Creating a Public Mural Program: Lessons from Kinston, NC (Part 3)

<p>“Sugar Hill by Timothy Robert Smith</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. Part 2 described the process of advertising the artist opportunity, selecting artists, pairing artists with walls, and developing the artist’s concepts for the program. This third and final post in this series will review the logistics involved during mural installation, community engagement during a pandemic, and the budget management process.</p> <p>Installation Logistics </p> <p>The Kinston Mural Program included seven murals done by eight artists (one mural was completed by a two-person team). Each project had several logistical needs:</p> <p>Insurance. General liability insurance was necessary to cover the artists in case of injury or damage to other property. The City worked with its own insurance provider to find a special event policy that would cover the entirety of the project and considering the mural installations each as separate “events”. It took two months and several attempts with different brokers to find an affordable policy with sufficient coverage.</p> <p>Housing. Housing was only required for the three artists visiting from out of town. Fortunately, housing within walking distance to downtown was graciously provided in-kind by a local AirBnB host (and Selection Committee member). The host took responsibility for providing instructions to the artist for check in/out; staff led the charge of providing the visiting artists with directions to the wall, contacts, and directions to [...]</p>