, permitting, installation logistics, signage, documentation, publications, security issues, etc. Some broader discussion will be devoted to national trends and a consideration of the relationship between temporary and permanent public works. Calhoun and Meehan will leave time for session participants to share their experiences with and/or questions about temporary projects.

Vita Brevis Project Overview

• The ICA program is unique because it is tied to a museum rather than a government program. This streamlines the approval process. The program began in 1998. Partnerships are lifeline for the program.
• The Bunker Hill Project started a relationship with Parks Department that led to a permanent artist in residence program.
• Their program involves artists on different criteria:
  • Interest in work of a particular artist
  • Thematic
  • Linked to Museum Exhibition
• Their fundraising process is similar to exhibitions—lead time helps—foundations, corporations, government, individuals and in-kind support/discounts from vendors. The artist fees are generally $5-25K, and project budgets are $5-100K, with the low end of the scale for residencies. They are sure to set some budget funds aside for emergencies and unforeseen occurrences
• Carole suggests flexibility in the budget, and to create letters of agreement with artists that state budget. It is important to be careful about who has ultimate responsibility for budget.
• Site selection—work should relate to Boston landscape and history. Artists can check out city and pick a site, but some projects that are thematic require specific sites and defined range.
• They often have to work with several authorities—co-ownership of sites.
• Public Process includes—town meetings; don't always know what artists will do so show slides and talk about artist's approach in general. Can streamline process by getting approval from groups that speak for community on the whole. Find strategic ways to inform community.
• Each project has a reverse learning curve. Temporary projects more difficult because often in remote sites with no amenities, electricity, etc.—are more difficult to get up and for shorter duration.
• Evaluation/Audience response: Temporary works that appear without maquettes, etc. make it difficult to know how it will be received. Some works disappear or are overshadowed by other attractions in area. Harder than attracting someone in a museum—they don't come specifically for the work. Have very good response with Museum members but harder on general public level.
• The ICP project time frame: anywhere from 1 day to five months.
• Marketing: very challenging for a project of short duration that is not built yet.
• Commissions one major project per year.
• Residency - 2 regional artists in parks for works related to historic Boston.
• They have a roster of spaces, and if an artist suggests a new one they check it out.
• Temporary art makes public acceptance process more difficult because in non-traditional settings.

RACC/In Situ Portland Overview

• Eight years ago was involved with park renovation that would yield 15K. Park in neighborhood with lots of artists interested in temporary art.
• Started bonus program for private developers—became funding mechanism for a permanent program.
• Temporary art gives artists the opportunity to be experimental and make the leap from the studio to public art. It's more risk-taking. Artists are allowed to fail. Different budgets are good to allow for risk taking.
• Largely open call process. Artists submit slides and an idea. Get down to five artists and then have interviews with a panel. Artists get questions ahead of time. Selected artists have varying degrees of community involvement.
• They get $7,500 budget for projects. Work with artists on budgets. Encourage artists to get their own insurance in addition to their limited insurance.
• Worked with public agencies to catalog potential sites for art projects. This is on webiste with RFP.
• Essential to have good relationships and political muscle. Having support of new transportation commissioner has made a huge difference.
• Overarching goal is to create public dialogue—therefore all press is good—doesn't mind controversy.
• With temporary work documentation is extremely important. Works with artists on the method—this becomes contractual.
• Temp. projects often take more staff time. Chicago person mentioned Cow Parade and influx of questions.
• Security man from Atlanta tries to use sites that already have security like schools and parks.
• Insurance can be very expensive—have to know that work might be damaged.
• Socrates Sculpture Park—in low income area with high crime, but community does not vandalize the park because they feel ownership of it because they are involved.
• This is difficult to do with temporary art.
• Conservation issues do come up with temp. art—vandalism—decided ahead of time to leave vandalism because this is part of community response. Made exception when street signs were "wild posted" by a jealous artist.
• Call their projects works of specific duration rather than temporary—goes over better with the government and the public.
• Advise people not to view temporary art with the same criteria as permanent art.
• Portland's program is community intensive. Panel of artists, arts professionals and community people and city representatives—get them involved and they will help clear barriers.
• They do an Open Call—three per year—each has budget of $7,500.
• Private developers can have a bigger building if they do public amenities—her group gets a portion of this money.
• Criteria:
  • Artist Interaction with site
  • Realistic Budget
• Navigating the system of who owns/controls a site is her job—doesn't want artists wasting time here—also helps her build relationships for future, is in her interest to do this leg work.