Sarah Conley

Interest in copyright issues has changed dramatically in the last 10 years due to more awareness of the potential value in intellectual property. No doubt much of the new focus has trickled down from the digital development of corporate entities better able to direct resources to intellectual property protection than the average artist. The rise in popularity of hedge funds collecting fine art also contributed to the growing consciousness of the value of protecting creative works. Certainly, some creative works serve the artistic and scientific community better if they are freely available for use and part of the public domain. And those who wish to purposely place their work into the public domain regardless of the communal value should be free to do so. However, intellectual property ownership is often one of the few things artists can use as currency in negotiating compensation for projects. Thus, it is imperative that artists do what they can to maintain ownership of as much of their intellectual property as possible.  

Narric Rome

The story of how the federal government funded the National Endowment for the Arts and the Arts in Education program at the U.S. Department of Education really began on November 2, 2010.

Election Day delivered a major change of power in Washington with the GOP regaining control of the U.S. House of Representatives and tightening the margin of control in the U.S. Senate.

With the GOP set to take control of the House in January, the House Democrats found themselves unable to pass a FY2011 budget and had to settle for a Continuing Resolution (CR) to fund the government until March 3, 2011.

This CR funded the National Endowment for the Arts at $167.5 million and the Arts in Education program was provided $40 million – which was the same amount they received the prior year. 

Liesel Fenner

It has been a whole week of public art blogging from 19 PAN peeps!

Thanks to everyone who contributed, and keep the Tweets, Facebook shares, comments, etc. coming.

Topics ran the gamut, from Leo Berk’s ‘non-typical’ artist residency working with the King Country (WA) bridge division, to Katherine Sweetman’s (first and final) blog–as-art-intervention for the San Diego Union Tribune.

As we noted, many of the bloggers will be presenting at the Public Art Preconference, June 15-16 in sunny San Diego. (Re-click on the link: the site is updated every day). 

Wendy Feuer

Wendy Feuer, Assistant Commissioner of Urban Design and Art, New York City Department of Transportation, will present her innovative program at the Built Infrastructure: Interdisciplinary Initiatives Public Art Preconference session in San Diego this June.

Feuer’s blog outlines proposal authored by the Transportation Research Board Subcommittee on Art and Design Excellence in Transportation. The study will examine art in transportation program, feasibility, art and design in transportation projects, proposed funding of programs, and assessing value and outcomes – to offer successful models for how more transportation agencies can incorporate public art.

Transportation infrastructure is one of the leading ‘shovel-ready’ programs of our nation’s agenda, let’s add art to the equation. ~ Liesel

Many communities are interested in public art programs to further their economic development, tourism, and place-making initiatives. Art programs can enhance the quality of public spaces, reflect local culture, and provide a venue for community engagement in project planning and design decisions.

In these ways, art programs can support the Livability Principles of the Federal Partnership of DOT, HUD, and EPA.

As public transportation agencies (sponsoring urban and rural public transit, high-speed and intercity rail, air travel, passenger boat and ferry travel, bicycling infrastructure, and walkable neighborhoods) respond to community interest and incorporate art in their projects, the need has been demonstrated for a resource booklet of successful public art processes and practices specific to the context of public transportation.