This sample bike map takes participants around the city of Philadelphia's outdoor sculpture. The Outdoor Sculpture Bike Map provides two routes for a unique view of Philadelphia’s public art

An introductory lesson plan for 4/5th graders to understand a piece of public art in Philadelphia with the goal to learn how art can provide inspiration.

"What is a Public Art Administrator?" is a simple infographic-like document that highlights what a public art administrator is, thier key duties and outlines a day in a life. This document aims to provide insight into what a public art administrator does, what experience, background or education is needed to become one, job outlook and salary ranges. "What is a Public Art Administrator?" can help those who are curious about the field to learn more and how to become one, and to provide those who are already in the field with a national perspective to help educate

Authors Robert J Shapiro and Siddhartha Aneja compiled the first-of-its kind analysis of nine online platforms that now produce income for nearly 15 million Americans. This report begins to detail the economic impact of this new creative economy, driven by innovators, makers, and online entrepreneurs.

In April 2002, on the heels of the Human Genome Project’s historic announcement about the completion of a human genome “rough draft,” Seattle’s Henry Art Gallery opened Gene(sis): Contemporary Art Explores Human Genomics. The exhibition brought together more than 50 recent and new artworks representing artists’ imaginings of the social, ethical, and economic ramifications of genetic and genome research. To spur dialogue about the provocative and potentially polarizing issues, the Henry, together with its community collaborators, devised and implemented a cross

In September 2002 MACLA—a San José-based Latino contemporary arts space—premiered Ties that Bind: Exploring the Role of Intermarriage Between Latinos and Asians in Silicon Valley. This exhibition was a photography-based installation of new work by artists Lissa Jones and Jennifer Ahn that reflected on the history of Asian-Latino intermarriage and contemporary perceptions of ethnicity in the San José area. Capitalizing on the groundswell of public interest in ethnic and racial hybridization trends borne out by Census 2000, the Ties that Bind exhibition and dialogues

In her essay, “The Warhol: Museum as Artist: Creative, Dialogic and Civic Practice,” The Warhol Museum’s assistant director of education, Jessica Gogan, explores how museums can creatively operate in the cultural sphere as “civic engager.”  She does this through the lens of two projects: The Without Sanctuary Project and Andy Warhol’s Electric Chairs: Reflecting on Capital Punishment in America. The Without Sanctuary Project, conceived following two racially motivated killings in Pittsburgh, used historic photographic documentation of lynching

This reflective essay documents the context, content, and unique circumstances of go_HOME, an international artist residency intended to generate dialogue about issues of exile and displacement. The project was centered in conceptual art, operated globally as well as locally, and experimented with real and virtual dialogue. In her role as Animating Democracy's project liaison to go_HOME, Pearlman observed the project as it unfolded. She engaged with organizers and artists in joint inquiry to draw insights and deepen understanding about the work of arts-based civic dialogue along a

In October 2003, Detroit-based activist, cultural worker, and octogenarian Grace Lee Boggs energized and inspired a national gathering of artists, arts organization and community leaders, and activists with her speech at Animating Democracy's National Exchange on Art & Civic Dialogue. Boggs described a United States that is increasingly jobless; that jeopardizes its youth in a problem-wrought education system; and that is resented for its economic, military, and cultural domination. "Can we create a new paradigm of our selfhood and our nationhood?" she implored. In Boggs&

Animating Democracy invited museum studies scholar Selma Holo to write an article from ideas and themes she found compelling at the Animating Democracy Learning Exchange held in Seattle in May 2002. Her article responds to the arts-based civic dialogue work of the three museums participating in the Animating Democracy Lab--the Andy Warhol Museum, the Jewish Museum, and the Henry Art Gallery at the University of Washington--comparing it to other museums whose efforts have intersected with the sphere of civic ideas and issues.