Americans for the Arts

Those of you who read my periodic blogs know that I have a real passion for Tulsa. As I've described the Brady Arts District where the Hardesty Arts Center, Guthrie Green, Philbrook Downtown, and Woody Guthrie Center reside along with a growing number of arts-related venues, restaurants, and boutiques, I've received comments from a number of readers that they had no idea Tulsa had so much going on in the arts.

Americans for the Arts is excited to debut a new conversation series, Artists & Communities, highlighting the voices of artists and arts practitioners working across sectors and within communities. Over the next ten months, we will publish ten conversations between pairs of established and emerging community arts leaders as they share their visions for, experiences with, and challenges to making healthy, equitable, vibrant communities through arts and culture. As community-based work receives more recognition, and intersections and collaborations become stronger, these conversations illuminate just how artists and community arts leaders can work to sustain and maintain healthy communities through their practice.

First up: Liz Lerman, choreographer, performer, writer, educator, speaker, and founder of Dance Exchange, and Deana Haggag, Director of the Baltimore-based nomadic museum The Contemporary.

This year marked the 15^th anniversary of the Public Art Network (PAN) Year in Review, which annually recognizes outstanding public art projects that represent the most compelling work for the year from across the country. Over the years we have had over a thousand applications. Each year, a jury of up to three art professionals reviewed and selected projects to highlight. This week we are posting blogs directly from those involved in the creation of the projects in PAN Year in Review selected by our three art professionals, Peggy Kendellen (Public Art Program Manager at the Regional Arts & Cultural Council) Laurie Jo Reynolds (artist) and Ernest C. Wong (landscape architecture and urban planning professional) and presented on June 11th at the Americans for the Arts Public Art & Placemaking Preconference in Chicago.

I lived in a blanket of fear and anxiety as an artist for the first decade of my career. I remember when my dance teacher told me I wasn’t good enough to get into a prestigious dance school in South Florida. I auditioned for theater instead to ensure my acceptance. I remember booking a national commercial in college for a rhythmic dance routine. My sound and precision were perfect. They used my sound and one of my castmate’s “looks” for the actual principal. She was ethnically ambiguous, which sells more product. Both of these moments seeded doubt in my abilities to succeed in the industry. I always knew it was important to write a vision. Write it down, make it plain. One day, I looked up at a journal full of ideas—planned out with extravagance—and realized that I had not acted on a single one of them. I was only putting pen to paper while in complete awe at the people around me who were actually making things happen.

Art schools are a funny thing. I know because I went to one. I spent five years making work across various media, trying to develop a voice as an artist, and at the end of it all I graduated with no real sense of what was next. I think this is a fairly common experience for a lot of art school students and it’s an experience that’s dramatically different from a lot of other degrees one might pursue in college. I know that too because I returned to campus five years later to get an MBA, and the education and professional opportunities I received after that were in stark contrast to my undergraduate experience. I went back to study business not because I couldn’t find work with my art degree (well, not entirely), but because I realized years later that I was interested in the way businesses can solve problems and I wanted to build one that solved a real problem.