Thinking of seeking public art opportunities? Here are some things to look for.

*I have no idea how the formatting on this post got so wonky. It has rearranged the paragraphs, and keeps doing it's own thing. 

Stained glass mosaic mural in Broadway Plaza, Walnut Creek, CA c.2016

This is a post for anyone who has been wondering; "How do I transition into the public art sector?" It is for artists working in any media, but is based in my own experience as a mosaic artist. I started 20 years ago as a hobbyist, incorporating mosaic into my "recycled art" practice, then getting hired for some private commissions like floor inlays, backsplashes, window treatments, hearth surrounds and just plain wall art. After a few years, I created work for some restaurants and a pediatric clinic. In 2005 I was asked to create a memorial for a coworker on a college campus, which was technically in the public art category. So, I started applying for small projects and slowly navigated my way into a steady stream of medium sized public art installations, which is where I find myself in 2023.

My income has been generated through a mix of private, commercial and public art, and it was extremely sporadic for most of my career. I decided to mainly pursue site-specific commissions in 2010, shifting away from arts & crafts that I sold at festivals. In 2014, I was contracted by a company, L'Occitane, to fabricate projects all over the U.S. at a fast pace. It was very difficult, but I learned a lot and built a portfolio that helped me win more projects in the public sector. In 2017, I was selected for my first real public art project for the City of Bellingham (WA) with a $25K budget. I was over the moon and spent the next year working steadily on one solid commission with 5 parts. And that's the joy of large-budget projects, especially if the timeline is reasonable: You get to focus attention on one theme and approach, and work closely with one administrator (or team) for the entire time, without worrying about hustling for the next paycheck. This is such a blessing as an artist, and is the reason I've continued pursuing that direction.

I installed two sidewalk medallions for the Bellingham project
, and 3 vertical mosaics onto light post bases in 2018.

So, that's my back story for context. Once I had a public project with a decent budget under my belt, it was easier to be selected for more opportunities in a similar budget range, so I've been lucky to have steady work for a few years now, with a lot more financial stability. I've worked with different art entities and each one has different processes, contracts, and consideration for the well-being of the artist. I've been thinking a lot lately about what I've learned so far, and I want to share a few pointers for other artists. 

First, I am often asked how I find public art opportunities. Many people assume someone looks up "mosaic artist" on google, sees my website and sends me a request. Ha! I wish it were so! No, there are several main platforms online where artists set up an account with a profile and portfolio. These include Call for Entry and Public Artist.org. We submit professional-quality images of past work with descriptions stating the size, location, commissioning body, and budget. Additionally, there are regional and local arts organizations that have their own platforms. Check your state, city and nearby cities to find out how they post theirs and sign up for their mailing lists. Commissioning agencies post their calls for art on these platforms and artists then submit their qualifications. These calls will inevitably require the artists to re-state all of the information already listed in their profiles, including the image descriptions, along with a CV, letter of interest, bio or artist statement and references. Do not expect to have any of these written in advance because every single call will require you to compose new documents with a specific character/word count and information. More often than not, the information requested will be more than can possibly fit within the character or word count. Brevity is not my strength, as may be obvious to you by now, so I find this very challenging.

Above: Fleuressence; Edmonds, WA 2022 - A collaboration with metal sculptor Abe Singer

What to look for with calls for art:

Once you are in the system and are perusing the opportunities before you, here are important factors to consider before spending hours on an application:

• Is there a fee to apply?
  Pass. You should not have to pay to submit to a call for art. This is an immediate red flag.
• Is it an RFQ or RFP? 
  An RFQ is a Request for Qualifications. This means you will submit your basic information and a selection of images from your portfolio and their jury will make a selection based on your qualifications. Most often, they will shortlist a selection of artists to develop proposals. Some will pay a proposal fee, which is ideal and seems to be more common lately. For an RFP, you are expected to develop a proposal for free on the off-chance yours will be their favorite. When you are just starting out, this may be worth it, as your idea may be more impressive than your experience, and it will help you build your CV and portfolio. But I would proceed with caution, as the committee you are working with might not respect your time. Additionally, when you hand over your free design, you have little control over the use of it. I have heard of artist proposals being handed to a different artist with no compensation or acknowledgement to the designer.

• What is the budget?
  Compare the budget to the parameters. I'm always astounded when there is no stated budget. The artist is expected to guess and has no idea whether they can meet expectations. I view this as an indication that the committee has little to no experience working with artists and has an opaque communication style. It is also important to look at the scope of the work relative to the budget. If the budget is $10K, but they want artwork to cover a 50' x 8' wall, that's $25 per square foot. If you are a mural artist working in a highly stylized format, this may be a great fit for you. But you couldn't have subway tile installed for that budget, let alone an intricate, compelling mosaic. I've seen calls for art with budgets so low, the artist would lose money on materials. (Note: I have learned that, if the RFQ states a budget range like $20K-25K, they are going to give you the lowest amount. They may also include the proposal fee into that budget without explicitly stating it.)
• Are you eligible?
  It is exasperating how often I have to read through the material to find this information. Their criteria can be toward the end of the call for art and might include geographic or demographic limitations (i.e. only from that city or only BIPOC or only veterans.) Sometimes they want someone who has experience with the type of artwork in question, like sculpture, or public engagement. Be sure to read the whole thing before you get excited.
• What is the timeline?
  Lately, I've been dismayed to read calls for art that is right up my alley and I would love to apply, but the timeline doesn't extend out far enough to be realistic. I'm usually in progress on a project and not in a position to start another one immediately. Just today, I looked at a really great RFQ for something where they want fabrication for a $50K project to start in June and be installed in October...of THIS YEAR.  If you don't have experience with these things, that might sound feasible, but I assure you, it is so not. And it could be that they would extend the deadline, but then we are getting into winter months when installation is impossible, so the project would need to be stored until spring. Is that possible? Why isn't the committee aware of this issue? It makes me wary of the folks in charge.
• Where is the project?
  It can be really exciting to have a project in another state. I admit, I love saying, "Yeah, I'm installing this mural in Atlanta" (the other side of the country.) And it might be just dandy for you. But make sure you are thinking it through. What will it take to move the art from your studio to the location? How would you ship it and what would it cost? Do you have the freedom to leave for periods of time? Are you in charge of getting your kid to and from school and have no family nearby to help? Will you need to hire a pet sitter? This one shouldn't be a deal breaker, but I now try to apply for jobs within driving distance because it is so much easier to do site visits and deliver the work with less stress. Instead of paying for flights and lodging, I can allocate more of the budget to the actual project. OR I work with a client who is willing to hire an installer, so I can simply fabricate the mosaic and ship it to the site, ready to put into mortar.
• Who is the arts administrator? 
  Unfortunately, the artist is required to prove they have the experience and ability to complete the project, but the administrator can be literally anyone. They don't have to have any experience at all. And it is very hard to discern who exactly is administering the project - you generally don't find out who you're working with until you are selected. So far, I have learned that a government agency is more experienced and easier to work with, though it's not guaranteed. A city arts department or arts commission is going to have previous experience working with artists. They have procedures, contracts, and a public works department. Still, the person given primary responsibility over your commission might be random and inexperienced, and often they are overburdened. Have an attorney look over your contract before you sign it. Make sure you will have support from Public Works to prep the site and that you have access to water, a place to clean buckets and dispose of waste, and access to a restroom when you are on site. If possible, check the website for the commissioning entity, see if there are other art projects they've commissioned, and you may even want to try reaching out to previous artists to ask about their experience. When you are getting started, you are likely to take whatever work you can get, but it might be worth doing research. So many of my fellow artists dipped their toes into public art, had a bad experience, and swore it off forever. 

Public art is not for everyone.
The bureaucracy is thick, the pressure is high, and you can be expected to live on no income for months while the committee decides whether and when to approve your proposal and issue a deposit. I was selected for my current project in May, submitted the proposal in September, was asked to revise it in November, and finally received a deposit at the end of December. It was originally due to be completed by March, but my request to extend the installation deadline to April was accepted. I've had clients refuse to pay sales tax, even though I have to pay it on the whole amount, no exceptions. You can't include a markup on materials or include a profit margin in most public art budgets. I've made the incorrect assumption that the organization would provide support (or be present) during installation, including blocking off the area of a public path where a crane is placing huge structures. I've had to itemize all receipts and eat the cost of any supplies I already had on hand. And I've come very close to quitting a project twice because the proposal process took so long, I was taking out massive loans to pay household expenses and it put stress on my marriage. But, then when the money comes through and I get to just create for a few months, it is all worth it. And seeing my work installed, watching the public respond, is the thing that feeds my soul. So I keep applying and the cycle continues.

I hope this helps those of you who are thinking of taking this path to decide if it is the right direction for you. And if it is, maybe it will allow you to avoid some of the foibles and trials so many of us go through in this work. Best of luck to you as you find your way through it!

Addendum: The SAMA/SGAA conference registration has launched, and I'm offering an in-person version of my new workshop: The Business Side of Site Specific Mosaic Installation. Find more info here: https://www.stainedglass.org/site-specific-mosaic-business-side-workshop?fbclid=IwAR1WkuBPSdECJ2OjTf-XMzUhBCcBL_zjRbsvbdv7p8vvkU_b1LYh6eZOP3I

This project isn't public. It's for a corporate office (3rd floor) after the first day of installation (2022). 

Black Lives Matter Exhibition

 This week, I attended the opening reception and other events for an exhibition at the Jordan Schnitzer Museum of Art in Pullman, WA in the theme of Black Lives Matter. The main exhibition is a body of work by Alison Saar that speaks to her experience as a biracial woman in the U.S. The rest of the museum is filled with work by 20 artists who were selected to receive a grant to create new art for this show. 

I am one of those 20 artists. When I saw the RFQ last year, I decided to apply because I have been wanting to create public art for Thurston County (WA State) that honors and celebrates non-white community members, and I had an idea to use this grant to support that work. 

Let me jump back to the motivation, because I have not made art about social justice issues, for the most part. The themes in my work have focused more on women, mythology and religion, and a reciprocal relationship with Nature. However, with the racially-motivated violence that has punctuated the past several years (which is simply more visible due to phone and body cameras), I found myself wondering what I could do to support the Black Lives Matter movement? 

Back in 2017, I made a mosaic portrait of Edmonia Lewis, a mixed race (Haitian/Native American) sculptor who was prominent in the 1800s. Included in the background, under glass, are bits of her story and work. My goal was to provoke further research, and for the viewer to ask themselves why she is largely unknown? This piece was purchased by the City of Seattle for permanent collection in the Office of Art and Culture.

When I learned of Breonna Taylor's story, one thing that struck me was that she seemed to be underrepresented in the media. As memes began to be shared along with the "Say Her Name" directive, I felt compelled to create a small mosaic portrait of her. I saw too many white people using her name and image to get "likes" and hits, and my hope was to find a way to help raise awareness and possibly to sell or auction the mosaic to donate to an appropriate charity. The portrait was included in a couple of exhibits, and eventually I managed to connect with Tamika Palmer, Breonna's mom, and the portrait now belongs to her. In the end, that felt like the right outcome. 

And that's all I had to demonstrate my interest in making art in the BLM theme, plus many examples of mosaic portraiture I've done as portable and permanent public art. But I also had an idea inspired by the dearth of public art in my area that in any way celebrates the Black community. There is one mural in downtown Olympia in honor of Rebecca Howard. 

My idea, and the proposal I pitched for the grant opportunity, was to create a mosaic portrait of Nat and Thelma Jackson, a powerhouse couple who have spent their lives working for racial equity and much more. (Read more here: https://www.sos.wa.gov/legacy/sixty-eight/nat-and-thelma-jackson/) The portrait would be made on tile board using techniques to make it weatherproof, so that I could find a way to have it installed as public art, and it would be safe to put it outside. 

I really thought it was a long shot, so I was shocked to learn that I was one of the artists selected! There are so many talented artists of color, I really doubted I would be considered. My submission was very clear that I am white, and mentioned that the movement needs those of us in privilege to step up and stand with our Black community, or nothing will change. When I look back at photos and film of events like the march in Selma or the Lunch Counter Sit-Ins or the Freedom Riders, I see the white protesters who joined in the fight, and I want to be that kind of person. I want to be on the right side of history, and I want to fight for a better world. 

Over the past year, I've talked with Nat and Thelma to explain what I wanted to do, get their permission, and make sure I was representing them in a way that felt empowering for them. We also discussed at length how to site the mosaic, and Nat guided me toward working with the City of Lacey, WA. Their roots go deep in Lacey. As it turns out, Goose Pond was once the Jackson's property, and the Lacey Community Center is located next to it. The Jacksons live nearby, so at this time, the most likely location for the portrait is there, inside of the community center in a prominent spot. 

*Note: The background was chosen partly because Nat loves to garden and Thelma loves flowers. I chose the soft, sweeping colors and shapes to contrast with the smaller, tight spacing in the figures, so they would come forward. The foliage also represents the seeds planted by Nat and Thelma in Washington State and Thurston County, and how they have cultivated positive change that will continue to grow and flourish for future generations.

When the exhibition opened and it was time to drive 6 hours to the other side of the state, I did have some trepidation. I didn't know what to expect. The opening fell during possibly the busiest time frame of my career, when I was scheduled back to back for multiple events and an installation, so I barely had time to be nervous. No one was flexible enough to accompany me for three days midweek, so I knew I would be arriving alone, not knowing anyone. And I was pretty sure, as a PLC (Person Lacking Color) I would be in the minority among the artists. While driving, I thought through how to answer any questions that might come up so that I would be less likely to misspeak or freeze. I knew I wanted to focus on talking about the Jacksons and not myself. 

I did not expect to be the only white artist included in the show. 

Had I known, would I have politely declined to attend? No. Was it uncomfortable? Yes.

I kept Ijeoma Oluo's advice in mind throughout the event. It's hard, and you might get it wrong, but don't put your tail between your legs and give up. Keep trying. I felt it was important to be there, but also to be quiet. I decided immediately that I wouldn't speak up unless asked. I listened and my fellow artists spoke and it was intense. I felt like an outsider and I wondered if I belonged there. My mosaic was featured prominently. It sparkles. But it was not made out of lived experience with racism. The other artists presented work that is their insides on full view. It is angst and pain and fear and hope all fashioned out of paint and torn paper and fabric and metal. It is generations of violence, objectification and nightmares laid out bare for the public to witness. I felt keenly aware of how my work is different from theirs. Still, I believe down to my bones that we need to stand together, and that change only happens if those of us with power stand alongside those without. 

Here is a link to an article about the show: https://dnews.com/local/social-justice-artistic-impact/article_cae87b45-1bc8-5d33-90dc-91306417942f.html?fbclid=IwAR1QxNWvKbZstnTTkW8awVqpszggtwYWNUPwPexBekkoNwykHnG-ozpsNqI

JK Mosaic: Looking back at 2015

2016 is well under way, but I'm finally getting around to a 2015 Year in Review.

Last year started with a major surgery, so I took January and February off, which gave me an opportunity to simply sketch and play with mosaic at my own pace and to my own delight.  I set myself up in the family room, propped up on pillows, surrounded by art supplies, the tv remote, and painkillers.  I've always been interested in my Polish heritage, as I was particularly close to my Polish grandpa.  But I've found a lot less information about the Lithuanian traditions from my grandma's homeland.  During my convalescence, I happened to watch a Booze Traveler episode about Lithuania, and I was completely enchanted!  As my narcotic intake lessened, I was able to take up some research from some keywords I learned in the episode, finally finding a little bit of information about the religion and mythology of the country, taking copious notes in my sketchbook.

An early sketch I had made the previous year was developed further, and when I was able, I began work on a mosaic.  First, I created a small piece playing with the design style, colors and materials I had in mind:

"Fine Feathered" sold at the MAI salon in Philadelphia.

Later, when I was able to be upright for longer periods, I spent 10 weeks completing a mosaic in a style that is rooted in folk art, yet very much my own.

32.5" x 23.5", Available for sale!

As soon as I was recovered, I was commissioned to fabricate a stone floormat for a L'Occitane in Banff, Alberta.

This is the floor, tile taped on mesh, ready to install.

In April, I attended the annual Society of American Mosaic Artists conference in Philadelphia.  It was a great trip, full of workshops and presentations that inspired me, and allowed me to immerse myself in total mosaic geekery with hundreds of others from the U.S. and beyond.  Unfortunately, I became very ill during the trip, but it didn't stop me from finally visiting the amazing Magic Gardens created by the legendary artist Isaiah Zagar.

This is just one little view of a complex of rooms and a huge courtyard, not to mention many of the areas buildings.

My next project was another lavender farm mural for a L'occitane shop in the international terminal of the Dallas Fort Worth airport.

I was not able to get a shot of the installed mural, but this is how it looked assembled on my floor.  It was about 15' x 4.5'.

In August, I completed a smaller project, embelleshing stair risers into and out of the courtyard of a private home.

The same home has a much larger set of stair risers down to their waterfront, completed in 2011.

Finally, I was commissioned to fabricate my largest mosaic to date for a shopping plaza in Walnut Creek, CA.  Michael Kruzich, an accomplished mosaic artist from San Francisco, graciously helped me with the challenging installation in November 2015.

That wraps up my 2015.  I am currently taking commissions for March 2016 and beyond.  Happy New Year to all of you!