When a Jewish organization wants to make an artwork accessible to all—it has to reach out to all in the making of the work. That’s what I and the Jewish Arts Collaborative, a Boston arts organization, did together to explore the meaning of the Passover holiday. To me, the themes of Passover were already universal—leaving oppression, seeking a new start, ending up in limbo for years as you find a new home. The Exodus story is the story for many refugees today, one of how seeking freedom is about liberation but with a responsibility, too. Because the Pathways to Freedom artwork was going to surround the Soldiers and Sailors Civil War monument on Boston Common, at the city center, I wanted to be as inclusive as possible in making the work. So, I created a pop-up cart and with the JArts team and a band of volunteers, we travelled across the Boston region. Our mission: to engage people on the subject of freedom and immigration. 

What if you could score a mural the way that you can score a movie? A unique project from painter Joshua Mays and DJ King Britt answers this question. In West Philadelphia, Dreams, Diaspora, and Destiny comes to life through an augmented reality app (MuralArtsAR), weaving together interviews with community elders, neighborhood sounds, and beats created by local students from The Haverford School and Mastery Charter’s Shoemaker Campus. The final mural evokes perspective and curiosity, invitations to meaning, and possibility through cosmic awareness and cultural connection. The artwork is intensely rooted in the neighborhood, and best experienced in person, but ultimately we wanted this public art to be accessible to folks farther afield—the final app includes a feature that will “create” the mural experience right in front of you, wherever you are. 

Five years ago, I remember feeling profound sadness and disappointment when I thought about the condition of too many buildings in my town of Eagle Butte, South Dakota. Not only were the structures in rough shape; graffiti tagging had further defaced them. I’ve been the executive director of the grassroots, nonprofit Cheyenne River Youth Project since 1988, and three decades of youth development work here on the Cheyenne River reservation have taught me that our young people need to find healthy ways to explore their identities, find their voices, and share their stories. That’s fundamental to who we are as Lakota people, because for us, art is life. And without a positive outlet for so much youthful creative energy, vandalism is inevitable. I found myself wondering if CRYP could make a difference. In 2014, we invited a professional graffiti artist to complete a mural in town and provide lettering classes for our teens. We didn’t know it then, but this little test project was the proverbial pebble thrown into a lake, and the ripples are still expanding.

In the summer of 2018, against a backdrop of national immigration policy restrictions, Mural Arts had the opportunity to work with Chiléan artist Artes Ekeko (Ian Pierce). The pieces fell into place as we worked quickly to create something meaningful: North Philadelphia’s Providence Center joined us as a partner; members of our Restorative Justice Guild program were available to assist; and local artist Cesar Viveros signed on to help make this mural possible. A 900-square-foot wall was available in the Fairhill neighborhood, a predominantly Hispanic and Latinx community, and so we got to work. Ekeko and Viveros created a bright, textured design in line with Philadelphia’s longstanding status as a sanctuary city, representing a family making their way to a new home. Over a few short weeks, the mural went up on the wall, invoking conversation around community, empathy, and home. 

Nashville is a city known for the way we engage our community; we’re famous for our southern hospitality, our musical roots, our booming art scene, and enough decent restaurants to satisfy anyone. However, we also are a swiftly growing city with a deep cultural history that is often overshadowed by the more recent trends of rideshare scooters, bachelorette parties, and changing neighborhoods. With the city growing rapidly and the historical narrative of Nashville’s communities in jeopardy, we’ve had to reevaluate our responsibility to our communities’ past, present, and future through the lens of our public art program. In 2017 Metro Arts released a Public Art Community Investment Plan to alter our overall approach to public art in the city of Nashville. The plan emphasizes the importance of community centered public art and offers a number of recommendations and best practices to implement. One recommendation challenged us to shake up the way we engage with our community by hosting a curated temporary public art exhibition.

Community-based artworks in general require an ability to remain organic and observant. Every person is an important participant, and though we each come to projects with different sets of skills, needs, and motivations, most importantly we are reliant on each other. I’m speaking of the agencies and organizations here, but similarly, the female inmates at Malibu Conservation Camp 13, who helped each other through our creative process. When institutions and communities come together to organize a project, in a sense, hierarchies are put aside for a moment, because no one around the table holds all the answers. Each person knows this, and each moves forward toward a worthy goal. In this case, the common goal was understood to be the development of valises as a teaching tool to educate people about fire abatement, wildfires, and our role in nature.