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BPA
Creating One Brooklyn through the Creative Arts!
Participatory Art/New Genre Public Art
In many neighborhoods of color as well as moderately
income neighborhoods, the arts are either non-existent or
limited to poorly funded school based programs. Even
worst, when local or community based organizations
attempt to provide art, they are required to comply with
rigid agency requirements, high costs and little media
exposure.
These overwhelming circumstances make art nonessential or a low priority in the very communities that
need creativity the most.
“New genre public art” is different from object based
“public art”. The public has nothing to do with the first
process whereas “new genre public art” is based on the
relationship between the local space and the audience.
Great example is When Faith Moves Mountains by
Francis Alys. In the arid desert of Peru, five hundred
participants literally moved a sand dune ten centimeters
during this installation. It was a project for the 2002 Lima
Biennial and a commentary on the country„s transition
from a dictatorship to democracy.
So, what can we do?
Mix traditional Public Art +
Event-based Social Art
Getting public participation is very
difficult particularly when more
pressing human concerns demand
immediate attention. Cultivating
participation needs to be
underwritten partially.
City policies need to be a little
more flexible. And that does not
mean standards should be
lowered at all BUT the City of New
York is asking artists and arts
group take on TOO much risk
which limits small groups and
poorer neighborhoods from
engaging community residents
and visitors to art.
NRA/ERF acknowledges these
challenges and seeks to alleviate
some of these burdens.
•Get NYCDPR & NYCDOT to work collaboratively with the community which includes scheduling.
•Presently, multi-day special events permits are not allowed. Perhaps two day permits could be
allowed.

•Engineering studies are required by NYCDOT and quite expensive. NRA/ERF could sponsor
blanket insurance like the Times Square Alliance.
•Expedite the lengthy approval process which makes marketing and promotion difficult (even if
you submit a special events permit months in advance.
•Expedite outstanding capital contracts that would improve repairs and improvements.
Introduce
•Artists Residencies (paid time to develop projects)
•Artist Fellowships (merit based financial awards)
•Art making workshops for the public
•Art making workshops for artists
There is precedence in NYC & around the country

Creative Times 2010 Keys to the City

John Malpede 2004 RFK in EKY

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Bpa3

  • 1. BPA Creating One Brooklyn through the Creative Arts!
  • 2. Participatory Art/New Genre Public Art In many neighborhoods of color as well as moderately income neighborhoods, the arts are either non-existent or limited to poorly funded school based programs. Even worst, when local or community based organizations attempt to provide art, they are required to comply with rigid agency requirements, high costs and little media exposure. These overwhelming circumstances make art nonessential or a low priority in the very communities that need creativity the most. “New genre public art” is different from object based “public art”. The public has nothing to do with the first process whereas “new genre public art” is based on the relationship between the local space and the audience. Great example is When Faith Moves Mountains by Francis Alys. In the arid desert of Peru, five hundred participants literally moved a sand dune ten centimeters during this installation. It was a project for the 2002 Lima Biennial and a commentary on the country„s transition from a dictatorship to democracy. So, what can we do?
  • 3. Mix traditional Public Art + Event-based Social Art Getting public participation is very difficult particularly when more pressing human concerns demand immediate attention. Cultivating participation needs to be underwritten partially. City policies need to be a little more flexible. And that does not mean standards should be lowered at all BUT the City of New York is asking artists and arts group take on TOO much risk which limits small groups and poorer neighborhoods from engaging community residents and visitors to art. NRA/ERF acknowledges these challenges and seeks to alleviate some of these burdens.
  • 4. •Get NYCDPR & NYCDOT to work collaboratively with the community which includes scheduling. •Presently, multi-day special events permits are not allowed. Perhaps two day permits could be allowed. •Engineering studies are required by NYCDOT and quite expensive. NRA/ERF could sponsor blanket insurance like the Times Square Alliance. •Expedite the lengthy approval process which makes marketing and promotion difficult (even if you submit a special events permit months in advance. •Expedite outstanding capital contracts that would improve repairs and improvements. Introduce •Artists Residencies (paid time to develop projects) •Artist Fellowships (merit based financial awards) •Art making workshops for the public •Art making workshops for artists
  • 5. There is precedence in NYC & around the country Creative Times 2010 Keys to the City John Malpede 2004 RFK in EKY