Vita Brevis Arts Bureau

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'Ars longa, vita brevis...Life is short, art eternal.'~Hippocrates

twitter.com/johnweeden1:

    "Art Matters: Life Lessons in Arts Leadership, A-Z" by John William Weeden →

    My first book is out on CreateSpace, coming soon to Amazon and Kindle!

    — 2 months ago with 1 note
    #arts leadership  #Arts Advocacy  #non-profit administration  #public art 
    Arts Leadership A-Z: ‘Z is for Zero-Sum Game’

    In the course of your career as an arts leader you will be subject to exuberant dreams of glorious projects that will prove powerful catalysts for changing people’s lives for the better through the power of human creativity made manifest in any number of breathtaking, awe-inspiring scenarios. You will want to make these fantasies come true in the real world, and will believe in all earnestness that you and your team can compose such a transformative production that the field will forever base its comprehension of art and beauty and cultural rigor on the magnificent work resultant of your efforts. You will dream big, and you should, because nothing amazing ever happens if we don’t let our imaginations get carried away. Before you spend too much time and enthusiasm on such ideas, however, it would be wise to consider what has to be done in order to avoid a zero-sum game situation. This occurs in game theory when gains are leveled out by losses, leaving a net sum of zero. The same principal can be applied to the efforts of arts leaders who devote so many resources to the realization of a project that any gains that production might create are essentially made null, costing only precious time, money, credibility, and the sanity of yourself and your team.

    What do you really hope to gain by coordinating this project, or supporting this effort? If it does not result in financial gain for the organization, will it provide positive and long lasting good will in the community? Could it mean greater respect for the organization that is likely to lead to future partnerships or patrons? Before you commit, examine the range of possible outcomes and give serious consideration with your team and advisors to the likelihood of your actions creating brighter days.

    — 2 months ago
    #arts leadership  #zero-sum game 
    In the studio, playing with lightning

    In the studio, playing with lightning

    — 2 months ago
    Arts Leadership A-Z: ‘X is for Xenophobia’

    Arts leaders in any discipline will inevitably encounter hostility or irrational wariness of their ideas, proposals, or activities from those already active in the space they seek to engage. Whether you are trying to stage a new production of a beloved classic with an avant garde twist, or a public art coordinator charged with installing a mural in a protective community skeptical of design alterations within its public space, you will be faced with criticism for being ‘not from around here’ or sticking your nose where it doesn’t belong.  Territorialism is not exclusive to physical geography. People can be very antagonistic when it comes to outsiders engaging subjects they hold dear. New ways of doing things can even cause a stir of opposition within your own organization itself. In order to mollify concern and build partnerships it’s important to be open and transparent with your activities and to enlist the ideas and cooperation of those stakeholders who hold an investment in the production, be it tangible or emotional. This will take time and a great deal of dialogue, but it will be worth the work to move forward with a solid base of support when finally ready. Rushing into things without the necessary community behind your efforts can quickly derail your endeavors across multiple aspects of your operation and make it difficult to get much of anything done at all.

    Once your programs are a success, and your organization is being recognized for the visionary and inspiring work it has achieved, be sure to remember what you went through to get there. Don’t react in the same xenophobic manner to newcomers who bring their own ideas into the same space. Seek out opportunities to support their energy and build momentum to affect positive arts productions whenever possible. In this way, the world changes for the better, and we are all the beneficiaries of the new landscape we have all created through authentic collaboration and mutual respect.

    — 2 months ago
    #arts leadership  #xenophobia 
    Working with white lightning today.

    Working with white lightning today.

    — 2 months ago
    Arts Leadership A-Z: ‘V is for Vanity’

    V is for Vanity’

    As arts leaders, you may become accustomed to being the figurehead and spokesperson for your organization on all fronts. This is common, and to be expected especially if the operation is a small one with limited staff or Board with competent public speaking skills or media savvy. You are right to want to ensure the mission is stated clearly and that projects taking place are described with a connected relevance to the organization’s core values and overall reason for being. If your programs are successful and compelling, the press will most likely come calling for interviews and photo shoots, all great opportunities to communicate the importance of your group’s work to the broader community with the result of building further support. The increased profile of the impact your group’s work makes in the world is a good thing. However, be wary of the spotlight shining only on your self, alone. Your success is due to the team of supporters you’ve assembled and mobilized to realize the projects gaining all this attention in the first place. It is of crucial importance that you share the accolades in as much as is possible, whenever appropriate. Vanity can kill an organization if stakeholders begin to believe leaders are taking all the credit for themselves. 

    In order to keep your support base motivated, it is crucial that you share the role of ambassador, and that you educate those best equipped for the role with the necessary insights and advocacy tools to tell the organization’s story in as compelling and accurate a manner possible. Teach these ambassadors the details of how certain aspects of the organization works, and why each is important for accomplishing the mission and its projects towards that end. Ensure they know the mission verbatim and can explain what it means and how the group’s work makes a difference to the community with specific examples. Direct selected press inquiries to staff and Board members. Arrange press photo shoots to highlight team members that consistently demonstrate their commitment to delivering the best work possible. The more professional the chorus of voices sound, the greater their ability to recruit and retain support for the organization overall.

    — 2 months ago with 2 notes
    #arts leadership 
    Arts Leadership A-Z: ‘Under-promise (Over-deliver)’

    ‘U is for Under-promise (Over-deliver)’

    It is perhaps the curse of all believers in the power of art to transform the world into a space of wonder that they delude themselves in all earnestness that anything may be possible with enough work, enough passion, enough purpose. Just as timing is an invaluable knowledge set, so is the possession of self-discipline to know how much is too much to reasonably accomplish with the resources to which one has access. Arts leaders are constantly having to enthuse their support base, members, volunteers, constituents, etc. This condition depends on their ability to express the vigor of their vision in terms that can make converts and inspire action. Countless arts leaders have gotten themselves into overwhelming situations when the unforeseen realities encountered when implementing projects confront the idealistic dreams of a brighter day if only everything had worked to plan. Maintaining espirit de corps among the Board, the support base, the funders, the community, artists, and staff when obstacles arise and original outcomes projected or promised become compromised is often a difficult, embarrassing, and stressful endeavor. It also causes your stakeholders to question your judgment, your credibility, and your capacity to perform the duties of the role with which you’ve been entrusted.

    Therefore, it is imperative that after you’ve worked out the broad strokes and finer details of any ambitious project that you enjoin the collaboration of others on staff and the Board for their feedback and troubleshooting. You need the insights and questions, and challenges posed by others with the acumen and ability to provide clear and objective guidance if this magnificent world shaking program is to actually effect the change in the world you believe. What resources can you actually rely on? What about the costs, can you actually count on that funding stream remaining the same or increasing as projected? What outside factors could derail this plan, and what are your back-up strategies for dealing with such contingencies? Who can you realistically count on, what pieces of the puzzle can they reliably deliver, and when? These are just a few of the myriad questions that need to be considered.

    This is why you should always under-promise to others what you intend to produce, then work diligently to over-deliver on the results. In this way you’ve exceeded expectations, raised stakeholder trust in your abilities, and increased the likelihood of future support, and put your organization in an ever better position to create meaningful works of art that make an impact on the lives of your audiences.

    — 2 months ago
    #arts leadership 
    grupaok:

Alighiero Boetti, Mappa, 1971-2

    grupaok:

    Alighiero Boetti, Mappa, 1971-2

    — 3 months ago with 66 notes

    myampgoesto11:

    Anamorphic paintings by Felice Varini

    Felice Varini is a Swiss artist known for his geometric perspective-localized paintings in rooms and other spaces, using projector-stencil techniques.

    Felice paints on architectural and urban spaces, such as buildings, walls streets. The paintings are characterized by one vantage point from which the viewer can see the complete painting (usually a simple geometric shape such as circle, square, line), while from other view points the viewer will see ‘broken’ fragmented shapes. Varini argues that the work exists as a whole - with its complete shape as well as the fragments. “My concern,” he says “is what happens outside the vantage point of view.”

    He was born in 1952 in Locarno, Switzerland and lives in Paris.(source)

    My Amp Goes To 11Twitter | Instagram

    — 3 months ago with 1209 notes

    showslow:

    Street Artist Etienne Lavie Hijacks Billboards in Paris Replacing Ads with Classic Artworks | via

    For his latest project titled “OMG, Who Stole My Ads?”, French street artist Etienne Lavie imagines what the streets of Paris would look like if all the ads plastered on posters and billboards were replaced by great works of art. Sneaking around the city, Lavie has been covering advertising billboards with classic French artworks, reclaiming some of the public spaces that have been so mercilessly invaded by advertising. The project challenges the destructive impacts of the advertising industry, getting people to slow down in the midst of their daily routines and simply enjoy the beauty of art. 

    — 3 months ago with 3390 notes
    artruby:

Lawrence Weiner, Placed on the Tip of a Wave, (2009).

    artruby:

    Lawrence Weiner, Placed on the Tip of a Wave, (2009).

    — 3 months ago with 106 notes

    designcloud:

    The Last Billboard

    A 36-foot-long billboard located at the corner of Highland and Baum in Pittsburgh, Pennsylvania. Every month, a different individual is invited to take over the billboard to broadcast personalized messages, which are spelt out using wooden letters that are changed by hand. 

    Follow it’s evolution here.

    — 3 months ago with 138941 notes
    Yvonne Bobo planets…

    Yvonne Bobo planets…

    — 3 months ago