Public Art Exhibitions & Collections Coordinator Morgan Ritter is an artist, poet, and arts worker, and has been responsible for the care of art and arts spaces for 14 years within many of Portland, Oregon’s nonprofit arts institutions. Morgan joined the Regional Arts & Culture Council (RACC) in 2019 and her personal art practice includes sculpture, installation, books, video, poetry, and performance. “Often, I feel playful, relating with the world around me in a flexible way where things like mud puddles, soda cans, and potatoes become compelling material to work with. Much of my artwork is sourced from these various fragments and consists not only of found objects, but found language from dreams, conversations, and texts. I find most interest in making meaning with matter that is not classified as precious or valuable. And now in these times, I am finding all the more reason to be resourceful and utilize the available domestic systems and dusty, garage detritus for their extrasensory, healing potential.”

As the Art in Public Places Program Manager for the City of Austin, Texas, Sue Lambe is responsible for the existing public art collection of over 300 pieces and for the active permanent and temporary art projects underway throughout Austin. Established by the City in 1985, the Art in Public Places (AIPP) program collaborates with local and national artists to include the history and values of the Austin community into cultural landmarks that have become cornerstones of the city’s identity. “Viewing public art that is available 24/7/365 as a museum without walls in shared civic spaces has been an amazing resource for exploration, exercise, dialogue, and connection. The opportunity to visit an artwork and share the visit on social media to create conversation despite the requirements of COVID isolation has great value.”

The Native Arts and Cultures Foundation (NACF) is the only national philanthropic organization focused exclusively on Native arts and cultures with a deep commitment to supporting Native artists in a spirit of advancing equity and cultural knowledge for American Indian, Native Hawaiian, and Alaska Native communities. NACF is especially active in supporting artists responding to economic justice and environment issues. Its SHIFT – Transformative Change and Indigenous Arts program gives artists opportunities to work with communities to examine complex issues from a Native perspective, while LIFT – Early Career Support for Native Artists encourages artists to develop projects that advance positive social change at the community level. And through Mentor Artist Fellowships, emphasis is put on opportunities for contemporary Native artists working both in traditional and contemporary practice to deepen their connections to the artistic traditions and heritages of their tribal communities.

Darlene McClinton is the grants manager for ArtsGreensboro, a community-supported nonprofit organization and the largest public and private alliance dedicated to sustaining the Greensboro, North Carolina, arts economy. McClinton also is an artist, educator, entrepreneur, collaborator, ally, and advocate. Since joining ArtsGreensboro in December 2019, she has made a significant difference in their outreach efforts, diversifying their grant pool, and expanding their artist support grant applications over 400% from the previous year. This post is the latest in our series featuring the many Americans for the Arts members doing transformative work for arts education, public art, advocacy, arts marketing, and more.

On the morning of June 30, 2021, a new and unexpected threat to a pro-arts piece of federal legislation became apparent. The full U.S. House of Representatives was beginning final consideration of the INVEST in America Act of 2021 (H.R. 3684), which included an arts and transit provision that had not attracted any opposition—until an amendment from Rep. Bob Gibbs (R-OH) aimed to strike the pro-arts provision from the bill. Rep. Gibbs argued that that federal dollars shouldn’t be used for “feel-good frescoes and metro station murals.” What Rep. Gibbs and other opponents fail to realize is that the provision does not require art projects, but rather allows local transit authorities the option to hire artists and install public art in transit projects if they wish. And it doesn’t cost the federal government money, but rather allows local transit authorities the option to spend their budget hiring an artist if they want to. Arts-related votes on the floor of either chamber of Congress are a rarity, so a dynamic advocacy strategy becomes extremely important when one occurs—and in this case, Americans for the Arts marshalled every arts advocacy tool in our war chest in response.

ASSEMBLY for CHINATOWN was launched in collaboration with A+A+A Studio to build outdoor dining spaces at no cost to Chinatown businesses. We design, source materials from Chinatown vendors, and construct Department of Transportation (DOT) compliant dining barriers for restaurants. Artists beautify and personalize the space for the restaurants with the help of volunteers who come (socially distanced) together in a help-a-thon to sand and paint the wood barriers. The mural project came into play with our first artist, Kat Lam, who reached out to ask if we wanted her to paint one of the barriers. Her style matched with the business owners, so we moved forward. She contributed her vision as a muralist and we decided to do that for all the barricades to enliven the space and the neighborhood. People want to be part of this community project. Painting is such a gratifying way to work together. Whenever the volunteers walk by, they feel ownership and want to patronize the business.