Creating a Public Mural Program – Lessons from Kinston, NC (Part 2)

<p>Okra” by Seraphim Smith, a local artist in the program</p> <p>This three-part blog post series chronicles the process, joys, and challenges of implementing a large-scale creative placemaking initiative, in this case the Downtown Kinston Mural Program in eastern North Carolina. The Part 1 post of this series reviewed the program design, citizen committee, and wall selection for the program. This blog post, Part 2, will review advertising the artist opportunity, selecting artists, pairing artists with walls, and developing the artist’s concepts for the program.</p> <p>Advertising the Opportunity to Artists</p> <p>The City of Kinston used a two-step process to select artists—a general Call for Artists through a Request for Qualifications (RFQ), and a Second Round Application focused on budget and program requirements. Kinston chose an (RFQ) to allow artists to present their prior work and community engagement practices instead of a potential mural concept. The artist consultant engaged by the City advised staff that concept development is a significant part of the artist’s work and should vary highly after the artist gets to know the community and the wall. An RFQ allowed the Mural Committee, the citizen-led group that oversaw the Downtown Mural program, to react to the artist and their existing portfolio, compensate the artist for their concept development during the program, and avoid boiler-plate concept submissions by artists who are (quite reasonably) unwilling to create a unique concept for a program without being paid.</p> <p>The RFQ included:</p> Basic Information (goals, city profile, program timeline, selection committee, artist fee, etc.) Artist Fee and Materials Provided (fee negotiable in range from $1,000 to $10,000 pending [...]