When internationally renowned architect Sir David Adjaye was selected to design a building for an affordable housing nonprofit in New York City, people took notice. When the project included a children’s museum of art and storytelling along with a preschool—in addition to 124 beautifully appointed, permanent living spaces for low-income and formerly homeless people and families—it transformed any preconception of what supportive housing is “supposed” to be.
In 2013, ArtPlace America invested in the implementation of two “Creational Trails” in Milwaukee, a project led by the Greater Milwaukee Committee. Both trail initiatives were intended to address specific problems, both were intensely collaborative, and both employed many of the same partners, including MKE<->LAX consultant Sara Daleiden and the City of Milwaukee. Through a partnership with NEWaukee, the West Wisconsin Avenue Creational Trail resulted in the NEWaukee Night Markets (which continue to be very popular) and impacted the successful redevelopment that is still taking place in the area.
Like Riding a Bicycle is the name of our socially engaged art collective. We have been working together since 2014 to empower communities and individuals in the places they live. We are currently working with the Heights Community Development Corporation (CDC) in Memphis, Tennessee, to create community engagement programing that complements the development of a new neighborhood-led multimodal infrastructure project called the Heights Line.
The Alameda County Sheriff's Office (ACSO) is recognized as a national leader in progressive public safety. Through community development initiatives, authentic relationship building, sports, arts, and recreation, it is helping to transform disinvested neighborhoods in urban unincorporated areas of the county it serves. In 2016, ArtPlace America invested in Eden Lives! The project was started by the Alameda County Deputy Sheriffs’ Activities League (DSAL), a nonprofit that organizes programming for adults and youth to complement the community-oriented and problem-solving policing style pursued by the ACSO.
It’s been just over two years since the National Endowment for the Arts (NEA) released How to Do Creative Placemaking: a 200-plus-page guide to cultivating, nurturing, and sustaining all the elements necessary for successful creative placemaking efforts. The guide has since been read and referenced by thousands of people and communities across the country. ArtPlace recently caught up with Jen Hughes, the agency’s director of design and creative placemaking, about how the guide came about, the impact it’s had, and what’s next for creative placemaking at the NEA.
ArtPlace America and Local Initiatives Support Corporation (LISC) are pleased to announce the publication of “Creative Placemaking & Community Safety,” a new report by Urban Institute that tells the stories of four creative placemaking initiatives that seek to improve community safety in their respective communities. This collaborative effort integrates arts, criminal justice, and social change research methods, and expands the body of evidence that arts and culture leaders are integral to multi-sector approaches to achieving safety in urban and rural areas across the country.
We asked a few of our favorite organizations who work with Native American and Indigenous communities to share the creative placemaking opportunities, funding sources, and events they’re most excited about right now. First Peoples Fund (FPF) honors and supports the Collective Spirit® of First Peoples artists and culture bearers. Recognizing the power of art and culture to bring about positive change in Native communities, FPF awards grants, helps nonprofits build their capacity to serve Native artists, and undertakes research to build the field of Native arts and culture across the country.
Being a great artist and making a living as an artist aren’t always the same thing. Creatives often struggle with the “real world” side of their practice, but help is available. The St. Paul, Minnesota-based Springboard for the Arts offers a wealth of downloadable resources, called toolkits, for free through their national Creative Exchange platform. The toolkits include a range of self-guided learning materials for individual artists (as well as organizations) working on projects large and small. Carl Atiya Swanson is Associate Director of Springboard and manages Creative Exchange. He spoke with ArtPlace about his organization’s Toolkits for Change.
The session “On the Field: Finding Funding and Support” took place on May 3, 2018 at the Creative Placemaking Leadership Summit in Madison, New Jersey. Before the experts discussed the issues and took questions from the audience, they invited participants to pick up a crayon and draw their personal experience of finding funding for a creative placemaking project. No two sketches were alike, of course, but one elicited empathetic sounds from the crowd. It depicted a stick figure in a bed, money-related thought bubbles issuing from its head. According to its maker, it was “the universal representation of everybody who’s in this business: lying in bed—awake or dreaming—imagining how to raise the money to do this.”
The words “artist” and “bureaucrat” can seem as opposite as the north and south poles. But poets, actors, musicians, dancers, and art-makers of all other stripes have been infiltrating our government’s ranks for years—and many are making great strides. In this story series, we’re visiting with accomplished artists who hold leadership roles in their cities about their dual callings, how their creative lives relate to their public service, and what the arts can bring to good government.