Interested in launching a socially engaged art campaign? Curious how successful artists have pulled it off? Stephanie Bleyer is an expert in community engagement campaigns and founder of the firm Six Foot Chipmunk, where she helps artists across disciplines create strategic plans, raise funds, and reach and mobilize new audiences. On Thursday June 9th, 2016, she will lead the webinar Producing & Funding Your Community Engagement Campaign, an essential for artists’ projects involving social justice, education, public art, or community building. Adapted from Stephanie’s webinar, the following information pairs best practices with action-oriented case studies.
Steve Lambert and Stephen Duncombe of The Center For Artistic Activism help artists make political art work. For them artistic activism is more than just a descriptor for certain types of art. It’s more than a tactic. They see it as an “entire approach: a perspective, a practice, a philosophy.” They will be leading a new workshop in Creative Capital’s New York offices on May 23rd, where artists will learn how to use their creative practice to organize communities, speak truth to power, and make more engaging and impactful artworks. We talked to the pair about their work, their critical inspirations, and the artistic activism they see in the world.
“Would you like to write a postcard to the President?” This was an initial prompt artist Sheryl Oring used to engage the public on the street in her Creative Capital-supported project, I Wish to Say. In 2006, Sheryl dressed as a 1960s secretary, set up a portable public office complete with a manual typewriter in public areas across the country, and typed birthday cards to then President Bush as dictated by passers-by. The originals were mailed to the White House. Since then, the project has grown exponentially and she has enlisted a number of volunteer typists to take dictation. On April 26, she will bring the piece to Bryant Park as part of the PEN World Voices Festival, and anyone can dictate a letter to the 2016 presidential candidates. We spoke to Sheryl as she prepared the piece for New York.
Alex Teplitzky: Can you describe the project, and specifically the history behind it. How did it come about?
Sheryl Oring: I had been thinking about the idea of doing what ultimately became I Wish to Say for a while. It grew partly out of my experience in newspapers—the idea of the person on the street interview. But there’s a more personal connection as well. My grandmother was a secretary in the Political Science Department at the University of Maryland. She was the kind of secretary who always went to work dressed to the nines. When I was a kid, she let me go into her closet and into her jewelry boxes, her many jewelry boxes, and dress up when I visited. I think that is also one of the sources of the idea for this work.
In 2003 I had been living in Berlin for six years and came back to the country and I felt completely out of touch with the American public and what people were thinking about politics. Many things came together for me when I thought about going out onto the street with a typewriter and asking people what they’d like to say to the President.
I should mention that I Wish to Say also came to be partly because I saw the movie Central Station. There’s a woman sitting in the central train station in Rio taking dictation for people who are illiterate. I was drawn to the idea of a typist taking dictation of letters from strangers in a public space. It also stems from my own biography. I grew up in a very liberal family in North Dakota, which is a pretty conservative place. We were used to interacting with people with different political view points because we were the minority in my hometown.
Community engagement brings politically invested artworks to life. An artist who knows how to successfully reach out to the communities around them and get them invested and involved in a project will see their creative capacity for change multiply.
Stephanie Bleyer is an expert in community engagement campaigns and founder of the firm Six Foot Chipmunk, where she helps artists across disciplines create strategic plans, raise funds, and reach and mobilize new audiences. On Thursday June 9th, 2016, she will lead the webinar Producing & Funding Your Community Engagement Campaign, an essential for artists projects involving social justice, education, public art, or community building. It will highlight effective practices for community outreach & engagement based on several action-oriented case studies and teach artists of all disciplines how to produce and fund effective engagement campaigns for artworks that hope to impact and better the world.
In preparation for her webinar, we asked Stephanie a few questions about how she entered the field of socially aware and active art making and which artists are moving people toward social change.
Are you interested in winning public art commissions but find yourself overwhelmed by the application process? Many public art projects begin with an RFQ, or request for qualifications. Answering an RFQ with a compelling letter of interest is crucial to advancing past the initial stages of selection. Each letter you submit should be specific to each project. The following frame for writing an effective letter of interest is drawn from Lynn Basa’s Creative Capital webinar, Demystifying Public Art. Register for the next session, happening December 17, 7:00-8:30pm EST.
Specifically address your interest in the project. Refer to the RFQ, but be careful not to just reword what it says. Your letter of interest should show that you understand what the agency or selection committee is looking for, that you feel an affinity for it and that you took the time to do some research. Continue reading
Sharon Louden is a remarkable individual; she is a successful artist, editor, teacher, consultant and leader in Creative Capital’s Professional Development Program. Sharon delivers invaluable guidance on communicating with art world figures in the four-part webinar, How to Approach and Engage with the Gatekeepers of the Art World. Sharon’s transparent and earnest approach to sustaining professional connections is drawn from her own experiences and her decades of experience working with other artists. Below you’ll find some tips adapted from Sharon’s course that we and past webinar participants have found most useful. Continue reading
Next week, the indigenous artist collective Postcommodity (2012 Visual Arts) will present their Creative Capital-supported project, Repellent Fence, the largest bi-national land art installation ever exhibited on the U.S./Mexican border. The fence, which will be installed through a community action from October 9-12 near Douglas, Arizona and Agua Prieta, Mexico, is comprised of 28 tethered “scare eye” balloons, ten feet in diameter, floating 75 feet above the desert landscape to create a temporary two-mile-long sculpture that intersects the U.S./Mexico border.
The geographic location chosen for Repellent Fence is the center point of the largest and most densely fortified militarized zone of the Western Hemisphere. This border region and its omnipresent military and surveillance systems artificially divide people, cultures, languages and communities from themselves and the land, disrupting interdependent human, cultural and environmental relationships that have existed for thousands of years. The monumental Repellent Fence installation is part of a larger public engagement campaign that includes public programming, performances and the first cross-border art walk in Douglas and Agua Prieta. In this post, the artists of Postcommodity—Raven Chacon, Cristóbal Martínez and Kade L. Twist—share the back-story behind this ambitious and timely project, nearly eight years in the making.
Every few weeks we post tips straight from the Professional Development Program’s Artist’s Tools Handbook, a 200+ page resource we give to Core Workshop attendees, written by PDP Core Leaders Jackie Battenfield and Aaron Landsman. The book covers everything from writing to budgeting, websites to fundraising, elevator pitches to work samples. Similarly, each post is packed with practical ideas to make your life run more smoothly, leaving you even more time for your creative practice. Learn more about all of our PDP workshops and webinars here. For an in-depth look at the current best practices for social media use, join museum marketer, comedian and social media expert Brad Stephenson for Social Media – How to Be Everywhere All the Time on September 14 at 7:00pm.
Social networks have revolutionized the way people use the Internet. These online platforms for community engagement have impacted politics, culture and journalism. And they have done so quickly and completely through their potential for viral reach (if you tell two friends and they tell two friends, the effect multiplies exponentially). When you join a social network, you are participating in a multiparty conversation. This can be both liberating and confusing; staying on top your social networking presence can take a lot of time.
Powerful, disruptive ideas beg to be spread. Successful community engagement depends on setting clear objectives, finding your audience, and activating them. Stephanie Bleyer is a master of the community engagement campaign who runs the firm Six Foot Chipmunk. Stephanie helps artists across disciplines create strategic plans, raise funds, and reach and mobilize new audiences. On Thursday June 9th, 2016, she will lead the webinar Producing & Funding Your Community Engagement Campaign. This webinar is essential for artists projects involving social justice, education, public art, or community building. It takes participants through the entire process of producing your campaign starting with letters of inquiry and grant applications all the way through to measuring impact. Artists can ask themselves these five questions as a foundation for your engagement strategy.
1) What are the social goals of my campaign?
Keep in mind that the social goals of your campaign will likely be different from the goals of your art work or overall practice. Think, “I want my audience to think about how many plastic bags they regularly take from grocery stores and ultimately reduce that amount,” instead of, “I want my project to receive awards and praise from environmental foundations and get written up in ArtForum.” Continue reading
Creatives have heard time and time again about the growing importance of promoting our work via social media. You might have thousands of friends and post on Facebook, Twitter, and Pinterest, and Instagram every day but you’re not quite getting the engagement you expected. What’s the deal? If you’re having trouble getting a return from your time spent on social media, reflect and reconsider how you engage with your networks on a regular basis. Our upcoming webinar Social Media: How to be Everywhere All the Time (Monday, December 14, 7:00pm EST) offers an in-depth view of best practices on social media for artists. Learn how to use social media to communicate about your work, expand your networks, and create a deeper connection with your audience. Here are some basic tips to get you started:
Figure out what is valuable for you and curate your daily feed. Facebook and Twitter both offer great sorting capabilities with the ability to prioritize groups, form lists, and ignore unwanted content. Use those lists to discern who gets to see your vacation photos and your clients or collectors that might not need to know you that well. Don’t be afraid to say no to friend requests and unfriend people with whom you have little affinity. If you’re concerned about offending someone you can always mute or unfollow their posts. Continue reading