Monthly Archives: December 2018

1. What are your responsibilities as Festivals Coordinator for BOPA?

In my new role as the Festivals Coordinator I am the primary liaison for both our Development and Communications teams. I work closely with both departments to ensure that all deadlines set by the Festivals department are communicated and clear. I manage our branding, signage, décor and environmental treatments for all festivals. I also work on operations and logistics within all of the festivals. Lastly, I work on business opportunities for BOPA such as our banner program.

2. What is a typical day like for you on-site during a festival?
A typical day for me on-site during a festival doesn’t exist! That’s the beauty of festivals! Usually the festivals team is the first on-site so we meet up, grab coffee, settle in, go over the objectives for the day, make sure that our timeline makes sense and that everyone knows the game plan. We then usually have our production assistants that help us with any and everything that we need on-site start on their first projects for the day. Throughout the day I field phone calls, e-mails, questions from random folks that walk by and want to know what is being built, putting out “fires” that arise while on-site, etc.

3. What might people not know about large-scale festival production?
Large-scale festival production is all about making a lot of smaller pieces work together to function as one larger event. People always ask how we can “pull off” these large festivals and are amazed at how they come together but honestly, it just takes planning, a dedicated team and problem solving. All of our events are a lot of smaller pieces that all cohesively work together to make one large beautiful and fun festival! We have an amazing staff of people who are dedicated to their work, their craft, and what they do!

4. What are some of the behind-the-scenes challenges you face in this role?
I think the hardest thing to explain is that festivals and events don’t just happen or “pop up;” they take a lot of hard work and months of planning. I think sometimes as someone that does festivals and events for a living, our job is to make it look easy and fun, which it is, but there is a lot of stress in this job as well. These festivals take MONTHS to plan. As soon as an event ends, we are already looking forward to the next year. My family and friends are always surprised when I start talking about the next Artscape after we just finished breaking down that year’s festival.

5. Where were you before joining the BOPA team?
I started as the Festivals/Events Intern in the summer of 2015. I then left to go back to college in Boston. After graduating I returned as the Lead Production Assistant for Artscape in 2016. I then moved into a new role as the Light City Festival Assistant. I was then hired full time as the Festivals Assistant and was just recently promoted to Festivals Coordinator.

6. What led you to festival/event production?
I was always interested in doing events since middle school. I can remember going to concerts in middle and high school or watching the MTV Video Music Awards and looking at all of the production elements and programming and wanting to be the person that ran those shows. When I went away to college I immediately got involved in our Campus Activities Board, which was the programming board for the undergraduate students. After my internship in the Festivals Department in the summer before my senior year, I was hooked on doing large-scale outdoor events! I knew that this is something I really loved doing and wanted to do after graduation!

7. What is your favorite type of festival or entertainment outside of BOPA?
I actually don’t attend festivals outside of work. As someone that works in the festival world, it’s really hard to attend festivals/events without feeling like you’re at “work.” I always look around at logistical things or I am trying to figure out improvements I would make if I was in charge.

8. What is your favorite thing about festivals and events?
The moment. This is when you’ve put up all of the tents, banners, signs, stages. This is after you’ve put out all of the “fires,” changed the layout of a tent 15 times, helped a partner get their delivery vehicle through the footprint, spoken with countless festivalgoers, all after having five coffees. It’s the moment when you look around and see people laughing, having a great time, kids playing, vendors smiling and selling their books, the Ferris wheel is spinning, and all you can think is WOW… we really did it! The moment when you remember why you do what you do.

Congrats to Cindy Cheng and Elliot Doughtie from Baltimore for each receiving a $25,000 Joan Mitchell Foundation Painters & Sculptors Grant!

More information below:

The Joan Mitchell Foundation is pleased to announce the 2018 recipients of our annual Painters & Sculptors Grants, which provide 25 artists with $25,000 each in unrestricted funds. The recipients are: 

Felipe Baeza, Brooklyn, NY
Cindy Cheng, Baltimore, MD
Yanira Collado, North Miami, FL
Elisabeth Condon, New York, NY
David Antonio Cruz, Brooklyn, NY
Elliot Doughtie, Baltimore, MD
Addoley Dzegede, Portland, OR
Krista Franklin, Chicago, IL
Doreen Garner, Brooklyn, NY
EJ Hill, Los Angeles, CA
Lisa Jarrett, Portland, OR
Elizabeth Malaska, Portland, OR
Joiri Minaya, Bronx, NY
Maia Cruz Palileo, Brooklyn, NY
Wendy Red Star, Portland, OR
Naomi Reis, Brooklyn, NY
Jamea Richmond-Edwards, Silver Spring, MD
Kenny Rivero, New York, NY
Lauren Roche, Minneapolis, MN
Evelyn Rydz, Boston, MA
Blair Saxon-Hill, Portland, OR
Nyugen E. Smith, Jersey City, NJ
Juana Valdes, Miami, FL and Amherst, MA
Jose Villalobos, San Antonio, TX
Brittney Leeanne Williams, Chicago, IL

The unrestricted nature of the grants aligns with artist Joan Mitchell’s recognition that having the time and freedom to create is as important to the development of one’s practice as support for specific endeavors. As such, the Foundation, whose mission was set forth in Mitchell’s will, remains committed to providing artists with the flexibility to determine how best to use the grants to advance their careers. In addition to the financial support, recipients of the Painters & Sculptors Grants become eligible to apply for residencies at the Joan Mitchell Center in New Orleans and gain access to a network of arts professionals, who can provide consultations on career development and financial management.

To be eligible for a grant, artists are nominated by artist peers and arts professionals selected from throughout the US, and are then chosen through an anonymous multi-phase jurying process. Over the last several years, the Foundation has increased its attention to equity and access in the selection process, expanding the pool of nominators and jurors to include more geographic, ethnic, and experiential diversity and ensure that the nominees reflect a spectrum of backgrounds and approaches to their work. Among this year’s class of Painters & Sculptors grantees, more than 70% of the grantees identify as female and approximately 80% as non-white, with those identifying as Black, African, African-American, and Caribbean comprising 36% of that number and Hispanic, Latinx, and Chicanx individuals 20%. The artists also range in age from 28 to 59 and hail from 10 states across the US.

The grant recipients’ work represents a wide range of artistic techniques, approaches, and concerns, and engages with such pressing issues as migration, identity, notions of belonging, and representation within the art historical canon and in social and political spheres, among other important subjects. The final selections for the grants are made with a particular eye toward artists whose work has contributed to important artistic and cultural discourse, but who have nonetheless remained under-recognized on a national level.

“Joan Mitchell recognized the essential need to support artists in the process of creating. We at the Foundation hear regularly from artists, at all career stages, that many of the challenges they face stem from a lack of support structures for visual artists, and a belief that support for art can be separated from support for artists. We remain dedicated to providing unrestricted funding through our Painters & Sculptors Grants, as a way to acknowledge that each artist knows what is best for them and what will best serve the next phase of their practice,” said Christa Blatchford, CEO of the Joan Mitchell Foundation. “We are delighted to announce and welcome our 2018 recipients. Their work is exciting and compelling, and certainly deserving of greater recognition.”

The announcement of the 2018 grantees coincides with the launch of Widening Circles: Portraits from the Joan Mitchell Foundation Artist Community at 25 Years, a project developed by the Foundation to examine the impact and importance of ongoing support for artists. Widening Circles is comprised of a book and companion exhibition, which opened on December 6, and features testimonials and studio portraits by 25 artists. The project captures the real-life experiences of working artists and highlights the realities and business of being an artist, underscoring the importance of financial stability to artistic innovation and the need for and nature of meaningful funding. The exhibition will remain open through May 31, 2019 at the Foundation’s offices at 137 W. 25th Street, 2nd Floor, with public hours Tuesdays through Fridays from 12:00 to 3:00 pm.

Learn more about the artists

Download the press release

 

http://joanmitchellfoundation.org/blog/painters-sculptors-grants-2018?fbclid=IwAR0nSLZmQl0nPr3MX-rOiwan0oUi0bNTFEOlaqJIvLT8h3_RJW5n4F2mafA