A Portion of Reginald Adams' Proposal Reginald C. Adams LLC presents Absolute Equality
We are using public art and creativity to educate and engage communities while highlighting the significance of Juneteenth and the pursuit of Absolute Equality. Community Driven Public Art
Community Driven Public Art Builds Bridges
It shouldn't be taken for granted.
Engagement of the community is the essence of the success of our public art projects. We work strategically to ensure that the public plays a vital and meaningful role in the development and production of our public art projects. The benefits include high levels of community pride, stewardship and ownership of the final work and a greater appreciation of the arts and culture.
P02 | Putting the Public in Public Art Community Engagement in the era of COVID-19 Community Engagement in the era of COVID-19
It is now the new norm.
COVID-19 has changed the world. The health pandemic has greatly influenced how we approach our interactions with the public.
In consideration of the impact that COVID-19 has had on how we convene and gather the public we have incorporated CDC guidelines and protocols into our community engagement strategy for the public art project. These steps include, but are not limited to, small gatherings, temperature checks, social distancing, hand sanitizing or gloves, outdoor events and virtual experiences.
Our focus to provide a safe, healthy, meaningful and engaging experience for all participants involved in our work, whether in the studio, classroom, other civic spaces, or outdoors. P03 | Putting the Public in Public Art Extending our reach
Virtual engagement is now almost an inextricable part of our daily lives. 73% According to Education Week, “As of September 2020, 73% of the 100 largest school districts have chosen remote learning only as their back-to-school instructional model, affecting over 8 million students.”
REMOTE In order to most effectively reach these students we will develop LEARNING IN and implement a series of digital strategies to support the community engagement, marketing/promotions, production, EDUCATION historical significance and celebration of the mural project.
The website, mobile app and augmented reality platforms will feature multi-media content, educational tools, and interactive content. The website will also serve as a virtual depository for all media and content used in the design, production and implementation of the project. P04 | Putting the Public in Public Art Our COVID-19 Community Engagement Strategy
Our COVID-19 Community Engagement Strategy
Innovative Hands-On Virtual Engagement Working in small groups and primarily outdoor settings we In addition to the hands-on experience we are proposing propose to focus our community engagement on youth virtual experiences to engage a much larger and broader and student groups. cross section of the public in the project.
Limited and intimate numbers of participants will work These virtual experiences will entail: socially distanced yet alongside professional artists to -Visual art and literary competition focused towards assist in the painting and production of the mural. Using middle school, high school and college aged students. parachute cloth and a paint-by-numbers system we plan -Interactive website and mobile app to include community members in the direct painting of -Educational Curriculum the mural. This process and technique is now industry -Documentary Film depicting the history of Juneteenth standard in large scale mural production. and evolution of the mural project.
P05 | Putting the Public in Public Art Virtual Engagement tactics and techniques
Art & Literary Contest Website & Mobile App Educational Curriculum Absolute Equality-Film
Through the visual art and In order to most effectively Historically accurate lesson Absolute Equality, a literary competition we will be reach the broadest possible plans about Juneteenth will be documentary film, will be a 30 able to engage and reach audience we will develop a developed to educate and minute motion-picture broad and diverse populations highly interactive website and empower students about the intended to document the of students. The competition mobile app to support the trials, tribulations, activism, production of the mural, will be promoted to all of the community engagement, heroism, humanity and highlight community partners local school districts, colleges marketing/promotions, celebration of culture of and depict the history of and universities. production, documentation African Americans. Juneteenth. and celebration of the mural This approach has the project. The curriculum will support, Interviews, oral histories, and potential to reach 1,000's of and in some cases replace, nonfictional accounts of the students that can work The website and mobile app current curriculum regarding history of Juneteenth will be remotely on their creative will compliment the augmented Texas history and associated depicted in the film. submissions. reality features of the mural. events related to Juneteenth.
P06 | Putting the Public in Public Art Platforms for Virtual Engagement
Choose strategically.
PlatforFmacsebook to engaTgwietter
TikTok #AbsoluteEquality
P07 | Putting the Public in Public Art Schedule and Timeline
P08 | Putting the Public in Public Art A Portion of Derek Anderson's Proposal
A Portion of Daniel Fuller and Daniel Calderon's Proposal Project Description
We are Daniel Calderon and Danny Fuller, DadaLineLine Co-op, both Houston based artists with the qualifications and experience needed to produce a large scale sculptural work for the Cultural Arts Commission of Galveston. Together, our body of work includes art projects such as Asymmetry of Entropy, an immersive installation made possible by a Houston Artist Alliance Support for Artists and Creative Individuals (SACI) grant, and The Healer, a private artwork that is currently under commission by the University of St. Thomas for the new Center for Science and Health Professions building lobby. We each bring a unique set of skills and stylistic diversity to our collaboration.
When first discussing ideas for this project, both of us were immediately drawn to the concept of referencing Galveston’s history through the modern production practices we use in our work. We addressed this by delving into historical narratives found in Galveston’s rich cultural heritage as well as referencing broader themes relating to Texas. In our initial discussions, we excitedly confronted many of the themes seen throughout coastal Texas. This included the oil industry, nature’s destructive forces, rebuilding, the cultural melting pot, as well as many others. We decided to reduce these influences to three or less visual elements for our work. This focused approach resulted in a basic concept of an interactive totem which draws from the industrial nature of oil production and historical elements of Victorian Galveston. Synthesizing these ideas to better fit within our individual and collaborative practices, we decided to use a combination of modern and traditional production techniques in tandem with current and historical materials to create this work.
Our piece, titled Whirled Tzylinder, is an emblematic totem made of steel pipe rising from a concrete base and surrounded on three sides by Victorian cast iron fencing. A gate valve located approximately four feet up controls an internal ratcheting system. This system produces rhythmic sounds when employed, and drives a steel top hat located at the peak of the piece which rotates in tandem with the spinning of the gate valve’s wheel. This piece is meant to be both evocative of the cultural melting pots that have existed since the inception of Galveston, as well as an interactive experience that is both fun and wondrous. By using common materials seen in and around this port city, we hope the piece reflects and contributes to the historical elements that make Galveston such a unique city.
The two of us bring an expansive and powerful set of fabrication and design skills to this project. Furthermore, we have teamed up with Galveston Historical Foundation to use Hendley Green at 21st and Strand with a proposed install to coincide with Dickens on the Square. We are excited to bring a monument that reflects upon the city’s history and provides locals and visitors with a compelling and interactive work of art. Budget
Item Cost Amount Total Artist Fee 1500 1 1500 Steel pipe - 16' x 10" 200 1 200 12" Steel Flange 200 1 200 ¼” Steel Plate 3'x4' 240 1 240 Gate Valve 300 1 300 Concrete 7 10 70 Wheelbarrow 50 1 50 Shovel 7 2 14 Nuts/Bolts 100 1 100 Shop time 40/hr 8 320 Cast Iron Fence 1000 1 1000 Transportation 2/gal 50 100 Equipment Rental 30/hr 6 180 Engineering Consultation 200 1 200 Media Costs 500 1 500 Total 4974
A Portion of Ian Gerson's Proposal IAN GERSON
Project Description
My proposal is a self-guided walk of Galveston, accompanied by a printed map and an audio component accessible by phone.
I will create a hand-drawn map of the island featuring approximately 20 sites that I’ve designated as 'invisible landmarks.' I am interested in locations that are not officially accompanied by a historical plaque (or where the plaque could use an addendum or additional perspectives), yet still hold historical, visual, or energetic importance. The significance of the sites deemed ‘invisible landmarks’ varies, it might have to do with a building that formerly stood there or a particular smell that frequently wafts the air there or a vision for what could happen in the future there. The maps will inspire people to visit sites ranging from the Strand to the Seawall, from the beach to Pelican Island, from Pelican Island to the alleys behind Post Office, from Post Office Street to the East End Lagoon Nature Preserve and from the East End to the Galveston Island State Park, and various stops in the neighborhoods in between. The maps, which are made available free to viewers at various small businesses and arts organizations, will provide viewers with a phone number to call for more information on each location. Once a viewer is at a particular site, they can call the provided phone number and select the corresponding option for the site from the voice menu. The audio will give context to the site, providing viewers with a historical narrative, speculation on future occurrences, a field recording, or another type of auditory offering.
An example of my definition of an ‘invisible landmark’ is the present-day Seawolf Park on Pelican Island. Although there are signs detailing the areas’ history as a major immigration port, there is much room for expanding on the stories of the tens of thousands who passed through here. Much of this history remains largely unseen to the average person who visits the park. Using this site, I foresee creating a fictional audio recording highlighting the journey of a particular Jewish immigrant arriving at the Galveston port of entry in the 1910s. This recording may be introduced to viewers as a dramatized reading of this person’s journal interspersed with recreated ambient sounds of the crowded arrival pier, the naturalization line, and horns of ships. I plan to seek out sites and stories through research, conversations, and physically being in different locations on the island. My research process which will begin with utilizing resources offered by the Rosenberg Library, the Galveston Historical Foundation, and Ocean Star Rig and Museum, will expand to include conversations with, and an invitation for memories and reflections from community members who call Galveston home.
I foresee audiences engaging with this project in a variety of ways. One person may engage mostly with the map itself, another may get drawn to a particular site and visit it over and over, and another still may resonate primarily with the audio and call again even after leaving the corresponding site. IAN GERSON
Timeline
Month(s) Task(s) Resources
February - May Research: Visit local museums, Rosenberg Library, Texas 2021 historical sites, libraries. Talk to Seaport Museum, Ocean Star people. Take daily walks. Museum, Harris County Public Library
June 2021 Begin Recording Audio (to be Audio Recorder. Community used with a phone voice menu, Members. accessible from participants’ phones)
July 2021 Continue Recording Audio. Audio Recorder. Community Sketch Ideas for Map. Members.
August 2021 Begin Editing Audio. Audio Editing Software. Begin Drawing Map.
September Edit Audio, Cont. 2021 Draw Map, Cont.
October 2021 Edit Audio, Cont. Finish Drawing Map.
November 2021 Finish Editing Audio. Get maps printed. Set up a business phone line.
December 2021 Project opens early/mid-month. The Daily News. Galveston Drop maps off at local businesses. Artist Residency. Mod Advertise in the paper. Coffeehouse. (More TBA.)
January - July Project is open. 2022 More maps are printed and distributed as needed.
August 2022 Project closes at end of the month.
September Reflect on the project. Engage 2022 with feedback. Launch website. IAN GERSON
Budget
Expense Estimated Cost
Artists Fee $1,250
Assistant (help with website / documentation) $400
Display stands for maps $450
Phone Number with Voice Menu (10 months) $300
Print Advertisements in Daily News $250
Printing Maps $400
Stipends for Voice Participants $1,000
Voice Editing Software $300
Voice Recorder (Zoom H6) $350
Website / Documentation $300
Total $5,000 A Portion of Jessica Ninci's Proposal Galveston Public Art Grant - Project Proposal - Jessica Ninci
General Project/Site:
A temporary window display/sculptural installation exhibition in downtown Galveston at 2510 Market Street - the current location of the Rising Tide Projects window box gallery. The project will consist of an installation of ceramic works/sculptures, as well as a self-published, risograph printed, limited-edition artist zine. This window would be visible to pedestrians from the street/ sidewalk and illuminated at night for 24/7 visibility. I currently have access to this site and it would be available in-kind. The artist zine would be available as an additional public component. The name of the exhibition is TBD.
Project Details:
The installation would resemble a window display that a pedestrian or window shopper might see at a Galveston antique or thrift store. It will be visible to passers-by from the sidewalk and could be mistaken for a shop window display. Upon closer inspection, it would become more obvious that they are not in fact actual items for-purchase, but instead a unique array of sculptural oddities. The sculptures themselves would be ceramic recreations of objects found and purchased from local Galveston shops - mainly unique items from antique stores, thrift shops, and small local businesses. In addition to providing a source/reference and inspiration for the ceramic sculptures, the purchase of the objects would provide funds to the local economy - specifcally small businesses. I have allocated funds in the budget for both purchase of the original objects, as well as the materials necessary to recreate them.
Within my ceramic practice, I have an interest in the illusionistic or “trompe l’oeil” object. I have made works and exhibitions in the past that explore these efects - particularly the exhibition The Antiquities Annex - where I recreated ancient artifacts from the Menil Collection in Houston - all from clay; and more recently, an exhibition at the Galveston Artist Residency titled Beachcomber, which included sculptural recreations of objects found on Galveston beaches. This exhibition proposal touches on some of those same themes. It also highlights the importance of shopping small and locally, supporting local independent businesses, and in- particular reusable or resalable items. The objects of interest to me for this project will be mainly quirky, unique objects from antique stores and thrift shops - bric-a-brac, memorabilia, old books and record albums, collectables, antiques, fgurines, shells, and other small objects. My selection of the items for recreation will also be based on my ability to mimic their qualities using clay and glaze - scale, color, and textures will all be taken into account - although I want the fnished sculptures to look like sculptures to the observant eye. The overall quality of the installation will be one of playfulness, humor, and preciousness.
In addition to the exhibition, I would create a limited-edition, risograph-printed artist zine (hand- bound artist book) that would serve as permanent documentation of the work in the exhibition as a catalog. It would be available to the public most likely during and/or towards the end of the exhibition (more details TBD). The zine would have photographic spreads featuring the original object next to the ceramic object. This printed component is particularly interesting to me, seeing as it’s the only real chance viewers will get the opportunity to view the original object.
Timeline:
Approximately 6-7 months would be needed to locate and purchase objects from local businesses and simultaneously re-create them as ceramic sculptures. The installation could be completed within a week, and the temporary exhibition could run for about 2-3 months, either starting in late 2021 or in early 2022, after the hurricane season. The zines would be available to the public as permanent documentation of the work and exhibition.
Site Details:
I have access to a window for the exhibition display at 2510 Market Street in downtown Galveston near the strand. It gets a lot of foot trafc from both tourists and locals. The window has been used for other art projects/displays that I’ve co-coordinated in recent years with my partner, Dan Schmahl of the Galveston Artist Residency. The window box gallery was a feature of our Idea Fund artist grant project that we called Rising Tide Projects - www.risingtideprojects.org. The project is ongoing, but due to the efects pandemic, the window box is currently empty. However, it remains accessible in kind thanks to the Galveston Artist Residency. The installation, being temporary, is intended to be low-impact, moveable, and enjoyable to the public from the sidewalk. Furthermore, the other part of the proposed project is the zine publication which will serve as a second public component. Budget
Item Name Amount
Name: Subtotal:
Artist Fees $2,500.00
Item 1 Artist Fees 6-7 months $2,500.00
Materials $600.00 Item 2 Materials Clay $150.00 Item 3 Materials Glaze $200.00
Item 4 Materials Firing/Kiln Costs $200.00
Item 5 Materials Tools/Misc. $50.00
Objects and References $500.00 Item 6 Objects and Purchases from Objects, trinkets, $500.00 References local businesses books, to serve as memorabilia, object artifacts, bric-a- references/ brac, etc… originals
Zine Expenses $250.00 Item 7 Zine Expenses Paper, ink, $250.00 masters, staples
Installation Expenses $150.00
Item 8 Installation Hardware, wood, $150.00 Expenses nails, screws, etc.
Location/Window Space $0.00 Location/Window In Kind $0.00 Space
Total $4,000.00
Total $4,000.00