Location: Los Angeles, CA
Website: nomadicdivision.org
LAND (Los Angeles Nomadic Division) is a non-profit organization founded in 2009 committed to curating site-specific public art exhibitions in Los Angeles and beyond. LAND believes that all people deserve the opportunity to experience innovative contemporary art in their everyday existence, to enhance their quality of life and ways of thinking about their community. In turn, artists deserve the opportunity to realize projects in the public realm, unsupported through traditional institutions. LAND brings contemporary art outside of the walls of museums and galleries, into our shared public spaces and unique sites, in Los Angeles and beyond.
LAND supports dynamic and unconventional artistic practices using a tripartite approach:
Commissioning public projects of site- and situation-specific works with national and international contemporary artist
Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities
Offering additional programs such as performances, workshops, residencies, discussions, educational opportunities, and publications
LAND’s innovative exhibitions and programming structure features three main types, or scales, of programming:
Large-scale, multi-site, multi-artist exhibitions (group thematic shows that exist over time and space)
Monographic exhibitions or discrete group exhibitions
One-night ephemeral performances and durational events
Showing posts with label Art. Show all posts
Showing posts with label Art. Show all posts
Wednesday, May 18, 2016
Monday, December 21, 2015
Creative Cities Network
Location: International
Website: en.unesco.org/creative-cities/home
The UNESCO Creative Cities Network (UCCN) was created in 2004 to promote cooperation with and among cities that have identified creativity as a strategic factor for sustainable urban development. The 116 cities which currently make up this network work together towards a common objective: placing creativity and cultural industries at the heart of their development plans at the local level and cooperating actively at the international level.
By joining the Network, cities commit to sharing their best practices and developing partnerships involving the public and private sectors as well as civil society in order to: strengthen the creation, production, distribution and dissemination of cultural activities, goods and services; develop hubs of creativity and innovation and broaden opportunities for creators and professionals in the cultural sector; improve access to and participation in cultural life, in particular for marginalized or vulnerable groups and individuals; fully integrate culture and creativity into sustainable development plans.
The Network covers seven creative fields: Crafts and Folk Arts, Media Arts, Film, Design, Gastronomy, Literature and Music. The Creative Cities Network is a privileged partner of UNESCO, not only as a platform for reflection on the role of creativity as a lever for sustainable development but also as a breeding ground of action and innovation, notably for the implementation of the post-2015 Development Agenda.
Website: en.unesco.org/creative-cities/home
The UNESCO Creative Cities Network (UCCN) was created in 2004 to promote cooperation with and among cities that have identified creativity as a strategic factor for sustainable urban development. The 116 cities which currently make up this network work together towards a common objective: placing creativity and cultural industries at the heart of their development plans at the local level and cooperating actively at the international level.
By joining the Network, cities commit to sharing their best practices and developing partnerships involving the public and private sectors as well as civil society in order to: strengthen the creation, production, distribution and dissemination of cultural activities, goods and services; develop hubs of creativity and innovation and broaden opportunities for creators and professionals in the cultural sector; improve access to and participation in cultural life, in particular for marginalized or vulnerable groups and individuals; fully integrate culture and creativity into sustainable development plans.
The Network covers seven creative fields: Crafts and Folk Arts, Media Arts, Film, Design, Gastronomy, Literature and Music. The Creative Cities Network is a privileged partner of UNESCO, not only as a platform for reflection on the role of creativity as a lever for sustainable development but also as a breeding ground of action and innovation, notably for the implementation of the post-2015 Development Agenda.
Saturday, July 18, 2015
ArtPlace
Location: Nationwide
Website: artplaceamerica.org
ArtPlace America (ArtPlace) is a ten-year collaboration among a number of foundations, federal agencies, and financial institutions that works to position arts and culture as a core sector of comprehensive community planning and development in order to help strengthen the social, physical, and economic fabric of communities.
ArtPlace focuses its work on creative placemaking, which describes projects in which art plays an intentional and integrated role in place-based community planning and development. This brings artists, arts organizations, and artistic activity into the suite of placemaking strategies pioneered by Jane Jacobs and her colleagues, who believed that community development must be locally informed, human-centric, and holistic.
In practice, this means having arts and culture represented alongside sectors like housing and transportation – with each sector recognized as part of any healthy community; as requiring planning and investment from its community; and as having a responsibility to contribute to its community’s overall future.
In scanning the community planning and development field, we found five types of stakeholders working across ten sectors that, while not comprehensive, capture a majority of work taking place.
ArtPlace has four core areas of activity: a national grants program that annually supports creative placemaking projects in communities of all sizes across the country; our Community Development Investments in 6 place-based community planning and development organizations that are working to permanently and sustainably incorporate arts and culture into their core work; field building strategies that work to connect and grow the field of practitioners; and research strategies to understand, document, and disseminate successful creative placemaking practices.
At ArtPlace we believe that successful creative placemaking projects do four things:
- Define a community based in geography, such as a block, a neighborhood, a city, or a region.
- Articulate a change the group of people living and working in that community would like to see.
- Propose an arts-based intervention to help achieve that change.
- Develop a way to know whether the change occurred.
In everything we do and support, arts and culture work to help achieve a place-based change, which means that it is the community development interventions that are creative, not necessarily the outcomes. In creative placemaking, “creative” is an adverb describing the making, not an adjective describing the place. Successful creative placemaking projects are not measured by how many new arts centers, galleries, or cultural districts are built. Rather, their success is measured in the ways artists, formal and informal arts spaces, and creative interventions have contributed toward community outcomes.
Website: artplaceamerica.org
ArtPlace America (ArtPlace) is a ten-year collaboration among a number of foundations, federal agencies, and financial institutions that works to position arts and culture as a core sector of comprehensive community planning and development in order to help strengthen the social, physical, and economic fabric of communities.
ArtPlace focuses its work on creative placemaking, which describes projects in which art plays an intentional and integrated role in place-based community planning and development. This brings artists, arts organizations, and artistic activity into the suite of placemaking strategies pioneered by Jane Jacobs and her colleagues, who believed that community development must be locally informed, human-centric, and holistic.
In practice, this means having arts and culture represented alongside sectors like housing and transportation – with each sector recognized as part of any healthy community; as requiring planning and investment from its community; and as having a responsibility to contribute to its community’s overall future.
In scanning the community planning and development field, we found five types of stakeholders working across ten sectors that, while not comprehensive, capture a majority of work taking place.
ArtPlace has four core areas of activity: a national grants program that annually supports creative placemaking projects in communities of all sizes across the country; our Community Development Investments in 6 place-based community planning and development organizations that are working to permanently and sustainably incorporate arts and culture into their core work; field building strategies that work to connect and grow the field of practitioners; and research strategies to understand, document, and disseminate successful creative placemaking practices.
At ArtPlace we believe that successful creative placemaking projects do four things:
- Define a community based in geography, such as a block, a neighborhood, a city, or a region.
- Articulate a change the group of people living and working in that community would like to see.
- Propose an arts-based intervention to help achieve that change.
- Develop a way to know whether the change occurred.
In everything we do and support, arts and culture work to help achieve a place-based change, which means that it is the community development interventions that are creative, not necessarily the outcomes. In creative placemaking, “creative” is an adverb describing the making, not an adjective describing the place. Successful creative placemaking projects are not measured by how many new arts centers, galleries, or cultural districts are built. Rather, their success is measured in the ways artists, formal and informal arts spaces, and creative interventions have contributed toward community outcomes.
Saturday, April 12, 2014
Hope in Shadows
Location: Vancouver, BC
Website: www.hopeinshadows.com
Hope in Shadows is an innovative community engagement project that creates positive and meaningful interactions between residents from Vancouver's Downtown Eastside and people from other neighbourhoods in the Lower Mainland and beyond.
Each year, winning photos from the Hope in Shadows photography contest are featured in a calendar that local residents can sell on the street through our vendor program.
Hope in Shadows demonstrates that meaningful employment opportunities positively contribute to the well-being and dignity of people impacted by poverty and marginalization.
Photography Contest and Calendar -
Each year we distribute 200 disposable cameras to residents of the Downtown Eastside as part of a photo competition that gives residents the chance to document their own community. Forty photographs are chosen for exhibition, and 12 make it into the Hope in Shadows calendar. In 2013, we piloted a second photography contest in North Vancouver. Visit to find out more.
Vendor Program -
The Hope in Shadows vendor program is designed to remove barriers to employment by offering low-threshold sales work that generates both money and transferable skills for residents of the Downtown Eastside. After attending a basic sales training session, low-income residents are licensed to sell the Hope in Shadows calendar on the streets of Vancouver.
Vendors get one free calendar to get started and make $10 profit for every $20 calendar sold. We train over 200 vendors every year. We have expanded the program in recent years to include an elected vendor advisory board, monthly vendor meetings, advanced sales techniques workshops, financial management workshops, and social events.
Hope in Shadows Archive Project -
Over the past 11 years, Hope in Shadows has amassed a significant archive of photos and negatives. We are developing a process for organizing the thousands of negatives, and our digital archives of the top 40 photographs from each year's contest. Along with organizing our archives, we will be developing best practices for ownership of photo negatives, terms of use and informed consent for archived photos, and community access to the photo archive.
Financial Opportunities for People Impacted by Poverty -
Hope in Shadows trains more than 200 vendors annually. Since 2005 the vendors have increased their sales by more than 500 percent – from 2,500 copies of the Hope in Shadows Calendar to more than 13,000 annually. The impact of this project on the financial standing of people living in poverty is significant with street vendors earning over $0.5 million through calendar sales since 2003.
Hope in Shadows Wins Book Award -
In 2008 Pivot co-published the award-winning Hope in Shadows book with Arsenal Pulp Press. The book has sold more than 5,000 copies through our vendor program. The book contains a collection of personal stories behind some of the stunning contest photos. The personal narratives in the book are candid and moving and challenge the way many of us think about poverty, mental health and drug addiction. The book won the City of Vancouver Book Award and was nominated for a B.C. Book Prize.
Hope in Shadows Artists Recognized -
As the project has evolved, Hope in Shadows photographers are been increasingly recognized for their achievements as artists. Contest participant’s photography has twice been exhibited at the Mayworks Festival on Vancouver Island and private sales of prints are a regular occurrence. In spring of 2011, a selection of Hope in Shadows photographs was auctioned at Dignity, a touring international event curated by the NURU project benefiting the Acumen Fund.
Website: www.hopeinshadows.com
Hope in Shadows is an innovative community engagement project that creates positive and meaningful interactions between residents from Vancouver's Downtown Eastside and people from other neighbourhoods in the Lower Mainland and beyond.
Each year, winning photos from the Hope in Shadows photography contest are featured in a calendar that local residents can sell on the street through our vendor program.
Hope in Shadows demonstrates that meaningful employment opportunities positively contribute to the well-being and dignity of people impacted by poverty and marginalization.
Photography Contest and Calendar -
Each year we distribute 200 disposable cameras to residents of the Downtown Eastside as part of a photo competition that gives residents the chance to document their own community. Forty photographs are chosen for exhibition, and 12 make it into the Hope in Shadows calendar. In 2013, we piloted a second photography contest in North Vancouver. Visit to find out more.
Vendor Program -
The Hope in Shadows vendor program is designed to remove barriers to employment by offering low-threshold sales work that generates both money and transferable skills for residents of the Downtown Eastside. After attending a basic sales training session, low-income residents are licensed to sell the Hope in Shadows calendar on the streets of Vancouver.
Vendors get one free calendar to get started and make $10 profit for every $20 calendar sold. We train over 200 vendors every year. We have expanded the program in recent years to include an elected vendor advisory board, monthly vendor meetings, advanced sales techniques workshops, financial management workshops, and social events.
Hope in Shadows Archive Project -
Over the past 11 years, Hope in Shadows has amassed a significant archive of photos and negatives. We are developing a process for organizing the thousands of negatives, and our digital archives of the top 40 photographs from each year's contest. Along with organizing our archives, we will be developing best practices for ownership of photo negatives, terms of use and informed consent for archived photos, and community access to the photo archive.
Financial Opportunities for People Impacted by Poverty -
Hope in Shadows trains more than 200 vendors annually. Since 2005 the vendors have increased their sales by more than 500 percent – from 2,500 copies of the Hope in Shadows Calendar to more than 13,000 annually. The impact of this project on the financial standing of people living in poverty is significant with street vendors earning over $0.5 million through calendar sales since 2003.
Hope in Shadows Wins Book Award -
In 2008 Pivot co-published the award-winning Hope in Shadows book with Arsenal Pulp Press. The book has sold more than 5,000 copies through our vendor program. The book contains a collection of personal stories behind some of the stunning contest photos. The personal narratives in the book are candid and moving and challenge the way many of us think about poverty, mental health and drug addiction. The book won the City of Vancouver Book Award and was nominated for a B.C. Book Prize.
Hope in Shadows Artists Recognized -
As the project has evolved, Hope in Shadows photographers are been increasingly recognized for their achievements as artists. Contest participant’s photography has twice been exhibited at the Mayworks Festival on Vancouver Island and private sales of prints are a regular occurrence. In spring of 2011, a selection of Hope in Shadows photographs was auctioned at Dignity, a touring international event curated by the NURU project benefiting the Acumen Fund.
Wednesday, April 9, 2014
Art Everywhere US
Location: Nationwide
Website: www.arteverywhereus.com
Five leading U.S. museums came together in January 2014 with a daunting challenge: to celebrate the history of American art through a total of 100 great works--twenty each--from our respective collections.
Our museums have collaborated with the Outdoor Advertising Association of America (OAAA) and with artists, estates, foundations, and rights agencies to share images of these 100 works with the public in August, so that you can vote for your favorites, informing a final selection of 50 works that will be reproduced in tens of thousands of public spaces nationwide, including billboards, street furniture, transit hubs, and many other channels. This collaborative effort is the first of its kind in the US, and follows a successful version in the UK in the summer of 2013, with plans to be repeated this summer as well. It affords an unprecedented opportunity to acquaint countless millions of Americans and visitors to our country with some of America’s best and most memorable artworks.
The 100 artworks illustrated on this website span the history of the United States, from portraiture before and after the American Revolution in 1776, to landscapes of the nineteenth century, both illustrative and imagined, to scenes of daily life in the last quarter of the 1800s, to still life paintings and images of the well-to-do. Selections from the early twentieth century take us to the American West through photography, to a scene from the Bible, to the emergence of abstract painting on American soil. The First World War is commemorated in colorful tributes, followed by artworks championing the centrality of the agrarian tradition and the emergence of an industrial economy.
Gritty urban scenes documenting the Great Depression are joined by an image of the Dust Bowl in the West. The genius and travails of African-Americans at that time are commemorated, along with Surrealism’s fascination with human psychology and perception. Abstract Expressionism’s explosion on the scene in the 1950s is chronicled in multiple masterpieces, a new form of artistic language that changed the rules of painting. Pop Art takes the stage in the 1960s, with several instantly recognizable images from the worlds of advertising and mass media. The decades since the 1970s are represented by the disparate forms and concerns of artists questioning the received wisdom of the past, probing topics ranging from identity politics to race to gender stereotypes.
All in all, the 100 works in Art Everywhere US bring us face-to-face with the story of our nation, told by the visionaries who captured our essence at the time they lived and worked, and who to this day compel us to find our place in the evolving story of America. From a stained glass window to a prairie quilt, the two-dimensional artworks in this wide-ranging selection invite reflection on the vernacular of American art, from high art to the everyday, from East to West, and from our origins to the present moment.
Art Everywhere US will provide chance encounters with great works of art to reflect the story of our country, encourage everyone to visit their local museums, and start a national conversation about the importance of nurturing creativity in our schools and in our daily lives. We hope you enjoy the biggest art exhibition in history—and please let us know which artworks you’d like to see reproduced, wherever you live or travel, by voting now!
Website: www.arteverywhereus.com
Five leading U.S. museums came together in January 2014 with a daunting challenge: to celebrate the history of American art through a total of 100 great works--twenty each--from our respective collections.
Our museums have collaborated with the Outdoor Advertising Association of America (OAAA) and with artists, estates, foundations, and rights agencies to share images of these 100 works with the public in August, so that you can vote for your favorites, informing a final selection of 50 works that will be reproduced in tens of thousands of public spaces nationwide, including billboards, street furniture, transit hubs, and many other channels. This collaborative effort is the first of its kind in the US, and follows a successful version in the UK in the summer of 2013, with plans to be repeated this summer as well. It affords an unprecedented opportunity to acquaint countless millions of Americans and visitors to our country with some of America’s best and most memorable artworks.
The 100 artworks illustrated on this website span the history of the United States, from portraiture before and after the American Revolution in 1776, to landscapes of the nineteenth century, both illustrative and imagined, to scenes of daily life in the last quarter of the 1800s, to still life paintings and images of the well-to-do. Selections from the early twentieth century take us to the American West through photography, to a scene from the Bible, to the emergence of abstract painting on American soil. The First World War is commemorated in colorful tributes, followed by artworks championing the centrality of the agrarian tradition and the emergence of an industrial economy.
Gritty urban scenes documenting the Great Depression are joined by an image of the Dust Bowl in the West. The genius and travails of African-Americans at that time are commemorated, along with Surrealism’s fascination with human psychology and perception. Abstract Expressionism’s explosion on the scene in the 1950s is chronicled in multiple masterpieces, a new form of artistic language that changed the rules of painting. Pop Art takes the stage in the 1960s, with several instantly recognizable images from the worlds of advertising and mass media. The decades since the 1970s are represented by the disparate forms and concerns of artists questioning the received wisdom of the past, probing topics ranging from identity politics to race to gender stereotypes.
All in all, the 100 works in Art Everywhere US bring us face-to-face with the story of our nation, told by the visionaries who captured our essence at the time they lived and worked, and who to this day compel us to find our place in the evolving story of America. From a stained glass window to a prairie quilt, the two-dimensional artworks in this wide-ranging selection invite reflection on the vernacular of American art, from high art to the everyday, from East to West, and from our origins to the present moment.
Art Everywhere US will provide chance encounters with great works of art to reflect the story of our country, encourage everyone to visit their local museums, and start a national conversation about the importance of nurturing creativity in our schools and in our daily lives. We hope you enjoy the biggest art exhibition in history—and please let us know which artworks you’d like to see reproduced, wherever you live or travel, by voting now!
Saturday, August 10, 2013
Art Everywhere
Location: Great Britain
Website: www.arteverywhere.org.uk
Showcasing great British art across the UK, Art Everywhere is the largest exhibition of its kind in the world. From the 12–25 August 2013 some of the nation's greatest art is on display across 22,000 poster sites and billboards up and down the country.
Artists, curators, media owners and entrepreneurs joined by a love of art have fuelled this massive charitable celebration, and the general public crowd-funded over £30,000 to help make it happen.
Website: www.arteverywhere.org.uk
Showcasing great British art across the UK, Art Everywhere is the largest exhibition of its kind in the world. From the 12–25 August 2013 some of the nation's greatest art is on display across 22,000 poster sites and billboards up and down the country.
Artists, curators, media owners and entrepreneurs joined by a love of art have fuelled this massive charitable celebration, and the general public crowd-funded over £30,000 to help make it happen.
Wednesday, July 17, 2013
Center for Urban Pedagogy
Location:
Website: www.welcometocup.org
The Center for Urban Pedagogy (CUP) is a nonprofit organization that uses design and art to improve civic engagement.
CUP projects demystify the urban policy and planning issues that impact our communities, so that more individuals can better participate in shaping them. We believe that increasing understanding of how these systems work is the first step to better and more diverse community participation. CUP projects are collaborations of art and design professionals, community-based advocates and policymakers, and our staff. Together we take on complex issues—from the juvenile justice system to zoning law to food access—and break them down into simple, accessible, visual explanations.
The tools we create are used by organizers and educators all over New York City and beyond to help their constituents better advocate for their own community needs.
CUP takes two approaches to improving public engagement through civic education:
- youth education programs in which students work with teaching artists to investigate some aspect of how the city works and create final products that educate others about what they learned; and
- community education programs that bring together designers and advocates to produce tools, workshops, and publications that explain complex policies or processes for specific audiences.
Community Education works with advocacy organizations, policy experts, and designers to produce publications, workshops, and other teaching tools that explain important policy issues for the people who most need to know.
CUP publications and teaching tools are made for and with specific groups in specific places, but they reach a national audience of people interested in civics education and graphic and information design.
CUP’s Envisioning Development Toolkits are workshops built around interactive tools that teach people about basic land-use terms and concepts, enabling them to participate meaningfully in neighborhood change.
For example, the Affordable Housing Toolkit teaches participants about income demographics and the technical definitions of affordable housing to help them analyze proposed developments in concrete terms of units, rents, and incomes. The toolkits are developed in close collaboration with community organizations throughout New York, such as Good Old Lower East Side, the Fifth Avenue Committee, the Municipal Arts Society, and Tenants and Neighbors.
Making Policy Public series facilitates close collaborations between policy experts and design professionals to produce foldout posters that make complex policy issues accessible. For example, The Cargo Chain helped 10,000 longshoremen understand their place in the global shipping network, and is also a bestseller at art and design bookstores in New York. Collaborators have included designers like Candy Chang, Alice Chung of Omnivore, and Thumb Design with organizations such as the Brennan Center for Justice, Community Voices Heard, and the Coalition of Immokalee Workers.
Through our Technical Assistance program, community organizations and advocacy groups can hire CUP to create custom outreach and organizing tools. For example, we are working with the Participatory Budgeting Project and Community Voices Heard, along with designer Glen Cummings, to produce outreach and educational materials, as well as maps and ballots for a citywide effort to engage public participation in City Council budget decision making.
Youth Education partners with schools and after school programs to produce experiential, project-based curricula that get students out of the classroom to interact with New York City and the people who make it work. Our education programs vary in length from one day to one semester and reach over 500 students each year – from the Bronx to South Brooklyn and everywhere in between.
Urban Investigations projects ask basic questions about how the city works and answer them over the course of a semester. Where does our garbage go? Where does our water come from? Who built public housing? Students make site visits and conduct interviews while working with artists, designers, and staff to produce award-winning videos, exhibitions, magazines, and other media that communicate what they’ve learned to a wide audience. These products are screened in theaters, exhibited at museums, and used by advocacy organizations to educate others.
For example, the Sewer in a Suitcase, a working model of a city streetscape and combined sewer system developed by CUPwith students from City-as-School, has been featured on the Design Observer website and at the Proteus Gowanus gallery, and is currently being used by educators at organizations like The Harbor School and the Lower East Side Ecology Center to teach people about wastewater management and combined sewer overflow. CUP projects are in-class and after school, project-based curricula for high school students, from semester-long projects to single-session workshops.
For example,CUP recently developed a curriculum with a teacher at the Academy of Urban Planning in Bushwick to help students understand how to use information graphics in their persuasive writing. After conducting an on-the-street survey on a proposed soft drink tax, students created their own figures, charts, and graphs to help them develop arguments for or against the tax.
We also provide Teacher Trainings, professional development workshops for teachers and administrators that help educators connect students to their communities through art and design. We develop custom programs to meet the needs of a particular group, from a two-hour site assessment project to a week-long set of workshops.
Website: www.welcometocup.org
The Center for Urban Pedagogy (CUP) is a nonprofit organization that uses design and art to improve civic engagement.
CUP projects demystify the urban policy and planning issues that impact our communities, so that more individuals can better participate in shaping them. We believe that increasing understanding of how these systems work is the first step to better and more diverse community participation. CUP projects are collaborations of art and design professionals, community-based advocates and policymakers, and our staff. Together we take on complex issues—from the juvenile justice system to zoning law to food access—and break them down into simple, accessible, visual explanations.
The tools we create are used by organizers and educators all over New York City and beyond to help their constituents better advocate for their own community needs.
CUP takes two approaches to improving public engagement through civic education:
- youth education programs in which students work with teaching artists to investigate some aspect of how the city works and create final products that educate others about what they learned; and
- community education programs that bring together designers and advocates to produce tools, workshops, and publications that explain complex policies or processes for specific audiences.
Community Education works with advocacy organizations, policy experts, and designers to produce publications, workshops, and other teaching tools that explain important policy issues for the people who most need to know.
CUP publications and teaching tools are made for and with specific groups in specific places, but they reach a national audience of people interested in civics education and graphic and information design.
CUP’s Envisioning Development Toolkits are workshops built around interactive tools that teach people about basic land-use terms and concepts, enabling them to participate meaningfully in neighborhood change.
For example, the Affordable Housing Toolkit teaches participants about income demographics and the technical definitions of affordable housing to help them analyze proposed developments in concrete terms of units, rents, and incomes. The toolkits are developed in close collaboration with community organizations throughout New York, such as Good Old Lower East Side, the Fifth Avenue Committee, the Municipal Arts Society, and Tenants and Neighbors.
Making Policy Public series facilitates close collaborations between policy experts and design professionals to produce foldout posters that make complex policy issues accessible. For example, The Cargo Chain helped 10,000 longshoremen understand their place in the global shipping network, and is also a bestseller at art and design bookstores in New York. Collaborators have included designers like Candy Chang, Alice Chung of Omnivore, and Thumb Design with organizations such as the Brennan Center for Justice, Community Voices Heard, and the Coalition of Immokalee Workers.
Through our Technical Assistance program, community organizations and advocacy groups can hire CUP to create custom outreach and organizing tools. For example, we are working with the Participatory Budgeting Project and Community Voices Heard, along with designer Glen Cummings, to produce outreach and educational materials, as well as maps and ballots for a citywide effort to engage public participation in City Council budget decision making.
Youth Education partners with schools and after school programs to produce experiential, project-based curricula that get students out of the classroom to interact with New York City and the people who make it work. Our education programs vary in length from one day to one semester and reach over 500 students each year – from the Bronx to South Brooklyn and everywhere in between.
Urban Investigations projects ask basic questions about how the city works and answer them over the course of a semester. Where does our garbage go? Where does our water come from? Who built public housing? Students make site visits and conduct interviews while working with artists, designers, and staff to produce award-winning videos, exhibitions, magazines, and other media that communicate what they’ve learned to a wide audience. These products are screened in theaters, exhibited at museums, and used by advocacy organizations to educate others.
For example, the Sewer in a Suitcase, a working model of a city streetscape and combined sewer system developed by CUPwith students from City-as-School, has been featured on the Design Observer website and at the Proteus Gowanus gallery, and is currently being used by educators at organizations like The Harbor School and the Lower East Side Ecology Center to teach people about wastewater management and combined sewer overflow. CUP projects are in-class and after school, project-based curricula for high school students, from semester-long projects to single-session workshops.
For example,CUP recently developed a curriculum with a teacher at the Academy of Urban Planning in Bushwick to help students understand how to use information graphics in their persuasive writing. After conducting an on-the-street survey on a proposed soft drink tax, students created their own figures, charts, and graphs to help them develop arguments for or against the tax.
We also provide Teacher Trainings, professional development workshops for teachers and administrators that help educators connect students to their communities through art and design. We develop custom programs to meet the needs of a particular group, from a two-hour site assessment project to a week-long set of workshops.
Monday, July 8, 2013
SEE POTENTIAL
Location: Chicago, IL
Website: www.seepotentialchicago.org
SEEPOTENTIAL is a public art and community engagement project. We install large-scale documentary photographs to visualize community-driven development plans for Chicago's South Side and to tally the community support for each idea.
Our primary goal is to enable residents, community leaders, and elected officials to visualize the potential for sustainable, locally owned community development and to mobilize community support behind great ideas.
We've created a text messaging infrastructure and online mapping system to record and visualize the support at each SEEPOTENTIAL site,
Our community partners then use this data to launch their idea to the next level. For example, the data can be presented to banks to help convince them to give loans, or to local government to ensure support from elected officials.
Website: www.seepotentialchicago.org
SEEPOTENTIAL is a public art and community engagement project. We install large-scale documentary photographs to visualize community-driven development plans for Chicago's South Side and to tally the community support for each idea.
Our primary goal is to enable residents, community leaders, and elected officials to visualize the potential for sustainable, locally owned community development and to mobilize community support behind great ideas.
We've created a text messaging infrastructure and online mapping system to record and visualize the support at each SEEPOTENTIAL site,
Our community partners then use this data to launch their idea to the next level. For example, the data can be presented to banks to help convince them to give loans, or to local government to ensure support from elected officials.
Monday, June 3, 2013
Manchester International Festival
Location: Manchester, UK
Website: www.mif.co.uk
The Manchester International Festival is the world’s first festival of original, new work and special events, and takes place biennially in Manchester, UK.
The Festival launched in 2007 as an artist-led, commissioning festival presenting new works from across the spectrum of performing arts, visual arts and popular culture. Highlights from the past three festivals – 2007, 2009 and 2011 have included group shows Il Tempo del Postino, 11 Rooms, Damon Albarn and Jamie Hewlett’s Monkey: Journey to the West, Punchdrunk’s immersive Dr Who experience, The Crash of The Elysium,Music Boxes, a wonderful commission for children aged 6 months-7 years, Victoria Wood’s That Day We Sang and the premieres of special gigs from Bjork to Snoop Dogg and Sinead O’Connor.
The Festival also encompasses MIF Creative, the community and learning focused arm of the Festival, bringing to the people and communities of Manchester and learning from them in its turn.
Manchester International Festival celebrates the city’s pivotal role in music, culture, innovation and the arts, building on the legacy of the hugely successful Commonwealth Games held in Manchester in 2002.
The Festival has now become a major cultural event in the international calendar: an artist-led festival that enables leading international artists to create new work, encouraging local, national and international visitors to Manchester, and providing opportunities for local communities to participate, volunteer and see world-class artists in their city.
Website: www.mif.co.uk
The Manchester International Festival is the world’s first festival of original, new work and special events, and takes place biennially in Manchester, UK.
The Festival launched in 2007 as an artist-led, commissioning festival presenting new works from across the spectrum of performing arts, visual arts and popular culture. Highlights from the past three festivals – 2007, 2009 and 2011 have included group shows Il Tempo del Postino, 11 Rooms, Damon Albarn and Jamie Hewlett’s Monkey: Journey to the West, Punchdrunk’s immersive Dr Who experience, The Crash of The Elysium,Music Boxes, a wonderful commission for children aged 6 months-7 years, Victoria Wood’s That Day We Sang and the premieres of special gigs from Bjork to Snoop Dogg and Sinead O’Connor.
The Festival also encompasses MIF Creative, the community and learning focused arm of the Festival, bringing to the people and communities of Manchester and learning from them in its turn.
Manchester International Festival celebrates the city’s pivotal role in music, culture, innovation and the arts, building on the legacy of the hugely successful Commonwealth Games held in Manchester in 2002.
The Festival has now become a major cultural event in the international calendar: an artist-led festival that enables leading international artists to create new work, encouraging local, national and international visitors to Manchester, and providing opportunities for local communities to participate, volunteer and see world-class artists in their city.
Tuesday, May 14, 2013
Big Parade Los Angeles
Location: Los Angeles, CA
Website: www.bigparadela.tumblr.com
The Big Parade is a two-day walk in Los Angeles. It includes about 100 public stairways over 35 miles, from downtown to the Mt. Hollywood.
The walk runs on a timetable, and is designed as a series of attached loops, so that people can come and go as they please - join us for a mile, an hour, or an epic. Along the way, there's music, art, history, guest speakers, and lots of surprises.
The Big Parade is 100% free (except for the pizza...see below.) No donations (again, except for the pizza), no sponsors, no merchandise - just a walk with friends and neighbors.
Despite the length (and uphill nature) of the journey, the Big Parade is meant to live up to its name — an event whose primary purpose is to entertain. The route is filled with talks and performances from local figures, and historical insights into the city's configuration.
The parade's secondary mission is to encourage a sense of community. The parade keeps pace with the slowest walker; and is described as ua simple 'walk with neighbors.
Website: www.bigparadela.tumblr.com
The Big Parade is a two-day walk in Los Angeles. It includes about 100 public stairways over 35 miles, from downtown to the Mt. Hollywood.
The walk runs on a timetable, and is designed as a series of attached loops, so that people can come and go as they please - join us for a mile, an hour, or an epic. Along the way, there's music, art, history, guest speakers, and lots of surprises.
The Big Parade is 100% free (except for the pizza...see below.) No donations (again, except for the pizza), no sponsors, no merchandise - just a walk with friends and neighbors.
Despite the length (and uphill nature) of the journey, the Big Parade is meant to live up to its name — an event whose primary purpose is to entertain. The route is filled with talks and performances from local figures, and historical insights into the city's configuration.
The parade's secondary mission is to encourage a sense of community. The parade keeps pace with the slowest walker; and is described as ua simple 'walk with neighbors.
Sunday, April 28, 2013
Terrain.org
Location: International
Website: www.terrain.org
Terrain.org: A Journal of the Built + Natural Environments is a quarterly journal publishing online since 1997 that searches for the interface — the integration — among the built and natural environments that might be called the soul of place.
It is not definitely about urban form, nor solely about natural landscapes. It is not precisely about human culture, nor necessarily about ecology. It is, rather, a celebration of the symbiosis between the built and natural environments where it exists, and an examination and discourse where it does not.
The literary, journalistic, and artistic works contained with Terrain.org are of the highest quality, submitted by a variety of contributors for a diverse audience, including some of the finest material previously appearing in Terra Nova: Nature & Culture.
The works may be idealistic, technical, historical, philosophical, and more. Above all, they focus on the environments around us — the built and natural environments — that both affect and are affected by the human species.
Terrain.org strives to be both a resource and a pleasure, a compass and a shelter. Technical and journalistic works contained in the Nonfiction, Unsprawl, Reviews, Interview, and perhaps even Editorials sections are aimed at professionals and other interested individuals and groups.
These contributions can help communities develop and redevelop in a more sustainable manner. Literary and artistic works contained in the Poetry, Nonfiction, Fiction, Editorials, ARTerrain, and To Know a Place sections allow the reader to relax and enjoy the pieces for what they are. All work contained within Terrain.org is, we hope, accessible to all interested audiences.
While a case study may help a community planner in his or her job, it may also inform a banker, inspire a student, and educate a mechanic. While a poem may give joy to a teacher, it may also provide a brief sojourn for a scientist, give cause to reflect for a developer, and give hope to a housewife (or househusband). We are also seeking videos, and hope to build out that new genre over the upcoming issues.
The works contained within Terrain.org ultimately examine the physical realm around us, and how those environments influence us and each other physically, mentally, emotionally, and spiritually.
So brew up a pot of cybertea, rest your feet upon that favorite desk, and enjoy.
Website: www.terrain.org
Terrain.org: A Journal of the Built + Natural Environments is a quarterly journal publishing online since 1997 that searches for the interface — the integration — among the built and natural environments that might be called the soul of place.
It is not definitely about urban form, nor solely about natural landscapes. It is not precisely about human culture, nor necessarily about ecology. It is, rather, a celebration of the symbiosis between the built and natural environments where it exists, and an examination and discourse where it does not.
The literary, journalistic, and artistic works contained with Terrain.org are of the highest quality, submitted by a variety of contributors for a diverse audience, including some of the finest material previously appearing in Terra Nova: Nature & Culture.
The works may be idealistic, technical, historical, philosophical, and more. Above all, they focus on the environments around us — the built and natural environments — that both affect and are affected by the human species.
Terrain.org strives to be both a resource and a pleasure, a compass and a shelter. Technical and journalistic works contained in the Nonfiction, Unsprawl, Reviews, Interview, and perhaps even Editorials sections are aimed at professionals and other interested individuals and groups.
These contributions can help communities develop and redevelop in a more sustainable manner. Literary and artistic works contained in the Poetry, Nonfiction, Fiction, Editorials, ARTerrain, and To Know a Place sections allow the reader to relax and enjoy the pieces for what they are. All work contained within Terrain.org is, we hope, accessible to all interested audiences.
While a case study may help a community planner in his or her job, it may also inform a banker, inspire a student, and educate a mechanic. While a poem may give joy to a teacher, it may also provide a brief sojourn for a scientist, give cause to reflect for a developer, and give hope to a housewife (or househusband). We are also seeking videos, and hope to build out that new genre over the upcoming issues.
The works contained within Terrain.org ultimately examine the physical realm around us, and how those environments influence us and each other physically, mentally, emotionally, and spiritually.
So brew up a pot of cybertea, rest your feet upon that favorite desk, and enjoy.
Tuesday, March 5, 2013
The Bay Lights
Location: San Francisco Bay, CA
Website: www.thebaylights.org
The Bay Lights is a site-specific monumental light sculpture and art installation on the San Francisco Bay Bridge.
The installation by lights placed along 1.8 miles (2.9 km) of the cables on the north side of the suspension span of the bridge between Yerba Buena Island and San Francisco. The installation will be controlled via a computer and will display changing patterns that are not meant to repeat.
A The Bay Lights is the world’s largest LED light sculpture, 1.8 miles wide and 500 feet high. Inspired by the Bay Bridge’s 75th Anniversary, its 25,000 white LED lights are individually programmed by artist Leo Villareal to create a never-repeating, dazzling display across the Bay Bridge West Span through 2015.
The Bay Lights is a monumental tour de force eight times the scale of the Eiffel Tower’s 100th Anniversary lighting. Shining from dusk until 2:00 a.m. for two years, it will impact over 50 million people in the Bay Area, with billions more seeing it in the media and online. By conservative estimates, $97 million dollars will be added to the local economy.
Timetable:
September 15–October 15, 2012
Fiber and power line backbone installed. 25,000 LEDs with integrators and 48,000 Bridge Clips in production.
October 15, 2012
LED light system night installation begins, with 8-10 electricians working Mondays to Fridays, 8:00 p.m. to 5:00 a.m.
Mid-December, 2012
First test of lights installed to date.
March 5, 2013
The Bay Lights Grand Lighting!
8:30 p.m. PST Live Stream Webcast
9:00 p.m. Lights
The Bay Lights is presented by Illuminate the Arts, a San Francisco non-profit dedicated to the creation and presentation of community-activating public art. Our mission is to provide innovative art programs that stimulate a culture of generosity and inspire community involvement and collaboration worldwide.
Website: www.thebaylights.org
The Bay Lights is a site-specific monumental light sculpture and art installation on the San Francisco Bay Bridge.
The installation by lights placed along 1.8 miles (2.9 km) of the cables on the north side of the suspension span of the bridge between Yerba Buena Island and San Francisco. The installation will be controlled via a computer and will display changing patterns that are not meant to repeat.
A The Bay Lights is the world’s largest LED light sculpture, 1.8 miles wide and 500 feet high. Inspired by the Bay Bridge’s 75th Anniversary, its 25,000 white LED lights are individually programmed by artist Leo Villareal to create a never-repeating, dazzling display across the Bay Bridge West Span through 2015.
The Bay Lights is a monumental tour de force eight times the scale of the Eiffel Tower’s 100th Anniversary lighting. Shining from dusk until 2:00 a.m. for two years, it will impact over 50 million people in the Bay Area, with billions more seeing it in the media and online. By conservative estimates, $97 million dollars will be added to the local economy.
Timetable:
September 15–October 15, 2012
Fiber and power line backbone installed. 25,000 LEDs with integrators and 48,000 Bridge Clips in production.
October 15, 2012
LED light system night installation begins, with 8-10 electricians working Mondays to Fridays, 8:00 p.m. to 5:00 a.m.
Mid-December, 2012
First test of lights installed to date.
March 5, 2013
The Bay Lights Grand Lighting!
8:30 p.m. PST Live Stream Webcast
9:00 p.m. Lights
The Bay Lights is presented by Illuminate the Arts, a San Francisco non-profit dedicated to the creation and presentation of community-activating public art. Our mission is to provide innovative art programs that stimulate a culture of generosity and inspire community involvement and collaboration worldwide.
Wednesday, November 21, 2012
First Friday Art Walks
Location: Nationwide
Website: (see specific cities)
Portland, ME -
Join us for a free self-guided tour of local art galleries, art studios, museums, and alternative art venues on the First Friday of every month from 5-8 pm.
Our mission is to open the doors of Portland's visual arts community by joining together and introducing a wider audience to the unique vitality of the artists and venues of Portland. Promoting interest with non-exclusivity and easy access, thereby strengthening the arts and community through diversity and celebration.
Richmond, VA -
Richmond's First Fridays Art Walk showcases over 40 diverse creative venues in Downtown's growing arts and cultural district. Visitors are invited to enjoy and support a variety of art galleries, cultural venues, accommodations, restaurants, and shops along Historic Broad Street, east of Belvidere Street and west of 9th
Street as well as in Historic Jackson Ward and Monroe Ward.
Phoenix, AZ -
Open studio tours are a good way to experience art and artists. Every first Friday evening of each month you can take a free self-guided tour of downtown Phoenix galleries, studios and art spaces. It's called First Friday. First Friday is organized by Artlink, a nonprofit organization "...dedicated to bringing together artists, the public, and businesses for a greater understanding, appreciation, and promotion of the arts and the development of a strong and vital downtown Phoenix arts community."
Honolulu, HI -
The mission of firstfridayhawaii.com is to enrich the downtown/Chinatown neighborhood by providing a easy, fun, and interactive resource to celebrate community events, activities, restaurants, galleries and local happenings. By using a variety of creative Internet-based technical solutions we provide the pubic with resources to enhance community connections.
Website: (see specific cities)
Portland, ME -
Join us for a free self-guided tour of local art galleries, art studios, museums, and alternative art venues on the First Friday of every month from 5-8 pm.
Our mission is to open the doors of Portland's visual arts community by joining together and introducing a wider audience to the unique vitality of the artists and venues of Portland. Promoting interest with non-exclusivity and easy access, thereby strengthening the arts and community through diversity and celebration.
Richmond, VA -
Richmond's First Fridays Art Walk showcases over 40 diverse creative venues in Downtown's growing arts and cultural district. Visitors are invited to enjoy and support a variety of art galleries, cultural venues, accommodations, restaurants, and shops along Historic Broad Street, east of Belvidere Street and west of 9th
Street as well as in Historic Jackson Ward and Monroe Ward.
Phoenix, AZ -
Open studio tours are a good way to experience art and artists. Every first Friday evening of each month you can take a free self-guided tour of downtown Phoenix galleries, studios and art spaces. It's called First Friday. First Friday is organized by Artlink, a nonprofit organization "...dedicated to bringing together artists, the public, and businesses for a greater understanding, appreciation, and promotion of the arts and the development of a strong and vital downtown Phoenix arts community."
Honolulu, HI -
The mission of firstfridayhawaii.com is to enrich the downtown/Chinatown neighborhood by providing a easy, fun, and interactive resource to celebrate community events, activities, restaurants, galleries and local happenings. By using a variety of creative Internet-based technical solutions we provide the pubic with resources to enhance community connections.
Friday, October 12, 2012
Street Art Utopia
Location: International
Websie: www.streetartutopia.org
This is a homepage with street art collections, videos around street art and the most beloved street art photos from Street Art Utopia on Facebook.
Contact: streetartutopia@gmail.com
About the ads: I have some ads on this homepage. They help me buy
myself some beers, pay rent to the web host, and some more fun!
Unique Visitors: +300 000 / week.
Websie: www.streetartutopia.org
This is a homepage with street art collections, videos around street art and the most beloved street art photos from Street Art Utopia on Facebook.
Contact: streetartutopia@gmail.com
About the ads: I have some ads on this homepage. They help me buy
myself some beers, pay rent to the web host, and some more fun!
Unique Visitors: +300 000 / week.
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