ART MATTERS Volume 4 Issue 1 | Make a Wish | Letter from the CEO | Public Art | Grantees | Arty Party | Lexington Restaurant Week | New Board Members | Livestream | Financials | Donors Make a WISH come true .................................................................................................................................................................. If you could wish for one thing for the arts in LexArts and the nearly 30 arts organizations Lexington, what would it be? Nan Plummer we support depend on the generosity of valued and her husband, Jim Spencer, asked that individuals like you who share our commitment very question at their Arty Party, When John to a vibrant and engaging city through the arts. Met Yoko, and placed the responses on a All gifts are fully tax-deductible, but remember, Wishing Tree. The responses are personal, you must make your gift by December 31ST they’re thoughtful, they’re distinctive and to receive credit for the 2016 calendar year. they’re all exceptional. We were totally inspired by the answers. And this was from A donation can be made online at a room of less than 30 people. Imagine if LexArts.org/invest, by phone 859.255.2951 there were 1,000 in the room. or by returning the enclosed envelope with credit card information or a check made In this season of joy, giving, and sharing, payable to LexArts. please consider adding your wish to our Wishing Tree and making a year-end donation so that we can continue to create a great American city inspired by the arts. ART MATTERS Those of you who receive ArtMatters have a pretty good idea of all that LexArts does. This is one of the reasons for this publication, of course! But because of your generosity, it comes to you first, to keep you informed about how we are using your investment in the arts in Lexington. When the opportunity arises to talk to someone who knows little about LexArts, I usually start off by describing our two-part mission: as your local arts council, to provide programs and services that keep the arts vibrant in Lexington; and as your united arts fund, to raise money for that arts community. This issue of ArtMatters touches on many aspects of both. One of our arts council roles is to facilitate public art projects. It has been a banner year for public art in Lexington: new PRHBTN murals, the interactive Livestream installation at Jacobson Park, and Origins on the Oliver Lewis Way Bridge. In the best tradition of art in public spaces, these are works that engage the mind as well as the eye, as you will read in these pages. We are getting started on 2017, as well as reviewing 2016. As I write, the finishing touches are going on the upcoming Gallery Hop season. Taking advantage of a tremendous number of holiday performances and exhibitions, we are collecting a last round of audience surveys for a forthcoming Americans for the Arts report on the considerable economic impact of the arts on Fayette County. And we are still reveling in the success of this year’s Arty Parties and Lexington Restaurant Week! Because of you, the impact of the arts on Lexington is great indeed. Not only on the local economy but also on the beauty, creativity, and livability of our community. Thank you for being the donors, the artists, and the audiences that make Lexington an innovative city inspired by the arts. Always, Nan Plummer President, CEO cover photo: Maury Sparrow ARTMATTERS | Volume 4 Issue 1 lic ub P As Stephen King said in his acclaimed memoir a large part of the public’s involvement comes On Writing, “Life isn’t a support system for art. into the processes through which LexArts It’s the other way around.” Artists aren’t only selects artists, facilitates selections, and trying to express themselves, but also striving promotes the work. to better the world around them. Therefore, Nathan Zamarron, LexArts’ Community Arts the goal of public art is to help the communi- Director, describes the process of choosing ties—the neighborhoods, cities, states—where Christopher Weed’s Origins for the Oliver pieces are crafted and installed. Rarely does Lewis Way Bridge. “The Corridors Commission, any piece of art appeal to everybody. But what partly spearheaded by Council Member organizations like LexArts seek to accomplish is Akers, helped commission a national call for to demonstrate how art improves the world, and artists that involved a national RFQ (Request to make sure it does that with the public’s best interest in mind. WHAT IS PUBLIC ART? According to Nan Plummer, President and CEO of LexArts, public art isn’t just about viewing art, but about how the public engages with art throughout its life cycle. “What we see in Lexington is an increasing interest in this engagement of people,” says Plummer, “either through the process of bringing it about or in the for Qualifications); brought in over 100 actual nature of the artwork being wrapped up artists from all over the world; and then, with in people.” She points to Unlearn Fear + Hate, a stakeholder group, narrowed those to about a project by Kurt Gohde and Kremena Todorova twelve—including some local artists; and had that involves people those vetted by the public in an exhibit format. taking selfies in The public left comments about who should be front of haloes that selected and why they were appropriate. And read “Unlearn Fear we narrowed that further to three site-specific + Hate,” a line from proposals for that bridge. Those were then former Kentucky vetted by the public again. And each of those poet laureate Frank artists came and presented their ideas here in X Walker’s poem, Lexington. The work unanimously selected was “Love Letter to the the one by Chris Weed, from Colorado Springs.” World.” Plummer looks at Livestream, a recent installation in Jacobson Park that converts information about the quality of water into sound and requires the audience to actively listen. But 4 ARTMATTERS | Volume 4 Issue 1 A DIFFERENCE OF OPINIONS In an Op-Ed for the Lexington Herald-Leader in 2014, Whitney Baker criticizes several murals around town, particularly those Origins commissioned for privately-owned buildings by the annual festival of street art called PRHBTN. Baker says, “When it comes to seriously divisive permanent work, the decision of when and whether to witness ought to belong to the viewer, not the owner of the canvas.” The most controversial mural to date is My Name is Mo, painted on the east side of the east side of the Pepper Distillery Warehouse by the artist MTO. A gigantic image, it depicts the hands and face of a black man in a gas Torch-like beacons shine above the Oliver Lewis mask, peering out from behind bars. His Way Bridge. Because of their proximity to the fingers form the manual alphabet letters M distillery district, they were designed to represent and O—gestures that some viewers assumed the burning of bourbon barrels to receive that were gang signs. world famous char. And they’re not only a reminder of the neighborhood’s history, they’re a beacon of PRHBTN co-founder John Winters, in an where we, as a community, are headed. interview for this issue of Art Matters, said, Nathan Zamarron, Community Arts Director, says “When the MTO mural went up, […] the Oliver Lewis Way Bridge “was designed to discussions went back and forth over what have artwork, they just didn’t know what that was.” it all means, and we like that it’s gone from After an intensive selection process, Christopher ‘Hey, cool! A mural!’ to ‘If someone paints Weed’s Origins was chosen to highlight the bridge. something you don’t like, how long should Currently, the bridge ends at Versailles Road/ you be able to leave it?’ or ‘What is the Maxwell Street. But as the Newtown Pike Extension importance to the community?’ or ‘What is Project connects Main Street to Patterson Street, it will also function as a new entrance from I-75 into the heart of the city. What is the “I believe Origins has transformed a major gateway importance corridor into Lexington,” says Shevawn Akers, 2nd District Council Member. “It signifies to visitors to the that this is a unique city and a vibrant city that community? values creativity.” Like the name implies, Christopher Weed’s project reflects on the history of the neighborhood. “Origins’ location at the entrance to the Distillery your responsibility towards the neighborhood District is significant,” says Councilmember Akers, or a neighbor or a building owner?’” He explains “the sculpture was inspired by the art of distilling that all murals are discussed with the business bourbon and helps brand our city and our down- owners and the communities they enter. Not town, as well as this burgeoning district that has everyone likes the same artwork, and that is seen a tremendous renaissance in recent years.” part of the interactive dialogue in which the Origins not only represents our roots, but how much public plays a huge role. we’ve changed and where we’re headed. In fact, the artist gave LexArts the software to change the Nan Plummer also sits on the Urban County Art color of the flame to whatever the community needs. Review Board and describes the responsibility “The mayor’s office called us up,” says Zamarron, of that panel as overseeing public art on “and asked, ‘Can you make it a rainbow?’ And publicly owned property and “making sure it’s we were able to program it and change it in a aesthetically appropriate and safe for the public.” pretty quick fashion.” “My hope is that this art installation inspires a greater appreciation for So, because of the way that Baker’s response public art in our community,” says Akers, “and helped engage the community by interacting becomes one of many more projects to come!” Continued on page 12 5 ARTMATTERS | Volume 4 Issue 1 2017 GRANTEES The Lexington Philharmonic, founded in 1961, is the only professional orchestral organization in central Kentucky.